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Monday, March 14, 2005

Beethoven: Sonata in E major, Op. 14, No. 1 II

This allegretto movement consists of an allegretto and maggiore that combine to make a composite ternary movement.

In contrast to the original key of E major this middle movement allegro is in E minor. The A section of the allegretto is a parallel period. The material does switch octaves but the material of the first couple of measures is the same. The first phrase of eight measures ends in a half cadence in B major and the second phrase of eight measures returns to a PAC in E minor. The developmental B section consists of two eight measure phrases, the first ends in a PAC in G major and the second ends in an HC back in E minor. This heralds the return of the A section with the same material for the first eight measure phrase that ends in a HC but the second phrase is extended to eleven measures in a PAC into E major with a good ol' picardy third. The last twelve measures of the allegretto is a terminiative phrase indicated by the constant pedal tone of E, the last measure has only the tone E which forms the common tone into the maggiore. The allegretto alone is in sectional rounded binary form.

The E becomes the third in the key of C major (chromatic mediant!!!!!!). The A section is a 16 measure period. The first phrase is seven bars that ends in an IAC in C major with a transition through the eighth bar and the second seven bars end in a PAC in G major with another transition through the eighth measure. This A section repeats. The B section development is very short, only eleven bars, there is a pedal tone of G throughout and a half cadence in C is achieved in the tenth bar with a transition in the eleventh bar back into the A section. The A section is not fully realized however, just the first phrase is repeated with the IAC and one bar transition followed by another IAC followed by a cadential 6/4 in E minor to facilitate the transition into the allegretto.

The return of the allegretto is the same except there is a coda which consists of the first phrase of the A section again as a transition from E major to E minor followed by some termanitive chords to make sure the listener knows that it's the minor key.


Ihearthautbois said...

Good work finding the chromatic mediant!

Spoonaloompa said...

Good job mentioning the key of each section - I think this is especially important because of the importance of tonality in sonata form.

Liz said...

What a fun piece! Interesting how so many people forget to mention the key of each section - I almost did!

Anonymous said...

thank you! You confirmed my analysis. :)