Mussorgsky, who composed scherzos for orchestra. Balakirev, and Tchaikovsky, who composed scherzos for piano, and by Mendelssohn, P. During the romantic period the scherzo was revived as an independent piece by Schumann, Chopin, Brahms, M. Later outstanding masters of the scherzo as a movement in the sonata form were the Western European composers Schubert, Mendelssohn, and Bruckner the Russian composers P. The classical scherzo was perfected by Beethoven. The scherzo is usually written in a three-part, reprise form, with a trio in a more serene mood. Like the burlesque, the scherzo is often associated with the expression of humor, ranging from the lighthearted to the darkly ominous and grotesque.
The scherzo is characterized by 3/4 or 3/8 time, a rapid tempo, and a free shifting of musical ideas that introduces an element of the unexpected.
From the late 18th century the scherzo was part of the sonata form (the symphony, sonata, quartet, and sometimes, the concerto), replacing the minuet, usually the third movement. (2) An instrumental work similar to the capriccio, frequently included in instrumental suites. Mozart, Sonata in A major K.(1) In Italian music of the 16th and 17th centuries, monophonic and polyphonic vocal pieces with humorous texts.BEETHOVEN: Piano Sonata in F minor Op.Beethoven -Sonata in f minor: menuetto, trio.Schumann: "The Prophetic Bird" from Waldszenen.The striking chord in Bar 6 is an inversion of ii half-diminished seventh (a. Modulates to D flat major (relative major) in Bars 13-17, then returns abruptly to B flat minor in Bar 18, ending with an implied interrupted cadence (Bars 20-22, bass notes only). Schumann: Vogel Als Prophet from Waldszenen SCHERZO (Bars 1-264): A: Bars 1-24: Theme 1, B flat minor.Chopin, Op 59, no 2: Mazurka 37 in A flat Major.Schumann: Volgel Als Prophet from Waldszenen, Op.The variety offered by the dance-like form pushes Chopin to creative heights. I love how Chopin uses the mazurka as a vehicle for such original music.
Since we have a full B section as well as the full recapitulation of the A section, this piece is definately ternary. Now to end we have a full recapitulation of our A section. Between the end of the B section and the return of the A we have a wandering transitional-atory section that doesn't necessarily fit into either section, but serves as a small melody that brings us back to our original g-minor key. This section is developmental, as we take a key we hinted at before (B-flat) and explore it more fully for 24 measures. This whole phrase is repeated again, making this B section feel very complete on it's own (thus making this piece ternary rather than binary). This section is a complete phrase, with a half cadence after the first 6 measures, then a parallel section that ends on a PAC. The B section draws us suddenly into B-flat major, continuing the triple meter feel of repeating something 2 twice before reaching a conclusion on the third attempt. Since we begin and end in the same key, and on a PAC to end, this is a simple ternary form. This entire section serves as expositional material, as we introduce the main theme and only repeat it. Even though we have weak cadences to begin it (two IACs in relative major, and the plagal second cadence), it does feel complete due to the strong pull of the g-minor PAC that ends it. I would consider this A section a parallel phrase group, although it is asymmetrical.
We repeat this first section again, with the IAC in B-flat, then a return to g-minor, which ends on a solid PAC. The next section last for a full six measures, really pounding home a plagal cadence as we return to g-minor and then cadence, not once, not twice, but 3 times. This mazurka begins in g minor, but a quick IAC after only 4 measures in B-flat Major complicates matters.