CADENTIAL STRUCTURE Binary Statement of Cadence: First Statement [ I – IV – V ] mm. 1 – 167 Initial Tonic [ I – ] mm. 1 – 150 Initial Cadence mm. 1 – 22 Second Statement of Cadence mm. 22-31 Mediant Elaboration mm. 32 – 105 [ – IV – V ] (transition) mm. 32 – 55 [ I – IV – V – I ] mm. 56 – 105 Motion to Subdominant mm. 106 – 118 Prolongation of Subdominant mm. 118 – 146 Return to Tonic ("tying-the-knot") mm. 146 – 156 Cadential Subdominant (Spanish) [ – IV – ] m. 157 Cadential Dominant [ – V ] mm. 158 – 167 Second Statement mm. 168 – 284 [ I – IV – V – I ] mm. 168 – 284 Initial Tonic [ I – ] mm. 168 – 256 Cadential Subdominant [ – IV – ] mm. 256 – 266 Cadential Dominant [ – V ] mm. 267 – 270 Closing Tonic [ – I ] mm. 271 – 284 |
| OUTLINE Cadential Structure in Beethoven's Piano Sonata op. 10 #1, 1st Movement (outline below; see chart; see full discussion) |
| Cadential structure in sonata-allegro form, and in many other examples of tonal music, does not coincide with thematic structure. The result is structural counterpoint, dynamic tension between fundamental tendencies. An outline of the thematic structure of the first movement of Beethoven's piano sonata in c-minor op. 10 #1 appears below; an outline of the cadential structure follows. (Full discussion.) |
January 8, 2006 |
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| MODULES Appendices Cadential Structure in Beethoven's Piano Sonata, op. 10 #1, 1st Movement Lester Allyson Knibbs, Ph.D. |
Introduction The Chaconne Cadential Structure Unitary & Binary Structures Linear & Periodic Structures Modules and Modalities Structural Counterpoint Modular Composition Appendices --- |
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| Mozart's K. 310 Beethoven's op. 10 #1 Structural Counterpoint in Two Liszt Etudes |
THEMATIC STRUCTURE Exposition mm. 1 – 105 First Theme Group mm. 1 – 31 Theme I, part 1 mm. 1 – 22 Theme I, part 2 mm. 22 – 31 Transition mm. 32 – 56 Second Theme Group mm. 56 – 105 Theme II mm. 56 – 94 Codetta mm. 94 – 105 Development mm. 106 – 168 First Section (transition) mm. 106 – 117 Second Section (new theme) mm. 118 – 136 Third Section (returning passage) mm. 136 – 168 Recapitulation mm. 168 – 284 First Theme Group mm. 168 – 190 Theme I (part 1) mm. 168 – 190 Transition mm. 191 – 215 Second Theme Group mm. 215 – 284 Theme II (1st statement) mm. 215 – 233 Theme II (2nd statement) mm. 233 – 271 Codetta mm. 271 – 284 |
EXAMPLES IN BEETHOVEN’S OTHER PIANO SONATAS The following is a list of other Beethoven piano sonata movements that follow the cadential structure pattern discussed above: Op. 2 No. 1 (first movement): Tying-the-knot: m. 78 Cadential subdominant: mm. 79-80 Cadential dominant: mm. 81-100 Recapitulation (tonic): m. 101 Op. 2 No. 3 (first movement): Tying-the-knot: m. 126 (3rd and 4th beats) Cadential subdominant: mm. 127-128 Cadential dominant: mm. 129-138 Recapitulation (tonic): m. 139 Op. 10 No. 2 (first movement): Tying-the-knot: mm. 107-108 mm. 109-130 (digression: motion to subdominant – inspired!) Cadential subdominant: mm. 131-132 Cadential dominant: mm. 133-136 Tonic of Recapitulation: m. 137 Op. 10 No. 3 (first movement): Tying-the-knot: mm. 163-164 Cadential subdominant (Spanish): mm. 165-166 Cadential dominant: mm. 167-183 Recapitulation (tonic): m. 184 Op. 14 No. 2 (first movement): Tying-the-knot: m. 106 (1st beat) Cadential subdominant (Spanish): m. 106 (2nd beat) Cadential dominant: mm. 107-124 Recapitulation (tonic): m. 125 Op. 27 No. 2 (third movement): Tying-the-knot: m. 85 Cadential subdominant (Spanish*): m. 86 Cadential dominant: mm. 87-101 Recapitulation (tonic): m. 102 or: Tying-the-knot: m. 85 mm. 85-99 (motion to cadential subdominant by way of false cadential dominant) Cadential subdominant (Spanish*): m. 100 Cadential dominant: m. 101 Recapitulation (tonic): m. 102 Op. 31 No. 1 (first movement): Tying-the-knot: m. 156 (1st beat) Cadential subdominant (Spanish*): mm. 156-157 Cadential dominant: mm. 158-193 Recapitulation (tonic): m. 194 Op. 31 No. 2 (first movement): Tying-the-knot: mm. 117-118 Cadential subdominant (Spanish): mm. 119-120 Cadential dominant: mm. 121-138 Recapitulation (begins on V6): m. 143 Op. 49 No. 1 (first movement): Tying-the-knot: mm. 52-53 (1st beat) Cadential subdominant (Spanish): m. 53 Cadential dominant: mm. 54-63 Recapitulation (tonic): m. 64 Op. 53 (first movement): Tying-the-knot: mm. 132-133 Cadential subdominant (Neapolitan): mm. 134-135 Cadential dominant: mm. 136-155 Recapitulation (tonic): m. 156 Op. 57 (third movement): Tying-the-knot: mm. 158-163 Cadential subdominant (Neapolitan): mm. 164-167 Cadential dominant: mm. 168-211 Recapitulation (tonic): m. 212 Op. 79 (first movement): Tying-the-knot: m. 110 (1st beat) Cadential subdominant (Spanish*): m. 110 (2nd and 3rd beats) Cadential dominant: mm. 111-122 Recapitulation (tonic): m. 123 Op. 101 (third movement): Tying-the-knot: mm. 176-190, or mm. 189-190 (as rhythm suggests) Cadential subdominant: mm. 190-191 (harmony vs. rhythm) Cadential dominant: mm. 192-199 Recapitulation (tonic): m. 200 (clearly!) Op. 111 (first movement): Tying-the-knot: m. 84 (4th eighth) Cadential subdominant (Spanish*): mm. 84-85 Cadential dominant: mm. 86-90 Tonic of Recapitulation: m. 92 Op. 2 no. 3, op. 79, and especially op. 111 demonstrate that tying-the-knot can occur in an instant. Op. 10 no. 1, op. 57, and perhaps also op. 101 demonstrate that it can be drawn out. Op. 10 no. 3, op. 14 no. 2, op. 31 no. 2, and op. 49 no. 1 have the “(Spanish)” indication next to “cadential dominant” (as does Mozart’s K. 310 – see page 2 above) because the motion from the tonic to the cadential dominant is by way of the so-called “Phrygian cadence” – which, historically, is a Spanish cadence. I propose, therefore, that we call it the “Spanish cadence”. (Will the Phrygians object?) Op. 27 no. 2, op. 31 no. 1, op. 79, and op. 111 have the “(Spanish*)” indication because the motion from the tonic to the cadential dominant is by way of a modified Spanish cadence. There is a historical evolution from the Spanish cadence by way of the modified Spanish cadence to the [I-IV-V] of cadential structure. I believe that I can demonstrate with historical examples that the Spanish cadence, arriving in the form of diferencias and other variation techniques, was the catalyst in the development of modern tonality, the foundation of which is cadential structure. Tonal music works, not on some “universal” theoretical basis, but on a foundation of historical development peculiar to particular times and particular places and the interactions, through war and peace, commerce and communication, between peoples and cultures. |