The Sonata and the Sonata-Allegro Form

• Because of the period’s emphasis on vocally-conceived melodies performed over sparse accompaniment, many of the forms that were prominent during the Baroque period, including the toccatas, preludes, and fugues, all went out of style. What remained, however, and grew to be the central form for instrumental music for soloists and small ensembles was the sonata.
• sonata

  • the past participle of the verb “suonare” which means “to make a sound.”
  • its earliest usage, the word was somewhat of an umbrella term for instrumental music, as opposed to the “cantata,” which is “sung” music.
  • had its earliest traceable usage in 1561 when it was used to name a suite of dances for the lute.
  • In the Classical period, sonatas were works most often written for solo instruments and were made up of two to four movements, written in related keys.
  • Most, if not all, of the sonatas written by the Classical greats Mozart and Haydn, were written for solo piano/keyboard.
• Aside from it being primarily a form for solo instruments, one of the main characteristics of a sonata is the usage of the sonata-allegro form, particularly in its first movement.
• Sonata-Allegro Form

  • one of the most important and enduring forms developed during the Classical period.
  • This three-part form is most often associated with sonatas, but, because of its versatility, is also used in other forms, including symphonies and concertos.
  • there are three parts:
  • the exposition
  • the development
  • the recapitulation
• exposition

  • the first part of the sonata-allegro form and presents us with the main themes of the piece
  • form, there are usually one or two main themes; if there are two, the first is presented in the tonic, while the second is presented in a different key.
  • This section is often repeated.
• Themes


  are most often short, easily recognizable melodies
• development

  • follows the exposition
  • explores the themes presented in the exposition
  • development part elaborates the themes presented in the exposition, repeating them, altering them, presenting them invarious keys and forms, in part or as a whole.
• recapitulation

  • in essence, a conclusion to the elaboration, a musical homecoming.
  • The themes that have been elaborated are once again presented, this time, only in the tonic key
• The second movement of a classical sonata, in contrast with the lively first movement, is usually written in a slow tempo.
• The third movement is most often a minuet, though only in four-movement sonatas.
• The final movement, the finale, of a sonata is often in a fast and lively tempo, like that of the first movement.