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.

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.

The surprise that ensues when the music continues to modulate toward the tonic can be used for either comic or dramatic effect.

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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

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.

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Its originators implied that there was a set template to which classical and Romantic composers aspired, or should aspire. For this reason, changes in performance practice bring changes to the understanding of the relative importance of various aspects of the sonata form. At this time, the term implies a binary form, usually AABB with some aspects of three part forms. Tchaikovsky also implemented this practice in the last movement of his Symphony No. However, sonata form is presently viewed as a model for musical analysis, rather than compositional practice. Schenker believed that inevitability was the key hallmark of a successful composer, and that, therefore, works in sonata form should demonstrate an inevitable logic. The following diagram summarizes the structure of the development and recapitulation in a typical exposition:. Misleading cadences and false themes are common and add to the overall excitement of a piece. The coda is optional in Classical-era works, but became essential in many Romantic works. Skip to main content. This occurs in the slow movements of Mozart's quartets K.

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.

In some cases, these tricks and variations are common enough to warrant names. The definition of sonata form in terms of musical elements sits uneasily between two historical eras. Some teachers and texts prefer the term double exposition form over concerto form for exactly this reason. The most common practice, for Beethoven and many other composers from the Romantic era, was to use the mediant or submediant , rather than the dominant, for the second group. After the repeat of the exposition, the listener hears a brief retransition followed immediately by the recapitulation—or, where the development is omitted, just the recapitulation:. The transition section also returns more or less intact, but with one very important change. This has an improvisatory character it may or may not actually be improvised , and, in general, serves to prolong the harmonic tension on a dominant-quality chord before the orchestra ends the piece in the tonic. This happens in the first movement of Mozart's Symphony No. Just as an exposition may begin with an introduction, it may also end with a brief passage—usually just two to four bars—called a codetta which reasserts the secondary key with one or more clear PACs. We may understand moments such as these, then, as composers having a bit of fun, playing with the expectations of an informed listener. End of second subject and Codetta D major , mm. More importantly, the new melody is set in the secondary key again, the dominant or relative major.