The Sonata Principle

MUS 204- Section 1.1

The term sonata was a general word for instrumental

music in the Baroque. This is “sonata” as a genre. The term sonata form (also sonata-allegro, sonata

principle) generally refers to pieces in the classical era and beyond. This is “sonata” as a formal pattern.

Often the first work of Classical and Romantic sonatas and symphonies are in sonata-allegro form (“sonata” as genre and form).

Sonata-Allegro grew out of the Da Capo aria and also the Rounded Binary form. These both have ABA structures.

Background

Please refer to diagram in book. Three main sections:

Exposition- introduces themes Development- elaborates/plays with themes Recapitulation- brings keys back together

Themes are also called “tonal areas” and “groups.”

The basic formal design is relatively similar between pieces. The interest comes in how the composer goes about fitting the piece into the form.

The Basic Outline

Introduces the Themes Group 1 (Theme 1, TA 1) is always in the tonic

key area Group 2 is (Theme 2, TA 2) is in V in a Major key

and III (sometimes v) in a minor key There is a transition or bridge in between the

two groups that destabilizes the key There can be an introduction before the first

key comes in The exposition typically ends at a repeat sign

The Exposition

Haydn Piano Sonata No. 4

This exposition begins with the first group. There is no introduction.

The first theme is on the next slide. It’s ends with the full G-major cadence in measure 7.

Immediately following that is the beginning of the transition.

First theme (ends m. 7)

Transitions often start off like the original

theme It can be tricky to identify exact boundaries of

the transition Listen for a destablization of the key. This is

typically going to V or III, and often ends with a V/V.

Transition

Note it starts like theme, ends of V/V.

Haydn’s Transition

This will start in the secondary key area (V or

III) It may have some similarities to the first

group, but should be notably different. Think of the “B” section in a rounded binary form.

By the end, there will be a strong cadence in the secondary key area.

Second Theme

Haydn’s Second Theme

It starts with the same descending figure, but is different in texture and key area

It ends with a cadence in D (V)

Some (not all) Sonata forms have codettas at

the end of the Exposition. Because we had an authentic cadence in the secondary key at the end of the second theme, and because the new section has a different texture, we can call this a codetta.

Codettas (and codas) are closing sections that do not modulate, but merely act to extend the phrase or wrap up a section.

Codettas

Haydn’s Codetta

We have introduced two themes in opposing

keys These were connected with a transition that

grew out of the original theme After the second theme, we heard a short

codetta in the secondary key area The exposition ended with a repeat

The exposition

The development section is the least

formalized It has the most variation between forms

This gives composers the opportunity to pair the themes, expand upon them, transpose them to different keys, and explore their creativity.

Most analyses of developments focus on sources of thematic material, study of key areas, and repetition.

There is often a lot of quickly-changing harmonic activity.

Development

This starts in the V key area (D major) We hear Theme 1 in V Measure 35 introduces an F-natural, taking us to the

key area of C major We hear a statement of Theme 2 in IV (C major) in

measure 36 This then goes through a chromatic modulation (C-

natural becomes C#) in measure 41. This takes us to D major Another chromatic modulation in m. 45 takes us to

e.

Haydn’s Development

Haydn’s Development

After modulating to e-minor, we hear a

statement of the codetta in e. Measure 54 gives us a cadence in e After that, we start to get back to G major

This is the retransition- a section that takes you back to the original tonic

The retransition marks the end of the development

This retransition uses a circle of 5ths to return to G major (mm. 54-58)

Dev. (cont.) and Retrans

Haydn’s Development

In the recapitulation, we hear both themes

again, much like the exposition However, the second theme is “recomposed” in

I, instead of V Some sections from the exposition may be

shortened (since we’ve already heard them before)

Analyses of the recapitulation typically focus on differences between the expo and the recap

There may also be a coda (or codetta)

Recapitulation

We hear the original theme in G major again

It is a few measures shorter than in the Expo The original transition, which modulates to A

(V/V) now modulates to D (V/I) through a chromatic modulation Note the chromatic modulations were introduced in

the development A section changed in the Recap to fit a new key

area is called the recomposition This allows the second theme to start in G major

(I)instead of in D major (V)

Haydn’s Recapitulation

Haydn’s Recap

Theme 2 Recomposition

The codetta from the exposition is maintained

and recomposed in the home key

Recap Codetta

Exposition Development Recapitulation Transition Introduction Coda Codetta Retransition Recomposition

Group

Terms to know

Reading:

New Grove Article (available online) Charles Rosen- The Sonata Principle Wikipedia article (uses same Haydn example) Available on e-brary

Gordon Sly- Keys to the Drama Hepokoski and Darcy- Elements of Sonata Theory Vande Moortele- Two-Dimensional Sonata Form

Further Reading

In the assignment folder, there will be a score

for another Haydn sonata in G major (#8) There is also a worksheet with some

questions. On the second sheet will be the answers with a little more explanation

Complete the worksheet and check your answers to see if you understand things. If not, formulate some questions about what’s confusing you.

Try a Sonata Analysis