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 American Journal of Art and Communication 

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UNDERSTANDING THE COMPLEXITY OF BEETHOVEN'S PIANO 

SONATA NO.15 THROUGH SCHENKERIAN ANALYSIS 
 

 

Jane Elizabeth Doe and Maria Sofia Garcia 
University of Miami, Miami, Florida, 33124, United States  

 

Abstract: This paper uses Schenkerian analysis to explore the Beethoven Piano Sonata No.15 in D Major, Opus 

28, focusing on the exposition sections of the first movement. Schenkerian theory is an analytical method 

developed by Austrian composer and theorist Heinrich Schenker. This theory can provide a deeper understanding 

of a piece's musical content by revealing its underlying structure. The relationship between theory and 

performance will be discussed to provide a more comprehensive analysis. This paper also demonstrates how 

Schenkerian analysis can illuminate the characteristics of Beethoven's music and influence how we hear his 

music. Through this analysis, we can better understand this work and appreciate its complexity. 

Keywords: Schenkerian analysis, Beethoven Piano Sonata No.15, Exposition, D Major, Opus 28 

 

 

1. Introduction  

Analyzing a musical composition provides profound insight into its structure and other components. This paper 

will use Schenkerian analysis to explore the Beethoven Piano Sonata No.15 in D Major, Opus 28, concentrating 

on the exposition sections of the first movement. Schenkerian theory [1] is an analytical method developed by 

Austrian composer and theorist Heinrich Schenker. This theory can provide a deeper understanding of a piece’s 

musical content. The relationship between theory and performance will be discussed to provide a more 

comprehensive analysis. Also, this paper demonstrates how this analytical method can illuminate the 

characteristics of Beethoven’s music and influence how we hear his music. Through this analysis, we can better 

understand this work and appreciate its complexity.   

Ludwig van Beethoven was a German composer and pianist born in   1770 and died in 1827. He is widely 

considered one of the most influential composers of all time, with his works usually regarded as spanning the 

Classical and Romantic eras. During his lifetime, Beethoven composed thirty-two piano sonatas, of which this is 

the fifteenth. Beethoven’s composition time is separated into three periods; this work, created in 1802, is known 

as the “Pastoral” and belongs to his last piano sonata from the early period.  

Researchers have been fascinated by applying Schenkerian theory[2] to Beethoven’s piano sonata for many 

years. They used various methodologies to investigate the problem, the most prominent of which was a mix of 

music theory and analysis centered on harmony, progression, prolongation, and structure.  

2. Thematic Development and Harmonic Progression  

Firstly, the form of the first movement in this piece is a sonata form, which includes three parts: exposition, 

development, and recapitulation. Here is the chart demonstrating the structure of the exposition part in the first 

movement.Here is the chart demonstrating the structure of the exposition part in the first movement in Table 1.  

The exposition is the opening portion of the sonata form and is regarded as one of the most essential 

components of the structure. The exposition section includes two themes: primary and secondary theme. The 

primary theme is in the key of D major, and creates a lyrical and flowing melody, while the secondary theme is 

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modulation to A major; the secondary theme is the contrasting part, using different materials from the primary 

theme; the second theme is more forceful. As the exposition progresses, Beethoven introduces several transitional 

passages that help to modulate the key from D major to A major. The connecting episode uses different textures, 

changing the harmony and using different melodic materials. They help to create a sense of tension and 

anticipation leading up to the arrival of the second theme in A major. The initial theme includes two sections; each 

section has two phrases, each ending in a cadence. The second theme is developed in the exposition, with melody 

variations and accompaniment changes. Beethoven introduces a closing theme, which ends the exposition. 

Overall, the exhibition of Beethoven’s piano sonata Op.28 is an expert display of thematic development and 

harmonic progression. Beethoven used various gestures and textures to create a sense of unity and coherence 

throughout the section while introducing contrasting material to keep the listener engaged. The first and second 

themes connect the episode and coda to create a colorful and complex musical tapestry. As a Schenkerian music 

theory analysis researcher, it is fascinating to delve deeper into the inner progression of this section and uncover 

the intricate relationships between the various musical elements.   

Table 1:Music Form  

Exposition  Measure  Structure  Tonality  

Primary Theme  1-39  
Binary Form (Section A+ 

Section B)  
D Major  

Connecting 

Episode  
40-90  

Part I (40-62), Part II (6376), 

Part III (77-90)  

A Major, E Major, F-Sharp Minor, A Major, E  

Major, F-Sharp Minor, A Major, F-Sharp minor, A 

Major.  

Secondary 

Theme  
90-135    A Major  

Coda  135-159    A Major  

Passage  159-163    A Major  

The exposition section of the first movement is characterized by a clear tonal structure[3] that is established 

with critical relationships. The primary key of the movement is D major, which is introduced in the opening 

measures and uses the tonic note of the pedal point to emphasize the tonic function. However, Beethoven also 

incorporates several secondary keys, which create tension and contrast within the tonal structure of the movement. 

One of the most significant things of connecting episode, this part changes the tonality frequently, using the F 

sharp minor, A major, and E major, using these relative and close keys to emphasize the function and transition 

naturally to the second theme. Beethoven also uses the key of D major in the exposition's closing theme, which 

serves as a transitional key between the second key of the upcoming development section. The interaction between 

various keys is another critical feature of tonality in Beethoven’s piano sonata opening movement. Throughout 

the exposition section, Beethoven employs key relationships to create tension and release. The link between F 

sharp minor and A major is a critical relationship in the connecting episode part, taking the bridge function. As 

mentioned above in the transition portion, the modulation establishes this link. Harmonic progression is a 

fundamental aspect of music theory, and it plays a crucial role in sonata form analysis. In Beethoven’ s piano 

sonata Op.28, the first movement’s exposition section is an excellent example of harmonic progression, 

particularly the tonic-dominant relationship. The tonic-dominant-tonic progression is one of the essential 

harmonic relationships in tonal music, and it is used extensively in the sonata form. In the first movement’s 

exposition section, the dominant-tonic progression creates tension and release, a hallmark of the sonata form. He 

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uses this progression to build anticipation and create a sense of resolution, an essential aspect of the sonata form. 

In this part, Beethoven used the secondary chord, making tension in the progression of music; on the other hand, 

he used the sequence to create music and used the tonic pedal point and repeat note and motive split all techniques 

to create.  

The harmonic and melodic variations found in this piece of the first movement in the exposition refine the 

structural elements of the piece. Using Schenkerian analysis, it is possible to identify the specific harmonic and 

melodic variations used to develop and refine the musical ideas presented in the piece. These abundant music 

textures include modulations, non-diatonic chords, secondary chords, and chromatic passing tones, 

embellishment notes. All these techniques serve to develop further the musical ideas presented in the exposition 

part. The colorful harmonica found in this piece is primarily used to create a sense of tension and movement. The 

most common gestures of harmonic variation used in this piece are modulations. Through modulations, Beethoven 

can change the tonal center of the music and create a sense of tension and movement. These harmonic variations 

help to refine the structural elements of the piece.  

Harmonic progression in music relies heavily on chordal motion. The chordal motion is essential in the first 

movement exposition and contributes to the piece’s overall structure. A sequence, a recurring musical pattern at 

a new pitch level, is one of the most prevalent types of chordal motion. The composer borrowed sequences from 

the exposition in this passage. From measure forty to measure fifty-five, he used the fifth degree of sequence to 

create different tonality; the connecting episode used the new materials and combined them with the harmonic 

sequence to the composer, making the music full of tension. The employment of the pedal point is another crucial 

aspect of chordal motion. A pedal point is a note maintained as the other voices move around it. Throughout the 

exposition, Beethoven uses pedal points in various ways to create tension and release into harmony.   

3. Exploring Tonal Hierarchy and Linear Progressions  

Schenkerian[4] music theory involves the concept of tonal hierarchy. Schenkerian analysis tries to identify a 

composition’s “Ustaz” (fundamental structure) or underlying structure. The underlying structure of the music is 

the tonal hierarchy, which is established by the composer’s usage of various musical components. The Ustaz in 

Beethoven’s Piano Sonata No.15 in D Major, Opus 28, is set by the piece’s opening tonic. This tonic is bolstered 

and sustained by harmonic progressions, melodic motives, and other tonal organizing aspects. The tonic sounds 

increasingly solid and secure throughout the piece using these devices. In the sonata’s first movement, for 

example, the Ustaz is established by using a tonic pedal in the left hand, which provides a strong foundation for 

the rest of the music. Additionally, the first movement’s cadences are built upon this tonic pedal, further 

reinforcing its importance.   

When analyzing Beethoven’s Piano Sonata’s exposition section, it is critical to consider the piece’s form and 

periodic structure. The exposition is structured like a sonata, with an initial theme, a transition, a second subject, 

and a conclusion. This structure is distinguished by periodic phrases, which create a sense of symmetry and 

balance within the music in section A in the primary theme, and the second phrase in section A is a non-symmetry 

phrase. Cadential phrases are also used extensively in the sonata’s exposition part. These sentences bring each 

component of the form to a close and resolution. A half cadence, for example, is employed in the opening theme 

to provide a sense of pause before the transition part. The second theme then ends with a beautiful realistic 

cadence, ending the passage. These cadences are a vital feature of the sonata form, contributing to the piece’s 

overall structure and cohesion.  

Voice leading[5] is an essential aspect of Schenkerian analysis, as it helps to understand the relationship 

between the individual voice within a musical composition. In the exposition section of Beethoven’s Piano 

Sonata’s first movement, the voice leading plays a crucial role in the piece’s motivic development and linear 

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progression. Using Schenkeian analysis, we can identify the underlying harmonic structure and how the melodic 

and contrapuntal lines of the composition shape it. One of the most prominent features of the voice leading in the 

exposition section is the use of motivic development. The dissonant suspensions play a vital role in the music's 

progression, such as from 4-3; but Beethoven used the parallel of the sixth interval frequently. This technique 

involves taking a short melodic or rhythmic motif and transforming it throughout the composition. In Beethoven’s 

Piano Sonata’s first movement, the opening motive is repeated and develops throughout the exposition section, 

creating a sense of unity and coherence in the piece. Additionally, the voice leading helps to emphasize the 

harmonic progression, highlighting the tonal relations between the different chords and creating a sense of tension 

and resolution.   

In Schenkerian music theory, intervallic relationships play a crucial role in analyzing the structure and 

organization of a musical composition. The intervals of thirds, fourths, fifths, and sixths are significant, as they 

are often used to create harmonic and melodic connections between different parts of a piece. At the beginning of 

this piece, the composer uses parallel sixth continuously, making progression smooth and convenient. By 

examining these intervallic relationships in this piece's middle ground and foreground, we can gain insight into 

the composer's use of harmony and melody in seminal work.  

The primary theme of this piece in the opening phrase used a cluster of motives and gestures based on a 

descending D major scale. These motives and gestures are then developed and expanded into longer phrases 

characterized by a rising and falling melodic contour. The terms are structured in a way that creates tension and 

release, leading to the pivotal moment of the theme. The flowing shape of the composition is simple yet effective, 

conveying a sense of stability and resolution that is characteristic of Beethoven's music. In the primary theme of 

the sonata, the descending scale motive is used as the basis for the music, while the rising and falling gestures 

create a sense of motion and development. The use of motives and gestures, combined with the melodic contour, 

creates a cohesive and unified structure characteristic of Beethoven's music. In addition to the melodic contour, 

the use of motives and gestures is another vital aspect of the melodic structure in Beethoven's music. Motives are 

short musical ideas repeated throughout a piece, while gestures are more significant musical ideas developed and 

expanded over time. In the primary theme of the sonata, the descending scale motive is used as the basis for the 

theme, while the rising and falling gestures create a sense of motion and development. The use of motives and 

gestures, combined with the melodic contour, creates a cohesive and unified structure that is characteristic of s 

music; Beethoven used the motive split to create music, the same melody in the different registers to development 

and use the same materials to repeat again and again, letting music full of tension.  

Linear progression [6] is an essential element of Schenkerian music theory, which focuses on the voice leading 

between two or more voices. It is a way of understanding how music progresses through time and relates to a 

piece’s tonality. In this piece, the linear progression of the first movement’s exposition is crucial to understanding 

its structure. The exposition starts with a presentation of the secondary chord to the dominant harmonies after the 

single tonic note, followed by the subdominant to go to the dominant and tonic. The prominent structure of the 

primary theme progresses in the vital function, emphasizing the tonality of D major, just using different chords, 

and changing the register, making the colorful melody layers.  

Melodic contour refers to the shape of a melody represented graphically. It is an essential aspect of music 

analysis because it provides insights into a piece’s structure and emotional content. In this piece’s first movement, 

the exposition part’s melodic contour is created by a falling and rising pattern.   

The use of stepwise motion and sequential repetition of harmonic and melodic patterns characterize the 

secondary theme's linear progressions. The initial phase of the secondary theme begins with a descending stepwise 

motion in the melody, accompanied by a harmonic progression that moves from the dominant to the tonic. This 

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harmonic progression is repeated sequentially, with the melody moving up and down stepwise, creating a sense 

of continuity and coherence in the musical structure.  

Using linear progressions in the secondary theme also highlights the significance of harmonic repetition and 

variation in Schenkerian analysis. The repetition of the dominant-to-tonic harmonic progression in the secondary 

theme provides a framework for the development and variation of the harmonic and melodic material in the 

subsequent sections of the composition. The linear progressions, therefore, serve as a foundation for the overall 

harmonic and structural organization of the Beethoven piano sonata no.15 in D major, emphasizing the composer's 

proficiency in form and structure in his music.   

Heinrich Schenker emphasizes the idea of fundamental structure in his theory. This theory believes that all 

structures of tonal music around a fundamental tone are the tonic note of a particular key. This graph simplifies 

the music into essential elements, highlighting the underlying harmonic and melodic structures. The fundamental 

structure is a hierarchy of musical events, with the most important events occurring at the top of the graph and 

the less critical events occurring further down.  

A piece of music's fundamental structure is used as a blueprint overview for the entire work. It provides a 

framework for understanding the relationships between different music sections and how they fit together to create 

a coherent whole.   

In the context of the Beethoven piano sonata no.15 in D major, the structure of the first part of connecting 

episode is fundamental in the connecting episode of the exposition section. This episode serves as a bridge 

between the primary and secondary themes, and its function is to modulate the key to the secondary theme. The 

fundamental structure of this episode reveals the underlying harmonic and melodic structures that allow this 

modulation to occur.  

The fundamental structure of the first part in the connecting episode in this piece, emphasis from tonic to the 

dominant and tonic, through the use of modulation in the different keys, such as A and E major, figure that begins 

on the dominant to solve to the tonic, though by looking the graphic about this passages, the majority of the 

fundamental structure is from tonic to dominant and solve to the tonic or the movement from dominant to the 

tonic. Interestingly, the same materials repeat again and again but are written in different registers; the last time, 

changing some notes and then letting the music listened to is close to the tonic in E Major, and this figure is 

repeated several times; This creates a sense of tension and release.  

4. Schenkerian Graphical Analysis   

In addition, this graph demonstrates that the Schenkerian analysis uses Beethoven's piano sonata No. 15 in D 

major's exposition part of the primary theme in Figure 1 and 2. The middle ground and foreground of this piece 

are essential elements of the piece. The middle ground refers to the intermediate level of harmonic organization 

between the structural bass and the melody. It includes the contrapuntal lines not as prominent as the melody but 

still contribute to the music's overall texture. The foreground, on the other hand, is the superior level of harmonic 

organization. It is where this graphic presents the melody and other essential musical elements to explain.  

In the exposition part of this piece's primary theme, the characteristics of the middle ground are used with 

counterpoint. The contrapuntal lines create a sense of tension and release that supports the melody. The middle 

ground also includes the harmonic progressions that connect the different phrases of the melody. In this section, 

Beethoven uses a mixture of simple and complex harmonies to create a sense of forward momentum.   

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Figure 1: Schenkerian Analysis Graphic Part I  

  
Figure 2: Schenkerian Analysis Graphic Part II  

5. Exploring the Middle Ground and Foreground: Rhythmic and Melodic Elements  

The foreground of the exposition is part of the primary theme of Beethoven's piano sonata no.15 in D major's 

characteristics by the unique and charming melody. The melody is presented in the right hand and by the left-

hand accompaniment. When playing this part, you should focus on the balance between the different parts, letting 

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the listener understand the line and layers and the basic progression of this piece. The melody is simple yet elegant, 

characterized by repetition and variation. The repetition of the melody creates a sense of familiarity, while the 

variation adds interest and complexity to the music.  

The rhythm plays a vital role in the Schenkerian music analysis. In the exposition section of Beethoven's Piano 

Sonata No. 15 in D major, the main theme displays various rhythmic characteristics, including syncopation and 

hemiola. Syncopation refers to the displacement of accents from the expected strong beats of the meter to weaker 

beats or off-beats. In this sonata, Beethoven employs syncopation in the primary theme to create a sense of tension 

and instability. By shifting the emphasis away from the expected strong beats, Beethoven creates a sense of 

rhythmic unpredictability that adds to the overall drama of the piece. In addition to syncopation, Beethoven uses 

hemiola as the exposition's main theme. Hemiola is a rhythmic device that juxtaposes two different rhythmic 

groupings. In this sonata, Beethoven uses hemiola to create a sense of rhythmic tension and contrast. Specifically, 

he alternates between groupings of three and two beats, creating a sense of rhythmic instability and asymmetry. 

This rhythmic contrast helps to emphasize the melodic and harmonic aspects of the theme, highlighting the tension 

between stability and instability that characterizes the piece.   

6. Conclusion  

In conclusion, Schenkerian analysis provides a valuable tool for understanding the intricate workings of 

Beethoven's Piano Sonata No.15 in D major. Closely examining the piece's exposition section has identified 

critical structural elements such as the primary and secondary themes and their associated harmonies and voice 

leading.  

Furthermore, Schenkerian analysis has allowed us to delve deeper into the piece's underlying tonal structure, 

revealing the intricate interplay between different levels of harmonic organization. By examining the relationships 

between individual pitches and their function within larger harmonic structures, we have gained a more nuanced 

understanding of Beethoven's compositional technique and the expressive qualities of the music.  

Ultimately, applying Schenkerian analysis to Beethoven's Piano Sonata No.15 has shed new light on the piece 

and the broader field of music theory and analysis. As we explore the intricacies of tonal organization and the 

insights gained through this analysis will prove invaluable for future generations of scholars and performers.  

References  

Beach, David. “Schenkerian Theory”, Music Theory Spectrum Vol. 11 no. 1 (1989):3-14. https:// 

www.jstor.org/stable/745943.  

Brown, Matthew. Explaining Tonality: Schenkerian Theory and Beyond. Rochester, Ny, University of Rochester 

Press, 2006.  

Forte, Allean and Gilbert, Steven. Introduction to Schenkerian Analysis. New York: Norton, 1982. [4] Pankhurst, 

Tom. Schenker Guide: A Brief Handbook and Website for Schenkerian Analysis. New York and London: 

Routledge, 2008.  

Schenker, Heinrich, et al. The Masterwork in Music: Volume I, 1925. New York: Dover Publications, INC, 2014.   

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