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49 Sonata form

Learning goals for Chapter 49

In this chapter, we will learn:

  • The overarching principles of
  • How aspects of sonata form manifest in musical contexts from European Classical and Romantic-era sonatas and symphonies

is one of the most sophisticated formal types in European tonal music, combining principles of contrast, tension, and resolution in terms of thematic and harmonic content. Sonata form rose to prominence in the Classical period and gained even greater complexity through the nineteenth century.

Sonata form often occurs in first movements of Classical and Romantic sonatas and symphonies, and sometimes it is found in inner movements or ending movements of these multi-movement works as well. Concertos also use sonata form, but with modifications to accommodate the soloist and orchestral forces.

One way to approach sonata form is to understand it as a complex derivation of form. Compare the basic designs of each form below in Figures 49‑1 and 49‑2.

Figure 49‑1. Rounded binary (basic design)

Diagram showing A section with repeat signs, followed by B and A-prime section with repeat signs

Figure 49‑2. Sonata form (basic design)

Diagram showing exposition section with repeat signs, followed by development and recapitulation sections with repeat signs. The exposition and recapitulation sections show primary, transitional, secondary, and closing themes, abbreviated P, (T), S, (K). Key scheme shows tonic at the beginning of the exposition, modulating to a new key at the secondary theme. Development section labeled unstable/sequence/modulation. Recapitulation shows tonic and still tonic through end.

The of the sonata form “exposes” or states all of the musical material that is later developed in the development section. The exposition typically consists of two contrasting themes or groups of themes, called the (abbreviated as “P” in form diagrams) and the (abbreviated as “S” in form diagrams). The secondary theme group is presented in a key other than tonic in the exposition, and this creates harmonic tension that requires tonal resolution (in the form of modulation back to tonic) before the end of the movement. In European classical music, two prominent tonal schemes are common:

  1. Primary theme group in a major tonic key (I), modulating to the key of the dominant (V) for the secondary theme group
  2. Primary theme group in a minor tonic key (i), modulating to the key of the relative major (III) for the secondary theme group

Often a (abbreviated as “T” in form diagrams) will be used between the primary and secondary theme groups with the sole purpose of bringing about the modulation to the key of the secondary theme group. Sometimes expositions will end with a (abbreviated as “K” in form diagrams), which acts as a to the section.

sections are typically harmonically unstable and may feature motivic development of both theme groups (sometimes simultaneously) and . Near the end of the development, the dominant chord of the tonic key is stated in order to set up the return to tonic in the recapitulation; this portion of the development is called the .

The primary and secondary theme groups are restated at the end of the piece in the . The presentation in the recapitulation is usually very similar to that in the exposition, except that the secondary theme group now appears in the tonic key, which creates tonal closure before the end of the movement.

As with any formal design, and may be added to the basic design without affecting the sonata form’s overall structure. Video T100 walks you through these concepts related to sonata form.

Video: T100 Sonata form video 1: intro (8:23)

This introductory video presents basic sonata form principles that were used to govern form in Classical and Romantic-era sonatas and symphonies.

Access the slideshow here: Sonata form slides

Self-check quiz on sonata form terminology

Analyzing pieces that use sonata form principles

When approaching analysis of a piece that uses sonata form principles, consider the questions in Figure 49‑3 to help guide your study. Figure 49-3 compiles lists of pertinent questions taken from three important theoretic texts: Mary Wennerstrom’s Anthology of Musical Structure and Style (1983), Jan LaRue’s Guidelines for Style Analysis (1970), and Charles Rosen’s Classical Style (1972).

Figure 49‑3. Cue sheet for sonata form

  1. What determines the large sections of the work? (Usually tonality is important.)
  2. What is the basic material of the composition? Melodic lines? Rhythmic patterns? Chord progressions?
  3. How is the material first presented?
  4. How is it changed in the course of the composition? Is there a separate development section?
  5. What elements are returned at the end of the movement? Does a key area return?
  6. Is it important to identify a second key area? Second thematic material?
  7. Is there an introduction? A coda?
  8. How are sections connected? By transitional material or by abrupt changes?[1]
  9. Are there any thematic interrelationships?
  10. Which element(s) does the composer alter in the development section? Are there developments in the exposition as well?
  11. How well does the development balance the exposition and recapitulation in size and intensity?
  12. What changes does the composer make in the recapitulation as compared to the exposition?
  13. Is there any evidence of long-range planning such as higher peaks in the recapitulation; longer-sustained preparations and climaxes; more brilliant orchestration?
  14. Does the composer concentrate on a few motives in the development, working them out thoroughly (how many mutilations?), or move through a number of ideas with only superficial changes, perhaps merely modulations?[2]
  15. When relations between themes exist … are they clarified by the connecting material—that is, if they are part of the discursive logic of the music—or … are [they] only part of the texture?
  16. How is the “relation between the details of a work and the larger structure” made audible?
  17. How are the principles of intensification exemplified in a piece’s development?
  18. Rhythmically—avoidance of cadence, ?
  19. Harmonically—avoidance of cadence, remote harmonies?
  20. Thematically—fragmentation, contrapuntal imitation?
  21. How well are the “previous tensions, harmonic and rhythmic,” resolved in the recapitulation, and how is the return of thematic material significantly different from its first appearance?[3]

One of the simplest manifestations of sonata form principles may be found in a sonatina movement by Muzio Clementi, shown in Example 49-1. Video T101 walks you through an analysis of this piece and considers the following questions in relation to this movement:

  • What material is presented in the exposition, and how do these relate to the principles of sonata form we have studied?
    • What constitutes the P theme group?
    • The S theme group?
    • How are these sections connected? Is there a transitional theme? If not, how do we get to the new key for the S theme?
    • Is there a K section?
  • Where does the material from the exposition return?
  • What changes are made in the recapitulation, compared to the exposition?
  • How is the thematic material from the exposition used in the development section? Cite examples.
  • What harmony is implied in mm. 32–36?

Example 49‑1. Muzio Clementi, Sonatina in G major, op. 36, no. 2, mvt. 1

image of score image of score

Listen to this movement, performed by Balazs Szokolay, on Spotify.

Learn about Italian-born English composer Muzio Clementi (1752–1832) by reading this Oxford Music Online article, written by Leon Plantinga and revised by Luca Lévi Sala.​

Video: T101 Sonata form video 2: analysis (16:45)

This video walks you through an analysis of the first movement of Muzio Clementi’s Sonatina in G major, op. 36, no. 2 (Example 49‑1), examining how principles of sonata form work in this movement.

Access the slideshow here: Clementi Sonatina slides

EXERCISE 49-1 Analysis with sonata form principles

PART A. Study and listen to Worksheet example 49‑1. Then consider the following questions.

  1. In which measures do the big sectional divisions occur (exposition, development, recapitulation, possibly also introduction and/or coda)?
  2. Where do the primary and secondary theme groups occur and in what keys?
  3. In what measure does the P theme group begin and why?
  4. The S theme group?
  5. What are the differences between the P and S themes?
  6. How are these sections connected? Is there a transitional theme? If so, in what measures? If not, how do we get to the new key for the S theme?
  7. Is there a K section? If so, where?
  8. What interrelationships are there between thematic groups?
  9. Name some musical characteristics/techniques/devices of this development and get at least 3 examples of each—what makes this section developmental?
  10. What keys are implied in the development?
  11. Label score with all tonicizations, , and true modulations.
  12. What are the relationships between these keys and the tonic key?
  13. Is there a re-transition at the end of the development? If so, in what measures?
  14. Where does the material from the exposition return?
  15. On a separate sheet of paper, please create a form diagram for the first movement of the Haydn String Quartet, op. 74, no. 3, that includes:
    • Large sections labeled at the top (INTRODUCTION, EXPOSITION, DEVELOPMENT, and RECAPITULATION)
    • measure numbers of where important events occur
    • P, T, S, and K in the EXPO and RECAP
    • Key areas, both in Roman numerals (in relationship to tonic) and letter names

Worksheet example 49‑1. Franz Joseph Haydn, String quartet, op. 74, no. 3 in G minor (“Horseman”), mvt. 1

Access a .pdf of the score: WE 49.1 Haydn op. 74, no. 3 mvt 1

Listen to the complete movement, performed by the Hagen Quartett, on Spotify.

Learn about Austrian composer Franz Joseph Haydn (1732–1809) by reading this Oxford Music Online article, written by Georg Feder and James Webster.

PART B. Study and listen to Worksheet example 49‑2. Then answer the following questions.

  1. In which measures do the big sectional divisions occur (exposition, development, recapitulation, possibly also introduction and/or coda)?
  2. Where do the primary and secondary theme groups occur and in what keys?
  3. Identify anomalies in the formal design. What is odd about the development section? (It does something we have not yet encountered that most sonata form pieces don’t do.) What is odd about the secondary theme group’s (S) appearance in the recapitulation?
  4. On a separate sheet of paper, create a form diagram with measure numbers that
    • Accounts for the big sections (EXPO, DEV, RECAP)
    • Accounts for the main parts of the exposition and recapitulation (P, T, S, K)
    • Accounts for the key areas and relationships between keys and tonic throughout the entire movement
    • Locates the re-transition in the development section

Worksheet example 49‑2. Ludwig van Beethoven, Piano Sonata, op. 10, no. 1, mvt. 1

Access a .pdf of the score: WE 49.2 Beethoven op. 10, no. 1 mvt. 1

Listen to the complete movement, performed by Glenn Gould, on Spotify.

Learn about German composer Ludwig van Beethoven (1770–1827) by reading this Oxford Music Online article, written by Joseph Kerman and others.

PART C. Listen to and study the first movement of Mozart’s Piano Sonata, K. 309 in Worksheet example 49‑3, and answer the questions below.

  1. In what measure does the P theme group begin?
  2. In what key is the P theme group?
  3. In what measure does the T theme group begin?
  4. In what measure does the S theme group begin?
  5. In what key is the S theme group?
  6. How are the keys of P and S related? Is this a typical harmonic design?
  7. In what measure does the K theme group begin?
  8. Describe at least two techniques used in the development section, and cite specific examples (measure nos.) where these occur.
  9. In what measure does the recapitulation begin?
  10. Why doesn’t the recapitulation begin in m. 86?

Worksheet example 49‑3. Wolfgang Amadeus Mozart, Piano Sonata, K. 309, mvt. 1

Access a .pdf of the score: WE 49.3 Mozart K. 309 mvt. 1

Listen to this movement, performed by Maria João Pires, on Spotify.

Learn about Austrian composer Wolfgang Amadeus Mozart (1756–1791) by reading this Oxford Music Online article, written by Cliff Eisen and Stanley Sadie.

Access a printer-friendly .pdf of the exercise here: Ex49.1 Analysis with sonata form
Listen to the audio examples featured in this exercise here: Spotify playlist for sonata form

For further reading

Hepokoski, James A., and Warren Darcy. 2011. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth Century Sonata. New York: Oxford University Press.

LaRue, Jan. 1992. Guidelines for Style Analysis, 2nd ed. Detroit Monographs in Musicology/Studies in Music, no. 12. Warren, MI: Harmonie Park Press. First edition published in 1970.

Rosen, Charles. 1972. Classical Style: Haydn, Mozart, Beethoven. New York: W. W. Norton.

Wennerstrom, Mary. 1983. Anthology of Musical Structure and Style. Englewood Cliffs, NJ: Prentice-Hall.

Supplemental resources for Chapter 49

Brian Jarvis’s chapter on sonata form (Open Music Theory)

Robert Hutchinson’s chapter on sonata form

  1. Questions 1 through 8 are taken from Mary Wennerstrom, Anthology of Musical Structure and Style (1983), 541. ↵
  2. Questions 9 through 14 are taken from Jan LaRue, Guidelines for Style Analysis (1970), 189–90. ↵
  3. Questions 15 through 21 are loosely based on ideas from Charles Rosen, Classical Style (1972), 41–100. ↵

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