Annotating the Exposition Ornamentation in the 2nd Subject
Beethoven - Annotation of the Exposition.webmOrnamentation in the 2nd Subject.webmLesson Objectives:
To recap what is contained in the exposition of sonata form
To understand what is meant by 2/2 (Alla breve)
To look at the musical features of the 1st subject and transition
To look at the musical features of the 2nd subject and codetta
Reminder of the Exposition
Exposition: 1st Subject
The drama from the introduction continues with an ascending ‘rocket like’ melody in the right hand—the 1st subject.
The tempo marking has changed from the introductions Grave (slow and solemnly) to Allegro (fast and lively) molto (very) con brio (with fire) So very fast, lively and fiery!
Because it is so fast, the time signature has changed from 4/4 to 2/2 (alla breve) Having only 2 minim beats in a bar rather than 4 crotchet beats gives it a faster feel.
Try clapping 4 fast beats and then keeping the same tempo clap two minim beats!
The 1st subject is made up of 2 + 2 bars and a 4 bar phrase structure. This forms a balanced melody known as periodic phrasing. This is typical of the Classical style. The 8 bars together form a arch, rising from middle C, ascending 2 octaves and then falling down an octave.
This melody is accompanied by a pounding, fast quavers in the left hand. The first 4 bars of which are a tonic pedal (remember that from Star Wars!)
Exposition: Transition
This is based on the 1st subject with it’s rising semitones.
The purpose of the transition is to modulate (change key) for the start of the 2nd subject.
Beethoven takes a tiny bit of the transition melody, the rising and falling semitones and augments them (doubles the length) from bar 45.
The pounding octaves in the left hand ascended chromatically from the dominant of C minor (G) to Ab to A and ending on Bb for 6 bars. This is the dominant of Eb major, the relative major, which we would expect the 2nd subject to be in…..but we know otherwise!
Exposition: 2nd Subject
After the ‘rocket like’ 1st subject, the 2nd subject is much more lyrical (flowing and songlike)
Beethoven breaks the rules and instead of modulating to the relative major (Eb major) he chooses the minor tonality—Eb minor, which continues the sorrowful Pathetique mood. The 2nd subject is divided into two sections. The first part is below.
The melody is made up of balanced 4 + 4 phrases. Each one starts on the 2nd beat of the bar and moves from the low bass clef to the higher treble clef, which sounds like a conversation between two voices!
This is achieved by the right hand crossing over the left hand for the bass clef parts.
The 2nd subject melody is accompanied in the left hand by a held dominant Bb pedal and a simple repeated chords.
This takes on a key role in the development! REMEMBER IT!
The second section of the 2nd subject (could get confusing!) at bar 89 finally reaches the expected key of Eb major.
The accompanying chords now become broken.
Exposition: Codetta
The codetta hears a return to the left hand pounding octaves on a tonic pedal Eb
The melody returns to the 1st subject in Eb major.
The exposition is repeated so somehow Beethoven needs to get back to the tonic, C minor.
He does this by moving down to the dominant chord (G B D) to give a perfect cadence ready for the repeat of the exposition.
After the exposition is repeated, the player must now go to the 2nd time bar to move onto the development. Beethoven gives us two D7 chords, the dominant of G minor (D F# A C)
This sets up the development to start in G minor.
Review Question:
1) What are the three main sections in sonata form?
2) What key is the 1st subject in?
3) Make two points about the 1st subject melody
4) What melody is the transition based on?
5) What key does the 2nd subject begin in and what key would you expect it to be in?