Beethoven's Opus Posthumous definitely carries a slight weight of confusion concerning it's correct form. The argument is whether to conceive this piece as a five-part rondo, seven-part rondo, or a ternary composite. Yes, many choices, but only one decision can be made. However, this proves a difficult task considering this piece has musical aspects that pertains to each of the three previously listed forms.
Personally, I believe this piece to be a five part rondo due to the overall form, ABACA. Where is the primary confusion?
Like any ordinary five-part rondo, it begins with it's refrain, A. It's set in the key of F major and ends on a PAC. This leads right into the B section. Nothing quite out of the ordinary yet. We then view a transition back into the refrain, or A2. A2 ends on a PAC, and then enters the C section, which happens to be in the key of vi, or D minor. This section creates the most confusion. Moving into a the key of vi is primarily a seven-part rondo characteristic. Another confusion that approaches the listener is the length and the discontinuity of the section. However, I bellieve the second section of C is basically a continuation of the section, but portrays differences. Lastly, there is a retransition back into the key of F Major.
Of course, as the book suggests, a little more analization reveals another type of breakdown. When splitting this piece into each of it's sections, each comes out as a rounded binary form. And when a piece contains a mixture of forms it is known as composite ternary. However, the continuous return to A solidifies the notion of a rondo.
Lastly, there is a differnce concerning phrase rhythm between the sections. A has a standard eight-measure rhythm, that complies with a standard period. However, sections B and C vary. Section B is a ten measure phrase. While section C contains a main period that continues for 11 measure. This creates a sense of hypermeter in the piece. Once again, it brings out the unusual characteristics of the piece and just leads the listener to more confusion. However, I don't think there is anything to be quite confused about. I believe Beethoven prepares his audience for variety in his piece by choosing unusual chord progressions in A.
Thursday, April 03, 2008
Clarke's Trumpet Of-Your-Own-Choice
aka Voluntary... geddit?
Here's your chart; "r" indicates a repeat
FIVE PART RONDO:
A1 - m. 1-8, ends with a PAC in I, trpt and organ
rA1 - m. 9-16, PAC (I), organ only
B - m. 17-24, HC (I), both
rB - m. 25-32, HC (I), organ only
A2 - m. 33-40, PAC (I), both
rA2 - m. 41-48, PAC (I), organ only
C - m. 49-56, HC (I), both
rC - m. 57-64, HC (I), organ only
A3 - m. 65-72, PAC (I), organ only
rA3 - m. 73-80, PAC (I), both
This rondo is not a typical five-part rondo, in that it never modulates away from tonic. In both the B and C sections applied chords are used, but never to the extent which usually defines a modulation. The ends of both these sections have a very half-cadence-y feel.
Also notably different is that each section repeats individually. This would probably make it more difficult to perform, because one typical rule of performance is that every repetition has to bring something new and exciting to the listener's attention. It is likely, though, that this may have been more for ceremonial or social purposes, and then the music would have been danced to, which means the performance doesn't require as much noticeable variety since people won't be listening all that hard.
Here's your chart; "r" indicates a repeat
FIVE PART RONDO:
A1 - m. 1-8, ends with a PAC in I, trpt and organ
rA1 - m. 9-16, PAC (I), organ only
B - m. 17-24, HC (I), both
rB - m. 25-32, HC (I), organ only
A2 - m. 33-40, PAC (I), both
rA2 - m. 41-48, PAC (I), organ only
C - m. 49-56, HC (I), both
rC - m. 57-64, HC (I), organ only
A3 - m. 65-72, PAC (I), organ only
rA3 - m. 73-80, PAC (I), both
This rondo is not a typical five-part rondo, in that it never modulates away from tonic. In both the B and C sections applied chords are used, but never to the extent which usually defines a modulation. The ends of both these sections have a very half-cadence-y feel.
Also notably different is that each section repeats individually. This would probably make it more difficult to perform, because one typical rule of performance is that every repetition has to bring something new and exciting to the listener's attention. It is likely, though, that this may have been more for ceremonial or social purposes, and then the music would have been danced to, which means the performance doesn't require as much noticeable variety since people won't be listening all that hard.
Ludwig van Beethoven’s Piano Sonata in C minor, Op. 13, Pathétique, third movement: Rondo, Allegro
Structure Analysis
Form: seven part rondo: A(i)B(III)A(i)C(VI)A(i)B’(I)A(i) Coda(i)
A. a three eighth note anacrusis, then m. 1-17, key of i, C minor
a: m. 1-4, half cadence in V, G major
b: m. 5-8, perfect authentic cadence in i, C minor
a and b: create a contrasting period, m. 1-8
b’: fourth beat of m. 8-12, perfect authentic cadence in C minor, i. However, it is deceptive in quickly going to a C7 chord in the second beat of m. 12
suffix: m. 12-17: perfect authentic cadence in key of i, C minor
Motives associated with A:
eighth note- eighth note-half note- quarter note in m. 4-6, quarter note-whole note rhythm reversed in m. 12 and 14.
four eighth note rhythm-arpeggiation in left hand remains for nearly entire A, from m. 1-8, 11-15
Seven eighth note arpeggiation in m. 9-10
E flat-F-D-E flat-C rhythm (rhythm not quite exact repetition) and its contour in m. 1-2 is present in m. 7-8
quarter note-half note-half note-eight eighth notes rhythm present in m. 12-13, 14-15
Independent transition: m. 18-25, travels to the key of III, E flat major, enters new key with B65 at m. 24, if looking for cadences in this transition, imperfect authentic cadence may be seen in m. 20 in key of iv, F minor, and in m. 25 in key of III, E flat major, eliding with next phrase
B. m. 25-43, key of III, E flat major
c: m. 25-28, half cadence in key of III: V65, B flat 65
d: m. 29-36, one may see half cadence in key of III: V7, B flat 7, more likely and logical solution is m. 29-37, imperfect authentic cadence in key of III: I, E flat major, eliding to next phrase on first beat of m. 37.
e: m. 37-43, perfect authentic cadence in key of III: I, E flat major
f: fourth beat of m. 43-47, half cadence in key of III: V, B flat major
f’: fourth beat of m. 47-51, perfect authentic cadence in key of III: I, E flat major
c, d, e, f, f’: create something similar to phrase group, but conclusive cadence exists at m. 43
Elision with dependent transition at first beat of m. 51
Dependent transition: m. 51-61, travels to key of i, C minor, enters new key with G7 from m. 58-61, big half cadence to lead to i
A. m. third and a half beat of m. 61-78, key of i, C minor, exactly same as m. 1-17, with the same independent transition from m. 12-17
C. m. 79-120, key of VI, A flat major
g: third and a half beat of m. 78-82, half cadence in key of VI: V, E flat major
g’: m. 83-86, perfect authentic cadence in a very short change of key to V/VI,
E flat major
g, g’: create a parallel period
g’’: m.87-90, half cadence in key of VI: V, E flat major
g’’’: m. 91-94, perfect authentic cadence in a very short change of key to V/flat VI, E flat major
g’’, g’’’: create a parallel period
m. 95-98: one may possibly see as an extension of cadence of g’’’, which would make the cadence a half cadence in key of VI: V, E flat major. However, likely to be seen as independent transition, entering key of VI with E flat major in m. 98
g’’’’: second beat of m. 98-102, half cadence in key of VI: vii, G diminished
g’’’’’: m. 103-107, half cadence in key of i: V, G major
g’’’’, g’’’’’: do not really create period, as both end in half cadence, but they share motivic qualities, such as staccato eighth notes that shift from left hand in g’’’’ to the right hand in g’’’’’
independent transition: m. 107-120: huge half cadence to a G7 in m. 119 to lead to i, C minor, in the next A section
A. third and a half beat of m. 120-128, key of i, C minor
m. 120-128: only material of m. 1-8 repeated exactly
m. 129-134: dependent transition, sharing the themes and motives from A in m. 9-10, for example, ends in half cadence in I: V(7)
B’. m. 134-157, key of I, C major
c’: m. 134-137, half cadence in key of I: V65, G65
d’: m. 138-143, one may interpret as half cadence in key of I: V, G major, eliding with next phrase on first beat of m. 143, another may interpret imperfect authentic cadence in key of V, G major, also eliding with next phrase. However, key change is short
e’: m. 143-146, imperfect authentic cadence in key of I, C major, eliding with next phrase
e’’: m. 147-153, perfect authentic cadence in key of I, C major
f’’: fourth beat of m. 153-157, half cadence in key of I: G major
Dependent transition: fourth beat of m. 157-170, half cadence to lead to key of i, C minor, for the following A section, Beethoven deceives the audience into thinking an f’’’ would begin here, but it travels unexpectedly, becoming a dependent transition rather than another phrase.
A. m. 171-178, a repeat of material from m. 1-8
Coda: m. 178-210, perfect authentic cadence in key of i, C minor in m. 210, one may see the material in m. 178-182 (first beat of m. 182 only) as a b’’, a prime of m. 8-12, rather than coda material, although texture in m. 178-182 is quite different and more energetic and tension building than material from m. 8-12.
Please refer to the Structure Analysis for the phrase and motive structure of m. 1-17. Indeed, Beethoven deceives the audience and strays of the typical path of regular hypermeter and four bar phrases, etc. From m. 1-8, Beethoven follows the typical antecedent-consequent phrase-period structure and creates a contrasting period. However, a b’ is added from m. 9-12, repeating and extending the thematic material in the right hand of b (the eighth note-eighth note-half note- quarter note motif from m. 5-8) in the right hand of b’ in m. 9-12. Then, unexpectedly, Beethoven adds a suffix from m. 12-17, which ends in perfect authentic cadence in the tonic key in m. 17. Although m. 1-8 have regular hypermeter and four bar phrases, the peculiar length of the six measure suffix and the elision transitioning from b’ to the suffix in the first beat of m. 12 contribute to irregular hypermeter.
The form is seven part rondo with the following structure and key relations with roman numerals: A(i)B(III)A(i)C(VI)A(i)B’(I)A(i) coda(i). The III in B and VI in C are typical key changes in seven part rondos. Traveling to I for the B’ in a minor key is relatively uncommon however, and while traveling from a minor key to its parallel major is a large mood change, Beethoven gives the listeners a sense of having traveled farther than the piece actually did by his inclusion of the dependent transition in the fourth beat of m. 157-170 rather than bringing back what would be the expected f’’’.
The coda is energetic, dark and tension building to affirm the tonic key of C minor. Several motives from the third movement recur in the coda. First, the triplet eighth note motif from B (m. 37-40, for example) is present in m. 182-192, especially m.189-192. The fast rhythms of the triplet eighth note motif create fiery tension in the coda, especially in m. 189-192, aided by the crescendo and the staccatissimo left hand also in m. 189-192. Next, the four eighth note arpeggiation-rhythm motif of m. 1-7 are also present in m. 182-188 of the coda. Third, the descending scale and the final dominant chord rhythm and contour of m. 199-202 was also present in m. 117-120 and m. 58-61. Finally, the E flat-F-D-E flat-C rhythm (not quite exactly) and its contour in m. 1-2 are vitally present in the fourth beat of m. 202-206. Although the motives are used in the coda in a fashion that will build tension and create forward energy and motion, another key importance of using motives in the coda is to give the section a feeling of familiarity yet be different simultaneously, but not so different to be completely foreign to listeners. Large dynamic shifts (pianissimo to fortissimo in m. m. 206-208), sudden sforzandi (m. 187-188, m. 193-199), and pointed staccatissimos (m. 189-198) typical of Beethoven’s compositional are present and contribute to energy, tension, and forward motion in the coda.
First and foremost, performers should take care to be respectful of sforzandi, staccatissimos, and sudden and large dynamic shifts, for they are key to Beethoven’s style, as stated before. One key area to respect Beethoven’s markings is m. 202-210. The subtle change from piano (m. 202) to pianissimo (m. 206) should be treated as dark and mysterious, as the audience is completely unaware of what is going to happen next. Then, the performer should startle the audience with an angry fortissimo (208). Of course, the performer should appear physically subtle and mysterious with the piano and pianissimo and angry with the fortissimo just as he or she would do musically. Although it is not marked in the anthology score, a decrease in tempo and a sudden increase in tempo in m. 208 like the one done in the performance of the Theory Book’s CD is practical and logical to increase tension and let the subtlety of m. 205-208 sink into the audience and the fortissimo of m. 208 startle the audience even more. Next, unexpected changes and shifts from the typical seven part rondo phrase structure and expectations should be treated differently. For example, the transition from m. 158-170 is completely unexpected and should be filled with energy from the performer by pushing it forward. One could do so possibly by a crescendo from m. 158-166. Other examples of shifts from typical seven part rondo from is the b’ and suffix of A (fourth beat of m. 8-17). Finally, the dark mood of the third movement rondo is reminiscent of the first movement of this sonata. Therefore, the performer should attempt to play the third movement in a fashion that would let listeners be reminded of the dark mood of the first movement.
Form: seven part rondo: A(i)B(III)A(i)C(VI)A(i)B’(I)A(i) Coda(i)
A. a three eighth note anacrusis, then m. 1-17, key of i, C minor
a: m. 1-4, half cadence in V, G major
b: m. 5-8, perfect authentic cadence in i, C minor
a and b: create a contrasting period, m. 1-8
b’: fourth beat of m. 8-12, perfect authentic cadence in C minor, i. However, it is deceptive in quickly going to a C7 chord in the second beat of m. 12
suffix: m. 12-17: perfect authentic cadence in key of i, C minor
Motives associated with A:
eighth note- eighth note-half note- quarter note in m. 4-6, quarter note-whole note rhythm reversed in m. 12 and 14.
four eighth note rhythm-arpeggiation in left hand remains for nearly entire A, from m. 1-8, 11-15
Seven eighth note arpeggiation in m. 9-10
E flat-F-D-E flat-C rhythm (rhythm not quite exact repetition) and its contour in m. 1-2 is present in m. 7-8
quarter note-half note-half note-eight eighth notes rhythm present in m. 12-13, 14-15
Independent transition: m. 18-25, travels to the key of III, E flat major, enters new key with B65 at m. 24, if looking for cadences in this transition, imperfect authentic cadence may be seen in m. 20 in key of iv, F minor, and in m. 25 in key of III, E flat major, eliding with next phrase
B. m. 25-43, key of III, E flat major
c: m. 25-28, half cadence in key of III: V65, B flat 65
d: m. 29-36, one may see half cadence in key of III: V7, B flat 7, more likely and logical solution is m. 29-37, imperfect authentic cadence in key of III: I, E flat major, eliding to next phrase on first beat of m. 37.
e: m. 37-43, perfect authentic cadence in key of III: I, E flat major
f: fourth beat of m. 43-47, half cadence in key of III: V, B flat major
f’: fourth beat of m. 47-51, perfect authentic cadence in key of III: I, E flat major
c, d, e, f, f’: create something similar to phrase group, but conclusive cadence exists at m. 43
Elision with dependent transition at first beat of m. 51
Dependent transition: m. 51-61, travels to key of i, C minor, enters new key with G7 from m. 58-61, big half cadence to lead to i
A. m. third and a half beat of m. 61-78, key of i, C minor, exactly same as m. 1-17, with the same independent transition from m. 12-17
C. m. 79-120, key of VI, A flat major
g: third and a half beat of m. 78-82, half cadence in key of VI: V, E flat major
g’: m. 83-86, perfect authentic cadence in a very short change of key to V/VI,
E flat major
g, g’: create a parallel period
g’’: m.87-90, half cadence in key of VI: V, E flat major
g’’’: m. 91-94, perfect authentic cadence in a very short change of key to V/flat VI, E flat major
g’’, g’’’: create a parallel period
m. 95-98: one may possibly see as an extension of cadence of g’’’, which would make the cadence a half cadence in key of VI: V, E flat major. However, likely to be seen as independent transition, entering key of VI with E flat major in m. 98
g’’’’: second beat of m. 98-102, half cadence in key of VI: vii, G diminished
g’’’’’: m. 103-107, half cadence in key of i: V, G major
g’’’’, g’’’’’: do not really create period, as both end in half cadence, but they share motivic qualities, such as staccato eighth notes that shift from left hand in g’’’’ to the right hand in g’’’’’
independent transition: m. 107-120: huge half cadence to a G7 in m. 119 to lead to i, C minor, in the next A section
A. third and a half beat of m. 120-128, key of i, C minor
m. 120-128: only material of m. 1-8 repeated exactly
m. 129-134: dependent transition, sharing the themes and motives from A in m. 9-10, for example, ends in half cadence in I: V(7)
B’. m. 134-157, key of I, C major
c’: m. 134-137, half cadence in key of I: V65, G65
d’: m. 138-143, one may interpret as half cadence in key of I: V, G major, eliding with next phrase on first beat of m. 143, another may interpret imperfect authentic cadence in key of V, G major, also eliding with next phrase. However, key change is short
e’: m. 143-146, imperfect authentic cadence in key of I, C major, eliding with next phrase
e’’: m. 147-153, perfect authentic cadence in key of I, C major
f’’: fourth beat of m. 153-157, half cadence in key of I: G major
Dependent transition: fourth beat of m. 157-170, half cadence to lead to key of i, C minor, for the following A section, Beethoven deceives the audience into thinking an f’’’ would begin here, but it travels unexpectedly, becoming a dependent transition rather than another phrase.
A. m. 171-178, a repeat of material from m. 1-8
Coda: m. 178-210, perfect authentic cadence in key of i, C minor in m. 210, one may see the material in m. 178-182 (first beat of m. 182 only) as a b’’, a prime of m. 8-12, rather than coda material, although texture in m. 178-182 is quite different and more energetic and tension building than material from m. 8-12.
Please refer to the Structure Analysis for the phrase and motive structure of m. 1-17. Indeed, Beethoven deceives the audience and strays of the typical path of regular hypermeter and four bar phrases, etc. From m. 1-8, Beethoven follows the typical antecedent-consequent phrase-period structure and creates a contrasting period. However, a b’ is added from m. 9-12, repeating and extending the thematic material in the right hand of b (the eighth note-eighth note-half note- quarter note motif from m. 5-8) in the right hand of b’ in m. 9-12. Then, unexpectedly, Beethoven adds a suffix from m. 12-17, which ends in perfect authentic cadence in the tonic key in m. 17. Although m. 1-8 have regular hypermeter and four bar phrases, the peculiar length of the six measure suffix and the elision transitioning from b’ to the suffix in the first beat of m. 12 contribute to irregular hypermeter.
The form is seven part rondo with the following structure and key relations with roman numerals: A(i)B(III)A(i)C(VI)A(i)B’(I)A(i) coda(i). The III in B and VI in C are typical key changes in seven part rondos. Traveling to I for the B’ in a minor key is relatively uncommon however, and while traveling from a minor key to its parallel major is a large mood change, Beethoven gives the listeners a sense of having traveled farther than the piece actually did by his inclusion of the dependent transition in the fourth beat of m. 157-170 rather than bringing back what would be the expected f’’’.
The coda is energetic, dark and tension building to affirm the tonic key of C minor. Several motives from the third movement recur in the coda. First, the triplet eighth note motif from B (m. 37-40, for example) is present in m. 182-192, especially m.189-192. The fast rhythms of the triplet eighth note motif create fiery tension in the coda, especially in m. 189-192, aided by the crescendo and the staccatissimo left hand also in m. 189-192. Next, the four eighth note arpeggiation-rhythm motif of m. 1-7 are also present in m. 182-188 of the coda. Third, the descending scale and the final dominant chord rhythm and contour of m. 199-202 was also present in m. 117-120 and m. 58-61. Finally, the E flat-F-D-E flat-C rhythm (not quite exactly) and its contour in m. 1-2 are vitally present in the fourth beat of m. 202-206. Although the motives are used in the coda in a fashion that will build tension and create forward energy and motion, another key importance of using motives in the coda is to give the section a feeling of familiarity yet be different simultaneously, but not so different to be completely foreign to listeners. Large dynamic shifts (pianissimo to fortissimo in m. m. 206-208), sudden sforzandi (m. 187-188, m. 193-199), and pointed staccatissimos (m. 189-198) typical of Beethoven’s compositional are present and contribute to energy, tension, and forward motion in the coda.
First and foremost, performers should take care to be respectful of sforzandi, staccatissimos, and sudden and large dynamic shifts, for they are key to Beethoven’s style, as stated before. One key area to respect Beethoven’s markings is m. 202-210. The subtle change from piano (m. 202) to pianissimo (m. 206) should be treated as dark and mysterious, as the audience is completely unaware of what is going to happen next. Then, the performer should startle the audience with an angry fortissimo (208). Of course, the performer should appear physically subtle and mysterious with the piano and pianissimo and angry with the fortissimo just as he or she would do musically. Although it is not marked in the anthology score, a decrease in tempo and a sudden increase in tempo in m. 208 like the one done in the performance of the Theory Book’s CD is practical and logical to increase tension and let the subtlety of m. 205-208 sink into the audience and the fortissimo of m. 208 startle the audience even more. Next, unexpected changes and shifts from the typical seven part rondo phrase structure and expectations should be treated differently. For example, the transition from m. 158-170 is completely unexpected and should be filled with energy from the performer by pushing it forward. One could do so possibly by a crescendo from m. 158-166. Other examples of shifts from typical seven part rondo from is the b’ and suffix of A (fourth beat of m. 8-17). Finally, the dark mood of the third movement rondo is reminiscent of the first movement of this sonata. Therefore, the performer should attempt to play the third movement in a fashion that would let listeners be reminded of the dark mood of the first movement.
rondooooo not rondeaux
So I think that each one of these blogs is only worth 2.5% of our final grade. Hope I did the math right. OK so this trumpet voluntary by Jeremiah Clark is a Rondo. It is a five part Rondo that goes A B A2 C A3. Let's talk about the refrain, aka A. The refrain is a parallel period. The first phrase ends in a half cadence, the second is a PAC. Every time that the trumpet plays the refrain it is repeated in the organ before going on to the next sections. As far as the B and C sections, they can be thought of as modulating to the dominant, or A major. You could say that they just play with the dominant and secondary dominants a lot though. It's something we could fight out in theory class I think. As a performer I would try to vary the refrain every time it comes around, to make sure no one falls asleep. If I were playing the organ, which I wouldn't because there is way too much to do, I would maybe try to bring out a new line every time it comes around to keep everyone awake. And then at the end, on either instrument, I would BELT it. that is all.
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.
Sonatina in F major
Beethoven's Sonatina in F Major is an example of an effective application of multiple forms into one movement. The sprightly opening eight measures are repeated throughout the piece, and Beethoven labels the movement as "rondo" form, but I do not think it can fall into a specific form. It combines aspects of five-part rondo form, seven part rondo form, as well as binary and ternary.
When I first heard the piece it seemed to be A:ll B A C D C" trans A:ll. I wondered if Beethoven took the rondo form and decided to put a rounded binary in the middle just for kicks. However after analyzing the chords and the changes in key the form was easier to recognize. In repeated first section (m. 1-16) Beethoven stays in F maj. he then changes to the dominant key of C maj. in the B section (m. 17-26). He then modulates chromatically in measures 27-28 returns to the original A section in measures 29-36. In section C (m. 37-66) Beethoven changes to d min. If one divides the piece by key this is the section which leads the listener to believe it is in 5-part Rondo form. Beethoven transitions back into the final A sections in measures 67 through 74 and back into F maj. So, if you analyze the form based strictly on key the form would be A :ll B A :ll C :ll A:ll.
It is possible to see parts of Beethoven's Sonatina in seven-part rondo form. If one views the C section in three separate sections C D" C it could be possible to argue that there are seven sections and the third repeat of A has been replaced with D (m. 49-58) and repetition of the melody in measures 37 through 40 is like the repetitions of the previous sections.
However, I think it is more important to note how Beethoven combines his unique rondo with both binary and ternary forms. Section A is a parallel period every time it reappears in the piece. Sections B and C have two distinct sections making them seem like binary form. Section C stands alone as a rounded binary form. He connects these different ratios of forms with two very distinct transitions which sweep the listener in and out of the tonic key.
This piece, though confusing, is a true display of an alternate interpretation of a simple style. By combining such independent sections Beethoven created the illusion of a seven section form when really it was five. Also, by using binary and ternary forms within the sections Beethoven created a broader feeling for such a short piece and made the return of the original A section more exciting. Sonatina in F maj. takes a seemingly simple form and becomes an exception to the normal rondo conception.
When I first heard the piece it seemed to be A:ll B A C D C" trans A:ll. I wondered if Beethoven took the rondo form and decided to put a rounded binary in the middle just for kicks. However after analyzing the chords and the changes in key the form was easier to recognize. In repeated first section (m. 1-16) Beethoven stays in F maj. he then changes to the dominant key of C maj. in the B section (m. 17-26). He then modulates chromatically in measures 27-28 returns to the original A section in measures 29-36. In section C (m. 37-66) Beethoven changes to d min. If one divides the piece by key this is the section which leads the listener to believe it is in 5-part Rondo form. Beethoven transitions back into the final A sections in measures 67 through 74 and back into F maj. So, if you analyze the form based strictly on key the form would be A :ll B A :ll C :ll A:ll.
It is possible to see parts of Beethoven's Sonatina in seven-part rondo form. If one views the C section in three separate sections C D" C it could be possible to argue that there are seven sections and the third repeat of A has been replaced with D (m. 49-58) and repetition of the melody in measures 37 through 40 is like the repetitions of the previous sections.
However, I think it is more important to note how Beethoven combines his unique rondo with both binary and ternary forms. Section A is a parallel period every time it reappears in the piece. Sections B and C have two distinct sections making them seem like binary form. Section C stands alone as a rounded binary form. He connects these different ratios of forms with two very distinct transitions which sweep the listener in and out of the tonic key.
This piece, though confusing, is a true display of an alternate interpretation of a simple style. By combining such independent sections Beethoven created the illusion of a seven section form when really it was five. Also, by using binary and ternary forms within the sections Beethoven created a broader feeling for such a short piece and made the return of the original A section more exciting. Sonatina in F maj. takes a seemingly simple form and becomes an exception to the normal rondo conception.
RONDO
I have to say I love Beethoven for labeling this piece RONDO. He is my kind of composer, and a genius at that. The rondo takes place in an ABACABA form, with modulations and accidentals here and there, and a very skilled pianist. The A section (c minor) comes in right away without any introduction and continues through measure 17. In A2 b’ does not return, and in A3 the a section is shortened and b is stretched out. There is a coda after A4. A1 (which ends with a suffix) and B1 are separated by a large block chord and a pause, but then B jumps into quick eighth notes in both hands. Later on in the B section (modulates to Eb major) the two hands alternate the quick eighth note rhythmic pattern. There is another big block chord at the end of B before heading in to A2. In the C section there are a lot of flats and naturals added to move into the key of Ab major. This section is a little different in style and feeling; however it included the alternation between the hands just before the pause, as seen in section B1. There is yet another chord and pause then the A section returns us to c minor and continues in this key through the end of the final B and A sections. Completed nicely with a descending scale in the right hand to end on a c minor chord.
I really enjoyed listening to this piece. To me it a lot like what an aria is meant to be, a way for the performer to show off their skills. I, being a vocalist (say what you will) would fail miserably if handed a piece of such intensity and skill level. I would love to be able to play to through a piece that is so well known and lovely to the ear. I like this recording because the pianist does not take too many liberties or artistic interpretations, so I was able to follow along easily and not get lost. I realize that many people may decide to put their own spin on it, but for educational purposes I like not getting lost in artistic differences. I also think that Beethoven wrote it this way because that is what he wanted, and I have trouble with performers who take too many liberties anyways.
I really enjoyed listening to this piece. To me it a lot like what an aria is meant to be, a way for the performer to show off their skills. I, being a vocalist (say what you will) would fail miserably if handed a piece of such intensity and skill level. I would love to be able to play to through a piece that is so well known and lovely to the ear. I like this recording because the pianist does not take too many liberties or artistic interpretations, so I was able to follow along easily and not get lost. I realize that many people may decide to put their own spin on it, but for educational purposes I like not getting lost in artistic differences. I also think that Beethoven wrote it this way because that is what he wanted, and I have trouble with performers who take too many liberties anyways.
I hate blogs...sorry Spiegelberg
Okay, so Beethoven is crazy, and I’m not just talking about his hair. His piece Opus Posthumous is very confusing. Although it is a short second movement, the piece, titled Rondo, is far more complex than your average variety. It has elements of a five and seven part rondo, and some composite ternary.
I see this piece as a five part rondo overall, ABACA. However, it is not this simple. The C section, especially brings up a few problems and modulates to the key of vi (D minor). It is much longer than the other sections, and, has an obvious A and B section, both of which repeat, within it. The C section, therefore, does not sound like a section that stands alone, instead, it seems almost like two sections...which would create an ABACDA...which doesn’t really work.
Following the C section, there is a long transition, that tripped me up at first, as a section all to itself. But I believe that it is merely a transition from measures 67-74. Then the closing material, hesitantly called A, comes back, an it has elements of A and B that combine to finish the piece.
There are a number of transitions in this piece, which is customary in a rondo form. Also, the A section does come back over and over. These things have convinced me that it is, indeed a type of 5-part rondo, although it definitely has independent B and C sections, and C is a binary form all on its own. And the close is confusing, almost feeling like a rounded binary or composite ternary with its repetition of material from A and B, but in the end, I feel that it is a 5-part rondo. And...I’m still a bit confused...so...yeah
Night!
I see this piece as a five part rondo overall, ABACA. However, it is not this simple. The C section, especially brings up a few problems and modulates to the key of vi (D minor). It is much longer than the other sections, and, has an obvious A and B section, both of which repeat, within it. The C section, therefore, does not sound like a section that stands alone, instead, it seems almost like two sections...which would create an ABACDA...which doesn’t really work.
Following the C section, there is a long transition, that tripped me up at first, as a section all to itself. But I believe that it is merely a transition from measures 67-74. Then the closing material, hesitantly called A, comes back, an it has elements of A and B that combine to finish the piece.
There are a number of transitions in this piece, which is customary in a rondo form. Also, the A section does come back over and over. These things have convinced me that it is, indeed a type of 5-part rondo, although it definitely has independent B and C sections, and C is a binary form all on its own. And the close is confusing, almost feeling like a rounded binary or composite ternary with its repetition of material from A and B, but in the end, I feel that it is a 5-part rondo. And...I’m still a bit confused...so...yeah
Night!
Twinkle, Twinkle
Kay guys so two weeks ago I accidentally did the Rondo blog...so now I'm gonna get with it and do Variations, get excited!!
The piece I am analyzing is Mozart's Variations on Ah, vous dirai-je, Maman, better known as twinkle, twinkle little star! There are 12 variations based on the theme in this piece; in most of the variations you can hear the skeleton of the original theme. Alright now I'm gonna go over each of the variations individually and you know just describe some defining characters of them. I won't do the first variation cause the workbook already covers it so yep.
Variation 2 - should be paired with var. 1
Left hand does some major sixteenth action with a neighboring tone emphasis, slight chromaticism near the end.
Right hand is very similar to original theme.
Variation 3
Right hand introduces a new triplet figure, maintains melody of theme
left hand similar to original theme.
Variation 4 - should be paired with var. 3
Right and left hands switch places from variation 3.
Variation 5 - can be paired with var. 1 & 2
Okay the first thing I thought when I heard this variation was CUTE!!! I thought I'd just throw that in there. This variation has syncopated rhythms in both hands. They both preserve the original harmonies of the theme until measure 129 where the right hand does some downward chromaticism.
Variation 6
The right hand has the melody here but in quick eighth note spurts
Left hand is having a great time playing sixteenth notes. There is a neighboring tone pattern that moves slowly upward. In the middle of the variation the two hands switch spots for a few measures.
Variation 7
The melody is played in the left hand here while the right hand has mostly a sixteenth note scale figure throughout this variation.
Variation 8
Conveniently marked as minore, this variation is in the parallel minor to the original key. Crazy chromatic time starts in measure 201 and lasts until about measure 207.
Variation 9 - kind of like a reminder of original theme
This is almost the same as the theme. The major thing going on here is the left hand repeating the right hand's phrase two measures later. it creates a nice little echo effect.
Variation 10
This variation has crazy left hand technique stuff going on...ok not really, it's just that the left hand plays a lot on the "right hand" clef. What's going on here is that left hand plays a single note and then the right hand takes off from that note in a quick sixteenth note pattern that goes up a fourth and then back down a fourth.
Variation 11
This variation has the theme in slow-mo all the way through. the basic harmonies are the same but it is a little difficult to hear the original them because it is sooo slow! the right hand plays 32nd notes often and this variation has a very free flowing rubato-ish feel to it.
Variation 12 - summarizes rest of variations
The last variation picks up the tempo quite a bit and acts as a finale for all of the variations. The left hand does about the same thing that happens in variation 2 while the right hand starts a new variant...thats finale appropriate I suppose. There are a lot of trills involved. In the middle both hands are having good times with sixteenth notes. Then end of the variation rounds out with one last exclamation from the right hand in the form of rising sixteenth notes.
The piece I am analyzing is Mozart's Variations on Ah, vous dirai-je, Maman, better known as twinkle, twinkle little star! There are 12 variations based on the theme in this piece; in most of the variations you can hear the skeleton of the original theme. Alright now I'm gonna go over each of the variations individually and you know just describe some defining characters of them. I won't do the first variation cause the workbook already covers it so yep.
Variation 2 - should be paired with var. 1
Left hand does some major sixteenth action with a neighboring tone emphasis, slight chromaticism near the end.
Right hand is very similar to original theme.
Variation 3
Right hand introduces a new triplet figure, maintains melody of theme
left hand similar to original theme.
Variation 4 - should be paired with var. 3
Right and left hands switch places from variation 3.
Variation 5 - can be paired with var. 1 & 2
Okay the first thing I thought when I heard this variation was CUTE!!! I thought I'd just throw that in there. This variation has syncopated rhythms in both hands. They both preserve the original harmonies of the theme until measure 129 where the right hand does some downward chromaticism.
Variation 6
The right hand has the melody here but in quick eighth note spurts
Left hand is having a great time playing sixteenth notes. There is a neighboring tone pattern that moves slowly upward. In the middle of the variation the two hands switch spots for a few measures.
Variation 7
The melody is played in the left hand here while the right hand has mostly a sixteenth note scale figure throughout this variation.
Variation 8
Conveniently marked as minore, this variation is in the parallel minor to the original key. Crazy chromatic time starts in measure 201 and lasts until about measure 207.
Variation 9 - kind of like a reminder of original theme
This is almost the same as the theme. The major thing going on here is the left hand repeating the right hand's phrase two measures later. it creates a nice little echo effect.
Variation 10
This variation has crazy left hand technique stuff going on...ok not really, it's just that the left hand plays a lot on the "right hand" clef. What's going on here is that left hand plays a single note and then the right hand takes off from that note in a quick sixteenth note pattern that goes up a fourth and then back down a fourth.
Variation 11
This variation has the theme in slow-mo all the way through. the basic harmonies are the same but it is a little difficult to hear the original them because it is sooo slow! the right hand plays 32nd notes often and this variation has a very free flowing rubato-ish feel to it.
Variation 12 - summarizes rest of variations
The last variation picks up the tempo quite a bit and acts as a finale for all of the variations. The left hand does about the same thing that happens in variation 2 while the right hand starts a new variant...thats finale appropriate I suppose. There are a lot of trills involved. In the middle both hands are having good times with sixteenth notes. Then end of the variation rounds out with one last exclamation from the right hand in the form of rising sixteenth notes.
Beethoven third movement
Beethoven key motives is the short sequence at the first and second measures after the pick-up and the three repeated G’s in measures three and four, then the sequence from measures five through eight. Measures eight through twelve make use of a sequence again and the high Bb is another trade mark of this motive. Each time another sequence has started, it can be seen as variations of the same idea. Beethoven plays a strong PAC at the end of the opening motive. In the B section, Beethoven makes use of quarter note 6ths in the left hand as the right hand plays runs as a trademark of the B section. Another interesting element is Beethoven draws on a tiny cluster chord, made up of a B and an A, as another staple of the B section. The C section has the hands moving right after one another very quickly giving them no time to rest. The D section is even faster using the same idea but it builds to a new section, thus making this 7 part rondo.
Since this is a 7-part Rondo, there is a lot of repetition throughout the piece. The performer needs to make sure that all the repetition doesn’t get boring. In fact, as we listened to the Russian trumpet player in musicianship today, I noticed how he was grouping his runs. He did them in threes, I think. This attention to detail will prove very affective. For instance in the first runs, you could play them with a crescendo to the top, then reach a forte, then when the runs return you could invert your initial idea. Also when the big motives return, changing your idea of how to play them would do a lot of good for the interest of the piece.
Since this is a 7-part Rondo, there is a lot of repetition throughout the piece. The performer needs to make sure that all the repetition doesn’t get boring. In fact, as we listened to the Russian trumpet player in musicianship today, I noticed how he was grouping his runs. He did them in threes, I think. This attention to detail will prove very affective. For instance in the first runs, you could play them with a crescendo to the top, then reach a forte, then when the runs return you could invert your initial idea. Also when the big motives return, changing your idea of how to play them would do a lot of good for the interest of the piece.
Opus Posthumous Rondo
I never cease to be amazed at what this book asks you to do with so short a piece. All though, to the credit of Beethoven and this book there is quite a lot shoved into this two page piece.
It is obviously a RONDO because 1) that is the chapter/ section we are in and 2) it is labeled that way ;) you gotta love when they make it easy for you, or at least you think they make it easy for you until you dive a little deeper in. When I first heard this piece I was a little confused on the form while following it in the score because there were quite a lot of repeats, including a repeat of both the B and C section. I wondered how this could still stand as a Rondo form with a repeating B and C and then decided that all of the repeating A sections trumped any kind of doubt that I had.
The book then brings up an interesting thing for us to focus on in our writing the idea that this piece is a hybrid, a mixture of multiple forms. First of all it is a RONDO but within that large undefined form we have two possible break downs, a five or seven part rondo. We have learned that a seven part rondo is characterized by of course, having seven parts, but also have a C section that stands its own against ABA and ADA. This greater division of a seven part rondo gives us the feeling of composite ternary. However, this piece only has ABACA, which leads us to believe that it is a five part rondo. The only question that still bothers me is the length of the C section ( I originally felt that after measure 48 that we were headed to D, but since there was no A there could not be a D). We then have measures 67 through 74 that serves as a retransition back into our final A that is repeated and then followed by a coda. We also find a shorter transition back into A after B with the chromatic run found in measures 27 and 28.
The C section has a definite minor feel compared to the A and B section. As suggested by the book they could both have their own feeling and are made up of separate forms. They both could stand alone as separate binary forms, just as the whole thing could also be seen as having qualities of a composite ternary form.
The book also asked us to look at the harmonic rhythm. The harmonic rhythm of the A section is interesting compared to the other sections. A is made up of an 8 bar phrase, a sentence structure with 2 + 2 + 4, and yet section B has an 10 measure phrase and C, well we can just C is much longer than an 8 bar phrase.
Beethoven seemed to like to mix it up for us, give us something to keep us awake since there seems to be no category under which this piece fits exactly, therefore a listener would not fall into the possibility of getting bored with the Rondo form, with the continuos repetition of A.
It is obviously a RONDO because 1) that is the chapter/ section we are in and 2) it is labeled that way ;) you gotta love when they make it easy for you, or at least you think they make it easy for you until you dive a little deeper in. When I first heard this piece I was a little confused on the form while following it in the score because there were quite a lot of repeats, including a repeat of both the B and C section. I wondered how this could still stand as a Rondo form with a repeating B and C and then decided that all of the repeating A sections trumped any kind of doubt that I had.
The book then brings up an interesting thing for us to focus on in our writing the idea that this piece is a hybrid, a mixture of multiple forms. First of all it is a RONDO but within that large undefined form we have two possible break downs, a five or seven part rondo. We have learned that a seven part rondo is characterized by of course, having seven parts, but also have a C section that stands its own against ABA and ADA. This greater division of a seven part rondo gives us the feeling of composite ternary. However, this piece only has ABACA, which leads us to believe that it is a five part rondo. The only question that still bothers me is the length of the C section ( I originally felt that after measure 48 that we were headed to D, but since there was no A there could not be a D). We then have measures 67 through 74 that serves as a retransition back into our final A that is repeated and then followed by a coda. We also find a shorter transition back into A after B with the chromatic run found in measures 27 and 28.
The C section has a definite minor feel compared to the A and B section. As suggested by the book they could both have their own feeling and are made up of separate forms. They both could stand alone as separate binary forms, just as the whole thing could also be seen as having qualities of a composite ternary form.
The book also asked us to look at the harmonic rhythm. The harmonic rhythm of the A section is interesting compared to the other sections. A is made up of an 8 bar phrase, a sentence structure with 2 + 2 + 4, and yet section B has an 10 measure phrase and C, well we can just C is much longer than an 8 bar phrase.
Beethoven seemed to like to mix it up for us, give us something to keep us awake since there seems to be no category under which this piece fits exactly, therefore a listener would not fall into the possibility of getting bored with the Rondo form, with the continuos repetition of A.
Rondo what?
Beethoven decided to get a little crazy in the second movement of his Sonatina in F Major. He called it a Rondo, yet it contains elements of both five-part rondo, seven-part rondo, as well as moments of composite ternary. The form, when seen as a rondo, is A A B A B A C (trans) A (Closing material) but if looked at as a composite ternary form it could also be labeled: A B A* (closing material). What makes this more like a composite ternary rather than a regular old rounded Binary is that each of its sections has its own form. (AB[retrans]A) (ABA*) (A) Each of these section I believe can be closely
A B A*
compared to a rounded binary. The second section, the B, may even be called a Balanced Binary, however some might argue that there is not enough of a change to constitute such a calling
The reason I see both the five part and the seven-part rondo in this movement is because of the C section. When I first listened to it I thought that the C section was actually two separate sections (CDC*). However, seeing as there is no return of the A section between these two sections, and the piece is named a rondo, I had to reconsider my naming. I concluded that the C section (measures 37-66) must be one very large section of its own. This would make it more like a seven-part seeing as it is a very complete sounding section on its own. The thing that made me also think five-part was that it takes place in two separate keys, one of the distinguishing qualities of a five-part rondo.
However you want to label this pieces form, I see it as more of a hybrid of all these forms, there is one that that is undisputable. In each section there is a distinct transition section, measures 27-28 and measures 67-69. Both of these transitions are essential to the progression of the piece because it leads the contrasting sections back to the original tonic of the A section. Without this there would be no return to A and therefore no peace for audiences or theory teachers. Then again, Beethoven would never be so forgetful.
A B A*
compared to a rounded binary. The second section, the B, may even be called a Balanced Binary, however some might argue that there is not enough of a change to constitute such a calling
The reason I see both the five part and the seven-part rondo in this movement is because of the C section. When I first listened to it I thought that the C section was actually two separate sections (CDC*). However, seeing as there is no return of the A section between these two sections, and the piece is named a rondo, I had to reconsider my naming. I concluded that the C section (measures 37-66) must be one very large section of its own. This would make it more like a seven-part seeing as it is a very complete sounding section on its own. The thing that made me also think five-part was that it takes place in two separate keys, one of the distinguishing qualities of a five-part rondo.
However you want to label this pieces form, I see it as more of a hybrid of all these forms, there is one that that is undisputable. In each section there is a distinct transition section, measures 27-28 and measures 67-69. Both of these transitions are essential to the progression of the piece because it leads the contrasting sections back to the original tonic of the A section. Without this there would be no return to A and therefore no peace for audiences or theory teachers. Then again, Beethoven would never be so forgetful.
i have a really bad headache
The phrasing and motivic structure of the rondo theme in Beethoven's Piano Sonata in C minor Opus 13 (Pathétique) is not quite typical of a rondo theme. First of all, the theme does not really follow the antecedent-consequent form. There is a very distinct theme at the beginning of the theme that is not expanded upon further within the rest of the rondo theme (within measures 1-17). It is also not a typical rondo theme in the fact that there is not a regular four-bar hypermeasure structure. Though the first 8 bars separate nicely into two four-bar hypermeasures, measures 7-17 provide an expansion of this idea with repeated note values and therefore an increase in tension. The key motives in the rondo theme are as follows (and encompasses the chart on the following page in the workbook:
measures 1-4: a
measures 5-8: b
measures 9-11: b prime
measures 12-17: suffix
This rondo is a typical 7-part rondo. The first A section (the rondo theme) is in c minor. The following section, a transition (B section) is in the key of V--a typical key for the B section. The A2 section is once again in c minor and displays a return to the A theme. The C Section is in the key of IV. This section presents lots of rhythmically contrapuntal sections. The A3 section (the start of the recap) returns to c minor, and the piece stays in c minor through a D section, an A4 section, and then the suffix (coda).
In the coda, a transposed version of the theme from all of the A sections (measures 1-3.1, etc.) can be found in measures 202.4-204.1 and measures 204.4-206.1. Overall, this piece is a great example of a 7-part rondo as well as an interesting study for the opening rondo theme.
measures 1-4: a
measures 5-8: b
measures 9-11: b prime
measures 12-17: suffix
This rondo is a typical 7-part rondo. The first A section (the rondo theme) is in c minor. The following section, a transition (B section) is in the key of V--a typical key for the B section. The A2 section is once again in c minor and displays a return to the A theme. The C Section is in the key of IV. This section presents lots of rhythmically contrapuntal sections. The A3 section (the start of the recap) returns to c minor, and the piece stays in c minor through a D section, an A4 section, and then the suffix (coda).
In the coda, a transposed version of the theme from all of the A sections (measures 1-3.1, etc.) can be found in measures 202.4-204.1 and measures 204.4-206.1. Overall, this piece is a great example of a 7-part rondo as well as an interesting study for the opening rondo theme.
Beethoven and Rondo'ed Binary Form...hehe
The second movement of Beethoven's Sonatina in F Major, while it is brief (and a little sparsely scored) the form is quite complex and a little confusing. First off, the title of the movement is "Rondo" ...but don't get too cozy...I would actually argue that this is a hybrid or a FUSION of Rounded Binary and 5 part rondo.
Looking at the first 36 measures, not the A section (F major, mm.0-16) and the B and A' sections (17-36). Notably, the A section is harmonically closed. These first 36 measures resemble Rounded Binary Form (remember ||: A :||: B A :|| ) except that the first A section is not repeated. However, since A is in fact harmonically closed, we could go one step further and call it Sectional Rounded Binary! The B section in this case modulates to V which is C Major. The return of the A material in A' (measure 29) is what makes 'rounds' off the movement.
At this point, in measure 37 Beethoven modulates to vi (d minor). I would argue that this is the C portion of the 5 part rondo form. That would typically come after the A and B sections. However, in this case we have already heard A B A' B A'. This setup may appear quite boring and repetitive, but the phrases are quite short.
Another really cool thing is that in measures 27-28 there is a 'retransition' which is a tell-tale sign of rondo form transitioning between sections. We come across another longer retransition in measures 67-74 when the piece finally returns to A.
If we were to analyze measures 37-66 alone, it would appear that we have a Simple Binary movement because of the structure ||: A :||: B :||. Finally, looking at meausures 67-94 we get a short intro/retransition followed by a parallel period (aa).
Overall, I would classify this entire movement as a sort of composite 5 Part rondo form because instead of having straight-forward ABACA organization, Beethoven takes individual sections (B and C) and expands them into little Binary Forms (Sectional Rounded Binary and Simple Binary, respectively). One of the largest factors that has led me to classify this as Rondo is largely because of the retransitioning between the sections that is not evident in Binary Forms.
Looking at the first 36 measures, not the A section (F major, mm.0-16) and the B and A' sections (17-36). Notably, the A section is harmonically closed. These first 36 measures resemble Rounded Binary Form (remember ||: A :||: B A :|| ) except that the first A section is not repeated. However, since A is in fact harmonically closed, we could go one step further and call it Sectional Rounded Binary! The B section in this case modulates to V which is C Major. The return of the A material in A' (measure 29) is what makes 'rounds' off the movement.
At this point, in measure 37 Beethoven modulates to vi (d minor). I would argue that this is the C portion of the 5 part rondo form. That would typically come after the A and B sections. However, in this case we have already heard A B A' B A'. This setup may appear quite boring and repetitive, but the phrases are quite short.
Another really cool thing is that in measures 27-28 there is a 'retransition' which is a tell-tale sign of rondo form transitioning between sections. We come across another longer retransition in measures 67-74 when the piece finally returns to A.
If we were to analyze measures 37-66 alone, it would appear that we have a Simple Binary movement because of the structure ||: A :||: B :||. Finally, looking at meausures 67-94 we get a short intro/retransition followed by a parallel period (aa).
Overall, I would classify this entire movement as a sort of composite 5 Part rondo form because instead of having straight-forward ABACA organization, Beethoven takes individual sections (B and C) and expands them into little Binary Forms (Sectional Rounded Binary and Simple Binary, respectively). One of the largest factors that has led me to classify this as Rondo is largely because of the retransitioning between the sections that is not evident in Binary Forms.
I feel warm all over?
Is this really a wedding piece...uuuummm- I can feel the romance? (Think Princess Diana and that funky looking guy she was married to...hmmm) Jeremiah Clarke's "Trumpet Voluntary" is a five part rondo. It is composite with the A section acting as a rounded binary. The overall form looks like: Section A1: a m1-4 HC, a1 m5-8 PAC, A repeats m9-16. Episode B: b m17-20 PAC, b1 m21-24 HC, B repeats in the organ part m25-32. Section A2: same phrase structure as A only embellished by the performers. Episode C: c m49-52 HC, c1 m53-56 HC, C repeats in the organ part, only with the voicing an octave higher m57-64. Section A3: (played by organ first this time!) a m65-68 HC, a1 m69-72 PAC, a2 (trumpet) m73-76 HC, m 77-80 PAC.
Although Clarke never officially modulates in this piece, he does flirt with other keys by adding secondary dominants in the B and C episodes. (measures 17,21,25,55). One thing I liked about Clarke's composition is in the B episode he ends his first 4 bar phrase with a PAC and his second with a HC. This way he creates an unstable ending of the B so the listener knows to expect a return of the A or more new material. Another interesting observation about this piece is the trumpet/organ connection. Whenever the trumpet plays, the organ has a part that is pretty much strict accompaniment- it's straightforward and the reason to it is just to provide harmonic support for the trumpet. Then, when the organ gets to repeat the trumpet's material, that's the organ's turn to shine. The organ can then ornament, add pedal, and the marking is fortissimo. To me, it just makes it sound very "baroque" by giving each instrument their "show-off" time... almost in a vocal style.
Performers should pay careful attention to the markings and the organist should make sure that the balance is right when the trumpet is playing- you don't want to obstruct the ornamented return or compromise tone. Also, to emphasize the changing sections, I would try to stress the downbeats (as marked) in the differing sections almost as a cue to the listener "hey- look at me! I'm wierd!" I would also try to bring out the secondary dominants- I think those are an important part of the piece. Overall, I think Clarke is just trying to have a juxtaposition of the trumpet and organ parts playing the theme louder and more "maestoso."
Although Clarke never officially modulates in this piece, he does flirt with other keys by adding secondary dominants in the B and C episodes. (measures 17,21,25,55). One thing I liked about Clarke's composition is in the B episode he ends his first 4 bar phrase with a PAC and his second with a HC. This way he creates an unstable ending of the B so the listener knows to expect a return of the A or more new material. Another interesting observation about this piece is the trumpet/organ connection. Whenever the trumpet plays, the organ has a part that is pretty much strict accompaniment- it's straightforward and the reason to it is just to provide harmonic support for the trumpet. Then, when the organ gets to repeat the trumpet's material, that's the organ's turn to shine. The organ can then ornament, add pedal, and the marking is fortissimo. To me, it just makes it sound very "baroque" by giving each instrument their "show-off" time... almost in a vocal style.
Performers should pay careful attention to the markings and the organist should make sure that the balance is right when the trumpet is playing- you don't want to obstruct the ornamented return or compromise tone. Also, to emphasize the changing sections, I would try to stress the downbeats (as marked) in the differing sections almost as a cue to the listener "hey- look at me! I'm wierd!" I would also try to bring out the secondary dominants- I think those are an important part of the piece. Overall, I think Clarke is just trying to have a juxtaposition of the trumpet and organ parts playing the theme louder and more "maestoso."
Beethoven, Sonatina in F Major. AND
The second movement of Beethoven's Sonatina in F major is outwardly simplistic, featuring a playful piano melody in a light and bouncy upper register. This, however, does not take away from the harmonic complexity that is apparent in various sections of this piece. Which, upon enlightenment through recent class sessions is something called a 5 part rondo in ABACA formation.
mm. 1-16 A
mm. 17- 25 B
mm. 29-36 A
mm. 37-67 C d minor
mm. 75-94 A
Measures 1-36 curiously take on the form of a rounded binary. Although it does not interfere with the fact that the piece is in binary form, it doesn't necessarily fit comfortably in the definition of a 5 part rondo. especially with the repeated B section; unless the |:AB:| counts as the B section itself.
Harmonically, the piece is in F Major and in correspondence with the rondo, the A sections are in F major, the B section modulates to the V or C Major and the C section modulates to the the iv or d minor modulating back to F major for the conclusion in the A section. The modulations are assisted by transitions found between certain sections. A short transition from measure 27-28 modulates from the F major to the C Major and consists of a quick chromatic ascension that is known as a retransition which is a transition that takes the piece from the dominant key, or the V, back to the tonic key . The same thing occurs in measures 67-74 where we see a transition that prolongs part of the iv harmonies before taking it back to its tonic key and is also known as a dependent transition.
Measures 37-66 alone prove to be another form altogether as we found with measures 1-36. 37-94 however can be classified as a simple binary without the repetition within the sections. This may lead some people to not consider this piece a rondo. It however has too many unexplainable transitions if the piece were not a rondo.
From a performance standpoint, I would make an effort to emphasize the transitions and vary the dynamics at which I played the repeating sections. This is a very light and fun rondo that captures the essence of the coming season.
-CAMERON GINDAP
mm. 1-16 A
mm. 17- 25 B
mm. 29-36 A
mm. 37-67 C d minor
mm. 75-94 A
Measures 1-36 curiously take on the form of a rounded binary. Although it does not interfere with the fact that the piece is in binary form, it doesn't necessarily fit comfortably in the definition of a 5 part rondo. especially with the repeated B section; unless the |:AB:| counts as the B section itself.
Harmonically, the piece is in F Major and in correspondence with the rondo, the A sections are in F major, the B section modulates to the V or C Major and the C section modulates to the the iv or d minor modulating back to F major for the conclusion in the A section. The modulations are assisted by transitions found between certain sections. A short transition from measure 27-28 modulates from the F major to the C Major and consists of a quick chromatic ascension that is known as a retransition which is a transition that takes the piece from the dominant key, or the V, back to the tonic key . The same thing occurs in measures 67-74 where we see a transition that prolongs part of the iv harmonies before taking it back to its tonic key and is also known as a dependent transition.
Measures 37-66 alone prove to be another form altogether as we found with measures 1-36. 37-94 however can be classified as a simple binary without the repetition within the sections. This may lead some people to not consider this piece a rondo. It however has too many unexplainable transitions if the piece were not a rondo.
From a performance standpoint, I would make an effort to emphasize the transitions and vary the dynamics at which I played the repeating sections. This is a very light and fun rondo that captures the essence of the coming season.
-CAMERON GINDAP
NIKOLA PETROVIC *********************************************
Jeremiah Clarke, Trumpet Voluntary (Prince of Denmark’s March)
Section one: A in D major: m.1-8 PAC and then A’ m. 9-16 PAC only organ=parallel period (4+4) first cadence is HC and second one is PAC
Section two: B 16 measures (8+8) B(m.17-24) ends on HC and B’(m. 25-32) ends on HC only organ.
Goes back to A m.33-40 PAC and m. 41- 48 PAC only organ.
Section four: C 16 measures long (8+8),c in D major (m. 49-56) ends on HC and c’ (m. 57-64) ends on HC only organ.
Goes back to A (65-72 on PAC) and (73-80 on PAC) but this time organ plays first and second time trumpet comes in.
So, this is ABACA Rondo form. Section C does not modulate to the key of V.
Nikola Petrovic
ブロッグが大きらい! <-----that means I really hate theory blogs in Japanese
080403
Blog #9
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!!!!
Blog #9
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!!!!
Sonatina in F Major, second movement by Beethoven is in five-part rondo form, meaning the parts would be labeled as ABACA.Just by glancing at it, the score has five distinct sections that are, excluding the first A section, all repeated.
Reading further into it though, I started to second guess myself. Because what seemed to be the C section wasn’t followed by another repetition of A, I began to realize that this piece displays features of both five part and seven part rondo form. It also could be argued that it is part composite ternary as well!
The seven-part rondo happens around mm.49-66 where there is new material that could be labeled D. This would mean that the form would be ABACADA but it turns out there is no repetition of A, just as with section C. Because A is nowhere to be found in these two sections, we turn to the idea of composite ternary form, with mm.1-36 being section A, mm.37-66 being section B and 67 to the end as a sort of A’. Before learning about rondo form that is certainly what I would have labeled this piece.
After considering all of these different form options (and referring back to the workbook) I have decided that this is indeed what you may call a hybrid of all three forms.
Reading further into it though, I started to second guess myself. Because what seemed to be the C section wasn’t followed by another repetition of A, I began to realize that this piece displays features of both five part and seven part rondo form. It also could be argued that it is part composite ternary as well!
The seven-part rondo happens around mm.49-66 where there is new material that could be labeled D. This would mean that the form would be ABACADA but it turns out there is no repetition of A, just as with section C. Because A is nowhere to be found in these two sections, we turn to the idea of composite ternary form, with mm.1-36 being section A, mm.37-66 being section B and 67 to the end as a sort of A’. Before learning about rondo form that is certainly what I would have labeled this piece.
After considering all of these different form options (and referring back to the workbook) I have decided that this is indeed what you may call a hybrid of all three forms.
Yay rah Rondos!!!
First, I would like to thank Beethoven for making my life easier and naming his rondo "rondo". And what's more, his third movement, Pathetique, of the Piano Sonata in C minor is a typical seven part rondo. Woot! So...the form is ABA C ADA. In the first part, the A section is in, of course, i. The B section moves to the relative key of III, Eb. The middle episode, C, modulates to Ab major-the VI of c minor. An in the recapitulation, all three sections remain in c minor. Nice and normal. Beethoven uses transitions to modulate to the new keys and to re-transition to the original key in the final episode. The transitions consist of some fun eighth note patterns and runs, keeping the piece in a forward moving fashion and keeping the listener anxiously awaiting the next section. The main theme is mostly in the right hand, but appears in the left hand a few times. This movement doesn't have an introduction, but it does have a nice little coda at the end.
My personal favorite part of the coda is the last nine measures. Measure 202.4-204.1 borrow the initial motive of the A section in a lower key. Then in msr. 204.4-206.1 Beethoven repeats the same motive up an octave. The next two measures are easy quarter notes, a little tribute to bits of the C section (like the easy half notes and such at measure 79). And of course, the best part-the last two measures-quick, LOUD, eighth note run with a final quarter note chord. A surprising twist of an ending. Way to keep it entertaining, Beethoven. = )
My personal favorite part of the coda is the last nine measures. Measure 202.4-204.1 borrow the initial motive of the A section in a lower key. Then in msr. 204.4-206.1 Beethoven repeats the same motive up an octave. The next two measures are easy quarter notes, a little tribute to bits of the C section (like the easy half notes and such at measure 79). And of course, the best part-the last two measures-quick, LOUD, eighth note run with a final quarter note chord. A surprising twist of an ending. Way to keep it entertaining, Beethoven. = )
The ultimate wedding piece...
Begin Log-
Being a trumpet player myself, I am well aware of the greatness of Jeremiah Clarke's Trumpet Voluntary, also known as the Prince of Denmark's March. I remember my dad playing this voluntary for several weddings. I always found it tolerable as a child (which, coming from me at that time, was a good thing when it came to the classics). It is an easy piece to extend, making it ideal for wedding processions.
Its form is ABACA, making it a five-part rondo. It consists of a main major theme in the A section, which is then varied upon in the B section. However, the C section does not have much in common with the A section at all. Looking at the chord analysis, I would theorize that B is a mixture of A and C. The chord progression in A consists of a new chord for every one or two beats. C consists of very long-held chords, spanning over three or four measures at a time. The B section is a mixture of A and C.
These sections can be divided into sub-sections because of the repetition. If we allow a variation of the letters to consist with a variation in instrumentation (i.e. the absence of the trumpet), then the form of the piece is AaBbAaCcaA. The last two A's are switched around most likely to create a more triumphant and solid ending. ("A" consists of the trumpet and the organ whilst "a" consists of only the organ.)
This was fun. Let's do it again sometime.
-End Log
Being a trumpet player myself, I am well aware of the greatness of Jeremiah Clarke's Trumpet Voluntary, also known as the Prince of Denmark's March. I remember my dad playing this voluntary for several weddings. I always found it tolerable as a child (which, coming from me at that time, was a good thing when it came to the classics). It is an easy piece to extend, making it ideal for wedding processions.
Its form is ABACA, making it a five-part rondo. It consists of a main major theme in the A section, which is then varied upon in the B section. However, the C section does not have much in common with the A section at all. Looking at the chord analysis, I would theorize that B is a mixture of A and C. The chord progression in A consists of a new chord for every one or two beats. C consists of very long-held chords, spanning over three or four measures at a time. The B section is a mixture of A and C.
These sections can be divided into sub-sections because of the repetition. If we allow a variation of the letters to consist with a variation in instrumentation (i.e. the absence of the trumpet), then the form of the piece is AaBbAaCcaA. The last two A's are switched around most likely to create a more triumphant and solid ending. ("A" consists of the trumpet and the organ whilst "a" consists of only the organ.)
This was fun. Let's do it again sometime.
-End Log
Performance Opportunities
Ludwig van Beethoven’s Pathetique Sonata, third movement needs no introduction. Like Aaron Copland’s Fanfare for the Common Man or Johann Sebastian Bach’s Prelude from his first unaccompanied violoncello suite in G major, it is a composition of such popularity that even the general public recalls its tune. That being said, any composition of Beethoven, Copland, or Bach has been analyzed, reanalyzed, opposed, undergone further analyzation, and chopped into more pieces than ground beef. Here I take yet another stab…
Beethoven is my sort of guy: when I write a rondo, I like to put “rondo” as the heading. Makes it much easier to decide whether it’s a theme and variation, composite ternary, or simple binary. Not that I’d get those mixed all that often but it’s a better bet to put this on the safe side. Since we have the important information out of the way, it’s my job to systematically impose my own opinions and ideas upon the piece (which isn’t hard). Through the process of elimination I’ve deduced that Beethoven has composed in the form of a seven part rondo; thus the form is as follows: ABA C ADA. Interestingly, Beethoven does what one would expect from a seven part rondo in terms of modulation. During the first episode the B section modulates to the relative minor of Eb major (or the III of C minor), the middle episode is in the key of VI or Ab major (hence all the strategically placed D flats) and the last episode’s B section remains within the original key of C minor. (Just to cover all my bases, the A sections are in the key of i, C minor. I realize that may be obvious, but…)
Artistically, a performer should recognize and emphasize each of these sections and attempt to practice them separately, developing a new voice for each part. After each section can stand on its own one should then work on transitions and blending the elided sections. There are places where Beethoven has not composed the sections to elide into the following section (i.e. measures 78 and 120), hence the suggestion to practice each portion as it were a composition by itself. By practicing this way a performer can convincingly execute a program with the possibility of surprising a sleepy audience member. We’ve all been to performances where we feel the piece is about to come to a close and bam! the PAC hits, we nearly jump to our feet (sometimes because we want to get out of that place) but instead of standing and bowing the performer continues with his musical instruction and bangs away on the instrument (typically leading to another half hour of pseudo-enjoyable music). In the best situations the excitement comes from an audience who expected one thing but got another and is now enjoying further entertainment. Nevertheless, it’s a performance aspect to always consider, especially when playing a piece as well known and loved as Beethoven’s Pathetique sonata.
Speaking of performance aspects leads to another discussion dealing primarily with the current acceptance of a “proper” recital. The now-common practice of walking out on stage, sitting, playing the “classics” note-perfect and walking out seems less audience-involved than a physician performing brain surgery on the Discovery channel. It’s an extremely dry, uninviting environment that will eventually lead to audiences finding other aspects of entertainment. I’m not one to argue for turning a senior recital into a Jerry Springer episode but I am an advocate for treating the audience as more than people who happened to drop by and listen to my run through. Make the performance thought provoking, make it engaging and make it enjoyable. What is music without fun? Some of the best examples may come from our jazz-playing counterparts who have a vocation that deals specifically with the reactions and interaction of the audience before, during, and after a performance. Shouldn’t that be the direction we as classical musicians should be looking? Our musical achievements are important and should be recognized by the musical community; let’s see if we can involve some of those outside academia into our world as well.
Rondoooooooo
The first section, A, is played once with the trumpet and repeated once more without the trumpet. Its form is a, a', four measures each, forming a parallel period, and it is in D Major. The first phrase ends in an HC, and the second phrase ends in a PAC.
The second section, B, is also 8 measures and played once with the trumpet and again without it. The form is b,b' in D Major, but the first phrase ends in a IAC, and the second, a HC.
At this point it returns back to A, played once by the trumpet and again with just the organ.
Then comes section C, also 8 measures played once with trumpet and again without. Each phrase is still 4 measures long and it is c,c' However, this time the first phrase is in D major and ends on an HC and the second phrase is in A major and ends on a PAC.
It then returns to A, with a slight change in that it is played first without trumpet, and then again with trumpet, ending the piece on a strong PAC.
In a few ways, this rondo differs from "typical" rondos in a few ways. It is ABACA form, but unlike many pieces, the A form is played out completely each time it comes up, instead of shortening it. Also, while the C section does modulate to V eventually, neither the B nor C sections modulate as we expect them to. One additional difference is a lack of a transition or retransition anywhere in the piece.
The second section, B, is also 8 measures and played once with the trumpet and again without it. The form is b,b' in D Major, but the first phrase ends in a IAC, and the second, a HC.
At this point it returns back to A, played once by the trumpet and again with just the organ.
Then comes section C, also 8 measures played once with trumpet and again without. Each phrase is still 4 measures long and it is c,c' However, this time the first phrase is in D major and ends on an HC and the second phrase is in A major and ends on a PAC.
It then returns to A, with a slight change in that it is played first without trumpet, and then again with trumpet, ending the piece on a strong PAC.
In a few ways, this rondo differs from "typical" rondos in a few ways. It is ABACA form, but unlike many pieces, the A form is played out completely each time it comes up, instead of shortening it. Also, while the C section does modulate to V eventually, neither the B nor C sections modulate as we expect them to. One additional difference is a lack of a transition or retransition anywhere in the piece.
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