Classical Form Notes

Chapter 1: Some Basic Formal Functions An Overview

Concepts
o Preliminary Information
Form concerns itself with how the various parts of a composition are arranged
and ordered; how standard patterns of repeated material appear in works; how
different sections of a work are organized into themes; and how the themes
themselves break down into smaller phrases and motives.
The form of a musical work can be described minimally as a hierarchical
arrangement of discrete, perceptually significant time spans, what has been termed
the Grouping Structure of the work.
Most of the traditional theories of form identify some groups with labels, such as
letters of the alphabet, which indicate whether the musical content of a group is the
same as, similar to, or different from, another group (e.g., AA', A -B -A ').
o Important Theoretical Information
Repetitions Significant Effects
1. Helps the listener learn and remember the principal melodic-motivic material of
the theme
2. Clarifies the size of the individual units by separating them, thus demarcating
there actual boundaries
3. Clearly presents the principal melodic-motivic material
The underlying harmony of a passage is an essential criterion of its formal function
o Sentences
The sentence is normatively an eight-measure structure.
It begins with a Presentation Phrase that starts with a 2 bar Basic Idea, which
contains fundamental melodic material of the theme.
The basic idea frequently contains several distinct motives, which often are
developed in the course of the theme (or later in the movement).
The tonic harmony may be extended via Tonic Prolongation
The strongly ongoing quality created by a presentation generates demand for a
Continuation Phrase
It proceeds on with a Continuation Phrase
The continuation has two outstanding characteristics:
1. Fragmentation, a reduction in the size of the units, note that a motivic
connection need not occur, because the concept of fragmentation exclusively
concerns the length of the musical units, not necessarily their motivic content
2. Harmonic acceleration, an increase in the rate of harmonic change
Sequential Repetition is particularly characteristic of continuation function
because, and by convention, we refer to the initial unit as a model and each unit of
repetition as its sequence.
Sequential Progression is the harmonic basis for Sequential Repetition; The
ongoing quality of such a progressionits projection of harmonic mobility
coordinates perfectly with the forward impetus to a goal associated with this
formal function
The two functions of continuation and cadential normally fuse into a single
continuation phrase in the eight-measure sentence
o Periods
The period, like the sentence, is normatively an eight-measure structure divided into
two four-bar phrases
The first phrase is called an Antecedent Phrase
Begins with a 2 bar Basic Idea
Proceeds to a 2 bar Contrasting Idea that is distinct enough from the Basic Idea to
not be considered a repetition of it (or else it might be perceived as a Presentation)
and sets up the weak cadence that ends the Antecedent Phrase
Often features characteristics of continuation function such as Fragmentation,
Harmonic Acceleration, Harmonic Sequence, and Conventionalized Melodic
Formula for the Cadence
The second phrase is called a Consequent Phrase
The Basic Idea returns at the beginning of the Consequent Phrase
Proceeds to a contrasting idea, which may or may not be based on that of the
Antecedent Phrase, but ends with a cadence stronger than the one closing the
Antecedent Phrase, usually a Perfect Authentic Cadence
o Small Ternary
Small Ternary is a theme type consisting of three parts (an exposition, contrasting
middle, and recapitulation) and denoted by the shorthand A-B-A1
The Exposition is the first or Asection of the formal scheme
o It is typically a Sentence or a Period, but less typically an unconventional theme
design
o Either remains in the Home Key or modulates to a Subordinate Key (usually the
Dominant Key, in a major key, or the Mediant Key, in a minor key)
o Confirms the key with a Perfect Authentic Cadence (typically also begins on a
tonic harmony) and creates sufficient closure to render the section structurally
independent
The Contrasting Middle Contrasting section that achieves said contrast mostly
by harmonic means which is also associated with new melodic and rhythmic
material
o Contrasts by beginning and ending on the Dominant Harmony of the home key,
usually with new melodic and rhythmic material, and in the simplest case
standing on the dominant by using Dominant Prolongation
o Has loose organization relative to the Exposition
o Sometimes features changes in texture, instrumentation, and accompanimental
patterns though they are of secondary importance and not required; many use
recycled motivic and textural content of the exposition
o The contrasting middle section acquires a nonconventional form as a result of
two main features:
1. The initial four-measure phrase is neither a genuine presentation nor an
antecedent (although it has elements of both)
2. The half cadence does not come at the end of the fragmentation but, rather,
precedes it
The Recapitulation The last or A1 section of the form that balances and closes
it
o The recapitulation (A') of the small ternary has two main functions:
1. To complete the harmonic-melodic processes left open at the end of the B
section (and by a modulating A section)
2. To create a semblance of formal symmetry by providing a return of the
exposition
 o Begins with the basic idea of the A section and closes with a perfect authentic
cadence in the home key.
o On occasion, the recapitulation brings back die entire exposition unchanged; but
more frequently the A' section eliminates unnecessary repetitions or further
develops motives from the A section.
o If the exposition has modulated to a subordinate key, the recapitulation must be
adjusted to remain in the home key so as to provide tonal unity to the theme.
Two basic notions lie at the heart of this theme type
A relatively closed thematic unit is juxtaposed with a structurally open unit of
contrasting content and formal organization
The original unit is brought back, but in a manner that ensures complete closure of
the theme
o Framing Functions
Occasionally, the theme is framed by material that precedes and follows these
structural limits
An introduction to a theme (or thematic introduction, as it: may more technically be
called) is generally short, two to four measures at most, sometimes one or two
chords alone suffice
The melodic-motivic component of such an introduction is either weakly defined or
entirely absent, so that: the expression of a genuine basic idea can be saved for the
structural beginning of the theme. Thematic introductions usually emphasize tonic
harmony, although in certain situations (such as at the beginning of a subordinate
theme), dominant harmony may be employed.

o
Definitions
o Group a self- contained chunk of music (as psychologists would say)
o Formal Function The more definite role that the group plays in the formal
organization of the work (e.g. a given four-measure group may stand as an
antecedent phrase in relation to a following consequent; an eight-measure group
may serve as the main theme of a minuet; or a seventy-three-measure group may
function as the development section in a sonata)
Presentation A section of music that does the job of presenting the idea
Continuation A section that does the job of continuing the theme
Cadential A section of music that does the job of closing the theme
Antecedent
Consequent
Exposition
Contrasting Middle
Recapitulation
Introduction
Postcadential
Closing/Codetta
o Formal Processes (e.g., repetition, fragmentation, extension, expansion) and a set of
o Formal Types (e.g., sentence, period, small ternary, sonata, rondo)
o Sentence An eight-measure structure that begins with a two-measure basic idea,
Basic Idea A musical gesture, frequently containing several distinct motives which
are developed as the theme progresses, that brings in the fundamental melodic
material of the theme,
 Motive A musical figure, with a distinct rhythmic identity, that is manipulated in
various ways in order to develop a piece
Conventional Melody Melody that lacks motivic features that would specifically
associate it with a particular theme
Presentation Phrase A musical gesture that serves the function of introducing the
basic idea, which as a general rule, has a tonic harmony at their basis and may be
extended literally for four measures or, more frequently, be expressed by a
prolongational progression featuring neighboring or passing chords
Prolongation Progression A chord progression that extends a given harmony by
using chords that are related by close function or counterpoint
Statement-Response Repetition An arrangement in which the basic idea is
rendered first in its tonic version and then repeated in its dominant version
o Statement The tonic version of the basic idea given initially in a tonic form
o Response The dominant version of the basic idea
Continuation Phrase A phrase that directly follows and draws from the
presentation phrase
Fragmentation A reduction in the size of units
Liquidation The systematic elimination of characteristic motives
Harmonic Acceleration An increase in the rate of harmonic change
Model-Sequence Repetition An arrangement in which a fragment of a larger unit is
repeated at different scale degrees
Model The initial fragment of a unit which is then transposed to different scale
degrees
Sequence A model repeated at a different scale degree
Sequential Progression A chord progression that consists of chords whose roots
are organized according to a systematic intervallic pattern
Exact Repetition Repetition of the presentation phrase which does not have a
fundamental change in harmony (even when there ornamental changes in melody
and harmony)
o Period A theme type made up of an antecedent and consequent phrase
Antecedent An initial unit ending with a weak cadence
Contrasting Idea A 2 bar phrase that contrasts the Basic Idea (i.e. that is distinct
enough from the basic idea to not be considered a repetition of it, or else it might
be perceived as a presentation) and sets up the weak cadence that ends the
Antecedent Phrase
Consequent An initial unit repeated with some variation that is brought to a fuller
cadential close
Perfect Authentic Cadence Cadence that ends with the Tonic Harmony expressed as
a root progression chord with the Tonic Note ending the melody
o Small Ternary
Exposition The first section of a small ternary formal scheme, which is typically
either a sentence or period, but occasionally a less conventional type of theme and
either remains in the Tonic Key or modulates to a closely related Subordinate Key
(either the Dominant, in major, or the Mediant, in minor)
Contrasting Middle
Recapitulation