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Thursday, April 03, 2008

Beethoven Sonatina in F Major

M. 1- I
M. 2-I
M. 3-IV
M. 4-IV
M. 5-V^7
M. 6-I
M. 7-V, I
M. 8-V
M. 9-I
M. 10-I
M. 11-VI
M. 12-VI
M. 13-V^7
M. 14-I
M. 15-ii^6, V
M. 16-I
M. 17-V^7
M. 18-V^7
M. 19-ii^o7
M. 20-ii^o7
M. 21-V^7
M. 22-ii^o7
M. 23-V^7
M. 24-ii^o7
M. 25-V, I
M. 26-V^64, (V^7)/V
M. 27-V
M. 28-V
M. 29-I^6
M. 30-I^6
M. 31-IV
M. 32-IV
M. 33-V^64
M. 34-I
M. 35-ii^6, V^7
M. 36-I
M. 37-vi
M. 38-III^43
M. 39-III^43
M. 40-ii^043
M. 41-vi^6
M. 42-ii^o7
M. 43-vi^6
M. 44-ii^o7
M. 45-vi^6
M. 46-ii^o7, vi^6
M. 47-III^43, vi
M. 48-III
M. 49-vi
M. 50-iii
M. 51-IV
M. 52-I
M. 53-IV
M. 54-iii
M. 55-ii
M. 56-vi^6
M. 57-(vii^0)/vi, vi
M. 58-V/vi
M. 59-vi
M. 60-V/vi
M. 61-V/vi
M. 62-vi
M. 63-vi
M. 64-ii
M. 65-vi, V/vi
M. 66-vi
M. 67-V^42
M. 68-I^65
M. 69-V^64
M. 70-I
M. 71-V
M. 72-cadenza/retransition
M. 73-cadenza/retransition
M. 74-cadenza/retransition
M. 75-I^6
M. 76-I^6
M. 77-IV
M. 78-IV
M. 79-V^43
M. 80-I
M. 81-V^65, I
M. 82-V
M. 83-I
M. 84-I
M. 85-IV
M. 86-IV
M. 87-V^43
M. 88-I
M. 89-IV, V^7
M. 90-I
M. 91-V
M. 92-I
M. 93-V^7
M. 94-I

I would say that this piece is overall a five part rondo. It has the general ABA'CA"+Coda. The first A section goes from M. 1-17 that ends in a PAC. Section B goes from M. 17-28 and ends in a half cadence. The second A' section starts from M. 29-36 and ends in a PAC. The C section goes from M. 37-66 and ends in a PAC in D Major. The last A section goes from M. 75-90 and ends in a PAC. The coda is four measures long, M. 91-94 and ends in a PAC. I don't really see any aspects of a seven part rondo in this particular piece. There are only three different themes and the A section only repeats three times as opposed to the four times it would need to repeat for it to be seen as a seven part rondo. This does have some elements of a composite ternary. One could say that there are three distinctive sections. The first being M. 1-36 and a rounded continuous binary. The second section could be seen as M. 37-66 and a theme and variations. The last section could be seen as being M. 75-94 and a simple binary. The first section(1-36) easily fit into rounded sectional binary. It has the A section repeat itself and the B section repeat with the A section. This section creates the first three sections of the Rondo form for this piece(ABA'). Measures 27-28 functions as a re-transition into the A section. This is like a special introduction that is only used for the A section. This is not particularly normal to find in Rounded Continuous Binary. It is, however, found often in rondo form. The section section(m.37-66) I would describe as being a theme and variations because it is a continuous repetition of the C theme with slight alterations in the melody and harmony. This section fits as the C section of the rondo form. Measures 67-74 are another re-transition into a repetition of Section A. The A sections have a shorter phrase rhythm than the rest of the sections. 

1 comment:

Scott said...

Why couldn't mm. 37-66 also be a rounded binary? Remember, the b of a rounded binary is often related motivically to the a. The last part would be only the first part of A's rounded binary.

Transitions and retransitions are found in Ternary forms. What makes this Rondo-ish is a) Beethoven calls it a Rondo(!) and b) the last A doesn't do the whole rounded binary form, so overall we do get an ABACA form, if repeats are ignored.

Don't forget about performance ideas.