Analysis of Beethoven's Op.

53 (Waldstein)
by José Rodríguez Alvira

Daniel Vessey, piano. Recording courtesy of MusOpen. Listen to the complete work.
You can obtain the score at the Petrucci Music Library.
The Waldstein Sonata in Wikipedia.

Symbols used in the analysis

Keys are show in yellow using letters. The letter alone indicates
a major key, if followed by an m, a minor key. In the example we
show the C major, B flat major and A minor keys.
Roman numerals in lowercase correspond to degrees with minor
triads
Degrees with diminished triads

Triads in first inversion

Triads in second inversion

Sevent chords in root position

Seventh chord in first inversion

Seventh chord in second inversion

Seventh chord in third inversion

Dominanth ninth chord

Minor dominanth ninth chord

Dominant ninth chord in first inversion

Secondary dominant and diminished sevent chords

Neapolitan sixth chord

Italian augmented chord

German augmented chord

A first degree seventh chord in first inversion with an augmented

fifth
 Diminished sevent chord with a common note to the dominant
chord to which it resolves. This chord has no standard name in
traditional harmony and theorist rarely talk about it although it is
very common. Walter Piston calls it a II degree seventh chord
with raised root and third.

Example from the Sonata:

Daniel Vessey, piano. Recording courtesy of MusOpen. Listen to the complete work.
You can obtain the score at the Petrucci Music Library.
The Waldstein Sonata in Wikipedia.

Symbols used in the analysis

Keys are show in yellow using letters. The letter alone indicates
a major key, if followed by an m, a minor key. In the example we
show the C major, B flat major and A minor keys.
Roman numerals in lowercase correspond to degrees with minor
triads
Degrees with diminished triads

Triads in first inversion

Triads in second inversion

Sevent chords in root position

Seventh chord in first inversion

Seventh chord in second inversion

Seventh chord in third inversion

Dominanth ninth chord

Minor dominanth ninth chord

Dominant ninth chord in first inversion

Secondary dominant and diminished sevent chords

Neapolitan sixth chord

Italian augmented chord

German augmented chord

A first degree seventh chord in first inversion with an augmented

fifth
Diminished sevent chord with a common note to the dominant
chord to which it resolves. This chord has no standard name in
traditional harmony and theorist rarely talk about it although it is
very common. Walter Piston calls it a II degree seventh chord
with raised root and third.

Example from the Sonata: