THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MUSIC LIBRARY THE THEORY AND PRACTICE OF MUSICAL FORM: ON THE BASIS OF LUDWIG BUSSLEK ? S "MUSIKALISCHE FORMENLEHRE." FOR INSTRUCTION IN COMPOSITION BOTH IN PRIVATE AND IN CLASSES. BY J. H. CORNELL. NEW YORK : G . SCHIRMER. 1900. COPYRIGHT, 1883, BY Q. SCHIRMKB 6104 Electrotyped by SMITH & McDouoAL, 8a Beekman Street, New York. Music Library vrr PREFACE. , in art, may be comprehensively defined as the external -*- shape and order in which artistic conceptions are presented, in other words, as the outward expression of the subject-matter or import of the art-work. Accordingly, there may be as many forms as art-works, although numbers of these individual forms may and actually do agree in certain essential features. Now, the summary of the principal features in which a number of art- works agree, is called Art-form. The necessity of form to the special art of music is, perhaps, not so immediately obvious as in the case of the other arts ; yet it is certain that without an adherence to the laws of form a coherent, intelligible musical composition is as inconceivable as for example a picture, a sculpture, or a building, without plan or design. A piece of music (if indeed music it should be called) without a determinate tonality or key-relationship, without harmonic, melodic, rhythmic order and symmetry in a word, without form, is nothing else than a tonal chaos. Hence the absolute necessity to the would-be musical com- poser of the study of the laws of musical form, a necessity from Avlrich no natural gifts, not even the possession of genius, can dispense him. " Form," says ECKERMANK" (Beitrage zur Poesie) " is the re- sult of the efforts, through thousands of years, of the most excellent masters, which every one cannot too soon appropriate to himself. It 4 PEEFACE. were a most insane delusion of misconceived originality, if each one were to go about on his own account fumbling for that which is al- ready on hand in great perfection. Form is handed down, learned, imitated, otherwise progress in art would be out of the question, every one would have to begin anew," etc., etc. And GOETHE, speak- ing of the strict requirements of the laws of art-form, says that it is " precisely genius, natural talent, that is the first to understand them, and that pays them the readiest obedience." The study of musical form, however, of course presupposes the knowledge of the laws of Harmony and Counterpoint) as an indispensable preliminary condition; which knowledge, accordingly, is in this work assumed as part of the student's equipment. In view of the fact that the means or organs by which musical tones are produced are either natural (the human voice), or artificial (musical instruments), music is either 1. purely VOCAL ; or, 2. purely INSTRUMENTAL ; or, 3. MIXED i. e., at once vocal and instrumental. To one or the other of these three grand divisions of musical forms every musical composition must be assigned. Further, each one of these form-genera, as embracing compositions having either but a single movement, or many movements, is, accordingly, either SIMPLE, or COMPOSITE (CYCLICAL). Again, each one of the three form-genera has its various SPECIES, as follow. A. VOCAL FORMS. (a) For a solo voice: Eecitative, Air, Arioso, Arietta, Ballad, Canzone, Canzonetta, Cavatina, Eomance, Song, Scena, etc. (b) For several solo voices: Duet, Terzet (Trio), Quartet, Quintet, Sextet, etc. (c) For chorus a cappella (with or without solo) : Chorus, Mass, Psalm, Madrigal, Motet, Glee, etc. B. INSTRUMENTAL FORMS, (a) In one movement (simple): the va- rious Dances and Marches ; Pianoforte pieces, such as Etude, Song without words, Fantasia, Nocturne, etc; Orchestral Overture (Opera- overture, Concert-overture), etc. (b) With many movements (Cy- clical): Duo, Trio, Quatuor, Sextet, Septuor, etc.; Concerto, Suite, Seremita, Sonata, Symphony, etc. C. MIXED VOCAL AND INSTRU- MENTAL FORMS, (a) The various choral compositions with organ or orchestral accompaniment, viz.: Mass, Litany, Te Deum laudamus, PREFACE. 5 Stabat Mater, Service, Anthem, Hymn, Psalm, Choral, Cantata, Oratorio, Passion, etc. (b) Represented on the Stage : Opera, Ope- retta, Melodrama, Vaudeville, etc. The forms chiefly treated of in this book, as constituting the basis of the greater part of the instrumental compositions of HAYDN, MOZART, BEETHOVEN, WEBER, SCHUBERT, MENDELSSOHN, SCHU- MANN, etc., and of most living composers, are called the FORMS OF INSTRUMENTAL MUSIC. Here music is free from external restraints (such as are imposed by the text, etc., in vocal music), and rules ac- cording to the laws of its own nature. The influence of these forms, however, on vocal music especially that of the above-mentioned composers is great, and easy of demonstration. The present book is substantially a translation of LUDWIG BUSSLKR'S " Musikalische Formenlehre," a work much to be recommended for its clearness and thoroughness, to which, in its present English dress, I have made considerable additions. Within the last few years much has undeniably been done in our country (thanks to the greater number of thorough and conscientious teachers) in the direction of a more solid musical education ; and among other results, the importance of the subject of musical form is beginning to be appreciated, not only by the professional student of music but also by the rapidly increasing class of advanced amateurs desirous of an intelligent enjoyment of the masterpieces of composition. The present addition to the meagre ver- nacular literature of the subject will therefore, as I hope and believe, be welcomed by all interested in the cause of this beautiful art. The aim of the work is, in one word, to teach musical construction, and its plan is perfectly simple. Each form, beginning with the very smallest of the elementary ones, is clearly explained and copiously ex- emplified ; the student is then required to originate a musical thought in the given form. As repeatedly stated in the Exercises, the first compositions those of small extent are to be utilized for construct- ing the succeeding ones, of larger form; this will facilitate class- instruction in musical form, as but few pupils are able to continually furnish new material for these Exercises without becoming superficial and careless. 6 PREFACE. For valuable matter gathered for this book from GROVE'S Dictionary, DR. STAINER'S " Composition," ARREY VON DOMMER'S " Musika- lisches Lexicon," F. J. KUNKEL'S " Melodiebildungslehre," BENEDICT WIDMANN'S " Formenlehre," HERRMANN KUSTER'S " Populare Vor- trage," etc., I hereby acknowledge my obligations. J. H. COKNELL. NEW YORK, JANUARY, 1883. CONTENTS. FIEST PAET. THE ELEMENTS OF MUSICAL FORM. FIEST DIVISION. THE SECTION AND PHRASE. CHAPTER I. (INTRODUCTORY.) PAGE Meter and Rhythm 15 CHAPTER II. The Section 18 First Exercise 21 CHAPTER III. Double Section. Phrase 22 Second Exercise 24 SECOND DIVISION. THE PERIOD. CHAPTER IV. Simple, eight-measure Period 27 First Form 28 Third Exercise (1) 29 Second Form 30 Third Exercise (2) 30 Third Form 31 Third Exercise (3) 32 Fourth Form 32 Third Exercise (4) 34 8 CONTENTS. CHAPTER V. PAGE Exceptional Period-forms 84 Four-measure Periods 34 Periods of various unsymmetrical Construction 35-36 Periods of three Phrases 37 THIRD DIVISION. THE SMALL PRIMARY FORMS. CHAPTER VI. The small two-part Primary Form 39 First Form 39 Fourth Exercise (1). . 41 Second Form (1) in Major 42 Fourth Exercise (2) 42 Second Form (2) in Minor 45 Fourth Exercise (3) 47 Third Form 48 Fourth Exercise (4) 50 CHAPTER VIL The large eight-measure Phrase 50 (1) Independent 50 Fifth Exercise (1) 51 (2) As Part of a Period 52 Fifth Exercise (2) 53 (3) Double Phrase 53 Fifth Exercise (3) 55 CHAPTER VIII. The large (three-part) Period 55 CHAPTER IX. The small three-part Primary Form 57 Sixth Exercise. . 58 FOUKTH DIVISION. THE LARGE PRIMARY FORMS. CHAPTER X. The lar^e two-part Primary Form 62 Seventh Exercise. . . 63 CONTENTS. 9 CHAPTER XI. PAGE The large three-part Primary Form 63 Eighth Exercise 65 FIFTH DIVISION. LICENSES OF CONSTRUCTION. CHAPTER XII. Extension 65 (a) Of the small two-part Primary Form 65 Ninth Exercise (1) 67 (b) Of the small three-part Primary Form 67 Ninth Exercise (2) 69 (C) Of the large two-part Primary Form 69 Ninth Exercise (3) 70 (d) Of the large three part Primary Form 70 Ninth Exercise (4) 73 CHAPTER XHI. Abbreviation 73 (a) Of the large three-part Primary Form 73 Tenth Exercise (1) 74 (b) Of the small three-part Primary Form 75 Tenth Exercise (2) 76 CHAPTER XIV. Coincidence of the Final and the Initial Measure (Overlapping) 76 CHAPTER XV. Irregular Groupings of Measures 78 CHAPTER XVI. Licenses of Modulation 81 Eleventh Exercise (1) 83 (2) 83 SIXTH DIVISION". THE MOTIVE, AND ITS DEVELOPMENT. CHAPTER XVII. Nature of the Motive. . . 83 10 CONTENTS. CHAPTER XVIIL PAGK Development of the Motive 86 (a) Repetition 86 Twelfth Exercise (1) 88 (b) Alteration of Intervals 88 Twelfth Exercise (2) 89 (C) Rhythmic Diminution and Augmentation 89 Twelfth Exercise (3) 90 CHAPTER XIX. Development of the Motive (Continued) 91 (d) Inversion 91 Thirteenth Exercise 94 (6) Contrapuntal Treatment 94 CHAPTER XX. Development of the Motive (Concluded) 96 (f ) Variation 96 Fourteenth Exercise (1) 97 (g) Dismemberment and Enlargement 97 Fourteenth Exercise (2) 100 (h) The Passage 100 Fourteenth Exercise (3) 102 SECOND PAET. APPLICATIONS OF THE PRIMARY FORM. FIRST DIVISION. COMPOSITE PRIMARY FORM. CHAPTER XXI. The Theme with Variations. The Study (Etude) 103 CHAPTER XXII. The Dance-forms proper 105 Fifteenth Exercise.. .108 CONTENTS. 11 CHAPTER XXIII. PAGE The March-forms 110 Sixteenth Exercise 121 CHAPTER XXIV. Idealized Dance-forms 121 Seventeenth Exercise 129 CHAPTER XXV. Special Forms 130 Eighteenth Exercise (1) 130 (2) 132 SECOND DIVISION. THE LOWER RONDO-FORMS. CHAPTER XXVI. The Rondo form, in General 133 CHAPTER XXVII. The Rondo of the First Form 134 Nineteenth Exercise 136 CHAPTER XXVIII. The Rondo of the Second Form 140 Twentieth Exercise 143 CHAPTER XXIX. The Rondo of the Third Form 143 Twenty-first Exercise _ 147 CHAPTER XXX. Transitional Forms 148 THIED DIVISION. CHAPTER XXXI. The Vocal Song , 149 12 CONTENTS. THIRD PART. THE SONATA-FORM. CHAPTER XXXII. Sonata and Sonata-form. 157 A. THE SONATINA. CHAPTER XXXTTT. First Part of the Sonatina-form 158 Twenty-second Exercise 163 CHAPTER XXXIV. First Part of the Sonatina in Minor 164 Twenty-third Exercise 166 CHAPTER XXXV. Third Part of the Sonatina in Major 166 Twenty- fourth Exercise 167 CHAPTER XXXVL Third Part of the Sonatina in Minor 168 Twenty-fifth Exercise 168 CHAPTER XXXVIL Omission of the Modulation in the First Part 171 Twenty-sixth Exercise 172 CHAPTER XXXVHL Second Part of the Sonatina-form 173 Twenty-seventh Exercise 173 B. THE SONATA. CHAPTER XXXIX. Enlargement of the Principal Subject 178 Twenty-eighth Exercise 184 CHAPTER XL. The Intermediate Group 191 Twentv-niuth Exercise.. . 196 CONTENTS. 13 CHAPTER XLI. PAGE The Secondary Subject (Song-group) 196 Thirtieth Exercise 199 CHAPTER XLII. The Closing Group 200 CHAPTER XLIII. The Coda 202 CHAPTER XLIV. The Connecting Link , 204 Thirty-first Exercise 205 CHAPTER XLV. Third Part of the Sonata-form 206 Thirty-second Exercise 209 CHAPTER XLVI. Modulatory License 209 CHAPTER XLVII. Modifications of Particular Groups in the Third Part 210 CHAPTER XLVIII. The Development-portion 213 CHAPTER XLIX. Thematic Work in the Development-portion 214 Thirty-third Exercise 220 CHAPTER L. The Sonata-form as a Whole 220 CHAPTER LI. Modification of the Sonata-form in the Finale 229 14 CONTENTS. FOUETH PART. THE HIGHER RONDO-FORMS. CHAPTER LII. PAOB The Fourth Rondo-form 2353 Thirty-fourth Exercise 333 CHAPTER LIII. The Fifth Rondo-form. 335 Thirty-fifth Exercise. 236 CHAPTER LIV. The Slow Tempo 239 Thirty-sixth Exercise 247 CHAPTER LV. The Composite Large Sonata 347 Thirty-seventh Exercise 250 CHAPTER LVI. Other Applications of the Instrumental Forms 251 APPENDIX. THE STROPHE 254 INDEX .257 FIRST PART. THE ELEMENTS OF MUSICAL FORM. FIEST DIVISION. THE SECTION AND PHRASE. CHAPTER I. (Introductory.) METER. RHYTHM. 1. METER, in music, is the grouping of two, three or more tones, as time-units, into a whole, or time-integer, called Measure, the first part of which the Thesis has an accent, the second part Arsis either no accent or a weak one. Thus, the grouping, e. g., of four quarter-notes into a measure gives the meter whose signature is ^ , the principal accent being on the first quarter-note, the weak (second- ary) accent on the third : A j | | I. In a piece of music. 4 * I embracing a series of measures, the rule is that all measures have (1) the same number of time-units (metrical parts) of equal length ; and (2) a uniform alternation of accent and non-accent; i. e., the accent falls on the same metrical part in one measure as in another. The regu- larly recurring accent enables the ear to separate the measures one from another ; for the eye, they are separated by means of the vertical line, called bar. 2. RHYTHM has regard to the motion of tones on the basis of metrical division and comprises (1) the combination of tones of equal or of unequal duration (represented by the various kinds of musical notes) into manifold small time-figures, forming distinct groups (in this sense every germinal musical thought or, technically speaking, Motive, consisting of a few notes, or of notes and rests, and more or 16 THE ELEMENTS OF MUSICAL FORM. less sharply outlined by means of a caesura,* is a rhythm) ; (2) the com- bination of these smaller rhythms into larger forms Periods, etc., in which larger sense the word rhythm expresses the grouping of measures. 3. For the sake of convenient reference, rhythms are designated according to the number of measures they occupy. Thus we have the one-measure rhythm, or MONOMETER ; the rhythm of two measures DIMETER; of three measures TRIMETER; of four measures TETRA- METER ; of five measures PENTAMETER, etc. The measures are of course counted from bar to bar, when the rhythm begins (whether with a note or a rest) at the very beginning of the measure ; otherwise the ear counts the measure from the first tone to the completion of the value of the measure (this is indicated in many of our illustrations by the bracket I I). In the latter case the rhythm is said to begin on the ANACRUSIS,! of which our illustrations afford many examples. * The Caesura, or point of division, marks the rhythmical end-point of both the larger and smaller parts of a melody. As the caesura is not always the final note of a part of a melody, it should be distinguished from the " Section " and " Phrase," terms which indicate the small portions of a melody with regard to their melodic end-points. The caesura always falls on an accented metrical part. f A Greek word borrowed from poetry and suggested instead of " Up-beat " (from the German " Auftakt"). The Anacrusis is essentially the beginning on a non-accent or a weak accent. Hence, in duple, quadruple and triple meter, assuming that the metrical parts are quarters, and overlooking for the present the metrical members (divisions of the quarters into eighths, sixteenths, etc.), the fol- lowing anacruses are possible : (1) in -j- only one : \ \ ; (2) in 4- three, viz: a) b) * and c) taking as anacrusis the third quarter, with secondary accent : | | :b) \ Moreover (to speak now of the smaller divisions of the measure), the unaccented members not only of the unaccented but also of the accented metrical parts afford anacruses, thus greatly increasing their number. Here are some examples in -= of anacruses afforded (1) by members of the arsis: f \r f \ ^ ; * I k 1 1 I B 1 'I (2> by members of the thesis:* * * f \ * * **,* ' * * * I **f * * * f J I The application to still smaller members (e. g., II etc.\ and to triple and quadruple meter offers no difficulty. Here follow a few RHYTHMS. 17 4. The Monometer sometimes occurs as rhythmical unit, in imme- diate repetition, as in the following example : * Adagio. BEETHOVEN. mj ^~ -^9 " - -- f i ' etc. it is, however, generally combined with another larger rhythm, either (^preceding it, as in the following example, in which the two monometers are followed by a two-measure rhythm (dimeter) ; BEETHOVEN. etc. or, (b) following it, as : or, finally (c) inserted between two larger rhythms, as : Allegro. ' *==& BEETHOVEN. examples of anacruses in compound meter, say -5 '. 8** n * The quotations are given mostly in a melodic abridgment, for saving room. 18 THE ELEMENTS OF MUSICAL FORM. 5. The monometer consists generally of but one tone-figure. Thus, in Fig. 1, measures 1, 2, we have this principal rhythmic figure : ; in Fig. 2, measures 1, 2, the figure : in Fig. 3, measures 2-4, l ar g er rhythms, on the con- trary, are generally composed of many, for the most part different, tone-figures, as for instance in Fig. 4, measures 1-4 ; f * U r i this tetrameter is therefore a composite rhythm, comprising four different tone-figures. 6. The most common constituent of melody is the rhythm of two measures dimeter, which we shall therefore assume as the starting- point of formal construction. CHAPTER II. SECTION. 7. To render the meter of a musical thought intelligible to the ear, it is requisite that this thought exceed the limit of one measure. For, it is only by the recurrence of the same elements of the meter (the same metrical parts) in the second measure, that the meter can be recognized by the hearing. 8. A tone-succession which, extending beyond the limits of one measure, renders the meter recognizable by the ear, is called in gen- eral a PHRASE, specifically a SECTION, when its usual extent is that of two measures. The section, in this sense, constitutes the fundamental element of our classical instrumental forms, collectively, so that the greater part of the compositions in these forms can easily be divided up into sections. 9. We distinguish three kinds of sections, viz : (a) that which quite fills with tones the space of two measures, as: BEETHOVEN. BEETHOVEN b. c. THE SECTION. d. 19 MOZART. 3- - in MOZAKT. HAYDN. SSF4F m (b) that which c/00s not Jill out the second measure with ftmes,but either supplements it with rests ; as. BEETHOVEN. tL**i*_* -S= F S=S =F = = p b. BEETHOVEN. c. BEETHOVEN. or, leaves the remainder of it free, for the introduction of a new thought; as, BEETHOVEN. a. L 20 THE ELEMENTS OF MUSICAL FORM. (c) that which leads over into what follows (the third measure) ; as, a, BEETHOVEN. fc>. BEETHOVBN. c. Adagio. MOZART. d. HAYDN. 1O. Many sections are formed by the repetition of a one-measure thought (monometer) ; as, a. BEETHOVEN. b. SCHUMANN. ?- c. CHOPIN. = The repetition need not, however, be as raac^ as in the above exam- ples ; it may embrace only the essential rhythm, while admitting tonal variations; as, BEETHOVEN. b. Grave. BEETHOVEN. MOZART. : d. HAYDN. " :3_ tf _ ~^:- - - -- *~ I In referring, when desirable, to this construction, it _l 1 - ^^ -1 1 ^ _ 1 Ij r. -- - P J *^ IT i i ll \ \ BEBTHOVBH. ll ^ * 1 t=zi t- ^1 -ff= L 1 ^ J> -J [ PERIODS OF THREE PHRASES. 29. Periods of three phrases are often found, having of course for the most part twelve measures, sometimes more, sometimes fewer. Such a period is not unfrequently composed of a Thesis and a double Antithesis, or vice versa, of a Double Thesis and an Antithesis. In other cases the second phrase does not form part of the Thesis or of the Antithesis, but appears simply as middle phrase. a. 12 Measures (3 x 4). I 39. MOZABT. _^ 1UUZAKT. M b. Minuetto. 12 Measures (8x4). I" etc. BEETHOVEN. 38 THE ELEMENTS OF MUSICAL FORM. C. 12 Measures (3x4). German folk-song. ii ' i d. 11 Measures (3+4+4). German Folk-Sony. (The above melody, Fig. 39 d, really ends on the note marked + , what follows is virtually a repetition, as it were a Coda.) e. 13 Measures (4+2+2+5). l^^*l I I * XV pg \-H-fc&L+^p -- y * * - ,'?O. Tlio young composer who here applies to the study of the musical forms, will, over and above the working out of his exercises, carefully notice all the forms which he meets with in his daily musical life, always explaining them to himself according to the doctrine of form. It may also lie assumed that he curries in his memory a treasure of classical music, from which he can draw models for every THE SMALL TWO-PART PRIMARY FORM. 39 form, without having to consult scores. Every species of music in which our masters have composed, affords abundant material for this, not only instrumental but also vocal music, opera and oratorio. THIRD DIVISION. THE SMALL PEIMAEY FORMS. CHAPTER VI. THE SMALL TWO-PART PRIMARY FORM. 31. The mere repetition of a period, even with modifications, does not give rise to a higher form. But the union of two periods so con- structed that one constitutes a Thesis, the other its Antithesis, affords the TWO-PART PRIMARY FORM. This is the simplest of all musical forms after the period, being almost synonymous with "tune," " mel- ody." In this form were cast the first beginnings of melody, espe- cially the typical folk-song, called by the Germans " Volks-lied," from which circumstance some musical theorists of that nationality have called the form "Lied-form," the English equivalent of which is "song-form." But as this form embraces a great many different species of music-pieces, such as the various Dances and Marches, the Theme with variations, etc., etc., the name primary form has been suggested* as more appropriate to it. The essential principle of the primary form is the presentation of one musical thought (or of one principal thought), followed by another, contrasting with it, then returning to the original to conclude. 32. A general rule for the structure of the two periods is, that the Thesis of the second one is formed of new matter, whilst the An- tithesis (of the same period) exactly corresponds to the Antithesis of the first. FIRST FORM. 33. The 1st period is precisely of the kind described in paragraph 24 and exemplified in Figs. 25, 26. The periods composed for the * By a writer (Mr. C. H. H. Parry) in Grove's Dictionary of Music and Musi- cians. His article, under the title " Lied-form," is well worth reading. 40 THE ELEMENTS OF MUSICAL FORM. Third Exercise (1), page 29, should here be utilized. In the 3d period, the Thesis, whose matter more or less differs from that of the 1st period, closes with the Half-cadence, and, exceptionally, with one of the cadences mentioned in Chapter IV, paragraphs 25, 26. Antithesis exactly corresponds to that of the 1st period. FIRST PERIOD. 40. Thesis. Antithesis. SKCOND PERIOD. 11 I Thesis. BEETHOVEN. Antithesis. FIRST PERIOD. SECOND PERIOD. MOZART. THE SMALL TWO-PART PRIMARY FORM. 41 FOURTH EXERCISE (1). Compose, in accordance with the foregoing, very many small two- part primary forms, partly from the periods of the preceding exercise, partly from new material. MODEL. dolce. p I J*T*'>i i ^ p I J'^r i * =z 1st Period. Thesis. ^ :^EE 42 THE ELEMENTS OF MUSICAL FORM. REMARK, as to Fig. 41. Here, as in many cases, the Antithesis of the 3d period is merely ximilitr not strictly corresponding to that of the 1st period. In a manner similar to the above, BEETHOVEN works up the period (poco allegretto) given in Fig. 26 b, into a piece in two-part primary form, in his Sonata, Op. 7, last movement. The Rondos in the two little Sonatas, Op. 49, also begin in this form. SECOND FORM. (1) IN THE MAJOE MODE. 34. The 1st period closes with an authentic cadence in the key of the dominant, implying a modulation. The 2d period is constructed as in the first form, and closes in the tonic. Occasionally, the 1st period closes with an authentic cadence in the (minor) key of the Mediant (for instance, in e-minor, if the major key be C, etc. ). form. FOURTH EXERCISE (2). Compose small pieces in major, in the second two-part primary MODELS. Andante 1st Period. 42. Thesis THE SMALL TWO-PART PRIMARY FORM. 43 * -J-E-kgT 1 ^ -3 S ^SJ Im. Cad. Antithesis. =S=:US F~ Perf. auth. Cadence in the Dom. _ f* - 1 - 2d Period. Thesis. ~ n= *^ = ] -- \ 44 THE ELEMENTS OF MUSICAL FORM. -* C3 f t'*~F 9 *UJ 1 a ag BST H*~l^i:t^8 Antithesis. Ima. F = i ==: P = BEETHOVEN. 1 b. 43. P=t= ^S rr , i j j~ j ^^-jj-jt J ^ ' A* !T^~d~*f ! ._ J * =ft=fc =t=; =^ ^ ^-U ~r P i ,1 , ' ii ---^ ? THE SMALL TWO-PART PRIMARY FORM. Cadence in the Key of the Mediant. 45 m-v" T1 S_it_ ^ r-=? , | \^.. J .^S^., L Ig5 p=^-i^a^=J=f=4= =^q > -.r r^z=r=rr T \- -i rJ if i rT (2) IN THE MIXOR MODE. 35. In minor, the 1st period closes either in the normal (minor) key of the dominant (for instance, e-minor, dominant of a-minor, etc.), or in the parallel major key ((7-major, for instance, parallel major of a-minor, etc.). 46 THE ELEMENTS OF MUSICAL FORM. MODELS. Thesis. 44 a. =- ' i i i I -H-44- Antithesis. Minor Key of the Dominant. *s Thesis. Antithesis. :' F > 3"8 ll~ THE SMALL TWO-PART PRIMARY FORM. 47 BEETHOVEN. Antithesis. SECOND PERIOD. BEETHOVEN. So, too, the melody which immediately follows the above, as a counterpoint to it, viz : FOUKTH EXERCISE (3). Compose pieces in two-part primary form, in minor. 36. The repetition of a period, even with variations, yet without the contrast necessary for correlating the two periods as Thesis and Antithesis, as jnst illustrated, constitutes simply a DOUBLE-PERIOD, not a primary form. Thus, for example, the Scherzo of BEETHOVEX'S A\? Sonata, Op. 26, begins with an 8-measure period, which is imme- diately repeated with rhythmical variations. 48 46. THE ELEMENTS OF MUSICAL FORM. J. Such repetitions often occur in cyclical compositions, and should be well distinguished from higher forms. The Allegretto of BEETHO- VEN'S c$-minor Sonata, Op. 27, also shows a similar repetition, written out, varied by ties, and rhythmically elaborated. b. Repeated thus : 47. etc. THIRD FORM. 37. It will be noticed that in the case of a repeated period like those in Figs. 46, 47 there is no harmonic correspondence of the cadences, i. e., the cadence of the second period does not contrast this period with the first one, for the simple reason that each period closes with one and the same (the tonic) cadence. The case often occurs, however, of two connected periods almost exactly alike in which this harmonic correspondence of the cadences is found, whereby the two periods are made to correspond on the whole as Thesis and Antithesis, thus constituting a third two-part primary form. Examples of this are the two periods of the Eondo of BEETHOVEN'S SiMnajor Sonata, Op. 22, given below as a model (Fig. 48). 38. In such periods the Thesis of one corresponds to that of the other, the Antithesis of one to that of the other, unlike the first and second forms, in which Antithesis corresponds to Thesis. In this third form, therefore, Thesis and Antithesis usually have fewer THE SMALL TWO-PART PRIMARY FORM. 49 features in common. We may express the former relationship thus : Thesis. Antith. Thesis. Antith. 1st Period, a a the present one thus : 1st Period, a b. 2d b a gd " a b. MODEL. etc. 50 THE ELEMENTS OF MUSICAL FORM. REMARK. At the place marked + in the above example the amount of two measures (added in the original to the regular 8-measure form by a license to be explained later) has been purposely eliminated, in order that the example may serve as a model in the regular form. (See Fig. 67.) FOURTH EXERCISE (4). Compose pieces in two-part primary form with the construction just explained, and illustrated by the preceding model (Fig. 48). CHAPTER VII. THE LARGE (EIGHT-MEASURE) PHRASE. 39. Two connected phrases of different matter, yet without har- monic and rhythmic correspondence, form not a period, but an S-MEASUKE PHRASE. This construction may be regarded under three aspects. (1) INDEPENDENT. 40. This kind of phrase is often independent ; in other words, is a musical thought forming a complete whole in itself, as closing with the perfect tonic cadence (see Par. 17). 49. MOZAKT. Often the division into two parts is less obvious ; the phrase then seems to be simple rather than composite. For example : THE LARGE EIGHT-MEASURE PHRASE. 51 50. BEETHOVEN. B This construction may be considered the most perfect form of the ihrase, and requires specially diligent practice. FIFTH EXEKCISE (1). Compose many independent 8-measure phrases. Allegro. 51 a. MODELS. I ilfcfe BEETHOVEN. r^ I^P^^^^^ 1 r - * etc. THE ELEMENTS OF MUSICAL FORM. 51 b. i \ T ; j | [| [ -[ *- - ""* "* ^-"l * * * (2) As PART OF A PERIOD. 41. The 8-measure phrase may form part of a period, by taking the place of a Thesis or an Antithesis. For example : Andante. , BEETHOVEN. Per. Ton. Cad. The first eight measures of the above form a Thesis, consisting of two subordinate phrases, each representing a 4-measnre Thesis. We have bore a double Thetis, so to speak; to it is joined in this case a simi- larly constructed Antithesis, which repeats the entire double Thesis except the last two measures, in which it makes a, tonic cadence. Thus is fjriued THE LARGE EIGHT-MEASURE PHRASE. 53 53. THE LARGE (SIXTEEN-MEASURE) PERIOD. Allegro. MOZABT. 42. The above beginning of the Allegro of the Don Giovanni over- ture also forms a 16-MEASURE PERIOD, the first eight measures consti- tuting the composite Thesis, the last eight the Antithesis. By means of the lively rhythm of the close the period immediately connects with the succeeding one, a procedure which gives to the higher forms, especially in the Allegro, that quality of urging forward, that resolute- ness, which constitutes their esthetic character. 43. The large (8-measure) phrase may in all the higher forms occasionally take the place of the 8-measure period. FIFTH EXEECISE (2). (a) Prom the independent 8-measure phrases already written form 8-measure THESES. (b) Develop these, ~by adding independent 8-measure phrases, into 16-MEASURE PERIODS. (c) Compose NEW 16-measure periods, taking as models the examples already cited. (3) DOUBLE-PHRASE. 44. Likewise among the phrases, not among the periods, are classed those 8-measure constructions which, though they indeed 54 THE ELEMENTS OF MUSICAL FORM. show thematic correspondence, yet, by reason of perfect similarity of structure, in quick tempo convey the idea of repetition rather than of period-form. Moreover, they form as a rule no complete cadences, though the contrary may obtain exceptionally. We class these forma- tions among the DOUBLE-PHRASES, without denying their relationship to the period. Kind of Half-cadence. | a. Myn. ,. J||| 54. gggEpTT 1 * r TrfcSZL-.m ^J ^&~ Kind of Imp. Auth. Cadence. J| MOZABT. i.l* -igl i=i MOZABT. Ini. Cad. Kind of Half-cadence. MOZABT. Imp. Auth. Cad. I T was very partial to this construction, and used it in many of his finest compositions, but constantly treats it as Thesis, or even as part of a Thesis. BEETHOVEN'S Egmont-overture also begins with such a phrase. Similarly constructed, but still more closely allied to the double- phrase, is the following Thesis of the Pilgrims' Chorus in Tann- hduser : THE LAEGE THREE-PART PERIOD. 55 Andante. 55 . ^jT^|^:^^g=g^=^=j|^| V WAGNEB.' 1 etc. 45. The character of mere repetition appears still more plainly when both subordinate phrases form Half-cadences, as in the following theme from MENDELSSOHN'S a-minor Symphony : Allegro. MENDELSSOHN. Half-cad, in (T-major. etc. Half-cad, in e-minor. FIFTH EXERCISE (3). Compose some phrases of this kind, after the foregoing models. CHAPTER VIII. THE LARGE THREE-PART PERIOD. 46. The LARGE THREE-PART PERIOD has the following con- struction : Thesis : 8 measures. Middle group : 8 measures. Antithesis : 8 measures. This form sometimes takes the place of the small three-part primary form. It has no need of special practice. Here follows an example from one of MOZART'S early works ; it contains, however, a small irregularity, viz., the extension of the second group to the length of nine measures, which will come under discussion later. THE ELEMENTS OF MUSICAL FORM. Allegro. Thesis. T=t 57. Sites 1 * 1 ^-fcfctt-zEE ^ ^ fij L ^^^^HE: Middle Group. ^^3^f -* -*- I *f I I EEEEEfefE^E? ^:-b-kT F'-M'^^^-r-I ^- g> '-^ ^ THE SMALL THREE-PART PRIMARY FORM. 57 rt r ~1riT~ ~~&r~ r ^ MOZABT. 1 1 1 1 tr. i ITT J"t~i r \ r BQZjZ M , J cjcsc H* - . . ^i EEEEEESiliHE \ 1 ^ ^ r i J ^ ,*& L _r *-r^ * >* 1 =b^ " etc. C|* U-t . fe ir= 1 r 1 1 1 :? tTi fH? W 5 * ' =^ a_U''i_l% ~^K i^>s f- THE ELEMENTS OF MUSICAL FORM. FOURTH DIVISION. THE LAEGE PKIMAEY FOEMS. CHAPTER X. THE LARGE TWO-PART PRIMARY FORM. 54. Two 8-measure phrases combined form the 16-measure period (Par. 41), two 16-measure periods the 32-measure or LARGE PRIMARY FORM. 55. By repetition of the parts, whether they be repeated note for note, as indicated by the signs |: :||, or whether they be varied and written out, the number of measures is increased to 64. Such a 64-measure primary form is for example the Trio in Z^-major of BEETHOVEN'S /"-major Sonata, Op. 10, No. 2. 59. etc. The variation, however, is limited here to the first part, whilst the second part, THE LAEGE THEEE-PART PEIMAEY FOEM. 63 60. is literally repeated. The last six measures of the Trio do not belong to the form, but constitute an independent introduction to the follow- ing part, in /-minor : SEVENTH EXERCISE. Compose pieces in two-part large primary form. As model, take the Trio already quoted from the .F-rnajor Sonata ; its insertion, here, entire, would occupy too much space. CHAPTER XI. THE LARGE THREE-PART PRIMARY FORM. 56. As two large periods combined constitute the two-part large primary form, so the combination of three such periods gives the LABGE THEEE-PART PRIMAEY FOBM. 57. The harmonic relations of the cadences of the parts, recipro- cally, remain the same, as explained in Chapter IX. 58. In the ordinary Dance-forms (see Chapter XXII) the second period is commonly called Second Part, and forms, without thematic connection, generally a perfectly independent movement in the key of the dominant. 59. But when the second part is thematically connected with the first, it takes, seldom the form of the period, oftener that of connected phrases. This arises naturally from the necessity of different con- struction of the parts when there is thematic relationship. 64 THE ELEMENTS OF MUSICAL FORM. 6O. This form is the predominant one among the primary forms. To it belong, for example, the greater number of the Minuets and Scherzos of the classical Symphonies, Quartets and Quintets, Sonatas for one or two instruments. Still the form is, in almost all these movements, by means of extensions and abbreviations, somewhat modified, though often quite 'immaterially. We give here, therefore, an example from a newer composer, the Trio from MENDELSSOHN'S ^4-major Symphony, as showing exactly the division into three times sixteen measures, moreover as being worthy, in its subject-matter, of ranking with the classical masterpieces. fe: | H-L-j ---l Thesis. (From this place Melodic Extract, to be filled out from the original.) Second Part. EXTENSION. -f^a 1 1 ,-J 65 *ifW f m m sy *1 1 1 fl* ?-* ^-^ j v * -}*- F, ... i l^i Mr ~ t - MENDELSSOHN. Third Part. (Like the first part, 16 measures.) From this point on it is advisable to write the exercises for the string-quartet, as piano-composition too easily leads to careless voice- leading. EIGHTH EXERCISE. Compose pieces in large three-part primary form. FIFTH DIVISION. LICENSES OF CONSTRUCTION. CHAPTER XII. EXTENSION. 61. Without its changing the form on the whole, the extension of a part by an adjunct, called Coda, growing out of the context, is often met with. One of the simplest examples of this is the theme given in Fig. 25 b, from MOZART'S A -major Sonata. Instead of closing the second period exactly like the first, the composer gives it an imperfect authentic cadence, and appends the perfect cadence in a rhythm of two measures. Im. Cad 63. 66 THE ELEMENTS OF MUSICAL FORM. 62. BEETHOVEN appends to the close of the three-part small primary form (see Fig. 31 a), a group of seven measures, thus : _ ^^^^^?_ i i *_i i In the Eondo of the same Sonata (see Fig. 48), he extends, in the same way as MOZART in the example cited above (Fig. 63), the close of the second period by two measures : 67. J*l t* i 1 ! 1 ' A similar extension is seen in the Theme of the Largo appassionato of the A -major Sonata, Op. 2: 68- frf; r:^s ry ; -Z-Z .Z-S ZT-Z 63. Here, however, the composer leads the Antithesis of the second period into the key of the Subdominant, before bringing it to EXTENSION. 67 a close. Thereby the four measures of the Antithesis are augmented to seven. f *f &E pj=gk S=k=t3&^ 64. The extensions thus far noticed are limited to the addition of bikl few measures. But in the Ab-major Sonata, Op. 26, we find in the Trio a two-part primary form whose second period is extended to double the length 16 instead of 8 measures and thus belongs to the large period-form. Pieces like this, therefore, hold the middle place between the large and the small primary form, being made up of com- ponent parts of both forms. NINTH EXERCISE (1). Work over, by extension, some of the small two-part primary forms composed for the fourth exercise. 65. In the small three-part primary form are found extensions of the same kind. Thus, the third part in the Allegretto of BEETHO- VEN'S jP-major Sonata, Op. 10, is enlarged, first, by an interpolated imitation, occupying two measures: 70. next, the last four measures are repeated in the lower octave, 68 THE ELEMENTS OF MUSICAL FORM. and finally, a closing-group (or period ?) of 8 measures is added. In this way the third part of this small three-part primary form is extended, by interpolation, repetition, and Coda, to almost threefold length, forming 22 instead of 8 measures. 66. A similar course is pursued with the middle group of the Scherzo of BEETHOVEN'S -4-major Sonata, Op. 2, No. 2, beginning thus : 73. etc. This motive predominates in the first part, which is repeated. The second part modulates, with the same motive, from ^4-major in 8 measures to <7$-minor, whereupon a 2-measure cadence in this key follows. But then an entirely new phrase is formed in the same key oft-minor which leaves the key at the 8th measure, to modulate back to ^4-major in five measures. 74. HI n&TTf' *^-T-ffis -I igL-L I I -EJiEEJP r^ ^t-c^-u EXTENSION. 69 EEJFEE: Hereupon follows, according to the rule, the first part as third part, but with a Coda of four measures. 67. In the Hondo of the e-minor Sonata, Op. 90, the small .three- part primary form is carried out according to rule, but the middle- group is repeated : Middle Group. 75. m while Thesis and Antithesis (see Fig. 29 c) have no repetition. We observe, incidentally, that we have here a small three-part primary form, each part of which makes a perfect authentic tonic cadence, the second part, in consequence of the repetition, even twice. NINTH EXERCISE (2). Make extensions of some of the small three-part primary forms already composed as exercises. 68. Extension of the large two-part primary form is seen in the Adagio of the 6r-major Sonata, Op. 31. The close of the first period is here in the sixteenth measure, where also the Thesis of the second period begins. Close. 70 THE ELEMEOTS OF MUSICAL FORM. This Thesis of the second period has 10 instead of 8 measures, and in the 10th has moreover a protracted cadenza tr. which leads back into the 8-measure Antithesis. 69. Similarly, in the Theme of the Variations with which the A !?-major Sonata, Op. 26, begins, the middle-group, Thesis of the second period, is lengthened by two measures : tr. 78. 70. The extension may of course be applied to any part of the large two-part primary form, though further exemplification is not deemed necessary. NINTH EXERCISE (3). Enlarge some of the large two-part primary forms already com- posed. 71. Although the large three-part primary form is in itself of very- great dimensions, yet it is very often extended to still greater ones. Instead of many examples in abridgment we give here one in its entirety, the Scherzo of BEETHOVEN'S Third Sonata. It begins with a IG-measure period, based on an imitation. The period is repeated. EXTENSION. 79. -fi T 8 *-, r *&-< r\ PEE ^ ^.^L_- 'fi * ~ 0^ J6 IH; 4 P ^u i _^ Thesis. LJiJ '. rr '. 3 :--_ 4l E s 5 "^ BJ tf p- - + ry| Antithesis. ^=f-j-U-j-j-^j^^fe^r"tf~j~j The second part, immediately following this, begins with the same imitation, and after sixteen measures is also found in the key of the Dominant, hence is ready to lead into the third (repeated first) part, 80. c-miuor. fib-minor. ___^.. THE ELEMENTS OF MUSICAL FORM. ^1 tt-major. c-minor. ^ -s- ^ -t- P--I l^^z sf This transition into the third part is, however, here delayed by a varying repetition of the half -cadence formula, which takes up 7 meas- ures the eighth measure is at the same time the first one of the third part. 81. *f. s f. EgSG~LT= * *-S ^-rT 1 u J-t^ dim. PP To the regularly constructed third part is added a Coda of 9 (8 + 1) measures. ABBREVIATION. 73 NINTH EXEECISE (4). Extend some of the pieces in large three-part primary form already composed. CHAPTER XIII. ABBREVIATION. 72. Abbreviation applies, of course, chiefly to the large primary forms of great dimensions, especially to the three-part form. 73. An example of abbreviation of the first part is found in BEETHOVEN'S 1st Sonata, in the Minuet, whose first-period consists of 3 x 4 + 2 = 14, instead of 4x4 measures. (The second part also is here reduced to 14, the third to 12 measures.) 74. The second part is frequently composed, after the manner of the small primary form, of 8 measures, as for example, in the Minuet of the D-major Sonata, Op. 10. Here the first part is regularly composed of 16 measures, closes in the tonic harmony and is repeated. 83. 74 THE ELEMENTS OF MUSICAL FORM. The second part, however, has only 8 measures, and consists of a sequence through the circle of Fourths, i-minor to Z)-major, in 4 x 2 measures : 84. 75. In such cases, which are very frequent, large and small form appear united ; as it were, mixed. (In the example quoted the subse- quent third part is considerably enlarged, from 16 to 29 measures.) 7G. In MOZART'S .fi^-major Symphony the second part of the Minuet is also reduced to 8 measures : 85. The third part of the same is lengthened by 4 measures. 77. In the Minuet of the great (7-major Symphony of the same master the second part is reduced to 12 measures : 86. TEXTH EXERCISE (1). Compose abbreviations of large three-part primary forms. 78. In the large two-part primary form abbreviations are in gen- ABBREVIATION. 75 eral not advisable, as too noticeably disturbing the symmetry of the two parts, which is not the case to the same extent in the three-part form. 79. In the small three-part primary form occasionally occurs abbre- viation of the middle-group, as in the next two examples : 87. Middle Group, four measures. db i ij MOZABT. |p---fp3=f=f^P^ E %=| b. Middle Group, four measures. 3=3 ~c U L E BEETHOVEN. ff f etc. t-i-m m---0 m~-f f ' \ i f fc a^y e-^H r . i t-Hr- -t 9t9 In the Andante of BEETHOVEN'S D-major Sonata, Op. 28, the last part is abbreviated by two measures. 76 THE ELEMENTS OF MUSICAL FORM. * *ti. "^ n 8O. The sraaW two-part primary form, as being already of the smallest dimensions, rarely exhibits abbreviations. TENTH EXERCISE (2). Abbreviate one or two small three-part primary forms. CHAPTER XIV. COINCIDENCE OF THE FINAL AND INITIAL MEASURES (OVERLAPPING). 81. It often occurs, especially in larger constructions, that the last measure of a group coincides with the first one of the next group ; in other words, that a group begins with the same measure with which the preceding group closes, so that one single measure combines in itself end and beginning. Such a measure is to be regarded as belong- ing equally to both groups, and thus counts double. This peculiarity of overlapping, as it is called, is indicated in rhythmical cipher by a tie, placed behind the figure for the final measure, before the figure for the initial measure. Thus, for instance, 4' indicates a 4-measure group, or Tetrameter, whose final measure at the same initiates a new group ; on the other hand, -4 indicates a Tetrameter whose initial measure at the same time ends a group immediately preceding. In the practice of the young composer thus far, such measures occur almost exclusively in the transition from the middle-group into the last part, whether the latter form the third period or the Antithesis of the second. Thus, for example, in the middle-group quoted in COINCIDENCE OF THE FINAL AND INITIAL MEASURE. 77 Fig. 86 (MOZART), the third part begins at the last measure ; its first measure therefore coincides with the last one of the second part. In the same way the measure in Fig. 79 belongs in the later course of the piece both to the third part as beginning and to the second part as close of Eig. 81, and ekes out the second part into an Octameter (group of eight measures). 82. In counting the measures, however, it must be carefully noticed with which metrical part the group begins, for, in the theory of form the measures do not count from bar to bar, but from one metrical part to another of the same order, here, for instance, from the second quarter-note of each measure to the second quarter- note of the following measure. See Par. 3. The student should, by way of practice, alter some of his previous exercises, introducing some few groupings of this kind, in which the initial measure and the final measure overlap. THE ELEMENTS OF MUSICAL FOEM. CHAPTER XV. IRREGULAR GROUPINGS OF MEASURES. 83. We have already seen that in the regular rhythmical order the measures are grouped by 2, 4, 8, 16, etc. Among the irregular group- ings which make exceptions to the general regularity observed in the different forms, the most common are the Trimeter (3-measure group) and the Pentameter (5-measure group). 84. The Trimeter may be regarded as either an extension of the Dimeter (2-measure group), or a contraction of the Tetrameter (4-meas- ure group). The Minuet of MOZAKT'S g- minor Symphony begins with two Trimeters. 92. These may be regarded either as extensions of the Dimeters in Fig. 93 a, or as contractions of the Tetrameters in Fig. 93 b. 85. The special esthetic effect of such irregular formations is based on this unconsciously made comparison with the regular formations. 86. BEETHOVEN and his successors often expressly mark such Trimeters as Ritmo a tre battute (rhythm of three measures). The most notable example of this is in the Scherzo of the Ninth Symphony, where the trimeter servos for a verv extensive thematic elaboration. IRREGULAR GROUPINGS OF MEASURES. 79 87. The Pentameter is most generally regarded as formed from a Tetrameter by extension the following, for example, m etc. b. from or from -p-ffe r f .- - f t=l VHP-y r H y -f- ^ 1 E and the following opening of MOZART'S small Z>-major Symphony, a. f& -f-" 96. p^ife^iz=:4==== \3. r--A-< say, from Hpi^ilta etc. 88. Other irregular groups of 7, 9, 11, 13 measures, are likewise een to be extensions or contractions of the regular formations nearest to them. 89. The irregular groupings of measures are of importance for larger constructions, in so far as they from time to time effectively interrupt the uniformity of the two-measure rhythmical order. In general it will be found that precisely the greatest masters of form are partial to free and bold construction, and by no means like to be restricted to the limits of uniformity in rhythmical formations.* 90. Not to be confounded with the Trimeter, the Pentameter, and other organically irregular rhythms, are certain seemingly irregu- lar groups arising from the extension of the regular form of the phrase, etc., by short additions external to the form, therefore not to * A curious instance of rhythmical irregularity is found in one of MENDELS- SOHN'S " Songs without words," Xo. 30, in A major (Spring-song 1 , in which the large opening period ends at the loth instead of the 16th measure. 80 THE ELEMENTS OF MUSICAL FOKM. be reckoned as really modifying it. Some of these extensions shall now be noticed. 91. For making a marked separation, when desirable, between two phrases, an additional measure is sometimes employed instead of a pause over the last note of the first phrase, as in the following examples : a. Allegro. SCHUBEBT. The above two phrases are to be regarded as composed each of four measures, the measures marked by the bracket being really external to the rhythm. 92. The addition of a measure or two over and above the rhythmical form is sometimes for the sake of uniting phrases or periods, etc., forming as it were a link between them. This is often the case when a new key is to be introduced. 98. Andante. , r V i ^TT #J [ ' 1 m \ ?~5 J- f EiBi: F - -b-[ y- 1 T~~* **-- -_ M F^f=S=F= Link. i BKBTHOTBH. LICENSES OF MODULATION. 81 CHAPTER XVI. LICENSES OF MODULATION. 93. To any one who has studied harmony, modulation in any form can, of course, not be difficult, and to the experienced contra- puntist it can be but child's play. Exercises in modulation can, therefore, at this advanced stage of our study, be dispensed with. In the composer's practice, however, the requirement of novelty often decides in favor of a more heterogeneous modulation, even without an evident inner necessity. It is not requisite to assign the experiential or logical limitations of such procedure, the student's absolute mastery over the harmonic material being assumed as a matter of course. Nevertheless, let one example show how what is seemingly heterogene- ous results from inner necessity, then appears in itself well grounded, in keeping with Us context, and conformable to nature. 94. In the most celebrated of all funeral marches, that in BEETHOVEN'S ^4b-major Sonata, Op. 26, occurs the extraordinary modulation from ab-minor into a close of a part in D-major. The March itself belongs to the three-part primary form. It forms at first an 8-measure period, which closes in the parallel major key (7b-nia;jor, and whose Thesis ends with a Half-cadence (on the domi nant) ; so far all is perfectly regular. But now, instead of repeating this period, whether literally or with some variation, BEETHOVEN transposes it into the minor mode of the afore-mentioned parallel key that is, into cb-minor. From this transposition arises the modu- lation, for the parallel key of dp-minor is H/typ-major, which is enhar- monically the same as D-major. Of course, BEETHOVEN introduces, for greater ease in reading, the enharmonic change already at the entrance of c?-minor, which he writes as b-minor. 95. This transposition might be regarded simply as a repetition, like one indicated merely by : ||, if BEETHOVEN, from the 6th measure on, while substantially keeping up the modulation, yet had not carried it out differently. For, the first time, he passes by way of the dominant key of rtb-minor eb-minor into the parallel key C'b-major; but the second time, by way of the subdominant key of J-minor e-minor into the parallel key, Z)-major. This difference in the manner of carrying out what is substantially one and the same modulation, militates against the conception of this case as one of mere (transposed) repetition. 82 THE ELEMENTS OF MUSICAL FORM. 1st Period. 2d Period. =j3=^feJ^iN^iiii|i^F ~y.\3f. f f. 221 ; 96. We have here, then, a double-period (see Par. 36) of 16 (2 x 8) measures, as first part of the primary form. 97. The second part (middle group) is shortened to four measures, with transition into the third part. The modulation from Z)-major into the (major) key of the dominant of ab-minor .Z?l?-major, is at once eifected by means of the diminished septimachord d b / cb, enharmonically substituted for d $(f\ b. See Fig. 87 b. 98. The third part has period-form and is extended to ten meas- ures. There is no repetition. 99. All things being considered, we are compelled, in determin- ing the form, to decide in favor of the small three-part primary form, in which duplication has taken the place of repetition of the first period, while the second part is reduced to half of the regular exten- sion, and the third, otherwise normally constructed, is enlarged by two measures. With the esthetic significance of this march and of its modulation we are at present not concerned. This is acknowledged with admira- tion by the musical world generally, so that there is scarcely another composition of the same kind to be compared with it. ELEVENTH EXERCISE (1). Transpose this march info various keys, either in ivriting or at once on the pianoforte. 100. It i.s not unusual to find, in modern pieces in primary form in the major mode, a close of the first period in the major key of the NATURE OF THE MOTIVE. 83 Mediant, for instance, in jE'-major in a piece in (7-major, being a variant of the common close in the minor key of the Mediant (see Par. 34). Again, in a piece in minor, the first part sometimes closes in the major key of the Dominant, in tr-majo^ for instance, in a piece in e-minor. Generally speaking, in modern music the greatest stress is laid upon characteristic harmonization (modulation) ; hence the striving after singularity in this particular direction must be regarded as specially characteristic of the age. This circumstance calls for special practice in modulation, opportunity for which shall now be afforded. ELEVENTH EXEECISE (2). N. B. In the exercises under this head, the forms of the usual cadences are to be avoided. (a) Compose ^-measure phrases which make an unusual modula- tion. [7/i the major mode a phrase often effectively closes with an authentic cadence in the key (minor) of the SUPERTONIC.~\ (b) Compose LARGE PHRASES (see Chapter VII) of the same kind. (c) Compose PERIODS of this kind with cadences of the parts in unusual keys. (d) Compose periods of this kind with unusual cadences loth of the parts and of the close. (e) Unite such periods into pieces in primary form. SIXTH DIYISIOK THE MOTIVE AND ITS DEVELOPMENT. CHAPTER XVII. NATURE OF THE MOTIVE. 1O1. Every musical thought which serves as subject of a musical elaboration may be called the MOTIVE of such elaboration. The term "motive" is, however, generally applied to those smaller tone-groups out of which a musical thought is spun. In this sense the motive is generally contained within the limits of one measure, and is then the THE ELEMENTS OF MUSICAL FORM. last unit, or tone-group forming a whole, into which the section may be resolved. 102. The doctrine that the motive is generally contained within the limits of one measure must be understood as implying, first, that the motive sometimes exceeds those limits ; and secondly, that it does not always fill out one measure. The motive forms a model for elaboration chiefly in its character of well-defined rhythm (as we shall presently see) ; hence the limits of the motive would seem to be those of the rhythm, irrespective of the number of measures. In the appli- cation of this principle, however, there may be diversity of opinion, without practical importance. 103. The following period 100. BEETHOVEN. ^^^K^H^^ ^^* ^^ Motive 3. Motive 4 is clearly spun out of four motives. Measures 2, 5, 6, have the same rhythms as 1, the model rhythm, filling out one measure. Measure 4 is tonally different from 3, but rhythmically the same. Here, too, the motive fills out one measure, as does motive 4 also. Motive 3 fills only half of the measure. Evidently, then, what makes measures 1, 2, 5, and G, one and the same motive, despite melodic differences, is the rhythmical similarity ; and the same is to be said of measures 3- and 4, and of the two diminutive tone-figures marked "motive 3." 101. Mot. 5. NATURE OF THE MOTIVE. 85 104. In the period given in Fig. 101 there is less clearness as to the construction and the number of the motives. If the limits of the several rhythms are to be regarded as those of the motives, the period is constructed from three motives, each contained, in two measures. In this view, the small tone-figures severally contained in measures 1 to 6 constitute motive-members. These same tone-figures may, how- ever, be regarded as severally constituting the motives of the period, as indicated by the shorter brackets below the staff. 105. It is clear, then, that a motive is not subject to the limita- tions of one measure, but may either exceed it or fall short of it, and that one and the same melody may be analyzed reduced to motives in various ways. The motives must, however, always be recognizable as the germs of the melody, in order to serve for thematic elaboration. As a rule, they will not exceed one measure, without being reducible to several smaller members ; they may on the other hand be very short, consisting of two notes, or even of one note followed perhaps by a rest. The shorter they are, the greater is the necessity that they should be rhythmically striking. As to the number of motives to be employed in a piece, it may be said in general that the fewer there are of them provided they are well exploited* and are in themselves interesting the better for the unity and intelligibility of the piece. Not many motives, but few motives, striking and thoroughly elaborated, this has ever been the rule of the heroes of tone-poetry. There are not lacking in the compositions of the masters themes developed from a single motive, and sometimes a short one at that. The first period of BEETHOVEN'S violin and piano Sonata in ^4-major, for instance, is spun out of one single short motive (or motive-member), thus, 102. Allegro. ^ '"^_ ^ ^TI Q I I ^^ J L^J ' BEETHOVEN. _._ * A word from the French, signifying to exhaust, to work, to turn to account, to make the most of, etc. See Worcester's Dictionary (1881), Supplement. 86 THE ELEMENTS OF MUSICAL FOEM. In composing sections, phrases, and periods for his exercises, the student has thus far not been called upon to consciously spin them out from small tone-figures as germinal musical thoughts. He may now, after having become acquainted with the rudiments of formal structure, give his attention specifically to the systematic develop- ment of the motive into the section, the phrase, etc., by the various processes to be detailed in the next chapter. CHAPTER XVIII. DEVELOPMENT OF THE MOTIVE. REPETITION. 106. The attentive student will have observed that in a great number of the examples thus far given in this work, a motive is developed by REPETITION, in a stricter or a looser sense. In fact, since development implies a certain similarity to the original type, each of its different processes comes under the head of a certain kind of repetition. Nevertheless, for greater clearness we shall make a separate classification of those processes which fall more strictly under this bead. 107. The repetition of a motive is either absolute or relative. The former kind, of coarse, includes all the features of the motive rhythmic, melodic, and harmonic, conjointly, as in the following example : Allegro con brio. BEETHOVEN. 103. r w? ' t etc. 1O8. Under relative repetition are included the various transposi- tions of the motive to other degrees of the scale, its principal feature the rhythm remaining unaltered, or not materially altered. Exam- ples of this are Figs. 10, 14, and the following : DEVELOPMENT OF THE MOTIVE. 8? BEETHOVEN. 104. S=S=STS=S hF^=r = rTl r~=FTF ^R^^-^gfcEE^^MEft t_\Jt-tt+-'. ;t;3L3LJ etc. Sometimes this transposition involves modulation, for instance : 105. 1O9. The repetition, iw a certain regular order, of a figure com- posing a motive constitutes what is called a SEQUENCE, which is of a rhythmic, or a melodic, or a harmonic nature, or of all three combined. Here follows an example in which all these three natures are united. BEETHOVEN. 106. In the above example, the figure marked | a is immediately repeated twice, the same melodic and harmonic progression being transposed each time one degree higher. Such Sequences most gener- ally occur enriched with ornamentation, figuration, etc., as in the following example, which shows how BEETHOVEX treats the above Sequence in the last repetition: 88 THE ELEMENTS OF MUSICAL FORM. BEETHOVEN. 107. k.a.SL?" etc. 11O. A.S a rule, repetition in sequence-form should be used with great moderation, as excess in this point induces monotony and betrays poverty of ideas. TWELFTH EXERCISE (1). (a) Point out, in such instrumental ivories as BEETHOVEN'S, MOZART'S, and HAYDN'S Sonatas, Symphonies, etc., developments of motives by the various methods of REPETITION just explained. (b) Develop many ORIGINAL motives into sections and phrases by applying to them the same methods of repetition. ALTERATION OF INTERVALS. 111. Another means of the elaboration of a motive is to change one or more of its tonal relationships, i. e., intervals, substituting a larger denomination for a smaller one, and vice-versa, a smaller for a larger one. In the former case, as when, for instance, a motive is repeated Avith the change of the original Second into a Third, Fourth, etc., or Fourth into a Fifth, Sixth, etc., as the case may be, we have what we may call INTERVAL-EXPANSION. The following are examples : BEETHOVEN. a. Prestissimo. \ 1 108. ^ 3^-= H - f P F d. Larghetto. DEVELOPMENT OF THE MOTIVE. 89 CHEBUBINI. EC etc. . INTEEVAL-CONTRACTION is, of course, precisely the opposite of expansion, as illustrated in the following examples : a. Vivace. J. S. BACH. b. Allegro. 109. etc. BEETHOVEN. c. Andante. HAYDN. o etc. * J _ L WEBEB. etc. etc. TWELFTH EXERCISE (2). (a) Pom o?;# in the works previously mentioned developments of motives Ity interval-expansion and contraction. (b) Develop many original motives into sections and phrases by the same means. RHYTHMIC DIMINUTION AND AUGMENTATION. 113. "When the notes of a tone-figure or a rhythm, considered as a motive, are represented by smaller values than the original ones, and thus the number of measures is reduced, we have what is called RHYTHMIC DIMINUTION, as in the following examples : a. Presto. BEETHOYEX. b. Allegro qua.fi presto. 90 THE ELEMENTS OF MUSICAL FORM. BEETHOYEN. etc. 114. The opposite of diminution is AUGMENTATION, which is much more frequently used for developing motives than the former, although both occur oftener in the contrapuntal than in the free style. Here follow examples of rhythmic augmentation in the free style. a. Allegro. 111.E1HEJ3H etc. b. Poco lento. MENDELSSOHN. C. Vivace. J. RAFF. m REMAKE That not all the notes of a tone-figure or a rhythm are necessarily included in augmentation (and the same is to be said of diminution also), is evi- dent from the first two of the above examples, at d and e, where the notes have the same value as in the original. TWELFTH EXEECISE (3). Develop motives new, or already composed for previous exercises into sections and phrases ly rhythmical diminution and augmentation. DEVELOPMENT OF THE MOTIVE. 91 CHAPTER XIX. DEVELOPMENT OF THE MOTIVE (Continued). INVERSION. 115. INVERSION is applied to a motive when the tone-figures and rhythms are set in contrary motion. Here a careful distinction must be made between notes of equal and those of unequal value, and between accented and unaccented metrical parts and members. 116. In the following examples of simple tone-figures of notes of equal value, a. aa. b- bb. As-'Av-/ A * H." * w 112. measures aa, bb, cc, dd, show the inversion of a, b, c, d, respec- tively. It will be noticed that by the inversion the notes are for the most part differently accented, the original primary accent (marked A) being exchanged for non-accent (^), the secondary ( ' ) also for non- accent (except in 4- meter, as at bb), and vice-versa, the non-accent for either the primary or the secondary accent. The following examples illustrate inversion of this kind (in the last two the tone-figures are inverted in the Octave) : 113. F. SCHUBERT. etc. HAYDN. BEETHOVEN. c. ) TL ' m ^- i .-. m g^|^gE^EEp^^lE=^=^=B^E^FF ^*^ etc. -+ * *^ * etc. Also the passage-like place in BEETHOVEN'S Sonata, Op. 26, THE ELEMENTS OF MUSICAL FOEM. BEETHOVEN. 114. etc. is, from the second half of the sixth measure on, repeated in inversion : I^^^H ; i I -__ -I 1 F-| *- Q0 B fm "- I ! i ' T H etc. 117. In cases of tone-figures composed of notes of unequal value, an exact inversion, both rhythmic and tonal, would give results like the following : a. aa. b. bb. 116. -2-rf- 3 Here the rhythmic motive, as such, is changed, and (especially at bb and cc) entirely distorted. And even though figures like these inversions are under certain circumstances admissible, yet they resem- ble the original motives so little as to seem rather to be new ones. If, therefore, the original motive is to be recognizable in the inversion, this can be effected only by the retention of the characteristic rliytlim unaltered, applying the principle of inversion to the tones only, as in the following examples, in which the inversions marked aa, bb, CC, dd should be respectively compared with the inversions similarly marked in Fijr. 116. 117. DEVELOPMENT OF THE MOTIVE. cc. dd. :fc= ^ ^^^ Here follow illustrations of rhythms inverted in this manner : 118. F. SCHUBEBT. b. jfc C. Andante. etc. d. Andante. HAYDN. e. KUKKEL. etc. u y LJ*^ I I 118. The exact at once rhythmical and tonal inversion of tone- figures as motives, exemplified in Fig. 116, is called EETROGRADE INVERSIOX, as distinct from the kind last illustrated, which is simply inversion, in a restricted sense. 119. Rhythms comprising many measures and heterogeneous tone-figures should be constmcted with special care, if they are, on the one hand, to serve as motives for retrograde inversion, and, on the other hand, to be connected, when thus inverted, with their respective 94 THE ELEMENTS OF MUSICAL FORM. original motives, and form phrases having a musical sense. The fol- lowing two examples show, each at b, the exact retrograde inversion of the corresponding four-measure rhythm at a : 120. b. F. A. KUNKEL. THIRTEENTH EXERCISE. Compose sections, phrases, and periods, by the inversion of motives in both the ways just explained. CONTRAPUNTAL TREATMENT. 12O. An additional means of developing a motive is CONTRA- PUNTAL TREATMENT. Thus, for example, the motive of BEETHOVEN'S B t?-major Sonata, Op. 106, Allegro. BKETHOVEK. 121- -- . - T -- _ - - . -- is worked up. in the development-group, into a kind of free canon : DEVELOPMENT OF THE MOTIVE. 95 122. BEETHOVEN. '-frr * r *V I -==F etc. So, too, in the c-minor Symphony of the same master, the princi pal subject of the last movement (Allegro), Allegro. BEETHOVEN. 123. 1 r h H H Ll - etc. is worked up in canonical imitation, thus : Presto. 124. ff 5 * * * a BEETHOVEN. 1 etc. ^-. etc. 96 THE ELEMENTS OF MUSICAL FORM. CHAPTER XX. DEVELOPMENT OF THE MOTIVE (Concluded). VARIATION. . Tone-figures and rhythms are often developed by VARIA- TION, the usual way being to represent notes of greater value by figures of two or more notes, yet so that the original motive may be recognizable. The variation may be restricted to single parts (mem- bers) of the motive, as represented by the bracket in the following example : Allegro moderate. Variation. 125. or, it may extend to the entire motive, examples of which may be found in any " Theme with Variations." In pieces in larger instru- mental form also are sometimes found variations of this kind, as, for example : 126. Var. etc. BEETHOVEN. etc. DEVELOPMENT OF THE MOTIVE. 97 . The dividing a metrical part into its members which we may call ARTICULATION inducing tone-multiplication, and the oppo- site process of reducing the number of tones by contracting metrical parts or occasionally omitting one, also come under -the head of Varia- tion. Here follow examples of each : Andante. 127. ! 1 r~ BEETHOVEN. etc. (In the above figure the bracket indicates the articulation of the correspond- ing notes on the upper staff.) BEETHOVEN. _^^H^MK__ Allegro. (The bracket in the above figure marks the omission of the anacrusis with which the first of these two dimeters begins.) FOURTEENTH EXEECISE (1). Develop motives by means of VARIATION, etc. DISMEMBERMENT AND ENLARGEMENT. 123. Larger motives may be dismembered, L e., reduced to smaller ones by detaching from the original rhythm one or more tone-figures, or notes, belonging to it. These detached tone-figures serve as motive-members for further developing a melody. They are taken indifferently from either the beginning or the end of the original motive. 124. By an opposite procedure, sJiorfer motives may be combined with other motives to form larger ones. Thus (to illustrate this latter procedure first), the 1st movement of BEETHOVEN'S Seventh Symphony is based on this short principal motive, f f * , which appears in manifold combinations, as, for instance, 98 THE ELEMENTS OF MUSICAL FORM. 129. BEETHOVEN. -7 7 - -i-S~S v ^-^ i _.ij_5=r^=. 1 etc. So too, in the same master's c-minor Symphony (No. 5), the short motive J j j | J , which predominates throughout the entire first movement, appears in the following enlarged form, among others : BEETHOVEN. ~tt etc . The reduction of larger motives to smaller ones is illustrated in the following examples : a. Allegro. 131. BEETHOVEN. b. Allegro. BEETHOVEN. etc. In the same way, in BEETHOVEN'S c-minor Symphony, 1st movement, from the motive enlarged from the principal motive (see Fig. 130, above) two half-notes are detached, and serve for development through several measures : DEVELOPMENT OF THE MOTIVE. 99 132. etc. Moreover, the small tone-figure f f , occurring in the same move- 4*0 ment, is merely a reduction of the already short chief motive In the Sonata, Op. 106, BEETHOVEN uses for development the principal theme, Allegro. 133. PffcfP in the abridged form of only three tones, 134. etc. afterwards the first two tones alone appear : d= BEETHOVEN. 135. |= pis gl -S 4^ -b> ^fc etc. * T The first part of the Minuet of HAYDN'S .6-flat Symphony (No. 5), is developed from the first two measures : Allegretto. HAYDN. 136. H?"o f'*T~T~ i -ft f~ ^_^:_! 1_^ f f { - JM- t 4- ^ 4f- 1 1 + i '-(- * ^ J._^ 1 L_J etc. zlfel-4 * 1 f f. t i " / ^ l~* 100 THE ELEMENTS OF MUSICAL FORM. HAYDN dismembers this rhythm into the following motives : a. b. d. 137. and combines these fragments into an organic whole. Many more examples might be cited, showing how the disintegra- tion of a rhythm or tone-figure may furnish ample material for the elaboration of musical thoughts. FOURTEENTH EXERCISE (2). (a) Dismember larger motives into smaller ones. (b) Combine detached motives ivith other motives to form larger ones. THE PASSAGE. 126. A final means of development is the PASSAGE, which is a rapid tone-series, passing by degrees or by skip through optional intervals, ascending or descending, and for the most part repeating a determinate figure. Thus, in BEETHOVEN'S 6r-major Sonata, Op. 31, which begins as follows : Allegro vivace. 138. the motive in the second measure is afterwards worked up into the following Passage : 139. -i -~^-^--H i i i -""*agt h-i-'v-rY -# R ~*"*"5: * * ' DEVELOPMENT OF THE MOTIVE. 101 BEETHOVEN. * etc. In the above, the first measure (formed by transposition from the 2d measure in Fig. 138) is the rhythmic and melodic model for the second measure, which latter has thus the character of sequence (see Par. 109). The third measure is the literal repetition of the first, the fourth that of the second, each an Octave lower, so that the same correlation of model and sequence is kept up ; and the same is to be said of the fifth and sixth measures respectively. In the seventh measure the motive-member is inverted, with partial interval-contrac- tion. In the eighth measure first half is the transposition of the first half of the seventh measure ; the second half is a transposition, with interval-expansion, of the first half. The ninth measure is the transposition an Octave higher of the seventh measure. The tenth measure, finally, introduces a new tone-figure, extended by transposi- tion and inversion through five measures, whereupon a point of rest, but no Cadence, ensues. This whole passage accordingly belongs to none of the fixed rhythmical forms hitherto described. BEETHOVEN'S Sonata in /-minor, Op. 57, affords an additional example of a passage, formed on the motive inclosed in a bracket, in the following figure : Allegro. 140. 102 THE ELEMENTS OF MUSICAL FORM. ^3 127. The frequent introduction of the Passage is not to be recom- mended, as inducing monotony and betraying poverty of ideas. FOURTEENTH EXERCISE (3). Develop tone-figures into passages, after the above models. SECOND PART. APPLICATIONS OF THE PRIMARY FORM/ FIRST DIVISION. COMPOSITE PRIMARY FORMS. CHAPTER XXI. THE THEME WITH VARIATIONS. THE STUDY (ETUDE). 128. Groupings of musical thoughts in primary form, constitut- ing independent pieces of music or independent portions of larger pieces, give rise to the COMPOSITE PKIMARY FORMS. These rule almost without exception the boundless domain of dance-music proper (i. e., composed for actual dancing), and of the higher and lower orders of parlor-music and pastime-music. In the Symphony, the Scherzo (Minuet, Episode, Intermezzo) belongs almost always to these forms, which are frequently met with also in other domains of composition. 129. The simplest form of combination of independent musical thoughts is found in the THEME WITH VARIATIONS. Here the same thought is first presented in simple form, then repeated in different variations, which, while retaining the same harmonic basis, develop various figural motives, contrapuntal imitations, etc., sometimes also change the mode, or even the key. The Theme has generally primary form, sometimes period-form. BEETHOVEN'S creations in this form, and those of other masters, old and new, are well known. The last movement of the Sinfonia * In all the following exercises the student should, when it is practicable, make use of his former exercises. 104 APPLICATIONS OF THE PRIMARY FORM. Eroica belongs to this form, which also is predominant in the last movement of the Ninth Symphony. The extreme limits of the form are indicated by BACH'S "Air with SO Variations" BEETHOVEN'S Variations on a Waltz by DIABELLI, and his 32 Variations on a theme in c-minor. As a specially popular, charming, and noteworthy work of this class, the Andante in C-major, 141. bfcr*= of HAYDN'S (2-major symphony may be mentioned. How BEETHOVEN has constructed out of the period given in Fig. 32, a theme in primary form, and composed variations on it, may be seen in .the KREUTZER Sonata, Op. 47. The Variations in RAFF'S (/-minor Suite for Piano may be classed as models ; so also, in the sense of the noblest virtuosity, LISZT'S Variations in the Don Giovanni Fantasia on the celebrated theme, 142. 130. The ETUDE or STUDY is in a certain sense a variation ivith- out theme ; i. c., its basis is the general scheme of a primary form, rather than a particular theme. It consists essentially of the mani- fold variation of a motive designed for technical practice. The more connected it appears in this respect, and the more strictly the unity of the piece is hereby maintained, the greater the freedom in which it can indulge in the structure of its groups and in modulation. 131. Many Etudes exceed the limits of the primary form, as, for example, CHOPIN'S charming e-minor Etude, which lias a Trio with an eutirelv different chief motive. THE DANCE-FORMS PROPER. 105 Piti lento. 144. In this and similar Etudes technic is subordinated to the esthetical principle of delivery, which in the case before us requires a contrast to the airy lightness of the first part, and finds it in the Trio. 132. Just as there are many studies which, in no wise intended for technical practice, are (like the above-quoted and many others by CHOPIN and others) wrought into charming pieces of music ; so, too, many a piece of music receives the name of Etude without having been originally written for the purpose of the Etude, merely because it has technically adopted its form, and the modesty of its author conceals its higher aim. CHAPTER XXII. THE DANCE-FORMS PROPER. 133. The chief forms of the SOCIETY-DANCE are based upon a ^-measure step,, which involves a complete rotation and at the same time a motion forwards of the body. Each single measure serves for only a half-rotation of the body. After two measures, therefore, the dancer begins again with the same foot.. Hence it is altogether unal- lowable to introduce in one of these dances phrases or periods with an uneven number of measures, as, trimeters, pentameters, heptameters, etc. Even such groups of 6 or 12 measures as are not strictly based on two-part division, may easily cause disturbance in dancing. The periods should therefore, as a rule, be limited to 4, 8, 16 measures. Occasionally, however, the most prominent composers of this kind of music indulge, by way of exception, in 10, 12, 20, 24-measure periods and similar constructions. 134. The usual form of the POLKA is the following: (1) Short Introduction in Polka-tempo, mostly 2 or 4 measures. 106 APPLICATIONS OF THE PRIMARY FORM. This does not form part of the dance, and therefore need not be regularly constructed. (2) Polka, Large two-part primary form, each part repeated ; thus, 2x||:16:||. (3) Trio. Similarly constructed, often introduced by a short, merely rhythmical prelude of two or four measures, as, M ~ ' measures against 4 in that of MENDELSSOHN. 149. MENDELSSOHN constructs his Theme in small three-part primary form : First Part : 2x4 = 8, repeated, = 16 measures. Second Part : Thesis : 8 Antithesis : 2x4 = 8 together 16, repeated, = 32 measures together 48 measures. But MENDELSSOHN includes in the repetition of the first period the 4-mcusure Introduction, whereby the first part amounts to 20 measures. THE MARCH-FORMS. 113 So far, then, the length of the whole, including the Introduction itself, amounts to 56 measures. First Part. , _ _ 152. Im. Cad. Here interpolation of the Introduction. Per. Cad. Second Part. I V MENDELSSOHN. Third Part. Measures 18. Auth. Cad. in Dom. From here on MENDELSSOHN'S March is kept more within the limits of the composite primary forms already discussed, whilst WAG- NER'S March approaches in construction the large symphonic instru- mental forms to be considered later. MENDELSSOHN, that is to say, now introduces a Trio in (r-major : 153. ? f " e^_ M-*-^-^= -?= o= -^=AL=^ g^=j=|gil:t=r=b-- r-^ j =t= E leading to a repetition of the principal theme, which is this time abbreviated to an 8-measure period. Then follows a second Trio in J^-major : 114 APPLICATIONS OF THE PRIMARY FORM. 154. after which the whole Theme without repetition, with increased rhythmical movement by means of figuration : 155. the Introduction with increased sonority : 156. lastly, a brilliant CWrr of 2 x 8 + 10 ^ measures. In all the parts, except the first, the composer avoids perfect ca- dences. This gives to the March that character of constantly pressing forward, with the esthetic effect of suspense, which WEBER especially, among the older masters, so well knew how to attain in his overtures. 15O. WAGXER constructs his Theme not in primary form but as a large IG-measure period : 157. THE MARCH-FORMS. 115 and immediately joins to it another theme in the same key, likewise in 16-measure period form: 158. Here the Thesis makes a Half-cadence on the Dominant septima- cliord : 159. FE5ES=^E5=9= * r i F- -r VI the Antithesis an authentic cadence in the key of the Dominant, modu- lating into it : y f->- 160. * * ^ F * T=S g I VI Tonic. II I Dominant. 116 APPLICATIONS OF THE PRIMARY FORM. Another 16-measure division now follows, showing, however, the form not so much of a period as of a double-phrase, since the second part (which takes the place of the Antithesis) ends with a Half- cadence. In the bold modulation of this phrase this Half-cadence is. made in C^-major. Per. auth. Cad. in Dom. We have now already three 16-measure periods, the first forming a tonic period, the second a period which modulates into the Dominant, the third consisting of two corresponding phrases, which, starting from the Tonic, modulate, the first into the Dominant, the second into the key situated a major Fifth above this Dominant. Xow again begins a new division of which there are foreshadow- ing in the Introduction begins, in fact, immediately with the minor SnMominant of the key in whose Dominant the preceding division closed : THE MARCH-FORMS. 117 r 162. The harmony with which this division begins is to be taken as Tonic /jf-minor. The Thesis closes with an imperfect authentic ca- dence in J^-major, and just as the 6r$-major Triad above was followed by the minor Triad on /$, so here the major Triad on F is followed by the minor Triad on e. 163. The Antithesis now passes in the fifth measure to the Dominant of the principal key, whereupon the introductory trumpet-fanfare is again heard ; thus this Antithesis embraces 12 measures = 4 + 8. Now begins with the principal theme the repetition of all that has been had, with accompaniment of the Chorus. To this entire repetition, comprising 68 measures, is again joined the principal theme in fortissimo and with enlivened rhythm by means of figuration. 164. The Coda, which brings the March to an end, thematically exhausts the first and the second theme and the Introduction. In LISZT'S piano-arrangement of this celebrated March, the tender theme which in the opera accompanies the entrance of the minstrels, 118 165. APPLICATIONS OF THE PRIMARY FORM. tr. a? -3-^ff ,2- -K ^ forms the Trio proper of the March. It is, however, not a part of the March in the original, which we follow. We regard WAGNER'S March, in fact, as a March with many parts (independent themes) but ivithout Trio. 151. The two Marches here considered have this in common that the beginning of the principal theme forms a complete cadence (thus a closing formula).* The principal theme of MENDELSSOHN'S March, in particular, must be considered strikingly bold and original, be- ginning, as it does, with harmonies foreign to the key. f 152. We will now place side by side the respective schemes of both Marches : * In MENDELSSOHN'S March : tr. 3E-^=-r r_rs T r f-pg __j-p_ ^ *-i ^ U : n 7 (V) i 1 C 1 : in n I V I 166. Cadence in e. In WAGNER'S March : Cadence in C. F*rt- 167. [gffcftft- -f principal theme : Small three-part primary form, 3x8 24 Coda : Introduction, 4 measures ; thematic reminiscence, 8 measures re- peated, 16 measures ; close, 10 measures 30 Total, 182 WAGNER, Tannhduser- March. Measures. Introduction: Entrance, 4; Middle-group, -^4; Entrance, 4; Mid.-gr., ^2 ; Mid.-gr. (fourth theme), 4 ; Mid.-gr., 2; Entrance, 4; Mid.-gr., 4^. 23 ' Principal Theme : Tonic Period 16 Second Theme : Modulatory Period 16 Third Theme : Double-Thesis 16 Fourth Theme : Double-phrase with transition (8 + 4) + 8 measures 20 Repetition of all four Themes 68 Repetition of principal Theme : Thesis as above ; Antithesis with delayed close 17 Coda, 8 measures, beginning on the .B-major Triad in Y form ; second theme ; 8~- ; Entrance and close, 21 36 Total, 212 153. The FUNERAL MARCH has the slowest Largo as tempo. BEETHOVEN has, in a pianoforte Sonata, furnished the unapproach- able model of it. (See Fig. 99). CHOPIN'S Funeral March only second to BEETHOVEN'S in popularity is also found in a piano-forte Sonata. The Funeral March is with few exceptions (among them HANDEL'S Dead-March in " Saul," in (7-major) in minor, the Trio almost always in major, viz : in the parallel major key, in the major key of the same Tonic, or in that of the major Third below (Sub- mediant). 120 APPLICATIONS OF THE PRIMARY FORM. 154. The construction of BEETHOVEN'S Funeral March in ^P-minor has already been given (Chapter XVI.). The Trio, in ^ib-major, consists of two 4-measure phrases, which are repeated. The repetition of the March is followed by a Coda, closing in major. 155. The POLONAISE is a lively March in | meter, with a step to every quarter-note. The characteristic figure of the Polonaise is this : t nan r i It is not necessary, however, that this figure should be invariably adopted and carried out, as is proved by many examples. It is also characteristic of the Polonaise, that in most cases the last two meas- ures of its periods are rhythmically divisible into three measures of - meter, as, for example : 168. IDEALIZED DANCE-FORMS. 121 156. The QUADRILLE (CONTREDANSE) is likewise related to the March, but is written in -r- and -jj- meter, and has two steps to each measure. It has six divisions, separated one from the other by pauses ; the last passes immediately into a dance proper (round dance). SIXTEENTH EXERCISE. Compose Marches and Polonaises, especially in the principal forms which have been given. CHAPTER XXIV. IDEALIZED DANCE-FORMS. 157. There are countless compositions which, without being in- tended for dancing or suitable for it, borrow from a given dance-form, mostly in great freedom, the rhythmical motive and the most general characteristics of construction. No form has been more productive in this respect than the Waltz, whose idealizations by SCHUBERT, WEBER ("Invitation a la valse"), but especially CHOPIN, are every- where celebrated. These charming creations combine all the elegan- cies of an art-technic developed to the utmost with the dance-rhythm employed with the most perfect freedom. Through CUOPIN and many others, who are for the most part his imitators, the form also of the Mazurka and the Polonaise has experienced such an ideal development. Other national dances too, such as the Bolero, the Tarantella, etc., have been treated in this manner. Of late years, prominent composers have shown a similar interest in the obsolete dance-forms of past cen- turies, the Saraband, Gavotte, Bourree, etc., etc. Especially note- worthy are RAFF'S labors in this field. 158. Our classical composers have devoted special attention in this sense to the March. BEETHOVEN'S Funeral March in the " Eroica " symphony, that in the Jk-sonata, of which mention has already been made, the Festival March in the .4 -major Sonata, Op. 101 122 APPLICATIONS OF THE PRIMARY FORM. Vivace alia marcia. 169. * . ftJt * -4 *^ ' *^i with the canonical Trio, the March in the " Euins of Athens," etc., maybe assumed as well-known. MOZART'S "AllaTurca" from the A -major Sonata 170. s M m ;r r ^r-T r r r- is likewise an example in point. A peculiarity of this piece is the 8-measure period which follows each part as a kind of Coda. 171. f Wfl * i 1 p- 1 -0 * 3t n-0 ptE f -* Pj r^gr * --*-! p w IDEALIZED DANCE-FORMS. 123 In CHOPIN'S Funeral March in Jb-mmor the left hand has an im- pressive imitation of the ringing of bells, a kind of " Basso ostinato," found also in the 3d Impromptu and an Etude of the same master. 159. But the most important among the idealized dance-forms is the form which has sprung from the obsolete Minuet, and which under the name MINUET or SCHERZO has found an abiding place in the large instrumental works of our classics. The form of this movement is mostly large two-part or three-part primary form, variously modified by means of augmentations and ab- breviations now of this part, now of that, as has been illustrated by many examples in the first part of this work. The Trio is only excep- tionally in the key of the Dominant, mostly in the same key, and in minor movements, in the major key of the same tonic. In MOZART'S .Z^-major and (7-major symphonies the Trio remains in the same key; in the -major symphony (No. 1) the Trio is in the key of the Stibmediant of the minor key with the same tonic, viz: in ^-major, a not unusual relationship of the parts in point of modulation. In BEETHOVEN'S 1st, 2d, Eroica, 4th, Pastoral, and 8th symphonies the Trio is, like that of MOZART'S symphonies above alluded to, in the same key as the Scherzo ; in the 5th (c-minor) and the 9th, in the major key of the same tonic ; in the 7th, in the major key of the Sub- mediant, i. e., in Z>-major, the Scherzo being in J^-major. The 7th symphony is the only one of BEETHOVEN'S in which the Scherzo is not in the same key as the symphony. 160. HAYDN'S symphonies and quartets not only the favorite ones but also those numerous ones that are less known afford an in- exhaustible assortment of consummate models of that species which approaches more nearly to the original form. Such are to be found also in MOZART'S instrumental works, in countless pianoforte-sonatas, duos, trios, string-quartets by BEETHOVEN. Of the symphonies of the last-named master the Scherzos of the 1st, 2d, 4th and 8th are kept within the same limits. We must here call attention to the manner in which BEETHOVEN developed this form in other works, how he en- larged and transformed it in the Scherzo, by some examples calculated to incite the beginner in composition to a more profound study of the others also. 161. In the 7th A -major symphony the first part of the Scherzo exhibits singularity of formal structure in the 2-measure introduction alone, 124 APPLICATIONS OF THE PRIMARY FORM. 172. which thenceforth constantly serves as connecting-link of the parts. It is interesting, from the standpoint of modulation, that the close of the first part is made in A-major (key of the symphony), this key being in fact reached by a sudden transition from .F-major, by means of the chord of the augmented Sixth. 173. Bass in Octaves. The first part, as a whole, consists of a 16-measure period of the fourth form (Par. 27), whose antithesis is lengthened by a cadence- formula of six measures, while the period itself is preceded by a 2 -measure Introduction. On the other hand, the second part so far exceeds the usual limits of our form as almost to assume the character of a development (as in the Sonata-form). After four measures of the introduction-motive (Fig. 172), the repetition of the motive 174 (compare Fig. 173) partly of the whole of it, partly of its 2d measure only, gives rise to an 8-measure group, whose second motive, trans- posed to _D-major, 175. etc. is repeated four timjs. whereupon it appears in c-minor IDEALIZED DANCE-FORMS. I 125 176. etc. and leads, after three measures, into the dominant harmony of 6-major. Thus, then, we have excluding the Introduction a composite group of 8 + 4 + 4 = 16 measures, modulating from ^4-major to (7-major. This group is now repeated in exactly the same way, but this time modulating from C-major to B^-major. A similar repetition in -#t?-major now seems about to take place, but already in the third measure the introduction-motive is added to it, Oboe and Bassoon in 8ve. 177. and leads to the entrance of the first 8-measure group, with repeti- tion, which the Bass then takes up, followed by the other voices in imitation (the last voice in contrary motion), leading into the third part (repetition of the first). 178. ^zzir:^^.^.^.^.^. -f- -- t Beginning. etc. m 126 APPLICATIONS OF THE PRIMARY FORM. The close is made first in (7-major with closing formula of 8 measures, then with the same formula extended to 12 measures, in F-major. After this perfect close the introduction-motive finally holds on (for 4 measures) to its upper note, a. During this a, which enters tutti ff, and remains p in the violins, the Trio in D-major begins, is regularly carried through in enlarged three-part primary form, with a 14-meas- ure Coda, closing with the noted progression of the dominant septima- chord of Z)-major to that of .F-mjijor : Violins . Viola. 179. Horn. Basses. This chord leads back to the Scherzo, which is repeated entire, except- ing only the repetition of the second part. Hereupon re-entrance of the Trio with all repetitions and Coda. Second re-appearance of the Scherzo, this time without repetitions. The Coda again sustains for four measures the a which introduces the Trio. But only the first two measures appear, the first in major, the second in minor, then short close of five measures, presto. Presto meno awai. 180. Presto Tut/i. IDEALIZED DANCE-FORMS. 127 162. Still more peculiar is the construction of the Scherzo of the 5th (c'-minor) symphony. The Thesis 181. -&- 4 **- is repeated with a slight extension. A new theme then enters : a tempo. 182. F fe= etc. which, beginning in c-minor, makes a half-cadence in .Z^-major, is then repeated in etMninor with half-cadence in 6rb-major; in four measures more it reaches the Dominant harmony of dp-minor and here constructs a half-cadence formula of 8 measures. The Dominant of dp-minor, viz : B\?-major, now serves as starting-point for the repeti- tion of all that has preceded, this time from b\>-minor to C-major as Dominant of f -minor, instead of from c-minor to HP-major as Domi- 1'28 APPLICATIONS OF THE PRIMARY FORM. riant of eb-minor. The repetition of the first thesis is this time extended from 8 to 18 measures, and employed for modulating into c-minor. .* 183. 19- ; Organ-point follows. The Dominant of f-minor, viz : (7-major, now becomes again the tonic c-minor. The first theme is repeated, the second half of it is repeated in passage-form ; 184. I. / I ""' I f~ ' '""" ' etc. hereupon a counterpoint against the principal motive of the theme, in the Bass, is made by a charming flowing melody in the upper voice, which forms a perfect cadence, 185. HE iffi ?~$ IDEALIZED DANCE-FORMS. 129 **-** h *- f-f-j- -t- -fr- * * *_ gg EjfepgEfe i this cadence being further strengthened by an 8-measure Coda. With the exception of these two cadences the whole movement exhibits half-cadences. The Trio is carried through with less irregularity ; it is technically notable for its fugal elaboration, K}T * -^ \ g 9 i --* ;_*-- EE -|=- r~^- i r ' : # -f ^ ff ^ 1 ' 4 ^ ,.. f H F ^T- r and the strong bass-figure with which the second part begins. The first part closes regularly in (r-major, the second in (7-major. At the repetition of the latter, however, it changes the cresc. al ff of the first time into a diminuendo al pp, and leads, without a close, immediately into the repetition of the Scherzo. The inspection of the continuation of this fine movement is left to the student, who should follow up the hints we have given for this kind of score-study. SEVENTEENTH EXERCISE. Compose Minuets and Scherzos, but ivithout intentionally exceeding tlie limits of the primary form. 130 APPLICATIONS OF THE PRIMARY FORM. CHAPTER XXV. SPECIAL FORMS. 163. There is also a large number of characteristic and important compositions among them many of the most original creations which, without adhering to any special dance-form, belong to the pri- mary forms which we have thus far described. In the first rank are here to be mentioned those compositions of these forms in slow tempo, which, under the name of " Elegy," " Ballad," " Song without Words," or under various other titles, partly of a descriptive character, as, "Melancholy," "Resignation," "Nocturne," "Berceuse," etc., form independent pieces of music, or appear as parts of larger compositions. To the latter kind belongs, for instance, the Andante of BEETHOVEN'S Sonata, Op. 28, whose separate parts have already been illustrated (see Figs. 42, 88). EIGHTEENTH EXERCISE (1). Compose a sloiv movement in composite primary form. [Models for the separate parts are found in abundance in the first part of this work.] 164. The number of compositions of the kind we are considering in quick tempo is no less great. An unusually attractive example of this kind, CHOPIX'S "Impromptu," Op. 29, shall here be analyzed, as being specially instructive. The left hand carries through a figural motive which is interesting on account of the inserted changing-note d$, 187. which, however, we can only notice in passing, as we wish to call the student's attention to the construction exclusively. Tlu- entire composition is carried through in uninterrupted motion. The closes are for the most part veiled by lively figuration. SPECIAL FORMS. 131 The first part (which is based on the motive cited above) has three-part primary form of 8, 10 and 16 measures. The Trio has two-part primary form of 16 and ||:16:|| measures. The repetition of the first part is note for note, a short Coda leads to the close. If we now turn our attention to the separate parts, we find at the beginning a regular period of the second form, consisting of Thesis and Antithesis, each of 4 measures : 188. i^i^^-rS^Sf-u rfr-rag *M VH i**^ iLJ- pPV The second part modulates to and fro, from .E'lz-major to back to ^k-major, between ^llz-major and ^ bis 189. . ., .. . *LJ4 rf* ^nii^ U hereupon follows a chromatic succession of sextachords,* >-fc-W , J t-U , b-l fihJ J li , I , I 190. * Sextachord. a sliorter expression for " Chord of the Sixth." 132 APPLICATIONS OF THE PRIMARY FORM. the repetition ot which adds two measures to the length of this part, which then, with a half cadence, passes into the repetition the third part. The comparatively great extension of this third part is no longer new to us, but for a better inspection of the extensions it will be ad- vantageous once to represent the group without them, as in our first exercises, and to reduce it to the measure of the first period. 191. :E 8va 8va. Interpolated three and a half measures. T , preserve this unchanged in key or form throughout the piece. Hence a decided melody of eight or sixteen bars (measures) was chosen, ending with a full close in the Tonic. After a rambling excursion through several keys, and with no- particular object, the principal subject was regained and an agreeable sense of contrast attained. Later on there grew out of the free section a second subject in a related key, and still later a third, which allowed the second to be repeated in the Tonic. * :: The first of these classes is the Rondo from COUPERIN to HAYDN, the second and third that of MOZAKT and BEETHOVEN." HONDO OF THE FIRST FOKM. 135 192. etc. ryfl Jz? 9-^ft" 1 ' r which in the 4th measure makes a complete close in /$-minor. It is immediately repeated in this key, the melody being given to the middle voice, 193. iiSii^%^^^^^^^i^ r lt~f~F~~r ^ ^ r ~^~f~^ f ? ? f then, with a new motive 194. g__p f^jp p T~f~f *~|* h h betakes itself to the Subdominant of the principal key, and thus re- turns to the theme, which is repeated, note for note, without variation. To this is joined a group of four measures, connecting with the middle-group of the theme, with the following imitation, APPLICATIONS OF THE PRIMARY FORM. (Canon.) 136 195. which is repeated in heightened figuration : 196. At the last measure of this group the theme begins in minor, leading with a powerful harmonic climax to the dominant, whereupon it re- appears, shortened to an 8-measure period, with new figuration in the second voice, (en. 197. and the whole movement closes with a Coda of 8 measures. NINETEENTH EXERCISE. Compose a Rondo of the first form in sloiv tempo. 171. Of all applications of this form the Andante of BEETHOVEN'S c-minor Symphony may perhaps be regarded as the most noted and the most perfect model. Though it is taken for granted that the RONDO OF THE FIRST FORM. 137 student of composition is perfectly familiar with this movement, yet it must here be subjected to a technical analysis, not only to serve as a model of formal structure, but also to call attention to the finished manner in which the variations of the theme are here introduced and worked out. The theme, which is given in Fig. 50, is enlarged, by a group de- veloped out of the close, from eight to twenty-two measures. To this is joined rhythmically connecting with the first figure of the theme a group of 27 measures, beginning in -4 dolce. 198. afterwards, with the remarkable transition from pp to ff, 199. etc. making a cadence in C'-major. The same group then begins, this time given to the brass-instruments, in (7-major, 200. ^N**fe4f?=lP]|j= and modulates thence in pp back to .-i^-major, when the first variation is introduced : 138 APPLICATIONS OF THE PRIMARY FORM. 201. This variation, with somewhat enhanced figuration, is applied to all that has preceded. The second variation, which now follows 202. etc. j 3 fi *i N \ *t ~ *i~ < ~ff~ -^ p y p- is limited to the chief subject proper (8 measures), is repeated climac- terically, and leads directly into the third variation : 203. This closes in the tenth measure on the dominant, and here begins, developing itself out of the motive ddce. 204. the four-voiced phrase for flute, oboe and clarinet, which finally leads back into the place in f-major (Fig. 200) with increased tone-volume. From this a figural modulation leads to the last two variations, the first of which is minor, ROXDO OF THE FIRST FORM. 139 HrF t 3 3- -H? - 4 f i ? / == y 5 ? 205. whilst the second takes on a free canon form : *-+ 206. etc. _ The subsequent piu moto and a tempo is a closing Coda. 172. In quick tempo the first Rondo-form is best modelled on the enlarged three-part primary form, from this launching out into pas- sages, runs, modulations, etc., then repeating the chief subject in abridgment, again digressing from it, and closing with a more com- plete repetition of it, with Coda. Example, BEETHOVEN'S Sonata, Op. 10, No. 3, Rondo Allegro. REMARK. It has already been pointed out that the Rondo and the composite primary form are very easily confounded. But the extended simple primary form may also be confounded with the Rondo-form. An extremely clear illustration of this is the Andante un poco adagib of MOZART'S Sonata in (7-major : 207. This long piece of music, numbering 79 measures Andante vn poco adagio. 140 APPLICATIONS OF THE PRIMARY FORM. is nothing more than an extension, by means of written out and varied repetitions of the several parts, of a two-part (or two to three- part) primary form in the following proportions : {Thesis 8 measures. Antithesis 8 " Varied repetition . . . . 16 " / Thesis 12 * Second Part : < Antithesis 8 " ( Varied repetition 20 " Lengthening of the close. . . 4^ " Coda 4 " 79 CHAPTER XXVIII. THE RONDO OF THE SECOND FORM. 173. In the Rondo of the SECOND FORM two themes stand over against each other, of which the second has most generally about the same relation to the key as the Trio in the composite primary forms has to the principal theme, i. e., it is only exceptionally in the key of the Dominant, mostly in the parallel key, the homonymic* key Maggiore (major) against Minore (minor), and vice-versa, in the key of the Mediant, or occasionally in a more remote key. The first theme is constructed like the theme of the first Rondo- form. The second theme is either introduced by a modulation, or connects immediately with the first. In the latter case it very closely approaches the composite primary form, yet with this difference, that here the structure of the theme is not necessarily in that form. On the other hand the second theme shows a decided tendency to lead back, before forming a clow, into the first theme. 174. Whether the alternation of the two themes takes place only once or several times, is, as far as concerns the determination of the * That is, having the same name (Tonic), but differing in mode. Thus, the scale or key of C-major and that of r-minor are homonymic scales or keys. On the other hand, two scales or keys with different names, though they may be of the same mode, are heteronymic , as for example, C-major and e-minor, or, (7-major and ,4-major. etc., etc. THE RONDO OF THE SECOND FORM. 141 form, immaterial ; as also, whether the themes are repeated entire, or With abbreviation, or with extension. 175. The most brilliant model for this form, although closely resembling the composite primary form, with principal subject and Trio, is the incomparable Allegretto of BEETHOVEN'S ./l-major Sym- phony. The short subject (see Fig. 44 b) in two-part primary form, on which this great composition is based, and which by repetition of the last 8 measures is extended to 24 measures, is first repeated in three variations, beginning with the combination of violas, violoncelli and basses, and leading up to the display of the full power of the orchestra. A short transition 209. then leads into the second theme, which is in .4 -major, and sustains in the bass the rhythmical motive running through the whole piece. 210. The second theme has the following structure : Period (with Thesis as above, Fig. 210) closes in J^-major (Dominant) 16 measures. Interpolated imitation-group, as in the following fig. , 3 x 2= 6 " 142 211. APPLICATIONS OF THE PRIMARY FORM. Clarinet. Period of 2 x 8 measures, closing the first time in the prin- cipal key, the second time in (7-major 16 measures. The above imitation -group in (7-major 6 " Total number of measures in second theme, 44 " There is no return to the beginning; the movement breaks off here, and passes into the major dominant harmony of a-minor. Hereupon follows the fourth variation, in which the flute, oboe and bassoon have the counterpoint (Fig. 45), the bass the theme, the violins and viola the figuration. This variation is lengthened by a Coda. Immediately upon this follows a fugato on the theme 212. etc. as fifth variation ; it ends with a figuration for wood wind-instru- ments in ff, against the principal motive carried by the string quartet, trumpets, horns and kettle-drums, in 8 measures, with a decisive close in -minor. Hereupon the transition given in Fig. 209, slightly varied, and repetition of the second theme abbreviated to a period closing tonic- ally, with a Coda of 4^- measures. Short movement of 8 + 4 measures, from the chief subject. Last variation, and close. The subject in A-major cannot be considered as a variation of the principal theme, for lack of the harmonic conditions ; nor has it the independence of construction necessary to a Trio. We may therefore rightly regard it as second theme of a Rondo of the second form, whose principal theme has many variations. 170. Of simpler construction, and more easily understood by the THE ROtfDO OF THK THIRD FORM. 143 beginner, are the Rondos of the second form in BEETHOVEN'S piano- sonatas : C'-major, op. 2, Adagio, I, 2^-major, II, e-minor. ^-major, op. 14, Finale, I, .E'-major, II,. 6r-major. 6r-major, op. 31, Adagio, I, f-major, II, ^4b-major. besides which many other compositions of our masters might be men- tioned. TWENTIETH EXERCISE. Compose a Rondo of the second form, TEMPO ALLEGRETTO. CHAPTER XXIX. THE RONDO OF THE THIRD FORM. 177. In the Rondo of the third form the distribution of the three themes is according to the following scheme : First theme. Second theme. First theme (abbreviated ?). Third theme. First theme (entire, or less abbreviated). Coda and Close. The first theme has most usually (especially in quick tempo) ex- tended primary form ; so that the difference between the Rondo of the third form and the composite primary form with two Trios often con- sists (apart from the greater freedom and copiousness of the former) only in the prevalence of the tendency to transitional groups and in the abbreviation of the repetitions of the theme, and even these differences afford no certain criterion. 178. In many obsolete, but, for all that, not uninteresting com- positions of the first period of form-development in the preceding century, this form-relationship is very plainly apparent. Among these are many youthful works of MOZART, which certainly have at least an historical and biographical interest, as for example, the Rondo of the small E? Sonata: 144 APPLICATIONS OF THE PRIMARY FORM. Allegro vivace. Right 213. Violin. Left. etc. The first theme of the Rondo here cited has large three-part pri- mary form. It is immediately followed by a subject in primary form in c-mmor: 214. which closes its first period, according to rule, in the parallel key. The continuation beginning of the second part, two-part primary form THE RONDO OF THE THIRD FORM. 145 215. t? ^-rt* fla 1 1 1 r-r ff - ^ 1 ITTI * ?-,-*- makes, four measures after, a sudden close in c-minor, to modulate back to the Dominant of the principal key. Hereupon follows the first theme, abbreviated to period-form. The third theme now begins, in el?-minor (it is given entire in Fig. 57) 216. in three-part period-form of 25-^ measures. On the final measure the first theme again enters. This example is here purposely chosen, on account not so much of its merits as a composition, as of the simplicity and perspicuity of its formal structure. So, too, in the Rondo of the C-major Sonatina : 217. Allegro. v ~t ~- ;=^ n 1 1 n and in that of the e-minor Sonatina (cited in Fig. 49 a), whose themes will be given later. As a transition to the BEETHOVENIAN models we will take the better-known a-minor Rondo of MOZART: 218. 146 APPLICATIONS OF THE PRIMARY FORM. 179. The most brilliant BEETHOVENIAN example of the third Rondo-form is the Finale of the Grand Sonata in (r-major, Op. 53. The first theme : Allegro moderate. Thesis. 219. 2 Antithesis. -b-?~ ill has extended small three-part primary form. Coda and transition : 220. 8 measure*. Second theme, in -minor: simile 221. ^_5__- __*_ _ - C I *- a -T ^ - L-f: T fL__*_,_ T _ | _ End of the Thosi. Antithei I |- follows. Total, 16 measur tithesis -f ^ t I \~ Tlien follows a double-phrase of 2 x 4 + 4 measures. THE HONDO OF THE THIRD FORM. 147 Kepetition of the first theme in its entire extent. Third theme, in c-minor: (The right hand has subsequent sixteenths). ^ r+^UJj i i -i i i <-> f^\-t 222. 7 "*" ^fcZVi* ~* "* Eepeated, melody in the right hand, bass contrapuntalizes in 16th-Triplets. Antithesis: right hand has the counterpoint (double counterpoint at the OctaVe). 223 Eepeated in the inversion at the Octave, whereupon the close is repeated, once entire, twice half, and an additional close formula is appended. First theme and close. The last repetition of the first theme is preceded by an amply developed introduction, whose starting-point is the principal motive, and which presupposes virtuosity in the execu- tant. The repetition itself, on the other hand, is abbreviated. This is followed by a copious development of the transition-motive given in Fig 220, and by a prestissimo, which is concerned almost exclusively with the first motive of the theme, and also presupposes a virtuoso. TWENTY-FIRST EXERCISE. Compose, according to the instructions and examples given, a Rondo of the third form in quick TEMPO. 148 APPLICATIONS OF THE PRIMARY FORM. CHAPTER XXX. TRANSITIONAL FORMS. 180. Between the first and second Rondo-form there are TRANSI- TIONAL FORMS, which seem to share the characteristics of both. They owe their origin to the circumstance that the middle-groups of the first Rondo-form take an unusually independent form, or, that the second theme of the second Rondo-form proves unusually short, in- significant or vacillating. In such cases the determination of the form is doubtful, and we have a Rondo of the first quasi second form, or, of the second quasi first. All forms show such transitional phases, the exhaustive discussion of which, however, would be out of place hre. 181. An example of a composition vacillating between the first and the second Rondo-form is the Andante of BEETHOVEN'S jE'^-major Sonata, Op. 7. It forms a very extended principal subject in. 6"-major Largo, con gran espressione. 224. iyfe in three-part primary form. The subject which immediately follows in ^4|?-major 225. i ' =j i -.." -d i : -3 . -8 < i j & L T forms at first a four-measure phrase tetrameter closing in the Tonic. Hereupon follows a similarly constructed tetrameter in THE VOCAL SOXG. 149 /"-minor, having the same thematic subject-matter. It begins again in Ufa-major, but modulates in the fourth measure, by means of the chord of the augmented Sixth, into the Dominant of (7-major. In view of the consistent formal structure, we might consider this as a second theme, and decide in favor of the second Rondo-form. But in view of the vacillating modulation the character of theme may be disputed, and a Rondo of the first form be assumed. It is, in fact, a Rondo of the second quasi first form. THIRD DIVISION. CHAPTER XXXI. THE VOCAL SONG.* 182. In the VOCAL SONG the musical form is not free, in the sense of being subject to musical conditions exclusively, but is depend- ent on the poetical form and the logical laws of the language. There is good reason to believe that originally the lyric poem and the music to it were one in invention and execution ; i. e., that the poem was at once musically conceived. Gradually, especially through the popular- ization of writing, afterwards of printing, the two elements of the song were separated. Poetry became to that extent enriched with ideas, music so energetically created for itself independent forms, that both could no longer originate together, but had to be joined, in order to re-establish the primeval unity of the song for, song means sung poem. It is only in our time, in the domain of the grand opera, that, by * The German word "Lied" is here, as usually, translated "Song;" it is, however, difficult to define clearly and tersely precisely what that word expresses. Its character is most generally lyric : yet the same name is given to a vocal com- position of a dramatic character, such as SCHUBERT'S " Erl-king," SCHUMANN'S " Two Grenadiers," etc. The term is, in fact, a comprehensive one, and includes the Ballad, the National Air. the Couplet, the Comic Song, etc., also compositions for two or more voices. Among the most famous of modern composers, SCHUBERT, SCHUMANN, LISZT, R. FRANZ, and MENDELSSOHN, are especially to be named as having left noble models of this art-form, the study of which is the best possible method of acquiring the art of writing beautiful songs. 150 APPLICATIONS OF THE PRIMARY FORM. means of harmony, ripened into a perfect means of expression, in union with dramatic action and declamation, a re-establishment of the original state of things on a higher plane has been made possible, unusually comprehensive mental gifts being of course presupposed. There can be no question but that every musical form may be imitated in poetry, thus that it is possible to adapt to a composition, kept within the limits of vocal setting, a suitable poetical text. This, is, however, something that concerns the musical poet, not the poetical musician, For the latter the task here is the opposite one, to compose the music to a strophic poem. The doctrine of Form is only incidentally concerned with this subject ; nevertheless, the principal points of the technical treatment of the song shall here be briefly presented. 183. The composition faithfully follows the meter and the versifi- cation of the poem, conforming them, as a rule, to the two-measure metrical system of music, i. e., organizing them into groups of two, four, eight, and so on, measures, as in the following examples: 226. The clouds are fly - ing, the oak - woods roar, The maid - en sit teth up - on the shore; The huge waves are break - ing with might, with might, She sends forth her sighs.. to the dark - some night, SCHUBKBT. !^rZJEjg^^^==J3=riMjH=^Efi ^ * -J* r ^ r~- _iig~ ziz*zzi=_=lt Her eyes.. all be - dimm'd are with weep - ing. THE VOCAL SONG. 151 227. Once reigned a monarch in Thu - le, True even un-to the grave, 1 ZELTER. r~ To whom his mistress, dy - ing, A gold - en beak-er gave. (The last measure is an extension, taking the place, as it were, of a pause.) a. MR? -- te ^ While mer - ri - ly once rid zfc: g=^= ^3=3=34^: - ing through H^l cool and shad - y wood. (By the prolongation, twice, of the emphatic tone b in the above, the first section seems to have three measures, the second one four ; yet each section con- sists essentially of two measures, as if written thus : b. - n u _. i . " ' ' 2l While mer- ri - ly once rid - ing thro' cool and s'.iad - y wood. 184. Occasionally the structure of the words, and other circum- stances, will require grouping of the measures by odd numbers, at least in part of the song, as in the following example: Larghetto. 229. =^=^=^=g^=^|^=^ ^1 Since mine eyes be - held him, Blind I seem to be ; \Vhereso - e'er they wan-der, Him a lone they see. Round me 152 APPLICATIONS OF THE PRIMARY FORM. -Q-ft ^^ -3-^^- ~ 21 1 " fe^-l -i 1 -r* e s- 1 r ' ^* r* 1 "^" 5~ V glows. 9 y H P-*. . . his im - age In a wak - ing dream, From the SCH I'M ANN. n u >1 "Tl 1 n U ,7 -j r*~? ^ s 1 s - ~~N ^ ~Ti i } i fo^ m (^ j -J-4- r r - -^ * if dark - ness ris - ing, Brighter, brighter than be - fore. 185. Repetitions of the text may be employed, as a means of en- larging the composition and giving it greater freedom of form. Examples of this are so numerous that quotation is unnecessary. Of course, every such repetition of words should be justified by tlieir import, and the truly cultured song-composer will not even for the sake of improving the musical form bring in a repetition which is senseless or even absurd.* 186. The composer is bound by the inviolable law of the logical declamation of the text, but in other respects, treats the text with perfect freedom, according to purely musical laws. In the languages of the Teutonic family the pronunciation-accent forms an essential element of the logical accent, f which is not so strictly the case in the * An instance of absurd repetition is found in a very weak sacred song, perhaps still popular, in which occur the words : " Solomon in all his glory was not arrayed like one of these " (i. e., lilies). The meaning of this is plain enough. Yet the composer to judge from his repetition of the words "was not arrayed" would seem to have understood the meaning to be, that Solomon wore no clothes, thus resembling the lilies of the field. "***** wa s not arrayed was not arrayed like one of these." The senseless frequent repetitions of a few words so copiously illustrated in most of HANDEL'S songs, for instance, are happily out of date, to- gether with the mannerism to which they are owing. t The " special functions " of these two kinds of accent, says my lamented friend the late Mr. SIDNEY LANIER in his " Science of English Verse," Chapter IV, are : To call the ear's attention to particular sounds in a series of syllabic sounds con- stituting an English word, for the purpose of emphasizing the special dignity, above other sounds in that word, of the root sound (generally) thus distin- guished by the PRONUNCIATION ACCENT. To call the ear's attention to particular words in a series of English words con- stituting a sentence, for the purpose of emphasizing the logical importance, above other words in that sentence, of the word whose main sound is thus distinguished by the LOGICAL ACCENT. THE VOCAL SONG. 153 Romanic languages (notably in the French). Faults against the pronunciation-accent are naturally less frequent than violations of the logical accent. Of these latter even the great HANDEL was not seldom guilty, as in the following examples from his "Messiah" 230. He was de - spis -ed, etc. in which the logically unimportant words "shall" and "was" receive an undue accent. So too in the air (in the same Oratorio), " Behold and see," at the words : " if there be any sorrow like unto his sorrow :" here the composer should emphasize the word "his," instead of which he sets the word twice without any accent, thus : 231. Like unto his sorrow. v u Like nnto his sorrow, etc. 187. Intimately connected with this subject is that of Inflexion. 'To borrow the language of Mr. E. PROUT:* "Just as, in speaking, we not only accent certain words, but raise the voice in uttering them, so in vocal music, especially in that depicting emotion, the rising and falling of the melody should correspond as far as possible to the rising and falling of the voice in the correct and intelligent reading of the text." In fact, the most conscientious composers make use of certain musical inflexions either corresponding to interrogation, or, in general, of a declamatory character. f Here is an example, from WAGNER'S " Lohengrin " (Act II, Scene V), of a common type of interrogatory inflection : * In GROVE'S "Dictionary of Music and Musicians," Article, "Accent." f " The tone-colors which arise in (expressive and poetic) speech, and the characteristic and pathetic accents which come to the front in words and syllables, constitute, at least in a low degree, a symbolism of its expression, and afford to music the proximate starting points for associating itself with speech, in order to truthfully heighten that expression." H. KUSTER, Populdre Vortrage, etc. 154 APPLICATIONS OF THE PRIMARY FORM. (Lohengrin.) 232. Doth doubt per- mit thee no re - pose ? =3 "T~ I z TS*- '.- z if > rS^ r r- Wilt thou, my name I should dis - close ? which is surely more characteristic than would be for the same wor ds a close on the tonic, or even a perfect cadence in the key of the dominant. In the same opera, "Lohengrin," where Elsa avows her faith in the champion who is to come to her defence, in the words Des Hitters will ich wahren, Er soil mem Streiter sein, which may be roughly translated thus : I'll bide the brave knight's coming, He shall my champion be ; the logical importance of the word " He " in this connection is brought out by the declamatory inflexion which the composer employs for this purpose : 233. Ffcfct Des Kit - ters will ich wah-ren, Er soil mein Strei-ter sein. He shall my THE VOCAL SOXG. 155 and afterwards, with still greater emphasis : 234. "-^K Des Bit - ters will ich wahren, Er. . . soil mein Streiter sain. He... 188. In the case of a song with many stanzas or (which means very much the same thing) strophes,* it is of course at the option of the composer to set each strophe differently. The song is then said to be composed throughout (after the German expression " durchcompo- nirt"). But when one and the same setting (occasional slight variations not being reckoned) is used for the whole song, the latter is said to be composed strophically (one strophe giving the melody for all the others). This latter mode of setting would, however, not be appro- priate for songs of an epic or dramatic character, with many strophes, of which many Ballads f and Romances afford instances, such songs should be composed throughout. Among other models of this kind of composition are SCHUBERT'S "Erl-king," and SCHUMANN'S "The Two Grenadiers." 189. It sometimes happens that in a poem for music a thought begins at the end of a line and runs over into the next line, as in the following couplet, translated from EICHENDORFF for a foreign edition of SCHUMANN'S " Liederkreis " (Song-cycle), Op. 39. Men's guile and fraud are great ; in twain My heart is rent with grief and pain. Such anomalies are in general objectionable from a musical point of view, as requiring in the musical setting an exceptional adjustment of the melody, at least the composer is bound to see that his musical phraseology does not make nonsense of the words, as, for instance: Men's guile and fraud are great in twain, My heart is rent, etc. In the present case the English adaptation involves precisely this nonsense (the composer is of course not responsible, for in the German original the first line ends with a complete thought, and the music agrees with it): * Either of these words should be used instead of the expression "verso," which properly means a line of poetry. In this sense we speak of "blank verso." f The German type of Ballad is here meant, embracing poems of a narrative character (as Biirger's " Lenore," etc.), rather than the English ballad of the present time, which is often purely lyric. 156 APPLICATIONS OF THE PRIMARY FORM. ( Great is of men the fraud . . . and guile, My heart "I Gross 1st der Man - ner Trug... und List, Vor Schmerz 235. Men's guile and fraud are great,. . in twain My heart In a case like the above a good reader would pause after " great," and closely connect " in twain " with the line following. A similar course for every similar case should be followed in the musical setting; thus, in the present case, the first musical thought should end with the word "great," and a second one begin with "in twain my heart," etc. So that if SCHUMANN had had only these English words to set to the above musical thought, he would probably have constructed the latter somewhat like this : 236. Men's guile and fraud. . are great, in twain My heart, eta THIRD PART. THE SONATA-FORM. CHAPTER XXXII. SONATA AND SONATA-FORM. 190. By SONATA is meant a piece of music consisting of several independent movements, and composed for one or two solo instru- ments. The number of these movements is three or four, fewer being very exceptional. On the other hand, the expression SONATA-FORM * denotes that particular form of one movement with which we are at present concerned. 191. The peculiarity of the Sonata-form, as contrasted with the primary form and the Eondo-form, in which the different subjects are as it were merely placed in juxtaposition, is the organic unity of the whole movement. If, therefore, a complete cadence is made at the end of the first division, it is in a key which is not only different from the principal key, but (for the most part) points to it, and is in close relation to it. Hence, the intimate union of all the parts into a whole, which will make itself felt as such, this is the problem to be worked out with all the means of form-structure which we have thus far acquired. In this endeavor the whole movement takes on as it were the form of a thesis farther and farther spun out ; thus the need of an antithesis is felt, and interest is aroused. Here there is danger of going too far, * SCHNYDER VON WARTENSEE uses, instead, the expression " Principal form " (Hauptform), which is a better name, seeing that the application of this form is by no means limited to the Sonata. The name " Allegro-form," proposed by some theorists, seems objectionable, as this form is not necessarily associated with a particular tempo. 158 THE SONATA-FORM. of being too lavish with the means of climax, of losing the artistic presence of mind, which is the condition of intelligibility. The means of avoiding this danger are the clearly-marked division of the form into sub-sections, or GROUPS, the systematic modulation, the use of such cadences as will not stop the flow, being rhythmically or tonally apportioned to places which cannot serve for a complete close. 192. The Sonata-form is the usual form of the first (Allegro-) movement of the Sonata, Quartet, Symphony, and kindred species of instrumental music, also that of most Finales (last movements) of these species, as of Overtures, lastly of numerous compositions in slow tempo. 193. According to the dimensions a distinction is made of SONATINA (small Sonata-form), SONATA, and GRAND SONATA. We shall follow up this chief form of instrumental music from the child-like simplicity of a Sonatina by KUHLAU to the magnificent structure of a BEETHOVENIAN Symphony-movement. A. THE SONATINA. CHAPTER XXXIII. FIRST PART OF THE SONATINA-FORM. 194. The first part of the Sonatina-form is reducible to five in- timately connected divisions or groups, varying in dimensions : (1) Principal subject, or First Theme. (2) Intermediate Group, or Link-episode.* (3) Secondary Subject, or Second Theme (sometimes called Song-group). (4) Closing Group. (5) Coda. * This group, as leading into a new key for the Second Theme, is sometimes called the "Modulation -group." Seeing, however, that it modulates in the first part only, and not in the third part, this designation is evidently not appropriate throughout the whole of the first movement of the Sonata-form except in this limited sense only. FIRST PART OF THE SOXATIXA-FOKA1. 159 195. These five divisions may be reduced to tivo larger ones, constituting duality, viz : (1) First Theme with Intermediate Group, (2) Second Theme with Closing Group and Coda, by reason of the almost equal dimensions of the two divisions, the modulation which at the second theme introduces a new key and retains it, and the importance of the two themes, which constitute the essential contrast of the form. 196. If we class the Link-episode with the first theme, to which it is thematically most nearly related, and the Coda with the Closing- group, to which it is likewise thematically most akin, we have three divisions triality, of which the Second Theme forms the middle one. 197. Just so naturally the four-fold division quaternity results from the two divisions constituted above (Par. 195), if we separate the first one into First Theme and Link-episode, the second into Second Theme and Closing-Group ivith Coda. 198. The FIRST PART of the Sonatina comes to a perfect close, and so far appears independent, but closes in a different key from the original one, and so far appears, on the other hand, incomplete, as it were a larger thesis awaiting its antithesis. The key in which the first part closes, is in major, that of the Dominant', in minor, the parallel major key. The first part of the Sonatina is generally repeated, this repetition being sometimes introduced by a connecting link attached to the Coda and leading into the original key and the beginning. 199. Here follows, in illustration, the first part of a piano-forte Sonata by KUHLAU, written for the instruction of children, exemplify- ing this form within the smallest limits : 1. PRINCIPAL SUBJECT (First Theme). Allegro. 237. fen 1 -4^0-jr0 \-0- ^-*H j--J-* 1*-*- 1 1" * m* '*- -0- -0- + -0- -0- -0- 160 THE SONATA-FOKM. * 2. INTERMEDIATE GROUP. C-major. 9 8. SBCONDABT SUBJECT Modulation into the Key of the Dominant. 14 G-major. 15 16 17 =-=^ (Song-Gronp). -&=ir=r_ ffl 1 h IS 19 20 z: ^. n K ^._r: f-r-f- f-f-f- t*J 9 : =^ - b =^* = [ : =E=^^TT =: t =:= h-M- = i^f S 1 !=" FIRST PART OF THE SONATINA-FORM. (Perf. Cad. in G.) 161 23 4. CLOSINQ GBOUP. CODA. 0-^&. CLOSE. Transition to the Bepeat (Connecting-link). 30 31 162 THE SONATA-FORM. 200. The five divisions of this little model Sonatina show the following numerical proportions, which, however, are of course not given as an absolute standard: (1) Principal Subject 8 measures (4 + 4). (2) Intermediate Group. .8 " (4 x 2). (3) Secondary Subject. . .8^- " (4 + 4~). (4) Closing Group 4 " (2x2). (5) Coda 2 " (4 x J). The figures in parenthesis show that the variety of the metrical construction (measure-grouping) lies in the alternation of /owr-measure and of ^wo-measure groups. These are the smallest groups that can be alternated. The young composer should, in working, constantly aim at the variety resulting from such alternations. The rhythmical variety lies in the use of different kinds of notes within the metrical construction ; here also belongs the difference in the points of entrance within the measure, for example, while the first theme enters on the first quarter-note, the second enters on the second quarter-note of the measure. This variety too is here attained with the simplest means, yet in a perfectly satisfactory manner. The young composer should aim at this variety also, but with the same moderation and gradual progression as here, as overloading in this respect renders a piece motley, incoherent and tedious.* 201. The structure of the foregoing model composition may be variously analyzed, from various standpoints. Thus, the piece con- sists, in duality, of 16 + 15 measures. in friality, of 16 + 8^- + 7 measures. in quaternity, of 8 + 8 + 8^ + 7 measures. 202. The first theme (principal subject) forms an 8-measure Thesis (large phrase, see Chap. VII), to which the intermediate group seems at first to afford the Antithesis ; instead of which, however, it modulates, with the first motive of the principal subject 238. * The opposite fault rhythmical sameness makes a piece stiff, clumsy and repulsive. FIRST PART OF THE SOXATIXA-FORM. 163 in four 2-measure sections into 6r-major by means of the Dominant- septimachord (measures 15 and 16) of that key. Herewith its dynamic effect is heightened by forte, its rhythm by the triplet-figure (measures 13 to 16). 203. The second theme (secondary subject) returns to the quieter movement in eighths and to piano. Its construction is that of an in- dependent tonic double-phrase (4 + 4) (Par. 40), approaching the period-form with imperfect authentic cadence in the Thesis (Par. 26). 204. The closing group has the form of a double-section (Par. 12), the Coda consists of four half-measures. 205. In the last three divisions the forms are abbreviated thus : 8, 4 and 2 measures ; as also their elements : 4 measures, 2 measures, half-measures. 206. The ruling key, from the Secondary Subject on, is the key of the DOMINANT. 207. The intermediate group is developed from a motive of the first theme, here by transposition (measures 11, 12), change of mode (measures 13, 14), and modulation (15, 16). This making the most of a part of a theme is called DEVELOPMENT, or THEMATIC WORK. It will be exhaustively treated in the proper place, in its connection with the so-called DEVELOPMENT-PORTION of the Sonata-form (Chap- ters XLVIII, XLIX). TWENTY-SECOND EXEECISE. Compose, according to the directions above given, first parts of SONATINAS IN MAJOR. [Take KcHLAu's Sonatina as model, though in respect to the length and construction of the separate groups it need not be followed absolutely. Thus, for example, the first Theme may be tonicaUy independent not a Thesis, and more frequent use may be made of overlapping (Chapter XIV). Former exercises may be utilized.] 164 THE SONATA-FOKM. CHAPTER XXXIV. FIRST PART OF THE SONATINA IN MINOR. 2O8. If the Sonatina is in MINOR, the Intermediate Group modu- lates into the parallel major key, which from the second theme up to the close is the ruling key. If, for instance, our model Sonatina (Fig. 237) were in c-minor, the Intermediate Group would have to lead into ^|?-major, thus: 239. Z ' n^ V-U <* :ac HEz r^=r^_^-F Second Theme. etc. 2O9. A very concise first part of the minor Sonatina is found in BEETHOVEN'S (/-minor Sonata, Op. 49, No. 1. As in KTJHLAU'S Sona- tina, so here the principal subject forms a Thesis with Half-cadence. i v 240. 4 Measures.- = ?^^ FIKST PART OF THE SONATINA IN MINOR. 165 The regularly beginning Antithesis is constructed as Intermediate &roup, and modulates (in the manner of a half-cadence) into the Dominant of the parallel key, 241. Measures 1, 2, 3. fp t a a m Entrance of 2d Theme. 1 I-H- -d-4- whereupon the second Theme (not without melodic affinity with the first) enters, is extended to over 9 measures, then repeats the last 5 measures, thus seeming disproportionately long, as against the first Theme. Second Theme. 242. -I *- The closing-group also borrows its matter from the second theme : bis. 243. ^=== =S=n ~g There is no 166 THE SONATA-FORM. It may also be said, however, that in the place of the closing-group the last 5 measures of the second theme are repeated (especially as these form an independent phrase), and that the 5 measures above designated as closing-group may be considered as Coda. The scheme of the construction will then be : Principal Subject: 8 measures (Thesis) Intermediate Group : 7 measures (Antithesis). Secondary Subject : 9 measures. Closing-Group : 5 (taken from the Secondary Subject). Coda: -~-5 (connecting with the Secondary Subject). So considered, the form is better adapted as a model for the young composer. TWENTY-THIRD EXERCISE. Compose first parts of Sonatinas in minor. CHAPTER XXXV. THIRD PART OF THE SONATINA IN MAJOR. 210. The third part of the Sonatina-form differs from the first in this, that all the groups are in one and the same the principal key ; otherwise, it is constructed just like the first part. Thus, from the second theme on, everything is to be transposed from the Dominant to the Tonic (either a Fourth higher or a Fifth lower, as the esthetic effect may require). 211. The Intermediate group here becomes a mere episode, no> modulation being now required. The KUHLATJ Sonatina (Fig. 237) retains this episode up to the modulation note for note, and then transposes the modulatory measures 15 and 16 into the Tonic : ft-f F-f f-i ^r- . . Second Theme. *w Jl -t . THIRD PART OF THE SONATINA IN MAJOR. 167 The Coda is usually, for the sake of a more decisive close, somewhat lengthened, in the KUHLAU Sonatina by two (7-major chords. 213. The third part is thus essentially repetition of the first, without modulation, hence it is also called EEPRISE, or Repetition. 214. There would be no impropriety in beginning work on a Sonatina or Sonata with the composition of the third part, subse- quently forming from this the first part by working over the episode between the two themes into a modulatory group. TWENTY-FOURTH EXERCISE. Compose the third part to the Sonatinas written for the twenty- second exercise. 215. The part which undergoes the most substantial alteration, even to the loss of an essential characteristic, is undoubtedly the Inter- mediate Group, in so far as it has in the first part the significance of modulatory episode, and as such appears at present superfluous. Nevertheless, it is generally retained, shorn of its modulatory charac- ter, or enriched by the interpolation of some opportune modulation, in order not to disturb the metrical proportion of the parts, which is on the whole more important for the form than the modulatory pro- portion. In the models thus far cited the Intermediate Group bor- rowed its matter from the principal subject, even appeared for the most part as its Antithesis. The Intermediate Group is, however, not unfrequently composed of new motives, especially when the principal subject is tonically independent, and consequently does not at once offer to the Intermediate Group a good starting-point. In this case its absence from the third part would rob the latter of an essential element of its make-up. 168 THE SONATA-FORM. CHAPTER XXXVI. THIRD PART OF THE SONATINA IN MINOR. 216. In minor, the third part holds strictly not only to the principal key, but also to the ruling mode. The second theme, and what follows it, undergoes therefore a much more substantial variation than in the Sonatina in major. For this reason the procedure men- tioned in Par. 214 that of composing the third part first would be still more advisable in the minor than in the major Sonatina, TWENTY-FIFTH EXEECISE. Compose third parts for the first parts of minor Sonatinas, trans- posing from the parallel to the tonic minor key. 217. In MOZART'S small e-minor Sonatina, whose principal sub- ject, tonically independent, is given in Fig. 49 a, the course of the third part is as follows: Intermediate Group : 8 measures. =feE^ 245. trr* -0 & m Violino simile. lFf=F THIRD PART OF THE SONATINA IN MINOR. 169 (This group is to be considered as perfectly independent, even though the motive with which it is entirely taken up, is drawn from the principal subject (Fig. 49 a, measures 3 and 4). Now follows in the prescribed principal key and minor mode the Secondary Subject, in which we again only hint at the imitation in the violin). Second Theme : 8 measures. 246. The Closing-group is quite short ; Ws _l|fL^*_ifL- _| - f-0-n - i - r^ ^ 4P - h*^ - ^ F* - r&* r - 247. it is followed by a Coda in e-minor, arpeggio, three measures. 218. In the first part of this Sonatina we find the Secondary Subject, Closing-group and Coda, according to rule, in the parallel key (r-major. But the Intermediate Group does not there modulate into the Dominant of Gf, but makes a half -close in e-minor, exactly as in the third part (Fig. 245). Doubtless the composer deemed the technically very easy modula- tion not in keeping with the subject-matter, esthetically inadmissible. He therefore interpolated in the first part between the minor side Principal Subject and Intermediate Group and the major side Secondary Subject and Close an episode of 10 measures : 170 THE SONATA-FORM. Additional Intermediate Group. Violin, j 248. *-|.B ^^~~ -f # M-H I J I \-& ^^ ==J^-J^J* ' (9-LeiE S=E which enters at once in (r-major (the brusqueness of this modulation seemed to comport with the character of the work), and at last form- ing a half-cadence on the Dominant of G, prepares the entrance of the second theme. But whence comes this interpolated episode ? The first measure is the contrary motion of the first measure of the principal subject, the subsequent motives are taken from the sixth measure of the same. This episode, which in the first part accomplishes what the preced- ing one cannot accomplish here, is wanting, accordingly, in the third part. But it is to be regarded in the first part as an anomaly, a reminiscence of the obsolete custom of once more alluding to the- principal theme previously to the second theme. But perhaps MOZART had here the last part finished first in his mind. 219. It sometimes occurs, and is not considered an irregularity, that in the third part the key is not changed, but only the mode, for example, in a piece in g-minor, in the third part the secondary subject, closing-group and Coda are put in (r-major. The close, too, may likewise be made in major, or it may be led back to minor. OMISSION OF THE MODULATION IN THE FIEST PABT. 171 CHAPTER XXXVII. OMISSION OF THE MODULATION IN THE FIRST PART. 22O. In major Sonatinas the modulation into the Dominant is often replaced by a half-cadence on the Dominant. Thus, for instance, in the (r-major Sonatina, Op. 49, BEETHOVEN closes in the Interme- diate Group with a tolerably broad half-cadence formula, followed immediately by the Secondary Subject in the key of the Dominant : bis 249. p Second Theme. *"T~-r _ -h=P--- ^^ 1^- ^- - ' t MOZART has something similar in the Z)-major Sonatina for four hands : simile. I V 250. L = ftf:fc_-^^L =1= ^J simile. ^ 172 THE SONATA-FOEM. 221. Even in larger Sonatas, which by reason of their dimensions and subject-matter are not to be classed among Sonatinas, this easy way of introducing the new key is occasionally found. In MOZART'S ZMnajor Sonata, for instance, which begins : 251. ' ' ? r-r ~ the second theme follows the Half-cadence in the same way : -^|g^ 252. Second Theme, A-major. . An advantage arising from this method is that in the third part of the Sonata the principal subject and intermediate group may be kept unchanged (of course not must}. TWENTY-SIXTH EXERCISE. Change in this way some previous compositions. SECOND PART OF THE SONATINA-FOBM. 173 CHAPTER XXXVIII. SECOND PART OF THE SONATINA-FORM. 223. Between the two parts of the Sonatina which have been thus far studied enters now a middle member, the SECOND PART. This second part either (a) is concerned, as Development-portion, with constituent elements of the first part, thus serves for thematic work ; or, (b) brings new matter, which, however, must not take on any complete or independent form, otherwise it would pass over to the Hondo-form ; or, finally, (c) it brings somewhat of thematic work and somewhat ol new matter. 224:. The length of the middle-group greatly varies. In some Sonatinas it is limited to few measures, occasionally merely forming a transitional passage into the repetition ; in others again it reaches nearly the length of the first part. As a general rule for the beginner, the middle-group should be shorter than the first part by about one- half, at the least, and about as long, at the most. TWENTY-SEVENTH EXERCISE. Add, accordingly, to the Sonatinas in major and minor hitherto composed, middle-groups (Development-portions, so-called), several to each. Combine the most successful of these exercises into complete Sona- tinas. 225. The middle-group of the Sonatina forms, together with the Reprise, the second part of the Sonatina, which second part is in many cases repeated. We will now study some model Sonatinas. 226. In BEETHOVEN'S 6r-major Sonatina, Op. 49, the Develop- ment-portion shows, against the 52 measures of the first part, fourteen measures. 174 THE SONATA-FORM. Thematic elaboration of the First Theme. 253. f p d-minor to a-minor. ., f a-minor to e-minor. Half-cad. Half-cadence formula on the Dominant of -minor. The first six measures are occupied with the first theme; what follows comprises formulas of but little moment, which serve no pur- pose but to lead back to the Reprise and to enhance, by their own insignificance, the importance of the principal subject which now re- enters. SECOND PART OF THE SONATINA-FORM. 175 227. In MOZART'S e-minor Sonatina (see Fig. 245), over against the 39 measures of the first and 29 of the third part, the second part shows 15 measures. The beginning finds its starting-point in the principal theme, the rest is free, likewise of formular character, but of greater significance. 254. * * 1 n calando. Transition. Reprise. a:I= ^zbeN 176 THE SOXATA-FORM. 228. Both Sonatinas therefore show, in the middle-group, at least thematic reminiscence, though independent construction pre- dominates. 229. In the Development-portion of BEETHOVEN'S ^r-minor So- natina, on the contrary, thematic treatment predominates. The very introduction, a modulation into ^i?-major, starts out from the second theme (see Fig. 242) : 255. Hereupon follows an entirely new episode of a 2 x 4-measure phrase, tonically rounded off in JS' 256. etc. The next eighteen measures, however, belong thematically to the second theme, which, itself, as we have seen (Par. 209), is in this composition thematically akin to the first theme. 23O. In our little model Sonatina by KUHLAU, on the contrary, the construction is perfectly free. Here the second part begins with the development of the new rhythmic motive r borrowing from the opening only the unimportant accompaniment- figure in the left hand into a four-measure phrase ; then in rhythmic variation r SECOND PAKT OF THE SOXATIXA-FOKM. 17? after four more measures a so-called deceptive cadence * in .ib-major, which leads to a half-cadence on the dominant (major) of c-minor, thence in commonplace scale-passages, etc., to the Eeprise. These passages may, of course, be regarded as thematically akin to the closing- group and Coda of the first part, if indeed anything so commonplace and insignificant can lay claim to thematic character. This insigni- ficance, commonplaceness and formularity of the elaborations, far from being a reproach to the compositions here cited, which are all perfect models of their kind, are essential characteristics of the Sonatina, in which the development-portion should not have a detrimental effect upon the repetition of the themes in the Reprise. The whole develop- ment is here in a certain sense a Cadenza on the septimachord leading from the dominant to the tonic, and thus the dominant harmony counterpoises the entirely tonic character of the Reprise. * This term for a progression of the Dominant Triad or Septimachord to an- other chord than the expected Tonic harmony, is, as LOBE justly observes, inap- propriate, seeing that the unexpected chord may be a dissonance, in which case there is, of course, no Cadence in the proper sense, nor even a resolution of the Dominant harmony. In the interests of a more exact musical terminology I vent- ure to make this proposition : Let the progression of the Dominant harmony (a) to that of the Tonic be called its principal resolution; (b) to any other major or minor Triad, a secondary resolution ; and (c) to any dissonance, an unexpected progression, or something similar, the important word being " progression," as distinguished from " resolution." 178 THE SONATA-FORM. B. THE SONATA. 231. By enlargement of the parts, and consequently of the whole, from the Sonatina arises the SONATA. The proportion between the parts remains the same, in respect as well of modulation as of dimen- sions and metrical structure in general. The GRAND SONATA, too, is nothing more than a Sonata, of unusually great dimensions. CHAPTER XXXIX. ENLARGEMENT OF THE PRINCIPAL SUBJECT. (a) BY REPETITION. 232. If the principal subject is of considerable significance, espe- cially of energetic rhythmical construction, it may be repeated, the close of the repetition forming at the same time the starting-point for what follows. For example : Allegro con brio. 257. This noted theme from BEETHOVEN'S Sonata (pathetique) Op. 13, is adapted for a repetition, on account of the forcible contrast between its two parts, and it requires this repetition because, in the quick tempo prescribed, once is not enough to make the proper impression. But in repeating it makes a half-cadence, and this is the starting-point for the intermediate group or link-episode. ENLARGEMENT OF THE PRINCIPAL SUBJECT. 179 258. ffiS ! 0- m In the .Z?|?-major Sonata, Op. 31, the principal subject is repeated an Octave higher, each time with a complete close in the tonic. (b) BY ADDITION. 233. The principal subject may be enlarged also by the addition of another group, forming, so to speak, an af terlude, coda or refrain to the first, a favorite form with MOZART. In the JS'^-major Symphony of this master the principal subject forms the following 14 + 14^ measure period, here given, for saving room, in the most meagre melodic abridgment : 259. ^ tFVT t4- ' ^rt-J: -zr -+ MOZAKT. On the final measure (lacking here) of this tender subject now enters a fiery forte, after the manner of "Tutti," of 18 measures, 180 THE SONATA-FORM. 260. I v Jg i and on the last chord of which the intermediate group (modulatorj episode) begins. The 8 measures, too, which in the Pathetic Sonata follow the repe- tition of the principal subject, may be considered as added to the latter as a kind of cadence-formula (organ-point ending with a half- cadence), so that in this case we have both repetition and addition. It is certain that in the e$-minor Sonata (Op. 27), in the Finale, the organ-point on the Dominant 261. = j H-JE^ jr * ^ -* J t= ^* ^ J* |= =;ciiz=iz^ = == T (^ " ' * ~ s ENLARGEMENT OF THE PRINCIPAL SUBJECT. 181 which also is substantially a lengthened half-cadence, is to be regarded as an addition to the principal subject.* Allegro. (Interpolated Imitation, see Fig. 70.) Second Subject. Coda. MOZAKT. 234. The above example from MOZART is, esthetically, essentially distinguished from the examples first cited by the circumstance that the second theme is followed by a more delicate echo, which seems to -die away entirely in the Coda. The smaller form of the parts implies the proportionate shortness of the whole. By a kind of Prelude, BEETHOVEN enlarges the theme of the great .Sb-major Sonata, Op. 106 (which see). (c) BY PERIOD-FORMATION. 235. The Period, being a complete musical thought, is for this reason not so well adapted to be a member of a group forming a Sonata. For the most part the principal subject constitutes only the TJiesis of a period, to which is joined instead of the Antithesis and with its motives the intermediate group ;* thus the latter, instead of closing periodically with the Thesis, reaches over into the sphere of another key. * We have here an example of those original and energetic cadence-formulas which BEETHOVEN substituted for the trivial, common-property cadences in use before his time. 182 THE SONATA-FORM. 236. Nevertheless we have above already had an example from MOZART, in which a long period united with another thought to form a principal subject. There are also extended periods which alone occupy the entire space of the principal subject. We give here two examples, one from BEETHOVEN with consider- ably shortened, one from MOZART with considerably lengthened Anti- thesis, both in the most meagre melodic abridgment only, leaving the filling up to the student's memory. First Theme. 4x2 measures, quadruple section. 263. Second Theme. 2x2+2x1 + 2. Close of Thesis. Antithesis. 2 x (2x2) +4x1. The thought closing in the 8th measure, and consisting of four dimeters (forming a quadruple section, see Par. 13), is here followed by a second thought, without any thematic relationship to the first, but forming esthetically a most decided contrast to it, and ending with a half-cadence ; thus we have a 16-measure Thesis. The Anti- thesis, which at least suggests the motive of the first Thesis, consists of only 2x4 measures (double phrase), but is extended by a small Coda to 13 measures. This Coda is immediately followed by the intermediate group. 2.37. We have here, moreover, an excellent example of the large Hirer-part period (Chapter VIII), which, like the example from MOZART (Fig. 57), has two Theses. ENLARGEMENT OF THE PRINCIPAL SUBJECT. Thesis. ^ . 183 264. I ^ v~ m - E5=S Viola. simile. 3 i" 7 ] i j * ~h~ Antithesis. J J ? * ' ^~^*- ,- ^ ^+- Violino.^- ~^ Here we see the very first four measures ending with a half-cadence, which seems to characterize them as Thesis of a period. The con- tinuation, however, does not take period-shape, but again makes a half-cadence (by means of the augmented Sextachord). Esthetically, too, the character cf Antithesis is wanting, on account of the rhythm pressing forward as it does, although the motives thus rhythmically enlivened are those of the first Thesis. It is now that the Antithesis proper begins, which embraces sixteen measures as against eight of 184 THE SONATA-FORM. the Thesis. The enlargement is effected through the agency of the motive fa], which is four times repeated and leads to a thematically free close. 238. By means of the shortening and lengthening of the Anti- thesis, as illustrated in the foregoing examples, the period loses that independent, complete-in-itself character which is repugnant to the Sonata-form. 239. In the c-minor Symphony BEETHOVEN constructs, after a 5-measure Introduction, an extended Thesis of 16 measures. To this corresponds after 3 measures of introduction an Antithesis of 20 measures. The enlargement by 4 measures is made out of the motive of the Thesis : 265. which in the Antithesis is transformed and developed in the following manner : 266 Beginning of the Intermediate Group. This principal subject thus exhibits a large period, embracing not counting the 8 measures of introduction 36 measures. The close of this period is, however, by means of the division and the im- petuous forward movement of the motives, rhythmically so constructed that the period does not seem to end, but to incessantly press onward. The greet f art in the Sonata-form is, in fact, to avoid CADENCES by means of tlie rhythmical construction. 24O. There are, of course, other ways of extending the principal subject. To find these in the works of the masters, and to imitate them, will be easy to the young composer who has carefully attended to the foregoing explanations. TWENTY-EIGHTH EXEECISE. Compose, accord iiifi fo the -methods here explained, enlarged principal jiuljert* of tl t >< Snnata-fnrm up to the entrance of the Intermediate Group. Fur tliis purj'0! f f * d- pv i 1 p ^-'fr- , \ etc. 252. Still more notable is the episode interpolated, in the KREUTZER Sonata, between the second theme and the closing-group, which once more goes through the whole modulation. In the former case it is admissible to regard the new episode as a quite special kind of Thesis of the closing-group ; in the latter case the assumption of a special kind of Antithesis to the second theme, instead of a second episode, is conceivable. 200 THE SONATA-FORM. CHAPTER XLII. THE CLOSING-GROUP. 253. Esthetically, the closing-group has, as a rule, somewhat of the character of the principal subject, especially when the latter was of a rather lively figuration. Its dimensions are such as to pretty nearly sustain the equilibrium in the duality (Par. 195) of the first part of the Sonata-form. 254. Technically, the character of the closing-group is on the whole that of a prolonged cadence-formula on a melodic motive. The closing-group is sometimes repeated, sometimes composed of several different motives. The model for this part of the Sonata-form is the closing-group of BEETHOVEN'S fjf-minor Sonata. It follows immediately after the second theme and is climacterically repeated. 282. 5 5 a a ii* * \ H ^ =tfe=** Repeated with longer Close. 3E The closing-group in MOZART'S ^-minor Symphony is composite, and shows three divisions : THE CLOSING GROUP. 201 J. A ^-l,f rf-r 5> ' V 1- V 1 - I/ 1 Third. ^ Coda follows. 255. Sometimes the closing-group seems to be only a Coda to the secondary subject, as in BEETHOVEN'S e-minor Sonata. 284. *f , t-l- ^p dim. PP 202 THE SONATA-FOBM. CHAPTER XLIII. THE CODA. 256. The Coda, already known to us as fifth part of the Sonatina- form, is sometimes limited in the Sonata-form also to a few chords, yet it occasionally has also larger dimensions, and even is composite. A model, for clear separation of the parts and normal structure of them, is here again the cjjl-minor Sonata, in which the closing-group given in Fig. 282 is followed by this thought as Coda (Construction : 2x2 + 2x1): 285. ^ _^_ g An example of a Coda consisting of two different parts is found in MOZART'S .F-major Sonata (Fig. 262) : 286. THE CODA. 20S -* f- Here are some examples of usual construction BEETHOVEN. C-MINOB STMPHONT. 287. 5TX= w% : .*. * : * ^ : IF :^P==Pf=5=Rfc5q==^P=H =t= MOZART. (/-MINOR SYMPHONY. 288. ^t 204 THE SONATA-FORM. BEETHOVEN'S e-minor Sonata, Op. 90, has only two chords as Coda, they follow what is given in Fig. 284. Exceptionally (very rarely) the Coda is altogether wanting. CHAPTER XLIV. THE CONNECTING LINK. 257. In the Sonatina we have seen, that for leading into the repe- tition or continuation a connecting link follows mediately or imme- diately the close of the first part (see Fig. 237). The necessity for such a link arises from the relation of the close to the repetition (or, as the case may be, to the continuation into the second part). Thus MOZART in the e-minor Sonata (Fig. 54) utilizes for both purposes the figure borrowed from the principal subject : 289. i* [The first time repetition follows, the 3d time development.] To the Coda in the Finale of the eft-minor Sonata (Fig. 285) BEETHOVEN appends the following link : 290. The Repetition here begins. This way of constructing the connecting link, viz: out of motives of the principal subject, is, especially with BEETHOVEN and his suc- cessors, very frequent, almost the usual practice. THE CONNECTING LINK. 205 In the e-minor Sonata for piano and violin MOZAKT uses as connecting-link even a Canon formed from the principal theme : Played in Octaves. 291. m IS (See Fig. 87 a J which, in the third part, is thus repeated in the principal key : ^-^m-r ' ff 292. THIRTY-FIRST EXERCISE. Complete the Sonata movements already begun by adding closing- group and Coda; also, as may be required, connecting-linTc for the repetition. [By means of the exercises of this Part the student must have composed many first part of the Sonata-form. We now proceed to the easy work of con structing the tliird part (Reprise).] 306 THE SONATA-FORM. CHAPTER XLV. THIRD PART OF THE SONATA-FORM. 258. The third part is formed from the first by avoiding the change of key. The process of construction is just as in the case of the Sonatina. The groups maintain on the whole the same dimen- sions, though abbreviations and extensions in particular cases are, of course, not excluded. 259. On account of the omission of the modulation the interme- diate group between the first and the second theme may, strictly speaking, be dispensed with, as indeed is sometimes done in the Reprise. Thus, for instance, the c^-minor Sonata in the third part closes the principal subject exactly as in the first, viz: on a half- cadence with organ-point and pause ; but then skipping the inter- mediate group at once enters upon the secondary subject, 293- after which everything follows the regular course. In the f7-minor Sonata, Op. 31, also, in the third part, the inter- mediate group of the first part is altogether wanting; it had, however, in the development-portion (second part), or rather as development, already been repeated entire. 26O. As a rule, on the other hand, the intermediate group is retained by the great masters of the Sonata-form, and often exploited for thematic work, and then sometimes even enlarged. MOZART, in his later works, is fond of treatment of this kind, as, for instance, in the g-miuor Symphony, where the characteristic motive of the intermediate group [ a | - 294. THIRD PART OF THE SONATA-FORM. 207 m (See Fig. 279.) is in an interesting manner harmonically and contrapuntally developed, and, as against the first part, lengthened by 21 measures. In the cele- brated Finale, fugued in quadruple counterpoint, of the great (7-major Symphony, he uses this place for an equally interesting Stretto through the circle of Fourths. 295. Ccunterpointed with two other motives. fl6 208 THE SONATA-FOKM. bo a g <-! O c/2 C 55 O fl PH >, a _ ! o i~i 13 w "a s o '^ 'is -^ H ,0 eg ^ a 3 % o o o> ^3 -C ^ si O O ^03 O O nj ?H . I y ) rt o ^ -G o bo ^ 2 O ^ i--< -u 22 o> 55 w ^PrS O TI 4lllk B. (: fl %%L. bw-i iL... ^ ^ M & 5 j ; o CQ !i- ^ 41 441J PH > S T1 1H > I P il_L ff] '"-r" K.=' a c M^__IS^ MODULATORY LICENSE. 209 This procedure is recommended to the young composer also. He should retain the intermediate group, judiciously enlarging and enriching it. THIBTY-SECOND EXEECISE. Compose, accordingly, the third part of Sonatas already written. CHAPTER XLVI. MODULATORY LICENSE. 261. In Sonatas in minor whose second theme, with the subse- quent closing-group and Coda, will not bear transposition into the minor mode, the major mode of the principal key is substituted. This modulatory license is found in many compositions by HAYDN, but a striking example of it is seen in BEETHOVEN'S c-minor Symphony. Here the second theme 297. , . I j I I fe j-ih-j^fcc*: !fc^=H^5g i J JJ 4 5|| I r r would not allow transposition into minor, as it would thereby entirely lose its character ; it therefore now appears in the major mode of the principal key C: 298. etc. 210 THE SONATA-FORM. in which the closing-group also then follows, whose triumphant fiery character is likewise repugnant to the minor mode : That the movement, notwithstanding, closes in minor, will be accounted for farther on (see Par. 283). CHAPTER XLVII. MODIFICATIONS OF PARTICULAR GROUPS IN THE THIRD PART. A. MODIFICATIONS OF THE PBINCIPAL THEME. 262. In the ^-minor Sonata BEETHOVEN shortens the first theme by the greater part of its figurate matter, while he lengthens it by two Largo-recitatives : 300. Largo. ^^^^^ 1 It? 'i* i Allegro. MODIFICATIONS OF PARTICULAR GROUPS. 211 Adagio. Largo. :q^dfc3 d&bfag pp w :p=:r t ^^ He then, with a few measures of modulation, $5- * " I - etc. passes on, omitting the intermediate group, to the second theme, which now appears in d-minor. ~ "*" 302. " " ?- etc. afc-tat 212 THE SONATA-FORM. In the Pathetic Sonata he forms from the second part of the first theme a modulatory group, 303. ^F^ Tfi^rg 11 ^ JH :=z i- \^ i ^^ l>^ | ^. q, eimile sempre. etc. HTTII58Z 2~i& m which here takes the place of the intermediate group of the first part. B. MODIFICATIONS OF THE INTERMEDIATE GROUP. 263. The Intermediate Group is sometimes itself transposed, in order to remain unaltered. Thus, for instance, in the first movement of MOZART'S .Z^-major Symphony, the first theme is led in the third part to a close in the Subdominant, in order that the unaltered inter- mediate group may close in the Tonic. (Tonic to Subdominant^ equivalent to Dominant to Tonic). C. MODIFICATIONS OF THE SECONDARY SUBJECT. 264. The Secondary Subject appears, in the Pathetic Sonata, at first in the key of the Subdominant, and not till thirteen measures later in that of the Tonic. 304. f *f THE DEVELOPMENT-PORTION. 213 IA/IJ 1 9 L J f f : j Jt . nr . | ,_ ^ -fi b ^ 1 1 h *f .,' etc. aESI fr u*~ : fctb i * ^ ^... ^ : , . We observe, in passing, that this theme in the first part does not enter in the (regular) major key Eb, but in the liomonymic minor ken e[?, and makes only its dose in major. D. MODIFICATIONS OF CLOSING-GROUP AND CODA. 265. The Closing-group and Coda are, for the sake of a more decided close, often modified by an extension, which is sometimes shorter, sometimes longer, and exceptionally attains the proportions of a quite new and comprehensive part of the close. Illustrations of this are found in BEETHOVEN'S "Eroica" and Ninth Symphonies. CHAPTER XLVIII. THE DEVELOPMENT-PORTION. 266. The development-portion of the large Sonata should occupy itself exclusively, or almost exclusively, with the themes and motives of the first part ; where it does not, its contents are not up to the requirements of the large Sonata-form, and this form loses somewhat of its importance. 267. In the master-pieces of MOZART and HAYDN the develop- 214 THE SONATA-FORM. ment is for the most part considerably shorter than the two other parts, say about half as long, while in BEETHOVEN'S works it attains to the dimensions of the other parts, sometimes even is longer. This is explained by the fact that BEETHOVEN'S genius found its greatest resource in THEMATIC WORK, whilst the two masters first named occu- pied themselves more with the technical construction of the whole. THEMATIC WORK. 268. The expression " thematic work " embraces everything that can possibly be made out of a theme, by harmonization, figuration, variation, counterpoint, instrumentation, in the broadest sense of each of these terms. 269. In the works of the classical masters of our instrumental music the employment of counterpoint * is limited, as a rule, to imi- tation, the fugue and the canon being only exceptionally introduced.! Thus MOZART, in the " Magic Flute " overture, and BEETHOVEN, in the overture "The Consecration of the House," touch upon the fugue-form ; the latter composer, in the c-minor Sonata for violin and piano, upon the canon. The finale of MOZART'S great C-major Symphony is based even on a quadruple counterpoint, and BEETHO- VEN'S Symphonies and other instrumental works exhibit small canons. Yet these are, in proportion to the majority of the works, only excep- tions ; exceptions which show how far thematic work can go in this direction when it is requisite, and how completely the composer should be equipped for every emergency. CHAPTER XLIX. THEMATIC WORK IN THE DEVELOPMENT-PORTION. 27O. In the development-portion the thematic work must be clone according to system, not capriciously springing from one thought to another without any method. * Excepting, of course, in those works which are professedly written in contra- puntal style throughout, such as independent fugues, canons, etc., with which we are here not directly concerned. * In BKKTHOVEX'S .1 -major Sonata the whole development-portion takes the form of a fugue, whose subject is drawn from the first theme. THEMATIC WORK IN THE DEVELOPMENT-PORTION. 215 271. The special difficulty of the development is that it begins modulating in the key in which it has to end, viz. : that of the Domi- nant. To obviate this difficulty and gain room for the modulation, the masters occasionally open the development-portion with a modula- tion into a remote key. MOZART, in the first movement of the C^-major Symphony, modulates directly into J^b-major, and that in unisono: 805. and, in the #-minor Symphony, with a few chords from .Sjj-major (parallel key) into /JJ-minor : 306. ,. , r--^-T--r - -- - - BEETHOVEN, in the Z)-major Sonata, Op. 10, begins the develop- ment in ,6|?-major : 307. g= T i2s= 3 =^=j=ri_j_j zr MENDELSSOHN, in the -minor Symphony, introduces the second part (development) in a manner as original as it is charming, by letting the tonic of c-minor, with which the first part ends, remain, and the horns sound against it the major Fifth c g%, with doubling in the Octave. 308. __xi - *^-. T W. ^_jl^q z=3E^ :^Jzl3^_lr 216 THE SONATA-FORM. If this e were tonic of E-major, the entrance of the eft-minor Triad would be quite commonplace and without effect. 272. The principal rides for the development are these: One should not take up a motive, not knowing what to do with it ; nor should a motive be given up till it has been thoroughly exploited. A motive, once abandoned, should not be resumed, unless, by means of contrast or climax, with greatly heightened effect. 273. In the modulation there should be order, not purposeless wandering from one key to another ; especially, pains should be taken to avoid the key of the Dominant (of the principal key) before the end of the development. The close of the development is preemi- nently suitable for an organ-point on the Dominant. 274. The syntax (so to speak) of the development-portion should be according to strict form, as in the other parts ; here, however, the smaller forms predominate, and their construction is quite independent of any tonic, this being the place for free modulation. 275. A sequence-like repetition of smaller groups may easily appear trifling or pedantic (of course, however, much depends on the kind of sequence *). 276. On the other hand, the repetition of large and very artistic- ally elaborated groups, in another key, perhaps also with slight variations, is of decided advantage to the development-portion, as promoting the greater clearness of its form. Examples are found in BEETHOVEX'S great Symphonies, especially in the first movement of the Ninth. 277. There is no symphonic movement which illustrates the exploitation of the elements of the Sonata-form in a more succinct and striking manner than does the first movement of the c-minor Symphony. Of the motives of the first part the following are em- ployed in it for development: the chief motive: 309. the thcmaticallv allied motive: * In WAGNER'S works are harmonic sequences which are surely anything but dry and pedantic. THEMATIC WORK IN THE DEVELOPMENT-PORTION. 217 the first half of the same : the enlargement of the chief motive : fit- a- the 2d and 3d measures of the same : lastly, this abbreviation of the chief motive. The following is the scheme of the development: motive a forms the introduction (measures 1 4) and double-phrase in /-minor (5 13); motive b appears twice (13 18); motive c modulates (18 21) from /-minor into the (major) dominant of -minor, with the counterpoint here a half-cadence formula (22 25), then to the dominant of ^-minor (25 29) ; half-cadence formula (30 33) ; then, in direct and contrary motion of (/-minor. Here, (34 44) to the diminished septimachord on chief motive a enlarged: -j7 f~*~ i *~~Ti*'~r~r~r twice (44 51) ; the same motive in its original rhythm, once (51 52); ditto, abbreviated (motive f), twice (53 55); motive d alternat- ing with f (5568); motive f (6871); motive e (7285); ditto, with modification of pitch (86103); motive d (104108); motive e, as merely alternation of two half-notes (109 116); motive a, partly entire, partly shortened (116 124), leads into the introduction (124 128) ; at measure 129 the Reprise begins. 218 THE SONATA-FORM. 278. MOZART, in the (7-major Symphony, No. 1, introduces the development with the unisono change to ^(?-major given in Fig. 305, and repeats the closing-group in this key. To the last motive of the closing-group, 310. he appends a modulation, transferring the motive from the flute and bassoon to the violins; then, alternating between first and second violins and basses together with viola, leads, with the contrasting rhythms into (/-minor. Here he constructs a two-voiced free canon between violins and basses upon the first half of the motive, with temporary modification of it : again closes in ^r-minor, and in the last measure brings in the length- ened closiug-motive > as it appeared at first : L_=^ I i L_^MMM^HL L^^^^0tf*T__U.OJ_L_r_. i_j ^_ ^^^^^^^1 Mi L m i I this is followed by an imitation of the last measure, forming a half- cadence on the major Dominant of a-minor. This dominant is changed, by the progression of the lower voices, into the dominant of f-mnjor : IV-.-f^ - the secondary subject 312. i&J^Tff^S^ r dolce e molto ligato. r ft J2. * etc. and the closing-group 313. etc. are in Z7-major, whilst the Coda modulates from a-minor 1? ^-minor : 222 THE SONATA-FORM. 314. it i+r r -M-H='= *-\-?- ' -s- -V- 1 AV W- -t- =*-- -p -D _ 1 . , 1 ^v Repeated an Octave lower. fe^ * J^- 1 u. ' 9 ? -i_^_ W- -i- ^ 1 =w= i In the Grand Sonata in J9|? (Fig. 104), Op. 106, and the Trio in Bk, Op. 97 (Fig. 8), the modulation is into 6r-major, which key rules in the first part from the second theme on. In the c-minor Sonata, Op. Ill, J.i?-major, parallel of the Subdominant, takes the place of .E'tJ-major, the parallel; so, too, in the Ninth Symphony, B\>-ma,jor takes the place of .P-major. The eight other Symphonies of this master are regular as regards modulation. Of BEETHOVEN'S earlier works the (7-major string-quintet, Op. 29, shows the modulation to .4 -major with close in -minor; the 6r-major Sonata, Op. 31, the modulation to 5-major, 5-minor. In the .#t?-major quartet, Op. 127, the modulation is to ), leads into the tonic Triad of B P, in which the antithesis now enters. 316. EfcEEEfcE =8r(f Hff4^F=*j h*jk j^^ Antithesis. etc. The course of this technically important secondary subject in the Eeprise confirms the explanation given ; it is here represented in me- lodic abridgment, for the sake of comparison : 317. 224 THE SONATA-FORM. >= i />cr *^~ m=f=^ ^ The Closing-group, also considerably extended, here follows. REMARK. Here the second theme has in a certain sense attracted to itself the intermediate group (which otherwise belongs to the first theme), and made it its Thesis (just as the intermediate group gener- ally enters as Antithesis of the first theme). The dimensions also correspond to this view of the case, as the division of the first part by two (duality, see Par. 195), falls upon the half-cadence which brings in the new key. 283. We have seen (Par. 261) that minor Sonatas often have, in the third part, the second theme and what belongs to it in the major mode of the principal key. If, however, the character of the first theme (in minor) strongly predominates, it must be restored, together with the original minor mode, by means of a Coda, so that the close of the movement may be in unity with the rest. Such a Coda is, in view of its purpose, of course too important to be despatched in a few notes ; rather, it takes the form of a new part. It is thus to take a THE SONATA-FORM AS A WHOLE. 225 striking example in BEETHOVEN'S c-minor Symphony (1st move- ment), in which, after a perfect close in (7-major a modulation is made into c-minor, and a close is formed whose dimensions are equal to those of any other part of the movement. B. CHANGE OF PLACE OF THE GROUPS. 284. Occasionally the principal subject appears once more at the end of the whole movement, that is, when it seems to have a very special interest. But it frequently exchanges its appointed place at the beginning of the Reprise for a place at the close of the latter; as, for instance, in MOZART'S D-major Sonata Allegro. 318. *- *- -* -f- * ^. A 4B. JLJL*.+.*.*.JL4L U ^^-^ ^MM h^^j ^_ ___ b^^d u in which the lively figuration of the development would act injuriously on the principal subject if following too closely, since the latter also is of a lively tigurated character. 285. In BEETHOVEN'S ^-minor Sonata the intermediate group of the first part is taken up into the development, of which it constitutes the essential elements. Hence this intermediate group is altogether lacking in the Reprise. C. INTRODUCTION AND FINAL CODA. 286. Not unfrequently the Allegro of the Sonata is preceded by a slow Introduction, an Adagio, a Largo, Lento, etc., as, for example, MOZART'S .E^-major Symphony, BEETHOVEN'S Pathetic Sonata, and many other works. ' This introduction sometimes influences the Sonata, which borrows motives from it. In MOZART'S ^t? Symphony the figure (in sixteenths) of the intermediate group 319. 226 THE SONATA-FORM. is borrowed from the introductory Adagio; in the Pathetic Sonata the Allegro is repeatedly interrupted by the Grave of the introduc- tion, and this place in the development 320 can be traced back to the motive (in the introduction), which motive, again, is formed from the first measure of the intro duction : 321. G-rave. = * 4 . -* : * - etc. 287. That the Coda, at the repetition, is often somewhat length- ened, we already know (Par. 212). This lengthening, however, some- times reaches the dimensions of a large thematically elaborated closing- group, especially in BEETHOVEN'S compositions. 288. A moderately lengthened Coda is found in MOZART'S g- minor Symphony. In BEETHOVEN'S eft-minor Sonata, on the other hand, the Coda has almost the dimensions of the Reprise itself, draw- ing its material from the first and second themes and the coda-group, and working it up with great power and brilliancy. In the c-minor Symphony we have already seen (Par. 261) the second theme in the repetition closing in the major mode of the principal key, and followed by an extended thematic Coda in r-minor, which ends the movement in this key. Xearly all of BEETHOVEN'S Symphonies, also many of THE SONATA-FORM AS A WHOLE. 227 his Sonatas, quartets and other compositions, show this extension of the Coda, proving how rich this master was in resources of thematic development and climax. REMARK. The occurrence of different Tempi within the Sonata- form is illustrated in BEETHOVEN'S rf-minor Sonata, whose principal theme has two tempi. In a Duo-sonata in 6'-major by MOZART the principal theme is in Adagio, 322. T^j. r ryrf-'-^p^z etc. the secondary theme in Allegro, 323. 289. D. THE THEMATIC WORK is extended also to other parts of the Sonata-form than the inter- mediate group, the coda, the development, and the final coda, in which we have hitherto found it. In the Sonata appassionata, Op. 57, BEETHOVEN constructs the second theme out of the first by free contrary motion of the chief motive : First Theme. 324. etc. Second Theme. LISZT, in the J-minor Sonata, dedicated to ROBERT SCHUMANN. forms the secondary theme 228 THE SONATA-FORM. 325. -J L J w J w t^ by the augmentation of the motive marked a, of the principal theme : Allegro energteo. 326. ==K=5 t=t . . . -y ^- , L S^- 1 -- -^ T~| -^- H5BSEiB =*>=; s~ft g ^^t=- ^r r -F 452- -te. Ss^ 3^ H S MODIFICATION OF THE SONATA-FORM IN THE FINALE. 229 In the c-minor Symphony the chief -motive I accompanies all the transformations of the movement. 290. Still, the second theme, as being destined to form the greatest thematic contrast of the Sonata-form, is least frequently the place for thematic reminiscence. This is very usual, on the other hand, in the closing -group. We have already seen an instance in MO- ZART'S ^-minor Symphony, in which thematic work occupies part of the closing-group (Fig. 283). In the often-cited ^r-minor Quintet of this master the closing-group consists of the thematic motive and a cadence-formula. The subsequent Coda and connecting-link are also thematic. 291. Thematic relationship of all the parts by means of rhythmic similarity is often met with ; as, for example, in the Finale of BEET- HOVEN'S e?-minor Sonata, and in many other works of different com- posers. CHAPTER LI. MODIFICATION OF THE SONATA-FORM IN THE FINALE. 292. The Finale, as closing-group of a large work, generally emphasizes from the outset this terminal character by a more decisive manner of closing the several groups of the form. Thus, the first four measures of the Finale of BEETHOVEN'S c-minor Symphony I \M 1 ^^ T 327. of themselves form as it were a closing-group. So the first theme ends, after a much lengthened half-cadence, with a powerful close on the Tonic : 230 THE SONATA-FORM. 328. The intermediate group, also, which immediately follows the abov& with a new motive, 329. and reaches the key of the reciprocal dominant (see Par. 241, c) by means of a half-cadence, subsequently makes in this key, very percep- tibly to the ear, though in livelier rhythm, a perfect cadence and tran- sition to the second theme : Half-cadence on the Reciprocal Dominant. 330. m . " * * > =!=i=it =^=4^= f ff (The Middle Voices to be filled in.) MODIFICATION OF THE SONATA-FORM IN THE FINALE. 231 a. Becipr. Dom. Second Theme. 4f*^ ^^^^ The second theme, too, leads with a very decided cadence into the closing-group, 331. which latter, on tYs part, in its 9th and 10th measures comes to a per- fect tonic close in its key (the Dominant), but on its repetition leads, without cadence, back to the beginning, and the second time to the development. On account of the exceeding clearness of its construction this movement belongs, together with the Finale of the cjf-minor Sonata, among the very best models for the young composer. We will observe here, that the -4- meter introduced in the development is a reminis- cence of the Scherzo, an episode of the form. 293. It is not unusual, however, for the principal theme of the Finale to have primary form, preferably the small form ; as, for example, in MOZART'S ^-minor Symphony (Fig. 40 b). The first move- ment also exceptionally has small primary form, as in MOZART'S f-minor Sonata for pianoforte and violin, whose theme is given in Fig. 87, a. FOURTH PART. THE HIGHER RONDO-FORMS CONCLUSION OF THE WORK. 294. The HIGHER RONDO-FORMS presuppose knowledge and practice of the Sonata-form, they being combinations of this form with the primary form. CHAPTER LIT. THE FOURTH RONDO-FORM. 295. The FOURTH RONDO-FORM has for its principal subject a group in two-part or three-part (preferably tfwo-part) primary form. This is followed, as in the Sonata, by an episode (intermediate group), mostly short, modulating into the key of, and introducing, the sec- ondary subject. At the close of the secondary subject, closing-group and coda being omitted, follows an episode which leads back to the principal key, and in it repeats the first theme. Here the first part ends in the principal key. Now follows in another key (parallel, subdominant, mediant, ho- monymic) a primary form group, as second part, thus taking the place of the development in the Sonata. At the close of this primary form group again enters the episode leading into the principal key. and with it the Reprise, i. e., repetition of the first part without modulation, as in the Sonata-form. (The second theme, therefore, appears in the principal key.} As the omission of modulation renders another repetition of the first theme T1IE FOURTH HONDO-FORM. 233 hazardous, the latter is either abridged or its place supplied by a thematically allied free coda. THIBTY-FOUKTH EXEECISE. Compose, according to these directions and the following examples, some Rondos of the fourth form, as far as possible utilizing previous compositions. 296. The Finale of the Afc-major /Sonata is one of the most not- able examples of this kind. The whole movement is in almost contin- uous motion of sixteenths (interrupted only by short rests) from the beginning. The first theme Allegro. BEETHOVEN. 332. consists of a large period in A i?-major, in which is a transient modula- tion. This period is strictly logically formed by the contraposition and junction of the first and second members of the thesis. Their junction is effected, in fact, after the manner of double counterpoint "in the inversion," the upper voice 333. becoming the lower voice : 334. 234 THE HIGHER RONDO-FORMS. A short episode (4 measures) leads, with the principal motive of the first theme, into the reciprocal dominant, -6^-major, which at once be- comes the dominant septimachord of the key of i^-major, in which the second theme now enters : 335. Secondary Subject. __^ rh"h ^^rrt* 1 : This embraces over 16 measures, and is followed by a transitional passage leading back to the first theme 336. r Theme. fc?T-|j ^t *--- T^= etc. which i? repeated entire. Its close is immediately followed by a middle group in the key of the mediant THE FIFTH RONDO-FORM. 235 337. the first part being repeated. The second part, however, contains no complete phrase, but is composed of four dimeters, by which it mod- ulates into the dominant of ^b-major, thence back to the principal theme. In the Kondo of BEETHOVEN'S (7-major Sonata, Op. 2, the form is more amply developed. CHAPTER LIII. THE FIFTH RONDO-FORM. 297. The FIFTH RONDO-FORM is substantially a Sonata, in which the place of the development is taken by a large primary form group. 298. At the close of the first part, however, in many Rondos of this form, the principal theme is repeated in the principal key ; in which case a modulation into this key is, of course, necessary. But just as frequently, instead of the repetition in the principal key, is found a Coda in the second key, formed from motives of the first theme. The difference between this and the preceding form is this, that the Rondo of the fourth form restricts the Sonata construction to two themes, but always repeats the first theme ; the Rondo of the fifth form, on the contrary, includes every part of the Sonata, but does not always repeat the first theme at the end of the first part. 299. FIRST PART. The principal theme of the fifth Rondo-form is constructed like that of the Sonata, but may have primary form also. The episode (intermediate group) is constructed exactly as in the Sonata, being either thematically reminiscent of the first theme, or independent. The second theme is subject to the same rule of modulation as in the Sonata. 236 THE HIGHER RONDO-FORMS. Of the closing-group precisely the same is to be said. The coda either recapitulates the first theme by thematic reminis- cence, or forms the connecting-link for the repetition of the first theme in the original key. Sometimes the coda is lacking. The repetition of the first theme, when it occurs, is generally in an abridgment. 300. SECOND PART. Now follows, in place of the development, the primary form group specially characteristic of the form, its key- relationship being the same as in the fourth Rondo-form. Not un- frequently this is followed by a bit of actual development, or at least by some kind of thematic work, leading into the 301. THIRD PART, repetition of the first part, without modula- tion. 302. In the composite large Sonatas these Rondo-forms are found only as closing-groups, and have as such the tendency to a more de- cided manner of bringing their periods, etc., to a close (see Par. 292). THIRTY-FIFTH EXERCISE. Compose, according to these directions and the following examples, Rondos of the fifth form, again preferably utilizing material already on hand. 3O3. The fifth Rondo-form is exemplified with unusual clearness in BEETHOVEN'S Sonata, No. 1, last movement, which accordingly fur- nishes the best model of this form. The first part comes to a close in Sonata-fashion, ending with a reminiscence of the principal theme. 338. THE FIFTH KONDO-FOKM. 237 The dominant septimachord of Alt-major, sounded three times 339. mm suffices to introduce the theme so conclusive for the Rondo-form : 340. sempre piano e dolce. ? , , f -? ? . . ? f f r ) F 1 F ) * - :=!=-! I I 3= B- ^Q etc. This theme makes in the fifty-first measure a close in . Its construction is: I? TJ T> n ^ Tonic ffroup, complete in itself 10 measures. r IRST ir ART. -> . ( Repetition with variations of tone-quality, etc 10 Middle group (2x4) S Antithesis S " Middle group and Antithesis repeated as Second Part Par. 49) 15 Total 51 measures. 238 THE HIGHER KONDO-FOKMS. We have here, then, small three-part primary form, or strictly speaking, in view of the formal structure of the groups, three-part period-form (see Chapter VIII), omitting the repetitions, of 10 + 8 + 8 measures. In the last measure now begins a development with the first motive i of the principal subject, leading back in 29 measures to the latter.* 4- 341. PP tJT :*- etc. 3O4. The Hondo of the -E'b-major Sonata, Op. 7, also belongs to this form. It constructs its second theme with the motive : the closing-group with : etc. sf tr. After the closing-group the principal theme re-enters: First period: Thesis, Antithesis (Fig. 26 b) ; Second period : Thesis, and instead of Antithesis transition into c-minor, 344. , _ ___ _ _ * But for the song-group in Ab (Fig. 340) this whole movement would per- fectly correspond to the finale of the Sonata-form. THE SLOW TEMPO. 239 in which key a three-part primary form follows with all its repetitions, then by means of a Coda leads back into the Reprise. The attention of the young composer is here called to the Rondo of the Pathetic Sonata also, which is likewise of the fifth form. CHAPTER LIV. THE SLOW TEMPO. 305. Thus far the exercises for the Sonata-form and the related large Rondo-forms implied quick tempo exclusively. Yet these forms may be applied in slow tempo also. The fifth Rondo-form might seem, on account of its wealth of material, to make an exception, yet that part of it which is in Sonata-form may be reduced to the dimensions of the Sonatina, when it will not be too extended for a slow tempo. 306. An example of the fifth Rondo-form in slow time is the cele- brated Largo e mesto of BEETHOVEN'S D-major Sonata, Op. 10. The first part is constructed in Sonatina-form : Principal Theme. 345. (Ends in the 9th measure.) 346. Intermediate Group. i y*^ ' ^^' i __iz~ gi^^E=;i^|^-:g:-g^E ^jjjj^. (Ends, after 8 measures, in C-major. 240 THE HIGHER RONDO-FORMS. Second Theme, a-minor. 347. (Ends, after 9 measures, In a minor.) _ Closing Group. 348. etc. (has 4 measures and closes the first part without Coda.) but the middle group 349. ^ (Has 14 measures.) etc. THE SLOW TEMPO. 241 instead of carrying out the primary form, introduces a new motive : 350. f p 1^=7: t i i 4444 4_ modulates with it into the dominant of the principal key, and from thence returns to the first theme. Such freedom of abbreviation re- quires, of course, a slow tempo. The third part presents, after the regular termination of the Re- prise, the closing-group being omitted, a magnificent thematically fig- urated elaboration of the principal motive (Fig. 345), leading, with the figure pf of the middle group, to the close. This thematic & work may be regarded either as repetition, after the Rondo manner, of the principal theme, or as Coda in the sense of Paragraphs 287, 288. To the close is attached a Coda of very impressive character, the- matically reminiscent of the motive | a | in Fig. 345. 307. Sonata-form (or, as the case may be, Sonatina-form) is found in the slow movements of our classical composers very often. But in consideration of the tempo they almost always reduce the development portion to a minimum, or do away with it entirely, satisfying the need of thematic work by the variations of the principal theme. 308. A Sonata-movement hi slow tempo loithout development is illustrated by the Adagio molto of BEETHOVEN'S c-minor Sonata, Op. '10. 351. After the regular close of the first part in .E^-major, a single septi- macbord suffices to lead into the regularly closing Reprise : 243 THE HIGHER RONDO-FORMS. ZZZI 1 \ 9 , =^Z 352. 3O9. In the rf-minor Sonata, Op. 31, is found the same form. The intermediate group begins thus : 4 J etc. and makes the regular close on the reciprocal dominant, (7-major. Here the second theme enters in the key of the dominant, .F-major, 354 and constitutes a two-part period of the third form (Par. 37, 38). This is followed closing-group and coda being omitted by a con- necting-link of four measures leading to the Reprise, in which every- thing takes its regular course, but the principal theme is raried by a lively figuration in thirty-second notes. Compare here, also, the Andante of MOZART'S .F-major Sonata, whose principal subject is given in Fig. 262. 31O. Sonata-form with short development is shown in the Adagio affettnoso cd appassionato of BEETHOVEX'S J^-major string-quartet, Op. IS. THE SLOW TEMPO. 243 311. On the other hand, the Adagio molto e mesto of BEETHOVEN'S grand .F-major quartet, Op. 59, exhibits sonata-form with large devel- opment. The principal theme, whose thesis here follows (in the anti- thesis the melody is taken by the 'cello), has large- period-form. p sotto wee. 355. a s=. -H i j-hj- -* * morendo. etc. The intermediate group takes its cue from the last motive of the theme, 356. FfeZiEz in four measures reaches the reciprocal dominant, r-major, makes in three measures a half -cadence on it twice, and a transition to c-minor; in which the second theme now enters in the 'cello. 244 THE HIGHER RONDO-FORMS. Violoncello. r if -rVr- - ttpr. After thirteen measures this theme makes a preparation of the close, thus: 358. f ^ f p -+ etc. but here is constructed a closing formula so significant and peculiar that it may be regarded as special closing-group, even though its be- ginning coincides with the formation of the secondary subject : 359. (repeated with slightly varied figuration.) Whether the subsequent five measures are to be reckoned in the closing- group, or regarded, entirely or partly, as Coda, is immaterial. But now begins the development, which has 38 measures against 45 of the first part, and is occupied first with the second theme, then with the first, and finally with the closing-group. From the latter is developed a thought in Z)J2-major ^foUo cantabile of great tenderness, forming as it were an episode of the Sonata-form, such as often occurs in the development, viz: THE SLOW TEMPO. 245 nwlto cantabile. 360. EEe _j T Motive of the Closing-group. B area. - The 'cello now continues, leading with the first motive through the circle of Fifths .Db-major, ylb-major, el?-minor, Jb-minor, /-minor, C-major to the dominant of the principal key, when the closing for- mula is repeated and transition is made into the Reprise. This latter takes the regular course. At its close, however, enters (as not seldom happens in the slow movement in Sonata-form) a repetition of the principal theme (which repetition was omitted at the beginning of the Reprise). This repetition leads to a very elaborate figurated cadenza, which introdaces the next movement of the quartet (Theme Russe, Allegro.) 312. Another very noteworthy instance of the application of the Sonata-form in the slow movement is the Andante of MOZART'S great C-major symphony, which movement shows, not only in its totality, but also in all its separate parts, an extremely interesting metrical construction. The principal subject ends in the eleventh measure, and in the same measure begins to repeat itself (see Paragraph 232), forming a thesis of 8 measures with half-cadence on the dominant the (7-major Triad, indicated by the numeral V in the following figure. Hereupon abruptly enters, in the key of c-minor, a theme which must be regarded as episode (intermediate group) ; 246 THE HIGHER RONDO-FORMS. 361. _ i---- < '- *. 1 1 i. s= it makes, after eight measures of bold and striking harmony, a half- cadence on the reciprocal dominant (6r-major) of the key of the move- ment (/"-major). This is followed by the second theme, of 12^, meas- ures, in the key of the Dominant, to which a closing-group of 4 measures succeeds. There is no Coda, but a figure for the first violin serves as a transition, the first time into the repetition, the second time into the development : 362. == z^gz^BEJB-^Ffr- r- The scheme of the movement is continued as follows. The interme- diate group or link-episode is lengthened to the extent of 14 measures. The principal theme is thematically elaborated with the figurated motive in 32d-notes, which accompanied its repetition in the first part This motive i? worked up to a fiery ff, which leads, with a reminis- cence of the intermediate group, THE COMPOSITE LAEGE SONATA. 247 363. now not into the principal subject, but into the secondary one, which latter thus begins here the third part of the Sonata-form. After this everything follows regularly, but after the closing-group comes the repetition omitted above of the principal theme. A Coda of 3 measures brings the whole to an end. THIETY-SIXTH EXERCISE. Compose a slow movement in Sonata-form or higher Rondo-form. CHAPTER LV. THE COMPOSITE LARGE SONATA. 313. A composite piece of music for the pianoforte, or for the pianoforte and a single solo instrument, is generally called Sonata when its first movement has Sonata-form. A composition in the same form for orchestra is called SYMPHONY, for a union of string-instru- ments, etc., QUARTET, QUINTET, etc. Accordingly, RAFF'S (/-minor Suite, Op. 162, might also be named Sonata, as its first movement is in that form, though with modern modifications. 314. The key of a Sonata is determined by the first movement, not by the introduction, if it have one ; the KEEUTZER-Sonata, therefore, is in a-minor. In many Sonatas (Symphonies, Quartets) in minor the Finale is in the major mode of the same key, instances of which are BEETHOVEN'S e-minor Symphony, (/-minor (ninth) Symphony. 315. An Adagio, even of large dimensions, but leading directly into the Allegro, is regarded not as a separate movement, but as introduction to the Allegro, which latter ranks as first movement. Such an Adagio precedes, for example, the often-quoted e-minor Sona- tina by MOZART (see Fig. 49 a), 248 THE HIGHER RONDO-FORMS. Adagio. 364 and after more than 38 measures in large three-part primary form makes a half-cadence and leads into the Allegro, which is in Sonatina- form. Every one is familiar with the Grave which introduces the Pathetic Sonata and frequently interrupts the Allegro. The first move- ment of the -4 -major Symphony, too, is preceded by an Adagio of considerable dimensions ; 365. Jbco sostenuto. ^ OD %jr J j J Clarinet. ^ , j^, , J^ F^ 1 U.TI r . ^ i >^ ^ \ * * *& * n i I* ) ^ i I-P -> ? 1 r- - * 1 ^- I * \ f fP f [-Jt r f (9 1 = -*H "-*- ' ' ' ^- etc _ r a 9 : EfflS __t . . -^ = E iff-tzid * A" tt 2 i T P and the same is to be said of MOZART'S J^b-major Symphony and of many of HAYDN'S Symphonies. The introduction to BEETHOVEN'S great (7-major quartet is well known. 316. Sonatas of but one movement, in Sonata-form, occur, but very rarely. 317. Sonatas of two movements are of frequent occurrence. An instance with large introduction is MOZART'S e-minor Sonatina already so often quoted, in which the Sonata-form movement is followed by a Rondo of the third form, properly a Minuet with two Trios. RONDO. Tempo di Memtetto. A m 366. l^ 3ipj^i=^^^^^ etc. THE COMPOSITE LARGE SONATA. FmsT Two. Second Theme. 249 SECOND TBIO. Third Theme. Violin, 8ve. higher. ff"* -* -*- -4-\ * The same master's (Duo-) Sonata, Xo. 4, in (r-major, also consists of two movements, the second being a theme with variations. 318. Sonatas of two movements without introduction are, e. g., MOZART'S other e-minor (Duo-) Sonata (see Fig. 31, b), HAYDN'S $-minor piano-sonata, 367. with Minuet in c|f-minor, ^-major. By BEETHOVEN, for instance, the Sonatinas, Op. 49, the Sonatas, Op. 54, Op. 101 (JS'-major) ; the great (7-major Sonata, Op. 53, also has only two movements, for the Adagio inserted between Sonata and Rondo is to be regarded .as merely the introduction to the latter. 319. Most Sonatas have three movements, among them the most noted, as the Pathetic, the eft-minor, the Appassionata. In the eft- minor Sonata the last movement only has Sonata-form, the first move- ment belongs to no special form, for which reason BEETHOVEN has inscribed this Sonata as "quasi una fantasia" 320. The perfect LARGE SONATA-FORM, as found in most of HAYDN'S and MOZART'S Symphonies (in all the later ones), in all of BEETHOVEN'S Symphonies, in the large string-quartets and quintets 250 THE HIGHEE RONDO-FORMS. and kindred species of instrumental music, consists of four move- ments, viz.: an Allegro, with or without introduction ; a slotv movement ; a Minuet or Scherzo ; and a Finale, Allegro. 321. By way of exception the 2d and 3d movements change places, e. g., in the Ninth Symphony and the 2?b-major Sonata, Op. 106, for the reason that the great dimensions and the thematic character of the first movements require the contrast which is thus afforded. The place of the slow movement is sometimes taken by an Allegretto as in BEETHOVEN'S ^b-major Sonata, Op. 31, in his 7th and 8th Symphonies. On the other hand, the Minuet in the 8th Symphony is slow, in the graceful and ceremonious movement originally characteristic of this dance. Exceptions like these result from, and are justifiable only by, exceptional conditions. To introduce them from mere caprice would be to betray ignorance of the essence of formal construction, and a desire to help one's self out by recourse to what is unessential and external. That movements are sometimes joined with others which happen to be already written a procedure which, generally, of course excludes logical unity, is neither to be denied nor to be absolutely condemned. Such combinations have at least the unity of the author's individuality, which is by no means to be undervalued. 322. There are exceptional cases of the Sonata (so called) with- out a single movement in Sonata-form, as, for instance, BEETHOVEN'S Jib-major Sonata, Op. 26, which consists of Variations, Scherzo, Funeral March and Rondo. THIRTY-SEVENTH EXERCISE. Combine movements already composed into Sonatas, with a view to subsequent filling up. OTHEB APPLICATIONS OF THE LtfSTKUMENTAL FOKMS. 251 CHAPTER LVI. OTHER APPLICATIONS OF THE INSTRUMENTAL FORMS. 323. The great masters of our classical instrumental music and their contemporaries and followers were so familiar with the principal form of that kind of music the Sonata-form that they brought into view its characteristic qualities in their larger vocal compositions also. Here the given text, by its logical and psychological import, of course set limits to their purely musical inclination. Yet we find those characteristic qualities not only in the Masses of HAYDN and MOZART, but also in the domain of the Opera. The 5l?-major aria of Ottavio in "Don Giovanni" ("il mio tesoro intanto") has the structure of the Sonatina, as also the entrance-aria of Elvira (in the same opera), marked as a trio on account of the little episodes of Don Giovanni and Leporello : 368. Ah ! cbi mi di - ce ma - i Elvira's second grand aria, o oc\ u y i v, r t ^ Mi tra - di quell' alma in - gra - ta, is a Rondo of the first form ; Pizarro's aria in "Fidelio" has Sonata- form. But especially the outset of the Sonata-form (from the prin- cipal theme to the entrance of the secondary one) is found in nu- merous accompanied vocal compositions (even ensemble pieces) which involve a dramatic scene. 324. That the Overtures of our classical masters belong almost exclusively to the Sonata-form may at this point be assumed as already 252 THE HIGHER HONDO-FORMS. known. Also the Allegro of WAGNER'S "Tannhauser" Overture (which is constructed from motives of the Venusberg scene) belongs to this form, which in a certain sense is extended to a Rondo of the fifth form by the middle group in 6r-major : Clarinet. tr. Eight Violins, jfcfr 369. MEYERBEER'S Overture to " Struensee," in its construction strongly suggestive of BEETHOVEN'S " Egmont " Overture, has also Sonata- forin. The great composers of the French and Italian opera, BOIELDIEU, AUBER, ROSSINI, BELLINI, etc., likewise avail themselves of this form, in the sharp outlines of the several divisions relatively to each other. The Overtures of GLUCK, who nourished before the development of the instrumental forms, do not, indeed, exhibit the sharply defined Sonata-form, though they give unmistakable indications of it. 325. The tendency of the opera in our time, however, has led through inner necessity to the substitution of the Prelude (Vorspiel) in place of the Overture. No finer example of the operatic Prelude can be had than the introduction to WAGNER'S "Lohengrin." MAX BRUCH'S Prelude to his " Loreley " is also worthy of note in this con- nection. We have followed up and practised form-structure, from the sim- plest combination of but two measures, in the so-called Section or Dimeter, to the splendid art-fabric of the grand Sonata and its kindred OTHER APPLICATIONS OF THE INSTRUMENTAL FORMS. 253 forms. Iii so doing we have seen spread out before us an almost inex- haustible wealth of material. Here, therefore, as in the other branches of musical construction, in order to attain to finished art-creations such as we have had repeated occasion to contemplate, over and above natural talent the most thorough practical knowledge is requisite, since this alone will enable us, in the midst of this enibarras de richesses, to lay hold of that which alone can be esthetically (artistically) the right thing, on every occasion, without fear of error. APPENDIX, THE STROPHE. FOLLOWING an analogy of music to poetry, some modern writers on musical subjects have applied the term STROPHE to certain groups varying in extent, whose construction does not strictly fall under any of the regular forms. Thus, the celebrated editor of pianoforte liter- ature, the late DR. THEODORE KTJLLAK, in his Instructive Edition of CHOPIX'S Works,* distinguishes in some of the Nocturnes "larger divisions, which are related to each other, not like chief and secondary subjects, for example, but rather like the Strophes of a poem ; for while they are indeed specifically different in point of contents, they serve nevertheless to express one and the same fundamental mood," etc., etc. Of the Nocturne in 5-major, Op. 9, No. 3, he says that in its chief subject " three special parts may be distinguished, which in a cer- tain sense form its Strophes. These Strophes are indeed different, but not essentially unlike, in point of contents, and they constantly alter- nate with each other," etc. He divides the chief subject thus : 1st Part or Strophe measures 1 12. 2d " " 1330. 1st " " (repeated) " 2132. 2d " (repeated) " 3340. 3d " " " 4156. 2d (repeated) " 5764 3d " " (repeated) " 65 SO. 2d " " (repeated) " 81 87. Of the Nocturne in Z^-major. Op. 27, No. 2, DR. KULLAK says that it "divides best into Strophes, for it does not develop into groups of parallel subjects, in the strict sense. Even the bass moves from begin- * Edited in English by Albert E. Parsons ; G. Schirmer, publisher. APPENDIX. 255 ning to end in homogeneous figures. I have assumed eight Strophes, which afford variety of shading, without offering essentially new con- tents. The chief Strophes are the 1st, lid and Vlllth." His division into Strophes is the following : Strophe I measures 2 9. II " 1013. " III (transposed repetition of II) " 14 25. " IV (repetition of 1) " 26 33. V (transposed repetition of II) " 34 45. " VI (repetition of I). " 4653. " VII (repetition of II) " 5362. " VIII (real Coda of the piece) " 62 Fina The Nocturne in .5-major, Op. 32, No. 1, is thus divided : Strophe I measures 1 8. Interlude " 8 12. Strophe I (repeated) " 1320. Strophe II " 2130. Interlude " 31 41. Strophe II (repeated) " 4251. Interlude " 5261. Coda " 62 Fine. EUDOLPH WESTPHAL, in his " Allgemeine Theorie der Musikali- schen Rhythmik," applies the word Strophe, in a composite sense, to a somewhat large sub-division of a composition. The first 48 measures of the first movement (Allegro) of BEETHOVEN'S Sonata, No. 1 (/-minor), for instance, form, according to him, a composite Strophe, made of nine simple Strophes, thus : 1st Strophe measures 1 8. 2d " " 816. 3d " " 1618. 4th " " 1820. 5th " " 2025. 6th " " 2630. 7th " " 3136. 8th " " 3741. 9th " 4148. The same author divides the whole of the Adagio Cantdbile of BEETHOVEN'S Pathetic Sonata into two composite Strophes, according to the following scheme : 256 APPENDIX. STROPHE I. 1st Simple Strophe, two 4-measure Periods,* measures 1 8. 2d " " Repetition (varied) " 916. 3d " " 5 -measure Period " 17 23. 4th " " Periods " 2428. 5th " " Repetition of 1st Strophe " 2936. STROPHE H. 6th Simple Strophe, two 4-measure Periods measures 37 44. 7th " " 6-measure Period " 45 50. 8th " " Repetition of 1st Strophe " 5158. 9th " " Repetition of 2d Strophe " 5966. 10th " " (Coda) " 66 Fine. * On the ground that it is a perversion, based on misconception, of the ancient Greek rhythmical theory, which he holds to be the only correct one even for modern music, WESTPHAL rejects the commonly received doctrine, first formu- lated by ANTOINE REICHA (1770 1836), with regard to the structure of the mu- sical Period. INDEX. FIGURES REFER TO PARAGRAPHS, IN THE ABSENCE OF OTHER INDICATIONS. A. ABBREVIATION of large three part pri- mary form, 72, seqq. of large two-part do., 78. of small three-part do. , 79. of small two-part do. , 80. ADAGIO, introductory to Allegro of So- nata, 315. ADDITION to principal subject of So- nata, 233. ALLEGRETTO of 7th Symphony, as model of 2d Rondo-form, 175. ALLEGRO of the Tannhiiuser Overture, 324. ANACRUSIS, 3. ANDANTE of BEETHOVEN'S Sonaia, Op. 7, 181. of the 5th Symphony, as model of 1st Rondo-form, 171. ANTITHESIS, 20. ARSIS, 1. ARTICULATION of a metrical part, 122. AUGMENTATION, rhythmical, 114. BALLAD, 188. BOLERO, 157. BOURREE, 157. B. C. CADENCE, 15. deceptive, Note, p. 177. C^SURA, 2. CLOSING-GROUP, 253, seqq CODA, 61. COINCIDENCE of initial and final meas- ure, 81. COMPOSITE PHRASE, 16. COMPOSITE LARGE SONATA, 313, seqq. COMPOSITIONS IN SLOW TEMPO, 163. in QUICK TEMPO, 164. CONNECTING LINK, 257. CONTRAPUNTAL TREATMENT of motive, 120. CORRESPONDENCE of musical phrase- ology with text, 189. COUNTERPOINT in the Sonata-form, 120, 269. D. DANCE-FORMS, obsolete, 157. idealized, ibid. DECEPTIVE CADENCE, Note, p. 177. DECLAMATION, in song composition, 186. DEVELOPMENT, 207. rules for, 272, seqq. in the Sonata in slow tempo, 307. extended, 311. omission of, exemplified, 308, 309. shortened, 310. DEVELOPMENT-PORTION, 266, seqq. DIMETER, 3, 6. DOMINANT OF THE DOMINANT, 241 c. DOUBLE PERIOD, 36. DOUBLE PHRASE, 22, 44. DOUBLE SECTION, 12. DOUBLE THESIS, 41. DUALITY IN THE SONATA-FORM, 195. E. EIGHT-MEASURE PHRASE, 39. as part of a Period, 41. independent, 40. EXCEPTIONAL PERIOD-FORMS, 28. ETUDE. 130. EXTENSION of large two-part primary form, 68, seqq. 258 INDEX. EXTENSION of small do., 61, seqq. of large 3-part do., 71. of small do., 65. EXTENSIONS external to the form, 90, seqq. F. FESTIVAL MARCH, 144, seqq. FINALE of BEETHOVEN'S .412-major So- nata as model of 4th Rondo- form, 296. of BEETHOVEN'S Sonata, No. 1, as model of 5th Rondo-form, 303. of BEETHOVEN'S Grand Sonata in C-major, as model of 3d Rondo-form, 179. of the Sonata-form, character of, 291. FUNERAL MARCH, 153. BEETHOVEN'S in afe-minor, modu- lation in, 94, seqq. form of, 96, seqq., 154. CHOPIN'S in ftr-minor, 158. G. GALOP, 137. GAVOTTE, 157. GRAND SONATA, 193, 231. GROUP, 191. GROUPS in the Sonata-form, 194. GROUPINGS of measures, irregular, 83, seqq. H. HALF-CADENCE, Remark to 15. replacing modulation in the Sonata form, 220, 241 t>. HARMONIZATION, modern, 100. HOMONYMIC KEY, 173. I. IMPROMPTU, CHOPIN'S, in ^l?-major, 164. INDEPENDENT PHRASE, 17, 40. INFLEXION, in song-composition, 187. INTERMEDIATE GROUP, in the Sonata, 194, 215, 241. INTERVAL-CONTRACTION, 112. INTERVAL-EXPANSION, 111. K. KEY of Sonata, how determined, 314. KUHT.AU'S Sonatina in (7- major, as model of Sonatina-form, 199. LARGE PHRASE, 39. LARGE SONATA-FORM, perfect, 320. LARGE THREE-PART PERIOD, 46, 47. LARGE THREE-PART PRIMARY FORM, 56, seqq. LARGE TWO-PART PERIOD, 41, 42. LARGE TWO-PART PRIMARY FORM, 54, seqq. LARGO APPASSIONATO, BEETHOVEN'S Sonata, Op. 2, as illustrating the 1st Rondo-form, 170. LICENSES in the Sonata-form, 279. LICENSE as to the place of the The- matic work, 289. of adding an Introduction, 286. of lengthening the Coda, 287. of modulation, 280. of modulation in the Sonata in minor, 283. of transposing the groups, 284. LIED, Note, p. 149. LIED-FORM (song-form), 31. LINK-EPISODE, 194. M. MARCH, 143, 158. MENDELSSOHN'S in " Midsummer- night's Dream," 147, seqq. MOZART'S, "alia Turca," 158. MOZART'S in "Nozze di Figaro," 145. WAGNER'S, in " Tannhauser," 147. seqq. MAZURKA, 157. MEASURE, 1. MEASURES, how to count the, 3, 82. MELODIC CONJUNCTION, 11. MEMBERS OF MOTIVES, 104, 123. METER, 1, 7. MIDDLE PHRASE, 29. MILITARY MARCH, 136, 143. MINUET, 159. MODIFICATIONS, in the Sonata-form, oi the Closing-group and Coda, 265. of the Intermediate group, 263. of the principal Theme, 262. of the Secondary Subject, 264. MODULATION-GROUP, in the Sonata. Note. p. 158. MODULATION, unusual, 93, 100. MONOMETER, 3, 4, 5. INDEX. 259 MOTIVE, 2, 101, seqq. MOVEMENTS of a Sonata, 319. exceptional transposition of, 321. O. ORGAN-POINT, in BEETHOVEN'S off-minor Sonata, Fig. 261. OVERLAPPING of measures, 81. OVERTURE, 324. P. PENTAMETER, 3, 87. PERIOD, 19, seqq. double, 36. exceptional forms of the, 28. large three-part, 46, 47. large two-part, 41, 42. first form of, 24. second form of, 25. - third form of, 26. fourth form of, 27. of three phrases, 29. PERIOD-FORM in the Sonata, 235, seqq. PHRASE, 8, 14, 15, 16, 17. - double, 22, 44. independent, 17, 40. POLKA, 134, 135. POLKA-MAZJRKA, 138, 139. POLONAISE (POLACCA), 143, 155, 157. PRELUDE (VORSPIEL), 325. PRIMARY FORM (LIED-FORM), 31. large three-part, 56, Seqq. large two-part, 54, seqq. small three-part, 48, seqq. Q. QUADRILLE, 143, 156. QUADRUPLE SECTION, 13. QUARTET, 313. BEETHOVEN'S in C-major, Fig. 268. do. in J^ major, Adagio of, Fig. 355. principal subject of, Fig. 267. QUATERNITY in the Sonata-form, 197. QUICK TEMPO, compositions in, 164. Rondo form in, 172. QUINTET, 313. R. RECIPROCAL DOMINANT, 241 c. REPETITION, immediate, of the prin- cipal subject of the Sonata, 1st move- ment, 232. REPETITION in the Sonata-form, 213. REPETITIONS of the text, in a song, 185. REPRISE, in the Sonata-form, 213. RETROGRADE INVERSION, 118, 119. RHYTHM, 2. RONDO-FORM, easily confounded with simple primary form, Remark, p. 139. RONDO-FORMS, classification of, 167, 168. compared with the primary forms, 165, 166. RONDO OF THE FIRST FORM, close of, 169. episodes of, i&. theme of, ib. illustrated in BEETHOVEN'S Largo appassionato, 170. in the Andante of the 5th Sym- phony, 171. in quick tempo, 172. RONDO OF THE FIRST QUASI SECOND FORM, or of the SECOND QUASI FIRST, 180. exemplified in the Andante of BEETHOVEN'S J^b-major Sonata, Op. 7, 181. RONDO OF THE SECOND FORM, illustrat- ed in the Allegretto of BEETHOVEN'S 7th Symphony, 175. RONDO OF THE THIRD FORM, in MO- ZART'S small Eh Sonata, 178. illustrated in the Finale of BEET- HOVEN'S Grand Sonata in (7-major, 179. RONDO OF THE FOURTH FORM, exem- plified in BEETHOVEN'S A K-major So- nata, Finale, 296. RONDO OF THE FIFTH FORM, exem- plified in BEETHOVEN'S Sonata No. 1. Finale, 303. in slow tempo, exemplified in BEET- HOVEN'S .D-major Sonata, 306. S. SARABAND, 157. SCHERZO, 159, 160. BEETHOVEN'F.in the 7th Symphony, 161 ; in the 5th Symphony, 162. SECTION, 8, 9, 10. SEQUENCE, 109, 126. SIMPLE PHRASE, 16. SlXTEEN-MEASURE PERIOD, 41, 42. 260 INDEX. SLOW TEMPO, Sonata-form in, exem- plified in BEETHOVEN'S D-major So- nata, 306. in the e-minor Sonata, 308. in the .F-major quartet, 310. in MOZART'S (/-major Symphony, 312. SMALL THREE-PART PRIMARY FORM, 48, seqq. SMALL TWO-PART PRIMARY FORM, 31. 1st form of, 33. 2d form (in major), 34. 2d form (in minor), 35. - 3d form, 37. SOCIETY-DANCE, 133. SOXATA, 190, 313. BEETHOVEN'S in a minor (KREUT- ZER), Fig. 269. key of, how determined, 314. of one movement, 316. of two movements, 317, 318. so-called, without Sonata-form, 322. BEETHOVEN'S in ^-minor, as model of the minor Sonatina, 1st part, 209. SONATA-FORM, 190, seqq. as applied in the classical over- tures, 324. the perfect large, 320. SONATA-FORMS, how classified. 193. SONATINA, 193. in minor, 1st part, 209. BEETHOVEN'S in Cr-major, 2d part, 22G. do. in .(/-minor, 2d part, 229. MOZART'S in e-minor, 2d part, 227. SONATINA, MOZART'S, in e-minor, 3d part, 217. SONG, VOCAL, origin of, 182. composed throughout, 188. composed strophically, 188. SONG-GROUP (Intermediate Group) in the Sonata-form, 194. SONG-FORM (primary form), 31. STROPHE, p. 254. STUDY (ETUDE), 130. SYMPHONY, 313. T. TARANTELLA, 157. TETRAMETER, 3, 12, 14 THEMATIC WORK, 207, 268, 270. as illustrated in BEETHOVEN'S 5th Symphony, 277. and in MOZART'S C major Sym- phony, 278. THEME OF RONDO-FORM, 169. how repeated, ib. THEME WITH VARIATIONS, 129. THESIS, 1, 20. TRIALITY in the Sonata-form, 196. TRIMETER, 3, 84. V. VOCAL COMPOSITIONS IN SONATA-FORM, 323. VOCAL SONG, 182, seqq. VORSPIEL (PRELUDE), 335. W. WALTZ, 140, aeqq., 157. This book is DUE on the last date stamped below. REO'D Ml PCD 1 S 1069^1 4 1 1971 231971 ?EC'D NOV191970 NOV C 1 3 1970 jfflr m 1 itw/i MAR 2 : - 1971 MAR 2 01971 !973 IB 1 6 1976 EB 6 nnr\5 IWJS-UB DEC 1 3 QUA 10 APR 61981 Form L9-39, 050-8, '65 (F6234s8)4939 LIBKAt UC SOUTHERN REGIONAL LIBRARY FACILITY A 000 431 328 4 MT 58 B9(