Beethoven- Sonata in F minor- Menuetto

The phrasing of this piece is made clear by dynamic contrast and articulation. There are often sudden changes from soft to loud or soft to softer and so on at the end or beginning of different phrases. This also causes a sort of playfulness to the piece. Also, Beethoven’s strategic placement of slurs gives breath to relevant parts of the phrase. In examining the form, I was initially confused because I thought that we were supposed to look at the Menuetto and Trio as a whole. But then it occurred to me that both the Minuetto and Trio stand alone as Binary forms. In the Menuetto, the first 14 measures are expository, state the A section, and modulate to a new key. The first 10 measures of the B section are very similar to the A theme and functions as developmental. Then the next measures are transitional, returning back to the original key in the last five measures. The A theme returns in the Bass clef with slight difference and terminates at the end. It is a bit ambiguous as to whether it is simple or rounded. The Trio, however, is clearly a rounded Binary form. The first eight measures make up the A theme, a modulating period. The material then continues very similarly in the new key before a fast transitional passage. Then the original A theme returns.

Sonata in E Major - Op. 14 No.1 - Beethoven

This is a difficult piece to analyze because the sections are rarely divided clearly. Instead, Beethoven uses the end of one phrase to begin another - in a word, ellision. Rather than finishing cadences, the expected resolution of one cadence is the first chord of the next phrase.

In broad terms, this segment is closed, rounded binary form.

The A section begins with an expository double parallel period that lasts for the first 23 measures. The two phrases of each half are asymetric. The first phrase is four measures long and ends with a perfect authentic cadence, and the second phrase, after being extended, is eight measures long and ends with a half cadence.

The first phrase of the second half begins with the first four notes of the main theme, then modulates to F# major. The second phrase finishes six bars later with a perfect authentic cadence in F# major. Because it modulates to F# major, it's closed rather than open (in my opinion).

Then comes the B section, which is comprised of three short expository sections. At first listen, they sound as though they function as transitions or developmental sections, but the material first presented in this section is used again throughout the movement. Also, they lead nowhere and hardly develop the main theme.

The first section lasts from measure 23 to measure 38 and is a double parallel period. The next section lasts until measure 46 and is a period in B major. Then comes the third section which lasts until measure 57 and, through an ellision, is linked to the return of the A section, which is the last four measures of this segment - the rounding begins in measure 57.

Structural phenomena and cadences are far too numerous to explain in any detail.

Beethoven Sonata No. 15 in D Major, Scherzo

The A section of this piece goes from measures 1-33, and consists of four phrases that are each 8 measures long. Because each of these phrases end on a PAC, and because of the lack of antecedent and consequent activity, I would consider them to be a phrase group. The first phrase is in D Major, but there is a change in tonality to the key of A Major in the second phrase. The third phrase shifts back to D Major, and the fourth and final phrase is in A Major. The fact that the A section ends in a different key than it began makes this section open binary form. This section is definitely expository.
As far as structural phenomena goes, there is obviously the constant shifting in tonality between tonic and dominant throughout the A section. There is a change in density every time the four measures of sustained dotted half notes occur. The perfect authentic cadences are made to stand out with the use of quarter rests at every cadence.
The B section begins at measure 33 where the double barlines are, and ends at measure 49. There is another shift in tonality, and I am pretty sure it goes from the key of A to B. The B section is definitely developmental. There are several prominent uses of structural phenomena. There is a change in texture right away when the chords begin being played in the right hand and the left hand just holds out dotted half notes. We also see a huge change in range in the left hand. Throughout the A section the left hand never goes above a d above middle c. In the B section it goes all the way up to A sharp. After the formatta in measure 48, the same expository material from the A section returns again in the key of D Major, which makes this piece rounded binary form!

BEETHOVEN: Piano Sonata in F minor Op. 2 No.1 Menuetto

I liked this piece, and although I do not play piano well, I appreciated a lot of things from a piano playing standpoint.
One of the biggest things about the piece I liked were the huge contrasts and changes in texture, as the piece developed and went on. One minute Beethoven has these smaller, more triadic and root posititon chords, and a few measures later, the texture has completely changed into a more dense one, full of stacked octaves giving the piece a more full, rich sound.
I felt like at some points the huge dynamic contrasts really took control of the phrasing that Beethoven was trying to convey to the performer, an idea that is very interesting to me. Especially in piano music, I really like to see how a phrase is completed, its cool to see how that works out when compared to oboe or orchestral music that I'm more used to.
The menuetto and trio are both in a simple binary form. I felt like the menuetto was more of a sectional or closed binary form, with the exposition returning in the original key, that is always what triggers that for me and makes it easy to pick up on.
I felt kind of like there was a transtition or different feeling in measure 58-59 as an extension of some type was made, in anticipation of the end of the piece.
Overall this was a nice little piece, and I can honestly say that it helped me, visually to really see some of the things we've been talking about lately in class.

Piano Sonata No. 15 in D Major Op. 28, Scherzo

The beginning section of this piece lasts until measure 33 where the repeat bars are. It has expository material and starts out in the key of D. I'm not really sure what to say about the structural units in this part of the piece. The piece goes from D in the first 8 measures to A in the next 8 then back to D, then finishing up with A at the end of the section. It seems like each phrase ends in a PAC and I dont feel any real antecedent-consequent behavior, so i'll call this a phrase group. Ok now we get to measures 33-49. This part is crazy developmental. It feels like we go from the key of A then to B I think? And ending the section in the key of A again. Then bam, after the fermata, we go right back to the same expository stuff that we saw in the beginning. Thus you have a rounded binary form.

K. 331 Sonata in A major by W.A. Mozart II menuetto

Ah, I do so love Mozart. This piece, as stated, begins in A-major. The piece is in rounded binary form, although this piece is far from being a nice simple, symmetrical work. The A section in particular lacks a consistant periodic feel. Each of what I figure to be two parts are of different lengths. The first one feels to me like a contrasting period last 10 bars, and definately contrasts, with a half cadence after 4 bars, followed by a change of texture and no repetition of melody anywhere to be found. The second half of this phrase is 6 measures and ends on a nice PAC. This seems like a nice place to end our A section, but Mozart has other plans. Afetr the PAC we're greeted by what I considered to be a transitional section, as Mozart plays around for 8 bars, using them to modulate to E-Major through a series of virtuosic runs and sequences. This lacks the definition of a phrase group, since it's a cadenza-esque passage. The ending of this section does end in a different key, making the overall passage continuous. We repeat the section to convince our ears that we've modulated.

Now the B section feels relatively straightforward after our meandering A section. This B material is still mostly transitional, as we begin we quickly move to the parallel minor (e-minor) and continue to sequence through this minor key for 12 bars, ending on what seems to be a PAC in e-minor, though we quickly return to our A section, with it's initial 10 bar phrase, complete with large block-chord entrance (which really hammers home "HEY WE'RE IN THE A SECTION AGAIN"). The entire section is repeated, including our cadenza passage, this time ending in our original key, capped off by a PAC. This entire section is again repeated, adding a finality to the PAC in A-major.

Piano Sonata in F minor, Op. 2, No.1 Menuetto and Trio by Beethoven

After completing another mystery in the life of the library, the Beethoven CD was found after a half an hour of intense searching from four workers. So, I'm definitely going to listen in depth now. The piece has many dynamic structural phenomena. It has no middle ground. It goes from pp to ff with sf in the middle of the p sections. These huge contrasts look like they would be shocking and define phrase changes enthusiastically. There is also a lot of density change as the sections begins with small chords and then moves into unison octaves. At meas. 59 there are huge chords that create intensity to prepare for the conclusion. The menuetto seems to be in simple sectional binary form because although the expository A section returns, it is in the bass clef and seems to vary from the original theme in rhythm. The trio section has an obvious binary rounded form. At the end, the expository section returns in the original key. It is open because the A section doesn't end on an authentic cadence. I really like the timbre changes in the B section between the left and right hands carrying the melody. I'm thrilled that DePauw university staff are so dedicated to meeting our library needs so I was able to listen to this enthralling CD recording of Beethoven.

Mozart, Sonata in A major K. 331, II, menuetto

Like all of the other pieces in this assignment, this is a rounded binary piece, but has some distinct differences between the others our class has studied.

The interesting thing about this piece is how irregular the A section is. This section contains three phrases as opposed to the traditional two periods and all three of these phrases are of different lengths. As the title indicates, this piece is in A major. The first phrase is four bars and ends on a half cadence. The next phrase is contrasting from the first one and is six bars long and ends on a PAC. This sounds like it would be the end of a closed A section but it is followed by a leaping grace notes into the next phrase which lasts eight bars and modulated to E major and ends in a PAC. This whole section serves an expository function.

Considering how long the A section is, the B section is quite short, clocking in at only twelve bars. It begins with just octave E, F#, and G natural, which establishes the new key as E minor. One could argue for an IAC at the beginning of the fifth bar, but I feel that section wanders, and the key is hidden by a whole lot of sequences, though seeing all the C naturals in the music and some G naturals established E minor. The twelve bars ends with a picardy third in an authentic cadence in E major. All of the sequences in this section make me classify this as transitional.

A sixteenth note scalar run establishes the return to the key of A major and the return of the A section which makes this piece rounded binary. The first phrase is the same as the opening ending on the half cadence, but this time the second phrase continues to the third beat and ending in a half cadence. The third phrase is similar to the original but changes so the PAC can be achieved in the original key of A major.

"The Goldberg Variations" Aria - J.S. Bach

Here we go... The piece begins with an expository A section. It is a parallel period followed by a phrase. The first phrase of the period ends with a half cadence and the second ends with a perfect authentic cadence. The phrase after the period is transitional; it ends witha PAC in the key of the dominant. Therefore, the A section is open. The A section is then repeated. The B section is two phrases, the first ending on a PAC in E and the second ending on a PAC in G. It is another expository section and does not develop anything from the A section. Because no material from the A section is visited again, the B section is simple. This piece is in open simple binary form. And it's played on a harpsichord. =)

J.S. Bach: Goldberg Variations, Aria

This piece is in continuous, simple binary form. The A section has three phrases. The first eight measures contain two phrases, the first ending with a half cadence and the second with a perfect authentic cadence. Together, they seem like a parallel period, though I'm not sure if I can call it a period within the A section when there is still another phrase. The next eight bars (mm. 9-16) form a phrase that modulates to the dominant (D), and ends with a perfect authentic cadence in that key.

The B section is a phrase group which includes two phrases of eight bars each (it is symmetric). The first phrase ends with a deceptive cadence which resolves to e minor (the relative minor). The second phrase could have been four bars long, but Bach extended the cadence with an extra IV-V-I in the last three measures.

gavotte, bach.

Bach's Gavotte is in simple binary form. The A section (expository) begins in g minor, as it oh-so-thoughtfully stated in the title. We end this section in the relative key of Bb major, with a PAC before the double bar. The B section begins at measure 9 and continues through 17 being a developmental period in the key of d minor (being the minor dominant of our original key). We are taken momentarily back to the key of Bb major but the piece ends in the original key of g minor. G minor is made very obvious in measure 30 with the repeating of the f# for the rest of the piece.

J.S. Bach english Suite in G minor, Gavotte I

J.S. Bach english Suite in G minor, Gavotte I

The piece has a different rhythmic feel due to the piece starting on beat 2. It starts in g minor. As the assignment indicates, this piece is in closed binary form. The A section is a contrasting, assymetrical period. The first cadence, which is a half cadence, takes place at the end of the third full bar, the second cadence is in bar 8 where a pac occurs in the new key of Bb major. The period then repeats with the same cadence scheme. The B section begins with the pick ups into bar 9. the A section would be continuous because of the modulation of the consequent to III. The B section lasts all the way to the end and is then repeated again. No where does the A material appear in its original key. There is, though, the similar use of the rhythmic and motivic gestures of "quarter-8th-8th." The piece ends back in g minor with a PAC. I felt, if there were indeed cadences, they were not strong enough to constitute a structural division.

Bach Gavotte, BWV 808

This piece, which is in simple binary form, begins with its A section, which takes place from measures 1-8. I heard a half cadence in measure 3 and a PAC in measure 8. It modulates approximately in measure six from g minor to Bb major. The section is expository. The A section then repeats (as does the B section). Measures 9-34 are what make up the B section. The motive from the A section appears in different spots both in the right hand and in the left hand in the B section. The only cadence I heard that I was sure of was at measure 18. I felt like there may possibly be another cadence in measure 24/26. Measure 24 hints at a cadence it seems and then the following 2 bars stray a bit from that idea but then it sort of sounds like a cadence in measure 26 on the first beat. The B section is much longer than the A section, but it is simple binary form nonetheless. After playing around with some modulations, we end back in the original key of g minor.

Bach’s Suite No. 1 in G major for violoncello Solo, Minuets I and II

I had some trouble with this one like Kyle, but I'll give it my best shot.

In the first Minuet, the A section was expository. I called it tonally open but since one of my collegues called it closed, maybe I have my definitions mixed up. It ends on a half cadence so I don't feel like it's a complete unit. The B section has a few of the same rhythmic motives, but it's not close enough to call A'. The instability in the tonality of B leads me to call it developmental and then finally terminative for the last two measures ending on a PAC in the original key of G. This is in Simple Binary form.

In the second Minuet the A section is also expository. (If you see these two as one piece though, I would call this another developmental section where we play around with the tonality.) The key is usually g minor but other keys get tonicized throughout. It's hard to say what the cadence is at the end of this section, but I'd say HC. The B section once again is unstable and plays around with the tonality of the piece, but ends in a PAC. This makes this Minuet in Simple Binary form as well.

I'm not sure if we were supposed to look at the piece as a larger whole because that changes the whole analysis because it becomes more of a Da Capo aria type thing instead of a simple binary little song. That's all I got.

Bach’s Suite No. 1 in G major for violoncello Solo, Minuets I and II

Bach’s Suite No. 1 in G major for violoncello Solo, Minuets I and II are both composed in binary form. Each minuet is composed with two main sections. An A section and B section, and both are repeated.

Starting with minuet I, I believe that the A section is expository. I think the overall section is open because it ends on a D major chord forming a HC. Then, the B section is a developmental section where things seem to be a little unstable but it ends on a PAC in G major. This first minuet is a simple binary form by itself.

Minuet II start out with another expository section which in in a new key because of a mode change to g minor. The first A section ends on an interesting point and I think I would be wanting to just call it a section. Then the much longer B section continues on as a developmental section for the new minuet in the new key, and then ends on a PAC in g minor. The A section could be considered open continuous because of it ending on somewhat of an unique cadance, and the over all minuet two would be simple binary.

-one question…the minuet II has a da capo back to minuet I A section. Would this make the two pieces together a rondo because there is eventually a repeat of the original A section. I have other questions but I will wait until class for them….

Bach, French Suite in E major, Polonaise

The expository A section of this piece can be classified as closed simple binary form. Each phrase is 4 measures long making it parrallel and symmetric. It has tewo cadences; the first being a PAC, and the second modulating into B Major. This is where the B section begins. This is a double period with a PAC at measure 16. The B section does quote the A theme and develops it in the latter half. This then ends with a half cadence and then a PAC. I really honsetly didn't care for this piece too much, so here's the basic analysis....give me some Glass...

Gavotte I by Bach

This Bach Gavotte is in simple binary form. The A section starts in g minor and ends on a PAC in B flat major at measure 8 and is repeated again. I believe this section is in open form because of the key change. When section B starts it seems d minor-ish because of the I in d at measure 9 but three measures later. The beginning rhythm is reminiscent of the one in the beginning A section but because of the different key and the developmental stuff going on through the rest of the section. I would also say it is transitional because of the key change back to Bb major then G minor ending the section with a PAC.

"Gavotte I", English Suite No. 3 in G minor, Bach

I really haven't heard very many Bach gavottes, so I enjoyed listening to this. The piece is in simple binary form, like many of the Baroque dance suites. Part A is expository, and is open because of its continuity, and also because it ends on a Bb maj. chord., or a VI chord in d minor. There are absolutely no breaks throughout the whole piece, so it's kind of hard to hear many of the cadences, except those near the repeats. After it repeats, the B section begins. The B section is developmental because it has some characteristics (rhythmic) of the A section, but it's not in its literal form. Measures 11-17 serve as an entirely new motivic idea, with the treble clef playing mostly running eighth notes while the bass has the melody. It continues its development in d minor, until it starts to mesh back into g minor, which is what it ends in. All of the sections fit well together. The A section is needed to start those beginning measures of the B section.

"Aria" from J.S. Bach's Goldberg Variations

This first movement is the unvariated portion of the Goldberg Variations. Here we have a simple case of binary form, with two distinct sections separated by repeats. This piece especially seems closed as we have the end of the first section modulating to the dominant key, and the second section taking the parallel minor key and then returning it to the original key. This piece is in G, changes to D Major, from there goes to e-minor and finally resolves back in G major. Our A section is made up of two periods each symmetrical. The first one contrasting, the antecedent phrases ending with a half cadence, the consequent flirting with our dominant key, before ending on a PAC. The second phrase not only flirts with the dominant, but takes it out to dinner and a movie, modulating immediately before a half cadence on the fourth measure, ending on a PAC in D Major to end the phrase. This whole section is repeated in order to offer even more contrast between the sections. The second section begins with a flourish in the right hand in our original G major, before quickly a D# comes in, pulling us into our parallel minor key. We continue to a half cadence in the minor and the entire consequent phrase remains in minor, ending on a PAC. Now things get interesting, we have a cadential extension for two measures as we move to a PAC in our original key(with a similar melodic function as the first section). Finally we have a terminative section, with a vast harmonic motion and a virtuosic right hand section playing fun and happy 16th notes, before terminating 6 measures later in a final PAC in our G major key. This ENTIRE section is repeated, adding nothing new while also simultaneously distancing this section from the original material. This is a closed binary form, since it begins and ends in the same key. It is also simple since we don't really bring back the premier material except for a single cadential function.

In the immortal words of Forrest Gump: "and that's all I have to say about that."

French Suite No. 6 in E Major (Polonaise) - Bach

(I WROTE ALL OF THIS AND THERE WERE PROBLEMS UPLOADING IT, THEN THE SITE LOST IT)

This is a simple, open binary form. Beginning in E major and in 3/4 time (in which it remains throughout), the A section consists of a parallel period of eight measures. It is symmetric as each phrase lasts four measures apiece. The first phrase cadences as a PAC in E, while the second phrase modulates to the dominant B Major and cadences in a PAC in the new key. Arguably, this is not a period, due to the fact that both the cadences are PAC's and there is little feeling of antecedent and consequent phrasing. However, given this section A's context in a binary form, I prefer to think of it as a nice, neat parallel period. Because A modulates to the dominant, it marks the "open" or "continuous" binary form.

Following, at the start of the B section, we have an eight measure constrasting period composed of two four measure phrases. They consist of an antecedent and a consequent phrase marked by a HC and then a PAC in the key of c#minor. To me, this functions as a development of the original expository material in A, for the first phrase begins with the same rhythmic and melodic contours as does the beginning of A. Still, the second phrase in the period resembles little the material from A (excepting measure 15). Then following, there is a four measure transitional phrase that moves the section back to B Major and ends on a precarious IAC which is quickly overrun by a pickup of the last four measure phrase. These last four measures introduce new material and thereby hold an expository function. They also express a return to the original key of E Major and end in a pleasant PAC.

Due to the extensive amount of developmental and transitional material, coupled with the new expository material at the end, I would most definitely say that the form is simple. However, since the first eight measures of B are indeed rather parallel to A, one could most certainly argue that this Polonaise is indeed rounded (II: A :II: A'B :II). Still, for me, given that the first eight measures of B are in a minor key and do not strictly follow the material of A, I am much more inclined to see this as a long development and as part of an new section (that of B, namely). Therefore, I regard this in open, simple binary form.

French Suite No. 6 in E Major (Polonaise) - Bach

The Polonaise appears to me to be in open, simple binary form. It begins with the A section in 3/4 (which it remains in throughout) and in the key of E major. A consists of a parallel, symmetric period that modulates in the second phrase group to the dominant major of B--thus making it "open" or "continuous". Both of the phrases in A end in a PAC, though the second PAC is naturally in B. For this reason, one may not choose to look at a as a parallel, antecedent-consequent phrase, but as a phrase group. However, givin that it is the A section of a clear binary form, I tend to look at it more as a parallel period. Immediately following, is the B section which begins in two four-measure phrases of developmental exploration in the key of c# minor. The first phrase of B especially echoes the theme of A in its onset, but does so in the minor key of c sharp. The consequent phrase from m13-16 does not resemble nearly as much the thematic content of A (there is one rhythmic gesture that reappears in the right hand of m 15). The two phrases represent a constrasting, symmetric period marked by a HC at measure 12 and by a PAC at measure 16. This is followed by a four measure transitional phrase where the theme of A is picked up again, but used to modulate back to BM, landing on an IAC. The last four measures consist of new expository material in the original key of E ending nicely on a PAC.

Because the B section not only does not clearly repeat the A section, but it has a long development and transitional area and also introduces new thematic material, I cannot see how this could be a rounded binary form. With A ending clearly in the dominant, and B standing very distinctly in contrast with A, I must dub this in open, simple binary form.

Bach's Gavotte from English Suite No. 3 in g minor

Bach's Gavotte in g minor is an example of simple binary form. This piece is clearly divided into 2 sections by the double bar line. Section A begins in g minor, but modulates to Bb Major, creating a tonally open section.
The B section begins after the double bar line and serves as a developmental and transitory section. This section is considered to be simple binary form because the A section does not return. There is a motive similiar to that which appears in the A section, but it is in a different key and uses different harmonies. The B section is much less stable tonally than the A section. By the end of the section, we have modulated back to the original key of g minor in order for the piece to serve the simple binary function.

"Goldberg Variations, Aria" by Bach

This piece is a fairly simple binary form. This short Aria is composed of 4 sections, each 8 measures long, each containing a half cadence leading to a perfect authentic cadence. The first section is in G major, and serves as an exposition. The next section modulates to the dominant of D major, but retains some of rhythmic motives similar to the prior. The third section modulates to the relative minor, sugesting that the last two sections were transitional. There is much ornamentation in this section, with crescendos and trills accenting complex rhythms. THe final section modulates back to the tonic G major. As it has little else in common with the A section, it would be called the B section. This is another exposition. I liked this piece, the written ornamentation gave it quite a bit of flair. As the piece progressed, the rhythms got shorter, faster, and more complex, adding interest for the listener until the end.

BACH- Gavotte from English Suite No. 3 in G Minor BVW 808

I'd have to say that recently I have come to appreciate and enjoy a good Bach Gavotte. The orchestra is doing one right now which will be played prior to the Augusta Read Thomas piece, Galaxy Dances. She told Mr. Smith that she was heavily influenced by both Bach and Debussy, so he decided to incorporate their music into the concert as well. Kind of a cool little note.
Anyway, the Gavotte is usually a peppy little dance melody with downbeats marked tenuto more to help the dancers than the musicians, but for the most part played stacatto, despite the fact that there are no indications in the score.
This gavotte by Bach reminds me of the one we're doing right now. The piece begins in G minor as indicated by the title, the key signature and all the nice f#s. The first eight bars makes up a period in my mind, the first four bars ending in somewhat of a half cadence in the middle of the fifth measure when the exposition repeats itself. I think its fair to call this little repetition of material an ellision since it is in the middle of a meaure. Interestingly though, somewhere between measures 6 and 8 the expostition modulates to the relative B-flat major, ending in a Perfect Authentic cadence in this key.
The period repeats itself, and what could be considered the B theme begins. It has a similar rhythmic motive to the A theme, though it sounds nothing alike. I think I would probably venture to say that the three measures preceeding measure 11 are more transitional\developemental than anything else. The rhythmic paterns chance and more notes start happening at measure 11 which really differenciates this as the B section of the piece. The material continues onward, without a trace of the A theme or any expository material. The key signature starts to get played around with a little more, and all of a sudden towards the end of the section there are f#s and e-naturals popping up and it seems that the piece has modulated back to the orginal key of G minor.
I'm still a little shaky on the terminology, but I think its best to say that this is a closed binary form. It ends in the same key that it began in, though there is no return to any expository material after its initial introduction at the beginning of the piece.

JS. Bach's English Suites- Gavotte I

The double bar following measure 8 marks the end of the A section and the Beginning of the B section, the two major sections of the piece. The phrasing of the A section, from m. 1-8, is difficult to clearly define because of the lack of clear structural breaks, with only the performers articulation to serve as a guide. It question is whether there is enough clear pause from the extra durations in measure 3 and 6 to consider both to be the ending of a phrase on a deceptive cadence. In that case, it would be a double parallel period (abac) with the first pair ending on an IAC in g minor and the second pair ending on a PAC in the relative of B-flat major. The function of this section is expository. The B section begins with similar material of the first in the new key. Measures 9-17 are unstable and function both as developmental and transitional into another modulation to d minor. Measure 18-25, starting in the new key, is similar to the previous measures, but its function is mostly transitioning back to g minor. The final measures to the end begins like the beginning but again becomes tonally unstable and developmental until the g minor is completely established in the last few measures , which serve an expository role and end the piece on a PAC in the original key.