1. Mm. 65 vs. 205: In what ways are they similar? Or different? Why?
2. Theme II Cadence: Does it exist? Where? What type?
a. Key of Theme II?
3. Mm. 33 vs. 169: In what ways are they similar? Or different? Why?
4. Beginning Key of Development?
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4 comments:
For mm. 65 and 205, the textures are the same (in fact, the material is exactly the same other than the keys). In both instances, it acts as part of the transition material before the introduction (or reintroduction) of a different theme, with mm. 65 hovering around G major, and mm. 205 E major.
After the short Theme II, the cadence appears at mm. 48 in the form of a half cadence (ending on a V7 of G: D7). I think it was probably used to get the listeners attention right before the Closing Theme to let them know that they're close to the end, but not quite there yet.
Theme II seems to be in G major.
Again, just like with mm. 65 and mm. 205, mm. 33 and 169 are used in a similar fashion, just differing by the keys. In this case the two sections of material in question act almost like cadence points in the middle of the transition, before more transitional material. It almost seesms like a fake out to me. Measure 33 uses a D chord (the V of G), and 169 a B chord (the V of E), giving it that half cadence feel.
Is the beginning key of the Development Eb minor? It opens with that chord and then plays around with tonalities of other keys.
Any input?
Geez Daniel way to just pretty much go for the whole thing! I love that you used "fakeout" to describe mm 65, 205, 33 and 69. I agree with you I think he was trying to create a greater sense of excitement in the piece for the audience.
I'm still working on finding the opening key for the developement. I'll let you guys know when i come up with a better idea.
OK why would beethoven Shift tonalities so much in the beginning of the developement? I dont know what key it is in. Maybe he's tryin to do a kind of transition thing but that doesn't make any sense to me.
Well, measures 65 and 205 aren't hovering around GM and EM, they are in GM and EM. It's a repeated I V I V extended cadence. I would think he'd put these in to build up anticipation rather than just having a repeat after the theme. It's a good way to make the listener think "What could be next?"
Theme II is in G Major at measure 39, but when it reapears in the recap at 179 it's in E Major I think it's interesting Beethoven would pick the relative Major and also modulate to the Major with the same starting tone. Maybe it's not interesting to you, but I still think it's cool. It doesn't exactly sound like there's a cadance though, it kind of leaves you hanging and just rushes into the next part. Perhaps he didn't want to have the sense of completion there assuming it is the only part gently textured part of the song, and the rest is a bit more fierce when it comes to the texture.
Measure 33 and 169 are both very similar in intervals and texture, even the arranging of them, they are merely in different keys. I think they are used to intensify the chromatic interval jumping throughout the piece, a focused burst of rough intervals harmonized together, just before the graceful melody of theme II to remind us this piece is harsh, but here's some sweet relief for your ears.
I think the Development starts in Eb minor. There is the Eb minor chord in the cadance at 72 and Eb minor is outlined several times in the melody.
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