Beethoven examples for Caplin functions

Note: under "repetition of the basic idea," Caplin distinguishes three types: (1) exact, (2) statement-response, and (3) sequential. I would add (4) "varied" as an alternative to "exact" for cases of minor embellishment.

5-6, 7-8: Two-bar units within the second four bars (of eight) function in a variety of ways, including all those named above plus small model-sequence groups, fragmentation with or without sequence, cadential, and (rarely) new material.

1-4, 5-8: Four-bar units function in one of six classes:

My view is that the distinctions between "continuation," "continuation->cadential," and "cadential" lean too heavily in the direction of prioritizing harmony and, in any case, are often too fine to be all that useful. In teaching, I say that "cadential" means the cadential progression (which could mean an ECP with I6) starts in bar 5, "continuation->cadential" means it starts in bar 6, and "continuation" means bar 7.

1-8: Eight-bar units function in one of seven classes (I have added an eighth):

Caplin's seven classes make up the list of all the eight-bar functional units commonly found in the music of the Vienna School. Only three from all possible combinations of the four-bar units are missing: 1. presentation + consequent, which I have added because it is occasionally found in social dances: 2. presentation + cadential; and 3. compound basic idea ["weak antecedent"] + cadential. I will add 2 & 3 to the list if I ever find any instances of them in music.

GLOSSARY:

The examples below are all based on the first eight bars of Beethoven, 12 German Dances, WoO8, no. 2 (composed in 1795, about the same time as the Trios, Op. 1, and the Piano Sonatas, Op. 2). Beethoven's original is under c3 (period with a modulating consequent -- because the perfect authentic cadence is to V, not to I). I have composed a presentation and a compound basic idea ["weak antecedent"], building on Beethoven's basic idea (mm. 1-2), and I have also supplied new consequent, continuation, and cadential phrases. The consequent restates the basic idea literally, after which a cadence follows (c1 below). The continuation starts with a one-bar idea derived from the basic idea, applies sequence to it, then comes to a cadence (c2). The cadential phrase is very close to the continuation except that an unstable I6 already supports bar 5 and thus expands the cadential progression across the entire phrase (c5). All units are labelled to match the lists above.

Note that to make some of these combinations work correctly throughout the eight bars, you will have to delete the pickup note to bar 5.

c1. period