Chapter 11
Prelude: Music and
the Enlightenment
Style Features of
Classical Music
Key Terms
Classical style
“Natural”
“Pleasing variety”
Crescendo
Diminuendo
Classical orchestra
Tune
Homophony
Classical
counterpoint
Style Features of
Classical Music
Two central concepts—
• The “natural” & “pleasing variety”
They can work hand in hand; they can also
pull in opposite directions
• The “natural” can be too simple, even boring
• “Pleasing variety” can be an invitation to an
“unnatural” complexity
These qualities appear in all elements of
musical technique
Result was a new expressive quality
Rhythm (1)
“Pleasing variety” dominates here
• Decisive move away from unvarying Baroque
rhythms
Classical music highly flexible in rhythm
• Tempo & meter constant in each movement
• But rhythms of different themes differ in
obvious & subtle ways
Real contrasts become possible
• No longer just subtle differences
• New element of surprise
Rhythm (2)
Possible rhythmic “feels” include—
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Gradual increase or decrease in energy
Sudden contrasts
Sudden stops
Smooth continuous motion
Pressing forward by fits & starts
Classical rhythms differ from Baroque
• Less predictable, more interesting – more
exciting!
Dynamics
“Pleasing variety” dominates here
New precision in notating dynamics
• Wider dynamic range—ff, f, mf, mp, p, pp
New emphasis on gradations of volume
• No longer steady dynamics of the Baroque
• Development of crescendo & diminuendo
Demonstrated by piano’s rising popularity
• At first it was called a pianoforte (soft-loud)
• 1st keyboard instrument to produce variety of
dynamics via pressure of finger on key
Tone Color: The Orchestra (1)
“Pleasing variety” dominates here
Increasing attention given to tone color
• Seen in emergence of Classical orchestra
Strings still heart of Classical orchestra
• Four-part harmony the norm
• 1st & 2nd violins, violas, cellos, basses
 Basses double cellos an octave below
• Similar to basic Baroque orchestra
Tone Color: The Orchestra (2)
Woodwind & brass instruments given
regular, clearly defined roles
Woodwinds added in high & low ranges
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2 flutes, 2 oboes, (2 clarinets), 2 bassoons
Could play melodies or strengthen strings
Each instrument had its own distinctive color
Provided “pleasing variety”
Brass added in middle range
• 2 French horns, (2 trumpets)
• Provided solid harmonic support
Tone Color: The Orchestra (3)
Percussion also used
• 2 timpani the only regularly-used percussion
• Usually played along with brass for support
• Occasionally added bass drum, cymbal, &
triangle
Orchestra became the most subtle,
versatile “instrument” in Classical music
• Enormous variety possible in tone color,
rhythm, & dynamics
• Any effect possible from delicate to grand
Tone Color: The Orchestra (4)
Melody: Tunes (1)
The “natural” dominates here
Preference for simple, clear tunes
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Uncomplicated, singable melodies
Clear, memorable phrases
Simple patterns of repetition & contrast
Similar to melodies of popular & folk music
Many works use attractive phrases that
could easily grow into tunes
Others incorporate entire tunes
• Especially theme and variations works
Melody: Tunes (2)
Baroque melody now seemed “unnatural”
Classical audiences preferred clear, simple
tunes
Texture: Homophony (1)
The “natural” dominates here
A single melody dominates the texture
• Easy to tell which voice to follow!
Supported by simple accompaniment
• Provides harmonic support
• Without counterpoint or melodic bass line
Permits more flexible accompaniment
• Can quickly vary patterns & moods
• Often provides “pleasing variety”
Texture: Homophony (2)
Continuo fell out of use
• Improvised continuo chords unpredictable;
varied greatly from one performer to the next
• Classical composers wanted more control over
specific color & spacing of chords
New simplicity in melody & texture
• But also new subtlety in rhythm, harmony, &
accompaniment
Classical Counterpoint
Homophony was the dominant texture in
Classical music
• But polyphony was not totally abandoned
Complex contrapuntal textures offered
expressive possibilities
• Ideal for creating tension & intensity
• Provided effective contrast with homophony
Contrapuntal texture a frequent feature of
sonata form development sections
Baroque vs. Classical Style (1)
Repetitive, danceinfluenced rhythms
Only two dynamics–
p and f
Terraced dynamics,
loud or soft only
Same colors used
throughout
Basic or festive
orchestra
Flexible, constantly
changing rhythms
Many dynamics
used–from pp to ff
Dynamic gradations,
e.g. crescendo
Variety of colors
used in same piece
Larger orchestra
regularly uses brass
& winds
Baroque vs. Classical Style (2)
Complex, ornate
melodies
Unequal phraselengths
Polyphonic texture
Constant continuo
support
Homogeneous–
single “affect”
expressed in each
work
Clearly stated,
memorable tunes
Regular phraselengths
Homophonic texture
Constantly varied
accompaniment
Heterogeneous–
variety of feelings
expressed in a single
piece