a.

Exposition only: the Essential Expositional Trajectory (to the EEC)

PAC final
MC EEC cadence

Continuation modules ’
(series of energy-gaining modules)

TR S C
Energy-gain + Relaunch Postcadential Appendix or
Acceptance of P set of “accessory ideas”
New key May be multisectional (C1, C2, etc.)
Often forte Usually piano and of varying lengths. Usually forte
or gaining in rhetorical force.
P
Often lyrical, etc.
Either modulatory or
nonmodulatory
Launch

Proposes the main

idea for the sonata
in V
(or, if P was in minor, in III or in v)
Tonic key Nontonic key
Exposition, Part 1 Exposition, Part 2

b. The entire structure: the Essential Sonata Trajectory (to the ESC)

Generic layout of the sonata exposition

final
MC EEC cadence interruption

’
Development
TR S C Often P- or TR-dominated
MC ESC
final
cadence
Perhaps rotational ’
Coda
P P TR S C
Restart Tonal resolution
Exposition, Part 1 Exposition, Part 2

b. The entire structure: the Essential Sonata Trajectory (to the ESC)

final
MC EEC cadence interruption

’
Development
TR S C Often P- or TR-dominated
MC ESC
final
cadence
Perhaps rotational ’
Coda
P P TR S C
Restart Tonal resolution

Often recomposed
(emph. IV?)
V
I V or III as chord I I I
Exposition Development Recapitulation
One central mission: laying out the S, as agent, carries out the central
strategy for the eventual attainment of generic task of the sonata—securing
the ESC: a structure of promise. the ESC: a structure of accomplishment.

Figure 2.1 The Generic Layout of Sonata Form

Generic layout of the whole sonata

Type 1 sonata (chapter 16)
Recapitulatory
Expositional rotation
‘Development’ rotation (R2): P TR ’
(R1): P TR ’ S / C
S/C
• P (tonic) • Minimal link, • P (tonic)
• TR (moving away returning to tonic • TR
from tonic) • MC (re-establishing
• MC (opening up tonic)
non-tonic key) • S (confirming tonic)
• S (non-tonic key) • ESC (tonic)
• EEC (in secondary •C
key)
•C
Type 2 sonata (chapter 17)
Rotation 1: Rotation 2a Rotation 2b (‘tonal
P TR ’ S / C (‘development’) resolution’)

• P (tonic) • P [or something • S (confirming

• TR (moving away else] (off-tonic) tonic)
from tonic) • TR • ESC (tonic)
• MC (opening up • MC •C
non-tonic key)
• S (non-tonic key)
• EEC (in secondary
key)
•C
Type 3 sonata (chapters 1–15)
Exposition (R1): Recapitulation (R3):
Development (R2)
P TR ’ S / C P TR ’ S / C
• P (tonic) • Often P- or TR- • P (tonic)
• TR (moving away dominated • TR
from tonic) • Perhaps rotational • MC (re-
• MC (opening up establishing tonic)
non-tonic key) • S (confirming
• S (non-tonic key) tonic)
• EEC (in secondary • ESC (tonic)
key) •C
•C
An example
of Type 3
H AY D N P I A N O S O N ATA I N A
F L AT, H O B . X V I : 4 6 , F I R S T
MOVEMENT