Analyzing Classical Form

759 Pages·2016·35.13 MB·English

by  William Caplin

Analyzing Classical Form
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Analyzing
Classical Form
An Approach for the
Classroom
William E. Caplin
1
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3
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Library of Congress Cataloging-in-Publication Data
Caplin, William Earl, 1948–
Analyzing classical form : an approach for the classroom / William E. Caplin.
pages cm
Includes bibliographical references and index.
ISBN 978–0–19–974718–4 (hardback : alk. paper) — ISBN 978–0–19–998729–0 (pbk. : alk. paper) 1. Musical
form—Textbooks. 2. Sonata form. 3. Musical analysis. 4. Classicism in music. I. Title.
MT58.C36 2013
784.18—dc23
2012044292
9780199747184

9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
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To my family,
Marsha, Adam, and Rebecca
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Contents
vii
Preface • x v
About the Companion Website • x ix
1 A Review of Harmony • 1
Th e Basics • 1
Harmonic Vocabulary • 1
Harmonic Progressions • 3
Let’s Practice • 7
More Details • 9
Tonic Function • 9
Dominant Function • 9
Pre-dominant Function • 1 0
Prolongational Progressions • 1 1
Cadential Progressions • 1 4
Sequential Progressions • 20
Guide to Harmonic Annotation • 2 4
Reviewing the Th eory • 2 5
Examples for Analysis • 27
PART I CONVENTIONAL THEME TYPES
2 Th e Sentence • 3 3
Th e Basics • 3 4
Presentation Phrase • 36
Continuation Phrase • 36
Let’s Practice • 3 8
More Details • 3 8
Basic Idea • 3 8
Repetition of the Basic Idea • 41
Tonic Prolongation • 4 5
Presentation Phrase vs. Presentation Function • 4 6
Continuation Function • 47
Cadential Function • 5 5
Continuation ⇒ Cadential; Expanded Cadential
Progression (ECP) • 60
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CONTENTS
Finer Points • 6 3
“Real” vs. “Notated” Measures • 63
Modulating Sentence • 66
Reviewing the Th eory • 6 7
viii
Examples for Analysis • 68
Model Composition • 7 2
3 Th e Period • 73
Th e Basics • 7 3
Antecedent Phrase • 7 4
Consequent Phrase • 74
Let’s Practice • 7 6
More Details • 7 6
Basic Idea • 7 6
Contrasting Idea • 7 7
Weak Cadential Closure • 79
Return of the Basic Idea • 80
Strong Cadential Closure • 83
Boundary Processes: Lead-in, Elision • 8 6
Finer Points • 8 8
Antecedent (and Consequent) as “Mini-sentence” • 8 8
Modulating Period; Cadential Strength • 90
Reinterpreted Half Cadence • 90
Sentence vs. Period • 92
Reviewing the Th eory • 9 3
Examples for Analysis • 94
Model Composition • 9 7
4 Hybrid Th emes • 9 9
Th e Basics • 9 9
Let’s Practice • 1 04
More Details • 1 05
Hybrid Type: Antecedent + Continuation • 105
Hybrid Type: Antecedent + Cadential • 106
Compound Basic Idea • 1 07
Hybrid Type: Compound Basic Idea + Continuation • 108
Hybrid Type: Compound Basic Idea + Consequent • 109
Finer Points • 1 10
Hybrid Th emes in Relation to the Sentence and Period • 1 10
Appearances of the Basic Idea • 111
Phrase Ambiguities • 111
Other “Hybrid” Possibilities • 114
Reviewing the Th eory • 1 17
Examples for Analysis • 119
Model Composition • 1 21
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CONTENTS
5 Phrase Deviations, Cadential Deviations, and
Framing Functions • 123
Th e Basics • 1 23
Phrase Deviations • 1 23
ix
Cadential Deviations • 1 29
Framing Functions • 133
Let’s Practice • 1 36
More Details • 1 37
Phrase Deviations • 1 37
Cadential Deviations • 1 41
Framing Functions • 145
Finer Points • 1 54
Contrasting Idea Replaced by Continuation Phrase • 154
Codetta Closes with Cadence; Cadence of Limited Scope • 155
Boundary Process: Melodic Overlap • 1 56
Reviewing the Th eory • 1 57
Examples for Analysis • 158
Model Composition • 1 64
6 Compound Th emes • 1 66
Th e Basics • 1 66
Compound Period • 166
Compound Sentence • 168
Let’s Practice • 1 69
More Details • 1 71
Compound Period • 171
Compound Sentence • 177
Finer Points • 1 83
Compound Period • 183
Real vs. Notated Measures • 185
Reviewing the Th eory • 1 86
Examples for Analysis • 188
Model Composition • 1 94
7 Th e Small Ternary (Rounded Binary) • 195
Th e Basics • 1 95
Exposition (A) • 196
Contrasting Middle (B) • 197
Recapitulation (A´) • 197
Let’s Practice • 2 01
More Details • 2 03
Tight-knit vs. Loose Formal Organization • 203
Exposition (A) • 205
Contrasting Middle (B) • 210
Recapitulation (A´) • 214
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