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The Classical Period 61
were clearly written out. The string section itself was expanded, as was the wind section.
Woodwinds and brasses were normally written in pairs, and although the instrumentation
occasionally varied from the diagram below, the combination of flutes, oboes, clarinets,
bassoons, and sometimes horns and trumpets became the standard palette of timbres
for Classical composers. The brass instruments, along with timpani, were optional, and
were primarily used for emphasis, cadences, and punctuation of phrases. The woodwinds
lent harmonic and melodic support to the strings, with occasional, brief soloistic
passages.
Other orchestral instruments, such as the harp, trombones, and other percussion
instruments, were not used in symphonic writing during the Classical period. Those
instruments were sometimes used in operas, but would not be added to the standard
orchestra for symphonic compositions until the time of Beethoven, after 1800.
The Classical Orchestra
Approximately 25–39 players
Structure and Symmetry in Music
Strings Woodwinds Brass (optional) Percussion
4–8 1st Violins 2 Flutes 2 Horns Timpani
4–8 2nd Violins 2 Oboes 2 Trumpets
2–4 Violas 2 Clarinets
2–4 Cellos 2 Bassoons
1–2 String basses
Much of the emphasis in the Classical period centered on proportion, symmetry, and
logical structures in music. This emphasis has its roots in an attempt by Classical thinkers
and musicians to recapture the proportional symmetry of classical Greek and Roman
art and architecture. When applied to music, the need for symmetry rendered the earlier
forms such as the fugue and toccata basically useless, since these were relatively open,
free structures. In particular, musicians in the Classical period were enamored with the
three part structure containing statement, contrast, and restatement. This progression
serves as the root justification for many classical forms in music.
Normally, discussion of melodic structure and form is reserved for music theory
courses. However, a basic knowledge of how melodies are assembled will help the casual
music student realize the underlying inspirations for the larger forms that are discussed
in the Classical period.
At the smallest level, melodic ideas are built into phrases, which are roughly analogous
to a clause in grammar. Two phrases (or occasionally more) placed together form
a period, when the phrases work together to form a complete musical thought. Musicians
often chart melodic periods by using letters of the alphabet (A, B, C, etc.). Thus,
a graphical representation of a melody can be made with the aid of these letters, which
represent groups of phrases or periods in a song. The most basic song forms are twopart
form (A-B), called binary, and three-part form (A-B-A), called ternary. Ternary
form, as mentioned above, was particularly attractive to musicians of the time. The old
tune Twinkle, Twinkle, Little Star is a perfect example of ternary form. Both the melody
and the lyrics follow a symmetrical A-B-A pattern: