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Sonata form, optional features in parentheses. Sonata form (also sonata-allegro form or first movement form) is a consisting of three main sections: an exposition, a development, and a recapitulation.

It has been used widely since the middle of the 18th century (the early ). While it is typically used in the first of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation;: 359 however, beneath this general structure, sonata form is difficult to pin down to a single model. The standard definition focuses on the thematic and harmonic organization of materials that are presented in an, elaborated and contrasted in a and then resolved harmonically and thematically in a.

In addition, the standard definition recognizes that an and a may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form. After its establishment, the sonata form became the most common form in the first movement of works entitled ', as well as other long works of classical music, including the,,, and so on.: 359 Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be as elaborations or expansions of the standard description of sonata form. End of second subject and Codetta (D major) of Haydn's Sonata in G Major, Hob. XVI: G1, I, mm.

17–28 () • Second subject group, S – one or more themes in a different key from the first group. The material of the second group is often different in rhythm or mood from that of the first group (frequently, it is more lyrical). •, K – the purpose of this is to bring the exposition section to a close with a perfect in the same key as the second group. It is not always used, and some works end the exposition on the second subject group. The exposition is commonly repeated, particularly in classical works, and more likely in solo or chamber works than for concerti.

Often, though not always, the last measure or measures of the exposition are slightly different between the repeats, one to point back to the tonic, where the exposition began, and the second to point towards the development. Development [ ]. Development Haydn's Sonata in G Major, Hob. XVI: G1, I, mm.

29–53 ().: 138–139 In general, the Development starts in the same key as the exposition ended, and may move through many different keys during its course. It will usually consist of one or more themes from the exposition altered and on occasion juxtaposed and may include new material or themes—though exactly what is acceptable practice is a point of contention. Alterations include taking material through distant keys, breaking down of themes and sequencing of motifs, and so forth. The development varies greatly in length from piece to piece and from time period to time period, sometimes being relatively short compared to the exposition (e.g., the first movement of ) and in other cases quite long and detailed (e.g., the first movement of the ). Developments in the Classical era are typically shorter due to how much composers of that era valued symmetry, unlike the more expressive Romantic era in which development sections gain a much greater importance. However, it almost always shows a greater degree of tonal, harmonic, and instability than the other sections.

In a few cases, usually in late Classical and early Romantic concertos, the development section consists of or ends with another exposition, often in the relative minor of the tonic key. At the end, the music will usually return to the tonic key in preparation of the recapitulation. (On occasion, it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition). The transition from the development to the recapitulation is a crucial moment in the work. Retransition Haydn's Sonata in G Major, Hob.

XVI: G1, I, mm. 54–57 ().: 140 The last part of the development section is called the Retransition: It prepares for the return of the first subject group in the tonic, most often through a grand of the. In addition, the character of the music would signal such a return. [ ] Exceptions include the first movement of 's. The general key of the movement is C major, and it would then follow that the retransition should stress the on G. Instead, it builds in strength over the dominant seventh chord on C, as if the music were proceeding to F major, only to take up immediately the first theme in C major. Another exception is the fourth movement of 's Symphony No.