4. Opening “A” Section Starts out clearly in A minor The treble melody is dotted Note the driving 8th note rhythm in the bass The section is a period with “a” and ” a’ “ followed by a short cadential passage leading to a PAC
5. A Small Transition During this transition, the mood changes considerably. The transition briefly tonicizes F Major and C Major Ends on a HC in the key of C Major
6. The “B” Section The previous HC resolves to the unexpected C minor with the introduction of the B section For a while the treble has a dotted rhythm The first thematic idea of the B section All driving motion is done by the bass line A sudden forte occurs as C Major is tonicized
7. The “B” Section WAIT! All motion stops for a second with the elision of a chord over a barline!!! But now back to the perpetual motion of dotted rhythms and driving 8th notes as C Major is tonicized again. NOT FOR LONG! The treble harmonic rhythm slows just long enough to cadence into D minor
8. The “B” Section With the cadence to D minor comes a new thematic idea. A half note held for a whole measure while both hands still perpetuate the 8th note pulse This pattern sequences upwards several times Leads to a very brief tonicization of B Major Which is V in the key of E minor
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10. The Return of “A” Notice the A section is exactly the same until it continues to ascend The material at the end of A changes and a parallel period is added to the end to introduce a cadence into…..
17. Return of “B” The theme of B returns, but this time the dotted rhythm and the 8th notes trade off voices Ended with a perfect authentic cadence
18. New Material! Coda!! A rondo will usually end with a return to A This one has tiny episodes of A and B The dotted rhythm in the bass line(B) Held half notes while the sequencing 8th notes continue the momentum(B) The theme from A comes back in parts as well for a spell The ending measures set up the definitive ending on a Perfect Authentic Cadence