B
exposition
the second theme
In the exposition of the sonata form, the modulation from the home key to the new key typically occurs at the transition or bridge section, which follows the first theme. This transition prepares for the introduction of the second theme, which is usually presented in a contrasting key, often the dominant key in major works. This modulation is crucial for establishing the tonal framework for the development section that follows.
The two themes in classical sonata form are typically referred to as the "first theme" and the "second theme." The first theme is usually presented in the home key and establishes the main musical material, while the second theme often contrasts with the first, typically appearing in a different key and showcasing a contrasting character or mood. This structure helps create tension and resolution throughout the movement, leading to a development section where both themes are explored and transformed before a recapitulation brings them back to the home key.
It's almost the same except that in a sonata rondo form the main theme is stated between each section (like between the exposition and development sections)
exposition
the second theme
A sonata is a three-movement piece for solo piano or any solo instrument with or without piano accompaniment. Sonata-allegro refers to a particular form originally used in one-movement pieces, later incorporated in the three-movement sonata which was named for the form. A typical sonata-allegro form is I first theme, expansion II second theme, expansion III development of the opening theme or themes IV recapitulation of the themes V coda Sonata-allegro originally included tonal relationships between the first and second themes, tonal freedom during the development, and tonal unity of the recapitulation and coda.
In the exposition of the sonata form, the modulation from the home key to the new key typically occurs at the transition or bridge section, which follows the first theme. This transition prepares for the introduction of the second theme, which is usually presented in a contrasting key, often the dominant key in major works. This modulation is crucial for establishing the tonal framework for the development section that follows.
The two themes in classical sonata form are typically referred to as the "first theme" and the "second theme." The first theme is usually presented in the home key and establishes the main musical material, while the second theme often contrasts with the first, typically appearing in a different key and showcasing a contrasting character or mood. This structure helps create tension and resolution throughout the movement, leading to a development section where both themes are explored and transformed before a recapitulation brings them back to the home key.
It's almost the same except that in a sonata rondo form the main theme is stated between each section (like between the exposition and development sections)
The "sonata allegro" form...consisting of a first theme, a second theme, a development, and a recapitulation...is indeed found in symphonies and quartets. I don't know why it was named as it was, but it is a formal structure not linked to sonatas.
No. The first movement is in the sonata/allegro form. The famous theme and variations for which the symphony is known make up the second movement.
I'm not sure what you mean... The form of the sonata is sonata form. Or if you want to get fancy, it's First Movement Sonata-Allegro Form.
Usually there are four movements in the symphony, which is based on the sonata-cycle: Sonata-Allegro form, Allegro tempo Theme and Variations form, Andante, Adagio or Largo tempo Minuet and Trio (18th century) or Scherzo and Trio (19th century), Allegretto or Allegro tempo Sonata-Allegro, Rondo, or Theme and Variations form, Allegro, Vivace, or Presto tempo.
It is not certain that any one man "established" sonata-allegro form. It developed organically, over time, from the simpler a-b-a tertiary form. Embellishments on the main theme in the "b" section gradually became the more adventurous development section of the true sonata-allegro. Most of Scarlatti's keyboard sonatas did not adhere to what Haydn and Mozart would have recognized as a sonata-allegro form.
Theme and variation was an entire form of classical music, consisting of its own movements.