Analyse of classical sonata

[franz_]

Hi guys,

I'm looking for an analyse of a classical sonata (fe the first or first two pages)
With the degrees,...
Someone knows where I can find it? Or do you have one to send me?
Thanks!

[franz_]

Is this forum dead? I really have the impression when I post some new topics here.
Anyway, to be more clear: it's an harmonic analysis I'm looking for.

[autodidact]

What sonata are you talking about?

[franz_]

Just a harmonic analysis (I-IV-V-,...) of any classical sonata.
It would help me a lot.

[pianoplayjl]

I usually order some notes from Ross Hamilton who is in Australia. Not sure if his notes contain enough Harmonic analysis though. You should be able to figure tiny bits out yourself.

JL

[franz_]

That's what I'm doing, but I would really want to have an example. Just any classical sonata would help me...

[williampiano]

Is this forum dead? I really have the impression when I post some new topics here.

Yup, I've gotten the same impression this past week also. It's been kinda slow here. I imagine it's because a lot of people have been busy with the holidays and haven't been spending time on pianostreet.

[jgallag]

What don't you get about harmonic analysis that you need to see an example for? It's really the most elementary and easy type of analysis, there's no reason you shouldn't be able to print a sonata off imslp and analyze it. I'm reluctant to do someone else's homework for them, especially since I finally get a break from that crap.

[franz_]

I can understand that, but common, it can't be possible that noone here on a classical music forum has an harmonic analysis of a classical sonata, or can't show me a website. Just to have an example.

[mcdiddy1]

Here's one https://jan.ucc.nau.edu/~krr2/musan_linx.html

Go to Beethoven op 13 etc it is not the full sonata but it got a number of examples

[franz_]

Thanks you, that helped me a bit already.

Other people with bigger examples?? Please!

[mcdiddy1]

Also this one is pretty good. It is a full analysis of the first movement of Beethoven's Waldstein sonata..you could just get the music and write down the progression .

https://www.teoria.com/articles/waldstein/index.html

and a list of some other analysis.  https://www.teoria.com/articles/ana.php

[franz_]

Thank you mcdiddy1!!

[gvans]

Re analysis of classical sonata allegro form:

Usually the first theme of the exposition is played in the tonic key (I). Then comes a modulating bridge. A contrasting second theme is played in the dominant (V). Then comes cadence material (some form of IV-V-I) in various combinations.

The development ensues, or, the "working-out" as Grove called it years ago, using many key changes, sequences, and metamorphosing of the two themes.

The recapitulation ensues in the tonic (I), followed by the second, contrasting theme, this time also in the tonic (I). The coda then follows, ending the sonato allegro form.

Beethoven, of course, took all this and changed it to meet his needs. But his early works still respected it. Starting with his piano sonata no. 12, he started tweaking it. Mozart and Haydn respected it, as archtypical classists. Most Brahms sonatas also follow it, although they use romantic harmonies, chromaticism, frequent third transitions, etc.

Read Charles Rosen, "The Classical Style" if you really want to know more...

All best,

Glenn

[pianoplayjl]

Re analysis of classical sonata allegro form:

Usually the first theme of the exposition is played in the tonic key (I). Then comes a modulating bridge. A contrasting second theme is played in the dominant (V). Then comes cadence material (some form of IV-V-I) in various combinations.

The development ensues, or, the "working-out" as Grove called it years ago, using many key changes, sequences, and metamorphosing of the two themes.

The recapitulation ensues in the tonic (I), followed by the second, contrasting theme, this time also in the tonic (I). The coda then follows, ending the sonato allegro form.

Beethoven, of course, took all this and changed it to meet his needs. But his early works still respected it. Starting with his piano sonata no. 12, he started tweaking it. Mozart and Haydn respected it, as archtypical classists. Most Brahms sonatas also follow it, although they use romantic harmonies, chromaticism, frequent third transitions, etc.

Read Charles Rosen, "The Classical Style" if you really want to know more...

All best,

Glenn

That is a very detailed and comprehensive analysis of sonata allegro form but probably  not what the OP asked for. If it is, the OP could have just as easily found this piece of information on Wikipedia.  But I have to say, thanks for sharing this, you made it more simpler to read and understand. It will prove useful to me......

JL

[schartmanovich]

Re analysis of classical sonata allegro form:

Usually the first theme of the exposition is played in the tonic key (I). Then comes a modulating bridge. A contrasting second theme is played in the dominant (V). Then comes cadence material (some form of IV-V-I) in various combinations.

The development ensues, or, the "working-out" as Grove called it years ago, using many key changes, sequences, and metamorphosing of the two themes.

The recapitulation ensues in the tonic (I), followed by the second, contrasting theme, this time also in the tonic (I). The coda then follows, ending the sonato allegro form.

Beethoven, of course, took all this and changed it to meet his needs. But his early works still respected it. Starting with his piano sonata no. 12, he started tweaking it. Mozart and Haydn respected it, as archtypical classists. Most Brahms sonatas also follow it, although they use romantic harmonies, chromaticism, frequent third transitions, etc.

Read Charles Rosen, "The Classical Style" if you really want to know more...

All best,

Glenn

You realize that this is Rosen's example of how sonata form is incorrectly/misleadingly taught, right? If you missed that, then you missed one of the major points of his book.

[schartmanovich]

Message me your email and I'll scan and send you a complete harmonic analysis of the opening movement of Beethoven's Op. 2/1. Would that help? It's quite straightforward.