Evolution of the Sonata

1
Evolution of the Sonata

• In its evolution from the canzona, the sonata
  form passed through numerous stages.
• Based from Stein, Leon. Structure and Style The
  study and analysis of musical forms. Evanston
  Summy-Birchard, 1962.

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Early transitions

• Transition from a contrapuntal, imitative texture
  of polyphonic canzona to a principal melody with
  bass (continuo style).
• Three-to five-movement forms, the first and last
  being a fugal allegro - from around 1650.

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Earliest forms

• Sonata da camera - title first used by Johann
  Rosenmüller (1667)
• Sonata da chiesa - a four movement form, in which
  tempo indications replace the dance titles and
  character of the da camera type (c. 1687).

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Earliest forms

• First keyboard sonata (da chiesa type) by Johann
  Kuhnau
• Sonatas for one, two, three, or four performers
  by H. Biber and J.S. Bach
• Three-movement scheme of the fast-slow-fast from
  the Neapolitan Sinfonie (Italian Overture) of
  Alessandro Scarlatti.

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Sonata develops

• Single-movement sonata (generally binary, some
  ternary) of Domenico Scarlatti (1685-1757).
• Four-movement form (Allegro-Adagio-Minuet-Allegro)
  used in symphonies of Mannheim composers Johann
  Stamitz (1717-1757) and Georg Monn (1717-1750)

6
Earlier forms

• Sonata form used in four principal categories by
  Classic composers - solo, chamber music,
  symphony, and concerto the solo sonata and
  concerto in three movements the ensemble sonata
  and symphony in four movements.
• Beethoven four-movement solo sonata scherzo
  movement replaces minuet addition of voices to
  symphony.

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Earlier forms

• Earliest forms One movement-sonata - Liszt,
  Sonata in B minor.
• Cyclic treatment - Beethoven, Op. 81a Schumann,
  Symphony no. 4 Franck, Symphony in D minor, and
  others.

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Free-form Sonata

• Free-form sonata of the twentieth century -
  Hindemith sonatas for solo instruments
  Prokofiev, Piano Sonata No. 7.
• Other free-form types, Elliott Carter, Piano
  Sonata (2 movements) John Cage, Sonatas and
  Interludes for Prepared Piano.

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Structural Origins of the sonata-allegro form

• The influence of the suite is to be noted in the
  following procedures found in many
• Baroque and early Rococo sonata
• The repetition of both halves of the movement
• The practice of beginning the second half of the
  movement with a dominant or a
• relative major transposition of the opening
  phrase or subject
• The use of motives or subjects (rather than
  themes), often treated imitatively

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The principle contrast in the Baroque suite and
sonata Applied to difference of key areas but not
to subjects. Contrasting tonal areas and
contrasting themes are found In the last
movements of violin sonatas by Geminiani,
Locatelli, Veracini, and Tartini, among others.
Section I (M.T.) Section II
(S.T.) (related key)
Transposition of beginning Section I (to
Dominant, or Related key)
Section II (S.T.) (in Tonic)
Development
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Outline of the sonata-allegro form
Exposition (repeated) Principal Theme --
Tonic Transition Subordinate (Secondary) Theme
-- Dominant or related key Codetta or closing
section
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Outline of the sonata-allegro form
Development (Sectional form) Retransition Als
o called the fantasia section. The material used
in this division Is almost altogether derived
from material first presented in the exposition.
Choice of material, method of treatment,
structure, key relationships, order of
presentation -- all these are at the discretion
of the composer.
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Outline of the sonata-allegro form
Recapitulation Principal Theme --
Tonic Transition Subordinate Theme --
Transposed to tonic Codetta or closing section
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Compositional Processes within the Development
In the development section the following
procedures are applied, either singly or in
combination, to material from the
exposition Change of Key Mode Harmony Texture D
ynamics Character (legato, staccato,
etc.) Instrumentation Register Accompaniment
pattern Employment of Varied rhythms Augmentatio
n or diminution of rhythm Augmentation or
diminution of interval Canonic treatment Fugal
treatment Free imitation Retrograde Inverted
counterpoing Repetition and sequence of figure or
motive
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Sonata Allegro Linear Graph