4,604
edits
Changes
Jump to navigation
Jump to search
Line 28:
Line 28: + + + + + + + + + + + + + + + + + + + +
adding unity and variety
Composers will often add a coda to the finale of a work in Sonata-allegro form. The coda varies in length, with notably lengthly codas including the finale of the first movement of Beethoven's Piano Sonata Op. 57 ("Appassionata"), and the first and fourth movements of his Fifth Symphony.
Composers will often add a coda to the finale of a work in Sonata-allegro form. The coda varies in length, with notably lengthly codas including the finale of the first movement of Beethoven's Piano Sonata Op. 57 ("Appassionata"), and the first and fourth movements of his Fifth Symphony.
==Unity and variety==
As in most kinds of music, the sonata relies on a sense of '''unity''' and variety to reinforce the work's meaning. Unity may be obtained by:
# linked keys in different themes
# inverting the theme
# use of a pedal note for connection
# the same melody line put into a different but related key
# the whole sonata may be working out of one basic idea and perhaps one theme is heard throughout all four movements - for example, one whole movement could be found in a small fragment of the preceding movement
# a striking feature of one movement could be woven into another movement. This is called "transformation of themes"
'''Variety''' is achieved by:
# changing the order of movements
# composing the theme in the style of a Canon whereas when it was introduced it was a single line theme
# using variations by changing the rhythms and time signature, but with the theme still recognisable
# using various modulations and different harmonies
# using ornaments, shakes or trills
# changing the accent and using the devices of counterpoint to introduce new ideas
[[Category:Music]]
[[Category:Music]]