Outline:
Exposition: m. 1 - 28 C Major
First Theme: m. 1 - 12 C Major
Transition: m. 13 C Major
Second theme: me. 14 - 28 C Major
Development: m. 29 - 40 A Major
Retransition: m. 41
Recapitulation: m. 42 - 70 F Major
Mozart's piano sonata in C major is a very clear cut sonata form. All of the components: exposition, first theme, second theme, transitions, development, and recapitulation all seem to be in place.
The first two themes from the exposition are developed in the Development. It is extremely sequential and modulatory. When the recapitulation occurs the main theme begins in a different key, F Major. This is not surprising considering it is a basic I - V key change. It continues in this key until measure 51, and it begins to make subtle transitions. From measures 51 to halfway through 57 it is the key of D major. The from 58 to the end the piece remains in C major. A motive that seems important in the piece is when there is a run of sixteenth notes and the quarter notes against them every first and four beats. This motive is heard in the exposition and in the recapitulation. It brings a sense of movement and transition in the piece.
Friday, April 18, 2008
Thursday, April 17, 2008
sonata form blog
clementi
ok so let's do some harmonic analysis first. measures are gonna be separated with -
I-I-I-V-I-I V65/V-(pivots to dominant) I IV I V-I-V6-I-V43-I6-V42-V64/53-I
Then there is a repeat sign. Next section:
back to C: V42-i6-V42 i-V-V-i-vii i- V-I-I-I-V-I-I-I V6453-I-V6-I-V43-I6-IV-V-I
So clearly this is a sonata form. The exposition is from measure one to measure 15, then the development is from measure 16-23, and then it's the recapitulation from measure 24 to the end. The first tonal area is in C major and has two themes. They are both four measure phrases. Then it pivots to G major by measure 8. This is the second tonal area. It also has two four measure phrases. Then there is the development, which was hard to do the roman numerals for because it uses quite a bit of modal mixture to, you know, develop. Then it is the recapitulation until the end. Clementi did change it a little bit this time, for instance he took the primary theme of the first tonal area down an octave in the recapitulation. Because of the way Muzio wrote the themes, it is sometimes hard to hear what chord is beign played. For instance, the themes in the first tonal area will have scales in the right hand with only one note played in the left hand. He was getting a little crazy then, but he cleaned it up later. yay muzio
ok so let's do some harmonic analysis first. measures are gonna be separated with -
I-I-I-V-I-I V65/V-(pivots to dominant) I IV I V-I-V6-I-V43-I6-V42-V64/53-I
Then there is a repeat sign. Next section:
back to C: V42-i6-V42 i-V-V-i-vii i- V-I-I-I-V-I-I-I V6453-I-V6-I-V43-I6-IV-V-I
So clearly this is a sonata form. The exposition is from measure one to measure 15, then the development is from measure 16-23, and then it's the recapitulation from measure 24 to the end. The first tonal area is in C major and has two themes. They are both four measure phrases. Then it pivots to G major by measure 8. This is the second tonal area. It also has two four measure phrases. Then there is the development, which was hard to do the roman numerals for because it uses quite a bit of modal mixture to, you know, develop. Then it is the recapitulation until the end. Clementi did change it a little bit this time, for instance he took the primary theme of the first tonal area down an octave in the recapitulation. Because of the way Muzio wrote the themes, it is sometimes hard to hear what chord is beign played. For instance, the themes in the first tonal area will have scales in the right hand with only one note played in the left hand. He was getting a little crazy then, but he cleaned it up later. yay muzio
Just a Quickie!
Alright, so I'm doing this in my spare time while writing my music history essay, so here goes nothin:
Exposition: measures 1-28 (C Major for all)
First theme: measures 1-12
Transition: measure 13
Second theme: measures 14 - 25
Coda: measures 26 - 28
Development: measures 29 - 40 (F Major)
Retransition: measure 41 (C Major)
Recapitulation: measures 42 - 70 (C Major)
I really like this piece. It's short and sweet, with some really nice runs going on in the first theme, and some cool lobbying back and forth in the second theme (m. 18 - 21)...feels kind of like a tiff between two lovers...maybe that's just because I finished watching a Romantic Comedy...who knows! Anywho, the development deals primarily with the second theme of the exposition, especially the calls back and forth, only this time they are a bit more complex, like the fight is heightening, including some bass cleff now to add depth to the calls (m. 35 - 40).
Then the recap returns with a one measure transition in 41, bringing back the nice runs of the first theme. Overall, this is a nice, quick sonata that is clearly defined by its form and has a lot of personality!
Nice going, Mozart
Exposition: measures 1-28 (C Major for all)
First theme: measures 1-12
Transition: measure 13
Second theme: measures 14 - 25
Coda: measures 26 - 28
Development: measures 29 - 40 (F Major)
Retransition: measure 41 (C Major)
Recapitulation: measures 42 - 70 (C Major)
I really like this piece. It's short and sweet, with some really nice runs going on in the first theme, and some cool lobbying back and forth in the second theme (m. 18 - 21)...feels kind of like a tiff between two lovers...maybe that's just because I finished watching a Romantic Comedy...who knows! Anywho, the development deals primarily with the second theme of the exposition, especially the calls back and forth, only this time they are a bit more complex, like the fight is heightening, including some bass cleff now to add depth to the calls (m. 35 - 40).
Then the recap returns with a one measure transition in 41, bringing back the nice runs of the first theme. Overall, this is a nice, quick sonata that is clearly defined by its form and has a lot of personality!
Nice going, Mozart
Muzio Clementi: Sonatina Op. 36 No. 1
Roman Numeral Analysis
m. 1-6 Key of I (C major): I, V, I viihalfdiminished7/V
m. 7-15 Key of V (G major): I, ii6, V64-53, I, V6, I, V43, I6, ii6, V64-53, I
m. 16-22 Key of i (C minor): V, i6, vii, i, V, V7, i, vii, i,
m. 23-28 Key of I (C major): V, I, V, I
m. 29-32 Key of I (C major): I, V64-53, I, V6
m. 33-38 Key of I (C major): I, V43, V6, IV, V64-53, I
Structure
Sonatina Form (ABA)
A. (Exposition) m. 1-15, key of I, C major
Exposition is simple continuous binary form (AB)
(A) First Tonal Area
Parallel Period m. 1-15
Phrase A m. 1-4, HC in key of I, G major triad
Phrase B m. 5-8, PAC in key of V, G major triad
(no specific transition section , modulation to V done in previous phrase)
(B) Second Tonal Area
It is possible to perceive this section as one big phrase, due to its continuous motion, although V6 leads to I in m. 9-10 and a V43 to a I6 in m. 11-12, but this is possible also.
Phrase C m. 9-10, IAC in key of V, G major traid
Phrase C’ m 11-12, IAC in key of V, G6 Elides to next phrase
Phrase D m. 12-15 PAC in key of V, G major triad
B. (Development) m. 16-23, key of i, C minor
Development is contrasting period, made by Phrases E and F
Phrase E m. 16-19, HC in key of i, C minor
Phrase F m. 20-23, HC in key of I, C major
(no specific retransition section, modulation to I done in previous phrase)
A. (Recapitulation) m. 24-38, key of I, C major
Recapitulation is simple sectional binary form (A’B’)
(A’) (FTA)
Parallel Period m. 24-31
Phrase A m. 24-27, HC in key of I, G major triad
Phrase B’ m. 28-31, PAC in key of I, C major
(again, no transition section is really present, modulation done in previous phrase, recapitulation remains in tonic key)
(B’) (STA)
Phrase C’’ m. 32-33, IAC in key of I, C major
Phrase C’’’ m. 34-35, IAC in key of I, C6 Elides to next phrase
Phrase D’ m. 35-38, AC in key of I, C major
The right hand motif of m. 1-4, especially the quarter note-two eighth notes-two quarter notes motif of m. 1-2, is developed. Rhythmically and in regards to musical shaping, m. 1-4 is imitated directly in m. 16-23. To set it apart from the other sections, the development section is in the key of the parallel minor, C minor.
The changes made to the recapitulation from the development are in the key change. In the exposition, m. 5-8 modulate to the key of V, with m. 8 ending in a PAC in the key of V with a G major triad. Unlike m. 5-8, m. 28-31 end with a PAC in the key of I with a C major triad, which keeps the second section of the recapitulation in the tonic key of C major rather than modulating the passage to the key of V like the exposition did. The keeping of the tonic key in the recapitulation permits a seamless method of ending the piece after m. 34-38.
Indeed, Clementi’s Sonatina O. 36 No. 1 shares many qualities with the larger sonata form on a smaller scale. First, Clementi’s piece is divided into three sections, exposition, development, and recapitulation, which are the sections sonata form is divided into. Second, both the development and recapitulation section exhibit their own binary forms within the sections; having musical forms such as binary within a larger section is common to sonata form. However, unlike sonatas, transitional and retransitional sections are practically nonexistent. Modulations do occur, but they are done within the phrases themselves rather than by having a large portion of the piece specifically written to explore and/or sequence to other keys. Furthermore, the development section from m. 16-23 is very short and does not travel to any other key than the parallel minor, C minor. In comparison to a sonata, transitions/retransitions and the development section of pieces like a larger Beethoven or Mozart sonata may travel several keys spanning many measures to create harmonic instability in these sections.
The piece has a joyful, rhythmic feel to it with few dissonant harmonies. The lighthearted quality of classical music such as this Clementi sonatina should not be forgotten in performance; the performer should keep the latter qualities alive in the music by being straightforward with the piece’s markings such as staccato notes and dynamics. There is not much room for rubato in the piece. The exception to this is the end, for one can musically justify ending the last measure or two with a small ritard if he or she desires.
m. 1-6 Key of I (C major): I, V, I viihalfdiminished7/V
m. 7-15 Key of V (G major): I, ii6, V64-53, I, V6, I, V43, I6, ii6, V64-53, I
m. 16-22 Key of i (C minor): V, i6, vii, i, V, V7, i, vii, i,
m. 23-28 Key of I (C major): V, I, V, I
m. 29-32 Key of I (C major): I, V64-53, I, V6
m. 33-38 Key of I (C major): I, V43, V6, IV, V64-53, I
Structure
Sonatina Form (ABA)
A. (Exposition) m. 1-15, key of I, C major
Exposition is simple continuous binary form (AB)
(A) First Tonal Area
Parallel Period m. 1-15
Phrase A m. 1-4, HC in key of I, G major triad
Phrase B m. 5-8, PAC in key of V, G major triad
(no specific transition section , modulation to V done in previous phrase)
(B) Second Tonal Area
It is possible to perceive this section as one big phrase, due to its continuous motion, although V6 leads to I in m. 9-10 and a V43 to a I6 in m. 11-12, but this is possible also.
Phrase C m. 9-10, IAC in key of V, G major traid
Phrase C’ m 11-12, IAC in key of V, G6 Elides to next phrase
Phrase D m. 12-15 PAC in key of V, G major triad
B. (Development) m. 16-23, key of i, C minor
Development is contrasting period, made by Phrases E and F
Phrase E m. 16-19, HC in key of i, C minor
Phrase F m. 20-23, HC in key of I, C major
(no specific retransition section, modulation to I done in previous phrase)
A. (Recapitulation) m. 24-38, key of I, C major
Recapitulation is simple sectional binary form (A’B’)
(A’) (FTA)
Parallel Period m. 24-31
Phrase A m. 24-27, HC in key of I, G major triad
Phrase B’ m. 28-31, PAC in key of I, C major
(again, no transition section is really present, modulation done in previous phrase, recapitulation remains in tonic key)
(B’) (STA)
Phrase C’’ m. 32-33, IAC in key of I, C major
Phrase C’’’ m. 34-35, IAC in key of I, C6 Elides to next phrase
Phrase D’ m. 35-38, AC in key of I, C major
The right hand motif of m. 1-4, especially the quarter note-two eighth notes-two quarter notes motif of m. 1-2, is developed. Rhythmically and in regards to musical shaping, m. 1-4 is imitated directly in m. 16-23. To set it apart from the other sections, the development section is in the key of the parallel minor, C minor.
The changes made to the recapitulation from the development are in the key change. In the exposition, m. 5-8 modulate to the key of V, with m. 8 ending in a PAC in the key of V with a G major triad. Unlike m. 5-8, m. 28-31 end with a PAC in the key of I with a C major triad, which keeps the second section of the recapitulation in the tonic key of C major rather than modulating the passage to the key of V like the exposition did. The keeping of the tonic key in the recapitulation permits a seamless method of ending the piece after m. 34-38.
Indeed, Clementi’s Sonatina O. 36 No. 1 shares many qualities with the larger sonata form on a smaller scale. First, Clementi’s piece is divided into three sections, exposition, development, and recapitulation, which are the sections sonata form is divided into. Second, both the development and recapitulation section exhibit their own binary forms within the sections; having musical forms such as binary within a larger section is common to sonata form. However, unlike sonatas, transitional and retransitional sections are practically nonexistent. Modulations do occur, but they are done within the phrases themselves rather than by having a large portion of the piece specifically written to explore and/or sequence to other keys. Furthermore, the development section from m. 16-23 is very short and does not travel to any other key than the parallel minor, C minor. In comparison to a sonata, transitions/retransitions and the development section of pieces like a larger Beethoven or Mozart sonata may travel several keys spanning many measures to create harmonic instability in these sections.
The piece has a joyful, rhythmic feel to it with few dissonant harmonies. The lighthearted quality of classical music such as this Clementi sonatina should not be forgotten in performance; the performer should keep the latter qualities alive in the music by being straightforward with the piece’s markings such as staccato notes and dynamics. There is not much room for rubato in the piece. The exception to this is the end, for one can musically justify ending the last measure or two with a small ritard if he or she desires.
Clementi Analysis
Muzio Clementi, Sonatina in C Major, Op. 36, No.1, First Movement
This sonatina which every faithful piano student will suffer through some time or another when they first begin lessons looks something like this when analyzed:
m.1-8 : (C Major) I, V, I, V/V, V Half Cadence
m. 8-16 (G Major) V6, I, ii, I6, IV, V, I PAC... Contrasting Period
m. 16-23 (C Major) V42, i6, viid, i, V, V7, i64, viid, i, V HC
m. 24-end (C Major) I, V, I, V7, I V, I, V43, I6, IV, ii6, V7, I. PAC
So this piece follows Sonata form: m. 1-15 are the exposition, within the exposition the primary theme and first tonal area is in measures 1-8. The secondary theme and tonal area is in measures 8-15.
Measures 16-23 are part of the development. We know this because Clementi develops the themes from the exposition and places them within harmonies of different keys. It is rather harmonically unstable, using minor tonic harmonies and diminished seven chords. Measures 20-23 can be identified as the retransition. These measures lead to the HC in the original tonic key and prepare for the return of the primary theme.
Measures 24-end are part of the recapitulation, marked by the return of the themes from the exposition in the same order. The secondary theme is transposed to the tonic of the primary theme, and the transition material leads to the eventual PAC instead of modulating. I don't think there is a codetta, because the closing material uses themes from the exposition, no new theme is introduced and the listener doesn't really get a sense of closure until measure 38. In other words, it'd be really awkward to end anywhere else. Enjoy Clementisizing!
This sonatina which every faithful piano student will suffer through some time or another when they first begin lessons looks something like this when analyzed:
m.1-8 : (C Major) I, V, I, V/V, V Half Cadence
m. 8-16 (G Major) V6, I, ii, I6, IV, V, I PAC... Contrasting Period
m. 16-23 (C Major) V42, i6, viid, i, V, V7, i64, viid, i, V HC
m. 24-end (C Major) I, V, I, V7, I V, I, V43, I6, IV, ii6, V7, I. PAC
So this piece follows Sonata form: m. 1-15 are the exposition, within the exposition the primary theme and first tonal area is in measures 1-8. The secondary theme and tonal area is in measures 8-15.
Measures 16-23 are part of the development. We know this because Clementi develops the themes from the exposition and places them within harmonies of different keys. It is rather harmonically unstable, using minor tonic harmonies and diminished seven chords. Measures 20-23 can be identified as the retransition. These measures lead to the HC in the original tonic key and prepare for the return of the primary theme.
Measures 24-end are part of the recapitulation, marked by the return of the themes from the exposition in the same order. The secondary theme is transposed to the tonic of the primary theme, and the transition material leads to the eventual PAC instead of modulating. I don't think there is a codetta, because the closing material uses themes from the exposition, no new theme is introduced and the listener doesn't really get a sense of closure until measure 38. In other words, it'd be really awkward to end anywhere else. Enjoy Clementisizing!
let me introduce you; Sonata, the world, The world, Sonata
Element Measure Key/Mode
Exposition 1-28 -----
First theme 1-12 CM (I)
Transition 13
Second theme 14 -26.1 GM (V)
Codetta 26-28 GM (V)
Development 29- 41 -----
Retransition 33-41 -----
Recapitulation 42- 73 CM (I)
This is, in my opinion, and extremely terse example of Sonata form. A great place for beginning sonata appreciators. We begin with a nice and simple, though not entirely simple due to its irregular hypermeter, First/ primary theme. This theme is 12 measures long; its first phrase ends in m. 4 on a nice pac before taking off in m. 13 and ending on a cute little half cadence in CM. there is a very brief, one measure, transition from the first onal area to the second in measure 13 and then we continue onto the key of V (GM) where we find ourselves in the midst of our secondary theme. (Her name is B and she is a nice brunet who like to ride horses and is an unhappy single, in case you were wondering.) We stay with her from measures 14 until the downbeat of measure 26 when we are handed over to the brief closing material from measure 26-28.
After our brief stint with closing material we are introduced to DEVELOPMENT (definitely the most exciting of the sonata gang.) Development decides to use moments from our closing material to develop first, this is minimally strange, though strange all the same. We continue to see development use the closing theme through most of his section, however he does use a modified version of the motive we say back in B, you know, when the hands play tag. It’s a cute little bit so having it developed and depressed a bit (minor key) is perfectly ok with me. We have a harty retransitional section (actually the chase part) which makes up most of our development, its on he’s Mozart. Our full blown return to our First theme is a little surprising, but not extremely so, just enough to make it interesting. Of course this Recapitulation remains in the same key throughout which brings us to the end of our simple little sonata.
Exposition 1-28 -----
First theme 1-12 CM (I)
Transition 13
Second theme 14 -26.1 GM (V)
Codetta 26-28 GM (V)
Development 29- 41 -----
Retransition 33-41 -----
Recapitulation 42- 73 CM (I)
This is, in my opinion, and extremely terse example of Sonata form. A great place for beginning sonata appreciators. We begin with a nice and simple, though not entirely simple due to its irregular hypermeter, First/ primary theme. This theme is 12 measures long; its first phrase ends in m. 4 on a nice pac before taking off in m. 13 and ending on a cute little half cadence in CM. there is a very brief, one measure, transition from the first onal area to the second in measure 13 and then we continue onto the key of V (GM) where we find ourselves in the midst of our secondary theme. (Her name is B and she is a nice brunet who like to ride horses and is an unhappy single, in case you were wondering.) We stay with her from measures 14 until the downbeat of measure 26 when we are handed over to the brief closing material from measure 26-28.
After our brief stint with closing material we are introduced to DEVELOPMENT (definitely the most exciting of the sonata gang.) Development decides to use moments from our closing material to develop first, this is minimally strange, though strange all the same. We continue to see development use the closing theme through most of his section, however he does use a modified version of the motive we say back in B, you know, when the hands play tag. It’s a cute little bit so having it developed and depressed a bit (minor key) is perfectly ok with me. We have a harty retransitional section (actually the chase part) which makes up most of our development, its on he’s Mozart. Our full blown return to our First theme is a little surprising, but not extremely so, just enough to make it interesting. Of course this Recapitulation remains in the same key throughout which brings us to the end of our simple little sonata.
Sonata stuff
Mozart's Piano Sonata in C Major First movement.
Exposition m. 1- 28
First Theme- m. 1-12 C Major
Transition - m. 13
Second Theme - m. 14-25 G Major
Codetta - m. 26-28
Development m. 29-41 harmonically unstable.
Recapitulation m. 42- 73
First Theme - m. 42- 57 F Major transitions back to C Major through runs
Transition - m. 58
Second Theme - m. 59- 70 C Major with some moments in D Major
Coda - m. 71-73
SONATA FORM!!! Well thank goodness this is a textbook example of a song written in sonata form. It is very clear cut in each section, with a clear exposition, development and recapitulation. The two themes are clearly divided by strong cadences and a one measure transition. The development section brings back motives from the second theme and then, well, develops upon them in a harmonically unstable way. The recapitulation brings back the themes of the exposition but this time they are in different keys. The first theme is in F Major, all though it ends in the expected key, C Major. The second theme seems to begin with C Major and then toy around with D major for a while. This is different from the first time around, but should because this is going to be the end of the piece so we need to end in tonic. The recapitulation of the second theme is followed by another coda which concludes this movement. The motive found in the second theme that seems important to me is the use of the falling broken chords. It is this same idea that is repeated and then explored in the development section, but instead of a broken chord, it is a run, with added accidentals.
Exposition m. 1- 28
First Theme- m. 1-12 C Major
Transition - m. 13
Second Theme - m. 14-25 G Major
Codetta - m. 26-28
Development m. 29-41 harmonically unstable.
Recapitulation m. 42- 73
First Theme - m. 42- 57 F Major transitions back to C Major through runs
Transition - m. 58
Second Theme - m. 59- 70 C Major with some moments in D Major
Coda - m. 71-73
SONATA FORM!!! Well thank goodness this is a textbook example of a song written in sonata form. It is very clear cut in each section, with a clear exposition, development and recapitulation. The two themes are clearly divided by strong cadences and a one measure transition. The development section brings back motives from the second theme and then, well, develops upon them in a harmonically unstable way. The recapitulation brings back the themes of the exposition but this time they are in different keys. The first theme is in F Major, all though it ends in the expected key, C Major. The second theme seems to begin with C Major and then toy around with D major for a while. This is different from the first time around, but should because this is going to be the end of the piece so we need to end in tonic. The recapitulation of the second theme is followed by another coda which concludes this movement. The motive found in the second theme that seems important to me is the use of the falling broken chords. It is this same idea that is repeated and then explored in the development section, but instead of a broken chord, it is a run, with added accidentals.
Mozart Sonata K. 545
I am so not feeling creative right now. Hence the title. The sections of the first movement (allegro) are as follows:
Exposition: measures 1-28, C major
First theme: measures 1-12, C major
Transition b/w 1st and 2nd theme: measure 13, C major
Second theme: measures 14-25, C major
Codetta: 26-28
Development: 29-40, A minor
Retransition: measure 41, C major
Recapitulation: measures 42-70, C major
In the development section, the harmonic material that is being developed is reminiscent of the material present in the exposition in measures 18-24. The harmonic motion that is featured in this section is modulatory, eventually this a minor in this section modulates back to C major.
In the recap, there are a few changes to the theme that is present in the exposition. It starts out the same in measures 42-48 as compared to measures 1-6, but the scalar motion is expanded in the recap. There is also more cadential like action in the recap than there is in the exposition, including soaring scale passages in the right hand with slower rhythmically moving notes in the left hand. The rest of the recap is quite similar to the exposition.
One of the most important motives in this piece is the eighth note sixteenth pattern. This occurs often in the movement and is developed thoroughly in the recapitulation. It first appears in measure 5 of the exposition. In the recap, it is expanded to include notes that do not appear in the exposition, such as D, C, Bb, and A. It is also expanded to include the left hand in this pattern while the right hand plays quarter notes and rests.
Overall, this movement is a short and good example of sonata form. Yeah Mozart!
Exposition: measures 1-28, C major
First theme: measures 1-12, C major
Transition b/w 1st and 2nd theme: measure 13, C major
Second theme: measures 14-25, C major
Codetta: 26-28
Development: 29-40, A minor
Retransition: measure 41, C major
Recapitulation: measures 42-70, C major
In the development section, the harmonic material that is being developed is reminiscent of the material present in the exposition in measures 18-24. The harmonic motion that is featured in this section is modulatory, eventually this a minor in this section modulates back to C major.
In the recap, there are a few changes to the theme that is present in the exposition. It starts out the same in measures 42-48 as compared to measures 1-6, but the scalar motion is expanded in the recap. There is also more cadential like action in the recap than there is in the exposition, including soaring scale passages in the right hand with slower rhythmically moving notes in the left hand. The rest of the recap is quite similar to the exposition.
One of the most important motives in this piece is the eighth note sixteenth pattern. This occurs often in the movement and is developed thoroughly in the recapitulation. It first appears in measure 5 of the exposition. In the recap, it is expanded to include notes that do not appear in the exposition, such as D, C, Bb, and A. It is also expanded to include the left hand in this pattern while the right hand plays quarter notes and rests.
Overall, this movement is a short and good example of sonata form. Yeah Mozart!
Mozart... What more can I say?
Exposition- m. 1-28- C major
Theme 1- m. 1-12- C major
Theme 2- m. 14-28- measure 13 acts as somewhat as an introduction; with the F# this section turns to G/D major
Development- m. 29-41 F major with runs
Recapitulation- m. 42-73,
Theme 1 in F majorFirst Theme- m. 42-57- back to C major
Theme 2- m. 58-73, which ends in C major, but briefly in G/D major
In Mozart's Piano Sonata in C major, K. 545 is in sonata form. Too bad that the title is not sufficent proof of that. What amazes me about Mozart is his ability to take simple harmonies and make them so unbearably exciting. In measures 5-10, the runs are so very exciting to the listener. Anyone who appreciates piano virtuosity will fine this so incredibly pleasing. Speaking of piano virtuosity, measure 11 will never cease to excite me. The build from measure 10 with the runs in the RH and dotted quarter eigthth notes in LH, then switch it to stacato eigthths in RH and 16th note arpeggiations. Mozart messes with our sense of tonic by ti-do-ing C# to D, then adds F#s into the mix.
Mozart has that certain something that no other composer I can think of has achieved. I think it is the ability to be cheeky and honest in the same piece, to be innocent and devilish in same piece. When Mozart writes runs, you can feel yourself lifted up out of your seat and you can fly. At risk of sounding stupid, that is what Mozart does to me. Then sense of control established is unparalleled.
Theme 1- m. 1-12- C major
Theme 2- m. 14-28- measure 13 acts as somewhat as an introduction; with the F# this section turns to G/D major
Development- m. 29-41 F major with runs
Recapitulation- m. 42-73,
Theme 1 in F majorFirst Theme- m. 42-57- back to C major
Theme 2- m. 58-73, which ends in C major, but briefly in G/D major
In Mozart's Piano Sonata in C major, K. 545 is in sonata form. Too bad that the title is not sufficent proof of that. What amazes me about Mozart is his ability to take simple harmonies and make them so unbearably exciting. In measures 5-10, the runs are so very exciting to the listener. Anyone who appreciates piano virtuosity will fine this so incredibly pleasing. Speaking of piano virtuosity, measure 11 will never cease to excite me. The build from measure 10 with the runs in the RH and dotted quarter eigthth notes in LH, then switch it to stacato eigthths in RH and 16th note arpeggiations. Mozart messes with our sense of tonic by ti-do-ing C# to D, then adds F#s into the mix.
Mozart has that certain something that no other composer I can think of has achieved. I think it is the ability to be cheeky and honest in the same piece, to be innocent and devilish in same piece. When Mozart writes runs, you can feel yourself lifted up out of your seat and you can fly. At risk of sounding stupid, that is what Mozart does to me. Then sense of control established is unparalleled.
Ok, here it goes...
P: mm.1-12
T: mm.13
S: mm.14-26
K: mm.26-28
Dev.mm.29-41
Recap:
P:mm.42-57
T:m.58
S:mm59-70
K:mm.71-end
This is a great example of sonata form. It is very clear where each section (p,t,s,k) begins and ends. And for that, I would like to give Mozart a big hug!
The first section is nice enough. We’ve all heard it enough to recognize it. It starts in the great, stable key of C Major, and then in the secondary theme (mm.14-26) it is in the key of G Major. Then Mozart has some fun in the development section with a sixteenth note motive battle of the hands. The development is in the key FM and CM. It then recapitulates in m.41. Then we have the pleasure of hearing the PTSK from the first section of the sonata once again! Yay!
P: mm.1-12
T: mm.13
S: mm.14-26
K: mm.26-28
Dev.mm.29-41
Recap:
P:mm.42-57
T:m.58
S:mm59-70
K:mm.71-end
This is a great example of sonata form. It is very clear where each section (p,t,s,k) begins and ends. And for that, I would like to give Mozart a big hug!
The first section is nice enough. We’ve all heard it enough to recognize it. It starts in the great, stable key of C Major, and then in the secondary theme (mm.14-26) it is in the key of G Major. Then Mozart has some fun in the development section with a sixteenth note motive battle of the hands. The development is in the key FM and CM. It then recapitulates in m.41. Then we have the pleasure of hearing the PTSK from the first section of the sonata once again! Yay!
Oh Clementi
CM:
m.1 – I
m.2 – I
m.3 – I
m.4 – V
m.5 – I
m.6 – I vii7/V
m.7 – V vi6 V6 V/V
m.8 – V
m.9 – V6
m.10 – I
m.11 – V43
m.12 – I6
m.13 – IV ii6
m.14 – V6
m.15 – I
cm:
m.16 – V42
m.17 – i6
m.18 – vii i
m.19 – V
m.20 – V7
m.21 – i64
m.22 – vii i
m.23 – V
CM:
m.24 – I
m.25 – I
m.26 – I
m.27 – V
m.28 – I
m.29 – I
m.30 – V7
m.31 – I
m.32 – V6
m.33 – I
m.34 – V43
m.35 – I6
m.36 – IV ii6
m.37 – V6
m.38 – I
Clementi’s Sonatina in C Major is a sonata form (ABA). The A section repeats, as does the BA section. The A section is in C major, and then switches suddenly to the c minor in the B section (measure 16). At the end of the B section, measure 23, there is a quick run including Mi to transition back into C major. The second time that A is introduced it is down an octave (measure 24-27), it differs for 3 measures then continues lowered a fifth all the way to the end. The A section has the exact same harmonic structure as well except for the three measures, in A1 m.4-6 and in A2 m. 28-30. In the A sections the hands alternate eighth note and quarter note rhythms. The B section also starts out with the A theme, lowered a step.
I really like this sonatina. It is short and sweet; the theme is recognizable and repeated plenty of times. I also like that it is easy to listen to. While I could not personally play this up to speed any time soon, it is certainly an easier piece than any of our previous hearings. I also like that the B section is minor, but it doesn’t sound too different from the other sections. There is a very smooth transition from B to A in the second half of the piece. The entire piece flows nicely, very stable and transitions smoothly. It really is a lovely piece of music.
m.1 – I
m.2 – I
m.3 – I
m.4 – V
m.5 – I
m.6 – I vii7/V
m.7 – V vi6 V6 V/V
m.8 – V
m.9 – V6
m.10 – I
m.11 – V43
m.12 – I6
m.13 – IV ii6
m.14 – V6
m.15 – I
cm:
m.16 – V42
m.17 – i6
m.18 – vii i
m.19 – V
m.20 – V7
m.21 – i64
m.22 – vii i
m.23 – V
CM:
m.24 – I
m.25 – I
m.26 – I
m.27 – V
m.28 – I
m.29 – I
m.30 – V7
m.31 – I
m.32 – V6
m.33 – I
m.34 – V43
m.35 – I6
m.36 – IV ii6
m.37 – V6
m.38 – I
Clementi’s Sonatina in C Major is a sonata form (ABA). The A section repeats, as does the BA section. The A section is in C major, and then switches suddenly to the c minor in the B section (measure 16). At the end of the B section, measure 23, there is a quick run including Mi to transition back into C major. The second time that A is introduced it is down an octave (measure 24-27), it differs for 3 measures then continues lowered a fifth all the way to the end. The A section has the exact same harmonic structure as well except for the three measures, in A1 m.4-6 and in A2 m. 28-30. In the A sections the hands alternate eighth note and quarter note rhythms. The B section also starts out with the A theme, lowered a step.
I really like this sonatina. It is short and sweet; the theme is recognizable and repeated plenty of times. I also like that it is easy to listen to. While I could not personally play this up to speed any time soon, it is certainly an easier piece than any of our previous hearings. I also like that the B section is minor, but it doesn’t sound too different from the other sections. There is a very smooth transition from B to A in the second half of the piece. The entire piece flows nicely, very stable and transitions smoothly. It really is a lovely piece of music.
Sonata-nata
Mozart's Piano Sonata in C major, K.545 First Movement
Okie dokie, here's the little chart I came up with based on the one in the workbook:
Exposition: msrs. 1-28-CM, embellishments during repeat
First Theme: msrs. 1-12- CM, ends with IAC
Second Theme: msrs. 13-28-GM, ends with PAC
Development: msrs. 29-41; modulates to new key
Recapitulation: msrs. 42-73, new keys involved
First Theme: msrs. 42-57-FM/CM, ends with IAC in CM
Second Theme: msrs. 58-73, GM/CM, returns to tonic at end (msr. 70), ends with PAC
In the development section part of the second theme is developed. This theme has movement between the right and left hands consisting of 32 notes and quarter notes. The development borrows this motive of sorts and uses chromaticism to move the piece forward into a new key. The question and answer feel of the hands helps keep the piece going and smoothly transitions into the key of FM for the recapitulation.
The recapitulation has a couple new twists to it in comparison to the exposition. For one it begins in F Major. Also, the first theme is expanded with msrs. 50-53 with the runs of eighth and sixteenth notes in the left hand: a mirror of msrs. 46-49. The theme returns to its original self at msr. 54 and modulates back to the tonic to end on the same IAC it did in the exposition.
The second theme starts at msr. 57 but a fifth lower than in the exposition. In msr. 67 it changes a bit and begins to modulate back to the tonic key of C Major.
I like this piece because the different sections are really clear, making it a good example of sonata form to use for studying. Woot Mozart!
Okie dokie, here's the little chart I came up with based on the one in the workbook:
Exposition: msrs. 1-28-CM, embellishments during repeat
First Theme: msrs. 1-12- CM, ends with IAC
Second Theme: msrs. 13-28-GM, ends with PAC
Development: msrs. 29-41; modulates to new key
Recapitulation: msrs. 42-73, new keys involved
First Theme: msrs. 42-57-FM/CM, ends with IAC in CM
Second Theme: msrs. 58-73, GM/CM, returns to tonic at end (msr. 70), ends with PAC
In the development section part of the second theme is developed. This theme has movement between the right and left hands consisting of 32 notes and quarter notes. The development borrows this motive of sorts and uses chromaticism to move the piece forward into a new key. The question and answer feel of the hands helps keep the piece going and smoothly transitions into the key of FM for the recapitulation.
The recapitulation has a couple new twists to it in comparison to the exposition. For one it begins in F Major. Also, the first theme is expanded with msrs. 50-53 with the runs of eighth and sixteenth notes in the left hand: a mirror of msrs. 46-49. The theme returns to its original self at msr. 54 and modulates back to the tonic to end on the same IAC it did in the exposition.
The second theme starts at msr. 57 but a fifth lower than in the exposition. In msr. 67 it changes a bit and begins to modulate back to the tonic key of C Major.
I like this piece because the different sections are really clear, making it a good example of sonata form to use for studying. Woot Mozart!
Sonata Form, emphaisis on recognizable themes
Mozart Piano Sonata in C major, K. 545 - first movement.
Exposition mm 1 - 28
Theme 1 - mm. 1-12 C major (I)
transition - mm. 13
Theme 2 - 14-25 G major (V)
codetta - mm. 26-28
Development mm. 29 - 41 (mostly in the key of v, g minor)
Recapitulation: mm. 42 - 73
Theme 1 - mm. 42 - 56 F major - cadences in F major
transition - mm. 58
Theme 2 - mm. 59 - 70 C major
coda - mm. 71-73
Mozart's Piano Sonata in C is a very straightforward example of Sonata form. The exposition is played through twice, which makes it actually a double exposition because of the repeat sign in bar 28. This brief codetta cadences in G major, or V which is typical of the conclusion of the exposition. This leaves the listener not entirely satisfied with the cadence, which leads very well into the development section.
Interestingly during the development, Mozart begins by playing with the arpeggiated motive used in the previous codetta. Later in the development, starting around measure 35 though, the scalar 16th notes may also be traced back to the scalar passages at the end of the exposition Theme 1. Interestingly, mozart uses these scales as a method for modulation throughout by altering individual notes. His Exposition Theme 1 begins in C major, ends in G major, the development begins in G minor, ends in F major (start of recapitulation), and also the recapitulation starts in F major and eventually finds its way back to G major and C major, all with the use of these scalar 16th notes. The key to these modulatory are the manipulation of notes like F to F#, Bb to B natural, etc. which serve as 'fi' or secondary dominants to change the quality of the scales.
The recapitulation in measure 42 brings us immediately back to the familiar Theme 1 from the exposition, however it is transposed to IV (F major). Through the use of scalar 16th notes, Mozart adds an F# in measure 55 (signifying a secondary dominant) which allows this Theme 1 to cadence in G major. From this G major, we can again alter the F#, bringing it back down to F natural in the transition to get back to the original tonic C major with the second theme in measure 59.
Overall, this example of Sonata form is quite short, with a fairly brief development section, however this is quite expected; classical music tends to emphasize stability and the recurrence of themes, while using modulatory and development sections to slightly vary the harmonic and textural structure in anticipation of another noticible theme.
Exposition mm 1 - 28
Theme 1 - mm. 1-12 C major (I)
transition - mm. 13
Theme 2 - 14-25 G major (V)
codetta - mm. 26-28
Development mm. 29 - 41 (mostly in the key of v, g minor)
Recapitulation: mm. 42 - 73
Theme 1 - mm. 42 - 56 F major - cadences in F major
transition - mm. 58
Theme 2 - mm. 59 - 70 C major
coda - mm. 71-73
Mozart's Piano Sonata in C is a very straightforward example of Sonata form. The exposition is played through twice, which makes it actually a double exposition because of the repeat sign in bar 28. This brief codetta cadences in G major, or V which is typical of the conclusion of the exposition. This leaves the listener not entirely satisfied with the cadence, which leads very well into the development section.
Interestingly during the development, Mozart begins by playing with the arpeggiated motive used in the previous codetta. Later in the development, starting around measure 35 though, the scalar 16th notes may also be traced back to the scalar passages at the end of the exposition Theme 1. Interestingly, mozart uses these scales as a method for modulation throughout by altering individual notes. His Exposition Theme 1 begins in C major, ends in G major, the development begins in G minor, ends in F major (start of recapitulation), and also the recapitulation starts in F major and eventually finds its way back to G major and C major, all with the use of these scalar 16th notes. The key to these modulatory are the manipulation of notes like F to F#, Bb to B natural, etc. which serve as 'fi' or secondary dominants to change the quality of the scales.
The recapitulation in measure 42 brings us immediately back to the familiar Theme 1 from the exposition, however it is transposed to IV (F major). Through the use of scalar 16th notes, Mozart adds an F# in measure 55 (signifying a secondary dominant) which allows this Theme 1 to cadence in G major. From this G major, we can again alter the F#, bringing it back down to F natural in the transition to get back to the original tonic C major with the second theme in measure 59.
Overall, this example of Sonata form is quite short, with a fairly brief development section, however this is quite expected; classical music tends to emphasize stability and the recurrence of themes, while using modulatory and development sections to slightly vary the harmonic and textural structure in anticipation of another noticible theme.
Sonata Form! Clementi's Sonatina in C Major
Starts in C Major
m1: I
m2: I
m3: I
m4: V
m5: I
m6: I, V/V
m7: V, vi6, V64, V/V
m8: V
To G Major
m9: V6
m10: I
m11: V64
m12: I6
m13: IV
m14: V
m15: I
To C minor
m16: V42
m17: i6
m18: viidim, i
m19: V
m20: V
m21: i6
m22: viidim, i
m23: V
To C Major
m24: I
m25: I
m26: I
m27: V
m28: I
m29: I
m30: V
m31: I
m32: V64
m33: I
m34: V64
m35: I6
m36: IV
m37: V
m38: I
This piece has two large sections, as a sonata form does. The first section, the exposition, is measures 1 to 15. The first theme is measures 1 to 7. Measures 7 and 8 form a transition from C Major into G Major, and the second theme starts in measure 9. The second large section is measures 16 to 38. The first theme, the development, is similar to the first theme from the exposition, but is in C minor this time and lasts from meausre 16 to measure 23, where there is a retransition back to C Major. In measures 24-31, there is a return of the first main theme, the recapitulation, which ends on a PAC in measure 31, leading into a coda through the end of the piece.
While performing this piece, I would follow the dynamics exactly, starting loudly through the first section and backing down at the C minor second section. Then I would build through to the coda for a nice strong ending. I would probably not use much rubato as it is a classical piece and should be played with a very steady tempo.
m1: I
m2: I
m3: I
m4: V
m5: I
m6: I, V/V
m7: V, vi6, V64, V/V
m8: V
To G Major
m9: V6
m10: I
m11: V64
m12: I6
m13: IV
m14: V
m15: I
To C minor
m16: V42
m17: i6
m18: viidim, i
m19: V
m20: V
m21: i6
m22: viidim, i
m23: V
To C Major
m24: I
m25: I
m26: I
m27: V
m28: I
m29: I
m30: V
m31: I
m32: V64
m33: I
m34: V64
m35: I6
m36: IV
m37: V
m38: I
This piece has two large sections, as a sonata form does. The first section, the exposition, is measures 1 to 15. The first theme is measures 1 to 7. Measures 7 and 8 form a transition from C Major into G Major, and the second theme starts in measure 9. The second large section is measures 16 to 38. The first theme, the development, is similar to the first theme from the exposition, but is in C minor this time and lasts from meausre 16 to measure 23, where there is a retransition back to C Major. In measures 24-31, there is a return of the first main theme, the recapitulation, which ends on a PAC in measure 31, leading into a coda through the end of the piece.
While performing this piece, I would follow the dynamics exactly, starting loudly through the first section and backing down at the C minor second section. Then I would build through to the coda for a nice strong ending. I would probably not use much rubato as it is a classical piece and should be played with a very steady tempo.
そのピースが大きらい！＜－－－that means I really hate that piece in japanese
080417
Blog # 11
Chapter 28 Sonata – Form Movements
Analysis
A. Muzio Clementi, Sonatina in C Major, Op. 36, No. 1, first movement (p.76) CD 1.74
Roman numerals
In C major
M1: I
M2: I
M3: I
M4: V
M5: I
M6: I, vii/V
M7: V, V/V
In G Major
M8: I
M9: V6
M10: I
M11: V64
M12: V
M13: IV, ii6
M14: V
M15: I
In C Major
M16: V
M17: i6
M18: vii, i
M19: V
M20: V7
M21: i6
M22: vii, i
M23: V
M24: I
M25: I
M26: I
M27: V
M28: I
M29: I
M30: V
M31: I
M32: V6
M33: I
M34: V43
M35: I
M36: IV
M37: V
M38: I
There are two clear large sections because they are marked with repeats. Measures 1-15 and measures 16-38. The first theme in the exposition is in measures 1-8 and the second theme is from measures 8-15. The second theme goes into g major. Measure 8 has a half cadence and measure 15 ends with an authentic cadence. In the second big section at measure 23 it has a half cadence and then finishes at measure 38 with a perfect authentic cadence. From measures 1-15 is the exposition. Then in the second large section there is a small development from measures 16-23 and then a recapitulation in measures 24-38. It repeats the same first theme but in an octave lower and is slightly different at measures 30. In the development it has some minor chords and goes into the tonic key. In the development section it has the first theme but it is in minor and sounds a little different. Then at measure 20 it does something completely different for the next four measures. From measure 20 it feels like it has a forward motion. At measure 32 it is transposed down a 5th compared to the one in measure 9. This sonatina differs than the regular sonata form because everything is shorter. The development section is extremely shorter. The first theme is even shortened to 8 measures. There isn’t really a transition to modulate because this pieces is so short.
Let me just say, we did this piece in musicianship or something and I absolutely hate it!!!!! It makes me want to throw my laptop out the window and break these CDs in half!
Blog # 11
Chapter 28 Sonata – Form Movements
Analysis
A. Muzio Clementi, Sonatina in C Major, Op. 36, No. 1, first movement (p.76) CD 1.74
Roman numerals
In C major
M1: I
M2: I
M3: I
M4: V
M5: I
M6: I, vii/V
M7: V, V/V
In G Major
M8: I
M9: V6
M10: I
M11: V64
M12: V
M13: IV, ii6
M14: V
M15: I
In C Major
M16: V
M17: i6
M18: vii, i
M19: V
M20: V7
M21: i6
M22: vii, i
M23: V
M24: I
M25: I
M26: I
M27: V
M28: I
M29: I
M30: V
M31: I
M32: V6
M33: I
M34: V43
M35: I
M36: IV
M37: V
M38: I
There are two clear large sections because they are marked with repeats. Measures 1-15 and measures 16-38. The first theme in the exposition is in measures 1-8 and the second theme is from measures 8-15. The second theme goes into g major. Measure 8 has a half cadence and measure 15 ends with an authentic cadence. In the second big section at measure 23 it has a half cadence and then finishes at measure 38 with a perfect authentic cadence. From measures 1-15 is the exposition. Then in the second large section there is a small development from measures 16-23 and then a recapitulation in measures 24-38. It repeats the same first theme but in an octave lower and is slightly different at measures 30. In the development it has some minor chords and goes into the tonic key. In the development section it has the first theme but it is in minor and sounds a little different. Then at measure 20 it does something completely different for the next four measures. From measure 20 it feels like it has a forward motion. At measure 32 it is transposed down a 5th compared to the one in measure 9. This sonatina differs than the regular sonata form because everything is shorter. The development section is extremely shorter. The first theme is even shortened to 8 measures. There isn’t really a transition to modulate because this pieces is so short.
Let me just say, we did this piece in musicianship or something and I absolutely hate it!!!!! It makes me want to throw my laptop out the window and break these CDs in half!
Save the Rainforest - Drink Coffee
A (C)
mea. 1 – I
mea. 2 – I
mea. 3 – I
mea. 4 – V
mea. 5 – I
mea. 6 – I viiº7/V
mea. 7 – V vi6 V6/4 V/V
mea. 8 – V (pivoting as I in G)
mea. 9 – V6
mea. 10 – I
mea. 11 – V4/3
mea. 12 – I6
mea. 13 – IV ii6
mea. 14 – V6/4-5/3
mea. 15 – I
B (Cm)
mea. 16 - V4/2
mea. 17 – i6
mea. 18 – viiº i
mea. 19 – V
mea. 20 – V7
mea. 21 – i6/4
mea. 22 – viiº i
mea. 23 – V
A (C)
mea. 24 – I
mea. 25 – I
mea. 26 – I
mea. 27 – V
mea. 28 – I
mea. 29 – I
mea. 30 – V7
mea. 31 – I
mea. 32 – V6
mea. 33 – I
mea. 34 – V4/3
mea. 35 – I6
mea. 36 – IV ii6
mea. 37 – V6/4-5/3
mea. 38 – I
Clementi’s Sonatina in C Major is an unusual sonata form. Here’s why:
According to expectations, each measure contains only one chord, so the harmonic rhythmic is rather slow to start. As cadences appear (as in measures 6-7) the rhythm picks up drastically, up to four chords being expressed. That’s not too peculiar as plenty of composers follow this same pattern. However, the length at which Clementi moves is quite short, the FTA only being an entire 8 measures. There is no transition between the FTA and STA as the cadence at measure 8 elides with the beginning of the STA (hence no transition). This is very unusual, as most sonatas during this time have at least a small transition.
All is going fine and dandy until the B section (the development, for the sonata form-challenged), when Clementi shifts to the parallel minor, C minor! (Drastic and unexpected, I’m sure.) He even ventures out to change some of the RH structure, introducing octave G’s. It’s all a ploy to keep the listener unaware of what’s coming next…as ambiguous and dastardly as it may seem. And fool us he does, our dear old Clementi, with a short “Sol Fa Mi Re Do” retransition to the A section, in C major as would be expected. Surprisingly, the melody is voiced an octave lower than the exposition and measures 28-30 are a wee bit different but the real change comes later, in measures 31-32. Rather than the beginnings of an arpeggio upwards, Clementi goes down; again, very, very clever. It’s also here that we finally realize, “Ah! You’ve stayed in the same key!” It’s a wonderful and joyous time for everyone as the modulation has created a complementary and cohesive unit we like to call “recapitulation.” But again, it’s all so darned short with very little time for any transitions. No matter – we still have two themes, a transition, and some nice material that closes it all up, giving us our complete (but bared-boned) sonata form by Muzio Clementi.
I will shoot this piece in the face if I have to listen to it one more time.
This is a pretty easy to follow sonatina with clear exposition, development, and recapitulation sections. Okay, let's start out the harmonic analysis.
Exposition ms.1-15
First Tonal Area: C Major
ms.1-3 I
ms.4 V, HC
ms.5 I
ms.6 I, V6/V
ms.7 V, vi6, V64, V/V, transition
Second Tonal Area: G Major
ms.8 I
ms.9 V6
ms.10 I
ms.11 V43
ms.12 I6
ms.13 IV
ms.14 V
ms.15 I, PAC
Development ms.16-19
New Key: c minor
ms.16 V42
ms.17 i6
ms.18 V65, i
ms.19 V, HC
Retransition ms.20-23
ms.20 V7
ms.21 i64
ms.22 V6
ms.23 V
Recapitulation ms.24-end
First Tonal Area: C Major
ms.24-26 I
ms.27 V
ms.28-29 I
ms.30 V7, HC
ms.31 I, transition
Second Tonal Area (transposed to tonic key)
ms.32 V6
ms.33 I
ms.34 V43
ms.35 I6
ms.36 IV
ms.37 V
ms.38 I, PAC
Pretty simple right?
Now, to answer questions c, d, and e...
The theme from the first tonal area is "explored" in the development. Really all that happens here is that Clementi takes the first theme, which is in major, and makes it minor, pretty straightforward. The harmonic motion is also simple it goes D,T,D,T, and then back to Dominant one last time ending on a half cadence.
Nothing really drastic happens when the two themes return in the recapitulation. The first theme is in its original key but is lowered by an octave. The second theme is also the same...minus the it being transposed to the tonic key part.
Yep, this is a sonatina. And yes, a sonatina is a basically a shortened sonata. And yeah, it does have an abbreviated development section. Is there really anything else to say? Well, I suppose you could say that if this were a sonata then perhaps the development section would have elaborated a bit more on the first theme, as well as developed the second theme, and maybe even the development section could make up it's own theme for itself! yay for run-on sentences.
Exposition ms.1-15
First Tonal Area: C Major
ms.1-3 I
ms.4 V, HC
ms.5 I
ms.6 I, V6/V
ms.7 V, vi6, V64, V/V, transition
Second Tonal Area: G Major
ms.8 I
ms.9 V6
ms.10 I
ms.11 V43
ms.12 I6
ms.13 IV
ms.14 V
ms.15 I, PAC
Development ms.16-19
New Key: c minor
ms.16 V42
ms.17 i6
ms.18 V65, i
ms.19 V, HC
Retransition ms.20-23
ms.20 V7
ms.21 i64
ms.22 V6
ms.23 V
Recapitulation ms.24-end
First Tonal Area: C Major
ms.24-26 I
ms.27 V
ms.28-29 I
ms.30 V7, HC
ms.31 I, transition
Second Tonal Area (transposed to tonic key)
ms.32 V6
ms.33 I
ms.34 V43
ms.35 I6
ms.36 IV
ms.37 V
ms.38 I, PAC
Pretty simple right?
Now, to answer questions c, d, and e...
The theme from the first tonal area is "explored" in the development. Really all that happens here is that Clementi takes the first theme, which is in major, and makes it minor, pretty straightforward. The harmonic motion is also simple it goes D,T,D,T, and then back to Dominant one last time ending on a half cadence.
Nothing really drastic happens when the two themes return in the recapitulation. The first theme is in its original key but is lowered by an octave. The second theme is also the same...minus the it being transposed to the tonic key part.
Yep, this is a sonatina. And yes, a sonatina is a basically a shortened sonata. And yeah, it does have an abbreviated development section. Is there really anything else to say? Well, I suppose you could say that if this were a sonata then perhaps the development section would have elaborated a bit more on the first theme, as well as developed the second theme, and maybe even the development section could make up it's own theme for itself! yay for run-on sentences.
Wednesday, April 16, 2008
Clementi's Sonatina
Alright, it asks for a full analysis, so here goes:
In C major (I):
1 - I
2 - I
3 - I
4 - V
5 - I
6 - I, viio7/V
7 - V, vi6, V64, V/V
In G major (V):
8 - I
9 - V6
10 - I
11 - V43
12 - I6
13 - IV, ii6
14 - V7
15 - V
In C major (I):
16 - V42
17 - i6
18 - vii0, i
19 - V
20 - V7
21 - i64
22 - viio, i
23 - V
24 - I
25 - I
26 - I
27 - V
28 - I
29 - I
30 - V7
31 - I
32 - V6
33 - I
34 - V43
35 - I6
36 - IV, ii6
37 - V7
38 - I
Now the form analysis:
Exposition
The retransition is really not a full retransition, just a short bass scale borrowed from m. 4 of the FTA - and since there are no transitions from the FTA to the STA in either the exposition or the recapitulation, I'd probably call this little half-measure a link, rather than a full retransition.
The recapitulation begins with the same FTA from the exposition, except that the right hand is one octave lower than before, and of course, it remains in C major instead of modulating. I believe the different octave in the second FTA is to keep the STA's scalar motive, when it arrives in m. 31, in a nice mid-range tessitura; because this time, we haven't modulated.
So, what makes this a Sonatina, as opposed to a sonata? First of all, excluding repeats, the entire piece is only 38 measures long. Also, examining a typical sonata form we find:
EXPO DEV RECAP
P T S K P T S K
Whereas in Clementi's Sonatina, we have:
EXPO DEV RECAP
P S (k*) P S (k*)
...with neither transitions from P (FTA) to S (STA), nor thematic closing material. *(One could argue that the arpeggiated tonic chord in ms. 15 and 38, since it appears at the end of both the expo and the recap, could be Clementi's "K", but again, it's so short the serious viability of this is doubtful.) This piece certainly qualifies as a sonata form-inspired work, but it does not have the length or the extra material that we find in most true sonatas.
I do hope that covers it. Until next time!
In C major (I):
1 - I
2 - I
3 - I
4 - V
5 - I
6 - I, viio7/V
7 - V, vi6, V64, V/V
In G major (V):
8 - I
9 - V6
10 - I
11 - V43
12 - I6
13 - IV, ii6
14 - V7
15 - V
In C major (I):
16 - V42
17 - i6
18 - vii0, i
19 - V
20 - V7
21 - i64
22 - viio, i
23 - V
24 - I
25 - I
26 - I
27 - V
28 - I
29 - I
30 - V7
31 - I
32 - V6
33 - I
34 - V43
35 - I6
36 - IV, ii6
37 - V7
38 - I
Now the form analysis:
Exposition
- FTA - m. 1-8 --> key of I, modulates to V
- STA - m. 8b-15 --> key of V
- * - phrases overlap at m. 8, with no formal transition
- m. 16-23, two HC's in I at ms. 19 and 23
- retrans - arguable, m. 23b (so short, really more of a link)
- FTA - m. 24-31 --> key of I
- STA - m. 31b-38 --> key of I
- * - phrases overlap again at m. 31, with no formal transition
The retransition is really not a full retransition, just a short bass scale borrowed from m. 4 of the FTA - and since there are no transitions from the FTA to the STA in either the exposition or the recapitulation, I'd probably call this little half-measure a link, rather than a full retransition.
The recapitulation begins with the same FTA from the exposition, except that the right hand is one octave lower than before, and of course, it remains in C major instead of modulating. I believe the different octave in the second FTA is to keep the STA's scalar motive, when it arrives in m. 31, in a nice mid-range tessitura; because this time, we haven't modulated.
So, what makes this a Sonatina, as opposed to a sonata? First of all, excluding repeats, the entire piece is only 38 measures long. Also, examining a typical sonata form we find:
EXPO DEV RECAP
P T S K P T S K
Whereas in Clementi's Sonatina, we have:
EXPO DEV RECAP
P S (k*) P S (k*)
...with neither transitions from P (FTA) to S (STA), nor thematic closing material. *(One could argue that the arpeggiated tonic chord in ms. 15 and 38, since it appears at the end of both the expo and the recap, could be Clementi's "K", but again, it's so short the serious viability of this is doubtful.) This piece certainly qualifies as a sonata form-inspired work, but it does not have the length or the extra material that we find in most true sonatas.
I do hope that covers it. Until next time!
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