Beethoven symphony no 1 (first movement)- Exposition

Beethoven symphony no 1 (first movement)- Exposition

1. Instrumentation

   • Tutti chord at start of the section
   • Violin is start off with main melody
   • Melody broken up with Tutti chords
   • Bars 33-41 use full orchestra
   • Lower strings playing root of chord or pedals for support
   • In transition section there is lot of doubling in ocatves
   • Plenty of Sforzando chords in second subject
   • Dialogue between sctions such as Woodwind and Strings
   • In Codetta tutti sforzando chords are used to interrupt peaceful mood

2. Melody

   • First subject theme based on a 3 note motif
   • Uses 2 notes from the dominant chord - G-B
   • First subject starts on tonic and also uses dominant note (G)
   • This modulates to D minor in bar 19
   • Falling 4-note semiquaver idea
     • Appears a lot in this section
   • 3 note motif is developed later
     • bar 25 it is built on the dominant chord
   • Phrasing isn't regular
     • Starts with two phrases of 6 bars
   • Bridge makes more references to the 4 note demisemiquaver passage
   • Sequence in bars 41-43
   • Bar 44 sees the 3 note motif lose its middle note
     • Becomes a pattern of rising 4ths
   • Second subject starts at bar 52
   • Rich chromatic harmony bar 65-66
     • Strings

3. Rhythm

   • First subject includes a dotted rhythm
   • Metre now in split common time
   • Second appearance of first subject in bar 18
     • Anacrusis present
   • Some sustained notes during chords
   • 2 bars before bridge passage
     • Includes block chords seperated by crotchet rests
   • Second subject uses simple note values with a tie
   • Sforzandos cause an emphasis on offbeat such as bar 57
   • Codetta - some reference to dotted rhythm
   • Mainly simple note values

4. Harmony/Tonality

   • Starts in C major-Bar 13
   • Moves quickly to supertonic minor
     • D minor
   • the 3 note motif has reference to tonic and dominant
     • C major
   • Use of chromaticism
   • Some traditional chord progressions
     • Ic V7 I in bars 31-33
   • Tonic pedal in bars 33-40
   • Transition section moving onto G major
     • Dominant key
   • Second subject in G major
     • Mainly diatonic harmony
   • Tonality moves to G minor

5. Texture

   • Exposition starts with melody-led homophony
     • 23-24
   • A lot of homophony
     • 23-24
   • Octave movement
     • Bars 41-44
   • Some antiphony between Woodwind and Strings
     • 45-48
   • Still a lot of chordal homophony
   • Tutti at 33-41
   • Sudden change in Orchestra
     • Moves to G minor at 77

6. Structure

   • Consists of first and second subject
   • Bridge made up of 2 bar phrases