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Thursday, April 17, 2008

sonata form blog

ok so let's do some harmonic analysis first. measures are gonna be separated with -
I-I-I-V-I-I V65/V-(pivots to dominant) I IV I V-I-V6-I-V43-I6-V42-V64/53-I
Then there is a repeat sign. Next section:
back to C: V42-i6-V42 i-V-V-i-vii i- V-I-I-I-V-I-I-I V6453-I-V6-I-V43-I6-IV-V-I
So clearly this is a sonata form. The exposition is from measure one to measure 15, then the development is from measure 16-23, and then it's the recapitulation from measure 24 to the end. The first tonal area is in C major and has two themes. They are both four measure phrases. Then it pivots to G major by measure 8. This is the second tonal area. It also has two four measure phrases. Then there is the development, which was hard to do the roman numerals for because it uses quite a bit of modal mixture to, you know, develop. Then it is the recapitulation until the end. Clementi did change it a little bit this time, for instance he took the primary theme of the first tonal area down an octave in the recapitulation. Because of the way Muzio wrote the themes, it is sometimes hard to hear what chord is beign played. For instance, the themes in the first tonal area will have scales in the right hand with only one note played in the left hand. He was getting a little crazy then, but he cleaned it up later. yay muzio

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