Construction of Simple Themes

How can we most easily organize the construction of classical music when teaching theory in piano classes NJ? A complete musical idea or theme is typically articulated as a period or a sentence. These usually appear in classical music as parts of larger forms (e.g. as A in the ABA form), but at times are independent (e.g. in strophic songs). All, however, center around a tonic and they have a definite ending.

In the simplest cases themes consist of an even number of measures, usually eight or a multiple of eight (i.e. 16 or, in very rapid tempos, even 32, where two or four measures are equal to the content of one). The distinction between the sentence and period lies in the treatment of the second phrase, and in the continuation after it.

Beginning of the Sentence. The construction of the beginning lays the groundwork for the construction of what follows. In its opening, a theme should clearly present (in addition to tonality, tempo and metre) its basic motive. An immediate repetition is simplest and is characteristic of the sentence structure.

If the beginning is a two-measure phrase, the continuation (m. 3 and 4) can be either an unvaried or a transposed repetition. Slight changes in melody or harmony can be made without obscuring the repetition.

Dominant Form: Repetition. A relationship between the first and second phrase can include tonic and dominant forms of repetition. In the repetition, the rhythm and melody are retained. A bit of contrast is introduced through the changed harmony and adaptation of the melody.

The tonic form can be based on I, I-V, I-V-I, I-IV or possibly I-II. In these cases the dominant form will contrast with the tonic form, as in V, V-I, V-I-V, V-I, V-I. An example of scheme I-V (tonic), V-I (dominant) can be found in Beethoven's works, the Piano Sonata, Op. 31/2-III (fou-measure phrases). The melody is modified only enough to conform with the harmony.

I will write more about the construction of simple themes in future blogs.

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