"Am Kamin" by Schumann

"Am Kamin" begins with an eight measure expository section. It is a contrasting symmetrical period in four bar phrases. The first phrase ends with an IAC while the second ends with a PAC. This period is very tonally stable with clear cadences and phrases. The next section brings in completely new material. These next two phrases look like a whole step sequence. tonality isn't stable. There are many accidental. The cadences don't seem to follow normal progressions either. The following two phrases look like a development from the first period of the piece. The melody is basically the same, but the harmony changes and is fuller. This middle section, even though less stable, creates a contrasting double period with the second phrase ending on a half cadence and the last a PAC. The second ending of the piece is terminative. The last four measures are mere "show-offiness" for the sake of emphasizing the closure of the piece. This was a good piece for beginners to analyze.

mendelssohn....a second time

i'm not sure what it is going on with my computer, but i just wrote a big blog on this piece, and now it has disppeared!!!!! grrrrr so, maybe it will show up! Heere is the general gist of what was said: This piece seems to be all about extentions and copying the beginnings of phrases. This peice follows pretty much an ABA form, therefore having 3 periods. After the 2 measures at the beginning to establish the base and tempo, the piece flows lyrically without cares, it's first section ending in an exteded PAC. The B section is much different than the A in that it sounds stronger and more defined than A did. Then there is a recapitulation of essentially the same theme, followed by yet another extended out cadence. !I really hope my other entry shows up!!! humph!

Chopin Mazurka in E minor

Chopin: Mazurka in E minor, Op. 17 no. 2


I had a difficult time analyzing this piece, partially because of the great improvisatory feeling that occurs throughout the piece. However, as near as I can tell...
The piece is in ternary form. The A section is a double period, and each half of the period has 3 phrases. The first 3 end with a HC, and the second with a PAC. There is a definitie antecedent/consequent relationship going on here. The second half of the period is much stronger because of the cadences, which creates a strong "answer" to the "question" that was asked by the first half of the period.
The B section has a very rubato feeling, which is a typical quality of Chopin's music and most music throughout the romantic period. I love the improvisational feeling of Chopin's music because it makes the melody so intriguing. You never know just what it's going to do, and it just sounds so natural. This section occurs from measures 25-53, and there are three phrases. I analyzed them as a phrase group rather than a period, because there is no real sense of an antecedent/consequent relationship.
When the A section returns, it has been shortened from 24 measures to 16 measures. The fact that is is shorter gives the piece a nice sense of finality.
Well kids, I gave it my best shot...

J.S. Bach: Little Notebook of Anna Magdalena Bach, Minuet

This piece has two separate periods. I believe it is not a double period because the end of the 2nd phrase in the first period is a PAC. The first period is a parallel period. The end of the first phrase is a half cadence with the right hand on re and the left hand spelling a V7 chord. The next phrase is parallel therefore a prime (if the first phrase was a). This phrase ends with a perfect authentic cadence with the right hand going ti-do. The next phrase starts this new section. This period is contrasting. The end of the first phrase is another half cadence with the bass again outlining the dominant seven. The second phrase does not start the same as the first phrase. It ends with a PAC.

J.S. Bach: "Minuet" from Notebook for Anna Magdalena Bach (1725)

Well, the Spencer book says that my piece is found in the Burkhart anthology, and it’s not there. This happens after 11 PM when the library closes. So, I chose the first piece on the list I could find that was located in the Burkhart anthology, “Minuet” from the Notebook for Anna Magdalena Bach. I had no idea that it was THE famous minuet that I grew up listening to.

The piece is written in binary form with two periods, one period serving as the A section, the other the B section. The A section, from measures 1 to 16, is composed of two repetitive phrases, a and a prime. The antecedent phrase, measures 1 to 8, ends in a half cadence. The consequent phrase, measures 9 to 16, has the exact same melodic material, but ends in a PAC. The two measures are parallel and symmetrical. The entire period is repeated again, with no structural phenomena other than the return of the melodic motive from the antecedent phrase.

The B section, from measures 17 to 32, is also composed of two phrases, b and b prime. The antecedent phrase, measures 17 to 24, ends in a half cadence. The consequent phrase, measures 25 to 32, ends in a PAC. The consequent phrase shares some melodic material with the antecedent phrase, that is moved down a fifth, from measures 21 to 22 and measures 29 to 30. These two phrases are contrasting and symmetrical.

“Minuet” is simple and straightforward. The original notebook served as a birthday gift for Bach’s young second wife.

Bach, Anna Magdalena's Minuet

Hooray!!! A Short Piece!!

Yeah, the piece is short, but has some good content. We clearly begin in G major with scalar passages and jumps within the tonic triad. Within this symmetrical and parallel double period are sprinkled a half cadence (m. 8), a PAC (m. 16). To spice things up a big, Bach decides to take us for a stroll in the dominant key of D Major in measure 17. (the c sharp is the determining factor) Measures 23-24 are our authentic cadence for the D Major B section. Our c natural in measure 24 takes us ever-so-smoothly back to our friend G major for measure 25 through the end. We finish off with an expected G Major chord to finish off our round of perfect authentic cadences.

Nice job, Bach. I'm sure Anna was pleased.

J.S. Bach: French Suite in E major, Menuet

This piece is filled with rhythmic and melodic motives through out. The pattern of two- measure phrases with the same rhythmic motive is broken only in two phrases, in measures 11-16 and 21-25. This piece is played very straight and never really goes anywhere. It really makes no attempts to unlock any extreme emotions. As typical with Baroque keyboard pieces due in part to the limits of the instruments of the time, there are few sensations provided by structural phenonama. With no variation in dynamics or tone color, the best way to signify a break or cadence in the piece is through articulation. Bach does so by often slurring the two notes leading into the cadential point. The effect is that by lifting the 2nd note of the slur, the final note of the cadence is highlighted. This feature occurs in every other measure of the piece aside from the measure mentioned before. Not including repeats, the piece includes 3 periods. The first, a contrasting double period, consists of 4 similarly structured 2-measure phrases. The second begins with similarly structure but ends with a longer phrase. The 3rd begins identically to the first, but the final phrase ends differently with the most final sounding cadence.

Chopin "Mazurka in a minor" (posthumous) op. 67 no. 4

Let me first say that this piece was NOT in the Burkhart despite the Temko saying it was.

Anyway, the first section has two eight measure phrases. These phrases are very similar, though they do have some noticeable differences. I don't think this can be called a period though because both phrases end on a PAC. I would call them phrase a and a' with no period.

The next section has a similar sixteen measure format with two similar eight measure phrases. This one though has a feeling of an IAC in the fourth measure and no feeling of cadence before the phrase is repeated in the 9th bar. The reason it is not felt well is because the eighth measure is a secondary dominant chord and the melody has eighth notes that flow right into the ninth measure without any sort of pausing gesture. I guess it could be called a half cadence but I don't really hear it. The IAC in the second phrase is the same in the fourth bar but this time the phrase ends on an authentic cadence. I would call this a parallel period.

The third section has an immediate modulation to A major. It is really hard to tell any sort of cadence in this. I have a hard time hearing this as a cadence but there is an IAC in the ninth measure that could be a cadence. There is no pause at this point and the chord immediately changes with the addition of a G natural. There's a little teaser in the 14th bar of the phrase with an IAC that is held by a fermata, but the real PAC doesn't come until the sixteenth bar.

The last two sections are a repetition of the first two sections with a common tone modulation back into a minor.

Schumann: Album for the Young, No. 17 "Little Morning Wanderer"

There are three sections to this piece. The first section is a parallel period that is symmetrical. The first phrase ends with a half cadence and the second ends with a perfect authentic cadence in E Major. The second section is repeated and I find that it may be a phrase group. There is one four measure phrase ending on a HC in A, but the second phrase is eight measures long ending on a PAC. (is there a name for that?) The third section is a parallel asymmetrical period. Again the first phrase ends with a HC but the second phrase ends with a PAC in A. The second phrase is longer by one measure because of an extension. The song makes me want to dance. The first two sections are very up-beat and bubbly. The third section is very legato and sweet sounding.

J.S. Bach French Suite in E Major, Menuet

This lovely menuet is broken into two major repeated sections (typical for this genre of movement). The first is an even eight-bar phrase, ending in a PAC. The second section consists of a period with a half cadence at the end of the first eight measures and a PAC at the end of the second eight measures. All three phrases are symmetric and quite similar rhythmically and often melodically as well. There is a recurrance of running eight notes in the right hand alternating with quarter notes in an arcing gesture. In the left hand, there is a recurrance of a group of three eighth notes followed by a strong quarter in the lower octave register on the last beat of the involved measure. Eighth notes in the left hand always begin syncopated on the subdivision of the first beat, while this phenomenom never appears in the right hand.

Interestingly enough, there is a slight trick in all of this. Though the first phrase/section begins in E major, it modulates by 6-7 th measure and cadences in the dominant. As the melody is repeated, the first time, upon the return to E, this ending could sound as a half cadence. However, on the second run of this phrase, it moves right along in B into the section. The PAC in B is reinforced by the second section's continuing in the new key. Then again at about 5-6 measures into the new phrase (m13-14) suddenly it modulates back to E and ends on a half cadence. Then it continues on in E and ends in a very distinct, trill-punctuated PAC (in E).

Mazurka in E Minor Op. 17 No. 2 - Chopin

Many interesting things happen in this piece. In the broadest sense, it is ternary. The A section, at the beginning of the piece, is 24 measures long. When it returns, it is only 16 measures long. The two outer sections seem periodic, whereas the B section, which lasts from mm. 25 to 53, sounds more like a phrase group.

The first section is a double period, each half having three phrases (I'm sure there's a term for this, but I could only guess that it's a double compound period). The first three phrases are four measures long and end with a half cadence, while the second three, though very similar to the first three, end with a perfect authentic cadence.

The middle section has three noticeable phrases that do not sound related in an antecedent-consequent sense. This melody is very interesting because many of its gestures are connected through ellision - the third beat of one gesture, which is its resolution, is also the pickup to the next gesture. After these three phrases (four, four, and six measures long) the left hand begins a swelling bass passage that lasts until the return of the A section.

The second A section is shorter because it is not a double period. Instead, Chopin just repeated the third phrase several times to wind down the piece.

Vladimir Ashkenazy's performance of this piece made me feel very intrigued, but in a way annoyed. Only during the B section was any kind of constant tempo established. This piece is very romantic - the harmony is rich and surprising and, like I said, the tempo is very straightforward. It's very interesting but difficult to analyze.

Bach: Minuet, Notebook for Anna Magdalena Bach (1725)

Bach: Minuet, Notebook for Anna Magdalen a Bach (1725)

This piece is rather short in material, but is lengthened by the repeat bars at the end of each section. It very clearly begins in the key of G major. This first section is made up of four measure phrases. There is an IAC in measure four, which is the first occurrence of a cadence. Then in measure eight the first period is ended with a HC. The second period has another IAC at the mid-point in measure twelve, and then ends with the strongest cadence yet, the PAC in measure sixteen. Because both periods are eight measures long and are extremely similar in their musical content, it would be labeled as a symmetrical, and parallel double period.

Once we enter our new section we are in a different key. It is a pretty subtle change because it modulates to the dominant, which is D major. The first phrase, measures seventeen to twenty-one, ends in a HC. The period continues on with another four measure phrase that ends the period with a PAC (m. 24) in the key of D major. The last note in the bass clef of measure twenty-four (C natural) is a passing tone that leads us back into the original key of G major. The last period is symmetrical with all the others, containing two phrases both made up of four measures each. The first phrase ends on a HC in measure twenty-eight, and then the song is finished off with, of course, a PAC!!! This last section because of the key change between periods and the dissimilarity in the musical content would be considered a contrasting double period with symmetrical periods.

Chopin: Mazurka in A minor, Op. (posth.) 67, No. 4

This Mazurka composed by Chopin, begins in the key of A major. It is comprised of 3 major sections and an ending that repeats the first two. This form can be represented as A B C (AB). Composed in 3/4 time, the written "oom-pah" looking base would suggest a waltz like feel. However in his typical "improvisitory-sounding" fashion, Chopin avoids the dance feel, instead playing with the tempo like taffy. With a simple bass line that uses no note lengths except quarter notes, the piano Mazurka allows the right hand to play with the melody. For the majority of the song, the composer dictates that the pedal should be used for practically every measure. Dynamic color changes, constant tempo adjustments, and alterations in rhythm and articulation fill this piece.
In the A section of this song there are two contrasting periods of eight measures in length, both ending on an IAC. The playful right hand leads into the second section and a key change to the dominant.
The B section of this piece begins in the key of E major, consisting of two parallel periods. The first period ends on a minor half cadence, the second on an authentic cadence which immediately modulates back to tonic.
Section C brings the final presentation of new music. Varied rhythms and a devoloped melody mark two eight measure parallel periods, the first ending on a HC, the seconding concluding the section with a PAC leading into the ending.
The end of the piece is very simple. Chopin concludes the Mazurka after the third section by simply restating both A and B without repeats. Although this piece is rather short, it is still very beautiful but has much repeated material, forcing the performer to use much creativity to prevent repitition and boredom to set in.

Schumann's "Am Kamin"

In Schumann's "Am Kamin," the first section before the double bar is a symmetrical parallel period. The first phrase ends in an IAC while the second ends in a PAC. The next section is a symmetrical contrasting double period. The second phrase ends on a half cadence and the last phrase ends on a perfect authentic cadence. There is no extra material or modulation. This piece makes good use of density with chords moving into eighth note motion. It also has good variation between the section through dynamics. The rhythm is very stable even though the tempo fluctuates when the piece is performed. This fluctuation seems to mimic the sparking flames of a fire which the title attempts to portray. It makes me want to get out the marshmallows and sit by the burning bon fire.

Mendelssohn: Song Without Words, Op. 19b, No. 1

The first two measures of this piece serve as an introduction. They get the flow of the sixteenth note pattern, which runs throughout the entire length of the piece, going. I interpreted this piece to have three periods. The first, which is from measures 3-15, contains two phrases. They both have identical first and second measures, but the rest of the material differs. The first phrase is 4 measures long, but the second lasts for 8 measures. Measures 12-13 hinted at a cadence with descending chromatic notes, but it didn't arrive until 2 measures later at the 1st/2nd endings. After this section repeats, it moves on to a new period, which has an unmarked shift in tonality. The complete makeup of the melody has changed - instead of feeling light and flowing, it now sounds more forward-moving. The half cadence in measure 24 sounds like the end of the phrase, but it is echoed and extended out another four bars. We then come to a return of the first motive, the A section. It varies slightly from what was written earlier, but still includes a part with downward-moving chromatics which hint at a cadence. The very end of the piece, like the ending of the second period, has an extention to the cadence.

Schumann: Scenes from Childhood Op. 63 No. 8

A relatively simple piece, most likely written for his daughter to play (as are most of the pieces from this collection). The piece begins with a repeated phrase, each time ending on a PAC, before we entire into new thematic material. Once again we have two five-measure phrases that are repeated, each ending in a half cadences before we get a four measure extension in the second, which pulls out into a PAC. This section is repeated again. This section can be viewed as two repeated phrases with a third consequent phrase, or as a parallel period with an assymetric consequent phrase (due to the extension). We now enter into the third and final section, which has a different feel with a thicker bass texture. The first phrase ends with an IAC, before we get a register change, adding a little more power to the final phrase, a parallel phrase ending in a PAC.
In this piece we get a little dynamic change; the first section is a soft piano slowly growing to a mezzo-forte by the middle section, where it remains for the rest of the piece. Another marking that affects the mood of the piece are a number of ritardandos at the ends of phrases. This building of suspense is used effectively to bring out cadential points.

This is a cute piece with a lot of repeating material. Like most beginner's Schumann, it sounds more difficult to play than it is (unlike other Schumann, which is quite the opposite).

Robert Schumann Scenes from Childhood Op.15 No.8

I wrote on the scenes from childhood earlier last week and I'd have to say, now looking at another one that they were definately created to be played an enjoyed by a child.
The piece begins with a theme that is repeated twice, each time it ends with a PAC. It then continues to what could be A1 or the B theme which is only played once, and is an eight bar phrase, the first four bars end in a half cadence and then the phrase ends with an IAC.
This entire pattern is then AGAIN repeated, and towards the end new material is introduced with a half cadence and them somewhat similar material was introduced ending the piece with a PAC.
There are suggestions in the A1 section that there could be some ellusion, or overlapping of cadences and phrase when an eighth note pattern is substituted the second time through.
Overall, I really liked this scene. This collection of miniatures is so simple, but I feel like they have a "homey" quality to them which I think is what Schumann really intended since he wrote them for his daughter.

Minuet by Bach from the Little Notebook of Anna Magdalena Bach

Minuet is in G and is written in a 3/4 meter. There are no dynamic markings indicated in the score so im just going to leave that one alone. The first cadence occurs in bar 4 and it ends on an IAC. The second phrase ends in bar 8 on a half cadence. These two phrases make up the first period of the piece. The second period starts at bar 9 with the first phrase ending in bar 12 with another IAC. This phrase is almost identical to the first phrase of the piece and so we'll call it "a" prime. The next phrase ends in bar 16 with a V going to a I (PAC). Because these periods are almost identical and consists of two phrases each, they are double parallel periods. The C# in the B section implies a shift to the dominant which is D Major, it then returns to G around bar 24. The next period starts at measure 17 with the first phrase ending on a half cadence in the key of D (as I said) in 20. The second phrase ends in a I (in MY opinion) still in the key of D. The last period starts in bar 25 with the phrase ending at 28 on yet another half cadence, then ending the piece with the last phrase going V to I (PAC).

Schumann: Kleiner Morgenwanderer

I interpreted the first eight measures of the piece as kind of an introduction to the bigger, middle section, arriving at measure 9. The half cadence in the 8th measure drives the beginning of it. this next section is 10 measures long, which feels slightly asymmetrical. in measure 9, a similar melody from the introduction is heard, but the rhythm is different (there are no 16th note triplets until measure 14). a half cadence arrives in the 12th measure of the piece, and the listener craves a PAC 4 measures later. but the melody changes slightly, integrating a new rhythm and a harmonic goal not 4, but 6 measures later. maybe the melody was extended to increase the anticipation of the listener.
after the middle section repeats, the mood changes. the style is no longer marcato but very legato. the last phrase is both parallel and symmetrical.

no. 19 Schumann: Album for the Young, Op. 68, No. 13, mm. 1-10

I'm wondering if this piece is no. 19 because it is fairly confusing. I am going to call this piece a contrasting period with an extension. I would say it is A-B-b prime. The first phrase is 4 bars long ending with a half cadence. The second phrase starts with the pick-ups to bar 5 and also last 4 bars but ends with a deceptive cadence, thus indicating that the period does not end here (if it is, indeed, a period). The extension is rhythmically the same as the 3rd bar of the second phrase, except a modulation or tonicization of dominant has occurred. The two bar extension ends with a PAC in B major (the piece started in E).

no. 19 Schumann: Album for the Young, Op. 68, No. 13, mm. 1-10

Mozart Sonata in Bflat Major K333, I: m23-38

This excerpt consists of a parallel double period of four symmetric, four-measure phrases. In addition, all though the work is in B flat major, the piece has by this time modulated to the dominant F major key. The two smaller eight-measure periods are parallel, for each of their antecedent, four-measure phrases are the same--they both end in imperfect authentic cadences. The consequent of each of the two eight-measure periods begins with a c sharp to a d, but that is where the two consequent phrases diverge in their similarity. The ending of the first consequent phrase runs into the beginning of the second period, thus forming a very strong PAC that moves right along melodically. The second consequent phrase concludes less dramatically and reaches a PAC in the left hand by the second part of the last beat of its fourth measure (m 38). The music then is marked by fp and new material, so the less emphasized nature of the concluding PAC presents a musical opportunity for graduation into new material.

"Mi tradi quell'alma ingrata" from Don Giovanni

The beginning of this aria (meas. 37-51) takes place after a long recitative in minor; the quick change to Eb major is a little disconcerting at first but the transition is smooth. This passage contains one very long contrasting period. The first passage begins a simple I-IV-V-I-I-V-I progression, with the voice outlining each chord and pulling us along while the accompaniment merely accents the beats. The consequent phrase has two very similar elements to begin it: first a I-vi-ii-V-I progression followed by the melody line repeating what was just said, this time under a I-V65/ii-ii-V-I progression. This phenomena of repeating the same material is used very aptly for dramatic effect, as the singer seems to be becoming more and more exaspirated, building suspense before ending her opening statement over a I64-V-I perfect authentic cadence. As for the melody, Mozart is wonderful at creating simple, beautiful and very memorable tunes. this one is no exception, the beginning very easily, outlining the one chord, then descending down and rising back up. Mozart never leaves a voice reaching for air, he always places it where he believes it to be most dramatic and effective. As the consequent phrase begins, the key word "infelice" (unkind) is the focal point, reaching the highest note (here and Ab) then descending back down, only to return again when it is repeated. Something to note about the piece, none of the cadences appears to be unauthentic, but Mozart cleverly disguises it by switching voicings, coming in with strong tonic chords after the cadences and also by repeating material for dramatic effect.

Mozart: Sonata in B-flat major, K. 333, I, mm. 23-38

Mozart: Sonata in B-flat major, K. 333, I, mm. 23-38

In these selected measures, I feel that there are two periods. The periods are both eight measures long, making it symmetrical (same number of measures). The first two measure of both are very parallel, but from there on out, the second eight bars change from the original eight measures. I believe they are parallel periods, which means that the musical content of the periods are generally the same. Although at first it may look very different, eighth notes and all, it is a parallel symmetrical double period. There is a possible IAC in measure 26, and in measures 30 and 31 is the location of the cadence which ends this period. The cadence is a HC.
The second period begins just the same as the first did, but with a little less texture in the bass clef. Here Mozart experiments with new rhythms but keeping a similar note pattern. As the sixteenth notes become more and more common, and the non-chord tones are becoming more frequent I started to look at this section more as an emotion builder. These periods build their way back up, first having a IAC in meausure 35 and then to end with a PAC.
The HC formed a link to help the piece return to the same type of period again, while the PAC continues the eighth note runs which take you into the next period.

Beethoven: Sonata in C minor, Op. 13, III, mm. 1-17

This section of the piece has four phrases, each of which are four measures long, and there are no key changes.

The first phrase contains a half cadence which lasts for the whole fourth measure.

The second phrase has contrasting material and ends on what feels like a PAC but isn't truly one since the melody ends with a re mi do. It still has a stable feeling of a period with two phrases and one would expect the music to move on to new material, but Beethoven instead decides to make the third phrase essentially identical to the second. This immediately takes away any sense of stability that the second phrase had.

The stability is taken away again because the authentic cadence of the third phrase lasts only one beat (the second phrase had three beats of the tonic chord) and moves directly to the fourth phrase.

This fourth phrase is different from the other two phrases and finally arrives at a stable PAC that lasts for a whole measure before moving on to the new material.

I'm having a hard time placing this in terms of period structure. It fits the double period formula of four phrases, but since the second and third phrases are about as weak as an authentic chord can get, I would say that this whole 16 measure is one period. The second and third phrases are parallel and the other relationships between phrases are contrasting.

"Mi tradi quell'alma ingrata"- from Don Giovanni

This comes from Act II, Scene III of Mozart's Don Giovanni. Left alone, and having been betrayed yet again, Elvira struggles with the realization that Don Giovanni is going to be punished by heaven and not by her hand. The recitative and aria shows how torn she is by feelings of betrayal and deceit, and then her concern for his well-being. This is a coloratura aria which means one with rapid scales and arpeggios in the voice, which in this case convey the intensity of her feelings.
The whole aria is in the form A- B (dominant)- A - C (parallel minor)- A. This exerpt comes from the first A section after the recitative. It is very simply laid out with a simple Antecedent phrase and answered by a more jarring and harmonically complicated consequent phrase. Both end in authentic cadences with slightly different voicing.
The soprano has a beautiful melody, only straying from the harmonic outlines on words like suffering, vengence, fatal, and other such dramatic soprano tendencies. Overall a very dramatic piece describing the dual emotions that every soprano must face in every opera. :-)

Rock me Amadeus.

Beethoven String Quartet Op.18 No.1 mm.1-20

The Quartet begins by playing the melody in unison at a mezzo forte dynamic. There are clear, authentic cadences after each presentation of the melody. The are often PACs with the tonic in the first violin, often resolving Ti to Do. It is then repeated at a louder and more vigorous dynamic. The main motive is then passed around a little bit, and while the violins have a moving upper line, the melody is handed to the cello while running eighth notes continue in the viola and second violin.
The sweeping triple meter of the Allegro Con Brio gives the sense of of elegance and luxury, this is the type of music that I can picture being played in a small chamber setting for a large, lavish party of some type. When I researched the piece a little bit more, I learned that this is the first of four quartets that Beethoven composed in honor of one of his faithful patrons, so it probably was composed for entertainment purposes.
I like the way that the theme is handed around the quartet, even in the first twenty bars of the movement, and the nature of the piece is very expressive and soloistic which I love. I don't know the date on the piece, but there are moments when the four instruments move together chromatically, and the sometimes surprisingly vigorous Forte dynamics lead me to believe that it was probably in Beethoven's third period that he composed this piece.
Even in the first 1-20mm it shows traces of chromaticism and louder dynamics which is a sign of Beethoven's breaking away from the conventional things that his musical peers were doing at this point.

Mozart Piano Sonata in F major, K. 332, m. 41-56

In this well known Mozart Piano concerto, there is two phrases between measures 41-56. By this time in the piece, the movement has already modulated to C major, the dominant of the original key. The two eight bar phrases are totally different from each other, sharing only an identical harmonic progression with the exception of the two cadence measures. The first phrase ends with a half cadence and the second on a imperfect authentic cadence. There is no modulation between the phrases, no links, no elisions, and no symmetry.
There are quite a bit of structural phenomena to talk about in the 1st movement of Mozart's K332. The composer puts only a few chromatics and suspensions in this exceprt, hinting at more non-chord tones to come. There is a crescendo from the first phrase piano into forte at the beginning of the seocond phrase that accompanies a register change. Most dramatically, Mozart arpeggiates the left hand in triple, while the right hand remains in two at the beginning of the last half. It provides a striking rhythmic contrast that is not found anywhere else in this piece. Immediately after, to better frame those first two measures of the second phrase, a drop in dynamics to piano occurs. This again leads to a forte at the end of the phrase and the conclusion of this excerpt.

Mozart: The Abduction from the Seraglio, Act II, No. 9, m. 9-18

I couldn’t find the score for some reason, so I’ll examine it more generally from my listening. As I listened for phrases and periods, the orchestral accompaniment was key in recognizing the structure of the piece. The orchestra’s main function was as a compliment to the voice, and merely followed the solo tenor, but at the end of many phrases and periods, the orchestra played on its own, serving either as a link to the beginning of the next phrase when the tenor comes back in or as the beginning of a new phrase (in elision). Also, in the beginning of the aria, the orchestra echoes the voice to bring out phrases through motives. The density of the orchestra also changed in the most passionate parts leading to the end of periods. Outside of this, there was little use of structural phenomena the finality of cadences. The piece was played very straight, maintaining soft dynamics and a steady rhythm and constant meter throughout. As far as measure 9-18 goes, I’ll guess which section it is. What I heard from that was an asymmetrical, contrasting, double period. It consisted of two phrases, a and a’ with very similar material and weak cadences, and then was followed by phrase b, which contained much different material and a descending pattern that gave a more finalized sound to the cadence.

Piano Sonata No. 9 in E Major, Beethoven

Alright kids...here goes nothing:

The piece starts out in e minor with a parallel period between measures 1-8 and 9-16. The material is an octave higher but almost the entire phrase is the same. There is a half cadence in measure 8 and a perfect authentic cadence in measure 16 (most typical of parallel periods). The dynamics are even the same, with a piano at the beginning of each prase crescendo-ing to a sforzando in the third measure of each phrase.

In measure 33 we're still in e minor and we have another 8 bar phrase. The material is almost identical (at the beginning anyway) to measures 9-16. The dynamics are the in the same order as in previous phrases and it ends with a half cadence. The next phrase starts in measure 31 (the pick-up of 30). the dynamics are the same, but there are sforzandos in measures 45, 46 as well with a crescendo after them. This change is signaling to us that we're now in a new key. At measure 43 Beethoven went to the key of a minor. On the second beat of measures 45 and 46 we're having a ii-V-i pattern. The sf on beat two creates sort of a hemiola feel. (i like it!) We were to stop analyzing in measure 51...and so if I didn't listen to anythign after that, I'd say that it was a half cadence...but since I did...I think that's a tonicization of the V chord (you could say that we went back to e minor)(or that measures 51-62 are just a huge V-i section (in a) or a i-iv (in e). It's sort of ambiguous.

There. I finished. The opera is killing me.

Love,
Lindsey a.k.a queen neopolitan

p.s. i heart k daniel

J. S. Bach - Little Notebook of Anna Magdalena Bach, "March," measures 1-9

These eight bars are pretty simple. There are two 4-bar phrases, which both contain considerably different material although they both end in perfect authentic cadences. Therefore, the structure that contains these phrases would be a contrasting period. As for the structural phenomena, there's not a whole lot going on. The biggest change is the unmarked switch in tonality in measure six. Here, the piece tonicizes the dominant and remains in this key for some time after the end of the initial period. All of the other phenomena remain pretty nonexistant.

clementi: sonatina op. 36, no. 3, 1, mm. 1-12

the first part of the phrase is heard in measures 1-4 and the first cadence of the piece immediatly tonicizes the V chord (measure 4). the piece does not immediately modulate, but instead provides foreshadowing...intriguing, eh? in the next four measures, the melody is not repeated, but a new melody is heard, so the phrases differ. in the 8th measure, an imperfect authentic cadence terminates this phrase, and segues almost directly to the next cadential point heard four measures later (measure 12). i interpreted this as an elision, " the connection of two phrases in such a way that the cadential point of the first coincides with the beginning of the second." although the imperfect authentic cadence feels fairly stable, the melodic line keeps moving towards a new harmonic goal and then modulates to a new key. i would also say that the phrases are asymmetrical because the first four measures can be chunked together, and the eight consecutive measures drive towards the final cadence.

Mozart: The abduction from the Seraglio, Act II, no. 8, mm.9-18

Measures 9-18 of this aria show a parallel period with asymmetrical phrasing. The first four measures (9-12) have a phrase that ends in a half cadence. The consequent phrase then takes up the next six measures (13-18) ending in an authentic cadence. The second phrase has a cadential extension repeating the rhythm of the measure previous to it and then finally ending in the next measure.
The structural phenomena of this piece is quite dull, but then again this is opera, and opera is boring. Totally kidding...vocalists please don't kill me. The aria starts in A and stays that way throughout the period. The dynamics stay at piano throughout the whole piece, although when I listened to it the dynamics varied more than the score says. Tempo is slow all the way through, and meter does not change. I'm not sure if we're supposed to talk about the measures selected or the whole piece but there are some register changes from bass cleff to treble cleff and back to bass clef. This gives some contrast in the accompaniment since alot of the aria is the same 16th to dotted quarter then 16th again back to dotted quarter pushing the listener to stay interested.

Beethoven Piano Sonata 9 in E Major

This is the second movement of a three movement sonata. It begins in e minor. The first period is a parallel period, and it consists of two 8 measure phrases. The first phrase ends with a half cadence, and the second phrase ends with a strong perfect authentic cadence. Measure 33 marks the beginning of another 8 measure phrase ending in a half cadence. This repetition of the melody and the same cadence leads you to believe that there will be another parallel period, but that simply isn't the case. In measure 43 on a chord that is held out for the enitre measure, the key changes from e minor to a minor. In this phrase Beethoven also breaks the pattern of the even 8 measures per phrase that has occured thus far in the piece, and uses an 11 measure phrase, which I think is weird. This creates an asymmetrical contrasting period.
And that's what I think about that.

P.S. I heart Ladams.

Schumann's Fantasiestucke, "Aufschwung"

"Aufschwung" is the perfect piece for beginners studying form. The first sixteen measures contain two parallel periods. The periods are note by note identical with no interpolation. The first phrase of each period is a half cadence ending on a tonicized chord. The second was a perfect authentic cadence. There was no linking material between the two periods. The second section directly followed the first after a mere eighth note rest. The periods were in standard 8 measures with the phrase cadence after the first 4 measures.
The piece has some good structural phenomena. The dynamics are mostly very loud but have occasional accents through sf notes. This is ironic since the piece is already fairly loud dynamically. There are also crescendo through the second period that make the listener think a second section will soon develop through crashing tones. This, however, is not the case. The second section begins piano and completely sets off the new section through this dramatic change. The density varies through thin chords with a melody buried between the voices to a triplet feel. This easily differentiates the phrases within the periods. The tempo fluctuates causing the listener to feel as though they really are being carried by wind in flight. This feature nicely emphasizes the title, "Soaring."