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Stylistic comparison between Beethoven and Ravel by selected work

These two composers from a different era (1770-1827 Beethoven, 1875-1937 Ravel) are known
as masters of their own musical style. The selected music of two composers, Beethoven’s ‘Pathe-
tique’ (1st movement) and Ravel’s String quartet (1st movement) and ‘Ondine’, which sound non-
identical from each other will be looked into in detail to compare their compositional styles. This
paper is of course just a rst step in learning their styles, and needs to be deepened by additional
analysis of works in the future. In this paper, I concentrate on form and tonality, harmonic and
melodic content.

form & tonalit

The form of the rst movement of !Pathetique" correspond the trajectory. (see the form overview
ex.2 on the page.2) Although the piece is written in C minor and the modulations occur in the dia-
tonic key ranges, special, unique elements are found in the composition.
- an innovative use of slow introduction before the development and before the last coda which
can be seen as restarts replacing the primary theme and the transition.
- the transition of the exposition ends with dominant chord of the next section (theme2) which be-
gins with the minor III key instead of customary parallel major III
- In theme2 of the recapitulation, the tonality moves to the related subdominant key and it comes
back to the tonic through cycle of 5th. However, the essential expositional closure (The EEC)2
and essential structural closure (The ESC)3 appear solidly. (see ex.3)

Ex.1 The entire structure: the Essential Sonata Trajectory (to the ESC

1 J.Hepokoski, Elements of sonata theory (Oxford university press 2006), p.17 ( gure2.1 th
generic layout of sonata form
2 J.Hepokoski, Elements of sonata theory (Oxford university press 2006), p.1
3 J.Hepokoski, Elements of sonata theory (Oxford university press 2006), p.20$
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Ex2. Form of rst movement of !Pathetique"

Form Section Measure Tonality

Introduction 1 - 10 Cm

Exposition Theme1 11- 34 Cm

Transition 35 - 50 (G-Ab-Bb)

Theme2 51- 112 (Ebm) - Eb

Closing 113 - 132 Eb

Development 133-167 (Gm) - Em - (Gm - Fm)

167 - 194 Cm

Recapitulation Theme1 195 - 206 Cm -

Transition 207 - 220 (Db - Ebm -Fm)

Theme2 221-276 Fm - Cm

Closing 277 - 298 Cm

Coda 299 - 310 Cm

Ex.3 EEC (m.120-121) and ESC (m.284-285) of 1st movement of !Pathetique"

Eb: V. I Cm: V I

Whereas Beethoven"s rst movement of !Pathetique"#modulates mostly in the diatonic key range,
two of Ravel"s works exhibit combination of modal shift and tonal modulation. (A difference be-
tween modulation and shift: a modulation is a harmonic progression that leads from one key to an-
other. These keys need to be established, and in the preparation, the actual modulation we see the
moment that one key goes into the other. A shift is moving to another scale or mode without any
preparation or con rmation.) The appearances of the essential sonata trajectories seems to corre-
spond to a degree of the deformation and modality when the form and tonality of Ravel’s work are
examined.

The rst movement of Ravel’s string quartet is in F. If we look at the form a macro level, we see
traditional tonal relations, for example, in the exposition: 1st theme in F and 2nd theme in Dm. But
on a micro level, there are modal or chromatic shifts and zooming further in modal harmonic em-
bellishments that can be seen as typical features of Ravel’s style. I will discuss this later. (see ex.4
on the page.3
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- modal shift appear through sequences of the melody (see ex.5
- modal shift through the descending whole-tone of the lowest voice in the closing section of the
exposition (m.69-83) and similar modulations in the coda of recapitulation (m.197-207) with the
melodic sequences in the whole-tone descends to F as a nal harmony

Ex.4 Form of rst movement of Ravel’s string quarte

Form Section Measure Tonality / Chord center

Exposition Theme1 1 - 23 F

Transition 24 - 54 F - (Am - Em) - Dm

Theme2 55 - 68 Dm

Closing 69 - 83 (Bb - Ab - Gb - E)

Development 84 - 128 (Dm - Ab - F#)

Recapitualtion Theme1 129 - 150 F

Transition 151- 182 F - (Abm - Ebm - Gb) - F

Theme2 183 - 190 F

Closing 191 - 197 F

Coda 198 - 212 (C# - B - A - G) - F

Ex.5 (m.4-5) of rst movement of Ravel’s string quartet

Modal shift from F to Ab (or Eb mixo-lydian)

The form of the rst movement of Ravel"s string quartet seems to correspond the essential sonata
trajectory. However, as mentioned before, the quartet’s tonal language is coloured by modal con-
cepts. As a result, the EEC and the ESC do not appear with functional harmonic progression as
well as the most of other sections

Ex.6 EEC (m.66-69) of 1st movement of !Ravel"s string quartet

Dm: iv7 i9

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Ex.7 ESC (m.195-197) of 1st movement of !Ravel"s string quartet

F: V7 (whole-tone chord)

As it is seen in ex6, one could say that there is a plagal cadence (m.66-68) and a modal shift is
followed in bar 69 to the closing section. However, the tonic chord in the bar 67 has added major
9th as a n extra colour which makes the cadence imperfect. A similar ambiguous progression oc-
curs in ex7 through a secondary dominant chord in m196 and the whole-tone chord in the next bar.
Despite of the unclear harmonic progressions, the structure of the piece suggests those parts as
both EEC and ESC. Whether these parts should be called EEC and ESC is still open to debate

‘Ondine’ presents a similar approach: tonal in macro, modal in micro level.(See the ex.8) The
ambiguity of the tonality is caused by embellishments of the melody and harmony. (That will be
discussed in the next chapter) Still traditional aspects are found with modal modi cations marking
structural points

Ex.8 Form of ‘Ondine

Form Section Measure Tonality / Chord center

Exposition Theme1 1 - 22 C#

Transition 23 - 29 C#

Theme2 31 - 41 G#

Development 42 - 65 D# - (C-A-C#-Bb-G#-F#-Em-F#)

66-79 (Bm - C - F#)

Recapitulation Theme1 80 - 87 G# - (Dm)

Closing / Coda 88 -91 (D#) - C#

- The key of the theme2 is the dominant (G#) of the tonic key (C#) (m.32-36) as it is in a tradition-
al sonata form in major mode. However, there is no tonal cadential progression that prepares the
second theme. Instead we see a B7/b9 moving into G#m which becomes G# after. The new ton-
ic chord has, as in bar1, an added b13 note. (G#(9,b13)) (see ex9. on the page.5)
.

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Ex.9

C#: (B7 modal chord) G#: I9(b13)

The recapitulation is harmonically approached in a more traditional way

- Ex.10 to the recapitulation (m.79-80

F#: (D#7 modal chord) G#: I9(13)

The development part has a lot of modal shifts. Not like traditional sonata form, a new theme of the
development doesn’t appear in the submediant key or minor mode key (m.45). However, the ap-
pearance of the theme in the minor mode (ex.11) seems to create a corresponding effect.

Ex.11

In ‘Ondine’, EEC, ESC are harmonically much more ambiguous, they are noticeable only by the
structure. Same as the cases of the string quartet in forth, calling these two parts (see ex.12 and
13) ECC and ESC is suspect
.

ex.12 EEC (m.41)

G#: F#9 F#9(b9) both as modal chords

D#: I(b13)

ex.13 ESC (m.88

D#: C/Eb7 Bb/Bdim G/Bdim F/F#dim

C/Edim Bb/Bdim G/Bdim F/F#dim. …………. as modal chords

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Harmonic and melodic contents

In this chapter, the focus will be on harmonic and melodic content. In most cases of melodic
analysis, harmonic factors are inseparably related and vice versa.

I start with the primary theme zone. The small ternaries5 of each primary theme zone indicate the
degree of tonal and modal harmonic use suggesting harmonic structure of whole pieces. (brackets
= modal (non-functional) harmony

ex.14 rst movement of !Pathetique"

Cm:I I I I I V34 I6 IIdim6 I64 #IV65 VII7/V V7

a
i I I I I V34 I6 IIdim6 I64 #IV65 VII7/V

b
V I64 V7 I64 #IV34 V I64 V7 I64 #IV34

ex.15 rst movement of string quartet of Rave

F:I (

) V7

a
I ( )

5 William E. Caplin, Classical form (New York: Oxford university press 1998), p1
A third fundamental theme-type, the small ternary, embraces a new set of formal functions. Tw
basic notions lie at the heart of this three-part design: (1) a relatively closed thematic unit is juxta-
posed with a structurally open unit of contrasting content and formal organisation, and (2) th
original unit is brought back, but in a manner that ensures complete closure of the theme
This formal scheme is traditionally indicated in letter notation as A-B-A', and for convenience we
can continue to use this nomenclature for the small ternary form. Such letter designations, howev-
er, are preferably supplemented by descriptive labels that specify more precisely the formal func-
tion of the three sections. Thus, the initial section is termed an exposition; the later return of that
section, a recapitulation; and the section that stands between these two, a contrasting middle
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ex.16 ’Ondine

C#:I9(b13) I9(b13) I9(b13) V65/II V65/II V65/II

a
II ( ) II ( ) IV(m.m) ( ) ( ) IV(m.m)

I9(b13) I9(b13) ( )

Whereas the small ternary of ‘pathetique’ has a complete tonal structure (see ex.14 on the
page.7), the two Ravel’s small ternaries present each a varied tonal/modal harmonic structure. In
the string quartet, (see ex.15 on the page.7) the chord progression shows its non-functional as-
pects such as absence of preparation and resolving of 7th and 9th. (ex.17) Those harmonic treat-
ment leads the entire piece

ex.17. (m.1-2) of the string quartet

Comparable harmonic case in ‘Ondine’ seems more functional than the harmonic case of the string
quartet when we look only the basic chords. (ex.16) However, by adding modal coloration with 7th
and 9th, the tonal progression becomes obscured.

ex.18 undermining of the rst degree by added 7th, 9th and b13 notes in (m.3) of ‘Ondine
a

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The obscure harmonic use causes a dual interpretation. Acknowledging the modality of the piece,
ex.19 can be interpreted not only as a modulation or shift to Ab but also as Eb mixo-lydian. The
proportion (the length of the sentences) and the context of the parts in the front ( 4 bars of modal
progression in F, bar 1-4) and the rear (8 bars of chord progression of G octatonic, bar 9-16 should
be considered for a conclusion but it still seems to contain a duality

ex.19 (m.5-8) of the string quarte

(Ab key or Eb mixo-lydian?)

To understand the harmony of Ravel, we have to observe it in both a vertical and horizontal way.
To a seemingly unrelated chord progression, a certain pitch collection could be tied to the chords.
The chords in ex.20: G7-Bb7-D7b5 can be linked to a G octatonic scale. The notes that fall outside
this scale can be seen as incidental modal colourings of the chord: for example, the ‘A’ on the 1st
and 2nd beat of violin1 and violin2 is the 9th in the G7 chord.

ex.20 (m.9-10) of the string quarte

As examples of horizontal combination of scales and modes that add colour to the harmony. (See
ex.21) Here we see G7-Bb7-D7b5 linked to a G octatonic scale while the main melody on violin1
and 2 has melody in F. Combine modes (Eb mixo-lydian and phrygian) are used for the similar
purpose. (see ex.22 on the page 10). Poly modality presents itself as vertical combinations. (F and
F# in ex.23 on the page.10
)

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ex.21 (m.9-10) the string quartet ex.22 (m.155) the string quartet

ex.23 (m.119) the string quarte

The way of utilising cadence in the pieces by the two composers are contrasting mostly due to
varied level of tonality and modality
Signi cant cadential characteristics in the rst movement of !Pathetique"#are the cadences that
overlap the structure. (on the rst beats of each second bar in ex.23

ex.23 (m.26-27 / m.88-89 / m.112-113) of !Pathetique"#

Cm : vii7/V V Eb: V I Eb: V7 I

Ravel employs various cadential treatments combining tonal and modal concepts. The basic
chords of cadences seem functional. Yet, modi cations such as modalities, chromaticism (ex.24)
or ninths (ex.25) or added notes like sevenths and ninths (ex.25) adds colour to the cadences
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ex.24 (m21-24) of Ravel"s string quartet

F: V/V V

ex.25 (m7-8 / 79-80) of ‘Ondine’

C#: V/II II

G#: V

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As well as the harmony, the melody treatment of the two composer’s is distinct. The threat of utilis-
ing thematic melody will be looked into in the following pages.

In the rst movement of !Pathetique", the minor 2nd interval in the introduction is the
most strong motivic element of the piece. The descending minor 2nd on the upper melody make
contrary / parallel movement with 2nd on the bass voices. Harmonic progression directs to resolu-
tion alongside the minor 2nd on the melody. (ex.26

ex.26 (m.1 / 75-76) of !Pathetique"

Cm: viidim7/V V Db: I viidim/IV

Ebm: iidim V7

The minor 2nd progressions in the melody, on the accompanying pedal tone (ex.27) or on the stat-
ic harmony (ex.28) as well appear resolving the dissonanc

ex.27 (m.11-12 / 35-36) of#!Pathetique"

ex.28 (m.140-141 / 54-57) of#!Pathetique"#

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Treatment of dissonance must be the most obvious discrepancy between the two composers.
Whereas Beethoven treats dissonance as an object to be resolved, Ravel’s dissonances are utilise
as added colour.
Moreover, the dissonance often lays on the centre of the melody being embellished. The three
cases in the ex.29 show that the 9th as the centre of the melody and they are either not prepared
or resolved as well as 7th note

ex.29 (m.2-3 / 32) of ‘Ondine’, (m.63-64) of the string quartet

C#: I9(b13)

G#: I9(b13)

Dm: I9(b13)

Repeated use of the theme melody occurs in more obvious level in Ravel’s pieces. In ex.30, the
diminution of the main theme appear in the second theme lled with passing notes
The melody is transposed to a new key and the degrees of the dissonant notes are retained

ex.30 (m.2-3 / 32-33) of !Ondine"$

C#: I9(b13)

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G#: I9(b13)

Similar case appears in ex.32 from the string quartet, but with the different degree of harmony.
Thus, the degree of the melody is changed. (9th note in Dm becomes 7th note in Bb

ex.32 (m.55-56 / 69-71)

Dm: I

Bb: I

On the other hand, theme melody is repeated without transposition. Rhythmic variation or reorgan-
isation of pitch collection vary the theme. For example, Both of second bar in ex.33 present reor-
ganised almost same pitch collections

ex.33 (m.1-2 / 24-25) of the string quartet

(A-G-A-E-(D) / A-F-(C)-E-D

(A-G-A-E / E-F-A-D

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Smaller unit of the theme is used repeatedly without transposition combining with various harmony
as it shown in ex.3

ex.34 (m.1 / 46 / 119) of the string quartet

Conclusion

The two composers studied in this analytical paper formulate their music with different degrees
of using traditional and non-traditional factors which is much connected with use of tonality and
modality
Whereas tonality is a key of Beethoven’s ‘Pathetique’ (1st movement)’, Ravel use tonality on a
macro level and modality on a micro level both in his string quartet (1st movement) and ‘Ondine’
and this combined use of tonal and modal strategies can be seen as typical features of Ravel’s
style, especially modal embellishment in melody and harmony, Ravel’s tonal harmonic use
seems to function as a marking point that indicates the core of structure.
The three works of Beethoven and Ravel seemed to satisfy the essential sonata trajectory, as
analysis progresses, Ravel’s works reveals much ambiguous EEC and ESC. Compared with
‘Pathetique’s’ (1st movement) clear appearance of EEC and ESC, Ravel’s String quartet (1st
movement) and ‘Ondine’ exhibit the ambiguous EEC and ESC due to absence of functional
harmonic progression. Thus, whether these parts should be called EEC and ESC is still open to
debate. The appearances of the essential sonata trajectory seem correspond to a degree of the
deformation and modality when the three work are compared
In contrast with Beethoven’s tonal harmony in ‘Pathetique’ (1st movement), In Ravel’s String
quartet (1st movement) and ‘Ondine’, there are more various ways of harmonic use. Besides
neutralising the function of tonal harmony by adding modality, poly modality, combining different
scales or modes; modal elements are also used to embellish Ravel’s harmony.
One of the signi cant discrepancies between the two composers can be treatment of disso-
nance. Whereas Beethoven treats dissonant notes as an object to be solved, Ravel’s dissonant
notes does not require any solution (Emancipation of dissonance) and they often becomes the
centre of melody.

Comparing styles of two composers from a different era could be an obvious task to other stu-
dents. Yet, since this study has been my rst step in learning compositional styles of Beethoven
and Ravel alongside basic knowledge of classical music such as sonata form, writing this paper
was a beginning of my study process which will be continued

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