ABSTRACT
This chapter explains the features of compositional design that interact closely with the harmonic-contrapuntal structure in a small selection of sonata-form movements by Franz Schubert. Schubert follows highly idiosyncratic tonal designs in many of his sonata-form movements. Some of these derive from his fondness for the tonal balance between exposition and recapitulation that he achieves by using the same broad modulation scheme in both sections. This strategy frequently requires that the tonal motion of the later section issue from a key other than the tonic. In the closing movement, Schubert once again maintains in the recapitulation the broad modulation scheme of the exposition. In contrast with the strict metric regularity of the rest of the movement, the clarity of metric organization in the coda seems to break down. The essential strategy evident in the metric scheme, then, is an alternation of duple and triple hypermetric groupings. In the exposition, recapitulation, and coda this strategy is expressed in the four-plus-three groupings.
