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The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period ).
Recapitulation. Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 58-80 Play ⓘ. [1] In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition.
The term is most widely used [4] as an analytical convenience to denote a portion of a movement identified as an example of classical tonal sonata form. The exposition typically establishes the music's tonic key, and then modulates to, and ends in, the dominant. [5] If the exposition starts in a minor key, it typically modulates to the relative ...
The entire sonata form, therefore, is understood as a dynamic trajectory toward the ESC, the basic plan of which is foreshadowed by the exposition's approach to the EEC. This teleology is central to Sonata Theorys conception of the dramatic and expressive potential of sonata form as a whole. The crux is the part of the recapitulation where the ...
A notable source of confusion is the term 'sonata': as a genre, it denotes a multi-movement composition for one or more solo instruments, while in structural terms, 'sonata form' refers to a specific three-part structure (exposition, development, recapitulation) frequently used within individual movements of larger works.
The exposition is followed by the development section in which the material in the exposition is developed. After the development section, there is a returning section called recapitulation where the thematic material returns in the tonic key. At the end of the movement, there may be a coda, after the recapitulation. [16]
Sonata form as a dramatic pyramid showing the three main sections—exposition, development and recapitulation. Two breakthroughs which, according to Brown, Austrian musicologist Hans Keller , Dutch musicologist Francis Maes and Soviet musicologist Daniel Zhitomirsky , came to Tchaikovsky while composing his Fourth Symphony, worked hand-in-hand ...
The opening of Liszt Sonata in B minor, with the first theme marked Lento assai and the second theme marked Allegro energico. While its distinct movements: allegro, adagio, scherzo and finale are combined into one, the entire work is encompassed within an overarching sonata form — exposition, development, and recapitulation. [19]