ven
who first showed what a Prelude should be: a subtle means of arousing
the interest and expectancy of the hearer; the effect as carefully
planned as the portico leading to a temple. To usher in the theme of
the Exposition in a truly exciting manner every means of modulation
and rhythm is employed; famous illustrations being the introductions
to the first movements of the Second, Fourth and Seventh symphonies;
and, in modern literature, those of the first movements of Brahms's
_First Symphony_ and of Tchaikowsky's _Fifth_. It also became
customary to prolong the end of the movement by what is termed a Coda;
the same tendency being operative that is found in the peroration to a
speech or in the spire of a cathedral, _i.e._, the human instinct to
end whatever we attempt as impressively and completely as possible.
This Coda, which, in Haydn and Mozart, was often a mere iteration of
trite chords--a ceasing to go--was so expanded by Beethoven that it
was the real glory of the whole movement. In fact so many eloquent
treatments of the main material were reserved for the Coda that it
often became a _second_ development; and such was its scope that the
form may be considered to have _four_ parts instead of three, _i.e._,
1, Exposition, 2, Development, 3, Recapitulation, 4, Coda; parts 4 and
2 balancing each other in the same way as 3 and 1. For two of the most
famous examples in all Beethoven literature see the Codas to the First
movement of the _Third Symphony_ and to the Finale of the _Eighth_.

We now present a tabular view of the Sonata-Form summing up the
features just commented upon.

THE SONATA-FORM OR FIRST-MOVEMENT FORM

___________________________________________________________________________
A | B | A'
Exposition | Development | Recapitulation
__________________________|___________________________|____________________
| |
Introduction (optional) | Free treatment and | First Theme,
First Theme | expansion, especially | connecting passage
Modulatory bridge-passage | modulatory and rhythmic, | leading to
Second Theme | of the themes already | Second Theme (often
Closing Theme | presented | in home-key, but
(Duality of | Sometimes new material | not always)
Key-relationship) | introdu