![]() Nonetheless, the term is widely used and we will use it here. ![]() Given that the form is frequently found in works outside the solo sonata genre, one might even argue that the term sonata form itself is misleading. Neither of these terms is completely accurate, though, since the form may be found beyond the first movement and in slower tempos as well. Others use the term sonata allegro form since these opening movements are typically set at a relatively rapid tempo. Note: Some texts and teachers refer to sonata form as first movement form, since it is frequently found in the first movement of a multi-movement sonata. Our discussion will conclude with a brief overview of several common variations. We will then trace the form through three separate works-the first two will be relatively straightforward, whereas the third will demonstrate some of the playful alterations that composers tend to make when writing in sonata form. In fact, the form had such sweeping influence that we might even go so far as to think of it as a style instead of just an organizational framework for melodies and keys.įor reasons that will become clear momentarily, we will begin this chapter with an abstract overview of the sonata form design. And although it grew out of instrumental traditions, elements of sonata form may even be found in vocal music from this period. It is found in nearly every type of composition-not just solo sonatas, but works for chamber groups and orchestras as well. Sonata form, as it is commonly known, emerged as one of the most popular thematic/harmonic designs during the Classical and Romantic eras. Many historians, theorists, and teachers consider one form in particular to be the premier compositional structure of tonal Western art music.
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