Sequences make up such a substantial portion of Classic-era sonata developments that William Caplin suggests focusing on them when determining their overall structure. 310, discussed in the analysis example below, a four-measure sequential model is used. For example, in the development of the first movement of Mozart’s Piano Sonata in A minor, K. The sequential passages in developments often involve models that are quite long, often four to eight measures. As the name implies, the development may “develop” material from the exposition, but this is not a requirement, as the development may also introduce its own material.ĭevelopments often explore multiple key areas through modulation or extended tonicizations. Like other unstable sections (e.g., B in rounded binary form and C in sonata rondo), the development typically favors sequential passages, chromaticism and modulation, and partial (rather than complete) thematic statements. The development is a large, unstable section. However, becoming is such a common aspect of dependent transitions in sonata form that most analysts don’t bother labeling it as such. Another type of dependent transition can occur when P ‘s suffix doesn’t come to a clear end and instead evolves into a transition through the process of becoming. A dependent transition typically involves the process of becoming because it initially sounds like P is ongoing, but as it continues, its transitional function emerges without clear delineation between the two. Dependent transitions might begin like a restatement of P but veer off in another direction after getting started, and they typically build energy and feel relatively unstable. An independent transition is usually easier to locate because it sounds like something new instead of a continuation of P. The exposition’s transition between P and S takes one of two forms, depending on whether the transition’s melodic/motivic material clearly derives from P: if it does, the transition is dependent, and if it doesn’t, the transition is independent. These keys are very common in the 18 th and 19 th centuries, but other options also occur in the 19 th century. In major-key sonatas, this tends to be the dominant (V), and in minor-key sonatas, this is usually the mediant (III) or the minor dominant (v). In the exposition, expect the secondary theme to start and end in a non-tonic key. P, S, and C are all typically very stable areas only TR is unstable. On the whole, the exposition is a relatively stable part of the form. Standard formal layout of a sonata exposition.
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