Schumann: Little Morning Wanderer
The first section (m. 1-8) of the piece, which is the expository section, I believe is more of just phrase groups. This is because it has four cadences. The first is a IAC in m. 2, the second is a HC in measure 4. Then the next two are IAC in m. 6 and HC in m. 8. The two phrases are fairly similar in material, but end on the same weak cadence not really giving a sense of conclusion.
(m. 9-12) is the next little piece of the song where I located a very short phrase. It contains a HC in m. 10 and an IAC in m. 12. This would be considered a contrasting symmetrical period. Also, I believe it would be a transitory function because the piece modulates from A major to E major in this little section.
The next eight bars kind of stand alone. I can’t locate a period from measure 12, until measure 20 at the first ending. I’m guessing that this section would be considered developmental because it has re-entered the original key again, and also is somewhat like the first A section we heard in the piece.
The last 9 bars would be called a terminative function. It is a parallel symmetrical period with IAC’s in m. 24 and 29. It also has a one measure (28) cadential extension.
Thursday, February 17, 2005
Bach: French Suite in E Major - Menuet
This piece's initial period is contrasting and symmetrical as well as modulatory. Each phrase is four measures long and end on PACs. As this section contains the main motive, it would be labeled expository. The modulation from E major to the dominant comes in the second phrase. After that section repeats, we come to another eight bar section that initially begins with the motive from before but continues on and modulates back to the original key of E major. I would probably call this section transitional because I don't feel that the motive is being expounded upon - the original melody only appears in the first two measures and the remaining six contain accidentals leading to the change to the original tonality. The final eight bars of the piece is expository simply because it is a return to the material of the first section.
Schumann: Little Morning Wanderer
The expository section of this piece in Amajor goes from mm.1-8 with IACs at mm. 2&6 and HCs at 4&8. This period is parrallel, giving the first impression of this piece to the listener as symmetrical...mwah hah hah...the next section develops this theme turning it into E major. This is mm. 9-20, but as it is developing and funkified, this section is obviously asymmetrical (as there are 11 measures. The first three meaures ends in a HC, then there is a change in the main theme, therefore making it a contrasting period. This then ends in a PAC..aaahhh. At measure 21, the piece reverts back to A major and ends in a PAC, making life happy. Good times....
Schumann: "Kleiner Morgenwanderer"
The piece is almost entirely in A Major. The first eight measures serve as the expository section: two parallel, and nearly identical phrases that each end in a half cadence. I’m wondering if this is enough to call it a parallel symmetric period, but since there is no real sense of finality without an authentic cadence, I would have to call it a phrase group.
The developmental section occurs from measures 9 through 20: The piece is not as tonally stable since it modulates to E Major, as seen in the IAC in measure12 to end the first phrase. It modulates back to A Major and ends in a PAC in measure 20. This section could be arguably a contrasting, asymmetrical period with the antecedent phrase from measure 9 through 12, and the consequent phrase from measures 13 to 20.
The last section, from measures 21 to 29, serves as a terminative section with no clear cadences. These last measures firmly establish the A Major key.
All three of these sections have clear structural divisions with a double bar line after measure 8 and a repeat bar lines separating the middle developmental section from the rest.
The developmental section occurs from measures 9 through 20: The piece is not as tonally stable since it modulates to E Major, as seen in the IAC in measure12 to end the first phrase. It modulates back to A Major and ends in a PAC in measure 20. This section could be arguably a contrasting, asymmetrical period with the antecedent phrase from measure 9 through 12, and the consequent phrase from measures 13 to 20.
The last section, from measures 21 to 29, serves as a terminative section with no clear cadences. These last measures firmly establish the A Major key.
All three of these sections have clear structural divisions with a double bar line after measure 8 and a repeat bar lines separating the middle developmental section from the rest.
Wednesday, February 16, 2005
Redundant much?
Well, I have chosen to analyze the piece...wait for it....wait for it...."Little Morning Wanderer" by Crazy Bobby Schumann. Surprised? As am I.
Given that I am one of the last to do this. It is hard to be original but I will do my utmost. Although I like to be different, I'd have to agree with everyone else in saying that M. 1-8 are the expository section of this little diddy (which ends in a HC). Then from measures 9-19 I'd have to say is NOT the developmental section. OH WAIT...just kidding. It IS the developmental section! (I had you going there for a while, huh?) This part of the piece modulates to E, so you could say it ends in a PAC because it's already in the new key. But that's up for debate.
So from measure 20 on is the terminative section of the piece. I'd have to agree with whoever said that makes them think of the Terminator. Cuz that's me too. Only I think of the guy with the weird back-pack with roach killing stuff in it. What is his name? Oh....the Orkin man. Right.
Ok, it's officially time for me to hydrate and sleep. See you in the morning!!
Given that I am one of the last to do this. It is hard to be original but I will do my utmost. Although I like to be different, I'd have to agree with everyone else in saying that M. 1-8 are the expository section of this little diddy (which ends in a HC). Then from measures 9-19 I'd have to say is NOT the developmental section. OH WAIT...just kidding. It IS the developmental section! (I had you going there for a while, huh?) This part of the piece modulates to E, so you could say it ends in a PAC because it's already in the new key. But that's up for debate.
So from measure 20 on is the terminative section of the piece. I'd have to agree with whoever said that makes them think of the Terminator. Cuz that's me too. Only I think of the guy with the weird back-pack with roach killing stuff in it. What is his name? Oh....the Orkin man. Right.
Ok, it's officially time for me to hydrate and sleep. See you in the morning!!
Kleiner Morgenwanderer Schumann
ok here it goes. In the beginning of the piece (mm. 1-8), which is in A major by the way, we have the expository function of the piece. It is a parallel period with IAC's in measures two and six...then over to half cadences at four and eight. This part of the piece introduces the main idea.
We then shoot on over to measures 9-20. Because this part of the piece modulates to E and there is still a feeling of the same main musical idea as in the beginning I will go out on a limb and say this is the developmental function. The period is asymmetrical with the first part being 9-12 ending on a half cadence, while the second part is 8 measures long ending in a PAC. Also, notice that the material in the second section of this period is different from the first section so it is also contrasting.
Measures 21 through the end are terminative. The original key is re-established and only a I chord is present throughout the end.
We then shoot on over to measures 9-20. Because this part of the piece modulates to E and there is still a feeling of the same main musical idea as in the beginning I will go out on a limb and say this is the developmental function. The period is asymmetrical with the first part being 9-12 ending on a half cadence, while the second part is 8 measures long ending in a PAC. Also, notice that the material in the second section of this period is different from the first section so it is also contrasting.
Measures 21 through the end are terminative. The original key is re-established and only a I chord is present throughout the end.
Schumann - "Kleiner Morgenwanderer"
I would have to say that the parallel, symmetrical period found in measures 1-8 is the expository section. Then, beginning at measure 9 is the developmental section. This section lasts until measure 19. From measure 20/21 to the end is the terminative function. There is not much movement out of the A major chord. I like the piece and I find it very bouncey and fun.
Mazurka in e minor - op. 17 no. 2
I will be the first to admit, and the blog will be the first to confirm, that I have analyzed this piece before. However, I thought it'd be nice to go back and take another look at the structural functions of the sections and mention some things I left out before.
The piece is ternary - mm. 1-24 are the first A section, mm. 25-52 are the B section and the second A section is mm. 53 to the end.
The first section is expository, like the beginning of most pieces. The materials exposed are very important to the whole piece because, not only does the A section return, but thematic material from it is used to begin the B section.
In that sense, the B section could be considered to have developmental function - it starts off with previous motivic material, or at least a melody that is very similar. However, the second part of the B section (mm. 39-52) seems more like a transitional section, in that there's a lot of agitation and harmonic activity. Basically, it's a stretched-out, undulating passage that goes through lots of chords and eventually ends on the dominant, which leads into the return of the A section.
The second A section has a terminative function - the extension to the final cadence reinforces the tonal center, which is the primary attribute of terminative sections, according to the text.
w0rd out.
$poon
The piece is ternary - mm. 1-24 are the first A section, mm. 25-52 are the B section and the second A section is mm. 53 to the end.
The first section is expository, like the beginning of most pieces. The materials exposed are very important to the whole piece because, not only does the A section return, but thematic material from it is used to begin the B section.
In that sense, the B section could be considered to have developmental function - it starts off with previous motivic material, or at least a melody that is very similar. However, the second part of the B section (mm. 39-52) seems more like a transitional section, in that there's a lot of agitation and harmonic activity. Basically, it's a stretched-out, undulating passage that goes through lots of chords and eventually ends on the dominant, which leads into the return of the A section.
The second A section has a terminative function - the extension to the final cadence reinforces the tonal center, which is the primary attribute of terminative sections, according to the text.
w0rd out.
$poon
Schumann: Little Morning Wanderer
This piece begins in A major with a parallel symmetrical period. The first phrase has an IAC in measure 2 and a HC in measure 4. The second phrase has an IAC in measure 6 and a HC in measure 8. This period serves as the expository section of the piece.
Measures 9-12 form a very short symmetrical contrasting period. There is a HC in measure 10 and an IAC in measure 12. This section of the piece also modulates from A Major to E Major, which helps to identify it as the transitory section of the piece.
At the end of measure 12 we modulate back to A Major. Measures 12-20 are not periodic, but rather an 8 measure repeating phrase. At both the 1st and 2nd endings there are PAC's. This serves as the developmental section of the piece.
The remaining material after the 2nd ending forms a parallel symmetrical period with IAC's in measures 24 and 29. Measures 28-29 are a cadential extension and the termanitve section of the piece.
There ya have it.
Measures 9-12 form a very short symmetrical contrasting period. There is a HC in measure 10 and an IAC in measure 12. This section of the piece also modulates from A Major to E Major, which helps to identify it as the transitory section of the piece.
At the end of measure 12 we modulate back to A Major. Measures 12-20 are not periodic, but rather an 8 measure repeating phrase. At both the 1st and 2nd endings there are PAC's. This serves as the developmental section of the piece.
The remaining material after the 2nd ending forms a parallel symmetrical period with IAC's in measures 24 and 29. Measures 28-29 are a cadential extension and the termanitve section of the piece.
There ya have it.
Schumann, Album for the Young, No. 17, "Little Morning Wanderer"
The first eight measures of this piece contains an expository phrase that is essentially repeated twice. There are some different voice placement the second four measure but the rhythm and chords stay the same. Each phrase ends on a half cadence.
Measures nine through twenty form an asymmetric contrasting period (the rhythm is the same, but the chords are vastly different between the two) that has a half cadence in measure 12 and a PAC in measure 20. The first half of this period is four measures like the opening phrase but the second half of the period is 8 measures long. Having the same downbeat repeated in 15 and 16 helps to mask any feeling of cadence in measure 16. I would say because of the similar rhythm and contour between the first phrase and these two phrases, I would call this a developmental section.
Measures 21 to the end serve as merely as a terminative function. The bass part stays on the A major chord the whole time and there is no significant chordal movement beyond the A major chord in measure 20. I envision this part as being the part where the wanderer exits the stage or screen.
Measures nine through twenty form an asymmetric contrasting period (the rhythm is the same, but the chords are vastly different between the two) that has a half cadence in measure 12 and a PAC in measure 20. The first half of this period is four measures like the opening phrase but the second half of the period is 8 measures long. Having the same downbeat repeated in 15 and 16 helps to mask any feeling of cadence in measure 16. I would say because of the similar rhythm and contour between the first phrase and these two phrases, I would call this a developmental section.
Measures 21 to the end serve as merely as a terminative function. The bass part stays on the A major chord the whole time and there is no significant chordal movement beyond the A major chord in measure 20. I envision this part as being the part where the wanderer exits the stage or screen.
Kleiner Morgenwanderer -- Schumann
To begin, there are two major structural divisions (meaning three major structural bodies). First at the beginning of the third system after the dotted double bar, and then in the middle of the fifth system right after the one of the first beat of the measure twenty (also punctuated with the dotted double bar). The piece begins and ends in A major, but does do a little modulating in the middle section. The first section is expository, and I do not consider it a period (though it would be parallel if it were), because it is composed of two symmetric and almost identical 4-measure phrases that both end in half cadences. And I don't see the second phrase as ending in a PAC in E (the dominant) because as the music moves into the second section, it stays in A for a pickup and another full measure before wandering into E with any marked certainty. In support of this claim, instead of continuing an E major triad, the second section begins with a E7--marking the tonality as dominant and not as tonic. The second section is also composed of two phrase groups--though these are developmental in character. The theme from the exposition is clearly distinguishable, though in the first phrase its exact melody altered and then taken into the key of E major where it concludes on a suspended IAC. Just like in the expository section, the melodic material is again repeated, this time the pickup and the first two bars are exactly the same as the orginal melody, only the chord structure underneath is changed, then the phrase alters and is extending, leaving the two phrase groups lacking in symmetry. The second phrase group also restores the orginal key of A major. After the development is repeated, then we come to a ten-measure terminal section which expounds upon the rhymic gesture of the original pickup before measure one. It again, can be broken down into two phrase groups, though the cadence between them would be a weak monophonic sol-do. They are parallel, and this is why I distinguish them as two separate phrase groups, as the melodic gesture is repeated at the end of the fifth measure. These too are assymetric--there is a little extension at the end of the last phrase group. The section ends on a PAC in A Major. I say terminal, because all this section really does is go from tonic to dominant and very little else.
Schumann, Album for the Young, "Little Morning Wanderer"
I was unable to listen to a recording tonight because the internet has been down, so I cannot completely analyze the effects and functions of the phrasing and structural phenomena. I’ve been pretty sick, so please understand any absent-minded comments that I make. From what I can tell from the score is that Schumann employs his usual technique of symmetrical phrasing. Most all phrases include 4 measures unless an extension is added after the point that a phrase could have stood on its own. The first 8 measure seemed at first to incorporate a modulating period. But then I noticed that the phrases were nearly identical in nature, having all the same chords and chordal functions but only changing the way in which some of these chords are built. Therefore, I cannot consider this section to be a period, but rather two identical phrases. Both phrases are played forte and so would not produce any effect of question and answer. The next group, from m. 9-20, is less concise, with an extension delaying the complete resolve and causing asymmetry. This time it is periodic, with the first phrase ending in a half cadence and the second ending in a PAC. The dynamics of this group ply a large role, with a decrescendo into the half cadence, then a return to forte for the next phrase, and a double forte leading into the PAC. The next group returns to original form with two identical 4-measure phrases.
Kleiner Morgenwanderer
The piece starts in A major.
Measures 1-8 form a parallel, symmetrical, expository period. There is an IAC in measures 2 and 6 and half cadences in measures 4 and 8.
There is a modulation to the dominant key of E major. Measures 9-12 make a symmetrical contrasting period with a half cadence at measure 10 and an IAC at m. 12. This period can evaluated as the transitory period.
Measures 12-20 is a repeating phrase with a PAC at measure 20. This is the developmental period and is back in the original key of A major.
Measures 20-29 is a parallel period with a cadential extension (m. 28-29). There is an IAC in m. 24 and again in m. 29. The cadential extension of only a measure simply reinforces the fact that this period is the terminative.
Measures 1-8 form a parallel, symmetrical, expository period. There is an IAC in measures 2 and 6 and half cadences in measures 4 and 8.
There is a modulation to the dominant key of E major. Measures 9-12 make a symmetrical contrasting period with a half cadence at measure 10 and an IAC at m. 12. This period can evaluated as the transitory period.
Measures 12-20 is a repeating phrase with a PAC at measure 20. This is the developmental period and is back in the original key of A major.
Measures 20-29 is a parallel period with a cadential extension (m. 28-29). There is an IAC in m. 24 and again in m. 29. The cadential extension of only a measure simply reinforces the fact that this period is the terminative.
"menuet in E Major" by Bach
I really thought this piece was very beautiful. The beginning started out sounding like a half cadence every two measures... The phrases are symmetric, and the repeated sections after the 1st and 3rd phrases were interesting, because it allowed for smoother transitions. The second phrases starts up a 5th, and the 1st and 2nd phrases were contrasting. I feel that the middle part was very transitional, and that the 3rd phrase was kind of a rephrasing of the 1st phrase.
"menuet in E Major" by Bach
I really thought this piece was very beautiful. The beginning started out sounding like a half cadence every two measures... The phrases are symmetric, and the repeated sections after the 1st and 3rd phrases were interesting, because it allowed for smoother transitions. The second phrases starts up a 5th, and the 1st and 2nd phrases were contrasting. I feel that the middle part was very transitional, and that the 3rd phrase was kind of a rephrasing of the 1st phrase.
Chopin: Mazurka Op. 17 No. 2 in e minor
Wow... popular piece, but I'll try to analyze it as best I can, without stepping on too many toes. Our introductory section is made up of 2 symetric (although lengthened) phrases that form a parallel period. The first phrase lasts for 12 measures, introducing our main theme and Chopin's trademark flowing rhythmic and dynamic style. This first phrase ends with a half cadence, before repeating our original material in the second phrase. This time we end on a PAC to bring a nice round nature to this first section. In the second section is again a parallel period, however now we have the 8-measure phrases we're used to. I would describe this as transitional material, since we meander through this section and end up in a new key (dead giveaway). We do have new material, but maintain a similar style and maintain the same key, linking it to the first section. Now , we develop this new key for a total of 12 measures (mirroring the length of the first phrase, pretty nifty, eh?) cycling through a number of different trasitions before we return to our original material. Now we begin our terminative function, repeating our original material for 10 measures, before extending it out into a final, definative cadence(we reach a half cadence, then extend out to a final PAC). Another fine Polish dance from a composer who was neither Polish, or by any account a fine dancer.
Schumann Kleiner Morgenwanderer
Bars 1-8 consist of the pieces expository function. Here the motivic gestures and its harmonic background are presented in its simplest and purest form. From bars 9-19 the developmental function is being fulfilled. The dynamic is a little softer and the harmonies are more complex, leading to something in the near future, rather than stating something in its entirety. The repeat is again developmental, but I will venture to say that bars 15-20 is transitional to the end. I wouldnt say these same bars are transitional on the first time, but that it is still rather part of the development. The second time it leads by contrast into bar 22 to the end as the terminative function. So from bars 22 to the end is terminative as the motivic gestures of the exposition are repeated in a cadential extension fashion.
"Mazurka" Op17 no2 by Chopin
"Mazurka" is a great piece. The minorness of the piece paired with the intricate rhythms create a picturesque feeling of Lenten wander and excited flurry for the coming future. It is a parallel period with the first phrase ending with a half cadence after 12 measures and the second symmetrical phrase ending on a PAC. This first section is an expository section presenting the theme for the entire piece. The next section is divided into two 8 measure symmetrical phrases. It makes another parallel period with the first phrase ending on an IAC and the second ending on a PAC of a new key. This section is also expository with new material. The following 12 materials consist of repetitious transitional material that eventually brings us back to our original key of e minor and the first theme. After the first 10 measures of this original expository material, it changes and instead of creating another parallel period, it seems to begin terminative functions to finish the piece. This piece uses rhythm and dynamics within structural phenomena to its advantage. The tempo fluctuates frequently while the many sixteenth rests add spunk and the fzs really draw out the beginning of new melodic material. Many rhythmic motives are repeated and the triplet and eighth functions seem to be written to correlate with what we're studying in sight-reading rhythms during theory.
Chopin: Mazurka Op. 17, No. 2
The first section of this Mazurka comprises of a parallel period. This period, serving a expositional function, consists of two phrases of asymmetric length. The first phrase, 4 measures long, ends on an IAC, providing an elision into the next phrase. The second phrase of unequal length, presents new material, finishing on a half cadence 8 measures later. The second period is nearly identical, thus it is still considered to have an expositional function. The last few measures of the last phrase draw out the end, creating a cadential extension that resolves to a PAC.
In the second section there is a change of character. The keyboard drops down to piano, and the melodic motion slows. Although Chopin keeps his dotted rhythms and repeated bass. The first 8 measures represents the first phrase of the of the phrase group. As it is new material, it is an exposition. It looks like this phrase might end on an authentic cadence, I'm not too sure. Notice the brief borrowed major tonic chord. The next 16 measures, in my opinion, are transitional. There are no consequent phrases to the new melodic material presented in this period, and these 2 asymmetrical phrases play with modulation, chromaticism and dynamics eliding into the final section.
This last section is practically identical to the first period, merely restating the music played in the A section. There is a cadential extension in the very end leading to a HC, then to a termitive function.
Although I liked this piece, much as I like all of Chopin's works, I found it hard to analyze. The more I thought about what a section/phrase/function could be, the more questions and options I found. One might explore the second section more. There will probably be arguments that this period is actually developmental.
In the second section there is a change of character. The keyboard drops down to piano, and the melodic motion slows. Although Chopin keeps his dotted rhythms and repeated bass. The first 8 measures represents the first phrase of the of the phrase group. As it is new material, it is an exposition. It looks like this phrase might end on an authentic cadence, I'm not too sure. Notice the brief borrowed major tonic chord. The next 16 measures, in my opinion, are transitional. There are no consequent phrases to the new melodic material presented in this period, and these 2 asymmetrical phrases play with modulation, chromaticism and dynamics eliding into the final section.
This last section is practically identical to the first period, merely restating the music played in the A section. There is a cadential extension in the very end leading to a HC, then to a termitive function.
Although I liked this piece, much as I like all of Chopin's works, I found it hard to analyze. The more I thought about what a section/phrase/function could be, the more questions and options I found. One might explore the second section more. There will probably be arguments that this period is actually developmental.
#7 menuet from french suite in e major.
the harpsichord is very painful instrument to listen to...
the first eight measures of the piece serve as the expository function, providing the main theme to the listener in this period. the first phrase (4th measure) ends in an authentic cadence in the key of e major, but the phrase that begins in measure 5 modulates to the dominant and ends in a PAC in measure 8. i would call this a contrasting period, because the last 4 measures are rhythmically but not tonally similar to the first 4 measures.
i think the argument can be made that the next 8 measures function as both developmental and transitional. while the melody in this next section is almost identical to the primary theme (it discusses themes previously introduced), it transitions back into the key of e maj. there is no cadence at the 4th measure of this section, but a half cadence ends these first 8 measures. this leads back into the melody first heard at the beginning of the piece. the initial expository theme is heard.
the first eight measures of the piece serve as the expository function, providing the main theme to the listener in this period. the first phrase (4th measure) ends in an authentic cadence in the key of e major, but the phrase that begins in measure 5 modulates to the dominant and ends in a PAC in measure 8. i would call this a contrasting period, because the last 4 measures are rhythmically but not tonally similar to the first 4 measures.
i think the argument can be made that the next 8 measures function as both developmental and transitional. while the melody in this next section is almost identical to the primary theme (it discusses themes previously introduced), it transitions back into the key of e maj. there is no cadence at the 4th measure of this section, but a half cadence ends these first 8 measures. this leads back into the melody first heard at the beginning of the piece. the initial expository theme is heard.
Tuesday, February 15, 2005
Eine kleine Nachtmusik, III menuet--Mozart (take 2)
Given the simplicity of this minuet form, and it's very stable and clearly defined periods, it is difficult to break the work down structurally, simply because there isn't much to break down. The first half--expository material in the tonic of G Major-- consists of two repeated, symmetric, eight-measure periods that both terminate with the same last four bars of music. The first repeated period stays on forte dynamics, while the other moves from piano crescendoing to forte. Given that the second repeated period ends with the same material with the first, but distinguishes itself rhythmically in the first four bars of its commencement, I judge it to be a small section of development. The identical endings of the two periods given their trills and lack of any new melodic material (in the first measure of the last four measures, we have a repeat of the initial melodic motif (g a b c)), I would judge them to function as a small cadential section--even though still part of the same period that also contains the expository material.
The trio is in the dominant D major and consists of two repeats--the first an eight bar period, and the second a four measure phrase ending on a half cadence followed by another eight measures ending in a PAC. The first section, I would deem as more expository, since the melodic material is very distinctly different from the first section and introduces a new theme. As for the second twelve-measure grouping, this I think more likely to be the developmental period--given its uneven phrases and the incorporation of the theme from the beginning phrase of the trio. But still the last eight measures are an almost exact repeat of the first period of the trio. It also ends in D, ready to return to the tonic G, so this could help argue for a transitional nomenclature.
It is the simplicity of this work, which for me, makes it difficult to confidently analyze.
The trio is in the dominant D major and consists of two repeats--the first an eight bar period, and the second a four measure phrase ending on a half cadence followed by another eight measures ending in a PAC. The first section, I would deem as more expository, since the melodic material is very distinctly different from the first section and introduces a new theme. As for the second twelve-measure grouping, this I think more likely to be the developmental period--given its uneven phrases and the incorporation of the theme from the beginning phrase of the trio. But still the last eight measures are an almost exact repeat of the first period of the trio. It also ends in D, ready to return to the tonic G, so this could help argue for a transitional nomenclature.
It is the simplicity of this work, which for me, makes it difficult to confidently analyze.
"sonatina in C Major" by Clementi
This piece is very scalar, except for the arpeggiated notes in the accompaniment. It follows a mostly I-V-I pattern throughout the entire piece. It then modulates using sequential modulation. I noticed there were several instances of a breakup of the I-V-I using a half diminished 7th chord. It's always followed by a I chord as a restatement of the theme.
On its second modulation, this time to a minor, and this phrase modulation displays the dependancy of this key in the whole piece. The third and final modulation returns back to the first key, ending on a perfect authentic cadence.
On its second modulation, this time to a minor, and this phrase modulation displays the dependancy of this key in the whole piece. The third and final modulation returns back to the first key, ending on a perfect authentic cadence.
Wild Rider: Schumann
THe first period of Wild Rider starts in A minor and lasts for 8 measures. The recurring idea that is introduced in this period shows up throughout the rest of the piece, so we'll call this period the expository function. The second period (mm. 9-16) is in F and has the same theme as the first period with the only exception being that it is played in the left hand rather than the right. Because of the key change, and alteration in the same musical idea, we'll call this section the developmental function. Because the key change is so abrupt I really don't think there is a transitional function in this piece. And last but not least we have the terminative function (mm.17-24) This period brings back the original musical idea in the original A minor key to end out the piece.
Mozart: Theme with Variations K. 284
A theme and variations is simple as far as the material discussed in chapter 3 goes. As a whole, the theme portion of the piece is obviously expository - laying out the main guideline for the rest of the piece. The first variation (and the 11 others that follow it) are then developments upon the expository.
Within the theme, the first eight bars are expository, which are the bars that include the sing-song like melody that is expanded upon later. The following 5 bars, which contain an unmarked shift in tonality, seem to be developmental because it definitely doesn't help move to a new section. The remainder of the theme returns to the melody introduced in the first period. The first variation section has the same basic outline as the theme. It's exactly the same but just arranged in a different way. The whole theme section can be clearly heard throughout it and the form is identical to that of the theme.
Within the theme, the first eight bars are expository, which are the bars that include the sing-song like melody that is expanded upon later. The following 5 bars, which contain an unmarked shift in tonality, seem to be developmental because it definitely doesn't help move to a new section. The remainder of the theme returns to the melody introduced in the first period. The first variation section has the same basic outline as the theme. It's exactly the same but just arranged in a different way. The whole theme section can be clearly heard throughout it and the form is identical to that of the theme.
"Wild Rider" - Schumann
This piece is very simple. The ternary form is as straightforward as they come... The first A section is expository - it exposes the only melody of the piece.
The B section is developmental - it presents the motivic material of the A section in a varied form - instead of a minor, pretty much the same melody is playd in F major.
The second A section has a terminative function, and not just because it is the last section. In addition to finishing the music, it "confirms and reinforces an established key" - it's back in a minor, as was the first section.
The B section is developmental - it presents the motivic material of the A section in a varied form - instead of a minor, pretty much the same melody is playd in F major.
The second A section has a terminative function, and not just because it is the last section. In addition to finishing the music, it "confirms and reinforces an established key" - it's back in a minor, as was the first section.
Monday, February 14, 2005
"Wild Rider" by Robert Schumann, Opus 68, No. 8
“Wild Rider” by Robert Schumann – Opus 68, No. 8
This piece is in ternary form, with an A section that repeats, a B section, and a recapitulation of the A section. The A section is expository and is in the key of A minor. This section is a parallel symmetrical period, with two phrases, a and b, each four measures long. The antecedent phrase ends on a half cadence, and the consequent ends on a PAC.
The B section is a developmental section, in that it modulates the original melodic motive to F Major and moves it to the bass clef. This section is also a parallel symmetrical period with two phrases that end on a HC and a PAC, respectively. The repeated A section is exactly like the first A section, with no interpolation or cadential extension.
This piece is in ternary form, with an A section that repeats, a B section, and a recapitulation of the A section. The A section is expository and is in the key of A minor. This section is a parallel symmetrical period, with two phrases, a and b, each four measures long. The antecedent phrase ends on a half cadence, and the consequent ends on a PAC.
The B section is a developmental section, in that it modulates the original melodic motive to F Major and moves it to the bass clef. This section is also a parallel symmetrical period with two phrases that end on a HC and a PAC, respectively. The repeated A section is exactly like the first A section, with no interpolation or cadential extension.
Schumann: Carnaval, Op. 9, No. 4, “Valse noble”
This first section I view as an expository function. It is the A section, and it’s repeated twice. So, it is obviously a very important part of the song as a whole. It is phrased as a symmetrical parallel period. I can see and hear the stronger and final IAC in measure eight to end the period. The musical content is almost identical for all four measure when looking at the rhythm and notes of the treble line. The bass line has the same rhythm throughout but different in chord position.
The next section of music I consider to be serving as the transitional function. It is a period (symmetrical parallel period) formed by two, eight bar phrases which are pretty much exactly identical to each other. The reason this section is functioning as a transition is because it isn’t related to the A section at all, but it leads us into a developmental part which puts a new twist on the A section. We are in a new key, and the rhythm has changed in both hands.
This developmental section with is similar to the A section but has different qualities. The bass line sustains a little more, and the texture is different because there isn’t octaves in the treble line. This developmental section is made up of two, four bar phrases. I consider it to be a symmetrical parallel period.
That developmental section runs us right back into the full blow A section which to end the piece takes two, four bar phrases to form a symmetrical contrasting period. The second phrase is was really shows this as a terminative function because it is leading the register down and taking us to the last cadence of the piece.
The next section of music I consider to be serving as the transitional function. It is a period (symmetrical parallel period) formed by two, eight bar phrases which are pretty much exactly identical to each other. The reason this section is functioning as a transition is because it isn’t related to the A section at all, but it leads us into a developmental part which puts a new twist on the A section. We are in a new key, and the rhythm has changed in both hands.
This developmental section with is similar to the A section but has different qualities. The bass line sustains a little more, and the texture is different because there isn’t octaves in the treble line. This developmental section is made up of two, four bar phrases. I consider it to be a symmetrical parallel period.
That developmental section runs us right back into the full blow A section which to end the piece takes two, four bar phrases to form a symmetrical contrasting period. The second phrase is was really shows this as a terminative function because it is leading the register down and taking us to the last cadence of the piece.
Schubert: Six Moments Musical, Op. 94, No.6
The first section is the expository section, which is a parellel period with a HC at the end of the first 8 measures, and a PAC at the end of the 16th measure. I think the next section functions as developmental and transitory. There is a key change, and you can still pick the original melody out, but it is slightly altered, which qualifies it as developmental. The chord progression and the direction of the melody are unpredictable. I think it also serves as transitory because it leads back to the A section.
Bartok: Mikrokosmos No. 109 "From the Island of Bali" Part Deux
As I stated in my first discussion I feel that this piece is definately in ternary form, with three distinct sections. Each section is made up of two phrases. The first phrase acts as a sort of exposition with the second phrase contrasting in material and then transitions into the next part. However, the trasitional material is thin, since the parts do not really intersect. We do not change keys between sections, and the change in time signatures is abrupt (although a ritardando skews our meter between sections). Each section ends with a perfect authentic cadence, lending an air of finality to each. The final section is a recapitulation of the first, with slight variation (most notably, the low Ds in the left hand). Once again we reach the ritardando at the end of the second phrase, but instead of our Authentic cadence, we have a chromatic extension, before our final PAC. If I had to group this into larger group ideas, the first section is expository, with the second section development and the third section terminative.
Now back to bed, this flu is kicking the crap out of me...
Now back to bed, this flu is kicking the crap out of me...
Valse Noble....again
So yeah....my second analysis of the piece: (strikingly similar to the first, imagine that!)
A section (m. 1-8) B section (m. 9-24) return of the A (a prime, m. 25-32; A m. 33-end).
IAC (m. 8) PAC (m. 24) IAC (m. 32) (m. 40).
Because the expository section is tonally stable with clear cadences (IAC at m. 8), I'll make the claim that the A section (m. 1-8).
{ So the B section seems like it's taking us somewhere...or maybe not...so I was thinking transitory (but it doesn't really go anywhere!!!) It just takes us to A prime...which I suppose could be argued as a destination. But since that seems sort of sketchy, can I have two expository sections? Since no one is here to answer me, I'll give myself a yes.}
With this in mind, our second exposition (B section) begins in measure 9 and ends in measure 24. Measures 25-32 will be labeled as the transitory section, since I've already described them as A prime. They're clearly taking us to the terminative phrase, or a recapitulation of the expository theme (m. 33-40).
Maybe that seemed a bit scatter-brained and exhausted (that's because I am!). Hopefully I'm somewhere close to the mark...if not...better luck next time.
A section (m. 1-8) B section (m. 9-24) return of the A (a prime, m. 25-32; A m. 33-end).
IAC (m. 8) PAC (m. 24) IAC (m. 32) (m. 40).
Because the expository section is tonally stable with clear cadences (IAC at m. 8), I'll make the claim that the A section (m. 1-8).
{ So the B section seems like it's taking us somewhere...or maybe not...so I was thinking transitory (but it doesn't really go anywhere!!!) It just takes us to A prime...which I suppose could be argued as a destination. But since that seems sort of sketchy, can I have two expository sections? Since no one is here to answer me, I'll give myself a yes.}
With this in mind, our second exposition (B section) begins in measure 9 and ends in measure 24. Measures 25-32 will be labeled as the transitory section, since I've already described them as A prime. They're clearly taking us to the terminative phrase, or a recapitulation of the expository theme (m. 33-40).
Maybe that seemed a bit scatter-brained and exhausted (that's because I am!). Hopefully I'm somewhere close to the mark...if not...better luck next time.
Bartok Mikrokosmos Auf der Insel Bali
The first bars of the piece all the way up to the 2 bars before the Risoluto are expository. The 2 or 3 bars before the risoluto are transitional to a new section. The first 11 bars of the new section are expository. In bar 12 the melodic gesture is in a new dynamic and register with a different melodic structure so I would consider this developmental. The third section at andante I would consider expository up to the poco rit. AFter then I would consider it terminative.
Schumann, "Carnaval," Op. 9 No. 4, "Valse noble"
The first eight bars of this song clearly serve as an expository function. It has clear cadences that show a period and is repeated.
I guess the next set of sixteen bars (two identical eight bar periods) has to have a transitional function since it is completely different from the expository section.
The next eight bars after this are a development of the main theme because it is similar to the main theme but has different dynamics, lack of doubled octaves in the melody and a little embellishment.
The final eight bars is extremely similar to the first eight bars, but has a clearer cadence at the end so this period has a terminative function in showing the listener that the song is really over.
I hope I wasn't supposed to say anything more than this. Just following directions.
I guess the next set of sixteen bars (two identical eight bar periods) has to have a transitional function since it is completely different from the expository section.
The next eight bars after this are a development of the main theme because it is similar to the main theme but has different dynamics, lack of doubled octaves in the melody and a little embellishment.
The final eight bars is extremely similar to the first eight bars, but has a clearer cadence at the end so this period has a terminative function in showing the listener that the song is really over.
I hope I wasn't supposed to say anything more than this. Just following directions.
Robert Schumann Scenes from Childhood Op.15 No.8
When reflecting back on this piece, it again first an foremost exerts the its simplistic qualities. However, this time when I listen to it, I hear the phrasing a lot more and it sticks out for some reason.
Although the underlying bass is very simple, and the right hand carries the melody, the first four bar phrase is given a sense of sweeping excitement through the use of a simple crescendo and decresendo, which pushes the phrase right into the next one creating a period.
Every detail about this piece screams simplicity from the PACs at the the end of the main periods, to the half cadences that occur in between phrases giving an anticipating feeling and tone to the piece, almost as though there is a card game about to be played, or as if children are excitedly insisting that someone tell them a story. There is almost a sense of rubato as the piece begins almost slowly like a roller coaster climbing a hill and then takes off a little bit and there is definately some taking away and putting back of time throughout the movement.
Again, Schumann's simple, child-geared composition style with the scenes from childhood is refreshing to me. I like the fact that it is simple and predictable and I think that it is timeless music.
Although the underlying bass is very simple, and the right hand carries the melody, the first four bar phrase is given a sense of sweeping excitement through the use of a simple crescendo and decresendo, which pushes the phrase right into the next one creating a period.
Every detail about this piece screams simplicity from the PACs at the the end of the main periods, to the half cadences that occur in between phrases giving an anticipating feeling and tone to the piece, almost as though there is a card game about to be played, or as if children are excitedly insisting that someone tell them a story. There is almost a sense of rubato as the piece begins almost slowly like a roller coaster climbing a hill and then takes off a little bit and there is definately some taking away and putting back of time throughout the movement.
Again, Schumann's simple, child-geared composition style with the scenes from childhood is refreshing to me. I like the fact that it is simple and predictable and I think that it is timeless music.
"From the Island of Bali" by Bartok
This piece by Bartok consists of 3 major sectional divisions. The first section consists of two phrases; the first phrase outlines the melodic ideas of this section giving it an expositional function. The piano alternates hands playing a very mysterious and sad melody, developing this theme through the rest of the section. The last two measures of this division could be considered to be a transitional function, as they slow down and diminuendo into the sudden change of the second section.
The Risoluto segment of this piece begins again with the first four measures of exposition. The hands are in unison, playing a much more aggressive and threatening melody. The melody moves into a developmental function when the hands no longer play together, rather parroting each other with the prior melody. There are no obvious transitional functions within the section; however, there is a possibility that the sustained D in the final measure of this middle segment could be considered as one.
The final section is almost entirely developmental, as there is no new material being presented to the listener. It is practically identical to the beginning of the piece. The final four measures of "From the Island of Bali" are one big chromatic chord. An obvious end and termination function for this song, as the chord relaxes into nothingness.
I found few transitional segments within this piece. There were no key modulations, with changes between sections being very abrupt.
The Risoluto segment of this piece begins again with the first four measures of exposition. The hands are in unison, playing a much more aggressive and threatening melody. The melody moves into a developmental function when the hands no longer play together, rather parroting each other with the prior melody. There are no obvious transitional functions within the section; however, there is a possibility that the sustained D in the final measure of this middle segment could be considered as one.
The final section is almost entirely developmental, as there is no new material being presented to the listener. It is practically identical to the beginning of the piece. The final four measures of "From the Island of Bali" are one big chromatic chord. An obvious end and termination function for this song, as the chord relaxes into nothingness.
I found few transitional segments within this piece. There were no key modulations, with changes between sections being very abrupt.
schubert 6 moments musical...
the primary theme exposed in this piece needs no introduction, but starts right off the bat. this section is a parallel period, with a half cadence in the 8th measure and a PAC in the 16th. the developmental section comes next. the theme played here is very similar to the expository section, but certain chords and harmonies differ--it sounds much more bittersweet and poignant here. the recognizable melody leads to a new one when the key changes. i think this section is transitional because it eventually connects this passage to the melody once heard at the beginning. this section is also fairly unpredictable and there are abrupt dynamic contrasts; it is rather hard to follow. the main melody only sticks around 8 measures or so until the key changes again. the next 12 measures (followed by a sweet cadence back in Ab major) also act as a transitional function into a new expository function at the trio. i'm uncertain if i should call it an expostiory function...but the trio sounds like it to me. After this first melody is heard for 16 measures (a parallel period once again), there is a developmental section that sounds very similar, but has some different harmonic activity.
There is a D.C. to the alegretto section (the beginning) after the trio, so the original theme is heard again and all is well again. Although the melody was passed around a lot, the main passage and key of Ab major come back again to please the listener.
There is a D.C. to the alegretto section (the beginning) after the trio, so the original theme is heard again and all is well again. Although the melody was passed around a lot, the main passage and key of Ab major come back again to please the listener.
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