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Unit IX Focus on Form

Sonata Cycle. an instrumental work consisting of a series of three or four movements. Name derived from Italian suonare (to sound) to distinguish pieces for instruments as opposed to sung pieces or cantatas. The term itself is usually applied to pieces involving one or two instruments (otherwise t

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Unit IX Focus on Form

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    1. Unit IX Focus on Form Chapter 29 Classical Forms

    2. Sonata Cycle an instrumental work consisting of a series of three or four movements. Name derived from Italian suonare (to sound) to distinguish pieces for instruments as opposed to sung pieces or cantatas. The term itself is usually applied to pieces involving one or two instruments (otherwise trio, quartet, etc.)

    3. The First Movement Sonata allegro form Also known as sonata form or first movement form The term sonata allegro form is appropriate because the allegro movements are characteristically in this form; however, some slow movements also are in this form. The form is not only dependant on the three large divisions, but on departure from the home key and eventual return.

    4. The First Movement Sonata allegro form Introduction - slow, not always present Exposition - (Statement) - presentation of the two main themes and their contrasting keys. Allegro tempo begins at this point. Theme 1 bridge Theme 2 Codetta Home Key modulates contrasting key ------

    5. The First Movement Sonata allegro form Function of the bridge is to move to the new key area and prepare for Theme group 2. Note that originally some classic composers used the same theme for both key areas (This includes Haydn); the resulting movement is refered to as a monothematic sonata-allegro form. Haydn, Symphony No.45 in f sharp (“Farewell”)

    6. The First Movement Sonata allegro form Development Explores potentialities of the themes in a fragmentary and recombinant fashion. inversion - turned upside down diminution - shorter note values augmentation - stretched Characterized harmonically by frequent modulation, eventually moving back to the home key.

    7. The First Movement Sonata allegro form Mozart, Eine Kleine Nachtmusik, (CD1, 71-78) Most turbulent portion of the sonata form.

    8. The First Movement Sonata allegro form Recapitulation - (Restatement) - follows the general path of the Exposition, restating the 1st and 2nd themes more or less in their original form, but with theme group 2 now remaining in the home key as it is reaffirmed. Coda - Its whole function is the reassertion and reaffirmation of the home key.

    9. Thematic Contrast Not originally a consideration (early Haydn) Means of contrast dynamics - loud vs. soft register - high vs. low timbre - strings vs. winds rhythm and tempo - animated vs. sustained articulation - marcato vs. legato

    10. Thematic Contrast Means of contrast Types of melody - active with leaps vs. lyric and stepwise. degree of harmonic dissonance Type of accompaniment - chordal, arpeggiated, etc. Key - I vs. V or more starkly major vs. minor.

    11. The Second Movement Slow movement, often Andante or Adagio It is expected that this movement will be in a contrasting key. Often employs Ternary or A-B-A form. Theme and Variations Statement - Var. 1 - Var. 2 - Var. 3 ...

    12. The Third Movement Moderately fast tempo Minuet and Trio or Scherzo

    13. Minuet and Trio Originated in the French court as a stately 3/4 dance. Usually a third movement form, occasionally second movement. It was a custom to present paired dances with the first being repeated after the second (A-B-A). The second dance was usually played by only three instruments, hence, the trio. The name remained even after the instrumental practice changed.

    14. Minuet and Trio At the end of the trio we find an indication da capo of D.C. Indicating the return to the minuet. Within each division there is a smaller 2 or 3 part thematic form with repeats common exception the return:

    15. Minuet and Trio Form Minuet (A) Trio (B) Minuet (A) |:a: ||: b-a (codetta):| |:c:||:d-c:| a-b-a (codetta) or or or |:a:|| :b (codetta):| |:c:||:d:| a-b (codetta)

    16. Scherzo The 19th century saw the replacement of the minuet by the faster, more vigorous scherzo (It. "jest") in 3/4 or 6/8. Form is the same for the Scherzo as the Minuet (Scherzo-Trio-Scherzo). The primary change is one of tempo and, therefore, character.

    17. The Fourth Movement Usually very lively, in Classical Era, very dance-like in character. Fast tempo Rondo Also dance-like Characterized by a symmetrical arrangement of alternating themes. Extension of 3 part form: ABACA or ABACABA

    18. The Fourth Movement Rondo-sonata form (ABA C ABA) Expo. Dev. Recap. Often used as a fourth movement form or independent piece.

    19. The Sonata Cycle as a Whole Found as symphonies, concertos, sonatas, string quartets, and other chamber music. The most important formal framework to emerge from the 18th century. There is a common practice of forms used but it is not rigid (Beethoven, 9th Symphony, Scherzo used as a second movement)

    20. The Sonata Cycle as a Whole Typical Sonata Cycle (chart on p. 171) In the Classical Period, the movements were self-contained but connected by key scheme; the 1st, 3rd and 4th in the home key, the 2nd in a contrasting key. The Romantics unified the cycle by thematic connection between the various movements. This is called cyclical structure.

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