movement 1

• Sonata Form has 3 main sections, Exposition, development, recapitulation
• Exposition has 4 main sections; first subject in one key, transition into a new key, 2nd subject in the new key and the close
• Development maintains and increases tension, with the last chord being a chord V in the original key of the movement
• Recapitulation repeats the exposition with slight differences such as no key change and a more finalised close or coda
• The slow introduction of the first movement has nothing to do with the form of the movement
• The introduction gains the attention of the audience
• Bars 1-2 are a fanfare motif played in octaves
• Bars 3-5 become antiphonic while continuing the fanfare rhythm
• The introduction is in D minor; a modal mixture as the exposition is in D major
• Bar 6 goes into the relative major; F
• Bar 7-8 original fanfare motif transposed to F major
• suspension of A in bars 12'3 - 13'1
• Neapolitan 6th in bar 15'3
• Imperfect cadence at bar 16 to lead directly into the exposition
• Exposition: bars 17-123
• Development: bars 124-192
• Monothematic sonata form is where the 2nd subject is identical to the 1st subject
• Recapitualtion: bars 193-294
• Introduction: bars 1-16
• Exposition 1st subject: bars 17-31
• Exposition transition: bars 32-64
• Exposition 2nd subject: bars 65-99'2
• Exposition close: bars 99'4-123
• Recapitulation 1st subject: bars 193-208
• Recapitulation transition: bars 208-246
• Recapitualtion 2nd subject: bars 247-294
• Bars 20'4-23 has a syncopated sequence of suspensions
• Bars 32-39 have a tonic pedal and is harmonically simple using diatonic chords
• Bar 41'4 contains an A# which suggests B minor
• Bar 52 is the introduction to A major
• Bar 54 - brief tonicisation of B minor
• Bar 56'2 is a B major 7, a secondary dominant chord that is overshooting so that the following E major chord sounds like an IAC
• Bars 57-64 are one big medial caesura fill with a dominant of the dominant pedal