Editing Development (music) (section)

== Methods of development ==

According to the ''[[Oxford Companion to Music]]''<ref>Temperley, N. (2002, p. 355) “Development” in Oxford Companion to Music.  Oxford University Press.</ref> there are several ways of developing a theme. These include:

* The division of a theme into parts, each of which can be developed in any of the above ways or recombined in a new way. Similarly, two or more themes can be developed in combination; in some cases, themes are composed with this possibility in mind.
* Alteration of pitch intervals while retaining the original rhythm.
* Rhythmic displacement, so that the metrical stress occurs at a different point in the otherwise unchanged theme.
* [[Sequence (music)|Sequence]], either diatonically within a key or through a succession of keys.

The [[Scherzo]] movement from [[Piano Sonata No. 15 (Beethoven)|Beethoven's Piano Sonata No. 15]] in D major, Op 28 (the "Pastoral" Sonata) shows a number of these processes at work on a small scale. [[Charles Rosen]] (2002) marvels at the simplicity of the musical material: "The opening theme consists of nothing but four F sharps in descending octaves, followed by a light and simple I/ii/V7/I cadence with a quirky motif repeated four times."<ref>Rosen, C. (2002, p.161), ''Beethoven's Piano Sonatas, a Short Companion''. Yale University Press.</ref> These opening eight bars provide all the material Beethoven needs to furnish his development, which takes place in bars 33-48:[[File:Beethoven Piano Sonata Op 28, Scherzo.wav|thumb|Beethoven Piano Sonata Op 28, Scherzo]] [[File:Beethoven Pastoral Sonata Op. 28 Scherzo.png|thumb|center|500px| Beethoven Pastoral Sonata Op. 28 Scherzo.]]

=== The division of a theme into parts ===

The falling octave in the first two bars and the repeated staccato chord in the left hand in bars 5-8 are the two fragments that Beethoven later develops:[[File:Beethoven Pastoral Sonata Scherzo bars 1-5.png|thumb|center|500px|Beethoven Scherzo from Piano Sonata 15, thematic fragments used later in the development]]

=== Alteration of pitch intervals ===

The somewhat bald falling octave idea in the first four bars is transformed in bars 33-36 into an elegant shape ending with an upward-curving semitone:[[File:Becomes.png|thumb|center|500px|Transformation of opening idea]]

=== Rhythmic displacement ===
 
In this movement, the repeated left hand chords in bar 5 are displaced so that in bar 33 onwards, they fall on the 2nd and 3rd beats:[[File:Rhythmic displacement.png|thumb|center|500px|Rhythmic displacement]]

=== Sequence and the development of two or more themes in combination ===

In bars 33-48, the two fragments combine and the development goes through a [[modulating sequence]] that touches on a succession of keys; [[File:Beethoven Piano Sonata Op 28, Scherzo, developent section.wav|thumb|Beethoven Piano Sonata Op 28, Scherzo, development section]][[File:Beethoven Pastoral Sonata Scherzo development section.png|thumb|center|500px|Beethoven, Scherzo from Sonata No 15, development section.]] The following outline demonstrates Beethoven’s strategic planning, which he applied on a larger scale in the development sections of some of his major works.  The [[bass line]] traces a decisive progression through a rising [[chromatic scale]]:[[File:Outline of development.png|thumb|center|500px|Harmonic outline of Bars 33-49]]
To quote Rosen again, writing à propos of this movement: "As Beethoven's contemporary, the painter [[John Constable]], said, making something out of nothing is the true work of the artist."<ref>Rosen, C. (2002, p.162), ''Beethoven's Piano Sonatas, a Short Companion''. Yale University Press.</ref>