Motives were presented in various keys, registers, and groupings of instruments. In this section the composer also used new themes that were not found in the exposition section. The composer ended this section in the tonic key and moved directly into the recapitulation.…
The orchestral introduction of the song no. 2 mm. 1-18 displays the uncertainty of major-minor mode, in which the music sounds as if in an F# minor key, but the E major chords in mm. 16-18 that proceeds to the A major chord in m. 19 provide a certainty that A major is the actual key of the music (fig. 15), whereas the submediant chord at the beginning of the song obscures the actual key and provides the song a minor flavor.…
- Recapitulation: 3rd section of the sonata-allegro. Reviews the material of the exposition, presenting it in a new light.…
The first movement of the composition begins with a solo from only the strings family. A soft, consistent melody is played and the violin dominates the other instruments in this piece. The tone color at the beginning of this piece is relatively light which symbolizes the characteristics of a nuturing mother. As expected from a classical piece, the dynamics of the piece suddenly change, and there is a slight crescendo in the piece during the following measures of the composition. The tempo of the composition grows quicker in pace which portrays another chapter in the story, signalizng another movement of the piece. A violinist them performs a solo that plays alot that is also quick, yet play alot on the concept of pitch. It can be heard that the violin goes from very low ranges to fairly high range in pitch to emphasize the great amount of emotion in the piece.…
Beethoven: Sonatas Op. 2, No.2 in A Major; Op. 2, No. 3 in C Major; Op. 10, No. 3 in D major; Op. 31, No. 2 in D minor; Op. 31, No.3 in E♭ Major; Op. 53 in C Major; Op. 57 in F minor; Op. 81a in E♭ Major; Op. 106 in B♭ Major; Op. 109 in E Major; Op. 110 in A♭ Major; Op. 111 in C minor.…
In Beethoven’s Symphony no. 5 in C minor the first movement is called Allergro con brio and it is in sonata form. This movement is very intense and strong sounding and has a single rhythmic motive that is short-short-short-long. The first theme of this movement is in C minor. Throughout this theme he shifts the motive to different pitches and instruments. The second theme is in E flat major and starts with a varied basic motive of short-short-short-long-long-long. The horns starts a new melody that is calm sounding compared to the opening of this movement. In this movement you can hear horns, some woodwind instruments and some string instruments. This movement has a dramatic climax and the closing section starts in C major and moves into C minor.…
Ludvig van Beethoven no doubt is one of the greatest pianist and composers to date. His earlier works are usually compared to Mozart due to the similarity of the structure but one major different was Beethoven’s ability to incorporate his own imagination into each composition. Although most of his work had been recognized by the music industry, it was his first symphony of the starting point in his career. The Symphony number one, opus 21 was written in C major contain four movements, and although its structure contain some similarity to Mozart’s work, it was the one that put Beethoven onto the musical scene in Vienna.…
(Shoe-horn sonata and related text examples) AIM FOR MOTIFS AND IMAGERY. In the related text and Shoe-Horn Sonata there are links between the two that both relate to distinctively…
It was composed in the year of 1804, but due to having several other projects he had to postpone his writing. It wasn’t until about 1808 that he premiered the song along with symphony Number Sixth in which he dedicated to Prince Lobkowitz and Count Andreas Rasumovsky. The tempo of this specific song is allegro and involves four movements. The first movement of the song has a dramatic yet potent feeling to it. It made me imagine something terrible was about to happen to someone leaving me in suspense of what was about to come. When Beethoven wrote this song he had strong feeling which defiantly showed in the first movement of this…
The first theme, which consists of smaller motives within itself, begins in m. 2and ends in m. 9. This theme (theme I) begins on F5 and also ends on F5. It outlines the tonic triad with likewise tonic support in the bass voice. Theme I is reiterated on multiple occasions throughout the piece and when it first appears, it is a single melodic line with only the bass voice underneath, but as the piece develops, so does the theme. Theme…
The dramatic tone in this piece can be explained by the composer’s personal struggles as he attempts to come to terms with his hearing loss. The famous tune that begins the exposition is in a minor key which gives me a feeling of dread. As those four beats are repeated and a harmony is added the music accelerates and crescendos to a fortissimo that adds a sense of frenzy to the music. Just then, trumpets herald in the second theme which slows down to an adagio tempo with a quieter mezzo piano dynamic, the major key here provides a lighter feeling of peace and calm briefly before building excitement is created through another crescendo and tempo acceleration.…
While this form has a formula or approach to it. It is rather rigid and leaves itself to be very open. It uses a 3 part binary form that has an Exposition, Development and Recapitulation. Many composers have developed and expanded this style of music composition. Mozart being the subject of this paper is also one of the composer known for his strong and clear understanding of Sonata form in his music. This paper will examine one of his piano sonatas entitled, Piano Sonata K. 281 in Bb Major.…
An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.…
The exposition starts out in F Major with a small two measure introduction, followed by Group 1 material. This is important because he uses the 16th note idea later in transitions between groups as well as the development. The first transition uses triplets as a means to modulate to C Major by using secondary dominants. It is also worth noting that the transitions between groups are exceptionally long. I believe this is to make up for the surprisingly short development section later in the piece. Group 2 comes into view, being in C Major for the rest of the exposition and by expounding on the 16th note idea. The Group 2 motive of quarter note triad followed by 16th note runs come back in the development. The next transition uses triplets again, but in a different fashion. He cuts the first note of every bar in the right hand while the left hand goes chromatically from E to A in place of the cut triplet notes. This small idea comes back briefly in the development. The next section is hard to describe. Some might say it is the closing theme, while others might say it is a precursor to the closing theme. I tend to think the latter. He could have ended it from the second transition to the little three bar closing theme just fine. I think he just added the precursor as a little fluff.…
The whole piece is under the shadow of the death, and the first movement sets the funereal tone for the whole work. The beginning is an introduction with fugal elegy subject, and then it followed with a ternary form. This movement is based on a main theme and some short themes that derived from the main theme, connected with the same motives, and number of short motives (composed of patterns of eighth and quarter notes) which are varied, fragmented, and combined with each other throughout this movement.…