This begins in a presto 6/8 in the key of e minor. The initial theme of group one makes me think of Beethoven's Sonata in fm.
Group one is a progressive, parallel, symmetric period. The first eight bars are in e minor and end on a half cadence, while the second modulate to G major and end on a PAC. Then it is followed by twelve measures of transition leading to a HC of G, what is peculiar about the transition is that it could be considered more thematic material belonging to Group one, but since it seems to lead to the HC at the end, I see it as transitional. Lots of sixteenth notes flying around.
Group 2 is in GM and again begins on piano as did group 1. Group 2 would also be a parallel, symmetric period, though it ends twice with an IAC, and the second IAC in my opinion is even weaker than the first given the chromatic notes that lead up to it and I64 and how the mi's move down to re's. As it is, it's just a repeated phrase. Then we have four measures of terminative section at forte, clearly signalling the end of the exposition. We end on a PAC in GM, having spent most of this minor sonata thus far in the Major.
The Development begins with the first theme of group one, except in EM instead of em, though you have these funny d naturals. It's just the initial theme in the first four bars of each phrase of Group one that's getting developped. After five measures we get a PAC in EM, then dive into the last bit of thematic material from the end of Group one, and Haydn uses this motive in a number of repetitive sequential passages to really keep things moving. Then the transition between group one and two reappears, and we have a textural inversion of group one starting with a b minor triad up the right hand. This goes on for 8m ending on an IAC in BM.
Here the recap begins. This time we use only the first phrase of Group one which is modified, ending on a PAC in em after five measures, then going straight into the transition which keeps us in e and takes us to a HC in e after 11m. Group two comes in and cadences after 6 m's in an IAC. It then goes into the second phrase of 9 m's cadencing on a PAC which elides straight into the cadencial coda which brings back the transitional material from between group one and two one last time, and then concludes with three bars of the first theme of group one and then a nice PAC resolution at p.
Thursday, April 28, 2005
Beethoven Sonata op. 14, no. 1
This appears to be a String Quartet Sonata. For some reason, it has multiple opus numbers. I'm a little confused, but I'm gonna blog anyways.
The Exposition opens up with the first violin sweetly playing the melody, with the rest of hte quartet accompaning. . A parallel period forms the FTA section, modulating to what appears to be the key of G major. Ending on a PAC, there is a disctinct separation between sections. It appears that the STA section is significantly longer than the previous, and begins much less dense, with the solo violin outlining the new melody. This section up until measure 43 may be transitional in nature, with the real STA section entering as the strings converge. The section ends on a PAC back in our original key of F, and the entire exposition section is repeated.
After the repeat, we seem to have another simple binary form section in the development. The A section is evolved using a quicker more chromatic melody in the first violin with a quick 16th note accompaniment. Ending on a HC in F major in measure 81, the b section reminds me a lot of the exposition. A short transition to measure 91, we see the b section enter. The b section goes all the way to bar 113, ending on a C major chord.
I think this section acts as a false return, because it is very similar, and ends practically the same as the FTA section of the expostion. However, it appears to be in the wrong key. Next ther is false return of the STA section that lasts until the real recapitulation of the FTA section occursing in bar 148, taking us to the end.
The Exposition opens up with the first violin sweetly playing the melody, with the rest of hte quartet accompaning. . A parallel period forms the FTA section, modulating to what appears to be the key of G major. Ending on a PAC, there is a disctinct separation between sections. It appears that the STA section is significantly longer than the previous, and begins much less dense, with the solo violin outlining the new melody. This section up until measure 43 may be transitional in nature, with the real STA section entering as the strings converge. The section ends on a PAC back in our original key of F, and the entire exposition section is repeated.
After the repeat, we seem to have another simple binary form section in the development. The A section is evolved using a quicker more chromatic melody in the first violin with a quick 16th note accompaniment. Ending on a HC in F major in measure 81, the b section reminds me a lot of the exposition. A short transition to measure 91, we see the b section enter. The b section goes all the way to bar 113, ending on a C major chord.
I think this section acts as a false return, because it is very similar, and ends practically the same as the FTA section of the expostion. However, it appears to be in the wrong key. Next ther is false return of the STA section that lasts until the real recapitulation of the FTA section occursing in bar 148, taking us to the end.
beethoven c minor sonata
this piece is in sonata allegro form. the exposition is from bars 1 to 47. the group 1 melody is heard in the very beginning. the group 2 melody is in the riht hand starting after the furmata in bar 16. the gesture is 8th notes and it is inverted in bar 24. group 2 is in the dominant. there is then a subsequent transition material taking us through a variety of keys leading us back to e flat at bar 46. The development starts at 47 and goes until bar 57...a very short development. Only the group 1 melody is developed. The recap starts at 57 after the furmata. the recap is pretty much the same up till around bar 103 where there is a false ending as the group 2 melody is developed a bit. The official coda starts in bar 114where the main melody is the primary focus though embellished a bit. another decrescendo sounding like a false ending but ends the piece on a c major chord.
Mozart Sonata in D Major
This happy sonata obviously begins with the expository section. Group one is a contrasting period. The first phrase ends on a HC while the second ends on a PAC. The next phrase modulates and ends on an IAC in the dominant key of A Major. Then Group two begins. This group begins on the dominant of A major in the key of E Major. It is an assymetrical period. I like this subtle circle of fifths pattern. The next phrase ends on a HC back in the key of A Major. Then the entire section repeats returning to D Major. This circular feeling of building up in 5ths and then completeing the circle by returning, adds to the happy feeling of this sonata. The dvelopment reintroduces the second half of group 1. It is in the parallel minor of d. Ironically, the circle of 5ths sequence in this section is replaced by an actual sequence. This then turns into a monophonic scalar section. I love the huge shift in density when it's pulled off properly in pieces. Another irony, even though there's less density in these monophonic passages, there's more intensity through the lack of density. This leads back to the recapitulation in the original key of D Major. The piece ends with a cadential extenion stabilizing the final key with a strong PAC.
Wednesday, April 27, 2005
haydn sonata in e minor
Well, the piece starts in e minor. group 1 lasts for the first 8 bars and ends on a HC in the key of e minor. the following bars seem as though they're going to repeat the theme, but then begin modulating to the key of G Major (relative major) as is evident by the IAN in measure 14.
the next 16 bars seem to be a transition to the group 2 theme. they are modulating the now dominant key of D Major as is made strikingly obvious and then is reaffirmed in measure 25 with the viio7/V followed by a V (we modulated to the key of V).
Group two is from measures 30-35 and in back in G Major. There is a restatement of the group two theme after a beat of extended rest. There seems to be a PAC in m. 42 but with the cadential extension/transition to the development, there is an IAC in the key of G major in m. 45.
The development begins in m. 46 and is in a minor. There is a HC in a minor at measure 50. 51 seems to go the relative major key of C Major. At measure 71 Haydn develops group 1 by inverting the structure. Here is a HC in the key of e minor at measure 78. the original structure comes back in measure 79 and in e minor. we then modulate to the key of B major in the next transitional period and ends with a PAC in B major.
in measure 95 it's back in e minor with a small development section. there is a PAC in 100 and in measure109. The rest of the piece is clearly the terminative section that ends with a PAC in e minor.
this is a pretty bad blog...i'm tired...what can i say?
the next 16 bars seem to be a transition to the group 2 theme. they are modulating the now dominant key of D Major as is made strikingly obvious and then is reaffirmed in measure 25 with the viio7/V followed by a V (we modulated to the key of V).
Group two is from measures 30-35 and in back in G Major. There is a restatement of the group two theme after a beat of extended rest. There seems to be a PAC in m. 42 but with the cadential extension/transition to the development, there is an IAC in the key of G major in m. 45.
The development begins in m. 46 and is in a minor. There is a HC in a minor at measure 50. 51 seems to go the relative major key of C Major. At measure 71 Haydn develops group 1 by inverting the structure. Here is a HC in the key of e minor at measure 78. the original structure comes back in measure 79 and in e minor. we then modulate to the key of B major in the next transitional period and ends with a PAC in B major.
in measure 95 it's back in e minor with a small development section. there is a PAC in 100 and in measure109. The rest of the piece is clearly the terminative section that ends with a PAC in e minor.
this is a pretty bad blog...i'm tired...what can i say?
Haydn- Sonata in E minor
This piece begins in E minor and starts right off with the Group 1 motive. The motive involves a 4 eighth-note ascending arpeggio cut off by a 8th note answer in the RH. The end of the motive and the beginning of the next overlap. This first phrase ends in a half cadence. Then, in measure 9-13 the motive continues, but is quickly cut off by new material, with an increase in volume and density and changes in rhythm and texture making the end of Group 1 very clear. The section from m. 14- 28 is transitional and establishes the piece into the new key of G major, ending on a half cadence. Then Group 2 of the A section begins in the new key, with a decrease in volume and a change in rhythm and texture highlighting the new material. The new motive is repeated twice with the first phrase ending on a PAC an the second being extended out in a loud terminative section that ends the section on an IAC in G. As usually the entire A section is then repeated again.
The B section begins very similar to the Group 1 in A, but with the motive in the parallel Major. This motive only lasts for the first five measures though and it then develops on the material introduced in transition of A up to m. 70. It then again develops the group 1 motive by inverting the hands, with a gradual crescendo from piano to forte capitalizing the end of the B section (ends on a HC). Then the A motive returns in the original key before moving to the transitional material, which ends on a PAC in m. 94. Then the group 1 motive returns for the next 12 measures, and a long coda section ends the piece on a PAC in e minor.
The B section begins very similar to the Group 1 in A, but with the motive in the parallel Major. This motive only lasts for the first five measures though and it then develops on the material introduced in transition of A up to m. 70. It then again develops the group 1 motive by inverting the hands, with a gradual crescendo from piano to forte capitalizing the end of the B section (ends on a HC). Then the A motive returns in the original key before moving to the transitional material, which ends on a PAC in m. 94. Then the group 1 motive returns for the next 12 measures, and a long coda section ends the piece on a PAC in e minor.
Haydn: Sonata in e minor - I
so..so..so...sonata
There is not intro to this piece. Group 1 starts in measure 1 and ends in measure 8 where there is a HC in e minor. This next measure looks a lot like group 1 repeating itself, but really the bass stays static while the treble is changing and modulating to the relative major, which is G major. We then get an IAC in G major in measure 14. This part seems to be doing a lot of transition with the key and all modifying previous melodic structures. Through measure 9 - 29 I notice key changes, sequencing through melodic structure, exact repetition of measure which is trying to gain a sense of stability, and then octave runs bringing us to the end of the transition on a HC in the key of G major.
Then in measure 30, after a long rest, we start group 2 in the relative major, G major. This theme last from measure 30-35 where is ends on a PAC in G major. then there is a repeat of the theme which also has a cadencial extension hooked on the end which makes the last PAC of group 2 last from measure 42-45.
Then these groups repeat.
Second time through they continue on to the B "developmental section." There is a direct modulation from the ending G major of group 2 to E major (mode change) in the dev. section. The dev. section starts in measure 46 with the group 1 theme in the major, and ends in measure 50 on a PAC in E major. It keeps going on doing different developmental things with group 1. Then in measure 95 there is the dev. return of group 2 which is exactly the same until measure 100 where there is a PAC in e minor. I continues from this point till it hits another PAC in measure 109...this seems to be stretched out for the next few measure till measure 114..I would consider this a cad. extension...In measure 114 I feel it start so signal the end because of the sequencing downward in the bass, and then the repeat of the cad. extension.. then to end it all he throws in a little recap. of group 1...then a PAC in e minor...
There is not intro to this piece. Group 1 starts in measure 1 and ends in measure 8 where there is a HC in e minor. This next measure looks a lot like group 1 repeating itself, but really the bass stays static while the treble is changing and modulating to the relative major, which is G major. We then get an IAC in G major in measure 14. This part seems to be doing a lot of transition with the key and all modifying previous melodic structures. Through measure 9 - 29 I notice key changes, sequencing through melodic structure, exact repetition of measure which is trying to gain a sense of stability, and then octave runs bringing us to the end of the transition on a HC in the key of G major.
Then in measure 30, after a long rest, we start group 2 in the relative major, G major. This theme last from measure 30-35 where is ends on a PAC in G major. then there is a repeat of the theme which also has a cadencial extension hooked on the end which makes the last PAC of group 2 last from measure 42-45.
Then these groups repeat.
Second time through they continue on to the B "developmental section." There is a direct modulation from the ending G major of group 2 to E major (mode change) in the dev. section. The dev. section starts in measure 46 with the group 1 theme in the major, and ends in measure 50 on a PAC in E major. It keeps going on doing different developmental things with group 1. Then in measure 95 there is the dev. return of group 2 which is exactly the same until measure 100 where there is a PAC in e minor. I continues from this point till it hits another PAC in measure 109...this seems to be stretched out for the next few measure till measure 114..I would consider this a cad. extension...In measure 114 I feel it start so signal the end because of the sequencing downward in the bass, and then the repeat of the cad. extension.. then to end it all he throws in a little recap. of group 1...then a PAC in e minor...
Prussian Sonat No.1 in F
I like this poco allegro beginning in F major, I feel like the tonic key has really been firmly established and that things are stable. There is an IAC in measure 6 which is adds to the stability.. not as stable as a PAC would be which kind of leaves room for some harmonic elasticity. There is a little bit of a dominant feel that gets played with around measure 9, maybe thats just me. There is some transition material around meausres 17-23 and then a PAC in measure 24 where the forte dynamics also emphasize this finalization.
The developement starts in measure 32 and suddenly things are less stable and the keys seem to shift all over the place. There is an elision in measure 38and then this section ends on a PAC in measure 55. The A theme returns in measure 56 shortly thereafter and is pretty much a repeat of the same A material that was first introduced. I did like it though in measure 50 when the hands kind of switch roles, thats always a cool one.
There is even the same little transitional material and everything repeated the same as it was initially played all the way until the end of the movement with some added stuff like measures 74 to the end were terminative, but other than that, the same until the final PAC in F major at the end of the movement.
The sonata is presented in Sonata Allegro form...
The developement starts in measure 32 and suddenly things are less stable and the keys seem to shift all over the place. There is an elision in measure 38and then this section ends on a PAC in measure 55. The A theme returns in measure 56 shortly thereafter and is pretty much a repeat of the same A material that was first introduced. I did like it though in measure 50 when the hands kind of switch roles, thats always a cool one.
There is even the same little transitional material and everything repeated the same as it was initially played all the way until the end of the movement with some added stuff like measures 74 to the end were terminative, but other than that, the same until the final PAC in F major at the end of the movement.
The sonata is presented in Sonata Allegro form...
Haydn, Piano Sonata in e minor, H. 34 I
w00t for Sonata form.
The piece starts right in with group 1, which is only 8 measures long. After a half cadence in e minor, Haydn begins to restate the main theme from Gr. 1 but it soon begins to move to the relative major, G, with an IAC in that key in measure 14. This section, from measures 9-28, is a transition to Group two. It ends with a PAC in D major, which is the dominant of G major, so, after a fermata, when Group 2 begins in G major, it makes tonal sense.
Group 2 is very similar to Group 1, in that the main theme is short (six measures long). Again, Haydn states it, ending with a PAC in G major, then pausing and beginning a restatement of the theme. This time, however, it does not modulate, which keeps this piece true to sonata form, ending with a PAC in G major in measure 42. The cadence is extended until measure 45.
The development begins with material from Group 1, though now it's in a minor. This lasts for 5 measures, and then the piece pauses before continuning on to develop the material from the first transition (between Groups 1 and 2). In measure 71, Haydn begins to redevelop the theme from Group 1. However, it's inverted - the right hand begins each call-and-response. This section ends in measure 78 with a half cadence in e minor, bringing us back to a strong sense of tonic for the recapitulation.
Group 1 comes back in measure 79, though this time it's not completely restated. Instead, Haydn begins a transition which lasts until measure 94, ending with a pause on a PAC in B major, preparing the listener for e minor in the recap of Group 2 material, which begins in measure 95.
Group two, modified, is recapitulated from m. 95 to 100, ending with a PAC in e minor and pausing before Haydn develops the material that had previously been the transition between group 2 and the development. This concludes with a PAC in e minor in measure 109, which begins a long terminative section. One could argue that the terminative section doesn't begin until later, perhaps measure 118, but I hear it as beggining in measure 108 because the long harmonic progression that follows is just leading back to e minor - nothing new comes of it.
The piece starts right in with group 1, which is only 8 measures long. After a half cadence in e minor, Haydn begins to restate the main theme from Gr. 1 but it soon begins to move to the relative major, G, with an IAC in that key in measure 14. This section, from measures 9-28, is a transition to Group two. It ends with a PAC in D major, which is the dominant of G major, so, after a fermata, when Group 2 begins in G major, it makes tonal sense.
Group 2 is very similar to Group 1, in that the main theme is short (six measures long). Again, Haydn states it, ending with a PAC in G major, then pausing and beginning a restatement of the theme. This time, however, it does not modulate, which keeps this piece true to sonata form, ending with a PAC in G major in measure 42. The cadence is extended until measure 45.
The development begins with material from Group 1, though now it's in a minor. This lasts for 5 measures, and then the piece pauses before continuning on to develop the material from the first transition (between Groups 1 and 2). In measure 71, Haydn begins to redevelop the theme from Group 1. However, it's inverted - the right hand begins each call-and-response. This section ends in measure 78 with a half cadence in e minor, bringing us back to a strong sense of tonic for the recapitulation.
Group 1 comes back in measure 79, though this time it's not completely restated. Instead, Haydn begins a transition which lasts until measure 94, ending with a pause on a PAC in B major, preparing the listener for e minor in the recap of Group 2 material, which begins in measure 95.
Group two, modified, is recapitulated from m. 95 to 100, ending with a PAC in e minor and pausing before Haydn develops the material that had previously been the transition between group 2 and the development. This concludes with a PAC in e minor in measure 109, which begins a long terminative section. One could argue that the terminative section doesn't begin until later, perhaps measure 118, but I hear it as beggining in measure 108 because the long harmonic progression that follows is just leading back to e minor - nothing new comes of it.
Mozart: Piano Sonata in D Major, K. 284, I
All right, more Mozartian fun with sonatas. The expository section begins right away. The Group I theme begins with a full period. The first four measures bring us to a half cadence, then we have contrasting material to bring us to a PAC in our original key. From here we being our next phrase in the group, which modulates, first with HC in D major which is then followed up by an IAC in A major. The Group II theme begins after a 4 bar transition that helps us modulate into the second major tonal area. Group II is in the key of E (two steps up the circle of fifths). The theme is an assymmetric period, with a 6 bars phrase, followed by a 7 bar one that cadences on an IAC in E. The second theme of this group lasts 10 measures and brings us back closer to our original key, ending on a HC in A, before a closing 8-bar phrase that ends with a PAC in A. As is the usual sonata way, the whole section repeats. As we enter the developmental section we reintroduce the second half of the Group I theme and expand it in the parallel minor key. We cycle through keys quickly, sequencing up the scale, then back down. The section is relatively short and ends with a long monophonic scalar passage that brings us right back the recapitulation. The recapitulation is in our original key (odd) but ingeniously when we transition twe only go up on degree of the circle of fifths and tada, end up back at our original D major (since by the end of the second theme we modulate back down a fifth). The closing theme adds a cadential extension this final time, ending in a great big PAC to end the piece.
CPE Bach Prussian Sonata
Sorry this isn't better you guys... so much to do with proficiencies this weekend. I'm sure most of you understand. Take it easy on me :) Here goes nothing:
This piece is in sonata-allegro form. (I am so smart. I can read the title of the chapter. ha)
Exposition:
-Begins in F Major
-This section is made up of phrase groups. There is no sense of antecedent consequent, or an increase in the strength of the cadences here.
-There is an IAC in m.6
-CPE kind of plays with some other keys, and it becomes really unstable. These keys are: d minor, c minor, and C Major.
-The Bass line is very chromatic beginning at m.11. This makes things even more unstable.
-DC at m. 19
-Then we have a minor i chord in c minor,and a transition to the dominant, but we end up in the parellel major key.
-Then we go to C Major and the whole section ends on a PAC and repeats.
Development:
-Begins at measure 32
-This section is also made up of phrase groups
-I'm not sure what's happening here with tonality, but the retransition is very unstable.
-The hands switch parts at m.50.
Recapitulation:
-Begins at m.56 back in f minor
-It's almost the same as the first time around, but slightly different
-m. 68 modulates to the parallel minor
-PAC at m.74
-Opening melody returns in F Major
This piece is in sonata-allegro form. (I am so smart. I can read the title of the chapter. ha)
Exposition:
-Begins in F Major
-This section is made up of phrase groups. There is no sense of antecedent consequent, or an increase in the strength of the cadences here.
-There is an IAC in m.6
-CPE kind of plays with some other keys, and it becomes really unstable. These keys are: d minor, c minor, and C Major.
-The Bass line is very chromatic beginning at m.11. This makes things even more unstable.
-DC at m. 19
-Then we have a minor i chord in c minor,and a transition to the dominant, but we end up in the parellel major key.
-Then we go to C Major and the whole section ends on a PAC and repeats.
Development:
-Begins at measure 32
-This section is also made up of phrase groups
-I'm not sure what's happening here with tonality, but the retransition is very unstable.
-The hands switch parts at m.50.
Recapitulation:
-Begins at m.56 back in f minor
-It's almost the same as the first time around, but slightly different
-m. 68 modulates to the parallel minor
-PAC at m.74
-Opening melody returns in F Major
CPE Bach prussian sonata
this expository section of this sonata begins in F major, but quickly delves into new keys. in about the 8th bar, there is already a feeling of shifting towards the dominant. the first expository melody in the first section is comprised of a phrase group, with what looks to be an IAC in measure 6. the melody up to measure 16 is what i like to consider "group 1": it is harmonically stable and the premier of the main melodic line. the transition occurs around measure 18, where the key feels minor; the transition ends in measure 24 in a PAC in the key of C. the expository melody is sequenced up to the dominant to end this section.
the development begins at measure 32. it feels harmonically unstable, but returns to the original key for a little while--rather different for a development section which is normally in a key other than the key heard in the expository section. but of course, other keys are played with in this section as the retransition occurs. the transition ends in a PAC in d minor.
the recapitulation begins in measure 56 in the original key of F major. there are some minor variations to the melody, but so rhythmically and melodically insignificant that it hardly makes a difference. peace out.
the development begins at measure 32. it feels harmonically unstable, but returns to the original key for a little while--rather different for a development section which is normally in a key other than the key heard in the expository section. but of course, other keys are played with in this section as the retransition occurs. the transition ends in a PAC in d minor.
the recapitulation begins in measure 56 in the original key of F major. there are some minor variations to the melody, but so rhythmically and melodically insignificant that it hardly makes a difference. peace out.
Beethoven Sonata in C minor, Op. 10, no. 1 - finale
The exposition starts out in c minor with the left and right hands playing in unison. They're in unison for pretty much the entire first period from measures 1-9. It's both parallel and symmetrical containing a HC and a PAC. Measures 9-17 seem to hint at 2 two-bar phrases that make a period, but then there is a long extension of a sixteenth note scale pattern that crescendos into a HC at measure 17. Following this, there is a direct modulation to the relative major, E flat. Starting in bar 17, there is a parallel symmetrical period with an HC followed by a PAC. Then there's a terminative closing section to the exposition which sounds like a repetition with variants of the last phrase. All of this repeats before we move on to the development.
Bars 25-38 sounds like the entire development section to me. There's a lot of tonality changes going on. The same general structure is kept from the exposition, only there are many variants on it.
38 to the end is the recapitulation. From this point until bar 54 there is a near exact repeat of the first period of the entire piece. The runs are changed a little, but other than that I don't see any other changes. 54-80ish is the recap of the second period of the piece. It modulates back to c minor toward the end of the first phrase of this period. Then from 80 to the end we have the closing section. It sounds a lot different than the rest of the piece, primarily because it's really soft and slow compared to everything that was going on earlier. It's all a variant on the second group motive. After a fermata, the last two lines of the piece are suddenly forte and back up to tempo.
Bars 25-38 sounds like the entire development section to me. There's a lot of tonality changes going on. The same general structure is kept from the exposition, only there are many variants on it.
38 to the end is the recapitulation. From this point until bar 54 there is a near exact repeat of the first period of the entire piece. The runs are changed a little, but other than that I don't see any other changes. 54-80ish is the recap of the second period of the piece. It modulates back to c minor toward the end of the first phrase of this period. Then from 80 to the end we have the closing section. It sounds a lot different than the rest of the piece, primarily because it's really soft and slow compared to everything that was going on earlier. It's all a variant on the second group motive. After a fermata, the last two lines of the piece are suddenly forte and back up to tempo.
CPE Bach
This movement is in sonata-allegro form. The exposition begins in F major. It is made up of phrase groups with the first cadence being an IAC at measure 6. Tonal unstability sets in right after m.6. Here it plays with the keys of d minor, c minor, and c major. There is a deceptive cadence at m. 19. After this there is a i chord in c minor and there is a structural phenominae of dynamics (piano) which is the transition to the dominant. The next phrase ends in a PAC in c minor. The whole thing repeats after the PAC in m. 24.
The development begins in m. 32. It is also made up of phrase groups. This part of the movement develops group 1. And we feel like we're in f again. The retransition gets tonally fuzzy m.38. At m.50 the melody switches hands. The next phrase is in m.55. It's in the key of d.
The recapitulation begins at m.56. It is back in the original key, f. It is slightly different. At m.68 we move to the parallel minor, with a pac at 74. This feels sort of like an elision. Group 1 begins again and it stays in F. Motives from earlier in the piece are also used.
The development begins in m. 32. It is also made up of phrase groups. This part of the movement develops group 1. And we feel like we're in f again. The retransition gets tonally fuzzy m.38. At m.50 the melody switches hands. The next phrase is in m.55. It's in the key of d.
The recapitulation begins at m.56. It is back in the original key, f. It is slightly different. At m.68 we move to the parallel minor, with a pac at 74. This feels sort of like an elision. Group 1 begins again and it stays in F. Motives from earlier in the piece are also used.
Mozart K. 284 mvt. 1
This is probably going to suck because I'm really busy, but it won't be as bad as Friday's listening journal will be. And it's going to be even worse because I can't get on Naxos right now.
This is why I chose the Mozart because it gives you a lot of the answers.
The first theme of the exposition starts immediately with an 8 measure period with an HC after four bars and ending with a PAC. This is followed by another period that has an IAC in D major that then modulates to an IAC in A major followed by a four bar transitory phrase that I think then modulates to E major which is where the second theme begins. There's a six bar phrase that ends in a very muddled IAC that has a ti re on top of the tonic chord before the resolution. Then there's a seven bar phrase that ends with an IAC in E followed by a ten bar transitory phrase that ends with a HC in A major that ushers in the closing theme. The closing theme is eight bars and ends with a PAC in A major. The exposition repeats.
The development pretty much only deals with the ending part of the first theme with the moving sixteenth notes in one voice and the eighth note lines in the other. I'm sure there are lots of modulations in it and it ends with a long monophonic line that ushers in the recapitulation back in the key of D.
The structure of the recapitulation is similar to the exposition with some of the keys being different. What is somewhat odd is the second theme is not in tonic but instead of going up two dominants like it did in the exposition, it only goes up one dominant. The closing theme is back in the key of G though and is extended to 12 bars to further establish the original key of G.
Well, that's that, and I did try on the Mozart we're turning in tomorrow.
This is why I chose the Mozart because it gives you a lot of the answers.
The first theme of the exposition starts immediately with an 8 measure period with an HC after four bars and ending with a PAC. This is followed by another period that has an IAC in D major that then modulates to an IAC in A major followed by a four bar transitory phrase that I think then modulates to E major which is where the second theme begins. There's a six bar phrase that ends in a very muddled IAC that has a ti re on top of the tonic chord before the resolution. Then there's a seven bar phrase that ends with an IAC in E followed by a ten bar transitory phrase that ends with a HC in A major that ushers in the closing theme. The closing theme is eight bars and ends with a PAC in A major. The exposition repeats.
The development pretty much only deals with the ending part of the first theme with the moving sixteenth notes in one voice and the eighth note lines in the other. I'm sure there are lots of modulations in it and it ends with a long monophonic line that ushers in the recapitulation back in the key of D.
The structure of the recapitulation is similar to the exposition with some of the keys being different. What is somewhat odd is the second theme is not in tonic but instead of going up two dominants like it did in the exposition, it only goes up one dominant. The closing theme is back in the key of G though and is extended to 12 bars to further establish the original key of G.
Well, that's that, and I did try on the Mozart we're turning in tomorrow.
Hindemith piano sonata 2, I
I think I picked the worst piece in the homework assignment as far as tonality goes, so i'm going to focus on structure and all that good stuff. In the exposition for group I there is an asyemmetrical contrasting period that ends on G in measure 26. This is also where I consider the transition into group II to be primarily because from 26 to 40 there is a two eighth and one quarter idea that is carried out (measure 26,30, 35). When the 2/4 meter starts at 37, the piece leads down into the group II which ultimately starts at measure 41. The structure of group II is somewhat similar to group I in that it is an asymmetrical contrasting period. The main theme is played for 15 measures and then repeated an octave up for 7 measures. There is a small resolution on F for an eighth duration and then the piece goes straight into development. The development consists of a sixteenth and eighth note idea that is drawn out and then condensed as the development continues ultimately leading to a sixteenth run leading into the recapitulation in the original key. The recap. brings in ideas of the development as well; the bass line is playing an eighth note idea that was originally introduced in the beginning of the development for six measures and then switches to exact material as in the exposition. The last half of the recapitulated group I brings back the bass line from the development and there is then a transition for four measures into the recapitulated group II in the original key. To close out the movement, there is a coda finally ending on G.
prussian sonata (poco allegro) cpe bach
This movement is in sonata-allegro form. The exposition begins in F major, and is very stable at first. The exposition is made up of phrase groups- The first cadence is an IAC at measure 6. Right after 6 it becomes tonally unstable, "flirting" with d minor, c minor, and c major. It begins tonicizing c in measure 9. The bass line is becomes very chromatic at m. 11 making it sound even more unstable, while the right hand has a melody similar to that of the first phrase group. There is a deceptive cadence at m. 19, going to a minor i chord in c minor, and the dynamic goes to piano- this is the transition to the dominant. However, it moves to the parallel major in measure 22. the next phrase ends in a PAC in c minor. Measure 24 has a change in dynamics, and the key is tonally stable in the key of c major, ending in a PAC. Then the whole thing repeats.
the development begins in m. 32, and is made up of phrase groups also. There are some elements from the beginning phrase of the piece-the beginning of the development feels like we are in f again. There is a very small PAC in d at measure 38, but is hardly noticable because of the elision. This retransition becomes very unstable after 38, and the key is unclear. At 50 the hands switch roles, and the right hand has the quarter note accompaniment, while the left has running eighth notes. The next phrase is not until measure 55, in the key of d.
the recapitulation is at measure 56, back in f-it is almost the same but slightly varied. at 68 it goes to the parallel minor (similar to measure 19 transition), and there's a pac at 74 with a slight elision. The opening melody starts again, this time staying in F, while using motives from earlier.
the development begins in m. 32, and is made up of phrase groups also. There are some elements from the beginning phrase of the piece-the beginning of the development feels like we are in f again. There is a very small PAC in d at measure 38, but is hardly noticable because of the elision. This retransition becomes very unstable after 38, and the key is unclear. At 50 the hands switch roles, and the right hand has the quarter note accompaniment, while the left has running eighth notes. The next phrase is not until measure 55, in the key of d.
the recapitulation is at measure 56, back in f-it is almost the same but slightly varied. at 68 it goes to the parallel minor (similar to measure 19 transition), and there's a pac at 74 with a slight elision. The opening melody starts again, this time staying in F, while using motives from earlier.
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