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Classical Sonata Exposition · Acedra
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Classical Sonata Exposition
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0:05
If you ever struggle to compose or analyze the sonata form that's probably because the sonata form is not what they told you or at least not exactly. In this video we'll learn how to actually compose a classical sonata's exposition leaving behind the simplistic and often misleading schemes you may have come across in the past. Let's get to it!
0:25
The traditional scheme of the classical sonata's exposition might be misleading in three different ways: First: it's usually read as if the letters A and B represented single themes, while in practice they are best regarded as sections, known as Primary and Secondary theme zones respectively by modern theorists. The A and B sections can be filled with one, two or more themes, depending on the size of
0:48
the exposition and the type of sonata form, and as we shall see later each of these themes may present their own introductory material and postcadential passages or codettas. Second: you may have been told that transitions must always modulate to the secondary key and this is simply not true. For instance, the majority of Mozart's first movements from his piano sonatas don't include a modulating transition to the secondary key.
1:13
And third: transitions don't always work as separate sections and are usually best regarded as a function or process. Depending on how the transition ends we've got three different types of expositions: First: the two parts exposition. In the two-parts exposition the transition leads to a textural break called medial caesura that separates both halves. This type of exposition was the norm in the classical period and the standard in Mozart. Second: the double medial caesura exposition.
1:43
In this type the exposition is articulated through two apparent media caesuras, each of them preceded by their own transitional material. We can find this type of exposition in galant composers such as Johann Christian Bach and also in the classical concerto form. And third: the continuous exposition. In the continuous exposition there is no medial caesura and the transition merges with the B section.
2:07
This type of exposition was typical of early types of sonata forms such as in Domenico Scarlatti's, but in the classical period it was mostly unused except from one major exception: Joseph Haydn. In this video we'll focus on the first type, the two-parts exposition.
2:26
The sonata's exposition is a narrative form based on the contraposition of musical events. This works on two complimentary levels: tonality and rhetorics. Tonal contraposition means that both halves will revolve around two different contrasting keys. If this tonal contraposition is missing then we don't have a true sonata's exposition. In the classical period the secondary key was usually the dominant of the initial key for
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major mode works, even though other possibilities were also explored by Beethoven in later years. For minor mode works the standard secondary key was the third degree of the initial key and less commonly its dominant. From the rhetoric point of view each half follows a parallel narrative arc, in which an initially stable area is continued by an energy gain process that leads to a cadential closure. In the first half this cadential closure is usually a half cadence while in the
3:18
second half it's always a perfect authentic cadence. Hence the whole exposition conforms a period-like structure in which the second half resolves what the first one had left open.
4:27
These general principles may be articulated in thousands of different ways and not always in such a clear fashion as in the last example. In the following part we'll learn how Mozar deals with each section one by one in his piano sonatas.
4:43
The primary theme zone fulfills three major roles: stating the initial key, the general character of the movement and its essential motivic content. Depending on the type of opening strategies we can distinguish the following types: First: the direct thematic opening. The exposition starts directly with a tight-knit theme either a sentence or a period with no introductory material.
5:35
Second: the unison fanfare opening. A brief unison fanfare is presented as introductory material before the proper thematic activity starts.
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Third: loop openings. A brief and energetic introduction is repeated twice before proceeding to a contrasting theme.
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In the following example the structure of the opening is a period but its character and relation with the following material matches the loop opening procedure.
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And fourth: the sequential opening.
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Depending on the number of themes in the primary theme zone we can have the following types: First: single theme. The primary theme zone is built by only one theme with or without introduction. In these cases it's very common to heavily extend the theme beyond the usual eight bars length.
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In the following example the theme is repeated varied.
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Second: the double theme complex. Two different themes sound one after the other. The second one acts as a complement of the former.
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The transition is the process by which the first half of the exposition builds up expectation towards the final half cadence. This expectation might be achieved by different procedures such as fragmentation of the motivic content sequences and an increment of the dynamics, energy and harmonic tension. Sometimes these elements are present from the very beginning of the transition...
9:49
But other times the transitional character will be progressively built up.
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Depending on how the transition is linked to the primary theme zone we distinguish the following types: First: the autonomous transition. These transitions are built as separate sections that start after the primary theme zone has concluded.
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In some cases a brief link might be included between the end of the primary theme zone and the beginning of the transition.
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Second: dissolving continuation. This happens when a theme that apparently belongs to the primary theme zone starts behaving as transition midway before a proper credential closure has been reached.
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Notice that this procedure is only problematic from today's analytical perspective, as in the 18th century the transition wasn't considered a section but a process that could start at any point. Third: dissolving repetition. What at first looks like the repetition of a previously heard theme dissolves into transitional activity.
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The type of half cadence the transition leads to is another crucial factor. Tonic to dominant or subdominant to dominant half cadences were considered the weakest ones in terms of harmonic tension.
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A more expressive type of half cadence was the so-called converging cadence, in which the bass ascends by stepwise motion through the fourth, raised fourth and fifth degrees, while the top line descends by stepwise motion, usually resolving on the third of the dominant chord.
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An even more intense type was the augmented sixth half cadence, in which the predominant chord presents an augmented sixth interval between the bass and any other voice and both of them resolve to the dominant by contrary stepwise motion.
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Between the structural half cadence and the medial caesura a brief optional postcadential passage might be inserted in order to dissipate the energy gained up to that point. This passage functions as a dominant prolongation and is known either as "dominant lock" or "standing on the dominant".
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Depending on the transition's length and complexity the dominant lock may appear as a rather extense passage.
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In brief transitions, however, it might be omitted altogether.
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As we explained earlier the medial caesura is a structural break that separates both halves of the exposition. This break is usually presented as an explicit rest.
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However we must acknowledge two exceptions by which this structural rest might not be present. First: when the anacusis of the secondary theme zone fills this space.
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And second, the so-called medial caesura fill, a lead-in passage that connects both halves of the exposition.
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The secondary theme zone fulfills two roles: the presentation of a new stable material in the secondary key and the preparation of the structural perfect authentic cadence. The former is normally presented as a lyrical or comical theme which may or may not share motivic content with the A section. On the other hand, the latter usually behaves like the display episode from the conerto style, which consists of virtuistic passages that revolve around the increment of
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the harmonic tension, fast arpeggios and a final strong credential 64. Optional recurrent features of the display episode are the tonicization of the subdominant or the relative minor before the final cadence, and the presence of a characteristic final trill.
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Just like in the first part the secondary theme zone may present any of these opening strategies. First: the direct thematic opening.
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Second: the vamp. The accompaniment of the initial theme is introduced beforehand.
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Third: the loop opening.
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And fourth: the sequential opening.
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In the following example the secondary theme song opens with a sophisticated variant of the Fonte schema, tonizing the second degree first and the tonic after.
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Depending on how the secondary theme zone behaves I distinguish the following types. First: single theme and display episode. Sometimes they are articulated as different parts...
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And other times the initial theme simply dissolves into the display episode without a cadence in between.
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In the following example the display episode activity appears during the initial theme's repetition.
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Second: double theme complex with display episode.
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Third: double theme complex without clear display episode. In these cases the usual rhetoric of the display episode is either missing or heavily softened.
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And fourth: the double display episode. This technique may be combined with either of the previous types and it happens when the first display episode fails to reach a satisfactory perfect authentic cadence, and is immediately followed by a second one. In these cases it's very common that both episodes are connected by a sudden energy drop.
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In fast expositions the final cadence of the secondary theme zone is normally followed by one or more codettas, in order to disperse the energy gained up to that point. I distinguish the two following types, which might appear together or not. First: the short codetta. A brief tonic prolongational passage usually revolving around fast arpeggios and strong final chords.
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In some cases short codettas may end with a soft dynamic for expressive reasons.
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And second: the thematic codetta. Thematic codettas are more elaborated structures which may include their own cadential progressions and usually display a lyrical character.
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In certain cases the exposition may end with an abrupt modulation back to the initial key. This is called retransition, and for tonal reasons it only appears in movements that also include a Coda in the recapitulation.
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In order to illustrate what we learned today and show you how to apply all these principles in actual composition, I'll use one of my crappy works. The exposition opens with a unison fanfare, and this is followed by a compound sentence in which a basic idea is repeated literal twice and then it comes a continuation that is structured as a period, following a variant of the Prinner schema. Notice how the accompaniment incorporates motivic elements from the opening fanfare.
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Bars 15 and 16 work as a modulating link between the primary theme zone and the transition, which reaches the structural half cadence at bar 20 and is followed by a brief standing on the dominant, and the medial caesura at bar 22. The secondary theme zone opens with a small vamp and then another compound sentence which mirrors the one from the first part. Notice how the final cadence is omitted and the theme dissolves abruptly into the display episode instead.
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The display episode presents a tonicization of the relative minor and the usual sequences and fast arpeggios before the cadential 64. However, the first cadential arrival is truncated with a deceptive resolution on the sixth degree, and this motivates a repetition of the whole cadential process that leads to the actual perfect authentic cadence between bars 45 and 46. The exposition concludes with this soft and lyrical thematic codetta,
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which is actually a variant of the material from the secondary theme zone.
27:13
That's all for today, if this video gets enough support I'll make a second part speaking about the development and recapitulation in the sonata form. Meanwhile, consider supporting me on Patreon, which might be crucial for this channel's survival since YouTube keeps demonetizing my content. Thanks for watching and see you next time!
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