Beethoven s Piano Sonata No. 2, 2nd Movement, Morphological Analysis

Introductory - Presentation - Part - Reproduction - Ending.

The second movement, not too fast, is fully sungE major, 4 4 time, rondo sonata style.

The main thematic part is a three-part body with an extremely lyrical melody. After a brief passage of intense and soft dynamics alternating with a sub-theme, it appears in B major.

After the main theme is repeated, enter the section, first developing the last part of the main theme, followed by a piece of music after the sub-theme. After the third occurrence of the main Wu Huai Xing theme, the sub-theme is reproduced in E major, and finally the changed main theme appears, and it is developed into a colo, and the music ends quietly.

Creative features. Collectivity.

Beethoven. lived through the French Revolution throughout his life.

Before and after the drastic changes in European society, his works are the product of the combination of times and personalities. He greatly expanded the ideological content of the symphony, making it a genre that directly reflected social change, and the amplitude of the piano's expression was greatly enhanced.

The expansion of the content leads to the means of expression.

Innovation: He broke through the traditional formal structure, the use of motivative themes and the development of dynamic musical ideas, so that ** has extraordinary momentum and power; The diacritical system, which is based on the functional system, has become the characteristic of his harmonic style.

The out-of-tune transposition and large rhythmic and dynamic contrasts play an important role in depicting contradictions and dramatic developments. In addition, the use of counterpoint, the combination of band sound, and the writing of piano ** all have distinctive characteristics.

As of March 2020, there is no structure for the Piano Sonata 2nd Movement. There is only a textual description of the work in the form of a complex trilogy, divided into the first part, the middle part, the reproduction part, and finally the epilogue is added at the end. The first part is 1-24 measures, the middle part is 25-50 measures, the reproduction part is 51-73 measures, and the epilogue is 74-90 measures.

Composition analysis: 1. The first part is a single trilogy with reproduction, the speed of the performance is very slow, and the contrast between the strength and weakness of the strength is obvious.

2. The middle part belongs to the interpolated middle, also known as the middle of the type, but this part is not respectful and thick, and it forms a complete curve. In this section, the texture.

The form has changed from a column chord to a broken chord.

3. The reproduction part is a reproduction of the changes in the first part, and the tonality of the key has returned to C major.

Not much has changed from the first part, and a decorative part has been added after the main theme.

4. Epilogue, and finally the epilogue part is added at the end, and the method of immersion termination is used. The overlapping relationship between the passages and the end of immersion must have been released in a multi-voice structure.

Piano Sonata No. 4 in E flat major The second movement is in C major, in four or three beats, in tripart.

1. C major.

The parallelism of C major is in A minor, the first three notes are major thirds, and the first three are minor thirds.

2. Four or three beats.

There are three beats per measure, and the duration of each beat is determined by the tempo of the piece. Waltzes are generally in four or three beats and are most common.

3. Trilogy.

Towards the end of the program, the "compound form" is mentioned, that is, the large structure is a trilogy, and in the first part of the three parts itself, there is a small trilogy form, and the beater with a small structure in this large structure is a compound form.

Piano Sonata No. 4 in E flat major, op )"

Beethoven's Piano Sonata No. 4 in E flat major was written for his pupil Barbara.