Here is my attempt at an analysis of the Paganini minuet mentioned in the learn a new piece each week group. It's not on Delcamp but can be found be searching for Two Minuets Sheet Music by Niccolò Paganini.
I don't claim to be an expert but it's a useful thing to do and there's no harm in putting it up on the forum in case it is of any use / interest to others.
Ignoring repeats (which I think is the done thing) this piece has a straightforward 16-bar structure which breaks down just as straightforwardly into 2 8-bar sections - so it's in binary form. The main cadences are found between bars 7 and 8 and bars 15 and 16. It is interesting to look at the first chord and the chords of resolution of the main cadences and see that these are I - V - I. This could be looked at as the basic structure of the piece.
Each section consists of two 4-bar phrases. The two phrases which make up the first section, although contrasting in harmony and melody, are similar in structure in that they have an eighth-note pickup. This means that the piece has an anacrusis, and also that the first phrase ends on the low E on the third beat of bar 3, with the next phrase beginning on the 3-and.
Essentially there is one harmony per bar - although there are variations in a couple of bars, these are probably best regarded as decorative rather than structural. They are short-lived and the harmony immediately returns to the basic harmony of the bar - in other words, they do not have any function of their own.
The piece is in triple time, although I think that is true of all self-respecting minuets.
The key is A major and there are no modulations.
Bars 1 - 4
I (there is more than a hint of V in beat 3, but for the reasons given above this is best regarded as decorative)
I (same comment for beat 1)
Bars 5 - 8
IV (more decorative harmony here, but all over a D pedal and only after the basic harmony has been clearly stated - it is restated at the end of the bar)
I (again, there is some temporary decorative harmony - in particular there is a B/D double stop on beat 3 where both notes are exactly a tone away from the C#/E of the upcoming I chord, inviting a chromatic movement which gives rise to the accidentals)
I (the upcoming cadence is not onto I but onto V. In order to strengthen it, the leading tone of the dominant (D#) appears in the bass. Paganini has the bass line rise to D so that the D# can be part of a chromatic movement from D to E)
Bars 9 - 12
V7 (setting up a reassertion of the tonic so that we don't think we have modulated to the dominant)
Bars 13 - 16
I / V7 / I (for the reasons given above, the V7 is best seen as decorative rather than structural)
V7 without its root (or viio with dominant function, according to taste)
I can only sight read this very haltingly, but it seems as though Paganini does quite a bit with only three chords...
Last edited by Jack Dawkins on Wed Aug 19, 2015 6:30 am, edited 1 time in total.