sonata beethoven string quartet analysis of sonata form

8/5/11 12:57 PMAnalysis of Sonata Form

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Analysis of Sonata FormBeethoven, String Quartet, Op. 18, No. 1, I (ANSWERS)

(Turek Anthology, p. 284ff.)

1. Enter the measure numbers and beginning key of each section. For Harmonic Relation, enter theharmonic relation each key has to the tonic of the composition (global functions).

Exposition Dev. Recapitulation Coda

Section Theme1 Trans. Theme

2 Closing — Theme1 Trans. Theme

2 Closing —

Measures 1-29 30-56 57-72 72-114 115-178

179-199

200-217

218-233

233-281

282-313

Key(beg.) F F C C a F Gb F F F

HarmonicRelation I I V V iii I bII I I I

2. Is the harmonic relation between Themes 1 and 2 “normal” for sonata form? If not, explain.

Yes, In sonata form, in major keys, Theme 2 is normally in the dominant (V)

3. Chart the measures, keys, and cadences and describe the phrase structure of Theme 1 in theExposition . Explain any asymmetries.

1-8 9-20 21-29

F: HC F: PAC F: PAC

1-20 = asymmetrical, parallel period (interpolation in mm. 15-18). I hear mm. 21-29 as acadential extension.

OR

1-29 = asymmetrical, parallel (3-phrase) period with two consequent phrases

4. Chart the measures, keys, and cadences and describe the phrase structure of Theme 2 in the



Exposition. Explain any asymmetries.

mm. 57-64 mm. 65-72

C: HC F: PAC

57-72 = symmetrical, parallel period with two symmetrical phrases

5. Chart the measures, keys, cadences, and motivic basis (Theme 1, Theme 2, or new motive?) of eachsubsection in the Development.

This question is less important, but: 115-166, Transitional and Theme 1 material (A minor,Bb major, etc.), then 167-178 dominant preparation

6. Compare each section in the recapitulation with its corresponding section in the exposition. Explainany differences in length, keys, motives, etc. Be specific.

Theme 1: Modulation to D-flat, PAC in G-flat (m. 198 and m. 206), slightly shorter

Transition: Shorter, ends with HC in F (as expected)

Theme 2: In F (as expected)

Closing Section: In F (as expected), New material in m. 274, which prepares the coda.

7. Identify any codettas. If there is an introduction, list the measure numbers and describe itsharmonic and motivic relationships with the rest of the composition. If there is a coda, list themeasure numbers and describe its harmonic and motivic relationships with the rest of the work.

Codettas: Measures 101-114 and mm. 262-281 may be considered codettas since theyeach follow a PAC and serve to extend the section. They are still a part of the ClosingSection.. After brief transitional material (mm. 274-281), a coda begins in m. 282.

Coda: 282-313, based on fragments of Theme 1 (a codetta within the coda is mm. 302-313).

8. Analyze the key, harmonies, and any sequences in mm. 97-101. Write your analysis below.

c: i VI vii°7/V = a: vii°65/V Gr.+6 i64 iv = C: ii V I



(enharmonic mod.) (common chord) PAC

The end of m. 99 and beginning of m. 100 is difficult to analyze harmonically. While thesechords are functioning as passing chords, they may be analyzed as above. F#-A-C-Eb isviio7/V in C minor and (F#-A-C-D#) is viio65/V in A minor. We may view the next chord asenharmonic, as well. F-A-C-Eb does not resolve like a normal V7 but outward, as if it werespelled F-A-C-D#, to i64 (a cadential six-four) in A minor. (Schubert's "Die Liebe hatGelogen", p. 311, m. 16 is similar.)

NOTES:

· The first theme has irregular phrasing. Other interpretations are possible.

· The second theme has regular phrasing but its beginning is somewhat unclear due to thelink in mm. 55-56. Theme 2 begins with the pickup to m. 57 with the G-A motion, whichresembles the scale degree 5-6 motive from theme 1 (mm. 2 and 4).

· The beginning of the closing section overlaps with the end of the second theme. This isfairly common.

sonata beethoven string quartet analysis of sonata form

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