1. Chapter Fifteen
Sectional Forms

2. Elements of Form
Repetition
Contrast
Variation

3. Variation
Variation combines repetition with contrast. The variation may be mostly contrast with two or more new melodies. Or, the variation may take the same theme and alter it either melodically, rhythmically, or harmonically.
Alterring melodies is referred to as development. Development is also the term used to refer to sections where variations take place. Development offers a true blend of repetition and contrast.

4. Types of Sections Thematic Sections Introductory Sections
Connecting Sections
Concluding Sections

5. Thematic and Introductory
Theme--
A section which presents the primary melodic materials of a composition. A piece of music may have more than one theme. Thematic material is labeled with capital letters-- A B C
Introduction--
The beginning section to prepare the listener for the thematic material. It may be a very short or an extended section
Theme
Primary Melodic Materials
Introduction
Beginning Section to Prepare Listener for Thematic Material
Transition
Connecting Section to Prepare Listener for a following Theme
Interlude
Connecting Section Occurring Between Thematic Sections
Coda
Concluding Section That
Brings a Work to a Close
Codetta
Internal Concluding Section That Brings a Section to a Close

6. Connecting Sections Transition Interlude
Connecting sections provide a sense of movement to or rest from the themes.
Transition
Connecting Section to prepare listener for the theme that follows often by building a sense of anticipation which is resolved by the theme
Interlude
Connecting Section occurring between thematic sections that uses contrasting material to provide rest from previous theme.

7. Concluding Sections Coda
Concluding Section that brings a work to a close
Codetta
Internal concluding section that brings a section to a close

8. Sectional Forms Binary Form Two-part (A-B)
Ternary Form Three-part (A-B-A)
Compound Binary + Ternary
Theme and Variation A – A’ – A’’ etc.
Rondo A-B-A-C-A(five-part)
A-B-A-C-A-B-A(seven-part)
Binary Form
Two-part
(A-B)
Ternary Form
Three-part
(A-B-A)
Theme and Variation
A – A’ – A’’ – etc.
Rondo
A-B-A-C-A
(five-part)
A-B-A-C-A-B-A
(seven-part)

9. Sonata Form
Sonata form is the form for a single movement within a multimovement work. It is a sectional work consisting of the exposition, development, and the recapitulation.

10. Exposition
The opening of a sonata form is the exposition. It presents the thematic material which will be used in the work. The number of themes can vary, but two contrasting themes (with a codetta) is common.

11. Development
After stating the themes in the exposition section, the piece moves into the section which varies the thematic content through melodic, rhythmic, harmonic or timbral variations.

12. Recapitulation
The recapitulation is the repitition of the exposition section (with certain modifications). The second theme which was originally stated in a different key from the first theme is now played in the first key.
The development and recap sections may be repeated .

13. Complete Classical Sonata
Multimovement work, typically 3 or 4 movements, some of which are sonata form. It was used in the late 18th century to the end of the 19th century for most multimovement instrumental works.

14. Classical Sonata Movement Tempo Typical Form(s) First Fast Sonata
Second Slow Sonata
T and V
Third (opt.) Mod/Fast Comp. Ternary
Final Fast Sonata
Rondo
The Complete Classical Sonata
Movement Tempo Typical Form(s)
First Fast Sonata
Second Slow Sonata,
Theme and Variations,
Compound Ternary,
Rondo
Third Moderate Compound Ternary
(opt.) to Fast
Final Fast Sonata,

15. Performance Venues in Vienna
Chamber Music
Social Music
Parties and Celebrations
Larger Concerts
Gala Occasions
Charity Concerts
Subscription Series
Opera

16. Franz Joseph Haydn [1732-1809] First Viennese School
Age of Aristocratic Patronage
Prince(s) Esterházy