JUNE 2009 YEAR: 2 VOLUME: 2 NO: 3

JUNE 2009 YEAR: 2 VOL: 2 NO: 3

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Turkish Journal Music Education

The Refereed Scholarly journal of the

JUNE 2009 YEAR: 2 VOLUME: 2 NO: 3

The Refereed Scholarly journal of the

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Mehmet TOZLUTEPE, Layout Editor

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Electronic Article

The SONATA: ANALYSIS of MOZART SONATA

in G (KV 283)

Metin MUNZUR

©2008 All rights reserved.

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the article’s content, including bun not limited to, copyright infringament.

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 JUNE 2009 YEAR: 2 VOLUME: 2 NO: 3

The SONATA: ANALYSIS of MOZART SONATA

in G (KV 283)

Metin MUNZUR

Abstract:
The purpose of this study is to understand the form of “Sonata Allegro”, which is counted as
the first movement of classicial sonatas. In this contest, it aims to comprehend the formal
and the harmonic srtucture of the first movement of W.A. Mozart’s Piano Sonata; Nr. 5 in G
Major(KV282) by detailed analysis. Pianists would be able to ponder more contiously on the
formal structure by examining the structure. This would enable them to add much more frear
soul to their interpretations. In this study the “Sonata Allegro” form and its schematic diagram
were explained. Next, the first movement of the Piano Sonata; Nr. 5 in G Major(KV282) by W.
A. Mozart was analysed in details.

Özet:
Bu çalışmanın amacı, klasik sontaların birinci bölümü olan “Sonat Allegrosu” formunu
kavramak ve bu bağlamda W.A.Mozart’ın, Sol majör (KV. 283) 5 numaralı sonatının birinci
bölümünün formal ve armonik kurgusunu, yapılan analizler doğrultusunda daha iyi
anlayabilmektir. Örneklerde gösterilen detaylar, piyanistlerin eserin formal yapısı üzerinde
daha bilinçli düşünmelerini ve yorumlarına daha özgün ifadeler katmalarına olanak
sağlayacaktır. Çalışmada öncelikle “Sonat Allegrosu” formu anlatılmış ve şematik kurgusu
verilmiştir. Sonrasında ise Sol majör (KV. 283) 5 numaralı sonatının birinci bölümü detaylı
olarak analiz edilmiştir.

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The sonata is a highly expressive instrumental
work written for one or two instruments,
composed of three or four successive movements
with various characteristics. (CANGAL, 2004).
This term, which is derived from the word
sonus, Latin for sound and tone, is sonata in
Italian and sonate in German and French. It
entered the Turkish vocabulary as sonatt with the
French pronunciation.
The sonata and the sonata-allegro are two
concepts that should not be confused. The
sonata is not a form but a mixed genre like the
symphony, quartet, suite, etc… Whereas the
sonata-allegro is called thus because it is usually
encountered in the first allegro movement of
works such as the sonata; the sonata-allegro is
a form and structure and furthermore, it can be
used in works other than the sonata, in every sort
of movement, fast or slow (USMANBAŞ 1974).
In the classical sense, a sonata is generally
composed of three or four movements:
1st Movement: In sonata-allegro form and
with a quick tempo.
2nd Movement: Slow tempo, usually in the
lied form.
3rd Movement: A minuet in extended Three-
Part Song-Form. After Beethoven this movement
became a scherzo.
4th Movement: This movement, which has a
lively character, is generally in rondo form.
SONATA ALLEGRO
A classical sonata-allegro form is as follows:
EXPOSITION
Secondary Theme
Main Theme
Codetta
Bridge
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The Exposition
1. This is a musical idea that can be expressed in
various ways and can be long or short according
to the length of the theme. It generally has two
parts but its main quality is that it has a specific
air suitable for multiple treatments further on in
the piece.
2. Transition to the theme can be done in two
ways:
- With an original transitional phrase,
- With the last phrase of the main theme
leading into the bridge
The secondary theme is in a different key and
in marked contrast to the main theme, which at
the same time is consistent with it. It is followed
by the codetta.
The Exposition ends on a perfect cadence.
The Development
The middle Division of the sonata allegro
is called the Development. Here, previously
exhibited thematic motifs are freely treated,
elaborated, and developed. Some of the
requirements of the Exposition do not apply here:
The choice, sequence and form of the material
to be treated are not subject to any rules. Due
to these characteristics, this Division presents a
perfect contrast between the Exposition and the
Recapitulation.
The Recapitulation
Here, the Exposition is repeated in a slightly
enlarged and altered form. In sonatas in which
the Exposition is prolonged the main theme may
be shortened. Here the transitional passage to
DEVELOPMENT RECAPITULATION the secondary theme is modified. Furthermore,
the secondary theme generally enters in the
Secondary Theme (in tonic)
key of the main theme. The codetta is preserved
Transitional Passage
unchanged enabling the transition to the CODA.
CODA
Development
The CODA
Main Theme
Codetta
The general purpose of codas is to conclude
Bridge
the entire movement, secure balance between
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the movements and perhaps reach a second climax, and achieve a bright ending. Still, it revolves
around a main tone and there is an attempt to reinforce the feeling of tonality. In some instances the
CODA may act as a second development due to these characteristics, and can, in these cases, more or
less follow the first development. This is usually the case when the sonata allegro is especially long.
(Usmanbaş, 1974).

REFERENCES

CANGAL, Nurhan: “Müzik Formları”, Arkadaş Yayınevi, USMANBAŞ, İlhan: “Müzikte Biçimler”, Milli Eğitim
Ankara 2004 Yayınları, Istanbul 1974
SAY, Ahmet: “Müzik Sözlüğü”, Müzik Ansiklopedisi
Yayınları, Ankara 2002

W.A. MOZART
ANALYSIS of PIANO SONATA
No.5 in G Major (KV 283)
Mozart composed this sonata in 1775 in Munich. The sonata is in the key of G major. Looking at
the general outline of this sonata, which begins with a short measure, the characteristic figure that
stands out is the dotted eighth and the sixteenth note.

This figurative structure is rhythmically repeated at specific points of the work.

The first group of themes ends with a cadence of sixteen measures and in the key of G major.

The main theme is periodic in nature and is composed of two parts. The second Part, consisting
of six measures, is repeated after the cadence but starting an octave lower.
The bridge commences with sixteenth-note motion on the second eighth of the second beat of
the measure with which the Principal theme ends. Though this bridge seems to be derived from the
sixteenth notes in the first group of themes, it actually has a different characteristic form of its own.

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transition (in the dominant key) from the first group of themes to the second. This bridge has been
used again in full without modifications in the Recapitulation.
The second group of themes is syncopated and is in the dominant key (D major). This theme is
periodic as well, and in its second phrase the same structure has been treated in sixteenth notes.

Like the Principal theme, the Subordinate theme is also composed of two sections. The first
section is the theme beginning with syncopation and followed by sixteenth notes, and the second
section is the theme which begins by reinforcing the tonality, followed by repeated motifs. The
succession of eighths in the second section of the Principal theme forms a contrast to the use of
eighths predominating the Principal theme. The subordinate theme is longer than to the Principal
theme.
The Subordinate theme, consisting of twenty two measures, leads into the closing group with a
brief connecting passage of two measures.

When this structure is simplified and the ornamentation is removed, the following composition
emerges:
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D to G in the right hand is imitated

between A and D in the left hand. The same measure is repeated once more, thus reinforcing the
tonic-dominant effect before leading into the closing group.
We had encountered a similar use in the left hand part of the main bridge between the main and
secondary themes. The material of the main bridge, which functions via sequences, is used in the
second brief connecting passage as well.

Above is the left hand’s ascent through eighth notes.

The actual material of the closing group is the Subordinate theme and is derived from the
secondary theme, to which it is highly similar within this context due to its syncopated structure.

After a phrase of three measures, this structure, as in the second phrase of the secondary theme,
is repeated using an ornamentation of sixteenth notes, forming a cadence in the dominant key (D
major).
r This cadence has been prolonged two measures using an epilogue cadence. This prolongation
enhances the effect of the D majorr key.
The descent in parallel thirds between quarter notes in the right and left hands had previously
been used in syncopation in the secondary theme, but was not as noticeable due to the syncopation.
Reintroducing it on the same beats in the closing group highlights this structure.

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The section to follow the cadence in the dominant key is no doubt the Development. In most
classical sonatas the Development has been conceived in the dominant key.
In this article, the Development has been analyzed in two sections, A and B. The Development
begins with an ascent that starts in the tonic in D major and ends in the dominant. The rhythmic
structure here forms a contrast to both the Principal and Subordinate themes. The fact that the
measure of three quarter notes contains one quarter in its upper part and two quarters in its lower
part produces a typical waltz-like effect. In the Development the composer has created new ideas by
modifying rhythmic and harmonic elements taken from the main or secondary themes. All of these
make up the Development. These ideas are generally periodic in nature. The composer has kept the
sonata’s Development brief and has used motivic materials quite economically.
The first eight measures, that is section A, have a periodic structure. Functionally they resemble
the I – V – I of the main theme. The second phrase of the second period is a version of the first phrase
treated through variations. Structurally it is the same, but in the second phrase, the left hand part
enters an octave lower.
Though it may be a remote comparison the way adjacent notes are used is also similar. Naturally
these adjacent notes are used with different times and values.

Below is shown the functional structure and a detailed analysis of the Development:

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Section B, the second section, uses a pedal D note and, as can be unmistakably understood in the
last four measures, it exhibits a structure that prepares the Recapitulation, i.e., the re-exposition. In
any case, the tonality of the Development provides the dominant chord for the main theme.
In section B we encounter a triplet ornamentation which we had not met with previously.

This ornamentation is built around the D note and the same motion enters two measures later
embellishing the C note.
Another similarity is the use of descent between the left hand notes of the secondary theme,
shown in circles below, and the other notes shown in circles.

This use of descent is also similar to the syncopated descent of the secondary theme.
In the last four measures of section B, sounding the tone colors of the chord of the dominant
seventh prepares the G major tonality, which is the main tonality, and by sounding the main theme,
the Recapitulation begins. The ornamentation in C sharp before the D note, which is the first point of
the Recapitulation, recalls the C sharp used in the triplets of the Development.
In this Part what is rather used is the material of the main theme, and it is repeated with
modulations. The characteristic motif of the main theme, which is a motion composed of the dotted
eighth and the sixteenth note, reappears immediately afterward in the A minorr tonality. Shifting later
to C major,r it returns to G major via the subdominant of the main tonality of the work.
The bridge between the main and secondary themes is introduced with exactly the same structure
it had in the Exposition.
Though the secondary theme entered the Exposition in the dominant tonality, in the Recapitulation
it enters in the main tonality of the work, which is G major.

Just as in the Exposition, it is followed by ornamentation in sixteenth notes.

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an octave higher.
Below is shown, accompanied by a functional analysis, the closing section of the development
and how it leads into the re-exposition:

The work’s Subordinate theme after the bridge and what follows after that is introduced with
exactly the same structure as in the Exposition and this time the same cadence is reintroduced in the
main tonality (G major).
In conclusion, it has been observed that the Development in this sonata is not very long, and that the
rhythmic and harmonic structure formed by the Development consists of a group of new ideas comprising
small motifs and ornamentations derived from the Principal and Subordinate themes. Small modulations
are performed in the Recapitulation, and subsequently the work ends with a cadence in the main tonality,
in line with the sonata concept.
Score Writings: Metin Munzur, Finale 2006

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