Alexia, Keenan, and Carmen Analysis of Variations I, II, and III.

 Variation I: In Variation I, numerous differences appear. For instance, immediately noted was the continuous use of triplets throughout the right hand. This is a clear example of Figural Variation, or the use of repeated rhythmic motive. In the left hand, there appears to be the idea of Simplification; however, it must be noted that, while the overall idea is simplified, this variation incorporates rests in various ways. For example, in measures one and two, the pattern is beat-rest-beat-rest. In measures five and six, the pattern is rest-beat-rest-beat. Some rhythmic patterns in the left hand remain unchanged. This can be seen as measure four is unchanged rhythmically from the original measure four. There are other examples of similar, yet not exact, rhythmical ideas throughout the  piece that can be examined in the attached pictures. Overall, regardless of the interesting chromatic additions and rhythmic variations, the main idea of this piece is Figural Variation, due to the primary extended use of triplets. 

Variation II: In Variation II, once again, numerous variations can be discussed. First off, Figural Variation is very apparent. This can be discovered through the frequently used grace notes. They are used in both the right hand and in the left hand. Another example of this can be seen through the use of triplets in the left hand. While they are not as common as the grace notes, they are still incorporated enough to be considered as a rhythmic motive. Another common thematical variation used is Augmentation. Similar to the previous variation, quarter notes are used in place of the original eighth notes in the left hand. Also, augmentation is used in the right hand, as the original eighth notes are now sixteenth notes accompanied with rests. Chromaticism is frequent throughout the piece as well, as the grace notes require the addition of notes. Overall, while there is common augmentation throughout the piece, I would state that Figural Variation is the main idea, as there are more clear examples of repeated rhythmic motive.

Variation III: In Variation III, the main idea is Ornamental Variation. One can come to this conclusion due to the fact that, while the sixteenth notes are similar in variation II, sixteenth notes are more common. This leads to the necessity of additional notes, thus an elaborated melody. Nonetheless, the cadences rarely stray far from the original. This piece contains both examples of Augmentation and Diminution. The left hand alters between Augmentation, measures 3, 6, and 7 for example, and Diminution, measures 8 and 17. There are times, however, where the left hand remains loyal to original with measures of eighth notes. One again, the cadential areas are similar to the original. Overall, while there are clear examples of Augmentation and Diminution, Ornamental Variation is the main idea, as elaborated groupings of sixteenth notes are most prominent.