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Beethoven Pathetique Sonata - Coggle Diagram
Beethoven Pathetique Sonata
Context
Beethoven was a composer at the end of the classical period and start of the romantic period, as a result, he was very progressive and implemented many ideas of the romantic period into his later works (such as unusual key changes)
The piano in Beethoven's time had a lower range than the modern piano, however, it did have pedals, including a sustain pedal. It also had a richer sound that the previous early classical pianos and the harpsichord.
Tonality
Introduction (C minor with related keys)
Exposition
Bridge: C minor
2nd subject: a) Eb minor (unusual)
b) Eb major
Codetta: Eb major
1st Subject: C minor
Development: G minor, E minor, D minor
Recapitulation
1st Subject: C minor
Bridge: C minor
2nd Subject: F minor (unusual)
Coda: C minor
Structure
Sonata form (introduction, exposition, development, recapitulation
Features of exposition
Main themes of piece stated
1st subject and second subject
Features of development
Subject develops and is taken through variations
Feaures of recapitualtion
Subjects restated
Introduction analysis
The first four bars develop a melodic motif which rises in pitch throughout.
A diminished 7th is a 4 chord note built upon minor 3rd intervals (bar 1 crotchet 3 for example)
Bar 4 leads to the relative major (Eb major), via an implied Bb7 chord (as d and f are missing) and followed by a virtuosic right hand segment.
Bar 5: The opening melody re-appears but now has more gentle major tonality.
This is fiercely interrupted towards the end of the bar by an ff chordal entry which seems to be bringing the music back to C minor.
Interrupted cadence at end of bar 9
The section finishes with a long chromatic descent in the right hand to a B natural.
This is interrupted by a higher, accented Ab (a diminished 7th interval)
The B is then repeated acting as a leading note into the exposition section.
Exposition
First subject is rising melodic melody, the repeated an octave higher
Dim 7 chord then perfect cadence in bar 17-18
Bridge is based on first subject
Second subject in Eb minor, not Eb major as expected, making is tragic
More lyrical melody, ornamentation (acciaccaturas and mordents)
Modulates to Eb major, alberti bass and contrary motion
Codetta: first subject in Eb major, bass descends to G (dominant of C minor) so expositon can be repeated. 2nd time bar hass a II7b chord, (dominant of G minor) to set up for development