Debussy La Cathedrale Engloutie (a little late)

ok, this took me a little time to do this along with the other assignments but here it goes

I believe this piece to be binary with intro and coda sections.
The intro spans mm. 1-6;
A mm. 7-27;
B mm 28-46;
A’ mm 47-71;
B’ mm 72-83;
and finally coda mm 84-89.

The piece as a whole could be looked at as a tone poem, as with many other Debussy pieces. The first section (intro and A) could very well represent the morning view of the cathedral, shrouded in mist. The second section (B) could be the presence and appearance of the cathedral, and the final section (A’-coda) can show the ocean overwhelming the cathedral as punishment from God for its sins.

Intro/A - mm 1- 27 = section 1, the morning

B - mm 28-46 = section 2, the cathedral

A'/B'/coda - mm 47-89 = section 3, the downfall

Debussy La Cathedrale Engloutie

Sorry that I am posting so late...but this is what I got out of the piece.

I just read Mister's analysis and I think I agree with it, but I'm going to write what I thought it was before I read the other one. I wasn't able to see the picture the piece was based on and I'm sure that it would also explain a lot more.

I got that the overall form was A B A' C D C' A'', which kind of reminded me of a poem structure.
The A section is from mm. 1-15, with subsections a, a' and a''. a is mm. 1-5 in G ; a' is mm. 6-12 in C#; and a'' is mm. 13-16 in C.

The B section is mm. 16-21, with two subsections b and b'. b is mm. 16-19 in B; b' from mm. 20-21 in Eb.

Section A' is from mm. 22-27, it is in G. It seems to me as a transition into the C section, which is from mm. 28-46 and is in C. This ties back to the A section. mm. 42-46 are a transition in the key change at mm. 47.

Section D would be the key change from mm. 47 to mm. 69 with a pedal G# throughout. At mm. 70 we are back in the C section and back in C. Section C last until mm. 83.

mm. 84-89 are a restatement of the A section, but this time in C, which seems to be the pedal this whole piece was mainly built around.

Again I think I like Mister's analysis, making the key change the pivot of the piece and not as complex, but I thought I would be true to the actual work that I did....

La Cathedrale Engloutie

Debussy was inspired to write this piece by an ancient legend of the Cathedral of Ys, told by the people of the Brittany section of France. When analyzing this piece it can be helpful to look at the famus painting of the Cathedral itself. In it you can see the very outline of the song written by Debussy.

I found that the over all for of the piece is ABCBA. In the painting there is almost a mirror efect. In the middle of the paining is a horizontal line which devides the sky, and the ocean. on the line is the Cathedral. It is a pictur of the songs for. The form is known as an arch form. reflection. The piece is devided at measure 28, 47, 72, and 84. there are transitions from theme to theme. The first is from m26-28. The C section starts at m47 with the key change. Then, just like a reflection, it returns back to its origonal key in measure 72.

Also... He paints a pictur in the begining of church bells ringing which make the listener think of the church, on the quiet shore with bells ringing.

Tristan und Isolde Prelude to Act I

First of all this was a very intense, passionate piece. I very much enjoyed listening to it as well as the rest of the opera. I read a lot about this and wanted to share a quote from Wagner's program notes. "There is henceforth no end to the yearning, longing, rapture, and misery of love: world, power, fame, honor, chivalry, loyalty, and friendship, scattered like an insubstantial dream; one thing alone left living: longing, longing unquenchable, desire forever renewing itself, craving and languishing; one sole redemption: death, surcease of being, the sleep that knows no waking!” In essence he is saying that everything else in life may fade but love will thrive until death.

The anthology's introduction to this piece describes the opening motive as the "motive of suffering" and the second part of that motive (oboe response) as "desire". These two motives are the beggining and ending of this piece. I believe from my reading and from my listening that this piece was Wagners depiction of love, perhaps one relationship or perhaps love enduring through many relationships in one life. It has a beggining of longing, desiring to be with that person. Towards the middle of the piece it communicates all the "happy memories" if you will, the good times, the passion, pleasures of being in love with another person. It is a love song with no words. It ends once more with the beggining motives of suffering, I'm assuming from this that the love was lost, and he is once more left alone.

Considering it is a prelude and allready an itroduction to the opera to begin with; as far as form I see an introduction from mm. 1-18 with the more commonly used melodic motive starting mid bar 18 forming a section 1 mm. 18-35. There is a possible transition from mm 36-44 with a section two mm 45-66, another transition 66-73. Section 3 mm 74-85 ending with a coda which includes the introductory material.

intro 1-18
section I 18-35
transition 36-44
section 2 45-66
transition 66-73
section 3 74-85
coda 86-111

Tristan und Isolde Analysis

OK...

The Motive at the begining repeats 3 times. m.1, then goes up a whole stepand does it again in m. 5 (pick up to). It happends a second time in measure 8, but is prolonged on the third note. I think just to give more of the "tension" feel to go along with his Tristen Chord. The third is followed by an echo in m. 12. After that there is a small transition from m. 14 to m.15.

After the first 16 measures, the main idea of the songs comes in in the middle of m. 17 (a-b-c) It is There that the main theme of the song apears. whole step- whole step- half step. This is the little three note pattern that keeps re occurring. The same three notes also have the same three rhythmic pattern. Eighth note- dotted eighth note- sixteenth note. This SAME PAttern occures COUNTLESS times through out the piece.

m. 37 - m. 41. is a transion into the key change from Am to c#m.

Also through out the song there is a motive that keep reoccuring. they are found in measures 35, 61, 62, 94, and a few more.

Im not exactly sure of the form, but i know where the sections are.Section 1: m.1 - m. 16. Section 2: m. 17-m. 43. Section 3: m. 45-m. 62. Section 4: m.63-m.85. Last section: m.86-END.

This piece is a WONDERFUL piece. I listend to it again and again, and was blessed evertime. I really like the first chord in m. 17. :)

Please give comment !!! this is just what i can see... there is so much more going on the the piece, I wish i had more time to really dive into it....

Wagner - Tristan & Isolde Analysis

The Prelude to Tristan and Isolde is one that became extremely popular for one main reason: the invention of what has become known as the Tristan Chord. The Tristan Chord was born out of Wagner's desire to prolong the feeling of grief, the feeling of sorrow.

The Tristan Chord is found in m. 2 - f, b, d#, g # this becomes a significant chord for most of the prelude.

The prelude I believe has three main motives. The first begins in measure 1. For purpose sake it is in the alto voice through until m. 3. The second motive begins in the soprano voice til m. 3. Motive c can be be found in m. 16 & 17. It is evolved from b. The difference lies in that in c - the third note has been lengthened.

The piece is primarily in a minor. Again we have the initial motives from m. 1 - 3 - followed by the same motive but up a m. 3 in 4 -7. This occurs later in mm. 8 - 11 and then follows in 12 - 13 but an octave higher.

The Tristan Chords that I found are as follows: m. 2 / 40 / 102 - 103 / 106 - 111. (the 106 - 111 is a Tristan Chord broken up in the cellos)

The hard thing about this piece is the tension - there are not a lot of perfect authentic cadences. We have a V - VI cadence in mm. 16 - 17. An imperfect cadence in mm. 44 & 74. At m. 42 we have a key change to what I believe is F# minor. Then at m. 71 back to a minor.

Measures 74 - 80 serves as an extension / development of the material from 63 - 74.

I am not sure what else to say - what was everyone else's findings? I was a little confused to what actual form / key this is in? does anyone have any ideas?

Jonathan Schorr

Need the Grosse Fugue Score?

Hey Everyone,

I've had a couple of people come up to me and ask about where to find the score in the library...it seems like it has be checked out. So I uploaded it into my computer and I can send it to you through email if you still need it.

I wanted to have it in document form, but I just got a new computer and printer/scanner and I didn't know quite how to make it work the way I wanted it. This means that it will be sent as a folder and each page as an image...it should still work though.

You can email me at flyingfishstiks@yahoo.com. I'll check my mail for the last time at about 11 tonight.

Sam

Beethoven Grosse Fuge Analysis

ok well this thing is pretty much a beast, so I must admit, I had a little help from Jstor...
so this is a basic overview of what I found.

What I would call the "main subject" of the piece occurs prior to the exposition in measures 2, 11, 14, 17, 21 and 26.

The exposition begins in E flat major with the pick-up to m. 31 in the 1st violin. The main theme comes in m. 31. The answers to both themes come around m. 35. The subjects of both themes come back in m. 39 and the answers again at m. 43. Then, a third statement of the subjects come at m. 50. There are then a few episodes that occur with a triplet accompaniment or what may be a temporary counter-subject. These episodes are at mm. 58, 62, and 68.

The main theme can be found in mm. 79, 111, 115, 139, 141, 145, 159, 167, 176, 187, 193, 194, 199, 201, 203, 209, 233, 234, 235, 236, 237, 238, 242, 248, 253, 255, 257, 260, 263, 266, 275, 280, 288, 296, 320, 350, 354, 358, 362, 363, 370, 378, 380, 387, 389, 395, 397, 416, 420, 424, 428, 432, 436, 440, 444, 446, 493, 501, 502, 533, 535, 538, 544, 549, 551, 556, 559, 597, 599, 609, 663, 682, 683, 691, 717, and 718.

It is a possibility that there is a second fugue beginning in m. 273. The main subject is included in mm. 275, 280, 288, 296, and 320. There are two counter-subjects. One is the descending eighth-quarter-eighth motive and the other is three ascending dotted quarter notes that occur many, many times between mm. 273 and 350.

The piece begins mostly in E flat, after short periods in G major and F major. It then cycles through Gm, Dm, and B flat before an abrupt change to G flat in m. 159. It switches briefly back into B flat, accompanying the time signature change to 6/8. There is another abrupt key change to A flat major in m. 273 to set apart the possible second fugue. It touches briefly on Fm and then changes back to E flat at m. 414 only to go back to A flat in 453 and back into B flat at m. 533.

There is a statement in the Jstor article-- "The 'Grosse Fuge': An Analysis" by Sydney Grew that this may be a "sonata fugata" or a sonata where each of the two themes is a fugue. I think that is a very good possibility.

I have scribbles all over my score that I don't think I can make any sense of here, but I hope this is some help or...something.

Bach Fugue No. 9, Book II, E Major

My analysis is as follows:

• Exposition – mm. 1-23 (S,A,S,A)
o Subject mm. 1-2 (The E-F#-A-G#-F# Tonic motive)
o Answer mm.2-3 (The B-C#-E-D#-C# Dominant motive beat 2
o Countersubject mm.3-4 on E3 (Whole step up-Wup-Wup-Hup-P4down motive)
o Countersubject mm. 4-5, B3
o Subject mm. 4-5
o Answer mm. 5-6 (beat 2)
o Countersubject mm. 6-7, E4
o Countersubject m. 8, E3
• Counterexposition (A,S,A,S)
o Answer mm. 9-10
o Subject mm. 9-10 (beat 2)
o Answer mm. 10-11 (beat 2)
o Subject mm. 11-12
o Countersubject mm. 11-12, E3
o Countersubject mm. 12-13, E#4
o Countersubject m. 13, B3
o Countersubject mm. 13-14, F#2
o Countersubject m. 14, C#2
• Development
o Subject mm. 16-17
o Answer mm. 17-18
o Answer mm. 19-20
o Subject mm. 20-21 (Sequenced, F#)
Bach now Sequences the Subject again starting on F# and going up 5th’s, F#, C#, G#, D#
o Subject^ mm. 23-24 (Bach changes some note values and uses passing tones but keeps the same idea – Whole, quarter, quarter, half tied to quarter, quarter, half)
o Subject* mm. 23-24 (beat 2, also changes note val. – H tied to H-Q-Q-Dotted H-Q-H)
o Subject^ mm. 25-26 (uses subject^ rhythm)
o Subject* mm. 25-26 (beat 2, uses subject* rhythm)
• There are now some diminutions that come in mm. 27-29. The subject is cut in half note value wise and goes through each voice.
• mm. 35-36 has another subject on beat 2
• mm. 36-37 has another answer on beat 2
• mm. 37-38 has another subject with a rest counting as the first half of the first beat of the subject
• mm. 40-41 has one final answer
• Then in mm. 36 – 41 there are some more countersubjects starting in the top voice, then moving down a voice, down another voice, and then back up to the 3rd voice.
I think that’s it….

Bach Fugue No. 9 in E Major

Here is my analysis:

Exposition:
Subject mm. 1-2 (E)
Answer mm. 2-4 (B)
Subject mm. 4-5 (E)
Answer mm. 5-7 (B)
Bridge mm. 7-9
Subject mm. 9-11 (E)
Answer mm. 10-12 (B)

Development:
Episode 1 (Subject w/ C.S.) mm. 16-17 (E)
Episode 2 (Answer w/ C.S.) mm. 17-18) (B)
Episode 3 mm. 19-20 (B)
Episode 4 mm. 20-21 (F#)
Episode 5 mm. 20-22 (G#)
Episode 6 mm. 25-26 (G#) Diminution of Subject
Episode 7 mm. 26-27 (G#) Diminution
Episode 8 mm. 27-28 (D) Diminution
Episode 9 mm. 28-29 (F#) Diminution
Episode 10 mm. 29-30 (B) Diminution
Episode 11 mm. 30 (B) Diminution
Episode 12 mm. 30-32 (E)

Final Section: Subject returns in outer voices and in its original note values.
Subject mm. 35-37 (E)
Answer mm. 36-38 (B)
Subject mm. 37-39 (E)
Answer mm. 40-41 (B)

Those are my thoughts! Let me know what you've found!

-Shelley

Beethoven op. 130 string quartet 13 mvmnt 1

This movement is in sonata form, though somewhat obscured and elongaited. Exposition is mm. 1 - 93, covering Bflat and moves to Gflat in mm. 53. it would seem to modulate to F in mm. 51, but the actual move is made to Gflat and the dominant was a trick ^_^
the development begins in mm. 94 and takes us all the way to mm. 132 where the material from the first group returns in the tonic. the tonic for the first part of the development is Gflat. while it is a bit strange, mm. 97 seemingly takes us to D. the remain parts of the development are tonally unstable in much the same fashion. using the allegro and adagio as contrasting themes, Beethoven clearly puts contrast for this section is a very blunt yet dream and unsettling way.
even though there is little tonic stability and some material from the development reoccurs, the return of the opening material is pretty clear so i'll say that the recap starts at mm. 132. the recap modulates several times, unusual for a classically formed sonata, from tonic to Eflat then to a strong Dflat cadence in mm. 151 then back to Bflat in mm. 170. mm. 214 marks the beginning of the coda taking material new to the recap as well as some already reworked material as par with typical Beethoven.

Beethoven Op. 130 movt. 1

So, I looked over the piece for a couple of hours and listened to it a few times and this is what I came up with.

It is is Sonata form, although not so clear.

I believe that mm. 1- 24 is an introduction, in Bb major. The exposition and Theme 1 then starts in the key of F major, this lasts from 24 to 53. Although it modulates back to Bb around mm. 31. From 53-70 there is a transition to Theme 2 and is modulating to Gb major. Theme 2 begins in mm. 71 with the key change to Gb and lasts until the repeat.

The development begins in 94 and modulates into the key change to D major. The development is fairly short, going through another key change to G major (and possibly modulating briefly to C major), before recaping at 132.

I then believe the recapitulation starts in 132 with Theme 1' back in the key of Bb major and modulating to Eb major around 139. Theme 1' then goes until 160, where the transition into Theme 2' starts. It also modulates to Ab major in 150 leading the way to the key change. This transition is longer than the one in the Exposition, but it reaches Theme 2' in mm. 189. The key makes it's way back to Bb with another key change at 173.

The movement then ends with a Coda starting in mm. 214 in Bb major.

I also did analysis of the key centers and I got something like this:

Bb [ F Bb Gb] D G (C) [ Bb Eb Ab Bb] Bb
V I N/V V/G vi (V/C) (ii) V I IV V I
( Eb temporary tonic)
Intro Exposition Development Recapitulation CODA

I was curious of the Gb, since it isn't a related key, but I thought it was interesting that N can subsitute for IV's. Eb also is the IV of Bb....I'm not sure what it all means in relation to the big picture, but its a start...

This maybe right or wrong, but it was the closest I could come to making sense of it in Sonata form.

Beethoven String quartet in Bb No. 13 Op.130

OK, so this was interesting. My analysis is very different so... good luck to me.
This piece is in Sonata form
So as opposed to having his themes altogether I believe Bethoven breaks them up by repeating theme 1 and 2 in the exposition. so the list of measures i have for theme one is 1-6, 21-24, 60-65. I believe thm2 to be in measures 15-20, 25-36, 42-59, 66-76. transitions in measures 7-14, 37-41. However weird it is i believe Beethoven melds both themes together in measures 71-89 then ends in a codetta in both endings.
The Developement begins in 97 and has six sections. A is from 97-132, B 132-159, trans 159-160, C 161-184 with a key change in 174, D 184-193, E 193-209, F 210-214.
The Recapitulation is similar to the developement. thm1 215-218. Thm2 is from 219-223. I believe that, in measures 219 to 223, thm2 is tied together by small hints of thm 1 in mm 219 and 222. There is a transition from 224-229. The piece ends with thm2 from 230 to 235.
I know this is a weird analysis and it is probably way off the mark, compared to other pieces we've done. However, i think I did this right. Looking forward to your thoughts.

Nicole's Group

Since no one in my group has posted yet, I thought I give what I have so far..

1. Motive Texture 198-205 Connects to What?

I did a harmonic analysis on all of the motive textures found within the piece. It seems as if they are an extended cadential passage that seems to be the transition between one theme texture to another.

2. Exposition Transitions-Harmonic Analysis

3. mm. 155-161: Deviates from Exposition; Like mm. 107?

What our group noticed when we were in class on Wednesday was that it seems that the deviation happens in about the same spot of the recap. as when the transition in the exposition starts. It seems like he deviated so that he could modulate to another key. In the exposition he modulates to G Major, but it seems like he modulates to E Major in the recap. The question still is why though...

4. Harmony from 183-199


I have the analysis for 2 and 4, but I don't know what to make of them in the context of the piece, they don't seem to be too much out of place, but I know that there is probably something I'm missing.

Group Hector "MISTER"

Exposition ending in a Gm64?

Retransition @ 133? KEY?

m141. Recap ent. Why obscured entry?

Texture on 91?

Group Shiela's Analysis

Hello teammates and fellow bloggers!

Here is what our group has come up with at this point. More research is planned to be tackled and updates will soon be posted.

Repeats at mm. 208:
-Contains the same closing theme at the repeat in the recap as the exposition
-Beethoven may have put the repeat here to elongate the piece (development & recap are shorter than what is usually expected)
-Puts more emphasis on the development and the recap

How many PACs?
-17 PACs
-There is still tension in the piece because these PACs are small, they move quickly, and are not very definitive

mm. 123-127 vs. mm. 155-161
-mm. 155-161 (e minor) is a variation of 123-127 (b-flat)
-Stacks the same as it did in mm. 123-127
-mm. 123-132 is in the exact middle of the piece
-The piece may be like a mirror. Significance of the "a tempo" found in mm. 123

Coda? What happens? Why?
-Coda is similar to a typical recap
-Starts with the opening theme in the exposition (e minor)
-He restates original themes from the exposition
-Harmonically, from mm. 241 to end, it is identical to the exposition
-Same thematic material in mm. 241 as it is in mm. 11 in the exposition
-What if mm. 241 is actually supposed to be the beginning of the piece?
-Potentially could have written the sections from back to front

The investigation still continues...

Shelley Scarr
Jonathan Schorr
Brenden DuBois
Ryan Atkinson

Daniel's Group Questions

1. Mm. 65 vs. 205: In what ways are they similar? Or different? Why?

2. Theme II Cadence: Does it exist? Where? What type?
a. Key of Theme II?

3. Mm. 33 vs. 169: In what ways are they similar? Or different? Why?

4. Beginning Key of Development?

Beethoven's String Quartet in E Minor, Op. 59, No. 2

Whilst whistling the day away, supping tea and devouring crumpets, one might have the inclination to analyze the sonata form of none other than L. V. Beethoven’s String Quartet in E minor, Op. 59, No. 2, Allegro Movement. In theory, tea and sonatas are a glorious match, but in personal experience, coffee tends to be a better suit. Without any further ado — the analysis.
This particular string delight is a bit indefinite in the divisions between sections aside from the Exposition (arguably mm. 2 - 70), the Development (mm. 72 – 143), and the Recapitulation (mm 144-211). A large coda closes the piece out, starting in mm. 212 and going through to the finish.
The Exposition seems to only have one tonal center rooted in the key of E minor, however there are blatant texture changes/themes found in mm. 24, mm. 34, and mm. 58. Beethoven also has the tonality flit from minor to major, and back again.
The Development elucidates upon the previously seen material from the very beginning of the Exposition, as well as the section around mm. 58. A transition can be found from mm. 133-143, bringing the listener right to the Recapitulation.
The Recapitulation does exactly what it should in that it ties everything together in a way to close the piece. Snippets from the themes in the Exposition are found (namely the beginning motif, and subsidiaries), along side material from the development that essentially is taken from the Exposition.
The start of the coda takes the listener back to the opening bars of the piece, and finally draws everything to a close as it wanes into nothing.
Overall, Beethoven’s piece does not follow the sonata form of the Classical-era to a "tea," in that the ambiguity of the sections did not lend itself to analysis. Until we meet again, just remember that coffee and sonatas are highly recommended for all who seek thrill and excitement. Adieu.

Beethoven's Eminor

1 measure of Intro.
Exposition mm.2-mm.69, transition from mm.65-69
Development mm.72-mm.211, mm.72-90 seems to be alternating between minor and major tonalities, however, I could not determine which tonalities or keys.
First theme is seen again in mm.85, mm.146
Transition mm.205-211
Recap. mm.212-255
CODA mm.240-255
Basic structure of this piece is ABA Sonata Form.
Again, many changes of tonal center.

Beethoven String Quartet Op.54 No.2

I know that the first movement of a string quartet is supposed to be sonata form but I am having trouble making any sense of it. So I am going to throw out what I see and let you fillet me....

It starts out in Em with a small intro at the begining. Theme 1 starts in m.3 and lasts till m.33. There is a transition from the end of m.33 to m.35. Theme 2 begins in m.36 and ends in m37. There is a coda from m.58- the double bars.
This begins the exposition where I see him playing with some of the same rythmic and melodic lines from the exposition. The retransition begins in 135 with all of the trills.
The recap begins in m.145 in AM. It looks different from the one in the exposition and I can't figure out what exactly is going on untill i see the begining of theme 2 in m.73. The codetta goes from m199 to the double bars. From then on is the coda where it ends nicely in Em.

Haydn String Quartet Op. 74 No. 3

So here it goes...

I too believe that the first movement of this string quartet is a rounded binary. The piece starts out with an introduction (mm. 10) in g minor and goes into the A section starting in m. 11. I feel that there are parts to the beginning A section. The first part begins in measure 11 and continue in g minor all the way until m. 46. From mm. 47 to the downbeat of m. 54 i feel is a transition going into the relative Major key of Bb Major thus beginning the b part of the A section. The b section goes from mm. 54-78. The B Section begins at m. 79 and continues on to m. 127. Throughout this B section there are recurrences of the introduction however it is now in c minor. The A section returns in m. 128 and continues on to m. 167. It modulates again from g minor...but now to G Major in measure 168. The b section continues on to the end of the piece at m. 197 thus completeing the first movement of this string quartet.

The second movement is a theme and variations. The theme is stated is in the first 3 bars of the Largo movement. However, the introduction goes all the through m. 10. The first section of this movement is in E Major (mm. 1 - 22). In measure 23, where the second portion of the movement starts, it modulates to e minor. The piece stays in e minor up until m. 37 continuing the theme in the 1st violin. In m. 38, the piece comes back to E Major and continues with the theme. Throughout the last section of this piece, Haydn integrated some moving lines in the first violin, which he started to do in the melody part in the minor section (i.e. mm. 45-46). The last section ends at measure 59 the same way the first section ended in m. 22. There is codetta from 60 - end redifing the key of E Major that was evident throughout.

Haydn - String Quartet Op.74 No. 3 "Horseman"

The first movement gave me a little trouble but after reviewing some old textbooks I think I'm going with my hunch: the first movement is in Rounded Binary.

The A is from mm. 11 - 78. It begins with an introduction from mm. 1 - 9. The A section is primarily in g minor until the modulation to Bb Major in m. 55. The piece then repeats moving to the B section from mm. 79 - 127. The B section begins in a different key - in this case c minor in m. 79 and f minor in m. 101. In the B material there are parts of the original A music used within the parts. It is not that it is developed on but rather just used in a different key. The return of the A section is in m. 128. It is back in the the original g minor key. There is another modulation / key change that occurs in m. 168 and a codetta that starts in m. 193 after the PAC in mm. 191 - 192.

The second movement is clearly a theme and variations. In this movement the themes are divided quite easily as there is a stricking contrast in the keys, texture and style. The piece begins in E Major. The main theme is introduced right in the beginning. Through mm. 1 - 22 Haydn writes starting in a major key - then at the double bar line changing it to a minor. He finishes the Variation I in the major key. We see Variation II introduced in a cminor key starting in mm. 23. Variation III begins in m. 38 back in the E Major key. I believe that Variation IV occurs in the jarring chord in m. 45 to the end of the piece.

Well this is my anaylsis - could be right could be wrong!

Over and out -

The one and only- Canada.

Haydn StrQtet in gm Op.74 No.3, 1st and 2nd Mvmt

The first movement is a basic Sonata form, ABA. The A section is mm.1-78, starting in gm and modulating to BbM. I marked measures 1-8 as an introduction. The B section is mm.79-168 and I marked this section as being in cm and fm, modulating to GM as it leads into the return of the A section. The A section returns at measure 169 and continues on to the end in the key of GM with a codetta measures 193-197.

The second movement is Theme and Variations form; however, I think that this movement could possibly be a double variation form because the first and second theme appear to be in different modes (theme I, Major; theme II, minor). Another reason I think this is a double variation piece is because of the placement of the Major and minor themes: Since the Major theme opens the piece, the variations are ordered in such a way as to close with the Major theme. The theme is introduced in mm.1-10. Variation I is mm.11-22 in the keys of bm and EM. Variation II is mm.23-37 in the key of em. Variation III is mm.38-51 in EM, and Variation IV is mm.52-59 also in EM.

In the second movement, there is an interesting chord in measure 8, G dominant 7. I think that Haydn uses this chord to possibly poke fun at the fact that this quartet piece is in gm, and to "reminisce" on the close of the previous movement, which ends in Gmajor. What do you think about measure eight and the role it plays in this Haydn quartet?

Here we go! (Haydn Piano Sonata No. 52)

OK people, here's the first analysis. Feel free to disagree w/ me (as always, at your own peril). Piano Sonata no. 52 (Haydn at his oldest and wackiest):

As with almost all piano sonata first movements, this one is clearly sonata form. Theme I starts right off the bat in E-flat major (m. 1) and lasts until the PAC in m9. We then have a transition lasting from mm. 9-17 that modulates from E-flat to B-flat major. So far so good? Theme II begins in m. 17 (B-flat Major) and lasts until the PAC in m. 33 and includes a little modal switch to b-flat minor in m. 29. Haydn then includes a closing theme that lasts from mm. 33-40 and then a codetta from mm. 40-43.

The development lasts from mm. 44-78 and goes through keys C major, F major, g minor, c minor, A-flat major, back to c minor. There's a truly jarring modulation to E major in m. 68, and finally the retransition in meausre 77 that leads to the recap in m. 79.

The recap is really pretty straight-forward. Theme II begins in mm. 93, and the closing theme begins in m. 104.., and there's a codetta from mm. 112 (middle of the measure) to the end. The entire recap is in E-flat major, of course.

So, that's what I want you all to do this semester. It doesn't have to be polished, really, but please give the form concisely with key areas and measure numbers.

First Item of Business. . .

Do you like the color? Not so much? I thought the black background might make us all seem smarter, but then again, maybe it's overdone. Tell me what you think--particularly if you have good taste.

Welcome to the class. . .

Here's wishing everyone a fantastic and productive semester!