This week we will finish our introduction to form diagrams as follows:
1. Complete the Beethoven Op. 2, No. 1 form diagram of the exposition (in detail) and the development section. We will discuss how the development section is organized with respect to the materials of the opening phrase of the work. In this regard, see Charles Burkhart's "Schenker's 'Motivic Parallelisms," in the JMTh 22.2. Focus on his distinction between motivic parallelism, augmentation, and variation, and look as his examples.
2. Diagram the form of Liszt's Sonetto 123 del Petrarca, in terms of its main sections and their tonalities. Try your hand at a harmonic reduction (metric or non-metric) of the opening 14mm in four or five voices. Note that the melody pitches are found also in the harmonies,
Question: How does the rest of this composition reflect details found in the pitch structure of the opening 14mm?