Beethoven Flashcards
(52 cards)
1
Q
What is a sonata?
A
a piece for a solo instrument and contains three or sometimes four movements, each with a different tempo
2
Q
Beethoven was a ——– pianist.
A
virtuoso
3
Q
When was the ‘Pathétique’ Sonata written?
A
between 1796-99
4
Q
Which two other composers were also regarded as great composers of the classical period alongside Beethoven?
A
Mozart and Haydn
5
Q
Which revolutionary piece would Beethoven’s ‘Pathétique’ composition have been influenced by?
A
Mozart’s sonata in C minor, K 457
6
Q
How does Beethoven’s ‘Pathétique’ Sonata compare to the revolutionary piece that influenced him and had been written 15 years earlier?
A
Beethoven’s was more revolutionary with the extreme use of dynamics and unusual structure.
7
Q
What instrument would this piece have been played on?
A
fortepiano
8
Q
exposition
A
- played twice
- 2 main subjects
- first subject in tonic (Cm)
- second subject in unexpected key of E♭m
9
Q
tonality
A
- Cm
- modulates to related keys like F and E♭as well as some unrelated keys like Em and E♭m
10
Q
Harmony
A
- chromatic chords
- dissonance
- diminished sevenths
- dominant sevenths
- (chord) inversions
- perfect cadences
- interrupted cadence (intro)
- circle of 5ths (recap. 2nd subject)
- aug 6th chords (expo. 1st subject)
11
Q
Tempo and Metre
A
- intro(duction material) grave (very slow) and time signature is common time
- allegro di molto e con brio (very fast with vigour) and time signature is alla breve
12
Q
Rhythm
A
- dotted rhythms
- rapid notes, incl. septuplets and 1/128th notes in bar 10
- continuous quavers (accomp. of first subject)
- staccato crotchets (RH of first subject)
13
Q
Texture
INTRODUCTION
A
- homophonic
- RH plays octaves later (bar 5)
14
Q
Texture
EXPOSITION, DEVELOPMENT AND RECAPITULATION
A
- (descending) monophonic passage leading into recapitulation
- MDH in second subject
- two-part music with broken chords in second idea of second subject (bb. 93)
- thirds in RH before monophonic passage in development
15
Q
Melody
A
- scalic
- ornaments (acciaccaturas, mordents, trills)
- arpeggios
- broken chords
- intro based on 6 note motif
16
Q
Introduction
Bars 1-10
A
- unusual in piano sonatas
- grave
- distinctive six-note motif
- starts homophonic
- motif in diff. keys
- rapid scalic flourishes
- ends with long descending chromatic scale
- Cm modulating briefly to E♭
- dynamic contrasts
- frequent use of fortepiano and sforzando
17
Q
Exposition - First Subject
Bars 11-50
A
- theme is in Cm
- rises mainly scalically over two octaves over tonic pedal in bass
- staccato
- subsidary theme in bb27 featuring sforzandos and descending arpeggios
18
Q
Exposition - Second Subject
Bars 51-132
A
initial theme:
- begins in unexpected E♭m
- theme features distinctive acciaccatura and hand-crossing
- 4 staccato notes
- stepwise descending phrase with mordents
second theme:
- bb. 89 in E♭
- broken chord texture
- crescendo
- contrary motion
third theme:
- bb. 113
- scalic melody (E♭)
- codetta
19
Q
Development
Bars 133-194
A
- begins with 4 bars of introduction material in Gm (unusual structural feature)
- allegro introduces main first subject theme in unrelated key of Em
- dominant preparation begins bb 167 where dominant G is played in alternating octaves as a pedal
- trills lead to descending monophonic quaver passage in RH
20
Q
Recapitulation
Bars 195-294
A
- repeats music of expo.
- key of second subject changes to Fm before moving to expected tonic
- finishes with two fortissimo diminished 7th chords
21
Q
Coda
Bars 295-end
A
- 4 bars of introduction
- silence on first beat (unusual / for dramaticism)
- then 12 bars of allegro with first subejct theme
- ends with fortissimo perfect cadences (using dominant 7th)
22
Q
Describe the melody at the start of the first theme of the second subject.
A
- wide range
- disjunct
- leaps (of 6th / 7th)
- descending conjunct / stepwise / sequence
- ornamentation
- acciaccaturas
- mostly crotchets
- start of phrase is staccato / end of phrase is legato
23
Q
Describe the dynamics in the second theme of the second subject.
A
- starts piano / p / soft / quiet
- crescendo
- to forte / f / loud
- ends forte / f / loud
24
Q
Describe the rhythm at the start of the coda.
A
- rests / silence
- dotted
- varied note lengths
25
Describe the **tempo** at the start of the coda.
- *grave*
- Tempo I
26
Describe how a recapitulation is different from an exposition in sonata
form.
- second subject returns in the tonic
- ends in the tonic key
- recapitulation is not repeated
27
Describe the music played by the **left** hand in the introduction from bar 5 onwards.
Do not include reference to dynamics.
- accompaniment
- chords / chordal
- semiquavers
- octaves
- **repeated** chords / notes
28
Describe the music played by the **right** hand in the introduction from bar 5 onwards.
Do not include reference to dynamics.
- melody
- sequence
- ascending **and** descending phrases
- dotted
- octaves
- octave leaps
- suspensions
- **some** chords (at ends of bars)
29
Identify the harmonic device used at the start of the exposition.
(tonic) pedal
30
How is the **metre** of bar 5 in the introduction different to the start of the exposition?
(intro / bar 5) is common time / exposition in alla breve
31
How is the **rhythm** of bar 5 in the introduction different to the start of the exposition?
- bar 5 / intro uses SQs (in LH) / exposition uses quavers (in RH)
- bar 5 / intro uses dotted notes (in RH) / exposition (mostly) uses crotchets (in RH)
32
How is the **tempo** of bar 5 in the introduction different to the start of the exposition?
bar 5 / intro is in *grave* / exposition is in *allegro*
33
How does Beethoven create a sense of drama using **dynamics** at the start of the development?
- *fp*
- *p*
- *decrescendo*
- *pp*
- **sudden** changes
34
How does Beethoven create a sense of drama using **texture** at the start of the development?
- chordal
- homophony
35
Describe the **melody** in the development section when the tempo changes from *grave* to *allegro di molto e con brio*.
- ascending
- chromatic
- sequences
- trills
- (mostly) crotchets
- wide compass (pitch range)
- **starts** disjunct
- **ends** conjunct
36
Describe features of instrumental writing that are typical of early Romantic music.
- wide compass / large range
- melody shared between both hands
- oscillating octaves
- parallel octaves
- sustain pedal
- virtuosic
- sudden dynamic changes
37
What is the **texture** of (the start of) the second subject's first theme?
homophony / melody and accompaniment
38
What is the **texture** of the coda?
chordal / homophony
39
Name the harmonic device at the end of the second subject's first theme.
pedal
40
Name the melodic device at the start of the coda.
sequence
41
Describe three features of **harmony in the coda** that are typical of early Romantic music.
- chromatic
- dissonant
- diminished seventh(s)
- dominant seventh(s)
- inversion(s)
42
Explain how Beethoven creates tension using **dynamics** in the long dominant preparation near the end of the development.
- crescendo
- *pp* / pianissumo
- *sf* / sforzando / accent
43
Explain how Beethoven creates tension using **harmony** in the long dominant preparation near the end of the development.
- pedal
- chromatic
- dissonant
44
Explain how Beethoven creates tension using **pitch** in the long dominant preparation near the end of the development.
- starts low
- ascends
- closes very high
- wide compass / range
45
Describe the **melody** in the monophonic extract at the end of the development.
- (mostly) conjunct / scalic
- descending
- leaps
- sequence
- wide range / compass
46
Describe the **rhythm** of the monophonic passage at the end of the development.
- quavers
- repeated
47
Describe the texture at the start of the recapitulation.
- MDH
- homophonic
- melody and accompaniment
48
Where in the piece will you find a circle of 5ths?
at the end of the second theme of the second subject in the **recapitulation**
49
How does Beethoven create a sense of drama at the start of the exposition using **harmony**?
- chromatic
- dissonant
- diminished 7th
- augumented 6th
- added / extended chords
- perfect cadence
- pedal
50
Describe the melody at the start of the exposition.
- 1st subject
- ascending
- chromatic
- (mostly) conjunct
- some leaps
- chordal
- starts on tonic
- two octave range / wide range / compass
51
Describe the rhythm when the music modulates to a major key in the exposition.
- quavers
- quaver rests
- repetitive
- same rhythm in both hands
- longer notes / note values
52
Identify features of the texture up to the third theme of the second subject in the exposition that is typical of early Romantic keyboard music.
- MDH
- melody and accompaniment
- pedals
- broken octaves
- accompaniment in LH
