Analysis of Beethoven Sonata Op 14. No. 2

Beethovenâ€™s Piano Sonata opus 14. no. 2 is in G major in duple meter and begins at a fast pace: Allegro. Though there many ornamental accidentals in the thematic material, the piece is harmonically simple. For example, A-sharp is an ornamental accidental that moves to the B in measure 1, but to analyze the A-sharp only as a viiÂ°/iii is unnecessary. Another introductory comment is to notice how dynamic marks often give clues as to how form is articulated.

Integrated Formal Analysis I, II, and Written Commentary

Exposition: 1-63
Development: 63-124
Recapitulation: 124-200

Themes

Theme 1 has two parts. Part 1: 0-8. Part 2: 8-13.
Part 1 of Theme 1 is parsed into its opening 4-note motive, exploited in the Development. Part 1 of Theme 1 ends with a PAC.
Part 2 of Theme 1 can also be thought of as a preparation to the transition. Part 2 of Theme 1 is important because it changes in the Recapitulation to set up how the transition will modulate from G major to G major (rather than the dominant, D major). Note that there is no Part 2 of Theme 1 in the Development.

Transition
The Transition is articulated by the â€œcrescâ€ notation in both the Exposition and the Recapitulation. The Transition in the Exposition ends with half cadence that introduces Theme 2.
There is no Transition material in the Development.

Theme 2 has three parts. Part 1: 26-33. Part 2: 33-41. Part 3: 41-47.
While Parts 1 and 2 of Theme 2 are simple melodies, Part 3 serves as a virtuosic display, filled with 32nd notes, leading into the Closing Theme.

Assignment: Do the Roman numeral analysis for the trio section, Pag...