Analyzing compositions in classical sonata form

After analyzing a movement in classical sonata form you should be able to answer the following (and
related) questions:

1. About the global subdivision:

a) Indicate (using bar numbers) the start and the end of the exposition.
Bar. 1-56
b) Where is the start of the recapitulation. Explain you answer.
Bar 83 where the composer present again the main subject
c) Where is the end of the recapitulation. Explain you answer.
The recapitulation ends on bar 142 where starts the coda.
d) Is there a coda? Explain you answer. (Tha answer to this question is correlated to question 1c)
Bar 142.
2. About the exposition:
a) Indicate which phrase(-s) is/are in the main tonality. (N.B. don't indicate begin or end of this
key in the middle of a phrase; it must be a real beginning or ending).
Bars 13-26
b) In which key does the exposition end?
C Major
c) Where are the start and the end of the first phrase in the key of answer 2b?
Starts on 54 and ends on 56
d) Is this phrase followed by more phrases in this key? If so, indicate them by bar numbers.
Yes the transition are on C Major
e) Make an overview of the phrasing of the exposition based on the previous answers, using slurs,
bar numbers. Mention the key and the type of ending (PAC / IAC or half cadence; closed or
open) of each phrase. Also indicate the possible moments to end a phrase (deceptive or evaded
cadences).
On the exposition we have a lot of cadence: bar 13 PAC, bar 26 half cadence, bar 30 Half
cadence, bar 34 PAC, bar 43 PAC, bar 48 PAC, bar 53 PAC and bar 56 PAC.
f) Mark (in the score and/or in the overview of 2e) the Main Theme, Transition, Subordinate
Theme, Closing zone (this one begins after the first clear PAC in the secondary key). If any of
these zones consists of more than one phrase you can number them accordingly (MT1, MT2,
etc). If you recognize a standard construction such as a period or sentence, indicate it too,
mentioning its components (antecedent / consequent or presentation / continuation).

3. About the recapitulation: comparison of the recapitulation and exposition.

a) Compare recapitulation and exposition phrase by phrase (or if the phrasing is unclear or
complex: component by component).
Use for example a diagram:
• (Column 1:) Mention bar numbers of the beginning and ending of the phrases of the
recapitulation (see comment between brackets in question 2a.)
• (Column 2:) Mention the label (see 2f) of the corresponding or related phrase(-s) or the
numbers of the related bars of the exposition.
• (Column 3:) Describe the way in which these phrases correspond or are related (e.g.:
repeat, transposition, variation, "recomposition", new material. Pay attention a.o. to: key,
extended, shortened or omitted phrases, motives/themes...)
b) Indicate the moments in recapitulation and exposition after which these sections correspond in
structure,harmonic progressions and material almost unaltered.
(Hint: in most instances this will be from the start of the Secondary key zone in the exposition: see answer
to 2c.)
The moments on this happens are: bar 1-26, on exposition, and bar 83-108, on
recapitulation.
 Analyzing compositions in classical sonata form

4. About the development section:

Mention the keys and cadences in the development section and the bar numbers where they occur.
If there are subsections in the development (tonal "platform"; a certain direction of modulation e.g.
fifths up or down; other sequences...) indicate them.
If material is used from the exposition, indicate this (refer to the labels in the exposition -see 2f- or
use bar numbers).
The development alludes to the transition and to the second subject, Bars 80-82 alone referring to a
little figure from the first subject. It opens in the key of C major with a passage founded on the triplet
figure from the transition (Bar 23) in combination with a new figure in the treble, of which latter there is
some slight development in the following bars. In Bar 64, there follows a modulating sequence formed by
the opening bars of the second subject, which are taken successively on the chords of D minor, G minor, C
major (as the dominant of F major) and on F major. The music now returns to the key of D minor, and
reverts definitely to F major (the key of the tonic) in the last bar of the section only (Bar 82). The slurred
two-crotchet (quarter note) figure (Bars 75-77) are taken from a similar two-quaver (eighth note) figure,
Bar 40. By an implied enharmonic modulation (Bar 81) the chord of D minor II with flat ninth is quitted as
F major II with flat ninth.