Sonata Form with a Delayed Resolution
A Level 3 student analyses the first movement of a 5:20 instrumental work in C minor. The movement is in 4/4, Allegro con brio. Bars 1–92 are the exposition: first subject in C minor (bars 1–32), transition (33–56), second subject in E♭ major (57–92). Bars 93–168 are a development based on the first subject’s motif, ending on a dominant pedal G. Bars 169–244 are a recapitulation: first subject returns in C minor at 169, but the second subject returns at 205 in E♭ major, not C minor. Only at bar 245 does the music move to C minor for a closing codetta (245–280). The student argues that because the second subject is not in the tonic at 205, bars 169–244 cannot be a recapitulation, and labels the form ‘sonata-rondo’. The teacher asks for a second opinion.
1. Assess the student’s claim. Explain how the tonal events at bars 169–244 can still be understood as a recapitulation, and why the label ‘sonata-rondo’ is weak.
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The student is right that the second subject is not resolved at 205, but wrong to reject the recapitulation label. The return of the first subject in C minor at 169 is the structural marker of the recapitulation. In sonata form, the second subject is expected to resolve to the tonic, but it can be delayed; bars 205–244 can be heard as a transposed, unresolved second subject that only reaches C minor at 245. That is a tonal delay, not a different form. ‘Sonata-rondo’ would require a recurring refrain in the tonic between episodes, typically ABACA, and a different handling of the second subject. The label here should be ‘sonata form with delayed resolution of the second subject’ or ‘recapitulation with unresolved second subject’. Further evidence would be whether the exposition is repeated, whether 245 is a codetta or the true resolution, and whether 205 is a literal transposition.
2. Explain what a performer should do at bars 169–244 to project the delayed resolution. Refer to tempo, dynamics, texture, and cadential preparation.
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At 169, the performer should affirm the tonic return with a clear but not final dynamic; do not close the phrase. Between 169 and 205, keep the tempo forward and avoid a full subito piano that would sound like a new section. At 205, the E♭ major return should be coloured as a transposition - same thematic material, different harmonic light - so the listener hears ‘not yet home’. The dynamic can rise, but the bass should not cadence in E♭. At 245, prepare the C-minor arrival with a clear dominant G and allow the first real broadening or cadential weight there. Texture matters: if the accompaniment thins at 205, keep a pedal or rhythmic pulse to maintain continuity. The goal is to make 245 feel like the resolution of a tension set up at 205, not like a random key change.
3. Identify one ambiguity in the analysis and state what further evidence you would need.
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One ambiguity is whether bar 245 is the true resolution of the second subject or a closing codetta after an unresolved recapitulation. The analysis would change if 205–244 were a literal transposition of 57–92 and if 245 were a new theme. Further evidence: the presence of a repeat sign at the end of the exposition, the cadential formula at 244, the thematic identity of 245, and whether the development ends on a dominant pedal G that resolves at 169 or is interrupted. Also check whether the second subject at 205 is in E♭ major or E♭ major with a tonic pedal; a pedal would weaken the ‘new key’ claim.