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Thursday, May 01, 2008

Beethoven Piano Sonata in C Major Op. 53

measures 79-83
key: E minor

iv64, V7/iv | iv, ii6 | V64-53 | i, i6, iv | V64-53

measures 84-87
key: C Major

I, I6, | IV, V64-53, | I( first ending) | (second ending) I6, IV | V864-753

measures 88-90
key: D Minor

vi, I6 | IV, V64-53 | I

The sequencing in the allotted measures is found in a couple ways. Mainly through the repetition of the same melodic patterns through the three key areas. The movement from E minor to C major to D major follows the pattern of a falling thirds sequence and moves the two-beat long melodic sequence that highlights the musical passage.

The shifts and small transitions between the keys are accomplished gracefully through the use of a fluid melodic line that modulates through the phrases with a steadily moving piano accompaniment. There are no firm cadences or coda's that would normally work to give each key area its own unique and distinctive feel. Instead, the music seems, in my opinion to be going for a subtle key change, and that it so accomplishes through the smooth connections between phrases that Beethoven utilizes through the falling third sequences. In addition, crescendos and other dynamic markings give this section a very animated feel and take the focus off of the key area shifts and move them instead to the emotions of the melody and dynamics. If I were to perform this piece I would be sure to focus my attention to the dynamics and make sure each transition to a new key area was smooth as the music seems to intend it to be.

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