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Ok, I'm not sure if I read it right, the numbers in the score confused me, I thought they might be the progression but from analyzing where the bass and treble notes acctually ring together I think not, then again I might be wrong.
Also I assumed notes with a major 2nd interval were sus2 chords and perfect 4th intervals were inverted fifths, so I might have screwed up there too.
Anyway.
The progression, if I'm not mistaken is
I III IV I II I V I III V III I IV I IV I II
III VI II III I VI (Modulate to V) V IV I VII I IV V I
(Modulate to I) III I IV VI IV III II I V VII III I VII
I V I
I was surprised to find so many movements in 3rds and minor 2nds (It certainly built up my confidence in both of them). The harmony is fairly tonic through most of the minuet, returning to "I" fairly often except in moments of high tension when the melody itself also builds up tension by repeating variations of the same theme. Similar to how when the harmony is especcially tonic the theme is followed by the counter theme.
The theme is expressed at the start of the minuet followed by a counter theme. Both of them only change in Contour, changing rythm only when it makes sense to do so. For example when the piece modulates the primary theme changes it's rythm completely, giving way to the countertheme. When it modulates back to I, the rythm in the theme is reversed and then played in the same rythm as before the piece modulated.
This makes sense, since rythm is the most distinguishable element to the human ear it's a clear indication that something is about to happen (Modulation and the ending), also because of this, the countertheme changes rythm more often than the primary one, to keep the melody stable.
I'm not sure if that's the right answer.... I'm not even sure if I got the progression right.
EDIT: Another interesting thing is that near the ending there's a departure from the tonic chord and then it's "returned to" in closing distances, ending in a cadence. Smoothing out the tension rather than destroying it. Very nice ending.
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