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Exceptions to the recapitulation form include Mozart and Haydn works that often begin with the second subject group when the first subject group has been elaborated at length in the development. If a theme from the second subject group has been elaborated at length in the development in a resolving key such as the tonic major or minor or the ...
Portrait of composer C.P.E. Bach. The older Italian sonata form differs considerably from the later sonata in the works of the Viennese Classical masters. [1] Between the two main types, the older Italian and the more "modern" Viennese sonata, various transitional types are manifest in the middle of the 18th century, in the works of the Mannheim composers, Johann Stamitz, Franz Xaver Richter ...
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 ...
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.
In sonata form in major keys, the second subject group is usually in the dominant key. The movement to the dominant was part of musical grammar, not an element of form. Almost all music in the eighteenth century went to the dominant: before 1750 it was not something to be emphasized; afterward, it was something that the composer could take ...
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.
Occasionally the development is omitted and replaced with a simple transition, leaving the exposition and recapitulation: this is sometimes referred to as sonatina form, or a Type I sonata in sonata theory. One example of the piece in sonata form without development is the second movement of Beethoven's Piano Sonata No. 17, "The Tempest".
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 ...