Sonata Form

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Created on Monday, 21 November 2011 04:35

Written by Kevin Ure

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Introduction

The formula for Sonata form is a simple formula divided into two main sections.The main parts of it include an exposition, development, recapitulation, and sometimes a coda.

When viewed in terms of its greater structure, the exposition makes up the first part of the composition, while the development and recapitulation make up the second part.In the classical period, the exposition repeats itself.Less often, the development and recapitulation also repeated.

First movement form and Sonata allegro form are less commonly used names for Sonata form.Sonata does not refer to an entire multi-movement work; rather, it is actually an indication of a single movement.

The goal of the exposition is to establish the tonic and present the main thematic material.In a major key, the tonic is established and the music generally starts to move towards the dominant or a closely related key.In a minor key, the music tends to move towards the parallel major.

Classical ideals dealt with problems and their reasonable and rational resolution of those problems.Sonata form presents the “home” material in the exposition and then proceeds to take the character through a series of issues before finally bringing them back to their “home” when the problem is resolved.

For instance, the main character is a rich man that does not have a care in the world.Suddenly, he loses his house, and he discovers his servant is the one responsible.In a Classical resolution, the main character finds himself back in his original position at the end of the drama.Everyone is happy and the Classical ideals of balance, clarity, and rational resolution triumph.In essence, the system works, and the characters always get what they deserve – good or bad.

Sonata form reflects this return to the status quo ante as well.In Sonata form, the situation presents itself, develops, and eventually resolves.Sonata form is an excellent format to present and resolve conflicts.In the 21^st century, music moves to the next level and finds new ways of using this form in music.

Exposition

a. First Theme or First Group of Themes Stated at the Tonic

i. Sometimes there is a Counter-Statement

1. Often leads into a seamless modulation or bridge passage

a. Ends on Dominant or Secondary Dominant

b. Second Theme or Second Group of Themes Stated at the Dominant

i. The Second Theme is traditionally more lyrical, and is often seen as feminine.

ii. The Second Theme ends with a closing theme, or several closing themes.

c. Final Cadence of the Exposition occurs on the Dominant

i. After the Final Cadence One of Three Events Typically Occur:

1. Immediate Repetition of the Exposition

2. Transition Leading Back to the Tonic after which the exposition is repeated

3. Transition Leading Back to the Tonic after which the exposition is not repeated and the development occurs

The Development:

1. After the Final Cadence in the Exposition, the Development Begins

a. Beginning of Development – One of Four Things Typically Occurs

i. First Theme Played at the Dominant

ii. Abrupt Modulation to a Remote Key

iii. Reference to the Closing Theme

iv. New Theme

b. After the Introduction – Music Begins to Develop using the following techniques

i. Modulations

1. Often Distant and Rapid

ii. Fragmentation of Expositions Themes

1. New Combinations from Theme Fragments

2. New Sequences from Theme Fragments

c. Retransition - End of the Development

i. Prepares the Return to the Tonic

ii. Usually Fairly Brief Passage

The Recapitulation:

1. The Recapitulation – How It Starts

a. Return of the First Theme in the Tonic

b. “Repeat” of the exposition with the following exceptions

i. Second Group appears in the Tonic instead of Dominant

ii. Closing Theme appears in the tonic

iii. Bridge Passage is modified to fit the tonic

The Coda:

1. Larger Works Make Use of a Coda to help round off the composition