{78}

This form, be it well understood, does not include any of the

triple-phrase designs which may result from merely repeating one or the

other of the two phrases that make a period, as is shown in Ex. 48.

_All such phrase-clusters as are reducible to two phrases_, because

nothing more than simple repetition has been employed in their

multiplication, should always be classed among ordinary periods; for

two successive phrases, if connected (that is, unless they are

purposely broken asunder by a definite perfect cadence at the end of

the first phrase) always represent the analogy of Question and Answer.

The enlarged form we are at present considering consists of three

_different_ phrases, as a general rule; probably very closely related,

or even distinctly resembling one another; but too independent,

nevertheless, to constitute actual repetition, and therefore to admit

of reduction to two phrases. For this very reason it cannot justly be

called "period" at all, but takes the name of "phrase-group." An

illustration by diagram will make the distinction clear:--

[Illustration: Phrase group diagram.]

Observe that the classification depends upon the number of

phrases,--upon the _melodic_ identity of the phrases,--and upon the

_quality of the cadences_.

No. 1 is illustrated in Ex. 15; No. 2, in Ex. 42 and the first four

measures of Ex. 43 (cadence not perfect, it is true, but same

phrase-melody and _same cadence_); No. 3 is seen in Ex. 44

(phrase-melody similar, but cadences different)--also in Ex. 47; No. 4

is seen in Ex. 48; No. 5 is rare, but an example will be discovered in

Lesson 8; No. 6 is illustrated in the following (Grieg, op. 38, No.

2):--

[Illustration: Example 50. Fragment of Grieg.]

Comparing this sentence with Ex. 48, we discover the following

significant difference: There, no more than two phrases were present;

the whole sentence was _reducible_ to two phrases. Here (Ex. 50),

however, no such reduction is possible; three sufficiently similar--and

sufficiently different--phrases are coherently connected, without

evidence of mere repetition; it is the result of Addition, and the form

is a _phrase-group_. The first cadence is, strictly speaking, a

_perfect_ one; but of that somewhat doubtful rhythmic character, which,

in conjunction with other indications, may diminish its conclusive

effect, and prevent the decided separation which usually attends the

perfect cadence. This is apt to be the case with a perfect cadence _so

near the beginning_ (like this one) that the impression of "conclusion"

is easily overcome. In a word, there is no doubt of the unbroken

connection of these three phrases, despite the unusual weight of the

first cadence. See also the first cadence in Ex. 51.

By simply continuing the process of addition (and avoiding a decisive

perfect cadence) the phrase-group may be extended to more than three

phrases, though this is not common.

THE DOUBLE-PERIOD.--A third method consists in expanding the period

into a double-period (precisely as the phrase was lengthened into a

double-phrase, or period), _by avoiding a perfect cadence at the end of

the second phrase_, and adding another pair of phrases to balance the

first pair. It thus embraces four _coherent_ phrases, with a total

length of sixteen measures (when regular and unextended).

An important feature of the double-period is that the second period

usually resembles the first one very closely, at least in its first

members. That is, the second phrase contrasts with the first; _the

third corroborates the first_; and the fourth either resembles the

second, or contrasts with all three preceding phrases. This is not

always--though nearly always--the case.

The double-period in music finds its poetic analogy in almost any

stanza of four fairly long lines, that being a design in which we

expect unity of meaning throughout, the progressive evolution of one

continuous thought, uniformity of metric structure (mostly in

_alternate_ lines), the corroboration of rhyme, and, at the same time,

some degree and kind of contrast,--as in the following stanza of

Tennyson's:

Phrase 1. "The splendor falls on castle walls,

Phrase 2. And snowy summits old in story;

Phrase 3. The long light shakes across the lakes,

Phrase 4. And the wild cataract leaps in glory."

The analogy is not complete; one is not likely to find, anywhere,

absolute parallelism between music and poetry; but it is near enough to

elucidate the musical purpose and character of the double-period. And

it accounts for the very general choice of this form for the hymn-tune.

The following illustrates the double-period, in its most regular and

convincing form (Beethoven, pianoforte sonata, op. 49, No. 1):--

[Illustration: Example 51. Fragment of Beethoven.]

Each phrase is four measures long, as usual; the first one ends (as in

Ex. 50) with one of those early, transient perfect cadences that do not

break the continuity of the sentence; the second phrase ends with a

semicadence,--therefore the sentence remains unbroken; phrase three is

_exactly_ like the first, and is therefore an Antecedent, as before;

phrase four bears close resemblance to the second one, but differs at

the end, on account of the perfect cadence. The evidences of Unity and

Variety are easily detected. The main points are, that the second pair

of phrases balances the first pair, and that the two periods are

connected (not _separate_ periods). See also Ex. 53, first 16 measures.

LESSON 8.--Analyze the following examples. They are not classified;

therefore the student must himself determine to which of the above

three species of enlargement each belongs:

Mendelssohn, Songs Without Words, No. 29, measures 1-21, (first 4

measures an introductory phrase).

No. 37, first 17 measures.

No. 30, first 15 measures (last phrase irregular).

No. 16, measures 4-9 (small phrases).

No. 33, first 12 measures.

No. 27, first 20 measures (introductory phrase).

No. 3, first 29 measures, to double-bar (introductory phrase).

No. 36, first 27 measures (the similarity between phrase one and phrase

three proves the double-period form; the extra phrases are extension by

"addition," as in the group form).

No. 6, measures 8-17.

Mozart, pianoforte sonata. No. 13 (Peters edition), first 16 measures.

Sonata No. 2, first 16 measures (last four measures are extension).

Sonata No. 3, last movement, first 16 measures.

Sonata No. 10, second movement, first 16 measures.

Beethoven, pianoforte sonatas; op. 49, No. 2, first 12 measures.

Op. 10, No. 3, first 16 measures.

Op. 10, No. 2, first 12 measures.

Op. 26, first 16 measures.

Op. 31, No. 2, last movement, first 31 measures (extension by

repetition).

Schumann, op. 68, Nos. 16, 20, 33, first 16 measures of each; No. 13,

first 10 measures; No. 15, first 16 measures.

CHAPTER IX. THE TWO-PART SONG-FORM.

THE SONG-FORM OR THE PART-FORM.--Almost every musical composition of

average (brief) dimensions, if designed with the serious purpose of

imparting a clear formal impression, will admit of division into either

two or three fairly distinct sections, or Parts, of approximately equal

length. The distinctness with which the points of separation are

marked, and the degree of independence of each of these two or three

larger sections, are determined almost entirely by the length of the

whole. And whether there be two or three such divisions depends to

some extent also upon the length of the piece, though chiefly upon the

specific structural idea to be embodied.

A composition that contains two such sections is called a Two-Part (or

bipartite, or binary) form; and one that contains three, a Three-part

(tripartite, or ternary) form.

Such rare exceptions to these structural arrangements as may be

encountered in musical literature, are limited to sentences that, on

one hand, are so brief as to require no radical division; and, on the

other, to compositions of very elaborate dimensions, extending beyond

this structural distinction; and, furthermore, to fantastic pieces in

which the intentional absence of classified formal disposition is

characteristic and essential.

The terms employed to denote this species ("Song-form" or "Part-form")

do not signify that the music is necessarily to be a vocal composition

of that variety known as the "Song"; or that it is to consist of

several voices (for which the appellation "parts" is commonly used).

They indicate simply a certain _grade_,--not a specific variety,--of

form; an intermediate grade between the smallest class (like brief

hymn-tunes, for example), and the largest class (like complete

sonata-movements). An excellent {84} type of this grade of Form is

found in the Songs Without Words of Mendelssohn, the Mazurkas of

Chopin, and works of similar extent.

The word Part (written always with a capital in these lessons) denotes,

then, one of these larger sections. The design of the Part-forms was

so characteristic of the early German _lied_, and is so common in the

_song_ of all eras, that the term "Song-form" seems a peculiarly

appropriate designation, irrespective of the vocal or instrumental

character of the composition.

The student will perceive that it is the smallest class of forms--the

Phrase-forms,--embracing the phrase, period and double-period, to which

the preceding chapters have been devoted. These are the designs which,

as a general rule, _contain only one decisive perfect cadence_, and

that at the end; and which, therefore, though interrupted by

semicadences, _are continuous and coherent_, because the semicadence

merely interrupts, and does not sever, the continuity of the sentence.

(This grade of forms might be called One-Part forms).

THE PARTS.--If we inquire into the means employed, in the larger

Part-forms, to effect the division of the whole into its broader Parts,

we find that the prime factors, here again, are Cadence and Melody.

The strongest sign of the consummation of a Part is a _decisive perfect

cadence_, resting, as usual, upon the tonic harmony of the chosen key;

a cadence sufficiently emphatic to interrupt the closer cohesion of the

phrases which, precede, and bring them, as completed Part, to a

conclusion. Such a cadence, marking the end of the First Part, may be

verified in Mendelssohn's Songs Without Words, No. 23, measure 15; No.

3, measure 29 (at the double-bar,--a sign which frequently appears at

the termination of Part One); No. 20, measure 21; No. 27, measure 12;

No. 34, measure 10.

Another indication of the Part-form is a palpable change in melodic

character in passing from one Part into the next; sufficient to denote

a more striking "new beginning" than marks the announcement of a new

_phrase_ only. The change, however, is as a rule _not very marked_; it

is sometimes, in fact, so slight as to be no more than simply palpable,

though scarcely definable on the page. For these divisions are, after

all, the several "Parts" of one and the same song-form, and, therefore,

any such radical change in melodic or rhythmic character, or in general

style, as would make each Part appear to be a _wholly independent_

musical idea (subject or theme), would be manifestly inconsistent.

Generally, both these factors (cadence and melody) unite to define the

end of one Part and the beginning of the next. Should either one be

feeble, or absent, the other factor will be all the more pronounced.

Thus, the cadence of Part One may be less decisive, if the change in

melodic character at the beginning of Part Two is well marked; this is

seen in No. 33, measure 12. The reverse--a strong cadence and but

little melodic change,--in No. 13, measure 20.

THE FIRST PART.--Part One may be designed as period, double-period, or

phrase-group; sometimes, though very rarely, as single phrase,

repeated. It ends, usually, with a strong perfect cadence on the tonic

chord of the original key, or of some related key (that is, one whose

_signature_ closely resembles that of the original key). An

introductory phrase, or independent prelude, may precede it.

THE SECOND PART.--Part Two, as intimated, is likely to begin with a

more or less palpable change of melodic character,--by no means is this

always the case. It may be designed, also, as period, double-period,

or phrase-group, and is somewhat likely to be a little longer (more

extended) than Part One. A concluding section (called codetta if

small, coda if more elaborate) often follows, after a decided perfect

cadence in the original key has definitely concluded the Part.

The following is one of the simplest examples of the Two-Part Song-form

(a German _lied_ by Silcher):--

[Illustration: Example 52. Fragment of German _lied_.]

The whole embraces four phrases, and might, for that reason, be

mistaken for a double-period. But the _strong perfect cadence_ at the

end of the first period (reinforced by the repetition), and the

contrasting melodic formation of the second period, so separate and

distinguish the two periods as to make them independent "Parts" of the

whole. It is not one "double-period," but _two fairly distinct

periods_. The first cadence (in measure 4) has again, strictly

speaking, the elements of a perfect cadence, but, like others we have

seen (Exs. 50, 51), too near the beginning to possess any plausible

concluding power.

A somewhat similar specimen may be found in the theme of Mendelssohn's

Variations in D minor, op. 54, which see. Each Part is a regular

period-form, with correct semicadence and perfect cadence. The problem

of "agreement and independence" in the relation of Part II to Part I is

admirably solved; it is a masterly model of well-matched Unity and

Variety, throughout.

For a longer and more elaborate example, see No. 6 of the Songs Without

Words, in which, by the way, the principle of enlargement by the

addition of an independent prefix (introduction) and affix (coda) is

also illustrated:--

First number the forty-six measures with pencil.

The first cadence occurs in measure 7, and marks the end of the

prélude. Part I begins in measure 8. In measure 11 there is a

semicadence, at end of Antecedent phrase; in measure 17, a strong

perfect cadence, which, in connection with the subsequent change of

melodic form, distinctly defines the end of Part I (period-form,

extended). Part II therefore begins in measure 18. In measures 21,

25, 29, cadences occur, but none conclusive enough to close the Part.

This conclusion takes place, however, in measure 34. Part II proves to

be a double-period. A coda begins in measure 35; its first members

resemble the first phrase of Part I. In measure 40 another section of

the coda begins, borrowed from the prélude. For exhaustive technical

details of the Two-Part Song-form, see the HOMOPHONIC FORMS, Chapters 9

and 10.

LESSON 9.--Analyze the following examples of the Two-Part Song-form.

Define the form of each Part, marking and classifying all cadences; and

indicate introductions and codas (or codettas), if present. _The first

step in the analysis of these forms is to divide the whole composition

into its Parts, by defining the end of Part One_. The next step is to

define the beginning of Part One, and end of Part Two, by separating

the introduction and coda (if present) from the body of the form.

Beethoven, pianoforte sonatas: op. 57, Andante, Theme.

Op. 109, _Andante_, Theme.

Op. 111, last movement, Theme of Variations.

Op. 79, _Andante_, first 8 measures (unusually small); same sonata,

last movement, first 16 measures.

Op. 54, first 24 measures (each Part repeated).

Op. 31, No. 3, _Menuetto_ (without Trio).

Op. 26, "Trio" of _Scherzo_; also last movement, first 28 measures

(second Part repeated).

Op. 27, No. 2, "Trio" of _Allegretto_.

Mozart, pianoforte sonatas: No. 2 (Peters edition), _Andante_, measures

1-20; and measures 21-40.

Schumann, op. 68, No. 7; No. 4; No. 35; No. 42; No. 23 repeated; last

16 1/2 measures, (coda).

CHAPTER X.--THE THREE-PART SONG-FORM.

DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS.--We learned, in the

preceding chapter, that the Two-Part Song-form is a composition of

rather brief extent, with so decisive a perfect cadence in its course

as to divide it, in a marked manner, into two separate and fairly

individual sections or "Parts."

Between this and the next higher form,--that with _three_ such

Parts,--there is a distinction far more essential and characteristic

than that of mere extent; a distinction that does not rest simply upon

the number of Parts which they respectively contain. Each of the two

classes of formal design, the Two-Part and the Three-Part, embodies a

peculiar structural idea; and it is the evidence of these respective

ideas,--the true content of the musical form,--which determines the

species. The "number" of sections is, in this connection, nothing more

than the external index of the inherent idea.

The Two-Part forms embody the idea of _progressive growth_. To the

first Part, a second Part (of similar or related melodic contents) is

added, in coherent and logical succession. It should not be, and in

good clear form it is not, a purely numerical enlargement, for the

association of the second Part with a foregoing one answers the

purposes of confirmation and of balance, and is supposed to be so

effectuated as to institute and maintain unity of style, and some

degree of progressive development. But the second Part, in this

bipartite design, does little or nothing more, after all, than thus to

project the musical thought on outward in a straight line (or along

parallel lines) to a conclusion more or less distant from the

starting-point,--from the melodic members which constitute the actual

germ, or the "text" of the entire musical discourse. A very desirable,

not to say vital, condition is therefore {90} lacking, in the Two-Part

forms; namely, the corroboration of this melodic germ by an emphatic

return to the beginning and an unmistakable re-announcement of the

first (leading) phrase or phrases of the composition.

Nothing could be more natural than such corroboration. Any line of

conduct, if pursued without deviation, simply carries its object

farther and farther away from its origin. If, as in the circle, this

line is led back to the starting-point, it describes the most

satisfying and perfect figure; it perfects, by enclosing space.

Whereas, if it goes straight onward, it ultimately loses itself, or

loses, at least, its connection with its beginning and source.

Nowhere is this principle of _Return_ more significant and imperative

than in music, which, because of its intangibility, has need of every

means that may serve to define and illuminate its design; and hence the

superior frequency and perfection of the Three-Part form, _which, in

its Third Part, provides for and executes this Return to the

beginning_. Its superiority and greater adaptability is fully

confirmed in the practice of composition; the number of Three-Part

forms exceeds the Two-Part, in musical literature, to an almost

surprising degree; and it may therefore be regarded as the design

peculiarly adapted to the purposes of ordinary music writing within

average limits.

The three successive divisions of the Three-Part Song-form may then be

characterized as follows:--

PART I.--The statement of the principal idea; the presentation of the

melodic and rhythmic contents of the leading thought, out of which the

whole composition is to be developed. It is generally a period-form,

at least, closing with a firm perfect cadence in the principal key, or

one of its related keys.

PART II.--The departure (more or less emphatic) from this leading

melodic statement. It is, for a time, probably an evident continuation

and development of the melodic theme embodied in the First Part; but it

does not end there; it exhibits a retrospective bent, and--when

thoroughly legitimate--its last few measures prepare for, and lead

into, the melodic member with which the piece began. Its form is

optional; but, as a rule, decisive cadence-impressions are avoided,

unless it be the composer's intention to _close_ it with a perfect

cadence (upon any _other_ than the principal tonic), and accomplish the

"return to the beginning" by means of a separate returning passage,

called the Re-transition.

PART III.--The recurrence and corroboration of the original statement;

_the reproduction of Part I_, and therewith the fulfilment of the

important principle of return and confirmation. The reproduction is

sometimes exact and complete; sometimes slight changes, or even

striking variations, possibly certain radical alterations, occur;

sometimes it is only a partial recurrence, the first few measures being

sufficient to prove the "Return"; sometimes, on the other hand,

considerable material (more or less related) is added, so that Part III

is longer than the First Part.

From this it appears that much latitude is given to the composer, in

his formulation of the Third Part. All that the Part has to prove, is

its identity as confirmation of the leading motive, and this it may do

in many ways, and with great freedom of detail, without obscuring the

main purpose. It is precisely this richness of opportunity, this

freedom of detail, which enhances the beauty and value of the

tripartite forms.

The following is a very regular example of the Three-Part Song-form

(Schumann, op. 68, No. 20):--

[Illustration: Example 53. Fragment of Schumann.]

[Illustration: Example 53 continued.]

This version is as complete as it can conveniently be made upon one

single staff (chosen in order to economize space); but the student will

find the formal design somewhat more plastically defined in the

original, complete form, and he is therefore expected to refer to the

latter. Part I is an unusually regular double-period, with three

semicadences and a strong perfect cadence, on the original tonic, to

mark its conclusion; the double-bar is an additional confirmation of

the end of the Part. The second Part runs in the key of E major (the

dominant of the original key) throughout; its form is only a phrase,

but repeated,--as is proven by the almost literal agreement of the

second phrase with the preceding one, _cadence and all_. Part III

agrees literally with Part I in its melodic formation, but differs a

little in the treatment of the lower (accompanying) voices.

In the theme of Mendelssohn's pianoforte Variations in E-flat major

(op. 82), which see, the design is as follows:--Part I is a period of

eight measures. Part II is also an 8-measure period, ending upon the

tonic chord of B-flat major (the dominant key), as first eighth-note of

the 16th measure; the following eighth-note, b-natural, represents what

we have called the Retransition (in its smallest conceivable form), as

it fulfils no other purpose than that of leading back into the first

tone of the First Part. Part III is _only a phrase_, and therefore

shorter than Part I; but it corroborates the _beginning_, and, in fact,

the entire contents of the First Part.

The plan of Mendelssohn's 28th Song Without Words is as follows:--First

number the 38 measures, _carefully_. The first four measures are an

introductory phrase, or prélude; Part I begins in the second half of

measure 4 (after the double-bar) and extends, as regular 8-measure

period, to measure 12. Part II follows, during the same measure; its

form is a period, extending to measure 20, and closing with a very

distinctly marked semicadence on the dominant chord (chord of D). Part

III is 14 measures long, containing therefore six more measures than

the First Part; its first phrase is almost exactly like the first

phrase of Part I; its second phrase (measures 25-28) differs from any

portion of Part I, but closely resembles the melodic formation of Part

II; its third phrase is based upon the preceding one (_not_ as

repetition, however), and is expanded to the 34th measure. The form of

Part III is phrase-group. The last four measures are codetta, or

postlude, and corroborate the prélude.

For exhaustive technical details of the Three-Part Song-form, see the

HOMOPHOBIC FORMS, Chapters 11, 12, 13, 14 and 15.

LESSON 10.--Analyze the following examples of the Three-Part Song-form.

The first step, here again, is to fix _the end of the First Part_; the

next, to mark the beginning of the Third Part, by determining where the

_return to the beginning_ is made. These points established, it

remains to fix the beginning of Part I, by deciding whether there is an

introductory sentence or not; then the end of Part II, by deciding

whether it leads directly into Part III, or comes to a conclusion

somewhat earlier, to make room for a Retransition; then the end of Part

III, by deciding whether a codetta or coda has been added. The

extremities of the three Parts being thus determined, there will be no

difficulty in defining the _form_ of each. Very particular attention

must be devoted to _the comparison of Part III with Part I_, in order

to discover, and accurately define, the difference between them,--in

form, in extent, in melodic formation, or in technical treatment.

Mendelssohn, Songs Without Words: No. 22, No. 35, No. 32, No. 45, No.

42, No. 31, No. 27, No. 46, No. 25, No. 20, No. 26 (Re-transition,

middle of measure 25 to measure 29); No. 36 (beginning of Part III,

measure 60, somewhat disguised); No. 47, No. 12, No. 15, No. 3, No. 43,

No. 40, No. 37, No. 2, No. 33, No. 30, No. 1.

Schumann, op. 68; No. 3; No. 12, first 24 measures; No. 14, No. 16, No.

17, No. 21 (Part I closes with a semicadence, but made in such a manner

that it answers its purpose without the least uncertainty); No. 24, No.

25, No. 26, No. 28; No. 29, last 48 measures (including coda); No. 33

(long coda); No. 34; No. 37, first 32 measures; No. 38; No. 40, first

movement (2-4 measure); No. 41.

Beethoven, pianoforte sonatas: op. 2, No. 1, third movement,--both the

_Menuetto_ and the _Trio_. Op. 2, No. 2, third movement,--both

_Scherzo_ and _Trio_. Same sonata, last movement, first 16 measures

(Parts II and III consist of a single phrase each; therefore the whole

is diminutive in extent; but it is unquestionably Three-Part Song-form,

because of the completeness of Part I, and the unmistakable _return to

the beginning_).

Op. 7, _Largo_, first 24 measures. Same sonata, third movement; also

the _Minore_. Same sonata, last movement, first 16 measures.

Op. 10, No. 2, second movement, first 38 measures.

Op. 10, No. 3, _Menuetto_.

Op. 14, No. 1, third movement; also the _Maggiore_.

Op. 14, No. 2, second movement, first 20 measures.

Op. 22, _Menuetto_; also the _Minore_.

Op. 26, first 34 measures; same sonata. _Scherzo_; same sonata,

_Funeral march_ (also the _Trio_; what is its form?).

Mozart, pianoforte sonatas: No. 15 (Peters Edition), _Andante_, first

32 measures.

No. 1, last movement, first 50 measures.

No. 12, first 18 measures. Same sonata, _Trio_ of the second movement

(Part III returns to the beginning very briefly, and is otherwise

different from the First Part almost throughout).

No. 13, _Adagio_, first 16 measures.

Chopin, _Mazurkas_ (Peters edition), No. 11, No. 22, No. 24, No. 40,

No. 49.

In the following examples, the student is to determine whether the form

is Two-Part or Three-Part:--

Mendelssohn, op. 72 (six pianoforte pieces), No. 1; No. 2; No. 3, No.

4, No. 6.--Etudes, op. 104, No. 1, No. 3.

A curious example may be found in Schumann, op. 68, No. 32; the form is

actually Two-Part, but with a very brief reminiscence of the beginning

(scarcely to be called a Return) in the _last two measures_,--which

are, strictly speaking, no more than a codetta. The Second Part is

repeated.

In Schumann's op. 68, Nos. 8, 9, and 11 (first 24 measures), the

_second_ Part is unusually independent in character; completely

detached from Part III, and exhibiting no symptoms of leading into the

latter, as second Parts have commonly been observed to do.

CHAPTER XI. ENLARGEMENT OF THE THREE-PART SONG-FORM.

REPETITION OF THE PARTS.--The enlargement of the Three-Part Song-form

is effected, in the majority of cases, by simply repeating the Parts.

The composer, in extending the dimensions of his original design,

resorts as usual to the most legitimate and natural means at his

disposal--that of _repetition_. By so doing, he reinforces the

principle of Unity, and, instead of obscuring, places the contents of

his design in a stronger and more convincing light. It is true that

the act of mere repetition involves the risk of monotony; but against

this the composer has an efficient safeguard,--that of _variation_. He

may modify and elaborate the repetition in any manner and to any extent

that seems desirable or necessary, the only limitations being that the

identity of the original Part must be preserved beyond all danger of

misapprehension, and (as a rule) that the cadences shall not be altered.

The act of repetition is applied to the First Part alone, and to the

_Second and Third Parts together_; very rarely to the Second Part

alone, or to the Third Part alone.

EXACT REPETITIONS.--When Part I,--or Parts II and III together,--are to

be repeated without any changes, it is customary to employ the familiar

repetition-marks (double-bar and dots); with "first and second ending,"

if, for any reason, some modification of the cadence-measure is

required. This is illustrated in the 7th Song Without Words; Part I is

repeated alone, and Parts II and III together; both repetitions are

indicated by the customary signs, and each has a double ending. See

also, Schumann, op. 68, No. 1; Part I is repeated exactly, with

repetition-marks; Parts II and III are also repeated literally (all but

the very last tone in the lower part), but written out,--apparently

without necessity. Also No. 2; the literal repetition of Part I is

written out; Parts II and III have the repetition-marks.

MODIFIED REPETITIONS.--The quality and extent of the changes that may

be made, in order to enrich the composition without altering its

structural design, depend, as has been intimated, upon the judgment and

fancy of the composer. The student will find no part of his analytical

efforts more profitable and instructive than the careful comparison of

these modified repetitions with the original Parts; nothing can be more

fascinating and inspiring to the earnest musical inquirer, than thus to

trace the operation of the composer's mind and imagination; to witness

his employment of the technical resources in re-stating the same idea

and developing new beauties out of it,--especially when the variations

are somewhat elaborate.

It must be remembered that mere repetition (even when modified,--as

long as it can be proven to be nothing more than repetition) does not

alter the form. A phrase, repeated, remains a phrase; _nothing less

than a decided alteration of the cadence itself_ will transform it into

a double-phrase (or period). Similarly, a period, repeated, remains a

period, and does not become a double-period; and a Part, repeated,

remains the same Part. Therefore, the student will find it necessary

to concentrate his attention upon these larger forms, and exercise both

vigilance and discrimination in determining which sections of his

design come under the head of "modified repetition."

For an illustration of the _repeated First Part_, see the 9th Song

Without Words; Part I is a four-measure period (of two small phrases)

closing in the seventh measure; the following four measures are its

modified repetition. For an example of the _repeated Second and Third

Parts_, see No. 48. In No. 29, both repetitions occur, with

interesting changes; the repetition of Part I begins in measure 13;

that of Parts II and III in measure 35; the last 10 1/2 measures are a

coda.

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THE FIVE-PART FORM. The repetition of the Second and Third Parts

together is sometimes subjected to changes that are almost radical in

their nature, and therefore appear to modify the form itself. These

important changes chiefly _affect the Second Part, when it reappears as

"Fourth" Part_. When the alteration of the Second Part (that is, the

difference between Part IV and Part II) is sufficiently radical to

suggest the presence of a virtually new Part, the design is called the

Five-part Song-form. The possible repetition of the First Part, it

will be inferred, does not affect this distinction in the least; it

hinges solely upon the treatment of the reproduction of _Part Two_.

For illustration:

[Illustration: Diagram of Parts.]

The Five-Part form is illustrated in the 14th Song Without

Words;--(first, number the measures; observe that the two endings of

Part I are to be counted as the _same measure_, and not separately;

they are both measure 8):--Part I extends to the double-bar, and is

repeated literally, only excepting the _rhythmic_ modification of the

final measure; Part II extends from measure 9 to 23; Part III, measures

24-35; Part IV, measures 36-47; Part V, measures 48-60; coda to the

end. The comparison of Part IV with Part II discloses both agreement

and diversity; they are, obviously, _practically the same Part_, but

differ in key, in form, and in extent. The comparison of Parts I, III,

and V reveals a similar condition, though the agreement here is much

closer, and each confirms the leading statement.

A more characteristic example will be found in the familiar F major

_Nachtstück_ of Schumann, op. 23, No. 4, which see:--Part I extends

from measure 2 to 9 (after 1 1/2 measures of recitative introduction);

Part II, measures 10-13; Part III, measures 14-21; Part IV, measures

22-32; Part V, measures 33-40; codetta to end. The Fourth Part bears

very little resemblance to the Second, and assumes rather the character

of a wholly independent Part.

GROUP OF PARTS.--In some, comparatively rare, instances, the

arrangement of perfect cadences is such that,--coupled with

independence of melodic formation and character,--the composition seems

to separate into _four or more individual sections_ or Parts, with or

without a recurrence of the First one; or into three _different_ Parts,

lacking the evidence of the return to the beginning. When such

irregularities are encountered, or when any conditions appear which

elude or baffle natural classification among the Three-Part Song-forms

(simple or enlarged), the piece may be called a group of Parts. The

use of this term is entirely legitimate, and is commended to the

student on account of its convenience, for all examples of the

Song-form which, _upon thoroughly conscientious analysis_, present

confusing features, at variance with our adopted classification. Of

one thing only he must assure himself,--that the design is a

_Song-form_ (_i.e._ an association of _Parts_), and not one of the

larger forms to be explained in later chapters. The definition is

given in Chapter IX (on page 84).

A fair illustration of the utility of the term "Group of Parts" is seen

in Schumann, op. 68, No. 18. Others will be cited in the following

Lesson.

LESSON 11.--Analyze the following examples of the enlarged Three-Part

Song-form. As before, the form of each Part should be defined, and

introductions and codas (if present) properly marked. All of the given

examples belong to this chapter, but are not classified; it is

purposely left to the student to determine where repetitions occur, and

whether they are exact, or variated,--in a word, to decide which of the

above diagrams the composition represents.

Mendelssohn, Songs Without Words, No. 3, No. 4, No. 8, No. 10, No. 11,

No. 12, No. 16, No. 17, No. 19, No. 21, No. 23, No. 24, No. 27, No. 31,

No. 34, No. 39, No. 43, No. 44, No. 46.

Schumann, op. 68, No. 5; No. 6; No. 10; No. 13; No. 15; No. 19; No. 22;

No. 30; No. 36; No. 43.

Mendelssohn, op. 72, No. 5.

Chopin, _Prélude_, op. 28, No. 17.

Mozart, pianoforte sonata No. 8, _Andante_ (entire).

Mozart, No. 18, _Andantino_ (of the "Fantasia").

Chopin, _Mazurkas_, No. 1, No. 2, No. 4, No. 5, No. 8, No. 15, No. 16,

No. 18, No. 37, No. 44, No. 48.

GROUPS OF PARTS:

Chopin, _Mazurkas_, No. 3 (apparently five Parts, not counting

repetitions; Part V corroborates Part I, but the intervening sections

are too independent to be regarded as one long Second Part,--as would

be the case if this corroboration were Part III). Also No. 7 (same

design); No. 14 (four Parts, the last like the first); No. 19 (four

Parts, the fourth like the second); No. 20: No. 21; No. 27 (Part V like

I, Part IV like II); No. 34; No. 39; No. 41.

Schubert, _Momens musicals_, op. 94, No. 3.

CHAPTER XII. THE SONG-FORM WITH TRIO.

Another method of enlargement consists in associating two

different--though somewhat related--Song-Forms. The practice was so

common in certain of the older dances, particularly in the minuet, that

this design is also known as the _Minuet Form_.

THE PRINCIPAL SONG.--The first division, called the principal song, is

either a Two-Part or a Three-Part Song-form,--most commonly the latter.

It is generally entirely complete in itself; the fact that another

division is to be added, does not affect its character, form, or

conception.

THE "TRIO," OR SUBORDINATE SONG.--The division which follows, as second

song-form, was formerly called the "Trio," and it has retained the name

in the majority of examples of this form, although the old custom that

gave rise to the term has long since been discontinued. A more

accurate designation, and one that we shall here adopt, is "Subordinate

Song." (Other names, which the student will encounter, are "maggiore,"

"minore," "intermezzo," "alternative," etc.).

Like the principal song, its fellow (the subordinate song) may be

either a Two-Part or a Three-Part design. It is very likely to

resemble its principal song in species of measure, tempo, and general

style; and its key may be the same as that of the principal division,

or, at least, related to it. But similarity of style is by no means

obligatory, the element of contrast having become more important than

Unity, in a design of such extent. It is also usually complete in

itself, though its connection with its principal song may involve a few

measures of transitional material.

THE "DA CAPO."--This association of song-forms is subject to the

principle which governs all tripartite forms, namely, the return to the

beginning, and confirmation of the first (or principal) statement; not

only because of the general desirability of such a return, but because

_the necessity for it increases with the growth of the form_. In a

design that comprises a number of entire song-forms, it may be regarded

as indispensable.

Therefore, the subordinate song is followed by a recurrence of the

principal song,--called the _da capo_ (or "from the beginning"),

because of those Italian words of direction given to the player upon

reaching the end of the "Trio," or subordinate song. The reproduction

of the principal division is likely to be literal, so that the simple

directions "_da capo_" suffice, instead of re-writing the entire

division. But, here again, changes may be made,--generally unimportant

variations which do not obscure the form; or an abbreviation, or even

slight extension. And a codetta or coda is sometimes added to the

whole.

The Song with Trio is thus seen to correspond to the Three-Part

Song-form, upon a larger scale. The several _Parts_ of the latter

become complete _Song-forms_. An important distinction, to which

especial attention must be directed, is the _completeness_ of the

contents of each song-form, and their fairly distinct _separation_ from

each other, in the Song with Trio. The significance of these traits

will become apparent to the analytic student, as he progresses along

the line of form-evolution into the still larger designs.

LESSON 12.--The following examples all belong to the Song with Trio.

They should be analyzed as usual, each Song separately, defining the

Parts, their form, and other details, as minutely as possible. Careful

analysis is the first condition of intelligent interpretation; and the

more complete the analysis, the fuller and more authoritative the

interpretation:--

Beethoven, pianoforte sonatas: op. 2, No. 1, third movement; the

divisions are called _Menuetto_ and _Trio_, therefore this is an

authentic type of the present design; each is a complete Three-Part

Song-form; the key is the same, though a change from minor into major

takes place; after the _Trio_, the _Menuetto_ does not re-appear (on

the printed page), but its reproduction is demanded by the words

_Menuetto da capo_, at the end of the Trio.

Op. 2, No. 2, _Scherzo_ and _Trio_.

Op. 2, No. 3, _Scherzo_ and _Trio_.

Op. 7, third movement, _Allegro_ and _Minore_.

Op. 10, No. 2, second movement, _Allegretto_ (the subordinate song is

not marked, but is easily distinguished; there are no _da capo_

directions, because the principal song is re-written, with alterations).

Op. 10, No. 3, _Menuetto_ and _Trio_.

Op. 14, No. 1, second movement. _Allegretto_ and _Maggiore_; a coda is

added.

Op. 22, _Menuetto_ and _Minore_.

Op. 26, _Scherzo_ and _Trio_.

Op. 27, No. 1, second movement, _Allegro molto_; the Trio is not

marked; the "_da capo_" is variated, and a coda follows.

Op. 27, No. 2, _Allegretto_ and _Trio_.

Op. 28, _Scherzo_ and _Trio_.

Op. 31, No. 3, _Menuetto_ and _Trio_.

Schumann, op. 68, No. 11; here there are no outward indications of the

Song with Trio, but that is the design employed; for the subordinate

song the measure is changed from 6-8 to 2-4, but the key remains the

same; the reproduction of the principal song is indicated in German,

instead of Italian.

No. 12, No. 29, No. 39 (here the _da capo_ is considerably changed).

In No. 37 the "subordinate song" is represented by no more than a brief

Interlude (measures 33-40) between the principal song and its

recurrence,--just sufficient to provide an occasion for the latter

(which, by the way, is also abbreviated).

Mozart, pianoforte sonatas: No. 2, _Andante cantabile_; each song-form

has two Parts; the subordinate song changes into the minor.

No. 9, second movement, _Menuettos_; the subordinate song is marked

"Menuetto II," a custom probably antedating the use of the word "Trio"

(see Bach, 2d English Suite, _Bourrée_ I and II).

No. 12, _Menuetto_.

Schubert, _Momens musicals_, op. 94, Nos. 1, 4, and 6.

Schumann, op. 82 (_Waldscenen_), Nos. 7 and 8.

Chopin, _Mazurkas_, Nos. 6, 12, 23, 47, 50. In Nos. 10, 45, 46 and 51,

the subordinate song consists of one Part only, but is sufficiently

distinct, complete, and separate to leave no doubt of the form.

Also Chopin, _Nocturne_ No. 13 (op. 48, No. 1).

Examples of this compound Song-form will also be found, almost without

exception, in Marches, Polonaises, and similar Dance-forms; and in many

pianoforte compositions of corresponding broader dimensions, which, _if

extended beyond the very common limits of the Three-Part form_, will

probably prove to be Song with Trio. This the student may verify by

independent analysis of pianoforte literature,--never forgetting that

uncertain examples may need (if small) to be classed among the

group-forms, or (if large) may be suspected of belonging to the higher

forms, not yet explained, and are therefore to be set aside for future

analysis. Mention must be made of the fact that in some rare cases--as

in Mendelssohn's well-known "Wedding March"--_two Trios_, and

consequently two _da capos_, will be found.

CHAPTER XIII. THE FIRST RONDO-FORM.

EVOLUTION.--It cannot have escaped the observant student of the

foregoing pages, that the successive enlargement of the structural

designs of musical composition is achieved by a process of natural

growth and progressive evolution. No single form intrudes itself in an

arbitrary or haphazard manner; each design emerges naturally and

inevitably out of the preceding, in response to the necessity of

expansion, and conformably with the same constant laws of unity and

variety,--the active agents, along the entire unbroken line of

continuous evolution, being _reproduction_ (Unity) and legitimate

_modification_ (Variety); or, in other words, _modified repetition_.

It is upon the indisputable evidence of such normal evolution in the

system of musical structure, that our conviction of the legitimacy and

permanence of this system rests.

The diagrams which appear on pages 78 and 98 partly illustrate the line

of evolution, which, in its fullest significance, may be traced as

follows: the _tone_, by the simplest process of reproduction, became a

_figure_; the figure, by multiplication or repetition, gave rise to the

_motive_; the latter, in the same manner, to the _phrase_. The

repetition of the phrase, upon the infusion of a certain quality and

degree of modification (chiefly affecting the cadences) became the

_period_; the latter, by the same process, became the double-period.

The limit of coherent phrase-succession (without a determined

interruption) being therewith reached, the larger Part-forms became

necessary. The _Two-Part_ form emerged out of the double-period, the

two "connected" periods of which separated into two "independent"

Parts, by the determined interruption in the center. And, be it well

understood, each new design having once been thus established, its

enlargement within its own peculiar boundaries followed as a matter of

course; I mean, simply, that the two Parts did not need to remain the

_periods_ that were their original type; the process of growth cannot

be stopped. The _Three-Part_ form resulted from adding to the Two-Part

the perfecting reversion to the starting-point, and confirmation of the

principal statement. The _Five-part_ form, and the _Song with Trio_

are enlargements of the Three-Part forms by repetition or

multiplication; and with the latter the limit of this particular

process appears to be achieved. Any further growth must take place

from within, rather than by addition from without.

But the process of evolution continues steadily, as the student will

witness. To one vital fact his attention is here called,--a fact which

he is enjoined to hold in readiness for constant application,--namely,

_that perfection of structural design is attained in the Three-Part

form, and that every larger (or higher) form will have its type in this

design, and its basis upon it_. The coming designs will prove to be

expansions of the Three-Part form.

THE RONDO-FORMS.--The structural basis of the Rondo, and other larger

or (as they are sometimes called) higher forms, is the Subject or

Theme. The form and contents of this factor, the Theme, are so

variable that a precise definition can scarcely be given. It is a

musical sentence of very distinct character, as concerns its melodic,

harmonic and, particularly, its rhythmic consistency; and of sufficient

length to establish this individuality,--seldom, if ever, less than an

entire period or double-period; often a Two-Part, not infrequently a

complete Three-Part Song-form, though never more than the latter.

In the Rondo-forms, two or three such Themes are associated in such

_alternating succession that, after each new Theme, the first or

Principal Theme recurs_. The term "Rondo" may be referred to this

trait, the periodic return of the Principal theme, which, in thus

"coming round" again, after each digression into another theme, imparts

a characteristic circular movement (so to speak), to the design. In

the rondos, then, all the movements of musical development revolve

about one significant sentence or theme, the style of which therefore

determines the prevailing character of the whole composition. This,

which is naturally called the Principal theme, is placed at the

beginning of the rondo. Its end being reached, it is temporarily

abandoned for a second sentence, called the Subordinate theme, of more

or less emphatically contrasting style and of nearly or quite equal

length (generally shorter, however), and always in a different key.

After this there occurs the momentous _return to the beginning_,--the

most insistent and vital fundamental condition of good, clear, musical

form, of whatsoever dimension or purport,--and the _Principal_ theme

reasserts itself, recurring with a certain degree of variation and

elaboration (occasionally abbreviation), thus vindicating its title as

Principal theme, and stamping its fellow-theme as a mere digression.

After this,--if a still broader design is desired,--another digression

may be made into a new Subordinate theme, in still another key,

followed by the persistent return to the Principal theme. And so on.

Upon the Subordinate theme, or themes, devolves the burden of variety

and contrast, while the Principal theme fulfils the requirements of

corroboration and concentration. A coda, sometimes of considerable

length, is usually added; it appears to be necessary, as a means of

supplying an instinctive demand for balance, increased interest, and

certain other scarcely definable conditions of very real importance in

satisfactory music form.

Of the Rondo-forms there are three grades, distinguished respectively

_by the number of digressions_ from the Principal theme:--

The First Rondo-form, with one digression (or Subordinate theme), and

one return to the Principal theme;

The Second Rondo-form, with two digressions, and two returns;

The Third Rondo-form, with three digressions and three returns. The

persistent recurrence of the Principal theme, something like a refrain,

and the consequent regular alternation of the chief sentence with its

contrasting subordinate sentences, are the distinctive structural

features of the Rondo.

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THE FIRST RONDO-FORM.--This consists, then, of a Principal theme

(generally Two-Part or Three-Part Song-form); a Subordinate theme in a

different key (probably a smaller form); a recurrence of the Principal

theme (usually more or less modified or elaborated); and a coda.

Thus:--

_Principal Theme. Subordinate Theme. Prin. Theme. Coda._

2- or 3-Part Period, Double-period, As before, Optional

Song-form. 2- or 3-Part usually

Probably a form. Different variated.

perfect cadence. style and key. Sometimes

Possibly a few Possibly a brief abbreviated.

beats or measures codetta; and

of transitional usually a few

material, leading measures of

into next theme. Re-transition.

The design is that of the tripartite forms. But it is not to be

confounded with the Three-Part _Song-form_, because at least one of its

Themes, and probably both, will be a Part-form by itself. It is an

association of Song-forms, and therefore corresponds in design to the

_Song with Trio_. The first Rondo differs from the latter, however, in

being more compact, more coherent and continuous, and more highly

developed. This manifests itself in the relation of the Themes to each

other, which, despite external contrast, is more intimate than that

between the Principal and Subordinate Song (or Trio); further, in the

transitional passages from one Theme into the other (especially the

Re-transition, or "returning passage"); in the customary elaboration of

the recurring Principal Theme; and in the almost indispensable coda,

which often assumes considerable importance, and an elaborate form and

character.

The evolution of the First Rondo-form of the Song with Trio may be

clearly traced in classic literature. Many intermediate stages appear,

naturally; and it is sometimes difficult to determine whether the

design is Rondo or compound Song-form, simply because it is scarcely

possible to decide just when the "Trio" assumes the more intimate

relation of a Subordinate theme, or when the freedom and comparative

looseness of association (peculiar to the Song with Trio) is

transformed into the closer cohesion and greater smoothness of finish

_which fuses all the component Parts of the design into one compact

whole_,--the distinctive stamp of all so-called "higher" forms.

The thoughtful examination and comparison of the following four

examples will elucidate the matter:--

1. Beethoven, first pianoforte sonata (op. 2, No. 1), _Menuetto_ and

_Trio_. Already analyzed as a perfectly genuine Song with Trio.

2. Beethoven, pianoforte sonata, op. 28, second movement, _Andante_.

The principal Song is in the Three-Part form, with exact repetitions.

The subordinate song differs so radically in style, and each song is so

complete and distinct from the other, that the form is almost certainly

Song with Trio; but there is a strong intimation of the Rondo-form in

the elaborate variation of the _da capo_, and in the treatment of the

coda (last 17 measures), in which motives from both Songs are

associated so closely as to vindicate their kinship. In a word, this

movement possesses,--despite the apparent independence of its

Songs,--some degree of that continuity, compactness and artistic finish

which culminate in the genuine Rondo-form.

3. Mozart, pianoforte sonata, No. 10, second movement (_Rondeau en

polonaise_). The continuity and unity of this composition is so

complete that it is certainly a Rondo-form; the principal theme is a

fairly large Three-Part form; the subordinate theme (measure 47-69) is

a Two-Part form, the second part corresponding in contents to the

second Part of the principal theme; the _recurrence_ of the principal

theme is abbreviated to one of its three Parts, and is merged in the

coda (last seven measures), which assumes the nature of a mere

extension. Despite all this evidence, there still remains a certain

impression of structural independence, which, so to speak, betrays the

"seams," and militates somewhat against the spirit of the perfect

Rondo-form. See also, No. 13, Adagio.

4. Beethoven, pianoforte sonata, op. 2, No. 2, _Largo_; the unessential

details omitted in the following (in order to economize space) appear,

of course, in the original,--to which the student is expected to refer.

[Illustration: Example 54. Fragment of Beethoven.]

[Illustration: Example 54 continued.]

[Illustration: Example 54 continued.]

This is a genuine First Rondo-form. All the factors of which it is

composed, Phrases, Parts and Themes, are so closely interlinked that

the continuity, cohesion and _unity_ of the whole is complete. The

variety of contents which these factors exhibit (greatest, naturally,

between the two themes), does not disturb the impression that the whole

movement is a unit. This is due, at least partly, to the manner in

which the perfect cadences are disguised; each one is passed over with

the least possible check of rhythmic movement (measures 8, 19, etc.),

thus snugly dove-tailing the structural factors. The coda is elaborate

and unusually long; it consists of several "sections," as follows (see

the original): from measure 1 (the last measure in Ex. 54) to measure

4, a phrase, derived from the second Part of the Principal theme;

measures 5-7, an abbreviated repetition; measures 8-14, a phrase,

derived from the Principal theme; measures 15-17, a transitional

passage; measures 18-25, a period, closely resembling Part I of the

Principal theme; measures 26-30, final phrase.

LESSON 13.--Analyze the following examples. They are not classified;

the student must determine whether the form is pure First Rondo, or an

intermediate grade between Rondo and "Song with Trio." One of the

examples is a genuine Song with Trio; and one is a _Three-Part

Song-form_; with reasonable vigilance the student will detect these

"catches." To distinguish these three designs from each other,

recollect--

That the Three-Part Song-form consists of three _single Parts_, fairly

similar in character, fairly small in form, and severed either by a

firm cadence, or by unmistakable proof of new "beginning;"

That in the first Rondo-form, at least one of the themes (if not both)

contains _two_ (or three) Parts; and,

That in the Song with Trio, the two "Songs" are more independent of

each other, and more decisively separated, than are the "themes" of the

Rondo-form.

With reference to all uncertain cases, it must be remembered that _the

more doubtful a distinction is, the less important is its decision_.

These designs naturally merge one in another, and at times it is folly

to impose a definite analysis upon them.

The analysis should be as minute as possible, nevertheless. The first

step is to define the extremities of the two themes. This fixes the

coda (and the introduction, if present); the re-transition (returning

passage into the Principal theme); and the transition into the

Subordinate theme--if present. The form of each theme must be defined

in detail, as in Ex. 54:--

Beethoven, pianoforte sonatas: op. 2, No. 1, _Adagio_.

Op. 7, _Largo_.

Op. 2, No. 3, _Adagio_.

Op. 79, _Andante_.

Op. 27, No. 1, _Allegro molto_.

Schubert, pianoforte _Impromptus_, op. 90, No. 2; and No. 3.

Chopin, _Mazurka_, No. 26.

Chopin, _Nocturnes_: op. 27, No. 1.

Op. 32, No. 2.

Op. 37, No. 2.

Op. 48, No. 1.

Op. 55, No. 1; and No. 2

Op. 62, No. 1.

Op. 72, No. 1 (E minor, posthumous).

CHAPTER XIV. THE SECOND RONDO-FORM.

As described in the preceding chapter, the Second Rondo-form contains

two digressions from the Principal theme, called respectively the first

and second Subordinate themes. It bears the same relation to the

Five-Part Song-form, that the First Rondo-form bears to the Three-Part

Song-form.

For the sake of effective contrast, _the two Subordinate themes are

generally differentiated_ to a marked degree; more precisely stated,

the _second_ Subordinate theme is likely to differ strikingly both from

the Principal theme and from the first Subordinate theme; the result is

that, as a general rule, the second digression is more emphatic than

the first.

To prevent the enlarged design from assuming too great dimensions, the

several themes are apt to be more concise than in the first Rondo-form;

the Two-Part form is therefore more common than the Three-Part; the

first Subordinate theme is generally brief, and the Principal theme

upon its recurrences, is frequently abbreviated,--especially the last

one, which often merges in the coda.

An example of the second Rondo-form (which may be sufficiently

illustrated without notes) will be found in the last movement of

Beethoven's pianoforte sonata, op. 49, No. 2 (G major). Number the one

hundred and twenty measures, and define the factors of the form with

close reference to the following indications--the figures in

parenthesis denoting the measures:

_Principal theme_. Part I (1-8), period-form; Part II (9-12), phrase;

Part III (13-20), period-form.

_Transition_, period-form (21-27), leading into the new key.

_First Subordinate theme_, period-form (28-36), with

_Codetta_, repeated (37-42).

_Re-transition_ (43-47).

_Principal theme_, as before (48-67).

_Second Subordinate theme_, double-period (68-83); the process of

_Re-transition_ manifests its inception about one measure before (82),

and is carried on to measure 87.

_Principal theme_, as before (88-107).

_Coda_, period, with modified repetition of consequent phrase

(108-119),--followed by an extra perfect cadence, as extension.

LESSON 14.--Analyze the following examples, as usual. Review the

directions given in Lesson 13:--

Beethoven, pianoforte sonatas: op. 10, No. 3, last movement.

Op. 14, No. 2, last movement (called _Scherzo_).

Op. 79, last movement (very concise).

Op. 13, _Adagio_ (still more concise. Is this not a Five-Part

Song-form?)

Beethoven, _Polonaise_ for the pianoforte, op. 89.

Mozart, _Rondo_ in A minor, for pianoforte.

CHAPTER XV. THE THIRD RONDO-FORM.

In this form of composition there are three digressions from the

Principal theme. But, in order to avert the excess of variety, so

imminent in a design of such length, the digressions are so planned

that _the third one corresponds to the first_. That is, there are here

again only two Subordinate themes (as in the Second Rondo-form), which

alternate with each other, so that the succession of thematic factors

is as follows: Principal Theme; 1st Subordinate Theme; Principal Theme;

2d Subordinate Theme; Principal Theme; 1st Subordinate Theme; Principal

Theme; and coda.

It will be observed that this arrangement is another confirmation and

embodiment of the Three-Part (tripartite) form, with its "recurrence of

the first section," magnified into larger proportions than any examples

thus far seen. The three portions are called, _Divisions_. The first

is known as the _Exposition_, comprising the Principal Theme, First

Subordinate Theme, and recurrence of the Principal Theme; the second

division consists of the Second Subordinate Theme only; the Third

Division is the _Recapitulation_ of the first Division.

THE EXPOSITION.--This first Division, the "statement," compounded of

two themes and a recurrence, is in itself a complete (though probably

very concise) First Rondo-form; therefore, in order to confirm the

intended design, at least one of its themes must contain two (or more)

Parts,--otherwise it would be no more, all together, than a Three-Part

Song-form, and the _whole_ Rondo would be reduced to the design of the

First Rondo-form. In a word, the Exposition must correspond concisely

to the table given on page 108. The First Subordinate theme takes its

usual emphatic position in a different key,--generally closely related

to the key of the Principal theme.

Sometimes, but by no means regularly, the Exposition closes with a

decisive perfect cadence in the original key.

The Middle Division.--As this should balance (at least approximately),

the Exposition, it is likely to be a fairly broad design,--not greater,

however, than a Three-Part Song-form (possibly with repetitions), and

often no more than a Two-Part form. As intimated in the preceding

chapter, the Second Subordinate theme is usually strongly contrasted

with the other themes, in character, key, and length; but the same

unity of total effect is necessary, as in the smaller Rondo-forms. The

re-transition (or returning passage) is often quite lengthy and

elaborate; it is seldom an independent section of the form, however,

but generally developed out of the last phrase of the theme, by the

process of "dissolution,"--to be explained more fully in Chapter XVII.

THE RECAPITULATION.--This corresponds, theoretically, to the _da capo_

in the Song with Trio, or to the variated recurrence of the Principal

theme in the First Rondo-form. But it is more than either of these.

The term "Recapitulation" is more comprehensive than "recurrence" (in

the sense in which we have thus far employed the latter word), as it

always refers to the reproduction of a _collection_ of themes, and,

chiefly on this account, is subject to certain specific conditions of

technical treatment.

Recapitulation, in the larger designs of composition, _invariably

involves transposition_, or change of key,--the transposition of the

First Subordinate theme, from the key chosen for its first announcement

(in the Exposition) back _to the principal key_ of the piece. This,

as may be inferred, greatly affects the original transition and

re-transition; and it may necessitate changes within the theme itself,

in consequence of the change of register.

Further, the last recurrence of the Principal theme being no less than

its fourth announcement, is rarely complete; as a rule, a brief

intimation (the first motive or phrase) is deemed sufficient, and this

is then dissolved into the coda; or the Principal theme, as such, is

omitted, or affiliated with the coda, or one of its sections.

{119}

For an illustration of the Third Rondo-form, the student is referred to

the last movement of Beethoven's pianoforte sonata, op. 2, No. 2, the

diagram of which is as follows:--

_Middle_

_Exposition._ _Division_ _Recapitulation._

------------------------ ---------- ----------------------------------

Pr.Th. 1stSub.Th. Pr.Th. 2d Sub.Th. Pr.Th. 1st Sub.Th. Pr.Th. and Coda

------------------------ ---------- ----------------------------------

A maj. E maj. A maj. A minor A maj. A maj. A maj.

For its detailed analysis, number the measures as usual (there are 187,

the "second ending" not being counted), and define each factor of the

form by reference to the given indications,--the figures in parenthesis

again denoting the measures:--

_Principal Theme_, Part I (1-8), period-form. Part II (9-12), phrase.

Part III (13-16), phrase.

_Transition_, period-form (17-26), leading into the new key.

_First Sub. Theme_, period, Antecedent (27-32), Consequent (33-39).

_Re-transition_ (40).

_Principal Theme_, as before, (41-56). This ends the EXPOSITION.

_Second Sub. Theme_, Part I (57-66), period, literal repetition. Part

II (67-74) period-form. Part III (75-79) phrase.

Parts II and III repeated (80-92); the process of _re-transition_

begins one measure earlier (91), and is pursued to measure 99.

The RECAPITULATION begins in the next measure with the

_Principal Theme_, as before, slightly modified (100-115).

_Transition_, as before, slightly abbreviated (116-123).

_First Subordinate Theme_, as before, but transposed to the principal

key, A major, and somewhat modified (124-135).

_Principal Theme_ begins in measure 135, where the preceding theme

ends; consequently, there is an Elision. In measure 140 it is

dissolved into the

_Coda_: Section 1 (to measure 148).

Section 2 (149-160).

Section 3 (161-172).

Section 4 (173-180).

Section 5 (to end).

LESSON 15.--Analyze the following examples, as usual. They represent

chiefly the Third Rondo-form, but _one example each_ of the First and

Second Rondo-forms have been introduced, to stimulate the vigilance of

the student. Review the directions given in Lesson 13:

Beethoven, pianoforte sonatas: op. 26, last movement, (very concise,

but a perfect model of the form).

Op. 28, last movement.

Op. 7, last movement.

Op. 2, No. 3, last movement.

Op. 13, last movement.

Op. 22, last movement.

Op. 14, No. 1, last movement.

Op. 31, No. 1, _Adagio_.

Beethoven, _Rondos_ for pianoforte, op. 51, No. 1; and op. 51, No. 2.

Mozart, pianoforte sonata, No. 4, last movement; No. 3, last movement.

CHAPTER XVI. THE SONATINE FORM.

CLASSIFICATION OF THE LARGER FORMS.--The Sonatine form is the smaller

variety of two practically kindred designs, known collectively as the

Sonata-allegro forms. In order to obtain a clear conception of its

relation to the latter, and also to the Rondo-forms, it is necessary to

subject the entire group of so-called "higher" forms to a brief

comparison.

The larger, broader, or "higher" designs of musical composition are

divided into two classes: the three _Rondo-forms_, and the two

_Sonata-allegro forms_. The latter constitute the superior of the two

classes, for the following reasons:--

In the first place, the rondos rest upon a narrower thematic basis,

centering in one single theme--the Principal one--about which the other

themes revolve. Further, their most salient structural feature is

nothing more significant than simple _alternation_ (of the Principal

theme with its one or more Subordinates) the Principal theme recurs

after each digression with a persistence that lends a certain

one-sidedness to the form,--only excepting in the Third (and highest)

Rondo-form, which, by virtue of its broad Recapitulation of the first

Division, approaches most nearly the rank of the Sonata-allegro design,

as will be seen.

In the Sonata-allegro forms, on the other hand, the leading purpose is

_to unite two co-ordinate themes upon an equal footing_; one is to

appear as often as the other; and the two themes _together_ constitute

the thematic basis of the design. These are, as in the rondos, a

Principal theme (called principal because it appears first, and thus

becomes in a sense the index of the whole movement), and a Subordinate

theme (so called in contradistinction to the other),--contrasting in

character, as usual, but actually of equal importance, and of nearly or

quite equal length. To these, there is commonly added a codetta (or

"concluding theme" as it is {122} sometimes called, though it seldom

attains to the dignity of a _theme_),--sometimes two, or even more,

codettas, which answer the general purpose of a coda, rounding off and

balancing this Division of the design. This union of the two or three

thematic components that are to represent the contents of the design,

is the _Exposition_, or first Division, of the Sonata-allegro forms.

It indicates a point of contact between the latter and the rondo,--in

the _Third_ form of which we also find an Exposition. Careful

comparison of the two types of exposition reveals the significant

difference between the two classes, however; in the Third Rondo, the

exposition was an _alternation_ of themes, with decided preference for

the principal one; in the Sonata-allegro it is a _union_ of themes,

without preference, resulting in a broader thematic basis.

THE SONATINE FORM.--In the Sonatine-form, or the smaller variety of the

sonata-allegro designs, this Exposition (or first Division) is followed

_at once_,--or after a few measures of interlude, or re-transitional

material,--by a Recapitulation of the Division, as was seen in the

Third Rondo-form, and under the same conditions of transposition as

there. The diagram of the form is therefore as follows:--

Exposition. Recapitulation.

----------------------------- ------------------------------

PR. TH. SUB. TH. CODETTA. Very PR. TH. SUB. TH. CODETTA.

----------------------------- brief ------------------------------

As usual. In some Optional. Inter- As In the Also in

related lude before. principal principal

key. key. key.

An additional coda is, as usual, likely to appear at the end.

This diagram should be very carefully compared with that of the Third

Rondo-form on page 119, and the points both of agreement and

dissimilarity noted. More minute details of the Sonatine form will be

given in the next chapter, in connection with the larger and more fully

developed Sonata-allegro form.

An illustration of the Sonatine-form will be found in Mozart, 6th

pianoforte sonata, _adagio_. Number the measures, as usual, and

analyze with reference to the indications given; the figures in

parenthesis again denote the measures.

_Principal Theme_, B-flat major, period-form,--possibly double-period,

because of the slow tempo and large measures (1-8). There is no

Transition.

_Subordinate Theme_, F major, period-form, extended. Antecedent

(9-12); consequent, very similar (13-16); extension by addition of new

phrase, as in the group-form (16 1/2-19).

_Codetta_, also in F major, very brief, only one-half measure, and

repeated as usual (19 1/2-20). This ends the Exposition.

_Interlude_, the remaining beats of measure 20; it is, of course, a

brief re-transition, and is therefore strongly suggestive of the First

Rondo-form, the _details of which exactly coincide, thus far, with the

above factors of the sonatine-form_. Such coincidences merely confirm

the unbroken line of evolution, and are to be expected in the system of

legitimate, rational music designs. The RECAPITULATION (the original

_da capo_) follows, beginning with the

_Principal Theme_, B-flat major, as before (21-28) but somewhat

embellished. Again, there is no Transition. (Here the similarity to

the First Rondo ends.)

_Subordinate Theme_, corresponds very closely to the former version,

but transposed to B-flat major, the principal key, and variated (29-39).

_Codetta_, also in B-flat major (39 1/2-40), slightly extended. There

is no coda.

LESSON 16.--Analyze the following examples of the sonatine-form, in the

usual exhaustive manner:--

Beethoven, pianoforte sonatas; op. 10, No. 1, _Adagio_.

Op. 31, No. 2, _Adagio_.

Mendelssohn, _Andante cantabile_ in B-flat major (pianoforte).

Mozart, pianoforte sonata. No. 17, _Andante amoroso_ (somewhat longer

interlude).

Mendelssohn, _Presto agitato_ in B minor for pianoforte (preceded by an

"Andante cantabile" which has no connection with the sonatine-form of

the _presto_, but may also be analyzed). This design is very broad;

each factor is expanded to its fullest legitimate extent, especially

the "codetta" section.

{124}

CHAPTER XVII. THE SONATA-ALLEGRO FORM.

ORIGIN OF THE NAME.--The fully developed Sonata-allegro form is the

design in which the classic overture and the first movement of the

symphony, sonata and concerto are usually framed. The student must be

careful not to confound this musical form with the _complete_ sonata of

three or four movements. It is not to be called the "sonata form," but

the "sonata-allegro form." It is to one movement only, generally the

first one, which is (or was) very commonly an _allegro_ tempo in the

sonata and symphony, that the present design refers; and its name,

sonata-allegro, is derived from that old historic species of the sonata

which consisted originally of but one movement, generally an _allegro_.

THE SONATA-ALLEGRO FORM.--As distinguished from the sonatine-form, with

its two Divisions, this larger species, based upon precisely the same

structural idea, has _three Divisions_,--the Exposition, a middle

Division called the Development (growing out of the brief interlude of

the sonatine-form), and the Recapitulation. The diagram (the keys of

which correspond to the plan of Beethoven, op. 14, No. 2, first

movement) is as follows:

Exposition. Middle Div. Recapitulation.

---------------------- ------------- -------------------------

Pr. Sub. Codetta. Development, Phr. Sub. Codetta

Th. Th. various keys, Th. Th. and Coda.

---------------------- ending with -------------------------

G maj. D maj. D maj. Retransition. G maj. G maj. G maj.

Compare this diagram, also, with that of the Third Rondo-form, and

note, accurately, the points of resemblance and contrast.

Compare it, further, with the diagram of the sonatine-form, on page

122. It will be observed that here the Recapitulation does not follow

the Exposition at once, as there, but that a complete middle division

intervenes, instead of the brief interlude or re-transition; from which

the student may conclude that the sonatine-form gradually grows into

the sonata-allegro form, as this interlude becomes longer, more

elaborate, and more like an independent division of the design. Or

inversely, and perhaps more correctly, the sonata-allegro becomes a

sonatine-design _by the omission (or contraction) of the middle

Division_.

THE EXPOSITION.--The presentation of the thematic factors, the

statement or Exposition of the two themes and codetta, is made exactly

as in the sonatine-form, though probably upon a broader scale. The

Principal theme is usually a Two-Part Song-form, at least; often

Three-Part. In broader designs, a separate transitional passage

appears; in more concise designs, the transition is developed out of

the last Part of the Principal theme by the process of dissolution--as

will be seen. The object of the transition is, as usual, _to lead into

the new key_ (of the Subordinate theme). It is sometimes, though very

rarely, omitted.

The Subordinate theme contrasts notably with its fellow, but asserts

equal importance, as a rule, and may be of equal, or nearly equal,

length. The addition of a codetta is almost indispensable, and

frequently two or more appear, growing successively shorter, and

generally repeated. In the sonata-allegro _the Exposition closes, as a

rule, with a very decisive perfect cadence_, followed by a double-bar,

and--especially in older sonatas--repetition-marks; the repetition of

the Exposition being justly considered important, as a means of

emphasizing the "statement," and enforcing the hearer's attention to

the thematic contents before preceding to their development in the

second division of the form. In the sonatine-form, on the contrary,

this positive termination of the Exposition (and consequently the

double-bar and repetition) will very rarely be found.

THE DEVELOPMENT, OR MIDDLE DIVISION. The second division of the

sonata-allegro form is devoted to a more or less extensive and

elaborate manipulation and combination of such figures, motives,

phrases or Parts of the Exposition as prove inviting and convenient for

the purpose, or challenge the imaginative faculty of the composer. In

this division, opportunity is provided for the exhibition of technical

skill, imagination and emotional passion; for the creation of ingenious

contrasts and climaxes, and, in a word, for the development of

unexpected resources not strikingly manifest in the more sober

presentation of the thematic factors during the Exposition. The

intermingling of _new material_ is naturally also involved in the

process of development; sometimes to such an extent that the new

predominates over the old,--in which case the middle Division is more

properly called an EPISODE.

This second Division of the sonata-allegro form (the Development or

Episode) corresponds precisely, as will be recognized, to the second

Part of the Three-Part Song-form; consequently, it represents the

"departure" (see page 90), and entails, in rational form, the

significant "return" to the beginning. Further, it matches to some

degree the "digression" in the rondo-forms. At all events, its

important structural function is to establish contrast; and the

necessity for corroboration of the leading thematic ideas--in

consequence of this contrast--is satisfied in the Division which

succeeds.

It is sometimes possible to mark the exact point where the Development

ends and the process of re-transition commences; but usually the return

to the beginning is accomplished so gradually that no sensible

interruption occurs.

THE RECAPITULATION.--This, the third Division, is, as usual, a review

of the original presentation of the thematic material,--the recurrence

of the Exposition. It is sometimes a nearly exact reproduction,

_excepting the necessary change of key in the Subordinate theme and

codetta_, and such modification of the transitional section as may be

thereby involved. Sometimes, however, considerable alteration is made,

at times so elaborate (especially in broader examples) that, though

preserving easy recognizability, the Recapitulation assumes the

appearance of a new version of the Exposition, and becomes a more

independent part of the design.

A _coda_ is almost always added; sometimes brief, but occasionally so

elaborate and extensive as to merit the appellation "second

Development."

DISSOLUTION.--When any section of a higher form starts out with a

perfectly definite structural intention, pursues this intention for a

time (sufficient to establish it), but then insensibly diverges and

gradually adopts a new modulatory direction,--as transition into the

following section,--the form is said to be dissolved. Such dissolution

takes place, naturally, within the _later_ section of the theme, or

Part, or whatever it may be, whose actual, definite ending in the

expected key is thus frustrated. For instance, the second (or third)

Part of a theme may be dissolved; or the last phrase of a period or

double-period; or the repetition of a phrase. And the dissolution is

invariably applied before a transition or re-transition, as a means of

interlocking the factors of the form more closely and coherently.

Therefore it is a process peculiarly adapted to the higher designs of

composition, and is seldom omitted in the sonata-allegro form. For an

illustration, see Beethoven's sonata, op. 14, No. 2, first movement:

The Principal theme is a Two-Part Song-form; Part I, a period, from

measures 1 to 8; Part II begins in measure 9, and has every appearance

of becoming also a period; its Antecedent phrase closes in measure 12,

its Consequent begins in measure 13--but its end, _as Second Part_, in

the usual definite manner, cannot be indicated; the key is quietly

changed from G to D, and then to A, in obedience to the call of the

Subordinate theme (beginning in measure 26), into which these last 10

or 12 measures have evidently been a Transition. The Second Part of

the Principal theme therefore includes the transition; but where the

Second Part (as such) ends, and the transition (as such) begins, it is

impossible to point out accurately. The definition of this Principal

theme is, "Two-Part form with dissolved Second Part," or, still better,

"_with transitional Second Part_."

* * * * * *

In our illustration of the sonata-allegro form it is necessary, on

account of limited space, to select a very concise example, of unusual

brevity,--Beethoven, sonata, op. 49, No. 1, first movement; the

original may be referred to, for the omitted details:--

[Illustration: Example 55. Fragment of Beethoven.]

[Illustration: Example 55 continued.]

[Illustration: Example 55 continued.]

[Illustration: Example 55 continued.]

The thematic factors are small, but none is omitted; every essential

component is represented.

For a more extended and fully developed example of the sonata-allegro

form, see Beethoven, pianoforte sonata, op. 14, No. 2, first movement;

number the 200 measures, and verify all the details according to the

following analysis (figures in parenthesis refer as usual to the

measures):--

_Principal Theme_, Part I, period-form (1-8). Part II (9- ), dissolved

(about 14) into _Transition_ ( -25).

_Subordinate Theme_, Part I, period, extended (26-36). Part II,

period, probably (37-41-47).

_Codetta I_, period, extended (48-58).

_Codetta II_, Small phrase, extended (59-63). Here the Exposition

closes, with the customary double-bar and repetition marks.

_Development_, Section I (64-73), from Principal theme. Section 2

(74-80), from Subordinate theme. Section 3 (81-98), from Principal

theme. Section 4 (99-107), closely resembling the Principal theme, but

in a remote key. This section practically ends the Development,

inasmuch as it culminates upon the _dominant of the original key_.

Section 5 (107-115), establishment of the dominant. Section 6

(115-124), the _Re-transition_. The _Recapitulation_ begins with the

_Principal Theme_, Part I, period (125-132). Part II, group of

phrases, longer than before (133-152).

_Subordinate Theme_, as before, but in the principal key (153-174).

_Codetta (I)_, as before, but slightly extended (175-187). The second

codetta is omitted.

_Coda_, phrase, repeated and extended (188-200).

RELATION TO THE THREE-PART SONG-FORM.--In a former chapter (XIII) the

Three-Part form was defined as the type of perfect structural design,

upon which every larger (or higher) form is based. Nowhere is the

connection more striking, and the process of natural evolution out of

this germ more directly apparent, than in the sonata-allegro design.

See the diagram on page 124. The Exposition corresponds to the First

Part, _so expanded as to comprise the two themes and codetta_, fused

into one larger division; the "statement" of a more comprehensive

thematic group than the ordinary Part contains, but no more, for all

that, than the usual initial "statement." The Development corresponds

to the Second Part (proportionately expanded), and the Recapitulation

to the Third Part, or recurrence and confirmation of the "statement."

Any Three-Part Song-form, the moment that its First Part expands and

divides into the semblance of two fairly distinct thematic sections,

becomes what might be called a miniature sonata-allegro form. Many

Three-Part Song-forms are so broad, and many sonata-allegros so

diminutive, that it is here again often difficult to determine the line

of demarcation between them. Example 55 (cited because of its

comparative brevity) is scarcely more than such a broadly expanded

Three-Part Song-form. An example which approaches much more nearly the

unmistakable Three-Part song, may be found in Mozart, sonata No. 12,

_Menuetto_:--

_Part I_, section one (embryo of a principal theme), measures 1-10,

period, extended; section two (embryo of a subordinate theme) measures

11-18, period, _in different key_.

_Part II_, group of three phrases, measures 19-30.

_Part III_, section one, as before, measures 31-40; section two, as

before, _but in the principal key_, measures 41-48.

This is, of course, a Three-Part Song-form; but the essential features

of the Sonata-allegro are unquestionably present, in miniature.

See also, Beethoven, sonata, op. 101, first movement; certainly a

sonata-allegro design, but diminutive.

* * * * * *

The superiority of the sonata-allegro form over all other musical

designs, is amply vindicated by the breadth of its thematic basis, the

straightforwardness and continuity of its structural purpose, the

perfection of its thematic arrangement, and the unexcelled provision

which it affords for unity, contrast, corroboration, balance, and

whatever else a thoroughly satisfactory structural design seems to

demand. Hence, while brief triumphs of apparent "originality" may be

achieved by simply running counter to this and similar designs, it

seems scarcely possible that any musical form could be contrived that

would surpass the sonata-allegro, the last and highest of the forms of

composition.

LESSON 17.--Analyze the following examples, as usual, carefully

defining all the details of the form, according to the general plan

adopted in our text:--

Beethoven, pianoforte sonatas; op. 2, No. 1, first movement

(diminutive, but very complete and perfect).

Op. 2, No. 2, first movement.

Op. 10, No. 3, _Largo_.

Op. 22, first movement (four or five codettas).

Op. 14, No. 1, first movement.

Op. 22. _Adagio_.

Op. 27, No. 2, last movement.

Op. 28, first movement.

Op. 31, No. 1, first movement.

Op. 31, No. 3, first movement (the last 2 1/2 measures of the

Exposition are a transitional Interlude, which leads back into the

repetition, and on into the Development).

Same sonata, _Scherzo_.

Op. 31, No. 2, last movement (coda contains the entire principal theme).

Op. 78, first movement (diminutive).

Op. 79, first movement.

Op. 90, first movement, (no "double-bar").

Op. 57, first movement.

Same sonata, last movement.

Mozart, sonatas: No. 7, first movement.

No. 3, first movement. No. 4, first movement; also _Andante_.

No. 8, first movement. No. 5, first movement.

No. 10, first movement. No. 6, first movement.

No. 1, _Andante_. No. 6, last movement.

Mendelssohn, pianoforte _Caprice_, op. 33, No. 2 (brief introduction).

Sonata, op. 6, first movement.

Op. 7, No. 7.

_Fantasia_, op. 28, last movement.

Schubert, pianoforte sonatas: op. 143, first movement.

Op. 42, first movement.

Op. 120, first movement.

Op. 147, first movement (in the Recapitulation, the principal theme is

transposed).

Op. 164, first movement (the same).

Beethoven, symphony, No. 5, first movement.

Symphony, No. 1, first _Allegro_; also the second movement; and the

_Finale_.

CHAPTER XVIII. IRREGULAR FORMS.

CAUSES.--Despite the many points of resemblance between the various

forms to which our successive chapters have been devoted,--the natural

consequence of a continuous line of structural evolution to which each

plan owes its origin,--they are separate and independent designs, with

individual character and purpose; so much so, that the composer may,

and usually does, select and apply his form according to the purpose

which he has in view. But the form is made for the music, not the

music for the form; no serious composer writes music for the sake of

the form, but chooses the form merely as a means to an end. The

highest ideal of structural dignity and fitness is, to work from the

thematic germ _outward_, and to let the development of this germ, _the

musical contents_, determine and justify the structural plan and

arrangement.

But the aims of the composer outnumber the regular forms, and therefore

modifications are unavoidable, in order to preserve the latitude which

perfect freedom of expression demands. The student may rest assured of

the existence of many irregular species of these fundamental forms (as

exceptions to the rule) and must expect to encounter no little

difficulty and uncertainty in defining the class to which his example

belongs,--until wider experience shall have made him expert.

All such irregular (or, in a sense, intermediate) varieties of form

must necessarily either admit of demonstration as modification of the

regular designs; or they will evade demonstration altogether, as

lacking those elements of logical coherence which constitute the vital

and only condition of "form and order" in musical composition.

To these latter comparatively "_formless_" designs belong:--all the

group-forms; the majority of fantasias, the potpourri, and, as a rule,

all so-called tone-poems, and descriptive (program) music generally.

On the other hand, those irregular designs which nevertheless admit of

analysis according to the fundamental principles of structural logic,

and are therefore directly referable to one or another of the regular

forms, may be classified in the following four-fold manner--as

Augmentation, Abbreviation, Dislocation, or Mixture, of the proximate

fundamental design.

1. AUGMENTATION OF THE REGULAR FORM.--To this species belong those

forms (small and large) which are provided with a separate

Introduction, or Interludes, or an _independent_ Coda (in addition to,

or instead of, the usual consistent coda).

For example, Beethoven, pianoforte sonata, op. 13, first movement; the

first ten measures (_Grave_) are a wholly independent Introduction, in

phrase-group form, with no other relation to the following than that of

key, and no connection with the fundamental design excepting that of an

extra, superfluous, member. The principal theme of the movement (which

is a sonata-allegro) begins with the _Allegro di molto_, in the 11th

measure. Similar superfluous sections, derived from this Introduction,

reappear as Interlude between the Reposition and Development, and near

the end, as independent sections of the coda.

In a manner closely analogous to that just seen, the fundamental design

of any movement in a _concerto_ is usually expanded by the addition of

periodically recurring sections, called the "_tutti_-passages," and by

a "_cadenza_," occurring generally within the regular coda. In some

concerto-allegros (for instance, in the classic forms of Mozart,

Beethoven and others), the first orchestral _tutti_ is a complete

_introductory_ Exposition, in concise form, of the thematic material

used in the body of the movement. See the first piano-forte concerto

of Beethoven, first movement.

Further, when the design is one of unusual breadth, as in some

symphonic movements, or in elaborate chamber music, the number of

fundamental thematic members may be so multiplied that it is necessary

to assume the presence of _two successive Subordinate themes_, of equal

independent significance,--such significance that neither of them could

be confounded with a mere codetta, or any other inferior thematic

member. See Beethoven, pianoforte sonata, op. 7, first movement; the

Subordinate theme runs from measure 41 to 59; it is followed by another

thematic section (60-93) which is so independent, important and

lengthy, that it evidently ranks coordinate with the former, as _second

Subordinate theme_. It might, it is true, be called the second Part of

the Subordinate theme (the latter being no more than a repeated

period); or it might be regarded as the first codetta; its thematic

independence seems, however, to stamp it Second Subordinate theme.

Further, it is not uncommon to extend the sonatine-form by adding, at

the end, a more or less complete recurrence of the Principal

theme,--instead of, or dissolved into, the customary coda. This may be

seen in Mozart, pianoforte sonata, No. 3, _Andantino_; the superfluous

recurrence of the Principal theme begins in measure 19 from the end,

after the regular sonatine-design has been achieved, fully, though

concisely.

2. ABBREVIATION OF THE REGULAR FORM.--This consists chiefly in the

omission of the Principal theme after the Development (that is, in

beginning the Recapitulation with the Subordinate theme). Other

contractions, by omission of _portions_ (Parts) of important thematic

members, during the Recapitulation, are also possible, but not so

common.

An illustration of the omitted Principal theme may be found in

Mendelssohn, Songs Without Words, No. 5:--

_Principal Theme_, period, extended (measures 1-11, dissolved into

Transition--18).

_Subordinate Theme_, phrase, repeated and extended (19-28). _Codetta_

(28-33). _Double-bar_.

_Development_ (measures 34-58). _Retransition_ (59-62).

_Principal Theme_--omitted.

_Subordinate Theme_, as before (63-76). _Codetta_.

3. DISLOCATION OF THEMATIC MEMBERS.--By this is meant, any exchange or

alteration of the regular and expected arrangement of members. This

can refer, naturally, only to what occurs _after the Exposition_,--that

is, during the Recapitulation; for it is the Exposition which

determines the plan, and regular order, of the thematic members. For

example, Mozart, pianoforte sonata. No. 13, first movement:--

_Principal Theme_, with _Transition_ (measures 1-27).

_Subordinate Theme_ (28-41).

_Codetta I_ (42-53).

_Codetta II_ (54-58). In the Recapitulation, the arrangement is thus:--

_Principal Theme, Codetta I, Subordinate Theme, Codetta II_; that is,

the first codetta appears before, instead of after, the Subordinate

theme.

4. MIXTURE OF CHARACTERISTIC TRAITS.--This process tends to affiliate

the two distinct classes of larger or higher forms, whose respective

characteristics were explained and compared at the beginning of Chapter

XVI. Upon very careful revision of this explanation, and reference to

the given diagrams, the student will perceive that the distinctive

trait of the sonata-allegro form is the section of Development which it

contains; and that of the three Rondo-forms is the absence of such a

Development. Of the mixed forms under consideration there are two: one

in which a section of _Development_ is introduced into the Rondo (as

substitute for one of its Subordinate themes); and the other a

sonata-allegro, in which the Development is omitted, and a new theme (a

sort of additional Subordinate theme) inserted in its place. In other

words, a Rondo (second or third form--probably _not_ the first

rondo-form) with a Development; and a sonata-allegro with a new Middle

theme, or Episode (as we have already called it).

The Rondo with Development is illustrated in Beethoven, pianoforte

sonata, op. 27, No. 1, last movement; it is the third rondo-form,

designed as follows:--

_Principal Theme_, Two-Part form (measures 1-24).

_Transition_ (25-35).

_First Subordinate Theme_, period, extended,--or phrase-group (36-56).

_Codetta_ (57-72).

_Re-transition_ (73-81).

_Principal Theme_ (82-97).

_Transition_ (98-106). Then, instead of the Second Subordinate theme, a

_Development_ (106-138); followed by an elaborate

_Re-transition_ (139-166), and a regular

_Recapitulation_. Two wholly independent coda-sections are added, an

_Adagio_ (derived from the third movement of the sonata) and a

_Presto_, based upon the Principal theme.

The sonata-allegro with new Middle theme is illustrated in Beethoven,

pianoforte sonata, op. 14, No. 1, first movement; the middle Division

contains a preliminary allusion to the Principal theme, but is

otherwise an entirely new thematic member, very suggestive of the

"Second Subordinate theme" of the Rondos (17-measures long,--up to the

Re-transition, in which, again, the Principal theme is utilized).

LESSON 18.--Analyze the following examples of Irregular form. They are

classified, as in the text:--

1. Beethoven, sonata, op. 81, first movement.

Beethoven, sonata, op. 49, No. 2, first movement.

Beethoven, sonata, op. 2, No. 3, first movement.

Beethoven, sonata, op. 49, No. 1, last movement (_not_ "Rondo," as

marked, but sonatine-form, augmented).

Mozart, sonata No. 1, first movement.

Mozart, sonata No. 17, last movement (Rondo, with three Subordinate

themes).

Mendelssohn, _Capriccio brillant_, in B minor. Schubert, pianoforte

sonata No. 8 (Peters ed.). _Adagio_.

2. Mendelssohn, _Praeludium_, op. 35, No. 3.

Mozart, sonata No. 8, last movement.

Schubert, sonata No. 8, last movement.

Brahms, pianoforte _Capriccio_, op. 116, No. 1.

Chopin, pianoforte sonata, op. 35, first movement.

3. Mozart, sonata No. 3, first movement.

Mozart, sonata No. 13, last movement (the Development occurs _after_

instead of before the Principal theme,--in the Recapitulation).

4. Beethoven, pianoforte sonata, op. 31, No. 1, last movement.

Beethoven, pianoforte sonata, op. 90, last movement.

Mendelssohn, pianoforte étude, op. 104, No. 2.

Beethoven, pianoforte sonata, op. 10, No. 1, first movement.

Beethoven, pianoforte sonata, op. 2, No. 1, last movement.

Mozart, sonata No. 7, _Andante_.

Mozart, sonata No. 14, last movement.

CHAPTER XIX. APPLICATION OF THE FORMS.

The use of the various forms of composition, that is, their selection

with a view to general fitness for the composer's object, is,

primarily, simply a question of length. The higher aesthetic law of

adjusting the design to the contents, of which we spoke in the

preceding chapter, comes into action after the main choice has been

determined.

The smallest complete form, that of the PHRASE, can scarcely be

expected to suffice for an independent piece of music, though its

occurrence as independent _section_ of an entire composition is by no

means rare. The nearest approach to the former dignity is the use of

the Large phrase in one instance by Beethoven, as theme for his

well-known pianoforte Variations in C minor; this theme, and

consequently each variation, is a complete and practically independent

composition. At the beginning of Beethoven's pianoforte sonata, Op.

27, No. 1, the student will find a succession of independent

four-measure phrases, each with a definite perfect cadence, and

therefore complete in itself; this chain of independent phrases is, in

fact, the structural basis of the entire first movement, interrupted

but briefly by the contrasting _Allegro_. The simple phrase may, also,

find occasional application in brief exercises for song or piano; and

we have witnessed its use as introduction, and as codetta, in many of

the larger designs.

The next larger complete form, the PERIOD, is somewhat more likely to

be chosen for an entire composition, but by no means frequently. The

early grades of technical exercises (public-school music, and similar

phases of elementary instruction) are commonly written in period-form,

and some of the smallest complete songs in literature (a few of

Schumann's, Schubert's, and others) may be defined as period-forms,

extended. The theme of the Chaconne (found in the works of Handel,

Bach, and even some modern writers) is usually a period. Of the

Préludes of Chopin for pianoforte (op. 28), at least four do not exceed

the design of the extended period. But these are, naturally,

exceptional cases; the proper function of the period-form in music is,

to represent the _Parts_, and other fairly complete and independent

thematic members of larger forms. This is very largely true of the

DOUBLE-PERIOD, also; though it is a very appropriate and common design

for the hymn-tune, and similar vocal compositions; and is somewhat more

likely to appear as complete composition (in exercises, smaller piano

pieces and songs) than is the single period. Nine of Chopin's Préludes

are double-periods.

The TWO-PART SONG-FORM, as already intimated, is not as common as might

be supposed. It is sometimes employed in smaller compositions for

piano (variation-themes and the like), or voice; and is probably the

form most frequently chosen for the hymn-tune. But its most important

place in composition is in the larger forms, as its design adapts it

peculiarly to the purposes of the themes, both principal and

subordinate.

The THREE-PART SONG-FORM, on the contrary, is unquestionably the most

common of all the music designs. Probably three-fourths of all our

literature are written in this form, with or without the repetitions,

or in the related Five-Part form. It is therefore difficult to

enumerate the styles of composition to which this admirable design is

well adapted, and for which it is employed.

The GROUP-FORMS will be found in many songs, études, anthems, and

compositions of a fantastic, capricious, rather untrammeled character,

in which freedom of expression overrules the consideration of clear,

definite form. It is the design perhaps most commonly selected for the

Invention, Fugue, and--particularly--the various species of Prélude;

though these styles, and others of decidedly fanciful purpose, are not

unlikely to manifest approximate, if not direct, correspondence to the

Three-Part Song-form. The modern Waltz is usually a group of

Song-forms.

The SONG-FORM WITH TRIO is encountered in older dances, especially the

Menuetto, Passapied, Bourrée, and Gavotte (though even these are often

simple Three-Part form, without Trio); and in many modern

ones,--excepting the Waltz. It is characteristic of the March,

Polonaise, modern Minuet, Gavotte and other dances, and of the

Minuet--or Scherzo-movement, in sonatas and symphonies.

The FIRST RONDO-FORM is sometimes substituted for the Song with Trio

(to which it exactly corresponds in fundamental design, as we have

learned) in compositions whose purpose carries them beyond the limits

of the Three- or Five-Part forms, and in which greater unity, fluency

and cohesion are required than can be obtained in the song with trio;

for instance, in larger Nocturnes, Romanzas, Ballades, Études, and so

forth. The peculiar place for the First Rondo-form in literature,

however, is in the "slow movement" (_adagio, andante, largo_) of the

sonata, symphony and concerto, for which it is very commonly chosen.

It may also be encountered in the _small_ Rondos of a somewhat early

date; and is of course possible in broader vocal compositions (large

opera, arias, anthems, etc.).

From what has just been said, the student will infer that the

rondo-form is not employed exclusively in pieces that are called

"Rondo." In the sense in which we have adopted the term, it applies to

a _design_, and not to a style, of composition; precisely as the

sonata-allegro form may appear in a composition that is not a sonata.

This must not be overlooked. Furthermore, there are a few cases in

literature in which a movement marked "Rondo" is not written according

to the rondo-form.

The Second and Third Rondo-forms are so similar in purpose and

character that they are generally applied in the same manner, with no

other distinction than that of length. Besides occasional occurrence

as independent compositions (for instance, the two Rondos of Beethoven,

op. 51, the A minor Rondo of Mozart, the Rondos of Field, Dussek,

Hummel, Czerny, etc.), these designs are most commonly utilized for the

_Finale_ (last movement) of the complete sonata, concerto,

string-quartet, trio, and other chamber-music styles; more rarely for

the finale of the symphony.

The SONATINE and SONATA-ALLEGRO FORMS, likewise, serve corresponding

purposes, and are chosen according to the length or breadth of design

desired. The sonatine-form may therefore be expected in the first

movement of smaller sonatas, or sonatinas (as they are often called),

but it is not infrequently employed in the "slow movement" of larger

sonatas or symphonies.

The most distinguished of all music-designs, the sonata-allegro form,

is almost invariably chosen for the opening movement of sonatas,

symphonies, concertos, trios, string-quartets and similar compositions,

sometimes in greatly augmented dimensions. It is also not unlikely to

appear in the slow movement, and _finale_, of the symphony.

LESSON 19.--The student may now indulge in independent research, in the

careful analysis of the following works:

The pianoforte sonatas of Haydn (every movement of each). The sonatas

for pianoforte and violin of Mozart, Beethoven, Brahms, Rubinstein,

Grieg, and others.

The Trios of Beethoven, Mendelssohn, Schubert.

The String-quartets (in pianoforte arrangement) of Haydn, Mozart,

Beethoven, Mendelssohn, Brahms, Schubert.

The Overtures (in pianoforte arrangement) of Mozart, Beethoven, Weber,

Cherubim.

The Concertos (pianoforte or violin) of Mozart, Beethoven, Mendelssohn,

Rubinstein, Saint-Saëns, Schumann, Grieg, Chopin. Also a number of

smaller (single) pianoforte compositions:--the études of Chopin; a few

études of Czerny, Cramer, Clementi, Heller; the mazurkas, nocturnes,

and préludes of Chopin; and miscellaneous pieces by modern

writers,--Grieg, Rubinstein, Tschaikowsky (and other Russians),

Sgambati, Saint-Saëns, Moszkowski, Raff, Reinecke, Scharwenka, Schütte,

MacDowell,--or any other compositions, vocal or instrumental, in which

the student may be interested, or which he may be studying.

* * * * * *

AFTERWORD.

The expression "Musical Forms" is often used, somewhat carelessly and

erroneously, with reference to _Styles_ or _Species_ of composition,

instead of to the structural design upon which the music is based. The

"Barcarolle," "Mazurka," "Étude," "Anthem," and so forth, are _styles_

of composition, and not necessarily identified with any of the

structural _designs_ we have been examining. Read, again, our

FOREWORD. The general conditions which enter into the distinctions of

_style_ are enumerated in my "Homophonic Forms," paragraph 97, which

the student is earnestly advised to read. As to the manifold styles

themselves, with which the present book is not directly concerned, the

student is referred to Ernst Pauer's "Musical Forms," and to the music

dictionaries of Grove, Baker, Riemann, and other standard writers,

where a description of each style or species of composition may be

found.

THE END.

End of Project Gutenberg's Lessons in Music Form, by Percy Goetschius