3 2 Sonata, Sonatina, and Concerto Nawe__ assignment 32.4 ‘analysis: Beethoven, Sonata Op. 2, No, 4, mvt. 1 0, tothis movement in its entirety while following your anthology seore, Think about the overall formal ste ion, and mark where you hear sections beginning or ending, Label any themes or motives that eerste inthe movement, andl indicate with measure numbers where you first heard them. For this, sas 0 dnt veo abel every chord but do eamine he harmony for cadences, sequences ad songs Answer question under pats A-, then conser theadtional questions in part for ass json. 1. Fitthemeand transition iy Thefist theme spans messures110_8_tisintheheyof_ major Theft theme’ phrase Form irl one) contrasting period parallel period phrase group 9) Thetransiton between the first and seoond themes fst toncizes the (rele one) relative major subdominant submediant ‘Then it moves tothe second key area, whichis the (circle one) (iatvemajor) minocdominant subdominant submetiant (@)Thistransition is a(n) (Cirle one)” independent transition (Gependent transition B, Second theme and closing theme (circle one) (0) Thesecond theme group (part) bepns with the change in accompaniment pattern in measure | 20. (2) Inrelation tothe key ofthe second theme group the pedal n measures 20-25 sa (circle one) tonic pedal (dominant pedal ) (8) Thesecond key area of the exposition overallis__Ab__ major, but the second theme, part 1, features, smo mixture, especially the modal scale degree (circle one) 48 @®D (© Thesecond subsection ofthe second theme group (second theme, part2) begins in measure $3 Spuled by a change in texture in the left-hand part and regular four-bar phrases. (5) Aferadefinitive PAC in measures _ 40-41 _ the closing theme begins in measure 41 and’ fendstomeasire 48a ~ ©. Development and retransition (circle one) pith material from the (1) Thedevelopment begins in measure __49__+ beeen aera transition second theme, par 1 ae jrcleone) (HM]0R) minor (2) The first key area touched upon in the development is a Gi oar Compared othe nit hey ofthe movement, isis Reman mumer) TT — develop materials from the (cirele one) (2) Measures 3 : first theme second theme, part 2 closing theme (4) The retransition begins in measure __ 81 _ with the entry of dominant pedal D. Recapitulation themein measure 101 (1) The recapitulation bogins with the retum of the first (2) Compared to the exposition, there is change in the trans measures 168) to 118 (3) The second theme group (part 1) returns in measure inthe keyof__F __(circleone) major a 140, and there is a cadental extension in measures tion between the first and second theme in jerusis to 120) 119. (4) The closing theme returns in measure 147 to 182 E. Forclass discussion (2) How does the modal scale degree inthe second theme prepare forthe return of this theme in the recapitulation? “The inclusion of 8 inthe second theme, part 1, asa notable feature prepares fr the return ofthis theme nF rina in the recepitulation. I there had been Fis instead of Fos inthe second theme, when it returned in minorit (rl not cud smh he orig econ tha (2) What is the function of measures 26-32 within the second theme area? Consider the rhythmic and Tharmonic character ofthese measures to answer this question. Thos reassure sequences, sh retves anda af arose, spec ar the sai Worse sd pont nrscnuws 2025, Try blog tothe cod thane group, it hve 9 antiona charac (3) What characteristics separate the second theme group, part 2, from the closing theme? Discuss, citing measure numbers. Measires 3826 ako four nessun, Th been lod repent ovo Stave esse 3640, stg codrce mn menuren dat esr ssn chenges thn occongn ig sls Tr lot enue otha oulion tn, 47-49 presenta Gong tremo™-comin aera stong codecs in messi tin wih ne tena mole apeied tvs tne arte ang tal adanes og the erpotn (4) Consider the development and eration n more etl and kent exposition as you can, ting measure numbers, Ter areal of conection nos of the deecpnetiabaed oh stand ha, part 1b suden Ingots th ryt conecon tha hard tween ensue 7-76 nd nse $640, on the, {Ervelshent fom the rt theme that retain he retrarafon measures ie-100 wanes ccs (5) Compare the exposition and r aeitity sea fe eee ee recapitulation and identify specific changes between them, citing measur? -as many motives from the Places to focus on Include the transition between the fst and second secen’ Imo the mnarmade microm Abajo), nh stbte! theme anc the chang ofthe saond tame 00G6) rer Chromatic Harmony Fm7 jgoment 32.2 se gnatysis: Mozart, Piano Sonata in C Major, K. 545, mvt. 1 ee same en etre ie following your anthology score. Think about the overall formal mn, and ee - oe —— beginning or ending. Label any themes or motives that return an . ea pe oe peubesien you first heard them, For this analysis, you aa 5 ne the harmony for eadenoes, sequences, and key changes at estos under parts A-D, then consider the additional questions in part E for les wis ssthome and transition sp st bem sans CARTE 1 o minor iy theft theme phrase form isa (circle one) contrasting period parallel period _sentence structure (9 Thetransition between the fist and second themes features which compositional technique? (circle one) pedal point harmonic sequence augmentation ip hiswesion sa) Glo) dependent transition. oi the transition features scales, which have not appeared at llin measures 1-4: itis strongly controsting. this theme isin the key of (cirele one) {9 The accidental indicating the change of key in the transition frst appears in measure_10_- (6 The medial caesura sin measure 12 B, Second theme and closing theme (a) The second theme group begins in measure __14_, after alead-in. minor (@) The second key area of the exposition is__G_(cirele one) (9) The closing theme begins in measure__22 (® Between the second and closing themes there isa transition in measures _18_to_24 featuring a sequence, This sequence is best described as descending Sths, alternating Sand § (©) After a definitive PAC in measures _ 25-26 _, the codetta begins in measure __26_and extends mesure 28 © Development _ © Thedevelopment begins in measure ‘2.__, with material from the (circle one) fittheme transition secondltheme closingtheme (Godel) Chapter 82 Sonate, Sonatina, and Concerto! | BS(2) The first key area touched upon in the development is_G_(cireleone)_ major aninor, ) ‘Compared to the ii ey of the movement, this is (Roman numeral) _ minor v (2) Measures 39-35 tonicize||_D_ (circle one) major -(aninoF ) and develop materials from the (circle one) first theme second theme closing theme _(codetta) A) There isa Tong and prominent sequence in measures 37 to__40__. The sequence typeis best described as descending Sths, alternating § and 8 D. Retransition and recapitulation Q) There is a very brief retransition in measure __ 41. _, setting up the recapitulation and the return of the first theme in measure _42 theme begins in the unexpected key of___F __(circleone) major ‘Compared to the main key of the movement, this is(Roman numeral) IV (2) Inthe recapitulation, the transition between the first and second themes is measures _46__to 5S7__. Are there changes in the transition in comparison to the exposition? If so, where? ‘The transition is longer: Mozart inserts measures 50-53 and reverses the roles of the hands, (8) The second theme group returns in measure 58 inthe keyof__C (circle one) (4) The closing theme returns in measure 67 _, thecodetta theme in measure __71__,and the movement ends in measure 73. E. For class discussion (Q) Consider the phrase form of the theme. What is unusual about it? Measures 1-4 appear to be the start of a sentence structure because of the 2 + 2 design, melodic similarity, and the lack of a root-position cadence in measure 4, but the continuation portion spins out Into what is clearly the transition. Its also very short fora first theme, at only four measures! (2) In the recapitulation, what does the presence of the unusual key for the first theme change about the task of the transition between the first and second themes? The relationship between F and C major is the same.as the relationship between C and G major— Mozart could have simply used the same transition, and let it modulate from F to C. (8) Choose one motive that is important in this pieee, and briefly describe it. Explain where the motive appears and how it is developed. There are quite e few interesting motives to trace through the movement. For example: In measure 1, the triad arpeggiation appears ascending (theme 1), while in measure 14 it is descending (theme 2) The right-hand B-C-D-C contour and rhythm in measure 2 returns in measure 14 on beats 2 and 4. Part HI Chromatic Harmony and Form,r pace gamont 82.3 analysis: Mozart, String Quartet in DMi ition (mm. 1-41) 0, psi nor, K. 421, mvt. 1 ee 9200 into two assignments, restos part homeware pan canes onde Pein ome deta You may 0 BP jose measttes, and locate the first then acussion, or keep as one larger project. Wansition, second theme group, closing theme, iste : Look fora strong cadence i cents i calence in the new key I odetlaC ‘new key for the beginning of the second theme group.) erin each theme, label the phrase structure and cadences | ; complete the following chart: the questions in part B will help you late the formal elements. | 5 Gee the optional Comments column to record anything else of inter, re ff’ Jed, or what is varied (other than th i you ridtice, sxich as Where & key ronicizeds cadence type) ina phrase that receives a primi (”). on. | parases | MEASURES] KxY/atoDE] capencxs | Cosmnar® seco 3 jaeme 1s Dminor i 7 Cf a 14 Dainor [1c —— Fi a’ 58 Dminor | pac mm, 1-8 Is a parallel period rane 9-24 | Fmajor | PAC | 6-12 tonicizes the dominant, inm:24 \ | 15-24 moves to the relative major Eall them 24.35 | F major | dramatic change of character b 2428 | Fmajor [pac | bY 29-32 | Fmajor | PAC | triplet ornamentation cadential | 32-35 F major extension dhsing theme 3530 | Fmojor beginning elided | i todetta 30-41 F major 3. Aner the following in afew sentences, or be prepared to answer in das : The frst theme is divided in half after measure 4 How do the fist and second halves differ from each ider the melody, bass line, and harmonies. Four measures h snding bass: et rave a stepwise descending en this material ie repeated in measures 58, wi ticzed with a secondary dominant and a GF 1c chord moves by descending third, every oth te ‘an octave, the stepwise descent th the violin malody UP chapter 82 Sonata, Sonatina, and Concerts 888)cdl second key area? Where does the modulation (2) This movement isin D minor—what is the expect the second key? ‘occur? Is there another tonicization in the transition to ‘en moves to the relative major In the ‘The transition tonicizes the dominant in measures 9-12, th ara lished by @ strong cadence to F major, the ‘second part of the transition, 1-24, with the new key esta ‘expected second key area, in measure 24. (9) tn what ways, other than key and mode, do the first and second themes contrast? What the character ofeach? How would you perform thse themes to bring out thei ermtional content? Both theres are ial, but the minorey frat theme elo seems aed and ditraught Besauee of ta veda legpa, sudan dynaric changes (m8, 14)vand.deeogncing boas line fn, 18,57. Tre ic and hopeful because of its melodic steps and second theme, in a major key, seems more optimist nding lines (starting in m. 33). Performers should skips, ebullient triplet motion (mm. 29-32), and ascer bbe aware of these features to maximize the contrast between themes (4) Is the material beginning at measure 35 better labeled a codetta ora closing theme? Defend your choice, rm could apply. However, measures 35-39 ‘Since this section is preceded by a strong PAC, either te he typical character of a codetta; we have have the tuneful character of a closing theme rather than t! labeled measures 99-41 a codetta. IL. Recapitulation (mm. 70-117) 0 A. Listen to the whole movement, paying particular attention to measures 1-41 and 70-117. ‘Begin by locating the recapitulation, then identify the first theme, transition, second theme, and losing theme or codetta by comparing this passage with measures 1-41. ‘@ Complete the following chart, listing the location ofeach element. The questions in part B will help you locate the formal elements. ‘¢- Use the optional Comments column to include information comparing the phrase hereto the comparable one inthe exposition. THEME, PHRASES | MEASURES] KE/MODE] CADENCES | COMMENTS | SECTION first theme [ro77 | Dminor | a 70-73 | Dminor | 1AC ‘identical to mm. 1-4 : = a7 | Dminor | PAC similar to mm. 5-8 | | pecenien 76-94 ‘mm, 78-83 are the same as 9-14 mm. 15-24 are transposed and altered tostayinminor | 86) Part MT Chromatio Harmony and FormName, sioment 82.3 Ccontinueg ) = 2 sm ard theme b 7 cadential atta ondet st ending to repeat second large Section 2rd ending to end movement | , Answer the following in a few sentences, or be Prepared to answer in class, i) bthe entire recapitulation in the tonie ey D minor)? Iso, how isthe transit cn nition a transition between the first and ‘iposition, the second theme began atthe half messure, which may seem abit odd. Here, the nd theme enters at the beginning ofthe measure. A half measure is added to the transition nthe ulation to move the entry of the second theme tothe next downbeat The entry ofan important on the half measure in the exposition isan indlation that the € meter was accentuated like measures of # put together (the bar line removed)—the fst and third beats of C have the same of accentuation. This is typical treatment in the Classical ere, particulary in Mozart's music. Tnthis, Movement, the second large section is meant to be repeated. How is the end of the Hon designed to facilitate the repetition? And how does the movement end? ‘the recapitulation includes a fist and second ending to feilate Feet and recapitulation. The first ending extends the codetta materia, bringing meacue 41, to connect tothe Seventh (V7/N) in a similar way to the second ending in Spee ane which begins in E> major. The sezond ending stays nD non, {ast three measures.IIL Development (mm. 42-70) 0 ‘A. Listen to this movement again in its entirety, now focusing on the development (mm: 42-70), Locate ‘any appearances of musical motives from the first theme, transition, second theme group, closing theme, op codeta. MEASURES | KEW/MODE ‘WHAT 18 DEVELOPED/COMMENTS _—— Eb major (N) Develops the first theme, especially the violin 1 motive from m, imitation in mm. 46-49; 59-58 are chromatic and dissonant | s0-65 cS Development ofthe codetta motive in imitation throughout | the parts 66-70 ack toD minor | Retransition; establishes a dominant pedal, continuing with the \ eee BB. Answer these questions, ore prepared for diseusson in class, (Q) Inwhich key does the development begin? What material is developed there? Eh major the Neapolitan. The first theme ie developed. (2) Which three motives are developed the most inthis section? Identify the origin of each, giving measure numbers. The violin 1 melody from measure 2, beats 1-3 (trill motive); the octave leap from measure 1 (leap Inotive); and the codetta motive (m. 39, violin 1). (3) Where does the retransition begin? What clement identifies it as a retransition? What motive appears i here? ; ‘The retransition begins in measure 66 with the resolution of the augmented sixth to V and the : beginning of the closing material. There is a dominant pedal point in the cello. The closing theme is developed here. (4) Considering the movement as « whole, give measure numbers for oné passage with each of the i following typical string quartet textures. Answers will vary; those shown are semples. (2) One instrument plays a solo part while the others accompany: mam, 1-8, or 25-32 | (b) Violin and 2 play a duet, while the others accompany: mm, 9-12, 14-18 Hi (©) A motives passed through the quartet, with each instrument playing tin tur ' ‘The motive in measures 53-58 moves successively upward (A-Bb.Ce-D-E}-FH), with some octave digplacement in the cello. | IV. Large essay (optional) | Wiite an analytical paper of three to four pages that synthesizes your answers inthis assignment. Use ‘musical examples, charts, or diagrams to illustrate your analysis. Conclude with a discussion of how this if analysis might assist a quartet in shaping their interpretation, Inchude atleast two specific examples (vith ‘measure numbers) o support your points G92) Part HI Chromatic Harmony and Foorr ee Assignment 82.4 “analysis: Clementi, Sonatina in C Major, Op. 36, No. 4, mvt. 10 is movement while examining the score i . eharmonie ten to tis #8 the score in your anthology, then provide a complete harmer Lass with Roman numerals in the sore. Since the texture is only two to three voices, you may need consider some ambiguous chords, determine which pitches are embellishing tones, and draw om Your feel of progression to identify them, Label each phrase and cadence. ‘a. Fint theme ¢ Thefist phrases measures1t0_" “4” andends witha cadence. @ Taesecond phraseismeasures 5 to 8, forminga__parallel__period with the first phrase. {g) Write in the Roman numerals and figures fr this modulating second phrase. ‘The cadence at the end ofthis phrase isa! PAC’ inthe key of V-(G major)". Op ee P vie Yo Gower Tay vgs (@) Isthere a transition between the first and second themes? Ifso, indicate which measures: ifnot, ‘explain how these themes connect, and what takes the place ofthe transition, ‘The end of the first theme's parallel modulating period is elided in measure & with the second theme. ‘There is no transition, but the moddltion in the second phrase of the first theme accomplishes the, change of key. B, Second theme (Q) Write in the Roman numerals and figures for measures 8-15 ns een tg Tae are ig ge Chapter 32 Sonsta, Sonatina, and Concerto SBE!in measures) for each unit. ARer (2) Hows this passage dived into smaller units? Indicate the Tength Cin measures) After the second theme, is there a closing theme or codetta? This passage is 2 +2 + 4—similar to a sentence structure, but without the type! harmonic plan Messures 8-11 could be considered the saconé there, with measures 12-15 a8 a closing theme, or the entire passage in G major can be considered a second theme group, because of the 2 +2 + 4 division and the absence of a cadence in measure 11 ©. Development (1) What themes or motives are explored in the development section? What type of harmonic motion is featured? ‘The development focuses on the first theme, and touches on C minor. The retransition beginning in measure 20 features a G pedal point and octaves reminiscent of the second theme group, (2) Compare measures 16-23 with the Mozart development section reviewed in the chapter, and with the “harmonic disturbance” of rounded binary—which form does this passage most resemble? ‘Thie development is quite abbreviated. With the retransition beginning in measure 20, some might Consider this passage transitional rather than a true development. It is more lke the harmonic disturbance of a binary form in scope and function. D. Recapitulation (Q) What changes when the themes return in the recapitulation? Are the themes all in the tonic key? The entire recapitulation is in the tonic key, C major. The first phrase theme is transposed down an ‘octave, then the second phrase is @ melodic inversion, with the ending also changed to stay in C major rather than modulating. The second theme is transposed down to C major. (2) How do the changes to the passage between the first and second themes in the recapitulation, when compared with the exposition, confirm that measures 5-8 of the exposition are part of the first theme? Measures 30-31 have a clear cadence in the tonic key, confirming the connection ofthis phrase to the previous one in parallel period E. Review of overall form (2) The exposition is measures1to__15__. (2) The developmentis measures 16 to. 23) (G) The recapitulation is measures__24 to 38 (4) How does this sonatina compare in scope with the Mozart sonata-form movement discussed in the text chapter? What elements are shortened or left out? ‘The entire sonatina is about the size of e rounded binary form, but the arrangement of the themes, the placement ofthe modulations the retransiton, and the return ofthe A section inthe toni key follow the sonata-form model. The development (including the retransition) isthe length that would bbe expected of a B section in a 32-measure rounded binary form, and the whole Piece is only slightly longer than that, at 28 measures. Part IMT Chromatic Harmony and FormNaw — assignment 32.5 lysis: Mozart, Piano Sonata in F Major, K. 332, mvt.1 0. «¢ Listen to this movement, and begin by identifying the lage sections on your anthology score. 1 Nest, ocate the themes, transitions, and key areas in the exposition and recapitulation, and consider the materials used in the development. ho 4 Bsamine the harmonie progressions in measures 20-40 and 55-67. {Then use this analytical information to filin the following blanks. 1A. Large sections {q) Theexposiion spans measures 1 to wi. (a) Theesposition begins inthekey of __F__(Gicleone) minor modulates to_C_(cireleone) (major) minor as the second key area. (@) The development spans measures 94 to 192 (@ The recapitulation begin in measure 193 (© Thecoda begins after the PACin measure __222 and extends tothe end of the piece. B. Exposition (0) The first theme group spans measures, sllin the initial key of the movement. (a) The first PAC of the movement occurs in measure 12. The music from measure 1to this cadence has two distinct parts, For each, give the measure numbers and afew words that describe the musics style and texture Measures, 1 to 4 Measures 5 to 12 ‘22. Wwhas several different melodic ideas, Melody end accompaniment (optional: “singing style") + _Imitative counterpoint (optional “learned style") (3) The second PAC of the first theme group occurs in measures 19 to. 20 __, and acadential extension in measures 20 1022. Between the frst and second PACs are two phrases that forma circle one) (parallel) contrasting period (#) The transition beween the first and second theme groups begins in measure __23.__; it begins with a temporary emphasis onthe (cree one) parallel minor dominant ofthe initial key (5) The fully diminished seventh chord in measure 29 in the transition leads to a tonicization of the (circle one) Tinordominant) dominant minor subdominant of the initial key (©) The medial caesurais in measure 40. witha(citeleone) PAC inthesecond key areaof Gre one) minor (The second theme begins in measure 41. Itconssts of wo purases. Draw a phrase graph Sowsng the two phrases, indicating the cadence types and the relationship ofthe phrases to each other (using a, a’, b). Then describe the relationship of the phrases. 8 8 ~~ —;~ ma & Ge 49 58 He PAC The second phrase is a varied repetition ofthe firs, but with a stronger cadence at the end: the two Phrases form a parle period Chapter 32 Sonata, Sonatina, and Concerto| (8) Aer the second theme, there is another transitional passage, beginning in measure _58_. This transition features (circle one): melodic ideas from the frst theme group melodie ideas from the second theme ‘modulation toa third key area (9) The closing theme begins in measure __71___ It has (circleone) one (Geo) three phrases, and ends with a cadential extension, leading to a PAC in measure __86._,This cadence marks | ‘the beginning ofthe codetta, which ends the exposition. | ©. Development (1) The first sixteen measures of the development section are surprisingly harmonically stable. They are in thekey of __G __(ctele one) ‘minor, Compared tothe original tonic key, this isthe (circle one) relative minor parallel minor subdominant (2) The melodic ideas in the first part of the development are based on (circle one) (Gissttheme group) second theme group ‘transition between the second and closing themes codetta (2) The second part of the development seetion is sequential, based on musical materials from the (circle oe) first theme group second theme group (Gansition between thesecond and dosing themes) codetta (4) Theretransitionismeasures 123 to 132 D. Recapitulation (2) The music of the exposition and the recapitulation is identical until measure 163__. This first change in musical materials sia the (rele one) first theme second theme (2) Compared tothe exposition, the transition tothe seond theme in the recapitulation is (cece one) shorter thesamelength 4 (3) The second theme begins in measure __177___ and is presented intheley of 7F" (éreleone) —HiafoP) minor (4) Te dosing theme begins in measure 207 andi presented inthe ey of__F_ (cireleone) ajo) minor (5) The coda returns in measure __222 __, and serves as the coda ending the sonata-form movement. For lass discussion (@) The exposition of this sonata includes some striking changes of texture and mood, which we examined at the beginning of the first theme group. Identify other moments of sudden change of texture by measure number and possible “topic o style reference (see Chapter 28), and consider how this might impact your performance decisions Beginning in measure 12, “hunt® topic, horn calls; measure 22, agitated, “Sturm und drang"; messure 41, “minuet” style; measure 00, “orchestral unison.” Students may identify others (2) Compare the exposition and the recapitulation, List what is different in the recapitulation as compared 10 the exposition, Differences cccur in the transition between the frst and second theme, whichis expanded and altered Inthe recapitulation, Students may also point out changes of register inthe recapitulation’s transposed second theme, 896) Part HT Chromazio Harmony and FormAssignment 32.6 ‘analyzing a Concerto: Haydn, Concerto for Corno di caccia (Horn), mvt. 10 epi tyTistening to the movement several times while ellowing the coe in your antholog concerto ist movements are similar to sonata frm, theme group, a transition, «second theme group, that they typically have a frst theme or frst anda closing or codetta theme group. «In Classical-era concertos, some of these are typically repeated by the soloist as a part of a double exposition. The presence ofa soloist and the possibility of alternating solo and futti (orchestral) sections provides an added dimension in analyzing a concert, « Asyou are listening, mark in your score the location of themes, transitions, cadences, and other form- identifying features as you would fora sonata-form movement, but also consider where solo and tutti passages appear, then use the following questions to refine your analysis. ‘Note: The homn partis seored for D hom (instead of F hora, which is the most eommion modern transposition), and is written without accidental, as ifit were in C major. When the horn plays aC, a’D sounds the concert pitch is up a whole stp from the notated pitch, Practically speaking, you can look at the frst violin part most ofthe time to help follow what the hom is playing, or think of the seale degree in then find that scale degree in D major. [A. Exposition (Part I, orchestra) () Listen to the first 30 measures ofthe pieve (up to the entrance of the solo hora), identify the main key ‘ofthis work, and locate the eadences inthis passage. The key is__D___(cirele one) (@) Thefirst phrase ends in measure__ 4 beat 1 witha perfect authentic cadence. ‘Some students may think that measure 4 beats 2-4 are part ofthe first phrase, with an elided cadence on beat 1 of measure 5, which invites class discussion. In this style, the regular four-bar phrase is expected, and performers typically would play those beats as a lead:in rather than as a cadential extension, but it can be read either way. (8) Where does the transition between the first and second themes begin? How do you determine that? Is ita dependent or independent transition? Explain. In measure 4, beats 2-4 (after the cadence) area lead:in to what appears to be a repetition of the first Phrase, but in measure &—where there would be a cadence if this were a varied repetition of the first hrase—there is a deceptive resolution instead of a harmonic cadence. There is also a melodic and harmonic continuetion in measures 9-10.of measures 7-8, beginning with a varied repetition, This Is @ ependent transition. (4) Isthere a medial caesura? Ifso, where? Explain. The musical materials of measures 12-13 Include a melodic sequence, leading to @ half caderice in ‘Measures 14-15. The medial caesura isin measure 15. This marks the end of the transition. (©) Where does the second theme group begin? What key isit in? Where does it end? Hint: Listen for a PAC.) ‘The beginning ofthe second theme isin meesure 16. The theme alternates V end In the key of D major (the pesance othe secur theme nthe toni kay styl of double expeations in Classcal-ra | Soncertos Chapter 32 Sonata, Sonatina, and Concerto {BBY{© there a closing or eodetta theme? What type ofcudence prepares the entrance ofthe horn? In which ‘The PAC in measure 26 initiates the brief closing theme in measures 26-80, ending with @ PAC: In D major, B. Exposition (Part 1, with horn) ‘Now listen to measures 30-60. In a Classieal-era concerto with a double exposition, elements of the orchestral exposition are typically repeated, with the melody performed by the soloist and accompanied by the orchestra. Compare these measures to 1-80, noting which aspects are similar and which are different, ‘then answer the following questions. (2) In which measures does the horn present the first theme and transition? How are these musical ‘materials altered as compared to the orchestras tutt Version? What type of cadence ends the transition? ‘The horn plays the initial arpeggiation of the theme with the first violins, prior to the orchestral ‘accompaniment entering. In measure 34, the horn does not play (perhaps to catch a breath), but this highlights the role of that measure as a lead-in to the repetition of the melody in measure 35 a8 a part of the dependent transition. Inthe transition, the hom and first violins embellish the melody that vas hheard before, changing the end ofthe transition and adding @ measure. Throughout this passage, the ‘oboes are tacet (do not play—they are out whenever the solo hor is playing), and there are minor, changes in the string parts, especialy for the violas. The correspondence between the orchestral and horn versions breaks off in measure 43, preparing a PAC in D major in measure 44 (instead of the helt cadence in m. 15) (2) Following the transition considered in question 1, the hom presents new melodie materials in D major (the original tonic key) leading toa cadence in measure 50. What isthe cadence type there, and in which ‘key? What happens nex, in measures 51-60? (Hint: What would be expected isthe orchestral second theme in A major (V), followed by the closing theme that preceded the horns initial entry.) ‘The cadence in measure 60 Is a HC in D major. The theme that follows (mm. 51-55) is also new, but Is over a tonie pedal in A major and has Gis, as expected in that key: this is the horn’s second theme (different from the orchestral second theme). Measures 55-60 are drawn from the orchestra's version of the closing theme (mm. 26-30), but withthe horn included and a measure added. . Development “This movement doesnot have repeat signs to indicat the end ofthe exposition or the beginning ofthe development=since the hom exposition i equivalent oa repeat—but by measure 60, al ofthe expected exposition element have been presented (pls afew unexpected ones, What should happen nets continuation tothe development. () Listen to measures 60-75. What aspects of the music indicate that this isnot repetition ofthe exposition, but instead isthe beginning ofthe development? Identify the key and type of cadence in ‘measure 74. Cit specie measures in your explanation. “The first theme is presented in meesures 60-63, but tien the Key of A major. In measure 64, the mus seems to wander off both melodically and harmonically agi indicated in the score by the appearance of accidentals, and does not pause or rest until measures 73-74, where there is e PAC in A majoe RBA) are mt caromatie Harmony and FormE assignment 32.6 (continued) ¢ considering which themes prior to ‘Appear in the development, it will be useful to locate the end of © Jendopment Listen following along in the coe, he recapitulation, (Hint: Ths trickier than satelopment section!) When you finda theme en to locate the entry of the first theme in tonic that ‘it might seem because unusual things ean happen in ry in D major, check to see that the music continues im ‘he tonic key: explain what you find, citing measure numbers ‘The real recapitulation Is in measure 118, indicated by the continuation in measure 121 to the iranaition. There is @ false recapitulation in measures 82-86; rot continue. Instead, Its diverted into a developmental passage over a D pedal, the horn part (mm. 85-81). the correct key (D major), but does ‘eluding a low D in (g) Using the starting point of measure 61 and the ending of the recapitulation you located in the previous aoestion, examine the contents of the development section. Locate the following features: an ascending sequence: 1 deseending sequence: development of horn closing theme: development of frst theme: development of orchestra second theme: beginning in measure. measures 81 “to 94% pattern length: “2mm, patter length: measures 100 to 106 beginning in measure 74 beginning in measure 78 108 mm, (4) Now examine the music just prior tothe recapitulation: where isthe retransition? Explain, citing measure numbers. ‘The half cadence in D major in measure 107 is followed by a dominant (A) pedal point in the horn, over ‘2 development of the orchestra's second theme, Following thi, there are cadences on D in measures 115.and 118, preparing the horn's entry In measure 118. D, Recapitulation Ifthis were a sonata-form movement, the nest step would be simply to locate the reappearance of each ofthe themes in the to ic key, and note any changes tothe transition (to stay in tonic) or other musical ‘materials as compared to the exposition. Because this isa concerto with a double exposition, and different ‘thematic materials in the orchestral and horn expositions, there are more variables, (0) Start by comparing the presentation of the first theme inthe recapitulation with the prior presentations ‘by the orchestra and the horn, Which measures correspond, and where does the similarity break off? How ‘te cadences changed, as compared tothe exposition? Explain citing measure numbers, Measures 118-128 correspond to mesures 31-42, but there Isa new ending to that passage in Meaaures 130-132, directed toward a tonicized helf cadence (THO) in D major. raptor 88 Sonata, Sonatina and Concerto 866) $eSS (2) Now examine measures 133-154; locate the presentation ofthe seeond theme and the closing materia, Which is presented—the orchestra version or the horn version? Fxplain, iting measure numbers o show the correspondence and where there are alterations necessitated to stay in D major. Measures 183-138 correspond to measures 45-60 (the horn tranition tothe second theme) with measures 138-199 altered to stayin D major: then measureé 140-143 correspond to measures $1.54 (the horn second theme, altered to be in 0 major). After an added moasure (m. 144), the bom closing theme appears in measures 145-149 (from mm, 56-58). The orchestra closing material fllows in measures 150-154 (corresponding to mm. 21-25). (8) Measure 154 has two fermata signs, indicating that the orchestra pauses on the first fermata chord for ‘the horn’ solo cadenza, The second fermata sign shows the note the horn i to play to signal the endof the ‘cadenza and the return of the orchestra (The cadenza itsefs not notated) There fs a theme that has not yet returned inthe recapitulation, Examine the eda, and locate the theme and its source, Does the horn Play after the cadenza? Explain, citing measure numbers ‘Moasures 155-172 present musical materials from messures 19-30, beginning withthe transition into the orchestra's second theme and ending with the codence that preceded the intial horn entry The cadence that ended the orchestral exposition also ends the entire movement, The horn does not reenter ater the cadence at the end ofthe cadenza in measure 155. E. For lass discussion (2) Compare the first theme in this concerto with those in Assignments 32.1 and 32.2. How are they alike in harmonic and melodic design? “Two points of interest: all of these frat themes are extremely short, end all are based on ascending _arpeggiations of the tonic triad. Students may observe other similarities. (2) Thinking back over the Classical sonata forms analyzed in this chapter, what are the primary ferences you have observed between sonata first movements and this concerto first movement? What aspects are the same? ‘Answers wil vary. GOO Part HT Chromatic Harmony and Form