Violin, cello and flute sonatas were all popular. Mozart, Haydn and Beethoven all wrote piano sonatas, violin sonatas and cello sonatas. The standard Classical form is:. In this case, we hear quite a bit of the opening material coming back in new and interesting ways. The triplets, for example, are reminiscent of the transition section heard after the primary theme area. This is appropriate since, like the transition section itself, one of the functions of the development is to transition back to the original key area.
Compare mm. They are nearly identical, though here it is a G-major chord that is being prolonged. Since the F-major prolongation led to the secondary theme in the key of B b major, the listener might expect to hear the secondary theme in C major next. Instead, we are presented with the second half of the primary theme, but now in the relative key of C minor!
False leads such as this and other surprises are to be expected in a typical development section. The retransition begins in m. At this point in the development section the listener may have given up on trying to figure out where things are going!
We first hear the V 7 of the home key in m. The following measures clear things up a bit. Several repetitions of this same chord resolving to E b -major, indicate that we have returned to the home key.
The big HC in m. The recapitulation proceeds as expected with some minor adjustments. Here, for example, we hear only the first eight bars of primary theme area. The transition section also returns more or less intact, but with one very important change.
Here in the recapitulation it has been transposed down a perfect fifth compare m. The transposed transition now leads to a half cadence in E b major instead of B b major. Everything that follows matches the secondary theme area of the exposition, but now in the home key. The primary theme in this sonata form is a double period.
Phrases ending in an IAC m. The transition section begins on an elided cadence , a phrase overlap in which the concluding tonic of one phrase also serves as the beginning of the next phrase. Again, the transition section is marked not only by a cadence ending the opening section but also by a shift in figuration. In this case, the octave scales in mm. Since this piece begins in major, we can expect it to modulate to the dominant somewhere before the secondary theme area.
Since the dominant of C major is G major, the telltale accidental will be an F. To the listener expecting a half cadence in the new key, the arpeggiated dominant seventh chord in m. The new theme in m. The only problem is that it does not last. After just four bars we find another large half cadence: a highly unstable V 7 chord in third inversion marked by a fermata and followed by rests in both staves.
This is the true medial caesura—the arpeggiated dominant in m. As mentioned at the beginning of this chapter, sonata form was exceptionally popular during the common practice era. We may understand moments such as these, then, as composers having a bit of fun, playing with the expectations of an informed listener. In this piece, the secondary theme area beginning with the pickup to m. We hear a set of three four-bar phrases—mm.
Cases such as this are why some analysts use the term second theme group. Beginning in m. As was the case with Example 38—5, we may hear the terminative passage that follows this cadence as a closing theme mm. The development in this sonata begins with material that is reminiscent of the secondary theme area but distinct enough that it may be heard as a new melody—compare, for example, mm.
When this ends in m. In this case, though, they end on G and lead to a new melody in A minor, the relative minor of the home key mm. After a pronounced half cadence in m. Only minor alterations are made in the recapitulation, mostly in the form of omissions. In the primary theme area, for example, we hear only the second half of the double period that opened the piece.
The transition section is much shorter, too, consisting of only the false secondary theme from m. The first eight bars of the secondary theme area are cut entirely in the recapitulation, but the material from mm.
Listen for a change in character in which the clear presentation of a melody shifts to arpeggios and passagework. Listen for the standout cadences: HC in m.
G major to G minor to B b major to C major. Sonata forms almost invariably end with material from the end of the exposition transposed to the home key. One of the most surprising features of this sonata form is the repeated delay of the secondary theme area.
Following a pair of parallel phrases in the primary theme area, the transition begins in m. Since this piece begins in C major, we may expect to find F s indicating a move to the dominant.
We find the first of these in m. The next F , at the end of m. This may at first seem like the medial caesura. It is even followed by a new theme. But this melody is still in the home key and so must be considered a part of the transition. The cadence in m. Another tonicized half cadence appears in m. The listener might wonder if this is the medial caesura. F s appear once again beginning in m. When the listener hears the prolonged arpeggiation of a D-dominant-seventh chord in m.
A fermata at the end of the measure helps confirm that this is finally the end of the transition. At this point, however, the end of the exposition is near and the secondary theme area consists of just a short G-major melody in octaves ending with a conclusive PAC in the secondary key, a closing theme to complete the exposition. The effect is as though time has run out and skipping over the secondary theme was done out of necessity, or perhaps that the melodies that should have been played in G major were accidentally put in the home key.
Regardless, the way the exposition unfolds in this piece seems almost like a parody. This kind of playful self-awareness, however, is common in sonata forms. It happens so frequently that it may be better understood as characteristic of the form and not just as an occasional anomaly. The development section begins in G major and passes through several surprising keys on its way back to the tonic.
A half cadence in m. This passage features a new theme, first in octaves on the upper staff mm. The exposition is followed by the development where the harmonic and textural possibilities of the thematic material are explored. Its originators implied that there was a set template to which classical and Romantic composers aspired, or should aspire.
However, sonata form is presently viewed as a model for musical analysis, rather than compositional practice. In the context of the many late-baroque extended binary forms that bear similarities to sonata form, sonata form can be distinguished by the following three characteristics:.
On occasion, the material of introduction reappears in its original tempo later in the movement. The primary thematic material for the movement is presented in the Exposition. This section can be further divided into several sections. The same section in most sonata form movements has prominent harmonic and thematic parallelisms although in some works from the nineteenth century and onward, some of these parallelisms are subject to considerable exceptions , which include:.
XVI: G1, I, mm. In general, the development starts in the same key as the exposition ended, and may move through many different keys during its course. It will usually consist of one or more themes from the exposition altered and on occasion juxtaposed and may include new material or themes — though exactly what is acceptable practice is a point of contention. Alterations include taking material through distant keys, breaking down of themes and sequencing of motifs, and so forth. The development varies greatly in length from piece to piece and from time period to time period, sometimes being relatively short compared to the exposition e.
Developments in the classical era are typically shorter due to how much composers of that era valued symmetry, unlike the more expressive romantic era in which development sections gain a much greater importance.
However, it almost always shows a greater degree of tonal, harmonic, and rhythmic instability than the other sections. In a few cases, usually in late classical and early romantic concertos, the development section consists of or ends with another exposition, often in the relative minor of the tonic key. Take the old nursery tune that we all know as Twinkle, Twinkle, Little Star.
There's a first part, for instance, which we'll call A;. Now let's see how this simple little construction grows in size when it's used in a slightly longer song-form, say a modern popular song. In fact, most pop tunes stick to this A-B-A pattern very strictly. The only difference here—and this is important, as you'll see later—is that usually the first A-section is repeated right away, before the B-section comes; so that the pattern is really A-A-B-A, instead of just A-B-A.
But it's still made out of those same three parts, A-B-A, only the first part is played twice in a row. Let's take a pop tune—in fact—let's take a typical Beatles tune, and see what happens. First there is an A section. I think that's how it goes. That's the B section and that brings us back to the A section again in all its glory. Well, that's a small step forward from Twinkle, Twinkle, Little Star, it's small, but it's a step.
It's grown in size, and it has that extra deluxe feature—the repeat of the first A section, which Twinkle, Twinkle does not. Now let's follow the growth of a three-part song even further, as it expands into a big operatic aria—for example, the famous aria from Carmen that is sung by the other woman, Micaela.
This is a little more sophisticated; it doesn't break up quite so neatly into an exact A-B-A but I'm sure you'll be able to follow its three parts, just as easily as the Beatles song: the sweet, lyrical first part the more excited and dramatic middle part, and the return again to the quiet first part.
And here to sing it for us is Miss Veronica Tyler, who made her television debut on one of our Young Performers Concerts just a few years ago. We're delighted to have her back with us again singing Micaela's aria from Carmen. Well, now that we have learned to recognize a three-part song form, which I'm sure we have, I think we're ready to take the plunge into sonata form itself.
Because a typical sonata movement is really only a more expanded version of a three-part form, even to the balancing of its two A-sections on either side of the central B section. And here's where those nasty road map names come in — I'm sorry but they have to: the first part, or A-section is called the exposition: this is where the themes of the movement are stated for the first time—or exposed, if you will: therefore the word exposition. This is then followed by a B section, in which one or some or all of those themes are developed in different ways; and so it is called the development section.
And finally, just as you expected, we get the A section stated again; and this third part is usually called—watch out! Wow, that's a tough one. Actually, I'm not too crazy about those terms, either but what can we do? We have to use the words that are most commonly used in order to be understood; so I guess we're stuck with those words - exposition, development, and recapitulation for our A-B-A.
But whatever words we use, the idea of the three parts is still clear and simple; the feeling of balance we get from two similar sections situated on either side of the central development section, just as the ears are situated in a balancing position to the nose. But you remember I said that there were two main secrets to the sonata; balance, and contrast. And this idea of contrast is just as important as the other idea of balance; it's what gives the sonata form its drama and excitement.
Now how does this contrast take place? I'll show you; and here we're going to have to get technical for a minute or two. But I'm sure you won't mind that; because what I'm going to show you now is very important—in fact this is the root of this whole sonata business.
And that is the sense of key, or tonality. Most music that we hear is written in one key or another; not so much the concert music that's written these days, but most of the music you are likely to hear is written in a key.
For instance, the Beatle song we played before is in this key:. Not twelve others, twelve in all. But whatever key it's in—let's say C-major—you feel a key-note, a center, or home plate, where the music belongs, starts out from there, and gets back to. That home plate center is called the tonic. Now all the other notes of the scale also have names; but I won't bother you with them except for this one, which I'd like you to remember: the dominant. That's the name given to the fifth note of any scale—.
That's the dominant.
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