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    Analisis

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    Diego Rafael Morales Garcia
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    Analisis

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    Diego Rafael Morales Garcia
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    Analisis

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    Analisis

    Copyright:

    © All Rights Reserved
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    Download as pdf
    22 views5 pages

    Analisis

    Uploaded by

    Diego Rafael Morales Garcia
    Analisis

    Copyright:

    © All Rights Reserved
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    of 5
    COMPOSITE THREE-PART FORM ‘The most common composite design consists of three parts inthe familiar ternary pattern of statement-digression-return. The composite three-part forms found consistently in both the minuet and the scherzo. For the /resent, lt it suffice to say that the scherzo follows essentially the same ‘structural plan as the minuet. By 1750 the minuet had become a regular movement in the symphony and certain other multimovement forms, ‘such as the sonata trio, and quartet. The minuet movement is usually located just before the finale ‘The complete mintiet movement consists of a minuet,a trio, and a dda capo repeat of the minuet. Both the minuet and the trio in this scheme are simple part forms (two-part, rounded tywo-part, or three-part) and are normally capable of standing alone as complete compositions. Most often this form is straightforward and clearly sectional, being relatively free of transitional material. The third movement of Mozart's Eine Kleine [Nacitmusik (Anthology, No. 15) exemplifies these characteristics on a small scale. When referring to the minuet movement of aclassial symphonic or chamber work, the term minuet is generally understood to denote the complete movement consisting of minuet, tro, and da capo repeat ofthe ‘minuet. But when the reference is specifically to the structure of the minuet asa composite three-part form, the term minuct and trio form is often used. ‘The composite three-part design of atypical minuet is illustrated in the diagram below. The minuet’s return following the trio is sometimes written out in order that minor alterations may be made. Note that the internal repeats are omitted in the restatement ofthe minuet. MINUET TRIO [MINUET (da capo) a®s at C#od c¥ * ue aw (sally ina related Key) ‘The composite structure ofthe minuet originated in the baroque dance suites when it became customary to perform two different minuets in ‘succession with the second minuet followed by a da capo repeat ofthe first. MINUETI — MINUETI MINUET I (da capo) ‘The designation of trio for the middle minuet comes from the eighteenth- century practice in orchestral and chamber works of writing the second. :minuet for a tro of instruments, often two oboes and a bassoon. The trio portions of minuets written for keyboard instruments during this same period are usually characterized by a similar thinning of texture. Mozart and Haydn increased the speed of the minuet and allowed the movement to take on a lighter character than that of the earlier minuet. In Beethoven's hands the minuet underwent more extreme changes. Beethoven often increased the speed to the point that we feel only one pulse per measure rather than the three that typify the slower minuets of earlier composers. The result isa more energetic kind of music characterized by duple measure grouping. Beethoven retained the formal plan of the minuet but called the movement scherzo (Italian for “joke”). Beethoven's scherzos often exhibit robust humor, a sense of surprise, and vigorous rhythmic patterns involving syncopation. ‘The scherzo, like the minuet, contains a trio that normally contrasts thematically with the scherzo. The trio may also be in a different key and /or mode. Again, the main sections—scherzo and trio in this case— are themselves simple part forms. Thus the minuet and scherzo forms are ‘essentially identical SCHERZO TRIO. SCHERZ0 (da capo) A#s at ‘c#p ca a we an (related Key) “The scherzo of Beethoven's String Quartet, Op. 18, No. 1 (Anthology, ‘No. 6) demonstrates the pattern diagrammed, but the actual details (of the form are much more involved than the simple diagram implies. Familiarize yourself with the score; then study the diagram and that follow (Ex. 5+). EXAMPLE 5-1 SCHERZO TRIO FM {minor 3 AB A Cole CDC tanationt H 110129 7-89 SLAG MeIOL MOI TB0 OAS ae a MEM? endotextension transton sure appearance Wk les with tuen oe Beethoven toys with our temporal anticipations by inch transitions and codas, altering in the process the ex the form. He surprises us further by returning the head of A in the coda of the scherzo. This return has the immediate effect ofa second restatement, but since the preceding passage (beginning in m. 51) is clearly in the nature of a coda and since the A material proceeds in a new direction, the coda effect wins out inthe end. Interestingly, the climax of the scherzo comes in this passage. ‘The scherzo examined above is an admirable example of variety within unity. Numerous motives appear in various places inthe form, serving different functions at different times. For instance, the material with which the trio begins appears earlier asa cadential extension in the scherzo (mm. 25 29), This anticipatory uce of material destined for a more important roe later on in the form illustrates a typically Beethovenesque method of introducing contrast while contributing on a larger plane to an integration of the scherzo and the trio. Just asthe simple part forms are often lengthened through the repetition of parts (a:]b a; afb af or afb a), the composite three-part form may bbe expanded in a similar fashion. In the scherzi of his fourth and seventh symphonies, Beethoven extends the movements by repeating the trio and scherzo!: SCHERZO TRIO SCHERZO 4 Although repetition such as this lengthens a movement it does not alter the essential three-part structure. ‘The composite three-part form as exemplified in the minuet and trio ‘movement of classical symphonic and chamber works was frequently adapted to compositions that are neither minuets nor scherzos. Stylized dances such asthe waltz, mazurka, and polonais are frequently based on a thematic design comparable to that of the minuet and trio. Many ‘examples of minuet and trio form can also be found in compositions that are not dancelike in character. One such example is the Impromptu, Op. 142, No. 2 by Schubert. Schubert’ labeling of the middle part as “trio” indicates that he was consciously employing the scheme of the minuet and trio. The trio of this composition, however, bears no resemblance to the trio in its earlier connotation. The following compositions are based fon the composite three-part design. 1. Schubert, Impromptu, Op. 142, No.2 2 Chopin, Mazurka, Op. 7, No.2 3. Chopin, Polonaise, Op. 40, No. 1 4. Brahms, Hungarian Dance, No. 5 8. Grieg, Albumblatt, Op.28, No.3 6 Beethoven, Bagatelles: Op. 33, Nos. 1-7; Op. 119, Nos. Land 3 7. Beethoven, Sonata, Op. 2, No.2 (second mvt.) 8. Beethoven, Sonata, Op. 27, No.1 (frst mvt.) Il COMPOSITE FIVE-PART FORM A. The MinuetScherzo with Two Trios ‘We normally think ofthe minuet and tio form as a composite three-part form. But a mine or scherzois occasionally extended to incude a second trio. The resultant composite five-part structure can be

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