First allegro movement of Beethoven's Symphony no.

A sonata-like beginning is typical of Haydn's work, and the first movement begins in a similar

fashion. Second movement Andante cantabile con moto is by no means a "slow movement," but

in the eighteenth century, it wasn't expected to be. For Beethoven, this represents the German

term "Spaziergang," a leisurely (the "cantabile") yet never-ending ramble in the woods. Given

previous off-tonic beginnings in Mozart's symphonies, the opening chords do not begin in the

tonic of C major. The pizzicati from the strings and the dynamic subtleties that color the opening

wind chords—which had been characteristic of Mozart—are also present.

A gentle chord in the oboes and a hesitant line in the strings may be a part of Beethoven's

promenade that runs beneath trees or through a dark lane. After a stentorian opening chord, the

violins begin to make timid, probing remarks. This is an uncommon way to begin the finale. This

particular piece, however, is definitely influenced by the folk music of the time. Although Haydn

and Mozart were also lured to this creative wellspring, there is already a wildness in this work

that could only be performed by Beethoven himself.

There is a continuation of the possibilities suggested by the initial presentation of the opening

theme, this time with a subtle countermelody in the cellos.

First movement from Mozart's Sonata in Bb K. 570

After a four-bar phrase in E flat major, the first movement modulates to F major (the key of the

dominant) through C minor and B flat major before concluding with a four-bar phrase in F

major. Analysis of Mozart's Piano Sonata No. 17 in Bb major, K.570, Part 1

Mozart's Piano Sonata No. 17 in Bb major, K.570, is a beautiful piece of music. A descending

sequence modulating through E flat major, C minor, and B flat major is included in Mozart's

Second Movement (Adagio), which is comprised of eight measures. Contrary to what is stated,

the "time" of the movement is really two crotchets (quarter notes) to the bar, not four as it is

written. Mozart's Piano Sonata No. 17 in Bb major, K.570, is a beautiful piece of music. The last

movement of Analysis 3 is the only one of these sonatas in which Mozart has selected an

episodic structure for the conclusion.

(Bars 1-22): Melody in B flat major, modulating, and concluding in F major. (Bars 1-22):

(Dominic). A flat major (Subdominant): Part II – Episode II, in A flat major (Subdominant):

Repeat the process with a double bar. In the third movement (Allegretto), the form is episodical.

Passage commencing in C minor and modulating via B flat minor to F major (Dominant) is the

second section (Bars 30-34). Music in E flat major, modulating to B flat major in the first section

(Dominic). Bars 31-32, in C minor, are based on the main motive from the previous melody and

create a brief passage of three bars. Part ii begins in the bass with the same repeated note motif as

began Part I in the treble, but with the movement taken in the other direction. On portions from

both halves of the episode, the coda is built, as is the rest of the show.