- Some melodies immediately repeated but are not usually recapitulated later in the music.
-Short statements with defined shapes and phrases separated by rests
-Arch-shaped melodies are common, for example in sonata 1 bars 15-16, sonata 2 bars 1-2.
-Limited number of pitches sometimes suggests pentatonicism e.g. 1-8 in sonata 1.
-Tendency to use conjunct movement e.g. sonata 3.
-Decorative use of grace notes and rhythmic embellishments.
-In sonata 3 the melody is treated with familiar melodic devices such as repetition, sequence, inversion and augmentation.
- Rhythmic ideas may repeat immediately but are not recapitulated as the music progresses.
-Irregular groupings of rhythm are common and may obscure the natural pulse.
-Each sonata has a variety of rhythmic patterns, from sustained or static to fast-moving and decorative.
-Expected stresses often displaced, causing strong beats to be unclear and the metre to be vague.
-Frequent metre changes
-Irregular metres used freely in order to satisfy structural rhythm
-Significant periods of silence punctuate each sonata.
-Chordal texture bar 1 of sonata 1.
-Monophony sonata 2 bar 1.
-Two part homorhythm sonata 2 bar 10.
-Treble movement over static or ostinato accompaniment, sonata 3 bar 1.
-Layered textures sonata 2 bar 30.
-Length of each component part relates to the number 7.
-Uses 7-crotchet units in multiples of 4 1 3; 4 1 3; 4 2; 4 2.
1-7 = 4 x 7 // 8 = 1 x 7 // 9-12 = 3 x 7 Crotchets (repeated)
13-18 = 4 x 7 // 20-26 = 2 x 7 crotchets (repeated)
-Overall, binary structure composed of 2 sections of 56 and 42 beats.
-Note the missing quaver because of the 9/8 in bar 11. There is, however, a compensation.
-Length of each of component parts relates to the number 31.
-Sonata uses 31-crotchet units in multiples of 4 2 ; 4 2 ; 9 and a half ; 9 and a half.
bars 1-9 = 1 x 31 crotchets
Bars 10-14 = 1/2 x 31 crotchets (repeated)
Bars 15-23 = 1 x 31 crotchets
Bars 24 - 32 = 1 x 31 crotchets
Bars 33 - 37 = 1 x 11 and a half crotchets (repeated).
-Overall the binary structure is composed of two sections of 46 1/2 and 73 1/2 beats.
- Note frequency of 3/8 bars, many of them silent, which punctuate the phrases and the departure from the underlying pattern at the close.
-Length of each of component parts relates to 34.
-Uses 34-crotchet units in 1;1;31/4;31/4.
-Bars 1-8 = 1 x 34 (repeated)
-Bars 9-32 = 31/4 x 34 (repeated)
-Overall binary structure is made of two sections of 34 and 1101/2 beats.
- Tonal relationships of scale or key are absent due to prepared piano - tonality notions destroyed by sound it makes.
-Does not lend itself to conventional harmony.
- Passages repeat themselves, thereby giving emphasis on certain pitches
-Phrases approach cadential points with a sense of closure due to rhythm and stepwise movement.
-Pitched notes exist to form pentatonic patterns
-Uses cadences which are not articulated by chord progressions.
-Cage dismissed harmony as a 'tool of western commercialism'.
-Uses harmony in traditional way: continuous flow of harmonic progression moving betweeb hierarchical chords, leading to modulations and creating tension.
-G7 chord at opening
-B20 = parallel chords.