An Analysis of the Structure and Key Components of Beethoven’s Moonlight Sonata in C#m

I have chosen to evaluate the very first motion of Beethoven’s “Moonlight” Sonata in C# m. Like many classical pieces, the “Moonlight” Sonata is simply structured, conforming to tidy chord progressions. Works by early classical composers typically contained a clear melody, played over accompanying secondary chords. In Beethoven’s “Moonlight” Sonata, he exploits the notes that constitute each chord to construct the melody, while the left hand plays the octaves of one note (generally the root) of the chord.

Similar to Mozart’s Piano Concerto in C, K.

467, the melody includes arpeggios. Also, the piano part in Mozart’s Piano Concerto in C plays numerous ascending and descending scales, a feature absent in Beethoven’s “Moonlight” Sonata. However, the movement of the melody in Beethoven’s piece rises and falls as the arpeggios played in the melody follow the chord progression of the piece. Beethoven’s piece also posits a much darker sound. This seems reasonable given that Beethoven’s “Moonlight” Sonata is in a minor key and Mozart’s Piano Concerto is in a major key. Yet, all of Beethoven’s work proved to be revolutionary. His pieces introduced unique and novel sounds to the classical and romantic music world.

Some might say Beethoven’s work was pioneering. The composer implemented techniques previously used by classical composers such as Haydn and Mozart. Despite employing similar practices, Beethoven dramatically changed the landscape, bridging the classical and romantic styles with an inventive mind, using modulation in his pieces more frequently than other composers. Beethoven develops his motifs with the use of modulation in the home key, expanding the progression of the melody through different keys in a way that connects various keys in a more dynamic and swift fashion. Conversely, some of Haydn’s later works linked distinct keys more seamlessly, transitioning over time, making Beethoven’s bold approach to modulation stand out in his works.

In many of Beethoven’s early works, “the distinctly innovative and characteristic features of his music were often first evident in the piano works,” (Plantinga, p. 26). Beethoven was fascinated with the grandeur of the keyboard and composed much of his early work for this instrument. In these pieces, his creative and singular style began to receive a lot of attention. Unsurprisingly, Beethoven has produced exceptional work more than once, not just in his “Moonlight” Sonata, but “in other ways too, in which the earlier piano sonatas deftly alter the familiar devices of eighteenth-century musical style,” (Plantinga, p. 28). Similarly, in his “Pathétique” Sonata, the left-hand accompaniment utilizes octaves in the bass, just as is seen in the “Moonlight” Sonata. However, one uses the broken-octave technique while the other employs an open octave (both octaves played together, not broken apart).

Commonly, the movements in a piano sonata were of different paces. A typical piano sonata would go fast – slow – fast, respectively in terms of its movements. Beethoven generally followed this pattern, composing his movements in the expected manner. However, Beethoven grew discontented with the conventional way of structuring his pieces. In many of his sonatas past Op. 26, he strayed from the usual tempo design for his movements. In fact, in his “Moonlight” Sonata, the first movement is played adagio sostenuto, at a mere 55 beats per minute. Instantly, audiences and observers are taken aback by the unconventional pace chosen to begin the piece. However, this benefits the work. The slow tempo of the initial movement engrosses audiences in its dream-like ambience, captivating them as they listen.

In Beethoven’s “Moonlight” Sonata, the melody emerges from the outset in the first measure, and it instantly becomes evident that the theme comprises ostinatos. The ostinato consists of the notes each chord, prevailing as it progresses. Some may infer the name “Moonlight” resembles the dark, lullaby-like sound of the sonata. In addition to the ostinato played by the right hand, the melody enters at the end of bar five, starting on the fifth scale degree. In bar six, the Dominant 7 chord is played with the seventh in the bass. We are then returned to the tonic in mm. 7. As the melody is introduced, it awakens the underlying triplets, which were initially played in the absence of a melody. This lullaby-like sonata begins to morph into something dreamlike—inviting a sleep-like state in a disconcertingly enchanting sequence. Bars 7-9 offer a glimmer of hope as the melody soars above the monotony of the ostinato.

The descending bass line is one characteristic of works composed in the past. Beethoven did not invent this. In fact, Beethoven borrowed this concept from Baroque style. Similar techniques can be observed in sonatas written by Tomaso Albinoni, which date back to nearly 100 years before Beethoven. Also seemingly borrowed are the polyrhythmic triplets that form the main theme of Beethoven’s famed sonata. The use of triplets, as seen in his “Moonlight” Sonata, can also be identified in the death scene of Mozart’s Don Giovanni. While techniques and patterns were derived from earlier work, it is undeniable that Beethoven’s sound is distinctly unlike anyone else’s. Although some similarities can be found between his work and that of earlier composers, Beethoven brings originality to traditional forms.

Beethoven continued to revolutionize styles and devise novel techniques throughout his entire career and well into his latter years, even after becoming deaf. Beethoven was lauded for his undeniable talent and imaginative creativity. Even though his work resembled primarily the styles of Classical and Romantic composers preceding him, there is no doubt his versatility challenged numerous composers after him to continue inventing new styles and trying new techniques.

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