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10 Kasım 2013 Pazar
19 Ocak 2013 Cumartesi
Bartok 115
Mm. 1-2
G Ab A Bb B C C# D. Sum =1
B C C# D
1-------------A 5/7
Bb A Ab G
Mm. 3-4
G
A Bb B C C# D. Sum =1
C C# D
1---------G 5/7
B Bb A
Mm. 5-6
C
C# D D# E G
A Bb B. Sum=1
C# D D#
E
1------------G 5/7(D)
C B Bb A
Mm. 7-8
G A Bb B C C# D. Sum =1
C C# D
1---------G 5/7 Same with Mm 3-4.
B Bb A
Mm 9-12 Motivic Changes
C
C# E F F# A
Bb B. Sum=0
C C# E F
B------------B 6/6
Bb A F# F
Mm 13-14
C
C# E F# A A#. Sum =2
F# A A#
2-----------
E C# C
Mm 15-16
A
C# D# E F#. Sum =1
E F# A
2-----------
D# C# A
Mm 17-20 Cannonic Motive
D
E F F# G
G# Sum=0
G G#
F#-----D 6/6
F E
Mm 21-22
G
G# A# B C C# D Sum=2
A# B C
2----------C# 2/10
G# G D
Mm 23-24
G
A A# B C C#
D D# E Sum=1
C# D D# E
2--------------G 7/5
C B A# A
Mm 25-28
F# G
G# A A# B C C#
D. Sum=0
B C C# D
A#-------------- 4/8
A G# G F#
Mm 29-32
C
C# D E F
G A A# B. Sum=3
G A A# B
3 -------------F
E D C# C
1 Temmuz 2012 Pazar
Ludwig Van BEETHOVEN SONATA No. 1 Op. 2 No. 1 Analysis
Ludwig Van BEETHOVEN
SONATA No. 1 Op. 2 No. 1
ALLEGRO
Exposition
m.m 1- 8 : The first
theme in f minor and ends with Half Cadence
m.m 9-20: Transition part.
It is modulated from f minor to A flat Major which is relative major
of f minor
m.m 20-28: The second theme starts in the second beat of
measure 20 and ends in the first beat of measure 28. The second theme is in A flat major and at
the end of his theme, there is a Half Caddence.
m.m 28- 41: Transition part. İt is in A flat major . It starts in the second beat of measure 28
and ends in the first beat of measure 41.
m.m 41- 48: It is codetta part and stil in A flat
major. At the end of codetta there is a
PAC
Development
m.m 49- 55: The first
theme repeated with there are some differences
such as measure 50 is repeated in
measure 51 again. His theme ends in the first beat of 55 with HC. And it is A
flat Major.
m.m 55- 63 : The
second theme starts in b flat minor and
ends in the first beat of measure 63 with HC.
m.m 63- 100: His is transition part. In the half of measure
63 and its tonality is do minor. Between 63-67 , small part of the second theme
is repeated in the left hand then measures 68- 71 little part of the second
theme repeated again but this time the right hand has the melody. In measure
70, it modulates to “b flat minor” and
after that modulates to “ A flat major”
in the 71th measure then modulates to “f minör” in the 74th measure.
Recapitulation
m.m 101-108: The first theme is repeated in the tonic and
there is a HC at the end of the theme and at the end of the 108th measure there
is a HC.
m.m 109-118: This is transition part. It is 8 measure long
and in f minor.
m.m 120- 127: The second theme is repeated . It is in f
minor and there is a HC at the end of the theme.
m.m 128- 140: It is transition part. There are 2 f minor
scale in his part.
m.m 140- 152: Coda. It is in f minor and ends with the PAC
ADAGIO
Exposition
m.m 153- 161: The first theme in F major. It lasts 8
measures long. There is a PAC at the end.
m.m 162-184: There is a transition part. Measures 162- 169
contain some musical ideas from the first theme. ( in f minor). Measures 170- 174, these measures are kind of passing
part. This part is in d minor which is relative minor of F major. Then in the
176th measure it modulates to C major which is
V of F major. It lasts until the 184th measure.
Recapitulation
m.m 185- 192: The first theme is repeated but there are some
rhytmical changes. It is in F major and at the end of the theme, there is a
PAC.
m.m 193- 200: Same musical ideas with measures 162-169 but
there are some rhytmical changes. In F major
m.m 201- 208: Transition part. In F major . Mostly used V-I
progression.
m.m 209- 213: Coda. In the 209th measure, there are lots of
32th notes and they present tonich chords .
At the end of the coda, the second movement finish with chords which are
I-V-I (PAC)
MINUETTO
Minuet
m.m 214-227: The first theme is in f minor but in the 219th
measure it modulates to A flat major which is relative major of f minor. It
ends with IAC. At the end of the theme, there is a reprise . (14x14)
m.m 228- 253: Transition part. Between measures 228- 235,
the first theme is represented again but his time harmonic progression is
different and it modulates to f minor again in the 231th measure. This part has
some varieties of the theme. At the end there is PAC
( theme lasts 28 measures long and the transition part lasts
27 measures. Theme part and transition part are nearly equal.)
Trio
m.m 254- 263: The first theme is in F major. It lasts 10 measure long and ends
with HC. It has reprise (10x10)
m.m 264- 286: Transition part. Measures 264- 279 are all
about variation of the theme and then the 280th measure the theme is repeated.
PRESTISSIMO
Exposition
m.m 287- 294: The first theme which is in f minor and lasts
8 measure long, ends with HC.
m.m 295- 307: It is a transition part. Up to the 305th
measure the first theme is varied. And also in the 299th measure, there is a
modulation to c minor. Measures 306 and 307 are contains a scale which is c
minor scale.
m.m 308- 315: The second theme begins which is in c minor.
In the left hand there are triplets and that triplets contains the melody.
m.m 316- 335: There is a new melody who moves us to coda. The
left hand plays octaves and the right hand plays triplets to accompany that
octaves.
Throughouth the exposition part triplets are the most used rhytm. Sometimes the left hand
has triole and the right hand has melody or vice versa and sometimes both of
them have triplet.
In the 320th measure, there is a different melody but I
think it is not a theme it is just a bridge that takes us to the end of the
movement.
Eventually, in the 336th measure coda stars and it imitates
the first movement.
In the second reprise it is modulated to A flat major.
Development
m.m 345- 354: There is a new melody but it is a little bit
weird because now we are in development part . Development part starts with A flat Major . Most of the
time, the right hand plays some chords and the left hand play the melody.
m.m 355- 394: Up to the 394th measure, that new melody is
represented in different shapes.
m.m 395- 424: Between
these measures, the first part of the theme represented and again it is
modulated to f minor. The left hand has triplets, the right hand has the
melody.
Recapitulation
m.m 424- 431: The first theme is repeated in f minor.
m.m 432- 446: Transition part. Variation of the first theme is presented and
then, measures 445- 446 there is af
minor scale .
m.m 447- 474: The second theme is represented in f minor.
m.m 475- 481: Coda part. The left hand has some arpeggios
and the right hand accompanies it with chords. At the end of the coda there is
a PAC.
Beethoven Sonata in C Minor Op. 10, No. 1, Analysis
Beethoven Sonata in C Minor Op. 10, No. 1
1.Allegro molto e con brio
(Sonata)
Exposition
mm.
1-8 1st Theme in Tonic with parallel period.
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
1 4
8
HC PAC
mm.
9-21 Development of Contrasting Idea form 1st Theme.
mm.
22-30 Theme 1 in different register with parallel period.
mm.
32-55 Transition. Includes F minor and Db major.
mm.
56-63 Theme 2 in Db major with parallel sentence.
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
56 59
63
HC IAC
mm.
64-105 Coda. Materials of coda is Theme 2 bass part
and Theme 1 motif.
Development
mm.
106-113 Theme 1 in F minor.
mm.
114-117 Codetta.
mm.
118-133 Development of theme 2.
mm.
134-135 Codetta, closed in Db Major.
mm.
136-167 Development in Db major Bb
minor.
Recapitulation
mm.
168-187 Same with Theme 1 in C minor tonic form exposition.
mm.
188-189 Codetta.
mm. 191-214 Transition.
mm.
215-228 Recapitulation of Theme 2 in F minor.
mm.
229-232 Codetta.
mm.
233-284 Coda. Includes Theme 1 and Theme 2 ideas. Ends
in Tonic C minor.
2. Adagio Molto
(Sonata
Exposition and Recapitulation)
mm.
1-16 First 8 measure Theme 1 Contrasting period in Ab. Contrasting sentence. Connected to its
symetry.
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
1
4 8
HC
IAC
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
9
12 16
HC
PAC
mm.
17-23 Transition in Bb major.
mm.
24-45 Theme 2 in Eb Major. Variation after first 8 measure contrasting
sentence.
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
24
27 31
HC
IAC
mm.
46-61 Recapitulation. Theme 1.
mm.
62-70 Transition.
mm.
71-90 Theme 2 in Ab major.
mm.
91-112 Coda includes theme 1 material.
3. FINALE
Prestissimo
(Sonata)
mm.
1-8 Exposition. Theme 1 in C minor. Contrasting
sentence.
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
1 4 8
HC
PAC
mm.
9-10 Codetta.
mm.
11-16 Transition to Eb major.
mm.
17-24 Theme 2 in Eb major. Parallel sentence.
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
17 20
24
HC IAC
mm.
25-27 Codetta.
mm.
28-46 Coda.
mm. 47-56 Development starts.
Development of Theme 1.
mm.
57-73 Recapitulation starts. Theme 1 in C minor and transition.
mm.
74-101 Theme 2 in C major and coda.
mm.
102-123 Coda.
Beethoven Sonata in G Major Op. 14, No. 2 Analysis
Beethoven Sonata in G Major Op. 14, No. 2
1.Allegro
(Sonata)
Exposition
mm.
1-8 1st Theme in Tonic with contrasting period. Antedecent, 2 measures of basic idea + 2 measures of
contrasting idea [b.i. + c.i.] and ends with a weak cadence. Weak cadence
generates the need for a more definite ending like mm. 8th (PAC).
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
1 2 3 4 5 6 7 8
HC
PAC
mm.
9-25 Transition in Dmajor.
mm.
26-33 Theme 2 in Dominant (D major) with parallel period.
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
26 29
33
HC PAC
mm.
33-40 4 Bar ended in dominant .Next 4 bar an octav higher and ended with
Plagal cadence.
mm.
41-47 4 Bar Prepares ending in tonic mm. 45. Last 2 bar is repeated.
mm.
47-63 Coda with rhytmic imitations.
Development
mm.
64-73 Development 4 bar phrase form exposition theme 1 in G minor. Then 4
bar development with 2 bar codetta.
mm.
74-81 Theme 2 form exposition in Bb minor parallel period. mm.80 modulated
to Ab major(V).
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
(73)74 77
81
HC IAC
mm.
81-88 A Development that theme 1 melody in
bass. Modulated to G minor in mm. 85.
mm.
89-98 Developments modulated to F minor for preparation of Eb major with
stopped end.
mm.
99-106 Development of theme 1 in Eb major.
mm.
107-124 Development that prapares modulating to G major.
Recapitulation
mm.
125-132 Same with Theme 1 in G major tonic form exposition.
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
125 129
132
HC
PAC
mm.133-152 Transition.
mm.
153-160 Theme 2 from exposition in G major in parallel period.
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
153
156
33
HC IAC
mm.
161-200 Coda starts with theme 2 ending preperation ideas and theme 1 ideas.
2. Andante
(Theme
And Variations)
mm.
1-8 Theme 1 parallel period starts in C.
In mm. 6 modulated to G and end with G.
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
1 4 8
HC PAC(inG)
mm.
9-16 Theme 2 Contrasting period in C.
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
9
12 16
HC
PAC
mm.
16-20 4 bar codetta phrase.
mm.
21-40 Variation 1. Theme is syncoped. Counteropint exist.
mm.
41-60 Variation 2. Chords syncoped.
mm.
61-64 Closing of variation 2.
mm.
65-84 Variation in sixteenth notes.
mm.
85-90 Coda.
3. Scherzo
(Rondo)
mm.
1-22 Main Theme in Gmajor.
mm.
1-8 First refrain in tonic paralel sentence.
Antecedent Consequent
Basic Idea Contrasting Idea Basic Idea Contrasting Idea
________________________________________________________
1 4 8
HC PAC
mm.
9-16 Second refrain in dominant contrasting sentence.
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
9
12 16
HC
IAC
mm.
17-22 Third refrain in contrasting sentence.
Antecedent Continuation
Basic Idea Contrasting Idea
________________________________________________________
17
12 22
HC
PAC
mm. 23-38
Episode 1. Three 4 bar phrase starting on dominant of e. 4th same
phrase starting on a minor dominant.
mm.
39-41 Codetta.
mm.
43-64 Main theme.
mm.
65-138 Episode 2. Starts in C major dominant.
mm.
65-72 Ideas from B section of main
theme.
mm. 73-124 is (ABA').
mm. 73-88 is A in parallel sentence. First 8 measure starts with C major then repeated.
mm. 73-88 is A in parallel sentence. First 8 measure starts with C major then repeated.
mm. 89-104 is B in parallel sentence. First
8 measure starts with G major. Repeatation' s first four measure starts as the
melody in bass part and in minor.
mm. 105-108 Codetta.
mm.109-124 idea of A. Harmonic progression and register difference is on trepetation of A.
mm.109-124 idea of A. Harmonic progression and register difference is on trepetation of A.
mm. 125-138 Main theme in C major.
mm.
139-160 Main theme (Original)
mm.
161-188 Transition.
mm.
189-212 Episode 3 or coda in G maj.
mm.
189-196 The idea which is bass melody taken from B of main theme.
mm.
197-204 Motivic development on bass.
mm.
204-213 More motivic development.
mm.
213-236 Same as 189-196 but melody in right hand and in tonic.
mm.
237-354 Coda.
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