I hope that this harmonic analysis of Ludwig van Beethoven's Piano Sonata Op. 2 No. 1 first movement will help you in your work. I will try my best to post the second movement as well as soon as possible. If you are interested to find out something about stylistic procedures in this musical piece, please let me in the comments.
Today, I will talk about musical form. It won’t be any form, but sonata form. Also, it will be quite interesting one. I guess that many of you have heard Mozart’s Piano Sonata No. 16 K 545. It is sometimes called Facile sonata, mainly because of its easiness in terms of technical requirements needed for its playing. However, as much as easy it is to play, the first movement of this sonata has some remarkable formal procedures in it.
There is a certain level of mysticism in this Ballade Op. 23. From the very first listening a careful listener could be in the position to recognize the strange change of characters throughout the musical flow. Isn’t that intriguing? How is it possible for all these different characters to coexist in such a dense piece, one might ask themselves. Well, I’ll try to answer on this and some other questions, and perhaps, find new ones to ask so someone else can answer them.
You will find some extraordinary insights about the first movement of the Symphony No. 45 by Joseph Haydn. I will be talking about its form and harmony, but most importantly, I will talk about its musical style. Musical style will give us the complete explanation for some very interesting procedures in the harmony and the form, which otherwise would be understood as a mere exceptions to the classicism norms.