Beethoven sonata. But which?

[Michael]

Peter, I'm a human being! I merely mentally transposed it.

EDIT: Yes, I began in the dominant and it really begins the arppegio with tonic.

I could do with a tonic after all that.

Now that I can place the movement, do the first three notes seem similar to the opening of the Appassionata (ignoring note values and key)?



.

[Chris]

Now that I can place the movement, do the first three notes seem similar to the opening of the Appassionata (ignoring note values and key)?

The opening of the Appassionata is a broken minor triad, which is not what those three notes are. If that B-flat were not there in the key signature, you'd have a broken E minor triad, though.

[Enrique]

I could do with a tonic after all that.

Now that I can place the movement, do the first three notes seem similar to the opening of the Appassionata (ignoring note values and key)?



.

I don't know about triads or brokens, but let me tell you youre right: C - Ab - F is exactly the same as D - Bb - G save pitch. Ahh, Chris is talking about the second example, you about the first, of course.

[Michael]

I don't know about triads or brokens, but let me tell you youre right: C - Ab - F is exactly the same as D - Bb - G save pitch.

Ahh, Chris is talking about the second example, you about the first, of course.

Phew! I thought I was imagining things.

[Chris]

No, I'm talking about the first measure of the first image you posted - B-flat, G, E.

[Peter]

Peter, I'm a human being! I merely mentally transposed it.

EDIT: Yes, I began in the dominant and it really begins the arppegio with tonic.

Not just that Enrique - your beginning is also a 2nd inversion chord, whereas the Beethoven is in root position so it wasn't even an exact transposition to the dominant - also all those bars of rests as well as two different key signatures - you certainly set us a puzzle! Still we got there in the end!

[Enrique]

All's well that ends well. I'm going through the 32 sonatas one CD at a time. I am now at CD 5, sonatas 17 through 21. The first sonata Quasi una fantasia is well known and I must have listened to it many times, but somehow I made a mess of the series in my mind and couldn't know what was the sonata's correct place. Anyways, I have made some discoveries, of the type reserved to that time of our life when we were musically naive, and some early and middle period sonatas have stuck on my mind now. The Pastoral sonata, e.g., although I must have heard it, to be sure, sometime in the past and now I like it because I was secretly familiar with it if you know what I mean. The post got more attention than it deserved.

[Michael]

.......beginning is also a 2nd inversion chord, whereas the Beethoven is in root position so it wasn't even an exact transposition to the dominant ....

Took the words out of my mouth there, Peter.

[Peter]

The post got more attention than it deserved.

Not at all - feel free to ask anything you like!

[Peter]

Took the words out of my mouth there, Peter.

Goodness I can see what you mean - it reads like Greek I'm sure if you're not up on the technical terms.

[Quijote]

I see what you mean (about 'Double Dutch / Greek') : I'm just reading through some harmony books reading things like : 'Avoid II-I and V-IV (unless the upper voices are in contrary motion) and VIb-I sounds thin ...

[Sorrano]

I see what you mean (about 'Double Dutch / Greek') : I'm just reading through some harmony books reading things like : 'Avoid II-I and V-IV (unless the upper voices are in contrary motion) and VIb-I sounds thin ...

That isn't Piston, is it? I remember those rules!