How would these nonchord tones from Beethoven’s Pathétique Sonata best be analyzed?

Analyzing Nonchord Tones in Beethoven’s Pathétique Sonata

Beethoven’s Piano Sonata No. 8 in C minor, commonly known as the “Pathétique,” is a masterpiece of the classical piano repertoire. The sonata showcases Beethoven’s innovative compositional techniques and expressive musical language. In this article, we will examine the nonchord tones present in the Pathétique Sonata and explore how they can be analyzed within the context of the piece.

Opening Suspension

The sonata begins with a captivating opening that immediately draws the listener into the dramatic atmosphere. One notable nonchord tone in the opening is a 4–3 suspension. In this case, the E-flat is sustained from the previous measure and resolves down to a D, which is a chord tone of the B♭7 harmony. This suspension creates tension and adds a sense of anticipation to the music.

Re-Articulated Passing Tones

As we delve further into the Pathétique Sonata, we encounter instances of passing tones that are re-articulated. Specifically, the C and B♮ in certain passages are considered passing tones. It is argued that these passing tones do not require a separate name for their second appearance. They serve as transitional notes between two chord tones and contribute to the melodic flow of the music.

Passing Tones vs. Suspensions

It is essential to differentiate between passing tones and suspensions when analyzing the nonchord tones in the Pathétique Sonata. While passing tones are transient notes that connect two chord tones, suspensions have a distinct characteristic. True suspensions must first be a chord tone in the harmony immediately before the suspension occurs. In other words, a suspension involves the sustained note being resolved downward.

Chromatic Passing Tones and Suspensions

In the final measure of the Pathétique Sonata, there is a suspension on F, which is a consonant chord tone in the V7 chord immediately before the downbeat. However, this suspension exhibits an added chromatic passing tone. As the F is sustained, it passes through F♭ before ultimately resolving to E♭. This chromatic passing tone adds a touch of color and tension to the resolution. The resolution concludes with a chromatic neighbor D, further enriching the melodic contour.

By examining these nonchord tones in Beethoven’s Pathétique Sonata, we gain a deeper understanding of the compositional techniques employed by the master composer. The deliberate use of suspensions, passing tones, and chromatic embellishments contributes to the emotional impact and expressive nature of the sonata.

Sources:

1. Music: Practice & Theory Stack Exchange. “How would these nonchord tones from Beethoven’s Pathétique Sonata best be analyzed?” (URL: https://music.stackexchange.com/questions/107498/how-would-these-nonchord-tones-from-beethovens-path%C3%A9tique-sonata-best-be-analyz)
2. Tonic Chord. “Beethoven: Piano Sonata No.8 in C minor ‘Pathetique’ Analysis” (URL: https://tonic-chord.com/beethoven-piano-sonata-no-8-in-c-minor-pathetique-analysis/)
3. Musicalibra. “Analysis of Beethoven Piano Sonata No. 8 in C minor, Op. 13, ‘Sonata Pathétique'” (URL: https://www.musicalibra.com/blog/?q=YToxOntzOjEyOiJrZXl3b3JkX3R5cGUiO3M6MzoiYWxsIjt9&bmode=view&idx=5232602&t=board)

FAQs

What is a nonchord tone?

A nonchord tone, also known as a nonharmonic tone or a dissonant tone, is a note that is not part of the underlying harmony. It adds tension and color to the music and contributes to the overall melodic and harmonic character of a composition.

What is the significance of the 4–3 suspension in the Pathétique Sonata?

The 4–3 suspension in the Pathétique Sonata refers to the sustained note E-flat in the opening measures that resolves down to D, a chord tone of the B♭7 harmony. This suspension creates tension and anticipation, capturing the listener’s attention and setting the dramatic tone of the piece.

How are re-articulated passing tones used in the sonata?

In certain passages of the Pathétique Sonata, re-articulated passing tones, such as the C and B♮, are present. These passing tones serve as transitional notes between two chord tones and contribute to the melodic flow of the music, enhancing the overall expressiveness and coherence of the composition.

How do passing tones differ from suspensions?

Passing tones are transient notes that connect two chord tones, while suspensions involve the sustained note being resolved downward. Unlike passing tones, suspensions must first be a chord tone in the preceding harmony. Understanding the distinction between passing tones and suspensions is crucial for accurately analyzing the nonchord tones in the Pathétique Sonata.

What is the role of chromatic passing tones in the final measure of the sonata?

In the final measure, a suspension on F, a consonant chord tone in the V7 chord, is featured. This suspension incorporates an added chromatic passing tone, where the F passes through F♭ before resolving to E♭. The chromatic passing tone adds color and tension to the resolution, contributing to the overall emotional impact of the piece.

How do nonchord tones enhance Beethoven’s expressive language in the Pathétique Sonata?

Nonchord tones, including suspensions, passing tones, and chromatic embellishments, are integral to Beethoven’s expressive language in the Pathétique Sonata. They create tension, add color, and contribute to the emotional depth and intensity of the composition, showcasing Beethoven’s mastery of compositional techniques.