pathetique Flashcards
Uses forte piano
Uses forte piano
sonata form
The set work uses sonata form as its structure. The two fundamental ideas expressed in sonata form are repetition and contrast.
The structure developed from the Baroque binary (two-section) structure (AB, or AABB with repeats) as well as the three-part ternary structure (ABA).
The three sections in sonata-form movements are called:
- exposition
- development
- recapitulation.
The three sections in sonata-form movements - explained
This structure gives a balanced arch shape to the movement. The exposition is balanced by the very similar recapitulation (see below).
Contrast is achieved through the two different melodies in the exposition, called the first and second subjects. Repetition occurs in the repeat of both first and second subjects in the recapitulation. The central development section provides further contrast and repetition, as these two melodies are explored and developed further in different keys.
A sonata form movement o#ften ends with a short rounding-off section called a coda – (tail).
Texture
- The slow introduction includes many passages of homophonic (chordal) writing (e.g. bar 1).
- There is a long descending monophonic passage in the right hand leading into the recapitulation.
- The second subject material features melody and accompaniment style – you can also call this homophony (or melody-dominated homophony).
- There are examples of two-part music with broken chords in the second idea of the second subject (e.g. bar 93).
Dynamics:
There is constant dynamic contrast here and in the rest of the piece, with frequent use of fortepiano (loud, then immediately soft) and sforzando (sudden loud accent on an individual note or chord).
Slow introduction Bars 1–10 - Rhythm, Tempo, Metre
Rhythm
* dotted rhythms, quavers, semiquavers
* There are some very rapid notes, including septuplets and 1/128th notes in bar 10 - RH
tempo
solemn grave tempo
Metre
4/4 common time
Slow introduction Bars 1–10 - Harmony
- Diminished 7th chords – chromatic
- Non-functional harmony
- There is an interrupted cadence at bar 9.
Slow introduction Bars 1–10 - Tonality
The music is in the key of C minor, modulating briefly to the relative major key of E♭ at the end
Slow introduction Bars 1–10 - Melody
- There is a distinctive six-note motif (short melodic idea) This is used as a basis for most of the introduction, sometimes reduced to five notes, and sometimes with the second last note rising instead of falling.
- contains rapid scalic flourishes, and ends with a long descending chromatic scale
Exposition First subject Bars 11–50 - Rhythm, Tempo, Metre
Rhythm
* Staccato chords, mainly crochets & minims RH
* The left-hand plays tremolo quaver octaves
Tempo
Allegro di molto e con brio (very fast and with vigour).
Metre
2/2 alla breve time
Exposition First subject Bars 11–50 - Harmony
- left-hand plays tremolo octaves, forms a tonic pedal on C in bars 11-15
- chromatic chords
- diminished 7th chords
- augmented 6th chords - bars 30 and 34.
Exposition First subject Bars 11–50 - Tonality
The music is in the key of C minor, modulates to related keys- Eb major - relative major
Exposition First subject Bars 11–50 - RH – Melody
- ascending mainly scalically a distance of two octaves - this is referred to as the ‘rocket theme’. The music is marked with staccato – meaning detached (separate) notes.
- A subsidiary theme begins at bar 27 featuring descending arpeggios.
- A transition based on the main theme - using sequences begins at bar 35
Exposition First subject Bars 11–50 - LH – Accompaniment
The left-hand plays tremolo octaves, which in bars 11-15 also form a tonic pedal on C. This type of accompaniment is also known as a murky bass.
Exposition second subject – Theme 1 Bars 51–88 - Rhythm, Tempo, Metre
Rhythm: RH – staccato crotchets contrasted with legato mordents
Tempo: Allegro di molto e con brio (very fast and with vigour).
Metre: 2/2 alla breve time
Exposition second subject – Theme 1 Bars 51–88 - Harmony
Dominant pedal - Bb
Exposition second subject – Theme 1 Bars 51–88 - Tonality
starts in unrelated key of Eb minor – theme is then repeated in multiple different keys
Exposition second subject – Theme 1 Bars 51–88 - RH – Melody:
- Features hand crossing technique, where the right hand moves down over the left hand to play four staccato notes, before returning and a distinctive acciaccatura ornament.
- The theme continues with a stepwise descending phrase featuring mordents.
- This theme by contrast is much more lyrical. The crossed hands create a dialogue / antiphonal effect.
Exposition second subject – Theme 2 Bars 89–112 - Rhythm, Tempo, Metre, Tonality
Rhythm: Continuous quavers
Tempo: Allegro di molto e con brio (very fast and with vigour).
Metre: 2/2 alla breve time
Tonality: Eb major (relative major)
Exposition second subject – Theme 2 Bars 89–112 - Melody
It has a new 2-part, broken chord texture. There is a crescendo while the hands move in contrary motion.
LH is some style of Alberti bass configuration
Exposition second subject – codetta 113–132 - Rhythm, Tempo, Metre
Rhythm: continuous quavers
Tempo: Allegro di molto e con brio (very fast and with vigour).
Metre: 2/2 alla breve time
Exposition second subject – codetta 113–132 - Melody
- scalic melody. It reinforces the new Eb major key. This final section can also be called a codetta (short rounding-off section). – scalic stepwise conjunct
- Followed by a reprise of the exposition first subject
- Simple LH again
Reprise of intro Bars 133–136 - Rhythm, Tempo, Metre
Rhythm: dotted rhythms, quavers, semiquavers
Tempo: solemn grave tempo
Metre: 4/4 common time
Reprise of intro Bars 133–136 - Harmony, Tonality, Melody
Harmony:
* Diminished 7th chords – chromatic
* Non-functional harmony
Tonality: G minor (the dominant minor key) - modulates to E minor
Melody: There is a distinctive six-note motif (short melodic idea) This is used as a basis for most of the introduction, sometimes reduced to five notes, and sometimes with the second last note rising instead of falling.
Development Bars 137–194 - Rhythm, Tempo, Metre
Rhythm:
* first subject theme - Staccato chords, mainly crochets & minims RH
* then the right-hand plays tremolo quaver octaves
Tempo: Allegro di molto e con brio (very fast and with vigour).
Metre: 2/2 alla breve time
Development Bars 137–194 - Harmony, Tonality, Melody
Harmony: Dominant pedal G bar 167
Tonality: E minor
Melody:
* starts with the exposition first subject theme
* 149- RH plays tremolo quaver octaves -
* LH - Fragments of the exposition first subject theme are heard in the bass from bar 149.
* Long dominant preparation begins at bar 167 where the dominant note G is played in rapid alternating octaves in the bass as a pedal.
* descending conjunct scalic monophonic quaver passage in the right hand.
Recapitulation Bars 195–294
The recapitulation repeats the music of the exposition but alters the keys of the second subject material. This time the second subject starts in the subdominant – F minor – (bar 221) before moving to the expected tonic key. All three main musical ideas of the second subject are heard and the recapitulation finishes with two fortissimo diminished seventh chords.
Coda Bars 295 to the end
Four bars of the introduction, with silence on the first beat (a very unusual idea), leads to 12 bars of allegro with the first subject theme. The music ends with fortissimo perfect cadences in the tonic key.
