Presentation + Consequent?
Of the logically possible ways in which the various phrases of the sentence and period can be combined to make a hybrid, one pattern is conspicuously absent:
a theme that begins with a presentation and ends with a consequent.
As shown in Figure 4.2, such an arrangement of phrases brings a threefold statement of the basic idea. Th e resulting redundancy of material within an excessive tonic prolongation likely explains why this potential type of hybrid rarely occurs in the repertory.
presentation consequent
basic idea basic idea basic idea contrasting idea
(1) (2) (3)
Uncommon hybrid type: presentation + consequent FIGURE 4.2
Th e second phrase could also be seen to begin with a return of the basic idea, as analyzed in the example, especially if we focus attention on the melody, which brings the identical set of pitches as the opening basic idea. In this sense, the phrase could be viewed as a consequent .
But if we consider the harmonic support more carefully, we see that the downbeat of m. 6 brings a LK harmony in place of the K^ back at m. 2. To be sure, the submediant could be seen to prolong tonic, thus reinforcing our sense that the basic idea has returned. At the same time, however, the LK projects a distinctly sequential quality, and the sense of sequence is made all the stronger by the parallel tenths between the soprano and bass on the downbeats of mm. 5 and 6. Moreover, the LK becomes a pivot chord to eff ect a modulation to the relative major, thus further destabilizing the harmonic context.
Now let’s turn to the grouping structure at the beginning of the second phrase. Of course we could hear the phrase divided into two 2-m. ideas, as ana-lyzed in the example. But we could also hear the C x in the melody on the last eighth-note beat of m. 6 grouping backwards to the C c , and thus see a parallelism in the melodic organization that suggests fragmentation into 1-m. units, as shown in Example 4.14b. In short, all of the characteristics just described point toward viewing the phrase as a continuation .
Here, then, a degree of ambiguity arises since we can legitimately interpret the second phrase as a consequent or as a continuation. Both views can be sup-ported by focusing on selected details of the musical organization.
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Example 4.15: on the surface, this example seems like a standard 8-m. period. But consider some of the details of the constituent phrases. Th e 2-m. basic idea consists of a 1-m. motive that is repeated sequentially. Moreover, the theme begins directly on a destabilizing K^ harmony and continues with a relatively rapid progression of harmonies that are largely sequential until the pre-dominant at m. 3. In short, the opening four measures display many of the characteristics of a continuation phrase , such as might end a sentence or hybrid. In fact, it is easy enough to construct a pos-sible presentation phrase that could precede the beginning of this theme, something like that shown in Example 4.15b (with apologies to Beethoven!).
Does this mean that we should withdraw the labels “antecedent” and “conse-quent” for the two phrases of the original theme and replace them with “continuation”
and “continuation repeated”? By no means. Th e point is for us not to be forced into making a choice one way or the other (though of course an individual may have a per-sonal preference), but rather to acknowledge the multiplicity of meanings expressed by the phrases and thus to appreciate the complexities presented by the theme.
Two Case Studies
Th e four main hybrid types do not cover all of the possible situations in which elements of the sentence and period might be combined. Now and then, cases arise that call for individual treatment.
(a) Beethoven, Andante for Piano in F (“Andante favori”), WoO 57, 1–8; (b) rewritten version EXAMPLE 4.15
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EXAMPLE 4.16 (a) Beethoven, Piano Sonata in F minor, Op. 2, No. 1, ii, 1–8A second example presents another set of issues related to the analysis of simple themes.
Example 4.16a: like the previous example, we confront a theme that appears to be a regular period, with an antecedent phrase ended by an HC and a consequent that seems to bring a return of the opening basic idea. Again, let’s look closely at the details.
In the fi rst place, the entire basic idea does not return in mm. 5–6, but rather just its fi rst half: starting on the downbeat of m. 6, the melody leaps dramatically upward to propel the music beyond the upper range of the high C achieved in the prior phrase. As well, the harmonic rhythm suddenly accelerates as the music moves into the cadential progression closing the theme.
Why doesn’t Beethoven simply restate the entire basic idea? A rewritten ver-sion of the opening six measures quickly reveals the problem; see Example 4.16b.
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Aft er hearing the HC in m. 4, we can readily perceive that the basic idea itself sounds like another half cadence! Th e eff ect of a threefold statement of the same material renders this rewritten version weak and ineff ectual.
We can imagine that, if Beethoven had considered for a moment the possi-bility of bringing back the entire basic idea, he rejected it in favor of a phrase that seems more like a continuation than a consequent. In fact, we realize that mm.
3–4, despite bringing what seems at fi rst to be a half cadence, can be heard as a varied repetition of the basic idea (which itself has the “content” of a half cadence).
From these perspectives, the theme could be understood as bringing a presenta-tion followed by a continuapresenta-tion. In short, the theme could justifi ably be labeled a sentence rather than a period.
Again, we are not required to consider one or the other of these analytical readings as the valid one. Th e goal of a formal analysis is not to make a defi nitive interpretation but rather to raise—and relish—any reasonable alternatives that may present themselves.
What the two prior examples show is that the labeling of phrase functions is not a mechanical procedure; the obvious fi rst choice for a label may not prove to be the only interpretation. At all times, try to use your musical instincts, in combination with the theoretical principles presented here, to explore beneath the obvious surface of a theme’s formal organization.
Be careful to avoid the tendency to “slap down” a quick, formal label and call it quits for the analysis. Rather, be encouraged to probe the many musical details that may call for a more nuanced interpretation, one that highlights ambiguities and multiplicity of perspectives.
Music of the classical style may seem straightforward on the surface, especially in relation to the polyphonic intricacies of a Bach fugue or the chromatic densities of a Wagner opera. But behind the apparent simplicity of texture and directness of expression, music by the classical composers (especially that of Haydn, the least appreciated of the three masters) is rich in subtleties and presents complexities of compositional technique unrivaled by other composers, especially in the realm of musical form.
ANALYTICAL COMPLEXITY
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3. Which hybrid most resembles a sentence?
4. Which hybrid most resembles a period?
5. Why is the phrase combination cadential + compound basic idea not syntactically acceptable as a hybrid theme?
6. Which hybrid types have the potential of employing an ECP in their
2. A compound basic idea is normally supported by a tonic prolongational progression.
3. In the hybrid antecedent + continuation, the second phrase fuses con-tinuation and cadential functions.
4. Like the sentence and period, all of the hybrid types may modulate to a closely related key.
5. A compound basic idea consists of a simple basic idea that has been expanded to cover four measures of music.
6. In the hybrid type compound basic idea + consequent, the return of the basic idea is frequently harmonized diff erently from its appearance at the beginning of the theme.
Multiple-choice Questions
Choose a letter (there may be more than one) that correctly answers the question.
1. Which formal function expresses the sense of temporal initiation?
a. Continuation
b. Compound basic idea c. Cadential
d. Presentation
2. Which formal function expresses the sense of temporal conclusion?
a. Compound basic idea b. Continuation
c. Consequent d. Cadential
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3. Which is a “logical” combination of phrase functions?
a. Cadential + continuation b. Presentation + continuation c. Presentation + consequent d. Continuation + antecedent
Examples for Analysis
Haydn, Symphony No. 98 in B-fl at, iv, 1–8 EXAMPLE 4.17
Mozart, Fantasia for Organ in F minor, K. 608, 75–82 EXAMPLE 4.18
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Haydn, Piano Sonata in D, H. 24, iii, 1–8 EXAMPLE 4.19
Beethoven, Violin Sonata in E-fl at, Op. 12, No. 3, ii, 1–8 EXAMPLE 4.20
Beethoven, Violin Sonata in C minor, Op. 30, No. 2, iii, 1–8 EXAMPLE 4.21
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Model Composition
1. Complete the idea shown in Example 4.24 to make an 8-m. hybrid theme (of any type), modulating or nonmodulating.
Beethoven, Piano Sonata in F minor, Op. 2, No. 1, iii, 66–73 EXAMPLE 4.22
Largo appassionato
tenuto sempre
staccato sempre
5
Beethoven, Piano Sonata in A, Op. 2, No. 2, ii, 1–8 EXAMPLE 4.23
Model composition, hybrid, no. 1 EXAMPLE 4.24
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2. Write a hybrid of the type antecedent + cadential using the basic idea of Example 4.25.
Model composition, hybrid, no. 2 EXAMPLE 4.25
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