Introduction to Sonata Form Last week we spoke about binary form a musical template with the following characteristics:

: Two major sections, accordingly labeled AB. The A section starts from the tonic key area (a.k.a. the home key) and moves toward the dominant key area (in major), or the relative major key area (in minor). The B section picks up from the dominant key area (in major), or the relative major key area (in minor) and eventually makes its way back to the tonic key area (home).

Both sections grow from the same musical material.

In the example from last week (the Gavotte from the 5th French Suite by Bach), the B section was twice as long as the A, and each section was repeated. Sometimes in performance these repeats are omitted, and sometimes they are not written in all. (A fairly detailed explanation can be found on Wikipedia: http://en.wikipedia.org/wiki/Binary_form Eventually, binary form evolved into a three-part form, called ternary form, represented by ABA. Three major sections accordingly labeled ABA. The A and B sections spring from different musical material, often contrasting in character and/or tonality (key area). The second A section is a repeat (often verbatim) of the first.

The tune of Twinkle Twinkle Little Star follows this form,

as do numerous pieces in the Classical era and beyond.

And out of ternary form grew the sonata form, which is similarly in three parts. (To clear up some terminology confusion: the word sonata can refer either to a particular musical structure which we will discuss presently or can refer a multi-movement piece for a small ensemble that includes a movement typically the first that conforms to the aforementioned structure.) The three parts of sonata form are more involved than either binary or ternary forms. They are given proper names: Exposition in which musical material (from which the rest of the piece derives) is introduced. o Generally a sonata has two themes: the first theme is introduced in the home key, before leading into the second theme, which is in either the dominant key area (in major) or the relative major key area (in minor). o The second theme, as well as being in another key area, is usually of contrasting character. o Music that transitions between the two principal themes is called transitional material. Think of it like ligaments between major bones in the body. o The second theme leads into the next section (development) through a passage of closing material, also called the codetta, which neatly ties a bow on the entire exposition section. Development in which the material is transformed and played around with. o Starting where the exposition leaves off, the development begins in the dominant (in major) or the relative major (in minor). o Carlson says that this section is marked by tonal instability (i.e. it doesnt stay in any particular key area for a very long time) and manipulation of the material introduced in the exposition. Recapitulation in which the musical material introduced in the exposition is repeated. o Basically, the recapitulation is a repeat of the exposition, almost verbatim. The most salient difference, though, is that in the recap, the second theme is played in the home key (in major) or the parallel major (in minor) instead of the dominant/relative major, as in the exposition. (the first theme, though, is still given in the home key) o Some other small differences in the music may exist (small additions/ornamentations to the original melodies, some changes in chords, changes in register, etc.) but none as structurally important as the above point.

Occasionally, composers may add an introduction that goes before the exposition (with independent material that may/may not show up in other movements of a larger work) and/or a coda, which tails after the recapitulation (also with independent material).

Assignment: Listen through either Chopins Prelude in D-flat Major or the first movement of Janaceks In the Mist and identify (with time marks) where each of the three sections (ABA) begins. Listen through the first movement of this Mozart piano sonata and see if you can note where each of the major sections (exposition, development, recapitulation) begins. Identify with time marks if you can; most important for now is just to be able to mindfully hear the structure of the piece.