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Joey Hendricks

Beethoven Op. 7
This piece in C major begins with an eight bar phrase thats also an antecedentconsequent phrase pair. The first four measures is an idea that ends on a half cadence in measure
4. It doesnt look like it could be considered a half cadence due to the fact that its a V7 chord
with the 7th in the base, but it sounds like a half cadence and it resolves the way its supposed to
so Im calling it a half cadence. It is then followed by another four bars that ends with a perfect
authentic cadence in measure eight. There is an eighth note pick up into measure nine which is
the beginning of the next phrase. This phrase can be one of two things I think; it could be an
extension of the consequent phrase which could make it a sentence since the motive of the dotted
eighth then sixteenth is present throughout it, or it could just be a 6 bar phrase. Calling it a
sentence would make it fourteen measures long since the next phrase begins on measure 15, so
Im going to call this a 6 bar phrase that ends with a perfect authentic cadence on the downbeat
of measure 15, making it a phrase overlap. This next part is weird because it leads to a point
where you think it should cadence but it doesnt, on measure 20 the downbeat (what you expect
to be the cadence) is a c# diminished chord, and then continues for a couple more bars. So the
way I see it starting on measure 15 there is a 9 measure phrase that ends on a perfect authentic
cadence on the downbeat of measure 24. The rest of 24 is a two beat, sixteenth note lead into the
next phrase which begins on measure 25. The next phrase starting in measure 25 is a four bar
phrase that ends with a perfect authentic cadence in Ab major. Then another four bar phrase that
ends in F minor in measure 32, which leads into the next phrase with sixteenth notes. Measure 33
is the beginning of what should be an eight measure phrase, but there is a little phrase extension
at the end making it a nine bar phrase that ends with what I believe is an implied half cadence in
the key of Bb, which would be an F dominant chord. I believe this because the next phrase in

measure 42 begins with a Bb major chord, and is a transposed of the opening motive. The next
phrase starting in measure 42 could be considered a 9 bar phrase or a 10 bar phrase, based on
how you look at it. It overlaps with the beginning of the next phrase that starts on measure 51,
ending/beginning on a perfect authentic cadence in C. The beginning of the next phrase in
measure 51 is almost the exact same as the beginning, except it ornaments it a little more. So the
phrases for measures 51 through 73 are the same as measures 1 through 23 so refer to the
description above. Starting at measure 74 there is a short five measure phrase, which I think is
just a lead into the next idea since it ends on a half cadence. Measure 79 begins an 8 bar phrase
that ends with a perfect authentic cadence. Then the last phrase in the piece is a four bar phrase,
which recaps the beginning motive, and ends with a perfect authentic cadence. Now I dont know
if this is correct but for the form of the piece I would assign the letters to be ABA`B`, with the
end of the B` section containing motivic material from the A section to finish off the piece. There
isnt really an introduction at all; it just starts with the motive of the piece. The A` section sort of
acts like a coda because its basically a carbon copy of the A section, but adds extra
ornamentation to it so it isnt repeating itself too much. One significant similarity between the
formal sections that I noticed was the use of dotted rhythms throughout the entire piece. Whether
its a dotted eighth then sixteenth note, as in stated in the opening motif; or a double dotted
eighth and a thirty-second note, the presence of dotted rhythms is prevalent throughout the piece.
Also one thing I found interesting is what Beethoven did with the melody in what I labeled as the
B` section in measure 74. He restates the melody with a more active accompaniment with it, but
the melody is stated in the left hand rather than the right hand, which I thought was a very smart
idea to keep things interesting. Doing this is a great way of using the same material over again
but making it more interesting so the listener doesnt get bored from hearing the same melody

again. I also thought it was interesting that the dynamics in the piece were almost always
pianissimo, with a measure or two at forte, then going back down to pianissimo. This fact holds
true in each section and I think it adds a great dynamic (no pun intended) to the piece to keep it
alive. There is a melodic sequence in this piece at measure 17 that starts on beat two, and can be
categorized as a sequence because it happens three times. This one melodic figure repeats three
times and each time it sounds it goes up by a whole step. I think I would call it irregular because
it doesnt seem like the left hand is a part of the sequence, which is why its a melodic sequence
and not harmonic. This same figure happens again in measure 67 but this time it looks like the
left hand is also going up by whole step with it, making it a regular sequence. There is another
sequence from measure 74 to the downbeat of 78. It happens in the soprano voice and its
irregular because when it first moves up it moves up by a whole step, but the next time it goes up
it goes up by a half step, then by a whole step after that. Finally there is a sequence starting in
measure 79. It is a diatonic sequence that begins with a motive that starts on a B. It moves by
intervals that may not seem diatonic, but since it is between the 7th and 4th scale degrees they are.
It goes up a diminished 5th from B to F and does the same motive again , then goes up an
augmented 4th and starts the motive on B, and again goes up a diminished 5th to play the motive
again starting on F. The progression this time is going 5 to 1 in the key of C so it is only a
melodic sequence, not a harmonic one. There is a French augmented 6th chord in measure 77
right before the half cadence on measure 78 in the piece. The last chord of the piece could be
considered a chromatic elision because in the final C major chord of the piece Beethoven omitted
the 5th of the chord for voice leading purposes. There is a pedal point on G that starts in measure
78 in the right hand. It jumps down to the left hand in measure 80 on the and of 2 in the tenor
voice. I felt that there was an odd phrase extension in measure 20, because the end of measure 19

implied that a cadence was being approached but on the downbeat of 20 rather than hearing the
V-I progression in C that you expect, it goes to a C# diminished chord, and you dont arrive to a
cadence until measure 24. In the third measure of the piece there is an F sharp in the bass note,
which is not a note found in the C major scale. This occurs because the entire chord creates a
V6/V, meaning that there will be a brief tonicization of G major, which is the fifth scale degree in
the key of G. This same tonicization (not always in first inversion) also occurs in measures 9, 11,
54, 59 and 61. There is some borrowing from other modes in measure 20 because instead of
reaching a cadence on C major like expected, it goes to a C diminished chord. This could be seen
as being vii diminished/ii which is likely because the rest of the chord in the measure would be
ii-I-V in the key of D minor. The B section which starts in measure 25 seems to be in Ab major,
which doesnt exist in C major. So what I think is happening here that Beethoven has temporarily
modulated to C minor, but is continuing the piece in the parallel major of C minor, which would
explain why the B section is in Ab Major since thats the parallel major of C minor. In measures
37, 40 and 41 there is the presence of high Ebs which I believe are acting as the 7th in an F
dominant chord, which would make sense because the next phrase which begins in measure 42
starts in Bb major. F is the fifth scale degree of Bb so it makes so much sense that it would be
leading into this new key which is the 2nd scale degree of our temporary stay in Ab major.
Between measures 47 and 50 the music slowly starts to modulate back to the home key of C
major. The Bbs slowly turn back to B natural and the Abs eventually become A naturals and
then in measure 51 it is back in C major at the beginning of the new phrase. Between measures
61 and 65 there are a lot of F#s because the music is tonicizing G major, which is the dominant
of C major.