Guide Sonata No. 2 - Piano

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What Makes It Great? Chopin’s Piano Sonata No. 2 (Incl the “Funeral March”)

The greater part, vis. The second section starts with a new figure in semiquavers sixteenth notes , which figure is repeated sequentially, Bars The first phrase ends with a perfect cadence, Bar Bars form a lengthened and slightly varied repetition of Bars The Codetta is founded on the opening figure of the second subject, taken with partial diminution.

It opens in the key of C major with a passage founded on the triplet figure from the transition Bar 23 in combination with a new figure in the treble, of which latter there is some slight development in the following bars. In Bar 64, there follows a modulating sequence formed by the opening bars of the second subject, which are taken successively on the chords of D minor, G minor, C major as the dominant of F major and on F major. The music now returns to the key of D minor, and reverts definitely to F major the key of the tonic in the last bar of the section only Bar The slurred two-crotchet quarter note figure Bars are taken from a similar two-quaver eighth note figure, Bar With the exception of Bars the second transition is an exact repetition of the original passage.

First section Bars ; second section Bars The second subject reappears transposed almost literally into the key of the tonic, but lengthened in the first section by the interpolation of six bars Bars In these the opening figure of the subject is taken in alternate bars in exact and in modified form — the former in the bass, the latter transferred to the treble — accompanied each time by a variation of the semiquaver sixteenth note figure form the second bar of the subject. The whole passage forms a descending sequence which, however, alters in the last two bars.

Sonata No. 5 C minor, Opus 10/1 (1798)

There is no coda, the movement ends with a repetition of the codetta transposed into the key of the tonic. Double bar and repeat. In his pianoforte sonatas Mozart very frequently marks the second, as well as the first, part of his sonata allegro movements to be repeated. This custom, which is now practically obsolete, was almost invariable in the older sonata-forms from which the newer design was gradually evolved.

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Its ultimate origin is traceable even further back to the still more ancient dance-forms. This is the only pianoforte sonata by Mozart in which the slow movement is written in the key of the tonic minor. A sentence of eight bars in F minor that divides into two four-bar phrases, the first ending on an interrupted, the second on a full, cadence. A sentence of just over twelve bars. The various instances of imitation between the parts should be noted in the first subject, the chord of the German sixth in Bar 13 and in Bar 47 , and the first inversion of the chord of the supertonic minor ninth, in Bar The Codetta is founded on the opening figure of the movement.

It modulates to the key of B flat minor, Bar 26, and ends on a half-cadence on G — the dominant of C minor — in which key the return to the first subject is made. At its return the opening phrase of the first subject is heard first in the key of C minor the dominant minor , after which the subject contracted from eight bars to six, appears regularly in the key of the tonic.

The second subject reappears slightly lengthened and modified and in the original minor instead of the tonic major.

Sonata No. 2

The first subject is a sixteen-bar sentence in four-bar rhythm. After the half-cadence in the tonic, Bar 8, the melody is repeated an octave lower, the final phrase being altered to close with a perfect cadence. The transition starts on a tonic pedal in F major. Do not see this window again for the duration of the session. Be the first to write down a comment.

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