2018:
going forward more quickly. For this reason, changes in performance practice bring changes to the understanding of the relative importance of various aspects of the sonata form. In the
Classical era, the importance of sections and cadences and underlying harmonic progressions gives way to an emphasis on themes. The clarity of strongly differentiated major and minor sections gives way to a more equivocal sense of key and mode. These changes produce changes in performance practice: when sections are clear, then there is less need to emphasize the points of articulation. When they are less clear, greater importance is placed on varying the tempo during the course of the music to give "shape" to the music.
20:
966:
1850:. Here, the sonata-allegro's customary 'repeated exposition' is replaced by two different but related sections: the 'tutti exposition' and the 'solo exposition'. Prototypically the 'tutti exposition' does not feature the soloist (except, in early classical works, in a 'continuo' role), and does not contain the decisive sonata-exposition modulation to the secondary key. Only when the 'solo exposition' is under way does the solo instrument assert itself and participate in the move to (classically) the dominant or relative major. The situation is only seemingly different in the case of Mozart's concerto
1932:
as well as other notable composers, became increasingly influential on a generation that sought to exploit the possibilities offered by the forms that Haydn and Mozart had established in their works. In time, theory on the layout of the first movement became more and more focused on understanding the practice of Haydn, Mozart and, later, Beethoven. Their works were studied, patterns and exceptions to those patterns identified, and the boundaries of acceptable or usual practice set by the understanding of their works. The sonata form as it is described is strongly identified with the norms of the
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121:
691:
668:
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622:
714:
28:
2114:, of the sonata-allegro form and the sonata cycle in terms of genre expectations, and categorized both the sonata-allegro movement and the sonata cycle by the compositional choices made to respect or depart from conventions. Their study focuses on the normative period of sonata practice, notable ones being the works of Haydn, Mozart, Beethoven, Schubert, and their close contemporaries, projecting this practice forward to development of the sonata-allegro form into the 19th and 20th centuries.
3037:
2102:. In his work, the sonata-allegro was a well-implied 'background form' against whose various detailed features composers could compose their individual 'foregrounds'; the 'meaningful contradiction' of expected background by unexpected foreground was seen as generating the expressive content. In Keller's writings, this model is applied in detail to Schoenberg's 12-note works as well as the classical tonal repertoire. In recent times, two other musicologists,
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chord or phrase. The sonata form, because it describes the shape and hierarchy of a movement, tells performers what to emphasize, and how to shape phrases of music. Its theory begins with the description, in the 18th century, of schematics for works, and was codified in the early 19th century. This codified form is still used in the pedagogy of the sonata form.
1782:'s Violin Concertos for students, where such a truncated sonata form is used ostensibly to cut down on the first movements' length. Sometimes, the third movement of such works is the recapitulation of the first movement (one example being Franz Strauss' Horn Concerto in C Minor), making the entire work effectively a single-movement sonata.
1299:
Rarely, a major-mode sonata form movement will modulate to a minor key for the second subject area, such as the mediant minor (Beethoven Sonata Op. 31/1, i), the relative minor (first movements of
Beethoven Triple Concerto and Brahms Piano Trio No. 1) or even the minor dominant (Brahms Piano Concerto
836:
At the end, the music will usually return to the tonic key in preparation of the recapitulation. (On occasion, it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition.) The transition from the development to the recapitulation is a crucial moment
1931:
The
Classical era established the norms of structuring first movements and the standard layouts of multi-movement works. There was a period of a wide variety of layouts and formal structures within first movements that gradually became expected norms of composition. The practice of Haydn and Mozart,
62:
that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model.
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should be in relationship to the importance of that cadence in the overall form of the work. More important cadences are emphasized by pauses, dynamics, sustaining and so on. False or deceptive cadences are given some of the characteristics of a real cadence, and then this impression is undercut by
1575:
in G major. In the
Classical period, the subdominant is the only possible substitute for the tonic at this position (because any other key would need resolution and would have to be introduced as a false reprise in the development), but with the erosion of the distinction between the sharp and flat
1057:
It is not necessarily the case that the move to the dominant key in the exposition is marked by a new theme. Haydn in particular was fond of using the opening theme, often in a truncated or otherwise altered form, to announce the move to the dominant, as in the first movement of his Sonata Hob. XVI
939:
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
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The exposition is commonly repeated, particularly in classical and early romantic works, and more likely in solo or chamber works and symphonies than for concerti. Often, though not always, first and second endings are employed during the last measure(s) of the exposition. The first ending to point
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The primary thematic material for the movement is presented in the exposition. This section can be further divided into several sections. The same section in most sonata form movements has prominent harmonic and thematic parallelisms (although in some works from the 19th century and onward, some of
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For composers, the sonata form is like the plot of a play or movie script, describing when the crucial plot points are, and the kinds of material that should be used to connect them into a coherent and orderly whole. At different times the sonata form has been taken to be quite rigid, and at other
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It has continued to be influential through the subsequent history of classical music through to the modern period. The 20th century brought a wealth of scholarship that sought to found the theory of the sonata form on basic tonal laws. The 20th century would see a continued expansion of acceptable
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in music was to accept the centrality of this practice, codify the form explicitly and make instrumental music in this form central to concert and chamber composition and practice, in particular for works that were meant to be regarded as "serious" works of music. Various controversies in the 19th
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The key of the second subject may be something other than the dominant (for a major-mode sonata movement) or relative major (for a minor-key movement). A second option for minor-mode sonata form movements was to modulate to the minor dominant; this option, however, robs the sonata structure of the
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works. After the final cadence of the recapitulation, the movement may continue with a coda that will contain material from the movement proper. Codas, when present, vary considerably in length, but like introductions are not generally part of the "argument" of the work in the
Classical era. Codas
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In general, the development starts in the same key as the exposition ended, and may move through many different keys during its course. It will usually consist of one or more themes from the exposition altered and on occasion juxtaposed and may include new material or themes—though exactly what is
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of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition
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The sonata form is a guide to composers as to the schematic for their works, for interpreters to understand the grammar and meaning of a work, and for listeners to understand the significance of musical events. A host of musical details are determined by the harmonic meaning of a particular note,
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asserts, that the sonata-allegro is the ideal to which other movement structures "aspire". This is particularly seen to be the case with other movement forms that commonly occur in works thought of as sonatas. As a sign of this the word "sonata" is sometimes prepended to the name of the form, in
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Explanations for why an extended coda is present vary. One reason may be to omit the repeat of the development and recapitulation sections found in earlier sonata forms of the 18th century. Indeed, Beethoven's extended codas often serve the purpose of further development of thematic material and
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and his ideas about "foreground", "middleground", and "background" became enormously influential in the teaching of composition and interpretation. Schenker believed that inevitability was the key hallmark of a successful composer, and that, therefore, works in sonata form should demonstrate an
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major, and stays there till the end of the movement. Such a scheme may have been constructed to conform with the programmatic nature of the movement, but also fits well with the
Romantic penchant for beginning a work at maximum tension and decreasing the tension afterwards, so that the point of
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Occasionally, the retransition can begin with a false recapitulation, in which the opening material of the first theme group is presented before the development has completed. The surprise that ensues when the music continues to modulate toward the tonic can be used for either comic or dramatic
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major as chromaticism within the C major first subject group, before finally moving to D major, the dominant of the dominant major (G major), preparing the second subject group in the dominant. Many works by
Schubert and later composers utilized even further harmonic convolutions. In the first
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composers aspired, or should aspire. However, sonata form is currently viewed as a model for musical analysis, rather than compositional practice. Although the descriptions on this page could be considered an adequate analysis of many first-movement structures, there are enough variations that
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major, and C minor in its first movement's exposition. In both cases, the transition is i–III–v, an elaboration of the minor schema of either using i–III or i–v. This is by no means the only scheme, however: the opening movement of
Schubert's Violin Sonata in G minor, D. 408, uses the scheme
1076:, meaning that one theme serves to establish the opposition between tonic and dominant keys. This term is misleading, since most "monothematic" works have multiple themes: most works so labeled have additional themes in the second subject group. Rarely, as in the fourth movement of Haydn's
828:). Developments in the Classical era are typically shorter due to how much composers of that era valued symmetry, unlike the more expressive Romantic era in which development sections gain a much greater importance. However, it almost always shows a greater degree of tonal, harmonic, and
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A structural feature that the special textural situation of the concerto makes possible is the 'ownership' of certain themes or materials by the solo instrument; such materials will thus not be exposed until the 'solo' exposition. Mozart was fond of deploying his themes in this way.
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Over the last half-century, a critical tradition of examining scores, autographs, annotations, and the historical record has changed, sometimes subtly, on occasion dramatically, the way the sonata form is viewed. It has led to changes in how works are edited; for example, the
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resolution of ideas left unresolved earlier in the movement. Another role that these codas sometimes serve is to return to the minor mode in minor-key movements where the recapitulation proper concludes in the parallel major, as in the first movements of
Beethoven's
1652:, the first subject group is in the tonic C major, then modulates to A major for the first part of the second subject group but quickly goes through A minor to modulate back to tonic for the rest of the second subject group and coda. Romantic works even exhibit
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ultimate stability is not reached until the last possible moment. (Furthermore, the identification of a minor key with its relative major is common in the
Romantic period, supplanting the earlier Classical identification of a minor key with its parallel major.)
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724:
785:– one or more themes in a different key (typically the dominant) from the first group. The material of the second group is often different in rhythm or mood from that of the first group (frequently, it is more lyrical) and is often stated at a piano dynamic.
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About halfway through his career, Beethoven also began to experiment with other tonal relationships between the tonic and the second subject group. The most common practice, for Beethoven and many other composers from the Romantic era, was to use the
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century would center on exactly what the implications of "development" and sonata practice actually meant, and what the role of the Classical masters was in music. It is ironic that, at the same time that the form was being codified (by the likes of
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In the 20th century, emphasis moved from the study of themes and keys to how harmony changed through the course of a work and the importance of cadences and transitions in establishing a sense of "closeness" and "distance" in a sonata. The work of
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Some may decline the existence of "double exposition" - they would say the first subject theme actually extends far out from the start of the "tutti exposition" to the first subject of the "solo exposition", meaning there is only one exposition.
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Another instance of a truncated sonata form has the development section completely omitted altogether, and the recapitulation immediately follows the exposition (even without a retransitional passage). This occurs in the first movement of
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The recapitulation begins in the tonic E minor for the first subject group, but the second subject group modulates to G-sharp minor, then through A-flat major before modulating back to the tonic key for the coda. Similarly, in Beethoven's
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for the soloist alone. This has an improvisatory character (it may or may not actually be improvised), and, in general, serves to prolong the harmonic tension on a dominant-quality chord before the orchestra ends the piece in the tonic.
1979:); in other ways it is very like ternary form, being divided into three sections, the first (exposition) of a particular character, the second (development) in contrast to it, the third section (recapitulation) the same as the first.
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Occasionally, especially in some Romantic works, the sonata form extends only as far as the end of the exposition, at which point the piece transitions directly into the next movement instead of a development section. One example is
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It is also possible for the first subject group to begin in tonic (or a key other than tonic), modulate to another key and then back to tonic for the second subject group. In the finale of the original 1872 version of Tchaikovsky's
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and then back to tonic for the second subject group and coda. It is also possible to have the second subject group in a key other than tonic while the first subject group is in the home key. For instance in the first movement of
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In the recapitulation section, the key of the first subject group may be in a key other than tonic, most often in the subdominant, known as a "subdominant recapitulation". In some pieces by Haydn and Mozart, such as Mozart's
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instability than the other sections. In a few cases, usually in late Classical and early Romantic concertos, the development section consists of or ends with another exposition, often in the relative minor of the tonic key.
217:, the title "sonata" is typically given to a work composed of three or four movements. Nonetheless, this multi-movement sequence is not what is meant by sonata form, which refers to the structure of an individual movement.
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In some sonata-form works, especially in the Classical period, there is no transitional material linking the subject groups. Instead, the piece moves straight from the first subject group to the second subject group via
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on G. Instead, it builds in strength over the dominant seventh chord on C, as if the music were proceeding to F major, only to take up immediately the first theme in C major. Another exception is the fourth movement of
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practice, leading to the formulation of ideas by which there existed a "sonata principle" or "sonata idea" that unified works of the type, even if they did not explicitly meet the demands of the normative description.
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of Beethoven's piano works has undergone a shift to longer and longer phrases that are not always in step with the cadences and other formal markers of the sections of the underlying form. Comparing the recordings of
1256:. The latter case transposes the second repeat of its exposition by a fifth, starting on the minor dominant (instead of the tonic) and finishing on the major mediant (instead of the submediant). The first movement of
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The first subject group need not be entirely in the tonic key. In the more complex sonata expositions there can be brief modulations to fairly remote keys, followed by reassertion of the tonic. For example, Mozart's
1975:. In terms of key relationships, it is very like binary form, with a first half moving from the home key to the dominant and the second half moving back again (this is why sonata form is sometimes known as
1785:
Some Classical slow movements involve a different sort of truncation, in which the development section is replaced altogether by a short retransition. This occurs in the slow movements of Mozart's quartets
795:– a suffix after the end of the second subject group that reinforces the new key area. C involves musical material that differs from what was heard in S, and often includes distinctly new thematic material.
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in the original key. Codas may be quite brief tailpieces, typically in the Classical era, or they may be very long and elaborate. An example of the more extended type is the coda to the first movement of
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The definition of sonata form in terms of musical elements sits uneasily between two historical eras. Although the late 18th century witnessed the most exemplary achievements in the form, above all from
915:– usually in roughly the same form as in the exposition, but now in the home key, which sometimes involves change of mode from major to minor, or vice versa, as occurs in the first movement of Mozart's
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A particularly common exception is for the dominant to be substituted with the dominant of the relative minor key: one example is the first movement of Haydn's String Quartet in E major, Op. 54 No. 3.
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The term 'sonata form' is controversial and has been called misleading by scholars and composers almost from its inception. Its originators implied that there was a set template to which Classical and
229:, a compositional theory of the time did not use the term "sonata form". Perhaps the most extensive contemporary description of the sonata-form type of movement may have been given by the theorist
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The fact that so-called monothematic expositions usually have additional themes is used by Charles Rosen to illustrate his theory that the Classical sonata form's crucial element is some sort of
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In the theory of sonata form it is often asserted that other movements stand in relation to the sonata-allegro form, either, per Charles Rosen that they are really "sonata forms", plural—or as
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of the arrival of the dominant. Using a new theme was a very common way to achieve this, but other resources such as changes in texture, salient cadences and so on were also accepted practice.
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is first found in the 17th century, when instrumental music had just begun to become increasingly separated from vocal music. The original meaning of the term (derived from the Italian word
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The development varies greatly in length from piece to piece and from time period to time period, sometimes being relatively short compared to the exposition (e.g., the first movement of
524:. It may or may not contain material that is later stated in the exposition. The introduction increases the weight of the movement (such as the famous dissonant introduction to Mozart's
1521:, the first subject group will be in the subdominant and then modulate back to tonic for the second subject group and coda. This case is also found in the first movement of Beethoven's
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1753:. Such melodic adjustment is common in minor-key sonata forms, when the mode of the second subject needs to be changed, for example in the opening movement of Mozart's wind serenade
1553:. Sometimes this effect is also used for false reprises in the "wrong key" that are soon followed by the actual recapitulation in the tonic, such as in the first movement of Haydn's
865:'s Symphony No. 9. The home key of the movement is C major. The retransition prolongates over the dominant chord on G, but suddenly takes up the first theme in the flattened mediant
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key, and for the recapitulation to complete the musical argument, material that has not been stated in the tonic key is "resolved" by being played, in whole or in part, in the tonic.
1924:, a piece for singing. At this time, the term implies a binary form, usually AABB with some aspects of three part forms. Early examples of simple pre-Classical sonata forms include
1733:
K. 515, where a later portion of the first subject group is cut. On the other hand, it is also possible for the subject groups to be reversed in order, like the fourth movement of
767:– in this section the composer modulates from the key of the first subject to the key of the second. If the first group is in a major key, the second group will usually be in the
722:
1986:
provide excellent examples of the transition from binary to sonata-allegro form. Among the many sonatas are numerous examples of the true sonata form being crafted into place.
150:, and has, thus, been referred to frequently as "first-movement form" or "sonata-allegro form" (since the typical first movement in a three- or four-movement cycle will be in
1936:
in music. Even before it had been described, the form had become central to music making, absorbing or altering other formal schemas for works. Examples include Beethoven's
1126:. In the exposition, the first subject group ends on a half-cadence in tonic, and the second subject group immediately follows in the dominant key (without a transition).
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space of relief and comfort that a major-mode second theme would bring, and was therefore used primarily for a bleak, grim effect, as Beethoven did with some frequency.
50:
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
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acceptable practice is a point of contention. Alterations include taking material through distant keys, breaking down of themes and sequencing of motifs, and so forth.
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Also in the late Romantic period, it was possible for a minor-key sonata form movement to modulate to the major dominant, as in the first movements of Tchaikovsky's
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During the late Romantic period, it was also possible to modulate to remote tonal areas to represent divisions of the octave. In the first movement of Tchaikovsky's
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in 1793: like earlier German theorists and unlike many of the descriptions of the form we are used to today, he defined it in terms of the movement's plan of
1854:, where the soloist is heard at the outset: as the later unfolding of those movements makes clear, the opening piano solo or early piano flourishes actually
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In some pieces in sonata form, in the recapitulation, the first subject group is omitted, leaving only the second subject group, like the second movement of
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key such as the tonic major or minor or the subdominant, it may also be omitted from the recapitulation. Examples include the opening movements of Mozart's
89:
may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.
909:– often the transition is carried out by introducing a novel material: a kind of an additional brief development. It is called a "secondary development".
1300:
No. 2, i). In such cases, the second theme will often return initially in the tonic minor in the recapitulation, with the major mode restored later on.
935:(major or minor); the recapitulation provides the needed balance even if the material's mode is changed, so long as there is no longer any key conflict.
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On occasion, the material of introduction reappears in its original tempo later in the movement. Often, this occurs as late as the coda, as in Mozart's
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section is optional, or may be reduced to a minimum. If it is extended, it is, in general, slower than the main section and frequently focuses on the
2074:, and argue from this idea that the sonata-allegro form is a means of structuring the continuing variation process. Theorists of this school include
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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'
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the start of the exposition proper. This presentation is also found in Classical-to-Romantic transition, such as Beethoven's piano concertos
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often refers to a piece in sonata form, it is important to separate the two. As the title for a single-movement piece of instrumental music,
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528:, K. 465), and also permits the composer to begin the exposition with a theme that would be too light to start on its own, as in Haydn's
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1717:. It is also possible for the first subject group to be slightly different in comparison of the exposition, like the fourth movement of
1436:
has its second subject group start in the minor mediant G minor and then to its parallel G major. And in the opening movement of his
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Beethoven began also to use the submediant major with more frequency in minor-key sonata-form movements, as in the first movements of
903:– normally given prominence as the highlight of a recapitulation, it is usually in exactly the same key and form as in the exposition.
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extended binary forms that bear similarities to sonata form, sonata form can be distinguished by the following three characteristics:
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1550:
1546:
1542:
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470:) that 'sonata form' as it is outlined here is not adequate to describe the complex musical structures that it is often applied to.
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The model of the form that is often taught currently tends to be more thematically differentiated. It was originally promulgated by
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1561:(false reprise in the major submediant). A special case is the recapitulation that begins in the tonic minor, for example in the
1361:
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1525:. Schubert was also a prominent user of the subdominant recapitulation; it appears for example in the opening movements of his
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and other theorists of his time—was characterized by drama, dynamism, and a "psychological" approach to theme and expression.
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and so forth), composers of the day were writing works that flagrantly violated some of the principles of the codified form.
142:". As a formal model it is usually best exemplified in the first movements of multi-movement works from this period, whether
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directions and the blurring of tonal areas true recapitulations beginning in other keys became possible after around 1825.
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became increasingly important and essential parts of the sonata form in the nineteenth century. The coda often ends with a
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developed a 'two-dimensional' method of analysis that explicitly considered form and structure from the point of view of
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for the second subject group before modulating back to F minor for the coda. Another example is the first movement of
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Subsections of works are sometimes analyzed as being in sonata form, in particular single movement works, such as the
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in 1848. Marx may be the originator of the term "sonata form". This model was derived from the study and criticism of
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1229:. The young Chopin even experimented with expositions that do not modulate at all, in the opening movements of his
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1818:. This is distinct from a short development, such as in the opening movement of Mozart's Violin Sonata in G major,
1032:, or rarely, to restore the home key after an off-tonic recapitulation, such as in the first movements of Brahms's
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1602:, and then modulates back to tonic for the second subject group and coda. And in the last movement of Schubert's
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856:. The general key of the movement is C major, and it would then follow that the retransition should stress the
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A sonata-allegro movement is divided into sections. Each section is felt to perform specific functions in the
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After its establishment, the sonata form became the most common form in the first movement of works entitled "
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and an extended coda section that pursues developmental, rather than concluding, processes, often found in
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An important variant on traditional sonata-allegro form is found in the first movement of the Classical
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Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
2055:. Slow movements, in particular, are seen as being similar to sonata-allegro form, with differences in
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shows a distinct shift in how the structure of the sonata form is presented to the listener over time.
1364:, for example, has three separate key and thematic areas, in D minor, F major, and A minor. Similarly,
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back to the tonic, where the exposition began, and the second ending to point towards the development.
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Elements of sonata theory : norms, types, and deformations in the late eighteenth-century sonata
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effect. An example occurs in the first movement of Haydn's String Quartet in G major, Op. 76 No. 1.
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proper is said to be completed harmonically. If the movement continues, it is said to have a coda.
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a monothematic exposition, where the same material is presented in different keys, often used by
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2142:
1887:
Towards the end of the recapitulation of a concerto movement in sonata form, there is usually a
3534:
3373:
3323:
3253:
2988:
2982:
2960:
2534:
Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata
1905:
1867:
1657:
1629:, the recapitulation begins with the first subject group in tonic but modulates to the mediant
1283:
1111:
891:
820:
78:
1718:
1037:
3555:
3338:
3060:
2865:
1562:
965:
2835:
1757:. In rare cases, the second subject theme can be omitted, as in the finale of Tchaikovsky's
213:
and mid-18th century that are not "in sonata form". Conversely, in the late 18th century or
120:
3487:
3482:
3193:
3158:
2088:
1653:
690:
644:
511:
443:
273:
82:
1159:, rather than the dominant, for the second group. For instance, the first movement of the
667:
598:
8:
3318:
3183:
3163:
3087:
2977:
1933:
809:
771:
key. However, if the first group is in a minor key, the second group will usually be the
621:
588:
261:
134:, sonata form is "the most important principle of musical form, or formal type, from the
74:
51:
978:
559:. Sometimes it can appear earlier: it occurs at the beginning of the development in the
3452:
3328:
3258:
3173:
3143:
2707:
2446:
2371:
2342:"Beyond 'Norms and Deformations': Towards a Theory of Sonata Form as Reception History"
2210:
2135:
1983:
1808:
1360:, composed sonata forms with three or more key areas. The first movement of Schubert's
1041:
923:
of the home key (for example, C major when the movement is in C minor like Beethoven's
759:
576:
323:
320:
234:
70:
2070:
as having an underlying role in the construction of formal music, calling the process
1745:. The second subject group's melody can be different compared to the exposition, like
1090:
of writing a complete sonata exposition with just one theme. A more recent example is
3560:
3366:
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3333:
3293:
3108:
3004:
2803:
2791:
2777:
2758:
2750:
2736:
2714:
2688:
2669:
2662:
2643:
2624:
2617:
2601:
2594:
2578:
2559:
2551:
2537:
2511:
2484:
2474:
2450:
2363:
2358:
2341:
2286:
2252:
2214:
2175:
2146:
2067:
2063:
2052:
2006:
1771:
1136:
454:
Through the Romantic period, formal distortions and variations become so widespread (
311:. The exposition presents the primary thematic material for the movement: one or two
175:
2279:
178:. It also carries with it expressive and stylistic connotations: "sonata style"—for
151:
3497:
3420:
3405:
3218:
3103:
3040:
2900:
2895:
2858:
2438:
2409:
2405:
2353:
2056:
2032:
2023:
948:
768:
713:
521:
289:
109:
58:
27:
3447:
3437:
3425:
3313:
3283:
3028:
2936:
2525:
2464:
2389:
2337:
2103:
1618:
1286:; all three works balance this downward third by moving up to the major mediant (
1257:
1025:
1012:, and an exceptionally long coda appears at the end of the finale of Beethoven's
1009:
849:
604:
First theme (G major) and transition from counterstatement (to D major), mm. 1–12
467:
432:
346:
2203:
1806:. It is also common in overtures, occurring for example in Mozart's overture to
3415:
3298:
3238:
3233:
3178:
3123:
3052:
2926:
2167:
2110:, have presented, without reference to Keller, their analysis, which they term
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2036:
2028:
1947:
1640:
1357:
995:
920:
862:
772:
407:
399:
376:
105:
1918:, to sound on instrument) referred to a piece for playing, distinguished from
1356:
The exposition need not only have two key areas. Some composers, most notably
824:) and in other cases quite long and detailed (e.g., the first movement of the
3544:
3507:
3303:
3213:
3148:
3009:
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2702:
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1995:
1312:
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752:
748:
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455:
381:
359:
312:
242:
155:
147:
65:
The standard definition focuses on the thematic and harmonic organization of
2488:
1389:
major, D. 125, uses the scheme I–IV–V. The first movement of Tchaikovsky's
1064:
major. Mozart also occasionally wrote such expositions: for instance in the
981:
309, I, mm. 152–155; last bars of recapitulation also presented for context
896:
The recapitulation is an altered repeat of the exposition, and consists of:
431:
the second subject group recapitulated in a key other than the tonic, as in
3502:
3477:
3472:
3432:
3308:
3203:
3188:
3168:
3138:
3133:
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2728:
2529:
2107:
1972:
1630:
1589:
1287:
1269:
1220:
1198:
1176:
960:
932:
866:
736:
these parallelisms are subject to considerable exceptions), which include:
584:
459:
392:
253:
222:
179:
159:
112:
as elaborations or expansions of the standard description of sonata form.
86:
47:
23:
Early examples of sonata form resemble two-reprise continuous ternary form.
994:
The coda is optional in Classical-era works, but became essential in many
162:
music—it can be seen to be active in a much greater variety of pieces and
3457:
3442:
3248:
3153:
3118:
2910:
2468:
2095:
1968:
1952:
1779:
1492:
major. The second subject group is even more wide-ranging. It begins in F
1393:
uses the scheme i–v–VII. An extreme example is the finale to Schubert's
928:
536:. The introduction usually is not included in the exposition repeat: the
417:
316:
269:
246:
163:
2375:
3243:
2075:
2066:
and other theorists who used his ideas as a point of departure see the
1194:
1156:
398:
a 'third subject group' in a different key than the other two, used by
845:: It prepares for the return of the first subject group in the tonic.
3198:
3098:
1005:
544:(Op. 35) is a clear example where the introduction is also included.
158:, calls a "principle"—a typical approach to shaping a large piece of
143:
1709:'s Sonata Hob. XVI/35, as well as the opening movements of Chopin's
1656:
in sonata form: for example, the second movement 'Quasi-Faust' from
837:
in the work. The last part of the development section is called the
493:
a full (or close to full) recapitulation of the second subject group
3462:
3389:
3228:
3223:
3113:
2905:
2834:
1847:
1835:
1734:
238:
171:
101:
97:
66:
3278:
1729:, where the opening of the first subject group is cut, and in the
1725:. Another example occurs in the finale of Mozart's string quartet
3400:
3263:
2014:
1920:
1888:
1626:
1613:
1606:
in C major, the first subject group is in the flattened mediant E
1599:
1585:
1445:
1441:
1440:, the first theme of the second subject group is in the relative
1423:
1334:
1330:
1326:
1322:
1308:
1265:
1216:
1186:
1168:
1164:
1152:
1000:
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key. Although there are exceptions, most pieces follow this form.
563:
Sonata, and at the beginning of the recapitulation of Schubert's
342:
328:
210:
201:
96:", as well as other long works of classical music, including the
1557:(false reprise in the subdominant), or the finale of Schubert's
3208:
2881:
1819:
1787:
1754:
1726:
1507:
1474:, D. 960, for example, the theme is presented three times, in B
1416:(in C minor), the second subject group begins in the relative E
1365:
970:
829:
187:
167:
93:
2043:
times a freer interpretation has been considered permissible.
416:
the first subject recapitulated in the 'wrong' key, often the
3273:
1746:
1706:
1451:
326:. The exposition typically concludes with a closing theme, a
315:
or theme groups, often in contrasting styles and in opposing
277:
2314:
3358:
3268:
1351:
1325:
for the second subject group. The recapitulation begins in
1211:
also implemented this practice in the last movement of his
487:
the simultaneous return of the first subject group and the
2850:
1129:
1105:
No transitions between the first and second subject groups
81:. In addition, the standard definition recognizes that an
2575:
Sonata in the Classic Era (A History of the Sonata Idea)
2031:, from the beginning of modern recording, with those of
384:
have felt them to warrant the plural in 'sonata forms'.
2640:
Beethoven on Beethoven: Playing His Piano Music His Way
1122:. It also occurs in the first movement of Beethoven's
944:, and Haydn's String Quartet in G major, Op. 77 No. 1.
919:(K. 550). More often, however, it may be recast in the
650:
End of second subject and Codetta (D major), mm. 17–28
2818:
1962:
302:, which is, in general, slower than the main movement.
3518:
2272:
2270:
2268:
1444:
while the second theme is in the parallel submediant
241:, without saying a great deal about the treatment of
77:
and then resolved harmonically and thematically in a
2165:
1700:
1397:, D. 589, which has a six-key exposition (C major, A
1047:
349:
possibilities of the thematic material are explored.
2427:Marston, Nicholas (2000). "Schubert's Homecoming".
1362:
Quartet in D minor, D. 810 ("Death and the Maiden")
540:is a possible counterexample. Much later, Chopin's
2706:
2661:
2616:
2593:
2473:. Darcy, Warren. Oxford: Oxford University Press.
2414:Schubert Studies: Problems of Style and Chronology
2313:Webster, James. "Sonata form". In Macy, L. (ed.).
2278:
2265:
2202:
2134:
1114:. This happens in the first movement of Mozart's
387:These variations include, but are not limited to:
2845:. Vol. 25 (11th ed.). pp. 394–399.
1409:, and G major), with a new theme for each key.
1379:i–III–VI, and the opening movement of Schubert's
371:, beyond the final cadence of the recapitulation.
3542:
3082:
502:The standard description of the sonata form is:
352:The development then re-transitions back to the
2308:
2306:
2304:
2302:
2174:(7th ed.). Thomson Schirmer. p. 289.
1432:. Similarly, the opening movement of Dvorak's
1278:, as do the F minor first movements of Brahms'
283:
245:. Seen in this way, sonata form was closest to
2209:(revised ed.). New York: Norton. p.
1672:minor, and while the exposition travels from D
1584:, the first subject group begins in the tonic
3374:
3068:
2866:
1967:Sonata form shares characteristics with both
1468:subject group of Schubert's Piano Sonata in B
627:Start of second subject (D major), mm. 13–16
31:Sonata form, optional features in parentheses
2733:Structural Hearing: Tonal Coherence in Music
2299:
2246:
1193:in the same key modulating to the flattened
2802:]. Translated by Oster, Ernst. vol. 1.
2129:
1684:major, the recapitulation begins again in D
1139:also did this in the first movement of his
1052:
551:, Haydn's "Drumroll" Symphony, Beethoven's
481:a separate development section including a
358:where the thematic material returns in the
266:Die Lehre von der musikalischen Komposition
3381:
3367:
3075:
3061:
3024:
2873:
2859:
2396:: analytical and explanatory notes on the
1452:Modulations within the first subject group
1307:, the first subject group is in the tonic
1233:(remaining in C minor throughout) and his
1219:and modulates to the flattened submediant
2463:
2357:
2335:
2242:
2240:
2238:
2236:
2234:
2232:
2230:
1498:minor, moves into A major, then through B
848:Exceptions include the first movement of
497:
124:Baroque binary forms roots in sonata form
115:
2430:Journal of the Royal Musical Association
1764:
1533:, as well as those of his piano sonatas
1352:Expositions with more than two key areas
964:
209:, "to sing"—covers many pieces from the
119:
57:While it is typically used in the first
26:
18:
16:Musical structure of three main sections
2426:
2249:Music in Theory and Practice: Volume II
2193:
2191:
1422:major and goes to the parallel mediant
1130:Expositions that modulate to other keys
1118:and again in the third movement of his
747:(Prime) – this consists of one or more
131:Grove Dictionary of Music and Musicians
3543:
2623:. University of North Carolina Press.
2227:
2059:and less emphasis on the development.
2013:In the simplest example, playing of a
1690:minor and ends in the relative major F
1296:) for the key of the second movement.
466:among others are cited and studied by
249:, out of which it probably developed.
3362:
3056:
2854:
2829:
2709:The Grove Concise Dictionary of Music
2388:
2276:
2197:
2141:(3rd ed.). McGraw-Hill. p.
1571:, or the opening movement of Haydn's
154:). However, as what Grove, following
2188:
1741:, or the first movement of Mozart's
1612:major, modulates to the subdominant
1565:of Haydn's quartet Op. 76 No. 4 in E
1171:, while the opening movement of the
1072:. Such expositions are often called
446:'s middle-period works, such as his
258:Traité de haute composition musicale
2755:Fundamentals of Musical Composition
2312:
1963:Sonata form and other musical forms
354:
69:materials that are presented in an
13:
2668:(2nd ed.). New York: Norton.
2498:
1519:String Quartet No. 14 in G, K. 387
1508:Recapitulations in the "wrong key"
1237:(moving from E minor to E major).
534:Quintet for Piano and Winds Op. 16
335:The exposition is followed by the
305:The first required section is the
14:
3572:
2172:Techniques and Materials of Music
1928:'s Trio Sonata No. 3 in G major.
1701:Partial or varied recapitulations
1048:Variations on the standard schema
885:
553:Piano Sonata No. 8 ("Pathétique")
549:String Quintet in D major, K. 593
530:Symphony No. 103 ("The Drumroll")
482:
365:The movement may conclude with a
298:
73:, elaborated and contrasted in a
3528:
3347:
3036:
3035:
3023:
2359:10.1111/j.1468-2249.2008.00283.x
1989:
1776:Violin Concerto No. 2 in D minor
1515:Piano Sonata No. 16 in C, K. 545
1333:, and goes back to the parallel
982:
720:
712:
697:
689:
674:
666:
651:
643:
628:
620:
605:
597:
473:In the context of the many late-
422:Piano Sonata No. 16 in C, K. 545
337:
2457:
1866:, and Romantic concertos, like
1743:piano sonata in D major, K. 311
1663:Grande sonate 'Les quatre âges'
947:After the closing cadence, the
942:piano sonata in C minor, K. 457
505:
307:
2642:. W. W. Norton & Company.
2420:
2382:
2329:
2159:
2123:
2051:particular in the case of the
1841:
1268:, modulates to the submediant
1185:, modulates to the submediant
803:
789:Closing zone (or closing area)
1:
2596:The Sonata in the Classic Era
2556:The Sonata in the Baroque Era
2251:(8th ed.). McGraw-Hill.
2117:
1143:and the last movement of his
570:
3388:
2817:Smith, Michael Paul (2014).
2687:. Harvard University Press.
1982:The early binary sonatas by
1086:, did composers perform the
931:here is more important than
284:Definition as a formal model
199:, "to play ", as opposed to
7:
2880:
2772:Schoenberg, Arnold (2010).
2638:Newman, William S. (1995).
2615:Newman, William S. (1983).
2592:Newman, William S. (1983).
2573:Newman, William S. (1980).
2536:. Oxford University Press.
2510:. Oxford University Press.
2506:Caplin, William E. (2000).
1812:, or Rossini's overture to
1549:, as well as the finale of
1459:String Quintet in C, K. 515
1167:, modulates to the mediant
10:
3577:
2823:Tchaikovsky Life and Works
2619:The Sonata Since Beethoven
1993:
1903:
1899:
1678:to the major subdominant G
1486:major, and then again in B
1403:major, F major, A major, E
958:
889:
807:
719:Recapitulation, mm. 58–80
574:
509:
185:Although the Italian term
3411:Consonance and dissonance
3396:
3345:
3094:
3018:
2970:
2919:
2888:
2170:; Nelson, Robert (2003).
2133:; Payne, Dorothy (1995).
1555:quartet Op. 76 No. 1 in G
1438:Symphony No. 6 in D major
1434:Symphony No. 9 in E minor
1370:Piano Concerto in F minor
1001:perfect authentic cadence
925:Symphony No. 5 in C Minor
367:
205:, the past participle of
2819:"A Guide to Sonata Form"
2340:; Darcy, Warren (eds.).
2336:Wingfield, Paul (2008).
1868:Grieg's A minor concerto
1559:piano sonata in A, D 959
1053:Monothematic expositions
696:Retransition, mm. 54–57
557:Symphony No. 9 ("Great")
195:—the past participle of
3468:Otonality and utonality
2842:Encyclopædia Britannica
2735:. Courier Corporation.
2685:The Romantic Generation
2683:Rosen, Charles (1998).
2394:Der Tod und das Mädchen
2277:White, John D. (1976).
2247:Benward; Saker (2009).
2094:From the 1950s onward,
2084:KonzertstĂĽck in F minor
2078:and William E. Caplin.
1815:Il barbiere di Siviglia
1517:, or the finale of his
954:
673:Development, mm. 29–53
231:Heinrich Christoph Koch
227:Wolfgang Amadeus Mozart
2989:Sonatas and Interludes
2443:10.1093/jrma/125.2.248
1906:History of sonata form
1658:Charles-Valentin Alkan
1461:, visits C minor and D
1248:, and String Quartets
1173:"Hammerklavier" sonata
1112:common-tone modulation
991:
892:Recapitulation (music)
858:dominant seventh chord
821:Eine kleine Nachtmusik
498:Outline of sonata form
404:String Quintet, D. 956
125:
116:Defining 'sonata form'
32:
24:
2831:Tovey, Donald Francis
2757:. Faber & Faber.
2281:The Analysis of Music
2100:listener expectations
1778:. Another example is
1765:Truncated sonata form
1280:first clarinet sonata
1215:; the movement is in
1191:String Quartet No. 13
1070:String Quintet K. 593
968:
296:It may begin with an
123:
30:
22:
3488:Schenkerian analysis
3483:Progressive tonality
3159:Developing variation
2836:"Sonata Forms"
2392:(1982). "Schubert's
2089:Carl Maria von Weber
2072:continuing variation
2068:theme and variations
1977:compound binary form
1832:Serenade for Strings
1654:progressive tonality
1235:Piano Concerto No. 1
1084:major, Op. 50, No. 1
913:Second subject group
779:Second subject group
526:"Dissonance" Quartet
512:Introduction (music)
3551:Musical development
3319:Thirty-two-bar form
3184:Formula composition
2978:Fitzwilliam Sonatas
2664:The Classical Style
2465:Hepokoski, James A.
2416:. pp. 143–171.
1246:Piano Sonata No. 32
1094:'s Symphony No. 2.
1078:String Quartet in B
1066:Piano Sonata K. 570
901:First subject group
810:Development (music)
741:First subject group
262:Adolf Bernhard Marx
44:first movement form
40:sonata-allegro form
3426:Secondary function
2792:Schenker, Heinrich
2751:Schoenberg, Arnold
2552:Newman, William S.
2316:Grove Music Online
2166:Benjamin, Thomas;
2010:inevitable logic.
1984:Domenico Scarlatti
1834:, and is known as
1809:Le nozze di Figaro
1711:Piano Sonata No. 2
1650:"Waldstein" Sonata
1504:major to F major.
1231:Piano Sonata No. 1
1161:"Waldstein" sonata
992:
854:Piano Sonata No. 1
577:Exposition (music)
542:Piano Sonata No. 2
380:theorists such as
215:"Classical" period
126:
33:
25:
3516:
3515:
3421:Diatonic function
3356:
3355:
3339:Verse–chorus form
3294:Sonata rondo form
3129:Call and response
3109:Ausmultiplikation
3050:
3049:
3005:Sonata rondo form
2783:978-1-147-25802-8
2285:. Prentice-Hall.
2258:978-0-07-310188-0
2053:sonata rondo form
2007:Heinrich Schenker
1772:Henryk Wieniawski
1523:"Kreutzer" sonata
1329:and modulates to
1311:but modulates to
988:
975:Sonata in C Major
826:"Eroica" Symphony
726:
703:
680:
657:
634:
611:
587:Keyboard Sonata,
420:, as in Mozart's
319:, connected by a
128:According to the
48:musical structure
3568:
3533:
3532:
3531:
3524:
3498:Tonality diamond
3406:Circle of fifths
3383:
3376:
3369:
3360:
3359:
3351:
3324:Through-composed
3077:
3070:
3063:
3054:
3053:
3039:
3038:
3027:
3026:
2901:Sonata da chiesa
2896:Sonata da camera
2875:
2868:
2861:
2852:
2851:
2846:
2838:
2826:
2813:
2800:Free Composition
2787:
2768:
2746:
2724:
2712:
2698:
2679:
2667:
2653:
2634:
2622:
2611:
2599:
2588:
2577:. W. W. Norton.
2569:
2558:. W. W. Norton.
2547:
2526:Hepokoski, James
2521:
2493:
2492:
2461:
2455:
2454:
2424:
2418:
2417:
2410:Peter Branscombe
2406:Eva Badura-Skoda
2390:Wolff, Christoph
2386:
2380:
2379:
2361:
2338:Hepokoski, James
2333:
2327:
2326:
2324:
2323:
2310:
2297:
2296:
2284:
2274:
2263:
2262:
2244:
2225:
2224:
2208:
2195:
2186:
2185:
2163:
2157:
2156:
2140:
2127:
1934:Classical period
1877:
1876:
1695:
1694:
1689:
1688:
1683:
1682:
1677:
1676:
1671:
1670:
1636:
1635:
1611:
1610:
1595:
1594:
1570:
1569:
1527:Symphonies No. 2
1503:
1502:
1497:
1496:
1491:
1490:
1485:
1484:
1479:
1478:
1473:
1472:
1466:
1465:
1429:
1428:
1421:
1420:
1408:
1407:
1402:
1401:
1388:
1387:
1377:
1376:
1318:
1317:
1293:
1292:
1275:
1274:
1226:
1225:
1204:
1203:
1182:
1181:
1083:
1082:
1063:
1062:
1034:Clarinet Quintet
990:
989:
949:musical argument
872:
871:
843:
842:
728:
727:
716:
705:
704:
693:
682:
681:
670:
659:
658:
647:
636:
635:
624:
613:
612:
601:
555:, or Schubert's
532:and Beethoven's
290:musical argument
268:in 1845, and by
136:Classical period
52:Classical period
3576:
3575:
3571:
3570:
3569:
3567:
3566:
3565:
3541:
3540:
3539:
3535:Classical music
3529:
3527:
3519:
3517:
3512:
3448:Major and minor
3438:Just intonation
3392:
3387:
3357:
3352:
3343:
3090:
3081:
3051:
3046:
3029:List of sonatas
3014:
2966:
2937:Clarinet sonata
2915:
2884:
2879:
2849:
2816:
2810:
2790:
2784:
2771:
2765:
2749:
2743:
2727:
2721:
2701:
2695:
2682:
2676:
2656:
2650:
2637:
2631:
2614:
2608:
2591:
2585:
2572:
2566:
2550:
2544:
2524:
2518:
2505:
2501:
2499:Further reading
2496:
2481:
2462:
2458:
2425:
2421:
2400:D. 531 and the
2387:
2383:
2334:
2330:
2321:
2319:
2311:
2300:
2293:
2275:
2266:
2259:
2245:
2228:
2221:
2196:
2189:
2182:
2168:Horvit, Michael
2164:
2160:
2153:
2128:
2124:
2120:
2104:James Hepokoski
1998:
1992:
1965:
1908:
1902:
1874:
1873:
1844:
1767:
1759:Violin Concerto
1751:Symphony No. 44
1703:
1692:
1691:
1686:
1685:
1680:
1679:
1674:
1673:
1668:
1667:
1645:Symphony No. 9.
1633:
1632:
1619:Richard Strauss
1608:
1607:
1598:, then through
1592:
1591:
1588:, modulates to
1573:Symphony No. 47
1567:
1566:
1510:
1500:
1499:
1494:
1493:
1488:
1487:
1482:
1481:
1476:
1475:
1470:
1469:
1463:
1462:
1454:
1426:
1425:
1418:
1417:
1405:
1404:
1399:
1398:
1385:
1384:
1374:
1373:
1372:uses F minor, A
1354:
1315:
1314:
1290:
1289:
1272:
1271:
1258:Richard Strauss
1223:
1222:
1201:
1200:
1179:
1178:
1132:
1120:Symphony No. 34
1116:Symphony No. 31
1107:
1080:
1079:
1060:
1059:
1055:
1050:
1010:Eroica Symphony
983:
963:
957:
917:Symphony No. 40
894:
888:
869:
868:
840:
839:
812:
806:
733:
732:
731:
730:
729:
721:
717:
708:
707:
706:
698:
694:
685:
684:
683:
675:
671:
662:
661:
660:
652:
648:
639:
638:
637:
629:
625:
616:
615:
614:
606:
602:
593:
592:
579:
573:
514:
508:
500:
468:James Hepokoski
433:Richard Strauss
424:and Schubert's
286:
118:
17:
12:
11:
5:
3574:
3564:
3563:
3558:
3553:
3538:
3537:
3514:
3513:
3511:
3510:
3505:
3500:
3495:
3490:
3485:
3480:
3475:
3470:
3465:
3460:
3455:
3450:
3445:
3440:
3435:
3430:
3429:
3428:
3418:
3416:Diatonic scale
3413:
3408:
3403:
3397:
3394:
3393:
3386:
3385:
3378:
3371:
3363:
3354:
3353:
3346:
3344:
3342:
3341:
3336:
3331:
3326:
3321:
3316:
3311:
3306:
3301:
3299:Song structure
3296:
3291:
3286:
3281:
3276:
3271:
3266:
3261:
3256:
3254:Recapitulation
3251:
3246:
3241:
3236:
3231:
3226:
3221:
3216:
3211:
3206:
3201:
3196:
3191:
3186:
3181:
3176:
3171:
3166:
3161:
3156:
3151:
3146:
3141:
3136:
3131:
3126:
3121:
3116:
3111:
3106:
3101:
3095:
3092:
3091:
3080:
3079:
3072:
3065:
3057:
3048:
3047:
3045:
3044:
3032:
3019:
3016:
3015:
3013:
3012:
3007:
3002:
2997:
2992:
2985:
2980:
2974:
2972:
2968:
2967:
2965:
2964:
2954:
2949:
2944:
2939:
2934:
2929:
2927:Bassoon sonata
2923:
2921:
2917:
2916:
2914:
2913:
2908:
2903:
2898:
2892:
2890:
2886:
2885:
2878:
2877:
2870:
2863:
2855:
2848:
2847:
2827:
2814:
2808:
2796:Der freie Satz
2788:
2782:
2769:
2763:
2747:
2741:
2725:
2719:
2705:, ed. (1988).
2703:Sadie, Stanley
2699:
2693:
2680:
2674:
2658:Rosen, Charles
2654:
2648:
2635:
2629:
2612:
2606:
2589:
2583:
2570:
2564:
2548:
2542:
2522:
2516:
2502:
2500:
2497:
2495:
2494:
2479:
2456:
2437:(2): 248–270.
2419:
2381:
2352:(1): 137–177.
2346:Music Analysis
2328:
2298:
2291:
2264:
2257:
2226:
2219:
2199:Rosen, Charles
2187:
2180:
2158:
2151:
2131:Kostka, Stefan
2121:
2119:
2116:
2048:Edward T. Cone
1994:Main article:
1991:
1988:
1964:
1961:
1904:Main article:
1901:
1898:
1878:major concerto
1843:
1840:
1766:
1763:
1739:Symphony No. 7
1723:Symphony No. 9
1702:
1699:
1623:Symphony No. 2
1604:Symphony No. 9
1582:Symphony No. 2
1509:
1506:
1453:
1450:
1414:Symphony No. 1
1395:Symphony No. 6
1391:Symphony No. 5
1381:Symphony No. 2
1353:
1350:
1346:Symphony No. 4
1342:Symphony No. 1
1337:for the coda.
1305:Symphony No. 4
1262:Symphony No. 2
1242:Symphony No. 9
1213:Symphony No. 2
1145:Symphony No. 4
1141:Symphony No. 3
1131:
1128:
1124:Symphony No. 1
1106:
1103:
1054:
1051:
1049:
1046:
1042:Symphony No. 9
1030:Piano Concerto
1022:Symphony No. 5
1014:Symphony No. 8
959:Main article:
956:
953:
937:
936:
921:parallel major
910:
904:
890:Main article:
887:
886:Recapitulation
884:
808:Main article:
805:
802:
797:
796:
786:
776:
773:relative major
756:
718:
711:
710:
709:
695:
688:
687:
686:
672:
665:
664:
663:
649:
642:
641:
640:
626:
619:
618:
617:
603:
596:
595:
594:
583:
582:
581:
580:
575:Main article:
572:
569:
565:Symphony No. 1
510:Main article:
507:
504:
499:
496:
495:
494:
491:
485:
452:
451:
448:Symphony No. 3
440:
437:Symphony No. 2
429:
426:Symphony No. 5
414:
411:Symphony No. 4
396:
373:
372:
363:
355:recapitulation
350:
333:
303:
285:
282:
237:and principal
138:well into the
117:
114:
106:string quartet
79:recapitulation
15:
9:
6:
4:
3:
2:
3573:
3562:
3559:
3557:
3554:
3552:
3549:
3548:
3546:
3536:
3526:
3525:
3522:
3509:
3508:Voice leading
3506:
3504:
3501:
3499:
3496:
3494:
3491:
3489:
3486:
3484:
3481:
3479:
3476:
3474:
3471:
3469:
3466:
3464:
3461:
3459:
3456:
3454:
3451:
3449:
3446:
3444:
3441:
3439:
3436:
3434:
3431:
3427:
3424:
3423:
3422:
3419:
3417:
3414:
3412:
3409:
3407:
3404:
3402:
3399:
3398:
3395:
3391:
3384:
3379:
3377:
3372:
3370:
3365:
3364:
3361:
3350:
3340:
3337:
3335:
3332:
3330:
3327:
3325:
3322:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3304:Strophic form
3302:
3300:
3297:
3295:
3292:
3290:
3287:
3285:
3282:
3280:
3277:
3275:
3272:
3270:
3267:
3265:
3262:
3260:
3257:
3255:
3252:
3250:
3247:
3245:
3242:
3240:
3237:
3235:
3232:
3230:
3227:
3225:
3222:
3220:
3217:
3215:
3212:
3210:
3207:
3205:
3202:
3200:
3197:
3195:
3192:
3190:
3187:
3185:
3182:
3180:
3177:
3175:
3172:
3170:
3167:
3165:
3162:
3160:
3157:
3155:
3152:
3150:
3147:
3145:
3142:
3140:
3137:
3135:
3132:
3130:
3127:
3125:
3122:
3120:
3117:
3115:
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3096:
3093:
3089:
3085:
3078:
3073:
3071:
3066:
3064:
3059:
3058:
3055:
3043:
3042:
3033:
3031:
3030:
3021:
3020:
3017:
3011:
3010:Sonata theory
3008:
3006:
3003:
3001:
2998:
2996:
2993:
2991:
2990:
2986:
2984:
2981:
2979:
2976:
2975:
2973:
2971:Miscellaneous
2969:
2962:
2958:
2957:Violin sonata
2955:
2953:
2950:
2948:
2945:
2943:
2940:
2938:
2935:
2933:
2930:
2928:
2925:
2924:
2922:
2920:By instrument
2918:
2912:
2909:
2907:
2904:
2902:
2899:
2897:
2894:
2893:
2891:
2887:
2883:
2876:
2871:
2869:
2864:
2862:
2857:
2856:
2853:
2844:
2843:
2837:
2832:
2828:
2824:
2820:
2815:
2811:
2809:1-57647-074-1
2805:
2801:
2797:
2793:
2789:
2785:
2779:
2776:(in German).
2775:
2774:Harmonielehre
2770:
2766:
2764:0-571-09276-4
2760:
2756:
2752:
2748:
2744:
2742:0-486-22275-6
2738:
2734:
2730:
2729:Salzer, Felix
2726:
2722:
2720:0-333-43236-3
2716:
2713:. Macmillan.
2711:
2710:
2704:
2700:
2696:
2694:0-674-77934-7
2690:
2686:
2681:
2677:
2675:0-393-31712-9
2671:
2666:
2665:
2659:
2655:
2651:
2649:0-393-30719-0
2645:
2641:
2636:
2632:
2630:0-393-95290-8
2626:
2621:
2620:
2613:
2609:
2607:0-393-95286-X
2603:
2598:
2597:
2590:
2586:
2584:0-393-00623-9
2580:
2576:
2571:
2567:
2565:0-393-00622-0
2561:
2557:
2553:
2549:
2545:
2543:0-19-514640-9
2539:
2535:
2531:
2530:Darcy, Warren
2527:
2523:
2519:
2517:0-19-514399-X
2513:
2509:
2504:
2503:
2490:
2486:
2482:
2480:0-19-514640-9
2476:
2472:
2471:
2466:
2460:
2452:
2448:
2444:
2440:
2436:
2432:
2431:
2423:
2415:
2411:
2407:
2403:
2399:
2395:
2391:
2385:
2377:
2373:
2369:
2365:
2360:
2355:
2351:
2347:
2343:
2339:
2332:
2318:
2317:
2309:
2307:
2305:
2303:
2294:
2292:0-13-033233-X
2288:
2283:
2282:
2273:
2271:
2269:
2260:
2254:
2250:
2243:
2241:
2239:
2237:
2235:
2233:
2231:
2222:
2220:0-393-01203-4
2216:
2212:
2207:
2206:
2200:
2194:
2192:
2183:
2177:
2173:
2169:
2162:
2154:
2152:0-07-300056-6
2148:
2144:
2139:
2138:
2137:Tonal Harmony
2132:
2126:
2122:
2115:
2113:
2112:Sonata Theory
2109:
2105:
2101:
2097:
2092:
2090:
2086:
2085:
2079:
2077:
2073:
2069:
2065:
2060:
2058:
2054:
2049:
2044:
2040:
2038:
2034:
2030:
2025:
2019:
2016:
2011:
2008:
2002:
1997:
1996:Sonata theory
1990:Sonata theory
1987:
1985:
1980:
1978:
1974:
1970:
1960:
1956:
1954:
1949:
1944:
1942:
1940:
1935:
1929:
1927:
1923:
1922:
1917:
1913:
1907:
1897:
1893:
1890:
1885:
1881:
1879:
1869:
1865:
1861:
1857:
1853:
1849:
1839:
1837:
1833:
1829:
1823:
1821:
1817:
1816:
1811:
1810:
1805:
1801:
1797:
1793:
1789:
1783:
1781:
1777:
1773:
1762:
1760:
1756:
1752:
1748:
1744:
1740:
1736:
1732:
1728:
1724:
1720:
1716:
1712:
1708:
1698:
1665:
1664:
1659:
1655:
1651:
1646:
1642:
1638:
1628:
1624:
1620:
1615:
1605:
1601:
1597:
1587:
1583:
1577:
1574:
1564:
1563:slow movement
1560:
1556:
1552:
1548:
1544:
1540:
1536:
1532:
1528:
1524:
1520:
1516:
1505:
1460:
1449:
1447:
1443:
1439:
1435:
1431:
1415:
1410:
1396:
1392:
1382:
1371:
1367:
1363:
1359:
1349:
1347:
1343:
1338:
1336:
1332:
1328:
1324:
1320:
1310:
1306:
1301:
1297:
1295:
1285:
1284:piano quintet
1281:
1277:
1267:
1263:
1259:
1255:
1251:
1247:
1243:
1238:
1236:
1232:
1228:
1218:
1214:
1210:
1206:
1196:
1192:
1188:
1184:
1174:
1170:
1166:
1162:
1158:
1154:
1148:
1146:
1142:
1138:
1127:
1125:
1121:
1117:
1113:
1102:
1100:
1099:dramatization
1095:
1093:
1092:Edmund Rubbra
1089:
1088:tour de force
1085:
1075:
1071:
1067:
1045:
1043:
1039:
1035:
1031:
1027:
1023:
1017:
1015:
1011:
1007:
1002:
997:
980:
976:
972:
967:
962:
952:
950:
945:
943:
934:
930:
927:, op. 67/I).
926:
922:
918:
914:
911:
908:
905:
902:
899:
898:
897:
893:
883:
879:
876:
874:
864:
859:
855:
851:
846:
844:
834:
831:
827:
823:
822:
816:
811:
801:
794:
790:
787:
784:
780:
777:
774:
770:
766:
762:
761:
757:
754:
751:, all in the
750:
746:
742:
739:
738:
737:
715:
692:
669:
646:
623:
600:
590:
586:
578:
568:
566:
562:
558:
554:
550:
545:
543:
539:
535:
531:
527:
523:
519:
513:
503:
492:
490:
486:
484:
480:
479:
478:
476:
471:
469:
465:
461:
457:
449:
445:
441:
438:
434:
430:
427:
423:
419:
415:
412:
409:
405:
402:(e.g. in the
401:
397:
394:
390:
389:
388:
385:
383:
382:Charles Rosen
378:
370:
369:
364:
361:
357:
356:
351:
348:
344:
340:
339:
334:
331:
330:
325:
322:
318:
314:
310:
309:
304:
301:
300:
295:
294:
293:
291:
281:
279:
275:
271:
267:
263:
259:
255:
250:
248:
244:
240:
236:
232:
228:
224:
218:
216:
212:
208:
204:
203:
198:
194:
190:
189:
183:
181:
177:
173:
169:
165:
161:
157:
156:Charles Rosen
153:
152:allegro tempo
149:
145:
141:
137:
133:
132:
122:
113:
111:
107:
103:
99:
95:
90:
88:
84:
80:
76:
72:
68:
63:
60:
55:
53:
49:
45:
41:
37:
29:
21:
3556:Musical form
3503:Tonicization
3492:
3478:Polytonality
3473:Parallel key
3433:Figured bass
3309:Ternary form
3288:
3194:Introduction
3084:Musical form
3034:
3022:
2999:
2995:Sonata cycle
2987:
2952:Viola sonata
2947:Piano sonata
2942:Flute sonata
2932:Cello sonata
2840:
2822:
2799:
2795:
2773:
2754:
2732:
2708:
2684:
2663:
2639:
2618:
2595:
2574:
2555:
2533:
2507:
2469:
2459:
2434:
2428:
2422:
2413:
2404:D. 810". In
2393:
2384:
2349:
2345:
2331:
2320:. Retrieved
2315:
2280:
2248:
2205:Sonata Forms
2204:
2171:
2161:
2136:
2125:
2108:Warren Darcy
2099:
2093:
2082:
2080:
2071:
2061:
2045:
2041:
2020:
2012:
2003:
1999:
1981:
1976:
1973:ternary form
1966:
1957:
1948:Romantic era
1945:
1939:Appassionata
1938:
1930:
1919:
1915:
1911:
1909:
1894:
1886:
1882:
1855:
1845:
1824:
1813:
1807:
1784:
1768:
1761:in D major.
1704:
1661:
1578:
1511:
1455:
1411:
1355:
1344:and Brahms'
1339:
1321:and then to
1302:
1298:
1239:
1149:
1133:
1108:
1098:
1096:
1087:
1074:monothematic
1073:
1056:
1018:
993:
961:Coda (music)
946:
938:
912:
906:
900:
895:
880:
877:
847:
841:retransition
838:
835:
819:
817:
813:
798:
792:
788:
782:
778:
764:
758:
744:
740:
734:
560:
546:
537:
522:dominant key
518:introduction
517:
515:
506:Introduction
501:
483:retransition
472:
453:
386:
374:
366:
353:
336:
327:
306:
299:introduction
297:
287:
265:
260:in 1826, by
257:
254:Anton Reicha
251:
223:Joseph Haydn
219:
206:
200:
196:
192:
186:
184:
180:Donald Tovey
176:sonata-rondo
160:instrumental
140:20th century
129:
127:
91:
83:introduction
64:
56:
43:
39:
35:
34:
3493:Sonata form
3458:Neotonality
3289:Sonata form
3249:Post-chorus
3164:Development
3154:Cyclic form
3119:Binary form
3088:development
3000:Sonata form
2911:Trio sonata
2096:Hans Keller
1969:binary form
1842:In concerti
1828:Tchaikovsky
1780:Fritz Seitz
1480:major, in G
1209:Tchaikovsky
1137:Mendelssohn
1058:No. 49 in E
804:Development
418:subdominant
338:development
270:Carl Czerny
247:binary form
75:development
36:Sonata form
3545:Categories
3453:Modulation
3329:Transition
3259:Repetition
3244:Pre-chorus
3174:Exposition
3144:Conclusion
2322:2008-03-27
2181:0495500542
2118:References
2076:Erwin Ratz
2064:Schoenberg
1195:submediant
1157:submediant
907:Transition
760:Transition
591:XVI: G1, I
571:Exposition
561:Pathétique
538:Pathétique
408:Bruckner's
341:where the
332:, or both.
324:transition
321:modulating
308:exposition
235:modulation
144:orchestral
71:exposition
3334:Variation
3199:Leitmotif
3099:Arch form
2451:191320737
2368:0262-5245
2201:(1988) .
2062:However,
2035:and then
2033:Barenboim
1926:Pergolesi
1910:The term
1872:Brahms' B
1006:Beethoven
444:Beethoven
280:sonatas.
274:Beethoven
3561:Tonality
3463:Ostinato
3390:Tonality
3229:Overture
3224:Ostinato
3219:Movement
3114:Bar form
3104:Argument
3041:Category
2906:Sonatina
2833:(1911).
2794:(2001).
2753:(1967).
2731:(1962).
2660:(1997).
2554:(1972).
2532:(2006).
2489:58456978
2467:(2006).
2412:(eds.).
2376:25171408
2057:phrasing
2029:Schnabel
2024:phrasing
1875:♭
1848:concerto
1836:sonatina
1735:Bruckner
1693:♯
1687:♯
1681:♯
1675:♯
1669:♯
1634:♭
1609:♭
1593:♭
1568:♭
1501:♭
1495:♯
1489:♭
1483:♭
1477:♭
1471:♭
1464:♭
1427:♭
1419:♭
1406:♭
1400:♭
1386:♭
1375:♭
1358:Schubert
1316:♯
1291:♭
1273:♭
1224:♭
1202:♭
1180:♭
1081:♭
1061:♭
1026:Schumann
996:Romantic
969:Coda to
870:♭
863:Schubert
830:rhythmic
769:dominant
464:Sibelius
400:Schubert
377:Romantic
347:textural
343:harmonic
239:cadences
172:concerto
110:analyzed
102:concerto
98:symphony
59:movement
3401:Cadence
3284:Section
3264:Reprise
2983:History
2882:Sonatas
2402:quartet
2015:cadence
1921:cantata
1916:suonare
1900:History
1889:cadenza
1856:precede
1731:quintet
1666:is in D
1627:F minor
1614:F major
1600:E major
1586:C major
1446:B major
1442:B minor
1335:F minor
1331:F major
1327:D minor
1323:B major
1309:F minor
1266:F minor
1217:C major
1197:key of
1187:G major
1169:E major
1165:C major
1153:mediant
1068:or the
585:Haydn's
475:Baroque
406:), and
329:codetta
211:Baroque
207:cantare
202:cantata
197:suonare
166:, from
148:chamber
46:) is a
3521:Portal
3239:Phrase
3234:Period
3209:Melody
3179:Finale
3124:Bridge
2806:
2780:
2761:
2739:
2717:
2691:
2672:
2646:
2627:
2604:
2581:
2562:
2540:
2514:
2487:
2477:
2449:
2374:
2366:
2289:
2255:
2217:
2178:
2149:
1953:Czerny
1941:sonata
1912:sonata
1838:form.
1820:K. 379
1804:K. 589
1802:, and
1800:K. 575
1796:K. 465
1792:K. 458
1788:K. 387
1755:K. 388
1727:K. 387
1719:Dvorak
1641:Dvorak
1366:Chopin
1254:No. 15
1250:No. 11
1189:, and
1038:Dvořák
971:Mozart
850:Brahms
749:themes
456:Mahler
313:themes
243:themes
193:sonata
188:sonata
168:minuet
164:genres
94:sonata
85:and a
38:(also
3314:Theme
3279:Rondò
3274:Rondo
3214:Motif
3149:Cycle
2889:Types
2798:[
2447:S2CID
2372:JSTOR
2037:Pratt
1864:No. 5
1860:No. 4
1852:No. 9
1747:Haydn
1715:No. 3
1707:Haydn
1637:major
1596:major
1551:D 664
1547:D 575
1543:D 537
1539:D 459
1535:D 279
1531:No. 5
1430:minor
1319:minor
1294:major
1276:major
1264:, in
1227:major
1205:major
1183:major
1175:, in
1163:, in
873:major
753:tonic
489:tonic
460:Elgar
393:Haydn
360:tonic
278:piano
67:tonal
3269:Riff
3204:Lick
3189:Hook
3169:Drop
3139:Coda
3134:Cell
3086:and
2961:list
2804:ISBN
2778:ISBN
2759:ISBN
2737:ISBN
2715:ISBN
2689:ISBN
2670:ISBN
2644:ISBN
2625:ISBN
2602:ISBN
2579:ISBN
2560:ISBN
2538:ISBN
2512:ISBN
2485:OCLC
2475:ISBN
2398:song
2364:ISSN
2287:ISBN
2253:ISBN
2215:ISBN
2176:ISBN
2147:ISBN
2106:and
1971:and
1946:The
1713:and
1529:and
1383:in B
1282:and
1252:and
1036:and
955:Coda
933:mode
589:Hob.
516:The
462:and
368:coda
345:and
317:keys
225:and
87:coda
3443:Key
2439:doi
2435:125
2354:doi
2143:346
2087:of
1870:or
1862:or
1830:'s
1774:'s
1749:'s
1737:'s
1721:'s
1660:'s
1643:'s
1625:in
1621:'s
1368:'s
1260:'s
1155:or
1040:'s
1028:'s
1024:or
1008:'s
973:'s
929:Key
852:'s
435:'s
276:'s
264:in
256:in
174:to
170:to
146:or
54:).
42:or
3547::
2839:.
2821:.
2600:.
2528:;
2483:.
2445:.
2433:.
2408:;
2370:.
2362:.
2350:27
2348:.
2344:.
2301:^
2267:^
2229:^
2213:.
2190:^
2145:.
2091:.
1943:.
1880:.
1822:.
1798:,
1794:,
1790:,
1545:,
1541:,
1537:,
1448:.
1348:.
1244:,
1207:.
1147:.
1044:.
1016:.
979:K.
977:,
875:.
791:,
781:,
763:,
743:,
567:.
458:,
292:.
104:,
100:,
3523::
3382:e
3375:t
3368:v
3076:e
3069:t
3062:v
2963:)
2959:(
2874:e
2867:t
2860:v
2825:.
2812:.
2786:.
2767:.
2745:.
2723:.
2697:.
2678:.
2652:.
2633:.
2610:.
2587:.
2568:.
2546:.
2520:.
2491:.
2453:.
2441::
2378:.
2356::
2325:.
2295:.
2261:.
2223:.
2211:1
2184:.
2155:.
1631:A
1590:E
1424:E
1313:G
1288:A
1270:D
1221:A
1199:G
1177:B
867:E
793:C
783:S
775:.
765:T
745:P
450:.
439:;
428:;
413:;
395:;
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