An analysis and performing guide of sonata op.61 by Joaquin Turina

Abstract

The objectives of this study were to analyze the Sonata Op. 61 by Joaquín Turina (1882-1949), based on the arrangement of Segovia by Schott Music (1932), and to give performance guidelines. The scope of this study was to analyze the formal structure and harmony of all movements in the Sonata and to provide performance guidelines both in terms of techniques and interpretation, alongside a comparison between the original manuscript version by Turina and the Segovia arrangement. As a result of this study, the form, chord progression, cadence, theme, and material of all movements were analyzed. The first movement was in sonata form, where most harmonies were presented using the tonic and dominant. The second movement was in binary form, utilizing tonic, subdominant, and dominant harmonies. The third movement was in rondo form, primarily using the tonic and dominant. The performance guidelines were provided regarding fingering, patterns, and musical ideas, as well as the differences between the two versions and the rationale for choosing between them. The biggest difference between the two versions was the variation in notes, which altered the harmonies. The main reason for the choice was to maintain the clarity of tonality and the total harmony of sound. Implication of the thematic paper: The results lead to the conclusion that although Sonata Op. 61 was written in the twentieth century, Turina chose to use the classical sonata structure, which was quite different from the modern music of that era. However, Turina still created the uniqueness, accent, and sound of modern music. Although tonality was clearly defined in Sonata Op. 61, he combined modes with major and minor keys to create a distinctive sound, including the use of chromatic notes and non-chord tones.