‘COMPOUND THEMES ‘The simple sentence and period are defined as normative ‘sight-measure themes whose constituent phrases may benxaupte 5.9 Beethoven, Plano Concerta Na. in Bist, Op. 19, ili, 27 ce ob ob commeshortened or lengthened by standard alteration techniques (estension, expansion, compression, and interpolation). ‘More complex versions of these cwo forms appear regularly: in the classical repertary, Such compound sheares are defined as structures containing sixteen real measures,!? The com- Pound sixteen-measure period consists of an eight-measure antecedent followed by an eight-measure consequent, the compound sintceraneasure sentence consists of an eight- ‘measure presentation followed by an eight-measure coat uation (fising continuation and cadential functions),"? Like simple eight-meisuire themes, the length of a compound theme may be sleered by extension, compression, and sa forth. ‘Sisteen-Measure Period ‘The sixteen-mcasure period is constructed out of cwo sight-measure themes. ‘The firse theme (built as cither Simple sentence or a hybrid) acquites an antecedent func- tion by closing with a weak eadencc, normally a half ca- dence bur also possibly an imperfect authentic cadence '* ‘The second theme (also a sentence or a hybrid) becomes a consequent by repeating the first theme but concluding with the stronger perfect authentic cadence. Thus the es Sential features of repetition and cadence that define an- teeedent and consequent functions for the eight-measure period apply to the sirteen-measure period as well.!* ‘The major difference berween simple and compound pe- Sods lies in the internal organization of the antecedent and consequent units. In the eight-measure period, the four ‘measure antecedent (and consequent) phrase is built out of 2 two-measure basic idea and 4 ewo-messure contrasting idea. In the sixteen-measure period, the corresponding “ideas” of the large antecedent (and consequent) are four measure plrazrs, some of which are themselves composed of Simple basic or contrasting ideas, The phrase functions ‘making up the large antecedent and consequent units aee ddeawn from those associated with simple themes. The fist ‘half ofeach unit can be buile as & presentation, antecedent, “er compound basic idea, and the second half is most always 4 continuation (or else a continuation=2cadential) A fou “measure consequeat is not normally found within a sisteen- ‘measure period,!* Most sixteen-measure petiods can be assigned to ane af Shree categories on the basis of these phrase combinations. the eightsmeasure antecedent is repeated in the sub int consequent, the fallowing categories are labeled reference to the organization of the antecedent alone, dent = presentation + contiewatian. & compound from this category is made up of two eight-measure ences: the first sentence ends with a weak cadence, and second, a repetition of the fist, ends with a perfeet au ic cadence. This type af compound period represents HYBRID THEMES AND COMPOUND THEMES 65 the fullfledged development of the simple period whose measure antecedent has 2 miniature senteniial design ($e ex.4.6), EEAMPLE 55: Doth the ancecedene and consequent units display the mun chraceristios ofthe sentences presenttion with sate ment~response repetition; a continuation with friginetion, hhrmonie seeders, model-sequenee technique, and 4 eon. shading eadence (tightly expanded in the eosequent to permit Uke Final onic o appear on a meteiealy strong beat)” Like the simple sentence, the phrase following the pre- sentation maybe based on an expanded cadential progres« sion and thus aequire continuation=readential function, EXQMFLE 5.10: The antecedent unit comsins repular presentation and continuation phrases, The consequent resttes the ofiginal Presentation but slters the expected continuation sas to be sup- Ported by 1 single expanded eadential progression; hence the Phrase i appropriately labeled coatinuationsseadential. Such cx. ‘Jencal expansion, lasng an entice phrase in the context ofa com= pound period. is analogaus to a caential progression that sup- Ports the complete two-meaure contrasting ies in 2 simple peta. ‘This example illustrates anocher aspect of periodic structure, ‘hich wa examined earlier in connection with the simple pe. riod —namely, the tendeney for the eadential progression ofthe consequent to be more expanded than that of che antecedent ‘Here, the antecedent closes with» brief halfcadential progresion from the very end of measure 7 to measure 8; the conseajuent ex pands the progression ve four measures (mm. 1 16). (In retso- pect, we can observe that the coatinsation of the large-scale antecedent also begins with a potential expanded cadentil pro- {fression in measures 5-6, one that abandoned with the move tn ‘iin the middle of measure 9.)* Antecedent = conipound basic idea + continuation. In this category, the large antecedent (and consequent) is con- structed as a hybrid theme of type 3 (campound basic idea + continuation). The term compound basic idea gains in ‘appropriateness more in the contest of compound themes than in the simple hybrids, where it was first introduced. AA four-messure conipound basic idea occupies the same hi- erarchical position in a siateen-measure period as a two- ‘measure basie ides dos in an eight-measure period fouwerce: 5.11: Traditional theory would perhaps deaf 3p BI" cadence at he nd ofthe frst phrase. But the svndom ing in measure simply embelishes the tonic prolongation tha support the compound busc iden. Just asthe to contrasting ideas in simple period need nor contain the sme material somay the ero sontinwation phrase in a ssteen-rseidute period also exhib di verse melalic-motiviceomtent, sin tis example." ‘SxamPLs 5.12: The second phrase of the antecedent (mmm. 7-10} ‘as continuation =cadential function: the expanded eadential pro ‘session brings a manifest harmonic acceleration in relation tn thesxaupuz 5.11 Mozart, Piano Concerto in A, K. 488, i, 1-16 sets Soren bn on rian rxanrue §.12 Haydn, String Quareet in C,Op. 74/1, 5, 3-18 ne anagem eect teor tae oar tt § ig a eS 7 oe cian F = | | i (weedyrxauput 5-15 Beethoven, Piano Sonata in Ala, Op. 26, i 1 HYBRID THEMES AND COMPOUND THEMES 67 tonic pedal of the compound Insc ida (mm. 36). The sudde Surry of sintenth notes at measure 7 also adds eontinuational sharacter to the phrase ‘The consequent is significantly akesed in relation to the an- ecedeat, expecially with respect to harmonic orginization. The fast heat of measure 12 initiates move away from the tonic pedal ‘ofthe basic idea. The new contrasting idea is then supported by 8 variety of pre-dorainane harmonies, The dominant finaly srives at measure 15 and is prolonged (with the help of neighboring shords in m. 16) unl ths final tonic ofthe perfect authentic c2- sence. A large expanded cadentisl progression is thus created, be- sinning with VI/TV (as the iil tonic) and continuing fo the re- usining six measures ofthe therne, ‘Because of the underlying harmong, dential function in the consequent must be seen ro begin in measure 13, but definite ontinuational quality is expfessed at this point a# well, since sors- [pared with the static tonic pedal of the basic idea, the bass line in measures 15-14 projects a significant increase in rhythmic activity. “The consequent phrase thus consists of a two-measore basic idex followed by a siemeasure continuationsocadential phrase. This formal arrangement is markedly different, of course, from that oF the antecedent. Neverteles, fom the point of wew of melodic ‘nganization, we stil recognize formal remnants ofthe earlier sec- oa: eicatnes 11—14 eeunly rugpes + corypound base ide the shrtenthsnote furry in measure 15 corresponds tothe anala- ows momentin the antecedent (= 7) “This theme present an interesting variant onthe technique of ‘expanding the exdenial function inthe consequent relative to the antecedent (sr dicted in connection with ex .10). Since the an tecedentslresdy featured an expanded cadens progression of four measures the cadental progression ofthe consequent is ven farther expended tosis measures. To sccoumodate this greater ex: pansion within te eght-measare norm, Mayda uses che contrast= ing idea of what would have been a compound basic idea as the farting point ofthe eantiouation =seadeatil phrase” Antecedent ~ antecedent + centinwation. This category features hybrid type 1 as the basis of both antecedent and consequent units, exanux 5.23: This passage illusraces well the model form. The initial fous-messure antecedent is followed by 2 continaatin fe ‘uring fragmentation into ewo-beat units (which develop the up: ‘ward fourth leap at the beginning ofthe basic idea), a marked sc- celeeation of the harmony, and a second half eadence to close the cightmeasure antecedent. The recur ofthe basic idea is saved far ‘measures 9~10 to signal the large-scale consequent. ‘The use of 2 foursmeasure antecedent as the first part of -measure antecedent implies the idea of 4 “period within a period" or a“double period” (see n. 15). However, the appearance of a continuation instead of « consequent ‘undermines genuine periodic expression atthe lower level. Indeed, the classical composers rarely use a simple period to build the antecedent and consequent units of « compound period. Their avoidance of sucha double period has log- ical aesthetic explanation: the return of the basic idea in measures 9-10 of the theme (required for marking the higher-level consequent) would be preempted, and hence spoiled in its effec, ifthe basie idea were to reappear in measures 5~6 in order to projecta lower-level consequent. For the same reason, hybrid type 4 (compound basic idea + consequent) i not used in a sixteen-measure period becamss the appearance of the basic idea to signal the lower-level consequent would poorly anticipate the higher-level con- sequent. This problem is circumvented if the large ante- ccedeat is built as a sentence or as hybrid types 1 or 3, In the caze of the sentence, the basic ides isimmediately repeated, bbut it does not rewrn until dhe beginning of the higher-exante 5.14 Hapa, Symphony No. 93 in D, ix, 1-16 er f exanres 5.46 Haydn, String Quaret in G, Op.r9/1, 1, 14 mgmt ene i ents = a a 5 pI pat ene eee PrP th HAT PTFE oe ity contruatce Bai iS hie)level consequent. With either af the hybrids the basic idea appears in the larget antecedent just once and returns only in measures 9-10 of the compound theme2* ‘At first glance, some themes in the repertory seem to i= late the general principle just enunciated, inasmuch 3 measures 5-6 bring melodic-motivie material resembling the basic ides, chus suggesting a lower-level consequent, But a claser look at this “basic idea” reveals that it is sup- ported by different harmonies and that it returns with its original harmonic support only in measure 9, which marks the beginning of the higher-level consequent. uamrce §.1g:The theme opens with compound basic ie be lover tons pedal The next phrase appeirt bring lack the basic idea in the manner of a consequent, but the supporting harmonies, ‘which are entirely different from those of the opening base ides, accelerate the harmon rhythm an thus sogget a continuation fenction, Amore enact restatement ofthe basic ica in memurcs 19-10, with its intl harmonization, signals the real consequent of “fis thome. The lst phrose (ou, 16) brings an unambipuoss ~antinuation expres foremost by fragmentation. Sixteen-Measure Sentence Model form. “The model sxteen-messure sentence consists of an cight-mearure presentation followed by an cight= measure continustion, ‘The presentation contains a com~ pound basic idea and its immediate repetition, both sup- ported by a tonic prolongatianal progression.” The con- tinuation is characterized by fragmentation, harmonic acceleration, sequential harmonies, or increased surface rhythm. ‘The cadential pragression is usually expanded to support the final four-measure phrase. The sirteen-measure sentence most aften clases with a perfect authentic cadence; aconchuding half eadenee is rare (but see ex. 5.18, discussed shoety inthe next section) sxantrce suis: The presentation feargres statement—response repetition of # compound baie idea. The continuation develops the second motive ("x") from the initial rwo-measure basic iclea i the eonteat of phrase-structural Fragmentation and harmonic 8: celeration. (The opening motive from the basic idea i also pre sent in the bass voice) Although the underlying harmony of the ‘continuations i quite funetional, I-TV-W-=T', the ose of ubstitote ‘chords (VL and Hand the choice of bass motes-on the downbeat tf each measure strangly suggest 2 descending third zequentiat progression.” HYBRID THEMES AND COMPOUND THEMES 69 Compressed continuation. Whereas itis in the nature of the period ta maintain a balance between its antecedent and consequent functions, the sentence, with its forward- striving charactes, has les need to preserve a symmetrical pphrase structure, In particular, the formal functions of can tinuation and exdance can often be fully expressed in fewer than the eight measures offered by dre model form. Thus, many compound sentences compress their contisuation and cadential functions into a single four-messute continu ation or continuation=scadential phrase, like that oF sit ple sentence. Even when the continuation is compressed, however, the compaser may restore a semblance of sym- retical organization by repeating the continuation phrase or by adding a posteadencial extensioa, thus stretching the ‘heme back to its noemative shiteen-measure length [ExAMPLE §.#6: In the model form, dhe continuation usually frag- ments the preceding four-measure compound basic ides nto To measure segments (66 the preceding example). This procedure re ‘ult in a ratio between the original unit and the fragment.” Further fragmentation may then produce one-measure segments, ‘which again yields.a 2:8 ratio. ln this example, the beginning of the Continuation suddenly redoces dhe unit size from four measures (in the presentation) co a single measure, which results in a come [presi continuation ef ix measures. Underlying the fragmenta ton ia descending third sequential progression, whose lat link, "VVIV-IV, also marks the beginning of an expanded cadental pro ersision.™ eraumte $.r7: The presentation is followed by » four-measure ‘cntinuntion=acadentil phrase eavling witha deceptive cadence in measure 42. The failure ta xealize 2 genuine cuence motivates a repetition ofthe phrase, which brings the expected perfect authen- tie cadence. The repetition also reestablishes phrase stracturat symivetty when eight messures of continuation and cadent funetion now match the preceding eight-moeasure pretentation = exawpue 5.18 A compressed contietion leks toa halfeadence in measure 12. Although the therme has technically ended at this pint, 2 subsequent four-measue sanding on the dominant ex- tends the pasage to sixteen mesures, thus restoring 2 sense of bal nce withthe peesentatin, ‘The preceding discussion has focused on the com- pressed continuation because this deviation technique is most characteristic of the sintcen-measure sentence. Other methods of altering the model form are #lso employed by the classical composers, including the use of extension, ex pansion, and interpolation, devices sufficiently exemplified in previous disewssion to noc warrant further attention here;go TIGHT-KNIT THEMES examece 5.17 Mozart, Clarinet Trio in E-fat, K. 498, i, 1-16 Pres) xawrur 5.8 Haydn, Sytaphony No. 83 in-G Minor (The Hen") i, 1-16 ae 2s sy Wn ig, np UB az E = : = ‘corematin 4) wt