Classical Form¶
Caplin. (1998). Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford University Press.
Cited by¶
3 citations across 3 artifacts.
Each citation links to the sentence it supports in the citing article.
Domain-specific¶
- Pedal Point
- Tonal harmony and voice leading — the dominant-pedal preparation for a tonic return (countless Bach fugues, Beethoven recapitulations) and the tonic pedals that stabilise codas
This sourceThe retransition dominant in preparation for the recapitulation's tonic and the tonic pedals underlying closing codettas.
Supported in partVerified against the work's full text
“unambiguously as dom- inant of the home key, in [preparation] for the initial tonic of the recapitulation.”
- Tonal harmony and voice leading — the dominant-pedal preparation for a tonic return (countless Bach fugues, Beethoven recapitulations) and the tonic pedals that stabilise codas
- Period Structure
- The classical era (Mozart, Haydn, early Beethoven) built enormous amounts of its thematic and melodic material from periods, most often in symmetrical four-plus-four bar units but also in asymmetric or extended forms
This sourceCaplin's Classical Form sets the sentence, the period and hybrid themes apart as theme types; it does not describe the sentence as a single phrase organized internally, and instead treats it, like the period, as two four-measure phrases (presentation and continuation). Caplin's worked period example, the opening eight bars of Mozart's Piano Sonata in A, K. 331/300i, labelled antecedent and consequent (Example 4.6).
Supported in partVerified against a saved copy of the source
“period. The period is divided into two, four-measure phrases fulfilling antecedent and consequent functions”
- The classical era (Mozart, Haydn, early Beethoven) built enormous amounts of its thematic and melodic material from periods, most often in symmetrical four-plus-four bar units but also in asymmetric or extended forms
- Rondo Form
- In the classical-era rondo finale — Mozart concerto finales, Beethoven sonata last movements — the conventions are precise: the refrain is stated in the tonic and returns to the tonic on each recurrence; episodes explore related keys (subdominant, relative minor, or, in seven-part rondos, a more distant tonal region);
This sourceCaplin's chapter on rondo forms, treating the five-part rondo (ABACA), the seven-part expansion and the sonata-rondo, with the refrain alternating with couplets.
Supported in partVerified against a saved copy of the source
“In the five-part rondo (traditionally ABACA), an opening”
- In the classical-era rondo finale — Mozart concerto finales, Beethoven sonata last movements — the conventions are precise: the refrain is stated in the tonic and returns to the tonic on each recurrence; episodes explore related keys (subdominant, relative minor, or, in seven-part rondos, a more distant tonal region);
Verification¶
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