Clementi, Adagio from Sonata in G major Op. 37 No.

2
The first melodic phrase begins in bar 1 and ends in bar 8, it is then
repeated again from bar 9 till bar 16.
The main rhythmic theme is a dotted quaver/semiquaver, usually
followed by a crotchet, grouped together (refer to score). This rhythmic
feature is retained and imitated throughout the piece, with a
development of the rhythmic motif in bar 7, measure 3 the main
rhythmic motif is embellished with a trill as well as having a rhythmic
diminution on the last semiquaver beat being reduced to two
demisemiquaver beats.
A vii-diminished chord is seen in bar 5, measure 3. It creates tension in
the piece but then resolves in bar 6, measure 1 but once again the
tension comes back in the same bar, measure 3.
There is a PT (passing tone) in bar 4, measure 3 (the D#)
The piece is in a solemn style, the piece being played in legato helps
portray that feeling as well as the somewhat descending/spiralling
melodic line. There is a large amount of chromaticism used throughout
the piece, which creates a rather melancholic effect and makes the piece
move at a much grave speed. The trills and embellishments help create
suspense and tension/drama in the piece.
There is antiphony happening in bars 3-5; refer to figure 2. There is a
call and response using the recurring rhythmic idea being switched
between the treble and bass part.
The climatic peak of the piece is first seen in bar 19, measure 1 and then
repeated once again in bar 21, measure 1. The dynamic markings of ff
further emphasis this climatic effect. The chord is a half-diminished 7
th

chord.
Tessitura: the right-hand register does not go above the middle E seen in
bar 27 or below the low G seen in bar 4, measure 1.
A new theme begins in bar 27 and ends in bar 39. The same theme
recurs again in bar 40 but instead takes a sharp turn in bar 42 with a VI
chord (modal mixture). The chord catches me off-guard, as I dont
expect it to resolve like that. To me, bar 41, measure 3 wants to resolve
to C major chord of some sort, or even a minor 6
th
chord.
After the harmonic tension in bar 42, it resolves calmly in bar 43 but
once again in bar 44, the flat-VI chord strikes again.
There is a perfect cadence in the last three bars (with a prolonged chord
I). The V7 I happens in the last measure of bar 45 / bar 46 (second to
last bar).
Modulation from a minor to C major begins in bar 17 as the piece
climaxes in bar 19, measure 1; the piece slowly turns to a major ending.
There is rhythmic development of the motif begins in bar 27, where
there is repetition of the dotted quaver x semiquaver ongoing.
After resolving on a perfect cadence at the end, there is a sense of relief
as the piece concludes.