MUT 5673 Name a woe ( Possneind Form Worksheet 5: Ternary Form Mendelssohn, Song Without Words, Op. 85, No. I (complete). This entire movement is a small ternary. (a) Complete the harmonic analysis. We've already covered the A section on FWA, p. 3. Analyze the B and A’ sections in F major; no modulations, but there are expanded tonicizations in section B. Label (true) cadences by type. The chords are arpeggiated clearly by the LIT. accompaniment patterns. (b) Name the compound theme type for the A section (mm. 1-17):Covteax Fes (FWA, p. 3) (c) Consider the B section (mm. 18-29): (1) Name the simple 8-m. theme type used in this section MARK the music accordingly (cadence: formal functions of 2-m. & “4-m.” units). (2) Which type of framing fechnique is used at the end of this section? fsr Can, Sno os Deruasst MARK this technique on the music. (3) In the space below, discuss the morivic content of the B section, compared to that of the A section. Does Mendelssohn develop the basic idea or contrasting idea here? Explain how below. Trees Tere Bogs PeTERmM HERE Pon POT A HRpraTe /heLorr AWD Ray THA Tayo Power (4) How does Mendelssohn prepare for the return of A in the final bars of this B section? By Stampns, ow THE DaHnoensT (4) Consider the A’ section (mm. 30-50): (1) Compare mm, 30-39 carefully to mm, 2-17, and describe how the restatement has been changed with respect to length and theme type. THE THERE ES won Hee mE LOOT. Tr ay wor a SDE CRE PLUS conor EVEN v5, Or sovun PUES ETE THES THEME EMRE, (2) How does Mendelsohn blur the division line at the beginning of this A’ harmonically? By PenAsy A seoaty oa ROT TO it wetmS OT (3) Which type of phrase deviation is used in mm. 30-39? (There are two extra bars here, after all!) Ay perbostos (4) Which type of framing technique is used in this section? Cases Seearto MARK this technique on the music, and mark the PAC in the “correct” location, please! (HINT: The length of this framing technique is longer than in Classical examples.) BONUS: In the closing bars of this piece, Mendelssohn reiterates the falling third C5—A4 a number of times to conclude the piece. What role does this specific CSA third motion play in the melody ofthe compound basie idea (mm. 2-5), both directly and as a basiewiteh outline? Tres rae tan Fr Sjansartme vores, evzurin E60 eT BL, Restecreuy B).Feas eve aor ane sar wore of HEC TIT Put hic ee Oe OLAneceDeNT A] cbii, introduction bi ci 3 Andante espressive, = continuation frag. frag, es = fa, * Sm. % Gp. simile I vid $ 3 $ i ig 3 CONSEQUENT b, (leadin) SP" bi Gi Tz & / HC continuation frag. frag. od aciv vi vi YeIV (Bb)