![\"Grave\"](\"http:\/\/opensourcemusic.org\/wp-content\/uploads\/2009\/06\/Grave.png\" "\\"Grave\\"")
<\/a><\/p>\nThe introduction material is the entire grave section, going from measures one through ten [above].<\/p>\n
The first theme begins in measure 11 and goes through a perfect authentic cadence in measure 19 moving on to a half cadence in measure 27.\u00a0 This happens again exactly repeated in measure 35 [left].\u00a0 Beethoven uses these half cadences to move into some transitional material and begins to modulate to Eb major.\u00a0 This is the key of the first statement of the second theme.<\/p>\n Beethoven uses the vii diminished of a flat VII to begin this modulation.\u00a0 It is a common chord modulation, where the VII chord (Bb Major) becomes the dominant in Eb major.\u00a0 The large dominant of Eb major occurs in measure 51.<\/p>\n In the second theme there is an imperfect authentic cadence in measures 59 and 76 and then a perfect authentic cadence in measure 88.\u00a0 After the second theme has been stated for the first time, there is an expanse of transitional material to close off the exposition.\u00a0 The closing section runs from measure 89 to 132.<\/p>\n The imperfect authentic cadence in measure 76. <\/p><\/div>\n The perfect authentic cadence in measure 88. <\/p><\/div>\n At the end of the closing section in the two different endings, there is first a large dominant to lead back to the first theme in C, and then a large secondary dominant of V to lead into the next grave section, which is a restatement of the introduction material.<\/p>\n The development of the piece begins at measure 137, here Beethoven combines the textural elements from the introductory section, the first theme and the second.\u00a0 I am always amazed by how concise his music is.<\/p>\n Image dump and rest of the analysis below the fold:<\/p>\n <\/p>\n Development material that resembles theme 1 material.<\/p><\/div>\n Theme 1 material. Note the staccato, ascending quarter notes. <\/p><\/div>\n Development material that resembles grave section melodic fragments.<\/p><\/div>\n Grave material. Note the contour, and the octaves. The theme is expanded in note value (not temporally though!) in the development. <\/p><\/div>\n Development material that resembles the left hand during theme 2. <\/p><\/div>\n Theme 2 material.<\/p><\/div>\n Development material that resembles the left hand from theme 1. <\/p><\/div>\n Theme 1 material. <\/p><\/div>\n The development ends at measure 167 where it moves into an incomplete authentic cadence and continues on to the retransition where there is a long extended dominant before the recap. The recap begins in measure 195 landing squarely in the key that the piece began in. Theme one is reintroduced where it continues to a perfect authentic cadence in measure 203 and then onto some transitional material.<\/p>\n The perfect authentic cadence in measure 203.<\/p><\/div>\n Theme two gets brought back in measure 221 but this time in the key of F major rather than Eb major. It spends half of the “theme two” temporal space in the alternate key and then moves back to c minor by measure 237, with a prolonged dominant of C starting in measure 233.\u00a0 This is likely to represent a structural predominant.\u00a0 If you do a schenkerian reduction of this movement, the big predominant would likely occur here.<\/p>\n After the restatement of both themes there is short closing section again, which theme 2 moves into through a perfect authentic cadence. At the end of the closing section there is a large vii diminished of the dominant before finally returning to the grave material.\u00a0 After the grave restatement, a quick coda finishes the piece with material from theme one.\u00a0 <\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/p>\n<\/a><\/a><\/p>\n<\/a><\/p>\n