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3 Cards in this Set
- Front
- Back
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Coda
bars 259-298 (bars 259-263) |
Beethoven could have concluded the movement at that point, however uses C7 harmony in bars 259-262 to change the tonality to F by 263
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Coda
bars 259 - 298 (bars 264-277) |
The transitions is similar to that between exposition and development and between development and recapitulation
modulation instead of consolidation allows Beethoven to develop ideas - resulting in longer complex codas that are more like development sections tonal direction: F maj, Am, G maj C pedals return in bar 277 |
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Coda
bars 259 - 289 (277-289) |
Beethoven takes every opportunity to highlight C:
tonic chord in brass and 1st violins sustaining C chord in woodwind tonic timpani pedal rapid bowing ends with 4 bold statements of the C chord a silent bar at the end adds dramatic pause between movements |
