Tutor HuntResources Piano Resources
Haydn Sonata Hob. Xvi:9 Second Movement - Minuet And Trio
Piano sonata - Compositional and Harmonic Analysis
Date : 08/06/2016
Uploaded by : Juan
Uploaded on : 08/06/2016
Subject : Piano
MINUETAnother Minuet that looks like
borrowed from a Baroque suite. Plain A-B-A structure& this time ending in a contracted
'A''. 'B' reminds of the development of the first movement, organized around a
dominant pedal note. 'A' mainly explores the use an
arpeggiated melodic line in both the
treble and the bass. In the treble the principal motivic elements are the
arpeggio and the link-by-two. These ones are alternated by short 'scalistic'
episodes. The bass is written using almost exclusively the main motivic
elements of the treble& it simply accompanies and supports the melodic line of
its counterpart. 'A' modulates to the dominant leaving the harmonic path ready
for 'B' to take over without the need of a modulatory passage. 'B' blends the use of arpeggios and
scales by linking the focal points of the former ones in an ascending scale
-bars 11 and 12-. Something similar happens in bars 13 and 14 if we link the
red rectangles (focal points)& now the three main elements:
arpeggios, scales and
appogiaturas are blend in the same
single passage. It is interesting to highlight the modal turn in bar 15 which
quickly heads back towards F major. This very sudden but subtle change helps
refreshing the atmosphere of the piece quite notoriously before re-exposing A
entirely in the tonic. 'A'' is a contracted version of 'A'&
its antecedent is cut short in order to continue with the consequent in the
tonic giving end to the piece the same key. TRIOThis trio is structured in two
different phrases exposed and repeated once each one of them.'A' in Bb is organised as a
sentence which alternates the rhythmic content of the bass exposing in the
treble within the antecedent and in the bass within the consequent. In each
case the triplets will hold very distinctive roles& main melodic line first and
then mere accompaniment. In addition to the rhythm the melodic profile of the
antecedent explores the possibilities of the scalistic gesture, chaining short
scales leading to crotches. The lines in the consequent are clearly more open&
we can highlight the
escapatoria
motive in bars 33 and 34. Harmonically speaking 'A' touches F immediately before
the end of the piece before ending in half-cadence, leaving the turn ready for
the tonic to come back in 'B''B' explores again the
escapatoria motive of 'A''s consequent&
first in the bass and finally in the treble. The same strategy of touching F as
a short tonal centre is used in 'B''s antecedent.
The symmetry in the treatment of 'A'
and 'B' main motives is remarkable. In 'A' the main motivic content is exposed
first in the treble and then in the bass in the antecedent and this is exactly
the opposite to what happens in 'B'. The
same strategy is used to deal with the instances in which F becomes tonal
centre: first in 'A''s consequent and then in 'B''s antecedent.
This resource was uploaded by: Juan
Other articles by this author