all righty hello hello hello and welcome to another analysis video it's been quite some time since i've done an analysis video on my channel uh several years if i'm not mistaken so uh it's due time now during that time i have learned quite a lot um about sonata form and uh motivic development etc since i've last done a video so this is going to be a lot more comprehensive of a video and an analysis than my previous videos so we're going to be kind of really diving deep into this sonata um that all said though um what we will not be doing is we're not going to be um doing a note by note analysis and uh whatnot so this is going to be kind of an overview we're going to be kind of um picking apart the sonata we're going to be going a little bit more in depth with the harmonic analysis a little bit more we're not going to go back again we're not going chord by chord we're just kind of kind of looking at the general overview of it if you like now as as terms of phrases um in this sonata we will be looking at phrases but we're going to um avoid using terminology like um evaded or or sorry not evaded but like um parallel periods period by extension sentences you know the technical terms because i know different institutions will um use different terminology for basically the same thing what i will do is i might highlight a certain phrase or a certain idea and bring that to light so um but in terms of doing a phrase by phrase analysis because i know a lot of conservatories and institutions like to use the early beethoven sonatas as a as a guide to teaching snotaform i'm not going to be you know breaking down every single you know phrase and whatnot that is that is on you that is your job that's why you went to college that's why you you're sitting in that chair you know doing this degree right now is you got to use your own brain not mine so you got to do the work all right um so let's dive right into the sonata we're only by the way doing the first movement we're only doing the first movement of this sonata if you want me to do another video on the rest of the movements i'm happy to do so go ahead and leave a comment and if i get enough if i get enough thumbs ups then i will consider doing the other two movements all right another little disclaimer i should probably mention the recording that i am using let me just pull it up right here this is the recording i'm going to be using it's by paul pittman and this is just for legal reasons in case youtube comes after me and or blocks the video or for whatever reason this is completely legal to use on youtube looking at the license creative commons domain public domain mark 1.0 his work has been identified free basically use it all you get to use the whole thing can do whatever i want with it and you know people can't tell me i can't so so there you are so um hopefully this should have sound you should have the uh the uh you can you can hear it all right you can hear it and you can you know i can monetize this video if i want to because i need money because i need money so all right all right so let's dive right into this so beethoven pianos now number five and c minor opus 10 number one this piece was composed in 1796 and it was published in 1798. this is the first of three piano sonatas of the opus 10 sets published in 1798 um the other two are the number six in f major and number seven in d major beethoven was about 26 to 28 years old when he wrote these sonatas and um you know he's a pretty young man at the time so uh still getting his feet wet he's still known as a pianist at this point in his life in his career uh he's not known as a composer quite yet uh it was very typical for pianists to compose their own music very very very common back then um the other question is i thought uh answer why in the world would he publish three sonatas under one opus number um and not just them individually well that has a little bit to do with the logistics of marketing at the time uh publishers gave opus numbers not the composer and usually um a publisher will be like hey man uh i need some uh need you to write three sonatas for me it's easier to sell them like that it was just easier for publishers to publish sets of sonatas sets of string quartets sets of you know string trios sets of chamber music rather than just one at a time uh just made made things a little bit easier in terms of sales and and whatnot though that said uh about midway through baton's career he once he you know gains about getting good notoriety um as a composer really really started to rise to fame um you see really after opus 31 um a big slump in terms of you know sets of pieces uh really in his heroic era is his middle period uh really the only considerable opus numbers we have in terms of sets are the razamusky quartets of opus 59 that's a sev3 you have the opus 70 you know two piano trios um you have opus 102 a little bit later in 1815 that's just a pair of two cello sonatas right there uh and then it's it's pushing it but like the last three piano sonatas they're published as opus 109 110 111 i mean you can see they're they're meant to be together but they're published separately so that's kind of a toss-up but uh you see in baton's early period though he was writing lots of sets opus one had was a set of three as a triptych opus 2 was a triptych it was opus 9 was a triptych so lots of sets of pieces by beethoven right here and then this is just no different so just give some idea opus 9 was his uh string trio uh string trios of uh 1798 uh number three four and five one of them being in c minor we'll get back to that in just a sec and uh a little bit later we have opus 12 another set of three violins now is the first of his violin sonatas and a little bit later we have opus 13 the pathetique's not a kind of his breakout piece in terms of piano sonatas it was a 1799 just a year after this sonata was published c minor c minor is a very significant key for beethoven beethoven wrote three pianos not as in c minor and uh it was c minor for beethoven is kind of like uh g minor for mozart it's it's his very dark uh angsty uh kind of rebel key if you like very stormy key this was a key that uh beethoven really really liked quite a lot and uh he he really he gravitated towards it whenever he wanted to really express something really menacing very deep and darkened um you know all that good stuff the the the angstiness so to speak uh i'm simplifying considerably by the way uh if you can't tell uh so some pieces that you you'll you'll know off the top of your head and see my uh fifth symphony dot right that's in c minor uh the choriolon you have the coral fantasy opus 80 you have uh what else you have uh oh yeah of course uh the third piano concerto uh you also have several chamber piece several chain pieces of chamber music uh in c minor um just trying to think of anything else there definitely is more there's there's definitely more you wrote lots of stuff in c minor but this is the first uh piano snout of his that you wrote in c minor and uh boys it's it's uh it's a doozy it's uh it's one of those that's a good one it's a very good one um i got nothing else to say why don't we just jump right into things uh it's three movements we're only focusing on the first movement like a cambrillo so let's actually go ahead i think what we'll do first is we'll go ahead and listen to the exposition and then we'll go ahead and talk about it so here we go here's the exposition [Music] all right there you go there's the expedition sorry uh you caught me napping i was looking at my my my physical score right next to me with all my notes following along i forgot to sorry about that uh try not to do that in the future all right so let's take a look here uh it's not alright um so take a look at the very beginning so beethoven right c minor [Music] so he starts off you know forte a big c minor chord look at the seven voices huge chord right here very big for the time uh mozart for example um that's another little little tidbit um take a listen to mozart's not in c minor uh i'd love to do a video analyzing uh two kind of comparing the two these two movements side by side uh you i there you get a feeling that beethoven must have had the mozart scene or sonata kind of right next to him as he was composing this one because there's a lot of similarities for example uh mozart sonata begins like this well let me play it better begins that what's it doing it's just outlining a c a c minor chord it's a triad and beethoven kind of takes that up to the next level same idea [Music] um you can tell i'm a composer not a pianist i can play these things not that cleanly so give me give me some slack here so as i was as opposed to mozart just opening it with octaves [Music] beethoven begins the big fat chord which uh mozart i don't think we've ever done um the you also have this um this ascending motific idea very there's this dotted rhythm but very angular very very sharp um very forthright and um he's he's breaking this by the way into here's what you can do you can look at this this first uh let's get my pencil here we go let me do a different color color we're gonna do i'm gonna do red because that means blood all right so take a look look at the first line right here you can divide this into a grouping of well this is a phrase you can divide it right here group of four measures right here and group of four measures you can think of this as an antecedent right here and a consequence kind of sort of kind of actually kind of actually um start with a one chord right here you end on a five seven well five oh let's get the inversion right that is a five four three it's a five four three chord and then going to a four here we go here we go seven seven fully diminished six three chord yep so i'm fully doing this three chord right there and then going up uh up the ladder so to speak right there and ending off on a very weak cadence on a 1 6 chord right here kind of as a incomplete authentic cadence and then right here you have another whoops not that much just up to here there's another eight bars you can divide into four one two three four boink one two three four and then it ends on a half cadence right here very weak cadence and that means you can't stop right here you have to keep going and that's what these measures right here are for yup uh some other notes about the very beginning uh primary theme right here um this is cool um most sonatas uh the primary theme most sonatas are triatic they tend to be triatic very basic triadic uh harmonies so for example if you take a look at the very beginning of the sonata it's just a c minor it's just a broken c minor chord that's all it is [Music] that's all it is mozart had the same thing for example [Music] same thing you know c major chord um going back to beethoven you know what's that it's an f major or an f minor chord uh what else oh speaking of f minor yeah another f minor chord just arpeggios um more of a literal sense voltage and sonata [Music] maybe a little bit of an exception but it's just triads uh if you want to call that the primary theme uh but most of these most of the openings of snot is this is a principle it's they tend they tend to be triatic in nature lots and lots of mozart's now there's lots and lots of schubert's noddies lots and lots of haydn sonatas they they all do the same thing they open up triatically not all of them though let me make that clear not all of them something i thought i'd point out all right where was i so uh the other thing i like to point out in here is this this chord this is a folding seventh chord huge chord look at five voices beethoven's like yeah tension drama uh so that's exactly why he chose a diminished seventh chord right here he could have easily replaced this with a five seven chord a regular dominant seventh chord and that would have done the job just fine i think [Music] but you'll notice how much watered down it sounds uh [Music] it just sounds so comical right next to it there's no touch there's the tension level has been reduced i mean [Music] it's it's it's definitely watered down the edge is taken off of it so but in beethoven's literature he the diminished seventh chord really is a very enticing chord it's a very dissonant very very bearish chord um it's got a lot of tension a lot of crunch to it so that's why he uses this diminished seventh chord he also uses it for practical reasons to get himself out of tricky situations avoiding parallel octaves and fifths you know technical reasons as well but for more of the artistic and musical reasons he uses it because it's got more bite to it so i mean and it's just stepping it's it's just a dominant uh it's it's of course it's it's replacing a dominant harmony that's all it's doing right here [Music] same thing all right moving on what i like to highlight next is this part right here this part right here this this rhythm right here um he fragments this later on right here right here and then he goes full sequence mode he goes full sequence with these elited um sequences kind of overlapping as you see right here kind of like that and this one kind of finished ish right there so beethoven the great uh what do you call them just recycler i guess you could say uh this is new right here it's just [Music] yeah just just a falling motive because we had this rising motive before and now we need something that's falling kind of a contrast kind of something goes up something has to come down so you see that and then it goes down to hell right here on this g on this half cadence right there real really emphasizing the point by writing a reins forzando which means to reinforce so he's really driving home it's a very brash very brash idea right here all right moving on he's got right here we've got um up until here this is a separate phrase because we end on a half cadence right here we have a five six chord right here five six chord um we can't end it right there we need to finish it off and uh he does so right here well sort of a little dumb on a on an incomplete cadence on an iac i guess you could say in complete authentic cadence even a weaker cadence on a six-four chord right so and of course this is a cadential six-four um i'm not going to call things uh five six fours or one six fours because again depending on what conservatory you go to they call them different things um i just call these cadential six fours because they're cadencing that kind of keeps everything neutral so but anyway you know 164 next one five seven and then rope those leaves big chord yeah i'm beethoven that's what he said true story he wrote that chord he wrote that scene my chord he's actually saying that he's like beethoven that's what he did all right and then right here he's got this this phrase quite four square but uh it's just a typical phrase um same thing like we had at the very beginning develops it with octaves and he leaves out now if we look at this oh i need to figure out where the pen is there it is if you break apart this these four measures we can break them apart into two phrase groups we can break it into part a right here and part b and uh it's also helped by the fact that the dynamic levels are accordingly as well so he just takes the a the a part of that phrase and just uh repeats over it and uh it it develops a little bit more of a momentum a little bit more of a drive and then going to here at the very the cadential figure right here i'm going to bring up a word that might make you shudder and that is shankarian analysis and uh if you know what that is and you haven't taken it yet uh you will if you're a music uh if you're in uh if you are going for a degree in music uh you will eventually take shankarian analysis so i'm not going to imply that but when shin current analysis really does it goes over it's its main purpose is to kind of you're trying to hear a certain melodic line stripping away all the unnecessary notes and trying to get down to the harmonic the core harmonic units or movement rather so so for example this passage right here what i want you to listen for is ignore these top notes these top notes are not that important though we'll get back to them in just a sec but notice how complete this this cadential figure sounds when we just play [Music] perfectly crumbulent perfectly sufficient um potential figure you got a two six chord five chords and then a one chord so upper neighbor lower neighbor tonic right there that's what i think a um a cookie cutter composer would do beethoven's not a cookie cutter composer though he does have these uh top notes up here and these top notes you know man they they really do accentuate this uh they they add a lot more drama they'll have a lot more tension this this tenth right you know so [Music] so this jump of a tenth clearly it's not a vocal um idiom it's it's something that's that you can only do i mean you can't sing that's we don't sing like that [Music] we this is an instrumental thing this is something you could take advantage of because of an instrument and this register really this extreme this is i mean this is pretty extreme [Music] um really just adds a lot more intensity to um this this figure right here this cadential figure so uh it's it's it's one of those little things those little details is he didn't have to he didn't have to do this he could have just again he's been perfectly fine [Music] totally fine perfectly fine cadential figure but little details like that really make a composition stand out all right moving quite along we get to the transition material and the transition material is quite interesting [Music] so what is he doing here so uh raise your hand tell me what key he's in he's in six very good thank you kevin i saw your hands uh he is in six right here um now what's important here is i actually want you to listen to this descending bass line right here because this is really that's kind of the idea behind that's what that's the underlying structure um that's kind of holding everything together it's nice voice leading by the way um nice voice leading and then even up here he's got some really nice uh fourth species counterpoint if you like uh with a little kind of uh well we'll get to that so anyway take a look at this uh [Music] oh got a little escape tone right here because normally this this this d flat would want to resolve [Music] just resolved down but he goes yeah we're gonna kind of have a little escape tone like an upper neighbor lower neighbor and then the actual tone we're trying to get at so a little clever um if you look back to this little phrase right here you can kind of get a little resemblance it's not exact but uh with the suspensions kind of over the bar line uh you can kind of get some sort of there's some relationship between these two i i think i think it's your ear kind of picks that up so he's in uh a flat major he has a kind of a weak incomplete cadence right here uh then right here look at my notes real quick make sure i'm saying everything right yeah so right here he goes into [Music] it goes into f minor and f minor how is that related to c minor thank you kevin that is a four very good you will get extra credit after class so we can deselect no don't do that all right never mind all right so that's a fork for right here so right here he's just uh this is a five let's see if we get this inversion right that is a five four two five four two of four if we're thinking about it in terms of the key keys the c minor being the key center [Music] now this isn't too unusual if you listen to and then right down here you know it should come as a little bit more of a shock because of course a flat and f minor uh the their power their their relationships with each other they're uh they share the same key signature so the accidentals say the same it should sound pretty smooth um what should come as more of a shock is um this this g flat and uh this g flat um not too far not too far removed it's um it should just become kind of a [Music] and we eventually end up on a d-flat major chord and uh kevin what do you have to say about this d-flat major chord exactly is the flat 2 thank you kevin all right it is the flat two chord and c minor very good now this is important uh we'll get to this in just a sec um but this isn't actually too far removed this g flat he's just adding one more flat here uh so you're an f minor uh i see i get this right [Music] give me a second i got this f minor and the five here we go it is i have to think about this there we go there we go so that's kind of what's happening here he's he got a five five four two a flat two of course we i mean i i'm overly simplifying this um or at least i'm keeping things in relationship to the tonal center of c minor um you can analyze this as he's actually modulating um and what not because at some point i mean what we're really going for is right here this is theme two it's our secondary theme this is our goal it's our target right here but before we have another target we have to reach we have to establish um a five a five of three that's kind of our ultimate goal and in order to do that what's really important is we need we need we need to really land harmonically rather stably on a on a dominant of of uh [Music] of e flat that's really our goal when you see this in a lot of sonatas by mozart hayden and beethoven and even a little bit schubert too is we're trying to really that's our target we need to we we we can't just jump from we could you don't really see it that much but if we're in c minor we can't really go uh that's not really how snot is are written at this time and it's it's we need to need to tell our ear that we've landed in five and the way we do that is with this little progression right here is this little uh leading tone this a natural going up to this b flat and in this diminished seventh chord [Music] and then we we enter this little little passage this little phrase group right here so this phrase group let's talk about this i'm going to highlight this these four notes uh keep these in the back your mind these will become important later on uh all i have to say about this right now is um you've got a b-flat pedal a dominant pedal now we're thinking in terms of e we're thinking in terms of e-flat now which is the parallel uh major of c minor so and it's not a forms yeah if you're in a minor key it's very typical to go to the relative major that's that's completely normal beethoven's being a good boy and doing what he's supposed to do um this phrase another one of those uh you can break this apart yum bum but um you can this this little part right here this is just fragmentation it means this is this little variation uh the the left hand remains the exact same you know [Music] yeah that's all it is let's do it and then he finally is happy and uh we we finally landed e flat and now we're in e flat now our ears are like yay we're knee flat woo yeah celebrate now what's important that beethoven does here in the secondary theme is that he makes he contrasts this with what's been happening in the primary theme primary theme right very angular very aggressive very angular very right we need some contrast and good composers do this we contrast it with something lyrical so yeah [Music] so a nice little there's a little phrase um i'd like to also point out the left-hand ostinato if you can call it that it's actually not really an ostinato and i'd hesitate to call it an alberti base although it is it's reminiscent of an alberti based figure if we're thinking back to the mozart's c minor sonata uh what mozart did a lot of was just a traditional alberti base you know this is what very typical mozart [Music] he would also [Music] just kind of go back and forth between two notes kind of like a tremolo so for example if mozart wrote this theme he he may have done something like this you know um [Music] uh [Music] you know maybe something a little bit more simple you know something not too complicated beethoven though takes it a different level he kind of ups the ante and um he actually makes the the bass line the left-hand accompanimental figure uh go somewhere it's rising it's falling it's there's a melodic line to it there's some contour to it so you can actually see you know [Music] so if i just ignore the top notes so what this does is it gives a lot more interest to the the baseline and it really fills out the melodic figure above it really helps support it a lot better as it gives a trajectory gives it some direction gives it some drive and gives it a lot more momentum so it's a very little clever little thing that beethoven does and he's also very careful to make sure that certain uh he doesn't accidentally double things and create parallel fifths and octaves and stuff that he's not supposed to do so uh you know again he's being a good boy in that regard but again very very creative creative left-hand accompanimental figure not just a [Music] again compare that to the mozart c minus not it's a little bit of a different story there all right um nothing too much to be said about the um the uh the phrase here yeah bottom i can look at my notes real quick make sure i'm not missing anything let's see this figuration right here just a couple three notes about this we're in a very lyrical right [Music] very lyrical very nice and beethoven's very good at with his articulations you know now this scaly scales oh gosh i can't say this word scaler passage this would be very inviting to make it legato right wouldn't it [Music] you know you know [Music] i wouldn't i mean if i was a composer i would that would be my kind my first reflexes we're in this very legato very uh lyrical second second uh theme make this make this legato it's not a question that should be legato itom does the exact opposite now i think this is to great effect because there's a type of energy in this there's a type of like fizzle there's a type of uh ener it's it's articulate and what this does is it kind of reminds us a bit of these short these dotted nerves this this this very short it kind of reminds us that we're still in the c minor um this c minor planet that we're we're on in this sonata and so there's a little bit angst going on a little bit edge edge going on in this so i think it's very crucial that he has those as staccatos and that she should be played staccato and nothing else but staccato uh again here's a nice little uh little uh you know what we're talking about right here where things really start get cranking he's got a crescendo right here so um he's really starting to build up a little bit uh that's one thing about beethoven is he's very patient in terms of building up his piano down here and the second theme is in piano [Music] but right here this is only the moment that he writes crescendo right here and then huge leap look at that look at that huge leap [Music] yeah this is not something that i expect a soprano to be able to sing certainly yeah this is not vocal this is very much an instrumental instrumental writing um i need to go back a little bit i i forgot something i should mention uh that's kind of important uh right up here uh with my pencil here we go right up here these three notes [Music] you have an upper neighbor tone a lower neighbor tone and then the note that you actually want to go to upper neighbor lower neighbor all a half step away from each other this is a little motive that beethoven loves to use in his music you'll find this in a lot of his music and in particular heavy usage in this sonata i'm going to point those those things out but i'm sure i'm not going to find every single one of them that's your little treasure hunt to go find all of them if you want but i like you to you're playing the snot or even listening to it listen for this i'll point them out to you as we go along uh anyway yeah here's a six four chords cadential six four here's a nice five seven and then a [Music] nice uh debatable if you want to call this really a plagal or a um a pac a perfect authentic cadence or not uh certainly uh [Music] you could i think it's more if we're gonna be technical uh it's like where does the arrival actually come i think actually it's up here that's where that now all this is just kind of of course all one we're thinking in terms of e e flat major now this is kind of cool look at that he's got a um he's kind of anticipating it right before we had just uh without on the beat now he's kind of pushing it forward a little bit he's anticipating it well it's like well not sick of patient but it's just anticipation yeah more movements more movement i love this i love this return this is really cool on six four chord nonetheless um bring back theme one that's kind of cool i mean it just kind of ties everything up together and then right here here's kind of a climax uh in this in this phrase believe it or not it's actually not this note even though it's the highest note it's not the climax it's actually this notes and then we finally reach it right there and then we fall down [Music] and then there's our big giant pac right there nice fat pac we can finally rest and then [Music] and then closing closing material uh which by the way is elided very proud of me to use that word elited you can see this cadence is elided into the closing theme hopefully i'm using that word right closing theme closing yes guys spelled it right man can spell many words and many chords right but not many words all right um check this out in this little passage look at the nice voice leading here you have in the bass right here if you play them all together [Music] a little bit faster it's just a little turn isn't that cool am i cool good composer this guy this beethoven guy five seven six four five five sorry five sevens right there five seven going to one and then this is kind of like a little a little sane thing [Music] with a with a pedal a dominant pedal in the in the upper voice uh remember when i said hey remember this right here well it comes back check it out right there comes back right there and that cool i never noticed that until i uh until actually earlier today when i was prepping for this um prepping for this so it's just another way of him disconnecting things him being conscious of of all the things that he's done before and really kind of weaving everything together and your ear does notice this it might not recognize it consciously but it definitely notices notices it subconsciously and it again helps kind of make the piece very cohesive and as a whole and he's got several phrases here which kind of just go back and forth between you know [Music] within this with uh apagiatores and all the good stuff all right shall we listen to the uh whole thing with fresh ears i think we shall here we go here's the exposition the repeat uh with fresh ears with all that [Music] and transition a flat [Music] now we're on our five of three flat pedal whole variation and now we're in second theme [Music] that was supposed to be counted for three counts [Music] main theme again cadenza closing theme thematic figure or transition figure [Music] very nice yeah he whenever he plays this he only plays this as a two four measures he doesn't actually get all the yeah i shouldn't criticize performers but uh you know i will if they don't play it right development section so development section uh just a reminder uh it's not a forum kevin uh kevin what's the sonata form big giant block letters for me it's an a a b an a prime that's basically a sonata form basically more or less you can think of it it's oversimplified but um all right that's kind of what uh that's what's not a form is so now we're going to enter the b section this is what we call the development section this is where the composer kind of has his his field day he has a little you know he's like we're gonna all the stuff i told you about i'm gonna i'm gonna you know develop upon it i'm gonna start you know telling my own story with all the stuff that i presented in the exposition and that's what beethoven does and again i would definitely take a look at the mozart c minor sonata because the harmonic he goes to f minor just like beethoven does uh they both go to the same harmonic center uh places so it's crazy they're it's like it's almost like they knew each other all right so raton starts on c major chord just a plain old you know [Music] outlying theme one just like he did before in fact actually before we do that we should probably listen to it that would make a lot more sense huh all right here we go development section [Music] i can do it [Music] make those better [Music] and then recapitulations right here so there's a little little development section we've got here uh pretty good written pretty pretty good wow pretty well written i'd say and he's having a lot of fun right here so beethoven knows uh c major chord we need to start thinking of the c major chord as a five of four because that's ultimately where he's going to be going right here he just ends this way right here and this little figure is same thing that we have right there at the exposition it just takes that and just kind of tacks it on right here and it makes it makes it work now for here we have a completely new theme new theme though this is very closely related to theme two i mean real close so i wouldn't blame you if you call it theme two at all you have the same uh here we go [Music] so he starts modulating he starts going to crazy keys he starts going on a little joyride so he keeps the the same baseline right here but he has this little uh he has this new little idea which is kind of cute and again remember this little upper neighbor lower neighbor kind of thing going on well check it out he just kind of reverses it he instead goes lower neighbor upper neighbor [Music] look at that isn't that cool [Music] smart guy he he then goes into what else do you do he goes you know cena again i'm not going to analyze the phrases i'll let you do that on your own you go in the b flat minor which might sound like a crazy key right here right here it's kind of a he didn't really modulate he's kind of just stepping into the key as we'll see it's you know it's [Music] which isn't too far removed i mean because b flat minor is the fourth is four in b flat in sorry let's try again b flat minor is uh four of f minor so if you if you think of this in regards to c minor it doesn't really make too much sense like this is like a flat a minor flat seven if you think about it that way it doesn't really make sense but if you think about in regards to f minor which is the key that beethoven has modulated to really at this point you have a nice pac pac right here it's it's implied it's an implied cadence right here then it starts to make a lot more sense what he's doing harmonically [Music] look at my notes i'm probably missing something [Music] look yeah so apart from that um then from right here he's going to [Music] oh my plane is right nope sorry and hey we're on our favorite chord we're on a flat two but really this is just uh if we're thinking again in uh f minor which makes things a lot easier then we are on we are on we're just on the sixth the sixth chord so yeah just on six uh six that's really what we're doing here which in turn is the neapolitans flat too so if you want to get excited over that and have a have a lollipop then you know you go go right ahead um what's more notable though is i think it's quite apparent in case it isn't take a look at that [Music] where did we find that from oh we found it from way way way up there so that's why we pointed it out right there and now he's just going to sequence that he's just going to sequence [Music] um right at this point beethoven's like all right man i'm done now that's my development section i need to get out of here right it's like you know walking someone's house and back all right right yep okay yep oh you're telling me about uh you know you're you're you're telling me about your your you know your fetishes now okay i need to leave your house so um so at this point beethoven's like okay i don't want to listen to your fetish stories i'm just gonna leave your house now um and that's what he starts doing he starts modulating he needs to get back to c minor he needs to get back to home home key so uh he starts leaving the front he starts walking towards the front door um so now here uh here we go here's [Music] oh i'm sorry about this [Music] it's been so many years since i played this [Music] so right here we've already such beautiful writing i have to admit it's just god so good isn't it yeah he's on a five five and this would be a five uh five six five a four with that e natural [Music] yep yeah so nice and four and that's already a good start he's already out the door he's already halfway home already his neighbors probably scream at him about like no really i know it's like i don't even want to imagine i'm not gonna make up anything i was gonna let that analogy go alright so um well [Music] there we go hello here's our dominant chord [Music] and here's a very weak cadence you could call it an iac an incomplete an authentic cadence i mean it is i mean here's your c minor chord but uh it's not a it's not true cadence it's weak because first of all the e the e flat is on is is on the top and he approaches it from a b b natural if we really want a strong cadence we would have [Music] or maybe sorry i thought that but uh [Music] that would be a strong cadence i sound terrible that'd be a strong cadence i'd be a pac with a g e g down here um but but here's the thing is even though we've we've technically arrived in c minor it's like we've we've entered our front yard you know we're we're in the driveway but we haven't gotten into our house yet so we need a big pac to come back to our uh to come back home so that's what he does he keeps meandering goes off a little bit further you know boy [Music] [Music] oh those notes are so many larger lines [Music] and here's the crux [Music] this is very important cord this is a this diminished chord is crucially important because this is is it's it's like the same chord when we had uh [Music] back in our um exposition where we need to land on a dominant and this is the same case for um the re-transition material this is what we call the yeah i'm re-transition going to write that out retransition uh the retransition is more or less a dominant pedal point it's what it is and so you need that in your development section a lot of notice have that in their development section not all of them but a lot of them do and what that does is it kind of it sets up your ear prepares it it gives it strong anticipation it's like a little little beacon it's like a little cute it's like we're coming home we're coming home you know uh i can read music let's see [Music] oh boy i this i think this is that's not supposed to be an a flat down here right he's just descending all right yep yep um [Music] and there then he finally ends it around beethoven and they actually said that name was wait we wrote that you're right true story true story true story um so this is a really important point we have to have this this diminished seventh chord this this f sharp coming up to coming up to this dominant chord to kind of settle on it to kind of really just temporarily settle on this g to make it feel stable enough to kind of just stay on it but then come our ear needs to have that resolution really on that c minor chord uh right here and then this is the the recapitulation all right speaking of recapitulation let's get started let's uh let's hear the recapitulation [Music] oh what was that sorry let's back it up let's actually get into it [Music] retransition [Music] i got that one [Music] transition [Music] g flat major nonetheless any flat major now or minor c major [Music] and f major [Music] [Applause] [Music] hanging on to it [Music] there you go and those last two chords really scream on beethoven don't they beethoven [Music] yeah i prefer did the best he could uh not the best performance i must say kind of messy ah nevertheless let's persist all right so we're on beethoven right right here [Music] um see i can make mistakes and stuff like that right i can do that because i'm a composer i'm not performer so um beethoven right here uh same phrase really everything copy and paste exactly up until right here he ends with a c octave so we're just going to skip all this the same thing as the exposition a rest this is what we call by the way a uh a bifocal close in the recapitulation the bifocal close he foregoes uh the next phrase that comes after it the phrase that follows this uh i call that bifocal closed i mean jumps i mean very distant key right so look at this c flat what crazy note [Music] another c flat i like so it's so extreme i can't even read it so he's in g flat major which if we're going to look at it like that it's like whoa a tritone away but i mean really his he's when he's writing there here his he's thinking to this moment right here just like he did in the exposition he's he's not thinking oh i'm going to go to some crazy key and you know make it extreme people are going to be like whoa dude you're so cool no no no he was doing this because he's setting himself up for f major he knows he wants to go to f major right here and and he he does he has to do this he he does the reason he writes this is because he has to do this is harmonically speaking it needs to it sets him up for this smoothly um his first goal for starters is c major the dominant of f major and uh we'll get to this f major point in just a sec but uh for now uh it goes an e flat minor kind of reminiscent of when you went from in the exposition went from a flat major to f minor well it's the same thing g flat major relative minor e flat minor [Music] so the harmonic progression just just lends itself it's transposed essentially [Music] and he finally lands on this the c we have to start thinking about is five of four major major four so he has his little fun with this very very similar you know [Music] now it's only really at um [Music] yeah it is really here you start to get a sense that we are in uh with this g uh this should be an a flat this is going to be in minor ah you get the a natural so it's fine wait is that a typo sorry i think sorry [Music] i'm not supposed to be a flying i'm sorry [Music] i didn't look at that carefully enough uh and then there we go okay so so i was right okay so e naturals uh where was it was yes it was this this a natural that really started to yeah right here that's where it kind of told our ear ah we're going to f f major you know because of the a natural uh okay cool awesome so same thing you know sequencing a little variation from this right there so you know we don't need to explain too much about that but now f major and this is a little trick of his he's making us think that he went to the wrong key because in a sonata we're supposed to be in c minor in the recapitulation we're supposed to stay in the right key right and you know he's supposed to be a good boy and you know stay in the right key we're staying one in this case so it should be c minor if he's in c minor calculation needs to be in c minor but he tricks us he's like oh no i got lost oh no oh no i i don't know where my you know i lost my keys you know i don't know where anything is and uh he he makes us really believe that we're in the the secondary theme until we get this a flat this a flat man that's a really powerful a flat i'll tell you that um if someone played that a flat for me out in public i would probably have an aneurysm it would be so extreme um it's incredible that a flat really just comes out of left field um because again it's nothing bigger scale look at that now ah right so it's it's really shocking at least it should be shocking it even makes it puts us whoops circled the wrong spots forzando right there so it's it's a really potent a flat and that tells us that we're going back to minor so now we're in so now we have to start thinking about this this f minor chord as a four chord and he has a six four you know cadential six four nice little turn five five seven chord got the f right there and then finally the actual um secondary theme starts right here theme two really begins right here yeah so because we're actually in c minor this time [Music] yeah whatever [Music] yeah he starts playing octaves and same left-hand stuff and you know and the scaler passage was replaced with these arpeggios and [Music] same thing right there i'm sure i can play it right yeah that's not that hard and then nice little clever little little it's uh well anticipation like he did in the exposition a little sooner than expected yum bottom yeah just makes the music a little more potent same same same same really it's pretty much the same thing here on out uh minor changes in here and just a little bit here uh same thing little turn you know [Music] here's your cadenza you [Music] know whatever and then yeah and then your closing theme yeah [Music] nice dissonance nice little [Music] right [Music] i can play music being a wrong version [Music] then i'm beethoven right oh sorry that's a root position 511 doesn't get much more clear-cut than that so closing thing close and then if you really want to be anal you could say this is a codetta um uh i mean because really the ex the recapitulation ends right there you have to analyze the um exposition i mean that's just i mean to say it how it is it's just two chords five one it's a just five and a one chord uh just a little little tail that's little coda codetta so all right um i think that'll do it unless i have anything else to say uh no i'm looking at my notes here yeah that's pretty much all i wanted to cover for uh this sonata i hope that gives you kind of a better appreciation of this snot and how incredible beethoven writes his his music um it just just goes to show how how good of a composer he is and he's real something so if you're playing the sonata that's a great it's a great piece it's a really fun piece it's not too hard um it's um it's got its own little challenges here and there it's own little little issues but it's very accessible it's very approachable it's a ton of fun i definitely recommend if you're a pianist uh if you're looking for a classical scenario that you need to play uh just take a look at this one it's it's it's you can do it you can totally do it um so there you go um i hope this was useful and uh if it was useful by the way um it would really be a lot mean a lot uh if you leave if you subscribed and left a like that would at least let me know that people at least watch my stuff and you know get something out of it so um let me know if you want me to do any other music in the future leave a comment down below and thank you guys for watching i'll see you guys next time