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Sonata-Allegro form is a structure that consists of three main sections: the
exposition, development, and recapitulation. The form has been widely used since the
Classical period (c. 1750-1803), primarily -- yet not exclusively -- in the first
The first required section of the sonata-allegro f orm is the exposition. The
exposition presents the main thematic material for the movement. In most
theme establishes the home, or tonic, key area, while the secondary theme usually
introduces a contrasting theme in the dominant key area. As sonata form developed
throughout the nineteenth century, composers such as Beethoven did not necessarily
abide by assigning the dominant key to the secondary theme. Rather, these
composers would introduce distant key areas, such as chromatic mediant key areas.
Once both themes are presented, a codetta will often conclude the exposition.
development will modulate between several different key areas, sometimes at a rapid
pace. Traditionally in the Classical period, development sections are smaller in scale
compared to the exposition and recapitulation, however many composers of the
Romantic period expanded the length of the development section, eclipsing the
exposition and recapitulation altogether. The concluding material of the development
normally consists of a retransition, which in many cases involves an extended,
dominant prolongation.
The third and final required section is the recapitulation. This section
reintroduces the main thematic material presented in the exposition, and thus returns
typically in the tonic key. As a result, the “musical argument” throughout the movement
This outline of sonata form is largely based on the traditional application of the
form, sourced from Classical period applications. Largely beginning with Ludwig van
Beethoven, composers would modify and develop sonata form with additions and
subtractions, and by breaking tradition. For example, sonata form can include an
can include a third theme, notably in the first movement of Anton Bruckner’s
Symphony no. 4. However, some examples of tradition-breaking precede Beethoven.
In his Sonata in C Major, K. 545, Mozart reintroduces the primary theme of the