S O N A T A S A N D S Y M P H O N I E S K N O W L E D G E O R G A N I S E R
Sonatas and Symphonies – Knowledge Organiser
A. Sonata Form B. The Sonata and The Symphony C. The Circle of Fifths
A MOVEMENT written in SONATA FORM consists of THREE SECTIONS: A SONATA is a piece of music written in three of
1. EXPOSITION – here, the THEMES are “stated”. It begins with the FIRST SUBJECT four MOVEMENTS, mostly for one instrument,
in the TONIC key. Next, there’s a BRIDGE PASSAGE which acts as a “linking section” sometimes with at least one movement written in
and moves in TONALITY (MODULATES/CHANGES KEY) from the Tonic to another SONATA FORM.
RELATED KEY – often the DOMINANT. Then the SECOND SUBJECT is heard (often A SYMPHONY can be described as a “SONATA FOR
in DOMINANT) which CONTRASTS to the First Subject in terms of mood, character, ORCHESTRA”. Symphonies are “large-scale”
pitch, tempo or dynamics. The Exposition ends with a CODETTA, often using orchestral works with several movements
material from the beginning of the movement. Sometimes the whole of the sometimes lasting for over and hour!
Exposition section is REPEATED. The FIRST MOVEMENT is often written in SONATA
2. DEVELOPMENT – in this section, the composer develops the themes from the FORM and is brisk and purposeful in mood.
Exposition section in more detail. Here, there are often frequent CHANGES OF The SECOND MOVEMENT is often written in
KEY/MODULATIONS, often to more unrelated keys. Ternary or Theme and Variations form and is
3. RECAPITULATION – This section begins, as in the Exposition, with the First slower and often song-like.
Subject in the Tonic key. Next, the Bridge Passage, often in slightly altered form The THIRD MOVEMENT is often a Minuet or
from that heard in the Exposition. Then, the Second Subject but this time it appears Scherzo with a fairly fast and dance-like character.
in the TONIC key (as opposed to the Dominant as in the Exposition). The The FOURTH MOVEMENT is often written in
Recapitulation ends with a CODA often using material from the Codetta in the Rondo, Variation or SONATA FORM and is fast and
Exposition but more fully developed and giving the movement a sense of closure. cheerful.
The entire Development and Recapitulation sections may also be repeated.
D. Baroque Sonatas E. Classical Sonatas F. Romantic Sonatas
The word SONATA means “sounded” (as opposed to a CANTATA During the 18th Century, SONATA FORM Sonatas and Sonata Form continued to be popular in the Romantic Period but there was a
“sung”). Many Baroque Sonatas were written for two violins and became the most commonly way of organising move from the ABSOLUTE MUSIC (music without words, dance or support from something
CONTINUO – called a TRIO SONATA (although 4 instruments were instrumental works. The Classical period was all “extra” and therefore music in its “purest” sense) of the CLASSICAL PERIOD to the more
actually playing as the Continuo would be made up of a about ELEGANCE and BALANCE and the DRAMATIC and EXPRESSIVE nature of the ROMANTIC PERIOD. Short introductions were
harpsichord/organ player with a cellist). There were two main kinds of subjects in a Sonata were often based around often used before the First Subject is heard in the Exposition, EXTENDED TONALITY was
Baroque Sonatas: the SONATA DA CAMERA (chamber sonata) designed short MOTIFS (a short memorable pattern of used with CHROMATIC CHORDS to create impact and create a dramatic effect. There was
for performance in the room of a house where the Continuo instrument notes). The Bridge Passage now often ended an increased contrast between Subjects and Movements in terms of pitch, tempo, dynamics,
would be the Harpsichord and the SONATA DA CHIESA (church sonata) with an IMPERFECT CADENCE signifying texture, timbre and mood and character. Composers began using UNRELATED KEYS (see
where the Continuo instrument would probably be the Organ. These “something new is about to happen” and the Circle of Fifths diagram above) when changing key or MODULATING, as opposed to sticking
Sonatas often had 4 movements, contrasted in TEMPO (slow: fast: slow: themes were developed more fully in the to RELATED/RELATIVE KEYS which was the norm in the Classical Period. This EXTENDED
fast) and the movements were structured in BINARY FORM. The Sonata DEVELOPMENT section. Classical composers TONALITY have Romantic Composers the chance to make the SONATA a vehicle for dramatic
Da Camera often included dance-like movements, whereas the Sonata tended (but not always!) to stick to expression, while remaining faithful (loosely in some cases!) to its overall form and structural
Da Chiesa was more serious in character and the quicker movements RELATED/RELATIVE KEYS when MODULATING layout (which also became “freer” during this period).
were often written in FUGAL style. (see Circle of Fifths in C.)
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