The music then settles down, gently leading to the recapitulation, where a single statement of the subject in the tonic key brings the piece to a close.

The passage just before the recapitulation brings a sequence of enharmonic changes and, for the period, wide modulations.

The recapitulation ( measure 192 ) brings the subordinate theme in the main key of F ( measure 221 ), and, after a momentary burst of activity, the movement whispers away.

For instance in the first movement of Richard Strauss's 2nd symphony in F minor, the recapitulation begins with the first subject group in tonic but modulates to the mediant A-flat major for the second subject group before modulating back to F minor for the coda.

In terms of key relationships, it is very like binary form, with a first half moving from the home key to the dominant and the second half moving back again ( this is why sonata form is sometimes known as compound binary form ); in other ways it is very like ternary form, being divided into three sections, the first ( exposition ) of a particular character, the second ( development ) in contrast to it, the third section ( recapitulation ) the same as the first.

The development section leads back into the recapitulation ; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord.

The key is B flat major, the subdominant of F, and the organization is what Charles Rosen has called " slow movement sonata form "; that is, at the end of the exposition there is no development section, but only a simple modulation back to B flat for the recapitulation ; this also may be described as sonatina form.

For the recapitulation, Beethoven transposes the second subject into A major, which quickly changes into A minor and then back to C major again.

For this reason, a sonatina is sometimes defined, especially in British usage, as a short piece in sonata form in which the development section is quite perfunctory or entirely absent: the exposition is followed immediately by a brief bridge passage to modulate back to the home key for the recapitulation.

Finally, using C7 as the dominant for F minor, Mozart briefly delves in this key ( bars 111-120 ) before using a string of consecutive dominant 7ths ( bars 120-129 ) to work back to the dominant 7th of D major in preparation for the recapitulation.

It experiments in other keys but does not settle and eventually heads back to the tonic, G major, in the recapitulation with the help of the cadenza.

The first theme then returns in E major and is development in tandem with the rocking motif back towards the tonic for the recapitulation.

For example, the Finale is a combined fugue and sonata form movement: the first theme ( characterized by the downward leap of an octave ) appears in the exposition as a four-part fugue in the strings and the concluding theme of the exposition is presented first as a chorale in the brass, then as a four-part fugue in the development, and culminating in a double fugue with the first theme at the recapitulation ; additionally, the coda combines not only these two themes but also the main theme of the first movement.

The opening movement, colossal in its conception ( much like the symphony itself ), roughly takes the shape of sonata form, insofar as there is an alternating presentation of two theme groups ; however, the themes are varied and developed with each presentation, and the typical harmonic logic of the sonata form movement — particularly the tonic statement of second theme group material in the recapitulation — is changed.

During the recapitulation, it is in G major with the primary themes from the exposition playing.

Mozart sometimes used a variant type of sonata rondo form in which the themes of the recapitulation are rearranged: the opening bars reappear quite late, after most of the music of the exposition has been recapitulated, but before the final sequence of themes (" codetta ") that rounds off the section.

After a grave climax with gigantic orchestral chords and a last " struggle " in marching rhythms, the ethereal recapitulation ensues, in which the first and second themes are integrated, although much reduced and played softer, as if only the shadow of what was before remains.

During the recapitulation, the opening themes are repeated with the second theme being played in the E major before returning to E minor for the closing of the movement.

Following the sonata format, these three themes take on a modified form in the development before settling down to the recapitulation.

Beneath this theme is a musical structure that, while not conforming to the traditional recapitulation of themes in sonata form, succeeds in moving forward without losing unity or degenerating into a series of episodes.

) This theme serves to introduce a compact, driven sonata form pushed ahead by economical use of rhythms ( new themes often are based on some of the same rhythms as older ones, and overlap with them as well ), by the intensity added by canonic treatment of themes, centering around, pushing towards, a small number of climaxes one of which is the reappearance of that opening theme in a much-slowed-down form just preceding ( and followed without pause by ) the recapitulation.

The movement is in traditional sonata form with two main themes, a development and a recapitulation.

There is a recapitulation of all three themes ( bar 93 ) though the orchestration is different, with the former violin theme ( primary theme ) now appearing in the horn and subsequently in the woodwinds.

The recapitulation further develops the exposition, also containing timpani solos.

A fugue usually has three sections: an exposition, a development, and a recapitulation containing the return of the subject in the fugue's tonic key, though not all fugues have a recapitulation.

For exposition ( music ) | exposition, musical development | development and recapitulation ( music ) | recapitulation, see sonata form.

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, sonata form is difficult to pin down in terms of 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.

Bartók himself pointed out that the keys used in the movement ascend in the steps of the whole tone scale: the exposition is in B flat, C and D ; the development is in E ; and the recapitulation is in F sharp, A flat and B flat.

At the beginning of the recapitulation, the theme is replayed before a differing transition is heard, returning to the music heard in the piano exposition ( this time in B-flat major / B-flat minor ).

The fourth movement imitates the first in that the move to the second subject first adopts the " wrong " key, then moves to the normal key ( exposition: dominant, recapitulation: tonic ) after a few measures.

The harmonically out-of-place loud C that interrupts the main theme in the exposition and recapitulation finally gets an " explanation ": it turns out to be the root of the dominant chord of the remote key of F minor, and the main theme is loudly played in this key.

The development section begins on D major and touches on D minor and C major before the work returns to G major for the recapitulation – a repetition of the exposition with both subjects in the same key, as is conventional.

Mozart specifies repeats not just for the exposition section but also for the following development and recapitulation section.

The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways ( just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work ).

#: The first movement is in sonata form, divided into five sections: orchestral introduction, exposition, development, recapitulation, and coda.

The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation.

" Even more detailed study shows that Shostakovich is using his favored version of sonata form, wherein the recapitulation presents the material from the exposition in reverse order.

Haeckel ’ s illustrations show vertebrate embryos at different stages of development, which exhibit embryonic resemblance as support for evolution, recapitulation as evidence of the Biogenetic Law, and phenotypic divergence as evidence of von Baer ’ s laws.

The introduction, exposition, development, recapitulation, and Coda are clearly distinguished by different tempo markings and time signatures.

All thematic material is lyrical ; contrasts are achieved through the use of contrapuntal writing ( as in the middle section of the subordinate theme, beginning in measure 57, and especially in beginning in measure 65 ), or color contrasts ( such as changes of keys -- beginning of the development, and particularly the non-traditional key of the subordinate theme in the recapitulation ).

During the development section the music continued to modulate through a variety of major keys, including F major, E flat major and E major until finally returning to the tonic A major ( bar 245 ), regarded as the start of the recapitulation.