Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
4 Cards in this Set
- Front
- Back
|
Second Subject
bars 52-88 (bars 52-68) |
In the dominant key of G major, Beethoven immediately achieves a contrast with the 1st subject by using woodwind to play opening
opening 4 bar phrase (with an upbeat, bar 52) is followed by another 4bar phrase featuring a minim-crotchet idea in the woodwind woodwind melody shared between violins and oboe/flute in G major (bars 65-66) A minor harmony (bar 67) before ending on a D7 imperfect cadence (bar 68) |
|
|
Second Subject
bars 52-88 (bars 69-77) |
Imperfect D7 cadence resolved by a G chord in bar 69
music instantly launches into 2bar phrases based on repeated semiquaver-crotchet rhythms in the strings (bars 60-72) Energy of this passage is reinforced by addition of brass and repeated 'f' markings (bars 73-77) opening idea from bar 53 is used from woodwind in contrary motion with the violas and brass forceful perfect G major cadence in bar 77 |
|
|
Second Subject
bars 52-88 (bars 77-83) |
Immediate change to 'pp' and to the tonic minor (Gm) in bar 77 signals a new section
passes through Cm (bar 78) to Bb (80) and then chromatically returning to G minor (83), ending tonal exploration Beethoven continues to use the minim-quaver motif from the start of the 2nd sub. |
|
|
Second Subject
bars 52-88 (bars 84-88) |
Addition of bassoon
(bar 85) full woodwind are employed melodic material in the lower strings links to codetta via a perfect cadence in G major (bar 88) |
