- Created by: Danny Gortler
- Created on: 13-05-12 13:42
- Functional, as evinced through use of perfect cadences: bar 9-10.
- Harmony is used structurally, - 2nd subject begins in F major tonality (bar 23).
- Dominant Preparation emphasises lead back to tonic: bar 87-92 highlighting Recapitulation section (bar 93).
- Development section (bar 63) explores more related keys:
- G minor (67)
- F minor (71)
- C minor (75)
- G minor (80)
- Dominant pedal: bar 57.
- Diminished 7th: bar 69.
- Augmented 6th: bar 80
- Chromatic secondary dominant (V7b of V): bar 121.
- Chromatic Appoggiaturas: bar 35.
- Diatonic Appoggiaturas: bar 2.
- Imperfect cadences bar: 21-22.
- interrupted cadence: bar 83-84
- Predominantly 2-part texture: melody-dominated homophony with broken chord accompaniment = bar 1-4.
- Alberti bass textures (typical of Classical era): bar 71.
- Block chords: bar 45-49.
- Six part chord: bar 23 - fuller, larger chords draw attention to beginnings and ends of sections, here introducing the 2nd subject. Thus, texture could be said to play a structural role also.
- Dominant pedal bar 57.
- passages in 6ths: bar 102.
- periodic phrasing
- Uses the accented dissonance as an essential part of the melodic line: some are appoggiaturas (bar 2), accented passing notes (bar 3) and others suspensions (bar 4)
- This motif appears no less than 10 times within the first subject
- Chromatic appoggiatura: bar 6
- conjunct/scalic writing
- triadic/harmonically charged: bar 22
- use of ornamentation such as trills: bar 58 (over dominant pedal)
- the motif of the accented dissonance is rhythmically diminished in bar 7
- simple quadruple metre
- short valued quavers and semiquavers make it lively
- staccato: bar 85
probably would have been performed on a fortepiano.
unlike the harpsichord was capable of articulating dynamics, although these would have been subtle, there are a few dynamic markings but the range is relatively narrow.
Alberti bass is a typical technique used during the Classical era: bar 71
1st subject: bar 1-10 (in tonic)
transition: bar 10-22 (modulating to dominant)
2nd subject: bar 23-50 (in dominant)
Codetta: bar 50-63 (confirms F major dominant tonality)
passes through various related keys such as G minor (67), F minor (71), C minor (75), G minor (80)
1st subject: bar 93-103 (tonic)
transition: bar 103-118
2nd subject: bar 119-152
Coda = bar 152-end