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Terms in this set (16)
Instead of remaining within the tonic to dominant key centers which is typical of classical sonatas Schubert often also explores a third (or more) tonality/ies. This gives the exposition an almost developmental quality.
A minor, D. 537 exposition
first movement—the second subject is introduced in the submediant instead of the relative major.
A minor D. 784 exposition
first movement—the second subject is in the dominant (E major) instead of the relative major (C major).
A minor D. 784 3rd mvt expostion
2 expositions, in the first exposition the second subject is in the submediant, in the second exposition he uses what's expected—the relative C major.
C minor, D. 958 expostion
Last Movement. The keys in this exposition include a shift from C minor to C major (a modal shift). D-flat major is the key of the second theme. Following a series of modulations the exposition ends in the relative major, E-flat.
Sonata in B-Flat, D 960 expositon
Begins in B-flat, the G-flat tonality is introduced by the trill at measure 8. Sonata then moves to G flat major, then F-sharp minor at the start of the second theme, and finally to the expected key area, the dominant, F major.
Schubert also could treat his developments in interesting ways. Not typical cycling through keys.
Sonata in A major, D. 958 development
First movement. Schubert uses the second part of the second subject for the exposition but instead of modulating through a series of keys as is typical, he proceeds to vacillate from C major to B major for almost 30 measures before coming to c minor. The preparation for the return of tonic, which typically ends a conventional development, is absent. The only resemblance to this preparation is Schubert's inclusion of a dominant pedal before tonic is reached with the return of the first theme.
B flat, D. 960 development
Here Schubert does something similar. In the b flat development he includes an oscillation between three keys which includes both the dominant and the tonic but he makes it so B flat is only touched on for color and F major doesn't sound like the dominant until he is truly ready to end the development.
Schubert also has his own take on recaps. The standard classical recapitulation introduces all the themes of the exposition in tonic. Schubert however can obscure the tonic key at the beginning of the recap by introducing the first subject in another related key. Uses the subdominant a lot for this purpose.
Sonata in A minor, D. 537 recap
First Movement—First subject in the recap is introduced in the subdominant, d minor, The first subject appears in tonic only at the end of the movement.
Sonata in A, D. 664, third movement recap
First presentation of the subject at the recap is in the subdominant, D Major. Schubert only presents the first subject in tonic close to the ending.
Schubert's other characteristics
Has a tendency to open his sonata with the opening of the first theme presented in octaves. This is seen repeatedly. Often just bare octaves but sometimes accompanied—Find examples!
Schubert was a melodist as seen in his vast output of 600 songs. His melodies in his sonatas are similar. Long, beautiful and quite singable as if they were written for the voice.
Schubert's accompaniment figures are similar to what you see in his songs as well. He uses a variety of rhythmic figurations, and each figuration receives significant repetition. Often uses rhythm for variation and development. Triplet figurations, dotted rhythms.
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