Various Classical Forms
Misc. Forms
• Sonata form or sonata-allegro form is a musical form,
a way of organising a work of music. The original idea
of a central organizing form has been very widely used
by classical composers since the 18th century,
• It was also considered to be the standard form for the
first movement of any important work of instrumental
music, for example a symphony, concerto, sonata or
other works based on them, such as string quartets.
For this reason, it is sometimes called first movement
form, although this is somewhat of a misnomer, as it
has been used in other movements of pieces. It is also
sometimes known as compound binary form.
Sonata Form
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Outline of sonata form
*Introduction
Exposition
Development
Recapitulation
*Coda
Diagram
Introduction
• Sometime, the entire movement is preceded by a
introduction. The introduction increases the weight of
the movement, and also permits the composer to
begin the exposition with a theme that would be too
light to start on its own, as in Haydn's Drumroll
Symphony. Usually, but not always, the introduction is
excluded from the exposition repeat. Occasionally the
material of introduction reappears (in its original
tempo) later in the movement. Often, this occurs in the
coda, as in Mozart's string quintet K. 593, the Drumroll
Symphony, or Beethoven's [[Piano Sonata No. 8
(Beethoven)|Pathetique piano sonata Op. 13]].
Exposition
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Exposition - the main themes of the piece are played for the first time. This section
can be further divided into: First group - this consists of one or more themes, all of
them in the home key. So if the piece is in C major, all of the music in the first
group will be in C major.
Transition - in this section the composer modulates from the key of the first
subject to the key of the second.
Second group - one or more themes in a different key to the first group. If the first
group is in a major key, the second group will usually be in the dominant, that is to
say in a key a perfect fifth higher, so that if the original key is C major, the key of
the music of the second group will be G major. If the first group is in a minor key,
the second group will generally be in the relative major, so that if the original key is
C minor, the second group will be in E flat major. The material in this section will
usually be completely different to that of the first group, and sometimes will be in
marked contrast to it. For example, the first group material may be strident and
strongly rhythmic, with the second group more lyrical.
Codetta - a kind of finishing off section, which will bring the exposition section to a
close with a perfect cadence in the same key as the second group. Often the
codetta contains a sequence of themes, each of which arrives at a perfect
cadence. The whole of the exposition may then be repeated.
Development
• Development - this generally starts in the same
key as the exposition ended, and may move
through many different keys during its course. It
will usually consist of one or more themes from
the exposition altered and occasionally
juxtaposed with new material or themes. The
development usually has a high degree of tonal
and rhythmic instability when compared to the
other sections. The development section may be
quite short, or it may be extremely lengthy. At the
end, the music will return to the home key and
lead up to the:
Recapitulation
• Recapitulation - this is an altered repeat of the exposition, and
consists of: First group - usually in exactly the same form as it
appeared in the exposition.
• Transition - now altered so that it does not change key, but remains
in the piece's home key.
• Second group and codetta - usually in the same form as in the
exposition, but now in the same key as the first group. If the first
group was in a minor key, the second group and codetta may be
shifted into the minor for the recapitulation, or they may be in the
parallel major key (e.g., C minor/C major).
• (It should be noted that the above terminology is not universally
used: some writers speak of the first and second subjects rather
than groups, others speak of the principal or main theme and the
subordinate theme.)
Coda
• Quite often, a sonata form movement
includes an additional section, the coda,
which follows the end of the recapitulation.
The coda rounds the movement off with a
perfect cadence in the home key. Codas may
be quite brief tailpieces, or they may be so
lengthy as to be almost another development
section.
Theme and Variations
• A Variations movement consists of a Theme, usually
made up of four or eight-bar phrases, and several
Variations, in which the Theme is elaborated,
developed, and transformed (within the Theme's
harmonic and melodic framework). Usually, a
variations movement ends with a Coda, which is not
confined to the harmonic framework of the Theme.
• Labeled A, A’, A’’, A’’’ (sample)
Minuet and trio
• MINUET AND TRIO:
• This form is typically employed as the third movement of classical
symphonies, string quartets, and other works. It originated as a
stately, dignified dance in which the dancing couple exchanged
curtsies and bows. But the minuet movement of a symphony or
string quartet is written for listening, not dancing. It is in triple
meter and usually in a moderate tempo. The Minuet is in A B A
form: minuet(A), trio(B), minuet(A). The trio(B) is usually quieter
than the minuet(A) section and requires fewer instruments, often
containing woodwind solos. The trio section got its name during the
baroque period, when a set of two dances would be followed by a
repetition of the first dance. The second dance was known as a
"trio" because it was usually played by three instruments.
Minuet and Trio
• Beethoven: 3rd movement of minuet and trio
Scherzo (ABA from, moves very quick,
energetic)
• Scherzo—Italian for Joke
Rondo
Rondo Form is so-called because one or two sections keep on coming 'round' again and
again. As you can see in the above diagram, the First Section alternates with the Second and
Third sections.
In rondo form, a principal theme (sometimes called the "refrain") alternates with one or
more contrasting themes, generally called "episodes," but also occasionally referred to as
"digressions" or "couplets." Possible patterns in the Classical period include: ABA, ABACA, or
ABACADA. The number of themes can vary from piece to piece, and the recurring element is
sometimes embellished or shortened in order to provide for variation.
Classical Symphony
• Greatest contribution in the classical period to
orchestral music
• Haydn: 104, Mozart: 40, Beethoven: 9
• Last 20-45 minutes
• Usually 4 movements fast,slow,dancelike,fast
Symphony
• First Movement
Usually, the first movement of a symphony is a fairly fast
movement, weighty in content and feeling. The vast majority of first
movements are in Sonata Form.
• Second Movement
In most symphonies, the second movement will be slow and
solemn in character. Composers have used many different forms for
slow movements - Sonata Form; Ternary form; Variations form;
Rondo form; and combinations and modifications of these forms. In
many cases, the order of the second and third movements will be
interchanged, and the second movement will be a scherzo, and the
third movement will be a slow movement (ie Beethoven's Ninth
Symphony).
Symphony
• Third Movement
The third movement of a symphony is, in most cases, a
Scherzo (or a Minuet in Classical-period symphonies). Most
scherzos are in Ternary form - however, many scherzos are
in Rondo form (ie Mahler's Fifth Symphony). Some are even
in Sonata Form (ie Brahms's Fourth Symphony). In many
cases, the order of the second and third movements will be
interchanged, and the second movement will be a scherzo,
and the third movement will be a slow movement (ie
Beethoven's Ninth Symphony).
Fourth Movement
Again, composers have used many different forms for their
finale movements, such as sonata or sonata-rondo form
Symphony
• Each movement a self contained composition
with own set of themes
• Unified partially by the use of the same key of
some of the movements
Classical Concerto
• concerto, plural concerti, or concertos, since about 1750, a
musical composition for instruments in which a solo
instrument is set off against an orchestral ensemble. The
soloist and ensemble are related to each other by
alternation, competition, and combination. In this sense
the concerto, like the symphony or the string quartet, may
be seen as a special case of the musical genre embraced by
the term sonata. Like the sonata and symphony, the
concerto is typically a cycle of several contrasting
movements integrated tonally and often thematically. The
individual movements are usually based on certain
recognized designs, including sonata form, A B A (the
letters refer to large distinct musical sections), variations,
and rondo (such as A B A C A).
Concerto
• But the concerto tends to differ from the sonata, too,
in certain ways that set it apart. Thus, in the sonata
form of the concerto’s first movement, the exposition
often remains in the tonic key while played by the
entire orchestra the first time through. The expected
departure to a nearly related key and the introduction
of the soloist are reserved to a characteristically more
elaborate repetition of the exposition. Moreover, to
meet a felt need for a more brilliant ending in the same
movement, the concerto provides or at least invites an
improvised cadenza near the end of the movement—
an extended, free flourish that may go on for as long as
several minutes.
Concerto
• A shorter cadenza may also occur at a strategic point in one or more
of the other movements. In addition, the concerto has followed
much more consistently than the sonata the plan of three
movements, in the order fast–slow–fast. The second movement
leads, often without pause, into the finale, or last movement, and
the finale has shown a more consistent preference for the rondo
design. But, importantly, all of these distinctions of musical form
are secondary to the dialogue inherent in the concerto’s
interrelationship of soloist and orchestra. This dialogue influences
the very nature of the solo part by almost forcing the soloist into a
virtuoso’s role so that he can compete on an equal footing with his
adversary, the orchestra. The dialogue, furthermore, influences not
only the construction of individual musical phrases but also the
musical textures chosen. In addition, it affects the ways of
developing musical material
Chamber Music
• Designed for intimate setting of a room
(chamber)
• Performed by 2-9 musicians (one player to a
part)
• Middle class and above paid for after dinner
entertainment
• no need for conductor; each musician has to
listen to other members of group
Chamber Music
• Most important group: String Quartet
• 2 Violins, Viola, Cello
• Form wise: 4 movements: fast, slow, minuet or
scherzo, fast (sometimes 3rd movement slow
and 2nd minuet or scherzo)
• Other forms (classical); sonata for violin and
piano, piano trio (violin, cello, piano) and
string quintet (2 violins, 2 violas, cello)
• Some chamber music performed by amateurs