Tonic Chord April 29, 2018

Analysis

Contents

1 Analysis

First Movement (Allegro)

Form: Sonata Form. C Major.

EXPOSITION (Bars 1-53):

Bars 1-15: First Subject. Tonic key, C Major. Tonic Pedal-point (C) Bars 1-6; combined Tonic (C) and Dominant (G) Pedal-points at Bars 10-14. Ends with Perfect Cadence (Bar 15).

Bars 15-23: Bridge Passage or Episode. Commences in Tonic key, touches G Major (Bar 16), E minor (Bar 16), to return to C Major (Bar 17), modulates to G Major (Bar 19), D Major (Bar 24), returning to G Major (Bar 28) to end with Imperfect Cadence (Bar 33).

Bars 34-53: Second Subject. Dominant key, G Major. In Three Sections (Bars 34; 42; 47). Tonic Pedal-point (G) in Bass at Bars 31-38. Modulates back to C Major (Bar 39), to G Major (Bar 41). Perfect Cadence (Bar 41-42). Continues to G Major for the second section to end with Imperfect Cadence (Bar 46). Then Tonic (G) and Dominant (D) Pedal-points combine (Bars 47-50). Second Subject ends with Perfect Cadence

Double Bar and Repeat.

DEVELOPMENT (Bars 54-101):

Commencing with material of First Subject in G minor, it touches A Major (Bar 56), F Major (Bar 56), D minor (Bar 57), G minor (Bar 58), F Major (Bar 60), Dominant Pedal-point (C) at Bars 64-66, F minor (Bar 66), A flat Major (Bar 67), E flat Major (Bar 69), F minor (Bar 75), C minor (Bar 76), D minor (Bar 78), A minor (Bar 80), E minor (Bar 82), G Major (Bar 86), A minor (Bar 87), D minor (Bar 94), C Major (Bar 98), to end with “The Chord of the Dominant Seventh: in C Major (Bar 101).

RECAPITULATION (Bars 102-150):

Bars 102-119: First Subject. Tonic key, C Major. Altered and slightly extended to end with Imperfect Cadence.

Bars 120-129: Bridge Passage or Episode. Commences with Syncopated, three part Contrapuntal work in C Major, moves to G Major (Bars 124), back to Tonic key (Bar 125), to end with “Chord of the Dominant Seventh” (Bar 129).

Bars 130-150: Second Subject. Tonic key, C Major. Three Sections (Bar 130; Bar 139; Bar 143). Tonic Pedal-point (C) at Bars 130-134. Ends with Perfect Cadence (Bar 150) in C Major.

Double Bar and Repeat.

Second Movement (Adagio)

Form: Ternary Form. F Major.

PART I (Bars 1-17):

Tonic key, F Major. Modulates to Dominant key, C Major (Bar 9), to end with Perfect Cadence in C Major.

PART II (Bars 18-33):

Commences in Dominant key, C Major. Double Pedal-point (Tonic C and Dominant G) at Bars 18-20. Moves to C minor (Bar 24), D minor (Bar 28), F Major (Bar 29), to end with “Chord of the Dominant Seventh” at Bar 33.

PART III (Bars 34-63):

Tonic key, F Major. Repeat of Part I with considerable variation. D minor (Bar 39), F Major (Bar 40), F minor (Bar 48), Dominant Pedal Point (C) at Bars 53-56. Ends with extended Perfect Cadence (Dominant minor 9th to Tonic Chord) (Bars 58-63).

Third Movement (Allegro Molto)

Form: Ternary Form. C Major.

PART I (Bars 1-25):

Tonic key, C Major. Two Sections:

Bars 1-11: A. C Major. Ends with Major Triad on B (Bar 11) which becomes the Supertonic Chromatic Concord of A minor.

Bars 12-25: B. Moves to A minor (Bar 15) to G Major (Bar 17). Ends with Perfect Cadence in G Major.

Double Bar and Repeat.

PART II (Bars 26-49):

Commences in C Major, with frequent use of Chromatic Passing Notes and Auxiliary Notes, it moves to D minor (Bar 30) to G minor (Bar 42), to end with Diminished Triad on the Leading Note of C Major (Bar 49).