Parts I and II of this series introduced two Classical theme types: the sentence and the period. Basic knowledge of these two theme types will help with the present post, so I recommend reading those first.

A Frakentheme

It’s . . . it’s . . . ALIVE! But what is it? It’s not quite a sentence, but it’s not a period either. It’s some type of hybrid theme. That’s right, our third and final theme type combines elements of the sentence and the period together—a sort of Frankentheme. Before we consider this final theme type, a brief review of the sentence and the period will prove helpful. Since we’re here to listen, let’s review with a listening challenge.

To set up our challenge, sentence and period diagrams are provided below. Take a moment to refresh yourself on the elements comprising these distinct theme types. If the diagrams are new to you, I recommend checking out my previous posts on the sentence and the period before continuing on.

Two themes are presented below: one is a sentence; the other a period. Your job is to determine which is which. As usual, listen a few times until you’re satisfied with your answer.

Theme 1: Haydn, Symphony No. 100 in G (“Military”), iv (Sentence or Period?)

E.J. FarnsworthHaydn, Symphony No. 1…

Theme 2: Luigi Boccherini, String Quintet in E major, Op. 11, No. 5, iii (Sentence or Period?)

E.J. FarnsworthBoccherini, String Qu…

If you identified Theme 1 as a period, and Theme 2 as a sentence, you nailed it! If not, don’t worry, there’s a helpful tip in the next paragraph that even the great masters would’ve used.

Each theme (sentence and period) begins with a basic idea—a short, catchy bit of music. In a sentence, the basic idea immediately repeats, without intervening material. In a period, the basic idea is followed by a contrasting idea and then returns again to begin the consequent. So, if we focus on hearing a repetition versus return of the basic idea it’ll help us distinguish the sentence from the period.¹

Give the themes above another try, listening specifically for a repetition vs a return of the basic idea.

Take away: In a sentence, the basic idea repeats immediately; in a period, it returns after intervening material.

The Hybrid

This quick refresher has primed us for the main course: the hybrid theme. Put simply, the hybrid theme begins like a period and ends like a sentence. Let’s listen to a hybrid theme from Haydn’s Piano Sonata in C, H. 35, which begins like a period and ends like a sentence.

E.J. FarnsworthHaydn, Piano Sonata i…

Could you hear the theme as part period and part sentence? It’s a little tough on the first try, so don’t be discouraged. It began with the antecedent of a period: a basic idea followed by a contrasting idea and a weak cadence. Take a listen to this antecedent first half, using the diagram beneath the musical example as a guide:

E.J. FarnsworthHaydn, Piano Sonata I…

Following his period-like antecedent, Haydn continues with a sentence-like middle and ending section. In other words, he does not compose a consequent phrase like we would expect in a period theme—the basic idea never returns!

Haydn’s sentence-like middle and ending sections comprise short descending fragments and a strong cadence. Take a listen:

E.J. FarnsworthHaydn, Piano Sonata I…

Now listen to the entire theme once more, along with the complete listening diagram for the hybrid theme—part period, part sentence:

E.J. FarnsworthHaydn, Piano Sonata i…

Teasing Salieri

If you feel slightly overwhelmed by all terms and theme types in this post, don’t worry. We’ve covered a lot of ground. This section provides one more walk around the park, illustrating another example of each theme type: a sentence, a period, and a hybrid. What better way to cycle through these theme types again than with a little game I like to call Teasing Salieri.

If you’ve watched the film Amadeus this game might seem familiar. In an early scene from the film, Antonio Salieri composes a “March of Welcome” for Mozart who just arrived in Vienna. In truth, Salieri feels threatened by the young virtuoso and his “March” is a musical attempt to assert his domain. Herr Mozart quickly makes a fool of Salieri, however, by improvising a better version of the “March” on the spot. In the spirit of Mozart, we will tease Salieri by improvising our own versions of Salieri’s theme in just a moment.

First, let’s begin with the scene in question and identify the type of theme Salieri composed for his “March.” I’ll give you a hint: it isn’t a hybrid theme, so it’s either a sentence or a period.

(If you want to skip the dialogue in the scene and jump right to the music, begin at 7:30 in the video below)

If you heard Salieri’s theme as a sentence, you were as clever as Herr Mozart. I’ve provided the initial version of the theme below.

A Sentence by Signor Salieri

E.J. FarnsworthTeasing Salieri: A Se…

I’m going to break down the theme into it’s smaller elements, but if you’re confident with your answer, feel free to skip the next three musical examples.

Salieri’s sentence starts with a beginning section: a basic idea and a repetition of this basic idea a little lower, provided below.

E.J. FarnsworthSalieri's Sentence (B…

Next, he moves to a clumsy middle section—his fragments aren’t very clear and the harmony feels awkward. This is why Mozart says in the film clip, “That doesn’t really work does it.” Despite these deficiencies, here is Salieri’s middle section:

E.J. FarnsworthSalieri's Sentence (M…

Finally, Salieri’s ending section comprises a cadence:

E.J. FarnsworthSalieri's Sentence (E…

I recommend listening to the complete version of the theme a final time, focusing on these smaller elements.

Now, let’s tease Salieri! As a bit of fun, here’s an imaginary scene continuing from where the movie clip left off . . .

. . . Salieri’s chest swelled with embarrassment and anger. Mozart laughed obnoxiously, until having a wonderful realization: Salieri’s sentence would work even better as a period theme! Immediately Mozart’s mind went to work, restructuring the sentence into a period.

(Take a moment and think about what changes Mozart requires to transform a sentence into a period. To help you out, here are the diagrams:)

Mozart’s musical mind made quick work of the task: first, he decided to retain Salieri’s basic idea, but it would now occur at the beginning of the antecedent and consequence halves of his period; second, he imagined a newly-composed contrasting idea to follow the basic idea in the antecedent, ending with a weak cadence; finally, he determined how he would vary this contrasting idea in the consequent to end with a stronger cadence.

Having devised his improvisational strategy, Mozart hovered his nimble fingers above the keys. He turned his head and smirked at the despondent Salieri. Before Salieri could raise any objection, Mozart began to play.

A Period by Herr Mozart

E.J. FarnsworthTeasing Salieri: A Pe…

Mozart’s laughter echoed throughout the ornate room, ricocheting off the gold-gilded walls, before reaching the ears of a youthful onlooker who was peaking through a crack in the door.

“Why you!” Shouted Salieri at the young onlooker who was giggling gleefully along with Herr Mozart. “How’d you get in here, you little…”

“Now, now, Signor Salieri,” interrupted Mozart, “that’s no way to treat an admirer. The boy seems to quite enjoy your silly little theme. Don’t you . . . Herr?”

“Beethoven.” Said the boy, softly.

“Well, Herr Beethoven,” continued Mozart, “How old are you?”

“Thirteen, Herr Mozart.”

“Surely you must play some fortepiano then? Would you care to try out Signor Salieri’s theme?”

The boy was amazed—what an honor! His stubby little feet carried him quickly across the marble floor, and he crawled onto the fortepiano bench beside his idol, Herr Mozart.

“Go on, give it a try,” said Mozart with a smile.

The youthful Beethoven was overcome with nerves. There he sat, next to the great Wolfgang Amadeus Mozart. This was a chance like no other—he had to impress. He decided that merely repeating the theme would not do; he had to make it better—his own. The young boy’s mind went to work, transforming the theme from a period into a hybrid.

(How would the young Beethoven transform a period into a hybrid theme? To help you decide, here are the period and hybrid diagrams:)

Beethoven knew immediately that his version of the theme would be in a minor key, rather than a major key. He decided to keep the antecedent from Mozart’s period, which would sound even more impressive in a minor key. Next, he realized the antecedent should be followed by a middle and ending section, creating a sentence-like second half to his hybrid theme. He would begin this second half with some short ascending fragments and end with a monstrous cadence.

The little boy’s chubby fingers reached for the keyboard. He lowered his head, as though to pray—solemn and resolute. He took a sharp breath inward and pressed the keys with decisive determination.

A Hybrid Theme by Herr Beethoven (in a minor key)

E.J. FarnsworthTeasing Salieri: A Hy…

The room was enraptured. Salieri’s mouth was agape—this truly was the worst day of his life. After a moment of stunned silence, the group of listeners broke into thunderous applause, and the young Beethoven beamed with accomplishment. Mozart laughed so loudly that the strings of the fortepiano began to vibrate sympathetically.

“Well done, Herr Beethoven!” Exclaimed Mozart. “A theme fit for a symphony perhaps. Don’t you think it’s better this way, Signor Salieri?”

Salieri smiled begrudgingly, “Yes, a theme fit for symphony . . . or perhaps a requiem, Herr Mozart.”

A Closing Section

We have now learned how to listen to all three theme types composed by the Classical greats: the sentence, the period, and the hybrid. I’ve included additional listening challenges at the bottom of this page to practice hearing hybrids.

In the next post, we will consider how composers combine their themes together to form complete compositions. Often these compositions are in written as sonata form—but more on that next time.

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Three Listening Challenges

I thought we’d sample some music from the grown-up Beethoven for our listening challenges. Remember as you listen that a hybrid starts like a period (antecedent) and ends like a sentence (middle and ending sections). Once you hear these larger halves, listen again, focusing on the smaller musical elements.

Beethoven, Rondo for Piano in G, Op. 51, No. 2

E.J. FarnsworthBeethoven, Rondo For …

Beethoven, Piano Sonata in C minor (“Pathétique”), Op. 13, ii

E.J. FarnsworthBeethoven, Piano Sona…

Beethoven, Symphony No. 2 in D major, Op. 36, ii

(This one is a little tougher. Beethoven ends his antecedent with a descending lean-in that gently carries us into the sentence-like second half.)

E.J. FarnsworthBeethoven, Symphony N…

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