I like the term "anti-period" that you used in the analysis of the rounded binary episode of the first piece. I've never heard that term before. But I'm glad that I now know that there are also PAC+HC periods or anti-periods. I have encountered the terms "phrase group" or "phrase chain" in some books which are defined by ending on an HC. The second piece analyse was very helpful too. I was in awe that it included concerto elements which makes it even more complex structurally. I feel I better prepared now to analyse Mozart's Piano Sonata No 6. Thank you.
Hello, and thank you. I'm glad It was helpful. I first heard the term "anti-period" from James Webster, and It really helped me to make sense of certain thematic structures that don't quite fit in the standard "period-sentence" binomy. I usually follow William Caplin's advice, with regard to this topic, which is not expecting to always find strict examples of periods and sentences when analyzing actual music, but instead, understanding their principles and how the composers play around with them. Good luck with Mozart's piano sonata no.6, one of my favourites!
HUGE VIDEO! Very well explained too.
Great analysis! I learned a lot. Would love to see more videos like this one, where you analyse classical pieces (form, harmony etc. etc.)
I like the term "anti-period" that you used in the analysis of the rounded binary episode of the first piece. I've never heard that term before. But I'm glad that I now know that there are also PAC+HC periods or anti-periods. I have encountered the terms "phrase group" or "phrase chain" in some books which are defined by ending on an HC. The second piece analyse was very helpful too. I was in awe that it included concerto elements which makes it even more complex structurally. I feel I better prepared now to analyse Mozart's Piano Sonata No 6. Thank you.
Hello, and thank you. I'm glad It was helpful. I first heard the term "anti-period" from James Webster, and It really helped me to make sense of certain thematic structures that don't quite fit in the standard "period-sentence" binomy. I usually follow William Caplin's advice, with regard to this topic, which is not expecting to always find strict examples of periods and sentences when analyzing actual music, but instead, understanding their principles and how the composers play around with them.
Good luck with Mozart's piano sonata no.6, one of my favourites!
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