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The second subject group can start in a particular key and then modulate to that key's parallel major or minor. In the first movement of Brahms' Symphony No. 1 (in C minor), the second subject group begins in the relative E ♭ major and goes to the parallel mediant E ♭ minor.
Examples in the works of later composers include Polyphonie X and Structures I by Pierre Boulez, Sonata for Two Pianos by Karel Goeyvaerts, and Punkte by Karlheinz Stockhausen. [11] [clarification needed] Opening of Bach's Fugue No. 2 in C minor from The Well-Tempered Clavier, Book I, BWV 847, showing the subject, answer, and countersubject [12]
Haydn's use of themes and keys here demonstrates an important point about sonata form: the second subject is defined by the new KEY , not (only) a new theme. The repetition of the 1st subject in the dominant in this movement, at bar 75, is therefore the beginning of the 2nd subject area, even though the new theme does not appear until some ...
Sonata Theory understands the rhetorical layout of a sonata as progressing through a set of action spaces and moments of "structural punctuation." [8] These action spaces largely correlate with the "themes" or "groups" of the sonata, though each space is differentiated primarily by the unique generic goal that the music pursues within that particular space.
A major. In sonata form without development. Unusually, the second subject group is in the subdominant key of D major. [1] (III. Scherzo: Allegro vivace - Trio, D. 570) D major (IV. Allegro, D. 570) F-sharp minor. Fragment (breaks off at the end of the development)
The Sonata in C major, D 812, in four movements, is the most elaborate of the four-hands piano pieces Schubert wrote during his summer in Zseliz in 1824. [20] [49] [21] Performance time of the Sonata ranges from less than 37 minutes to over 47 minutes. [50] [51] I. Allegro moderato In the Sonata's allegro moderato first movement, a sonata form in 2
[2] The development section (b.104ff) is based on various incarnations of the first subject, the second subject, and the dotted rhythm that first appeared at b.27. The key oscillates between the submediant (F major, the key of the Andante), and the subdominant (D minor, which has previously appeared at b.34ff). [3]
It is in sonata form with the exposition concluding in the major-mode submediant (D ♭), which is approached through a second subject in its enharmonic parallel minor (C ♯). The first theme's heavy emphasis on D ♭ prepares and smooths out this modulation, as well as its reversal with the approach to the expositional repeat.