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Sonata Form,[object Object],and Beethoven’s 5th Symphony,[object Object],RSNO Maestro Music 2011,[object Object]
Intended Learning,[object Object],In this presentation, we will learn about sonata form,[object Object],Beethoven used sonata form to write the first movement of his 5th Symphony, which will be the first piece performed in Maestro Music 2011,[object Object],We will learn about the different parts of sonata form and how Beethoven applied them in this piece,[object Object],Copyright Sophie Lang 2011,[object Object]
Introduction,[object Object],You will almost definitely recognise the first line of Beethoven’s Fifth Symphony, even if you didn’t know that was what it was!,[object Object],But there is more to that infamous four note motive – da dadadum – than meets the eye,[object Object],Copyright Sophie Lang 2011,[object Object]
Introduction,[object Object],Beethoven apparently referred to it as ‘fate knocking at the door’, which many people believe was a reference to his impending deafness,[object Object],Wherever he drew the inspiration, he could not let go of those powerful few notes: They crop up again and again, forming the basis for the entire first movement,[object Object],Copyright Sophie Lang 2011,[object Object]
Introduction,[object Object],Beethoven  could be said to fall in to both the Classical and Romantic periods in music, and certainly exhibits traits from both,[object Object],He constantly pushed boundaries, siding him more with the Romantic composers, but he still used Classicalforms,[object Object],One of the most important of these is Sonata Form,[object Object],Copyright Sophie Lang 2011,[object Object]
Sonata Form Outline,[object Object],You might think it strange that sonata form is used in a symphony, not, as you might expect, in a sonata,[object Object],But composers such as Mozart and Haydn had been doing so before Beethoven in the first movement of their symphonies and he simply carried on the tradition,[object Object],Copyright Sophie Lang 2011,[object Object]
Sonata Form Outline,[object Object],Sonata form can be summed up by splitting it in to three sections:,[object Object],[object Object]
	Development (B)
	Recapitulation (A2)Sometimes a Coda follow the recapitulation, as in the case of Beethoven’s Fifth,[object Object],Copyright Sophie Lang 2011,[object Object]
Exposition,[object Object],This is the first section of the piece,[object Object],It introduces the main themes and motives that will be heard throughout the movement,[object Object],Copyright Sophie Lang 2011,[object Object]
Exposition,[object Object],It usually consists of:,[object Object],[object Object]
Transition (or bridge passage) to another key
Second subject: a second, usually contrasting, theme in the new keyOften, the whole exposition will be repeated,[object Object],Copyright Sophie Lang 2011,[object Object]
Exposition,[object Object],These are the themes to be listening out for in the first movement of Beethoven 5:,[object Object],[object Object],Copyright Sophie Lang 2011,[object Object]
Exposition,[object Object],[object Object]
It is also memorable, so we will recognise it as it reoccurs throughout the symphony
The transition also contains the four-note motive, where it is slightly elongated to become a solo horn callCopyright Sophie Lang 2011,[object Object]
Exposition,[object Object],The Second Subject is a longer, legato phrase in the relative major (E flat):,[object Object],Listen carefully, though, and you will hear the first subject motive in the cellos and double basses, accompanying the strings’ and winds’ second subject,[object Object],Copyright Sophie Lang 2011,[object Object]
Development Section,[object Object],As the name suggest, this is the section of the piece where the themes from the recapitulation are developed,[object Object],The composer is therefore creating new music from existing ideas, be they melodic or rhythmic,[object Object],Copyright Sophie Lang 2011,[object Object]
Development Section,[object Object],The music will travel through a number of keys (composers such as Beethoven and his successors pushed the boundaries and used keys that were further and further from the ‘home’ key, or Tonic),[object Object],Towards the end of the Development Section, the composer has to find a way back to the Tonic and to the Recapitulation, where the themes of the exposition are replayed,[object Object],Copyright Sophie Lang 2011,[object Object]
Development Section,[object Object],Snatches to listen out for:,[object Object],[object Object]

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Sonata form

  • 1.
  • 2.
  • 3.
  • 4.
  • 5.
  • 6.
  • 7.
  • 9.
  • 10.
  • 11.
  • 12. Transition (or bridge passage) to another key
  • 13.
  • 14.
  • 15.
  • 16. It is also memorable, so we will recognise it as it reoccurs throughout the symphony
  • 17.
  • 18.
  • 19.
  • 20.
  • 21.
  • 22. This passing around continues to build to a loud climax
  • 23.
  • 24.
  • 25. Beethoven strips the music down further by taking away one of these notes so that just a single minim is passed back and forth
  • 26. This gives the music the feel of completely winding down, especially as it also gets quieter
  • 27.
  • 28.
  • 29.
  • 30.
  • 31.
  • 32.