Theory III, Brinkman Name _______________________

Blog Questions
Stravinsky, Sonata for Two Pianos (1943-44), first movement

Pandiatonicism. A term introduced by N. Slonimsky to describe an important technique in 20
th

century music, i.e., the use of the diatonic scale instead of the chromatic scale as a tonal basis
without conventional harmonic limitations. ... The absence of functional harmony usually results
in a certain tonal staticity, offset by a greater interest in counterpoint, rhythm and chord spacing.
Historically ... pandiatonicism represents a reaction against both the panchromaticism of
atonality and the harmonic chromaticism of the late 19
th
century. [Harvard Dictionary of
Music, Second Edition, Harvard University Press].

Note: Some of these questions, e.g., question 2, have several parts and can be treated as several
questions for the Blog. Other questions can have several (or many) answers. In other words,
dont assume that a question has been thoroughly answered if someone else has addressed it.
You may be able to add additional information. And, please, read the other entries (and
comments) before making your contribution.

1. Consider Stravinskys use of pandiatonicism in the beginning of the Sonata for Two Pianos.
What is the tonal center and how is it established? Are there any vestiges of functional
tonality?

2. Map the form of the Sonata. Find the primary sections of the movement (themes, transitions,
development, etc. Start with the Exposition and locate the following:
a. FTA (first tonal area)
b. Transition
c. STA (second tonal area)
d. Codetta

How are these like or unlike similar sections in a traditional 18
th
century sonata?

3. Do a careful analysis of the development. Some of this can be analyzed as polychords. Do
any parts fit in the octatonic scale?

5. How does Stravinsky handle the recapitulation? Locate each subdivision (as in question 2).
Are there any surprises, visa vie 18
th
century sonata form.

6. One of the interesting things about this piece is the way Stravinsky toys with our
expectations of what usually happens in sonata form. Look for places where things dont go
quite as expected! Hint: In the 18
th
century, new key areas are usually prepared by their
dominant (V7). Do things work like this in this sonata?