Ok, buddy- let's get a few things straight:
First of all, my Spoonaloompa is no rat. a gopher, maybe....but most certainly not a rat.
Secondly, who are you?
Thirdly.....I don't really know what to say....that's all I've really got.
Yours...maybe,
Queen Neopolitan-Spoonaloompa
(for now the Spoonaloompa is staying)
Friday, March 04, 2005
Thursday, March 03, 2005
Schumann: Volgel Als Prophet from Waldszenen, Op. 82
This simple ternary piece begins with an expository A section. I hear a modulating period consisting of two symmetrical phrases in the first eight bars. The cadence in measure eight ends on a PAC in F major. From this point up to measure sixteen are two more phrases. This group feels developmental to me because it is expanding on the initial motive. The motive then returns exactly as it was first heard for the last 2 1/2 bars of the A section. The B section has a lot of contrast to the A section. The texture is much more smooth and flowing and many more notes are connected via slurs. The feel is much more relaxing than the playfulness of the A section. However, it is much shorter than the A section and only consists of a single period of two phrases. The B section is transitional/expository because it isn't like the theme from before but is moving toward its return. The structural phenomena then all change as the piece returns to the A section, which is the same as it was earlier, and then we have the end of the piece.
Mendelssohn Op. 19b no. 1
Surprisingly enough, this piece is in ternary form, which makes it an excellent piece to analyze in context of this chapter!
The A section is 15 measures long and is an asymetric, parallel period. The first phrase is four bars long and ends with a half cadence on beat three of measure six. The second phrase is nine bars long and ends in measure 15 with a perfect authentic cadence in the dominant, B major. Because the A section begins in E major and ends in B major, it is a closed section.
The B section begins with a five measure transitional section that leads into the melody in measure 21. There is an important structural phenomenon - a change in texture (it gets thin) in measures 19 and 20. The rest of the B section, which lasts until the pickup to measure 29, is developmental.
The A section then returns and this time, instead of lasting 15 measures, the cadence at the end of the second phrase (m. 41) is extended for the rest of the piece.
The A section is 15 measures long and is an asymetric, parallel period. The first phrase is four bars long and ends with a half cadence on beat three of measure six. The second phrase is nine bars long and ends in measure 15 with a perfect authentic cadence in the dominant, B major. Because the A section begins in E major and ends in B major, it is a closed section.
The B section begins with a five measure transitional section that leads into the melody in measure 21. There is an important structural phenomenon - a change in texture (it gets thin) in measures 19 and 20. The rest of the B section, which lasts until the pickup to measure 29, is developmental.
The A section then returns and this time, instead of lasting 15 measures, the cadence at the end of the second phrase (m. 41) is extended for the rest of the piece.
Schumann, Vogel Als Prophet, Op. 82
Schumann, Vogel Als Prophet, Op. 82
This piece is composed in simple ternary form. The piece begins in the key of B-flat major, and cadences in measure 4 with a PAC in B-flat major. From there we have a direct modulation to the key of F major and also cadence again after four measures, in measure 8 with a PAC in F major. We have two more phrases which are also four measures long. The third phrase is in the key of C major and ends on a IAC in measure 12, and the last phrase enters back into the original key of B-flat major which cadences on a PAC. The first two phrases are just that…a phrase group and the last two are more of a developmental section of the A section.
The A section continues on for a couple measures, but then changes rhythm, motive, dynamic, and it modulates to the key of G major. Once in the new key in cadences with a HC in measure 22 in G major. This section I view as a transitional section because it is just working the piece from the developmental section back to the A expository section, which goes through the same progression as the first one…fun fun fun….
This piece is composed in simple ternary form. The piece begins in the key of B-flat major, and cadences in measure 4 with a PAC in B-flat major. From there we have a direct modulation to the key of F major and also cadence again after four measures, in measure 8 with a PAC in F major. We have two more phrases which are also four measures long. The third phrase is in the key of C major and ends on a IAC in measure 12, and the last phrase enters back into the original key of B-flat major which cadences on a PAC. The first two phrases are just that…a phrase group and the last two are more of a developmental section of the A section.
The A section continues on for a couple measures, but then changes rhythm, motive, dynamic, and it modulates to the key of G major. Once in the new key in cadences with a HC in measure 22 in G major. This section I view as a transitional section because it is just working the piece from the developmental section back to the A expository section, which goes through the same progression as the first one…fun fun fun….
vogel als prophet; schumann
Ok, so first off--I think it's pretty obvious that Clara wrote this one, mostly because it doesn't start out in parallel octaves. (or maybe she just had quite a lot of input)
So the ambiguity sometimes throws me for a loop...but here goes:
We start in Bb major and have an IAC in measure 4. We then modulate to the dominant F major and have a PAC in measure 8. Measures 9-12 bring us to an IAC in the key of F's dominant C major. At measure 16 we find ourselves in C Major's minor dominant g minor for a PAC. These first 16 measures are an example of a modulating parallel symmetrical double period. (does all that stuff work together?) The cadences of the first 16 bars are as follows: IAC, PAC, IAC, PAC. All of these cadences are in the dominant of the predecessing key. How great is that? good thinking, clara...i mean...bob. Oh yeah, measures 17 and 18 are a cadential extension ending on an IAC...which seems sort of week (bob had input again...obviously)
At measure 19 we go to the key of G major (which is Bb's chromatic mediant!). This next section strikes me as sort of ambiguous cadentially. If notice is made of the notated phrasing--there are 1 bar phrases. however, this seems like sort of a cop-out. If we say there are 3 2-bar phrases then it's just a phrase group. that seems like it could work. the first one ends in measure 20 with an IAC, the second with a HC in m. 22 and the third an IAC in the key of Eb.
The Eb takes us to the repeat of the A section and back to the key of Bb Major. The melody is exactly the same, but an octave higher. The structure is exactly the same as the first exposition of the A section. Phrase 1: Bb: m. 28 IAC Phrase 2: F: m. 32 PAC Phrase 3: C: m. 36 IAC Phrase 4: g: m. 40 PAC Cadential Extension: m. 41, 42. Ends on an IAC. Why the ending on a weak cadence??? ugh.
So anyway, I certainly hope we talk about this one in class...cause I'm not sure if I'm right--at all.
So the ambiguity sometimes throws me for a loop...but here goes:
We start in Bb major and have an IAC in measure 4. We then modulate to the dominant F major and have a PAC in measure 8. Measures 9-12 bring us to an IAC in the key of F's dominant C major. At measure 16 we find ourselves in C Major's minor dominant g minor for a PAC. These first 16 measures are an example of a modulating parallel symmetrical double period. (does all that stuff work together?) The cadences of the first 16 bars are as follows: IAC, PAC, IAC, PAC. All of these cadences are in the dominant of the predecessing key. How great is that? good thinking, clara...i mean...bob. Oh yeah, measures 17 and 18 are a cadential extension ending on an IAC...which seems sort of week (bob had input again...obviously)
At measure 19 we go to the key of G major (which is Bb's chromatic mediant!). This next section strikes me as sort of ambiguous cadentially. If notice is made of the notated phrasing--there are 1 bar phrases. however, this seems like sort of a cop-out. If we say there are 3 2-bar phrases then it's just a phrase group. that seems like it could work. the first one ends in measure 20 with an IAC, the second with a HC in m. 22 and the third an IAC in the key of Eb.
The Eb takes us to the repeat of the A section and back to the key of Bb Major. The melody is exactly the same, but an octave higher. The structure is exactly the same as the first exposition of the A section. Phrase 1: Bb: m. 28 IAC Phrase 2: F: m. 32 PAC Phrase 3: C: m. 36 IAC Phrase 4: g: m. 40 PAC Cadential Extension: m. 41, 42. Ends on an IAC. Why the ending on a weak cadence??? ugh.
So anyway, I certainly hope we talk about this one in class...cause I'm not sure if I'm right--at all.
Chopin
I think that it’s pretty safe to say that this piece is in ternary form. The A section ends in measure 15 on a PAC in the dominant of the original key. I’d say that the A section is a parallel period…but it’s assymetric. (did I spell that right?)
The B section, I think, can only be characterized as a transitional section. It’s very tonally ambigious tonicizing a couple different keys. It’s not really even organized enough to put into phrases or periods.
The A section returns around measure 29 after a PAC in the original key at the end of the B section. Although the A section technically returns…I wouldn’t say it’s a period like the original one. I’d say there are four cadences HC, IAC, PAC, and then a PAC with a cadential extension at the end. So I’d have to call this a phrase group because it’s not related enough to be a period.
Does that happen a lot in ternary form, by the way? I mean can you change the phrase structure of the A section and still technically have it be the A section?
Interesting thought….
The B section, I think, can only be characterized as a transitional section. It’s very tonally ambigious tonicizing a couple different keys. It’s not really even organized enough to put into phrases or periods.
The A section returns around measure 29 after a PAC in the original key at the end of the B section. Although the A section technically returns…I wouldn’t say it’s a period like the original one. I’d say there are four cadences HC, IAC, PAC, and then a PAC with a cadential extension at the end. So I’d have to call this a phrase group because it’s not related enough to be a period.
Does that happen a lot in ternary form, by the way? I mean can you change the phrase structure of the A section and still technically have it be the A section?
Interesting thought….
Chopin, Op 59, no 2: Mazurka 37 in A flat Major
This piece is hard to analyse because of its tonality and the blending and transition of sections. Also, Chopin really seems to avoid periods and classical phrases, preferring rather the more organic and melodically adventurous tread of the Romantics.
As an example of Ternary form, I'd have to say the A section (m1-m44) is open because it begins in the key of Ab major only to modulate to the related key of c minor. You can divide it into two parallel phrase groups (the second beginning in measure 22). Each begins with the c moving up to the d, but the first phrase group is four measures (with a sort of plagal feel), the second is 5 measures (IAC), the third is four (another plagal feel), and the fourth is ten and takes place in the key of c minor, ending with an embellished broken IAC which transitions first back to the repetition of the phrase group at m.22 and then into the B section.
The B section is in f minor with four similar phrase groups (each beginning with the f and its grace note). You don't really get an authentic sense of cadence (no pun intended) until measure sixty where the soprano leads up ti to do and the bass ends on C. Each of these phrase groups are four measures. Then after that authentic conclusion, we return to the original A theme but for its first appearance, it can't seem to decide between fm or Ab and is markedly different from the original exposition--but you can still catch the beginning C motif. At measure 77, it seems as though it might stay in the original Ab, but it immediately begins a spiraling journey through key and texture, only to calm once more at measure 88 and transition finally with a descending line back into the original Ab by m 108 and concludes with two bars of pianissimo termanitive tonic.
The Chapter didn't give many names or distinctions by which to label ternary. There is A, then a constrasting B, and here a modified A--but it does end in the original key of A. A is open. The melody likes to run like a nose in the cold through and over classical period sense (gotta love the phrase groups), and Chopin tends to avoid cadences.
As an example of Ternary form, I'd have to say the A section (m1-m44) is open because it begins in the key of Ab major only to modulate to the related key of c minor. You can divide it into two parallel phrase groups (the second beginning in measure 22). Each begins with the c moving up to the d, but the first phrase group is four measures (with a sort of plagal feel), the second is 5 measures (IAC), the third is four (another plagal feel), and the fourth is ten and takes place in the key of c minor, ending with an embellished broken IAC which transitions first back to the repetition of the phrase group at m.22 and then into the B section.
The B section is in f minor with four similar phrase groups (each beginning with the f and its grace note). You don't really get an authentic sense of cadence (no pun intended) until measure sixty where the soprano leads up ti to do and the bass ends on C. Each of these phrase groups are four measures. Then after that authentic conclusion, we return to the original A theme but for its first appearance, it can't seem to decide between fm or Ab and is markedly different from the original exposition--but you can still catch the beginning C motif. At measure 77, it seems as though it might stay in the original Ab, but it immediately begins a spiraling journey through key and texture, only to calm once more at measure 88 and transition finally with a descending line back into the original Ab by m 108 and concludes with two bars of pianissimo termanitive tonic.
The Chapter didn't give many names or distinctions by which to label ternary. There is A, then a constrasting B, and here a modified A--but it does end in the original key of A. A is open. The melody likes to run like a nose in the cold through and over classical period sense (gotta love the phrase groups), and Chopin tends to avoid cadences.
Schumann: Vogel Als Prophet from Waldszenen
This piece is an example of simple ternary form. The A section begins in the key of Bb Major and consists of two phrases and a developmental section. The first phrase is four measures long and ends on a PAC in the original key of Bb Major. The second phrase is also four measures long and ends on a PAC, but in the dominant key of F Major. I consider the next eight measures to be a developmental section of the A section motive. The rhythm and harmonies vary from the original motive, and there are several shifts in tonality. All of the above examples of structural phenomena serve the purpose of developing the original motive. The first four measures end on an IAC in C Major, and the second four measures end on a PAC in the original key of Bb Major. The fact that the A section is closed allows the B section to be independent. The A section briefly returns. but only for two measures, and then the B section begins.
The B section is easily differentiated from the A section by an immediate shift in tonality from Bb Major to G Major, a change in rhythm in the motive, and the accompaniment style is different. At the end of four bars, there is a HC. We then have the brief shift to Eb Major... ok kids... what is that? Can we say chromatic mediant?!?! Anyway...the Eb chord is also the dominant chord in Bb Major, our original key, and makes for a lovely pivot back to the A section. And there we have it. Maybe crazy Bob Schumann should've taken it easy on the NCT's.... yeeeeshh this was hard to analyze!!
The B section is easily differentiated from the A section by an immediate shift in tonality from Bb Major to G Major, a change in rhythm in the motive, and the accompaniment style is different. At the end of four bars, there is a HC. We then have the brief shift to Eb Major... ok kids... what is that? Can we say chromatic mediant?!?! Anyway...the Eb chord is also the dominant chord in Bb Major, our original key, and makes for a lovely pivot back to the A section. And there we have it. Maybe crazy Bob Schumann should've taken it easy on the NCT's.... yeeeeshh this was hard to analyze!!
Chopin- Mazurka, Op. 59, no. 2
I may not have noticed this had I not been able to make an assumption by what section were in, but this piece is in ternary form, and therefor a fitting assignment. The A section of this piece is a lot longer than normal, extending for 41 measures. This is because it goes through a lot of repetition before moving to a new idea. The initial statement is made in the first 4 measures and repeats itself in similar form as a motive throughout the piece. This motive or it’s inversion makes the phrasing very clear, as each phrase begins with a restatement. It reaches a point in measure 19 where it ends the idea and sounds as if it will go to a new section. However, there is a 2 measure transition back to the beginning of the A section. There is a crescendo into it and it is played this time with a much greater density and volume. Such dynamic changes, either gradual or sudden, play a large role in the sensation of structural beaks throughout the piece. The section ends in the original key, and the same transition returns, but this time with a diminuendo leading to the softer B section. The B section is independent of the A, made clear by the changes in dynamics, rhythm, and tonality. The motive never returns in the section. In measure 69, the A section returns, but this time the motive is in the left hand. It is varied this time and ends on a short terminative section in the original key of A-flat major.
Schumann: "The Prophetic Bird" from Waldszenen
"The Prophetic Bird" is an interesting example of simple ternary form. We begin in the key of Bb Major. The A section is very ambiguous to me, and I see it as more of a section than a period or phrase group because I do not hear any clear cadences. Measure 1-4 is definitely a melodic motive, and that melodic motive is shifted up a fifth starting in measure 4 to measure 8. The end of Measure 4 could be seen as an arpeggiated AC. I think that Measures 4-8 could tonicize F Major, since there's a sort of AC in that key halfway through Measure 8. Still, I feel that this is more of a section than anything else. It is important to note that for both A sections, the opening melodic motive repeats at the end of the section.
This piece is certainly not rounded binary because the B section acts as a seperate exposition; it is not a development of the previous A section. Verious structural phenomena, such as a change in key to G Major, change in rhythm, texture, register, and timbre. The B section is lower and broader than the fast 32nd note patterns of the A section. The B section appears to be more of a phrase group. One phrase consists of just measure 19 ane ends on a AC, the following phrase also takes up mostly measure 20 and ends more ambiguously as it modulates to D Major. A clear cadence is heard at measure 22 in D Major. The opening phrase of the B section repeats, yet is used to modulate back to Bb Major for the A section.
The recapitulation of the A section is abrupt and not as obvious as the transition to the B section before it. First of all, the B section feels unfinished, it transitions directly into the A section, as in the melody of the B section becomes the melody of the A section.
The recapitulation of the A section begins the same way, yet uses variations in the left hand accompaniment, as well as subtle changes in the melody.
This piece is certainly not rounded binary because the B section acts as a seperate exposition; it is not a development of the previous A section. Verious structural phenomena, such as a change in key to G Major, change in rhythm, texture, register, and timbre. The B section is lower and broader than the fast 32nd note patterns of the A section. The B section appears to be more of a phrase group. One phrase consists of just measure 19 ane ends on a AC, the following phrase also takes up mostly measure 20 and ends more ambiguously as it modulates to D Major. A clear cadence is heard at measure 22 in D Major. The opening phrase of the B section repeats, yet is used to modulate back to Bb Major for the A section.
The recapitulation of the A section is abrupt and not as obvious as the transition to the B section before it. First of all, the B section feels unfinished, it transitions directly into the A section, as in the melody of the B section becomes the melody of the A section.
The recapitulation of the A section begins the same way, yet uses variations in the left hand accompaniment, as well as subtle changes in the melody.
Mendelssohn Op 19b No.1
This piece is indeed in ternary form.
The A section at the beginning runs for the first 14-15 bars following a two bar introduction. There is a half cadence in measure 6 followed by a PAC in the dominant key (of B major) in both endings (this section repeats at the double bar). I would call this section a parallel period, although asymmetric because the first phrase is 4 measures long and the second is 8.
The B section begins at measure 16. Although there is not a huge contrast from the A section, the right hand rhythms change and the tonality also differs. The A section does not return until measure 29 (with the pickup note in m. 28). It is almost exactly the same as the beginning expository section until about measure 40. For the most part, though, the harmonic goals are similar and the piece eventually ends in the beginning key.
The A section at the beginning runs for the first 14-15 bars following a two bar introduction. There is a half cadence in measure 6 followed by a PAC in the dominant key (of B major) in both endings (this section repeats at the double bar). I would call this section a parallel period, although asymmetric because the first phrase is 4 measures long and the second is 8.
The B section begins at measure 16. Although there is not a huge contrast from the A section, the right hand rhythms change and the tonality also differs. The A section does not return until measure 29 (with the pickup note in m. 28). It is almost exactly the same as the beginning expository section until about measure 40. For the most part, though, the harmonic goals are similar and the piece eventually ends in the beginning key.
Wednesday, March 02, 2005
Chopin: Mazurka Op. 67 No. 2
Ternary form, here we come. This mazurka begins in g minor, but a quick IAC after only 4 measures in B-flat Major complicates matters. The next section last for a full six measures, really pounding home a plagal cadence as we return to g-minor and then cadence, not once, not twice, but 3 times. We repeat this first section again, with the IAC in B-flat, then a return to g-minor, which ends on a solid PAC. I would consider this A section a parallel phrase group, although it is asymmetrical. Even though we have weak cadences to begin it (two IACs in relative major, and the plagal second cadence) , it does feel complete due to the strong pull of the g-minor PAC that ends it. This entire section serves as expositional material, as we introduce the main theme and only repeat it. Since we begin and end in the same key, and on a PAC to end, this is a simple ternary form. The B section draws us suddenly into B-flat major, continuing the triple meter feel of repeating something 2 twice before reaching a conclusion on the third attempt. This section is a complete phrase, with a half cadence after the first 6 measures, then a parallel section that ends on a PAC. This whole phrase is repeated again, making this B section feel very complete on it's own (thus making this piece ternary rather than binary). This section is developmental, as we take a key we hinted at before (B-flat) and explore it more fully for 24 measures. Between the end of the B section and the return of the A we have a wandering transitional-atory section that doesn't necessarily fit into either section, but serves as a small melody that brings us back to our original g-minor key. Now to end we have a full recapitulation of our A section. Since we have a full B section as well as the full recapitulation of the A section, this piece is definately ternary.
I love how Chopin uses the mazurka as a vehicle for such original music. The variety offered by the dance-like form pushes Chopin to creative heights. Love it!!!!
I love how Chopin uses the mazurka as a vehicle for such original music. The variety offered by the dance-like form pushes Chopin to creative heights. Love it!!!!
Mendelssohn Op. 19b No.1
This piece is in ternary form. There is a small introduction before the melody comes in. This happens in m.1-2. The first cadence is a HC in measure 6. The second phrase ends on measure 15 with a PAC in B major. The fact that the A section modulates leads me to believe that it is in composite ternary form. I say that section A is a parallel period that is asymmetrical. The B section starts on measure 16 and contains a group of sections which end on measure 24 with a PAC in B. The next phrase ends on m. 29 with the beginning of the return of the A section, with a PAC in E. The return of the A section begins on m. 29 and the first phrase ends on 32 with a HC. Then another phrase which ends with an IAC in m. 36. The phrase after that ends with a PAC in measure 44. And another PAC in m. 47, with a cadential extension until the end. The piece is very fluid and makes me feel calm.
Chopin's Mazurka in g minor Op 67 no. 2
This piece is interesting to analyze due to the multiple choices possible in determining form. The first 4 measures end on an IAC that has modulated to the relative major of B flat. The next could be considered a plagal cadence in g minor due to the constant emphasis of the four chord. I, however, am calling it a another IAC to make a more concrete form. Once again, four measures later, there is another IAC in the modulated key of B flat major. Finally, there is a strong conclusion on a PAC in g minor. I find this section really amazing for a few reasons. First, the phrases are weakened by the harmonic progression, and yet, in the end, there is a very strong double period phrase structure created. Also, the double period is decieving because the second phrase, instead of ending on a half cadence, ends on an IAC that only works because it is weaker than the perfect authentic at the end. The double period is parallel. This section is also interesting because every other phrase goes between B flat major and g minor, yet there isn't ever a sudden, unpleasing contrast. The B section is divided into two big phrases. It too is a parallel period. Then there is a transitional section that fits neither in the A nor the B section. This line is manipulative because it seems to start as a return to the A section, but it is soon discovered that it is very tonally different. This section is monophonic which creates a lot of structural phenomena with change in density, texture, and tonality. This section eventually leads us back into the A section in the original key. This repeated section is identical to the first A section. This makes the piece ternary form. Overall, it is a very fascinating piece to study with more options than many we've studied so far.
Mendelssohn Op. 19b, no. 1
This piece is in ternary form, and because the first section modulates, I would say composite rather than simple. The initial statement is made in the first 14 measures. This section makes up the A part is an expository unit. The first phrase ends on a half cadence, and then the second phrase is extended until ending on the dominant of the original key to form an asymmetrical, parallel, modulating period. There is a crescendo at the end to heighten the finality. The motive and material of the A section does not return in the B part. Though the left hand is similar to the A section, the contrast is made through the rhythmic and contour change in the right hand. Also, it begins very tonally unstable, sequencing up by scale in the base. It then transitions in to measures to G major but then starts rotating with B major. This whole section is marked by ambiguity in direction and I would consider it a modulating section. The A section returns finally, and a dynamic change to forte adds to its return. It is varied this time by being longer and adding more cadences. Though parts of it hint at periods, I would consider this whole unit to be a phrase group.
Schumann, Vogel Als Prophet, from Op. 82
As the chapter would indicate, this piece is in simple ternary form. And it was quite difficult to discern due to the ungodly number of non-chord tones.
The A section consists consists of two phrases. The first phrase is four measures long and ends with a PAC in the original key of Bb. The second phrase is very similar to the first phrase except there has been a direct modulation in the dominant key of F and this phrase also ends with a PAC. The next eight bars serve as a development section for the A section. There are some new rhythmic aspects to this part and there is also some more key exploration. After four bars, there is an IAC in the key of C, which is the dominant again of F and then the next four bars work their way back to the key of Bb with a PAC.
After this PAC, the A section starts up again, leading one to think this is rounded binary, but the A section lasts only two measures and is followed by an immediate change of mood into the B section. The key has immediately switched to G major and the feeling has switched from one where the main rhythmic motive is dotted eighth three thirty second notes, to a choral like feeling with only eighth and quarter notes. Schumann does a really good job of deceiving the listener in this part. In the first bar has a I-V-I and in the second bar you think he is going to the I-V-I again but he skips from the one to a IV/V. Anyway, after four bars there is a half cadence. The first two bars of the first phrase are the same as the first phrase, but then the second two measures immediately modulate into Eb major (chromatic mediant!!!!). This serves as the dominant chord for the return back to the A section.
The return of the A section is almost the same the original A section. There are some different little embellishments at time, but all of the cadences are the same. The only difference is that instead of the opening phrase getting interupted by the B section, this time the return of the opening phrase gets to complete itself.
The A section consists consists of two phrases. The first phrase is four measures long and ends with a PAC in the original key of Bb. The second phrase is very similar to the first phrase except there has been a direct modulation in the dominant key of F and this phrase also ends with a PAC. The next eight bars serve as a development section for the A section. There are some new rhythmic aspects to this part and there is also some more key exploration. After four bars, there is an IAC in the key of C, which is the dominant again of F and then the next four bars work their way back to the key of Bb with a PAC.
After this PAC, the A section starts up again, leading one to think this is rounded binary, but the A section lasts only two measures and is followed by an immediate change of mood into the B section. The key has immediately switched to G major and the feeling has switched from one where the main rhythmic motive is dotted eighth three thirty second notes, to a choral like feeling with only eighth and quarter notes. Schumann does a really good job of deceiving the listener in this part. In the first bar has a I-V-I and in the second bar you think he is going to the I-V-I again but he skips from the one to a IV/V. Anyway, after four bars there is a half cadence. The first two bars of the first phrase are the same as the first phrase, but then the second two measures immediately modulate into Eb major (chromatic mediant!!!!). This serves as the dominant chord for the return back to the A section.
The return of the A section is almost the same the original A section. There are some different little embellishments at time, but all of the cadences are the same. The only difference is that instead of the opening phrase getting interupted by the B section, this time the return of the opening phrase gets to complete itself.
"waldszenen, op. 82, no. 7, "the prophetic bird", Schumann
The opening A section was a symmetric double parallel period, with 2- 4 measure phrases in each phrase. The second phrase of the first period starts out a fifth higher (c# the first phrase, g# the Both hands start out in treble clef, but the left hand is constantly switching clefs throughout the piece. The theme (the 1st 2 measures of the piece) are restated in measures 16 and 17, right before the pickup B section begins. The A section closes in the same key as it began, so it is a closed section.
The B section is much smoother in sound than the A; the density of the notes also changes, to more of a chordal sound. The key changes to g major, and is very short compared to the A section. However, it is closed because it modulates to a new key (back to g minor),This has only one period, which i thought was asymmetric (the first phrase being 4 measures, and the second being two. Then the pickup in measure 24 takes us back to the A section again. The restatement of the A section is almost identical. I noticed that the tempo is almost always pushed back at the very end of each period, which is really pretty to listen to. Since this is in ABA form, it is in simple ternary form...The end.
The B section is much smoother in sound than the A; the density of the notes also changes, to more of a chordal sound. The key changes to g major, and is very short compared to the A section. However, it is closed because it modulates to a new key (back to g minor),This has only one period, which i thought was asymmetric (the first phrase being 4 measures, and the second being two. Then the pickup in measure 24 takes us back to the A section again. The restatement of the A section is almost identical. I noticed that the tempo is almost always pushed back at the very end of each period, which is really pretty to listen to. Since this is in ABA form, it is in simple ternary form...The end.
Mazurka, Op. 67, No. 2
This Mazurka by Chopin is in simple ternary form. The A section of this piece opens up with 4 measures of Bb major ending on a PAC. A longer phrase modulates, ending 6 measures later on an IAC, making this an asymmetric progressive period. 4 measures brings us to another PAC cadence in G minor, with a short cadential extension marking the end of the first section. Notice sF, lots of pedal markings, and grace notes litter this section.
The B section starts similar to A section, but quickly contrasts to the previous material. The first four measures are nothing out of the ordinary, ending on an IAC in the original key of Bb. The next 12 measures of this section are very chromatic. So much so that it makes the key very ambiguous. Chopin adds new articulations, rhythms (especially triplet patterns), register changes, and dynamic contrasts to really alter it from the A section. The first and last four measures display an ostinato pattern in the right hand of eight eight triplet quarter. I would argue that this is a phrase group ending on a PAC.
There is a smalle sotto voce part right after the B section that serves as an interlude between sections. With it's monophonic melody, Chopin brings us back to a literal recapitulation. The piece ends on a drawn out cadential extension into a g minor PAC.
The B section starts similar to A section, but quickly contrasts to the previous material. The first four measures are nothing out of the ordinary, ending on an IAC in the original key of Bb. The next 12 measures of this section are very chromatic. So much so that it makes the key very ambiguous. Chopin adds new articulations, rhythms (especially triplet patterns), register changes, and dynamic contrasts to really alter it from the A section. The first and last four measures display an ostinato pattern in the right hand of eight eight triplet quarter. I would argue that this is a phrase group ending on a PAC.
There is a smalle sotto voce part right after the B section that serves as an interlude between sections. With it's monophonic melody, Chopin brings us back to a literal recapitulation. The piece ends on a drawn out cadential extension into a g minor PAC.
Tuesday, March 01, 2005
Beethoven Piano Sonata No. 1 in F Minor, Op. 2, No. 1
The menuetto's A section stretches from measures 1- 14. This part of the piece is a phrase group and contains expository material. It also contains a few repetitive bars at the end that serve as a cadential extension, along with a modulation from f minor. It is easy to pick out the strongest cadences in this part because of the notated dynamic changes. The B section is then from measures 14-73. it begins with developmental material, expanding upon the initial melody from the A section. There are cadences at measures 20, 24 (+ cad. ext.), 28, and 40 (+cad. ext.).
The trio, which is in a closed rounded binary form, is in F major. The A section runs to measure 50. The B section directly follows that. Unlike the menuetto, this section doesn't have much shaping by dynamic changes. The material it contains would be classified most likely as developmental, especially considering the first movement we looked at. It has the same melodic feel as the menuetto and can also be seen in the eighth note runs in measures 59-62. The melody here is passed from the right hand to the left hand throughout the movement.
The trio, which is in a closed rounded binary form, is in F major. The A section runs to measure 50. The B section directly follows that. Unlike the menuetto, this section doesn't have much shaping by dynamic changes. The material it contains would be classified most likely as developmental, especially considering the first movement we looked at. It has the same melodic feel as the menuetto and can also be seen in the eighth note runs in measures 59-62. The melody here is passed from the right hand to the left hand throughout the movement.
Piano Sonata No. 15 in D major Op. 28 third movement
Piano Sonata no. 15 in D major Op. 28 third movement
This A section is clearly marked out by the structural phenomena of the double bar between measures 32 and 33. This A section is constructed of four, eight measure phrases. These phrases are alternating back and forth from original D major to it’s dominate A major. In measure 8 we have a PAC in D major. In Measure 16 we have a PAC in A major. Then, again in measure 24 we have a PAC in D major, and then in measure 32 we have a PAC in A major. At this point, this is where we see the double bar line. We do not repeat the A section at this time. Besides the double bar line, the only other structural phenomena are dynamic shifts in measures 17-20 and then again in measures 25-28. The rhythms, textures, meter, and everything else remain the same. I would say this section is expository and continuous because it ends in the dominant key. The periods are symmetrical, and parallel.
The B section begins after the double bar line and right away has a dynamic change, texture, and density change because the notes are being held longer. This next part I would consider as a transitory section. It feels as though it is just trying to work us back to the original key, which it does finally at measure 49. At this point the A section is reintroduced. As it goes along it gains more texture and a dynamic change in measure 57 becoming more of a developmental A section. Right before in measure 56 there is a cadence of a PAC in D major. This developmental section ends in measure 68 in the original key of D major on a PAC so that it would make it rounded binary form.
This A section is clearly marked out by the structural phenomena of the double bar between measures 32 and 33. This A section is constructed of four, eight measure phrases. These phrases are alternating back and forth from original D major to it’s dominate A major. In measure 8 we have a PAC in D major. In Measure 16 we have a PAC in A major. Then, again in measure 24 we have a PAC in D major, and then in measure 32 we have a PAC in A major. At this point, this is where we see the double bar line. We do not repeat the A section at this time. Besides the double bar line, the only other structural phenomena are dynamic shifts in measures 17-20 and then again in measures 25-28. The rhythms, textures, meter, and everything else remain the same. I would say this section is expository and continuous because it ends in the dominant key. The periods are symmetrical, and parallel.
The B section begins after the double bar line and right away has a dynamic change, texture, and density change because the notes are being held longer. This next part I would consider as a transitory section. It feels as though it is just trying to work us back to the original key, which it does finally at measure 49. At this point the A section is reintroduced. As it goes along it gains more texture and a dynamic change in measure 57 becoming more of a developmental A section. Right before in measure 56 there is a cadence of a PAC in D major. This developmental section ends in measure 68 in the original key of D major on a PAC so that it would make it rounded binary form.
sonata no. 15, scherzo
So the scherzo starts out in D major, but oddly enough on Mi. Bars 1-8 mark the first phrase, ending on a PAC. The second phrase begins in bar 9 with a clear shift to the key of A major. Here's the thing--I don't know if I would call this a modulation to the dominant, or a simple tonicization of the dominant. Because it lasts for 8 bars, I'll go with the modulation. So there you have it, from bars 9-16 we're in the key of A major and again we end with a PAC.
Bar 17 brings us back to our original key of D major reprising the A section. We're in D major until 24, ending with a PAC. This leads us back to the dominant A major for the next 8 bars...yes, there's a PAC at the end. how did you guess? These 4 phrases form a parallel symmetric period. A (1-8) B (9-16) A (17-24) B (25-32). At the return of A it's not exactly the same material, but the only thing that is different is an added note to the chord. I don't think this is enough change to signify a development of A. Therefore, this entire parallel symmetric period is expository.
Measures 33-48 are a transitional phrase group. The phrases are 4 bars long with a melodic motive in the bass line. This section is suddenly pp and crescendos throughout the transition to a forte, but before returning to the A section descrescendos again to end on a fermata on a half cadence in the key of D major.
Measure 49 brings us to the repeat of the A section, but this time it is being developed a bit more with added notes to the chord. A is played at a piano dynamic and ends on a PAC in measure 56. We again repeat the A section motive, but with a fuller chord, from measures 57 to the end having a cadential extension from measures 65 to the end. We end on a PAC. I really like the deceptive quality of having the minor i chord in measure 64, just when we're expecting a cadence. This leads quite nicely to the cadential extension.
Bar 17 brings us back to our original key of D major reprising the A section. We're in D major until 24, ending with a PAC. This leads us back to the dominant A major for the next 8 bars...yes, there's a PAC at the end. how did you guess? These 4 phrases form a parallel symmetric period. A (1-8) B (9-16) A (17-24) B (25-32). At the return of A it's not exactly the same material, but the only thing that is different is an added note to the chord. I don't think this is enough change to signify a development of A. Therefore, this entire parallel symmetric period is expository.
Measures 33-48 are a transitional phrase group. The phrases are 4 bars long with a melodic motive in the bass line. This section is suddenly pp and crescendos throughout the transition to a forte, but before returning to the A section descrescendos again to end on a fermata on a half cadence in the key of D major.
Measure 49 brings us to the repeat of the A section, but this time it is being developed a bit more with added notes to the chord. A is played at a piano dynamic and ends on a PAC in measure 56. We again repeat the A section motive, but with a fuller chord, from measures 57 to the end having a cadential extension from measures 65 to the end. We end on a PAC. I really like the deceptive quality of having the minor i chord in measure 64, just when we're expecting a cadence. This leads quite nicely to the cadential extension.
Beethoven piano sonata in f minor op. 2 no. 1
minuetto
the A section consists of 2 four-bar phrases, both ending in imperfect authentic cadences. there is dynamic contrast when the 8th measure immediately becomes forte. this section repeats, but i would not call it a period, rather a phrase group. the A section is closed because it starts and ends in the same key.
a similar theme is carried on to the B section, but it is not exactly the same. the familiar motive dabbles in a new key, or several new keys. i would definitely call this section developmental since it elaborates on the exposition section. there is dynamic contrast in this section, too, with "sF"s (i'm too lazy to write out the whole word) and sudden changes from pp to F. the minuetto is simple binary because the first theme is not revisited in its original key.
trio
the A section of this part of beethovens piano sonata is continuous because it ends on a half cadence. this exposition section also consists of two phrases, each four bars long. there is a nice register change (as far as structural phenomena goes) starting in measure 45 when the melody from the soprano line drops to the bass line.
the B section of the trio is rounded, since the A melody is revisited in measure 66. its pretty sweet.
the A section consists of 2 four-bar phrases, both ending in imperfect authentic cadences. there is dynamic contrast when the 8th measure immediately becomes forte. this section repeats, but i would not call it a period, rather a phrase group. the A section is closed because it starts and ends in the same key.
a similar theme is carried on to the B section, but it is not exactly the same. the familiar motive dabbles in a new key, or several new keys. i would definitely call this section developmental since it elaborates on the exposition section. there is dynamic contrast in this section, too, with "sF"s (i'm too lazy to write out the whole word) and sudden changes from pp to F. the minuetto is simple binary because the first theme is not revisited in its original key.
trio
the A section of this part of beethovens piano sonata is continuous because it ends on a half cadence. this exposition section also consists of two phrases, each four bars long. there is a nice register change (as far as structural phenomena goes) starting in measure 45 when the melody from the soprano line drops to the bass line.
the B section of the trio is rounded, since the A melody is revisited in measure 66. its pretty sweet.
Beethoven, Piano Sonata No. 4 in E Flate Major
Uniquely this E flat major sonata does not start in E flat. It appears to start in a minor. Cadences are pretty ambiguous, however the first phrase of 8 measures long ends on a unison C. The next asymmetric phrase of 6 measures modulates to G major, and ends on a V/IV chord, making it a half cadence. That brief transitional phrase brings us back to a 4 bar recapitulation with the theme in A major this time? Two measure of staccato chords brings us to yet another key, and 8 measures of the A section. There is a key change at the end of this section, ending on a C major chord. This is the dominant in the new key of F major. Thus this piece is a rounded continous binary form.
The B section is the trio. This first period of this section comprises of two asymmetric phrases. The first ends on a PAC, the second lands on a HC, leading into the second half of the section. Not much too exciting happens, and I don't really care to go into too much depth. Interestingly enough, it appears to me that this section is more developmental, or possibly expositional. The first section appears to have much more transitional elements than the second. Regardless, the first section is much more tonally unstable, with many more phenomena, making each section a totally different character.
The structural phenomena in this piece are far too numerous to detail individually. Beethoven makes use of articulation, register changes, abrupt dynamics, ornamentation, and rhythm alterations. Some important phenomena include the striking F# in measure 4, staccato forte chords in measure 20, forte pianos, and change of rhythm in the trio. Overall, I really enjoyed this piece. It is a very beautiful largo.
The B section is the trio. This first period of this section comprises of two asymmetric phrases. The first ends on a PAC, the second lands on a HC, leading into the second half of the section. Not much too exciting happens, and I don't really care to go into too much depth. Interestingly enough, it appears to me that this section is more developmental, or possibly expositional. The first section appears to have much more transitional elements than the second. Regardless, the first section is much more tonally unstable, with many more phenomena, making each section a totally different character.
The structural phenomena in this piece are far too numerous to detail individually. Beethoven makes use of articulation, register changes, abrupt dynamics, ornamentation, and rhythm alterations. Some important phenomena include the striking F# in measure 4, staccato forte chords in measure 20, forte pianos, and change of rhythm in the trio. Overall, I really enjoyed this piece. It is a very beautiful largo.
Beethoven -Sonata in f minor: menuetto, trio
The trio begins and ends in F major (the minuet however is in f minor (all in 3/4)). In the A section we have a four bar phrase in F that ends in an IAC, followed by a contrasting, modulating 6-bar phrase that cadences in a PAC of the key C Major (V). These last two bars serve somewhat as a cadential extension and ensure that the listener here's the PAC in C rather than a HC in F. Ergo, we have a contrasting, progressive, assymmetric period for the A section, heralding an open or continuous binary form.
Moving into the B section, we continue with the same rhythmic and melodic contour as the first phrase in the A section, only now it serves as a sequence. The motive moves up and up in the right hand over each bar and the left hand moves down and down a half step each bar. This produces a nice contrast in the voicing. In the fourth bar of B, it cadences in a HC in C. Although the left hand takes up the melody as it did in the second phrase of the A section, the right hand switches to static, full-bar, octaves, and instead of cadencing as it does in the A section, in the third measure, the right hand joins in in octaves with the left hand, thus introducing an entirely new texture and moving into and even more transitional and developmental section of B. At measure 59 the texture switches drastically to fourths in the right hand and one voice in the left hand all moving in chords that change with every eighth note. After four measures of this new texture propelling us wildly forward, we suddenly come to a grinding halt, but still no real cadence. The dynamics draw back to p and then pp and the piano moves to full-bar chords. This lasts for three measures, and ends on a half cadence in F Major (thus we see in retrospect how what had come before functioned as a transition back to the original key) and then we return to the orginal eight bars of A, only this time the second phrase does not modulate and does not have an extension (thus the two antecedent and consequent phrases are symmetric), but finishes on a PAC in F Major--like a good rounded binary form.
To summarize: open, rounded, binary
Moving into the B section, we continue with the same rhythmic and melodic contour as the first phrase in the A section, only now it serves as a sequence. The motive moves up and up in the right hand over each bar and the left hand moves down and down a half step each bar. This produces a nice contrast in the voicing. In the fourth bar of B, it cadences in a HC in C. Although the left hand takes up the melody as it did in the second phrase of the A section, the right hand switches to static, full-bar, octaves, and instead of cadencing as it does in the A section, in the third measure, the right hand joins in in octaves with the left hand, thus introducing an entirely new texture and moving into and even more transitional and developmental section of B. At measure 59 the texture switches drastically to fourths in the right hand and one voice in the left hand all moving in chords that change with every eighth note. After four measures of this new texture propelling us wildly forward, we suddenly come to a grinding halt, but still no real cadence. The dynamics draw back to p and then pp and the piano moves to full-bar chords. This lasts for three measures, and ends on a half cadence in F Major (thus we see in retrospect how what had come before functioned as a transition back to the original key) and then we return to the orginal eight bars of A, only this time the second phrase does not modulate and does not have an extension (thus the two antecedent and consequent phrases are symmetric), but finishes on a PAC in F Major--like a good rounded binary form.
To summarize: open, rounded, binary
Monday, February 28, 2005
"Piano Sonata No. 15 in D Major", Beethoven
This sonata starts with 8 symmetric 4 measure phrases, which is the A section. I think the A section functions as a phrase group, because none of the phrases really end in a conclusive way. Although each phrase ends in PAC's (changes keys to A Major every other phrase),each phrase seems very unsure and uneasy. It also is in open binary form because is ends in a different key than what it starts out in. The rhythmic structure is exactly the same for each phrase, and doesn't change very much. There are a lot of dynamic changes in this piece, which adds to the structural phenomena.
The B section is really developmental, because it takes the motive and really varies it: it feels unstable, like it's building up to something bigger. It playes around with different keys as well. At measure 48 it goes right back to the expository section of the A, and then ends in the same key we started in, D Major(which equals rounded binary form!). It's more dramatic this time, and significantly louder.
The B section is really developmental, because it takes the motive and really varies it: it feels unstable, like it's building up to something bigger. It playes around with different keys as well. At measure 48 it goes right back to the expository section of the A, and then ends in the same key we started in, D Major(which equals rounded binary form!). It's more dramatic this time, and significantly louder.
Beethoven Piano Sonata No. 15 in D Major op. 28 third movement
Piano Sonata no. 15 in D major Op. 28 third movement
The A section ambiguously starts out in d major. It is ambiguous because of the f sharp's starting the piece. The A section consists of 4, 8 bar phrases. However, none of these phrases are linked together as a period; the A section is just a phrase group. In bar 8 a PAC occurs in D major. In bar 16 a PAC occurs in A major, signifying a modulation. Bar 17 returns in D major. Bar 24 has a PAC occuring in D major. Then in bar 32 another PAC occurs in A major. Some notable structural phenomena take place in bars 17-20 with a new dynamic. Same with 25-28. Because the A section ends in A major the A section is continuous. More phenomena takes place at the B section, as the dynamics are softer and the note values are longer in the melodic gestures. I would consider the B section up to bar 49 as a section, as there are not notable strong cadences. Bar 49 brings back the A section material in its original key of D major. A PAC occurs in bar 56. Bar 57 begins a development period of the A section material as the melodic gestures in the right hand are developed. This ends in bar 68 with a PAC. This is rounded binary form. The trio is a coda in this form. It starts off in D major and finally modulates to b minor.
The A section ambiguously starts out in d major. It is ambiguous because of the f sharp's starting the piece. The A section consists of 4, 8 bar phrases. However, none of these phrases are linked together as a period; the A section is just a phrase group. In bar 8 a PAC occurs in D major. In bar 16 a PAC occurs in A major, signifying a modulation. Bar 17 returns in D major. Bar 24 has a PAC occuring in D major. Then in bar 32 another PAC occurs in A major. Some notable structural phenomena take place in bars 17-20 with a new dynamic. Same with 25-28. Because the A section ends in A major the A section is continuous. More phenomena takes place at the B section, as the dynamics are softer and the note values are longer in the melodic gestures. I would consider the B section up to bar 49 as a section, as there are not notable strong cadences. Bar 49 brings back the A section material in its original key of D major. A PAC occurs in bar 56. Bar 57 begins a development period of the A section material as the melodic gestures in the right hand are developed. This ends in bar 68 with a PAC. This is rounded binary form. The trio is a coda in this form. It starts off in D major and finally modulates to b minor.
Beethoven- Sonata in F minor- Menuetto
The phrasing of this piece is made clear by dynamic contrast and articulation. There are often sudden changes from soft to loud or soft to softer and so on at the end or beginning of different phrases. This also causes a sort of playfulness to the piece. Also, Beethoven’s strategic placement of slurs gives breath to relevant parts of the phrase. In examining the form, I was initially confused because I thought that we were supposed to look at the Menuetto and Trio as a whole. But then it occurred to me that both the Minuetto and Trio stand alone as Binary forms. In the Menuetto, the first 14 measures are expository, state the A section, and modulate to a new key. The first 10 measures of the B section are very similar to the A theme and functions as developmental. Then the next measures are transitional, returning back to the original key in the last five measures. The A theme returns in the Bass clef with slight difference and terminates at the end. It is a bit ambiguous as to whether it is simple or rounded. The Trio, however, is clearly a rounded Binary form. The first eight measures make up the A theme, a modulating period. The material then continues very similarly in the new key before a fast transitional passage. Then the original A theme returns.
Sonata in E Major - Op. 14 No.1 - Beethoven
This is a difficult piece to analyze because the sections are rarely divided clearly. Instead, Beethoven uses the end of one phrase to begin another - in a word, ellision. Rather than finishing cadences, the expected resolution of one cadence is the first chord of the next phrase.
In broad terms, this segment is closed, rounded binary form.
The A section begins with an expository double parallel period that lasts for the first 23 measures. The two phrases of each half are asymetric. The first phrase is four measures long and ends with a perfect authentic cadence, and the second phrase, after being extended, is eight measures long and ends with a half cadence.
The first phrase of the second half begins with the first four notes of the main theme, then modulates to F# major. The second phrase finishes six bars later with a perfect authentic cadence in F# major. Because it modulates to F# major, it's closed rather than open (in my opinion).
Then comes the B section, which is comprised of three short expository sections. At first listen, they sound as though they function as transitions or developmental sections, but the material first presented in this section is used again throughout the movement. Also, they lead nowhere and hardly develop the main theme.
The first section lasts from measure 23 to measure 38 and is a double parallel period. The next section lasts until measure 46 and is a period in B major. Then comes the third section which lasts until measure 57 and, through an ellision, is linked to the return of the A section, which is the last four measures of this segment - the rounding begins in measure 57.
Structural phenomena and cadences are far too numerous to explain in any detail.
In broad terms, this segment is closed, rounded binary form.
The A section begins with an expository double parallel period that lasts for the first 23 measures. The two phrases of each half are asymetric. The first phrase is four measures long and ends with a perfect authentic cadence, and the second phrase, after being extended, is eight measures long and ends with a half cadence.
The first phrase of the second half begins with the first four notes of the main theme, then modulates to F# major. The second phrase finishes six bars later with a perfect authentic cadence in F# major. Because it modulates to F# major, it's closed rather than open (in my opinion).
Then comes the B section, which is comprised of three short expository sections. At first listen, they sound as though they function as transitions or developmental sections, but the material first presented in this section is used again throughout the movement. Also, they lead nowhere and hardly develop the main theme.
The first section lasts from measure 23 to measure 38 and is a double parallel period. The next section lasts until measure 46 and is a period in B major. Then comes the third section which lasts until measure 57 and, through an ellision, is linked to the return of the A section, which is the last four measures of this segment - the rounding begins in measure 57.
Structural phenomena and cadences are far too numerous to explain in any detail.
Beethoven Sonata No. 15 in D Major, Scherzo
The A section of this piece goes from measures 1-33, and consists of four phrases that are each 8 measures long. Because each of these phrases end on a PAC, and because of the lack of antecedent and consequent activity, I would consider them to be a phrase group. The first phrase is in D Major, but there is a change in tonality to the key of A Major in the second phrase. The third phrase shifts back to D Major, and the fourth and final phrase is in A Major. The fact that the A section ends in a different key than it began makes this section open binary form. This section is definitely expository.
As far as structural phenomena goes, there is obviously the constant shifting in tonality between tonic and dominant throughout the A section. There is a change in density every time the four measures of sustained dotted half notes occur. The perfect authentic cadences are made to stand out with the use of quarter rests at every cadence.
The B section begins at measure 33 where the double barlines are, and ends at measure 49. There is another shift in tonality, and I am pretty sure it goes from the key of A to B. The B section is definitely developmental. There are several prominent uses of structural phenomena. There is a change in texture right away when the chords begin being played in the right hand and the left hand just holds out dotted half notes. We also see a huge change in range in the left hand. Throughout the A section the left hand never goes above a d above middle c. In the B section it goes all the way up to A sharp. After the formatta in measure 48, the same expository material from the A section returns again in the key of D Major, which makes this piece rounded binary form!
As far as structural phenomena goes, there is obviously the constant shifting in tonality between tonic and dominant throughout the A section. There is a change in density every time the four measures of sustained dotted half notes occur. The perfect authentic cadences are made to stand out with the use of quarter rests at every cadence.
The B section begins at measure 33 where the double barlines are, and ends at measure 49. There is another shift in tonality, and I am pretty sure it goes from the key of A to B. The B section is definitely developmental. There are several prominent uses of structural phenomena. There is a change in texture right away when the chords begin being played in the right hand and the left hand just holds out dotted half notes. We also see a huge change in range in the left hand. Throughout the A section the left hand never goes above a d above middle c. In the B section it goes all the way up to A sharp. After the formatta in measure 48, the same expository material from the A section returns again in the key of D Major, which makes this piece rounded binary form!
BEETHOVEN: Piano Sonata in F minor Op. 2 No.1 Menuetto
I liked this piece, and although I do not play piano well, I appreciated a lot of things from a piano playing standpoint.
One of the biggest things about the piece I liked were the huge contrasts and changes in texture, as the piece developed and went on. One minute Beethoven has these smaller, more triadic and root posititon chords, and a few measures later, the texture has completely changed into a more dense one, full of stacked octaves giving the piece a more full, rich sound.
I felt like at some points the huge dynamic contrasts really took control of the phrasing that Beethoven was trying to convey to the performer, an idea that is very interesting to me. Especially in piano music, I really like to see how a phrase is completed, its cool to see how that works out when compared to oboe or orchestral music that I'm more used to.
The menuetto and trio are both in a simple binary form. I felt like the menuetto was more of a sectional or closed binary form, with the exposition returning in the original key, that is always what triggers that for me and makes it easy to pick up on.
I felt kind of like there was a transtition or different feeling in measure 58-59 as an extension of some type was made, in anticipation of the end of the piece.
Overall this was a nice little piece, and I can honestly say that it helped me, visually to really see some of the things we've been talking about lately in class.
One of the biggest things about the piece I liked were the huge contrasts and changes in texture, as the piece developed and went on. One minute Beethoven has these smaller, more triadic and root posititon chords, and a few measures later, the texture has completely changed into a more dense one, full of stacked octaves giving the piece a more full, rich sound.
I felt like at some points the huge dynamic contrasts really took control of the phrasing that Beethoven was trying to convey to the performer, an idea that is very interesting to me. Especially in piano music, I really like to see how a phrase is completed, its cool to see how that works out when compared to oboe or orchestral music that I'm more used to.
The menuetto and trio are both in a simple binary form. I felt like the menuetto was more of a sectional or closed binary form, with the exposition returning in the original key, that is always what triggers that for me and makes it easy to pick up on.
I felt kind of like there was a transtition or different feeling in measure 58-59 as an extension of some type was made, in anticipation of the end of the piece.
Overall this was a nice little piece, and I can honestly say that it helped me, visually to really see some of the things we've been talking about lately in class.
Piano Sonata No. 15 in D Major Op. 28, Scherzo
The beginning section of this piece lasts until measure 33 where the repeat bars are. It has expository material and starts out in the key of D. I'm not really sure what to say about the structural units in this part of the piece. The piece goes from D in the first 8 measures to A in the next 8 then back to D, then finishing up with A at the end of the section. It seems like each phrase ends in a PAC and I dont feel any real antecedent-consequent behavior, so i'll call this a phrase group. Ok now we get to measures 33-49. This part is crazy developmental. It feels like we go from the key of A then to B I think? And ending the section in the key of A again. Then bam, after the fermata, we go right back to the same expository stuff that we saw in the beginning. Thus you have a rounded binary form.
K. 331 Sonata in A major by W.A. Mozart II menuetto
Ah, I do so love Mozart. This piece, as stated, begins in A-major. The piece is in rounded binary form, although this piece is far from being a nice simple, symmetrical work. The A section in particular lacks a consistant periodic feel. Each of what I figure to be two parts are of different lengths. The first one feels to me like a contrasting period last 10 bars, and definately contrasts, with a half cadence after 4 bars, followed by a change of texture and no repetition of melody anywhere to be found. The second half of this phrase is 6 measures and ends on a nice PAC. This seems like a nice place to end our A section, but Mozart has other plans. Afetr the PAC we're greeted by what I considered to be a transitional section, as Mozart plays around for 8 bars, using them to modulate to E-Major through a series of virtuosic runs and sequences. This lacks the definition of a phrase group, since it's a cadenza-esque passage. The ending of this section does end in a different key, making the overall passage continuous. We repeat the section to convince our ears that we've modulated.
Now the B section feels relatively straightforward after our meandering A section. This B material is still mostly transitional, as we begin we quickly move to the parallel minor (e-minor) and continue to sequence through this minor key for 12 bars, ending on what seems to be a PAC in e-minor, though we quickly return to our A section, with it's initial 10 bar phrase, complete with large block-chord entrance (which really hammers home "HEY WE'RE IN THE A SECTION AGAIN"). The entire section is repeated, including our cadenza passage, this time ending in our original key, capped off by a PAC. This entire section is again repeated, adding a finality to the PAC in A-major.
Now the B section feels relatively straightforward after our meandering A section. This B material is still mostly transitional, as we begin we quickly move to the parallel minor (e-minor) and continue to sequence through this minor key for 12 bars, ending on what seems to be a PAC in e-minor, though we quickly return to our A section, with it's initial 10 bar phrase, complete with large block-chord entrance (which really hammers home "HEY WE'RE IN THE A SECTION AGAIN"). The entire section is repeated, including our cadenza passage, this time ending in our original key, capped off by a PAC. This entire section is again repeated, adding a finality to the PAC in A-major.
Piano Sonata in F minor, Op. 2, No.1 Menuetto and Trio by Beethoven
After completing another mystery in the life of the library, the Beethoven CD was found after a half an hour of intense searching from four workers. So, I'm definitely going to listen in depth now. The piece has many dynamic structural phenomena. It has no middle ground. It goes from pp to ff with sf in the middle of the p sections. These huge contrasts look like they would be shocking and define phrase changes enthusiastically. There is also a lot of density change as the sections begins with small chords and then moves into unison octaves. At meas. 59 there are huge chords that create intensity to prepare for the conclusion. The menuetto seems to be in simple sectional binary form because although the expository A section returns, it is in the bass clef and seems to vary from the original theme in rhythm. The trio section has an obvious binary rounded form. At the end, the expository section returns in the original key. It is open because the A section doesn't end on an authentic cadence. I really like the timbre changes in the B section between the left and right hands carrying the melody. I'm thrilled that DePauw university staff are so dedicated to meeting our library needs so I was able to listen to this enthralling CD recording of Beethoven.
Mozart, Sonata in A major K. 331, II, menuetto
Like all of the other pieces in this assignment, this is a rounded binary piece, but has some distinct differences between the others our class has studied.
The interesting thing about this piece is how irregular the A section is. This section contains three phrases as opposed to the traditional two periods and all three of these phrases are of different lengths. As the title indicates, this piece is in A major. The first phrase is four bars and ends on a half cadence. The next phrase is contrasting from the first one and is six bars long and ends on a PAC. This sounds like it would be the end of a closed A section but it is followed by a leaping grace notes into the next phrase which lasts eight bars and modulated to E major and ends in a PAC. This whole section serves an expository function.
Considering how long the A section is, the B section is quite short, clocking in at only twelve bars. It begins with just octave E, F#, and G natural, which establishes the new key as E minor. One could argue for an IAC at the beginning of the fifth bar, but I feel that section wanders, and the key is hidden by a whole lot of sequences, though seeing all the C naturals in the music and some G naturals established E minor. The twelve bars ends with a picardy third in an authentic cadence in E major. All of the sequences in this section make me classify this as transitional.
A sixteenth note scalar run establishes the return to the key of A major and the return of the A section which makes this piece rounded binary. The first phrase is the same as the opening ending on the half cadence, but this time the second phrase continues to the third beat and ending in a half cadence. The third phrase is similar to the original but changes so the PAC can be achieved in the original key of A major.
The interesting thing about this piece is how irregular the A section is. This section contains three phrases as opposed to the traditional two periods and all three of these phrases are of different lengths. As the title indicates, this piece is in A major. The first phrase is four bars and ends on a half cadence. The next phrase is contrasting from the first one and is six bars long and ends on a PAC. This sounds like it would be the end of a closed A section but it is followed by a leaping grace notes into the next phrase which lasts eight bars and modulated to E major and ends in a PAC. This whole section serves an expository function.
Considering how long the A section is, the B section is quite short, clocking in at only twelve bars. It begins with just octave E, F#, and G natural, which establishes the new key as E minor. One could argue for an IAC at the beginning of the fifth bar, but I feel that section wanders, and the key is hidden by a whole lot of sequences, though seeing all the C naturals in the music and some G naturals established E minor. The twelve bars ends with a picardy third in an authentic cadence in E major. All of the sequences in this section make me classify this as transitional.
A sixteenth note scalar run establishes the return to the key of A major and the return of the A section which makes this piece rounded binary. The first phrase is the same as the opening ending on the half cadence, but this time the second phrase continues to the third beat and ending in a half cadence. The third phrase is similar to the original but changes so the PAC can be achieved in the original key of A major.
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