Chapter 11 and 12

Question 1

Emergence of Sonata Form

Answer 1

• Most important formal innovation of the classical era
• Organization of individual movements in a variety of genres–including sonatas, symphonies and quartets
• It is an extended binary form (ABA’) that always modulates within the first reprise and usually involves more than one theme

Question 2

First reprise sonata form

Answer 2

Exposition (A):

• Exposes the thematic ideas that will be manipulated in the second reprise
• Begins with one or more themes in the tonic or primary key area (P), followed by the transitional (T) modulation to one or more themes in secondary key area (S), usually the dominant or relative major (1S)

Question 3

Second reprise sonata form

Answer 3

Development (B):

• It develops the thematic ideas of the exposition
• Harmonically, tends to be unstable, can move to almost any key other than tonic
• Harmonic instability and unpredictability of dvpt is counterbalanced by recapitulation, which reestablishes the tonic

Question 4

Recapitulation sonata form

Answer 4

A’:

• Usually marked by a simultaneous return to the tonic key and restatement of the opening theme (1P)
• Typically follows the order of exposition but always with one important difference: The thematic material that was first stated in the secondary ket is now restated in the tonic–>recap does not modulate, unlike the exposition but remains in the tonic to provide harmonic balance and stability–satisfying close

Question 5

Coda sonata form

Answer 5

• Italian for “tail”
• Some sonatas conclude with a coda after the recapitulation
• Range from short to long, but always end on the tonic

Question 6

Sonata-rondo form:

Answer 6

• Overlaid aspects of sonata form on the rondo
• First episode (B) is presented in a secondary key, like a theme in the secondary key area of a sonata-form exposition
• Then at the end the theme is transposed to the tonic
• Could look like this: ABACABA

Question 7

The Sonata

Answer 7

• Quintessential domestic genre of instrumental music in the classical era
• Keyboard sonata flourished in the second half of 18c

Question 8

Sturm und Drang style

Answer 8

• “Storm and stress”
• Predilection for the minor mode, and such extreme gestures as large melodica leaps, jagged syncopations, sudden dynamic contrasts–>heightened emotional intensity and drama

Question 9

Alberti Bass

Answer 9

• Lowest voice repeating figurations on a series of triadic harmonies–providing harmonic support for the melody in the upper voice but is not itself very engaging

Question 10

Rondo form

Answer 10

Has refrain (A) as well as episodes/couplets (BCD etc.)

Question 11

Minuet form

Answer 11

Two juxtaposed binary form
A (minuet proper) repeated
B (trio) in contrasting mood, theme and key
A (minuet proper)

Question 12

String Quartet

Answer 12

• New in the classical era
• 2 violins, viola, cello
• Homogenous timbre (colour and sound)
• Instead of basso continuo, cello and viola supply harmonic underpinning
• Compared to an intimate conversation and exchange of ideas
• Played in domestic settings (home) with select audience, only rarely in public concerts
• Ranged from 3-5 mvmts, usually 4

Question 13

Classical symphony

Answer 13

• Term “symphony” came from Italian “sinfonia”, originally an opera overture played in 18c theatres
• Function: Announce beginning of drama and to signal audiences to quiet down
• Typically 1-3 mvmts
• 1720s–> Became detached from opera and was performed outside theatres as concert symphonies
• Popular at courts, churches, public concerts
• Symphony and “overture” were synonomous

Question 14

Movements of symphony

Answer 14

1) Important in setting expressive tone for the entire work. In sonata form, sometimes with slow intro. Key: tonic
2) Slow. Possible forms: Slow mvmt sonata form, or theme and variation forms, or ABA forms
3) Minuet. Dance-inspired form, could be rhythmically irregular, unlike functional minuets written to be danced to. Key tonic/non-tonic
4) Finale: Relatively light & fast. Possible forms: Sonata, rondo, sonata-rondo. Key: Tonic

Question 15

Concerto

Answer 15

• Genre for instrumental virtuosos to showcase their talents
• 3 mvmts (fast-slow-fast), no minuet, cadenza in 1st mvmt
• 1st movement:
• ->A variant of sonata form: Double exposition concerto form presents two expositions, first for full orchestra (tutti expo), second for soloist
• ->Tutti expo does not modulate, remains in tonic
• ->Solo expo begins in tonic and moves to secondary key area
• -> Dvpt and recap proceed along the lines of conventional sonata form with opportunity of cadenza after recap