Piano Sonata Pathetique in C Minor

• Subject motif in bar 1, transposed up a fourth in bar 2
• Contrary motion on Grave motif
• Bars 7-8 - fragmentation
• Use of chromaticism in second cadenza
• Repeated arpeggiated motif, no clear melody
• G's in octaves with sf's
• Bars 59-60 - imitation
• Scalic and disjunct, not diatonic (chromatic)
• Bars 96-110 - contrary motion and chromaticism
• Develops ideas from previous sections 
  
• Bars 140-143 - sequence, varied version of Grave motif
• Bars 143-144 - inverted idea from bar 36
• Bar 161 - first part of second subject reintroduced
• Bars 221-230 - transposed a tone higher than bars 51-60
• Bars 253 - 264 - varied bersion of bars 89-100 with wider range

• Use of dotted rhythms in Grave motif 
• Use of semihemidemisemiquavers and nonuplets in cadenzas
• Split common time
• Left hand pedals as tremolos
• Staccatissimo
• LH part alternated between crotchets and quavers
• Transitions from Grave to Allego e con brio
• Ocyave quavers
• Bars 140-143 - Grave motif in simple crotchets
• Semibreves to end the development section
• Pedal semibreve followed by three crotchets (oom-cha-cha-cha)

• Homophonic
• Bars 7-8 - melody and accompaniment
• Use of cadenzas
• Thinner texutre than Grave sections - melody and accompaniment
• High repeated notes
• Homophonic
• Bars 167-175 are repeated to form bars 175-183
• Bar 198 - monophony and cadenza
• Bars 210-11 - interrupted cadence

• Played on a fortepiano (keyboard instrument developed around 1700)
• Narrower range but dynamics more pronounced
• Idiomatic (hands crossing)
• Use of ornaments: tremolo, mordents, acciaccatura

• Baroque
• Classical sonata
• Foreshadows the Romantic Era (elements of it)

• Chordal
• Bars 5-6 - in octaves
• Use of dominished seventh chord
• Tonic pedal
• Bars 12-14 - dissonance
• Bar 84 - diminished chord and broken chords
• Pivot chords and chromatic chords
• Bars 167-180 - dominant pedal
• Bar 221 - tonic pedal 
• Use of chromatic notes
• Bars 241-253 - circle of fifths and use of German augmented sixth chord

• C minor (tonic key)
• Bar 5 - briefly passes through relative major and dim. 7th chord leads to perfect cadence
• Begins in C minor and 2nd subject is in E flat minor (unexpected modulation)
• G minor
• Enharmonic change leads to modulation in E minor
• Modulated through different keys:
  • Bars 146-152 G minor
  • Bars 153-157 F majpr
  • Bars 157-160 C minor
  • Bars 161-164 F minor
  • Bars 165-166 D major chord with E flat
• In C minor, modulates to D flat maj0r and F minor (subdominant minor) before returning to C minor

Sonata form with a French overture introduction section

Red = Introduction 

Blue = Exposition and 1st part of recapitulation

Green = development and 2nd part of recapitulation 

Orange = recapitulation