Piano Sonata Hob

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Durrani.Part Publishing Basics, BlackboardDurrani.Form and Analysis Fundamentals, BlackboardDurrani.Little Binary and Ternary Illustrations, Blackboard

Hepokoski, Adam and Warren Darcy.Elements of Sonata Theory(e-book)

Ratner, Leonard.Classic Music: Expression, Contact form, and Style;Chs you & 2 (Blackboard )

Straus, Paul.Summary of Post-Tonal Theory, Chs 1 & 2 (Blackboard )

Jonathan CrossThe Stravinsky LegacyCh one particular, 2, and 5 (Block forms, Minimalism)

Jonathan M. Kramer. Concepts of Musical TimeIndiana Theory Review 17/2 (1996): 21-62.

Thanks, for your answer Ramako. You allowed me to a lot together with the form analysis of this primary theme. Therefore i agree with you entirely!

After the primary theme we certainly have a changeover which is ‘sentential’ (not a sentence in strict Caplian terms). There exists an idea in bars 12-14, a kind of duplication of the idea in bars 14-16 after which until the inside caesura after the half mesure in C we have a thing that looks like a continuation turns into cadential period.

After the move we have a secondary theme which is built such as a sentence:21-22 sama dengan basic thought23-24 = (almost) exact repetition of the fundamental idea25-29 (downbeat) = continuation becomes cadential phase. There exists an speeding in harmonic rhytm, although there is a deceptive cadens.I think my personal interpretation until m29 is quite correct. But the problems commence. How can I review the bars 29 – 39 (downbeat = Vital Exposition Closure)? Bars 39-46 are a brief c-zone i believe.

Do you agree with this imperfect analysis of the subordinate theme?

Last edited by Faell; Jan-10-2014 for 14: 45.

I don’t have looked at Caplin’s methodology in enough details recently, therefore i may be wrong, but I actually hear:

2 club basic ideaa couple of bar ‘contrasting’ idea stopping on an imperfect authentic mesure (this with the previous fundamental idea varieties the ‘antecedent’)a couple of bar replication of the original basic idea with varianceAfter that approximately a couple of bars extension, 2 bars cadence.

And so i largely agree with your presentation. The only difference is that We hear the repetition of the basic idea after the antecedent as significant: I say the continuation commences only in bar six after a diverse repetition of bars 1-2 in bars 5-6. Regarding classification, Perhaps my model lies half-way between a Hybrid and a chemical substance sentence, for that reason.

As for your analysis of the sonata type as a whole, I agree wholeheartedly get back.

Last modified by Ramako; Jan-07-2014 for 15: 33.

I agree with the interpretation. Only I would declare now after reading Ramako’s response and reading the chapter of compound designs in Caplin’s book it is a compound phrase with pressurized continuation. Thus instead of a almost eight measure continuation phase or continuation becomes cadential stage there is the normal 4 evaluate continuation (becomes cadential) stage as expected within a tight-knit word theme. Therefore my modified interpretation of the primary theme is:

m 1-4: cbim 5-8: cbi’m 9-12: continuation becomes cadential

Even though Caplin offers in his book only cases with a great repetition in another level degree which in turn doesn’t fit into this case. The repetition in the (slightly variated) cbi is on the same scale degree while the initially cbi in this instance. But this can be possible, in my viewpoint. My spouse and i interprete the repetition in the cbi as an (almost) exact duplication (more in harmonic terms) which is feasible for a repeating of the fundamental idea in a sentence. Will you agree with this kind of interpretation?

My spouse and i am as well curious how come you say that a cross is still an alternative.Ramako, thanks for answering my question.

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Introduction to post-tonal theory

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I ought to apologise – in my past reading I’ve somehow skipped out 2 bars entirely!

1-4: c. w. i.5-6: varied repetition of bars 1-27-8:.9-12: continuation and cadential features

The crux of the is actually whether pubs 7-8 count as a replication of bars 3-4. They are doing resemble the other person in significant ways, yet bars 7-8 also endure classic outline of being continuation (chiefly motivic fragmentation and being sequential in nature).

So what is definitely the theme? If perhaps bars 7-8 repeat, different, bars 3-4, then pubs 1-12 certainly are a plain, even if compressed, mixture sentence. If they are continuation, then simply what we possess does not match easily into the category of formal types, however strongly resembles a compound sentence (having re-read the section upon Hybrid themes, I will no longer see how a great interpretation based on the Cross types types is usually tenable) just a little less firmly. My research of the idea would consequently be being a compound word, with a proviso that bars 7-8 possess a strong continuational character.



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