Sonata form – exposition types. If you can grasp a few crucial elements of Sonata Form then you will be able to have a … (Remember, we always begin a transition at the start of a phrase.) Each successive variation in a theme with variations: Theme-and-variations form may be schematically outlined as: The ________________ movement of Haydn’s “Surprise Symphony” is in, The minuet and trio movement of the classical symphony, string quartet, or, The movement of a sonata-type composition that is often patterned after, The form known as minuet and trio is employed as the __________________, movement of classical symphonies, string quartets, and other works>. An independent TR begins with new thematic material. It is important to note that new melodic material is not a requirement of S. In fact, many sonatas – especially those composed by Haydn – have S themes that resemble the P theme. When the RT follows a secondary key of V, it turns I in the key of V into V into the key of I by repetition, melodic figuration, or the adding of a chordal seventh. Sonata form, musical structure that is most strongly associated with the first movement of various Western instrumental genres, notably, sonatas, symphonies, and string quartets. a new theme is always presented in the bridge c. the second theme is in a new key d. a new meter enters with the second theme 18. Because the EEC is of such structural importance, its arrival is often delayed and dramatized to a great degree. 49, No. Dissolving TR modules all take some part of the P theme and dissolve, degenerate, or liquidate as the module gains energy and moves toward the MC. More generally, anything that can be associated with continuation function fits transition function, as well: fragmentation, liquidation, acceleration of melodic or harmonic rhythm, etc. Optional: Glue, tape or staple the ends of each notecard together. This preview shows page 5 - 7 out of 15 pages. Most often a P theme is harmonically closed, ending with a I:PAC or, less typically, with a I:HC. As a listener, we will likely not realize that the transition is a transition until we reach m. 12, where the continuation begins to project characteristics associated with TR. The form may be thought of as an extended continuous rounded binary, but with its substantial and contrasting middle section it also bears a meaningful resemblance to ternary form. Unlike primary themes, transitions are much “looser” thematically. In other words, it is not P-based. Thematically, the S theme is much looser than the P theme. Because of its role in relation to this central harmonic event (and its corresponding cadence in the recapitulation, the ESC), the S module is of immense importance and interest in a sonata-form movement. In the exposition of a sonata form movement a the closing theme is in the tonic, 1 out of 1 people found this document helpful. Closing theme — tends to be virtuosic and often incorporates scales, arpeggios, and other familiar but not genuinely melodic materials. Beethoven, Piano Sonata in G minor, Op. Verify Front of pagesis selected for Viewingand print the front of the notecards. (These are called mono-thematic sonatas. Transition: Shorter, ends with HC in F (as expected) Theme 2: In F (as expected) Closing Section: In F (as expected), New material in m. 274, which prepares the coda. Sonata form is often considered one of the premier thematic/harmonic structures of the common practice era and its influence may be found extending to most Classical and Romantic styles and genres. If C goes somewhere else, it is not C. A retransition is like a turnaround in pop/rock or blues music. Most often a P theme is harmonically closed, ending with a I:PAC or, less typically, with a I:HC. 1000 Years of Listening Concepts for final exam.docx. They cannot, by definition, be S-based, since that would be a continuation of S. (Keep in mind that the EEC must go on to new material, otherwise the S module continues and the EEC has not been reached yet.). Fold each page in half along the solid vertical line. (In smaller sonatas, P might be a single phrase (antecedent or presentation) that does not end with a cadence.) Second theme — tends to be quieter and more legato, often uses longer notes, often described as “lyrical.” The second theme will generally end with a perfect authentic cadence in the new key. The four thematic modules that comprise a typical two-part sonata exposition (P, TR, S, and C) create a thematic rotation that is found again in the recapitulation and often referenced in the development. Cut out the notecards by cutting along each horizontal dotted line. The C module will always be in the secondary key. An analysis of a TR module should center around the MC and how the composer approaches it. The difference between an RT and a turnaround is that an RT follows a modulation. 1, i. It is typical to find extended continuations and expanded cadential passages, all as a means towards dramatizing the eventual arrival at the EEC. In the exposition of a sonata-form movement: a new theme is always presented in the bridge. In general, once you hear TR function clearly projected, track back to the beginning of that phrase and label it the beginning of TR. Identify any codettas. Typically, a P theme is relatively “tight-knit” as compared to other thematic modules, containing a more straightforward presentation of tonic and less phrase deviations. In the recapitulation of a sonata-form movement: a. the closing section is in the tonic key b. a new theme is presented in the bridge c. the second theme is in a new key d. there is no second theme 19. This is both a harmonic motion and a rhetorical motion, characterized by energy gain. Both the primary theme and transition begin with the same presentation, and therefore, this is a modulating, dissolving transition.