Th e compound sentence is a 16-m. theme type built out of an 8-m. compound presentation followed by an 8-m. continuation that ends with a cadence (usually a PAC, sometimes an HC, rarely an IAC).
Th e compound presentation consists of a 4-m. compound basic idea and its repetition (either exact, statement-response, or sequential). Th e entire pre-sentation is supported by a tonic prolongational progression (and thus does not end with a cadence).
Th e continuation features the standard characteristics of that function (frag-mentation, harmonic acceleration, increased surface rhythms, and harmonic sequence). Typically, though, the initial fragmentation sees the grouping size reduced to two measures (in relation to the preceding 4-m. compound basic ideas).
Example 6.2: the 8-m. compound presentation features statement-response repetition of a 4-m. compound basic idea (c.b.i.). (Note the melodic overlap between the basic and contrasting ideas.)
Th e continuation develops the second motive (“y”) from the initial 2-m. basic idea within the context of phrase-structural fragmentation and harmonic accelera-tion. (Th e opening motive “x” from the basic idea is also present in the bass voice.) Th e harmony brings a descending-third sequential progression, which helps project continuation function all the more. Th e continuation closes with a standard PAC.
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Let’s Practice
A “Compound” Continuation? The opening unit of the 16-m. sen-tence can rightly be called a compound presentation, because its inter-nal organi zation is more complex than that of the presentation of the simple sentence. (The same can be said for both the compound anteced-ent and consequanteced-ent of the 16-m. period.)
But the structure of a continuation of the compound sentence, though often longer than that found in a simple sentence, is not any more com-plex in its structure; so there is little reason to speak of a “compound continuation.”
TAMING THE TERMS
Mozart, Piano Sonata in C, K. 545, ii, 1–16 EXAMPLE 6.3
(continued)
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Continued EXAMPLE 6.3
Mozart, Piano Quartet in G minor, K. 478, i, 1–16 EXAMPLE 6.4
Example 6.3: answer these questions.
1. Does the fi rst 4-m. phrase close with a cadence? If so, which type?
2. What is the name of the fi rst 4-m. phrase?
3. Does the second 4-m. phrase close with a cadence? If so, which type?
4. What is the name of the second 4-m. phrase?
5. What is the label for the entire opening 8-m. unit?
6. What is the label for the second 8-m. unit? Which features in the music justify that label?
(continued)
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More Details
Compound Period
As we discussed in Chapter 3, the period concept has as its basis the idea that a unit with weak cadential closure is repeated to close with a stronger cadence.
Th e sense of the fi rst unit being “repeated” is most clearly articulated by hav-ing both units begin with the same music. Just as with the simple period, what signals the “repeat” of the consequent in the compound period is a return of the initial basic idea. (In fact, the entire fi rst 4-m. unit usually returns as well.)
In order for the sense of consequent function to emerge with full force, it is important that the return of the basic idea (in mm. 9–10) sound fresh, and so it should not “return” at any earlier point in the theme.
For this reason, the compound antecedent does not normally end with a simple consequent phrase, which would bring a premature return of the basic idea at m. 5 and thus spoil the eff ect of the required return at m. 9.
Th e compound consequent is modeled on the previous antecedent, except that, like the simple period, the cadential component of the consequent is usu-ally more emphatic than that of the antecedent. As a result, the fi nal 4-m. phrase of the theme oft en features an expanded cadential progression.
Example 6.4: answer these questions.
1. What is the best label for the opening 4-m. unit? Why?
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Most compound periods fall into one of three main categories, which are labeled in reference to the phrase functions making up the antecedent unit.
Compound Antecedent = Presentation + Continuation (Sentence)
A compound period from this category is made up of two 8-m. sentences. Th is type represents the full-fl edged development of the simple period whose 4-m.
antecedent has a sentential design (see Chap. 3, p. 88).
Note that the restatement of the basic idea within the opening presenta-tion is heard as a repeat , and so it does not poorly anticipate the real return of
Example 6.5: both halves of this theme are organized as standard sentences. Note that the consequent is expanded by one bar so that the fi nal cadence becomes more emphatic than that of the antecedent.
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Normally, such cadential emphasis occurs by starting the cadential progression earlier in the consequent relative to the antecedent (see Chap. 3, p. 85). If Beethoven had done that, the fragmentation in mm. 13–14 would probably have been followed directly by the cadential progression in mm. 16–17. In this sense, m. 15 would be super-fl uous and we could recognize an “extension” of the continuation function there.
In other words, the continuation is “extended,” thus resulting in an over-all “expansion” of the consequent. We see from this example that the relation of extension and expansion can at times be complicated to describe.
In the previous example, the continuation phrases of both the antecedent and the consequent units were largely identical, save for the slight expansion in the latter.
Sometimes, however, the continuation phrase of the compound consequent diff ers from that of the antecedent. Typically in such cases, that phrase is supported by an ECP (and thus labeled continuation ⇒ cadential) in order to throw greater weight onto the fi nal PAC. (See again the discussion of Ex. 5.14, mm. 13–16.)
Given the parallel construction of the period form, it’s easy to think that the consequent is automatically structured just like the antecedent. This is largely true, especially at the opening of each unit.
But as a general rule, the cadential progression of the consequent is often expanded in relation to the progression that ends the antecedent, just as we saw in connection with the simple period. Indeed, the use of a 4-m.
ECP to close a compound period is analogous to a regular 2-m. cadential progression supporting the fi nal contrasting idea in a simple period.
CADENTIAL EXPANSION IN THE CONSEQUENT
Example 6.6: traditional theory would perhaps identify a “plagal” cadence at the end of the fi rst phrase. But the subdominant in m. 4 functions simply to embellish the tonic prolongation supporting the compound basic idea.
Just as the two contrasting ideas within a simple period need not contain the same material, so may the two continuation phrases in a 16-m. period also exhibit diverse melodic-motivic content, as in this example.
Compound Antecedent = Compound Basic Idea + Continuation (Hybrid) In this category, the compound antecedent (and consequent) is con-structed as a hybrid theme compound basic idea + continuation (or continuation ⇒ cadential).
Th e term compound basic idea gains in appropriateness more in the con-text of compound themes than in the simple hybrids, where it was fi rst intro-duced: a 4-m. compound basic idea occupies the same hierarchical position within a 16-m. period as a 2-m. basic idea within an 8-m. period.
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Allegro 4compound basic idea antecedent
b.i. c.i. continuation
frag.
ped
7
compound basic idea consequent
b.i. c.i.
HC
12
continuation frag.
PAC
Compound Antecedent = Antecedent + Continuation (Hybrid)
In this category, the hybrid type antecedent + continuation lies at the base of the compound antecedent (and consequent).
Here, the cadential situation is somewhat more complex than that seen in the other categories, for not only must the compound antecedent end with a weak cadence in m. 8 but so too must the simple antecedent close with a weak cadence in m. 4.
Among the various cadential options that are available to the composer, it seems that we can make only one generalization: the compound antecedent itself ends with some kind of half cadence (either a regular HC or a reinterpreted one, Mozart, Piano Concerto in A, K. 488, i, 1–16
EXAMPLE 6.6
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as is discussed shortly), not an imperfect authentic cadence. (Some additional complexities of cadential distribution in this category of compound period are dealt with in “Finer Points” below.)
As in all cases of the compound period, the second phrase of the com-pound consequent may be supported by an expanded cadential progres-sion, and thus the consequent may resemble the hybrid type antecedent + cadential.
Example 6.7: the compound antecedent contains two half cadences: one at m.
4, closing the simple antecedent, and a second at m. 8, closing the continua-tion (and the compound antecedent as a whole). In the compound consequent, the opening antecedent closes again with an HC (at m. 12), but note that it is
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Reinterpreted Half Cadence
Th e concept of the reinterpreted half cadence , introduced briefl y in Chapter 3, involves the situation where the antecedent of a period modulates to the dominant region of the home key, as confi rmed by a PAC. When the music immediately returns to the home key to begin the consequent, we strongly have the impression that the PAC is converted, retrospectively, into a kind of half cadence, the appropriate formal closure for an antecedent.
Relatively rare in simple 8-m. periods, the reinterpreted half cadence appears more frequently in the compound 16-m. period. In such cases, the ini-tial sense of PAC in the new key seems entirely appropriate as the close of the simple theme that makes up the compound antecedent.
Example 6.8: this compound period begins with a 4-m. antecedent, closing with an IAC. Th e following phrase brings the standard features of continuation func-tion, especially as signaled by the fragmentation into 1-m. units. Measure 6 sees the tonic harmony “pivot” to become IV in the key of B-fl at, the dominant region of the home key, E-fl at. Th e resulting cadential progression brings a PAC to close the simple hybrid theme (antecedent + continuation).
When the upbeat to the basic idea returns the music back to the home key for the start of the compound consequent (m. 9), we understand, in retrospect, that the PAC becomes a reinterpreted HC to close a compound antecedent. At m. 16, the continuation closes with an IAC, thus motivating a new continuation phrase (with a hint of sequential harmonies) that closes at m. 20 with a PAC.
Mozart, Piano Trio in B-fl at, K. 502, ii, 1–20 EXAMPLE 6.8
somewhat weakened in its eff ect when the bass moves down a step to create a Lt
chord at just the moment when the upper voices resolve the w appoggiaturas.
Th e fi nal phrase is built over an ECP. Although it might seem that mm. 13–14 are harmonically quite active, all of the chords serve to prolong the pre-dominant harmony of the cadential progression. Th e structure of the compound conse-quent thus takes the form of the hybrid antecedent + cadential, though some marked continuational characteristics are also present in the fi nal phrase.
(continued)
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Compound Sentence
Compared to the simple 8-m. sentence, the compound 16-m. sentence defi nes a larger structural scope; this is due to its beginning with a repeated 4-m. com-pound basic idea . Th e term now comes fully into its own in the context of this theme type, since it clearly functions as an analogue to the simple basic idea of the 8-m. sentence.
6 8 9
espressivo antecedent consequent
PAC HC)
11 continuation
16 20
continuation (new)
IAC PAC
Continued EXAMPLE 6.8
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