Editing Sonata form (section)

==Outline of sonata form==

The standard description of the sonata form is:

===Introduction===
{{Main article|Introduction (music)}}
The ''introduction'' section is optional, or may be reduced to a minimum. If it is extended, it is, in general, slower than the main section and frequently focuses on the [[Dominant (music)|dominant key]]. It may or may not contain material that is later stated in the exposition. The introduction increases the weight of the movement (such as the famous dissonant introduction to Mozart's [[String Quartet No. 19 (Mozart)|"Dissonance" Quartet]], K. 465), and also permits the composer to begin the exposition with a theme that would be too light to start on its own, as in Haydn's [[Symphony No. 103 (Haydn)|Symphony No. 103 ("The Drumroll")]] and Beethoven's [[Quintet for Piano and Winds (Beethoven)|Quintet for Piano and Winds Op. 16]]. The introduction usually is not included in the exposition repeat: the ''Pathétique'' is a possible counterexample. Much later, Chopin's [[Piano Sonata No. 2 (Chopin)|Piano Sonata No. 2]] (Op. 35) is a clear example where the introduction is also included.

On occasion, the material of introduction reappears in its original tempo later in the movement. Often, this occurs as late as the coda, as in Mozart's [[String Quintet No. 5 (Mozart)|String Quintet in D major, K. 593]], Haydn's "Drumroll" Symphony, Beethoven's [[Piano Sonata No. 8 (Beethoven)|Piano Sonata No. 8 ("Pathétique")]], or Schubert's [[Symphony No. 9 (Schubert)|Symphony No. 9 ("Great")]]. Sometimes it can appear earlier: it occurs at the beginning of the development in the ''Pathétique'' Sonata, and at the beginning of the recapitulation of Schubert's [[Symphony No. 1 (Schubert)|Symphony No. 1]].

===Exposition===
{{Main article|Exposition (music)}}
{{multiple image|header=[[Joseph Haydn|Haydn's]] Keyboard Sonata, [[Hoboken-Verzeichnis|Hob.]] XVI: G1, I|direction=vertical|width=330
|image1=First theme Haydn's Sonata in G Major.png
|caption1=First theme (G major) and transition from counterstatement (to D major), mm. 1–12<ref name="B&S" />{{rp|136}}[[File:First theme Haydn's Sonata in G Major.mid]]
|image2=Transition Haydn's Sonata in G Major.png
|caption2=Start of second subject (D major), mm. 13–16 [[File:Transition Haydn's Sonata in G Major.mid]]
|image3=Second theme Haydn's Sonata in G Major.png
|caption3=End of second subject and Codetta (D major), mm. 17–28 [[File:Second theme Haydn's Sonata in G Major.mid]]
|image4=Development Haydn's Sonata in G Major.png
|caption4=Development, mm. 29–53<ref name="B&S" />{{rp|138–139}} [[File:Development Haydn's Sonata in G Major.mid]]
|image5=Retransition Haydn's Sonata in G Major.png
|caption5=Retransition, mm. 54–57<ref name="B&S"/>{{rp|140}} [[File:Retransition Haydn's Sonata in G Major.mid]]
|image6=Coda Haydn's Sonata in G Major.png
|caption6=Recapitulation, mm. 58–80<ref name="B&S"/>{{rp|140–141}} [[File:Coda Haydn's Sonata in G Major.mid]]
}}
The primary thematic material for the movement is presented in the exposition. This section can be further divided into several sections. The same section in most sonata form movements has prominent harmonic and thematic parallelisms (although in some works from the 19th century and onward, some of these parallelisms are subject to considerable exceptions), which include:
* ''First subject group'', ''P'' (Primary) – this consists of one or more [[theme (music)|themes]], all in the [[Tonic (music)|tonic]] key. Although there are exceptions, most pieces follow this form.
* ''[[transition (music)|Transition]]'', ''T'' – in this section the composer modulates from the key of the first subject to the key of the second. If the first group is in a major key, the second group will usually be in the [[Dominant (music)|dominant]] key. However, if the first group is in a minor key, the second group will usually be the [[relative major]].
* ''Second subject group'', ''S'' – one or more themes in a different key (typically the dominant) from the first group. The material of the second group is often different in rhythm or mood from that of the first group (frequently, it is more lyrical) and is often stated at a piano dynamic.
* ''Closing zone (or closing area)'', ''C''  – a suffix after the end of the second subject group that reinforces the new key area. C involves musical material that differs from what was heard in S, and often includes distinctly new thematic material.
The exposition is commonly repeated, particularly in classical and early romantic works, and more likely in solo or chamber works and symphonies than for concerti. Often, though not always, first and second endings are employed during the last measure(s) of the exposition. The first ending to point back to the tonic, where the exposition began, and the second ending to point towards the development.

===Development===
{{Main article|Development (music)}}
In general, the development starts in the same key as the exposition ended, and may move through many different keys during its course. It will usually consist of one or more themes from the exposition altered and on occasion juxtaposed and may include new material or themes—though exactly what is acceptable practice is a point of contention. Alterations include taking material through distant keys, breaking down of themes and sequencing of motifs, and so forth.

The development varies greatly in length from piece to piece and from time period to time period, sometimes being relatively short compared to the exposition (e.g., the first movement of ''[[Eine kleine Nachtmusik]]'') and in other cases quite long and detailed (e.g., the first movement of the [[Symphony No. 3 (Beethoven)|"Eroica" Symphony]]). Developments in the Classical era are typically shorter due to how much composers of that era valued symmetry, unlike the more expressive Romantic era in which development sections gain a much greater importance. However, it almost always shows a greater degree of tonal, harmonic, and [[rhythm]]ic instability than the other sections. In a few cases, usually in late Classical and early Romantic concertos, the development section consists of or ends with another exposition, often in the relative minor of the tonic key.<ref>{{Cite journal|last=Wingfield|first=Paul|date=2008|editor1-last=Hepokoski|editor1-first=James|editor1-link=James Hepokoski|editor2-last=Darcy|editor2-first=Warren|title=Beyond 'Norms and Deformations': Towards a Theory of Sonata Form as Reception History|journal=Music Analysis|volume=27|issue=1|pages=137–177|doi=10.1111/j.1468-2249.2008.00283.x|jstor=25171408|issn=0262-5245|doi-access=free}}</ref>

At the end, the music will usually return to the tonic key in preparation of the recapitulation. (On occasion, it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition.) The transition from the development to the recapitulation is a crucial moment in the work. The last part of the development section is called the ''{{Visible anchor|retransition}}'': It prepares for the return of the first subject group in the tonic.

Exceptions include the first movement of [[Johannes Brahms|Brahms]]'s [[Piano Sonata No. 1 (Brahms)|Piano Sonata No. 1]]. The general key of the movement is C major, and it would then follow that the retransition should stress the [[Seventh chord#The dominant seventh|dominant seventh chord]] on G. Instead, it builds in strength over the dominant seventh chord on C, as if the music were proceeding to F major, only to take up immediately the first theme in C major. Another exception is the fourth movement of [[Franz Schubert|Schubert]]'s Symphony No. 9. The home key of the movement is C major. The retransition prolongates over the dominant chord on G, but suddenly takes up the first theme in the flattened mediant [[E-flat major|E{{music|b}} major]].

A particularly common exception is for the dominant to be substituted with the dominant of the relative minor key: one example is the first movement of Haydn's String Quartet in E major, Op. 54 No. 3.

Occasionally, the retransition can begin with a false recapitulation, in which the opening material of the first theme group is presented before the development has completed. The surprise that ensues when the music continues to modulate toward the tonic can be used for either comic or dramatic effect. An example occurs in the first movement of Haydn's String Quartet in G major, Op. 76 No. 1.

===Recapitulation===
{{Main article|Recapitulation (music)}}
The recapitulation is an altered repeat of the exposition, and consists of:
* ''First subject group'' – normally given prominence as the highlight of a recapitulation, it is usually in exactly the same key and form as in the exposition.
* ''Transition'' – often the transition is carried out by introducing a novel material: a kind of an additional brief development. It is called a "secondary development".
* ''Second subject group'' – usually in roughly the same form as in the exposition, but now in the home key, which sometimes involves change of mode from major to minor, or vice versa, as occurs in the first movement of Mozart's [[Symphony No. 40 (Mozart)|Symphony No. 40]] (K. 550). More often, however, it may be recast in the [[parallel major]] of the home key (for example, C major when the movement is in C minor like Beethoven's [[Symphony No. 5 (Beethoven)|Symphony No. 5 in C Minor]], op. 67/I). [[Key (music)|Key]] here is more important than [[Mode (music)|mode]] (major or minor); the recapitulation provides the needed balance even if the material's mode is changed, so long as there is no longer any key conflict.
Exceptions to the recapitulation form include Mozart and Haydn works that often begin with the second subject group when the first subject group has been elaborated at length in the development. If a theme from the second subject group has been elaborated at length in the development in a resolving key such as the tonic major or minor or the subdominant, it may also be omitted from the recapitulation. Examples include the opening movements of Mozart's [[Piano Sonata No. 14 (Mozart)|piano sonata in C minor, K. 457]], and Haydn's String Quartet in G major, Op. 77 No. 1.

After the closing cadence, the [[musical argument]] proper is said to be completed harmonically. If the movement continues, it is said to have a coda.

===Coda===
{{Main article|Coda (music)}}
[[File:Mozart- Coda- Sonata in C Major, K. 309, I.png|thumb|upright=1.5|Coda to [[Mozart]]'s [[Piano Sonata No. 7 (Mozart)|Sonata in C Major]], [[Köchel catalogue|K.]] 309, I, mm. 152–155; last bars of recapitulation also presented for context<ref name="B&S"/>{{rp|151}} [[File:Mozart- Coda- Sonata in C Major, K. 309, I.mid]]]]
The coda is optional in Classical-era works, but became essential in many [[Romantic music|Romantic]] works. After the final cadence of the recapitulation, the movement may continue with a coda that will contain material from the movement proper. Codas, when present, vary considerably in length, but like introductions are not generally part of the "argument" of the work in the Classical era. Codas became increasingly important and essential parts of the sonata form in the nineteenth century. The coda often ends with a [[Cadence|perfect authentic cadence]] in the original key. Codas may be quite brief tailpieces, typically in the Classical era, or they may be very long and elaborate. An example of the more extended type is the coda to the first movement of [[Beethoven]]'s [[Eroica Symphony]], and an exceptionally long coda appears at the end of the finale of Beethoven's [[Symphony No. 8 (Beethoven)|Symphony No. 8]].

Explanations for why an extended coda is present vary. One reason may be to omit the repeat of the development and recapitulation sections found in earlier sonata forms of the 18th century. Indeed, Beethoven's extended codas often serve the purpose of further development of thematic material and resolution of ideas left unresolved earlier in the movement. Another role that these codas sometimes serve is to return to the minor mode in minor-key movements where the recapitulation proper concludes in the parallel major, as in the first movements of Beethoven's [[Symphony No. 5 (Beethoven)|Symphony No. 5]] or [[Robert Schumann|Schumann]]'s [[Piano Concerto (Schumann)|Piano Concerto]], or rarely, to restore the home key after an off-tonic recapitulation, such as in the first movements of Brahms's [[Clarinet Quintet (Brahms)|Clarinet Quintet]] and [[Antonín Dvořák|Dvořák]]'s [[New World Symphony|Symphony No. 9]].