Eine Kleine Nachtmusik Mozart

The Menuetto and trio from Mozart's Eine Kleine Natchtmusik is in composit ternery form. The A section is in rounded binary form. With the first half being closed because it stays in the beginning key of G major. the second half of the A section has a small transitional period and then returns to the beginning theme for the last 4 measures back in the key of G. Next we have the trio section which is the B section in the larger picture. This section is also in rounded binary form. It starts in the key of D (the dominant of G) with the first half ending in D making this section closed. The next half flirts with the dominant of D (a major) a little bit but then returns to the original D key at then end of it's section. And finally, we return back to the beginning of the Menuetto or the A section.

Handel- Where'er You Walk

To be honest, I’ve had trouble trying to hear this as Composite Ternary form. I’ve been thinking about what to look for each time that I listen, but it just don’t hear it. While the form does go from an A section to a B section and then back to an exact repetition of A, I guess that I just feel like the A and B section produce a sound and feeling and move in a way that is too similar to he A section, and I therefore find it very difficult to separate the two sections as unrelated identities. In addition, I’m unable to separate section A into Binary, so I definitely cannot see it as composite. Also having a recording in G major might be throwing me off. But I’ll try to analyze it as if it is in Ternary Form. The A section, contrary to the entirety of the piece, is made very clear in structure from sharp cadential motion. The voice part of this section revolves around he tonal center of B-flat, making the key very apparent and giving it a simple feel. The first 7 measures constitutes a contrasting period, a question and answer sort of section ending both times on the f major chord, but the 2nd time sounding as a PAC. The next group is very similar, this time with other phrases ending on the B-flat chord, the first as a half cadence and the second as a PAC. This time the period is very asymmetrical, ending with a very long cadential extension. The section is then ended with a loud ternary section ending on a fermata not as a PAC. This causes the section to be very closed and able to end at that moment. But the piece continues on, beginning in piano. It eventually becomes established in the key of c minor, a quite usual modulation to the ii of the original key. This section consists of a phrase group delaying any cadences until the PAC at the end. The fact that the A section was very closed and that the B section begins softer, the voice part consists of more leaps and less tonal center, and the lack of cadences all contribute to a feeling of an independent B section. However, the lack of change in the rhythm, meter, pace, and fell of the piece makes it hard for me to hear. I think that there are arguments both for ternary and rounded Binary. At the end of the B section, a Da Capo signals a return to the beginning of the piece, and the Finale of the piece occurs at the terminative section of the A section.

Brahms Intermezzo in A major

Let's see if it'll let me post this this time...
This piece is in composite ternary form. It starts out in A major and at first has four symmetrical phrases that seem to make up a phrase group more than periods of some sort. After the phrases, there is a rather sudden modulation. The A section continues until the pickup to bar 49. The line before this contains an extra terminary phrase/cadential extension and then we have the B section. B is in binary form. There is a drastic drop in tempo in bar 57, along with a ritardando beforehand, switch to legato, and a dynamic marking of pianissimo, all of which set this section apart from the others. This lasts until bar 64 when it returns to a part similar to the one we were first introduced to in the B section as can be seen by the left hand's arpeggiations. The A section returns in bar 76 after a ritardando and decrescendo, and then there is a change in dynamic. It begins with the original motive from the beginning of the first A section but then changes into having more of a developmental function.

Brahms Intermezzo in A Major

This piece is in composite ternary form. It starts out in A major and at first has four symmetrical phrases that seem to make up a phrase group more than periods of some sort. After the phrases, there is a rather sudden modulation. The A section continues until the pickup to bar 49. The line before this contains an extra terminary phrase/cadential extension and then we have the B section. B is in binary form. There is a drastic drop in tempo in bar 57, along with a ritardando beforehand, switch to legato, and a dynamic marking of pianissimo, all of which set this section apart from the others. This lasts until bar 64 when it returns to a part similar to the one we were first introduced to in the B section as can be seen by the left hand's arpeggiations. The A section returns in bar 76 after a ritardando and decrescendo, and then there is a change in dynamic. It begins with the original motive from the beginning of the first A section but then changes into having more of a developmental function.

Brahms: Intermezzo in A major, Op. 118, No. 2

Brahms: Intermezzo in A major, Op. 118, No. 2

Well, since everyone and their mom decided to do “where’re you walk” …. I thought I would be different and try this piece that I probably won’t get close to right. So…here we go…
The A section starts off in A major. It starts of with four phrases that don’t really make up a period, but more likely a phrase group. At the end of the forth phrase I don’t think it has modulated yet, and ends with another HC in A major. At the end of measure 16 I feel it modulate and all the natural signs help out, but I’m not sure which key it goes to. This also feels like it could be a “new” section in the A section (possibly binary). Possibly E major, but I’m confused on the C#EG chord…Then I feel it shift again not to much later in measure 20...its keeps moving and I’m not really sure all the keys it covers. The A section starts again in measure 28-29 and ends in measure 48 with a PAC in A Major.

Measure 49 takes the piece into the B section. The tempo is put back in place, and the B section last until measure 76. Well…the beginning of the B section seems to arpeggiate and focus around the F# making me think that it has changed to the minor of A major…F# minor…

The A section ends up returning in measure 76 ending the piece on a PAC in A major….
I believe that this composite ternary because of the A section feeling somewhat binary..
Ahhhhhhhhhhhhhh…I just need to stop this music thing…no good….Obviously music doesn’t want to pick me!!!

Brahms Intermezzo in A major

This piece is a composite ternary form. Each section (A-B-A) can be broken up into their own A and B. I'm somewhat confused as to what to call the A section. Its hard for me to tell if the cadences are in the dominant which would make them IAC, but I could also hear them as half cadences in tonic. If they were in tonic this would make it a phrase group as every phrase ends on a half cadence. If it modulated to dominant it could make these two parallel periods. Bar 17 starts the b section of the A section. It serves as more of a developmental function which makes sense that in a composite ternary form, each section is Binary. The A section is open making the b section in dominant. The B section starts in bar 49 with a new melody of 8th notes. This phrase is repeated then goes onto the b section. The a section of this B section is closed, making the b section in the same key. The b section of the B section serves also as a developmental section. Bar 76 is when the A section comes back in. It is compressed as the b section starts sooner than before. For the most part the material is basically the same, just in different time durations. No brand new material is presented until the end with the terminative function kicks in.

G.F. Handel

Handel's "Where'er you Walk" is a simple ternary form piece. The A section ( in Bb) is assymetrical and closed. The first phrase ends on a HC in measure 7, the second one ending on a PAC in measure 19 with a 3 bar cadential extension. This then changes to the B section with measure 20. There is a major contrast from piano to forte that helps move the piece into the B section. In g minor, this section seems to be rather tonally unstable and lacking a strong antecedent/consequent relationship, therefore most likely making it a phrase group. It just never seems to really find a strong tonal center. This isn't helped by the fact that it ends on a PAC in c minor. After this odd B section, the piece in ternary fashion returns to the A sections and ends...as does my post.

Brahms: Intermezzo in A Major

Oh, how I love Brahms. The Intermezzo is in a composite ternary because the A section can be labeled as binary. The A section comes in 4 bar phrases with the first HC in the key of A at measure 4. This phrase is basically repeated, the only difference being an increase of texture, and an IAC at m. 8 in the key of E. The D sharps are the key that we're switching to E. Yep, repeat the period again, HC (in A) at m. 12. As if I couldn't get enough, Johannes gives us one more and a very expected IAC in E at m. 16. A makes up a parallel repeated period (also progressive).

At m. 17 we're back in A and there's an IAC at m. 20. This is our b section. It's tonally ambiguous and lasts for 12 measures. The chords don't seem to make any sense as to declare a key.

At 29, it seems like we're back at the A section (sigh of relief). At first is appears to be the same, but we'll notice that both the melody and the texture (especially in the left hand) is somewhat different. We end on a nice PAC in the key of A Major.

The B section starts at m. 49 and we're in f# minor. After the first 4 measures there is a HC and then a transition to the key of c* major (the dominant) for a PAC in m. 56 and continuing on for a while in the b section. there's a PAC at m. 60 and another at 64. The original melody from the start is b is being used, but has been transposed to the dominant. At 65 we're back in f# and there's a HC at m. 68. I feel like there's either a HC at m. 72 or that this next 8 bars is a transitory phrase to get us back to the recapitulation of the A section.

A starts up again at m. 76. We get the a once, followed by the b, and then with our a again. Obvious binary. I love it. All this is the same as the first time with four bar phrases and what not.

hmm.. i think i'm sleepy now....that means i'm done!!

Comments not working I think

It doesn't seem to be posting my comments:

Here is what I said to Liz:
So that would make A closed and B open? Isn't that pretty typical of Da Capo Arias? That's all I've seen them do so far.


Here is what I wrote to Mr. Luxury Yacht: This is a real question: um, can the trio be rounded if it begins in F Major and ends in the minor? Can any binary still be rounded if ends in the parallel major or minor?

Handel

One of the most popular beginning tenor arias, and so of course all us voice majors need to have our say. I got back from rehearsal just now, so I’m going to do myself a favor and analyze the shortest piece available.

The piece is written in Bb Major in simple ternary form. The A section (to M. 19) is an asymmetrical, contrasting period. The first phrase ends on a HC at M. 7. The second phrase includes a nice cadenza, which seems to me like a sort of cadential extension from M. 12 to M. 16 when we finally reach an IAC. There is a three measure repetition of part of the first phrase, which ends in a PAC.

The B section is less tonally stable – it starts in g minor and ends in c minor. There aren’t many clear cadences in the B section, however I did notice that we hit a AC in M. 24, and interpolation is used to tack on another AC at M. 26.

The A section is repeated, exactly the same as the first time. Typical Da Capo aria. This piece is simple ternary form because the A sections do not have other binary or ternary forms within them.

Where'er you walk - Handel

This piece begins with a one bar introduction and proceeds to the melody. The first part of the A section is a contrasting period. The words are the same, but the melody and rhythm is not. The first phrase ends with a HC in measure 7 and the second end with a PAC in Bb major with a three measure cadential extention until measure 19. The A section cannot be described as it's own form, therefore it is simple ternary. The B section is one phrase ending with a PAC in c minor at measure 26. The piece then repeats the A section exactly.

Intermezzo in A Major - Brahms Op. 118, no 2

This piece is gorgeous. Yet again does Brahms manage to make a major key nostalgic, gentle, almost softly tragic.

It is a composite ternary form where A is closed, B is open, and A' is again closed.

A is a binary form, and honestly I'm torn as to rather it's rounded or simple. For you see, a' ends in the key of A Major, but it's last four bars--texture-wise--resemble much more nearly the b section, even though part of the original a motive are interspersed and even the return of a is signaled by a variation on the original theme, a' seems too different, and b is also longer with a transition of at least three measures. For a, we have a parallel progressive repeated period with symmetric four bar phrases. The first phrase ends on a half cadence in A, the second on an IAC in E, and then repeated. B lasts for eight measures and is highly tonally unstable. For instance, immediately after the E major chord ending the a section, we have a C major (chromatic mediant) chord which is then followed by a dimished built on a c sharp which resolves to a Dominant seventh built on E (the leading tone of the diminished going to the seventh of the dominant seventh) which resolves to I'm not quite sure what. This is in the fourth measure of b, and then we begin again with another four measures beginning in F major this time (moving up and adding energy like a good development). This second four measure phrase group ends on an E major chord and moves on into three measures of transition to arrive finally at a'. We seem to have the return of the original motive; however, in the third measure it changes direction and we have two repeated subphrases containing new expository material ending the first phrase on a sort of plagal cadence in its eigth measure. We commence the next phrase with a return to the high a, which reminisces of the original a, but does not quite come through. We have this time a four measure subphrase that highly resembles the original a, but a sense of authentic cadence is deprived us as the right hand ends on a d and g on the strong beat of the fourth measure. And so we move on to a rather sequential set of measures pausing again at a weak authentic cadence another four measures on at m42 and finally cadencing strongly at the end of another eight measures in A major(m48), thus making big A closed. You could see the cadence having occured right at m38 with the first weak PAC and the rest just being an extension on that original cadence. It certainly does have a winding down feel to it after that point, and there is no more return of the original a melody after that point.

Section B of the ternary form looks actually like a little, simple ternary form. To begin, a is in f minor and ends the first four measures with a quick HC and then in a following 4m contrasting phrase modulates to what I feel to be C# major and ends on a half cadence leading smoothly back to that original c# in the beginning B melody. Thus a of B is open. Then b of B moves into the dominant minor, so you get that nice sighing effect of the C# major half cadence resolving to the parallel minor. After four bars of the b, we have an IAC cadence on c#, further weakened because it is on the second beat of the measure. Then the phrase repeats and ends now on a PAC in c#. So we have a nice parallel, symmetric period for b. And b is closed. There is then a modified return of a, beginning again on the c#, only this time an octave lower. Again after four measures we end on a HC and then after another four we end on a PAC. I call this ternary because b is stable in its tonality and complete unto itself. Also there are no transitions.

Then at m73 we have a transition of four measures into the return of A. This transition ends on a suspension of the dominant of E with the E already lying in the bass. Here a only plays once before we enter into b and then the a' is the same as before.

So there you have it: composite ternary. A closed--simple binary?, B open (as it ended in c# minor the dominant of its starting f# minor) simple ternary, and A closed.

Everyone should listen to this, cause it's so pretty.

Beethoven: Sonata in F minor, Op. 2, No. 1, III

Now we've made it to the composite ternary part of the chapter so here we go.

This piece is obviously in F minor. The first four bars end with an IAC in F minor, the second four bars with an IAC in the relative major Ab and the third four bars end with a PAC in Ab. There is a progression of stability in each but I have a hard time making any of them a period. After these three four bar phrases there is two bar extension to establish the key of Ab major. The second part of the A section modulates from Ab major to Bb flat major for a PAC in the sixth measure. The next four bars are an extension of the phrase with the exact material being repeated all four times. If you don't know the key by this point, you are a complete idiot! The next phrase is four bars long and modulates again to C major. The next phrase is eight bars long and works in sequence to get from C major back to F minor. Then after this the same extenstion from the first part of the A section followed by another two measure of V and i to make sure the listener knows the key. This could be considered a continuous rounded binary piece, but this is just the menuetto, there is still the trio left.

The trio does a direct modulation into F major. The first section of the trio consists of only one phrase that is ten bars long. There is a change in melody from right hand to left hand in measure 5 but it doesn't feel like cadence until the PAC in C major. The second section goes all sorts of crazy places due to the bass line sequence up for eight straight measure and once again contains only one phrase that is 15 bars long ending on a half cadence in F minor. Then the first part is repeated again but shortened to only eight bars and ends in a PAC in F minor. If this part were alone it would be a continuous rounded binary piece.

But since these pieces are together, they combine to form a piece in composite ternary form.

Handel

Ok... sorry for the repetition with this piece here... I had it all analyzed by 8 pm... but of course I had to watch Lost and Americal Idol (tehehe) so the post is coming a little late.
This is an example of simple ternary form. The A section is made up of an asymmetrical contrasting period. The first phrase cadences in measure 7 with a half cadence. The second phrase cadences on a PAC in Bb Major in measure 19. The next 3 measures can be considered a cadential extension that helps transition into the B section. The dynamic changes from piano to forte during the extension, which makes the piano B section even more effective and noticable. The A section is considered closed, because it ends in the original key of Bb Major.
The B section brings a change in tonality to the key of g minor. There isn't a strong tonal center here, and no real strong antecedent/consequent feeling, so I call it a phrase group. The B section ends on a PAC in the key of c minor. I consider this to be simple ternary form because the B section is harmonically dependent on the A section, and couldn't survive all by itself. There ya have it.

Handel where'er you walk

This piece is in simple ternery form. There is an asymmetrical period in the A section with the first phrase ending at measure 7 on a half cadence, then to a PAC at measure 19 still in the same key (Bb) making it closed. There is an extension for the last three measures of the period, I know its a cadential extension, but I love the word interpolation so much that I just had to say it. Interpolation. There. The B section of the piece is in g minor starting at measure 20. Right away I noticed that this section was alot less stable tonally than the first, which added to the obvious distinction from it also. When listening to this piece, I didn't feel an antecedent, consequent relationship in the B section, also it ends on a c minor chord. That added with the unstableness makes me want to just call this a phrase group, but I'm sure it can be argued otherwise. And as most typical ternery forms do, we return to the A section at the end back into the orginal key. voila, there you have it.

Brahms- Intermezzo in A Major

This piece is rather comlicated, but I'll try to touch on the high points. This is in Ternary form. The A section is measures 1-48, B section 49-76, and then A' til the end.
The A section is in binary form and begins in A major with a half cadence at measure 8. You could say this was a PAC, but I don't feel like it modulates til the next cadence at 16 when it really is a PAC in E major. The b section of the A starts at 17 and can only be described as a phrase group. Then we sort of have a "coda" type thing instead of a return to the a section from m. 38- 48.
The B section begins with a little introduction from m. 49-56. It appears to be in f sharp minor. When we get to the real B section it starts in F# major and uses a cannon-type motion to play around in different keys. Then in measure 65 the B section begins its transition back to A major and finished on a PAC in measure 76.
Then we are back to the A section which is much shorter this time. The song of course ends in a PAC in A major.

I was afraid to get really into this piece because it's sooooo complicated. If someone is looking for a piece to write a good LONG paper on, I suggest this one. I did my best! :-)

"Where E'er You Walk" from Semele by Handel

Alright I also want to comment on this apparently popular piece. This piece is a great example of ternary form, as it is a da capo aria. The A section is a contrasting period, lasting 19 measures. The first phrase ends on a half cadence in measure 8, although we could consider it an authentic cadence in the dominant, since it is tonicized well, but I really felt the tension of a half cadence. The second half of the phrase doesn't repeat material, so we do have a contrasting period. We end on an IAC in measure 16, completing the phrase, but an extension carries us through to measure 19, ending the entire section on a PAC in our original key. This section is tonally closed, and therefore the piece is considered sectional. The B section is very different, as we move modally into minor, and drastically change dynamics to piano. This section is shorter, with only a single phrase group. The first phrase lasting a mere three measures and ending with a PAC in g minor. The subsequent phrase repeats the lyric from the previous line and adds a layer of change, modulating to c minor and ending on a PAC before a link back to the beginning of the piece (da capo). The return of the A section is exactly the same, at least from an accompaniment standpoint. The vocal line can and should be ornamented to liven up the melody. Handel purposely makes the accompaniment subdued during his arias, because at this point the entire plot of the story was told simply through song. The orchestra only rises when the voice falls away. I love this piece for its simple yet stunning vocal line, completely lovely ideal and basic accompaniment. Handel is a master of writing a melody that everyone can identify with, and that will easily get stuck in your head for hours and hours to come.

Mozart, String Quintet in G minor, K. 516

I thought I would go out on a limb here and try something besides Handel. This is a much larger piece, and has quite a bit more musical content than our previous works. This quintet by Mozart is a fairly straight foward complex ternary form piece.
The A section of the piece is a continuous simple binary form. In part a, we have a 12 bar phrase group, punctuated by loud vertical attacks, juxtaposed next to the soft half cadences we hear in places. There is a hint of an IAC near the end. In the b part, the first 14 measures are one big phrase in my opinion, ending on an IAC. This phrase sequences up in the melody, building to the forte chords we found in the first part. After the vertical attacks, we conclude this section on our first PAC, with a common tone modulation transitioning us to the B section of the overall ternary form.
The B section is another continuous simple binary form modulated to the parallel key of G major. This section changes meter, and key, a stark contrast from the A sectionl. In the trio, notice the solo violin part. This section highlights the first violin, with the rest of the quintet accompaning. Filled with phrases ending in HC, this progressive part is a phrase group. The second part is similar to the previous part in the B section, however it is modulated to a minor, (I think). Again we see the soloistic first violin part, with the rest of the instruments filling out the harmonic progression. Notice how Mozart plays with the dominant and iv chords. Finally we end on a PAC in G major, and da capo back to the beginning for a literal repeat of the A section.

Handel-Were'er you walk

I've heard this piece performed before, and have to say that its always interesting to compare what you learn from a live performance, and then from really critically looking at a piece the way that we do in this class. I feel like the piece is fairly straight forward.
It seems to be in simple ternary form, just because it develops this A theme in Bb Major comprised of two assymetrical periods the first ending in m.7 on a half cadence, and the second ending in m.16 on an authentic cadence that at first was difficult for me to pinpoint as being perfect or imperfect but I hear it as perfect. There is a cadential extension after the authentic cadence which is followed by another PAC. Then the B section modulates clearly to G minor, the relative minor, giving a distinct, new flavor and independent idea to the piece. The B section also seems to be a bit tonally unstable and very open with emphasizes its independent nature even more. The A theme returns in the original key of Bb Major completing the cookie cutter "statement-contrast-restatement" format that is so typical of a ternary form. The da capo really gives that away, the Temko talks about the Baroque Da Capo Aria as being a prime example of simple ternary form with its three basic divisons.

handel from burkhart

"where'er you walk" is in simple ternary form because the a section returns completely at the end of the piece and the b section is harmonically independent from the a section.
the a section is an asymmetrical parallel period. the first phrase ends in meausre 7 in a half cadence (the V chord is tonicized--look at all those e naturals!) and the second phrase ends in measure 16 in a PAC in the original key of b flat, making this section tonally closed. there is kind of a cadential extension for 3 measures that ends in yet another PAC in measure 19.
the b section begins in measure 20. it changes key to the relative minor (g minor), but ends in a PAC in the key of c minor right before the return of the a section. the section feels more tonally open than the first, which is probably why the a section is revisited. this section also does not give the listener any particular structural feeling, which is why i think it can be called a phrase group.

"Were'er you Walk" by Handel

This piece is very flexible for personal interpretation. I think it could be heard differently depending one whether a person really listens to the vocal line or to the instrumental parts. When I listen to the vocal accompaniement I hear cadences frequently but after studying the vocal line and the emphasis of the sentence structure, I would say the A section is an asymmetrical contrasting period. The first phrase ends on measure 8 after the vocalist has concluded the word "shade" and there is a semi colon. This first phrase ends on an IAC. Next there is a phrase that ends on a PAC in measure 16, followed by a 3 measure cadential extension. Because this section ends in the same key it began, it is closed. The B section really pops out of the texture due to the preparation at the end of A. The entire A section had been very soft. Then when the vocalist stops singing, the strings are forte on the extension. (I think that's funny. The piece only gets loud when the main focus of the piece stops.) The B section is then very shocking because it has a huge dynamic change to piano and the tonality shifts to the relative g minor. This B section is much shorter than the A. The first phrase of this section is 3 measures long and ends on a PAC is g minor. The next phrase reemphasizes the importance of the sentence and then modulates to c minor, ending on a PAC. Since both cadences are so strong, I think they form a phrase group. Then there is a da capo back to the beginning. This piece is simple ternary form becuase the A section returns and is repeated while the B section remains independent.

Chopin Mazurka in A minor, Op. 17, No. 4

There is a very symmetrical look and feel to this piece. It begins and ends with 4 identical measures and is in an overall ternary form. Following this, we are introduced to the A section, which functions as expository. The first part of it consists of two nearly identical periods. They are both symmetrical and contrasting and the key remains in a minor. The second part of the A section begins in bar 37. It is very brief compared to the length of the A section as a whole - this part only lasts eight bars. It sounds like it remains in a minor but there are lots of accidentals all over. This part definitely sounds like a development of the motive. Following this, there is a return of the motive in the same way we first saw it but there is only one period instead of two, and then a picardy third before the piece progresses into the B section. There is a very clear switch in tonality to the parallel major, A major, right at this point. The density changes in the piano part's right hand in the B section, but the left stays generally the same. It feels less structured than the A section and I found it more difficult to pick out the cadences. Measures 68 and 84 both include PACs but then it progresses on to a HC instead, which is very interesting and deceiving to the ear. A similar thing can be heard in measure 78. The return to the A section (and the original key of a minor) occurs in measure 93. Here we have very similar periods that we saw in the beginning, but it tapers off in the end and includes some material that transitions to the end.

Schumann: Myrthen, Op. 25, No. 1, “Dedication”

Schumann: Myrthen, Op. 25, No. 1, “Dedication”
I have heard this song many times in german diction, and it is fairly simple song, not too long. It is written in ternary form, ABA.

The A section last from M. 1-13, and is in the key of A-flat major. It stays in A-flat major for the whole A section and ends on a PAC in m. 13. It ends in the original key so it is closed, and I view it as a phrase group because the cadences are hard to hear….

The B section is very clearly show with many structural phenomena. There is a tonality change to the key of E major, change in dynamics, texture, and tempo. This B section is completely different from the A section. The arpeggiated chord accompaniment has changed to steady quarter note block chords. The vocal line seems to have less motion and more sustained. The B section last from M. 14-21, and ends on a HC. This next little phrase I believe functions more as a transitional section delivering us back into the A section.

The A section picks back up in measure 26, but doesn’t restate the original idea until measure 30. This whole A section is back in A-flat major and ends on a PAC with just the piano part adding sort of a cadential extension repeating what the vocal line just had...

Peasant Dance- Bartok

Well, I'd like to start out by saying, what the heck key is this in???? Anyway, this piece is an example of ternary form. The A section goes from the beginning until the poco piu mosso marking. The melody begins in the fifth measure, but I still have a hard time finding any real sense of tonality, or a strong pull towards do. The A section seems to be a parallel period. The first phrase ends on a PAC in G major in measure 12. The second phrase ends on an IAC or a PAC, but I am not exactly positive which. The last 9 measures of the section seem to be an extension, which develops the theme as well as creates a transition into the B section. The structural phenomena worth mentioning are crescendos, sforzandos, repetition, and of couse the changes in tonality. This section has modulated by the end, so it would be tonally open.
The B section is much softer and more accented than the A section, and it has a completely different feel and mood.The rhythm and the texture are also much different from the A section. There is a call and response kind of thing going on between the right hand and the left hand. There is then a 5 bar transition back to the A section. As far as I can tell, the B section is tonally open.
We then have the return of the A section, but it is differeny rhythmically and texturally than it was the first time. There are also embellishments added.
Thats it as near as I can tell... Id love to go over this one tomorrow so I could figure out what is happening with all the key changes...

Brahms- Romanze, Op. 118

I’ve always loved Brahms because of the great melodies and exciting energy and his piano pieces, but now I have even more reason to like him for making the form of this piece so clear. This piece is in textbook composite ternary form. Sure, I could make my assumptions anyways since all the pieces in this assignment are supposed to be in Ternary form, but I could have recognized the form even without the music after just one listening. The A section is itself in rounded binary form. The first phrase ends on a half cadence made clear by dynamic change, and then the motive returns in the next phrase to close out the A section. The ending is made clear by the crescendo and ritardando to the final note. Theme a short transition leads into the B section. The B section is very similar and has a developmental function. It does not clearly modulate but is tonally stable. The change from espressivo to piu espressivo and changes in dynamics, rhythm, and texture make it clear that this is a new section. The section lasts only 4 measures before returning to the A section, and therefore also has a transitional feel to it. The A section motive returns with rhythmic variation in the tenor voice of the left hand. The entirety of the A section then ends with a diminuendo and ritardardo on an A major chord, the dominant of the new key. The B section begins in the new key of D major, in cut time, in molto e dolce sempre, introduces new texture and rhythmic design, and does not repeat the old motives. All of these make it clear that we have arrived onto a new section. The B section goes on for quite a while without sounding anything from before. Then finally, with a short transition hinting at the material of the A section, the motive of the A section finally returns. It returns to expressivo. This time, there is only one theme and it does not stand on its own as a complete form. There is a short terminative section with a ritardando and diminuendo that closes the piece out on an extended authentic cadence. And voila, you have Composite Ternary form.

Bartok Peasant Dance

The piece is in ternary form starting in g minor/major. The A section lasts from the beginning to the poco piu mosso after the 3/4 bar. The melody begins in bar 5 in the right hand accompanied by the left hand with block chords. The melody is broken up into a parallel period with an extra period on the end that develops the theme a bit. Then, after that phrase, a transition phrase i splayed to lead us up to the A section. Some structural phenomena of note would be the crescendo and use of repetition in the right hand just before the B section, the use of the 3/4 bar, the sf's, and the grace notes. The B section begins at the piu mosso and goes to the meno mosso. The B section is an alternation of 8th notes between the hands, slurred, and at a softer dynamic. The use of accents and syncopations are effective. The hands finally come together and get louder and louder. Another 3/4 bar pops up and the dynamic is raised along with having a ritardando. This leads into a 5 bar transition phrase back into the A section, pointing out that were back in G. The A section begins at the meno mosso but the rhythm of the melody has changed, as well as the mood and the texture. It is less heavy and more light. The melody uses 16th notes and 8th notes vs quarter notes and 8th notes. Then both hands go crazy playing runs of 16th notes together, providing a transition to the cadential material. A coda/tag is added on to the last 6 bars. Both hands are in unison rhythm and specific articulations add character. It ends on a g major chord, however, it sounds like a half cadence, perhaps leading to the next piece in the volume.

CHOPIN- Prelude n F# Major Op. 28 No.13

I really liked this piece, but for some reason I just like Chopin in general, it makes me basically want to be a better piano player. This piece contains a lot of characteristic traits that are commonly found in his music, such as lyricism as far as melody, a push and pull or rubato as far as tempo, and interesting and unique harmonic structure.
At first it was a little hard differenciating between a phrase group or a double parallel period for the opening of the A theme. I think I have been so used to binary forms that I immediately wanted to call this an open continuous binary just by looking at the first period. However, it is actually a pretty clear ternary form. I ended up deciding that it had to be a double parallel period with asymmetrical phrases both ending on half cadences. There is a modulation to the dominant, and its hard for me to pinpoint exactly where it occurs but listening to the piece, it is definately something that you can hear. Over the course of the period, I felt like the rhythm was really played with, stretched, pulled and molded which was kind of a cool thing. The second half of the period doesn't feel as tonally sound to me as the opening, it ends on a strange cadence that gives an uneasy tone to the piece. The section ends though with what seems to be a cadential extension starting in mm. 18-19 which really gives a sense of finalization and was more tonally satisfying.
The B section is somewhat reminiscent of the A theme as far as a few rhythmic and harmonic motives go, and I was just happy to see it end on a PAC back in F# minor after the previous stint of harmonic instability.
The return of the A theme, the third and final section of the piece brings about a similar period structure, however, this time the periods seem to be contrasting rather than parallel. The phrases are also still asymmetric, but this time they are shortened by one measure each when compared with the initial introduction of the period in the very beginning of the piece. Again there is a cadential extension just like at the termination of the A theme before.
This is a cute little piece, and was enjoyable to delve into...

Bartok - Mikrokosmos "Peasant Dance"

This is a very interesting piece as it only really flirts with and teases one's sense of tonality. In addition, it moves quickly, catching the listener off guard.

The first four measures are a sort of vamping introduction with a g and an f sharp together on the first beat (the piece is in 2/4) and a g an octave down on the second beat. The f then becomes natural as the melody in the right hand begins, giving the listener a sudden jolt--for it really does seem almost tonal for a moment. The right hand makes one eight measure phrase and ends on a half cadence on G the dominant(we actually turn out to be in c minor, although the key signature marks no accidentals). After a pickup from the last bar of the first phrase and then six measures, we come to an almost deceptive feel which then resolves in the right hand to more a tonic -- running up the scale with c on the first beat. However, in the left hand, the tonality does not fit at all with c minor. By measure twenty five, we have a repeating G in the right hand voice, which could function as insinuating a dominant, or even a progressive modulation into G, but underneath in the left hand, we have an e, a g# and a c# that really wash out any c minor or G major that might have been inferred. These last nine bars of A plus pickup represent for me a transitional section (as that c# turns into a d flat) that perhaps elides with a sense of closure for the A section.

In B we are now in Ab major and the temp picks up a little. Also, he switches off the voice in a little contrapuntal immitation. The two voices (each hand only playing one line) begin to interact more closely until they unite together in a unison run all the way to the bar of 3/4 and the return of G in the bar following. I could almost divide this up into two phrase groups that any real cadence, but suggest an IAC after 8 measures, and then a HC after the next ten measures--thus making this section open.

Again we have four measures of introduction, though up an octave with the right hand playing out a syncopation on the g. The left hand plays much higher this time, and there are now sixteenth note runs in the right hand. In the thirteenth measure of this A' section, both hands join in complimentary 16th note runs, and suddenly change texture completely in bar 16. There the dynamic is marked forte, the tempo is up (as it was even slower than the first A originally), and we have this terminative section that establishes the feel of c minor firmly though in a rather unorthodox sense, ending on an open fifth on G. So A' is also open, ending on a half cadence.

The section divisions are marked with an added bar of 3/4 (both at the end of A and B) and through tempo markings. A seems to not only be open in the sense that the right hand sung out a G until the end of the bar, but that c# functioned as a d flat for the B section, giving it a HC feel in the Ab major as well. Also the differences in texture make each section distinct. As for A' ending in the original key, at least it does not play the c# so at least leaves us with a HC feel in the original key. In A', I cannot really seem to find cadences or phrase groups, though the score is divisible through texture changes and tempo markings. Because the sections are small and lack higher organization in themselves, I see this as a simple ternary in which all sections are open (though B and A' end on their own dominant, and A seems to want to mix both the dominants of B and A').

Schumann: Myrthen, Op. 25, "Dedication"

This a beautiful example of a simple ternary form.
Part A, (mm. 1-13), a phrase group in Ab major, represents a tonally closed expository section ending on a PAC. There may be argument for a Half Cadence at the end of measure 5, but I don't really hear one. Schumann uses varied rhythms and articulations to correllate with the lyrics. The busy accompaniment moves under a soaring soprano line. It is a beautiful exposition, with the high point of the section coming on the seventh of a secondary dominant chord. The section ends ritarding and decrescendoing gracefully into a PAC.
The changes in tonality, accompaniment style, and motivic content provide the contrast necessary for part B. In the foreign key of E major, we encounter another phrase group. The first two phrases are nearly identical, ending on HC, with the second phrase embellishing the B theme. The final phrase is clearly developmental and transitional, ending 4 bars later, leaving this section tonally open. Important phenomena include dynamic changes, embellishments, modulation, and a rhythmically slow contrasting theme.
After the middle section, we transition back to the A section and Ab major, signalled by a ritardando. The recapitulation is varied, starting and ending different from the beginning. Again I think I would consider this to be a phrase group, however, there are a few more PACs making this concluding section a bit more organized. The piece ends on a PAC, followed by a cadential extension in the piano.

"Peasant Dance", by Bartok

ok...

The A section is in the key of g minor starting in measure 4, due to the amount of leading tones at the beginning, but it is kind of difficult to say because of the occurence of Ab's later on. Actually, the more I look at the score, it's very hard to tell what key this is in. I thought of the Ab major chords as Neopolitan chords. Anyway, The left hand begins the piece the first four measures with a very heavy feeling; the mood of the piece changes many times. I felt an IAC at the end of measure 12, but only very briefly. I felt section A was a period made up of 2- eight measure phrases. Measure 21 repeats the motive in measure 19, and Bartok plays around with it rhythmically through syncopation, giving it more of a compound as well as an accelerated (yay) feeling. I felt this section (measures 21-27) as being terminative as well as a transition to the B section.

Measure 28 begins the B section, this time with many added Db's, as well as some Gb's. There are 8 measures of kind of a call and response between the left and right hand, until in measure 35 they being to mesh together more. I felt like maybe this could be in f minor, because the f seemed the most tonic to me. Again, Bartok majorly plays around with syncopation, more in the B section than anywhere else. Measure 46 is terminativeand again, transitioning again back to the A section. It ends tonally open.

The return to the A section isn't exactly like the beginning A section, and is more of a variation of the A section. You can still hear the melodic line standing out from the 16th note runs, however. The A section ends tonally closed (because the piece itself wouldnt be closed) The tempo by this time has changed a little, but sounds much faster because of the 16th notes. I noticed that each section in this example of ternary form is independent from each other, and is additive.


The left hand also just plays the chords throughout the piece, with the melody being solely in the right hand.

Peasant Dance from Mikrokosmos - Bartok

This piece is quite odd. It begins with a 4 bar introduction in the left hand. When the right hand comes in there are many accidentals and there is not a real feeling of tonic. In the first phrase, which ends in measure 12 with a PAC in G major, one can establish a fain connection of G being the key of the piece. There is a shift in the second phrase into a feeling of c minor and the phrase ends with either an IAC in C# with the G as a non chord tone, or a HC in F#. The last 9 measures of that phrase are an extension. Because the A section modulated, it is open. The B section starts with a completely different mood. The melody is continuously passed between hands and is very fluid. It seems to me that the piece is made up completely of phrase groups and sections. The B section is a section that builds until measure 45. Then, there is a transitional part at 46 through 51. The A section is then repeated with embellishments. Simple ternary form, that's what I say.

Chopin - Prelude in F#, Op. 28 No. 13

This is a very difficult piece to analyze in that there are many phrases or sections that could be interpreted many different ways. Also, F# isn't the easiest key in which to analyze harmonies.

It is in simple ternary form. The first A section, "Lento," is 20 measures long and is comprised of an extended double parallel period. The first half is made up of two asymetrical phrases (4 and 3 measures long, respectively), both ending with half cadences (I'll call them 'a' and 'b' from now on). In measure 8, Chopin uses a "snakey" line in the left hand to descend down the F# sacle from C# to the tonic, which begins the second half.

The second half of this period begins with the same 4 bar phrase from the first half, varied in that the rhythm of the melody is embellished. However, the second phrase is varied in an important way - it centers first arond the IV chord (Chopin uses a V7/IV instead of I). This phrase ends with a very unsatisfying half cadence, which leads into a third phrase - thus making the period extended.

The third and final phrase has this basic progression - V/ii ii V I. The phrase is extended from the third beat of m. 18 through measure 20. This extension has a terminative feel, so the first A section is strongly closed.

The B section begins with two phrases that have the progression ii V I first centering around the dominant (E), then the subdomimant (B). This sequence feels pretty stable and these four measures are therefore expository. However, the second phrase is extended with a transitional section that lasts from m. 25 to m. 28. It ends with a PAC in F# that has an F# pedal bass.

The return of A at the Tempo I sounds like the b phrase of the first A section, because it begins with the V7/IV chord. It begins with a contrasting period this time, with two asymmetrical phrases (3 and 2 measures each). Then Chopin added an extension that has a terminative feel from measures 34 to the end.

This piece has many of Chopin's trademarks - tempo rubato, which gives the piece an improvisatory feel, and a very sensitive, lyrical melodic line. It makes me feel like I'm in a cozy living room watching a fire calmly flickering in the hearth.

Man - boringly in-depth but I was especially interested after analyzing Chopin's Mazurka. The two are very similar formatic...ally...

Chopin: Prelude in F# Major Op. 28 No. 13

The more i listen to Chopin the more I enjoy him. His pieces are just like listening to a person tell a story. Every piece is filled with such emotion and attention to detail, it's absolutely brilliant. This piece is no different.

We start off with a repeated phrase group. The first five measures produce a I-I-I-V-I effect ending on a PAC. This phrase is repeated. The chord are played on the downbeat, with arpeggiations on the next 2 beats. The third time through we have a shift, instead of the V chord we delay it with a V/ii, followed by a modulation to the dominant, with a V chord held through two measures before resolving to our PAC in the dominant. Next we have a quick wandering passage that returns us to the original key, which is repeated, with small changes. When we repeat this section a Non-chord tone grabs our attention, signaling a larger change is about to occur. This NCT (a fa in a I chord) doesn't really change our key, but allows us to elaborate on the original theme, adding an extension to the section, moving away from the PAC deceptively (the fa's resolution would make it an IAC anyway), before resolving finally after a 4 measure extension to a PAC in F# Major, closing the section. We have another short linking measure, leading us down to our B section. The B section begins in D# minor (relative minor) and we have a significant timbre change at the eighth notes take on a different feel, instead pulsing (double-stopped) instead of just adding a coloring to the downbeat. The melody is a little slower, as the eighth notes become more filler material, the melody is allowed more breadth of phrasing. This section is much shorter than our A section, consisting of only one repeated phrase. Although we are in D# minor we really tonicize other keys, adding to the transitional feel of this section. We cycle through keys, with simple cadences in each, never feeling true stability until the F# Major returns, finally ending with a PAC. Our return of the A section is half as long as our original, as we move straight to the second time through. We have the return of our NCT as well as the extension that is tied to it. We PAC to end the piece, but still remain wandering a little, as the melody doesn't settle right away, extending it two bars further, before finally settling down.

I love this piece because I can totally see all the things it is a precursor (sp?) for. Chopin's sense of pitches and their interplay can directly be linked to later 19th century works, as well as jazz music of the 20th century. I could definately feel the wandering line of a jazz piece, as the chords were fairly simple, but the direction Chopin took them in was not exactly expected. I would consider this a simply ternary piece, but barely. We do have two complete sections, but the return of the A could easily be tied to the B section. I'm not convinced that this isn't a rounded binary form, since the end of B and return of A lack a definately delineation betwen the two. The A section is closed, since we begin and end in the same key. Since the B section moves to the relative minor we do fit the criteria of having separate keys, and the thematic shift is evident. However, I'm not toally convinced that Chopin wasn't thinking rounded binary...

Bartok's Peasant Dance no. 128

I don't have the faintest idea what I was thinking when I decided to analyze this piece but I can definitely say that it is a challenge! There is no key signature notated but from the many accidentals in the A section I'm going to guess it is in g minor due to the leading tone and the B flat and E flat. The first four measures seem to be an introduction. Then it goes into an eight measure phrase. This phrase sounds like it ends on an IAC but it sounds incredibly weak! I decided this was a phrase merely because I didn't want to call the entire A section one phrase and I noticed that the following tonal motive seemed to relate closely to this phrase. Although the notes were very similar, the rhythm was quite different. This phrase sounds like it has a very long cadential extension on the end. The phrases are contrasting. This extension goes into an enharmonic modulation of b flat minor. This transitional B section is very contrapuntal. It doesn't sound like a tonal development of the A section but is similar rhythmically. At the end it sounds very similar when there is the same descending pattern of fifths as the ascending pattern of fifths in the A section. Then, through a common tone modulation, the A section returns. It has a lot of extra harmonic excitement this time. The piece ends on a major one chord. I think it is simple ternary form which is really quite ironic because the piece doesn't seem simple at all. I like the main theme. I also like that before every big section change there is a 3/4 measure. It matches the feeling of many music students. We don't know whether we're entirely stable at times, we certainly have many confused moments, and we never seem to stop, just as this piece seemed to end hanging on a chord that had nothing to do with the entire rest of the compositional make up of it.

chopin Mazurka Op. 67 No. 1

Ok, this piece starts out in G (obviously) and is in simple ternery form. There is an intro that restates the first chord for four measures. The piece then goes into what I consider the main part of the A section. The section is closed remaining in the key of G. The section starts at piano and moves its way through gradually getting louder, ending the A section on fortissimo, with the exception of a few crescendos and decrescendos on the way. There is a huge G major chord ending the section and then we start the B section again at piano. This totally threw the B section out there in the open because of the dynamic difference. The dynamics in the B section come in four measure phrases, with the beginning starting at piano and ending at fortissimo. The B is open in contrast to the A section, ending on the dominant of G before moving into the A section at 45 where the piece restates the A section (minus the four measure intro) in its original key.

Bartok Peasant Dance

The A section in this piece begins with a four bar introduction in the bass line. the right hand begins to play, too, in a simple rhythm but fairly complex melody in measure 5. it is difficult to say what key this piece even though the key signature is indicated (no sharps or flats), and accidentals are all over the place, as is typical in bartok's works. as far as structural phenomena is concerned, there are well placed indications for dynamics (including sFz's) and the texture in the A section is relatively thick because the left hand plays chords while the right hand plays the light melody.
the B section moves slightly faster than what was previously heard. the hands take turns playing eighth notes, so there is constantly an eighth note pulse. the hands take a scalar run together as the B section comes to an end. to me, the section does sound tonally open, but transitions somewhat smoothly into the return of the A section.
When the A section does return, it is not exactly the same as the first exposition melody. the melody in the right hand is much more active with 16th note runs. it does play on the first melody, however.
it is obvious to the listener that the A and B sections are independent from each other, both rhythmically and tonally.

Chopin - Prelude in F-Sharp Major Op. 28 No. 13

Once again we are in the simple ternary section of the book, and this is the form of this prelude.

The first phrase consists of the first six measures. This phrase modulates from F-sharp major to C-sharp major ending on a PAC though the PAC is short lived. You could make arguments for some PAC's in F-sharp throughout the first few measures, but the initial chord is immediately followed by the seventh in the bass which takes away the strength of the PAC. The next measure and a half just has the bass line doing a transitory line back into F-sharp major. The second phrase begins parallel to the first; measures 9-12 are almost identical to measure 1-4. However, the downbeat of measure 13 has the seventh in the tonic chord and from here the piece wanders around and no cadence is reached until measure 18, where a PAC in F sharp is achieved. The next two measures make sure the listener knows that the key is F sharp minor and serves as a terminative function for the A section. This makes this section closed.

The B section has major differences compared to the A section. The eighth notes in the left hand become double stops, an eighth note line is added to the right hand, a key change and markings of "piu lento" and "sostenuto" on the music. I don't have a 100% feeling of key for this section, but since most of the bass line is hanging around the key of D sharp minor, it is probably the key. Once again, there are feelings of tonic but not strong enough to be a cadence. This section is nine bars long and modulates back to the original key of F sharp major.

The return of the A section is only ten bars long. The first couple of bars are parallel with the opening A section, but then there is additional development of the main theme and a PAC in F sharp major in the sixth bar, eighth bar, and the last two bars serve a terminative function to end in the key of F sharp major.