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. 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.

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. As the title for a single-movement piece of instrumental music—the past participle of suonare , "to sound", as opposed to cantata , the past participle of cantare , "to sing"—"sonata" covers many pieces from the Baroque and midth century that are not "in sonata form". Conversely, in the late 18th century or "Classical" period , the title "sonata" is typically given to a work composed of three or four movements.

Regardless, the way the exposition unfolds in this piece seems almost like a parody. The primary theme area is therefore frequently presented in a recognizable standard form such as a sentence, period, or double period.

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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.

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.

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The main action in a concerto form—including, for example, the modulation to the secondary key—is reserved for the soloist, who plays through the exposition again in S 1. Such expositions are often called monothematic , meaning that one theme serves to establish the opposition between tonic and dominant keys. Explanations for why an extended coda is present vary. But this melody is still in the home key and so must be considered a part of the transition. The exposition presents the primary thematic material for the movement: one or two themes or theme groups, often in contrasting styles and in opposing keys, connected by a modulating transition. 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. Example 38—6. The next F , at the end of m. More importantly, the new melody is set in the secondary key again, the dominant or relative major. Another role that these codas sometimes serve is to return to the minor mode in minor-key movements where the recapitulation proper concludes in the parallel major, as in the first movements of Beethoven's Symphony No. Along similar lines, we find several common variants of the form including sonata forms which lack a development sonatina or first-movement form , incorporate the repeated refrain of a rondo sonata-rondo form , and assign the main sections to a soloist between passages played by a full orchestra concerto or double-exposition form.

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.

The primary theme typically concludes in a clear cadence, after which the transition begins. And although it grew out of instrumental traditions, elements of sonata form may even be found in vocal music from this period. The development begins after the exposition repeats. Exceptions to the recapitulation form include Mozart and Haydn works that often begin with the second subject group when the first subject group has been elaborated at length in the development. It plays behind the soloist, providing the supporting harmonies and musical punctuations. New York: Norton. One introduces musical ideas, one provides contrast, and one brings the opening ideas back in a transformed state. In this sense, the B section of a sonata form is more like the B section of a ternary form. Only minor alterations are made in the recapitulation, mostly in the form of omissions. There was a period of a wide variety of layouts and formal structures within first movements that gradually became expected norms of composition. XVI No. It ends with a half cadence in m.