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Thursday, April 21, 2005

Beethoven's Piano Sonata in F Minor

This piece begins with a very short group 1 with only one theme. The theme is unusual, however. It starts with an arpeggio in F and a little triplet pattern that is then repeated a sequence of a whole step higher in the next two measures. Then the latter measures of the sequence, the section with the triplets, is repeated in sequence form without the arpeggios. This all ends on a HC. The next section seems to be in c minor. It continues the usage of triplet patterns but also adds huge dynamic contrasts and a pedal bass line. This section soon turns into a huge flourish of scalar passages that dramatically shift between loud and soft. Finally this exposition section ends on a PAC in A flat major with a double repeat bar line. The developmental section begins in A flat major with similar arpeggio and triplet patterns. The pedal bass line returns with a single note melody on top that rises in sequence by whole step. Then the pedal bass is in the upper hand and the melody is down below. When the pedal bass returns to the left hand, octaves and trills are added to add vigor to the conclusion of the development. In measure 94 we have the feeling of return to the five of f minor, the original key. The triplet pattern returns which hasn't happened at all in the development so this is the start of the recapitulation. There is more drama and battle between the dynamics. Then the pedal bass returns, along with the same scalar passages as the beginning. The end, however, has a small coda that terminates the piece with big crashing chords that set off the cadential pattern and cause the piece to end dramatically on FF with a PAC.

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