Sonata Allegro Form

Exposition:

Theme#1 Tonic

Transition Modulates

Theme#2 Dominate or relative major or minor

Theme#3 Dominate or relative major or minor

(closing theme)

Contrasting Key relationships?

Contrasting Theme in different keys and modes?

3 contrasting theme sets?

Theme#2 take the orginal melody and contrast it to the dominate or relatative major or minor key ? isn't that moduating but they call it contrasting ?

I thought contrasting was theme#1 was the violin melody and theme#2 was contrast to another instrument?

Recapitulation: all themes return to the tonic key

Theme#1 Tonic

Transition No modulation

Theme#2 Tonic

Theme#3 Tonic

Codetta tonic with cadence

Coda- a Expanded cadence?

The recapitulation can have pivot chords?

I am not sure if you have questions about Sonata Allegro form (or Sonata form as it's usually called), or whether you are trying to set up a guide to the form, but I will add some comments to what you've already posted. This kind of got turned into something long, maybe I should post this as an article? Anyway here it goes....

First of all, to understand Sonata Form as it was used in the Classical Period and into the early Romantic Era we should first come to appreciate Rounded Binary Form. A Rounded Binary Form, as its name suggests, is a two-part form. We can make a simple, general diagram of it below:

Part 1 Part 2

A B A'

I ?V I

Part 1 usually consists of a melody or phrase (often forming a period) and stays either in the home key (tonic)--in which case we say it is harmonically closed--or it modulates or tonicizes another key area, usually the dominant if the home key is major, or the relative major if the home key is minor--in which case we say Part 1 is harmonically open.

In contrast to Part 1 and the melodic, thematic A section, the B section is often based on motivic fragments (typically drawn from the melody of the A section or from some pattern in the accompaniment). Harmonically, this section is unstable and usually involves harmonic sequences (circle of fifths, for example), or may simply prolong the dominant (V) of the home key. This adventurous section culminates on the dominant (V7)--often with an interruption of some sort--or may lead smoothly and seamlessly in to the A' section.

The A' section is very similar to the A section. In it, the principal melody returns and is recognizable (hence why the form is called "Rounded") and if the A section (in part one) was harmonically open it is now "recomposed" so that it can end in the home (tonic) key.

As far as length is concerned, Part 2 tends to be a little bit longer than Part 1 and often both parts are repeated. If we were to make a very simple model of the form, we could say that each section might be composed of 4 measures followed by a cadence (the cadence at the end of the A section would be variable whereas the cadence at the end of the B section would be a half cadence and the cadence at the end of A' would be authentic.

Now that we have briefly considered the Rounded Binary Form, we can better understand how it evolved into Sonata Form (or Sonata Allegro form). To work from the above diagram we made of the Rounded Binary Form, we can see how the binary structure combined with its inner three-part structure is preserved in the Sonata Form.

Binary Form

Part 1 Part 2

A B A'

I ?V I

Sonata Form (large-scale structure for tonic major key)

Exposition Development Recapitulation

A B A'

I ?V/V V ?V I

As we can see from the evolution of our diagram, the same overall structure of the Rounded Binary Form can be observed in the large-scale structure of Sonata Form. Harmonically, the chief difference is that the A section of the latter must be harmonically open. There will be a definite modulation to a new key area before the Exposition concludes. In major keys, this new key area is usually in the dominant, whereas in minor keys it is in the relative major; note however that after the Classical Period composers became ever more daring with their choice of key for this new area. In the Romantic Era for instance, the lowered submediant tended to be a particular favorite (bVI).

Because the harmonic procedures for the exposition involve a definite modulation to the new key area, it is necessary to examine this part of the Sonata Form in greater detail. As the chart below shows, we can see that the Exposition of a general Sonata Form contains at least two themes replete with a transition from the first theme to the next in order to effect the necessary modulation from the tonic key to the new key area. It has been observed that generally this first theme is bold in character, more "masculine", or aggressive than its counterpart, which has been described as more lyrical, smooth, even "feminine". Of course this does not have to be the case. Haydn often composed "monothematic" Sonata Forms in which the first and "second" themes were the same but in the appropriate keys (i.e. I and V). As for the transition between themes, at times it is based on motivic material found in the opening theme and other times it is completely independent from such material.

Exposition (as it would be in a major key)

First (Principal) Theme Transition Second Theme (Closing Theme/Codetta)

I ?V/V V

An important remark about the Second Theme is that there may be more than one theme: The Secondary Thematic Area may contain several themes or thematic ideas and even a closing theme. This is not something to be concerned with as much as we need to focus on the PURPOSE of this thematic area: It is to convincingly and strongly establish the new key area. Its purpose is therefore harmonic; the struggle to establish this new key area is what creates the tonal drama and excitement of the Exposition, setting the stage for the continued harmonic exploration and motivic development which is to occur later in the Development Section. One way composers add to this excitement is by rhythmic acceleration in both the melody and (especially) in the accompaniment, and by liberal use of phrase extension. Notice how a good composer puts off that big final cadence in the Exposition as long as possible, creating the most drama and tension. Immediately following this monumental cadence is typically a brief codetta, or a short passage of music clearly grounded in the new key area often alternating between tonic (I) and dominant (V) in the new key, maybe even over a sustained pedal which is the new tonic.

Having explained some of the complexities of the Exposition, the Development Section functions much like the B section of the Rounded Binary Form we studied earlier. Essentially, its main goal is harmonic and is to bring us from the new key established at the end of the Exposition to a clear dominant (or V7) in the tonic key to prepare for the Recapitulation, or the return of material from the Exposition in the tonic key. It also explores many different key areas (sometimes moving through a circle-of-fifths-like progression) while exploiting many of the melodic and motivic fragments presented in the Exposition. At times, the composer will even play with the listener's expectations, trying to bring back the main theme in a new, or even remote key area. This is often known as a false recapitulation. However, when the true moment to return to the main material of the Exposition draws near, there is often a retransition to the dominant of the tonic key. This large-scale dominant is often prolonged, making the return to the tonic that much more dramatic and fulfilling.

The Recapitulation functions much like the Exposition. In fact, it is just like the A' section of the Rounded Binary Form we looked at earlier: it presents the main material of the Exposition but concludes in the TONIC key. There is no modulation to a new key area (until the Romantic Era) and as a consequence the transition is harmonically recomposed so as to lead back to the tonic key for the restatement of the second theme(s). Following the end of the material recapitulated from the Exposition, sometimes there is a Coda. The Coda serves to close the form as a whole and often balances well with the Development section, particularly if the Development was lengthy or quite harmonically involved. The Coda therefore acts as a playing ground for continued development, exploiting key motives found elsewhere in the piece, but chiefly reinforces and reaffirms the strength of the tonic key and its overriding importance as a tonal area.

Now that we have taken an initial survey of Sonata Form and considered how it generally works there are a couple more observations I'd like to add before closing. The first concerns the Slow Introduction. In some Sonata Form pieces, especially first movements of large-scale works such as symphonies, the piece may commence with an introductory section in a slow tempo and quite dramatic in nature. This section may even explore remote key areas and its material may not even have much to do with the main material of the faster part of the piece. This curtain-raiser section sets the backdrop and mood for the Sonata Form proper to follow and its most important purpose is again a harmonic one: it is to move to the dominant of the tonic (V7) to lead smoothly into the allegro proper. Any other harmonic regions may be explored up until this crucial point.

Another observation to make about Sonata Forms is that they do not uniquely involve fast movements (which is why the term "Sonata Allegro Form" is a misnomer). There are many examples of "slow" Sonata Forms and I encourage all of you to find some (One example is the Slow Movement of Mozart's Symphony in E-flat Major No 39).

Since Sonata Forms often involve the overture genre as well, I thought I would point out that sometimes we will encounter a "Sonata Form" without a true Development Section but with all the other typical features of an Exposition and Recapitulation. This is a Sonatina Form. In it, the newly establish key at the end of the Exposition leads directly to the dominant of the home key at which point the Recapitulation begins. Look to the Opera Overtures of Mozart, Rossini for some examples.

Well, I hope that you found this long-winded description helpful. Continue to keep your ears open and you will continue to notice the amazing things that have been done with one of the most quintessential and most esteemed of musical forms.

Thanks so much for you information

Exposition and Recapitulation rules change from the early and late Baroque era, early and late Classical era , early and late Romantic era

What are the Differences in the Baroque Exposition?

Baroque Recapitulation?

Classical Exposition and Recapitulation?

In the Romantic Era in the Recapitulation they use to modulate to the bVI degree of the scale and use pivot chords ?

Just a tip, if you'd like to examine the Contemporary Sonata form, I remember a few sonatas in particular that are interesting to examine.

---Britten's Cello Sonata, I forget if he wrote multiples, but the movement in particular I am thinking of is "Dialogo" which I remember Dr. Ticheli had us analyze for sonata form

---John Corigliano's Violin Sonata. I've only heard it live, once, and never seen the music, but from what I could note in my head, there is most definitely a fairly clear sonata form for the most part, and it'd be interesting to examine.

---Paul Creston's Saxophone Sonata. I think this one would be interesting because I know, having played it, that the sonata avoids a key. Creston tends to constantly modulate among several modes and keys in a way that you really can't put your finger on. So because of that, it might be interesting to see how he handles Sonata form. Its a great piece too.

It's also neat to examine, of course, the Tempest Sonata by Beethoven as an entrance into Romantic style sonatas. A lot of neat things in there, as I had to analyze that one too. I'm still a little of a sonata newbie though, in analysis. :)

I know you didn't mention Contemporary, but it's something of interest for most composers, since that is the era we are living in and usually wind up being most influenced by.

Good luck, I'd love to hear your suggestions for other sonatas from any era that are interesting to study.

In a Sonata in the contemporary era, do you have to use the Sonata-Allegro form in any of your movements? I was aware that it was the first movement that you were supposed to use it in, but you don't have to for it to be a Sonata, correct?