Beginner's Guide: Sonata Form, featuring Mozart K545

[@roryreviewer6598]

Putting the recapitulation in the subdominant key was actually a pretty acceptable practice in the Classical Era that later died out in late classical going into the Romantic Era. The reasoning for it is so that the key relations between theme one and theme two remain the same between the exposition and recapitulation so for example Exposition: C-G (tonic to dominant) Recapitulation F-C (tonic to dominant).

[@roryreviewer6598]

@Sophia Dao You could be right. But definitely by Brahms' generation it was pretty uncommon.

[@anneleretief]

I love this girl so much. She is so enthusiastic. 😻

[@eingooglenutzer1474]

Annelé Retief I don't. I got cringed away when the video started... but the video in itself was nice.

[@troybarnette8002]

She knows her stuff. But she's had WAY too much coffee! She does NOT take single breath.

[@johngruber2996]

Simp

[@pandaronic]

@@johngruber2996 kzbin.info/www/bejne/Zpu7hXV3fNtskLM

[@damienmcgr]

Ikr 🤩

[@yuqian822]

First of all, thank you for your video! Just a small suggestion: could you please show the score when the music is playing? It help me track the music and understand the concept better. Thank you!

[@wenmoves]

I just started grade 3 at a conservatory and all my self-studying is coming from you. Thank you!

[@robertlynn7746]

You are so awesome! You obviously love music we could talk for hours about music!

[@richardslater677]

As an amateur guitar player and very amateur student of music theory, I found that description extremely helpful, clear and interesting. I loved the comparison with modern music, which in my opinion, goes a long way to getting the feel of the sonata form. Great stuff, thank you.

[@tmoh8830]

Thank you very much for the video, which is clear and simple. I am learning how to appreciate classical music, and understanding sonata and sonata form is so essential to the whole experience.

[@bigolegreen]

Thank you for being one of the few sources of information on this subject!

[@jayden6361]

This was so good. Thank you!!!

[@Ch9-7708]

Thank you, it really helped with my understanding as you showed it with a great example piece.

[@119santana]

I needed this so much. Really well done thank you so much. You are much better than my professor

[@Avbitten]

thanks for helping me learn for my music appreciation test. you are much easier to understand than my professor.

[@ricardoodm]

Hey, thank you so much for this video. I am going to write an essay about this work and your video helped me a lot.

[@barbmiller9285]

You own this knowledge and can explain ever so clearly. If you make more videos, speaking slower with pauses helps the listener process and (later) remember the material better.

[@jonahpatuto1196]

Thank you for uploading this! The recordings of the Mozart kinda triggered me but otherwise you explained Sonata form very well! :)

[@MichaelAlexander1967]

My big question is this: How do you learn to recognize the key changes from phrase to phrase when the overall key signature remains unchanged? Do you recognize chords in the phrase, or are you looking at all the notes in the phrase? I can sort of hear it, but how do you really know? Thanks! Love this video, because I knew this Sonata 12 to 14 years ago, which makes it fun to hear all the "form theory" behind it. BTW, you have an incredible teaching voice, because your inflections are so "musical", just great great vocal variety!

[@gabrielnascimento161]

I know this comment has been here for 2 years, but I have exactly the same question. How can I train my ear to develop this skill?

[@saifalmadani6638]

I’ll try to reply as best as I can. I have some kind of relative-perfect pitch thing and it helps me recognize changes. Sometimes, it’s difficult for even people like me to recognize the exact key that changed into. But you can certainly feel the change. It has a different feeling. It will come with time and practice.

[@kristenbooks]

I know this is an old comment, but I came across it and figured someone else might too, so I'll try to give a simple/basic theory-based answer. I have a terrible ear, so this is something I struggle to hear when listening to a piece. It all comes down to analyzing the chords. There's a difference between, for example, an accidental in the melody of a piece, versus one or more subsequent *chords* that do not belong in the key denoted in the key signature. The former *might* just be there to sound nice in the melody, but the latter *might* be a signal that we have modulated to a new key. For example, if the piece is in C major, but there's a phrase or section of chords or measures where the F natural is consistently raised to an F#, this is a pretty good hint that we might have modulated to G major, because the key has one #. Of course, it could instead be E minor too, but G major is more likely, since we started in C major. But it all depends on how those notes and chords are used.

[@classicgameplay10]

If it goes from major to minor it is easy because it goes dark. If it goes from a major to another major, the pitch is how you notice, because its usually a fifth above. Now, you can never know exactly which key you're in unless you have a very trained ear.

[@erniebernie7267]

I'm just beginning to learn about classical music and this was helpful, thanks!

[@mitchconq]

Thanks so much! This is so well explained. I feel like I learned so much! :D

[@MrRelax3737]

Clear and easy to follow!!! Thanks for your work. ........YES.

[@PivasRox]

I'm a music student and this is helping me alot with my analysis classes. Thank you so much!

[@keyuripatel7607]

Very nicely explained. Thank you so much 💖

[@WillowTitov]

When composing for piano like ol' Wolfy: SCALES AND TRILLS EVERYWHERE!!!

[@Ave_Musica]

Very good explanation. Thank you

[@stevenzeluck]

Hi, I just discovered your site. It is very informative. And you have a great approach and educate so clearly. Thank you. Steve

[@hezhazamani6371]

that was the most fun and relaxed and flawless learning process i have ever seen !!! Thank you !!!

[@asloii_1749]

helpful for my cello sonata

[@JosephSuberu]

Love this.... You're good at teaching

[@BHAKTIBROPHY]

PS Could you do a video explaining Handel's Sarabande Suite in Dm? That's lovely. I've read the Sarabande form is quite simple. I imagine you'd be the one to explain the theory behind this piece and teach it so it's easy to understand (you have a knack for teaching; you're a natural).

[@JamesBond-pm2lo]

excellent !

[@amadeurpianist3326]

That's awesome! thank you for being super enthusiastic!

[@AbdullahAljuraiban]

very good. thanks

[@basusri1120]

Super!

[@paulwarren29]

on Sunday, i'm going to use this recapitulation example as a sermon illustration for the Great Recapitulation of all things described in Ephesians 1:10

[@AZmom60]

paul warren that's awesome

[@BeauJames59]

THANK YOU for being a living, breathing human being talking about "classical" or "art" music...that's a rarity and WONDEFUL. (I understand folks can get a bit stilted living their adolescence in practice rooms)....I really got the lesson....Sign me, Guitar Interloper or James "Shoes" Walker, or you can call me Ray......or

[@ramesh0785]

Thank you.

[@jacobcarbonell3134]

Thank you so much for this analysis!

[@sofiparker7518]

Thanks for the great video as always! 😆

[@lawrencetaylor4101]

Great explanation, but I seem to be dyslexic as far as musical phrases go. I've been told I need to start singing to bring music into my head, but after over 6 decades of never harmonising with anyone, it's difficult. I admire people that have that ability. I'll just keep working at it.

[@davidallsopp4030]

Great video!

[@pedromimo1952]

Thank you for the video! I wish we had the score while the music was playing to follow it instead of Mozart's face :))

[@luccapires1497]

Very good !

[@danpoole5425]

Thank you so much for explaining this, my assignment makes so much more sense now!!!! you da best

[@auxiliasequeira8648]

So much digestable!

[@RayLunaMedia]

Thank you so much!! I really enjoyed this!! Very informative and you are so funny too!! 😎😂👍 recapitulation is fun to say. Haha!! Great job! 😎🎼👍

[@davidallsopp4030]

ohh Mozart was a bad boy breaking the Sonata rules

[@mottoliu]

Thanks, I have learned a lot.

[@jaybailey216]

Really nice video! Is that you playing the piano? Also it would be awesome if you can have the music up when you're playing the music so we could follow along (well try to follow along in my case 😂)

[@janscott602]

I’ve played this for years but never fully understood structure until now. Thanks.

[@sometimesijustwishyouwereg6492]

I feel smart that I understand this

[@JosephAMuniz-hm4jh]

That was excellent! Thank you!

[@MrPhibbz]

cool video 😊

[@urzathehappy72]

Now everyone's homework is to perform there own original sonata and upload the audio by friday

[@Eichro]

Sonata form is not that structurally different from pop music, if you think about it. If pop is ABABCB, sonata is ABABCABAB. Two themes, repeat, development (which could be some kind of big "bridge"), two themes again, repeat, outro. The big difference is more about the way these sections and themes are related.

[@Synna89]

A very good video. But it would be even better if you left she sheet music up when you played the music, as we can then follow along as we listen :)!

[@BiLLThePuppeteer]

love your videos. one thing about this one tho. when u play the song would be nice to watch the sheet same time and not mozart's face hahaha

[@ViviAn-sm4ov]

Thank u!!!!

[@tylandoman8452]

I need d this video so much, thank you

[@iminthewonderland]

Thank u so much for this...

[@prodTens]

you didn't mention measure counts... is there any measure count standards for each section?

[@lindrossfelagun]

Claudio Arrau! great video

[@andymilsten9096]

lindross felagund I love Claudio Arrau!

[@clivegoodman16]

I think that the pop structure is closer to the Rondo form.

[@georgina9237]

TYSM

[@Bbehemothh]

Isn't the first trill of theme 2 supposed to start on the higher note? At 6:38 it starts from the lower note.

[@BHAKTIBROPHY]

Hi. Thank you for this wonderful channel! Question: In Theme 2, where Mozart modulates to Am, are the D# and G# notes merely chromatic? (I'm not able to play at present but am still studying theory.The key of Am, of course, doesn't have the D# and G# notes, so they are just embellishments? I ask because THESE types of things make it difficult for me to see the modulations when studying the sheet music. 😊) Thank you for your help. You are a terrific teacher!

[@contrapunctusmammalia3993]

Yes, they are melodic embellishments however it is worth noting that, in a minor key, there is no leading tone so the chromatic sharpening of the 7th is very common and is so essential that it is incorporated into the harmony of a minor key to create clear dominant functioning chords in that key. Looking for chromatically altered notes is not always advisable if you're looking for modulation as many melodies are chromatic but don't change the grounding of the key. In this case, it is barely a modulation as it doesn't sound stable at all.

[@BHAKTIBROPHY]

+GraphiteProjekt Thank you for taking the time to answer my question.

[@caterscarrots3407]

I personally prefer natural minor. So my preferred C minor cadence would be: Cm, Fm, Cm, Gm, Gm7, Cm

[@sdka9922]

In bar 22 and 23, there is no modulation to A minor. Mozart is in the process of modulating to G, dominant of C; in order to do so in classical music you have to go through a PAC (Perfect Authentic Cadence). Mozart is simply delaying the PAC by going in 2 steps. First step in bar 20 and 21 we have an imperfect cadence by using V of V (D), dominant of G but in first inversion; The effect of the following A chord can be viewed as a deceptive cadence , as one could expect a C chord in bar 22 after the initiation of the cadential movement; the expected C chord is replaced by a 6th degree chord (A). Then starting with this bar 22 we go through the final cadence (II-V-I in the scale of G or VI-II-V in the scale of C), the VIth degree being also the IInd degree of the scale of G, then V of V (Dominant of G) in 6/4 position, 7th (bar 25), a little delay again going back and forth between G and D and then final dominant 7th second part of bar 27 and conclusion in bar 28 with a final fall of an octave, typical of many termination in classical music. The definition of harmonic minor is with the leading tone. What does not have a leading tone is the natural Aeolian mode (Natural A) and the Dorian mode (mode of D) which was considered the true minor mode in baroque music. Mozart is using this dorian mode a couple of times in this piece. And to answer your question, D sharp and G sharp are short appogiaturas from below, which customary are half step away. Looking at the sharps and flats will be deceptive unless you first understand the structure of the piece and the compositional practice of classical XVIIIth century musicians.

[@LanceClark]

I'm having a hard time identifying transitions and codettas. It seems I'm lumping the transition and the first themes together, and the second theme with the codetta. Any tips for that?

[@caterscarrots3407]

Hi, I am getting the first movement of K 545 back to very few if any mistakes. I am also practicing the second movement and it seems way harder than the first movement. Yes the first movement is Allegro and has trills but the second movement is almost 100% 16th notes in both hands. That's hard for me. And all of the sixteenth notes in the left hand are in the form of Alberti Bass(you know like where you have Tonic, 5th or 4th, 3rd, 5th or 4th all as individual notes representing a chord). That really tires out my left hand(I can feel the burn it is so tiring). And I find that even when I go slow with both hands, I easily slip from Alberti bass to arpeggio in the left hand. How can I make the almost 100% Alberti bass left hand of the second movement not so tiring for my hand? Also, do I just have to go slower to prevent me slipping from Alberti bass to arpeggio?

[@bryceaugustine5832]

Nice! The recording used was?

[@cannur2010]

I'm piano teacher too. (Music collage) :*

[@Dserrao1987]

Any comments on Chopin's 3 sonatas?

[@matcoddy6097]

Is there one on Concerto form? Although they are very similar, lol

[@laurenlofton9039]

Pop structure seems somewhat like Rondo Form.

[@franciscoaragao5398]

(4:53) Exposition, Theme 1

[@rusca8]

It's a piece!!

[@franciscoaragao5398]

(4:08) Sonata exposition

[@JuanLopezMarquez]

Is this form the same form as concerts and symphonies? (for example some violin concert)

[@fancycuber3154]

Symphonies are significantly longer than sonatas. Symphonies hold 4 movements, each 10 or more movements. Concertos are very close to the length of symphonies and both of said forms rely mostly on motif rather than themes.

[@danielngo2697]

This is not a song. It is a piece 😌

[@CrowClouds]

...

[@ZalexMusic]

imagine being this pedantic. did you understand what she meant?

[@franciscoaragao5398]

(3:23) The big picture

[@franciscoaragao5398]

(5:40) Transition

[@giorgibaliashvili6855]

I have one question...Should the second and third movements of the sonata be written using the same formula as the first part? second(adagio) and third(presto) movements also ,,exposition+development+recapitulation"?

[@edgbarra]

Hi. The first movement of every sonata is in sonata form. The other movements usually have different forms. For ex. the third mov is in Rondo form. :)

[@giorgibaliashvili6855]

@@edgbarra Thank you!

[@giorgibaliashvili6855]

@@edgbarra and can you tell me what is form of second movement?

[@alexpianoplayer15]

In which musical form is written the second mouvment ,andante, of this sonata n.16. ?

[@matcoddy6097]

andante movements are often just slower sonatas, in minor.

[@TheSunshinedreamer1]

Leshka Pianist It is the second movement within the Sonata - Allegro form that is slow- Andante:)

[@caterscarrots3407]

I have heard 2 different perspectives on that movement. One is that it is similar to sonata form but not quite sonata form because there is no true development section. Another is that it is in rondo form and thus the sonata has 2 rondos. I agree with the latter of the 2 perspectives.

[@franciscoaragao5398]

(7:01) Codetta

[@sdka9922]

Allysia, interesting video. There are though a couple of things that are missing that you should mention and some inacuracies as well. First the form you are mentionning came into common practice after c. 1780-I would call this the Classic sonata form. The baroque sonata follows different principles and has no fixed pattern, if we take structure, harmony and rythm as usual analysis points. Between 1700-1780, there are also no real fix pattern and the Classic sonata is slowly emerging. you should mention that the structure you are describing is just a theoretical model. In practice numerous compositions have serious deviations to it. Haydn in particular is known to add his own twist to it. Sometimes the second theme of the exposition does not exist, the development part is being cut out, the recapitulation includes new themes, the harmonic pattern is different, .... Mozart sometimes recapitulates in reverse order; Beethoven adds also many variants. Different trends existed during the classic period and some compositional technics that were in fashion at some point became old fashionned 20 years later. So all in all, students should be aware that there is not some kind of "standard" model. The model we have built is just a convenient very generic synthesis that provides a starting framework. Some compositions follow it reasonably well, some others not. Without getting into complex topics, it would be important to mention the principles and the compositional approach that are at the origin of the sonata form and what is the purpose of the ternary design with a development section and a recapitulation.

[@tylandoman8452]

Why do they call sonatas stuff like sonata in E or F minor if not all movements at least start in that key

[@PianotvNet]

Because it's the key that they start in (and usually finish in, too).

[@gabrielsroka]

Leonard Bernstein also talked about the sonata form using the same Mozart sonata. kzbin.info/www/bejne/eXytoKlomcZ_nNk#t=30m00s

[@johnvenable5638]

Please use the proper name. Its the Sonata-Allegro Form. A sonata can use the Sonata-Allegro form as the song structure but does not have to. So to call what you are descibing the Sonata form is not correct.

[@Evacer]

I think K545 is Grade 5, but yes late intermediate

[@peytonolson4082]

Okay, so I am doing an "entry level" project on Beethovens Moonlight Sonata 1st Movement. And I am losing my fucking mind. I do not understand form and I feel tone deaf.

[@System.Error.]

Let' see Chopin and Schumann Sonatas.. Hmm....

[@dmitrishostakovich1080]

Brahms Sonata No. 3 has five movements (edit: it is real but it's a prank, ok?)

[@georgina9237]

I thought that it was recupilation

[@sframalho]

it is supposed to be played this fast??? 😱😱😱😱

[@sc1ss0r1ng]

I'd say maybe a little bit faster. Practice makes perfect. It really is not as hard as it sounds.

[@Euro.Patriot]

I can't even tell the difference between musical keys, why am I here?

[@ipicki]

:)

[@tuantranproduction]

this girl makes me jump out of my bedroom :V

[@baronvonbeandip]

I feel like this one is kinda obvious. It'd be nice to chew on something a little more complex.

[@meyerbeer13]

This is mostly incorrect. There's a much better treatment elsewhere.

[@renestephan145]

A.D.H.D?

[@JuanLopezMarquez]

please God, i want a gf like her

[@shashankchauhan5009]

Someone ever tell you that you look like Rachel Nichols? 🙄

[@meyerbeer13]

Mozart was not that good at sonata form.