JC-NRLF llllll 111 1 1 1 3 M 07D 305 T II E THEORY AND PRACTICE OF MUSICAL FORM: OX THE BASIS OF LtJDWIG BtfSSLER'S MUSI KALI SC HE FORMENLEHRE." FOR INSTRUCTION IN COMPOSITION BOTH IN PRIVATE AND IN CLASSES. BY J. H. CORNELL. NEW YORK : G. SCHIEMER. 1908 MUG! Copyright, 1883, by Q. Schirmeb. 6104 BERKELEY MUSIC LIBRARY UNIVERSITY OF CALIFORNIA Electrotyped by Smith & McDouqal, 8a Beekman Street, New York. AT 110 PREFACE. FORM, in art, may be comprehensively defined as the extern*, shape and order in which artistic conceptions are presented, — in other words, as the outward expression of the subject-matter or import of the art-work. Accordingly, there may be as many forms as art-works, although numbers of these individual forms may and actually do agree in certain essential features. Now, the summary of the principal features in which a number of art-works agree, is called Art-form. The necessity of form to the special art of music is, perhaps, not so immediately obvious as in the case of the other arts ; yet it is certain that without an adherence to the laws of form a coherent, intelligible musical composition is as inconceivable as — for example — a picture, a sculpture, or a building, without plan or design. A piece of music (if indeed music it should be called) without a determinate tonality or key-relationship, without harmonic, melodic, rhythmic order and symmetry — in a word, without form, — is nothing else than a tonal chaos. Hence the absolute necessity to the would-be musical com- poser of the study of the laws of musical form, — a necessity from which no natural gifts, not even the possession of genius, can dispense him. " Form,'" — says Eckermaxx (Beitrage zur Poesie) — " is the re- sult of the efforts, through thousands of years, of the most excellent masters, which every one cannot too soon appropriate to himself. It 4 PREFACE. were a most insane delusion of misconceived originality, if each one were to go about on his own account} fumbling for that which is al- ready on hand in great perfection. Form is handed down, learned, imitated, otherwise progress in art would be out of the question, — every one would have to begin anew," etc., etc. And Goethe, speak- ing of the strict requirements of the laws of art-form, says that it is " precisely genius, natural talent, that is the first to understand them, and that pays them the readiest obedience." The study of musical form, however, of course presupposes the knowledge of the laws of Harmony and Counterpoint, as an indispensable preliminary condition; which knowledge, accordingly, is in this work assumed as part of the student's equipment. In view of the fact that the means or organs by which musical tones are produced are either natural (the human voice), or artificial (musical instruments), music is either 1. purely vocal ; or, 2. purely instrumental ; or, 3. mixed — i. e., at once vocal and instrumental. To one or the other of these three grand divisions of musical forms every musical composition must be assigned. Further, each one of these form-genera, as embracing compositions having either but a single movement, or many movements, is, accordingly, either simple, or composite (cyclical). Again, each one of the three form-genera has its various species, as follow. — A. Vocal Forms. — (a) For a solo voice: Eecitative, Air, Arioso, Arietta, Ballad, Canzone, Canzonetta, Cavatina, Eomance, Song, Scena, etc. — (b) For several solo voices: Duet, Terzet (Trio), Quartet, Quintet, Sextet, etc. — (c) For chorus a cappella (with or without solo) : Chorus, Mass, Psalm, Madrigal, Motet, Glee, etc. — B. Instrumental Forms, (a) In one movement (simple) : the va- rious Dances and Marches ; Pianoforte pieces, such as Etude, Song without words, Fantasia, Nocturne, etc; Orchestral Overture (Opera- overture, Concert-overture), etc. — (b) With many movements (Cy- clical): Duo, Trio, Quatuor, Sextet, Septuor, etc.; Concerto, Suite, Serenata, Sonata, Symphony, etc. — C Mixed Vocal and Instru- mental Forms, (a) The various choral compositions with organ or orchestral accompaniment, viz. : Mass, Litany. Te Deum laudamus, PBEFACE. 5 Stabat Mater, Service, Anthem, Hymn, Psalm, Choral. Cantata, Oratorio, Passion, etc. — (b) Represented on the Stage: Opera, Ope- retta, Melodrama, Vaudeville, etc The forms chiefly treated of in this book, as constituting the basis of the greater part of the instrumental compositions of IIayhn, Mozart, Beethoven, Weber, Schubert, Mendelssohn, >< nt- mann, etc.. and of most living composers, are called the forms of INSTRUMENTAL MUSIC. Here music is free from external restraints (such as are imposed by the text, etc., in vocal music), and rules ac- cording to the laws of its own nature. The influence of tbese forms, however, on vocal music — especially that of the above-mentioned composers — is great, and easy of demonstration. Tbe present book is substantially a translation of Ludwig BusSLKR'a ■• Musikalische Formenlehre," a work much to be recommended for its clearness and thoroughness, to which, in its present English dress, I have made considerable additions. Within the last few years much has undeniably been done in our country (thanks to the greater number of thorough and conscientious teachers) in the direction of a more solid musical education ; and among other results, the importance of the subject of musical form is beginning to be appreciated, not only by the professional student of music but also by the rapidly increasing class of advanced amateurs desirous of an intelligent enjoyment of the masterpieces of composition. The present addition to the meagre ver- nacular literature of the subject will therefore, as I hope and believe, be welcomed by all interested in the cause of this beautiful art. The aim of the work is, in one word, to teach musical construction, and its plan is perfectly simple. Each form, beginning with the very smallest of the elementary ones, is clearly explained and copiously ex- emplified ; the student is then required to originate a musical thought in the given form. As repeatedly stated in the Exercises, the first compositions — those of small extent — are to be utilized for construct- ing the succeeding ones, of larger form : this will facilitate class- instruction in musical form, as but few pnpils are able to continually furnish new material for these Exercises without becoming superficial and careless. 6 PREFACE. For valuable matter gathered for this book from Grove's Dictionary, Dr. Stainer's "Composition," Arrey von Dojjher's " Musika- lisches Lexicon," F. J. Kuxkel's " Melodiebildungslehre," Benedict Widmann's « Formenlehre," Herrmann Kuster's " Populare Vor- trage," etc., I hereby acknowledge my obligation?. J. H. CORNELL. New York, January, 1883. CONTENTS. FIRST PART. THE ELEMENTS OF MUSICAL FORM. FIRST DIVISION. THE SECTION AND PHRASE. CHAPTER I.— (Introductory.) PAGE Meter and Rhythm 15 CHAPTER II. The Section 18 First Exercise 21 CHAPTER III. Double Section. — Phrase 22 Second Exercise 24 SECOND DIVISION. THE PERIOD. CHAPTER IV. Simple, eight measure Period 27 First Form 28 Third Exercise (1) 29 Second Form 30 Third Exercise (2) 30 Third Form 31 Third Exercise (3) 32 Fourth Form 32 Third Exercise (4) 34 8 CONTENTS. CHAPTER V. PAGE Exceptional Period-forms 34 Four-measure Periods 34 Periods of various unsymmetrical Construction 35-36 Periods of three Phrases 37 THIRD DIVISION. THE SMALL PRIMARY FORMS. CHAPTER VI. The small two-part Primary Form 39 First Form 39 Fourth Exercise (1) 41 Second Form (1) in Major 42- Fourth Exercise (2) 42 Second Form (2) in Minor 45 Fourth Exercise (3) 47 Third Form 48 Fourth Exercise (4) 50 CHAPTER VII. The large — eight-measure — Phrase 50 (1) Independent 50 Fifth Exercise (1) 51 (2) As Part of a Period 52 Fifth Exercise (2) 53 (3) Double Phrase 53 Fifth Exercise (3) 55 CHAPTER VIII. The large (three-part) Period • 55 CHAPTER IX. The small three-part Primary Form 57 Sixth Exercise 58 FOURTH DIVISION. THE LARGE PRIMARY FORMS, CHAPTER X. The large two part Primary Form 62 Seventh Exercise 63 CONTENTS. 9 CHAPTER XI. PAGE The large three-part Primary Form 03 Eighth Exercise 05 FIFTH DIVISION. LICENSES OF CONSTRUCTION. CHAPTER XII. Extension 65 (a) Of the small two-part Primary Form 65 Ninth Exercise (1) 67 (b i Of the small three-part Primary Fonn 67 Ninth Exercise (2) 69 i C Of the large two-part Primary Form 69 Ninth Exercise (3) 70 (d) Of the large three part Primary Form 70 Ninth Exercise (4) 73 CHAPTER XIII. Abbreviation 73 (a) Of the large three-part Primary Form 73 Tenth Exercise (1) 74 (b) Of the small three-part Primary Form 75 Tenth Exercise (2) 76 CHAPTER XIV. Coincidence of the Final and the Initial Measure (Overlapping) 76 CHAPTER XV. Irregular Groupings of Measures 78 CHAPTER XVI. Licenses of Modulation 81 Eleventh Exercise (1) 82 (2) 83 SIXTH DIVISION. THE MOTIVE, AND ITS DEVELOPMENT. CHAPTER XVII. Nature of the Motive 83 10 CONTENTS. CHAPTER XVIII. PAGB Development of the Motive 86 (a) Repetition 86 Twelfth Exercise (1) 88 (b) Alteration of Intervals 88 Twelfth Exercise (2) 89 (C) Rhythmic Diminution ami Augmentation 89 Twelfth Exercise (3) 90 CHAPTER XIX. Development of the Motive — (Continued) 91 (d.) Inversion 91 Thirteenth Exercise 94 (e) Contrapuntal Treatment 94 CHAPTER XX. Development of the Motive — (Concluded) 96 (f ) Variation 96 Fourteenth Exercise (1) 97 (g) Dismemberment and Enlargement 97 Fourteenth Exercise (2) 100 (h) The Passage 100 Fourteenth Exercise (3) 102 SECOND PART. APPLICATIONS OF THE PRIMARY FORM. FIRST DIVISION. COMPOSITE PRIMARY FORM. CHAPTER XXI. The Theme with Variations.— The Study (Etude) 103 CHAPTER XXII. The Dance-forms proper 105 Fifteenth Exercise 108 CONTENTS. 11 CHAPTER XXIII. PAGE The March forms 110 Sixteenth Exercise 121 CHAPTER XXIV. Idealized Dance-forms 121 Seventeenth Exercise 1 29 CHAPTER XXV. Special Forms 130 Eighteenth Exercise (1) 130 (2) 132 SECOND DIVISION. THE LOWER RONDO-FORMS. CHAPTER XXVI. The Rondo form, in General 133 CHAPTER XXVII. The Rondo of the First Form 134 Nineteenth Exercise 136 CHAPTER XXVIII. The Rondo of the Second Form 140 Twentieth Exercise. „ 143 CHAPTER XXIX. The Rondo of the Third Form 143 Twenty-first Exercise _ 147 CHAPTER XXX. Transitional Forms 148 THIRD DIVISION. CHAPTER XXXI. The Vocal Song , 149 12 CONTENTS. THIRD PART. THE SONATA-FORM. CHAPTER XXXII. PAGE Sonata and Sonata-form 157 A. THE SONATINA. CHAPTER XXXIII. First Part of the Sonatina-form 158 Twenty-second Exercise 163 CHAPTER XXXIV. First Part of the Sonatina in Minor . 164 Twenty-third Exercise 166 CHAPTER XXXV. Third Part of the Sonatina in Major 166 Twenty-fourth Exercise 167 CHAPTER XXXVI. Third Part of the Sonatina in Minor 168 Twenty-fifth Exercise = c 168 CHAPTER XXXVII. Omission of the Modulation in the First Part 171 Twenty-sixth Exercise „ 172 CHAPTER XXXVIII. Second Part of the Sonatina-form 173 Twenty-seventh Exercise 173 B. THE SONATA. CHAPTER XXXIX. Enlargement of the Principal Subject ■ • • • 178 Twenty-eighth Exercise 184 CHAPTER XL. The Intermediate Group 191 Twenty-ninth Exercise 196 CONTENTS. 13 CHAPTER XLI. PAGE The Secondary Subject (Song group) 196 Thirtieth Exercise I'M CHAPTEB XLII. The (losing Group 200 CHAPTEB XLIII. The Coda 202 CHAPTER XLIV. The Connecting Liuk 204 Thirty-first Exercise 205 CHAPTER XLV. Third Part of the Sonata-form 206 Thirty-second Exercise 209 CHAPTER XLVI. Modulatory License 200 CHAPTER XLVII. Modifications of Particular Groups in the Third Part , 210 CHAPTER XLVIII. The Development-portion 213 CHAPTER XLIX. Thematic Work in the Development-portion 214 Thirty-third Exercise 220 CHAPTER L. The Sonata-form as a Whole 220 CHAPTER LI. Modification of the Sonata-form in the Finale 229 14 CONTENTS. FOUETH PART. THE HIGHER RONDO-FORMS. CHAPTER LII. PAGE The Fourth Rondo-form 232 Thirty-fourth Exercise 233 CHAPTER LIII. The Fifth Rondo-form 235 Thirty-fifth Exercise 236 CHAPTER LIV. The Slow Tempo 239 Thirty-sixth Exercise 247 CHAPTER LV. The Composite Large Sonata 247 Thirty -seventh Exercise 250 CHAPTER LVI. Other Applications of the Instrumental Forms 251 APPENDIX. THE STROPHE 254 INDEX 257 FIRST PART. THE ELEMENTS OF MUSICAL FORM. FIRST DIVISION. THE SECTION AND PHRASE. CHAPTER I. (Introductory.) METER. RHYTHM. 1. Meter, in music, is the grouping of two, three or more tones, as time-units, into a whole, or time-integer, called Measure, the first part of which — the Thesis — has an accent, the second part — Arsis — either no accent or a weak one. Thus, the grouping, e.g., of four quarter-notes into a measure gives the meter whose signature is 4-, the principal accent being on the first quarter-note, the weak (second- ary) accent on the third : A | j j | I. In a piece of music, embracing a series of measures, the rule is that all measures have (1) the same number of time-units (metrical parts) of equal length ; and ("^) a uniform alternation of accent and non-accent ; i. e., the accent falls on the same metrical part in one measure as in another. The regu- larly recurring accent enables the ear to separate the measures one from another ; for the eye, they are separated by means of the vertical line, called bar. 2. Ehythm has regard to the motion of tones on the basis oi metrical division and comprises (1) the combination of tones of equal or of unequal duration (represented by the various kinds of musical notes) into manifold small time-figures, forming distinct groups (in this sense every germinal musical thought — or, technically speaking, Motive, consisting of a few notes, or of notes and rests, and more ol 1G THE ELEMENTS OF MUSICAL FORM. less sharply outlined by means of a caesura,* is a rhythm) ; (2) the com- bination of these smaller rhythms into larger forms — Periods, etc., in which larger sense the word rhythm expresses the grouping of measures. 3. For the sake of convenient reference, rhythms are designated according to the number of measures they occupy. Thus we have the owe-measure rhythm, or Moistometee ; the rhythm of two measures — Dimeter; of three measures — Trimeter; of four measures — Tetra- meter ; of five measures — Pentameter, etc. The measures are of course counted from bar to bar, when the rhythm begins (whether with a note or a rest) at the very beginning of the measure j otherwise the ear counts the measure from the first tone to the completion of the value of the measure (this is indicated in many of our illustrations by the bracket I I). In the latter case the rhythm is said to begin on the Anacrusis,! of which our illustrations afford many examples. * The Caesura, or point of division, marks the rhythmical end-point of both the larger and smaller parts of a melody. As the caesura is not always the final note of a part of a melody, it should be distinguished from the " Section " and " Phrase," terms which indicate the small portions of a melody with regard to their melodic end-points. The caesura always falls on an accented metrical part. f A Greek word borrowed from poetry and suggested instead of "Up-beat" (from the German " Auftakt "). The Anacrusis is essentially the beginning on a non-accent or a weak accent. Hence, in duple, quadruple and triple meter, — assuming that the metrical parts are quarters, and overlooking for the present the metrical members (divisions of the quarters into eighths, sixteenths, etc.), the fol- lowing anacruses are possible : (1) in -f- only one : | | ;(2)in -£- three, viz: a) 4 00 4 I A " I A I ; b) I | ; and c) taking as anacrusis the third quarter, * I A Q I A 1*1 with secondary accent : J | ; (3) in -?- two : a) ,* \f f ; b) f f f I a 4 Moreover (to speak now of the smaller divisions of the measure), the unaccented members — not only of the unaccented but also of the accented metrical parts afford 9 anacruses, thus greatly increasing their number. Here are some examples in ~ of anacruses afforded (1) by members of the arsis : f 1* 1* I H \ * I : I f u| (2) by members of the thesis: £ I ' ===i' i=i' I *=* S==f l ^ I The application to still smaller members (e. g., \ ^_^ etc.), and to triple and quadruple meter offers no difficulty. Here follow a few fill HIIYTIIMS. 17 4. The Monometer sometimes occurs as rhythmical unit, in imme- diate repetition, as in the following example:* Adagio. Beetiiovkn. it is, however, generally combined with another — larger — rhythm, either (a) preceding it, as in the following example, in which the two monometers are followed by a two-measure rhythm (dimeter) ; Scherzo. 2. Eg fcEi Beethoven. ^S -E^P ■w — * — * - -J * 1' " I & etc. or, (b) following it, as : :p=± £^ Si or, finally (c) inserted between two larger rhythms, as: Allegro S|^£EEga=3 .*_ rn^-^^M =1= L i&=E§^s J L Beethoven. Ji n 5Pe£*£JE&=3 ^^^E examples of anacruses in compound meter, say -5 : J o I I ninnnnimns \*\fnn*\ I V * The quotations are given mostly in a melodic abridgment, for saving room. 18 THE ELEMENTS OF MUSICAL FORM. 5. The monometer consists generally of but one tone-figure. Thus, in Fig. 1, measures 1, 2, we have this principal rhythmic figure : * 'J f • f *j ; in Fig. 2, measures 1, 2, the figure : ' f f f • I • )' y ,n Fig. 3, measures 2-4, P \ f J ■ The larger rhythms, on the con- trary, are generally composed of many, for the most part different, tone-figures, as for instance in Fig. 4, measures 1-4 ; '(C f'iV P P l \ l p P p p* \ { p p p >' ii i : i i i u u i * this tetrameter is therefore a composite rhythm, comprising four different tone-figures. 6. The most common constituent of melody is the rhythm of two measures — dimeter, which we shall therefore assume as the starting- point of formal construction. CHAPTER II. SECTION. 7. To render the meter of a musical thought intelligible to the ear y it is requisite that this thought exceed the limit of one measure. For, it is only by the recurrence of the same elements of the meter (the same metrical parts) in the second measure, that the meter can be recognized by the hearing. S. A tone-succession which, extending beyond the limits of one measure, renders the meter recognizable by the ear, is called in gen- eral a Phrase, specifically a Section, when its usual extent is that of two measures. The section, in this sense, constitutes the fundamental element of our classical instrumental forms, collectively, so that the greater part of the compositions in these forms can easily be divided up into sections. 9. We distinguish three kinds of sections, viz : (a) that which quite fills — with tones — the space of two measures, as: Be ethove n. a. Beethoven. b. | " "i c. Till: SK( TIUN. d. 19 Mozart. -±=?±=3 mimmmm^mM MOZABT. Il/TDN. %fr^TVtT^kf&-^m It r (b) that which does not fill out the second measure with tones, but either supplements it with reds ; as, 6. -#— I 0—0 T -0—' \-0 Beethoven. 9 ^^m * : * *_fc_f_+_^. ^e = XT^^4J4-\ ft*! Beethoven. c. Beethoven. ■♦ rr — r — r ^ -*■ or, leaves the remainder of it free, for the introduction of a new thought; as, Beethoven. 7- B fcr, i f J I jr^Gtt 1 New Section. if f f p p p- — p f p m p— .=. te=fet 4Z — l^ . b. Mozart. if: I Haydn. 20 THE ELEMENTS OF MUSICAL FOKM. (c) that which leads over into wh at follows (the third measure); as, ai Beethoven. b. Beethoven. 3. ! ■*■ ■*- ■*• *■ -^rw— #— #— — H — Y&-. '-p- wm^^&^ i C. Adagio. Mozart. )-4~ -* — s-0 +0 . d. Haydn. ^f-g^= T^ff^ 1 1 r CS^ — L lrr : ffl •■ "^ r^X- ■& — 0-*- I 10. Many sections are formed by the repetition of a one-measure thought (monometer) ; as, .9. a. Beethoven. b. Schumann. T+-r=. -* ^$ c. Chopin. :lQ+=5. OT-J-, *=•- The repetition need not, however, be as exact as in the above exam- ples ; it may embrace only the essential rhythm, while admitting tonal variations; as, a. Beethoven. b. Orate. Beethoven. -U -i--H — i MOZAKT. ^^^i ^jfe^gj^ ^ si^ CoDtrary Motion. Haydn. h^ -^4-^ * = 1 — ^-l -J-j-H^ff J L In referring, when desirable, to this construction, it will be ex- pressed by the metrical cipher 2x1. 11. It may be observed here, that there will occasionally bp found THE SECTION'. 21 portions of the measure, the section, etc., consisting mostly of* figures not strictly belonging to the essentia] rhythm, but merely serving to connect two rhythms, which liguivs, or (as tiny sometimes arc) single notes, may be called MELODIC Co.\.un< tions. These arc indicated in the following examples by brackets: a. Adagio, o 1 1 • ffi ej=£££f£p£ng pi i Beethoven. b. A dagio. etc.. *J ^"** i ~" " *^ Beethoven. C. Adagio. ^** ' ' etc. ^ -#-.-#• m UlT? =r FS — r- 1— r ±±:3 f P S '.-rWS 11 Beethoven. «\5 FIRST EXERCISE. Compose many sections of all the three hinds, especially of the first. These sections should be arranged with complete harmonization for the piano (some, at option, for string quartet, organ, as also for voices), the best ones to be selected, and, with a view to future use, numbered. The principal tempi to be indicated. Here follow three examples from Beethoven, one of each kind : a. Presto. 12. Models. Beethoven. b. Allegro roti brio. ±f- m— 4 1 1— 4- L »— ? * — L ^-r ffl m -0-l-0 L # 1 3=3 -_ — —. — — — — m * J=tz T + rr 22 THE ELEMENTS OF MUSICAL FORM. C. Adagio grazioso. e 3^ r^^^EjgjgBj CHAPTER III. DOUBLE SECTION. PHRASE. 12. The mere repetition of a Section (dimeter) does not constitute a h-measure phrase (tetrameter); it is simply a Double-Section, indicated by the cipher 2 x 2. 13. E§ L -L_J_^U J E=£E3E ±^ =J4 Eg — S. 1 0- -L-i -L— J -L— | t=& Among these repetitions are included — as in the case of the con- struction marked 2x1 (see Chap. II, Paragraph 10), such variations as are of a tonal (not rhythmical) nature ; but even here there must be a perceptible similarity, in spite of the variation, as in the following examples : a. 14. 2 .- b. a i l- — -F— » = L-J * =g E fl P-- — IqEfe ♦ 5-*- # -*■ -j EE3= Beethoven. _ ■ = z^rrq— a: — I * -i-w— €— J- — I 1- Even rhythmical variations are admissible, if confined to subordinate details, as is the case with embellishments, figurations, etc. a + Beethoven. 15. ,—i!2 _ ■£: ri 9 : =! DOUBLE SECTION AND IMIKA.SE. 23 BiBTuuvnr. b. Allegro. ^^St £ || (The + in the above two examples calls attention to the Blight rhythmical changes introduced in the repetition, in Ex. a, by the insertion of a changing-note, in b, by the omission of the anacrusis.) 13. A musical thought foiming a section sometimes occurs four times in immediate succession. Su< h a construction, embracing eight measures, is called Quadruple Section, and marked 4 x 'I. For au example see Fig. 2C>'3. 1-t. Every extension of a musical thought to four measures, other than any such extension already noticed, constitutes the Phrase, or Tetrameter. This too, like the section, is either (a) filled out, or (b) disjunct, or (c) connective, — each of these terms referring to the con- struction of the second constituent section. (a) Filled out : Beethoven. ^Seb^I 2x1 .. b. m&^3g = ^±sm (b) Disjunct : Mozart. *-£• fS> : 'f—0- :=t a=zs2z: (At + a quarter note of the measure remains free, serving as a starting-point for a new thought.) (c) Connective : 18. Beethoven. -*Ti- r-ta=g p=gftaE mmm^m 24 THE ELEMENTS OF MUSICAL FORM. SECOND EXERCISE. Compose very many Jf-measure phrases, (1) by completing the num- bered sections composed for the first exercise, each one in a different manner ; and (2) new ones. Models. a. Allegro. Beethoven. 19- b. Adagio rrwltoespr. C. Allegro. --4J*=T- 15. The form of the phrase just considered, is perhaps the com- monest, yet it is not the only one. The truth is that the structure of the phrase does not absolutely depend on the number of four measures, for there are phrases of as few as two measures (these occur chiefly in the compound meters) and as many as ten. The phrase is essentially an element of melody embracing two (at the least) or more measures terminated by a cadence of some kind, and sensibly forming a separate group by itself. DOUBLE SECTION AND PHRASE. 25 Remark. — The doctrine <>f the harmonic dost, or Cadence, may here be suc- cinctly i staled. The Cadence, strictly so-called, is thai whose final harmony is the Tonic '1'rtinl [f this Triad is immediately preceded by the dominant harmony, we have tne authentic tonic cadence; if by the subdominant, the plugal cadence, or tonic half -cadence. The authentic tonic cadence i- perfect, when tin' uppermost tone of the final chord is precisely the /»»»• //VY, i. , , not it> Third dot its Fifth ; in either of the latter cases the cadence is imperfect. Another kind of cadence, improperly so called, consists of a point of rest on the dominant harmony, gener- ally preceded by the tonic Triad. The expression halfcadena when the word "tonic" is not prefixed) designates this point of rest on the dominant, indicated in some of our illustrations by I V, or I V. The abbreviations " Per. Cad." (perfect cadence) and " Im. Cad." (imperfect cadence) refer of course to the authentic tonic cadence, whether the tonic of the key of the piece he meant, or the tonic for the time being, resulting from a modulation. 16. The phrase is simple, if consisting of but one rhythm, and com- posite, if embracing more titan one rhythm. Every simple phrase is therefore a rhythm, but not every rhythm is a phrase, because in manv rhythms — especially the smaller ones — both the extent of at least two measures and the cadence are lacking. 17. At the close of most initial phrases of a melody, the ear expects a second phrase of analogous rhythmic structure, as comple- mentary or responsive. This expectation is generally fulfilled, for, in fact, phrases are most frequently paired in this way, as we shall see farther on. Nevertheless, the phrase beginning a melody occasionally ends with a perfect authentic tonic cadence, thus forming a musical thought which is in so far satisfactory in itself as it does not so imperatively require a subsequent phrase as complementary. As a general rule, a phrase, or larger group, closing with a perfect authen- tic cadence on the tonic of the key. is regarded as absolutely independ- ent and complete in itself, and may be followed, tit pleasure, by a heterogeneous group, or by a repetition, etc. 18. Here follow T some examples of phrases outside of the regular form of four measures. They are given for promoting the insight into the nature of the phrase, not for imitation at the present stage of our study. Two-Measure Phrase. (Other examples of the 2 measure phrase, Fig. 33.) 26 THE ELEMENTS OF MUSICAL FORM. Five-Measure Phrase. a. Allegretto. (2-"-8) F. Schubert. 21, &E - CT TO !TTS-*T P^^ T CT^ ^^g^^ 1 H ! H i y etc. (3+2) TCalltwoda. "i r *-'-0 — -^ g 1 gfe^Ep^ gEEEg I V Six-Measure Phrase. a. Allegro motto. 22. hit fe^fpip^^^gi^ Beethoven. r r i v i Pf „ b. Adagio. -3 Haydn. c. Cow »wfo. (Simple.) | ^^«__ -jy etc. Per. Cad on Domina/.f. Mendelssohn :t=£=:' ??=«=F zz=zr— t== II Tonic half-cadence. Seven-Measure Phrase. .4ssa£ vivace. (5x1 + 2) 23. s==>^=r ^=5=-^ BEET1* /VEN. ?— J— *-?-#---*-T ^=d=J=fc -0—^—0.1-*- feE _t^ iz: x_£_Z— : — I the simple, eight-measure period. Ten-Measure Phrase. 27 24. Beethoven. ^M^^?=g^^ Remakk. — The last example, Fiir- '24. Qluetratea the independent tonic phrase spoken of in Par. 17. The eight-Tneasun phrase will be considered later. SECOND DIVISION. THE PERIOD. CHAPTER IV. THE SIMPLE, EIGHT-MEASURE PERIOD. 19. The Period is a tone-form outlined and organized in a certain rhythmic, melodic and harmonic order, constituting in itself a little. piece of music, or forming in conjunction with other periods a mem- ber of a larger composition. We are speaking of the period with special reference to the free forms of instrumental music, as distin- guished from vocal music, in which latter its laws are more or less conditionated by the text. 2(). The period, in it^ typical and most usual form, consists of two four-measure pi/rases, the first being generally called Thesis, the second Antithesis. This is the simple period. It closes mostly with a tonic cadence ; a different close, as for instance in the key of the dominant, or— in minor— in the parallel major key, of course presup- poses either a repetition of the period itself, closing this time in 'he tonic, or the addition of other periods. 21. As to the tonal contents of the period, the general rule and practice is that of similarity in the two phrases. This is not essen- tial, however, as the Antithesis often .-hows a construction differing from that -of the Thesis. What is generally essential is. that there 28 THE ELEMENTS OF MUSICAL FORM. should be a certain contrast between the two phrases, whereby the second one may appear as complementary or responsive to the first (see Par. 1?). This is usually effected by the harmonic cadence. 22. The repetition, without material alteration, of a jj/wase, con- stitutes simply a Double-Phrase, marked, in metrical cipher, 2x4. 23. But if the repeated phrase contains certain changes whereby it is harmonically contrasted with the first one, so that the two phrases are correlated as Thesis and Antithesis, we have the Period. This correlation is based on the different ways in which the two phrases close. Hence result four different forms. FIRST FORM. 24. The Thesis closes with a half-cadence, the Antithesis with a perfect authentic cadence in the tonic. J=Ft i v 3^5 #— L^ , -0 * Vr ' 0— — C * * * ~*~jg- Thesis Beethoven. Per. Cad. -0 — Antithesis. ^J >—* 72— C (Minor.) n — 0- -?-*-?- Thesis. ^ Mozart. Per. Cad. THE SIMl'LK, E1QHT-MEA8UEB PERIOD. 20 THIRD EXERCISE (1). Compose many eight-measure Periods of the first form, some new % others extensions of former exercises. Models. a. Prestissimo. 26. U ■* £}■*" "* * ft"*" "* "* Ct' ir * p^^gg s 3*— :± »-#—£-« »- PS s=S r il l MF— r- S=H: ft* iis ** *• • t=l 3= If ! i- T — i : — I — i — i-r Beethoven. :d? S tK i^gi s *— # §lfc*=s=£=is=r=£ fi^^Elg b. -Psco Allegretto e grasioso. ^SipEEEEE^^=^p§igpi| p I s — . ^EJEE^ zi==f 30 THE ELEMENTS OF MUSICAL FORM. -* — 9 2rfe *-*-* :p: :^ S3 —p- -!■— r— Beethoven. ^^l^ifeil *. — #. T SECOND FORM. 25. The Thesis closes with an authentic cadence in the Dominant. •^ *— . -;-Tr- ^f p^s^^m^m sf rif 5=3 =i= Antithesis — I— L # , . THIRD FORM. 26. The Thesis closes with an imperfect — exceptionally with a perfect — authentic cadence on the Tonic. ?<——»: 29. F AsfrS-' h -F^J—y— ^- ^g ^o / h ■» • — m f m- -i 1 1 — ■ — — Thesis. -7—tm — ?" Im. Cad. vHh 3E3 -fr — * Mozart. Per. Cad. # I h * Antithesis 32 THE ELEMENTS OF MUSICAL FORM. Fer. Cad. | | ! Webee. :fe» ^i|Mt=gE^iSlil Beethoven. Im. Cad. »-, *- #_ # _i_^ i-fra -i — ' — r~ i — i r*~ \ ~ < — i — t — » — w— r-- II THIRD EXERCISE (3). Compose Periods in the third form. Model. Allegretto. 30. £ sf i' sf p sf "^ sf s /p- r ?P^ Beethoven. I l . J -•■ » — • *f ss kfe* ipi -Lab. FOURTH FORM. 27. In the three period-forms which we have thus far considered, the two phrases show a decided similarity as to tonal contents, the Antithesis being to a certain extent a repetition of the Thesis. In the fourth form the Antithesis corresponds only approximately to the Thesis, sometimes even is constructed from motives quite different THE SIMPLE, EIGHT-MEASURE PEBIOD. :::; from those of the Thesis, thereby showing ;i thematic contrast, in addi- tion to the contrast afforded by the harmonic cadences. a. Allegretto. r Thesis 8ijfefe N^g--£ i j*fB3L |J~r?Jg I'-^ttZ&Z^E Beethoven. Antit'iesis. •jH w^rft £ lj S ,g^ *z^£~ fes±^srte instead of : I 1^ b- Allegro. I Lj L_ ' MOZABT. tf — i * • Le * ^ x s= -# d l NN — -Jv-T^ L Thesis. a fe: 5£ A £ f: ± * *T :gq I — [- 5-tf * -9— N-3 N-?-- -# *- «_ # -*>: Beethoven. . n " __ ¥. — — _J_I] — Z\ i_j — ^-L^J 1 1 — t — £ lc ^ * S#- -m- ■* -? * * — -r * THE ELEMENTS OF MUSICAL FORM. THIED EXERCISE (4). Compose Periods in the fourth form. Model. 32. Andante cantabile. *" tr "S" •zt:|=z£: szttc :£±fc=fc trim SsslS */■ s^ 3: L^5. 3EE3E 15- Thesis. S Beethoven. s — i3j_ — : i_#_^_ # — # #^— # -5_ — "- CHAPTER V. EXCEPTIONAL PERIOD-FORMS. Four-Measure Periods. Adagio. Thesis. Melodic Conjunction.1 k^ I 1 1 ! i^onjunci —l — g . #-*- 0- — '- 9 — b»- *^ — -# — #h — ! — \ Antithesis. I Mozaet. s^B^^p jpsil F^pip : b. Allegro con spirito. etc. Haydn. 3ft# Thesis. :trt Antithesis. etc. EXCEPTIONAL PKKIOD-FOKjIS. 35 C. Moderate. JThesis 0-1-0-J-?— f— *— 0— Jfc— —m-^+J^^F 1 ^* — m — F I — *- ' — ' — i — ' ^^hz~* — F — ff^ — — *l *~ r *^t - 7 I ■ J — Hatdn. -nj Antithesis. ■+*+■*. 28. The Period, as thus far exemplified, has invariably exhibited a specific symmetry, in the grouping of its phrases by 4 measures, or by 2 (4 + 4, or 2 + 2). Periods in which this symmetry is lacking will now be illustrated. Six-Measure Periods. a. ( 3 + 3.) Adagio. i r hk-zf-tt I J I f Jj^E -0- -0- -+ -•• *- t * "» — f ■"■" Beethoven. b. (4+2.) i#r?t^n!emy'»jirr ^t i ^=E=t ^- # :^rfg^^S=^~^i ft Seven-Measure Periods. a. (3+4.) 35 - nfefei^^^PSS^=S?Sf^33^^f i/ * — ' ' - ~- L ^=? — ' — — ^ — H — ■ — 5=5. ^_ m 0—^& — ■■ b. (4+3.) ferrrTrnm^f j \ r n\rf 36 36. the elements of musical form Eight-Measure Period. (3+3 + 2.) - 2 r . ' -f=f «-& ■*- -c-*-#- t-P^f-3- ■#-• •T-r— *-»-, *-» =&^|pg^3=l Nine-Measure Periods. a. (4+5) 37 ■I -*-£*E S^ i i ^ ii *=#: German Folk-song. JL S* ^3ISi^=i (By taking away the interpolated measure marked + , the above period becomes regular.) b. (5+4.) 1 V— y- 33?=£^=^==^ German Folk-song. =1=1 Ten-Measure Periods. a. (4+4 + 2.) 38. :e^ #-•- r — *- ^^^^^^ German Folk-song. il I Coda. ^ | I ggj^ =j^=^g =g=g ^|gp (In Fig. 38 a, the melody really ends with the first half of the eighth measure, the two remaining measures forming a Coda, so called. This is a common con- struction.) EXCEPTIONAL PERIOD-FORMS. b (4 + 2 + 4.) Allegro. 37 r i i i i i i ' i i i i i Mozart. ^ i ^==:' -1*^1 ' • ' I. C. (6 + 4.) Allegro molto. etc. ~1 " 4 ZT> ~^ — i ^ri — l~d — I— j - == iri l T ^=% —d J jtr — f-^-H ' ft * * — f- 1 ^ — g | | Beethoven. •J I I *** -#•* -0- I Periods of Three Phrases. 29. Periods of three phrases are often found, having of course for the most part twelve measures, sometimes more, sometimes fewer. Such a period is not unfrequently composed of a Thesis and a double Antithesis, or vice versa, of a Double Thesis and an Antithesis. In other cases the second phrase does not form part of the Thesis or of the Antithesis, but appears simply as middle phrase. a. 12 Measures (3x4). 39. * .3 f ?\r-*-? . 4H-- r-r-| — ^j- i i _ ^ i b . Mnuetto. 12 Measures (3 * 4). Mozart \~"^ — i— 9* •5-' K Beethoven. Jj-^V — 3r= -£*-• ♦ L#ir/=#: Sg J L 38 THE ELEMENTS OF MUSICAL FORM. C. 12 Measures (3 x 4). German Folk-song. d. 11 Measures (3 + 4 + 4). !-/£■* — " — iv~J — i— I — -*-#-r-#i»-*"*-*H »---» 7 ■h hj — |— h -»-» JL German Folk-song. W^T*^ ^^ +1 — '■— ' Cod (The above melody, Fig. 39 d, really ends on the note marked +, what follows is virtually a repetition, as it were a Coda.) e, 13 Measures (4+2 + 2 + 5). ~W ^~ a — g— g— #— g~ n i f -f—0 — g — * -f«-.-*— d-«— »— j- R^^F g ^B^^j^ ^E ^^Eg l^^^Ep^ III Nageli. 30. The young composer who here applies to the study of the musical forms, will, over and above the working out of his exercises, carefully notice all the forms which he meets with in his daily musical life, always explaining them to himself according to the doctrine of form. It may also be assumed that he carries in his memory a treasure of classical music, from which he can draw models for every THE SMALL TWO-PART PRIMARY FORM. 39 form, without having to consult scores. Every species of music in ■which our masters have composed, affords abundant material for this, not only instrumental but also vocal music, opera and oratorio. THIRD DIVISION. THE SMALL PEIMARY FORMS. CHAPTER VI. THE SMALL TWO-PART PRIMARY FORM. 31. The mere repetition of a period, even with modifications, does not give rise to a higher form. But the union of two periods so con- structed that one constitutes a Thesis, the other its Antithesis, affords the Two-part Primary Form. This is the simplest of all musical forms after the period, being almost synonymous with '-'tune," " mel- ody.'' In this form were cast the first beginnings of melody, espe- cially the typical folk-song, called by the Germans " Yolks-lied," from which circumstance some musical theorists of that nationality have called the form " Lied-form," the English equivalent of which is " song-form." But as this form embraces a great many different species of music-pieces, such as the various Dances and Marches, the Theme with variations, etc., etc., the name primary form has been suggested* as more appropriate to it. The essential principle of the primary form is the presentation of one musical thought (or of one principal thought), followed by another, contrasting with it, then returning to the original to conclude. 32. A general rule for the structure of the two periods is, that the Thesis of the second one is formed of new matter, whilst the An- tithesis (of the same period) exactly corresponds to the Antithesis of the first. FIRST FORM. 33. The 1st period is precisely of the kind described in paragraph 24 and exemplified in Figs. 25, 26. The periods composed for the * By a writer (Mr. C. H. IT. Parry) in Grove's Dictionary of Music and Musi- cians. His article, under the title " Lied-form," is well worth reading. 40 THE ELEMENTS OF MUSICAL FORM. Third Exercise (1), page 29, should here be utilized. In the 2d period, the Thesis, whose matter more or less differs from that of the 1st period, closes with the Half -cade nee, and, exceptionally, with one of the cadences mentioned in Chapter IV, paragraphs 2b, 26. Antithesis exactly corresponds to that of the 1st period. First Period. Thesis. 40. » ff 1 e 0— i-g 1 s_L*_-_ # — & — c :fc=i= Antithesis. * * ■ * •- 1 -, , M — J -«-.—g ^ - 1 Skcond Period. Thesis. See J * i * i +3— ** * i- Beethoven. Antithesis. feEj^^ -* * z n_j -4-j -J = rt— rt- First Period. b. ^2. +. felrjj^H^^^^^^^^ s -£=m^\ 0- +— - 1 — -•— 11 ■*- * r P ii * r P - n ' Second Period. ■2- ^2. H tz ^ 0- 1 — i — F ffi Mozart. j^## ^^mM. THE SMALL TWO-TAUT TIMMAKY FORM. 41 FOURTH EXERCISE (1). Compose, in accordance with the foregoing, very many small two- part primary forms, partly from Vie periods of the preceding exercise, partly from new material. Model. Adagio. 41. dolce. p mt^ 1 T^Vniaia =•-=¥=£ 1st Period. Thesis i^S=^-#^ — lt- +-*-\-* — • | F Antithesis. 9 : 3=1- i j — r— i . * * d . A m m — I — I- 2d I ,«s» 2d Period. ^ i f ¥ ftf Tr» , P sf SV5 &+0- ^ -* » h* * -l- — •— r -r ^W—Z(SL=TZ-- *+L4 j*'**- 42 THE ELEMENTS OF MUSICAL FOKM. 9- M — 9 — 5 — *-t— « == ^ y- -\ — \-4--A — — i — ft fe^ : — «U-3— t ±££i i*W *e Beethoven. Remark, as to Fig. 41. Here, as in many cases, the Antithesis of the 2d period is merely .similar — not strictly corresponding — to that of the 1st period. In a manner similar to the above, Beethoven works up the period (poco allegretto) given in Fig. 26 b, into a piece in two-part primary form, in his Sonata, Op. 7, last movement. The Rondos in the two little Sonatas, Op. 49, also begin in this form. SECOND FORM. (1) IN THE MAJOK MODE. 34. The 1st period closes with an authentic cadence in the key of the dominant, implying a modulation. The 2d period is constructed as in the first form, and closes in the tonic. Occasionally, the 1st period closes with an authentic cadence in the (minor) key of the Mediant (for instance, in e-minor, if the major key be C, etc. ). FOURTH EXERCISE (2). Compose small pieces in major, in the second two-part primary form. Models. Andante 1st Period. 42. h-t-f- k-->- V Thesis. fXX=ML :zt=t= b=Lj THE SMALL TWO-PART PltlMAK'. FORK. 13 +.+ + ^ ♦ -^ +- *- IlU. Cad. # «-'^— «: gfe^aa te ^: ?? Antithesis. -0-'-0 — »- l'*-« — #-*-# — :fc=- S33: - . -• — 0- 3 » rr T — *— «• — « E£3E= '5* — '5* Perf. auth. Cadence in the Dom. r^J 'J ji^^ m ^=5=3= — *- tda 2d Period. Thesis. rg 1»- -«•» — i — * --.— • — • —J -.-r^ 3= ^•0- ■*- - A'-0- £*■ -#-'-» — »- ^^g=3=: -J L 44 THE ELEMENTS OE MUSICAL 10UM. 9 : < Antithesis. B ^1 1 i -1 1 fcfe -•*"-*•-**- -»*: ■*■•*■ U »_ _» 1 Beethoven. 9 : S =^1 5^Eejj b. Andantino. 43. t'ittis— i — I 1 1 S— rJ — -J 1 — -^— y- 1 i -r- H h — -j^n *+■-*■ -It-j H 1 ^*- \* — tH — m — ~is — 4 — w™^ — l \-g ■0- r i r i i -»- i i e^iHt -X— r-»— ^H-b— ^3-1 -r b-J^h-^- J- *- J-r-f- J * I HW T | «JtJ^— 1 r Cpzj—F tf: r C y- -I -H-j ^— r -J 1 !— ^— « — . * — 1-* J— B-h* 1 »r *_-_■___, C C ^ "p — 5^-*- -4— *- + PC 1 * r ^— rr-r=^r-F— r r f — Till: SMALL TWO-PAKT PKIMAKY POfiH. Cadence iu the K<-y of the Mediant. 4.) I I ' I dim. I'!'' — *? — I — ^f= — r r ■ | g — hdr — ' f — i — *—*- r -J — » cv* jt-i-?-J-*-l--? , "T— * — »— «~ F— 1 — i— r ^ i ^.i- — T -^7 i r r i- — u ' r ' 9*b j- ft =J=rf 'I CJ 3- ^^: gajt^^3^3^is=f-^ APS ., i i — r : F : -0 0- r (2) IX THE MIXOR MODE. 35. In minor, the 1st period closes either in the normal (minor) key of the dominant (for instance, e-minor, dominant of a-minor, etc.), or in the parallel major key (C-major, for instance, parallel major ot a-minor, etc.). 46 THE ELEMENTS OF MUSICAL FOKM. Models. 44 a. :^i fe l=}=£ H »- r Antithesis. ■ L ! ' r *-r*i*- e -*- M l r l u ! » l^& ^ -|-n -— i - i i ■ r I5J7#2 — «^ JL-l-j^ r^^_ i _j ~ fe *=pF -*■ ?P^E f — tf = # |T i ^ F Minor Key of the Dominant. *>- »»« »W- J J j ! i N # lag^gteS;^ j^i^gr ^jffip^ ^ Antithesis. *-#- 9igE^g= g^-^3 =l *-*»-* R THE SMALL TWO-PART PKIMARY FORM. r. d£=& 9? : 44 b. First Period. Allegretto. . - Q'a- * — ^-nH — ' — f"^ — d~JT:l — ' — cd — 55=r* — * rj» - * — * -«+-«,— *-- r*. — «~* l* — * — 1* — *5*ii # — — tj — '^ix* - i*_« — »_*J£5_ # _J — | 1 — ._!_• — € — L* — *_«_J_ # — — L # _ # » # _L^_ Thesis. Antithesis. Second Period. -I- Beethoven. r?s - — s d m , • *-jit -A-i-v*- — *— i~J H r -I 1— r -J— j*-MiJ- r J — - I i , — 1_| 1 A_| 1 1 T_i« :# 1_« 1 »_lgj » 1 1 1 ,_1_# Thesis. Antithesis. So, too, the melody which immediately follows the above, as a counterpoint to it, viz : ■*■ -3T 5* .^=t^^X^_pt^_ # _ # _d>t_ # _ #= t^^ = t #-** iPPPPiiP FOURTH EXEECTSE (3). Compose pieces in two-part primary form, in minor. 3G. The repetition of a period, even with variations, yet without the contrast necessary for correlating the two periods as Thesis and Antithesis, as just illustrated, constitutes simply a double-period, not a primary form. Thus, for example, the Scherzo of Beethoven's Av Sonata, Op. 26, begins with an 8-measure period, which is imme- diately repeated with rhythmical variations. 48 THE ELEMENTS OF MUSICAL FORM. -I— fe4- I I 46 Ffe^F=^^^=F?Ei=E2— 3«=E^F^ ftr Such repetitions often occur in cyclical compositions, and should be well distinguished from higher forms. The Allegretto of Beetho- ven's cti-minor Sonata, Op. 27, also shows a similar repetiti on, written out, varied by ties, and rhythmically elaborated. t>. Repeated thus : 47. i2l^=^=Eg=|j5- T" fefeE r *, ,* -#■ T# * te^fefe V THIRD FORM. 37. It will be noticed that in the case of a- repeated period like those in Figs. 46, 47 there is no harmonic correspondence of the cadences, i. e., the cadence of the second period does not contrast this period with the first one, for the simple reason that each period closes with one and the same (the tonic) cadence. The case often occurs, however, of two connected periods almost exactly alike in which this harmonic correspondence of the cadences is found, whereby the two periods are made to correspond on the whole as Thesis and Antithesis, thus constituting a third two-part primary form. Examples of this are the two periods of the Eondo of Beethoven's 2?|z-ma;jor Sonata, Op. 22, given below as a model (Fig. 48). 38. In such periods the Thesis of one corresponds to that of the other, the Antithesis of one to that of the other, unlike the first and second forms, in which Antithesis corresponds to Thesis. In this third form, therefore, Thesis and Antithesis usually have fewer Till: SMALL TWO-P.VRT PRIMARY FORM. 40 features in common. We may express the former relationship thus; Thesis. Antith. ThesU. Anttth. j st Period, a a the present one thus : Jst Period, a b. £d b a -'d " a b. 1st Period. Model. 48. r--»-T 2 — - w_ * P m • 5*-— * *- F-44 »-l^.- - JT_ =t;— ^ S= Thesis. ■z=± r4- Ii)il.J_#— -»_ jr#- * h fe y-r-* * «-ci I * J * J * ~r •^ -*■*•*• -5- — — i- * — E>^=*^g ^ =t±3t E? f — 1 f--. P Beethoven. — ^ 0-0- 0—1 r9 7 0~* X~ * gff^^gg i — * — t -• — Y-0 \-0 -70- aajE?^ etc. 50 THE ELEMENTS OF MUSICAL FORM. Remark.— At the place marked + in the above example the amount of two measures (added in the original to the regular 8-measure form by a license to be explained later) has been purposely eliminated, in order that the example may serve as a model in the regular form. (See Fig. 67.) FOURTH EXERCISE (4). Compose pieces in two-part primary form with the construction just explained, and illustrated by the preceding model (Fig. 48). CHAPTER VII. THE LARGE (EIGHT-MEASURE) PHRASE. 39. Two connected phrases of different matter, yet without har- monic and rhythmic correspondence, form — not a period, but — an 8-measure phrase. This construction may be regarded under three aspects. (1) Independent. 40. This kind of phrase is often independent; in other words, is a musical thought forming a complete whole in itself, as closing with the perfect tonic cadence (see Par. 17). w -■• +&*■& Beethoven. ipsgj^©^ Often the division into two parts is less obvious ; the phrase then seems to be simple rather than composite. For example : THE LAItGL" EIGHT-MEA8UBB PHBABE. 51 50.^ : ,V^ | t r-c •;-c£. x'y'.-: \ Beethoven. Qui ^g^g=^ig^^i^ii^i i : - ii. This construction may be considered the most perfect form of the mrase, and requires specially diligent practice. FIFTH EXERCISE (1). Compose many independent 8-measure phrases. Models. Allegro. 51a. fc L.T — j J J J j T ffifr-J T 3 e==^ ^ farefcm^ f; ^ ^r i/J 1 ;rJ^ jdLjt — ft SO -•-# * # W^pii^ppi a I $ Beethoven. ^E =i=; ^ 3i$; i e)_ # I J I""* I r r r etc. 52 51b. THE ELEMENTS OF MUSICAL FOKM. Ht. — s— &—*■ — * L — — u ^# — *#— *# ix -ts^-. -^-m — # — #— i?^:- 1 - -i*- -0- -* -0- -&- .-*■-*■ -0- -^- : FvHFa -*g~ — M .> r — i — Si— i— iE$B z H 1 -+ — t — t- tr — 1- ' ' ' Vi/ a tempo. Beethoven. S 1 1— I — I — 1 1 ^H §ii ^==^ = -4 ^ (2) As Part of a Period. 41. The 8-measure phrase may form part of a period, by taking the place of a Thesis or an Antithesis. For example : Andante. 1-vir 52. IHPES 1 — ^^■"■^-i— o^r^^n-i — I 1 — : J =5 *^ — M ' ■ _^_L E5 4=8 RF=P ^±*Z9Z9Z~JE3=J mi Beethoven. i l«J j LI rs i 5 5J fe3 =*¥ * #^g^ =3C # — f 7 *-*- W £fc=? P^ =-N- ■F a.f - -* M r r -sc iSg^^s ■ ^ i i fi^- ■i— f^ -I— -J-c Till; SMALL TIIKEE-PART PRIMARY FORM. Mozart. tr. *^ ? V 7 ^r*- # *-«* -3?-' -0- ^ ^%pp 47. In most cases the large three-part period is regarded as a three-part primary form in which the period-form of the Thesis and Antithesis (first and third parts) is lacking, and large phrases take the place of 8-measnre periods, which is almost invariably the case in the second part (middle group). Examples of this species will be found in the exercises on the three-part primary form. CHAPTER IX. THE SMALL THREE-PART PRIMARY FORM. 48. The Three-part Primary Form is constructed by inter- polating between the two divisions of the third two-part primary form (see Par. 37, 38) a division having the same dimensions. This added part is only exceptionally in period-form , having for the most part, for the sake of variety, any one of the 8-measure phrase forms (Chap- ter VII). 49. The three divisions of this primary form are severally named, according to their order, First Part, Second Part, Third Part. In common parlance, however, the second and third parts are classed together as Second Part, because they are, as such, frequently repeated, and stand in common between signs of repetition. The following is the scheme. First Part. 50. Thesis closes with Half-cadence ; or, with the imperfect — 58 THE ELEMENTS OF MUSICAL FORM exceptionally the perfect — authentic tonic cadence; or, with authentic cadence in the key of the dominant. Antithesis closes (a) in major : in the tonic ; or, in the key of the dominant ; or, in the key (minor) of the mediant.— (h) In minor: in the tonic; or, in the normal key (minor) of the dominant ; or, in the parallel major key. Third Part. 51. Thesis closes just as in the first part, the Half-cadence pre- dominating still more. Antithesis closes in the tonic. Remark. — The first and the third part may therefore under certain circum- stances be exactly alike in construction. 52. Between these two divisions the three-part primary form interpolates a Second Part, of the same dimensions, which usually closes with a Half-cadence, in order to introduce the third part. This second part may be con- structed out of new material, all the more so when there is great simi- larity between the first and the third part. 53. The application of the large phrase-form (Chapter VII), instead of the period-form, is feasible, not only in the second part (as already stated), but also in each of the two other parts, at pleasure. SIXTH EXEECISE. Corn-pose pieces in small three-part jwimary form, partly from former exercises, partly of new material. It will also be a very useful exercise to point out, in single one-voiced melo- dies, all the features of the formal construction here indicated. Models. a. Allegro assai. t First Part. 3= 58. fa 3t ran. ^0^ ■^ — -^ — » Antithesis. •HI! SMALL TIIKKL-I'AKT PKIMAUY FORM. Second Part. 59 — # _£-*_CT-3__V L- — * '- m ^3^3F£9: : f - *t :3EE -# — 1= — m^m *f3. » s9 Beethoven. -# *? .* •^-y- H ^ Abbreviated Antithesis.* *- -*- ?=^i ■5=£ ->- b. Allegretto. First Part. K Period. , — --' ^ "l ! I 9i'£E 1 JiJ ^g= r ii^g * Here two measures are lacking, through abbreviation. See Chapter XIII. This license, however, should not yet he imitated here. Nevertheless, the exam- ple was chosen on account of the clearness of the construction of the second part. 60 THE ELEMENTS OF MUSICAL FORM. -&—* 1 ***-*-*- i 1 -I 3 4 0-m kj— —0 4 — k=.-jz=j=*=i r*—^ — * ^hj — *— Second Part. ^m^^^^^ ^ m^^m Double Phrase. g=l=b=EiE L_i l \- -i — t=tv£- =F=tP +^gr Third Part. |=i±=t£=tj: ffi=Mli^^feE^=|E=^li=^^ Period. Beethoven. C. Allegro. First Part. = ^== 4= _«_,_ *— # -^— » #— » gEBr=f=,^gj^ # Second Part, with similar matter. tr _». i-^f a^ m^Tf^ff SS Third Part. liHI » — *■- =j t—i^j- <* -w- == ^* =>=^i:' g=t==^-- iiL: n ^ .*. ♦ .«- Beethoven. ± — r- =t — h 1 iL-izi ill d. Allegro. First Part *S»fe #HffiHHl#J 9 : =*=? ^ £=i=b=n f^ THE SMALL THRLE-I'AHT PRIMARY POBM. >;i >=S *J2-major of Beethoven's .F-major Sonata, Op. 10, No. 2. 59. tei r ZBIZIIffi r t r * '*=£% 3^ -0 « fc fcfE The variation, however, is limited here to the first part, whilst the second part, THE LARGE THREE- PAKT 1'RIMAKY FORM. 03 60. B pE ^ is literal?// repeated. The last six measures of the Trio do not In-long- to the form, but constitute an independent introduction to the follow- ing part, in /-minor : n W —n *— & *— ±£& 0— >-%« sa -" _=-- *- A similar extension is seen in the Theme of the Largo appassionato of the yl-major Sonata, Op. 2 : 68- >3r §S ;=2t 63. Here, however, the composer leads the Antithesis of the second period into the key of the Subdominant, before bringing it to EXTENSION. 67 a close. Thereby the four measures of the Antithesis are augmented to seven. 69. -2 # — « * I - - — * = # — w # J- F -*-*- — — -4 -t S » * =Z 04. The extensions thus far noticed are limited to the addition of bi%/ few measures. But in the A b-major Sonata, Op. 26, we find in the Trio a two-part primary form whose second period is extended to double the length — 1G instead of 8 measures — and thus belongs to the large period-form. Fieces like this, therefore, hold the middle place between the large and the small primary form, being made up of com- ponent parts of both forms. \/ NINTH EXEECISE (1). Work over, by extension, some of the small two-part primary forms composed for the fourth exercise. 65. In the small three-part primary form are found extensions of the same kind. Thus, the third part in the Allegretto of Beetho- ven's i^-major Sonata, Op. 10, is enlarged, first, by an interpolated imitation, occupying two measures: i 70. Et^S ■ i . , i J A Jlte i J i J j. i i I -#. -#- -«- -0- -*- a -0- -0- Imitation. g^f^|g=^i| next, the last four measures are repeated in the lower octave, 68 THE ELEMENTS OF MUSICAL FORM. 71. Eig*g j^pE^p j ^mi=^ and finally, a closing-group (or period ?) of 8 measures is added. 72. ££ •0- *- - — 3V ^ ^^si^^is^ In this way the third part of this small three-part primary form is extended, by interpolation, repetition, and Coda, to almost threefold length, forming 22 instead of 8 measures. 66. A similar course is pursued with the middle group of the Scherzo of Beethoven's yl-major Sonata, Op. 2, No. 2, beginning thus : 73. Fi&y F^&^FF -^"— jpT etc This motive predominates in the first part, which is repeated. The second part modulates, with the same motive, from ^4-major m 8 measures to gfy-mmor, whereupon a 2-measure cadence in this key follows. But then an entirely new phrase is formed in the same key — '# minor — which leaves the key at the 8th measure, to modulate back to J -major in five measures. U I — — — — \— I — + I — \-W--\ — *-l — Hit— I — -~l h 4= EXTENSION. 09 rail. *i n j, . au+ ^uu-^ Hereupon follows, according to the rule, the first part us third part, but with a Coda of lour measures. 1>7. In the Hondo of the e-minor Sonata, Op. 90, the small three- part primary form is carried out according to rule, but — the middle- group is repeated: Jtl Middle Group. 7^ F^^i^T^^—f-T-r^i^P-^T-^ Eepetition. U + £fe?*L while Thesis and Antithesis (see Fig. 29 c) have no repetition. We observe, incidentally, that we have here a small three-part primary form, each part of which makes a perfect authentic tonic cadence, the second part, in consequence of the repetition, even twice. NINTH EXERCISE (2). Make extensions of some of the small three-part primary forms already composed as exercises. 68. Extension of the large two-part primary form is seen in the Adagio of the 6?-major Sonata, Op. 31. The close of the first period is here in the sixteenth measure, where also the Thesis of the second period begins. Close. 5 I : fe=E3 pp 70 THE ELEMENTS OF MUSICAL FORM. This Thesis of the second period has 10 instead of 8 measures, and in the 10th has moreover a protracted cadenza 77. ^ .'. -T Fff* 70. The extension may of course be applied to any part of the large two-part primary form, though further exemplification is not deemed necessary. NINTH EXERCISE (3). Enlarge some of the large two-part primary forms already com- posed. 71. Although the large three-part primary form is in itself of very great dimensions, yet it is very often extended to still greater ones. Instead of many examples in abridgment we give here one in its entirety, the Scherzo of Beethoven's Third Sonata. It begins with a lG-measure period, based on an imitation. The period is repeated. EXTENSION. 71 Allegro. *—*. 79. „ Thesis. L_L_ . i =? s« III 1 — ]pnnp=i=fF^r i r ielej §i=«=S=§ Antithesis. P , . BE *«1 I "*" 1 l I ** T T • 5 T 4 The second part, immediately following this, begins with the same imitation, and after sixteen measures is also found in the key of the Dominant, hence is ready to lead into the third (repeated first) part. 80. --rjf-Pr— i — *t — V~^ — * — ± ^ = ^-^r 6 b-mii i -7 #- ST (2? ^T :W: I ^ ^ ♦ Br 1*1 1 7 |2» *. # 72 THE ELEMENTS OF MUSICAL FORM. *^ 9;-t=gziTTK = ^B£HI» = ^'ai :r »"J3 = ?*i» 7 * r Ti?i="-'= : l=f i 3=3: -4f. - I T y — p- ±f t*e= ^ : 'ik- #— -^ This transition into the third part is, however, here delayed by a varying repetition of the half-cadence formula, which takes up 7 meas- ures — the eighth measure is at the same time the first one of the third part. i 81. ±-}b£l!L- ~J-~+ s=tff=r *J£. Q : _^=g=i r^j— pr p E p— ^=^i »ipp^=m Ej -» j—jj.-..^ «_ f-fr-»- T g|g: *— dim. TV 9 : "4=5= To the regularly constructed third part is added a Coda of 9 (8 + 1) measures. ABBREVIATION. 73 82. igi^ppA — *f -#- -4- ■#- •#- -*- -0- -0- -i^-0- fl ± *L ± ± ± ± ± ± t. i M l"TT =± 1 *f *f « - * _ - ' \^0- i — e >—0—0- i — a - — # — # -1— K — # 1 — L_| LL -0- -0- +- -0- -0- -0- -0- -0- -0- -0- -0- -0- —r NINTH EXERCISE (4). Extend some of the pieces in large three-part primary form already composed. CHAPTER XIII. ABBREVIATION. 72. Abbreviation applies, of course, chiefly to the large primary forms of great dimensions, especially to the three-part form. 73. An example of abbreviation of the first part is found in Beethoven's 1st Sonata, in the Minuet, whose first-period consists of 3x4 + 2 = 14, instead of 4 x 4 measures. (The second part also is here reduced to 14, the third to 12 measures.) 14. The second part is frequently composed, after the manner of the small primary form, of 8 measures, as for example, in the Minuet of the D -major Sonata. Op. 10. Here the first part is regularly composed of 1G measures, closes in the tunic harmony and is repeated. 88. 74 THE ELEMENTS OF MUSICAL FORM. -f— •-ra-J*— »-r^— ra — t— -*=: hrj: S|P3^ig£p^g^ipp[| The second part, however, has only 6" measures, and consists of a sequence through the circle of Fourths, i-rninor to Z>-major, in 4 x 2 measures : 84 ^lEf i|^pi™i^^iili*i 3* SIS \ -gl- 75. In such cases, which are very frequent, large and small form appear united ; as it were, mixed. (In the example quoted the subse- quent third part is considerably enlarged, from 16 to 29 measures.) 76. In Mozart's i?t?-major Symphony the second part of the Minuet is also reduced to 8 measures : 85. •sfi-b — 1— 0-\-\ — 0-\ — 0-h -0- J \-0-\ — I- — \-0 — J <-0-\ — ^— H — \-MQ0-f- The third part of the same is lengthened by 4 measures. 77. In the Minuet of the great C-major Symphony of the same master the second part is reduced to 12 measures : 86. i*- ■*■ z± s =t=£ J 3= ^P TENTH EXERCISE (1). Compose abbreviations of large three-part primary forms. 78. In the large two-part primary form abbreviations are in gen- \i:i:m;\ iatid.n. era! not advisable, as too noticeably disturbing the symmetry of the tu<> parts, which is not the case to the same extent in the three-part form. 71). In the small three-part primary form occasionally occura abbre- viation of the middle-group, as in the next two examples: 87. a, -> £=M iliipg Middle Group, four measures. =^ -7— N - JL_ — :t: ^r b. Middle Group, four measures. g - g= P >— y -.- -* — Fqgj — * — g i — i-6g- : f f— * m-.-V pp #-•-# — , — <&- c\* \Z ^ — — c ±fe^=r=i:zri:Eb?r. -~- i sf S Beethoven*. $fciz£ fcfc fclz: In the Andante of Beethovex's D-major Sonata, Op. 28, the last part is abbreviated by two measures. 76 THE ELEMENTS OF MUSICAL FORM. Six, instead of eight measures. 88. !*=£ 1FT 80. The «m«K two-part primary form, as being already of the smallest dimensions, rarely exhibits abbreviations. TENTH EXERCISE (2). Abbreviate one or two small three-part primary forms. CHAPTER XIV. COINCIDENCE OF THE FINAL AND INITIAL MEASURES (OVERLAPPING^. 81. It often occurs, especially in larger constructions, that the last measure of a group coincides with the first one of the next group; in other words, that a group begins with the same measure with which the preceding group closes, so that one single measure combines in itself end and beginning. Such a measure is to be regarded as belong- ing equally to both groups, and thus counts double. This peculiarity of overlapping, as it is called, is indicated in rhythmical cipher by a tie, placed behind the figure for the final measure, before the figure for the initial measure. Thus, for instance, 4— ' indicates a 4-measure group, or Tetrameter, whose final measure at the same initiates a new group; on the other hand, -~4 indicates a Tetrameter whose initial measure at the same time ends a group immediately preceding. In the practice of the young composer thus far, such measures occur almost exclusively in the transition from the middle-group into the last part, whether the latter form the third period or the Antithesis of the second. Thus, for example, in the middle-group quoted in COINCIDENT I. OF TIIK FINAL AND INITIAL MEAS1 BE. 77 Fig. 80 (MozXbt), the third pari begins at the lasl measure; its first measure therefore coincided with the last one of the Becond part. 89. 2d Part. 1 3d Part, In the same way the measure 90. j^ez±jBr-t-r- i =» in Fig. 79 belongs in the later course of the piece both to the third part as beginning and to the second part as cfose of Fig. 81, and ekes ont the second part into an Octameter (group of eight measures). H'i. In counting the measures, however, it must be carefully noticed with which metrical part the group begins, for, in the theory of form the measures do not count from bar to bar, but from one metrical part to another of the same order, — here, for instance, from the second quartet -note of each measure to the second quarter- note of the following measure. See Par. 3. The student should, by way of practice, alter some of his previous exercises, introducing some few groupings of this kind, in which the initial measure and the final measure overlap. 78 THE ELEMENTS OF MUSICAL FOKM. CHAPTER XV. IRREGULAR GROUPINGS OF MEASURES. 83. We have already seen that in the regular rhythmical order the measures are grouped by 2, 4, 8, 16, etc. Among the irregular group- ings which make exceptious to the general regularity observed in the different forms, the most common are the Trimeter (3-measure group) and the Pentameter (5-measure group). 84. The Trimeter may be regarded as either an extension of the Dimeter (2-measure group), or a contraction of the Tetrameter (4-meas- ure group). The Minuet of Mozart's (/-minor Symphony begins with two Trimeters. 92. = ifcs $=£=x W S^ tt 4= P : B£ m These may be regarded either as extensions of the Dimeters in Fig. 93 a, or as contractions of the Tetrameters in Fig. 93 b. 93. ±= ¥ * * &r*-Y* J »-Ff F 85. The special esthetic effect of such irregular formations is based on this — unconsciously made — comparison with the regular formations. 86. Beethovek and his successors often expressly mark such Trimeters as Ritmo a ire battute (rhythm of three measures). The most notable example of this is in the Scherzo of the Ninth Symphony, where the trimeter 94. S=t^=s-=*=!i etc. serves for a very extensive thematic elaboration. IRREGULAR GROUPINGS OF MEASURES. 79 87. The Pentameter is mosl generally regarded as formed from a Tetrameter by extension — the following, for example, 95. 2T?T=t ! A .22- 3= & etc from i" C f IHr=^ c. £ . J2- or from F^?-^- and the following opening of Mozart's small D-major Symphony, say, from Ffei'E 8S. Other irregular groups of 7, 9, 11, 13 measures, are likewise seen to he extensions or contractions of the regular formations nearest to them. 80. The irregular groupings of measures are of importance for larger constructions, in so far as they from time to time effectively interrupt the uniformity of the two-measure rhythmical order. In general it will be found that precisely the greatest masters of form are partial to free and bold construction, and by no means like to be restricted to the limits of uniformity in rhythmical formations.* 90. Not to be confounded with the Trimeter, the Pentameter, and other organically irregular rhythms, are certain seemingly irregu- lar groups arising from the extension of the regular form of the phrase, etc., by short additions external to the form, therefore not to * A curious instance of rhythmical irregularity is found in one of MKNDEL8- soun's " Songs without words," — No. 30, in J. major (Spring-song , in which the large opening period ends at the loth instead of the 16th measure. 80 THE ELEMENTS OF MUSICAL FORM. be reckoned as really modifying it. Some of these extensions shall now be noticed. 91. For making a marked separation, when desirable, between two phrases, an additional measure is sometimes employed instead of a pause over the last note of the first phrase, as in the following examples : a. Allegro. b. Allegro. t- 1 r Spohk. jjgf^gf^Fff^Eg^P^ SE^ instead - y= =te s aa^fc The above two phrases are to be regarded as composed each of four measures, the measures marked by the bracket being really external to the rhythm. 92. The addition of a measure or two over and above the rhythmical form is sometimes for the sake of uniting phrases or periods, etc., forming as it were a link between them. This is often the ease when a new key is to be introduced. Andante. r -*—w~. L J L E?EEgS m #— * -U-^ss^ BE -#— ft. ^-0-0 fi— *=*-- -0—0- 0—? Link. i Beethoven. LICENSES OF MODULATION. 81 CHAPTER XVI. LICENSES OF MODULATION. 9,'J. To any one who has studied harmony, modulation in any form can, of course, not be difficult, and to the experienced contra- puntist it can be but child's play. Exercises in modulation can, therefore, at this advanced stage of our study, be dispensed with. In the composers practice, however, the requirement of novelty often decides in favor of a more heterogeneous modulation, even without an evident inner necessity. It is not requisite to assign the experiential or logical limitations of such procedure, the student's absolute mastery over the harmonic material being assumed as a matter of course. Nevertheless, let one example show how what is seemingly heterogene- ous results from inner necessity, then appears in itself well grounded, in keeping with its context, and conformable to nature. 94. In the most celebrated of all funeral marches, that in Beethoven's Jb-major Sonata, Op. 26, occurs the extraordinary modulation from a/-minor into a close of a part in Z)-major. The March itself belongs to the three-part primary form. It forms at first an 8-measure period, which closes in the parallel major key — C'b-major, and whose Thesis ends with a Half-cadence (on the domi- nant) ; so far all is perfectly regular. But now, instead of repeating this period,— whether literally or with some variation. — Beethoven transposes it into the minor mode of the afore-mentioned parallel key — that is, into cb-minor. From this transposition arises the modu- lation, for the parallel key of c?-minor is E^-my'or, which is enhar- monically the same as D-major. Of course, Beethoven introduces, for greater ease in reading, the enharmonic change already at the entrance of c?-minor, which he writes as b-minor. 95. This transposition might be regarded simply as a repetition, like one indicated merely by :|, if Beethoven, from the 6th measure on, while substantially keeping up the modulation, yet had not carried it out differently. For, the first time, he passes by way of the dominant key of flKminor — eb-minor — into the parallel key — 6'b-major; but the second time, by way of the subdominant key of J-minor — ('-minor — into the parallel key, Z)-major. This difference in the manner of carrying out what is substantially one and the same modulation, militates against the conception of this case as one of mere (transposed) repetition. 82 99. THE ELEMENTS OF MUSICAL FORM. 1st Period. p&d&i^^^ftftt^F^^ &-.- Sfe^ffip3S &EE -n=^- t £ta, — i— --.0-0- ; -# #- . -0- J ^ 96. We have here, then, a double-period (see Par. 3G) of 16 (2 x8) measures, as first part of the primary form. 97. The second part (middle group) is shortened to four measures, with transition into the third part. The modulation from Z)-major into the (major) key of the dominant of ab-minor — i?l?-major, is at once effected by means of the diminished septimachord — d — a\?—f — c\>, enharmonically substituted for d — g%—f\ — b. See Fig. 87 b. 98. The third part has period-form and is extended to ten meas- ures. There is no repetition. 99. All things being considered, we are compelled, in determin- ing the form, to decide in favor of the small three-part primary form, in which duplication has taken the place of repetition of the first period, while the second part is reduced to half of the regular exten- sion, and the third, otherwise normally constructed, is enlarged by two measures. With the esthetic significance of this march and of its modulation we are at present not concerned. This is acknowledged with admira- tion by the musical world generally, so that there is scarcely another composition of the same kind to be compared with it. ELEVENTH EXERCISE (1). Transpose this march into various keys, either in writing or at once on the pianoforte. 100. It is not unusual to find, in modern pieces in primary form in the major mode, a close of the first period in the major hey of the NATURE OF THE MOTIVE. 33 Mediant, — for instance, in .^-major in a piece in C-major, — 1 jc i 1 1 lt a variani of the common close in the minor key of the Mediant (see Tar. :J-i). Again, in a piece in minor, the firs! pad sometimes < in the major key of the Dominant, — in 0-major, for instance, in a piece in c-minor. Generally speak ing, in modern music the greatest stress is laid upon characteristic harmonization (modulation); hence the striving after singularity in this particular direction must he regarded as specially characteristic of the age. This circumstance calls for special practice in modulation, opportunity for which shall now be afforded. ELEVENTH EXERCISE (2). N. B. — In the exercises under this head, the forms of the usual cadences arc to be avoided. (a) Compose ^-measure phrases ichich make an unusual modula- tion. [In the major mode a phrase often effectively closes with an authentic cadence in the key (minor) of the SuPERToyi<\\ (b) Compose Large Phrases (see Chapter VII) of the same kind. (c) Compose Periods of this kind with cadences of the parts in unusual keys. (d) Compose periods of this kind with unusual cadences both of the parts and of the close. (e) Unite such periods into pieces in primary form. X SIXTH DIVISION. THE MOTIVE AND ITS DEVELOPMENT. CHAPTER XVII. NATURE OF THE MOTIVE. 101. Every musical thought which serves as subject of a musical elaboration may be called the Motive of such elaboration. The term ''motive" is, however, generally applied to those smaller tone-groups out of which a musical thought is spun In this sense the motive is generally contained within the limits of one measure, and is then the 84 THE ELEMENTS OF MUSICAL FORM. last unit, or tone-group forming a whole, into which the section may be resolved. 102. The doctrine that the motive is generally contained within the limits of one measure must be understood as implying, first, that the motive sometimes exceeds those limits ; and secondly, that it does not always fill out oue measure. The motive forms a model for elaboration chiefly in its character of well-defined rhythm (as we shall presently see) ; hence the limits of the motive would seem to be those of the rhythm, irrespective of the number of measures. In the appli- cation of this principle, however, there may be diversity of opinion, without practical importance. 103. The following period 100. 1 Motive 2 Beethoven. "m^m^^^MS Motive 3. Motive 4. is clearly spun out of four motives. Measures 2, 5, 6, have the same rhythms as 1, the model rhythm, filling out one measure. Measure 4 is tonally different from 3, but rhythmically the same. Here, too, the motive fills out one measure, as does motive 4 also. Motive 3 fills only half of the measure. Evidently, then, what makes measures 1, 2, 5, and 6, one and the same motive, despite melodic differences, is the rhythmical similarity; and the same is to be said of measures 3 and 4, and of the two diminutive tone-figures marked "motive 3." 101. Motive 1. Motive 2. £*= Mot. 1. Mot. 2. Mot. 3. Mot. 4. Beethoven. NATURE OF THE MOTIVE. 85 10-4. In the period given in Fig. 101 there is less clearness as to the construction and the number of the motives. If the limits of the several rhythms are to be regarded as those of the motives, the period is constructed from three motives, each contained in two measures. In this view, the small tone-figures severally contained in measures 1 to G constitute motive-members. These same tone-figures may. how- ever, be regarded as severally constituting the motives of the period, as indicated by the shorter brackets below the staff. 105. It is clear, then, that a motive is not subject to the limita- tions of one measure, but may either exceed it or fall short of it, and that one and the same melody may be analyzed — reduced to motive- — in various ways. The motives must, however, always be recognizable as the germs of the melody, in order to serve for thematic elaboration. As a rule, they will not exceed one measure, without being reducible to several smaller members ; they may on the other hand be very short, consisting of two notes, or even of one note followed perhaps by a rest. The shorter they are, the greater is the necessity that they should be rhythmically striking. As to the number of motives to be employed in a piece, it may be said in general that the fewer there are of them — provided they are well exploited* and are in themselves interesting — the better for the unity and intelligibility of the piece. Not many motives, but few motives, striking and thoroughly elaborated, — this has ever been the rule of the heroes of tone-poetry. There are not lacking in the compositions of the masters themes developed from a single motive, and sometimes a short one at that. The first period of Beethoven's violin and piano Sonata in .1-major, for instance, is spun out of one single short motive (or motive-member), thus, 102. Allegro. L ~~ ^_ j*± *■* ^^ 44- : Beethovek. * A word from the French, signifying to exhaust, to work, to turn to account, to make the most of, etc. See Worcester's Dictionary (1881), Supplement. 86 THE ELEMENTS OF MUSICAL FORM. In composing sections, phrases, and periods for his exercises, the student has thus far not been called upon to consciously spin them out from small tone-figures as germinal musical thoughts. He may now, after having become acquainted with the rudiments of formal structure, give his attention specifically to the systematic develop- ment of the motive into the section, the phrase, etc., by the various processes to be detailed in the next chapter. CHAPTER XVIII. DEVELOPMENT OF THE MOTIVE. Repetition. 106. The attentive student will have observed that in a great number of the examples thus far given in this work, a motive is developed by Repetition, in a stricter or a looser sense. In fact, since development implies a certain similarity to the original type, each of its different processes comes under the head of a certain kind of repetition. Nevertheless, for greater clearness we shall make a separate classification of those processes which fall more strictly under this head. 107. The repetition of a motive is either absolute or relative. The former kind, of course, includes all the features of the motive — rhythmic, melodic, and harmonic, conjointly, as in the following example : Allegro con brio. Beethoven. 103. §ifefe 3^: H=4=*=tt 108. Under relative repetition are included the various transposi- tions of the motive to other degrees of the scale, its principal feature — the rhythm — remaining unaltered, or not materially altered. Exam- ples of this are Figs. 10, 14, and the following : DEVELOPMENT OE THE MOTIVE. 8? BEETWn KN. Allegro. 104. F 2. -A. JLM. JL. JL JL JL JL. 0. JL i. c — -7 tt • — •—•-•-i — r - — — #-. — j /? _- . f \f f ff,f-j * - : ft T* f-f ^ rr ^I -it* Y f-' - 0—0— 0-0 +f m > .. r»- * -•—•—•-•-4 •—#-*-! r zr Sometimes this transposition involves modulation, for instance: BEETnOTEX. 105. ■*=■-% mmm^tm cresc. §i:g;lE5E;zEEEi '' etc. _^ ■~ mm 109. The repetition, iw « certain regular order, of a figure com- posing a motive constitutes what is called a Sequence, which is of a rhythmic, or a melodic, or a harmonic nature, or of all three combined. Here follows an example in which all these three natures are united. 106. 'y-fr-j — y— 9 «y J m * m I P ~ T ~* — - **-? — L^ —i-^ = T —r- r =F : *=3— I In the above example, the figure marked | a | is immediately repeated twice, the same melodic and harmonic progression being transposed each time one degree higher. Such Sequences most gener- ally occur enriched with ornamentation, figuration, etc., as in the following example, which shows how Beethoven treats the above Sequence in the last repetition: 88 THE ELEMENTS OF MUSICAL FORM. Beethoven. 107. i er = -*r :^= fr— c— e— tE t\ -r -r b^ a^ ^j^ ^tg ^^ -f etc. 110. As a rule, repetition in sequence-form should be used with great moderation, as excess in this point induces monotony and betrays poverty of ideas. TWELFTH EXERCISE (1). (a) Point out, in such instrumental ivorks as Beethoven's, Mozart's, and Haydn's Sonatas, Symphonies, etc., developments of motives by the various methods of Repetition just explained. (b) Develop many original motives into sections and phrases by applying to them the same methods of repetition. Alteration of Intervals. 111. Another means of the elaboration of a motive is to change one or more of its tonal relationships, i. e., intervals, substituting a larger denomination for a smaller one, and vice-versa, a smaller for a larger one. In the former case, as when, for instance, a motive is repeated with the change of the original Second into a Third, Fourth, etc., or Fourth into a Fifth, Sixth, etc., as the case may be, we have what we may call Interval-expansion. The following are examples : Beethoven. a. Prestissimo. I 1 108. * ^ *ff** **K* etc. DEVELOPMENT OF TIIE MOTIVE. 80 d. Larghetto. COEUfBINI. Wtp. J I J Ji J-J H « J I J JuJ j i^ff 112. Interval-contraction is, of course, precisely the opposite of expansion, as illustrated in the following examples : a. Vivace. » ft J. S. Bach. b. Allegro. io9. i-^iiii^pi^y i^i^^i ^ I I L I I I etc. ^ • ' Beethoyen. c. Andante. Hatdn. ♦ . L_J etc. ^ ^~- etc. d. Weber. ^mmmimm^m^m TWELFTH EXERCISE (2). (a) Point out in the works previously mentioned developments of motives by interval-expansion and contraction. (b) Develop many original motives into sections and phrases by the same means. Rhythmic Diminution and Augmentation. 113. When the notes of a tone-figure or a rhythm, considered as a motive, are represented by smaller values than the original ones, and thus the number of measures is reduced, we have what is called Rhythmic Diminution, as in the following examples : a. Presto. Beethoven. 110. b. Allegro quasi presto. 90 THE ELEMENTS OF MUSICAL FORM. Beethoven. JEg|g£j E ££g||Eg Baydn. -q S3 :E= ^j^==3 ^g3^g^^^ ^^^ ^^=l 114. The opposite of diminution is Augmentation, which is much more frequently used for developing motives than the former, although both occur often er in the contrapuntal than in the free style. Here follow examples of rhythmic augmentation in the free style. a- Allegro. Haydn. hi. Ejfes ^^^s=|i ^ £fe^ ^ b. Poco lento. Mendelssohn. mm t^=t=* =£ s izMz C. Vivace. mE £3=r£}=; g=f?g! \-i J. Raff. * - ?\ - t # I Remark — That not all the notes of a tone-figure or a rhythm are necessarily included in augmentation (and the same is to be said of diminution also), is evi- dent from the first two of the above examples, at d. and e, where the notes have the same value as in the original. TWELFTH EXEECISE (3). Develop motives — new, or already composed for previous exercises — into sections and phrases by rhythmical diminution and augmentation. DEVELOPMENT OP Till: MOTIVE. 91 CHAPTER XIX. DEVELOPMENT OF THE MOTIVE (Continued). L\ VERSION. 115. Inversion is applied to a motive when the tone-figures and rhythms arc set in contrary motion. Here a careful distinction must be made between notes of equal and those of unequal value, and between accented and unaccented metrical parts and members. 11 (J. In the following examples of simple tone-figures of notes of equal value, 112. H=f aa. A bb. A -*- P measnres aa. bb, cc. (id, show the in version of a, b, c. d. respec- tively. It will be noticed that by the inversion the notes are for the most part differently accented, the original primary accent (marked A) being exchanged for non-accent (^), the secondary ( ') also for non- accent (except in \ meter, as at bb), and vice-versa, the non-accent for either the primary or the secondary accent. The following examples illustrate inversion of this kind (in the last two the tone-figures are inverted in the Octave) : F. SCHCBEKT. 113. .- i FIatdw Beethoyex. -ftp Also the passage-like place in Beethoven's Sonata, Op. 26, 92 THE ELEMENTS OF MUSICAL FORM. Beethoven. 114. I^|pg^g5iiiip§|i is, from the second half of the sixth measure on, repeated in inversion : »* ^|feggf^^i^i^ii 117. In cases of tone-figures composed of notes of unequal value, an exact inversion, both rhythmic and tonal, would give results like the following : 116. aa. :3E g- F sp-4 - i — ^ bb. d. dd. -8— h S- -* ? ^ Here the rhythmic motive, as such, is changed, and (especially at bb and cc) eutirely distorted. And even though figures like these inversions are under certain circumstances admissible, yet they resem- ble the original motives so little as to seem rather to be new ones. If, therefore, the original motive is to be recognizable in the inversion, this can be effected only by the retention of the characteristic rhythm unaltered, applying the principle of inversion to the tones only, as in the following examples, in which the inversions — marked aa, bb, cc, dd — should be respectively compared with the inversions similarly marked in Fig. 116. 117. : b. f » bb. DEVELOPMENT OF I Hi; MOTIVE. 93 dd. :fc^zi tfz=g z=^"b!= H^H Here follow illustrations of rhythms inverted in this manner: F. Schubert. b Mfc 1 1 s. {^m ^0^E%E5^ ^ e t*^ :|=^^=i- C. Andante. Mozart. ^S^^E^^z^^^^^^ d. Andante. Hatdn. &• if o-tt-^^f^-r* ^ LM »-m»' -'- Ti r Q „ J £— T^*i— r — , -., r ^ii«3 _| [> — KtTNKEL. -! — - etc. " I 118. The exact — at once rhythmical and tonal — inversion of tone- figures as motives, exemplified in Fig. 110, is called Retrograde Inversion, as distinct from the kind last illustrated, which is simply inversion, in a restricted sense. 119. Rhythms comprising many measures and heterogeneous tone-figures should be constructed with special care, if they are, on the one hand, to serve as motives for retrograde inversion, and. on the other hand, to be connected, when thus inverted, with their respective 9-i THE ELEMENTS OF MUSICAL FORM. original motives, and form phrases having a musical sense. The fol- lowing two examples show, each at b, the exact retrograde inversion of the corresponding four-measure rhythm at a : 119. HEe£=i=5^-=HJ: ^~^:^t-[£-^-e^=^»-r-t^ Pffy 11 ^— [— | — *— Fffi-* -*--p^£»H- F-^ --F— | — [f-\ — F-^- b. F. J. KUNE.EL. *=£ F— 0- -I F 0— F-F+^L F-#- -I 1 *-#- -• ^r^ fc=*-=^-F b, 120. — «- =2 -I hh i [ I F. A. KUNKEL. i p -0 — f — 0- :i= THIRTEENTH EXERCISE. Compose sections, phrases, and periods, by the inversion of motives in both the ways just explained. Contrapuntal Treatment. 120. An additional means of developing a motive is Contra- puntal Treatment. Thus, for example, the motive of Beethoven's B i?-major Sonata, Op. 106, Allegro. Beethoven. 121. .7 §i0E ^L jgL: f f * * -0 • s=t==F m-mm is worked up, in the development-group, into a kind of free canon : DEVELOPMENT OF TIIE MOTIVE. 1 •J5 122. ±fc =-£_r»_L, L e i k_ - M - . — ^ — j .*_ j.J ? . , < iM J | _J ^ Beethoven. m^ -# — «- :3EE3EE ? 0—0- etc. £5 ^ So, too, in the c-minor Symphony of the same master, the princi- pal subject of the last movement (Allegro), Allegro. Beethoven. 123. iHESEiEfEftE P^ s s s P P- P r H r-i ■5— z — , — 2 « _7 ^ 2 ^ IJ — i — 1 — i — lj. ._l // 1 F= t i — r, t? — r — t? — r— T— - tr - v is worked up in canonical imitation, thus : Presto. I I I I I Beethoven. 124. 9;=^ 96 THE ELEMENTS OF MUSICAL FORM. CHAPTER XX. DEVELOPMENT OF THE MOTIVE (Concluded). Variation. 121. Tone-figures and rhythms are often developed by Varia- tion, the usual way being to represent notes of greater value by figures of two or more notes, yet so that the original motive may be recognizable. The variation may be restricted to single parts (mem- bers) of the motive, — as represented by the bracket in the following example : Allegro moderate Variation. 125. Hatdn. or, it may extend to the entire motive, examples of which may be found in any "Theme with Variations.'' In pieces in larger instru- mental form also are sometimes found variations of this kind, as, for example : 126. F==i Var " " , «_i_ _~ Beethoven. ^un^M^^m^^ 3fe£ :f=±t DEVELOPMENT OF THE MOTIVE. 97 l-\i. The dividing a metrical part into its members — which wc may call Abticulatios — indaciug tone-multiplication, and the oppo- site process of reducing the number of tones by contracting metrical parts or occasionally omitting one, also come under the head of Varia- tion. Here follow examples of each: Andante. ?M eI=e^sl; ! »Ti etc. Beethoven. S^ggl (In the above figure the bracket indicates the articulation of the correspond- ing notes on the upper staff.) Beethoven. Allegro. — ^v - . m "^ 128. E ig ^nnrr (The bracket in the above figure marks the omission of the anacrusis with which the first of these two dimeters begins.) FOURTEENTH EXERCISE (1). Develop motives ~by means of Variation, etc. Dismemberment and Enlargement. 123. Larger motives may be dismembered, i. e.. reduced to smaller ones by detaching from the original rhythm one or more tone-figures, or notes, belonging to it. These detached tone-figures serve as motive-members for further developing a melody. They are taken indifferently from either the beginning or the end of the original motive. 124. By an opposite procedure, shorter motives may be combined with other motives to form larger ones. Tims (to illustrate this latter procedure first), the 1st movement of Beethoven's Seventh Symphony is based on this short principal motive, Cf I f " > w hich appears in manifold combinations, as, for instance, 98 THE ELEMENTS OF MUSICAL EOEM. 129. :*£ .-*• +- #■ -0- b. ¥HHr H; — b— L r rTH^Hr-t ^F rT Jf— h-— I*— *= — V * *~'Jr— F— F-wsJ 1 — h — !* — t-—*—^ 1 ^ — &—±—\ — tzr; *-2=-J — L - ^ S l - r — l ^-b.— F=c ^ I Beethoven. etc. So too, in the same master's c-minor Symphony (No. 5), the short motive ! j j | J j , which predominates throughout the entire first movement, appears in the following enlarged form, among others : Beethoven. H3— fr-3 — *— '— *- 4- -tfViS— i — i — h- w — I - *''' — 3 etc. 125. The reduction of larger motives to smaller ones is illustrated in the following examples : a. Allegro. 131. )Ht- pfQ, r ]_U3=^SjE Beethoven. ^ etc. b. Allegro. **=! 4—* ** Beethoven. >—0 £^@E etc. In the same way, in Beethoven's c-minor Symphony, 1st movement, from the motive enlarged from the principal motive (see Fig. 130, above) two half-notes are detached, and serve for development through several measures : DEVELOPMENT OP THE MOTIVE. 132. 99 BEETnoVHN. I isipliiPfpijip Moreover, the small tone-figure ff I f , occurring in the same move- ment, is merely a reduction of the already short chief motive Hj 1^1* In the Sonata, Op. 10G, Beethoven uses for development the principal theme, Allegro. 133. ^BE^ EEEEgE EEE^S^fe etc. in the abridged form of only three tones, 134. :§ife V— •*■ £=£ etc. afterwards the first two tones alone appear: Beethoven. 135. A*-? •» -H- — • — ~i~ — # — p- t - — 1 — # — ~i _ ¥ - 9'^ - -r- 4 - A- ' - E= -i— — — s -*- • #= A ± fc F- y- — i — 1 — i — — b>- etc. The first part of the Minuet of Haydn's 2?-flat Symphony (No. 5), is developed from the first two measures : Allegretto. Haydn. 136. i=^-^£zirfEE=f:EEEEtEziEEt-l /' li^tEiEE^EEpiEiJ etc. 100 THE ELEMENTS OF MUSICAL FORM. Haydn dismembers this rhythm into the following motives d. 137. :d2zfe \9—z j^SF tf i i^i and combines these fragments into an organic whole. Many more examples might be cited, showing how the disintegra- tion of a rhythm or tone-figure may furnish ample material for the elaboration of musical thoughts. FOURTEENTH EXEECTSE (2). (a) Dismember larger motives into smaller o?ies. (b) Combine detached motives with other motives to form larger ones. The Passage. 126. A final means of development is the Passage, which is a rapid tone-series, passing by degrees or by skip through optional intervals, ascending or descending, and for the most part repeating a determinate figure. Thus, in Beethoven's G'-major Sonata, Op. 31, which begins as follows: Allegro vivace. 138. =2 - . " I 1 S Ffi Ti r% ^S 1 t the motive in the second measure is afterwards worked up into the following Passage : & W*'^tt% DEVELOPMENT OK THE MOTIVE. L01 Beethoven. etc. Iti the above, the first measure (formed by transposition from the 2d measure in Fig. 138) is the rhythmic and melodic model for the second measure, which latter has thus the character of sequence (see Par. 109). The third measure is the literal repetition of the first, the fourth that of the second, each an Octave lower, so that the same correlation of model and sequence is kept up; and the same is to be said of the fifth and sixth measures respectively. In the seventh measure the motive- member is inverted, with partial interval-contrac- tion,. In the eighth measure — first half — is the transposition of the first half of the seventh measure; the second half is a transposition, with interval-expansion, of the first half. The ninth measure is the transposition an Octave higher of the seventh measure. The tenth measure, finally, introduces a new tone-figure, extended by transposi- tion and inversion through five measures, whereupon a point of rest, but no Cadence, ensues. This whole passage accordingly belongs to none of the fixed rhythmical forms hitherto described. Beethoven's Sonata in /-minor, Op. 57, affords an additional example of a passage, formed on the motive inclosed in a bracket, in the following figure: 140. Allegro. gH^: 102 THE ELEMENTS OF MUSICAL FORM. [iig 0-*-0 iP^FSS ^^ g= fcfc^^ ^^ «ig^^j^^g*^^^^ ^S ^-ffift— '-^ Sj y— *— *-*-f +-*-*§ 9— «— * -J+*-jt7 *-*— e= ^-» -j etc. 127. The frequent introduction of the Passage is not to be recom- mended, as inducing monotony and betraying poverty of ideas. FOURTEENTH EXERCISE (3). Develop tone-figures into passages, after the above models* SECOND PART. APPLICATIONS OF THE PRIMARY FORM/ FIRST DIVISION. COMPOSITE PRIMARY FORMS. CHAPTER XXI. THE THEME WITH VARIATIONS.— THE STUDY (ETUDE). 128. Groupings of musical thoughts in primary form, constitut- ing independent pieces of music or independent portions of larger pieces, give rise to the Composite Primary Forms. These rule almost without exception the boundless domain of dance-music proper (/. e., composed for actual dancing), and of the higher and lower orders of parlor-music and pastime-music. In the Symphony, the Scherzo (Minuet, Episode, Intermezzo) belongs almost always to these forms, which are frequently met with also in other domains of composition. 129. The simplest form of combination of independent musical thoughts is found in the Theme with Variations. Here the same thought is first presented in simple form, then repeated in different variations, which, while retaining the same harmonic basis, develop various figural motives, contrapuntal imitations, etc., sometimes also change the mode, or even the key. The Theme has generally primary form, sometimes period-form. Beethoven's creations in this form, and those of other masters, old and new, are well known. The last movement of the Sinfonia * In all the following exercises the student should, when it is practicable, make use of his former exercises. 104 APPLICATIONS OF THE PRIMARY FORM. Eroica belongs to this form, which also is predominant in the last movement of the Ninth Symphony. The extreme limits of the form are indicated by Bach's "Air ivith 30 Variations,'" Beethoven's Variations on a Waltz by Diabelli, and his 32 Variations on a theme in c-minor. As a specially popular, charming, and noteworthy work of this class, the Andante in C-major, 141. ei==p3^^; of Haydn's G^-major symphony may be mentioned. How Beethoven has constructed out of the period given in Fig. 32, a theme in primary form, and composed variations on it,. may be seen in the Kreutzer Sonata, Op. 47. The Variations in Raff's (/-minor Suite for Piano may be classed as models ; so also, in the sense of the noblest virtuosity, Liszt's Variations in the Don Giovanni Fantasia on the celebrated theme, 142. fe=: -^--*- *=*=*=£= 130. The Etude or Study is in a certain sense a variation with- out theme; i.e., its basis is the general scheme of a primary form, rather than a particular theme. It consists essentially of the mani- fold variation of a motive designed for technical practice. The more connected it appears in this respect, and the more strictly the unity of the piece is hereby maintained, the greater the freedom in which it can indulge in the structure of its groups and in modulation. 131. Many Etudes exceed the limits of the primary form, as, for example, Chopin's charming e-minor Etude, 143- Vivace. legjiero. which has a Trio with an entirely different chief motive. THE DAN'CL-FOKMS I'UOl'KK. 105 Pill lento. 144 §lfeE: J PE£ In this and similar Etudes technic is subordinated to the esthetical principle of delivery, which in the case before us requires a contrast to the airy lightness of the first part, and finds it in the Trio. V.Vl. Just as there are many studies which, in no wise intended for technical practice, are (like the above-quoted and many others by Chopix and others) wrought into charming pieces of music; so, too, many a piece of music receives the name of Etude without having been originally written for the purpose of the Etude, merely because it has technically adopted its form, and the modesty of its author conceals its higher aim. CHAPTER XXII. THE DANCE-FORMS PROPER. 133. The chief forms of the Society-daxce are based upon a 2-measure step, which involves a complete rotation and at the same time a motion forwards of the body. Each single measure serves for only a half-rotation of the body. After tico measures, therefore, the dancer begins again with the same foot. Hence it is altogether unal- lowable to introduce in one of these dances phrases or periods with an uneven number of measures, as, trimeters, pentameters, heptameters, etc. Even such groups of 6 or 12 measures as are not strictly based on two-part division, may easily cause disturbance in dancing. The periods should therefore, as a rule,»be limited to 4, 8, 10 measures. Occasionally, however, the most prominent composers of this kind of music indulge, by way of exception, in 10, 12, 20, 24-measure periods and similar constructions. 134. The usual form of the Polka is the following: (1) Short Introduction in Polka-tempo, mostly 2 or 4 measures. 106 APPLICATIONS OF THE PRIMARY FORM. This does not form part of the dance, and therefore need not be regularly constructed. (2) Polka. Large two-part primary form, each part repeated ; thus, 2 x || : 16 :||. (3) Trio. Similarly constructed, often introduced by a short, merely rhythmical prelude of two or four measures, as, ft J"t ? i / 1 \\ This little prelude does not interrupt the dance. (4) Repetition, of the Polka with Coda (Appendix), which gener- ally embraces 8 measures or somewhat more, and shows evident signs of a close. The Coda is not part of the dance. 135. The rhythm of the Polka is based on the combination of the following 1-measure motives : 1 I Upon these the melody is built up.* In the piano-forte Polka the left hand keeps up the rhythm of the dance, playing the bass and the chord following it, or sounding with it (as above illustrated ), while the right hand sustains the melody. The orchestration of dance-music belongs to the theory of instrumentation. 136. Most analogous to the Polka is the common Military March, which, however, is written in alla-breve meter, (£, has there- fore quarter-notes instead of the eighths of the polka-rhythm. 137. The Galop has the same form as the Polka, but is a quick 4- meter, with but one beat to the measure ; thus, 1 | 1 | 1 | , etc., whereas the polka has 1 — 2 | 1—2 | , etc. The Galop is often com- posed in large three-part primary form. 138. The Polka Mazurka is a slow 4- meter, which likes to accentuate piquantly the weak metrical parts, and is partial also to dotted rhythms. Its principal form is: (1) Introduction : few measures in the Mazurka tempo. (2) Mazurka. Large three part primary form ; first part, second * At concert-performances dances are rhythmically shaded, i. e., the tempo is frequently changed, sometimes in the most arbitrary manner. To this the indi- cations of change of tempo refer in the scores of some dance composers. tin: danoe-fobms proper. L07 part, repetition of the firsl part, each time L6 measures without repetitions. (3) Trio. Large three-part primary form j also with abbreviated (8-measure) second part. (4) Repetition of the Mazurka, and short Coda. 139. The Trio, in almosl all of these dances, is in a key other than Unit of the principal movement, mostly in that of the Subdominant. Minor keys are only exceptionally admissible for actual dances, as, for instance, for the purpose of bumoristic treatment ; here they should be entirely omitted. 1-40. The most peculiar and prominent form of the society-dance proper is the Waltz. This is a quick '\ meter, in which each meas- ure has hut one beat. The form of the Waltz is entirely different from that of the other dances. Its composition requires, in a higher degree than that of the other dance-forms, a special talent for the melodies of the dance. Its most usual form is the following: (1) Introduction, mostly consisting of matter entirely foreign to the dance, often Adagio, Fantasia with prominent parts for solo- instruments, leads to the (2) Short "Entrance" in the waltz-tempo, 4 measures, leading directly into the (3) Waltz. 5 numbers, counted No. 1—5 (sometimes only 4, sel- dom only 3). These 5 numbers, which constitute the Waltz proper, may be of similar or dissimilar structure. They consist, however, almost always (for our present exercises always) of two 16-measure periods, each of which is repeated. If they have three-part form, the third part is merely the repetition of the first. Nevertheless these periods are mostly so constructed as not to themati colly correspond one with another within one number, thus constituting two periods in conjunction without any further connec- tion. The same applies to the closes, which indeed seldom .modulate far from the principal key. yet are not strictly bound to the Tonic. The key of the separate numbers is of course independent. (4) Finale, instead of the short Coda an elaborate Finale in waltz- tempo, repeating the most successful numbers of the Waltz, often (Potpourri) introducing a new one. 141. It is to be observed, moreover, that rhythmical variety finds the widest range in the waltz-melody, and that whilst the bass and middle voices constantly sustain the dance-rhythm, the melody soars above it with the most unrestrained freedom. 108 APPLICATIONS OF THE PKIMARY FORM. 142. Harmonic effects are, however, here as in all dances to be applied very sparingly, as they too easily distract the attention from the proper aim of dance-music. Examples are so numerous that it is not necessary to call attention here to special ones. FIFTEENTH EXERCISE. Compose, in the principal forms just described, dances, especially Waltzes. Comp)ose to the following basses various dances, after transposing the basses into another keg and indicating the proper meter by its sig- nature. Three-part Primary Form. No. 1 . First Part. I. Second Part. n. fHil^ tt s t Third Part. III. — (Like the first, varied at pleasure.) Trio. I. m »-t'»4M *-l— -P — F—F— F^P»-F ^) : 7 ii. T-f— ] 01. = I. — F S l — t % --0 -» '9 8 • 8 -0— --M- __#_ M= No. 2. I. E 9 s =4^=F^F^-rH r r -4' — L_ L — L_ L # — I L L — L — I — n. m =^mi i m.= i. 7 $5 8 6 6 a 4 7 36 tl I 6 % 4 7 Tin: i».vn » • 19- -0- ' ♦ T» l__y_ r ' _i . FFf5~ ~ * •- ^ # • 1 *!' * L 1 1 1 [^ 1 - This March, which in the opera has only scenic significance, yet actually serves for marching, has no Trio. 146. The Festival March is not restricted to determinate rhyth- mical figures, like the dances, bflt must, of course, make the measured step distinctly prominent. Its most usual form is the small two-part primary form for March and Trio. Prelude (often in the form of a Fanfare), Entrance to the Trio, and Coda, according to circumstances. 14-7. We add here the construction of two of the most celebrated and admired march-compositions of modern times, which have already served and will still serve as models for many others : Mendelssohn's " Wedding March" in the " Midsummernight's Dream,*' and Win- ner's " Tannhauser" March, both of which properly come under consideration here, as they serve for actual marching (on the stage). 14S. Both compositions begin with an introductory trumpet- fanfare : Mendelssohn. 148. 112 APPLICATIONS OF THE PRIMARY FORM. Wagner. 149. tfeSp^fcg f In Mendelssohn's March this Introduction leads at once into the Theme, which is based on the celebrated harmonic progression : 150. -I 1 5 = n — i — ji — : S = R « z=;i=S >fff ^ 22: -#-i — #- d=± ^=* » — * Wagner's Introduction, which by its transition to the Dominant has the character of a Thesis, does not lead directly into the theme, but is repeated, interrupted by allusions to later motives of the March, three times — only at the third time leading into the theme, with an interpolated transitional passage : 151, mm pSr m^m -j -*■ )-*-# r 0- 9 — A-A — I 1— I ! — r— I— "J ! I *-»-*— *-*-*— rw-9—\- -m 5 =!^ h~r "Wagner's Introduction accordingly shows 23-—' measures against 4 in that of Mendelssohn. 149. Mendelssohn constructs his Tlieme in small three-part primary form : First Part : 2x4 = 8, repeated, = 16 measures. Second Part : Thesis : 8 Antithesis : 2x4 = 8 together 16. repeated, = 32 measures together 48 measures. But Mendelssohn includes in the repetition of the first period the 4-measure Introduction, whereby the first part amounts to 20 measures. THE MARCH-FORMS. 113 So far, then, the length of the whole, including the Introduction itself, amounts to 50 measures; First Part 15 o -E- *- ' A +- m V tr - r F#=t- ~ W-y \ f y—04-ms for P \ t ■- F ?£=£ 2 I •! I 3 ? ---* P- £* i • ft ft h F ll leading to a repetition of the principal theme, which is this time abbreviated to an 8-measure period. Then follows a second Trio in i^-major : 114 APPLICATIONS OF THE PKIMARY FORM. 154. 1 A • i - J -i ^ - ^ - = ♦ = = - 4 ft4 1 -* — ! r * ' »-i — m 1 — --+- XL ± -, J~# * 1 ff L I I I I !E^=E £E2 ' *f ^ *f < Jf >* *#* fts -1— 4 *3= after which the whole Theme without repetition, with increased rhythmical movement by means of figuration : 155. JLlz^pjgf^ l^ ^jg the Introduction with increased sonority: 156. LU -0- / -0-0-0- -0- -0-0-0- J0- -#--#--#- » — rt 3-j — r^s-r-j — r^3-j— j^- J #— 0-0-0 0-0-0 * 0-0-0- # 0-0 — 0-0-0 -0-0-0 0-0-0- lastly, a brilliant Coda of 2 x 8 + 10 ^ measures. In all the parts, except the first, the composer avoids perfect ca- dences. This gives to the March that character of constantly pressing forward, with the esthetic effect of suspense, which Weber especially, among the older masters, so well knew* how to attain in his overtures. 150. Wagner constructs his Theme not in primary form but as a large 16-measure period : 157. Well sustained. 3jfe- ^- ■«* + . -r -zr =eFP **^ -A 1- -£= THE MAKCII-FOK.MS. 115 ife 4= 'o- V fe^f^ ?%& £=*-, S , ' ' u m* -» — » «^= -I" • f— r**T *= and immediately joins to it another theme in the same key, likewise in 16-measure period form: A 158. ESiifefczi f -*-« -(9 — *-#-.-s-#-'-f EEEfeEfeEESS :tfi a=^WMf u t Here the Thesis makes a Half -cadence on the Dominant septima- chord : 159. :kh i»i^^i^iii§i^i ;# +t- -# — # — — 0- -*- 5 5 t -• — • - 11 r i i i ' ' vi v 7 the Antithesis an authentic cadence in the key of the Dominant, modu- lating into it : 160. ill^Epffirtte^i ' * i n vi I— i — i — r— **— Tonic. II I Dominant. 116 APPLICATIONS OF THE PRIMARY FORM. Another 16-measure division now follows, showing, however, the form not so much of a period as of a double-phrase, since the second part (which takes the place of the Antithesis) ends with a Half- cadence. In the bold modulation of this phrase this Half-cadence is made in C'ft-major. 161. Per. auth. Cad. in Dom. :| B #«=q=r==r=|=rf=*s=#?3» «—* m^rn^ *-*-*-*-&- ^ fe^sss m & m ^= &^-rf = M FJ^ m^M^^^^m We have now already three 16-measure periods, the first forming a tonic period, the second a period which modulates into the Dominant, the third consisting of two corresponding phrases, which, starting from the Tonic, modulate, the first into the Dominant, the second into the key situated a major Fifth above this Dominant. Now again begins a new division— of which there are foreshadow- ings in the Introduction— begins, in fact, immediately with the minor Subdominant of the key in whose Dominant the preceding division closed : Till: MAKCII-FORMS. 117 162- jigpp r^ te&^r^ The harmony with which this division begins is to be taken as Tonic /it-minor. The Thesis closes with an imperfect authentic ca- dence in j^tt-major, and just as the 6r$-major Triad above was followed by the minor Triad on /Jf, so here the major Triad on F§ is followed by the minor Triad on e. 163. -A—, rff r-r -f i-#-rfcta ' / etc. ^%:fep=| Hi The Antithesis now passes in the fifth measure to the Dominant of the principal key, whereupon the introductory trumpet-fanfare is again heard ; thus this Antithesis embraces 12 measures =4 + 8. Noio begins with the principal theme the repetition of all that has been had, with accompaniment of the Chorus. To this entire repetition, comprising 68 measures, is again joined the principal theme in fortissimo and with enlivened rhythm by means of figuration. 164. The Coda, which brings the March to an end, thematically exhausts the first and the second theme and the Introduction. In Liszt's piano-arrangement of this celebrated March, the tender theme which in the opera accompanies the entrance of the minstrels, 118 APPLICATIONS OF THE PRIMARY FORM. & 0-t*- -*r'-p—m~ 165. — u — y—±^^ — ' t?-tr •— L - tE -&- • forms the Trio proper of the March. It is, however, not a part of the March in the original, which we follow. We regard Wagner's March, in fact, as a March with many parts (independent themes) hut without Trio. 151. The two Marches here considered have this in common that the beginning of the principal theme forms a complete cadence (thus a closing formula).* The principal theme of Mendelssohn's March, in particular, must be considered strikingly bold and original, be- ginning, as it does, with harmonies foreign to the key. f 152. We will now place side by side the respective schemes of both Marches: * In Mendelssohn's March : 166 ] EE^ t=£ m^rn e : n° 7 (V) r : in Cadence in e. In Wagner's March : Cadence in C. EEggsgs*^f ^^ 167. Cadence. In each of the above cadences the Supertonic Triad may be regarded as supplying the place of the Subdominant Triad. f An example of a Festival March opening, like Mendelssohn's Wedding March, with harmonies foreign to the key, though not forming a complete Cadence, is Liszt's " Huldigungs-Marsch," in C-major. This March opens abruptly on the Dominant septimachord of the key of F, and that, too, in what we may call its boldest form, i. e., with the Seventh — E~> — in the Bass, which then makes the bold progression to F, instead of the usual resolution to the degree below. Till-: UABCH-FOBMS. 119 M ENDELS80HN", Wedding- March. Introduction, 4 measures. Meases. Principal Theme: Small three-part primary form with repetitions M FlKST TitIO, IN (i-'-MAJOR. Fir.it I'ii rt : extended phrase-form, Thesis — Halt cadence on the Dominant, 6 measures, repeated 13 See* ml Part : Double-phrase, B-major — ff-major, imperfect authentic cadence, 2x4 measures, repeated 16 Repetition of principal theme shortened to a period, without repetition 8 Second Ti :o, in /-major. First Part : Phrase-form, 8 measures 8 Second Port : Phrase-form, 8 measures, repeated 16 Transitional Group : Thesis — tf-minor. Half-cadence on Dominant, 8 meas- ures ; Antithesis transitional, 8 measures 16 Repetition »f principal t/teme : Small three-part primary form, 3x8 24 Coda: Introduction, 4 measures; thematic reminiscence, 8 measures — re- peated, 16 measures ; close, 10 measures ... 30 Total, 182 Wagner, Tanrihauser-March. measures. Introduction : Entrance, 4; Middle-group, ^4^; Entrance, 4 ; Mid.-gr., ^2 ; Mid.-gr. (fourth theme), 4 ; Mid.-gr., 2 — ; Eutrance. 4; Mid.-gr., 4—. 23— • Principal Theme : Tonic Period 16 jSecond Theme : Modulatory Period 1(3 Third Th, me : Double-Thesis 16 Fourth Theme : Double-phrase with transition (8 + 4) + 8 measures 20 Repetition of nil four ITiemes 68 Repetition of principal TJieme : Thesis as above ; Antithesis with delayed close 17 Coda, 8 measures, beginning on the 5-major Triad in £ form ; second theme ; 8 — ; Entrance and close, 21 36 Total, 212 153. The Funeral March has the slowest Largo as tempo. Beethoyrx has, in a pianoforte Sonata, furnished the unapproach- able model of it. (See Fig. 99). Chopin's Funeral March — only second ta Beethoven's in popularity — is also found in a piano-forte Sonata. The Funeral March is — with few exceptions (among them Haxdel's Dead-March in -Saul." in f-major) — in minor, the Trio almost always in major, viz: in the parallel major key, in the major key of the same Tonic, or in that of the major Third below (Sub- mediant). 120 APPLICATION'S OF THE PRIMARY FORM. 154. The construction of Beethoven's Funeral March in ab-minor has already been given (Chapter XVI.). The Trio, in ^lb-major, consists of two 4-measure phrases, which are repeated. The repetition of the March is followed by a Coda, closing in major. 155. The Polox aise is a lively March in |- meter, with a step to every quarter-note. The characteristic figure of the Polonaise is this : B 4 i I It is not necessary, however, that this figure should be invariably adopted and carried out, as is proved by many examples. It is also characteristic of the Polonaise, that in most cases the last two meas- ures of its periods are rhythmically divisible into three measures of 4r meter, as, for example : -£-&* a ^kmT* ^r-| r»— ^-» i -J^' *-* . s-h-'-»i»-r t -ft-fl — f- j f -■* — l~~j 1 — J — f J — — _) — H "^~^^rS~~^****rfci~T 168. 9!!W- ._*_t_*_iL_* flz5— fz $= -v — » — # — m- i •&- ' ffi- 1 1 1 1 y 11 1 - ' fcte. gift = ^h~B — i_J ^ T— f= g= '= £=r Weber. "»T- d— I * m — e— 2- I IDEALIZED DANCE-FORMS. 121 15G. The Quadrille (Contbedanse) is likewise related to the March, but is written in \ and JJ meter, and has two .steps to each measure. It has six divisions, separated one from the other by pauses; the lust pusses immediately into a dance proper (round dance). SIXTEENTH EXERCISE. Compose Marches and Polonaises, especially in the principal forma which have been given. CHAPTER XXIV. IDEALIZED DANCE-FORMS. 157. There are countless compositions which, without being in- tended for dancing or suitable for it, borrow from a given dance-form, mostly in great freedom, the rhythmical motive and the most general characteristics of construction. No form has been more productive in this respect than the Waltz, whose idealizations by Schubert, Weber ("Invitation a la valse"), but especially Chopik, are every- where celebrated. These charming creations combine all the elegan- cies of an art-technic developed to the utmost with the dance-rhythm employed with the most perfect freedom. Through Chopin and many others, who are for the most part his imitators, the form also of the Mazurka and the Polonaise has experienced such an ideal development. Other national dances too, such as the Bolero, the Tarantella, etc., have been treated in this manner. Of late years, prominent composers have shown a similar interest in the obsolete dance-form* of past cen- turies, the Saraband, Gavotte, Bourne, etc., etc. Especially note- worthy are Raff's labors in this field. 158. Our classical composers have devoted special attention in this sense to the March. Beethoven's Funeral March in the " Eroica n symphony, that in the Ji?-sonata. of which mention has already been made, the Festival March in the J -major Sonata, Op. 101 — 122 APPLICATIONS OF THE PRIMARY FORM. Vivace alia marcia. 169. f *f _ HK _ r - h _^ ==== - H _H -^— 5-rJ a— LJ— |->- T b* *-*-* ^^^3=5=r^ -*-"-*- ^e! ■with the canonical Trio, the March in the " Ruins of Athens," etc., maybe assumed as well-known. Mozart's "AllaTurca" from the A -major Sonata — 170. 7 ' f Pf ;& tifE* gS3 F=F=f=S£^£EEEE^ gE^S ii i — t ,t^ ■»- r*- — I~ _>■-■*->■- sliSi is likewise an example in point. A peculiarity of this piece is the 8-measure period which follows each part as a kind of Coda. 171. -•- ■*- H^j 1 I I J -^ 1 — -1 — a if— ^ t-^*-* — #— #— #-rTS^ *— f - * — £~r z^ ; IDEALIZED DANCE-FOBMS. L23 In Chopin's Funeral March in £l?-minor the lefl hand has an im- pressive imitation of the ringing of bells, a kind of " Basso ostinato," found also in the 2d Impromptu and an Etude of the .sum' master. 159. Bui the mosl important among the idealized dance-forms is the form which has sprung from the obsolete Minuet, and which under the name Minuet or Scheezo has found an abiding place in the large instrumental works of our classics. The form of this movement is mostly large two-part or three-part primary form, variously modified by means of augmentations and ab- breviations now of this part, now of that, as has been illustrated by many examples in the first part of this work. The Trio is only excep- tionally in the key of the Dominant, mostly in the same key, and in minor movements, in the major key of the same tonic. In Mozart's Y;,'?-major and (-major symphonies the Trio remains in the same key; in the gr-minor symphony in the major key of the same tonic In Haydn's Z?-major symphony (No. 1) the Trio is in the key of the Submediant of the minor key with the same ionic, viz: in Z?b-major, a not unusual relationship of the parts in point of modulation. In Beethovex's 1st, 2d, Eroica, 4th, Pastoral, and 8th symphonies the Trio is. like that of Mozart's symphonies above alluded to, in the same key as the Scherzo : in the 5th (r-minor) and the 9th, in the major key of the same tonic; in the 7th, in the major key of the Sub- mediant, i. e., in Z?-major, the Scherzo being in /-major. The Tth symphony is the only one of Beethoven's in which the Scherzo is not in the same key as the symphony. 160. Haydn's symphonies and quartets — not only the favorite ones hut also those numerous ones that are less known — afford an in- exhaustible assortment of consummate models of that species which approaches more nearly to the original form. Such are to be found als > in Mozart's instrumental works, in countless pianoforte-sonatas, duos, trios, string-quartets by Beethovex. Of the symphonies of the last-named master the Scherzos of the 1st. 2d, 4th and 8th are kept within the same limits. We must here call attention to the manner in which BEETHOYEN developed this form in other works, how he en- larged and transformed it in the Scherzo, by some examples calculated to incite the beginner in composition to a more profound study of the others also. 161. In the Tth — J-major — symphony the first part of the Scherzo exhibits singularity of formal structure in the ^-measure introduction alone, 124 APPLICATIONS OF THE PRIMARY FORM. 172. Presto. —— #— r-#-H •-! -«-| -W=^H- which thenceforth constantly serves as connecting-link of the parts. It is interesting, from the standpoint of modulation, that the close of the first part is made in A-major (key of the symphony), this key being in fact reached by a sudden transition from .F-major, by means of the chord of the augmented Sixth. 173. 3 — j = fe = 25 = fe=e = F 5 * — L ff— •< — L ff— i — t-l — L Bass in Octaves The first part, as a whole, consists of a 16-measure period of the fourth form (Par. 27), whose antithesis is lengthened by a cadence- formula of six measures, while the period itself is preceded by a 2-measure Introduction. On the other hand, the second part so far exceeds the usual limits of our form as almost to assume the character of a development (as in the Sonata-form). After four measures of the introduction-motive (Fig. 172), the repetition of the motive — 174. (compare Fig. 173)— partly of the whole of it, partly of its 2d measure only, gives rise to an 8-measure group, wliose second motive, trans- posed to Z)-major, 175. is repeated four times, whereupon it appears in c-minor — [DEALIZED DANCE-F0RM8. 125 i7e - i§s etc. and leads, after three measures, into the dominant harmony of 6-major. Thus, then, we have — excluding the Introduction — a composite group of 8 + 4 + 4 = 10 measures, modulating from ,4-major to C-major. This group is now repeated in exactly the same way, but — this time modulating from V-major to Bp-major. A similar repetition in -#b-major now seems about to take place, but already in the third measure the introduction-motive is added to it, — Oboe and Bassoon in 8ve. 177. Violins and Viola. zzfe*: Pg^ and leads to the entrance of the first 8-measure group, with repeti- tion, which the Bass then takes up, followed by the other voices in imitation (the last voice in contrary motion), leading into the third part (repetition of the first). crescendo. 178. ^=r^r 33 9i^ -^—j I | „_# m . ^ ' * ■ » 1 ' r- «=i= Beginninc I X I w J —* ~rt | e g — • »_j.j_ t f — r~r- Z 1 1 I_l p — ^ETE 12G APPLICATIONS OF THE PRIMARY FORM. The close is made first in C-major with closing formula of 8 measures, then with the same formula extended to 12 measures, in F-major. After this perfect close the introduction- motive finally holds on (for 4 measures) to its upper note, a. During this a, which enters tutti ff, and remains p in the violins, the Trio in D-major begins, is regularly carried through in enlarged three-part primary form, with a 14-meas- ure Coda, closing with the noted progression of the dominant septima- chord of Z)-major to that of .F-major : Violins Viola. 179. Horn. Basses. This chord leads back to the Scherzo, which is repeated entire, except- ing only the repetition of the second part. Hereupon re-entrance of the Trio with all repetitions and Coda. Second re-appearance of the Scherzo, this time without repetitions. The Coda again sustains for four measures the a which introduces the Trio. But only the first two measures appear, the first in major, the second in minor, then short close of five measures, presto. Presto nieno assai. |=Efa=jzrEJ=^_rg_£-4= : IDF.ALIZKD DAX< E-F0RMS. 127 162. Still more peculiar is the construction of the Scherzo of the 5th (c-minor) Bymphony. The Thesis — 181. WM F- — H i^_L,5^_ 1_ ^_i- K ff^jl poco rit. etc. is repeated with a slight extension. A new theme then enters : a tempo. 182. *■ #— # [ < g — ; |-» * * I i g . | -# p * »— h /? 9 : * Hz: gB^ EfeE^JEJEJE^^ -b— f-b- =t= -^#— 1- — |- ^=r — 9 *F =1 — * — : *= r^= =4= * ! — — ' — # — — - -*== which, beginning in c-minor, makes a half-cadence in J^iz-major, is then repeated in tb-minor with half-cadence in 6rb-major; in four measures more it reaches the Dominant harmony of eb-minor and here constructs a half-cadence formula of 8 measures. The Dominant of eP-minor, viz : lib-major, now serves as starting-point for the repeti- tion of all that has preceded, this time from ifr-minor to C-major as Dominant of j '-minor, instead of from c-minor to B?-major as Domi- 128 APPLICATIONS OF THE PKIMARY FORM. uant of eb-minor. The repetition of the first thesis is this time extended from 8 to 18 measures, and employed for modulating into c-minor. 183. ^E^fe agpp iTfT f^-f^fi d2 1 h=r J -f5>— - Organ-point follows. The Dominant of /-minor, viz : C-major, now becomes again the tonic c-minor. The first theme is repeated, the second half of it is repeated in passage- form ; 184. -:> lipl f=m (S2— #- mww^t^r^ m & *— r^ f— .a - =E^ etc. hereupon a counterpoint against the principal motive of the theme, in the Bass, is made by a charming flowing melody in the upper voice, which forms a perfect cadence, — 185. b— r-T-f — r— f-T l^iig _«_CR;- *. — r~l=3- ^Hj 3==*-' k— f-r-f: ibebb -*-» S3=t=t !E*=Et£ ^=l^fi^^fE|feEP 1^ g=^jj ^ ._" IDEALIZED DANCE-FOHMS. 12'J m~W=* 'i=^==^======E==t'======- f-f f*f f ggfct aa= ^sa t • 5? m ==&E£=gEm 2=2- t= this cadence being further strengthened by an 8-measure Coda. With the exception of these two cadences the whole movement exhibits half-cadences. The Trio is carried through with less irregularity ; it is technically notable for its fugal elaboration, — ff- — J-— 186. i gij^Tlr ^S^g^H mm^^^^^^mmmm m^ ^m^m^^^ and the strong bass-figure with which the second part begins. The first part closes regularly in G-'-major, the second in C-major. At the repetition of the latter, however, it changes the cresc. al ff of the first time into a diminuendo al pp. and leads, without a close, immediately into the repetition of the Scherzo. The inspection of the continuation of this fine movement is left to the student, who should follow up the niiits we have given for this kind of score-study. SEVENTEEN TH EXERCISE. Compose Minuets and Scherzos, but without intentionally exceeding the limits of the primary form. 130 APPLICATIONS OF THE PRIMARY FORM. CHAPTER XXV. SPECIAL FORMS. 163. There is also a large number of characteristic and important compositions — among them many of the most original creations — which, without adhering to any special dance-form, belong to the pri- mary forms which we have thus tar described. In the first rank are here to be mentioned those compositions of these forms in sloiv tempo, which, under the name of " Elegy," " Ballad," " Song without Words," or under various other titles, partly of a descriptive character, as, "Melancholy," " Resignation," "Nocturne," "Berceuse," etc., form independent pieces of music, or appear as parts of larger compositions. To the latter kind belongs, for instance, the Andante of Beethoven's Sonata, Op. 28, whose separate parts have already been illustrated (see Figs. 42, 88). ^ EIGHTEENTH EXERCISE (1). Compose a sloiv movement in composite 'primary form. [Models for the separate parts are found in abundance in the first part of this work.] 164. The number of compositions of the kind we are considering in quick tempo is no less great. An unusually attractive example of this kiud, Chopin's "Impromptu," Op. 29, shall here be analyzed, as being specially instructive. The left hand carries through a figural motive which is interesting on account of the inserted changing-note d% 187. - # tj*-'-^ Efete which, however, we can only notice in passing, as we wish to call the student's attention to the construction exclusively. The entire composition is carried through in uninterrupted motion. The closes are for the most part veiled by lively figuration. BPECIAL FORMS. 131 The first part (which is based on the motive cited above) has three-part primary form of 8, lu and 10 measures. The Trio has two-part primary form of l»i and ||:1G:|| measun -. The repetition of the first part is note for note, a short Coda Leads to the close. If we now turn our attention to the separate parts, we find at the beginning a regular period of the second form, consisting of Thesis and Antithesis, each of -i measures : -G >, 183. 1 ( foEKI^ Ffri 3*3M=cr= %' 7 ^ '»~* - #" * i $-it L * n* fir r ffi -< — i — — i— »5» — * #M- The second part modulates to and fro, from iTb-major to j2-minor, back to ^f2-major, between ^12-major and iip-major : bis 189. ^r.. r,,.rtm 3? hereupon follows a chromatic succession of sextachords, 5 * 190. i simile prr^ * — f-H — 2 -S;t» — r-fa5» w -\r%— »-fr5~i "»~» — Sextachord, a shorter expression for " Chord of the Sixth.'' 132 APPLICATIONS OF THE PRIM Alt Y FORM. the repetition or which adds two measures to the length of this part, which then, with a half cadence, passes into the repetition — the third part. The comparatively great extension of this third part is no longer new to us, hut for a hetter inspection of the extensions it will be ad- vantageous once to represent the group without them, as in our first exercises, and to reduce it to the measure of the first period. 191. E fctr L ^_ 12 •H*-*^"«ur- US? — J -^t*- J - i «*a J t5 F feEE b*,» -„fe. *i4 Itrr [§li^liigp^l§^§ I -*- «- to - 8ra gfeil§g§ilp^li Interpolated ~j — |; three and a half \J- measures. . — Here follow the Coda and the transition into the Trio. The interesting modulation in the Trio is left to the observation of the student. It remains only to remark, that the second period of this two-part primary form has no immediate thematic relationship with the first. Similar combinations are of frequent occurrence in Mozart's works, especially in his operas. EIGHTEENTH EXERCISE (2). Compose a piece of music in composite primary font), in quick tempo, and independent of any special dance-form. [The chief point here is to avoid a stereotyped, dance-like rhythmical form of accompaniment. 1 THE RONDO-FORM, IN GENERAL. 133 SECOND DIVISION, THE LOWER RONDO-FORMS. CHAPTER XXVI. THE RONDO-FORM, IN GENERAL. 165. The lower Rondo-forms also are essentially based on certain independent elementary forms, yet they are distinguished from the composite primary forms by a more direct — closer — connection of the parts. At the same time they often come in so close contact with the primary form that it is difficult to tell one from the other. For — as on the one hand the primary forms occasionally relax the strictness of their boundary-lines, — the Rondo-form, on the other hand, sometimes admits a more rigorous limitation. 1(>G. The peculiarity of the Rondo-form, to which it owes its name * (Round-song, or Circle-song), is the digression from a chief subject and the return to it. But the special feature by which the Rondo is most essentially distinguished from the composite piimary form — especially as the latter is exhibited in the dance-forms, — con- sists in the metrical and rhythmical freedom of both construction and tonality. Here rhythmical uniformity entirely disappears. The fan- tasy, left to itself, enjoys perfect freedom of construction and rhyth- mical conformation, but, at the same time, has one support less. 1(>7. The Rondo-forms are divided into the lower and the hie/her. f The lower are based on the primary-form and its elements exclusively, the higher partly on the Sonata-form, acquaintance with which they accordingly presuppose. 1(>8. Among themselves, the lower Rondo-forms are distinguished * From the "Rondeau" of the French poetry, in which the first strophe, after beiusr followed by a second, is repeated. The old English " Roundelay " was some- what similar in fonn. f Sometimes the terms "large " and " small " are used instead. They are not, however, to be recommended in this connection, as they apply to the extent of the Rondo, which is not necessarily involved in the distinction with which we are at present concerned. 134 APPLICATIOXS OF THE PRIMARY FORM. one from another by the number of the themes employed. The follow- ing distinctions are made :* Rondo of the first form, with one theme : Rondo of the second form, with two themes : Rondo of the third form, with three themes. CHAPTER XXVII. RONDO OF THE FIRST FORM. 169. In the Rondo of the first form there is but one independent theme. Between this and its repetitions there is no construction of any complete form, such as the primary form, the period, and the large independent phrase (see Chapter VII.). Other forms of the phrase are not regarded as sufficiently complete to constitute a theme, over against the chief theme. The theme has always a clearly defined form, mostly primary, or that of a large period, seldom that of a large, extended phrase. The episodes of this form are either thematic, i. e., working up some thought of the chief theme, or, of a character entirely their oivn, i. e., introducing new motives, but not working them up into any com- plete form. The repetitions of the theme are as a rule varied. This is the case particularly in slow tempo, which is specially peculiar to this form. The close is often enriched by a Coda (mostly thematic). 170. An example of such a Rondo is afforded by the Largo appas- sionato of Beethoven's ^i-major Sonata, Op. 2, whose theme has extended two-part primary form (see Figs. 68, 69). After the close of the theme the following phrase begins in J-minor, * A writer in Grove's "Dictionary of Music and Musicians" says, speaking of the gradual development of these three forms : " The Rondo-form was the earliest and most frequent definite mould for musical construction. ****** Starting with a principal subject of definite form and length, the first idea naturally was to preserve this unchanged in key or form throughout the piece. Hence a decided melody of eight or sixteen bars (measures) was chosen, ending with a full close in the Tonic. After a rambling excursion through several keys, and with no particular object, the principal subject was regained and an agreeable sense of contrast attained. Later on there grew out of the free section a second subject in a related key, and still later a third, which allowed the second to be repeated in the Tonic. * * * * * * The first of these classes is the Rondo from Couperin to Haydn, the second and third that of Mozart and Beethoven." HONDO OF THE FIRST KM;.M. L35 192. it gj|^=^l: 5: 2 j=^: -7 ?— V - i ■^—-5- S Si^li^i^ etc. which in the 4th measure makes a complete close in /jj-minor. It is immediately repeated in this key, the melody being given to the middle voice, _| N_] ' 193. ^ -f-l p * j LJ V ' then, with a new motive- 194. w 0-0 I'—^zj^Ej?': ~P ~W~» V — — — — 0- If— » 0—0 — 0—0— -]U*— *— * betakes itself to the Subdominant of the principal key, and thus re- turns to the theme, which is repeated, note for note, without variation. To this is joined a group of four measures, connecting with the middle-group of the theme, with the following imitation, — 136 195. APPLICATIONS OF THE PRIMARY PORxU. (Canon.) =F #■ -»- h«- 3 _#S ^H-i s =j=--g=jz=g=|= which is repeated in heightened figuration 196. S§2£FEgg__i ♦*- put #1. A e-^PUPgg-i At the last measure of this group the theme begins in minor, leading with a powerful harmonic climax to the dominant, whereupon it re- appears, shortened to an 8-measure period, with new figuration in the second voice, ten. I -0- 1 97. \_ ^zfczZjDg^lZX-*-*-^—^-*-*- and the whole movement closes with a Coda of 8 measures. NINETEENTH EXERCISE. Compose a Rondo of the first form in slow tempo. 171. Of all applications of this form the Andante of Beethoven's c-minor Symphony may perhaps be regarded as the most noted and the most perfect model Though it is taken for granted that the RONDO OF TIJK FIKST FORM. 137 student of composition is perfectly familiar with this movement, yet it must here l>e subjected to a technical analysis, not only to sen a model of formal structure, but also to call attention to the finished manner in which the variations of the theme are here introduced and worked out. The theme, which is given in Fig. 50, is enlarged, by a group de- veloped out of the close, from eight to twenty-two measures. To this is joined — rhythmically connecting with the first figure of the theme — a group of 27 measures, beginning in .i?-major: ddke. 198. £=j£ir ^=^F^ -A i r-j _j _ -P5-T «y gFFF * -#■ jug » — — • — , 9 _ -• — -0 ' +* 9-1 9 9 -0- [ — ' — *~ # — 0- — - 1 - • •w ^Hzl -7 Lf p- — ■0- J f- -7 — _^_^t AV afterwards, with the remarkable transition from pp to ff, 199. W ff ^ etc. %hm uLJ h ^E^fca^ making a cadence in C-major. The same group then begins, this time given to the brass-instruments, in C-major, 200. /T E Si^pE^ S= - ^ and modulates thence in ^/> back to Ji?-major, when the first variation is introduced : 138 APPLICATIONS OF THE PRIMARY FORM. ^=k l2 ^= t 201. «•» mm, Mil l.llll -I i— iii.i. I I —I 1 .a etc. air 8va. etc. -~-r ■* — t f- itztzS: - — s K^-- S*S This variation, with somewhat enhanced figuration, is applied to all that has preceded. The second variation, which now follows — L^ 202. - b: fc— » -♦ r*^ - ~l- '"^ m gfeE :^=|E!Efe^iEfi^ii^ is limited to the chief subject proper (8 measures), is repeated climac- terically, and leads directly into the third variation : 203. This closes in the tenth measure on the dominant, and here begins, developing itself out of the motive dolce. „__«___ 204. ^fe^^lri^^f^ the four- voiced phrase for flute, oboe and clarinet, which finally leads back into the place in C-major (Fig. 200) with increased tone-volume. From this a figural modulation leads to the last two variations, the first of which is minor, KON'DO OF THE FIRST FORM. L39 205. &gpi£li3i#fe£= ^t;_u ^ etc. Si ^11111111111 * ^ whilst the second takes on a free canon form: 206. |9 : ?r> £ ^BS £ =§^1 ^ > The subsequent />/& ?»o/o and a tempo is a closing Coda. 172. In quick tempo the first Rondo-form is best modelled on the enlarged three-part primary form, from this launching out into pas- sages, runs, modulations, etc., then repeating the chief subject in abridgment, again digressing from it, and closing with a more com- plete repetition of it, with Coda. Example, Beethoven's Sonata. Op. 10, No. 3, Rondo Allegro. Remark. — It has already been pointed out that the Rondo and the composite primary form are very easily confounded. But the extended simple primary form may also be confounded with the Rondo-form. An extremely clear illustration of this is the Andante un poco adagio of Mozart's Sonata in C-major : 207. : This long piece of music, numbering 79 measures — Andante vn /wo adagio. 208. 140 APPLICATIONS OF THE PRIMARY FORM. is nothing more than an extension, by means of written out and varied repetitions of the several parts, of a two-part (or two to three- part) primary form in the following proportions: i Thesis 8 measures. Antithesis 8 Varied repetition. 16 i Thesis 12 Antithesis 8 Varied repetition 20 Lengthening of the close 4^ Coda 4 79 CHAPTER XXVIII. THE RONDO OF THE SECOND FORM. 173. In the Rondo of the second form two themes stand over against each other, of which the second has most generally about the same relatiou to the hey as the Trio in the composite primary forms has to the principal theme, i. e., it is only exceptionally in the key of the Dominant, mostly in the parallel key, the homonymic * key — Maggiore (major) against Minore (minor), and vice-versa, — in the key of the Mediant, or occasionally in a more remote key. The first theme is constructed like the theme of the first Rondo- form. The second theme is either introduced by a modulation, or connects immediately with the first. In the latter case it very closely approaches the composite primary form, yet with this difference, that here the structure of the theme is not necessarily in that form. On the other hand the second theme shows a decided tendency to lead back, before forming a close, into the first theme. 174. Whether the alternation of the two themes takes place only once or several times, is, as far as concerns the .determination of the * That is, having the same name (Tonic), but differing in mode. Thus, the scale or key of C-major and that of r-minor are homonymic scales or keys. On the other hand, two scales or keys with different names, though they may be of the same mode, are heteronymic, as for example, C major and e minor, or, G'-major and A major, etc., etc. Tin: Hondo of Tin: >i:< ond ioi;m. 141 form, immaterial; as also, whether the themes are repeated entire, or wit 1 1 abbreviation, or with extension. 175. The most brilliant model for this form, although closely resembling the composite primary form, with principal subject and Trio, is the incomparable Allegretto of Beethoven's J -major Sym- phony. The short subject (see Fig. 44b) in two-part primary form, on which this great composition is based, and which by repetition of the last 8 measures is extended to 24 measures, is first repeated in three variations, beginning with the combination of violas, violoncelli and basses, and leading up to the display of the full power of the orchestra. A short transition — ..fcftig ,1 209. then leads into the second theme, which is in .4 -major, and sustains in the bass the rhythmical motive running through the whole piece. 210. =t±ti y& #-#-. ; T ; ,- The second theme has the following structure Period (with Thesis as above. Fig. 210) closes in 7?-major (Dominant | 16 measures. Interpolated imitation group, as in the following fig. , 3 x 2= 6 " 142 APPLICATIONS OF THE PRIMARY FORM. Clarinet. Clarinet. | N p>^ ill. Ffe-ff — —5-* St^ »#*- Period of 2 x 8 measures, closing the first time in the prin- cipal key, the second time in C-major 16 measures. The above imitation-group iu C major 6 " Total number of measures iu second theme, 44 " There is no return to the beginning; the movement breaks off here, and passes into the major dominant harmony of a-minor. Hereupon follows the fourth variation, in which the flute, oboe and bassoon have the counterpoint (Fig. 45), the bass the theme, the violins and viola the figuration. This variation is lengthened by a Coda. Immediately upon this follows a ftigato on the theme — 212. as fifth variation; it ends with a figuration for wood wind-instru- ments in ff, against the principal motive carried by the string quartet, trumpets, horns and kettle-drums, in 8 measures, with a decisive close in a-minor. Hereupon the transition given in Fig. 209, slightly varied, and repetition of the second theme — abbreviated to a period closing tonic- ally, with a Coda of 4^-- measures. Short movement of 8 + 4 measures, from the chief subject. Last variation, and close. The subject in A-major cannot be considered as a variation of the principal theme, for lack of the harmonic conditions ; nor has it the independence of construction necessary to a Trio. We may therefore rightly regard it as second theme of a Rondo of the second form, whose principal theme has many variations. 1TG. Of simpler construction, and more easily understood by the THE RONDO OF T1IK TII1RD FORM. beginner, are the Rondos of the second form in Beethoven's piano* sonatas : C-major, op. "-2. Adagio, I, 2>major, II, e-minor. .fi'-major, op. 14, Finale, I, is'-major, II, 6-'-major. (r-major, op. 31, Adagio, I, (-major, II, Jb-major. besides which many other compositions of our masters might be men- tioned. TWENTIETH EXERCISE. Compose a Rondo of the second form, tempo allegretto. CHAPTER XXIX. THE RONDO OF THE THIRD FORM. 117. In the Rondo of the third form the distribution of the three themes is according to the following scheme : First theme. Strand theme. First theme (abbreviated ?). Third theme. First theme (entire, or less abbreviated). Coda and Close. The first theme has most usually (especially in quick tempo) ex- tended primary form ; so that the difference between the Rondo of the third form and the composite primary form with two Trios often con- sists (apart from the greater freedom and copiousness of the former) only in the prevalence of the tendency to transitional groups and in the abbreviation of the repetitions of the theme, — and even these differences afford no certain criterion. 178. In many obsolete, but, for all that, not uninteresting com- positions of the first period of form-development in the preceding century, this form-relationship is very plainly apparent. Among these are many youthful works of Mozart, which certainly have at least an historical and biographical interest, as for example, the Rondo of the small Eb Sonata: 144 APPLICATIONS OF THE PRIMARY FORM. Allegro vivace. Right 213. Violin. Left. -xr—-pi -.— yfe— P* f £2- -#-T- 5^=1=^^ ^ -f- :rk- a$^ 3^ « 1 *— — ^ 0- -ft •■— =-* F , * *— =-)• *—!-*-* *— s-* *- :ri> & -[=tfe £ ~k=^ fcEEr etc. -#-^ — F m F The /?rs^ theme of the Rondo here cited has large three-part pri- mary form. It is immediately followed by a subject in primary form in c-minor: 214. i J2== ^=E _£>_ _^_. *- JW. i^z^qr itztzz g ^ irf = p = f ^^ ~ rr 1 ^?^ = e&i _^ which closes its first period, according to rule, in the parallel key. The continuation — beginning of the second part, two-part primary form — THE R0XD0 OF THE THIRD FORM. 145 215. r.__-., — * * — -_. r - g — >— — r rfi. ' f i ~*- 6 ■ ^ -- — * — " 2^ 'A 7 ^. 1 1 ^l^i^^^fe^ makes, four measures after, a sudden close in c-minor, to modulate back to the Dominant of the principal key. Hereupon follows the first theme, abbreviated to period-form. The third theme now begins, in e:>- minor (it is given entire in Fig. 57)— rz 216. ai^sEfc D : *-?- a_L -»— ».*-* — i in three-part period-form of 25— - measures. On the final measure the first theme again enters. This example is here purposely chosen, on account not so much of its merits as a composition, as of the simplicity and perspicuity of its formal structure. So, too, in the Rondo of the C- major Sonatina : AUegro. 217. 5 r £ -m—P • - v i r -_m~ £■ 9-1 *. ^=E ;-?- 5 and in that of the e-minor Sonatina (cited in Fig. 40 a), whose themes will be given later. As a transition to the Beethovexiax models we will take the better-known o-minor Rondo of Mozart: 218. -£ *- *■ 4- #■ #- — * * — i i — — — 146 APPLICATIONS OF THE PRIMARY FORM. 179. The most brilliant Beethovenian example of the third Rondo-form is the Finale of the Grand Souata in 6r-rnajor, Op. 53. The first theme : Allegro moderato. Thesis. 219. -•4—*- .*_?_- :=^=^^s pp m^L^^^^^m^M Antithesis. ±r-5: r*-^ -F fcc= ^m^^SWMszM^^ has extended small three-part primary form. Coda and transition : 220. 3 p— — — i . f =d7j ■ • ». — tjj_ ^ / . .. 2- f 8 measures. Second theme, in tf-minor: simile 221. .•5.._^_* <£-\- m »f =t=rf j. ^S — !l — m~v~, izd rl"t" i — *i # _#_"f"_"p___tr_ T \ . T~ P T~ , End of tlie Thesis. Antithesis Cj; p— I p — P T-C £ — \- + P— | 1 j- \ g — follows. Total, 16 measures. zr I fc a — f~T | p — l* f~> ^~a~l r~H Then follows a double-phras* — F— ) — -H_ \--*—\ ^^ 1 — I-i 1 1 F— I— j of 2x4 + 4 measures. I m: i;un DO (>!•' Till: THIRD l OEM. n: Repetition of the first theme in its entire extent. Third theme, in e-minor: (The right hand lias subsequent sixteenths). 222. B i-=i_H=i.SH^ * w\ . i * * * 133 « * ^ =3^ Repeated, melody in the right hand, bass contrapuntalizes in Kith-Triplets. Antithesis: right hand has the counterpoint (double counterpoint at the Octave). SU 223. > ry tr, jr p -«. o- m- I I I i _t_iz — — ' _! 1 * — •-- L -# — *— *— •— L — l — Repeated in the inversion at the Octave, whereupon the close is repeated, once entire, twice half, and an additional close formula is appended. First theme and close. The last repetition of the first theme is preceded by an amply developed introduction, whose starting-point is the principal motive, and which presupposes virtuosity in the execu- tant. The repetition itself, on the other hand, is abbreviated. This is followed by a copious development of the transition-motive given in Fig 220, and by a prestissimo, which is concerned almost exclusively with the first motive of the theme, and also presupposes a virtuoso. TYVFXTY-FIRST EXERCISE. Compose, according to /he instructions and examples given, a Rondo of the third form in quick tempo. / 148 APPLICATIONS OF THE PRIMARY FORM. CHAPTER XXX. TRANSITIONAL FORMS. 180. Between the first and second Rondo-form there are transi- tional forms, which seem to share the characteristics of both. They owe their origin to the circumstance that the middle-groups of the first Rondo-form take an unusually independent form, or, that the second theme of the second Rondo-form proves unusually short, in- significant or vacillating. In such cases the determination of the form is doubtful, and we have a Rondo of the first quasi second form, or, of the second quasi first. All forms show such transitional phases, the exhaustive discussion -of which, however, would be out of place here. 181. An example of a composition vacillating between the first and the second Rondo-form is the Andante of Beethoven's j^b-major Sonata, Op. 7. It forms a very extended principal subject in C-major — Largo, con gran espressione. 224. tr^r ^ — -4- — =\—^-« — '- — * g^=- *i — ' — £ 1* — 0^^^0 ±-0 i_ in three-part primary form. The subject which immediately follows in J j?-major — 225. ^j^d d^J £^ V? IT forms at first a four-measure phrase — tetrameter — closing in the Tonic. Hereupon follows a similarly constructed tetrameter in THE VOCAL SOXG. ] I'.t /-minor, having the same thematic Bubject-matter. Ii begins again in DtMnajor, bul modulates in the fourth measure, by means of the chord of the augmented Sixth, into the Dominanl of C-major. In view of the consistent formal structure, we coign 1 consider this as a second theme, and decide in favor of the second Rondo-form. But in view of the vacillating modulation the character of theme may be disputed, and a Rondo of the first form be assumed. It is, in fact, a Hondo of the second quasi first fonn. Til I HI) DJVISIOX. CHAPTER XXXI. THE VOCAL SONG.* 18*2. In the Vocal Song the musical form is not free, in the sense of being subject to musical conditions exclusively, but is depend- ent on the poetical form and the logical laws of the language. There is good reason to believe that originally the lyric poem and the music to it were one in invention and execution ; i. e., that the poem was at once musically conceived. Gradually, especially through the popular- ization of writing, afterwards of printing, the two elements of the song were separated. Poetry became to that extent enriched with ideas, music so energetically created for itself independent forms, that both could no longer originate together, but had to be joined, in order to re-establish the primeval unity of the song — for, song means sung poem. It is only in our time, in the domain of the grand opera, that, by * The German word "Lied" is here, as usually, translated "Song;" it is, however, difficult to define cYarly and tersely precisely what that word expresses. Its character is most generally lyric : yet t'ie same name is given to a vocal com- position of a dramatic character, such as Sf iiibkrt's " Erl-king," Schumann's '• Two Grenadiers," etc. The term is, in fact, a comprehensive one, and includes the Ballad, the National Air. the Couplet, the Comic Song, etc., also compositions for two or more voices. Among the most famous of modern composers, Snirr.F.nT. Schumann, Liszt, R. Franz, and Mkndf.lssoiix, are especially to be named as having left noble models of this art-form, the study of which is the best possible method of acquiring the art of writing beautiful songs. 150 APPLICATIONS OP THE PRIMARY FORM. means of harmony, ripened into a perfect means of expression, in union with dramatic action and declamation, a re-establishment of the original state of things on a higher plane has been made possible, unusually comprehensive mental gifts being of course presupposed. There cm be no question but that every musical form may be imitated in poetry, thus that it is possible to adapt to a composition, kept within the limits of vocal setting, a suitable poetical text. This, is, however, something that concerns the musical ])oet, not the poetical musician. For the latter the task here is the opposite one, — to compose the music to a strophic poem. The doctrine of Form is only incidentally concerned with this subject ; nevertheless, the principal points of the technical treatment of the song shall here be briefly presented. 183. The composition faithfully follows the meter and the versifi- cation of the poem, conforming them, as a rule, to the two-measure ■metrical system of music, i. e., organizing them into groups of two, four, eight, and so on, measures, as in the following examples: 226. v ^2,-2- S- ?=Ss^ The clouds are fly - ing, the oak & _2i -J- H — 3 — ft ft — S# woods roar, The maid en sit - teth up - on the shore ; £ £fe=gEE»5S The huge waves are break - ing with might, with might, She sends forth her sighs. to the dark some night. SCHTTBJCRT. tf-b — ^-f-* ft- wm :*=S- Sil^Si Her eyes.. all be - dimm'd are with weep - ing. I in: VOC \i. BONG. i:,l 227. aLj H ;-i L-i^^^ ■*-r- i^^li -t - r— r: ;^iH One ■ reigned a monarcfa in Tim - Le, True even un-to the grave, 1 Zelter. r _r 'g- : ^z| 3 gz=p=^-^E[ : .=j=^=4^=|-4:|-.l I j I p — |— sga^Ja Hb To whom his mistress, dy - ing, A gold -en beak-er gave (The last measure is an extension, taking the place, as it were, of a pause.) 228 I 8 S While nier - ri - ly once rid ing through -fe=»ES cool and shad - y -#-,_ wood. 1 (By the prolongation, twice, of the emphatic tone b in the above, the first section seems to have three measures, the second one four ; yet each section con- sists essentially of two measures, as if written thus : . b. - While mer-ri - ly once rid- ins: thro' cool and shad - v wood. 184. Occasionally the structure of the words, and other circum- stances, will require grouping of the measures by odd numbers, at least in part of the song, as in the following example: Larqtiefo. 229. fe 4 i d 0-s— -p — I s d ~ k=M^ Since mine eyes be - held him, Blind I seem to be ; -N N-r- 1 K- I— * K— > . L — /< — ?— K H 'ZiZ*9±=Mz VYhereso - e'er they wan-der, Him a lone they see. Round me 152 APPLICATIONS OF THE PEIMARY POEM. dark - ness ris - ing, Brighter, brighter than 185. Repetitions of the text may be employed, as a means of en- larging the composition and giving it greater freedom of form. Examples of this are so numerous that quotation is unnecessary. Of course, every such repetition of words should be justified by their import, and the truly cultured song-composer will not — even for the sake of improving the musical form — bring in a repetition which is senseless or even absurd.* 186. The composer is bound by the iuviolable law of the logical declamation of the text, but in other respects, treats the text with perfect freedom, according to purely musical laws. In the languages of the Teutonic family the pronunciation-accent forms an essential element of the logical accent,} which is not so strictly the case in the * An instance of absurd repetition is found in a very weak sacred song, perhaps still popular, in which occur the words : " Solomon in all his glory was not arrayed like one of these " (i. e., lilies). The meaning of this is plain enough. Yet the composer — to judge from his repetition of the words "was not arrayed " — would seem to have understood the meaning to be, that Solomon wore no clothes, thus resembling the lilies of the field. "***** wa s not arrayed — was not arrayed — like one of these." The spnseless frequent repetitions of a few words so copiously illustrated in most of Handel's songs, for instance, are happily out of date, to- gether with the mannerism to which they are owing. t The "special functions" of these two kinds of accent, says my lamented friend the late Mr. Sidney Lanier in his "Science of English Verse," Chapter IV, are: To call the ear's attention to particular sounds in a series of syllabic sounds con- stituting an English word, for the purpose of emphasizing the special dignity, above other sounds in that word, of the root sound (generally) thus distin- guished by the Pronunciation Accent. To call the ear's attention to particular words in a series of English words con- stituting a sentence, for the purpose of emphasizing the logical importance, above other words in that sentence, of the word whose main sound is thus distinguished by the Logical Accent. TIIE VOCAL SONG. 153 Romanic languages (notably in the French). Faults againsi the pronunciation-accent are naturally less frequent than violations of the logical accent. Of these latter even the great Handel was not seldom guilty, as in the following examples from his " Messiah " — =t -*- — * — »-• — He shall feed his flock, etc. was de - spis -ed, etc. in which the logically unimportant words "shall" and "was*' receive an undue accent. So too in the air (in the same Oratorio). "Behold and see," at the words : " if there be any sorrow like unto his sorrow : " here the composer should emphasize the word "his," instead of which he sets the word twice without any accent, thus : i tf~i* # ~s ft ft ~ \ r r v"«t~ » ft l 231. [i fe^-g-j^ jy r * 1 Afterwa ?: pfe t '-fcv * * r. ! # ~ ? ~i Like unto his sorrow. Like unto his sorrow, etc. 1ST. Intimately connected with this subject is that of Inflexion. To borrow the language of Mr. E. Prout:* "Just as, in speaking, we not only accent certain words, but raise the voice in uttering them, so in vocal music, especially in that depicting emotion, the rising and falling of the melody should correspond as far as possible to the rising and falling of the voice in the correct and intelligent reading of the text." In fact, the most conscientious composers make use of certain musical inflexions either corresponding to interrogation^ or, in general, of a declamatory character.} Here is an example, from Wagnee's " Lohengrin" (Act II, Scene V), of a common type of interrogatory inflection: * In Grove's "Dictionary of Music and Musicians," Article, "Accent." + "The tone-colors which arise in (expressive and poetic) speech, and the characteristic and pathetic accents which come to the front in words and syllables, constitute, at least in a low degree, a xymboV&m >>f its expression, and afford to music the proximate starting-points for associating itself with speech, in order to truthfully heighten that expression."— H. KCSTER, Populdre Vortriige, etc. 154 232. APPLICATIOXS OF THE PRIMARY FORM. {Lohengrin.) E*E£ SsEi Doth doubt per- mit thee no re - pose ? Wilt thou, my name I should dis - close ? which is surely more characteristic than would be — for the same words — a close on the tonic, or even a perfect cadence in the key of the dominant— In the same opera, "Lohengrin," where Elsa avows her faith in the champion who is to come to her defence, in the w T ords — Des Ritters will ich wahren, Er soil mein Streiter sein, which may be roughly translated thus : I'll bide the brave knight's coming. He shall my champion be ; the logical importance of the word " He " in this connection is brought out by the declamatory inflexion which the composer employs for this purpose : 233. gjfe^gg ^gpg P^ X—v- Des Rit- ters will ich wah-ren, Er soil mein Strei-ter sein. He shall my THE VOCAL SONG. lo~> and afterwards, with still greater emphasis : 234. [ :( fetegpggE^fe=J^^^IP Des Hit - ters will icli wahren, Er. . . soil meinStreiter sain. lie... 1SS. In the case of a song with many stanzas or (which means very much the same thing) strophes,* it is of course at the option of the composer to set each strophe differently. The song is then .said to be composed throughout (after the German expression " durchcompo- nirt"). But when one and the same selling (occasional slight variations not being reckoned) is used for the whole song, the latter is said to be composed strophically (one strophe giving the melody for all the others). This latter mode of setting would, however, not he appro- priate for songs of an epic or dramatic character, with many strophes, of which many Ballads f and Romances afford instances. — such songs should he composed throughout. Among other models of this kind of composition are Schubert's '•'Erl-king," and Schumann's "The Two Grenadiers." 189. It sometimes happens that in a poem for music a thought begins at the end of a line and runs over into the next line, as in the following couplet, translated from Ektiendorff for a foreign edition of Schumann's " Liederkreis "' (Song-cycle), Op. 89. Men's guile and fraud are great ; in twain My heart is rent with grief and pain. Such anomalies are in general objectionable from a musical point of view, as requiring in the musical setting an exceptional adjustment of the melody, — at least the composer is bound to see that his musical phraseology does not make nonsense of the words, as, for instance: Men's guile and fraud are great in twain, My heart is rent, etc. In the present case the English adaptation involves precisely this nonsense (the composer is of course not responsible, for in the German original the first line ends with a complete thought, and the music agrees with it) : * Either of these words should he used instead of the expression "verse." which properly means a line of poetry. In this sense we speak of " blank vers . f The German type of Ballad is here meant, embracing poems of a narrative ■character (as Biirger's " Lenore," etc.), rather than the English ballad of the present time, which is often purely lyric. 15G APPLICATIONS OF THZ 1 RIMARY FORM. 235 3E3E3 (Great is of men the fraud... and guile, My heart j Gross ist der Man - ner Trug... und List, Vor Kchnierz ^==^ -u— t- '^Ef: etc Men's guile and fraud are great,., in twain My heart In a case like the above a good reader would pause after " great," and closely connect "in twain" with the line following. A similar course for every similar case should be followed in the musical setting; thus, in the present case, the first musical thought should end with the word "great," and a second one begin with "in twain my heart," etc. So that if Schumann had had only these English words to set to the above musical thought, he would probably have constructed thclatter somewhat like this : 236. ; i & £=2: I Men's guile and fraud., are great, in twain My heart, eta THIRD PART. THE SONATA-FORM. CHAPTER XXXII. SONATA AND SONATA-FORM. 190. Bv Sonata is meant a piece of music consisting of several independent movements, and composed for one or two solo instru- ments. The number of these movements is three or four, fewer being very exceptional. On the other hand, the expression Sonata-form * denotes that particular form of one movement with which we are at present concerned. 191. The peculiarity of the Sonata-form, as contrasted with the primary form and the Rondo-form, in which the different subjects are as it were merely placed in juxtaposition, is the orgauic unity of the whole movement. If. therefore, a complete cadence is made at the end of the first division, it is in a key which is not only different from the principal key, but (for the most part) points to it, and is in close relation to it. Hence, the intimate union of all the parts into a whole, which will make itself felt as such, — this is the problem to be worked out with all the means of form-structure which we have thus far acquired. In this endeavor the whole movement takes on as it were the form of a thesis farther and farther spun out : thus the need of an antithesis is felt, and interest is aroused. Here there is danger of croino; too far. bCHXTDER vox Wartexsee uses, instead, the expression " Principal form " (Hauptform) which is a bettor name, seeintr that the application of this form is by no means limit ><1 to the Sonata. The name "Allegro-form." proposed by some theorists, seems objectionable, as this form is not necessarily associated with a particular tempo. 158 THE SONATA-FORM. of being too lavish with the means of climax, of losing the artistic presence of mind, which is the condition of intelligibility. The means of avoiding this danger are the clearly-marked division of the form into sub-sections, or gkoups, the systematic modulation, the use of such cadences as will not stop the flow, being rhythmically or tonally apportioned to places which cannot serve for a complete close. 192. The Sonata- form is the usual form of the first {Allegro-) movement of the Sonata, Quartet, Symphony, and kindred species of instrumental music, — also that of most Finales (last movements) of these species, as of Overtures, lastly of numerous compositions in slow tempo. 193. According to the dimensions a distinction is made of Sonatina (small Sonata-form), Sonata, and Gkand Sonata. We shall follow up this chief form of instrumental music from the child-like simplicity of a Sonatina by Kuhlau to the magnificent structure of a Beethovenian Symphony- movement. A. THE SONATINA. CHAPTER XXXIII. FIRST PART OF THE SONATINA-FORM. 194. The first part of the Sonatina-form is reducible to five in- timately connected divisions or groups, varying in dimensions : (1) Principal subject, or First Theme. (2) Intermediate Group, or Link-episode.* (3) Secondary Subject, or Second Theme (sometimes called Song-group). (4) Closing Group. (5) Coda. * This group, as leading into a new key for the Second Theme, is sometimes called the "Modulation -group." Seeing, however, that it modulates in the first part only, and not in the third part, this designation is evidently not appropriate throughout the whole of the first movement of the Sonata-form except in this limited sense only. FIRST PART OP THE BONATINA-FORM. 159 1 9.">. These live divisions may be reduced to two larger ones, constituting duality, viz: (1) First Theme with [ntermediate Group, (••2) Second Theme with Closing Group and Coda, by reason of the almost equal dimensions of the two divisions, the modulation which at the second theme introduces a new key and retains it, and the importance of the two themes, which constitute the essential contrast of the form. 19(>. If we class the Link-episode with the first theme, to which it is thematically most nearly related, and the Coda with the Closing- group, to which it is likewise thematically most akin, we have three divisions — triality, of which the Second Theme forms the middle one. 197. Just so naturally the four-fold division — quaternity — results from the two divisions constituted above (Par. 105), if we separate the first one into First Theme and Link-episode, the second into Second Theme and Closing-Group with Coda. 198. The first part of the Sonatina comes to a perfect close, and so far appears independent, — but closes in a different key from the original one, and so far appears, on the other hand, incomplete, as it were a larger thesis awaiting its antithesis. The key in which the first part closes, is in major, that of the Dominant', in minor, the parallel major key. The first part of the Sonatina is generally repeated, this repetition being sometimes introduced by a connecting link attached to the Coda and leading into the original key and the beginning. 199. Here follows, in illustration, the first part of a piano-forte Sonata by Kuhlau, written for the instruction of children, exemplify- ing this form within the smallest limits : 237. 1. Principal Subject (First Theme). Allegro. -*-* — -i-# — 1-* — \- 0—1-0— I — \-0 — \-0 — \-0 — 1-# 1 0—}-0 — \-0 J * — •0- -#■-#■ -0- -0- 160 THE SONATA-FORM. J t— -£2_ -0 0- £=5EE --t=*f- 2. Intermediate Group. w-m^m^^^ g=£ g j= £=£={=*=£: ^^HHH C-major. 9 4 zz: -0 — 0- §> : 10 C-minor. 13 f 2Z at 3. Secondary Subject Modulation into the Key of the Dominant. ^2- 5= G-major. 15 16 17 14 it }f ^==^^^ =pgg=ggg (Song-Group). ^=1= 18 30 FIRST PART OF TIIE SON' ATTN A-I OHM. (Perf. Cad. in G.)' 1G1 ^j^i^ i ^r-^pg^r^ ■Jl 22 ^zrz&z--. =£= 4. Closikg Group. ^^— ^ ^ii*=f^-»_;g=^= ^_^^ , ^ = fc /' 25 2=t =£ rp=E ai=f==i *=t -^£L Coda. 0^- 29 9 : =?=# ^ ?lose. Transition to the Repeat (Connecting-link). ao 31 si=r=t I 162 THE SONATA-FORM. 200. The five divisions off this little model Sonatina show the following numerical proportions, which, however, are of course not given as an absolute standard: (1) Principal Subject 8 measures (4 + 4). (2) Intermediate Group. .8 " (4 x 2). (3) Secondary Subject. . .8— * " (4 + 4—). (4) Closing Group 4 " (2x2). (5) Coda 2 " (4 x £). The figures in parenthesis show that the variety of the metrical construction (measure-grouping) lies in the alternation of /owr-measure and of ^o-measure groups. These are the smallest groups that can be alternated. The young composer should, in working, constantly aim at the variety resulting from such alternations. The rhythmical variety lies in the use of different hinds of notes within the metrical construction; here also belongs the difference in the points of entrance within the measure, — for example, while the first theme enters on the first quarter-note, the second enters on the second quarter-note of the measure. This variety too is here attained with the simplest means, yet in a perfectly satisfactory manner. The young composer should aim at this variety also, but with the same moderation and gradual progression as here, as overloading in this respect renders a piece motley, incoherent and tedious.* 201. The structure of the foregoing model composition may be variously analyzed, from various standpoints. Thus, the piece con- sists, in duality, of 16 + 15 measures. in triality, of 16 + 8^ + 7 measures. in quaternity, of 8 + 8 + 8-^ + 7 measures. 202. The first theme (principal subject) forms an 8-measure Thesis (large phrase, see Chap. VII), to which the intermediate group seems at first to afford the Antithesis ; instead of which, however, it modulates, with the first motive of the principal subject — 238- :g p_; * The opposite fault — rhythmical sameness — makes a piece stiff, clumsy and repulsive. FIRST PAST OF Till. SONATINA-FOBH. 163 in four 2-measure sections into 6r-major by means of the Dominant- septimachord (measures L5and L6) of thai key. Herewith its dynamic effecl is heightened by forte, its rhythm by the frtpfeMigure (measures 13 to 16). 'iO.'J. The second theme (secondary subject) returns to the quieter movement in eighths and to piano. Its construction is that of an in- dependent tonic double-phrase (4 + 4) (Par. 40). approaching the period-form with imperfeel authentic cadence in the Thesis (Par. 26). 204. The closing group lias the form of a double-section (Par. 12), the Coda consists of four half-measures. 205. In the last three divisions the forms are abbreviated thus: 8, 4 and 2 measures ; as also their elements: 4 measures. 2 measures, half-measures. 206. The ruling hey, from the Secondary Subject on, is the key of the Dominant. 20T. Tlie intermediate group is developed from a motive of the first theme, here by transposition (measures 11. 12). change of mode (measures 13, 14), and modulation (15. 16). This making the most of a part of a theme is called Development, or Thematic Work. It will be exhaustively treated in the proper place, in its connection. with the so-called Dkvelopmext-portiox of the Sonata-form (Chap- ters XLVIII, XLIX). TWEXTY-SECOXD EXERCISE. Compose, according to the directions above given, first parts of SOXATIXAS IN 31 A.JOE. [Take Kuhlau's Sonatina as model, though in respect to the length and construction of the separate group* it need not be followed absolutely. Thus, for example, the first Theme may be tonicatty independent— not n Thesis, and more frequent use may be made of overlapping (Chapter XIV). Former exercises may be utilized.] 164 THE SONATA-FORM. CHAPTER XXXIV. FIRST PART OF THE SONATINA IN MINOR. 20S. It' the Sonatina is in minor, the Intermediate Group modu- lates into the parallel major key, which from the second theme up to the close is the ruling key. If, for instance, our model Sonatina (Fig. 237) were in c-minor, the Intermediate Group would have to lead into iij?-major, thus: 239. ^4^-f- f-f-i — ?-\— p V >-: -Ay -0 r — f - - f r -*^f— *43— *std- 2& hfcz* EE ri^g=^^E^§ Second Theme. a —I _«_i , 1 F 1 — I ■ ¥& ± 209. A very concise first part of the minor Sonatina is found in Beethoven's //-minor Sonata, Op. 49, No. 1. As in Kuhlau's Sona- tina, so here the principal subject forms a Thesis with Half-cadence. i V 240 - -7 „ , -III. 1 )^4- ■ etc. 4 Measure? FIRST PART OP THE BON" ATI If A IN MINOH. L65 The regularly beginning Antithesis ie constructed as Intermediate fironp, and modulates (in the manner of a half-cadence) into the Dominant of the parallel key, 241. Entrance of 2d Theme. '• mj±z*_ ■)■ ,-■ whereupon the second Theme (not without melodic affinity with the first) enter?, is extended to over 9 measures, then repeats the last 5 measures, thus seeming disproportionately long, as against the first Theme. Second Theme 5? 242. S=E^= B^=li The elosing-group also borrows its matter from the second theme: 243. kfc his. mmm zzr- -t-V I + £&±± = ±9±*. +_± 1t± t Z_*± y f m m There is no Coda. ICG THE SOXATA-FORiL It may also be said, however, that in the place of the closing-gronip the last 5 measures of the second theme are repeated (especially as these form an independent phrase), and that the 5 measures above designated as closing-group may be considered as Coda. The scheme of the construction will then be: Principal Subject: 8 measures (Thesis) Intermediate Group: 7 measures (Antithesis). Secondary Subject : 9 measures. Closing-Group : 5 (taken from the Secondary Subject). Coda: ^5 (connecting with the Secondary Subject). So considered, the form is better adapted as a model for the young composer. TWEXTY-THIRD EXERCISE. Compose first parts of Sonatinas in minor. CHAPTER XXXV. THIRD PART OF THE SONATINA IN MAJOR. 210. The third part of the Sonatina-form differs from the first in this, that all the groups are in one and the same — the principal — hey ; otherwise, it is constructed just like the first part. Thus, from the second theme on, everything is to be transposed from the Dominant to the Tonic (either a Fourth higher or a Fifth lower, as the esthetic effect may require). 211. The Intermediate group here becomes a mere episode, no modulation being now required. The Kuhlau Sonatina (Fig. 237) retains this episode up to the modulation note for note, and then transposes the modulatory measures 15 and 1G into the Tonic: 244. ^Plpl^P^ Second Theme. £bdfc=r_S S TniKD PART OF T1IE SONATINA IN MAJOR. L67 212. Tlic Coda is usually, for the sake of a more decisive close, somewhat lengthened, — in the Kuhlau Sonatina by two C-major chords. 213. The third part is thus essentially repetition of the first, without modulation, hence it is also called Reprise, or Repetition. 214. There would be ao impropriety in beginning work on a Sonatina or Sonata with the composition of the third part, subse- quently forming from this the first part by working over the episode between the two themes into a modulatory group. TWENTY-FOUETII EXERCISE. Compose the third part to the Sonatinas written for the twenty- second exercise. 215. The part which undergoes the most substantial alteration, even to the loss of an essential characteristic, is undoubtedly the Inter- medial)' Group, in so far as it has in the first part the significance of modal uln r}j episode, and as such appears at present superfluous. Nevertheless, it is generally retained, shorn of its modulatory charac- ter, or enriched by the interpolation of some opportune modulation, in order not to disturb the metrical proportion of the parts, which is on the whole more important for the form than the modulatory pro- portion. In the models thus far cited the Intermediate Group bor- rowed its matter from the principal subject, even appeared for the most part as its Antithesis. The Intermediate Group is, however, not unfrequently composed of new motives, especially when the principal subject is topically independent, and conserpiently does not at once offer to the Intermediate Group a good starting-point. In this case its absence from the third part would rob the latter of an essential element of its make-up. 168 THE SONATA-FORM. CHAPTER XXXVI. THIRD PART OF THE SONATINA IN MINOR. 216. In minor, the third part holds strictly not only to the principal key, but also to the ruling mode. The second theme, and what follows it, undergoes therefore a much more substantial variation than in the Sonatina in major. For this reason the procedure men- tioned in Par. 214 — that of composing the third part first — would be still more advisable in the minor than in the major Sonatina. TWENTY-FIFTH EXERCISE. Compote third parts for the first parts of minor Sonatinas, trans- posing from the parallel to the tonic minor key. 217. In Mozart's small e-minor Sonatina, whose principal sub- ject, tonically independent, is given in Fig. 49 a, the course of the third part is as follows : Intermediate Group : 8 measures. s — ••ztizM — 5 — — # '1t~ > H — r 245. iirt-^i— i- =£* 0.- Violino simile. ins »^=E P5- 2- * 0—H - ±_l n l^=£ E^ 1— i-TT— i ~ 4 — F3 l 1 — : — ^^ri — — — * m •~i~^ '- 9 : l-- lEE^gEE =fF fe— i — P -r r THIRD I'AIlT OP THE S 'NAT. N A IN MINOB. ICO (This group is to be considered as perfectly independent, even though 1 1 1 « • motive with which it is entirely taken up, is drawn from the principal Bubject (Fig. 48 ft, measures 8 and 4). Now follows in the prescribed principal key and minor mode the Secondary Subject, in which we agaiu only hiut at the imitutioo in the violin). 246. Second Theme : 8 measures. ,. ft J ' K ^^5 etc. 4 measures. The Closing-group is quite short ; 247. L smi St*** * it is followed by a Coda in e-minor, arpeggio, three measures. '-218. In the first part of this Sonatina we tind the Secondary Subject, Closing-group and Coda, according to rule, in the parallel key — £- major. But the Intermediate Group does not there modulate into the Dominant of G, but makes a half-close in e-minor, exactly as in the third part (Fig. 245). Doubtless the composer deemed the — technically very easy — modula- tion not in keeping with tin 1 subject-matter, esthetidally inadmissible. He therefore interpolated in the first part between the minor side — Principal Subject and Intermediate Group — and the major side — Secondary Subject and Close — an episode of 10 measures: iro THE SOXATA-FORM. 248. Additional Intermediate Group. Violin I which enters at once in 6r-major (the brusqneness of this modulation seemed to comport with the character of the work), and at last form- ing a half-cadence on the Dominant of G, prepares the entrance of the second theme. But whence comes this interpolated episode ? The first measure is the contrary motion of the first measure of the principal subject, the subsequent motives are taken from the sixth measure of the same. This episode, which in the first part accomplishes what the preced- ing one cannot accomplish here, is wanting, accordingly, in the third part. But it is to be regarded in the first part as an anomaly, a reminiscence of the obsolete custom of once more alluding to the principal theme previously to the second theme. But perhaps Mozart had here the last part finished first in his mind. 219. It sometimes occurs, and is not considered an irregularity, that in the third part the key is not changed, but only the mode, — ■ for example, in a piece in g-minor, in the third part the secondary subject, closing-group and Coda are put in 6^-major. The close, too, may likewise be made in major, or it may be led back to minor. OMISSION 0] THE MODULATION IN' Till: PIBSI PART. L71 CHAPTER XXXVII. OMISSION OF THE MODULATION IN THE FIRST PART. 220. In major Sonatinas the modulation into the Dominant is often replaced by a half -cadence on the D iminant. Thus, for Instance, in the (/-major Sonatina, op. 49, Beethoven closes in the Interme- diate Group with a tol irably broad halt-cadence formula, followed immediately by the Secondary Subject in the key of the Dominant : 249. bis ^EEzfEEES^ i=* Se 3-*- illplpiPplfpEf^PP I w ^^ HJj-iJ 1 ^+f ^£^E "^ p Second Theme. Mozart has something similar in the ZMnajor Sonatina for four hands : simile. I V *•*-•- - I -0- -0 ,— * • 250. ep&s : =* tz=tz=p=cz: r r =pzr= — r * -g= ~r i 4=^ — — r i *-#■-#• ■™» ^^ simile. w ft 7 # *r> ± ± ± ± ^ 8u #— f*f-| 1 h— T— -;-l P t * 2^ if= 172 THE SONATA-FORM. 221. Even in larger Sonatas, which by reason of their dimensions and subject-matter are not to be classed among Sonatinas, this easy way of introducing the new key is occasionally found. In Mozart's D-major Sonata, for instance, which begins: Allegro. 251. t*d3^±H= . *- gj^ ^^p§EfE*^|§gJ^ the second theme follows the Half-cadence in the same way 252. ^ — JRW 5 — f- f *- p-a W- -0 — T-n-0-^fi-0 W^%E?, •^ * -» -j. -y + -0- * - # .»^. Second Theme, A-major. i^t i=4=» 222. An advantage arising from this method is that in the third part of the Sonata the principal subject and intermediate group may be kept unchanged (of course not must). TWENTY-SIXTH EXERCISE. Change in this way some previous compositions. SECOND PART OF THE SUNATI N.V-1'URM. 1T3 CHAPTER XXXVIII. SECOND PART OF THE SONATINA-FORM. 223. Between the two parts of the Sonatina which have been thus far studied enters now a middle member, the Second Part. This second part either (a) is concerned, as Development-portion, with constituent elements of the first part, thus serves for thematic work ; or, (b) brings new matter, which, however, must not take on any complete or independent form, otherwise it would pass over to the Eondo-form ; or, finally, (c) it brings somewhat of thematic work and somewhat ot new matter. 224. The length of the middle-group greatly varies. In some Sonatinas it is limited to few measures, occasionally merely forming a transitional passage into the repetition ; in others again it reaches nearly the length of the first part. As a general rule for the beginner , the middle-group should be shorter than the first part by about one- half, at the least, and about as long, at the most. TWENTY-SEVENTH EXERCISE. Add, accordingly, to the Sonatinas in major and minor hitherto composed, middle-groups {Development-portions, so-called), several to each. Combine the most successful of these exercises into complete Sona- tinas. 225. The middle-group of the Sonatina forms, together with the Reprise, the second part of the Sonatina, which second part is in many eases repeated. We will now study some model Sonatinas. 22G. In Beethoven's 6r-major Sonatina, Op. 40, the Develop- ment-portion sbows, against the hi measures of the first part, fourteen measures. 174 THE SOXATA-FORM. 253. Thematic elaboration of the First Theme. f p «/-miuor to a-minor. -0 *- &- f a-minor to e-minor -0 #-H— Half-cadeDce formula on the Dominant of - 9- is?": calando. —J c- =g^Z=Zg=gZ=fj*ZLT^r^gIiZ7^ 3E=* >- Transition. Reprise. ^:5: &. 1 — W 3EE3: 176 THE SOKATA-FOKM. 228. Both Sonatinas therefore show, in the middle-group, at least thematic reminiscence, though independent construction pre- dominates. 229. In the Development-portion of Beethoven's ^-minor So- natina, on the contrary, thematic treatment predominates. The very introduction, a modulation into ii'jMnajor, starts out from the second theme (see Fig. 242) : 255. ^:-b — ^-E*^ 1 F»— F— — m— *q^=#=#=1 t a Hereupon follows an entirely new episode of a 2 x 4-measure phrase, tonically rounded off in i?t?-major. 256. ■k=£&Tt—i s^igf * ^w 3ji| pMMM=^ | ^=£ etc. The next eighteen measures, however, belong thematically to the second theme, which, itself, as we have seen (Par. 209), is in this composition thematically akin to the first theme. 230. In our little model Sonatina by Kuhlau, on the contrary, the construction is perfectly free. Here the second part begins with the development of the new rhythmic motive — I I I I borrowing from the opening only the unimportant accompaniment- figure in the left hand — into a four-measure phrase ; then in rhythmic variation — SECOND PAST OF THE SONATINA-FORM. 1?? after four more measures a so-called deceptive cadence* in J?-major, which leads t<> a half-cadence on the dominanl (major) of c-minor, thence in commonplace scale-passages, etc., to the Reprise. These passages may, of course, be regarded as thematic-ally akin to the closing- group and Coda of the first part, if indeed anything so commonplace and insignificant can lay claim to thematic character. This insigni- ficance, commonplaceness and t'ormularity of the elaborations, far from being u reproach to the compositions here cited, which are all perfect models of their kind, are essential characteristics of the .Sonatina, in which the development-portion should not have a detrimental effect upon the repetition of the themes in the Reprise. The whole develop- ment is here in a certain sense a Cadenza on the septimachord leading from the dominant to the tonic, and thus the dominant harmonj counterpoises the entirely tonic character of the Reprise. * This term for a progression of the Dominant Triad or Septimachord to an- other chord than the expected Tonic harmony, is, as Lobe justly observes, inap- propriate, seeing that the unexpected chord may he a dissonance, in which case there is, of course, no Cadence in the proper sense, nor even a restitution of the Dominant harmony. In the interests of a more exact musical terminology I vent- ure to make this proposition : Let the progression of the Dominant harmony iai to that of the Tunic he called its principal resolution; (b) to any other major or minor Triad, a secondary r'>tti<>n ; and (c) to any dissonance, an unexpected progression, or something s : milar, the important word being " progression," as ■distinguished from " resolution." 178 THE SONATA-FORM. B. THE SONATA. 231. By enlargement of the parts, and consequently of the whole, from the Sonatina arises the Sonata. The proportion between the parts remains the same, in respect as well of modulation as of dimen- sions and metrical structure in general. The Grand Sonata, too, is. nothing more than a Sonata, of unusually great dimensions. CHAPTER XXXIX. ENLARGEMENT OF THE PRINCIPAL SUBJECT, (a) By Eepetition. 232. If the principal subject is of considerable significance, espe- cially of energetic rhythmical construction, it may be repeated, the close of the repetition forming at the same time the starting-point for what follows. For example : Allegro con brio. 257. ^fej=^p |=j=gp J g^=E=Sj Beethoven. This noted theme from Beethoven's Sonata (pathctique) Op. 13, is adapted for a repetition, on account of the forcible contrast between its two parts, and it requires this repetition because, in the quick tempo prescribed, once is not enough to make the proper impression. But in repeating it makes a half-cadence, and this is the starting-point for the intermediate group or link-episode. ENLARGEMENT OF Tin: PRINCIPAL 8UBJB< l. 179 t k 258. > =t -&- i&r- fe -m= 7 In the .E'JMnajor Sonata, Op. 31, the principal subject is repeated an Octave higher, each time with a complete close in the tonic. (b) By Addition. 23.3. The principal subject may be enlarged also by the addition of another group, forming, so to speak, an afterlude, coda or refrain to the first, — a favorite form with Mozart. In the 2?l?-major Symphony of this master the principal subject forms the following 14 + 14^ measure period, here given, for saving room, in the most meagre melodic abridgment : 259. Allegro 7 4 ^EffiEE — 1-3- — £-j- 1 — m — r * r ' (» =3=4 i=|rd 3E — *— V- =t ;fe^i^i^ S= ^H = b ^=f= f=fe^ TS» *- Mozart. S £_|g— p gfe=£ »-^ * UTi fea On the final measure (lacking here) of this tender subject now enters a fiery forte, after the manner of " Tutti," of 18 measures, 180 THE SONATA-FORM. 260. FSB i2=^- rf=^= b -^g-bgz U :trf > * and on the last chord of which the intermediate group (modulatory episode) begins. The 8 measures, too, which in the Pathetic Sonata follow the repe- tition of the principal subject, may be considered as added to the latter as a kind of cadence-formula (organ-point ending with a half- cadence), so that in this case we have both repetition and addition. It is certain that in the r^-minor Sonata (Op. 27), in the Finale, the organ-point on the Dominant — &ufct ' — * — * — * — * — r* *-t *-+-+*-* * ? f * X »- r ^ I I i J -|_U __U=± =j=j=t =p 561. £¥*- ** 5S5?$5S£t£ ENLAIKiEMLNT OF THE PRINCIPAL SUBJECT. IM which also is substantially a Lengthened half-cadence, is to be regarded as an addition to the principal subject.* Allegro. *— r 0- 262. \ME 3^^E^^^^^m (Interpolated Imitation, see Fiy. 70.) Second Subject. — • — ♦. — V pa =I=J=±^ m^n^i I | Lf £ t etc. ■■■3 i i Coda. Mozart. t-+ r ire^nF^ g 23-4. The above example from Mozart is, esthetically, essentially distinguished from the examples first cited by the circumstance that the second theme is followed by a more delicate echo, which seems to die away entirely in the Coda. The smaller form of the parts implies the proportionate shortness of the whole. By a kind of Prelude, Beethoven enlarges the theme of the great jBp-major Sonata, Op. 106 (which see). (c) By Period-formation. 235. The Period, being a complete musical thought, is for this reason not so well adapted to be a member of a group forming a Sonata. For the most part the principal subject constitutes only the Thesis of a period, to which is joined — instead of the Antithesis and with its motives — the intermediate group ; thus the latter, instead of closing periodically with the Thesis, reaches over into the sphere of another key. * We have here an example of those original and energetic cadence-formulas which Beethoven substituted for the trivial, common-property cadences in use before his time. 182 TEE SONATA-FORM. 236. Nevertheless we have ahove already had an example from Mozart, in which a long period united with another thought to form a principal subject. There are also extended periods which alone occupy the entire space of the principal subject. We give here two examples, one from Beethoven with consider- ably shortened, one from Mozart with considerably lengthened Anti- thesis, both in the most meagre melodic abridgment only, leaving the filling up to the student's memory. First Theme. 4x2 measures, quadruple section. sea. | #a ^T 3 . jLJ- g^flgS — — *- 35 Second Theme. 2x2 + 2x1 + 2. i^m^^^ i^Em^^ ^ =t=*=i Close of Thesis. Antithesis. 2 x (2x2) +4x1. mmgm^m&*m&^ Coda. *- J&- Beethoyen. pil^^iiii^ig The thought closing in the 8th measure, and consisting of four dimeters (forming a quadruple section, see Par, 13), is here followed by a second thought, without any thematic relationship to the first, but forming esthetically a most decided contrast to it. and ending with a half-cadence; thus we have a 16-measure Thesis. The Anti- thesis, which at least suggests the motive of the first Thesis, consists of only 2x4 measures (double phrase), but is extended by a small Coda to 12 measures. This Coda is immediately followed by the intermediate group. 2.'»7. We have here, moreover, an excellent example of the large three-part period (Chapter VIII), which, like the example from Mozart (Fig. 57), has two Theses. ENLARGEMENT OF THE PRINCIPAL si H.IECT. is:; Thois. &7Z==\-=0-*-* _ _ . \—jf-trr^—~ -zr* * * — « — ' — •» ~ •■* * * - 0-- M - - ^ # » '>^?r=L ? , , 0-f*^rrz Viola. simile. L tr — ' ' — *— — J. "^ Antithesis. - Ig - T i ' — F— r— I — F T= F — — — — = c 12 ?' -—J — &-•- - ?=rz =^x t=^^K §=^=§= IKre we sec the very first four measures ending with a half-cadence, which seems to characterize them as Thesis of a period. The con- tinuation, however, does not take period-shape, but again makes a half-cadence (by means of the augmented Sextachord). Esthetically, too, the character of Antithesis is wanting, on account of the rhythm pressing forward as it does, although the motives thus rhythmically enlivened are those of the first Thesis. It is now that the Antithesis proper begins, which embraces sixteen measures as against eight of 184 THE SONATA-FOR.M. the Thesis. The enlargement is effected through the agency of the motive | a |, which is four times repeated and leads to a thematically free close. 238. By means of the shortening and lengthening of the Anti- thesis, as illustrated in the foregoing examples, the period loses that independent, complete-in-itself character which is repugnant to the Sonata-form. 239. In the c-minor Symphony Beethoven constructs, after a 5-measure Introduction, an extended Thesis of 16 measures. To this corresponds — after 3 measures of introduction — an Antithesis of 20 measures. The enlargement by 4 measures is made out of the motive of the Thesis : 265. which in the Antithesis is transformed and developed in the following manner : &7^f£P^*jj£jF Beginning of the Intermediate Group. This principal subject thus exhibits a large period, embracing — not counting the 8 measures of introduction — 36 measures. The close of this period is, however, by means of the division and the im- petuous forward movement of the motives, rhythmically so constructed that the period does not seem to end, but to incessantly press onward. The great art in the Sonata-form is, in fact, to avoid cadences by means of the rhythmical construction. 240. There are, of course, other ways of extending the principal subject. To find these in the works of the masters, and to imitate them, will be easy to the young composer who has carefully attended to the foregoing explanations. TWENTY-EIGHTH EXEECISE. Compose, according to the methods here explained, enlarged principal subjects of the Sonata-form up to the entrance of the Intermediate Group. For this purpose utilize, as far as iwssible, material already on ha, id. ENLARGEMENT 01 THE PRINCIPAL SUBJECT. 1 85 The student is especially cautioned not to compose these exercises in the form of meagre melodic abridgment (as in many of our Illustra- tions), afterwards adding the harmonization, — but, like a true artist, to have constantly in his mind at the Bame time melody and harmony a* forming a whole, as also the presentation of his idea- bj means of the particular instrument (or instruments) which he chooses for the purpose. Here follow some examples from Beethoven, given in their en- tirety, in order to stimulate the studeut's imagination. MODELS. Principal Subject, /"-major Quartet, Op. 18. Allegro con brio 267. Thesis. 9 -vr-rtt ^ Antithesis 0engthened). ij ._ i — zpr p=|=^p==p+^pia=^-~j-ffl=: :^=p- ~ pj^r-gp -f &9. ' Per. Tonic Cadence. lilp=|§plpliP m —\ — ** Igg THE SOXAT^-FORM. Coda to Antithesis, quasi 2d Antithesis. "* * *^-fi-r-* z^ziik^d -- q as 3^P^=¥ 4= t± P j-fta i-^fii_i_L=_ n-0—*-»—*-0 ■>■ ^ U U. L 1 Per. Tonic Cad , t-£ * * r » Principal Subject, C-major Quartet, Op. 59. Allegro vivace. 268. h — L «*-- — ^ f * p * r-(5 ) -'- fe^35±|=l i± ENLARGEMENT OF THE PRINCIPAL 8UBJECT. 187 col' 8 . i — ^> — _ — < — s — ' — ■ --- — +-3 1 — < — ^=* :• A :£=* /'/' / s^mii c. 8 ji cv — #-• r -_4— z ^_ #_* # #_*- J-Jt » c # = * « ?■ rr c. 8. rD - - — 0- ... -: ,_ t f -^ * -#■ TT — • ' -0- 9-0 — i — —0 — r— — i — : t= ;=E£ * ^£ - — -# — j— ± — I J _l i A?** se UJzrtpzfL*. 1*9 •_ B M.M.M. J$J. E «*^ H — k-« J" j-#-;r ; -=;-rii» =#=# T':>==z:j:^^iSr*^— t- ,-j^ S *-^ f-t-y -rf »~»| ^ — — — r^g- 188 THE SOtfATA-FORM. £ - £ g It r t V-=rV-, n-^ ^=^hi A Tff^-^rr-*-*- • -l- r 4- K-4-,-4- Violin. Principal Subject, «-minor (Kreutzer) Sonata. Presto. ^ 269. Pianoforte. -# — 0- -+—0—0- I I s/i? Thesis, 9 measures by lengthening the close. ^mp^^i 4=i: sfp tf -4-x-l 4- ro/;. £ — 1— I— r r*=g=£r)=+=p I 3SZ ■2T - me mW. Reperition. - L - -0r -0r -S- *f% >r& : *f 9 : — j * - — = 3=to=j= :q =^= :j=£=i -^ — _l^ 1 r # r # g_. rp c -t9- . rail. ¥ es33^^ BJ^^J ^ ^E w= rail. 5 3 3 3 ENLAKUKMKNT OF THE PRINCIPAL SUBJECT. L89 & U-ti m r* V p cresc ^ 1 — . — * — a — I n -> =3— •— \—i r -9* #-#=F--| — $• — 0—0— f -¥-_, *f m ;__, L^-4 p I , =T t^ f 9 : j# — » — #- * — r p p & ^m Coda, 2x8 Measures. S: -.,- ^ -sr- T #-) • 1 #- •-T-" » 'I » ' »- tr -t — i- 190 THE SONATA-FORM. :#_§, _^ *. #_ :g3-r=F^ S^E* £=* £»£S ? E te * EEtB rbr r r. -^ B ^^g g -« S^^&g^ »=£ -«=>- -I — I — I — ' #=* 3L — 1 • 1 — 1 1 1 1 -, — j- ^5=5 I HE 1 .\ I EB .M E D I A I E Q KO U P. 191 CHAPTER XL. THE INTERMEDIATE GROUP. 241. The Intermediate Group is, as we have seen, in the first part of the Sonatina-form of a modulatory character, as bringing in the new key (that of the secondary subject). The modulation is in this case of a more or less radical character. (a) In the case of the Sonatina we saw (Chapter XXXVTI) that the secondary subject may enter in its new key (that of the Dominant), without previous modulation into that key, i. e., after a half-cadence on the Dominant. This seldom occurs in the larger Sonata, yet it is sometimes found, especially in Mozart. In this case, then, the easy task of the intermediate group is to end with a half-cadence. (b) The modulation is more decisive when the new key is intro- duced by means of its dominant-septimachord (as in Kuhlau's model Sonatina). (c) But the most decisive and most usual way, in large Sonatas, of introducing the new key (Dominant) for the second theme, is by means of the dominant of the dominant, which, for want of a better Dame and in imitation of the German designation (Wechseldominant) we will call Reciprocal Dominant. To change, for instance, from C-major to (r-major, first modulate to Z>-major, then back, as it were, to Cr-major. Or, to go from a .-minor to e-minor, modulate first to 2?-major (dominant of e-minor). To go from c-minor to E ('-major, modulate first to Z?b-major, dominant of the parallel key. Thus Mozart, for instance, in the ^r-minor Symphony, though he has already reached the parallel key, yet modulates into its dominant before bringing in the secondary subject in i?|?-major. -#?«- J? *?*• 270. p-r r r ^^S2£^m i £g E te ^ etc. W e^ ^ i :=^z: 195 THE SONATA-FORM. 242. A method occupying middle ground between the last two methods (b and c), is that of making a perfect cadence in the new key, as in Beethoven's Z?-major Sonata, Op. 10. 271. ff RIs-i — * — i ^ — I -F 1^ 243. The Intermediate Group itself, in its enlarged form in the Sonata is, as to its construction, either (A) ihematically borrowed from the principal subject; or (B) independent; or (C) partly borrowed, partly independent. A. 244. The intermediate group follows the principal subject as Antithesis or Repetition, and leads its motives into the new key. So Beethoven in the Finale of the r$-minor Sonata, where the principal subject, as Thesis, closes with the Coda given in Fig. 261. The Antithesis now seems to enter, at least the beginning at once re-appears : THE INTKKMKMATE UKOL'P. 11)3 272. yy'. i>*n. pm^ss ^fe= i - m >i=- - ^ m . • 3=S= 5 • 7 • ? • 3 - * But, instead of returning to the principal Key, a modulation is made with the chief motive, which finally puts on a mere tender form, to the key of the dominant — ptt-minor, in which the second theme at once enters. rf > -.s^ipipi 245. If the principal subject makes a tonic close, the place of the Antithesis is taken by the Repetition. a< in Mozart's a-minor Sonata. The principal subject is an 8-measure phrase, on the last measure of which the repetition, and with it the intermediate group enters. Repetition and Intermedials Group ji #:• 3~#~ *z» , HHPiHi^ •)■ -p—#z f=±=t L^ ztz Vm!*+. 194 THE SOX AT A -FORM. fl * **-*-* * i =t: i* — r ^ 'ba sH* ^-» »-r simile. =fe^^l*fe*=f- -F Just as, in the example from Beethoven, the modulatory Anti- thesis was preceded by a cadence-formula on the dominant (Fig. 261), so in this example from Mozart the repetition is followed by a similar formula on the dominant of the new key just reached. In the j^b-major Sonata, Op. 31, the intermediate group, after the repetition of the principal subject (Par. 232), sets out with the chief motive of the latter, finally making with the second motive the prescribed modulation. 246. The intermediate group is constructed from independent motives. It is thus, for instance, in Mozart's 7?b-major Symphony. The principal subject of the first Allegro (Figs. 259, 260) is imme- diately followed by the intermediate group with the motive — 275. 5=E *-#- *-» ^^ ?ZW=J m •0- . -0: . -0- . Efe This same section is repeated five times, modulating: 6 2 6 U6- fi4 3~ 276. mi 3 establishes itself in i^-major on an organ-point, i=q <9~. r^f 21 .^-•_l m ii D 07 27 7 . w£=m^mm ^m^m$= In 4 Octaves. etc TIIE INTERMEDIATE GB0X7P. and then, with an entirely new motive, 195 278. ffi ^H#tfffrf [f i r i * =e — * — J _ZZ- _JZI- _~ ' — # — passes into Z>?-major, to lead into tlie secondary subject. In the Don Giovanni overture the episode between the principal and the secondary subject is quite independent. C. 247. The intermediate group makes the principal subject its starting-point, but passes on to independent construction. In Mozart's gr-minor Symphony the chief subject takes the form of an enlarged Thesis of 16 measures. This is followed by the Anti- thesis : 279. -^2=W=f _m.m-U itlli^^^ New Thought in the Episode. &-'-- m i • Modulation to B k- major. tg£ — I — r = — *■ r 1 ■f—\ ' « *~ \ m —\ - m-\-j~f—\ B— * •>. .J* Modulation to the Dominant of the parallel. frprrt ; :^p^a fg 1" W- **- " J ~r~ M j ~" (Secondary ««- 1 *_L_!« Subject J 19G THE SONATA-FOKM. Here we see the episode begin as Antithesis and pass on to inde- pendent construction before leading into the secondary subject. It is remarkable that this new thought is already in the key (2/b-major) of the secondary subject and yet modulates into it. Mozart has done precisely the same thing in his c-minor Sonata (Fig. 54 a). TWENTY-NINTH EXERCISE. Add to the principal subjects of the ])recedmg exercise, according to the methods here laid down, episodes leading, in either one of the ways mentioned under (B) and (C), pp. 194, 195, into the keg of the second theme. CHAPTER XLI. THE SECONDARY SUBJECT (SONG-GROUP). 248. The second theme generally forms the strongest contrast to the first which is found in the whole movement, in particular it takes on a more songful character when the first theme was very profuse in figuration. In other respects its construction shows quite as much variety as that of the first theme, or even more may be allowed, under the stimulating influence of the preceding development. 249. The extent of the secondary subject is, as a rule, some- what greater than tliat of the principal subject without episode, but considerably less than that of the principal subject with episode. We give below two "Secondary Subjects" as specimens of construc- tion. 250. The secondary subject must always form a perfect cadence in its principal key, which is, as we have seen, in major, that of the Dominant; in minor, the parallel (major), or the minor key of the Dominant. [The student should analyze the first movements of the best known Sympho- nies, Sonatas, and Quartets of Bkrthoven, of the last three Symphonies of Mozart (g minor, ii'b-major, C major), and of the other sonata-form compositions of these masters, and of Haydn, with a view to studying the construction of the secondary themes and their relation to the principal themes.] THE SECONDARY SUBJECT. 197 280. BEETHOVEN. Einale or the cJ-minok Sonata. Second Theme. j/J-minor. Allegro. iii^iiiiiNllliiNlIi Motive. Abbreviation. MOZART. Fikst Movement or the c-minou Sonata. Second Theme. A'6-major. Allegro. itfc ■**— I^;eE=S Motive. Free contrary motion. Tonic— Dominant. BEETHOVEN. *,,&*— H 1 M 1 -^-t +- — I t— I P r? W » » t~ tf S — d — H 1 — I-*-.— <-f — 0-\ — I — 4~i 1 1 1 — #-. MOZART. Repetition, enhanced by greater sonority and by figuration. -t-0 § 05=: jg Repetition : Dominant— BEETHOVEN. >. . . # £' # -*-£#. *- -0-t-' -0- fta- ^ £» 4=2. MOZART. g^E^^ 3=fe Unexpected progression. New Motive. U„. mm^ Tonic. New Motive. BEETHOVEN. ^^i^i: lii MOZART. Transposed. T* ^ r -^ — P"H""1~ g — ?^ > — r* 1 — F :*»•* etc. up to E 4 '4 ' 4 t^m 252. Still more notable is the episode interpolated, in the Kreutzer Sonata, between the second theme and the closing-group, which once more goes through the whole modulation. In the former case it is admissible to regard the new episode as a quite special kind of Thesis of the closing-group ; in the latter case the assumption of a special kind of Antithesis to the second theme, instead of a second episode, is conceivable. 200 THE SONATA-FORM. CHAPTER XLII. THE CLOSING-GROUP. 253. Esthetically, the closing-group has, as a rule, somewhat of the character of the principal subject, especially when the latter was of a rather lively figuration. Its dimensions are such as to pretty nearly sustain the equilibrium in the duality (Par. 195) of the first part of the Sonata-form. 254. Technically, the character of the closing-group is on the whole that of a prolonged cadence-formula on a melodic motive. The closing-group is sometimes repeated, sometimes composed of several different motives. The model for this part of the Sonata-form is the closing-group of Beethoven's f$-minor Sonata. It follows immediately after the second theme and is climacterically repeated. 282. — ^ J J J J ~j~*j~j~**j — *— *— * — *— *— ^ -fr-i-fr— -1 Pft _^_pz=a: Repeated with longer Close. ^vSiitta — ^ — * — | ■ P — * — ■ — £—+ — 1* — P— h- tt*»— » I — ^ — The closing-group in Mozart's ^-minor Symphony is composite, and shows three divisions : First. 283. ^^^f ^^ ^^^ gfe^SEL- gEEE-JEE Second. y gforHCh ; TIIE CLOSING GROUP. 201 U -b— T- — ? p T y~T L r f jfl. -«. -*I 3Tj u i mj-r lb F=J *^^fzs: » — *-#-» 5B ESiE i5-i:p:: — U— t p— ^ =i =EE£:T :f Third. -«-*. Hs^li^ # tfc E * * »T-r~ » * 1 rl 1 1 1 rl Coda follows. 255. Sometimes the closing-group seems to be only a Coda to the secondary subject, as in Beethoven's e-minor Sonata. 284. ^m m f >f i 3BZ Z^r. fct J 1 ; -j-t- =j= I »--F— — — * S- j u i ju »J ^ >• dim. PP ^m 8 202 THE SONATA-FORM. CHAPTER XLIII. THE CODA. 256. The Coda, already known to us as fifth part of the Sonatina- form, is sometimes limited in the Sonata-form also to a few chords, jet it occasionally has also larger dimensions, and even is composite. A model, for clear separation of the parts and normal structure of them, is here again the ctt-minor Sonata, in which the closing-group given in Fig. 282 is followed by this thought as Coda (Construction : 2x2 + 2x1): 285. *$rf^a J=i=J H 1 1 -+I ll •+•*■* "'C2S53 " -ggj ^P=^=^ £03~ ffi Fr $-^W ' £ £: £ ^^ -H«- An example of a Coda consisting of two different parts is found in Mozart's i^-maj or Sonata (Fig. 262): 286. HP i!= ,^J^- -^bzzr- J r f_ . _^ ^===^===gfe==c tiik coda. 803 w± fEt=»£^=irj!£i=*i3=±3-? »£==-fc=A I f ft. f f • £ ,_Bif_ r L__^ 1 fel^]gp^§^^^ Here are some examples of usual construction BEETHOVEN, c-minor Stmphont. 287. \)~- ^tt? -N— -• :-r8— -*-*-*- -»---h# — . — h — • # 0-\- 2fc * • ¥ £— -» i — "r ^^: I F?=FFi=8=! : P=FF^=8 :: ^^=7T-=F=f S t^pt^^ m\ iUr * MOZART. y-MraoR Stmphont. 288. H^lS^il ±± :*- a *== 5§^=3=^=feS g^=PEP^ 204 THE SONATA-FOR:-!. Beethoven's e-minor Sonata, Op. 90, has only two chords as Coda, — they follow what is given in Fig. 284. Exceptionally (very rarely) the Coda is altogether wanting. CHAPTER XLIV. THE CONNECTING LINK. 257. In the Sonatina we have seen, that for leading into the repe- tition or continuation a connecting link follows mediately or imme- diately the close of the first part (see Fig. 237). The necessity for such a link arises from the relation of the close to the repetition (or, as the case may be, to the continuation into the second part). Thus Mozart in the c-minor Sonata (Fig. 54) utilizes for both purposes the figure borrowed from the principal subject : 289. [The first time repetition follows, the 2d time development.] To the Coda in the Finale of the c$-minor Sonata (Fig. 285) Beethoven appends the following link: 290. The Repetition here begins. ilbggilF^ This way of constructing the connecting link, viz: out of motives of the principal subject, is, especially with Beethoven and his suc- cessors, very frequent, almost the usual practice. Till-: MiNNKCTING LINa. In the g-minor Sonata for piano and violin Mozart ages as connecting-link even a Canon formed from the principal theme: Played in Octavos. 291. =* £-• «hl ! J J , Iff ■ J1| l -P =p*ri . # — «_ t=t=t .* i*-r-j: .- * — •■ -*■ — * (See Fig. 87 a J •&■ . ■| f\m 3=^ s *-*- a which, in the third part, is thus repeated in the principal key : 292. -z-(zr- S 2 - <2--- # — — *•-*- ■<*- . -— ••- -^ -#-i%*. Eg^^^==^^^^ p!f C-l r -f- it " m^^^m *-k tt — ^ " FT I I ::g JE^ tZT 0-0—0k r 9 * rm a s ■^ EEE£ >» £S q Pi THIRTY-FIRST EXERCISE. Complete the Sonata movements already begun by adding closing' group and Coda; also, as mag be required, connecting-link far the repetition. [By means of the exercises of this Part the student must have composed many first part of the Sonata-form. We now proceed to the easy work of con structing the tliird part (Reprise).] 206 THE SONATA-FOKM. CHAPTER XLV. THIRD PART OF THE SONATA-FORM. 258. The third part is formed from the first by avoiding the change of key. The process of construction is just as in the case of the Sonatina. The groups maintain on the whole the same dimen- sions, though abbreviations and extensions in particular cases are, of course, not excluded. 259. On account of the omission of the modulation the interme- diate group between the first and the second theme may, strictly speaking, be dispensed with, as indeed is sometimes done in the Eeprise. Thus, for instance, the cjf-minor Sonata in the third part closes the principal subject exactly as in the first, viz : on a half- cadence with organ-point and pause ; but then — skipping the inter- mediate group — at once enters upon the secondary subject, — 293- after which everything follows the regular course. In the tf-minor Sonata, Op. 31, also, in the third part, the inter- mediate group of the first part is altogether wanting; it had, however, in the development-portion (second part), or rather as development, already been repeated entire. 260. As a rule, on the other hand, the intermediate group is retained by the great masters of the Sonata-form, and often exploited for thematic work, and then sometimes even enlarged- Mozart, in his later works, is fond of treatment of this kind, as, for instance, in the ^-minor Symphony, where the characteristic motive of the intermediate group | a | — 294. EggEE^SEjgjE^E THIRD PART 01' Till: SONATA-FORM. 201 h. * ? — r ' f * p£^P H r S o~kf=t=t fe =§§£ ¥ ?-£ a=r=c==»: tr 3 -!-* T > . I 1 . »-iF^r i^^si^^p^^^^-g l^iilip^ii A-r- ■j9- s ~S,—p- T—-l-t; -V— P- ? r » h- #=* :izzl # -f ' f f ' tr-M-f-F^flJ r MGlfrfl ggg ±==c pgg **-»—*- ♦ u -O- ^E^m ■*■ Ik- -^- %^^m^^ m ^m \ - - 279.) is in an interesting manner harmonically and contrapuntal)}' developed, and, as against the first part, lengthened by 21 measures. In the cele- brated Finale, fuguecl in quadruple counterpoint, of the great C-major Symphony, he uses this place for an equally interesting Stretto through the circle of Fourths. 295. -TL_ ,5^ SE -■ C/ :r£s<_ Ccunterpointed with two other motives. $6 t« »6 j?6 36 208 THE SONATA-FORM. -ta =1 &C s O rt 3 ■4J -+j c3 eg -. s ^5 o O CD S3 o pj crt O to "on 03 CO > - CD a> ~ -t^> H pQ O Ph «! "g Pi .2 n: 7t O ft *-i-i S DO 'cO O t»> 5fl ft c3 -M o CD M :ZJ -*J •r-s £ a r+ >. X CD CD J_ Pi o _r O CS -' bC ft £ CD Cj C CD o - CD ? P H fH ad co CD C3 CO co 4J cd O ,_^ pfl O bJD -+J =H CD O O -+3 -M a CO cS CD CO o if. CD S +3 Oi o t> ^ o -u s CO 03 O -t-5 > CO _,_ ca o 03 -4-3 M ,£3 cd CD o flop] lllk r ) [ £1 1 -*4< I I ~*l 4Sk 41 a>_L 41 J 4fl fe /III Mill 4^ :M .ii_ ~m ^ ^ '=& a^ MODULATORY LICENSE. 209 This procedure is recommended to the young composer also. lie should retain the intermediate group, judiciously enlarging and enriching it. THIRTY-SECOND EXERCISE. Compose, accordingly, the third part of Sonatas already written. CHAPTER XLVI. MODULATORY LICENSE. 261. In Sonatas in minor whose second theme, with the subse- quent closing-group and Coda, will not bear transposition into the minor mode, the major mode of the principal key is substituted. This modulatory license is found in many compositions by Haydn, but a striking example of it is seen in Beethoven's c-miuor Symphony. Here the second theme — 297. a * i^' i p-ia SH=^l would not allow transposition into minor, as it would thereby entirely lose its character ; it therefore now appears in the major mode of the principal key — C: 298. 210 THE SONATA-FORM. in which the closing-group also then follows, whose triumphant fiery character is likewise repugnant to the minor mode : 299. Ffcfc 1 X ! i r i " r "r That the movement, notwithstanding, closes in minor, will be accounted for farther on (see Par. 283). CHAPTER XLVII. MODIFICATIONS OF PARTICULAR GROUPS IN THE THIRD PART. A. Modifications of the Principal Theme. 262. In the f/-minor Sonata Beethoven shortens the first theme by the greater part of its figurate matter, while he lengthens it by two Largo-recitatives : 300. i Largo. P33 = J J J -J-*- :» -• — #.i*- EE^^ti aii 1 ^lff«^ro. PTi^ — 1 — " — I--*—- £h j5 ^±^p^_^t^=r-:^£._t W— ± —' — 9 : r w 1 =; — » r* — » — * — # — r* — ,* 2 — Si C ^-p T "T^ r *f if: ~r r- E b MODIFICATIONS OF PARTICULAR GROUPS. Adagio. Largo. 211 ^0MMy^ s >f 4 ="— PP ! fe- :± E^» =r V 3=1 ♦ >#■■# r4=^=b=i^z He then, with a few measures of modulation, llegro. «3 $5- 301. m^^m^m -|i i F $ — * — t=t $4 3 : y-r* - 1 - 1 r ^tr^ifr^ etc. passes on, omitting the intermediate group, to the second theme, which now appears in rf-minor. ft ' 1 fc — -*- -*_ £fe I *== 302. >zz r1—*-J zJ — *— *=d— c -L_t— M #—*—#—»- t tfr-t etc. -#— - fcz 0- 212 THE SON ATA -FORM. In the Pathetic Sonata he forms from the second part of the first theme a modulatory group, 303. 5* 9 - # -T^EE£ ^rrfcfr — 1-°- »» — a. a±rz tz £3E F simile sempre. ~b — ^J — i — I— i T 77— 1 — 1?-i-"f:-bg-r y-=iiEitE^ m -f i^ ^=i=^ = t—i — r i=i= -4 1 1 -J — -I — I— I ± =Z THE DEVELOPMENT-PORTION. 213 fi— 0- gE jgcE?^ m^. :R=s_z=z5 — # — # S^^ gf^ fc * — t. §** ^=±=t=f=t- "We observe, in passing, that this theme in the first part does not enter in the (regular) major key — E\>, but in the homonymic minor kev — e\r, and makes only its close in major. D. Modifications of Closing-group and Coda. 265. The Closing-group and Coda are, for the sake of a more decided close, often modified by an extension, which is sometimes shorter, sometimes longer, and exceptionally attains the proportions of a quite new and comprehensive part of the close. Illustrations of this are found in Beethoven's "Eroica" and Ninth Symphonies. CHAPTER XLVIII. THE DEVELOPMENT-PORTION. 2G6. The development-portion of the large Sonata should occupy itself exclusively, or almost exclusively, with the themes and motives of the first part; where it does not, its contents are nol np to the requirements of the large Sonata-form, and this form loses somewhat of its importance. 267. In the master-pieces of Mozakt and Haydn the develop- 214 THE SONATA-FORM. merit is for the most part considerably shorter than the two other parts, say about half as long, while in Beethoven's works it attains to the dimensions of the other parts, sometimes even is lono-er. This is explained by the ract that Beethoven's genius found its greatest resource in thematic work, whilst the two masters first named occu- pied, themselves more with the technical construction of the whole. Thematic Work. 268. The expression " thematic work " embraces everything that can possibly be made out of a theme, by harmonization, figuration, variation, counterpoint, instrumentation, in the broadest sense of each of these terms. 269. In the works of the classical masters of our instrumental music the employment of counterpoint * is limited, as a rule, to imi- tation, the fugue and the canon being only exceptionally introduced.! Thus Mozart, in the "Magic Flute" overture, and Beethoven, in the overture "The Consecration of the House," touch upon the fugue-form ; the latter composer, in the c-minor Sonata for violin and piano, upon the canon. The finale of Mozart's great C-major Symphony is based even on a quadruple counterpoint, and Beetho- ven's Symphonies and other instrumental works exhibit small canons. Yet these are, in proportion to the majority of the works, only excep- tions ; exceptions which show how far thematic work can go in this direction when it is requisite, and how completely the composer should be equipped for every emergency. CHAPTER XLIX. THEMATIC WORK IN THE DEVELOPMENT-PORTION. 270. In the development-portion the thematic work must be done according to system, not capriciously springing from one thought to another without any method. * Excepting, of course, in those works which are professedly written in contra- puntal style throughout, such as independent fugues, canons, etc., with which we are here not directly concerned. t In Beethoven's A -major Sonata the whole development portion takes the form of a fugue, whose subject is drawn from the first theme. THEMATIC WORK IX THE DEVELOPMENT-POBTIOM". •J 1 5 211. The special difficulty of the developmenl is thai it begins modulating in the key in which it bas to end, viz.: that of the Domi- nant. To obviate this difficulty and gain room Eor the modulation, the masters occasionally open the development-portion with a modula- tion into a remote key. Mozart, in the first movement of the C-major Symphony, modulates directly into E^-m&jor, and that in unisono: 305. -i — >5>- -p»— and, in the (/-minor Symphony, with a few chords from .Z>1?-major (parallel key) into /fl-minor: 306. [:||£?= V jf. „ _ Beethovf.x. in the Z)-major Sonata, Op. 10, begins the develop- ment in i??-major: 307. i — -f-i ^ — F 1 — + — ' — " H — 9* — ^ i.a^= -\9<9 l^ 1- ' •w Mendelssohn, in the a-minor Symphony, introduces the second part (development) in a manner as original as it is charming, by letting the ronic of e-minor, with which the first part ends, remain, and the horns sound against it the major Fifth c$ — g§, with doubling in the Octave. 308. ^1 216 THE SONATA-FOBM. If this e were tonic of E-major, the entrance of the rjf-minor Triad would be quite commonplace and without effect. 272. The principal rules for the development are these: One should not take up a motive, not knowing what to do with it ; nor should a motive be given up till it has been thoroughly exploited. A motive, once abandoned, should not be resumed, unless, by means of contrast or climax, with greatly lieightened effect. 273. In the modulation tbere should be order, not purposeless wandering from one key to another ; especially, pains should be taken to avoid the key of the Dominant (of the principal key) before the end of the development. The close of the development is preemi- nently suitable for an organ-point on the Dominant. 274. The syntax (so to speak) of the development-portion should be according to strict form, as in the other parts ; here, however, the smaller forms predominate, and their construction is quite independent of any tonic, this being the place for free modulation. 275. A sequence-like repetition of smaller groaps may easily appear trifling or pedantic (of course, however, much depends on the kind of sequence *). 276. On tbe other hand, the repetition of large and very artistic- ally elaborated groups, in another key, perhaps also with slight variations, is of decided advantage to the development-portion, as promoting the greater clearness of its form. Examples are found in Beethoven's great Symphonies, especially in the first movement of the Ninth. 277. There is no symphonic movement which illustrates the exploitation of the elements of the Sonata-form in a more succinct and striking manner than does the first movement of the ^-minor Symphony. Of the motives of the first part the following are em- ployed in it for development : the chief motive : 309. iKpfld: the thematically allied motive * In Wagner's works are harmonic sequences which are surely anything but dry and pedantic. THEMATIC WORK IN' THE DEVELOPMEIJT-POBIIOH. the first half of the same : 217 :fc&-jIiL3-i_:±= the enlargement of the chief motive : the 2d and 3d measures of the same : lastly, this abbreviation -•?: sfcfc 1 E~~] \?=2l of the chief motive. The following is the scheme of the development: motive a forms the introduction (measures 1 — 4) and double-phrase in f-minor (5 — 13); motive b appears twice (13 — 18); motive c modulates (18 — 21) from /-minor into the (major) dominant of c-minor, with the counterpoint — ft W^ m ^ here a half-cadence formula (22 — 25), then to the dominant of ^-minor (25—29) ; half-cadence formula (30 — 33) ; then, in direct and contrary motion &- :fc2= . — N- (34 — 44) to the diminished septimachord on fn° of ^-minor. Here, chief motive a enlarged: twice (44: — 51) ; the same motive in its original rhythm, once (51 — 52): ditto, abbreviated (motive f ). twice (53 — 55); motive d alternat- ing with f (55—68); motive f (68—71); motive e (72—85); ditto, with modification of pitch (80 — 103): motive d (104 — 108): motive e, as merely alternation of two half-notes (109 — 116); motive a. partly entire, partly shortened (116 — 124). leads into the introduction (124 — 128) ; at measure 129 the Reprise begins. 218 THE SOJSATA-FORM. 278. Mozart, in the C-major Symphony, No. 1, introduces the development with the ufiisono change to 7?!?-major given in Fig. 305, and repeats the closing-group in this key. To the last motive of the closing-group, 310. he appends a modulation, transferring the motive from the flute and bassoon to the violins ; then, alternating between first and second violins and basses together with viola, leads, with the contrasting rhythms tte. : a a *. Jfc. and into ^-minor. Here he constructs a two-voiced free canon between violins and basses upon the first half of the motive, with temporary modification of it : *-tv n- again closes in ^r-minor, and in the last measure brings in the length- ened closing-motive, as it appeared at first : # - — |-^— J- v \ -i — *+-j this is followed by an imitation of the last measure, forming a half- cadence on the major Dominant of «-minor. This dominant is changed, by the progression of the lower voices, into the dominant of i^-major : '4—i-s#— ' ip ^ wm^=^m TIIEMATIC WORK IN THE DEVKLnPMENT-I'OKTION. 2VJ Thus far, therefore, the development is occupied exclusively with the closing-group of the first part, principally with its last motive. The first theme now enters in /'-major, ami modulates, with the counterpoint which it already had in the firsl part, into a-minor, and forms here with its first motive a group — strongly syncopated by the full orchestra against the first and second violins — of 10 measures, which closes in 67-major. Hereupon repetition of the close in piano with the motive of the closing-group : i WM§= Then G measures of organ-point on g, as dominant of the principal key, with the same motive of the closing-group and with a little canon : Oboe. Bassoon. — — m~r '—* *- 'zri~ " ~r» — * * — 4— ■#" ill ■#" . *- "*-ii -*" ■*". ,* — - T" > 1 *— # ' fL=E=Ss= leading into the Reprise. In this development, therefore, the one mo- tive of the closing-group predominates throughout, it forms the first 220 THE SONATA-FORM. modulatory group and the close, and in doing this it twice involves the measure which originally preceded it. Between these two formations lies the elaboration of the first theme, especially of its first motive. The modulation leads on the one side to ^b-major, /-minor, on the other to «-minor, i?-major, thus moves in seven or eight places of the circle of Fifths (Quint-circle). THIRTY-THIRD EXERCISE. Compose developments for former exercises, first after the two models given, then after a iv ell-considered plan of your own. CHAPTER L. THE SONATA-FORM AS A WHOLE. 279. The main purpose of this work having been accomplished in the production of complete Sonata-movements, it seems to be time to call attention to the licenses which the masters have taken in using this chief form of all instrumental music, without abrogating any of its essential conditions. We shall moreover notice those modifications of the form which arise from connection with other movements, and finally consider the influence of thematic work on formal structure. A. License of Modulation. 280. The regular change of key in the first part is, as we have seen, in major, into the key of the Dominant; in minor, into the parallel (major), or the (minor) key of the Dominant. As a trifling exception we have seen m the Pathetic Sonata the entrance of the secondary subject in the minor mode of the parallel (but with close in major).* More important exceptions to the rule of modulation are found in the later works of Beethoven and his successors. * In the Sonnta appass ; 0'ia-** ■. i. 8 fe'^u r H pp Ol.c M#-0- l ^-#I "1 *) ' t» O the secondary subject — 312. i rr^ ^-^< c/o/<:<» f wo.'to ligqto. >f ^B %&- m^-^ and the closing-group — 313. 9 : --# ^. " P etc. ^ --minor. In the E ['-major quartet, Op. 127, the modulation is to ^-minor. It is left to the student's examination of scores to find numerous other examples. 281. It sometimes occurs that the second theme begins, indeed, in a more remote key, but directly discovers the bearing of the latter on its own appointed key, and in this key pursues the remainder of its course; as, for instance, in Beethoven's i?b-Trio, Op. 11, for clarinet, violin, and piano-forte, also in the i^-major Symphony. 282. On the other hand, a case may be cited in which the second theme enters in the principal key (thus without modulation), and only later, after the manner of antithesis, leads into the regular key (in this case the parallel). This instance, which in such dimensions is probably unique, is found in the first movement of Mozart's 0-minor quintet; the large period given in Fig. 264, which forms the principal theme, is followed by a group of six measures which is substantially THE S0XATA-F0K.M AS A WHOLE. 223 but a cadence-formula (in the Tonic). The second theme now enters in ^-minor, above an extremely simple accompaniment-figure, 315. Kfc ^^FF^h^F ^ , S J \ Dn 9 : ; *-9- mf *? p** -S-.-&—- and forms a half-cadence looking towards Z?l2-major, which, after touching the major chord of C (reciprocal dominant of Bb), leads into the tonic Triad of BV, in which the antithesis now enters. 316. mf p : \ ^f'~ Br- rVm->.ln h s» FM 1 — m-'~n0-m- •- -m u >* «* ^j_ g gr-H-| — I- — - j= ±=M=$ =k Antithesis. mf p ^ ^gj^ g^g ^ggp The course of this technically important secondary subject in the Eeprise confirms the explanation given ; it is here represented in me- lodic abridgment, for the sake of comparison : 317. 9 h- -*-.-, -^ —' m f p m mf p s/ - p 224 THE SONATA-FORM. £=l -f-0- r ^=P 1 — I — P-^h | 1 K=q— >-e):T=£=F^jj-^-— -*^g —&M fe*=r -t-.-1-#- The Closing-group, also considerably extended, here follows. Remark. — Here the second theme has in a certain sense attracted to itself the intermediate group (which otherwise belongs to the first theme), and made it its Thesis (just as the intermediate group gener- ally enters as Antithesis of the first theme). The dimensions also correspond to this view of the case, as the division of the first part by- two (duality, see Par. 195), falls upon the half-cadence which brings in the new key. 283. We have seen (Par. 261) that minor Sonatas often have, in the third part, the second theme and what belongs to it in the major mode of the principal key. If, however, the character of the first theme (in minor) strongly predominates, it must be restored, together with the original minor mode, by means of a Coda, so that the close of the movement may be in unity with the rest. Such a Coda is, in view of its purpose, of course too important to be despatched in a few notes ; rather, it takes the form of a new part. It is thus — to take a TIIE SONATA-FORM AS A WHOLE. ■>■>:, striking example — in Beethoven's c-minor Symphony (1st move- ment), in which, after a perfecl close in C'-major a modulation is made into c-minor, and a close is formed whose dimensions are equal to those major Symphony the figure (in sixteenths) of the intermediate group 319. 226 THE SONATA-FORM. is borrowed from the introductory Adagio; in the Pathetic Sonata the Allegro is repeatedly interrupted by the Grave of the introduc- tion, and this place in the development — 320 ^r— — i — f — { — i J — f— 4— i » — • — — T( — — — T can be traced back to the motive (in the introduction), which motive, again, is formed from the first measure of the intro- duction : Grave. I J 1 \— m - . -d -#■ -0r . -*JJ-*- . * -# 321. etc. E=£ *— gz-z»z5ggl __E = 287. That the CW<7, at the repetition, is often somewhat length- ened, we already know (Par. 212). This lengthening, however, some- times reaches the dimensions of a large tbematically elaborated closing- group, especially in Beethoven's compositions. 288. A moderately lengthened Coda is found in Mozart's g- minor Symphony. In Beethoven's c$-minor Sonata, on the other hand, the Coda has almost the dimensions of the Reprise itself, draw- ing its material from the first and second themes and the coda-group, and working it up with great power and brilliancy. In the c-minor Symphony we have already seen (Par. 261) the second theme in the repetition closing in the major mode of the principal key, and followed by an extended thematic Coda in c-minor, which ends the movement in this key. Nearly all of Beethoven's Symphonies, also many of THE SONATA-rOKM AS A U HOLE. 227 his Sonatas, quartets and oilier compositions, show this extension of the Coda, proving how rich this master was in resources of thematic development and climax. Remark. — The occurrence of different Tempi within the Sonata- form is illustrated in Beethoven's rf-minor Sonata, whose principal theme has two tempi. In a Duo-sonata in 6' major by Mozart the principal theme is in Adagio, 322. :EE3E -f-7-b -?- ^Ffr -?- etc. the secondary theme in Allegro, 323. J^| 2 SO. D. The Thematic Work is extended also to other parts of the Sonata-form than the inter- mediate group, the coda, the development, and the final coda, in which we have hitherto found it. In the Sonata appassionata, Op. 57, Beethoven constructs the second theme out of the first hy free contrary motion of the chief motive : 324. First Theme. TO 5 # Second Theme. -&— • — Liszt, in the 5-niinor Sonata, dedicated to Robert Schumann. forms the secondary theme — 228 THE SOXATA-FORM, 325. W- a V §*E fe^: # r P n PP etc 3 ^^^^m by the augmentation of the motive marked a, of the principal theme Allegro energico. ■*&• . .ft n #_ T ^ |g - • f , t -tfe- ^J 326. in; »-- ,--» TTp — I — T -i 1 — «p— W—f—d r iH — *— •— r Y — *- -*- • *•. m^-. & fe» 4-J-i- _ — ^ ( -j. 1 . 42- Jte. • r? ^T L a. 5$ _^_ f* *S ji *- -#t — 5#- **#*- t\ «= — * -II MODIFICATION OF THE SONATA-FORM IN THE FINALE. '-l'-l r J In the c-minor Symphony the chief-motive accompanies all the transformations of the movement. 2t>0. Still, the second theme, as being destined to form the greatest thematic contrast of the Sonata-form, is least frequently the place for thematic reminiscence. This is very usual, on the other hand, in the closing-group. We have already seen an instance in M<>- z art's //-minor Symphony, in which thematic work occupies part of the closing-group (Fig. 583). In the often-cited //-minor Quintet of this master the closing-group consists of the thematic motive and a cadence-formula. The subsequent Coda and connecting-link are also thematic. 291. Thematic relationship of all the parts by means of rhythmic similarity is often met with; as, for example, in the Finale of Beet- hoven's d-mmor Sonata, and in many other works of different com- posers. CHAPTER LI. MODIFICATION OF THE SONATA-FORM IN THE FINALE. 292. The Finale, as closing-group of a large work, generally emphasizes from the outset this terminal character by a more decisive manner of closing the several groups of the form. Thus, the first four measures of the Finale of Beethoven's ominor Symphony— 327. of themselves form as it were a closing-group. So the first themo ends, after a much lengthened half-cadence, with a powerful close on the Tonic : 230 THE SONATA-FOKM. 328. :t=t= . — L 1 i — : g — W— g — ^— l- The intermediate group, also, which immediately follows the above with a new motive, 329. # — i-^l — l - 1 — *-•- i— — i — i — —I — u and reaches the key of the reciprocal dominant (see Par. 241, c) by means of a half-cadence, subsequently makes in this key, very percep- tibly to the ear, though in livelier rhythm, a perfect cadence and tran- sition to the second theme : 330. Half-cadence on the Reciprocal Dominant *#■ -0-P-0- m it m ff (The Middle Voices to be filled in.) MODIFICATION OF THE SONATA-FORM IX TIFK FINALE. 231 a. Recipr. Dom. Second Theme. -«— \ -^mmt^^mmm ^ etc „ =&= . The second theme, too. leads with a very decided cadence into the closing-group, ZZT—ZL *.+- 331 ^ — a — * — "-rr — » — "which latter, on its part in its 9th and 10th measures comes to a per- fect tonic close in its key (the Dominant), but on its repetition leads, without cadence, back to the beginning, and the second time to the development. On account of the exceeding clearness of its construction this movement belongs, together with the Finale of the r^-minor Sonata, among the very best models for the young composer. "We will observe here, that the 4- meter introduced in the development is a reminis- cence of the Scherzo, an episode of the form. 293. It is not unusual, however, for the principal theme of the Finale to have primary form, preferably the small form ; as, for example, in Mozart's #-rninor Symphony (Fig. 40 b). The first move- ment also exceptionally has small primary form, as in Mozart's e-uiinor Sonata for pianoforte and violin, whose theme is given in Fig. 87, a. FOURTH PART. THE HIGHER RONDO-FORMS. CONCLUSION OF THE WORK. 294. The Higher Hondo-forms presuppose knowledge and practice of the Sonata-form, they being combinations of this form with the primary form. CHAPTER LII. THE FOURTH RONDO-FORM. 295. The Fourth Bondo-form has for its principal subject a group in two-part or three-part (preferably ttvo-j>a,rt) primary form. This is followed, as in the Sonata, by an episode (intermediate group), mostly short, modulating into the key of, and introducing, the sec- ondary subject. At the close of the secondary subject, closing-group and coda being omitted, follows an episode which leads back to the principal key, and in it repeats the first theme. Here the first part ends in the principal key. Now follows in another key (parallel, subdominant, mediant, ho- monymic) a primary form group, as second part, thus taking the place of the development in the Sonata. At the close of this primary form group again enters the episode leading into the principal key, and with it the Reprise, i. e., repetition of the first part without modulation, as in the Sonata-form. (The second theme, therefore, appears in the principal key.) As the omission of modulation renders another repetition of the first theme T1IL FOURTH I«»NDO-FOUM. 233 hazardous, the latter is either abridged or its place supplied by a thematically allied free coda. THIRTY-FOURTH EXERCISE. Compose, according to these directions and tlie following examples, some Rondos of the fourth form, as far as possible utilizing previous compositions. 296. The Finale of the A\z-niajor Sonata is one of the most not- able examples of this kind. The whole movement is in almost contin- uous motion of sixteenths (interrupted only by short rests) from the beginning. The first theme — Allegro. Beethoven. 332. «1 ==s ^-p-jA— *— i=^ consists of a large period in A P-major, in which is a transient modula- tion. This period is strictly logically formed by the contraposition and junction of the first and second members of the thesis. Their junction is effected, in fact, after the manner of double counterpoint "in the inversion," the upper voice — 333. §!&£ ^ -jxn etc becoming the lower voice 334. 5BB S^E 9 : ^g=g ^ | fefesfe j" : g= 234 THE HIGIIER RONDO-FORMS. A short episode (4 measures) leads, with the principal motive of the first theme, into the reciprocal dominant, i?l?-major, which at once be- comes the dominant septimachord of- the key of ii T |?-major, in which the second theme now enters : 335. |te « — * Intermediate Group. — g — r~*~l r *te — ^ — g — p — 'f ==^= ■»- ■*- ^ ■»• ^ p __ - ™« w «i feBis Secondary Subject. 1 — fcjj|^i=§=j l^£ This embraces over 16 measures, and is followed by a transitional passage leading back to the first theme — 336. ^ T"W JEsgg^EESB Eg Theme. testese which is repeated entire. Its close is immediately followed by a middle group in the key of the mediant — THE FIFTH ROXDO-FOR.M. 235 337. > p \\ • — i I m=u=u i rf^=si= the first part being repeated. The second part, however, contains no complete phrase, but is composed of four dimeters, by which it mod- ulates into the dominant of JtMuujor, thence back to the principal theme. In the Rondo of Beethoven's (.'-major Sonata, Op. 2, the form is more amply developed. CHAPTER LIII. THE FIFTH RONDO-FORM. 297. The Fifth Rondo-form is substantially a Sonata, in which the place of the development is taken by a large primary form group. 298. At the close of the first part, however, in many Rondos of this form, the principal theme is repeated in the principal key ; in which case a modulation into this key is, of course, necessary. But just as frequently, instead of the repetition in the principal key, is found a Coda in the second key, formed from motives of the first theme. The difference between this and the preceding form is this, that tho Rondo of the fourth form restricts the Sonata construction to two themes, but always repeats the first theme ; the Rondo of the fifth form, on the contrary, includes every part of the Sonata, but does not always repeat the first theme at the end of the first part. 299. First Part. — The principal theme of the fifth Rondo-form is constructed like that of the Sonata, but may have primary form also. The episode (intermediate group) is constructed exactly as in the- Sonata, being either thematically reminiscent of the first theme, or independent. The second theme is subject to the same rule of modulation as in the Sonata. 236 THE HIGHER RONDO-FORMS. Of the closing-group precisely the same is to be said. The coda either recapitulates the first theme by thematic reminis- cence, or forms the connecting-link for the repetition of the first theme in the original key. Sometimes the coda is lacking. The repetition of the first theme, when it occurs, is generally in an abridgment. 300. Second Pakt. — Now follows, in place of the development, the primary form group specially characteristic of the form, its key- relationship being the same as in the fourth Rondo-form. Not un- frequently this is followed by a bit of actual development, or at least by some kind of thematic work, leading into the 301. Third Part, repetition of the first part, without modula- tion. 302. In the composite large Sonatas these Rondo-forms are found only as closing-groups, and have as such the tendency to a more de- cided manner of bringing their periods, etc., to a close (see Par. 292). THIRTY-FIFTH EXERCISE. Compose, according to these directions and the following examples, Rondos of the fifth form, again preferably utilizing material already on hand. 303. The fifth Rondo-form is exemplified with unusual clearness in Beethoven's Sonata, No. 1, last movement, which accordingly fur- nishes the best model of this form. The first part comes to a close in Sonata-fashion, ending with a reminiscence of the principal theme. 338. 40- « — ^ ft ff m^ te?& 5 M* i w mEEs£ w=r THE FIFTH RONDO-FORM. 237 & | I fcfc -=# m— — * * *- ~l ' I 1 Z=3Z * C The dominant septimachord of ^lb-major, sounded three times— 339. =j I J 1 1 J 1 -^H- — 0» —•+ u 0+ "- S?Z2=3i = ' 1 — • =zi--J = i suffices to introduce the theme so conclusive for the Eondo-form : 340. fc£ sempre piano e dolce. ■0- -0- -0- -0 •- &^El^^=EEft==V —T — F i= -T S -# \ iH f T — r- ^^F ±z=-ff=E etc. .0 m 0. , w m m , »y-7? u i p f — »--t- f g s — s=f This theme makes in the fifty-first measure a close in Jb-major. Its construction is: First P ibt ■ Tonic ffroup, complete in it9elf 10 measures. ' Repetition with variations of tone-quality, etc 10 " Middle group (2x4) 8 " Antithesis 8 " Middle group and Antithesis repeated as Second Part Par. 49) 15 Total 51 measures. 238 THE HIGHER ROXDO-FORMS. We have here, then, small three-part primary form, or strictly speaking, in view of the formal structure of the groups, three-part period-form (see Chapter VIII), omitting the repetitious, of 10 + 8 + 8 measures. In the last measure now begius a development with the first motive of the principal subject, leading back in 29 measures to the latter.* 341. iS=^=3 a=s ~*r — t— PP ' ST etc. ^E^0 E 0k^ &E0 304. The Hondo of the 2?b-major Sonata, Op. 7, also belongs to this form. It constructs its second theme with the motive : 342. the closing-group with : P S gjfefefe^^Bg^ 341 *=§ etc Sf tr. tr. After the closing-group the principal theme re-enters: First period: Thesis, Antithesis (Fig. 2Gb); Second period : Thesis, and— instead of Antithesis — transition into t-minor, 344. b — & — -vr 5, — — ; is etc. BiSfe g "LS * But for the song-group in .db (Fig. 340) this whole movement would per fectly correspond to tbe Finale of the Sonata-form. TriE SLOW TEMPO. 239 in which key a three-part primary form follows with all its repetitions, then by means of a Coda leads back into the Reprise. The attention of the young composer is here called to the Rondo of the Pathetic Sonata also, which is likewise of the fifth furiu. CHAPTER LIV. THE SLOW TEMPO. 305. Thus far the exercises for the Sonata-form and the related large Eondo-forms implied quick tempo exclusively. Yet these forms may be applied in slow tempo also. The fifth Rondo-form might seem, on account of its wealth of material, to make an exception, yet that part of it which is in Sonata-form may be reduced to the dimensions of the Sonatina, when it will not be too extended for a slow tempo. 306. An example of the fifth Eondo-form in slow time is the cele- brated Largo e mesto of Beethoven's 2)-major Sonata, Op. 10. The first part is constructed, in Sonatina-form : Principal Theme. 345. (Ends in the 9th measure.) Intermediate Gronp. 346. I — si — ' '-» -a— r -*•-#-» #-' #-ir' — tJ< — i . .. r . I - * »— , m »+U-»n»-» — r 1 K ->—■ ii t— . n u- i — H i i i i I '-s-i^S^' L (Ends, after 8 measures, in C- major. 240 THE HIGHER ROXDO-FORMS. so t 347. $ Second Theme, a-minor. £= *f §li I ^^ s: — *~i—d — <-* — i — ss (Ends, after 9 measures, in a minor.) -^■tK- # f- ft£ g B& Closing Group. ii 348. -? 7— f «— ?- J^bz^ci- PP >f gLillllglllig^ ¥ »iii— m»iT7." rz (has 4 measures and closes the first part without Coda.) but the middle group — 349. 9 ; - n — t-b .^ ^ I N J"i""H n N -. v »— » — » — » — » p =gg TTTT~rr (Has 14 measures.) feE = H= ^-^ ^^^^lfP ^= i i i i i TIIE SLOW TEMPO. 241 instead of carrying out the primary form, introduces a new motive : 350. modulates with it into the dominant of the principal key, and from thence returns to the first theme. Such freedom of abbreviation re- quires, of course, a slow tempo. The third part presents, after the regular termination of the Re- prise, the closing-group being omitted, a magnificent thematically fig- urated elaboration of the principal motive (Fig. 345), leading, with the figure *^. of the middle group, to the close. This thematic work may be regarded either as repetition, after the Rondo manner, of the principal theme, or as Coda in the sense of Paragraphs 287, 288. To the close is attached a Coda of very impressive character, the- matically reminiscent of the motive | a | in Fig. 345. 307. Sonata-form (or, as the case maybe, Sonatina-form) is found in the slow movements of our classical composers very often. But in consideration of the tempo they almost always reduce the development portion to a minimum, or do away with it entirely, satisfying the need of thematic work by the variations of the principal theme. .'JOS. A Sonata-movement in slow tempo without development is illustrated by the Adagio molto of Beethoven's e-minor Sonata s Op. 10. 351. After the regular close of the first part in Z7b-major, a single septi- machord suffices to lead into the regularly closing Reprise: 242 THE HIGHER RONDO-FORMS. 352. /' r /■/■i « mm */ J- < - i C 309. In the rf-minor Sonata, Op. 31, is found the same form. The intermediate group begins thus : 353. bg:d? == Bqz=zig=q H-l— s-g- ^i * 4 r-4-*i g=ai *^ : -*■ -*- " I i *¥ 4 = r etc. and makes the regular close on the reciprocal dominant, C-major. Here the second theme enters in the key of the dominant, i^-major, 354 and constitutes a two-part period of the third form (Par. 37, 38). This is followed — closing- group and coda being omitted — by a con- necting-link of four measures leading to the Reprise, in which every- thing takes its regular course, but the principal theme is varied by a lively figuration in thirty-second notes. Compare here, also, the Andante of Mozart's i^-major Sonata, whose principal subject is given in Fig. 2G2. 310. Sonata-form with short development is shown in the Adagio affettuoso ed appassionato of Beethoven's i^-major string-quartet, 6p. 18. THE SLOW TEMPO. 243 oil. On the other hand, the Adagio molto 6 mesto of Beetiiovi \- grand /'-major quartet, Op. 59, exhibits sonata-form with large devel- opment. The principal theme, whose thesis here follows (in the anti- thesis the melody is taken by the 'cello), has large period-form. — , M r"= * - ■ J — -T^ 1 — I *-* *m #- p fotto voce morendo. f| '.J i — i === li^Mif^Ii^k^ : -s? s= The intermediate group takes its cue from the last motive of the theme, — 356. S£JS in four measures reaches the reciprocal dominant, (7-major, makes in three measures a half-cadence on it twice, and a transition to c-miuor ; in which the second theme now enters in the 'cello. 244 THE HIGHER RONDO-FORMS. 357. 1st Violin. = — — = = -~— — —~- ■r^t)— ^ — 0A-0 — 00.S—0 — 0—0-\ — — 0> — • — 0^0.0— 0— -0-^-0 'tr ^ » 1 +i^. — {b~ — f— Violoncello. I m % \ e?pr. After thirteen measures this theme makes a preparation of the close, thus: 358. /" ^ f f~+ etc. B ^=grf^zfc^ = -*■- but here is constructed a closing formula so significant and peculiar that it may be regarded as special closing-group, even though its be- ginning coincides with the formation of the secondary subject : 359 *--^f f gfe^^fe J* -.ii (repeated with slightly varied figuration.) Whether the subsequent five measures are to be reckoned in the closing- group, or regarded, entirely or partly, as Coda, is immaterial. But now begins the development, which has 38 measures against 45 of the first part, and is occupied first with the second theme, then with the first, and finally with the closing-group. From the latter is developed a thought in Z>2-major — Molfn cantdbile — of great tenderness, forming as it were an episode of the Sonata-form, such as often occurs in the development, viz: Tin; SLOW TEMPO. 845 360. 2fy=f- H i i H ** «•* *- ■ H ' " ^ •■*■ -^ --^ -J-# 1-#— ; j * T 1-# — t-# 1-# &■ -—■* m -m * m- m r m= H 1 1 — j — r -i Motive of the Closing-group. The 'cello now continues, leading with the first motive through the circle of Fifths — Z>b-major, ^lb-major, ^b-minor, Jb-minor, /-minor, C-major — to the dominant of the principal key, when the closing for- mula is repeated and transition is made into the Keprise. This latter takes the regular course. At its close, however, enters (as not seldom happens in the slow movement in Sonata-form) a repetition of the principal theme (which repetition was omitted at the beginning of the Reprise). This repetition leads to a very elaborate figurated cadenza, which introduces the next movement of the quartet (Theme Eusse, A llegro. ) 312. Another very noteworthy instance of the application of the Sonata-form in the slow movement is the Andante of Mozart's great C-major symphony, which movement shows, not only in its totality, but also in all its separate parts, an extremely interesting metrical construction. The principal subject ends in the eleventh measure, and in the same measure begins to repeat itself (see Paragraph 232), forming a thesis of 8 measures with half-cadence on the dominant — the C-major Triad, — indicated by the numeral V in the following figure. Hereupon abruptly enters, in the key of c-minor, a theme which must be regarded as episode (intermediate group) ; 246 THE HIGHER RONDO-FORMS. 361- it makes, after eight measures of bold and striking harmony, a half- cadence on the reciprocal dominant (6r-major) of the key of the move- ment (i^-major). This is followed by the second theme, of 12^, meas- ures, in the key of the Dominant, to which a closing-group of 4 measures succeeds. There is no Coda, but a figure for the first violin serves as a transition, the first time into the repetition, the second time into the development : 362. 1=-^- i— *t :S $:>=&=£=*=£ ^ JJl_4_ . * •- ^5= 1 I I etc. I V The scheme of the movement is continued as follows. — The interme- diate group or link-episode is lengthened to the extent of 14 measures. The principal theme is thematically elaborated with the ngurated motive in 32d-notes, which accompanied its repetition in the first part. This motive is worked up to a fiery ff, which leads, with a reminis- cence of the intermediate group, THE COMPOSITE LARGE SONATA. 247 ± 363. =* ' * h now not into the principal subject, but into the secondary one, which latter thus begins here the third part of the Sonata-form. After this everything follows regularly, out — after the closing-group comes the repetition — omitted above — of the principal theme. A Coda of 3 measures brings the whole to an end. THIRTY-SIXTH EXERCISE. Compose a slow movement in Sonata-form or higher Rondo-form. CHAPTER LV. THE COMPOSITE LARGE SONATA. 313. A composite piece of music for the pianoforte, or for the pianoforte and a single solo instrument, is generally called Sonata when its first movement has Sonata-form. A composition in the same form for orchestra is called Symphony, for a union of string-instru- ments, etc., Quartet, Quintet, etc. Accordingly, Raff's #-minor Suite, Op. 1G2, might also be named Sonata, as its first movement is in that form, though with modern modifications. 314. The key of a Sonata is determined by the first movement, not by the introduction, if it have one ; the KREUTZER-Sonata, therefore, is in a-minor. In many Sonatas (Symphonies, Quartets) in minor the Finale is in the major mode of the same key, instances of which are Beethoven's c-minor Symphony, (/-minor (ninth) Symphony. 315. An Adagio, even of large dimensions, but leading directly into the Allegro, is regarded — not as a separate movement, but — as introduction to the Allegro, which latter ranks as, first movement. Such an Adagio precedes, for example, the often-quoted e-minor Sona- tina by Mozart (see Fig. 49 a), — 248 THE HIGHER, RONDO-FORMS. Adagio. 364 doice. ill \W\ +■ - ^^-^-i- —ir - jr -i M== ^ J J. 1 '- and after more than 38 measures in large three-part primary form makes a half-cadence and leads into the Allegro, which is in Sonatina- form. Every one is familiar with the Grave which introduces the Pathetic Sonata and frequently interrupts the Allegro. The first move- ment of the A -major Symphony, too, is preceded hy an Adagio of considerable dimensions ; Poco sostenuto Oboe. 365. MiiUpS :=£: Clarinet. n i fp fc-' :fi i §if|fe^E= S :2: and the same is to he said of Mozart's i?b-major Symphony and of many of Haydn's Symphonies. The introduction to Beethoven's great (7-major quartet is well known. 316. Sonatas of but one movement, in Sonata-form, occur, but very rarely. 317. Sonatas of two movements are of frequent occurrence. An instance with large introduction is Mozart's e-minor Sonatina already so often quoted, in which the Sonata-form movement is followed by a Rondo of the third form, properly a Minuet with two Trios. Rondo. Tempo di Memietto. n 366. re*" THE C0MP08ITE LARGE SONATA. First Trio. Second Theme. 24» Second Trio. Third Theme. J*fe pm^mmmmm^^m Violin, 8ve. higher. dolce asiat - I -*- -•■ *£ — S-ff • • J---- — -* < — -« i3=£=3=: -**- . The same master's (Duo-) Sonata, Xo. 4, in 6r-major, also consists of two movements, the second being a theme with variations. 318. Sonatas of two movements without introduction are, e. g. f Mozart's other e-minor (Duo-) Sonata (see Fig. 31, b), Haydn's C^-minor piano-sonata, 367. •Jar* with Minuet in rft-minor, C+f-major. By Beethoven, for instance, the Sonatinas, Op. 49, the Sonatas, Op. 54, Op. 101 (i?-major) ; the great C-major Sonata, Op. 53, also has only two movements, for the Adagio inserted between Sonata and Rondo is to be regarded as merely the introduction to the latter. 31i). Most Sonatas have three movements, among them the most noted, as the Pathetic, the cjf-minor, the Appassionata. In the c§- minor Sonata the last movement only has Sonata-form, the first move- ment belongs to no special form, for which reason Beethoven has inscribed this Sonata as "quasi una fantasia." 320. The perfect large Sonata-form, as found in most of Haydn's and Mozart's Symphonies (in all the later ones), in all of Beethoven's Symphonies, in the large string-quartets and quintets 250 THE HIGHER RONDO-FORMS. and kindred species of instrumental music, consists of four move- ments, viz.: an Allegro, with or without introduction ; a slow movement ; a Minuet or Scherzo ; and a Finale, Allegro. 321. By way of exception the 2d and 3d movements change places, e. g., in the Ninth Symphony and the i?b-niajor Sonata, Op. 106, for the reason that the great dimensions and the thematic character of the first movements require the contrast which is thus afforded. The place of the slow movement is sometimes taken by an Allegretto as in Beethoven's 27b-major Sonata, Op. 31, in his 7th and 8th Symphonies. On the other hand, the Minuet in the 8th Symphony is slow, in the graceful and ceremonious movement originally characteristic of this dance. Exceptions like these result from, and are justifiable only by, exceptional conditions. To introduce them from mere caprice would be to betray ignorance of the essence of formal construction, and a desire to help one's self out by recourse to what is unessential and external. That movements are sometimes joined with others which happen to be already written — a procedure which, generally, of course excludes logical unity, — is neither to be denied nor to be absolutely condemned. Such combinations have at least the unity of the author's individuality, which is by no means to be undervalued. 32*3. There are exceptional cases of the Sonata (so called) with- out a single movement in Sonata-form, as, for instance, Beethoven's ^4b-major Sonata, Op. 26, which consists of Variations, Scherzo, Funeral March and Rondo. THIRTY-SEVENTH EXERCISE. Combine movements already composed into Sonatas, with a view to subsequent filling up. OTHER APPLICATIONS OP THE INSTRUMENTAL FORMS. 251 CHAPTER LVI. OTHER APPLICATIONS OF THE INSTRUMENTAL FORMS. 323. The greal masters of our classical instrumental music and their contemporaries and followers were so familiar with the principal form of that kind of music — the Sonata-form — that they brought into view its characteristic qualities in their larger vocal compositions also. Here the given text, by its logical and psyehological import, of course set limits to their purely musical inclination. Yet we find those characteristic qualities not only in the Masses of Haydn and Mozart, but also in the domain of the Opera. The B /-major aria of Ottavio in "Don Giovanni" ("il mio tesoro intanto") has the structure of the Sonatina, as also the entrance-aria of Elvira (in the same opera), marked as a trio on account of the little episodes of Don Giovanni and Leporcllo : 368. *-# j. — 0-% —0 — / — i — «. 5 — ^t— T i> i> r 4—i- 3 Ah ! chi mi di - ce ma - i, 4- M * i i-5 -L — | — i_J =^E3= Elvira's second grand aria, *= Mi tra - di quell' alma in gra - ta, is a Rondo of the first form ; Pizarro's aria in " Fidelio " has Sonata- form. But especially the outset of the Sonata-form (from the prin- cipal theme to the entrance of the secondary one) is found in nu- merous accompanied vocal compositions (even ensemble pieces) which involve a dramatic scene. 324. That the Overtures of our classical masters belong almost exclusively to the Sonata-form may at this point be assumed as already 252 THE HIGHER ROXDO-FORMS. known. Also the Allegro of Wagner's "Tannhauser" Overture (which is constructed from motives of the Venusberg scene) belongs to this form, which in a certain sense is extended to a Eondo of the fifth form by the middle group in tr-major : Meyerbeer's Overture to "Struensee," in its construction strongly suggestive of Beethoven's " Egmont " Overture, has also Sonata- form. The great composers of the French and Italian opera, Boieldieu, Auber, Rossini, Bellini, etc., likewise avail themselves of this form, in the sharp outlines of the several divisions relatively to each other. The Overtures of Gluck, who flourished before the development of the instrumental forms, do not, indeed, exhibit the sharply defined Sonata-form, though they give unmistakable indications of it. 325. The tendency of the opera in our time, however, has led through inner necessity to the substitution of the Prelude (Vorspiel) in place of the Overture. No finer example of the operatic Prelude can be had than the introduction to Wagner's "Lohengrin." Max Bruch's Prelude to his " Loreley " is also worthy of note in this con- nection. We have followed up and practised form-structure, from the sim- plest combination of but two measures, in the so-called Section or Dimeter, to the splendid art-fabric of the grand Sonata and its kindred OTIIER APPLICATIONS OF THE [NBTBUMESTAL FOfiMS. ■!■>:) forms. In so doing we have seen spread out before as an almost Inex- haustible wealth of material. Here, therefore, as in the other branches of musical construction, in order to attain to finished art-creations such as we have bad repeated occasion to contemplate, over and above natural talent the most thorough practical knowledge is requisite, since this alone will enable us, in the midst of this embarras tie ricliesses, to lay hold of that which alone can be esthetically (artistically) the right thing, on every occasion, without fear of error. APPENDIX. THE STROPHE. Following an analogy of music to poetry, some modern writers on musical subjects have applied the term Strophe to certain groups varying in extent, whose construction does not strictly fall under any of the regular forms. Thus, the celebrated editor of pianoforte liter- ature, the late Dr. Theodore Kullak, in his Instructive Edition of Chopin's Works,* distinguishes in some of the Nocturnes "larger divisions, which are related to each other, not like chief and secondary subjects, for example, but rather like the Strophes of a poem; for while they are indeed specifically different in point of contents, they serve nevertheless to express one and the same fundamental mood" etc., etc. Of the Nocturne in Z?-major, Op. 9, No. 3, he says that in its chief subject " three special parts may be distinguished, which in a cer- tain sense form its Strophes. These Strophes are indeed different, but not essentially unlike, in point of contents, and they constantly alter- nate with each other," etc. He divides the chief subject thus : 1st Par 2d 1st 2d 3d 2d 3d 2d or Strophe measures 1 — 12. " 13—20. (repeated) " 21—32. " (repeated) " 33 — 40. " 41-56. " (repeated) " 57 — 64. " (repeated) " 65—80. (repeated) " 81—87. Of the Nocturne in Z>!?-major, Op. 27, No. 2, Dr. Kullak says that it ''divides best into Strophes, for it does not develop into groups of parallel subjects, in the strict sense. Even the bass moves from begin- * Edited in English by Albert R. Parsons ; G. Schirmer, publisher. APPENDIX. 255 ning to end in homogeneous figures. I have assumed eight Strophes, which afford variety of shading, without offering essentially new con- tents. The chief Strophes are the 1st, lid and VHIth." His division into Strophes is the following : Strophe I. . . . measures 2 — 0. II " 10—13. III (transposed repetition of II) " 14 — 25. IV (repetition of 1) " 26 — 33. V (transposed repetition of II) . . " 34 — 4"). VI (repetition of K " 46—53. VII (repetition of Hi " 53—62. VIII (real Coda of the piece) " 62 — Fine. The Nocturne in 2?-major, Op. 32, Xo. 1, is thus divided : Strophe I measures 1 — 8. Interlude " 8—12. Strophe I (repeated) " 13—20. Strophe II " 21—30. Interlude " 31 — 11. Strophe II (repeated) " 42 — 51. Interlude " 52 — 61. Coda " 62— Fine. Rudolph Westphai, in his *'"' Allgemeine Theorie der Musikali- schen Rhythmik," applies the word Strophe, in a composite sense, to a somewhat large sub-division of a composition. The first 48 measures of the first movement (Allegro) of Beethoven's Sonata. No. 1 (/-minor), for instance, form, according to him, a composite Strophe, made- of nine simple Strophes, thus: 1st Strophe measures 1 — 8. 2d 3d 4th 5th 6th 7th 8th 9th 8—16. 16—18. 18—20. 20—25. 26—30. 31—36. 37—41. 41—48. The same author divides the whole of the Adagio Cantabile of Beethoven's Pathetic Sonata into two composite Strophes, according to the following scheme : 256 APPENDIX. STROPHE I. 1st Simple Strophe, — two 4-measure Periods,* measures 1 — 8. 2d " " — Repetition (varied) " 9 — 16. 3d " " —5 -measure Period " 17—23. 4th " " —Periods " 24—28. 5th " " —Repetition of 1st Strophe * 29—36. STROPHE II. 6th Simple Strophe, — two 4 measure Periods measures 37 — 44. 7th " " — 6-measure Period " 45 — 50. 8th " " — Repetition of 1st Strophe " 51 — 58. 9th " " —Repetition of 2d Strophe " 59—66. 10th «' " —(Coda) " 66— Fine. * On the ground that it is a perversion, based on misconception, of the ancient Greek rhythmical theory, which he holds to be the only correct one even for modern music, Westphal rejects the commonly received doctrine, first formu- lated by Antoine Reicha (1770—1836), with regard to the structure of the mu- sical Period. INDEX. Figures refer to Paragraphs, in the absence op other Indications. A. Abbreviation of large three part pri- mary form, 72, seqq. ■ of large two-part do., 78. of small three-part, do., 79. of small two-part do., 80. Adagio, introductory to Allegro of So- nata, 315. Addition to principal subject of So- nata, 233. Allegretto of 7th Symphony, as model of 2d Rondo-form, 175. Allegro of the Tannhauser Overture, 324. Anacrusis, 3. Andante of Beethoven's Sonata, Op. 7, 181. of the 5th Symphony, as model of 1st Ron do- form, 171. Antithesis, 20. Arsis. 1. Articulation of a metrical part, 122. Augmentation, rhythmical, 114. Ballad, 188. Bolero, 157. Bourree, 157. B. C. Cadence, 15. deceptive, Note, p. 177. Caesura, 2. Closing-group, 253, seqq Coda, 61. Coincidence of initial and final meas- ure, 81. Composite phrase, 16. Composite large Sonata, 313, seqq. Compositions in slow tempo, 163. in quick tempo, 164. Connecting link, 257. Contrapuntal treatment of motive^ 120. Correspondence of musical phrases ology with text, 189. Counterpoint in the Sonata-form, 120. 269. D. Dance-forms, obsolete, 157. idealized, ibid. Deceptive Cadence, Note, p. 177. Declamation, in song composition, 18S Development, 207. rules for, 272, seqq. in the Sonata in slow tempo, 307. extended, 311. omission of, exemplified, 308, 309. shortened, 310. Development-portion, 266, seqq. Dimeter, 3, 6. Dominant of the Dominant, 241 e. Double period, 36. Double phrase, 22, 44. Double section, 12. Double Thesis, 41. Duality in the Sonata-form, 195. E. Eight-measure Phrase, 39. as part of a Period, 41. in lependent, 40. Exceptional period-forms, 28. Etude, 130. Extension of large two-part primary form, 68, seqq. 258 INDEX. Extension of small do., 61, seqq. ■ of large 3-part do., 71. ■ of small do., 65. Extensions external to the form, 90, seqq. F. Festival March, 144, seqq. Finale of Beethoven's ^4(?-major So- nata as model of 4th. Rondo-form, 296. of Beethoven's Sonata, No. 1, as model of 5th Rondo-form, 303. of Beethoven's Grand Sonata in /7-major, as model of 3d Rondo-form, 179. of the Sonata-form, character of, 291. Funeral March, 153. Beethoven's in «(2-minor, modu- lation in, 94, seqq. form of, 96, seqq., 154. Chopin's in to-ininor, 158. Galop, 137. Gavotte, 157. Grand Sonata, 193, 231. Group, 191. Groups in the Sonata-form, 194. Groupings of measures, irregular, 83, seqq. H. Half-cadence, Remark to 15. replacing modulation in the Sonata form, 220. 241 b. Harmonization, modern, 100. HOMONYMIC KEY, 173. I. Impromptu, CnoriN's, in J.3-major, 164. Independent Phrase, 17, 40. Inflexion, in song-composition, 187. Intermediate Group, in the Sonata, 194, 215, 241. Interval-contraction, 112. Interval-expansion, 111. K. Key of Sonata, how determined, 314. Kuhlau's Sonatina in C-major,as model of Sonatina-form 199. L. Large Phrase, 39. Large Sonata-form, perfect, 320. Large three-part Period, 46, 47. Large three-part primary form, 56, seqq. Large two-part Period, 41, 42. Large two-part primary form, 54, seqq. Largo appassionato, Beethoven's Sonata, Op. 2, as illustrating the 1st Rondo- form, 170. Licenses in the Sonata-form, 279. License as to the place of the The- matic work, 289. of adding an Introduction, 286. of lengthening the Coda, 287. of modulation, 280. of modulation in the Sonata in minor, 283. of transposing the groups, 284. Lied, Note, p. 149. Lied-form (song-form), 31. Link-episode, 194. M. March, 143, 158. Mendelssohn's in " Midsummer- night's Dream," 147, seqq. Mozart's, "alia Turca," 158. Mozart's in "Nozze di Figaro," 145. VYagners, in "Tannhauser," 14T seqq. Mazurka, 157. Measure, 1. Measures, how to count the, 3, 82. Melodic conjunction, 11. Members of motives, 104, 123. Meter, 1, 7. Middle phrase, 29. Military March, 136, 143. Minuet, 159. Modifications, in the Sonata-form, oi the Closing-group and Coda, 2(i.">. of the Intermediate group, 263. of the principal Theme, 2<>2. of the Secondary Subject, 264. Modulation-group, in the Sonata. Note. p. 158. Modulation, unusual, 93, 100. MONOMETEK, 3, 4, 5. INDEX. Motive, 2, 101, seqq. Movements of ;i Sonata, 319. exceptional transposition of, 831. O. Org vn-1'oixt, iu BEETHOVEN'S cl-minoi S mata, Fig. 261. OVERLAPPING of measures, 81. Overture, 334. P. Pentameter, 3, 87. Peiuod, 19, seqq. double. 36. exceptional forms of the, 28. large three-part, 46, 47. large two-part, 41, 42. first form of, 24. secoud form of, 25. third form of, 26. fourth form of, 27. of three phrases, 29. Period-form in the Sonata, 235, seqq. Phrase, 8, 14, 15, 16, IT. double, 22, 44. independent, 17, 40. Polka, 134, 135. Polka-mazurka, 138, 139. Polonaise (Polacca), 143, 155, 157. Prelude (Vorspiel), 325. Primary Form (Lied-form), 31. large three-part, 56, seqq. large two-part, 54, seqq. small three-part, 48, seqq. Q. Qtjadrtlle, 143, 156. Quadruple Section, 13. Quartet, 313. Beethoven's in C-major, Fig. 268. do. in F -major. Adagio of, Fig. 355. principal subject of, Fig. 267. Quaternitt in the Sonata form, 197. Quick tempo, compositions in, 164. Hondo form in, 172. Quintet, 313. Reciprocal Dominant. 241 c. REPETITION, immediate, of the prin- cipal subject of the Sonata, 1st move- ment, 232. Repetition In the Sonata-form, 218. Repetitions of the text, in a Bonj Reprise, in the Sonata form, 213 Retrograde inversion, 118, L19. Rhythm, 2. Rondo-form, easily confounded with simple primary form, Remark, p. 139. Rondo-forms, classification of, 167, 168. compared with the primary forms, 165, 166. Rondo of the first form, close of, 169. episodes of, ib. theme of, ib. illustrated in Beethoven's Large appassionato, 170. in the Andante of the 5th Sym- phony, 171. in quick tempo, 172. Rondo of the first quasi second form, or of the second quasi first, 180. exemplified in the Andante of Beethoven's £Vmajor Sonata, Op. 7, 181. Rondo of the second form, illustrat- ed in the Allegretto of Beethoven's 7th Symphony, 175. Rondo of the third form, in Mo- zart's small Eh. Sonata. 17S. illustrated in the Finale of Beet- hoven's Grand Sonata in C'-major, 179. Rondo of the fourth form, exem- plified in Beethoven's J>-major So- nata, Finale, 296. Rondo of the fifth form, exem- plified in Beethoven's Sonata Xo. 1. Finale, 303. in slow U mpo, exemplified in Beet- hoven's Z)-major Sonata, 306. S. Saraband. 157. Scherzo. 159, 160. BEETiiovr.N'syn the 7th Symphony, 161 : in the 5th Symphony, 162. Section, 8, 9, 10. Sequence, 109. 126. Simple phrase, 16. Sixteen-measure period, 41, 42. 260 INDEX. Slow tempo, Sonata-form in, exem- plified in Beethoven's D-major So- nata, 306. ■ in the c-minor Sonata, 308. — — in the i^-major quartet, 310. in Moz art's C-major Symphony, 312. Small three-part primary form, 48, seqq. Small two-part primary form, 31. 1st form of, 33. 2d form (in major), 34. 2d form (in minor), 35. 3d form, 37. Society-dance, 133. Sonata, 190, 313. Beethoven's in a minor (Kreut- zer), Fig. 269. key of, how determined, 314. of one movement, 316. of two movements, 317. 318. so-called, without Sonata-form, 322. Beethoven's in (/-minor, as model of the minor Sonatina, 1st part, 209. Sonata-form, 190, seqq. as applied in the classical over- tures, 324. the perfect large, 320. Sonata-forms, how classified, 193. Sonatina, 193. in minor, 1st part, 209. Beethoven's in Cr-niajor, 2d part, 226. do. in gr-minor, 2d part, 229. Mozart's in e-minor, 2d part, 227. Sonatina, Mozart's, in e-minor, 3d part, 217. Song, vocal, origin of, 182. composed throughout, 188. composed strophically, 188. Song-group (Intermediate Group) in the Sonata-form, 194. Song-form ( primary form), 31. Strophe, p. 254. Study (Etude), 130. Symphony, 313. T. Tarantella, 157. Tetrameter, 3, 12, 14. Thematic wokk, 207, 268, 270. as illustrated in Beethoven's 5th Symphony, 277. and in Mozart's C major Sym- phony, 278. Theme of Rondo-form, 169. how repeated, ib. Theme w.th variations, 129. Thesis, 1, 20. Triality in the Sonata-form, 196. Trimeter, 3, 84. V. Vocal compositions in Sonata-form, 323. Vocal song, 182, seqq. Vorspiel (Prelude), 325. W. Waltz, 140, seqq., 157. 6104 UC BERKELEY LIBRARIES ■II III C051E2b3fe,M