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Brice Barnett
Music Theory
Eric Grush
Analysis: Handel Water Suite Minuet VII
George Frideric Handel is considered one of the most masterful composers of the
Baroque Period. Handel is particularly renowned for his oratorios and operas, composed
for theater. But Handel is also regarded as a master of instrumental music composition.
The genius of Handel’s instrumental style lies in form. The rounded binary form renders
the Water Music Suite a revolutionary triumph.
The two-part form, also called binary form, is the basic musical form of two main
sections or reprises. Part A establishes the primary theme. The first section is open,
concluding with a half cadence or moving to a related key. Compositions in major keys
will usually modulate to the dominant of the key and compositions in minor keys usually
modulate to the relative major of the key. Section B creates the balance. The second
section is typically larger than the first section. Section B begins in the dominant and
modulates back to the starting tonic key, concluding with a perfect authentic cadence on
the tonic. Parts A and B usually contain different themes and thoughts. Usually each part
is repeated. The simple binary structure consists of |: A :||: B :| Rounded binary form
includes a reference to the beginning theme at the end of the second section. So the
structure consists of |: A :||: B A :|
In the case of the Handel Water Suite Minuet VII, the binary form is a bit
modified. The minuet is like a synthesis of two pieces. Hence, many arrangements divide
the parts into individual pieces.
The first “piece” is written in simple binary form. The structure consists of |: A
:||: B :| . The first theme is established in g minor and repeated. The piece moves to the
relative major of Bb. The second theme is established in Bb and modulates back to g
minor. The section is repeated and cadences strongly on the tonic of g minor.
The second “piece” is composed in rounded binary form. The structure consists of
a modified |: A :||: B :| A | . The second piece opens with a g minor theme and ends on
the tonic. The section repeats and transitions to the second section. The second section
establishes a dissident theme in the relative major of Bb. However, the second section
does not include a reference to the beginning theme. The second section simply repeats
the second theme. The piece returns to the beginning theme in the third section with “dal
segno al fine.” The piece repeats the beginning g minor theme of the first section and
finishes. The second piece could be considered a tertiary form. But the modified
“rounded rounded” binary form is justifiable.