The sonata form is the structure of one of the parts found in instrumental music. It is the most developed homophonic and non-cyclic construction. In this regard, it becomes possible to include in one part a variety of material over a huge temporary space.
The history of development
The appearance of the sonata form in music was associated with thinking in the modal-functional direction and its affirmation. A similar thought process was a major factor in shaping.
In the work of the classics of the late XVIII century, it acquired the final clear form. This was facilitated by works in the sonata form of Mozart, Beethoven and Haydn.
The entire history of the formation of the sonata form can be divided into 3 stages.
Stage I: the ancient beginning
The first period of development is called "ancient".
Starting from the XVII century and ending with two-thirds of the XVIII, there was a process of gradual improvement in a clear and precise system.
By that time, the sonata form is a combination of principles from the fugue genre and constructions in the ancient two-part form.
From the fugue, the form absorbs modulations into a dominant tonality, the formation of another in the middle section and a return to the main in the final part.
The two-part form gave two-part form with the composition and its tonal plan. In addition, there was a continuous development process, based on the thematic epicenter. The cadence on the harmony of the dominant at the end of episode I and on the tonic of section II served as a support for the composition of the sonata form.
- Cadence is a harmonic method that completes a musical phrase or piece as a whole.
The main distinguishing feature of the two-part old form was the decomposition of the passenger revolutions instead of the general course of the forms when affirming the dominant tonality.
The second episode of the old sonata form is a thematic material with a return tonal connection. That is, the main melody was in the dominant tone, and the secondary in the final, on the contrary, in the main. The process of mirroring was obtained.
In another version, there was a development that was inherent in the theme of the exposition. After the transition of development to reprise, a side batch began to be stated in the main key.
This kind of sonata form can be found in the works of Bach, Scarlatti and their contemporaries.
Some works of the last mentioned composer are at the turn of the ancient sonata form and its next look is classical.
Stage II: classic look
Vienna classics clearly delineated sections of the sonata form:
- this is an exposition;
- development;
- reprise (code attached to it).
1. The exposition was initially repeated in exact form without changes. The main party was responsible for the demonstration of the first theme in sonata form and had a decisive function for the nature of the music. She set the impulse and showed an effective essay, while the side party led the development to a balanced state and lyrically focused, slowing down the process.
2. Thematic material of the exposition was actively developed in development. She could even include the appearance of new tunes. The development consisted of three sections:
- introduction;
- the basis;
- precursor.
The precursor is a musical construction, which was prepared by the return of the main key to the reprise.
3. Reprise is the part in order that is the last in a large section of the sonata form. Side and final parts poured into one main tonality.
In summarized form, the sonata was a three-part composition.
The sonata form was formed as the first part of the sonata cycle, and in some cases was likened to the finale. The conclusion was characterized by the pace of allegro - fast and lively.
The form could also be found in the intros (overtures) before the dramatic plays. Beethoven’s work is well suited as an example: the works of Coriolanus and Egmont.
The role of an incomplete sonata form, consisting only of exposure and reprise, was special. She could be met at the pace of allegro in the overture of the opera "The Wedding of Figaro", written by Mozart.
However, most often the sonata form is a slow part of the sonata cycle.
- Sonata is a genre inherent only in instrumental music. It is written both for solo performance and for ensemble.
There was also an interesting version with a mirrored reprise: the side party first went on display and only then the main one. Such an example can be found in Mozart in part 1 of D major sonata K 311.
Stage III: the post-Beethoven era
The third period is called "post-Beethoven."
Beethoven put all his efforts into the sonata form. Subsequent composers realized that he had brought the idea of form to his absolute, as a result of which they were forced to wander in difficult searches to find other ways of modernization.
So, in the XIX century, evolution occurs, the sonata form by this time is already free tonal relationships. Part I compares completely distant from each other tonality, reprise continues to saturate the work with diverse character and only at its end, and even in the code the tonal plan is balanced. The situation described above can be observed in the work "The Athletic Symphony" by the Russian composer Borodin.
The sonata form begins to contain the details of the program and opera dramaturgy.
- Programming is an instrumental work accompanied by a poetic or prose narration.
On the other hand, song and dance folklore enriches the form.
- Folklore - creativity, where the main author is the people.
This is especially evident in the works of domestic composers Glinka and Rimsky-Korsakov.
Due to the versatile effect on the sonata form, it became necessary to divide it into several layers:
- dramatic;
- lyrical;
- epic;
- genre.
There is a separation from the cyclic structure, and there is a practice of using compositional forms in independent compositions.
In the XX century, the sonata form loses the meaning of its existence in some genres. For example, in atonal harmony, where there are no palatonic relationships, composers do not need to use a sonata form, since it becomes impossible to realize its main purpose.
In Mahler's symphony, all parts take on a growing character. The first episode, written in the form of a sonata, does not become an exception. The expansion of borders is due to the use for the main part of not one melody, but a whole group of themes. The development is the emergence of independent fragments.
Honegger in his symphonies applied the elements of development in all sections of the sonata form. In I, III and the final parts there was a continuous developmental disclosure, due to which the reprise (repetition) acquired an organized character.
But the Russian composer Prokofiev acted the opposite way: the presence of clarity and classical subtlety. For his symphonic work, specific boundaries between thematic episodes were characteristic.
In the works of Shostakovich in the exposition, the main one with a side part developed inextricably from each other, where the contrast between them had a smooth character. The main conflict action took place in the development, which led to a powerful culmination of the main theme. The side part was calm in the background, merging with the coda into a single dramatic construction.
Sonata structure
As mentioned earlier, there are 3 episodes of the sonata form, each of which perform a specific function:
- Exposition.
- Development.
- Reprise.
Exposition
The exposition, in other words, is a demonstration of the topic. It includes two parties: the main and side.
Theme takes on the main meaning of the work and its future conflict. In harmonic terms, the tonic base prevails.
In shape:
- period - the minimum completed musical thought (Beethoven, sonatas 2, 4, 7, 31 and others);
- large offer (Beethoven, sonatas for piano 1, 3, 19 and others).
A side part serves as a contrast to the main one and establishes a new key (subdominant groups, dominants or parallels).
Development
Development is part of the sonata form in which both themes are developed using methods of variation, fragmentation, modulation, jumps between registers, changes in rhythmic patterns. It is the most erratic episode.
It has three internal sections:
- introduction (being in the main key);
- development (course of modulations);
- tonal preparation for a reprise.
Reprise
Reprise is a repetition of the first part (exposition), while all the topics present sound in a single key. A side topic does not contradict the main one and falls under its “wing”.
In addition to the classic version, reprise can be divided into four more principles:
- The principle of reduction implies the absence of the main and secondary parties. It is found in Chopin's piano sonatas.
- The principle of the mirror encompasses the reverse order of the sound of the parts (the first is secondary, the second is the main). An example is the overture to Mozart’s opera “Titus Charity”, Liszt’s poem “Preludes” and a concert for cello and orchestra by composer Dvorak.
- The principle of polyphony allows you to hold two parts at a time. I was not afraid to apply such a method Wagner in overture to his opera "Nuremberg Mastersingers".
- The principle of subdominants. Its meaning is that the main key is held in the key of the fourth stage for a balanced ratio of the two parts. So, a side part has the opportunity to be in the main key.
In addition
Also, in addition to the main parts, there are such episodes:
- introduction, most often it is at a slow pace;
- a party that connects the main with the side;
- topic of conclusion before development;
- code in the final of the reprise, the role of which is to return and confirm the main tonality of the part.
Tonal relationships
I and IV or I and III - the extreme parts are written in the dominant key. It may be that when the last episode will be played in the major of the same name, if the first originally sounded in minor.
The middle part is written in a different key (parallel, subdominant or dominant). Using this method, hyperbolization of contrast occurs and subsequently a monumental statement of the main tonality.
On practice
Examples of using the described form:
1. The sonata form finds its application most often in sonata-symphonic cycles, namely in symphonies, concerts, ensembles of trios, quartets, quintets and in the sonata itself.
In other words, this is a form of sonata allegro. The name comes from the principle of fast pace, in which I parts of symphonies and sonatas are written.
2. Also, the sonata form can be found in single-part works that gained particular popularity during the romantic period (for example, the genre of ballads or fantasies).
Varieties
The following types are found:
- Sonata allegro. It is considered the purest type.
- Form in other genres of other cycles.
- Rondo-sonata is a mixed form, which includes elements of both sonatas and rondo. It consists of three episodes where the extreme parts are written in the ronde structure, and the middle itself has a development taken from the sonata form.
- Sonatina is a type of sonata form in which development does not happen at all.
- Double exposure form (orchestral and solo).
- Sonata form with an episode (instead of development).
Its useful to note
It is interesting to pay attention to the following points:
1. A question is brewing in connection with the same root musical terms: is the sonata and sonata form the same thing?
- The answer will be: yes and no.
Yes - because the sonata form comes from the sonata and in this vein is its synonym.
But no, because the sonata is, first and foremost, a musical genre that was developed for a chamber instrumental ensemble or piano.
The term originated in the 16th century, translated from Italian as “sound” and was the antonym for the cantata genre.
Handel and Bach, the titans of the 17th century, made a huge contribution to the creation and development of the sonata.
2. It is also worthwhile to separate the concepts of sonata and sonata-symphonic form.
- This is because the second is part of the first. The sonata-symphonic cycle is one of the largest cyclic forms. In such a structure, the first part of the sonata genre can be written.