FORM IN MUSIC. 
 
 ^ 
 
 <5' /^r ^f 
 
 WITH SPECIAL REFERENCE 
 
 TO 
 
 THE BACH FUGUE 
 
 AND 
 
 THE BEETHOVEN SONATA. 
 
 BY 
 
 j. HUMFREY ANGER, 
 
 Mus. Bifc. Oxon., 
 Royal College of Organists, Examiner at Trinity 
 iTY, Professor of Harmony, Etc., at 
 oronto Conservatory of Music. ^ 
 
 4-3 
 
 ^•' 
 
 TORONTO, CANADA: 
 THE NORDHEIMER CO, 
 

CONTENTS. 
 
 Chaftkk. Page. 
 
 Preface ^ 
 
 I. Intuoduction 7 
 
 II. Thk Musical Sentence 12 
 
 III. Modulation and Key Relationship 31 
 
 IV. TuK Simple Binary and Simple Ternary Forms 34 
 
 V. The Ternary Proper Form 40 
 
 VI. The IloNi»o Element in Form 44 
 
 VII. The Sonata Form. (Modern Binary) 49 
 
 VIII. The Modifications of Sonata Form 68 
 
 IX. The Fantasia and the Air with Variations.. 62 
 
 X. The Fugue, including the Canon, and Fugal 
 
 Analysis 66 
 
 XI. The Cyclic Forms 79 
 
 XII. Ancient Forms More or Less Obsolete 84 
 
 Xrit. Form in Vocal Music Generally 90 
 
 APPENDIX. 
 
 A. Beethoven's Sonatas— Table Giving the Form . 
 
 Employed for Each Movement 96 
 
 B. Bach's Fugues— Table Showing the Okdkr of 
 
 Leads in Each Exposition 104 
 
 0. General Definitions 105 
 
 D. Examination Questions 117 
 
, - ~*- , 
 
 fl)^ ;;»■-«. 
 
 ,-V x'f--;.;5. :' 
 
 .",?..'(,.^*''Wi, - "(i 
 
 .*: I 
 
 --.n L-..:?'m. 
 
PREFACE. 
 
 The I pecial purpose of this little work is to place before the 
 Hfudent of music the subject of Rhythm, and its evolution into 
 Form in Composition, in as practical, and at the same time, in 
 as oncise a manner as possible. 
 
 With this object in view I have at the concirsion of each 
 chapter set a number of graduated exorcises, and have confired 
 my remarks almost entirely to the Forty-eight Preludes and 
 Fu;^ues of B.;ch, and to the pianoforte sonatas of Beethoven. 
 
 In a primer of this character it is not possible to enter over 
 minutely into details ; nor have I attempted to do so, but I 
 have devoted at least a chapter to each < f the arbitrary forms, 
 including the muaical sentence, which has been treated at some 
 length, and including also the fugue and fugal analysis, for a 
 detailed account of which the hapless student is only too often 
 referred to "another work by the same author." I have also 
 added a chapter on ancient forms, more or less obsolete, and 
 another upon form in vocal music. As an appendix, I have 
 given a table of the form employed by Beethoven in each 
 movement of the thirty-two Sonatas, and a table of the order of 
 leads in the exposition of each of Bach's Forty-eight Fugues. 
 I have also given brief definitions of over 200 terms applying 
 to form in composition. Moreover, for the sake of those 
 students who intend taking an examination in this subject, I 
 have included some fifty questions, taken from the examination 
 papers set durii\g the past three or four seasons at the Toronto 
 Conservatory of Music. 
 
 It is with a sense of considerable diffidence that I venture to 
 offer to the musical world yet another work on a subject upon 
 which so many excellent treatises have already been written. 
 
6 
 
 Preface. 
 
 To the authors of many of these, an(l especially to Mr. Kbe lezer 
 Prout, I feel that my acknowledgements are due, for I can 
 claim to say nothing new on a subject that, for the most part, 
 was old at the beginning of the present century ; I can only 
 claim the credit, in taking another picture of thin familiar sub- 
 ject, of having, perhaps, slightly changed the focus of the lens. 
 The student, about to commence the study of Form in Com- 
 position, should have a fair knowledge of Harmony and 
 Counterpoint, and an acquaintance with the outlines of the 
 History of Music. He should also have by him a copy of 
 Bach's Forty eight Preludes and Fugues (the Wohltemperirtes 
 Clavier), and of Beethoven's Pianoforte Sonatas. I have con- 
 fined my ex.imples exclusively to these two great works, (except 
 in the treatment of the musical sentence and in dealing with 
 form in vocal mus'c), not with the intention of limiting the 
 researches of the student, but for the sake of convenience in 
 the matter of reference, and under the conviction that a sound 
 knowledge of the Bach Fugue and the Beethoven Sonata is as 
 necessary to the student of mucic as a sound knowledge of the 
 Old and New Testaments is to the student of theology. 
 
 J. H. A. 
 
 Conservatory of Music, " 
 Toronto, Sept.. 1898. 
 
 :■; . !'. ♦. 
 
CHAPTER I. 
 
 INTRODUCTION. 
 
 Form may be defined as th^ plan, ot coustruction 
 employed in musical composition) It is, to use a 
 simile, the architecture of music. 
 
 Harmony and Counter[)oint may be likened to the 
 clay of the potter, while Form is the design of the 
 vessel into whicii it is moulded. 
 
 Just as time is the systematic grouping of notes in 
 a measure, so rhythm is the S3^stematic grouping of 
 measures in a sentence, and form is the systematic 
 grouping of sentences in a composition. 
 
 The period at which form first ))egan to be an 
 important factor in music appears to hav^e been about 
 the end of the sixteenth century, being contempor- 
 aneous with the establishment of the modern diatonic 
 scales, with the gradual growtli of harmony as a 
 sepMrate science from counterpoint, and with the rise 
 of the opera and the oratorio, all of which are the 
 direct results of the Renaissance, the period, there- 
 fore, in which modern nnisic liad its birth. 
 
 Prior to the Renaissance music was in the hands 
 of two very different types of men, viz., the u uificial 
 monastic musicians of the Belgian school, whose 
 compositions consisted of canons, simple fugues and 
 contrapuntal treatment of given themes ; and the 
 
$ Fcyirm in Music. ^ 
 
 ingenuous wandering; minstrels, whose melodies, 
 wliether composed to the regular metre of poetry, or 
 for the rhythmical figures of the dance, of necessity 
 possessed that symmetry of construction which has 
 already been given as a definition of rhythm. 
 
 It will therefore be seen that the first principles of 
 form may be traced to the influence of the medineval 
 bard, and ihis point is worthy of note, when it is 
 remembered to what an extent modern nnisic is 
 indebted to the foster care of the Church throughout 
 the dark ages. 
 
 With the close of the seventeenth century the 
 wandering minstrel gradually passes away ; " The 
 bigots of the iron time had called his liarmless art 
 a crime ; "* and in his place there arose a class of 
 musicians who devoted their life work to the develop- 
 ment of the art. Of these Purcell (1658-1695) in 
 England, Lulli (1633-1687) and Couperin (1668-1733) 
 in France, with Corelli (1653-1713) and the elder 
 Scarlatti (1659-1725) in Itp.ly, should be specially 
 remembered for advancing the cause of form in 
 composition, and, together with others of lesser 
 importance, for paving the way for the two great 
 German masters, J. S. Bach (^1685-1750) and G. F. 
 Handel (1685-1759), in whom the old contrapuntal 
 school of composition was finally consummated. 
 
 Joseph Haydn (1732-1809), the founder of the 
 
 modern orchestra, appreciating the want of a form, 
 
 J (other than the fugue), in which continuity of 
 
 • "Lay of the Last Minstrel." --Sco«. 
 
Introductimi, 9 
 
 movement .should be the clirtnicteriatic feature, and 
 I'ol lowing a HU^^gestion from the great Bach family, 
 evolved that which, from its frequent employment in 
 the sonata, is now generally known as the sonata 
 form. 
 
 Mozart (1756-1791) added to the artistic value of 
 this form ; and in Beethoven (1770-1827), not only 
 .sonata form, but also all form in composition was 
 brought to its highest perfection. - 
 
 During the present century all the greatest masters 
 of music, with perhaps one exception, have employed 
 sonata form time and again in their works, a further 
 t"Htimony, if any were needed, to its supreme fitness 
 as a channel for the expression of i.iusical thought. 
 Mendelssohn (1809-1847) may be especially remem- 
 bered for a studied Hr.ish in the matter of form 
 in hi.s compositions generally. Brahms (1833-1897) 
 alone, since the death of Beethoven, has intensified 
 the principles of form in music, by equalizing the 
 consistency of the composition throughout. 
 
 In the works of Richard Wagner (1813-1883), on 
 the other hand, form ])lays an altogether subservient 
 part. The prototype of a school which has been 
 called " the music of the future," he devoted his life 
 for the most part to the reform of the "opera ; and 
 claim* ng that music was but the handmaiden of 
 poetry, he refused to accept or to employ the set 
 forms of the older masters. His treatment of the 
 Leit- Motif (Leading Theme), is a noticeable feature 
 of his greater works, and these are justly held in the 
 
 ■» 
 
■7 
 
 10 Form in Munc. 
 
 liighest esteein. In the matter of abstract music, 
 however, he appears to realize the necessity of a 
 regular form. " I am afraid," he indeed confesses, " that 
 my scores will be of little. use to the composers of 
 instrumental music."* 
 
 Now it is in instrumental music especially that form 
 plays its most important part. In vocal music the 
 sentiment expressed in the words is not only of 
 primary importance, but it also somewhat nullifies 
 those corfsiderations of form which are the very 
 foundation of instrumental music. 
 
 The necessity for an arbitrary form in composition 
 will be seen, when it is considered that a composer 
 may err, on the one side, by the employment of too 
 many themes with too little repetition, or, on the other 
 side, by the employment of too few tliemes with too 
 Vt much repetition. Form, thei-efore, deals with the 
 |. judicious employment and repetition of themes in a 
 composition. 
 
 In the course of the development of form in com- 
 position, various arbitrary forms have from time ^o 
 time been employed. Some of these, such as the 
 I canon and fugue, have been in use since the early 
 ' days of the Belgian school, while others, especially 
 the mediae val dance forms, have gradually become 
 more or less"obsorete.' ~ 
 
 i The arbitrary forms employed by the greatest 
 
 * "Wagner," Dictionary of Music and Musicians.- Grow. 
 
Introduction. 11 
 
 masters of tlie eighteenth and nineteenth centuries 
 may be summarized as follows : — 
 
 1. Unitary form — the musical sentence. 
 
 2. Simple Binary and simple Ternary forms, 
 
 (sometimes called Song 'orm). 
 
 3. Ancient Binary forms, (now practically 
 
 obsolete), 
 
 4. Ternary proper form. 
 
 5. Various Rondo forms. 
 
 6. Sonata form, (also called Modern Binary 
 
 form). 
 
 7. The Fugue, including the Canon, etc. 
 To the above n^.ay be added : 
 
 The Theme with variations. 
 
 The Fantasia, etc. (compositions without 
 any definite form), and 
 
 / Certain modifications and combinations of the 
 
 various forms. 
 
 It will now be our task to examine the construction 
 of the above forms individually and to exemplify their 
 use in musical compositions. 
 
 References, except in the case of the musical 
 sentence, will be confined to the Forty-eight Preludes 
 and Fuf^ues of J. S. Bach, and to Beethoven's Piano- 
 forte Sonatas, in order that the student may become 
 thoroughly familiar with these two important works. 
 This accomplished, he will find but little difficulty in 
 analj^zing other compositions, and he will learn in 
 due course to appreciate the true artistic value of 
 that wealth of music which we have inherited from 
 all the great masters of the tonal art. 
 
CHAPTER II. 
 
 THE MUSICAL SENTENCE. 
 
 The initial stage in the composition of music is th^ 
 V invention of melodv. 
 
 Melody may be defined as a succession of single 
 musical sounds, varying in pitch, and arranged in 
 accordance with the laws of rhythm. 
 
 ; A melody, complete in itself, is called a melodic 
 sentence, and in combination with harmony, a 
 musical sentence. 
 
 The musical sentence may be of regular or irregular 
 construction. 
 
 
 Of the regular musical sentence there are three 
 varieties in ordinary use, viz.: 
 
 I. The Normal sentence — also called a Period — 
 
 -i^^ ~ of eigiit measures in length ; 
 
 .^ 2. The Binary sentence — containing two periods; 
 ^ "^ and 
 
 v 3. The Ternary sentence — containing three 
 ^^ -*•" Periods. 
 
 Bo ithoven, and other masters, have occasionally written a 
 sentence of four measures, but in all cases such a sentence will 
 be found to be in slow 4-4 time and for the purpose of analysis, 
 therefore, and indeed in effec'c, may be regarded as a normal 
 sentence of eight measures in 2-4 time. Thus the opening four 
 
 12 
 
I The Aluaical Sentence. 13 
 
 measures uf Beethovon's Sonata in E Flat, No. xiii.^ is such a '^ 
 sentence, and although written in (^ time (which, as it is an 
 Andante movement, may be ft printer's error) it must be re- 
 garded as consisting of eight measures of 2-4 time. Several 
 sentences immediately following are also similarly constructed. 
 The trio of the Marcia Fun^bre, Sonata No. xii., third move-j 
 mek>t also, contains some four- bar sentences. 
 
 On the other hand again there is the 32-bar sentence, an 
 example of which will be found in the first section of the 
 Scherzo in D (Allegro Vivace), Sonata No. xv., third move- 
 ment. In such a quick movement one beat only to each bar 
 would be practicable, and this, theoretically speaking, is not 
 possible as there would be no unaccented beats ; each measure 
 must therefore be regarded as half a measure, and the result 
 v^ill then be a regular binary sentence. 
 
 1 Such sentences as the above, however, are rarely employed 
 by the great composers, and the student may rest assured that 
 w, hen he has once grasped the principle upon which the ordinary 
 sentence is constructed that he will have littl ^ or no difficulty 
 iu analyzing sentences of an exceptional chara-i-er. 
 
 The period is in every case divisible into equal 
 portions, of four measures eacli, called phrases. 
 
 1 The phrase, (hence the expression "phrasing"), 
 \f< the guidingf principle of composition. 
 
 The phrase is sometimes divisible into equal 
 portions called strains ;f and the strain into equal 
 portions called motives;J but these subdivisions of the 
 musical sentence are not arbitrary. 
 
 A motive is of the same value as a measure but, it 
 
 * The editioli of Beuthoven'n Sonatas referred to throughout this 
 work id that by Agnes Zimmermann, Novello & Co. 
 t By some authorities termed "sections." 
 it Pronounced Moteeves. 
 
 \ 
 
 1 
 
 i 
 
14 F<yi^i\in Music. 
 
 usually commences with an unaccented beat, or even 
 with n fraction of o. beat. 
 
 An interesting analotry exists between the sister Hrts of 
 Poetrj ai)d Music ; the measure (or bar) in the latter is the 
 foot in the former ; while rhythm may be called the metre of 
 music. Poetic feet, such aa the Trochee ( — ^ ), the Iambus 
 ( <j — ), the Dactyl (— w ^ ), the AnHi)08t ( w w — ), etc., 
 may all be represented in musical notation. Such considera- 
 tions, however, are of no practical weij^ht with the composer, 
 and need not therefore be seriously regarded by the student of 
 composition. 
 
 As it is most important that the construction of 
 the musical sentence should be thoroughly under- 
 stood, it may be well to trace its growth upwards 
 from the embryo stage of the motive. f 
 
 The first consideration deals with tirne, of which 
 there ai-e two kinds, viz., duple and triple. In 
 duple time there are two beats, one accented and the 
 other non-accented ; in triple time there are three 
 beats, one accented and the others non-accented. 
 Now this Binary and Ternary element, it will be 
 seen, is the very essence of rhythm ; for just as tho 
 motive may contain either two or three beats, so the 
 strain may contain either two or three motives, th^ 
 phrase either two or three strains, the period either 
 two or three phrases, and the sentence (when not 
 normal) either two or three periods. The terms 
 binary and ternary, may, therefore, be applied no'.i 
 only to the musical sentence, but also to the period, 
 the phrase, the strain and even the motive. 
 
 These sections and sub-sections of the musical 
 
Tite Musical Sentence. , 15 
 
 sentence constitute that syiinnelry which pervades 
 the whole realm of music, and which has already 
 been given ^in other words) as the definition of 
 rhythm. 
 
 / When each period of the musical sentence is 
 divisible into phrases of equal lenjrth, the sentence 
 is said to be re^rula,-, when otherwise, it is said to be 
 irregular. : 
 
 / Irreirularity in the musical sentence when effec- 
 tively introduced is a hitrhly artistic device; /its 
 object is to avoid that mechanical rhythm which is 
 too fi-equently found in the works of a low order of 
 ►^ composers. 
 
 I ^ The following are the methods by which irregu- 
 larity is introduced into the musical sentence:— 
 
 1. By extending a phrase, ^J , < 
 
 2. By contracting a phrase, A^-'-^^-y^j^tw*^^ '• 
 
 3. By phrases overlapping one another, . , , 
 
 4. By adding a coda. 
 
 vThe extension of the binary and ternary phrase 
 
 results in what is connnonly called five-bar and 
 
 seven-bar rhythm, respectively ; the ternary phrase 
 
 \ itself is sometimes called six-bar rhythm. 
 
 \, The contracticm is of less importance than the 
 
 I extension of the phrase. The Anglican chant may 
 
 be mentioned as a notable example of a period (or 
 
 .sentence) containing a contracted phrase. 
 
 Overlapping is said to take place when the last 
 measure of a phi-a.se (or period) becomes also the first 
 lueasure of a new phrase (or period;. 
 
. 16' Forra in Music, ''y 
 
 y The coda, the simplest meth<^d of employinfr 
 irregularity in the musical sentence, is effected by 
 adding a motive, strain, or phrase at the end of a 
 regular sentence. 
 
 ^ Each section into which the musical sentence, 
 whether regular, or irregular, may be divided, must 
 conclude with a cadence. ' ;• 
 
 ^ A cadence consists of two chords, the second of 
 which usually appears upon the accented part of the 
 measure, and is generally of longer duration than the 
 first. ''"■'■'■''■ " ' '■ '"'■■' ' ■*■■■'- - '■- '- ^'-'-^ ■' " ■ '■-■''■■ 
 
 The cadences in ordinary use may be classified as 
 follows : — 
 
 1. Perfect — cadences ending with the Tonic 
 
 chord. 
 
 2. Imperfect — cadences ending with the Domi- 
 
 nant chord. I; 
 
 3. Deceptive — cadences ending with any other 
 
 chord. 
 
 The following examples of cadences should be 
 committed to iiiemo)y : — 
 
 Fig. 1. 
 ('0 (h) (c) (d) 
 
 I r I i r r . r 
 
 J t ' I » i- J J 
 
 .«<. .c- ^5). .(5*. .^. ^ .'y. .«?- 
 
 r r I 
 
The Musical Sentence. 17 
 
 i€) (f) (u) (h) 
 
 
 aiSipf^Spp 
 
 *': i^'.^^ ^- -J -^. fii I J 
 
 (fi- 
 r- 
 
 There are tw^ varieti^ of the perfect cadence, viz., the 
 Autjifiiitic, (Dominant to Tonic, see a), and the Plagal, (Sub- 
 Dolmiiant to Tpnic, see h). The Authentic, being employed so 
 much more frequently than the Plagal, has gradually become 
 known as the Perfect cadence ; the Plagal retaining its own 
 name. The terms, Auther tic and Plagal, are derived from, the 
 ecclesiastical modes of Gregory the Great, A.D., 600. 
 
 The Dominant chord in the Imperfect cadence may be pre- 
 ceded by any suitable chord, (see c & d). When preceded by a 
 cadential 6-4 it is frequently called a half-close, (see e), close 
 being synonymous with cadence. It was formerly a rule that 
 the last chord of a cadence should be a concord, modern com- 
 posers however frequently employ the Dominant seventh in the 
 imperfect cadence. 
 
 The perfect and imperfect cadences are so natural that other 
 cadencss appear, as it were, to deceive the ear, hence the term 
 Deceptive. The most important cadence in this class is when 
 the chord of the Dominant proceeds to the chord of the Sub- 
 mediant, (see / ). This is commonly called the interrupted 
 cadence ; other cadences in this class are usually called by the 
 name of their final chord, e.g., the sub-dominant cadence, (see 
 (/), the mediant cadence, (see h)^ etc. 
 
 When either of ihe chords forming a cadence are in other 
 than the root position, the cadence is said to be inverted. 
 
 The simplest use of the musical sentence in actual 
 composition is to be found in the single Anglican 
 
^-^ 
 
 18 Form in Music. 
 
 cliaiit, the construction of which may be seen in the 
 following blank rhythm : 
 
 Fig. 2. 
 
 l-^-Lhll-l--H-Lb-l 
 
 2 ' I--LLJ 
 
 a b 
 
 The notes bracketed together indicate the position of the 
 cadences ; at (a) any cadence may be employed, but at (6) the 
 cadence must be perfect. The notes at (*) are called recitation 
 no^^^es, and it ia usual to employ one chord only in these 
 measures. 
 
 ^ The single Anglican chant is an example of an 
 irregular normal sentence. The irregularity is to be 
 seen in the first phrase, w^hich is contracted to three 
 measures. ; '^ > 
 
 The brevity of the single Anglican chant allows of 
 but little opportunity for modulation, an<l when the 
 chant is continually repeated, as for example in the 
 singing of a long psalm, an unpleasant effect known 
 J as monotonous tonality is the result. To tins fact is 
 due the invention of the double Anglican chant, the 
 rhythm of which is just as long again as that of the 
 single chant, and the cadences, therefore, four in 
 number. The double Anglican chant is an example 
 of an irregular binary sentence. 
 
 Modulation in these chants is restricted to the 
 nearest related keys. It naturally occurs in the 
 middle of the the chant, in order that the original 
 key may be firmly established both at the beginning 
 and at the ending of the chant. 
 
 By changing the three-bar phrases of the double 
 
 \j 
 
 i 
 
The Muaical Sentence. Ill 
 
 Auj^lican chant into four-bar phrases, the sentence 
 
 becomes regular and is practically the rhythm of a 
 
 hymn tune. 
 
 The number of syllables in a line, and the number 
 
 of lines in a verse, constitute what is known as the 
 
 metre of a hymn. / The variety of metres is almost 
 
 innumerable, but the student should at least become 
 
 t'jiuiiliar with some of the commonest of them, such as 
 
 the Short metre, the Common metre and the Long 
 
 metre. / The rhythms of these metres may be 
 
 expressed as follows: * 
 
 Fig. 3. 
 S. M. (C.G.8.(5.) * 
 
 —isi-i of oi \ 6> 6> \ <9 a> \ t& M (^ \ <& <s> \ af-<» I (ails' 
 
 C. M. (8.6.8.0.) - 
 
 I J I *U-| J J \JJ I J II ^ I J J I ,J J j ^^ja 
 - J [J J I J J| J J I i II J\ J-^ I J J I .-|^ II 
 
 L. M. (8.8.8.8.) • 
 
 2 J |-JJ \J-J I J-J |J I J-|JJ.| J-J|J.J.|_J_|| 
 
 -J I J J I J J I J J I J II J I J J I J J.|J-i|-J I 
 
 * These figures refer to the number of syllables in each line. The 
 double btirs indicate the ends of the lines. Instead of the double bar 
 a pause is sometimeR employed. 
 
20 Form ill Music. 
 
 '■»■''■ , 
 
 Hymn tunes are often, and indeed j^enerally, written 
 in 4 2 time, or even 4-4 time ; they may then be regarded as 
 normal sentences, divided into phraneH, and the phrases sub- 
 divided into strains. In the majority of cases they commence 
 upon an unaccented beat, as in the above rhythms, yet the close 
 connection betweer the ordinary hymn tune and the double 
 Anglican chant, will at once be seen. 
 
 It is aot necessary here to enter more deeply into the sub 
 ject, the student desirous of further information should' 
 examine a hymn book. IntereHting articles on the Chant, the 
 Hymn Tune and the Chorale, will be found in Ciroves' 
 Dictionary of Music and Musicians, in Stainer and Barrett's 
 Dictionary of Musical terms, and in other kindred works. 
 
 The hymn tune has its counterpart in secular music 
 in the Folk-son^ and Ballad, the rhythms in some 
 cases being exactly the same. This will be plainly 
 seen by comparing the following well-known melody 
 with the long metre rhythm as given above. 
 
 Bluo Bells ot Scotland. 
 
 
* The Musical Sentence. ' 81 
 
 In this melody the' first, second and fourth phrases are the 
 Hanie (each concluding with a perfect cadence in the Tonic), 
 while the third, as a relief phrase, contains a modulation to the 
 Dominant. This plan of construction was frequently adopted 
 by the niedituval musicians, and it is interesting Us rote in pas- 
 sing that from this germ has sprung the principle upon which 
 the greatest of all forms in music, viz. : sonata form, is based. 
 
 The student should now refer to his Beethoven 
 Sonatas, and examine the following musical sentences : 
 
 1. Sonata VIII. — 2* measures 1-8, regular 
 
 Normal sentence. 
 
 2. Sonata V. — 2, measures 1-16, re^jjular Binary 
 
 sentence. 
 
 3. Sonata XVI. — 3, measures 1-25, regular Ter- 
 
 nary sentence. 
 
 4. Sonata III. — 2, measures 1-11, irregular Nor- 
 
 mal sentence. 
 
 5. Sonata II. — 2, measures 1-19, irregular I 
 
 Binary sentence. • ^ 
 
 6. Sonata IV.— 2, measures 1-24, n-regular 
 
 Ternary sentence. 
 
 There should be no ditticulty in analyzing the regular sen- 
 tences (1) and (2) ; in (3) the melody of the third period is in the 
 bass stave ; (4) after regulmity for eight bars, there are two 
 measures added as coda, the sentence ending at the first beat 
 of measure 11 ; (5) is regular for three phrases, the fourth, 
 however, is extended by the twice repeated motive in measure 
 14, into a seven-bar phrase ; (6) although twenty-four measures 
 
 • The Roman numeral refers to the number of the sonata, and the 
 Arabic to the movement. In numbering the measures every bar line is 
 counted whether single or double. 
 
%% ,96Tm in Music. 
 
 in length, is really very irregular, the second period being con- 
 tracted to six measures, while the third is extended to ten. 
 
 As an interesting example of a sentence in which the three- 
 bar strain plays an important part, the Allegro in A flat, Sonata 
 xii.-4, measures 1-29, may be mentioned, which may be thus 
 analyzed : 
 
 Period I., of 12 measures, divisible into two six-bar phrases, 
 and each phrase subdivisible into two three-bar strains. 
 
 Periods II. and III,, each divisible into two four-bar phrases, 
 the fore-phrase of each being sul>divisible into two two-bar 
 strains. Period III., is a varied repetition of Period II. The 
 sentence as a whole, therefore, is of binary form, though of 
 ternary effect, and indeed may be regarded as being either 
 regular or irregular in construction. 
 
 ^ Compositions, consisting of ono musical sentence 
 
 only, such as chants, hymn tunes, ballad melodies, 
 
 etc., are said to be in unitary form. 
 
 ■ I 
 
 The plan adopted by Sir John Stainer \v his 
 primer "Composition" of cloJiing blank rhyt ims 
 with melody has proved to be excellent. It not only 
 offers the student a thorough insight into the 
 rhythmical construction of the musical sentence, but 
 it is also in itself an incentive to the composition of 
 original melodies. 
 
 To assist the student in working exercises of this 
 character, we will clothe the following blank rhythm 
 with melody and harmony : — 
 Fig. 5. . A Folksong rliythni. 
 
 ^ # • 0^d'0 0A40h-0\0-0 0A-^-0-0l0^ 0-\ 
 
 ^r.\.-i.\j,n\.zi-i\ 
 
The Musical Sentence. 28 
 
 There aro here ton niea.sure« ; it is, therefore, an 
 irreguhir normal sentence, or an extended period. 
 The Heotions will naturally consist of two phrases, 
 each divisible into two strains, and an additional 
 strain as a coda. These sections sliould now be 
 shewn with tlie usual ])hrase marks as follows : — 
 
 Fig. «. 
 
 
 I ' I J I I I i 
 
 _i I i_Lj 
 
 
 b 
 
 n ;. 
 j" • 
 
 ♦ ■ . 
 
 1 
 
 
 " ;", 
 
 1 1 
 
 ■ • ' ■ 
 
 
 The sijuare brackets below the rh^'thni refer to the 
 cadences. At (a) a half-close might be employed ; 
 at (b) an imperfect cadence or a modulation to the 
 Dominant; at (c) a?iother half-close or an interrupted 
 cadence ; at {d) a perfect ; and at (e) of course a 
 perfect cadence. 
 
 Having decided upon the cadences, and having 
 chosen a key, the student should have but little diffi- 
 culty in adding a melody after the following manner: 
 
 Fig. 7. ^_ 
 
 .(2 J 
 
 E:3:a: 
 
 
 -^ 
 
 :»: 
 
 y^ j^ T 
 
 v-«.>.' 
 
84 
 
 Form in Jlkfme. 
 
 «|^-i_*-:fe^i 
 
 r 
 
 — .^ — r 
 
 mm 
 
 t |^ — — ^^j-^^z^zzrizLzl^— zzzgjFp^^.-^ 
 
 The task of the student of form ends at this stage, 
 though he may, and of coarse, should, complete the 
 sentence with four-part harmony throaghout, after 
 this manner : — 
 
 >%& 
 
 
 ^5 4 
 
 •-jz 
 
 I 
 
 ^ J r_ 
 
 
 
 
The MuMiad Senitnee, 
 
 I < ■ I r 1^ *" 
 
 .^- 
 
 » i 
 
 
 
 P 
 
 
 ■s-— 
 
 AnoUier setting of tne sarae rhythm. 
 I^ 9. 
 
 i^ 
 
 
 E >. 
 
 i^: 
 
 
 i^^ic^irE^ii 
 
 
 -!9" -^- -#• 
 
 
 2 ^ : 
 
 
26 - Form in MfjLsic. 
 
 -i 
 
 
 :^ 
 
 II i I 
 
 The student should compose the melodies of chants, 
 hymn tunes and ballads, in both major and minor 
 keys, and at least harmonize the cadences for four 
 voices. 
 
 Name the following musical sentences from 
 Beethoven's Sonatas : — 
 
 1. Sonata IV. — 4, Hondo in E flat, measures 
 
 1-17. 
 
 2. Sonata Vt — 2, Allegretto in F minor, meas- 
 
 sures 1-9. 
 
 3. Sonata X. — 3, Scherzo in G, measures 1-23. 
 
 4 Sonatp XI. — 2, Adagio in E flat, measures 
 1-12. 
 
 5. Sonata XL — 4, Rondo in B flat, measures 
 
 1-19. 
 
 6. Sonata XIII.— 4, Allegro vivace in E flat, 
 
 measures 1-25. 
 
 Clothe the- following rhythms with melodies, 
 harmonize the cadences, introduce modulations to 
 nearly related keys, and ve the name of each 
 sentence. 
 
I The Mumcal Sentence. 27 
 
 Each rhythm may be worked in two or three ditfer- 
 ^ eiit ways, and in either major or minor keys. 
 
 1. 
 
 2 j- 
 4 
 
 (^ 
 
 r- 
 
 2. 
 
 4 ' i ^ 'I ff-^ M U 1 I I i.i I : I Ji J j J t 
 
 
 3. 
 
 3.j|...h-;|J4^ 
 
 I 
 
 . ' ' ; i I * I, 
 —•l-d- -•--<«'- ^--<$^- 
 
 t I 
 
 Ml I ri 1 ' I i . I 
 
 3 j-i ^ J J-| ^ J(^ j_|:ig |.^- j-| ^ -J |/ 
 
 4 
 
 I 
 
 2 
 
 -<» J JlJ-'^^l^ J\ah-^\t9-^S^\<&^\^(S^ 
 
 1-1 ! ■ M ^ i 
 
 .7 
 
Form in Music. 
 
 5. 
 
 _^_ ^_J, -^-« #• # #^ 
 
 
 i M l| 
 • # # # 
 
 'I ^ ' J J 
 
 -<5> /9-\-f9— 
 
 b\ 
 
 6. 
 
 N ,-" 
 
 1 Li r? L 
 
 ^ 
 • 
 
 &-0 •-• 
 
 s 
 
 ^ ^—0^-0 
 
 ■\ 
 
 & '' 
 
 I 
 
 '"'i J ^ I TT2 - . 2 
 
 8 
 
 I J I 
 
 ! M 
 
 I I I 
 
 1 I J 'J 
 
 
 ==;- 
 
 8. 
 
 4 
 4 
 
 -Ul 
 
 ^J 
 
 i " J J I J 
 
 > i 
 
 \.^. 
 
 I I I 
 
 —^0—0 
 
The Musical- Sentence. 
 
 29 
 
 9. 
 
 ^ 
 
 2j^U^-l^-^k* 
 
 I 
 
 H^l 
 
 
 \ I 
 
 rN 
 
 -*-*•- 1 «» « «' . 
 
 /^ 
 
 i ; -B * ^ * -^.* -*-^ *^- *-* 
 
 ! 1 
 
 -i»-\-rj \ ^ 
 
 ^ \ <& ^ \ ^-\-<^ 
 
 o 
 
 
 I 
 
 11. 
 
 2_. " 
 
 ^ I o 
 
 ,_^ I ^ ^ o 
 
 ^ -5* I -5* '^ 
 
 |,-1 
 
 — -'^ 
 
 -■-^ I O 
 
 <^\r^~^\-& 
 
 ^ I (?/ -« 
 
 , -^ 1 ^^ -O- 
 
 J\-^-J \^ 
 
 \ 
 
 1 » 
 
 I 
 
 «i U6»- -tf' 
 
 <: I I 
 
 -• d-^ -^ 'S'- 
 
 J|-«-l 
 
 ^-6, I ^- 
 
 J IJ-^-l-^ J-i— I 
 
30 Form in Music. 
 
 12. 
 
 I 
 
 --fi'fi' I «^-#i ^- «*!-«» I ^ I »-<^ I <si- €> \ » •-«» 
 
 J- «• I 
 
 a^-<S>-\ ^-iS' \ ^ 1---^ h«>-,* I «*-«5'-l-#-#-«5^-| ^ -• 
 
 <5> 
 
 l_<5i- I .-^ l_^ ^_j .5, _^ I <»— * I 
 
 iM t I I i| I I I ' It I l| I ) 
 
 ! 'I I ii I ' I 
 
 -^^—^ I -5* «• I •— • '5'— 
 
 15,—: 
 
 N.B. — The above exercises will occupy the attention of the 
 student for some time. They may be supplemented by others 
 of a similar character at the discretion of the teacher. The 
 student, in the meantime, may proceed to the subject of form 
 proper, and continue to work exercises on rhythm in conjunc- 
 tion with the analysis of compositions. It is only too often a 
 matter of regret that even advanced students, who can name 
 the form of any movement in Beethoven, or analyze the con- 
 struction of a fu^ue by Bach, find that they have not yet 
 grasped the true principles of rhythm, and perhaps have even 
 forgotten what little they have read on the subject By pursu- 
 ing the plan here suggested it is hoped that the student will 
 master, or^ce and for all, this very important branch of the 
 subject, which is indeed the foundation of all form in musical 
 composition. 
 
CHAPTER III. 
 
 MODULATION AND KEY RELATIONSHIP. 
 
 By inodulatioii is understood change of key. When 
 a musical composition is said to be in a certain key, 
 it is underatood that it begins and ends in that key. 
 It must not l)e supposed, liowever, that it remains in 
 that key throughout. There will be one change, and 
 perhaps several changes, of key, in the course of the 
 piece; unless indeed it be an example of unitary 
 form, that is to say, a single musical sentence, in 
 which case, as has already been said, modulation may, 
 or may not, take place. 
 
 The special object of modulation is to avoid mono- 
 tonous tonality./ Too much prominence to the 
 original key, on the one hand, and an ever restless 
 change of key, on the other, are the two evils of 
 which the composer must ever beware. 
 
 When it is remembered that the major diatonic 
 scale is made up of two tetrachords, and that each of 
 these tetrachords belongs also to another major scale, 
 it will readily be understood that a certain degree of 
 relationship exists between the scal-s to which the 
 tetrachords are common. Take, for example, the 
 scale of C Major, the lower tetrachord 
 
 Fig. 11. 
 
 25 — <* 
 
 31 
 
 ^1 
 

 A 
 
 32 Form in Mumc. 
 
 belongs also to the scale of F Major, and the upper 
 tetrachord 
 
 Fig. 12. 
 
 s 
 
 I 
 
 «. — a 
 
 — -^ — Q.. 
 
 I 
 
 to the scale of G Major, hence the keys of F and G 
 Major are said to be closely related to the key of C. 
 
 Furthermore, every major scale has a relati\e 
 minor in close relation also with it, so that there aie 
 in all five keys closely related to the given key of ( ■, 
 viz., A minor, G major, E minor, F major and D 
 minor. i 
 
 It may also be said that there are five keys I 
 similarly related to any given minor key. m 
 
 These attendant keys, as they are called, may be 
 generalized for any given major or minor keys, thus : 
 
 The given key, its relative ; 
 The Dominant and its relative ; 
 The Sub-dominant and its relative. 
 
 Attendant keys are also called keys of first rela- 
 tionship, in order to distinguish them from certain 
 key.= known as keys of second relationship. 
 
 The keys in second relationship to the key of C • 
 major are : E major, E flat major, A major, A flat : 
 major, C minor and F minor ; while those in second i 
 relationship to the key of C minor are, C major and I 
 G major only.* The student should have but little 
 diflftculty in naming the keys in second relationship '■ 
 
 to any other given keys. 
 
 _ j 
 
 * From " Musical Form." E. Prout. • \ 
 
i(m^mi 
 
 Modal at i(mTma Key Relationship. 33 
 
 Modulation to an attendant key ia called natural 
 modulation, and to any other key extraneous modu- 
 lation. 
 
 All keys other than those of first and second rela- 
 tionship are calle ] foreii^n. 
 
 Tr, .nsition is a term almost synonymous with 
 modulation. It is employed in reference to an abrupt 
 and brief change of key. • 
 
 In short compositions modulation is naturally 
 restricted to nearly related keys. In longer works 
 more distant kevs are introduced, while in the 
 greatest masterpieces there would appear to be 
 practically no limit to the modulations, provided they 
 were introduced in accordance with the laws of 
 form.* 
 
 Exercises — 
 
 Name the attendant keys of D major, 13 minor, B 
 fiat major and J^ fiat minor. 
 
 Name the keys in second relationship with A D 
 ujajor, A minor, E flat major and 2 flat minor. 
 
 Analyze the key tonality of the second movement 
 of Sonata No. 2, Beethoven. 
 
 State what foreign key is prominently introduced 
 into the first movement of Sonata No. 3, Beethoven. 
 
 * Chopin's Nocturne in G major. Opus 37 No. 2, is remarkable in this 
 respect, for every major key is introduced in the course of this compara- 
 tively .short composition. 
 
 ■ii 
 
CHAPTER IV. 
 
 THE SIMPLE BINARY AND SIMPLE 
 TERNARY FORMS. 
 
 By some aiithoriticH the simple binary and ternary 
 forms are included in the term " song-form," on the 
 ground that they are derived from the inediffival folk- 
 song ; but since their origin may also be traced to the 
 influence of the mediaeval dance, they might equally 
 well be called " dance-form," or perhaps even more 
 justly, the " song and dance form." 
 
 The terms binary and ternary, however, are used 
 by the more recent authorities and they have at least 
 the advantage of conveying a definite meaning. 
 ^ By simple binary form is understood a composition 
 consisting of two musical sentences, and by simple 
 ternary, one consisting of three musical sentences. 
 
 The construction of these forms will be seen from 
 the following tables : — 
 
 \ 
 
 iy '' 
 
 I 8IMFLE BINARY FOK^. I 
 
 Sentence A. 
 
 Ending either in the Tonic or 
 a nearly related key.^ 
 
 Sentence B. 
 
 Ending in the Tonic k«^v. 
 
 (Coda). 
 
 34 
 
 i 
 
 ■te 
 
The Simple Binary and Simple Tei^nary Forms. 36 
 
 The sentenceH are UHually Heparated by a double 
 bar, and either or botli of th(un may be repeated. 
 Senteuce B is often considerably extended. 
 
 SIMPLE TERNARY FORM. 
 
 SentencK A. 
 
 IlndiiiK in the Tunic 
 key. 
 
 Senlencp B. 
 
 In a nearly related 
 key. 
 
 ikntence C. 
 
 / 
 
 Ending in the Tonic 
 key. (Coda), 
 
 The second sentence should be of a contrasted 
 character with the first; the third sentence is usually 
 a repetition of the lirst ; it is, howevei*, sometimes 
 varied. 
 
 4 The sentences in both forms may be either normal, 
 binary or ternary, and may, of course, be regular or 
 irrej^ular. 
 
 Many binary compositions are constructed upon a ternary 
 basis. If, however, there be a double bar dividing the move- 
 ment into two parts— either or both of the parts being repeated 
 — the composition in all cases is said to be in binary form. 
 
 The coda is left to the discretion of the composer ; 
 modern composers frequently employ an introduction 
 also. 
 
 - Modulation in these forms is an important feature. 
 After the Tonic key has been established, one chang;e 
 of key should at least be made, after wliich it is 
 necessary to return to and conclude in the Tonic. 
 
 A notable exception, to this rule will be found in the Min- 
 uetto, Sonata No. 18, where no modulation occurs, and even 
 
36 
 
 Fffrni in Masic. 
 
 the Trio, though there is a modulation to the Dominant, is in 
 the Tonic key. 
 
 ^ The Hiinplc forms are employed for Minuets. 
 ScherzoH and their trios, and for simple i^ongs and 
 instrumental compositions of a slow character. 
 
 Analysis of movements in 
 
 V THE SIMPLE FORMS. 
 
 I. Scherzo in A — Sonata 1I.-3, Beethoven. 
 
 HIMPLE BINARY FORM. 
 
 ifentence A. 
 
 Sentence B. 
 
 • 
 
 Normal : 
 
 Measures, 1 9. \ 
 
 Irregular Ternary : 
 Period (A) 10-21, 
 Period (B) 21-33, 
 Period (C) 3:J-42, 
 Coda 42 to end. 
 
 Each part is repealed. 
 
 II. Andante in A Hat, Sonata XII.- 1, 
 
 SIMPLE BINARY FORM. 
 
 Sentence A. 
 
 Regular Binary : 
 
 Period (A) 1-9, ending with 
 
 imperfect cadence. 
 Period (B) 9-17, ending in 
 
 the Tonic. 
 
 Stntence B. 
 
 Irre^^ular Binary : 
 Period (C) 17-27, in nearly 
 related keys, ending in 
 the Dominant. 
 Period (D) 27-36, repetition 
 of Period (B). 
 
 iii 
 
The Simple lUntiri/ (ind iSinipfe Ternary Fornix. 37 
 
 Period {C) in diviBible into two phniHcs, the first 
 of which is Hub-divisil»le into two Htrains, wJiile tlie 
 Hecond is extended into a six-bar phrase by a caden- 
 tial repetition. 
 
 9 
 
 a 
 
 u 
 O 
 
 u 
 
 "s 
 
 a 
 
 s 
 
 c 
 
 .a 
 
 49 
 
 a 
 o 
 
 s 
 kl 
 
 OQ 
 
 a 
 o 
 u 
 
 s 
 
 s 
 
 a 
 a 
 
 9 
 
 (/5 
 
 o 
 
 tf 
 
 ■^ 
 SQ 
 
 At 
 
 i 
 
 I 
 
 0L4 
 
 
 •c 
 
 (9 
 
 00 
 
 (0 
 
 QO 
 
 Oh 
 
 £ 
 
 Oh 
 
 i 
 
 s 
 
 - -? - 
 
 ..3 <» 
 
 -? - 
 
 # 
 (w 
 
 
 3> 
 
 .09 
 
 CO 
 
 + 
 
 J3 
 Pb, 
 
38 Form in Musi^. 
 
 m. Adagio con espressione in A flat, Sonata XIII.-3. 
 
 8IMPLK T^RJjTAKY FOBM. 
 
 Sentence A. 
 
 Sentence B. 
 
 Sentence C. 
 
 Normal 1-8, ending j 
 with an imperfect 
 cadence. 
 
 iL 
 
 Episodal 9-16, 
 ending in the 
 Dominant. 
 
 Repetition of A, 
 varied, 17-24, end- 
 ing in the Tonic. 
 
 Measures 24—26 form a link connecting this movement with 
 the ** All^To vivace." 
 
 IV. Marcia Fuuebre in A flat minor (first part). 
 
 Sonata Xlll.a ^.i^.^d-4^rf: 
 
 SIMPLE TERNARY FORM. 
 
 Sentence A. 
 
 Normal 1-9, ending 
 in the relative 
 major. 
 
 Sentence B. 
 
 Normal 917, fol- 
 lowed by a link, 
 17-21 euaing in 
 the Dominant. 
 
 Sentence C. 
 
 Irregular Normal 
 22-31 , extension of 
 sentence .\, end- 
 ing in the Tonic. 
 
 The trio of this march is in simple binary form, each sen- 
 tence consisting of four bars, see page 13. After the trio the 
 first part of the march is repeated, and a Coda is added ei^dii^ 
 with the Tonic major chord— the Ttere« de Picsrdie. ^ ^ y^ , 
 
 Exercises, 
 
 K^ 
 
 . V 
 
 \" 
 
 I. Analyze the following movements in simple 
 binary form : 
 
 \ 
 
The Simple Binary and Simple Ternary Forms. 39 
 
 1. Minuet in F minor, Sonata,J.-3. 
 ^ k Scherzo in C, Sonata 111.-3. 
 ^ 3. Allegro in E flat, Sonata IV.-3. 
 11. Analyze the following movements in simple 
 ternary form : 
 
 > 1. Andante in G minor. Sonata XXV.-2. 
 1^ 2. Acfegio in F, Sonata L-2. 
 i^ 3. Allegretto in E minor, Sonata 0:.-2. 
 
 III. Analyze and name the form of the following 
 
 movements : 
 
 VI- Largo in C. Sonata IV.-2. 
 ,2. Minuet in B flat. Sonata XI.-3. 
 3 Fifth Variation, Sonata XII.-l. 
 " 4^ Minuet in G. Sonata XX.-2. The first part 
 
 5. Y,W in G. Sonata XXV.-S. The first part 
 
 only. vvYT Q ^ 
 
 6. Adagio in A flat minor, Sonata XXXl.-^. ^ 
 
 u 
 
 [\ 
 
CHAPTER V. 
 
 THE TERNARY PROPER FORM. 
 
 J Teunary proper is the name applied tx) a coiiiposi- 
 tiou in three in dividual p arja, each, as a rule, 
 complete in itself, f It is perhaps the most popular of 
 all the greater forms, for it is not only employed, 
 almost without exception, for the great bulk of 
 so-called drawinj^-room music, but it has also i*eceived 
 the stump of approval from the greatest composers. 
 
 The construction of this form will be seen from the following 
 table : 
 
 TERNARY PROPER FORM. 
 
 Vnri /. 
 
 In one of the 
 simple forms begin- 
 liig and ending in 
 the Tonic key. 
 
 Fi,H II r. 
 
 In a nearly re- 
 lated key, usually 
 in a simple form, 
 sometimes of a fan- 
 tasia character. 
 
 A repetition of 
 the whole, or part, 
 of Part I. 
 
 (Coda). 
 
 \ 
 
 "^ Part II. is sometimes, but very rarely, in the same 
 key as Part L, e.g. Beethoven's Sonatas XIV.-2, and 
 XVIII.-3. By fantasia character is underetood 
 music without any definite form. The term usu- 
 ally applies to a development of previously heard 
 
 40 
 
 \* 
 
The Ternary Proper Form. 41 
 
 themes in nearly related keys. Part II. frequently 
 concludes with a passage ending with a chord of the 
 dominant of the original key. 
 
 Part III. sometimes consists of a new movement, in 
 the original key, founded on previously heard themes. 
 
 ■5 The second part of ternary proper form is often called a trio, 
 as has already t)een seen in the case of the minuet. Many 
 compositions in this form contain a second, and sometimes even 
 a third trio. It is r rule in such cases that the drst sentence of 
 the first {)art, now called the original subject, shall be heard in 
 the Tonic key after each trio. The trios should be of a con- 
 tr>isted character with one another, not onl} iu the nature of 
 their themev, but also in the matter of key relationship. 
 J When there are two or more trios, the form may be called 
 compound ternary ; and the student will see in due course that 
 a close relationship exists between this and the Rondo form to 
 be considered in the next chapter. 
 
 The word trio formerly implied that the section was written 
 in three-part harmony ; the word is still in use, but the style 
 is now left to the discretion of the composer. It is worthy of 
 note that Beethoven does not employ the ternary proper form 
 after Sonata No. xv., until Sonata No. xxviii.,- except in the 
 case of Rondos. 
 
 Ternary proper form is employed for minuets and 
 trios, for scherzos and trios, and^for marches, waltzes, 
 etc. In fact it may be said for all compositions 
 deiived from the influence of the dance, and for the 
 vast majority of single numhers, both vocal and 
 instrumental. 
 
4^ 
 
 Fonn in Music 
 
 I Analysis of movements in 
 
 V 
 
 TERN\ARY_PROPER FORIL^ 
 
 I. Minuets and trios, and scherzos and trios, gener- 
 ally, may be analyzed thus : 
 
 Parti. 
 
 Part II. 
 
 Simple Binary 
 form ; in the Tonic 
 key. 
 
 Part III. 
 
 Simple Binary Repetition of Part I. 
 form ; in a nearly 
 
 related key. 
 
 (Coda). 
 
 In Part I. it is customary to repeat either one or both of the 
 parts ; and the same may be said of Part II., or the trio ; iu 
 Part III., however, no repeats should be made. 
 
 n. Alleffretto in E minor, Sonatti IX. -2. 
 
 PaHl. 
 
 Part II. 
 
 PaH III. 
 
 Simple Ternary 
 form ; in the Tonic 
 key. 
 
 Maggiore : 
 Simple Binary 
 form ; in the Sub- 
 mediant key. 
 
 Repetition of Part I. 
 Coda. 
 
Tke Ternary Proper Form. 4S 
 
 III. Andante m E flat, SonatA XIII.-1. 
 
 Part I. 
 
 Simple Ternary 
 tomi ; in the* Tonic 
 key. 
 
 Part II. 
 
 Allegro : 
 Simple Binary form ; 
 in the Submediaut 
 (Major) key, modu- 
 lating to 
 
 PaH III. 
 
 Simple Unitary 
 form, (first seutence 
 of Part I. varied). 
 Coda. 
 
 Exercises. — 
 
 j I. Analyze the musical sentences in the above 
 i movements (Nas. II. and III.) 
 
 ! 11. Analyze the construction of the followinjjj 
 I movements in ternary proper form : 
 
 I 1. Allefrro in E flat, and Minore, Sonata IV.-3- 
 
 2. Allegretto in F minor. Sonata VI.-2. 
 
 3. Scherzo in G, Sonata X.-3.* 
 
 4. Marcia Funebre in A flat minor, Sonata 
 XII.-3. 
 
 5. Alle^rro molto in C minor, Sonata XIII.-2. 
 
 6. Andante in D minor, Sonata XV.-2. 
 
 * ThU movemeat maj- also be reR&rded as a Rondo. 
 
CHAPTER VI. 
 
 THE RONDO ELEMENT IN FORM. 
 
 The word rondo is derived from the Frencli 
 rondeau, a form of poetry in which a simple refrain 
 is repeated two or three times. 
 
 The rondo can scarcely be claimed as an independ- 
 
 ^ ent form as all rondos are constructed upon a 
 ternary proper basis, to which is added the character- 
 istic feature of the rondo, viz., the repetition of the 
 original subject, in the key of the tonic, after every 
 episode ; and this original subject must be heard at 
 least three times. 
 
 V An episode may be defined as a digression from 
 the original key employed as a contrast to, and as a 
 relief from, the original subject. It is sometimer a 
 subject of secondary importance, complete in itself, 
 and sometimes a passage of irregular construction, 
 concluding with the Dominant chord of the original 
 key. 
 
 ^.^ In the coui*se of Beethoven's Sonatas there are two 
 distinct varieties of movements tenned rondos, and 
 when so termed the movement is of a bright, viva- 
 cious character ; but there are also movements both 
 fast and slow, not termed rondos, whose form is prac- 
 tically identical With one or other of the above 
 
 mentioned varieties. 
 
 14 
 
Tlie Rondo Element in Form. 
 
 46 
 
 This diversity of construction in the rondo will 
 
 necessitate the consideration of each variety individu- 
 
 ij ally. \ For the purpose of analysis these variations 
 
 of the form may be classified under three headings, 
 
 viz,, the Simple rondo, the Grand rondo, and a 
 
 ^ modification of the simple form, sometimes called the 
 
 - Slow rondo, j Of these, the Gran^ will be treated of 
 
 ■ in a later chapter, as a mo3ification of sonata form. 
 
 The construction of the simple rondo will be seen 
 • from the following table : 
 
 Part I. 
 
 f 
 
 ^ Subject I., 
 "^ Episode, 
 (^ Subject I. 
 
 J 
 
 Pari 11. 
 
 (C Ne«r subject in 
 a nearly related 
 key. 
 
 Part III. 
 
 Subject I., 
 i Episode, 
 /^Subject I., 
 Coda. 
 
 ^' The episode in Part I. is of a modulating character. 
 Pai-t II., in addition to the new^ subject, sometimes 
 contains a passage of development ; this part usually 
 concludes with the connecting passage (already alluded 
 to) ending with the Dominant of the original key. 
 
 The episode in Part III. may either be a repeti- 
 tion of the first episode, or it may be new^ and of a 
 more Tonic character. 
 
 Part III. sometimes consists of the repetition of the 
 first subject only, to w^hich may be added the coda, 
 e.g., Sonatas XX.-2, and XXII.-l. 
 
 The coda in the rondo forms, unlike the ternary 
 
46 
 
 Farrti in Music. 
 
 propel now becomes an iniportiint feature of the 
 movement. 
 
 V The simple rondo form is employed for the last 
 movements of sonatas, but, it may be added, not so 
 frequently as the grand rondo. It is sometimes em- 
 ployed for slow movements, e.g., the Adagio in C, 
 Sonata XVI.-2. An exceptional instance of its use is 
 for tlie opening movement, Vivace, Sonata No. XXX. 
 It is also employed for single compositions apart from 
 the sonata. 
 
 So closely allied with the ternary proper is this form, that 
 many compositions, such as minuets, marches, waltzes, pi^ces- 
 de-salon, etc., which are nominally in ternary proper form, may 
 in reality be claimed to be constructed, in the disposition of 
 their themes, upon the lines of the simple rondo form. 
 
 Analysis of movements in 
 The Simple Rondo Form. • 
 I. Allegro in D, Sonata VII. -4. 
 
 Fart J. 
 
 Subject I., 1-10, 
 Episode, 10 - 26, 
 Subject I. , 25-34. 
 
 Part 11. 
 
 New subject, 30- 
 46. Passage of 
 development, 46- 
 56. 
 
 Part III. 
 
 Subgect I., 57-66, 
 Episode, 66-85, 
 Subject I., 85-94, 
 Coda, 94 to end. 
 
TJie Rmiffo Element in Form. 
 
 47 
 
 '§ ;/lI. Vivace in G, Sonata XXV.-a 
 
 Part I. 
 
 Subject I., 1-16, 
 Episode, 17 - 35, 
 Subject I., 36-51. 
 
 Part II. 
 
 New Bi >ject, 51- 
 67 ; Passage lead- 
 ing back to Tonic, 
 68-72. 
 
 Part III. 
 
 Subject I., 73 96, 
 Coda, 97 to end. 
 
 The foUowinor table will sliow the construction of 
 
 the Modified rondo form 
 
 . » .-»..«-.. — -I—* — ?- 
 
 SubjectT in the key of the Tonic. 
 
 Episode I. modulating to one or more nearly 
 related ke3'8. 
 
 Subject I. in the Tonic. 
 
 Episode II. modulating to other keys, usually 
 
 more remote. ''mov( . t(^ y^ytm oU'^i^iLe-tr P-^U 
 
 Subject I. in the Tonic — often varied or curtailed. -.-o/<^^/ 
 Coda. ' . ~- 
 
 The student will oVserve in this form the natural 
 development of the principles laid down for the con- 
 struction of the simple ternary form. 
 
 The second episode takes the place of Part 11. in 
 the simple rondo. 
 
 Movements in this form are not called rondos ; they are 
 simply said to be in slow (or modified) rondo form. Many 
 quick moveuienis indeed (as has already been said) in the simple 
 and even the grand forms are not termed rondos by the authors. 
 
 There appears to bo no rule as to when, and one might almost 
 
48 . Fi/i'Tn in Miwl^. 
 
 ■ay, no reason as to why, a movement in rundu form, should 
 especially be so de8i}{nated. 
 • 
 
 J Analysis of a Movement in 
 
 The Modified Rondo Form. 
 
 Largo Appassionata in 1), Sonata II. -2. 
 
 U Subject I., 1-19, irregular binary sentence. 
 
 P Episode I., 19-31, in nearly related keys. 
 
 it' Subject 1 , 82-50, repeated ahnost exactl}'. 
 
 A Episode II., 50-67, modulating to more distant 
 keys. 
 
 Subject L, 08-75, varied and curtailed. 
 Coda, 75-80, of cadeutial character. 
 
 Exercises. — 
 
 Analyze the construction of the followincr move- 
 ments in simple rondo form : 
 
 1. Adagio in C, Sonata XVI.- 2. 
 
 2. Tempo di Minuetto, Sonata XX. -2. 
 
 3. Allegro in E,* Sonata IX.-3. 
 
 Analyze also the following movements in modified 
 rondo form : 
 
 1. Adagio in A flat, Sonata VIIL-2. 
 
 2. Tempo dun Minuetto,t Sonata XXII.-l. 
 
 3. Adagio in E.f Sonata III.-2. 
 
 *Th{H movement is rcKardtd by some aulhorlUes aH a Rrand rondo, 
 tin each of these movementH the first episode is exceptionally lonR. 
 
CHAPTER VTT. 
 
 THE SONATA FORM. 
 
 /••> 
 
 Of all the forma employed by the greatest masters 
 of muyic, sonata form, nz has already been stated, is 
 b}' far the most important. 
 
 In its logical development of th|?mes it has appealed 
 to all the great composers (since the death of Handel) 
 ^ as'^a suitable foundation upon which to erect their 
 highest types of instrumental works. 
 
 The tii-st germs of the form are to be found in the 
 works of J. S. Bach. In two of the preludes in the 
 second volume of the " 48," viz., Nos. 29 and 45, Bach 
 has employed a plan of construction which, shortly 
 after his death, developed into what was at first 
 called modern binary form to distinguish it from an 
 obsolete ancient binar}^ form, but which is now more 
 generally known as sonata form.* 
 
 C. P. E. Bach was the first md^cian to appreciate 
 the artistic merit of the form, but to Haj^dn belongs 
 the credit of having i-eallj' established it, in Mozart 
 the principles of the form were intensified, and finally 
 at the hands of Beethoven, in his sonatas and sym- 
 phonies, etc., it was perfected. 
 
 *Tho student muet not confui^e sonata form with tlie sonata iteelf. 
 4 48 
 

 Jform in Music. 
 
 The following table will show the construction of 
 The Sonata Form. 
 
 \j 
 
 Part 1. 
 
 / 1 Pait II. ) M 
 
 1 
 
 Bxpoaition. 
 
 Free Fantania 
 
 Recapitulation. 
 
 Subject I., Tonic, . 
 Bridge, ^ ' ^ 
 Subject II., D' ainant ? 
 Codetta.* 
 
 • 
 
 or development 
 of previously 
 heard themes 
 in other keys. 
 
 Subject I., Tonic, 
 
 Bridge, 
 
 Subject II., Tonic, 
 
 Codetta, 
 
 Coda. 
 
 / The exposition may be preceded by an introduction 
 which is generally of a grave, mysterious character 
 e.g., Sonata VIII.-l. 
 
 ^ The first subject must definitely establish the key 
 of the movement ; when the movement is an Allegro 
 it is usually of a bright, vigorous character ; it jijener- 
 ally concludes with a perfect cadence in the tonic key. 
 
 J The bridge is employed as a connecting link be- 
 tween the two subjects ; it therefore modulates to the 
 key in which the second subject is about to appear, 
 andusually concludes with the Dominant of that key. 
 The second subject should be of a contrasted char- 
 acter with the first, to which it is only second in 
 importance. 
 
 When the movement is in a minor key the second 
 subject is usually in the relative major. 
 
 ■ ■ ■ - -■--■ — ■ ■ ... 1,1 , 
 
 ^ *By Codetta ia understood a short coda occurring in the course of 
 acompoeition. 
 
 i 
 
Tfie Sonata Form. M 
 
 Beethoven, and MOCHsionally more modem oomiHMeni, have 
 employed fur their second subject a key other than the Duminant; . 
 e.g.y in Sonatas XV[.-1 and XX. -1, the second subject appears 
 in the key of the Mediant major, a key of second relationHhip. 
 In minor movements the second subject is sometimes heard in 
 the Dominant minor ; e.(/.. Sonatas I. -4 and XIV. -3. 
 
 s/ The codetta is employed as a coda to the second 
 suhject; it concludes (at the double bar) with a per- 
 fect cadence in the new key. It may be regarded as 
 a bahince to the bridge, and as affording symmetry to 
 the exposition. 
 
 The repetition of the exposition, is in reality a 
 feature of the form, but it is frequently omitted, 
 especially in the case of overtures. 
 
 In the free fantasia, the, keys employed Jji. the 
 exposition should be avoided, in other respects the 
 composer is " fancy fi-ee," as the words imply, in this 
 portion of the movement. 
 
 According to Ouseley* the keys in which the free 
 fantasia should commence are : 
 
 For Major Keys. For Minor Keys. 
 
 1. The Dominant major, The relative major, 
 
 2. The Dominant minor. The minor oi relative key, 
 
 3. The Supertonic major, The minor-seventh major, 
 
 4. The Mediant minor. The Submediant major, 
 
 5. The Tonic minor, The Submediant minor, 
 
 6. The minor-Mediant The flattened Tonic 
 r^ major. major. 
 
 '* The modulations employed," says Ouseley, " may 
 
 * "Musical Form and General Gompobition." 
 
62 Form in Music. 
 
 be left to the unfettered fancy of the composer, pro 
 vided only they never transgress the rules of harmon} 
 or the dictates of good taste." 
 
 V By development is understood the repetition ot 
 previously heard themes, either wholly or partially, oi 
 in a varied form, in other than the original keys. 
 To quote from another authority, Sir John Stainer,* 
 
 '• The chief methods of deveh^pinent are : — ^ ; . ^ 
 
 , >c- - ,-. _., ._,.. ,,, , ,, ., ,„,, . '■' -."'"'';,'■'-■ 
 
 :0'- 1. Melodic. ' ■.^.,,Jv,^i;u*•H:::^nM^3w^^^ ■.,... '''7^^ :-'^'- "'•''• 
 
 2. Rhythmic. ■■ ' '^%- ^ ;'■•^'^,']:"^:^.v.^'■v-; ^: :*^t:^::; 
 
 3. Harmonic. ^ v^ 
 
 4. Contrapuntal (or by imitation). 
 
 5. Tonal (or by variety of key — tonality). 
 
 6. Ornamental (or by vari'jty of marks of force 
 
 or expression, elaborationof figures, addition 
 of ornament generally). 
 
 J " These are, however," adds Sir John, " always more 
 or less combined ; for example, a melody is rarely 
 developed without frequent changes of key, or of 
 harmony ; also, a rhythm is rarely developed without 
 involving a certain amount of melodic development^ 
 and "o on. The last of the above methods (6) is of 
 less .irtistic importance than the other five." 
 ^ The free fantasia will of cour. e conclude with the 
 Dominant chord of the original key and so prepare 
 the ear for the Tonic key in the rv.'^.apitulation ; this 
 Dominant chord, however, is frequently extended into 
 a Dominant pedal. 
 !^ In the recapitulation, the original subject, perhaps 
 
 •"Composition." (Novello's Primer). 
 
^ The Soiiata Fonn. 53 
 
 slightly modified, is repeated in the Tonic key; and 
 then the bridge is transformed so as to conclude with 
 tlie dominant of the original key, in which k^y also 
 the second subject, perhaps slightly modified, (and of 
 course transposed), must now be heard ; then follows 
 the codetta also tranposed to the key of the Tonic. 
 
 /rhe coda, for it is rarely absent, immediately fol- 
 lows, and frequently contains an allusion to the 
 original subject, as a finishing touch to the art ideal 
 of the form. 
 
 With Haydn and Mozart it was customary to repeat Part IT., 
 (that is to say, the free fantasia and the recapitualation), as 
 well as Part I., but not so with Beethoven. He has, however, 
 employed the device in some instances, e.g.y Sonatas II. -1, VI.- 
 1 and 3, and a few other movements. 
 
 i Sonata form is especially employed for the first 
 movement of cyclic compositions, that is to say, 
 sonatas, symphonies, concertos and chamber music. 
 It is employed occasionally for the last movement, 
 and sometimes (though usually in a modified form), 
 for the slow movement. 
 
 ■ \ Sonata form is also employed fcr certain single 
 numbers, the most important being the overture and 
 the concertstuck ; while many pieces included under 
 the general term of " Fantasia," contain the principles 
 of the form in their construction. 
 
 ^ It should be noted that the subjects in sonata form are often 
 of greater dimensions than single musical sentences. A sub- 
 ject, in fact, is sometimes axtended into a group of sentences./ 
 An example of this will be seen in Sonhta IV.-l, which we are 
 
54 
 
 F(ymi in Music. 
 
 about to Analyze. We will in the first place, however, choose 
 Sonata X.-l for analysis, a movement in which the form will 
 be found in exceptional purity. 
 
 Analysis of movements in 
 • THE SONATA FORM. 
 
 I. Allegro in G major, Sonata X.-l. 
 
 'iM 
 
 •s' 
 
 ^ 
 
 Part I. 
 
 (a) Subject T., 1-9, 
 (6) Bridge, 9 26, 
 
 (c) Subject II., 27-48, 
 
 (d) Codetta, 48-64. 
 
 Part II. 
 
 (e) Free 
 Fantasia, 
 65-126. 
 
 (/) Subject I., 126-134, 
 (g) Bridge, 134-164, 
 (/i) Subject ir., 165-176, 
 (t) Codetta, 176-189, 
 (j) Coda, 189 to end. 
 
 (a) The first subject is a normal sentence in G major. 
 _^„^4o-»A (b) The biidge concludes with a Dominant pedal on A, com- 
 mencing in measure 20. 
 
 jf (c) The second subject is an irregular binary sentence in the 
 '^^**'''''*^ key of D major ; the first period (measures 27-34) is regular, but 
 measure 34 overlaps the first measure of the next period which 
 is irregular in construction. 
 
 (d) The codetta ends with a perfect cadence in the key of D 
 at the double bar, formed on a Tonic pedal commencing at 
 measure 59. 
 
 (e) The free fantasia commences with the development of the 
 J-s-^^-^ first subject in the key of 6 minor ; at measure 76 the second 
 
 subject is introduced in the key of B flat ; at measures 83 and 
 88 the initial figure of the first suV)ject is raferred to in the 
 bass ; after a pause on the Dominant seventh on B flat in 
 measure 100, the first subject is repeated almost in its entirety 
 in the key of E flat ; at measure 109, after a chord of the 
 
The Sonata Form. 
 
 5$ 
 
 augmented sixth on E flat, a Dominant pedalon D commences, 
 which concludes the free fantasia in measure 126. 
 
 (/) The recapitulation commences in measure 126 with an 
 exact repetition of the first tiubject. 
 
 (g) The bridge commences as before, but it soon changes, 
 modulating to the key of C, and then proceeding to a Dominant 
 ped»l on D. 
 v^ - {^) The second subject, now transposed to the key of G, is 
 ^^ repeated almost exactly. 
 
 (t) The codetta, also' transposed to the Tonic, is slightly 
 changed and curtailed. 
 
 (j) The coda, constructed on a Tonic pedal, is founded upon 
 reminiscences of the first subject. 
 
 II. Allegro molto in E flat major, SoLata IV.-l. 
 
 Part I. 
 
 V 
 
 PuH II, 
 
 (a) Subject I., 1 17, 
 
 (e) Free 
 
 (/) Subject I., 189-201, 
 
 (6) Bridge, 17-40, 
 
 Fantjisia, 
 
 (g) Bridge, 201-220, 
 
 (c) Subject II., 41-127, 
 
 137-188. 
 
 (A) Subject lI.,221-307, 
 
 {d) Oodetta, 127-130. 
 
 
 (t) Codetta,307-312, 
 (j) Coda, 313 to end. 
 
 («) The first subject is of irregular construction ; the open- 
 ing four measures are of an introductory character establishing 
 the key, in measure 5 commences an irregular normal sentence 
 of three phmses, one four-bar and two five-bar phrases, the 
 latter overlapping in measure 13. 
 
 (6) The bridge concludes with a Dominant pedal on F, com- 
 mencing in measure 35. 
 
 (c) The second subject consists of a group of four sentences, 
 all in the key of B flat ; the first (measures 41-59) is of an in- 
 troductory character ; the second (measure 59-93) is the second 
 subject proper ; the third (measures 93-111) is of a cadential 
 
56 V FoTTTi in Music. 
 
 character ; while the fourth (measures (111-127) is bulit on a B 
 flat pednl, and has the character of a coda to the ^oup. 
 
 {d) The codetta is compAratively very short. It is based on 
 a figure of syncopation and leads to a perfect cadence in the key 
 of B flat at the double bar. 
 
 (c) The free fantap!a commences, with a repetition of the 
 introductory figure, in the key of C minor ; measures 141-153 
 are built on a figure taken from the bridge ; in measures 153- 
 IG5 the figure employed in the codetta is developed ; at measure 
 169, and again at measure 177, the introductory figure is intro- 
 duced in the keys of A minor and D minor respectively ; and 
 the free fantasia is brought to a somewhat abrupt conclusion 
 with the first inversion of the chord of B flat in measure 187 
 becoming the first inversion of the Dominant seventh on B flat 
 in the following bar. 
 
 (/) The first subject is repeated intact for 13 measures, it 
 then changes, modulatJL^ to the key of A flat. 
 
 {g) The bridge is considerably changed and curtailed, but as 
 before it concludes with a pedal passage, now, of course, on B 
 flat. 
 
 (h) The second subject, with its four sentences, now trans- 
 ferred to the key of £ flat, is repeated measure for measure, as 
 far as practicable. 
 
 (t) The codetta Is also curtailed. 
 
 (j) The coda, which is considerably extended, commences 
 with a reference to the introductory figure ; at measure 323, 
 the second subject proper appears once more ; in measure 339 
 commences a passage \>uilt upon the syncopated figure of the 
 codetta ; and finally at measure 352 the introductory figure is 
 once more employed. 
 
 EXERCiSES ON THE SONATA FORM. 
 
 I. Analyze the constructioti of the exposition in the 
 following movements : Sonatas I.-l ; V.-l ; IX.-l ; 
 XI.-1. 
 
• The Sonata F(yrm. v 57 
 
 II. Name the key employed for the second subject 
 in each of tlie follovvinf]^ movements : Sonatas II.-l : 
 Vll.-i ; VIII.-l ; XVI.-l. 
 
 III. State what modulations, occur, and what ma- 
 terial is employed, in the free fantasias in each of the 
 above movements. 
 
 IV. Analyze fully the construction of the first move- 
 ment of each of the following Sonatas : III., VI., XV., 
 XVII.. XVIIL, XXL, XXIII, XXIX. 
 
 ii ^ »^^. 
 
 ■^"^■"\^i-*'" -''•.■:'::.•;• -s: 
 
 ■' ■'/ 
 
 
s 
 
 CHAPTER VIII. 
 
 THE MODIFICATIONS OF SONATA FORM. 
 
 When Sonata form is employed for slow move- 
 ments it is often somewhat modified. 
 
 In the following movements, however, it will he 
 found in its pure form, (except that the exposition is 
 not repeated), viz., the Adagio in E flat, XI.-2, and 
 the Adagio in F sharp minor XXIX.-3 ; while in the 
 Moderato Cantabile XXXI ,1, it is somewhat freely 
 treated. 
 
 ^ As a rule, however, in slow movements it is 
 customary to shorten the free fantasia to a few 
 measures, as in the Adagio in B flat, XVII.-2 ; or to 
 omit it altogether, as in the Adagio in A flat, V.-2. 
 Another variation is to substitute for this portion a 
 new subject in a nearly related key as in the ternary 
 proper iorm,«:.g. the Largo e mesto in D minor VII.-2. 
 
 ^ The characteristic feature of the form must of 
 course be always present, viz., that there must be two 
 subjects in the exposition, that they must be repeated 
 in the recapitul;, ion, and that the second of these 
 sliall be heard in the former section in a nearly 
 related key, and in the latter section in the key of 
 the Tonic. 
 
 J The most important modification of this form is its 
 employment in conjunction with the simple rondo, 
 
 58 
 
The Modifications of Sonata Form. 
 
 59 
 
 when there results a form second only in importance 
 to the sonata form itself, allusion to which has 
 already been made under term grand rondo.* 
 
 The following table will show the construction of 
 
 ^i THE GRAND RONDO FORM. 
 
 CL^^rMM 
 
 /^ 
 
 Pari /. 
 
 C(}. Sub. I., Tonic, 
 /jl Bridge, 
 
 ♦ tfSub. II., Dominant? 
 J^) Bridge, 
 ^<^Sub. I., Tonic. 
 
 Fari II. 
 
 
 
 /A^i-New subject in a' -^ub. I., Tonic, / 
 neariy related key ,*( ^Bridge, ' 
 
 or free fantasia. (_],Sub. II., Tonic, I -^. 
 
 ^Bridge, ^ 
 
 Part III. 
 
 r 
 
 S Sub. I., Tonic, 
 '^ Coda. 
 
 Part I., like the simple rondo, must conclude with 
 the original subject in the key of the Tonic. The 
 second bridge is sometimes omitted, e.g. Sonatas II.-4, 
 and IV.-4 ; and sometimes an episodal passage as a 
 connecting link is introduced between the first and 
 second parts, e.g. Sonatas IIL-4 and XII I. -4. 
 
 Part II. may contain both a new subject and a 
 development of previously heard themes, e.g. Sonatas 
 III.-4, and XI.-4. 
 
 Part III. is a recapitulation of Part I. In the coda 
 the original subject may once more be repeated. 
 
 The parts are not necessarily separated by double 
 bars. 
 
 * This term is employed in this book, it is believed, for the first 
 time: itp significance, however, cannot well be misunderstood. It has 
 been chosen in preference to such terms as "modern rondo," "ternary 
 rondo," " sonata rondo," etc., as variously applied to it elsewhere. 
 
60 
 
 Form in Music. 
 
 ^ The grand rondo form is especially employed for 
 the last movements of sonatas and other cyclic com- 
 positions. Beethoven has so employed the form ten 
 times in the course of his thirty-two sonatas ; and, 
 unlike the simple rondo form, he has not employed it 
 for any other movement. 
 
 Analysis of a movement in 
 
 \ ,, / , . THE GRAND RONDO FORM. 
 'Allegretto in B flat major, Sonata XI. -4. 
 
 Part I. 
 
 {a) Sub. I., 1-19, 
 (6) Bridge, 19 23, 
 (c)Sub. 11. , 23 41, 
 {d) Bridge, 41-50, 
 (e) Sub. I., 50-68. 
 
 Part II. 
 
 (/) Free fantasia, 
 and a new sub- 
 ject, 68-112. 
 
 Part III. 
 
 (g) Sub. I., 113-130, 
 (/i) Bridge, 130-136. 
 (i)Sub. II., 136-153. 
 (j) Bridge, 15.3-165. 
 (k) Sub. I., 165 183. 
 (l) Coda, 183 to end. 
 
 (a) The first subject is an irregular binary sentence, the first 
 period being regular, but the second phrase of the second 
 period being extended to six measures ; the subject concludes 
 with a perfect cadence in the key of B flat. 
 
 (6) The first bridge is very short, being siniply a phrase of 
 four measures ending in the key of F. 
 
 (c) The second subject proper, measures 25-33, is in the key 
 of F major, it is a regular normal sentence, but it is preceded 
 by two measures of an introductory character, and succeeded 
 by a passage of eight measures ending also in the key of F. 
 
 (d) The second bridge is constructed on the initial figure of 
 the first subjett. 
 
The Modifications of Sonata Form. 61 
 
 (e) This is an exact repetition of the first subject. 
 
 (/) Part TI. is divisible into five sections ; the first, measures 
 68-73, is founded on a figure taken from the bridge ; the second, 
 measures 73-81, is a new subject, in the key of F minor ; the 
 third, measures 8i.-96, is a further development of the bridge- 
 figure ; the fourth, ineasuies 96- 104, is a repetition of the new 
 subject in the key of B fiat minor ; and the fifth, measures 104- 
 112, leads back to the key of B flat. 
 
 (g) The first subject is now varied. 
 
 (/i) The first bridge is extended and now concludes in the 
 key of B flat. 
 
 (i) The second subject, now transposed to the key of B flat, 
 is repeated almost exactly but leads up to the key of £ flat at 
 the end. 
 
 (j) The second bridge is again c(mstructed on the initial 
 figure of the first subject but not in the same manner as in 
 Part I. 
 
 (k) The first subject is again varied. 
 
 (I) The coda c(munences with a new figure of a cadentia 
 character, which is repeated twice — each time with varied treat- 
 ment, and it coo'^iudes with a reference once more to the 
 initial figure of the first subject. 
 
 Exercises on The Grand Rondo Form : — 
 
 I. Analyze tlie construction of Part I. in each of 
 the following; movements : Sonatas II.-4 ; IV.-4 • 
 XII.-4. 
 
 II. Discover the points at which Part II. com- 
 mences and concludes in each of the following move- 
 ments : Sonatas VIII.-4 ; XIII.-4 ; XVI.-4. 
 
 III. Analyze fully the construction of the following 
 movements : Sonatas III. -4 ; XV.-4 and XXVII.-2. 
 
 The student should also analyze the slow move- 
 ments in modified sonata form, referred to on page 58. 
 
CHAPTER IX. 
 
 THE FANTASIA 
 
 And the Air with Variations. 
 
 V Under the term fantasia are included all composi- 
 tions wliose plan c<f construction is not in accordance 
 with that of the arbitrary forms. 
 
 It must not be supposed that a fantasia is 
 altogether wilihout form, for no composition would 
 be satisfactory unless it were constructed upon some 
 regular basis of form. 
 
 ^ This class of composition may be regarded as an 
 attempt at a new form, or as a modification or com- 
 bination of some of the other forms. 
 4 The classical fantasia will be found, as a rule, to 
 be constructed upon a basis of J,ernarv£rop.er, with 
 or without the rondo element, and containing, either 
 the principles of sonata form, or the fugal develop- 
 ment. Some of the so-called fantasias are indeed in 
 one or other of the strictly arbitrary forni,^ 
 
 Under the heading of fantasia are included, among 
 others, such compositions as the following : 
 
 1. The G(i]0fjf)7*iccio, a composition of a sprightly, 
 whimsical character ; 
 
 2. 2%e Innjpwrripiu, a composition having an 
 
 e;cteHiporaneou8 character ; 
 
 m 
 
The Fantasia. 
 
 3. The Inteimiezzo or Interlude, a composition for 
 perfonnanco between the acts or a drama ; and 
 
 4. TJie Rfuipaody, u composition consisting of an 
 unconnected series oi melodies. 
 
 A passing reference may be made tu an almost worthless 
 style of composition frequently called a fantasia, in which 
 several popular melodies are incoherently strung together with 
 |L little or no consideration of key relationship. 
 
 [ 
 
 Beethoven lias in two instances in the course of 
 his sonatas employed the expression " Quasi una 
 Fantasia " to denote a certain irregularity of con- 
 struction in the opening movement, viz., Sonata in E 
 flat. No. 13, and Sonata in C sharp minor, No. 14. 
 
 THE AIR WITH VARIATIONS. 
 
 The air with variations is one of the oldest of all 
 raetliods of extending a simple theme into a lengthy 
 composition. 
 
 ■ Its origin is traceable to the "Ground Bnss" (BjiaiiO^ 
 O fltiaa to — obstinate bass) a composition in which a 
 theme of usually four or eight measures was continu- 
 ally repeated in the bass, while the upper parts were 
 varied with each repetition, 
 
 A fine example of variations on a ground bass will 
 be found in Handel's Organ Concerto in G minor 
 (Vol. II., No. 4). 
 
 The Passacaglia, an old-fashioned dance, consisted 
 of a series of variations on a theme for the most part 
 in the bass ; a fine example of this will be found in 
 
64 Form in Music. 
 
 Bach's PuHsiicai^lia in'C minor, also for the organ, 
 (Vol. I, Peter's Ed.). 
 
 The air with varintions has unfortunately been much abused 
 by a luw order of coniposbrH ; this is to be regretted ; ita-trfat- 
 ment, however, at the handa of Beethoven, and other great 
 masters, declares it to be a form invaluable to art. 
 
 / The following are the most important ways in 
 
 whiv^'h an air may be varied : 
 
 1. Ornamental notes, elahoratin*^ the melody with 
 graces, shakes, turnf^ and other auxiliary notes. 
 
 2. Brilliant passages, either scale or arpeggio, in 
 which the notes of the theme are particularly niarked. 
 
 8. Varied accomj^anirnents, either with new 
 figures on the old harmony or with entirely new 
 harmonies. 
 
 4. Change of mode, for example, from the major 
 key to its Tonic minor, or vice versa. 
 
 5. GJuinge of time, for example, from duple to 
 triple, or from simple to compound. 
 
 6. Change of tempo, that is to say, from slow to 
 fast, or vice versa. 
 
 7. Inversion of theme, either by placing it in an 
 inner part, or in the bass, and then adding a new 
 melody and perhaps harmonies. 
 
 8. Contrapuntal treatment, introducing points of 
 imitation, or figures of counterpoint. 
 
 9. Any combination of the above modes of varia- 
 tion. 
 
 As a finale, though not actually a variation, the 
 coviposer may write a fugue or a fantasia on the 
 theme. 
 
The Fantasia. 66 
 
 ^ The air with variations is* employed for Hingle 
 inovemeiitH often under tlie name of fantasia, and in 
 cyclic compositions for the first, second or last move- 
 ments. 
 
 Exercises on the Fantasia and the Air with 
 
 Variations. 
 
 I. Analyze the construction of the form employed 
 for the following movenients: 
 
 1. Adagio Sostenuto in C sharp minor, Sonata 
 
 XIV.-l. 
 
 2. Allegro in G, Sonata XIX.-2. 
 
 3. Allegretto in F, Sonata XXII.-2. 
 
 4. Allegro Vivace in F sharp. Sonata XXIV. -2. 
 
 5. Andante Espressivo in C minor. Sonata 
 
 XXVI.-2. i 
 
 II. Analyze the treatment of the variations in the 
 following movements : 
 
 1. Andante in C, Sonata X-2. 
 
 2. Andante in A flat. Sonata XII.-l. 
 
 3. Andante in D flat, Sonata XXIII-2. 
 , 4. Andante in E Sonata XXX-3. 
 
 5. Adagio in C, Sonata XXXIL-2. 
 
CHAPTER X. 
 
 /»^ 
 
 . ; ^ -^i:-^ -. ^v, ;-:: . TUE FUGUE 
 
 As an introduetion Co the subject of ftiu^e. &ii*i to 
 assist the stadeut in fo^^ anailvsk^ it is necessary to 
 explain the meaning of imitation and to brietfy 
 describe the canon or fn^ Hgata (fettered fiigiie> :is 
 it was originally called. 
 
 1^ Imitation is the repetitiom of a melody, figure, 
 phrase or subject by another part. ^ OijyMjrs 
 
 The first voice or part is called the anteceieiU, the 
 second the conset^uent. »"*Ci>j^<IX/ 
 
 JmitaiioD may be either strict or , free. In strict 
 imitation each interval of the antecedent is repn>luced 
 exactly in the consequent : in free imitation the 
 melodic outline alone is preserved. 
 , Free imitation may take place at any interval, but 
 alrict imitation is coniiue^i to the unison, fourth, tifth 
 or octave. 
 
 .^ When the imitation is continuous, the cumposiiion 
 is ealled a canon, (from the Greek word ^Mm, a ruIeK 
 
 A canon raav be either finite oS infinite. The 
 ^-^finite canon usually concludes with a coda. The 
 infinite is so constructed that at a cei-taiu point the 
 melody reecrtumence* and is repeated, and may be 
 repeateti again and again, the termination being in- 
 dicate«i by a pause over a suitable chord. 
 
There are several varieties of imitation, all of 
 wLIcli may be employed in the canoo, tke most 
 important beinjj: 
 
 Imitation by aacrmentatiou. 
 Imitation bv diminution. 
 Imitation bv inver^on. 
 Imitation by inversion and angmentation^ 
 Imitation by inversion and dimixiQticHi. 
 Imitation with reversed accent (per arsinet thesinX 
 Imitation in retro^n^de moticm (per reete et retro), 
 also caUe^i eanerizans, ijf., walking back* 
 
 I wards like a cr*h 
 
 f 
 
 There is also the circular canon which modulates 
 through all the keys in rotation. And there is finally 
 the "' riddle "* or enigmatical canon, in which the 
 melody alone is ^ven, the solution, that is to say, tiie 
 discovery of the number of voi<!es employed, and the 
 point at which each enters, being left to the ingenuity 
 of the studenti. ^ (^: 
 
 ^ Cancms ma v be written for fiWO: three, four or more 
 voices; there may be two antecedents, sometimes 
 ^lled the double canon : or there may be two parts 
 in canon while one or more parts are of a free contra* 
 pontal character. 
 
 It it annecesHurjr here to enter more minQtely into the sub- 
 ject. The studeac «^ho decirea farther iaform»ci<oii is referred 
 to the wcvks oa Doable CooBterpoint and Canoo, by Sir Fr«d- 
 mick Bridge, Mr. Ebeoezer P/root, and other aatiionti«s. where 
 he will find maiij interoBtiii^ sp«eimeQ» of cmncMns bj the moet 
 OBinest composers ol this {MirticoLkr stjie of j^mie. 
 
08 Forvi in Music, 
 
 The fugue is a form in itself, entirely apart from 
 all other forms, being the end and aim of counter- 
 point. 
 
 The word fugue is derived from the Italian " fuga " 
 — flight ; there being, as it were, a flight or pursuit 
 between the various voices or parts, as in turn they 
 take up their leads. ' ^ 
 
 The origin of the fugue may be traced to the early 
 contrapuntal writings of the Belgian school. Little, 
 however, was accomplished before the year 1600. 
 Thomas Morley (1557-lt>04) in his " Plaine and Easie 
 Introduction to Pi-acticall Musieke," gives an example 
 of a fugue that can at uie most be regarded as only 
 a pnmitive specimen of canou. 
 
 During the succeeding century, however, a very 
 mattrial advance was made in the art of music, and 
 the fugue gradually assumed the important position 
 of iiret place both as a vocal and as an instrumental 
 form. In Ge man}* especially was the art of fugue 
 cultivated, and by the close of the seventeenth century 
 many excellent specimens of this type of composition 
 were in existence. , , .. . 
 
 It was left to G. F. Handel and to J. S. Bach 
 (though more especially to the latter) to bring the 
 ^ fugue to its perfection. 
 
 \ " The Fugue," says Mr. James Higgs (one of the 
 
 V greatest living authorities on the subject), '* is a 
 
 musical contpositio ii d«i3Lfik)pedi according to certain 
 
 rules of hnjiiiliaiiJ'rom a short iheme or phi*ase called 
 
 the subject" • ^ 
 

 ' The special features of interest appertaining to the 
 fujyrue, are : I., the subject : 11. , th.&_ans:\ver ; III., the 
 countei-subject ; IV., t he episode ; Y., t he stret to ; and 
 VI., the pedal. 
 
 * I. The subject is a short theme of usually about 
 four measures in length ; it should be of an impressive 
 character so as to be readily recognized at each 
 repetition ; it should be definite as to key tonality ; 
 and it should, above all, be suitable for contrapuntal 
 treatment. jv ^; : t v 
 
 :\ II. The answer is _Uie^^tranagBii|ilfilfcjt>f the subject 
 into tiie key of t he Do mjjQa^. primarily, in order to 
 suit the compass of another voice ; sometimes, how- 
 ever, a slight modification is made, the answer is then 
 said to be tonal ;* when the transposition is exact 
 the answer is said to he real. The necessity for a 
 tonal answer follows from the broK i and general rule, 
 that the Tonic must reply to the Dominant and the 
 Dominant to the Tonic. A fugue is said to be real or 
 tonal according to its answer. 
 
 '' III. The countersubject is the name given to the 
 counteriKiillt which accompanies the answer. A 
 regular countersubject must be written in double 
 counterpoint, so that it may be employed both above 
 and below the subject (or answer). Occasionally a 
 second countersubject is introduced forming triple 
 counterpoint with the other subjects. 
 
 IV. The episode is a passage introduced intQ_jt^_^ 
 
 * A tonal answer is usualljr required, (a) when the subject begins or 
 ends upon the Dominant, (6) when the subject skips to the Dominant, 
 .lud <c) when modulation occurs in the subject. 
 
 ^ 
 

 70 Form in Music. 
 
 fugue for the double purpose of affording relief from 
 the continual repetition of the subject, and as an 
 opportunity for modulation. Episodes are usually 
 constructed on fragments of the subject or couuter- 
 subject, in order not to disturb the character of the 
 fugue. 
 
 J V. The stretto (from the Latin stringere — to draw 
 close) is the name applied to that portion of a fugue 
 in which the subject and answer follow one another 
 at shorter intervals of time than at the commence- 
 ment. • ., -.^^""^ . .. , ^ .■-"':'-■.'■ ■■■'^''■- ^'■■' -i;."; 
 
 V VI. The pedal is a sustained bass note, usually the 
 Dominant or the Tonic, and sometimes both, (in which 
 case the Tonic must appear last), upon which points 
 of imitation are constructed. 
 
 ""Analytically all fugues are composed upon a 
 ternary basis, being divisible into three parts, viz., 
 the exposition, the development and the conclusion. 
 In the exposition, all the voices* taking part in the 
 fugue enunciate the subject (or answer) successivelyi 
 
 A lead ma.y ho dafrtrrnd ^^ftr-^-^w>xnpjimiygg^ thp inter- 
 
 ' polated passage _1>eigig,t<jrm«d-» codetta. The keys 
 empHoyed in the exposition are the Tonic and 
 Dominant. The exposition may be extended into 
 what is termed a counter-exp<^itioaJby: additional 
 Icadsjpr one or more voices, in the keys of the Tonic 
 or Dominant. 
 ^ An episode immediately follows the exposition, 
 
 * The parts treble; alto, t(>i or and bam, are termed voices even in 
 an instrumental fagxie. Each time the subject if* given oat it is called 
 a lead. 
 
The Fugue. '\ 71 
 
 leading to the development portion of the fugue, in 
 which ^ the subject and answer are heard in other 
 nearly related keys. This portion of the fugue is 
 often subdivided into groups of entries, each group 
 l)enig s<^parated by an episode. 
 
 When the subject has been sufficiently developed, 
 another episode will lead to the concluding portion of 
 tlie fugue, wherein the subject is at least once more 
 heard in the key of the Tonic. It is at this point that 
 the closest strettc« are introduced ; for in a fugue, from 
 the t ^position to the final cadence, there should ever 
 be a constantly increasing interest, commencing with 
 the simple enunciation of the original subject, and 
 concluding with the most ingenious and complicated 
 network of contiapuntal devices. 
 4 The final repetition of the subject is sometimes 
 followed by a concluding episo<le called a coda. 
 ), Modulation in the fugue is more restricted than in 
 the sonata form. - ^ - • -- 
 
 The following order of keys was laid down by 
 Chei*ubini, an authority whose work on counterpoint 
 and fugue is the foundation upon which all modern 
 treatises have been written : 
 
 For Major Keys. For Minor Keys. 
 
 1. To the Dominant To the Mediant (ma), 
 (ma), 
 
 2. To the Submediant To the Dominant (mi), 
 (mi). 
 
 3. To the Subdomi- To the Submediant 
 nant (ma), (ma). 
 
72 
 
 Form in Music. 
 
 4. To the Supertonic 
 
 (mi), 
 
 5. To the Mediant (mi) 
 
 6. To the Dominant 
 
 (ma), 
 
 7. To the Tonic. 
 
 To the Siibdominant 
 (mi), 
 
 To the Subtonie 
 (ma),* 
 
 To the Tonic. 
 
 It must not be supposed that the modulations in all fugues 
 are conducted upon the above basis ; after the exposition there 
 is often much freedom in the treatment of modulations, and 
 especially is this the case in modern fugues. , 
 
 •^ The order of entry of the Yh:. 13. 
 
 subject and answer in the 
 
 exposition of a four part 
 
 fugue may be seen from 
 
 the following diagram, in 
 
 which the letters S, A, T, B 
 
 denote the soprano, alto, 
 
 tenor and bass voices : 
 
 ^ The subject maj^ be given 
 
 out by any voice, but the 
 
 answ^er in a strict fugue - 
 
 must be taken up by that voice next in the circle 
 
 (either before or after), the remaining voices entering 
 
 successively in rotation. For example, if the first lead 
 
 be in the soprano, then the next lead must be in 
 
 either the alto or the bass : and the cotaplete order of 
 
 * The Subtonie implies the note below the Tonic, according to the 
 key signature ; this note cannot well be called a leading note, neither 
 can it conveniently be called the flattened leading note. 
 
The Fugue. \ ' • 73 
 
 entry will be in the one case, S, A, T, B, and in the 
 other, 8, B, T, A. i ' : ^ 
 
 i' 
 
 No definite rule exists for the order of leads in the exposi- 
 J tion, but (it is usual for the last lead to be in an outer part, 
 soprano or bass. ] - 
 
 Irref^ular expositions are rare, but Bach occasion- 
 ally employs them, e.g., Vol. I, Nos. 1,12 and 14. All 
 the expositions in Vol. II. are regular. This will be 
 seen by referring to thetable of leads in Appendix B. 
 
 J V-The fugue is usually an independent composition. 
 It is, however, generally preceded by a prelude. The 
 fugue is sometimes employed in cyclic compositions 
 for the last movement. I Beethoven has so employed 
 it in a free, modern manner in two instances, viz., the 
 Sonata in B flat major, No. XXIX.-4, and the Sonata 
 in A flat major, No. XXXI.-4. 
 
 v/Mozart was the first to combine the fugue with the 
 sonata form.}^ This important combination was em- 
 ployed for the overture to the opera " The Magic 
 Flute," and also for the final movement of the Sym- 
 phony in C Minor ( " The Jupiter " ). In this latter 
 movement, it may be said, there are five distmct 
 subjects, which are effectively combined, forming a 
 rare example of quintuple counterpoint. 
 
 w Beethoven may also be said to have employed tl\e 
 combined forms in the last movement of the Sonata 
 in F major. No. VI.-3. 
 
 J Fugues are sometimes written on two or three, or 
 even more subjects ; they are then termed double or 
 
74 
 
 Form in Music. 
 
 '// 
 
 triple fugues, etc. The subjects must, of course, be 
 Jesigned for combination. 
 
 V Fugues may be either strict or free. In the latter 
 case (also termed fugues of imitation), the answer 
 may be formed by inverting, or by augmenting or 
 diminishing the notes of the subject : considerable 
 license is also taken in the development of the fugue. 
 In the strict fufjue the riofid laws of fujjjal form must 
 be adhered to strictlj'. • - » ■ *^ : 
 
 J The term Fughetta implies a short fugue, in 
 which there is but little development. - ' '^ -^ 
 
 V The term Fugato is applied to a compo.sition con- 
 taining points of imitation, but not developed in 
 accordance with the laws of fugal form. 
 
 It is customary in analyzing the construction of a fugue to 
 employ a special chart, (in which each measure of the composi- 
 tion is represented). By this method the various leads may be 
 presented pictorially. and their relation to one another, there- 
 fore, seen at a glance. . , 
 
 I. Analysis of the Fugue in C ma. for four voices, 
 Vol. I., No. 1. J. S. Bach. ^,:, :|^ . ni - r . 
 
 Fig. 14., ,,/; '■::'"U,:-x;^V ^/.^'l' " • _ ,, 
 
 A 
 T 
 B 
 
 I 
 
 2 
 
 
 4 
 
 5 
 
 6 
 
 7 
 
 S 
 
 9 
 
 10 
 
 1 1 
 
 12 
 
 »3 
 
 
 
 
 p 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 1 
 
 
 
 
The Fugue. ; 76 
 
 ■4 15 jO 17 18-19 to SI t2 23 24 25 36 27 
 
 fl 
 
 
 h 
 
 A\ 
 
 . / - L 
 
 l.t/f'ijM_ 
 
 ^^^^Ci^} ^'' 
 
 ^ 
 
 -- '^ -It •('l^ ^ -i— Subject. 
 
 Remarks. The subject is given out in the Alto. 
 The answer is real. 
 
 The exposition is irregular, subject, answer, answer, subject. 
 
 ^ There are several insunces of stretto, the first being between 
 
 - the treble and the tenor, at the commencement of the counter 
 
 ■ imposition in bar 7. 
 
 There is no countersubject. 
 
 -/ti 
 
 ^•' ^.S^ 
 
 There are no episodes. I lI ~-h,. // .)<r,,\q.Q\ - iiry.^^j, ^ 
 
 1 
 
 ma., G ma., C ma., D mi., D ma., G ma. O^^u 
 
 The coda commences in measure 25, and is constructed on 
 a Tonic pedal.( 7 l/ - ( )• 
 
 11. Analysis of the Fugue in C mi. for three voices, 
 Vol. L, No. 2. 
 Fig. r5f. 
 
 * ^ 3 -I 5^ 7 891011121314151617 
 
 *3f 
 
 B 
 
 ■■HI HHih>. %^^ %%^^ \ •####• 
 
 — I — I — I — I — L— _J — I — I — I; II — I — I — L 
 
76 Form in Mvsic. 
 
 i8 19 20 21 22 23 24 25 t6 27 28 29 30 31 
 
 
 , 
 
 
 
 
 1 
 
 
 
 
 
 • • • 
 
 • • 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 k 
 
 
 
 
 
 
 
 
 
 
 
 
 :U: 
 
 
 
 
 t # • 
 
 * 
 
 
 
 
 
 
 
 
 
 
 !•: 
 
 
 
 
 
 Subject. ' ■ -' • 
 
 isi Countersubject. 
 •*•••« and Countersubject. 
 
 Remarks. The Subject is given out in the Alto. 
 
 The HHswer is Tonal. ^ 
 
 There is a regular countersubject (first heard in the Alto). ^ 
 There is also a second counter-subject. ^ ' (1 1 
 Measures 5 and 6 constitute a codetta, * connoting the keys 
 of G mi. and C mi. ' • 
 
 There are, in all, four episodes, viz. : measures 9 and 10, 13 
 and 14, 17-19 and 22-26. 
 
 The order of keys in the development is : E fla^ nia., G mi. 
 and C mi. 
 
 There is no stretto. 
 
 The last two and a-half measures possess the character of a 
 coda constructed on a Tonic pedal, and consisting of a final re- 
 petition of the subject freely treated and concluding with the 
 Tierce de Picardie. 
 
 It is a matter of much interest to compare and contrast the 
 construction of the above two fugues. 
 
 The £ollowing remarks on the Fugue in C sharp mi- 
 for five voices, Vol. I, No. 4, may assist the student in 
 analysing this very important composition. 
 
 *The codetta in a fugue is a short passage employed to connect two 
 leads in the course of the exposition. 
 
^HH((l 
 
 The FiKjae. '^ 77 
 
 The Subject is ^iven out in the bass. ^^ ..'■.' 
 
 The Answer is real. ' -^. >^ ., . . » ., 
 
 The fourth lead (the Answer in the secund Treble), is irregu- 
 lar in key tonality, being in F sharp mi. instead of O sharp mi. 
 This key — F sharp mi. — is employed again in the counter- 
 exposition, measures 22-24. .,, , , , »^ «. 
 
 There is no countersubject proper until measure 35, when 
 one of a very contrasted character with the subject commences 
 in the tirst treble. 
 
 In measure 49 commences a second countersubject, in the 
 tenor. 
 
 These two countersubjects form, with the original subject, 
 triple counterpoint, and all three are considerably developed in 
 the middle portion of the fu^ue. 
 
 There is very little episodal matter throughout the composi- 
 tion, the subjects either separately or in combination being 
 heard almost continuously. 
 
 The principal keys employed in the course of the develop- 
 ment are, in addition to the Tonic, B ma., E ma., G sharp mi., 
 F sharp mi., A ma., D sharp mi. 
 
 Examples of stretto will be found in measures 92-108 in 
 which the original subject and the second countersubject take 
 part, to the exclusion of the first countersubject. 
 
 Measures 105-108 are constructed upon a Dominant pedal, 
 and measures 112115 upon a Tonic pedal, inverted as well as in 
 the bass. 
 
 The last four measures possess the character of a coda con- 
 cluding with a ulagal cadence, the last chord being once more a 
 Tierce de Picardie. 
 
 Exercises. 
 
 Sl)0w by means of charts the construction of other 
 fugues by J. S. Bach. In each case state whether the 
 answer is real or tonal. Refer to the countersubject 
 and to the stretto ; mention also the keys employed 
 
'^ Forrn in Music. 
 
 m the development and remark upon any peculiarity 
 of style or form in the ^r(,ncral construction of these 
 ^reat works. < ■ • > • >; t 
 
 Note.- No reference hns bo far been made to the preludes; 
 space alone prevents more than a passing word on these im- 
 portant movements, some of which rank almost equal, as works 
 of art, to the fugues which they precede. It must suffice to 
 refer the student to the treatise by Dr. Frederick Uiffe* in 
 which each prelude and each fugue re-^fves an* individual and 
 exhaustive analysis. 
 
 ^4' Tjltn M*r°H^°'u"*'^r'*i'"*'*' " '^*'" ^"onyeight Prelude* and Fugues 
 -^M John Sebastian Bach." Analyzed for the Une of Student*. 
 
 ''..-■ ';'';;■>'■> i; : .,~', 
 
 ■' ■; ■ ''; . • , , ,, 
 
 ) 
 
 
 1 
 
 '1' 
 
 :.hV,.''5;i' 
 
 '■• •■■■ ;: . ■■■ /- ■■*■■■' :•, ? 
 
 . ■ ; '* fr 
 
 ;.-i. ,■-! :',."■' ';.- 1.-;. 
 
 
 
CHAPTER XI 
 
 THE CYCLIC FORMS. 
 
 The cyclic form ik the la.st Htage in the cvolu 
 tion of form in composition. 
 
 J CompoHitions in cyclic form consist of two or more 
 movements, each distinct in itself and complete in its 
 ov\ n form, but yet together uniting to produce that 
 perfect unity of effect which indeed is the character- 
 istic feature in the highest form of every art. 
 
 " As poetry," says Ernst Pauer, ' finds its fullest 
 development in the Drama, so does instrumental 
 music in the Symphony ;" and to this may be added, 
 vocal music in the Opera and Oratorio. 
 
 ^ The cyclic forms may be regarded as a development 
 of the principles of ternary proper form. For, whereas, 
 in the latter there are three distinct parts, the second 
 being contrasted with the first and third, both in 
 style of composition, and in key relationship, etc., so, 
 indeed, is it with the typical cyclic form. Here there 
 are three distinct movements, the first and last being 
 usually of a bright Allegro character, both in the 
 same key, while the second is usually an Andante 
 (or other slow) movement of a tranquil character and 
 in a nearly related key. 
 t Under the heading of cyclic form are included, the 
 
 79 
 
80 Form in Music. 
 
 sonata ; the sympho ny ; the concerto; and cliamber 
 iiiusijaJL 
 
 / The sonata may consist of two, three or four move- 
 ments. When there are but two, the slow movement 
 is omitted, and wiien there are four, a minuet (or 
 scherzo) and trio is added usually after (but some- 
 times before) the slow movement. /^ 
 ^ The first movement is almost invariably in sonata 
 form, j In five instances only does Beethoven depart v 
 from the rule, viz., in Nos. XII., XIIL, XIV., XXII. 
 and XXX. This mo/ement may be preceded by an 
 introduction, usually of a Grave character •,, for 
 example, in Nos. VIII., XX VI. and XXXII. 
 J \ The second or slow movement will be in a key of 
 first or second relationship, very rarely indeed in a 
 foreign key. \? Exceptions, however, are to be found ; 
 Beethoven, for example, employs the key of F sharp 
 mi. (enharmonic of G flat mi.) for the slow movement 
 of No. XXIX. in B flat. In this sonata, the slow 
 
 ^movement, it will be seen, w placed third, so also in 
 Nos. XII., XIII and XXXI. 
 
 V The form of the slow movement may be (a) simple 
 binary or simple ternary ; (h) ternary proper ; (c) 
 simple, or modifled rondo ; (d) sonata form with or 
 without modifications, or (e) an air with variations. 
 
 (Hn Sonata No, XVIII. the slow movement is a minuet 
 and trio, this, however, is very exceptional. 
 J The third movement (when there are four 
 
 * To the above may he added, the Suite and Partlla. the early 
 Sonata, and the older Overture ; these v»ill, however, be cousidored in 
 the next chapter, being now regarded aH obsolete forms. 
 
The Cyclic Forms. -fjl 
 
 movements) is usually (iithei- a minuet and trio, or a 
 scherzo and ^rio, written, as was stated in chapter V., 
 in ternary proper form. The scherzo, or a movement 
 taking its place, is sometimes placed second and so 
 preceding the slow movement, as, for example, in Nos. 
 Xn., XIIL, XVIII, XXIX and XXXI. The key 
 employed for the scherzo is usually the same as that 
 of the first movement. 
 
 ^ The finale, as the last movement is called, must of 
 course be in the original Tonic key ; it is more fre- 
 quently in the rondo form — simple or grand — than 
 any other ; it may, however, be in sonata form ; or it 
 may be an air with variations, or a fantasia or a 
 fujjue. 
 
 \^ The form employed for the various movements of 
 Beethoven's sonatas and their relation to one another 
 may be seen at a glance by referring to the table, 
 / )pend:x A. >''^ 
 
 / Wlien there are but two movements, they must 
 each be in the same Tonic key, the first may, however, 
 be in the minor mode. Wlien there are three, and 
 more especially when there are four movements, it is 
 customary to change the key tonality at least once. 
 Beethoven, however, retains the same Tonic for each 
 movement in the following sonatas : Nos. VI., IX., 
 XIV, XXV., and XXX ; and even in the following 
 four-movement sonatas : Nos. I., VII., XII. and XV. 
 y It is worthy of note rhat sonata form is not 
 employed for any movement in Sonata No. XI]. 
 jThe form employed for the various movements of 
 
 G 
 
82 
 
 Form in Music. 
 
 the symphony, the concerto and chamber music, is 
 precisely the same as that employed for the sonata. 
 ,/ The symphony is a composition for the full 
 orchestra.* ' "' ' 
 
 " The concerto is a composition for one (or more) solo 
 instruments, with accompaniment for the full orches- 
 tra. Concertos usually have three movements only. 
 
 ^ Chamber music includes all compositions for three 
 or more solo instruments, such as trios, quartets, 
 quintets, etc., the most important of which is the 
 string quartet, written for first and second violins 
 viola and violoncello. f 
 
 Reference may here be made to the Organ Sonatas by 
 Mendelssohn. These six noble compositions, though termed 
 sonatas by the composer himself, do not in any case contain a 
 movement strictly in sonata form. They may be said to bear 
 the same relation to the orthodox cyclic form that the fantasia 
 bears to the orthodox single forms, and hence may be termed 
 irregular cyclic forms. 
 
 Another cyclic composition of an even freer character is 
 the Organ Symphony, an invention of C. M. Widor's the cele- 
 brated French organist. 
 
 * TheorchestraofBeethoven'sdayusudlly consisted of the follow- 
 ing instruments : 
 
 Brass, 
 
 4 Horns, 
 
 2 Trumpets, 
 
 3 Trombones, 
 
 Wood- Wind 
 
 1 Piccolo,* 
 
 2 Flutes, 
 2 Oboes, 
 2 Clarinets," 
 2 Bassoons, 
 
 1 Double Bassoon,* 
 
 Percussion. 
 
 2 Kettle-Drumfl 
 
 St'ings. 
 
 l«t VioUns, 
 2nd Violins, 
 Violas. 
 Violoncellos. 
 Double Basses. 
 
 • Harely. 
 
 A .i 
 
The Cyclic Ffjrms. 83 
 
 Exercise : 
 
 Commit to memory the names of the movements, 
 with their keys and their forms (Appendix A), of 
 several (or all) of Beethoven's Sonatas ; paying par- 
 ticular attention to the key employed for the second 
 movement, and contrasting the character of the first 
 and last movements.* 
 
 ::? 
 
 * The student will find an exhaustive analysis of all Beethoven's 
 
 7 Sonatas in Novello's Primer "Analysis of Form," by Dr. Harding. 
 
CHAPTER XII. 
 
 \ 
 
 :a, •.:u- 
 
 
 ANCIENT FORMS 
 
 More or less Obsolete 
 
 VFORM in instrumontal music, other than the fucrue, 
 may be said to be derived from the combined influ- 
 ences of the mediaeval dances and folk-songs ; for to 
 these alone is traceable that symmetry of construc- 
 tion, (in even the shortest compositions of the period) 
 which now, under the name of rhythm, pervades the 
 whole realm of music. 
 
 In the Elizabethan period it gradually became cus- 
 tomary for composers to write " sets " of dances for 
 performance on the Virginals and Spinet, and by the 
 middle of the seventeenth century, a definite form 
 had been established which was employed more or 
 less, for all the dances. "* 
 
 The construction of this fonn, now known as the 
 ancient binary, when employed for major keys, may 
 be shown in tabular form, thus : 
 
 Part I. 
 
 Part II. 
 
 Sentence I., Tonic. 
 
 " II., Dominant. 
 
 Sentence I., Dominant. 
 " II., Tonic. 
 
 V When employed for minor keys, the second sen- 
 tence was (as now) in the relative major. 
 
 - - --- 84 
 
^ Ancient Forms, 86 
 
 An example of a movement in this form (very slightly de- 
 veloped by the addition of an episoie between the sentences in 
 the second part) will even be found in Beethoven's Sonata's, 
 viz. : that in E flat — composed at tha age of 11 — No. XXXIII.- 
 1 (Novello's Edition). Indeed in the 'first movement of his first 
 Sonata- in F minor, Op. 2, No. 1— the development com- 
 mences with a partial repetition of the first subject in the key 
 of A flat — the key of the second subject. It would appear as 
 though the (;reat master were bidding farewell to the old law 
 preparatory to embracing the new. 
 
 The " sets " of dances became known on the con- 
 tinent as Suites (suites de pieces) or Partitas. *J 
 Francois Couperin (1668-1778) was the most impor- 
 tant of the early composers who wrote suites, to which, 
 however, he orave the name of " ordres." 
 '^ The typical suite always contained at least four 
 movements, the Allemijaide7~4ilie Coui-ante,_thfi Sara- 
 bande and the Giijue : it sometimes commenced with 
 a prelude. When other movements were added they 
 were introduced between the Sarabande and the Gigue. 
 ^ In addition to the above the following were also 
 popular old dances: the Bourree, Brawl, Cebell, 
 Chaconne, Gavotte, Hornpipe, Minuet, Passacaglia, 
 Passepied, Pavan, Polonaise, Rigadoon, Siciliano. 
 
 Brief definitions of these and other old dances will be found 
 under General Definitions, Appendix C. 
 
 ^ Other movements gradually found their way into 
 the suite, such as the Symphonie, Scherzo, Rondeau, 
 
 * There is little difference between the Suite and the Partita; some 
 authorities claim that the suite contained dances only, while the partita 
 contained other movements as well; this theory, however, oannot be 
 substantiated. 
 
86 Fomi in Music. 
 
 Ground, Toccata, Fugue, etc , and before the end of 
 the seventeenth century the term Sonata had come 
 into use. ^ • v 
 
 The word sonata -is probably derived from the 
 Italian sonare, to sound, though some authorities 
 would derive it from sonetto, a sonnet. 
 A The early sonata seems to have had no very defi- 
 nite form as a whole ; each composer that employed 
 the term, applied it to a series of short movements of 
 diverse character. ; '■ : , «' • ' 
 
 j\ The weak feature in the suite, was monotonous 
 tonality, for every movement was in the same key. 
 In the early sonata, however, an attempt was mad< 
 to avoid this fault. In the " Golden Sonata '* (for 
 two violins and a bass) by Henry Purcell (1658-1695), 
 the greatest English musician of this period, there 
 were five movements, viz., a Largo ir\ F, an Adagio in 
 F minor, a Canzona allegro in F major, a Grave in D 
 minor and an Allegro in F. - r ^ ..;■.:'■,:;,.. :u—y::^..^'., 
 
 •/<, There appears to have been a distinction made 
 .yr between the sacred and the secular sonata of this 
 / period.^Two sonatas by Arcangelo Corelli (1653 
 ^ 1713) are thus constructed; .'''-',^-%-^^'':^':^^-.. 
 
 Sonata da Chiesa. ^/-^ Sonata da Camera. 
 (Church Sonata) (Chamber Sonata) 
 
 ^s Op. 1. No. 1. ,;K. :a,iML.., Op. 2. No. 1. ..■^;fc;,- 
 
 ,.fr/ , Grave -■\'- ■'■^v.;^:: ■■;.;>■,■:-: . Largo , /^y ./'w" 
 
 ' ' " Allegro - Allegro /- 
 
 Adagio :J; Corrente 
 
 Alleffro Gavotta 
 
 \ 
 
 J 
 
) 
 
 Ancient Forma. 
 
 ■fggv 
 
 In the latter of tb- se, it will be seen, there are 
 some dance movemeuts, which would be out of place 
 in the former. ' < *■' • 
 
 '^ Another form of instrumental composition to which 
 much attention was devoted in the seventeenth 
 century was the Overture. Mention has already been 
 made in Chap. VII. of an overture, sometimes called 
 the modern overture, constructed upon the lines of 
 sonata form, to which the older overture, it may be 
 said, gave placejlf but although long since discarded, 
 the older overtui^ played an important part in the 
 development of form. 
 
 ^ The older overture may be divided into two classes, 
 the French and the Italian. ^ The latter was perfected 
 by Alessandro Scarlatti (1659-1725), and the former 
 by Baptiste Lulli (1633-1687). 
 
 The respective construction of each will be seen in 
 the following table : 
 
 ••^ 
 
 The French Oi^erture. 
 
 A sluw movement, 
 
 A quick movement of 
 
 f ugal character, 
 A movement in one of 
 
 the dance forms. 
 
 The Itcdian Overture. 
 
 A quick movement, 
 A slow movement, 
 Another quick movement. 
 
 ^ The Italian overture, therefore, may be said to be 
 
 the precurso** of the modern sonata and symphony. 
 
 >^By the dawn of the eighteenth century the ancient 
 
8^1 JWm in Music, 
 
 binary form had been considerably developed, and i'.i 
 due course Part II. commences with a short develop- 
 ment of the first subject, or with a new episode, 
 followed by a repetition of the first and second sen- 
 tences both in the tonic key, as has already been seen 
 in the preludes Nos. XXIX. and XLV. of the well- 
 tempered clavier. 
 
 ^ With Bach and Haadel the suite-de-pioces is 
 brought to its perfection, and indeed becomes the 
 basis of another type of composition, viz., the organ 
 concerto. The Organ Sonatas of Bach (more properly 
 termed Trios), on the other hand owe their form to 
 the sound basis of the old Italian overture. ' 
 
 "^ The influence of the suite was not wholly destroyed 
 by the advent of the sonata. The Serenade, Cas- 
 sazione, Divertimento and Notturno owe their exist- 
 ence to the former rather than the latter. The con- 
 struction of these compositions cannot well be 
 generalized. They frequently contained six and even 
 eight movements, some of which were moulded in 
 sonata form. ^ iJVlozart may be specially remembered 
 in connection with this class of composition, for he 
 wrote twelve serenades, three cassazioni and eighteen 
 divertimenti. Beethoven also wrote two serenades ; 
 but the great masters, generally speaking, did not 
 regard this fantasia element in the cyclic form with 
 favor. ..^^^.^...,..-.. ....,..^.. .-v^ ■ -,-.-, 
 
 ^ The suite — the suite of Bach and Handel — it may be 
 said in conclusion, is not even yet defunct ; several 
 coujposers, during the latter part of this nineteenth 
 
Ancient Forms. 89 
 
 century, having written suites, in which the genius 
 of the old style has been imitated and reproduced 
 under a modern garb. - ' ' 
 
 t i ' ■: . ' -I 
 
 
 
 t? 
 
 I 
 
 ■ '.'■ 
 
 ■rir > -i'l^:. 
 
 V. 
 
 
 ■•H 
 
 '-;- ^.'v' "i .'■'■' 7:''?T''^V->v 
 
1 
 
 i 
 
 <•'*,*-_] .■^ijVi'L,;'; '•> 
 
 CHAPTER XIII. 
 
 ; FORM IN VOCAL MUSIC. 
 
 Justus form in instrumental music is deriverl from 
 the mediaeval dance tune, so form in vocal music is " 
 V derived from the media3val ballad and folk-song. :i 
 Exception, however, must be made in the case of com- 
 positions possessin^r a fu^raj characterTllthese are 
 derived directly from the Belgian school;' 'and indi- 
 rectly from the influence of the church in the middle ? 
 a^es. i 
 
 J \^ocal music may be divided into two classes, that 5 
 for solo voices, such as the son^, duet, trio, quartet, i 
 etc., and that for combined voices in chorus. 
 
 ^ The Song, or Aria, may be briefly described as a i 
 composition for a single voice with an instrumental I 
 accompaniment. 
 
 ^The mediaeval folk-songs and ballads were simply ] 
 musical sentences usually of binary construction, the 
 same melody being employed for evei-y verse, .^i'^'^/^ "^ 
 ^ With the development of the opera and the oratorio 1 
 in the seventeenth century, the song gradually 
 assumes an important position, and passing through I 
 the simple binaiy and simple ternary forms, it emerges ^ 
 
 early in the eighteenth century into tho ternary \ 
 
 proper, in which form many of Handel's greatest ' 
 
 songs were written. 
 
 90 
 
FoTTii in Vocal Music. dl 
 
 X .^ ■ ^*^: 
 
 \ It is, however, in the o;ran(l opera tlmt tlie song 
 Hnally reaches its highest stage of development, viz., 
 in the Scena in which an opening recitative is fol- 
 lowed by first a slow and then a quick movement. 
 ^ The recitative may be described as musical decla- 
 mation. At first, the Recitative Secco {i.e. literally, 
 dry recitative), as it was called, had tlie b4arest 
 accompaniment of sustained or detached chords, but 
 in time the accompaniment became more emotional, 
 and the vocal part also more rhythmical.* 
 v^ A peculiarly English form of composition for solo 
 y,.\f*^ in har^^Q^ yT ^^ t ^^** Qlee, which may be de- 
 scribed as a cyclic vocal form, for there were always 
 
 /vat least two distinct movements. iThe word Glee, 
 signifying harmony, is derived from the Anglo-Saxon 
 
 \-;^Gleo ; and although the modern word signifies joy, 
 yet there are serious as well as merry glees. 
 
 ^^Compositions for combined voices in chorus prob- 
 ably owe their origin to the hymn. 
 
 vOne of the simple secular forms, very popular in 
 the Elizabethan period, was the Round, a form of 
 canon, each voice, however, singing in imitation at 
 
 * The student who possesses a copy of Handel'*) Messiah may be 
 interested in examining the following numbers : 
 
 No. 29. *' Thy rebuke hath broken his heart." Recitative (secco). 
 •* 5. "Thus saith the Lord." Recitative (accompanied). 
 •• 30. '* Behold, and nee." Simple Binary. 
 " 38. " How beautiful are the feet." Simple Binary. 
 " 36. " Thou art gone up on high." Simple Ternary. 
 ** 45. "I know that my Redeemer liveth." Simple Ternary 
 " 3. " Every valley shall be exalted." Ancient Binary. 
 '• 32. '* But thou didst not leave." Ancient Binary. 
 " 6. " But who may abide." Ternary Proper, 
 ti 40. " Why do the nations." Ternary Proper. 
 
92 Form in Music. 
 
 the unison. When set to humorous words tlie Round 
 was called a Catch. 
 
 ^ The most important vocal form of the sixteenth 
 century was the Madrigal, a composition of an essen- 
 tially contrapuntal character, usually set to secular 
 words.* 
 '^ \The Madrigal had its counterpart in sacred music 
 in the Motet. The form of the early motet was very 
 vague, but at the hands of Hadyn and Mozart the motet 
 became a highly artistic vocal form. ( In the " Splen- 
 dente Te Deus " of the latter and the " Insanae et 
 Vanae Curae " of the former, not only is the sonata 
 form strictly adhered to, but an orchestra accompani- 
 ment of a free character is also added. 
 ^ From the early Motet w^as developed the anthem, 
 another essentially English composition. The anthem 
 has been defined as " a composition for voices, with 
 or without organ or other instrumental accompani- 
 ment, enjoined by the ritual of the Anglican Church 
 to be sung at morning and evening service,' in Quires 
 and Places where they sing.' " The anthem may be 
 divided into two classes, the full and the verse ; in the 
 latter, passages for one or more solo voices were 
 introduced, the former were written for full chorus 
 throughout. Anti phonal effects for the Decani and 
 Cantoris sides of the choir were also often introduced. 
 
 * The Madrigal is now almost obsolete, but its memory ie not allowed 
 to fade away, for madrigal societies exist in almost every town in 
 England, while the madrigal society instituted in 1711 (the date of the 
 Messiah), especially encourages the composition of this particular form. 
 i The chorus "His Yoke is Easy," in 'the Messiah, is, to all intents Tind 
 ;' purposes, a madrigal, though sot to sacred words, the music verges on 
 the secular style. 
 
■.,:it_\,J,' 
 
 Form in Vocal Music. 98 
 
 ^ Tlie anthem has its counterpart in secular music in 
 the Part-song, a form of composition in which the 
 melody is the leadinjj; feature, the other voices occupy- 
 ing tiie inferior position of simply filling up the 
 harmony. A Part-song, therefore, differs from a 
 madrigal in its exclusion of contrapuntal devices. 
 
 ^Handel expanded the anthem into a cyclic form, 
 introducing solos, duets, etc., in addition to the choral 
 numbers. In this form the anthem practically 
 becomes a sacred Cantata, a form especially cultivated 
 by J. S. Bach. 
 
 ^ The Cantata is one of the highest of vocal forms. 
 It may be defined as a composition for voices and 
 instruments, the music consisting of recitatives, songs, 
 duets, trios, etc., and choruses, with usually an accom- 
 paniment for the orchestra. The cantata may be 
 either secular or sacred ; it is " a kind of short 
 oratorio, or opera, not intended for the stage " and, 
 therefore, without dramatis personae. 
 
 ^ In this connection mention may be made of the 
 Mass, and the English Church Service. The Mass 
 comprises the Kyrie Eleison, Gloria in Excelsis, Credo, 
 Sanctus and Agnus Dei. The Church Service com- 
 prises the Te Deum, Benedictus (or Jubilate), the 
 Communion Service, the Magnificat and Nunc 
 Dimittis. 
 
 ^ Finally the highest form of vocal music is to be 
 found in the Oratorio and the Opera. In addition to 
 the definition given above of the Cantata, these two 
 great works each require an overture, and they also 
 
94 Form in Music. 
 
 frequently contain other instrumental numbers, and 
 further, dramatis persona' are introduced. 
 ^ Sacred and secular music have ever progressed side 
 by side, the hymn-tune has its counterpart in the 
 ballad, the motet in the madrigal, the anthem in the 
 part-song, the sacred in the secular cantata, and 
 lastly the oratorio in the opera. 
 
 It would be impossible to enter minutely into the 
 form employed for choral movements of either the 
 oratorio or the opera. As has already been stated, 
 ^ i the sentiment expressed in the words is the first con- 
 sideration, this must be portrayed in the music, and 
 the music must, in the matter of rhythm, follow the 
 lines of the musical sentence, while the modulations 
 must be condu( ted upon the principles which govern 
 the arbitrary instrumental forms : but above and 
 beyond all this, with the single exception of the 
 fugue, the composer is accorded a free hand in draw- 
 ing up the plan of a movement, just as in the case 
 of the instrumental fantasia. 
 
 Nevertheless, it will be found that a ba.sis of ternary 
 proper fovm is the most popular for choruses and is 
 usually adopted by the greatest composers. In illus- 
 tration of this point, one chorus may, perhaps, be 
 specially named, one in which the sentiment expressed 
 in the words is perfectly reflected in the munic, and 
 the horaophonic and the polyphonic styles of com- 
 position are judiciously introduced, namely, the 
 " Hallelujah " chorus in the Messiah by George Fred- 
 :-nr erick Handel. V 7 :-yr-:7-'::-j^:z^:^r-y::'t:y~':F 
 
APPENDIX A. 
 
 BEETHOVEN'S SONATAS. 
 Table giving the form employed for each movement. 
 
 No. 1 in F minor, Op. 2, No. J. 
 
 1. Allegro. . -'" 
 
 2. Adagio. 
 
 3. Minuet and Trio, 
 
 Allegretto. 
 
 4. Prestissimo. 
 
 F minor. 
 F major. 
 
 F minor. 
 F *• 
 
 No. 2, in A, Op. 2, No. 
 
 2. 
 
 1. Allegro vivace. 
 
 2. Largo appassionato^. 
 
 3. Scherzo and Trio, 
 
 Allegretto. 
 
 4. Rondo —Grazioso. 
 
 A major. 
 D ** 
 
 A " . 
 A " 
 
 
 No. 3, in C, Op. 2, No. 3. 
 
 1. Allegro con brio. 
 
 2. Adagio. 
 
 3. Scherzo and Trio, 
 
 Allegro. 
 
 4. Allegro assai. 
 
 
 Sonata. 
 
 Simple Ternary. 
 
 Ternary Proper. 
 Sonata. 
 
 Sonata. 
 Modified Rondo. 
 
 Ternary Proper. 
 Grand Rondo. 
 
 Sonata. 
 Modified Rondo. 
 
 Ternary jt'roper. 
 Grand Rondo. 
 

 96 
 
 Form in Music. 
 
 Movement. 
 
 Form. 
 
 No. 4, in E flat, Op, 7. 
 
 1. Allegro molto. 
 
 2. Largo. 
 
 3. Allegro and minore. 
 
 4. Rondo. 
 
 E flat major. 
 C 
 
 E flat ♦♦ 
 1 K " ** 
 
 Sonata. 
 
 Simple Ternary. 
 Ternary Prupfr. 
 Grand Rcndo. 
 
 No. 5, in C minor. Op. 10, No. 1. 
 
 L 
 
 Allegro nxolto e 
 
 ?, 
 
 ■ 
 
 
 con brio. 
 
 C miaor. 
 
 Sonata. 
 
 2. 
 
 Adagio molto. 
 
 A flat major. 
 
 Modified Sonata. 
 
 3. 
 
 Prestisaimo. 
 
 C minor. * 
 
 Sonata. ^ ' 
 
 No. 6, in F major, Op. 10, No. 2. 
 
 1. Allegro. } '^ 
 
 2. Allegretto and Trio. 
 
 3. Presto. -- 
 
 No. 7, in D major. Op. 10, No. 3. 
 
 Sonata. .--^^/.v-,^^ 
 Ternary Proper. 
 Sonata. , ^ - r 
 
 1. Presto. ,,„^ . • 
 
 2. Largo e mesto. 
 
 3. Minuetto and Trio, 
 
 Allegroj^ ^ .^-^-^ 
 
 4. Allegro. 
 
 Sonata. 
 Mr>dified Sonata. 
 
 Ternary Proper. 
 Simple Rondo. 
 
Appendix A. 
 
 97 
 
 MnremeiU. 
 
 Key. 
 
 Form. 
 
 No. 8, ill C minor. Op. 13. *' Pathetique." 
 
 1. Grave. 
 All«»gro molto. 
 
 2. Adagio cantabile. 
 
 3. Allegro. 
 
 C minor. 
 
 A flat majur. 
 C minor. 
 
 Fantasia. 
 Sonata Form. 
 Modified Rondo. 
 Grand Rondo. 
 
 No. 9, in E, Op. 14, No. 1. 
 
 1. 
 
 Allegro. 
 
 E major. 
 
 Sonata. 
 
 2. 
 
 Allegretto and 
 
 
 ■ 
 
 
 Maggiore. 
 
 E minor. 
 
 Ternary Proper. 
 
 3. 
 
 Allegro commodo. 
 
 E m-ijor. 
 
 Simple Rondo. .- ;t 
 
 No. 10, in G, Op. 14, No. 2. 
 
 1. Allegro. . 
 
 2. Andante. 
 
 3. Allegro assai 
 
 (scherzo). 
 
 G major, 
 C *' 
 
 G 
 
 it 
 
 No. 11, in B tiat. Op. 22. 
 
 Sonata 
 
 Air with variations. 
 
 Simple Rondo. 
 
 1. Allegro con brio. 
 
 2. Adagio con molto 
 ' espressione. 
 
 3. Minuetto and 
 
 - minore. .-m-^-^. 
 
 4. Allegretto. 
 
 B flat major. Sonata. 
 E flat ♦' 
 
 B flat ♦• 
 B tiat " 
 
 t( 
 
 Ternary Proper. 
 Grand Rondo. 
 
98 
 
 FoTTTi in Music. 
 
 No. 12, in A flat, Op. ^6. 
 
 1. 
 
 Andante. 
 
 A flat 
 
 major. 
 
 Air with variations. 
 
 2. 
 
 Scheizo and Trin», 
 
 
 
 
 
 Allegro moito. 
 
 A flat 
 
 tt 
 
 Ternary Proper. 
 
 3. 
 
 Marcia Funebre, 
 
 
 
 - -'V 
 
 
 Maistoso Andante. 
 
 A flat 
 
 minor. 
 
 I* tt > 
 
 4. 
 
 Allegrr*. 
 
 A flat 
 
 major. 
 
 Grand Rondo. 
 
 No. 13, in E flat, Op. 27, No. 1. '* Quasi una Fantasia." 
 
 1. Andante and Allegro 
 
 2. Allegro molto e 
 
 vivace. 
 
 3. Adagio con espres- 
 
 sione. 
 
 4. Allegro vivace. 
 
 E flat major. 
 
 C minor. 
 
 A flat major. 
 E flat •♦ 
 
 Ternary Proper. 
 
 <( 
 
 it 
 
 Simple Ternary, 
 Grand Rondo. 
 
 No. 14, C sharp minor, Op. 27, No. 2. *' Quasi una Fantasia. "•• 
 
 1. Adagio sostenuto. 
 
 2. Allegretto and Trio. 
 
 3. Presto agitato. 
 
 C sharp minor. 
 D flat major. 
 C sharp minor, 
 
 Modified Sonata. 
 Ternary Proper. 
 Sonata. 
 
 *(PopulaTiy known ae "The Moonlight Sonata.") 
 
■%*v' 
 
 Appendix A. 
 
 99 
 
 MocemetU. 
 
 Form. 
 
 No. 16, in D., Op. 28. 
 
 % -::. ' m 
 
 
 1. Allegro. 
 
 2. Andante. 
 
 3. Scherzo and Trio, 
 
 D major. 
 D minor. 
 
 Sonata. • 
 Ternary Proper . -^ 
 
 Allegro vivace. 
 4. Allegro ma non 
 troppo. 
 
 D major. 
 D " 
 
 Grand Rondo. 
 
 No. 16, in G, Op. 31, No. 1. 
 
 1. Allegro vivace. 
 
 2. Adagio grazioso. 
 
 3. Allegretto. 
 
 Sonata. 
 Simple Rondo. 
 Grand Rondo. 
 
 No. 17, D minor, Op. 31, No. 2. (Dramatic). 
 
 1. Largo and Allegro. 
 
 2. Adagio. . „. 
 
 3. Allegretto. 
 
 D minor. 
 B flat major. 
 D minor. 
 
 Sonata. 
 
 Modified Sonata. 
 Sonata. 
 
 No. 18, E flat. Op. 31, No. 3. 
 
 1. 
 
 Allegro. 
 
 £ flat major. 
 
 Sonata. 
 
 2. 
 
 Scherzo, Allegretto 
 
 •-.;■• ■-.•.■■<■. 'V- 
 
 ' 
 
 
 vivace. 
 
 A flat ♦• 
 
 Sonata. 
 
 3. 
 
 Menuetto and Trio, 
 
 
 
 
 Moderato e grazioso. 
 
 E flat •• 
 
 Ternary Pn>per. 
 
 4. 
 
 Presto con fuoco. 
 
 E flat " 
 
 Sonata. 
 
100 
 
 Form in MvMc. 
 
 Movement. 
 
 Key. 
 
 Form. 
 
 No. 19, in G (minor and major). Op. 41, No. 1. 
 
 1. Andante. 
 
 2. Allegro. 
 
 G minor. 
 G major. 
 
 Sonata. 
 Fantasia. 
 
 No. 20, in G, Op. 49, No. 2. 
 
 1. Allegro ma non 
 
 troppo. 
 
 2. Tempi di Menuetto. 
 
 Sonata . 
 Simple Rondo. 
 
 No. 21, in C, Op. 53, " Waldstein." 
 
 i. Allegro con brio. 
 
 2. Adagio molto, 
 
 3. Allegretto moderato. 
 
 Sonata. 
 Fantasia. 
 Simple Rondo. 
 
 No. 22, in F, Op, 54. 
 
 1. Tempi d'un 
 " Menuetto. 
 
 2. Allegretto. 
 
 Simple Rondo. 
 Fantaaia. 
 
 No. 23, in F minor. Op. 57, " Appasaionata." 
 
 1. 
 
 Allegro assai. 
 
 F minor. 
 
 Sonata. ^^ ^^ 
 
 2. 
 
 Andante con moto. 
 
 D flat major. 
 
 Air with Variations. 
 
 3. 
 
 Allegro ma non 
 
 
 
 
 troppo. 
 
 F minor. 
 
 Sonata. 
 
Appendix A. 
 
 101 
 
 Movement. 
 
 Form. 
 
 No. 24, in F sharp, Op. 78. 
 
 1. Adagio cantabile, 
 
 
 
 Allegro ma non 
 
 
 
 troppo. 
 
 F sharp major. 
 
 Sonata. 
 
 2. Allegro vivace. 
 
 F '♦ •' 
 
 Fantania. 
 
 No. 26, in G, Op. 79. 
 
 1. Presto alU Tedesca. 
 
 2. Andante. 
 
 3. Vivace. 
 
 G major. 
 G minor. 
 G major. 
 
 Sonata. 
 
 Simple Ternary. 
 Simple Rondo. 
 
 No. 26, in E flat. Op. 81. ** Sonate Caracteristique, Les 
 Adieux, T Absence, et le Recour." 
 
 
 ■r . ^ 
 
 
 if'-r? u 
 
 1. 
 
 Les Adieux, . ' 
 
 
 
 
 Adagio, 
 
 E flat major. 
 
 Fantasia. 
 
 
 Allegro. 
 
 it (t 
 
 Sonata. 
 
 2. 
 
 L' Absence, Andante 
 
 v.y,. ...t. 
 
 
 
 Espressivo. 
 
 C miner. 
 
 Fantasia. 
 
 3. 
 
 Le Retour, ••' ' 
 
 
 
 
 Vivacissimamente . 
 
 E flat major. 
 
 Sonata. 
 
102 
 
 FovTu 171 Music. 
 
 Form. 
 
 No. 27, in E, (minor and major), Op. 90. 
 
 *1. (With animation). 
 2. (Not too Faat). 
 
 E minor. 
 E major. 
 
 Sonata. 
 Grand Rondo. 
 
 No. 28, ir. A, Op. 101. 
 
 1. Allegretto ma iion 
 
 troppo. 
 
 2. Vivace alia Marcia. 
 
 3. Introduction, 
 
 Allegro. 
 
 A major. 
 A " 
 
 Sonatti. 
 
 Ternary Proper. 
 Fantasia. 
 Sonata. 
 
 No. 29, in B flat. Op. 106. 
 
 1. Allegro. 
 
 2. Scherzo assai ' 
 
 vivace. 
 
 3. Adagio sostenuto. 
 
 4. Introduc*^\on, 
 
 Allegro resoluto. 
 
 B flat major. 
 
 B ** ** 
 F sharp minor 
 
 B flat major. 
 
 Sonata. 
 
 Ternary Proper. 
 Sonata. 
 
 Fantasia, Fugue. ^/ 
 
 •Instead of the Italian, Beethoven has employed his own native 
 language to describe the character of each movr>ment in this sonata, viz.: 
 
 1. "Mlt Lebhaftigkeit und durchaus mit Empflndung und Aus- 
 druck "— ^With animation and with great expression). 
 
 2. "Nicht zu geschwind nnd schr singbar vorgetragen"— (Not too 
 fame, and the melody to be well sustained). 
 
Appendix A. 
 
 103 
 
 Movement. 
 
 Form. 
 
 No. 30 in E, Op. 109. 
 
 1. 
 
 Vivaoe ma on 
 
 
 
 
 troppo. 
 
 E major. 
 
 Simple Rondo. 
 
 2. 
 
 Prestisaimo. 
 
 E minor. 
 
 Sonata. 
 
 3. 
 
 Andante molto 
 
 
 
 
 cantabile. 
 
 E major. 
 
 Air with variations. 
 
 No. 31, in A flat, Op. 110. 
 
 1. 
 
 Moderato cantabile. 
 
 A flat major. 
 
 Sonata. 
 
 2. 
 
 Allegro molto. 
 
 F minor. 
 
 Tflrnary Proper. 
 
 3. 
 
 Adagio ma non 
 
 
 
 
 troppo. 
 
 A flat minor. 
 
 Simple Binary. 
 
 4. 
 
 Allegro ma non 
 
 
 
 
 troppo. • 
 
 A flat major. 
 
 Fugue. ^ 
 
 No. 32 in C (minor and major), Op. 111. 
 
 1. MfiBStOSO, 
 
 Allegro con brio. 
 
 2. Arietta, Adagio 
 
 molto. 
 
 Fantasia. 
 Sonata. 
 
 Air with variations. 
 
 ■■." '- '>';■ 
 
 •'. .''■.^'■■-t 
 

 APPENDIX B. — ^ 
 
 bach's fugues. 
 
 Table Aoiring the order of lead* in each exposition. 
 
 
 ■ . - , ,- 
 
 Vehmel 
 
 • 
 
 Vol^tme It. 
 
 No 
 
 Xey. 
 
 
 
 
 
 •ik* V* 
 
 
 
 
 
 
 
 Vaiet*, 
 
 Ahm. 
 
 * 
 
 Real 
 
 Voices. 
 
 An*. 
 
 :- ^' 1 
 
 major 
 
 A. S. T. B. 
 
 A. »< B. 
 
 Tonal 
 
 » 
 
 minor 
 
 A. S. B. 
 
 Tonal 
 
 A. S. T. B. 
 
 Tonal 
 
 3 
 
 Orli»rpm%jor 
 
 ^. A. B. 
 
 Tuna! 
 
 n. S. A. 
 
 Tonal 
 
 4 
 
 C shxrp minor 
 
 B. T. A. S. S. 
 
 K«ai 
 
 \H. S. A. 
 
 Real 
 
 5 
 
 D major 
 
 B. T. A. S. 
 
 ReaJ 
 
 T.J. S. B. 
 
 Real 
 
 jiMlWIl/'l" 6 
 
 D minor 
 
 S. A. B. 
 
 R«il 
 
 A. S. B. 
 
 Real 
 
 ^^ 7 
 
 K flat major 
 
 S. A. B. 
 
 Tunal 
 
 B. T. A. 5. 
 
 Tonal 
 
 8 
 
 E flat minor 
 
 A. ^'. B. 
 
 Ton*l 
 
 S. A. B. 
 
 Real 
 
 9 
 
 E major 
 
 A. 5. B. 
 
 Real 
 
 B. 1*. A. i5>. 
 
 Real- 
 
 10 
 
 E minor 
 
 S. B. 
 
 Re«} 
 
 8. A. B. 
 
 Real 
 
 11 
 
 F major 
 
 A. & B. 
 
 TonaJ 
 
 S. A. B. 
 
 Tonal 
 
 12 
 
 F minor 
 
 T. A. B. S. 
 
 Tonal 
 
 S. J. B. 
 
 Tonal 
 
 13 
 
 F sharp major 
 
 8. A. B. 
 
 Tonal 
 
 A. 1^. B. 
 
 Real 
 
 14 
 
 F sharp miisior ; 
 
 T. A. B. S. 
 
 Real 
 
 A. a. B. 
 
 Tonal 
 
 15 I 
 
 G major 
 
 S. A. B. 
 
 Real 
 
 S. J. B. 
 
 Tonal 
 
 --- — "16 1 
 
 G muor 
 
 A. it. B. r. 
 
 Tt.nai 
 
 T. A. S. B. 
 
 Tonal 
 
 ^-—17 1 
 
 A flat major 
 
 T. B. S. A. 
 
 Tonal 
 
 A. .v. T. R. 
 
 To»»l 
 
 18 
 
 G sharp minor 
 
 T. A. S. ^. 
 
 Tonal 
 
 S. J. B. 
 
 Real 
 
 19 
 
 A nsajtH" ; 
 
 S. J. B. 
 
 Tonal 
 
 B. A. S. 
 
 Real 
 
 20 
 
 A minor 
 
 A. S. B. r. 
 
 Real 
 
 B. J. S. 
 
 Tonal 
 
 ^..— «i ! 
 
 B flat major 
 
 S. A. B. 
 
 Tonal 
 
 A. ^. B. 
 
 Tonal 
 
 •^ 22 
 
 6 fl«t minor 
 
 S. A A. T. B. 
 
 Tonal 
 
 A. XB- r^ 
 
 Baal 
 
 23 
 
 B major •. 
 
 T. ,4. S. £. 
 
 T<»na} 
 
 B. T. A. S. 
 
 Real 
 
 24, 
 
 B minor 
 
 S. ^. B. 
 
 Tonal: 
 
 A. A". B. 
 
 Tonal 
 
 K.&— Tbe iect«rs. io IIm abore table, in I talics iodieate the aa^tv^ w. 
 
 104 
 
y^ir'y '. <■:,>, ..■>vV"- ■■ - -V ■^;>.V,': .•:'■ .■' . V-' :;'>"'^ 
 
 APPENDIX C. , r ,: 
 
 GENERAL L^FINITIONa* £ 
 
 Accent. — A stress laid upca cerUun notes at regular inter- 
 Tals of time. The posit ion. of the accent is indicated by the 
 bar lines. Accents may be produced at any point by the use of 
 the sign < or sf. The throwing of the accent on to an unac- 
 cented part of the measure is called syncopation. 
 \ Accompaniment. — A separate part, or parts, for Toices 
 or instruments, added to a solo, or concerted piece. 
 
 Act. -A distinct division in the plot or design of a drama 
 or opera. 
 
 A^nus Dei. — A part of the Mass. ; i -/ "s^ ■ 
 Air. — A tune or melody. Blelodic sentence, 
 k AUemande ■ i — A n old dance, in dup!e time, of a moderately 
 
 quick movement, of French origin ; the opening number of the 
 suite. . \ ,,.,,,._^-— ■-■— ;«-^. 
 
 \ Anthem.— A sacred composition for voices with or with- 
 out instrumental accompaniment, forming part of the English 
 Church service. . , , i,,i . ^ 
 
 ^ Aria.— (Song, q. p.). 
 
 Aria Pcwlante. — A style of song writing employed in the 
 ; earliest operas, of a recitative character but sung in strict time. 
 
 Aubade. — Music performed at daybreak. 
 f^ Ballad. — A simple narrative told in rhyme, having the same 
 ' melody for each verse. 
 ^ - Bcillade. — A dance. 
 
 —Bfdlet. — (1) A representation in dancing of some story, 
 without words. (2) A light part song, with a Fa- la chorus. 
 
 * These definitions, for the mo?t part, are taken from Stainer & 
 Barrel'l's "Dictiooarjr of Mui^ical Terms "and are here materiallj coo- 
 deosed. 
 
 M6 
 
106 Form in Music. 
 
 Barcarolle. — A melody in imitation of the songs of the 
 Venetian gondoliers. 
 
 Berceuse. — A cradle song. 
 
 - Bolero. — A Spanish dance in triple time with a strongly 
 . marked accent, also called a cachuca. 
 
 ^ - Bourree. — An old dance, in common time, of French (or 
 Spainsh) origin. It commences on the fourth beat of the 
 measure, and is of a bright, fluent character. 
 
 - Brawl, (Branle). — An old French dance, in common time, 
 of a gay character. 
 
 Brindisi. — A melody in triple time of a florid character. _ 
 
 Burden. — The chorus or refrain of a song. 
 
 Burletta. — A comic opera or farce, interspersed with songs. 
 
 Cachuca.— (Bolero, qr. v.). 
 
 Cadence, (Close). — The final harmonic progression (the 
 two last chords) of a phrase. 
 
 —Cadenza.— A brilliant passage, of no definite form, intro- 
 duced into the concerto to exhibit the technical ability of the 
 performer. 
 
 Calata. — An Italian dance, in duple time, of a lively 
 character. 
 
 Canaries. — An old dance (probably English), in common 
 time, of a lively character. 
 
 y -'-Canon. — A contrapuntal composition in which the voices 
 (or parts) enter successively, each taking up the same melody 
 or subject, '^p ^ ..^-^.a -u4ftjH:- j 
 
 '^ Cantata. — A sacred or secular' composition for solo voices 
 and chorus with an orchestral accompaniment, "a kind of 
 short oratorio or opera," but without dramatis pevsonsB. 
 
 * Canto Fermo. —A subject for contrapuntal treatment. 
 
 Canzona. — (1) A short song, in which the music is of much 
 more importance than the words. (2) An obsolete instrumental 
 form of composition. 
 
 Cappriccio. (Caprice.) — A composition of irregular form 
 
 and of whimsical character. 
 
Appendix C. 107 
 
 Carol. — A <>ong of praise especially connected with Christ- 
 mas-tide festivities. ' ' . > t 
 
 Carola. (Ctermaguole) — A dance accompanied with singing, 
 popular during the French Republic, 1792. , . ^ ., ^'^ 
 
 Cassazione. — An irregular cyclic form, jt de v elo pm e nt 
 die-MHte.- _j '...,r- 
 
 Catch. — A species of Canon, a Round with humorous 
 words. 
 
 Cavata. (Cavatina.) — A melody or song, in simple form. 
 
 Cebell. — A theme in common time, forming a subject for 
 " divisions " (variations), for the lute or violin. 
 J .«» Chaconne. — An old dance in triple time, of a slow char- 
 acter, frequently employed as a ground bass. 
 •J — 'Chamber Music. — A composition in (regular) cyclic form, 
 for any combination of different instruments with one player to 
 each. 
 
 Chant. — A short composition to which the Psalms are sung. 
 There are two kinds, the Anglican and the Gregorian. , v 
 
 Chica. — An old dance, of dubious character, popular among 
 the South American Spaniards. , f,,^ ,...,, 
 
 •• Chorale.— A. German hymn or psalm tune. 
 
 v> Chorus. — A vocal composition with or without accompani- 
 ment, intended as the expression of the united sentiments of 
 the multitude. . .. s^ , 
 
 l4 ""^Si^*- — -^ P*«»age, of frequently an extended character, 
 \ added at the close of a compositipn^ 
 
 ^ «UI)odetta. — A short Coda, occurring in the course of a com- 
 position. , 
 
 "^ Coloratura. — Florid passages in vocal music consisting of 
 runs, trills, etc. . - -. 
 
 Comic Opera. — An opera in which the incidents are of a 
 humorous description. 
 
 Composition. — A piece of music for voices or instruments, 
 or a combination of both effects, constructed according to the 
 rules of art. 
 
108 Formi in Music. 
 
 — Concerto. — A composition in (regular) cyclic form for one 
 especial instrument, with orchestral accompaniment. 
 
 ', ■ Concertstuck. (Concert-piece). — A short concerto. 
 .^ «. Cqurante. — An old dance in triple time, of a running 
 character, of French origin ; the second movement of the suite. 
 
 Cotillon. — A lively, spirited dance of French origin. 
 
 Counterpoint. — The art of adding one or more parts, or 
 melodies, to a given theme or subject. It is called double 
 counterpoint when these melodies are invertible. 
 
 Credo. — A part of the Mass. 
 4 »- Cyclic Form. — A composition containing two or more dis- 
 tinct movements. 
 
 Dance Music. — Instrumental compositions of regular and 
 particular rhythm, peculiarly suitable for various dances. 
 
 Dirge. — A solemn composition of a funeral or memorial 
 character. 
 
 Dithyramb. — A wild enthusiastic composition. 
 
 Divertimento. - An irregular cyclic form, a development 
 of the suite. " ";' 
 
 -•Division. — A variation of voices or instruments upon a 
 simple theme. 
 
 ■Double. — A variation on a dance tune. .^ v r 
 
 Duet. — A composition for two voices or instruments, or for 
 two performers upon one instrument. 
 
 — Ecoseaise.— A lively dance, in duple time, in the Scotch 
 . style. 
 
 ^ - EpiFiode. — A digression, of a more or less deBnite character, 
 from the original key, in the course of a composition. 
 _ Etude.— (Study, ^.r.) 
 
 N^ -^ Exposition. — The first part of a composition in sonata 
 form. The giving out of the subject and answer by each voice 
 in turn in a fugue. •-** t >^ ' . , _ , ^-,-,> ,, 
 
 - -. Fandango. — A lively Spanish dance in triple time, derived 
 ^ from the Moors. ■•.^.,.■^■■^.■. ■■.-^■^^...:-^:, ...-■' -^. : 
 
 Fanfare.— A flourish of trumpets. A short composition 
 for military instruments. ^ ^ ^^ ; _ ■ ;^^^^^^ 
 
A2)pendix C. 109 
 
 i 
 
 Fantasia. — A computation in which form is subservient to 
 fancy. ^'-— 
 
 Farandola. — A dance popular among the peasants of the 
 South of France. 
 -»- Fig'ure. — A group of notes ; a motive. 
 
 Finale. — The last movement in cyclic forms ; the last part 
 of an act of an opera. 
 
 Folia. — A Spanish dance similar to the Fandango. 
 Forlano. — A Venetian dance, in 6-8 time of a lively char- 
 acter. 
 
 Form. — The plan of construction employed in musical 
 composition. - ■ 
 
 >J«— 'Free Fantasia. — The development portion in sonata form. 
 '^ — Fugato. — In the fugal style. 
 -> -.— Fughetta. —A short fugue. 
 
 J ..i. Fugue. — "A musical composition developed according to 
 certain rules of imitation from a short theme or phrase called 
 the subject." 
 
 Gallard. — An old dance, usually written in triple time, of 
 a gaij character. 
 
 Galop. — A lively dance, in duple time. 
 f^ -^Gavotte. — An old dance, in common time, probably of 
 French origin. It commonces on the third beat of the bar, and 
 is of a lively yet digniOed character. 
 V ,^Gigue, (Jig). — From the Spanish Chica. One of the most 
 important of the old dances ; it was usually written in com- 
 pound duple or triple time, and was of a very merry character, 
 and formed- tha last number in the^suite, 
 
 .^lee. — An old English composition for solo voices in har- 
 mony, having at least two_di8tiactmovement8. 
 Gloria in Bxcelsis. — A partof the Mass. 
 i Ground. — An obsolete form consisting of a series of varia- 
 tions on a short theme, usually four or eight measures in length 
 continually repeated in the bass. 
 
 Guaracha. — A lively Spanish dance, in triple time. 
 Hailing. — A Norwegian dance, in duple time. 
 
110 Form in Music. 
 
 \ Harmony. — The science which treats of the combination of 
 sounds, i.e., chorda, and their relation to one another. 
 
 Hey de Guise. — A country dance. 
 
 Hornpipe. —A dance of English origin, and of very rapid 
 rhythm ; so named from the hornpipe, a wooden pipe with a 
 horn at either end. 
 
 Hymn — A short religious song of great antiquity. 
 
 Idyll. — A short composition of a pastoral character. 
 \ •» Imitation.— The repetition of a short theme by another 
 part! 
 
 Impromptu. — A composition having no set form, and 
 having the character of being extemporaneous. 
 
 ' In Nomine. — A composition in free fugal style. 
 ^ Interlude, Intermezzo.— A short movement introduced 
 between other movements, or between the acts of an opera. 
 ■ Introduction, Intrada. — A short movement, usually of 
 a mysterious character, preceding an important composition. 
 •HEnvention. — A contrapuntal composition of simple char- 
 acter, but of strict style. 
 
 Jig.- SeeGigue. 
 . Klalamaika. — A Hungarian dance. 
 
 Kyrie Eleison. — A part of the Mass. 
 
 Landler. — An old Austrian dance, in triple time, and of a 
 graceful charpcter. 
 
 Lavolta. — An old Italian dance of dubious character. 
 
 Lead. — A passage given out by one particular part. , 
 
 Lilt. — An Irish dance acconip>»»»ied by singing. 
 
 Loure. — An old French dance said to have been a favorite 
 of Louis XIV. 
 
 Lundu. — A Portugese dance in duple time. 
 
 j^ ""^Iffadrigal. — A practically obsolete form of vocal music 
 for three or more voices, of usually a contrapuntal character ; 
 it was brought to perfection in the Elizabethan period. 
 
 Maggot. — An old instrumental composition of a whimsical 
 and impromptu character. 
 
 
Appendix C. Ill 
 
 Maroh. — Originally an instrumental composition intended 
 for accompanying troops when marching. It now exists in 
 various forms, such as the funeral, national, quick, religious, 
 slow, triumphal and wedding marches. 
 ^ Mass.— A composition for voices with instrumental accom- 
 paniment performed at the celebration of the Lord's Supper in 
 the Roman Catholic Church. 
 
 Matelotte. — A French sailor's dance, a hornpipe. 
 Mazurka. — A Polish dance, in triple time, of a lively, 
 grotesque character with a peculiar rhythm. 
 
 Melodrama. — A dramatic piece with vocal or instrumental 
 music accompanying certain situations. 
 ^ Melody. — A succession of single musical sounds varying in 
 
 pitch and arranged in accordance with the laws of rhythm. 
 \ Metre. — The rhythmical element in poetry, exemplified in 
 music by the symmetrical construction of the musical sentence. 
 • 1 —Minuet. — An old French dance, in triple time, of a stately 
 character. The Minuet is the link between the Suite and the 
 Sonata. •"■"' ^ ■■■'vv .;^;r '■ ' '" ' -;: 
 
 Modulation.— Change of key. tj v^ . ^ ^ - 
 
 Monferina. — An Italian dance, in 6-8 time of a rustic, cheer- 
 ful character. 
 
 Monodrama. — A dramatic piece for one performer only. 
 Morisca. — A Moorish dance, (Morris-Dance), formerly 
 popular in England. 
 "^ —Motet. — A sacred vocal composition, the counterpart of 
 
 the Madrigal. 
 \ .M Motive.— A subdivision of the musical sentence of the value 
 of one measure. 
 
 Movement. — A portion of a composition in cyclic form, 
 complete in itself, and coi brasted in style and key relationship 
 with the rest/ of the work. 
 
 Murky. — An obsolete form of harpsichord music, after the 
 style of a ground. 
 
 ,*• Musette. — A pastoral dance tune in 6-8 time, with an un- 
 changing double drone (or pedal) after the fashion of a bagpipe. 
 
112 Form 171 Mitaic. 
 
 National Music. — A style of music, peculiar to, or char- 
 acteristic of, a particular nation, i: 
 Ninna. — A cradle song. 
 
 Nonet. — A composition for nine solo voices or instruments. 
 ■""Nocturne. — A composition of a quiet and gentle character. 
 Notturno.- An irregular cyclic form, a development of 
 the Suite. 
 ■^ *— Opera. — A dramatic composition for voices and orchestra, 
 comprising an overture, solos, duets, trios, etc., and choruses. 
 There are the Grand, Lyric, Romantic and Comic Operas. 
 ^ —Oratorio. — The counterpart of the opera in sacred music, 
 but not intended for performance with dramatic action or 
 scenic effects. -' 
 
 Octet. — A composition for eight solo voices or instruments. 
 * — Overture. — An orchestral composition, usually intended as 
 
 an introduction to an opera or oratorio. . 
 
 vW -^— Partita. — Another name for the Suite. JJ^mJxi /^^v^jW^ 
 Part-Song.— A choral composition, with a striding melody 
 and more or less free harmony. 
 
 „^ Passacaglio. — An old dance, of doubtful origin, in triple 
 , time and of a slow, dignified character. 
 
 -— Passepied, Passamezzo, (English Pasby). — An old 
 dance in triple time, the precursor of the Minuet. 
 
 Passion Music. — An oratorio, the libretto narrating the 
 suflferings and death of Jesus Christ. 
 
 Pasticcio. —A little opera, or other work, the separate 
 numbers of which are gleaned from various composers. 
 
 Pastoral. — A simple composition, the melody of which is 
 . of a rustic character. 
 
 ^ ••^ Pa van.— an old Italian, or Spanish, dance in triple time, 
 of a stately character ; the word is probably derived from pavo, 
 . a peacock. 
 
 ~ — , _ Period. — A musical sentence, containing two or three 
 phrases. 
 
 ^ — Phrase. — A division of the musical sentence, the normal 
 phrase is of four measures in length, and is the guiding 
 
Appendix C. 113 
 
 principle in the composition of music. The phrase may con- 
 tain two or three strains. 
 
 ; Plain-Song — The traditional music of the church, written 
 in the ecclesiastical modes. 
 
 Polaoco. — See Polonaise. 
 ^ Polka. — A popular dance, in duple time, probably of Polish 
 
 origin. 
 ^ —Polonaise. — A Polish dance, in triple time, of a rather 
 slow and majestic character. 
 
 Postludium. — A concluding voluntary after a church 
 service. 
 
 Potpourri. — A medley or collection of various tunes strung 
 together. '■ ' ' r:':^-'-: -^' ... , ■• ■ 
 
 Preludium, Prelude. — An introductory voluntary ; or a 
 movement forming an introduction to a musical work, or per- 
 forma.. :e. 
 
 Quadrille. — A well-lcnown dance, consisting of five move- 
 ments ; Le Pantalon, Jja Poule, L'Ete, La Trenise or La 
 Pastourelle, and La Finalle. 
 
 Quartet. — A composition for four solo voices or instru- 
 ments. 
 
 Quintet. — A composition fo" five solo voices or instruments. 
 
 Quodlibet, ("What you please").— An indefinite little 
 composition of a free, and often, jocose character. 
 
 ^ i«,JElecitative. — A musical declamation. ^ 
 
 Redowak. — A Bohemian dance, in triple time, of a slow 
 character. 
 
 Heel. — A lively rustic dance, in duple time, popular iu 
 Scotland, but probably of Scandinavian origin. 
 
 Requiem etern^m dona eis. — A mass for the dead. 
 —-Rhapsody. — A composition consisting of an unconnected 
 series of melodies. 
 ^ Rhythm. — The systematic grouping of measures in the 
 musical sentence. 
 
 "R inercata. — A sort of fantasia, or toccata. 
 8 
 
114 Form in Music. 
 
 ;-■>',"'' 
 
 Rigadoon.- An old French dance, in duple time, of a gay 
 character. • . . r- . 
 
 Romance. -A simple melodiouH composition, vocal or 
 instrumental, ofindefinite form. ' ,^ , 
 
 \ ,«. Rondo.— An instrumental composition in which the original 
 subject is heard at least three times. 
 
 Round.— A Hpecimen of Canon, in which each voice replies 
 
 at the unisi'n. •■' ■ ' 
 
 Roundelay.— A little song in Rondo form. 
 ^Saltarello.— Adance, in triple time, of a very animated 
 character, similar to the Jig. .• 
 
 SanctUS.— A part of the Mass. . .. -. 
 
 \ —Saraband.— An old dance, in triple time of a slow and 
 stately character, probably of Moorish origin, tho_third number 
 of the Suite, 
 ^cena.— A vocal solo, in which dramatic emotions are dis- 
 played. ■• I- ' ' ■' ' -'v- '.'. . 1. ,-';'':-. ■:".""'" '■■'.■(>■ '.'/..'■ 
 
 V — 43cherzo. — A "playful" movement introduced into the 
 Sonata by Beethoven in place of the Minuet. 
 
 Schottische.— A modern Scotch dance, in duple time, of a 
 
 slow character. 
 
 Seguidilla.— A Spanish dance, in triple time, of a lively 
 
 character. 
 ^ Sentence.— The shortest form of musical composition. 
 
 Septet.— A composition for seven solo voices or instru- 
 ments. 
 ^ Serenade.— (1) Music performed at night. (2) An irregu- 
 lar cyclic form, a development of the Suite. 
 > bervice.— A musical setting of the church canticles, etc. 
 Sextet.— A composition for six solo voices or instruments-. 
 Siciliano.— A Sicilian dance, in 6-8 time, of a pastoral char- 
 acter. 
 
 Sketch, (Skiz7.e).— A short piece suggestive of some par- 
 
 \ ticular subject. 
 
 3 —Sonata.- A composition, in (regular) cyclic form, for a solo 
 
 instriiment. 
 
Appendix C. *1^ 
 
 ^ Sonatina.- A short sonata, with simple subjects and little 
 
 development, v . ^ 
 
 \ Simple Forms. -Compositions containing two or three 
 muMcal sentences and respectively said to be in simple binary 
 
 or simple tenary form. 
 
 Song.— A sacred or secular vocal composition, for a solo 
 voice, with an instrumental accompaniment. 
 
 Song Without Words.— A short instrumental composi- 
 ^ tion, of a melodious character. The term, however, is para- 
 doxical. 
 
 Stabat Mater.— A Sacred Cantata ; the libretto consisting 
 of the well known latin hymn on the crucifixion. 
 
 Strain.— A subdivision of the musical sentence, usually of 
 two measures in length ; sometimes called a section. 
 
 Strathspey.— A Scotch dance, in duple time, characterized 
 by the Scotch snap, i.e., a short note on the accent followed by 
 a note of longer va'ue. 
 
 String Quartet.— A composition, in (regular) cyclic form, 
 for two violins, viola and violoncello. 
 
 ^ Study, (Etude).-Originally, any exercise for practice ; 
 
 now, an important composition for the pianoforte. 
 
 V — Subject— The principal melody in a composition ; in sonata 
 
 form there are two subjects ; in the fugue the subject is usually 
 
 a phrase only. 
 
 > Suite, (Suite de pieces). -A "set of pieces," consisting 
 
 Clfiefly (or wholly) of old dance tunes. ( f n^ , ^.. / 
 X Symphony.— A composition in regular cyclic form for the 
 '"orchestra. 
 
 Tarantella.-An Italian dance in 6-8 time, of a very lively 
 ' *^ra"cter ; the rapid exercise was supposed to be a remedy 
 \ against the poisonous bite of the Tarantula spider. 
 
 I Ternary Form.— A composition in three individual parts 
 
 I ^ "^^ach as a rule complete in itself ; also called ternary proper, to 
 I- distinguish it from the simple ternary form. 
 
II (J Form in Mvmc. 
 
 ^— ^ Toccata.— An inatrumeiiUl composition, of irregukr con- 
 struction, in xvhich a cerUin passago or figure is continu^ly 
 repeated ; a far.tapi*. - • 
 
 Trenchmore.— An old Spanish country uc»ace, in 6 8 time, 
 
 of a lively character. ."^ 
 
 Trio— A composition for three solo voices or instruments. 
 
 Troop. -A march in quick time. 
 
 Tyrolienne.— A Tyrolese song, accompanied with dancing. 
 ^ ^--.Variations. -A form in composition in which the theme 
 is repeated several ^imes, with certain modifications of treat- 
 ment. 
 
 Vaudeville. -A short and light opera ; formerly a simple 
 
 French song. 
 
 Verse.- A portion of an anthem intended to be sung by one 
 
 or more solo voices. / 
 
 Villanella.— An Italian rustic dance, accompanied with 
 
 singing, of a lively character, and with well marked rhythm.' 
 Voluntary.— An oigan 8olo,;playcd before, during, or after 
 
 a church service. . . 
 
 Waltz.— A universally popular dance in triple time ; it is 
 supposed to be of Bohemian origin. The classical waltz is an 
 instrumental composition in waltz form intended for perform- 
 ance only . 
 ^ ^^ Well-Tempered Clavier, (Wohltemperirtes Clavier.)-- 
 The Forty-eight Preludes and Fugues of J. ^. Bach. . 
 
.\'., S' 
 
 ■I » 
 
 APPENDIX D. " ^ 
 
 J 
 
 . EXAMINATION QUESTIONS. 
 
 The following question. »re Uken from 'he examination, m 
 
 Tou.' in Composition, held darin« the past three or four 
 
 seaaons at the Toronto Conservatory of Mu.10 : . .^• 
 
 T Briefly review the development of form m ma.ical com- 
 
 poaition .ince the Elizabethan period. . , , ^ 
 
 2 Explain the construction of the muaical Mnten.e. 
 
 3 Briefly define and compare :-Time, Rhythn, and Form^ 
 
 4 For what purpoae and in what manner, i. irregularity of 
 oonstruction employed in the musical ■«!•'«»«» 
 
 5. Clothe the following rhythm with melody, and .ugge.t 
 cadences for the various sections : 
 
 4_j|jJJ-j|j-j j|;;.--|^- 
 
 1 
 
 
 6 Can any analogy be said to exist between the melody of 
 the Blue B, A of Scotland (see page 20) and sonaU, or modern 
 
 't'ThlTonsti.u.nt part, of melody, says Sir John SUiner 
 are "Outline and rhythm." Give insUnce. of music in which 
 one of these features alone is present. ^™truc- 
 
 8 Write a short melody (hymn tune), showing the construe 
 tioiiof a musical sentence, and employ the following cadences : 
 — plagal, imperfect, interrupted and perfect. 
 
118 „ Form ifn Music. : r\} '';■■■[ ^■^■[■/^'>/J:0- ■ 
 
 9. Write a simple melixJy, execr plifying the construction of 
 a regular mosical sentence, to the ft Hewing lines : — 
 
 ** The muses still with freedom found, 
 
 3hall to thy happy coast repair ; 
 Blest Isle .' with matchless beauty crowned. 
 
 And manly hearts to guard the fair." 
 
 Name the cadences and harmonize the same for four roice*. 
 
 10. State whether the following rhythm is regular or ir- 
 regular : 
 
 3_J1_^. ^^ I ,5j_^ • I #-# • •I 
 
 — (S» 
 
 hi 
 
 11. Compose an irregular binary (or two period) melodic 
 sentence. ^ . - ,,■_., 
 
 12. Explain the meaning of " Key relationship." 
 
 13. Briefly describe the simple binary and simple ternary 
 forms. 
 
 14. VVrite out a tabulated sketch of the ternary proper form. 
 
 15. Gire some account of the ternary proper form. Name 
 the morement in cyclical compositions which is always written 
 in this form. 
 
 16. Name the characteristic feature of the Rondo. Can the 
 Rondo be regarded as an independent form 7 
 
 17. Give a general description of thti simple Rondo ; and 
 its modification, the Slow Rondo. 
 
 18. What form is usually employed by modem composers in 
 writing so-called drawing-room music ? Compare this form 
 with the Rondo. 
 
 19. Write a short account of the growth and development of 
 Sonata (modem binary) form. 
 
 20. Draw a tabulated sketch, illustrating Sonata form, and 
 
Appendix D.' 119 
 
 briefly describe the v»'.ious sections into which this form m»y 
 be divide. 
 
 21. Write oat a sketch of ac imaginary movement in the key 
 of E minor, employing Sonata form. 
 
 22. The second subject of a certain overture (in Sonata form) 
 is in the key of B m»jor. In what keys may the first subject 
 be written I 
 
 23. Euumerate the various methods available for developinj; 
 a theme in the free fantasia. 
 
 24. Sonata Op. 13 in C minor '«;*>>•' • .Beethoven. 
 
 FIBST JIOVEM£>T. 
 
 (a) How do you account for the Grave at the commence- 
 ment, and the four measures of Grave, both in the 
 middle and at the f^nd of the movement ? 
 
 (6) In wh*tt key does the second subject appear ? 
 
 (c) What material is mostly employed in the free fantasia 7 
 
 At ^hat bar does the Dominant pedal commence ? 
 
 (d) Can you find any exceptions to the accepted rules of 
 V Sonata form in the recapitulation ? 
 
 8KCOXD MOVEMENT. 
 
 (e) Write a brief analysis of the construction of this 
 
 movement, and name the form in which it is written. 
 
 THIRD MOVEMENT. 
 
 (/) Is this rondo in the simple or the grand form 1 
 
 {g) How long is the original subject 1 
 
 (h) How do you account for the absence of double bars ? 
 
 (t) In what key is the middit: portion for the most part 
 
 written ? How does ihis part conclude ? 
 (j) At what measure (counting from the end) does the 
 
 coda cummence I 
 
 25. Sonata in E, Op. 14, No. 1 Beethoven. 
 
 FIRST MOVEMENT. 
 
 (a) How long is the first subject I 
 
120 Form in Miisic. V 
 
 (6) In what key is the second subject, and at what bar 
 
 does it commence ? 
 (e) What important rule in harmony does the composer 
 
 break in measure 53 ? 
 {d) Name the keys mostly employed in the free fantasia ? 
 (e) How is the first subject treated in the recapitulation t 
 
 SECOND MOVEMENT. 
 
 v ■ 
 
 (/) In what form is this Allegretto ? 
 
 (9) Should not the movement have been termed a '*Minuet 
 and Trio?" v- 
 
 THIRD MOVEMENT. _.. -^^ - \:.^-,r!: ■'- '■h:'^ ■'. . ,_ 
 
 (h) Is this rondo in the simple or the ^^rand form ? 
 (i) At what measure do you think the first part ends ? 
 (j) Is the material of the middle portion new« or is it a 
 
 development of some figure previously heard ? 
 {k) In what measure is the chord of the diminished seventh 
 
 treated enharmonically ? 
 (l) How many times is the original subject heard in this 
 
 rondo? 
 
 26. Give a general description of the Grand Rondo. 
 
 27. Compare the Simple and the Grand Rondcn. 
 
 28. Briefly define the Fantasia ; and mention any move- 
 ments in Beethoven's Sonatas, that are not in any of the 
 arbitrary forms. 
 
 29. Write a short historical sketch of the Air with variations. 
 
 30. Mention some of the ways in which the melody miy be 
 treated in writing variations upon a given theme. 
 
 31. Briefly define Imitation and Canon. 
 
 32. Describe the Fugue ; &vnd give a brief definition of the 
 most important features of the Fugue. 
 
 33. Draw, on a chart, the sketch of an imaginary fugue ; 
 insert a counter-subject, arrange for episodes, give examples of 
 stretto, and state what keys are employed. 
 
 34. Compare the first and second Fugues in Vol. 1, J. S. 
 Bach, and state in which of ^ two the following features are 
 
Appendix D. 121 
 
 to he found : — (a) an irregular exposition, (b) a tonal answer, 
 (c) a counter exposition, (d) a regular counter-subject, («) a 
 St ret to, (/) a codetta, and (gf) no episodes. *Vb 
 
 36. Fugue in G. minor, Vol. I., No. 16, of the Well-tempered 
 Clavier. ^i^^? > ^ ■ 
 
 _, (a) Is the answer real or tonal? . * 
 
 (6) Is there a counter-subject ? 
 , (c) At what measure does the exposition end ? 
 
 (d) At what measure and in what key does the develop- 
 
 ment begin ? 
 
 (e) At what measure does the conclusion begin ? , 
 (/) Is there any stretto ? 
 
 {g', How many times is the subject (or answer) heard 
 throughout the Fugue ? . .^ . 
 
 ?^6. Show, (on a chart), the construction of the Fugue in B 
 fla. minor. No. 22, Vol 1, J. S. Bach. 
 
 37. Mention any instances of a composer employing the 
 fugal style in a composition in Sonata form. 
 
 38. Give a list of the most important compositions that come 
 under the heading of Cyclic form. 
 
 39. Describe the various movements of a ^'x'mphony with 
 regard to their form. 
 
 40. Describe the Suite-de-Pi^es. Of what movements did 
 this form usually cmsist ? To what important form did the 
 Suite give place ? 
 
 41. Name the movement in the sonata which may be said to 
 be the link with the old Suite-de-Pi^ces. In w^'^t form is this 
 movement written ? 
 
 * 42. Mention some of the most important old dances, the 
 influence of which has been felt on form in composition. 
 
 43. Compare the Ftench and Italian forms of the cWer 
 Overture. 
 
 44. From which of the older overtures may the modem 
 overture be said to be develop)ed ? 
 
 45. Give a brief history of the song, or Aria. 
 
122 Form in Music. ^*^ 
 
 46. State a reason why the strict adherence to some par- ] 
 ticular form is more necessary in instrumental than in vocal 
 music. 
 
 47. Have poetry and the dance played an important art in 
 establishing the various forms of compositions now employed 
 in music ? 
 
 48. Mention any instances of an instrumental form (other 
 thpn the fugue) being employed for a choral movement. 
 
 49. Show that sacred and secular music have been developed 
 side by side since the sixteenth century. 
 
 50. Enumerate and classify all the simple forms employed by 
 Bach and Beethoven. ri i^