Week 1: Mapping Assignment and Targeted Practice Plan

WEEK 1: MAPPING ASSIGNMENT

1) Map out the first movement with score annotation of foreground details. Listen to a recording and annotate key terms, harmonic areas, and sections. Use the terms below:

Key Terms: Sonata Form (typical first movement)

• Introduction (if there is material presented before first theme)
• Exposition
  • Theme 1
  • Transition
  • Theme 2
  • Closing (if material presented after EEC: essential expositional closure)
• Development
  • Thematic Ideas / New Devices (counterpoint, episode, fragmentation, transformation, combination, sequence, false recapitulation, misdirection)
  • Re-transition (connects development and recapitulation; tonally unstable)
  • Dominant Lock (home key prepared by an extended pedal point on dominant)
• Recapitulation
  • Theme 1
  • Transition
  • Theme 2
  • Closing
• Coda (if material presented after ERC: essential recapitulation closure)

Key Terms: Rondo Form (typical last movement)

• Five-Part Rondo: ABACA + Coda (optional)
• Seven-Part Rondo: ABACABA (symmetrical)
• Refrain (A): main theme, returning in home key
• Episodes (B, C): different melodies shifting to closely related keys
• Coda: repeating/tonic-confirming passage leading to final cadence

Note: some sonatas don't follow the sonata form/rondo form outline exactly. If you choose such a sonata, research its form and note any alterations where necessary.

WEEK 1: TARGETED PRACTICE PLAN

After you've mapped out the sonata's form, use the attached document to target the places and concepts you'll need to practice most. Do this for each movement of your sonata.

(Please print out, and write in the appropriate information!).

• Identify the places that need the most work, and spend more time on those right from the beginning of the TWI. Time yourself: explore several technical methods for the toughest passages within a strict window (e.g., "I struggle with this arpeggiated pattern, but by the end of 3–4 minutes, I will have it choreographed so I can do it slowly.")
• Log your practice time on the most difficult passages.
• Treat technical challenges as phrases with a musical goal. We often hear Classical-period figurations as outdated, but composers meant them to be interesting.
• Use the categories to find your targets for practice this week.