Where can I find a complete Roman Numeral Analysis for Beethoven's pathetiqu!
Question: Where can I find a complete Roman Numeral Analysis for Beethoven's pathetique!?
I am looking for the score of the Adagio cantabile part and the roman numerals, and resolitions, non harmonic tone all included in it!. Anyone Know a site I can find it on!?Www@Enter-QA@Com
Answers:
If your theory prof is like the theory prof I had, he or she might be interested in these high spots:
--Be sure to indicate all the main sections!. A starts at ms!. 1!. It is repeated an octave higher!.
B starts at ms!. 17!. This section is unusual in that it starts in the sub-dominant, whereas the B section is usually in a more closely related key!. Beethoven cadences on the dominant, though, in ms!. 22-23!. When a theme begins on one key and cadences on another, the key of the cadence is declared the official key!. So Beethoven is within the letter of the law!.
In ms!. 27-28, Beethoven gives us a series of sixteenth notes to prepare us for the restatement of the A theme at ms!. 29!. This time, Beethoven is cautious about overdoing the A theme, so he does not repeat the theme an octave higher!.
The C section starts at ms!. 37!. It starts in the parallel minor!. However, it modulates every which way, as C sections are wont to do!.
Notice that triplets start in the C theme and continue throughout the final restatement of the A theme, which begins at ms!. 51!. This may surprise a first-time listener, who might expect the triplets to stop before the A theme is restated!.
Notice that this time, Beethoven DOES repeat the theme an octave higher!. Apparently, he feels the license to do this, since the newly acquired triplets assure the listener of enough variety!.
(Since the triplets are faster note values than what we saw before, I want to bang the keys con tutta forza!. Beethoven won't let me, though!. Rather, he restrains me with a soft dynamic marking!. That is a quirk of his which I have always found frustrating!.)
Beethoven could stop on ms!. 66 because he reached a nice firm cadence there!. But he doesn't feel like, and chooses to go on a little longer instead!. That's why I mark ms!. 67 as the cadence!.
--My theory prof was hepped on marking cadences!. In ms!. 8, 16, and 36, we see feminine cadences, or cadences in which the dissonance is on the stronger beat and the resolution is on the weaker beat!. However, Beethoven makes a twist by throwing in an anticipation in the bass!.
Feminine cadences were a mark of the Classical Era, so I betcha Beethoven wrote more feminine cadences in his earlier works than in his later works!.
We hear a masculine cadence in ms!. 22-23, but not on the tonic!. We never hear a masculine cadence on the tonic until the end of the final restatement, in ms!. 65-66!. Beethoven then apologizes for the feminine cadences by giving us four masculine cadences in a row in the coda!.
--Phrase lengths were not a big issue with my theory prof, but they're a big issue with me because my composition teacher told me I wrote too many 4-, 8-, and 16-measure phrases!. In this piece, the A theme is nice and square, but the B and C themes aren't!.
--It is usually interesting to compare the target composition with other compositions!.
In "Fur Elise," the middle section is in the sub-dominant, just as the B section is here, only this time the main theme is in a minor key and the B section is in a major key!. When Schumann wrote "The Wild Horseman," op!. 68 no!. 8, he probably thought "Beethoven did it, why can't I!?"
In the slow movement of the Tschaikovsky piano concerto, the slow movement of Tschaikovsky's fourth symphony, and the slow movement of Franck's Symphony in d minor, a germ motive from the second theme is continued while the first theme is restated!. Tschaikovsky and Franck may have borrowed the idea from Beethoven!.
The composer of "Somewhere Out There" from "An American Tail" was accused of plagiarizing this piece!. It might be interesting to get the sheet music for the song and compare the two!.
In ms!. 3-8, notice the descent in the bass: Ab, G, F, Eb, Db, C, Bb, Ab!. For some reason, stepwise descending countermelodies create a feeling of warmth!. Pop song writers seem to be fond of this device!. Check out "A Bit of Honey" and "Music to Watch Girls By!."Www@Enter-QA@Com
--Be sure to indicate all the main sections!. A starts at ms!. 1!. It is repeated an octave higher!.
B starts at ms!. 17!. This section is unusual in that it starts in the sub-dominant, whereas the B section is usually in a more closely related key!. Beethoven cadences on the dominant, though, in ms!. 22-23!. When a theme begins on one key and cadences on another, the key of the cadence is declared the official key!. So Beethoven is within the letter of the law!.
In ms!. 27-28, Beethoven gives us a series of sixteenth notes to prepare us for the restatement of the A theme at ms!. 29!. This time, Beethoven is cautious about overdoing the A theme, so he does not repeat the theme an octave higher!.
The C section starts at ms!. 37!. It starts in the parallel minor!. However, it modulates every which way, as C sections are wont to do!.
Notice that triplets start in the C theme and continue throughout the final restatement of the A theme, which begins at ms!. 51!. This may surprise a first-time listener, who might expect the triplets to stop before the A theme is restated!.
Notice that this time, Beethoven DOES repeat the theme an octave higher!. Apparently, he feels the license to do this, since the newly acquired triplets assure the listener of enough variety!.
(Since the triplets are faster note values than what we saw before, I want to bang the keys con tutta forza!. Beethoven won't let me, though!. Rather, he restrains me with a soft dynamic marking!. That is a quirk of his which I have always found frustrating!.)
Beethoven could stop on ms!. 66 because he reached a nice firm cadence there!. But he doesn't feel like, and chooses to go on a little longer instead!. That's why I mark ms!. 67 as the cadence!.
--My theory prof was hepped on marking cadences!. In ms!. 8, 16, and 36, we see feminine cadences, or cadences in which the dissonance is on the stronger beat and the resolution is on the weaker beat!. However, Beethoven makes a twist by throwing in an anticipation in the bass!.
Feminine cadences were a mark of the Classical Era, so I betcha Beethoven wrote more feminine cadences in his earlier works than in his later works!.
We hear a masculine cadence in ms!. 22-23, but not on the tonic!. We never hear a masculine cadence on the tonic until the end of the final restatement, in ms!. 65-66!. Beethoven then apologizes for the feminine cadences by giving us four masculine cadences in a row in the coda!.
--Phrase lengths were not a big issue with my theory prof, but they're a big issue with me because my composition teacher told me I wrote too many 4-, 8-, and 16-measure phrases!. In this piece, the A theme is nice and square, but the B and C themes aren't!.
--It is usually interesting to compare the target composition with other compositions!.
In "Fur Elise," the middle section is in the sub-dominant, just as the B section is here, only this time the main theme is in a minor key and the B section is in a major key!. When Schumann wrote "The Wild Horseman," op!. 68 no!. 8, he probably thought "Beethoven did it, why can't I!?"
In the slow movement of the Tschaikovsky piano concerto, the slow movement of Tschaikovsky's fourth symphony, and the slow movement of Franck's Symphony in d minor, a germ motive from the second theme is continued while the first theme is restated!. Tschaikovsky and Franck may have borrowed the idea from Beethoven!.
The composer of "Somewhere Out There" from "An American Tail" was accused of plagiarizing this piece!. It might be interesting to get the sheet music for the song and compare the two!.
In ms!. 3-8, notice the descent in the bass: Ab, G, F, Eb, Db, C, Bb, Ab!. For some reason, stepwise descending countermelodies create a feeling of warmth!. Pop song writers seem to be fond of this device!. Check out "A Bit of Honey" and "Music to Watch Girls By!."Www@Enter-QA@Com
It sounds as if you are looking for a homework shortcut!.
I am not aware of such a website!. You might find clues in Tovey's " A Companion to Beethoven's Pianoforte Sonatas" but it will not contain a note-by-note analysis!.
Here's a better idea --
Why don't you start your own, and when you run into problems, come back to us and ask questions about a specific measure or chord, etc!. and there are many here who will try to help -- especially when they see that you are at least meeting us halfway with some real effort on your part!.Www@Enter-QA@Com
I am not aware of such a website!. You might find clues in Tovey's " A Companion to Beethoven's Pianoforte Sonatas" but it will not contain a note-by-note analysis!.
Here's a better idea --
Why don't you start your own, and when you run into problems, come back to us and ask questions about a specific measure or chord, etc!. and there are many here who will try to help -- especially when they see that you are at least meeting us halfway with some real effort on your part!.Www@Enter-QA@Com