Cadential Structure in Beethoven's Op. 10 No. 1 (First Movement), continued |
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| RIFFS Cadential Structure In Symphonic Composition: Analysis of Beethoven's Op. 10 No. 1 (First Movement), continued Lester Allyson Knibbs, Ph.D. |
| Example 241b.8 |
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Introduction The Chaconne Cadential Structure --- Unitary & Binary Structures Linear & Periodic Structures Riff Modalities Structural Counterpoint Modular Composition Appendices |
| In measures 22 through 31, we have a second complete tonal cadence in c-minor, as well as a reiteration of the opening thematic idea. The cadential structure, as revealed in the bass line (example 241b.8(a)), has a significant thematic difference, with structural consequences. The initial structural tonic is prolonged in measures 22 through 27 by way of first-inversion dominant harmony, instead of by way of first-inversion tonic harmony as in the first thematic statement. Motion to the cadential subdominant in measure 28 is upward and by way of the first-inversion tonic, instead of downward and direct as in measures 18 to 19. The minor third motion from the tonic note to the mediant is a recurrence of the opening "rocket" motion of measures one to three, and its subsequent development in the bass motions of measures one through 18. In addition, it leads to a three-four-five motion in the bass (see example 241b.8(c)), which is thematically significant in measures one through nine, 71 through 75, 78 through 93, 156-157, 168-176, 248-252, 255-270 and elsewhere. Moreover, the bass motion c-natural to e-flat to f-natural to g-natural is the harmonic outline of the first half of the binary cadential structure which undergirds this movement (measures 1-167). This discussion comes later. |
| As shown in example 241b.8(b), the new configuration of the bass line still "remembers" the relationship between c-natural/e-flat, on the one hand, and b-natural/f-natural, on the other - but in a permutated and much weakened form. |