A transition is a passage of music composed to link one section of music to another. Transitions often function as a moment of transformation and may, or may not in themselves, introduce new, musical material.
Often in music, the transition is the middle section or formal function, while the main theme is the beginning, and the subordinate theme is the ending.[2] It may traditionally be a part of the sonata form's exposition in which the composer modulates from the key of the first subject to the key of the second, though many Classical era works move straight from first to second subject groups without any transition.
In sonata form, a retransition (the transition to the recapitulation) is the last part of the development section which prepares for the return of the first subject group in the tonic, most often through a grand prolongation of the dominant seventh.
↑ Benward & Saker (2009). Music in Theory and Practice: Volume II, p.137. Eighth Edition. ISBN978-0-07-310188-0.
↑ Caplin, William E. (2009). "What Are Formal Functions?", Musical Form, Forms & Formenlehre: Three Methodological Reflections, p.27. Berge, ed. ISBN90-5867-715-X.
A minuet is a social dance of French origin for two people, usually in 3 4 time. The English word was adapted from the Italian minuetto and the French menuet.
Sonata form is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century.
Binary form is a musical form in 2 related sections, both of which are usually repeated. Binary is also a structure used to choreograph dance. In music this is usually performed as A-A-B-B.
In music, a coda is a passage that brings a piece to an end. It may be as simple as a few measures, or as complex as an entire section.
In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments, or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."
Form refers to the largest shape of the composition. Form in music is the result of the interaction of the four structural elements described above [sound, harmony, melody, rhythm]."
In Western musical theory, a cadence is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.
Ludwig van Beethoven's Piano Sonata No. 29 in B♭ major, Op. 106 is a piano sonata that is widely viewed as one of the most important works of the composer's third period and among the greatest piano sonatas of all time. Completed in 1818, it is often considered to be Beethoven's most technically challenging piano composition and one of the most demanding solo works in the classical piano repertoire. The first documented public performance was in 1836 by Franz Liszt in the Salle Erard in Paris to an enthusiastic review by Hector Berlioz.
Sonata rondo form is a musical form often used during the Classical and Romantic music eras. As the name implies, it is a blend of sonata and rondo forms.
A ritornello is a recurring passage in Renaissance music and Baroque music for orchestra or chorus.
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme.
Sonata form is one of the most influential ideas in the history of Western classical music. Since the establishment of the practice by composers like C.P.E. Bach, Haydn, Mozart, Beethoven, and Schubert and the codification of this practice into teaching and theory, the practice of writing works in sonata form has changed considerably.
In music, the term period refers to certain types of recurrence in small-scale formal structure. In twentieth-century music scholarship, the term is usually used as defined by the Oxford Companion to Music: "a period consists of two phrases, antecedent and consequent, each of which begins with the same basic motif." Earlier usage varied somewhat, but usually referred to similar notions of symmetry, recurrence, and closure. The concept of a musical period originates in comparisons between music structure and rhetoric at least as early as the 16th century.
In Western music theory, the term sentence is analogous to the way the term is used in linguistics, in that it usually refers to a complete, somewhat self-contained statement. Usually a sentence refers to musical spans towards the lower end of the durational scale; i.e. melodic or thematic entities well below the level of movement or section, but above the level of motif or measure. The term is usually encountered in discussions of thematic construction. In the last fifty years, an increasing number of theorists such as William Caplin have used the term to refer to a specific theme-type involving repetition and development.
In music, especially Western popular music, a bridge is a contrasting section that prepares for the return of the original material section. In a piece in which the original material or melody is referred to as the "A" section, the bridge may be the third eight-bar phrase in a thirty-two-bar form, or may be used more loosely in verse-chorus form, or, in a compound AABA form, used as a contrast to a full AABA section.
Ludwig van Beethoven's Piano Sonata No. 1 in F minor, Op. 2 No. 1, was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his second and third piano sonatas in 1796.
In musical form and analysis, exposition is the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied.
In music theory, a predominant chord is any chord which normally resolves to a dominant chord. Examples of predominant chords are the subdominant, supertonic, Neapolitan sixth and German sixth. Other examples are the secondary dominant (V/V) and secondary leading tone chord. Predominant chords may lead to secondary dominants. Predominant chords both expand away from the tonic and lead to the dominant, affirming the dominant's pull to the tonic. Thus they lack the stability of the tonic and the drive towards resolution of the dominant. The predominant harmonic function is part of the fundamental harmonic progression of many classical works. The submediant (vi) may be considered a predominant chord or a tonic substitute.
Sonata Theory is an approach to the description of sonata form in terms of individual works' treatment of generic expectations. For example, it is normative for the secondary theme of a minor-mode sonata to be in either the key of III or v. If a composer chooses to break this norm in a given piece, that is a deviation that requires analytical and interpretive explanation. The essentials of the theory are presented by its developers, James Hepokoski and Warren Darcy, in the book Elements of Sonata Theory, which won the Society for Music Theory's Wallace Berry Award in 2008. Although the theory is particularly designed to treat late-eighteenth-century works such as those by Mozart, Haydn, and Beethoven, many of its principles are applicable to works in sonata form from later centuries.
William E. Caplin is an American music theorist who lives and works in Montreal, Quebec, Canada, where he is a James McGill Professor at the Schulich School of Music of McGill University. Caplin served as president of the Society for Music Theory from 2005 to 2007 and was its vice-president from 2001 to 2003. His earlier work concentrated on the history of music theory, but he is best known for a series of articles and two books on musical form in European music around 1800. The first of those books, Classical Form: A Theory of Formal Functions for the Music of Haydn, Mozart, and Beethoven has been widely influential and was a major factor in the revival of interest in musical form in North-American music theory.
A slow movement is a form in a multi-movement musical piece. Generally, the second movement of a piece will be written as a slow movement, although composers occasionally write other movements as a slow movement as well. The tempo of a slow movement can vary from largo to andante. It is usually in the dominant, subdominant, parallel, or relative key of the musical work's main key.
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