Analysis of Clementi's Sonatinas

AbateFaria wrote:

Your exhibition idea is fascinating, but some things don't add up for me.

That being said, harmonically I see a first section that starts from the home key and closes on the fifth degree.

The melodic-thematic material, which is exposed in the first 4 measures, consists of a broken arpeggio, a repeated note (ribattuto), and abundant fragments of descending scale.

How does all this fit into sonata form?

As a first thing, I don't find a second idea because from measure 8 a development of the thematic material is proposed: scale in contrary motion and quarter-note repetition.

In general, the strong connotation given by those refrains, with those proportions and those tonal paths, frames the piece within that single-arch monothematicism... which is why I feel inclined to agree with Gerardo.

On the other hand, the second theme exists, and I have indicated exactly where it starts (from the elision).

What characterizes the second theme is a connotation, a texture, a harmonic rhythm, an harmonic and melodic structure different from the first... that the second theme derives from the first, this is obvious.... EVERYTHING seen in that sonatina derives from the first theme, or rather, from measure 1 to be precise...

if one tries to look at the harmonic rhythm, etc. in the second theme, one notices that it is quite different from the first, and this is the typical discontinuity of musical discourse from the Viennese School onwards...

Gerardo wrote:

Exactly Abate Faria, there is no second theme, there are not the proportions that you can instead find in small-scale sonata forms like those indicated by Frank.

For Feldman

Actually, I wrote tripartite bithematic, so take notes without using other terminologies... like "ternary and binary". Furthermore, I do not believe it is the appropriate terminology and it conveys little of the ideas you have tried to express.

se si vuole, lo spuò chiamare "monotematismo", anche se non è proprio così dato che il secondo tema non è ne il primo variato ne il primo letterale, è il secondo e basta, derivato dal primo (in virtù di quello che si chiama "sviluppo").

Per quanto riguarda la terminologia, sai che problema... ternaria la struttura formale (tripartita) e binaria la struttura tonale (polarizzazione della T; tensione sulla De risoluzione sulla T), "bitematica", è ovvio se si tratta di forma-sonata...

Are we sure that the first measures are not I V I V etc.... in the end it might not be a tonic pedal and the harmonic progression would balance itself out.

How do you read the second part?

The discussion is taking a good turn. In relation to thematicism, how do you fit in the rhythmic aspect?

The beginning of the sonatina is characterized by the rhythm half note, eighth-eighth, half note, half note. One can see the use of this rhythm throughout the piece.

Di sicuro interesse:

http://depauwform.bl...op-36-no-1.html

Roman Numeral Analysis

m. 1-6 Key of I (C major): I, V, I viihalfdiminished7/V

m. 7-15 Key of V (G major): I, ii6, V64-53, I, V6, I, V43, I6, ii6, V64-53, I

m. 16-22 Key of i (C minor): V, i6, vii, i, V, V7, i, vii, i,

m. 23-28 Key of I (C major): V, I, V, I

m. 29-32 Key of I (C major): I, V64-53, I, V6

m. 33-38 Key of I (C major): I, V43, V6, IV, V64-53, I

Structure

Sonatina Form (ABA)

A. (Exposition) m. 1-15, key of I, C major

Exposition is simple continuous binary form (AB)

(A) First Tonal Area

Parallel Period m. 1-15

Phrase A m. 1-4, HC in key of I, G major triad

Phrase B m. 5-8, PAC in key of V, G major triad

(no specific transition section , modulation to V done in previous phrase)

( b ) Second Tonal Area

It is possible to perceive this section as one big phrase, due to its continuous motion, although V6 leads to I in m. 9-10 and a V43 to a I6 in m. 11-12, but this is possible also.

Phrase C m. 9-10, IAC in key of V, G major traid

Phrase C’ m 11-12, IAC in key of V, G6 Elides to next phrase

Phrase D m. 12-15 PAC in key of V, G major triad

B. (Development) m. 16-23, key of i, C minor

Development is contrasting period, made by Phrases E and F

Phrase E m. 16-19, HC in key of i, C minor

Phrase F m. 20-23, HC in key of I, C major

(no specific retransition section, modulation to I done in previous phrase)

A. (Recapitulation) m. 24-38, key of I, C major

Recapitulation is simple sectional binary form (A’B’)

(A’) (FTA)

Parallel Period m. 24-31

Phrase A m. 24-27, HC in key of I, G major triad

Phrase B’ m. 28-31, PAC in key of I, C major

(again, no transition section is really present, modulation done in previous phrase, recapitulation remains in tonic key)

(B’) (STA)

Phrase C’’ m. 32-33, IAC in key of I, C major

Phrase C’’’ m. 34-35, IAC in key of I, C6 Elides to next phrase

Phrase D’ m. 35-38, AC in key of I, C major

The right hand motif of m. 1-4, especially the quarter note-two eighth notes-two quarter notes motif of m. 1-2, is developed. Rhythmically and in regards to musical shaping, m. 1-4 is imitated directly in m. 16-23. To set it apart from the other sections, the development section is in the key of the parallel minor, C minor.

The changes made to the recapitulation from the development are in the key change. In the exposition, m. 5-8 modulate to the key of V, with m. 8 ending in a PAC in the key of V with a G major triad. Unlike m. 5-8, m. 28-31 end with a PAC in the key of I with a C major triad, which keeps the second section of the recapitulation in the tonic key of C major rather than modulating the passage to the key of V like the exposition did. The keeping of the tonic key in the recapitulation permits a seamless method of ending the piece after m. 34-38.

Indeed, Clementi’s Sonatina O. 36 No. 1 shares many qualities with the larger sonata form on a smaller scale. First, Clementi’s piece is divided into three sections, exposition, development, and recapitulation, which are the sections sonata form is divided into. Second, both the development and recapitulation section exhibit their own binary forms within the sections; having musical forms such as binary within a larger section is common to sonata form. However, unlike sonatas, transitional and retransitional sections are practically nonexistent. Modulations do occur, but they are done within the phrases themselves rather than by having a large portion of the piece specifically written to explore and/or sequence to other keys. Furthermore, the development section from m. 16-23 is very short and does not travel to any other key than the parallel minor, C minor. In comparison to a sonata, transitions/retransitions and the development section of pieces like a larger Beethoven or Mozart sonata may travel several keys spanning many measures to create harmonic instability in these sections.

The piece has a joyful, rhythmic feel to it with few dissonant harmonies. The lighthearted quality of classical music such as this Clementi sonatina should not be forgotten in performance; the performer should keep the latter qualities alive in the music by being straightforward with the piece’s markings such as staccato notes and dynamics. There is not much room for rubato in the piece. The exception to this is the end, for one can musically justify ending the last measure or two with a small ritard if he or she desires.

Dante, it seems the tripartite ABA has been confirmed ...and it speaks of exposition from 1 to 15

AbateFaria wrote:

We are sure that the first bars are not I V I V etc.... in the end it might not be a tonic pedal and the harmonic progression would balance itself out.

How do you read the second part?

it is not a pedal, since the melody does not demonstrate it... it is a persistent tonic; I analyze what I see without assumptions.

The second part from the development? There would be so many things to say... for example the way he builds the development, meanwhile it is not modulating, the only digression is to the parallel minor of the tonic, a bit strange don't you think?

Zac wrote:

Dante, it seems the tripartite ABA has been confirmed ...and it speaks of exposition from 1 to 15

but all sonata forms are tripartite (ternary) in form... but it is the tonal structure that is binary, and the thematic structure as well...

Feldman wrote:

... a bit strange, don't you think?

For the period ...actually...yes

I really don't understand what the problem is in considering the first movement of that sonatina as a small sonata form... the two themes are there, and if you don't like the idea that a scale and 4 repeated notes constitute a recognizable melodic profile, I will point out to you that the overall motif is presented in the dominant key in the first part BUT in the tonic key in the second, which is how it is normally done with the second theme of a sonata form... this is enough, in itself, to qualify all of this as a sonata form. First theme in tonic, second in a contrasting key, development, first theme in tonic, second theme in tonic. It's really so easy...

I would say that everything seems very clear to me now, great experience...thanks to everyone.

of course it's simple, you just have to connect the sonata-form scheme to the formal structure of this sonatina movement and that's it. Then, when analyzing the content, the problems arise, since the logic of the piece is by no means trivial, there are some remarkable things...

I see you have been busy

Feldman wrote:

there are some remarkable things...

What exactly are you alluding to?

Aspirante wrote:

I see you've been busy

What exactly are you alluding to?

analyze, too easy otherwise...

I find Feldman's suggestion apt, it is important to get one's hands dirty

@Feldman

Awere you intending to look at another sonatina or another movement of the first one?

I understand guys, but I'm not advanced enough to be able to discern what is truly interesting for that period... I can analyze, but that's where it ends.

...if you want to share something ok, otherwise peace

Aspirante wrote:

I understand guys, but I'm not advanced enough to be able to discern what is truly interesting for that period... I can analyze, but that's where it ends.

Actually, I have the same difficulty too ... apart from the others

The mere fact that such a short piece was conceived formally as a sonata form is an interesting thing.

Some harmonic chatter was mentioned by Feldmann...I would say Clementi really knew his stuff.