2. Background
The term sonata was a general word for instrumental
music in the Baroque. This is “sonata” as a genre.
The term sonata form (also sonata-allegro, sonata
principle) generally refers to pieces in the classical era and
beyond. This is “sonata” as a formal pattern.
Often the first work of Classical and Romantic sonatas
and symphonies are in sonata-allegro form (“sonata” as
genre and form).
Sonata-Allegro grew out of the Da Capo aria and also the
Rounded Binary form. These both have ABA structures.
3. The Basic Outline
Please refer to diagram in book.
Three main sections:
Exposition- introduces themes
Development- elaborates/plays with themes
Recapitulation- brings keys back together
Themes are also called “tonal areas” and “groups.”
The basic formal design is relatively similar between
pieces. The interest comes in how the composer goes
about fitting the piece into the form.
4. The Exposition
Introduces the Themes
Group 1 (Theme 1, TA 1) is always in the tonic key
area
Group 2 is (Theme 2, TA 2) is in V in a Major key and
III (sometimes v) in a minor key
There is a transition or bridge in between the two
groups that destabilizes the key
There can be an introduction before the first key
comes in
The exposition typically ends at a repeat sign
5. Haydn Piano Sonata No. 4
This exposition begins with the first group. There is
no introduction.
The first theme is on the next slide. It’s ends with the
full G-major cadence in measure 7.
Immediately following that is the beginning of the
transition.
7. Transition
Transitions often start off like the original theme
It can be tricky to identify exact boundaries of the
transition
Listen for a destablization of the key. This is typically
going to V or III, and often ends with a V/V.
9. Second Theme
This will start in the secondary key area (V or III)
It may have some similarities to the first group, but
should be notably different. Think of the “B” section
in a rounded binary form.
By the end, there will be a strong cadence in the
secondary key area.
10. Haydn’s Second Theme
It starts with the same descending figure, but is
different in texture and key area
It ends with a cadence in D (V)
11. Codettas
Some (not all) Sonata forms have codettas at the end
of the Exposition. Because we had an authentic
cadence in the secondary key at the end of the
second theme, and because the new section has a
different texture, we can call this a codetta.
Codettas (and codas) are closing sections that do not
modulate, but merely act to extend the phrase or
wrap up a section.
13. The exposition
We have introduced two themes in opposing keys
These were connected with a transition that grew out
of the original theme
After the second theme, we heard a short codetta in
the secondary key area
The exposition ended with a repeat
14. Development
The development section is the least formalized
It has the most variation between forms
This gives composers the opportunity to pair the
themes, expand upon them, transpose them to
different keys, and explore their creativity.
Most analyses of developments focus on sources of
thematic material, study of key areas, and repetition.
There is often a lot of quickly-changing harmonic
activity.
15. Haydn’s Development
This starts in the V key area (D major)
We hear Theme 1 in V
Measure 35 introduces an F-natural, taking us to the
key area of C major
We hear a statement of Theme 2 in IV (C major) in
measure 36
This then goes through a chromatic modulation (C-
natural becomes C#) in measure 41.
This takes us to D major
Another chromatic modulation in m. 45 takes us to e.
17. Dev. (cont.) and Retrans
After modulating to e-minor, we hear a statement of
the codetta in e.
Measure 54 gives us a cadence in e
After that, we start to get back to G major
This is the retransition- a section that takes you back to
the original tonic
The retransition marks the end of the development
This retransition uses a circle of 5ths to return to G
major (mm. 54-58)
19. Recapitulation
In the recapitulation, we hear both themes again,
much like the exposition
However, the second theme is “recomposed” in I,
instead of V
Some sections from the exposition may be shortened
(since we’ve already heard them before)
Analyses of the recapitulation typically focus on
differences between the expo and the recap
There may also be a coda (or codetta)
20. Haydn’s Recapitulation
We hear the original theme in G major again
It is a few measures shorter than in the Expo
The original transition, which modulates to A (V/V) now
modulates to D (V/I) through a chromatic modulation
Note the chromatic modulations were introduced in the
development
A section changed in the Recap to fit a new key area is
called the recomposition
This allows the second theme to start in G major (I)instead
of in D major (V)
23. Recap Codetta
The codetta from the exposition is maintained and
recomposed in the home key
24. Terms to know
Exposition Recomposition
Development Group
Recapitulation
Transition
Introduction
Coda
Codetta
Retransition
25. Further Reading
Reading:
New Grove Article (available online)
Charles Rosen- The Sonata Principle
Wikipedia article (uses same Haydn example)
Available on e-brary
Gordon Sly- Keys to the Drama
Hepokoskiand Darcy- Elements of Sonata Theory
VandeMoortele- Two-Dimensional Sonata Form
26. Try a Sonata Analysis
In the assignment folder, there will be a score for
another Haydn sonata in G major (#8)
There is also a worksheet with some questions. On
the second sheet will be the answers with a little
more explanation
Complete the worksheet and check your answers to
see if you understand things. If not, formulate some
questions about what’s confusing you.
