MUSIC 9

MUSIC OF THE
CLASSICAL UNIT 2
PERIOD
SONATA LESSON 4
FORM
 WHAT IS SONATA FORM?
 Also called as first-movement form or sonata-allegro form.
 It is a musical structure that is most strongly associated with the
first movement of various Western instrumental genres, notably,
sonatas, symphonies, and string quartets.
 SONATA FORM
The first movements of multi-movements works
are not always in sonata form.

 Sonata-allegro form – Not need to be in a

quick tempo.
 SONATA FORM
There may be an introduction, usually in slow
tempo, and a coda, or tailpiece. (optional)

 Introduction – sets mood for piece

 Coda/Tailpiece – a part added to the end
MUSICAL FORMS
• a two-part musical form

• a form consisting of three sections, the

third section normally either a literal or a
varied repeat of the first.

• Compound binary form

• More complex type than Ternary form
THREE(3) BASIC FORM OF
SONATA FORM
1. EXPOSITION
1.Theme 1
2.Transition (Bridge)
3.Theme 2
4.Coda/Codetta
 1. EXPOSITION
 The musical subject matter is
stated. EXPOSITION
EXPOSITION
A1
A1
DEVELOPMENT
B
RECAPITULATIO
N
A2

 Corresponds to the first part (A1)

of binary form.
 Emphasis contrast, even conflict.
Contrasting areas –
“first subject/second subject”,
“principal group/subsidiary group”
 1. EXPOSITION
Usually the opening of the
exposition is firmly rooted in
the tonic or “home” key of the
work.
The later segments of the
exposition move decisively to a
closely related but distinct key.
 The second key chosen is
almost invariably one of the two
keys most closely related to the
home key.
 1. EXPOSITION
 If the home key is a
major key, the
dominant key is
chosen; if the home
key is minor, the
relative major is
chosen.
2. DEVELOPMENT
 2. DEVELOPMENT
 The musical subject matter is explored or expanded.
 Corresponds to the second part (B) of binary form.
 Passes through several keys. EXPOSITION DEVELOPMENT
RECAPITULATIO
N
A1 B A2
The purpose is to discuss and resolve the conflicts of
tonality and theme that the exposition has raised.
 Area of tonal flux-it usually modulates, or changes
key.
It proceeds by breaking the principal themes down
into smaller elements and bringing these elements into
new tonal or contrapuntal relations with each other.
 2. DEVELOPMENT
Themes or fragment of themes may appear in new keys; they may be
combined to form new melodies; they may be played against each other
as counterpoint, or countermelody.
 Another resource of development is to seize on an apparently minor
feature of the exposition and, by developing it extensively, to
demonstrate its hidden importance.
 It may provide a moment of relief in the course of a rigorous argument.
 It may allow the composer to expand the scope of a large-scale
movement.
 2. DEVELOPMENT
One common tactic in the Classical development section
is to begin with the codetta theme that ended the
exposition.
3. RECAPITULATION
 3. RECAPITULATION
 The musical subject matter is restated.
 Return to the original key (A2) with a twist.
RECAPITULATIO
 The point at which the development passes EXPOSITION
A1
DEVELOPMENT
B
N
into recapitulation is one of the most important A2

psychological moments in the entire sonata-

form structure.
 It marks the end of the main argument and the
beginning of the final synthesis for which that
argument has been prepared the listener’s mind.
 3. RECAPITULATION
 The main subjects of the
exposition are heard almost
always in the same order as
before, but now both
subjects are typically in the
tonic key.
 3. RECAPITULATION
In other cases far-reaching
modifications and reshufflings of the
original material are made in the
recapitulation.
A large-scale sonata movement often
creates conflict of the key and theme
that cannot be completely settled even
by the full process of recapitulation.
In this case, the movement may be
rounded off with a coda, or
concluding section.
SONATA FORM SAMPLE
SONATA FORM SONG
 ACTIVITY # 4 IN
MUSIC 9
LESSON 4: SONATA FORM
Instructions:
Answer the following on pages: 41-42
(A/B/C)