Society for Music Theory

A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op.
59, No. 1
Author(s): Dave Headlam
Source: Music Theory Spectrum, Vol. 7, Time and Rhythm in Music (Spring, 1985), pp.
114-138
Published by: Oxford University Press on behalf of the Society for Music Theory
Stable URL: https://www.jstor.org/stable/745883
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 A Rhythmic Study of the Exposition in the Second
Movement of Beethoven's Quartet Op. 59, No. 1

Dave Headlam

The second movement of Beethoven's Quartet op. 59, no. 1In discussing rhythm in tonal music in the context of the the-
opens with the extremely characteristic rhythm of mm. ories 1-4 of Heinrich Schenker, Carl Schachter has made a useful
(Ex. 1). This rhythm, which I will call the "principal rhythm,"
distinction between tonal rhythm and durational rhythm
recurs throughout the movement and has a strong influence on rhythm derives from the articulations of tonal structure
Tonal
both local and higher-level rhythmic organization. The follow-
and durational rhythm derives from patterns of stress and dura-
ing study demonstrates how the large-scale rhythmic organiza-
tion that produce pulse and meter.2 The interaction of these
tion of the exposition (mm. 1-148) may be traced back to two the creates the rhythmic life of a piece of tonal music.
principal rhythm. In the course of this study I will use terms and
An important category within durational rhythm is metric
ideas from William Rothstein's dissertation, "Rhythm and organization,
the characterized by periodicity and repetition. A
Theory of Structural Levels," and from Carl Schachter's two
meter may be organized not only into measures, with interna
articles on "Rhythm and Linear Analysis" published in periodic
The beats (as indicated in the meter [or time] signature),
Music Forum.' but also into hypermeasures-metric units of more than one
measure, with internal periodic measures. For instance, the
Example 1. The principal rhythm, mm. 1-4 principal rhythm forms a four-measure hypermeasure (Ex. 1).
Since a hypermeasure is a metric unit, it needs to be confirmed
Allegretto viv.cc c sclimpre sclirzaindo by repetition; the meter resulting from the periodicity of re
peated hypermeasures is the hypermeter.3 Obvious examples
of hypermeter occur in many of Beethoven's scherzos, where
four measures group into a hypermeasure, forming a hyperme
ter of four-measure hypermeasures.
'William Rothstein, "Rhythm and the Theory of Structural Levels" (Ph.D.
diss., Yale University, 1981); and Carl Schachter, "Rhythm and Linear Analy-
sis: A Preliminary Study," The Music Forum 4 (1976):281-334, and "Rhythm 2See Schachter, "A Preliminary Study," pp. 313-16.
and Linear Analysis: Durational Reduction," The Music Forum 5 (1980): 197- 3If there is no repetition of the hypermeasure, a meter is not established,
232. I would like to thank William Rothstein and Howard Cinnamon for their and the unit is referred to as a measure group, rather than a hypermeasure. See
helpful discussion of the ideas in this article. Rothstein, "Structural Levels," p. 60.

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 115
Tonal rhythm interacts with metric organization in specific
ways. A phrase is both a tonal unit and a rhythmic unit; with a
prevailing metric organization, the rhythmic unit may also be a
metric unit of one hypermeasure or a combination of hyper-
measures. For instance, in the opening of the Op. 59, no. 1 sec-
ond movement (mm. 1-8) an eight-measure phrase com-
prises two four-measure hypermeasures. However, the tonal
rhythm may also conflict with the hypermeter. A hyper-
measure may be altered by the action of tonal rhythm: a tonal
prolongation may be accommodated by a rhythmic expansion,
or a tonal compression by a rhythmic contraction. The altera-
tion to the hypermeasure may be discernible by comparison
with either a metric prototype, or a metric paradigm.4
A metric prototype is an unaltered version, or closely-
related unaltered version, of the altered hypermeasure. It may
occur anywhere prior to the altered hypermeasure, and is not
dependent on the hypermeter. A metric paradigm is a hyper-
measure unit in the prevailing hypermeter that immediately
precedes the altered hypermeasure. With one or both of these
two models for hypermeasures, it may be possible to determine
the nature of the alteration, and to "reduce" the altered hyper-
measure to the model length on a "rhythmic middleground."
Where this is consistently possible, a middleground hyperme-
ter may emerge from an irregular foreground. An example of
an easily discernible alteration is the elision, or omission, of the
last measure of a hypermeasure and replacement by the first
measure of the following hypermeasure. The two hyper-
measures may have appeared earlier without the elision in a
metric prototype, or the immediately preceding hypermeasure,
a metric paradigm, may be invoked. Thus, on the middle-
ground, the first hypermeasure may be completed by restoring
4The term metric prototype is from Heinrich Schenker, Free Composition,
trans. and ed. Ernst Oster (New York: Longman, 1979), sec. 297, p. 124. A
metric paradigm is similar to Rothstein's "purely metric prototype." See Roth-
stein, "Structural Levels," pp. 152-53.
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the elided measure. The rhythmic interest here results from the
interaction of the surface alteration with the middleground nor-
mal hypermeasure length, based on a metric prototype or para-
digm. In the situation where the alteration is not reducible to a
metric prototype or paradigm, either the rhythmic organization
ceases to be metric at that level, or there is a temporary break
or realignment in the metric organization.
Rhythmic alterations usually take the form of expansions, to
accommodate prolongations of tonal events. In one category of
expansion, outlined above, the hypermeter is distorted on the
foreground but the alterations may be reduced out on a higher
level in the rhythmic middleground. In another category, how-
ever, the foreground hypermeter may be maintained, but the
expansion accommodates a prolongation of tonal events on a
lower structural level than surrounding events. In a coordina-
tion of pitch-structural with rhythmic levels, the hyper-
measures supporting the lower-level tonal prolongations are
correspondingly on a lower structural level than hyper-
measures supporting higher-level tonal prolongations.
Thereby, from the two categories above, where hypermeasures
are either altered or maintained, there arises a structural order
of hypermeasures, enabling one to speak of levels of rhythmic
organization.5
The various rhythmic levels can be illustrated in a rhythmic
reduction, which corresponds somewhat to a pitch-structural
reduction. In Example 2 the three levels, moving from (c) to
(a), show successively higher levels of rhythmic organization.
This rhythmic reduction is in the rhythmic middleground, with
surface alterations (such as elisions) reduced to the units estab-
lished by prototypes and paradigms (in some cases less convinc-
ingly than in others, as will be discussed).6 Durational reduc-
5The term and concept of rhythmic "structural order" is taken from Roth-
stein, "Structural Levels," pp. 150-80 (chap. 7).
61 would like to stress that the rhythmic interest of the piece stems from the
interaction of the surface "deviations" with the rhythmic middleground.
116 Music Theory Spectrum

Example 2. Rhythmic reduction of the exposition

First area: I
antecedent

3 2
An 1 T- I 18

4 3
(a)
4

I V

consequent I transition
3 A

7 1 DS4 i29 Lt o 622 68

(b) 4
4

I III III V I

false consequent expansion: III ext.

29-30
I1

ib r . i 5' 17 2583 - 39 1 68 71

(c)
4 '2 4 2
4 n n4 j 4: 4 1 4
7. V r v I -2+ t. I L t
I
IV V I 7 1 '
IV V I 116 V I I V I WII VI
III III I
(V)
(V) V

underline as in 29-30 indicates elision

broken bar line : indicates an overlapping phrase

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 117

Example 2 continued modulating

consequent
(consequent 3) transition

3 2

:1T - - - I 108 1 112 r 114

3 3 32r
f
I v/II III I V/V

consequent 2 transition
A A A
3 3 3

72 79 91 99 11

I V#/Ill III III V I

expansion
ext. expansion V/ - III expanson

79 83 9192, 99 112 T_

r L
2 4 2

*/ . * r^SSf3,
44 3

v# vt v /v
III III

continued

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118 Music Theory Spectrum

Example 2 continued

Second area: Vb

2
A . 11T 1, , - 128 '1-' T 11< 148

(a) 4 3 6 2 3
4 3_ 4 4 3

vb vb ^v v/ v, v/

repetition
b a
A

136 1451

(b) 6 2

49:bb^ r J

ext. V/VW
2

I22
ft 1 128 6: 1131 141 T 144

(c)

v/vi
vlv v/vb
v/v

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 119

tion is also incorporated: a measure of music is reduced to an If level (a) is compared with the lower level of rhythmic or-
eighth note in Example 2. Thus, a measure of 4 in the example ganization shown as (b) in Example 2, it can be seen that the
represents eight measures of music. The inward stems in the ex- span of mm. 9-100 contains two additional modulating conse-
ample indicate durational values, while the outward stems indi- quent phrases (labelled consequents 1 and 2), each of which ca-
cate pitch-structural significance. It is important to note that dences on III and is followed by a transition from III-V-I, for
Example 2 contains a rhythmic reduction, showing mainly a total of three consequent phrases to the initial antecedent
phrase lengths; the interaction of phrases and hypermeasures is phrase. Furthermore, mm. 136-48 constitute a common type
illustrated in Table 1. of rhythmic expansion, that by varied repetition, of the final
The highest level of rhythmic organization in this exposition"ba" section of the second area. The remaining spans of music
is shown in level (a). The exposition can be divided into two appear in the next lower rhythmic level shown as (c) in Exam-
harmonic areas. The first area, I (mm. 1-114), is based on an ple 2. These passages comprise rhythmic expansions of essen-
interrupted period structure.7 It begins with an eight-measuretially two types: the first is motivated by the introduction and
antecedent phrase that moves from I to a dividing V (mm. 1-subsequent raising of a flatted third in a dominant chord. In
8); this is followed by a modulating consequent phrase, whichmm. 128-31 V'-t/V is prolonged, and in mm. 9-28 Vb3 is
reestablishes I (and 3) but moves to III (mm. 101-8), and a presented in the context of a "false consequent," which leads
transition leading from III to V/V (mm. 108-14). The second back to I and raises the third of the dominant, V, in the process.
area, VW (mm. 115-48), contains a three-phrase rounded bi- The second type of rhythmic expansion occurs after conse-
nary "alba" form, with tonal structure Vb (mm. 115-22)-V'- quents 1 and 2, within tonal prolongations of III and V/III
V/V (mm. 123-31)-V' (mm. 132-35). There are several ad-(mm. 39-61 and 79-99). The first type of expansion, the flatted
ditional observations to be made here: first, there is a large third in a dominant chord, is obviously a main harmonic issue in
span, mm. 9-100, in an unusual position in the first area-the movement: the second area of the exposition is V'. How-
between the antecedent and the consequent-unaccounted for ever, the motivation for the rhythmic expansions within the
in this level. Second, mm. 128-31 and 136-48 in the second tonal prolongations of III and V/III, and the three conse-
area are also unaccounted for here. Third, the key of the sec-quents, springs from the principal rhythm itself.
ond area, Vb, is unusual for a major-key sonata exposition by
Beethoven.8

387), a transition to the coda (mm. 387-419), and the coda (mm. 420-76).
7An interrupted period is defined here as comprising two paired phrases (or There are, however, differing opinions on this movement. Another view of the
phrase groups) with a half cadence supporting 2 at the end of the first phrase form is: scherzo 1 (mm. 1-114), trio 1 (mm. 115-54), development (mm. 155-
(the antecedent) and, after a reestablishment of the initial melodic tone, an 238), scherzo 2 (mm. 239-354), trio 2 (mm. 355-93), coda or scherzo 3 (mm.
authentic cadence at the end of the second phrase (the consequent). Where the 394-476). Here, the movement can be divided into balancing halves: mm. 1-
second phrase cadences in a key other than the key of the antecedent, it is 238 (238 measures) and 239-476 (237 measures). I find this view untenable, in
called a modulating consequent. part, due to the pronounced arrivals of I in mm. 265 and 420 that are considered
8From the discussion above it is apparent that I consider mm. 1-148 to con- to be part of a process already begun. See Joseph Kerman, The Beethoven
stitute an exposition of a sonata form. The remainder of the movement consists Quartets (New York: Knopf, 1971), pp. 103-9; and Erwin Ratz, Einfuhrung in
of a transition to the development (mm. 148-54), the development (mm. 155- die musikalische Formenlehre (Vienna: Osterreichischer Bundesverlag, 1951),
238), a false return leading to V (mm. 239-64), the recapitulation (mm. 265- pp. 167-83.

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120 Music Theory Spectrum

Table 1. Hypermeasure groupings on the rhythmic middleground

Note: * indicates an internal expansion of a lower order

- indicates an elision

[ ] indicates a lower-order hypermeasure within an expansion

( ) indicates the downbeat of the overlap of an overlapping phrase
{ } indicates a measure joining interlocking hypermeasures
ant. = antecedent, cons. = consequent, exp. = expansion,
ext. = extension, hpmr. = hypermeasure, trans. = transition
ant. I-V exp. V -.....
false cons. ------ - return to I ---
mm. 1-8 9-16 23-29-30
phrase 8mm. 8 mm. 8 mm.
mm. 1-4 5-8 9-12 13-16 17*22 23-26 27-29-30
hpmr. 4 mm. 4 mm. 4mm. 4mm. 4 4mm. 4mm. 4mm.

cons. 1 I-V/III-III expansion of III----------------------------------

mm. 29*38 (39) 39-42 (43) 47-54
phrase 8 mm. 4mm. 8mm.
mm. 29*34 35-38 [43-46] 47-50 51-{54}
hpmr. 4 mm. 4 mm. 4mm. 4mm. 4mm.

trans. to I--------------------- ext. --------------------------- cons. 2 I-V/III

mm. 62{-}68 72-79
phrase 8 mm. 8 mm.
mm. [{54}-57] [58-61] 62-465} {65H68} [{68}-71] 72-75 76-{79}
hpmr. 4 mm. 4 mm. 4mm. 4mm. 4mm. 4mm. 4mm.

ext. --------------------------- exp. V/III- III exp. III ------- ------------- trans.
mm. 83-90 (91) {99}-101
phrase 8 mm. 4mm.
mm. [{791-82] 83-86 87-90 92-{95} {95}-{99}
hpmr. 4 mm. 4 mm. 4 mm. 4 mm. 4 mm.

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 121

cons. 3 I-V/III transition V/V---------

mm. 101-108 108-111 (112)
phrase 8 mm. 4mm.
mm. 101-104 105-108 [112-115]
hpmr. 4 mm. 4 mm. 4 mm.

"a" V ------------------------ "b" V-V/V exp. Vb- /Vb "a" Vb

mm. 115-122 123-{128} 132-135

phrase 8 mm. 6 mm. 4 mm.

mm. 115-118 119-122 [{128-131]
hpmr. 4mm. 4mm. 4 mm.

The characteristics of the principal rhythm (Ex. 3)principal

Like the have rhythm itself, the consequent phrase takes
been discussed by Carl Schachter in the first of histhree
rhythm arti- in Ex. 2 by the designations consequent 1,
tries (indicated
cles: consequent 2, and consequent 3) before it finally breaks
through to its goal, here V/V, in the transition following conse-
. .the eighth-notes [in bars 1 and 2 of the principal rhythm] block the
development of a forward momentum; the first threequent notes, 3 (Ex. 2a, mm. 108-14). The first two consequent
there-
fore, move away from the preceding strong beat rather phrases
thanmodulate
towardto III, and "get stuck" in lengthy rhythmic ex-
pansions
the next one. In the third bar, the steady sixteenth-notes createwithin prolongations of V/III and III; in the course of
a con-
these expansions,
tinuous motion from one downbeat to the next. At first they move rhythmic groupings and conflicts not clearly
away from the preceding downbeat; the absence of a relatable
longertonote
metrical-prototypes or paradigms contribute to the
lows the development of a momentum forwards, toward the of
obliteration next
the forward motion. These expansions are
one.9
thereby analogous to the eighth notes in the first two measures
of the principal rhythm that "block the development of a for-
Example 3. Schachter's analysis of the principal rhythm, mm.The third consequent follows the pattern of
ward momentum."
1-410 the first two consequents by modulating to III, analogous to the
All-ereCtto iacc c scmpllrc. sic/llanldo
principal rhythm where there are two initial sixteenths in the
6 bb " n_n__. third measure, following the pattern of the first two measures.
However, in the last measure of the third consequent (m. 108),
there is an alteration (the C# in the bass, as will be discussed)
9"A Preliminary Study," pp. 315-16. that initiates the transition to V/V, analogous to the principal
10"A Preliminary Study," p. 316, Ex. 13b. rhythm where the third and subsequent durations of the third

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122 Music Theory Spectrum
measure are sixteenths, not eighths as previously, enabling the
rhythm to gain the momentum to propel itself forward into the
fourth measure. Thus the higher-level rhythmic organization of
the first key area is a large-scale reflection of the structure of the
principal rhythm.
In the expansions motivated by the flatted-third dominants
(hereafter V' - ), the metric prototypes are clearer; these ex-
pansions are not part of the forward momentum of the conse-
quents and the issue is essentially harmonic within a dominant
chord. These expansions, as mentioned, reflect the larger V' of
the second key area.
A comparison of the rhythmic and durational reduction in
Example 2 and the middleground voice-leading graphs shown
in Example 4 reveals the interaction of rhythmic and pitch-
structural levels. The furthest middleground (a) consists of I-
V/V-V', defining the two harmonic areas. The next pitch level
(b) defines the tonal motion of the antecedent, the three conse-
quents and the following transitions, and the "alba" sections in
the second area. Finally, the next level (c) adds the expansions
within the prolongations of III and V/III, and the expansions
within Vb - .
The initial measures of the exposition establish the hyperme-
ter and two important metric prototypes at the outset (Table 1).
The principal rhythm of mm. 1-4 groups solidly into a single
four-measure unit that, when confirmed by repetition in mm.
5-8, establishes the hypermeter of four-measure hyper-
measures. This statement of the principal rhythm serves as the
metric prototype for many altered statements throughout the
exposition (and the rest of the movement). The principal
rhythm is then joined to the following four-measure melody by
the upbeat figure in m. 4; mm. 1-8 thus complete an eight-
measure phrase (Ex. 5a). This eight-measure unit, comprising
two four-measure hypermeasures, is repeated in mm. 9-16 and
is thereby confirmed as the metric prototype for phrases. The
sixteen-measure unit seemingly formed in mm. 1-16 is illusory;
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it is not confirmed by repetition, and it is clearly comprised of
two separate eight-measure phrases.
Let us first consider the higher-level phrases (levels (a) and
(b) of Ex. 2, refer also to Table 1). These begin with the opening
antecedent phrase in mm. 1-8. After the interruption, the first
consequent phrase enters at m. 29, reestablishes 3 over I, and
moves to an authentic cadence in III at m. 39 (Ex. 5b). Al-
though consequent 1 consists of eleven measures on the surface
(mm. 29-39), mm. 33-34 comprise a two-measure internal ex-
pansion by repetition-employing the gesture of the previous
two measures (mm. 31-32) to accommodate the bass passing
tone A and its accompanying harmony, tonicizing G (IV of the
upcoming III).1 However, even with the expansion reduced
out, the phrase is still nine measures in length, comprising two
four-measure hypermeasures plus an extra measure, which co-
incides with the downbeat of the next hypermeasure. This type
of phrase, which spills over a metric unit to end with a hyper-
measure-level downbeat, is called an overlapping phrase, and
despite its nine-measure length, is described as an eight-
measure overlapping phrase.12 The structural upper-voice 3 as-
"In different versions of the consequent, mm. 31-32 or mm. 33-34 might
have been omitted. Both versions can easily be attained by playing through Ex.
5b, first without one pair of measures, then without the other. The version
omitting mm. 33-34 is far less satisfactory than the version omitting mm. 31-
32, testifying to the importance of the A passing tone, and its concomitant har-
mony. However, without mm. 31-32, an important component of the conse-
quent, the complete statement of the principal rhythm in I, is disrupted. The
role of this two-measure expansion may also be seen in terms of the two-
measure elision at m. 29 (discussed below); the two measures taken away at
this point are given back in mm. 33-34. This expansion also appears in the re-
statement of consequent 1 in the recapitulation (mm. 265-75).
12An overlapping phrase may or may not disturb the hypermeter. If the
downbeat of the overlap is followed by the downbeat of a new phrase in the
next measure, there will be two strong beats in a row, disrupting the hyperme-
ter. However, the downbeat of the overlap may coincide with the beginning of
a new phrase, leaving the hypermeter intact. In this latter case, the two phrases
dovetail in a phrase overlap. See Rothstein, "Structural Levels," p. 63.
 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 123

Example 4. Voice-leading graph of the exposition

First area Second area

3 2

(a)

^r r
I V/V Vb

3 2 13 3 3 2 2 2

i /^ j j-.,_ ^ J222-
(b)

I V I I Iv I I v I v/ b VV V/vl

ant. false cons. cons. I trans. cons. 2 trans. cons. 3 trans.a b a

mm. 8 21 23 29 39 62 72 83 91 99 101 112115123 132
A A A A A A A A
3 3 A 33 3 2 2 2

O I, (T i. ", ,. , jJJ. ,
2

(c)

I V^' I6V71 I ^VI I/v

I v ----- I 6V7 I II V I V/lll I11I V I V/v v V/v Vb

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124 Music Theory Spectrum

Example 5a. Antecedent, mm. 1-8

] I Allegretto vivace e snempre schierzando

I 1 ~ ~ ~ j- i Jj

? o
pq ~ ~ P

Example 5b. Consequent 1, mm. 29-39

29 33 34 39
) A . _ - t.

,b/ fl #I3 r j--,-jz j,-- r I Il ...

I

I i- m mnf m m' m1J1 - -

Jff f _iii i _ _ I

I
i if//~~
ff
_I
Rf
..
./"
4rf=
...
pf =? ' . _ -t ' __
' 9 V-- -41 -- A A-A - ^ ^ ] AJJJ J II J 7
iff .f p +'

internal exp. 5 7 8 (1)

mim. 33--34 overlapping phrase

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 125

cends to 5 over III on the downbeat of the overlap (m. 39).
Thus, consequent 1 is indicated as an eight-measure overlap-
ping phrase on a higher rhythmic level. The prototype is the an-
tecedent phrase.
After the expansion accommodating the prolongation in III,
a transition phrase moving from III-V-I begins in m. 62 (Ex.
5c). The transition begins with the principal rhythm and a tex-
ture similar to the opening principal rhythm (mm. 1-4), but
with the voices in octaves. Although this transition is 10 mea-
sures (mm. 62-71) on the surface, there are two alterations:
first, the last measure of the first four-measure hypermeasure
(m. 65 of mm. 62-65) doubles as the first measure of the second
four-measure hypermeasure (m. 65 of mm. 65-68), interlock-
ing these hypermeasures. There is no elision here, for m. 65
serves in both capacities; it enters as a fourth measure and is re-
interpreted as a first measure, or downbeat on the same level.
Second, the final measure of the phrase (m. 68) is expanded into
a four-measure lower-order extension (mm. 68-71) consisting
of the principal rhythm on I. An extension is a type of expan-
sion, which expands the last measure of a hypermeasure.13 The
last measure of the hypermeasure is thereby both a last mea-
sure on one level, and a first measure, or downbeat, on the next
lowest level. In a metric sense, the hypermeasures interlock. As
often happens, the extension here follows the four-measure
prototype length. On a higher level, when the interlocking hy-
permeasures are separated and the extension reduced out, the
transition forms an eight-measure phrase, conforming to the
prototype phrase length.
13An extension does not begin with a hypermeasure-level downbeat.
Thereby, the downbeat of the overlap in an overlapping phrase is said to be
expanded, not extended. See Rothstein, "Structural Levels," p. 152.

Example 5c. Transition, mm. 62-71

62 65 68 71

L it., |.L. _.
1 pp----
v. - _____.
^=^
by
p
pI P pp PRr

.......... . - _ _

I PR r==1 Tj ii~~~~~~~~~~~~~~~~~~~~~jl~~
Pp j
4=1 2 3 4

interlock 1 2 3 4
extension

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126 Music Theory Spectrum
The second consequent phrase enters at m. 72 with an eight-
measure version of the melody of the antecedent phrase, but,
crucially, with no upbeat (Ex. 5d). An upbeat would have
grouped the previous mm. 68-71 (Ex. 5c) with mm. 72ff., and
strengthened the impression that these measures constitute a
return to the opening of the movement. (Compare mm. 68-78
with mm. 1-8 [Ex. 5a]; an additional factor here, as mentioned,
is that mm. 68-71 are themselves an extension.) This second
consequent also moves to V/III (m. 79) and finally to III as an
overlapping phrase (the prototype is consequent 1). Before III
arrives, however, there is a rhythmic expansion within a prolon-
gation of V/III, so that the downbeat of the overlap is delayed
until the arrival of III in m. 91 (levels (b) and (c) of Ex. 2). The
expansion within V/III begins with a lower-order extension of
the last measure of the consequent, consisting of the principal
rhythm (discussed below).
After the expansion of V/III and III, a transition from III-
V-I begins in m. 99 (Ex. 5e). This transition is a contracted,
three-measure version of the second half of the previous transi-
tion in mm. 65-68 (Ex. 5c). The final measure, m. 101, is elided
by the beginning of consequent 3. Thereby, the transition forms
a four-measure phrase on a higher level. This phrase length is
only half that of the prototype length of eight measures; this and
the foreground contraction create an acceleration of the transi-
tion into the beginning of the third consequent.
The third consequent phrase, beginning in m. 101, opens
with a combination of the principal rhythm, the theme of the
second consequent, and the expanded register and dense tex-
ture of the first consequent (Ex. 5f). This third consequent, as
mentioned, apparently follows the path of the previous conse-
quents by moving to V/III and to III. However, instead of arriv-
ing at III as an overlapping phrase after a harmonic cadence
from V/III, as in the previous consequents, the third conse-
quent is altered in the eighth measure (m. 108). This final mea-
sure is elided by the first measure of the transition; in m. 108 the
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root-position V/III is replaced by the chord in inversion, with
C# in the bass. The disruptive effect is emphasized by the aug-
mented second in the bass: Bb -C#. The downbeat force of the
C#, and the concomitant denial of a harmonic cadence in III,
gives the transition enough force to push the music into and be-
yond III (Ex. 5g). The transition is brief; it seems that once the
tremendous effort of getting beyond III is expended, it is a
much simpler matter to move to V/V. Thereby, the transition is
a four-measure overlapping phrase; the downbeat of the over-
lap, in m. 112, is expanded into a lower-order hypermeasure
(truncated to three measures) that prolongs V/V. This expan-
sion is motivated by an attempt to protract the transition to an
eight-measure group to balance the consequent, an effort which
is thwarted by the truncation of the hypermeasure.14
The second area of the exposition, as mentioned, is in Vb
(Ex. 2). The "a" section (mm. 115-22) is comprised of an eight-
measure phrase ending on an authentic cadence, with a clear in-
ternal thematic articulation, by repetition, into two four-
measure hypermeasures. The "ba" section comprises thirteen
measures on the surface, but there are conflicting implications
on a higher level. The section begins with a six-measure group
(mm. 123-28); this measure group is not confirmed by repeti-
tion and is not clearly relatable to the four-measure hyper-
measure. (The model for this group, and its internal division,
2+2+2, may be the hemiola in mm. 120-21, which divides
these two measures into three groups of two beats, Ex. 2a.).
The last measure of this six-measure group, the expected V/V in
m. 128, is expanded into a four-measure extension within a pro-
14The truncation of the lower-order hypermeasure beginning in m. 112,
from the expected four measures to three, causes the beginning of the second
area to arrive a measure "early," with a rhythmic jolt reminiscent of the arrival
of consequent 1 in m. 29. If the c2 in m. 114 were tied to an identical c2 in m. 115
to complete a four-measure hypermeasure, and the second area began in m.
116, the entrance would be much less pronounced.
 ,
A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 127

Example 5d. Consequent 2, mm. 72-79,91

7') 79 91

pp ' ~====~ cresc. p

cresc. P
^^~~~~~~~~i ...............---------- --

I : _ _ _ __b_ _ _
)

5 6 8 overlapping phrase >(1)

(1)
1 2 3 4
extension

Example 5e. Transition, mm. 99-100

99 101
I A kL

^M1', , 1 I*' 7 '

? .4 - _

I i'-r ' 16J I I. II.-

) ff
1 2 I (cons. 3)
contraction elision

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128 Music Theory Spectrum

Example 5f. Consequent 3, mm. 101-8

101

ff

ff
) .0ff
5 6 7 1 (trans.)
elision

Example 5g. Transition, mm. 108-14

108 ..? . 112 114

) A . - ill: - . -. * .

ill' _ ~ r I ~. '- ' .~-' ' = _Z

ff of4.

p fjo

) p f3 'f
3 4 (1) I (second area)

expansion elision

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 129
longation of Vb-l/V in mm. 128-31. This extension uses the-
matic material from the "a" section and gives the impression,
when combined with the shortened repeat (the last four mea-
sures) of the "a" section in mm. 132-35, of being a version of
the complete eight-measure double-statement "a" phrase.
Thereby, there is a strong surface implication of an 8 +6+8
measure grouping in the second area, conflicting with the
higher-level 8 + 6 + 4 grouping. In either case, the six-measure
grouping conflicts with both the eight-measure phrase and four-
measure hypermeasure units, disrupting the hypermeter. The
effect is a rhythmic contrast, not only of the "b" section in rela-
tion to the surrounding "a" sections within the second area, but
also enhancing the overall contrast of the second area in relation
to the first area. After the contrasting six-measure group, the
hypermeter is immediately restored; the surface implication of
an 8 + 6 + 8 measure grouping reestablishes the eight-measure
unit, and the higher-level 8 + 6 + 4 grouping reestablishes the
four-measure unit. (The "ba" section of the second area is sub-
sequently repeated, in a varied form, in mm. 136-48.)
Before examining the expansions of III and V/III that occur
after each of the first two consequent phrases, let us consider
the expansions consisting of Vb - , which occur in mm. 9-28
and 128-31 (Ex. 2, see also Table 1). The first is motivated by
the A' in m. 9, which enters in the immediate context sounding
like ' 3 of V (from m. 8, where the third is omitted). In the
course of the expansion the At becomes A over V in m. 21.
However, there is an additional element in these measures. The
thematic and rhythmic content of mm. 9-16 consists of a trans-
posed (down a tone, but registrally an octave higher) repetition
of mm. 1-8. Thereby, these measures give the impression of a
consequent phrase. It is, however, a false impression-
although this only becomes clear in the course of the expan-
sion.15
S1This device, the false consequent, is used in other Beethoven composi-
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The false consequent in mm. 9-16 consists of an eight-
measure phrase comprising IV-V-I in the momentary key of
IV. An additional harmonic complication, ' II, enters in m. 17
and motivates further expansion. Measures 17-22, six mea-
sures on the surface, are based on the principal rhythm; m. 19
comprises an internal expansion which derives from the static
nature of the first two measures of the principal rhythm (Exx. 6a
and b). This internally-expanded statement of the principal
rhythm, influenced by the previously established four-measure
hypermeasure, ends on a hypermeasure-level downbeat in m.
21. The result is a pronounced arrival on V, with emphasis sup-
plied to the concomitant arrival of Ai. The addition of m. 22
then suspends the metric drive momentarily. If just m. 22 were
omitted, the downbeat at m. 23 would be far stronger, and there
would be less need to build up momentum for a convincing re-
turn to I. (Ex. 6c; this measure has another function, as dis-
cussed below.)
By m. 21 Ab, which motivated the expansion, has become
Al. However, the accompanying V j is in a neighboring posi-
tion to I, and the hypermeter has been distorted in mm. 17-22,
suspending the metric drive. The following mm. 23-28, which
are based on an eight-measure phrase, are thereby motivated to
effect a convincing metric and harmonic return to I (Ex. 6a).
This return is thwarted by the elision of two measures at m. 29.
If tied dotted-quarter-note durations and a four-note tonic
chord had been substituted in mm. 29-30, a very satisfactory
close would have been achieved (Ex. 6b). Instead, consequent 1
arrives (m. 29) two measures "early," eliding with the cadence
on I, to provide a surprising rhythmic jolt, reinforced by the
density of texture and the loud dynamic.16 This jolt abruptly
tions, such as the first movements of Op. 31, no. 1 and Op. 53, as discussed
below.
16The elision of the end of the phrase in mm. 23-28 contributes, in a large
part, to the anacrustic effect of this phrase. If the phrase had cadenced before
130 Music Theory Spectrum

Example 6a. Measures 17-29 as in the score

17 19 22 23 29
L , ? * L

l^ - -- n ,-,? _r i- _- _- ,i. a _
croes f --crp. dol .. P

cresc. f '- dol. J P ff

?r
.l.. :rrrrrr^r
r .I r I M drt
f )1i1

) cresc. f ==- dol. P ff

f
added 4 1 2 1 2 3 4 5 6 1 (cons. 1)
m. 19 elision

Example 6b. Measures 17-29 on middleground

17 23 29

P. P. P . P
cre dol.

41:, LE.rrr u rrrIrdLrr r

cresct. . f dol. f

crest.
b;~~~~~~~~~~~~
f v,,l /
f
2 3 4 1 2 3 4 5 7 8

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 131

Example 6c. Measures 17-23 without m. 22

17 23

cresc. f P dol.

cl:.6s cI. f priP dol.

crese-. -- Pdol.

) cresc.
7 1'
Jr Pdol.
2 3 1 1

forces the downbeat.

music forw
This underlying hypermeter, obfuscated but n
process. However,
literated, is a factor in the addition of m. 22.17 w
rhythm The other Vb- l expansion, an extension in
alterations mm. 128-
in
measure pulse is
more straightforward mainta
(Ex. 2). The final measure, m. 128,
six-measure group (mm. 123-28) beginning the "ba" sec
the beginningwith of
its V/V harmony, is expanded by a lower-order f
consequent
solved Vt, - and closed har
result would have been a bre
quent 1. The anacrustic natu
17The passage in mm. 1-28, consisting of the antecedent in I and the
this same elided
ing expansion,phrase leads
is repeated, varied, at the beginning of the coda (m
the upper voice resolving
45)-not at the beginning of the recapitulation. Instead, ato
false or d
ponding to
consequent 1).
return follows the development (m. 239), with similar thematic materi
measure phrase
opening, butformed by
in b VI. V is regained in mm. 257-58 (corresponding m
to m
els) throughout the
22), and the following mm. 259-64 movem
restate mm. 23-29 (with an adde
and 450-53 (in varied
voice). The form
arrival of I, and the beginning of the recapitulation, there
phrase from cideachieving
with the restatement of consequent 1 (mm. 265ff.). a Theca absenc
"early" entrance of
antecedent on I at the beginning of the
the recapitulation isfoll
one motivation
movement. coda.

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132 Music Theory Spectrum

measure extension using thematic material from the "a" sec-
tion. (Thereby, as mentioned, in a purely thematic role mm.
128-31 augment the shortened return of the "a" section, mm.
132-35, giving a suggestion of the eight-measure statement in
the original "a" section, mm. 115-22.) This expansion is moti-
vated by the E' (33 of V/V, a local reflection of the large-scale
V' of the second area) which becomes EO in the course of the
extension, facilitating a return to I.
The two expansions within prolongations of III and V/III,
following the first two consequents, are more complicated
rhythmically than the expansions described above. In both, the
hypermeter cannot be maintained, even in an underlying sense.
These rhythmic complications function to impede the forward
motion of the music, necessitating additional attempts to de-
velop the momentum to arrive at the true harmonic goal of V/V.
In this sense, the expansions are analogous to the eighth notes
in the first two measures of the principal rhythm, which moti-
vate additional attempts to develop a forward momentum, and
ultimately to create the four-measure expanse of this rhythm.
The first instance of the expansions within a prolongation of
III and V/III begins in m. 39. The prolongation is based on an
octave coupling of f5_f4 supported by a progression in III in
mm. 39-61 (Ex. 2). The accommodating expansion opens with
a "rhythmic parallelism," or a congruence on different rhyth-
mic levels. The first consequent (mm. 29-39) is an eight-
measure overlapping phrase, and the harmony of the downbeat
of the overlap, III (m. 39), initiates the expansion (Ex. 5b). The
expansion begins with a four-measure overlapping phrase (mm.
39-43), with the downbeat of the overlap occurring in m. 43 on
V/III (Ex. 7a). This downbeat is then expanded into a lower-
order four-measure hypermeasure within a prolongation of
V/III (mm. 43-46). Thus, in consecutive overlapping phrases of

Example 7a. Expansion, mm. 39-46

39 43 46
I A .

fN l I/ I IV ~ -I-m# I, I cresc.

fP __ .~~~~~~~~

_
.,- ;. r
_ .-I f*
1.h'
L
/' h N~~~~~~~~~
' '7 5 -.r rI -7 7 7 q- ' y 7
) i' p *

conflict: 1 1 2 3 4
I 2 3 4 (1)
2 3 4

expansion

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 133

successively lower structural order (consequent 1 in mm. 29-
39, and the first phrase in the expansion, mm. 39-43), the
downbeats of the overlaps initiate expansions of successively
lower order.
In addition to the rhythmic parallelism in these measures,
there is a conflict of grouping at the outset: from (and including)
m. 39 a reading of 1 2 3 4 1 (counting measures) is supported
harmonically, by dynamics, and by the established four-
measure hypermeasure; but a reading of 1 1 2 3 4 is supported
by the upbeat of the melody in m. 39, which is strongly associ-
ated with the upbeat in m. 4, and by the suspensions in mm. 40
and 42. This last point can be verified if the suspensions are
omitted: m. 40 is then much less insistent as a downbeat (Ex.
7b). The 1 2 3 4 1 reading is preferred here, principally for the
pronounced harmonic arrivals at mm. 39 (III) and 43 (V/III),
the latter supported by the suspension in m. 43. Despite the
conflict of grouping, mm. 39-43 give the strong impression of a
structural antecedent phrase, with tonal motion I-V in III. It is,
need to complete the octave coupling of f5-f4 that spans the
larger expansion.
Example 7b. Measures 39-43 without suspensions in mm. 40 The apex of rhythmic ambiguity in the larger expansion is
and 42
39 43
f i-.l' I I | |1If
however, a false impression, in part because this "antecedent"
is only an overlapping four-measure phrase, while the proto-
type phrase length, established by the antecedent phrase in
mm. 1-8, comprises eight measures. The surface characteristics
of mm. 39-43, in particular the obvious derivation of the mel-
ody from the melody of mm. 4-8, give this phrase an illusory
significance.18
As mentioned, the downbeat of the overlap (m. 43) of the
first phrase in the expansion is expanded into a lower-order
four-measure hypermeasure within a prolongation of V/III,
supporting Cl in the octave-coupling (of f5-f4). The fourth
measure of this lower-order hypermeasure is then an anacrusis
to the following higher-level eight-measure phrase, which
clearly divides into two four-measure hypermeasures in mm.
47-50 and a varied repetition in mm. 51-54. The last measure
of the repetition is expanded into a lower-order extension; m.
54 doubles as a last measure on a higher level and a first measure
in the lower-order extension. The extension is motivated by the
reached in the extension in mm. 54-61 (Ex. 8). The octave
coupling is completed by moving from a4 to f4 over a I- II-V-I
progression in III. Notice that in mm. 54-57 the octave coup-
ling is "stuck" on a4 in the descent, reflecting locally the effect of
the larger expansion getting stuck in III. The rhythmic expan-
sion within mm. 54-61 derives from the static rhythm of the first

18The illusion is strong enough to give the impression that III is the second
key area. III is, however, only prolonging the first area, I (Ex. 4). In the reca-
pitulation, the III area is restated not in I, but in VI (mm. 275-99). The func-
fp~~~~~~~~~~~~~~~~~~~~~
tion of this expansion of VI is clarified by the arrival of the restatement of con-
IP
sequent 2 in V (mm. 308-15), rather than I-the VI area is passing between I
.. _ (consequent 1, mm. 265-74) and V. However, the restated "consequent 2" is
) no longer a consequent because of its area of V; rather, it is part of a large-scale
-
p2 3
I-VI-V-V5 I6- (mm. 265-343), corresponding to I-III-V-I-III-V-I
I 2 3 (1) (mm. 29-108) in the exposition.

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134 Music Theory Spectrum

two measures of the principal rhythm, which, as mentioned ear- also reestablishes the eight-measure phrase length-although
lier, blocks forward momentum. A conflict of downbeats is es- only on the rhythmic middleground. The final measure of the
tablished in m. 55 by the strong downbeat association of the two transition is expanded into a four-measure lower-order hyper-
sixteenths followed by a quarter, so that, although the notated measure which associates Bl and the principal rhythm. As
meter is not entirely lost, there is a strong sense in which the mentioned, this extension (in mm. 68-71) thereby groups with
downbeat shifts to the notated second beat. In m. 59 this effect the previous expansion and not with the following consequent
begins to break down; the V7-I (of III) on beats 2 and 3 does 2; this point is confirmed when the second consequent begins
not sound beginning-accented (Ex. 8). with a downbeat, and by the eight-measure hypermeasure of
Certainly by m. 61 any forward momentum from the first mm. 72-79.19
consequent phrase has been lost; the recourse is to try again
with another consequent phrase. First, however, there must be 19In the corresponding place in the recapitulation (mm. 304-8), the resta-
a higher-level transition both tonally and metrically (Ex. 5c). tement of the principal rhythm (originally mm. 68-71) immediately before
An unambiguous meter is reestablished in the clearest way "consequent 2" sounds less connected to the preceding expansion because (1)
the phrase leading into the principal rhythm restatement is stretched internally
possible-with the principal rhythm-in mm. 62-65. As men-
to become an overlapping phrase, and thereby the principal rhythm statement
tioned, this hypermeasure and the following one are comes in on a downbeat (the downbeat of the overlap) and is not an extension;
interlocked-m. 65 doubles as a fourth and first measure-to
and (2) the principal rhythm statement is connected to the following "conse-
effect a swift transition back to I. This transition group thereby
quent 2" by upper-voice melodic elaboration.

Example 8. Extension, mm. 54-61

54 58 61

c,resc. -f' cresc,. f -='p

I P c- resc. Vf~~. cre ~-

[ gI ....P i IJ ..... N I - ... ILJ
pp cresc. resc. p crsc.

4:)
z ;. *IX>J?
; ; ; V V ~~~;' SH J^=?^|B;=
e; i
cresc. f =-p - cresc. V - .
conflict of 1 4 4

downbeats: 1 2 3 4 1 2 (?) 3 4(?)

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 135

Following consequent 2, which again moves to III, the ex-
pansion may be divided into the two prolonged harmonies:
V/III (mm. 79-90) and III (mm. 91-100). On a higher level,
the former, within V/III, is an expansion of the second half of
the final beat of consequent 2, so that the downbeat of the over-
lap (and the arrival of III) occurs in m. 91 (Ex. 2). This expan-
sion is undertaken in a parallel statement procedure similar to
that of mm. 1-8 and 9-16. The final measure of consequent 2
(m. 79) is expanded by a four-measure lower-order extension,
composed of the principal rhythm, within a prolongation of V/
III (similar to the extension using the principal rhythm in mm.
68-71 [Ex. 5c], where I is prolonged). The following mm. 83-
86 then begin a transposed (down a half step, but registrally up
an octave) statement of the first half of consequent 2. The inser-
tion of the extension in mm. 79-82 is part of a clever ruse: mm.
68-79 seem to be repeated, transposed, in mm. 79-86, and
thereby constitute a new, twelve-measure prototype. The pro-
cedure seems to be similar to that of the opening of the move-
ment. This "prototype," however, cuts across structural (both
rhythmic and pitch) boundaries: mm. 68-71 comprise an ex-
tension to the previous expansion; mm. 72-79, or consequent
2, form an eight-measure phrase; mm. 79-82 constitute an ex-
tension to consequent 2 within a prolongation of V/III; and
mm. 83-91 form an overlapping eight-measure phrase in an ex-
pansion accommodating the further prolongation of V/III. In
support of this view, the "repetition" of mm. 68-79 is not con-
tinued into mm. 87-90, which nonetheless continue to prolong
V/III (Ex. 2).
The downbeat of the overlap of the overlapping eight-
measure phrase beginning in m. 83 arrives in m. 91 on III. This
downbeat initiates a further expansion in mm. 91-99 to accom-
modate the prolongation of III (Ex. 9). The grouping in this ex-

Example 9. Expansion, mm. 91-99

95 a m Hq 1 PR B ==W99
I 91 92
' A
I

I I I I I I 1 I I rI I Iyzy I H iII

v f -e- a f v,
/ 'f , P
y\> L rri'i ST^ ffir1 r~ -I rr i j j f
I r i
f
(1 ~ t

f if **f tt
conflict: I -I
3 4 1
1 2 3 4 I (trans.)
extension: I 2 3 4 1
hemiola: 1 2 3 12 3 1 2 3 1 2 3 1

1 2 1 2 1 2 1 2 1

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136 Music Theory Spectrum

pansion is complicated by several factors. First, the four- measure (mm. 92-95). The successive downbeats prompt a
measure metric paradigm (of the preceding hypermeasure) sudden realignment of the hypermeter at m. 92.
groups mm. 91-94 and 95-98, so that m. 99, the beginning of The rhythmic complications outlined above create a situa-
the transition to the third consequent, is a downbeat. Second, tion where, as in the previous expansion, the point is reached
the grouping beginning with m. 91 presents a conflict. A 1 2 3 where any forward momentum from the previous consequent
4 1 (from and including m. 91) reading may be prompted by the phrase is exhausted. And, again, the recourse is to try again
hypermeasure pulse and by the passing tone C in the bass in m. with another consequent. The transition begins in m. 99 (Ex.
92, which tends to make that measure tonally weaker than m. 5e). This measure is a downbeat completing the previous hy-
91. A reading of 1 1 2 3 4 may be preferred by the strong-weak permeasure and, on a higher level, beginning the transition.
implications of the dissonant-consonant harmonies, that is, the The transition comprises a contracted return to I. As men-
appoggiatura chords, around the inner-voice pedal D in mm. tioned, the prototype appears to be mm. 65-68; mm. 99-100
92-95, and by the concomitant denser texture in m. 92. This consist of a contracted version of mm. 65-67, followed by an
latter reading is also strengthened by the apparent varied repe- elision caused by the entry of consequent 3 at m. 101 (as is the
tition of mm. 92-95 in mm. 96-99, each with the principal case with m. 68). The arrival of consequent 3 is thereby empha-
rhythm in the first violin. The third factor is a rhythmic compli- sized in two ways: the contraction of the transition causes an
cation that enters in the form of a duple cross-rhythm, that is, a acceleration into consequent 3, and the elision of the end of the
hemiola, in m. 95. This cross-rhythm is only resolved in mm. transition causes consequent 3 to arrive "early" with a rhythmic
98-99, and is reminiscent of the confusion of downbeats in the jolt reminiscent of the entrance of consequent 1. The conse-
previous expansion (mm. 54-61). The hemiola, signaled by oc- quent supplies its own further emphasis by the dynamic mark-
taves in the first violin, enters on the last measure of the four- ing, register, and density. All these factors serve to highlight
measure hypermeasure in mm. 92-95, which is expanded into a the entry of this consequent, which will eventually lead to V/V,
five-measure extension. Thus, m. 95 doubles as a fourth mea- rather than off into another excursion into III.
sure and as a lower-order first measure. The extension consists To summarize: the first area of this exposition is based on an
of an expanded statement of the principal rhythm (similar to interrupted period structure. After the antecedent, there are,
that of mm. 17-22, Ex. 6), ending on a hypermeasure-level in addition to the true consequent (consequent 3), two addi-
downbeat in m. 99. tional consequents. The disposition of the three consequents
In retrospect, there is an implication of an expanded princi-may be traced back to the principal rhythm. The consequents
pal rhythm in mm. 91-95 in the first violin (emphasized by the each modulate to III, and are followed by expansions within
ff dynamic in m. 91). Under this reading, m. 95 would be a prolongations of V/III and/or III. The forward motion is re-
downbeat expanded into a similar expanded principal rhythmtarded in these expansions by conflicts in rhythmic grouping
in mm. 95-99. However, the downbeat strength of the disso-which distort the hypermeter. These expansions are thereby
nant chord in m. 92 outweighs the dynamic in the first violin (m.analogous to the eighth notes in the first two measures of the
91). Thereby, the downbeat at m. 91 is followed immediatelyprincipal rhythm that block forward momentum. In the third
by another downbeat which initiates a four-measure hyper- consequent, as in the third measure of the principal rhythm, an

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 A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 137

alteration allows the development of a momentum forwards to four-measure phrase-while the prototype is eight measures-
achieve the goal-the harmonic goal of V/V in the consequent, and in voice-leading terms, there is only an octave coupling
and the fourth measure in the principal rhythm. Other expan- from f5 to f4 occurring over a prolonged III harmony (which is
sions in both the first and second areas of this exposition are itself prolonging I); the second area, Vb, has not yet arrived.
motivated by Vb, - , and reflect the larger harmonic issue of the The procedure used in the opening measures of the move-
Vb second key area.20 ment, related to the first method above, is particularly mislead-
Before closing, an important feature of the construction of ing. The antecedent phrase is followed by a parallel, transposed
the expansions should be summarized, a feature which contrib- statement that gives the impression of a consequent phrase.
utes to the difficulty of defining the form of this movement. The The impression is false, for the transposed statement leads to
expansions do not sound like expansions, at least when they IV, which eventually returns to the tonic in preparation for the
first enter. In each case they are given added but illusory signifi- real consequent. This false consequent procedure is used in
cance. One method consists of the use of parallel statements of other pieces by Beethoven. In the first movement of Op. 31,
preceding structural phrases. In the expansion of V/III which no. 1, for instance, an opening eleven-measure antecedent
begins after the second consequent (mm. 83ff.), the beginning phrase in I (G major) ending on a half cadence is answered im-
of a statement parallel to consequent 2 gives A an illusory sig- mediately by an almost exact transposition a tone lower. The
nificance. However, A is not equal in structural significance to transposed statement turns out, as in mm. 9-16 of the second
Bb ; it is only leading to III. In the expansion of Vb - 4/V in mm. movement of Op. 59, no. 1, to comprise IV-V-I in the tempo-
128-31, the thematic material of the "a" section is used, creat- rary key of IV, followed by V-I in the tonic. The modulating
ing the implication of an eight-measure grouping in mm. 128- consequent appears in mm. 46-56 (the key of the second area is
35. However, mm. 128-31 constitute only an extension to the not, however, Vb). In the first movement of Op. 53, the open-
"b" section. ing four-measure antecedent phrase is repeated, transposed a
Another method, used in the expansion beginning in m. 39,tone lower. This statement turns out to contain IV-V-I, but in
is to give the appearance of an antecedent phrase. The thematic IVK,, and it leads to V in the tonic. The modulating consequent
material in the opening measures of this expansion is very simi- follows immediately, leading to V/III, and III# turns out to be
lar to the opening melody, and there is a clear I-V motion inthe key of the second area. Unlike Op. 31, no. 1, the false con-
III. This illusion is so strong that mm. 39ff. can be mistaken at sequent phrase reappears in the recapitulation of Op. 53. In the
first for the second key area. Yet, this "antecedent" is only first a movement of Op. 57, the opening four-measure anteced-
ent phrase is answered by a transposition up a semitone, ex-
pressing the Neapolitan, which proceeds to the dominant. As
20In the recapitulation, the second key area is restated as Ib, not I as mightin Op. 53, the modulating consequent appears immediately fol-
have been expected. This use of , 3 of I motivates the coda to regain t 3 and then
lowing. In the recapitulation, the false consequent appears, but
to complete a descent (in Schenkerian terms) to 1. The coda begins with the
over a pedal b 6 (following the beginning of the recapitulation
opening measures of the movement (the antecedent plus expansion) in the
tonic, which, as mentioned, do not appear at the beginning of the recapitula-over 5). In none of these movements, however, does the conse-
tion. quent return several times before the second key area.

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138 Music Theory Spectrum

The three consequents, the second key area of VL, and the
illusory structural significance of the expansions make for an
unusual exposition in the second movement of Beethoven's
Op. 59, no. 1. The consequents and following expansions are a
remarkable large-scale reflection of the structure in the open-
ing principal rhythm. In spite of the lengthy and misleading ex-
pansions in the first area, though, the third consequent is
marked for consciousness by its assimilation of the features of
all the other consequents and the antecedent. These are: the
principal rhythm, the tonic key with a pedal Bb, the dense tex-
ture, the expanded registral space, and the principal theme.
The arrival of this consequent thereby emphasizes the struc-
tural I-V/V-Vb tonal motion that follows.

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