View source for Development (music)

{{Short description|Process by which an idea is communicated through a composition}}
{{Lead rewrite|date=April 2021}}
[[Image:Development Haydn's Sonata in G Major.png|thumb|right|350px|Development in [[Joseph Haydn|Haydn's]] sonata in G major, [[Hoboken-Verzeichnis|Hob.]] XVI: G1, I, mm. 29-53 {{audio|Development Haydn's Sonata in G Major.mid|Play}}.<ref>Benward & Saker (2009), ''Music in Theory and Practice: Volume II'', p.138-39. Eighth Edition. {{ISBN|978-0-07-310188-0}}.</ref>]]

In music, '''development''' is a process by which a musical [[idea]] is [[Transformation (music)|transformed]] and [[Theme (music)|restated]] in the course of a [[Musical piece|composition]]. Certain central ideas are repeated in different contexts or in altered form so that the listener can consciously or unconsciously compare the various statements of the idea, often in surprising or [[irony|ironic]] manners. This practice has its roots in [[counterpoint]], where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its [[contrapuntal]] capabilities are gradually unveiled.

Development is often contrasted with musical [[Variation (music)|variation]], which is a slightly different means to the same end. Development is carried out upon portions of material treated in ''many'' different presentations and combinations at a time, while variation depends upon ''one'' type of presentation at a time.<ref>Wennerstrom, Mary (1975). "Form in Twentieth-Century Music" (chap. 1), ''Aspects of Twentieth-Century Music''. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. {{ISBN|0-13-049346-5}}.</ref>

The development is the middle section of the [[sonata form]], between the [[Exposition (music)|exposition]] and the [[Recapitulation (music)|recapitulation]]; in some older texts, this section may be referred to as ''free fantasia''.{{Citation needed|date=August 2016}}

== Methods of development ==

According to the ''[[Oxford Companion to Music]]''<ref>Temperley, N. (2002, p. 355) “Development” in Oxford Companion to Music.  Oxford University Press.</ref> there are several ways of developing a theme. These include:

* The division of a theme into parts, each of which can be developed in any of the above ways or recombined in a new way. Similarly, two or more themes can be developed in combination; in some cases, themes are composed with this possibility in mind.
* Alteration of pitch intervals while retaining the original rhythm.
* Rhythmic displacement, so that the metrical stress occurs at a different point in the otherwise unchanged theme.
* [[Sequence (music)|Sequence]], either diatonically within a key or through a succession of keys.

The [[Scherzo]] movement from [[Piano Sonata No. 15 (Beethoven)|Beethoven's Piano Sonata No. 15]] in D major, Op 28 (the "Pastoral" Sonata) shows a number of these processes at work on a small scale. [[Charles Rosen]] (2002) marvels at the simplicity of the musical material: "The opening theme consists of nothing but four F sharps in descending octaves, followed by a light and simple I/ii/V7/I cadence with a quirky motif repeated four times."<ref>Rosen, C. (2002, p.161), ''Beethoven's Piano Sonatas, a Short Companion''. Yale University Press.</ref> These opening eight bars provide all the material Beethoven needs to furnish his development, which takes place in bars 33-48:[[File:Beethoven Piano Sonata Op 28, Scherzo.wav|thumb|Beethoven Piano Sonata Op 28, Scherzo]] [[File:Beethoven Pastoral Sonata Op. 28 Scherzo.png|thumb|center|500px| Beethoven Pastoral Sonata Op. 28 Scherzo.]]

=== The division of a theme into parts ===

The falling octave in the first two bars and the repeated staccato chord in the left hand in bars 5-8 are the two fragments that Beethoven later develops:[[File:Beethoven Pastoral Sonata Scherzo bars 1-5.png|thumb|center|500px|Beethoven Scherzo from Piano Sonata 15, thematic fragments used later in the development]]

=== Alteration of pitch intervals ===

The somewhat bald falling octave idea in the first four bars is transformed in bars 33-36 into an elegant shape ending with an upward-curving semitone:[[File:Becomes.png|thumb|center|500px|Transformation of opening idea]]

=== Rhythmic displacement ===
 
In this movement, the repeated left hand chords in bar 5 are displaced so that in bar 33 onwards, they fall on the 2nd and 3rd beats:[[File:Rhythmic displacement.png|thumb|center|500px|Rhythmic displacement]]

=== Sequence and the development of two or more themes in combination ===

In bars 33-48, the two fragments combine and the development goes through a [[modulating sequence]] that touches on a succession of keys; [[File:Beethoven Piano Sonata Op 28, Scherzo, developent section.wav|thumb|Beethoven Piano Sonata Op 28, Scherzo, development section]][[File:Beethoven Pastoral Sonata Scherzo development section.png|thumb|center|500px|Beethoven, Scherzo from Sonata No 15, development section.]] The following outline demonstrates Beethoven’s strategic planning, which he applied on a larger scale in the development sections of some of his major works.  The [[bass line]] traces a decisive progression through a rising [[chromatic scale]]:[[File:Outline of development.png|thumb|center|500px|Harmonic outline of Bars 33-49]]
To quote Rosen again, writing à propos of this movement: "As Beethoven's contemporary, the painter [[John Constable]], said, making something out of nothing is the true work of the artist."<ref>Rosen, C. (2002, p.162), ''Beethoven's Piano Sonatas, a Short Companion''. Yale University Press.</ref>

== Development on a larger scale ==

Not all development takes place in what is commonly known as the "development section" of a work.  It can take place at any point in the musical argument.  For instance, the “immensely energetic [[Sonata form|sonata]] movement”<ref>Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.</ref> that forms the main body of the overture to [[Mozart]]’s Opera ''[[Don Giovanni]]'' announces the following theme during the initial exposition.  It consists of two contrasting phrases: “first determined, then soft and conspiratorial.”<ref>Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.</ref>[[File:Don Giovanni Overture bars 77-81.wav|thumb|Don Giovanni Overture bars 77-80]][[File:Don Giovanni Overture bars 77-80.png|thumb|center|500px|Don Giovanni Overture bars 77-80]]

[[William Mann (critic)|William Mann]] says “the first, insistent phrase [of the above] is very important.  At once it is taken up [[Imitation (music)|imitatively]] by various departments of the orchestra, and [starting in] A major, jumps through several related keys.”<ref>Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.</ref>  Each repetition of the descending phrase is subtly altered one note at a time, causing the music to pass from the key of A major, through A minor and thence via a chord of G7 to the remote key of C major, and thence back to A major.[[File:Don Giovanni Overture bars 85-99.wav|thumb|Don Giovanni Overture bars 85-99]][[File:Don Giovanni Overture bars 85-100.png|thumb|center|600px|Don Giovanni Overture bars 85-100]]

The central section of the Overture (the part commonly known as the "development section") utilizes both phrases of the theme “in new juxtapositions and new tonalities,” <ref>Taruskin, R. (2005, p.488) The Oxford History of Western Music, Volume 2 Music in the seventeenth and Eighteenth Centuries.  Oxford University Press.</ref> developing it through repetition in a [[modulating sequence]].  The steady plod of the bass line against the sequential repetitions of the “soft and conspiratorial”<ref>Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.</ref>  phrase outlines a [[circle of fifths]] chord progression:[[File:Don Giovanni Overture bars 133-141 violins and bass only.wav|thumb|Don Giovanni Overture bars 133-141 violins and bass only]][[File:Don Giovanni Overture bars 133-141 violins and bass only.png|thumb|center|500px|Don Giovanni Overture bars 133-141 violins and bass only]]

Simultaneously, Mozart adds to the mix and continues to develop the [[imitative counterpoint]] that grew out of the first phrase.  In the words of Willam Mann, this development “unites both halves”<ref>Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.</ref> of the theme. This is how this tightly woven texture pans out:[[File:Don Giovanni Overture bars 133-141 reduced score.wav|thumb|Don Giovanni Overture bars 133-141]][[File:Don Giovanni Overture bars 133-142 reduced score.png|thumb|center|500px|Don Giovanni Overture bars 133-142]]

==See also==
*[[Developing variation]]
*{{slink|Fugue|Development}}
*[[Secondary development]]
*[[Sequence (music)]]

==References==
<references/>

{{musical form}}

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[[Category:Musical development| ]]
[[Category:Formal sections in music analysis]]