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Principles of Western Form & Analysis Topic Nine Sonata MTSC – Allegro F
orm 502 Sonata – Allegro Form • Sonata Form is one of the most important forms in Western Classical Music • Sonata Form is usually found as the first movement of a sonata, string quartet, symphony or other work (although sonata form can also be found in other movements also) Rounded Binary + Ternary = Sonata • Sonata form is related to and grew out of rounded binary and ternary form. From Rounded Binary -‐ Harmonic outline and unique key relaRonships throughout the form. From Ternary -‐ return of the home key and original themaRc material (3 part form) Rounded Binary Part A Part B I -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ V || V-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ -‐-‐-‐-‐-‐-‐-‐-‐-‐ V-‐I -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ I i -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐III || III -‐-‐-‐-‐-‐-‐-‐-‐ -‐-‐-‐-‐-‐-‐-‐-‐-‐ V-‐i -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ i i -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐v || V -‐-‐-‐-‐-‐-‐-‐-‐-‐ -‐-‐-‐-‐-‐-‐-‐-‐-‐ V-‐i -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ I Theme Theme Period Phrase Grp Period FuncRon Expository -‐-‐-‐ Developmental -‐-‐-‐TransiRonal (TransiRonal) -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ Expository (TerminaRve) Ternary Form • Statement – Contrast – Restatement • A -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐B-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐A Back to Sonata -‐ Allegro • Sonata Form has three main parts: – 1. ExposiRon – 2. Development – 3. RecapitulaRon *Each of these three parts has specific events that will happen inside each secRon Mozart K309 Full Sonata Allegro Form The ExposiRon • The exposiRon presents the important themes of the sonata • The exposiRon establishes the tonal conflict between the two most important keys in the movement. • The exposiRon will contain 2 THEMES, a transiRon and occasionally a closing secRon. Outline of an ExposiRon Primary Theme (main theme, first theme) -‐P-‐ -‐ in the home key-‐ transiRon Secondary Theme (subordinate theme, second theme) – S -‐ Outline of an ExposiRon II: P trans S (close) :II Primary themes and secondary themes appear in the exposiRon AND recapitulaRon The primary and secondary themes (or theme groups) may have more than one theme Analyzing ExposiRons -‐ Finding Theme 1 • Primary theme – – Establish the home key with at least one cadence (a PAC or HC) in that key. Primary themes ocen sound ‘more vital, grand or ceremonial than secondary themes Finding Theme 2 • Set up the tonal contrast in the exposiRon by establishing the secondary key. (PAC in that key) – Secondary themes ocen have a lyrical and gentle character. • Remember – in RecapitulaRons the secondary theme will stay in the home key.. TransiRon • A passage of music between themes P and S – the transiRon destabilizes the home key. – How? • Restless musical material • An HC cadence in the home key OR the secondary key • A transiRon may or may not modulate. ModulaRng transiRons are re-‐wrifen in the RecapitulaRon to become non-‐modulaRng. Closing the exposiRon • ExposiRons may end with a closing secRon . – The closing secRon confirms the key with simple sequenRal gestures and cadenRal gestures. ExposiRon II: P trans S (close) :II Movement of Key Areas I mod V i mod III (or v) The Development • The development is a working out of old material and/or introduces new material. • It is tonally unstable RecapitulaRon • The primary and secondary themes happen again in the home key. • The transiRon and the secondary theme do not modulate in the recapitulaRon. The themes finally* occur in the home key. RecapitulaRon II: P trans S (close) :II Movement of Key Areas (none really) I unstable I i unstable i Returning to Mozart • In class analysis. • Mozart K309 Homework • Print and Analyze Beethoven Piano Sonata No. 1 hfps://www.youtube.com/watch?v=EoTCS9AZRSQ&feature=youtube_gdata_player -‐ Analyze completely. -‐ Key areas, cadences, period structures (if any) etc. -‐ The parts of Sonata Form: -‐ ExposiRon, Development, RecapitulaRon -‐ Themes one and two -‐ Label all key areas or tonicizaRon found in the development secRon.

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