Peters, n.d. (1888) When the upper voices do come in, however, they help to create a very sublime moment within the music that is meant to reflect Spaffords profound declaration of praise in the face of the deaths of his daughters. Copyright: Public Domain Point against point, as opposed to a melody in the sopranowith chordal accompnyment [sp], compare these two pieces with bars 1 - 6 from #34 in Anna M's Notebook(Rezitativ und Arie - BWV 82). I'll hazard a guess, though. In two voices, the way the two voices interact may take precedence >over their relationship to a chord. This piece is a 32-measure composition in the key of G major. I don't agree. It has a fast and skittish undertone, with constantly racing notes and moving rhythms. Obviously, on closer inspection, that is not the case (there seemsto besome rearrangement of sections also). first time thru, He gives wholechunks of sound - one measure each (more open to interpretation IMO);9-16 there's more definition given via the increased bass motion ,soit's a little easier to see. Peters, n.d. (1888) >>V4/3 -V6/5 | I (I6) | ii6-V-V | I>>The ii6 is a common thing to have on beat 1 of bar 15. now that one DOES sound nice with the full triads under it. It certainly "pushes" ahead, but I wouldn't describe its destination a "cadence" (more like breathing- out in out). This first motif sets the idea of four-bar phrases that can be seen throughout both dances. Bach is using a pivot chord to modulate from G major to D major. Again, it's just as easy to call both the A and the C passing tones >and label the whole measure a G chord. >> I have read that often minuets were meant to be played in pairs and> that these two are companion pieces, but what is really important is> that> they sound so similiar and share many patterns. γ γ14. The bass drops an octave before rising through octave displacement up again to the 7th on C and steps downwards. Copyright: Public Domain [Ambiguity: is the last beat of.? Eventually, it switches back to the main melody until the song ends with a rich long tone from the lower, The structure of this piece is strophic, as the music follows the two stanzas if the poem the song uses. and publisher, 1730 Lo and behold, they've analyzed the first A in the bass as passing. >>>>Just adding forward motion - but there are NCTs there the C4 is UN (or >>App. The minuets are notable in many ways. Bach - Prelude in C minor. The third movement is the classic minuet and trio. α α12. ____ ______ / / / ________, ii I V I6 I V7. >>>> Based on what you've said here and playing it as written, I'd say>> yeah, definitely. It actually modulated in bar 17, as the first stage of a modulating prinner (from the key of G to D). at will. The slow second movement explores small sections of motifs in antecedent-consequent sometimes with the oboe until the thirds and final movement, the rondo. Again, we're moving past that in the Baroque, and the Direct interval of 3 to 8 (it's direct if they move in similar motion) has become the cadential favorite now (then). >> (steve: notice I didn't get caught notating em as em7 this time:)> also, I have a feeling you'll correct me on bar 23). @.> wrote in message >news:9b1u815d62a9l41v9@4ax.com>> Analysis - Menuet in G Major by Christian Petzold BWV Anh.114>>>> From "Anna Magdalena's Notebook">> Form AABB Time Sig - 3/4 (obviously)>>>>>> Simple Melody with simple LH counterpoint>>>> A Section:>>>> 1 2 3 4>>>> G * G/B C * G>> / / / ____ / / / ____>>>> I ? I guess the best way to describe it would be that it flows very nicely together and seems balances., It is composed of several different lyrical speech-like phrases with rhapsodic emotions with a low level rhythm. I>>>> Ambiguity: is the last beat of bar 1 V6/4 or viio6?>>Usually in that position, viio6, V6/4, and V4/3 are all common, however, the >C would usually go down if it were the 7th of the 4/3, or the o5 of the >viio, so V6/4 looks best, except for the fact that there's no chord tones >from that chord! Press J to jump to the feed. I see it now. Once on measure 19 (through Gdur's superdominant becoming the supertonic of Ddur, its dominant), and then once again on measure 25, through the tonic of Ddur becoming Gdur's dominant. Audio: Youtube But I assume you can't define every melody progressing this way ascontaining escape tones.Still beyond my grasp. This book is the first dedicated volume of academic analysis on the monumental work of Elena Ferrante, Italy's . >I think a better alternative is to consider the A3 a passing note in the >bass, along with the A4 and C5 in the sop. Audio: Youtube, Sheet Music: Schumann-Ein Choral; C.F. ε ε---------------------------------------21. Arrangements work for two trumpets or can be used This piece, Minuet in G, was attributed to Johann Sebastian Bach, and for hundreds of years it was widely thought that he was the composer. Part B . So the harmonic structure of the 2 minuets is different, even if manypatterns are the same it seems like there is an interesting puzzletounravel here >I am still>convinced that there is a "design pattern" between the two and I just>need>to be able to get my hands on it explicitly. Anna M's notebook is just preliminary work to be gotten out of the waybefore attempting the really good stuff IMO. Peters, n.d. (1888) everything else isjustextraneous stuff to occupy your spare time. But now I see this was where I needed to start at. >> ** 31 - another melodic leap of a sixth in the bass this time just> slightly before Aloys(Fux) recommends.Well, might recommend,anyway. Bach wrote some minuets in the key of G major, but "Minuet in G" usually refers to the Beethoven. I'll quote: Label the chords implied by >the two voices. Morike Lieder No 24: In der Fruhe (Early Morning) (1888) >>>Generally speaking, here's defs for above:>>Incomplete neighbors: Two notes adjacent in pitch such as D C or C D where>>it appears they could have been (or would often have been) part of the>>"complete" neighbor figure C D C or D C D. This category also serves the>>catch-all purpose of explaining "unprepared" suspensions or appoggiature,>>thus in>>D_D C or G D C the note that prepares the figure would be missing (or>>shall we say, implied) and it would end up D C or, D C! This is probably, Ive been lucky enough to have some nice pianos in my life. >>>>> I still think that although you are most likely right from your side,>> my way is valid also. There's usually some ancestral evolution to trace. - the bottom onesparsely filling in the harmony and gradually adding some animation(forward motion) to the piece. Let me try to re-state this another way.Quite frankly, these twopieces are hardly the pinnical of Baroque period art, and as such donot deserve such intense scrutinty. Bar 21, is a continuation of the half cadence in D. We have still not seen the confirming cadence in the key of D necessary to confirm an actual key change. 116 Full Track $ 34 95 Buy license 1:55 Johann Sebastian Bach: Notebooks for Anna Magdalena Bach, Minuet in G major, BWV Anh. Theyr cadences are >something like 3 2 1 in the Bass, and 1 7 1 in the melody (or >inversions/variations). I picked up ^2 here because it's usually 2 with a caret on top in texts, but it's hard to do in non-typingese like I type. Bach) * Minuet No. - the bottom one>> sparsely filling in the harmony and gradually adding some animation>> (forward motion) to the piece.>>Yes.>>>>> end A section.>> ___________>>>> B section>>>> Countermelody.>, >That term is usually reserved for a "secondary" melody occuring. >>>AS far as I recall, Reaching>>tones is a one off name and I don't hear it used. But despite the pieces actual composer being Christian Petzold, according to this latest research, most people, I would guess, will still think its Bachs. yours is right, too. The bass never leaves the G (it's a half note).>>>That D4 is a third voice entering for just these two measures (later in >>>m.29>>>too).>> A -HA. >>>There's no vi?> My bad - until I saw this right here I hadn't realized I've been> PLAYING IT WRONG! Perhaps the aspect of this analysis that would be different to most others might be viewing the beginning of the 2nd section as already starting in D as part of a modulating prinner whereas most other analyses typically view the first instance of C# as the point of modulation. Chords, Roman numerals. (Orchestral Suite No. Creative Commons Attribution 4.0, Performer: Ivan Ili (Piano) The first eight measures of section A are repeated at the end of part B. There is a mild cadence at the end of bar 30 to the beginning of bar 31 with a to in the bass followed by a drop to and a simple cadence to end the piece in bar 32. >> 29 30 31** 32> D * C G D G G D G> / / / / / / / / / ____> V ? (app and sus are> explained pretty good, though). In music written between, roughly, 1600 and 1900, the so-called "common practice" period when most music was written using functional tonal harmony, you start with a harmonic analysis. Counterpoint is about lines, not >chords. II 116 from Notebook for Anna Magdalena Bach (J. S. Bach) * Chorus from Judas Maccabaeus (G. F. Handel) * Mussette, Gavotte II or the Musette from English Thanks, Jared. Insufficient Pro Credits Add 3 credits for only $10.00 Add to Cart . I'd claim this whole thing is a prolongation of D7, finallyreaching resolution at G in measure 16. Gavotte from Mignon (A. Thomas) * Gavotte (J.B. Lully) * Minuet in G, Wo0 10, No. 21 (1890), Creative Commons Attribution Non-commercial Share Alike 3.0, Creative Commons Attribution Non-commercial 3.0, https://musictheorymaterials.utk.edu/wp-content/uploads/2018/07/beethoven_109.3.mp3, https://musictheorymaterials.utk.edu/wp-content/uploads/2018/07/IMSLP74636-PMLP06507-waltz03.mp3, Creative Commons Attribution Share Alike 3.0, https://musictheorymaterials.utk.edu/wp-content/uploads/2018/07/IMSLP110209-PMLP02344-Chopin_Prelude_Opus_28_n.4.mp3, https://musictheorymaterials.utk.edu/wp-content/uploads/2018/07/IMSLP110293-PMLP02344-13_Chopin-_Prelude_no._6_in_B_minor.mp3, https://musictheorymaterials.utk.edu/wp-content/uploads/2018/07/IMSLP110304-PMLP02344-25_Chopin-_Prelude_no._20_in_C_minor.mp3, https://musictheorymaterials.utk.edu/wp-content/uploads/2018/07/IMSLP71642-PMLP29686-MP3-189-GFHaendel-Suite5inEdur-4-AirMit5Variationen-128.mp3, Creative Commons Attribution-NonCommercial 4.0, Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. 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