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In some pieces in sonata form, in the recapitulation, the first subject group is omitted, leaving only the second subject group, like the second movement of Haydn's Sonata Hob. XVI/35, as well as the opening movements of Chopin's Piano Sonata No. 2 and No. 3 .
As evidence he notes that "the Secondary Development as often as not returns to one of the themes of the first group, which necessitates a still further change later in the section in order to bring the second group into the tonic." [1] As an example Rosen cites Beethoven's "Waldstein" sonata, op. 53.
Sonata Theory, in contrast, reserves the term "recapitulation" for instances in which the beginning of a rotation coincides with the return of the tonic key. Thus, the arrival of S in the middle of a Type 2 second rotation functions as a "tonal resolution" but not as the beginning of a recapitulation, because it does not initiate a new rotation.
In music, the three-key exposition is a particular kind of exposition used in sonata form. Normally, a sonata form exposition has two main key areas. The first asserts the primary key of the piece, that is, the tonic. The second section moves to a different key, establishes that key firmly, arriving ultimately at a cadence in that key.
1.2 Second Movement. 1.3 Third Movement. 1.4 Fourth Movement. ... In western classical music, the sonata cycle is a multi-movement structure used in a concerto, ...
The second theme of the exposition begins in the key of G minor, and is repeated in D minor at measure 33. It is not until measure 47 that the traditional dominant key is finally reached, where a subsidiary theme in the second thematic group appears, marked "dolce. [6]" A forte shows later, leading to a very rich melody with left and right hand.
To express it in another way, in sonata form, the first group of subjects is linked to and generates an expectation of the second group, which would tend to detract attention away from the piano entry – a point that, as Tovey points out, was only grasped by Beethoven rather belatedly. Conversely, in the Mozartian concept, the piano entry is ...
Occasionally the development is omitted and replaced with a simple transition, leaving the exposition and recapitulation: this is sometimes referred to as sonatina form, or a Type I sonata in sonata theory. One example of the piece in sonata form without development is the second movement of Beethoven's Piano Sonata No. 17, "The Tempest".