SONATA ALLEGRO FORM
Explanations & Examples
from the repertoire
OUTLINE OF SONATA FORM
Introduction
Exposition
Development
Recapitulation
Coda
INTRODUCTION
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The introduction is a short opening section at the beginning of the work.
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It is the composer’s choice whether there is an introduction; it is optional
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If it is extended it is harmonically centered around the dominant
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Compositionally the introduction may include material to be further
developed in the exposition; it gives the movement a bit more ‘gravitas’,
especially if the main thematic material is ‘too light’ for an opening
movement.
EXPOSITION
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The main thematic material for the piece; where we first here the different
tunes used throughout the movement. They all begin in tonic and then are
usually heard a second time in a different key.
This movement can be broken down in the following way:
First subject group (Prime) – one or more themes all in tonic
Transition (T) – transition from key of first subject group to the second
Second subject group (S) – one or more themes in a different key; in a major
key this section is in the dominant – in minor it will usually be in the
relative major. There is frequently a different musical texture (more lyrical)
Codetta (K) – brings the section to close; perfect cadence in the same key as
(S) – often repeats the material from (P), once in tonic and the second time
leading toward the development
DEVELOPMENT
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Begins in the same key the exposition ended in and will change key many times
Consists of one or more altered themes from the exposition and may contain
new material
Often times alterations in the development may involve taking themes through
several different key changes, adding new material, breaking down themes into
smaller sections, sequencing motifs, etc…
Section length varies by composer: Classical composers valued symmetry
(sections didn’t linger so long); Romantic composers tended to really give it hell
in the development and they could be quite lengthy
Toward the end, the material will return to the tonic in preparation for the
recapitulation – it may visit the subdominant (IV) before heading toward tonic
RETRANSITION – huge dominant seven section before returning to the
main theme in tonic
Has a greater degree of tonic instability than the other sections
RECAPITULATION
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First subject group; given high prominence throughout – usually in the
same key and form as the exposition
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Transition – new material with a tiny development section; this is called the
secondary development
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Second subject group; now played in the tonic key – sometimes involves a
change of major to minor or vice versa, or in the parallel key. Key is more
important than mode
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After the final cadence (when the musical ideas are technically closed) if
there is more material it is said to have a CODA
CODA
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Vary in length; added to the end of the recapitulation after the musical
themes have been worked out and are technically closed
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Ends with a perfect cadence in the original key
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What occurs in the coda is up to the composer; Beethoven would use it to
work out a few new musical ideas.