![Sonata form three large sections](https://upload.wikimedia.org/wikipedia/commons/8/87/Sonata_form_three_large_sections.png)
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a
musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early
Classical period).
While it is typically used in the first
movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century.
There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation;
however, beneath this general structure, sonata form is difficult to pin down to a single model.
The standard definition focuses on the thematic and harmonic organization of
tonal materials that are presented in an
exposition
Exposition (also the French for exhibition) may refer to:
*Universal exposition or World's Fair
* Expository writing
** Exposition (narrative)
* Exposition (music)
*Trade fair
A trade fair, also known as trade show, trade exhibition, or trade e ...
, elaborated and contrasted in a
development
Development or developing may refer to:
Arts
*Development hell, when a project is stuck in development
*Filmmaking, development phase, including finance and budgeting
*Development (music), the process thematic material is reshaped
* Photograph ...
and then resolved harmonically and thematically in a
recapitulation. In addition, the standard definition recognizes that an
introduction
Introduction, The Introduction, Intro, or The Intro may refer to:
General use
* Introduction (music), an opening section of a piece of music
* Introduction (writing), a beginning section to a book, article or essay which states its purpose and g ...
and a
coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.
After its establishment, the sonata form became the most common form in the first movement of works entitled "
sonata", as well as other long works of classical music, including the
symphony,
concerto,
string quartet, and so on.
Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be
analyzed as elaborations or expansions of the standard description of sonata form.
Defining 'sonata form'
![Baroque binary forms roots in sonata form](https://upload.wikimedia.org/wikipedia/commons/2/24/Baroque_binary_forms_roots_in_sonata_form.png)
According to the ''
Grove Dictionary of Music and Musicians'', sonata form is "the most important principle of musical form, or formal type, from the
Classical period well into the
20th century".
As a formal model it is usually best exemplified in the first movements of multi-movement works from this period, whether
orchestra
An orchestra (; ) is a large instrumental ensemble typical of classical music, which combines instruments from different families.
There are typically four main sections of instruments:
* bowed string instruments, such as the violin, viola, c ...
l or
chamber
Chamber or the chamber may refer to:
In government and organizations
* Chamber of commerce, an organization of business owners to promote commercial interests
*Legislative chamber, in politics
* Debate chamber, the space or room that houses delib ...
, and has, thus, been referred to frequently as "first-movement form" or "sonata-allegro form" (since the typical first movement in a three- or four-movement cycle will be in
allegro tempo). However, as what Grove, following
Charles Rosen
Charles Welles Rosen (May 5, 1927December 9, 2012) was an American pianist and writer on music. He is remembered for his career as a concert pianist, for his recordings, and for his many writings, notable among them the book ''The Classical Sty ...
, calls a "principle"—a typical approach to shaping a large piece of
instrumental
An instrumental is a recording normally without any vocals, although it might include some inarticulate vocals, such as shouted backup vocals in a big band setting. Through semantic widening, a broader sense of the word song may refer to inst ...
music—it can be seen to be active in a much greater variety of pieces and
genres
Genre () is any form or type of communication in any mode (written, spoken, digital, artistic, etc.) with socially-agreed-upon conventions developed over time. In popular usage, it normally describes a category of literature, music, or other for ...
, from
minuet
A minuet (; also spelled menuet) is a social dance of French origin for two people, usually in time. The English word was adapted from the Italian ''minuetto'' and the French ''menuet''.
The term also describes the musical form that accomp ...
to
concerto to
sonata-rondo. It also carries with it expressive and stylistic connotations: "sonata style"—for
Donald Tovey
Sir Donald Francis Tovey (17 July 187510 July 1940) was a British musical analyst, musicologist, writer on music, composer, conductor and pianist. He had been best known for his '' Essays in Musical Analysis'' and his editions of works by Bach ...
and other theorists of his time—was characterized by drama, dynamism, and a "psychological" approach to theme and expression.
[
Although the Italian term '' sonata'' often refers to a piece in sonata form, it is important to separate the two. As the title for a single-movement piece of instrumental music—the past participle of ''suonare'', "to sound", as opposed to '' cantata'', the past participle of ''cantare'', "to sing"—"sonata" covers many pieces from the Baroque and mid-18th century that are not "in sonata form". Conversely, in the late 18th century or "Classical" period, the title "sonata" is typically given to a work composed of three or four movements. Nonetheless, this multi-movement sequence is not what is meant by sonata form, which refers to the structure of an individual movement.
The definition of sonata form in terms of musical elements sits uneasily between two historical eras. Although the late 18th century witnessed the most exemplary achievements in the form, above all from Joseph Haydn and ]Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition r ...
, a compositional theory of the time did not use the term "sonata form". Perhaps the most extensive contemporary description of the sonata-form type of movement may have been given by the theorist Heinrich Christoph Koch in 1793: like earlier German theorists and unlike many of the descriptions of the form we are used to today, he defined it in terms of the movement's plan of modulation and principal cadences
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (19 ...
, without saying a great deal about the treatment of themes. Seen in this way, sonata form was closest to binary form, out of which it probably developed.[
The model of the form that is often taught currently tends to be more thematically differentiated. It was originally promulgated by ]Anton Reicha
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best rem ...
in ''Traité de haute composition musicale'' in 1826, by Adolf Bernhard Marx
Friedrich Heinrich Adolf Bernhard Marx . B. Marx(15 May 1795, Halle – 17 May 1866, Berlin) was a German music theorist, critic, and musicologist.
Life
Marx was the son of a Jewish doctor in Halle who, though a member of the congregation, was ...
in ''Die Lehre von der musikalischen Komposition'' in 1845, and by Carl Czerny
Carl Czerny (; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and ...
in 1848. Marx may be the originator of the term "sonata form". This model was derived from the study and criticism of Beethoven
Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classic ...
's piano
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keybo ...
sonatas.
Definition as a formal model
A sonata-allegro movement is divided into sections. Each section is felt to perform specific functions in the musical argument A musical argument is a means of creating tension through the relation of expressive content and musical form:
Experimental musics may use process or indeterminacy rather than argument.LaBelle (2006), p.7.
The musical argument may be character ...
.
* It may begin with an ''introduction
Introduction, The Introduction, Intro, or The Intro may refer to:
General use
* Introduction (music), an opening section of a piece of music
* Introduction (writing), a beginning section to a book, article or essay which states its purpose and g ...
'', which is, in general, slower than the main movement.
* The first required section is the ''exposition
Exposition (also the French for exhibition) may refer to:
*Universal exposition or World's Fair
* Expository writing
** Exposition (narrative)
* Exposition (music)
*Trade fair
A trade fair, also known as trade show, trade exhibition, or trade e ...
''. The exposition presents the primary thematic material for the movement: one or two themes or theme groups, often in contrasting styles and in opposing keys, connected by a modulating transition. The exposition typically concludes with a closing theme, a ''codetta
In music, a coda () (Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section.
In classical music
The presence of a coda as a st ...
'', or both.
* The exposition is followed by the ''development
Development or developing may refer to:
Arts
*Development hell, when a project is stuck in development
*Filmmaking, development phase, including finance and budgeting
*Development (music), the process thematic material is reshaped
* Photograph ...
'' where the harmonic and textural possibilities of the thematic material are explored.
* The development then re-transitions back to the '' recapitulation'' where the thematic material returns in the tonic key, and for the recapitulation to complete the musical argument, material that has not been stated in the tonic key is "resolved" by being played, in whole or in part, in the tonic.
* The movement may conclude with a '' coda'', beyond the final cadence of the recapitulation.
The term 'sonata form' is controversial and has been called misleading by scholars and composers almost from its inception. Its originators implied that there was a set template to which Classical and Romantic composers aspired, or should aspire. However, sonata form is currently viewed as a model for musical analysis, rather than compositional practice. Although the descriptions on this page could be considered an adequate analysis of many first-movement structures, there are enough variations that theorists such as Charles Rosen
Charles Welles Rosen (May 5, 1927December 9, 2012) was an American pianist and writer on music. He is remembered for his career as a concert pianist, for his recordings, and for his many writings, notable among them the book ''The Classical Sty ...
have felt them to warrant the plural in 'sonata forms'.
These variations include, but are not limited to:
*a monothematic exposition, where the same material is presented in different keys, often used by Haydn
Franz Joseph Haydn ( , ; 31 March 173231 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led ...
;
*a 'third subject group' in a different key than the other two, used by Schubert
Franz Peter Schubert (; 31 January 179719 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast ''oeuvre'', including more than 600 secular vocal wor ...
(e.g. in the String Quintet, D. 956), and Bruckner's Symphony No. 4;
*the first subject recapitulated in the 'wrong' key, often the subdominant, as in Mozart's Piano Sonata No. 16 in C, K. 545 and Schubert's Symphony No. 5;
*the second subject group recapitulated in a key other than the tonic, as in Richard Strauss's Symphony No. 2;
*and an extended coda section that pursues developmental, rather than concluding, processes, often found in Beethoven
Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classic ...
's middle-period works, such as his Symphony No. 3.
Through the Romantic period, formal distortions and variations become so widespread (Mahler
Gustav Mahler (; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism ...
, Elgar
Sir Edward William Elgar, 1st Baronet, (; 2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestr ...
and Sibelius
Jean Sibelius ( ; ; born Johan Julius Christian Sibelius; 8 December 186520 September 1957) was a Finnish composer of the late Romantic and early-modern periods. He is widely regarded as his country's greatest composer, and his music is often ...
among others are cited and studied by James Hepokoski
James Arnold Hepokoski (born 20 December 1946) is an American musicologist. He is best known for his work with Warren Darcy on developing sonata theory, first fully explained in their 2006 book ''Elements of Sonata Theory''.
Life and career
Ja ...
) that 'sonata form' as it is outlined here is not adequate to describe the complex musical structures that it is often applied to.
In the context of the many late- Baroque extended binary forms that bear similarities to sonata form, sonata form can be distinguished by the following three characteristics:[
* a separate development section including a retransition
* the simultaneous return of the first subject group and the tonic
* a full (or close to full) recapitulation of the second subject group
]
Outline of sonata form
The standard description of the sonata form is:
Introduction
The ''introduction'' section is optional, or may be reduced to a minimum. If it is extended, it is, in general, slower than the main section and frequently focuses on the dominant key
In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the ''dominant'' because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as " ...
. It may or may not contain material that is later stated in the exposition. The introduction increases the weight of the movement (such as the famous dissonant introduction to Mozart's "Dissonance" Quartet, K. 465), and also permits the composer to begin the exposition with a theme that would be too light to start on its own, as in Haydn's Symphony No. 103 ("The Drumroll") and Beethoven's Quintet for Piano and Winds Op. 16. The introduction usually is not included in the exposition repeat: the ''Pathétique'' is a possible counterexample. Much later, Chopin's Piano Sonata No. 2 (Op. 35) is a clear example where the introduction is also included.
On occasion, the material of introduction reappears in its original tempo later in the movement. Often, this occurs as late as the coda, as in Mozart's String Quintet in D major, K. 593, Haydn's "Drumroll" Symphony, Beethoven's Piano Sonata No. 8 ("Pathétique"), or Schubert's Symphony No. 9 ("Great"). Sometimes it can appear earlier: it occurs at the beginning of the development in the ''Pathétique'' Sonata, and at the beginning of the recapitulation of Schubert's Symphony No. 1.
Exposition
The primary thematic material for the movement is presented in the exposition. This section can be further divided into several sections. The same section in most sonata form movements has prominent harmonic and thematic parallelisms (although in some works from the 19th century and onward, some of these parallelisms are subject to considerable exceptions), which include:
* ''First subject group'', ''P'' (Prime) – this consists of one or more themes, all of them in the tonic key. Although some pieces are written differently, most follow this form.
*'' Transition'', ''T'' – in this section the composer modulates from the key of the first subject to the key of the second. If the first group is in a major key, the second group will usually be in the dominant key. However, if the first group is in minor key, the second group will usually be the relative major.
*''Second subject group'', ''S'' – one or more themes in a different key from the first group. The material of the second group is often different in rhythm or mood from that of the first group (frequently, it is more lyrical).
*''Codetta
In music, a coda () (Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section.
In classical music
The presence of a coda as a st ...
'', ''K'' – the purpose of this is to bring the exposition section to a close with a perfect cadence
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (199 ...
in the same key as the second group. It is not always used, and some works end the exposition on the second subject group.
The exposition is commonly repeated, particularly in classical works, and more likely in solo or chamber works than for concerti. Often, though not always, the last measure or measures of the exposition are slightly different between the repeats, one to point back to the tonic, where the exposition began, and the second to point towards the development.
Development
In general, the development starts in the same key as the exposition ended, and may move through many different keys during its course. It will usually consist of one or more themes from the exposition altered and on occasion juxtaposed and may include new material or themes—though exactly what is acceptable practice is a point of contention. Alterations include taking material through distant keys, breaking down of themes and sequencing of motifs, and so forth.
The development varies greatly in length from piece to piece and from time period to time period, sometimes being relatively short compared to the exposition (e.g., the first movement of '' Eine kleine Nachtmusik'') and in other cases quite long and detailed (e.g., the first movement of the "Eroica" Symphony). Developments in the Classical era are typically shorter due to how much composers of that era valued symmetry, unlike the more expressive Romantic era in which development sections gain a much greater importance. However, it almost always shows a greater degree of tonal, harmonic, and rhythm
Rhythm (from Greek , ''rhythmos'', "any regular recurring motion, symmetry") generally means a " movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular re ...
ic instability than the other sections. In a few cases, usually in late Classical and early Romantic concertos, the development section consists of or ends with another exposition, often in the relative minor of the tonic key.
At the end, the music will usually return to the tonic key in preparation of the recapitulation. (On occasion, it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition.) The transition from the development to the recapitulation is a crucial moment in the work. The last part of the development section is called the ': It prepares for the return of the first subject group in the tonic.
Exceptions include the first movement of Brahms
Johannes Brahms (; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid-Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with ...
's Piano Sonata No. 1. The general key of the movement is C major, and it would then follow that the retransition should stress the dominant seventh chord on G. Instead, it builds in strength over the dominant seventh chord on C, as if the music were proceeding to F major, only to take up immediately the first theme in C major. Another exception is the fourth movement of Schubert
Franz Peter Schubert (; 31 January 179719 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast ''oeuvre'', including more than 600 secular vocal wor ...
's Symphony No. 9. The home key of the movement is C major. The retransition prolongates over the dominant chord on G, but suddenly takes up the first theme in the flattened mediant E major.
A particularly common exception is for the dominant to be substituted with the dominant of the relative minor key: one example is the first movement of Haydn's String Quartet in E major, Op. 54 No. 3.
Occasionally, the retransition can begin with a false recapitulation, in which the opening material of the first theme group is presented before the development has completed. The surprise that ensues when the music continues to modulate toward the tonic can be used for either comic or dramatic effect. An example occurs in the first movement of Haydn's String Quartet in G major, Op. 76 No. 1.
Recapitulation
The recapitulation is an altered repeat of the exposition, and consists of:
*''First subject group'' – normally given prominence as the highlight of a recapitulation, it is usually in exactly the same key and form as in the exposition.
*''Transition'' – often the transition is carried out by introducing a novel material: a kind of an additional brief development. It is called a "secondary development".
*''Second subject group'' – usually in roughly the same form as in the exposition, but now in the home key, which sometimes involves change of mode from major to minor, or vice versa, as occurs in the first movement of Mozart's Symphony No. 40 (K. 550). More often, however, it may be recast in the parallel major of the home key (for example, C major when the movement is in C minor like Beethoven's Symphony No. 5 in C Minor, op. 67/I). Key here is more important than mode (major or minor); the recapitulation provides the needed balance even if the material's mode is changed, so long as there is no longer any key conflict.
Exceptions to the recapitulation form include Mozart and Haydn works that often begin with the second subject group when the first subject group has been elaborated at length in the development. If a theme from the second subject group has been elaborated at length in the development in a resolving key such as the tonic major or minor or the subdominant, it may also be omitted from the recapitulation. Examples include the opening movements of Mozart's piano sonata in C minor, K. 457, and Haydn's String Quartet in G major, Op. 77 No. 1.
After the closing cadence, the musical argument A musical argument is a means of creating tension through the relation of expressive content and musical form:
Experimental musics may use process or indeterminacy rather than argument.LaBelle (2006), p.7.
The musical argument may be character ...
proper is said to be completed harmonically. If the movement continues, it is said to have a coda.
Coda
The coda is optional in Classical-era works, but became essential in many Romantic works. After the final cadence of the recapitulation, the movement may continue with a coda that will contain material from the movement proper. Codas, when present, vary considerably in length, but like introductions are not generally part of the "argument" of the work in the Classical era. Codas became increasingly important and essential parts of the sonata form in the nineteenth century. The coda often ends with a perfect authentic cadence
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (199 ...
in the original key. Codas may be quite brief tailpieces, typically in the Classical era, or they may be very long and elaborate. An example of the more extended type is the coda to the first movement of Beethoven
Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classic ...
's Eroica Symphony, and an exceptionally long coda appears at the end of the finale of Beethoven's Symphony No. 8.
Explanations for why an extended coda is present vary. One reason may be to omit the repeat of the development and recapitulation sections found in earlier sonata forms of the 18th century. Indeed, Beethoven's extended codas often serve the purpose of further development of thematic material and resolution of ideas left unresolved earlier in the movement. Another role that these codas sometimes serve is to return to the minor mode in minor-key movements where the recapitulation proper concludes in the parallel major, as in the first movements of Beethoven's Symphony No. 5 or Schumann
Robert Schumann (; 8 June 181029 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career a ...
's Piano Concerto, or rarely, to restore the home key after an off-tonic recapitulation, such as in the first movements of Brahms's Clarinet Quintet
Traditionally a clarinet quintet is a chamber musical ensemble made up of one clarinet, plus the standard string quartet of two violins, one viola, and one cello. Now the term clarinet quintet can refer to five B clarinets; four B clarinets and a ...
and Dvořák's Symphony No. 9.
Variations on the standard schema
Monothematic expositions
It is not necessarily the case that the move to the dominant key in the exposition is marked by a new theme. Haydn in particular was fond of using the opening theme, often in a truncated or otherwise altered form, to announce the move to the dominant, as in the first movement of his Sonata Hob. XVI No. 49 in E major. Mozart also occasionally wrote such expositions: for instance in the Piano Sonata K. 570 or the String Quintet K. 593. Such expositions are often called ''monothematic'', meaning that one theme serves to establish the opposition between tonic and dominant keys. This term is misleading, since most "monothematic" works have multiple themes: most works so labeled have additional themes in the second subject group. Rarely, as in the fourth movement of Haydn's String Quartet in B major, Op. 50, No. 1, did composers perform the ''tour de force'' of writing a complete sonata exposition with just one theme. A more recent example is Edmund Rubbra
Edmund Rubbra (; 23 May 190114 February 1986) was a British composer. He composed both instrumental and vocal works for soloists, chamber groups and full choruses and orchestras. He was greatly esteemed by fellow musicians and was at the peak o ...
's Symphony No. 2.
The fact that so-called monothematic expositions usually have additional themes is used by Charles Rosen to illustrate his theory that the Classical sonata form's crucial element is some sort of ''dramatization'' of the arrival of the dominant. Using a new theme was a very common way to achieve this, but other resources such as changes in texture, salient cadences and so on were also accepted practice.
No transitions between the first and second subject groups
In some sonata-form works, especially in the Classical period, there is no transitional material linking the subject groups. Instead, the piece moves straight from the first subject group to the second subject group via common-tone modulation. This happens in the first movement of Mozart's Symphony No. 31 and again in the third movement of his Symphony No. 34. In the exposition, the first subject group ends on a half-cadence in tonic, and the second subject group immediately follows in the dominant key (without a transition).
Expositions that modulate to other keys
The key of the second subject may be something other than the dominant (for a major-mode sonata movement) or relative major (for a minor-key movement). A second option for minor-mode sonata form movements was to modulate to the minor dominant; this option, however, robs the sonata structure of the space of relief and comfort that a major-mode second theme would bring, and was therefore used primarily for a bleak, grim effect, as Beethoven did with some frequency.
About halfway through his career, Beethoven also began to experiment with other tonal relationships between the tonic and the second subject group. The most common practice, for Beethoven and many other composers from the Romantic era, was to use the mediant or submediant
In music, the submediant is the sixth degree () of a diatonic scale. The submediant ("lower mediant") is named thus because it is halfway between tonic and subdominant ("lower dominant") or because its position below the tonic is symmetrical to ...
, rather than the dominant, for the second group. For instance, the first movement of the "Waldstein" sonata, in C major, modulates to the mediant E major, while the opening movement of the "Hammerklavier" sonata, in B major, modulates to the submediant G major
G major (or the key of G) is a major scale based on G, with the pitches G, A, B, C, D, E, and F. Its key signature has one sharp. Its relative minor is E minor and its parallel minor is G minor.
The G major scale is:
Notable composi ...
, and String Quartet No. 13 in the same key modulating to the flattened submediant
In music, the submediant is the sixth degree () of a diatonic scale. The submediant ("lower mediant") is named thus because it is halfway between tonic and subdominant ("lower dominant") or because its position below the tonic is symmetrical to ...
key of G major
G major (or the key of G) is a major scale based on G, with the pitches G, A, B, C, D, E, and F. Its key signature has one sharp. Its relative minor is E minor and its parallel minor is G minor.
The G major scale is:
Notable composi ...
. Tchaikovsky also implemented this practice in the last movement of his Symphony No. 2; the movement is in C major and modulates to the flattened submediant A major. The young Chopin even experimented with expositions that do not modulate at all, in the opening movements of his Piano Sonata No. 1 (remaining in C minor throughout) and his Piano Concerto No. 1 (moving from E minor to E major).
Beethoven began also to use the submediant major with more frequency in minor-key sonata-form movements, as in the first movements of Symphony No. 9, Piano Sonata No. 32, and String Quartets No. 11 and No. 15. The latter case transposes the second repeat of its exposition by a fifth, starting on the minor dominant (instead of the tonic) and finishing on the major mediant (instead of the submediant). The first movement of Richard Strauss's Symphony No. 2, in F minor
F minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature consists of four flats. Its relative major is A-flat major and its parallel major is F major. Its enharmonic equivalent, E-sharp mi ...
, modulates to the submediant D minor, as do the F minor first movements of Brahms' first clarinet sonata and piano quintet
In classical music, a piano quintet is a work of chamber music written for piano and four other instruments, most commonly a string quartet (i.e., two violins, viola, and cello). The term also refers to the group of musicians that plays a pian ...
; all three works balance this downward third by moving up to the major mediant ( A major) for the key of the second movement.
Rarely, a major-mode sonata form movement will modulate to a minor key for the second subject area, such as the mediant minor (Beethoven Sonata Op. 31/1, i), the relative minor (first movements of Beethoven Triple Concerto and Brahms Piano Trio No. 1) or even the minor dominant (Brahms Piano Concerto No. 2, i). In such cases, the second theme will often return initially in the tonic minor in the recapitulation, with the major mode restored later on.
During the late Romantic period, it was also possible to modulate to remote tonal areas to represent divisions of the octave. In the first movement of Tchaikovsky's Symphony No. 4, the first subject group is in the tonic F minor
F minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature consists of four flats. Its relative major is A-flat major and its parallel major is F major. Its enharmonic equivalent, E-sharp mi ...
but modulates to G minor
G minor is a minor scale based on G, consisting of the pitches G, A, B, C, D, E, and F. Its key signature has two flats. Its relative major is B-flat major and its parallel major is G major.
According to Paolo Pietropaolo, it is the con ...
and then to B major for the second subject group. The recapitulation begins in D minor and modulates to F major
F major (or the key of F) is a major scale based on F, with the pitches F, G, A, B, C, D, and E. Its key signature has one flat. Its relative minor is D minor and its parallel minor is F minor.
The F major scale is:
:
F major is the ...
, and goes back to the parallel F minor
F minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature consists of four flats. Its relative major is A-flat major and its parallel major is F major. Its enharmonic equivalent, E-sharp mi ...
for the coda.
Also in the late Romantic period, it was possible for a minor-key sonata form movement to modulate to the major dominant, as in the first movements of Tchaikovsky's Symphony No. 1 and Brahms' Symphony No. 4. Another possibility for minor-key sonata form movements was to modulate to the mediant minor, as in the first movement of Brahms' Symphony No. 1; the second subject group starts in the relative E major and then goes to the parallel mediant E minor
E minor is a minor scale based on E, consisting of the pitches E, F, G, A, B, C, and D. Its key signature has one sharp. Its relative major is G major and its parallel major is E major.
The E natural minor scale is:
:
Changes needed ...
.
Expositions with more than two key areas
The exposition need not only have two key areas. Some composers, most notably Schubert
Franz Peter Schubert (; 31 January 179719 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast ''oeuvre'', including more than 600 secular vocal wor ...
, composed sonata forms with three or more key areas. The first movement of Schubert's Quartet in D minor, D. 810 ("Death and the Maiden"), for example, has three separate key and thematic areas, in D minor, F major, and A minor. Similarly, Chopin's Piano Concerto in F minor uses F minor, A major, and C minor in its first movement's exposition. In both cases, the transition is i–III–v, an elaboration of the minor schema of either using i–III or i–v. This is by no means the only scheme, however: the opening movement of Schubert's Violin Sonata in G minor, D. 408, uses the scheme i–III–VI, and the opening movement of Schubert's Symphony No. 2 in B major, D. 125, uses the scheme I–IV–V. An extreme example is the finale to Schubert's Symphony No. 6, D. 589, which has a six-key exposition (C major, A major, F major, A major, E, and G major), with a new theme for each key.
Modulations within the first subject group
The first subject group need not be entirely in the tonic key. In the more complex sonata expositions there can be brief modulations to fairly remote keys, followed by reassertion of the tonic. For example, Mozart's String Quintet in C, K. 515, visits C minor and D major as chromaticism within the C major first subject group, before finally moving to D major, the dominant of the dominant major (G major), preparing the second subject group in the dominant. Many works by Schubert and later composers utilized even further harmonic convolutions. In the first subject group of Schubert's Piano Sonata in B, D. 960, for example, the theme is presented three times, in B major, in G major, and then again in B major. The second subject group is even more wide-ranging. It begins in F minor, moves into A major, then through B major to F major.
Recapitulations in the "wrong key"
In the recapitulation section, the key of the first subject group may be in a key other than tonic, most often in the subdominant, known as a "subdominant recapitulation". In some pieces by Haydn and Mozart, such as Mozart's Piano Sonata No. 16 in C, K. 545, or the finale of his String Quartet No. 14 in G, K. 387, the first subject group will be in the subdominant and then modulate back to tonic for the second subject group and coda. Schubert was a prominent user of the subdominant recapitulation; it appears for example in the opening movements of his Symphonies No. 2 and No. 5, as well as those of his piano sonatas D 279, D 459, D 537, D 575, as well as the finale of D 664. Sometimes this effect is also used for false reprises in the "wrong key" that are soon followed by the actual recapitulation in the tonic, such as in the first movement of Haydn's quartet Op. 76 No. 1 in G (false reprise in the subdominant), or the finale of Schubert's piano sonata in A, D 959 (false reprise in the major submediant). A special case is the recapitulation that begins in the tonic minor, for example in the slow movement of Haydn's quartet Op. 76 No. 4 in E, or the opening movement of Haydn's Symphony No. 47 in G major. In the Classical period, the subdominant is the only possible substitute for the tonic at this position (because any other key would need resolution and would have to be introduced as a false reprise in the development), but with the erosion of the distinction between the sharp and flat directions and the blurring of tonal areas true recapitulations beginning in other keys became possible after around 1825.
It is also possible for the first subject group to begin in tonic (or a key other than tonic), modulate to another key and then back to tonic for the second subject group. In the finale of the original 1872 version of Tchaikovsky's Symphony No. 2, the first subject group begins in the tonic C major, modulates to E major, then through E major, and then modulates back to tonic for the second subject group and coda. And in the last movement of Schubert's Symphony No. 9 in C major, the first subject group is in the flattened mediant E major, modulates to the subdominant F major
F major (or the key of F) is a major scale based on F, with the pitches F, G, A, B, C, D, and E. Its key signature has one flat. Its relative minor is D minor and its parallel minor is F minor.
The F major scale is:
:
F major is the ...
and then back to tonic for the second subject group and coda. It is also possible to have the second subject group in a key other than tonic while the first subject group is in the home key. For instance in the first movement of Richard Strauss's Symphony No. 2 in F minor
F minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature consists of four flats. Its relative major is A-flat major and its parallel major is F major. Its enharmonic equivalent, E-sharp mi ...
, the recapitulation begins with the first subject group in tonic but modulates to the mediant A major for the second subject group before modulating back to F minor for the coda. Another example is the first movement of Dvorak's Symphony No. 9. The recapitulation begins in the tonic E minor for the first subject group, but the second subject group modulates to G-sharp minor, then through A-flat major before modulating back to the tonic key for the coda. Romantic works even exhibit progressive tonality Progressive tonality is the music compositional practice whereby a piece of music does not finish in the key (music), key in which it began, but instead 'progresses' to an ending in a different key or tonality. To avoid misunderstanding, it should b ...
in sonata form: for example, the second movement 'Quasi-Faust' from Charles-Valentin Alkan's ''Grande sonate 'Les quatre âges'
''Grande sonate: Les quatre âges'' (French for ''Grand sonata: The Four Ages'') is a four movement sonata for piano by Charles-Valentin Alkan. The sonata's title refers to the subtitles given to each movement, portraying a man at the ages of 20, 3 ...
'' is in D minor, and while the exposition travels from D to the major subdominant G major, the recapitulation begins again in D minor and ends in the relative major F major, and stays there till the end of the movement. Such a scheme may have been constructed to conform with the programmatic nature of the movement, but also fits well with the Romantic penchant for beginning a work at maximum tension and decreasing the tension afterwards, so that the point of ultimate stability is not reached until the last possible moment. (Furthermore, the identification of a minor key with its relative major is common in the Romantic period, supplanting the earlier Classical identification of a minor key with its parallel major.)
Partial or varied recapitulations
In some pieces in sonata form, in the recapitulation, the first subject group is omitted, leaving only the second subject group, like the second movement of Haydn
Franz Joseph Haydn ( , ; 31 March 173231 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led ...
's Sonata Hob. XVI/35, as well as the opening movements of Chopin's Piano Sonata No. 2 and No. 3. It is also possible for the first subject group to be slightly different in comparison of the exposition, like the fourth movement of Dvorak's Symphony No. 9. Another example occurs in the finale of Mozart's string quartet K. 387
The String Quartet No. 14 in G major, K. 387, nicknamed the "Spring" quartet, was composed by Wolfgang Amadeus Mozart in 1782 while in Vienna. In the composer's inscription on the title page of the autograph score is stated: ''"li 31 di decembre 1 ...
, where the opening of the first subject group is cut, and in the quintet
A quintet is a group containing five members. It is commonly associated with musical groups, such as a string quintet, or a group of five singers, but can be applied to any situation where five similar or related objects are considered a single ...
K. 515, where a later portion of the first subject group is cut. On the other hand, it is also possible for the subject groups to be reversed in order, like the fourth movement of Bruckner
Josef Anton Bruckner (; 4 September 182411 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-Germa ...
's Symphony No. 7, or the first movement of Mozart's piano sonata in D major, K. 311. The second subject group's melody can be different compared to the exposition, like Haydn
Franz Joseph Haydn ( , ; 31 March 173231 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led ...
's Symphony No. 44. Such melodic adjustment is common in minor-key sonata forms, when the mode of the second subject needs to be changed, for example in the opening movement of Mozart's wind serenade K. 388
The Serenade No. 12 for winds in C minor, K. 388/384a, was written by Wolfgang Amadeus Mozart in 1782 or 1783. The work is sometimes called "Nachtmusik". In 1787, Mozart transcribed the work for string quintet. This transcription survives as Stri ...
. In rare cases, the second subject theme can be omitted, as in the finale of Tchaikovsky's Violin Concerto
A violin concerto is a concerto for solo violin (occasionally, two or more violins) and instrumental ensemble (customarily orchestra). Such works have been written since the Baroque period, when the solo concerto form was first developed, up thro ...
in D major.
Truncated sonata form
Occasionally, especially in some Romantic works, the sonata form extends only as far as the end of the exposition, at which point the piece transitions directly into the next movement instead of a development section. One example is Henryk Wieniawski's Violin Concerto No. 2 in D minor. Another example is Fritz Seitz
Friedrich Seitz (12 June 1848, Günthersleben-Wechmar, Saxe-Coburg and Gotha – 22 May 1918) was a German Romantic Era composer. He was a violinist who served as a concertmaster, who wrote chamber music and eight student concertos for the viol ...
's Violin Concertos for students, where such a truncated sonata form is used ostensibly to cut down on the first movements' length. Sometimes, the third movement of such works is the recapitulation of the first movement (one example being Franz Strauss' Horn Concerto in C Minor), making the entire work effectively a single-movement sonata.
Some Classical slow movements involve a different sort of truncation, in which the development section is replaced altogether by a short retransition. This occurs in the slow movements of Mozart's quartets K. 387
The String Quartet No. 14 in G major, K. 387, nicknamed the "Spring" quartet, was composed by Wolfgang Amadeus Mozart in 1782 while in Vienna. In the composer's inscription on the title page of the autograph score is stated: ''"li 31 di decembre 1 ...
, K. 458, K. 465, K. 575, and K. 589. It is also common in overtures, occurring for example in Mozart's overture to ''Le nozze di Figaro
''The Marriage of Figaro'' ( it, Le nozze di Figaro, links=no, ), K. 492, is a ''commedia per musica'' (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premie ...
'', or Rossini's overture to ''Il barbiere di Siviglia
''The Barber of Seville, or The Useless Precaution'' ( it, Il barbiere di Siviglia, ossia L'inutile precauzione ) is an ''opera buffa'' in two acts composed by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based ...
''. This is distinct from a short development, such as in the opening movement of Mozart's Violin Sonata in G major, K. 379 Violin Sonata No. 27 in G major ( K. 379/373a) was composed by Wolfgang Amadeus Mozart in Vienna in 1781 and first published in the same year.
Structure
This violin sonata consists of two movements.
Discography
* Oleg Kagan, violin and Sviatos ...
.
Another instance of a truncated sonata form has the development section completely omitted altogether, and the recapitulation immediately follows the exposition (even without a retransitional passage). This occurs in the first movement of Tchaikovsky
Pyotr Ilyich Tchaikovsky , group=n ( ; 7 May 1840 – 6 November 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally. He wrote some of the most popu ...
's Serenade for Strings, and is known as sonatina form.
In concerti
An important variant on traditional sonata-allegro form is found in the first movement of the Classical concerto. Here, the sonata-allegro's customary 'repeated exposition' is replaced by two different but related sections: the 'tutti exposition' and the 'solo exposition'. Prototypically the 'tutti exposition' does not feature the soloist (except, in early classical works, in a 'continuo' role), and does not contain the decisive sonata-exposition modulation to the secondary key. Only when the 'solo exposition' is under way does the solo instrument assert itself and participate in the move to (classically) the dominant or relative major. The situation is only seemingly different in the case of such late classical works as Beethoven's piano concertos No. 4 and No. 5, where the soloist is heard at the outset: as the later unfolding of those movements makes clear, the opening piano solo or early piano flourishes actually ''precede'' the start of the exposition proper. This device is also found in an early Mozart concerto, No. 9, as well as in many Romantic concertos, such as Grieg's A minor concerto or Brahms' B major concerto.
A structural feature that the special textural situation of the concerto makes possible is the 'ownership' of certain themes or materials by the solo instrument; such materials will thus not be exposed until the 'solo' exposition. Mozart was fond of deploying his themes in this way.
Towards the end of the recapitulation of a concerto movement in sonata form, there is usually a cadenza for the soloist alone. This has an improvisatory character (it may or may not actually be improvised), and, in general, serves to prolong the harmonic tension on a dominant-quality chord before the orchestra ends the piece in the tonic.
Some may decline the existence of "double exposition" - they would say the first subject theme actually extends far out from the start of the "tutti exposition" to the first subject of the "solo exposition", meaning there is only one exposition.
History
The term ''sonata'' is first found in the 17th century, when instrumental music had just begun to become increasingly separated from vocal music. The original meaning of the term (derived from the Italian word ''suonare'', to sound on instrument) referred to a piece for playing, distinguished from '' cantata'', a piece for singing. At this time, the term implies a binary form, usually AABB with some aspects of three part forms. Early examples of simple pre-Classical sonata forms include Pergolesi Pergolesi is a surname. Notable people with the surname include:
* Giovanni Battista Pergolesi, (1710–1736), Italian composer, violinist, and organist
* Michael Angelo Pergolesi, 18th-century Italian decorative artist
{{Surname
Italian-langu ...
's Trio Sonata No. 3 in G major.
The Classical era established the norms of structuring first movements and the standard layouts of multi-movement works. There was a period of a wide variety of layouts and formal structures within first movements that gradually became expected norms of composition. The practice of Haydn and Mozart, as well as other notable composers, became increasingly influential on a generation that sought to exploit the possibilities offered by the forms that Haydn and Mozart had established in their works. In time, theory on the layout of the first movement became more and more focused on understanding the practice of Haydn, Mozart and, later, Beethoven. Their works were studied, patterns and exceptions to those patterns identified, and the boundaries of acceptable or usual practice set by the understanding of their works. The sonata form as it is described is strongly identified with the norms of the Classical period in music. Even before it had been described, the form had become central to music making, absorbing or altering other formal schemas for works. Examples include Beethoven's ''Appassionata'' sonata.
The Romantic era
Romanticism (also known as the Romantic movement or Romantic era) was an artistic, literary, musical, and intellectual movement that originated in Europe towards the end of the 18th century, and in most areas was at its peak in the approximate ...
in music was to accept the centrality of this practice, codify the form explicitly and make instrumental music in this form central to concert and chamber composition and practice, in particular for works that were meant to be regarded as "serious" works of music. Various controversies in the 19th century would center on exactly what the implications of "development" and sonata practice actually meant, and what the role of the Classical masters was in music. It is ironic that, at the same time that the form was being codified (by the likes of Czerny and so forth), composers of the day were writing works that flagrantly violated some of the principles of the codified form.
It has continued to be influential through the subsequent history of classical music through to the modern period. The 20th century brought a wealth of scholarship that sought to found the theory of the sonata form on basic tonal laws. The 20th century would see a continued expansion of acceptable practice, leading to the formulation of ideas by which there existed a "sonata principle" or "sonata idea" that unified works of the type, even if they did not explicitly meet the demands of the normative description.
Sonata form and other musical forms
Sonata form shares characteristics with both binary form and ternary form
Ternary form, sometimes called song form, is a three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A). It is usually schematized as A–B–A. Prominent examples inclu ...
. In terms of key relationships, it is very like binary form, with a first half moving from the home key to the dominant and the second half moving back again (this is why sonata form is sometimes known as ''compound binary form''); in other ways it is very like ternary form, being divided into three sections, the first (exposition) of a particular character, the second (development) in contrast to it, the third section (recapitulation) the same as the first.
The early binary sonatas by Domenico Scarlatti provide excellent examples of the transition from binary to sonata-allegro form. Among the many sonatas are numerous examples of the true sonata form being crafted into place.
Sonata theory
The sonata form is a guide to composers as to the schematic for their works, for interpreters to understand the grammar and meaning of a work, and for listeners to understand the significance of musical events. A host of musical details are determined by the harmonic meaning of a particular note, chord or phrase. The sonata form, because it describes the shape and hierarchy of a movement, tells performers what to emphasize, and how to shape phrases of music. Its theory begins with the description, in the 18th century, of schematics for works, and was codified in the early 19th century. This codified form is still used in the pedagogy of the sonata form.
In the 20th century, emphasis moved from the study of themes and keys to how harmony changed through the course of a work and the importance of cadences and transitions in establishing a sense of "closeness" and "distance" in a sonata. The work of Heinrich Schenker
Heinrich Schenker (19 June 1868 – 14 January 1935) was a Galician-born Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully ex ...
and his ideas about "foreground", "middleground", and "background" became enormously influential in the teaching of composition and interpretation. Schenker believed that inevitability was the key hallmark of a successful composer, and that, therefore, works in sonata form should demonstrate an inevitable logic.
In the simplest example, playing of a cadence
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (199 ...
should be in relationship to the importance of that cadence in the overall form of the work. More important cadences are emphasized by pauses, dynamics, sustaining and so on. False or deceptive cadences are given some of the characteristics of a real cadence, and then this impression is undercut by going forward more quickly. For this reason, changes in performance practice bring changes to the understanding of the relative importance of various aspects of the sonata form. In the Classical era, the importance of sections and cadences and underlying harmonic progressions gives way to an emphasis on themes. The clarity of strongly differentiated major and minor sections gives way to a more equivocal sense of key and mode. These changes produce changes in performance practice: when sections are clear, then there is less need to emphasize the points of articulation. When they are less clear, greater importance is placed on varying the tempo during the course of the music to give "shape" to the music.
Over the last half-century, a critical tradition of examining scores, autographs, annotations, and the historical record has changed, sometimes subtly, on occasion dramatically, the way the sonata form is viewed. It has led to changes in how works are edited; for example, the phrasing of Beethoven's piano works has undergone a shift to longer and longer phrases that are not always in step with the cadences and other formal markers of the sections of the underlying form. Comparing the recordings of Schnabel, from the beginning of modern recording, with those of Barenboim and then Pratt
Pratt is an English surname. Notable people with the surname include:
A–F
* Abner Pratt (1801–1863), American diplomat, jurist, politician, lawyer
* Al Pratt (baseball) (1847–1937), American baseball player
* Andy Pratt (baseball) (bor ...
shows a distinct shift in how the structure of the sonata form is presented to the listener over time.
For composers, the sonata form is like the plot of a play or movie script, describing when the crucial plot points are, and the kinds of material that should be used to connect them into a coherent and orderly whole. At different times the sonata form has been taken to be quite rigid, and at other times a freer interpretation has been considered permissible.
In the theory of sonata form it is often asserted that other movements stand in relation to the sonata-allegro form, either, per Charles Rosen that they are really "sonata forms", plural—or as Edward T. Cone
Edward Toner Cone (May 4, 1917 – October 23, 2004) was an American composer, music theorist, pianist, and philanthropist.
Life and career
Cone was born in Greensboro, North Carolina. He studied composition under Roger Sessions at Prince ...
asserts, that the sonata-allegro is the ideal to which other movement structures "aspire". This is particularly seen to be the case with other movement forms that commonly occur in works thought of as sonatas. As a sign of this the word "sonata" is sometimes prepended to the name of the form, in particular in the case of the sonata rondo form. Slow movements, in particular, are seen as being similar to sonata-allegro form, with differences in phrasing and less emphasis on the development.
However, Schoenberg and other theorists who used his ideas as a point of departure see the theme and variations as having an underlying role in the construction of formal music, calling the process ''continuing variation'', and argue from this idea that the sonata-allegro form is a means of structuring the continuing variation process. Theorists of this school include Erwin Ratz Erwin Ratz (22 December 1898, Graz – 12 December 1973, Vienna) was an Austrian musicologist and music theorist. He is known especially for his work as president of the ''Gustav Mahler Gesellschaft'' and for his book ''Einführung in die musikalisc ...
and William E. Caplin.
Subsections of works are sometimes analyzed as being in sonata form, in particular single movement works, such as the '' Konzertstück in F minor'' of Carl Maria von Weber
Carl Maria Friedrich Ernst von Weber (18 or 19 November 17865 June 1826) was a German composer, conductor, virtuoso pianist, guitarist, and critic who was one of the first significant composers of the Romantic era. Best known for his operas, ...
.
From the 1950s onward, Hans Keller
Hans (Heinrich) Keller (11 March 19196 November 1985) was an Austrian-born British musician and writer, who made significant contributions to musicology and music criticism, as well as being a commentator on such disparate fields as psychoana ...
developed a 'two-dimensional' method of analysis that explicitly considered form and structure from the point of view of ''listener expectations''. In his work, the sonata-allegro was a well-implied 'background form' against whose various detailed features composers could compose their individual 'foregrounds'; the 'meaningful contradiction' of expected background by unexpected foreground was seen as generating the expressive content. In Keller's writings, this model is applied in detail to Schoenberg's 12-note works as well as the classical tonal repertoire. In recent times, two other musicologists, James Hepokoski
James Arnold Hepokoski (born 20 December 1946) is an American musicologist. He is best known for his work with Warren Darcy on developing sonata theory, first fully explained in their 2006 book ''Elements of Sonata Theory''.
Life and career
Ja ...
and Warren Darcy, have presented, without reference to Keller, their analysis, which they term Sonata Theory
Sonata Theory is an approach to the description of sonata form in terms of individual works' treatment of generic expectations. For example, it is normative for the secondary theme of a minor-mode sonata to be in either the key of III or v. If a c ...
, of the sonata-allegro form and the sonata cycle in terms of genre expectations, and categorized both the sonata-allegro movement and the sonata cycle by the compositional choices made to respect or depart from conventions. Their study focuses on the normative period of sonata practice, notable ones being the works of Haydn, Mozart, Beethoven, Schubert, and their close contemporaries, projecting this practice forward to development of the sonata-allegro form into the 19th and 20th centuries.
References
Further reading
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Musical development
Musical form
Tonality