Sonata form exposition examples

Identify the placement of the Medial Caesura (MC) in both the Exposition and the Recapitulation.
Include discussion of the musical elements that signal the approach to the MC. Most often, the MC will be preceded by one or more of the following elements:

• prolonged dominant ("standing on the dominant")
• chromatic passing tone approach to scale degree ^5 ("fa-fi-sol")
• repeated, emphasized chord or note, often thrice ("hammer blows")

Occasionally, the MC will be disguised or obscured by "caesura fill." This means that the caesura is not literally silent, but the measure(s) of the MC is filled in with some musical filler, often some kind of lead-in to the subordinate theme. In cases of caesura fill, usually the texture thins out significantly. For example, after a forte cadence with full chords, the caesura-fill might be at a piano dynamic and a single melodic line.

Additionally, to the extent possible, identify the four areas within the exposition: Principal theme/abbreviated P (tonic), Transition/T (usually modulating, but possibly just gaining energy; may be Dependent or Independent), Subordinate Theme/S (immediately following the MC, most likely in dominant key), and Closing Theme/C (reinforcing final cadence of S, also in dominant).

Beethoven, Piano Trio op. 1, no. 1, i

Beethoven, Symphony no. 1, op. 21, mvt. i

Beethoven, Symphony no. 2, op. 36

Beethoven, Piano Sonata in G Minor, op. 49, no. 1

Haydn, Symphony no. 99, i

Haydn, Symphony no. 100, i

Haydn, Symphony no. 104, i

Mozart, Piano Sonata K. 284, i

Mozart, Piano Sonata K. 309, i

Mozart, Piano Sonata K. 311, i

Mozart, Piano Sonata in C minor, K. 457, i (score)