Beethoven's Piano Sonata in F Minor

This piece begins with a very short group 1 with only one theme. The theme is unusual, however. It starts with an arpeggio in F and a little triplet pattern that is then repeated a sequence of a whole step higher in the next two measures. Then the latter measures of the sequence, the section with the triplets, is repeated in sequence form without the arpeggios. This all ends on a HC. The next section seems to be in c minor. It continues the usage of triplet patterns but also adds huge dynamic contrasts and a pedal bass line. This section soon turns into a huge flourish of scalar passages that dramatically shift between loud and soft. Finally this exposition section ends on a PAC in A flat major with a double repeat bar line. The developmental section begins in A flat major with similar arpeggio and triplet patterns. The pedal bass line returns with a single note melody on top that rises in sequence by whole step. Then the pedal bass is in the upper hand and the melody is down below. When the pedal bass returns to the left hand, octaves and trills are added to add vigor to the conclusion of the development. In measure 94 we have the feeling of return to the five of f minor, the original key. The triplet pattern returns which hasn't happened at all in the development so this is the start of the recapitulation. There is more drama and battle between the dynamics. Then the pedal bass returns, along with the same scalar passages as the beginning. The end, however, has a small coda that terminates the piece with big crashing chords that set off the cadential pattern and cause the piece to end dramatically on FF with a PAC.

Haydn Sonata XVI

We start out in c# minor with the expository section running from measures 1-33. Measures 1-11 are group one. Group two immediately follows and goes until measure 33. We end in E major, the relative major key of c#. Measures 23-33 seem to have a slightly different function, but I'm not sure. The development is next and is from bar 34-65. It begins with the group two motive from the A section, only an octave higher. It stays within the group two ideas until bar 44, where the main motive of the piece is brought back in, but then from 50-64 there's a section that full of a sixteenth note pattern that seems to be primarily transitional. It brings us back to the main motive once again in basically the same form we saw it in originally at the beginning of the piece. This is the recapitulation and it then goes back and repeats from the beginning of the development section in bar 34.

haydn

Ok, after practicing a ton and going home playing with our new puppies...I say sophomore Proficiencies..BRING IT ON! Ok, so Haydn. Well the expoxitory section minor is clearly marked off in mm.33 by the repeat sign. This expositiory section has two groups. Group I is mm.1-8 in c# minor...and little development and modulation and whabam! Group II starts in m. 12 and is in E major. This develops until mm.31 where we have a 2 bar terminative section. After this exposition, the development section begins in mm. 34. This section begins developing the theme from group II and then all of a sudden in mm.44 the theme from group I is heard. Then after a brief snippet the piece begins to develop and transition again, I think around mm. 50, and in the mm. 65 a recapitulation is heard back in c# minor. Only this time both groups stay in c# minor. And then...it ends. As does this post. Yay! I'm going to be in bed by 1:30!!

Haydn, sonata in c# minor

The exposition runs from m. 1-33. within these 33 measures: group 1 takes up m. 1-8 while 9-11 seem to be a modulating phrase taking us from the beginning key of c# minor to E for the group 2 (m. 12-30) with a terminative phrase from measures 31-33. It ends on a PAC in E major.

The double bar notes the continuation to the development in measure 34. it begins with the melody from group 2 up an octave. group 1 melody is heard clearly in measure 44 but it is not until the recapitulation in measure 65 that we get the group 1 melody back in the orignal key of c# minor. The rest of the piece is the recap, ending on a PAC.

that was the worst blog ever...i'm sleepy.

Beethoven- Sonata in F minor

The Piece begins in f minor and in piano. The A motive of an ascending arpeggio is stated in the 1st two measures and is then repeated up a fifth. Then the second fragment of the motive is repeated with the same difference of a fifth in the next two subphrases, leading to a climactic f minor chord at fortissimo. The section then resolves to the half cadence, with a decrescendo strengthening the sensation. This constitutes the 1st group of the A section. The motive then develops in c minor before new, transitional material is introduced, with little direction and no clear tonality. The new theme is begins in measure 20, with a change in texture and dynamics making the separation clear The motive is a descending pattern of two measures in the right hand and is repeated 3 times. Another textural change in m. 25 marks a long transition with fluctuating dynamics, changing tonality, and mostly scalar. Then in measure 41, the terminative section begins, ending on a PAC in A-flat Major. As typical, the Exposition is embedded in a repeat sign. The B section begins like the A, but in A-flat major. There is then a short transition and the 2nd motive comes in, repeating twice in the RH and 3 times in the LH. There is then another transition beginning in m. 74 and ending in m. 100.
Then the 1st A theme returns in m. 101, beginning the recapitulation, with a crescendo leading up to it. There is a coda at the end to terminate the piece with a dense, loud, PAC in the original key.

Group 1 is eight measures, I’d say. It ends with what sounds like a half cadence but it could be an IAC in the new key. But it really only flirts with c minor for a split second before we get back to the original key. I’d say this little section from 9-20 is a transition. Group 2 starts here, but it is unclear to me what key it is in. There are some unneccessary accidentals here that are already in the key signature PLUS an Fb which makes it really confusing. I’m really confused by this sections tonality...So I quit on that part BUT… I believe the transition begins in measure 33 and ends with a PAC in A major in measure 41. Then the terminative section starts and the exposition ends with a PAC and repeats.

The development is obviously elaborating on first theme in the original key. Then the tonality gets to be a little bit amigious. We see bits and pieces of both Group 1 and 2 in the development as well as transitional material. Because of the ambigious tonality it’s really hard to identify where all the cadences are. It goes really fast in the recording I have and there’s hardly even senses of pause and even those don’t sound like anything tonal. So yeah for me and not knowing what the heck is going on. Our friend Mr. Luxury Yacht seems to have given it a stab, but I sort of disagree with some of the keys he talks about. The transition back to the original themes begins with the thinned structure around 73 that leads us back to the Recapitulation

So on to the Recap! I feel like even though the ACTUAL EXACT theme doesn’t come back until measure 101, 95 is where everything is pointing to with big neon arrows. Group 2 comes back in 119 (maybe in Ab major this time? I’m still unsure…Obviously accidentals really throw me off…) followed by a very similar transition and terminative section that look vaguely familiar….hmmmm…And then we PAC it back in f minor at the end!

Ok, I’m totally done with this. Ug.

Beethoven Sonata

Exposition:
-Theme consists of 16th note triplet figures. Theme is 1 eight measure phrase, ends on a HC.
-The HC actually serves as the transition point to our new key.
-There are 6 bars, and then the transition section begins. The piece modulates here, but I am not positive of the key. I think there could possibly be an IAC in Ab Major in m.20.
-2nd theme begins at m.20. This theme brings a change in rhythm, consisting mainly of quarter note figures. There is a PAC at m.28.
-Now we have another transition, which uses several 8th note runs to modulate. There is an IAC in Ab Major at m. 41.
-The final, closing theme begins at m. 41. This theme is full of grace notes. It ends with an IAC, and of course the whole exposition repeats to give the listener more chances to hear the theme.

Development:
-Begins with the material from theme 1.
-The second theme enters at m. 55.
-There is an IAC in G Major at m. 62. Here the second theme sort of appears again, but it is split between the upper and lower parts.
-The piece modulates, and there is an IAC in C Major at m.93.
-Here, the 32nd notes from the 1st theme come back, which allow the piece to modulate back to f minor. There is an IAC at m.101.

Recapitulation:
-The recapitulation begins at measure 101.
-The first theme appears very similiar to how it was in the exposition.
-There is a transition, and the piece modulates to C Major.
-The second theme appears from m. 117-127.
-There is an 8th note transitory section that leads us back to f minor. There is a PAC at m.140.
-The closing theme comes back, but without the grace notes. I believe this is done to clearly establish to the listener what the key is.

Mozart: Piano Sonata in B flat major....fun fun

well...as we all know this is in sonata form...okay now that the tough part is out of the way..(ha ha) .. here I go, trying to figure out how the puzzle pieces fit together to make it a sonata.......

We start out with no intro, and go right into the group 1 of the expository section. This group 1 seems to be set up in somewhat of a rounded bianary form. The first "a" last from m. 1-17, then the little "b" from m. 18-30. The "a" returns but in the dom. key F major. It is a little bit modified compared to the original "a". This brings up into the group 2 in m. 39. The dynamics have changed, and the style and articulation of the melodic line is different than before. I believe that group 2 goes from m. 39 until m.57. Then, the closing comes I think a measure or two before the trill in 58 and takes us to 63 where there is a PAC in F major and a repeat sign to reapeat the expository section.

The B developmental section starts with a pick up to measure 64. This section is still in the dom. of B flat major...F major. This development keeps going seeming like it explores group 1 at first with the theme.. then also including a little from group 2. This last until around measures 87 and 88. I believe this is where is starts to modulate to the IV of B flat major..E flat major. This is what I think would be the transition back to the A (recapitulation).

In measure 93 we see the theme from A come back in, and we are back in B flat major. We see the theme start again in measure 110. All of this is the beginning of the recapitulation. Around measure 134 there is a transition into the group 2 again. Then the closing comes in again somewhere around the trill in measure 160. Then the End in measure 165 with a PAC in B flat major.

Good night ;)

Beethoven Piano Sonata no. 1, Op 2, no 1

I love this one.

This group one launches out in fm (4/4, allegro) and ends on a half cadence after 8 measures. Then the theme partly repeats again in cm, but it changes into transition and brings us to the group 2 theme in abminor starting in m20 (though there's a touch of EbM right before ending on a sort of IAC that elides into m20). The theme seems to want to end in EbM in another IAC, but the closing moves straight in at measure 25 and transitions into the relative major of fm, AbM by measure 33, landing a PAC at the beginning of m41. Then there is a coda that goes for seven measures in AbM, ending on a PAC. The development begins and shoots the rocket group 1 off in cm, which goes to gm and then uses those little triplet motives to get into bb minor for a group 2 development, this continues into cm and then switches into the left hand and into bb where it finally hits some major ground and leaves both the groups' material completely. He continues to transition through keys, and eventually brings back small fragments of the group 1 theme (the triplets) which lead us back to recapitulation in m101 in the original fm. The first eight-measure phrase is still the same, but now the transition to the group 2 has changed. He even substitutes with new material allowing the group 2 theme to stay in fm, though the second downward gesture seems to be in C (like a HC). Then the transition to the coda takes us back to a PAC in fm at the beginning of m140 an dwe have the coda (all the while he's been using FF's and SF's galore and continues to do so, and even writes "con espressione" on the coda). The coda halts on a FF in a V65 of V for a whole measures and then resolves quickly and repeats the same rhythmic gesture only with less cadential feeling chords--a little deceptive, and then leaps on pointy feet to the sharp PAC at the end.

Mozart Sonata in Bb Major K.333

w00t 4 sonata 4m. hear we go!

Group 1 lasts until measure 23. It is a binary form. The a section of this group is a phrase group made up of four smaller phrases, ending with a PAC in Bb major in m. 10. The b sectin begins the same was as a, but modulates to F, ending with a half cadence in that key in measure 23.

This is the beginning of Group 2, which begins in F major (the V... makes sense). This section seems to be another - phrases a and a' lasting until m. 38, then a transition, then b until measure 45, and then c concluding with a PAC in m. 50. b and c are expository in nature. I consider mm. 50-64 to be the closing section - the chords stay basically on tonic and dominant.

Measure 64 begins the devlopment, with Mozart using the thematic material from Gr. 1. He begins with F major as his tonal center, which becomes f minor in measure 71, then C major in m. 73, then Bb Major in m. 77, g minor in m. 79, and finally comes back to Bb major in measure 87, beginning the retransition back into the recapitulation, beginning with Gr. 1 again in m. 94.

The recapitulation is pretty straightforward. Gr. 1 begins exactly as it was in the exposition, but changes in m. 105, venturing through various tonal centers sto arrive at the dominant for the beggining of Gr. 2, which begins in tonic rather than dominant this time, making it possible to conclude in the tonic.

piano sonata in c# minor, haydn

this starts out obviously in c#minor, and the exposition is from measures 1-33. Group 1 is measures 1-11, witha pac on meas. 6. (ending on a viio/III) group 2 is measures 12-33. There's a small elision in m. 17. measures 19-22 are very chromatic and transitional (and very loud), and then there's a pac in E in measure 24 (which is very soft). There are several important dynamic changes, and it grows softer by the time the repeat sign comes. Measures 31-33 are very terminative, ending on a pac with a repeat back to the beginning.

The development section is from measures 34-64. It starts out with the same sequence as M. 12-14, only up an octave. In measure 37 it goes to f# minor, then modulates to g# minor in measure 42, resting on a PAC on the fermata. There are motives from both group 1 and group 2. There's a big cadential extension in measures 49-50 There is a very developmental and tranistional section from m.51-63, and each measure increases up chromatically. It ends up modulating back to c#minor, and ends on a HC in measure 64. The exposition comes back in measure 66.

The exposition is varied, but still very much the exposition. There's a PAC in measure 72, and it sounds very developmental from m. 74-77, then comes back to the original section. IT stays in the key of c#throughout this entire section. It ends with a terminative feeling m. 95 and 96, and settles on a pac in c#

haydn sonata

the piece starts off in c# minor. The exposition is from the beginning through bar 33. Notice the repeat sign here signaling the end of the exposition. Group 1 of the exposition is from bar 1 through bar 8. Group 1 is in c# minor. Bars 9-11 serve as a transition to modulate us to E major (III). This where group 2 starts; bar 12. This group is developed some up till bar 31 where a clear terminative section is heard leading us to our development which is still in E major. The development is from bar 34 through bar 64. the development first uses the theme from group 2. Then, in bar 44 the theme from group 1 is heard. Bars 50-64 serve as developmental/transitional leading us back to our recap. Notice the g# major chord in 64; a V in our original key of c# minor. The recap then begins in bar 65 to the end in our original c# minor. Group 2 in the recap stays in tonic rather than modulating to III.

The piece begins with group 1 which is an asymmetrical binary form. It ends on a PAC which then goes into a short transitional section into group 2. In group 2 we are in the dominant key. This section ends on a HC in the original key. It then repeats the expository section. In the developmental section you can tell that group 1 is being developed. The development goes through several keys, and by that it is retransitioned back into the recapitulation with a half cadence in the original key. The recapitulation begins in the sub-dominant rather than the dominant which allows the piece to smoothly transition back to the original key for the ending with a PAC.

Haydn - Piano Sonata in c# minor, first movement (Moderato)

The Exposition, from M. 1-33, modulates from c# minor to E Major, the relative major key. This section repeats twice. Group 1, in c3 minor, goes from M. 1-11. M. 12-33 is Group 2. There’s a small terminative section from M. 31-33, where clear V-I progressions are heard.

The Development section occurs from M. 34-63. It repeats, although the recording I have chooses not to play the repeat. At first this section plays around with themes from Group 2. We are still in E Major at this point. However, by M. 37 it’s clear that Haydn is developing themes from Group 1 as well. At M. 44 the motive from Group 1 is clearly heard, this time heard in g sharp minor (woah). A transitional section, from M. 51-64, occurs, bringing us back to the familiar c# minor key for the return of the exposition.

The exposition is slightly varied, and this time the piece does not modulate from Group 1 to Group 2, but remains in c# minor.

I love Haydn’s cute jokes where he adds in long pauses, creating more tension in the ear and tricking listeners.

Mozart k.333

Sonata form...woo! So here we go. We begin with group 1, or the first tonal area. This section appears to be an asymmetrical binary form. The group ends on a PAC and leads into a brief transitional section into the second tonal area. In group 2 we find ourselves in, surprise, the dominant key. This section quickly ends on a HC in our original key, sending us back to the begining for a repeat of the Exposition. The exposition ends on a PAC in the dominant key 4 mins after beginning.
In the developmental section of this sonata we hear material from the first tonal area molded into something different. Mozart plays with several keys, eventually retransitioning us back into the recapitulation with a half cadence in our original key.
But alas, we are in our sub-dominant key for the beginning of the recapitulation. With a little Mozart magic we transition ourselves back to the key of Bb, and end group 2 and the sonata with a powerful PAC. Whew.

Beethoven: Sonata No. 1 in F minor Op.2 No.1 1st movement

The exposition begins with the first theme, which is marked with the sixteenth note triplet figure and lasts for one eight measure phrase that ends with a half cadence. But this half cadence becomes the new key and the first theme is already being developed by being played in the new key and in the bass, which is quite strange. After six bars the material goes away from the theme and becomes transitory as it modulates and eventually reaches an IAC in A flat major (I think, the second theme has a pedal E flat that sounds dominant but there is no pure emphasis of the tonic for a very long time) in bar 20 where the second theme happens at the end of the bar. This is marked by a falling quarter note figures with an eighth note figure in the last couple of measures that lead to the end of the phrase with a PAC in bar 28. Then there is an extremely long transition section with lots of eighth note runs that finally gets us a true feeling of A flat reaching an IAC in measure 41. The second half of the measure begins the closing theme. This theme is marked by dissonant grace notes and ends with a really poignant IAC with a V7 with a pedal tonic that resolves to tonic chord. The exposision repeats (duh!)

The development starts out with material from the first theme in the major key of A flat and last six measure without a cadence when material from the second theme begins to enter at bar 55, where we get a long pedal tone D with the second theme on top, which I think means we have moved to G major following the same dominant tonic thing of the second theme of the exposition. This reaches an IAC in G major in bar 62 where the second theme is played again in this new modulated key with the first four bars being played in the upper part and the second four bars being played in the bass part. Then there is a really cool part where the alto line has sixteenth notes and the soprano and bass parts make the accented notes from the transition of the exposition into a melody. This modulates and reaches an IAC in the key of C major in bar 81. The bass part takes up the eighth note runs and the upper part does some little fragments leading to another IAC in the key of C in bar 93. At this points the thirty second note idea from the first theme comes in fragments as the music modulates its way back to F minor where an IAC in that key is reached in bar 101.

Bar 101 begins the recapitulation. The first theme is played essentially the same as it was in the exposition. The transition to the second theme is changed up so it can modulate to the key of C major again for the second theme which is kind of weird. He still has the second theme away from the tonic key but it is different and the closing theme is switched to the tonic key. Anyway, the second theme starts in bar 117 and goes to bar 127 with an IAC in C major and the really long eighth note transition takes us back to F minor for a PAC (wow a PAC!) in bar 140. The closing theme is repeated without all the weird grace notes to establish key and then has an extension of the cadence by having the closing theme end on a V/IV rather than a I and then do a few mroe measure of honking chords to fully establish the V-I relationship.

Mozart Piano Sonata K. 333 1st movement

ok obviously this is sonata form. We start out with group one, there is no intro. Group one is a rounded binary-ish form with the first section of it being an asymmetrical parallel period with the first phrase ending on a PAC. The second phrase or section leaves the original key (new E naturals) and ends on a HC (Cmajor) of the key F. At measure 23 we return to the original material introduced in the beginning and finally end the exposition at 38 in the Dominant. 38 also transitions the piece into group two of the exposition. This could be totally wrong, but I only hear group two lasting until 50, after that it seems like a huge cadential extension up to 63. Blah blah all this gets repeated and then we move on. This is where the development begins. The material seems similiar to the exposition for the first few measures, but it quickly moves away (duh its the development), hitting numerous keys as it goes. When we hit 90 a retransition starts, in 91 there's a half cadence in the original key and them BAM we go into the recapitulation at 93 (also in the original key). Mozart does one thing different though. He keeps the second phrase of group one in the original key, ends it on the dominant (F) and then at 119 he starts the b section of group one in the subdominant of F. He then transitions into group two at 134 back in the key of good 'ol Bb.

Mozart: Piano Sonata in B-Flat, K.333, I

Here we have our introduction to Sonata form. Sonata form seems to be the most open of all the forms. In this Sonata Mozart takes many liberties with the form. We begin immediately into our Group 1 theme. This group takes the form of a rounded binary form. Our first phrase lasts 10 measures and ends on a PAC. It seems to start over, but in fact we quickly modulate into the dominant key for our B section of Group 1. The ends on a HC in our original key and we come back to the original material. This recapitulation ends on a cadential extension, then a PAC. We now transition and move again to the Dominant key, but with the inclusion of new material we move into our Group 2. This theme is much shorter and moves quickly to closing material. This whole section is repeated again (group 1, group 2 and closing) as is normal for the form. Our Developmental section takes the them from group 1 and runs with it, through a range of keys, starting with the relative minor, eventually bringing back our transitional material and ending on a big HC in the original key. When our Group 1 returns, we start in the sub-dominant key in order to make the transition return our group 2 into the original B-flat key. We come back to B-flat and onto our closing material, which we extend out once again to a final PAC. Hooray!