Week 1: Mapping Assignment and Targeted Practice Plan

Hi Jarred!

Schubert sonata D784 1. mvt.

Themes are clear. But the re-transition looks a little bit long. Bar 138-165. Is it correct? LG Kerstin 

Hi, Jarred!

Here is my assignment for the first week. I've attached the Mapping Assignment and the Targeted Practice Plan. 

Here is a summary to explain the Mapping Assignment in words of Haydn Sonata Hob XVI: 44 in G minor (first movement).

There is no introduction.

Exposition (mm 1-30)

Theme 1 (mm 1-4) Very clearly G minor (I-V-I), with perfect cadence. We can describe the main theme like slightly sad, melancholic...

Transition (mm 5-12) The transition articulates a harmonic progression from G minor toward the relative major, B flat, preparing the secondary theme through tonicization of its dominant: I - VII7 (V7 of B flat). It's particularly interesting that, in the course of the transition, B flat minor appears momentarily, owing to the D flat in the chord. This gives the transition a brief connection with the melancholic character of the first theme. Although, in a certain sense, this character will change in the secondary theme.

Theme 2 (mm 13-20) B flat as main key here, as mentioned before, B flat is the relative major of G minor. We could divide this thematic zone into two parts: A) mm 13-14 (I - V43 - I - V43 - I6), a very imaginative way of emphasizing the B flat tonality; B) mm 15-20, a very beautiful harmonic progression (I6 - II6 - III6 - IV6 - V6 - I ...). We can describe this thematic zone as livelier and fresher, but the "fate" of the piece is always present in the background and, sooner or later, brings the music back to its melancholy...

A doubt: Theme 3 plus Coda (mm 21-28; mm 29-30) or EEC included final small Coda (mm 21-30): I've finally decided to consider this passage an EEC, because maybe more than new thematic material we are closer to a perfect cadence that, once and again, emphasizes B flat. In the final small Coda, we have primarily a V dominant of G minor to repeat the exposition, or V = VII6 which opens the development in C minor.

Development (mm 31-51)

The development is proof of Haydn's creativity and displays great harmonic and thematic richness. The main key is C minor, although there aren't strong perfect cadences; rather, there is a certain fluctuation between different chords. We can divide the development into two parts: A) (mm 31-42) It starts in C minor, with a reference to Theme 1, but it soon moves through different keys. At one point it reaches F minor (subdominant IV of C minor) with different ideas which remind us from the transition of the exposition and gives the music a beautiful and lyrical moment. Then a very expressive augmented sixth chord (#IV65) leads, of course, to the dominant V of C minor. B) (mm 43-51) The passage begins in C minor as well, with a clear reference to Theme 2. From m 46 onwards, there is a return to Theme 1. The harmonic progressions, however, are no longer closely connected to C minor, and the development eventually reaches the clear dominant of the main key of the movement, the "home key" precedes by a fully diminished seventh chord: VII - V - I (G minor). It should be said that throughout the entire development, Haydn repeatedly returns to the rhythmic gesture of the anacruses of the two main themes, providing a strong and very expressive sense of unity throughout the movement.

Recapitulation (mm 52-77)

The recapitulation presents several new ideas without breaking the structure of the Classical sonata form. Theme 1 is presented very briefly in a low octave, and there is no transition. Instead, a short modulation based on this theme (mm 54-56) leads immediately to Theme 2, now in the home key of G minor. Theme 2 has the same length as in the exposition (mm 57-63) and reaches a perfect cadence that gives way, if we are consistent with our interpretation of the exposition, to a very interesting and extended ERC which we will discuss now.

The ERC (mm 64-77) contains the same thematic material as the EEC, now in G minor, the home key, but includes a kind of recitative (mm 66-70) based on a fully diminished seventh chord (#VII7), which eventually resolves to the tonic. This recitative appears in the middle of the ERC and creates, not only a musical surprise, but a wonderful expressive suspension. The movement finally reaches a perfect cadence, leading to a very soft and beautiful ending. 

Thanks a lot, Jarred, for these guidelines and information. I want to use the TWI to improve my understanding of Schubert’s Sonata in A major, D959. I’ve already started learning the 1st movement a few months ago. Here is my analysis of the 1st movement - Allegro:

EXPOSITION (mm 1-129)

Theme 1 (mm 1-27): four phrases (Phrase A: 1-6, Phrase B: 7-15, Phrase C: 16-21, Phrase D: 22-27), The majestic character of Phrase A is labeled ‘Credo, ma con fuoco’ by Brendel, while the contrasting Phrase B with its falling triplets and arpeggios is described as ‘Capriccioso con grazia’ according to Brendel. Phrase C resembles Phrase A with the left hand using similar material than the right hand in Phrase A and a new counter melodic line in the right hand. The beginning of Phrase D is marked by the tonic resolution. In measure 27 harmony shift to the dominant key is prepared.

Transition (mm 28-54): modulatory passage C - As - E - a —>B

Theme 2 (mm 55-129): in E major, lyrical mode; can be divided into three parts: Part 1 (mm 55-81) with sudden shift into c minor in m62, preparing the harmonic movement to G major, returning to E major and keeping its lyrical mode. Part 2 (mm 82-116) introduces an energetic idea using the rhythmic motive from the beginning in a chromatic, fugal passage. Sharp contrasts in the dynamics (ffz - p), increasing complexity in the texture and a combination of triplet and duplex figurations prepare for the climax in m 111, followed by a measure of silence. Part 3 (mm 117-129) brings the music back to the lyrical mode with an echo in ppp in mm 121-122 before referring back to Part 2 with the accentuated two note motive. Not taking into account the repeat: shift from E major to C major leads into the development section.

DEVELOPMENT (mm 130-197): Part 1 (mm 130-160) using the melodic line of the two echo measures (mm 121-122) a 5 measure phrase alternates between C and B major in p respectively pp. This creates the impression of suspension of time. From measure 151 onwards, the melodic line shifts into the left hand and a sudden increase in dynamics (ff). Part 2 (mm 161-197) starts with a complete change in color and harmony (c minor and p). In m 168 the diminished-seventh chord serves as a bridge (A-flat in c minor = G-sharp in a minor) to get the music back to the parallel minor of the home key. From m 180 onwards, continuous returns to the dominant E gradually establish harmonic stability.

RECAPITULATION (mm 198-330): retains most of the material form the exposition, establishing them in the home key A major. Exception: shift into the parallel minor key in m 219. The previous phrase is now in a minor key an octave higher and in pp (echo effect).

CODA (mm 331-357): The beginning of Theme 1 appears again, but now in pp and a reflective character. The phrase structure is extended to 9 measures, and two clear perfect cadence points in A major can be identified at the end of the phrases (mm 338-341; mm 347-349). The augmented sixth chord over B-flat is for sure a final unexpected harmonic shift in mm 351-352 before the music ends in the home key.

Hi Jarred,

I’m working on Haydn HOB. XV1/25 in Eb major. I cannot decide whether the first theme in the exposition ends. Is it simply bars one to 7, with a contrasting theme 2 from bars 8 to 12. But surely this is too short. Then we have another theme (3? Surely not) in Bb at bar 15.

So is the first theme simply in two sections and then the second theme begins at bar 15 after a brief reiteration of the opening of the first theme but this time in C minor? So all three themes – 1 in Eflat Major at bar 1, then bar 8, a contrasting theme in E flat major theme 2? Or is bar 15 theme 2 in B-flat Major.  All three themes appear in the development in Eb major.
However, from bar 51, we have the recapitulation, theme 1 (from bar 1-8) and the theme from bars 15-21 but not the theme from bars 8-12. Does this finally tell us that theme 1 is bars 1-8 with a pretty contrasting transition from bars 8-12 and theme 2 begins at bar 15??

In short, theme 1 is in two sections and lasts from bar 1-12

transition 12-14

theme 2 begins at bar 15.

one reason for knowing this is because bars 8-12 do not appear in the recapitulation.

Hoping I have made this clear…!