Pathétique Flashcards
Intro dynamics
- ‘grave’ played slow and solemn relating to pensive and somber atmosphere
- large + sudden dynamic changes to mirror intense emotions during romantic era
Intro rhythm
Played homorythmic where uses same ‘funeral’ motif
Intro structure
It is the intro which would have been highly unusual for the sonata form
Intro melody
- 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
Intro instrumentation
Use of the forte piano
Intro texture
Largely homophonic as chords played at same time
Key sig of harmony
C minor
Intro chords
- stacks of minor 3rds
- dim 7 chords which show unstable and can modulate through keys fast (common feature romantic era)
B5 onwards dynamics
- maintains rapid and sudden dynamic changes
- fermeta into 1st subject for dramatic pause and effect
B5 on rhythm
Use of syncopation into the motif but mainly HOMORYTHMIC
B5 on context
- fast and scallic sequences with semi Hemi demi semi qu’avers showing the virtuosic and showmanship
B5 on melody
- conjunct/descending
- fast with semi Hemi demi semi qu’avers
- melodic flourishes
B5 on texture
- mainly MDH
- during chromatic descending sequence, monophonic
B5 on harmony
- 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
1st subject rhythm
Time sig change to 22
1st sub melody
- conjunct with few small leaps
- rapid ascending sequence = manheim rocket
- spiky articulation with use of staccato
1st subject bass part
- 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
1st subject melody harmony
Starts in C but then goes to Bb and E creating a tritone
- 3 whole tones creates clashing and dissonance
Bar 19
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
B27
Dominant chord of g acts as functional harmony
Transition sequence
- 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
Transition harmony
- 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
2nd sub dynamics
- uses ‘sopra’ which is hand crossing
- uses ‘sotto’ to play quietly under the melody and used so it’s easier
2nd sub rhythm
Still in 22
2nd sub melody
- melody is lyrical and legato
- decoration of melody with acciaccatura and upper mordents
- use of descending sequence for ‘new theme’
2nd sub harmony
- subverts normal sonata form and unusual as it should go into relative major or dominant)
- in Eb minor
New theme harmony
Eb major
New theme texture
- 4 part polyphonic texture
- there is a crescendo when hands play in contrary motion
New theme influence
Use of Alberti bass which is a common feature of classical period however draws on both eras to subvert
Codetta
Used to mark the end of the exposition
Codetta melody
- conjunct descending sequence
- use of legato articulation which makes it lyrical which is a feature of romantic period
Codetta unusual
Use of manheim rocket theme again
Codetta harmony
- 2 5 1 = D G C
- D6maj, G7 (dominant 7th creates perfect cadence for next key) pause on C
- secondary dominant progression
How is development created
- Builds on ideas from exposition but with fragmentation, rhythmic augmentation and modulation to unrelated keys
Intro 2 dynamics
- fp similar to intro 1
- played ‘grave’ shock is slow and also minor key is used
Intro 2 rhythm
Homorythmic as same rhythm is played on chords
Intro 2 context
- repetition in the middle of pièce would be highly unusual
- subverts typical expectations by utilising techniques from both eras
Intro 2 melody
Repeats same intro part
Intro 2 key sig
- g minor with help of dominant progression
- however unrelated key which was unusual
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
B137 on dynamics
- starts p and crescendo
B137 on rhythm
Minims to crochet = notes doubled
- rhythmically augmented from motif
- quaver accomp in octaves
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
B167 harmony
- long dominant preparation where dominant of G is played in rapid alternating octaves in bass as a pedal
B167 melody
- everything converted to left hand
- broken arpeggio shape
- repetition and fragments of manheim
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
Récapitulation
- recap of expo and development but in dif keys
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
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
Recap 2nd sub melody
- ascending sequence
- use of ornamentation with acciaccatura and trills and mordents
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
Recap of new theme
- key change back into tonic of c minor
- normal Alberti bass and polyphonic texture
- codetta AND THEN MANHEIM AGAIN
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
Coda intro
- four bars of intro with silence on first beat which was an unusual idea
Coda intro dynamics
- back into grave
- sudden dynamic changes
Coda intro rhythm
- funeral motif
- homorythmic
Coda intro context
- recap but goes back to intro at the end
- not typical to have two intros = subverting typical sonata form
Coda intro harmony
Key sig of C minor back into tomicm
B299 dynamic
- allegro molto e con brio
- starts p
B299
- 1st subject of manheim
- with murky bass
End
Use of cadential 6-4
- which is a common classical progression
End harmony
V6-4 = decorated 5 chord
I aug
V7 5-3 = g major
I = c minor
END ON PERFECT CADENCE
Common features of romantic
- chromatic harmony
- sudden dynamic changes
- dim 7th chords
- modulation to unrelated keys
Common features of classical period
- sequences
- cadential 6-4
- functional harmony
- Alberti bass
