曲式分析

Form and Analysis

Binary Form Historical note

Late 17th to 18th centuries, instrumental music are more or less binary form

Stylized dance pieces; sonatas; suites A Baroque suite consists of a number of dances:

Allemande Duple Courante Triple Sarabande Triple Gigue Compound duple (6/8 or 12/8) Other dances: Bourree, Gavotte, Minuet, Passepied, etc. Bach: Preludes from well-tempered

Binary Form Simple binary Rounded binary Balanced binary

Subdivision of Binary Form Bach: French suite No. 3, Minuet Haydn: Quartet, Op. 76, No. 5, III Scarlatti: Sonata, K. 175 Schubert: Twelve Landler, No. 1

Features1. Part One is shorter than part two

2. Part One can be asingle phrase; Part two is divisible into sections

3. Part two is based wholly or partailly on material first heard in part one

4. i III V7 i V7 I

5. I V V7 I V7 I

Sonata Form Historical note of Sonata

Usually for works for one or two players only Trio, quartet, Symphony 16th century, piece sounded on instrument A genre of several contrasting sections

17th century terms: ricercare, canzona, sinfonia, capriccio, along with sonata

Extremely complex, Dance rhythm

1660 Sonata by Corelli Two classes of Sonata

Two treble instruments and basso contintuo Functions, Style and number of movements. Sonata da camera: dance rhythms Sonata da chiesa: slow-fast-slow-fast

Sonata Form Historical note: Formal Aspects

18 世紀中起， Sonata proper, two standard movement schemes: Three-movement (fast-slow-fast), Italian overture, sinfonia, Four-movement

Slow-fast-slow-fast: Baroque sonata da chiesa rarely occurred since then

Two fast movements surrounding two middle movements Other scheme: one movement: 18th c. Italian composer Scarlatti; 19

th c. Liszt and twentieth c. Sibelius, Schoenberg; two, five,…..

Thematic relationship: a theme appears in more than one movement. “cyclic”, idee fixe….

Movement scheme vs. Sonata form Movement scheme: the number and tempo or type

of the individual movement comprising the whole sonata

Sonata form: a standard form exhibits by certain single movements.

Not every movement in a sonata is a sonata form. Some are binary, others are ternaries, rondos, and so on. Sonata form is a form which throughout history has played such a large role in various sonata movements that the name has been attached to it.

Sonata Form General Aspects Originated as a type of continuous binary form

The rounded binary; balanced binary

Sonata Form Relationship to the binary form

Rounded : A- : :B A’ :∥ ∥ ∥Binary : statement departure restatement

Balanced : A- : :A’∥ ∥ :∥ Binary : opening, mod, closing departure restatement of closing

Sonata : A- : :B A :∥ ∥ ∥ Form : PT trans ST CT development PT trans ST CT

exposition recapitulation

Sonata Form Sonata : A- : :B A’ :∥ ∥ ∥

Form : PT trans ST CT development PT trans ST CT

exposition recapitulation

Exposition: expose Primary Key section Transition Related Key Section Closing Section

Departure (digression) prolonging the concluding V of the exposition or if on III, progressing to V

Returning to the beginning and a complete harmonic movement on I, final passages of part one return transposed to the tonic key as final passage of part two.

Sonata Form Exposition: expose

Primary Key section

Mozart: Symphony No. 38, ITwo subsectionssubdivided

Sonata Form Exposition: expose

Primary Key section

Haydn: Sonata No. 35, ISymmetrical periodRepeated followed by a codetta

Sonata Form Exposition: expose

Primary Key section

Mozart: K. 333, II

Sonata Form Exposition: expose

Primary Key section

Brahms: Symphony No 1, Primary Key Section

Phrase 1: Introduction I-V7-I Phrases 2-5: Double period A~B Phrases 6-7: period A’ A~B-A’

Sonata Form Transition

Haydn: Sonata No. 35, I Madulation aspect Home key is no longer on a prominent

level of the hear’s consciousness Three-phrase model: 1-2-3,

before, deflection from tonic, leading tone to V of the new key

Sonata Form Transition

Dependent and independent Mozart: K. 333 Dissolution Brahms: Symphony No. 1 : emphasize the minor mode; length

Function Modulation to the new key Motivic development from the first theme Introduction of a mood or new material which contrasts with b

oth first and 2nd themes. Preparation of the listener for the second theme by gradual ch

ange from one mood to another Preparation of the listener for the second theme by anticipatio

n of its characteristic rhythm or melodic material

Sonata Form Transition

Partially modulating transition The secondary section in the new key enter after phrase 2 The feeling for the home key has not disappear Mozart: K. 279, I

Non-modulating transition: Haydn: Sonata in D, 37/I Transition with deceptive modulation

Beethoven Symphony No. 8, finale

Omissiom of the transition Scubert: Unfinished Symphony, I

Sonata Form Related Key Section

Theme Contrast or closely related but with other elements of contrast; texture or

harmonic rhythm Tempo & meter

Same as primary key section until late 19th century Composer often used tempo & meter changes to help imbue t

he second theme with an entirely new character Key

Previous to Beethoven, the key very rarely expressed a key other than III in the minor mode, or V in the major mode. Op. 53, Waldstein, I: the second key express III in the major mode.

III, or VI in higher or lower position than might be expected. Beethoven No. 8, finale, Mahler No. 2, I

More than one key: progress from one to another: Schubert, Death & Maiden; Beethoven, No. 8, I;

Sonata Form Continuation of Related Key Section (closing section)

Reinforce and confirm Continuing the key not necessary the mode

Does not introduce a new tonal area, Not an indispensable feature of the form

Omission is not unusual Brahms Sym No. 1, in c minor Beethoven: Appassionata, I

General observation The closing theme has a character of its own, Nevertheless, motivically the closing theme is often related to one or

more of the previous themes, Contain one or more complete harmonic movement and close with P

AC. Reiterated cadential formula, I-ii-V-I A codetta often follows the closing theme Closing theme or codetta often lead to a transition serving to introdu

ce first the return of the expos. and, after its repetition , the development, transition may refer to the first theme, Beethoven: op. 13

Sonata Form: Development Development

General characteristics No standard design (Actually sonata form or sonata style is d

ebatable) Subsections

A single phrase, phrase chain, phrase group, period…

Material one or more themes; motives; initially base on a seemingly

unimportant fragment of the closing theme or codetta Intense interest: 不可預知性

Development Tonal structure

Remote keys and find his way back Elaborate ways of stating chord succession of progression

Haydn C major Cycle fifth Thematic material from the first theme

Sonata Form Development

The lengthy development Usually divided into a series of subsections Thematic relationship between various subsections

Grouping together Attaining unity in a long development

Beethoven No. 9 Labeling:

PT primary theme, motive head, middle, tail ST1, 2, 3 secondary theme(s), CT1, 2, 3 closing theme(s)

Sonata Form Development

The lengthy development Tonal structure d: VI V prolonging of V I

Beethoven No. 9

Great composers follow an essentially straightforward tonal plan in spite of surface complication

Recapitulation (Recap)

In General: Restatement in the tonic key all themes of the exposition Confusion: symmetry? Counterpart to Part One?

Not to provide a balance through symmetry (ABA’) Normal vs exceptional…..

Basic function: completing a harmonic movement previously left incomplete. Without an exact restatement of themes. Nor is there any necessary restating the whole of any theme.

Sonata Form Recapitulation

Transposed restatement: musical grammar When an important idea is first heard in a key other

than the tonic, whether the piece is a sonata form or not, composer tend to restate the idea in the tonic (the classical rondo, the arias by Mozart, etc.)

Very natural to composer of tonal era, but not necessary--- confuse the purpose and function of the recapitulation

Sonata Form Differences between Recapitulation & Expos

Condensation Mozart Prague Symphony Abbreviation Haydn Symphony 103

Monothematic Variation

Varied form Mozart K. 279, Finale ; Sym. 40, finale, minor mode Rearrangement

In a Different order (reverse first & second themes) Mozart K. 311

Expansion Avoid monotony, intervening transition, the transition is

lengthened; K. 279, Finale Variants used in combination

Sonata Form Irregular tonal structures

Appearance of Recap before V7

Haydn: Symphony 94, I Mendelssohn: Symphony No. 4, I

In nontonic Key I to V in exp.; IV to I in recap. Mozart, K. 545 Tchaikovsky, Symphony No. 4, I

F-A-B-D-F

Sonata Form Analyze

Mozart, Sonata, K. 333

Sonata Form Summary

Like continuous binary is rooted in tonality. Tension set up by sharply defined key centers is possible only to tonal music and it is this tension that constitutes the foundation of sonata form. A key center is established Undermined A new key center set up The establishment of a second key center causes a tense situ

ation demanding a reconcilation, which comes after a period of harmonic fluidity

Sonata Form Further Aspects

Introduction Heraldic Melodic Motivic Cadencial

Mozart: Symphony No. 36 Haydn: Symphony No. 102 Schubert: Symphony No. 9

Coda Further Aspects

Coda The after-development:

Mozart: Symphony No. 41, Some coda of the sonata form takes on immense significance, serving as a section with developmental properties of its own. Sometimes it adds a new dimension to the tonal structure

Beetheven Symphony No. 9

Sonata Form The coda divides into subsections on the basis of material employed New material may appear Previously heard material may

a. be restated without change from exposition or development; b. undergo new development

Material from the exposition that had been neglected by the development section is apt to be restated or developed in the coda

Many of the subsections of the coda, particularly the first, correspond closely to subsections within the development.

Exposition-------------------RecapitulationDevelopment-------------------------Coda

Sonata Rondo Form Relationship to the binary form

Sonata : ∥ PT trans ST CT : :∥ development PT trans ST CT :∥ Form :

exposition recapitulation Sonata-Rondo A- B A C A B A