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The second subject focuses on rapid scales and leads to a perfect cadence in G major, ready for the development section. The exposition is repeated, which is standard for sonata form . The development begins in G minor uses the opening theme to follow a series of ascending arpeggios in several keys before moving towards G major and then back to ...
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. The second subject group can start in a particular key and then modulate to that key's parallel major or minor.
The second movement is in ternary form (or sonata form without development [4]).It opens with a highly ornamented lyrical theme in 3 4 time in F major (mm. 1–16). This is followed by a more agitated, 5-measure transitional passage in D minor (mm. 17–22) accompanied by quiet parallel thirds, followed by a passage full of thirty-second notes in C major (mm. 23–31). [4]
Often in music, the transition is the middle section or formal function, while the main theme is the beginning, and the subordinate theme is the ending. [2] It may traditionally be a part of the sonata form 's exposition in which the composer modulates from the key of the first subject to the key of the second, though many Classical era works ...
Piano Sonata No. 1 "Reflections on Exile" Piano Sonata No. 2 "The Last Resistance" Ferguson, Howard. Piano Sonata in F minor, Op. 8 (1938–40) Ginastera, Alberto. Piano Sonata No. 1, Op. 22; Gould, Glenn. Piano Sonata (1948) Hindemith, Paul. Piano Sonata No. 1 in A Major "Der Main" Piano Sonata No. 2 in G Major; Piano Sonata No. 3 in B flat ...
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 ...
Crucial to most interpretations of the sonata form is the idea of a tonal center; and, as the Grove Concise Dictionary of Music puts it: "The main form of the group embodying the 'sonata principle', the most important principle of musical structure from the Classical period to the 20th century: that material first stated in a complementary key ...
First theme of Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 1–12 [1] In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme.