Definition
The Classical style (roughly 1750–1820: Haydn, Mozart, early Beethoven) is based on regular phrases (multiples of 2 and 4 bars), clear functional harmony (I, IV, V, ii6, cadences), accompanied melody, and forms built on thematic and tonal contrast. The theoretical structures (period, sentence, sonata form) are in the Form and Analysis lessons; here we describe how to write in this style, following the approach of Schoenberg (“Fundamentals of Musical Composition”), William Caplin (“Classical Form,” 1998), and Robert Gjerdingen (“Music in the Galant Style,” 2007).
1. The sentence: basic idea, repetition, continuation
Eight bars in C major:
- Bars 1–2, basic idea: a motif on I (C E G with a characteristic rhythm).
- Bars 3–4, repetition: the same motif on V (G7), or transposed.
- Bars 5–6, continuation: fragmentation (1-bar motifs), faster harmonic rhythm.
- Bars 7–8, cadence: ii6–V7–I (Dm/F – G7 – C) for a perfect cadence, or ending on V for a half cadence.
Famous example: Beethoven, Sonata Op. 2 No. 1 in F minor, bars 1–8.
2. The period: antecedent and consequent
- Antecedent (4 bars): basic idea (2) + contrasting idea (2), closing on V (half cadence).
- Consequent (4 bars): the same basic idea, closing on I (perfect authentic cadence).
Example: Mozart, Sonata in A major K. 331, the theme of the variations.
3. The accompaniment pattern
- Alberti bass: a broken chord low–high–middle–high in eighth or sixteenth notes (C G E G). Mozart, Sonata in C major K. 545, first movement.
- Repeated chords in eighth notes for the strings.
- Bass and chords (oom-pah) for minuets and dances.
4. Galant schemata (Gjerdingen)
Bass and melody formulas that eighteenth-century composers learned by heart:
- Romanesca: bass descending 1–7–6–3 (C–B–A–E) with harmonies I–V6–vi–iii6, melody in thirds or in contrary motion.
- Prinner: melody 6–5–4–3 (A–G–F–E) over a bass 4–3–2–1 (F–E–D–C): the typical “response” to an opening.
- Monte: ascending sequence V7/IV–IV, V7/V–V (C7–F, D7–G).
- Fonte: descending sequence V7/ii–ii, V7–I (A7–Dm, G7–C).
- Do-Re-Mi: melody 1–2–3 over I–V6–I (opening).
Combining them is the quickest way to get a “Mozartean” tune.
5. Development
In the development section of sonata form:
- fragmentation of the first theme (just the opening);
- sequences (Monte, Fonte, or by descending fifths: Am–Dm–G–C);
- modulations to related and more distant keys (vi, ii, iii; in minor, the relative major and the subdominant);
- imitative counterpoint between the voices;
- retransition: a long dominant pedal (G) that prepares the recapitulation in C.
6. Cadences and harmonic rhythm
- Slow harmonic rhythm at the start of a phrase (1 chord per bar), fast toward the cadence (2 per bar).
- Cadence with a cadential 6/4 (C/G–G7–C) before important closes.
- Half cadence on the dominant preceded by an augmented sixth (Ab–F#) in transitions.
7. The Classical orchestra
Strings as the base, 2 oboes or flutes, 2 bassoons, 2 horns, possibly 2 trumpets and timpani. First violins with the melody, second violins and violas with the accompaniment, cellos and double basses an octave apart on the bass. The winds double in the tuttis and sustain the harmonies.
Practical exercise
Write in C major: an 8-bar sentence with Alberti bass, then an 8-bar period that begins with a Do-Re-Mi and closes with a Prinner and a ii6–6/4–V7–I cadence. Then develop the basic idea over 12 bars with a Fonte, a modulation to A minor, and a dominant pedal.
Related topics
The Period, The Sentence, Sonata Form, Motif and Motivic Development, Cadences, Piano Accompaniment Patterns, Harmonic Sequences.