Form in Beethoven’s Piano Sonatas (III) – No. 27, 2nd Movement, Rondo-Sonata

The second movement of this E minor sonata fits perfectly into the Rondo-Sonata form. Main Theme is in Ternary form itself. First 8 bars are the A section of the ternary and it can be divided into 2 parts: bar 1-4 is the melody and 5-8 is its repetition with octaves. Between 9 – 24 is the B section and in the dominant region as expected. The repetition with octaves occurred again in this section. 25 – 32 is the repetition of A section with some changes and variations in the melodic line. As a result, the main theme is in ternary form. 32 – 40 is called as transition which modulates to B major and ends in the dominant of this key. The secondary theme group consists of two themes. The first one is between bars 41 – 59 and stands on the dominant of B major. The second theme occurs between 60 – 69 and is mostly in B Major. Since the movement is originally a Rondo, the main theme is presented again between bars 70 – 104. It is not different from the first presentation of main theme.

In the bar 105, the development starts and until the bar 113, it is the Pre-Core. It has a fragmented material from the first theme. Core starts in bar 114 and is in C Major. 114 – 117 is the model and later on it occurs in c minor, C Sharp Major and minor successively. 130 – 139 is retransition where it stands on the dominant of E Major in order to recapitulate the exposition.

Bars 140 – 229 are the recap and it has no deviation in terms of form. Namely, the main theme and the subordinate themes are presented in home key as expected. Starting from bar 230, Coda section begins and it uses the material of main theme and its fragmentations.

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