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title: Examples

F. Chopin - Mazurka in A-flat major, op. 24, no. 3

• TiLiA file: chopin_24-3_example.tla (chopin_model branch)
• Recording in the same folder (by Edward Neeman, downloaded from IMSLP)

J.S. Bach – Sarabande from BWV 1007

• TiLiA file: TiLiA/BWV1007_04_Sarabande.tla (bach_model branch)

{#fig-sarabande}

This example presents two different analytical interpretations of this Suite movement's first section. Whereas the second one, labeled as "Alternative", uses our standard vocabulary, the first one is an experimental attempt to using the term Fortspinnungstypus, a staple in German-speaking Baroque theory. Here, the traditional three-part structure (Initiale, Fortspinnung, Kadenz; i.e. "beginning", "continuation", "cadential") has been hierarchised into a pres + cont where the middle of the whole (Fortspinnung) is the beginning of the continuation and the cad is the ending of both the cont and the whole. This conceptualisation makes this type recognizable as a subtype of sent.

Whereas this perspective groups the first part as [8 2 [6 2 [4 2 2] ] ], the second describes a symmetric [8 [4 2 2] [4 2 2] ] grouping (in this notation, each [ marks the parent node of a sub-branch, followed by its children and ]). Verbally, the first view sets the initial of the piece as apart and accounts for its being a relatively self-contained, chiastic open-close (or departure-arrival) motion which can stand for itself, like a motto. The second interpretation highlights the expositional character of the first four bars by grouping them under an overarching pres phrase. Contrary to the first view, the second compound basic idea is marked as a variation of the first one (cbi') because of a vague sense of return of the chiasmus. The first interpretation does not include the ' in the interest of reinforcing the sense of separation between measure 2 and 3.

On a minor note, the cad has been split on the lowest level to indicate the rhythmic-harmonic acceleration towards the cadence but no labels have been applied.