Produced by Al Haines
LESSONS IN MUSIC FORM
A MANUAL OF ANALYSIS
OF ALL THE STRUCTURAL FACTORS AND DESIGNS
EMPLOYED IN MUSICAL COMPOSITION
BY
PERCY GOETSCHIUS, MUS. DOC.
(Royal Württemberg Professor)
AUTHOR OF
THE MATERIAL USED IN MUSICAL COMPOSITION, THE THEORY AND PRACTICE OF
TONE-RELATIONS, THE HOMOPHONIC FORMS OF MUSICAL COMPOSITION, MODELS OF
THE PRINCIPAL MUSIC FORMS, EXERCISES IN MELODY WRITING, APPLIED
COUNTERPOINT, ETC.
$1.50
BOSTON
OLIVER DITSON COMPANY
New York -------- Chicago
CHAS. H. DITSON & CO. -------- LYON & HEALY
COPYRIGHT. MCMIV, BY OLIVER DITSON COMPANY
MADE IN U. S. A.
[Transcriber's note: This book contains a few page references,
e.g., "...on page 122". In such cases the target page number has been
formatted between curly braces, e.g. "{122}", and inserted into this
e-text in a location matching that page's physical location in the
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FOREWORD.
The present manual treats of the structural designs of musical
composition, not of the styles or species of music. Read our AFTERWORD.
It undertakes the thorough explanation of each design or form, from the
smallest to the largest; and such comparison as serves to demonstrate
the principle of natural evolution, in the operation of which the
entire system originates.
This explanation--be it well understood--is conducted solely with a
view to the _Analysis_ of musical works, and is not calculated to
prepare the student for the application of form in practical
composition. For the exhaustive exposition of the technical apparatus,
the student must be referred to my "Homophonic Forms."
The present aim is to enable the student to recognize and trace the
mental process of the composer in executing his task; to define each
factor of the structural design, and its relation to every other factor
and to the whole; to determine thus the synthetic meaning of the work,
and thereby to increase not only his own appreciation, interest, and
enjoyment of the very real beauties of good music, but also his power
to _interpret_, intelligently and adequately, the works that engage his
attention.
* * * * * *
The choice of classic literature to which most frequent reference is
made, and which the student is therefore expected to procure before
beginning his lessons, includes:--
The Songs Without Words of Mendelssohn; the _Jugend Album_, Op. 68, of
Schumann; the pianoforte sonatas of Mozart (Peters edition); the
pianoforte sonatas of Beethoven.
Besides these, incidental reference is made to the symphonies of
Beethoven, the sonatas of Schubert, the mazurkas of Chopin, and other
pianoforte compositions of Mendelssohn, Beethoven, Chopin, and Brahms.
PERCY GOETSCHIUS.
BOSTON, MASS., Sept., 1904.
TABLE OF CONTENTS.
CHAPTER I.--INTRODUCTION.
THE NECESSITY OF FORM IN MUSIC
THE EVIDENCES OF FORM IN MUSIC
UNITY AND VARIETY
CHAPTER II.--FUNDAMENTAL DETAILS.
TIME
TEMPO
BEATS
MEASURES
RHYTHM
MELODY
CHAPTER III.--FIGURE AND MOTIVE.
THE MELODIC FIGURE
DEFINING THE FIGURES
THE MELODIC MOTIVE, OR PHRASE-MEMBER
PRELIMINARY TONES
CHAPTER IV.--THE PHRASE.
THE PHRASE
LENGTH OF THE REGULAR PHRASE
EXCEPTIONS
CONTENTS OF THE PHRASE
CHAPTER V.--CADENCES.
CADENCES IN GENERAL
MODIFICATION, OR DISGUISING OF THE CADENCE
THE ELISION
SPECIES OF CADENCE
PERFECT CADENCE
SEMICADENCE
LOCATING THE CADENCES
CHAPTER VI.--IRREGULAR PHRASES.
CAUSES OF IRREGULARITY
THE SMALL AND LARGE PHRASES
THE PRINCIPLE OF EXTENSION
INHERENT IRREGULARITY
CHAPTER VII.--THE PERIOD-FORM.
PHRASE-ADDITION
THE PERIOD
CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM.
ENLARGEMENT BY REPETITION
THE PHRASE-GROUP
THE DOUBLE-PERIOD
CHAPTER IX.--THE TWO-PART SONG-FORM.
THE SONG-FORM, OR PART-FORM
THE PARTS
THE FIRST PART
THE SECOND PART
CHAPTER X.--THE THREE-PART SONG-FORM.
DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS
PART I