Sech Moments Musicaux No.

6 in Ab major periodic form and sentential design analysis

In this analysis, I will examine the periodic form and sentential design of Schubert's
"Moments musicaux," Op. 94 No. 6 in A flat major, focusing on the first sixteen measures. I
will begin with a micro-level analysis, examining the way Schubert creates sentences through
the use of musical elements such as motivs, melodic rhythm, and harmony. I will answer
questions such as how the texture contributes to the mood of the piece and what intervals form
the basic idea. Additionally, I will explore the presentation and development phases of the
sentence model, providing examples to illustrate these concepts. Moving on to the macro level, I
will analyze the periodic form of the excerpt, explaining why these sixteen measures form a
period. I will also provide a first-level analysis of each chord, highlighting the role of cadences
and identifying the thematic and harmonic classifications. Finally, I will summarize my
observations and highlight any interesting data regarding this musical piece. This detail
examination of Schubert's "Moments musicaux" will deepen our understanding of its form,
structure, and meaning.

The first aspect of the sentence design to consider in relationships is the creation of the
central idea. This is structured using a chordal texture, where all the voices blend together like a
block sonority. The basic idea is simple, yet intriguing due to its rhythm. At first glance, it
appears straightforward, with a quarter note followed by a half note, slurred to a quarter note.
However, the accentuation adds an extra layer of interest, as the composer starts with a Tonic
chord functioning as a pickup. These three chords form the main motif of the piece and,
together, construct the central idea (A), which spans one and a half measures. The repetition of
this central idea begins in the middle of the second measure and is referred to as (A’), as it
retains the same rhythm, but the harmony differs and the bass line is no longer present.
This brings us to the development phase of the sentence design in this excerpt. This phase spans
four measures and begins with the same pickup idea. However, instead of a quarter note, the
composer uses three eight notes. The mirror effect of the upper voice and the bass line moving
in contrary motion creates a sense of acceleration and tension. Additionally, the composer
preserves the rhythm of the central idea, but adds a "fp" dynamic to emphasize the sonority of
the secondary dominant presented in the harmony.
Image 1 explains the presentation phase (yellow) and the development phase (blue)
 The beginning of this musical excerpt showcases a period form, with the first phrase
starting on an A flat major tonic chord in root position. In measure eight, the composer
introduces the first half cadence, ending with a dominant seventh chord in root position. The
next phrase begins with a complete tonic chord in root position once again, and in measure
sixteen, the composer writes a dominant seventh chord in root position, resolving to a tonic
chord in root position, creating the first Perfect Authentic Cadence (PAC) of the piece. The
period form is established because the PAC cadence is stronger than the Half Cadence (HC) in
measure eight.
The theme remains constant, with only the harmony and the cadence of the second phrase
changing, exhibiting the typical characteristics of a parallel period. The harmony function of the
half cadence in measure eight showcases an interruptive motion, with the antecedent ending on
a dominant chord, creating tension, and the consequent starting with a tonic chord, marking a
new beginning. This is a clear example of an Interrupted period.

In conclusion, this musical excerpt serves as an excellent illustration of the concepts

surrounding sentential design and period form. It is crucial to understand the difference between
a sentence and a phrase, as well as the relationship between harmony and musical structure.
Furthermore, a thorough analysis of the music programior to performance is imperative. This
structural understanding serves as a guide to accurately follow the composer's instructions
during performance.
An intriguing aspect of this piece is the title "Six Moments Musicaux," which suggests a free
and improvisatory feel, yet Schubert creates a highly structured work that presents a seemingly
unstructured atmosphere. This is achieved through the utilization of simple and symmetrical
styles, showcasing Schubert's mastery in blending seemingly conflicting elements.