By Angelo Debarre, Samy Daussat
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Extra resources for Astuces de la guitare manouche
Possibly the first of the above alternatives is more plausible, since the function of a normal transition is to modulate towards the related key (or even its dominant) and bars 106–35 seem remarkably stable for all their melodic and harmonic chromatic inflections, and even feature subsidiary dominant-key material in bars 23–4 subsequently resolved within the now firmly established key of E flat. Whatever the precise structural interpretation, the withholding of closure until bar 35 is quite remarkable.
These take their rhythmic impetus from the idea first sounded at bars 2–3 and serve as a preparation for the return of the opening in the tonic, F. This reprise is diverted towards the subdominant (bars 20–2) before finally cadencing in the tonic once more with repetitions of the closing tag from bars 7–8. The middle section turns to the tonic minor, introducing a rather more urgent three-quaver pattern (derived from bar 3) with staccato articulation, preceded by a prominent (legato) upbeat. It contrasts not only in mode and articulation, but in texture (note the transfer of leading melodic material to the cello at bars 30–4) and phraseology, moving entirely in balanced symmetrical periods, with the exception of the single-bar link (bar 51) back into a recapitulation of section A.
The development’s final stage (retransition) is characterised by fragmentation of the exposition’s closing trill motif, which loosens into even semiquavers in bar 104 over a pedal D, giving way in bar 108 to a wholly regular recapitulation, with dominant-key material duly transposed back into the tonic, G, and following the original sequence of events with only minor modifications, such as the expansion of the semiquaver passage beginning at bar 38 of the exposition into a more powerful tonic statement at bars 146–55.