1.

Period
-Starts at upbeat of bar 4, repeats at upbeat of bar 4
-Separates off at bar 3 and bar 7
2. Sentence
-Up beat of bar 1, repeats at bar 2 beat 3
-Divided Sentance
-Separates off at beat 3 of bar 4
- I-V-I for lat 3 chords - cadential
3.
-Bar 11 and 19
-Bar 16 and 24
-Bar 11 to 19 is exact same as bar 19(beat 1 is slightly different) to 26 with slight
different end

4.
-repeating motives

This extract from Beethoven's Piano Sonata, Op.7/iv is in period form. It is consisting of three
functional levels above motif level. I have marked out where each part of the period begins and
ends on the score. Through analysis I have discovered that each part of this period is either a
variation, elaboration or fragmentation of motif 'a'. Distinct features of the 'a' motif are the falling
anacruses with its final note being repeated and suspended over the bar line to which it then
resolves down.
'A1's upbeat is varied; instead of being a dotted quaver followed by a semi quaver it is now three
semi quavers. Apart from that the rhythmic identity remnants the same as 'a' in its prime form.
Whilst the intervalic content is not strictly kept between 'a' and 'a1', the overall direction of the
melody is the same - a falling anacrusis, repeated note and a falling step. With 'a1' having a three
note anacrusis it falls a perfect fourth from F to C causing an overall pitch of 'a1' a third in
comparison to 'a'. The harmonic foundation of the basic idea centres around the dominant.
Moving on to the contrasting idea of the antecedent, we find fragments of 'a1'. The final three
semiquavers in bar 2 have a likeness to the 'a1' anacrusis. However when we hear that A flat
repeated over the bar line as a suspension, we expect it to resolve like in 'a' and 'a1'. Instead,
Beethoven exploits our expectation, moving to an almost sequential repetition of the previous
four notes - a continuation leading to an imperfect cadence.
The basic idea of the consequent is largely an exact melodic replica of 'a' with some elaborative
grace notes. The harmony is varied by changing the position of the prime V7 to a V65 in 'a2'. 'A3's
anacrusis is the same as 'a1' but this time we do not hear a repeated note, rather a skip down to A
natural - still a suspension but this time rising up to resolve.
The contrasting idea in the consequent is a more elaborative version of the antecedent's.
Additional diminusions include a passing note - g, F, e flat; the final notes, and an extra harmonic
change - a ii63 chord, which enriches the cadence. The final cadence is a perfect authentic
cadence - a stronger and more finite cadence then the previous imperfect cadence.