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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.
The second movement is a big Beethovenian scherzo which uses, in its trio, a literal quotation of the first movement's second subject group from Joseph Haydn's Symphony No. 76 and confronts it with a plethora of dissonances which cannot shake it from serenely going about its own business. [2]
In some compositions, a principal subject is announced and then a second melody, sometimes called a countersubject or secondary theme, may occur. When one of the sections in the exposition of a sonata-form movement consists of several themes or other material, defined by function and (usually) their tonality, rather than by melodic ...
1.2 Second Movement. 1.3 Third Movement. 1.4 Fourth Movement. ... In western classical music, the sonata cycle is a multi-movement structure used in a concerto, ...
[87] Keller offers the second theme in the first movement of the Fourth Symphony as an example of how this process works. In sonata form, he writes, the first subject enters in the tonic and the second subject follows in a contrasting but related key harmonically. Tension occurs when the music (and the listener with it) is pulled away from the ...
The single fragmentary movement is in C-sharp minor and is in sonata form, breaking off at the end of the exposition. Schubert uses a three-key exposition, with a first subject group in the tonic and then a second subject group, first in E major (the relative major) and then G-sharp major (the dominant major). Unusually, the second subject ...
Exposition Haydn's Sonata in G major, Hob. XVI: G1, I, mm. 1-28 Play ⓘ. [1] In musical form and analysis, exposition is the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied.
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]