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Composers will often add a [[coda]] to a work in sonata-allegro form, often to the last movement (which was often written in sonata form as well). This could be for many reasons, sometimes to provide an exciting conclusion, and sometimes to resolve a harmonic tension presented earlier in the work. In a minor-key work, a coda often was written in the parallel major (i. e. C Minor/C Major) as a way of banishing the darkness of the minor mode.

Composers will often add a [[coda]] to a work in sonata-allegro form, often to the last movement (which was often written in sonata form as well). This could be for many reasons, sometimes to provide an exciting conclusion, and sometimes to resolve a harmonic tension presented earlier in the work. In a minor-key work, a coda often was written in the parallel major (i. e. C Minor/C Major) as a way of banishing the darkness of the minor mode.

The coda varies in length, with some taking up a hefty percentage of the movement. Notably lengthly codas including the finale of the first movement of Beethoven's Piano Sonata Op. 57 ("Appassionata"), and in the finale of his Eighth symphony -- which is almost half the length of the movement!

The coda varies in length, with some taking up a hefty percentage of the movement. Notably lengthly codas including the finale of the first movement of Beethoven's Piano Sonata Op. 57 ("Appassionata"), and in the finale of his Eighth symphony—which is almost half the length of the movement!

A coda in a sonata movement corresponds roughly to the ''denoument'' of a literary plot.

A coda in a sonata movement corresponds roughly to the ''denoument'' of a literary plot.