1
Q
Intro dynamics
A
- ‘grave’ played slow and solemn relating to pensive and somber atmosphere
- large + sudden dynamic changes to mirror intense emotions during romantic era
2
Q
Intro rhythm
A
Played homorythmic where uses same ‘funeral’ motif
3
Q
Intro structure
A
It is the intro which would have been highly unusual for the sonata form
4
Q
Intro melody
A
- Different notes played up a sequence and chromatic 4th
- melodic flourishes which is a sequence of rapid played notes as a way of showman’s ship
5
Q
Intro instrumentation
A
Use of the forte piano
6
Q
Intro texture
A
Largely homophonic as chords played at same time
7
Q
Key sig of harmony
A
C minor
8
Q
Intro chords
A
- stacks of minor 3rds
- dim 7 chords which show unstable and can modulate through keys fast (common feature romantic era)
9
Q
B5 onwards dynamics
A
- maintains rapid and sudden dynamic changes
- fermeta into 1st subject for dramatic pause and effect
10
Q
B5 on rhythm
A
Use of syncopation into the motif but mainly HOMORYTHMIC
11
Q
B5 on context
A
- fast and scallic sequences with semi Hemi demi semi qu’avers showing the virtuosic and showmanship
12
Q
B5 on melody
A
- conjunct/descending
- fast with semi Hemi demi semi qu’avers
- melodic flourishes
13
Q
B5 on texture
A
- mainly MDH
- during chromatic descending sequence, monophonic
14
Q
B5 on harmony
A
- key sig to Eb maj
- use of chromatic harmony which was common feature of romantic era
- reads treble clef in b9 which creates an interrupted cadence of 5-6 = common feature of romantic
15
Q
1st subject rhythm
A
Time sig change to 22
16
Q
1st sub melody
A
- conjunct with few small leaps
- rapid ascending sequence = manheim rocket
- spiky articulation with use of staccato
17
Q
1st subject bass part
A
- plays tonic pedalling also known as murky bass which allows to exploit full range of the piano
- chromatic notes - would expect Eb but in natural in key of C minor - unusual
18
Q
1st subject melody harmony
A
Starts in C but then goes to Bb and E creating a tritone
- 3 whole tones creates clashing and dissonance
19
Q
Bar 19
A
Has a perfect cadence of V-I with indication of finished feel
- does also use normal chords showing Beethoven also uses functional harmony = not everything is subverted and some conventional of classical period used
20
Q
B27
A
Dominant chord of g acts as functional harmony
21
Q
Transition sequence
A
- has same motif with changed melody as a classical musical device
- sequential writing is a reference to classical period to act as transition between 1st and 2nd subject
22
Q
Transition harmony
A
- chromatic bass
- repeated Bb in bass which is dominant to Eb which is the key of 2nd subject
- acts as dominant preparation to modulate into new key of Eb minor
23
Q
2nd sub dynamics
A
- uses ‘sopra’ which is hand crossing
- uses ‘sotto’ to play quietly under the melody and used so it’s easier
24
Q
2nd sub rhythm
A
Still in 22
25
2nd sub melody
- melody is lyrical and legato
- decoration of melody with acciaccatura and upper mordents
- use of descending sequence for ‘new theme’
26
2nd sub harmony
- subverts normal sonata form and unusual as it should go into relative major or dominant)
- in Eb minor
27
New theme harmony
Eb major
28
New theme texture
- 4 part polyphonic texture
- there is a crescendo when hands play in contrary motion
29
New theme influence
Use of Alberti bass which is a common feature of classical period however draws on both eras to subvert
30
Codetta
Used to mark the end of the exposition
31
Codetta melody
- conjunct descending sequence
- use of legato articulation which makes it lyrical which is a feature of romantic period
32
Codetta unusual
Use of manheim rocket theme again
33
Codetta harmony
- 2 5 1 = D G C
- D6maj, G7 (dominant 7th creates perfect cadence for next key) pause on C
- secondary dominant progression
34
How is development created
- Builds on ideas from exposition but with fragmentation, rhythmic augmentation and modulation to unrelated keys
35
Intro 2 dynamics
- fp similar to intro 1
- played ‘grave’ shock is slow and also minor key is used
36
Intro 2 rhythm
Homorythmic as same rhythm is played on chords
37
Intro 2 context
- repetition in the middle of pièce would be highly unusual
- subverts typical expectations by utilising techniques from both eras
38
Intro 2 melody
Repeats same intro part
39
Intro 2 key sig
- g minor with help of dominant progression
- however unrelated key which was unusual
40
Intro 2 harmony
- progression into unrelated key was a feature of romantic period
- use of pivot note of D# which is same as Eb to move from G to E minor
- was 7th leading note of E minor and would pull closer to tonic note
41
B137 on dynamics
- starts p and crescendo
42
B137 on rhythm
Minims to crochet = notes doubled
- rhythmically augmented from motif
- quaver accomp in octaves
43
B137 on melody
- transition and fragments of theme are heard on bass from bar 149
- melody ascends stepwise before resolving back down
- manheim rocket heard in bass
44
B167 harmony
- long dominant preparation where dominant of G is played in rapid alternating octaves in bass as a pedal
45
B167 melody
- everything converted to left hand
- broken arpeggio shape
- repetition and fragments of manheim
46
End of development
- fast scallop virtuosic descending sequence
- passage of trills leads to descending quaver pattern
- monophonic
- G as secondary dominant prep for key of C minor
47
Récapitulation
- recap of expo and development but in dif keys
48
Recap 1st sub
- key of C minor
- perfect cadence using functional harmony
- murky bass
- manheim rocket however use of E natural creates dissonance and chromatic harmony
49
How does recap 1st sub transition into 2nd
- no transition sequence used as it was uncommon during recap section
- use of a monophonic descending sequence into 2nd sub
50
Recap 2nd sub melody
- ascending sequence
- use of ornamentation with acciaccatura and trills and mordents
51
Recap 2nd sub harmony
- Key sig of F minor = SUBDOMINANT
- where B plays with Sonata form and modulates to unrelated keys as we would expect the topic
52
Recap of new theme
- key change back into tonic of c minor
- normal Alberti bass and polyphonic texture
- codetta AND THEN MANHEIM AGAIN
53
Recap transition to coda
- finishes with two fortissimo diminished 7th chords
- loid and bold with a pause
- chromatic chords making it dissonant and easier to modulate
- common feature of romantic period
54
Coda intro
- four bars of intro with silence on first beat which was an unusual idea
55
Coda intro dynamics
- back into grave
- sudden dynamic changes
56
Coda intro rhythm
- funeral motif
- homorythmic
57
Coda intro context
- recap but goes back to intro at the end
- not typical to have two intros = subverting typical sonata form
58
Coda intro harmony
Key sig of C minor back into tomicm
59
B299 dynamic
- allegro molto e con brio
- starts p
60
B299
- 1st subject of manheim
- with murky bass
61
End
Use of cadential 6-4
- which is a common classical progression
62
End harmony
V6-4 = decorated 5 chord
I aug
V7 5-3 = g major
I = c minor
END ON PERFECT CADENCE
63
Common features of romantic
- chromatic harmony
- sudden dynamic changes
- dim 7th chords
- modulation to unrelated keys
64
Common features of classical period
- sequences
- cadential 6-4
- functional harmony
- Alberti bass
Music GCSE
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