Sonata

SONATA FORM

The Sonata in history

16th century -- a sound piece, a piece with contrasting sections
17th century -- sonata da camera (suite of dances), sonata da chiesa (4 movements, S-F-S-F). By the 18th century, the sonata da camera evolved into serenade, notturno, or divertimento.
18th century -- the classical sonata, three or four movements for solo, chamber, or large ensemble. Also, one movement (F-S-F) like Italian opera overture, the Sinfonia. Five or more movements (Beethoven - Sym. 6, Berlioz - Sym. Fantastique, Shubert - Trout quintet)
Sonata Allegro Form: first movement scheme of classical sonata. This form sometimes influences the structure of other movements in the work.

The Classic Sonata Allegro form: ( first movement form), three main parts

Part 1: Exposition: main elements

Primary key section ( principal or primary theme) a phrase or more which establishes home key. May contain a transition which leads to --
related key section ( secondary or subordinate theme) in dominant or relative key, can be monothematic or contrasting content.
closing section ( closing theme ) confirms new key, may be derived from other themes, may have new melodic material, may be figural (non-thematic). Most common feature tonic pedal in new key, reiterating V and I harmonies.
the transition -- between primary and related key section can be any or all of the following:
- modulates to new key
- can develop ideas of first theme
- changes mood - preparation for related key section through mood metamorphsis
- can introduct new material, possibly contrasting with both primary and related key sections
- anticipation of ideas in second theme
- can be omitted
- can produce a deceptive modulation
- can be non-modulatory if in major

Secondary theme -- typically in V if major, III or v if minor. There are plenty of exceptions (Beethoven, op. 31, no. 1, Op. 53)

closing section -- continuation of secondary key, a blown up cadence prolongation

not always present
can have a character of its own
motives can be derived from primary or secondary sections
clearly reinforces new key, usually harmonically simple and interative.
can end with a transition which can serve double duty if exposition is repeated.

Part 2: Development: a free form, not form fixe

varied length, sometimes little more than a re-transition to principal theme, sometimes a large dramatic section containing a theatrical climax, sturm und drang
modulatory, derivative
pay special attention to shaping factors in pace, texture, tessitura plan of key relationships, order of melodic material, etc.
often concludes on dominant pedal, a signal that the recapitulation is about to take place
contains a retransition , a return to home key and first theme
a fanatasy derived from earlier material (themes, accomp. fig, etc)
a digression from stable structure

Part 3; Recapitulation: return to material in exposition.

The recap remains in the home key (second theme in home key). Also, false recapitulation.

the recapitulation can be

References: (1) Frumm,  Sonata as Dramatic Procedure , MQ
            (2) Cone,  Musical Form and Musical Performance ,  Norton, Chap. III