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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.

4 comments:

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. :)