Piano Sonata In A Major Ludwig Van Beethoven
Jan 13, 2015
Piano Sonata In A Major
Ludwig Van Beethoven
Introduction
Form to recognize: Rondo Form Structure of form: ABACADA Principal theme “A” (refrain) alternates
with contrasting themes (episodes).
INTRODUCTION OF THEME “A”
Begins in D Major; is in ¾. Tenuto Sempre (always sustained) in treble. Staccato Sempre (always detached) in bass. Has a Perfect Authentic Cadence (PAC), then
shifts to A Major briefly. Shifts back to original key and familiar
rhythmic structure. Notice sudden rise in treble clef, with sudden
fall in bass (such movement can be classified as a tessitura)before the PAC.
“B” SECTION
Immediate change in key to g# minor. However, this is not long. This section becomes harmonically
unstable . Creates tension with:
Pounding eighth note chords (not detached as heard in “A”).
Crescendo into Fortissimo.
RETURN OF “A”
Return of tenuto and staccato sempre. However, after first PAC, treble and
bass “switch” material (providing variation).
Remains similar to original material, leading to a PAC.
“C” SECTION
Entirely new thematic material. Very brief.
RETURN OF “A”
Same rhythmic material, in minor. However, no definite key; harmonically
unstable. Remaining in Staccato and Tenuto Sempre. However, has much ornamentation. Is fortissimo; with marked sforzando (sfz-
giving a strong accent). Range in treble clef is much higher than in
previous restatements of “A”.
“D” SECTION
Sudden new rhythmic and melodic material.
Brief, but significant. Dynamics drop from previous
fortissimo to piano. Has noticeable chromaticism in treble
clef (heard in grouped eighth notes).
FINAL RESTATEMENT OF “A”
Treble clef has much ornamentation. Original rhythmic material is still
evident. Restatement ends on a PAC.
CLOSING THEME Closing theme (coda). Produces relief from tension. Creates sensation of conclusion.