Analyzing Classical Form: An Approach for the Classroom

759 Pages·2013·31.66 MB·English

by  William E. Caplin

Analyzing Classical Form
00_WilliamECaplin_FM.indd i 8/21/2013 6:09:18 PM
This page intentionally left blank
Analyzing
Classical Form
An Approach for the
Classroom
William E. Caplin
1
00_WilliamECaplin_FM.indd iii 8/21/2013 6:09:19 PM
3
Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide.
Oxford New York
Auckland Cape Town Dar es Salaam Hong Kong Karachi
Kuala Lumpur Madrid Melbourne Mexico City Nairobi
New Delhi Shanghai Taipei Toronto
With offi ces in
Argentina Austria Brazil Chile Czech Republic France Greece
Guatemala Hungary Italy Japan Poland Portugal Singapore
South Korea Switzerland Th ailand Turkey Ukraine Vietnam
Oxford is a registered trade mark of Oxford University Press in the UK and in certain other
countries.
Published in the United States of America by
Oxford University Press
198 Madison Avenue, New York, NY 10016
© Oxford University Press 2013

All rights reserved. No part of this publication may be reproduced, stored in a
retrieval system, or transmitted, in any form or by any means, without the prior
permission in writing of Oxford University Press, or as expressly permitted by law,
by license, or under terms agreed with the appropriate reproduction rights organization.
Inquiries concerning reproduction outside the scope of the above should be sent to the
Rights Department, Oxford University Press, at the address above.
You must not circulate this work in any other form
and you must impose this same condition on any acquirer.
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
00_WilliamECaplin_FM.indd iv 8/21/2013 6:09:19 PM
To my family,
Marsha, Adam, and Rebecca
00_WilliamECaplin_FM.indd v 8/21/2013 6:09:19 PM
This page intentionally left blank
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 • 10
Prolongational Progressions • 11
Cadential Progressions • 14
Sequential Progressions • 20
Guide to Harmonic Annotation • 24
Reviewing the Th eory • 25
Examples for Analysis • 2 7
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 • 38
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
00_WilliamECaplin_FM.indd vii 8/21/2013 6:09:20 PM
CONTENTS
Finer Points • 63
“Real” vs. “Notated” Measures • 63
Modulating Sentence • 6 6
Reviewing the Th eory • 67
viii
Examples for Analysis • 6 8
Model Composition • 7 2
3 Th e Period • 73
Th e Basics • 7 3
Antecedent Phrase • 74
Consequent Phrase • 74
Let’s Practice • 7 6
More Details • 7 6
Basic Idea • 76
Contrasting Idea • 7 7
Weak Cadential Closure • 7 9
Return of the Basic Idea • 8 0
Strong Cadential Closure • 8 3
Boundary Processes: Lead-in, Elision • 8 6
Finer Points • 88
Antecedent (and Consequent) as “Mini-sentence” • 8 8
Modulating Period; Cadential Strength • 9 0
Reinterpreted Half Cadence • 90
Sentence vs. Period • 92
Reviewing the Th eory • 93
Examples for Analysis • 9 4
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 • 1 06
Compound Basic Idea • 107
Hybrid Type: Compound Basic Idea + Continuation • 1 08
Hybrid Type: Compound Basic Idea + Consequent • 109
Finer Points • 110
Hybrid Th emes in Relation to the Sentence and Period • 110
Appearances of the Basic Idea • 111
Phrase Ambiguities • 111
Other “Hybrid” Possibilities • 114
Reviewing the Th eory • 117
Examples for Analysis • 1 19
Model Composition • 1 21
00_WilliamECaplin_FM.indd viii 8/21/2013 6:09:20 PM
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 • 154
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 • 157
Examples for Analysis • 1 58
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 • 183
Compound Period • 183
Real vs. Notated Measures • 185
Reviewing the Th eory • 186
Examples for Analysis • 1 88
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
00_WilliamECaplin_FM.indd ix 8/21/2013 6:09:20 PM