

Notice the highly modular structure, which would allow the player to expand and contract the music as needed. As is typical of hurries, the basic phrase structure at the 8-measure unit is sentential, with a 2-bar basic idea, a repetition of that basic idea, and 4-bar continuation that leads to a cadence. In the first two instances, Kiefert then pairs two sentences with complementary half and full cadences into compound (or double) periods. (The second set of 16 measures is actually a bit more complicated, as m. 24 is actually a tonicized arrival in the minor dominant, but this E-minor chord serves a similar structural function to a half cadence at the level of the compound period.) The third set of 16 measures (p. 2) is similar, except that each of the 8-measure phrases ends with some sort of half-cadence. The fourth and final set of 16 measures is an actual 16-measure sentence, with a 4-measure basic idea, which is repeated, and then an 8-measure continuation.
A PDF scan of the piece is available here.
No comments:
Post a Comment