Chop in 2 Sonata 1

8/3/2019 Chop in 2 Sonata 1

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I'm approachingChopin's second piano sonata in order; I'm not jumping around, but I keep aware ofwhat's coming up and where each section fits in the whole. The first movement is in the classicalminor-keysonata form with a rhythmic first theme in B-flat minor and a more melodic second in itsrelative major, D-flat. The exposition closes with two codas. The development contains aconversation between the two themes--beginning with the first theme in the bass punctuated by firstshorter then more extended passages quoting the second theme in the soprano. More technical

variations on the first theme slowly take over the bulk of the development, resolving with arecapitulation marked by the return of the second theme in B-flat major. The second theme containsfew variations, and the movement ends with the two codas plus a third, more chromatic coda thatcontains a quote of the first theme and ends in B-flat major.

Looking at the exposition section, the first theme is presented with a written repeat, measures 9through 20 and 25 through 36, and is marked throughout by a prominent yet short rhythmic patternthat is a key component of the bulk of the development.

The theme trades sparse harmonies--primarily i and vii7--for a constant bombardment of eighthnotes. The transition between the repeats acts notably as a chaotic, chromatic break with the theme

proper. Because it contains the exact same eighth note rhythms in each hand as the rest of thetheme, the diminished chord harmonies and non-chordal half steps builds a minor tension before thereturn.

A quick bridge gets us to D-flat major and the second theme. This immediately trades the eighthnotes of the first theme for half and quarter notes that help accentuate the melody as it takes longerand longer breaths. Whereas the key characteristic of the first theme is expressed in a terse sixeighth notes, the second theme begins as economically with only five, but continues with a long slurthat sings across eight measures (the theme begins on the last two measures of the first staff system

below).
http://en.wikipedia.org/wiki/Fr%EF%BF%BDd%EF%BF%BDric_Chopinhttp://en.wikipedia.org/wiki/Fr%EF%BF%BDd%EF%BF%BDric_Chopinhttp://en.wikipedia.org/wiki/Piano_Sonata_No._2_in_B_flat_Minor_(Chopin)http://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Coda_(music)http://en.wikipedia.org/wiki/Piano_Sonata_No._2_in_B_flat_Minor_(Chopin)http://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Coda_(music)http://en.wikipedia.org/wiki/Fr%EF%BF%BDd%EF%BF%BDric_Chopin


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Like the first theme, the second has a written repeat, measures 41 through 56 and 57 through 80, butwith greater variation and much greater harmonic and melodic development transitioning into thefirst coda. The end section of the second theme (measures 73 through 80) is one aspect of this piecethat affected me with its earnest romanticism and liberal declaration across several octaves. Here itis (beginning on the third measure):

The harmonic analysis of this closing section holds more information than that of the equally variedfirst theme transition quoted above. Whereas the transition is better described by a series of half-step alterations, this section of the second theme gives up a great deal of itself from its chords.Viewed in two measure phrases, it procedes from two measures tonicizing the ii then the V, then

three pairs with different harmonizations of I-IV-V underneath increasingly complex variations ofthe same melodic fragment ending in a perfectcadencein D-flat (not shown).

The exposition ends with two codas. The first consists of 12 measures: 4 measures repeating a very
http://en.wikipedia.org/wiki/Cadence_(music)http://en.wikipedia.org/wiki/Cadence_(music)http://en.wikipedia.org/wiki/Cadence_(music)http://en.wikipedia.org/wiki/Cadence_(music)


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simple I V/V V I up and down two octaves, 4 varying that as I vii/V V I, then an abrupt shift to asimilar phrase but in C major. C will be revisited early in the development. I really dislike theseover-obvious harmonies--especially with the earlier, nuanced sections. I understand the need for asimple declaration of key here at the end, and it's simplicity lends greater force to the introductionof C major (via a German 6th), but I still have a problem with it.

The two measures before the second coda puzzled me for the first couple of readings (beginning on

the second quarter note of the measure, played as triplets):

It actually sits in your hands more comfortably than it looks. Put simply: the soprano jumps tritonesof the vii7 of C minor, the alto walks an octatonic scale of the same chord, and the left hand plays

broken major 6ths (dim 7ths) of the same chord in contrary motion. Everything describes the vii7,but the octatonic scale introduces some chromatic noise for the inner voice. A distinct variation onthe pattern is in the left hand on the fourth quarter note of measure 91: the left hand steps a tritoneinstead of a major 6th. This is important. I've been speaking of these two measures as two patterns--one in the right hand and one in the left--that effect a leading tone diminished 7th chord. This is alltrue, and the intended speed will blur much of the distinctions away, but the voicing ultimatelysuggests a progrssion of V65/Eb C# V65/A V42/C V65/Eb. The C# is an enharmonic equivalent tothe key of the second theme and would otherwise be V42/F# if the pattern were maintained. Thechoice is, simply, a reinforcement of the key of D-flat.

The second coda begins in C major and quickly works back, through a series of half-stepprogressions, to D-flat major and a somewhat ambivalent cadence tonicizing the dominant. Withinthe context of the exposition repeat, this acts as a jarring deceptive cadence to the vi (B-flat minor)and the minor tonic of the first theme. For the development, this acts as--and I could be wrong, sodon't quote me--the V/V of F-sharp minor. More later.

I have the exposition in my hands now and need to work on consistency, expressiveness, andvelocity as I continue with the rest of the movement. I'll try to spend 80% of my time on new musicand 20% on refining what I have.

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July 31, 2006

Chopin, Piano Sonata No. 2, Op. 35, in B-flat minor, 1st Movement,

Development

The development lasts from measure 105 through measure 168 and is dominated by the rhythmicsignature of the movement's first theme (shown below where it first enters at measures 9-11) playedwithin varying harmonic progressions.

The movement as a whole, I realized, can be looked at as more of a compound binary form inABAB than rigidly a sonata form. The first AB (in B-flat minor then the relative D-flat major)

describes the two themes presented in the exposition, the next A describes the dramatic presentationof the first theme within the development, and the final B (in the parallel B-flat major) is thesostenuto return of the second theme. This is a nod to the history and origins of sonata form, butalso manifests--as Charles Rosen emphasizes in his book The Classical Style--the very mutablenature of sonata form.

The development runs organically through five short episodes. The first, running from measure 105through measure 120, begins the "conversation" between the two themes that I had mentioned in my

previous entry on the movement's exposition. The second theme is only hinted at by ascending half-notes in the soprano, but in the second episode, measures 121 through 136, it is quoted in full

phrases while the first theme pulses beneath in the left hand. The 16-measures of the second episodeare divided into four measures of the second theme, four of the first, four of the second, and four of

the first. Below are measures 115 through 128, consisting of the last six measures of the firstepisode and the first half of the second episode:
http://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://en.wikipedia.org/wiki/Charles_Rosenhttp://www.scottdstrader.com/blog/ether_archives/001055.htmlhttp://www.scottdstrader.com/blog/ether_archives/001055.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://en.wikipedia.org/wiki/Charles_Rosenhttp://www.scottdstrader.com/blog/ether_archives/001055.htmlhttp://www.scottdstrader.com/blog/ether_archives/001055.html


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Harmonies in the first episode move up scale steps from F-sharp min to G maj to A maj to B min. Bthen becomes a pivot tone (of sorts) and becomes the third of the G7 in C min.

Just as the ascending half-notes in measures 116-117 and 119-120 seed the introduction of thesecond theme in measures 121-124, the four-against-three agitation in measures 125-128 seeds therhythmic pattern for the development's third episode, stretching from measure 137 through 152.Here are the first two measures of the pattern that is repeated throughout the third episode:

The chords change every two measures and can be grouped every four: (G min, B-flat min), (F min,A-flat aug), (E min, G maj), (D maj D min, F maj), this time moving down scale steps. The fourthepisode repeats a four-measure phrase twice from measure 153 through 160. It varies in rhythmslightly from the third episode by replacing the bass quarter-note triplets with open-voiced eighth-note arpeggios. Harmonically, it remains almost throughout on a C-flat maj chord.

The fifth and final episode acts as a bridge back to the second theme (the recapitulation). It ismarked with a stretto immediately after a fortissimo and should be considered as paired with the

ritenuto that opened the development section in measure 105. The music is all quarter-note tripletsand acts as apedal point on a dominant F approaching the B-flat maj recapitulation. With the tripletmotion and the interspersed C7s acting as V/Vs, this section very much resembles the first coda ofthe exposition with its I V/V V I progression. This section even closes with a chromatic passage
http://en.wikipedia.org/wiki/Pedal_pointhttp://en.wikipedia.org/wiki/Pedal_point


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outlining the vii7 of B-flat similar to the octatonic passge at the end of the exposition's first codaoutlining the vii7 of C:

And in the development:

Although the melodic second theme is present in the development, it is still very much the territoryprimarily of the rhythmic first theme. Here's a summary of the five episodes:

1. 105-120, first theme in the bass with second theme hinted at in the soprano, step-wiseascending harmonies

2. 121-136, alternate phrases containing the second theme with phrases containing the firstpresented in four-against-three rhythm, dominant harmonies,

3. 137-152, four-against-three rhythm persists across step-wise descending harmonies,

4. 153-160, fast four-against-four crescendo with sustained C-flat maj harmony,5. 161-168, F7 pedal point referencing the first coda of the exposition

Continue reading "Chopin, Piano Sonata No. 2, Op. 35, in B-flat minor, 1st Movement,Development"

posted by sstrader at 11:12 PM inMusic |permalink| comments (3)

May 4, 2006

Chopin, Piano Sonata No. 2, Op. 35, in B-flat minor, 1st Movement, Exposition

[ updated 6 May 2006 ] I initially labeled this his first piano sonata and completely forgot about theC minor sonata op. 4. Oops. I've also added some links and cleaned up some passages.

I'm approachingChopin's second piano sonata in order; I'm not jumping around, but I keep aware ofwhat's coming up and where each section fits in the whole. The first movement is in the classicalminor-keysonata form with a rhythmic first theme in B-flat minor and a more melodic second in itsrelative major, D-flat. The exposition closes with two codas. The development contains aconversation between the two themes--beginning with the first theme in the bass punctuated by firstshorter then more extended passages quoting the second theme in the soprano. More technicalvariations on the first theme slowly take over the bulk of the development, resolving with arecapitulation marked by the return of the second theme in B-flat major. The second theme contains

few variations, and the movement ends with the two codas plus a third, more chromatic coda thatcontains a quote of the first theme and ends in B-flat major.

Looking at the exposition section, the first theme is presented with a written repeat, measures 9
http://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/cat_music.htmlhttp://www.scottdstrader.com/blog/ether_archives/cat_music.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.html#commentshttp://www.scottdstrader.com/blog/ether_archives/001114.html#commentshttp://www.scottdstrader.com/blog/ether_archives/001055.htmlhttp://en.wikipedia.org/wiki/Fr%EF%BF%BDd%EF%BF%BDric_Chopinhttp://en.wikipedia.org/wiki/Fr%EF%BF%BDd%EF%BF%BDric_Chopinhttp://en.wikipedia.org/wiki/Piano_Sonata_No._2_in_B_flat_Minor_(Chopin)http://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Coda_(music)http://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/cat_music.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.htmlhttp://www.scottdstrader.com/blog/ether_archives/001114.html#commentshttp://www.scottdstrader.com/blog/ether_archives/001055.htmlhttp://en.wikipedia.org/wiki/Fr%EF%BF%BDd%EF%BF%BDric_Chopinhttp://en.wikipedia.org/wiki/Piano_Sonata_No._2_in_B_flat_Minor_(Chopin)http://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Coda_(music)


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through 20 and 25 through 36, and is marked throughout by a prominent yet short rhythmic patternthat is a key component of the bulk of the development.

The theme trades sparse harmonies--primarily i and vii7--for a constant bombardment of eighthnotes. The transition between the repeats acts notably as a chaotic, chromatic break with the theme

proper. Because it contains the exact same eighth note rhythms in each hand as the rest of thetheme, the diminished chord harmonies and non-chordal half steps builds a minor tension before thereturn.

A quick bridge gets us to D-flat major and the second theme. This immediately trades the eighthnotes of the first theme for half and quarter notes that help accentuate the melody as it takes longerand longer breaths. Whereas the key characteristic of the first theme is expressed in a terse sixeighth notes, the second theme begins as economically with only five, but continues with a long slurthat sings across eight measures (the theme begins on the last two measures of the first staff system

below).

Like the first theme, the second has a written repeat, measures 41 through 56 and 57 through 80, butwith greater variation and much greater harmonic and melodic development transitioning into the

first coda. The end section of the second theme (measures 73 through 80) is one aspect of this piecethat affected me with its earnest romanticism and liberal declaration across several octaves. Here itis (beginning on the third measure):


8/10

The harmonic analysis of this closing section holds more information than that of the equally variedfirst theme transition quoted above. Whereas the transition is better described by a series of half-step alterations, this section of the second theme gives up a great deal of itself from its chords.Viewed in two measure phrases, it procedes from two measures tonicizing the ii then the V, thenthree pairs with different harmonizations of I-IV-V underneath increasingly complex variations ofthe same melodic fragment ending in a perfectcadencein D-flat (not shown).

The exposition ends with two codas. The first consists of 12 measures: 4 measures repeating a verysimple I V/V V I up and down two octaves, 4 varying that as I vii/V V I, then an abrupt shift to asimilar phrase but in C major. C will be revisited early in the development. I really dislike these

over-obvious harmonies--especially with the earlier, nuanced sections. I understand the need for asimple declaration of key here at the end, and it's simplicity lends greater force to the introductionof C major (via a German 6th), but I still have a problem with it.

The two measures before the second coda puzzled me for the first couple of readings (beginning onthe second quarter note of the measure, played as triplets):

It actually sits in your hands more comfortably than it looks. Put simply: the soprano jumps tritonesof the vii7 of C minor, the alto walks an octatonic scale of the same chord, and the left hand plays

broken major 6ths (dim 7ths) of the same chord in contrary motion. Everything describes the vii7,but the octatonic scale introduces some chromatic noise for the inner voice. A distinct variation onthe pattern is in the left hand on the fourth quarter note of measure 91: the left hand steps a tritoneinstead of a major 6th. This is important. I've been speaking of these two measures as two patterns--one in the right hand and one in the left--that effect a leading tone diminished 7th chord. This is alltrue, and the intended speed will blur much of the distinctions away, but the voicing ultimatelysuggests a progrssion of V65/Eb C# V65/A V42/C V65/Eb. The C# is an enharmonic equivalent tothe key of the second theme and would otherwise be V42/F# if the pattern were maintained. The
http://en.wikipedia.org/wiki/Cadence_(music)http://en.wikipedia.org/wiki/Cadence_(music)http://en.wikipedia.org/wiki/Cadence_(music)http://en.wikipedia.org/wiki/Augmented_sixth_chordhttp://en.wikipedia.org/wiki/Octatonic_scalehttp://en.wikipedia.org/wiki/Cadence_(music)http://en.wikipedia.org/wiki/Augmented_sixth_chordhttp://en.wikipedia.org/wiki/Octatonic_scale


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choice is, simply, a reinforcement of the key of D-flat.

The second coda begins in C major and quickly works back, through a series of half-stepprogressions, to D-flat major and a somewhat ambivalent cadence tonicizing the dominant. Withinthe context of the exposition repeat, this acts as a jarring deceptive cadence to the vi (B-flat minor)and the minor tonic of the first theme. For the development, this acts as--and I could be wrong, sodon't quote me--the V/V of F-sharp minor. More later.

I have the exposition in my hands now and need to work on consistency, expressiveness, andvelocity as I continue with the rest of the movement. I'll try to spend 80% of my time on new musicand 20% on refining what I have.

Continue reading "Chopin, Piano Sonata No. 2, Op. 35, in B-flat minor, 1st Movement, Exposition" posted by sstrader at 8:25 PM in Music |permalink|comments (1)

April 15, 2006

Where was I?Began the month with a purgation. Dan and Alicia's wedding was a culmination of over-indulgencesincluding food, alcohol, and a long stretch without jogging. Years ago, I had gotten 20-25 poundsheavier than I am now and started the slow process of getting down to where I am now. Havingacheived that, I became image-obsessive and weigh myself probably at least once a day. Obsessive.So, I'd just gained 5 pounds and decided somethingmustbedone: I've been jogging every day, onlymissing the evening I went out with my brotherand two sick days earlier this week. It took threeweeks, but I'm back in line.

Tuesday and Wednesday this week were spent with some sort of illness contracted from that dirtywife of mine. I did the excessive sleep thing and came through on Thursday almost completely

cured. I am indestructable!! *cough*Apparently, extra jogging infringes on my music schedule. At about the same time of my purgation,I decided to cautiously begin working on the first movement of Chopin's Piano Sonata No. 1 in B-flat minor. It's just beyond my abilities and will be a nice stretch. I hessitated starting because it'salways very difficult to give the time required to such a piece. Updates later.
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Last Friday, Lisa and I had dinner atFeast in Decatur where we radomly ran intoMatt (it happensmore often than either of us can explain). Feast was wow and you should go there immediately. LastSaturday, we went to a housewarming for a previous boss and friend and had a riotous feast ofIndian food. Namaste.

I missed the blogger get together on Thursday just to play it cautious with my health and also todive back into music--Lisa was at the Braves game with friends so the condo was all mine. Lastnight, with the mother-in-law in town, we met first at Vinocity for their 4:20 happy hour: Four $20

bottles of wine along with $2 bottles of Sweetwater 420. They have a great patio, shaded and

breezy, and the weather was perfect, but the event was fatally flawed by including pleasant-enoughlive music that was I-kid-you-not turned up to 11. Four of us were sitting closely but still hadconsiderable trouble having a basic conversation over the volume of the acoustic guitar andharmonica (I know) that was amplified to the point of distortion. Don't go until they fix that. Myemail:

Ouch. Everything was great except for the volume of the music. This should not havebeen treated as a Solo Rock Show. The guitarist was a good performer just too loud byfar. He needed to turn the volume down so that people can relax, enjoy the music, *and*have a conversation.

The wines were good, the bartenders were nice, your patio is perfect and the weather

made it more so, but don't let the music ruin an otherwise ideal locale.
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