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VI. Variation form. Variations in the Classical period are typically based on a theme written in simple binary or
(more typically) rounded binary, or (much more rarely) ternary form. Each variation will most frequently
reflect the form of the theme, and these variations will be sectional or noncontinuous. Each variation also
tends to retain the harmonic structure of the theme, and the variation will often be simply figurative elabora-
tion on that progression, hence the common term figural variations. Some alterations to the harmonies may
occur, particularly in variations in the parallel mode. The melody of the theme may be ornamented in the
variations or reduced to structural pitches as the basis for new melodic figures. In the Romantic period, the
variations become structurally more diverse and quite contrasting in character, with more of a reliance on the
theme itself for unity. In the twentieth century, variations may be based on a theme, a chord progression, or
even a series of pitches.

VII. Sonata form consists of three large sections: exposition, development, and recapitulation. The exposition con-
sists of the following parts: the first theme (A) in the tonic key; the transition, which is modulatory; and the
second theme (B), usually in the dominant key (if the tonic is major) or the relative key (if the tonic is minor).
The second theme may be followed by an additional theme, or closing theme, also in the new key. The exposi-
tion may be concluded with a codetta, which is primarily cadential. The development section develops the
material of the exposition, and possibly new material as well. Typically, the development section passes
through several keys. At the end of the development there is often a retransition; this section re-establishes the
tonic key and prepares for the recapitulation, which normally contains the material of the exposition,
although with some modifications. The recapitulation normally remains in the tonic key. An introduction may
occur at the beginning of the form, and a coda may occur at the end.

In the following diagram, optional elements of sonata form are presented in parentheses:

FORM 289
VIII. The distinguishing characteristic of rondo form is the alternation of an initial section, A, with contrasting sec-
tions. The A sections usually occur in the tonic key, and the alternating sections in contrasting keys. Rondos
are typically in five or seven parts in the following designs:

IX. Sonata-rondo form is a seven-part rondo in which the fourth part, C, is developmental. The key
plan closely resembles that of sonata form:

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21 Checklist for Analysis

All music should be analyzed as fully as possible within the limits of the student’s knowledge at any stage of
learning. Not only the individual elements but also their interaction should be studied. Following is a check-
list of elements that should be included in an analysis.

I. Harmonic language.

A. All keys and chords, with roman numerals and figured-bass symbols, or appropriate contemporary
nomenclature. How are the key and mode established?

B. All modulations, indicating type and placement.

C. All cadences, indicating type and placement.

D. All nonharmonic tones, by type.

E. Functional and nonfunctional use of chromaticism.

F. Use of nonfunctional (linear or coloristic) chords.

II. Large and small formal units.

A. Phrases and periods, if any; phrase-groups; extensions and elisions.

B. Overall form, including large letters for main sections and formal label, if appropriate. Note balance and
proportion of sections.

C. Use of repetition, altered repetition, departure, return, altered return, development, and contrast. Note the
use of developmental devices.

D. Elements of unity versus elements of variety.

E. Stable versus unstable areas (tension versus relaxation).

III. Melodic organization.

A. Motivic structure, both melodic and rhythmic.

B. Melodic structure, including departure note and goal note, contour, climax, main structural pitches,
range, and tessitura.

C. Special aspects, such as contrapuntal devices and sequence.

IV. Rhythmic organization.

A. Surface rhythm, meter, and harmonic rhythm.

B. Special devices of rhythmic development.

C. How the meter is emphasized or obscured.

D. Tempo.

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 V. Sound.

A. Use of the medium: idiomatic devices, range and tessitura, and timbre (color).

B. Texture.

C. Dynamics.

VI. Text-setting, where appropriate.

A. Relations between form and/or mood of text and music.

B. Rhythmic and/or metric relationships.

Sample Analysis

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