Sonata form consists of three main sections exposition development and

Sonata form also sonata-allegro form or first movement form is a large-scale musical structure used widely since the middle of the eighteenth century the early classical period.

Many historians, theorists, and teachers consider one form in particular to be the premier compositional structure of tonal Western art music. It is found in nearly every type of composition—not just solo sonatas, but works for chamber groups and orchestras as well. And although it grew out of instrumental traditions, elements of sonata form may even be found in vocal music from this period. In fact, the form had such sweeping influence that we might even go so far as to think of it as a style instead of just an organizational framework for melodies and keys. For reasons that will become clear momentarily, we will begin this chapter with an abstract overview of the sonata form design. We will then trace the form through three separate works—the first two will be relatively straightforward, whereas the third will demonstrate some of the playful alterations that composers tend to make when writing in sonata form. Our discussion will conclude with a brief overview of several common variations.

Sonata form consists of three main sections exposition development and

Sonata form also sonata-allegro form or first movement form is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century the early Classical period. While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition , elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form. After its establishment, the sonata form became the most common form in the first movement of works entitled " sonata ", as well as other long works of classical music, including the symphony , concerto , string quartet , and so on. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form. According to the Grove Dictionary of Music and Musicians , sonata form is "the most important principle of musical form, or formal type, from the Classical period well into the 20th century ". However, as what Grove, following Charles Rosen , calls a "principle"—a typical approach to shaping a large piece of instrumental music—it can be seen to be active in a much greater variety of pieces and genres , from minuet to concerto to sonata-rondo. It also carries with it expressive and stylistic connotations: "sonata style"—for Donald Tovey and other theorists of his time—was characterized by drama, dynamism, and a "psychological" approach to theme and expression. Although the Italian term sonata often refers to a piece in sonata form, it is important to separate the two.

Since this piece begins in C major, we may expect to find F s indicating a move to the dominant.

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Sonata form also sonata-allegro form or first movement form is a large-scale musical structure used widely since the middle of the eighteenth century the early classical period. While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the nineteenth century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this, sonata form is difficult to pin down in a single model. The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.

Sonata form consists of three main sections exposition development and

Chapter Playlist. At the largest level, the form is as follows in Example 1 , and each of those large levels is further subdivided, as shown in example 2. Due to its popularity and intricacy, sonata form has developed its own set of terms to help capture its multiple formal components, but these components share properties with other formal sections see Formal Sections in General. The exposition can be further broken down into four sections with specific names:. On the whole, the exposition is a relatively stable part of the form. P , S , and C are all typically very stable areas; only TR is unstable.

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Readers are advised to analyze the following pieces to see sonatina form in action:. In the primary theme area, for example, we hear only the second half of the double period that opened the piece. An example of the more extended type is the coda to the first movement of Beethoven 's Eroica Symphony , and an exceptionally long coda appears at the end of the finale of Beethoven's Symphony No. As mentioned above, sonata forms routinely appear in symphonic works as well including a variant typically found in the first movement of a concerto, where a soloist is accompanied by an orchestra. This happens in the first movement of Mozart's Symphony No. The transition from the development to the recapitulation is a crucial moment in the work. After the closing cadence, the musical argument proper is said to be completed harmonically. The Romantic Generation. A special case is the recapitulation that begins in the tonic minor, for example in the slow movement of Haydn's quartet Op. As was the case with Example 38—5, we may hear the terminative passage that follows this cadence as a closing theme mm. In time, theory on the layout of the first movement became more and more focused on understanding the practice of Haydn, Mozart and, later, Beethoven. In such cases, the second theme will often return initially in the tonic minor in the recapitulation, with the major mode restored later on. Rarely, a major-mode sonata form movement will modulate to a minor key for the second subject area, such as the mediant minor Beethoven Sonata Op.

Sonata form also sonata-allegro form or first movement form is a large-scale musical structure used widely since the middle of the eighteenth century the early classical period. While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the nineteenth century.

Theorists of this school include Erwin Ratz and William E. Whereas the exposition begins and ends in different keys, the recapitulation must omit the modulation in order to avoid ending the piece in the wrong key. The Romantic era in music was to accept the centrality of this practice, codify the form explicitly and make instrumental music in this form central to concert and chamber composition and practice, in particular for works that were meant to be regarded as "serious" works of music. Many authors writing about sonata form describe it in terms of a dramatic narrative. On occasion it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form. Listen for the standout cadences: HC in m. Example 38—8. Some teachers and texts prefer the term double exposition form over concerto form for exactly this reason. And is this the expected secondary key? The Coda is optional. In the Classical period, the subdominant is the only possible substitute for the tonic at this position because any other key would need resolution and would have to be introduced as a false reprise in the development , but with the erosion of the distinction between the sharp and flat directions and the blurring of tonal areas true recapitulations beginning in other keys became possible after around