Please help with the analysis of my piano pieces?
I need help analyzing my pieces for my upcoming exam. The pieces are:
Bach Partita No. 1 in B flat major: Courante and Sarabande section
Haydn Piano Sonata No. 54 Hob. 40
Chopin Waltz op. 70 no. 2
Gershwin Prelude no. 1 from Three Preludes
Any form or analytical work you can provide will be really beneficial.
Thank you in advance
Here’s how I analyze the Haydn sonata.
The first movement is a variation on two themes, with the second theme beginning at the key change.
The first theme, or the A theme, can be subdivided into an a section beginning on ms. 1, a b section beginning on ms. 9, and a restatement of the a section beginning on ms. 17.
Since the a section ends on the dominant and is restated, Douglass M. Green, in « Form in Tonal Music, » would call it the continuous balanced form.
The B theme is also in two sections, the first ending on the dominant but restated. Green would call this a true binary form.
I count each key signature change as a variation on the first and second themes.
Don’t miss the Italian sixth in ms. 10 and the German sixth in ms. 27.
The first theme of the second movement, like the first theme of the first movement, is in the continuous balanced form, with the sections beginning on ms. 1, 11, and 15.
The second theme, in the relative minor, starts on ms. 25, and the first theme is restated at ms. 49. Never mind the fact the fact that Haydn writes out the a second twice and writes it differently the second time; it is still in the continous balanced form.
Since the A section ends on the tonic, the entire movement can be said to be in the ternary form.
Don’t miss the Italian sixths in ms. 13 and 46.
In the Chopin waltz, the A section begins at ms. 1 and is repeated at ms. 21–but never mind the repeat because repeats don’t count in analysis, the B section begins at ms. 41, the A section begins at ms. 73, and the B section begins at ms. 93.
I entered « ABAB Form » in a Net search and found that it is called the « verse-chorus form. »
The first half of the courant abounds with major-to-relative-minor progressions. Bb majro changes to g minor in ms. 1-2 and 20-21. C major changes to a minor in ms. 7-8. F major changes to d minor in ms. 18-19 and 24-25. Notice the stair steps in the bass from Bb to c in ms. 10-13. Also notice the inversion of voices in ms. 13-16.
In the second half, we start in the dominant, but quickly modulate to g minor. Except for a brief fling inthe major keys in ms. 36-37, we stay in that key until the perfect authentic cadence in ms. 45-46. Bach prepares us for the ending in the tonic by transposing ms. 13-16 into ms. 50-53.
The last chords of both sections is the same: a dominant seventh on the tonic deceptively resolving to the supertonic followed by the dominant followed by the tonic.
The first half of the sarabande modulates to the supertonic in ms. 7, but with two steps on the circle of fifths, modulates to the dominant in ms. 9. Bach extends this for another 3 measures.
The second half starts in the dominant and resolves to the tonic in ms. 16. This modulates to c minor in ms. 20-22, but Bach changes that to a dominant seventh on C in ms. 23 which resolves to a domiant seventh on F in ms. 24, and in turn resolves this to a Bb major in ms. 25. Again, Bach writes a 3-measure extension.
Sorry, I don’t have access to the Gershwin prelude.
Quarter-tone Piano Prelude #1
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