The polka theme closes on a half cadence — not a resolution. Both phrase endings (mm. 4 and mm. 7–8) land on V. The music is propulsive from the first bar because nothing has settled yet.
Fourteen measures of tritone dyads and chromatic bass descent — all within a single prolonged V of B♭ major. F is never a tonic here. The music is harmonically suspended across the entire middle section.
The only Perfect Authentic Cadence arrives at mm. 29–30: soprano B♭4 over bass B♭2. Everything before it — every half cadence, every chromatic colouring, the entire dominant prolongation — is preparation for this single quiet close.
Bright polka theme. Repeated. Both phrases close on a half cadence — the music is open throughout.
Fourteen bars over F (V). Tritone dyads, chromatic bass descent, forte climax at mm. 21–22. No tonic arrival.
Return of the polka theme at piano. The structural tonic arrival the entire B section was building toward.
Single bar. B♭ major triad, piano. The only Perfect Authentic Cadence in the piece. The dance is done.
Pyotr Ilyich Tchaikovsky, 1840–1893.
Op. 39 — 24 piano pieces (1878).
Two flats. Bright, energetic, dance character throughout.
2022 Celebration Series, List B (Romantic).
Notification when the study guide, listening commentary, and exam preparation materials are published.