T YEAR ANALYSIS ^S- MUSICAL FORM THOMAS TAPPER LIBRARY THE UNIVERSITY OF CALIFORNIA SANTA BARBARA PRESENTED BY KATHRYN S. HENNESSEY FIRST YEAR ANALYSIS (MUSICAL FORM) BY THOMAS TAPPER, Litt.D. Lecturer at New York University, at the Cornell University Summer School, and at the Institute of Musical Art of the City of New York Price, $1.00 net THE ARTHUR P. SCHMIDT CO. BOSTON XKW YORK 120 BovLBTON Strkkt 8 Wkst 40TU Strkei Copyright, IQ14. by Arthur P. Schmidt International Copyright Secured COFSTRIOHT, I914, BY ARTHUR P. SCHMIDT A. P. S. 10268 PREFACE The purpose of this text is to acquaint the student with the structure of music. This requires the explanatory text and questions which are provided in this volume and, as well, material for analysis which is provided in a separate volume, entitled: MUSICAL FORM AND ANALYSIS. (Schmidt's Educational Series, No. 122.) The advantage of having all the required material for analysis in one book, is obvious. The examples must neces- sarily be selected from a wide variety of sources from a wider literature, in fact, than most students possess. While this reading text covers the more common forms, it is most desirable to carry out all the analysis required. It is only by the actual analytical examination of music that the form is grasped as a whole, and its subsidiary elements of structure revealed. A symphony, or a symy^honic poem, like a cathedral, has its ground plan, its details, its elaborated motives, and its interrelation of parts. While one may look upon a cathe- dral in wonder and admiration, both these emotions are in- tensified and justified by a knowledge of the creative thought and of the constructive j^rocess that lie in the work as a com- ])lex of growth; a complex that is always reducible to a simple basis. Just as the most illuminating knowledge of musical history lies in music itself, representative of the periods of the art of which we have record, so the vital element of musical form is in music, and not in the pages of a text-book. When the book serves as guide to a knowledge of the structure of music, and the music itself is carefully studied, then the subject becomes clear and simple. THOMAS TAPPER. New York, November 5, 1913. CONTENTS CHAPTER PACK I The Cadence and the Phrase i II The Phrase and Its Content lo III The Period 14 IV Phrase and Period Content 20 V The Two-part Song Form 25 VI The Ternary Form 29 VII The Ternary Form (Continued) 34 VIII The Compound Forms 37 IX Review of the Primary, or Song Forms 42 X The Sonatine First Movement 44 XI The Sonatine First Movement, (in Minor) 48 XII The Sonata 53 XIII The Sonata as a Whole 56 XIV^ The Smaller Teaching Pieces and Etudes 60 XV The Rondo of one Subject 64 XVI The Rondo of Two and Three Subjects 69 X\'II Subject and Episode 73 XVIII Terminology 76 XIX Ti:st Papers 79 XX The Application ok Musical Form 86 XXI The Simple Song 89 XXII Form and the Schools of Composition 94 XXIII Phrases 98 XXIV Modulation 106 XXV Recapitulation no FIRST YEAR ANALYSIS CHAPTER I THE CADENCE AND THE PHRASE 1. A single hewn stone can not, in itself, indicate anything definite about the form of the building of which it is to be a part. It must be joined with other stones and combined with material unlike itself before the structure can be made evident. 2. Ordinarily, the subject of Musical Form begins with the study of the Motive as the smallest constructive unit, and proceeds in orderly manner to the largest instrumental forms. We will, however, in this chapter, first familiarize ourselves with the structure of a small, but complete piece of music of the simplest character, and by analysis de- termine just how the composer has wrought the various elements into a unity. 3. The student will find on page 5 of the companion volmne to this text book (MUSICAL FORM AND ANALYSIS) the Theme in A major from the Sonata, by Mozart (Litolff edition. No. 302, Sonata XII). 4. Before beginning the analysis of this composition, we must remember that music is motion, that the motion of music requires a definite amount of time for its completion; that the tempo mark is an approximately exact indication of the amount of time necessary to perform the music. The (O expression "approximately exact" is used because in all music there is a retardation or acceleration of the tempo for artistic effect. 5. Now the motion of music, that is, its inherent move- ment including the time duration required for its completion, is, like poetry, punctuated at certain points. These are simply the breathing points in the melody. If the compo- sition before us be played at the piano, we shall be sensible of a pause in the fourth measure; of a still more definite pause in the eighth measure, where the double bar indicates the termination of a distinct portion. Continuing, we feel the sense of rest in the twelfth measure, in the sixteenth, and in the eighteenth or final measure. 6. Such resting points are called Cadences, and as the cadence is always a determinant factor in musical analysis, let us turn for a moment from the composition before us to the subject of cadences. 7. The word cadence in English is a derivation of the Latin word Cado, I fall. It refers to the falling of the voice at the close of a statement or sentence. In music, the ''closing" eflfect of the cadence may take on many colors and convey many impressions, all of which are indicative of the feeling and degree of finality which they bring about. 8. Hence, the student should thoroughly master the fol- lowing cadential-formulas. There are four principal kinds of cadence: 1. The Authentic (or direct) Cadence, which proceeds from the chord of V to the chord of I. 2. The Plagal (or indirect) Cadence, which proceeds from the chord of IV to the chord of I. 3. The Half (or semi) Cadence, which jirocecds (usually) from the chord of I to the chord of \. 4. The Deceptive (or unexpected) Cadence, which pro- ceeds from the chord of V to the chord of VI. 9. Each of these cadences has three forms. If the final chord ends with the octave of the bass in the uppermost voice the cadence is said to be Perfect; if it ends with third or fifth of the bass in the upper voice, the cadence is said to be Imperfect. 10. Here follow all four cadence groups in the Perfect and Imperfect forms (a) in Close harmony, (6) in Open harmony. The student should thoroughly master these and transpose them to all keys, major and minor. I. Cadences in Close Position Authentic m^^^-m* II. Cadences in Open Position 3 I Xmsptive 11. Returning now to the Mozart Theme in A major, we can determine whether the resting points in measures four, eight, twelve, sixteen, and eighteen are cadences, or not.* In measure four, the chord succession is I V (Half Cadence, Imperfect). In measure eight, the chord succession is V I (Au- thentic Cadence, Perfect). In measure twelve, the chord succession is I V (Half Cadence, Imperfect). In measure sixteen, the chord succession is V I (Authentic Cadence, Imperfect), leading over with- out cessation to measure eighteen, where the chord succession is V I (Authentic Cadence, Perfect). 12. The cadences subdivide their total length of melody in five portions, thus: * The cadence must complete itself on a metrically strong beat. Thus, in ', , on the hrsl or fourth heats, unless dflaycd by Suspensions. V I 13. Of these, the second and last end in a manner entirely satisfactory to the ear; while the first, third, and fourth produce the feeling of incompleteness. 14. All music is a swaying or swinging from points of rest to points of unrest. 15. We have now noted that the cadence punctuates the melody, separating its total length into delinite portions. 16. Definition: \ Phrase is a portion of melody ending in a cadence. 17. Xote: The phra'^e is never determined by the number of measures, but by the {)resence of the cadence. Hence there are phrases of \arious lengths from two measures to many. The fcjllowing illustrations will make this clear. It is to be noted that tempo has a direct bearing on phrase length. The quicker the tempo, the longer the phrase may be, and conversely, the slower the tempo, the shorter the phrase. In each of the phrases that follow, observe that the trend or impulse of the rhythm is to reach a resting point. Two measures Adagio tr Four measures Moderato E^ FJEfe^z I Five measures Moderato ^giiij^=^^iE?iig l^B Six measures Moderato wm^^^ Eight measures Presto Ten measures Allegretto t^s".'^ --r * Fl Questions 1. Define the words Theme, Sonata. (See Chapter XVIII.) 2. What are the four forms of Cadence? 3. Give root-meanings of the words Authentic and Plagal. 4. Does length determine the phrase ? 5. Why is the following a phrase? 6. When are cadences perfect ? 7. Compare the perfect with the imperfect form of cadence. 8. What form of cadence is illustrated by this example ? i i=i > it P^ I r r 9. What effect has tempo on phrase length ? 10. What do you understand by the rhythm of music and of poetry ? Constructive Work 18. Analysis of music reveals the most if its practice be accompanied by synthesis, or ''building up." Therefore, the student may profitably undertake to construct the forms under discussion, particularly when the forms are short. At this point, any of the first chapters in First Year Melody Writing,* may be taken up for study. The work there re- quired should be written out, and retained for elaboration or amplification, later on. * First Year Melody Writing by Thomas Tapper. Published by Arthur P. Schmidt. zo CHAPTER II THE PHRASE AND ITS CONTENT 1. The content of the phrase, its meter, melody line, rhythmic structure, and tempo all unite to establish the character or individuality of the music. And in the com- bination produced by these factors the music attains its relative degree of originality. 2. The Meter establishes the pulse-succession, marked off by accents. 3. The Melody is the line of beauty, the distinctive tune. 4. The Rhythm is the relative tone lengths that give the melody its characteristic motion; and finally, the Tempo is the degree of speed at which the music moves. 5. Even a portion of melody as short as a phrase must exhibit these factors so completely that the phrase itself makes a definite impression. Let us examine closely a phrase of the Mozart Theme in A: 6. We see at once that the rhythm of the first measure is exactly repetfted in the second: # ,^ The third and fourth measures appear to be difi^erent. But we can take the rhythmic figure of the first measure and subdivide it into two portions (i) * * J and (2) , J^ This second i)ortion is the basis of measures three and four. 7. Such a group as this J. !3 J J ^'^ is generally referred to as a Motive. (Motive from mover e [Latin], meaning to move.) 8. A Motive is a short figure so constructed rhythmically that it is capable of various alterations that are practical as melodic tendency or progression. Frequently a motive is long enough (as in the case under our observation) to be divided. The divisions are then refer red to as Motive Members. Thus: the complete motive J.^ J , / Motive Members, (a) ST* (b) J J" g. A motive may be varied in many ways in its service as the basis of a phrase or of a longer group. I. It may be repeated at a higher or lower scale degree: 2. It may be exactly repeated. a b t=: I 3. Its intervals may be expanded. 4. or contracted. fpz|3=E3if5FH X2 5. The motive may be inverted (as to direction). a b .3: t m^ 6. The note values may be augmented or decreased. 13 ^fe^^^^gl -=*- 10. The student should take a simple motive and by various applications of it, compose melodies, always aiming to preserve the original figure (wholly or in part) and to produce a pleasing rhythmical result. By way of illustra- tion, the above quoted moti\'e from Mozart may be thus expressed as a phrase: II. The following motives may be taken for practice, together with others of the student's own invention: I 2 '^^:^^^=0-^^^^^m^^^^^ fe^-g^ifcg:*:iiis;^iit|^i MUSICAL FORM AND ANALYSIS, No. 2, Cornelius Gur- litt Sailor's Song, Oj). 172, No. 14. 13 Analysis 1. What is the key? 2. The length of the first phrase ? 3. How many phrases constitute the entire piece? 4. Which phrases are more or less alike? 5. How long is the first complete motive, of the right hand part? 6. Whence comes the group used in the last four measures ? 7. What cadence form is found at the eighth measure? At the sixteenth? 8. Name the key in measure eight. 9. How would you describe the picture that the com- poser desires us to see in his choice of title ? 10. Is the title a definite image, or the suggestion of a mood ? 14 CHAPTER III THE PERIOD 1. The Phrase has been defined as a portion of melody (or a complete melody) ending in a cadence of some kind. The phrase may be any length from two measures to many, but the one distinctive fact about it is that it makes a con- clusion, comes to a point of rest, more or less satisfactory and complete. 2. Examining such phrases as are given in Chapter I, par. 17, we note that the music begins, moves forward, and rests. It has, in short, a momentum that keeps it going for a time; then the momentum relaxes, to be resumed again in its impulse to reach the concluding point. With increased experience in analysis, the student will note that while phrases may be of any number of measures (within certain limits), the majority are either four measures long, in a moderate tempo, or eight measures long in a quick tempo. These are referred to as regular short phrases (four measures), and regular long phrases (eight measures); while all others (two, three, six, ten, etc.) are denominated irregular phrases. 3. It wall further be observed that the phrase is rarely a complete form. In nearly all instances the phrase is a part (usually one-half) of a larger form called the Period. 4. The Period is a group of two (rarely three) phrases related as Thesis and Antithesis. Referring again to the Theme in A, by Mozart, the first eight measures are a period. This period is of two phrases, each of more or less the same melody but of contrasting cadences. IS 5. When an eight measure structure consists of a first phrase which is exactly repeated in the second, we have a double phrase atid not a period. Note carefully these facts: 1. The two phrases of a period, if substantially alike in melody, will have unlike cadences. 2. Or the two phrases may have unlike melodies. 3. The cadences of two successive phrases are rarely, if ever, identical. 6. We have seen that phrases may be irregular as to length. As the period is constructed of phrases (generally of two) so it may in turn be irregular as to length. 7. The regular small period is of two phrases, each of four measures: Phrase Phrase 8. The regular large period is of two phrases, each of eight measures: Presto 4 : '^i:i:_-3 F ^^ zzEEbE:^^'J---JiEgr,^:: Phrase rT-^ gegig^=g|^r5iggE=S] ttp: 9. The following are types of irregular ]icriods. The student should examine each example, and state in what the irregularitv consists. i^^S -^#* E^g^^B i B^ :P4:^ ^^^-p ^ _ T^ffl' P=i= fe I 10. Turn to selection No. 3 in MUSICAL FORM AND ANALYSIS: Theme from the Rondo in D major, Sonata No. IX, Mozart. 11. The key is A major. The phrases are eight meas- ures each. The first ends in a half cadence (eighth measure), the second in an authentic cadence, perfect (sixteenth meas- ure). The impulse of the music is continuous from measure one to eight inclusive, the apparent cadential point in measure four being passed over without a sensible break or cessation by reason of the continuous motion in the bass. Such a semi-cadential effect is called a Caesura. 12. The Cicsura is a rhythmical end-point in a melody. It should be clearly distinguished from the cadential end- point. Constructive Work 13. The student should reconstruct the phrases written in the previous lesson, and by coordination and amplifica- tion, convert them into periods. Write in both the small and large period forms, and in simple rhythmical forms. Thus: 17 A. The small period: S^l -r(2 E3S3f r=f*=i I B. The large period: =sji:ii=q"p :fi=f: tt !^ P=#=F^ f- -- - major. 24 Analysis 1 1 . The first complete rhythmic group is of two measures. This is followed by another, and similar, two measure group; then two monometers, after which two (cadence) measures occur twice. 12. The student should begin with the second part, after the double bar, and similarly analyze the rest of the com- position. 13. Note: In counting measures, proceed from the initial beat to its corresponding part of the first full measure. Thus, in the Schumann melody, the measures are properly indicated by the lines: measure one measure two 25 CHAPTER V THE TWO-PART SONG FORM (The Binary) 1 . Neither the phrase nor the period is sufficiently long to convey but a brief expression. Comparing the period, as a complete form, with the first movement of a sonata, we realize that it is only as music is built up into larger and ap- parently more complex structures that it can convey a well- rounded and sustained meaning. 2. The smaller units that we have been considering, par- ticularly the period, become the basis for form extension. In simple musical forms two periods may be employed to constitute a complete composition. With proper unity and variety such a combination of two periods is called a Two- Part Song Form, or a Binary Form. If the phrases are short (four measures) the entire form is called a Small Binary. If the phrases are long (eight measures) the form is known as a Large Binary. 3. Regularly constructed, therefore, the small binary will consist of sixteen measures, and the large binary of thirty- two. Thus: Small Binary: Four m. phrase. Four m. phrase = Period I Four m. phrase. Four m. phrase = Period II Large Binary: Eight m. phrase Eight m. phrase = Period I Eiglit ni. jthraso iMght 111. ])lirase = Pcriocl II 26 4. In order that two periods may be united into a single and complete form, they must contain something in common. That is to say, the choice and union of any two periods (even in the same key and meter) would not constitute a well-balanced binary. 5. The necessary balance must be found in the phrase succession. A common form of binary is that in which this identity (or general sequence of phrases) is found: 6. By this diagram is meant, that in melodic content, the first, second, and fourth phrases are more or less the same, while the third phrase (b) is in contrast. The following melody illustrates this: Andante Phrase A Phrase A Phrase B Phrase A iifel^ 7. The binary may, again, take this phrase sequence: a b Cadence in the Dominant I 1 I I a b Cadence in the Tonic 27 8. In this form the two periods are substantially the same in melodic content, but of contrasting cadences. 9. The student should not fail to note that a period re- peated, even with rhythmical variations (harmonic content and cadences remaining the same), does not constitute a binary. 10. While there are other varieties of binary form, the two mentioned are by far the more common. The binary is by no means as frequent as the ternary, in the music of the best composers. Yet the student will have little diffi- culty in recognizing it. The principal f act ors to ke ep in jni nd are (i) the pr e sence of fp nr ph^gsps, (2) som^ f^^g^tr^, of u nity and varietv between the phra s es . 11. Occasionally the binary is extended. The first selec- tion of the companion volume (Mozart: Theme in A) illustrates this. The phrase balance is properly: (a) four m (a) four m. (b) four m. (a) six m. 12. Abbreviations of this form (through the shortening of a phrase) are probably non-existent, because the form is so short that any elimination can only result in destroying the total unity. Analysis 13. MUSICAL FORM AND ANALYSIS: Selection No. 8. From the second Sonata (Beethoven) Largo (first nineteen measures only). 14. The first phrase is of four measures, and ends in a half-cadence on the dominant. The second phrase of four measures ends on a perfect authentic cadenci' in the key of 28 the tonic. These two phrases are of similar melodic and rhythmic structure. 15. The third phrase of entirely new material is of four measures. The final measure merges into the return of the first phrase in measure thirteen. This (fourth) phrase is extended to seven measures and concludes on the tonic of D major. This extended binary may be expressed thus: Phrase A Phrase A four m. four m. Phrase B Phrase A ( 1 I 1 four m. seven m. MUSICAL FORM AND ANALYSIS: Selection No. 9. Mozart: Theme in D Major. 1. Compare phrases one and two (measures one to four with five to eight). 2. To what extent are they identical? Is similarity more prevalent than identity ? 3. Compare in like manner, phrase four with phrase one, and with ])hrase two. 4. Note the structure of phrase three. Is it of entirely new matter? 5. Name the four cadences. 6. What modulations occur? 7. Note the moti\-e inversion in measure fi\-c from measure one (the descending eighths as against the ascending). 8. And in measure ten the presence of this same rhythm ^ m m descending. 9. Note the rests before the entrance of the fourth phrase. How many are tin- UAa\ number of jiieasures? 29 CHAPTER VI THE TERNARY FORM I. Not alone in music, but in all the arts, the Ternary, or three part, structure is of far more frequent occurrence than is the binary, or two part. The reason for this is, possibly, that it permits a better balance of parts; a rela- tion of motives of which the first and third are alike, and the second in contrast. The following figure will illustrate this: Part I Part II Part III Like 1 2. In all decorative arts there must l)e absolute balance and identity between the first and third portions of the figure, for the reason that the eye demands ])erfect quan- titative relation. In niusic, howe\er, this absolute identity (between first and third parts) is not essential, for the ear is satisfied with a qualitative relation. 3. In ternary n\usical forms, then, we ha\'e a first ])crio(l that is rei)eated more or less literally as third period, and these two are sei)arated by a middle portion of ditler- ent motive and design. 3 4. A ternary form based on the eight measure period as unit, would consist, then, of these three parts: 1. First period (of two four measure phrases). 2. Second period (of two four measure phrases). 3. Third period (Hke the first period). 5. In major keys, the first period may end in the domi- nant key; but the third period will return to the tonic in its final phrase. The following melody is the simplest illus- tration of this structure in regular form. First Period Second Period ^ ^-# ^ m ^ES m Third Period *^^^ ^^fgffftTF^ a 6. In minor keys, the first period may end either in the relative major or in the minor key of the dominant. 7. Absolutely regular ternary forms are not as common as the irregular. The irregularity may be brought about in several ways, but usually two predominate: 1. The middle (second) period is abbreviated. 2. The final (third) period is lengthened. 8. Examine Selection No. 10 in MUSICAL FORM AND ANALYSIS: Theme in G major Beethoven. 31 g. The first period is regularly constructed of two four measure phrases, and remains in the key of the tonic. 10. The third period is again the first period transposed an octave higher and slightly varied rhythmically in the last measure but one. 11. Now this identity of key in these two portions of the form, naturally suggests and demands opposing key-color in the middle portion. Examining this, we find that it is not, as it should be regularly, a period but a four measure phrase; and that the key-color is that of E minor (measure nine) moving to the dominant of G major in measure twelve. The form as a whole may be pictured thus: Eight m. period Four m. phrase Eight m. period in G in G 12. As no adequate idea of this very prevalent form can be obtained without extensive analysis, the student should study Selections Xos. ii, 12, 13, in MUSICAL FORM AND ANALYSIS, observing the exact length of each of the three portions, the modulations, rhythmic variations, and melodic changes in the third period to bring it to a close in the key of the tonic. 13. Ternary forms constructed on the iUght measure period as a basic unit, are called Small forms as against those constructed upon the sL\tciLU measure period which arc the Large ternary. Regularly constructed, the large ternary consists of three ])eriods each of sixteen measures, or a total of forty-eiglit measures. In taking U]) a new com- position forjina lysis the student should first note its length in measures; next, whether the entire first period is intro- duced as third ])art. Forms of aiiparently twenty- four 32 measures (with first period repeated in third part) are gen- erally small ternary; while those of forty-eight, or there- abouts, are apt to be large ternaries. But in determining the ternaryj the principal factor is the reappearance of the first period as third, with possible difference of key, and also with possible lengthening through the addition of two or four measures, which added measures are sometimes called Coda. When abbreviation occurs in a ternary form, it is almost entirely confined to the second part of the form. Constructive Work 14. The student should write as melodies only, at first, regular small and large ternaries: I. In major: 1. Small ternary regular, first period ending in the dominant. 2. Small ternary with abbreviated middle part. 3. Small ternary with extended third period. 4. Small ternary with abbreviated second part, and ex- tended third part. II. In minor: 1. The first period ending in the relative major. 2. The first period ending in the minor key of the dominant. Apply the same variants to the large ternaries in major and in minor. Questions 1. Define the word Ternary. 2. What is the aesthetic purpose of extending the final period ? 33 3- Why may the middle portion be abbreviated without detriment to the form-balance of the whole? 4. Why is quantitative balance necessary in decorative designs ? 5. What is the minor key of the dominant of a com- position in A minor in B minor in C# minor ? 6. Why is an actual, or suggested, change of key neces- sary in some portion of the ternary form ? Analysis 15. While the examples of the ternary given in MUSICAL FORM AND ANALYSIS are sufficient to illustrate the usual ty]ies, the student would benefit by examining carefully the following from the Beethoven Sonatas: Op. 2, No. I Minuetto. Op. 2, No. 2 Scherzo. Op. ID, No. 2 Allegretto (following the first movement). Op. ID, No. 3 Minuetto. Op. 14, No. I Allegretto in E minor. 34 CHAPTER VII THE TERNARY FORM. (Continued) 1. The small ternary is usually definite in its adherence to a distinct form structure. In large ternaries, however, it frequently occurs that only the first part is regularly con- structed; the second part is free in outline, and the third part may be only briefly reminiscent of the first part. 2. An example of this freedom of construction is found in the Beethoven Scherzo from the Sonata Op. 2, No. 3. (See MUSICAL FORM AND ANALYSIS, No. 14.) The key is C major. The balance of parts as to number of measures is as fol- lows: Part I. Sixteen measures ending in G major. Part II. Twenty-two measures. Part III. Twenty-five measures. 3. So far as strict mathematical balance in number of measures is concerned, this form is very irregular in Parts II and III. The first period is of sixteen measures, and of two eight measure phrases. The phrases are not melodically identical. They are, however, theoretically (rhythmically) so much alike that perfect unity is secured and besides this, there is a feeling of progressiveness from the first to the sixteenth measure that brings in the Close in G major with a pronounced effect of climax. 4. Part II, which should, again, be a sixteen measure period of two eight measure phrases, ])resents no such struc- ture. Confining itself to the motive of the first i)eriod, it proceeds without any suggestion of pause to measure twenty- 35 eight; from which point it continues with a, forte alternation of two groups, each one measure long, to measure thirty-six; from which point, by a skillful use of the motive of the first measure, it merges with Part III. 5. Part III opens with a regularly constructed phrase of eight measures, which ends this time on the tonic of C major (compare this ending with that of the original first phrase). Then a second phrase of eight measures follows (again totally unlike the corresponding phrase of the first period), and concludes on the C major tonic. From this point to the end, an extension (Coda group) brings the work to a convincing conclusion in C major. 6. Despite its apparent irregularity as to quantitative structure, this Scherzo is one of the best illustrations of a beautifully balanced ternary. There is an astonishingly continuous unity in the motive structure. The lengthen- ing of the second and third parts is immediately perceived to be necessary to the satisfactory reaching of the chmax points; and the return of the first period as third period is sufficiently exact to carry the mind back to the beginning, which is one of the characteristic purposes of this form. 7. Careful study of this Scherzo will convince the student that the Hleralncss of measure balance is of the least im- portance in form building, Init that motive unity and the- matic balance arc of prime importance. 8. Occasionally we find types of the Ternary that arc miniatures. Two compositions in this form will ])e found in MUSICAL FORM AND ANALYSIS (Xos. 15 and lO). The first (.'utitled Melody has this mensural proportion: Part 1. Four measures. Part 11. Two measures. Part III. ( I ) Four measures. 36 This form balance is just as perfect as if it involved twice or four times as many measures; for the first period (2 + 2) returns to complete the ternary balance after measures five and six have been heard. 9. The student must be careful to detect certain apparent forms of period balance that appeal only to the eye. Some- times the engraver will, to fill a page, engrave a period, or portion of a form twice. The rule to keep before us is: Literal repeats, without intervening new matter, are equiva- lent to the sign :|j 10. The second example, Schumann Op. 68, No. 19, should be carefully analyzed and compared with MUSICAL FORM AND ANALYSIS, No. 16. 11. When we compare a miniature ternary of four plus two plus four with the Beethoven example of sixteen plus twenty-two plus twenty-five, we can appreciate how \-arious may be the arrangement of parts as to number of measures. But we also see the identity that is at the basis of even so widely diversified types: namely, the return of the entire first part as third part. A very small design may present this feature quite as well as a very large one. The essential factor is that the mind of the listener shall be taken back to the impression of the opening period. In decorative de- signs (wall papers, etc.) the repeat is always literal because the eye demands it; in music, it is either literal or sug- gestive, because the ear is satisfied with either. 37 CHAPTER VIII THE COMPOUND FORMS 1. The simple song forms (Binary and Ternary) are fre- quently compounded. A familiar use of this is found in the Minuetto and Trio, the Scherzo and Trio, and like move- ments of the Sonata, as well as in independent forms. 2. These compound forms are ternary, taken as a whole. This fact is illustrated in the sketch that follows: Minuetto Trio Minuetto Part I Part II Part I Part I Part II [ Part I Part 1 1 Part I || A simple Ternary A simple Binary \^ A simple Ternary '] Parti Part II Part III (or I) repeated D.C. 3. In this instance, two independent forms are present, but when played as directed by the D.C. mark, the first form is repeated and the effect l)ecomcs that of three forms. The fact that Nos. One and Three are alike, and that they are separated by the ]:)resence of the second, or middle form, produces the Ternary, or three-])art structure. 4. The student should examine all the Minuetto and Trio movements (or their e([ui\alenls) in the Sonatas of lieetlioven, to gain a clear idea of the total effect of the compound form. Freriuently, after tlie repeat of the first form, for example the Minuetto, a free Coda is added to round out the conclusion and to pre\ent the identical etTect in conclusion tliat has already been used. In this case, the se(|ui'nct,' of the parts beconies, for cxaiuple: Minuctlo 'I'rio Minuelto (rt pcated) Coda 38 5. The presence of the Coda does not add a fourth in- dependent part, but merely prolongs, or amplifies, the move- ment of which it forms an integral portion. 6. At this point, the natural growth of the forms may be reviewed. Beginning with the Phrase, we have, so far as practical music is concerned, an incomplete structure. 7. By the unison of two, sometimes of three, phrases, the Period is produced. This constitutes in many folk songs, the complete form. 8. The Period (like the Phrase) constitutes the ne.xt higher form by groupings of twos or of threes. a. The two period group results in the Binary form. b. The three period group, in the Ternary. 9. The binary and ternary forms are called the simple song forms. They, in turn, may be combined again to produce the compound form, and these combinations are possible: I II III (I) 1. Ternary Ternary Ternary 2. Ternary Binary Ternary 3. Binary Binary Binary 4. Binary Ternary Binary 10. Four of these forms, the Period (or Unitary Form), the Binary, the Ternary, and the Compound Ternary are found as complete and independent pieces. But some of these have other uses, as we shall see, later. Thus, in the Rondo, any form, except a compound ternary, may appear as an independent subject. In the Sonata, the large phrase and period forms are used as subjects and are joined with episodical matter. In certain other forms, for example, a set of waltzes, each independent number is a song form, and 39 the group may take on the unity of a higher (compound) form, or the separate numbers may follow without further inherent relationship. 11. An illustration of the Compound Ternary will be found in the MUSICAL FORM AND ANALYSIS, No. 17. This is taken from the Mozart Sonata in E fiat, and con- sists of a Minuetto I and Minuetto II with the repeat of Minuetto I as third part. 12. Analyze the first form independently, then the second. Note the irregularity in structure as to the number of meas- ures in each part, but also note the perfect ternary balance when the entire work is performed. Questions 1. In the Minuetto I, how many measures in the first period ? 2. Is this literally repeated, as second period? 3. What is the length of the second part? 4. Is the motive structure of the second part of new or of old material ? 5. Minuetto II, first period: Is this a small or a large period? Regular or irregular? 6. Compare it with the third period, stating all points of similarity and of dissimilarity. 7. Middle part (or period): Is it a period? What is the length? Process of Analysis 13. Proiicrly to carry out to the full the analysis of a musical C()iri]K)silion the student should be able to determine tlie form by disroNcring tlie rt'hitionslii[) of periods and of 40 their component phrases. But beyond this there should be included in all adequate musical analysis a careful study of the way in which the composer carries forward the significant motives introduced into the initial period ; how these motives are varied; how they are given emphasis as the movement proceeds by union with other, primarily entirely new, motives. 14. All caesural resting points and all cadences should be marked. And beyond this, the modulatory or non- modulatory effect of every foreign tone should be fully determined. In the works already referred to, as well as those presented in MUSICAL FORM AND ANALYSIS, it will be found that the modulatory plan is invariably natural and simple. For this reason the works of the great mas- ters of the Classic and Romantic schools are ideal material for the beginning of the study of music form. 15. The teacher should make it a part of ever}- instru- mental or vocal lesson given to indicate clearly to a pupil the exact form outline of every piece of music studied. It is even advisable to draw in simple lines a sketch of it. This impresses the relation and sequence of the parts upon the mind, and is the basis of a cultivated musical memory. It serves to impress the pupil with the fact that music is an orderly presentation of ideas, definitely expressed, and definitely interrelated. 16. Many a struggle with music, in the first year or two of piano study particularly, can be lightened or avoided by the help that the knowledge of Form on the teacher's part will afford. The careful teacher will never attempt to teach a composition, however simple, without having first sul)- jected it to a thorough analysis on the basis of its formal, harmonic and rhythmic structure. So much is revealed by 41 this comparatively simple method that it saves to the learner a great amount of struggle, confusion and misunderstanding that are easily cleared up, to the immense simplification of the whole matter. 42 CHAPTER IX REVIEW OF THE PRIMARY OR SONG FORMS 1. The following list of questions may serve as a general review of the forms thus far studied. Most of the questions have been given in substance, hitherto; but their purpose here is to serve as a test without reference to the preceding text. 2. While such questions may be answered orally, much more satisfactory results will be obtained if they are care- fully written out. 1. What is a unitary form? Mention one example. 2. What is the purj^ose of the Coda, in the compound ternary? 3. What is the aesthetic value of the extension or the abbreviation of a part of a primary form ? 4. Why are these devices rarely employed in decorative designs ? 5. Distinguish between an eight measure period and an eight measure phrase. 6. What phrases may be substantially the same in a binary? What is the difYerence between a repeated period and a binary? 8. Define the terms caesura and cadence. How do they differ? 9. State the various devices of motive variation. 10. What relation is there between phrase length and tempo ? 43 11. Why is the ternary structure more common than the binary? MUSICAL FORM AND ANALYSIS No. i8. An- dante in B minor, by Ludwig Schytte. 12. What is the form of this composition? 13. Compare measures one to eight with measvu^es seven- teen to twenty-four. 14. Why do the Cadence chords fall upon the third beat of the measure? 15. What is the name of the chord in measure fifteen? 16. On what beat is the cadence in nueasure sixteen? 17. Why were measures one and two not made identical? 18. Is any portion of the left hand part strictly melodic? 19. Does a modulation occur in this composition ? 20. What keys are most naturally entered from B minor ? 21. Write the Half cadence in this key. 22. Write the Dominant Seventh Chord of this key. 23. What other key has the same dominant seventh? 24. What name is applied to the form of grace note emi>loycxJ here? 25. Name the following cadences, stating whether the form be perfect or imiK'rfect. ^^^ii -5^^ * li 44 CHAPTER X THE SONATINE FIRST MOVEMENT 1. The word Sonatine is the diminutive of Sonata, a sounding piece, as opposed to Cantata, or a singing piece. This form, perfected by the masters of the Classical School, and brought to its highest development by Beethoven, consists of two subjects so combined with episodical matter as to afford a definite and systematic succession of parts that afford thematic as well as rhythmic contrast. 2. But beyond this systematic structure by smaller parts, the Sonata, and Sonatine first movement is always a Ternary. On examining the shorter type of Sonatine in MUSICAL FORM AND ANALYSIS Xo. 19 (Sonatine in D major, by Ludwig Schytte), it will be noted that a double bar is used requiring a repeat of the ffrst portion of the form. Follow- ing this double bar we fmd new material, which leads generally to the repeat of the original theme in D major and of all that followed it (to the first double bar). We can then roughly subdivide the whole movement into three parts: I. Twenty-eight measures to the double bar. II. Twenty-four measures. III. Thirty-one measures (or Part I of twenty-eight j)lus three measures). 3. Of these three subdivisions, I'arts I and III have the same relation, one to the other, that we fuid between the first and third periotls of tlie Ternary form. Hence, the first fact to be grusjjcd about the Sonatine (and Sonata) first 45 Part I. Part II. movement, is that its structure is three-part, or Ternary. 4. It now becomes necessary to indicate the subdivisions of these three parts. As a rule, they follow this order, in the major keys: a. First subject (a phrase or period) Tonic key. b. Intermediate group (or episode) estabUsh- ing the key of the dominant. c. Second subject (a phrase or period) Dom- inant key. d. Closing group (or episode) concluding at the first double bar in the Dominant. Development. Here any thematic material from Part I n^ay be used and combined, if desirable, with new material. This part is not regularly subdivided, for which reason it is called the "working-out" part, sometimes the free fantasia part. At its conclusion it merges naturally into the return of Part I. a. First subject as it originally appeared. b. Intermediate group (or episode). This time, however, in the Tonic key. c. Second subject as before; but in the Tonic. (i. Closing group, in the Tonic, often pro- longed by a few (or by niany) measures of (\Hla. 5. This s('(iuence of parts and their subdivisions apjilied to Selection Xo. 10 in MUSICAL FORM AND ANALYSIS, will accjuaint the student with the nature of the Sonatine form. Part III. 46 Part I. a. First subject in D major, an eight measure period ending in the key of the Tonic. b. Intermediate group, eight measures not so strictly melodically as rhythmically unified, passing from D major into A major. c. Second subject, in A major, an eight measure period, concluding in measure twenty- four (in A major). d. Closing group, four measures (to the double bar) affirming the conclusion or cadence in the dominant key. Part II. Development: This opens with the same rhythm (measures one to four), as we find in the second subject. It is freely modulatory, a distinctive trait always of the Development portion of a Sonata or Sonatine. Measures five to eight: Based on the rhythm of the first measure of the first subject. Measures nine to twelve ) Based on the rhythm of Measures thirteen to sixteen, j the closing group. Measures seventeen to twenty- four: The first subject motive, serving to recall that subject and to stimulate interest and expectation, for its return. Part III. (The student should compare this, measure for measure, with Part I). a. First subject, as before, in D major. b. Intermediate group, eight measures, as before, but with the difference in the harmonic treatment, in order to retain the atmosphere of the Tonic key, D major. c. Second subject, as before, eight measures; but in D major. d. Closing group, as before (but in the Tonic), and ex- 47 tended by three measures to produce a more convincing or satisfactory conclusion at the final double bar. 6. In the analysis of such movements as this, the student should take note not alone of the form, but of the harmonic progressions as well. Hence, in the following questions, the latter requisite is included. Questions 1. What is the key of the entire movement? 2. What is the form of the first subject? Is it regular as to phrases ? 3. Analyze similarly the second subject. What cadence is found at the end of its first phrase ? 4. What is the motive content of the closing group? (Note how motive-repetition, etc., is employed.) 5. (Devcloi^mcnt, Part II.) Determine the harmonic content of each measure. 6. What keys are nearly related to D major and to A major? (Note how many of them are employed in the development portion.) 7. How is the Second subject given variety in Part III, as compared with Part I ? 8. Define the words Sonata, Sonatinc, Cantata, Episode. 7. While the regularly constructed Sonatine follows the above outline as to structure, it is essential to a full com- prehension of the form that the student analyze as many tyjies as he can. The following are to be recommended (first nioNcmcnt only). C'lenienti: Sonatine, T) major. Beeth()\en: Op. 4(), G major. Kuhlau: Op. 20, Xo. i, C major. Gurlitt: Op. iSS, Xo. i, C major. 48 CHAPTER XI THE SONATINE FIRST MOVEMENT, IN MINOR 1. In number and sequence of parts the Sonata form in minor is like that in major. The key relation, however, is different. In the regularly constructed form in the minor mode this order is observed: a. First subject, in the Tonic. b. Intermediate group establishing the relative Part I ^ major key. c. Second subject, in the relative major. ^ d. Closing group, in the relative major. Part II Development portion. a. First subject, in the Tonic. b. Intermediate group, permitting the en- Part III ^ trance of the Second Subject. c. Second subject, in the Tonic. d. Closing group, in the Tonic. 2. The student must remember that the composer is at liberty to change, and often does change, any set outline of this kind. Hence, both in the major and minor mode we sometimes find the form we are studying departing (and most artistically and with satisfaction to the listener) from the recognized order. Thus, in the C major Sonata of Mozart, the first subject returns not in C major as we should expect, but in F major. Again, in Part HI of another Sonata, Mozart introduces first the second subject, then the first. Sometimes in the minor mode the second subject will enter in the major or minor key of the dominant, instead of in the relative major. 49 3- Many so-called Sonatines are not, so far as the first movement is concerned, Sonatines in any sense, but are a union of two or three short movements (Primary forms). Analysis See MUSICAL FORM AND ANALYSIS, Selection No. 20 (Sonata, really a Sonatine, in G minor. Op. 49, No. i, Bee- thoven). The first subject is a quiet contemplative melody in the key of the tonic (G minor), and is an eight measure phrase, ending on the chord of the dominant, D major. The Intermediate group opens with a repeat of the initial measures of the first subject, but is deflected into B flat major (the relative major of the tonic), and rests (left hand) upon the dominant, in the fifteenth measure. Then the second subject enters in B flat, and continues as an extended phrase for fourteen measures. The closing group on the initial motive of the second subject is four measures long and concludes, at the double bar, in B flat major. The Development portion is thirty measures long, and is made up largely of thematic material from the second sub- ject. The predominant keys are E flat and G minor. The first subject then returns again as an eight measure phrase. Note in the Intermediate group the use of the first subject theme in the left hand. The second subject is considerably lengthened in G minor extending to eighteen measures. The closing group is thirteen measures as against four in Part 1, thus ser\ing as closing group and Coda (G major) combined. 5 The specified tempo of this movement (J*'= 104) suggests its interpretation as a 3 meter, rather than a 4. Questions 1 . Why is the first subject in phrase form ? 2. At what measure in the (first) Intermediate group is the key of B flat major established? 3. What form of Cadence precedes the entrance of the second subject in B flat? 4. The second subject is divisible into two groups, nine plus five: In what relation do the five measures stand to the nine? 5. In what form are the first four measures of the Develop- ment? 6. In what relation does this key stand to G minor, and to B flat major? 7. Through what key is the second subject theme in octaves (right hand) reached? 8. Compare the two Intermediate groups; measure for measure: In what particulars are they alike? Wherein do they differ? g. Likewise compare the two second subjects, measure for measure, and determine the puri)Osc of the extension in the second instance. 10. What purpose is achieved by the conclusion in G major ? 4. Should the amount of work involved in answering questions and making measure for measure comparisons impress the student as considerable, let him rememl)cr the old precept about there being no royal road to learning. Or, 5' rather, let him believe that the only royal road is that of exact and faithful work. All that is included in music appreciation, musical understanding, and music memory is so much augmented by the knowledge of musical form that it is worth infinitely more than it costs in labor required or applied. Further, the student should be willing of his own accord to analyze as much music as he can find, and con- stantly to apply the art of analysis to the music he is studying. It is only from the experience so gained that a knowledge of the various types can be secured and an appreciation gained of the aesthetic laws that permit a skilled composer to depart from any set rules of procedure. 5. While we have selected the G minor Sonata of Beetho- ven as a Sonatinc type it should be said that, as a rule, the Sonatine is not only a short movement (shorter than the corresponding movement of a Sonata), but it is one that in content is exceedingly simple and easy to grasp. The Sona- tines of dementi, Kuhlau and others, are of this simple style. This Beethoven movement is on a plane above them, for its inner content is one of contrast between a reflective mood (first subject) and a more joyous one (second subject). It requires more than a merely technical proficiency of the hand to give it the proper interpretation. 6. The slow movement of the Sonata in G, by Mozart, (LitoliT), Sonata Xo. IV, is in Sonata form and is shorter than many Sonatine movements. But its dignified, elevated and sustained character stamps it as a Sonata. 7. The student will have learned from the preceding analyses that in every regular forni of the Sonata or Sonatine t}7)e, there are nine (sometimes ten) divisions. To memorize this list of parts is an aid to the memorizing of this form. They are: 52 First subject. Intermediate Group Second subject Closing Group Development First subject ^ Intermediate Group I Parti Part II Part III 8. Second subject 9. Closing Group 10. Coda (occassionally) 8. With this outline in mind, the memory has to deal not with one long and involved composition, but with ten dis- tinct and closely related portions of one concrete form. 53 CHAPTER XII THE SONATA 1. The difference between the Sonata and the Sonatine has already been referred to: it is not alone one of length, but of content. The Sonata is of deeper emotional nature, of more sustained and imjiressive character. 2. As the proportions of each part of this form increases the movement becomes longer and the various parts become more highly organized. They may be as comparatively simple as the F minor Sonata, Oj). 2, No. i, by Beethoven, or as complex, ai)parently, as the same composer's later Sonatas. But beneath them all, simple or ap])arently coni- plex, the same order of ])arts will be found, furnishing not a defmite pattern to be followed sla\ishly, but providing an actual law of groidli. 3. As a tyj)e of the Sonata form, at once short and yet sustained in style and expression, we select the tenth Mozart Sonata, First movL'ment, adagio, in E flat (MUSICAL FORM AND ANALYSIS, Xo. 21). Part 1, to the double bar is fifteen measures only. I'arts II and III combined, consist of twenty-one measures, including the Coda. 4. This form, then, is shorter than any of the Sonatines \vc ha\e examined. Close analysis of it will re\eal some of the niany kinds of liberties that the great composers take with a definite form to gi\e it added charm and beauty. 5. Measures one to eight, iiK!usi\e, are di\isible into two groups of four iiu'asures each, and constitute the l'"irst subject 54 and the Intermediate group; ending, in the eighth measure, upon the chord of F major, dominant of the Dominant key, B flat. 6. The Second subject, in B flat major, is a melody (right hand) accompanied by simple chord groups in uniform design, more or less, in the left hand. This melody termi- nates in its fifth measure, but through a deceptive cadence which requires the continuance to a total length of seven measures. 7. The final measure (first double bar) serves these pur- poses: I. It makes the ending of the second subject (a). 2. It contains the closing group (b), and 3, it provides a melodic conjunctive group leading into the Development (c). 8. The opening measure of the Development recalls the first subject, but is in no sense identical with it. After six measures we find that the passage beginning with the (ori- ginal) fifth measure enters, and, proceeding through five measures, concludes upon the chord of B fiat, preparatory to the entrance of the second subject. 9. We have, then, a type of Sonata movement, in which the first subject is omitted in Part III. 10. The second subject is again seven measures long, ending exactly as before (save as to key). 55 11. The Coda, opens with a measure that suggests the composer's desire to make amends for omitting the first subject. 12. We have, in this movement, an irregular form, and yet one that is so beautifully balanced, one that so admirably obeys the law of growth inherent in itself that it is entirely artistic and satisfying to the most aesthetic sense. 13. In the matter of this movement, and as an aid to the memory, the student should arrange the parts in this order: 1. First subject and Intermediate group combined. 2. Second subject. 3. One measure, as closing group, leading to the 4. Development. 5. Then the Intermediate group. 6. Second subject in E flat, concluding as before, and finally, 7. The Coda (reminiscent of the First subject). 14. Even the portions, or subdivisions, of the movement as listed here, are so independent and artistic, yet so unified and closely related that one can enjoy them as separate figures in a group-picture but taken together, they con- stitute a perfectly unified assemblage of parts. 15. The student is urged to examine each measure of this movement for its artistic structure, and particularly to fix in the memory all Cadences, as being the natural points of punctuation of the composition. 56 CHAPTER XIII THE SONATA AS A WHOLE 1. We have seen that the Sonata form applies to the first movement. But its use is not wholly confined, even in the Sonata, to this' movement. 2. The composers of the Classical school constructed the Sonata, either as a three-movement or a four-movement group. In the former case, the order is an Allegro, in Sonata form; an Andante, or its equivalent, and a Finale, often a Rondo. In the four-movement Sonata there are found before the Finale, a Minuetto and Trio, or Scherzo and Trio; or their equivalents. 3. In the Mozart Sonatas the three movement group is common; in the Beethoven Sonatas, the four movement group is frequent. Occasionally the Sonata is found to be a collection of pieces quite as diversified as the Suite. In the Mozart A major Sonata, a Theme and \'ariations take the place of the regular Allegro. This is the case also in the Beethoven Sonata, Op. 26. In the U major Sonata Mozart introduces a Theme and Variations as final movement. Sometimes the first movement is preceded by a slow intro- duction (Beethoven Op. 13). 4. The four movement Sonata, often, in fact, generally, presents these distinct types of form: 1. The Sonata Allegro as first movement. 2. A Rondo as second movement. 3. A compound Ternary as third movement. 4. A Lower or Higher Rondo as ti)urth movement. 57 5. While a Sonata is usually distinguished, as a whole, by key, as, for example, the F minor Op. 2, No. i, by Beethoven, the movements do not, as is the case in the Suite, keep to the one key throughout. For instance, in the example just referred to, the key sequence is thus (i.e., Beethoven, Op. 2, No. i): First movement, F minor. Second movement, F major. Third movement, F minor and major. Fourth movement, F minor. 6. In the same composer's Op. 2, No. 2, the key is A major, with this variation: First movement, A major. Second movement, D major. Third movement, A major and A minor. Fourth movement, A major. 7. In succeeding chapters the Lower Rondo form will be discussed; reference has already been made to the Higher R(jndo form. In the latter we ha\e ])re.sent all the features of the Sonata, with one essential addition. The finale of Op. 2, No. 2 (Beethoven) is an excellent illustration. The essential addition consists of a third subject as Development, or as included in the Uevelo])ment. This feature is never found in the Sonata movement proper the (le\eloi)ment there being a free working out section entirely without detinite formal outline. 8. ()ccasionally we fnid a form that is better, or more ju>tly designated a miniature Sonata rather than a Sonatine. Such forms are Sonatines in length and ])roportion, but Sonatas in the sense of depth of meaning and character of content. 58 Q. An excellent illustration of this is the Andante of the Sonata in G major (Mozart), MUSICAL FORM AND ANALYSIS, No. 2 2. In this the subdivisions are short: Part I. First subject, C major four measures. Intermediate group (passing into G major) four measures. Second subject, in G major six measures. Closing group, in G major, less than one measure. Part II. Development: nine measures. Part III. Is constructed parallel with Part I, with a Coda for more reposeful and satisfac- tory ending. 10. While this movement is written in 4, it should be played at a tempo that permits this metronomic division: J'= 104. This has the effect of doubling the number of measures (to the ear) in each of the subdivisions. In the following questions, keep this meter q in mind. Questions 1. What is the form of the first subject? 2. Of the second subject? 3. What is the harmonic basis of the first (full) measure of the Development? 4. What is the principal source of the thematic material of the Development? 5. Indicate the difference in the second a|)i)earance of the first subject as compared with its original ai)pearanct'. 6. Upon what thematic material is the Coda constructed? 59 7- Diflferentiate between a Sonata, a Sonatine, and a Miniature Sonata. 8. What is a Higher Rondo form? 11. Two special terms are appHed to the Sonata form. Part I consisting as we have seen of four subdivisions, is usually referred to as the Exposition. This means that the composer generally "exposes" or sets forth the principal thematic material to be used throughout the movement. The term for Part II we have already used: Development. This indicates that a free, non-subjective use is to be made of themes and motives. Part III (the repeat of Part I) is called Recapitulation, or a setting forth " from the beginning " again. The term Coda, a " tail or appendage," is that matter by which the Recapitulation is lengthened beyond the repeat of the Exposition. 12. As greater uniformity is now prevalent in musical terminology, the student will find these terms in general use, and he can, therefore, adopt them as current expressions. 6o CHAPTER XIV THE SMALLER TEACHING PIECES AND ETUDES 1. Reference has already been made to the value of a knowledge of musical form as a basis of musical compre- hension and as an aid to musical memory. As these benefits should be enjoyed from the beginning of the study, it is essential to apply the means to that particular music with which the student begins and continues his early training. 2. Teaching pieces are generally of the forms we have already discussed, or some application of them. The teacher usually does little more than to indicate the mood or the picture in the music which the composer wishes the young people to ''see." Pieces without titles are either Sonatas, Sonatines, Rondos, or dance forms (Minuetto, Waltz, March, Gavotte, etc.). The latter (dance forms) may be said to be sufficiently described in the word (Gavotte, or March, or whatever the form may be), for the reason that they are rhythmic and not especially imaginative. 3. Etudes are often less definitely formal, because they are intended primarily to develop a certain hand position or rhythmical movement. Hence, they frcc^uently appear to disregard a formal ])lan of structure. At the same time, if we will closely scrutinize them it will lie found that a more or less definite plan of structure is present. And to recognize this {)lan is essential to the ready mastery of the music before we can concentrate upon the esjiccial etude feature that is the i:)ur{3ose of the work. 4. In MUSICAL FORM AND ANALYSIS, six selections will be found (Nos. 23 to 2S). Upon these the following cjues- 6i tions and suggestions are based. If the student will work them out carefully he will find little trouble, hereafter, in analyzing any teaching material that may come before him. No. 23. Landler, Op. 172, No. 4 Cornelius Gurlitt. A t^^pe of teaching piece of the best order. The melody playing is confined to the right hand; at the same time, the harmonic progression in the left hand has, now and again, a melodic tendency. 1. The Pause in the cightli measure, equivalent to a Cadence, is original and unusual in pieces of this tx^pe. 2. Note the interesting way in which the Cadence is expressed in measure sixteen. 3. The fourth phrase is based on the first. It is extended four measures, and is followed by a Coda passage of four measures. 4. What is the form? 5. Is the form large or small? Why? 6. What i)ur])ose is ser\e(l by the Coda? 7. Define the word Liindler. No. 24. Etude in A minor J. Concone. (Arranged by Thomas Tapper.) I. How many j)eriods to the lirst double bar? How do they differ? Subdi\ide measures se\entt'eii to thirty-two. What theme returns in measure thirty-three? What i)ur|)osc is fvihillcd 1>- \hv tinal fourteen measures? (1. Of wliat form arc the t'lrst forty-eight measures? 7. What modulations occur? 62 8. What keys are most closely related to A minor? g. Is a definite motive-structure maintained ? 10. What chord is formed of the tones F-A-C-D?t in this key? 11. What is the natural progression of this chord ? No. 25. Etude rhythmique, Op. 56, No. 14 Ferdinand Hiller. Note the interesting metrical structure of 4 and 4 . 1. The subdivisions are three. Of how many measures each? 2. How does the first period differ from the third? Why this difference? 3. Does a modulation occur in the second period? 4. What is the effect of the last five measures? 5. Are the 4 measures accented thus = =* - or = - = , or both ways? No. 26. Etude Op. 80, No. 14 A. Marmontel. 1. Do the chromatics in the first measure affect the key? 2. How many Cadence points occur throughout? 3. What is the purpose of the extension at the end? 4. Of how many measures is this extension? 5. What keys are closely related to the Tonic of this composition ? 6. Are any modtdatorv chromatics used ? 63 No. 27. Wrist Study, Op. 170, No. 20 Georg Eggeling. 1. Why is the rhythmic figure so insistently maintained? 2. What is the form as a whole? 3. What modulations are brought about? 4. Compare the first eight measures with the concluding eight measures. No. 28. Etude Op. 90, No. 6 Stephen Heller. 1. What is the key? 2. What are its dominant and subdominant chords? 3. Into how many subdivisions does this work fall? 4. What is the length of each ? 5. What is their inter-relation? 6. Is the bass (left hand) melodic at any point? 7. How many princii)al motives are used? 8. What chord results from this combination of tones: 64 CHAPTER XV THE RONDO OF ONE SUBJECT 1. The instrumental Rondo is evolved from the vocal Round, a short composition so constructed that as a melody it may be sung contrapuntally against itself by a second (and third and fourth, or more) part entering at regular intervals after the principal voice has begun. 2. Following is a Round for four voices: THE RIDE PURCEI.L ;^i^B^ -I --J/- ^==d^ Light - ly go, my pret - ty ])o - ny, Steji-ping Fare -well, fare- well, gloom - y win - ter. Keen winds O'er the heath the bees are hum-ming.Whis-p'ring Mer - ry ])rank.s with laughter air - y. Tales of l^^^p^E > tEz::P hark ! the lark's high car grass is green, new buds ol, ring - ing, Wakes the are swell - ing, Trees and rd:_:: dTEf- O'er the moor, a - cross the heath - er On we O'er the moor, a cross the lif.ith cr ()ii for 65 neat - ly, fast and fleet - ly Stop nor stay, blow - ing, hail and snow- ing, Rain and mire. low of sum gob - lin, elf, mercom-ing On the way. And and fai - ry By the fire I The t^ZZt IP ech - oes, sweet - ly sing - ing Of the May. birds of sum - mer tell - ing, Rose and brier. | i-^=::^=rir^-:^zi:1: =1= /7\ :H go, on, on to - geth - er. Glad and gay. ev - er, on to - geth - er, Who would tire ? 3. The instrumental round or rondo has not this canonic structure, but for its distinguishing feature, it returns to its princijial theme, after the entrance of episodical matter. Thus, a Rondo may proceed in this manner: 1. Theme or Subject. 2. First I'^pisodc. Return of the Theme. Second Episode. Return of tlie Theme. 6. Final Episode or Closing Group. 4. The basic idea, then, of the Rondo is (i) to establish a Theme; (2) to depart front the theme in ei)iso(lical matter and so to construct this tliat the ear is led to expect a return 4- S- 66 of the principal subject. The number of times that the composer may return to his theme through the stimulation of interest, depends upon his skill in balancing subject against episode, and in the highly attractive character of the subject itself. 5. The Rondo of one subject (known as the first Rondo form) is progressive from beginning to end. That is, it has not the subdivision marked by the double bar as we find it in the Sonata. The subject may be a large phrase, a period, or a primary form. In its recurrence the subject may be literally repeated, or it may be varied in details, or it may be abbreviated. Abbreviation is most commonly availed of, as a variant, in the last appearance of the subject (before the closing group). 6. The distinguishing feature of the episode is that it is not formal; it does not take on any definite form structure. The purpose is merely to separate the subject from its next appearance, and to stimulate a desire for its return. It is frequently composed of thematic matter from the subject itself; or, again, it may be made up of relatively new material. 7. As a model in this form the student should examine the Largo in D major from the Sonata, Op. 2, No. 2, Beethoven, MUSICAL FORM AND ANALYSIS, Selection Xo. S. 8. Glancing through the composition as a whole, we should look for (i) an opening theme or subject in a definite form; (2) for the repetition one or more times of this theme, and (3) for the presence of matter that is relati\-ely unlike the subject itself, or even thoroughly opposed to it in melodic or rhythmic building. 9. Even a cursory examination shows us that the opening measures announce a subject that returns again. The first four measures are a phrase ending on the dominant, followed 67 by a phrase of like character ending in the tonic. Hence, measures one to eight constitute a Period. 10. Following the Period we find a new thematic phrase of four measures, leading into the return of the original phrase. This (fourth) phrase is extended to seven measures, and closes the formal structure up to this point. Combining these four phrases, we find they follow in this order: 11. The form, then, is a Binary (small) with extended final phrase. 12. Following this binary, we should expect to find an episodical passage, not in strict form, leading into the return of the opening subject. Measure 19-20 opens in B minor, continues for four measures, and concludes upon the chord of F^ minor. The three following measures (twenty-three, twenty-four, and twcnty-fivc) arc new and present a short (monomctric) motive in the left hand. Measures twenty- six to thirty-one bring the passage (nineteen to ihirty-onc) to a close on the dominant of I) major. These measures of four {jIus two plus six do not cumulate into any definite form, and for that reason they constitute a passage the whole j)urposc of which is to separate the first appearance of the subject from the one that is about to follow. 13. The second appearance of the subject is in length exactly as at first. .\ measure for measure analysis will show the student what slight \ariations the composer has made. 68 14. Thus far the form is: First Subject (a small Binary) ; First Episode; First Subject repeated. 15. The seven measures that follow from measure fifty, are antiphonal in the first five; then a turn is taken that continues the episode on the thematic matter of the first subject up to the entrance of the subject itself again in measure sixty-eight. 16. The form up to this point is: First Subject (a small Binary); First Episode; First Subject repeated; Second Episode. 17. In its third appearance the first subject is varied (by the admission of the sixteenth note) and is abbreviated to a single period of eight measures, following which is the closing group of five measures. We can now sketch the complete form: First Subject (a small Binary of nineteen measures) ; First Episode (four plus two plus six) ; First Subject (as before) ; Second Episode (eight plus ten) ; First Subject (abbreviated to eight measures); Closing group (five measures). 18. Between the two Episodes there is no literal likeness of material. The closing group is merely the repetition of the V-I Cadence. 69 CHAPTER XVI RONDOS OF TWO AND OF THREE SUBJECTS 1. In the Rondo with two Subjects (Second Rondo Form) the feature of repeat, characteristic of the Rondo, lies with the first theme. Even if the second theme occurs more than once, the entire purpose of the composition is so to shape and direct its progress that favorable entrance for the open- ing subject is afforded. 2. The second subject, in this form, does not follow the Sonata plan (which in major is to present its second subject in the key of the dominant), but takes another key relation- ship, by preference. The subdominant key is frequently chosen. Thus, in the model of this form. Rondo in D, by Ludwig Schytte, the second theme is in G major; and not in the dominant .\ major. 3. Aside from this difference in key-sequence, there is no necessary confusion of the Sonata first-movement with the Second Rondo T'orm, because in the latter the double bar and repeat of a considerable portion from the beginning never occurs. See MUSICAL FORM AND ANALYSIS, Selection Xo. 2(). 4. The Theme (first subject) is an eight measure period exactly divided as ti) content, into Thesis and .Antithesis (four plus four). 5. Of {hv sixteen measures that follow eight are in definite form, but they do not combine with the eight that follow to constitute a formal group. 6. The itinaiiukT of the moxeineiit works out as follows: 7 Measures twenty-five to thirty-two are a repeat (and the first return) of the principal theme. The second subject in G major (and G minor) is thirty-two measures long. The first portion in G major being eight measures; the middle portion begins in G minor and ends on its dominant, to be followed by the first eight measures in G major. After an Episode of eight measures, the first theme enters again as before. The closing group is reminiscent of the melodic passages previously used, and extends to twenty-four measures. While this Rondo is of clear outline, it may be regarded, particularly as to its Episodes, in another manner. Thus: Measures one to twenty-four: A Ternary of eight plus sixteen plus eight. Measures twenty-five to fifty-six: A Ternary of eight plus sixteen plus eight. Measures fifty-seven to sixty-four. Episode. Eight meas- ures. Measures sixty-five to ninety-six. The original Ternary eight plus sixteen plus eight. Measures ninety-seven to one hundred and twenty. Closing group, twenty-four measures. 7. Following this broader outline the sequence of parts becomes: 1. First Subject. 2. Second Subject. 3. Episode. 4. First Subject. 5. Closing Group. 8. Other examples of this form are the Adagio of the Beethoven C major Sonata, Oj). 2, No. 3, and the Finale of 71 the E major Sonata, Op. 14. Both of these should be care- fully analyzed. 9. The Third Rondo Form, in which three distinct sub- jects appear, is merely an elaboration of the form already discussed. To add a third theme to a Rondo results in enlarging its proportions and increasing the frequency of the return of the jirincipal subject. For it is primarily the reiteration of the first subject that gives the form its Round or Rondo character. An ideal arrangement of this form would consist of this order: First Subject. Episode. Second Subject. Episode. First Subject. Episode. Third Subject. Episode. Second Subject. Episode. First Subject. Closing Group. 10. The Rondo in F major, by Mozart, (LitolfT), Sonata No. XVII, is an esi)ecially line example of this form. The first subject is in I'' major. The second is in D minor, and the third is in I'" minor. As to form, the t'lrst subject is a Lcdvc measure period. The sect)nd subject is a sixteen measure period (employing a ni()ti\'e from the tirst subject). The third subject is a small Ternary form of eight plus six plus eight. All inter\fiung matter is episodical and will be found espi'cially skillfully constructed from the thematic groups of the Inst subject, in coinhinalion with new material. 72 11. The student could do no better to test his knowledge of Form up to this point than to play and analyze with minute care the Mozart Sonatas contained in the Edition Litolflf No, 302. Every movement is full of interest, and is exceptionally clear as to construction. 12. In this connection it may be said that the student who is acquainted with Form as applied in the Sonatas of Haydn, Mozart and Beethoven, has a splendid working knowledge. Besides the small forms given in MUSICAL FORM AND ANALYSIS, Op. 16 and 68 of Robert Schumann, and Op. 172 of Cornelius Gurlitt, are an indispensable collection of pieces showing how the primary forms may be varied and yet held to an artistic and beautiful outline. 73 CHAPTER XVII SUBJECT AND EPISODE 1. The fact that music is created implies that the composer of genius who is master of his means and material will give it expression in the manner that best permits him to make his meaning clear and convincing. 2. The student must not, in consequence, expect to find in the works of a gifted composer a mechanical adherence to formal structure. The latter is means and, as means, it must adapt itself to the artistic purposes for which it is to be employed. 3. It has already been pointed out that in decorati\c art a definite mechanical balance of parts is essential simply because the eye takes in not only quality of design, but quantity also. In the familiar art of the household as ai)plie(l to rugs, wall-pai)ers, embroideries, and the like, there is in\-ariably a definite and eciual balance of one design against another; definite not only in complementary outline but in spatial relation. 4. Music, Ix'ing intangible in this (sjxitial) sense requires no such balance or boundary. The appeal to the ear is for identity or diwrsity of subject matter. Not even a corre- sponding number of measures in one i)art is required to offset those of another. The single test oi the listening faculty is sequence of ])arts irrespective of the number of beats (or measures), and ecjually irresi)ective of the time duration in\()l\cd in i)roduciiig them. 5. Ikiicc, the subject and the e])isode are to be found in wide \ariation. At times there is found delinitc separation 74 at the point where the subject ends and the episode begins; again, the two are as closely joined as in the intermingling of foreground and background of a painting. 6. From these variations of form as applied in actual com- position, we meet with types that appear equally analyzable in one and another classification. The Theme in A (Mozart Sonata, No. 12) and the Theme of the Beethoven Largo, Op. 2, No. 2, while classed in Binary forms are sometimes re- garded as Ternaries with abbreviated second and third parts. The Binary character is based on phrase balance and order; while the Ternary character is also recognizable in the return of the first part as third part to a degree beyond the length and content of the first phrase. Thus the Mozart Theme: a a I II III a And the Beetho\-en Largo. T a a II Zj^Z III a 8 m. Period. 4 m. Phrase. 6 m. Phrase. S m. Period. 4 m. Phrase. 7 m. Phrase. 7. Such apparently uncertain types of form arc not in- artistic, nor should they be regarded as any more irregular than the four-leaved clover, a ])ro(luct ])ro\i(k'(l by nature, though less frequently than tlie usual type of three Ii'a\{'s. 8. llie characteristic to l)e looked for in the ]->piso(le, whether of Sonata or of Rondo is this: tliat it does not cuinu- 75 late into a fixed design. The Episode is not balanced as to subject matter. Its order of procedure is through fragmen- tary matter that appeals to the ear as a means for return to a subject. Its one purpose is, so to speak, to let the mind rest for a moment, until there is again introduced a subject that shall engage the full attention. 9. It may frequently happen in an episode, that distinct phrase or period formations are present, but they never relate themselves (as phrases and periods), for the purpose of establishing a higher form than themselves. 10. Hence, nearly all music is motion from subject-matter of first importance, though more or less formless matter, the purpose of which is to reach the same subject again, or an- other subject. 11. Of the forms we have analyzed, let it be remembered that the Unitary, Binary and Ternary types are all subject matter; that is, that no episodical matter occurs in them. 12. In the compound Ternary free matter may be intro- duced as Coda. This, however, is prolongation or expansion, and not properly Episode. 13. In the Sonatine or Sonata the subjects are always separated by episodical material; Hkewise in the Rondo, for the most part, although two subjects may appear in a Rondo conjunctively without intervening Episode. 14. The purpose of the list of pieces for analysis given at the end of this volume, is to suggest to the student the ad- visability of becoming acquainted with as wide a range of music as possible, in order to realize to what extent the com- poser is able to adapt means to purpose. This {)ower of adaptation is the art of greatest merit; it is not found in the slavish and mathematical adherence to mensural balance. 76 CHAPTER XVIII TERMINOLOGY I. Comparatively few terms are necessary to specify the factors and elements in musical form. The following are the most important. Abbreviation: The shortening of a motive or of a Primary Form. When applied to the latter it generally occurs in the middle period of the Ternary. Antithesis: The second phrase of a period. Authentic Cadence: The closing (harmonic) formula V-I. Binary: The term applied to the two period form. (See page 25.) Cadence: (See the terms Authentic, Plagal, Deceptive, Half). Caesura: A momentary resting-point, or punctuating pause in the music, that is not strictly coincident with a Cadence. Closing Group: The episodical passage that follows the last appearance of a subject, particularly in the Sonata and Rondo forms. Coda: A passage added to the Closing Group, generally in extension of it, or an independent group intended to provide a more graceful form of close. Compound Forms: A group of Primary forms, usually two, of which the first rea])pears as third jiart, with or without a Coda. Deceptive Cadence: The harmonic formula V-\T, a cadential progression that is usually a\ailed of to defer the final Authentic Cadence. 77 Development : That portion of the Sonata that lies between the Exposition and the Recapitulation. Elaboration: Variation, or, more particularly, develop- ment of a theme or motive. Episode: A passage not in definite form that lies between two subjects, or between a subject and its repetition. Exposition: That portion of the Sonata up to the first double bar, consisting of First Subject, Intermediate Group, Second Subject and Closing Group. Extension: The lengthening of a motive or of a portion of a primary form. Half Cadence: The closing formula I-V, not conclusive as the end of a form but of a portion only. Intermediate Group: The episodical passage that leads from the first subject of a Sonata to the second; it establishes the new key. Landler: a country dance in | or 4, like the Tyrolienne. Lengthening: See Extension. INIelodic Conjunction: A short passage, of a few notes only, joining two portions of a melody. Modulation: Passing from one key to another; literally, j)assing from one mode to anotl,icr, as from major to minor. Monometkr: The single measure, not counted necessarily from bar to bar, but from beat to beat. Moti\'e: a brief rhythmical grou]), so constructed as to permit \ari()us forms of alteration and develof^mcnt. Piriod: 'Phe union of two (sometimes of three) Phrases, with |^ro]ier unity and contrast. PiiRASi: : A nielody, or portion of melody, concluding in some recognizable cadence formula. 78 Plagal Cadence: The closing formula IV-I; infrequently used in instrumental music. Primary Forms: A term applied to the Unitary, Binary and Ternary form. Recapitulation: The repeat of the Exposition of a Sonata, following the Development. Rondo: The Round; an instrimiental form typified by the frequent repetition of a subject. Section: The group that results from dividing the phrase into two equal parts. Sonata : ) A form embracing two subjects with appropri- SoNATiNE : j ate episodical matter. Song Form: See Primary Form. Subject: A formal group used either independently, or as part of a larger structure. Ternary: Of threefold structure, usually applied to the Primary Form. Theme: See Subject. Thesis: The initial phrase of a period. Unitary: A single small or large period, either independent (as in the folk song) or used as subject matter in a larger form. Variation : The rhythmic (and often harmonic) elaboration of a given subject; also applied to the motive. 79 CHAPTER XIX TEST PAPERS I. American College of Musicians 1. Define: a. Measure. e. Double Section. b. Motive. f. Thesis. c. Phrase. g. Antithesis. d. Section. h. Rhythm. Give illustrations, original or quoted. 2. Describe, more or less fully, the following forms: a. Song. d. Simple Rondo (first form). b. Mcnuetto. e. Sonata. c. Scherzo. 3. Analyze the accompanying composition, indicating by means of terms, brackets, figures ("metrical cipher"), etc. a. Princij^al and subordinate themes, both in exposition and development. b. Connective or transitional passages. c. Organ point. d. Keys jxisscd through in the development. e. Subdivisions of themes, motiva? structure, and such other minor jioints as would indicate a thorough understanfHng of the example submitted. (For this Analysis, a sonata first movement was recjuired.) 8o n. 1. Give a sample of a complete simple period, indicating different portions by name. 2. Give samples of a. Large two-part period. b. Large three-part period. 3. Define a motive. 4. Bracket and number each motive in the accompanying excerpt, numbering duplicate moti\'es the same as those from -svhich they are deri\-ed. 5. Briefly describe the Overture, Concerto, and Symphony. 6. Outline the usual form, key-relationship, and general character of a. The Sonata. b. The Scherzo, and c. The Rondo form. III. I. What is indicated bv the following sketch? I 2. And by the following? 3. Carry out the following, cither rhythmically or as a melody, so that it shall form a ])eriod. Mark sub- divisions with brackets and designations. 8i 4. Reconstruct the following, begin when you please, and change the value of notes, so as to bring the whole within the limits of a complete period. :t: -J P ^ i===:^z=izzzp=ziq: 5. Briefly describe the Rondo form. 6. Briefly describe the Sonata form. IV. 1. Construct a short motive and out of it develop a melody for one stanza of any familiar hymn. Indicate the metre. 2. What is the aesthetic value of a stretto? Of tonic Organ-point? Of dominant Organ-point? Of tonic and dominant coml)ined in Organ-point? 3. Write of the value of modulation in instrumental and vocal music respectively. 4. Write of the relation of intellect and emotion to the composition of a work of art. 5. Write of the conditions which eff^ect the listener's a])preciati()n of a musical composition. 6. Write of the relation of intellect, emotion and tech- nique in the interj^retation of an art work. 7. (a) Name a work in I'^irsl Rondo form, (b) The same in composite f(,)rm. 82 8. (a) Describe the usual Scherzo form; give time- signature, usual tempo and character, (b) Write an original theme for Scherzo. g. Sketch a large three-part period; bracket and name subdivisions. lo. What is the difference between a Fantasia and the First Movement of a Sonata V. Based on the Primary Forms: 1. What use is made of the Unitary form? 2. What Cadences may be used at the termination of the first phrase of a Unitary form ? 3. Of what two kinds of period (structure) may the Bin- ary be constructed ? 4. What Cadence may terminate the first period of the Binary form ? 5. How would you distinguish between a period of four plus four plus two and a ten measure phrase ? 6. To what part of the Ternary is extension most fre- (juontly applied ? Abbreviation ? 7. What is the usual purpose of the deceptive cadence in a Primary form ? 8. Of how many independent forms is the compound Ternary constructed ? 9. What is the purj^ose of the Coda when it appears after a compound Ternary? 10. Distinguish between a Coda and an Episode. 11. Cite several methods of motive develoi)mcnt. 12. Write a brief moti\'e and show its possible variations in accordance with your answer to Question 1 1 . 83 13- What part of the Ternary is frequently abbreviated? Why is it artistic to make the abbreviation ? VI. Based on the Sonatine and Sonata. 1. How does the Sonata differ from the Sonatine? 2. Explain the terms Exposition, Development, Recapit- ulation. 3. Sketch the Exposition of a Sonata in D minor, and of one in B major; indicate keys and the purpose of Episodical matter. 4. What thematic matter is usually presented in the Development? 5. Where may free modulatory passages be introduced, in the Sonata (first mo\-ement) ? 6. Why may the Closing group be extended by the addi- tion of a Coda? 7. Why are some forms, shorter than the Sonatine, called Sonatas? 8. State what movements constitute the Sonata, as a whole, and indicate the key-relationship of the movements. 9. How, in your observation, do composers differentiate, in character, the two subjects of a Sonata (first movement) ? 10. Which movements, of a Sonata, may be in Sonata form? 11. Cite an instance of a Sonata opening with an Intro- duction. 12. Cite an instance of a Sonata containing a Theme and Variations. 13. Define the words Sonata, Cantata, Scherzo, Menuetlo. 84 14- Does the Sonata ever appear with shortened Recapitu- lation ? VII. Based on the Rondo Forms: 1. How are the Rondo forms distinguished, one from another ? 2. In what key may the second subject (of a second Rondo form) be written ? 3. The third subject of a third Rondo form? 4. Show how a Rondo of two subjects differs from a Sonata movement. 5. What is the purpose of the Episodes of a Rondo? 6. What is the final Episode called? 7. Are the repeats of a Rondo subject always literal? 8. What differences would you naturally expect to find between a Ternary form and a Rondo (first subject) followed by an Episode leading to the return of the first subject ? MUSIC FORM: (Set by the Regents of the state of New York for candidates for the academic Diplomas). Not more than 2 hours arc to be allowed for tiiis ])ai:>er. Write at top of first page of answer paper (a) name of scliool wliere you have studied, (/>) number of weeks and periods a week in mu>i( al form and analysis. The minimum time ref|uirement is four periiuls a week for a school year. Answer qurslioii g and six of ll:c ollvrrs. I. Name and describe briefly, or diagram, the classical forms with which you are familiar, beginning with the period. [10] 2. State the tempo, key and probable or possible form of each movement of a typical four movement sonata. [lo] 3. Define or explain the following terms: recitative, aria, ballad. Lied, folk song, art song. [10] 4. Write the following as melodies: (a) an eight measure period, (b) a six measure phrase, (c) an extended period, {d) a /'zw measure phrase. [10] 5. Answer both a and b: a. Describe the minuet and trio, as to key-relation- ship and form. Why is the minuet played da capo after the trio? [6] b. What composer substituted the scherzo for the minuet in his sonatas and symphonies? What esthetic reasons justify this change? In what ways do the two forms resemble each other and in what ways do they differ from each other ? [4] 6. What moxements constitute the suite, as written by J. S. Bach? [lo] 7. Describe the oju'ra overture. What is its esthetic purpose? What thematic material sliould appear in it? [10] 8. Name and describe fully the different "song forms.'' [lol (). Analy/^e the music on the accompanying sheet. Name trie form in which it is cast. Indicate t)n tlie sheet the limits and keys of the Narious subjects. Indicate a connect- ing e])isodic i)assage. I40I. (A Rondo movement was set iov analysis.) 86 CHAPTER XX THE APPLICATION OF MUSICAL FORM 1. The subject of Musical Form is not one that should be deferred until the student is ready to take up Composition. Its immediate practicability lies in the fact that it is useful, indeed, indispensable, from the beginning of all music study vocal, instrumental or theoretical. 2. At least the contents of this text book should be thoroughly familiarized by the time the pupil is able to play the easier Sonatas of Mozart and Beethoven. It has already been pointed out that both interpretation and memory are aided by this knowledge. There is, indeed, no way of supple- menting its lack, on the part of the student. 3. Hence, no music lesson should ever be given at which the form of the Composition that is being studied, is not clearly analyzed and marked for the student's guidance and appreciation. Everything that enters into such analysis is so simple, so easily perceived that it requires but a small degree of attainment for one to become capable of the neces- sary fundamental knowledge. 4. Nearly all short teaching pieces are in one or another of the Primary Forms (Simple or Compound). Rondos, esj)ecially when simply written, are so entitled. Not all Sonatines, however, are in Sonatine form. Composers fre- quently use this term carelessly; or, at least, not in its strict application. But the directions given in this text, on the Sonatine and Sonata, will enable the student to know when the form has been strictly observed, and when not. 87 5. In its application in teaching, the first essential is to outline the form of the entire work to the student. Even if this be done in the simplest series of lines, it will enable the student to know, over what kind of a line of progress the mind must move to follow the composer's thought. Thus, in the effort to picture the Mozart Theme in A (MUSICAL FORM AND ANALYSIS, No. i), even these Unes will im- press the form balance upon the mind forever: a. Opening Phrase. b. Second Phrase like the first. c. Third Phrase new matter. d. Fourth Phrase (melody of the first or second). e. Two measures of extension. 6. With this, let the Cadences be memorized; then to play the whole Theme and its following variations will be found a much more simple matter than if no outline had been followed. 7. This simple de^ice may be applied to any piece of music, however long or api)arently complex. In fact, a form- outline undeceives us as to the ap])arent com])lexity of long compositions, showing llial there is a definite growth and interrelationship of ])arts througliout. 8. I'rofitably to make use of Musical Form, the young student needs to know onh' the major anil minor keys; the cadences (sec Chapter 1); to be able to detect a real from an apparent modulation; aiul likewise to realize harmonic identity of structure under a \ariation in rlnthmic exjircs- sioii. As none of these factors is pu/zling in the teaching l)ieces and etudes tliat come l)efore tlie student, he will gradually mastiT the ])rol)leins of tlu'ir di'Xflopnu'nt in adxaneed works, as lie hiniM'lf drNclops the capatity to jx-rfonn lluni. 88 9. Even in the course of a single year the average student meets with enough new music to give him ample opportunity to practice elementary analysis, to his great enlightenment. 10. When the form is clearly perceived by the analytical process, through the eye, the perception of form through the ear alone should be practiced. The two processes of analysis (eye and ear) afford one a technic that is in its way equally valuable with the technic of fingers, for it supplies that with which the latter is involved. 11. While there are abundant illustrations in MUSICAL FORM AND ANALYSIS, of the Forms treated in this text book, the student who is desirous of seeing various examples of each distinct type, will do well to study, as occasion affords the opportunity, all the movements in this list: Gurlitt Op. 172. Schumann Op. 15 and Op. 68. Kuhlau Sonatines (all movements). Clementi Sonatines and Sonatas. Mozart Sonatas. Beethoven The easier Sonatas, Tomaschek Eclogues. Mendelssohn Songs without Words. Schubert Impromptus. 12. In another volume (Second Year Musical Form) there will be taken up such forms as the Higher Rondos, the Idealized Song Forms, The Prelude, Fugue, Invention, Sin- fonia, and the various movements of the Suite; and types of all forms that, in the hands of more recent composers than those of classical times, are constructed with less evident lines of demarcation between the parts. 89 CHAPTER XXI THE SIMPLE SONG 1. A song, whether simple or complex, requires a text. The text of a song is that stanza, or set of stanzas, to which the music is set. Not only must the music be so wedded to the words that the exact prosodical relation (of the verses) is maintained in the music, but it must be of such a char- acter as to reflect the varying moods expressed by the poem. 2. Whatever is required in the perfect reading of a poem, is required of its music setting, the single difference being that the musician employs a wider tone range than the reader does. But the music setting must permit a perfect reading so far as it is required by enunciation, prosody, ac- cents, relative length of syllables logical and rhetorical accents, and the like. 3. When the composer has selected a jx)em for music set- ting he must decide in which of two forms it may be written. Either it may be strophically composed or composed "throughout." By tlie former method, each stanza of the poem is sung to the same music; and conversely by the "throughout" composed i)lan, an indejiendent setting is gi\en to e\-cry line of the ])oem. 4. Practically all folk songs, hymn tunes, ]-)atriotic songs, and tlu' like, are stroi)hically com])ose(l. Hence, in the ca>e of a |)oem of four stanzas, all the changing sentiment of the individual stanzas is sung to the same nuisic. The only ])ossi!)le \ariation that permits an adaptation of changing meaning as the poem i)rogresses is found in modifying the 9 tempo and the dynamics. A "Song of Summer Days," for example, consists of two stanzas. In the first, a bright, balmy, briUiant summer day is described; in the second, a rainy, dreary, soul-saddening scene is described. Mani- festly, to set both stanzas to the same music (that is, to compose the song strophically) would result in a ridiculous composition, unless the auditors were considerate enough to forget the first stanza while listening to the second. Even then the music fittingly pertaining to a bright day would necessarily not pertain to the other kind of a day. 5. If the student will examine strophically composed songs he will find many that are as ridiculous as the suppo- sitious song of the preceding paragraph. In fact, many hymns so composed require the utmost nicety of hand- ling in performance not to betray the fearfully inappropri- ate attempt to sing of God's goodness in the same melody and tempo that are employed to depict his anger. 6. The "throughout" composed song i)ermits an appro- priate music setting to every line of the poem, and conse- quently a more logically artistic unity is possible between the music itself and the verses. (As a t^qoc, see Der Asra, by Anton Rubinstein, or almost any one of the songs by Franz Schubert.) 7. Properly to a])preciate such a song the student should first acquaint himself with the poem, noting: its richness of imagery; its progressiveness; its climax point; and its pur- pose (in the expression of some distinct human sentiment). While the great composer's treatment of these factors may to some extent be instinctive, he is never guilty of disregard- ing the necessity to emphasize them in order that he may secure from them the greatest extent of suggestion, so that there shall be estaljlished between the work of the poet and 91 his own an intimacy of relationship that produces a unity of expression. 8. Goethe's poem, Der Erlkonig, as set by Franz Schu- bert, should be carefully examined by the student. This song is composed throughout for the manifest reason that it would be illogical to assume that the music could be re- peated and yet carry forward appropriately the progressive- ness of the dramatic action. All the varying incidents of the action present an emotional on-going that find their climax in the concluding Recitative passage: in seinen Armen das Kind war todt. On the other hand, the same composer's setting of Hark! Hark! the Lark! is appropriately enough strophically writ- ten. If the stanzas be read carefully it will be seen that the underlying sentiment is more or less unified; that there is little or no progressive dramatic action; rather are the lines descriptive of a sentiment that is fully presented in the opening stanza. 9. Der Doppelgdnger, by Schubert, though short (sixty- three measures), consists of a melody that does not return upon itself. That is, its phrases are new and properly adapted to the text as the scene unfolds before us. The student should note this influence of words upon music. They do not, in the hands of a distinguished and capable comjxjser permit of that phrase identity (in melody and harmony) that is so distinguishing a feature of instrumental tliemes. In the latter, the ear must, unaided by extraneous lu'lj), carry the phrase and period relationship. In all great songs the i)iano accompaniment is orchestral in its nature; it is an independent part that gives color and tlraniatic in- tensity to the reading of the poem by the singer. 92 10. The common types of accompaniment that provide merely a harmonic support are reminiscent in form, and identical in purpose with the sounding of harp or lyre strings by the ancient singers. This form of instrumental accom- paniment is generally found in songs of a light, simple, narrative character. Songs of dramatic character are usu- ally provided with an instrumental accompaniment that in itself portrays the undercurrent of the emotional content of the poem. 11. Many pianoforte compositions are literally what Mendelssohn described some of his to be; namely, Songs without Words. In these a distinct Song melody is so har- monized that, when skillfully performed, it gives one the impression of a Solo melody with accompaniment. But invariably in such instrumental "songs" there is a definite form balance estabHshed by the literal repeat of all, or of some portion, of the opening period a factor that is rarely present in the best vocal compositions. The reason for this difference lies in the mental state of the listener; in the song he follows (or should follow) the text of the j^oem. What it says and how its meaning develops is the principal factor. In the instrumental form there is an absence of text, and often even of a suggestive title. Hence, the listener builds up the unity from an artistic correlation of parts, in which \-ariety and identity arc the two principal factors of the inner constructive meaning. 12. Song analysis, then, is strictly ]ioem analysis. The poet's meaning, his imagery, tlie rhythm of his lines, the alternation of syllables, the ])rogressi\'e a])]>roach to the climax all these must be fully appreciated from the pt)em itself before we turn to the music. In its turn, the music 93 must be the handmaid to these factors of poetic construction. All the processes of the composer must follow those of the poet, to the extent that when the song is sung as beautifully as possible, the result is that the poem has been read as beautifully as possible. 94 CHAPTER XXII FORM AND THE SCHOOLS OF COMPOSITION 1. While Contrapuntal Forms will be taken up for study in the succeeding volume, reference to them may be included here in their relation to the Schools of Composition that fol- lowed upon the passing over of the strict writing of Johann Sebastian Bach to the freer style of his son Phillipp Emanuel Bach, and of Joseph Haydn. 2. Examination of the works of Johann Sebastian Bach (now played on the piano) reveals a comparatively long list of Forms written by that eminent writer. Besides the Pre- lude and Fugue, the Fantasie, the Invention and Sympho- nia there were the regular movements of the Suite (that is, regular as to order and common to every Suite that Bach wrote): The AUemande, the Courante, the Sarabande, and the Gigue. It was always Bach's practice to introduce between the Sarabande and the Gigue one or more of the many Dance forms in vogue in his time. These we find in the English Suites: The Bourree, Gavotte (with Musette), Menuet, and Passepied. In the French Suiles (which lack the Prelude found in the English Suites) there are the Air, Menuet with Trio, Gavotte, Bourree, and Polonaise. In the Partitas we find as oj)ening number the Praeludium, Sinfonia, Fantasia, Overture, and Toccata; and as additional Dance move- ments to the Suite pro])er, the forms already mentioned under the two preceding Suites and, in addition, the Ron- deau, Capriccio, Burlesca and Scherzo. 95 3. Many of these Dance forms have survived and have been given broader and more amplified treatment by writers subsequent to Bach's time. This is particularly true of the Menuet, which was given a place in the Sonata by the writers of the Classical School. The later composers who have employed these Forms for composition have invariably expanded them to the Compound Ternary while with Bach and his contemporaries the Form is invariably of two equal parts separated by the double bar. In comparatively few instances do we find the Ternary Form (with first part more or less literally repeated as third part) present in Bach's compositions. 4. But the composers of the Classical School (particu- larly Haydn, Mozart, and Beethoven) developed the Ter- nary to extensive dimensions and perfected it. As we have seen in preceding chapters, the First movement of the Sonata is an elaborate Ternary. In such Sonatas as con- tain a Menuet or its equivalent, the form is invariably a Compound Ternary. Frequently the Sonata Form (First movement Form) is present in the slow movement and in the Finale. 5. The simplicity of the Rondeau as we find it in Bach gives place to an elaborate Form of one, two, or three sub- jects of genial, merry character, and this placed in direct contrast with the graver, more serious emotional content of the First movement and of the slow mo\ement. The four movement Sonata, brought to its perfection by Beethoven, was i^receded, in the works of Haydn and Mozart esjiccially, by the three movement Sonatas, often of curious movement sequence. Thus Haydn in one Sonata, in K Hat, concludes with a .Menuet, which, however, by extension and by the 96 introduction of a Theme in E flat minor, takes on distinctly the character of the Rondo. It has already been pointed out that all of the three great Sonata writers of the Classical School introduced movements that were not properly of this Form: like the Theme and Variations, the March, and the Fugue. 6. The principles of Form construction that were so highly evolved in the Sonata, by the classical composers, were not abandoned in their smaller pieces. Hence, in such forms as the Bagatelle, the March, the Theme (with Vari- ations), the Waltz and the like, the Primary Song Form (simple or compound) is invariably clearly expressed. For this reason the works of the Classical School constitute ideal material for the study of Form. When they were taken up by the Romantic Composers they underwent cer- tain changes that literally enhanced their beauty by devices of composition that removed their literalness and exactness of structural lines. The student has only to compare any of the shorter movements of Haydn with those of Mendels- sohn to note the advent of this principle. In Haydn's shorter compositions, the Cadences are literal stopping places, the Periods are frequently marked by the double bar, and the continuity of the whole is frequently broken by the o])vi()usness of the cadential formulae. In the shorter works of Mendelssohn, the Cadence points are often only sugges- tive of a cessation; there is an onward moving impulse, a progression from beginning to end that results in a merging of all the ])arts (Periods) into a unified whole. And yet with this almost unbroken unity, the divisions of the struc- ture are just as clearly perceptible as they are in the more ob\-ious cadences of the earlier writers. 97 7. For these reasons the shorter movements by composers of the Classical School are admirable for the first study of the simpler forms, but those of the Romantic School are subsequently essential, for they stimulate to a higher de- gree the process of analysis. As we have pointed out in regard to decorative Forms, the quantitative element is al- ways present. This may be said in a measure of the earlier types of the Song Forms while in those of the Romantic School, greater use is made of the quahtative principle. 8. With the advent of compositions bearing distinct titles, the creators of Form began more or less to yield something to the underlying programme suggested by the title. Two very simple illustrations of this may be found in the two short pieces by Robert Schumann, entitled Scheherazade and Mignon, both of which are Ternary Forms in content; but in neither is there any recapitulation of the opening period as third part. The reason for this is seen, particularly in the Scheherazade which portrays the story of the Sultaness who to save herself from decapitation, agrees to tell the Sultan a new story without repetition for a Thousand and One Nights. The virtue in this instance of not repeating the first period of the Form as third period, needs no defence. 98 CHAPTER XXIII TYPES OF CADENCES FOR ANALYSIS 1. The Cadence in four-part harmony (See Chapter I) is a process of chord movement that rarely occurs in piano- forte music without free rhythmic progression. Hence, in the beginning of such analytical work as this book treats of, it is often a puzzling matter to the student to determine the exact tones (in the rhythmic figure) that combine into the cadence formula. 2. Each of the following examples should be studied and resolved into its simple chord relationship. Suspensions, passing and changing tones in the cadence group should be marked. (See No. i.) No. I. Key Eb. Tempo Adagio II I II 99 No. 2. Key Eb. Tempo Adagio ^^=^^^M T ^^v-# r No. 3. Andantino I o 3 - *^-H i. ^ siT-- *^ =r- ^ -9 A 8 li^s^ I / i: :2z5_ =^- ^ K"^ ^y^g--^--^- r-^^:E g No. 4. Key F major. Tempo Allegro M^M it: ifi-^^^ p^ * - 5? - -R- t?-' -4-i^ gjg h I -i irp i~^ji^^ - I- - H - [- J i^ii 1= No. 5. Key A minor. Tempo Andante grazioso ^ ' ^ 4434 ^ N 6 4 - 4 3 4 -- - -^- -# y- -- /-^ N ^-u V-f--r r '--t^^-t ^----t 5U3iii-- /- 4 tf 4 -- 2 -- -- -- lOX No. 6. Key D minor. Tempo Allegretto 3 ^^^fEi^pEE ^^EEE^^=^=^^^ f 9^.=-= -=^-i K 4- i No. 7. Key D major. Tempo Allegretto l.S. %*- '^^f^'-ii^^^^^fS!^^:t ^ ^ .vi; d 9 - i^i^^^^zi^^ ^ I02 tn.s. m.s. 4 &S: m ^dimin. ^ti ^. zr I No. 8. Key F major. Tempo Adagio 4 -.4 3-#--^ --'- 1 3 4 1 ^: :q: :q: 6 4 Tf :=1: d=5 f No. 9. Key F minor. Tempo Allegretto I I feJ: i ^ 3 ^-!l^_EEEEz i.SiK^^@ii =f I03 No. lo. Andante (J =72) A . 1 7 Lj u Z. V-1 H -N-^ ^: No. II. Key G major. Tempo Allegro t+ - 1 a 3 ^^tf^l-^:^:f,Jk- ^fP= I m^\ It' / fl] I04 No. 12. Key E minor. Tempo Allegretto nkJ-k' pg p=^^ *-^^3 n f: i^if: it: t:* ^s-. ^. i X - L.^ 1 1. -PP 9^1=^ I 1 I ^^-^1 -- -- vj/ I05 No. 14. Tempo Allegro -0- -m- II 2 -- ( T2 ^^1^^::m-^:J^.h&.^^ H ^ * ^ '^ Ale)!, (i.e. ma st'irci rcpliiU io6 CHAPTER XXIV MODULATION 1. It has been pointed out in a preceding chapter that harmonic progression is an essential factor in all phases of music analysis, underlying Form. While it is assumed that the student using this textbook has either acquired, or is acquiring the fundamental principles of Harmony, it is essen- tial to emphasize somewhat the subject of Modulation. 2. While modulation is, strictly speaking, a change of mode, the word is now universally employed to indicate any change of key. The process of modulation may be brief or extended. It is brief when the key-change is more or less abruptly established. It is extended when the harmonic process of key-change involves several measures instead of a few chords. 3. In practically all the analysis that will come before the student, he will find the new key established through the introduction of its own dominant. Therefore, in passing from C major to G major, the "open door" to the latter key is the chord EMj I This chord may be presented in one of almost countless ways. (A chord of all four tones sound- ing simultaneously, or of three tones, as a l^roken chord in one voice part, as a broken chord distributed through two or more voice ])arts, etc.) All dominant sexenlh chords should, then, be thoroughly mastered, so that their api^ear- ance even in unusual keys is immediately recognized. While remote keys {D^, -l^f, A'tf major, for example) are rarely used, they do occur, and shoukl olter no dilTiculty. 107 4. It is recommended that the dominant seventh chords be written out and resolved, in all major (and minor) keys; that a certain portion of time devoted to elementary study of Form be limited entirely to harmonic analysis. While the student becomes acquainted with all possible chords in his study of Harmony, he cannot fail to observe that the composers, particularly those of the Classical School, are sparing in their use of chords but of exhaustless resources in the Forms in which they present them. If the student will compare the following with any page, or dozen pages, of Haydn, Mozart, or Beetho\en, he will be convinced that no such compact, constantly changing harmonic progression is current in their works. This music consists of fifteen chords, no two of which successively present the same harmony. We have only to turn to almo<^t any passage in a classical com- position to note that the composer's method (with chords) is to prolong them, to present them in inlinite rhythmic \ariety and seldom (save in brief secjuential passages) to employ frequent chord changes. The following from the Sont^ icitli- out Words, No. 28, by Mendelssohn, will illustrate what use of a single chord is iH)ssil)k' when skillfully employed. io8 Felix Mendelssohn Alleg7-o coti anima ^^ -l-^J 1^^ PIP Here are twenty-two tone-groups, of which all but one are the tonic triad of G major. Only one single tone foreign to the chord-harmony is employed. 5. Just as the general chord-body is thus spun out, pro- longed by the rhythmic impulse, so in modulatory groups the same jmnciple is followed, always excepting certain forms of sequential passages which generally are but pro- gressions from a chord to another {position of itself or to a nearly related chord. The cadence group which always ends in some form of the T)ominant-Tonic harmony may be prepared, or led up to, by a chord or chords that involve both keys in the modulation: (i) that /n;;;? which the har- mony is proceeding, and (2) that to which it is progressing. Hence, the V-I progression is often expanded to ii-V-I or IV-V~I or IV-ii-V~I. 6. In all modulations some common factor between the keys involved must smooth the way. Hence the ai)i)arently unrelated keys of C major and F^ major are unified when I09 between these two chords (one of which is V^ in F# major) are introduced which possess a common tonal quantity. Thus: _J_4 4 _._^Q ^-^ ^*- -J ^A^ '^-^ t ;;^- c I V Fi V In this illustration the relationship is so close that the chords merge each into the next with perfect smoothness. The modulation from C major to E minor presents another feature of relation. \^~^ )<5)- iiH I In this, the first three chords are common to both keys, and the change of tonic results as naturally as possible. 7. In modulation analysis (as a component of Form struc- ture) the essential facts to determine are: 1. What chords are employed? 2. How much of the metrical total is given to each chord? Simple modulations like those given in this chajiter should be worked out by the student.* * See Second Year Harmony by Thomas Tapper, Chajiter XXI, Page 115. CHAPTER XXV RECAPITULATION 1. The mastery of a foreign language results only in part from the grammatical text-books one may use. Along with them as "guide and counsellor" there must go two other operations that of listening and that of speaking. In these the language is vital and full of meaning; in the gram- mar we find it a skeleton unclothed of flesh, and spiritless. There is this same vital possibility in all study, that of which this book treats being no exception; and while a text- book may point the way in the study of Music Form, only the actual music itself contains the secret of this phase of the art in its fullness. Hence, while a certain amount of analysis is provided for in the accompanying volume (Musi- cal Form and Analysis), every piece of music is, more or less, an individual t>'pe, and should be known intimately on the basis of its individuality. 2. All music, then, taken up for study, should first be carefully analyzed for its formal structure, and this struc- ture indicated by lines, of which process frequent illustra- tions have been given in this text. It has already been pointed out how this serves the memory; it does, in fact, give the music under consideration such distinctiveness that it is not only more readily remembered but it can scarcely be Mwremembered. We rarely forget what we take in con- structively, and back of most cases of poor memory is a lack of the synthetic process resulting from the analytical process. Ill 3. In the earlier chapters of this book certain exercises entitled Constructive Work are given. They should be car- ried on as far as the student can possibly take them. Even if his efforts at constructing music be uninspired by genius, some of the secrets of the synthetic process must necessarily become familiar to him, and thus he is more intimately acquainted with the same process as the cause back of the effect on the printed page. 4. The fact that Form in music is not a visible element as it is in such designs as the one on page 29, makes con- structive work all the more necessary. It also suggests that the student of Music Form may profitably carry on his study into the domain of the other arts and attempt to determine by what process of "lay-out" the painter subdivides his canvas into its major and minor portions. Invariably the twofold or threefold (Binary or Ternary) arrangement is discoverable in a painting as it is in music. There may not be there seldom is, in fact absolute spatial balance. The painter works, much as the composer does, with the factor of qualitati\e (not quantitative) relations. But the architect must at all times establish an exact quantitative (and not qualitative) balance, or his work fails to satisfy the demand of the eye for perfect symmetry. 5. The factor of qualitative relation being not only per- missible in music but entirely prefera])le to exact mensural rciK'tilion and indentity, brings before us ty])es in which the composer seems to take liberties with the Form. He docs this for the very natural reason that for him there is no such thing as an absolutely fixed outline. He shapes his material to ex])ress his meaning, and if he be a genius both his material and his message will spring not from the rubrics 112 of a text-book but from the mind and heart. While there are comparatively few types of Form in music, there are countless variations of each of them in the compositions of greater writers, and the interesting phase of a composer's treatment of Form is never his strict adherence to its de- mands alone, but this plus the modifications which his mes- sage makes necessary. It is for this reason that while we have but one specific outline for the building of a Sonata- form movement, there are countless variations of it in the music of the master composers. 6. The subject matter of Chapter XIV was introduced to show that however simple a well-written composition may be, it is always admirably constructed, formally, to carry its meaning; or, in other words, to present itself and its message. Popular music, of the poorer (and poorest) kind, not only fails in structure but in meaning also. Its plane of elevation is so low that it does not call forth any significance of struc- tural lines. Hence, the essential basis for the selection of good teaching material is found in the words: Beauty, Meaning, and Expression. Beauty is the inherent cjuality of attractiveness. Meaning implies the message. And by Exj)ression we refer to the upbuilding of the thought into a concrete composition. 7. While the general characteristics of the Schools of Composition have been sufficiently referred to here, for the pur])()ses of this text, it is well worth the student's time and effort to acquaint himself by readings in Music History with the cause that led to the develo])ment of each School and its gradual e\-()lution into a freer and fuller form of ex])rcs- sion. Taken in order, the historic account of the following will accjuaint one witii the rise and development of this [)hase of music: "3 1. The School of Lassus and Palestrina. 2. The Contrapuntal School of Bach and Handel. 3. The Classical School as consummated in the works of Haydn, Mozart, and Beethoven. 4. The Romantic School of early Nineteenth Century. 5. The Works of Brahms, characteristic in having their roots in the Classic and Romantic Schools, and yet their floresence in the Modern School. 6. The Present day School of Debussy, Strauss, and others. The corresponding literary development will throw much light on the movement of one School into the next succeed- ing for the thought-message of any period is expressed in prose and verse before it is fully characterized in music or painting. 8. The Test-Papers given in Chapter XIX are intended to serve as models for similar tests to be made from the Lessons of this book, and also to illustrate how examinations in Music Form are prepared for test by various academic bodies. If the student will study these papers faithfully, he will establish for himself a standard of attainment that is based upon the actual proceeding of institutions. Similar papers in music will be found in the other volumes of the First Year series. First Year Musical Theory (RUDIMENTS OF MUSIC) BY THOMAS TAPPER "Price $1.00 This is a simple, readable text upon all the matter that is generally in- cluded in Rudiments of Music. While the effort of the author has been to make the reading matter of the chapters as thoroughly interesting as the subject permits, the student is assured of gaining all the technical knowledge that is included under the subject matter through the test questions that accompany the various chapters. The origin of words and symbols as used in music is traced whenever possible. The book abounds in music illustrations which amplify the meaning of the English text. The questions at the end of the various chapters require a considerable amount of written work, and through this requirement, familiarize the student with all the technical features of musi- cal notation. The book is valuable as a reference source. It contains a well-selected list of musical terms. All the major scales are given in tabular form. The three forms of the minor scales are similarly presented, and the book, in conclusion, presents a number of test pap)ers actually set in schools, colleges, and universities, indicating to what extent musical theory is re- quired in institutions of higher learning as preparatory knowledge. FIRST YEAR HARMONY BY THOMAS TAPPER PRICE $1.00 A simple presentation of chord construction and melody. After introducing lessons on Intervals (both Harmonic and Melodic), the study of chords and melodies is taken up sys- tematically, and proceeds to the Secondary Seventh Chord on the supertonic, with a chapter on Suspensions and Passing Tones. A clear explanation of every necessary process is given. Review chapters, as examination test papers, are frequent. They emphasize every essential point. The text is freely illustrated by musical examples. The single purpose of the book is to make the student the master of the processes explained. Tlie relation of Harmony to music analysis is kept con- stantly before the student. The exercises to be worked out are numerous, and are presented in various forms. The lessons are particularly practical, in that they cul- tivate the power to THINK IN TONE. FIRST YEAR HARMONY has been recommended by many private teachers. It has also been adopted as a regular text book in the Music Department of many schools and universities. ARTHUR P. SCHMIDT BOSTON NEW YORK 120 BoyUton St. 8 West 40th St. Second Year Harmony BY THOMAS TAPPER (A SEQUEL TO "FIRST YEAR HARMONY") "Price $1.00 This book is divided into two parts. In Part I, all chords are presented, one at a time, in major and minor: (a) for Analysis, (b) for Tone Study through the voice, (c) for use in Phrase and Period forms. As a basis for the analysis of vocal or instrumental music this form of presentation is practical and necessary. Review^ chapters emphasize all essential principles and form the basis of examination test papers. In Part II, the Open Position is taken up and exercises requiring the use of specific chords are given. By the process of emphasizing a certain chord in each lesson, the pupil learns of that chord as he learns a word in a foreign language. Its meaning, connection, motion, and force are made clear. Test papers set by schools and colleges are given in the Appendix, together with other pedagogic matter that is sug- gested by the Lessons of the book. TEXT-BOOKS For Music Students ELEMENTARY GLADYS CUMBERLAND A Short Primer in the Elements of Music Net .40 STEPHEN A. EMERY Elements of Harmony A Key to "Elements of Harmony" Supplementary Exercises to "Elements of Harmony" 1.25 1.00 .76 THOMAS TAPPER First Year Harmony First Year Melody Writing First Year Musical Theory Key to First Year Harmony 1.00 1.00 1.00 .75 INTERMEDIATE ARTHUR FOOTE Modulation and Related Harmonic Questions Some Practical Things in Piano Playing 1.25 .60 ARTHUR FOOTE and WALTER R. SPALDING Modern Harmony in its Theory and Practice L50 A Key to the 501 Exercises in "Modern Harmony" 1.00 ARTHUR E. HEACOX Keyboard Training in Harmony, Two books, ea . 1.00 EDWARD MACDOWELL Critical and Historical Essays 2.00 THOMAS TAPPER Second Year Harmony First Year Counterpoint First Year Analysis (Musical Form) Musical Form and Analysis (Supplementary Material to "First Year Analysis") 1.00 1.00 1.00 .75 ADVANCED WALTER R. SPALDING Tonal Counterpoint Music : An Art and a Language Supplementary Illustrations for "Music : An Art and a Language" Four books, each 2.00 2.50 1.00 THE ARTHUR P. SCHMIDT CO. BOSTON NEW YORK \\ 120 Boylslon Street 8 Went 40th Street mT 'SB \qi4 THE LIBRARY UNIVERSITY OF cJ^LIFORNIA Santa Barbara THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW. MZ6 76 ft V^ Mf^ 1 J^v.^'f SMk^^: II 3 1205 00144 5228 4. UC SOUTHERN REGIONAL LIBRARY FACILITY AA 000113 049