There are two different motives that appear in this piece. Motive #1 (M1) is the first two measures of the right hand. This will be the primary motive that I will explore in this analysis. Motive #2 (M2) is the arpeggiated eighth notes in measures 3-4 of the right hand. The first 6 measures are the exposition where the motive is introduced.
I feel like the development officially starts with the half cadence in measure 12. In measures 13-16 there's a short sequence in the left hand similar to M1. There's an IAC (could be a PAC, but it doesn't sound perfect enough....) in measure 18 and we start the modulation to a minor (?). Also in measure 18 M1 returns modulated in the left hand in a sequence for four measures. In measure 22 we start an inverted version of M1 for four measures in the right hand. Then the next two measures after that is the return of M1 in the current tonic key. Things similar to motive also appear, although scaler, the second part does not closely resemble M1 enough to consider it the actual motive.
We cadence with an IAC (maybe PAC) in measure 38. We then return to the original tonic. In measure 44 we get the original M1 in the original key in the right hand, then in the left hand in measure 46. We end on a PAC.
YEAH!
Subscribe to:
Post Comments (Atom)
1 comment:
I was having a hard time deciding what to use as the official "motives" of the piece. I agree with breaking it up into just those two - most everything can be viewed as an inversion, development, or in some relation to those four bars. w00t 4 bach.
Post a Comment