Contains brief chromaticism, e.g. lower auxiliary on 2nd note of 1st subject (bar 18). Also, bar 26 where there is a chromatic scale of first subject.
First subject begins with a rising sequence based off of a 4-note motif.
Melodies often repeated, e.g. melody of bar 10 immediately repeated in fuller instrumentation.
Ornamentation e.g. turn at end of first subject tune.
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Beethoven - Rhythm
Rhythm:
Slow intro which is rhythmically complex and contrains demisemiquavers and sextuplets.
Accompaniment of first theme has a distinctive repeated quaver pattern in viola. This is replaced by a new syncopated idea in violin and viola over constant crotchets in the ‘cello when the tune is repeated – b29.
Many themes begin with an anacrusis; first theme begins with three upbeats, first theme of second subject uses just one.
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Beethoven - Texture
Texture:
Slow introduction contains full tutti chords e.g. bar 1.
Bar 2 contains monophony due to only solo violin playing.
Use of melody dominated homophony, for example in the exposition where broken chord accompaniment supports the melody in the violin.
At bar 128 the bassoon and clarinet play in octaves, and at 140 play in 6ths.
The texture in the coda becomes more complex due to imitation between strings and woodwind, e.g. 258-264.
Varied number of instruments playing at different times e.g. tutti at 90-92, contrasts with 3 part passage immediately preceding it.
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