Download Class Notes on Beethoven's Op. 18/2/ii: Harmonic Analysis of the A, B, and A' Sections and more Study notes Criminal Justice in PDF only on Docsity! Music 160A class notes Dr. Rothfarb November 2, 2007 More on Beethoven, op. 18/2/ii: โข (page 26 in the anthology) โข Review of Wednesdayโs lecture: o Overall form (ternary): mm. 1-26: A section mm. 27-52: B section mm. 53-59: re-transition back to C major mm. 60-end: Aโ section The A section of op. 18/2/ii: โข mm. 1-6: o The first six measures make up a parallel period, with a C major HC in m. 3 and a C major PAC in m. 6. It is odd that there should be a PAC so early in the piece, but in this case the cadence is imperfected by the suspensions. โข mm. 6-10: o Following the opening period, there are two half cadences in C major: one in m. 8 and another in m. 10. This puts the G major harmony in the listenerโs ear and hints at the modulation that follows shortly. โข mm. 10-14: o These measures make up what might be thought of as a miniature b section (within the larger A section). Fยฉs first appear on the downbeat of m. 11 indicating that Beethoven is modulating to G major (the dominant key). o After several secondary dominant chords, there is a big G major PAC in m. 14. โข mm. 14-26: o Although it is not entirely explicit, m. 14 marks the return of the opening theme in the tonic key. The G major arpeggio in the cello in m. 14 leads to an Fยช on the downbeat of m. 15, making the chord into a dominant seventh sonority. This V 7 chord leads us back to C major. o A provocative chord is heard at the end of m. 21: a German augmented sixth chord. This sonority resolves to a dominant chord with a 64 suspension leading to a PAC on the downbeat of m. 23. o The cadence in m. 23, however, is not the final, conclusive cadence. Looking at the opening measures, we see that the cello begins on the C two octaves below middle C. The four measure extension following the cadence in m. 23 brings the bass back down to this register. โข The following diagram maps the harmonic motion of the A section: โโโsection aโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโโฌโโsection bโโโโโโโโโโโโโโโโโโโโฌโโsection aโโโโโโโโโโโโโโโโโโโ m.3 - I:HC m.6 - I:PAC m.8 - I:HC m.10 - I:HC (I:V --> V:I) m.14 - V:PAC (V:I --> I:V) m.25 - C:PAC โข Itโs fine that the A section doesnโt modulate. In fact, in ternary form, it shouldnโt modulate. The A section should be harmonically closed. This is an important characteristic of ternary form. The B section of op. 18/2/ii: โข mm. 27-36: o It is immediately apparent that mm. 29-36 are sectioned off from the rest of the piece by repeat signs. These measures are also immediately recognizable as having some of the qualities of a period. They make up a double period with two-bar phrasing. (You could think of it as a single
