Having two sections of music in classical pieces was a great approach for composers to take because it enabled two contrasting passages of music to be played; what we would describe as binary form (AB).

However, when you go someplace in music, it often feels incomplete to not come back to where you started. Cyclical structures add a satisfying sense of completeness to music. Thus, ternary form because very common too (ABA).

Ode to Joy is a 16 bar melody in ternary form.

A - bars 1-9

B - bars 9-12

A - bars 13-16

Sonata form can be compared with ternary form though it is more refined and sophisticated. It evolved as an approach to structuring music in the century leading up to Beethoven's life and would help composers structure entire movements.

Sonata form contains three sections like ternary form, and the first and third sections are very similar, just like what we have with ABA.

The sections are:

1. Exposition

2. Development

3. Recapitulation

An exposition is where the musical material is "exposed" to the listener.

A development is where the material is "developed". In other words it is changed, transformed and taken apart.

A recapitulation is where the material is "recapped" in a form similar to that of the exposition.

A sonata might then finish off with an end section, which is called a coda.

Compared to having completely new material in the middle section - like in ternary form - sonata form makes the music much more coherent by dealing with the same material throughout. As a result, it became a superior musical structure to be used in piano sonatas and other types of pieces.

Listen to this famous string piece by Mozart to understand the wholesome nature of sonata form over an entire 5 and a half minute movement.

The exposition has a really distinctive opening melody that is triadic and therefore what we might describe as bold and assertive. At 1'42 the A section finishes but it gets repeated, which composers often did.

The development begins at 3'18. It might initially sound the same as the A section but very quickly you should be able to hear the fragments of melody being developed in different ways with sequences and modulations to other keys. This makes it feel very unsettled.

The recapitulation begins at 3'54 and we hear a repeat of the opening melody or subject giving the music a satisfying and conclusive ending.

This is another piano sonata by Beethoven, also in C minor! (The key of passion and tension!)

Notice the fact that there are two subjects. The first subject is quite bold and aggressive and the second much more eloquent and lyrical.

The first subject starts with a loud minor chord with a very disjunct melody that ascends in pitch with fierce sounding dotted quavers.

The second subject starts at 0'27. Notice the peaceful change to the major key (relative major) and the clearer and more relaxing melody with a calming chordal accompaniment.

Remembering that sonata form is not a strict formula but a loose, conventional approach for structuring ideas, the set work can be described as being in sonata form but there are some differences to the standard form (just to make things complicated!). Remember, Beethoven was a Romantic composer so was a bit of a maverick! Here are the sections that make up the structure of Beethoven's piece:

• Introduction - a slow opening passage (marked grave). This is a section of music before the sonata form begins. It builds up a lot of tension and allows the music to come across very dramatically with lots of dissonant chords and dotted rhythms.

• Exposition - at bar 11 (1'48) the exposition begins and immediately there is a sudden change to a much quicker tempo (marked allegro).

  • The first subject comes first (no surprises there), sounding energetic and exciting. The constant repeating quavers in the left hand give the music lots of momentum, typical of a sonata form first subject.

  • The second subject is heard at bar 51 (2'18). It is definitely contrasting. The constant quaver accompaniment has stopped giving it a more lyrical quality, typical of a sonata form second subject.

• The whole exposition is repeated from 3'24. Again, Beethoven is sticking to the rules here!

• Development - at bar 133 (5'00) we hear the development. Unusually we have gone back to the slow introduction idea, but remember that having a coherent whole was becoming increasingly important in music at this time. At bar 137 (5'36), the quicker tempo kicks back in and we hear what we expect of a development section: snippets of the two exposition subjects creating a discombobulating feeling of turmoil!

• Recapitulation - at bar 195 (6'20) we hear the recapitulation with our two subjects presented to us again.

• Coda - A final section is heard from bar 295 (7'42), with the slow introduction material again before a stormy finish.