SOUND PATTERNS

A Structural Examination of Tonality, Vocabulary, Texture,
Sonorities, and Time Organization in Western Art Music

by PHILLIP MAGNUSON

THREE ANALYSIS PROJECTS

Chapter 38. W. A. Mozart: Minuet in D Major, K. 355

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Chapter 39. Frederic Chopin: Prelude in E Major
Chapter 40. Richard Strauss: Morgen

PRELIMINARIES

Wolfgang Amadeus Mozart (1756-1791) wrote the Minuet in D Major, K. 355 in the mid 1780's, in the middle of the Classical era. You can read background information about this piece at Mozart Forum.

You need to prepare by doing three analyses of this piece:

  1. Phrase design
  2. Roman numerals
  3. Schenkerian graph

The score is located in Music for Analysis [#350]. Listen to a performance online.

Do not go past this point until you have COMPLETED (on paper) the three analyses requested above

38.1 SOME GENERAL OBSERVATIONS ABOUT THE MUSIC:

38.2 FIRST PHRASE [a]

  1. Phrase design:
    • Standard 4-measure phrase
    • Half cadence
    • Bridge to next phrase

  2. Roman numerals:

  3. Schenkerian graph:

38.3 SECOND PHRASE [b]

  1. Phrase design:
    • 4-measure phrase (m. 5-6-11-12) with two extensions:
      • two measures (m. 7-8) repeating (exact) the previous two measures down a M2
      • two measures (m. 9-10) repeating (similar) the first two measures up a m3
    • Perfect authentic cadence in the key of the dominant
    • Overlaps with next phrase

  2. Roman numerals:

  3. Schenkerian graph:

38.4 THIRD PHRASE [c]

  1. Phrase design:
    • 4-measure phrase (m. 13-16) with a 1-measure extension at the overlap
    • Perfect authentic cadence in the key of the dominant
    • Combines with previous two phrases to make a period [A]

  2. Roman numerals:

  3. Schenkerian graph:

38.5 FOURTH PHRASE [d]

  1. Phrase design:
    • Contrasting section [B}
    • 4-measure phrase (m. 17-18-23-28) with three extensions:
      • two measures (m. 19-20) repeating prevous two measures down a step
      • two measures (m. 21-22) uses a hemiola and is an ascending steps sequence (with a missing step to avoid the leading tone triad)
      • 4 measures prolonging the dominant (m. 24-27)
    • Half cadence (m.24)
    • Bridge to next phrase (m. 28)

  2. Roman numerals:

  3. Schenkerian graph:

38.6 FIFTH PHRASE [a']

  1. Phrase design:
    • Similar material to first phrase (compare the first two measures of a and a')
    • Standard 4-measure phrase
    • Half cadence
    • New bridge to next phrase

  2. Roman numerals:

  3. Schenkerian graph:

38.7 SIXTH PHRASE [b']

  1. Phrase design:
    • Exact material of second phrase up a P4 (this allows Mozart to end in the global key)
    • 4-measure phrase (m. 33-34-39-40) with two extensions:
      • two measures (m. 35-36) repeating (exact) the previous two measures down a M2
      • two measures (m.37-38) repeating (similar) the first two measures up a P4
    • Perfect authentic cadence
    • Overlaps with next phrase

  2. Roman numerals:

  3. Schenkerian graph:

38.8 SEVENTH PHRASE [c']

  1. Phrase design:
    • Similar material to third phrase
    • 4-measure phrase (m. 41-44) with a 1-measure extension at the overlap
    • Perfect authentic cadence
    • Combines with previous two phrases to make a period [A']

  2. Roman numerals:

  3. Schenkerian graph:

Links to chapters in this unit:
Chapter 39. Frederic Chopin: Prelude in E Major
Chapter 40. Richard Strauss: Morgen

Link to previous unit: CHROMATIC PROCEDURES III: Advanced Vocabulary

Link to next unit: MICROCOSMS: Musical Styles of the Twentieth Century

Copyright © 2008-2009 by Phillip Magnuson.

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