The Pathetique Piano Sonata is a collection of Beethoven's early piano sonatas
Based on the piano sonatas of Haydn, Mozart and others
It also initially reveals Beethoven's Fen's personality
——Heroic and epic.
The musical form of each movement:
The first movement is an allegro sonata form with a slow introduction
The second movement is a rondo form
The third movement is a rondo sonata form
The musical structure of the second movement is a five-part rondo form
The basic diagram structure is: A-B-A-C-A
So when analyzing the rondo form
actually only three parts need to be distinguished
The first is the main theme A that recurs repeatedly
The second The second is the new theme material that appears for the first time, Insert Part 1B
The third is Insert Part 2C
(Of course, sometimes the main part will change, or there will be more Multiple insert themes, etc.)
Main theme A
The main theme melody line is very clear
It consists of two contrasting ab phrases, 4 4 structure.
The first sentence a can actually be divided into two two-measure section structures
The main note of the first section is C-B flat-E flat second degree ascending The fourth degree of progress.
The second section actually moves upward from C to B flat and finally drops a fifth to E flat
The second section is equivalent to a slight variation of the first section. .
The key is A flat major
The harmony here in the a phrase is relatively simple
The order is: T-D2-T6-D6-D56- T-D6-TSVI-DD34-D
The four bars of phrase b cannot divide the section structure
The actual core of movement comes from the descending fifth jump in the second verse of phrase a ? b flat - e flat.
The main body of the melody in sentence b is a big jump of fifths in one measure
And it develops downwards in sequence
f - b flat; e flat - restore a ;d-g;
The last section descends twice to resolve the ending section.
bThe phrase harmony is: DVII34-D2-T6-D7/SIISII-D7-T.
After the initial presentation of the main theme
Immediately Continuing the variation development of main part A
The texture is more fluid
The rest is the same
? Insert part one B
B section The structure is a phrase c.
The main structure is seven bars,
the next two bars are the complementary termination of the harmony,
the last three bars are easy to enter the main part to form a connection.
The key of the insert is initially in F minor,
later it changes to E flat major.
The harmony analysis is as follows:
F minor D (it is not very good to write t)-D6-t-D34-t6 (as an intermediary chord, it becomes E-flat major SII6)- D7-D7/TSVI-TSVI-SII56-K46-D7-T-D7-T.
Looking at the harmony, it can be seen that
the first seven bars are a whole Developed in a coherent manner,
The next two sections are harmonic supplements and terminations.
Then there is the first reappearance of the main part A
It is the same as before
It just becomes a section
Non-original phrase + phrase repeat.
Interlude 2, C
The key changes from A flat major to the same tonic minor, A flat minor
Then it changes to E major and finally returns to the tonic A flat key. Major
The main structure is 4 4 d d'
It is followed by three bars of supplementary termination and three bars of connecting transition.
The four bars of the d phrase can be further subdivided into two homogeneous section structures of 2 2,
and a downward-moving melody can be seen in the left-hand bass area
It has the same effect as the supplementary part in Part 1.
The harmony of the d phrase is: t-D34-t-D.
The d' phrase enters at the same end as the d phrase
but the tonality is further away. Relational transposition
Convert from a flat minor to E major
The intermediary chord can be transformed from the original key t (a flat-c flat-e flat) to (#g-b -#d)
That is, DTIII in E major completes the tonal change
The harmony analysis is as follows:
T in a flat minor (changes to E major) Key to DTIII)-D2-T6-D34/D-K46-D7-T.
The harmony of the supplementary three bars is: T-D34-T.
The connection transition plays a Complete the key change function
Use T (e-#g-b) in E major as an enharmonic transformation into (f flat-a flat-c flat)
That is, A flat major The tune was lowered by six levels.
The harmonies connecting the transitions are:
E major T (becomes A flat major VI flat)-DVII56/D-DVII56/D-flat fifth SII34-D7 .
The second reappearance of the main part
The texture of the middle part continues the accompaniment style of the second part - triplets throughout.
The rest is the same as the original main part
After the end, it is moved up an octave and played again.
Coda is 7 bars
The harmony mainly leads from dominant harmony to tonic harmony
Tends to be stable
Finally ends the whole song.
Final summary: All the sections are arranged and visible
AAB connects three bars, AC connects three bars, and the ending of AA is connected.
Then
It can be seen that the structure of the first reproduction of the main part is reduced.
The first reproduction of the main part is used as the axially symmetrical arrangement.
This is quite interesting, isn’t it?
This musical form can easily be confused as a complex trilogy with reduced representation
But it is not suitable because
If it is a complex trilogy, , then the structure of the middle part is C
And the contrast between the middle part C and the main part is too great
The main part reproduces the single-tripartite formula
The middle part is single The form and structure are unbalanced
So
it is more appropriate to make a five-part rondo form that is balanced and unfolded
It is also more in line with the beauty of the form!