pathetique

Question 1

Uses forte piano

Answer 1

Uses forte piano

Question 2

sonata form

Answer 2

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).

Question 3

The three sections in sonata-form movements are called:

Answer 3

• exposition
• development
• recapitulation.

Question 4

The three sections in sonata-form movements - explained

Answer 4

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).

Question 5

Texture

Answer 5

• 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).

Question 6

Dynamics:

Answer 6

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).

Question 7

Slow introduction Bars 1–10 - Rhythm, Tempo, Metre

Answer 7

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

Question 8

Slow introduction Bars 1–10 - Harmony

Answer 8

• Diminished 7th chords – chromatic
• Non-functional harmony
• There is an interrupted cadence at bar 9.

Question 9

Slow introduction Bars 1–10 - Tonality

Answer 9

The music is in the key of C minor, modulating briefly to the relative major key of E♭ at the end

Question 10

Slow introduction Bars 1–10 - Melody

Answer 10

• 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

Question 11

Exposition First subject Bars 11–50 - Rhythm, Tempo, Metre

Answer 11

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

Question 12

Exposition First subject Bars 11–50 - Harmony

Answer 12

• 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.

Question 13

Exposition First subject Bars 11–50 - Tonality

Answer 13

The music is in the key of C minor, modulates to related keys- Eb major - relative major

Question 14

Exposition First subject Bars 11–50 - RH – Melody

Answer 14

• 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

Question 15

Exposition First subject Bars 11–50 - LH – Accompaniment

Answer 15

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.

Question 16

Exposition second subject – Theme 1 Bars 51–88 - Rhythm, Tempo, Metre

Answer 16

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

Question 17

Exposition second subject – Theme 1 Bars 51–88 - Harmony

Answer 17

Dominant pedal - Bb

Question 18

Exposition second subject – Theme 1 Bars 51–88 - Tonality

Answer 18

starts in unrelated key of Eb minor – theme is then repeated in multiple different keys

Question 19

Exposition second subject – Theme 1 Bars 51–88 - RH – Melody:

Answer 19

• 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.

Question 20

Exposition second subject – Theme 2 Bars 89–112 - Rhythm, Tempo, Metre, Tonality

Answer 20

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)

Question 21

Exposition second subject – Theme 2 Bars 89–112 - Melody

Answer 21

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

Question 22

Exposition second subject – codetta 113–132 - Rhythm, Tempo, Metre

Answer 22

Rhythm: continuous quavers
Tempo: Allegro di molto e con brio (very fast and with vigour).
Metre: 2/2 alla breve time

Question 23

Exposition second subject – codetta 113–132 - Melody

Answer 23

• 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

Question 24

Reprise of intro Bars 133–136 - Rhythm, Tempo, Metre

Answer 24

Rhythm: dotted rhythms, quavers, semiquavers
Tempo: solemn grave tempo
Metre: 4/4 common time

Question 25

Reprise of intro Bars 133–136 - Harmony, Tonality, Melody

Answer 25

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.

Question 26

Development Bars 137–194 - Rhythm, Tempo, Metre

Answer 26

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

Question 27

Development Bars 137–194 - Harmony, Tonality, Melody

Answer 27

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.

Question 28

Recapitulation Bars 195–294

Answer 28

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.

Question 29

Coda Bars 295 to the end

Answer 29

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.