Thursday, May 12, 2005
this is looking like a cinco-part rondo...ABACA
A- m. 1-24
B- m. 24-32
A- m. 33-44-only 1st part of A is repeated...
C- m. 44-52
A- m. 53-64-only 1st part of A is repeated...
Basically there is the A...it is, of course, the expository section and it is played three times...
In between the A section there is a B and then a C... these seem to be developmental because the B seems to be following the exact same melodic patern just on differnt rhythms, and the C is doing it in somewhat of an inverted descending pattern....neato....
Something I think is interesting is the repeat signs...so the true layout it AABABACACA, so that step two and three (BA) are played twice and four and five (CA) are played twice too....
The A is in B-flat major of course...
The B is in F Major...the dom. of B-flat major....of course...
The A is in B-flat major...of course..
The C has static G-flat in the bass..so thats my guess...
The A is in B-flat major...of course....
The end...no mas....it's over...done...HOW ABOUT THAT...
A section: It's a contrasting, assymetrical period. The first phrase ends on a IAC, and the second has a cadential extension that eventually ends on a PAC. This section is repeated, ending on Measure 24. The double bar lines and change in dynamics from forte to piano signal a change of section.
B section: We move to the dominant, F Major. This section is sort of developmental of the A section. It ends on Measure 33. Afterwards there's a recapitulation of the A section in its original form and key. Again, we have double bar lines and a change in dynamics - to pianissimo.
C section: This is very tonally unstable - no distinct cadences. This section is also developmental, and is in gb minor. This section modulates back to Bb Major, ending on Measure 52. After this we return to the A section one last time!
Changes in tempo also serve as structural phenomena - we always return to a tempo when we get back to the A section.
Then we have a new theme in FM that is another period of 8m (symmetrical). First 4m and then an IAC and then another 4m and a PAC. We then have a return of the first theme. Given that this is in the dominant of the first theme, we get a rather binary feeling so far from this.
But then we have an additional section different from the theme in F. This is in fm and is composed also of approximately an 8m period. I feel the melody suggests as HC after 4m and then the PAC elides with the return of the original theme at m53.
Each section is tonally closed, so there is a strong additive feeling. And were the repeats not taken into consideration this would be very much a candidate for a 5 part Rondo in my opinion. Therefore the main theme or A section acts as an organizing structure.
As far as structural phenomena are concerned, the structural divisions follow period/cadence schemes and dynamics is the most important. This, along with the return of the motive, create a basic rondo type form, ABACA. However, it's not a true rondo because the B and C sections are too dependent on the motive of A.
- A - 1-12, repeated 13-24. IAC-PAC. B flat major, expositional.
- B - 25-32. IAC-PAC. F major, developmental.
- A - 33-44. IAC-PAC. B flat major, expositional.
- C - 45-52. HC. g flat minor. developmental.
- A - 53-64. IAC-PAC. B flat major, expositional.
That's it! That's my LAST BLOG! and after tomorrow kids... we are finished with theory!!! It's been fun.... but....YAY!
Now on to the Mazurka. To go straight throught the Burkhart questions:
1. There are two major structural divisions (three sections) that occur:
-m. 24 - Change in dynamics from loud to soft, change in tonality from Bb to F major
also there's a PAC that brings the first section to a close nicely
-m. 44 - Change in dynamics - loud to soft, change in tonalit from Bb to Gb major
again there's a PAC that brings the previous section to a nice close.
There are also two less noticeable phenomena - the time slows down in m. 32 and m. 52,
both times this re-introduces the principle theme.
2. Here's a diagram!:
Section: A B A C A
Measures: 1-24 24-32 33-44 44-52 53-65
Tonality: Bb F Bb Gb Bb
Function: Exp. Dev. Exp. Dev. Exp.
3. Basically, this looks a lot like a 5-part rondo. However, the fact that the B and C sections are more developmental, and don't expose new themes that are a contrast to the old ones, is un-rondo like. However, the changing tonality does make the sections contrast with each other in much the way that sections of a rondo do...
4. I'm not sure what this question is asking, but I'll talk about something. I think the relationship between the parts of this piece is that B and C are just developments of A, which really pervades the piece. These two sections venture into different tonal areas. B is in the dominant and C is in VI.
Thanks to all my faithful readers. By the way, I was Prince German Augmented Sixth. w00t.
AM 1337 hax0r. respekt. spoon 00t.
Wednesday, May 11, 2005
the expository section is from m.1-24. The melodic line repeated in the first section
the second section (B), plays around with the dominant key (f maj). This section is also very piano and legato compared to the A section. The B section goes until measure33. Then the A section returns wit the same structural phenomena as before. I noticed a slight Pac in meas. 36 (back in Bb) . This whole section repeats again. The third section begins very piano and sotto voce, and is in gb major (it's easy to tell by looking at the bass line) but is very unstable in the right hand. It leads right back into the expository A section at measure 53 and ends on a very stable PAC in Bb on both the first repeat and the final end.
Bach opens the piece in F major, ending group 1 at the beginning of bar 6 on a PAC. We immediately find ourselves in a transitional section, where Bach flirts briefly with d minor, but moves to the dominant key of c major. There is something of an authentic cadence in the 9th measure, but it quickly moves on to transitional phrase ending on a IAC in c minor. A little more transition and we find ourselves after a half cadence in c major to group 2 in bar 24, lasting 8 measures till 31. Nothing too weird yet.
The developmental section is very...developmental??? It begins with developing group 1, which lasts from measures 32-42ish. This section is very tonally ambiguous. It's hard to pin down a key, there are b naturals, b flats, e flats and naturals, f sharps, g sharps. It's a little crazy. Around measure 6, we see material from the group 2. In measure 55, there is a large half cadence. This would be as expected...however it's a half cadence in the dominant key. There is no re-transition period. WEIRD. Actually, it's not that weird, it just makes the piece sound very abrupt in change, almost like a sonata-rondo. Instead of staying in the tonic key of F major throught the transition to from group 1 to group 2, Bach insists in flirting with C major and minor. Never fear, in measure 75, we hear our group 2 in the right key of F major, ending the piece on a nice PAC. Whew. PS No coda.
The final blog and time for some crazy forms, from crazy
The first four measures of the piece consist of block chords on each quarter note. The first chord established that the key is D minor and goes through a series of chords without any cadence for the four bars and the downbeat of the fifth bar brings us back to the D minor chord but it’s hard to call this a cadence because the chord before it was a G Flat major chord. It does sound like a finale for the section though bV-i isn’t a traditional cadence. There is then a two bars of single line quarter notes that basically is a D minor chord that ushers in the next section.
The next section is four measures of a pedal D7 chord which serves as a dominant for the key of G and has some strong dissonances in the melody with C sharps and E flats that are played several times each before moving on to the next note.
This is followed by a six measure phrase with a new melodic idea with some thirty second notes and triplets and eventually makes its way to C major with a V7-I switching in the last couple of bars. This is followed by a short pattern of grace notes for two notes that go down and hit an A9 chord then a really weird chord with a G, A, B, D flat, and F which is the chord that a melody that is similar to the one that was on top of the D7 chord. This is followed by a couple of very fast lines going down followed by really high chords.
And from all that weirdness, the original chordal structure comes back for a recapitulation. The first two measures outline the same chords that happened the first time but the second two measures’ chords are changed and ends up making a plagal cadence of sorts going from F minor to a C major with a 9th. The C major with a 9th chord is the final chord of the song, and on top of it is some of the same melodic type content with the thirty second notes and triplet figures.
Though there is some feeling of going back to similar melodies throughout the song, in this Impressionism style form really isn’t important and the only thing
Tuesday, May 10, 2005
.The form was ABACABA, typical sonata form
.The A section consists of three smaller themes (thats how I hear it anyway)
1. mm 1-8
2. mm 9-12
3. mm 12-18 ending on a PAC in c minor making the A section tonally closed
. There is a somewhat extensive transition, starting in mm. 18-24 and its easy to tell that a change is coming
. Tonality shifts at this point and the B section begins in mm. 37
. The first phrase ends in mm. 43 on a PAC
. The second part of the B section begins in mm. 44 and continues to mm. 50 and imitates some aspects of the first B section phrase ending on an unsteady HC
. The C section begins in mm. 80
. The other two sections repeat to complete the sonata rondo form, ending tonally closed in c minor...
Sorry this blog isn't very extensive but its 5:34 in the morning, I decided to bite the bullet and stay up ALL night writing my pysch of music paper... i don't have much patience.
so, it's 5:19 am, and nope, i haven't been to bed yet. i hate life.
alrighty, movement III....not quite at it's finest, and for that i apologize.
we start in Bb. it's a rondo form. there is a HC at m. 4 and a PAC at m.8. sorry this is kind of random, i'm running off of fumes of the "Sun Juiced Berry Banana Energy Drink from the local Greencastle gas station." to quote Tyler Pawl..."it takes you back to the days...when humans didn't speak." There is another HC at 12 and a PAC at 16. The next four bars make a lovely...actually, kind of boring, transition. B starts in m. 20. the rest clued me in on this.
Jim, "WHAT THE JUNK??!?!?!?!? ABORT, ABORT....THEY'RE CALLED BUI DOI...."
....sorry, i was just trying to type, and then i typed what i heard...which really had nothing to do with mozart at all.
There's a PAC at 36, then another stupid transition. A comes back at 41. at 56 there's another stupid transition...maybe mozart was pulling an all-nighter too...i heard he was under a lot of stress. C comes in at 64. We get transition number 2 at m. 108. A is back at 112, and B's development at 127. I'm sorry that I'm not including anything useful, but it's sort of difficult for me to see right about now. my eyes are blurry. and i laugh a lot.
The mother of all transitions comes at 198. this is impressive, folks. i love it. it makes up for all his boring transitions before them. maybe i'm just so tired that i'll settle for anything right about now. scheise, it's getting light out. i'm never to going to get to bed. i should be pretty happy by the time class rolls around...if i'm still moving. A is back at 200. there's a hot PAC at the end...and a couple before that. I guess A morphs into a terminative section.
The ONE and ONLY.... MoZaRt...SONaTa IN B-FLAT MAJOr....K. 333, III....right..here we go..
well well well...this little movement numero III, is a sonata rondo form....
well, not really...
Anyways...CAD.S....I have spotted the first one to be in m. 4...a HC...then a PAC in B-flat major in m. 8. that is our first period, and it is then repeated but with a more developmental feeling under the melody. There is a HC in m. 12 and a PAC in m. 16.
from the middle of 16 to the middle of 20 there is a little transition, and in the pick up to 21 there is an E natural that really tells us we are in the dominate of B-flat major..(F major)..
This B section starts as i just said in the pick up to 21. The first cad. seems to be a IAC in 23, then another in 29, but maybe in 31...then there is a PAC in 36..
The next four bars after the PAC is a transition back into the original key so that there can be a repeat of the A section.....it repeats...the A section, that is...
This repeat of the A last from m.41-56....from 56-64 is a sequencing modulation which ends up cadencing on a D major chord..this is the cad. right before the C section begins...
starting in the middle of 64 is the C section...which last until m. 110 then a little ditty carries us back into the A section in m. 112. This section is what seems to be d minor, which is the relative minor of F major...the dom. of B-flat major...
m.112-127 is the return of the A...then it enters a section which a dev. of B..so...B' or D...depending on how similar to B you hear it...
This section contains more runs..triplets..and last until m. 173 where i believe there is a fake return of A.. at first is sounds as if it might be coming back but soon goes into a very transitional section and then in m. 200 we see the return of A again, but soon turns termanitive to end the piece....
It does adhere, however, to the A B A C A B A format. I refer to the different sections with a number after them to indicate which repetition of the section I'm talking about.
The piece begins right away with A1, which has two themes (Aa and Ab). Aa is made up of one phrase which ends with a PAC in m. 8 and is extended to m. 12, where it ends with another PAC in c minor. This begins Ab, which lasts only five measures until m. 18, ending with a forceful PAC in c minor - A is closed tonally. There is a transition in mm. 18-25, which modulates to Eb major and therefore begins the B section.
Once Eb has arrived in m. 25, it is still not firmly established - Beethoven plays around with eb minor just five bars later. Therefore, I hear this as still transitional material. However, it's important to address the measures 25-29 (x) separately because they contain thematic material that will be developed later.
B has two themes (Ba, and Bb). Ba begins in m. 37 and is defined by triplets played in a call-and-response manner between the right and left hands. It ends with a PAC in m. 42, and right away Bb begins. This theme ends with an IAC in Eb major in m. 51 and leads back into Ba, making the B section a small rounded binary form.
The return of Ba is not ended with a PAC in Eb major as it did the first time. Now, it leads into a transition (mm. 56-60), which ends in a HUGE HC in c minor, bringing the return of A (A2).
A2 is replayed much as it is in the beginning - Aa goes from measure 61- 73, and Ab picks up there and finishes with a very strong PAC in c minor in m. 78.
At this point, the C section begins in Eb major. There is a completely new theme - it is characterized by the soft, smooth playing of half notes. It is made up principally of four half notes followed by a quarter-note line that brings it to a close with n IAC in Eb major every four bars. This motive is manipulated - inverted, played in octaves, played in the left hand, etc. It is played a total of four times before a transition begins in measure 95 and lasts all the way until measure 120, ending with a huge half cadence in c minor (it modulated along the way).
A returns (A3). This time, however, after Aa, Ab doesn't come back. Instead, Aa is developed in mm. 128-132, and then x, the transition between A1b and B1a comes back. It's dolce-ness is a nice contrast at this point. As in the beginning, it leads to Ba (this time B2a), which is now in G major. B2a is followed by B2b, which begins in m. 153 and leads into a transtion (m. 162) which leads us to the return of A (A4).
The return of A lacks Ab again, but instead goes into a transition, which leads to a terminative section that begins in 182. This section is very stormy, and lasts until the end of the piece (obviously). There is a REALLY interesting moment in Ab major in mm. 202-205 - after a huge HC in f, a quiet, calm melody cuts in and is played twice. The piece concludes with a huge descending scale, ending with a fiery PAC in c minor that seems all the more furious because of the quiet moment just bars before.
Monday, May 09, 2005
The alternating section is 21-41 where the tonality is a little less structured. There's a PAC at 36, and then a 4 bar transition back into A material in the dominant key. This is basically identical to the first A section.
The C section is much louder and in d minor which is the relative minor to the dominant of the original key. There is a PAC at the end of the first 8 bars of the section. There is alot more chromaticisim going on after that which ultimately brings us back to Bb major and the A section once again.
The D section is somewhat similar to B but not similar enough, So it's stil D....deal with it. It feels as though Mozart has returned to the A section at 173, but he was joking....he finally transitions at 189 bringing us back into A.
This Sonata-Rondo form crap is confusing
The A section begins quietly, with a half cadence after 4 measures , and a PAC at bar 8 marking the first period. A parallel period follows, to conclude the A section on a strong PAC. A short transition section follows, leading us to the dominant key by measure 21. This the Primary section.
The Alternating Section, or the B section, lasts from about measure 21, all the way to measure 41, 20 bars later. Significantly more chromatic that the previous section, we see fewer obvious cadences and phrases. I hear an IAC at measure 23, but don't hear a definate cadence till measure 36, where there is a strong PAC. The sixteenth notes and light left hand accompaniment push the harmonic motion along, preventing harmonic rests and cadences. This is definately not periodic. I would call this sectional. After the cadence in measure 36, we have a short 4 bar transition section back to the dominant key and the Primary A section
Yay, the A section. It is an exact repeat of the A section, leading us to the developmental C section.
The C section is long, lasting from measure 64 to measure 112. We have modulated to the relative minor of the dominant key, d minor. This section opens loudly to a phrase ending 8 bars later on a picardy third PAC. I'm tired...Mozart plays with sequencing up dotted sixteenths, flirting with the tonic in bar 87. Blah. This section is very chromatic development section, that basically leads us to the A section and B flat major.
Another exact repeat of the A section.
This next section is different enough to be labeled D. It is similar to the b section as it uses many running sixteenths, but is longer and quotes other sections. Notice the triplet sections, and the dotted rhymic patterns. Mozart flirts with a return of the A section at 173, but it is a false return. A transitional section from 189 to 199 leads us back th the A section.
Yay, the end. The A section. It is very terminative. The end....help...blah...need sleep...asdflkjasdf.
The A section of this piece consists of an opening period which is eight measures and has a HC after four measures and a PAC in the eighth measure. This is followed by a five bar phrase that ends with a PAC and then a shortening fo this phrase that lasts only two bars with a PAC that seems to be repeated but the cadence is extended so it makes a four bar phrase ending with a PAC in our key of B flat.
The B section begins with a four measure phrase that is based on the arpeggios of I and V ending with a HC followed by another phrase that has similar triplet lines to the later parts of the A section and after four bars it hits a V-I but it doesn't sound cadential and ends up modulating to F major in the next measure ending in a HC. Now in the key of F there is a four bar phrase that ends with a HC then an extended phrase to seven bars and ends in a PAC. This is followed by four bars of trills that sound very transitory followed by a big dominant chord back in the original key of B flat and a long single line in the right hand that transitions back to A.
During this A section, the first period is exactly the same as it was during the opening but it moves from here straight to the C section.
The C section starts with a long eight measure phrase in the relative minor key of G minor that ends with a HC and is repeated. This is followed by an eight measure period with a HC after four bars and a PAC in the eighth bar. This section has many of the same feeling of turns and whatnot of the A section. A series of chords in three measures transition the music back the A section.
This time the A section is exactly the same as the first time except the little joke at the end with an grace notes into tones F and A flat after the PAC in B flat.
The next section is unique so I'll call it D and has three four measure phrases in the key of E flat major that end with a HC, IAC and PAC. The melody of this section harkens back to earlier sections. The next part takes transition feel with triplet lines and has a HC after four bars and an IAC back in F after five bars. This doesn't mean the transitory feeling goes away because the crazy triplet lines continue for four more bars ending with a HC.
We have the return of the A melody but the return doesn't seem complete becasue of the trills that accompany the melody with the other hand. There is an IAC after four bars then the hands switch and do the same thing for four bars ending with an IAC. This is followed by an eight bar phrase that first sounds like the B theme but then goes back to the ending parts of the A melody and ends with a PAC. This is followed by another transitory section with two six bar phrases that end with 2 HC's that go into the true A.
The true return of the A is the same as the original except there is a little cadential extension at the end that emphasized the V-I relationship a couple of more times for a tiny little coda.