ブロッグが大きらい! <-----that means I really hate theory blogs in Japanese
Chapter 27 Workbook, II Analysis of rondo forms
B. Ludwig van Beethoven, Piano Sonata in C minor, Op.13 (Pathetique), third movement (p.30) CD1.46
I like the second movement better than third movement, it was more soothing and relaxing versus this movement being fast moving and it adds to my stress while listening to it over and over. But Beethoven is still cool anyway, just not tonight.
I see this movement as a seven part rondo. ABACABA. The first A section in measures 1-17 and then a transition in measures 18-24, then the first B section in measures 25-43, and then retransition in measures 44-60. The A section comes back again in measures 61-78. It goes right into section C, measures 79-106, without a transition. From section C back to section A there is a transition in measures 107-120. A section comes back again, measures 121-133 but is altered a little and goes right into the second B section, 134-153. There is another retransition, measures 153-170. The comeback of the last section is different. It’s varied and is from measures 171-182, and then from measure 182 on is like a coda expanding the ending.
The B section modulates to the Eflat Major. The major key makes me happy. The end of the first A section ends with a strong PAC and has a few beats of rests till the downbeat of the transition in the next measure. In the A section it repeats a 4 measure motive to make it really stick out. The coda builds and builds and has a lot of cadences. It goes into a major key for a few measures and then Beethoven decides to slam it back into your face and harshly end minor!!!!