1

Motivic Analysis of
Beethovens Piano Sonata in C Major
Op.2 no.3

40062251
Submitted in partial fulfilment of the requirements of
Edinburgh Napier University for MUS10130
Music Analysis 1
The Ian Tomlin Academy of Music
December 2014
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Arnold Schoenberg states Whatever happens in a piece of music is the

endless reshaping of the basic shape There is nothing in a piece of music

but what comes from the theme, springs from it and can be traced back to it;

to put it still more severely, nothing but the theme itself. (Linear Counterpoint

1950)

This paper will cover the motivic material used in the first movement of Ludwig

van Beethovens (1770-1827) op. 2 no. 3 Sonata in C Major (1796). The

analysis will be purely motivic and through the establishment of the basic

shape the movement will be investigated and links will be made between the

basic shape, its components and the material used throughout the movement.

The main idea (basic shape) is introduced immediately in the first two bars of

the piece; it comprises of two components that are clearly labeled in fig. 1.

Each component has certain characteristics that are used to identify the

recurrence of the basic shape throughout the movement fig. 2 lists these

characteristics. The basic shape is announced in the tonic key of C Major with

a trill like figure on the third beat of the bar. The staccato figure (y) consists

mainly of descending thirds whilst transitioning into two crotchet G Major

chords.
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Fig. 1

Fig. 2

Characteristics of X

Melodic Thirds, Fifths, Octaves

Small intervallic range (RH)

Chordal (LH)

Rhythmic Minim, Quavers

Trill-like

Long short short short

short

Articulation No apparent articulation

Slurred

Dynamic P

Other Wave contour

Humorous character
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Characteristics of Y

Melodic Thirds, Sixths, Octaves

Rhythmic Quavers, Crotchets

Short short long long

Articulation Staccato

Dynamic P

Other Inverted arc contour

Two crotchets expand a chord

Interval leap

Upon the first announcement of the basic shape in bars one and two the basic

shape is repeated immediately after, but Beethoven has chosen in bar 3 to

move to the dominant (G Major) but the attributes are identical. This particular

decision to repeat the basic shape immediately after the first delivery

suggests sentence form is in use here (Schoenberg 1967). The basic shape is

still very much present as we move to the end of the first system (bars 5 and

6) however the thirds in the right hand are no longer used, instead the trill-like

figure is single notes accompanied by a sustained pedal which resembles the

semibreve present in x. The crotchet figure that is featured below the pedaled

note resembles the crotchet figure of y. In addition, it is noteworthy that the

dynamics are again marked at p.

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Fig. 3 (bars 5-6)

Similarly to the above example the basic shape is visible in bars 9 and 10 but

inverted; that is the characteristics of X are clearly audible and visible in a

lower register from treble to bass clef. In Fig. 4 one can see how Beethoven

has chosen to split the initial C Major chord of component x by playing the C

in beat one and the remainder of the triad on beat two. The thirds featured in

the right hand suggest a similar likeness to that of component x, particularly

the third (D-F) on the fourth beat which is identical in pitch to that of

component x. Beethoven also voices the trill-like figure of x in the left hand

thus slightly altering its role from melodic to accompaniment but still retaining

its prominence. The annotations on fig. 4 show the most prominent aspects of

the basic shape found within these bars. Also seen in the left hand is

similarities to the y component such as the staccato thirds followed my longer

note durations such as crotchets and minims (short short long long).
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Fig. 4 (bars 9-11)

Use of thirds (x)

Falling and rising crotchets (y)

Staccato quavers followed

C Major chord (x) by crotchets (y)

The end of the second system (bars 11 and 12) acts as a transition into bar

13. These bars are less obviously linked to the basic shape but with a closer

look one can see how they resemble characteristics of y. Firstly the two bars

consist mainly of crotchets that are followed by a crotchet rest, given the

speed of the movement is allegro this creates a natural staccato which is an

obvious link to the staccato crotchets in component y. The very nature of

these bars seems to be chordal, which once again resembles the importance

of the chords and octaves in y. The rising fourth from E to A is reminiscent of

the rising fourth featured in the crotchets of component y. These transitionary

bars lead from what seemed to be a fairly straightforward and clear account of

the first subject to a more elaborate section (fig. 5). Bar 13 sees a far more

virtuosic style of piano writing and playing; bars 13 to 21 consist mainly of

quick arpeggios with ascending and descending patterns which cover a much

larger area of the keyboard than previously seen. This section despite
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sounding rather different to opening few bars still contains the characteristics

of component x - thirds, octaves and semi-quavers whilst also remaining

centered on the tonic C. The first chord in bar 13 (C Major) illustrates the first

chord heard in x before proceeding. Even though the characteristics of x are

seen more in this section there are still elements of y included such as the

descending thirds present in bars 15 and 16 that resemble the falling thirds of

y. Schoenberg states that The purpose of a transition is not only to introduce

a contrast; it is, itself, a contrast. (Schoenberg, 1967, pg. 178). With that in

mind, these bars seem to point towards the beginnings of a transition away

from the first subject for the following reasons: the texture changes

dramatically, the first instance of ff dynamic markings is seen, and the very

driving nature of the bars seem to accelerate the piece towards something

which is contrasting to the opening 8 bars.

Fig. 5 (bars 13-16)

Like 1st chord of

(x)

Descending 3rds
similar to (y)
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Bar 21 to 26 sees the left hand taking on a very motivating accompaniment to

a melodic figure present in the right hand (fig. 6). Here, in these few bars,

similarities to the basic shape can be seen. Firstly, the right hand features fast

rhythmic values such as demisemiquavers, semiquavers and quavers, which

resembles the trill pattern in component x. The use of the trill followed by

demisemiquavers in bar 21 and 23 once again bears resemblance to the fast

trill-like nature of component x whilst also maintaining the idea of a third

between A and C. The left hand appears to provide the accompaniment to this

melodic pattern also sharing parallel characteristics with x. Primarily, the

most noticeable similarity is the repeated semiquavers and the use of

octaves, fifths, and thirds. Another similarity to note is the wave like contour

made effective through the alberti-bass accompaniment. The descending

scale passages, particularly in bar 25, provide an efficient ending to what is

the announcement of the first subject. This closing section is further

emphasised with the octave in the dominant (G Major) and the 3 beat rests

that follow.
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Fig. 6 (bars 21-26)

From bar 27 the music shares very little resemblance to the basic shape;

therefore this section is most likely an example of liquidation. Here we see

both the left and right hand moving away from chordal playing and into a more

intricate finger-style playing (Fig. 7). The modulation into G minor and then

into various other keys also distinguishes this section from anything heard

prior and suggests the establishment of the second theme. The left hand

takes an accompaniment role by mostly playing an alberti-bass whilst the right

hand takes a far more melodic position incorporating ornamentation such as

turns and acciaccaturas that until this point had not been seen previously.
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Fig. 7

A subordinate second theme is made evident by an effective rising scale

sequence that transitions into the dominant (G Major); marked dolce, an

extremely melodic and elegant melody sounds incorporating both the right

and left hand responding to each other in question and answer (Fig. 8). The

texture here differs from the texture of the first subject and the transitionary

section. There are some small similarities to the basic shape, such as the use

of semibreves, minims and crotchets but upon listening there is little that can

be linked. The end of the liquidation, which appears to be at bar 60, the bars

show a strong resemblance to what was previously seen in bars 13 to 21 but

transposed and slightly altered; from bar 61 to 68 a virtuosic style of playing is

present again and consists mainly of arpeggios. The prominence of

semiquaver thirds in the basic shape also links this particular section, as it

consists mainly of semiquaver thirds, chords and octaves.

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Fig. 8

As we progress into the closing few systems of the exposition there are

elements that are once again relatable to the basic shape. Bar 69 sees a

scale of descending octaves in the key of G Major. The syncopated rhythmic

nature of bars 69 to 72 is redolent of the syncopation and octave use in bars

11 and 12, which is also of the descending nature (fig.9). These bars strongly

share the characteristics of component y particularly the staccato

articulation, descending nature, use of octaves, thirds and sixths.

Fig. 9
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This pattern followed by ascending arpeggiated chords in bars 73 and 74 is

also similar to that of 12 and 13. The relationships to the basic shape are

similar to previously mentioned when describing bars 11-22. Bar 78, upon

hearing and inspection, seems to remind one of the characteristics of the

basic shape. The trill with the addition of the semiquavers - which further

emphasises a trill-like pattern - resembles that of component x. The minim

chords resolving to crotchet chord is similar to that of component y because of

the rising top note such as the F sharp to G, and the A to B which is similar to

the rising fourth seen in the crotchets of y. The last 6 bars of the exposition

are in keeping with Beethovens virtuosic style with ascending and descending

octaves in both the right and left hand doubling the octaves provides a

prominent and full texture (fig.10). The ff dynamics also further emphasise the

closure of the exposition. Here, the bars most strongly represent the attributes

of component y such as octaves, but also have certain elements found in

component x, most notably the presence of semiquavers and the wave-like

contour of the ascending and descending octaves similar to the trill pattern in

x. Again, as previously seen in bar 25 a descending scale is used to mark the

end of a fundamental section of the piece.

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Fig. 10 (bar 85-88)

The development section of the sonata begins at bar 91 and strongly

resembles component x and y throughout. The first theme to be developed is

one of the themes heard in the second subject (bar 77/78) and is slightly

developed through transposition and harmonic changes. Bar 97 sees a

descending sequence above a sustained chord which shares similar

characteristics to component x (fig. 11). The descending semiquaver

sequence that depicts a wave-like contour is reminiscent of the semiquaver

trill pattern that is also of a wave contour in x. The sustained Bb Major chord

on the first beat of the bar references the chord held on the first beat of the

basic shape. Furthermore, the contour of bars 97 to 106 is also wave like as

the sequence continuously rises and falls. Beethoven moves the piece further

at 107 by accelerating broken semiquaver chords that alternate each time by

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a semitone creating an effect that can be linked to the opening trill-like pattern

before the return of the first subject at bar 109. Here, at bar 109, the basic

shape returns but in the key of D Major. Bars 113 to 138 see a clear transition

into the recapitulation. Beethoven cleverly repeats a section of the basic

shape several times in a descending sequence fig.12.

Fig. 11 (97-100)
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Fig. 12 (bars 113-118)

The octave leaps featured in bar 115 and 116 resemble the octaves and

interval leap present in component y. In addition to this, the staccato octave

chords are also staccato furthering the likeness to the basic shape (y). There

is a clear closing section to the development from bar 135 to 138 where the

sequence is repeated in a descending fashion numerous times before the

opening of the recapitulation (fig. 13). It is clear that the semiquaver pattern

followed by the staccato quavers imitates what is seen in component x whilst

it is accompanied by a long sustained chord which is reminiscent of the chord

heard on the first beat of the basic shape, albeit transposed.

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Fig. 13 (bars 135-139)

As we move into the recapitulation at bar 139 there is little to comment on, as

it is a direct repetition of the first 8 bars of the movement. Interestingly, in the

recapitulation, Beethoven has chosen to introduce new material at bar 147 to

154 (fig. 14). This new material does indeed share resemblances to what has

been seen before in the transition into the recapitulation such as the high

syncopated melody featured in bar 123, for example. This short passage of

new material is also similar to the basic shape in many ways. Firstly, there is

an extensive use of octaves many of which are played staccato which links to

component y. The melody of the new material mostly moves in step-wise

motion which again resembles the step-wise motion of the staccato quavers in

y. The interval-leaping present in the left hand resembles that of the 4th

between the crotchets in y, but the intervals in these bars are clearly leaping

in an ascending order: a 4th - 5th - 6th.

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Fig. 14 (bars 147 -148)

After this new material discussed above comes to an end, music previously

seen at the transition between the first and second subject (bars 21-27) is

revisited in its original form providing another excellent transition into the

recapitulation of second subject (the liquidation). Although transposed, bars

161 to 217 see an almost exact repetition of the second subject. As we

progress to bar 218 a somewhat surprising chord of Ab Major distinguishes

the start of a section of material that upon hearing and viewing is of no

immediate resemblance to the piece thus far. However, the descending

broken chords featured in bars 219-221 is fairly reminiscent of bars 97-98

where a similar descending broken chord pattern is present with a sustained

chord as a foundation the relation to the basic shape is examined in fig. 11.

Bar 222 sees a dramatic change in dynamic and texture. An elegant style of

playing is present here through the flowing and sustained chords that brush

back and forth seamlessly though the lower register of the piano (fig. 15). The

texture that these bars create is very new to the movement and begs the

question of what purpose they hold? Schoenberg states Liquidation consists

in gradually eliminating characteristic features, until only un-characteristic

ones remain, which no longer demand a continuation. (Schoenberg, 1968,

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pg. 58) so with this in mind, it seems that this is a transitionary section that

bears very little resemblance to the basic shape or motif. For instance, this

section is in a low register featuring long sustained arpeggios that ascend and

descend in a manner previously unseen. It is suggested by Janna Saslaw that

liquidation often takes the form of scales or arpeggios typically in transitional

passages. (Saslaw n.d.). Furthermore, the visible appearance of the score

writing has changed and includes more phrasing, harmonic suspensions, and

even a strong rhythmic change is felt through the triplets in bar 228. This

section ends strongly with a pause on a C Major chord before the cadenza

begins.
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Fig. 15

The cadenza includes a virtuosic scale passage that is vaguely reminiscent to

x of the basic shape through its trill-like nature but contains nothing of motivic

analytical interest, but does reestablish the tonic key of C Major. The cadenza

is closed with a fast paced chromatic scale before the main idea returns for 4

bars before new material is introduced. The new material in 237-240 features

the use of octaves in the left hand which links to y whilst there is also a

presence of thirds and a wave contour which relates to component x (fig.16).

Bar 243 and 244 consist of a descending passage scale in both the right and

left hands. The heavy presence of thirds, fourths, octaves and staccato
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suggests a strong relationship to both component x and y. As the movement

approaches its end it features another rising and falling scale, that previously

mentioned, seems to be a common and effective way to end sections of this

sonata before ending on a perfect cadence.

Fig. 16
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