page_title: Sonata form
section_title: Development
hierarchical_section_title: Sonata form / Outline of sonata form / Development
caption_attribution_description: English: Retransition Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 54–57. Created by Hyacinth (talk) 17:41, 20 June 2010 using Sibelius 5.
context_page_description: Sonata form is a musical structure consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century.
  While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model.
  The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present.
context_section_description: In general, the Development starts in the same key as the exposition ended, and may move through many different keys during its course. It will usually consist of one or more themes from the exposition altered and on occasion juxtaposed and may include new material or themes—though exactly what is acceptable practice is a point of contention. Alterations include taking material through distant keys, breaking down of themes and sequencing of motifs, and so forth.
  The development varies greatly in length from piece to piece and from time period to time period, sometimes being relatively short compared to the exposition (e.g., the first movement of Eine kleine Nachtmusik) and in other cases quite long and detailed (e.g., the first movement of the "Eroica" Symphony). Developments in the Classical era are typically shorter due to how much composers of that era valued symmetry, unlike the more expressive Romantic era in which development sections gain a much greater importance. However, it almost always shows a greater degree of tonal, harmonic, and rhythmic instability than the other sections. In a few cases, usually in late Classical and early Romantic concertos, the development section consists of or ends with another exposition, often in the relative minor of the tonic key.
  At the end, the music will usually return to the tonic key in preparation of the recapitulation. (On occasion, it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition.) The transition from the development to the recapitulation is a crucial moment in the work.
  The last part of the development section is called the Retransition: It prepares for the return of the first subject group in the tonic, most often through a grand prolongation of the dominant seventh. In addition, the character of the music would signal such a return.
  Exceptions include the first movement of Brahms's Piano Sonata No. 1. The general key of the movement is C major, and it would then follow that the retransition should stress the dominant seventh chord on G. Instead, it builds in strength over the dominant seventh chord on C, as if the music were proceeding to F major, only to take up immediately the first theme in C major. Another exception is the fourth movement of Schubert's Symphony No. 9. The home key of the movement is C major.  The retransition prolongates over the dominant chord on G, but suddenly takes up the first theme in the flattened mediant E♭ major.
  A particularly common exception is for the dominant to be substituted with the dominant of the relative minor key: one example is the first movement of Haydn's String Quartet in E major, Op. 54 No. 3.
  Occasionally, the retransition can begin with a false recapitulation, in which the opening material of the first theme group is presented before the development has completed. The surprise that ensues when the music continues to modulate toward the tonic can be used for either comic or dramatic effect. An example occurs in the first movement of Haydn's String Quartet in G major, Op. 76 No. 1.
caption: Retransition Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 54–57 About this soundPlay (help·info).[5]:140
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