Introduction

26 Oct 2001


Rondo I


Rondo III

26 Oct 2001


Rondo V


Conclusion

Rondos by Jane Savage: A Schenkerian Analysis
by Nadine J-M. Burke



Rondo III

(1) Rondo III is an interesting work in which Savage unexpectantly varies and weaves musical ideas and motifs. The rondo form is standard with an eight measure rondo theme in C major alternating with the usual "B," "C" and "D" sections. When she returns to the rondo theme, she varies it by changing the range and articulation. For instance, the range of "A1" in is the opposite to the original rondo theme. "A2" is almost the same as "A," with the exception of minor articulation changes and a chord position in measure 36. The final statement of the rondo theme concludes with a half cadence (V-vi) which leads to the coda. The coda is just an extension based on a perfect authentic cadence in C major

(2) Each section that alternates with the rondo theme gets increasingly complex. Although the "B" section (mm. 9 to 16) remains in C major, there is a hint of D minor in measure 11 to 12. She repeats the same motif in the home key and concludes the section with a German 6 half cadence. Savage changes key in the "C" section to C minor notated with a key signature (mm. 25 to 32). This section concludes with a perfect authentic cadence.

(3) The "D" section acts like a development section in various ways (mm. 41-56). For instance, after returning to the original key in the rondo theme, Savage subtly changes key using secondary dominants of IV and V in measures 41 to 44. Then she creates tension by suspending a G# over a F chord. She varies a musical idea in a imitative sequential manner that enables her to move from G minor to F minor. A cadenza built on G7 reinforces the return to the home key of C major.

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