Sonata Forms.

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Presentation transcript:

Sonata Forms

Sonata Forms I. The Term “Sonata” A. Generic Meaning B. Specific Meaning (and synonyms) II. Importance of Sonata Form (What is it?) III. Textbook Sonata Form

III A. “Textbook” Structure of Sonata Form Double Return A B A

III. Textbook Sonata Form B. Origin? Adolf Bernhard Marx Carl Czerny

IV. 18th-Century Concepts of Sonata Form (Koch) A. Two [!] Sections, either optionally repeated B. First section establishes I moves to V (or relative major III) 2-section conception emphasized harmony: part I has arc or increasing tension I-V part II embodies resolution of tension V-I C. Rejects “bithematic” description D. “Exposition” can contain developmental procedures E. Idea of single “1st theme” not part of theory F. 18th-cent. Recognizes sonata style vs. symphonic style G. Arrival of second key is articulated by a decisive cadence, but 1st theme/2nd theme thematic contrast not crucial

H. Dominant area of exposition is longer than tonic area I. “Development” not crucial to development section. J. Key of vi common near end of development. K. Retransition usually based on sequences L. Double Return not part of theory; full recapitulation of entire expo. Not part of theory M. Only material not heard in tonic in expo requires recap. (the Sonata principle)