Sunday, October 25, 2009

Ballade Pour Adeline

ok i shall attempt some analysis for the piece. cannot get the image up! will get it up as soon as possible!

this 19 bars that i have extracted can be divided into 3 parts. Simple A, B and A'. it is akin to extended binary that we have learnt. part A ranges from bar 1 to 10. B from bar 11-16 and lastly A' from bar 17-19 (it is A' at least for the first few bars that i have selected.)

Phrasal Structure.

Introduction of 2 bars


antecedent phrase (bar 3 to bar 6)

consequent phrase (bar 7 to bar 10)


short (first part of bar 11)

short (second part of bar 11)

long (bar 12)

short (first part of bar 13)

short (second part of bar 13)

long bar (bars 14-16)


is simply an repetition of the antecedent phrase in A. just that it is played an octave higher.


  • introduction:

  • mainly uses arpeggios to create the water imagery. on top of that, the crescendo and decrescendo contributes to the contour of the piece. lastly, the usage of semiquavers in the introduction quicken the pace of the piece making it smooth flowy.


  • Piece starts off sweetly with (I-IV-V7-I)x2. It is a simple T-PD-D-T style. Here the composer used the change in dynamics to emphasis the difference between antecedent and consequent phrase. Again, here the composer used semiquavers to add in different styles. to a certain extend the series of 8 semiquavers may sound juxtaposing to the smooth/sweet mood created in the piece.


  • Again, the dreamy effect is emphasized with the introduction of the semiquavers. In bar 11, it starts from F and makes it way down by step. it creates direction both in the piece as well as in the phrase. Furthermore, it seems to be anticipating a climax.

  • in bar 12, the descending tone is "quicken" as we can see a rapid decrease E-D-C-B in the right hand. this E-D-C-B phrase seems to be a little "extra" as the melody then goes back to E and continued with its original rate of movement downwards.

  • And finally, the direction of the piece swings upwards into a full swing. It moved 3 octaves progressively within 2 bars and moved from G to G. the melody is accompanied by alternate accent on G and D in the left hand.


  • this is basically a repetition of A (at least for the part that i have chose). Difference in its dynamics from p to ff as well as bring an octave higher than in A. the range of G has also expended to include more notes and add volume to C. the E in bar 3 was omitted and in bar 17 replaced by G. this "octave in the right hand" phenomena extends for the whole of A' here.

thats all for now. will update as soon as i have more insights! :)



  1. Hi Bev~! JOANN here. I don't know how to make my name appear below. I'm not good at blogs at all.

    Anyway, I agree on your analysis on identifying the antecedent phrase in bars 3-6 and consequent phrase in bars 7-10 of section A. As the melody for these two phrases are exactly the same, perhaps you would like to explain how you decided that bars 3-6 is not yet the end of the period but bars 7-10 is.

    I also agree with you that there are sentences present in section B.

    perhaps you can do more on the harmonic function of the piece.

    well done! =)

  2. Hello Bev, This is JOANN again.

    saw u added the harmonic function this time.
    However, I disagree with you for the Harmonic analysis at A. I felt that it was I - ii - V - I instead of I - IV - V7 - I.

    For your section B, I agree that the semiquavers created a dreamy effect for the piece. In addition, I think that the quickening and slowing down of tempo also helped in creating that effect.

    I agree with the rest of your analysis, especially your A' section being a repeat with a change in dynamics. The 'octave in the right hand part' has been present in many places throughout the piece. I feel that it helps to thicken the texture.

    that's my 2-cents worth for you.

    SEE YOU TOMORROW. Hope the test is EASY! =)

  3. Hi Bev,

    It is curious that your excerpt ends at b. 19, in the middle of the returning A. Anyway, Joann is right to raise the question of how you differentiated the function of the two opening phrases: the second phrase is actually an exact repetition, hence not an answering phrase.

    I don’t see any F in b. 11 (i-V in A minor there) nor the replacement of E with G in bar 17 (the sixth-doubling involves both E & G).

    You noted the E-D-C-B descent in b. 12. Actually, this is part of a more extensive descent stretching across bs. 11-12 (E-D-……B), involving octave displacement.