If you write a piece for an entire orchestra that uses this structure, we use another fancy word: a Symphony. Although the entire work could be referred to as a Sonata, the first movement and many times the fourth movement as well normally follows a form historically referred to as Sonata-Allegro form. The w ay a Sonata works is with melodies that move through different keys.
More specifically, there is melodic motion from a first, tonic key to the second dominant key otherwise known as V or five. Assuming that there is no i ntroduction section, the action starts with the aptly named e xposition section. A p rimary theme is presented which establishes the first key for example, C major. It then uses a transition to modulate to the dominant key for the s econdary theme.
For example, in the key of C Major, the dominant key is G Major From there, the music moves into the d evelopment section where the material is twisted around until it finds its way back to a repeat of the first section in the original key. This is called the r e capitulation. The primary theme is heard again exactly as it was heard before. The music will then make a subtle change to the transition it used before to change keys, but it will reorient itself so that it does not modulate.
There is also an optional fourth section, the Coda , which composers can use to extend the end of the piece for a little bit of a fun, or even to add entirely new interpretive ideas:. The exposition is where the premise of the story is presented. The original key, which is established with the first theme, goes a long way to establishing the mood of the whole piece.
As already mentioned, the sonata then transitions to a second theme in the dominant key. Most of the musical ideas come from two main themes known as the first and second subject. In the exposition the material is 'exposed' which means that it is presented for the first time.
There are two main melodies known as the first and second subject :. But increasingly instrumental works were laid out in four, not three movements, a practice seen first in string quartets and symphonies, and reaching the sonata proper in the early sonatas ofBeethoven. Thus, the four-movement layout was by this point standard for the string quartet, and overwhelmingly the most common for the symphony.
The usual order of the four movements was the following:. This usage would be noted by critics in the early nineteenth century, and it was codified into teaching soon thereafter. Beethoven, Piano Sonata No. Skip to main content. Now let's see how this simple little construction grows in size when it's used in a slightly longer song-form, say a modern popular song.
In fact, most pop tunes stick to this A-B-A pattern very strictly. The only difference here—and this is important, as you'll see later—is that usually the first A-section is repeated right away, before the B-section comes; so that the pattern is really A-A-B-A, instead of just A-B-A.
But it's still made out of those same three parts, A-B-A, only the first part is played twice in a row. Let's take a pop tune—in fact—let's take a typical Beatles tune, and see what happens. First there is an A section. I think that's how it goes. That's the B section and that brings us back to the A section again in all its glory. Well, that's a small step forward from Twinkle, Twinkle, Little Star, it's small, but it's a step. It's grown in size, and it has that extra deluxe feature—the repeat of the first A section, which Twinkle, Twinkle does not.
Now let's follow the growth of a three-part song even further, as it expands into a big operatic aria—for example, the famous aria from Carmen that is sung by the other woman, Micaela. This is a little more sophisticated; it doesn't break up quite so neatly into an exact A-B-A but I'm sure you'll be able to follow its three parts, just as easily as the Beatles song: the sweet, lyrical first part the more excited and dramatic middle part, and the return again to the quiet first part.
And here to sing it for us is Miss Veronica Tyler, who made her television debut on one of our Young Performers Concerts just a few years ago. We're delighted to have her back with us again singing Micaela's aria from Carmen. Well, now that we have learned to recognize a three-part song form, which I'm sure we have, I think we're ready to take the plunge into sonata form itself.
Because a typical sonata movement is really only a more expanded version of a three-part form, even to the balancing of its two A-sections on either side of the central B section. And here's where those nasty road map names come in — I'm sorry but they have to: the first part, or A-section is called the exposition: this is where the themes of the movement are stated for the first time—or exposed, if you will: therefore the word exposition.
This is then followed by a B section, in which one or some or all of those themes are developed in different ways; and so it is called the development section. And finally, just as you expected, we get the A section stated again; and this third part is usually called—watch out! Wow, that's a tough one. Actually, I'm not too crazy about those terms, either but what can we do? We have to use the words that are most commonly used in order to be understood; so I guess we're stuck with those words - exposition, development, and recapitulation for our A-B-A.
But whatever words we use, the idea of the three parts is still clear and simple; the feeling of balance we get from two similar sections situated on either side of the central development section, just as the ears are situated in a balancing position to the nose. But you remember I said that there were two main secrets to the sonata; balance, and contrast. And this idea of contrast is just as important as the other idea of balance; it's what gives the sonata form its drama and excitement.
Now how does this contrast take place? I'll show you; and here we're going to have to get technical for a minute or two. But I'm sure you won't mind that; because what I'm going to show you now is very important—in fact this is the root of this whole sonata business. And that is the sense of key, or tonality. Most music that we hear is written in one key or another; not so much the concert music that's written these days, but most of the music you are likely to hear is written in a key.
For instance, the Beatle song we played before is in this key:. Not twelve others, twelve in all. But whatever key it's in—let's say C-major—you feel a key-note, a center, or home plate, where the music belongs, starts out from there, and gets back to.
That home plate center is called the tonic. Now all the other notes of the scale also have names; but I won't bother you with them except for this one, which I'd like you to remember: the dominant. That's the name given to the fifth note of any scale—. That's the dominant. Now comes the main event—how these two key-centers, the tonic and the dominant, are related to each other.
If I play a tonic and a dominant chord, in that order, what do you feel?
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