Begins on page 166 Chapter 20 Piano Sonatas The Sonata  Multi-movement for ► One instrument and piano ► Two instruments are equally important ► Piano.

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Presentation transcript:

Begins on page 166 Chapter 20 Piano Sonatas

The Sonata  Multi-movement for ► One instrument and piano ► Two instruments are equally important ► Piano alone  Same pattern of movements

The Piano  Frame becomes stronger  Greater range of dynamics  Range of pitches extended  Grand piano and upright piano

Mozart’s Piano Sonata No. 11  First movement is in sonata form  Second movement contains a minuet and trio  Third movement is in rondo form

Beethoven: “Waldstein” Sonata, First Movement  In sonata form  First theme ► Not melodious ► Low repeated notes ► Begins softly, and then builds ► Two motives in theme ► Well-suited for piano Copyright © 2010 by Schirmer Cengage Learning

Beethoven: “Waldstein” Sonata, First Movement  Transition uses contrary motion  Second theme ► In key not related to key of first theme ► Consists of chords and is smooth  Codetta theme outlines notes of chords

Beethoven: “Waldstein” Sonata, First Movement  Development ► Motives from the first theme ► Use of triplet figures

Beethoven: “Waldstein” Sonata, First Movement  Recapitulation ► Interlude placed between appearances of first theme ► Second appearance has different accompaniment ► Second theme in minor and then major

Beethoven: “Waldstein” Sonata, First Movement  Coda ► Begins in minor but soon appears in major ► Motives from first theme interspersed ► Second theme also used ► Closes with vigorous version of first theme and short chords

Beethoven: “Waldstein” Sonata, Second and Third Movements  Second movement is short and more like an interlude  Third movement is a lengthy and powerful rondo

Summary  The Sonata  The Piano  Mozart’s Piano Sonata No. 11  Beethoven: “Waldstein” Sonata, first movement  Beethoven: “Waldstein” Sonata, Second and Third Movements