136:"), the flat mediant (Ferdinand Ries' "Pastorale" Concerto No. 5), the dominant when in a minor key (Ries' Concerto No. 3, Brahms' Symphony No. 4, Tchaikovsky's Symphony No. 1), the minor dominant (Chopin's Piano Concerto No. 2, Brahms' Piano Concerto No. 2), the submediant (Beethoven's Symphony No. 9, Schubert's "Unfinished Symphony"), the relative minor (Beethoven's "Triple Concerto", Ries' Concerto No. 6), or the parallel major (Chopin's Piano Concerto No. 1). Saint-Saens' Piano Concerto No. 3 even modulates to the leading tone in its first movement exposition, with no orchestral accompaniment. On the other hand, other Classical and Romantic composers strictly adhered to the traditional scheme of modulating to the dominant in a major key or the relative major in a minor key, including Haydn, Mozart, Hummel, John Field, and Mendelssohn. The exposition may include identifiable
20:
655:
159:, the material in the exposition is repeated or paraphrased either in the home key (as by Mozart), or the parallel major of the home key if it is minor (as by Beethoven), although as with the exposition, a different modulation may be used (such as to the mediant in Dvorak's "New World Symphony").
38:
301:
William E. Grim, "The
Musicalization of Prose: Prolegomena to the Experience of Literature in Musical Form" Papers presented at the Second World Phenomenology Congress September 12 — 18, 1995, Guadalajara, Mexico, in
284:
William E. Grim, "The
Musicalization of Prose: Prolegomena to the Experience of Literature in Musical Form" Papers presented at the Second World Phenomenology Congress September 12 — 18, 1995, Guadalajara, Mexico, in
132:. If the exposition starts in a minor key, it typically modulates to the relative major key. There are many exceptions, especially in the Romantic era. For example, to the mediant (the first movement of Beethoven's "
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usually has two main sections: the exposition and the body. In the exposition, each voice plays its own adaptation of the theme, in either a subject or an answer; they also provide countersubjects (
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The exposition in classical symphonies is typically repeated, although there are many examples where the composer does not specify such a repeat, and it never is repeated in concertos. In the
94:, the exposition is "the first major section, incorporating at least one important modulation to the dominant or other secondary key and presenting the principal thematic material."
177:, the exposition is often bracketed by repeat signs, indicating that it is to be played twice. This is something which is not always done in concert from the 20th Century onwards.
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in character), and may develop them, but it is usually the key relationships and the sense of "arrival" at the dominant that is used by analysts in identifying the exposition.
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The term is most widely used as an analytical convenience to denote a portion of a movement identified as an example of classical
309:(1998): 65. "It is in this section that there is harmonic movement away from the primary tonal area to the secondary tonal area."
193:) to the following voices as they enter. The exposition usually ends on either a I or V chord, and is then followed by the body.
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section, this introduction is not usually analysed as being part of the movement's exposition.
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Analecta
Husserliana: The Yearbook of Phenomenological Research
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Analecta
Husserliana: The Yearbook of Phenomenological Research
117:. The exposition typically establishes the music's
338:Revisiting Music Theory: A Guide to the Practice
318:Charles Michael Carroll, "Memories of Dohnányi"
261:The Harvard Dictionary of Music: Fourth Edition
16:Introduction of main themes in a song structure
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62:is the initial presentation of the
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258:Randel, Don Michael (2003-11-28).
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680:Formal sections in music analysis
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234:The Harvard Dictionary of Music
162:If the movement starts with an
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264:. Harvard University Press.
237:. Harvard University Press.
209:Benward & Saker (2009).
231:Don Michael Randel (2003).
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335:Blatter, Alfred (2007).
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169:In many works of the
128:to, and ends in, the
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465:Developing variation
625:Thirty-two-bar form
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68:musical composition
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645:Verse–chorus form
600:Sonata rondo form
435:Call and response
415:Ausmultiplikation
348:978-0-415-97440-0
271:978-0-674-01163-2
244:978-0-674-01163-2
219:978-0-07-310188-0
28:Sonata in G major
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23:Exposition
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635:Transition
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550:Pre-chorus
480:Exposition
450:Conclusion
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505:Leitmotif
405:Arch form
140:(whether
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80:developed
535:Overture
530:Ostinato
525:Movement
420:Bar form
410:Argument
181:In fugue
146:rhythmic
130:dominant
72:movement
64:thematic
56:analysis
675:Sonatas
590:Section
570:Reprise
150:chordal
142:melodic
76:section
25:Haydn's
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585:Rondò
580:Rondo
520:Motif
455:Cycle
307:LXIII
290:LXIII
187:fugue
119:tonic
112:tonal
99:fugue
97:In a
74:, or
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510:Lick
495:Hook
475:Drop
445:Coda
440:Cell
392:and
343:ISBN
266:ISBN
239:ISBN
215:ISBN
54:and
40:Play
32:Hob.
148:or
122:key
90:In
82:or
50:In
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185:A
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