MUS 341: Form & Analysis

Homework 6: Sonata Form NAME ___________________________________

Listen to the first movement of Mozart’s Piano Sonata #12 in F Major, K. 332. The score is included on Beachboard, but please find
your own recording on Spotify, Youtube, Apple Music, Naxos, etc.

Analyze the form of the sonata, and mark the measure number and key of each of the following events:

EXPOSITION DEV. RECAP

FTA trans. STA Closing FTA trans. STA Closing

Bar: ____ ____ ____ _____ _____ ____ ____ ____ _____
Key: ____ ____ _____ ____ ____ _____

Additional Questions:
Considering that the purpose of a transition is to modulate, does the transition in this sonata begin in the pick up to measure 13 or
pick up to measure 23?

Is the Transition you analyzed an Independent or Dependent Transition?

What material from the Exposition is developed in the Development Section? Describe it in terms of its original placement in the
expo (FTA theme, transitional material, STA theme, closing material, etc.)

Is any new material presented in the Development section? If so, which measures?

At what measure in the Recap does the transition “deviate” from the Exposition?

Does this sonata contain any “optional” sections, such as an extended Coda? In what measure does that begin?
Final Thoughts/Suggestions:

A significant challenge in analyzing form in Mozart comes the fact that his compositions always contain SO many melodies. Other
classical composers would be likely to develop a few key melodies significantly (especially Beethoven), but Mozart is a fluent
melodic composer capable of turning one tune out after another.

This will make several components of the form difficult to analyze, such as the exact starting point of the transition, second tonal area
and closing section. It even creates some unusual effects in the development section.

When analyzing this form, remember a couple of important points from class:

1. The sonata is a form that depends in large part on modulations. (A work of this length all in the same key would probably be
very boring). A new theme may be presented at the point of the key change, but it is the key change that is critical, not the new
theme. (Several works by Haydn have the same theme at both FTA and STA sections). So in looking for the STA, look for the
exact point when a strong, confident arrival in the new key (likely dominant key) takes place.

2. In general, the more important themes at the FTA and STA will be structured in an even number of 2, 4 or 8 measures. Likely,
they will also be presented in a periodic structure of some kind. Transitions, Closing Material, Development Sections, Codas and
Slow Intros may have a more “chaotic” combination of measure numbers.