Chapter 11

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Exposition (II):
Transition
The second thematic function making up a sonata-form exposition is the transi-
tion. The term bridge is sometimes encountered here because this section leads
from the main theme to the subordinate theme. The transition is thus a medial
thematic function within the exposition.

The Basics
The transition of a sonata exposition serves three primary functions:

 To destabilize the home key, so that the subordinate key can emerge as a
competing tonality within the exposition
 To loosen the formal organization, a form of phrase-structural
destabilization
 To liquidate characteristic motivic material (especially toward the transi-
tion’s end), in order to “clear the stage” for the entrance of the subordi-
nate theme

The harmonic goal of a transition is dominant harmony, most often of the

subordinate key but occasionally of the home key. This dominant is usu-
ally articulated by means of a half cadence, though a noncadential dominant
arrival (see Chap. 7, p. 224) may be used now and then for an even looser
formal effect.
Transitions can be classified into three basic categories depending on their
tonal organization.

 Modulating transition. Most transitions destabilize the home key by

actually modulating to the subordinate key (ending there with domi-
nant harmony).