RONDO ALLA TURCA
...ach of them repeated twice. In the first part, the first four bars act as a call using basically sixteenth notes and the second four bars would be the response, mostly eight note based, with grace notes at the beginning of each phrase and thirds embellishing the melody. The whole part is in A minor in the score and in Eb minor in the recording. The second part also could be subdivided in two. The first 4 bars contain a motive over a I-V progression in the relative major key and then resolve in the same i-v back in the original minor key for the next 4 bars. The next segment in this part employs a binary rounding using the melody of the beginning of the piece and then ending in crescendo with a staccato motif. The next section, or the chorus if it would have been the case of popular music, modulates to the parallel major key. It is based mostly on staccato eight note phrases and the dynamics go in crescendo. When the part is repeated again, a second section of brasses enters, making the dynamics reach a vibrant forte level. Also a percussive instrument (tambourine) emphasizes the rhythmic pattern of this part. In the following segment the dynamics return to piano, sixteenth notes are used thoroughly, and the harmony modulates to the relative minor key of the parallel major key of the original minor key (huh?). F# minor in the score, C minor in the recording for the first part of this section which could also be considered a "aaba" form where the "b" part moves back to the major key and the last "a" part resolves somewhat differently. The score indicates that the "b" should be played forte but no distinctive change in dynamics could be det...