Tonality of the Stravinsky
Tonality refers to the key of each piece and the related keys.
General background of binary form
Structures were based on typical 18th Century ritornello, sonata form, rondo and simple binary and ternary
forms. Each piece is written around a binary form structure. Binary form is a way of structuring a piece of music in
two related sections, both of which are usually repeated. Binary form was popular in the Baroque period, often
used to structure movements from sonatas for keyboard instruments. It was also used for short, one-movement
works. Around the middle of the 18th century, the form largely fell from use as the principal design of entire
movements as sonata form and organic development gained prominence.
Sinfonia
The movement is in rounded binary form. The second half begins with the same theme as at the beginning of the
piece but now in the dominant. As is standard in this form, the main theme returns in the tonic at the end. That’s
what makes it ‘rounded’. There are no repeats. Bars 1-15. Main theme in G major tonic for tutti. Bars 16-32
Theme 1 in dominant key of D, bars 33-end is in the main theme in the tonic G.

G major at the start, modulating into the dominant in bar 4

A major at bar 20, unrelated key

G major at bar 21

A major at bar 22

B minor at bar 23
Gavotta
For general background this piece is written for a baroque dance. Like the other pieces it is also in binary form,
which will be reflected in the use of tonality. The piece is written in D major from the start up until bar 10 where
he moves into the dominant key of A major, which is a typical feature of binary form. From bar 20 Stravinsky
moves to F# minor for a brief two bars then into E minor

The piece starts in D major

A major in bar 10

F# minor at bar 20

E minor at bar 22

Ends in D major
Variation I
Also written in binary form

The piece starts in D major

A major at bar 42

D major at bar 43
Vivo
This is the first of these extracts to use the full orchestra Like the Sinfonia this movement is again in rounded
binary form. The first half modulates to the dominant (C) The second half begins in the tonic key. The music then
goes through G major back to the tonic (F). The main theme then returns in the tonic key. Despite the dissonance
we can always hear the underlying tonality.

The piece starts in F major

C major at bar 20-21

F major at bar 22

C major at bar 25

G major at bar 33

F major for the last page
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