large form analysis
DESCRIPTION
Clarion University, Music Theory Project. Analysis of Beethovens Piano Sonata in A MajorTRANSCRIPT
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Piano Sonata In A Major
Ludwig Van Beethoven
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Introduction
Form to recognize: Rondo Form Structure of form: ABACADA Principal theme “A” (refrain) alternates
with contrasting themes (episodes).
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INTRODUCTION OF THEME “A”
Begins in D Major; is in ¾. Tenuto Sempre (always sustained) in treble. Staccato Sempre (always detached) in bass. Has a Perfect Authentic Cadence (PAC), then
shifts to A Major briefly. Shifts back to original key and familiar
rhythmic structure. Notice sudden rise in treble clef, with sudden
fall in bass (such movement can be classified as a tessitura)before the PAC.
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“B” SECTION
Immediate change in key to g# minor. However, this is not long. This section becomes harmonically
unstable . Creates tension with:
Pounding eighth note chords (not detached as heard in “A”).
Crescendo into Fortissimo.
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RETURN OF “A”
Return of tenuto and staccato sempre. However, after first PAC, treble and
bass “switch” material (providing variation).
Remains similar to original material, leading to a PAC.
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“C” SECTION
Entirely new thematic material. Very brief.
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RETURN OF “A”
Same rhythmic material, in minor. However, no definite key; harmonically
unstable. Remaining in Staccato and Tenuto Sempre. However, has much ornamentation. Is fortissimo; with marked sforzando (sfz-
giving a strong accent). Range in treble clef is much higher than in
previous restatements of “A”.
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“D” SECTION
Sudden new rhythmic and melodic material.
Brief, but significant. Dynamics drop from previous
fortissimo to piano. Has noticeable chromaticism in treble
clef (heard in grouped eighth notes).
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FINAL RESTATEMENT OF “A”
Treble clef has much ornamentation. Original rhythmic material is still
evident. Restatement ends on a PAC.
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CLOSING THEME Closing theme (coda). Produces relief from tension. Creates sensation of conclusion.