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This material is most often recapitulated in the tonic key of the movement, in such a way that it reaffirms that key as the movement's home key. In some sonata form movements, the recapitulation presents a straightforward image of the movement's exposition. However, many sonata form movements, even early examples, depart from this simple procedure.
Mozart sometimes used a variant type of sonata rondo form in which the first "A" section of the recapitulation is omitted. Thus: [A B' A] exp [C"] dev [B A] recap Mozart's purpose was perhaps to create a sense of variety by not having the main theme return at such regular intervals.
Early examples of sonata form resemble two-reprise continuous ternary form. [1] Sonata form, optional features in parentheses [2]. 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.
Though it has virtually no polyphony, Borodin has sustained this piece with attractive melodies motivically interrelated, a large-scale sense of rhythm, effective orchestration in the revised version, and idiosyncratic use of harmony and modulation, particularly in the recapitulation. This masterly first movement is a considerable advance over ...
The symphony, generally considered to be one piece, nevertheless divides into multiple movements (which can usually work as a self-contained piece if played alone). This level of musical form, though it again applies and gives rise to different genres, takes more account of the methods of musical organisation used.
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.
Warenberg's arrangement is a three movement concerto with a new second movement and a revised finale "to create a tighter and more effective emotional climax to the concerto's finale." [ 10 ] For the concerto's first movement, the slow introduction developing the main motif is shortened from the symphony with the material not discarded but ...
In Beethoven's Fifth Symphony, a large part of the scherzo movement is recalled to end the finale's development section and lead into the recapitulation; the Ninth Symphony's finale rapidly presents explicit reminiscences of the three preceding movements before discovering the idea that is to be its own principal theme; while both the Piano ...