Abstract
This chapter’s focus is on hypermetrical irregularities caused by irregular phrases. It addresses five-, six-, and seven-measure phrases, considers their use as recommended by eighteenth-century music theorists, and discusses their subdivision into shorter segments. It then shifts to much longer phrases without subdivisions. While not recommended by theorists, such phrases were used by eighteenth-century composers. A series of analyses in the final part of the chapter illustrates Haydn’s use of irregular phrases and illuminates their formal implications in minuet movements of string quartets Op. 50 No. 3 and No. 4 and in the first movement of Op. 55 No. 2.
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