My personal review:
Waltz into Autumn is a short waltz in the key of E minor, a little more structurally complex than it appears at first glance.
It begins with an introduction (let's call it the introduction to the complete work), with a rubato character, in which the waltz melody is presented in the right hand, with an accompaniment in the left hand that, on the first beat of the measure, strikes only the bass, while on the second beat it strikes the rest of the chord, leaving it sustained until the end of the measure. The bass "draws" a very characteristic melodic line, descending in conjunct semitone steps.
The waltz itself begins, with the left hand playing a typical waltz accompaniment, in which the bass strikes on the first beat and the chord on the second and third beats.
However, there are some details that are particularly striking in this section. On the one hand, we can divide it into two subsections. The first subsection seems to be an introduction to the waltz theme (which is why we said earlier that the previous introduction was to the complete work), and a second subsection in which, melodically, the waltz theme is presented, but the left-hand accompaniment has changed, and this is also striking. This time, the bass's semitone descent, as presented in the introduction, is missing... (allow me to leave a few ellipses here).
This section is repeated, albeit with slight variations only in the right-hand melody.
A small, four-bar flourish over the tonic chord leads us directly to THE WALTZ (with a capital T), because now it is presented to us just as it appeared in the introduction, with the same harmonic sequence in the right hand in which the bass descended by semitone steps (although there are slight variations in the right-hand melody).
It's as if Donna wanted to establish the culmination of the work here.
However, how this climax is reached, in such a discreet, unexpected, and surprising way, is what gives us goosebumps.
Once again, the four-bar nexus, flourishing over the tonic chord, which is repeated an octave higher, leads us to a calm coda, in which a tonic arpeggio leads into a curious plagal cadence in the VI-I 6/4 steps.
Mitchell's social links:
Let's enjoy Waltz into Autumn by Donna Mitchell, performed by Carlos Marín Trigo:
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