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Beethoven Sonata Analysis PDF
Beethoven Sonata Analysis PDF
Formal
Analysis
#1
&
#2:
The
Sonata
Form/Phrase
Structure
Analysis
Exposition
Recapitulation
Theme
Group
1
(mm.
1-‐8)
Theme
Group
1
(mm.
124-‐
132)
Phrase:
1-‐8
G:
PAC
Phrase:
124-‐132
G:
PAC
Transition
(mm.
9-‐25)
Transition
(mm.
133-‐152)
Phrase
1:
9-‐20
D:
HC
(Asymmetrical
Phrase
1:
133-‐147
G:
HC
(Asymmetrical
Phrase
2:
20-‐15
D:
HC
contrasting)
Phrase
2:
147-‐152
G:
HC
contrasting)
Theme
Group
2
(mm.
26-‐47)
Theme
Group
2
(mm.
153-‐174)
2a:
mm.
26-‐33
2a:
mm.
153-‐160
Phrase
1:
26-‐29
D:
HC
(Symmetrical
Phrase
1:
153-‐156
G:
HC
(Symmetrical
Phrase
2:
30-‐33
D:
PAC
parallel)
Phrase
2:
157-‐160
G:
PAC
parallel)
2b:
mm.
33-‐47
2b:
mm.
160-‐174
Phrase
1:
33-‐41
D:
PGC
(Asymmetrical
Phrase
1:
160-‐168
G:
PGC
(Asymmetric
Phrase
2:
41-‐47
D:
PAC
contrasting)
Phrase
2:
168-‐174
G:
PAC
contrasting)
Closing
Theme
Closing
Theme
mm.
47-‐58
D:
PAC
mm.
174-‐187
G:PAC
Codetta
Coda
(mm.187-‐200)
mm.
58-‐63
D:
PAC
Phrase
1:
187-‐197
G:
IAC
(Asymmetric
Phrase
2:
197-‐200
G:
IAC
contrasting)
Development
Section
1
(mm.
64-‐73):
based
on
theme
1
mm.
64-‐67:
theme
1
in
g
mm.
67-‐73:
extension
(gV7
of
B♭)
Section
2
(mm.
74-‐80):
based
on
theme
2
mm.
74-‐77:
theme
2
in
B♭
mm.78-‐80:
extension
(B♭♭VII
of
B♭)
Section
3
(mm.
81-‐98):
further
development
of
theme
1
mm.
81-‐83:
fragment
of
theme
1
melody
in
bass
in
A♭
mm.
84-‐86:
extension
(A♭V
of
g)
mm.
86-‐88:
fragment
of
theme
1
melody
in
bass
in
g
mm.
89-‐98:
sequence
(V
of
FV
of
E♭)
Section
4
(mm.
98-‐106):
based
on
theme
1
(false
recapitulation)
mm.
98-‐103:
theme
1
in
E♭
mm.
104-‐106:
extension
(E♭V
of
d/D)
Section
5
(mm.107-‐124):
Retransition
mm.
107-‐114:
new
theme
based
on
modal
mixture
of
D
mm.
115-‐121:
fragment
of
theme
1
melody
in
D
mm.
121-‐124:
extension
(DV
of
G)
Written
Commentary
1. The development section of Beethoven’s Sonata in G major is largely based on
the material found in Theme Group 1. We see the thematic material imitated in
different 4 different keys. Although some sections are just fragments of Theme
Group 1, the melodic content is exactly the same, in each respective key. In the
third section of the development, the theme from Theme Group 1 is found in the
bass line. There is also a short section of the development based off the motif in
2. A false recapitulation is found in measures 99-‐104. A false recapitulation is a
compositional technique used to disguise the start of the recapitulation, but is
only used as an extension of the development section. The fourth section of the
context of the development. The first beat of measure 98 ends on a very strong
fermata of a dominant function chord, leading us to the exact theme of Theme
Group 1. Unlike other sections of the development that are based off of Theme
Group 1, this section is imitated exactly for 5 measures. The other sections
usually are just fragments of the first melodic idea and are then extended in
sequence or are somehow transitional. But this section is much more persistent
and leads the listener to think that this is the actual recapitulation. Another
reason this section is considered a false recapitulation is because it is not in G
major,
the
overall
key
of
this
sonata;
it
is
in
E
flat.
3. The
recapitulation
differs
from
the
exposition
ever
so
slightly.
In
the
exposition,
Beethoven modulates from G major to D major using a transition. In the
recapitulation, the transition theme returns, but this time it stays in G major. The
material from Theme Group 1, the transition, Theme Group 2a and 2b, the
closing theme and the coda are all repeated almost identically from the
exposition, but the main difference is the key and the fact that Beethoven stays
in G major. The codetta is also lengthened and reintroduces the main theme.
4. Beethoven’s Sonata in G major is very similar to other sonata form movements
of Haydn and Mozart because it uses the same overall form: exposition,
sections, which is typical of classical sonata form. This sonata is different though
due to its very expansive development section. Beethoven incorporates the main
theme many times, but varies it by adding a different texture. This sonata also
includes a false recapitulation, adding more tension to the piece, because the
listener thinks that the piece is finally coming to a close, but Beethoven finds a
way to engage the listener even more. Finally, the last cadence of this sonata is
an Imperfect Authentic Cadence. Most of the time, the piece ends on a very
conclusive Perfect Authentic Cadence, but somehow the composer finds a way
to sooth the listeners ear by ending softly with the third as the highest note.