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Blog # 11
Chapter 28 Sonata – Form Movements
Analysis
A. Muzio Clementi, Sonatina in C Major, Op. 36, No. 1, first movement (p.76) CD 1.74
Roman numerals
In C major
M1: I
M2: I
M3: I
M4: V
M5: I
M6: I, vii/V
M7: V, V/V
In G Major
M8: I
M9: V6
M10: I
M11: V64
M12: V
M13: IV, ii6
M14: V
M15: I
In C Major
M16: V
M17: i6
M18: vii, i
M19: V
M20: V7
M21: i6
M22: vii, i
M23: V
M24: I
M25: I
M26: I
M27: V
M28: I
M29: I
M30: V
M31: I
M32: V6
M33: I
M34: V43
M35: I
M36: IV
M37: V
M38: I
There are two clear large sections because they are marked with repeats. Measures 1-15 and measures 16-38. The first theme in the exposition is in measures 1-8 and the second theme is from measures 8-15. The second theme goes into g major. Measure 8 has a half cadence and measure 15 ends with an authentic cadence. In the second big section at measure 23 it has a half cadence and then finishes at measure 38 with a perfect authentic cadence. From measures 1-15 is the exposition. Then in the second large section there is a small development from measures 16-23 and then a recapitulation in measures 24-38. It repeats the same first theme but in an octave lower and is slightly different at measures 30. In the development it has some minor chords and goes into the tonic key. In the development section it has the first theme but it is in minor and sounds a little different. Then at measure 20 it does something completely different for the next four measures. From measure 20 it feels like it has a forward motion. At measure 32 it is transposed down a 5th compared to the one in measure 9. This sonatina differs than the regular sonata form because everything is shorter. The development section is extremely shorter. The first theme is even shortened to 8 measures. There isn’t really a transition to modulate because this pieces is so short.
Let me just say, we did this piece in musicianship or something and I absolutely hate it!!!!! It makes me want to throw my laptop out the window and break these CDs in half!
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