The sonata form represents a large-scale structure that dates back to many works performed in the early classical works of the 18th century through the late 19th century century. romantic period. Sonata forms are easily spotted in almost all the first movements of works by Beethoven, Haydn and Mozart. Normally, the development of the sonata form is done from a tonal path at the level of the piece which involves a P (primary thematic zone then a contrasting S (secondary thematic zone). It is composed of an exposition, a development (D) and recapitulation of themes S and P. An exposition which is in most cases repeated, has its main tone consisting of the thematic tone P (labeled I) and an auxiliary tone consisting of the thematic area S (usually and not always in the dominant key I, noted V). Tonal instability is what characterizes the development (D), where existing themes are transformed, followed by the possible introduction of new themes, concluded by a retransition (R) , which returns the P. Themes and the S recapitulation to the primary tonality, includes elements added throughout the development in both tonic keys. This essay seeks to examine the musical description of the sonata form and in particular the Symphony no. 1 by Beethoven given as an example. Say no to plagiarism. Get a tailor-made trial. on “Why Violent Video Games Should Not Be Banned”?Get the original essaySonata FormsThis represents a form of modulation that allows for the transition from the tonic to an associated tonality. The movement to the second section depends mainly on rapid modulation, normally carried out in series with the aim of making the tonic feedback as dramatic and loud as possible by introducing the tonic contrast and instability of the modulation carried out rapidly. There are additional dissonances created in the process of modulating many tones, which in most cases are chromatic and are primarily subject to the main compositional scheme. A common way to ensure that a sonata exposition has an area of ​​dominant tonality is to ask the composer to go beyond his mark, moving from dominant to more dominant and thus developing chromatic chords. In Beethoven's Symphony No. 1, as the music swims through divergent themes, their too seems to be a harmonic ambiguity that leads to increased convergence when it comes to recapitulation. It features full instrumental and thematic coverage, and the crescendo movement towards the fortissimo appears to be dynamic in dominance. Major chords are then characterized by tonic tones, characterized by supertonic and subdominant tones. The 1st theme alternates with increasing triads, then decreasing arpeggios of a final C major. Conclusion Keep in mind: this is just a sample. Get a personalized article from our expert writers now. Get a Custom Essay Including Sonata Forms requires the ability to bring together a number of analytical elements of key variation to bring it to a coherent analysis.