Every sonata–allegro form movement concludes with a coda; composers are free to determine whether they are long or short.

This section, often consisting of rapid figural patterns (scales, arpeggios, and melodic sequences) carries the music from the tonic to the dominant and prepares for the arrival of the second theme.

Which statement is not reflective of the changes that occurred in opera during the Classical period?

Which form consists of a refrain alternating with contrasting material?

This long-lived composer, who wrote more than 100 symphonies as well as many other works, was the chief creator of the mature Classical style (known as the “Father of the symphony” and the “Father of the string quartet”).

Which section of sonata–allegro form frequently consists of unstable harmonies as well as plentiful use of melodic and harmonic sequence (“musical experimentation”)? It usually concludes with a stabilizing pedal point on the dominant note.

Which idea was not championed by Enlightenment philosophers?

Which genre is primarily intended for a small audience or just for the performers themselves?

Which form consists of a refrain alternating with contrasting material?

The forms commonly used by composers during the Classical period (ternary, rondo, sonata–allegro, theme and variations) were limited to that time period.  Subsequent composers found these musical structures too confining for their creativity.