Tuesday, March 15, 2005
RAAAAAAAAAVVVVVEEEEEEEEEELLLLLLLLLLLL
Okay...this is going to be short and sweet for I am tired. It is in composite ternary form with each section A, B, A consisting of a binary form. The A section is rounded continuous binary form composed of a phrase group. The b section is quite developmental as one would expect. The a section of the B section is a phrase group. The b section is developmental again and we have a return of A making it sectional rounded binary. The return of A is almost identical except for some voicing differences. There is a large cadential/coda extension on the end. I love Ravel.
Beethoven, Op. 14, No. 1
The allegretto begins with a parallel symmetric period lasting from measures 1-16 with a HC at m. 8 and a PAC in m. 16 (in the key of e minor). This period is then repeated with the same cadential structure from bars 17-32. The only difference is that there is a HC in m. 32 instead of the PAC. The first phrase is again repeated, but the octave differences are inverted (it's high first, then low, on the repeat). The rest of this section until the Maggiore is a a huge set of cadential extensions turning into a terminative phrase. We end on a PAC in E Major.
The Maggiore is in the key of C Major (CHROMATIC MEDIANT!!!) There is a HC in m. 4 with the dominant seventh chord. Measures 73-75 seem to be tonicizing a minor, while G Major is tonicized in the Measures 76-78. Measures 79-88 is just a long phrase group that keeps taking a motive and displacing it in different keys. By the time we reach m. 89, we're back in C Major with the opening motive of the Maggiore. There is a huge HC at m. 100, and the coda repeats this last phrase and tags on a cadential extension to end the piece in e minor on a PAC.
The Maggiore is in the key of C Major (CHROMATIC MEDIANT!!!) There is a HC in m. 4 with the dominant seventh chord. Measures 73-75 seem to be tonicizing a minor, while G Major is tonicized in the Measures 76-78. Measures 79-88 is just a long phrase group that keeps taking a motive and displacing it in different keys. By the time we reach m. 89, we're back in C Major with the opening motive of the Maggiore. There is a huge HC at m. 100, and the coda repeats this last phrase and tags on a cadential extension to end the piece in e minor on a PAC.
Ravel: Le Tombeau de Couperin, V Menuet
So, this piece was actually dedicated to Jean Dreyfus--as in the infamous Dreyfus affaire in France over a man in the french army (jewish ethnically whereas the army was heavily influenced by the French Catholics) who was unfairly accused of treason, and many of the artists got up in arms about it. Still he was sent to a prison camp in South America for many years until he was finally acquitted. (I'm just proud I still remember this)
Also, my mother used to play this as I was growing up. Her score had no indication of greater work or composer, but now I know who wrote it.
It is in composite ternary form. The first A section is a rounded, open binary. The a of A is composed of two symetric, parallel phrases of four measures each which form a phrase group. The first is in G and ends in an authentic cadence on the tonic that in my opinion is weakened by the use of la (e) in the V. The secound four measures modulate to e minor and end on a V in e. The b of A is very developmental and even expository as the development births new turns and arcs of melody, using the basic material of a as its guide. It runs for fifteen measures without real cadence, the melody constantly pushing forward, then ends on a dm chord in 2nd inversion, thus returning to a' with the melody is set an octave higher and not quite back in G major. The first phrase of a' ends with a PAC in a minor and falls into a c minor chord (chromatic mediant?) and then returns to G for the second phrase where it ends in a PAC (with that e still in the V). Though the transition is long, it forms only one real phrase and is tonally unstable. It draws its line from the melody of a and leads back to an altered return of a; therefore, I judge it to be rounded binary.
The B section has no transition leading into it. The a of B is composed of two parallel eight measure phrases in d minor which are practically identical except for the addition of a motive in the upper register of the right hand in the second phrase. Both phrases have sort of an authentic resolution melodically, except that the chord preceding is a VII in dm with a do in the base, plus the bass of the tonic chord at the end of each eight measures is G. We again have a flowing b section that develops on the material of a, using the same rhythm up until the end and transition back in to a'. There's a sort of rest at the end of 13 measures, because it lands on a d minor chord, but it moves on for three measures more and then into two measures of transition for a one phrase return of a where the chords are slightly different, thought it ends with that same odd cadence on the tonic, thus making this a closed (or sectional) rounded binary.
The return of A is about the same, but there is a large extension at the end where the melodic gesture is shortened and repeated for eight measures and then changes texture, fading into real terminative section which lasts about 17 measures--the texture gets very thin and gives a sense of winding down with little returns of familiar activity to end finally with an open fifth on the g in the bass and a major D7 in the right hand--so, sort of returning to original tonic.
The ternary form is closed and composite (since we have these nice binary forms always returning to their original key, thus closing the major sections). I love this piece. When I hear it, I see my mother, I see my youth. I remember the piano when it was something mystical, when music was a strange and uncharted water.
Also, my mother used to play this as I was growing up. Her score had no indication of greater work or composer, but now I know who wrote it.
It is in composite ternary form. The first A section is a rounded, open binary. The a of A is composed of two symetric, parallel phrases of four measures each which form a phrase group. The first is in G and ends in an authentic cadence on the tonic that in my opinion is weakened by the use of la (e) in the V. The secound four measures modulate to e minor and end on a V in e. The b of A is very developmental and even expository as the development births new turns and arcs of melody, using the basic material of a as its guide. It runs for fifteen measures without real cadence, the melody constantly pushing forward, then ends on a dm chord in 2nd inversion, thus returning to a' with the melody is set an octave higher and not quite back in G major. The first phrase of a' ends with a PAC in a minor and falls into a c minor chord (chromatic mediant?) and then returns to G for the second phrase where it ends in a PAC (with that e still in the V). Though the transition is long, it forms only one real phrase and is tonally unstable. It draws its line from the melody of a and leads back to an altered return of a; therefore, I judge it to be rounded binary.
The B section has no transition leading into it. The a of B is composed of two parallel eight measure phrases in d minor which are practically identical except for the addition of a motive in the upper register of the right hand in the second phrase. Both phrases have sort of an authentic resolution melodically, except that the chord preceding is a VII in dm with a do in the base, plus the bass of the tonic chord at the end of each eight measures is G. We again have a flowing b section that develops on the material of a, using the same rhythm up until the end and transition back in to a'. There's a sort of rest at the end of 13 measures, because it lands on a d minor chord, but it moves on for three measures more and then into two measures of transition for a one phrase return of a where the chords are slightly different, thought it ends with that same odd cadence on the tonic, thus making this a closed (or sectional) rounded binary.
The return of A is about the same, but there is a large extension at the end where the melodic gesture is shortened and repeated for eight measures and then changes texture, fading into real terminative section which lasts about 17 measures--the texture gets very thin and gives a sense of winding down with little returns of familiar activity to end finally with an open fifth on the g in the bass and a major D7 in the right hand--so, sort of returning to original tonic.
The ternary form is closed and composite (since we have these nice binary forms always returning to their original key, thus closing the major sections). I love this piece. When I hear it, I see my mother, I see my youth. I remember the piano when it was something mystical, when music was a strange and uncharted water.
Monday, March 14, 2005
Ravel: Lew Tombeau de Couperin, Minnuet no. 5
The A section of this piece functions as an expositary unit, and it introduces the motive that repeats throughout. Phrases often end w/ cadence, but they inconclusive and therefore phrase groups. Motive keep on going and is varied in key and register.
Then the material begins to vary, changing to a more minor, ascend up or descending down with a cresc./descr. This is not very long and acts not only as developmental but also as a transition back to A. The motive comes back in the original key and continues to repeat over and over with variation. Use of same motive throughout changing only in location on keyboard gives feeling of never-endingness. This A and B section serves to build a larger A section with Rounded Binary form. The piece as a whole is Ternary Composite form, as the B section is heard mostly as an independent. This section is in minor mode and gives a feeling of wandering and melancholy. Therefore, it is much more varied and less repetitious. Then the A section finally returns towards the end of the piece, and then terminates the piece.
Then the material begins to vary, changing to a more minor, ascend up or descending down with a cresc./descr. This is not very long and acts not only as developmental but also as a transition back to A. The motive comes back in the original key and continues to repeat over and over with variation. Use of same motive throughout changing only in location on keyboard gives feeling of never-endingness. This A and B section serves to build a larger A section with Rounded Binary form. The piece as a whole is Ternary Composite form, as the B section is heard mostly as an independent. This section is in minor mode and gives a feeling of wandering and melancholy. Therefore, it is much more varied and less repetitious. Then the A section finally returns towards the end of the piece, and then terminates the piece.
ravel
So, this piece is in composite ternary form, because each of the sections seems to have two inner parts.
The first part of the A section consists of two phrase groups--the first phrase ends in an authentic cadence in the key of G, and the second ends on a B major chord. the next part of the A section begins after the double bar, back in the key of G. This section feels also like a phrase group--there isn't a period feel to it, especially since the harmonic motion doesn't exactly allow it. this section does end in a PAC, however, so the complete A section is simple, closed binary form.
The B section has a rounded binary feel. the piece dabbles in the key of d minor, and begins with two phrases ending in perfect authentic cadences. again, it never feels like a period to me--this part of the piece is almost too relaxed for such structure. this section also plays with the original melody in a new key, so it feels rather developmental.
The A section returns around measure 73 to round out the piece--only the melody is played an 8ve up and is not repeated. and then there's some weird extension at the end! like this: "blah!"
The first part of the A section consists of two phrase groups--the first phrase ends in an authentic cadence in the key of G, and the second ends on a B major chord. the next part of the A section begins after the double bar, back in the key of G. This section feels also like a phrase group--there isn't a period feel to it, especially since the harmonic motion doesn't exactly allow it. this section does end in a PAC, however, so the complete A section is simple, closed binary form.
The B section has a rounded binary feel. the piece dabbles in the key of d minor, and begins with two phrases ending in perfect authentic cadences. again, it never feels like a period to me--this part of the piece is almost too relaxed for such structure. this section also plays with the original melody in a new key, so it feels rather developmental.
The A section returns around measure 73 to round out the piece--only the melody is played an 8ve up and is not repeated. and then there's some weird extension at the end! like this: "blah!"
"le tombeau de couperin" By Ravel
ok, so I accidentely got the orchestral version of this piece, and there were too many people using Naxos...but I think it will work anyway. There are a lot of dynamic changes throughout the piece, as well as changes in register.
The phrasing was kind of confusing at first, but I felt like this section was made up of phrase groups (2 of the major phrases ended on Half cadences in the key of G)... The A section is in simple binary form (the two parts to this section are separated by a double bar), and it's closed. It starts a development section (it also felt transitory) right after the first bar line, and the last chord ends on the tonic chord.
The B section starts out in measure 24, and the mood changes to more of a smooth, flowing feel because the right hand has all of these stacked chords while the left hand does very minimal work. The left hand also changes clefs constantly, which adds to the flowy feeling of this section. Those first 2 eight measure phrases end on an IAC (in d minor). The climax of this piece is at meausure 57, where it's finally blossomed into this tremendous Db major chord (7 notes in the right hand!). This section is in rounded binary form, ending on a pac in d minor.
Right after the b section, we move on to this transitional section, which is made up of restatements from both the a and the b sections. They're played at the same time, which sounds very cool. These restatements are pretty much the same as there positions before, except that the A restatement is mostly played up an octave.
The last section of this piece has really nothing to do with either of the sections-but the ending was just gorgeous (I really loved the orchestral version, but I'm sure the piano sounds just as good.
The phrasing was kind of confusing at first, but I felt like this section was made up of phrase groups (2 of the major phrases ended on Half cadences in the key of G)... The A section is in simple binary form (the two parts to this section are separated by a double bar), and it's closed. It starts a development section (it also felt transitory) right after the first bar line, and the last chord ends on the tonic chord.
The B section starts out in measure 24, and the mood changes to more of a smooth, flowing feel because the right hand has all of these stacked chords while the left hand does very minimal work. The left hand also changes clefs constantly, which adds to the flowy feeling of this section. Those first 2 eight measure phrases end on an IAC (in d minor). The climax of this piece is at meausure 57, where it's finally blossomed into this tremendous Db major chord (7 notes in the right hand!). This section is in rounded binary form, ending on a pac in d minor.
Right after the b section, we move on to this transitional section, which is made up of restatements from both the a and the b sections. They're played at the same time, which sounds very cool. These restatements are pretty much the same as there positions before, except that the A restatement is mostly played up an octave.
The last section of this piece has really nothing to do with either of the sections-but the ending was just gorgeous (I really loved the orchestral version, but I'm sure the piano sounds just as good.
Ravel: Le Tombeau de Couperin. No. 5, menuet
This piece is in composite ternary form. The big A section encompasses Measures 1-32. In this A section, there is a smaller rounded binary section: a b”a. The a section is a contrasting, asymmetrical, progressive period (M. 1-8). The antecedent phrase ends on a AC, and the consequent phrase ends in B Major, making it continuous. The b section (M. 9-24) is more of a phrase group. We return to another, a prime section from M. 25-32. It ends in G Major.
The B section is also in rounded binary form. The a section starts in d minor and lasts from M. 33 to 48. M. 33-40 is a contrasting, symmetrical period; the first phrase ends on an AC while the second phrase ends on a PAC. M. 41-48 is a slight variation of the previous period, with elaboration in the treble. Still, the cadences are the same. The b section lasts from M. 49-64. It is more of a phrase group, and has the “fonte” feeling, in that it climaxes around M. 57-58. The b section uses the same rhythmic scheme as the a section, but expands upon the melody. The a section returns in M. 65-72, and is exactly the same as the first time, although its played only once through.
The A section returns in M. 73! It’s in the original key of G Major, but the treble is played up the octave. The a section lasts until M. 80. Unlike the last time, it is only played through once. The b section is the same as the last time, and ends in M. 96. The smaller a section continues until M. 104. There is a long terminative section from M. 105 till the end.
The B section is also in rounded binary form. The a section starts in d minor and lasts from M. 33 to 48. M. 33-40 is a contrasting, symmetrical period; the first phrase ends on an AC while the second phrase ends on a PAC. M. 41-48 is a slight variation of the previous period, with elaboration in the treble. Still, the cadences are the same. The b section lasts from M. 49-64. It is more of a phrase group, and has the “fonte” feeling, in that it climaxes around M. 57-58. The b section uses the same rhythmic scheme as the a section, but expands upon the melody. The a section returns in M. 65-72, and is exactly the same as the first time, although its played only once through.
The A section returns in M. 73! It’s in the original key of G Major, but the treble is played up the octave. The a section lasts until M. 80. Unlike the last time, it is only played through once. The b section is the same as the last time, and ends in M. 96. The smaller a section continues until M. 104. There is a long terminative section from M. 105 till the end.
Beethoven
This piece begins in e minor. The a section is made up of a parallel period. The first phrase is 8 measures long and ends on an HC in B Major, the dominant key of e minor. The second phrase is also 8 measures long and ends up on a PAC in e minor. There is then a developmental B section that consists of two 8 measure phrases. The first phrase ends on a PAC in G Major, and the second phrase ends on a HC in e minor. We then have the return of the A section, which consists of the same material for the first 8 measures. This phrase ends on a HC. The second phrase is 11 measures long and ends on a PAC in E Major. The last 12 measures of this section are terminative, and there is a very strong pedal tone e throughout.
We then shift tonalities to C Major, which just happens to be the chromatic mediant. The A section is a 16 measure period. The first phrase is 7 measures long and ends on an IAC in C Major. The second 7 bars ends on a PAC in G Major. The A section then repeats. There is then a short developmental B section that is 11 measures long and there is a prominent pedal tone G. There is a HC in C in the 10th bar. We then go back to A, but we don't get the whole thing, and it transitions back to the allegretto.
We then shift tonalities to C Major, which just happens to be the chromatic mediant. The A section is a 16 measure period. The first phrase is 7 measures long and ends on an IAC in C Major. The second 7 bars ends on a PAC in G Major. The A section then repeats. There is then a short developmental B section that is 11 measures long and there is a prominent pedal tone G. There is a HC in C in the 10th bar. We then go back to A, but we don't get the whole thing, and it transitions back to the allegretto.
Ravel: Le Tombeau de Couperin, No. 5, Menuet
Ravel: Le Tombeau de Couperin, No. 5, Menuet
Where did all these scores go…….where?…
Well anyways…the piece is in composite ternary form. The A section contains an “a” and “b” making it a simple closed binary form. The “a” is just an eight bar phrase that is played twice before continuing on to the “b” section. The “b” section seems to have the same length as the “a” section with 16 bars of the usual expository section, and then the last 16 feel more of a transitional or developmental.
That leads us into the B section which is a rounded binary form. The “a” of the B consist of two 8 m. phrases ending on a PAC in d minor. In m. 49 the “b” section takes over. It is fairly similar to the “a” section…just develops it as a developmental section should. Then in m. 65 the “a” section takes back over to close the B section, but instead of going straight back to the A section, there is an eight bar transitional phrase that combines the B section with some from the A section which then flows right into the return in measure 81.
The “a” in the return of the A section is 16 bars long and is separated from the “b” section by a transitional phrase. The transitional section contains some sequences working our way into “b” so we can close the piece. The texture is getting thinner and more spread out in the “b” section. Bringin the piece to a close.
Where did all these scores go…….where?…
Well anyways…the piece is in composite ternary form. The A section contains an “a” and “b” making it a simple closed binary form. The “a” is just an eight bar phrase that is played twice before continuing on to the “b” section. The “b” section seems to have the same length as the “a” section with 16 bars of the usual expository section, and then the last 16 feel more of a transitional or developmental.
That leads us into the B section which is a rounded binary form. The “a” of the B consist of two 8 m. phrases ending on a PAC in d minor. In m. 49 the “b” section takes over. It is fairly similar to the “a” section…just develops it as a developmental section should. Then in m. 65 the “a” section takes back over to close the B section, but instead of going straight back to the A section, there is an eight bar transitional phrase that combines the B section with some from the A section which then flows right into the return in measure 81.
The “a” in the return of the A section is 16 bars long and is separated from the “b” section by a transitional phrase. The transitional section contains some sequences working our way into “b” so we can close the piece. The texture is getting thinner and more spread out in the “b” section. Bringin the piece to a close.
Ravel: Le Tombeau de Couperin No. 5 Menuet
This piece is a composite ternary piece, with each section feeling like a smaller binary piece. Our A section starts with a repeated phrase group, the first cadence being an Authentic Cadence in our original key then modulating to a what feels like a Half Cadence in our relative minor. We then have a contrasting section that elaborates on the minor half cadence moving to second phrase group of our A section. This phrase group acts as transitional, since it takes our key and some melodic material and runs with it. Eventually we reach up to our Dominant key of B major and then develop the key further for 8 measures. We then compliment this by a return of our G major and finally end on a PAC in our original key. I would classify the A section as a simple binary form, that is continuous, but overall it's closed as we finish in the original key. The B section begins as we return to the relative minor and repeat the end of the A section. We quickly move into new material, trying to cadence in our original key, but it gets extended out further and we introduce strange harmonies and add further and further dissonance, as we add more layers, changing density as more voices are added. We also grow in dissonance as our harmoinc progression ascends and tension keeps building and building. We return to earlier material at the end of this section, but it seems just an echo of itself since it only half completes before we move into a transition back to A. The B section was much longer than the a section, but didn't have as definate a feel as the A. Now our transition section is very interesting...we seem to have a straight return of A, but that's not the case. Yes the left hand seems familiar, and it is, but not from the A section, it is part of the B section. This is my favorite part of the piece as it feels like there is so much duetic tension that plays back and forth, building everything back to the A section. The return of the A is a bit different, as the harmony doesn't match the original exactly and we start in the second part. We build up to a final tremolo that descends through to the end through the final 8 measures and end on a PAC. I love the final 2 minutes of this piece because it just takes everythingg that has built up in the first part of the piece and melds it together wonderfully.
Le Tombeau de Couperin
Well finally I'm on Naxos!! grrr! This piece is very beautiful, one that I just like to listen and soothe me. This piece is definitely ternary and closed as it begins and ends in G Major. /the opening 8 measures of the A section set the main theme. It is expository and repeats. There is a PAC at the fourth measure and in the 8th meaure, the period actually ends on a IV chord. The next much longer part of the A section takes that theme and varites is slightly. The chords become larger as far a spaced out, and there is more of a change in the dynamics. It takes the theme, and each time you think its going to end, it goes a little further and builds a little. The B section then goes to D minor and has a much slower harmonic motion. It has a more definitive rhythm in the 3/4 time. It doesn't really use any of the main theme from the A section. It simply builds chords and then diminishes them. Everything is still very quiet and smotth. The piece then returns to the A section in G major, but it is a bit different. It has much more chromaticism. After awhile the bass moves from simple quarter notes to running eighth notes to give it more motion. It then has a three measure static PAC. Ok, time for sleep.
Haydn's Sting Quartet No. 21, Op.9, No. 3
This piece is in composite ternary form. The A section is a rounded sectional binary form. It is made up of mainly phrase groups. The a is a phrase group ending in a PAC in G major. The b section is also a phrase group with the a section coming back at the end. The B section is also its own rounded simple binary form. Because of these nested forms, it is composite ternary. The piece has a slight waltz feel to it. But I can see it as something that would be performed in Fantasia. I don't know if anyone remembers this, but I always remember the little flying horses. This piece is very playful like those baby flying horses.
Ravel: Le Tombeau de Couperin, No. 5, Menuet
First off, this is a big score and I spent like $2.00 trying to unsuccessfully copy this. Blast. Anyway, the Ravel is yet another example of complex ternary form. From the look of it, it looks really dang complex.
The A section appears to be a rounded closed binary form. In the a section we have a confused expository section. The first phrase appears to end on a PAC in G major, the second phrase seems to flirt with b minor, yets ends on a B major chord. Progressive period maybe? The next sixteen measures of the b section are developmental of the orinal theme. We see little two bar phrases ending on HC to make a large phrase group. We see a register change in the melody as the a section comes back, suggesting a somewhat rounded binary form ending on a PAC in the key of G major.
Here comes the B setion. Woot woot. It is much smoother and flowing compared to the prior section. The first 8 bars end in a d minor IAC, with the following 8 following suit. There are some crazy hand-crossing register-changing-stuff in the second half of the c section which leads us to the even more complex d section. I am probably wrong, But I would consider much of the d section a section in structure, as it primarily transitional. I love the HUGE chords in the middle of the piece. Cool. We hear a repeat of the c section material at the end of the B section, finishing this closed rounded binary form off on a d minor PAC.
Finally we come full circle to the A section. Although similar, the repeat of the original expository material is slightly different. Near the end we see a completely different accompanimental approach and colorful ornaments to slowly bring this beautiful piano piece to a close.
The A section appears to be a rounded closed binary form. In the a section we have a confused expository section. The first phrase appears to end on a PAC in G major, the second phrase seems to flirt with b minor, yets ends on a B major chord. Progressive period maybe? The next sixteen measures of the b section are developmental of the orinal theme. We see little two bar phrases ending on HC to make a large phrase group. We see a register change in the melody as the a section comes back, suggesting a somewhat rounded binary form ending on a PAC in the key of G major.
Here comes the B setion. Woot woot. It is much smoother and flowing compared to the prior section. The first 8 bars end in a d minor IAC, with the following 8 following suit. There are some crazy hand-crossing register-changing-stuff in the second half of the c section which leads us to the even more complex d section. I am probably wrong, But I would consider much of the d section a section in structure, as it primarily transitional. I love the HUGE chords in the middle of the piece. Cool. We hear a repeat of the c section material at the end of the B section, finishing this closed rounded binary form off on a d minor PAC.
Finally we come full circle to the A section. Although similar, the repeat of the original expository material is slightly different. Near the end we see a completely different accompanimental approach and colorful ornaments to slowly bring this beautiful piano piece to a close.
Ravel: Le Tombeau de Couperin, NO. 5 Menuet
This piece is in composite ternary form, and the first two thirds are fairly straightforward. Towards the end, however, the lack of a clear restatement of either A or B makes the last section difficult to analyze.
In general, the piece I perceive the piece as being broken down thusly:
A1 B Trans A2
a b c d c (B+A) e f
Measures: 1 9 33 49 65 73 81 104
A1 is a simple, closed binary form.
-a is a contrasting progressive period, moving from G to B
-b can be divided further into two sections: the first 16 measures which seem expository
and measures 24 to 32, which are developmental. Both subdivisions are phrase groups.
B is a rounded binary form.
-c is a phrase group because it never really cadences. It has two symetric phrases, each
eight measures in length.
-d develops the material presented in c by introducing strange harmonies. Ravel creates
a feeling of tension and release in this section by using ascending harmonic progressions
which then descend, producing relaxation for the return of c in measure 65.
-c is basically the first half of its former self when it returns.
The transition is very interesting - I labeled it as B+A because material from both sections is basically just played at the same time - the A section is played by the right hand and the B section is played by the left hand. This produces a lovely duet feel.
A2 is A again only in the consideration of the melody because the harmony is siginificantly altered from the original section, and therefore this could be considered developmental. The return of the melody is actually similar to the b section of A1.
f represents a further alteration of the A melody. The left hand texture is changed significantly to an arrpegiation. The piece closes with a terminative section in which Ravel uses a descending pattern as well as tremolo to bring the piece to a nice close in the last 8 measures.
This piece made me feel very relaxed, largely because the dynamic level was so low. It also flowed well because there were few definite cadences. Instead, Ravel seemed to play with the harmony often in a continuous manner that contributed to this flow.
In general, the piece I perceive the piece as being broken down thusly:
A1 B Trans A2
a b c d c (B+A) e f
Measures: 1 9 33 49 65 73 81 104
A1 is a simple, closed binary form.
-a is a contrasting progressive period, moving from G to B
-b can be divided further into two sections: the first 16 measures which seem expository
and measures 24 to 32, which are developmental. Both subdivisions are phrase groups.
B is a rounded binary form.
-c is a phrase group because it never really cadences. It has two symetric phrases, each
eight measures in length.
-d develops the material presented in c by introducing strange harmonies. Ravel creates
a feeling of tension and release in this section by using ascending harmonic progressions
which then descend, producing relaxation for the return of c in measure 65.
-c is basically the first half of its former self when it returns.
The transition is very interesting - I labeled it as B+A because material from both sections is basically just played at the same time - the A section is played by the right hand and the B section is played by the left hand. This produces a lovely duet feel.
A2 is A again only in the consideration of the melody because the harmony is siginificantly altered from the original section, and therefore this could be considered developmental. The return of the melody is actually similar to the b section of A1.
f represents a further alteration of the A melody. The left hand texture is changed significantly to an arrpegiation. The piece closes with a terminative section in which Ravel uses a descending pattern as well as tremolo to bring the piece to a nice close in the last 8 measures.
This piece made me feel very relaxed, largely because the dynamic level was so low. It also flowed well because there were few definite cadences. Instead, Ravel seemed to play with the harmony often in a continuous manner that contributed to this flow.
BEETHOVEN- Sonata in E major Op. 14 No. 1, II
Initially when looking through the entire piece and deciding where the movements began and ended, I had photocopied only through the Allegretto leaving the Maggiore out. This completely changes the piece! The music that I copied and took a look at is a simple binary form. It begins in E major and is constructed of two parallel periods. There is a HC in measure 8 on the first beat, and a PAC in E major in meaure 16 on the first beat.
The B section begins in measure 17 and there is a HC on the first beat of measure 24. In through the next measures the tonality starts to shift somewhat and we end up on another half cadence in B in measure 32. The half cadence kind of keeps things more tonally open until measure 40 where there is another half cadence in B kind of getting that key more in the listener's head. I felt like the defining termative phrase started in measure 54 and continued through measure 61 with the chord being played on the first beat of every measure. It sounded like the ending to a piece, especially since the section had made its way back to a PAC in the key that it had begun in. Like I said, this could have easily been a simple rounded binary.
However, when listening to the recording I found that the maggiore is actually included. This changes everything. Now it is a lot like the menuetto and trio that we all looked at for homework, a Composite binary. This new section serves as the bigger "B" in the ternary structure. This section is more tonally open, and a little bit more relaxed and flowing than the previous making it a good example of a developement upon the main theme of the piece which comes back in its orginal key at the end of the maggiore completing the ternary outline.
I liked this piece, especially that terminative section that I mentioned it is dramatic, and builds some tension then lightly kind of leads away from that feeling with the three chords and the pac back in E.
The B section begins in measure 17 and there is a HC on the first beat of measure 24. In through the next measures the tonality starts to shift somewhat and we end up on another half cadence in B in measure 32. The half cadence kind of keeps things more tonally open until measure 40 where there is another half cadence in B kind of getting that key more in the listener's head. I felt like the defining termative phrase started in measure 54 and continued through measure 61 with the chord being played on the first beat of every measure. It sounded like the ending to a piece, especially since the section had made its way back to a PAC in the key that it had begun in. Like I said, this could have easily been a simple rounded binary.
However, when listening to the recording I found that the maggiore is actually included. This changes everything. Now it is a lot like the menuetto and trio that we all looked at for homework, a Composite binary. This new section serves as the bigger "B" in the ternary structure. This section is more tonally open, and a little bit more relaxed and flowing than the previous making it a good example of a developement upon the main theme of the piece which comes back in its orginal key at the end of the maggiore completing the ternary outline.
I liked this piece, especially that terminative section that I mentioned it is dramatic, and builds some tension then lightly kind of leads away from that feeling with the three chords and the pac back in E.
Beethoven: Sonata in E major, Op. 14, No. 1 II
This allegretto movement consists of an allegretto and maggiore that combine to make a composite ternary movement.
In contrast to the original key of E major this middle movement allegro is in E minor. The A section of the allegretto is a parallel period. The material does switch octaves but the material of the first couple of measures is the same. The first phrase of eight measures ends in a half cadence in B major and the second phrase of eight measures returns to a PAC in E minor. The developmental B section consists of two eight measure phrases, the first ends in a PAC in G major and the second ends in an HC back in E minor. This heralds the return of the A section with the same material for the first eight measure phrase that ends in a HC but the second phrase is extended to eleven measures in a PAC into E major with a good ol' picardy third. The last twelve measures of the allegretto is a terminiative phrase indicated by the constant pedal tone of E, the last measure has only the tone E which forms the common tone into the maggiore. The allegretto alone is in sectional rounded binary form.
The E becomes the third in the key of C major (chromatic mediant!!!!!!). The A section is a 16 measure period. The first phrase is seven bars that ends in an IAC in C major with a transition through the eighth bar and the second seven bars end in a PAC in G major with another transition through the eighth measure. This A section repeats. The B section development is very short, only eleven bars, there is a pedal tone of G throughout and a half cadence in C is achieved in the tenth bar with a transition in the eleventh bar back into the A section. The A section is not fully realized however, just the first phrase is repeated with the IAC and one bar transition followed by another IAC followed by a cadential 6/4 in E minor to facilitate the transition into the allegretto.
The return of the allegretto is the same except there is a coda which consists of the first phrase of the A section again as a transition from E major to E minor followed by some termanitive chords to make sure the listener knows that it's the minor key.
In contrast to the original key of E major this middle movement allegro is in E minor. The A section of the allegretto is a parallel period. The material does switch octaves but the material of the first couple of measures is the same. The first phrase of eight measures ends in a half cadence in B major and the second phrase of eight measures returns to a PAC in E minor. The developmental B section consists of two eight measure phrases, the first ends in a PAC in G major and the second ends in an HC back in E minor. This heralds the return of the A section with the same material for the first eight measure phrase that ends in a HC but the second phrase is extended to eleven measures in a PAC into E major with a good ol' picardy third. The last twelve measures of the allegretto is a terminiative phrase indicated by the constant pedal tone of E, the last measure has only the tone E which forms the common tone into the maggiore. The allegretto alone is in sectional rounded binary form.
The E becomes the third in the key of C major (chromatic mediant!!!!!!). The A section is a 16 measure period. The first phrase is seven bars that ends in an IAC in C major with a transition through the eighth bar and the second seven bars end in a PAC in G major with another transition through the eighth measure. This A section repeats. The B section development is very short, only eleven bars, there is a pedal tone of G throughout and a half cadence in C is achieved in the tenth bar with a transition in the eleventh bar back into the A section. The A section is not fully realized however, just the first phrase is repeated with the IAC and one bar transition followed by another IAC followed by a cadential 6/4 in E minor to facilitate the transition into the allegretto.
The return of the allegretto is the same except there is a coda which consists of the first phrase of the A section again as a transition from E major to E minor followed by some termanitive chords to make sure the listener knows that it's the minor key.
Ravel's Le Tombeau de Couperin
Someone has this score checked out for a long time so I guess I'll try to analyze this piece by listening alone. It seems to be symmetrical phrases with an IAC followed by a HC. Then there is another IAC and HC. This is very strange. I would call it a parallel double period but the 4th phrase ends on another weak cadence instead of a PAC. I'm not sure what it is then. I think it goes into a developmental section and then returns to the original A. The rhythm changes in this B section. It feels like it's floating because the melody doesn't fall on the beats. It's constantly changing tonality. The big B section just elaborates the A getting a fuller density and broader range including bass chords. It also grows in dynamics. Then the A section returns. I think because the A section is so long and contains repeated A sections that make it sound like rounded bianary forms that this piece is composite ternary form. The end of the piece fades away with an extended cadential section and turns and scales that sound like dandelion whites drifting through the air to the ground.
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