Movement (Satz)
A movement (German Satz) is a self-contained part of a multi-movement musical work, such as a sonata, symphony or suite. Each movement usually has its own tempo or character marking, its own ending and often its own time signature. This page is about that meaning; the German word Satz can also mean how a piece is composed.
- Meaning
- self-contained part of a multi-movement work
- Heading
- usually tempo or character, e.g. “Andante”
- Order
- often designed for contrast, e.g. fast – slow – fast
- Other meaning
- Tonsatz (texture, way of writing): how a piece is put together, e.g. two-part writing
A part that stands on its own
A movement ends at its final barline, without the work having to be over. Usually each movement carries its own heading, which also serves as its title: a tempo or character word such as “Andante” or “Allegro”, but in Mozart’s Sonata in A major the name of the form (“Menuetto”). The order of the movements is often designed for contrast, frequently fast – slow – fast. That fits Clementi’s sonatina in the table: the first movement is “Spiritoso”, the second “Andante”, the third “Vivace”.
Movement 1: Spiritoso in ¢
An original example of the rhythm from the opening of the first movement of Clementi’s sonatina: quarter note, two eighth notes, two quarter notes in the first bar; in the second bar quarter note, two eighth notes and a half note. The notes are freely chosen. The time signature ¢ stands for 2/2.
Movement 2: Andante in 3/4
In the archive the second movement is in a different time signature (3/4) and a different key; it is marked as calmer.
Movement 3: Vivace in 3/8
The third movement again has a different time signature (3/8). This example is original as well: two sixteenth notes and two eighth notes in the first bar, in the second a quarter note and two sixteenth notes, with freely chosen notes.
What changes from movement to movement
Each movement can change its time signature, key signature and tempo. In Clementi there are three different time signatures (2/2, 3/4 and 3/8) and two key signatures (none and one flat). The length differs too: the first movement has 38 bars, the second 26, the third 70. What the movements share is the work they belong to.
| Movement | Marking | Time signature | Key signature | Length and ending |
|---|---|---|---|---|
| 1st movement | “Spiritoso” | ¢ (2/2) | none | Bars 1–38, two repeated parts; ends on C |
| 2nd movement | “Andante” | 3/4 | one flat | Bars 1–26; ends on F |
| 3rd movement | “Vivace” | 3/8 | none | Bars 1–70; final chord with C, E and G |
One work, three movements
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Sonatine C-Dur Muzio Clementi, from: Six Sonatinas, op. 36 No. 1 · piano · 3 pages
All three movements are in one file: “Spiritoso” on page 1, “Andante” at the top of page 2, “Vivace” at the bottom of page 2 and on page 3. Each movement begins with its own tempo marking and its own time signature and has its own ending.
A movement as a file of its own
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Sonata facile, 2. Satz: Andante Wolfgang Amadeus Mozart, Sonata No. 16 in C major, K. 545 · piano · 4 pages
In the archive the three movements of this sonata are separate files. The second movement carries the marking “Andante”, is in 3/4 and has one sharp in the key signature, although the sonata is titled C major.
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Sonate Nr. 11 A-Dur, 2. Satz: Menuetto Wolfgang Amadeus Mozart, K. 331 · piano · 3 pages
This movement carries no tempo word but the name of the form: “MENUETTO.” is written above the first bar. Time signature 3/4, three sharps, and in the middle section “Trio.”
Movement as a part, or as a way of writing
The German word Satz has a second meaning in music: the way a piece is put together, its manner of composition. So one speaks of two-part, three-part or multi-part writing, or of homophonic and polyphonic texture. There what is meant is the way of writing, not a part of a larger work. This page is about the movement as a part of a work. You will find movement markings such as “Andante” on the pages for Andante and Vivace; the minuet movement in Mozart’s sonata is described on the page for the Minuet.
Common mistakes
- Confusing a movement with a section: A movement has its own ending; a section (such as part A of a repeat) is only a part of it.
- Taking the key of the work for the key of every movement: Mozart’s Sonata No. 16 is titled C major, but the second movement has one sharp in the key signature.
- Always reading “Satz” as a part of a work: In “two-part writing” or “setting for guitar” the way of writing is meant: how a piece is put together.