In this movement Beethoven diverges from the sonata-form convention of having the second subject in the dominant key of G major and having it in E major instead.
I think the main reason why we have C major to G major to B major etc is because it creates a chromatic movement on the bass, which makes all of these "weird" harmonic changes completely valid ! A genius
What a great analysis and also great playing. You have taught me an incredible amount. You are the teacher that actually sparked my interest in learning how to compose orchestral/"classical" music. And that is because you make it so easily understandable. Also you take time to refresh fundamental steps in order for the videos to make sense, not assuming the watcher already knows them. Thank you for all you have done. Words can not describe how big of an impact you are on so many peoples lives. From the people learning directly from your videos, to the people those people go on to teach, and furthermore to the listeners listening to the music created as a result.
Gareth thank you so much for your work! I sometimes wonder what was going on in Beethoven's head? Whether he really still had diatonic and borrowed chords and sequences in mind? I doubt it. Imho, he leaves these diatonic structures too often and for too long. It often seems to me more like an impulsive "painting" of atmospheres strung together. Whether there is a "new" music theory for this "painting" that comes closer to something like this?
Not really. One may have asked Beethoven the how and why. Beethoven may have just shrugged and replied “I don’t know it just seems away I like”. He was a genius it was just there in his mind and fingers. He didn’t need to wonder why. You don’t wonder why and how you walk you just do it.
@@velcroman11 but at some conscious level, he must have been planning like an architect designs a house. He must have been thinking this bit can be improved, i know what, I’ll modulate this section etc etc.
Beethoven was a genius but he also thought out the design and the detail in the way that an architect designing a building would. Add genius to that and he’s away.
@@MusicMattersGB my point exactly. Sometimes when i am improvising a solo, I am not consciously thinking, and when I listen back may think how did I do that. But for a long piece, there must be planning, trying ideas out, ditching some, until you are happy with the end result.
Very helpful. Could you please consider making a video about the chords used in the Grave movement of Beethoven’s Sonata Pathetique? I’m trying to memorise it away from the piano. The first measure is straightforward (Cm), but after that, I’m finding it hard to identify many of the chords (diminished 7ths?) Beethoven has chosen, as well as understanding how they are functioning. How would you approach memorising the Grave? Thx Andrew would be helpful to know how to identify the chords, especially many of the diminished 7ths. I’m not always clear what key a measure or even half a measure is in.
If you go to www.mmcourses.co.uk then click on courses you can scroll down until you find our analysis course on this work. All movements are covered with the entire content explained.
