Download File

The Allegro section features dotted eighth/sixteenth rhythm and triplet eighths. It opens with a
four bar fanfare. In m. 64, the fanfare is repeated higher. M.68 restates only the first half of the
original fanfare. M.72, 76,78, and 80 all repeat the first half of the original fanfare at different
pitches. The section ends with a scale walking up to tonic.
Example 7: Mm. 60- 88
There are some characteristics that are specific to the three fanfares beginning at m.76. The
fanfares change one note every two measures. First (m.76-77), only the notes of a G-flat major
chord are used. Then (m.78- 79), the D-flat is changed to a natural changing to only the notes of
a B-flat augmented chord being used. M.80-81, the F-sharp is changed to a G making the chord
outlined a B-flat minor chord. M.76-79, the chords outlined in the piano part are the same chords
that the solo is outlining. In m. 80-81, the right hand and the solo are outlining a G minor chord
but the left hand of the piano is playing a C nine chord.
Example 8: Mm. 76-88
Poco piu lento is an interlude for the Allegro section. It serves as a lyrical contrast to the
opening fanfare section. M.89 and 96 are beginnings of similar phrases. Both start on the “and”
of one and use eighth notes to move up to D-flat/C-sharp at the beginning of the next bar then
sustain the D-flat/C-sharp for four counts then move down an octave by quarter notes.
Example 9: Mm. 89-103
M104 and 108 begin alike. The phrase beginning on m108 is a perfect fifth down from the
phrase beginning on m104 except for beat three of 110 where instead of descending by a major
second, the melody descends by minor 3rd.
Example
10: Mm.
104-111
M.112 and 116 begin in the same manner as m.104 and 108 but instead of using movement on
only the 3rd beat of the 3rd bar of the phrase, m.112 and 116 begin movement on the 3rd beat of
the second bar, continue moving through the 3rd bar and arrive at a sustained note at the
beginning of the final bar of the phrase.
Example 11: Mm. 111-121
The phrases begin on m.122 and 126 start in the same way as the last four phrases in the piece.
Movement is extended for a full measure beyond what the phrase at m112 and 116. Because of
the extension of movement, the sustained note normally signaling the end of the phrase is no
longer present and replaced by moving eighth notes leading to the beginning of the new phrase.
Example 12: Mm. 122-131
The closing of the poco piu lento section slightly alters the phrasing. A breath is clearly signaled
by a rest on beat 3 of the final measure of the phrase. In the allegro section, with the exception of
m.76-84, all breaths are clearly marked by the use of rest. Although there are rests in the solo
line on beats 2 and 3 of m.127, the phrase begins at m.126 and does not end until the end of
m.129. M.130 starts a new phrase. The use of the decrescendo in m.127 supports that the D-flat
could be sustained. The note is getting softer and seems to evaporate away. The rest is in m.127
because it is more important to extend the movement towards the end of the phrase than it is to
sustain a note in the middle. The rest functions as a longer breath mark much like the rests on
beat three of the last bars of the previous phrases. The phrase beginning at m.130 is shorter than
the others and does not have the movement at the end because it is the end of the section. The
movement in m.128 and 129 is a major second above the movement in m124 and 125 Section
ends on a G-flat minor seven chord. (See example 12)
A three bar introduction establishing the key of B-flat in the closing section of the Allegro.
M.139-146 repeat exactly m.60-67.
Example 13: Mm. 139-146
M.147 introduces a new
melodic idea using a dotted
eighth/sixteenth rhythm. M.149 has the same melodic idea as m.147, using triplets instead of
dotted eighth/sixteenth. The endings (m.148, 150) are the same. The phrases beginning on m.151
and 153 relate to each other in the same way as m.147 and 149 relate to each other.
Example 14: Mm. 147-152
Another new idea is presented in m.155. Two eighth notes followed by triplets concluding with a
sustained note. A new idea is repeated in m.157 at a different pitch. M.160 repeats the idea a
third time, now extending the triplets an additional measure before sustaining the last note of the
phrase.
The first two notes of m.160 ascend in contrast to the first two eighth notes of m.155 and 157
which descended. M.164 relates to 160 in the same way that m.155 relates to m.157. Both m.161
and m.165 are sequences.
Example 15: Mm. 155-166
M.167 uses the same rhythmic idea as the previous two phrases but inverts the use of pitches.
The first note of phrase descends to the first note of the triplet pattern, in contrast to the first
notes of m.160 and 164, which ascend to the first note of the triplet pattern. The triplet patterns
in the previous two phrases start near the highest pitch of the phrase. In the phrase beginning at
m.167, the triplets begin on the lowest note of the phrase and ascend to the highest. M.167 and
168 use the same notes as m. 82 and 83. M.82 and 83 use an eighth note pattern but m.167 and
168 use a triplet pattern. The piece ends with octave drops on tonic.
Example 16: Mm. 167-170