Okay so this Beethoven piano thing is a rondo. We haven't covered this yet, but I did me some readin' and I learned about this herre rondo form.
The workbook wanted me to do a harmonic analysis and form diagram, so I "happily" obliged.
A, parallel period, F Major
m.1 I6, iihalfdim
m.2 I6
m.3 IV, V/IV
m.4 IV
m.5 V
m.6 I
m.7 V, I
m.8 V HC
m.9 -14 same as m.1-6
m.15 ii6, V
m.16 I PAC
B, some may say this is in C Major
m.17 V, VI42
m.18 V7
m.19 ii, V
m.20 V/V
m.21 V7
m.22 V/V
m.23 V7
m.24 V/V
m.25 V, vi
m.26 V6, V/V
m.28 V HC
Return of A with PAC m.29-36
C, yeah I don't know what to say about this section...it's kinda in a rounded binary form annnd it might also be in D major here? I'm not exactly sure.
m.37 IV65
m.38 III43
m.39 III65
m.40 ii43
m.41 vi6
m.42 ii
m.43 vi6
m.44 ii
m.45 vi6
m.46 ii, vi43
m.47 III, ii43
m.48 vi, III
m.49 vi
m.50 iii
m.51 IV
m.52 I
m.53 IV
m.54 I6
m.55 ii
m.56 vi6
m.57 Vdim, vi
m.58 III
m.59-63 same as m.37-43
m.64 viidim65
m.65 vi, III65
m.66 vi
F Major, this part acts like a bridge that goes back into the A section; it has an improvisational feel to it.
m.67 V42
m.68 I64
m.69 V64
m.70 I
m.71 V7
m.72 ii64
m.73 ii64
m.74 V HC
A
Same as first A section. It includes a short coda tagged on at the end that repeats the D-T gesture twice.
m.91 V
m.92 I
m.93 V7
m.94 I
I hear this piece as a five-part rondo form. ABACA. When I listened to it I heard three distinct parts which would constitute to a five-part rondo form. This also could be viewed as a seven-part rondo form because of the end of the C section. The part that returns to F major could be seen as separate and independent from the C section therefore making it a new letter, D. It would fit in the form ABAC(A)DA. The A in the parentheses is not actually heard in this piece but I am sure someone could make a case for seven-part rondo form with that little bridge section. And to take it even further, this piano piece can also be see as composite ternary form, ABA. The A sections would remain the same as in the rondo forms, but the B section would be drastically longer. It would include both the B and C letters of the five-part rondo form.
Measures 1-36 (ABA in five-part rondo) alone makes up a rounded binary form. I think it looks like a textbook example of rounded binary form. The only part that is not quite typical of the form is in the last two measures of the B section. The last two measures is basically an embellishment of the V chord with sixteenth notes. this technique is used in rondo forms to cue in the listener that the main tonic key or main theme is going to make a come back. This form can also be heard in measures 37-66, section C in five-part rondo. And like I said above measures 67-74 act as a bridge to section A...not typical in rounded binary forms.
the phrase rhythm of the A sections are all 8 measures long. The B section, which I see as one long phrase, is consisted of 12 measures. There is only a four measure difference between the two but you can definitely hear it when listening to the piece. It seems like it takes forever before the B section to get to a cadence, whereas with the A section the cadence comes naturally after 8 measures. Now the C section is a whole different story! I could not find a consistent phrase rhythm within the C section, but I did find that if you break it down into rounded binary form (aba') then you could see it. The a and b sections both have a phrase rhythm of 12 measures long, which, again, tends to make one feel like the cadence is far away. The repeat of a has a phrase rhythm of 8 measures which then leads into the bridge.
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