liiii fwmm !):ri ij! 1 Complete Musical Analysis A SYSTEM DESIGNED TO CULTIVATE THE ART OF ANALYZING AND CRITICISING AND TO ASSIST IN THE PERFORMANCE AND UNDERSTANDING OF THE WORKS OF THE GREAT COMPOSERS OF DIFFERENT EPOCHS. By a. J. GOODRICH, AUTHOR O: 'GOODRICH'S PIANO MANUAL," "THE LANGUAGE OF MUSIC," "THE ART OF SONG," "THE MYSTERIES OF MUSIC" (MS.), ETC. PUBLISHED BY THE JOHN CHURCH CO., CINCINNATI. NEW YORK. CHICAGO. Copyright, 1889, by The John Church Ca All Rights ReservetV nT PREFACE. A MONG the vast army of music students busily engaged in ''*• acquiring technical skill in manipulating instruments and voices, there are comparatively few who cultivate the critical fac- ulties in listening properly to music, or have sufficient analytical knowledge to enable them to name and classify a composition after a single hearing. Some interesting books have been written in which certain music is recommended to be performed for pupils ; but listening to music is an art, and can be acquired only through a systematic series of exercises and instructions, unless one is con- tent to wait for the gradual absorption of this information through a professional career of many years. Acknowledgment is also made of the fact that even in small cities one may have the privilege of listening to the greatest artists, including such birds of passage as von Biilow, Rubinstein, d'Albert, Klindworth, Rosenthal, Essipoff and Aus der Ohe. But, in truth, considerable of this heavy cannonading is (so to say) fired over the heads of the average student. Every embryo pianist is improved by hearing a recital by any of these artists ; but in the majority of cases they should descend somewhat from their lofty pedestal to the common earth upon which the student stands, if others than advanced students are to be hit by their artistic mis- siles. But it is often impossible for thcvSe distinguished virtuosi (who, in addition to their inherent gifts, have enjoyed every possible advantage) to comprehend the chaotic state of musical culture out- side the radius of our large cities. The text-books, the laws of the country which permit the titles of'' Professor" and " Doctor" to be bestowed upon persons who are ignorant of the very nomenclature of music, and that spirit of American impatience which seeks to acquire everything by a patent process, these are responsible for the present uncultivated state of musical taste. 4 PREIACE. Aside from the preliminary exercises in listening to and naming different tones and rhythms, it is highly important that the student shall be able to say, after hearing a certain opus, that it was a Sara- bande, Loure. Musette, Tambourin, Saltarello. Barcarolle, Spinning- song, Fantasie, or Sonata. A skilled listener should, moreover, name the epoch to which the composition belongs, and specify whether it be Italian, French, German, Hungarian, Norwegian, Spanish, Scotch, Chinese or Persian. And it is of equal importance to the proper interpretation of music that these and ver}- many other peculiarities should be under.stood analytically. For instance, .sequence, echo, repetition, and canonic imitation, all have a certain resemblance on the printed page, yet each one is to be played in a different manner, and these di.stinctions can be ascertained only by analysis. Indeed, the analyzation of the hundred or more details and devices of high- class mu.sic is more than important — it is absolutely essential. The author makes no apology for introducing a considerable number of new terms to designate either newly discovered or neglected details of composition, nor for rejecting certain accepted analytical names and conclusions. He would merely call attention to the fact that ".semitone" is the accepted definition of a minor second or chromatic interval ; that "bar" is the word u.sed to denote a certain measure; and that "time'' is applied not alone to metre and movement, but to rhythm. Yet these and many other terms and deductions of common acceptance have, if analyzed, no relevant .significance whatever. As to the very homely elementary chapters of this book, the writer's experience has led him to presuppose on the part of the average student little more than native good sense and a dispo.sition to learn. The sole object has been to explain and set forth the various topics as plainly as possible — a task far more difficult than the analysis of a symphony. The de.scriptions of various styles, devices, forms, etc., in this l)ook may be found at variance with what is understood of those topics ; but these explanations are derived from the works of the great tone poets, and not copied from musical dictionaries and text- books. TO THE TEACHER. ATTENTION is first called to the two-fold character of this book. - The auricular exercises go hand in hand with the numerous bits and scraps of information which are necessary to the proper enjoyment or performance of music, and to the analysis of compo- sitions away from the instrument. The mere act of hearing music will not cultivate the art of listetiing. Even pupils who are technically well advanced will, as a rule, require systematic practice in listening to single tones (first diatonic, then chromatic), different kinds of rhythm, chord combinations, etc. When a preliminary exercise is played, the class must know whether they are to appre- hend the distance of the intervals, or the value of the notes. Other- wise the ear receives but little benefit, because the mind does not co-operate. The lessons must penetrate beyond the auricle, and to the vestibule. Another requisite to intelligent listening is that the hearer shall not see the actual performance. This is why the blind have such acute auditory nerves ; they perform but the single act of listening, whereas we attempt the double task of seeing and hearing at the same time. The matter of watching a performance of music is merely the result of morbid curio.sity, for certainly the music is invisible, and those who see the most hear the least of a musical performance. Therefore the class is always to be so situated that they cannot see the key-board, and if the performer can also be hidden from view it will be still better. At a regular recital we admit the propriety of an occasional visual observation in order to discover the position of the performer's hands in producing certain effects. But this does not invalidate the rule that music is to be heard, not seen. The first lessons, which are necessarily dry and uninviting, should be made as pleasant as possible, for whatever one learns drudgingly is poorly learned. Therefore, as soon as the mechanical exercises in melody and rhythm are comprehended they should be 5 b To Tin-: ti:aciier. , superseded by or interspersed with short, simple pieces. The , auricular exercises are to be continued throughout the bot.k by | devoting a few moments of each lesson to some example in tones : and rhythm. I Whenever a certain style or form is described the desci iption i .should be followed by a performance of that particular type, in j order to stamp the unsealed impression of the worded explanation i upon the mind. In these cases the questions are to be omitted until ' the chapter has been concluded. ' Notwithstanding every member of the class will require a copy ' of the work, the author recommends the use of a common note book in order to make a condensed statement or epitome of certain I prominent features. Thus, the Sarabande may be described in the note-books (from your dictation) as briefly as this: metre, 1; mode, ' generally minor, accent on second beat ; vwvement, slow. These are '' the main features ; and where so many styles are described this ! much is sufl5cient, for the Sarabande can be easily recognized from ■ this description. Afterwards, as a review of the lesson, the class \ would be more interested in knowing some historical or esthetic ■ details. Aside from these advantages, the art of writing such synopsis serves to reinforce the memory and produce an im- pression, where the mere reading might leave no impress. The metre, mode, rhythm, movement, etc., are to be ascertained by the class after hearing a section or period of any style or form under consideration. In such chapters as XV, XXVII. XXXV, and all of Parts X I and XI, the substance of the text should at first be extracted by | reading certain paragraphs and questioning the class as to the mean- I ing or application. As soon as a conclusion is reached it should i be written, briefly as possible, in the note-books. Some of the ! chapters may require practical examples at certain points not indi- I cated in the text. In a chapter like XXVII almost every sentence 1 should be analyzed. After an opus has been played and analyzed i auricularly, the students are to be allowed to see the printed copy, j Some persons have a gift of recognizing at once the ab.solute I pitch of any tone. If your class contains such an exception, give ' them questions like rhythm, periods, form, etc., not alone for the I benefit of that particular person, but to prevent any emban-assraent ' to tho.se not possessing this gift. If. on the other hand, you dis- i cover a backward or obtuse member of the class, be patient and I TO TiiK ti-:.\chi:k. assist them; not by answering their questions, but by giving the question in such manner that they will be induced to instigate comparisons, and thus acquire that all-important possession — Ihr ability to think. Do this as the clever lawyer questions the witness from whom he desires favorable testimony. This is the art of class- teaching. And the fact should be constantly remembered that many cases of apparent stupidity are the result of our false system of education, rather than inherent obtuseness. Attention is now called to what the author considers the most important part of this system: that is, the analyzation (according to the analytical key) of every possible point of distinction and con- stituent element which influences the performance, the construction, or the effect. This is to be done principally away from the instru- ment, and at first by the class collectively. If, in analyzing a certain opus, a sequence, transition, or counter-subject is overlooked, call attention to the oversight and have the neglected detail pointed out before proceeding. When the symbols and the details to which they refer are understood, each student should be required to analyze, by means of the symbols, a few Sonatinas from Reinecke and Loschhorn, followed by one or more Sonatas by Em. Bach, Haydn, Mozart, Dussek, and Steibelt. Some of the single forms are also to be marked according to the analytical key. (The application of the symbols may be gathered from the analysis of the Clementi Sonata, Chapters XXXVII and XXXVIII.) Insist upon the indi- cation of every constituent element and peculiarity that is ob- servable. A bell motive, a hunting-horn signal, or an anticipation may be detected and marked, away from the piano, but the esthetic or suggestive nature of a certain opus will frequently require an actual performance to determine. Hence, these latter peculiarities are not mentioned in the key. The author's experience in using this system during the past eleven years has demonstrated to his own mind that many impor- tant features of classical music are observable in this mode of analysis which would not be detected by merely reading the music at sight as in actual performance. Music has become too complex and many-sided to be comprehended in this prima vista manner. Indeed, those who never study a work away from their in.stniment know but little of what the music contains. With regard to reading from the book, that is left entirely to the judgment of the instructor. In nearly all cases the information S TO THK TEACHER. for the class is easily distinguished from the mere modus operandi laid down for the guidance of the teacher. The language is not sufficiently poetic to justify one in always adopting it, especially as certain topics may in certain cases require a different mode of treat- men*- from that of the text. The compositions mentioned as illustrations at the end of each chapter were, in most ca.ses, indicated at the time of writing and necessarily selected from the author's library. But frequently some other piece of .similar .style would answer the same purpo.se. For instance, in Chapter XVII, a Bourree by Couperin, Rameau, Scar- latti, Nardini, Matthison, or Benda, would serve as good a purpo.se as the one recommended. But in reference to the Bolero and Salta- rello care must be taken to select examples containing the dispro- portionate rhythm, at least until the class has heard several standard examples. A few words o' caution are also here included in reference to the roccoco pieces which have recently found such favor with com- posers and listeners. A great many enterprising scribblers have assumed the names of old dances for their inane effusions, hoping that what would not pass cuirent as a Main Street March or a Saw- dust Waltz might find favor in the guise of a Gavotte or Minuet. Beware of these counterfeits, for should the class form opinions of roccoco music from such precedents they would some time be obliged to erase those impressions. So it will be better to select illustrations from the master-works quoted, and thus build upon solid foundations. When the various styles are well understood it would be well to play a few roccoco suites, such as tho.se mentioned in the Com- pendium. Where a certain opus is specially analyzed it will, of course, be necessary to procure a copy of fhat particular composition. In other cases selections may be made from the Compendium, which will be found complete so far as th/? system is concerned. The teacher's own collection of music may also be utilized. In view of the fact that many successful teachers are not skillful executants, care has been taken to include in the Compendium, as well as throughout the book, .selections of medium difficulty, which may be used as illustrations of the various chapters. THE AUTHOR. March 4, 1889. CONTENTS. Preface To THK Tbachkr PART I. Chapter i Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6. Chapter 7. Chapter 8. Chapter 9. Auricular Exercises: Major and Minor Sc*lei . . Chromatic Scale. CFiromatic Intervals • . Metre (Measure) Rhythm, Rhythmic Device Movement, Character of. (Errors in Musical No- menclature) PART II. Major and Minor Concords Natural Transitions. Tonality Dominant, Diminished and Secondary Sev- enth Chords. Peculiariites of Harmonic Cadences: Half, Authentic, Complete, Avoided, and Placral 37 PART III. Chapter 10. Chapter Chapter Chapter Chapter 14. Chapter 15. Chapter 16. Chapter 17. Chapter 18. Phrase, Semi-phrase, Motive. Melodic and Rhythmic Construction 46 Phrases beginning upon fractional parts of a measure 53 Section. Different Kinds 56 Periodic Construction. Type 59 Ballad Model. (Two Periods) I 67 PART IV. Primary Forms. (Three Periods) 72 The Dance Form. Common Species 80 " " " Roccoco Species '^.S " " " Modern Classical Species . . 90 9 lO CONTENTS. PART V. I PAGE i Chapter 19 Prelude, Introduction, Intermezzo 98 j Chapter 20. Uneven Phrases and Sections. United | Periods loi ] Chapter 21. Coda (Postludei. Curtailed Period, Extend- ! ed Period 105 i Chapter 22. Dispersed Harmonies. Abrupt Transitions m j PART Vi. Chapter 23. Characteristic Styles: Ivyric, Thematic, Har- monic, Antiphonal, Canonic, Fugal and Bravura . . 114 Chapter 24. Intermediate Details: Eingang, Second Theme, Episode, Termination, Recollection, Stretto, Sequence, Passage and Cadenza 12 Chapter 25. Intermediate Details— continued: Echo, Rep- etition, Anticipation, Parenthesis, Pedal-Note .... 12 Chapter 26. Miscellaneous Single Forms: Spinning Song, Hunting Song, Boat Song, Cradle Song, Bell Piece (Carillon), Night- Song, Serenade, Romance, Bagatelle, Invention, Toccata, Etude, Song Without Words, Pif- ferari. Scherzo, Humoresque, Idyl 13 Chapter 27. Romantic Single Forms: Feu Follet, Will-o'-the- Wisp, Fairy Revel 14 PART VII. Chapter 28. Canonic Imitations: Free. Strict, Contrary, and Partial 144 Chapter 29. Old Cyclical Forms: Suite, Old Sonata, Partita . 148 Chapter 30. Mixed Forms: Potpourri, Medley, Common Orer- ture. Theme and Variations. Imperfect Forms . . . 150 Chapter 31. The Rondo Form 156 PART Vi Chapter 32. Chapter 33. Chapter 34. Chapter 35. Auricular Exercises: Pitch, Force, and Quality of Tone; Number of Voice-Parts, Location of Principal Theme, Style of Performance, Phrasing. Analysis of Toccata by Paradisi The Small Sonata Form, in major " " " " In minor Analysis of Thematic and Irregular Peri- odic Construction. Thesis continued. Liszt's "Waldesrauschen." Apotheosis CONTKNTS. I I PART IX. l'A(;ir. Chapter 36. Abbreviated Symbols, and Key to this Anal- ysis. Explanation of the same iHS Chapter 37. Analyzation of the Sonata Movement. Ap plication of the Key 197 Chapter 38. Analyzation of Entire Sonata. Fvirther appli- cation of the Key 204 PART X. Chapter 39. Origin and Development of the Sonata Form 212 y'' Chapter 40. Development of the Sonata continued • 223 Chapter 41. Enlargement and Perfection of the Sonata concluded 232 Chapter 42. Symphonic Form. Overture, Concerto, String Quartette 238 v<' PART XI. Chapter 43. Program Music: Dramatic, Characteristic, Descrip- tive and Realistic . . 248 Chapter 44. The Anti-Classical Epoch, Modern Ro- mantic, r; mantic-Classical and Realistic Stylos 255 Chapter 45. American Orchestral and Choral Works 285 COMPENDIUM. COMPLETE MUSICAL ANALYSIS. PART I. Chapter I. AURICULAR EXERCISES. NATURAL INTERVALS. WE will presuppose a class of from six to twelve pupils, all of whom have some practical knowledge of music. The class should be so arranged that they cannot observe the key-board of the instrument. The teacher at the piano sounds the different inter- vals of the major scale of C, from i to 8 ; explaining that i is the tonic, or key-tone; that the scale is based upon this fundamental tone, and that the other intervals naturally revolve around and end upon this tone. To make this plain to all, play the scale ascending and descending, stopping upon different tones, as the seventh, sixth, fifth, or second : then ask if the effect is complete and final. Then lay 3, 2, I, asking the same question. After this, sound 5, 6, 7, 8, and demonstrate that the scale naturally ends upon the kej'-tone, either ascending or descending. When this is comprehended, begin upon the key-tone, i, sound the next degree of the scale and ask what was played last. If answered incorrectly, repeat the question until some one answers 2. Then sound e, f, g, a, b, and c, and require the number of each interval to be named after it ir sounded. Repeat the lower c frequently, in order that the class may Ex m M COMIM.KTK MISICAI. ANALYSIS. judge of the distance of eacli lone from the tonic. These imtervals may then Ik- sounded as written : Ki 1 4' f^ B— 12^1- -fs— 6 n S H 4 «* .r' s (5' 8 -^ Pau.st after .sounding eacli tone until the correct answer is given. When this has been well practiced, select such intervals as these: AU r i Alter iianinig the number of each tone as above, the class may call it by intervals, thus: c to/, a fourth; /down to d, a third; d\.Q g, 2i fourth, etc. The exerci.se consists of a .sequence of fourths, and is easily recognized after the first two measures. If the class fail to name a certain interval, they may be allowed to sing the interme- diate tones, thus: If they fail to recognize g as the fifth, sound the key-note and require the class to sing the scale diatonically until Ihcy come to the tone in question, as here : • r- ft— -, a « 4 T — I ^ being i, g would be the fifth tone if E*- 4{|&::z:L_4 r j j :^ii| they sang correctly. The syllables, do, "^ ^ re, mi, fa, etc., may be used in such ca.ses. The author has often found this of benefit to certain pupils. Other arrangements of the natural intervals will suggest themselves tf» the teacher; and when the class is backward in naming the tones in these exercises it would be well to play in succession sevefal thirds, as r. c; d, f : t\ g ; etc.. not .simultaneously but alternately. Then give examples in fourths, fifths, sixths, sevenths, and octaves. I 4Kj_r-_z:i-giq:'*-x7zr:^-n:':zj ^^^^ tonality of c should be kept ^' I fe ~-4 ^~ i T ~t^ T-,^-i~ T— 1 ^" mind first, and the answers "^ given as indicated in the book. .\fterwards the iiunicrical intervals may be called for as thus in the l.i.st example; sevcnlh (r to h), sixth Kb to d), seventh (d to r), etc. .American students, especially those who have heard but little good music. re(|uire much practice upon the.se auricular exercises, until they cau name an interval as soon as it is heard. Ex. :OMPLETE MUSICAI, ANAI^YSIS. THE MINOR SCALES. The teacher should play each form of the minor scale, ascending and descending, until any of the forms can be recognized from hear- ing. Here are the scales in regular order : THE OLD MINOR SCALE. rSz — "^^^^^^^^^ 1 f^^ <^^;^ , i^ ^^ ^ 6f n Ex.6. This is the minor scale of Palestrina, known as the Eolian mode.* Before the chromatic scale was introduced, the above was much used, being the nearest approach to our modern minor scale ; in fact, the descending form of the melodic minor scale is identical with this. It would be well to have the class name the whole and half-steps in the above scale. The half-steps or minor seconds are indicated by slurs. THE MELODIC MINOR. Ex. 7. i z^^-szi I^fefc^n^H?^ ^t^- ^-zr- 4 .5 6 7 5 4 3 2 Modern tonality requires that the seventh of every ke}' shall be a minor second below the tonic, in order to be a leading tone to the tonic. This necessitates sharpening the seventh, which is also the major third of the dominant chord, c, ^-sharp, b. But inasmuch as the augmented second (/to ^-sharp) is not a melodic sound, com- posers have, for melodic purposes, sharpened the sixth as well as the seventh, making the last half of the scale like that of A major. The result may be seen in the last exercise. lyct the class become familiar with this form, ascending and descending; also have them analyze the scale auricularly, by calling the whole and half-steps, and the order in which they come. The last and most important form of minor scale is this: m THE HARMONIC MINOR. 22=^ =?=;^ 2 3 4 5 6 7 ■ See Ecclesiastical Modes in the Histories of Naumann, Grove, or Langhans. Ex. (i ^ *^- -OMi'l.j:TK MLSICAL AXALVS;i3. This is the most characteristic, and is called harmonic because every tone occurs m the harmo7iies of the tonic, subdominani, and dominant which are employed in a perfect cadence : (The class should discover in these chords every tone in the harmonic scale.; It is also remarkable that thc principal diminished seventh chore] with its natural tonic resolution, will likewise include every tone of the " harmonic scale : The first chord includes the second, - I I fourth, sixth and seventh of the scale, while ^''• the concord includes i, 3, 5; these together making the entire harmonic minor scale. Another advantage of this form of .scale is that it contains one more mmor .second (half-step) than any other .scale, and this fact has not escaped the attention of the great modern composers. After playing the scale up and down, let the class discover the three half-steps. Then repeat the three forms (Ex. 6 7 and 8) in different order until the class are able to name each one as soon as It is sounded. At this point the class should be made to understand the differ- ence between " key - and " mode." Key refers merely to the founda- tion of any recognized .series of diatonic tones; as when we say that a piece beginning and ending upon A is in the key of A, or that there are twelve major keys and twelve minor keys. Key is the index to the scale. Mode refers to a characteristic series of sounds, the fundamental of which is the key-tone. Our normal major scale constitutes the major mode: and when this is transposed above or below we .say the key has changed, but the mode remains the same. Before the time of Monteverde there were seven modes, each one oeiiig characteristic. These still exist, though not now recognized as tonal scales. At present we have but two modes-major and minor. Intervals .somewhat similar to those in Ex. 2, ^„ and 5 may now be played in mmor. As soon as the class becomes more profic'ent the intervals may be played less slowly. COMPLETE MUSICAL ANALYSIS. ij ILLUSTRATIONS. 1. Sarabande in D minor, from Bach's First French Suite. (Mostly harmonic form.) 2. Gipsy Rondo in G, Haydn. (Both strains in G minor con- tain examples of the harmonic and melodic minor scales.) 3. Kuhlau, Op. 55, No. i. (The Allegro contains scales in major and melodic minor.) 4. Second Lieder ohne Worte, Mendelssohn (A minor). (Tlys harmonic minor scale descending appears in melody, measured 5 and 6.) Play these pieces (or parts specified) until the class can recognize the different scales, especially the major, harmonic and melodic minor, and chromatic. Chapter II. CHROMATIC INTERVALS. HAVING had considerable practice in naming the natural, unal- tered intervals we may now introduce chromatic or altered in- terv^als. Explain to the class that you propose to sound some of the chromatic tones, not contained in the diatonic scale. Play the I chromatic scales slowly, ascending and descending. Sound c, then ^-flat, and call for name of last note. If answered ^-sharp it is correct, for is not so strong, and this - is very slight. The first of every measure in all kinds of metre receives the strongest accent. Each succeeding note which corresponds to the denominator also receives an accent. In common metre the third quarter note falls upon an equal division of the measure and receives an accent somewhat more pronounced than the second and fourth quarters. Therefore, as the first quarter is accented the loudest, it becomes necessary to use two other degrees of accent — making in all three. These have been recommended by Von Biilow and should be more generally used and understood. (See Ex. 13, c, second measure.) No note of less value than a quarter in these examples is to be accented, except it fall upon one of the accented parts, or metrical divisions of a measure. Thus, we might recognize the diflference between four eighths in I metre and four quarters in I metre, both being performed at the same rate of speed. The former would have but two accents, while the latter would have four: {i=^)\\n rj|»'(j=«)||j^j j| * The word metre is usuaUy applied to what is here caUed rhythm. COMPLETE MUSICAL ANALYSIS. In order to make this perceptible to the class the teacher might play the two examples like this: 1 1 ): 7^ i J I J J J J I ' f p mp p ' ' f mp mf mp ' The quarters are to be played as fast as the eighths. Reverse the examples and repeat them until the class can recognize the differ- ence between I and t metre. The class .should also make copies of the printed examples, show- ing the manner of accenting the various kinds of metre. A few short pieces .should now be performed for the class to hear. Choose for the present only I, I, and I metre and allow the question, metre, to be a general one. The class may also endeavor to beat with the notes indicated by the metrical signature. In this case their beats must correspond to the accented parts of the measure. The first pieces .should be .simple, followed by more difficult selections. The waltzes and marches of Schubert are good for tl' is purpose. One or tw^o periods wall generally suffice. Selections from the works of Loschhorn, Tours, Low, Kirchner, or Heller will prove interesting and instructive. Chapter IV. RHYTHM. RHYTHM signifies symmetry, proportion, and division. The latter definition is more applicable to our first lessons in rhythm, as we wish to indicate by that word the peculiar division or arrangement of the notes in a measure in comparison to the metrical division. For in.stance, a March is in t metre, with this peculiarity of the rhythm : J '^ J J -^ Bolero is in I metre, w'ith this rhythm in the accompaniment : J M J J J J The rhythm COMPLETE MUSICAL ANALYSIS 21 is, therefore, any characteristic arrangement of the notes in a measure, corresponding in vakie to the metrical signature."'' The class may now be questioned ni reference to the following section : Ex. 14. The metre should be ascertained first and the example repeated until all realize that it is |. Then call for the rhythm of the accom- paniment. (The answer should be three qtiarters.) The rhythm of the theme (first two measures) comes next. The answer is, a dotted eighth, sixteenth, and tzvo quarters. In the third measure they have but to recognize the four notes to a beat in order to answer tzvelve sixteenths (three times four). This instance is not simple to an elementary class; therefore it should be played moderately, with strong accents as indicated. In the following example the class should name the rhythm (valuation) of every measure. Explain to them that the exercise is in I metre throughout, and that the beats are to continue at the same rate of speed — moderate movement. Indicate the four metrical beats audibly while the examples are being played. This may be dc«ne by tapping on a book or chair with a pencil. If they recog- nize two notes to a beat they say "eighths," if they hear three to a beat they say "triplets," and if four to a beat the answer is "six- teenths," and so on: Ex. 15. Repeat each measure, that the class may answer without st<)p])ing tlie movement. Each member of a class of six might have a ques- tion, as indicated by the figures above the notes. Then play the exercise backwards, so that the order will be different and each *What IS here called rhythm is commonly kuown as metre; but the author does iwit oelieve that the poetical definition of metre should be applied to music, because poetry yi»% no metrical signature. 22 COMPLETE MUSICAL ANALYSIS. pupil Will have a difFereut question. Finally vary the order as here : I, 3, 2, 4, 6, I, 5, 3, etc. Exercises like this should now be practiced, asking the class, first, the metre, and then the rhythm •' J J J J J J J J J J J The answer should be " * metre, one quarter and four eighths," Play this exerci.se next. J jl I— r^ j] rj Ht-jH n and "^ I 000^0000 I ^0000000 I finally .some examples like the.se : If necessary the class may count eight sixteenths in the last measure, thus : I and, 2 and, 3 and, 4 and, which would give the solution. The author's experience is that pupils at the present time are de- ficient in practical arithmetical knowledge, which is sacrificed by our schools and seminaries for less useful branches of study. The exercises in rhythm (which are merely musical fractions) should, therefore, be often repeated and long continued. Such exercises, properly conducted, sharpen the mental faculties, and the class should pursue the matter until they can recognize any characteristic rhythm instantly. The Etudes of Lemoine, Op. 37, Nos. 40, 41, and 42, may be played in connection with this chapter; also " Soliloquies for Piano," by S. G. Pratt, Nos. 2 or 3 ; "At the Forge," by Jungmann, and " The Mill," by Jensen, Op. 17, No. 3. COMPLKTR MUSICAL ANALYSIS. Chapter V. MOVEMENT. AN important feature of a musical composition, and one that - assists us in determining its character, is Movement, /. e., the rate of speed at which it moves. In this the student must not be influenced by the rapidity of the unaccented notes, but by the movement of the accented (metrical) beats. A quick movement may contain notes of long duration, and a slow movement may con- tain rapid notes. Endeavor to ascertain, first, the metre, by count- ing regularly a given number of metrical accents in each measure. The movement may then be determined by the manner in which these regular accents follow each other — whether fast, moderate, or slow. (The word " time " has unfortunately been applied indis- criminately to metre, rhythm, and movement.) The following ex- ample would be recognized as a slow movement: Ex. i6. usnte. '^ s^ m because the regular beats are indicated by the notes, and these beats follow each other slowly. The next example is easily classified as a fast movement : nnErNBERent. Ex.17. The six eighths here are played in the same space of time that is consumed by one quarter of the previous measure, thus: ^1 | = 80 I ^ I J =r 80 I In other words, the last quotation is three times as fast as the first. 24 COMPLETE MUSICAL ANALYSIS. We will now present an example of rapid notes in a slow move- ment: Ex. i8. In the first measure we recognize an Andante movement on account In the second measure the move- of the slow metrical beats I J J ment remains the same, though the right hand executes eight notes to a beat. Only the first note of each group of thirty-seconds is ac- cented, and this shows that the regular beats (i and 2) move slowly One more similar example will be presented : Ex. 19. ». Andamte. W:^ : mm0m m At (a) the four accented quarters represent the beats indicated by the metrical signature f . At (b) the beats and the movement remain unaltered, because the groups of thirty-seconds are recognized as accessory, or passing tones, in form of a Cadenza. Eight thirty- seconds being equal to a quarter, only the first of each group is accented, as the group merely represents a quarter note, or one beat. Movement is also influenced by rh}i:hm, and in this respect there is a seeming contradiction wdth regard to movement as indi- cated by the metronome. For example, a Sarabande in { metre may be marked I J = 88 1 to indicate a slow dance, and a Bolero in the same kind of metre is metronomized identically to indicate a quick dance ( J = ^^ ) But a Sarabande seldom contains more than ofif note to a beat, and this gives to the dance a slow and deliberate character. On the other hand the Bolero contains sixteenths and thirty-second notes; the rh\i:hm of the acccompaniment is much more animating, and altogether there is an impulse of sprightli- COMIM.KTK MUSIC AT. ANAl.YSIS. 25 ness that suggests quick motion. Comj)are the foHowing examples: JSaKABANDK, KlHNAD. I I [ lis _^L_ Ex. 20. — I'-i ^ FT f? ^ 1 ! - This suggests vslow aud rather ponderous dance movements. Now play the next example according to the same metrohomical heats: (J = 88.) -JTO rrn , BOLKRO. MOSZKOWSKI. = ! & .-=i > m The accompaniment alone is indicative of a sprightly dance; but the dotted sixteenth and consequent thirty-second notes of the theme add still more of vivacity to the movement. The fact is to be considered, however, that these quick notes are melodic ones, and not in the nature of variations or mere rapid parenthetical groups such as frequently occur in an Andante or Adagio. The Adagio in Beethoven's F minor Sonata, No. i, will illustrate this. The matter ought to be well understood, otherwise there will ever be a mis- understanding as to the movements of certain compositions. The quick notes in the Bolero are melodic, and consequently all receive sufficient accent to make them prominent. But in Ex. 18 and 19 the rapid notes are mere intermediate and accessory tones which receive no accent except upon the first of each group, where the metrical accents naturally occur. Ex. i6 should be played for the class while they beat two to each measure, slowly. The move- ment is indicated by Italian terms such as Allegro, quick ; Modcrato, neither slow nor fast ; Andante, slow, etc. ; or by metronomical fig^ures following a note of any denomination. ( J = '^^ ) signifies that the sliding weight on the pendulum of the metronome is tf> be set at sixty, which is one quarter to a second. This is rather 26 COMPLKTK MrsiCAT. ANAYLSIS. slow. Six-eighth metre should be indicated in reference to the movement by an eighth or dotted quarter. Sometimes it is marked like this : ( J — "- ) which is erroneous ; as we must have either two J or six J^ in a measure (or one J J. It would be well for the class to learn to distinguish the three common movements first, as already indicated. These are Allegrt^ Afoderaio, and Andante. In the following selections the teacher should observe a difference of about twenty degrees between the Allegro and the Moderato, and also between the Modetato and the Atidanie, in order to make the matter plain to the class. ILLUSTRATIONS. Sarabande {Andante), Gavotte iModerato), Gigue {Allegro). (These may be selected from any of the Suites.) One or two periods from La Chasse, by Heller, Op. 29. Op. 15, No. 11, from Schumann. (Alternate slow and fast movements.) Adagio, Op. 2, No. i, Beet- hoven. (Such measures as the second after the Coda begins are to be executed with but three accents in a measure — one to the first of each group. The exceptions to this rule occur not in the paren- thetical passages, but in the melodic notes.) The following ques- tions should be given out separately: i. Metre (f, f, *, or \). 2. Rhythm of the Melody. 3. Rhythm of the accompaniment. 4. Movement. 5. Mode. If the class is large give the same question to several members, and such difiicult questions as rhythm to the greater number. Con- tinue the illustrations and distribute the questions difierently, until they are answered promptly and correctly. Before concluding Part I the author would call attention to several common errors, principally in the nomenclature of music. 1. iVote is often confounded with tone and vice versa; but it would be better to say, we read the notes, and listen to the tones- One is a character, the other a sound. 2. The expression "? time" or "f time" is very common; but as time is a part of eternity it is manifestly improper to speak of the metrical signature as a part of eternity. Nor is it proper to say we increase or retard the "time." Time cannot be increased or re- tarded — it is everlasting and unvarying. Better to say we increase or retard the movement. COMPI.ETK Ml'SlCAI. AN.\i,YSIS. 27 3. Referring to a certain measure musical \vriters have a habit of saying "bar" so and so, when they mean measure so and so. The mensural divisions of music are indicated by perpendicular lines called bars, which constitute equal measures. The word bar, when used in this sense, has no real meaning, though it is under- stood to refer to a certain measure. Here, for example, is a measure included between the two bars: The substitution of bar for measure is, therefore, both incorrect and indefinite. 4. The word "accidental" is also employed incorrectly in refer- ing to a foreign tone not contained in the scale in which a compo- sition is written. In such cases it would be preferable to speak of the foreign tone in a general way as a chromatic alteration, or be specific and say ly listen for the modulations. A transition occurs in the fifth, sixth, and seventh measures of the first period. In the second period the transitions are: Measures 3, going to Dominant; 5, to the rela- tive minor; 9, to C major; 10, back to the key-tone (by means of />-flat), 12 and 13. These transitions to dominant and back to tonic are repeated. At 14 there is a temporary transition to subdominant and back to tonic. No. 16 of the " Wonderland Series" by W. Cooper. Transitions to G major and D minor are to be obser\'ed. The strain in F is not to be considered as transition. No. 13, from Schumann's "Scenes of Childhood," may be played, omitting Cadenza. Following are brief explanations of a few technical terms, which should be understood on account of their frequent use : VOICE-PART. The term is borrowed from musical theory, where it is used to distinguish four-part harmony, as well as counterpoint, from a mere chord accompaniment, or adventitious harmony. The different par/s are thus referred to as though each one was sung by a difierent voice. In this example: Ex. 34.1 i there are two voice-parts, the contralto (a) being imitated by the soprano (b). But in the next example there is only one voice-part: tx. 35. ^^ J-jil^^ If the performer sustains the contralto tone firmly, so that it will be heard singing while the upper voice-part executes the canonic imitation, the listener can recognize the two voice-parts; but if the holding tone (c) be fonsaken, the effect will be as in the next example, only one voice-part being recognized. COMPLETE MUSICAL ANALYSIS. 33 Ex. 36. S ^f^^ Tsn^a, -A!^^B The technical names of the diflFerent kinds of human voices, as Soprano, Contralto, Tenor, Bar- itone and Bass, are also used in similar manner: as when we say the principal theme is here in the baritone part, or that the tenor and bass have pedal notes. This is done in piano and orga:. music, as well as in vocal quartettes and quintettes, be- cause it is both convenient and suggestive. i^^^m THE SCALE DEGREES. The technical names applied to the different degrees of the scale should also be understood. The first note of a scale is called Tonic, i. e., key-tone. The second, Supertonic, the next degree above the tonic. The third, Mediant, midway between tonic and dominant. The fourth, Subdominant, beneath the dominant. The fifth, Domi- nant, that is, the dominating or controlling tone in harmony. The sixth, Submediant, being the same distance below the tonic that the mediant is above the tonic. The seventh, lyeading-tone, being a minor second below the tonic (its natural resolution when forming part of the Dominant harmony is up to the kej'-tone). A related concord is formed upon each of the first six degrees of every major scale, and these concords are generally called by that name which indicates their root note. If we say the transition is to the Mediant from a-flat, C minor would be indicated. The triad founded upon the seventh of a major scale is not a concord, and so the word leading-tone is seldom used to denote a chord' or a key, but merely the half-step below any tonic. The names apply to both modes, as may be seen below: Ex. 37- Tonic. Sapfrtooie. Mediant. Sabdofflinut. Downaiit. Sabnediait. Uadiig-Uat. If rhe .seventh in the lower staff (G minor) should appear as /-natural it would cease to be the leading-tone. 34 COMPLETE MUSICAL ANALYSIS. TONALITY. In its general application this refers to our entire eighty-eight chromatic tones; to the twelve major scales; the several forms of the minor scale ; to our system of related and unrelated keys ; and the science of Harmony. But the application in this book is to our impression of the key at any particular point, and the relation- ship between the new and old fundamental. A few examples will set this forth in plainer light: Ex. 38. ( ^^^^^ tt-jj^yr ' rl^'^Hr r|..= ^ The tonality in the first measure is plainly that of C major. At (b) the tonality is recognized as that of D minor, even before the resolu- tion on the third beat. The chord at (d) destroys the impression of D minor because ^-natural does not occur in that key. The discord at (e) establishes the tonality as that of G. The concord at (f ) does not affect the tonality; but when the /-sharp is canceled at (g) the key of the dominant disappears and the ear anticipates the return of the original tonality as at (i). So soon as the C major chord is sounded the ear comprehends the entire series of natural tones in the scale of C. In the second measure the entire minor scale of D is comprehended ; and in the third measure we can readily appreciate the tones which belong to G major. The difference between these related scales is very slight, as may be seen from this : Ex. 39 fe- ^^-^ i^--"^^*^'^i All the tones in the G .scale occur in C except /-sharp. Consquently the only difference in the actual tones is between /natural of Cand /sharp of the G scale. Aside from these .slight distinctions between the related keys, there is a still more important difference which ought to be considered under tonality. That is the transfer of the base of operations to a higher or lower plane. The following quota- COMPLETE MUSICAL ANALYSIS. 35 tion from the principal subject to Beethoven's First Symphony will illustrate our meaning: Ex. 40 (b) is a repetition of (a) transferred from the key of C major to D minor — a major second higher. The foundation of the series of tones at (b) is located a whole step above that of (a) ; though the second scale contains the same sounds that belonged to the first scale, excepting the <:-sharp. These transfers or changes of base have an important bearing upon Form in music, aside from the variety of tone-color which they impart. The mere difference in signature being but one sharp or one flat between the related keys, the ear can comprehend them and their relationship to the original key without special effort; but it is not the difference of one tone between two related keys in a musical w^ork which produces the effect. It is rather the change in the foundation of tones, or the transfer of the base of operations to a different location — a higher or a lower plane — from which we are enabled to see objects which were invisible from the first standpoint. The chromatic alteration is merely the means of arriving at the new key or location ; the viexv from the new location is the end to be arrived at. Every chromatic alteration does not necessitate a change of key. For example, these melodic tones (+) may be harmonized so as not to create any new key, as thus: Ex. 41. ^ #E^ I I t ! TT r 36 COMPLETE MUSICAL ANALYSIS. The diminished seventh chord is used as a mere passing harmony, and the key of C still remains. In the next example we modu- late at (a.) to the key of E ex. 42. minor. At (h) we pa.ss to the key of G major, creating in each case a different tonality, and transferring the fundamental to a different plane. ILIA'STRATIONS. Handel, twelve easy pieces, Minuet I and II. Bach, Gavotte and Musette in D. Bach, Gavotte and Musette in G. A. Durand, Pomponnette, Op. 80. A. Durand, Valse, Op. 83. Distinction should be made between these selections. In the Minuets from Handel there is a prevailing key-tone, with but few temporan.' transitions. In the selections from Bach the mode is altered from major to minor, and minor to major, but the key-tone remains the same. Therefore, the bass or fundamental is not altered so much as the order of the scale intervals and the tone-color. The first period of the Pomponnette is in A major; then the scene is shifted to the plane of E major. This is a change of base. In the Valse the scene changes frequently, as from A'-flat to ^-flat, then back to the original fundamental, then there is a period is ^-flat, and again the bass is changed to F minor, a third lower, etc. COMPLETE MUSICAL ANALYSIS. 37 Chapter VIII. PRINCIPAL AND SECONDARY SEVENTH CHORDS. THE DOMINANT SEVENTH CHORD. ^T^HIS is also known as the ''essential seventh chord," and is -L founded upon the fifth degree of any scale — major or harmonic minor. It consists of a major third, perfect fifth (the major fifth of Marx and Weitzmann), and a minor seventh from the root. This is the most agreeable of all so-called discords, and though built upon ^ thirds, yet from i to 7 (^^ to /) is a dis- cordant interval, the ratio of vibrations Ex. 43. fe^ -or-^^. Ex. 44. being as 16 to 9 a seventh also requires more consonant interval and is accord- ingly called a discord. This is more notice- able when the interval is heard alone (or inverted to a major second) : The dominant seventh chord is in its first position when the seventh is above: In the second position the root is at the top; in the third position the third of the chord is above, and in the fourth position the seventh is below and the Play these in The interv'al of resolution to a "^"^ '^A- =^v^^^ ^ 1 Ex.45- t^ • Ex. 46. ^y=t^ ought to become familiar stitute the chord. In modulating from tonic to subdominant the minor seventh performs the transition, as it represents the difference between the two keys, thus : In modulating by fourths we might pro- ceed in the same manner by means of the fifth above: regular order up and down ; then change order and ask num- ber of each position. Other dominant sevenths should be played, and the cla.ss with the peculiar intervals which con- Ex. 47. 38 COMPLETK MUSICAL ANALYSIS. seventh to the old key, which becomes the subdominant of the new- key, as here : Ex. 48. W m ^- r=^ isc izai "li^ -^ At (a) (bj and (c) the clas.s should recognize the element of transi- tion, which occurs on the second half of each measure. Only a superficial knowledge of this subject can be gathered here, but even this will be of much assistance in our future work. THE DIMINISHED SEVENTH CHORD. This is produced by raising the root of an essential seventh chord one chromatic step, the third, fifth, and seventh remaining stationary: Ex. 49.I The second chord contains componently, three minor thirds; or, fundamentally, a minor third, imperfect fifth, and dimini.shed .seventh. The dififerent positions of this chord are obtained in the same manner as with the dominant .seventh : Ex. 50. The positions are numbered from i to 4. The class should re-arrange this diminished seventh chord in its three other close positions, by placing the lowest note an Ex. 51 octave higher each time: *^ f^ The diminished seventh being an enharmonic, not a tonal discord, the different positions are not susceptible of recognition by the ear, except where the tonality is distinctly established. There are but three essentially different diminished seventh chords, and yet as a chord of this kind is found upon the leading-tone of every minor scale, it follows that each of the three dimini.shed seventh chords can be so written enharmonically as to equally represent four minor COMPLETE MUSICAL ANALYSIS. 39 keys. This chord, for example, can represent K minor, G minor, B-flat minor or D-flat minor — depending upon the notation : Ex.52. ^*-= '^ "- ' ^ i^^ J -?5-SK^ ■' '/^ 7P^ The first chord in each measure here is the same, as far as sounds are concerned, /^ double flat being the enharmonic equivalent of o. So at 2 the fl'-sharp of i becomes ' major scale, and in their original positions appear like this : Ex. 54. * Wz ^=^ These are called secondary discords, because they lack the elements of transition and cannot be used as principal transition discords. (The No. 3 has been employed as a principal discord, as it contains the essential elements of transition, i. e., the subdominant and leading- tone. But it is weak and very often appears as a secondary discord.) The principal discords are: the Dominant seventh, founded upon the fifth of the scale; the Diminished .seventh, chords of an extreme sharpened sixth, and the Dominant ninth chords — major and minor. 40 COMPI.ETK MUSICAL ANALYSIS. The Secondary discords serve as connecting links in the harmonic chain, and by their dissonant character prepare the ear for the more important principal discords which follow. Those marked 5 are ex- tremely harsh, being a product of suspen- sion. Those numbered 4 are less harsh; No. 3 is still le.ss so, and the Nos. i and ^ ^^' 2 are perfectly euphonious: The .secondary discords usually occur in some such situation as this : Ex. 56. The discords numbered 4 follow each other naturally, and finally lead to the terminal discord, i, of which the previous seventh chord con- tains two connecting tones (/and d). This is a better effect than to employ .so many concords, which may be compared to dinner of pie and cake. Where the harsher discords are used they will be found to resolve them.selves into the more agreeable .species, something like this example from the author's Harmony Treatise: JR^ S: I '^1 4 \ c^^ Ex. 57. k r If r ['-f' ir f f f t^tt 1 Observe that only one voice moves at a time, and that the disso- nances are gradually reduced. Certain short pieces should now be played, the pupils naming the discords as they occur, /. r., whether Dominant, Diminished, or vSecoudary Seventh Chords. After this di.stribute these questions: i. Name the Key-tone; 2. Name the Mode or Modes; 3. Metre; 4. Rhythm; 5. Number of Dominant Seventh Chords; 6. Number of Dimini.shed Seventh Chords; 7. Number of ^Secondary Seventh Chords; 8. Was the last chord major or minor? 9. Its position. (If other questions are required include number of Periods, Form, Species, etc.) Play the la.st part of Mozart's Fantasia in D minor (No. 13, "Al- bum Classiquc," Litolff), beginning just before the mode changes to I 41 COMPLKTK MTSICAL ANALYSIS. tonic major. The diminished seventh chord in arpeggio should be recognized, also the essential seventh in the next measure. The chord in the middle of the Cadenza had better be played : that the class may recognize the domi- nant seventh with its fifth above. In- stances of this kind need a few words of explanation from the teacher: The /-sharp marked > is an appoggiatura, and the following har- monic note ( The effect of these is decided and more or less terminal. (No. 3 is the least decided). They bring the music to an harmonic close, and their best effect is at the end of a period or isolated phrase. 3. Plagal Cadeyice. This is also known as the Amen cadence, and embraces the harmonies of the subdominant and tonic ; in other words, the chords of the fourth and first degrees. This is true of both modes. The plagal cadence is frequently used in the Episcopal and Catholic services to the word "Amen," which occurs at the end of chants and anthems. It was likewise known as the Ecclesiastical cadence in the time of Palestrina, when it was employed in certain "modes" which contained no dominant for the authentic close. It is really an after, or sub-cadence, and comes after a full cadence ; in which case it is the foundation of a short coda, as the mensural pro- portion is generally complete before the plagal cadence is introduced. It is more mild and less decided than any of the others, having in reality very little transitional strength : m Ex. 63. m i iE^ i£ dtrematic. ^S m Each of these is a plagal cadence and is supposed to come after the close of a period or form ; hence the tonic chord is introduced first in each case, though the cadence itself merely consists of two chords, thus: Ex. 64. I=^=F^ m^^ 4. The Complete Cadence. This embraces the three principal har- monies in any major or minor key, following in their natural order : Ex. 65. W ^W^ (P^3^ ^^ I Ex. 66. \^^^^ COMPLETE MUSICAL ANALYSIS. This is the most complete and final of all the harmonic cadences' The reason for this is, that in either mode it comprises every tone ii the scale. The chords i, 4. 5. are generally known as Tonic, Sub dominant and Dominant, followed of course by the tonic (see ex ample). The complete or perfect cadence has the best effect at the end of a terminal period, where completeness is to be expressed. The perfect cadence may also be written in the following ways Ex. 67. I, 2. and 3 might be made minor by including the three flats and canceling b. It would be well to play these in the other two close positions and then transpose them. These are all terminal cadences. 5. Avoided Cadence. This takes place when a transition chord is followed by any other chord than that to which the discord naturally resolves.-^ The regular cadence being thus avoided or postponed, the interest is kept up, instead of being satisfied, until the authentic cadence takes place. The ordinary effect of an avoided cadence is to extend the period beyond its natural duration. The object of the composer may be to express disappointment or vain striving, or to keep the interest from subsiding, but the practical effect is to extend the limits of a period by postponing the terminal cadence, or to avoid the effect of a perfect cadence. An instance of this kind may be observed in the Op. 12, No. 4, by Schumann. This occurs ia the first period in G-flat major (where one measure of \ metre is introduced) and constitutes an extended period of twelve, instead of eight measures. Another instance may be mentioned in which the effect is differ- lent: The avoided cadence takes place on the first half of the four- teenth full measure in the Rondo from Beethoven's Op. 13. The period contains nine measures; but the extension results from the after cadence in the sixteenth measure, not from the avoided cadence in the fourteenth measure. However, the effect of the avoided ca- Tie " The third, fourth, fifth, and sixth resolutions of the dominant scyenih chord con- stitute avoided cadences. :OMPLETE MUSICAL ANALYSIS. 4S cience in this and all other instances is to avoid the impression which an authentic cadence would create. The various harmonic cadences just described play an important irt in the construction, division, and effect of musical compositions. well understood they will be of material assistance in our future aalytical work. The teacher is therefore advised to perform the L'xamples again, in different order. [The author of this work has made a distinction in "The Mysteries of ?Iusic" (from which this chapter is abridged) between deceptive and avoided cadeu-ces. But this distinction need not enter here.] ADDITIONAL ILLUSTRATIONS. Renunciation, W. Tappert. (Avoided cadence in second measure of the Coda. The last cadence is authentic. ) Heller, Op. 49, No. i. Last eight measures of the Arabesque. No. 4, same opus. Last ten measures. Plagal cadences at the close of each. The last measure of Bertini's Seventeenth Etude, Op. 32, con- tains a complete cadence. Measures i and 2, 7 and 8 of the first movement of Beethoven's Op Sia, are examples of the esthetic effect of an avoided cadence. See "L,ebe wohl" written over the notes in the reprint of the Stutt- gart edition. Also the Andante con moto to Schubert's B-flat Symphony con- tains manv instances like this: Ex.68, m it^ ( a^^V^ffiP 4t» COMPLEl^E MUSICAL ANALYSIS. PARX III. Chapter X. PHRASE, SEMI-PHRASE, AiND MOTIVE. THE analytical terms, Phrase. Section, and Period, are retained in this book to designate the constructional parts of a musical composition. A complete musical sentence or Period is divided, firstly, into two equal parts called Sections, and, secondly, into sub- divisions, called Phrases, thus: S<>cti*B 2. The period, therefore, contains two sections, four phrases and eight (or sixteen) measures. These terms are generally understood in this sense, and, what is more important, they are perfectly proper and suggestive. SEMI-PHRASE. We will make a still farther distinction, or subdivision, in this system. There are many instances in which the phrases are sub- divided by the composer into two equal parts, and these are not to be ignored. We hav^e, therefore, applied the term Semi-phrase to COMPLETE MUSICAL, ANALYSIS. 47 this smallest constituent part of a period. Following is a practical example of the phrase and semi-phrase : Pabbt. Ex. 69. emi-phrasie. ^^^m Nemi-pbraae. What we have quoted includes the usual length of a phrase, /. <-., two measures. This phrase is subdivided b}' the composer into iwo equal parts, and these we call semi-phrases. These usually go in pairs; the first is a brief question, the second is the answer. The next example is similar : DUSSEK. Ex. 70. ^ ^ tt I I I '^.a Semi-plirase. i 1- Siemi-phraKe. This phrase, like the other included in the brackets, naturally divides itself into semi-phrases. The second part of the Rondo from which the last extract is taken contains the same feature as regards the division of the phrases. We will now consider the phrase in its entirety. A phrase may contain two, three, or four measures; though two measures is the rule, and this being the simplest, naturally comes first. This merely refers to the mensural proportion, or the length of the phrase. In addition to the proportion of the phrase it has two characteri.stic features, Melody and Rhythm. Melody we will illustrate by means of a negative statement: This is not melody. Yet if the example at (a) were played upon a trumpet or kettle-drum it would constitute a phrase. The melodic feature of a phrase therefore consists of the tones comprised in the phrase, and the distance between each of these tones as they follow one another successively. /i8 COMPLETE MUSICAL ANALYSIS. In this phrase. Ex. 72. wi^ s there is a simple melodic figure ascending from the tonic by regular diatonic degrees to the third of the scale and then skipping over one degree to the tonic where it began. This is a diatonic phrase and contains more of the melodic than the rhythmic element. In the following phra.se the melodic element is also most promi- nent: Ex. 73. The intervals are an ascending fifth and two descending thirds, con- stituting what we call a chord motive, being composed of the inter- vals of a common chord. The next example is principally rhythmical : Ex. 74. ,1^ 1 x7 m =^ -t .^ ^ y ^ ^2L g In a general way we might say that the harmony to this is of first importance ; but what the ear seizes upon is principally this char- acteristic rhythm: I J J.# J which is continued throughout the piece. In such cases the rhythm becomes a means of uniting the entire piece into a consistent whole, and accordingly, an element of construction. DiABELLi. Bellini. Ex. 75. -4^- ^fer yff^ This first example is a Gipsy rhythm, and becomes a most promi- nent feature of the nuisic in which it occurs. The rhythm of this, for example, played upon a drum, j J J | J^ j 44 4 > after the above phrase has been sounded) would not only suggest Hungarian music but .serve to recall the principal motive as quoted COMPLETE MUSICAL ANALYSIS. 49 iu the example. The introductory phrast from "Norma" is more serious, but not so characteristic. However, as the rhythm is more prominent than the melody, the former enters more into the con- struction and connection of the period than does the latter. Following is an example that is both melodious and rhythmical : Low. Andantiiio. Ex. 76. This contains some diatonic degrees ; but it is principally a chord motive. The rhythm is also peculiar, and the ear will seize upon this almost as readily as upon the melodic features. Indeed, rhythm exercises a more important influence upon music than is commonly supposed. The principal vi'orks of Bach, Beethoven, Berlioz, and Schumann illustrate this fact. We will now present a few examples of four-measure phrases. (Three-measure phrases, being exceptional, are explained in a sepa- rate chapter. ) Phrases of four measures usually occur in i or f metre, and in a quick movement. Here is an illustration from a Galop : 160 ) Ex. 77. ^ U4_rurpi 1^ ^ 1 7:;^ Pbraiie. The movement is vivace, and it is equivalent to the following in common measure: ( J = 160 ) Ex. ,>. ^t r^n-riqn^^ ^ Plirase. This is a diatonic phrase, ascending from the dominant to the tonic and descending back to the dominant. The next example is in f metre, and also contains four measures: Enke. Value. Ex. '^■ ffW^ JPhrai t ^ £: 50 COMPLETE MUSICAL ANALYSIS. This is not materially different in mensural proportion from the other phrases. The four measures naturally belong together and are necessary to the completion of the sense of the phrase. The next example contains a short and a long phrase for com- parison : Ex. 8o. ^L-L ^ i^"f=rx|i^' r ' Ir r ir"f^ In both cases the movement is slow and the metre I; but at (a) the sense of the phrase is completed in two measures, whereas at (b ) the sum and substance of the phrase includes four measures. The period beginning at (a) will contain eight measures; but in the next example the period will contain sixteen. (This will be more readily comprehended when we come to Period.) MOTIVE. The text upon which a musical work is written is called Motive. The motive is the seed from which the trunk, branches, leaves, etc., issue and develop. From this definition it is apparent that no exact mensural proportion can be prescribed for the motive. Here is a lengthy text: "The Future of Republicanism in France." Tyndall wrote his great acoustical work upon the text, "Sound." So in music. Some motives are so terse and significant that when we hear them the effect is like reading the heading of an editorial on Animal Magnetism. They suggest the general nature of the composition and give us a clew as to thoughts and emotions which are set forth. This is especially so where we analyze the motive first, or ponder upon a text before reading the article. In fact, the motive is the germ from which the composition grows and develops, and to which its various ramifications may be referred and compared. Haydn was in the habit of asking his friends for a motive, and if they gave him merely this: Ex. 8i. it was suflBcient for him to build a very clever composition upon. How he developed this semi-phrase we shall see. In the majority of cases the first phrase of the principal period is the motive. In the last example the motive constitutes but half M COMPLETE MUSICAL ANALYSIS. 51 of a phrase ; and sometimes the motive exceeds the hmit of a phrase. These exceptional cases will be presented after the rule has been first established. A variety of motives are contained in the following examples, which should be examined attentively, and then performed: Ex. 82. Mozart Symphony. HuMMBL Sonata. iS^^^ Bkbthoven. Onslow Sonata. 5 Mendelssohn Overture, g Wkbkr Conckkto. Moderato U3 f{U f., N -Ht- 1 lifc<. H"-*? ^Allecretto. , ptf^ io. •nr-X ^^ P ^ ij'r rf T f J 1 1 ^ u-T rf rr ^ — ? -tz rr^ f 1 i r ^ * 1 e d COMPLETE MUSICAL ANALYSIS. 55 The first piece begins upon the fourth eighth note ; and so the phrases and periods end upon the third eighth. See (a) and (b). The next example begins upon the last three sixteenths; conse- quently the phrases and semi-phrases terminate upon the third quarter — or the thirteenth sixteenth note. In the second period it is still more necessary to observe these fractional beginnings, in order to properly punctuate and phrase the different divisions. See (e), Cf) and (g). The last note at the end of each slur must be ex- tremely staccato. The phrasing is indicated in the example. The quotation from Kuhnau commences upon the second eighth note, and so the phrases must end upon the first eighth in the measure following. ILLUSTRATIONS. First movement, Sonatina, Op. 66, No. i, Lichner. "After the Ballet," Pratt. Nos. 9, lo and 15, from "Grateful Tasks," by Gurlitt, Op. 102. In the No. 15, omit the "trio." Album I^eaf, No. i, Gade. Sonatina, Reinecke, Op. 47, No. i. Each movement begins upon the fractional part of a measure. This the class is to discover ; also the particular part of the measure upon which the phrases begin. In the Lichner Sonatina the periods are even and may be specified by the class; also in the Nos. 9 and 10 from Gurlitt the periods are even and ought to be distinguished. In the slow movement from Reinecke the periods are easily recog- nized until we come to the Coda. The first movement contains both curtailed and extended periods, and cannot be analyzed by the class at present. The following questions should now be given: i. Mode; 2. Rhythm of the theme ; 3. Rhythm of the accompaniment ; 4. Metre; 5. Indicate what part of a measure the periods commence upon; 6. The Movement; 7. Number of Phrases. 56 COMPLETE MUSICAL ANALYSIS. Chapter XII. SECTIONS— VARIOUS MODES OF CON- STRUCTION. AFTER the first phrase there follows another phrase, cotnposed - of the same number of measures, and usually constructed of the same melodic or rhythmic material, thus: ^TEIBKLT. Ex. 92. I Section. When the two phrases follow each other in this close relationship of antecedent and consequent, they form a section. A section con- sists, therefore, of two equal phrases, or four measures. Should the phrase contain four measures, the section will necessarih' have eight. There are scarcely any exceptions to this rule; but with regard to the construction of the consequent phrase (second half of the sec- tion), there are various modes of procedure. The simplest arrange- ment is to continue the first phrase in .sequence, as thus: Ex. 93. *^ I Seetioi This is a continuation of the phrase quoted in Ex. 72. The slurs show the Phrases and the bracket embraces the Section. The second phrase is similar to the first, played a degree higher in the scale. The continuation of the first phrase in Ex. 94 is after the same fashion : Ex. 94- ^ fee 1^3 Compare the second phrase with the first and analyze the intep vals. The melodic features are almost the same, and the rhythm is identical. COMPLETE MUSICAL ANALYSIS. 57 in the next example the method employed is not so primitive: Gl'RMTT. Ex.95. ^^^ The tones at (b) have an ascending rather than a descending tend- ency, and the rhythm is considerably altered. The second phrase here affords a better illustration of antithesis following the thesis. Somewhat similar is the following extract from a Romanesca of the sixteenth century : Ex. 96. Both melodic and rhythmic features of the two phrases are different, yet the continuation is natural and effective. The ascending and descending features, as applied to the two phrases of the section, play an important part in the construction and the effect. Observe the following quotations: Ex. 97. m S=z^ ^ :l=f: :i=ti ^E p. Allezrctto. _— ^- -^ - ^ The second phrase in each example is in contrast to the first — the ascending groups being answered b}^ descending ones. The next example is by repetition : Ex. 99. The first phrase is repeated almost literally to complete the section ;' but the second phrase being an echo of the first, becomes a suV)- stitute for the consequent phrase. Examples of this kind are nu- merous, especially in old music. 58 COMPLETE MUSICAL ANALYSIS. ( Play a number of sections in reverse order, to show the natural tendency of the antecedent phrase. In the majority of cases the class will be able to recognize the inversion of the order in which the phrases ought to occur.) Here is the continuation of a four-measure phrase : lat Phrase. 3d PlirsM. Ex. #-sr ^ By comparing (b) with (a) the affinity between the antecedent and consequent will be noticed ; (a) is the thesis, (b) the antithesis. Play the second phrase first, and then as a continuation of this, play the first phrase. This will prove what we have said. We will quote but one more eight-measure section : Ex. loi. The rhythm of the second phrase is similar to the first, but the melody ascends in the first, and descends in the second. The skips of the first phrase are omitted in the second, and this has a tendency to prevent monotony. ILLUSTRATIONS. " La Matinee," Rondo, by Dussek (The first phrase is this: Ex. I02. •and the other phrases correspond, so far as mensural proportion is considered. ) The Sarabande in D minor, by Handel. " Les Moutons" and the " Romance," from Padre Martini, and the Couperin Gavotte-Rondo, in F. The Mazurka, by Pab.st, Op. 15, No. 2. Any of the duets mentioned in the last chapter. COMPLETE MUSICAL ANALYSIS. 59 These selections should be analyzed first from the printed notes, merely for the phrases and sections. Then distribute the following questions before playing the illus- trations: I. Metre and Movement; 2. Rhythm of the Theme; 3. Modes; 4. Phrases and Semi-phrases; 5. vSections (how many and of what length). The last two questions might be general during the first few selections. Chapter XIII. SINGLE PERIOD, OR TYPE. DIFFERENT MODES OF PERIODIC CONSTRUCTION, WE have become familiar with the construction of phrases and sections; and as two sections or four phrases con.stitute a Period, we have but to add another section to those of our previous lesson in order to arrive at a simple musical Type, or what is called a Tune. A satisfactory period or pattern cannot be composed of less than eight measures. Period is therefore to be understood in its literal sense as indicating a termination, fulfillment, or something completed. The second section, though generally similar to the first, should be more final, and end upon the key-tone. Let us copy a previous section : Ex. 103. This is an ascending sequence, and is incomplete ; T> ^ ^ i 2d Keotioii. 4: The fermata ^ indicates the period. 6o COMPLETE MUSICAL ANALYSIS. The first phrase at (b) is a retrograde imitation of the firsi ^lase at (a). And the last phrase is arranged to end on the key-tone, thus forming a cadence and a period. Accordingly, two sections, or four phrases, constitute a regular period. Consequently if the phrases have two measures the period will have eight ; but if the phrases contain four measures the period will be found to contain sixteen. Before proceeding it will be necessary to call attention to the Half Cadence, and the Authentic Cadence, which play such impor- tant roles in periodic construction. The Half Cadence consists of the tonic harmony followed by that of the dominant, and this has the best effect at the end of the first section : Ex. 104. tiJ tiJ liJ ZP tli ti^ The last two chords marked (K. H.) indicate the half cadence. (The thorough bass figures are included for the benefit of those who un- derstand them.) As the piece cannot end on the dominant harmony ( unless there be a transition to the dominant) it is evident this is in- complete, and that more must follow, as here : Ex. 105. ww^^w^W^^ The Authentic Cadence occurs in the last of the second section, and brings the strain to a .satisfactory terminaton. n The Authentic Cadence is simply this: Ex. These two cadences might be transposed into various keys by the class in order to familiarize them with the application and efifect : Ex. 107. ^°^-^^^ fe #= ^i^ F?*Tt^ Fi^ T^;^ "H* — ^\ ^r T JH iPtT ^ 3 4 0-' r M ^P^ ^4^ _4= ^ ^ COMPLETE MUSICAL ANALYSIS. 6i I and 2 are half cadences; 3, 4, 5 and 6 are authentic and final. At 5 the melody ends upon the third of the key-tone; and at 6 the fifth of the key-tone is uppermost. Any of these may occur in the final cadence, though Nos. 3 and 4 are most common. These should be transposed on paper theoretically, and at the piano by sound. The simplest periodic construction is by means of a rtpctiliou of the first section, with a more final ending in the last phrase. Compare the first and third with the second and fourth phrases in this example, " Birdie's Burial " : Ex. 3d Pbr»»e. ^^^1 ^^-=^ ^ 4tli Pliru!iC. ^^^ Ex. 109. •- Section. ~~ Nectiou. * These phrases are more than similar; they are rhythmically iden- tical. First there is the thesis ; then the antithesis, and so the period is completed in the most natural and primitive manner. Chopin's Prelude, Op. 28, No. 7, is constructed in this way. A quotation of the rhythm will show this : nil! *'S t I lat PhraKe. .r?jj|j jIjijjIj jIjijjIjI 2d Phrase. 3d Phrane. 4th Phrase. This is the same in what follows. The second mode of con.struction is to slightly var>' the second phrase, thus : 62 COMPLETE MUSICAL ANALYSIS. The first and third phrases are identical, also the second and fourth. The second period, though diflferent in rhythm, is on the same plan. Ex III. The first section of this period quoted in Ex. loo, ended upon a half cadence ; this second section ends upon the key-tone with an au- thentic cadence. A similar instance is Le Tambourin, by Rameau. The third arrangement is, to write the second phrase in contra.st to the first. Ex. 112 The second phrase differs from the first both in melody and rhythm. The following example from Padre Martini is similar : m :p=i^ m m tE^ rrni. tit ^a Nos. 2 and 5 from Enke's Op. 8 are in this style. This resembles the .second scheme, but there is more variety and contrast between the antecedent and consequent phrases. In all these cases the first and third, and second and fourth phrases correspond. COMPLETK MUSICAI^ ANALYSIS. "3 The fourth arrangement is, to repeat the first phrase in sequence, with identical rhythm, and then vary the last section : The first period of Rubinstein's Valse Caprice (after the Introduc- tion) affords another instance of this arrangement. The Eglogue by Heller, Op. 40, No. 4, also contains something of this fourth arrange- ment, though the second phrase is an exact repetition of the first After these the style is varied. The fifth arrangement is the subdivision of the phrases into semi-phrases. This style is more fragmentary. Such an instance has been quoted in this chapter; but a more uniform example is the second period of Chopin's Mazurka, Op. 67, No. 2. This will be analyzed: Ex. 115. Semi-phrasen. — 1 When the phrases are joined together into one section, and not sep- arated by apparent punctuation marks, the effect upon the period is the same. Therefore in the analysis the united phrases can be counted as usual; i. e., two measures to a phrase, though the actual performance might require no punctuation. Such instances may result from a sequence carried beyond the limits of a phrase, as in the last example, or from a continuous passage of three or four measures in which two phrases are united into a section. In the example from Chopin there are two regular phrases, first with this rhythm : \y\'fr.ii\y\:nin\ 64 COMPLETE MUSICAL ANALYSIS. F'ollowing this are four more measures to complete the period, but all joined into a section by the sameness of the rhythm. The analysis of this would be : J n I>lir»se. 1 r rn I n I I P>ut the periods are so short, and the melody so well defined, that these punctuations are not necessary in the performance. In the following example from Haydn's Gipsy Rondo the con- nection of the third and fourth phrases is more perfect and con- tinuou.-^ : Ex. f^Trt^^^7T^-;.a4a' [11^=^^ 1*^ '^ 2d !»<>rlion. ^^5 I The motive is sequenced by the second phrase, the melody being similar, and the rhythm identical, thus: The third and fourth phrases are joined into the last section by the continuous theme and this unvarying rhythm : a \ a \ ei The slurs in the example indicate the phrases for analysis, while the bracket shows the manner of performance, and how the .second sec- tion is joined together. This mode of connecting the phrases has an important esthetic effect, and that is to relieve the sameness of similar phrases by uniting two phrases into one section. RECAPITULATION. This matter of regular periodic construction by phrases and sec- tions is so important that it will not be sufficient for the class to know that two long or four short measures usually constitute a COMPLETE MUSICAL ANALYSIS. 65 phrase. As certain parts of classical music are not composed of phrases, it is necessary for us to know what constitutes regular peri- odic construction. The fact has been stated that the first phrase is the thesis, and the second phrase the antithesis, or natural conse- quent of the first. This may be illustrated by a familiar quotation: "To be," that is the thesis; then follows the antithesis, "or not to be." The next sentence refers to the first proposition: "Whether 'tis nobler in the mind to suffer," etc. The antithesis to this also follows: " Or to take arms against a sea of troubles, and, by oppos- ing, end them?" The meditation is upon life or death — the state of existence or non-existence. Life is the thesis ; the natural or un- natural end of life is the antithesis. Though the two propositions are directly opposite, the connection between them is intimate. In music, regular periods are constructed in this way. The first phrase is usually the thesis, and the second phrase the antithesis: The second phrase here is the natural continuation of the motive. A motive sometimes includes both thesis and antithesis, as, for example, first phrase in the Minuet to Mozart's G minor Sym- phony. See (a) and (b). In the Finale these two contrasting features of the motive (c) and (d) require two phrases for their ex- position. This is the more frequent occurrence ; in fact, the example from the Minuet is exceptional. Ex. iig. Amtitbemia. The first is a three-measure or uneven phrase, but it contains the two contrasting features which usually belong to two different phrases. Compare (a) and (b). In the example in common metre the first phrase contains the chord feature, while the second phrase 66 COMPLETE MUSICAL ANALYSIS. has the answer, or consequent. Thus (c) in the second example corresponds to (a) in the first. Ex. I20. ^^ U^ l lj l / rr j In like manner (d) corresponds to (b). We will also meet with instances in which there is no antithesis following the thesis, but these will be found outside the regular periods, either in the Introduction, or Coda, or in a transition, se- quence, or anticipation. Sequence affords a good example of this: which merely represents but one phase of the same thought. Music composed in this manner would be very monotonous and unsatis- factory. A familiar instance is to be found in the Andante to Beethoven's Fifth Symphony, where a fragment of the second sub- ject appears in C major. But this occurs in an intermediate passage, not in a regular period. This will be explained later. The complete period, as we have found it, expresses a perfect sentence, or a short verse of poetr)-. This we call a musical type. or the smallest embodiment of a complete tune or subject. Ex. 122. ^ =^ ^=^ I I M - ' H T ' ^4h — ^—r r r - -t — ^ The complete period is indicated in the performance either by a slight pause, a rallentando, or by separating the principal tone or tones from what follows. ILLUSTRATIONS. Prelude, Op. 28, No. 7, Chopin. Prelude, Op. 28, No. 20, Chopin. (End on the eighth measure, as the second section is repeated.) Nos. 1 1 and 21, in the 50 Children's Songs by Reineck-^. (These may be played or sung as examples.) COMPLETE MUSICAL ANALYSIS. 67 "The Huiit is Up," old English song. The first repeated period in the Rondo from Kuhlau's Op. 20 No. I. One period from any of the examples quoted. (It would be well to have the class construct a regular period from a simple motive.) QUESTIONS. I. Metre; 2. Rhythm; 3. Movement; 4. Mode; 5. Phrase (number of measures); 6. Section; 7. Period. (Phrases beginning on a fractional part of a measure should be specified.) Chapter XIV. TYPE— ONE PERIOD. MODEL— TWO PERIODS. WE have become acquainted with the principal features of nat- ural periodic construction ; and as the single period represents a complete strain, or melody, we have but little more to accomplish in this direction, for the Consequent Period is constructed out of the same melodic and rhythmic materials as was the Type, or Pattern Period. Where the single period represents a complete musical theme we call it a Type. It has a natural beginning and ending; thesis and antithesis; constructional divisions and subdivisions — sections and phrases. Therefore it becomes a standard or pattern for other periods and parts; or may stand by itself as the expression of a poetic idea. The simple type of one period may contain eight or sixteen measures, provided there are four phrases, and this con- stitutes but one period, however often it may be repeated. The little Prelude by Chopin (already quoted) is a beautiful pattern of this primary musical type. 68 COMPLETE MUSI>.AL ANALYSIS. THE DUPLEX PERIODS OR BALLAD MODEL. In simple Ballads, Ballad Dances, and short instrumental move- ments, the single period becomes the type for another similar period corresponding to the first, and constructed in the same manner. The most natural mode of con.structing the consequent period is this: The first phrase of the .second period commences on a different part of the scale, and usually the direction ("motion") of the melody is reversed or otherwise altered from what it was in the Pattern Period. The second phrase would naturally correspond to the first: and then the last section of the first period is repeated as a completion of the second. Here is an example: Ex. 123. I«l Poi-iod. 2d Period. The first period begins and ends in G major; the second period begins in E minor, then passes into D major (.second phrase), and the last section (d) is an exact repetition of the last two phrases of the first period (b). In other words, the second sections are identi- cal. Many of Schubert's Dances, besides innumerable songs, are in this style. The next example is difierent in character, but similar in con- struction : (The first period of this has been quoted in Ex. 104 and 105, which see.) The first phrase here commences with the dominant, in place of the tonic harmony, but the rhythm is similar. Obser\'e that the last section is exactly the same as the last section of the first period, Ex. 105. The second period of the Andantino quoted in Ex. iii is completed in this manner. The well-known American song, COMPLETE MUSICAL ANALYSIS. (19 Reineckc. arc "Old Folks at Home," and the Doll's Cradle Son<; good illustrations of this mode of construction. The second plan of constructing the consequent period is to write it in a similar style to that of the pattern period, but without repeating any part of the latter literally. We will select the .second period to the Gavotte-Rondo from Martini, as the pattern period has been quoted, Ex. 113: The first two phrases here have a descending tendency, whereas the first section of the pattern period ascends. The only resemblance between the two periods consists in the rhythm, and the descending scale passages, thus: ^^ ^s^nmrm ^ \>i n J i 3= (a) is from the first period (second section); (b) is from the .second period (first section). In other words, there are two separate strains constructed of the same material, in a similar manner, and having the same periodic length. Yet they belong together by their very- resemblance and conformity; the first period being the pattern, and the second the duplicate, or consequent. The two periods being similar in rhythmic and melodic structure, as well as in outline, they form a union, or what we shall call a Duplex or Ballad Model. Here is another example : ScHUBEKT Waltz. r^Ji .^ ? , ^ Ex. 127. b ^-^^ fc^ ^ ^MKf^ ^ tx l ^ * The rhythm of these two periods is identical except in the seventh measure. The second part of the Funeral March from Chopin ; the 70 COMPLETE MUSICAL ANALYSIS. Turkish Rondo, by Steibelt, and the Rondo already cited, from Dussek, are in this style. The second arrangement presents more variety and is of more frequent occurrence. The third arrangement consists in writing a new section for the second period, and then repeating the first period verbatim. The well-known Boccherini Minuet in A answers to this description: Ex. 128. This conmieaces with the second period; but after the first four measures, which are new, the first period of eight measures is re- peated. The .second part of the song quoted in Ex. 109 of the previous chapter begins like this: Ex. 129. iH3? :#=:^ ^m ^0^f- m which is the commencement of the second period. But immediately following the above the first period of eight measures is repeated. The fourth plan, somewhat the reverse of the last, consists in writing the consequent period entire, so far as mensural proportion is considered, and then leaving the cadence incomplete so that the .last section of the original period may be repeated, il The Musette to Bach's G minor Gavotte (in the third English Suite) is an in.stance. The last twelve measures of the Gavotte II, from Bach's Sixth 'Cello Suite is a similar instance. (This occurs in the third period, commencing like this: Ex. 130. COMPLETE MUSICAL ANALYSIS. 7I The last four measures are the same as the last section of the pattern period.) These instances result in an extended period of twelve measures, which will be more fully explained in Chapter XXI. In each case we have a full second period without the repeti- tion of the last section from the first period. All these arrangements come under the general title of what we call the Ballad Model. It is the natural corresponding expression of popular rhymes, and both poetry and music of this kind have for their principal outward charm a certain mensural proportion and rhythmic cadence. Before the practical exemplifications of this chapter are per- formed the different methods of constructing a Ballad Model should be briefly restated, and the class should be expected to distinguish each one from the others. Perform one example of each, and allow this question to be a general one. ILLUSTRATIONS. First Mode. — Schubert, Ecossaisen No. 4 (from the Schubert Dances); Gurlitt, No. 9 or 11, from the "Grateful Tasks"; Diabelli, Op. 149, No. 5 (omitting the Trio); Kuhlau, Op. 20, No. i, Andante. Second Mode. — Schubert Waltz No. i (from Dances); "Trio" to Chopin's Funeral March in B-flat minor; first two periods of the Rondo Turc, by Steibelt; the Rondo " Les Adieux," Dussek, and the Gavotte "Les Moutons," Martini. Third Mode. — Boccherini Minuet in A (two periods) ; the song by Claribel, "We'd better bide « wee." Fourth Mode. — Musette in G minor from Third English Suite, Br ch, and Gavotte in D, already indicated (last twelve measures). QUESTIONS. I. Metre and Movement; 2. Rhythm of the theme; 3. Num- ber of Phrases; 4. Length of Phrases ; 5. Number of Sections ; 6. Number of Periods (including Repetition). In pieces like Nos. 2 and 4, from Diabelli's Op. 149, the second period looks on paper twice as long as the first period ; but the first period follows the second in the repetition, and so there are but two periods, or one Ballad Model, in all such instances. •J2 COMPLETE MUSICAL ANALYSIS. PART IV. Chapter XV. FORM— PRIMITIVE EXAMPLES. RECAPITULATION. THE simplest pattern in music is the single period of eight ol sixteen measures, which we call a Type. The Chopin Prelude, No. 7, is an example. The next approach is the Duplex, or Ballad Model of two corresponding periods — the first being the Type or Pattern, and the second the Duplicate or Consequent Period. Ballads, Ballad Dances (as we shall term them), and such short pieces as the Andante to Kuhlau's Sonatina, Op. 20, No. i, are Ballad Models. We now approach the instrumental form of three periods. The simplest illustration of this is that popular vocal style which the author calls Narrative-Song-Ballad. In this we find two single periods as a Ballad Model, and then a third, and differently con- structed period, which is the Refrain — or strictly and technically, the Trio. The reason for applying the word "Trio" to the third and fourth periods of a Dance has never been satisfactorily explained. The .surmise that a third instrument was called upon to assist in the performance of the second half of a dance tune is too conjectural and supposititious to be accepted; for the .so-called Trio is not a third period, but .second half, or third and fourth period added to the first two; both halves being of the same proportion and having ihe same subdivisions. (Perhaps we have accidentally found the solu- tion in this third single period) COMPLKTE MUSICAL ANALYSIS. 73 In old ballads the RitorncUo, or instrumental Intermezzo, assumes the shape of a third period, thus showing the incompleteness of the ballad model and the desire for something more satisfactory and less monotonous than the twin periods of the ballad. This latter does not constitute a Form, in the general application of that important term. Few words have such a variety of definitions, applications, and synonyms as Form; and it has proved to be far more elastic than consistent in the case of music. Thus, two twin periods are called a "Ballad Form;" two ballad forms (z. e., "two principal periods and a trio" of two more) are called a " Dance Form; " a piece like Jensen's "Mill," with four periods, intermezzo, and coda, is called a "Single Form;" Haydn's "Gipsy Rondo" contains seven periods, an inter- mezzo, and coda, and is knowai as a " Rondo Form." A set of dance pieces, such as constitute a Suite, or Partita, is called a "Cyclical Form." In the first movement to a Sonata we have an extended period as first subject, and then a second subject in contrast to the first; and this (so we are told) constitutes a "change of form." In the development, according to this definition, the form may change again, and then we have the Reprise. Following this is what some German authors have called a "Binary" or a "Ternary Form;" then for the third movement a "Dance Form;" and finally a " Rondo Form," or another "Sonata Form." Now okserve the catastrophe: All these movements and forms bound together under one cover, and following each other in regular order, are called the " Sonata Form." The contradictions and inconsistencies do not end here; but certainly these are sufficiently numerous and confusing to claim our immediate and patient attention. A curious person may very pertinently inquire. What is Form in Music? and what is the Sonata Form? Can a form contain any number of forms? Is a house having several partitions a Partition? All this is an ol)vious con- fusion of genus with species. The most important definitions of Form are: " i. The shape and structure of anything, as distinguished from the material of which it is composed; particular disposition of matter, giving it individu- ality or distinctive character; external appearance; the outline of a person. 2. Constitution; organization; mode of construction ; sys- tem. 3. Established method ; fixed way of proceeding; conventional 74 COMPLETE MUSICAL AXAYLSIS. scheme." The less important synonyms are: "Figure. Mold. Pat- tern. Type, Model." We naturally as.sociate form, or outline, with structure; and when form is applied to music we understand it to signify some kind of embodiment of constituent parts, systematically and artistically joined together into a complete and satisfactory whole. Therefore, since the twin periods of the Ballad Model simply constitute a melody, without preface or conclusion, we will apply to it a word of less general significance than Form, which is too comprehensive and too confusing. Moreover, there is no instance in which a reputable modern composer has attempted to create a complete instrumental form within the limits of sixteen measures, or out of two equal periods. The Duplex period of the Ballad becomes the Model in the Dance form ; and so we will say that in the second half of a dance piece ("trio") the Style, not the Foryn, changes. Some of the ancient dances, such as the Pavan, Sarabande, Courante, contained but two repeated periods, or a simple model. These we will call Ballad-Dances, especially as some popular ballad was frequently sung in connection with the dance of two periods. Bach and Handel did not use the word "trio" for the second theme, or second part of their Minuets and Gavottes ; they simply marked the divisions I and II. This was both sensible and proper; but in modem editions the word "trio" has been applied to the third and fourth periods, and without any good reason, except that Trio is easily said. The smallest single instrumental form which will be recognized in this Analysis is a composition like Rubinstein's La Melodia (in F); the Venetian Gondola-song, in F-sharp minor, by Mendelssohn ; a Toc- cata ; Prelude and Fugue, and the three period pieces already men- tioned. The best informed writers upon music are mostly agreed that the "basis of form" includes at least a complete period, with a "contrasting theme in the middle" (not a mere consequent period) and a repetition of the first part. This is very good reasoning, and excludes the Ballad from the list of Instrumental forms. The student is ad\'ised in the first place that Form in music depends upon three requisites, namely: Outline, Rhythm, and Tonality. Let us analyze these: I. Suppose we conclude to write a composition with a First Part of sixteen measures (two similar periods), and a Second Part of the same number of periods; and, finally, a repetition of the First Part. That is the Outline, or draught. COMPI.KTE MUSICAL ANALYSIS. 75 2. In the First Part the rhythm is about the same, making the duphcate period similar to the pattern period. This would soon become monotonous; so we change the value of the notes in the Second Part (third and fourth periods) in order to present variety of style. This is Rhythm. 3. We now come to the third requisite. Suppose our first two periods were in D major, with, perhaps, temporary transitions to the dominant or relative minor. We now change the tonal foundation in order to present a different view^ and w^ite the first period of the second part in F-sharp minor, and the second period in A major. The rhythm and melody of these two periods of the second part being similar, the difference between F-sharp minor and A major is slight, but sufficient to afford some contrast to the scale of D major. After finishing the second part and ending in A, we can naturally repeat the first part, A being the dominant to our original key-tone, D. This is an example of Tonality. We have here something cor- responding to the processes of drawing, i. e.. Outline, Sketch, and Delineation. According to this plan (which is of common occurrence) we have two periods in the principal key, D, one in F-sharp minor and one in A major. In this case Part I is played again after Part II (D. C), which gives considerable prominence to the original key, D, and at the same time the change in Tonality in Part II intro- duces but two foreign tones to D major, i. riod Saraeande. Ha Ex. »/ I* b rase. '" ^ ^ ^ ^ t^'tj: «-^ irzj^i^LzIp^ Sd Period ^ ^ ^ *. ^Tf=\^^^^^t^=^,^^^^^^ ^^ ^ The third period here is repeated with the second, to which it is joined iu the accompaniment. The first period ends in the domi- nant major; the second ends in the subdominant minor, and the third in the tonic, D. The Sarabaudes in the second and third French Suites, and several of the Minuets, are constructed in the same manner. Some of the short pieces in the Op. 149 of DiabelH come under this heading; but as the third period has a different relationship, we will analyze one of these: n Iii( Period. Op. It", T««>. S. f p f "Jt r Ir J IJ ^1^ J | J r rir^^^ g^ rr r r \r-rf\r) f^n rrnj rr r \r q COMPLETE MUSICAL ANALYSIS. 79 The first period of eight measures (a) is repeated; then we have a second period of the same length (b), beginning and ending in the dominant. This leads to a repetition of the first period (a), antl at the end of this the two periods are repeated. So far we have but two periods, though the first has been heard four times, and the second (b) twice. After this we have a third period of eight measures (c) as an Afterlude. As a conclusion to the whole, there is a Coila of four measures commencing at (d). Nos. 3, 9 and 13 are in the same style. Another plan, similar to the last, consists of a Ballad Model ami a Coda. (The Coda is added after the natural termination of the movement, and is usually less regular in construction.) The Lar- ghetto in Kuhlau's Sonatina, Op. 20, No. 3, is a good example. First there are two double periods repeated, the first sixteen and the second eighteen measures. The last eleven measures form a Coda. This is of sufficient length and import to constitute a third period, though its construction is less regular 9 sd tuneful than the other two periods. The Coda contains eleven measures. The Adagio to Op. 20, No. 2, is similar, though the Coda is more brief In the slow movement to the Sonatina by Reinecke, Op. 47, No. i, the third period in form of Coda consists of seventeen measures in canon style. The class should learn to recognize the main features of a Regular Period which is to be counted but once, however many times it may be repeated. And in the repetition of a certain period the composer often varies it somewhat ; or it may appear in a different key. Hence it becomes necessary, even in simple music, to recognize and re- member each strain as it is heard; and in enumerating the various periods care must be exercised not to confuse a repeated period with a second or third period. Attention is called to the paragraph in explanation of the No. 8 from Diabelli. This must be read in con- nection with the printed copy, which the class should see. ILLUSTRATIONS. J. S. Bach, Sarabande, or Minuet I, from First French Suite. J. S. Bach, Sarabande, from Second French Suite. J. S. Bach, Minuet II, or Sarabande, from Third French Suite. Handel, Courante in F, No. r, of the "Twelve Easy Pieces'' (The third period contains ten measures.) Knke, Op. 8, No. 5, Valse. Diabelli, Op. 149, Nos. 3, 5, 6, 8, 9, and 13. So COMPLETK MUSICAL ANALYSIS. Kublau, Op. 20, No. 3, Larghetto (middle niovemeut). Reinecke, Op. 47, No. i, Andantiuo ^middle movement). Chopin, Mazurkas i or 5, Op. 6 (three periods). At least two lessons ought to be devoted to this chapter. For the fir.st, the questions as to mode of construction may be general. It will be sufficient in piano music to distinguish between the Trio (third period with a D. C.) and the Afterlude, or Coda, as the latter is similar to the interlude of a Ballad. But where a short Coda is added after the regular third period, this fact should be specified by the class. *hapter XVI. THE DANCE FORM. COMMON SPECIES. T TNDER the first general heading we will include all styles of ^ composition in which metre, rhythm, and movement constitute the principal characteristic features. Rhythm is the most striking peculiarity of all dance music, as it represents action and motion. With regard to Form, the Dance usually contains two parts, or four periods. The first two periods correspond to our Duplex Model. This is the First Part. The Second Part contains two periods also, but these are in a different key and rhythm. The second period of Part II corresponds to the first period, being similar in style. In other words there are two Ballad Models, in contrast to each other. Each period is repeated. After the repetition of the Second Part, the First Part is to be played again Da Capo, in order to give the necessar>' prominence to the original key in which the first two periods are written. (In the D. C. do not observ^e the repetition marks.) Part II has been misnamed Trio; and it will sometimes be n^'cessary to use the word in this sense in order to make ourselves understood. In the previous chapter we lound certain short pieces COMPLETE MDSICAI. ANALYSIS. 8i *n^I"Ji a third strain in another key (change of signature) and in contrast to the first two periods. This is a Trio, as Diagram A will show : Diagram A. Part L In G Majar. [ Sd P*irl*«l. Trio in C Major or Efe. D.C. al Fine. [ The so-called Trio of the Dance Form corresponds somewhat to that; and when the Trio, or Second Part, is in another key, it is always necessary to repeat the first part, for reasons already given. A brief sketch will illustrate more fully: Diagram B. Part I. In G Major. riM. 1= l«t Period. :|: Sd Period. : 1 Part II. In C or Efe. B.C. ml PlHO. \ 3d Period. 1^ 4tlii Period. 1 This is the plan of nearly all the common species of Dance Form. To an ordinary listener the Second Part will sound like a new piece of music, and this fact will assist those who are in doubt as to when the Second Part begins. Nearly all Dances being alike so far as form is concerned, we will make a distinction between Form and Species. When a certain kind of composition depends for its individuality upon metre, rhythm, accent, movement, or mode, we will call it a Species. The Dance form will therefore include different species, such as the March, Minuet, Polacca, and so on, all which have very- nearly the feame form. The analyses of the old Dances, employed by the clas- sical composers of the seventeenth and eighteenth centuries, as well as the more modern ones, will be preceded by brief descriptions and illustrations of the common Dances. (The class should copy into their note-books the following descriptions, excepting the words in »)arentheses.) 32 COMPLETE MUSICAL ANALYSIS. I. COMMON MARCH. Meire, -f: Rhythm, I I H I I I or I 1 fVl I I 1; Move- ment, Moderate; Form, two repeated periods of eight measures each, and a second part, in which the key and rhythm are changed. After this, the first two periods are repeated in order to end in the original key. (It would be better to play examples of a March for the cla.ss. to enable them to tell the metre, movement, and rhythm, instead of informing them upon these matters.) 2. FUNERAL MARCH. Metre, Rhythm, and Form the same as in the common March, but the Movement is much slower, and the first two periods are in the minor Mode. Part II is written in major, as typical of the "freedom of the disembodied spirit." 3. FANTASIA MARCH, OR MARCHE BRILLANTE. Metre, Rhythm, and accent same as common March, but the Move- ment is twice as fast — (^. The periods are less regular and the con- struction more free. The "trio" is frequently omitted. Mendels- sohn's " Wedding March " contains six periods, besides a short trumpet introduction, Eingang and Coda. Beethoven's " Turkish March " contains no trio. It is therefore a single form. 4. SCHOTTISCHE. Metre. % ; Rhythm, I J JJ J J!2 I 2L I JTI3 J I ' ^°^'^ ment, Allegretto ; major or minor Mode ; regular periods and second part, like No. i. 5. POLKA. Metre, |; Rhythm, PJ^ J or ^^ >^ accent on first three eighths; Movement, Allegretto ; Form, same as 1,2, and 4. A Bohemian Dance of recent origin, and at one time very popular. (The regular Polka step requires an accent on the first three eighths, the fourth eighth being silent. But in the music there might be an unaccented note or two after the third eighth. In this case the ac- companiment should stop upon the third eighth, which would pre- serve the Polka rhythm.) COMPLETE MUSIC A I, ANALYSIS. Sx 6. GALLOP. Metre, J ; Rhythm generally, J^ j J^ j ; Movement, i^V- z/flf^ or Presto : Form, same as Polka. The Gallop is the fastest of all common Dances. 7. COMMON MAZURKA. Metre, J ; Rhythm, | J!3 J J M^^ | j^*^ J h Movement, very moderate. The distinguishing characteristic is the accent upon the second beat of each measure. Form, the same as Nos. i and 4. S. FANTASIA MAZURKA. Retains the characteristics of No. 7, but the Movement is faster and the construction more elaborate. Some of Chopin's Mazurkas are slow, others fast ; but these are ideal Mazurkas, and not for ball-room use. The Mazurka is a Polish national Dance of grace- ful and courteous movement. 9. COMMON WALTZ. Metre, J ; Rhythm of the accompaniment, J J J ; accent, first of each measure ; Movement, Allegro. A good Waltz should have a graceful, swinging motion, that is easily recognized. M(kI- ern ball-room Waltzes are composed in sets, or numbers, each Set being complete in itself. First there is an Introduction, generally slow; then there are three or four sets of Waltzes and a Finale. Each Set contains two regular periods, which are repeated, and a D. C. or D. S. al ^, depending upon the key in which the different periods are written. When a new Set is in a different key, there is a short transition marked Eingang (entrance), which serves to intro- duce the new key. Frequently a brief Recollection is included in the Finale and marked lento; after which the whole terminates with a short stretto, — Presto. 10. VALSE CAPRICE, OR IDEAL WALTZ. Metre and accent the same, but the Movement is too fast to be danced. The construction is more free, and the Waltz character- istics are less noticeable. (Rubinstein, in his Valse Caprice in K- flat, introduces a period in f metre.) 84 COMPLETE MUSICAL ANALYSIS. II. THE OLD GERMAN WALTZ. Metre, J ; Rhythm, J _ ^J^ ; Movement, slow. It is more stately and uniform than the common Waltz. This Dance was the signal for departure, and so our German friends call it the "Clear-out Dance." (This is the Grandfather's Dance, which Schu- mann introduces into his Papillons). The teacher should perform one or two examples of each of the eleven .species just described, after distributing the following ques- tions: I. Metre; 2. The rhythm of the melody; 3. Rhythm of ac- companiment; 4. Movement; 5. Accents; 6. Mode (one or both); 7. Construction (number of periods) ; 8. Species (form-name). A period is to be counted but once, no matter how many times it may occur ; e. g-., if a Funeral March were played, the answer to the .seventh question would be " two periods in minor and two in major." The first questions, if correctly answered, will determine the style of each selection, whether a Polka, Gallop, Mazurka, or what not. The cla.ss may consult their memoranda made at the beginning of this chapter. The teacher should be provided with a volume of common Dance tunes, containing such as have been mentioned. Any March, like Scotson Clark's " Jacobins," will answer the purpose. Most of the mnsic of this class is rather poor in quality, but this is a necessary evil, and one that will soon disappear, as far as the class is concerned. Two or three lessons should be devoted to this chapter, with the same questions distributed differently. ILLUSTRATIONS. Marche des Jacobins, Scotson Clark. March. No. 15, from the Grateful Tasks, Gurlitt. March and Mazurka, Walton Perkins. Mazurka, Chopin, Op. 67, No. 2, or Op. 6, No. 5. Polka, F. Bold, Op. 37. Une Perle, (Bluette), Fr. Behr, may be played as an illustration of Polka. The Finale to Reinecke's Op. 127, No. 4 (Waltz-Rondo). Nos. 3, 5 and 6, from Op. 8, Enke, are good illustrations. The old German Waltz may be found in the Schubert Dances. Op. 33. (See Compendium.) Afterwards more difficult selections may be played, as : Polka de la Reine, Op. 95. and Marche Brillante, Op. 132, by Raff. A Gallop COMPLETK MUSICAL ANALYSIS. 85 Bravura, by Schulhoff or Ketterer. A Waltz or Mazurka, by Chopin. The March from Beethoven's " Ruins of Athens. " The- vSccond Mazurka, by Godard (in B-flat). Note.— Unless otherwise directed, the class is never to he inforuud of what they are to hear; but the Species, Form, and character of the pieces must be discovered by them. Chapter XVII. THE DANCE FORM— Continued. ROCCOCO (OR OLD CLASSICAL) SPECIES, AS the old Dances of the fifteenth, sixteenth, and .seventeenth cent- - uries are being revived by hving composers, it may be well to state that the word Roccoco (or Rococo) is a mere indication of this fact, and applies to any of the old dances. Thus "Suite a la Rococo" means a collection of pieces written in the antique style. The "Roccoco" by Orth is a real Gavotte in the old style — not a mere March, or Schottische, called Gavotte. The Form of the Roccoco Dances is usually different from that of either the common species, or the modern classical species herein- after mentioned. The Sarabande is frequently a Ballad Dance (two periods), or a primary form of three periods. (See Diagrams C and D.) Corelli, Kuhnau, Scarlatti, Handel, and Mattheson u.sually wrote their Sarabandes as Ballad Dances, and then repeated the two periods with simple variations (Doubles). The Sarabandes of Bach contain a pri- mary form of three periods, as we have seen. The signature in these cases is not changed, and the so-called Trio (Part II) does not ap- pear. The change of tone-color is effected by means of temporary transitions to the related keys. Where the last period ends in the principal key, there is no Da Capo. (See Diagrams C and D.) The Corrente, Gigue, Musette, Chaconne, and Tambourin have two, three, and sometimes four periods, but not the differently con- structed Part II, with change of signature and D. C. 86 COMPLETE MUSICAL ANALYSIS. The Gavotte, Loure, and Bourree were usually written with four l^eriods and two parts, either according to Diagram E or F. The latter, with the change of mode for Part II, and the Da Capo, was more common. For instance, Bourree I (two periods) in A minor ; Bourree II (same length) in A major. Or the order may appear re- versed, tonic major being followed by tonic minor, as in the case of Bach's G major Gavotte, which has a Musette in G minor as Part II. The Minuet was composed according to Diagrams C, D, or E ; the Da Capo was seldom included and the signature did not change. Diagram C. l>t Period. Same Signature. Diagram D. Int Period. Same Signature. \ 3d Period. :|: 3d Period. :| Diagram E. Pabt I. 1 ■•t Period. 1 2d Period. :| Part n. Same Key. \ Sd Period. :|: 4tta Period. :| Diagram F. PabtL In G Major. riae. W l»t Period. :|: Sd Period. :| 1 PabtII. In G Minor. o.r. ml Fine. 1^'^ Sd Period. :|: 4tii Period. ;| COMPI.ETE MUSICAI, ANALYSIS. 87 The following technical descriptions are intended principally to aid the student, in recognizing the various species of the old Dance Form, and to assist in their practical performance. The questions should be : Metre, Rhythm, Movement, and Accent. 1. MINUET {French, Menuet ; Italian, MenuETTO). Measure, * ; Movement, Andantino or Moderaio ; Rhythm, mostly quartern aad eighths ; slight accent on the third quarter. The Min- uet is an old French Dance. According to Washington Irving it was derive<5 irom the Pavan, the old Peacock Dance. 2. GAVOTTE. Metrf, ^ ; Movement, Allegro Moderato ; Rhythm generally, J J I J J J J I °^ J J] I J /# J J I ' accent, first and third metrical divisions. The main feature of a Gavotte is that each period commences upon the last half, and ends upon the first half of ?. measure. The rhythm is even and the movement measured. This dance may contain three or four short periods, but the style does not change unless joined to a Musette as Part II. 3. MUSETTE. During the time of Scarlatti and J. S. Bach it was customary to introduce a Musette into the Gavotte as Part II, and if the Gavotte was in major, the Musette would be in tonic minor, and vice versa. After the Musette, the Gavotte is repeated, D. C. (See Diagram F.) The Metre, Rhythm, accent, metrical divisions and Movement of the Musette are the same as in the Gavotte. The characteristic of the former is, that it is founded upon a Pedal-note, or Drone bass, which is continued throughout the entire Musette. This drone bass is in imitation of the bagpipe, or old Musette.* 4. SARABANDE. Metre, ^ or 5^; Rhythm, J J 5? J h accent on second beat; Movement, slow ; Mode, generally minor. Sarabandes are .sometimes * There are some old Musettes in triple measure, but these are of rare occurrence and not joined to a Gavotte. 88 COMPLETE MUSICAL ANALYSIS. written with Doubles, or \'ariations. It is the slowest and one of the oldest of all the Dances, and follows the Corrente in the old Suites. It was originally a Spanish Dance, having been introduced into Paris by the famous dancing master, Sarabanda. Metre, Rhythm, 5. CHACONNE. J . #'^ J h*^ J rm ' ^lo'^'ement, moderately fast. The Chaconne commences upon the second beat, and is founded upon a species of Ground Bass, or certain harmonic figures which are frequently repeated. The following section from Handel will illustrate this point: Ex. 135. \ %t^' r I' r , Owing to these frequent repetitions the periods in a Chaconne are more or less irregular. Observ'^e the following for example : :x. 136. ^^=p: S£ ^=^ » ' P t=F & Extended Aiectioii. The complete period ends upon the seventeenth measure in the con- tinuation of this extract. The Chaconne was once a part of the Suite. 6. TAMBOURIN. The Tambourin is an old French Dance introduced into the opera in the time of Rameau. The Metre is usually 0, and the Movement much faster than the Gavotte, though the Rhythm is similar. The Tambourin was danced with an accompaniment of one or more Tambourines, and usually founded upon a Pedal-note, which contin- ues throughout. This dance will be found principally in the French Suites. <© COMPLETE MUSICAL ANALYSIS. 89 7. BOURREE. Metre, 1 or ^ ; Rhvthm, H I I H I H I or PI , . , . The periods commence upon the fourth quarter of a tiuasnre and terminate upon the third. Movement, Allegro. The fourth beat is sHghtly accented, especially where it indicates the coinnicucc- ment of a phrase or period. (This corresponds to an unwritten law of musical phrasing.) The Bourree is similar to the Gavotte : but the latter is slower and begins upon the third beat, whereas the Bourree begins upon the fourth. The old Rigaudon resembles the Bourree, as does the Loure. This also commences upon the fourth beat, but is rather more stately and has more of this rhythm : fj J J^ J J , and in the last J J J j . The Bourree was fre- quently included in the Suite, or Partita, in place of the Gavotte. A number of authors of the present day have written Bourrees and misnamed them Gavottes, evidently not aware of the distinction between the two species. 8. CORRENTE— COURANTR. Metre, ^; Movement, Allegretto. The Rhythm is not uniform, though nearly all Correntes commence upon the last eighth note in a measure. It is an old style of Dance, rather lively in character, but less characteristic than the other styles, and consequently more diffi- cult to recognize. In the Suites and Partitas of Bach the Corrente follows the Allemaude. (See Diagram D or E.) 9. GIGUE, OR GIGA. Metre, "^, ^, '^^, "1"^, or \, with triplets; Rhythm in triplets or groups of three notes to a beat, thus: ^ J I J J J J or 4^ m » J J J J ^ J J J J 1; yiox^vii^wX., Presto. The character of the Gigue is very lively and sometimes humorous, closely resembling the Irish Jig. According to Von Biilow (who is certainly high authority), the Gigue was named after the old Italian giga, a species of violin. The Gigue was the Finale, or last number, in old Suites and Partitas. 90 COMPLETE MUSICAL ANALYSIS. ILLUSTRATIONS. Ed. Peters, No. 202 (6 French Suites, Bach). Dances by A. and D. Scarlatti, Couperin, Rameau, Lully, Purcell. and Handel. Chaconne in F, Handel. " Le Tambourin " by Rameau (in £"-minor). Loure from Bach's third 'Cello Suite. Gavotte in G-major and C-minor from Gluck's " Iphegenia in Aulis." The questions will be: i. Metre; 2. Movement; 3. Rhythm; 4. Modes ; 5. Accents (including phrases beginning upon the frac- tional part of a measure) ; 6. Construction (according to the Dia- grams) ; 7. Species (name of the Dance). The words " Da Capo " may be used to describe the repetition of Part I after Part W. Pieces having but two different periods are to be called Ballad Dances. As a review of this chapter select from the Compendium a few modem Suites a la Roccoco. Chapter XVIII. THE DANCE FORM— Concluded. MODERN CLASSICAL SPECIES. THE Polonaise, Tarantella, Bolero, Saltarello, as we are accus- tomed to hear them, are not Roccoco Dances. Hence we cannot base our description of these comparatively modem dances upon the works of the predecessors or contemporaries of Handel and Bach, but must be governed by the compositions of later composers. This will account for the difference in style and construction between the Roccoco and the Modern Classical Dances. The form is generally similar to Diagram B, especially where the dance is written as an independent work. The Military Polonaise by Chopin corresponds COMPLETE MUSICAL AxXAT.YSI?:. yi this, though the first period of Part II is repeated three limes. VTiere these dance movements occur in a Suite, or other cychcal orm, they are more condensed, and in these cases the different pecies will be found to correspond to our Diagrams, A, C, or D. We include the Minuet in both chapters ; for though it is a roc- oco dance, its character has been materially changed since Bocche- ini, Haydn, and Mozart adopted it as a regular movement in their sonatas and Chamber Music. Those masters added so much grace md charm to the old Dance that it was at one period as much in rogue as are Gavottes at the present time, and this new style has bc- :ome the standard. The metre is the only feature that survived this netamorphosis. The rhythm became more varied, though seldom leviating from the even quarters and eighths which add somewhat ;o the grace of the movement. The various periods were made to commence upon the third quarter of a measure, which gives to this part of the measure more accent than it had previously received. Boccherini retained more of the old slow movement, whereas Haydn md Mozart quickened it considerably, and it is now almost Allegro. Another peculiarity of the Modern Minuet is the second part (com- monly called " Trio "), This is usually written upon some other tonal foundation, as the Subdominant, Dominant, or Major third below the original key. Part I is then repeated. Da Capo. In the Minuets of Boccherini, notably the favorite one in A, the stately figures of the old dance are still present; but in the Minuets of Mozart and the later ones of Hadyn, not to mention those of Beethoven, we no longer see the sweeping train and powdered wig, the silken knee breeches, broidered waist-coat and depending rapier, but rather the apotheosis of these; a reminiscence of the old scene, becoming a purely musical embodiment. The technical descriptions now follow. (The metre, rhythm, » I movement, accent, etc., are to be apprehended by the class, after hear- ing a fragment of each species). The rhythm of both theme and accompaniment must be ascertained when the Polonaise and Bolero are considered. I. POLONAISE, OR POLACCA. Metre, J; Rhythm of theme in syncopation, either J* J J ^ j ^^ /J /* J yH ^ ^^^ either case the accent falls upon the 92 COMPLETE MUSICAL ANALYSIS. The second eighth note.) Rhythm of the accompaniment, J Mtom""^ J I I j Movement, Allegretto. The pecuhar Cadence j J Jf dTT^ J ^"^ '^ ^^^ ^*^ ^^ observed. JM ilel The Polonaise was originally a Polish court dance, and, like al ^^ court dances, rather slow and majestic. During the present centun they have nearly all been quickened in movement. The Polacca i synonymous with Polonaise, the principal characteristic of both be ing the syncopated rhythm of the theme. (We meet with an occa sional short Polonaise in old Suites; but since then it has undergoni a greater transformation than did the Minuet. The modern Poloj ^ naise is a very diflFerent piece of music.) iiteni 2. BOLERO.* ] |i,e This is a Spanish National Dance, somewhat similar to the Pclo^ f" naise, but less majestic and more animating. Metre, ^ ; Movement about ( J =r 88 )• '^^^ Rhythm is peculiar. In the accompaniment we have this: | H^ J-JT] | or this: | ^^ rj-^ | which is marked by castanets. J j1^ jm I JfTr. JtTT: The Rhythm of the theme is this This triplet may occur in the upper part against the two even sixteenths of the ac-P companiment, or as we have written it. V This peculiarly Spanish rhythm (3 and 2) is the most character-P istic feature of the Bolero. The Op. 19, of Chopin, is an excellent example of this species of Dance. We quote the first measure, whichi should be played in connection with a measure or two of the uneven rhythm : iEEEE^^^^^ Ex. 137. * The pronunciation of these names, as well as musical terms in general, okty t— foundi in Ludden's Pronouncing Dictionary. COMPLETE MUSICAL ANALYSIS. O.t The Bolero is similar to the Cachoucha, and in Spain it is a Pan- |.omime in honor of Cupid. TARANTELLA. Metre, |:; Rhythm JT^ jTj and J J^ J J^ ; two reg- lar accents; Movement, Presf:ss/f//o. The motion is something of whirl, owing to the preponderance of the former rhythm. The ^calTarantella is an old Italian Dance — the swiftest of all terpsichorean movements. The violent exercise of dancing the Tarantella is (ac- :ording to popular superstition) supposed to act as an antidote to the poisonous bite of the tarantula. This dance contains a Trio, or second subject, in which the style changes, but is usually written without pauses. Another cliaracter- istic of the Tarantella is the strong contrasts between piano and forte, or rather, the sudden and violent accents in the midst of a soft passage. These correspond to the legendary character of the dance. 4. SALTARKLLO. Metre, '^\ Movement, Presto. Rhythm, J J^ JJ] . The accents are not so strongly marked as in the Tarantella, and the rhythm is more uneven. Otherwise they are similar. 5. CZARDAS, OR CSARDAS. An Hungarian National Dance of peculiar con.struction. It con- tains two models. First, a slow movement (usually in minor), called Lassan. The second part is much faster — Allegro. This is called the Friska. The rhythm is mostly syncopated, and the metre is almost invariably I or I. Several of Liszt's Hungarian Rhapsodies are elaborations of the Czardas, and the well-known Divertissement a la Hongroise, in C-minor, Op. 54, by Schubert, owes its charm and novelty principally to a National Hungarian dance tune upon which it was founded. The first Andante corresponds to the Lassan. This " is repeated after the un poco piu mosso. The Friska does not com- ; mence until after the Funeral March. The only indication is Alle- gretto, and this peculiar rhythm in the melody : 94 COMPLETE MUSICAL ANALYSIS. This occurs thrice, each time with different rhythm in the ac- companiment. The entire composition is a faithful representation of Hungarian Music, and the Coda is especially beautiful. 6. MINUET. Metre, T; Movement, Allegretto ; Rhythm of the accompaniment, I J J J ' • The Minuet commences upon the third beat. which is accented ; therefore the accents are one and three. Form, same as Diagram B. Haydn quickened the movement somewhat, and it is now almost Allegro. -,. HABANERA, OR AVANERA. Metre, ^; Movement, .'^//^o-/'(3; Rhythm of the accompaniment, JH M . The rh}i:hm of the theme is sometimes in syncopa- tion ^ i "I rn , and usually contains the Spanish rhythm of the Bolero, thus : J I J J^ interspersed with this J J j j r^ | 3 The Habanera is a Cuban Dance, and its extremely vivacious character, together with the charming rhythmical conceits, have combined to make it popular in the old world and the new. Gottschalk's "Ojos CrioUos " is a good example of this dance: (There are other Dances, such as Galliard, Romanesque, the Brawl, Fandango, Farandole, Kermesse, Sword Dance, Pomponnette, Passacaglio, etc., but as these are either obsolete, or not so charac- teristic, they have not been described.) a The "Alia Polacca," "Alia Marcia," etc., or Tempo di Polacca, Tempo di Marcia, etc., are used by composers either as a modifica- tion of the regular style, or to indicate in a general way a Species which might not otherwise be perceptible at first sight. Alia Menuetto signifies, in Minuet style, or after the fashion of a Minuet. Tempo di Bolero means, in the movement of a Bolero. iioth terms are u.sed synonymously, and usually have the .same COMPLETK MUSICAI, ANALYSIS. o^ meaning when applied to any of the dances. Pieces .so marked wil' be found to deviate more or less from the regular form. For in- stance, a movement headed Alia Menuetto will contain no regular Trio and Da Capo, and the construction will vary somewhat from the strict Minuet form ; i. e., the periods will be more extended and tlie rhythm more varied. Subjoined is a list of compositions as illustrations of the difierent species of the Dance Form described in this chapter. ILLUSTRATIONS FOR MODERN CLASSICAL DANCKS. Polonaise. Polaccas and Polonaises from the Sonatinas. Afterwards some such selection as the Polacca Brillante, by Bohm. Bolero. Moszkowski, Op. 1 2. No. 5 (from the Spanish Dances, two or four hands). Raff, Op. Ill, or Chopin, Op. 19. Tarantella. Rheinberger, Op. 13, in ^-flat (four hands). Tarantellas, Gottschalk, Chopin, or Liszt. Saltarello. Loschhorn or S. B. Mills. Finale to Mendelssohn's Ital- ian Symphony (four hands). This is interspersed with frag- ments of the Tarantella. Czardas. J. Low, Czardas Album, Op. 473. MacDowell, Op. 24, No. 4. Minuet. From the Oxford Symphony, Haydn. From Mozart's jS'-flat Symphony, arranged by Schulhoff. F^rom Sonatina No- 2, Op. 47, Reinecke. Habanera. Pedes du Madrid (Habanera) Bachmann. Habanera from "Carmen" (Bizet), arranged by Lange. Op. 267. Ojos Criollos (four hands), Gottschall La Gallina (four hands), Gottschalk. QUESTIONS. I. Metre; 2. Movement; 3. Rhythm of Accompaniment; 4. Rhythm of Theme; 5. Modes; 6. Accents (same as before); 7. Construction ; 8. Species ; 9. Regular or irregular, a la. It is necessary to observe all the details, not alone for cultivation of the hearing faculties, but as a means of determining the character of the piece, and its proper performance. (See last paragraph in previous chapter.) ©6 COMPLKTE MUSICAL ANALYSIS. II There is some diversit}- ol opinion with regard to the movements of these dances, but as it is necessary to have some standard in actual performance, an approximate indication for each species will be '. given : Gavotte. ( J = 120 ) to / J = 144 )■ The Gavotte is now played alia breve (^), sometimes as fast as/ 1^ 120 |, which represents considerable technic, and very little Gavotte. Musette. The same; sometimes a few degrees slower. Sarabande. The slowest of all Dances. ^ metre, / J = 88 ) J (J-.ss)or(J-T,i). Chaconne. Moderato or Allegro, I ^ ^ 120 ) to / J =:. 1:^2). Tayubourin. About twice as fast as the old Gavotte movement, l._ <5^ 110 »e- Bourrce. Faster than the Loure or Gavotte, ( J = 88 Uo ( J ^ 104 ) Corrente. J ( J = I'-'O ) to ( J = 132 ). Gigue. Presto, ^ | J ^ 144 ) g ^ J ^ = 144 ) ^^^ ( J . -- 144 ) Some- times ( J . = 1<30 I Minuet. Old, / ' = 104 ) Haydn, Mozart, and Du.ssek. / j = 132 ) Since the year iSio, / J -^ 70) This is equal to/ J =r 228) Polonaise. This was known in the time of Handel, but it bears little resemblance to the modern Polonaise. For those com- posed during the eighteenth century we would fix the move- ment at about/ \^ 100 ): for those of the present centur>^ / J = 120 to 136 ) Bolero. / J = 88 \ to / ' = 96 ) The movement of the Bolero is variable, owing to its peculiar Pantomimic character. Tarantella. From / J ,= 18O ) to / J _ -^ 100 ) This last is one beat to a measure. Saltarello. ^ metre, about ( J . — 160 ) COMPLETE MUSICAL ANALYSIS. 97 Czardas. It is not well to fix the movement of this, but the con- trasts between the Lassan and the Friska should be consider- able (say 30 degrees). The performer must understand that these movements are only approximate, and be governed by the Epoch to which the piece belongs. The character also has some influence upon the move- ment, aside from the epoch. Some of Beethoven's Minuets, for ex- ample, are to be played in a different movement from others, but the author would recommend a difference of not more than ten degrees. COMPLETE MUSICAL ANALYSIS. PART V Chapter XIX. PRELUDE AND INTRODUCTION. INTERMEZZO. PRELUDE AND INTRODUCTION. WE will describe Prelude as a short preliminary passage or movement, of irregular construction ; something which comes before the principal form, but without forecasting what follows. In- troduction may also be short and of irregular construction, but it is made up out of certain characteristic sounds from the principal form, and must foreshadow what follows, at least in an indirect manner. The Prelude merely invites attention, but does not intimate what the subject is to be; the Introduction not only invites attention but gives somewhat of a synopsis, epitome, or intimation of the main work, after the fashion of a descriptive play-bill. Another peculiarity of the Prelude (and frequently of the Intro- duction also) is, that it is less symmetrical ; the construction accord- ing to phrases and sections is not so noticeable nor so proportionate. It is also less tuneful. Here is a short Prelude to a song : Bz. 140. P . ^ 1- , I ; After these three measures the voice part enters. All that the Pre- lude does in the way of introduction is, to determine the key and COMPLETE MUSICAL ANALYSIS. 99 mode, the metre, aud form of accompaniment. The melody is hkc this: - .=fc Ex. 141. no hint of which is contained in the Prelude. The Prelud< First Fugue (among the 48) is a good example : to Bach" Ex. 142. ^^ ^-^;7^P^ This gives no intimation of what follows. Songs, such as "Good- night, Farewell," "The Erl King," and "Adelaide," have a short period before the vocal part commences, which is in each case an Introduction. In the "Adelaide" song Beethoven takes the leading motive and abridges it into five measures. The iUu.strations mentioned below are to be played, that the pu- pils may distinguish the Prelude from Introduction : From "Album Classique," extract from Handel, No. 12. (Play only the movement in I metre, omitting Courante.) The first eleven measures of Mozart's Fantasie in Z>-minor, be- fore the theme commences. Also, " 18 easy Preludes by J. S. Bach" (Augener & Co., No. 8020). The first part of Rubinstein's Tarantella is an Introduction, though he afterwards uses it as an Intermezzo. Such Introductions as these are good illustrations: " Traviata," arranged as a Fantasie, by J. Ascher ; Feu Follet, by Prudent. The first four measures of Mendelssohn's Barcarolle in yl, from "Lieder ohne Worte," have the character of an Introduction, which is used at the end as a Recollection. The preliminary matter to the " Valse Lente," by Delibes, is an Introduction. The class should understand, in the case of regular Introductions, where the leading motive is taken from. In the Traviata fantasia the first three notes of the Cavatina "Ah fors e lui" are u.sed as a motive and written in canonic style. This makes it an Introduc- tion. The first twelve measures of Raff's "Cachoucha Caprice" form an Introduction. lOO COMPLETE MUSICAL ANALYSIS. Mendelssohn's Songs Without Words, Nos. i, 6, 9, 12, 15, 16, and 18 have short Preludes before the songs commence. Sometimes the preliminary matter is of such character that one cannot tell whether it be a Prelude or Introduction, unless the entire composition be played. In such cases play the principal form, or at least the different Subjects first, and the Intrada afterwards. But, as a rule, the distinction can be made at once. The Introduction to " Sweet Bye and Bye," by S. G. Pratt, is a good exemplification, as ever>' one is familiar with the melody, and can easily recognize the thematic progno.stications. Include the previous questions and add the last, Prelude or In- troduction. The author is aware that these distinctions between Prelude and Introduction have not heretofore been made. But the definition of the words, as well as the musical instances hereinafter quoted, seem to call for a distinction between the two words, especially in Musii-al Analysis. INTERMEZZO. In describing the Intermezzo as part of a form, not as a complete form in itself, we may say it is an Interlude. It plays the same part in a Rondo, or similar composition, that the Interlude does between the verses of a ballad. It relieves monotony by creating a slight diversion. For this reason the Intermezzo is generally of irregular construction, having less of proportionate phrases, and not being so melodious as the regular period. The Intermezzo may consist of scale passages, of a melodic figure in sequence, of responsive phrases or of transitional matter. It may also contain any number of meas- ures, and generally leads back to the principal theme. The Inter- mezzo in Kuhlau's Sonatina, Op. 20, No. i , commences upon the last of the sixteenth measure and continues for nineteen measures. Then the principal theme is resumed. This Intermezzo is repeated at the close. So in the last movement of Op. 55, same book. It is a Scherzo in Rondo form, and after the principal theme ends upon the sixteenth measure an Intermezzo begins and terminates upon the essential seventh chord, twenty-eighth measure. From the Rondo to Op. 59, No, i, Kuhlau, we may cite another '' The Intermezzo was originally what we now call entr'acte, or pieces played between the acts of an Opera or Drama. COMPLETE MUSICAL ANALYSIS. lOi instance. This commences upon the last of the sixteentli measure. It is made up of antiphonal phrases and imitations, thus : Ex. 143- This is continued for seventeen measures, when the principal theme recurs with variations. Rondos containing Intermezzo may be found in the Sonatinas of Clementi, Ops. 36, 37, and 3R; in the Dussek Sonatinas, Op. 20, and in those of Reinecke, Ops. 47, 98, 127, and 136. Such illustrations should be performed until the class is capable of recognizing the Intermezzo at once. Note — There is, as is well known, a style of composition called Inter- mezzo; but even this is intended to be played between other pieces. Chapter XX. UNEVEN PHRASES. UNITED PERIODS. UNEVEN PHRASES. A FEW instances will be given in which the phrases contain an unequal number of measures. The rule is, that a phrase shall contain two long or four short measures, but as the great composers have frequently violated our rules, we will now observe the excep- tions. In the annexed example the phrases contain three full meas- ures, which is a characteristic of the piece : Renunciation." W. Taitf.kt. Ex. 144- P, Andante. -L*-^, r On '^*/)tJ Jl tzkisU ^^=^ U u j Jl ^-^vtj.ij.- I02 COMPLETK MUSICAL ANALYSIS. In this instance the three-measure phrases have a very serious character. The last note of each phrase is marked by the composer with a fermata, as a somewhat striking punctuation of the motive, and the phrase which corresponds to it. These uneven phrases are continued throughout the piece, except during the Intermezzo. Va- rious circumstances may give rise to this pecuHarity. First — The content of the motive may require three measures for its completion, as is the case in Ex. 144. SecoTid — The third measure may be added as an Echo, as in this instance : Ex. 145. The piano echoes the second measure of the voice part merely on account of the poetic sentiment, not because the motive requires three measures for its (musical) completion. The second phrase is similar, but in the second section we hear but four measures, owing to the Echo being omitted from the piano part. Third — The next example, from the first Sonata of Beethoven, dedicated to Haydn, is still different, owing to a different cause : Ex. 146. This occurs in the elaboration where considerable liberty is take" with the leading motive, which in the first Division contains but two measures . Ex. 147. Til the above instance the three-measure phrase serves to relieve the monotony of even phrases, and it also places the motive iv » different light. COMPLKTK MUSICAT. ANALYSIS. 103 The following pieces contain, in certain places, three-measure phrases, and should be played from beginning to end until the class can recognize the uneven phrases : Turkish March, from Beethoven's " Ruins of Athens." and Min- uetto. from Haydn's "Oxford" Symphony. As the uneven phrases are in the Trio, it will not be necessary to repeat the first two pe- riods. These last three-measure phrases are in antiphonal style and easy to recognize. Play the Menuetto first and the March after- ward. The first two periods of the Menuetto from Mozart's second (i- minor Symphony will afford another example.'^- The " Little Hungarian Melody," by Behr, contains (in second period) two sections of five measures each. A similar instance occurs in the Presto of Haydn's Symphony, No. 1 1 , Ed. Litolff. These illustrations may be repeated in order to bring out other answers than those pertaining to this chapter. Rhythm, Form, Ac- cent, Mode, etc., are always useful questions. UNITED PERIODS. There are numerous instances in which one period begins simul- taneously with the ending of another. Two regular periods may thus contain fifteen or thirty-one measures, and in examining the music the student would be inclined to consider the United Period as an uneven one, owing to the odd number of measures. Such in- stances we will call by the above name. Here is a practical example from Kuhlau, Op. 20, No. i : Ex. 148. Only the last four measures of the second subject are here quoted, and this ends at 8. At the same time the second subject ends, the Conclusion begins. This is indicated by the figure 8 (which refers to the period just ended) and the figure i, which belongs to the first * A fine example may be found in the Scherro of Beethoven's Op. 1^5. I04 COMPLETE MUSICAL ANALYSIS. measure of the Conclusion, beginning upon the same note as the ending of the other period. The period ending at 8 is entirely com- plete, as is the one commencing at 8 or i. For the student's benefit we will write a fragment of this in score : Ex. 149. ^S The wind instruments make a regular cadence and end upon the eighth measure with a full period, of which but the seventh and the eighth are quoted. As these instruments end here, the stringed in- struments come in simultaneously with the Conclusion, which also has eight measures. (See original Sonatina, first movement, second and third periods, from seventeenth measure to the double bar.) Therefore, though the periods are complete, we find but thirty-one measures in the first division, owing to the Second Subject and Con- clusion being united. A similar instance occurs in the same move- ment, at the fifty-fourth measure, and where the Finale of four measures begins simultaneously with the ending of the Recollection. ILLUSTRATIONS. The first movement from Reinecke's Sonatina, Op. 127, No. 5, be- sides the one by Kuhlau already mentioned, and Op. 55, No. 5, same composer. The first and second subjects of the first movement are joined together into an United Period. United Periods occur more frequently in concerted music than in solos. Other examples of this will be given in connection with Extended Period. I COMPLETE MUSICAL ANALYSIS. 105 Chapter XXI. CODA. EXTENDED PERIOD. CURTAILED PERIOD. CODA. ^npHE Italian word Coda means tail. Whatever is added to a com- ^ position beyond its natural termination is called Coda. When a period or form has been concluded, and then goes on beyond this point, the continuation becomes the Coda. The Postlude to a .song affords a good illustration of the character and object of the Coda. After the singer has concluded the last verse the accompanist usually plays a few chords, or short finale, in order to indicate or emphasize the termination of the song. The object of the Coda is frequently different from that of the Postlude (according to this primary defini- tion), but they always resemble each other in this, that both arc added after a natural or actual termination. We will present an example of the Postlude first, as the illustra- tion is more plain. It is from a song entitled "After Years," by A. Schultz : Ex. 150. m Pi For - get *W^ TlvJ—J m m f -*- zHSz gj^ m. »=T^ :=; -^ After the vocal part makes its final cadence upon i9-minor (a), the accompaniment begins the Postlude and conducts the piece back to the original major key. Observe that the Postlude is entirely sepa- rated from the complete cadence of the vocal part (a). The simplest examples of Coda are merely intended, like the Post- lude to a Ballad, to indicate the final ending of a form or movement, 106 COMPLKTK MUSICAL ANALYSIS. especially where the last period has previously been repeated. In this sense the Coda will constitute the most elementary and primi- tive deviation from, or enlargement of, the Ballad Model of two equal periods. The teacher may now perform the second movement* to Kuhlau's Sonatina, Op. 55, No. 2, and every time a period is completed the class should mention the fact. Explain that the movement contains a Coda, which must come after a completed period. Pupils should say "Coda" when the Coda begins, and at the close tell the number of measures it contains. A similar example may be taken from Op. 55, No. 4, same com- poser. This will be found in the slow movement, where the second period ends with a half cadence, which causes the first period to be repeated. The next illustration may be the "Alia Menuetto" from de- menti's Sonatina, Op. 36, No. 2. The Coda in this is not so easily recognized. The same explanations should be made and the same questions propounded. There are three periods to this movement, the first occurring twice. After these, the Coda begins, and contains four measures. Examples of more extended Codas may be found in the follow- ing: " Alia Polacca," from Op. 55, No. 4, and Menuetto, Op. 55, No. 6, Kuhlau. Rondo from Op. 20, No. 3, Du.ssek. L,ast six and one-half measures of Rondo from Diabelli's Op. 168, No. 3. and last five measures of Andantino, same work. The Transitional Prelude by Beethoven also has a Coda. EXTENDED PERIOD. The second deviation from the ballad model consists in extend- ing a period beyond its prescribed limits. This is done — First — By means of a half cadence where the full cadence would naturally be expected ; Second — By the aid of an avoided cadence, which prolongs the regular close ; Third — By a repetition after the cadence should have occurred, or through the introduction of a Pas.sage ; * This is merely marked " Cantabile," but it is to be played rather slowly. COMPLETE MUSICAL ANALYSIS. lO" Fourth — By leading the melody in such manner that it is carried beyond the common length of the period before it terminates ; Fifth — By the introduction of an Kcho. The class must understand that a period is not reached until the music is brought to a state of repose or completion by an authentic or full cadence. There must be a satisfactory ending, or complete cadence, as in the case of poetry. The Extended Period forms one of the principal advantages in favor of classical over common music ; for while popular music rep- resents only brief periods of motion and repose by its short and mo- notonous cadences, classical music represents longer and more im- portant periods of thought and action, and fewer periods of repose and inaction. Common music is a mere kaleidoscope that exhibits to the outward senses a variety of pleasing colors ; classical music is more like a panorama, which gradually unfolds to the intellectual sensibilities a complete scene or series of emotional images. A simple example of Extended Period occurs here : Ex. 15 Clkmenti. -t^" ^ ' 'l,lJ ^ . V7 ' ^ ^ This period, which would naturally contain eight measures, is ex- tended to twelve by means of the half cadence in the eighth measure (see 8). The period is not complete until after the transition to C major, where the complete cadence occurs (see 12). Attention must now be called to the distinction which is here made between the extension of a period, as above illustrated, and the Coda, which is not an extension, but an addition to a period already closed. Coda takes place after a period has been concluded and the two are thus isolated. Extended period is continuous and connected, and iforms a complete, integral whole. The nine-measure periods in Delibes' " Valse le7ite'' come under this heading, though the exten- sion consists in merely throwing in an arpeggio of one additional measure. io8 COMPLETE MUSICAL ANALYSIS. An instance similar to Ex. 151 occurs in the Andante to demen- ti's Op. 36, No. 4, after the regular period. The second period be- gins with isolated phrases ; then follows a sequence which we would expect to end upon F in the twenty-fourth measure ; but here the composer goes to the Z?-minor chord by an avoided cadence, and finally ends upon the dominant, F, in the twenty-sixth measure. The extension therefore consists of two measures. The last five measures form a Coda (not an Extended Period), after the repeated period, which ends upon the tonic in the forty-.second measure. Play this, and the other movement, until the class recognizes the Extend- ed Periods and Coda. The next example, though written in the classical style, is com- paratively easy to analyze. It is the Adagio from Kuhlau's Op. 20, No. 2, one of his best Sonatinas. The first period ends upon the sixteenth measure, and is perfectly regular. The second period com- mences upon the seventeenth measure, and contains four phrases ; but the twenty-fourth measure, instead of being a cadence upon ^-flat major (which would have closed the period there), stops upon the essential seventh chord to correspond to the twentieth measure. This causes the cadence to fall upon the twenty-fifth measure, though the same idea is continued until the first of the twenty-sixth meas- ure. The 6^-major chord on the first of the twenty-sixth measure is recognized as the dominant to C-minor; therefore the period com- mencing at measure seventeen is not complete until the thirtieth measure. Measures twenty-six, twenty-seven, twenty-eight and twen- ty-nine form a brief Intermezzo of four measures, leading back to the principal period. But as the perfect cadence takes place upon the thirtieth measure we may say that the Extended Period contains thirteen measures, by means of retaining the dominant seventh chord where the cadence would otherwise have occurred upon the tonic, as here: Ex. 152. Compare this to the twenty-fourth measure of the printed copy. Considering what follows, this is not .so good as the original. After the Extended Period, we hear the first double period again, and then COMPLETE MUSICAL ANALYSIS. ro9 a brief Coda, to make the termination more satisfactory. Pupils should understand this analysis of the periodic construction of the movement, even though it be necessary to repeat the Adagio several times. The Larghetto from Op. 20, No. 3, .same composer, will aftbrd an- other good illustration of this matter.* The second period, com- mencing with short, responsive phrases between treble and bass, contains an avoided cadence in the eighth measure, by which means the period is extended to the beginning of the eleventh measure, where the principal strain recurs. This, like the first, constitutes a regular period, with repeat. After the second ending the composer has employed a more elaborate Coda of eleven measures, which is easily recognized. (Play the entire movement, and include among the questions. Intermezzo, Coda, and Extended Period.) CURTAILED PERIOD. By these words we wish to indicate a period cut short of its nat- ural length, or left before it is finished by the usual number of meas- ures. This will occur only after the curtailed period has been previ- ously heard in a complete form, except in the case of Introductions. Here is a simple illustration : Ex. 153. Bkethoven . Op . 46. liarsriietto. ^ This is the Introduction to "Adelaide," which .should be com- pared to the first period of the vocal melody. The voice part enters at the end of our quotation. This is compressed into five measures. The Adagio to Beethoven's Op. 13 contains two Curtailed Periods, the first of seven, the second of six measures. ' A remarkable instance of Extended Period occurs in the second movement of Raffs song, Op. 98, No. 9, where the entire movement is one long Extended Period of thirtj^fire measures. COMPLETE MUSICAL ANALYSIS. In order to further illustrate the peculiarity of a Curtailed Period we will quote a complete period, and then the curtailment, from Beethoven's Op. 7.: This is a Recollection, in form of a Curtailed Period. Obsen^e the difference between the third measure in each example, and how the last is brought to a close within the limits of a section. Other instances of more extended Codas will be cited hereafter. Illustrations for this chapter, besides those mentioned : Sonatina, Reinecke, Op. 47, Nos. i and 2.* The Op. 1 1, No. I, of Strelezki, is a good example, as it contains a Prelude, Regular and Extended Periods, Intermezzo, and Coda. It also contains three-measure phrases. In the Minuet, Op. 27, No. 2, Beethoven, the second period is ex- tended. The Theme of " Nel cor piu," with variations, by Beethoven, af- fords a singular instance of Curtailed Periods or Extended Sections. The first period is regular, but the next is curtailed to six measures, and the last chord is marked with a fermata. Following this is an- other curtailed period of six measures. The favorite Minuet, by Boccherini, affords an example of Ex- tended Period. This occurs in the consequent period, and results in this way : After giving four measures of the second period the com- poser does not repeat merely the last section of the first period, but writes the entire first period over again. This results in twelve measures instead of eight. It would be well for the class to analyze it in this manner. The questions are: i. Metre (and special accents if any); 2. Movement; 3. Rhythm of theme and accompaniment ; 4. Number of Periods; 5. Form (.single or double); 6. Style; 7. Prelude or Introduction; 8. Intermezzo; 9. Coda, or Extended Period; 10. Curtailed Period, or Uneven Phrases ; 11. Modes. "Th* fitst Period in Enlce's Barcarolle, Op. 8, No. occurs. is slightly curtailed every time it COMPLETE MUSICAL ANALYSIS. 11 Chapter XXII. DISPERSED HARMONIES. ABRUPT TRANSITIONS. DISPERSED HARMONIES. EVERY chord has as many open as close positions, produced by inverting the order: Close Positions — C e g, e g C, g C e. Open Positions — C g e, e C g, g e C. These are Ex. 155. i ^=« Compare the letter combinations with examples in notation. Re- quire pupils to write several concords in open positions; after which play Ex. 155. The open positions at (b) are produced by inverting the middle note of each chord at (a) an octave higher. At present it will be suflScient for the class to understand that Ex. 155 merely consists of the C-major chord in its clo.se and open positions. The latter are known as dispersed harmonies. Formerly the positions at (a) were mostly for harpsichord and piano music, while the chords at (b) were the natural result of vocal part-music for mixed voices, the male voices being an octave lower than the female. But since the enlargement of the piano key-board the dispersed form of harmony has become the rule rather than the exception. A motive which would have occurred to Mozart as at (a), would appear to Rubinstein as at (b) : T The original contralto and tenor parts (in quarter not«s) appear at (b) a tenth, instead of a third apart, while the upper part at (a) is COMPLETE MUSICAL ANALYSIS. duplicated in the upper octave. The class should name modes and positions (open or close) in Ex. 157: Ex. 157. P^m m They should recognize that the first two chords are mere re arrangements of the .-J-minor triad, and that all the positions are open. This might be played in close position, and it would be well to give several illustrations, like the Introduction to Gottschalk's " Last Hope," etc. ABRUPT AND DISTANT TRANSITIONS. Certain abrupt progressions will be here introduced, in order that the class may know something of their cause and effect when they hear transitions which go beyond the circle of related keys. Some transitions are of an elevating, others of a depressing, character. But a transition always represents a corresponding change, either of scene or sentiment. A slight change in tonality, such as a natural tran.sition (Ex. 151) indicates but a slightly different view of the same subject; whereas a sudden change to a remote key serves to alter the entire scene, or to present a totally different aspect of the prevailing sentiment. Here is a brief example for the class to ana- lyze auricularly: > Ex. 158. ^^^i^^^^^S^ ^^^^^^^^m ^^ In the first measure there is a dominant seventh chord leading to D- ininor, and in the second measure we hear a diminished, followed by a corresponding dominant seventh. Play the example slowly, that each chord may be named. COMPLETE MUSICAL ANALYSIS. 113 Several examples, such as the King's Praxer in the first part of "Lohengrin," should be performed. Beethoven wrote a peculiar Prelude, which consists of a series of repeated modulations through the entire circle of keys, beginning and ending in C-major. This is a most excellent piece to play for the class. It is Op. 39, No. 2, and may be found in Album Classique, Vol. 391, Edition Litolff. It will be sufl6cient for the pupils to rec- ognize the transitions, and the fact that nearly all the modulations are to major. The means employed are too varied to admit of de- tailed analysis by an elementary class. Aside from listening to the Prelude, every student of music is recommended to study its construction thoroughly. Not only are the transitions skilfully planned, but the entire Prelude is developed from this simple motive : Ex. 159. 1^ ^J J J|J^^ ^ which should be traced out in its progress through the various voice-parts. ILLUSTRATIONS. Warum, Schumann. Au Matin, Godard, Op. 83. Chant sans Paroles, Tschaikowsk3^ Op. 2, No. 3. Walther's Prize Song, from " Meistersinger," Wagner- Bendel. 14 COMPLETE MUSICAL ANALYSIS. PART VI. Chapter XXIII. CHARACTERISTIC STYLES. 1. LYRIC. 2. THEMATIC. 3. HARMONIC. 4- ANTIPHONAL. 5. CANONIC. 6. FUGAL. 7. BRAVURA. AN important and noticeable diflference exists between each of ' the above characteristic styles, and it is desirable that the student should understand and be able to recognize these distinc- tions. 1 . Lyric Style. Originally a short poem to be sung with the lyre (as accompaniment). Songs, Songs Without Words, Andantes and Adagios from Sonatas; Romances and Serenades are in lyric style. The term is applied to any piece or part of a piece in which a plainly outlined, distinct melody is the chief feature. The more vocal the melody, the more nearly it approaches the lyric style. Schumann's Op. 124 is a pure lyric. 2. Thematic Style. This is more artificial, and the melodic feature is less prominent. As all music, even purely harmonic pro- gressions, must have melody, this needs qualification. If we select this chord succession, for example: Ex. 160. # s^ ^M we find a brief melodic progression in the contralto part, and a less noticeable one in the other parts; while by giving the bass simply the root to each chord, we have a pronounced and somewhat bold melody in that part : 7!T COMPLETE MUvSICAL ANALYSIS. "5 going down by thirds and up by fourths. Ex. i6o contains as httle of melody as possible, being a purely harmonic design. In Thematic music the design is more ornate, as: Ex. 162. ^^ ^S5 ^ n « 1^ But even in this the ear will seize upon the melodic design (har- monic and concealed though it be), as at (a); or even the one in syncopation at (b) : Ex. 163. ji a b However, the Ex. 162 is a thematic one, and may be taken as a fair specimen. The other, and perhaps more important, feature of the- matic music consists in its sequence-like, or resultant development, not according to the natural tend and flow of the motive, but rather in compliance with canonic law. (The author does not refer to mechanically constructed music, but to those written and unwritten principles which must govern every good composer.) The canon, for example, always has one or two melodies, yet it is constructed artificially. Canon means law (or rule), and the Subject of a canon becomes the law of procedure : thus, this motiv^e is, in strict canon, to be imitated identically by the answering voice after the interval of a measure, as at (b) : 3^ Ex. 164. \t -^=^ The Response (b) now becomes the law, and the first voice in the continuation of the canonic theme must be governed by the second voice as at (c). The response to (c) may be seen at (d) : Bz. 165. rr^ ^^3^ [■ I ii6 COMPLETE MUSICAL ANALYSIS. Here the first voice must again be in accordance with the part below. Compare (d) with (e), and (e) with (f). In this way the canonic theme becomes continuous, or, as it has appropriately been termed, endless. Bach's Thirty Inventions; Toccatas; nearly all Etudes (such as No. i in C, by J. B. Cramer), and certain parts of Sonatas, to be mentioned hereafter, are in Thematic style. 3. flarmonic Style. Vocal or instrumental compositions with full harmony, in which the value of the notes is the same (or nearly so) in the different parts. Hymn tunes are in the Harmonic style. Here is a brief example from Weber : ,44la UU -4 r-sN-^^ < t:»,J y- fe g-r"' i ' r r The harmonic tone-color in this style is not merely complemental, as in the accompaniment to a ballad, but more or less influential in its effect, as the chords, being heard simultaneously, are more readily comprehended and compared. 4. Antiphonal Style. An antiphonal phrase or section is a re- spon.se, somewhat different from the original phrase or section which is responded to, and separated from it by an interval more or less extended. In the time of Willaert and Tallis the Antiphonal church style was in full vogue, and carried to a high state of perfection. It consisted in one choir responding to another, differently situated, or the response of the choir to the intonation of the priest. In instru- mental music the motives and responses are shorter than in the ecclesiastical style, otherwise we could not disassociate them, as is intended. Here is an example : Bebthoven. Op. 7. mJ2l^^.^s^ ^ Ex. 167. -3_x_I, ff pp ^'^^^T^Wttiri^i'^ This is repeated during the next four measures in i9-flat minor. The COMPTvETE MUSICAI, ANALYSIS. '7 Antiphonal style must not be confused with Kcho, Sequence, Repeti- tion, nor with Imitation. This style is fragmentary, and requires t decided change in tone-qualit>', as well as a frequent ad libitum style of performance. Antiphonal passages or figures belong to different instruments which naturally possess a different tone-quality ; hence, on the piano the timbre should be altered accordingly. Imagine, for example, the two ^"chords (Ex. 167) played by the horns, trumpets, trombones and tuba; and then the response by violins pizzicati, or by flutes, oboes and clarinets, light staccato. Here follows an ex- ample which requires an ad libitum style of performance : Antiptaouy. Larghetto from Op. 20, No. 2, Krni The first measure is to be played slowly and persuasively, leaving the tones rather reluctantly. The response in the second measure is a decided rejection, and is to be played pcsante, the movement being slightly accelerated. The composer's directions, staccato a,ssai, indi- cate an emphatic, rather than a pizzicato, staccato. The "Ghasel," in Reinecke's Sonatina, Op. 127 (b), No. 4, is ex- clusively in Antiphonal style. This is more obvious in the four- hand arrangement. 5. Canonic Style. This includes not alone canons, but pieces in which any of the various kinds of Imitation form a prominent part. Bach's Inventions are in canonic as well as thematic style, though not regular canons; because the Imitations are both free and inter- rupted. Strict canons are mostly two-voiced, and consist of a con- tinuous melody, which is reproduced by the other voice-part after the expiration of one, two or more measures. This has already been briefly explained. (See Ex. 164 and 165.) Vocal Rounds are a spe- cies of canon, though the melody is shorter (usually eight measures), owing to the fact that Rounds are for three, four, and five voices. "Hark! the merry birds are singing," "Farewell, dear," and that humorous one,- " The Previous Question," are illustrations of this. Previous to the time of Bach and Handel canons were so much in Il8 COMPLETK MUSICAL ANALYSIS. vogue that almost all compositions were canonic, and composers be- came so skilful in the manufacture of Polyphonic canons that a modern musician could scarcely decipher them. Strict canons are not written at the present time, except as lessons, but the canonic principle is so important that the author advises every music student to study canons, and understand their construction. 6. Fugal Style. The fugue resembles the canon, with this dis- tinction : In fugue the response to the subject is made either a per- fect fourth or fifth above or below (tonic being answered by domi- nant, and vke versa). The continuation of the subject, after the re- sponse begins, is called Counter-subject, and this is not imitated, as in canon, but is so conceived that it will serve as accompaniment to the subject or response either above or below, by simply transposing it from dominant to tonic, or from tonic to dominant. After the re- sponse has finished its motive, the third voice enters with the orig- inal subject, an octave above or below, while the second voice sings the counter-subject as accompaniment or companion to this. In like manner the fourth voice will enter with the original subject. From this it will be observed that the melody is not continuous, as in canon (only the short subject being imitated), and that the answer- ing voices come in upon the dominant and tonic, if the subject was in the tonic, and upon the tonic and dominant if the subject was first heard in the dominant. In canon there is no counter-subject ; but in a fugue the counter-subject plays an important part.-^- We cannot enter into the various kinds of fugue in this book, nor can we do more than present an outline of the prominent features of fagal con- struction, so that the class will recognize a fugue when they hear one. 7. Bravura Style. This has become associated by common con- sent with the modern brilliant and showy style of performance, espe- cially in piano-forte music. The bravura style has gradually grown with the improvements in piano-forte manufacture, and even in the time of Beethoven it was considerably developed by Steibelt, Hum- mel, Clementi, and Kalkbrenner, though Beethoven himself wrote comparatively few bravaira pieces. In the present century Thalberg was for some time the ideal bravura pianist ; but in a short time the versatile and magical Liszt stripped him even of this distinction. The greater part of Liszt's piano-forte works represent the bravura style in its highest state of development and perfection, combining, Jl > lUustration of Counter-subject ia the Key to this Analysis, Chapter XXXVI. COMPLKTK -MUSICAL ANAT.YSIS. •9 as it does, the most intricate feats of digital execution with thorough musicianship and poetic inspiration. This style is easily recognized on account of its brilliant, sparkling, or grandioso character. En- largement and extension are two of the most prominent features of the bravura method. A single trill, as at (a) : Ex. 169. i i would appear in some such form as at (b) Ex. 170, This results in a triple, instead of a single trill, as at (a). Or a di- minished chord, which is simple in design, as at (a): Ex. 171. appears in bravura dress as at (b) or (c) in the following: Ex. 172. ^^^^ _ rFrom Liarr.) These played rapidly through a compass of six or seven octaves produce something of a meteoric effect, and are almost as easily analyzed as the original figure, Ex. 171. ILLUSTRATIONS FOR THIS CHAPTER. :. Lyric. Chanson sans Paroles, Tschaikowsky, Op. 2, No. 3. Canzonetta in i^'-flat, Seeboeck. Schlummerlied, Op. 1 24, Schumann. Largo from Op. 2, No. 2, Beethoven. Op. 38, No. I, Mendelssohn. I20 COMPl.ETK MUSICAL ANALYSIS. 2. Thematic. No. 9, of the 12 easy pieces by Handel. Bach Inventions, Nos. i, 4, and 13. First subject, last movement. Op. 27, No. 2, Beethoven. Toccata in A, Paradisi. Album Leaf No. 3, Op. 7, Kirchner. Preludes 14 and 16, Op. 28, Chopin. Petite Etude (on a motive by Mills), Goldbeck. 3. Harmonic. Op. 78, No. 4, St. Heller. First two periods of Mendelssohn's Wedding March. Prelude No. 7 (the little one), Chopin. Military Polonaise, Op. 40, No. i, Chopin. (This is nearly all in Harmonic style, except the first period of the Trio, which is a martial lyric.) Grillen, Op. 12, No. 4, Schumann. 4. Antiphonal. The Dialog (last of No. 10), Schumann's "Papil- lons." (The Dialog is occasionally interrupted by .sounds from the ball-room.) Introduction, in Z>-minor, to Sonata, Op. 40, No. 3, Clementi. (The last half of the three-measure phrases is in antiphonal style.) Also the Andante from his second Sonata, Op. 47, meas- ures 13, 14, and 15 constitute an antiphonal phrase. Also meas- ures 16, 17, and 18. The three-measure phrases are divided in the middle (or nearly so) by the responses. The Duetto from Mendelssohn's "Lieder ohne Worte," Op. 38, No. 6, will prove a good selection, as here the antiphonal passages are not so isolated and fragmentary as those already quoted. After the prelude the lady sings her opening sentence (a section), which is immediately responded to by the baritone, who is more serious in his sentiments. This is continued until the two voices in unison unite in singing the gentleman's melody. 5. Canonic. M. Clementi, Op. 40, No. i, third movement of Sonata in G (No. 2 Cotta, No. 9 Peters). (This movement is spe- cially recommended for the illustration of this style. We can also make good use of the entire sonata hereafter.) It is a strict two- voiced canon, in Menuetto Style. The finst two periods are in strict style {per nioto rctto) ; Part two is in contrary or re- versed imitation {per moto contrario). See explanation in Key. Play also the third number from Schumann's "Papillons." Repeat the last period, where the masks pass each other, as this is a canon. COMPLETE MUSICAL ANALYSIS. 121 Scherzo in canon form, Jadassohn. This is a harmonized canon. (In the other ilkistrations there are no complemcntal parts.) It would be well to have sung for the class the duet in canon by Marzials, "Friendship," for two voices. Ft(gal. From J. S. Bach's 48 Preludes and Fugues (the Well- tempered clavichord), Nos. 6, 11, and 31. Also "The Art of Fugue," containing fourteen fugues, all written upon one sub- ject. (This book also contains canons with every contrapuntal device imaginable.) Preludes and Fugues, Op. 16, Clara Schumann. Five Fugues, for four hands, from the Clavier Suites, Handel, Peters, Leipzig. Fugue in G^-minor, Op. 5, No. 3, Rheinberger. Six pieces in Fugal Form, Rheinberger. Fughetta, Schumann, Op. 68. (The subject of each fugue should be played separately for the class. Also the counter-subject, when it is characteristic and in contrast to the subject.) Bravura. Fragments from the following Concerti: Ilununel, Op. 85. Beethoven, Op. 37. Von Weber, Op. 32 or 79. Men- delssohn, Op. 25. Schumann, Op. 54. Reinecke, Op. 72. Hen- selt. Op. 16. Liszt, in £"-flat (the one with the warning motive). Grieg, Op. 16. Saint-Saens, in G'-minor, or Scherzo, Op. 4. Brahms. Polka de la Reine, Op. 95, Raff. Two Polish Dances, Op. 40, Z. Scharwenka. Magic- Fire Scene from " Walkiire," arranged by L. Brassin. Waldesrauschen, Polonaise in E, or second Hungarian Rhap- sody, by Liszt. Toccata di Concert, Op. 36, Dupont. Tarantella, Nicode. March Characteristique, Schubert-Tausig. Silver-Spring, Wm. Mason. Also the following from Chopin come under this heading: Prelude, Op. 28, No. 18. Rondo, Op. 16. Variations (La ci darem la mano), Op. 2. Polonaise, Op. 40, No. i. The Fan- tasie, or any of the Scherzi. In fact, nearly all of this master's compositions are in bravura style. 122 COMPLETE iMUSICAL ANALYSIS. GENERAL QUESTIONS (AS TO STYLE). I. Lyric. 2. Thematic. 3. Harmonic. 4. Antiphonal. 5. Ca- nonic. 6. Fugal. 7. Bravura. 8. Form-Name (whether Rondo, Minuet, Polonaise, or what). Note— A certain selection might contain two or more of the above styles, in which case the fact is to be mentioned by the class. The illustrations are to be performed miscellaneously, not in the order enumerated. Chapter XXIV. INTERMEDIATE DETAILS. EINGANG, SECOND SUBJECT, EPISODE, TERMINATION, RECOL- LECTION, STRETTO, SEQUENCE, PASSAGE, CADENZA. THE two following chapters are devoted exclusively to the inter- mediate parts and details of the Rondo and other forms, and not to any species or form as a whole. To illustrate these will require a considerable variety of compositions ; but for the present the details are to be understood and considered separately. EINGANG. This term has been used by modern composers to indicate the entrance to a new key. The author has adopted this term to signify an irregular short pas.sage of a transitional nature when the object of the transition is to establish a particular key, either for the Second Subject or Episode. This distinction seems necessary, be- cause many transitions occur in modern music which do not aim at any particular key, but merely represent a changing scene or senti- ment. Therefore such passages will be indicated simply. Transi- tions; but where the object is plainly to establish a certain tonality, in order that a particular part of the work may be heard in that key, we will use the word Eingang. This will be better understood by referring to the pieces which have been analyzed in this chapter. COMPLETE MUSICAI. ANAI.YSIS. I23 SECOND THEME, OR SECOND SUBJECT. This refers to a period iu contrast to the first subject, and should be sufficiently changed from the first subject to constitute a change of style. Second Subject has often been confused with Episode, not alone by music students, but by writers upon this subject. The Second Subject must be related in some recognizable manner to the principal subject; must be taken from some phase of the leading motive, or be a natural offspring from the parent motive. Here is a good illustration of this point : At (a) we have the first phrase, or motive, of the First Subject ; at (b) may be seen the first phrase of the Second Subject. Very little analytical knowledge is required to detect the resemblance between the two examples. One is an ascending, the other a descending chord. EPISODE, "A separate incident; an incidental narrative or digression." The word should have this, its proper meaning, or none at all. But it has beet! used by musical writers with a recklessness scarcely under- standable. All high class composers have employed adventitious matter in their works, the effect of which is to give greater variety to the rest of the piece. Or the sentiment may be such that an apparently foreign passage is perfectly natural and appropriate. Therefore we will apply the word Episode only to such passages as deviate from the subject matter, or digress from the principal theme. TERMINATION. In regular Sonata pieces the word Conclusion is applied to the last and shortest of the three subjects from which the Sonata is con- structed. But in such cases the Conclusion is not merely a motive subject of the fir.st division of the Sonata movement, but is al.so sep- arated from the preceding subject in the manner of a Coda. The nature of the Conclusion, therefore, and the generally accepted defi- nition of Coda, as referring to an afterthought, make it undesirable to use these terms synonymously. Yet there are many instances in 124 COMPLETK MUSICAL ANALYSIS. which the latter part of a movement is neither Conclusion nor Coda ; and to designate such instances the author has thought best to use the word Termination. This necessitates no contradiction of mean- ing, as we apply it merely to the last part of certain movements. What we wish to designate is the last part of a movement, after the cadence to the last period ; where the natural ending of the mo\e- ment is joined to the Termination almost imperceptibly, and in a restless or impatient manner. In such cases the Termination is more like ati united period, and is an extension or continuation of the movement, but without being an afterthought, as is the Coda. Ob- serve the Coda to Beethoven's Op. 49, No. 2, last movement begin- ning thus : Ex. 174. The movement naturally concludes itself at (a) ; but the Coda com- mences at (b). This is an afterthought, though it is built upon the principal motive, and affords an excellent instance of what a Coda should be. The last eight measures of Beethoven's first Sonata in J^-minoT, Prestissimo movement, is not a Coda, but a Termination, or Stretto. In the principal editions this is called second conclusion ("close II "), a syllogism which we do not wish to apply. The Coda, according to this definition, is usually to be performed a little more slowly, or even ad libitum ; whereas, the Termination partakes somewhat of the nature of a Stretto, and is to be played crescendo, or accelerando. RECOLLECTION. We apply this term to the last part of any movement, when a fragment of the principal subject is employed in an isolated manner, somewhat resembling a short Coda. Here is an example from the Rondo to Beethoven's Op. 13, which occurs at the end of the Termi- nation : ^1 Ex. 175- ^vnwxvt^ This is an imitation of the motive of the Rondo, being major instead of minor, and is to be played somewhat slower. The motive from which this was taken is this : 25 The preparatory note (sixth-eighth note) is omitted from the first example and the mode is changed; otherwise they are identical (compare Ex; 176 with 175). Other instances will be mentioned. The above Recollection is followed by a device which we will now mention. That is the STRETTO. This word has for some time been applied to the performance of passages of an exciting, hurried nature, where the time of perform- ance is lessened by increasing the movement, and thus bringing the notes nearer together. Stretto is also used in Fugue, when the response commences before the conclusion of the subject. In the former case the compression consists in performing the passage in a lesser space of time; in the latter case the number of measures is lessened by introducing the response before it would otherwise oc- cur. Our application is more like the first definition, and will be applied to the last few measures of a movement which require an accelerated speed. This is frequently indicated by the composer, but sometimes the hurried character of the passage is so apparent to a musical nature that no further indication is given beyond what the notes divulge. Here is a simple illustration : Ex. 177. Ret'ollection The Recollection here is to be played ad libitum, a little slower than the preceding and following Allegro. The Stretto begins at once upon the fourth measure of our quotation, and is to be hurried through to the end, Molto cresc. This is from the Rondo to a Sona- tina already quoted. A still better illustration is what follows the Recollection quoted in Ex. 175: 26 COMPLETE MUSICAL ANALYSIS. Ex. 178. This can scarcely be played too quickly or too loudly. SEQUENCE. " The natural order of following ; a consequent succession." The musical definition is the same. Any group or figure which is re- peated upon successive degrees of the scale, a b c being the model, the Sequence would be, g a b,fg a, etc., descending; b c d, c d e, etc., ascending. This is a Melodic Sequence. A Harmonic Sequence consists of a succession of chords, all in the same position, like the opening of the last movement to Beethoven's Op. 2, No. 3. Or it may consist of a certain resolution of a di.scord being repeated in transition. Following are examples of the Melodic and Harmonic Sequences just described: Ex. 179. The Sequence consists of the repetition of the melodic figure of the first measure. Each succeeding group is similar to the first, or a diflferent .shade of the same color. Ex. 180. ''^Sk '^m ^ ^^m tW: (i ^J^b* 5 rffj-'^r i \iM-\k ^ ' rTTTn^ ^ At (a) we have a Sequence of diminished seventh chords re- solved to their tonic minors. The fifth is omitted from each dimin- ished chord, and the position of each minor triad is the same, i, 5, 3, counting from the bass up. COMPLETE MUSICAL ANALYSIS. V27 At (b) the Sequence consists of an avoided cadence In each case. Some of the resokitions are to major and some to minor, but there is as much similarity as the tonahty admits. I is the model, and 2, 3 and 4 are sequences. The Sequence is discontinued at the chord marked X. Sequence occurs in almost every musical composition, and should terminate at the end of a phrase, section, or period.* There is no rhythmic sequence, because rhythm can only represent motion without direction. It lacks color, yet supplies what color lacks. When a Melodic or Harmonic Sequence exceeds the limits of a period it becomes what is called PASSAGE. This is usually non-melodious, and without the rhythmic propor- tion which belongs to a well-defined period. The Passage is built upon arpeggio, or broken chords, harmonic sequence, or imitative scale groups: Mozart Symphony XXflT. Ex. 181. By continuing this a little farther the listener will unconsciously seize upon the design, and be led by it to a realm in which phrases and sections are unknown, or until this fancy-flight has fulfilled its mission. The Passage is an important factor, especially in lengthy works. This subject will be recurred to hereafter, and other ex- amples given. CADENZA. An ornamental figure, or series of figures, introduced at the end of a period, but usually before the cadence takes place. The Cadenza resembles the Passage, though it is less important, and generally founded upon one harmony; whereas, the harmonic basis of the * The Biehth Etude from Bertini's Op. 32 is a good example of Sequence. 128 COMPLETE MUSICAL ANALYSIS. Passage almost continually changes. Here is a simple Cadeuica, which has often been used : Ex. 182. This may be continued throughout the entire compass of an instru- ment ; or the chord of C-major might be held below while the Ca- denza is playing. Here is a short Cadenza, which is a good elemen- tary illustration : Observe that no melodic phrases appear in the Cadenza, and that it is isolated from, and independent of what follows. Cadenza's have been written three and four pages in length, to be played at a certain point in the Concertos of the great masters. See No. 351, Breitkopf and Hartel. But it is not advisable to more than mention the fact here. ILLUSTRATIONS. Rondo Album, 2123, Ed. Peters. Songs Without Words, Mendelssohn, Nos. i, 2 and 9. Musette from Pabst (Op. 12) or Morley. One or two of the previous selections may be repeated. QUESTIONS. I. Prelude or Introduction ; 2. Eingang or Transition ; 3. Se- quence: 4. Passage or Cadenza ; 5. Coda or Termination ; 6. Num- ber of Periods; 7. Styles (Lyric, Thematic, etc.); 8. Recollection or Stretto. COMPLETE MUSICAL ANALYSIS. 129 Chapter XXV. INTERMEDIATE DETAILS— Concludhd. ECHO, ANTICIPATION, REPETITION, PARENTHESIS, PEDAL- POINT. THE Echo is an acoustical phenomenon, and consists in the re- verberation of any sound back to the place whence it originated. The Echo is always softer than the original sound, and frecjueiitly seems to be an octave higher, though in reality the pitch is the same. We apply the term not alone to pieces of this name (as they are few in number), but more especially to isolated, intermediate instances in which a certain phrase, or part of a phrase, is repeated an octave higher. The principal parts must be suspended in order that the Echo, which is soft, may be heard, and it is thus isolated from its antecedent and consequent. Otherwise it would become canonic imitation.* Here is a simple illustration of an Echo : Ex. 184. This has something of antiphonal style, being played by a different instrument in orchestral music. Echo must not be confused with Sequence, which is the repetition of a certain figure by the same voice-part, upon different degrees of the scale; nor with Repetition, which is the exact repetition of a group or figure by the same voice- part upon the same degrees of the scale. Echo must also be disassociated from Canonic Imitation, in which a different voice-part imitates a melody above or below, but without interrupting the principal theme. Here is an example of each for comparison : * Bach and other Organ composers have written pieces named " Echo " •, but the echo effects in these pieces were produced upon another manual. I30 Ex. 185. COMPLETK MUSICAL ANALYSIS. ii LiUAr r f i f r fir r tt^^ I ^^^ 'AAA ^^ -n r \ I I mf (The dynamical marks refer to the style of performance. The par- allel lines indicate an Organ tone of equal power throughout.) i is a Sequence ; 2, Repetition ; 3, Canonic Imitation ; 4 (the upper part), an Echo.* The Echo should always be performed more softly than the orig- inal passage which it echoes, whereas the canonic imitation is ac- cented, especially when it occurs below. The ascending sequence is played — =^ ; the descending Sequence is played 11::==— , and the repetition ■ ANTICIPATION. The author applies this term to a short prefatory or intermediate passage of an impatient character, which seems to anticipate the fol- lowing principal strain. In this case Anticipation is similar to the principal motive, of which it is anticipatory. The Anticipation may be either in form of a sequence or repetition. Following is an ex- ample from a popular Overture : Hkroi.d. The Anticipation consists of the passage marked cresc. which leads to the principal theme, ff. The resemblance between the two — (a) and (b) — is to be observ^ed. Ex. 186 is by Sequence. Here is one as a Repetition : Ex. 187. Q ^ 1 . , . ^'iC ^' • " ^ ' f. -^^-^J/_gf ^J/[j/U/ ' SgJfr^ Read the description of these, and have class name each as it is played COMPLETE MUSICAL ANALYSL*?. ^^I The Repetition at (a) is anticipator)- of the first three notes of the principal theme, which are these : The regular strain commences at (b), on the last eighth of the meas- ure, marked with an accent. Anticipation may also consist of certain rhythmical peculiarities of a theme, repeated in advance. It is intended as an introduction to the following strain which it introduces and anticipates. The Anticipation is generally to be performed accelerando.''- PARENTHESIS. Klindworth and other recent annotators have applied this term to an ornate group of notes inserted parenthetically between two principal melodic notes. The parenthesis may be written in small or large notes, and is of secondary importance — though we should be loth to omit some of Chopin's parenthetical sayings. We will recur to this subject in a future chapter. PEDAL-POINT. A simple explanation of this is, that a section or period of chang- ing harmony is accompanied below by a stationary or continuously reiterated fundamental bass. In organ music this stationary funda- mental tone is usually held by one of the pedals ; hence the names Pedal-note, or Organ-point. In this case the distance between the Pedal-note and the manual parts is such as to ameliorate the disso- nance which results from sounding certain harmonies above, that have no apparent relationship to the Pedal-note below. The princi- pal justification of a Pedal-note lies, however, in the unity and tenac- ity which it imparts to the changeable design above. Here is a primitive illustration : * Some similarity exists between the Anticipation and Return ; but the latter is remi- niacent, rather than anticipatory, and occurs more frequently in the Sonata movement. 132 COMPLETE MUSICAL ANALYSIS. Ex. 189 On the piano it is better to repeat the organ-point, unless the passage is ver>' soft and the organ-point of short duration. Other examples of this will be presented in the illustrations, and also in future anal- yses. In describing the Musette we had occasion to speak briefly of the Pedal-note which accompanies the Musette, as a Drone bass. But the Musette, as a piece of music, is named after an old instru- ment of that name (similar to the bagpipe), whose chief peculiarity was that its largest tube was called Drone, because it emitted a low, continuous sound. Therefore Drone bass is only another name for Pedal-note, but of different application. The former should be used in a more limited sense. ILLUSTRATIONS. Echo. RafF, "Echo" (Souvenir de Suisse). Kuhlau, Op. 59, No. i, first movement. Beethoven, Op. 49, No. i, first movement. (The Echo is in the Second Subject, to be played softer.) Anticipation. Beethoven, Bagatelle, Op. 33, No. 3. The opening measures to Chopin's Z>-flat Waltz, Op. 64.^ No. I. Kuhlau, Rondo of Sonatina for four hands. Op. 44, No. i. (The anticipation occurs after the Intermezzo, and serves as eingang to the second subject in £"-minor. This occurs several times.) Parenthesis. Chopin, Op. 32, No. 2, Nocturne. This contains sev- eral instances of Parenthesis, which it would be well for the class to discover for themselves. Pedal-note. Chopin, Mazurka, Op. 17, No. 4. (The repeated period in y4-major.) Mazurka, Op. 68, No. 3, the Trio. Beethoven, Op. 13. In the Development there is a Pedal-note of twenty-one measures' duration (on G), beginning /*/*. F. Hiller, Dudelsack. COMPLETE MUSICAL ANALYSIS. 133 he Tambourin, Rameau (/>minoT). The selections should be played in miscellaneous order, with the following general questions: Echo (how many measures?). An ticipation (the motive following should be played fir.st). Parenthesi.s. The mere recognition will suffice here. Pedal-note, or Orgau-point. (Drone bass may be applied to the Hiller selection.) Chapter XXVI. MfSCELLANEOUS SINGLE FORMS. UNDER this head we will consider a variety of short movements, in which the form does not change. These are : I. The Spinning Song (Spinnlied). 2. Hunting Song (The Chase). 3- Boat Song (Barcarolle or Gondolied). 4- Cradle Song (Berceuse). 5- Bell Piece, (Carillon). 6. Night Song (Serenade and Romance). 7- Bagatelle. 8. Invention. 9- Toccata. 10. Song Without Words. II. The Pipers (I PifFerari). 12. Study (Etude). 13. Scherzo (Humoresque or Burlesque). 14. Idyl. (Pastoral.) The first four may be recognized by the accompdnimcut alone which is characteristic. 1. SPINNING SONG. This has for its principal feature a rapid, figurated accomj/ar.i ment (usually in | metre), with a Rhythm of twelve sixteenths in a 134 COMPLETE MUSICAL ANALYSIS. measure. This i.>^ the corresponding musical representation of the hum of the spinning-wheel : Ex. Allegro. tz: »"^£r^jjjj-j>^j ,;j '^ *^J* la ''JJJJ This quotation is from Schubert's beautiful song " Marguerite at the Spinning- Wheel," the text from Goethe's " Faust. "'^ The mel- ody which this accompanies is supposed to be the song of the spinner. There are many interesting compositions in this style, some of which will be mentioned at the conclusion of this chapter. 2. HUNTING SONG {Die Jagd, La Chasse). This is usually in f Metre, quick Movement, and animating Rhythm. A distinguishing feature of most hunting pieces is the imitation of the tones sounded by hunting horns during the Chase. Ex. 191 # y f ^ These natural, open tones of the horns are frequently used by com- posers as a motive, as in Ex. 191. The peculiarity of this is not so much in the melody as in the blank fifths of the harmony. 3. BOAT SONG. A Gondolied, or Barcarolle. Rhythm, J J^ J / | or | jy] FT] ; Metre, J; Movement, Allegretto. Here again the accom- paniment plays an important part, with its rocking, boat-like motion. The melody is supposed to be the song of the gondolier, and is usually of an amorous nature. 4. BERCEUSE. This is the French name for Cradle Song, or Lullaby (in German, Schlummerlied). The Metre may be common, triple or quadruple. The movement is rather slow. The accompaniment suggests, in a * If convenient, it would be weU to have this sung for the class. COMPLETE MUSICAL ANALYSIS. '35 relative way, the motion of the cradle, while the melody typifies tin- song of the mother. The gentleness and purity of the sentiment have inspired many beautiful compositions, and these characteristics t^iould belong to all pieces of this style. Chopin's Berceuse, Op. 57, is founded upon this accompaniment . Ex. 192. which is repeated throughout the entire opus until the beginning of tlie Recollection. 5. CARILLON. A composition founded upon, or pertaining to, the chimes of bells. The most distinguishing feature consists of a repetition, or imitation, of some of the well-known bell melodies, which are here quoted : Ex. 193. gzzxrrr ^rP^i^gTTjiri T^lf^fg p The motive at (b) is employed by Schumann in the Allegro of his Piano Quintette, Op. 44. The others also have been frequently used in instrumental and vocal music. Campanella also comes under this heading. The word signifies, a small bell. The Campanella Organ Stop is an imitation of little bells, and this is characteristic of the pieces of this name. The Rondo, by Field, entitled " Midi," will be a good selection, as it is founded upon a Carillon similar to Ex. 193 (a). This occurs in several places, and is always to be brought out prominently, especially where it appears in a lower part. In the Coda the tower clock begins to strike twelve (on a continuous tone), and this is accompanied by the bell melody (a) previously mentioned. The Rondo is very ingenious, and will repay a careful analysis. 136 COMPLETE MUSICAL ANALYSIS. 6. NOCTURNE (NOTTURNO). A Night Song, somewhat sombre in tone-color, and usually of a quiet, contemplative nature. The Serenade is similar to the Noc- turne, but of a more amorous and complaining nature, soft and per- suasive. Beethoven has written two Serenades in Chamber Music form, but these have more than one movement.^' The Romance is included with the Serenade ; in fact, it is not always possible to distinguish between them. But the Romance usually partakes more of the mysterious and romantic. Like the Serenade and Nocturne, it is in lyric style. 7. BAGATELLE. A trifle ; a light composition of an unimportant nature, not in any particular style. These are mentioned here merely on account of their single form. Beethoven wrote twenty-four. 8. INVENTION. A collection of thirty short pieces in thematic and canonic style, by J. S. Bach, were named Inventions. They are similar to etudes, or free canons, and contain excellent food for the musicaJ student to chew and digest. The two-part Inventions are easiest. 9. TOCCATA. An ancient style of composition treated in thematic manner somewhat like the Etude. The word signifies, to touch ; and it was originally the Introduction, and afterwards the Finale, to a Sonata. It has, however, this characteristic, that certain phra.S€S or figures are repeated ; and, in fact, the construction is mostly by means of repetition and imitation, thus : Ex. 194. Observe that the first four groups, i, are repeated literally at 2. This ♦The first one, Op. 8, contains five numbers. COMPLKTK MUSICAI, ANALYSIS. Ijy scheme is followed throughout, with this addition : that in the repeti- tion of certain sections the theme and counter-theme exchange places and appear inverted. lo. SONG WITHOUT WORDS. This title was bestowed by Mendelssohn upon forty-eight short lyric pieces composed by himself and his sister Fannie. wStephen Heller has given a characteristic title to most of the.se pieces. T'^eir chief peculiarity is, a well-defined melody, and a more or less elabo- rate accompaniment. Even these little pieces .show the necessity of analysis, as nearly all the songs contain a prelude or introduction, an intermezzo, cadenza, or episode, extended periods, coda, or stretto. Nearly all these peculiarities call for a different style of performance, and the soitg must be kept distinct from the intermezzo, as well as from the accompaniment. II. PIFFERARI. This signifies the Pipers, or Italian street musicians. The music is founded upon a ground bass, which represents the accompa- nying instrument, such as a bassoon, 'cello or bagpipe, while the melody is sounded from a flute or fiddle. The monotonous accom- paniment and the quaint, rustic character of the treble part serve to make pieces of this description easy of recognition. The movement is lively. 12. ETUDE. An Etude is a study, composed principally of sequences, passages and contrapuntal devices. Etudes are technical rather than poetical ; though Moscheles, Henselt, Liszt, Tausig, Chopin, Rubinstein, and Scharwenka have written some of their best concert pieces in this form. The Etudes of Cramer, Bertini, Heller and Loschhorn are also artistic and interesting. 13. SCHERZO. This form was introduced by Beethoven into his Sonatas and Symphonies, in place of the Menuetto of Haydn and Mozart. The character of the Scherzo is extremely vivacious, and in the hands of Beethoven often droll and humorous. The Scherzi of Mendelssohn are more romantic and have a lighter grace than those of the immor- tal German composer. The name was used prior to the advent of 138 COMPLETE MUSICAL ANALYSIS. Beethoven, but it was he who gave the form its present important position, and imbued it with artistic life and pleasantry The defini- tion of Scherzo is, playful, merry, jestingly ; and many Scherzi are a species of Humoresque or Burlesque. But the nature of the sounds must determine whether the first or last definition is to be applied. The Humoresque and Burlesque come under this heading, though they are seldom included in large works as is the Scherzo. Many of Haydn's Finales provoke a smile or a laugh from musi- cians when first they hear them, on account of some odd conceit or grotesque figure. These are humoresques. But with the greater means at the control of recent composers this style of music has be- come more characteristic and humorous. Several good examples will be mentioned in the list following. 14. IDYL. Originally a short pastoral poem. In music the application is similar. The nature of the sounds and character of the work must be the guides, not the form or rhythm. A well-conceived Idyl will suggest rural life or scenery by the simplicity, freshness and pastoral character of the music. The Pastoral Rondo by Steibelt is a sim- ple illustration. The Idyl by Pabst, Op. 20, and the Forest Idyls by Jensen partake more of the mysterious, and have less rustic simplicity. ILLUSTRATIONS. 1. No. 34, Songs Without Words, Mendelssohn ; A Spinning Song by Litolflf; Liszt's arrangement of the Spinning Song from Wagner's " Flying Dutchman " ; Omphale at her Spinning- wheel, by Saint-Saens. 2. The Hunter's Horn, by Kornatzki, Op. 25 ; The Chase, by Stephen Heller, Op. 29 ; The Chase, by Rheinberger, Op. 5 ; and No. 3 of the " Songs Without Words," Mendelssohn. 3. Chopin, Op. 57 ; H. Sanderson ; Mason, Op. 34 ; Gottschalk; and the exquisite Schlummerlied of Schumann, Op. 124. 4. Numbers 6, 12 or 29 from the " Songs Without Words" ; " On the Sea," by Kuhe, or a Barcarolle from Chopin or Rubin- stein. 5. Op. 41, Taubert ; "Midi," Rondo by Field; La Campanella, Liszt (arranged from Paganini) ; " Carillons du Village," Delacour. COMPLETE MUSICAL ANALYSIS. I ■^(, 6. One of the Field Nocturnes. The No. 1 1 of Chopin's Ncx^tnrncs may be played as a second illustration, also the Nocturne from " Midsummer-night's Dream." 7. T\\& Bagatelles of Beethoven are Ops. 33, 119 and 126. Tho.se of the first volume are the most pleasing. 8. An excellent edition of Bach's Inventions has been published by Augener & Co., 8018 and 8oig, with explanatory text, an notations and fingering. No. 13, in .'i-minor, first book, is a good example. 9. Toccata. No. 15, " Album Classique (from Sonata in A), Para- disi ; Schumann, Op. 7 ; Toccata by Seeboeck ; one by de- menti (in B-fiat) ; one by Bach in connection ys\W\ the great fugue, and one by Rheinberger in (7-minor, Op. 12. 10. The 48 by Mendelssohn are divided into eight books. Nos. i, 3, 8, 12 and 18, from the first three books, may be played at dif- ferent times. Th. Kullak's edition is best. Rubinstein's " La Melodia," in F, may also be included, or, La Pensee, by Blum- enthal. 11. Several of these have been written, but the author can recall only the one by Gounod, in F, " Les Pifferari," and " Dudel- sack," Hiller. 12. The first Etude by J. B. Cramer, in C (from his book of 50), is especially recommended for this lesson (Knorr's or Von Bii- low's Edition), though any of the famous Etudes, such as were mentioned previouslj^ would be appropriate. 13. Scherzo. Chopin, Rubinstein, Mendelssohn, and nearly all great composers have written in this style. Beethoven's best Scherzi, written for Orchestra, may be played upon the piano, but they should afterward be heard in full score to be thor- oughly appreciated. The Scherzo from Beethoven's Op. 2, No. 3, will be a good example. This is written in the dance form, with a trio and da capo. The style is that of a musical trialogue. The Humoresque and Burlesque are invariably of a quaint or playful nature, containing sudden contra:>ts and odd surprises. Nicode, Op. 28, No. 2; Humoresque in D, Em. Moor; Sternberg, Op. 26. 14. Idyl. Bargiel, Idyl in G; Gade, Idyllen, Op. 34 ; Thome, " Un- der the Leaves " ; The Shepherd's Pipe, by Gregh. Under the sixth heading we might mention the Romanza, for though it has no distinctive outward form, musicians can usuall}' I40 COMPLETE MUSICAI. ANALYSIS. recognize it from its character. It will be sufFicient to mention the Op. 28. No. 2, by Schumann, and the " Romantic Album," published by Peters, Leipzig. The illustrations .should not be played in the same order as the headings, which correspond to the numbers of the previous catalog. It would be w^ell, however, to call attention to the first four styles, in which the accompaniment plays so prominent a part, as these styles are more easily recognized. After this, the class may learn to name the others after a single hearing. QUESTIONS. I. Metre and Movement; 2. Rhythm (especially of the accom- paniment) ; 3. Mode ; 4. Prelude or Introduction ; 5. Equal or Ex- tended Periods; 6. Coda or Intermezzo; 7. Form; 8. Principal Characteristics (whether the piece contains a ground bass, an imita tion of bells, hunting-horns, spinning-wheels, etc.) ; 9. Style or Character. (Some advanced pupil might make an attempt at quali- fying the nature of the piece, whether gay and humorous, tender, meditative and gloomy, or impatient and headlong, as the hunting- song.) The different harmonic cadences could be included as a question if thought necessary. Chapter XXVII. ROMANTIC SINGLE FORMS. FEU FOLLET. WILL-O'-THE-WISP. FAIRY REVEL. THE superstitions and legends connected with the Will-o'-th-- Wisp (ig^iis-fatuus) are very numerous, and composers have been attracted by the poetic fancies which these phenomena have inspired almost as naturally as the victims in legendary romance were attracted by the transient .spectacle of the /a/a morgana, or the hallucinatory charms of Lorelei. COMPI^KTK MUSICAI, ANALYSIS. 141 Of a kindred nature are the songs of Schumann, Liszt, and others, entitled "The Nymph of the Rhine," "The Nymph of the Forest," etc. Schubert's great song, "The Erl King," (following the text of Goethe,) is more tragical than the others ; but all are associated with the influence of spirits that were believed to repre- sent agencies of good and evil. This belief has had numerous seeming analogies in the phenomena of mind and matter ; in vital as well as chemical agencies. Thus the phosphorescent light of the fire- fly or the glow-worm, or of the still stranger chemical phenomenon, ignis-fatuus, seen in certain marshy places during a starless night, have acted powerfully upon the imagination of man. And in music there is a certain affinity between all these species of phenomena, whether they are the result of a merely fantastical mirage or the fata morgana ; a fitful and glinting fire-fly, or the more preternat- ural lumination of the ignis-fahms, Will-o'-the-Wisp. Fete folh't has generally been translated " Will-o'-the-Wisp"; but one is a vital, the other a chemical, agency. Igiiis-fatuus is more commonly associated with the evil influence, as may be inferred from the following poem : " When night's dark mantle has covered all, I come in fire arrayed. Many a victim I've seen fall, Or fly from me dismaj'ed. * Will-o'-the-Wisp ' they trembling oxy ; ' Will-o'-the-Wisp, 'tis he ! ' To mark their shriek, as they sink and die. Is merrj' sport for me." The fire-fly and glow- worm are more analogous to the Ariel-like spirit of playfulness and sportive phantasm. The French designa- tion, " feu follet," i. e., " merry fire," gives a better idea of the effect which composers have, as a rule, endeavored to create in their pieces of this name. Their efforts to transcribe the corresponding musical expression of these phenomena, and the legends to which they have given rise, have resulted in a peculiar style of music, in which there is no accented melody, no visible, outward, melodic structure, but a continuous, aerial flow of sounds somewhat resembling this, if it Ixi hummed with the lips entirely closed : 142 COMPLETK MUvSICAT, ANALYSIS. Modprato. L.Pf(atiaaii Vrr.T aoftly and without aeeent. This is only intended to represent the eflfect of an indistinct melod\(^ outline. We have demonstrated that melody is common even to purely harmonic combinations ; but in the style of music now under con- sideration the melodic element is not prominent, and on account of the accents being omitted the music assumes something of a super- nal, or dissolvent, character. The effect is often spectral, as of forms or figures emancipated from our laws of gravitation, and suspended in mid-air. The flowing of water (especially where it makes no sound) is frequently suggested by music in a similar manner. The smooth, limpid and ceaseless flow of the current is similar to the continuous, unaccented flow of sounds in the music. The nature of the sounds, the rhythm and the poetic character of the piece must of course express the difference and the distinction between a water course; the mysterious and awe-inspiring sight of an ignis-fahais hanging at midnight over a dank and dreary lowland; the scintillat- ing gleams from the thorax of a glow-worm ; or the dainty capers and gambols of a fairy revel. Fairy Fingers, by Mills ; Bubbling Spring, by Madam Rive-King; Perpetual Motion, Yon Weber; Dance of Gnomes, Carreiio; Feu Follet, Prudent, and The Dance of the Fairies, by Liebling; all have this unaccented feature as of a continuous flow of sounds, or something gently poised above the surface. Another and more common instance is the " Ti- tania," by Wely, especially after the introduction and before the ac- cented melody appears. To have called this Feu Follet would have been quite as appropriate as to name it after the Queen of Fairies, especially as it has but little of the romantic spirit. Both are aerial and mystical subjects, and have a similar corresponding expression in music of this class. In the "Nymph of the Forest," by Schumann, and even the " Will-o'-the-Wisp," by Cherry, there can be no doubt as to the ele- mentary spirit of evil being represented, even though the words were suppressed and the music alone remained. Whether this ma- lign influence is represented by the fatally beautiful Lorelei, or as- sumes the guise of an ignis-fatuuSy we may not always determine COMPLKTK MUSICAI, ANALYSIS. '43 from the music. Bxit the spirit of evil and the mysterious manifest- ation of this power or essence — these can be embodied and set forth by the composer with more or less characteristic effect. It will be comparatively easy for the listener to make a distinction between compositions of the ignis-fatuus or fata morgana order, and those which merely represent the harmless coruscations of the elal-JljTtl| 1 1-4 J \'^ 1 j^m^S:^^ ^\)eJ ' * e^ ^ * * ^.^ " ' '''^ ' Observe that the ascending fifth is answered by a descending fifth •, and that the descending scale passage becomes in the risposta an ascending one. The nature of the intervals is almost identical. Compare (b) with (a).''- Contrary imitation represents a diflference of opinion, a dissension, or an opposite view from that of the Pro- posta. Hence, in music which enters the arena of strife and con- flict this species of imitation becomes the exponent of an opposing principle. Note. — Retrograde Canon is not here included, because in the imitatiou of an ascending, or a descending subject, retrograde canon and contrary imi tation are identical. But the majority of subjects if taken backwards are not only diflScult to analyze, but still more difl&cult of recognition by the hearing faculties. 4. PARTIAL OR INTERRUPTED IMITATION. This style is of very common occurrence, and enables the com< poser to be more fancy-free than in the strict .style. Only parts of the leading motive are imitated, and these may be either free or strict. There is an actual distinction between partial and interrupted imita- tion, but as this difference is not material, except to the composer, we will not describe it here. This will be sufficient for the class : to recognize that only a fragment, not a considerable portion, of the principal theme is imitated. Following is a brief instance from the introduction to Beethoven's sixth Bagatelle, Op. 119: Ex. aoo. The first figure of five notes (a) is repeated in strict imitation below (b). Here the imitation is interrupted, because the continuation is in different style, and does not require, or admit, the responsive ac- ' In nearly all of the Gig^ues by Bach the Second Part begins with the principal subject I COMPLETE MUSICAL ANALYSIS. '47 companiment below. Whether the Partial Imitations he strict or free, need not be specified by the class at present. Imitations in augmentation and diminution are of such rare occurrence in modern music that the}- will not be specialized here. ILLUSTRATIONS. Little Scherzo in F, Theo. Kullak. Bach's Petite Preludes (Augener & Co. No. 8020). Book I, Nos. 2,4, 6, 7, 8, 9 and 11, contain partial imitations. The Inventions are also made up of partial imitations. Pavan in G, by Herbert Sharpe. (May be had in the " Artist's Album," White, Smith & Co., or singly.) Partial imitations occur in all but the " trio " and Introduction. Following is an example from Beethoven's Sonata, Op. 2, No. 2, second part of the Scherzo (in ^-miuor). The principal melody is : This is sketched in simple score in order to show the imitations. The first four descending tones of the clarinet are answered in free imitation by the oboe, a fourth above. Here the imitation is in- terrupted for two beats to be repeated in the same manner. This is more natural than to suppose that the melody consists of these notes Ex. 202. ^r^n which would make the im- itations both contrary and awkward. For strict imitations the first two periods of the Canon from dementi's C-major Sonata may be played, also the " Scherzo in Canon Form " by Jadassohn. The class should di.stinguish between the old two-voiced canon, and the more modern harmonized canon, containing complemental or ad libitum parts, as in the Scherzo- 148 COMPLETE MUSKAL ANALYSIvS. Canon. The Trio (per moto contrario) from the Clementi Canon should be played as an illustration of reversed imitation. The class may also observe the distinction between partial free and partial strict imitation. The Bach Preludes, 7 and 11, will be good illustrations for this. In the 7th the imitation is to be found in the third and fourth measures of the bass, and is to be designated. (No. 1 1 contains partial free and partial contrary imitations.) The Bach two-part Inventions, Nos. 1,8 and 13, Book I. should also be analyzed, as they contain excellent examples of free, .strict, and par- tial Imitations. The questions should first be given to the class collectively, and the distinction between two kinds of imitation combined is to be made when possible. Chapter XXIX. OLD CYCLICAL FORMS. OLD SONATA. SUITE. PARTITA.* THE Suite, Partita, Sonata, Symphony, Concerto, and nearly all chamber-music, constitute what we may call mixed or com- bined forms. Pauer terms them Cyclical Forms, a very good word, if it is not understood in its chronological sense. But in this chap- ter we will examine the old Cyclical Forms, as a preliminary step to what follows. The Suite, Sonata, and Partita were synonymous until the ad- vent of Philip Em. Bach. Before that time any and all of these terms were applied to a composition containing a collection of dance tunes. or certain dances interspersed with other popular forms of the day. Some commenced with an Overture, some with a Praludium, and others with an Allemande. An Air, or Fugue, was frequently in- cluded in place of the Courante or Gavotte. The key was the same throughout, with exception of an occasional change to relative or *Partitnr and Partitloa are used in foreign Catalogs to designate a fuU orchestral score. COMPLETE MUSICAL ANALYSKS. »49 tonic minor. The Suite usually ended with a Gigue. (The Partita and old Sonata are included when we speak, of Suite.) Here follow the contents of a Suite, Partita, and wSonata, by J. S. Hacli: Sidle. 1. Allemande. 2. Courante. 3. Sarabande. 4. Gavotte. 5. Polonaise. 6. Bourree. 7. Menuetto. 8. Gigue. Partita. Overture. Grave. Air. Gavotte. Bourree. Gigue. Sonata. Praludium. Fuga. Adagio. Allemande. Courante. Sarabande. Gigue. Bach's Orchestral Suite in D (arranged for four hands by Men- delssohn) contains but five numbers ; but the Overture is somewhat extended, consisting of a Grave, Vivace and Grave, after the style of the French Overture. From the comparative table just given it will be seen that the three form-names were used synonymously, and that the old Sonata was merely a collection of dances, occasionally including an Air and Fugue. They were, however, excellently writ- ten, and should be included in the curriculum of a thorough musical education. Couperin, Scarlatti, LuUy, Rameau, Mattheson, Purcell, Handel, and other contemporaries of the great Bach, wrote Suites and Partitas similar to those whose contents have been quoted. The prevailing styles were Italian, French, English, and German. We will quote a few from the author of the "Messiah," for though he and Bach were born in the same year, and within a short distance from each other, they never met ; and as Handel lived prin- cipally in Italy and England, his Suites very naturally represent the Italian and English styles. Partita, by J. L. F irst Suite. Second Suite. Third Suite. Krebs (1713-1780). I. Prelude. I. Adagio. I. Prelude and I. Preludio. 2. Allemande. 2. Allegro. Fugue. 2. Fuga. 3- Courante. 3. Adagio. 2. Allemande. 3. Allemande. 4- Gigue. 4. Fugue. 3- Courante. 4. Corrente. 4- Air and five Variations. 5. Sarabande. 6. Burleska. 5- Pre-sto. 7. Menuet, I. II, and III. 8. Gigue. 150 COMPLETE MUSICAL ANALYSIS. (The Suites, etc., may be procured from any large dealer.) It would be well to play a few Suites, giving out questions simi- lar to those in Chapter XVII, as most of the numbers are old dances. This will prove a good review of Chapter XVII. This style has recently been rehabilitated, and the following are worthy of attention : Raff, Suite in i5"-minor, Op. 72 ; Bargiel, Op. 31 ; Eug. d' Albert, Op. i ; Suite in D, Jadassohn, Op. 36; Pauer, Suite Facile in C; Shen^'ood, W. H., Suite, Op. 5 ; E. A. MacDowell, Ops. 10 and 14; B. O. Klein, Suite in G. Op. 25; Grieg, Op. 40, for String Orchestra. Chapter XXX. MIXED FORMS. POTPOURRI. THEME AND VARIATIONS. THE Potpourri is a melange or medley. It consists of a miscel- laneous series of favorite airs following one another without much regard to wiity, but with as much variety as possible. Oper- atic potpourris are numerous and often ingenious in their order of arrangement. Such Overtures as " Zampa " and " Poet and Peasant '" are really Potpourris. This form is comparatively unimportant, and seldom has a better raisoyi d'etre than the gratification of unculti- vated tastes. THEME AND VARIATIONS. In this form of composition the Theme consists of two regular periods in lyric style, each of which is repeated, like the ballad form. Variations of the theme then follow, the simplest coming first, and the more elaborate afterwards. We will give, as a preliminary study, the principal means by which Variations are constructed, with an example of each: Motive from H.vydn. Ex. 203. COMPLETE MUSICAL ANALYSIS. »5i The simplest variations of this will consist in altering the value of the notes, thus : Ex. 204. Variation 3 is in syncopation. Thus fn-r the same number of notes in the first measure (four) have been Msed in each example. We may now introduce iterated ard reitt^.rated notes : Then change the M*itre Ex. 206. ^^:^^g^te3:^|j3r OlT-^ Ei^ All of these are rhythmical and metrical Variations, the melodic notes being the same. Considering the theme as an outline, we may introduce passing tones between the harmonic intervals : Ex. 207. fep?^^ni^^l^E^ Or appoggiaturas may be placed above or below the melodic notes. ^^tal The accent marks in both examples show the original melodic notes. These are similar to syncopation. The appoggiaturas can be doubled in number, as were the pasS' Ing notes in Var. 14. (See Ex. 207.) Ex. 209. ^^f^^^^l^^p] 152 COMPLETE MUSICAL ANALYSIS. Arpeggios and broken chords will afford other means of variations of the theme : Ex. aio. The 25th Variation is by means of anticipation, an opposite effect to that of syncopation. 26, 27, 28 and 29 are more elaborate than the others. 26 contains diatonic passing tones ; 27 has both diatonic and chromatic passing tones ; No. 28 has somewhat the effect of a trill above the theme ; 29 possesses more of the peculiarity of dance rhythm. Supposing the original harmonization to have been this : Ex. 212. j-^ M I J ; ( Ti- |f-MN We might change the effect materially by using different harmonies, without altering the melody : Ex. 213 ( 213- / ** LU n r-, ., 1 COMPLETE MUSICAL ANALYSIS. '53 The melody does not admit much variety in the harmonic treatment but these examples will serve to illustrate one of the means em- ployed in varying a theme. By changing the key and varying the treatment, still different results may be produced, as here : At 32 the melodic design is considerably altered, but without de- stroying the resemblance ; at 33 the original melody is led in a dif- ferent direction by ascending a fourth instead of descending a fifth to the key-tone, and then by shortening the value of the long ap- poggiatura and continuing this downward melody. We may now change the mode, and write as many variations as we choose : Ex. 215. ^ ^ A change in the form of accompaniment will give us other varia- tions : ^ ?=^ ^^^^^^ m The theme is not materially altered here, but the rapid, figurated accompaniment gives us a different style. This may be inverted by playing the theme below : Ex, 217. This is somewhat in bravura style, as is the next: 154 Ex. 3i8. COMPLETE MUSICAL ANALYSIS. This is the same thing, said in a difiFerent way. old style, being an embellishment : 38 Ex. 219. " Here is one in the The melody is concealed by the appoggiaturas. Finally we may employ contrary inver.'-iou, and produce thereby a theme apparently new, but really the same in contrary inversion : Ex. 220. ii; t \ n p^ This is like turning a picture upside down, as in a mirage. With exception of metre and rhythm, this is distinctly opposite and con- trary to the original motive; the intervals are turned upside down. After the last Variation it is customar>' to include a coda or finale, as conclusion to the whole. Mention is here made of the Metempsychosis, by S. G. Pratt, as being the most remarkable " transformation and transmigration of a tune" which has ever come to the author's notice. These examples will be sufficient to illustrate the principal pe- culiarities of variations of a theme or motive, so that the class may know them either by sight or sound. Variations like Nos. 3, 8, 12, 13, 15, 20, 29, 30, 32, 33, 34, 38 and 39 are best. Further explanation of the esthetic character of different kind^ of variations must be left for a future chapter. ILLUSTRATIONS OF THE POTPOURRI, AND THEME WITH VARIATIONS. Potpourris by Vilbac, Ascher, Pease, H. Cramer, etc. Variations, Mozart, Vol. 349, Litolff. Rondos and variations, Dussek, Vol. 399, Litolff. COMPLETE MUSICAL ANALYSIS. '.S5 Variations. Beethoven, 2 Vols., No. 298 a and //. Kditiou IVicrs. Variations, Von Weber, Vol. 393, L,itolft'. "Sweet bye and bye," with variations, S. G. Pratt. Gurlitt's Op. 115, "Buy a Broom," humorously treated in the ?tyle of classical composers. IMPERFECT FORMS. Such a great variety of forms have been employed by composers for various purposes that we cannot pronounce very positively upon the propriety or impropriety of a particular form without first know- ing the design (,if any) of the composer. The form of a ball-room Waltz, for instance, would, in any other situation, be liable to severe criticism ; but as the principal requirements for such a piece are merely correct rhythmical construction, equal mensural proportion and pleasing variety, it would be hypocritical to judge the dance Waltz according to higher standards. In the Gipsy Rondo from Haydn's Fifth Trio we have an exam- ple of ill-proportioned form. The principal strain is very pleasing. The Intermezzo of ten measures and the return to the principal theme are also correct. The next regular period, which stands in the place of Second Subject, is founded upon a Pedal-note, and con- sists of a section repeated four times. This is followed by a period in the same key, having the appearance of an accompaniment, and drawn out to the length of a period by the same tedious process of repetition. The fifth strain is in G'-miuor, quite different from the previous matter. This also is constructed by means of repetition. The following period consists of two six-measure sections. Part I then recurs. The seventh period is in 6^-minor. (The Gipsy rhythm is more characteristic here than in any of the other strains.) The eighth period is in ^-flat major, interspersed with 6'-minor, and returning to the First Part as before. The last seventeen measures form the Coda. The principal faults lie in the number and irrele- vancy of the different periods, which seem to have no other object than that of consuming a certain amount of space. The Rondo contains enough material for a comic opera. The Turkish March, from Mozart's ^^major Sonata (the one with variations) calls for almost the same animadversions as the Haydn Rondo. Aside from the Coda there are five regular periods (which, however, are too many for so small a piece), and the tonal arrange- ment is bad. The second subject (first period in ./-major) is forced 156 COMPLETE MUSICAL A.NALYSIS. into too great prominence by its frequent repetition. The difierent periods are more relevant than in the Gipsy Rondo, but the harmoni- zation is beggarly, and the Coda is a mere piece of patchwork, rag- ged and ill-proportioned. The two favorite Marches by Mendelssohn (from The Midsum- mer-night's Dream and Athalia) afiford another proof of how a com- poser's poorest works may become the most popular. We will select The Priest's March. No fault can be found with the Prelude, except that it is commonplace. The principal objection is to the unusual number of equal periods (seven in all), and the desultory, uncon- nected manner in which they follow each other. The tonal struct- ure, the harmonies, and the Coda are something of an improvement upon the two previous selections, but the form is one which young composers should avoid. The Wedding March belongs in the same category. There is too much music for the occasion ; and we infer that Liszt experienced the effects of this redundancy in making his arrangement of the March and Elfin Dance, for in 'Cae. finale he gives expression to a very humorous bit of impatience. The alleged " Farewell to the Piano," by Beethoven, is another instance, though we know not who is responsible for this flimsy piece of bathos. Innumerable instances might be cited from the works of would- be composers, but these are unworthy of notice. The Hungarian Rondo, Turkish March, and The Priest's March, should be played as additional illustrations. Chapter XXXI. THE RONDO FORM, ^T^HIS is the most natural and important of all the popular mixed -'- form.s. The chief peculiarity of all rondos is that the principal theme occurs at least three times ; being interspersed with an inter- mezzo, episode, or second subject, after each of which the first sub- COMPLETE MUSICAL ANALYSIS. ,c- ject recurs. In the Rondo the consequent period (/. e., the second ■ period, similar to, and following, the first period in regular cousc- quent succession) seldom appears ; but the first period or principal theme is either repeated or extended into as complete a .strain a.s possible. (See Ex. 127. The second period is a plain instance of the consequent or twin period, as both are similar in rhythm and melody.) This principal theme is .succeeded by an Intermezzo or transitional Eingang. The Principal theme usually follows. Then we have a second theme, in which the style changes. This is not to be confused with the consequent or second period of the Ballad or ballad dance, which is a counterpart or duplicate of the pattern pe riod (first period). The Second Subject, as applied to Rondos and Sonata movements, is more of a subsequent than a consequent period, as the rhythm, key and style are changed in the Second Sub- ject in order to present a contrast to the First Subject. The second theme is usually a single or extended period, like the first, and sel- dom contains the consequent period. The word Subject is applied to a strain or period of dissimilar material, or a diflFerent pattern. Therefore as the twin periods of the Ballad are similar, and in the same style, we might call the entire melody a Subject, as has been done. But it is really better to reserve the word Subject for its more proper and particular application in the Rondo, Sonata and Song forms. Note. — The Rondo by Dussek, " Les Adieux," contains a consequent period following the first regular period, but this is an exceptional case. This is the general construction of the Rondo : 1. Principal theme, consisting of an equal period which is usu ally repeated, with slight modifications. 2. Intermezzo; of irregular construction, less tuneful than the principal theme and leading back to 3. The Principal subject same as before. 4. Second theme, in contrast to the first. In this part the key. or mode, is changed and the rhythm is somewhat altered. The sec- ond theme usually constitutes a change of style. At the end of the second theme we usually find an eingang, passage or cadenza lead- ing back to the 5. Return of Principal theme. 6. Intermezzo, as before; or an Episode of more adventitious matter. 158 COMPLETE MTSICAL ANALYSIS. 7. Return of first subject, as before. 8. Coda, Recollection and Stretto, or Termination.'^ (Sometimes No. 6 is omitted, in which case the first subject is heard three instead of four times, the Coda coming in place of the second Intermezzo.) The Rondo in Kuhlau's Sonatina, Op. 20, No. i , is constructed in this manner, the Recollection and Stretto being included in the Termina- tion, which begins at the one hundred and thirty-fourth measure. The Recollection and. Stretto really constitute a Coda, commencing upon the last of the one hundred and fiftieth measure. The last four measures form the Stretto, and should be played faster. The construction of the Rondo from Kuhlau's Op. 59, No. i, is this: 1. Principal subject, sixteen measures. 2. Intermezzo of .seventeen measures. 3. Principal theme varied. 4. Eingang, with transition, eight measures. 5. Short second theme in Dominant, eleven measures. 6. Episode in tonic minor. 7. Principal theme, as at first. 8. Intermezzo, same as 2. 9. Theme varied. 10. Second theme in tonic. 11. Coda of six measures, in form of Recollection. Here is the plan in detail, of the Rondo from Dussek, Op. 20, No. I : 1 . Principal theme repeated. 2. Intermezzo, eight measures. 3. Principal theme not repeated but extended to fourteen meas- ures. 4. Second theme in tonic minor, preceded by a short Anticipation of four measures. 5. Principal theme. 6. Intermezzo as before. 7. Principal theme extended, as at 3, with the addition of two measures to indicate the final ending. * A distinction is made in this book between Coda and Termination, where the Utter i« continuous, and of an impatient or exciting character. COMPLETE MUSICAL ANAi.YSLS. ; «;0 The Rondos iu dementi's Sonatinas are divided into two parts : Part I contains the principal theme, Intermezzo, and return to the principal theme, with a Coda and double bar marked fine, or h". Part II has an extended Second Theme with transitions, and a Cadenza or Passage, ending upon the dominant to the pruicipal key. This is marked D. C. al fine, which terminates the Rondo at the end of Part I. (The Coda should be omitted until after the D. C.) The Second Movement to Beethoven's Sonatina, Op. 49. No. i. i.s a Rondo. The Second Movement to Op. 49, No. 2, is marked " Tempo di Menuetto,"but this also is a Rondo with a short inter- mezzo between the repetition of the principal theme; an eingang, second subject, episode in C, and Coda of thirteen measures. The principal subject occurs six times. The old rondos contained the recurrent theme and digressions ; but the latter were rather additional short themes thrown in between the repetitions of the principal melody. But it is not the purpose here to enter into the development of the Rondo from its earliest in- ception, nor to its subsequent enlargement and elaboration. After the student has become thoroughly familiar with the rondos we have analyzed, there will be no difficulty in analyzing the large Rondo form. ILLUSTRATIONS. Turkish Rondo, Steibelt. Rondos from the Sonatinas of Clementi, Dussek, Reineckc, Seiss, Kuhlau, and Krause. QUESTIONS. I. Modes and Movement; 2. Number of times which F'ir.st Sub- ject occurs; 3. Eingang or Tran.sition (which?); 4. Second Theme (Mode and rhythm of) ; 5. Sequence and Passage ; 6. Cadenza ; 7. Number of Periods; 8. Styles; 9. Intermezzo and Episode; 10. Coda or Termination: 11. Recollection and Stretto. TK^^r-- :60 COMPI.KTK MUSICAL ANALYSIS. PART VIII. Chapter XXXII. AURICULAR EXERCISES. PITCH, FORCE AND QUALITY OF TONES. STYLE OF PERFORM- ANCE. NUMBER OF VOICE-PARTS, AND LOCATION OF PRIN- CIPAL THEMES. PHRASING. ANALYSIS OF THE PARADISI TOCCATA. TV /rUSICAL Pitch refers merely to the length of the string or the ■^^-^ size of the tube which may be employed in the production of a given tone. Scientifically, each tone is known by the number of vibrations or pulsations which it makes in a second's time. The most natural associate or harmonic of any fundamental tone is its octave, in which the ratio is 2 to 1,4 to 2, 8 to 4, etc., because the octave is produced by stopping a pipe, or touching a string exactly in its center. Thus, if a tube of a certain diameter requires four feet in length for the production of this tone: Ex. 221. h^i— | the octave above would be produced by stopping the tube in the center (or closing one-half), in which case the vibrations would traverse a di.stance of only two instead of four feet, and produce this tone : ^^ All other intervals have a mathemati- cally proportionate ratio, which applies to the entire compass of rec- ognizable musical tones. The lowest tone which can be accurately distinguished as to pitch makes about sixteen vibrations per second; e the highest makes about 5824, being the iz according to the GermaD COMPLKTK MrSICAI. ANALYSIS. lf,r entablature. Very few can name the ab.solute pitch of a given tour. but it is a matter of so great importance that the author wouUl advise music students to practice dailj- with a view to acquiring this ability. Begin by carrying in the mind a recollection of this torn.- : Ex. 223. i JE t-Z^iz Listen to the tone attentively, then sinj; it, and remember how the voice is pitched in producing it. After the lap.se of a few minutes try to sing this tone, and prove your ability by some musical instrument. When you hear a voice, a bell, a whistle, or even a hand-organ, endeavor to locate the pitch or the key. ()ne<4 or twice every day try to sing the once-iaarked a and apply the test. In reference to musical dynamics we will merely call attention here to the variations in tone-force, or tone-quantity, which occur in correct musical performance, and which every listener should ob- serve. lyCt the class begin by taking note of the six degrees : pp, p, mp, mf, f, ff. The first is very soft ; the last very loud. The other letters show the degrees of force or tone-quantity between pp and ff. These signs are understood to refer to the degrees of soft- ness or loudness throughout a passage or period, or until they are contradicted. Then there are the three species of accent explained in Chapter III, which apply only to the note or chord above {or below) which they may be placed. The sf of the Tarantella is still more forcible than the common accent A. Finally we have the still more important increase and diminish in tone generally indicated by these symbols : — c plavt-d so as to represent the two voices ; Ex. 232. The upper part is most important, and it should have ihis effect in the performance : ^Y ^ I I* fTZT— Ex. 233. ^E5 From the last of measure twenty-four the phrasing should be: a?feE^^^f5=?=v=f^=7^=H 1 1^ ^- ^-0 « f-0 ^- L.^ K _i^ 'J 1 Ex. 234. Sustain this last chord its full value, and then separate the tones from what follows. After the double bar, Part II begins with the First Subject in the Dominant. This is similar to Part I. The phrase commencing on the second eighth (from thirty-six) is to be executed in this manner: ±z^ ^^^feS m^^ Ex. 235. and the following phrase the same. Each semi-phrase of the se- quence in the bass, commencing at the end of forty, is to be phra.sed in the same manner, in order that the sequence of style may corres- pond to the sequence of notes. The third eighth is to be made as short as possible. On the last of forty-four the parts are again in- verted, and the right hand has the melodic .sequence. The slur of the previous eight measures should continue to (and include) the /^-sharp on the second half of the measure, thus : Ex.236. I- and then the /'-sharp must be left quickly, as the following a is th^^ beginning of the sequence-figure previously heard in the bass. l66 COMPLETE IIUSICAI, A^JAI.YSIS. (Compare the theme in the bass with the inversion above, forty to forty-eight.) The cadence-figure from forty-eight is similar to the closing of Part I, but changed from 75"-major to /'-sharp minor. The first subject in the original key recurs on the last of fifty-six. The previous period is to be brought to a close and disconnected some- what from this recurring subject, which should be distinctly accented to indicate its return. After this the ear will follow the design with- out any special accent to aid it. The remainder is similar to the first part, but transposed from dominant to tonic. This Toccata should be played in strict movement from begin- ning to end, except the very slight pause between Parts I and II. In the Litolfi" Edition the phrasing is almost wholly incorrect, and even the dynamical signs are misplaced. The deviations from a regular movement are also to be observed. These are indicated by Crescendo and Accelerando (the latter is more proper) when the movement is to be gradually quickened; and by Rallentando, Ritenuto or Morendo, when the movement is to be slackened. The abbreviations, ;-«//., reV., etc., are frequently confusing. Ral- lentando and Ritardando indicate a gradual slackening of the move- ment ; whereas Ritenuto signifies that the movement should at once be slower, but without a gradual retard. Ritenuto and Ritardando should therefore be written out in full. Morendo indicates a gradual diminution of both tone and movement. Some compositions require an almost strict and uniform move- ment throughout, especially music of an intellectual character, con- certos, and most of the old thematic works. The majority of Beetho- ven's sonatas and songs require frequent, though generally slight, deviations from the indicated movement. Chopin, Schumann, and Rubinstein allow still more latitude in the tempo of certain of their works. Mendelssohn, though he came after Beethoven, seldom j varied from the fixed movement. The tendency of the present day lis to indulge in too much of the rubato style, which is a dangerous privilege if used by one who has not the stamp of genius. The fermata {f^) is also of importance, as indicating a pause in the movement, a change of form, or a decided punctuation mark. The terms, Allegretto, con brio, dolente,pomposo, sfrepitoso,etc., indicate different styles of performance, which are certainly not more difficult for the listener to describe than for the performer to express. COMPLKTK MUSICAL ANALYSIS. NUMBER OF VOICE-PARTS. 167 Pupils should learn to distiuguish the number of parts in a i)icc-c of music, at least from one to five, for each part in a trio or quartette, for example, may have a melody of its own, and one of equal im[)or tance, as here : Ex. 237. The second part comes in upon the third beat of the first measure, and the bass enters upon the same beat in the second measure. Each voice-part is individual and equally important. (Play this for class and have them analyze it by telling the metre, number of parts employed, and where they enter.) The first two sections of Gottschalk's "Last Hope " and the first part of the Chopin " Berceuse " are good examples. LOCATION OF THE PRINCIPAL THEME. Some practice is necessary in order to determine at once whether the principal melody is in the contralto, tenor or bass part. The following examples will illustrate this. (These are to be played separately for the class, that they may locate the theme wherever it may appear.) fg^ Ex. 238. ^TT 1 tJ ' ^-^ Tj:^ ufc^ Lr e r r r 1 ^ a^Li^ ^i When the theme appears in any of the lower parts it may be slightly accented. The soprano melody is omitted here because it is so easily recognized. Before mentioning the illustrations we will recapitulate the main features of this chapter, as showing the points of interest and instruction in a well-written composition. * Some pupils are inclined to consider a tenor melody like that at (c), as a bass melody, because it is below the treble parts. l68 COMPLETE MUSICAL ANALYSIS. 1. The pitch, power and quality of the tones. 2. The details of style, such as legato, staccato, accents of rhythm and of expression, the punctuations, accelerando and rallentando, the character of the piece as indicated by its title, or such terms as friska, maestoso, doleyite, etc. 3. The number of voice-parts, and 4. The location of the chief melody. ILLUSTRATIONS FOR THIS LESSON. 1. Album leaf, Op. 12, No. 7, Grieg. 2. Romanesque, Op, 15, No. i, L,. Pabst. 3. Gavotte and Musette from Bach's Third English Suite. 4. Spring Flower (in D), N. W. Gade. 5. The Mill, Op. 17, No. 3, A. Jensen. 6. Berceuse in ^-flat, E. Nevin. (i) In listening to No. i, the class is to mention the dynamic character (piano) ; the non-legato of the first measure ; the appoggia- tura and light staccato, followed by the accent on the second beat in such measures as two, three and six; also the pedal-note of the first period. In the second period the tenor melody, the su.stained bass, and the syncopated accompaniment above, should all be re- marked upon ; also the dynamical marks -==:ZZi and the bell note in the third and fourth measures. This is a ballad model. (2) The Romanesque will require close attention. The first pe- riod is piano, the second, forte. The theme is accompanied partly by three harmonic parts, and partly by a counter theme in the tenor. The dynamic marks -"==IIIII and 11111:==— play an important part, and all these features should be distinguished by the class. The style is legato, and the phrasing is distinctly marked by the com- poser. The legato and staccato of the second period should likewi.se be mentioned, and the ritenuto at the end of the sections and pe- riods. The piece requires very little accent in the first period. The character is meditative, neither gay nor sad. (3) The style here is mostly legato (except in i.solated cases). In the first period a loud phrase is in each case followed by a soft one. (In the musette repeat the pedal-note often enough to make it per- ceptible to the listener.) Include Modes as a question. For this number LitolfiTs Edition is best. No. 389. (4) The legato melody, staccato accompaniment, and sustained bass are the most prominent features. The style is cheerful and COMPLETE MUSICAL ANALYSIS. 169 mostly soft, with frequent -==^ and 1==- and an occasiou^l ritenuto. The arpeggio accompaniment of the second period is also to be noticed. Enough has been said in this connection to indicate i;he objects of this chapter and the nature of the questions. G*ive the class to understand that this is but the beginning of the art of listening to classical music. Chapter XXXIII. THE SMALL SONATA FORM, IN MAJOR MODE. THE Sonata form is so important, and frequently so complex, that we will begin with the Sonatina. From this the transition to regular Sonata form will be more natural and systematic. There are usually three complete movements or pieces in the Sonatina. These are : 1. The Allegro (or Sonata Movement). 2. The Slow Movement, or Song. 3. The Finale, which is generally a Rondo or other vivacious movement. With the second and third movements we are already familiar, therefore the first movement now claims our attention. This is the most important, and the most difi&cult to analyze. The Sonata Movement has three divisions and three subdi- visions. First Division — From the commencement to the double-bar. Second Division — From the double-bar to the end of the Devel- opment. Third Division — From the return of the Principal Subject to tht- end of the movement. The subdivisions refer principally to the first and last divisions thus: IJO COMPLETE MUSICAL A2CALYSIS. The First Di\-ision contains the three motives from -which the entire Sonata is constructed. These are known as : First or Princi- pal Subject : Second subject : and Conclusion or Close. These may be briefly described as follows : First Subject of about one period in the Tonic. Second Subject about the same length, but in the Dominant, and in contrast to the first. Conclusion, shorter than the other two Subjects. This is also in the dominant, and ends at the double bar. These three Subjects comprise the First Di\-ision. which is repeated. D. C. The Second Division commences after the double bar, and con- sists of the working out of some of the principal subjects of the first part. This part is called the Elaboration, the Development, and also the Free Fantasia, as here the composer is fancy-free. The Elaboration is also a relief to the formality- and regularity- of th« other divisions, on account of the greater freedom, not only of out- Une and form, but with the periodic construction and the natural melodic flow. From the end of the Elaboration the Third Division commences- It is called the Return or Reprise, as the first di\-ision is here re- peated, with the following distinctions : The First Subject appears as before, in the tonic : but the Second Subject and Conclusion are transposed from the dominant to the tonic. Frequently a few meas- ures are added to the Conclusion to emphasize the final ending of the movement. As the Principal Subject appears first, we need not describe it here. The Second Subject is not so easily recognized by inexperienced students. Therefore these distinctions wiU be of assistance to all such . 1. It must appear in the dominant* (fifthX when the piece is in major. 2. It must be sufficiently contrasted to the first subject to constitute a change of style. 3. And yet it must bear some resemblance to some part of the nrst subject- 4 The second subject cannot begin until the first subject has con-! eluded at least one period. ■ The principal subject to a Sonata seldom contains the consequent I period following the first period: but the first period is extended, or | • Domiaant hm signifies, io tbe ker o^" tlK do«iiu«t, \xang somewhat iiifereo: from iW s)(«ificstioa of Uiat word io tonal fngve. COMPLETE MUSICAL ANALYSIS. 1 7: ^o conceived that it forms a complete theme. Othen\-ise it would uve too much of the Ballad-Dance character. When the first sub- lect is in thematic style, the second subject should be, as a rule. Ixric, .!id vice versa. The Conclusion, also, is in the key of the domijiant. :d usually consists of some fragment of the first or second subjects i^htly altered or developed into a motive. In Sonatinas, and many - iuatas, the Conclusion corresponds to our definition of C(xla ; but IS not called by this name, as very frequently the Conclusion is treated as a third subject and as a motive in the Development. These three divisions correspond to what Mr. Dannreuther calls the Exposition, Illustration, and Repetition." The Exposition is the announcement or citation of the three principal subjects in the first : division ; the Illustration is the Development, second division : and the Repetition indicates the Reprise, or third division, in which the original order is restored, and the principal key-tone prevails so as irj! I to leave its final impression. The Tonality. In the first division the principal subject is the b' ! only subdivision in the original key ; the other two subdivisions are r?.; ! in the Dominant or some other related key. But in the Reprise the ;n principal key prevails during the repetition of all three principal =•; subjects. According to this system the principal key more than j_ predominates over the other tonalities, which is natural enough. But perhaps Mozart (and others after him) had in mind a more equal ; distribution of the connecting keys when he introduced the principal • theme after the Development, in the kev of the Subdominant ; re- ■• t ^ < turning to the original tonic for the repetition of the Second theme i I and Conclusion. This is more nearly an equalization of the amount J f of periods in the tonic, as against those in connecting keys. Of re- lated keys the Dominant is the most important, especially in the first and second parts. The Supertonic and Mediant come next, though f . they both produce, naturalh-, a different tone-color from the major ! tonic and dominant. The Submediant is the most closely related to . the tonic and naturally alternates with it, not^nthstanding the differ- ence in mode. The transition to the Subdominant is retrospective, , and very frequently retrogressive. Therefore it is not naturally ! adapted to the first two divisions. (See Chapters VII and XV. ) DEVELOPMENT. i Before analyzing a Sonatina Movement entire it is desirable that ' the class shall have an understanding of musical Development, at 172 COMPLETK MUSICAL ANALYSIS. least in its simple application. It consists in selecting any part of a principal theme and working it out in a manner different from the original. Take, for example, this from Mozart : Ex. 339. i -g^^-' \ r~y ri 4!^ £ 2d Plir»ae. The first or second measure of either the motive or second phrase may be selected for development. The simplest method is that of Sequence : f I I \ \ ~""^I^f i-.« » ^. » ^i ^ -e Ex. 240. Compare these with (a) and (b), Ex. 239. The second phrase of the original may be treated in the same manner. Ex. '^■■ I^r^ i r f^r rr | r r j4^rr|rf r These are more or less artificial, as they do not follow the natural melodic flow. Another method is to change the mode, and lead the melody in a different direction from that of the original : Ex. 242. p ^r r | r^f^rr | r"f^f^ By comparing these with each of the four measures of Ex. 239, and understanding the figure from which the development proceeds, and wherein it is different from that figure, the student will be enabled to readily comprehend the first instances of development which we •mil quote. These will naturally lead to other and more complicated examples of this important subject. We will now select a favorite Sonatina, and proceed with the analysis and explanation of each division and subdivision. From Kuhlau, Op. 20, No. i : Ex. 343. COMPLETE MUSICAL ANALYSIS. 173 This is the first section of the Principal subject in C. After cij^ht measures this motive is repeated in a different form, with the accom- paniment above, and in order to lead to the key of the dominant. In the fifteenth measure /-sharp in the bass causes a tran.sition tc G-major. On the seventeenth measure commences the 2d Subject. » Ex. 244 ^^±. ^ flL^^ r This is in the kej' of the Dominant, and affords considerable contrast to the first subject. There is also a noticeable resemblance between this and the first subject, especially here : Ex. 245. Tf f # X4=» -T, P # jf^-»w^ (a) is from the seventh measure of the first subject, (b) is the twenty- third measure,! and belongs to the second subject. The Conclusion begins simultaneously with the ending of the second subject (twenty-fourth measure), and constitutes an united period, illustrated in Ex. 149. This is in thematic style, and con- sists of a scale passage founded upon the G-major chord. The re- peated notes of the twenty-fifth and twenty-seventh measures are a reminiscence of the last of the second measure (See Ex. 243) : Ex. 246. 4' But this is still more analogous to the first motive : lei! Ex. 247. k ! The accented notes here constitute what there is of melodic outline. i ' which is very plainly this : Ex. 248. *Thc remainder of this Subject was quoted in Chapter XX, Bx. 148. t Nnmber each measure continuously, from i to 80. 174 COMPLKTE MUSICAT. ANALYSIS. and is identical with the first part of the leading motive, thus : Ex. 249. Compare Ex. 248 with 249. (It will be instructive to observe the striking analogy between the motives of each of the three move- ments. The Andante is almost identical, excepting key and rhythm The outline of the first section of the Rondo is the original theme reversed) : Ex. 250. g E The Conclusion runs into a short Cadenza, leading back from the double bar to the repetition of this division. The Development is brief — eighteen measures — and commences immediately after the double bar. A small fragment of the principal subject is the basis of this development. Observe these two notes Ex. 251. from the fourth measure, and how they are repeated in sequence in the development, as here (a) : Ex. 252. £ S ^r r^ rl' ^ ±±=^ i^ s ±=x At (b) we hear another reminiscence of the first subject in the three repeated notes staccato. (See second measure of the original.) In the thirty-eighth measure there is a grupetto : Ex. 253. which occurs twice in the second subject, and may therefore be attributed to that. Measure thirty-nine (counted from the begin- iug) is the commencement of a Passage, in which fragments of the Conclusion and of the First Subject are elaborated. Notice the scale figures in the bass (such as measures forty-one and forty -two), and the three repeated notes following. The Passage may be said to continue to the Reprise, measure fifty, but measures forty-six, forty- seven, forty-eight and forty-nine are, strictly speaking, in the form of a Cadenza. The Reprise commences at the fiftieth measure, and IS identical with the original First Subject, both being in the tonic. C. As the Second Subject is to be heard in this last division in the COMPLETE MUSICAI, ANALYSIS. tonic, instead of the dominant, the transition to TZ-major is not in- cluded here. Compare measures fifteen and sixteeti with sixty-fmir and sixty-five. The second theme begins at sixty-six, and is trans- posed literally from dominant to tonic. The Conclusion is joined to the second subject and constitutes an united period as in the first division. The scale figures terminate upon the tonic at .seventy- nine, and two full chords are included to emphasize the final endinj; of the movement. (Compare measures thirty and thirty-one witii seventy-nine and eighty.)* It is important that this analysis should be read carefully, and the examples and comparisons attentively studied. The mere formal outline will not be sufficient for the class to understand, but every detail must be appreciated, and the relationship of certain motives and parts of motives with kindred passages should be observed. We will now select a Sonatina by Reiuecke for analysis. This is more modern than the one from Kuhlau (who was a friend and companion of Beethoven), and it is also more artistically conceived. Here is the motive of the principal subject : Reineckk. Op. 17, No. 2. Allegro modcrato. Ex. 254. The main feature of this is the ascending melody-^-sharp, j^, g- sharp, a, which is still more noticeable in measures ten. eleven and twelve. Before leaving the motive, attention is called to the little arpeggio figure in the last of the first and second measures. The first four measures constitute a curtailed Period. The first subject begins again in the fifth measure and becomes an Extended Period, with Transitional matter. In strict designation the j^rioil is not brought to a close until the entrance of the Second Subject. On the last quarter of measure sixteen the Second Subject begins. Here the key, rhythm and form of accompaniment are ciianged. in contrast to the first subject. But the unity of design nia>' be espied by analyzing these first four measures of the Second Subject ( seven- teen, eighteen, nineteen and twenty) : B 11 .^ 18 19 Ex. 255. yi l i: j "i?H: i i.j l iJ Si8 *The second movement. Andante, is a simple BaUad, and the third movement, a Rondo, has been analyzed in Chapter XXXI. l-jb COMPLETE MUSICAL ANALYSIS. The ascending melody is still present, though the chromatic tones are here excluded. Notice, also, the arpeggio figure in the nine- teenth measure above, and its relationship to those of the first sub- iect. This is merely in different rhythm and a little more extended. The first period of this second theme is closed at twenty-four. Then the second period begins, accompanied at first by an interrupted canonic imitation and afterwards (from twenty-nine to thirty-seven) by a regular canon. Simultaneously with the ending of the second subject at thirty-seven, the Conclusion begins. This is an almost exact transposition of the first four measures of the principal theme. The first division ends here at the double bar. Both endings should be numbered forty-one, as one is omitted when the other is played. The Development commences upon the last half of forty-one (sec- ond ending) with the motive of the first subject as text. The dif- ference l)etween this and the original first theme should be noticed by comparing the two. During forty-four, forty-five and forty-six the theme takes a still different turn, and at forty-seven the arpeggio figure becomes more prominent. This is repeated in different keys and finally ends on the dominant, fifty -three. Two peculiarities of this Development, which make it different from the natural course of the first theme, are : the mode is minor in place of major, and the melody is in the contralto, being some- what concealed b}- the soprano. This is also true of the phrase be ginning upon the last of forty-eight. In the other cases the rhythm y J J.^ ^ ), rather than the melody, is imitated. At fifty-four the Re prise, or third division, occurs. We have here an Extended Period of eleven measures, with the first Curtailed Period omitted. Thi leads to the second subject, now in the tonic. Everything here transposed from dominant {A) to tonic {D), including the canon which concludes the second subject at eighty-four. The last five measures constitute the Conclusion, in the style of a recollection. The class may now attempt an analysis of the first Sonatina* from the same book, Reinecke, Op. 47, No. i. This should first be done from the notes, and a general synopsis like this may be of as- si.stance : 1. Principal subject in tonic, frequently repeated, with alterations. 2. Passage or Transition to the Dominant. 3. Second subject in the Dominant, constituting a change of style. 4. Conclusion at the end of the second theme, shorter than the other subjects, and resembling a Coda. COMPLETE MUSICAT, ANALYSIS. I"- 5. Development commencing after the double bar. and contiiniinK until the return of the principal subject as at first. 6. The second theme transposed from Dominant to Tonic, but other- wise the same. 7. Conclusion, also in the Tonic, with perhaps a few measures added as final ending. The resemblance of the different Subjects to some part of the principal theme must be pointed out, also the original passage from which the motive for the Development is taken. The Principal theme may contain any amount of measures, and frequently it has two periods, besides the transitional matter, which comes just before the second theme. The first movement of the Sonatina Op. 47, No. i. is to be played for the class after they have examined and analyzed it. The outline and main features are here presented for comparison : The Principal subject is the first of the piece, Allegro, but the first six measures are somewhat prefatory, and the most natural continuation of the motive is that beginning at P last of the sixth measure. The thir- teenth, fourteenth, fifteenth and sixteenth measures are the same as nine, ten, eleven and twelve, changed from major to minor. The Transition begins at eighteen, constituting an extended period. At twenty-two the key is established as that of the dominant C/, and from here there is a Cadenza of six measures, leading to the Second Subject. This commences upon the dominant seventh chord in the the key of G (at twenty-eight), and is rather more lyric than the Principal subject. The repetition of this (from thirty-six) is an ex- tended period of thirteen instead of eight measures. The Conclu- siou begins upon the second eighth of the forty-ninth measure. This is in Thematic style, and extends to the double bar. The De- velopment is in the relative minor of the dominant. It is founded upon and developed from the motive of the Conclusion. Simultane- ously with ending of the (curtailed) seven-measure period at sixty- three, the bass gives out the introductory period of the first subject, unaccompanied. Then it is taken up in regular form with accom- paniment above, and continued by the upper part. This motive from the first subject next appears in the bass in the key of the dominant. After a section of this, the theme is transferred to the upper part, as before. From eighty-seven a fragment of the original first subject is treated canonically, and this runs into a short transi- tional passage leading back to the Principal subject, or the Reprise. 178 COMPLETE MUSICAL ANALYSIS. ninety-five. This is the same as at first, with exception of the pref- atory period, part of which is curtailed in the end of the Develop- ment. The Cadenza is slightly altered in order to lead to the Tonic, in place of the Dominant, as before. The Second theme recurs (in C) after the rallentando, one hundred and fourteen. This is an exact transposition of the second theme from G to C. The Conclusion (one hundred and thirty-fivej is also the same as far as one hundred and forty-one, where a few additional measures are added as Termination. For illustrations, play those already analyzed, by way of em- phasis : Reinecke, Op. 47, No. i and No. 2, first movements only. Krause, Op. i. No. i. Kuhlau, Op. 20, No. i, first movement. Clementi, Op. 36, No. 6, first movement. Seiss, Op. 8, No. i. The questions should be like these : First Subject, Transition or Passage ; Second Subject ; Conclusion ; Development, what motives developed ; The Return of the First Subject ; Return of Second Subject ; Return of Conclusion. Style (whether Lyric, Thematic, Harmonic, Antiphonal, or Canonic). Cadenza, if any, is also to be mentioned. Chapter XXXIV. THE SMALL SONATA FORM, IN MINOR MODE. THE outline and form of a Sonata movement in Minor are not { materially different from a movement in Major ; but the tonal arrangement differs considerably. The first subject being in tonic minor (the minor key represented by the signature), the second sub- ject appears in the relative major (also same signature). The Con- clusion is naturally in the relative major also ; though it frequently . contains a transition to the dominant of the key-tone, for the repeat. ' No rule is prescribed for the tonality or key-relationship of the COMPI.ETE MUSICAI. ANALYSIS. ijg Elaboration, therefore we will pass that at present. The return of the principal theme is in tonic minor as before. The return of the second theme is in tonic major (as a rule). The Conclusion usually terminates in the tonic minor (key-tone), though it frequently begins in the tonic major. To make this more plain we will iuchulc a sketch of the keys for a Sonatina movement in ^'^minor : First subject in ,^i-minor (tonic). Second subject in (T-major (relative major). Conclusion also in C-major, with, perhaps, a transition to the dominant chord of the key-tone, £, ^-sharp, fij After the Development, the Principal theme recurs as before in y^-minor. The second subject recurs in the tonic major {.4), and tlie Conclusion the same. The dominant chord being the same in .4- minor that it is in y^-major, the composer may avail himself of this fact and return to the key-tone, yi-minor, whenever he chooses. The last few measures are in ^-minor. The class should transpose this sketch into other keys. Thu.>s in G-minor the keys would be : G-minor, >9-flat major, C^minor again, 6^-major, and finally G^-minor. The same unity of design (or conception) between the different subjects is observed, whether the piece be in major or minor, and the same mode of developing certain motives from the first, .second or third subjects is also applicable in both modes. In truth, the key- relationships and the modes are the only distinguishable features be- tween a sonata movement in major and one in minor. We will analyze two small Sonatinas by Reinecke, Op. 127, a (Op. 127, b, is the same for four hands): op 127-No. 5. -- rj)^'-'- J J.i J . ;|,^-M^^^^t^^ This is the first section of the principal theme in 6-minor. \t the end of our quotation the theme is transferred to the bass, and the period is extended to eleven measures. The second subject com- mences at 12. This is in .5-flat, the relative major. In place of Conclusion there is an Extended period, with a transition for the D. C. The Development commences after the second ending, and contains ten measures. It is upon the first motive, somewhat altered and repeated in sequence and transition. The Reprise commencts at 34, and is like the first. The Second subject, from 45, is in tonic l8o COMPLETE MUSICAL ANALYSIS. major, and here the composer has changed the signature from two flats (G-minor) to one sharp (G^-major). The Second subject stops upon a half cadence (55 and 56), which leads to the following Coda in form of a Recollection in 6-minor. This is marked Piu leyito. The outline of Op. 127, No. 6, is this: Principal .subject in A- minor, eight measures. Second subject in C-major, eight measures. As the transition to the dominant major, E, is not perfected until the 1 8th measure, we may look upon these three isolated measures (17, 18, 19) as an extension of the period for a transitional purpose. The Development commences at 19 {third measure of the second ending). The Principal motive is used first, then we hear a brief reminiscence of the Second subject. From 27 a fragment of the finst subject is developed, and especially the rhythm PS.-'- The Reprise begins at 35, and is the same. The Second subject appears at 43 in .4-minor, in place of .4-major. This is frequently done, as the dominating chord is the .same in both modes. The Coda of two measures ends in y4-major. as if to re-assure us that the minor key was not chosen on account of any serious plaintiveness in the sentiment of the piece. This chapter will be concluded with an analysis of the Sonatina in C-minor, Op. 49, No. i, by Beethoven. The Principal subject extends from i to 15 inclusively. The last two measures are transitional. The Second subject begins at 16, in the relative major, according to the prescribed plan. This is contin- ued to the fir.st of the 29th measure. The last four measures, from this point to the double bar, constitute a short Conclusion, founded upon a fragment of the Second subject, also in relative major. The Development commences upon the fourth eighth note, as do all the motives in this movement. This is an easily recognized elaboration of fragments of the Second motive. The Reprise takes place at 66. This is the same as at first, with exception of the theme being transferred to the bass from 74, and the necessary diflference in transition just before the recurrence of the Second subject. This is now in tonic minor, tonic major being reserved for the final end- ing, as in our last analyzed Sonatina. The Conclusion begins at 99, * FrequenUy the last of the second division contains a few measures separated from the regular development, and somewhat anticipatory of the Principal theme This has been called Retarn. The distinction between this and Anticipation is very sligtlt, and will appear hereafter. COMPLETR MUSICAL ANALYSIS. ,g, the fragment of the Second snbject l)eing in the bass. The last tM^ht measures constitute a Coda, founded upon a pedal-note {(,'). Note.— The original annotators of Beethovens Sonatas term these la.st eight measures "Appendix," which is only another name for Coda. The illustrations for this chapter are : Reinecke, Op. 127, Nos. 5 and 6. Beethoven, Op. 49, No. i. Loschhorn, Op. 187, No. i. in . /-minor. The first movement of Beethoven's Op. 49, No. 2 un ^ major), may be included, but without telling the class it is in the major mode. They will probably discover the fact. The Second subject in this is easily recognized, being in the dominant, and i.solated from the previous period. The Conclusion does not occur until the 49th measure. QUESTIONS. 1. Principal Subject: Mode and extent, whether regular, re- peated, or extended period. 2. Transition, or Passage. 3. Second Subject (mode and extent). 4. Conclusion (mode and extent). 5. Development (of what motives). 6. Return of Principal subject. Mode. 7. Return of Second subject. Mode. 8. Return of Conclusion. 9. Coda, if any. Final mode. 10. Style (L,yric, Thematic, Harmonic, Canonic, Antiphonal). This question should be applied to each subject, and to the Devel- opment. If the answers are at first correct, the repetition of the first divis- ion may be omitted. l82 COMPLETE MUSICAL ANALYSIS. Chapter XXXV. IRREGULAR PERIODIC CONSTRUCTION. CONTINUED THESIS. APOTHEOSIS. LISZT'S WALDESRAUSCHEN. MENTION has been made, under Periodic Construction (Chap- ter XIII), of the effect of a continued Thesis, without the consequent Antithesis. The simplest illustration of this is to be found in certain introductor}' movements, where the composer does not wish to create an impression of a regularly constructed period, but rather to leave us in a^iticipatioyi of the regular period, which comes after the Prelude or Introduction. The Intrada to the Priest's March from "Athalia " is an illustration. This consists of a brief fanfare by drums and trumpets upon the Dominant seventh har- mony, and without any resolving cadence. The amount of meas- ures in such instances is of no particular consequence. A better illustration may be cited from Raff's popular Cachoucha Caprice, Op. 79. Here we have thirteen measures of irregular construction, containing a mere hint as to what follows, and yet suflBciently sug- gestive to excite our interest. This is founded mostly upon a sec- ondary seventh chord, serving as a subdominant harmony. Observe that no antithesis occurs, and that the last chord leaves an impres- sion analogous to that of the half cadence. The next example occurs in the Termination, after the ear has been satiated with regular periods. A very simple instance will be presented first ; and to make the matter plain we will quote the original subject, with its antecedent and consequent phrases, and then the Continued Thesis, as it occurs in the Termination . COMPLETE MUSICAL ANALYSIS. '83 Ex. 257 In the first example (b) is the antithesis of (a), and (d) of (c). In the second example the thesis (a) is continued at (b), (c) and (d). The phrases (a), (b) and (c) are alike; merely repeated upon different in- tervals of the same chord. (Compare the two examples by phrases.) Observe also the changes in harmony at i ; and that in example 2 the tonic chord is continued throughout. This style is especially adapted to the last of a movement, after the music has been brought to a satisfactory conclusion. The Termination here contains twelve measures; but before the last chord is sounded the ear has ceased to anticipate the constructional divisions, and no one could name the number of measures in the Termination unless counted separately ; whereas, any musician will tell you the exact number of measures in the first example without counting them individually. Experienced orchestral performers seldom count eight or sixteen measures in I)opular music, because they know intuitively when the period ends. This, however, cannot be done with music of irregular con.struction. as, for example, the Continuation of Thesis. The vStretto (last eleven measures) to Cherubini's " Lodoiska " Overture, and the last six measures of Liszt's " Waldesrauschen " are similar, though more- artistic examples of a final period without resolution or conse(}uent phrases, being in the nature of a repetition or continuation Hundreds of instances like these might be quoted. But we will 1 84 COMPLETE MUSICAL ANALYSIS. proceed to show examples of this kind which occur intermediately. The first Intermezzo in Rubinstein's Tarantella, Op. 6, may be cited. This occurs .sixteen measures before the Intermezzo in i metre, which, with the latter, constitutes thirty-seven measures without an- tithesis. All this is founded upon a dominant pedal-note without resolution. The resolution takes place after the f metre is resumed. The first four measures here, preceding the principal subject, are of the same nature, but much more brief After sixteen measures of the Piu Allegro we have a somewhat Extended Thesis upon the tonic harmony. This commences eight measures before the +, and embraces seventeen measures. Throughout the opus there is consid- erable expression of suspense and vain desire. This is the usual esthetic efiect of a prolonged Thesis, and in the works of Beethoven and Schubert we meet many instances. The uninterrupted melo- dies of Wagner are a still farther expression of this effect. Take, for example, the Improvisation of Bendel upon Walther's Prize Song from "^Die Meistersinger." The entire first page (twenty-eight measures) is one unresolved prologue, without cadence or consequent ! It is skilful in conception and exalted in effect. Observe particu- larly how the theme is drawn out, and the cadence postponed ! In its higher application the Continued Thesis is an attempted psycho- logical expression of, or yearning for, the Infinite; the soul's longing to be emancipated from its vicious and narrow surroundings, and explore the vastness of ethereal space. The Fantasia in D-vci\xxox by Mozart will furnish us two instances where the effect is different. The first occurs where the principal theme is introduced in ^^-minor, as here: "^^ ^ After leaving the extended section thus incomplete, there is a ca- denza, Presto, ascending and descending, and then a brief intermezzo. When a second cadenza is introduced the principle theme is brought COMPI.ETE MUSICAL ANALYSIS. ,85 back to y9-minor. This period of ten measures ( just boforr ihi- Apotheosis in i9-major) ends upon a half cadence. Both instances are merely illustrations of the oft-repeated adage, "All is vanity." The entire first part (/. e., the Prelude, Air and P'antaisie ■'■ in /> -minor) is an expression of vain desire and longing, as far as the half ca- dence already mentioned. The Second Part in /^-major is as bright and positive as may be, and becomes something of an Apotheosis of Part I. Our last quotation is from Schumann's Romance in /"sharp major. After the repeated first period there is a syncopated theme and counter-theme below, accompanied by the richest harmonic tone-colors, and this is led on through doubt and gloom for eight measures : < )p. 28, No. 2. In the eighth measure we emerge from the darkness, and in the tenth measure the first theme is resumed, but still without a cadence until the last of the eleventh measure. The next cadence does not occur until the commencement of the Coda. The entire Romance is a plaintive and negative sentiment almost from beginning to end; the coda being as free from positiveness or contentment as was the first period. We will close this chapter with a critical review of the Waldes- rauschen Etude by lyiszt. The English tran.slation. " Murmuring Woods," is too much like a bare statement of fact, and not properly suggestive.t The music represents a forest scene, where all is silence, save the rustling of leaves and the songs of birds. It is not, however, a representation of these, but an expression of the : sentiments which a lover of nature would experience under these j influences. ! We are not to undertake the analysis of this fancy-sketch a.s an exemplification of our formulas as to cadence-periods, first and .'sec- ond subject, melodic construction, etc., but rather as the antithesis I of these fundamental principles. The whole Etude is constructed upon these two phrases : * An examination of this First Part wiU reveal the characteristic, of a H.nU. fully than a worded description. t " Woodland Murmurs " is. perhaps, better. 1 86 COMPLETE MUSICAL ANALYSIS. Ex. 260. J' ^f^'^r^fA'f^'^.r*^,. .f^fvf-'^.ffn . \:^.\ — ^\uu^s^if^ ^'iJiji^;^ One peculiarity of these is, the consequent phrase (b) has the ap- pearance of an antecedent, and the antecedent phrase (a) seems to be a consequent. These two phases of the subject (one descending, the other ascending) are to be specially observed on account of their subsequent employment. The third phrase is a repetition of the first, with the addition of a few short appoggiaturas ; but the last measure of the fourth phrase (commenced in Z>-flat) is concluded in /^-sharp minor, with the signature of four sharps. No ^lose is ef- fected here, however ; but, on the contrary, the first measure of the fourth phrase becomes a thesis, which is carried higher and higher through four measures of sequence until it reaches C-sharp. This is succeeded by a consequent phrase of three measures descending. Then the original tonality is resumed, but still no periodic cadence. After the Z>-flat signature is restored the theme passes into the upper parts, and the same thing is repeated, with the melody slightly altered, an interrupted counter-theme below, and different accompa- niment. After the sharp signature is introduced the second time we hear a fragment of the subject in the bass against the melodic sequence above. In the two measures just before the signature is changed to one flat, the previous figure of the bass is in augmentation — the eighths becoming quarters. In the 27th measure (numbering the preludatory measure, i) the <5-flat in the bass becomes a subdomi- nant pedal-note, and above this our composer twines the dominant and tonic harmonies of G-minor with peculiar and strange effect. Upon the first of the 29th measure the resolution of a perfect Ca- dence takes place ; and this is particularly mentioned as being the first complete Cadence which has thus far occurred. We then hear a measure {legerissinio) where all is again silent save the rustling of leaves. Observe that no melodic outline here appears, and conse- quently no accent is to be indulged. In the 30th measure a semi- phrase of the melody is heard, as of some forest songster calling to its mate. Then another almost inaudible measure of tree-top mur- murs, and the bird resumes its song, which is answered in the 34th measure. Observe how the two original phrases (a) and (b) are COMPLETK MUSIC \1. ANALYSIS. iS" treated as theme and couuter-theme in this woodlaud duct. At -^7 an abrupt transition is effected into .-/-major, and similar melodies are wafted as from some distant part of the wood. When the si};na- ture is altered to (T-major (46), the sounds become gradually louckr and more animating, while the duet is continued u}X)n the two jihases of the subject. The wind increases in force, the branches bend to and fro, birds have ceased their songs, and the tall piiiL-s " Lash their lithe Hmbs, and call to each other through the majestic gloom." (In some editions the signature of /^-flat is resumed three measures too soon. ) In the J2d measure we see the first material deviation from the subject, but this is very slight, and the next mea.s- ure is plainly taken from the motive. The double-handed trill at .So and 81 may be considered as an enlarged .shake upon (/-sharp, and what follows is a two-part Cadenza leading to the full cadence after the pause. The remainder is Coda, in form of a Recollection of the first part, and here the sounds gradually die away, and so vanish. It is evident from our imperfect review of this opus that it con- tains no second subject ; no consequent period ; not even a regular melodic period, such as we usually find. But, on the contrar>', the nine pages are conceived and constructed out of the first two phrases, considered as two motives. These are woven together by means of sequence, avoided antithesis and abrupt transitions into .something of an endless melody, revealing consummate knowledge. tact and artistic fancy. Note. — The movement of this etude is indicated by the word yii'tuc ; but this is not to be applied as it would be to a Gavotte or March brillante. for that would destroy the intended effect, even if it could be properly executed iu such a quick movement. The word Vii'ace applies to the twenty-four six- teenths of the accompaniment, this being a characteristic and continuous feature of the piece. If quarter notes are taken as a standard, the movement should be not faster than Allegretto. ILLUSTRATIONS FOR CHAPTER XXXV. (Besides those analyzed) : Improvisation upon Walther's Prize Song, Bendel. Berceuse, Op. 57, Chopin. First Allegro, from the Scotch Symphony, Op. 56, Mendelssohn. Waldesrauschen, Liszt. (The Berceuse is an elaboration of the short subject contaiiieil in the first four measures after the Prelude.) l88 COMPLETE MUSICAL ANALYSIS. PART IX. Chapter XXXVI. ABBREVIATED SYMBOLS, AND KEY TO THIS ANALYSIS. EXPLANATION OF THE SAME. FOR purposes of convenience and brevity the author has designed an abbreviated Key, to be used by the student in examining music analytically. The letters, figures, or combination of letters and figures, are designed to suggest that particular style or device, detail or part of a composition which it is desirable to observe. The Key to these Symbolical letters and numbers will be found on paral- lel lines to the Abbreviations, and an explanation of the whole is afterwards given. This system will likewise serve in recalling to mind many impor- tant details heretofore mentioned, which might otherwise be forgot- ten or neglected. As these abbreviations are to be employed in exatyiinuig, not in listening to music, we have omitted all such references as to tonal and metrical signature, movement, motives beginning upon the frac- tional part of a measure, and the signs of expression, like legato, staccato, piano, forte, etc. These, though they are not to be over- looked, need not be included in the analysis. In most cases the let- ters are initial, and accordingly suggestive of the Key, as, for exam- ple, P. U., which indicates that tu-o periods are imited at a certain point. An exception to this principle is observable in the first of the symbols. A refers to the first subject, as being the first part of every regular movement. The Principal Theme is therefore indi- COMPLETE MUSICAL ANALYSIS. 189 cated initially by the first letter of the alphabet. The vSecoiul Sub- ject is indicated in a similar manner by the initial B. The abbreviated Symbols, together with the corrc^poiuUm; Key, here follow : ABBREVIATIONS AND KEY TO ANALYSIS. A. First SuDJect. A I. First half of First Subject. A 2. Second half of First Subject. A. B. First and Second Subjects combined. An. Anticipation. Ap. Apotheosis. Aux. T. Auxiliary Theme. B. Second Subject. B I. First half v^i Second Subject. B 2. Second halt of Second Subject. B. M. Bell Motive, or Chime. Ca. Cadenza. C. F. Change of Form Co. Coda. Con. Conclusion. C.S. Counter-.subject. D. A. Development of First Subject. D. B. Development of Second Subject. D. Con. Development of Conclusion. Dev. Development. D. S. Dual Subject. Ec. Echo. Eg. Eingang. Ep. Episode. F. C. Concerto Form. F. D. Dance Form. F. M. Mixed Form. F. 0. Overture F'orm. F. Rh. Rhapsodical Form F. Ro. Rondo Form. \90 COMPLETE MUSICAL ANALYSIS. F. SI. Single Form. F. Son. Sonata Form. F. Sym. Symphonic Form. F. U. Uninterrupted Form. G. B. Ground Bass. H. H. Hunting Horn Motive. H. S. Harmonic Style. I.e. Imitation, Contrary.- I.F. Imitation, Free. LP. Imitation, Partial. I.S. Imitation, Strict. In. Introduction. Inv. Inversion. I. R. Imitation of Rhythm Iz. Intermezzo. K. A. Cadence, Avoided, K.C. Cadence, Complete. K. F. Cadence, Full. K. H. Cadence, Half. K.P. Cadence, Plagal. L. M. Leit-Motiv. M.P. Vreliminary Motiv- M.T. Middle Theme. P.C. Period, Curtailed. P.E. Period, Extended. P.R. Period, Regular. P.U. Period, United. Par. Parenthesis. Pas. Passage. Po. Postlude. P.N. Pedal-Note. Pre. Prelude. Rec. Recollectioii COMPI.ETK MUSICAL ANALYSIS. Recit. Recitative. Ref. Refraiu. Rep. Repetition. Ret. Return. S. A. Style, Antiphonal. S. C. Style, Canonic. S. F. Style, Fugal. S. L. Style, Lyric. S. T. Style, Thematic. Se. Sequence. St. Stretto. 191 T. Aug. Theme in Augmentation T. Dim. Theme in Diminution. T.C. Thesis continued. Ta. Theme above. Tb. Theme below. Tm. Theme in the middle. Ts. Theme in Syncopation. Tv. Theme Varied. Ter. Termination. Tr. Transition. U. P. Uneven Phrases. U.S. Uneven Sections. EXPLANATION OF THE KEY TO ANALYSIS. A. Refers to the First Subject or Principal Theme. This continue* until a Transition, Intermezzo, or Second Subject is intro duced. A I, A 2. Natural Analytical Divisions 0/ the First Motive or Subjeil. Sx. a6i. A I applies especially to the first motive when it is uscil in the Development. But should the phrase numbered 2 appear as a text in the Development, it should be marked D. A. 2. If anr other part of a principal subject than the chief motive 15 di- 'Cloped it is to be marked D. A. 2 or D. B. 2. 192 COMPLETE MUSICAL ANALYSIS. A. B. First and Second Subjects combined. This Combination is not liable to occur outside of the Development. It refers to the simul- taneous employment of both subjects, either in canonic, an- tiphonal, or thematic style. Such instances seldom occur iu small works. In large works two, or even three subjects mav appear simultaneously, or in juxtaposition. .-i.n. A few measures, of an impatient character which seem to anticipate the following strain. (Explained in Chapter XXV.) Ap. Apotheosis. Something of a final idealization or triumph; as in the third movement to the characteristic Sonata by Beethoven, or the Finale to his C-minor Symphony. (See Chapter XXXV.) Aux. T. A secondary or subsidiary theme in Overtures or Symphonies. B. Second Subject. Must be in contrast to the first theme, and con- stitute a change of stj-le. In the Sonata movement it comes after the first subject, usually preceded b}- a passage or transi- tion. In the Rondo the Second Subject comes after the Inter- mezzo, and usuall}- after the second appearance of the Principal theme. (See Chapter XXIV, Second Subject.) B r, B 2. To be understood similarly to A i and A 2. These symbols are to be used only when the first or second part of the second subject appears as a text in the Development; otherwise the numbers are to be omitted B. M. To be used to indicate a bell melody or a Carillon. The peculiar manner of playing a bell melody renders this necessary- in the Analysis. (See "Midi," by Field, Chapter XXVI.) Ca. Cadenza. Described in Chapter XXW. More or less ornamental and unaccompanied. C. F. Change of Form. This should be applied only to a change of movement, or to a different piece of music, as from the Dance to the Rondo form, etc.* Co. Coda. What is added after the natural ending of a period or move- ment. (Already explained.) In fugue the word Coda is applied to a brief appendix added to the end of the subject, or response, in order to modulate to the dominant, or back to the tonic. Con. Conclusion. The third and shortest subject in the first division to a Sonata movement. In other forms it is called Coda. C. S. Counter-Subject, or Counter-Theme. Not to be confused with Second Subject, as it is a secondary melody which accompanies a principal subject as simultaneous counterpoint. The counter- subject must be so conceived that it may be inverted, and ac- company the principal theme above as well as below, thus: < Change of style is usually better than change of form The form seldom changes ia a movement. COMPLETE MUSICAL ANALYSIS. 193 D. A. Development of First Subject. \ jj. B. Development of Second Subject. \ D. Con. Development of Conclusion. These refer to the Development, Illustration, or Elaboration of any of the subjects or parts of subjects in a Sonata. Overture, or Symphony. (See Chapters XXXI. XXXIII, and XXXV.) A farther distinction is sometimes to be made, as when a certain part of a subject is developed. In that case the marks would be D. A. I, D. A. 2, D. B. 1, D. B. 2, or D. Con. D. S. Dual Subject. WTienever the principal subject contains two diflFer- ent parts, or two opposite phases, it is to be indicated by the letters D. S. (In this case A may be omitted.) The first move- ments to Beethoven's Op. 7, and Op. 31, Nos. 1 and 2, have Dual Subjects, also the Concerto in .5-flat, Op. 19. The Dual Subject is designed to represent something more than a mere two-fold theme: it applies to a subject which naturally di\ndes itself into two parts, each part being typical of a different sentiment. It may sometimes be difi&cult to distinguish between this and the Preliminar}- motive, but the actual instances (Juoted will, if properly examined, show the distinction which is to be made in this system. Ec. Echo. (Described in Chapter XXV.) Eg. Eingang. A few measures of transition or entrance to any key in which a certain subject is to be heard. Ep. Episode. (Explained in Chapter XXTV.) F. C. Concerto Form. (See Chapter XLII.) F. D. Dance Form. This also includes the Ballad Dance, because this style is either repeated with some embellishments, or included in the Cyclical Forms. F. M. Mixed or Cyclical Forms. This refers to Suite, Partita, Medley. Potpourri, common Operatic Overture, and Theme with Varii- tions. F. O. Overture Form. Similar to Sonata form, but with two instead of three divisions, the Development usually being omitted and the principal themes being more extended. (See Chapter XLII.) F. Rh. Rhapsodical Form. (See Compendium.) F. Ro. Rondo Form. (See Rondo.) 194 COMPLETE MUSICAL ANALYSIS. F. SI. Singlf Form. (See Chapters XXVI and XXVIL) F. Son. Sonata Form. Indicates any movement or opus written according to the classical formula as to outline and construction. F. Sym. Symphonic Form. (See Chapters XLII, XLIV, and XLV.) F. U. Uninterrupted Form. (See Chapters XLIV and XLV.) G. B. Ground-Bass. The accompaniment to Gounod's " Pifferari " is an example : Ex. 263. LR. Ex. 364. Iz. ^ Allegro. . This is continued throughout the piece. The finale to Herold's Overture, " Zampa," contains a ground-bass, where the ascend- ing and descending scale passage occurs in the violin parts. There was a style of music in vogue during the time of Purcell, called a Ground. The accompaniment consisted of a series of natural harmonies (similar to the complete Cadence), which were repeated throughout the piece to a changing melody above. The Grounds were principally vocal ; but the com- pound, Ground-bass is to be understood in the same manner. H. H. Hunting-Horn Motive. (See Hunting Song, Chapter XXVI.) H. S. Harmonic Style. (See Chapter XXIII.) I. C. Imitation, Contrary. 1 I (See Chapter XXVIII.) I. F. Imitation, Free. I. P. Imitation, Partial. I. S. Imitation, Strict. In. Introduction. Must foreshadow what follows. (See Chapter XIX.) nv. Refers to the Inversion of a theme or counter-subject, an octave above or below. The placing of an upper part below, or a lower part above. A melody transferred to some other voice-part. (See Ex. 262.) Imitation of the Rhythmic Device. This may be done upon a: monotone, as when the rhythm is imitated by a drum in, orchestral music: Intermezzo. See Rondo. (Von Biilow applies this word to the Menuetto in Beethoven's Op. 27, No. 2, because it cornea between the two principal movements.) COMPLKTE MUSICAL ANALYSIS. '95 Cadence, Avoided. F, Cadence, Full, or Authentic. Cadence, Half, or Incomplete. K. C. Cadence, Complete, or Perfect. K. P. Cadence, Plagal, or Amen. (See Chapter IX.) L. M. Leit-Motiv. Characteristic Motive. (See "Culprit Fay," Chaj)trr XLV.) M. P. Preliminary Motive. This has more of the introductory character than the Dual Subject, and comes before the most important or Principal theme. Following are examples: Hummel, Op. 13; the first measure and a half before the regular hallelujah motive. Von Weber, Sonata, Op. 24; the first four measures. Schubert; first eight measures in the A'-minor Symphony. Beethoven, Concerto in ^-flat,Op. 73; the Introduction between Orchestra and Piano. Haydn, Oxford vSymphouy; after the Adagio, the first four measures before the principal subject This preparatory section has something of a dual character, but it is preliminary to the main subject. Two of Mendels- sohn's overtures contain Preliminary motives, namely, the Midsummer Night's Dream and Ruy Bias. M. T. Middle Theme. Usually a third subject in a Finale, and coustitutet a change of form. (See Paine Symphony, Chapter XLV.) P. C. Period, Curtailed. 1 P. E. Period, Extended. P.R. Period, Regular. (See Chapters XX and XXI.) P. U. Period, United. J Par. Parenthesis. A parenthetical group. (Chapter XXV.) Pas. Passage. (See Chapter XXIV.) Po. Postliide, to be applied to the final Coda in Vocal Music. P. N. Pedal-Note, Drone Bass. (See Chapter XXV.) Pre. Prelude. An introductory part to a principal Thetne or move- ment, but not a prognostication. The Prelude to Moz.art's Fan- taisie in Z?-minor is an instance. Rec. Recollection. (See Chapter XXIV.) Recit. Recitative. To be understood in the same sense as vocal recitative. Should be performed in an ad libitum, declamatory manner. The Introduction to Liszt's second Hungarian Rhapsody is a Recitative. Examples may also be found in the works of Chopin : Op. 28, Preludes 2 and 4, and Op. 25, No. 7, Bass solo. Also, Op. 31, No. 2, Beethoven, first of the Reprise (after iht- Development). [96 COMPLETE MUSICAL ANALYSIS. Ref. >■/ subsidiary Theme in Waltzes and certain single forms. The Re- frain is a burden, frequently in the style of a lament. See Re- frain in the Ball Scenes by Nicode, Op. 26. Rep. Repetition. (See Chapter XXV.) Ret. Returning to a Priticipal Theme. Where the object is plainly to return to a main subject. Similar to Anticipation, but more transitional. The Reprise, or third division, is to be indicated by the letters A, B, Con., as in the first division. The distinction between this and the appearance of a principal theme in the development is to be indicated by the combinations : D, A., D. B., etc. i S. A. Style, Antiphonal. S. C Style, Canonic. S. F. Style, Fugat. S. L. Style, Lyric. S. T. Style, Thematic. (See Chapter XXIU.) Se. Sequence. (See Chapter XXIV.) St Stretto. (See Rondo Form.) Ta. 1 Indicates the location of the theme, whether above, below, or in Tb. \ the middle. This is sometimes essential, and will be men- Tm. J tioned again. T. Aug. ) These are to indicate a principal theme, either in notes of greater T. Dim. ( or less value than the original arrangement. T. C. Thesis Continued. (See Chapters XII, XIII and XXXV.) Ts. Theme in Syncopation. (See Chapter XXX, Ex. 204, Var. 3.) Tv. Theme Varied. Distinction must be made between this and The- matic development, as thus far described. (See Mozart's Sonata in A, No. 12 Peters, and Chopin, Op. 73.) Ter. The last part of a movement, corresponding to coda, but composed of more adventitious matter, and joined to the preceding with- out interruption. (See Chapter XXIV.) Tr. Transition. Modulation, or the Transposition of certain motives or subjects. U. P. Uneven Phrases. Refers to three, or six-measure phrases, instances of which were quoted in Chapter XX, which see; also Compen- dium. U. S. Uneven Sections. These usually contain five measures. See Hun- garian Dances by Brahms, or Behr. In order to make a complete analysis of certain compositions, it will be necessary to employ this entire catalog of reference marks. COMPLETE MUSICAL ANALYSIS. 'V7 From this Key it is apparent that there are more than one hun dred characteristic features incUided in the outHue and among the details of a well-written musical composition. These are not im.ig- inary points of distinction, but important constituent elements, many of which have existed since the time of Graziani and Hrohhcrgcr. The author's task has been merely to adopt such terms as .seemed appropriate, to reject such as were inappropriate or ambiguous (how- ever general they may have become), and to apply new terms and symbols to those features and details which form the es.sential minu- tiae of high-class music. To systematize these almost innumerable points of distinction has been the chief difficulty, and the attention of the teacher is thus called to this matter because of its great impor- tance in all didactic works. The Application of the Key to analysis will be .shown in the following chapter. Chapter XXXVII. ANALYSIS OF THE SONATA FORM. APPLICATION OF THE KEY TO ANALYSIS. FOR the first complete analysis we will select the (T-major Sonata, Op. 40, No. I, of Clementi. (No. 2, Cotta, fingered and metron- omized by Moscheles. In Peters' select edition this Sonata is No. 9.) Clementi lived through an important transition period in music. having been born in the year 1752 and died 1832. He played in friendly contest with Mozart, who highly complimented the Ital- ian's improvisations and performance. Beethoven also held CleuR-nti in great esteem for his interesting .style and correct forms. The first movement should be numbered consecutively Iroin the first full measure to the end of the movement. The first section of the Principal Theme is this : COMPLETE MUSICAL ANALYSIS. This should be examined attentively, and then performed until its, character is well established in the mind. The most important par of the motive is this: Ex. 266. [ff f if I * = (A i), for the composer repeats it in the bass as a partial imitation which should accordingly be played as loudly as the upper part ; nc as a mere chord accompaniment. See measures i and 2. (The bj here is to be marked I. P.) This is repeated, and then the same continued in a figurated style, with accompaniment of triplets. Ob serve the similarity between (a) from the first period, and (b) froi the second period, thus: Ex. 267. ^ The principal tones are d and g, as they fall upon the accented pa of the measure ; b in the second measure is included at (a) in th triplet, together with the other passing tones, c and a. Another analogous comparison is between the first figure in th last of the 8th measure, and the first three notes of the motive afte; the grupetto: This is a curtailed period, ending with the arpeggio chord upoi D, to be marked in the beginning of 15, P. C. Upon the fourtl quarter of the 15th measure the principal theme recurs, slightl] varied, Tv. The partial canonic imitation in the bass at on( follows, as before, though only the melodic outline is used below See 16 and 20. The second phrase of the theme is also varied, th« melodic notes being somewhat concealed, but marked by the com- • The nnmbers refer to the measures. COMPLETE MUSICAL ANALYSIS. >99 poser with accented staccato marks. The transition commences at the 23d measure, Tr. Observe the r-sharp, and also the fact that the transition is built upon a fragment of the first motive, as may U- seen from example : Ex. 269. These should be marked A i, as this is a species of thematic devel- opment. From the last of the 26th measure (all the motives begin upon the last quarter) we have a descending melody in the harmonic minor form. This affords a rather plaintive view of the subject, though the motive afterwards appears in brighter colors. These ten measures, from 26 to 36, are played upon a pedal-note. (Mark in the bass P. N.) This first subdivision comes to a conclusion at the end of the trill, 36, all this being included in the Principal theme, or first subdivision. The Second Subject commences with the grupetto, "Do/ce," and is in the key of the dominant, thus : The similarity between this and the first subject (especially the sec- ond phrase) is so remarkable that no particular analysis of the inter- vals is necessary. It represents merely a milder phase of the same bright and confident sentiment. The pedal-note accompanying the first eight measures is to be marked; also the variation of the theme : Ex. 27 Compare this with 37. From 48 there is a bell-like melody, or rather the outline of two melodies, thus : The lower melody at (a) is taken from the motive of the second suW JOO COMPLETE MUSICAL ANALYSIS. ject. At (b) the two are combined, and the harmonic sequence (tonic, subdominant and dominant) compressed into half the time which it occupied at first. To this is added the measured trill below, in form of a pedal-note. This design is inverted at 54, and the figure outlined at 48 and 49 is placed below and becomes a ground-bass (G. B.). Upon this ground- work appears a fragment of the second subject, like sparkling dew drops upon a bending rose bough. The passage beginning on the second quarter at 60 is the Termination of the Second Subject in Thematic Style. From the last of 62 a frag- ment of principal theme appears somewhat figurated, in the relative minor. This is accompanied by the partial imitation in the bass, as heretofore. (All these details are to be marked by the class when mentioned here, as a correct performance of this or similar works is not possible without an understanding of the many constituent ele- ments which must form a homogeneous whole.) The Second Subject comes to an end with an Authentic Cadence (K. F.) at 70. Upon the last of this measure is the entrance of the Conclusion (Con.), which is more of a lyric than either of the other subjects. It is taken directly from the la.st of the first subject, being major, instead of minor, and of course the continuation is different. The Conclusion is eleven measures in length, and owing to its morfe decided lyric nature it should be played smorza7ido from 71 to 78. From the latter point the movement is to be increased back to the Allegro vivace. The first division ends here, 90. The Development starts with a scale passage from the Conclu- (D. Con.). Compare 82 with 78. This passes through 6^-minor (82, 83), (T-minor (84, 85), and into ^-if-minor, before any melodic design appears, 90. This is similar to the harmonic minor motive in the last of the Principal subject, 27 and 28. Observe that this melodic design in y^-minor does not stop upon b (^i, second quarter), ac- cording to its natural tend, but continues on diatonically to g-sharp and ends upon a, 92. This is thematic development simply illus- trated. The descending scale melody is repeated in />-minor, 96, 97, 98, and then this figure passes hrough G'-minor into ^-flat major, 1 01 (Tv.). Here a graceful bit of melody appears in the upper part (taken from the chord figure previously quoted), and this is responded to by a .stormy, .scolding answer in the bass, 103. The descending chord motive re-appears at 104, in F-vaSnor (having been forced away from ZT-flat by the bass) : COMPLETE MUSICAL ANALYSIS. aoi Ex. 273. This is followed by the response in the bass, as stormy as before. From 103 to no is to be marked S. A. The descending chromatic progression in the bass is to be played louder than the melodic figure above, to which the bass responds. From io6 the interruption of the treble melody by the bass is to be noticed, and how the upper voice is finally silenced by the more powerful, fate-like motive he low (see 109, no). After the pause a fragment of the Principal mo- tive appears in i'^-sharp minor. This is repeated in //-minor, and extended to a section. The development is continued in like man- ner, and from the last of 129 there is a phrase of Anticipation (marked by the composer, cresc), which leads naturally to the Reprise, /f! Everything is here the same as at first, except the slight alteration in treatment at 136. The tran,sition (143) begins .sooner than it did in the first division, owing to an abridgment of the continuation of the theme. The melody in harmonic minor beginning at 150, last quarter, is the same as before, transposed from /> to 6-minor, in anticipation of the return to the tonic for the second subject. 1 50 is to be marked Tr. After the brief Cadenza. 159, the second theme re- curs, this time in the tonic, and is an exact transposition. The Con- clusion (last of 193) is also in the tonic, and identical with that of the first division until we come to measure 204. Here is a brief Recol- lection (Rec), followed by astretto of three measures (St.). Here ends our analysis of the most important movement. The other movements. Adagio, Canon, and Finale, we will briefly ana- lyze when we consider the entire Sonata, and the relationship of the different movements. Brief Analysis of Sonata No. 5, in C by Haydn,* first movement only. Principal Subject commencing thus : A ,<-^ , f ft- Ex. 274 -fLt- * This Sonata, like many others composed during the same period, was manuUclured according: to the prescribed formula, consequently the form is correct, but the muaic is i«- significant. COMPLETE MUSICAL ANALYSIS. continues for thirty-five measures, nant begins like this : Ex.275- m Second Subject in the domi- and continues for twenty-seven measures, ending with a perfect ca- dence upon G. The Conclusion begins at the fourth quarter of measure 62. It has almost the same rhythm as the first subject : Ex. 276. m This is likewise in the dominant. The three subjects are so similar in melodic and rhythmic construction that the student might find more difl5cult>' in designating them than if they were more strongly contrasted. The tonality of the different subdivisions, and the per- fect cadence just before the Conclusion, afford considerable assistance in such cases. The Elaboration consists in working out the different j)arts of the first subject. This continues for thirty^-six measures, and ends upon the dominant seventh harmony. The Reprise is the same, with the customary transpositions from dominant to tonic. The Conclusion is shghtly extended in the final ending of the movement. Analysis of the Outlines of a Sonata in D, No. 7, by Haydn. This is an improvement upon the one in C. It commences with this sprightly motive : Ex 277. fr fr *>rw- 000 «- This is sixteen measures in length. The motive of the Second subject is this ; K Ex. 278. COMPLETH MUSICAL ANALYSIS. 203 consisting of nineteen measures. Immediately following the ca- dence of the Second subject, the Conclusion begins, as here : Ex. 279. * M t^^^^^ This also is in the key of the dominant, and has six measures. The Elaboration commences with a fragment of the first subject inverted. the subject being below, the counter-subject above. The third di vision is similar, with usual transpositions. Analysis of the Outlines of a Sonata Movement in C, BY Mozart. (No. 15, Peters, No. 7, LitolflF.) Principal subject with this motive, twelve measures : Ex. 280. i^ H*-X- Second subject (after a prelude of one measure) Ex. 281 This continues thirteen measures. The last three measures before the double bar constitute the Conclusion : Ex. 282. The Development contains but thirteen measures, during which the figure of the Conclusion is briefly elaborated. The return of the first subject is thrown into the subdominant and slightly extended. The Second subject and Conclusion appear in the tonic,* and are otherwise identical with the first division. The class should make a more thorough analysis of the last two Sonatas, using the abbreviations wherever they are required. Both teacher and pupil must, of course, be familiar with the Key. The Haydn, Clementi and Mozart Sonatas should then be played, giving out as many questions as can be answered by the class. '■ This IS a m^re equal distribution of Keys tlinn ously obscTTcd. 204 COMPLETE MUSICAL ANALYSIS. Chapter XXXVIII. THE ENTIRE SONATA. FURTHER APPLICAIION OF THE KEY TO ANALYSIS. WE will here review and analyze the various movements of a Sonata, both separately and as a homogeneous, united whole. As the first movement is more or less turbulent, strifeful, or disputa^ tious, the second movement is quiet, hopeful, or retrospective. If the Allegro is stormy, the Adagio depicts a cessation of the storm elements. But a lull in a storm does not always bring sunshine. So the Adagio may breathe of peace and contentment, of love, of hope, of regret, or even of sorrow and despair. Our first examples of the Adagio were in simple ballad model, of two equal periods. Then we had the addition of a short Coda ; next, a briefly extended period : finally an intermezzo, episode, or a third subject. We will now resume our examination of the Clementi Sonata in G, after the first movement. The Adagio. The Key of the Allegro is changed from G to .5'-major (a some- what unusual choice, which here necessitates a pause between the two movements). The connection between the first and second, and especially the third and fourth measures here : Ex. 283. fc=-^ '' ^^3 r^' ^ Ir r . r and the second measure of the Allegro is intimate. Also compare the fifth measure of the Adagio with 46 and 47 of the Allegro. From measure 10 the theme appears slightly varied, and in Syncopation (Tv., Ts.). The principal subject closes at 18; P. E. The Second begins at 19^ in the relative minor, B. Observe the unity of design between these two phrases : COMPLETE MUSICAL ANALYSIS. 205 Ex. 284. ^''e have omitted the arpeggio group between r-sharp and e at ig. to show the principal melodic design. The first is in A'-major. and quite soft: the second is in C-sharp minor, and ff. The .Second sui) ject is continued in ornamental style, with numerous fioriturc in tlu- form of grupetti. appoggiature and parenthetical .scale passages. On the last half of 26 there is a melodic .sequence (vSe.) .somewhat resem bling the mordent. The sequence should be analyzed in this wav . in order to show^ more distinctly the melodic outline. The Second Subject is concluded at 33. The Parenthesis leads back to the Prin cipal subject (34) as before. At 51 the Second subject is joined U> the First, constituting an United Period (P. U.). The second subject here appears in tonic minor, and is otherwise altered in the continu ation. From 66 (the return to E) we have the beginning of a more extended Coda than we have previously analyzed. At 70 the .se- quence appears in Antiphonal style. From 74 to 77 may be con- sidered a Cadenza on a pedal-point. The regular cadence is post poned by means of the avoided cadence (77 and 79), as though the composer were loth to quit this peaceful scene. The Canon. The third movement is the Canon, in Minuet .style, with which we are familiar. It is bright and chatty, and presents no difficulties in the analysis. It is to be indicated, S. C, I. S. The connection between the motives is so apparent that a kw citations will sufi5ce. The ascending melody, g, a, b, is directly from the first subject of the Allegro. The motive of the Second period is almost identical with the chord figure so frequently quoted in the previous chapter : Ex. a86. S^ The last four measures beginning pp are also founded up( )n ihii 2o6 COMPLETE MUSICAL ANALYSIS. brief chord melody, a, /-sharp, d. These four measures form a Coda to the first period. The second period (not the second subject) ends upon /-sharp in the bass, just before the return of the first period. This is similar to the first, except the transition back to the tonic. The last four measures form the Coda. The Middle part (Canon II) is in contrar>- imitation, and the mode is changed to G-minor and ^-flat major. The second voice follows the first after an interval of three beats, but in contrary movement, I. C. The first period ends in i9-flat major, the second in G-minor. The first two periods in (7-major then recur as in a D. C. The Fourth Movement {Finale). The form of this is what might be called a Scherzo in Rondo form. The motive is here given : (Jr^^'i^itSf: Ex. 287. There are several features to be noticed in this motive : 1 . The last three notes of the first measure, d, b, g. 2. The descending fifth, a to d. 3. The diatonic figure d, ^, /sharp, g. The peculiar turn which the first of the melody takes in going from <: to ^ (in place of c to d, as heretofore), thus : Ex. 288. The first period ends on the finst quarter of measure 9 (calling the first six notes i); it is then repeated with slight variations in the theme. These will be noticed here, as tending to .show the possibil- ities of thematic development, and variation. Example 289 shows the original melody, and simultaneously the variations : Ex. 289, Both are written together for convenience of reference. The lower part shows the original (2), and the uppei part represents the same COMPLRTE MUSICAT, ANALYSIS. JO7 melody as it appears in the repetition, measures 9, 10 and n Tin nth and 12th measures present a similar case : Ex. 290. The plain melodic outline is this : Ex. a9i- [^p77f £ which is preserved in both parts of Ex. 290. Either (a) or (h) will therefore represent the melody at (c), and may appear in llK-malic development, or in a variation of the theme, as above. The first repeated period is regular, and should be so indicated (P. R.). Upon the last half of 17 a short Intermezzo commences and leads back to the principal theme, 23. After eight measures this terminates on the first of 31. A transitional Pa.ssage begins here simultaneously with the ending of the principal theme, thus forming an United Period. The sequence of fourths in the bass (as theme) is also to be indicated, Se. At the end of the transition the Second Subject is introduced, 43. This commences, like the first subject, u|>on the second quarter of the measure; hence it should be played in this manner : Ex. 392. Like the Sonata movement, this second theme is in the dominant. It forms a regular period, and terminates at 59. Before dismissing this subject, attention is directed to these notes, heretofore mentioned in connection with the first subject : Ex. 293. Compare this to the first four notes of the principal motive. Also observe the free imitation in the upper part at 53. The rhythm, and the melodic character of this resembles the last of the second measure also : 208 COMPLETE MUSICAL ANALYSIS. Ex. 294 From 59 there is a recurrence of the transitional passage at 31, but leading in a different direction. The descending fourth appears first in the highest part, then in the tenor, and finally in the bass. This may be marked Repetition, as the accompanying figure remains un- altered. At 62 the counter-subject is transferred to the bass and the melodic notes of the bass at 61 are given to the treble part. Mark this Inv. At 67 a reminiscence of the first movement is heard in these sounds : m Ex. 295. tfzz^' I This familiar outline is embellished during the six following meas- ures ; but the peculiar halting, Spanish character of the rhythm ren- ders this less noticeable to an inexperienced listener. From 75 there is a slight development of fragments from the principal theme, the d, e, ^, /-sharp being several times repeated. Observe the strict im- itation in the fourth below at 82. Upon the second quarter of the 85th measure the Principal theme recurs for the second time. (The Thesis is continued until this theme recurs, T. C.) This is repeated after the short Intermezzo, as before, and ends at 108. The Middle Theme, commencing in C-minor, is of peculiar con struction. It is too elaborate, and bears too strong a resemblance to the chief motive to be considered an Episode; yet it contains some epi.sodical features. To call it Coda would be to imply that the tail is longer than the- body. We have therefore termed it a Middle Theme, as the Principal subject comes again at the termination of the Middle Theme. The motive of this minor middle theme is this : 5f T. Ex. 396. g ^=3=*3 trr This is taken directly from the principal motive, the mode being changed from G-major to tonic minor. The slurs are included to show the divisions of the motive, not to indicate the phrasing. The last half (b) is an inversion (contrary) of the first half (a). The in- v*^rsion is employed in the development almost as much as the orig- inal figure, being frequently varied as at 2 and 3 in this example : completp: musical analysis. 1 -d ao9 Ex. 197. This should be observed closely. The melodic figure by the oboe, Ex. 298 Ex. 298. is responded to by the clarinet, Ex. 299 Ex. 299 p J . ^ ^ This is to be marked S. A. The first period, ending at 118, is slightly extended (ten measures). The second period is extended to twelve measures. From the last of 130 the Middle Theme is repeated, end- ing upon Z?-minor as before, 152. From this point there is a the- matic development of the motive quoted in Ex. 296. The first is transitional, and from the last of 156 this idea is carried out by a contrary canon between the contralto and soprano. The soprano melody from the last of 160, with the counter-subject in the tenor, is inverted from the last of 162. The soprano takes the counter- subject, the tenor takes the contralto pedal-note {f),and the theme passes into the contralto part. (All these details are important, and must be observed.) The four-note motive is now extended to eight notes, 164. 165, and first half of 166. The response above is to be indicated S. A. The response to the second phrase of the bass com- mences (in the middle-upper part) before the bass has concluded its phrase, 169, 170. The same motive afterwards appears in chromatic form, 172-3. After the antiphonal phrases in ad libitum style, the first of the middle theme is repeated, with some alterations in the melodic and thematic continuation. From the last of 202 there is a simultaneous melodic and harmonic sequence, the same motive ap pearing in this development.* These peculiarities are to be observed and indicated. After the change in signature (210) the principal subject of the rondo appears in Augmentation, as may be seen by comparing a with 6 : ~ The word Development is here used as a mere statement of fact. It does not refer m a particular part of the movement, as in the regular SonaU movement, but to the drrelop ment or elaboration of a motive, wherever it may occur. COMPLETE MUSICAL ANALYSIS. Bx. 300. The first occupies three fourths of a measure ; the second occupies one measure and a half Consequently the original first period, which was eight measures in length, will here require sixteen meas- ures for its completion. At the end of this, 226, the Passage occurs again ; this time more in the style of an Intermezzo. This includes the eight measures of episodical matter from 237. The Coda, containing twenty-one measures, begins at 245, with an imitation of the first motive. Measures 260, 261, and 262 (from the second quarter) constitute a brief Recollection, thus : Ex. 301. ^ The stretto is very brief, containing but three measures (St.). As a further illustration of the connection and unity between the various movements of a Sonata, the motive of each of the three movements to Mozart's Sonata in C, will be quoted : Ex. 30a. * eS Each of these motives is founded upon the intervals of a broken chord, either ascending or descending. There are other reminis- cences and kindred passages in the Romance and the Finale ; but the above examples will suflSce in this place to show the unity of design. (The quarters of the Romance about the same as the halves of the Allegro.) * This alio serves as Piuale to the /^-major SonaU, founded upon a chord motiT«. i COMPLETE MUSICAL ANALYSIS. 2II The Adagio and Finale to the Clementi Sonata should now be played for the class, that they may recognize as many as possible of \he details mentioned. QUESTIONS. 1. Rhythm of the melody of the first subject. 2. Rhythm of the accompaniment 3. Periods in the first subject (forty-two measures). 4. Number and length of periods in second subject. 5. Rhythm of the accompaniment. 6. Imitations. 7. Style of each of the three subjects. 8. Sequence and Passage. 9. Modes and Tonality. 10. Inversion and Syncopation. 1 1 . Coda, or Termination. (Other details are to be mentioned, if observed./ COMPLETE MUSICAL ANALYSIS. PART X. Chapter XXXIX. THE ORIGIN AND DEVELOPMENT OF THE SONATA FORM. THE Souata Form, as we have lound it in the first and sometimes in other movements of the Modern Sonata, has been the em- bodiment of so much high-class music that compositions written in this form only, were dignified with the name Classical. During the last half of the 1 8th century the Sonata Form was so thoroughly es- tablished as to become the great test of productive musicianship. Indeed, it has exercised a powerful influence upon the plastic nature of music. We have become acquainted with the outlines and many of the details of this form, at least sufiBciently so to enable us to appreciate its growth and development. This inquiry will prove as instructive as it is curious. In truth, we could not intelligently pass in review the periods during which the Sonata Form reached its perfect state of development, and final disuse, without knowing the origin and development of this remark- able musical embodiment. Two circumstances materially retarded the progress of musical composition until after the productive period of Palestrina. These were, the want of a complete tonal system,* and the crudeness of musical instruments of the harmonic class. Before this time vocal music was the almost exclusive product of the art ; so much so, that when the first instrumental composers began to write music for in- struments, without voices, they used the word Sonata (from sonare, * The music of the Troubadours was greatly in advaoce of the Art, as recog^nized by the Church aDd practiced by the leading composers at that period. COMPLKTE MUSICAL ANALYSIS. a«3 to souud) * Hence, a Sonata was originally any kind of an instni- raental piece. The first attempts were naturally without form Und we might add the remainder of the sentence from (k-nesis without prevaricating the truth). The contrapuntal (polyphonic) style had previously attained a high degree of scientific perfection in the masses and motets of the great Belgian, Dutch, French, Italian and English composers, and this style was afterwards employed as the basis of an instrumental form, 7. e., the development of one or two motives in one movement. These pieces, being exclusively in thematic style, were lacking in the primitive outlines of a distinct form. These requisites were most probably first supplied from the vocal form of the folk-song, which was necessarily more natural and artless than the ponderous and scientific ecclesia.'^tical style. The melodies to simple, popular rhymes naiurally resulted in the Ballad Model, and these were adapted to the prevailing instruments much better than the polyphonic form, which was necessarily difficult of execution before the appearance of the Virtuoso. The first period of an old melody is here quoted, as showing the natural origin of the ballad form. The song was composed by WiLz- lav, long before the time of Lassus. The music was written in the ancient hieroglyphical notation, without mensural proportion, except such as the metre of the poem suggested. The translation and ar- rangement are by the learned antiquarian and savant. Herr Stade : n LOVE SONG. Ex. 303. il- . III 1 J 1 1 ] 1 1 T' 1 — 1 <— ^j h- 1 1 1 -0—^ 1 J j J ' e^ — #- 1 —i — ' ■(i*! 1 1— -*- N=s -• ' ^ — ^ •- jl ^ -J- S >=4^ We have even here a plainly outlined regular period of eight full measures. This was repeated for the second \'er.se. The metre of the third verse of the poem changed, and this necessitated a change in the melody. When a little later the .second verse was sung to another period of music, corresponding to the first, the ballarl model was the result. *G. Gabrieli is .supposed to have been the fir-st who applied lhi» word lo >•> in.tru mental piece, about 1565. 214 COMPLETE MUSICAL ANALYSIS. The music of the old dances, such as the Pavan, Galliard, and Sarabande. became the next, and, perhaps, most important instru- mental form. A Dance Tune of the 13th century is here quoted from K. Naumann's excellent History of Music: Ex. 304. iy» -"^AjJj **n ' J7^ Jj^l'J-* ^ '^r-^ '^ This is written three times, but each strain is precisely similar to the first, with this distinction : the first phrase of the first and second sections in the second strain commences at (b). Both sections of the third strain commence as at (c), in place of (a) or (b). Other- wise the " three parts," as Dr. Crotch calls them, are identical. In reference to this Dance Tune, Naumann says: "It is worthy of re- mark that this piece, like Stoner is iaimen in, is in the key of F- major, and not in any of the church modes, and is in strict con- formity with the rules of modern music in its closes (authentic ca- dence), which are uniformly composed of a leading-note rising to its proper resolution. This goes a long way towards proving that our modem tonality was natural and spontaneous among our ancestors. although strictly excluded from the music of the Church, and ig- nored by all the theoretical writers on harmony for three hundred years after that date" — about 1280.! The various movements and figures of the dances gave to the music of this class a more pronounced rhythmic character, and cer- tain divisions, which constituted the Dance Form. These dances were so characteristic, and so well developed by the middle of the i6th century that composers like O. Gibbons, Couperin. Buxtehude. the elder Scarlatti, and Kuhnau, wrote pieces containing several /dance tunes following each other in the same key, and these they termed Suites. In Italy the.se Suites were called Sonatas, and finally the words Suite, Partita, and Sonata came to be used synonymously. Previous to this time, however, instrumental music had received a * Observe that the first section contains four measures, while the second section has t The church modes remained in use until a short while before the birth ' plainly outlined and easily recognized. The Elaboration is somewhat exhaustive, and deals with the principal themes. The Return is to the Conclusion transposed into the tonic, the first and second subjects being omitted ^ after the Development. Many similar examples occur in the Sonatas of that period, and in more modem works of this class we frequently meet with instances in which the principal subject is so considerably developed that it is not re-introduced after the development, but in place of that we have the repetition of the Second subject and Conclusion for the Reprise. That this is a material advance towards a more perfect instrumental art-form no one can doubt. Following in the wake of the younger Scarlatti we come next to Paradisi {17 12), sometimes written Paradies. This was an excellent harpsichord composer and performer. His Sonata in A-majoT (which contains the favorite Toccata as Finale) is superior in design to those we have noticed, though the treatment is more free. His Neapolitan Sonata in Z)-major is still more elaborate. But even here the structure is more in Fantasia than in Sonata form. J. Kuhnau (1667) has been credited with the invention of the Sonata form, but the author cannot agree with this statement. Kuhnau did write some instrumental compositions entitled Sonatas COMPI^ETK MUSICAL ANALYSIS. and not composed of dances ; but the form was obscure, and the out lines rather subjective than objective. The vocal compositions of this master, especially his sacred works, were valuable contributions to music of his day, and upon these his fame must rest. And, as a matter of fact, we cannot ascribe the Sonata form to any particular composer. It was not an " invention," but a natural growth from an incipient seed, planted by an invisible hand. In its first appear ance it was scarcely recognizable; but when it was once placed under the aerating influences of genius and art it pursued its steady growth until it had become fully matured. We now arrive at the period of Philip Emanuel Bach's artistic productivity. The Sonata came to him as a thematic or fantastic movement in two parts : the first part ending in the dominant, and the second part ending in the tonic. He also found in the Sonatas of his predecessors an embryo design as to first, second and third subjects, development, and return to the first. But the divisions were somewhat obscure ; no design appeared as to the different tonalities of a Sonata in the minor mode, and the remaining move- ments were also undefined and lacked coherency. The motive of the first subject in Emanuel Bach's ^-major Sonata is this : Ex. 306. I Ifcr m 1-^-1- ^-^t^f^j- ^l f -9- ••--a- ■»■ -0- ' -0- -0- ■»■ ' ■»- TT '^ — ^ which continues for twelve measures. The second subject is in the dominant, as follows : B Ex. 307. This is more extended than the first, and less lyrical. The Conclu- sion is brief : Ex. 308. extending but two measures beyond the quotation. 220 COMPLETE MUSICAL ANALYSIS. A glance at these motives will show the intimacy of their rel: tionship to one another. The .style is brilliant, but without bein in the lea.st trival or incongruous. The Elaboration commences with the chief subject, and is ski fully lead through various tonalities, including a Passage which lead to C-sharp minor. In this key a fragment of the second subject i introduced. Finally the original key is restored and we come t the Repri.se. This is identical with the first twelve measures, incluc ing the half cadence. The Second Subject then recurs, slightl; altered, but mo.stly in the tonic, as is the Conclusion also. This i to be repeated from the Development. After the repeat, the cadenc in the second ending is avoided, and a short Coda is introduce! to connect the Allegro with the Adagio. (This seems to be th< first in.stance of the kind.) The Adagio is in the relative minor The last movement is an elaborate Allegro Vivace, excellently wel written. The Sonata in ^-flat major contains .some novel features, whicl we will pass in brief review. The Second subject and Conclusion are each introduced by s measure of Adagio. The Second subject, though .somewhat modula tory, is chiefly in the dominant. The Conclusion begins in tonic minor, but ends in the dominant. The two chief subjects, including the episodical passage in the first part, are then reviewed and elaba rated in the development. The Return of the three subjects is quit* systematic and well defined. The Second movement is an Adagio and the Finale is an Allegro, somewhat similar in construction tc the last, being developed almost as much as is the first movement. The Sonata in /^-minor, beginning like this : Molto Allegro I — H ty—t Ex. 309 ^m ^ ^ ^ ^ — — contains the first instance of the second subject (to a sonata in minor), being in the Relative Major. It is this: COMPLKTK MUSICAL ANALYSIS. ,. .. , The motive, as well as the change of mode, affords an agreeable and consistent contrast to the first minor subject, and this ever after became the rule for Sonata movements in minor. The Conclusion, consisting of an equal period, is in Die tonic minor, and is in the beginning similar to the first subject. The Elaboration deals exclusively with the first subject, twelve instead of eight measures, and so the Reprise begins with the second subject, changed from major to minor, as the development was changed from minor to major. The Conclusion is in the tonic minor, but otherwi.se the .same as at first. A few concluding remarks will apply to all of the Sonatas ot I'h. Em. Bach which we have reviewed, and to his orchestral Symphonies as well. They reveal a musician of the highest type: scholarly, painstaking, of unerring musical instinct, and with a mind capable of receiving and moulding artistic impressions. His most brilliant figures and passages are not mere exhibitions of \nrtuosity, but com ponent parts of an organic whole ; and considering that his piano* compositions are more difficult than those of Haydn, this is all the more remarkable. The Sonatas of Rolle (1718) were written in the new style, and one in particular in £"-flat is very clearly defined and well developed ; but as he added nothing materially new to the form, we may pass on to the next great composer after Ph. Em. Bach. This was no other than Joseph Haydn (1732 — 1809). Haydn lived such a remarkable length of time, and during such an im portant epoch in music (which he helped to create), that his music should be indicated chronologically by opus numbers. His piano Sonatas mostly seem to have been written at an early period, and founded upon the plan of Em. Bach. At this time the Austrian labored under some disadvantages, as compared to Ph. Em. Bach. He was not so skilful a performer, nor had he in his youth such thorough musical schooling as Emanuel received from his illu.strious father.f We have seen that Haydn adopted the form as established by Bach; but here the resemblance ceases. The works of Haydn * The pianoforte was generaUy introduced during the life-time of this composer {1714 1788), the first having been submitted for the approval of his father t A lad who would voluntarily metamorphose himself from a music student inio >n uncommissioned valet-df-chambre to a pedantic and crusty old singing master, must inderil have had some asance as well as appetite for information. 222 COMPLKTE MUSICAL ANALYSIS. are much more melodious and playful. In fact, the age of popular melody was just beginning to dawn, and it could have had no better pioneer or champion than the author of " The Creation." This marked difference in style, from thematic to lyric, offers an easy solution of the divergence of Haydn's Sonatas from the character of those by Em. Bach and his predecessors. With Haydn every im- pression was an unsung melody, and was naturally expressed in the more euphonious lyric style. Hence the music of Haydn abounds in variations and melodic embellishments. A thematic motive may be altered in form, reversed or developed ; but it does not lend itself so readily to variation and embellishment as a lyric motive. The lyric motives of the new dispensation also brought the outlines of the Sonata form into stronger light, and in a Haydn Sonata one need not be an experienced listener in order to recognize the differ- ent divisions. The other changes introduced into the Sonata as a whole were (besides the more Cantabile slow movement) a Minuet, with "Trio" in a different key as third movement, and a vivacious, sportive Finale in Rondo form. The Menuet was also lyrical, retaining the accent and rhythm of the old dance, but having infused into it a more sprightly and grace- ful charm than it had possessed before the advent of Haydn. The Finales, however, are inferior to those of Paradisi, Bach and Rolle. The Finale to nearly all of Haydn's Sonatas was a species of dance-rondo, divided into short ballad-periods, each of which was repeated with numerous embellishments and variations. This gave to the work as a whole a monotonous, as well as a primitive, trivial character. Indeed, nearly all of Haydn's finales remind us of juve- nile merry-making. In his Symphonies and chamber music we shall see Haydn in his higher element. In the meanwhile we will proceed with our review. ILLUSTRATIONS. The Sonatas by Em. Bach, already mentioned; the one by Hass- ler in ^-^-minor (in canonic style) ; a selection from D. Scarlatti and Paradisi, and the Sonata in C-sharp minor (No. lo), by Haydn. COMPLETE MUSICAI. ANALYSIS. Chapter XL. THE DEVELOPMENT OF THE SONATA FORM. Continued. WE have seen how the word Sonata came to be first applied lo an indefinite, primitive instrumental piece, and how iIk- ti-rin was afterwards applied to a collection of popular dance tunes. Tlnii it gradually drew away from the Partita form and became cm inde- pendent, though imperfect, instrumental composition in two or three movements, and entirely emancipated from the style of song or dance music. Its consequent growth and development into a logical, artistic and homogeneous instrumental form we have also obscrvt-d. (Even the fully developed Sonata movement, however, presents a striking resemblance to the old Dance form. The three divisions of the former correspond to the First part, Second part in a different key, and Repetition, of the Dance form.) We have seen how a more euphonious and human (though less artistic) character was infused into the form by Haydn, Boccherini, Nardini, Hassler, and others. We now come to Mozart (17561. He was not alone the most precocious musical genius of any age, but an accomplished theoretical musician and skilful pianist ; the father having been a well-informed music teacher and violini.st. As Mozart himself has informed us that he had "diligently studied" the works of the great masters, both anterior and contemporaneous, we know that he found the sonata in an advanced state of development. Emanuel Bach and Haydn became his models. The thorou^ii schooling of his youth, his foreign travels, and, more than these, his genial fancy and wonderful perception soon enabled him to impart to the Sonata a more artistic grace and charm, without lowering its purely instrumental character. His (T-minor Sonata (No. iS) and the Z?-minor piano Concerto are not the only evidences of this fact. Haydn now drew as many art-morals from the works of Mozart as the Prodigy had previously extracted from the creations of his senior. As several Sonatas from Haydn, Clementi, and Mozart have heeii analyzed as exemplifications of the modem Sonata form, we arc 2 24 COMPLETE xMUSICAL ANALYSIS. already familiar with their outlines and general construction. In thei later Sonatas of Mozart there is a manifest enlargement and broad- ening of the form, and a more natural and spontaneous uniformity existing between all the parts and movements. In respect to Mozart a better estimate of his style can be formed from his piano works • than in the case of Haydn. Consideration must be made, however, of the fact that many of Mozart's piano pieces were written from \ impecunious rather than from inspirational motives, and the author 1 regrets that many worthless effusions by Mozart and Haydn have •} been so persistently and slavishly included in the great European catalogs, simply because they bore those illustrious names. Indeed, many students have failed to complete their first studies of those | masters on account of coming in daily contact with so much of triv- iality and commonplace giggery. * Mozart also varied the Sonata form by writing it in Adagio movement, not as an introduction, like the Haydn Symphonies, but as a regular Sonata Movement, with the chief subjects, and Develop- ment, and Reprise. It will be sufl&cient to mention his Sonata in v E-fiat major. No. 9; Adagio, Menuet I and II and Finale. Owing to the Development of the first subject in the sonata part, the Return is to the second subject, with a brief Coda after the repeat. He was also the first to write a theme and variations as first movement to a Sonata, and in all his important works there is a richer harmonic coloring and more distant transitions. Of the Sonatas of Clementi (nearly ninety in number) we have already written. Being solely a piano virtuoso his sonatas incline more to the bravura style than do those of Haydn and Mozart ; and though generally musical, as well as brilliant, they frequently exhibit more constructive ability than poetic fancy. Our next author is Dussek (1761). He was a finished pianist, a well-informed musician, and a man of great artistic talent. His principal Sonatas are excellent models of poetic fancy and interest- ing subject-matter clothed in the garb of classical formality. That he improved upon Mozart would be saying too much in his favor, but he was a valuable contributor to sonata literature. Before mentioning the great exhauster of the Sonata form, we will revert to the piano works of his rival, J. N. Hummel. Hum- mel was a pupil of Mozart, a great pianist, profoundly versed in all the details of the Art, and a composer of some excellent masses * See Imperfect Forms, Chapter XXX. COMPLETE MUSICAL ANALYSIS. 22'^ and chamber music. Owing to the enhirgement of the piano forte, and to his executive skill, his sonatas are more in the bravura style than those of Mozart and Dussek. Indeed, some are extrenielv diflScult. But this does not, in his case, imply a want of inspiration His compositions are fresh and spontaneous, generally free from artificiality, and nearly always of serious import. His earlier sona tas, including the one in £-/iai, with the Hallelujah motive, are a.s plainly outlined as those of his master. Even this vSonata, Op. i ^ is an example of the completely developed form. The chief .subjects are formed from elevating motives, the different divisions an- of sufficient length to produce a permanent impression, and joined to one another in a most natural manner. Another important k-alnrc is the Finale, which is an improvement upon both Haydn and Mozart. Yet almost every young piano virtuoso, newly weaned from his Parnassum and his thorough bass exercises, totally ignores the works of Dussek and Hummel, though he has no hesitation about performing his own abortive effusions. A short analysis of the Op. 13 of Hummel is here presented The first fortissimo phrase is a Preliminary motive, or a con densed epitome of the entire work. Though it stands in a prefatory position, it was not intended as a mere preludatory chord. The Principal Subject commences upon the last of the second measure, thus: A Ex. 3 (The numbers refer to the measures from the beginning.) The tran- sition commences at 19, with the hallelujah motive (above quoted) in B-/iaf. The Second Subject commences at 35, in the dominant. Observe how naturally the termination of the first subject leads into the second. The Second subject is brought to a close at 8i, and the Conclusion begins at once. The intermediate strain, commencing ai 62, has at first sight the appearance of being the Conclusion, but this is a reminiscence of the second subject (compare measures 37 and 39 with 62 and 63). The first eight measures of the Development deals with the Preparatory motive. At 100 the hallelujah motive is introdnce' slight. (This diversion has been called by various names, which the author regrets he cannot accept.) The Coda conUiin.s some passage work, a Cadenza, Recollection and Stretto. The Scherzo is a still farther departure from the Minuet form. The fourth movement contains three subjects, and is a ilecided improvement upon the Haydn Finale. Passing over ten or fifteen piano and chamber music conij>osi tions we will review the Sonata in iS'-flat, No. 7. This has tlie di- mensions, and, to a certain extent, the style of a grand vSonata. (The first movement contains nine pages, aside from the repetition.) There are several phases of the Principal subject, to which attention should be directed, principally on account of their subsequent u.st- and connection. These are : Ex. 312. I i^Pjj7^7 | ^ gFt^^ ^^ 3^ 8-^ The motive (i) is plainly constructed out of the />flal chord. No. 2 is a simple arabesk figure woven around this chord. The .same may be said of No. 4, though it is more progressive. No. 3 is the first diatonic motive that appears prominently. No. 5 is compo.sed of the intervals of a major chord ascending. (The original motive both ascends and descends.) No. 6 is a reversion of No. i The strain commencing at the 41st measure has been called by the strangely anomalous compound, first Second theme, /. e," Second theme I." If it is a second subject, let it be called such, for it is bet- ter to be logical and consistent than to rigidly follow a nomenclature of outline-analysis which was in vogue during the time of Mozart, but is now disregarded by every first-rate composer. 228 COMPLETE MUSICAL ANALYSIS. lyCt US go back to the beginning. After the positive and some- what doctrinal motive is announced (i, 2, 3 and 4), the piece speeds away on its sportive course ; one part taking up the thread as an- other comes to a close, so that the strain is quite continuous until it is arrested at twenty-five by the sudden and ^appearance of the first motive, here made more positive and momentous by the addition of the minor seventh. The response to this by the little sportive, let- us-be-gay figure in the treble parts is the natural, or rather the Beet- hovenish continuation of the period begun at 25. A similar period commences at 33, responded to and continued by the sportive ele- ment. Another period, perfectly connected with the preceding, be- gins at 41. This it is which the author believes has been misappre- hended. It might be called an auxiliar>- theme, but " first second theme" is too anomalous and too misguiding. The strain in ques- tion is a perfectly natural continuation of the sportive element which has thus far prevailed. To be sure, there is a warning voice : Ex.313 ^ ^-4 -^ in the lower counterpoint, but this is not capable of arresting the onward flow of the treble part. Each of the periods commencing at 41 and 51 contain nine measures, two measures by w^ay of anticipation and change of har- mony being included between the two irregular periods. Upon the last half of 59 the Second theme commences. There can be no doubt as to thus, the contrast being so strong. In the Cotta Edition this is marked ten metronomical degrees slower than the first subject — a very just interpretation of the character of this lovely theme. The first period is repeated in a very graceful variation, which is merged into a considerabh' extended period, ending^ We then hear a rather plaintive and persuasive bit of subsidiary melody in the con- tralto : Ex.314- r^^r^'-^n^TT^- After being repeated, this melody passes into the baritone part, ac- companied by the sportive figure of the first subject (see 18 and 19). OIMPLETE MUSICAL ANALYSIS. 339 At 93 this is interrupted by a still more positive motive (an inversion of the chief motive), but without the descending feature. The Conclusion commences at in. and is founded on a jK-dal- note throughout (an excellent example of this device). The pedal note, aside from its tenacious and persistent character, adds consid- erable unity to the upper design. At the conclusion of this there is a short Coda in antiphonal style. Observe the peculiar effect of the syncopation, and the connection between this and the first motive of the Allegro. (Coda seems to the author more appropriate than "Close II," as it is in the nature of an afterthought.) The Development is rather brief, and merely pre.sent.s a .slightly different phase of the dual character of the first division. The Syncopated motive of the Coda, with its impatient accent, also attracts our attention. The only new feature is the melodic section at 173, and again at 181. Observe how the first is suddenly inter- rupted at 177 by the positive, chief motive^ The Reprise, with the subsidiary themes, the Second subject and Conclusion, is not aiaterially different from the first division. (The differences should be sought out by the student.) The original Coda is considerably extended, and contains a Recollection of the second subject, and also of the other subjects. The last eight measures form a Stretto. The Largo. This beautiful and soulful lyric exhibits the tender side of a proud and heroic nature. (From this M. Gounod seems to have borrowed the motive of his Ave Maria.) The first period is perfectly regular, and this is followed by a characteristic Intermezzo of .six measures, and then the principal theme is led off in a different direc- tion, and somewhat impatiently. Notice the peculiar Avoided Ca- dence at 201, and the fate-like rappings of the staccato chords, _^ After the cadence on C there is a brief transition to A-pat major for the Second theme. The first period of this ends in /-minor. Then it is taken up in D-flat major, the continuation being more yearnful, and ending, all unsatisfied, upon G. The di.stanl wliisjM^r- ings above serve to recall the principal theme, a part of which .soon follows in B-flat. Obsei-ve the use that is made of this fragment of the first motive in measures 45 and 46 : Ex.315- 230 COMPLETE MUSICAL ANALYSIS. The recurrence of the Principal theme is only slightly dififerent from the first. A notable exception is to be found in measures 65 and 66, where the repeated figure : Ex.3 16. 1 ^ — — ^ ^^ sung by a higher voice, is very significant. The Coda begins with the motive of the second subject. The curtailed period at the close has been previously mentioned. The Allegro. This movement is a quasi Scherzo, full of lithesome grace and happy humor. The manner in which the first period is extended to twenty-four measures is worthy of note. The second period begin- ning with the canon founded on a diminished seventh chord is more serious ; but the first period soon recurs. After the silent measure there is a sportive, intermediate theme constructed upon this figure, from the principal subject : \ ^'■3'7. p £| =y 4^ P which ends in a similar manner to the first period. The last nine measures form a Coda. In the " Trio " the form is changed, and, in truth, nearly everything is changed — key, mode, rhythm, movement, and melody. The first period of sixteen measures is perfectly regu- lar. The second is curtailed to twelve, and then the first recurs, with a different continuation. At the termination of this period there are a few plaintive measures of Coda leading back to the Allegro. The Ro7ido. The principal theme is sixteen measures. Then there is an inter- mediate strain in form of an intermezzo. After a perfect cadence this ends upon the dominant. The Second subject begins in T-minor, and consists of a double motive, ' or a subject and accompanying counter-subject. This terminates with a short Cadenza leading to the return of the principal theme. After an Eingang of one measure we have a Third subject in two parts (two periods) in C-miuor. This is something of a digression, even COMPI.RTK MUSICAL ANALYSIS. ^3' though its chief motive is employed in the termination of the Rondo. At the end of the Third subject a few transitional measures are added to lead to the third appearance of the Principal tlunu-, as before. The intermediate strain, with the antiphonal answers in the upper part, is also the same, excepting the transposition. Then we hear the second subject again, commencing in /''-minor. After thi.s. the Principal theme is heard for the fourth time, though now con sid<-rably altered by means of embeUishments, syncopation, and a descending chromatic progression. The Coda begins rather abruptly in ^-major, but soon modulates back to if-flat. Here the Termina tiou ("close") commences, with the arpeggio accompaniment in thirty-seconds, and founded on the melody of the Third subject, changed from Minor to Major. The entire Termination is calm and reposeful. As illustrations to this chapter it would be well to play, by way of review, The Sonata in ^-flat, by Mozart ; * Sonata Op. 75, or 35, No. 2, Dussek; Sonata Op. 13 in j&flat, Hummel ; Beethoven Op. 2, No. i, first, second and fourth movements, and the Op. 7 entire. QUESTIONS. (For each Movement) 1. Measure and Modes. 2. Rhythm of the different motives. 3. Number of subjects. 4. What motives developed. 5. Forms (how many). 6. Cadences. 7. Eingang, Episode. 8. Pedal-note, Passage, Cadenza. 9. Styles (Lyric, Thematic, Harmonic, etc.). 10. Conclusion, Coda, Termination. 11. Echo, Counter-Subject. 12. Middle Theme (or third subject). 13. Recollection, Stretto. * There is so much confusion in the numberinR of these SonaU» in the foreif o C«t«tog» that a thematic indication will be given in the Compendiuni. 232 COMPLETE MUSICAL ANALYSIS. The Sonata movement as a Form ; the Scherzo, or Minuet, Rondo, or Finale, should be recognized and specified. This might be a general question. Chapter XLI. THE ENLARGEMENT AND PERFECTION OF THE SONATA FORM— Concluded. IN passing chronologically over the piano Sonatas of Beethoven we meet with only slight deviations from the recognized form and arrangement, until we come to the Op. 27, Nos. i and 2. As regards the natural and psychological impressions, and his mode of convey- ing them to us, these are ever new, progressive, and truly remark- able. These considerations are necessarily far more important than the external ones as to form, outline and tonal construction, and may be compared to the relationship between casket and jewel, body and soul. In the Op. 10, No. 2, we notice a principal theme recurring after the Development in Z^-major, in place of the key-tone, F. In the Op. 26 the first movement is a theme of two periods Cone form), fol- lowed by five variations, and a final Coda of fifteen measures. The remaining movements are: a Scherzo, Funeral March (in place of the usual song), and a Finale, partly in Rondo and partly in Sonata form. The theme and variations had previously been used as a first movement by Haydn and Mozart, but not such variations as these. The introduction of the Funeral March was Beethoven's invention, which he afterwards applied in the Heroic Symphony. (It is curious to observe that the marche funebre was written while Beethoven's sometime hero was not only yet alive, but the shining light of the first French Empire. But when he caused himself to be crowned. Beethoven's Republican enthusiasm vanished, and the dirge became a lament over insatiate ambition. In later years, when our composer was told of the death of Napoleon, he simply answered: "I have already written his funeral march.") COMPLETE MUSICAL ANALYSIS. ,.. i We now come to a new epoch in the sonata fomi. Heretofore , (especially with Haydn and Mozart) the first movement was the most important. Nay, the finale was ver>' often of no c^n.scquence whatever. Both of the Sonatas, Op. 27, are entitled " Sonata .luasi una Fantasia," /. e., a Fantastic, or Free Sonata. In the first movement of No. i we have a Principal subject, Inter- mezzo, and return of the principal subject, all in the tonic A" flat, ex- cepting a few abrupt transitions in the intermezzo. The Second subject is in C-major, with a change of key, metre and movement (though the beats remain about the .same). After a transition, this leads to the third appearance of the principal theme in A-flat. The Intermezzo is here omitted, and the movement ends with a rather mystic Coda. A Scherzo of peculiar construction then follows. The I third movement is an Adagio in single form (one subject), ending I with a Cadenza, or transition, to the dominant, which l>ecome> the I key-tone of the Finale. This is a Rondo in Sonata Form, with three I subjects, Development, Return and Coda. This stops upon the dominant seventh chord, and then the first part of the Adagio is re- introduced, and the whole ends with a Stretto, Presto. Op. 27, No. 2. The plan of this (if it is allowable to apply sucli a term to this wonderful improvisation) bears some resemblance in its fantastic form to the No. i. After five measures of prelude we have a song without words, Adagio. This is a single form, with but one Principal subject of two periods, regular and extended, and a Coda, in which the upper bass repeats the rhythm of the subject as a pedal-note. The Second movement is an Allegretto* {a la Menuet). with two repeated periods and a " Trio." Observe the extension of the .second period, and the peculiar significance of this. The Finale. Prrsio, \% in Sonata form, and, like all the movements to both nuralKT.s .,.' this opus, it is joined to the others without interruption. The Principal subject (thematic) is joined to the second subject (lyric), which first occurs in the relative minor of the dominant. The Conclusion, in the same key, is somewhat extended, containing a Coda and return to the first. The Development deals with the two chief subject.^ and a frag ment of the third. After this we hear the Repri.se, with the .second and third subjects and Coda transposed to the tonic, and an exten- *Von Biilow appropriately terms this an " Intemi«»o betwcea two trmficml sig^t pieces." 234 COMPLETE MUSICAL ANALYSIS. sive Coda, or Termination, in which the different subjects are again passed in review. These are interspersed with some Passages anc a Cadenza. This is, as we have seen, a considerable deviation from the regular sonata plan. Amateurs, who have read the romantic account of how Beet hoven composed this piece in the lampless music-room of the blind girl, with the streaming moonlight as a guide and a text, know very little of the deep sorrow and disappointment, the hopeless fervor, and the almost dreadful despair which this sonata expresses. The moonlight fancy has served its purpose, and hereafter the Sonata should not be associated with its former fictitious title. The principal peculiarities of Op. 28 are, an enlargement of the Second subject, an extended Elaboration, principally of a small frag- ment of the first subject, and a Coda taken from the first theme. Op. 31, No. I. From the beginning of the first subject to the introduction of the second there are no subsidiary themes or digres- sions. The Second theme appears in jS'-major (the original key-tone is G). The Conclusion is short. The Development deals exclusively with the principal theme, and contains considerable Passage work. The re-appearance of the first theme is curtailed. After the Con- clusion there is an extended Coda, with a few new features. The middle movement, Adagio grazioso, is a very material enlargement of, and deviation from, all previous middle song movements. The Rondo, also, is of peculiar and original design, with several subsidi- ary themes, some development of the chief motive, and a capricious Coda. This latter seems to be incorrectly or, rather, prematurely indicated in the standard editions. No cadence is effected until just before the Adagio. Here, with the alternate Adagio and Allegro, is where the afterthought occurs, and accordingly this is the Coda. Op. 31, No. 2. This is written upon a Dual Theme. The first is this Largo: The effect of the long-drawn chord is emphasized in the original by the suspension of the A-major chord below. Here is the other and more animating part of the subject which follows the first: The motive of the second subject is taken from this latter, wliilu the development deals principally with the /ar^o phrase. This subject 1(a) and response (b) alternate again in the relative major, the second jpart of the subject being continued through twelve mcasure.s. Tlu- original motive then appears in minor, allegro, as a bass subject. responded to by this soft but plaintive phrase : Ex ^'"• tLlS^ zg This is continued throughout the page, the bass all the time growing in importance until the response above consists of merely a mono tone. The Second subject is more extended and continuous. It is in ^-minor, and consists for the most part of vanishing and re-ap- pearing figures. This movement has no Conclusion, strictly speak ing — and why should it.-* The composer was in Fairy-land (fairies also have their woes), and not obliged to be philasophical. The Development begins with three long-drawn major chords. D, B, and /^-sharp, Largo. The Allegro is then resumed, and the Elaboration continues somewhat after the fashion of what has l)een mentioned as to the bass solo and treble response. This wanders through various regions, and at the end there are ten measures of Coda as a return to the first theme. After giving out the first larf^o phrase, as before, there is a remarkably human Recitative in H minor. Then a Section of the Allegro motive, and the Recitative is repeated in T^-minor. Now, in place of the natural Allegro .se- quence, as at first, there appears an Episode of twelve measures, leading to the return of the Second .subject, as at first, except the transition. The last eleven measures may be considered Coda. The middle movement is an Adagio, and the Finale a remarkable con elusion to the whole.* This analysis of the first half of Beethoven's piano Sonatxis has already led us to a very decided anticipation of the Romantic style in music. This path, which his genius conceived, and his strength accomplished, has gradually led to the Anti-classical, the Romantic. * The student's attention is here directed to the Development in Op. 31, No. 3. II »• easily analyzed, and will prove instructive. 236 COMPLETE MUSICAL ANALYSIi. and the Realistic styles of the 19th century. With the thematic amj necessarily pedantic style of the forerunners of Haydn, Beethovet had little affinity ; the almost exclusively lyric style of the Italians and, to a great extent, of Haydn and Mozart, attracted him only foi a while, as he soon found that his sermons upon Art and Immor tality could not be preached in such a consonant language. As foi! the bravura displays of Steibelt and Kalkbrenner, he never accepted! their doctrine, and .so had not the trouble of putting it aside. He was to this extent an eclectic: that he used all styles when they served a purpose, besides creating a style of his own. The Sonatas of Onslow, Von Weber, Schubert, and others, wen mostly influenced by the grand sonatas of Hummel, and especially! those of Beethoven from his opus 7 to the still greater concludin ones. The romantic tendency of Von Weber was more the resu of the romantic librettos which he selected for his operas than natural impulse in that direction. Moreover, the romantic style w created by Beethoven, and this is the other clue to Von Weber' romanticism, despite the fact he considered the composer of tb Romantic Seventh Symphony " fit for a mad-house." As for Schubert, he was an original creative artist, to who melody and harmony came without the asking. But he was a silent worshiper of the Titanic Beethoven, whose personality was to poor little Schubert so colossal that for many years he never ventured into Beethoven's actual presence ! Like Haydn, Schubert had no money to pay for lessons in Counterpoint, but who shall say that he learned less from the mute pages of his idol than he would have learned from Herr Professor? Schubert has been classed among the originators of the Romantic School, and in a sense this is true, as many of his works, especially for Orchestra, have a romantic vein. But the natural bent of his thoughts was lyrical, combined with a rich harmonic structure and a ceaseless flow of melody, which, as in the case of Mozart, gives to his subsidiary themes a connection which unites them into a continuous chain. In this respect Schu- bert has scarcely been equaled by any other composer. The purists have scolded about his " erratical forms" and his "want of contra- puntal knowledge," but as a matter of fact Schubert was a severe student, and, after his twenty-first year, a well-informed musician, not alone in theory, but in orchestration. If not, then he must have been a greater genius than even Dr. Grove believed him to be, for his last three Symphonies, as well as some of his Sonatas, are master COMPI.ETE MUSICAL ANALYSIS. j ;■» creations, full of the most charming melodies ever conceived, rich and varied harmonies, originality of conception and form, and skilful contrapuntal treatment.* After studying and hearing Schubert s great Symphony in C, Schumann, the most prophetic of critics, wrote as follows : " In listening to symphonies like this, we are transported to a region where we never remember to have been before. Here we have, besides masterly power over the musical technicality of com position, life in all its phases, color in exquisite gradations, the minutest accuracy and fitness of expression, and permeating the whole work a .spirit of romance such as we recognize in other work.s cial i of Franz Schubert. This heavenly, long-drawn-out .symphony is i(iii|, i like some romance of Jean Paul's, which ought never to end." esii Schubert composed not for gold, nor even for fame; but simply ail as the birds sing, and as the flowers exhale their perfume. He used ;w [ no chart, no square and compass, but he conceived such music a.s ber[ I prompted Beethoven in his last hours to remark, " There is indeeecame of the classical form when Beethoven composed his Z>-minor Syni phony? It became a thing of the past, as we shall see in the last chapter. In the meantime let us be glad that the tardy verdict of his native city has at last placed the coffin of Schubert beside that of his illustrious ideal. With respect to Mendelssohn (mo.st of whose music rests ujx)n the classical foundation) we will say but little until we come to the end of the classical period. ILLUSTRATlONvS. Beethoven. Op. 27, Nos. i and 2; Op. 31, Nos. i, 2 or 3. Hummel, Op. 20, 81 or 106. Schubert, /^-minor. Op. 42 or 143. Onslow, Ops. 7 and 22 (four hands). Von Weber, Op. 24 or 49. His »ong, The Erl King, ought to be sufficient to e«Ubli«ii his rcpuUtion amoiM: nmortals 233 COMPLETE MUSICAL ANALYSIS. Chapter XLII. THE SYMPHONIC FORM. 1 STRINGED QUARTETTE. CLASSICAL OVERTURE. CONCERTO. THESE are ba.sed upon the Sonata form; in fact, they are fre- quently identical as to formula. The Symphony is usually more extended than the Sonata. This is principally owing to the fact that the various principal and sec- ondary themes admit of repetition in the symphony more readily than they do in the sonata. For example, a theme given out by the stringed orchestra may be repeated by the wood-wind "^^ or the brass instruments with such different effect that the repeated melody sounds almost like a new subject. In adapting the same theme to different kinds of instruments the composer is naturally led into a different arrangement, which also adds variety to the repetition. This is illustrated by the following example : At (a) and (b) we hear the difference in tone-quality between the blow and the stringed instruments, and also the difference in execu- tion. The reiterated notes are perfectly easy on the violins, and these *The composition of a full Orchestra is as follows; 2 Flutes, 2 Uautbois (Oboi). 2 Clarinets, 2 Bassoons (Fagotti], 4 French Horns (Corn/), 2 Trumpets (usually Cornetsi, 3 Slide Trombones, i Tuba, i pair Kettle Drums (Timpani'^, and string-ed instruments in proportion —about thirty-five. Other instruments employed for special effects are; English Horn iCotno IngUse), Bass Clarinet. Douhle-bass Bassoon. Saxophone, Piccolo and Small Clari- nets, Triangle, Cymbals, Tenor and Bass Drum, Cong Tam-Tam', T.Tmbourine, Castanets, Bells, Great Organ, and Harp. The Violins. Violas, Violoncellos, and Double-Basses are .■;poken of as the Strings , IVood-Tvind applies to the wooden blow-instruments— Piute, Oboe, Clarinet. English Horn (when employed), and Bassoon : the Brass includes Horns, Trum- pets, Trombones, and Tuba ; the Percussion instruments (pulsatalic) are those which marlc the rhythm and the salvos — Drums, Triangle, Cymbals, Belli, and Tam-tam. COMPLETE MUSICAL ANALY.M^ -.^9 give to the repetition of the phrase a more animated character. Another difference in the Symphonic Form is, that the principal subjects are more extended, or certain secondary themes, which Rrow out of the principal ones, are more frequently employed. What is called Conclusion in the Sonata seldom appears in the Symj)hony ; but in its place there is a Return, or brief Coda, either for the repeti- tion or the Reprise. After the Reprise there is a final Coda more extended. Sometimes this consists of a brief citation of the Icathnc themes, and sometimes it is in the nature of a Conclusion, or Tcr mination. In Mozart's first Symphony in CAminor there are three subjects in the First division, which is repeated. The Second di vision contains but a few measures of development, and then comes the Reprise. In this the Second subject is given in tonic minor iu place of relative major. The second division is also repeated, and finally there is a Coda of fourteen measures. In such cases there is no third division. In the Symphonies of Haydn the first division is invariably repeated, as in the Sonata. In the Mozart Symphonies the first division is seldom repeated, and frequently the themes are so numerous, or of such nature, that no development appears. These are the main points of distinction between the Sonata and Symphonic forms, and though the observing student will find ex- ceptions in numerous standard works, the Symphonic form inav Ik.' generally understood as we have stated it. Herewith is a brief analysis of one of Haydn's most popular Symphonies, and one that was written in his full maturity, 1791. It is known as the "Oxford." Preceding the Allegro Spirifoso there is a short Introduction, Adagio. The Allegro commences with these four measures : Ex. 322. as a Preliminary Motive, and as a preface to the more important Principal Subject, which is this : Ex- 323- ^^^^^^ This continues for fifteen measures, when the Preparatory motive is again introduced in the capacity of an intermezzo. This time it is 240 COMPLETE MUSICAL ANALYSIS. extended to five measures, and then the main subject recurs am modulates to A. The first motive is then introduced in D (fou measures), to lead to the Episode or Transition in Z>-minor. Simul taneously with the ending of this, the Second subject appears in the Dominant, thus: Ex. 324. At the end of this (which is but eight measures in length) we have a briefly extended period, or Coda of three measures ! The Devel- opment begins first with the Second subject, and then the First, and afterwards fragments of both are employed simultaneously, and in canonic style. The Episode is also employed, as well as the principal part of the first subject. The Reprise is the same as at first, with exception of a subsidiary theme as solo for the basses, and some transitional matter. The Second subject recurs in the tonic. The Coda begins with this: Ex. 325- ^ fr--^->-W-j-^ ^ J_j_^ ^ 1 — f \ f ^^ » ^ \ m. f=^ After this is a brief Recollection (of the second subject) and a Stretto founded upon a fragment of the first subject. The second movement is a very graceful and lovely Adagio in Z>-major, followed by an episodical second subject in />minor. The return of the first subject is the same as at first, with an interesting and rather plaintive Coda. The third movement is a bright and characteristic Minuet. Part II to this contains the three-measure phrases previously mentioned. The fourth movement, a Presto, is thoroughly characteristic of the genial old composer. The First subject is repeated, with slight changes in the orchestration, and then a second strain (not a second subject) follows. After a subsidiary theme we hear a series of har- monic sequences leading to the dominant, in which key the Second Subject appears. There is a short Conclusion and Coda in form of a transitional return to the first division, D. C. After the double bar wc have the Development, principally of the first subject, then, after the transition, the Second .subject in C, modulating through D, and to Zf-minor. Then an anticipatory Return from the Elaboration CO COMPLETE MUSICAL ANALYSIS. 24T S5.J the Reprise. This latter takes place where the first two periods (f^; [ (Principal subject) recur, exactly as in the beginning of the Presto, jiuj I excepting the repeat. After a short transition out of the key and j„i;| back, the Second Subject recurs, as in the first division. transjKjseii 10 the tonic, G. The Coda begins in the basses, just as the violins and flutes are making the cadence of the second subject : f frf , f fff, L— ^^ Ex. 3*6. ^'-^ T^m--^^ The fragment of principal theme used as the motive of the Conclu- sion in the basses forms an United Period here (third measure of our quotation). After twelve measures of this, the Recollection commences. From this it will appear that the outlines and construction are not materially different from the classical sonata form. The internal arrangement and the incidental details are necessarily more varied and polyphonic, owing to the large number of instruments. ( Thus Svmphony was scored for one flute, two hautbois, two bassoons, two horns, two trumpets, two kettle drums, and the string quintette — about twenty-five or perhaps thirty performers). A sketch of one of Mozart's Symphonies composed in 1773 will now be given as a contrast to the one from Haydn. This Symphony in D is No. 14 in I,itolff's Catalog; No. 23 in that of Breitkopf and Hartel. It opens with an introductory section (M. P.) /«///, and the Principal subject commences in the string orchestra, with the motive in the bass. This first subject, with its subsidiary passages, is of unusual length (for this symphony), but the different periods are closely connected, and contain some clever bits of counterpoint (Observe the 39th, 40th, 41st, 42d and 43d measures.) The vSecond subject, composed of antiphonal phrases (the hautbois responding to the \nolins), is in the dominant. The Conclusion begins at the end of the Second theme, and as it illustrates one of the essential differ ences of internal construction between piano and orchestral music, the first few measures of the Conclusion will be quoted : 242 Ex.327. COMPLETE MUSICAL ANALYSIS. w None of these parts except the horns can properly be termed com- plemental, for each is important and characteristic, >'et they are all conceived so clearly that they can be comprehended even upon first hearing. As this design is clearly impracticable upon the piano as a solo, and yet, as the parts are all essential, it is plainly a symphonic one. At the end of this there is a short Coda, as a return to the Principal theme (in the bass). No Development appears anywhere in the Symphony, except that the entire work is in one sense a development of these notes of the principal subject : Ex. 328. ^ ^ (Mozart's motives require but little illustration.) After the Coda the entire first division is repeated literally, with 1 the prescribed transpositions back to the tonic. The Coda leads di- rectly into the Andante, without any pause or rest. This Andante ' contains two distinct themes, with an Eingang of five measures after 1 the Second, as a return to the first. This Eingang is again used as ' a means of connecting the Andante with the Finale, * Presto assai. •This is the first instance of the kind which the author has noticed 'P. E Bach's pUn i bein; different). This continuity and connection of movements has recently been revived, as in the favorite ^'-flat Concerto by Lisst, and many recent Symphonies. COMPLETE MUSICAL ANALYSIS. rhis is a peculiar species of Rondo, the Principal subject of sixteen measures occurring five times without alteration I As a relief ti> this :here aie three short periods in the dominant, then the repetition of :he first theme. Following this is a Middle Theme in /)-minor, with i short appendix as a Return. The three-period part is then trans- posed to the tonic as a Second subject. After repeating the first heme for the last time there is a short Coda constructed out of the :hief motive of the first movement : ^j ...3..^^^^ md the movement is at an end. The second and third nioveuR-nts I ire decidedly inferior to the first. There is. however, a remarkable :: iflSnity and unity between the various motives of the different move- nents, and it would be difficult to imagine a more naive and sunny jiece of music than this little symphony with its bright and con- OE ident Allegro, its amiable Andante, and its frolicsome, hurrah-for-a- II jood-time Finale. k It would be manifestly unjust to this great musician to close even as, ,his brief review of his works without mentioning some of his more M important Symphonies. Attention is therefore called to the second till |!z-minor Symphony (No. 550, Kochel), beginning like this; Ex. 330. ^i - ^ cj ir unnf itz: Pjvhich, with the "Jupiter," was composed in 1788. It is not only a nature work, but, in the author's opinion, the greatest piece of sym- )honic writing up to that date. It represents Mozart in his most rtistic and serious mood. The themes are purely instrumental, and , >f a loftier type than most of the music of that period. The formal onstruction is unrestricted by arbitrary rules, yet the theoretical J,,,, letails are as correct as if they had been arranged by the erudite jfe llbrectsberger. The first movement is an enlargement of the Sym- ijj i)honic form of that day. Each of the principal .subjects is extended, jjj,: Ind that, too, without tacking on a Coda here and there ; but by neans of native growth and a finely conceived thematic development. The Elaboration is most effective, and truly remarkable. The- wo principal themes are first reviewed, and then made to battle 244 COMPLETE MUSI'-AL ANALYSIS. against each other. During this and what follows, much is made of the first three notes quoted in Ex. 330. The last eight measures before the Stretto are particularly touching and beautiful. There are four movements to the work, three in 6"-minor and one in A-flat major. The Finale is also in Sonata form. A characteristic of the melodic structure of this symphony is the frequent use of the har- monic form of the minor scale, with the augmented second both as- cending and descending. The full score of this Symphony should be examined ; but if that is not practicable, the author would recom- mend Kirchner's very clever arrangement for two pianos, eight hands. By making a detailed analysis of the work it can then be played as Kirchner has arranged it, without difficulty, and with in- structive as well as pleasurable results. But without the analysis the Symphony had better be left in its mute paper cover. THE CLASSICAL OVERTURE. Mention has been made in Chapter XXX of the popular Operatic Overture being, so far as form and contents are concerned, a Pot- pourri; but the Classical Overture is written as a musical exposition of some scene, or poem, or historical character. When Mendelssohn was asked to describe the wonders of Fingal's Cave, he replied: " It cannot be told — only played." Accordingly his overture upon that scene is the musical record of his impressions and recollections of that marvelous subterranean cavern. Schubert's Overture, Op. 26, to the story of" Rosamunde " is a good example. The plan is this: Introduction in C-minor, some- what dramatic, and with a lovely, short theme, heard in various unrelated keys. The principal movement then commences in C- major. Allegro vivace, with a First subject of considerable length. and a subsidiary theme to lead to the Second subject in the domi- nant. This is succeeded by an elaborate Conclusion and Coda, and then a transition back to the first theme. There is no Elaboration. The repetition of the principal themes is the same as at first, with transitions to and from the tonic, and the overture finally ends (this was the hardest part for Schubert) with a rather brilliant Termina- tion, in which he changes the metre from to ^. The themes are very fascinating and the workmanship good. F^rom what has been written about the Potpourri-Overture the student must not conclude that all operatic overtures are in this formless style. Those of Mozart, Chenibini, Von Weber, and th« COMPl,ETK MUSICAL ANAI.TSTS 3^,^ ^\ i Still greater ones of Beethoven, are pure classics, bcinR inteiioi U) the Symphony only in length. THE CONCERTO. The great Concertos are written almost exclu.sivelv for I'lano. D; . , Violin, or Violoncello, with orchestral accompaniment. The tornu i It I are the most numerous, owing to the advantages which the piano fls , possesses in power, compass, and iimdrr— the latter heing so different iif I from that of the orchestral instruments that its softest tones art- Hi » j easily distinguished. t: ; Though the Concerto is ostensibly an elaborate solo witli orche-s- ]); ; tral accompaniment, the construction is something of a compromise between the solo Sonata and the Symphonic form. Since Beethoven composed his Choral Symphony the lines of demarkation between these two forms have become wider, as will be seen in the last chapter. The orchestra usually sounds the principal motives in their un- embellished state, by way of Introduction. In Hummel's ./minor Concerto. Op 85, the orchestral introduction is considerably ex- tended, introducing to our notic-e all the principal motives, even the transposition of the Second subject from the relative major (where it first appears) to the tonic major, as in the last of the Allegro. After a transition in the horns back to the original key-tone, the Solo enters. The formal construction usually begins here, as the Solo takes up the different subjects in their natural order, surrounding them with fioriture, arabesks, embellishments, variations, pas.saj^es, cadenzas, etc. This plan is similar to that of Mozart, who was the creator of the modem piano concerto. This natural expansion and ampHfication, together with the more or less antiphonal style which results from the frequent responses between Solo and Orchestra, con- stitute the distinguishing features of the Concerto We should also mention the orchestral intermezzos which come in simultaneou.sly with the closing of the different periods or climaxes by the solo in- strument. These Intermezzos are termed "iu//i passages," * and are naturally extraneous to the Sonata form, as we have seen it ; thoujjh the tutti frequently does more than mark the climax and sustain the interest created by the development of a Solo passage. It frecjuentlv acts as a continuation of the musical representation, and prepari ^ I * Tutti refers to the employment of all the instruments simultnDeou«ly . but in thi. sense it applies to the orchestral passages, without the solo instruint nt 246 COMPLETE MUSICAL ANALYSIS. the way for other views which are to be unfolded. There are usually three movements to the Concerto — the Dance form seldom beinj included. The Concerto is the highest exemplification of the Bravura Style and possesses some advantages over the solo piece. The orchestra coloring not only aSords great variety, but in cases of complex ami plification or variations of a motive by the solo instrument, the melodic outlines may be given to the orchestra, thus elucidating what might otherwise be difficult of comprehension. Nearly all composers have written concertos, from Bach and Mozart, down tc our own Whiting, Nicholl, and MacDowell. The tutti parts may be played upon a second piano, or organ, which is still better, as it does not require so great a strain upon the imagination as a two-pianc arrangement. A partial list will be found in the Compendium. CHAMBER MUSIC, Chamber music includes all classical music intended for a small, and select audience, written for a few instruments, from a duet to a decet — a flute, oboe, clarinet, horn or piano being added to the string quartette or quintette, which is the standard of chamber music. If we select as an example the String Quartette (first violin, second violin, viola and violoncello), it may be briefly described as a minia- ture Symphony The contents and form are nearly the same as those of the Sonata. The String Quartette is, however, a characteristic class of music, which, if it lacks the variety and grandeur of the Sym- phony, yet has these advantages : The parts are more intimately re- lated to each other, and there are comparatively few extraneous or superfluous parts. Each instrument has its own individual melody or sub-melody, and tells its own stor5% or joins in chorus with the others. At the same time the voice-parts are not so numerous as to prevent their thorough and complete comprehension and enjoyment. And this four-voiced polyphony is a great advantage which the Quar- tette possesses over the solo Sonata, without mentioning the dreamy, delicious and ethereal quality of the sustained passages in a quartette — an effect which the greatest pianist can never hope to equal. In- deed, it would not be saying too much if we class the String Quortette and Quintette as the purest and u?ost exclusively musical of all styles of instrumental music. The human voice can alone outrival the , tone of the violin ; but the violin can, with perfect ease, execute | so many passages and transitions that would be impossible to sing- ;| COMPLETE MUSICAL ANALYSIS. H7 ers. and with a continuity and variety of tone-color, also impossible in vocal music, that the advantages are greatly in favor of the \'iolm Quartette The Chamber Music of Eocherini, Haydn. Mozart, Hum- mel, Beethoven, Onslow, Schubert, Mendelssohn, and Schumann must be heard to be appreciated. A piano arrangement of clumber music is so unsatisfactory that the author does not recommend it as an illustration of this style. ILLUSTRATIONS. Symphonies : Haydn, "Oxford" in G. Mozart, No. 23, D, and the one in G^-minor arranged by Kirch- ner (Edition Peters, No. 2273, b). Beethoven, Larghetto to Second Symphony, Op. 36, or Alle- gretto to the Eighth Symphony, Op. 93. Overhcres : Mozart, Don Juan or Magic Flute. Beethoven, Fidelio (in E). Schubert, Rosamunde, Op. 26. Mendelssohn, Fingal's Cave, or Ruy Bias. These and the Symphonies should be played as duets or duos, or with eight hands, two pianos. Selections, including Concertos, will be mentioned in the Compendium to this book. 24& COMPLETE MUSICAL ANALYSIS. PART XI Chapter XLIII. PROGRAM MUSIC. REALISTIC, CHARACTERISTIC AND DESCRIPTIVE. SINCE the production of Don Giovanni, The Creation. Oberom, , and especially the Op. 67 of Beethoven, there has been a gradu- ally increasing tendency among creative artists towards a more de- finable and tangible musical expression. Previous to the birth of Haydn, instrumental music was not sufficiently known and devel- oped to assume the functions of a Language, except in the hands of those giants, Bach, Handel, and Gluck. Those masters wrote not alone intellectual and ideal music, but considerable tone-painting also. But the imperfection of many of their instruments, the unde- veloped state of instrumental music, and the restraining canons of musical theorists, were serious obstacles in the way of characteristic or descriptive music. Haydn was sixty years acquiring the skill which enabled him to compose The Creation. In addition to his musical inspiration and spontaneous flow of melody, he had here not only a connected narrative, but a detailed, guiding text from begin-^ ning to end. Haydn's previous life of servitude, even with the vex- ations and entanglements included, never could have inspired such music as his great oratorio contains. A higher motive and a more definite plan than could be gathered among courtiers, lackeys and intrigante was necessary to the production of his greatest work. Mozart, who had quicker perception, and the benefit of a cosmopoli- tan life, learned the lesson before he was thirty; and whoever has listened to his Figaro, Don Giovanni or Magic Flute (not to mention his g^eat symphonies), must realize that instrumental music, even COMPLETE MrSICAI, ANALYSIS. j^^ one hundred and four years ago, could portray other sentiments than those of vague fancy and psychological phenomena. The opt-ra.s of Von Weber are still more realistic, and confirm the impressions left upon our minds by Mozart. (The Opera is here mentioned oti ac ocunt of its pronounced character, which does not require a skilk-d analyst to point out the significance of this passage or that. If the operatic scene represents the iniquitous Don being engulfed in the infernal abyss, every one may judge for himself whether the accom- panying music is appropriate and descriptive, or whether it i.s a nurt- blatant fanfare.) In the Pastoral Symphony Beethoven has drawn the veil irom instrumental music, and with no other text than .scenes remenibere'body envious of her happy part- ner." This refers to the short movement in | metre in the midst of the " merry-making." The description is most excellent, and shows keen analytical perception, as well as a considerable confession from a critic who is ever placing a finger to the lips, and disclaiming all intention of telling what the music means. Much stronger and more explanatory is the foot-note which Von Billow wrote to the joining of the la.st two movements in Beethoven's vSonata on the Departure, Absence and Return. He says : " The mourner's grief at the absence of the beloved friend has found ex- pression in plaintive monologue, and then follows a moment of un- consciousness, softly mingled with a suspicion of his speedy return. We can almost see the solitary one, wandering with downcast look, COMPLETK MUSICAL ANALYSIS. 3^, which suddenly brightens ; a lifting of the eyes, a cr>' of rapUirc. aiul Uien a hastening to meet the newly found friend!" Von Hulow makes no apology for this revelation. He is something more than a theoretical scholar and a critical annotator. He is a discipU- of Liszt and Wagner, an interpretive artist, and a man of imnKiisc information and profound knowledge. The author had occasion, in another work, to refer to the cnlari^ed sphere of music as it now exists, and the innumerable means of t-x pression which the art now embraces. Indeed, the material avail able for tone-painting to a man like Rubinstein or Saint-Saeiis is (aside from their inspirational power) so immense as to be almost incomprehensible ! But even with these vast resources they have never attempted to represent, by means of instrumental music, a detailed narrative. Nor has any reputable author endeavored to deduct abstract ideas from a tone-poem, or to name the color of a musical heroine's hair. There are certain freaks who attempt to describe in music " the entrance of General Taylor into the city of Mexico," the " advance " of a particular regiment at Waterloo, etc. There have, also, been certain quasi musical scribblers who have tried to pull away, not alone the veil, but the very draperies from Music's Goddess. Hut certainly the sins of these n^isguided transgressors should not be charged against composers who select a motto, or a poetic text, as a basis for their inspirations, nor against the author who endeavors to point out the particular connection between certain of the poetic contents and the analogous passages in the music. "Am Genfer See," by Bendel, is an excellent book of music, without the accompanying poem of Leo. But with the addition of this we are taken into the confidence of the poet-musician and permitted to accompany him on his delightful journey. In place of detracting from the music, the poem rather enhances and eluci dates it. Not every composer would attempt a musical exposition of this romantic poem, and certainly none but a gifted musician would have succeeded, as Bendel has, in producing a highly artistic .series of tone-pictures, appropriate, suggestive, and beauti^'ul. Indeed, if so many music-teachers and reviewers were not either too obtuse or too biased to give their pupils and their readers more information with regard to the descriptive and realistic char- acter of certain compositions, our people would find more enjoy- ment in listening to music, and we would have fewer cases of 252 COMPLETE MUSICAL ANALYSIS. bankrupted orchestral and choral societies. And until this infor mation is more fully given, a large majority of people will con- tiuue to withhold their patronage from what they consider a merely agreeable auricular sensation. Far from being repelled by a piece of Program music, we should rather be attracted to it, for a poor composer will show his incapacity much sooner on account of the betraying text which he adopts than if he had confined himself to the " pure instrumental style," in which the form and structure may be as correct as the " Consecration of Tones," and yet have no relevant meaning. Compositions of a realistic or descriptive character, in .short, all high-class Program music, is herein recommended, not altogether on account of the peculiar interest (born, perhaps, of curiosity) which attaches to them, but as matter of instruction and general benefit to the earnest student of music. With a morceau like Schumann's Warum it will be sufficient for the class to know that a question is asked and a regret expressed. The imagination, of course, is not to be robbed of its vocation. There is considerable analogy between the painter's and com- poser's art ; not only in results attained, but in the modus operandi. Form, rhythm, tonality, etc., have their corresponding processes in painting. A colorless picture, such as " The Crossing-place," by Halfnight, may be taken by way of comparison : First, there is a Draught as to the bounding lines, and enough of the general char- acter of the picture to indicate whether it is a marine view, a land- scape, or a portrait; next comes the Sketch, in which the details are sufficiently indicated to show a foreground of the opposite banks of a small stream, with trees on either side, and something of linear perspective; finally we come to the Delineation. Here the details are perfected by means of light and shade, and the natural distribu- tion of the illuminating rays. The result may be briefly stated : In the foreground a small, shallow stream, winding from left to right, and away in the di.stance ; on the left a female figure merging from the path through a river forest to the open ; a boat moored to the nearest bank ; water-lilies and swans floating upon the water in the foreground; stone steps leading to the landing on the left, vvith a corresponding pier on the opposite shore. In the distance a cottage and a church, half hidden by the oak and elm trees, with a broad .streak of light in the center, outside of the .shadow lines and extend- ing in perspective to the limit of optical vision — altogether a faith- COMPLETE MUSICAL ANALYSIS. ,^^ ful and pleasing pastoral, and one that might inspire a composer with very musical sentiments, for there is a j^-culiar sinnhliidr between painting and music. Both appeal to the imagination, and depend largely for their eflFect upon the connection existing bctwt-vn outline and seemingly adventitious details. Thus we may a.scertn.n from the picture the location of the scene, the life of the peojiU-. and that the housewife is returning from the field beyond to her h.nnr on the opposite bank of the stream. We may also determine whence the light proceeds, and the time of year which the .scene represents. In like manner a bit of Spanish rhythm, a fragment of vScotch. Hun- garian, or Chinese melody might be the means of elucidating a musical composition; for it is such peculiarities as these infused into the music which gives it what Mr. Edgar Kelley calls atmosphrre Thus a smack of bell melody, or some well-known chime : a boat- like motion ; a bugle call, or a hunting-horn signal ; a rapid spin- ning accompaniment and innumerable other adventitious details, become important indices in descriptive music; and are as proper as the devices in painting which enable us to say, the hour is noon, because we see no outlying shadows, or the season is autumn, on account of the color of the foliage. These are extraneous circum stances, but they add to the completeness of the picture, and a<>sist the imagination in its endeavors at divination. ILLUSTRATIONS. F. Bendel, Op. 135, "Six Stories in Tones." Little Red Riding Hood. Cinderella, etc. "Fairy Tales," by Gurlitt, Max Vogrich, Merkel. and Reinecke. Van der Stiicken, Op. 8, "Gnomes, Nymphs and Reapers." Dances, after Shakespeare's "Tempest." Jos. Low, Op. 485, " Paul and Virginia" (Piano Duet). Saint-Saens, Op. 40, Danse Macabre (Dance of Death), alter the poem by Cazalis. V^on Weber, Op. 65, " Invitation a la Danse." Templeton Strong; Sounds from the Hart/, Mountains Sevcu Cbaracteri.stic pieces (four hands). A. Jensen, " Erotikon," Op. 44. Seven tone pieces, i, Cassandra; 2. The Enchantress; 3, Galatea; 4, Elektra; 5, Lament of Adonis; 6, Eros; 7, Kypris. Bendel, Op. 139. "Am Genfer See." Six tone paintings, lollownig the poetic text of Leo. 254 COMPLETE MUSICAL ANALYSIS. The author has seen no translation of this strange poem, but it furnishes so many keys to the beauties and significant parts of the music that the teacher is advised to procure at least a rough tran- script for the benefit of the class. The illustrations should be per- formed somewhat in the order of their enumeration, as the first is especially characteristic, and every one who remembers their childish lore will appreciate the significance of the music. Another beautiful selection is the Op. 485 of Low. A brief poetic text in German and French is placed as an explanatory motto at the commencement of each of the musical numbers. The composer has caught the poetic spirit of the poem and transferred it to sounds in a remarkably artistic humor, and it is one of the most characteri.stic and beautiful of all the small Program pieces. In the Fairy Tales the interpretation may be mostly left to the imagination. The Se- lections from Conductor Van der Stiicken are excellently written and happily conceived; but these should be preceded by a short study of V-' ikespeare's Tempest which has inspired so many com posers. The Op. 65 of Von Weber has been so thoroughly analyzed that the author will merely call attention to the delicate suggestiveness and characteristic nature of the piece. (Notwithstanding the beauty and significance of the music, it is u.sually strummed out after the two-pints-to-a-quart measure of ball-room waltzes.) The Symphonic Poem by Saint-Saens is probably the mo.st realistic piece of descriptive music ever written, and it is important that the class should hear a performance of this opus, but they must be forewarned to expect nothing euphonious or beautiful. The subject, though once looked upon as a portentous and credited phenomenon, is, of course, too antinomious a matter to be con- sidered otherwise than as a phantasm. It is, moreover, the very antithesis of whatever might be properly called beautiful. In short, it is a very ugly theme. But it inspired M. St. Saens to produce a remarkably weird, ghoulish, and spectral composition, and one that would have done honor alike to the scientific skill and the abnormal imagination of Berlioz. This opus was scored for orches- tra, but the most effective arrangement for our present purpose is that of E. Giraud, two pianos, eight hands.* * A complete explanatory analysis of the Danse Macabre will be given ia " The Lan ^'.lage of Music." COMPLETE MUSICAL ANALYSL^. The Op. 44, of Jensen, will require some explanation from ihc teacher if it is to be understood by the pupils. In a review of this lesson it would be well to read a brief dcscrip tion of some tone-picture like the " Paul and Virginia. " and then play selections from the work in miscellaneous order, to prove the abihty of the class to specify any of the eight numbers. Chapter XLIV. THE ANTI-CLASSICAL EPOCH, AND THE MODERN ROMANTIC SCHOOL. INTELLECTUALISM, REALISM, MODERN-CLASSICAL, AND ROMANTIC-CLASSICAL. THE causes which led to the modern Romantic styles in music are too multifarious and conflicting to admit of detailed enii meration in this volume. And, independently of these agencies, the author has for a number of years past been satisfied that for enlarge- ment of design and novelty of expression we owe as much to the natural spirit of progress as to the extraneous influences of [)oetry. legend, politics, and social revolution. Human interests and motives are so prone to cupidity, and lead in such sordid paths, that artists are instinctively impelled towards some self-existent or ideal state, the antithesis of what goes to maki- up our daily life. The influences of nature, on the contrary, off'er con.solalion. r graceful winding stream midst blooming valleys or towering mount ains; the gorgeous, thousand-hued sunset— all these fill the soul with a sense of perfection and satisfaction. Even the smallest flowx-r of forest or glade is a type of perfection ! And so there is a coiist.nii strife between the carnate flesh and the ethereal spirit : one. already 256 eOMrLETE MUSICAL ANALYSIS. f in the abyss, endeavoring to drag us down ; the other, dwelling among the flowers and the stars, striving to elevate us. Though it will be in consonance with our previous course and progress to look upon the new styles and forms as the natural proc- ess of art -evolution, yet every new path must have some objective direction, and so we must inquire, what expression is sought, and what goal is to be reached. We must first separate the real from the unreal, the natural from the supernatural. With the entity of the former we are supposed to be familiar. The latter includes Dragons. GriflBns, Giants, Gnomes, Ghouls, Goblins, Witches, Spectres, Dryads. Tritons, Naiads, Nymphs, Elves, Fays, Genii, Sprites, etc. The Elves, Fays, Sprites, Nymphs, Sylphs, and Naiads come within our concep- tion of the beautiful ; the others are either repulsive, terrible, or awe- inspiring. Among these creatures and spirits are those which inhabit the interior of the earth, water, air, and fire. Empiricism, transcendentalism, spiritualism; the doctrines of Schelling, Hegel, Mesmer; in short, whatever is strange or incom- prehensible has had its effect upon Romanticism. The legends of Lorelei, of the Erl King, Frithjof, and the race of giants also had their share, as we have seen. Add to these the numerous vital and chem- ical phenomena, some of which were analyzed in Chapter XXVII, and it will be apparent that practical life and Baconian philosophy possess but little attraction for the poet, the artist, or the composer. As for the romantic poets, the following quotation from Novalis will serve as a criterion : " We dream of journeys through the universe — is not the universe in iisf The mysterious road leads but to our innermost soul; we are Eternity. The outer world throws but shadows upon this realm of light." Yet this is not stranger than the miracles which form part of the three principal religious creeds: Buddhism, Mohammedism, and Christianity. And yet the \'&cy mainspring of animal life is a mystery, not less remarkable than the seemingly unsupported planets of the universe. Music, not being a definite language, must be preceded by poetry. painting, or sculpture, wherever the expression goes beyond physical or psychological emotion, or vague fancy. No Art can give com- plete expression to an ideal; but what one lacks, another may supply. And thus the peculiar power and province of each has at last become known and recognized. As a rule, what is most vague and mysterious is best adapted to music: hence the Romantic finds its most natural expression through the medium of melody, har- COMPl.ETK MUSICAL ANALYSIS. 2,^- mony, and rhythm. The Music-Dramas of Wapiier. all foundwl Upon mythical subjects, are proof of this. Though the romantic style in music is a product nt the pieseut century, yet the elements and subjects of romanticism are coeval with vital existence. It was not, however, until the latter part of the 1 8th and beginning of the 19th centur>- that the many legends doctrines, phenomena, and supernaturalisms which have been men tioned, began to coalesce and center around the new temple of thought, wherein the unreal becomes real— fiction and legend l)e- come truth and philosophy. Inventors, innovators, and discoverers have ever been discredited and jeered by the world, who, like the flock of sheep, will continue to scramble over the fence, even though the bars be down. Cialilco. Columbus, Fulton, Monteverde, Beethoven, Berlioz, Schumann, Wa^ ner, have all been persecuted and maligned. Happily these clouds of prejudice have been dispelled, and all will be clear again until some other genius of innovation appears, when history will rejK'at itself in conventional fog and tirade. This will surely come to pass; for time and the elements are constantly adding new conditions to the old. And we may expect ere long to see a piano-forte whose imperfect mechanism will not require from fifteen to twenty years to overcome, and perhaps a violin which will not remind us of /f/ifiui intestimis when out of the hands of a Joachim, a Sara.'^ate, or a Wilhelmj. BEETHOVEN. By the time the music critics had become accustomed to Beet hoven's Romantic Seventh Symphony the giant was ready to hurl his Choral Symphony at them, 1824*. This puzzled them still more and they were not long in concluding that the choral part was "heterogeneous," and that the entire work should be cut down and trimmed into a "producible form." But the master was sure of hLs doctrine, and fortunately there were those like Schumann who real ized that the evolution of art is as inevitable as the evolution of nature. The purists and the conservatives beheld with dismay the gradual disintegration of their favorite forms and models, and at once sounded the war-cry — the preservation of the Classical. What ever went beyond, or fell short of their abstract idea of form. Ix-cam*' known as Anti-Classical. - Grove's historical and critical Analysis of this greatest of .11 Symphonies i. publi.h.d in pamphlet form, and ought to be read by every student of mntic. :58 COMPLiit£ t>lVSICAL ANALYSIS. The last and greatest compositions of Beethoven, the Program Music of Berlioz and Liszt, and even the piano works of Schumann and Chopin, all fell within the pale of their displeasure, and were accordingly condemned. Schumann, at an earh' age, buckled on the editorial armor, not so much in his own defense as that of Beethoven, Schubert, Berlioz, and Chopin, and in favor of progress and art- development. In this he w^as greatly aided by Mendelssohn, who, though now considered a classicist, was shortly after the death of Beethoven enrolled under the revolutionary banner of the anti- classics. In addition to the newspaper panegj'-rics and frequent per- formances of Beethoven's and Schubert's greatest works, which were brought about by the Schumann coterie, they devoted them- selves to the general advancement of Art, to the encouragement and defense of Chopin and Berlioz, and afterwards of Gade, Brahms, and other rising geniuses. Schumann and his party, realizing that human joys and woes had already formed the burden of too many songs and symphonies, brought forward the doctrines and tenets of Romanti- ci.sm in all its diflferent phases of beauty, mysticism, grandeur, terror, and diabolism. Berlioz and Liszt were soon attracted to the new school; then came Wagner, Raff, Von Biilow, Rubinstein, and the other illustrious ones. Though not all sharing in the weird fancies and radical mysticisms of Jean Paul, Novalis, and Schumann, yet there was this common bond between them: They were all enthu- siastic advocates of the continued advancement of Art-principles (which included the last sonatas and string quartettes of Beethoven and his Choral Symphony), and were opposed to the non-progressive purists, whom they called Philistines and fossils.""' An examination of the music composed immediately after the death of Beethoven reveals the principal styles of the present day. The Romantic world, already introduced by Beethoven, Schubert, and Von Weber, was more fully explored and illustrated by Berlioz, Schumann, Mendelssohn, Gade, Raff, Heinrich Hofmann, Rubin- stein, and others. The only features of Romanticism which at- tracted Mendelssohn and his followers were those naive and sunny elves of the fairy world of Oberon and Titania. Berlioz and his followers seized upon the transcendental ; demons, ghouls, spirits of evil, Satanic power, and even the horrible din and uproar of Pandemonium — these were the themes in which they delighted, and ' Among these were Steibelt, Kalkbrenner, Von Weber, Field, and Mo»cheles. I COMPLETE MUSICAL ANALYSIS. 5 59 which they expressed so powerfully thai their style may be called the Realistic. BERLIOZ. Hector Berlioz, the greatest of all French composers, was almost exclusively an orchestral writer. He discarded the arbitrary out- lines of form and the prescribed rules of construction, trusting to the consistency of the subject he chose to illustrate. Bcrlio/. never undertook the composition of a work until he had formulated a plan embracing the incidents to be illustrated by means of music. Heinj; a literary scholar he wrote his poetic program first, and then set himself to the task of expressing through the agency of instrument- al music the scenes, emotions and incidents indicated in the pro- gram. If a scene is devoted to Marguerite, the motive remains the same ; but when Mephisto enters, we have diabolical music to indi- cate the fact in no uncertain manner. That he should write a sec ond subject in a certain key, at a certain point in the movement, because there was a rule to that effect, these things he never .seri- ously contemplated. Had he been obliged to do so, he would have preferred to remain a medical student. In addition to his literary and musical gifts, Berhoz was the inventor of " Program Music," and, in his prime, the greatest of all masters of the Orchestra."^ CHOPIN. Chopin, though he has had as many imitators as Schumann or Mendelssohn, and more than Berlioz, never aimed at the establish- ment of a school. Caring but little for Chorus or Orchestra, he de- voted his genius exclusively to the Piano. Though he discarded the abstract form of the Classicists, and composed in a manner bt)th original and beautiful, yet his music is classical in this sense ; that the conception and execution are in the highest degree arti.stic. Many of the dances of Chopin are perfectly common in form, like other dances ; but the peculiar turn of the melody, the rich and varying harmonies, and the exquisite grace of the ornamcuLation stamp them with the seal of genius. Chopin's natural tendency was, however, towards more cumpait and coherent single forms. In place of a preconceived and formal plan, as to number of subjects, elaboration, tonality, etc., he foUowet! * At the beginning of his musical career, Wagner wrote a letter from rarl* to U-l. to reference to Berlioz, and concluded with these words: - Thererare to-day onlr ihrer n....i cians alive in this world— you and I and he." 26o COMPLETE MUSICAL ANALYSIS. 1 fancy on its natural course, keeping the same motive, but ever changing and beautifying it to the end. The Berceuse is one of the best types of these remarkable single forms. Another peculiarity of the Polander's music is, the numerous chromatic progressions, both melodic and harmonic, wherein the tonality, like a phantom, becomes vague and indefinite. From a technically analytical standpoint the works of Schumann are anal ogous ; but here the resemblance ceases. {So many discri7nitiating articles have beeyi written about the music of these two masters that ike author has designed to include merely a few critical paragraphs upon the relationship of the different composers to the prevailing styles of the present day.}* LISZT. Another style, the Rhapsodical form, as we have previously termed it, owes its origin principally to the King of Pianists, Franz Liszt. The idea of appending to the music a descriptive Program of the scenes and emotions to be portrayed was borrowed from Berlioz, but the form and the manner of conveying these impressions are different. The Symphonic Poems, " Les Preludes" (after Lamer- tine), " Tasso," " Mazeppa," the music to Dante's " Inferno," etc., are in the Rhapsodical form. Here we have the first instances of the continuous, unmterrupted melody, the constantly changing tonality, and the characteristic motives of Berlioz, all united with the most brilliant and bizarre effects of orchestral coloring. However much these works may be decried, it is well to remember that Art is boundless, and that the Inferno ser\^es a purpose. INTELLECTUALISM. There is still another school, and an important one, headed by Johannes Brahms. As this is something of a compromise between the two opposing styles, it might properly be termed the Romantic- Classical. I Certain natures are at all times conservative, as opposed to radi- calism. This is true in art as in politics. Herr Brahms and his col- leagues belong to this class, and it must be admitted by whoever looks on from a neutral standpoint that the conservatives have pre- served society from annihilation, though frequently driven by Radi- calism into a more liberal and progressive policy ; and so one becomes a complement to the other, like storm and .sunshine. " See Frederic Chopin— Hi« life, work, and letters. By Moritz Karaaowski. 2 VoU. The John Cbnrch Co. -^n. I COMPLETE MUSICAT, ANALYSIS. 26l The Romantic-Classical style jireserves as nnich as possiMr of the outlines of classical form, while enriching it with all the a- rated out of one or two of these small themes. Another charm of these music-dramas is the uninterrupted and seemingly interminable melodies, which keep expectancy at its highest pitch, until relieved by subsequent action or interest. The harmonies are immensely various and highly colored; the conception bold and poetic, and the orchestration may be classed among the wonders of human accom- plishment. The composer was also a poet, a .scientist, and a con- noisseur of painting, sculpture, scenic-effect, stage mechanism, and even of terpsichorean figures and evolutions; for all these acces.sorii-s are constituent parts of his scheme. That a radical of his cnlil.:. should create unjust enemies and over-zealous friends is but a n.itir... consequence; but the student is earnestly advised not lo Ix- unduly 262 COMPLETE MUSICAL ANALYSIS. influenced by the former, who look upon Wagner as a methodical lunatic, who wrote merely jargon and cacophony ; nor by the latter, who confidently assert that the Prophet of Bayreuth was the only truly great musician, and who do not scruple to throw literar>- dirt even at the statue of Beethoven ! This is bad policy and worse ethics. MENDELSSOHN.* The history of art affords few exceptions to the rule that misery is the mother of genius ; and when an exception does occur we are wont to say that it lacks heroism, or is too plastic and effeminate — forgetful of the fact that not alone grace and charm and gentle spirit belong to woman, but that fortitude is also stronger in the feminine than in the masculine character. Heroism is mostly the product of circumstance. But we cannot always recite the chronicles of Homer. Hood and Burns, Drake and Bryant also have their niches to fill. In fact, the world is as deeply indebted to Reinecke for his beautiful little Sonatinas and Cantatas as to Rubinstein for his colossal Ocean Symphony. Years ago some crotchety critic affirmed that Mendels- sohn's music was " only fit for school-girls," and we have heard the remark quoted by village professors who, if they should live centu- ries, would never become as thorough musicians as was Mendelssohn at the age of fifteen. If ever>^ composer is to be compared with Beethoven, few w'ill survive; but the detractors of Mendels.sohn never think of comparing Haydn to Beethoven, for that would destroy a popular idol; and yet, if a considerable quantity of Haydn's music were published under an American name it would be pronounced unmitigated trash. Few musicians have exercised such a powerful and beneficial influence upon the art as Mendelssohn. It was he who resuscitated the Cantatas and Masses of Bach ; who first conducted worthy per- formances of Schubert's then unheard Symphonies, and who helped to popularize the greatest works of Beethoven. It was he who first recognized Gade and Joachim, and extended a helping hand to the neglected Berlioz ; and to him the world is indebted for the Leipzig Con.servatoriuni. Small minds do not conceive or execute such designs as these ; nor do inferior composers create a style of their own, with such imitators and followers as Jadassohn, Hiller, Rei- necke, Taubert, Gade, Sterndale Bennett, Heinrlch Hofmantj, and * See "Mendelssohn, a Memoir," by K. Hiller, or the life >/, McodeUsohii in Crowe'; Dictionary. COMPI^ETK MUSICAL ANAI.YSIJ Brahms. If we are to judge (as bome have doiHM !>> the I.icdii ohne Worte. ■ or his unsuccessful attempts at dramatic music, his position in art would not be a very higli one; hut we might as ilh judge Schubert by his volume of dances, or Beethoven hy his Baga- telles. Let us rather acknowledge that it was Mendelssohn wlio conceived the most characteristic musical representations of the- fairy world, anrl that his " Elijah," " St. Paul," 42d Psahn. Scotcli Symphony, and most of the concert overtures are masterpieces of the most refined grace, deep learning, and ingenious fancy. Aside from this he was an accomplished and courtly gentleman, with a Xofty sense of justice and honor, and whoever passes animadversions upon him should do so with a respectful salutation. Mendelssohn was by nature and education a classicist, and many of his comi>osi- tions betray rather too much of the lyrical tendency, a fault com- mon to both Mozart and Schubert. Yet his best works contain but little of the conventional form and outline. The vScotch Symphony is a wider departure from the abstract form, and quite as original as the " Im Walde " of RaflF. An.^lysis of the Scotch Symphony, Op. 56.* The first movement, Andante con Moto, is in the form of an Introduction, though it opens with the leading motive, which is this: Ex.331 The entire Andante is confined to this motive, which appears in various forms; but the tonality is principally that of . /-minor, as the introduction is in the nature of a meditation. The Allegro, also in A-va.mor, commences very softly, thus: Ex. 332. This section is repeated in T-major. The theme then returns to ^-minor, and is led in a different direction from the first quotation. As this Allegro movement savors somewhat of Intellectualism * For interesting particulars concerning the scenes and memories whJch inapirvd Uii* opus, the reader is referred to the " Standard Symphonies " by Upton. TheM: deull* •re necessary to a perfect understanding and enjoyment of such works. 264 COMPLETE MUSICAL ANALYSIS. (being mostly a development of one motive), it will be instructive to observe the thematic treatment : Ex. 333. ^^ :^5=?£ lE^ t± ?=P=f ±iit ES^ ££ The last of this is a descending, rather than an ascending melody- The germ of the whole movement is this : Ex. 334. The rhythm of this J M I *1 plays an important part. The next phase of the subject is this : Ex. 335. ^ ^=^=4 i r g r z ^^ ^ fe.^ ->*^ — h a;c=rr-tr-^-f=H- rj r irifJU iTuet. This becomes continuous by means of the duet. Just before the lower part makes its cadence upon the tonic, the upf)er part re-com- mences the first theme as before — measure 22. The melody is then led in a still different direction (see 26, 27 and 28), and the cadence postponed till the Assai anima^o, which occupies the place usually assigned to the Second Subject ; though, to be precise, there is no second subject to this movement. Here again the continuity is maintained by means of the duet, each part making its cadence as the other begins. At the end of this stretto passage (^) the first theme returns in this form, accompanied above by a plaintive melody — a natural and graceful outgrowth of the leading theme : Ex. 336 COMPLETE MUSICAT. ANALYSIS. 265 After a brief transition there is a strain of peculiar constnicti'on and eflfect beginning at 99. The harmonic accompaninient is almost dramatic in its coloring, while the melody is typical of hou%.in. ▼ and freedom — especially these intervals: Ex. 337. Attention is also called to the transition commencing at 1 1 |. and the charming effect of the chromatic progression founded upon the pedal-note B : This leads to a climax upon /i-minor, in which key the Kt-lraiu is heard. This strain forms what would be, technically, the Coda; hut it expresses so well the burden of one's thoughts in connection with Holyrood and its hallowed memories, that a more suggestive title than Coda seems necessary. Besides, it corresponds perfectly to our [definition of Refrain. i At the end of the Refrain, after a beautiful perdcudosi . the first part is repeated. ] The Elaboration commences with a vague reminiscence ot the i chief motive, very skilfully interwoven with a characteristic hint of : Scotch music : Ex. 339. The harmonic outer parts (r-sharp and ^-sharp) are plainly .sum^fsl j ive of the drones of the bagpipe. The interior melodic design is continued until tht where the regular Development commences : y^th measure. 266 COMPLETE MUSICAL ANALYSIS. Observe the difference between the principal theme in the bass zn< the same theme at the beginning of the Allegro. (The student wil learn more about thematic development from such comparisons thai from whole volumes of dissertations upon the subject.) The counter-subject above is also to be noticed — firstly in regar( to its contrapuntal construction, (Mendelssohn was a complete ma^ ter of Counterpoint,) and then in reference to the esthetic effect ol this counter-theme against the more animating melody below. From 185 a new and brighter element is introduced into th' upper part: ^ 5^ Id ' f'iirSS ' •' ^'^ 'r^dg The bright little flute figure, the principal theme in the violins, th« harmonic accompaniment in the middle, and the interrupted imital tions between the 'Cellos, Faggots, and Basses, as they respond t(| one another, all these are to be observed. Attention is also calle(| to the transitions, and the mode of development from 206 to the foli lowing stretto, 214, which is an abridgment of the Stretto in the firsi part. Following this is a fragment of the Refrain in iT-major (origi' nally £-miuoT), though the minor sixth ((T-natural) is still retaine< as a local coloring. The Elaboration is continued through the Return, with a loveb theme in the 'cello part from 250 to 270. The harmonious construe tion of this Return, and the manner in which the cadences are post COMPLETIC MISICAI. ANAl.YSl'^. ,A- , I Iponed, are worthy of careful examination. Tlio Rcprist- takes pbt i- ^ just before the 'cellos make their cadence, thus lorniiji^ an nmutl ::: period, and preser\-ing the continuity of the design . Ex.342. The Reprise, mostly in ./-minor, is similar to the first division, jwith slight diflferences in the treatment and the tonality. The Rt- Ifrain is in ^/-minor, and at the end of this the Coda commences. This is mostly a Recapitulation, with the addition of a somewhat stormy passage in chromatics. The Stretto then follows, and the movement closes tranquilly writh a recollection of the Andante. The entire movement is an elaboration of one principal motive, and it is well to remember that this is one of the earliest examples iOf this style, which has since become very common among living Icomposers- The Second movement, Vivace non troppo, in /'-major, is a rustic scene, very different from the melancholy and mystery of Holy rood. This movement is known as the Scherzo (owing to the position it occupies between the first Allegro and the Adagio), but it is not a Scherzo either in form or character; it is rather an Idyllic Caprice, the construction of which is peculiar and worthy of study. The principal theme is so characteristic and full of good humor that wc quote the first eight measures : Ejt- 343- -' r IV ^ ^^^5 ^^ &M^.i^^ [This forms the basis of the entire movement, being developed in the 'most capricious but artistic manner. The auxiliary theme com- mences upon the last of the ji.st measure, and this is also elaborated. * This melody is composed exclusively of the old Scotch (Pentatonic) Scmle. 268 COMPLETE MUSICAL ANALYSIS. J But the auxiliary theme is a mere relief and passing fancy, whli serves as an episode to the song and dance and contentment of 'e peasantr>'. Altogether it is a very wholesome antidote for meli- cholia or ill-humor. This is the movement to which Schumann referred in the foUt- ing eulogistic words : " I doubt whether a Scherzo more full of gem's has been written in modern times." ' The third movement is the song, Adagio. The leading melof is mild and plaintive, with occasional touches of the heroic, mingii \ with the song of regret for past glories. The movement is free fni j^^ conventionalism, save that a few strains remind one of the saij composer's " Lobgesang." Another gem of the Symphony is tb p fourth movement, / 'ivacissimo, ^, a species of Scherzo of remarkal; -^ animation and continuity. There is nothing remarkable in the construction, though it ; perfectly free and spontaneous. The principal charm lies in t- conception and the total effect, which are altogether delightful. T- Scherzo is joined to a short Finale in ^ metre, Allegro maesto , which is much more reposeful and sedate than the other par, reflecting the serious and religious character of the people. All the movements are to be performed continuously from beg.- ' ;: ning to end. SCHUMANN. Robert Schumann made the same discoveries as did Berlioz ji | reference to the necessity of a new style. But each labored in a d|- \ ferent country, uninfluenced by the other. Schumann also wrc^ from a definite plan, and though he used fewer connected narrativj; than the Frenchman, yet nearly all Schumann's music was the rest.' of thought, as well as feeling, and seems to have been inspired 1" some definable idea, emotion, or incident. The Scenes of Chi); hood, Papillons, and Carnival, with their suggestive titles and m(; tos, are faithful miniature tone-poems, of which the Manfred mus' Op. 115, with its continuous text, is the climax and culmination. Though Schumann never wrote a page of common music, > his compositions are not so uniformly excellent as those of Chopi The last works of Mozart and Beethoven were their greatest ; b the later opuses of Schumann are overclouded and sometimes di torted by the mental and physical sufierings of his declining year Very little apology, however, is necessary ; his works are firmly co ceived, artistically executed, original, earnest, and significant. I COMPLKTK MUSICAI, ANALYSIS. 269 AnaIvYSis of the Andante and Variations for Two Pianos Op. 4b (Composed in 1S43). This Opus has been selected for review, partly because it repre- sents an important style ot" composition, and also on account ol the 'peculiar charm and originality of these variations. The Principal Theme consists of two regular period.s. W\- inu.tr the last section (which is similar to the first) in order to lilusiraic the transformations which follow Ex- 344- ■M^^^xnmiu g *t m The notes of anticipation and the harmonic appoggiaturas are the principal features of the theme. The first variation consists in diminishing the value of the melodic notes, and echoing the diffcrciii groups, first by one piano and then by the other ; Ex. 345. The second period is similar in treatment, though in the last sec- tion the direction of the melody is slightly altered, and a chromatic bass progression introduced, which has an important bearing upon what follows. The next period, marked un poco piu animato, is sonicthnu- ot a relief to the preceding; but by preserving the same rhythm, and m troducing the chromatic bass progression, previously raentioiR-d, ihc effect of unity is maintained : COMPLETE MUSICAL ANALYSIS. 270 Ex. 346. 'From this quotation it is apparent that neither the original themt nor the original harmony are visible ; and it is doubtful if any om' except Schumann could conceive a period like this, so seeminglji different from the original, yet so intimately connected with it irl eifect. It is, therefore, to be considered a variation. i From the second period of our last quotation the composer com structs a subsidiary theme (reference-letter C) of which this is the; first section : Ex. 347. To show the origin of this, we will copy a few measures of the pre- vious strain : I Ex.348. ^ The intervals are almost identical, the rhythm, phrasing, and i quence being different. (The slurs in Ex. 348 merely .show the similarity of the intervals in the two strains.) The period commencing at C is continued without a .second pe-j riod, by means of material changes in the tonality and the antiph-' onal treatment incident to a Duo. The period beginning at D a variation of a variation, thus : Kx. 349, Animato. = ^ =^ S 3 7 - P F ^ W^ ^ P COMPLETE MUSICAL ANALYSIS. 271 There are two periods in this style, which havt- sonK'HiiiiK of a catch-me-if-you-can character pecuHar to Schumann. (Compart- the strains B and D.) At E the first Piano has the first period ol" a Re- train, the motive of which is founded upon the theme of the Animato in contrary motion. The rhythm is similar to the original melody ; Cento. Ex.350- The second period is given to Piano II, beginning in P-flat, and with the melody in reverse order, but accompanied by the Irumpc-t calls as before : Ex.35 The original A?idantc then recurs, slightly altered in harmonic structure, but unembellished. At F the original Andante tlicme appears, thus varied and transformed : Ex. 35a. ^^^^P^pr ^ ^b The melody is not easily traced through this labyrinth of .-.Nucopa- tion and appoggiaturas, but the notes with stems turned upwards will assist in showing the design. The better way, however, is to sinj; the original theme while the variations are playing, which can easily ,be done, as the hannonization is identical. But this only apjilies to the repeated first period — sixteen measures — as singularly enough the second period is taken, not from that of the original thcuic. but from the second period of the Animato. (Compare G with U, fir.st harmonically, and then with regard to the melodic outline, which is also similar.) It is neither possible nor desirable with such varia- tions to indicate by means of accentuation the melodic theme : but it is necessary that the performer should trace the design through, and know every note of the original theme in order to ima>,'iiR- it .iJi 272 COMPLETE MUSICAL ANALYSIS. a foreground and basis for the variations. Some prominence is alsi to be given to the harmonic parts, which, being identical with th original (especially at G;, will assist the auditor in appreciating tb composer's thought and design. The original accents upon the di< ferent phrases, \ Melodic outline of the Var. at G Ex. 353. remembering that every section and period begin.s upon 3 and ends upon 2, are also necessary in the performance. The Episode in E-fiat, beginning at H, is intended as a contrasi to the preceding. The rhythm is borrowed from the variation D though the sounds suggest a bolder sentiment : Ex. 354. 1=^ ff ( ^ ^^-.^ #tlie -J— ^ The second period is something of a variation of the theme of the Refrain, E. The last variation (I. Piano i) is like this : b];!. Ex. 355. fcf: >> "f "J r ^»^i^^fe 5 This is upon the original theme, slightly altered in its harmonic substance. The original second period is worked out in the same style, K. After a repetition there is a recollection of the umem- bellislied melody, L. The Coda commences in the second piano part : I Ex. 356. COMPLETE MUSICAL ANALYSIS. '7.^ with the response by piano i Ex. 357, ^^ >nRc And so the vanishing melodj' is merged into .1 ritardandn Pa^ M, in two parts, and ends tranquilly. One objection to the ordinary variation form is the monotonous rise and fall of the cadences, owing to the frequent repetition of Iwq regular periods. Our composer has obviated this difficulty to a con- siderable extent by commencing a period by one piano simultane- ously with the ending of the other. One quotation will illustrate this method: Ex. 358. Unity and continuity are thus preserved, and these add materially to the interest and the artistic effect. Of this style of variation our composer was both master and originator; and though it is in a comparative sense fragmentary, yet it possesses the advantage of being less labored and more of an artistic unfolding of a music-al germ. Schumann wrote a few sonatas and chamber pieces in the strict classical form, but these are inferipr to his incomparable songs, and to his single and rhapsodical forms. The Piano Quintette, Op. 44, is in Sonata form only so far as the first movement goes. But even this contains fewer motives and more continuity of design than the regular classical models. 274 COMPLETE MUSICAL ANALYSIS. I. Critics are generally agreed in placing Schumann's orchestra' works and cantatas below the piano pieces; though the A-mmoj Concerto and the B-flat Symphony will always occupy high ground But in the author's opinion his greatest opus is the Melo-Dramz ; "Manfred." Byron's weird and forcible poem seems to have pra i duced a powerful effect upon the composer, and inspired him to hij; greatest effort. It is a masterpiece which will never grow old, for ii; is possessed of the living spark of immortality. Chopin. Brief Analysis of his Rondo, Op. 73, for Two Piano-fortes. It is not necessary to give a detailed analysis of this opus, for it Isj so characteristic of the composer that nearly everything previous stated in reference to the peculiar style of Chopin will apply to th« Op. 73- There is a short introduction in antiphonal style, an ascendinji Passage being responded to by a fragment of lyric melody in tht other piano part. The theme of the Rondo would be recognized bji any one familiar with his style, as the work of Chopin. It is this , Ex. 359. kjs>. ^ Piano I. f^ .--^ ^ ? iX- -^ ^ iit-* *. i^-a- ^TTrTMf This occurs three times in the course of the Rondo, besides the! variations and elaborations of the theme, and the recollection at thr close. j The main features are : An Intermezzo, digression, Second Sub! ject (lyric), occurring first in ^-minor, and afterwards in if-minor' elaboration of the leading motive, and numerous abrupt and brillian ' transitions, of which the followiog is a specimen : ift COMPLETE MUSICAL ANALYSIS. 275 Ex. 360. Several modulations and chromatic passages occur, in wliith. as was previously observed, no prevailing key is discoverable, hut in place of that the scene constantly changes. The principal transformation of the theme may be .seen hv com- paring the extracts below with the original motive : Ex. 361 i ^ ^,^^f , ^ ^ - ^EE^t^ m ( f ^^w^m ^ ^ ?rz-_ At (a) we have but the first two measures of the theme; after which a mere outline appears in place of the original second phrase, and this is accompanied in the Secondo by the principal motive in reverst- order. The theme then passes into the second piano part in a nIiII different form : Ex. 362. ^s At (c) the peculiar turn of the melody is to be noticed ; also the con- stantly changing tonality. Following this is a Cadenza, a tempo, and a perfect cadence. After the pause the Coda commences with an exquisite recollec- tion of the principal theme, founded on a tonic pedal-note. The' last thirty-two measures form a Stretto. The music of Chopin is more equal and uniform in point of ex'; cellence than that of any other composer. Mozart, Haydn, Schubert,, and Raff composed too voluminously, and, per consequence, a con-! siderable portion of their music is not only unequal, but unworthy- of such names. But Chopin wrote just enough ; and from the Op.i I. to his posthumous works, we are always sure of polite, as well asi brilliant company. It may be that the green-house, the ball-room,, and the art gallery are less satisfying than the meadows, the wood-; land songsters, and the pictures of nature ; but these are mere oppo-! site phases of life, and of the former, Chopin was the poet laureate.; This chapter will be concluded with a brief technical analysis of i a work composed after the death of Chopin, Mendelssohn, audi Schumann, and one which is remarkable even among the produc- tions of the present time. This is the Piano Concerto in ^-minor, Op. 1 6, by the representative Norwegian composer, Edvard Grieg. Thirty-five years ago this Concerto would have been considered an-, gular in form, and lacking in euphonious character. At the present time there are few who would dispute that it is a faithful and artistic: characterization of the genius of the North. The Concerto is writ-' ten upon a Dual subject. After a prelude of one measure, by the horns and drums, the piano begins with the Preliminary Motive in unison,^: i COMPLETE MUSICAL ANALYSIS. ,11 re 1. h. ia aiiiisoii. ^- i ^m^ Attention is called to these intervals: Ex. 365. ^- as they form the basis of the second subject, and also the motive for the subsidiary theme of the Orchestral Intermezzo. After hvi- niea.s ures by the solo instrument the orchestra gives out Uu- primi|ml theme, and at the end of this (twelve measures) the piano com- mences its regular work: Ex. 366. X- (« ~m^ ■> * wn ^ N # b=^^ a ##^^-o 010. pa U m j=- The lyric phase of the principal subject follows this. Ob.scrvi- ihc peculiar effect of the augmented fourths in the inclody, aiui tlu- smuc raelcxiy in reverse order, in the bass : Ex. 367, 278 COMPLETE MUSICAL ANALYSIS. also the harmonization of the first two melody notes by mea-.iS of the sixth resolution of the Dominant seventh. In the 13th measure this is joined to the animato, forming an united period : Ex. 368. The accompaniment to this is the principal motive in the bass as counter-subject. An idea of the harmonic structure may be formed from this quotation : ?* Ex. 369. f^ i^f-ft Orchestra. E^f=^=tJ=^ ^^P This consists principally of a series of secondary discords followed by an imperfect or a perfect triad. The harshest of the discords is introduced without preparation. After a return of the Scherzo figure, as per Ex. 368, the sequence of discords and triads is repeated in C-minor. The next quotation illustrates a Continued Thesis : Ex. 370. 1 , ?^=f^^r= ^= EE^ k itf^rrf^*^'-^;^ xt-'^trT ff^n' JHoIto creac. ; I I COMPLETK MUSICAI, ANALYSIS. 'This is accompanied by the orchestra in canonic nuitation. The eflfect is as mazy as a half-remembered dream. The thesis cniiains four measures besides those quoted. Upon the final rcsohition the Second Subject appears, pin /e?ilo : Ex. 37J ^mmm^"W'iu -^ ^m ^t—ft. n I The pecuhar grace and tenderness of this theme afford a strong contrast to the prevaihng sentiment of the music, and yet it is founded upon a fragment of the Preliminary Motive, as may be .seen by comparing (a) with (b) : Ex. 372. The difference consists in omitting or including the passing tone between b and g. Attention is also caUed to the effect of the echo by the flute and clarinet in the second measure (Kx. 371), and to the unexpected charm of the transition to A-Jiat and back to C. The same theme i.s then given to the piano, and embellished and enlarged. The last section of this theme is repeated, /z« animato, and this leads, without cadence, to a transitional Passage finally terminating upon the major key-tone (_^), D. Simultaneously with this cadence the lull orches- tra begins its first regular Intermezzo : Ex.373. 5: J? 28o COMPLETE MUSICAL ANALYSIS. Here we have the dual subject more nearly combined ; the flutes and clarinets sound the Preliminary motive, and then the basses give out a paraphrase upon the first part of the Principal theme. This is continued for sixteen measures, when the principal theme is thus developed : Ex. 374. 'If ilsse' $d Til uloii III listii m I ^ -^?-^ ■^ X L 7 X l l'J ^^ -^-x- -^^-^ ?-*- While the melody and two violin parts remain the same during this ; section, the scale progression in the bass supplies variety and change of tone-color. This is accompanied by arabesque figures in the solo j part, and repeated a minor second higher. Just before the Reprise | the dual subject is again introduced, the orchestra having the prin- ; cipal motive, while the piano responds with the preliminary motive: slightly altered : I Ex. 375- and afterwards to this Ex. 376. ■v- J-^ ===== Four measures of tuiii lead from this to the Reprise, which is similar to the first division. The Thesis previously mentioned now occurs on the dominant, and the second subject is re-introduced in A- major. The Cadenza is fully indicated by the composer (a wise proceed- ing), the last part being in recitative form. The Coda then com- mences by the Solo, with a paraphrase of the principal theme, mostly unaccompanied. This commences pianissimo, and works up to a ml CI m 4t« 111 'til j« *i ic k iiii COMPLETE MUSICAL ANALYSIS. Stormy climax, with portentous rumblings in the l>a.>>.-. . .,' m . una * phase of the leading subject here occurs in augmt-nUlioii Alter "' eight measures of tutti the termination begins, and bnnj;s ihc movement to a close, with the preliminar\- motive descending and ascending. The second movement is a tlrcamy Adagio in /^ fiat majnt. The Orchestra announces the subject, which is then embelHsheil by the solo instrument. It is a finely conceived elaboration of one motive. * ; I The Finale returns to .-i-minor, Allegro Moderato. \ metre. This '• ' is mostly an elaboration of the principal subject, which is thoroughly illustrated. The second theme is in /^-major, beginning : Ex. 377. i=± ^ ig^^ -i and continuing in the vague manner of an endless melody, lliroujjh various tonal regions. After a brief exposition of this, the principal theme recurs, and the second theme is heard no more until it apiK-ars in a heroic form in the Termination. We have a few brief .subsid- iary themes as reminiscences of the first Allegro, but the prevailing sentiment is that of the principal theme of the Finale, which has the character of a Scherzo. Toward the clo.se the metre is changed to *, with the same motive as a basis. The termination is in .-/-maJDr. \ metre, with the second subject as theme, given out by the brass instruments ff, with the solo and orchestra combined. From our notice of the work it is evident that the outline and arrangement, though not formal or restricted, are not materially difiercnt from the improved model of Beethoven. The charm of Grieg's Concerto, however, lies in the pecuHar nature and mold of the themes, the har- monization and the dignified treatment of the solo part. Variations are not included as mere displays of bravura style, but as the natural embellishments of Fancy's weaving. The weird and rugged nature of the sounds are more an expression of Norwegian life and character than of any particular program : but, as the composer's native land was originally the favorite haunt of Romance, it is possible that legend has supplied some of the peculiar nuances. It is of the highest importance that music students .shall actjuirc a just and accurate understanding of the merits of the great com- -The advantages, in point of unity and connection, in favor of the drvrlopnirnt single motive, have already been pointed out, and need not be dwell upon here 282 COMPLETE MUSICAL ANALYSIS. I^K posers and their different styles. The basis of this information must necessarily be acquired through reading — after which the student ^.. may continue his onward progress, and form his own opinions. But a somewhat serious obstacle presents itself at the very outset, in the prejudice, not to say ignorance, with which a considerable portion '^ of musical criticism is tinctured. Most of our critical opinions I i */ come from Germany and Austria, and, per consequence, we see through German spectacles, instead of viewing the different styles through the lenses of an International field glass. The result is, ' i ^^ that after reading the current musical literature of the day (most of which is a mere copy), one would conclude that there are only a few ^^ great names in music, and these exclusively German : Bach and ' ^' Handel, Gluck, Haydn, Mozart, Beethoven, Von Weber, and Spohr. ! *J And even then our Teuton friends quarrel among themselves as to who comes after Beethoven : One party will exclude all except Berlioz, Liszt, Wagner, and Brahms ; while the great Vienna critic, Hanslick, will tell you that Wagner and Liszt represent noise, not music, and that the successors of Beethoven are, Schubert Mendelssohn, Schu- mann, Chopin, Gade, Rubinstein, Hiller, Reinecke, Jadassohn, etc. It is not difficult for a neutral with sober sense to discern the errors and fallacies of these two extreme parties. In respect to Bach and Handel, their position is secure, and no one now disputes their title \ s W to fame. But this title was not bestowed by the music critics, but by the great composers, such as Mozart and Beethoven. The posi- tion of Gluck, as an intelligent and gifted opera composer, is also i i ?f secure. The fame of Haydn owes much to a propitious star. ; * Placed at an early age in a financially independent position, with i ** one of the few fine orchestras in Europe at his complete disposal, he enjoyed the rare privilege of trying his experiments with the or- chestra in private, and thus correcting whatever was illy conceived. Being industrious and talented, and with a permanent position, he contributed not a little to instrumental music, and his " Seasons " and " Creation " will always be heard with pleasure. A few of his chamber compositions are also beautiful ; but his piano works could very well be spared from the catalogs, and of the one hundred and eighteen symphonies there is not a single one which, as a whole, would interest an audience of musicians or connoisseurs. In our review of the sonata form we gave due consideration to the works of this composer, especially on account of the form, of which he was a master ; but a sense of justice compels the remark that he is tiel; COMPLETE MUSICAL ANALYSIS. j overrated, and that if Mozart or Schubert could liave occiii-ivu mu n a position the result would have been much more gratifying. Hoc- cnerini, bora two years before Haydn, was as much the " father of the Modern Quartette " as Haydn ; and if the great Italian did not compose a Creation, it must be said in his favor that he wrote a ;much smaller quantity of trash. Meanwhile we hear very liltle of ithe Italians, Monteverde, Alessandro Scarlatti, Durante. Chcruhiui. land Clementi. The Masses and Operas of Cherubini arc in every j respect great works, yet how seldom are they performed I The Son atas of Dussek, Hummel and Clementi, though not equal to the [great ones oi Beethoven, are yet worthy of reproductioiL and cer- tainly far superior to the ear-tingling euphonism of Haydn's sonatas, which have been drummed into our ears from infancy. Mozart was a more universal genius, whose tomb no musician would think of visiting with covered head. Yet circumstances of penury betrayed him into the perpetration of many trivial effusions |which, out of respect to his memorj', ought to be destroyed, with the plates from which they are printed. His fame, however, will ;rest secure upon the last Symphonies and Chamber music, the [Masses and Operas, and some of the Sonatas and Concertos. Another hero, who owes his position to national pride and prejudice, is Spohr. An excellent teacher and a great violinist he surely was. A master of musical laws and mechanics, and a pro digious composer he was also. But that he ever had the slightest I symptoms of inspiration, the author has been unable to discover. ; Franz Schubert, though "to the manner born," remained during his ; life-time unacknowledged, save by a solitary friend. The critics I saw only a small man, indifferently clothed, whose exterior was imromantic. But thanks to Beethoven's discovery, and to the ; exertions of Schumann and Mendelssohn and Grove, we now hear ■ considerable about the Viennese composer. His fame is not yet '.ully acknowledged, but it wall be. And what of the French cx)ni posers? From current opinion, one would conclude that Ikrlio/ I was a lunatic; that Gounod, Bizet, Thomas and Masse wrote some ;" pretty, sensuous melodies," and that Saint-Saens and Dclibes ami Godard are " promising young composers " ! Fortunately art is as broad and boundless as prejudice is narrow and restricted, and the genius of French character and invention I forms an integral part of all that is artistic. That Berlioz was erratic • and mad does not detract from his mu.sic, which deals witli erratic 284 COMPLKTE MUSICAL ANALYSIS. subjects. Beethoven also was mad when, in the fever of compos tion, he poured a bucket of water on his hands — and into the apart ments below. Erratic is such an excellent definition of genius tha we will not take issue upon that ground, but merely record ou opinion that a personality such as Berlioz's is one that cannot b spared from the records of musical art. The operas of Gounoc! Bizet and Masse are such an immense improvement upon the pol pourris of Rossini, Donizetti, Lortzing, and Bellini that they ough to be welcomed by every lover of music. That some of the melodie in Faust are "sensuous" is merely a compliment to the composei for what other kind of music would you write for Marguerite am her devil-beguiled lover ! As for Saint-Saens, he is one of the greatest composers of tb present day — serious, learned, and gifted. Even Delibes and Godan are something more than promising — they are excellent composer of the French school. And the English composers also suffer the effects of nationa prejudice — though at home they receive fair treatment, owing to tb commendable pride of the English people. But the names of Pur cell, Bennett, Macfarren, Mackenzie, Cowen, Stanford, Gorinj Thomas. McCunn, ought to be known in every country wher music is cultivated. Chopin also has been given a lower position on the roll of fam^ than others of inferior genius — probably because he was of the SI vonic race. Contemporary criticism has always been imperfect anminor, } metre ; Part II is in Z>-major, f metre ; after which. Part I is repeated, with the ad- dition of a Coda and Stretto. Two noticeable features of this movement are, its unity of design and continuity of execution — there being but few terminal cadences in proportion to the length of the movement. in. A ROMANCE OF SPRINGTIME. Adagio, /'-major, ^ metre. This slow movement is a Rondo, with principal and secondary themes, episodes, etc. The treatment of the first theme is varied at each recurrence, and the movement closes with a beautiful Recollection. rv. THE GLORY OF NATURE. Allegro giojoso. y^-major, 0^ and I metre. The final move- ment, in Sonata form, is constructed upon the same outlines as the first Allegro; /. ^., First Subject, Second Subject, and Conclusion; Middle Part, Reprise with transitions back to the principal tonality, and a Coda in form of Termination. The Symphony is constructed upon the classical model, but the treatment is sufl&ciently free for the demands of the text. As for the orchestration, it is characteristic, scholarly and effect- ve. Note. — For further particulars see "Standard Symphonies." COMPLETE MUSICAL ANALYSIS. sg "THE PRODIGAL SON." SYMPHONY IN A. No. 2. By S. G. Pratt. Op. 33 The story of the improvident youth wandering in.in liomc, breaking the commandments, reduced to penur>- and remorse, and finally returning, amidst paternal joy and forgiveness. lia.s been so frequently enacted that there can be no doubt as to its human interest, and adaptability to musical treatment. Mr. Pratt has made three parts to his Symphony, correspoiidiiik- to the natural divisions of the text from St. Luke. /. Allegro Moderato Maestoso. "And the younger son gathered all together and took his journrv into a far country, and there wasted his substance with riotous living." //. Adagio. Andante. " And when he had spent all, there arose a mighty famine, and he br}(an to be in want, and he went and joined himself to a citizen, who sent hitn int.. the field to feed swine." ///. Allegro. "And he arose and came to his father. But when he was a great way off, his father saw him, and had compassion, and ran and fell upon his ucck and kissed him." From this it is clear that the music belongs to the Program order. L ALLEGRO MODERATO MAESTOSO. The composer's program motto is " Pride, Pleasure, Carousal The first movement is constructed upon three principal themes. as follows : Ex. 386. wmM'\ A represents youthful confidence and bright anticipations COMPLETE MUSICAL ANALYSIS. B suggests something of the tempter's voice, and is antiphonal in its construction. C typifies the dance, and the whirl of bacchanalian revelry. In the midst of these unlicensed orgies the warning voice of a good spirit is heard, but not heeded, for the Carousal theme proceed? on its wayward career. These are the main outlines and significant features. Let us ob- serve some of the details. After the first theme has been continued in various forms, and by various instruments, it passes into the basses, accompanied by two counter-themes : Ex. 387. i U r?^ i m ■^ s ES ^g i^ The violin part represents a pleading voice, which is frequentl)' heard throughout the movement. It also forms good counterpoini' with the flutes and hautbois above, and the principal theme belowi The continuation of the first subject in the 25th measure : \ Ex. 388. ^^ becomes the counter-subject to the second theme, accompanied bj flutes and harp. The parts are then inverted and continued in tran' sition and variation with good effect. An intermezzo in antiphonaj style intervenes between the second and third themes, founded on { pedal-note by drums and basses. The first subject is then repeated; followed by a paraphrase upon the second subject, and a transitiot, terminating upon a diminished seventh chord on y^sharp. This prei pares the way for the Carousal theme, which immediately begins ii' C-sharp minor, accompanied by castanets, tambourine and drum; In the midst of this lascivious carnival, but after a diminuendo, th< clarinet and first horn sound the voice of warning, but without entirely interrupting the carousal. This is in the nature of an Epi sode, as may be seen from the quotation : J'-.' Ex.sSf. COMPLETE MUSICAL ANALYSIS. Epiaode. _ - ^ i I I ^ It is somewhat remarkable as being the only instance we have oh- served of an episode introduced adventitiously without interrupiinjj the prevailing theme. Observe that the violins have the continua- tion of the carousal theme, while the rhythm of this themt- i.s kf|)l up by the violas and 'cellos. The harmonic stnicture is al.so peculiar. The Elaboration deals principally with the first and third themes m the key of F. During this part there is an ingeniou.s development of the chief motive in canonic imitation : Ex. 390. %^.Ul The second violins and viola each imitate the first measure ot tlie first violin, the minor thirds of the diminished chord being favorable for this treatment. 'Cellos and wood-wind also join in this design. The first of the Reprise is similar to the initial part, but only the motive of the second theme is employed, and this passes from one instrument to another canonically, accompanied by fragments of the first theme. Farther on the three principal themes are eni{)l()yctl in simultaneous juxtaposition. The design may be seen in the follow- ing compressed score : 29-Z COMPLETE MUSICAL ANALYSIS. ^ Ex. 391 tf: s*-^ tf ... ^/'b # VioliuM. ^^ ff. Ba.«se» and Fagots. ^ Esr-i*-!"" ^f^S The basses and fagots have theme I, horns, cornet and trombones' have theme II, the viohns take the repeated figure of the motive to theme III, while the flutes, hautbois and clarinets sustain the upper harmony. This is continued for some time, until the strings scamper down the scale with the Carousal motive. Here the angel voice is several times heard, with its brief admonition ; but the spirit of evil prevails. The movement ends with an exciting stretto. II. ADAGIO. ANDANTE. The motto in the score is : " Remorse, Repentance. Vision." The Adagio is an introduction to the Andante, and expresses the natural feelings of the spendthrift after his resources were exhausted, and he came to realize that he was bankrupt, not alone in money, but in morals. The Adagio motive is this : ■ Ex. 392. which is echoed by hautbois and fagot. The same motive is then repeated a fifth above, and continued as per example below : COMPLETE MUSICAL ANALYSLS. F»e*t Cello and B»a By recalling the second verse of the text the student will not fail to perceive the significance of these tones. Note the peculiar effect of the rests in the second measure, the /^-flat of the violins apainst the suspended a below, and finally the despairing wail of the cello, echoed by the second violins and viola. This is continued in tran- sition, with an occasional impatient phrase of Allegro inter.sper.sed, and leads to the Andante. Here the motive is the .same, but by means of a slight increase in the movement, different harmonic col- oring, and especially the more definite course of the theme, a some- what hopeful expression is attained : F.X. 394. This may be termed the Penitential theme : at least, it is a very clever attempt at expressing through music the feelings of repent- ance. Still more of contrition is portrayed in the fullowing section, of which we quote the first phrase : StriuBii- Fl 8Ta. fix- 395. ^ l?L! ^-^iiv^ r ^ Ti ^^ An expression of grief pervades each of the voice-parl.s here, ami the counterpoint is also good. This is continued in an cxlt-nded period and repeated with the theme in the first violin part. Follow 294 COMPLETK MUSICAL ANALYSIS. ' iug this is theme II, somewhat in episodical form. It represents i> retrospect the haunting remembrance of Prodigality : Ex. 396. Though this Prodigality theme (viola) stands in the place of tho j; second subject, it is not included in the program of this movement {i. e., Remorse, Repentance, Vision) ; yet what more natural than to suppose that in the midst of his poverty, dejection, and repentance the cause of this condition should force itself upon his mind? The suggestive resemblance of this middle subject to the carousal theme of the first Allegro is to be noticed, also the eflfect of the pizzicato accompaniment by the rest of the stringed orchestra. This is some- what developed, and interspersed with a subsidiary theme resem- bling the more serious phrase of the second subject from Part I : SiJ«' m 397. The Penitential theme then recurs, as in the first of the Andante, and gradually dies away in this dreamy maze of canonic harmony : i!ii,e' tte! Something of the oblivion of sleep is here expressed, wherein the outlines are yet vague and indistinct. The mind is thus prepared for the ensuing prelude of the Vision of Home. The violins tremo- lando, with the remaining strings sustaining the £"-flat harmony, all I I COMPLETE MUSICAI, ANAKYSIS pianissimo, represent the peaceful state of sIuhiIkm ; wlnlc tlu- harp in gentlest touches, completes the fancied perspective ^ ^ :^ n iTt iz^ This dual state of present actuality and distant fancy of the dreamer seeing through hypnotic lenses his distant home, is thus exprcssttl : the violins, here ; the harp, there. These four measures lead, by means of a perfect cadence, to the brighter key of (^/-major. The conception is not only original but beautiful. Immediately following our last quotation is what may Ik.- consid- ered, euphoniously, the handsomest strain in the Symphonv. This is the third theme ; or, in strict designation, the Episode : The horns sing the familiar melody of days agonc. accompanied by the aerial quivering of the violins, and the affirmative response by the basses, altogether a lovely and satisfying picture. After an equal period in this style, the duet theme passes from the horns to the clarinets, with this alteration in the accompanying parts: 296 COMPLETE MUSICAL ANALYSIS. Ex. 401 * £ ^ S s #^^ ^ ^ «=q With these themes the movement is continued and developed to,] considerable length, and finally ends in merest whisper. III. THE RETURN. JOY AND RECONCILIATION. The Finale is preceded by a brief Introduction. The first phrase i * portrays the rapture of father and son upon their reunion, followed ■ ^^^ by a plaintive monologue by 'cello and fagot in unison — a fragment 1, of the Penitential theme. The themes of the Allegro are as follows : ' • The joy caused by the return of the Prodigal, and the feeling of thankfulness for his deliverance, are the principal sentiments of the last movement. Interspersed with these is the Penitential theme, somewhat altered, symbolizing the chagrin and repentance of our crest-fallen hero. The various principal and subsidiary motives are ingeniously combined and elaborated into an effective climax. To- wards the close the organ is introduced for the hymn of thanksgiv- ing, and the themes are broadened out by means of augmentation and fuller instrumentation. COMPLETE MUSICAL ANALYSIS. ^q, SCENES FROM LONGFELLOW'S GOLDEN IJiGHNl). SYMPHONIC CANTATA. for solos, chorus and orchustka By Dudley Buck. (Prize Composition, Cincinnati Festivnl, 1880 ) There are so few leading characters and controlling principles in this work that we will give a brief epitome of the main inoidi-iits n{ the legend. Prince Henry of Hoheneck is afflicted with an iiunir:iMf malady, and having written to the famous physicians at Salenio, Hay mlorm him that he can be cured only by the blood of a maiden wlio will freely consent to die for his sake. Regarding the remedy as irajxxs sible. the Prince gives way to despair, when he is visited by Lucift-r. disguised as an itinerant physician. The Fiend tempts hini with an intoxicating nostrum, to the fascination of which the Prince bcconiw a victim. He wanders from home, and finds refuge in the cottage of one of his tenants, whose daughter Elsie, moved by a religious compassion for his fate, determines to sacrifice her life that he may be restored. Prayers and entreaties being of no avail to alter hc-r determination, Prince Henry, Elsie, and their attendants depart for Salerno. On their journey they encounter a band of Pilgrims, with whom is Lucifer disguised as a Friar. Upon reaching Salerno our friends are received by Friar Angelo, a Professor of the Mcvlical SchooL Elsie persists in her resolution, despite the opposition n( her attendants and the Prince, who now declares that he only in- tended to test her constancy. " I come not here to argue, but to die." Lucifer draws Elsie into an inner chamber and she bids farewell to her friends. But the Prince and attendants break open the door and rescue her at the last moment. Prince Henry is miraculously healed, restored to his possessions, and marries the devoted Klsie. The Prolog and Epilog will be noticed elsewhere. SCENE I. PROLOG. The spire of Strasburg Cathedral. Night and Storm. Lucifer, with the powers of the air, trying to pull down the Cross. The orchestra commences at once with the delineation of this .scene. This descriptive part is mo.stly thematic, and founded u|X)n what we may call the Storm motive, and the Lucifer motive. The principal features of these are quoted herewith ; 29« Ex. 403. COMPLETE MUSICAL ANALYSIS. Lllecro «on raoro. (Stobm M0TIVK8.) Ex.405 The IvUcifer motive is given out by the Trombones and Tuba after the ascending climax of the storm music. What we call the I^ucifer motive is a theme which suggests and typifies the Spirit of Evil, and it is frequently employed by the composer in this sense, as we shall see. (The continuation of this orchestral prolog affords a good illustration of Chapter XXXV.) At the end of the cadence Lucifer calls upon the evil spirits to de- demolish the tower. The Lucifer motive here forms the principal orchestral accompaniment. The chorus of Spirits (Sopranos and Contraltos divided), sing their reply : " Oh we cannot ! For around it all the saints and guardian angels throng in legions to protect it," etc. Following this, the Cathedral Bells (represented by tenors and basses) are heard intoning the Latin Hymn, Laudo Demn Verum. The storm music, Lucifer's imperious commands, the chorus of .spirits proclaiming their abortive attempts at destruction, and the > solemn song of the Bells are again heard in alternate succession, un- til Lucifer admits his defeat and calls away his " Inefl&cient Craven 1 COMPLETK MUSICAI. ANALYSIS. 390 Spirits." As they disappear, the storm-music dimiuishts throuKh .1 lescending passage of six measures, and the Cathedral Choir is hcar.l dngingthe Gregorian Chant with organ accompaniment. As thi^ :hant is afterward used symbolically we will quote the motive Ex. 406. Attention is also called to the rococo style of this chant, which is especially appropriate here. The Prolog terminates with the chorub. SCENE II. "astlf of Vauisberg on the Rhine. Prince Henry alone, ill and restless. Mid- night. The Orchestra plays an appropriate introduction, founded uj><)n Prince Henry's motive, the first phrase of which is as follows : Ex. 407. S J f -^ pT^i L iv I r r r r r7^ Andante. 1^. sombre Recitative and Aria by the Prince then follows. j A few of the more instructive passages will be quoted. First is ;:he setting of the words, " My fervid brain calls up the vanished Pxst igain, and throws its misty splendors deep into the pallid realms ol ileep." I Ex. 408. i^^i^nr^^?^ COMPLETE MUSICAL ANALYSIS Observe the peculiar effect of melody and harmony at the words " misty,"' " splendors "" and " pallid sleep." Another passage, illustrating the meaning of the words, occurs on p. 25 of the vocal score : " The thought of life that neer shall cease Has something in it like despair." f^ Ex. 409. r Q J 7 , like des - pair. +f;5iL •♦ ^^ C'l. Fas. Horn. the diminished seventh chord (forming a species of avoided ca- dence), the distance of the intervals between the two discords, and the choice of instruments all contribute to the significance of the effect. SCENE in. A flash 0/ lightning, out of which Lucifer appears in the garb of a traveling \ Physician. Following the first salvo we hear the Lucifer motive in the bass as before. After the Prince inquires the name of his strange visitor, the motive of Evil appears in a contracted form, thus : ^^- ^'°- [W u 7 r jfe g^={ #-- r^ Heietli 'ieTei The Ititsis Thi! liiol After some words of apology the Fiend explains : " The storm, that against your casement drives, in the village below waylaid me," COMPLETE MUSICAL ANALYSIS. .^OI etc. Here we have a suggestive reminiscence by the orchestra ot the storm music from the Prolog, but mostly piano. At the suggcs tion of Lucifer the victim then proceeds to describe his ailments lu a mea.sured recitative, accompanied by the Prince Henry moim-. until after the Fiend has read the mysterious prescription from Salerno, when the Lucifer motive re-appears. We pass over to where the Prince imbibes the infernal decoction and begins his sonfj : " Tis like a draught of Fire ! through c-vcrv vi-in I feel again the fever of youth," etc. Here the voices of a chorus of Angels are heard in their soft admoni- tions, against the ecstatic song of the Prince and the infernal gUx- of the Tempter. The student of part-writing may derive an instructive lesson from this Septette by observing the manner in which each of the parts is made distinct and comprehensible to the listener. SCENE IV. Elsie's Home. "Evening Song " on the lighting of the lamps. This beautiful unaccompanied Quartette is so well known that we will not stop to comment upon it. SCENE V. Elsie's chamber. Night. Elsie praying. This solo is also favorably known. We merely call attention to the religious fervor of the melody and the charming accompani- ment. SCENE VL The Pilgrimage to Salerno. (for orchestr.\ onxv.) Onward and onward the highway runs to the distant city impatiently l>carinK Tidings of human joy and disaster, of love and of hate, of doing and daring. PRINCE HENRY. Hark ! what sounds are those whose accents holy Fill the warm noon Avith music sad and sweet ? It is a band of pilgrims, moving slowly, On their long journey, with uncovered feet. COMPLETE MUSICAL ANALYSIS. PILGRIMS. Uibs ccElestis, urbs beata Supra petram collocata, Urbs in porto satis tuto, De longinquo te saluto ! The above quotation from the poem is included as a Program t; this orchestral number, and not as a vocal text. The music to th hymn to St. Hildebert forms the basis of the movement, being hear frequently and in different forms in this number. The motive o:' Prince Henry, somewhat altered, is heard in connection with thl Hymn, and the Lucifer motive appears as an episode (his Satani: Majesty being among the Pilgrims, disguised as a Friar). The Pi.! grims' chorus, however, predominates, and forms the refrain of th; Coda. I SCENE VII. ; Convent of Hirschau in the Black Forest. Gaudiolum of Monks at midnighl Lucifer disguised as a friar. Friar Paul sings. \ At the end of each verse of the Bacchanalian song the Monkl join in Chorus, forming altogether a spirited and characteristif number. j SCENE VIII. j The Revel a7id appearance of the Abbot. \ (FOR ORCHESTRA ONLY.) " What means this revel and carouse .■* Is this a tavern and drinking house? Are you Christian monks, or heathen devils. To pollute this convent with your revels ?" i i The quotation gives the clue to the music, which is one of thj most descriptive numbers in the book. The Revel motive form' the burden of this number. We quote a section : Ex. 411. I COMPLETE MUSICAL ANALYSIS. After an extended period of this, the revelers sing a hymn (probably through force of habit), while the Carousal theme continues. The theme of the Drinking Song is next introduced, as a compoiicul part of the carouse ; and then we again hear a fragment <»f tht- Gre- gorian Chant. The themes of the Revel and the Drinking Song con- tinue for some space, crescendo, until the climax of the carou.sal us reached, when a crash is heard from the full orchestra, represent uig bustle and confusion. It is the appearance of the Abbot. A brief quotation here will tell the story in tones : £x. 41X Following this are a few fragments of the revel motive, piano, ai a reminder, and then we hear the Gregorian chant above. Ex.413- The movement terminates with this theme, Adagio. SCENE IX. A terrace overlooking the sea. Elsie Solus Night A beautiful and suggestive idea is expressed here by poet and composer. A5 our heroine looks out upon the cloudless niRht 304 COMPLETE MUSICAL ANALYSIS. and the ocean beyond, her imagination weaves the murmuring ciltwuil the sea into a sacred litany, and she fancies that " the stars com I ,ji forth to listen." Here an invisible chorus sings, piayiissimo, " Chris, eleisan.^' The solo and responsive choruses continue until E^s joins in the refrain Kyrie eleison. The effect is quite charming, an serves to illustrate the deeply religious character of this heroim who would voluntarily immolate herself that another might live, j vSCENE X. Barcarolle. (FOR ORCHESTRA ONLY.) SCENE XI. Chorus of Sailors at Sea. We pass over these two episodical numbers, as they do demand special analysis. SCENE XII. The Medical College of Salerno. Lucifer disguised as a Friar. Enter PrinC\ r Henry, Elsie, and their attendants. The orchestra sounds an Intrada founded upon the Prince's mq^fl. tive in minor. He inquires for Friar Angelo. The response, " H' stands before you," is followed at once by the Lucifer motive in tb orchestra, giving us a symbolical representation of the ever-presen, L^^ Spirit of Evil. The dialog continues until the Friar inquires oi, ajj^f m Elsie, " Have you thought well of it? then give forth this motive : The strings and wood-win< Ex.414. M?[f 'r}} h U i 'rj^i\; rjj-4:^ \Mi ^^m answered by the horns in antiphony : (Noc - - te -sur-gen - tes.) Ex.415- fe: COMPLETE MUSICAL ANALYSIS. y^ ! This will be recognized as the motive of the GrcRoriati Chant (tee f p. i8), Noc^e surgentes, being best calculated to typify tht- purpojtr ' and character of Elsie. Her reply is characteristic "I cotiu- n.n \ here to argue, but to die." The chorus is here iiitro/>, with , the words: " Against all prayers and protestations She will not be persuaded." After the words " I must fulfil my purpose" the Trombones and Tuba sound the Cathedral motive again : Ex. 416. The bright progression into the i9-major chord is in anticipation of Elsie's sentiment, "Weep not for me, rather rejoice," etc., which im- mediately follows. I Finally the mock doctor draws her away (we hear the Lucifer mo- 'tive from the orchestra). The apostrophe of Prince Henry, " Gone ! and the light of all my life gone with her," is accompanied by his motive in minor. The remainder of the scene is highly dramatic. Elsie's farewell is heard from the inner chamber, interspersed with Prince Henry's cries of " Murder ! Unbar the door !" etc., repeated by the full chorus ff, and the ghoulish reply of lyucifer, "It is too late!" altogether forming an exciting and interesting ensemble. SCENE XIII. The return. Castle of Vautsberg. Prince Henry and Elsie on the lerrcur. Evening. ■ This number is a duet of charming eflfect between the Prince and Elsie, in which they pledge their love and faith. SCENE XIV. Epilog and Finale. The full chorus here unite in a praise song commemorative of Elsie's self-abnegation : " In characters of gold, That never shall grow old, The deed divine Shall burn and shine Through all the age« ! " 3o6 COMPLETE MUSICAL ANALYSIS. The orchestra commences with the Cathedral motive, and this i heard throughout the finale, as being both suggestive and expressiv* of the religious nature of the heroine and the sacred character oi the chorus. The handling of the voice-parts, the harmonic coloring the numerous lights and shades, the accompaniment, and all th«: minor details are of such character as must place this chorus amonji the best examples of choral writing. As a Middle Part the com poser introduces the evil spirits disappearing in a storm-cloud in th< distance. ' " Lo ! over the mountain steeps, A dark, gigantic shadow sweeps. It is Lucifer, the son of mystery." The Lucifer motive here passes into the orchestral and chore parts with truly realistic effect. This episode has the double advar; tage of strong contrast and connective suggestiveness, and serves tl elucidate the object of the Prolog. The Finale is brought to a closl with the hymn of praise by the full choral and orchestral forces. THE 46TH PSALM. {''God is our refuge and strength") FOR SOPRANO SOLO, CHORUS .VND ORCHESTRA. By W. W. Gilchrist. This is a short Sacred Cantata, written throughout in the serious ecclesiastic style, with no attempt whatever at mere euphoniot effect. The Orchestral Introduction claims our first attention, esp« cially as the form and structure are uncommon. First and secon subjects, in respect to their location and relation, have no existenc here ; but there are two motives which alternately succeed eac other as such, and without being thematicised into regular subject or strains: 1 Ex. 417. I3£l '■H A 1. AadABte COMPLETE MUSICAL ANALYSIS. 307 h) ;This five-measure section being repeated a fourth above, the siKtu ^«si! iture and movement are altered, and we hear tlu- -^ccmvI ?,,..••'.•'• >loriiij allti 5 There is another section of this brief four-part canon, and ihcu the first motive is repeated in /-^-sharp and in 6^-major. So much w CDK 1 meditation upon the first two sentences of the text : ' (lod is our advj [refuge and strength," A, and " An ever present help in trouble." B. ierves; [A.n expressive thematic development of the second motive, fiiu !ii^\fi''mosso, begins at the reference mark i, and continues to 5. Com- ces 1 mencing with the motive B in free canon as before, the composer in jtroduces as a counter-theme this figure : Ex. 419. iphonii which is a contrary imitation of the last four notes of the second jmotive. This may be more readily obser\^ed by comparing (b) with [a) in Ex. 420 : Ex. 420. i^i ^^^^ Vs the development proceeds, motive and counter-motive naturally exchange places and appear inversely. Though the sounds arc alt«) ^ether serious, they still express considerable of confidence and dr ermination, as is evidenced by the numerous naturally rcsolviii^ liscords throughout the introduction. There is, however, :m iKcu ional sound of penitent sadness, as in the antiphonal passage cjuotixi lere : 3o8 COMPLETE MUSICAL ANALYSIS. The three upper parts, each resolving a minor second, the pedal-note' below, and the plaintive bit of melody above, all contribute to this efifect. Farther on there is a forcible and violent expression by the full orchestra, of which this excerpt will convey an idea : Ex. 422. In listening to these sounds one's thoughts involuntarily revert to the second and third verses of the text : " Tho' the waters roar andi are troubled, and the mountains shake," etc. Another characteristic efifect is produced at Piu Mosso : Hesevo ikreit It park iaffl iisii Ik I MA Ex. 433- The two upper ■ intervals of the diminished seventh chord at (a) di appear without their proper resolution — observe the quarter rests al!| (a) and (b) — a very subtle expression of the words which afterward' appear in the text : " He uttered his voice — the earth melted." This' is twice repeated, showing an unmistakable design in the omission of the resolving cadence which, according to theory, should have been, this: I^SMl I COMPLETE MUSICAL ANALYSIS. J^N Ex. 414. These voice effects are more noticeable in the original score, wlu-rc each tone is uttered by a separate instrument, than on the piano, where it is not always possible to trace the progression of tlu- differ- ent parts. At 5 the original motive is resumed for eight mcasun-s. and at 6 the movement is changed to Allegro nwdn-ato c maesioso, with a more animated treatment of the first motive : Ex. 425. This is increased to a ^ climax, and then repeated in iterated iu)te!V The Introduction finally leads, without interruption, to the <»i>en- ing chorus, tutti,^.- l£x. 426. Ckprns nnia, ^-1= This is the principal motive, and is the same as the first of the Inlro- iuction (A i). Observe the strength and dignity of the chorus parts. ,ind how the three-measure phrases are united into a regular period. The Cantata is founded upon this leading motive and the coun- :er-subjects which grow out of and accompany it; for the scxond 3IO COMP1.ETE MUSICAL ANALYSIS. i motive of the Introduction -s but a slight extension of the second J half of the chief motive : Ex. 427. 1^ J 1 ^^^ The last sentence of the first verse now occurs : Ex. 428. ver - y pres-ent help in trou - ble. The second measure will be recognized as supplying the phrase which followed the meditation in the Introduction ; the descending tones from d to a are identical with the descending phase of the chief motive (Ex. 426), thus showing the unity of design. The tenor phrase is responded to by the sopranos a fourth above in fugal style,! accompanied in the tenors by a counter-subject, which, in its turn, becomes a subject : tes A ver - y pres - ent help. The sopranos and, afterwards, the other voices, take up this counter- subject as a regular motive : Ex. 430. A ver - y pres-ent help. These two phrases alternate until the end of the cadence, when the 1 basses come in simultaneously with the leading motive . "^ .T * iT-tt* f i— =^^^ 1 1 A ver - V pres-ent -1 ^ 1 help, -Sf— i i— tt* f T- ^ ^ f! * ^ >^ [!- COMPLETE MUSICAL ANALYSIS. JII God is our rcf - uere. Passing over many interesting details, we come to the Allegro con fuoco in D-vainor (ii) : Ex. 432. All the voices in unison sing this phrase, the boldness and daring of which will not escape notice. Yet even these seemingly strange tones are analogous to the main motive, as we shall see. An imjKJs- ing effect is here produced by giving the leap of a seventh alter nately to the basses and sopranos, while the contraltos and tenors intersperse with the ascending and descending phrases previously quoted. Upon the return of the words of the first sentence, the original motive again appears, though changed in rhythm and tonal ity (12). Characteristic effects are also produced ujxjn the words " Tho' the earth be removed, and the mountains be carried into the sea " — 13 and 14, and the following ftirioso in /^-minor, " Tho' the waves thereof roar." After a considerable elaboration of this idea the first motive returns (17), accompanied by the .second motive a5 counter-subject. Upon the termination of this first chorus there >s an orchestral Intermezzo containing some odd touches of harmony, and this is joined without interruption to the soprano .solo. Andante. 312 COMPLETE MUSICAL ANALYSIS. The principal features of this are the alternating metre, t and i and the pastoral nature of the melody and accompaniment. The theme is also closely related to the original motive. The solo part then passes to the chorus, while the soprano continues with obligate re- sponses. This division reposes on the major chord of E, at 34, fol- lowed by an Allegro molto upon the words of the sixth verse, " The nations raged." The last of this verse, previously mentioned in con- nection with the Introduction, is treated diflferently in the chorus parts: Ex. 433. I He ut-tered his voice, the earth melt-ed. The downward leap of a sixth, the unexpected tone ^-natural, and the discontinuance of the chorus parts after the word " melted," all con- tribute to the good effect. A curious fragment of Canon in the second, between the sopra- nos and tenors, here follows, which is especially suggestive, and even descriptive : Ex. 434. ^ \n_^L± The hea - then raged, the na-tions were ^=r^ ^ The hea - then raged, the na- The choral divisions following each other in such close canon order, as in a stretto, give a turbulent, contentious, and somewhat exciting impetus to the music, which is a most vivid illustration of the words " the heathen raged," etc. A better effect could not be conceived. Observe the first note of each part as it proceeds with the canon : Ex. 435. ^^ The upper melodic outline proceeds in the same diatonic order. The basses and contraltos then take up the same design in /^-sharp minor ; and afterwards the motive of the canon is developed into a fughetta. At the end of this chorus a soprano solo is again intro- duced for the ninth verse. Afterwards the male voices have this peculiar scale-phrase: COMPI.ETK MUSICAI, ANALYSIS. 313 Ex. 436. He mak-eth ware a compound of the minor scales of B and A^harp. Attcntioji w called to this entire solo and chorus, which is replete with Iwautics and instructive details, and to the Andante con r.^pressivo < p. 5s of the vocal score). The significance of the orchestral intcrme/zo (previously explained by the text) while the voices in imisv* j J | J-r^ r- I i^ frfr \ t\^^=H'^^hH^ ''^ ^f'^Trtn^i'r^ \' r^Hl b"rQn i" r^^f ^ir J 1^ J ^j JM^-^^ i=H(' r ir - 1 F ffft-Hf^ COMPLETE MUSICAL ANALYSL-^. 3t5 Here is a lesson in thematic development worth rcmenibcnng . aud in the orchestral parts may be found other arran^-enients and tran.s migrations of the leading motive. In artistic construction, coherency of desigiL ami total effect . this is one of the finest short cantatas with which the author is fainiiur. and would do honor to any composer, or any nation. PIANO CONCERTO IN A-MINOR. By E. a. MacDowell. Op. 15. This Concerto contains the usual three movements, and is scored for full orchestra, except the trombones. It opens with the piano solo in form of an Introduction, thirteen measures, being somewhat of a paraphrasitf upon the leading motive. The principal subject begins in the orchestra, at the end of the piano cadence, Allegro con fuoco. We quote the first orchestral period, as showing the nature of the theme, and the nietluKl by which it is continued and connected : Allegrro oon Tiiovo A T"- The free canonic imitations between the clarinet, oboe and flute arc in antiphonal style ; but by means of the simultaneous endings and beginnings the entire fifteen measures are connected into <»ne the- matic period. The last ten measures rest upon a dominant i»er>irTrrir- The tutti is continued thematically through a diminuendo of twclvp measures, with constantly changing tone-color. The theme then passes from flutes and hautbois to the 'cellos, after which the violins have this contraction of the motive, seeming to recall soinc hv>;onc memory : PP Ex. 446. Two measures after this the Piano announces the .second subject in C-major, principall3^ unaccompanied : * t , * 318 COMPLETK MUMCAL ANALYSIS. 1 A very simple theme, with something of a retrospective character, ' and pecuHar periodic construction. The solo continues upon the! second theme for a considerable space, but on the thirteenth meas- 1 ure, as the piano makes its cadence upon /-'-sharp major, the clarinet j sounds the more animated part of the first theme. The harmoniza- j tion here is novel and interesting, especially where the stringed or- ' chestra accompanies : Ex. 448. (I 1- Strinars. ^ X X w ^Efe3 r-rr X X ^ -# — — #- I I I This part is a thematic development of the two motives of the second subject, with anticipations and imitations by the orchestra. The alterations of the motive may be seen in this quotation : Ex. 449 Thematically, this is the same as the first of the second subject. The nature of the themes, their connection with one another, and the general treatment, all reveal to us a composer with superior talents, and what is yet more rare, with a definite artistic aim. Upon the final cadence of the second subject (E) the orchestra gives out the first phrase of the principal theme thus altered : COMPLETE MUSICAL ANAI.YSLS. 5IQ tx. 450- ^-fe:^.^: This antiphonal design is continued for sixteen measures, reinmdini; somewhat of a passage in the Coda of the first movement to Hcetlio ven's C-minor Concerto, Op. 37. But in the latter work the tim- pani motive : Ex. 451- is continued without alteration, and the responses (also difTerent) come upon everjf other measure. The Elaboration commences from our last quotation, with a par- aphrase of the first subject, as we have seen. At K the xcood 320 COMPLETE MUSICAL ANALYSIS. subject is developed, the ornamentation being in the solo part. Ttti two subjects are then combined. The Reprise takes place at G, ii' the orchestra. This is in .£"-minor, and considerably varied in treat«ji ment. Both themes again appear simultaneously at I. The second subject recurs (in y^-major) at J, accompanied by the strings with at variation of the first subject and the general treatment differing fromli that of the first division. From the measure before K an extended! 1 thesis is developed out of a fragment of the .second theme, which continued until the pause at L. From this point the vSolo part has a cadenza in tempo of three pages' duration, ending with a brief recollection of the Introduction. This is joined in the cadence to the Cod.t — last ten measures. ,f»V i Second movement, Andanie Trangjiillo. The orchestra gives the opening period, of which this is the first phrase : Ex.452 At F the metre is changed to I, and the two pairs of horns are given, in alternate phrases, au Episode beginning thus : Ex. 453. I «'or. 3 A 4 The principal theme then recurs in .£"-major. This is more lyrical than the principal theme of the Allegro, and conveys a genial ex- pression of peace, if not of contentment. Third movement, Presto. .4-rainor, f metre. The first is an Introduction of twenty-two measures, between the dominant kettle- drum and the Piano in ad libitum cadenza passages, the latter being emphasized at the commencement of each section by an sf chord of the full orchestra. The principal theme is as follows : COMPLETE MUSICAL ANALYSIS. 3a I Ex. 454- r..-.^p^ ± =^ r. h. 8v».*-~ The Piano in unison delivers the melody, while the strinRs furnish the tripping accompaniment. Attention is directed to the analojo between this and the first theme of the Allegro. Without further elaboration the second theme follows in .^-major. This affords a pleasurable glimpse of the fairy world, all gay and sunny. At C the principal theme recurs. The violins and hautbois have an outline of the melody, while the piano gives the theme in variation.s This is one of the few instances in the Concerto where variations occur. At F the staccato melody of the second subject is developed iuto a very graceful cantilena by the violins Following this we hear some remini.scences of the .second Uu-mc o( the first movement, and then the cantilena passes into the solo jjart, with a murmuring accompaniment by the violins. At M the com- poser introduces a middle part in F, Maestoso, the horns and trumpets having as theme a fragment of the original Allegro moltvc, the Piano accompanying with a repeated chord figure. From O the movement changes to mo/fo piu lento, and the motive of the first Allegro is given by the first horn very nearly in its original torin This is continued till the return of the Presto, when the same moiive is treated canonically. Here the two motives from the first AlU^ro are combined into one phrase; a curious and interesting cJiample Ex. 456. The stretto begins with the Prestissimo. 322 COMPLETE MUSICAL ANALYSIS. Besides the middle part already mentioned there is a subsidiarj theme, and the principal themes of the Finale recur as in a Scherzo But the introduction of the two motives from the first movement together with the various elements of the Finale, which have beet indicated, would seem to point to some more definite plan than th< expression of undefined fancy or feeling. But as this is a mere] technical analysis we merely call attention to the somewhat moorisl^ style of musical architecture in this Finale. Though difiering in details, the Concerto is founded upon th( classical model — a wise course for every young composer to pursue It reveals thorough harmonic and contrapuntal skill, a correct underi standing of orchestral resources, and, what is better still, a livelj fancy controlled by good judgment. The score of the Concerto is not overladen, and would give satis faction even with a small orchestra. In this respect it is especiall) recommended to piano virtuosi. THE CULPRIT FAY. A FAIRY CANTATA FOR SOLOS, CHORUS AND ORCHESTRA. By Frederick Grant Gleason, Op. 14 {MS.). This Cantata is exclusively a native creation, poet, composer anc scene all being American. The poem by Drake is the most ro mantically sylvan and gossamer-like piece of imagery in Americatj literature, and well calculated to inspire a composer. Mr. Gleasoi has not set the entire text, but the quaintness and completeness of the story are preserved. There are eighteen musical numbers, three parts. Each of the more influential incidents and sentiment' of the story is typified by a characteristic motive, and the variouj numbers are developed from these motives in a highly arti.stic man ner. Supposing the student to be familiar with the substance of the story, we will quote the leading motives first, especially as the) have peculiar significance whenever they are introduced (A) Ex.457- "5% % \ i Summer Night Motive. COMPLETE MUSICAL ANALYSIS. Mystery Motive. 3^3 The Fay'.s Love. V- „ \\\ 1 I ftpBw :^=t m£. xh ^ ^fr^fff |tflH^#^ K -i Penaltv >rotivo. 324 COMPLETE MUSICAL, ANALYSIS. (G) Night on the Hudson (I) Task Motive. (J) Sylphid Queen's Love Motive. -J. r-ffi^ \\ ^sm 45: Bt 3b ^ WTnT&fWt^ w^ ^ ^ £ E g (Observe the analogy between the Fairy motives, B, C, and D, andf between the motives relating to the Culprit Fay, E, F, and I.) A short orchestral Introduction, suggestive of a midsummer night; on the Hudson, leads to the opening chorus, " 'Tis the middle watch . of a summer's night." (Play the first motive and imagine the sounds 1. issuing from three French horns, pianissimo) No. 2 is an accompanied Recitation for contralto, Id - motive (B). whicli is ircqurntiv heard as being suggestive of the spell of fairy influt-iuc. After thr triangle solo we hear a brief summons from the horns, and thin thr fairy revel begins (C). The gathering of the Fay.s is wt-ll cxpr.-... I by the motive (C), passing very hghtly in tripping staccato from >.-.. instrument to another, interspersed with an occasional summon from the horns in more animating rhythm. This leads to the chorus in ^4-major: " They come from beds of lichen green. They creep from the mullen's velvet screen." The vocal parts are principally harmonic, while the fairy revel motive is continued by the orchestra as local coloring. And here we should observe that the characteristic motives are, for the most part, or chestral, or at least their special significance, as they are intr(Klucc' Life motive : Ex. 458. '^% I is ominous, and gives a premonition of the transgression which forms the mainspring of the action ; it is therefore omitted when the motive first appears, and is not heard until just before the words in the chorus : "An Ouphe has broken his vestal vow." The ominous part of the motive is then frequently voiced hv the orchestra, and it is also combined with the Task motive .1). The unity and connection of motives is more frequently an mtuitive process, rather than a studied design on the part of the composer His mind being engrossed, and, as we may say. .saturated with the composition and its connecting details, he unconsciously conceives many designs apparently unrelated, but which, upon clf)s/- .x .tr.in.i 326 OMPLETE MUSICAL ANALYSIS. . tion, are found to be perfectly coherent and indicative. An explana- tion of this vague inner power would lead us beyond the jurisdiction ^ of the five known senses and into the realm of phenomena. It will i be suflScient for present purposes to trace the results of this mys- ^ terious agency as they are manifested in the composition. No. 4, a Tenor solo, is a narrative of the Fay's transgression " He has loved an earthly maid." The orchestra commences with the mystery motive by the string , quartette in unison, and in a darker tone than No. 2. The Fay's Love motive follows in delicately conceived instrumentation. After the words : " To the elfin court they haste away To hear the doom of the Culprit Fay," j the 'cellos and basses have this premonitory theme : Ex.459. w^-nrrfT^^ ^m interspersed with fragments of the motives of Night and the Fay's love. No. 5 is a descriptive recitative by the King of the Fairies, pass- ing sentence upon the culprit. In view of the fact that the maiden " Is pure as angel forms above, Such as a spirit well might love," the doom of the Fay is modified to the accomplishment of two dif- ficult and dangerous tasks. Let these be told by the poet : "Thou shalt seek the beach of sand, Where the water bounds the elfin land; Thou shalt watch the oozy brine Till the sturgeon leaps in the bright moonshine. Then dart the glistening arch below. And catch a drop from his silver bow. If the spray-bead gem be won. The stain of thy wing is washed away ; But another errand must be done Ere thy crime be lost for aye : Thy flame-wood lamp is quenched and dark, Thou must re-illume its spark ; Mount thy steed and spur him high, To heaven's blue canopy; And when thou seest a shooting star, Follow it fast and follow it far ; ieorci mis pal ltd COMPLICTK MUSICAl, ANALYSIS. ij- The last faint spark of its burning train Shall light the elfin lamp again. Thou hast heard our sentence, F'ay ; Hence ! to the waterside, away ! " The Penalty motive (b) is now heard, together with phrases of the Fay's love melody (e), as being the cause of his trans^'rcssj,,n At the last of the words: "Shall light the elfin lamp again," the orchestra gives forth the motive of Fair>' life (d), with ihi- omi nous part prominently accented, a highly suggestive and apprnpnatr effect. Part I ends here with an Amen cadence. Part II. No. 6 commences in deep monotones by the /? kettle-- Queen, her love for the I earthly fay, and the entreaty to ] " Remain in the everlasting realms of light." fl But he has resolved to cherish in memory his earthly love, his " virgin I bride " ; hence, at the end of the Queen's melodious exhortation, the i love motive of the Fay resounds from the orchestra. (If it were our i custom to dwell upon the sensuous charm of melody, we would linger * long upon the fascinating strains of this soprano solo. ) The motive ,' itself (j) appears but once in the voice-part, which is an independent j melody, while the regular love motive of the Queen is frequently f heard in the orchestra above the voice. In No. 15 the two love motives form the basis while the Fay is fluctuating between his earthly associations and duties in one scale, while in the other he weighs the incandescent splendors and corus- cating charms of his present surroundings, and the not less tempting plaint of their ethereal mistress. But the predominance of the earthly love motive in the music is a sure precursor of what is nar- rated in the recitative, No. 16: "Lady," he cried, "I have sworn to-night To do my sentence task aright." The Penalty motive is heard in the orchestra. He continues : " My honor scarce is free from stain." Here the Task motive is heard. After his words : " Betide me weal, betide me woe, Its mandate must be answered now," the orchestra sings a touching farewell upon the burden of the Queen's unrequited love motive. No. 17 is a characteristic chorus, Allegro con ftwco, descriptive of the course of the Fay, " Borne afar on the wings of the blast," in quest of the shooting star. His encounter with the storm fiends and the flaming rockets, and his final capture of the "glimmering spark," are here related. A realistic and original effect is produced in this number by the peculiar manner in which the Tam-tam is in- troduced as the " flash and flame " of the bursting star is described by the chorus. COMPLETE MUSICAL ANALYSLS. ,,g The rhythm of the accompaniment and iht- unri-.iMu^ m.KlnU tions in this chorus and tenor solo also deserve parlirular nicriiion. The last number begins with a summons by the trumpets, and a phrase of the task motive in brighter colors: Ex. 46 This is repeated in A, and then we hear the Fairy Life uiuiivc •f//<' gro. The following chorus, "Ouphe and Ooblin, Imp and Sprite, hither wend your way. ' rl.- tells of the joy and welcome to the wanderer. The Fairy Lite motive forms the burden of the interludes to both the final cluirnso. .ind also the Postlude after the words: " The day-glimpse glimmers on the lawn. The cock has crowed and the favs are gone." Our review has been sufficient to show the significance i>t the characteristic motives, and the skill and judgment with which the.** are variously employed and combined to elucidate the text. To observe that the harmonization, counterpoint, instrumeiitaliun and forms are well conceived and correctly set down, would he but a intc compliment to one of the most accomplished and gifted oi the youn^ composers of the present day. Students of orche.stratioiL and evrn some well-known composers, will find a valuable le.sson ujK>n the treatment of brass instruments in Mr. Gleasons .scores. Th...sf who have heard his " Otho Visconti," or " Montezuma." wiU not be sur prised at this statement. The author had anticipated making some critical mention -.f a representative opus from Messrs. Bristow, Chadwick. Kelley Htr, Nicholl, Whiting, Templeton Strong, Huss, Hille. Nevin. Parker. Converse and Fairlamb ; but the limits of this chapter have already been exceeded, and we must conclude with the illustrations In fortunately several of the works last analyzed are either still n, ys 330 COMPLETE MUSICAL ANALYSIS. or published only in full score. A piano arrangement of the 46th Psalm, or the Culprit Fay, would be so unsatisfactor>' that it is not recommended. Therefore, as a general illustration of American works, the following list is appended : Buck, Revel, and appearance of the Abbot, from " Golden Legend. ' (Arranged by the composer for four hands.) MacDowell, Concerto, Op. 15. (Published for two pianos.) Paine, Serenade, Op. 12, or Prelude and Fugue, Op. 41. Gilchrist, Une Petit Suite. Gleason, Vorspiel to " Otho Visconti," arranged by Clarence Eddy. H. W. Nicholl, Concerto in Z>-minor. G. E. Whiting, Concerto in Z>-minor. Kelley, Royal Gaelic March, from "Macbeth" music. ^Two or fQUr hands.) Wm. H. Sherwood, Medea, Op. 13.* S. G. Pratt, Grand Polonaise in ^-flat. A. M. Foerster, Romance for Violin and Piano. Burmeister, Concerto in /^-minor. ' Maas, Concerto in C-minor, Op. 12. G. W. Chadwick, String Quartette. * Special analytical edition just issued (1S90) by the publishers of tliis work. COMPLETE MUSICAL ANAl.VSl.S. 33, COMPENDIUM. THE plan of the Compendium is arranged to correspond to th* different topics, styles, forms, etc., as they are explained m ihc body of the book. Preference is given to works either new or lillle known, for the reason that standard compositions need no recom- mendation. ILLUSTRATIONS FOR PART I, CHAPTERS I AND II. AURICULAR EXERCIvSES. [ 'Bargiel, Three Clavierstucke. (Nos. 1 and 2, Major ; 3, Harmonic Minor , i Henselt, Love Song in ^-flat. (Harmonic and Melodic Minor.) ! Chadwick, Scherzino, Op. 7, No. 3. (Harmonic and Melodic Minor.) ' Hyllested, Album Leaf in G. (Alternate Major and Minor.) Eehr, Polonaise, Op. 55, No. i. (Chromatic.) Codard, Waltz in .4-flat, Op. 26. (Chromatic.) Chopin, Etnde, Op. 10, No. 2. (Chromatid Cade, Aquarellen, Op. 19. (Ten short pieces, Enoch Edition, 469.) CHAPTERS III, IV AND V. Hans Huber, Thoughts of Home in the Desert, Op. 41, arranged by R. Hoff man. (Syncopated accompaniment and change of Movement^ Marston, Bagatelle in F. (Change of Mode, Metre, Movement and Rhythm ) I Hyllested, Melody in G. (Compound Rhythm.) H. Ho/THann,'E\e^&. (Change o^ Metre, Movement and Mode , also diffrrrni Rkjrtbw in accompaniment of each period.) Oe Prosse, " Little Classics," Nos. 3 and 10. PART II. CHAPTERS VI AND VII. Hiller, Choral in TS'-minor from Suite. 1 Heller. Cradle Song in G. Saran, March, Op. 6, No. 2. GleasoH, Allegro, Op. 8, No. 4. Seymour Smith, Dorothy. (Major and Minor Chord* amrf Malar Transitions.) 332 COMPLETE MUSICAL ANALYSIS. CHAPTERS VIII AND IX. -Y. Scharwenka, Op. 62, No. 6. ,Cadence No. 1— end of First Section.) Taubert, Etude, Op. 4, No. 2. (Cadences Nos. 2 and 3.) Joseffy, Mill, Op. 23. nos. 2 and 5.) Jf. Scharwenka, Op. 62, No. i. (No. 3, last measure.) Reynaud, Lily of the Valley. (No. 4.) Chopin, Prelude, No. 4. (No. 4.) Heller, Cradle Song in G. (No. 5.) Seymour Smith, Dorothy. 'No.s. 4 and 3, last period.) Czibulka, Sarabande, Op. 316. (Secondary Seventh Chords.) Chopin, Prelude, No. 4. (Dominant, Diminished, and Secondary Sevvnth Chords.) Sidney Smith, Tarantelle, Op. 8. (Dominant, Diminished, and Secondary Chords.) PART III. CHAPTERS X TO XV. X. Scharwenka, Op. 62, No. 5. (First measure contains Motive or Semi-phr»»e.) X. Scharwenka, Op. 62, No. 11. (First measure contains Motive or Semi-phraae.) X. Scharwenka, Op. 62, Nos. I and 2. (Semi-phrases.) Cade, Canzonetta, Op. 19, No. 3. (Semi-phrases.) Behr, Pearls of Dew, Op. 575, No. 10. (Single Types.) Chopin, Mazurka, Op. 7, No. 5. (Single Type. The period in G is identical with in C. This is a Round.) C. Cui, Canzonetta in ^-flat. (Ballad Model.) H. Hofmann, Op. 34, No. 3. (Ballad Model.) Henselt, Love Song in i9-flat. (Ballad Model.) X. Scharwenka, March, Op. 62, No. j. (Primary Form.) Jno. Orth, Mazurka in G. (Primary Form.) Chadwick, Congratulations, Op. 7, No. i. (Commencing on Second Eighth.) PART IV. CHAPTER XVI. DANCE FORM— COMMON SPECIES. MARCHES. Gounod, Marche Pontificate. E. Mollenhauer, Palisades March. S. B. Whitney, Processional March, Op. 25. Dulcken, Canon in form of a March, Op. 127. L. Damrosch, Arion March. J^vallee. Marche de Concert. Gleason, Egyptian Priest's March from " Montezuma." Schubert-Tausig , Marche Caracteristique. Schubert-Tausig, Marche Militaire. Bargiel-Joseffy, Marche Fantastica. (The original is simpler.) SCHOTTISCHE. Durege, Sailor's Return. Mattoon, Woodnymph Schottische, op. 16. A. J. Davis, Alma Schottische. COMPLETE MISICAI. ANALYSIS. 333 S. B. Mills, Polka Caprice. Van Laer, Polka Brillante, Op. 10. Henselt, Polka Brillante, Op. 13. Bcndel, luvitation to the Polka. Kroeger, Polka (Traeieuse, Op S No. d. Shet'TVOod, Polaria, Grand Polka. GAI,OP. Rubinstein, Galop, from "Le BaJ." Bachmann, Rendezvous Galop. Elson, Dash along (ralop. Tours, Plus Vite Galop de Concert. Brandeis, Irresistible Galop. Gregh, Scherzo Galop. MAZURKA. Saint-Saens, Two Mazurkas, Ops. 21 and 34. Sherwood, Two Mazurkas, Op. 9. F. Dewey, Mazurka in G'-minor. Fairlanib, Mazurka de Salon. Robyn, Mazurka, Op. 38, No. 4. Dayas, Mazurka. Riv^-King, Mazurka des Graces. Hyllested, Second Mazurka in G. S. G. Pratt, Joyous Breeze, Mazurka. A. E. Warren, La Gazelle, a la Mazurk*- Foote, Mazurka in C-minor. Lavallee, Souvenir de Toledo. Wieniawski, Mazurka de Concert, Op. ii. Leschetizky, Mazurka, Op. 24, No. 2. Chopin, Fifty-one Mazurkas. WALtZ. Von Biilow, Waltz in j5-flat, Op. 21, No. 7. Dvorak, Two Books of Waltzes, Op. 54. Moszkowski, Five Waltzes, Op. 8. Loschhorn, Valse, Op. 37, No. i. Jadassohn, Valse, Op. 62. Schulkoff, Second Valse Brillante. Keler-Bela, On the Beautiful Rhine. (Ball-rooiB W»lu*.) Warren, Autograph Waltz. (Ball-room WalUc«.) I.ainbert, Valse Impromptu. Neupert, Valse Caprice, Op. 57, No. 2. Hyllested, Valse Sentimentale. Seeboeck, Valse Caprice. Maas, Valse Allemande, Op. 21. Carreno, Springtime, Valse Brillante. Flarsheim, Valse Gracieuse. 334 COMPLETE MUSICAL ANALYSIS. Mills, Valse Caprice. Baermann. Clavicrstuck in Waltz Form. 7?rt^ Nine Favorite Pieces. (Waltz, ::inuet,C.avotte, Bolero, etc. Enoch Edition, 455.) Schubert, Dances, complete for Piano Solo, f :dition Peter.s, No. 150. Foar hands. Edition Peters, No. 719. DANCE FORM— ROCCOCO SPECIES. (Minuets, Sarabandes, Etc., may be found among the Suites hereinafter mentioBed.) Bach-Mason, Gavotte in G, from Sixth 'Cello Suite. Bach-Joseffy, Gavotte for left hand alone. Gluck-Brahms, Gavotte in A, from " Iphigenia." G luck- Mason, Gavotte. Morley, Musette. MODERN GAVOTTES. Pabst, Gavotte and Musette, Op. i ^ Fopper-Kirchner , Gavotte in D, Op. 2\ No. 2, Saint- Sa'ens- Day as. Gavotte from beptuor. Saint-Sains, Gavotte in C-minor, Op. 23. Strelezki, Gavotte Moderne in A. M. Vogrich, Gavotte Hongroise in ^-rainor. Von Wilm, Gavotte in G, Op. 33, No. 3. Fldrsheim, Morceau a la Gavotte. Seeboeck, Florence Gavotte. W. G. Smith, Gavotte Antique. H. N. Bartlett, Grand Gavotte in D, uo. 4.S. Durand, Gavotte, Op. 84. Sgambati, Gavotte, Op. 14. Liebling, Gavotte Moderne. M'me Helen Hopekirk, Gavotte in i?-mvnor. Carl Venth, Gavotte, Op. 16. C. L. Capen, Gavotte in /^-minor. M. Roed^r, Two Gavottes. Foote, Gavotte in C, Op. 8, No. i. A. Cortada, Gavotte. Sternberg, Gavotte, Op. 32, No. i. H. W. Parker, Gavotte in .C-minor W. R.Johnston, Gavotte, Op. 40. Gounod, Musette. ^E. Nevin, Gavotte and Musette in G-va\nor and (J-major. SARABANDS. Mattheson, Sarabande and Variations Zipoli, Sarabande in G- minor. Corelli, Sarabande in /T-minor or /?-minor. Von Prochazka, Sarabande. Emery, Sarabande (and Scherzo), Op. 6. ' COMPLETE MUSICAL ANALYSIS. VI5 CHACONNH. Handel- Liszt, Chaconne. Neustedt, Chaconne Favorite. Keinccke, Chaconne in .5-minor, Op. 123, No. 3. Durand, Chaconne in .r?-minor, Op. 62. Seebofck, Chaconne in .5-minor. TAMBOURIN. H. Huber, Tambourin. Raff, Tambourin from Suite, Op. 204. Bach-Joseffy, Bourr^e in E Moszkowski, Bourree, Op. 38, No. i. Reinecke, Bourree in ^-minor, Op. 175, No. a. Tours, Bourree Moderne, Op. 32. Dupont, Bourr6e in jS'-minor. E. Silas, Second Bourree. Thayer, Bonrr6e in D. Seeboeck, Bourree Antique, No. i. CODRANTE. Dom. Zipoli, Courante from (7-minor Suite. Muffat, Courante in Z>-minor. Von IVilm, Courante, Op. 33, No. 2. Thayer, Courante in D. GIGUE. Handel, Gigue in C-minor. Rameau, Deux Gigues en Rondeaux- Mattheson, Four Gigues. Zipoli, Gigue from C-minor Suite. : Corelli, Gigue in A. Leschetizky, Gigue, Op. 36, No. 3. Sternberg, Gigue, Op. 32. DANCE FORM— MODERN CLASSICAL SPECIES. POLONAI9B. ' Rive-King, Polonaise Herolque. \ Fooie, Polonaise in D, Op. 6, No. 5. M. I. Espslein, Polonaise. Jno. Orth, Polonaise in A. S. A. Efnery, Polonaise. Henschel, Polonaise in G. Nicode, Polonaise Caracteristique. Or; 5. BOLERft Jadassohn, Bolero, Op. 75, No. i. Raff, Bolero in i5^-flat, Op. in, No. 335 COMPLETE MUSICAL ANALYSIS. Keinecke, Bolero, Op. 86, No. 2. Devrient, Bolero Seguedille, Op. 20. Loschhorn, Bolero, Op. 108, No. 4. C.Johns, Bolero and Minuet. TARANTEI,!^ Nicodf, Tarantelle, Op- 13, No. i. /^aff. Tarantelle in y^-minor, Op. 99. Rheinberger, Tarantelle, Op. 53, No. i. Ph. Scharwenka, Tarantelle, Op. 45. J^ossini, La Danza. (Vocal Tarantelle «rr«nge»ourtl» STMphMirJ Lose h horn, Saltarello, Op. 108, No. 2. Raff, Saltarello, Op. 108. Salter, Saltarello, Op. 147. Mills, Saltarello. CZARDAS. Liszt, Two Czardas, A-Tuvaor and ^-minor. R. Willmers, Makoi, Czardas. Behr, Hungarian Dances. (CzArdAs Album.) Brahms, No. 17, from Hungarian Dances. (Published for two or fottr MINUET. Jensen, Minuet, Op. 33. Bargiel, Tempo di Minuet in E-^^s'i. Bizet, Minuet de 1' Arlesienne. Sherivood. Kthelinda, Tempo di Minuet. Levelt, Minuet. W. G. Smith, Minuet in Canon Form. Sternberg. Minuet, Op. 32. B. O. Kit in. Minuet from Suite. Op. 25. HABANERA- Neustedt. Habaneras, Op. 174. Northrup, Habaneras, Ops. 49 and ji. G. D. Wilson, Cuban Dance. COMPLETE MUSI •^■AI. ANALYSIS. 337 PART V. CHAPTERS XIX TO XXL •uTltoDi The M« Hiller, Gavotte iu G', from Piano Suite, (iituvcn ,.hrHsci ,n.« ral projxjrtion is not good.) Von W^iVm, Playfulness, Op. 12, No. 5. (lntern,c«o.„d Co,u ,.mpir r„mpi, , Bachmann, Dance Bretonne. (intermezzo and Cadenza, PanMRr in Cod. Bachmanv, Sur la Breche. (Extended Periods and Coda Bachmann, Village Festival, (introduction and Intermezzo Bohm, La Fontaine, Op. 22. (Second period extended, Principal pcr,..J of Tno rn,»4 ed, last six measures Coda.) Seymour Smith, Dorothy. (Prelude. All Periods regular except l.,t E. Liebhng, Feu Follet, Op. 17. (United period before middle before Coda.) CHAPTER XXIL P«rl in <■, and agan Chopin, Etude, Op. 10, No. 1 ; also Op. 10, No. 1 1. (Dispersed Hatmony N. B.-The best examples of uneven mensural proportion may be found mbobs ••i'' Piano Duets. Lassen, Andante Amoroso. From "Love above all Majoc." Arranged by Liwt (Abrupt transitions, especially Coda.) Wagner, Prelude to " Lohengrin." (Abrupt transitions., PART VL CHAPTER XXIII. B. Wool/, Allegretto Scherzando, Op. 67. (Lyric and Thematic.) Spindler, Buntes Leben, Op. 300, No. 3. (Antiphonai.i ManZOtti, Tempo di Marcia. (Unison passages. Harmonic ami Antiphnnal ) C. Cui, Canzonetta. (Lyric.) Kullak, Scherzo in F. (Partial Canon. Thematic style in middle part ) X. Scharwenka, March, Op. 62, No. i. (Harmonic.) Hiller, Choral from Suite. (Harmonic.) Geo. Henschel, Canons for Piano. (An improvement on the old style ) Dulcken, Canon en forme de Marche, Op. 27. Goldbeck, Melody and Canon. Ales. Scarlatti, Fuga ; Handel, Six Grand Fugues. Raff, Fugue from Suite, Op. 75, No. 5. Rheinberger, Fugue in G"-minor, Op. 5, No. 3. Saint-Sains, Preludes and Fugues, Op. 52, Nos. 3 and 5. Schumann, Four Fugues, Op. 72. Jadassohn, Six Preludes and Fugues, Op. 56. Clara Schumann, Three Preludes and Fugues, Op. 16. /. K. Paine, Fugue, Op. 41, No. 3. Foote, Prelude and Fugue, Op. 15. MacDowell, Prelude and Fugue in Z>-minor, Op. 13- 338 COMPivfitfi MUSICAL ANALYSIS. BRAVURA STYLE. Mozart-Liszt, "Don Juan," Fantaisie. Liszt, Tarantella. Paganini-Brahms, Theme with Variations. Schubert-Tausig , Marche Militaire. Chopin, Scherzo, No. i, " Infernal Banquet." Cliopin, Polonaise, Op. 6i. Henselt, Concerto in F-vaSuor. Beethoven, Emperor Concerto in ^-flat. Brahms, Concerto in F, or i9-flat. CHAPTERS XXIV AND XXV. Hans Huber, Thoughts of Home, Op. 41. Arranged by R. HofiFman. (intro- duction founded upon a Ground Bass. Coda contains Repetition and Echo.) Codard, Mazurka in ^-flat. (Cadenza, Abrupt transitions and Eingang.) Lassen, Ballet Music from " Love above all Magic." (Each period founded upon iij <) Pedal-note.) Vott Wilm, The Village Musicians, Op. 12, No. 3. (Drone Bass.) Volkmann, Picture Book, Op. 11, two or four hands. (Nos. five and six conuiii Echo.) X. Scharwenka, Scherzo, Op. 62, No. 10. (Repetition at end of second period.) X. Scharwenka, Scherzo, Op. 62, No. 12. (ConUins a Refrain, which occur* severa; 4 ^ 7 (» 7 7 r '^ ' etc.) ^ CHAPTER XXVI. SPINNING SONG. Liszt, Spinnlied. I^w, Gretchen at the Spinning-wheel, Op. 139. Thome, Chanson du Rouet. Godard, Chanson du Rouet, Op. 85. Joseffy, Spinnerlied. Ketten, Marguerite au Rouet, Op. 12. Raff, La Fileuse, Op. 157, No. 2. Napravnik, Spinning Song, Op. 43, No. 4. Cooper, Spinning Song, Op. 76. Lynes, Spinning Song in G. HUNTING SONtt. Von Prochazka, Hunting Song. Van Laer, Hunting Song, Op. 5. Jefferey, Hunting Song, Op. 7. Kirchner, Hunting Song, Op. 181. ; T % Rheinberger, Hunting Song, Op. 5, No. I. \%W Kornatzki, Hunter's Horn. COMPLETE MUSICAL ANALYSIS. Gade, Boat Soug. ^'"'''^ ^''''■ Raff, Boat Song, Op. 8. Nicode, Boat Song, Op. 13, No. 3. Henselt, Boat Song, Op. 13, No. 2. Goldner, Barcarolle, Op. 47, No. r. ^. G. Robyn, Barcarolle, Op. 37, No. i. Sternberg, Barcarolle, Op. 22, No. 9. Moszkoivski, Barcarolle, Op. 15, No. 6. Rubinstein, Barcarolle, Op. 30, ISTo. i in /^-niinor Hopkins, Midnight Barcarolle. Stamaiy, Barcarolle. W. Perkins, Barcarolle in G. Barneit, Barcarolle. Pabst, Barcarolle. Tschaikowsky, Barcarolle in C-miuor. CRADLE SONG. Heller, Cradle Song in Z>-flat, Op. 81, No. 15. MacDowell, Cradle Song, Op. 24, Imo ,. Neruda-Kirchner, Cradle Song, Op. 11. Grieg, Cradle Song, Op. 38, No. t. Cesar Cui, Berceuse in E-QaX. U\ L. Wood, Berceuse. Rartlett, Berceuse. Sherwood, Spirit Love, Cradle Song. S. B. Mills, Lullaby. Behr, Oriental Lullaby. Fldrsheim, Lullaby. Gounod, Dodelinette. Mendelssohn, Cradle Song. Brahms, Cradle Song in C-flat. Orth, Cradle Song in A. A. D. Turner, Cradle Song, Op. 36, No. 5, Emery, Cradle Song. Marslon, Slumber Song in B-^aX. Geo. Schneider, Cradle Song. CARILLONS, Dreyschock, La Campanella. Saint-Saens, Carillons, Op. 72, No. 2. Delacour, Carillons du Village. Field, " Midi." (Analyzed in Chapter XXVI.) Gade, Christmas Bells. Haberbier. Enchanted Bells, Op. 59. Berton, Op. 13. 340 COMPLETE MUSICAL ANALYSIS. NOCTURNB. Brassin, Nocturne, Op. 17. Pabst, Nocturne, Op. 14. Raff, Abends, Nocturne, Op. 55, No. 12. Tausig, L'esperance, Nocturne, Op. 3. Henselt, Nocturne in .f-flat, Op. 6. F. Dewey, "Night has a Thousand Eyes " Pratt, Nocturne Impromptu. Brandeis, Nocturne. ROMANCE. Clara Schumann, Three Romances, Op. 21. X. Scharwenka, Two Romances, Op. 25. Henselt, Romance, Op. 18. Max IJruch, Romance. Nicodi, First Meeting, Romance, Op. 22, No. i. Sherwood, Appassionatta, Op. 8. Poote, Romance from First Suite Salmon, Romanza. SERENaDB. Moszkowski, Serenata in D. Del Valle de Paz, Serenade, Op. 28, No. i. Popper, Serenade, Op. 57. No. 2. W. S. Bennett, Serenade, Op. 13. Sgambati. Serenade from Symphony, Op. 16. Wm. Mason, Serenade from "Mephisto." E. B. Perry, Concert Serenade, Op. 10, No. 2. Schumacher, Spanish Serenade, Op. 33, No. 3. Ketten, Spanish Serenade, Op 60. fungmann, Spanish Serenade. BAGATELLE. Ph. Scharwenka, Four Bagatelles, Op. 39. Merkel, Bagatelles, Op. 8t Heimendahl, Bagatelle. C. Cui, Italian Bagatelle. .J"? TOCCATA. ', ^\ y. S. Bach, Four Toccatas. (210, Edition Peters.) Bargiel, Toccata, Op. 45. Dupont, Toccata de Concert, Op. 36. Reinecke, Toccatina in i5"-minor. Wm. Mason, Toccata, Op. 37. ETUDE. Liszt, Six Etudes de Paganiui. Rubinstein, Grand Etude in C. Haberbier, Etudes Poesies, Op. 53. Bertini, Caprice Etudes, Op. 94. (Very characteritUe.) Moszko'ivski, Etude in G. COMPLHTK MrsiCAI, ANALYSIS. ,^, Nicodf, Two Etudes, Op. 1 2. X. Scharwenka, Three Etudes, Op. 27. Alkan, Etuder.. Neupert, Poetic Studies. Lambert, Etude in G. (in Harmonic couutrrpoint 1 Joseffy, Etude in .-^-flat. Kdlling, Perpetual Motion Etude. W. G. Smith, La Cascadilla, Etude de vSalou, Op. 21. Lavallee, The Butterfly Etude. Parsons, Forest Murmurs. Goldbeck, Petit Etude. Foote, Pedal Study No. 2. PIFFERARl. Sternberg, Pifferari, Op. 35, No. 3. Sidney Smith, Pifferari, Op. 183. SCHERZO. Mendelssohn, Two Scherzos. Volkmann, Scherzo from Symphony, Op. 44. C. Engel, Scherzo, Op. 10. Carreno, Intermezzo Scherzo, Op. 34. Florsheirn, Scherzo. St. Etnery, Scherzo and Sarabande, Op. 6. Orth, Scherzo in D. H. fV. Parker, Scherzo in ^-minor. Sherwood, Scherzos, Ops. 7 and 9. Em.. Moor, Scherzoso in ^-flat minor. E. Perabo, Petit Scherzo. Lynes, Scherzino, Op. 9, No. 4. Jadassohn, Scherzo in form of a Canon. HUMORKSQUK. Moszkowski, Humoresques, Op. 33, No. 2, and 35, No. 3. Nicode, Burlesque, Op. 28, No. 2. Ph. Scharwenka, Humoresque, Op. 13, No. i. Tschaikowsky, Humoresque in G, Op. 10, No. 2. Em. Moor. Humoresque in D. Wm. Mason, Two Humoresques, Op. 23. MacDozvell, Humoresque in G, Op. 18, No. 2. Maas, Six Humorous Sketches, Oo. 13. Kroeger, Humoresque. IDVI.. Gregh, Pastorale, Louis XV., Op. 12. (Especially recommended a»i pnm.rr n.wpu of Pastoral Music.) Gregh, Elegie, Pastorale in /^-flat. Durand, Gai Printemps Idylle, Op. 76. Gade, Idyllen, Op. 34. 342 COMPLETE MUSICAL ANALYSIS. Joseffy, Idyl in F. if ^' Thome, Under the Leaves, Idyl. 1 t""'' Sherwood, Idvl from Suite, Op. 5. I f"'" CHAPTER XXVII. | ;j,jii( ROMANTIC SINGLE FORMS. I ''*" Carl Heytnann, Elfin Dance. " '* Gottschalk, Eolian Murmurs, Davidoff- Rosenthal, At the Spring. \Mendelssohn, Elfin Dance, from "Midsummer Night's Dream. "^ Hiller, Dance of the Fairies. Behr, Fairy Dance, Op. 351. Gottschalk, Dance of Sylphs, Op. 86. Prudent. Revel of the Fairies. Renaud, Firefly, Caprice, Op. 19. Kroeger, Elves at Play. Seeboeck, Fairy Dance. Saint- Sa'ens, Phrygian Greek Dance. *MacDowell, Witches' Dance, Op. 17, No. a. * Jensen, Dryade, Op. 43, No. 4. * Jensen, Will-'o-the Wisp. * Chopin, Presto from ^-flat minor Sonata. *Carreho, Dance of Gnomes. PART VII. CHAPTER XXVIII. Best illustrated by thirty Inventions, and Art of Canon atiA Fugue b' Bach. CHAPTER XXIX. SUITES AND PARTITAS. Mattheson, Suite No. 5. Kuhnau, Suite. Couperin, Suites. Handel, French and English Suites. DeChambonnieres, Suite in ^-minor. Zipoli, Partita in 6"-minor. Bach, Six Partitas. Krebs, Six Partitas. A. and D. Scarlatti, Partitas. Paradisi, Partitas. MODBRN SUITK. Reinecke, Suite a la Roccoco. Grieg, Suite in five movements. Op. 40. Jensen, Suite in .^-minor, Op. 36. Raff, Suites, Ops. 72 and 204. - The last five selections belong to the Ignis-Fatuus, rather than to felie «fe« Pollet order. COMPLETE MUSICAI, >N\LVSIS. l. , 'Svendsen, Romantic Suite. Hyllested, Romantic Suite. (Norwegian an-- n«ni»h j Bargiel, Suite, Op. 31. MacDowell, Modern Suites, Ops. k a\id 14, Brockkoven, Creole Suite. Hamerik, 3 Nordische Suiteu. Gilchrist, A little Suite of four "movements. B. O. Klein, Suite in G, Op. 2\ Sherwood, Suite, Op. 5. Rive-King, Piano Suite No. X Foote, Suite in £-in?r)'>r Op. 12. CHAPTER XXX. Bellini- Leybach, ''L^a Sonnambula" Potpourri. Wagner-Crain>r "Parsifal" Potpourri. Wagner- liszt, Walhall, Transcription from the " Rheingold." Wagner-Tausig , "The ride of the Valkyrs" Transcription. Pabst, Air and Variations, Op. 16. A. Fesca, Fantaisie and Variations. Brahms, Variations, Op. 9. Clara Schumann, Variations, Op. 20. Mills, Welsh Air and Variations. Tschaikozvsky, Theme and Variations, Op. 19, No. 6. RONDO. Hummel, Rondo, Op. 52. Ferd. Ries, Rondo Elegante, Op. 122. Merkel, Rondo Brillante and Rondo Amabile, Op. 154, Nos. i and 1. Bottesini, Rondo. IJischhorn, Rondo, Op. 149, No. i. Becker, Rondino, Op. 9, No. i. Buck, Rondo Caprice, arranged by Dayas. H. Mohr, Rondo Scherzando, Op. 53. PART VIII. CHAPTER XXXII. Henselt, Love Song in ^-flat. (Theme in Tenor.) H. H. Huss, Ballade. Bohm, La Fontaine, Op. 221. (Melody in Contralto, iu Trio.) Griinfeld, Mazurka, Op. 14. (Intrada in form of Anticipation, occur* •creral lirnr* before principal period. In the first A~-flat period the Melo«'r, Ten Overtures. Glinka, " The Life for the Czar." Jeyisen, Concert Overture in /T-minor. Ph. Scharwenka, Fest Overture, Op. 43. Moszkowski, Concert Overture, Op. 19. Goetz, "' Taming of the Shrew," Augener, 8540. Lortzing, Two Overtures. ^C. C. Converse, " In the Springtime" Overture. *Chadunck, " Melpomene" Overture. CHAMBER MUSIC. Nearly all the Classical Chamber Mu.sic is arranged for Piano, four hands; lut these arrangements are not generally recommended except as stadin in 'Sight- reading, or as a preface to a regular Chamber Music Concert. LitolfT. Peters, Breitkopf and Hartel, Steingraber, Augener and Co., Cotta, Scholl. furgensen (Moscow), and Ricordi (Milan), publish cheap editions of thr ■bo»r. MISCELLANEOUS SELECTIONS (Four Hands). ■Hummel, Sonatas Complete, arranged by Winkler. (Litolff Edition. 144 )t Mendelssohn, Sonatas, arranged by "Winkler. (Litolff Edition, 983.) Clementi, Four Sonatas, arranged by Winkler, (i.itolff Edition, 395.) /. B. Cramer, Two Sonatas, arranged. (Or Edition Peters. 132.^ > Onslow,y^o Sonatas, in £'-minor and /-^-niinor. Ops. 7 and 22. iHdiUo« prtrt., 1326.) 6^aa'i', Three Marches. Op. 18. (Bright and origrinal. Edition Prlcr*. .004 » Grieg, Suite, Op. 40. (Edition Peters, 2266.) Nicode, Ball Scene, Op. 26. Ph. Scharivenka, Polish Dances, Op. 38. (The last eight measureh of No. ; •• B ««i. is a Refrain. This also occurs in the middle of the movement, marked Dolce. Two or four hands.) Rheinberger, Tarantelle, Op. 13. (Augener & Co., 6965.) Kalliwoda, Grande Valses, Ops. 27 and 169. (Edition Peters. 1062.) - These overtures have recently been performed at Orehestnil CoB Schumann, Concerto iu .-/-minor, Op. 54. Goldmark, Piano Concerto. X. Scharwenka, Piano Concerto, Op. 32. Raff, Concerto in (f-minor, Op. 185. Reinecke, Concerto, Op. 72. Saint-Saens, Concerto in C-minor, Op. 22. Draeseke, Piano Concerto, Op. 36. Henselt, Piano Concerto, i^-minor. Op. 16. Grieg, Piano Concerto, Op. 16. iAugener, 6141.) Bendel, Piano Concerto. Rubinstein, Piano Concerto, E-va.\\\ox, Op. 25 (Peters, 1171.) Godard, Piauo Concerto. . /-minor, Op. 31. Sgambati, Piano Concerto, Op. 15. Maas, Piano Concerto in (T-minor, Op. 12. MacDoweU, Second Concerto, Op. 23. Burmeister, Concerto, No. 1, F-rah\or, No. 2, Z?-minor. iMax Vogrich, Piano Concerto in .£"-minor. Arthur Whitiiiff. Piano Concerto in /^-minor. H. \V. Nicholl, Piano Concerto iu /^-minor. C. Florio, Piano Concerto in ^-flat. The Mozart Piano Concerto in Z)-minor is arranged according to the originti df«nn. ; f., the second piano part has only the tutti passages The one in A flat n atraojr.1 by Kogel as a Piano Duo, the parts being more equally di.stributed between Ihr iw.. ia>tiu ments. Where the performers are of the same grade, this latter plan i» inoiu mended •• '• l>eing more generally satisfactory, though it loses somewhat of the antiphonal ih«r«ftri •.' a Concerto, and becomes a Duo. Nearly all the Concertos arc arranged «cordin|[ t" thr former design. A number of Standard Concertos are arranged with String qu«rtettc •i.~c«m paniment. These are generally effective, except in such works as Liszt's /; flat Concerto PIANO DUOS, MISCELLANEOUS. Saint-Saens, Minuet and Gavotte. Saint-Saens, Variations on theme from Beethoven Saint-SahlS, Dance of Death. (Arranged by the Composer.) I Rheinberger Fantaisie, Op. 7. ! Reinecke, Variations on theme from Schumann's " Manfred." CletneJiCi-A'rausc, Two Sonatas. Mozart, Original Compositions. (Peters, 1327.) Afendetssohn, Capriccio, .5-minor, Op. 22. Bruch, Fantaisie, Op. 11. Uw, Allegro Brillante, Op. 325. O. Singer, Variations on original theme. O. Singer, Rhapsodic for two Pianos and Orchestra. Hyllested-Kolling, March Triomphale. H. Huber, Sonata. Op. 31. RHAPSODICAL FORM (Four H»nda). Berlioz, Episode in the life of an Artist, Op. 14 Berlioz, Harold in Italy, Op. 16. 350 COMPLETE MUSICAL ANALYSIS. Berlioz, Romeo and Juliet, Op. 17. Liszt, Twelve Symphonic Poems, arranged as Duets by the Composer. Dvorak, Slavonic Rhapsodies, Op. 45, three books, four hands. Dvorak, Scherzo Capriccioso, Op. 6b. Saini-Sai'ns, Phaeton, Symphonic Poem. E. Lalo, Rhapsodic. Svendsen, Carnival in Paris, Op. 9. SYMPHONIES AND SYMPHONIC POEMS. (modern romantic, and romantic — CLASSICAL FORMS.) Brahms, Symphonies, Ops. 73, 90 and 98. Goldtnark, " Country Wedding," Descriptive Symphony. //. J-fo/mann, " Frithjof," Op. 22. Volkmann, Symphony in Z^'-minor, Op. 44. Dvorak Symphonies, Ops. 60 and 70. Saint-Saens, Four Symphonic Poems. Nicode, " Marie Stuart," Op. 4. Godard, Symphony, Op. 23. Rubitistein, Sixth Symphony, Op. in, arranged by Kleinmichel. Lassen, Two Symphonies, Op. 78. Paine, Symphonies, Ops. 23 and 34. Gottschalk, " Night in the Tropics " Symphony. MacDowell, Two Symphonic Poems, Op. 22, Hamlet and Ophelia. (Arranged by the Composer.) Bristow, Arcadian Symphony. ADDITIONAL WORKS BY A.MERICAN COMPOSERS. ORCHESTRAL COMPOSITIONS. Foote, Overture, " In the Mountains." H. IV. Parker, Symphony in C. 5. G. Pratt, Symphonic Suite, " The TempesL" 'Chadiuick, Symphony, No. 2, in i?-flat. Chadiuick, Overture, " Rip Van Winkle." J. K. Paine, An Island Fantasy, and Overture, " As you like it." Arthur Weld, Romance for Orchestra. Arthur Weld, Suite, " Italia." Hanterik, Sj'Uiphonie Lyrique, Op. 33. J. H. Beck, " Skirnismal." Arthur Bird, Suite in D, Op. 6. 5". A. Baldwin, Overture, " A Journey in Norway." -, Theo. Thomas, Festival March. | O. Floersheim, Symphonic Reverie. '" W. O. Forsyth, Suite, No. i. E. C. Phelps, E;iegie for Orchestra. W. Petzet, Overture. Odysseus. G. Hille, Concerto for Violin and Orchestra. '/ B. O. Klein, Love Song and Wedding Bells. COMPLETE MUSICAL ANALYSIS. ,,, V. Herbert, Serenade for String Orchestra. W. Burr, Jr., Andante and Scherzo for String Orchestra. GUason, Introduction, Death Song, Yeteva"s Processional, an.i i >n*ir ;o .^^c II from " Montezuma." CHAMBKR MUSIC. Kroeger, Quartette in (/-minor. Gilchrist, Quartette in (f-minor. A. D. Turner, Sonata for P., F. and 'Cello, Op. 34. E. How el Is, P. F. Tri'- Petzet, P. F. Trio, Op. 9. Foote, P. F. Trio in C-minor. Chadwick Quintette in .£"-flat. Geo. W. Andrews, Sonata, P., V. and Violin. Gleason, Quartettes and Trios. P. C. Lutkin, Romance for 'Cello. PIANO-FORTE. Arthur Whiting, Concert Etude. T. Strong, Dance of Elves. (For two piano-fortes.) R. Thallon, " Florence," Gavotte. Carl Venth, Prelude, Romance and Rural Dance. H. Nasi, Gavotte, Nocturne, and Polonaise. Jno. Yoakley, Scherzando and Trio. J. S. Van Cleve, Allegro con brio from Sonata. J. S. Van Cleve, Nocture in F. W. L. Blutnenschein, Impromptu and Reminiscences. Lavallee, Etude, Papillons. Thos. Tapper, From my Sketch Book, (Six Nos.) Hugo Kaun, Suite, Village Stories. VOCAU F. A. Dossert, Mass in E-rainor. G. F. Bristow, Oratorio, Praise of God. /. K. Paine, Oratorio, St. Peter. /. K. Paine, Oratorio, The Nativity. J. K. Paine, Cantata, Song of Promise. p. Singer, Cantata, Landing of the Pilgrims. . O. Singer, Festival Ode. J. C. D. Parker, Redemption Hymn. J. C. D. Parker, Cantata. " The Blind King." E. Thayer, Festival Cantata. G. E. Whiting, Tale of the Viking. G. E. Whiting, Henry of Navarre. H. Mohr, Cantata for Male Chorus, Solo and OrchcsU*. Gleason, Praise of Harmony. Foote, The Legend of Hiawatha. 352 COMPLETE MUSICAL ANALYSIS. H. IV. Parker. King Trojan. Gilchrist. Cantata, "The Rose." Maas, Will-o'-the-Wisp, Female Chorus. A. IV. Thayer, Hymn to Apollo. Double Quartet. A. A. Stanley, " The Strain Upraise." E. Neirin, " The Night has a. Thousand Eyes." A. Foole, Love took me softly by the hand. Jules Jordan, Bugle Song. C. T. Howell, Love's Messenger. Female Chorus. H. H. Muss, Motette for Chorus and Orchestra. J. A. Beck, Moorish Serenade, (Tenor Solo and Orchestr*.) W. Burr, Jr., The Wreck of the Hesperus. E. Nevin, A Sketch Book. (Vocal and Instrumenui.) o 4 <^ 5 1 i ^SS^3 0^^ 30 DAY USE RETURN TO DESK FROM WHICH BORROWED MUSIC LIBRARY This book is due on the last date stamped below, or on the date to which renewed. Renewed books are subject to immediate recall. FEB 2 9 1980 OCT 2 2 1981 APR 2 6 1982 MAR 30 1983 • MAY 2 1985 LD21A-10m-10,'74(S1945l-) General Library Univenity of California Berkeley DATE DUE Music Librar>' University of California at Berkeley