Some features of the Classical Style

    The links were  last checked on 16/01/06

General

It can be useful to look at the Classical style by comparing it to the Baroque. The emphasis is on grace and beauty of melody and form; proportion and balance, moderation and control; Classical music is usually polished and elegant. An understanding of Sonata Form is crucial, but it is not dealt with here.

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Harmony & Tonality    Melody    Texture   Rhythm
Dynamics, Expression, Mood    Form    Timbre and the Orchestra

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Harmony and Tonality

• diatonic harmony with a strong tonic-dominant relationship.
• frequent cadences and often-used formulae
• feminine cadences (see melody)
• occasional chromatic chords for dramatic purposes
• relatively slow speed of harmonic motion (rhythm)
• Extensive modulations to build longer arches of tension and release
• Borrowing one or two chords from the tonic minor key or modulating to the tonic minor (major-to-minor shift was typical of Mozart and Schubert and only used in Vienna)

Melody  Top of page

• shorter melodies than in the Baroque.
• periodic phrasing with frequent cadences and often-used formulae (see harmony)
• overlapping phrases
• antecedent/consequent phrasing
• feminine endings
• melody-dominated homophony (see texture)
• use of the appoggiatura (often chromatic)
• use of sequence for phrase extension and development
• 'decorative' and expressive use of melodic chromaticism (not affecting, but compensating for the underlying plain harmony.) In its simplest form, it occurs in unaccented passing or auxiliary notes.
• a singing, expressive style was sought by composers Empfindsamkeit
• "Rococo" melodies employ striking fragments which are clearly defined and which recur at various points. They impress themselves on the listener and become 'themes'.
• Classical melodies can contain complex ideas (sometimes) but they are self-contained. The musical thought is rounded and well-defined. A complete theme will contain motives which will be important during a movement.
• A theme can be modified without losing its identity. (Important in Sonata Form)
• Theme are often based on triads.
• clear articulation

Texture  Top of page

• melody-dominated homophony (melody plus accompaniment)
• polarisation of musical interest to the outer parts, but not in a contrapuntal fashion as in the Baroque period.
• light texture
• scalic and triadic figurations
• conscious repetition of accompaniment figuration to highlight a melody
• use of imitation is much less rugged than in the Baroque; free imitation/dialogue between parts

Rhythm  Top of page

• rhythmic patterns change frequently (in 'Empfindsamer Stil')
• Clear accents on the first beats of bars in Minuets (and other) movements.

Dynamics, Expression and Mood  Top of page

• use of crescendi and sforzando
• emphasis on subtle nuances or shadings (in 'Empfindsamer Stil')
• expression of a variety of sentiments in rapid succession within one movement (in 'Empfindsamer Stil') C.P.E. Bach's early sonatas display the Baroque notion that one emotion ('affection') should prevail.
• dynamics change frequently (in 'Empfindsamer Stil')
• Intense emotions are expressed in music showing 'Sturm und Drang' influence.
• Passionate, violent outbursts are found in music showing 'Sturm und Drang' influence.
• Use of dynamics and orchestral colour in a thematic way (Mannheim influence)

Form  Top of page

• If Baroque music is notable for its textural intricacy, the Classical music is characterized by a near-obsession with its structural clarity
• A clearly articulated structure exists in classical music.
• Predominant use of the sonata principle which provided musical drama (contrast-elaboration-reconciliation)

Timbre and the Orchestra  Top of page

• The Baroque orchestra had had a diverse make-up. A process of standardization took place in the mid- 18th century.
• oboes rarely independent in early classical music.
• variety in orchestral texture
• independence of orchestral sections
• woodwind becomes a self-contained section
• bassoon used in tenor register; hitherto they had doubled the cellos.
• double woodwind

Useful references

A History of Western Music - Grout
History of Music - Bennett
Sound Matters - Bowman & Cole

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