Analysis of Sonata Form

8/5/11 12:57 PM

Analysis of Sonata Form

Beethoven, String Quartet, Op. 18, No. 1, I (ANSWERS)
(Turek Anthology, p. 284ff.) 1. Enter the measure numbers and beginning key of each section. For Harmonic Relation , enter the harmonic relation each key has to the tonic of the composition (global functions).

Section Measures Key (beg.) Harmonic Relation

Exposition Theme Trans. 1 1-29 F I 30-56 F I

Dev. Theme Closing 2 57-72 C V 72-114 C V 115178 a iii

Recapitulation Theme Trans. 1 179200199 217 F I Gb bII

Coda Theme 2 218233 F I Closing 233281 F I 282313 F I

2. Is the harmonic relation between Themes 1 and 2 normal for sonata form? If not, explain. Yes, In sonata form, in major keys, Theme 2 is normally in the dominant (V)

3. Chart the measures , keys, and cadences and describe the phrase structure of Theme 1 in the Exposition . Explain any asymmetries. 1-8 F: HC 9-20 F: PAC 21-29 F: PAC

1-20 = asymmetrical, parallel period (interpolation in mm. 15-18). I hear mm. 21-29 as a cadential extension. OR 1-29 = asymmetrical, parallel (3-phrase) period with two consequent phrases

4. Chart the measures , keys, and cadences and describe the phrase structure of Theme 2 in the
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Analysis of Sonata Form

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Exposition. Explain any asymmetries. mm. 57-64 C: HC mm. 65-72 F: PAC

57-72 = symmetrical, parallel period with two symmetrical phrases

5. Chart the measures , keys, cadences, and motivic basis (Theme 1, Theme 2, or new motive?) of each subsection in the Development. This question is less important, but: 115-166, Transitional and Theme 1 material (A minor, Bb major, etc.), then 167-178 dominant preparation

6. Compare each section in the recapitulation with its corresponding section in the exposition. Explain any differences in length, keys, motives, etc. Be specific. Theme 1: Modulation to D-flat, PAC in G-flat (m. 198 and m. 206), slightly shorter Transition: Shorter, ends with HC in F (as expected) Theme 2: In F (as expected) Closing Section: In F (as expected), New material in m. 274, which prepares the coda.

7. Identify any codettas. If there is an introduction , list the measure numbers and describe its harmonic and motivic relationships with the rest of the composition. If there is a coda , list the measure numbers and describe its harmonic and motivic relationships with the rest of the work.

Codettas: Measures 101-114 and mm. 262-281 may be considered codettas since they each follow a PAC and serve to extend the section. They are still a part of the Closing Section.. After brief transitional material (mm. 274-281), a coda begins in m. 282.

Coda: 282-313, based on fragments of Theme 1 (a codetta within the coda is mm. 302313).

8. Analyze the key, harmonies, and any sequences in mm. 97-101. Write your analysis below. c: i VI vii7/V = a: vii65/V Gr.+6 i64 iv = C: ii V I
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Analysis of Sonata Form

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(enharmonic mod.)

(common chord)

PAC

The end of m. 99 and beginning of m. 100 is difficult to analyze harmonically. While these chords are functioning as passing chords, they may be analyzed as above. F#-A-C-Eb is viio7/V in C minor and (F#-A-C-D#) is viio65/V in A minor. We may view the next chord as enharmonic, as well. F-A-C-Eb does not resolve like a normal V7 but outward, as if it were spelled F-A-C-D#, to i64 (a cadential six-four) in A minor. (Schubert's "Die Liebe hat Gelogen", p. 311, m. 16 is similar.)

NOTES : The first theme has irregular phrasing. Other interpretations are possible. The second theme has regular phrasing but its beginning is somewhat unclear due to the link in mm. 55-56. Theme 2 begins with the pickup to m. 57 with the G-A motion, which resembles the scale degree 5-6 motive from theme 1 (mm. 2 and 4). The beginning of the closing section overlaps with the end of the second theme. This is fairly common.

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