Form
This piece has a thematic structure of //: A : // B // A’ //
Section A was literally a ‘written out’ repeat. This form is closest to the extended binary form where thematic structure consists of two sections that resemble harmonically. Section B continues in the same key as section A and is not harmonically independent. The difference is that section B and Section A’ were not repeated.
Hypermetric structure
The metrical units in this piece I thought was fairly straightforward with stress pattern generally on the first beat of every bar. Eg:
Why do/ birds suddenly ap -/ pear every - /time you are/ near / Just like me /they long
x x x x x x x x x
to be/ close to you
x
Phrase structure
Section A consists of a simple period containing an antecedent phrase, and a consequent phrase. The interesting part is that the antecedent phrase is characterized by a long-short- short subdivision, whereas the consequent phrase is the usual short-short-long subdivision we encounter.
Section B is made up of a period consisting of an antecedent phrase (3 ¾ bars long) and a consequent phrase (3 ¼ bars long). The asymmetric phrasing could add interest to the music.
(look out for Close to you (II))
4 comments:
blogger doesnt show the way i indicated my hypermetric stress pattern. i'll see what i can do about it.
Eileen,
This is indeed an extended binary structure, but your symbolic representation is a little misleading. Also, what else is interesting about this form vis-a-vis its tonal counterpart. In this connection, you may wish to see my postscript response to Anna's analysis.
As for your harmonic analysis, you've correctly identified the tonicization of vi in the B section. Now, if i suggest to you that the same tonicization underlies bs. 2-4, can you amend your analysis of bs. 2-3 accordingly and include also voice-leading indications?
In addition, please re-examine your harmonic analysis more closely to identify all suspensions and other relevant voice-leading elaborations.
Your comment on the phrase structure of the B sectin is not entirely correct. The underlying phrase rhythm is actually 4+4, can you understand why I say so? What would the effect be if A' starts one bar earlier?
hah, I was careless myself! After reading your subsequent post, I realized that there is no tonicizatin in section B. Nonetheless, what I had earlier suggested about the tonicization of vi at bs. 2-4 still holds.
Hi, here are my views:
For the underlying phrase rhythm of section B, I would think is 4+4 due to the suspension which actually last to the next bar. I would think it sounds very abrupt if A' start 1 bar ealier. This is because the ending of section B is in chord V and it will be weird if V only last for 1 beat. Other than that,I think that the decoration notes in the right hand accompaniment actually prepare the listeners back to the tonic chord. This is due to the descending pattern of the decoration notes.
With regards to the tonicization in b2-4, I suppose the b natural is due to C minor. Hence, the chord might be vi/V7. However, by the end of the bar, b flat is introduced again. Thus, it went back to iii7 in Eb major.
As for the absence of V in the A section (in the comments of the 2nd post) and finally emerges at the end of section B, I would think that it helps to build the music to it's climax. The ending note F is also the highest note in the these 2 sections.
QT
Post a Comment