Beethoven, Sonatina in F Major. AND

The second movement of Beethoven's Sonatina in F major is outwardly simplistic, featuring a playful piano melody in a light and bouncy upper register. This, however, does not take away from the harmonic complexity that is apparent in various sections of this piece. Which, upon enlightenment through recent class sessions is something called a 5 part rondo in ABACA formation.

mm. 1-16 A
mm. 17- 25 B
mm. 29-36 A
mm. 37-67 C d minor
mm. 75-94 A

Measures 1-36 curiously take on the form of a rounded binary. Although it does not interfere with the fact that the piece is in binary form, it doesn't necessarily fit comfortably in the definition of a 5 part rondo. especially with the repeated B section; unless the |:AB:| counts as the B section itself.

Harmonically, the piece is in F Major and in correspondence with the rondo, the A sections are in F major, the B section modulates to the V or C Major and the C section modulates to the the iv or d minor modulating back to F major for the conclusion in the A section. The modulations are assisted by transitions found between certain sections. A short transition from measure 27-28 modulates from the F major to the C Major and consists of a quick chromatic ascension that is known as a retransition which is a transition that takes the piece from the dominant key, or the V, back to the tonic key . The same thing occurs in measures 67-74 where we see a transition that prolongs part of the iv harmonies before taking it back to its tonic key and is also known as a dependent transition.

Measures 37-66 alone prove to be another form altogether as we found with measures 1-36. 37-94 however can be classified as a simple binary without the repetition within the sections. This may lead some people to not consider this piece a rondo. It however has too many unexplainable transitions if the piece were not a rondo.

From a performance standpoint, I would make an effort to emphasize the transitions and vary the dynamics at which I played the repeating sections. This is a very light and fun rondo that captures the essence of the coming season.

-CAMERON GINDAP

NIKOLA PETROVIC *********************************************

Jeremiah Clarke, Trumpet Voluntary (Prince of Denmark’s March)

Section one: A in D major: m.1-8 PAC and then A’ m. 9-16 PAC only organ=parallel period (4+4) first cadence is HC and second one is PAC

Section two: B 16 measures (8+8) B(m.17-24) ends on HC and B’(m. 25-32) ends on HC only organ.

Goes back to A m.33-40 PAC and m. 41- 48 PAC only organ.

Section four: C 16 measures long (8+8),c in D major (m. 49-56) ends on HC and c’ (m. 57-64) ends on HC only organ.

Goes back to A (65-72 on PAC) and (73-80 on PAC) but this time organ plays first and second time trumpet comes in.

So, this is ABACA Rondo form. Section C does not modulate to the key of V.

Nikola Petrovic