Beethoven’s Piano Sonata in C minor, No.5 (Op. 10, No. 1) opens with a series of flourishing eight note runs, dynamic variation and tonal colour. The exposition is divided into five clearly defined sections, those being: the first and second subject themes, the modulatory sequence between them, the closing material of the exposition and the codetta.

The first subject theme’s duration is from bars 1-29. During this portion of the exposition, not only is the primary subject theme introduced, (that which will be further expanded in the development), but many smaller ideas are also woven into the texture of this piece.

For instance, one of the ideas extrapolated on within the first subject material, the series of triplet eight note runs from bars 17-21. This progression has the following roman numerals: vii dim 7 i, iii, and V i.

Section of Sonata

Exposition

Section within

1st subject theme

Modulatory Material

2nd subject theme

Closing Material

Codetta

Material A1 Transition Material

A2 K Cycling Cadential Progression

Bar Numbers

1-31 32-55 56-85 85-93 95-105

Cadences PAC (21-22; 29-30)

IAC (55-56) IAC (74-75)

PAC (93-94)

I 6/45/3 (PAC) (104-105)

Keys C minor Ab (32-35)f minor (37-40)Db (41-44) Bb (48-55)

Eb major

Eb major Eb major

Following a perfect authentic cadence in bar 30, which closes the first subject theme, the transition unfolds. The transition contrasts the first subject theme in both key and character. While the first subject theme is boisterous and dramatic in nature, the material within the transition is soft and unpretentious. This passage takes us from the tonic key of C minor to the enharmonic major key, Eb. This transition is consummated in bar 55, in which the 2nd subject material begins.

The 2nd subject theme begins in bar 56 and continues through to bar 85. The second subject theme, in contrast to the 1st subject theme, has fewer flourishing runs. Rather, the theme builds upon smooth legato lines and has phrasing which implies a question and answer relationship among the parts of the theme. The closing material and codetta bring the exposition to a conclusive finish, leaving the listener’s ear eager for the development of the material.

Section RecapitulationSection within

1st subject theme

Modulatory Material

2nd subject theme

Closing Material

Coda

Material A1 Transition Material

A2 K Cycling Cadentia

DevelopmentSection within

No clear division of sections

Material Expansion of subject themes 1 and 2Bar numbers

(106-167)

Cadences IAC (167-168)Keys C major F minor Bb minor F minorC major

l Progression

Bar numbers

168-189 190-214 215-262

263-270 271-284

Cadences PAC (188-189)

IAC (214-215; 232-233)

IAC (264)

PAC (270-271)

PAC (282-283)

Keys C minor Gb Eb minor C minor

F major C minor (233)

C minor C minor