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A Musical Analysis: Beethoven Sonate No 5. Op 10. No 1. Analyzing Movement 1: Allegro molte e con brio Ludwig Van Beethoven is widely regarded as one of the most influential and gifted composers of all time. He became the first composer to change the form of the symphony by adding movements to one another by creating simple transitions that did not allow for any breaks in between. He developed the musical length of the form and added expansion material to the codas. Beethoven was considered a rebel who broke the rules in composition. However when it came to composing, Beethoven made the rules. The Sonata Allegro form is composed of three main parts that specifically deal with the first movement of a piece. It can simplistically be called the ABA form. The first A section is called the Exposition, and this is the introduction to the piece. The B section is the Development, and it carries the composition further in elaborating on the exposition. Finally, the A section is called the recapitulation, and the original A section is repeated in variations until a coda or ending occurs. It many ways, this form of music is analogous to the components of an analytical essay. The first part of the Sonata form is the Exposition. It establishes the primary themes that will be later developed and altered so that they may later become transitions to a related key section or to a closing section. It will then usually repeat itself before transitioning to the next stage. In many ways, the principal theme is much like a thesis, it is the whole purpose of the piece, and its presence is used to establish an idea that will transition into other sections that support and consistently underline this thought. The second part of the Sonata is often called the Development. It is a free form, and therefore can vary in length. It often serves as a strong contrast to the exposition, though the repetition of the main idea is still present. In many ways the main idea serves as a transition, or topic sentence, that will allow the principle theme to move in a different direction. Finally, the conclusion, or the Recapitulation, will return to the material presented first in the exposition. It is often condensed, abbreviated, expanded, rearranged, or contains combinations of the development sections as well. It is simply re-establishing the main thesis, and reminding the listener what the piece is all about. The piece used for analysis is Beethoven’s Sonata in C minor, No 5 Op 10 No 1. Listening to this piece, it is evident that Beethoven follows the Sonata form. The exposition, called the A section, opens with strong dynamics and solid root chords that quickly captures the attention of the listener. The opening measures of the piece, or the A section, is composed in c minor with a i chord. Here we see and hear the first motive of the piece. A derivation of it is repeated again, but this time with accidentals. There is a b natural, which means the piece could be quickly changing to the parallel major of the piece, C major. If this is true, the end of the phrase ends back on a I6 chord in c minor again. Though the A section will continue on for a bit longer, the opening measures will be the most important to follow throughout the remainder of the movement, keeping a look out for any repetition or reference back to the principal theme. Here the A section transitions into a B section. The A section cadenced on a strong i chord, and then with only a measure’s rest serving as a transition, went on into the contrasting B section. A cadence is a standard formula used to end a section or a piece. There are several different types of cadences, but in this particular case the last chord ended on a perfect-authentic cadence, which is the most prominent. It means that the chord ends in a root position with the soprano part on the root position of the I chord. The tied half notes in the left hand slow the tempo down slightly, and the lack of chords and eighth notes in the right hand also help with the softer touch. Section C: The left hand changes its movement from quarter notes and ties to eighth notes. It has become evident that the tempo is beginning to pick up speed again. The C section will continue with upward scales in the right hand followed by dotted half notes and such. Looking at the full score of music, the C section eventually renews the idea of the A section by playing versions of the main idea in several different keys. After cadential expansion measures towards the end of the section, it will finally cadence on a i6, and then repeat the entire exposition. This section is derived from section C. After moving into the development and already touching upon the original theme, the idea of the eighth notes in the left hand is used again, but this time with a different right hand melody. Beethoven skipped reviewing the B section and went straight from A to C. He will eventually do a derivation of the B section later in the recap, but during the development will dissect the B section to the point that it cannot be recognized. The movement ends with a medley of the three sections, with the tempo changing slightly from fast to slower, this being controlled with eighth notes and quarter notes with ties. The end of the movement is strong, with just two chords that suddenly burst out from the softer dynamics Beethoven was hinting at. It goes from a V to a I chord, making it a perfect authentic cadence. Sources: Recording: John O’Conor on piano. Ludwig Van Beethoven’s Sonata No 5 Op 10 No 1 Books: Benward and Saker’s Music-In Theory and Practice- Seventh Edition Volume 1. Dover Publishing Ludwig Van Beethoven