This piece is very scalar, except for the arpeggiated notes in the accompaniment. It follows a mostly I-V-I pattern throughout the entire piece. It then modulates using sequential modulation. I noticed there were several instances of a breakup of the I-V-I using a half diminished 7th chord. It's always followed by a I chord as a restatement of the theme.
On its second modulation, this time to a minor, and this phrase modulation displays the dependancy of this key in the whole piece. The third and final modulation returns back to the first key, ending on a perfect authentic cadence.
Tuesday, February 15, 2005
Wild Rider: Schumann
THe first period of Wild Rider starts in A minor and lasts for 8 measures. The recurring idea that is introduced in this period shows up throughout the rest of the piece, so we'll call this period the expository function. The second period (mm. 9-16) is in F and has the same theme as the first period with the only exception being that it is played in the left hand rather than the right. Because of the key change, and alteration in the same musical idea, we'll call this section the developmental function. Because the key change is so abrupt I really don't think there is a transitional function in this piece. And last but not least we have the terminative function (mm.17-24) This period brings back the original musical idea in the original A minor key to end out the piece.
Mozart: Theme with Variations K. 284
A theme and variations is simple as far as the material discussed in chapter 3 goes. As a whole, the theme portion of the piece is obviously expository - laying out the main guideline for the rest of the piece. The first variation (and the 11 others that follow it) are then developments upon the expository.
Within the theme, the first eight bars are expository, which are the bars that include the sing-song like melody that is expanded upon later. The following 5 bars, which contain an unmarked shift in tonality, seem to be developmental because it definitely doesn't help move to a new section. The remainder of the theme returns to the melody introduced in the first period. The first variation section has the same basic outline as the theme. It's exactly the same but just arranged in a different way. The whole theme section can be clearly heard throughout it and the form is identical to that of the theme.
Within the theme, the first eight bars are expository, which are the bars that include the sing-song like melody that is expanded upon later. The following 5 bars, which contain an unmarked shift in tonality, seem to be developmental because it definitely doesn't help move to a new section. The remainder of the theme returns to the melody introduced in the first period. The first variation section has the same basic outline as the theme. It's exactly the same but just arranged in a different way. The whole theme section can be clearly heard throughout it and the form is identical to that of the theme.
"Wild Rider" - Schumann
This piece is very simple. The ternary form is as straightforward as they come... The first A section is expository - it exposes the only melody of the piece.
The B section is developmental - it presents the motivic material of the A section in a varied form - instead of a minor, pretty much the same melody is playd in F major.
The second A section has a terminative function, and not just because it is the last section. In addition to finishing the music, it "confirms and reinforces an established key" - it's back in a minor, as was the first section.
The B section is developmental - it presents the motivic material of the A section in a varied form - instead of a minor, pretty much the same melody is playd in F major.
The second A section has a terminative function, and not just because it is the last section. In addition to finishing the music, it "confirms and reinforces an established key" - it's back in a minor, as was the first section.
Monday, February 14, 2005
"Wild Rider" by Robert Schumann, Opus 68, No. 8
“Wild Rider” by Robert Schumann – Opus 68, No. 8
This piece is in ternary form, with an A section that repeats, a B section, and a recapitulation of the A section. The A section is expository and is in the key of A minor. This section is a parallel symmetrical period, with two phrases, a and b, each four measures long. The antecedent phrase ends on a half cadence, and the consequent ends on a PAC.
The B section is a developmental section, in that it modulates the original melodic motive to F Major and moves it to the bass clef. This section is also a parallel symmetrical period with two phrases that end on a HC and a PAC, respectively. The repeated A section is exactly like the first A section, with no interpolation or cadential extension.
This piece is in ternary form, with an A section that repeats, a B section, and a recapitulation of the A section. The A section is expository and is in the key of A minor. This section is a parallel symmetrical period, with two phrases, a and b, each four measures long. The antecedent phrase ends on a half cadence, and the consequent ends on a PAC.
The B section is a developmental section, in that it modulates the original melodic motive to F Major and moves it to the bass clef. This section is also a parallel symmetrical period with two phrases that end on a HC and a PAC, respectively. The repeated A section is exactly like the first A section, with no interpolation or cadential extension.
Schumann: Carnaval, Op. 9, No. 4, “Valse noble”
This first section I view as an expository function. It is the A section, and it’s repeated twice. So, it is obviously a very important part of the song as a whole. It is phrased as a symmetrical parallel period. I can see and hear the stronger and final IAC in measure eight to end the period. The musical content is almost identical for all four measure when looking at the rhythm and notes of the treble line. The bass line has the same rhythm throughout but different in chord position.
The next section of music I consider to be serving as the transitional function. It is a period (symmetrical parallel period) formed by two, eight bar phrases which are pretty much exactly identical to each other. The reason this section is functioning as a transition is because it isn’t related to the A section at all, but it leads us into a developmental part which puts a new twist on the A section. We are in a new key, and the rhythm has changed in both hands.
This developmental section with is similar to the A section but has different qualities. The bass line sustains a little more, and the texture is different because there isn’t octaves in the treble line. This developmental section is made up of two, four bar phrases. I consider it to be a symmetrical parallel period.
That developmental section runs us right back into the full blow A section which to end the piece takes two, four bar phrases to form a symmetrical contrasting period. The second phrase is was really shows this as a terminative function because it is leading the register down and taking us to the last cadence of the piece.
The next section of music I consider to be serving as the transitional function. It is a period (symmetrical parallel period) formed by two, eight bar phrases which are pretty much exactly identical to each other. The reason this section is functioning as a transition is because it isn’t related to the A section at all, but it leads us into a developmental part which puts a new twist on the A section. We are in a new key, and the rhythm has changed in both hands.
This developmental section with is similar to the A section but has different qualities. The bass line sustains a little more, and the texture is different because there isn’t octaves in the treble line. This developmental section is made up of two, four bar phrases. I consider it to be a symmetrical parallel period.
That developmental section runs us right back into the full blow A section which to end the piece takes two, four bar phrases to form a symmetrical contrasting period. The second phrase is was really shows this as a terminative function because it is leading the register down and taking us to the last cadence of the piece.
Schubert: Six Moments Musical, Op. 94, No.6
The first section is the expository section, which is a parellel period with a HC at the end of the first 8 measures, and a PAC at the end of the 16th measure. I think the next section functions as developmental and transitory. There is a key change, and you can still pick the original melody out, but it is slightly altered, which qualifies it as developmental. The chord progression and the direction of the melody are unpredictable. I think it also serves as transitory because it leads back to the A section.
Bartok: Mikrokosmos No. 109 "From the Island of Bali" Part Deux
As I stated in my first discussion I feel that this piece is definately in ternary form, with three distinct sections. Each section is made up of two phrases. The first phrase acts as a sort of exposition with the second phrase contrasting in material and then transitions into the next part. However, the trasitional material is thin, since the parts do not really intersect. We do not change keys between sections, and the change in time signatures is abrupt (although a ritardando skews our meter between sections). Each section ends with a perfect authentic cadence, lending an air of finality to each. The final section is a recapitulation of the first, with slight variation (most notably, the low Ds in the left hand). Once again we reach the ritardando at the end of the second phrase, but instead of our Authentic cadence, we have a chromatic extension, before our final PAC. If I had to group this into larger group ideas, the first section is expository, with the second section development and the third section terminative.
Now back to bed, this flu is kicking the crap out of me...
Now back to bed, this flu is kicking the crap out of me...
Valse Noble....again
So yeah....my second analysis of the piece: (strikingly similar to the first, imagine that!)
A section (m. 1-8) B section (m. 9-24) return of the A (a prime, m. 25-32; A m. 33-end).
IAC (m. 8) PAC (m. 24) IAC (m. 32) (m. 40).
Because the expository section is tonally stable with clear cadences (IAC at m. 8), I'll make the claim that the A section (m. 1-8).
{ So the B section seems like it's taking us somewhere...or maybe not...so I was thinking transitory (but it doesn't really go anywhere!!!) It just takes us to A prime...which I suppose could be argued as a destination. But since that seems sort of sketchy, can I have two expository sections? Since no one is here to answer me, I'll give myself a yes.}
With this in mind, our second exposition (B section) begins in measure 9 and ends in measure 24. Measures 25-32 will be labeled as the transitory section, since I've already described them as A prime. They're clearly taking us to the terminative phrase, or a recapitulation of the expository theme (m. 33-40).
Maybe that seemed a bit scatter-brained and exhausted (that's because I am!). Hopefully I'm somewhere close to the mark...if not...better luck next time.
A section (m. 1-8) B section (m. 9-24) return of the A (a prime, m. 25-32; A m. 33-end).
IAC (m. 8) PAC (m. 24) IAC (m. 32) (m. 40).
Because the expository section is tonally stable with clear cadences (IAC at m. 8), I'll make the claim that the A section (m. 1-8).
{ So the B section seems like it's taking us somewhere...or maybe not...so I was thinking transitory (but it doesn't really go anywhere!!!) It just takes us to A prime...which I suppose could be argued as a destination. But since that seems sort of sketchy, can I have two expository sections? Since no one is here to answer me, I'll give myself a yes.}
With this in mind, our second exposition (B section) begins in measure 9 and ends in measure 24. Measures 25-32 will be labeled as the transitory section, since I've already described them as A prime. They're clearly taking us to the terminative phrase, or a recapitulation of the expository theme (m. 33-40).
Maybe that seemed a bit scatter-brained and exhausted (that's because I am!). Hopefully I'm somewhere close to the mark...if not...better luck next time.
Bartok Mikrokosmos Auf der Insel Bali
The first bars of the piece all the way up to the 2 bars before the Risoluto are expository. The 2 or 3 bars before the risoluto are transitional to a new section. The first 11 bars of the new section are expository. In bar 12 the melodic gesture is in a new dynamic and register with a different melodic structure so I would consider this developmental. The third section at andante I would consider expository up to the poco rit. AFter then I would consider it terminative.
Schumann, "Carnaval," Op. 9 No. 4, "Valse noble"
The first eight bars of this song clearly serve as an expository function. It has clear cadences that show a period and is repeated.
I guess the next set of sixteen bars (two identical eight bar periods) has to have a transitional function since it is completely different from the expository section.
The next eight bars after this are a development of the main theme because it is similar to the main theme but has different dynamics, lack of doubled octaves in the melody and a little embellishment.
The final eight bars is extremely similar to the first eight bars, but has a clearer cadence at the end so this period has a terminative function in showing the listener that the song is really over.
I hope I wasn't supposed to say anything more than this. Just following directions.
I guess the next set of sixteen bars (two identical eight bar periods) has to have a transitional function since it is completely different from the expository section.
The next eight bars after this are a development of the main theme because it is similar to the main theme but has different dynamics, lack of doubled octaves in the melody and a little embellishment.
The final eight bars is extremely similar to the first eight bars, but has a clearer cadence at the end so this period has a terminative function in showing the listener that the song is really over.
I hope I wasn't supposed to say anything more than this. Just following directions.
Robert Schumann Scenes from Childhood Op.15 No.8
When reflecting back on this piece, it again first an foremost exerts the its simplistic qualities. However, this time when I listen to it, I hear the phrasing a lot more and it sticks out for some reason.
Although the underlying bass is very simple, and the right hand carries the melody, the first four bar phrase is given a sense of sweeping excitement through the use of a simple crescendo and decresendo, which pushes the phrase right into the next one creating a period.
Every detail about this piece screams simplicity from the PACs at the the end of the main periods, to the half cadences that occur in between phrases giving an anticipating feeling and tone to the piece, almost as though there is a card game about to be played, or as if children are excitedly insisting that someone tell them a story. There is almost a sense of rubato as the piece begins almost slowly like a roller coaster climbing a hill and then takes off a little bit and there is definately some taking away and putting back of time throughout the movement.
Again, Schumann's simple, child-geared composition style with the scenes from childhood is refreshing to me. I like the fact that it is simple and predictable and I think that it is timeless music.
Although the underlying bass is very simple, and the right hand carries the melody, the first four bar phrase is given a sense of sweeping excitement through the use of a simple crescendo and decresendo, which pushes the phrase right into the next one creating a period.
Every detail about this piece screams simplicity from the PACs at the the end of the main periods, to the half cadences that occur in between phrases giving an anticipating feeling and tone to the piece, almost as though there is a card game about to be played, or as if children are excitedly insisting that someone tell them a story. There is almost a sense of rubato as the piece begins almost slowly like a roller coaster climbing a hill and then takes off a little bit and there is definately some taking away and putting back of time throughout the movement.
Again, Schumann's simple, child-geared composition style with the scenes from childhood is refreshing to me. I like the fact that it is simple and predictable and I think that it is timeless music.
"From the Island of Bali" by Bartok
This piece by Bartok consists of 3 major sectional divisions. The first section consists of two phrases; the first phrase outlines the melodic ideas of this section giving it an expositional function. The piano alternates hands playing a very mysterious and sad melody, developing this theme through the rest of the section. The last two measures of this division could be considered to be a transitional function, as they slow down and diminuendo into the sudden change of the second section.
The Risoluto segment of this piece begins again with the first four measures of exposition. The hands are in unison, playing a much more aggressive and threatening melody. The melody moves into a developmental function when the hands no longer play together, rather parroting each other with the prior melody. There are no obvious transitional functions within the section; however, there is a possibility that the sustained D in the final measure of this middle segment could be considered as one.
The final section is almost entirely developmental, as there is no new material being presented to the listener. It is practically identical to the beginning of the piece. The final four measures of "From the Island of Bali" are one big chromatic chord. An obvious end and termination function for this song, as the chord relaxes into nothingness.
I found few transitional segments within this piece. There were no key modulations, with changes between sections being very abrupt.
The Risoluto segment of this piece begins again with the first four measures of exposition. The hands are in unison, playing a much more aggressive and threatening melody. The melody moves into a developmental function when the hands no longer play together, rather parroting each other with the prior melody. There are no obvious transitional functions within the section; however, there is a possibility that the sustained D in the final measure of this middle segment could be considered as one.
The final section is almost entirely developmental, as there is no new material being presented to the listener. It is practically identical to the beginning of the piece. The final four measures of "From the Island of Bali" are one big chromatic chord. An obvious end and termination function for this song, as the chord relaxes into nothingness.
I found few transitional segments within this piece. There were no key modulations, with changes between sections being very abrupt.
schubert 6 moments musical...
the primary theme exposed in this piece needs no introduction, but starts right off the bat. this section is a parallel period, with a half cadence in the 8th measure and a PAC in the 16th. the developmental section comes next. the theme played here is very similar to the expository section, but certain chords and harmonies differ--it sounds much more bittersweet and poignant here. the recognizable melody leads to a new one when the key changes. i think this section is transitional because it eventually connects this passage to the melody once heard at the beginning. this section is also fairly unpredictable and there are abrupt dynamic contrasts; it is rather hard to follow. the main melody only sticks around 8 measures or so until the key changes again. the next 12 measures (followed by a sweet cadence back in Ab major) also act as a transitional function into a new expository function at the trio. i'm uncertain if i should call it an expostiory function...but the trio sounds like it to me. After this first melody is heard for 16 measures (a parallel period once again), there is a developmental section that sounds very similar, but has some different harmonic activity.
There is a D.C. to the alegretto section (the beginning) after the trio, so the original theme is heard again and all is well again. Although the melody was passed around a lot, the main passage and key of Ab major come back again to please the listener.
There is a D.C. to the alegretto section (the beginning) after the trio, so the original theme is heard again and all is well again. Although the melody was passed around a lot, the main passage and key of Ab major come back again to please the listener.
Saturday, February 12, 2005
"Am Kamin" by Schumann
"Am Kamin" begins with an eight measure expository section. It is a contrasting symmetrical period in four bar phrases. The first phrase ends with an IAC while the second ends with a PAC. This period is very tonally stable with clear cadences and phrases. The next section brings in completely new material. These next two phrases look like a whole step sequence. tonality isn't stable. There are many accidental. The cadences don't seem to follow normal progressions either. The following two phrases look like a development from the first period of the piece. The melody is basically the same, but the harmony changes and is fuller. This middle section, even though less stable, creates a contrasting double period with the second phrase ending on a half cadence and the last a PAC. The second ending of the piece is terminative. The last four measures are mere "show-offiness" for the sake of emphasizing the closure of the piece. This was a good piece for beginners to analyze.
Thursday, February 10, 2005
mendelssohn....a second time
i'm not sure what it is going on with my computer, but i just wrote a big blog on this piece, and now it has disppeared!!!!! grrrrr so, maybe it will show up! Heere is the general gist of what was said: This piece seems to be all about extentions and copying the beginnings of phrases. This peice follows pretty much an ABA form, therefore having 3 periods. After the 2 measures at the beginning to establish the base and tempo, the piece flows lyrically without cares, it's first section ending in an exteded PAC. The B section is much different than the A in that it sounds stronger and more defined than A did. Then there is a recapitulation of essentially the same theme, followed by yet another extended out cadence. !I really hope my other entry shows up!!! humph!
Chopin Mazurka in E minor
Chopin: Mazurka in E minor, Op. 17 no. 2
I had a difficult time analyzing this piece, partially because of the great improvisatory feeling that occurs throughout the piece. However, as near as I can tell...
The piece is in ternary form. The A section is a double period, and each half of the period has 3 phrases. The first 3 end with a HC, and the second with a PAC. There is a definitie antecedent/consequent relationship going on here. The second half of the period is much stronger because of the cadences, which creates a strong "answer" to the "question" that was asked by the first half of the period.
The B section has a very rubato feeling, which is a typical quality of Chopin's music and most music throughout the romantic period. I love the improvisational feeling of Chopin's music because it makes the melody so intriguing. You never know just what it's going to do, and it just sounds so natural. This section occurs from measures 25-53, and there are three phrases. I analyzed them as a phrase group rather than a period, because there is no real sense of an antecedent/consequent relationship.
When the A section returns, it has been shortened from 24 measures to 16 measures. The fact that is is shorter gives the piece a nice sense of finality.
Well kids, I gave it my best shot...
I had a difficult time analyzing this piece, partially because of the great improvisatory feeling that occurs throughout the piece. However, as near as I can tell...
The piece is in ternary form. The A section is a double period, and each half of the period has 3 phrases. The first 3 end with a HC, and the second with a PAC. There is a definitie antecedent/consequent relationship going on here. The second half of the period is much stronger because of the cadences, which creates a strong "answer" to the "question" that was asked by the first half of the period.
The B section has a very rubato feeling, which is a typical quality of Chopin's music and most music throughout the romantic period. I love the improvisational feeling of Chopin's music because it makes the melody so intriguing. You never know just what it's going to do, and it just sounds so natural. This section occurs from measures 25-53, and there are three phrases. I analyzed them as a phrase group rather than a period, because there is no real sense of an antecedent/consequent relationship.
When the A section returns, it has been shortened from 24 measures to 16 measures. The fact that is is shorter gives the piece a nice sense of finality.
Well kids, I gave it my best shot...
J.S. Bach: Little Notebook of Anna Magdalena Bach, Minuet
This piece has two separate periods. I believe it is not a double period because the end of the 2nd phrase in the first period is a PAC. The first period is a parallel period. The end of the first phrase is a half cadence with the right hand on re and the left hand spelling a V7 chord. The next phrase is parallel therefore a prime (if the first phrase was a). This phrase ends with a perfect authentic cadence with the right hand going ti-do. The next phrase starts this new section. This period is contrasting. The end of the first phrase is another half cadence with the bass again outlining the dominant seven. The second phrase does not start the same as the first phrase. It ends with a PAC.
J.S. Bach: "Minuet" from Notebook for Anna Magdalena Bach (1725)
Well, the Spencer book says that my piece is found in the Burkhart anthology, and it’s not there. This happens after 11 PM when the library closes. So, I chose the first piece on the list I could find that was located in the Burkhart anthology, “Minuet” from the Notebook for Anna Magdalena Bach. I had no idea that it was THE famous minuet that I grew up listening to.
The piece is written in binary form with two periods, one period serving as the A section, the other the B section. The A section, from measures 1 to 16, is composed of two repetitive phrases, a and a prime. The antecedent phrase, measures 1 to 8, ends in a half cadence. The consequent phrase, measures 9 to 16, has the exact same melodic material, but ends in a PAC. The two measures are parallel and symmetrical. The entire period is repeated again, with no structural phenomena other than the return of the melodic motive from the antecedent phrase.
The B section, from measures 17 to 32, is also composed of two phrases, b and b prime. The antecedent phrase, measures 17 to 24, ends in a half cadence. The consequent phrase, measures 25 to 32, ends in a PAC. The consequent phrase shares some melodic material with the antecedent phrase, that is moved down a fifth, from measures 21 to 22 and measures 29 to 30. These two phrases are contrasting and symmetrical.
“Minuet” is simple and straightforward. The original notebook served as a birthday gift for Bach’s young second wife.
The piece is written in binary form with two periods, one period serving as the A section, the other the B section. The A section, from measures 1 to 16, is composed of two repetitive phrases, a and a prime. The antecedent phrase, measures 1 to 8, ends in a half cadence. The consequent phrase, measures 9 to 16, has the exact same melodic material, but ends in a PAC. The two measures are parallel and symmetrical. The entire period is repeated again, with no structural phenomena other than the return of the melodic motive from the antecedent phrase.
The B section, from measures 17 to 32, is also composed of two phrases, b and b prime. The antecedent phrase, measures 17 to 24, ends in a half cadence. The consequent phrase, measures 25 to 32, ends in a PAC. The consequent phrase shares some melodic material with the antecedent phrase, that is moved down a fifth, from measures 21 to 22 and measures 29 to 30. These two phrases are contrasting and symmetrical.
“Minuet” is simple and straightforward. The original notebook served as a birthday gift for Bach’s young second wife.
Wednesday, February 09, 2005
Bach, Anna Magdalena's Minuet
Hooray!!! A Short Piece!!
Yeah, the piece is short, but has some good content. We clearly begin in G major with scalar passages and jumps within the tonic triad. Within this symmetrical and parallel double period are sprinkled a half cadence (m. 8), a PAC (m. 16). To spice things up a big, Bach decides to take us for a stroll in the dominant key of D Major in measure 17. (the c sharp is the determining factor) Measures 23-24 are our authentic cadence for the D Major B section. Our c natural in measure 24 takes us ever-so-smoothly back to our friend G major for measure 25 through the end. We finish off with an expected G Major chord to finish off our round of perfect authentic cadences.
Nice job, Bach. I'm sure Anna was pleased.
Yeah, the piece is short, but has some good content. We clearly begin in G major with scalar passages and jumps within the tonic triad. Within this symmetrical and parallel double period are sprinkled a half cadence (m. 8), a PAC (m. 16). To spice things up a big, Bach decides to take us for a stroll in the dominant key of D Major in measure 17. (the c sharp is the determining factor) Measures 23-24 are our authentic cadence for the D Major B section. Our c natural in measure 24 takes us ever-so-smoothly back to our friend G major for measure 25 through the end. We finish off with an expected G Major chord to finish off our round of perfect authentic cadences.
Nice job, Bach. I'm sure Anna was pleased.
J.S. Bach: French Suite in E major, Menuet
This piece is filled with rhythmic and melodic motives through out. The pattern of two- measure phrases with the same rhythmic motive is broken only in two phrases, in measures 11-16 and 21-25. This piece is played very straight and never really goes anywhere. It really makes no attempts to unlock any extreme emotions. As typical with Baroque keyboard pieces due in part to the limits of the instruments of the time, there are few sensations provided by structural phenonama. With no variation in dynamics or tone color, the best way to signify a break or cadence in the piece is through articulation. Bach does so by often slurring the two notes leading into the cadential point. The effect is that by lifting the 2nd note of the slur, the final note of the cadence is highlighted. This feature occurs in every other measure of the piece aside from the measure mentioned before. Not including repeats, the piece includes 3 periods. The first, a contrasting double period, consists of 4 similarly structured 2-measure phrases. The second begins with similarly structure but ends with a longer phrase. The 3rd begins identically to the first, but the final phrase ends differently with the most final sounding cadence.
Chopin "Mazurka in a minor" (posthumous) op. 67 no. 4
Let me first say that this piece was NOT in the Burkhart despite the Temko saying it was.
Anyway, the first section has two eight measure phrases. These phrases are very similar, though they do have some noticeable differences. I don't think this can be called a period though because both phrases end on a PAC. I would call them phrase a and a' with no period.
The next section has a similar sixteen measure format with two similar eight measure phrases. This one though has a feeling of an IAC in the fourth measure and no feeling of cadence before the phrase is repeated in the 9th bar. The reason it is not felt well is because the eighth measure is a secondary dominant chord and the melody has eighth notes that flow right into the ninth measure without any sort of pausing gesture. I guess it could be called a half cadence but I don't really hear it. The IAC in the second phrase is the same in the fourth bar but this time the phrase ends on an authentic cadence. I would call this a parallel period.
The third section has an immediate modulation to A major. It is really hard to tell any sort of cadence in this. I have a hard time hearing this as a cadence but there is an IAC in the ninth measure that could be a cadence. There is no pause at this point and the chord immediately changes with the addition of a G natural. There's a little teaser in the 14th bar of the phrase with an IAC that is held by a fermata, but the real PAC doesn't come until the sixteenth bar.
The last two sections are a repetition of the first two sections with a common tone modulation back into a minor.
Anyway, the first section has two eight measure phrases. These phrases are very similar, though they do have some noticeable differences. I don't think this can be called a period though because both phrases end on a PAC. I would call them phrase a and a' with no period.
The next section has a similar sixteen measure format with two similar eight measure phrases. This one though has a feeling of an IAC in the fourth measure and no feeling of cadence before the phrase is repeated in the 9th bar. The reason it is not felt well is because the eighth measure is a secondary dominant chord and the melody has eighth notes that flow right into the ninth measure without any sort of pausing gesture. I guess it could be called a half cadence but I don't really hear it. The IAC in the second phrase is the same in the fourth bar but this time the phrase ends on an authentic cadence. I would call this a parallel period.
The third section has an immediate modulation to A major. It is really hard to tell any sort of cadence in this. I have a hard time hearing this as a cadence but there is an IAC in the ninth measure that could be a cadence. There is no pause at this point and the chord immediately changes with the addition of a G natural. There's a little teaser in the 14th bar of the phrase with an IAC that is held by a fermata, but the real PAC doesn't come until the sixteenth bar.
The last two sections are a repetition of the first two sections with a common tone modulation back into a minor.
Schumann: Album for the Young, No. 17 "Little Morning Wanderer"
There are three sections to this piece. The first section is a parallel period that is symmetrical. The first phrase ends with a half cadence and the second ends with a perfect authentic cadence in E Major. The second section is repeated and I find that it may be a phrase group. There is one four measure phrase ending on a HC in A, but the second phrase is eight measures long ending on a PAC. (is there a name for that?) The third section is a parallel asymmetrical period. Again the first phrase ends with a HC but the second phrase ends with a PAC in A. The second phrase is longer by one measure because of an extension. The song makes me want to dance. The first two sections are very up-beat and bubbly. The third section is very legato and sweet sounding.
J.S. Bach French Suite in E Major, Menuet
This lovely menuet is broken into two major repeated sections (typical for this genre of movement). The first is an even eight-bar phrase, ending in a PAC. The second section consists of a period with a half cadence at the end of the first eight measures and a PAC at the end of the second eight measures. All three phrases are symmetric and quite similar rhythmically and often melodically as well. There is a recurrance of running eight notes in the right hand alternating with quarter notes in an arcing gesture. In the left hand, there is a recurrance of a group of three eighth notes followed by a strong quarter in the lower octave register on the last beat of the involved measure. Eighth notes in the left hand always begin syncopated on the subdivision of the first beat, while this phenomenom never appears in the right hand.
Interestingly enough, there is a slight trick in all of this. Though the first phrase/section begins in E major, it modulates by 6-7 th measure and cadences in the dominant. As the melody is repeated, the first time, upon the return to E, this ending could sound as a half cadence. However, on the second run of this phrase, it moves right along in B into the section. The PAC in B is reinforced by the second section's continuing in the new key. Then again at about 5-6 measures into the new phrase (m13-14) suddenly it modulates back to E and ends on a half cadence. Then it continues on in E and ends in a very distinct, trill-punctuated PAC (in E).
Interestingly enough, there is a slight trick in all of this. Though the first phrase/section begins in E major, it modulates by 6-7 th measure and cadences in the dominant. As the melody is repeated, the first time, upon the return to E, this ending could sound as a half cadence. However, on the second run of this phrase, it moves right along in B into the section. The PAC in B is reinforced by the second section's continuing in the new key. Then again at about 5-6 measures into the new phrase (m13-14) suddenly it modulates back to E and ends on a half cadence. Then it continues on in E and ends in a very distinct, trill-punctuated PAC (in E).
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