Analysis on Beethoven' S Piano Sonata No3, Op 2

Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.

The I chord confuses the tonal direction becasuse the listener expects the ii to be followed by V and then I. This is even more confusing because the scale that accompanies the I chord implies V (the chord the listener wants to hear). The next bar rounds off this cadential prolongation (ii-V-I) but the exposition does not yet end. The arrival to I does not occur until beat three of the bar. The first two beats create even more prolongation as they nearly modulate. And even after this, the exposition is not done. There is a two bar codetta (a one bar figure played twice, the second time with variation) before the strong V7-I cadence with a C pedal tone. This is the first very strong cadence since the start of the closing material. Since the cadence at the end of the exposition is to C without any hint of F as a tonic, the Developement begins in C. In fact, it is clearly in C as its pick-ups are a C arpeggio and the first bar looks and sounds like I and shows no indication of a ‘Bb’ or any other scale alteration. The opening of the developement is also a textural change but seems to resemble old material in its melody. Both the first theme and the second theme have similar figures to the new material. The developement starts with tonal movement in each of the first two measures, I in the first measure and ii6 in the second. In the third bar the harmonic rythym increases with a I64 for the first two beats and a V7 in

Firstly, I will discuss the methods used in order to analyse the Form and Structure of the piece. The emphasis in analysis was often given to the form and structure of the piece, especially during the nineteenth century as this allows performers to gain knowledge more directly regarding the overall style of the piece. The sonata is composed in Sonata form and is separated into three movements, firstly the Grave- Allegro di molto e con brio movement, followed by the Adagio Cantabile middle movement and finally the Rondo Allegro movement. There are different meanings to the word structure in music, the first is to do with locating the different movements or the different sections of the piece and the second is to look at how the piece has been put

For the second and final concert report, I listened to the performance of Beethoven’s 9th symphony, as played by the Chicago Symphony Orchestra. Beethoven lived in Germany during the late 16th and early 17th centuries, and was an influential figure in the transition between the Classical and Romantic eras in western music. The performance requires a large number of instruments, with woodwinds, brass, percussion, strings, and even a choir during the 4th movement.

This section concludes with a run or lowering pitch and a repeat of open notes of the E Major open chord created by the capo:

The piece is in Sonata form, with a complete Exposition, Development, and modified Recapitulation. However, the key areas don’t reflect that the way the listener might expect. Being that the vast majority of this piece is in G, it is musical material other than key areas that one must use in order

The resonant sound of brass generates some tension in the form of dissonant chords. The combination of unusual sounds, vivid dynamics and rhythm changes, are incorporated in the symphony by Beethoven. However there is more as the first movement goes on. Beethoven uses a minor key for a short passage. The agitated sound of strings adds some tension and drama in the movement, which is finally resolved by the woodwinds. The clarinet and flute return music to a major key and a state of calm. The minor passage is a new concept which stands out the traditional symphony. It adds a different texture that clearly departs from the leading motive. This brief minor passage is also repeated so it may be thought of as a second motive. Another striking quality of this first movement is the use of a set of chords played by the whole orchestra. It serves as a bridge to connect the major and minor motives. Towards the end of the first movement, there is a brief passage embellished by the strings while the horns and trumpets remind us the sounds of the leading motive. The lively sound is interrupted by a brief minor passage. Then, the leading motive is repeated by the clarinet and flute. Strong and bright sounds prepare the audience to the conclusion of the first movement. One can conclude that Beethoven's unique expressiveness and passion are reflected in every note of the Eroica's first

The harpsichord changes the sound of the instruments by its plucking sound adding to the long holding string notes it makes a very relaxing and distinctive sound. The tempo suits the music perfectly. The speed of the harpsichord compliments the strings and emphasises the dragged out notes in the string section. Moving on to the next section, the Allegro section. Slightly similar to the first section in sound, the change in tempo is very noticeable in the first couple of notes playing by the solo violin followed by a chord at 4 second in instantly grabs the attention of the listener and indicates what will be following. A more lively part with accented notes at around a minute in and ornaments make the section a lot more interesting. Followed by another Allegro section, Corelli does not change the sound too much from the previous section. The harpsichord plays a very chord base role, sometimes ascending in semitones with the strings playing a bit louder creating it quite a faint sound in the background. The final section of this sonata, like the previous two is allegro. Similar to the last section, this opens with a brief solo from the violin followed by all other instruments at 2 seconds in. Continuing with the liveliness of the previous section, this part keeps the piece moving at a nice energetic speed that is pleasant and perfect for the music that is being

Movement III is a fast paced high rhythm start with the main theme by the piano at 30:16. The introduction reminds me of movement one fast paced and loud. I get the same feelings here as I did in the first movement; somewhat confused, lost and hurried. The Tempo is fast with the orchestra following the piano in the theme at 30:52. The Clarinet and the Piano Take the solo lead with each other at 31:01 and the orchestra is the accompaniment.

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

Clementi’s Sonata Op.25 No.2 First movement starts in G Major in 4/4 time. Theme one starts in the tonic. The first 2 measures I call (A) since it is clearly different from what follows. The (B) section repeats itself with variation. Both ending in a IAC. The (C) section of theme one has a lot of triplet and scalar movement. It lasts for 5 measures ending on a HC. The A section continues with variation so I call it (A’). Then there is (C’) followed by a bridge that modulates to the dominant where theme 2 starts. Theme 2 (D)

The first theme A movement begin with C major from bar 25 and continues its tonality throughout the piece. However the theme A melody have a lot of change in tonality. The use of different tonality in same melody gives people strong impression and makes them remember and emphasize the main big theme for this piece. The theme A modulates to G major on bar 105 to bar 112 and it goes back again to C major on bar 133 with the modulation on bar 124 to bar 132. On bar 253 to bar 312, the theme A now modulated to A♭ major.

The first movement of Mozart’s piano Sonata No. 12 in F Major is written fairly typically in the very structured sonata form. Historically is follows the main guidelines that were understood for the form. Harmonically, is progresses like expected. There are a few surprises here and there, but they are typical for Mozart’s compositions, especially his sonatas of the 18th century. In all, it makes a very interesting piece of work, especially with so much contrast within it.

The first movement, titled ‘Dreams and Passions’ follows the mad excitement of falling in love after Berlioz first lays his eyes on actress Harriet Smithson. Although he pushes boundaries in some areas, Berlioz stays true to the Symphonic structure (to begin with), opening with the first movement in sonata form. It is possible that Beethoven, another key figure in the development of Sonata form, may have influenced Berlioz on his structure for this movement. Beethoven’s Symphony No.4 begins with a slow introduction in the tonic minor in a similar way to Symphonie Fantastique, despite being shorter.

It quickly returns to C minor in bar 66. It ends in bar 89. The piece maintains duple meter in 4/4 throughout the section. The movement begins in allegro march tempo in ff. It is in strong monophonic texture in unison from bar 1 to bar 17. Texture changes drastically in bar 18. The woodwinds enter pp in contrapuntal texture until bar 33. At bar 33, tempo increases and the orchestra plays in homophonic texture with strings playing quick sixteenth notes with a gradual crescendo until bar 49. At bar 49, the tonality shifts to C major (parallel major of C minor). This section is a very slow, contrapuntal and expressive section. At bar 66 the entire orchestra plays ff in its strongest homophonic texture. The section ends with a small codetta from bar 82 to the