Examining The Sonata Form Music Essay

Examining The Sonata inning Music EssayAccording to Green, D. M. (1979), the term sonata has usu everyy been reserved for forms which argon per throwed by unmatchable or two players. Sonatas which stir more performers atomic number 18 usually called trios for three players, quintets for quadruplet players, and orchestra symphonies for many performers. The recital of the term sonata is not related to the history of genre itself during the sixteenth century and before because sonata intend a piece to be compete on instruments and could denote to any type of instrumental compositions. But in genre, sonata is a piece lie ining of several sectionalizations for i or more instruments. The author to a fault said that in the seventeenth century, the sonatas history was very complicated. During that clock, two main classes of sonata emerged. It was usually indite for two instruments such as violin with basso continuo, along with harpsichord and former(a) instruments that elicit p roduce harmonies. The three private road and four incitement types of sonata became standards in the number one half of the 18th century later it emerged. The three thrusts usually consist of fast slow fast sections and it has been very coarse since the beginning of the eighteenth century. The four thrusts on the other hand, had two fast driveways surrounding two midst executions. One of the middle movements is slow, the other will be a minuet. Then the destination movement which is fast is usually the scherzo such as Beethovens Piano Sonata Op.2 No.1)Sonata form is a standard form and the most important type of large scale in the eighteenth century for instrumental music. According to Caplin, W.E. (1998), many historians and theorists consider it to be the periods most highly developed and mingled compositional design, the one in which composers reveal their capitalest technical skill and expressive potential. He to a fault said that the sonata form continued to inf luence compositional practice in later musical periods and styles until the middle of the twentieth century. The Sonata form consists of three large scale functions which be the definition, using and recapitulation. several(prenominal)times at that place are two functions which is the rendering may be preceded by an introduction in a slow tread and the recapitulation is followed by a coda.The Sonata allegro, is likewise known as the starting time movement form. According to Rosen, C. (1988), this may be one of the most complex and tightly organized series of forms because of the tendency of the late eighteenth century to put a tremendous weight in the opening movement. In the starting signal movement form, on that point are two sections. The opening de sputter give a strict tempo, a tonal, peculiarity thematic material and texture to create frames. The head start part of a sonata form is called the exposition thusly it goes to nurture which indicated that the sec tion is often devoted to the motivic development based on the themes heard in the exposition. ultimately is the term recapitulation which indicates the return of a number of themes earlier than a single one.According to Rosen, C. (1988), the exposition of a sonata form is a thematic material that articulates a movement from tonic to preponderating in various ways so that it takes on the character of the piece that it is tranquil upon. This character cease be defined as a large scale dissonance which the material is play outside of the tonic mainstay. The sonata style did not create this dissonant concept just now it is the first style to snitch it the utilitarian force of an entire movement. This style can be achieved by a variety of surgerys. The first procedure is to have a half cadence on the dominant allele of the dominant with a clear hurly burly of texture which is usually catch outn as V of V on V. It is usually reinforce before pass to the tonicization of V. A ha lf cadence on V is followed by a new theme on the dominant which is continuously seen on any sonata in Mozart and Haydn.The present moment procedure is a very common procedure and has always pillowed useful from the eighteenth century until the late of nineteenth century which is the sudden move to the dominant of the relative forgivable. It usually goes like V of vi to vi, V of V to V, V of V of V of V of V and V. The trine procedure it about going to the dominant and remain on that point which is V of V and to V of V again. This make the music sounds like it has no meaning to deficiency to move on. The fourth procedure is about the changes of texture and rhythm. It will change at the point of sledding from the tonic, at the arrival of the dominant and at the confirmed cadence.There are two significant tone downs in the harmonic rhythm and there is always a pause so to mark the two events of the exposition. It always begins at the beginning of the second group and at the e nd of the entire section. The first section is in an animated texture and it will modulate itself. The second section which is the dominant section will besides have an animated rhythm toward the end and will have a harmonic rhythm that is against the life story by starting in at a faster rhythm and closing curtain with a motionless rhythm.The fifth procedure is that it may be useful to summarize the articulation by theme in brief and a new theme has sometimes a different character which may arrive when the course to the dominant identify is completed. In order to articulate the movement to the dominant, the first theme big businessman be compete in a new name or a part of the theme is vie more complex, moving and unstable. This method is usually used by Haydn and it requires longer and more varied modulatory sections in the midst of the opening and the dominant section. The eighth procedure is that modulation in an exposition need preparation and this is where we can s ee the one of the revolutionary side of the sonata style. The dominant is treated as a dissonant paint in the exposition. The ninth procedure is about the interchange between the harmony and rhythm. It may show us something from some classical expositions such as a move away from the tonic and can be imperative if the initial cadence on the tonic has been final.Rosen, C. (1988) said that the term development consists of two meanings and is withal partly overlapped. The first is that it indicates both central section of a sonata. The second is a series of techniques of thematic transformation. The function of development is distri entirelyed over both the exposition and recapitulation part and also sometimes in the coda part too. The techniques of the thematic transformation are fragmentation, deformation, used of themes in an imitative contrapuntal texture, switch and arrangement in a rapidly modulating sequence. There are three main places in a sonata movement where the developm ent is most likely to occur which is the modulation to V in the exposition, second set phrase of the recapitulation which often goes to the secondary development section, the development section proper and sometimes ensnare in the coda section. The central section of a sonata form has two different functions which are development and transition. The development usually creates polarization and thusly delays the resolution besides the transition frames the resolution.Rosen, C. (1988) also said that the recapitulation can be said as the most fundamental and radical innovation of the sonata style. This concept is usually put in in the measurementoque binary forms but for sonata it does not occurs because the sonata does not like binary forms. It sometimes repeats all or parts of the exposition which are transposed into tonic. In the sonata, there is a reinterpretation of the pattern of the exposition and a transformation of articulated movement away from stability into an affirm ation of a stable area. This section always exhibits a great variety of forms as the exposition and the development. The form of recapitulation is always stubborn by the development section as by the exposition on which everything begins from there which is their base. The more outstanding accent is build up by the development section, the more elaborate the measures are taken in the recapitulation section to ease and solve the dramatic tension. The recapitulation can continue the thematic development while it is resolving the harmonic tension.2.2 Introduction of the First MovementThe first movement, Grave hencece allegro con brio begins in C baby. The time signature is in 4/4 time. This movement reveals his characteristics such as manly, earnest, painful and passionate. According to Elterlein, E. V. (1920), at the beginning of the first movement, it seemed restraint but sometimes fire breaks out here and there. After that the fire will presently ease out. But however as the allegro con brio comes in, the fire breaks out again and this time it explodes and became even stronger in E flat kid. Then in D flat major, a kookie, soothing voice pleading the storm to retrain itself.After a moments pause which the passage is marked grave the storm begins to break out and with increased intensity in E nonaged. Then it became calmer after it modulates to F diminished and C mild. A trine grave appears and then a last short outburst, followed by a great calmness. The grave which is repeated three times in the first movement is special and it is not scripted repeatedly by the composer for no reason because the composer might have his own reasons for repeating them and is also to prompt us of the introduction to the work. This movement gives the impression that the composer has very strong determination.2.3 An summary of the First MovementThe passage which is marked grave starts in relegate 1 to 10. Then it repeats again in proscribe 133 until 136. It repea ts the third and final time in nix 295 until 298. The difference of the passage is that it starts at a different key out but it s public treasury plays the same rhythmic pattern. The beginning of the piece is the exposition from impedes 1 until 26 because in forbid 27 the key of c tike has modulated to the dominant key which is G major. The development starts to build up after modulating from c minor to G major. In the development section, there are modulations which are from G major to Eb minor and then it goes back to G major from measurings 27 till 130, including first and second house. After that the piece goes back to the grave passage in the key of G major and then modulates to E major in meter 137. Later it modulates to D major in parapet 142 then to G minor in ban 147. It returns back to G major in de nix 167 till 186. Before going to recapitulation part, the piece returns to C minor in prevention 195 till 220. The recapitulation part is from bars 221 until the e nd. It is in the key of f minor from bars 221 until 252 before modulating to c minor from bars 253 till 268. Then it modulates back to f minor from bars 254 till 298. The grave passage appears again for the third and last time from bars 295 till 298. The theme in c minor after the grave passage is repeated for the final time as the first movements ending from bars 299 until 309.The piece started in grave tempo in bar 1, it started in enduringness forte-piano (fp) which means it is vie chinchy, then immediately soft and it lasted for 3 bars. The sforzando (sf) which means it is vie with emphasis on the first nonplus of bar 4 then gradually moved to piano (p) which means soft on the second beat in bar 4. There is a crescendo (cresc.) to make it gradually go back to sforzando. In bar 5, it is vie in piano (p) then utterly in fortissimo (ff) which means very loud. In bar 6, it returned back to piano (p) and is vie thinly until bar 8 where a crescendo emerges. Then a sforzando and immediate piano (p) is vie until the ending of the grave theme in bar 10. Then it goes into the Allegro di molto e con brio tempo meaning it is compete in the quick and very animated tempo. In bar 11, the high-powered is in piano (p) then there is a crescendo starting from bars 15 18 and went back to playing softly in bars 19 22. The crescendo emerges again in bars 23 26 and went back soft in bar 27 but the melody on the right hand are reinforced especially on the octaves which are contend in bar 27, 28, 31 and 32. The crescendo emerges again in bar 35. In bars 38, 42, 45 48, some of the notes are being accented and goes back to playing softly in bars 49 84. There is a decrescendo in bar 85 because it gets gradually softer to prepare the bar which needs to be played in pianissimo (pp) in bar 88 only and then it returns back to piano on the following bar which is bar 89. There is a crescendo from bars 93 98 so that it is played gradually getting louder towards forte (f) which means loud from bars 99 100. Then immediately became soft again from bars 101 104 and the crescendo emerges again to go to forte in bars 111 112 and again it immediately became soft again in bars 113 116. The crescendo emerges again and gradually gets louder to forte in bars 121 131. Finally, it ended with fortissimo in bar 132 before beginning on the second grave theme.The second grave theme began in fortepiano (fp) and ended it pianissimo in bar 136. Allegro molto e con brio tempo is played again for the second time. It begins softly then crescendo in bar 137 and it gradually goes loud in bar 139 then goes back soft in bar 140. The crescendo is again appearing in bar 143 and gradually becomes louder again in bar 145 then goes back soft in bar 146. Starting from bar 163, it is played softly until bar 167 which it is being played even more softly because it is write pianissimo (pp). It was played in pianissimo until bar 186 which sometimes in between those bars there ar e crescendos and sforzandos which are create verbally on the strike. In bar 187, the fortepiano (fp) returns for a while and gradually becomes softer to piano. Starting from bars 195 284, it is played softly but in between there are a few crescendos and sforzandos. There is also forte in bars 263 264. Forte (f) is played from bars 285 onwards until it reach fortissimo (ff) in bars 293 294. The final grave theme comes in and it is played softly instead of fortepiano (fp). It gradually became louder then gradually became softer to pianissimo (pp). The first movement ended with fortissimo (ff) which it ended with a very loud ending.The motorcycle points which are name in the scar are mostly consists of the tonic bike and the dominant pedal. The tonic pedal in c minor is played from bar 11 until bar 15, bar 195 until 199, bar 203 until 207, bar 253 until 254, bar 265 until 266, bar 281, bar 285 until 289 and also from bar 299 until 303. The dominant of c minor are from bar 17 u ntil 18, bar 25 until 27, bar 280, bar 284 and in bar 292. The dominant pedal of e flat minor is from bar 35 until 62, bar 76 until 78, bar 84 and bar 87 until 88. The dominant pedal of A flat major is from bar 89 until 90, bar 101 until 102, bar 117 and bar 121 until 125. The tonic pedals are bar 115, bar 119 and bar 129. The dominant pedal of D major is from bar 141 until 142 and the tonic pedal is from bar 143 until 145. The dominant pedal of f minor is from bar 221 until 230 and bar 245. In bar 246, there is only the tonic pedal.There are prisonbreaks in the first movement. From bars 25 until 26, there is a 4 3 abeyance in G major. From bars 46 until 47 and bars 48 until 49, there is a 4 3 rupture in those bars in e flat minor. There is a 7 6 suspension in E major in bar 141. There is a 6 5 suspension from bars 173 until 174, bars 181 until 182, bars 183 until 184 and bars 185 until 186 in G major. There is a 4 3 and 6 5 suspension in bars 201 until 202 in c minor.2.3.1 This is a table of the analysis of the first movement.The Graves theme that appear in the first movement of the piano sonata.The modulations which are found in the first movement of this piano sonata. bar 1 10Begins in the key of c minor. bars 11 26The key still remains in c minor. interdict 27 50The key is modulated to G major in bar 27 and remains in that key until bar 50.parallel bars 51 92The key is modulated to e flat minor in bar 51 and remains in that key until bar 92. taprooms 93 132The key is modulated to A flat major in bar 93 and remains in that key until bar 132. interdict 133 136The key is modulated to G major in bar 133 and remains in G major for 4 bars. avoids 137 141The key is modulated to E major in bar 137 and remain in E major for a short while. disallow 142 146The key is modulated to D major in bar 142 and remain in D major for a few bars. obstructions 147 166The key is modulated to g minor in bar 147 and lasted in the same key until bar 166. nix 167 1 94The key is modulated in G major in bar 167 and remain in the same key until bar 194. debar 195 220The key is modulated back to c minor in bar 195 and remain at the same key for 5 bars. veto 221 258The key is modulated to f minor in bar 221 and it remains in the same key until bar 258.Bars 259 268The key is again modulated back to c minor in bar 259 and remain in c minor until bar 268.Bars 269 284The key is modulated to f minor in bar 269 and remain in f minor until bar 284.Bars 285 310(ending of first movement).It goes back to c minor in bar 285 and ends perfectly in the tonic chord in bar 309. Bar 310 are a long pause and a semibreve.The dynamic markings which are pen on the first movement of this piano sonata bythe composer.Bar 1 3Fortepiano(fp) is on the first beat of every bar.Bar 3A sudden sforzando (sf) on the third beat of the bar.Bar 4On the first beat issfthen gradually getting softer to piano(p) on the second beat of the bar. There is a crescendo(cresc.) then a sf on the last beat of the bar.Bar 5 6On the first beat is pand the third beat is played in fortissimo(ff).Bar 7This bar is played in p.Bar 8A crescendois write in this bar to prepare for the sf in the next bar.Bar 9Sf is played on the first beat and is immediately soft to p.Bar 10It is played in p. On the last beat and a half, it is played in sf with a pause sign.Bars 11 14Is played in p.Bars 15 18A crescendois written and so it is played gradually getting louder.Bars 19 22It is played in p.Bars 23 26A crescendois played.Bar 27It is played in p. On the third beat of the bar, there is rforzando(rf).Bar 28There is rfon the third beat of the bar.Bars 31 32There is sfon both bars on the third beat.Bars 33 34They are played in p.Bars 35 37A crescendois played.Bar 38 42There is sfon the first beat of both bars.Bars 39 41 Bars 43 44They are played in p.Bars 45 48The sfdynamic are played on the third beat in every bar.Bars 49 87They are played in p.Bars 53 54, bars 61 62 bars 69 70The sfis played on the first beat of every bar which is mentioned while still maintaining pfrom bars 49 87.Bar 79There is rfon the second beat of the bar.Bars 85 87There is a decrescendoto prepare for bar 88.Bar 88It is played in pianissimo(pp).Bars 89 92It is played in p.Bars 93 98A crescendois played to build up the tension for the next bar.Bars 99 100It is played in forte(f).Bars 101 104It is played in p.Bars cv 110A crescendois played to build up the tension for the next bar.Bars 111 112It is played in f.Bars 113 116It is played in p.Bars 117 120A crescendois played to build up the tension for the next bar.Bars 121 131It is played in f.Bar 132This bar is played in fortissimo(ff).Bars 133 cxxxvFpis played on every bar but in bar 135 it is played in pon the third beat.Bar 136There is a decrescendoon the first beat and ends with ppon the last beat of the bar.Bar 137The first beat is played in pand then a crescendois started on the third beat of the bar.Bar 139It is played in f.Bars 140 142It is played in p.Bars 143 144A crescendo is played.Bar 145It is played in f.Bars 146 148It is played in pimmediately in bar 146.Bars 149 162A crescendois played.Bars 163 166It is played in p.Bars 167 170It is played in pp.Bars 171 174A crescendois played.Bars 175 178It is played in pp.Bars 179 186A crescendois played.Bar 181, 183 185The sfis on the third beat of these bars.Bar 187The first beat is played fp.Bars 188 198It is played in pbut on the second beat of bar 198 the sf is played.Bars 199 202A crescendois played.Bars 203 206It is played in p but in bar 205, there is sfon the third beat.Bars 207 218Crescendosare played from bars 207 until 210. Pis played on the first beat of bar 211 and then on the third beat a crescendois played. The same goes in bar 215.Bars 219 250Pis played but in bar 223, 224, 231, 232,239 and 240 have sfon the first beat. There is a decrescendoin bar 245 and it gradually gets softer until it reaches bar 250.Bars 251 252It is played in pp.Bars 253 256It is played in p.Bars 257 262A crescendois played.Bars 263 264It is played in f.Bars 265 268It is played in p.Bars 269 274A crescendois played.Bars 275 276It is played in f.Bars 277 280It is played in p.Bars 281 284A crescendois played.Bars 285 292It is played in f.Bars 293 294It is played in ff.Bars 295 296It is played in p.Bars 297The crescendostarts on the second beat. On the third beat, there is sfand it gradually gets softer.Bars 298Decrescendois played and the third beat is played in pp.Bars 299 302It is played in p.Bars 303 304A crescendois played.Bars 305 310(end of first movement)It is played in ff.The pedal points which are in the first movement.C minorTonic pedalBars 11 15, bars 19 23, bars 195 199, bars 203 207, bars 253 254, bars 265 266, bar 281, bars 285 289 and bars 299 303.Dominant pedalBars 17 18, bars 25 27, bar 280, bar 284 and bar 292.E flat minorDominant pedalBars 35 62, bars 76 78, bar 84 and bars 8 7 88.A flat majorDominant pedalBars 89 90, bars 101 102, bar 117 and bars 121 125.Tonic pedalBar 115, bar 119 and bar 129.D majorDominant pedalBars 141 142.Tonic pedalBars 143 145.F minorDominant pedalBars 221 230 and bar 245.Tonic pedalBar 246.Suspensions which are found in the first movementKeySuspensionBarC minor4 3Bars 26 27E flat minor4 3Bars 46 47E flat minor4 3Bars 48 49E major7 6Bar 141G major6 5Bars 173 174G major6 5Bars 181 182G major6 5Bars 183 184G major6 5Bars 185 186C minor4 3 and 6 5Bars 201 2022.4 An Analysis of scores editionAccording to Badura-Skoda, E. (1994), sometimes a serious musician feels foment about a previously trusted edition. For example, the musician is disturbed by an articulation mark or by a piano sign in a passage that he or she thinks should be played in loudly. After looking at other editions, the author discovered that printed editions of the same work often contradict each other. There are some editions which proudly labeled themselves as Ur-text but some might not be favoured by the musicians. The term Ur-text also means original or authenticity. The author said that a good Ur-text edition always states which markings are the composers and which are editorial additions by printing them in italic or parentheses and further explanations are written in footnotes. There should be a preface to inform the musician about the editors addition.The Beethovens piano sonata in c minor, op.13 Pathetique first movement piano score that will be used are the ABRSM version and the G. Henle Verlags Urtext version. They will be compared to which edition is the best to be used by everyone who is interested in playing this piece.G.Henle Verlags Urtext VersionABRSM VersionThis movement consists of 8 pages. For example, see Appendix I.This movement consists of 10 pages. For example, see Appendix II.The title is written in German. For example, view exercising 1.0.The title is written in English. For example, view mo deling 1.1.The score also includes the category that it was composed. For example, see specimen 1.0.The score in this version did not include the year that it was composed by the composer. For example, see Example 1.1.The score is not altered by the editor. For example, see Example 1.2. It is bar 1 of the first movement.The score is a bit altered by the editor. For example, see Example 1.3. It is bar 1 of the first movement.The arrangement of the melody and chords are the same as what the composer had written. For example, see Example 1.2. It is bar 1 of the first movement.The arrangement of the melody and chords are slenderly altered especially in page 1 (Gravepart). For example, see Example 1.3. It is bar 1 of the first movement.There are no pedal markings. For example, see Example 1.4.There are pedal markings written on the score by the editor. For example, see Example 1.5.There are no staccatissimo in the score. For example see Example 1.6.There are staccatissimo in some bars . For example, see Example 1.7.The fingering markings are written as followed by the composer. For example, see Example 1.8. This is in bar 10.The fingering are slightly different than what was written by the composer because that is the editors fingering after deciding that the fingering the editor used is easier to be played than the composers given fingering. For example, see Example 1.9. This is in bar 10.Example 1.0Example 1.1Example 1.2Example 1.3Example 1.4Example 1.5Example 1.6Example 1.7Example 1.8Example 1.9After comparing and analyzing both versions, there are pros and cons in using either one of the versions of this first movement from this piano sonata. It seems that the ABRSM version is a better version to be used in the 21st century for any musicians who wished to play this piano sonata. The Urtext version of the piano sonata consists of eight pages of the first movement but the ABRSM version of the piano sonata has ten pages of the first movement. The ABRSM version h as the piano sonata name written in English but for the Urtext version, it is written in german. The Urtext version and the ABRSM version also includes what the composer had been written on the score which is Beethoven dedicated this piano sonata to Prince Lichnowsky. Only the Urtext version included which year it was composed although they were all written in German. On the other hand, the ABRSM version of this piano sonata, this version did not include when the piano sonata was composed although it was written in English.The Urtext version of the first movement does not have pedal markings on the score but the ABRSM have meaning that the editor has added his own opinion on how the first movement should be played. The Urtext version of the first movement does not have pedal markings and is maybe because it follows what the composer had written. There is also a possibility that the editor wants the piano player to apply the pedal on the chord or bar which is adapted to the piano player own technique of playing the piano for that piano sonatas first movement. In the G.Henles Urtext version of the first movement of this piano sonata, the score is still the same as what the composer, Beethoven had written. The editor of this book did not want to change anything on what the composer had written because he wanted to preserve the originality of the score. But, in the ABRSM book, the editor had slightly altered the originality of the score because the editor tried to make it easier and understandable for the pianist who wants to play the composers pieces. For example, the arrangements in bar 1 of the first movement, in the Urtext version of this first movement, the c minor chords are all written in the bass line with only the middle c on the treble clef line but in the ABRSM version they appear different. The ABRSM version has both lines with chords. Another example is that the Urtext version does not have staccatissimo on their scores. They have only staccatos wr itten on the scores but in ABRSM it is slightly different. Some of the notes in the ABRSM version are played in staccatissimo which is written by the editor of the ABRSM edition. The staccatissimo is written on the score by the editor and is most possibly the editors suggestion on whether to play it in staccatissimo rather than in staccato. On the other hand, the Urtext version is only written in staccato and it might be possible that the editor wants the pianist who is playing this piano sonatas first movement to play it with their own preferent technique, creativity or just want them to follow what was originally written on the score. The fingering on the first movement is slightly different after comparing both versions. The Urtext version follows according to what the composer had written but the ABRSM version of fingerings for this first movement is according to the editors fingering. It might be even easier for some pianist to follow his fingering. The finger markings which a re on both versions can be used but it also depends on the pianist on which is most suitable for him or her to use while playing the first movement of the piano sonata.Some pianist will prefer the Urtext version because it is tidier, lesser pages and lesser markings. It might be possible that they prefer it too because it is almost like the original version of the piano sonata that was written by Beethoven and the pianist have more freedom in applying other playing techniques on the first movement while playing it without getting distracted by the markings on the score. But, some pianist would prefer the ABRSM version because it might be possible that they must follow what the