III.

Characteristics of the Classical Style

The changes in musical language that characterized the classical style focused upon new approaches to melody and harmony. Baroque composers, for example, tended to place the principal melodic interest in the outer voices—that is, the lowest and the highest lines. In instrumental and voice music of the classical style, the prominent baroque bass line (see Basso Continuo) gives way to a bass line that is merely a support for the main melody in the uppermost voice.

A.

Melody

The organization of music into carefully articulated phrases that have clear beginnings and ends is an important characteristic of the classical style and contrasts with the continuity of melody in baroque compositions. During the baroque period the basic character of a movement (self-contained section) of music was always consistent: A single melodic subject was stated at the outset and then spun out and articulated through sequential repetition. Most of the melodies in classical music are made up of segments called phrases, which help to cultivate a sense of balance and proportion. An opening phrase of a classical piece generally is followed by a second phrase of the same length that seems to answer or complete the initial phrase, as in the familiar tune “Twinkle, twinkle, little star.”

Some melodies in music of the classical style are patterned after folk songs (see Folk Music), which usually have phrases of regular length. As compositions became more sophisticated in the late 18th century, the lengths of phrases varied. Mozart’s phrases are sometimes irregular in length, but they are very carefully proportioned to the needs of the composition.

B.

Rhythm

Rhythm in music of the baroque era often seems to propel itself evenly and continuously for long periods of time. In a classical work, however, the phrase structure punctuates the melody, resulting in much greater rhythmic variety. At times the rhythmic structure of a melody departs from the regular, repeated rhythm of an accompaniment, creating an interesting sound with two levels of rhythm. Contrasting rhythms and tempos often occur in a movement or short piece of music. Faster rhythmic motion for a first theme is often contrasted with slower motion for a second theme.

C.

Harmony

A system of harmony built on major and minor keys developed in the 17th century and was very important as the basis for baroque music. It becomes even more important in the classical style. The primary melody of classical compositions is generally supported, or harmonized, by chords. Sections and movements usually end with a cadence, or sequence of chords that produces a sense of completion or closure: for example, a perfect cadence, a progression from a dominant to a tonic chord, or a plagal cadence—that is, a progression from a subdominant to a tonic chord. Like the dominant and tonic chords, chords based on all other degrees of the scale had specific relationships to each other and they served different functions.

The process of changing from one key to another, known as modulation, remained a significant aspect of harmony in the later 18th century. Modulation was essential within compositions of moderate or long duration; harmonic variety through changes of key made a musical piece livelier and more interesting. The change of mode, from major to minor and vice versa, was very useful to classical composers. The character of the major mode and of music based on it is generally considered “bright,” while that of the minor mode has a more somber sound.