IV. Form

Hybrid Phrase-level Forms

John Peterson

Key Takeaways

  • A combines the beginning of one archetype with the ending from another.
    • Beginnings
    • Endings
  • Although any beginning could be combined with any ending, Example 7 shows that some pairings are more common than others.

 

What’s a hybrid form?[1]

Earlier we looked at two phrase-level formal : the and the .

  • We found that these forms divide into two parts:
    • A sentence divides into two : a and a
    • A period divides into two : an and a
  • A occurs when the beginning of one archetype is paired with the ending from another archetype. In Example 1, an antecedent is followed by a continuation.
    • How do we know the first part is an antecedent rather than a presentation?
      • It ends with a weaker cadence, whereas presentations don’t end with cadences.
      • It has a followed by a , whereas presentations have a basic idea followed by a repetition of the basic idea.
    • How do we know the second part is a continuation rather than a consequent?
      • Rather than beginning as consequents do with a basic idea, it begins with , which is characteristic of continuations.
      • It begins with a feeling of instability created by the dominant that continues after the half cadence rather than the stability that’s typical of a consequent’s beginning
  • So far we know two beginnings (presentation and antecedent) and two endings (continuation and consequent), but there’s actually one more possible beginning and one more possible ending. Below we’ll outline these new beginnings and endings, and provide ways to help distinguish between them.

 

EXAMPLE 1. An antecedent + continuation in Beethoven, Piano Sonata Op. 13, II, mm. 1–8. Audio excerpt: 0:00–0:32.

Beginnings

New: The Compound Basic Idea (c.b.i.)

A (c.b.i.) is an antecedent without a cadence (Example 2).[2]

  • How is Example 2 like an antecedent?
    • It contains a basic idea followed by a contrasting idea
  • How is Example 2 different from an antecedent?
    • It doesn’t end with a cadence. Notice how the bass sits on G across mm. 3-4: although the melody comes to a point of rest, the lack of harmonic motion in the bass evades the HC that might have appeared there.
A compound basic idea in Haydn’s Piano Sonata in C, Hob. XVI:35, I, mm. 1–8.

EXAMPLE 2. A compound basic idea in Haydn’s Piano Sonata in C, Hob. XVI:35, I, mm. 1–8. Audio excerpt: 0:00–0:05.

Summary: The 3 Beginning Types

The 3 beginnings that appear in hybrid phrase-level forms are: antecedent, compound basic idea, and presentation. Example 3 provides a summary of the characteristics that differentiate each of these beginnings.

Beginning Ends with cadence? First idea Second idea
antecedent Yes b.i. c.i.
compound basic idea No b.i. c.i.
presentation No b.i. b.i.

EXAMPLE 3. Characteristics that differentiate beginnings.

Endings

New: Cadential (cad.)

A ending (cad.) harmonizes a particular bass pattern (Example 4).[3]

  • The is: M-F-S-D.[4] The common harmonization of each of these notes is:
    • Mi: I6
    • Fa: ii6 or IV
    • Sol: V(7) (often elaborated with cadential Figured bass symbol: 6/4)
    • Do: I
    • This core M-F-S-D bass line may be embellished. A common embellishment is to the dominant by adding Fi before Sol, making the bass line M-F-Fi-S-D.
  • The clearest cadential endings are four measures long with one bass note per measure.

 

A cadential ending in Haydn, String Quartet Op. 64, No. 4, II, mm. 1–8.

EXAMPLE 4. A cadential ending in Haydn, String Quartet Op. 64, No. 4, II, mm. 1–8. Audio excerpt: 0:05–0:10.

Summary: The 3 Ending Types

The 3 endings that appear in hybrid phrase-level forms are: consequent, continuation, and cadential. Example 5 provides a summary of the characteristics that differentiate each of these endings.

Ending Cadence Bass Ideas
Consequent PAC/IAC. Not HC. Varies b.i. + c.i.
Continuation HC, IAC, or PAC Varies vary, but often divided 1+1+2 or 2+2
Cadential PAC/IAC. Not HC M-F-S-D or an elaboration of that line. Either 2+2 or indivisible. Never features fragmentation.

EXAMPLE 5. Characteristics that differentiate endings.

Hybrid Possibilities and Examples

The 3 possible beginnings and 3 possible endings are shown in Example 6.

  • While any beginning on the left of Example 6 could be paired with any ending on the right, Example 7 shows that there are some pairings that are more common than others.
    • Below we provide examples for all hybrids in the “slightly less common” and “occasional” categories (Examples 8–12). We already provided examples of the period and sentence in Phrase-level forms 2.
    • The examples we provide in this chapter are all eight-measure archetypes, but as we show in the next chapter, these forms can be any length.

Beginnings Endings
Antecedent Consequent
Compound basic idea (c.b.i.) Continuation
Presentation Cadential

EXAMPLE 6. Possible beginnings and endings.

Form Degree of commonality
pres.+cont. (sentence)
ant.+cons. (period)
very common
c.b.i.+cons.
c.b.i.+cont.
ant.+cont.
slightly less common
c.b.i.+cad.
c.b.i.+cad.
occasional
pres.+cad.
pres.+cons.
rare or non-existent

EXAMPLE 7. Pairings of beginnings and endings sorted by degree of commonality.

 

An antecedent + continuation in Beethoven's Piano Sonata Opus 13, movement 2, measures 1-8.

EXAMPLE 8. An antecedent + continuation in Beethoven, Piano Sonata Op. 13, II, mm. 1–8. Audio excerpt: 0:00–0:31.

 

A compound basic idea + continuation in Haydn, Piano Sonata Hob. XVI:35, I, mm. 1–8.

EXAMPLE 9. A compound basic idea + continuation in Haydn, Piano Sonata Hob. XVI:35, I, mm. 1–8. Audio excerpt: 0:00–0:10.

 

An antecedent + cadential in Haydn, String Quartet Op. 64, No. 4, II, mm. 1–8.

EXAMPLE 10. An antecedent + cadential in Haydn, String Quartet Op. 64, No. 4, II, mm. 1–8. Audio excerpt: 0:00–0:10.

 

A compound basic idea + cadential in Haydn, Symphony 95, III, mm. 1–8.

EXAMPLE 11. A compound basic idea + cadential in Haydn, Symphony 95, III, mm. 1–8. Audio excerpt: 0:00–0:10.

 

A compound basic idea + consequent in Haydn, Symphony 97, III, mm. 1–8.

EXAMPLE 12. A compound basic idea + consequent in Haydn, Symphony 97, III, mm. 1–8. Audio excerpt: 0:00–0:11.

Listening to Phrase-level Forms

With so many possibilities, it might seem overwhelming to try to sort through the various possibilities. Example 13 offers a suggested listening strategy that can help determine what kind of beginning and ending you’re hearing.

Suggested process for listening to phrase-level forms: (a) what to listen for in beginnings, and (b) what to listen for in endings.

EXAMPLE 13. Suggested process for listening to phrase-level forms: (a) what to listen for in beginnings, and (b) what to listen for in endings.

Try it 1: Identifying a Hybrid Form

Type your exercises here.

  • First
  • Second

Try it 2: Listening to Phrase-level Forms

Type your exercises here.

  • First
  • Second

Chapter Assignments

 

Media Attributions

  • Example_001_Ant+Cont
  • Example_002a_compound_basic_idea
  • 64
  • Example_004a_cadential
  • Example_008_ant+cont
  • Example_009b_CBI+cont
  • Example_010a_ant+cad
  • Example_011a_cbi+cad
  • Example_012_cbi+cons
  • Example_013a_Listening_Diagram_Caplin

  1. These hybrid forms come from William Caplin (2013), Analyzing Classical Form.
  2. What is "compound" about the compound basic idea? It often functions as the basic idea of a large sentence, one that is sixteen measures in length, where the presentation is eight measures long and comprises 2 c.b.i. units. It's "compound" in the sense that these large basic ideas are themselves comprised of two units: a b.i. and a c.i.
  3. What is the difference between cadential idea and cadential ending? The cadential idea comes at the end of a continuation, and essentially the cadential ending is like the cadential idea being expanded to four measures and replacing the continuation. That means that "cadential" can occur at two formal levels: the idea level and the subphrase level.
  4. This can also occur in minor, of course, as Me-F-S-D.

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