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Monday, May 09, 2005

Beethoven Sonata: Op 14, no. 1, III (EM)

This is a very clear example of a Rondo-Sonata form. First we have a sixteen-bar primary section (A) that is a repeated phrase ending on a PAC both times--thus it is sectional. We have approximately 6 measures of transition (which leads us to BM) until we reach the Alternating Section (B). B is a 8m, with two parallel, symmetric four measure phrases. The first ends on a PAC in B, as does the second, though it gets undermined by an A# in the bass moving down to an A natural, suggesting that this B chord is a HC in E. Then it jumps straight back into A, but the second phrase of A changes and acts as an ellision into a small transition into GM, which takes us to the large C (the real development). And this C is considerably larger than any of the individual sections. The ABA formed a sort of sectional binary that did not close but ended open and led into this. At m 82 we've already been dealing with a pedal tone of B for several measures prior, and the d#'s are hinting at an em. Here the piano goes into a long chromatic run ending on a giant half in EM, taking us straight back to A. The return of A is the same, only the transition into B is different, as B is shifted down AM. B ends on a PAC in A that changes into a HC on E. For the final E, we get one phrase of the original 16m--though with different piano texture, and it ends on a HC but doesn't really stop, we get another 4 measures and a nice big HC and then ten measures of a terminative coda.


Mr. Luxury Yacht said...

Good job of talking about all the differences in the key changes especially the ellision.

jendpu said...

Good job, you were really detailed

katie said...

You seem to really understand this concept- good for you. Good attention to detail and changes in tonality

Anonymous said...

how can the first 16 measures be sectional? there is a PAC in the wrong tonic. Shouldn't it be considered continuous?