And so, as a nice rounding out of the year, we return to Orfeo ed Euridice. To the very aria quoted in the Offenbach--I even got to sing part of! This is a five part rondo: ABACA
The primary section is in CM (it's the part we quoted). I see it as composed of a period of two major phrases, the first four measure ending on an IAC, and then a six measure ending on a PAC. Though these two phrase groups, I feel could be divided further, as there is a HC half way through the first one, and the second is composed of four sub-phrases, the first two parallel and the second two parallel.
The first alternating section is in GM, the dominant. It has a tempo change in the middle. You could divide it up into two main phrases that form a period: the first a seven measure ending on a HC, and the second, a five measure in adagio, ending on a PAC--but this too could be broken down into smaller phrase groups.
Then we have the return of A (same).
C is in cm, and changes tempo. It ends on a HC and is shorter than B.
Then A again.
So this was a five part Rondo with I V I i I scheme.
Tuesday, May 03, 2005
Haydn Piano Sonata in D
Here we have a 5 part rondo form - ABACA. A is the same every time. It's rounded binary and each part of it is played twice. It begins and ends in D major, making it tonally closed. The last instance of A is varied in the piano's left hand part. There are sixteenth notes instead of the eighths as before. Part B is the same length as A. It's in d minor, the parallel key. There's a lot of dynamic contrast in the section - it goes from forte to piano quickly. It's also rounded binary and has the same repeat scheme as the A section. After the second A comes C. Again, this is also rounded binary and the amount of measures it takes up is the same as all the previous sections. Bars 61-80 are all in G major. Then measures 80-94 are transitional and lead us into the final statement of the A section. These in-between bars are part of the C section but are clearly independent of the material from C. After the last A section, the piece closes with a couple I chords.
Les Moissoneurs - Couperin
ABACADA- Seven part rondo.....
The first A last for the first 8 measures. I begins in B flat major and has a IAC in m. 4 and a PAC in m. 8. This first part is a repeated period.
The B is in the dom. key of B flat...which is F major. this section begins in m. 9 and last till m. 12 which is where the only cadence is located... A PAC in the key of F
then there is a return of the A just as it was first played.. Bflat major..IAC in 16 and a PAC in 20.
then the C section is similar to the B, but is kind of developmental of the B so i called it C.. It last from m. 20-28 in the parallel minor ..g minor.. it has a HC in m. 24 and a PAC in m. 28..
Then the return of the A in measure 28-36. the same thing again..in bflat major.. an IAC after four measures, and a PAC after the next four..
Section D possibly goes into c minor from m. 36-44.. there is a HC in 40 and a PAC in 44...then from 44-50 is a transition modulating back to bflat major.
M. 50 is the final repeat of the A section...a HC in 54 and a PAC in 58..
The first A last for the first 8 measures. I begins in B flat major and has a IAC in m. 4 and a PAC in m. 8. This first part is a repeated period.
The B is in the dom. key of B flat...which is F major. this section begins in m. 9 and last till m. 12 which is where the only cadence is located... A PAC in the key of F
then there is a return of the A just as it was first played.. Bflat major..IAC in 16 and a PAC in 20.
then the C section is similar to the B, but is kind of developmental of the B so i called it C.. It last from m. 20-28 in the parallel minor ..g minor.. it has a HC in m. 24 and a PAC in m. 28..
Then the return of the A in measure 28-36. the same thing again..in bflat major.. an IAC after four measures, and a PAC after the next four..
Section D possibly goes into c minor from m. 36-44.. there is a HC in 40 and a PAC in 44...then from 44-50 is a transition modulating back to bflat major.
M. 50 is the final repeat of the A section...a HC in 54 and a PAC in 58..
Haydn- Symphony 101
So I guess maybe there’s a reason nobody else took this piece. It’s quite difficult to follow the music, but I’ll give it a shot. This piece is in Rondo form. It begins with the expository A theme in forte. The first sub phrase is in forte and chordal structure, and the second is piano, changes texture, and is less dense, and ends on a half cadence. The first motive is repeated again in forte and a change in texture leads to a PAC in the new key of A major. There is then a closing section that extends the final cadence out. This entire section, which comprises the primary theme, is then repeated. The new B section is marked by a new change in texture and decreasing dynamics. The structure of this section is made clear by the alteration from piano to forte and larger density. There is a short transition leading back to D major and the A theme. The structure in this return is made clear again by textural change. The B and A themes are then repeated.
Then theme C comes in with textural and dynamic change. The motive is very simple and tonally centered. Then the texture, melody, and dynamics change once again leading to another new theme, D. There is then a Men. D.C that goes back to the beginning A section.
Then comes the Finale, where things got a little fuzzy to me. It seems to be separate here with a new primary theme stated at the beginning. I never really felt any return back to A and so it seemed to me to be another Rondo form: ABACA.
Then theme C comes in with textural and dynamic change. The motive is very simple and tonally centered. Then the texture, melody, and dynamics change once again leading to another new theme, D. There is then a Men. D.C that goes back to the beginning A section.
Then comes the Finale, where things got a little fuzzy to me. It seems to be separate here with a new primary theme stated at the beginning. I never really felt any return back to A and so it seemed to me to be another Rondo form: ABACA.
piano sonata D Major
This is a 5 part rondo. Since everybody seems to like my outline format, I guess I will just use it again!
A:
-Lasts from measure 1 to measure 20
-Begins in the key of D Major
-Begins very softly and slowly moves from p to f.
-This is a rounded binary form. The b of A is in the dominant key, A Major.
-Ends in tonic key, D Major.
B:
-Lasts from measure 21 to measure 40.
-Tonality shifts to the parallel minor.
-Another rounded binary form!
C:
-Key changes to G Major... and many other keys. What the heck is going on here?
-Tempo changes a bit with the use of fast 16th note figures
-rounded binary, AGAIN.
A:
-Lasts from measure 1 to measure 20
-Begins in the key of D Major
-Begins very softly and slowly moves from p to f.
-This is a rounded binary form. The b of A is in the dominant key, A Major.
-Ends in tonic key, D Major.
B:
-Lasts from measure 21 to measure 40.
-Tonality shifts to the parallel minor.
-Another rounded binary form!
C:
-Key changes to G Major... and many other keys. What the heck is going on here?
-Tempo changes a bit with the use of fast 16th note figures
-rounded binary, AGAIN.
Haydn Piano Sonata
Ok, enough of this "sonata form actually being rondo crap." If it's gonna be a rondo, why didn't he just call it Haydn Piano Rondo? Seriously!
Anyway, this composite 5 part rondo in D major is rather simplistic. Without delay Haydn leads us to the rounded binary A section. In the b part of the rounded binary A section, we have modulated to the dominant key of A major. After several authentic cadences we find ourselves back in the key of D major by the end of this section.
Bar 21 is the beginning of the B section of this composite rondo. We have modulated to the parallel minor key of D minor. Not much to comment here, but notice Haydn's humor when he throws in the out of place deceptive cadence.
Back to the A section.
The C section follows the circle of fifths in the opposite direction landing us in the key of G major. This section is full of half cadences, finally ending on a PAC sending us into an extensive transitional section that modulates us back to our tonic key of D major.
Haydn doesn't go down without a fight, the final repeat is not literal. The composer embellishes the A section and adds a terminative phrase the end instead of a coda to finish the piece.
Anyway, this composite 5 part rondo in D major is rather simplistic. Without delay Haydn leads us to the rounded binary A section. In the b part of the rounded binary A section, we have modulated to the dominant key of A major. After several authentic cadences we find ourselves back in the key of D major by the end of this section.
Bar 21 is the beginning of the B section of this composite rondo. We have modulated to the parallel minor key of D minor. Not much to comment here, but notice Haydn's humor when he throws in the out of place deceptive cadence.
Back to the A section.
The C section follows the circle of fifths in the opposite direction landing us in the key of G major. This section is full of half cadences, finally ending on a PAC sending us into an extensive transitional section that modulates us back to our tonic key of D major.
Haydn doesn't go down without a fight, the final repeat is not literal. The composer embellishes the A section and adds a terminative phrase the end instead of a coda to finish the piece.
haydn piano sonata
this piece is a 5 part rondo in D major. it is composite because the A section is a rounded binary form. The a section is a double period. The B section is in the parallel minor of d minor. It is somehwat unstable and is a string of phrase groups. The A section returns with no transition and repeats as expected. The C section comes in as the subdominant of D, that is G. The style is different here and we see more uses of 16th notes. It is also a string of phrase groups. Then at bar 81 we see a transition occuring to bring us back to our final statement of A. The A section repeats as expcted and ends quite full with a very terminitve feeling.
Less Moissoneurs - Couperin
There can be little disagreement as to where the parts of this form begin and end, because the composer clearly lays them out, calling them couplets.
The A section, or the main theme, is a closed, 8-measure long period consisting of two symmetric phrases that are antecedent-consequent in nature because the first ends with an IAC in Bb and the second ends in a PAC.
The B section begins in m. 9, still in Bb majort. This theme lasts only four measures, ending on a HC in Bb in m. 12, which leads well into the return of the A section, which is repeated exactly as it was in the beginning.
The C section could be considered a B', because the melody in the right hand is the same as B for two measures (mm. 21-22). The harmony, however, is quite different - instead of staying on diatonic chords in Bb, Couperin modulates this section to minor - the relative minor. The A section returns again in m. 28 and again it is repeated as it was played in the beginning.
The D section could be considered a type of A' - the melody in the right hand is the same as the A theme for the first three measures of this theme (mm. 36-38). Once again, however, the harmony is different and Couperin modulates this section to F major, which is a closely related key. The A section returns again in m. 51 and is exactly the same as it has been in the entire piece.
Overall, this is a VERY straightforward seven-part rondo (ABACADA). The only unusual thing about this piece is Couperin's use of other thematic material in the C and D sections, giving this piece more organic continuity than would normally be found in such a strictly sectional piece.
The A section, or the main theme, is a closed, 8-measure long period consisting of two symmetric phrases that are antecedent-consequent in nature because the first ends with an IAC in Bb and the second ends in a PAC.
The B section begins in m. 9, still in Bb majort. This theme lasts only four measures, ending on a HC in Bb in m. 12, which leads well into the return of the A section, which is repeated exactly as it was in the beginning.
The C section could be considered a B', because the melody in the right hand is the same as B for two measures (mm. 21-22). The harmony, however, is quite different - instead of staying on diatonic chords in Bb, Couperin modulates this section to minor - the relative minor. The A section returns again in m. 28 and again it is repeated as it was played in the beginning.
The D section could be considered a type of A' - the melody in the right hand is the same as the A theme for the first three measures of this theme (mm. 36-38). Once again, however, the harmony is different and Couperin modulates this section to F major, which is a closely related key. The A section returns again in m. 51 and is exactly the same as it has been in the entire piece.
Overall, this is a VERY straightforward seven-part rondo (ABACADA). The only unusual thing about this piece is Couperin's use of other thematic material in the C and D sections, giving this piece more organic continuity than would normally be found in such a strictly sectional piece.
Les Moissonneurs- COUPERIN
I liked this piece, its organization and general concise nature really made it easy to identify the rondo form. There are seven different parts to the form and they are easily recognizable in the divisions and transitions that Couperin created.
The A theme begins in B-flat major, I really like the mordents btw, I'm I fan of the ornamentation. There is kind of an antecedent\consequent phrase that is repeated and then at measure 8 we get new material with a HC in mm.11 and then the repeat. The A theme comes back in mm.12 and ends like it did originally in mm.7 with a PAC. In mm.20, what looks like it could be the B theme again comes back but it turns into something new, the C material. Things change in mm.22 with the eighth note passage in the second half of the measure and continue on as the tonality shifts a little bit, to g minor I think, and there is a PAC in g minor in measure 28 as that section ends, at the end of the measure there is an ellision where the A theme comes back into the picture and ends in the original key, with another PAC in mm.36.
What I kind of feel like is the terminative section begins in mm. 36 and this transition\termination extends to measure 50 where there is another ellision and return to the A theme in the original key. It ends, of course on a PAC in the original key of B-flat, making it tonally closed as well.
The A theme begins in B-flat major, I really like the mordents btw, I'm I fan of the ornamentation. There is kind of an antecedent\consequent phrase that is repeated and then at measure 8 we get new material with a HC in mm.11 and then the repeat. The A theme comes back in mm.12 and ends like it did originally in mm.7 with a PAC. In mm.20, what looks like it could be the B theme again comes back but it turns into something new, the C material. Things change in mm.22 with the eighth note passage in the second half of the measure and continue on as the tonality shifts a little bit, to g minor I think, and there is a PAC in g minor in measure 28 as that section ends, at the end of the measure there is an ellision where the A theme comes back into the picture and ends in the original key, with another PAC in mm.36.
What I kind of feel like is the terminative section begins in mm. 36 and this transition\termination extends to measure 50 where there is another ellision and return to the A theme in the original key. It ends, of course on a PAC in the original key of B-flat, making it tonally closed as well.
Haydn: Piano Sonata in D Major
A cute little rondo piece to brighten this long day... the piece starts without introduction with our opening A section. This second acts as a small rounded binary form, with a parallel period ending on a PAC, then contrasting material before a return of our original thematic material and a fortissimo dynamic as we terminate on a PAC in D. This secondary section is repeated, much like a rounded binary period. For our B section we move to the parallel minor, d minor, and bring in new thematic material. This sections is tonally unstable in nature, with the repeating theme of three quarter notes flares, followed by a meandering two-voice passage. This stylistic change allows us to make slight key changes seem less drastic. We cadence here in F major, but continue back to a PAC in d minor, which signals the end of this section. The entire A section repeats fully, with no embellishment. Now our C section is once again different, modulating to the super-fun sub-dominant of G and remains there for its entirety. It's a repeated period, with an extension in the second half to make it assymetrical. This section ends on a PAC in G, and leads into a long trasitionary/terminative passage which returns us back to our A section. This time it feels much more terminative, with embellishment in the bass (running 16th notes) and a repetition of the final chord, signaling the end of this fast-paced, very fun piece.
Monday, May 02, 2005
Couperin "Les Moissonneurs"
This is a 5 part rondo. This piece begins in B flat major and ends on a PAC in B flat major after a 9 measure phrase. Then there is a tiny 5 measure phrase that repeats and is a B section. Following this, the A theme returns identical to the first time it was played. Then there is a C section that starts similarly to the B section but is different harmonically in the left hand. Then in measure 28 the A theme returned once again. In measure 37 the theme returns but is an octave higher. This goes into a variation and expansion on the theme. It has a lot of eigth note motion until the return of the A theme in the regular range, ending on a PAC. It's impressive how so much was squeezed into such a short piece. Perhaps it could even be considered a 7 part rondo with the last octave up A section actually being a D section. Then at the end there is another A section. I didn't notice any huge structural phenomena. Rhythm and articulations were similar through out. It is a simple rondo form.
piano sonata in d maj.
5 part rondo. ABACA. let's talk about it.
the A section lasts for 20 measures. it begins in d major , very quietly but loudens by measure 12 to the dynamic level forte. the a section seems to be in rounded binary form, with the first 8 measures ending in a perfect authentic cadence in the key of A (or the dominant). a new melody enters for a few measures, but the expository melody heard at the beginning eventually returns. at the end of the A section, however, it is back in the tonic key of d.
the B section arrive ast measure 21 and lasts until 40 where the A section returns. in the B section, the key changes to the parallel minor (as indicated by the key signature). by the end of the first phrase, however, it feels relatively major (in the relative major!). again, the B section has a rounded binary feeling, as the melody from the beginning of the B section returns in the bass line (inverted counterpoint, anyone?).
the C section is in G major, and wow, Haydn just jumps from one key to the next now doesn't he. that tricky bugger. this section feels much livelier than the first, probably due to the fast moving 16th notes. this section is in rounded binary (notice a trend, anyone?) . by measure 85 the tonicity changes. it feels like the dominant key (D, in this case) is being tonicized again as the half cadence ends the section.
the A section returns at the end to round out this rondo. the running 16th notes in the bass line feel very terminative. thank god!
the A section lasts for 20 measures. it begins in d major , very quietly but loudens by measure 12 to the dynamic level forte. the a section seems to be in rounded binary form, with the first 8 measures ending in a perfect authentic cadence in the key of A (or the dominant). a new melody enters for a few measures, but the expository melody heard at the beginning eventually returns. at the end of the A section, however, it is back in the tonic key of d.
the B section arrive ast measure 21 and lasts until 40 where the A section returns. in the B section, the key changes to the parallel minor (as indicated by the key signature). by the end of the first phrase, however, it feels relatively major (in the relative major!). again, the B section has a rounded binary feeling, as the melody from the beginning of the B section returns in the bass line (inverted counterpoint, anyone?).
the C section is in G major, and wow, Haydn just jumps from one key to the next now doesn't he. that tricky bugger. this section feels much livelier than the first, probably due to the fast moving 16th notes. this section is in rounded binary (notice a trend, anyone?) . by measure 85 the tonicity changes. it feels like the dominant key (D, in this case) is being tonicized again as the half cadence ends the section.
the A section returns at the end to round out this rondo. the running 16th notes in the bass line feel very terminative. thank god!
Haydn, Sonata in D major
Time for a double dose of Haydn rondo form (and printing out all those pages of that symphony won't be fun)
The A section of the rondo form is in rounded binary form. The first section of the A part consists of one period, with an IAC in the original key of D in the fourth bar, and modulating to a PAC in the dominant key of A major in the key of A major. This section repeats. The second section of the A section is only four bars long and ends with an IAC in the key of A major which serves as the dominant to the key of D where the first section of the A part returns. This first section is higly elaborated and has an IAC in the key of D after four bars, and the second part of the period doesn't modulate and ends with a PAC in the key of D.
The B section modulates to the key of D minor. Haydn throws a little joke with the deceptive resolution to the b flat chord during this The first section is a period and has a HC in d minor and then modulates to a PAC in F. The second section has two six measure phrases rather than three four measure phrases. The first half modulates back to d minor and ends with a HC and then the second half stays there and ends on a PAC.
The A section returns again like any good rondo and isn't embellished.
The C section is next and immediately goes to the key of G major and stays there for the whole C section. The first section of this part has a HC and PAC in the key of G, and the second part has three phrases again, ending on a HC, HC, and PAC in four bar intervals.
After this there is a very extensive transition which is easy to tell in this song becuase it's the first non-repeated section. It quickly modulates back to D major with a HC in the fourth bar and eighth bar and then as another joke he repeats the A for a very long heightening the expectation of returning to the A section again.
The A section starts out the same, but Haydn starts embellishing it the second time through the first section and continues this through the second section, mostly by having fast running sixteenth notes in the bass. There is no real coda to this piece, he just emphasizes an ending by repeating the final PAC in D three times.
The A section of the rondo form is in rounded binary form. The first section of the A part consists of one period, with an IAC in the original key of D in the fourth bar, and modulating to a PAC in the dominant key of A major in the key of A major. This section repeats. The second section of the A section is only four bars long and ends with an IAC in the key of A major which serves as the dominant to the key of D where the first section of the A part returns. This first section is higly elaborated and has an IAC in the key of D after four bars, and the second part of the period doesn't modulate and ends with a PAC in the key of D.
The B section modulates to the key of D minor. Haydn throws a little joke with the deceptive resolution to the b flat chord during this The first section is a period and has a HC in d minor and then modulates to a PAC in F. The second section has two six measure phrases rather than three four measure phrases. The first half modulates back to d minor and ends with a HC and then the second half stays there and ends on a PAC.
The A section returns again like any good rondo and isn't embellished.
The C section is next and immediately goes to the key of G major and stays there for the whole C section. The first section of this part has a HC and PAC in the key of G, and the second part has three phrases again, ending on a HC, HC, and PAC in four bar intervals.
After this there is a very extensive transition which is easy to tell in this song becuase it's the first non-repeated section. It quickly modulates back to D major with a HC in the fourth bar and eighth bar and then as another joke he repeats the A for a very long heightening the expectation of returning to the A section again.
The A section starts out the same, but Haydn starts embellishing it the second time through the first section and continues this through the second section, mostly by having fast running sixteenth notes in the bass. There is no real coda to this piece, he just emphasizes an ending by repeating the final PAC in D three times.
"Les Moissoneurs"...couperin
Les Moissoneurs is an example of a seven part rondo.
The "A" theme is seen in measures 1-8. There is an IAC at measure 4 (though if you're counting beat 2 as the chord, then it's a PAC) and a PAC at measure 8 in the key of Bb.
The "B" theme is from measures 9-12 and has modulated to the dominant key of F. There is a PAC at measure 12. This is notably the shortest theme, but I guess it slides because it's the first variations of sorts.
"A" comes back at measure 12 and continues until measure 20. Again, there are 4 bar phrases ending with an IAC at 16 and a PAC at 20 in Bb.
The "C" theme is from measures 20-28. There is a HC in the key of g minor at measure 24 and a PAC at measure 28.
"A" comes back from 28-36. Again, IAC in 32, PAC in 36 in the original key of Bb.
The "D" theme is from measures 36-50. The first four measures are modulating to the key of c minor, and end on a HC in measure 40, followed by a PAC in 44 in the key of c minor. The next next 6 bars are modulating back to the original key of Bb and ending on a PAC in measure 50.
The last 8 bars are the final playing of the "A" theme. One last time, HC in measure 54 and a PAC to end it off in the key of our original Bb.
ummm....short, sweet, to the point.
The "A" theme is seen in measures 1-8. There is an IAC at measure 4 (though if you're counting beat 2 as the chord, then it's a PAC) and a PAC at measure 8 in the key of Bb.
The "B" theme is from measures 9-12 and has modulated to the dominant key of F. There is a PAC at measure 12. This is notably the shortest theme, but I guess it slides because it's the first variations of sorts.
"A" comes back at measure 12 and continues until measure 20. Again, there are 4 bar phrases ending with an IAC at 16 and a PAC at 20 in Bb.
The "C" theme is from measures 20-28. There is a HC in the key of g minor at measure 24 and a PAC at measure 28.
"A" comes back from 28-36. Again, IAC in 32, PAC in 36 in the original key of Bb.
The "D" theme is from measures 36-50. The first four measures are modulating to the key of c minor, and end on a HC in measure 40, followed by a PAC in 44 in the key of c minor. The next next 6 bars are modulating back to the original key of Bb and ending on a PAC in measure 50.
The last 8 bars are the final playing of the "A" theme. One last time, HC in measure 54 and a PAC to end it off in the key of our original Bb.
ummm....short, sweet, to the point.
Piano sonata in D major, Haydn
This piano sonata is in 5 part rondo form (ABACA). The A section is in ronded binary form, from meausures 1-20. It starts off very quiet, but then the dynamics changes to forte, emphasizing the expository section once again. The first A section ends on a PAC in D.
The B section lasts from m. 21-40, and modulates to the parallel minor. The motive changes, as well as dynamic use, but it's still in rounded binary form.. It feels very unstable in this section (well actually, really only in measures 21-28), feeling like measure 28 ends on a PAC in f major. Anyway, the B section ends on a pac in d minor.
The exact A section returns again, meaning the key changes back to D major. The A section lasts from measures 41-60.
A new alternative section is heard (the C section), and is from m. 61-80 in rounded binary form again.. It sounds like its in G major. It also sounds very jumpy and hurried, playing around with the rhythm and running 16th notes, so the motive is very differen t from the a section. It doesn't have as clear of a structure as the A section.
Measures 81-93 seem like a retransition back to the A section, with a very terminative feeling from 88-92.
The A section returns for the last time, this time with no repeat signs because the bass line is now playing these running 16th notes, which help create tension and makes it feel like an ending section. It ends on a PAC in the original key.
This piece seems very spirited and whimsical with many suprising leaps and mood changes, so the term innocentemente is appropriate. Good word. Good job Haydn.
The B section lasts from m. 21-40, and modulates to the parallel minor. The motive changes, as well as dynamic use, but it's still in rounded binary form.. It feels very unstable in this section (well actually, really only in measures 21-28), feeling like measure 28 ends on a PAC in f major. Anyway, the B section ends on a pac in d minor.
The exact A section returns again, meaning the key changes back to D major. The A section lasts from measures 41-60.
A new alternative section is heard (the C section), and is from m. 61-80 in rounded binary form again.. It sounds like its in G major. It also sounds very jumpy and hurried, playing around with the rhythm and running 16th notes, so the motive is very differen t from the a section. It doesn't have as clear of a structure as the A section.
Measures 81-93 seem like a retransition back to the A section, with a very terminative feeling from 88-92.
The A section returns for the last time, this time with no repeat signs because the bass line is now playing these running 16th notes, which help create tension and makes it feel like an ending section. It ends on a PAC in the original key.
This piece seems very spirited and whimsical with many suprising leaps and mood changes, so the term innocentemente is appropriate. Good word. Good job Haydn.
Les Moissonneurs - Couperin
This piece is a seven part rondo form. It begins with the A section in Bb major. It is made up of two phrases, both of which are 4 measures with the first ending on an IAC and the second ending on a PAC. Therefore, the A section is a parallel period. It is then repeated. The B section is clearly in the dominant key of F major. This is also a parallel period, but it is not symmetrical. The first phrase is 4 measures long ending on an IACand the second phrase is 2 measures long ending on a PAC. The A section comes back exactly the same at measure 12. The next section is C, beginning at m. 20. This section is in the key of g minor, the relative minor to the original tonality of the piece. A contrasting period makes up C. Phrase 1 ends on a half cadence and phrase 2 ends on a PAC. The A secton comes back at m. 28. Section D is in c minor, being made up of a parallel period with a HC in m. 40 and a PAC in m. 44. Then there is a transitional section from the end of m. 44 to the beginning of m. 50. The transition brings us back to the tonic key of Bb where the A section returns and finishes off the piece.
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