How do different movements relate together?

Here's a question that could be interesting.... I have recently embarked on my first large scale multi-movement work and was trying to think of some ways to tie the movements together thematically.

The only stuff I've played that was multi-movement is some Beethoven. I notice he ties stuff together by using similar figuration and architecture in the themes for each movement.... A good example is in his "pathetique" sonata, the theme that makes it's first entrance in eflat minor: That "shape" is used to build the theme of the third movement.

Also, in that piece the accompaniement of the cadential theme is used as the basis for the accompaniement in the first half of the second movement.

So I guess the QUESTION of the DAY is....

..What are some good ways to tie together large-scale multi-movement works?

Well, using thematica material from other movements is always a nice ideas, as you mentioned.

You could also use the tonal structure of the piece to tie the movements together. Since you mentioned

Beethoven, I suggest you take a listen to his Missa Solemnis. It is a great piece to say the least! One of

the many interesting things about the composition of the Missa is how he ties the movements together.

Sometimes he uses the "attaca" or "segue" method. Sometimes he composed right through into the new

movement as well. In fact the missa is very "symphonic" in its overall structure. You may even decide

to choose any compositional material for you choice from any movement and "quote" yourself in another

movement. That's all I could think of right now. I hope I was able to help you out.

I always like writing different movements that just segue together. Makes it in effect one long piece. However, I don't, like some, write multiple movements that sound really similar, so you can't tell when one begins and one ends.

Traditionally, the movements follow some kind of tonal progression: a middle movement is often written in the dominant, before returning to the tonic in the final movement. Beethoven's 5th is actually pretty striking in this regard, as he begins the symphony in C minor and has a C major finale - in the first hundred or so measures of the finale he uses only I, IV, and V, to hammer the key change into the audience's ears.

Also as further examples: I have two multi-movement works (one complete, one unfinished) where I've at least started every movement. In my horn concerto, which had four movements, the main keys of each movement were: Gm (ending with Picardy 3rd), C, Dm, and Gm. The piano quartet I'm working on will have three movements: Cm, Fm, and then a third movement beginning in G major and ending in C minor.

So, that's the tonal aspect.

Many composers also choose to carry, if not a theme, then at least a motive through each movement of a piece, as a common thread. Finally... have you considered more abstract links? Consider Borodin's cello sonata: he develops each movement from some part of a Bach suite for solo violin. The outer movements start with the same "seed", but the only connection the second movement has with them is via Bach.

Well.... since I'm writing a piece for solo violin I was thinking of quoting one of Bach's partitas. Sort of like an homage to the master you know? That might be a good way to tie it together. I could keep it suttle by not quoting a main theme and finding something in a development section or something.

The idea for a tonal connection won't really work with my style. I technically start the first movement in a minor and end in b minor. I modulate pretty freely to some pretty unrelated keys.

If you're doing the homage thing, then it has to be either subtle or very obvious. Anything in between and you're likely to be accused of plagiarism. :D

Also, in that case I would strongly suggest studying Borodin, because his cello sonata is one of the best examples of a homage to past masters (in this case, Bach and to a lesser degree Boccherini - the reference to Boccherini is mostly in the style of cello writing). The first and third movements both start with Bach's theme played in unison, and the third ends with the same theme; but both movements develop it in a Romantic style. The second movement does it a lot more subtly, borrowing some motives from Bach but nothing substantial, and generally providing contrast to the outer movements.

Well.... it's not an homage to Bach.... but I'd like to give the master a nod, you know?

Sort of like a, "Thanks bro. I dig your dots."