...' .■■. :;c. Hi < v:j: < ' ■■ "• . I .'": ; :■■■■! , , I ' v ' ' ' ■ , ,' ' ' si- •iiiiiiiiiiiisi Slllllliilisissias W;iiipilSi*i»«* E . ■ .'.:■:'.' .■■■: :(a ' Si ' »« lift: '.'.."■ ? .■ : ■ : ■:■■■ ■ ' ' J " ' . ' :■■■■■:■ :. :'■' '■.'. .,: ' ■,: ■■'■•■ ....'....:-'■ , ' ■ ,:' . ■ mmmmmmmmm mmmmmmmMmissm,' tyatmll aUttitierHttg Eibrarg Sttyara. Nr m $nrk BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 «.t co =£2 m ?!L University Library MT 58.B98 1894 Mus ini?i l m'?i , i!V.i?„. s y ste,na,ic course in thir 3 192"022™375™921" Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022375921 MUSICAL FORM. MUSICAL FORM A SYSTEMATIC COURSE IN THIRTY THREE EXERCISES WITH NUMEROUS EXPLANATORY EXAMPLES, MODELS, EXERCISES AND QUOTATIONS FROM THE MASTER-WORKS INTERSPERSED THROUGHOUT THE TEXT. FOR USE IN COLLEGES, PRIVATE TEACHING, AND FOR SELF -INSTRUCTION. BY LUDWIG BUSSLER. TRANSLATED, WITH THE AUTHOR'S CONSENT, FROM THE SECOND REVISED AND ENLARGED GERMAN EDITION BY N. GANS- CARL HABEL WILLIAMS & NORGATK PUBLISHER. 14, HENRIETTA STREET, COVENT GARDEN, 33, WILHELM STRASSE, LONDON. BERLIN. 20, south Frederick street, COPYRIGHT 1894 BY THE PUBLISHER. EDINBURGH. 5 PREFACE. The present branch of the Science of Composition treats of those forms, upon which are based most of the works of Haydn, Mozart, Beethoven, Weber, Schubert, Men- delssohn, Schumann and numerous others, besides the majority of living composers. Since their music, by reason of its not being subject to outward influences, evolves in conformity with its own laws, it follows that these forms owe their establishment to instrumental music. Hence the preference with which they are designated the "Forms of Instrumental Music". Albeit, their influence upon vocal music, especially upon that of the above named masters, has been very great, which fact it is an easy matter to demon- strate. In contradistinction to the contrapuntal forms, they are termed free, since they admit of every kind of tonal contexture, and are neither restricted to imitation, nor to the audible metre of the older musical style, but may nevertheless include both. It follows from this , that the demands made upon the essentially creative talent, in this province, are decidedly greater - VI - than in the foregoing studies, and that many, who have advanced thus far with tolerable skill and success, may have recognized the limits of their abilities in the task of the Study of Form. It just demands quite another gift to be able to proceed self- dependently in the production of free formations, than to yield to distinct directions with more or less aptitude. The necessary material can only be furnished by innate talent. Therefore our course in composition is so arranged, that the rudimentary studies of Harmony and Counterpoint in the Strict Style are followed by Free Counterpoint, which has the power of gradu. ally liberating the shackles of the former, and furnishes the qualified with a fund of artistic material. To train the un- qualified to become composers, however, is neither mission nor merit of the Study of Composition. From what has been stated above, it furthermore follows, that the style, to which the forms in point belong, ranges on a higher standpoint of view, than does the old contrapuntal one, which, moreover, it is capable of absorbing. For this reason, it is by no means inappropriate, that, as well as we designate Lessing, Schiller, Goethe our poetical classics, we Germans should be wont to term the three great masters in music of just that superior style: Haydn, Mozart, Beetho- ven, our musical classics, and admire in their works the loftiest productions of the musical art. In its present (second) edition, this Text-Book of Form has remained materially the same. For several emendations, I am indebted to Mons. 0. Reimann, "maitre de conferences a l'ecole — VII — normale superieure" at Paris. He has referred to my work in his treatise: "Metres lyrique d'Horace etc". His other obser- vations, cordially communicated to me by letter, have been of determinate influence particularly upon the new shape I have given the subjects on Long Period, Long Bipartite Song-form, the Song, and the Fourth Part of the Sonata form. All other emendations and additions are the product of my continued activ- ity as teacher and critic. LUDWIG BUSSLER. TABLE OF CONTENTS. Page Preface V Introduction XV PART 1. The Elementary and Song-forms. (A) The Section. § 1. The Bimeasure or Phrase . . 1 First Exercise. § 2. The Double Bimeasure 4 § 3. The Short or Quadrimeasure Section .... 5 Second Exercise. (B) The Period. § 4. The Short or Octomeasure Period 8 First Form 8, Third Exercise. I. Second Form 10 Third Exercise. II. Third Form 12 Third Exercise, III. Fourth Form . . 13 Third Exercise. IV. (C) The Short Song-forms. § 5. The Short Bipartite Song-form 15 First Form 15 Page Fourth Exercise. I. Second Form, (a) In Major Mode .... 18 Fourth Exercise. II. (B) In Minor Mode . . . 20 Fourth Exercise. III. § 6. The Long or Octomeasure Section, and the Long Period 24 I. Independent, Tonic .... 24 Fifth Exercise. I. II. Antecedent and Consequent ... .27 Fifth Exercise. II. III. Double Section 29 Fifth Exercise. III. § 7. The Tripartite Period 31 § 8. The Short Tripartite Song-form . . . . 33 Sixth Exercise. (D) The Long Song-forms. § 9. The Long Bipartite Song-form 39 Seventh Exercise. § 10. The Long Tripartite Song-form 40 (E) Licenses in Construction. * § 11. Elongation . . . 41 Ninth Exercise. I. Ninth Exercise. II. Ninth Exercise. III. § 12. Contraction " 50 Tenth Exercise. I and II. Tenth Exercise. III. § 13. Concurrence of a Final with an Initial Measure . 53 § 14. Irregular Measure-Groups 55 I. Trimeasure. II. Pentameasure. § 15. Licenses in Modulation 57 § 16. Motive and Thematic Work 60 — XI — Paga PART II. Song- forms Applied. (A) The Compound Song-form. § 17. Compound Song-form 64 § 18. Variation. Etude. Prelude .... 65 § 19. The Dance Forms proper 66 Polka 68 Galop 69 Mazurka 69 Waltz ' ... .69 Eleventh Exercise. § 20. The March Forms 72 Festal March 73 Funeral March 83 Polonaise . . . 83 Contredanse, Quadrille 84 Twelfth Exercise. § 21. Idealized Dance Forms . . 84 Minuet. Scherzo. Thirteenth Exercise. § 22. Special Forms .93 Fourteenth Exercise. Fifteenth Exercise. (B) The Lower Rondo Forms. § 23. Introduction . . • 96 § 24. Rondo of the First Form 97 Sixteenth Exercise. § 25. Rondo of the Second Form 104 Seventeenth Exercise. § 26. Rondo of the Third Form 107 Eighteenth Exercise. § 27. Transitional Forms 112 — XII - Page (C) The Song. § 28. The Song 113 Nineteenth Exercise. PART III. The Sonata Form. § 29. The Sonata and the Sonata Form 117 (A) The Sonatina. § 30. The First Part of the Sonatina Form 121 Twentieth Exercise. § 31. First Part of the Sonatina in Minor Mode . . 126 Twenty-First Exercise. § 32. Third Part of the Sonatina Form in Major Mode . 129 Twenty-Second Exercise. § 33. Third Part of the Sonatina in Minor Mode . 130 Twenty-Third Exercise. § 34. Omission of the Modulation in First Part . . 134 § 35. The Second Part of the Sonatina Form . . 135 Twenty-Fourth Exercise. (B) The Sonata. THE FIRST PART OF THE SONATA FORM. § 36 Extension of the Chief Subject 140 (a) By Repetition, usually with Appendix . 140 (b) By Annexation 142 (c) By Period-construction . 144 Twenty-Fifth Exercise. § 37. The Mediating Episode 155 (a) Borrowed from thematic contents of Chief Subject 157 (b) Independent 159 (c) Combination of hinds (a) and (b) . . . 160 XIII Twenty-Sixth Exercise. §38. The Secondary Subject . . 161 Twenty-Seventh Exercise. § 39. The Conclusion .... . . ... 165 § 40. The Appendix . 167 § 41. The Return 169 Twenty-Eighth Exercise. THE THIRD PART OF THE SONATA FORM OR THE RESTATEMENT. § 42. The Restatement 171 Twenty-Ninth Exercise. § 43. Modulatory License 175 § 44. Modification of the Single Members in the Third Part 176 THE SECOND PART OF THE SONATA FORM OR THE DEVELOPMENT. . § 45. The Development .179 § 46. Thematic "Work . . . 179 Thirtieth Exercise. THE FOURTH PART OF THE SONATA FORM OR THE BEETHOVEN ANNEX. § 47. The Beethoven Annex 186 § 48. Licenses of the Sonata Form 188 188 193 193 194 195 197 1. Licenses in. Modulation 2. Displacement of Divisions 3. Introduction and Independent Episode 4. Change of Time and Tempo .... 5. Thematic Work .... . . § 49. Modification of the Sonata Form in the Finale — XIV — PART IV. The Higher Rondo Forms. § 50. The Higher Rondo Forms ... .... 200 § 51. The Fourth Rondo Form . 200 Thirty-First Exercise. § 52. The Fifth Rondo Form 203 Thirty-Second Exercise. § 53. The Extended Forms in Slow Tempo . ... 207 Thirty-Third Exercise. I. § 54. The Sonata as an Independent, and as a Concrete, Work of Art 216 Thirty-Third Exercise. II. § 55. Suite. Symphonic Poem 220 § 56. Vocal Music in Instrumental Forms .... 231 MUSICAL FORM. INTRODUCTION. 1. The study of Musical Form presupposes a proficiency in the Sciences of Harmony and Counterpoint. To interlace these in one with the Science of Form would not alone be detrimental to the lucidness of a course of study, but would also confuse the student, and retard his development. 2. The task here in point is that of construction, i. e., the grouping together of identical, similar and diverse musical thoughts into one complete organism, which in music is commonly designated as a piece, but is called, in concrete determination, form. 3. Construction is free, when it is not, as with Counterpoint, restricted to Imitation, nor, as in the older forms of Opera and Instrumental Music, to the distinctly audible metre. However, the free forms may include every manner of contrapuntal style, and the audible metre is by no means excluded, since the dance-forms belong to them. 4. The varieties of forms being very great, a course of study must needs treat only upon such principal forms, as constitute the basis of all the others.^ Among those, the Elementary forms and the Sonata form deserve the most attention : the former, because of their constituting the minutest parts of all forms; the latter, by reason of its overtopping every one of the other forms, as regards variety, wealth of content and adaptability. 5. Mozart and Haydn developed • these forms to absolute perfection. Beethoven enriched and enlarged them with the greater solidity and variety of his harmonic contexture, with his path-beating — XVI - productions in the province of instrumental tone-color, and with his consummation of thematic work, the equivalent for the former contrapuntal style. He thus to a certain extent unites all the previous tendencies of musical art upon the higher standpoint of a free, rhythmical formation, and is just therefore essentially the master of modern art, from whose works models are preferably to be drawn. 6. In order to facilitate the simultaneous teaching of several pupils, a method has here been adopted throughout, which consists in the employment of the limited first exercises for the production of the later extensive ones; since only the greater minority of pupils are capable of furnishing new material for each exercise, without becoming cursory and careless in their work. Remark. The first complete system of the Science of Form was produced by A. Eeicha (died at Paris, 1836). C. Czery (died at Vienna, 1857) translated it into German, and annotated it, with special regard to the works of Beethoven. A. B. Marx (died at Berlin, 1866) improved the entirely too abstract terminology of his' predecessors, by bringing it closer within the province of general usage (of the German language); and acquired a great deal of merit in contributing to the intelligibility and propagation of the science. PART I. THE ELEMENTARY AND SONG-FORMS. (A) THE SECTION, § 1. THE BIMEASURE OR PHRASE. In order to render the species of time of a musical strain intelligible to the sense of hearing, it is requisite, that the length of this strain exceed at least one measure; for it is the return of the similar moments of the species of time (i. e., of like measure- components) in the second measure, that renders the kind of time discernible to the ear. A series of tones, whose species of time is rendered in- telligible to the sense of hearing by being in excess of the length of one measure, is what we designate a Bimeasure or Phrase. The Bimeasure constitutes the fundamental element of our entire classical instrumental forms, in consequence of which, the majority of compositions belonging to these may easily be resolved into JBimeasures. This assertion is not in need of any special proof, as it will be verified by all the examples contained in the present work. We distinguish three kinds of Bimeasures, viz.: 1. Such as completely fill the space of two measures with notes; as for example:* — * As it is but fair to presuppose an acquaintance with, the works here referred to, it will be admissible to quote them for the most part in melodic extract, in order to save considerable space. It would not be advisable to confine these references to a melodic extract without this presupposition, for, the taking asunder of a con- crete work of art, according to abstract forms of reasoning, involves an aesthetic contradiction to truth, and is liable to mislead the youthful imagination into the channel of disastrous abstractions. The young composer should therefore complete in his mind the melodic extract of the work, either from memory, or from the original. B ussier, Musical Form. 1 Phrase. § 1. Ex. 1. Beethoven, MoZAKT. JH.UTI|J < J ll j l l tf,/3l7n" r l l^tf, a. - ,, Haydn. «w J ^ 1 1, , . i J i J ii ' r 2. Such as do not fill the second measure, but either sup- plement it with rests, or leave the remainder open for connection with a new thought. (a) Supplemented with rests. Beethoven. Ex.2. EETHOVEN. ftlft ft t> j/r.rirffg| ^S ^f! jfffff l ff I ? ji'f'-jjjj. i .j'-i l jA-^Jlfflip l ^) ie/< open /or- further connection. Ex. 3. Beethoven. . 3. Beethoven. New Phrase. | Mozakt. tor cEtcf i^r jA *E i J J 1 1 r \ I ^ - T ° if - Haydn. ^ j}M r *• fti u ]■ j, jp i j- n Phrase. § 1. 3 3. Such as lead into what follows, i. e., into the third measure; thus: — Ex.4. Beethoven. Mozart. Adagio. Haydn. ^^^I^H^r.jjj I jj jyj-. H In the case of several of these exercises the attention is directed, by means of brackets, to the fact, that the ear does not count a measure from bar to bar, but from the first note to the com- pletion of the metrical value of such a measure. Thus, if a piece commence with an up-beat, its metre is counted from this on. Numerous Bimeasures resolve into two monomeasure thoughts, thus: — Ex. 5. Beethoven. I, Haydn. y« |f ciLffjr. 1 ^ Wherever it seems advisable to call attention to this division, such Bimeasures will be designated according to metrical numera- tion* by "2x1". * By Metre is meant the arrangement into measures, and the connections and divisions of measures according' to numeral conception. Rhythm is the measured mo- tion of music on a basis of such a division into multifarious moments of fixed dura- tion. The metrical art is represented in music by the different kinds of time; rhyth- mical art, by the species of note-values. For instance, the beats, 1, 2, 5, 4 constitute a Metre, but the Motion, U [ ! [ \j which occurs on a basis of this metre, is a Rhythm. 1* 4 Double Phrase. § 2. First Exercise. Write numerous Bimeasures of all three kinds, particularly the first. They are to be executed with complete harmony for the Piano (some, at will, for String Quartet, Harmonium, Organ, or even for voices), the best ones to be selected and numbered for later use. In relation to them are to be considered all the principal tempi. One should also endeavor to subject himself to the influence §i various characteristic attributes, such as the pastoral, religious, doleful, cheerful &c. in writing this and all subsequent exercises. The following examples from Beethoven illustrate, each, one of the three kinds of Bimeasure or Phrase. MODELS. Ex. 6. Beethoven. Presto. Allegro con brio. ffe i^-imu m? as s= %B f^nrw* j'jj'H&ii, Adagio grazioso IS fir r fl l -U ^g ■S a *§m m ^ § 2. THE DOUBLE BIMEASURE. The mere repetition of a Bimeasure is not designated a Quad- rimeasure according to metrical numeration , but 2X2, i. e., twice a Bimeasure. Thus: — Ex.7. ^m * m ± Accordingly, we term such a repetition a Double Bimeasure or Double Phrase. Short Section. § 3. The importance of these designations and appellations to the technic of composition will be seen in the more extended con- structions. Nevertheless, here, with practical studies in composition, there is no actual need of fixing the terms of form -construction in their minutest details. This is rather the office of musical science. Mere, the ideas are conveyed by a teaching system as the vehicle of designation, and are determined only so far as is in keeping with the technical end in view. Such variants as touch only the tonal and not the rhythmical structure, arc also considered repetitions, the similarity being the distinguishing feature; as for instance in both of the following:— Ex. 8. Ex. 9. fljj J I r r m r r r u j* Beethoven. h l ' i SU Pi P [ iCT ^i fjp =fc= Even rhythmical variants are permissible with repetitions, when they do not affect vital points, but are confined to subordinate mo- ments. This is the case, for instance, with embellishments, figurate adornments and the like. Thus: — Ex. 10. Beethoven. EETHOVEN. T ^^O ^= ^=£ §3. THE SHORT OR QUADRIMEASURE SECTION. Any other expansion to the extent of four measures consti- tutes a Short or Quadrimeasure Section. This, too, is of three kinds; viz.: (1.) that, which complety fills the space; (2.) that, ■which does not; (3.) that, which leads over to a continuation. Short Section. § 3. (1.) Filled up. iix. II. Ueethovek. P^ il. it If | U, I' I Nil 1 ! II 1 2x1 | 1 2 | I 2x1 l /V null Tip i^TTTT | | 2 (2.) Not filled. MoZABT. jfrMrflftrff ^ Here, the last quarter in the Quadrimeasure is left open for connection. (3.) Leading Beethoven. onward. ju r lfjHM3ff|f.C/r J Tr]lr lm "■" |^"*u — * i J 1 " -£ — ^p- =ffff k riir efjr hT i rrn r in JJ-rli/J '^111 — ^-*«j In metrical numeration, the Short Section is designated by the figure, 4. In cases where the exact determination of its inner organization is required, it is designated thus: 2 + 2, (2 X 1) + 2 and similarly. Second Exercise. Write numerous quadrimeasure Sections. (1 ) By extending the numbered Bimeasures of Exercise I, each one in various ways. (2.) Write entirely new ones. Short Section. § 3. MODELS. Allegro. Ex. 12. i Beethoven. &E 3 : b r, J r f r | J- ^IJTJ] j_j Adagio molto espr #pg "f fi J? M H t ^S ^Q T 7T r j . j Jj . r^ j ^ aa n"' i r ' r fff ^ Allegro. _^f r TTjr- ^ ■r r-> ^ ^ f §= fete f uo c ^- Short Period. § 4. (B) THE PERIOD. § 4. THE SHORT OR OCTOMEASURE PERIOD. The unvaried repetition of one and the same Section by the repeat sign produces no new form. A written out, or a varied repe- tition gives what is termed a Double Section. If the repetition of the strain be so varied, as to form with the original a harmonic contrast, which places them in the recip- rocal relation of Antecedent and Consequent, a Period is the result. This relation is occasioned by the dissimilitude of their ca- dences. First Form. The Antecedent has a Semi-cadence on the Dominani; the Consequent, a Perfect Full Cadence on the Tonic. Ex. 13. .. Beethoven. 11 , arv k I . ■ I I r»L I g g ^ , r B i MP? g^ Ant.BRedfiTit. » tt n ^-— — i Short Period. § 4. 11 ^ If ^^w I I l^m' r.nnKeniient. Consequent. t ft g ffl: ■s Maestoso andante. ^#^^#^#1 il p cresc. /" ff ^ *,b II: £ i £ p cresc. /" // ^ a ff If ^-^HJjrffe^/ ? jj) >^ ^-Mj;j^LZ± ^ ^^^ Si p»-/3 ff cresc. £ ^=^?:^=g s? ^ F*=y =3= Hipp a ^ £j, o f-I jEEiE ?=E£ ^1 — *-^T *?= sg ^e 12 Short Period. § 4. j,^S/JT*^ ^ ^m m I The theme of the Scherzo of Beethoven's At? Maj. Sonata (which, in the 1st. Ed. of this work, occupied the place of the preceding Ex.) and that of the Scherzo of his C# Min. Sonata differ from actual Double Sections merely by their containing the har- monic relation of Dominant to Tonic, which in the case of both themes, however, concerns not only their cadences, but also the entire themes, themselves. The first Section is in the key of the Dominant, the second, in that of the Tonic. Third Form. The Semi -cadence or the Dominant Cadence of the Ante- cedent is replaced by an Imperfect, and exceptionally by a Per- fect Full, Cadence on the Tonic Triad. Ex. 17. Mozaet. (Child's Song.) Imp. Full Cad. JHHi j Jt "T l^ / ji r r . rr r. I ^^ Antecedent. Pert. Full Cad. „ Webek. ^TflTrTTjU J'JJ J11J-* Consequent. Full Cad. Beethoven. M gife gSafrjfljrfrt- y+^j^ ffi* LOTjK7 | ffr|rf fr Short Period. § 4. 13 Third Exercise. III. Write several Periods of the third form. Ex. 18. Allegretto. MODELS. Beethoven. ITS f ^ j* J- -: •/ *s */ «/ •/ ■f I V £M=* , ^f ' T ' f ' f.^f r frjiij ^ t' %g ^ Fourth Form. The Consequent is not an exact imitation of the Anteced- ent, but only resembles it. Allegretto. Beethoven. Ex. 19. 1 £ ^ P i Antecedent. 3 ^gH ff - 'frySri Consequent ^. f< ; -. t^jv^mrff^ i f i ?mm instead of »^&^^ 14 Short Period. § 4. Allegro. Mozart. jVr. il n i H- i H-ff IrTf Urr jgjjgiis J J I ,1 Third. Exercise. IV. Write Periods of the fourth form. MODELS. Ex. 20. Andante cantabile. Beethoven. P *f sf * *^ J , 1 J, J , 1 J j- fgfl =^t f ADteced. rt . ffff/rBf 2*3 j/ , n /?* Consequent if Efcrtrc-ra ^^ The young composer, here pursuing the study of musical form, will, besides preparing his exercises, bestow vigilant attention to all the forms he may meet with in the course of his practical life in music, and in every case endeavor to explain them in accordance with the system here set forth. Moreover, he is supposed to carry in his memory a stock of classical music, from which he is enabled Short Bipartite Song-form. §5. 15 "to quote a model for every form, without first being necessitated lo refer to the scores. Every class of music in which the masters have moved furnishes material for this purpose — not exclusively instrumental music, but vocal as well, including the Opera and •Oratorio. The Period as an independent art form is to be found only in short songs. (C) THE SHORT SONG-FORMS. § 5. THE SHORT BIPARTITE SONG-FORM. A mere repetition of a Period, even with changes (variations) does not produce a higher form. But the conjunction of an eight- measure Period with a second part of equal length, to which it is related by affinity of contents, gives what may be termed a Short Bipartite (i. e., consisting of two parts) Song-form. Its common scheme is (2 X 4) + (4 + 4). The Antecedent of the second part receives an entirely new, or at least somewhat different content, whilst its Consequent is identical with, or similar to, the Consequent of the first part. Representing similar Sections by a, and dissimilar ones by &, this wouid be the plan: a a b a. First Form. First part: Identical with the Periods constructed in the preceding exercise, and which should be utilized here. Second part: The Antecedent deviates more or less from the first part in its contents, and forms a Semi-cadence on the Domi- nant, or, exceptionally, one of the Cadences of the 2nd and 3rd forms of the preceding §. The Consequent is either identical with, or similar to, the Consequent of the first part. 16, K oS Ah u ft I r s ■& - 53 » a o o ■- > ■ i . r •a 1- ' 1 * =,*; * 05 Ph 13 a o u a> 09 ■-"S a 03 Ph V' 1 , iii; r. 03 Pk O O >«. | N ^— i°rr^\r r r gyj Mr r 1st. Part. Antecedent. ¥ U }fl JPtH^fl I J F m Consequent ' | f*p | f f f »F - 1 £ SEEEJ? I -^iffrft as a * * « i j-ls^ 1=1 2nd Part. ^_^ Antecei ffi R^ fgj_ garrt^rt ^ ^ ^ggp^^^ B ussier. Musical Form. 18 Short Bipartite Song -form. § 5. Consequent. In this Ex., the Consequent of the second part is not exactly like that of the first part, but only similar to it. The Conse- quents of both parts are identical in the Bipartite Song-form of the piece by Beethoven, the first Period of which is given at Ex. 14 (Toco Allegretto). See Sonata, Op. 7, E b Maj., Finale. The Kondo of the Sonatina, Op. 49, No. 1, GMin., also begins with a Bipartite Song-form of this order. (A) Second Form. In the Major Mode. The first part closes with a Full Cadence in the key of the Dominant, to which it thus modulates. The second part is constructed like that of the first form, and closes in the Tonic key. Fourth Exercise. II. Write pieces in Bipartite Song -form of this second order in Major keys. Short Bipartite Song -form. § 5. 19 Ex. 23. Andante. MODEL. Beethoven l^j^frRWjtfEfraf First Part. Anteced, ^a m #4= tea * ffr -tmm^ti Imp. Full. Cad. ^k-m==i EE & a SJ p nj&ilnttf 9^=» Consequent. s ^ * Full Cad. key of Dom. 3^ — ' L J~r^ II do. \ m m j ^fes a±^j Second Part. Antecedent. 2* 20 Short Bipartite Song -form. § 5. Semi-cad. on Dom. Consequent. 4 - 1 j j j m i a (B) In the Minor Mode. In Minor, the first part closes either in the Minor key of the Dominant (A Min. in E Min. , C Min. in Gr Min. etc.) or in the parallel Major key (A Min. in C Maj., C Min. in E(7 Maj. etc.). Short Bipartite Song -form. § 5. 21 MODELS. Ex. 24. Bhetboyeh. Antecedent s b 4 tei as i *= -t i w ^ a i jj ^j jj^ Mp Consequent fc23* ^^^»E^^ -J^W *-++T* m ^ Minor key of the Dom. Antecedent. ■^mjm m-trf&^-L SLm I jc^* i 1 mUfmim'*^ ^ i i 22 Short Bipartite Song -form. § 5. ' Ornisennar Consequent. w y i i f Ex. 25. Allegretto. First Part. Parallel Maj. Antecedent. CnnspminTit 2e5 » Consequent. Second Fart. Tonic. ' ftfWtf l fflifl^M Antecedent. Consequent. Likewise the following melody, which immediately succeeds the foregoing and enters as a counterpoint to it. Short Bipartite Song -form. § 5. 23 &j i j i jj.j!iijaiUjj i t jj ji jijj i^ frju^jj^ i j^i i jiijij ipi Fourth Exercise. III. Write Bipartite Song-forms in Minor in the manner of the foregoing. Just as the repetition of a Phrase produces no Section, nor that of a Section a Period, so the repetition of a Period does not give a Song -form, even if it exhibits characteristic distinguish- ing features, and is not (as was the case in previous examples) merely a literal repetition designated by the repeat sign. Thus, the Scherzo of Beethoven's A.V Maj. Sonata Op. 26, begins with an eight- measure Period closely allied to a Double Section, which Period is repeated with rhythmical variations, con- stituting simply a Kepeated Period, but not a Song-form. Ex. 26. pd ^i i Lu TWtTI Repetitions of this kind are frequently met with in compositions in compound forms, and should be strictly distinguished from the higher forms. The Cjj Min. Sonata, too, exhibits such a repetition enhanced rhythmically through ties. Thus: — 24 Long Section and Long Period. § 6. Ex. 27. pm tfV instead of 4^/ l ^lj In the beautiful Adagio of the C Minor Sonata for Piano and Violin, the taking up of the theme by the Violin is nothing more than a repetition of the first Period. Remark on the second form in Major. The first part, when in the Major mode, occasionally closes in the Minor key of the Mediant; as C Maj. in E Min., Ab Maj. in C Min., Fjf Maj. in A# Min. Thus:— Ex. 28. fa ''■ r & r J I UA j I J- ; j ja N - J£jj:z£ t=^=^y=^s § 6. THE LONG OR OCTOMEASURE SECTION, AND THE LONG PERIOD. Two contiguous Sections of different contents, lacking har- monic and rhythmic correspondence, do not constitute a Period, but an octomeasure Section. I. Such Sections frequently terminate on the Tonic as inde- pendent ones, e. g. : — Ex. 29. P Mozart. (Juvenile Work.) r I ft r fr i rj r r4r^-J^i 1 1 ^& &=*=*&s I r ^?^ B^ Long Section and Long Period. § 6. 25 . Beethoven. HE ^ ^ _ — '- b" a u & C Maj.: Semi-cadence on G; or Full Cad. in C, or G Maj. C Min.: Semi-cadence on G; or Full Cad. in C, or G Maj. Consequent. Terminates on Tonic; or in key of Dominant; or key of Mediant. In Minor: on Tonic; or key of Dominant in Min.; or in parallel Maj. C Maj.: in C or GMaj., or EMin. C Min.: in C or G Min., or E\> Maj. Third Part. Antecedent. Same as in the first Period, but with still more prominent Semi-cadence. Consequent. Has Tonic termination. Thus, it will be seen, that the first and third parts may under circumstances be identical. The Second Part, which the Tripartite Song-form intercalates between those two parts, usually terminates with a Semi-cadence, in order to introduce the third part. Short Tripartite Song -form. § 8. 35 The greater the resemblance between the first and third parts, the greater the propriety of giving new contents to the second part. Each one of the three parts may have a Long Sectional Form instead of Period-form. (Comp. § 7.) Illustrate by means of a melody without accompaniment all the Structures of Form thus far explained. Sixth Exercise. In accordance with the foregoing, write pieces in Short Tripartite Song-form, partly from former work, partly anew. Ex. 41. Scherzo. Allegro assai. faf MODELS. Beethoven. i -#- ^ m^ mm P First Part. (A Period.) Antecedent. ^^p £6 e== iJ4 Consequent. V 3 ^ 36 Short Tripartite Song -form. § 8. ^stf^fa -a^ (A Period.) Contracted Consequent. '* ' 4 1 h ^ l(* )l ' *" r ' m Allegretto j !7 ^ \ { + ||J i \ F=^ p First Part. f" (A Period.) J I 3bi )=±=M ±=t » Second y^4k^lr j ij l^g ^ 5t==*rrs: Part. (Double Section.) jM r'rr I 'rrto; I r r tirfcj l r ^ Third jMr'r f l "fr l rrfa- l rrCA; l fi r >'^ S Part. (A Period.) g'^jljflflNjyJ l r^cm ■=& .„ (In reality a Allegro. Tripartite Period.) g !r 7^Uj j Jl jl l fl>i H I : j l V ,j. r * Here, two measures are lacking by contraction. Comp. § 12. This license, however, should not as yet be imitated. It is on account of the lucid structure of its second part, that this piece has nevertheless been chosen for an example. Short Tripartite Song -form. § 8. First Part. 'A Long Antecedent.) [Comp. § 7.] 37 fl> ! rr | r ,.-Ji' rr i f-^hj^j^p Second Part. (Same contents as first.) (Long Intermediate Section.) I .Hhyi l frrlTr i r f t l f r r Third Part (like the first). (Long Consequent.) j.' , frlrJJI t Jjj l j i ,lff JK r r a Ifrfr^ fff i fff , fffc £ a Allegro. First Part. (Long Section.) (Long Section.) |^^_ ^^ ^dl w^ * ^ ^ r jl> i 1 ;r< m £M a ^ ^^ m I 2. Second Part. (Double Section.) a a 4* ^:ll*'i LI > f f n | r ri r 38 Short Tripartite Song -form. § 8. ^^x^^±tx±t^ ^ s :j=£ ¥^p^ \ T ^i)}swwm ^ m * : m is^to^^ii g iHn Third Part (like the first). 4=£ r J f r r r The Trio of Beethoven's D Maj. Sonata, Op. 28, contains six repetitions of the same Section, admirably varied in point of harmony, which are drawn together into three Short Periods. Long Bipartite Song -form. § 9. 39 (D) THE LONG SONG -FORMS. § 9. THE LONG BIPARTITE SONG-FORM. The 16-measure Period is composed of two 8-measure Sections; the 32-measure or Long Bipartite Song-form, of two 16-measure parts. Its construction is the same as that of the Short Bipartite Song-form, namely, a a b a, with twice the length of each of its four Sections. The most appropriate example of this form would be the theme to the variations of Beethoven's A\> Maj. Sonata, Op. 26 (comp. Ex. 32, p. 26), were it not for the fact of the Ante- cedent of the second Period (the Intermediate) being elongated by two measures. By repetition of the individual parts, whether merely indicated by the repeat sign, whether varied, and for that reason written out, the number of measures becomes increased to 64. A Song-form of this kind, consisting of 64 measures through repetition is to be seen, for example, in the A Maj. episode of the Finale of Mozart's A Min. Sonata: — Ex. 42. i *fc: I faM WM 7 m T— I &C. 2*. A Period of 1 6 measures enclosed in repeat signs = 32 measures. The second part begins thus: — Ex. 43. ftVflitritof i^f^ rt " j)?lllj i I =F and closes at the end of 8 measures, to which the second Con- sequent of 8 measures is joined, making together 16 measures; repeated, 32 measures. Sum total 64. Compare "Kemarks" to the first Hondo form. 40 Long Tripartite Song -form. § 10. Seventh Exercise. Write pieces in the Long Bipartite Song-form. § 10. THE LONG TKIPARTITE SONG-FORM. In just the same manner as two long 16-measure parts go to make up the Long Bipartite Song-form, the Long Tripartite Song- form is composed of three such parts. The harmonic relations between the Partial Cadences remain the same as they were grouped last in § 8; this form being at bottom merely an elongation of the Short Tripartite form. In ordinary Dance-forms (comp. Part II), the second Period is popularly designated the second part, and, being without any thematic link, for the most part forms an entirely independent episode in the key of Dominant, which is followed by a literal repetition of the first part. In the higher forms, the second part, being thematically linked to the first, rarely takes the form of a Period, but frequently that of a string of Sections. This naturally results from the requirement of variety in the construction of the different parts, whose relation- ship is a thematic one. Even in the first and third parts, the Consequent not infre- quently departs from its identity to that extent, as not to contribute to a Period, but to the combination of two 8-measure Sections into one 16-measure Double Section. Entirely free constructions will be treated under "Scherzo". The Long Tripartite predominates among the Song-forms. To it, belong the majority of Minuets and Scherzi of the classical Sym- phonies, Quartets, Quintets, and Sonatas for one or more instruments. But in most of these movements, the form is slightly, though often unessentially, modified through elongations, or contractions. We present here an example from a later master, the Trio of Mendels- sohn's A Maj. Symphony, since it contains the division into exactly three times 16 measures, and, moreover, by reason of its emotional content, is worthy of a place beside the classical master-works. Ex.44. Long Tripartite Song -form. § 10. 41 Mendelssohn. i (From here on, in melodic extract, which should be completed from the original. gJU I ^ I -^j i j, J' j i j. [ g W quent. (Long Section.) Second Part. ^S \ ^ mU^B \ M tii'i l .l ^l ^£r rr i y £ Third Part. the First Part, 16 measures.) 42 Elongation. § 11. It is advisable henceforth to write the exercises chiefly for String Quartet, since Piano Setting is apt to lead to negligence of part-progression. Eighth Exercise. Write pieces in the Long Tripartite Song-form. (E) LICENSES IN CONSTRUCTION. § 11. ELONGATION. Without altogether changing its form, a part of a strain may become elongated by an appendix issuing from the context. One of the simplest examples is offered in the theme of Mozart's A Maj. Sonata, presented as Ex. 13. The second part of this theme, instead of concluding exactly like the first, is given an Imperfect Full Ca- dence, to which a Phrase of two measures with a Perfect Cadence is added: — Imp. Full Cad. Appendix. Ex. 45. m$^m^$m Beethoven appends to the close of the piece in Short Bipartite Song-form beginning thus (see Ex. 19): — Ex. 46. Pj^gj i £ i an entire Section of seven measures: — Ex. 47. k $N ; tofW ^^pij zli t u , t urn MMXMZ^ m Elongation. § 11. In the Rondo of the same Sonata (comp. Ex. 34.): 43 Ex. 48. he has elongated (in the same manner as Mozart has in the Ex. quoted above) the close of the Consequent two measures; thus: — Ex. 49. A similar elongation may be seen in the theme of the Largo appassionato of the A Maj. Sonata Op. 2: — Ex. 50. I 4FI 4 . =t -r ^g J XE EE£ r Here, the composer conducts the Consequent of the second part to the Dominant, before he takes up the close. Thus, the four measures of the Consequent are extended to seven: — sf sf sf Ex.51. fiigii 5 m m^^m M ^M The extensions hitherto shown are confined to the addition of but a few measures. In the Trio of the A|? Maj. Sonata, Op. 26, we 44 Elongation. § 11. find a Bipartite Song-form with a second part drawn out to twice the usual length — 16 measures instead of 8 — constituting there- fore a Long Period-form. Strains like these hold the mean between the Long and the Short Song-form, being composed of the con- stituents of both. Ninth Exercise. I. In accordance with the foregoing, elongate several of the pieces in Bipartite Song -form, that were written as the Fourth Exercise. Elongations of the kind under treatment are to be found in the Short Tripartite Song-form. So, the third part of the Allegretto of Beethoven's F Maj. Sonata, Op. 10, is elongated, in the first place, two measures through an intercalated imitation: — Ex. 52. i a Bt 'VV i J ,tt I. ^m m Imitation. m^\njnrm then, the last four measures are repeated an octave lower: Ex. 53. gg JlMM^ i 4= and finally, a concluding Section (or Period?) of eight measures is appended: — Ex. 54. f &^ ^## tf pi Jf£ H ^^E^ Thus, the third part of this Short Tripartite Song-form has, by means of intercalation, repetition and an appendix, been ex- tended to nearly thrice the length of such a part, comprising 23 measures instead of 8. Elongation. § 11. 45 The Intermediate Section of the Scherzo of the A Maj. Sonata, Op. 2, has been similarly treated. Ex. 55. ^-Osfe- This motive predominates in the first part, which is repeated. Hereupon, the second part modulates in eight measures with the same motive, from AMaj. to G$Min., to which is strung a ca- dence of two measures in the latter key. Then comes an entirely new episode in Git Min., which, after eight measures departs from this key in order to modulate in five measures back to A Maj.: — Ex. 56. New Episode. „ JNew J&pisoae. f r w it* «»ftf#r rfrfr * mm m i «= ^ 3fe± i Ufr r ir :ry l yi^ * *-ftftfitfm * zfr j? g- &M ,i. L . . rfj hk U-iJU J. ^i fej r m S£ P s 5 - Upon this, follows in regular order, the first part, forming the third, but with an appendix of four measures. In the Eondo of the E Min. Sonata, Op. 90, the Short Tripartite Song-form has been carried out regularly, excepting, that the Inter- mediate Section is repeated: — 46 Elongation. § 11. Ex. 57. Intermediate Section. fl¥» f . l ur i r^mir-f i frr iim pm Repetition. ms& Mrm m ^-t t* H k ±ai %t whilst both the Antecedent and Consequent are not. It may be remarked, by the way, that we have here a Short Tripartite Song-form, each part of which terminates with a Perfect Full Cadence on Tonic; the second part, in consequence of the repetition, does this even twice. Ninth Exercise. II. Produce elongations on several of the previously written pieces in Short Tripartite Song-form. The Adagio of the GrMaj. Sonata, Op. 31, exhibits an elongation of the Long Bipartite Song-form. The first part closes in the sixteenth measure, in which also the Antecedent of the second part begins. Close of 1st Part. 2nd begins. Ex.58. The Antecedent of this second part has ten measures instead of eight, and in the tenth, spins out a lengthy Cadenza: — Ex. 59. i tr m which leads back to the regular 8-measure Consequent. Elongation. § 11. 47 Extended similarly two measures, is the Intermediate Section {Antecedent of the second part) of the theme to the variations, with which the At? Maj. Sonata, Op. 26, opens: — Ex. 60. m$Ui cresc.sf lf-r£ Se Deceptive Cad. Appendix. TtLT Of course, an elongation may be effected on any part of the Long Bipartite Song-form. These two examples, however, will suffice for the young composer to gain an adequate insight. Ninth Exercise. III. Elongate several of the previously written Long Bipartite Song-forms. Although the Long Tripartite Song-form in itself occupies the greatest compass, elongations of it to still greater dimensions are very frequent. Instead of many examples in extract, we present here one in its completeness, the Scherzo of Beethoven's third Sonata. It begins with a 16-measure Period, based on Imitation. This is repeated. Ex. 61. Allegro. § S- rirr^ i J J J i .i i-J. UI Cr C 'r r T _ ^ Antecedent. ^ tr - fr 48 Elongation. § 11. i m Us ^^ Consequent. P »+* i r ,^ 7 ^ ^ ^c-M : &# = Maj. C Min. f l **~V ct ^S f ' af Tc orr? This transition is detained by a varying repetition of the Semi- cadence formula, which takes up seven measures. The eighth measure is at the same time the first one of the third part. Ex. 63. % >~-*—i. >■— \ V I' I V I' ll * '■ «/ «/ «/ ^^T fflTfrf^ ^ ^ =¥* %J ' VI iv^: c*.-^ ^^f^^^ rf()«. Seventh measure. Commencement of 3rd Part. m 3=T- To the third part, which is of regular construction, an Ap- pendix of 9 (i. «., 8 + 1) measures is affixed. B ussier, Musical Form. 4 50 Contraction. § 12. Ex.64. Appendix. i 7 J J ' ^ JP' i j J •/ «/ •r* «/ 9^73 1 ^J •> § ^f> : JTJ I ^J^ g tin LMJM m ' "- b J «/ ./■ £&* ff> I ^ ' & j I ^j jl!^ I JJ=S // -*h+ te ^i -?-f We have thus seen how 3 X 16 measures have been elongated to 64, exclusive of repetitions. Ninth Exercise. IV. Elongate several of the pieces in the Long Tripartite Song- form, previously written. § 12. CONTRACTION. Contraction naturally touches chiefly and preferably the extended Long Song-forms. As affecting the first part, we find it, for instance, in the Minuet of Beethoven's first Sonata, in which the first part, in- stead of being formed of 4 X 4 measures, consists of 3 X 4 + 2 = 14. (The second part is likewise contracted to 14 measures , the third part, to 12.) Contraction. § 12. 51 The second part is frequently composed of 8 measures in the manner of the Short Song-form; as for instance in the Minuet of the D Maj. Sonata, Op. 10, No. 3. In the movement in question, the first part is of the regular construction of 16 measures length, terminates on Tonic, and repeats: — Ex. 65. ^ f=f-rrr i r rq^uu_i-I f^jrh^rV=qrrr i r i r r -^M ^m fflE^ * The second part, however, has only 8 measures, and consists of a Sequence through the circle of fourths, from B Min. to D Maj. in 4 times 2 measures: — Ex C6 A j,rfrftfftrerMi;Jl4fe= In numerous cases of this kind, the Short and Long forms are comhined and, at the same time, mixed. (In the example here quoted, the succeeding third part is oonsiderahly elongated, from 16 to 30 measures.) In Mozart's Et> Maj. Symphony, too, the second part of the Minuet is contracted to eight measures: — Ex. 67. i #-Hh* ^4-ggffl Be p^ & \J I J J J- 3* fefe feF#q=Wf-^ ^g 52 Contraction. § 12. The third part of the same movement, on the other hand, is lengthened 4 measures. In the same master's G Maj. (Jupiter) Symphony, the second part of the Minuet is shortened to 12 measures: — Ex. 68. |lj_^ I jj.jlJ J_g jl J U^- LUx ^ f- ^uu , r : u^ftBaf Tenth Exercise. I & II. Produce contractions on Long Tripartite Song-forms. Contractions are not generally appropriate to the Long Bipartite Song-form, since they are apt to disturb only too conspicuously the symmetry of its parts, which is less the case with the Tripartite form. Produce contractions on several Long Bipartite Song-forms. In the Short Tripartite Song-form, a contraction of the Inter- mediate Section is occasionally resorted to; as in the following: — Ex. 69. + Mozart. $Li ^i r nrinrrnrr f l -lrfr^ ^LgTJ jlTj I f -^ p Close. Repetition from t tot, J. - 7 meas. "** This example belongs to those Short Song-forms, which are allied to the Tripartite Period (§§ 7 and 8). The Phrases of the Concurrence of a Final with an Initial Measure. § 13. 53 first part may be designated according to their similitude, abbe, thus constituting rather a Section than a Period, whilst, on the other hand, the latter seems indicated by the harmonic relation of Dom. to Tonic. In the Andante of Beethoven's D Maj. Sonata, Op. 28, the last part is contracted 2 measures: — Ex. 70. ■ Contractions- produced on the Short Bipartite Song-form would be scarcely perceptible, because of its occupying the smallest di- mensions. Tenth Exercise. III. Contract several pieces in Short Tripartite Song-form. § 13. CONCURRENCE OF A FINAL WITH AN INITIAL MEASURE. It is of frequent occurrence, especially in the longer construc- tions, that the last measure of a division of a strain concurs with the first one of the succeeding part; in other words, that a strain commences with the same measure as the one with which the foregoing closes: a conclusion and a commencement being thus united in a single measure. Such measures count among those of the part which they conclude, as also, the part they begin, i. e., count doubly. Wherever it should be desirable to indicate this property in metrical numeration, we express the final measure by a slur after the number; the initial measure by a slur before the number. Thus, for instance, 4^ indicates a Quadrimeasure, whose last meas- ure at the same time serves as the beginning of a new division; on the other hand, w 4 indicates a Quadrimeasure, whose first 54 Concurrence of u Final with an Initial Measure. § 13. measure is simultaneously the conclusion of a preceding division. Up to the present stage of the student's practice in composition, such measures have been met with almost exclusively in the Tran- sition from the Intermediate part into the Last part; which latter was either the third Period, or the Consequent of the second. Thus, for instance, the third part of the Minuet of Mozart's C Maj. Symphony enters simultaneously with the last measure of the Inter- mediate part (Ex. 68.), forming a Concurrence of the first measure of the third part with the last measure of the second, thus: — Ex. 71. 2nd Part. $ J J N S} iE 3rd Part. ^r i ^r r Similarly, this measure :- Ex. 72. rk+i? £ which must be affixed to Ex. 63., so as to complete it to an Octo- measure, constitutes both the commencement of the third part and termination of the second. In counting measures, one must note well which part of the measure the division begins with, for, musically, i. e., to the ear, measures do not count from bar to bar, but from a particular measure-member to like measure-member. (Comp. § 1, p. 3.) In the following example, from second quarter to second quarter. Ex.73 piiap Alter some of the previously written work in such manner as to occasion the concurrence of a final with an initial measure. Irregular Measure- groups. § 14. 55 § 14. IRREGULAR MEASURE-GROUPS. I. ATrimeasure is regarded as an elongated Bimeaswre or a contracted Quadrimeasure. Two Trimeasures , more fre- quently three Bimeasures, unite to form a Hexameasure, two of which constitute a Duodecimeasure etc. The Minuet of Mozart's G- Min. Symphony opens with two Trimeasures, thus: — Ex. 74. ffi^+^jg^g^ g^gg These may be comprehended as expansions of: — Ex. 75. I I I I or as contractions from:- Ex. 76. $=^^m$f r +i<=^m The cause of the peculiar aesthetic impression occasioned by such irregular formations is to be traced to this (unconsciously made) comparison with their corresponding regular formations. Beethoven and his successors explicitly designate such Tri- measures "Bitmo a tre battute", i. e., trimeasure rhythm. The most noteworthy example of the kind is to be found in the ninth Sym- phony, where this Trimeasure: — Ex. 77. P 3E2 * 3p S|^3pE£ is the subject of a very extensive thematic development. Convert previously written Bimeasures and ftuadrimeasures into Trimeasures. II. A Pentameaswe is generally regarded as being derived from a Quadrimeasure by elongation. Thus, the following one: — 56 Irregular Measure- groups. § 14. Andante maestoso. Ex. 78. JU ^ i nrrr for instance from: — Ex. 79. i EE U £ or from:- Ex. 80. Efc %£ S^ £ The following sprightly commencement of Mozart's little D Min. Symphony: — Ex.81. $B S^J ^s =£= * £&e£ derived from: Ex. 82. | 4 JLfi4.jL^E m &c. Elongate several Quadrimeasures into Pentameasures. Other irregular measure-groups of 7, 9, 11, 13 etc. measures may likewise be explained on a basis of Elongation or Contraction of corresponding regular formations. Unusual measure-groups are of importance to the longer con- structions, as effectually interrupting, where desirable, the symmetry of their rigid divisibility by two. A 7 -measure construction of three (1 + 2) and four (3X1 + 1) measures constitutes the rhythmi- cally blithe opening of Mozart's Figaro Overture. So, too, the theme of the gently and softly flowing Bt> Maj. Aria of Ottavio, in the Opera, Don Giovanni, (II mio tesoro in tanto) commences with a 7-measure construction. Over and above, it will be noticed, that just the great masters of form are fond of free and bold con- structions, and are averse to wedging their thoughts into the bounds of measure-groups of numeral evenness. Modulation. § 15. 57 § 15. LICENSES IN MODULATION. That it cannot be difficult for any one that has studied Harmony, to effectuate every possible modulation in whatsoever form, is self- evident. To the contrapuntist, then, who masters both the Strict and Free Style, such a task can be but child's play. Therefore, at this advanced stage of study, no great value can be set upon tasks of that kind. In the Composer's Practice, however, the demands of novelty are often in favor of extraneous modulation, even where it is not required by an inner necessity. Since an absolute command of the material of Harmony is presupposed, it cannot be of import to set up the empiric, or logical bounds of that procedure, as the following exercises are in this regard pre- cisely defined. But let us observe by an example, how the apparently extraneous may be the result of inner necessity, and, moreover, how, after all, it will be proven to be well founded, coherent in style, and of perfect naturalness. In the most celebrated of all Funeral Marches, the one in Beethoven's A(? Maj. Sonata, Op. 26, is to be found the' greatly wondered at modulation from Aj? Min. to the Partial Cadence in DMaj. This March is in the Tripartite Song-form. It opens with an 8-measure Period, which terminates in the parallel Major key (C\? Maj.), and whose Antecedent forms a Semi-cadence on Dom- inant: thus in perfect regularity. Now, instead of repeating this period, whether literally or in variation, Beethoven trans- poses it into the Minor of the above cited parallel key — into C\> Min. The modulation referred to is a necessary result of this transposition, for, the parallel key to C\> Min. is jE\?p Maj., but written at once as DMaj. (Comp. "Practical Harmony", § 51.) Beethoven, in the interest of a convenient mode of notation, avails himself of the Enharmonic notation as early as the entrance of the key of C\> Min., which he writes as B Min. We might regard this transposition merely as a repetition, similar to one that is indicated by the repeat sign, had not Beethoven, though retaining its nature, yet, carried out the mod- 58 Modulation. § 15. ulation differently from the sixth measure on. The first time, h& proceeds through the Dominant key of A\> Min.: E\> Min. into the parallel key: C\? Maj.; but the second time, by way of the Sub-dominant of B Min. : E Min. (in reality, Sub-dom. of C (7 Min. : Fj> Min. J into its parallel: D Maj. This diversity in carrying out essentially the same modulation appeals to the perception as being a mere (transposed) repetition. Ex. 83. First Period. \P'^ l V' J3 1 J J?777rto3fa Jl J J3 I J J J J3 Second Period. jig l t Ji i t j mm i (,j. J3 i ,j j g j Ji inJ j j J3 1 igtoo m<-^fluj3ja^3 p^f^m^i^^^i Thus, we have here a Double Period of 16 (2X8) measures as the first part of a Song-form. The second part (Intermediate Section) is a contraction to a Quadrimeasure, with a transition into the third part. The modulation from D Maj. to the Dominant of A|? Min: E> Maj. is effectuated immediately through the Enharmonic Change of the Chord of the Diminished 7th, D— F — k\? — G\> (Comp. "Practical Harmony", § 57.) The third part is in Period-form, and is drawn out to 10 meas- ures. A repetition does not take place. In determining the form of this March, we cannot, all con- sidered, but decide in favor of the Short Tripartite Song- form, in which the duplication discussed above, instead of a repetition of the first Period, has taken place; whilst the second part has been reduced to half the regular length, and the third part, which is otherwise normal in its construction, is elongated by two measures. Modulation. § 15. 59 We have not to deal here with the aesthetic significance of this March, nor with the modulations contained in it. These are acknowledged with admiration by the entire musical world. Indeed, there is scarcely another composition of this class, deserving mention beside this work. Transpose this March into different keys, either at once at the Piano, or previously in writing. For additional examples to this §, see the author's "Partitur- studium" (Modulations of the classical masters as displayed in their scores), Book II: "Modulationsformen", particularly § 25, on Beethoven's Symphonies; § 27, on Bach; pages 262 & 291, on Wagner. Modern pieces in Song-form, when in a Maj. key, not infre- quently contain a Cadence on the Mediant in Major; as, for instance, in a strain in C Maj., on E Maj., being a variant, as it were , to the usual Partial Cadence in E Min. (see Remark , § 5). Occasionally, the first part of a piece in Minor terminates in the Major key of its Dominant; as in G Maj. when the strain is in the key of C Min. As the preponderance in modern music, after all, lies in characteristic harmonic treatment (Modulation), the endeavor at oddity in this direction can only be regarded as in keeping with the spirit of the age. This circumstance gives rise to certain tasks, which, though really lying outside the study of composition proper, should by no means be passed over here. Moreover, they furnish material for voluntary additional work. Write Bimeasures containing extraneous modulations. Such are well adapted as Motives for interesting harmonic Sequences, and may also receive a contrapuntal treatment in choice and spirited figuration. (Comp. "Harmony", § 51; especially § 62, Wagner.) Write quadrimeasure Sections, each one of which is to carry out a prescribed extraneous modulation. In this and the following exercises, avoid commonplace forms of Cadence. In like manner, write: (1) Long Sections (§ 6). — (2) Pe- riods terminating in unusually distant keys. — (3) The same 60 Motive, and Thematic Work. § 16. with uncommon Chief and Partial Cadences, the foregoing into different Song-forms. (4) Draw up § 16. MOTIVE, AND THEMATIC WORK. A musical thought that forms the subject of any manner of musical evolution is termed a Motive. However, as a rule, this designation is applied only to tone -combinations of a lower stage of development than the Sectional form, thus, approaching at high- est the Phrase. When a Sectional, or a higher, form is employed as the Motive of any manner of development, it is customary to designate it by a term appropriate to its form, or even as the Theme. The fixed forms that have thus far come under our notice are, with but few exceptions, developments from Motives. Exceptionally, Motives are employed for, the production of strung-out constructions lacking firmness of form, and which are termed by Marx, "Gang", i. e., Passage. A passage of this kind, founded on a particular Motive, is termed a Sequence, when the Modus of the succession of repetitions of the Motive is a definite one, and otherwise has the significance of a free Sequence. The nature of this has been explained in the author's "Practical Harmony", § 51, where, mora? over, these designations have appeared first. A Section, too, may be given a passage-like treatment, when it is not developed into a higher form. In Beethoven's Bb Maj. Sonata, Op. 106, the first Bimeasure at once serves as the Motive of a repetition by translocation, i. e., the transferring to another degree of the same key. Thus: — Ex. 84. Allegro Motive, and Thematic Work. § 16. 61 In the Development of this movement, the same Motive is the subject of a very extensive evolution: — Ex. 85. i 1 3e& BE j» i rui f i M ^=S =t Canon in the lower 4th. 95* EE =£ 35fc=fc± ±& ligS N a^^rcg ZZ and so forth in free canon- — ical imitation; afterwards 3-part, running out in 3rds ; finally 4-part, running out ^ in double 3rds. In all, over ZZ 40 measures. (The imitation makes a free change of interval.) This is preceded by a short introduction, the Motive of which is furnished by only a portion of the initial Phrase; thus: — El.86. gfe^ £££ This Motive again appears after the canonical strain. Now even the first two notes alone several times serve as a Motive of develop- ment. This is also the case in the Enunciation (first part of the movement), shortly before the entrance of the G Maj. signature:— Ex. 87. y ivjiluj » f.r.f v-l\ C CI E • In most editions, this JE, where it occurs for the third time, and in close harmony in the passage in thirds, has erroneously been printed F:— ltl\ ? f!f 'f If 1 'IF 1 ft 1 4V>? r — = 1 — U * . presumably as the result of an error in writing. 62 Motive, and Thematic Work. § IS. Likewise, towards the end of the Development, shortly before the entrance of the B Min. signature: — Ex. 88. mi m f , Tf ;f ,T f £ ± =& =±= fr ** few »i-i 5 ^^ In this manner, longer Motives can be dismembered into shorter ones; and the reverse, shorter Motives united into longer ones. In the first movement of the A Maj. Symphony, this Motive : Lflf predominates. {Not as is sometimes erroneously stated, J_J J t which, of course, proceeds from the former.) The first movement of the C Min. Symphony is based on this Motive, J J J I J\ and maintains its own against all the thematic changes it undergoes. In Mozart's G Min. Symphony, this Motive [f | f pre- dominates. Yet, a greater portion of the Theme proper occasionally becomes a Motive of development. Thus it will be seen that one Motive may unite with another in producing a solid form. Only exceptionally may a single Motive suffice for this purpose. At times, the apprehension — interpretation — may waver between the acceptation of a single worked-up Motive, or of a combination of several; as, for instance, here: — Ex. 89. (a) (b) ^e*fi where the Motive (b) may be viewed either as a staccato variant of (a), or as a new Motive. A rigorous determination of definitions in the present sphere is of no importance to the Art of Composition. Motive, and Thematic Work. § IS. 63 Work up Motives into Passage-like Strains by means of Translocation, Transposition, Modulation, Contrapuntal Devices, Augmentation, Diminution, Contrary Motion, Figuration, Varia- tion etc. Every manner of formation of Motives, whether developed independently, or into Themes of distinct form, is designated as Thematic Work. Since a musical work of art does not necessarily originate in the succession of time as it presents itself, after com- pletion, to the hearer, the Thematic "Work, may, in the process of invention, take the lead; i. e., a well denned Theme may be con- structed subsequent to a development from Motives. Over against the finished work of art, one apprehends the Theme or Themes to be dismembered into Motives, and these worked up. Thematic Work has attained its zenith in Beethoven's Symphonies and String Quartets. "Wagner introduced it into the Musical Drama as the Leading-motive style. The term Thematic Motive, in contra- distinction to others that may present themselves, is applied to the predominating, occasionally the first, hence, principal Motive. By Caesuras are meant the perceptible divisions of Measures, Phrases, Sections, in short, of any form-parts. Their representation in the delivery of a musical work is called Phrasing or Articula- tion; in Theory, Analysis of Form. PART II. SONG-FORMS APPLIED. (A) THE COMPOUND SONG- FORM. § 17. Combinations of strains in Song-form into independent pieces- of music, or independent portions of extended pieces, constitute Compound Song-forms. These almost exclusively govern the im- measurable field of Dance Music proper (i. e., such as is composed for the specific purpose of dancing) and the higher and lower classes of Drawing-room and Entertainment music. The Scherzo (or Minuet, Episode, Intermezzo) of Symphonies is, in nearly every case, in one of these forms, which, moreover are quite frequent in all the other departments of composition. As a rule, the first piece in Song-form, the Chief Subject, is succeeded by a second, as Trio, which in turn is followed by the return of the Chief Subject. In all subsequent exercises, the student should, wherever feasible, employ previous work. The Piano and String Quartet being their chief organs of per- formance, a few observations pertaining to these will not be out of place here. Since, in the delivery of a Piano Setting, but a single in- dividual has the disposal of the instrument's resources, which indeed are considerable in every respect, the composer is not necessitated to confine himself to any particular mode of setting, or number of real parts. Ever at his command, rather, are all the means of filling up and completing harmonies, as well as of doublings of in- dividual parts and entire chords. Of no mean importance is the Variation. § 18. 65 contrast of tone-coloring accomplished by dynamic shadings and the various gradations of touch, but to still greater extent by the em- ployment of different positions (octaves) of the instrument. A glance at the master-works will suffice to confirm this statement, and afford it* full understanding. The String Quartet, on the other hand, is to be regarded as the union of four real parts, which, however, may occasionally be confined to three or even two, by the doubling of main parts at the unison, or the octave. Thus, for instance, Haydn has written a canonical Scherzo, in which two instruments each unite to perform one of the parts. So far as his acquaintance with the stringed instruments extends, the young composer may employ double stop- pings, but only in the service of tone -shading, i. e., for coloristic purposes, and not merely for filling up deficient harmonies, a pro- cedure that would only be indicative of a lack of skill. § 18. THE VARIATION. ETUDE. PRELUDE. The simplest form of ranging together independent. pieces is to be found- in the Theme with Variations. In it, a Theme is announced: in its simple aspect, then repeated in divers Variations, each of which carries out a different figurate motive, or also, contrapuntal device on a fixed harmonic foundation. Even the Mode, and at 1 times the key, may be changed. The Theme is usually in Song- form, but sometimes in that of a Period — exceptionally, though, in Sectional form. It is taken for granted that the student became acquainted with, and tried his skill in, Variation during his studies in Counterpoint in the Free Style. Next to Counterpoint, practice in Variation affords the best training in Thematic Work. Beethoven's creations in this field, and those of the earlier and later masters are universally known. The last movement of the Eroica Sym- phony is in this form, and it predominates in the last movement of the ninth {Choral) Symphony. The extreme limits of this form are marked in Bach's "Air with 30 Variations", in Beethoven's "33 Variations on a Waltz by Diabelli", and his "32 Variations on a Theme in C Min." As an important work of art of this form of writing long since very popular, may be mentioned the Andante in C Maj. of Haydn's G Maj. Symphony: — Bussler, Musical Form. 66 Variation. § 18. Ex. 90. $ 4- 3P2 & 2 The manner in which Beethoven has produced a Theme and Variations thereto from the Period shown as Ex. 20, is to be ob- served in the "Kreutzer Sonata", Op. 47. The Variations in Eaff's Suite for Piano in G Min. may be designated models of perfection, as may also, but in the sense of noblest virtuosity, the Variations which Liszt has written on this celebrated Theme: — Ex. 91. I P PP?3 P £ in his "Don Juan" Fantasia. Frequently have Variations risen to the capacity of depicting scenes from life. The Etude is to a certain extent a Variation without a Theme, i. e., it is founded on the plan of the Song-form, instead of being based on a particular Theme. The essential contents of the Etude are composed of the manifold repetitions of a given Motive as the figure of a certain technical exercise. The more rigorously this is carried through, hence, the firmer the unity of the piece is main- tained, the greater may be the freedom in its formal construction, and in its modulations. This also applies to the older form of the Prelude in the simpler form of construction, as, for instance, in Nos. 1, 2, 3, 5, 6 etc. of Bach's "Well-tempered Clavichord". Numerous Etudes attain the expansion of the Compound Song- form; as for example, the E Min. Etude of Chopin: — Ex. 92. Vivace teggerio. Scherzando. >l N ■* Seherzando. pgf« the Trio of which is composed of an altogether different Predom- inating Motive; thus: — Dances. 8 19. 67 Piu Unto. 8, Ex. 93. I j^ffJff/ff/ l ftf^ ^B sostenuto. J S2- In this and similar Etudes the technical end in view has been subordinated to the aesthetic principle of delivery, which, in the present case demands a contrast to the soaring motion, breathed forth, as it were, of the first part, and which it finds in the Trio. Just as numerous Etudes, overreaching by far any object of technical exercise, assume the aspect of charming pieces (as in the case of the above cited one, and many others By Chopin and other composers), so the appellation of Etude has been given to many a piece of music that was not originally intended to have pursued the office of one, on account of its being technically in that form, and because the composer's modesty has prompted him to remain reticent as to the higher mark he has set. Likewise are many of Bach's Preludes written in contrapuntal forms. Others again have not, in point of contents, a single feature in common with the design of technical exercises. His Prelude in Bf? Maj., No. 21 of the "Well-temp. Clav." II, has the outlines of the Sonata form. § 19. THE DANCE FORMS PROPER. The chief forms of the social dance are based upon a 2-meas- ure pas (step), which effects one complete revolution simultaneously with a remove forward of the body. Each measure corresponds to a semi-revolution of the body, hence, with every alternate measure, the dancer sets in with the same foot. Therefore it is altogether inadmissible to introduce Sections or Periods of odd numbers of measures, as Tri-, Penta-, or Heptameasures , in any of these dances. Even measure -groups that are not thoroughly built on duality are apt to have a disturbing influence upon dancing. For this reason it is necessary to confine the Periods to 4-, 8-, and 16-measure constructions. Yet, with the most noted writers of this 68 Dances. § 19. species of composition, are to be found the exceptional constructions of 10, 12, 20, 24 etc. measures, in which, however, every impro- priety has been averted by the skill of the composer. Those of the society dances, that are founded on combined steps, as, for instance, the Rhenish Polka, in which the third and fourth measures have a different step from the first and second (2X1 and 4 X 7 2 )> are much subject to fashion and not generally known. For this reason they will not be considered here, where, as it is, an exhaustive treatment of this subject is quite dispensable. The principal forms of dances are determined by the chief contrasts of time (as binary, ternary) and tempo (slow, fast). Binary Time. Slow Tempo. Polka, 1. A short Introduction in Polka tempo, generally no longer than 2 or 4 measures; does not belong to the dance proper, and may therefore be of irregular construction. 2. Polka. Quaver or semiquaver up-beat, as a rule. Short Tripartite Song-form. Length, with repetitions: 2X8 + 2X16 = 48 measures. 3. Trio. Construction similar to that of Polka. Frequently introduced by a short, merely rhythmical, Prelude of 2 or 4 meas- ures; as N J^ N r^ : This short Prelude does not interrupt the dance. 4. Repetition of Polka with a Coda affixed, which is generally 8 measures in length, and contains distinct indications of the ap- proaching close. This Coda is no longer a part of the dance proper. The rhythm of the Polka gives rise to the following figures of accompaniment : — i ' i » ' r Fore- After- Fore- After- beat beat beat beat Fore- beat After- beat Upon this, the melody is formed. * In concert performance, dances are shaded rhythmically, i. e., tempo-changes occur, that are carried to extreme arbitrariness; and indications to this effect are to be found in the scores of some composers of dance music. Dances. § 19. gg For information regarding the orchestration of dance music, see the author's text-book of "Instrumentation." Berlin: Carl Habel. As ranking next to the Polka in point of affinity, comes the ordinary Military March, which, however, is often written in alia breve time ((p), hence, in crotchets instead of in the quavers of the Polka-rhythm, and need not begin with an up-beat. Binary Time. Quick Tempo. Galop. It has the same form as the Polka, but is in quicker two-four time, each measure receiving but one beat, the time being counted 1 | 1 | 1 etc., whereas in the case of the Polka, 1, 2 | 1, 2 | . The Galop is frequently in Long Song-form. Ternary Time. Slow Tempo. Mazurka. 1. Introduction. A few measures in the tempo of the dance. 2. Mazurka. Long or Short Tripartite Song-form: First Part, Second Part, Repetition of First Part; each of 8 or 16 measures length, not counting the repetitions. 3. Trio. Long Tripartite Song-form; second part may also be shortened to 8 measures. It may have the Long Bipartite or the Short Tripartite Song-form. 4. Repetition of the Mazurka and a short Coda. The Trio of most of these dances is in a different key to the Chief Subject, for the most part in that of the Sub-dominant. Minor keys are only exceptionally appropriate to dances proper, and that is, when they are treated humoristically, which, how- ever, is to be avoided here altogether. Ternary Time. Quick Tempo. Waltz. This is the most peculiar and prominent of the actual society dances. The Waltz is in a quick three-four time, each measure receiving but one beat. The form of the Waltz differs from that of the other dances. 70 Dances. § 19. A greater degree of specific talent for dance-melody is requisite for its composition than for that of the other dances. Its usual form is as follows : — 1. Introduction. Contents generally foreign to those of the dance proper ; frequently a lengthy Adagio or Fantasia, which, when in orchestral setting, is not seldom combined with prominent solo parts. This leads to a 2. Short "Entrance" in Waltz-tempo, which immediately ushers in the 3. Waltz, which has 5 numbers, counted successively from 1 to 5. Occasionally, there are only 4; rarely 3. These numbers which constitute the "Waltz proper may be of like or different construction. Yet, they are generally (and in our present exercises should be throughout) composed of two 16-measure Periods, both of which are repeated. When in Tripartite form, then the third part should be a repetition of the first; there being ex- ceptions, however, which will not be considered here. These Periods are for the most part so constructed, that, within any one of the numbers, they do not exhibit any thematic corre- spondence between themselves, being thus two adjoined Periods without any further connection. Here, too, a Long Section may replace a Period. The terminations are only seldom distant from the principal key, yet, they need not be confined to the nearest relationship to Tonic. There is no restriction as to the key of each single number. 4. Finale. Instead of being a short Coda, this is an extensive Finale in Waltz-tempo, in which the most striking numbers of the Waltz are repeated (Potpourri), and perhaps a new one introduced. Futhermore, to the variety in rhythmical arrangement of the Waltz melody, is allotted the widest lattitude, and whilst the Bass and inner parts incessantly maintain the dance-rhythm, the melody may move over them in the most unrestrained manner. Harmonic effects, however, should be applied here as with all other dances only with the greatest of caution, since they are but too apt to arrest the mind, and divert it from the essential purpose of dance-music. Examples of all of the above treated dances are so super- abundant, that it would be quite superfluous to refer to any partic- Dances. § 19. 71 ular ones. Moreover, dancing constitutes one of the branches of society accomplishments, hence, is universally known, and there- fore not in need of being minutely discussed. Eleventh Exercise. In accordance with the chief forms set forth here, write dances, principally Waltzes. Compose various dances to the following given Basses. These latter should first be transposed into different keys, and arranged into the respective species of time. Ex. 94. Ho. l. (First Part.) TRIPARTITE SONG -FORM. Q: == == = === = === — \ I i , i #■ I — i-. i i I |— (Second Part.) ^ ^ ~1 I ~ ' t (Third Part Teio like the 1st; varied at pleasure.) cv • ■ -• — — 2i=-=:~t-t==l n c\ m J-l -^ b * * m • " » ' ' 1 1 1 t ~t ?v H I *L L rl -H * I in= i No. 2. I J' S * J . ^ Hr~^ ^r~^ * m i ,v ) n/=i 72 March. § 20. Tbio. I — #— -0- — #- — *- — »— — #— ~»— -#— II —0— —0— -*- « — #— -#— -0- 4 « b b a t> b b b7 .A b b ». b — 0- b b7 ■ # . 9 m = i BIPARTITE SONG-FORM. No. S. "*-">. L _ ! J a a a « r * !— #- J '-»- » ■ ■» ' ' s ZZIC3I3: #— ' L-*- 1 — „ ' tf ' — r- 1 — * Tric . ■9* — * 4 -0- -JL- * * — 0— a a ^ M * * t\' ■ J" • a .i j' SMin. Chd. of7thonII|BJ/iin. Chd. of I E Min. substitutes Sub-dom. Dom. 7th. Tonic. Compound Cadence. OMaj. Sub-dom. OMaj. OMaj. 6 7 OMaj Tonic. Compound Cadence. The immediate connection of both Cadences — the E Min. and the C Maj. — must be accounted for in the relationship of the Triad on the Mediant to the Sub-dominant (comp. the author's "Harmony", § 28), and in the substitution of the latter by the Triad on the Super-tonic or 2nd degree. (Comp. "Harmony" §§ 27) 59 & 71.) Thus, E Min. and D Min., in their respective bearings on C Maj., follow here in immediate succession. Wagner's Introduction, which, owing to the inflection that is made into the Dominant, assumes the character of an Antecedent, does not immediately lead into the Theme, but is repeated three times, interrupted by allusions to subsequent Motives of the March. But the third time it proceeds to the Theme proper, with the following intercalated Transition: — 76 March. § 20. Ex. 100 mpp peS P -m-nrn mk^^u^^ Thus, the Introduction of "Wagner's March has 23 w measures against 4 of Mendelssohn's. Mendelssohn's Theme is constructed in Short Tripartite Song-form: — First Part: 2X4 = 8, repeated = 16 measures Second Part: Antecedent = 8 Consequent = 2X4 = 8 16, repeated = 32 measures sum total 48 measures. Mendelssohn includes the 4 measures of Introduction in the repetition of the first Period, whereby the first part attains a length of 20 measures. Counting in the 4 measures of the initial Intro- duction, the length of what we have thus far analyzed amounts to 56 measures. Ex. 101. Mendelssohn. tr ^r^'Mr^ zH^Aj First Part. Imp. Full Cadence. | Introduction is inserted here ^ ff ^ l r r^Tff^frJ' l rr H l = r= p Perf. Full Cad. Second fr£f-rJUr.rf l f i r j|; f .i rq-^-H Part. Semi-cad. fr^-^%^ (Measures 1—8.) Third Part. Semi-cad. Full Cad in key of Dom. March. § 20. 77 From here on, Mendelssohn's March keeps within the hounds of the previously treated Compound Song-forms, whereas that of Wagner approaches in structure the extended Symphonic instru- mental forms that will be treated subsequently. Now Mendelssohn adds a Trio in G May. — Ex. 102, [u ^ U: U * ± m if &em which conducts to the repetition of the Chief Subject, which is now shortened to an 8-measure Period. Then comes a second Trio in F May. — — -=■*•-=■ — Ex. 103. 1^^^^ which is followed by the entire Chief Subject without repetitions, but containing enhanced figuration: — ii Ex. 104. Urn ^ i^^to ^fe 78 March. § 20. after which, enters the Intrada with growing sonorousness Ex. 105. feUig 4 mm ^^ -i — n mr* mrmfmrmrw and finally a brilliant Coda of 2X8 + 10^ measures. In all parts (save the first), the composer has avoided Perfect Full Cadences, in consequence of which, this March possesses that quality of uninterrupted urging forward in connection with the aesthetic power of exciting expectancy, which particularly Weber, among the earlier composers, succeeded in accomplishing to an equal degree in his Overtures. Wagner does not construct his Theme in Song-form, but as a 16-measure (Long) Period: — Ex. 106. Well sustained pn ifp^i ^rf p OS ffikjj i I J.^pff^=fe jgl 8p k*-r t. \ r v it* I f r r I r r r r I fHf^^f^ and immediately to this, joins a new Theme in the same key, like- wise in the form of a 16-measure Period: — Ex. 107. m ^\i t rJ7J | F fojimtf rDj j/iry Match. § 20. 79 the Antecedent of which terminates with the Chord of the D&m7th., "forming a Semi-cadence on Dominant: — Ex. 108. {BMaj.) jj,rf ir eJr | fJjj ^pai^5 m mm m i f r ff VI V7 the Consequent, a JW£ Cadence in fcey 0/ Dominant by modulat- ing to it: — -tf a f c ,^J-h cf-fe r^--i- 4- Ex. 109. ■ ftp * tf U [jj^ — *- f — H — » — I VI Tonic. II Dominant. [ V i ,_ » I Here again a 16-measure division follows, which in this case, however, exhibits rather the form of a Double Section than of a Period, since its second part (which occupies the position of a Consequent) terminates with a Semi-cadence. Through the medium of a bold modulation, this Semi-cadence takes place in the key of C% Maj.:— Ex. 110. (B Maj.), Perf. Full Cad. in key of Dom. i f. j. i j-n i i ^^m^ 80 March. §»20. (3 sharps.) M'iW ggjjji li Thus far, there are three 16-measure parts: the first con- stituting a Tonic Period; the second, a Period that modulates to the Dominant; the third consisting of two corresponding Sections both of which proceed from Tonic, the Antecedent modulating to the key of Dom., the Consequent modulating two keys in the "Circle of 5ths" farther. Now enters still another division, one to which allusion has been made by the Introduction. It commences with the Minor Sub-dominant of that key on whose Dominant the preceding part closes: — Ex. 111. ffij , w y, t, Ffe^^ m The preceding part terminated on the Dominant of Cjf Maj. The present one begins on the Minor Sub-dominant of this key, but taken as the Tonic of F$ Min. Its Antecedent closes with an Imperfect Full Cadence in F$Maj., and in the same manner as above the F$ Min. Triad followed the G§ Maj. Triad, so in this- instance, the E Min. Triad follows the F$ Maj. March. § 20. 81 Ex. 112. i m iSS & m i ggfcEEJE* Its Consequent makes an inflection with the fifth measure towards the Dominant of the initial key, where the introductory flourish of trumpets again enters, extending this Consequent to twelve (4 + 8) measures. At this juncture, all that occurred before, commencing with the Principal Theme, is repeated with the support of a chorus. This unabridged repetition, comprising 68 measures, is followed by the Chief Subject/" and with enhanced figuration, thus: — Ex. 113. i tt #= // f N^_^ % *= =3f which in the Opera accompanies the entrance of the minstrels, forms the Trio proper, but which we, pursuing the original composition, do not take into account. We accept the Wagner March rather as a March in several divisions (independent Themes), but without a Trio. Both Marches here considered exhibit a similarity, in that 6 ussier , Musical Form. 6 82 March. § 20. the commencement of each forms a Compound Cadence, hence, for- mula of a Close. Let us set up side by side the plan of each: — Mendelssohn's Wedding March. Measures Introduction: 4 measures 4 Chief Subject: Short Tripartite Song-form with repetitions . 52 First Trio, G Major: — First Part: elongated Sectional Form. Antecedent: Semi-ca- dence on Dominant, 6 measures, repeated 12 Second Part: Double Section, B Maj. — Gr Maj., Imperf. Full Cad., 2X4 measures, repeated 16 Repetition of the Chief Subject shortened to a Period, not repeated 8 Second Trio, F Major: — First Part: Sectional Form, 8 measures 8 Second Part: Sectional Form, 8 measures, repeated . . . . 16 Transition: Antecedent: D Min., Semi-cad. on Dom., 8 meas- ures; Consequent: transitional, 8 measures 16 Repetition of Chief Subject: Short Tripartite Song-form, 3X8 measures 24 Coda: Introduction, 4 measures; thematic reminiscences, 8 meas- ures, repeated = 16 measures; Close, 10 measures . . 30 Total 186 Waarner's Tannhauser March. ° Measures Introduction: Intrada, 4; Interm. Section, ^_,4,_, ; Intrada, 4; Interm. Section, w 2; Interm. Section: (fourth Theme), 4; Interm. Section, 2 W ; Intrada, 4; Interm. Sec, 4 W . 23^_, Chief Subject: Tonic Period 16 Second Theme: Modulating Period 16 Third Theme: (Double) Antecedent 16 Fourth Theme: Double Section with Transition, (8 + 4) + 8 measures 20 Repetition of all four Themes 68 Repetition of the Chief Subject: Antecedent as above; Con- sequent with prolonged Close, and Deceptive Cadence with the 4 chord 17 w Coda: beginning with the Deceptive Cad., 8 measures; Sec- ond Theme, 8^; Intrada & Close, 21 . . . . . . 36 Total 212 March. § 20. 83 The tempo of the Funeral March is the slowest of Largo. A peerless model has been furnished by Beethoven in one of his Pianoforte Sonatas. (Comp. Ex. 83, p. 58.) The one by Chopin, which ranks next in popularity, has also been allotted a place in a Sonata. The Funeral March is always in Minor key, and the Trio almost exclusively in like-named, or in parallel Maj. key, or in the Maj. key of the Sub-mediant (lower third; as C Min. — Afc> Maj.). Festal Marches in Minor, which are not actually intended for funeral solemnities, do not require so slow a tempo. The construction of Beethoven's March has been explained above. The Trio (in A\> Maj.) consists of two 4-measure Sections that are repeated. A Coda, which concludes in Major, is appended to the repetition of the March. The Polonaise is a lively March in three-four time. A step is made to each (quarter) crotchet. The figure of accompaniment of the Polonaise is in this characteristic rhythm: — jfl i i i i J J J J J # I i Yet it is not absolutely necessary to adhere to it throughout, as innumerable examples illustrate. Furthermore, it is a characteristic of the Polonaise, that it tends to group the last two measures of every Period into three \ measures , as will be seen iD the follow- ing:— Ex. 115. Weber. -Vt rf r f-rM i- ^ -Mff-f-ff 6* 84 Idealized Dance Forms. § 21. ^s % , % . il f j ut.. -.1 C I ¥ A |j/ { 3EEE U. W mM The Contredanse, Quadrille, is likewise related to the March, hut is written in \ and % time, two steps heing made to each measure. It has five or six divisions or figures separated from each other hy rests; the last one running into a circular dance proper. Twelfth Exercise. Compose Marches and Polonaises, particularly in accordance with the principal forms as set forth here. § 21. IDEALIZED DANCE FORMS. There are numerous compositions, which, though neither in- tended nor even appropriate for dancing purposes, horrow their rhythmical Motive and the most general outlines of construction, hut with every license, from some definite form of dance. In this respect, the Waltz has proven itself to be the most fertile. It has been glorified in compositions by Schubert, Weber (Invitation to the Dance) and, above all, by Chopin. In such charming pieces, all the subtilties of an exceedingly high development of the technic of art are united with an entirely free treatment of the dance-rhythm. Through Chopin and many others, most of whom, however, are his imitators, the forms of the Mazurka (prototype of the Idealized Dance Forms. § 21. 85 Polka-Mazurka) and Polonaise have undergone a like ideal culti- vation. Other national dances, too, such as the Bolero, Tarantella etc. have been similarly built upon. Eecently, distinguished com- posers have bestowed an equal amount of interest on the antiquated dance forms of past centuries, such as the Sarabande, Bourne, Bigaudon etc., etc. Particularly Kaff's work in this field merits being designated as pre-eminent. In this respect, the classical masters have given their attention to the March in particular. It will be taken for granted that the student is acquainted with the Funeral March of Beethoven's Eroica Symphony; the previously mentioned one in his A\? Maj. Sonata; the Festal March in the A Maj. Sonata, Op. 101: — Ex. 116. Vivace alia Marcia. with the canonical* Trio, and the March of his "Ruins of Athens.'' The Alia turca of Mozart's A Maj. Sonata: — Ex 117. fc * I \v*i | fca ^g m «S ffi=R JJ & i^m^m ^^ 2EEE£ ££f m ^s Comp. the author's "Modern Counterpoint and Fugue." 86 Scherzo. § 21. likewise belongs to this class. A peculiarity of this composition is that this 8-measure Period follows every part as a kind of Coda:— Ex. 118. In Chopin's Funeral March, the left hand imitates in an affecting manner the muffled tolling of bells, a kind of "Basso ostinato", as is similarly the case with the second Impromptu and an Etude of the same master. The most important of the idealized dance forms is that which has proceeded from the antiquated Minuet, and which has found a constant place in the large instrumental works of the classical masters as the Minuet or Scherzo. This movement is usually in Bipartite, or in Tripartite Song- form variously modified by elongations and contractions, now of one part, again of another; as has been previously illustrated by various examples. Its Trio is generally in the same key; excep- tionally in that of the Dominant. When the Scherzo is in Minor, its Trio is in the like-named Major key. In Mozart's Symphonies in Efc> Maj. and C Maj., the Trio remains in the principal key; but in his G Min. Symphony, it is in the like-named Major key. In Haydn's D Maj. Symphony (No. 2), the Trio is in the key of Sub- mediant of its like-named Minor, hence in B|? Maj., a by no means rare key-relationship between the different parts. In Beethoven's first, second, Eroica, fourth, Pastoral and eighth Symphonies, the Trio (as in the above mentioned ones by Mozart) is in the same key with its Scherzo; in the fifth and ninth, in the parallel Scherzo. § 21. 87 Maj. key; in the seventh, in the Maj. key of Sub-mediant: Scherzo in F Maj., Trio in D Maj. The seventh Symphony is the only one of Beethoven's, in which the Scherzo is not in the key of the Symphony. Haydn's Symphonies and String Quartets — not only those which just enjoy universal favor, but the less known ones as well — furnish an inexhaustible choice of consummate models of that species, which are in greater proximity to the original form. Such are also to be found in Mozart's instrumental works, and in numerous Pianoforte Sonatas, Duos, Trios and String Quartets of Beethoven. Of the Scherzi of the last named master's Sym- phonies, those in the first, second, fourth and eighth keep within those limits. We shall now call attention, by several examples, to the manner in which Beethoven proceeded in elaborating this form in some of his other works, how he extended and remodeled it in the Scherzo; which, it is hoped, will be an incentive to the stu- dent of composition for his deeper study of other works. In the seventh, the A Maj. Symphony, the first part of the Scherzo exhibits only the one peculiarity of formal structure, that it opens with an introductory Bimeasure: — Presto. Ex. 119. m ■4- TTTT which, throughout the movement, serves as a connecting member of the different parts. Interesting in point of modulation is the fact, that the first part closes in A Maj. (the key of the Symphony), which key is reached through the sudden transition from F Maj., with the aid of the Chord of the Augmented 6th: — Ex. 120. krr i ff i * (Bass in 8ves.) #6 88 Scherzo. § '21. The first part consists really of a 16-measure Sectional con- struction, which, however, is lengthened by a Cadence-formula of six measures, whilst it is preceded by two measures of introduction; thus: 2 + (2 X 4) + (2 X 2) + (2 X 1) + (2 X 2) + 4 = 24. The part which now follows, the second 'part, on the other hand, oversteps the ordinary limits of the form in question to that extent, as to be akin in character to the "Development" in the Sonata-form. At the end of four measures composed of the intro- ductory Motive (Ex. 119), an 8-measure Section enters, that is composed of repetitions of the Motives of this Phrase: — Ex. 121. $ m$^ partly of the whole, partly of only the second measure (Comp. Ex. 120). The second Motive, transposed into D Maj.: — Ex. 122. •■- < Jfm is repeated four consecutive times, after which it appears in C Min. J zt.m. ^^ 5? and in four measures reaches the Dominant of C. Exclusive of its introduction, thus much of the second part proves to be a Compound Section of 8 + 4 + 4= 16 measures, with modulation from A Maj. to C Maj. This Section is given an exact repetition, but its modulation is now from C Maj. to B\> Maj. At this juncture, another repetition seems about to take place in B(> Maj., but as early as in the third measure, it becomes associated with the introductory Motive, thus: — Ex. 124. m *=*=rfr Z TTT I ^^ ffi=S Violinn & Viola. i^P \>*- rmr-r r H ' fft t Scherzo. § 21. 89 which conducts to the entrance of the first 8-measure Section, that here appears two consecutive times, and which through the taking up by the Bass of a four-part imitation (the fourth being in contrary motion): — Ex. 125. crescendo. in r r r ' f ' r ' r r r TTit^ m fffifff i fff i^ Hig?e i 6 6T i i I i I i 1 1 —f- Third Part (like the 1st). §^#1 e3 *= M 3= rr leads into the third part, the counterpart of the first. The Close consists of an 8-measure Cadence -formula, which occurs first in C Maj., and thereupon in twelve measures with the same formula in F Maj. After this complete termination, the introductory Motive perches upon A, which enters tuttiff, and is sustained p in the Violins. Beneath this sustained J., the Trio in D Maj. enters, which pursues the regular course of an elongated Tripartite Song- form, and by means of the celebrated Deceptive Cadence: — Ex. 126 Violins. Viola. proceeds with a 14-measure Appendix to the return of the Scherzo, which, save that its second part is not repeated here, is identical with its initial entrance. 90 Scherzo. § 21. Thereupon the Trio with all its repetitions and the Appendix enters for the second time. Now a further re-entrance of the Scherzo, but without repe- titions. Again the Appendix perches upon the notable A , that ushered in the Trio, of which, however, only the first two measures- are announced here, first in Mag., then repeated in Min. ; following; which, comes a very concise Close to conclude the movement: — Ex. 127. Presto meno assai. |g Presto Tutti t> bU i i \ ^i=P « £=£==,=*=* / Even more peculiar is the structure of the Scherzo of the fifth, the C Min. Symphony. The Antecedent: — Ex. 128. £^£ jAir? j \ ir n r r \ r k \ r \ l i^ m pp pp ? m ^^ ^jijl J rlf,j l jX_i IjJ «7 „„,.„ w< poco rit. vKjn j Scherzo. § 21. 91 is repeated with a slight elongation. Hereupon, a new Theme ; appears: — t Ex. 129. a tempo. i £ES3E3=EE33E£3 3^S //' ^f b - \j I 1$ M | f I *l b J I I — 1 J ) lJ — r -^-H ' * w -J- j * * which, beginning in C Min., forms a Semi-cadence in E(7 Maj., and is repeated in E\> Min. with Semi-cadence in G(? Maj. In /owr measures more, it reaches JE\f Min. and adds a Semi-cadence formula of eight measures. The B'p Maj. harmony, Dominant of 'E\> Min., serves to introduce a repetition of all that has preceded, but now proceeding from B|? Min. to Maj. as Dom. of F Min., instead of as before, from C Min. to Bj? Maj. as Dom. of Eb Min. ;The repetition of the Antecedent of the first Theme, however, is this time extended from 8 to 18 measures, being employed as the means of modulating to the key of C Min.: — Ex. 130. ua j I j >r M'^W ^ f , r„.i J i ffr d^s fed ^gpTff f then Pedal-point. Here, again, the Dom. of F Min. — C Maj. — becomes the Tonic, C Min. The first Theme is repeated; its second half in a passage-like treatment: — 92 Ex. 131. Scherzo. § 21. jjA j Tl r r I r f-ir * l \^r\rn n \m ^ r ri^ rirr^r ^g After this, Beethoven adds as a, counterpoint to the chief Motive of the Theme, now in the Bass, a spirited melody in Treble, which forms a Perfect Cadence: — Ex. 132. y„ r | | : r r r | fj^^Lj ^ rmr^ ^ni=r * r l f Hr »j|J jA^ r n f ^/rhf £rr lfl?]j|'Jg ^ ^ f i r tir |S and becomes affirmed by an 8-measure Appendix. Aside from these two Cadences, the entire movement exhibits only Semi-cadences. Less irregular is the Trio, which is technically remarkable for its being worked up in fugato, and on account of the mighty Bass-figure, with which the second part opens. Special Forms. § 22. 93 Ex. 133. // ^„JUJJJJJ|JJJ^ i rr | f Jf | r r i| ^UfP Hi wvr t \^=r(^ m u J. f r 'f ' f'r i J : / ji | r / j, ^- rff7rr+frff 4 $ M H fed^M The close of the first part is regular, in G- Maj.; so that of the second, in C Maj. The latter, in repeating, changes the cresc. alff of its previous entrance into a diminuendo al pp, and without forming any termination, proceeds at once to the repetition of the Scherzo. The young composer is advised to observe the further course of this grand movement. Thus much was necessary as a guidance to this manner of score-study. Thirteenth Exercise. Compose Minuets and Scherzi, but without designedly over- stepping the limits of the Song-form. § 22. SPECIAL FORMS. There are numerous characteristic compositions — to which belong many of the most original structures — that do not borrow from any distinct form of dance, and yet, in point of form, belong to the previously treated Song-forms. Foremost among these, are to be mentioned those in slow tempo, which, bearing such appel- lations as "Elegy, Ballad, Song without Words" or other titles, some of which intimate their emotional content, as "Melancholie, Eesignation, Nocturne &c," constitute either independent pieces, or 94 Special Forms. § 22. separate movements of longer compositions. Of the latter kind, for instance, is the "Andante" of Beethoven's Sonata, Op. 28, whose individual divisions were quoted in Part I. Fourteenth Exercise. Compose a slow movement in Compound Song-form. Models for the individual parts are copiously furnished in Part I of this work. The number of compositions of this kind in quick tempo is equally as great. "We shall now proceed briefly to dismember an exceedingly attractive model of this species of composition: the Im- promptu, Op. 29, by Chopin, it being universally known and par- ticularly instructive. The left hand executes a figurate Motive enhanced in interest by the intercalated Suspension, D: — Ex. 134. te» P ?W«" Jj ^^ggJ] This point, however, we must overlook here, where we have to deal solely with formal structure, which, in pieces of so subtile and lively a figuration as the present one, may easily escape the observation of the beginner. The entire composition pursues an uninterrupted motion, the Cadences being veiled in rapid figuration. The Chief Subject (which is based on the above quoted Motive) is in Tripartite Song- form, consisting of 8, 10 and 16 measures. The Trio is in Bipartite Song-form, of 16 and |: 16 :| measures. The Repetition of the Chief Subject is a literal one. A short. Appendix concludes the whole. If we now turn to the individual parts, we shall observe at the opening a regular Period of the second form, composed of Antecedent and Consequent, each of four measures length: — Special Forms. § 22. 95 Ex. 135 P^m Semi- cad. m V* f — »> ' "H L-"~ The second part modulates to and fro, from Ef> Maj. to Bi? TVIin., back to A)? Maj., then between AJ? and E[? Maj.: — bis |A" TJ *n JV Ex. 136. , upon which it takes up a Chromatic succession of Chords of the 6th:— Ex. 137. JCjX. 101. b simile fob i-ft» *-to - h _" P. -•■ - to b t* ^- < ! frfVnV'f l fe£ &c T)y the repetition of which, it becomes elongated by two measures. The third part is then attained by a Semi-cadence on Dominant. An extended elongation like that of this third part has long since been familiar to us. But in order to observe this state to better advantage, it is advisable to divest the Period of its elon- gation, thus reducing it to the length of the first Period. 96 Rondo. S 23. Ex. 138, jA'ij.i^jru u i ^^ $& m- ifc — i^^ — i jfr £ LT eL [j i tL [J t{, u j,>V ^£J C£f C £f ' P** /2 measures ^E inserted. zz This is followed by an Appendix and a Transition into the Trio, the interesting modulation contained in which, the student is advised to examine. As to the construction of the Trio, it will suffice to remark, that the first Period consists of twice 8 measures, and that the second, which is of the same length, seems to have the intention of returning to the first, but repeats instead. Thus the Trio might be accepted as being in an incomplete Tripartite Song-form, which, in its present bipartition, exhibits no correspondence of parts. Fifteenth Exercise. Compose a piece in quick tempo in Compound Song-form, bnt in its construction, independent of any definite dance form. The employment of a stereotyped dance-rhythm figure for the accompaniment is by all means to be avoided. ( B ) THE LOWER RONDO FORMS. § 23. Like the Song-forms, so the Lower forms of the Rondo are based essentially on closed elementary forms, but are distinguishable from the Compound Song-forms by their possessing a more immediate — intimate — connection of parts. Hondo I. § 24. 97 In aspect, they frequently approach the Song-form to such an extent as to leave one in uncertainty as to which of the two is present in a given case; for, whereas the Song-form occasionally has a tendency to obliterate the outlines of its parts, the Eondo form, on the other hand, now and then admits of a more exact circum- scription. The nature of the Rondo-form, whence its name — Roundelay — consists in digressing from a Chief Subject, and then returning to it. That property of the Rondo-form, however, which distin- guishes it essentially from the Compound Song-forms — particularly as exhibited in the dance forms — consists in the metrical and rhythmical looseness of its structure and tonal contexture. Rhythmical uniformity is totally disregarded. Both in point of con- struction and of rhythmical arrangement, the imagination is left to its own resources, hence, free, but in consequence, becomes the loser of one of its supports. Rondo-forms are divided into Lower and Higher. The Lower ones are based exclusively upon the Song-form and its elements; the Higher ones, in part, on the Sonata form, and therefore pre- suppose an acquaintance with the latter. The point of distinction between the different Lower Rondo forms is the number of Subjects employed. Accordingly, we distinguish : — Rondo of the First Form: one Subject. Rondo of the Second Form: two Subjects. Rondo of the Third Form: three Subjects. § 24. HONDO OF THE FIRST FORM. This contains but one independent Subject, between which and its recurrences there are no closed forms. By this latter designation are meant, besides the Song-form, the Period and the Long Sectional Forms terminating on Tonic. All other forms of measure-groups are not sufficiently com- plete within themselves to be entitled, face to face with a Chief Subject, to the importance of a Theme. 7 B ussier, Musical Form. 98 Rondo I. § 24. A Theme is never otherwise than in a definitely closed form, generally in the Simple Song-form, or in that of a Long Period; rarely, though, a greatly extended Section. The intermediate divisions or Episodes may either be thematic i. e., working up some thought or other of the Principal Theme; or have independent contents i. e., introducing new Motives, jwithout developing them into a closed form. The recurrences of the Theme are varied, as a rule, this being particularly the case in slow tempo, which is decidedly peculiar to this form. The Close is frequently augmented by an Appendix. An example of the present form of Eondo is furnished by the "Largo appassionate" of Beethoven's Sonata in AMaj., Op. 3, whose Chief Subject or Theme is in extended Bipartite Song-form (comp. Ex. 50 & 51). At the conclusion of it, enters the following Episode in B Min.: — Ex. 139. PP . *— S- - ■p- -* t, rf , , it, f~iW=f ^ : fy n f ffi^ e m i rzl * 2%=^ r r r and, in four measures, terminates in the key of F$ Min., in which key its repetition immediately follows, but with the melody in the inner part: — Rondo I. § 24. 99 Ex. 140. f t 1 ,]|j. ^=E fejZ= ^ With a new Motive: — fff ft 1 1 t m Ex. 141. I an inflection is made into Sub-dominant of the principal key, through which the Chief Subject is arrived at, and which is here only a literal, unvaried repetition. To this is appended an episode of 4 measures, related to the Intermediate Section of the Chief Subject. It exhibits the following canonical imitation: — Ex. 142. p ^mt^m i m 3E fffff J- te k -E ffl^ f This is repeated with enhanced figuration: Ex. 143. 4M ^ m ffllfeLrf l i *=j m » ^s ^ 7* 100 Bondo I. § 24. With the concluding measure of this episode, the Chief Subject enters in Minor, with a powerful harmonic climax leading into the Dominant. Here it again appears, but shortened to an 8-measure Period, and with a new figuration of the second voice-part: — Ex. 144. I $^ f f j -I J- rrrr rrrr Thereupon the entire movement is brought to a conclusion by an 8-measure Appendix. Sixteenth Exercise. Compose a Rondo of the First Form in slow tempo. Of all works written in this form, there is one in particular which cannot but be regarded as taking precedence in point of celebrity and perfection, and that is the "Andante" of Beethoven's Symphony in C Minor. Though it is taken for granted, that the student of composition is acquainted with all the details of this work, it nevertheless is necessary here to subject it to a technical analysis, not only that it may serve as a model of form-construction, but in order to point out, as well, the manner in which the Va- riations on the given Theme have been executed and successively introduced. The Chief Subject (presented as Ex. 30) becomes elongated from 8 to 22 measures by means of an episode developed from its close. Joined to this, enters another Subject of 27 measures (rhyth- mically akin to the first figure of the Chief Subject) beginning in At? Maj.:— Ex. 145. ^ dolce ^ * * ^S w=* & iS Rondo 1. § 24. and through the celebrated transition from pp to ff: — 101 Ex. 146. m& eg uJ hnJ p 4 forms a Cadence in <7 .Mix;. Now the same Subject, this time announced by the Brass instruments, begins in CMaj.: — Ex. 147. ^^ Jj^^^ and modulates j»p from that key back to Ab Maj., where the first Variation enters: — Ex. 148. i ^ ±=- g*E£ i ^V ' L^J^ *] » *f ^ r . ? ff** &c. all'8. ^ j g g j bV 7 7 -7—7- £ ^^ With gradually growing figuration, this traverses the entire ground covered by all that preceded. The second Variation which now follows: — Ex. 149. 102 Rondo I. § 24. is limited to the Chief Subject proper (8 measures), repeats in climax, and then conducts at once to the third Variation: — Ex. 150. ~ ♦.-. This reaches a conclusion in its tenth measure on Dom., after which enters the four-part episode in Flute, Oboe and Clarinets, which evolves from this Motive: — Ex. 151. dolce and which eventually leads back to the return of the C Maj. episode, Ex. 147. After this, a figurate modulation leads into the last two Variations, the first of which is a Minor -e (Minor): — Ex. 152. • P fet p g& * ty*-^ &V i' ™ whilst the second is of a free canonical construction :- Ex. 153. ^- — i. Maj. besides numerous other compositions of the great masters. * Designated by some as a Rondo of the 4th' form, the second part of the Tri- partite Song-form of the First Subjoot being comprehended as a Secondary Subject. Rondo III. § 26. 107 Seventeenth Exercise. Compose a Rondo of the Second Form. Tempo Allegretto. § 26. RONDO OF THE THIRD FORM. In the Rondo of this form, the three Subjects which it contains are so distributed, that, following the Second, the First returns complete or shortened, succeeding which, the Third enters, being in turn followed by the recurrence of the First Subject (either in its entirety or somewhat shortened) with an Appendix leading to the Close. First Subject. Second Subject. First Subject. Third Subject. First Subject. Appendix and Close. The First Subject (particularly when in quick tempo) is mostly in extended Song-form, so that the points in which the Third Rondo Form differs from the Compound Song-form with two Trios (aside from its freer and more elaborate constitution than the latter) are merely in the predominance of an inclination to make transitions, and in the contractions of the re-entrance of the First Subject. Albeit, these are not exactly safe criteria. In many of the antiquated, but nevertheless interesting, move- ments belonging to the primitive period of form-development of the last century, the affinity between the forms in point is clearly ex- hibited. To such belong many of Mozart's juvenile works, which, at least, cannot be denied an historical and biographical interest; as, for instance, the little Violin Sonata in E{> Major: — 108 Rondo III § 26. Ex. 160. Allegro vivace. Bight ;h. Violin. Left H. 1 jA r t, f i M j - i ¥ ■m ^ Si Its i^Vsi Subject is in Long Tripartite Song-form. Immediately following this, comes a Song-form Episode in C Min: — Ex. 161. i f?r r /fr f r i -r f , r r ^Ff fy\ i \ i rr~n n \t i'r 1 Pfgf ^ . i i it r i iV f i* f *r i i r j whose first Period terminates, in conformity with the rule, in parallel key. The continuation, which now proceeds in the first place as the commencement of the second part of a Bipartite Song-form: — Rondo III. § 26. 109 Ex. 162. jAHT i- J r ^l i b% UN ^U J^PT^nJM J * b*-. ^mt £=£ b£- a ^ *= s s £ terminates suddenly at the end of four measures more in C Min., in order to modulate thereafter back to the Dominant of the principal key, where the First Subject, contracted into a Period-form, returns. Now the Third Subject enters, commencing in EJ> Min. (comp. Ex. 39, where it is quoted in its entirety): — Ex. 163. 9 : to * J J3-J-J- m ipfp * &=H It is in Tripartite Song-form of 25 s _ measures. The First Subject returns on the final measure. The reason of our having selected just this work for an ex- ample, is not in the sense of its being of special importance, which, indeed, as an early juvenile work of this immortal master, it cannot assume; but rather on account of the great simplicity and lucidness of its formal structure. These properties may also be observed in the Hondo of his Sonatina in CMaj.: — Allegro. Ex. 164. < i *— * It—fZ-l it^i ;fc t^J J h"r h"£ & £ and in that of his E Min. Sonatina (Ex. 29), whose Subjects will be explained later on. As a transition to the B eethoven models to follow here, we present a work which has latterly been extensively played by the most eminent virtuosi: the Hondo in A Min. by Mozart: — 110 Rondo III. § 26. Ex. 165. ftfftf l r-t>r- Lr The finest Beethoven example of the Third Rondo Form is the Finale of his great Sonata in Min., Op. 53. Its First Subject: — Ex. 166. Allegro Moderate. Antecedent. £ fe^Etf ^ pp -^r± ± * - - — r • Consequent. i =^=tf ±: y if// U tfi ^ n r j is in elongated Short Tripartite Song-form. Appendix and Transition: — Ex. 167. 8 measures. Rondo III. § 26. Second Subject in A Min: — Ex.168. g ft Mm . Ill ^ *-* i — -+v •/ t m n h i ^ m *^ Termination of Antecedent. Con- sequent follows. Together 16 meas. This is succeeded by a Double Section of 2 X 2 + 4 measures. Repetition of the First Subject in its entirety. Third Subject in C Min.:— EjX. 169. The same in R. H. a semiquaver later:— S PB $« 3 ip B^gg BE g^m^ p Repeats. Melody in right hand. Bass counterpoints in semiquaver triplets. Consequent: Counterpoint (double cpt. in the 8ve) in right hand: — Ex. 170. wp r fE f-r & s EBj fcafl ipi. Eepeats, inverted at 8ve ; whereupon its concluding Phrase is repeated once entirely, then its second half twice, and a Cadence-formula appended. Now the First Subject again, and Conclusion. — The last repetition of the First Subject is preceded by an extensive Intro- duction developed from the principal Motive, which takes into account the performer's virtuosity. The repetition itself, however, is cur- 112 Transitional Forms. § 27. tailed. This is followed by an extensive elaboration of the Motive of the Transition, Ex. 167, and a "Prestissimo", in which the Motive of the First Subject is almost exclusively employed. Here, too, the performer's virtuosity has been taken into account. Eighteenth Exercise. In accordance with the guidance and the models here given, compose a Rondo of the Third Form in quick tempo. § 27. TRANSITIONAL FORMS. Banging between the first and second forms of the Eondo, are certain transitional forms which seem to share the properties of both. They originate from the first Rondo form through the assum- ing, on the part of its intermediate episodes, of an unusually inde- pendent structure, or from the second Rondo form, in that its Sec- ond Subject is short, unimportant, or of a digressing character. In such cases, the determination as to the form remains doubtful, there being present a Rondo either of the first to second, or of second to first form. All forms exhibit such transitional states, the exhaustive treat- ment of which however, does not concern the Study of Composition, but rather that of Analysis (score-study), and in a deeper sense, Theory proper, and Musical Science. A movement which seems to waver between the first and sec- ond forms of Rondo is the Andante of Beethoven's E|? Maj. Sonata, Op. 7. It has a very greatly extended Chief Subject in CMaj.:— Largo, con gran espressione. 171. ■ p *~? T- mms j j i j^^ ! r- w^m The Song. § 28. 113 which is in Tripartite Song-form. To it, is joined an Episode in A)? Maj.:— Ex. 172. PPP^WP which begins with a Quadrimeasure terminating on Tonic. This is followed by a Quadrimeasure in F Min., equally as firm in structure, and of like thematic contents. Now the same begins in D\r Maj., but in the fourth measure modulates with the Chord of the Augm. 6th to the Dominant of C Maj. In view of the firmness of its Sectional structure, one is in- clined to accept in this Episode a Second Subject, and decide in favor of the second form of Eondo. Considering the swerving modulation, however, the presence of the character of a Subject would be disputable, and thus a Rondo of the first form apprehended. In truth, it is a Rondo of the Second to the First form. ( C ) §28. THE SONG. In the Song, the musical form is not unrestricted, i. e., is not subjected exclusively to musical conditions, but is dependent upon the poetical form and logical laws of language. One is justified to suppose that the lyric poem and its musical setting were origi- nally one in invention and execution, in other words, that the poem was invented at once musically. Due chiefly to the diffusion of chirography, and even more so, to the art of printing, the two gradually became separated. Poetry accumulated ideal matter to such an extent, and music so efficiently created for itself independent forms, that the two could no longer originate in union, but had to Bussler, Musical Form. ft 114 The Song. § 28. be combined with one another in order to restore the original unity of the Song or Lay (in German, Lied) — the meaning of which is "vocal poem". Only just in the present age has it become possible, on a basis of extraordinarily extensive intellectual capacities, for the Art of Harmony matured to a consummate means of expression, in con- nection with dramatic action and declamation, to effectuate, in the province of Grand Opera, a restoration of the original bearings upon a higher standard. There can be no doubt that every musical form is capable of being poetically imitated, that it is throughout possible to furnish with an apposite and poetical text, any composition which does not overstep the limits of vocal setting. This, however, is the task of the musical poet, and not of the poetical composer. To the latter is here imposed the opposite task: that of com- posing the music to a given strophic poem. This subject, which far more concerns general education than the professional training of the musician, can only be considered secondarily by the Science of Form, a course in which must there- fore content itself with establishing upon it but a single Exercise. Nevertheless, we shall proceed to briefly explain the chief technical relations existing between the music and the text, both of which in a great measure interlock. I. The Musical Composition corresponds faithfully to the metre and versification of the poem, and adapts these to its metrical system of Bimeasures, i. e., organizes them into 2-, 4-, 8-, etc. measure forms, the peculiarities and licenses stated in §§11 to 14 being taken into account. Thus: — Ex. 173. Zeltee. £*-f-rl r ~ 'T^yfW-k r r r ^S There reigned a sovereign in Thule, Was constant till the grave, To V* ' f r I •>■ r t\ft r-H-rA^ whom his true -love dy- ing, A golden goblet gave - (The last measure is an extension, a written out fermata, as it were.) Ex. 174. i The Song. § 28. H5 Schubert. "The Maid's Lament". if* *\ J- $ c Hi t \ iJ m t m £ The oak - wood blusters, the storm clouds urge, The 3 3 *=££=*=* ig J" J? j i maid ■ is sea - ted by shore I of surge. The 3 *v J' J» J> J^ J» Jlfr J* p- pi p p p3X£ wild waves are chopping with might, with might, & she sobs her woe to the 3 — ? r fe^/h'jH^ jff^l^ l 3 s :^*£ dark some night. Her eyes much be - dim - med from wee ping. II. The Musical Composition avails itself of repetitions of the text, in order to produce a more complete organization than would be the case without them, and to expand into a freer formal struct- ure; as here: — Ex.175. [2(3 X4) = 2X 12] Mendelssohn. "Hunters' Farewell". fi :i r e i r r. * <^-m i r r r , i! Lovely wood, who so pro -found, He that rear'd thee grand and I |A J j ,)■■ ii if , t i rrr-r^ I lof - ty? I will sing His praise de - vout ly, Till* -my I I t=rr^T := p4=^—^ voice should cease to sound, T will sing His praise de- 1 ?• f ^ fcfjr C'fi I f ; B r »l IJ e =^ vout-ly, till my voice should cea*e to sound. Fare thee well, fare thee I r fir r - M f rffir Vli l r'TTtTT^ well, fare thee well, fare thee well, fare thee well, fare thee well, O love-ly . I jM^-P-Hr r Mr cr l rTr wood, fare thee well, fare thee well, O love - ly wood. , 8* 116 The Song. § 28. Since it is taken for granted that the student is familiar with this composition, it will be permissible to let this meager melodic extract suffice here. III. The Musical Composition binds itself only to the irrevers- ible laws of the logical declamation of the text, but in other respects maintains its own in accordance with purely musical laws. In the German and English languages, the logical accent goes hand in hand with the accent of the words, whereas the French possesses only a final accent, hence, no logical accent of the words. A freer treatment of the text is to be met with especially in Grand Opera, Oratorio (Cantata), and in the Concert Style. An Example. Alle meine Pulse schlagen, Und das Herz wallt ungestum. Konnt' ich das zu hoffen wagen? Suss entzuckt entgegen ihm! 0, how ev'ry pulse is flutt'ring, And how fast my heart does beat. Could I hope to know such rapture ? Charm d that we in joy shall meet ! Ex. 176.. tt Webek. "Freischutz" f "'\> * ,r Irt fr ^SE^ C/ KT kj t^f S & A very concise, First Part of a Sonatina in Minor may be seen in Beethoven's G Min. Sonatina, Op. 49, No. 1. Similarly as in the Kuhlau Sonatina, the Chief Subject here forms an Ante- cedent with Semi-cadence: — Ex. 180. =5 i s£g m/ p &c. ]£ 4 meas. i ^P fc£ : $-l : ffr ff g fl ^ (Semi-cad.) The Consequent, which begins regularly, takes the form of a Mediating Episode, and modulates (assuming the office of a Semi- cadence) to the Dom. of the parallel key: — Ex. 181. , m gas «b ^^ e HH^fr- ? Measures /P 1,2&3. S ^ ^ 111! £ Up Up beat. W— f *= where presently the Secondary Subject (which is not without melodic affinity to the Chief Subject) enters, and extends through 9 meas- ures, repeating the last 5. In comparison with the Chief Subject, it thus appears disproportionally long. 128 Sonatina. § 32. Secondary Subject. Ex. 182- The Conclusion borrows its contents from the Secondary Sub- ject; thus: — Ex. 183. I bis pf < tr\r, m te vmm \ mm^ Appendix is wanting. Yet, we might regard the repetition of the last five measures of the Secondary Subject as taking the place of a Conclusion, par- ticularly since they constitute an independent division. The five measures, designated above as the Conclusion, would then be viewed as an Appendix. Thus, the plan of construction would be as follows: — Chief Subject: 8 measures. (Antecedent.) Mediating Episode: 7 Secondary Subject: 9 Conclusion : 5 (Consequent.) , (Borrowed from the Secondary Subject.) Appendix: w 5 ,, (Connected with the contents of the Secondary Subject.) Viewed in this light, the present form becomes more adaptable as a model for the young composer. Moreover, the metrical struct- ure is of greater import to form-construction, than is the melodic concatenation. Twenty-First Exercise. Compose First Farts of Sonatinas in Minor mode. Sonatina. § 32. 129 § 32. THIRD PART OF THE SONATINA FORM IN MAJOR MODE. The Third Part of the Sonatina form differs from the First, in that all its divisions are in the same key , i. e- , in that of the initial signature. Aside from this, it takes precisely the same course. Thus, from the Secondary Subject on, the whole must he transposed into the key of Tonic; whether a 4th higher, or a 5th lower, the aesthetic efficacy must determine. Here the Mediating Episode becomes a mere interjacent one, since the modulation is no longer needed. The Kuhlau Sonatina (Ex. 177) retains it literally up to the point where the modulation would he made, and then transposes the modulating measures 15 and 16 into the Tonic: — Ex. 184. • i cj H/ "V ^ J Secondary Subject. m ^m The Appendix is generally lengthened, in order to affirm the close. In the Kuhlau Sonatina, two Chords in Maj. are added for this purpose. In Beethoven's Sonatina in G-Min. , the Con- clusion and Appendix are considerably elongated, wherein an indi- cation of the later "Beethoven Annex'' already appears. The Third Part is thus essentially a repetition of the First, but without modulation, and is therefore denominated Eestatement (Keprise), or Kecapitulation. Methodically, it would not be inadequate to begin the exercises on Sonatina and Sonata with the Third Part, and upon this, con- struct the First Part by changing the interjacent episode, between the Chief and Secondary Subjects, into a modulating one. At any rate, the young composer may resort to this method of procedure in sketching, . should he ever be at a loss as to a suitable digression. He will then first construct the Third Part (Eestatement), and from this, form the First Part (Enunciation) by the addition of a mod- Bussler, Musical Form. q 130 Sonatina. § 33. ulation. This applies to all similar cases throughout this Subject of our treatise. Remark. One should make a distinction between the Parts, the chief divisions of the entire movement in Sonata form, and the Members, the sub-divisions of the Parts. Twenty-Second Exercise. In accordance with the foregoing, construct Third Farts to all the Sonatinas in Major composed for Exercise 20. The form-member subject to the most essential change in the Third Part is the Mediating Episode, which, in the First Part, possesses the signification of a modulatory one, and which as such is really superfluous here. Nevertheless, it is but exceptionally ignored. It may be divested of its modulation, or this latter may be augmented by inner digressions, in order not to destroy the formal symmetry, since the metrical bearings of the parts and members are more important than the harmonic. In the previously quoted models and the work the student has executed after these, the Mediating Episode borrowed its contents from the Chief Sub- ject, indeed, for the most part, assumed the significance of a Con- sequent to it: a Consequent, which, modulating one degree farther in the Circle of 5ths, presented itself anew as an Antecedent Some- times the Mediating Episode is made up of new Motives, particu- larly, when the Chief Subject concludes on Tonic, and in consequence can not. at once furnish the Mediating Episode with a point of con- tinuation. To eliminate the Mediating Episode from the Third Part (Restatement), in a case of this kind, would be depriving it of an essential moment of its contents. § 33. THE THIRD PART OF THE SONATINA IN MINOR. In a Sonatina in a Minor key, the Third Part maintains not only the principal mode, but also the principal key. The Secondary Subject with what follows it therefore undergoes a much more essential change than is the case in the Sonatina in Major. For Sonatina. § 33, 131 this reason, the procedure of composing the Third Part first (as mentioned in § 31) is even more advantageous with the Sonatina in Minor mode than that in Major. Twenty-Third Exercise. To the First Farts of Sonatinas in Minor previously com- posed, write Third Farts, transposing the Secondary Subject and Conclusion into the Minor mode of the Tonic key. In Mozart's little E Min. Sonatina, the Chief Subject of which, 8 measures, terminating on Tonic, has been shown at Ex. 29, the course of the Third Part exhibits the following aspect: — Ex. 185. Mediating Episode: 8 measures. M i \ i & f i | lQf i | i^Ji| m m s 4=t= 4=* w? < r, h \ w> r i 1 1 jj j m ft fr ? g tf f •>■■$ i r} r k ^ This member must be regarded as strictly independent, even though the Motive, which engages it throughout, has been drawn from the third and fourth measures (from fourth beat to fourth beat) of the Chief Subject. Now follows the Secondary Subject in the principal key and in Minor mode, in accordance with the 9* 132 Sonatina. § 33. rule. We shall again here merely indicate the imitation played by the Violin. Secondary Subject. (8 meas.) Ex.186. Ex. 186. -a J K K K . *mt&-^$i& =**= is m &c. i meas. 4 4 4tF-4 Now enters the very short Conclusion: — Ex. 187./ tfW \ wm FTO3*5 which is followed by an Appendix of three measures in E Min. arpeggio. In the First Part of this Sonatina, the Secondary Subject, Conclusion and Appendix are, in conformity with the rule, in parallel key: G Maj. Albeit, there, the Mediating Episode does not modu- late to the Dom. of G Maj., but occupies precisely the same position as here, in respect to its Semi-cadence in E Min. Undoubtedly, the (technically simple) modulation seemed to the composer aesthetically inadmissible, as being contradictory to the emotional content of the piece. He therefore inserted in the First Part, between the Minor side (Chief Subject and Mediating Episode) and the Major side (Secondary Subject and Conclusion), an episode of 10 measures: — Sonatina. § 33. 133 Second Mediating Episode, violin Ex. 188. . P ^ =ra ^ r ^ jjjjjjj j j j g 1 ^* m z ^ = i t H ij . m,fl rrr?w •'Ltf r' 1 ' - " ^ 5 ^ &c. ^g ^ ' c/ ^ which enters at once in Gr Maj. — the somewhat ahrupt nature of this modulation having been deemed consistent with the character of the work — , and, ultimately forming a Semi-cadence on the Dominant of G Maj., prepares the entrance of the Secondary Subject. But whence the derivation of this intercalated episode? The first measure is the contrary motion to the first measure of the Chief Subject; the succeeding Motives are borrowed from the sixth measure of same. This episode, which, in the First Part, accomplishes what the preceding episode could not, is wanting in the Third Part. How- ever, in the First Part, it is to be regarded as an anomaly, con- nected with the antiquated custom of once more alluding to the Chief Subject prior to the entrance of the Secondary Subject. Perhaps, though, Mozart had the entire Third Part in his mind first. There are also instances, which do not count as anomalous, in which the Mode (but not the key) of the Third Part is changed; as, for instance, in a movement in G Min., the Secondary Subject, Conclusion and Appendix of the Third Part are in G Maj. . The Close may likewise occur in Major, or be led back to Minor. 134 Sonatina. § 34. § 34. OMISSION OF THE MODULATION IN THE FIRST PART. "With Sonatinas in Major mode, a Semi-cadence on the Dom., instead of a modulation to the key of Dom., is frequently to be met with. Thus, for instance, Beethoven, in his Sonatina in GMaj., Op. 49, concludes the Mediating Episode with a rather broad Semi-cadence formula, to which the Secondary Subject in the key of the Dominant immediately joins: — Ex. 189. . 189. , . OlS ■»» r iJ (iJ tiJ f jJ I fJ/ f sS r lS T ll ft J f A rJ f -f / l j 1,JjJ rMr-f Secondary Subject. * { lS jlS fjJ rjS\fl-fa \J7T7 J7p Likewise in Mozart's D Maj. Sonatina for four hands: — Ex. 190. i f — * =£ wm E £ n m p"-f- 4— f • ■ 1^ -J [\j* |* «* ' ' *~~ * y r Secondary Subj. Sonatina. § 35. 135 Even in Sonatas of greater extent, which, by reason of their length, as well as content, can not be classed under the head of Sonatinas, is to be found this simple means of introducing the new key. In the one in D Maj. by Mozart, for instance: — Ex. 191. Allegro. i J ^J'l^7 Wm t rf,f,|f r rfJa ^^ the Secondary Subject is attached to the Semi-cadence in just that manner: — Ex. 192. Semi-cad. ^£4^ ^ g w*=& 5ggTO S^8 I w~ *■ j, t > r f rf f h \ t^^s)tfe Secondary Subj e ct. A Maj . P ff^ The advantage derived from this is, that the Chief Subject and Transition may (however, are not obliged to) be retained un- altered in the Third Part. After the manner of the foregoing, alter some of the pre- vious work. § 35. THE SECOND PART OF THE SONATINA FORM. There is a Second Part, occupying the middle between the two parts of the Sonatina hitherto practised. 136 Sonatina. § 35. This Second Part is either: — (1) a Development from constituents of the First Part, serving thus the purpose of Thematic Work; or (2) it brings new matter, which, however, may not assume a closed form, because it would otherwise pass into the Hondo form; or, finally (3) it introduces a little of both. This third is the predominent kind, since it holds the appropriate mean between the rigorous re- strictions of the first, and the arbitrariness of the second kind. The length of the Second Part varies greatly. Sonatinas are to be found, in which it consists of but a few measures, occasionally, for- ming merely a return passage into the Eepetition; again, others are to be met with, in which it well-nigh attains the length of the First Part. In general it may be taken as a rule for the beginner, that the Se- cond Part should not be shorter than about half the length of, nor longer than at highest rate equally as long as, the First Part. Twenty-Fourth Exercise. In accordance with the preceding, write a Second Part (the so called Development or Elaboration) to each one of the- hith- erto composed Sonatinas in Maj. and Min. keys. It is advisable to compose several to each Sonatina. Unite the Parts of the most successful ones into complete Sonatina movements. The Second Part of the Sonatina, like that of the Tripartite Song-form, is frequently enclosed together with the Eepetition in double bars with repeat signs. Let us now examine several model Sonatinas. In Beethoven's Sonatina in G Maj., Op. 49, the Development presents fourteen measures over against 52 of the First Part; thus: — Ex. 193. Thematic working-up of the Chief Subject. JNN* CITlffM #J «J r If f r E / P T> Min. to A Min, Q'ff 9——- ft'mjUiljJJ^ ^ Sonatina. § 35. 137 jt it rfrrft|f» f r i rprttm / A Min. - - — — — —to— — — — — — Semi-cad. p in BMin. ¥ j-Ji J J}j ' H^ylKHj^ j, 1 * » m f,Tf E3' r^M= E! Semi-cadence formula on Dom. of E Min. i 7TJ J'JJ'J ^^ P : s „ > » -» - IS Sequence through, the Circle of 4ths from E Min. ^ iW^I^ ** i to GMaj. Restatement. ^t±u car^ The first six measures are employed with the Chief Subject; the remainder introduces formulas of minor importance that render no other service than to lead into the Eestatement, and, by virtue of their unimportance, augment in significance the re-entrance of the Chief Subject. In Mozart's E Min. Sonatina (Ex. 185), the Second Part pre- sents 15 measures against 39 of the First, and 29 of the Third Part. Its opening is connected with the Chief Subject; the remainder is free, likewise formulary, yet of greater significance. Thus: — 138 Sonatina. § 35. Ex. 194. P M t^ryr S=S=3=lfcfc:SzS v s g J -|r* m ffB - fm^} mm ■*■ •*■ ■&■ g^"? ^ si r'^tai'.' 7 t rrr . i » ? - ^F^ ^pV^Fr- liF 3 S \ 7 ; ;f S ? 3 ^tf ^rrf r^i^ ^ ^^ ^^^ te-5- r~ V ^ ' £^ p — p- ffl S ^ calando JUJ L H r- j f f'lf^rJlr j - r JI^'J J TT P Return. Restate- ment. * J J J J &=& In both Sonatinas, thematic connection, at least, is exhibited; yet, independent formation predominates. Sonatina. § 35. 139 The Development of the G Min. Sonatina of Beethoven, however, consists principally of thematic contents. At once the opening, a modulation to the key of E(? Maj., is connected with the Secondary Subject; thus: — Ex, 195. 1 This is followed by an entirely new episode of 2 X 4 measures in EJ7, rounded off in Tonic key: — Ex. 196. £ 3 S The succeeding eighteen measures, however, are thematically connected with the Secondary Subject, which, notably (p. 127) is thematically related to the Chief Subject. The contents of our little model Sonatina by Kuhlau is of entirely free formation. The Second Part of it begins with the evolution of this new Motive: — riff into a 4-measure Section, and only borrows the in itself insipid accompanying figure of the left hand from the commencement. Then, after another 4 measures, enters, in this rhythmic variation: — m\H a Deceptive Cadence in At> Maj., which leads to a Semi-cadence on the Dom. of C Min. , and thence on, in commonplace scale and 140 Sonata. § 36. 5-note passages, into the Restatement. These passages may of course be regarded as being thematically connected with the Con- clusion and Appendix of the First Part, if they are at all, in their unimportant commonness, entitled to thematic significance. The un- importance, commonplaceness , formulary nature of their respective Developments does not fall to the reproach of the two compositions in point, which are consummate models of their kind. These qualities are rather essential to the Sonatina, since its Development (Second Part) must not detrimentally influence the iteration of the Subjects in the Restatement. The entire Development is in a meas- ure here a Cadence on the Chord of the Dom. 7th, which leads back from the Dominant to the Tonic. It also maintains the equi- poise of Dominant against the entirely Tonic Restatement. (B) THE SONATA. By extending the form-members of the Sonatina, and con- sequently, its entirety, the Sonata is produced. The reciprocal relations of the parts and members remain unchanged in regard to the modulation, as well as the extension and metrical formation in general. The Grand Sonata, too, is only a Sonata of unusual dimensions. Albeit, the appellations given by composers waver. The Pathetique, the D Min. , F Min. Op. 2, for example, are Sonatas; the C Maj. Op. 52, F Min. Op. 57 (Appassionata) , and the Bb Maj. Op. 106, are Grand Sonatas. THE FIRST PART OF THE SONATA FORM. § 36. EXTENSION OF THE CHIEF SUBJECT. (a) By Repetition, usually with an Appendix. Should the Chief Subject be of adequate importance, partic- ularly, of characteristic rhythmic construction, it may be repeated, in which case the termination of the repetition serves as a point of connection for what follows. Chief Subject. § 36. 141 Ex. 197. Allegro con brio. M^ I J^Ir l ^ S *¥t£ I be m The above celebrated Theme from Beethoven's Sonate pathetique, Op. 13, is appropriate for repetition, by reason of the characteristic contrast of its two divisions; and it demands this repetition, since in its prescribed rapid tempo, it does not suffi- ciently infix itself in the mind at a single hearing. In its repetition, though, it forms a Semi-cadence: — Ex. 198. i fc A& m nJ" j; *r y— g 3= i ife £ to which attaches an 8-measure Semi-cadence formula on Pedal-point. This is followed by the Mediating Episode. In their harmonic re- lations, the Antecedent and Consequent have, to a certain extent, exchanged places. The Full Cadence comes first, and then the Semi-cadence. In the E(? Maj. Sonata, Op. 31, the Chief Subject is repeated with Tonic termination which is affirmed by an Appendix of 2X4 + 2X2 measures. The Chief Subject of the A Maj. Sonata, Op. 2, which consists of two thematically different Sections, is repeated curtailed. The first time it terminates in the key of Dominant, E Maj.; the second time, in the principal key, A Maj., where, without there being an Appendix added, the Mediating Episode immediately enters. The Chief Subject of the Symphony in A Maj. consists of a Short Period, an elongated 2nd part, and a repetition of the Period extensively lengthened, with a Cadence-formula which immediately 142 Sonata. § 36. proceeds to Cfl-E-Ajf, and through this chord, into the Mediating Episode. In the Pastoral Symphony, the elongation of the Chief Subject, which terminates on Tonic, is also essentially founded upon repe- titions. Likewise the slow movement, in Sonata form, of this Symphony. (b) By Annexation of a 2nd Subject, which, as it were, bears toward the initial Subject the relations of a Postlude, Coda, or Refrain. This is a common form with Mozart. In this master's Ej? Maj. Symphony, the Chief Subject forms the following Period of 14 + 14 w measures, which, in order to save space, we present in its most meager extract; thus: — Ex. 199. Allegro. MOZAET. jAijJl^ i I ^ Hrrurn- 1 - Ij ^p 7^ ff^? P^> H J fij ) \ ' J fij j i ^^ fSg i-r?H f f f I E m iE3ESJ I ^ =£ li /i- J.'J'f rirrnrMrfHf =& pgft, f r I Maj. which terminates on Tonic, and conducts into- the Mediating Episode. (c) By Period-construction. Owing to its closed form, the Long Period is not well adaptable as a member of the Sonata movement. Yet, the Chief Subject often forms an Antecedent extended by repetitions, or additions, or both, to which joins the Mediating Episode, which at first seems to be a Consequent with the Motives of the Antecedent; thus instead of combining with the latter to form a Period, the Consequent reaches over into the system of a new key. {E. g., Mozart's Symphonies in C Maj. and G Min.) However, above we have already noticed a Mozart example, in which a Long Period united with an additional Subject to form the Chief Subject. Extended Periods, that by themselves occupy the entire space of the Chief Subject, are also to be met with. Chief Subject. § 36. 145 The Chief Subject of the E Min. Sonata, Op. 90, by Beetho- ven, is in the form of a Tripartite Period:— Ex. 203. First Part. (4X2 meas., a quadruple Phrase [comp. §§ 1, 2].) Beethoven. Second Part (2x2 + 2x1 + 2) j^K-ff^f=f4r j r I r r flrTT^ Third Part. j , 1 r r f i i i i n i .j/yf r-irj.fi as ! X [2 X 2] + 4 X 1) l y j-i j i ijjju ; firt riji juJjji Appendix. £ ft it , . i " i v f rtfrl-r W J j r 1 r r Ex. 204. Antecedent. Mozart. p I-, j-l ^fj> r ^ HH f * f. I £M{^ j /f r ■ l,J 'I C£i/ ^n^Tit^ m& Viola. simile ^irrrr j 7 i i - 1 iJ J JW; f ^ 6 ussier , Musical Form. Consequent. 10 146 Sonata. § 36. * ^ r \r <, * ■ J J J ^ i 1 m -m-rr=Z^=fCM. ^u * J yjMA J] r ;^ J ft 'i j BE 3K $ ' ? ^ to^^ t'A'tu trrf fff.f i fVff^T i ^^ i/rfr f n- i pffleSf m In the above example, we find the first four measures termi- nating with a Semi-cadence, which appears to characterize them as an Antecedent. The continuation, however, does not complete this Antecedent to a Period, but again forms a Semi-cadence (by means of the Chord of the Augmented 6th). Aesthetically, too, the character of a Consequent is wanting, owing to the urging nature of the treatment of the Motives, notwithstanding the fact of their being developed from the first Antecedent. Only just here the Consequent proper begins, which places 16 measures against the 8 of the Ante- cedent, The extension is connected with the Motive | — a |, which appears four times, and leads to the thematically free conclusion. The unusual tripartition and expansion of the Consequent, noticeable in the above examples, have released the Period of its closed character which is inconsistent with the Sonata Form. Beethoven, in his Symphony in C Min., forms, after 5 meas- ures of Introduction, an extended Antecedent of 16 measures. A corresponding Consequent of 20 measures enters after 3 introductory ones. The elongation of 4 measures is produced from this Motive of the Antecedent: — Chief Subject. § 36. 147 Ex. 205. p*m±M which has been transfigured and elaborated in the Consequent in the following manner: — Ex. 206. iQ> n*]-| 1— 1= — zl ^^ ^ ^ 9~ v r~ L-U — __ 1 I f p—i \ * * t hJ \ Utf \ ^ \ T * n ^ \ f - Commencement of the Mediating Episode. This Chief Subject thus represents a Long Period comprising 36 measures, exclusive of the 8 introductory ones. The Conse- quent of this Period has, by reason of the pressing-forward motion and the partition of the Motive, been rhythmically so constructed, that the sensation of a termination cannot arise. It urges on un- interruptedly. This is the lofty art of the Sonata Form: the avoidance of Cadences by appropriate rhythmical organization. Obviously , there are still other means of elongating the Chief Subject. After the above explanations, however, it must be an easy matter for the young composer to find these out for himself in the master-works, and apply them to his own work. Twenty-Fifth Exercise. In accordance with. the given directions, compose extended Chief Subjects of the Sonata Form up to the point of entrance of the Mediating Episode. Employ as much as possible of pre- vious work. 10* 148 Sonata. § 36. The student is cautioned against composing these Subjects in the shape of meager melodic extracts (such as in part have, for reasons previously stated, been un- avoidably presented here), afterwards adding their har- monic organization. This method would render the con- texture dry, superficial and old-fashioned, because of its having a basis of inartistic abstractions. The young artist should rather have the complete harmonic texture in his mind, as, also, the manner of interpretation through that performing organ which he is employing at the time. In order to furnish something entire as an incentive to the imagination, several models by Beethoven will be given below in their complete state. MODELS. Ex. 207. Beethoven. Allegro con brio. (Chief Subject of Str. Quartet in F Mao., Op. 18.) pi im-ai ^i i i j_jjj B i jj-3 Antecedent. i ]^ — i 1 . ... , t^ — i — i j=JB-# M *\i *j \ i J- U ^ g^ 5= m r~~"*"~1 J Consequent JuJ JJ J (elongated). £^g SEgE m p i ^U j jgr/ji . i iif m m t> . a =5 Ty-H 1 1 r cEr-fJ 1 r * * fe Chief Subject. § 36. 149 Perf. Full Ca- M »T*. f frffET V | f; i r't£T j£ | |^^ 1 £££ £= i ^ (Sub-dom.) -~— — ' Appendix to Consequent: a 2nd Consequent, as it were. dence. HI j- fij i *=t £ r;> r * i j-J3 tt rJ i- 5 jj ,-^frJa ^;_r |j ^ j ^ j !^ ^f^-^ ^ i i i i ^ ^ g~E/ c/ ' * / Pert'. Full Cadence. 'KTt-C - C Elongation by- Period- construction and Annexation. ^r r r Ex. 208. Allegro vivace. Chief Subject of Str. Quartet in C Maj., Op. ^S P Prelude. I Short Section. 150 Sonata. § 36. |j» ttfif ^FT^ a i « Additional col' 8 J^J i j 1 \fc IH* fT-F #. £^ d cresc. / ' .Prelude elongated. Double Phrase. re I pra §§ 3^=£ 1 g V p Subject (of a Cadence character). c. 8. __ _ i £ ^igruj^iJg ^ *•■ 4 TT^f S& •/ flj-JEfl.jm MR^T 1 "^** ? I * ? | » mm ~ P^ » | « I J m* | * | « i * i * M ff r x. x. X. X Contractions (2 X 1 + 3 X V«)- h^t^-if^ v jfW% ^ =3 &L xE s=s *z-r-^. Chief Subject. § 36. 151 |li i i iVr&J*" •j' " 1 1 G j?^ j n r"^ §ebe £ Elongation by Eepetitions and Annexation. 152 Sonata. § 36. Ex. 209. Presto. Chief Subject of the Kreutzer Sonata. Violin. Pianoforte. " , ii< iii i T • • • iii ii '■"? Antecedent (9 meas. by expansion of the Close). '^■" ■l UU 1 ' i" u t=^^^ s/p ^iMH-' ff i - U i - 3^=5 roW 4= J J r I r J J r"P £ If •/ rail. •f Repetition. i i ii ji- 1 ji- 1 1 r ^= i'r ' i'-.M •/ s: «/ f^H- IJ*J* h*-|j*- j^ MJ 4 - | j - 1 . 3jfc=z± i " * JW j j ?4j J J j l j J-J i m 1 1 J i f jj » jl^' J J t 1 1 ? J J ' l*E£3 I ^ ^n i F^ ^ Xp. fe£ rr i rail. ^f^ s :fc= f raff. i t> 1 ' i ' i ' i 8/ ftrf. 3= P J ^ Chief Subject. § 36. 153 i £ £ .Consequent (8„ meas.). jjui^nujjj i ss * — » — * p cresc. W * * ' w 3fc IJ J J = tJ J J r " ' 3 t i -u^- -#- ^^ »/ »/ */ |>-WJ ^J+Jl JffJ ^ rr» — *~^r* — * ? : ■ bJ J J j— j^M 3 ? ? Appendix (2X8 meas.) $ f f n 1 f r d J I Jl^fp |i jjn JJJ] I J7T3 jm I J 4= #£fe r^r r r * a g =3 =3= ^^ J J H IJ ==* f i r^r r r il SS *»: rrrrTrfr ^^^ * ^ i 3 154 Sonata. § 36, h-&rM QEEE i J J- ^^ tf=J ffi -^— ? #^ !U_JR 0... . — NBH tfr frff i re I » — ^r^j i j j j ijij i^ ' lysi ^m p* im - f. -*«.*. *. » i£ tLd I cJ-cj g± ? : FP rtj ^ i f- f- ^^ m rm i rrn ^ # 4 =^P =3= i w £E= OT- ■*• ■# bo •I #f#g 3= ran fp T* i? js Mediating Episode. §37. 155 § 37. THE MEDIATING EPISODE. Notably, in the First Part of the Sonata form, the Mediating Episode is a modulatory one, through which the new key (of the Secondary Subject) is introduced. In Sonatas in Major, the key of the Secondary Subject is regularly that of the Dominant; in Sonatas in Minor, it is in parallel key, or in that of the Dominant in Minor. Thus in a Sonata in C Maj., the modulation must be made to G Maj ; in a Sonata in C Min., to Et> Maj. or G Min. The procedure of the modulation in its present employment is a more or less decided one. I. "With the Sonatina, we became acquainted with a procedure (p. 134), by which merely a Semi-cadence on Dom. is formed, . and thereupon the Secondary Subject introduced. Though so loose a procedure is rarely to be met with in the Sonata, yet it does occur, particularly with Mozart. (Comp. Ex. 191, 192.) In this case, the Mediating Episode has the simple task of producing a Semi-cadence in the principal key. II. The modulation is more radical, when the introduction into the new key is accomplished by the Dom. 7th harmony of that key, as in the Kuhlau model Sonatina. There the en- trance of the Secondary Subject is preceded by the Chord of the Dom. 7th of its key. {E. g., Finale of Beethoven's C# Min. Sonata.) Equally as advantageous a procedure is that of introducing the new key by its own Semi-cadence. (E. g., D Min. Sonata: Finale. Semi-cadence IV V with passing Chord of the Augm. 6th.) III. The most radical procedure, however, and one most usual in Grand Sonatas, is to modulate beyond the new key, namely, to that of its Dominant. If, for example, we intend to proceed from C Maj. to G Maj., we would modulate first to D Maj., and from here back, as it were, to G Maj. Should our object be to digress from A Min. to EMin., we would modulate to B Maj. as the Dominant of E Min. This Dominant of the Dominant has been designated in the author's "Harmony" (p. 182) as Changing Dominant, and in the Science of Form constitutes that harmony, with which the change of key becomes 156 Sonata. §37. effectuated. (Comp. the author's "Partiturstudium" , p. 345.) Should the Secondary Subject of Sonatas in Minor be in the parallel key (as is invariably the case with Mozart, and often so with Beethoven), then the Mediating Episode modulates to the Dom. of the parallel, which, however, it is not customary to designate as "Changing Dominant". If we intend proceeding from C Min. to Ej? Maj., we would modulate to B|? Maj., the Dominant of the parallel key. Thus, for instance, Mozart, in his Gr Min. Symphony, modulates to the Dom. of parallel key, prior to his establishing the Secondary Subject in Bt? Maj., even though he had already arrived at the parallel: — Ex. 210. ^rr^' I 'tf && S y^=e s b l tfa £ -VST 3= When the Chief Subject terminates on Tonic, a repetition takes the place of the Consequent; so in a rather small compass, in Mozart's A Min. Sonata. Its Theme is an 8-measure Section, on the last measure of which, the repetition, and with this, the Me- diating Episode, enters. 158 Sonata. § 37. Ex. 214. Mediating Episode (issuing forth as a repetition) -rf-r $ ^[k^ip^ ^ir rUrroi ^ i >M. \>. a^ Hii St f flft^t* Clg f^g g j rl ^ ipip rr rrt- r f r (Dom. of Parallel.) Appendix. (Semi-cad. in C Min.) simile mm 3»c *T H Secondary Subject in C Maj. follows here. As in the Beethoven example, the modulating Consequent was preceded by a Cadence-formula on Dominant, so in this Mozart example, such a formula follows the modulation of the Mediating Episode. In Beethoven's Et? Maj. Sonata, Op. 31, the Chief Subject, after being repeated (§ 36, [a]), is followed by the Mediating Epi- sode, with which it is connected through its principal Motive. With the second Motive, the Mediating Episode effects the prescribed modulation. In the first movement of the Ninth Symphony (Choral, D Min.), the Mediating Episode, which, possessing the most lofty emotional Mediating Episode. § 37. 159 content, ranges as the zenith of Symphonic Art, is of a similar formal organization. In its 36th measure, it draws from both of the con- stituents of the Chief Subject, and in the 74th measure, is located on the Dom. of the key of the Secondary Subject, here, by exception, that of the Sub-mediant (Bj? Maj.), instead of parallel key. (b) Independent. The Mediating Episode evolves from its own Motives. This is the case in Mozart's E|? Maj. Symphony. To the Chief Subject of the first Allegro (Ex. 199 & 200), immediately joins the Me- diating Episode with this Motive: — Ex. 215. §n frrtttftni. s m ■whose second measure bears thematic affinity to the demisemiquaver figure of the introductory Adagio. This Motive, aBimeasure, repeats, whilst modulating, five times: — Maj., into the Secondary Subject. 160 Sonata. § 37. In the Don Giovanni Overture, the Mediating Episode takes a perfectly independent position between the Chief and Secondary Subjects. Beethoven examples of this order are: Finale of the C Min. Symphony, the first Allegro of the A Maj. Symphony (meas. 47 to 68) in particular; then the first movements of the Pastoral Symphony, the D Maj. Sonata, Op. 10, etc. (c) Combination of kinds (a) and (b). The Mediating Episode proceeds from the Chief Subject, but in its progress, assumes an independent structure. In his G Min. Symphony, Mozart constructs the Chief Subject in the form of an extended Antecedent of 16 measures. To this Antecedent, joins the Mediating Episode, in the first place as a Consequent: — Ex. 219 j,>&lr&r [ Jlf f Lg|fC?fCj | f f>r?- J i * r? r c? i f^ ' ^V tf r 1 1* V c Modulation to B7Maj. New Subject in Mediating- Episode j/f I" r -> nr Hiii l f r ftr l r r ^ V Ml i rt jTt£L T , | HW rfrf r | fi fr Modulation to Dom. of Parallel key. g/f"rr|r^|^ T=F?=t Here enters the 1 Secondary Subj. Here the Mediating Episode is to be seen commencing as a Consequent, and then proceeding to an independent formation prior to its conducting to the Secondary Subject. A peculiarity is, that this new episode is already situated in the key of the Secondary Subject, and yet modulates anew to that key. We may notice this kind of modulation in Mozart's C Min. Sonata (comp. Ex. 35), in Secondary Subject. §38. 2.61 which the Mediating Episode proceeds from the Chief Subject, appearing to produce a repetition of the latter, but with a single stroke, digresses to Et? Maj., there, sets up a new episode, and conducts it to the Dominant. Beethoven proceeds similarly in his EJ? Maj. Sonata, Op. 7, but, as in Ex. 211, he concludes the Mediating Episode not on the Dominant, but on the Tonic of the Secondary Subject, Bt? Maj. Twenty-Sixth Exercise. In accordance with the kinds of construction here set forth, form to the Chief Subjects composed for the preceding Exercise, Mediating Episodes that introduce the key of the Secondary Subject, in the manner of II and III of the ways of procedure shown on page 155. The Mediating Episode should urge onward, and conduct to a new goal. Therefore it should never be overcharged with Thematic Work, a fault common to many of the latest composers. § 38. THE SECONDARY SUBJECT. The Secondary Subject generally stands in the most striking con- trast to the Chief Subject. It is inclined to be of a cantabile character; especially so, when the Chief Subject was composed of very elaborate figuration. Otherwise, its structure exhibits equally as great a variety as the Chief Subject; indeed, it often possesses a greater wealth of Motives, and contains the most important modulation of the First Part. As a rule, the extension of the Secondary Subject is somewhat greater than that of the Chief Subject without the Mediating Episode; but decidedly less than that of the Chief Subject with the Mediating Episode. Below we present two Secondary Subjects that may serve as samples of construction. The first Secondary Subjects which the student writes should terminate firmly in their respective keys. To be sure, there are master-works in numbers, in which the Secondary Subject leads immediately into the Conclusion; as in the first movements of the C Min. and A Maj. Symphonies. Cases, however, in which the final measure of the Secondary Subject concurs with the initial one of the Conclusion, as in the Finale of the C Min. Symphony, are not classed under the head of those, but are regarded as regular. Bussler, Musical Form. \\ 162 Sonata. § 38. The key of the Secondary Subject (§ 37) of a Major Sonata is that of the Dominant; „ „ Minor Sonata, that of the Parallel, or Dom. in Minor. In accordance with the preceding, the student should examine the structure of the Secondary Subjects of the best known and most accessible Symphonies, Sonatas, String Quartets of Beethoven, those of the last three Symphonies of Mozart (O Min., Efy Maj., C Maj.), and other Sonata-form (first) movements by these masters and by Haydn; and determine their proportion to the Chief Subject. Ex. 220. Allegro. Secondary Subject (Gjj Min.) Beethoven. Finale of Sonata in C§ Min. Motive. | Contraction. B Allegro. Mozaet. Secondary Subject (Eb Maj.). First movement of Sonata in C Min. p*rvrt r i nrtjum Motive. Free Contrary Tonic to Dominant. i te m Ws sirze Repetition, enhanced in tone and figuration. -l/ejrnt 9 » m Motion. Repetition: (Dominant to I *wi m P-i^-M- New Motive. j ff- -f- f — f- fff ■= ff f 1e i r r cu ■ » (Deceptive Cad.) fo^rTOflr HHjrFiPff- >- Tonic.) New Motive. Secondary Subject. § 38. 163 m sfe +=F Translocated, and Transposed. Sub-dom. harmony. y,, ,QTmr irc; i f ,cr ^ >, |A f if ^m Repetition, altered in tone. « ai ir* 7 == Deceptive Cad. Sub-dom. harmony. Sub-dom. harmony. n ^ R i * s p -"ii * * rud tfy. ^U^^lfe 3S & t=^ ft §=# n^ Close. §: ** . Clos Close. 11* 164 Sonata. § 38. One sees, that also in the present instance, both of the great masters do not adhere to the Motives of the first few measures, but forsake these after a single repetition, in order to pass over to new ones. The Subjects themselves, however, are perfectly closed. Twenty-Seventh Exercise. Compose Secondary Subjects to previous work. With this, as with past Exercises, as much as possible of appropriate work previously executed is to be employed — not for the purpose of sparing the labor of exerting the fancy, but because of the fact, that here we have not to deal with the inventive power, but with form-construction. Not genius, but taste is the present object of cultivation. An example, in which a Mediating Episode (with new Motives) is intercalated between the Secondary Subject (a 16-measure Period) and the succeeding Conclusion, is to be seen in Mozart's F Maj. Sonata, whose Chief Subject was shown at Ex. 201. Thus: — Ex. 221 I &c. to *l ^ f r .M m r r tfr i r m ^Pi ^\ ^idhr ^ Secondary Subj. (Begins on Sub-dom. of its key.) Of still greater importance is the Mediating Episode in the Kreutzer Sonata, which is intercalated between the Secondary Sub- ject in E Maj. and the Conclusion in E Min., and which once more executes the entire modulation. In the first case, it would be reasonable to apprehend the new Mediating Episode as a thoroughly peculiar Antecedent to the Conclusion. The apprehension of such Conclusion. § 39. 165 like Consequent to the Secondary Subject, in the second case, is made doubtful, since the new Mediating Episode is based on the Motives of the Chief Subject. § 39. THE CONCLUSION. From an aesthetic point of view, the Conclusion generally ap- proaches in character the Chief Subject, especially when the latter was in spirited figuration. Its extension is usually such as about establishes the equipoise (§ 30) of a bipartition of the Part in which it is situated. Technically, it has upon the whole the character of an extended Cadence-formula on a Melodic Motive. Conclusions that repeat, as well as compound ones, are to be met with. Perfect in point of lucidness, is the Conclusion of Beetho- ven's Ctt Min. Sonata, last movement. It joins immediately to the Secondary Subject, and is repeated in climax; thus: — Ex. 222. fh\j\m\ti mm ^Kf^ g» J?** ^rrffiTffifqjtffjffi jy»7ff- r iJflu ^MffMlr Repeats with extended close. The Conclusion of Mozart's G Min. Symphony is composed of three Sections: — Ex.223. First. 166 Sonata. § 39 1 £ J ft" "I ' " J r - n f r ^ f ;jI ^ r ^ Fg . ffrg. p^=- Third. r^tej rrrnfrffttCfi feU^ Appendix follows. On account of its thematic affinity (contrary motion), the first of these might be considered a part of the Secondary Subject. Occasionally the Conclusion appears as a mere Appendix to the Secondary Subject. This is the case in Beethoven's E Min. Sonata, Op. 90, (comp. Ex. 203, § 36). Thus:— Ex. 224. ^ i m 3=t j 1 j y-w^r^ m ? »/ m tr k dim. &- &- i^ f W f^W pp ^m Sometimes the Theme of the Conclusion is decidedly independent, particularly when the Secondary Subject possessed but a slight degree of independence. Thus the Overture to "Freischiltz" contains the Appendim; § 40. 167 celebrated Aria of Agatha (comp. Ex. 176) in its Conclusion. Also the afore -mentioned Conclusion of the Kreutzer Sonata is an im- portant and independent Theme. Ex.225. Kreutzer Sonata. Conclusion of the first Allegro. Presto. Pianoforte (in octaves.) ^t *i i r*' r~ *c- 1 f r»r. i Tr.'f . - i f*frf ^ i Trrr.f *e i r Violin £ (doubled 3 oct. lower in Pianoforte.) i J- Bj T i ■< ■ ■ ! ■ .J i .1 — 1 « £ i- r »c r f «t 1 ° '„' v r tt i r Tf *f,- i ^friJ^ i rrrr i f r- *# ^ ftfrrnf § 40. THE APPENDIX. The Appendix, familiar to us, through our acquaintance with the Sonatina, as the fifth form-member, is in the Sonata form also confined to but a few chords. Albeit there are instances, in which it attains greater dimensions, comprising even several short episodes. Exemplary in respect to lucid partition of its divisions and the normal structure of same, is the "Finale" of Beethoven's Cfl Min. Sonata, where, to the Conclusion, presented at Ex. 222, joins, dying away as it were, the following episode as an Appendix: — 168 Sonata. § 40. Ex. 226. [Construction: 2x2 + 2x1] ^^^^^^^i in sp^ssip ^^ fifty fff|P e rf. ittEEfe ^ ' X \^* W * Ex. 227. Beethoven, c Min. SympHony. !' J'lf i fif'i f|f Mozart. GMin. Symphony. Return. § 41. 169 An example of the Appendix consisting of two distinct parts is furnished by the F Maj. Sonata of Mozart (comp. Ex. 201). Thus: — Ex. 229. m ^ * ^ '^V r ^ r ^V^ £ ^^g = is#pipiipipi# Only two chords constitute this member in Beethoven's EMin. Sonata, Op. 90. These are joined to Ex. 224. It is of rare occurrence that the Appendix is totally wanting. § 41. THE RETURN. From our acquaintance with the Sonatina (comp. Ex. 177), we became aware that there is a connecting member, joined mediately or immediately to the close of the First Part, for the purpose of leading, as the case may be, either to the Repetition, or to the Continuation. The need of such a member is conditioned by the relation of the Close to the Recurrence, and, again, to the continuation into the Second Part. 170 Sonata, § 41. Mozart, in his C Min. Sonata, employs for both purposes, the following figure which is drawn from the Chief Subject: — Ex. 230. i It mm h £ ®^m TpZp r~s m s ^5 BE This is followed the first time by the Repetition, the second time by Development. To the Appendix (Ex. 226) in the Finale of his C# Min. Sonata, Beethoven adds the following Return: — Ex. 231. gi ^ -& < * ^ w * * y * * - ^a m - < * z < s ? y y S -^ ■ < ■ < 7 g* g- Repetition commences here. f This manner of forming the Return from Motives of the Chief Subject, is of very frequent, indeed, almost regular, occurrence with Beethoven and his followers. Mozart, in his E Min. Sonata for Piano and Yiolin, even employs as a Return, a Canon based upon the Chief Subject: — Ex. 232. (Played in octaves.) yjrir^UJJJ 1 J - i)\t+U £= r?n if £ ^ «*§: i a jjjj IK P£f^ r i r ^ r fr (Comp. Ex. 69.) Third Part. § 42. 171 which, in the Third Part, recurs in the principal key in the follow- ing shape: — Ex. 233. i ffffrr ff . rr ^ m f i .ffcf . r rr 3E K j^rt- f tjifn-rrr | r - i -g 9=11 r r r Ex. 239. i'VuiV^' 2te BE ^ "Or 176 Sonata. § 44. in which also the succeeding Conclusion takes place; whose triumph- ant ardor likewise opposes the transposition into Minor. Thus: — Ex. 240. MrTfr l fo'/ l j fe pnni That, notwithstanding, this movement concludes in Minor mode, besides the means through which it is accomplished, will he reserved for later discussion. (See § 47.) In accordance with the foregoing', change several move- ments sketchwise. § 44. MODIFICATION OF THE SINGLE MEMBERS IN THE THIRD PART. I. Of the Chief Subject. In his D Min. Sonata, Beethoven curtails the Chief Subject of the greater part of its figurate contents , whilst he lengthens it by two Largo Eecitatives: — Ex. 241 . Largo. n m i JjjjHrt. f l f/ J ft— i i? 3 ^ m Allegro. fa j j r U i a a a o i d o a s u* g> ^j =g $ ¥ i \ - I Adagio. Largo. ea *». ""> cresc. if I ;r~ " | PP _• -, M=M=i pp i ^ i Third Part. § 44. 177 =33; ff,f Cf ' 1 " ' =9i IE Hereupon, with these few modulatory measures: — Ex.242. J}6 Allegro. p_ 6 |7_ B 1 1 l £= *=p£ *= ^= S^ ^ 5=3= * S ? : b r * r * ^= he digressess, omitting the Mediating Episode (§ 42), to the Sec- ondary Subject, which here enters in D Min. : — Ex. 243. f i.*i .* | frff !*! ■ * £ ^m m g HI pp 3tj3t^=Ei3 In the Sonate Pathetique, he forms from the second part of the Chief Subject a modulatory episode: — Ex. 244. I $ be b^ r | rrr I^ Fff^ ^ ee 3; simile sempre. ^P § ^ V r rii P i rr i fr/ | EE Bussler, Musical Form. 12 178 Sonata. § 44. which here occupies the position that the Mediating Episode did in the First Part. The ability to make such alterations depends upon the proper discernment of the given conditions in a particular case, and upon a surety in the mastery of form, which the young composer is now on the road to acquire. II. The Mediating Episode is sometimes merely transposed, in order to remain unaltered. This is the case, for instance, in Mozart's E(? Maj. Sym- phony, where, in order that the unaltered Mediating Episode may, in the Third Part, terminate on Tonic, the Chief Subject is con- ducted to the Sub-dominant for the sake of the termination. ("Tonic to Dominant" is equivalent to "Sub-dominant to Tonic".) III. The Secondary Subject of the Sonate Pathetique enters in the key of Sub-dominant, and, only just in the thirteenth measure digresses to the Tonic key; thus: — Ex. 245. . ^ _ f^ ^fff £ M^f •/ >j m m $ 8-i-g ^BS ffirt^rn^r H^^ i ^rr pern ^mrfFff* £e£ mM »/ «/ i fe£ nn ^T=? Development. §45. 179 Attention is called to tie fact, that, in the First Part, this Subject enters in the Minor mode, instead of Major, of the parallel key, and only concludes in Major. THE SECOND PART OF THE SONATA FORM. OR THE DEVELOPMENT. § 45. The Development in the Grand Sonata should be occupied ex- clusively, or very nearly so, with the Themes and Motives of the First Part. Wherever this is not the case, the significance of the Sonata Form is detrimentally affected, albeit the value of the art- work as such (i. e. aesthetically) remains uninfluenced. At any rate, its emotional content is either not equal to the form of the Grand Sonata, or, as with the Eroica Symphony, it overtops it. In the master-works of Mozart and Haydn, the Development is generally much shorter than the other two Parts, being about half as long. With Beethoven, it attains the length of the other parts; in the Eroica Symphony, it is even longer. This is due to the fact, that Beethoven's genius found its greatest auxiliary source in Thematic Work, whereas the first named masters rather considered as their task the juxtaposition of the Themes. § 46. THEMATIC WORK. By the term Thematic Work, is comprehended every form of evolution which a Theme or part of same can possibly undergo, whether through the agency of the harmonic art, figuration, varia- tion, counterpoint, or instrumentation; each one of these terms being taken in its most comprehensive sense. Thus, any manner of organization, that can be evolved from a Theme, is embraced in the term Thematic Work. In the works of the classical masters of instrumental music, which almost exclusively engage our attention here, the province of Counterpoint in Thematic Work is limited, as a rule, to Imita- 12* 180 Sonata. § 46. tion. It , is only exceptional, and when there is a special object in view, that it extends over the forms of Fugue and Canon.* In this sense, Mozart, in his Overture to "Die ZauberfiSte", and Beethoven, in his Overture to "Weihe des Hauses" touch the form of Fugue. The Canon is employed in the Sonata in C Min. for Violin and Pianoforte by Beethoven. The Finale of Mozart's Jupiter (C Min.) Symphony even is based on quadruple (and, indeed, if an accessory Theme be counted in, quintuple) counterpoint. Short Canons, to be found in Beethoven's Sym- phonies and other instrumental works, have been exhibited in the author's "Free Style" (§§ 21, 31). Yet these are only exceptions in proportion to the vast majority of works — exceptions , which go to show how far Thematic Work can advance, when demanded of it, and to what extent the composer must be equipped, in or- der to be prepared for all events. In the Operas and Musical Dramas of Wagner, Thematic Work has been established upon an entirely new, a poetioo-musical, basis and form of elaboration, in the so called Leading-motive Style, the magnificent technic of which will neither be incomprehen- sible, nor unattainable to any one that has thus far pursued this course in composition. In the Development of the Sonata form, Thematic Work must proceed systematically, but not arbitrarily, skipping from one thought to another. The chief difficulty with the Development lies in the fact, that, in its modulation, it generally commences with the same har- mony, as the one with which' it should conclude, i. e., the Domi- nant. In order to remove this difficulty, and gain space for the modulation, the masters occasionally open the Development with a modulation to a distant key. In the first movement of his Jupiter Symphony, Mozart briefly modulates to E[? Maj., and unisono, at that; thus: — I 9 n i ? J i 1 ^ Ex. 246. v 9 - 55= * In the finale of Beethoven's A Maj. Sonata, Op. 101, the Development takes the form of a Fugut, whose Subject is based on the Chief Subject) In the B flat Maj. Sonata, Op. 106, the Development of the first movement begins with a Canon, which later proceeds with added 8rds. Comp. Ex. 85. The Development. § 46. 181 In his D Maj. Sonata, Op. 10, Beethoven opens the De- velopment in BJ7 Maj.: — fefe. Ex.247. i tt Ng#i ^Pf In Mendelssohn's A Min. Symphony, indisputably the most important work of that species which the after-Beethoven period has produced, the introduction to the Second Part is quite unique. Namely, the Tonic of E Min., in which key the First Part closes, is retained , and against this the Horns sound the perfect 5th Ctt — Grti in two octaves: a digression which seems never to lose its power of novelty; thus: — Ex. 248. in'if/lf J'^ l iij^l^ s a. &Z ingl mm "Were this E the Tonic of E Maj. , the entrance of C$ Min. would be commonplace and ineffective. In Mozart's Gr Min. Symphony, in which the relation of Dom- inant is not present, the modulation, also with but a few chords, proceeds from Bp Maj. (parallel key) to F|| Min.: — Ex. 249. m 4= !fe * i ■r \i. & m The cardinal laws governing the Development are: no Motive should be taken up, unless it undergoes some form of evolution; nor should a Motive be forsaken until it has been effectively worked up. After it has once been quitted, though, it should not be taken up anew, save when it may be set off with augmented effect by proper contrasting, or by a climax. 182 Sonata. § 46. The modulation should he systematically conducted; there should be no disordered wavering to and fro; in particular the Dominant of the principal key should be avoided before the end of the Development has been reached. The termination of the Development is more adaptable than any other place for bearing a Pedal-point on Dominant. In the contexture of the Development, fixed forms should reign supreme, as is the case in the other Parts, only that here the short forms prevail, and are not carried out on a Tonic basis, but in a modulatory manner. Here is where modulations may be freely resorted to. Sequence -like iterations of short divisions are very apt to appear impotent, pedantic and old-fashioned. But, naturally, this is not always the case, for it just depends upon the character of the sequence.* On the other hand, the repetition of greater divisions, especially skillfully formed ones, in a different key, and perhaps, also, with slight alterations, might be of material advantage to the Develop- ment, in that the clearness of its form may thereby be augmented. Such like repetitions are to be found in the greater Symphonies by Beethoven, particularly in the first movement of the ninth. There is not a Symphonic movement which puts forth the mo- ments of the Sonata form in a more succinct and, at the same time, forcible manner than the C Min. Symphony. Of the Motives of the First Part, the following ones are employed in the Development: — Ex. 250. I ~ The principal Motive: g^P'l? J J J ~jvj; the thematically related Motive ive: J J J | j j K ; the first half of same: J J J = $ and the contrary motion of it; the expansion of the principal Motive: r~rgq; the second and third measures of the latter: * In Wagner's works, aro to be found harmonic sequences that are surely the opposite of dry and pedantic. The Development. § 46. 183 f— . Besides these, Beethoven forms a contraction of the principal Motive : — w The Development proceeds with the foregoing, in the following order : Motive a constitutes the Introduction, 4 measures, and a Double Section in F Min., 8 meas.; Motive I b I twice in succes- sion, 4 meas. ; Motive | c | modulates in 4 meas. from F Min. to the Dom. of C Min., with this counterpoint: — 'h iijbjUfrJJ j Up to the present juncture, the Antecedent of the Chief Subject has been conducted to F Min. ; but the second division of same, to the Dom. of C Min. Second division repeats , proceeding from C Min. to Dom. of G Min., 8 measures. Motives | b | and | c | as before. Second division again repeats , but from G Min. Tonic to Secondary Triad II, 8 meas., Motives | b | and | c |. The last 4 measures are repeated twice ; the second time , curtailed 1 measure = 7 measures, Motive | c |. Thus far a total of 43 meas. , , rrr * Motive | a | twice in elongation \ \ \ Jp t; Motive d 15 e 13 d once simple; twice in contraction: Motive | f |, rests, three times 11 alternately with Motive f |, repeated 16 (introduced by | d |) 33 (elongated one measure) .... 5 | e |, taken merely as the alternation of two minims 8 V I a I, 8 times; leads immediately to the Introduction, and with it, into the Kestate- ment , . . . 8 184 Sonata. § 46. In the 1st movement of his Symphony in C Maj., Mozart opens the Development with the modulation, in unison, to the key of E*? Maj., shown at Ex. 246, and repeats the Conclusion in this key. Ex. 251. To the last Motive of same: 4/f^rc'fffi ' f he joins a modulation, by transferring the Motive from Flutes and Bassoon to the Violins; thereupon proceeding to G Min. with these I?*;* * *. 'fa and contrasting rhythms: m=m^$ 0mm in the alternation of both divisions of the Violins with Viola and Double Basses. Now he forms a free two-part canon between Violins and Double Bass with Viola, based on the first half of the Motive, with this transient modification of same: n £E, closes this also in G Min., and on its final measure, introduces the Motive of the Conclusion in its original shape: — f^ps , adding hereto the imitation of the last measure, and constituting therewith a Semi- cadence formula on the Dom. of A Min. This Dom. of A Min. changes into the Dom. of F Maj. by means of the progression of the lower parts, thus: — jrrffrtfr i HtBfoamg; i m w~ i The Development. § 46. 185 Heretofore, the Development was engaged exclusively with the Conclusion of the First Part, principally with the last Motive of same. Now the Chief Subject takes part, entering in F Maj. together with the counterpoint it had in. the First Part. It modulates to A Min., and there, forms with its first Motive an episode of forcible syncopation of the Full Orchestra against the Violins: — which is of 10 measures length, and closes in G Maj. Thereupon, repetition of its termination, p, and Motive of the Conclusion: — Now, 6 measures of Pedal-point on G, as Dom. of the principal key; being composed of the same Motive of the Conclusion; and then through a short canon: — Bassoon. i 2 m s ffffrf i l fffrtrf|,ffrfe 0: f frff^ | the Kestatement is Jreached. In this Development, one particular Motive of the Conclusion predominates throughout. It produces the first modulatory strain, as well as the close, and twice draws in its course the measure that originally preceded. Between those two limits, lies the elaboration of the Chief Subject, principally of the 186 Sonata. § 47. first Motive of same. The modulation reaches on the one side to Efc> Maj., F Min.; on the other side, A Min., E Maj.: thus moving through 7 to 8 places of the Circle of 5ths. As a supplement to this subject of our treatise, the author's "Partiturstudium", pages 265 to 273, is commended for study. Thirtieth Exercise. Write Developments to previous work ; first, in accordance with the two models here given; then after a self-devised, but well considered, plan. THE FOURTH PART OF THE SONATA FORM OR THE BEETHOVEN ANNEX. § 47. The extension of the Close in the Bestatement has been pre- viously made mention of. One of this kind may be seen in the first movement of Mozart's G Min. Symphony, between the Conclusion and Appendix; in his C Min. Sonata; in his second E Min. Sonata for Pianoforte and Violin; and in his Quintet in G Min., as an Annex. The Cadenza of the Concerto, which is frequently very diffuse, and is generally left to the skill of the virtuoso, constitutes an extension pf the close, being commonly situated between Conclusion and Ap- pendix. The extension which Beethoven has supplied as an Annex between Conclusion and Appendix, in the first movement of his C Maj. Sonata, Op. 2; in his Op. 53; and in the Finale of his C$ Min. Sonata; is allied to the Cadenza of the Pianoforte Concerto. Extensions of the kind first cited are to be found in the Sonata form movements of Beethoven, increasing in dimensions with their chronological order. Thus in his Op. 7, E(? Maj.; Op. 10, No. 3, DMaj.; Op. 31, No. 1, G Maj.; Op. 31, No. 2, DMin., Finale; Op. 57, F Min.; Op. 101, A Maj., Finale; besides many others. They contain Thematic Work of a Cadence character on previous I II III IV 94 38 98 23 157 67 132 68 100 84 90 55 153 246 159 134 114 101 111 64 158 142 126 110 Fourth Part. § 47. 187 Motives. An exceptional case is in the Finale of the F Min. Sonata, Op. 57, where there is a new Theme instead. Extensions of the kind in point attain the shape of an inde- pendent Fourth Part, with which Beethoven, by virtue of his super- abundance of musical ideas of thematic elaboration, has enriched the Sonata form, and which his followers have retained. Below, is given a view of the proportions, in numbers of measures, of the four Parts of several 1st movements in Sonata form:— Part: Mozart: G Min. Quintet Jupiter Symphony Beethoven: D Maj. (2nd) Symphony Eroica (3rd) „ A Maj. (7th) „ D Min. (9th) Also the C Min. Symphony has a lengthy Annex, which, after the Kestatement terminated in C Major, restores the Minor mode. This is effectuated by the Secondary Triad on the lowered second, that powerful // Chord of the 6th of D|? Maj., which is surpassed only by the ff Chord of the 6th: F§-A-D at the commencement of the Restatement in the Ninth Symphony, 1st movement. The restoration of the Minor mode in this and similar cases is condi- tioned by the aesthetic character of the composition. That the Finale of Mozart's Jupiter Symphony should have been given comparatively so long a Fourth Part, is justified by the exceptional thematic formation of this movement, to which the atten- tion has been previously called. Just as the four Subjects and an accessory one correspond to the five members of the Sonata form, so they unite to constitute a quadruple to quintuple counterpoint. (Comp. the author's "Counterpoint in the Free [modern] Style", § 28.) Here, after the Sonata form has been done ample justice, and the Subjects have undergone multifarious combinations, Mozart finally conducts them through all the parts 8 times, as a quadruple to quintuple Fugue. The Fourth Part of the first movement of the Eroica Symphony should be studied minutely. The first Motive of its Chief Subject predominates. The first two measures appear eight times, and the 188 Sonata. § 48. complete quadrimeasure as often. Twice in succession does the episodical Motive of the Development appear. Also the Struggle- Motive, rising in chord -intervals through the Bass, is drawn from the Development. The remainder of the Motives have already heen present in the First Part. In the Choral Symphony, the Fourth Part hegins, after ample justice has been done to the Sonata form, on the up-beat to the 427th measure. To begin with, the first three measures of the Chief Subject serve as a Motive, then come two constituents of the Secondary Subject, and thereupon, the third and fourth measures of the Chief Subject; again the matter from the Secondary Subject, and the third measure of the Chief Subject. Now a short Cadence in D Min. upon the conclusion of which the Basso ostinato: d c§ c% b 61? a b§ eft enters, and repeats six times. Thereupon, repeated Cadence -formations, and finally, unisono close with the Motive of the Chief Subject. Every one of its divisions has the inclination to form a close; yet the skill of the master has averted even the slightest monotony. § 48. LICENSES OF THE SONATA FORM. After the most important task of the Art of Form, the com- position of complete movements in Sonata form, has been accom- plished, it will be appropriate to point out the licenses which the great masters have adopted in the employment of this, the chief of all forms of instrumental music, yet without abandoning its essential conditions; furthermore, to direct our attention to those modifications of this form, that result from its combination with an Introduction, as well as from the advanced evolution in its Thematic Work. 1. License in Modulation. The transition in the First Part is known to us as regular, when in a Major movement, it occurs into the key of Dominant; when in a Minor movement, it occurs into the key of the Parallel (or the Mediant in Minor), or into the key of Dominant. Licenses of the Sonata Form. § 48. 189 A trifling deviation is to be seen in the Finale (§ time) of Mozart's F Maj. Sonata, where the Secondary Subject, though in the key of Dominant, is in its Minor mode; and in the Sonate Pathetique, the entrance of the Secondary Subject of which is in the Minor mode (yet closes in Major).* More significant modulatory deviations are furnished by the later works of Beethoven and his followers. Key of Mediant instead of Dominant in Major. In Beethoven's great C Maj. Sonata:— Ex. 252. Allegro con brio. m £ s nmHMi i the Secondary Subject:- Ex. 253. #r4¥- ' ■ sf ~~~ dolce e molto ligaio. PSBf ^^ rgS* & & m& I Till I rT 1 and the Conclusion: — Ex. 254. b s»Wi&^& § - — ■ — ■ 3*3 T=£ * In the Sonata Appassionata, Op. 57, the Secondary Subject is in Major, thus being regular; but the Conclusion and Appendix are in Jlfinor, so that the First Part closes in A flat Min. By reason of this fact, the Secondary Subject appears as an epi- sode of subdued brilliancy amidst the prevailing gloom of the entire movement. 190 Sonata. § 48. INP T >^)^r^ appear in E Maj. to E Min. Ex.255, ug- , rj ff' St whilst the Appendix digresses through A Min. mm one octave Similar in this respect, is his Sonata in G Maj Op. 31: B Maj. and B Min.; and his E(? Maj. Quartet Op. 127: G Min. Sub-mediant instead of Dominant, or Parallel key: in the String Quintet in CMaj., Op. 29: A Maj. and A Min.; in the great B(? Maj. Sonata (Ex. 84), Op. 106, and in the Bl? Maj. Trio, Op. 97 (Ex. 4): G- Maj. which key predominates in the First Part, from the Secondary Subject on; in the Min. Sonata, Op. Ill: A Maj., the Parallel of the Sub-dominant instead of its own Parallel, E[? Maj.; likewise in the Choral (D Min.) Symphony: B\> Maj. in the place of the F Maj. The other eight Symphonies of this master are of modulatory regularity. The exceptional manner in which the Secondary Subject of the first movement, and of the Finale, of the eighth Symphony enters is but of a transient nature. Oomp. there- with the B(? Maj. Trio, Op 11. For supplementary matter, see the author's "Partiturstudium" § 24, particularly p. 260—265, and § 27. Licenses of the Sonata Form. ' § 191 In opposition to the above stated extension of the modulation to the Mediants, we quote a case here, in which the Secondary Subject enters in the principal key (thus without modulation), and only later on in its course, with the Consequent, as it were, leads to the Parallel key. This case, which stands alone in point of its extent, is to be seen in the first movement of Mozart's GrMin. Quintet, one of the most remarkable compositions of this master. To the Long Period, presented at Ex. 204, which constitutes the Chief Subject, joins a short episode of 6 measures, which is ma- terially but a Cadence-formula (on Tonic). Hereupon, the Secondary Subject, in GrMin. , enters, supported by a plain accompanying figure: — Ex: 256. frYl i -j l ^ E^i A — a sm k ml ■*' p*' -=*=— S — wm r 9= r and forms a Semi-cadence in B\? Maj., which, after touching the Changing Dominant, proceeds to the Tonic Triad, where the Conse- quent enters. Thus: — Ex. 257. /"""« .— . — v. Semi-cad. ££• £« p r .\ r r:\Qiriw \ ni f .\ f ft Changing Dom. y rr ft t > tr i r* ^ i ^. fl J i W \f — «■-' mf p Consequent. $^^rrrr- r y i rv%^gs The course of this technically significant Secondary Subject in the Restatement confirms the explanation just enunciated. For the purpose of making a comparison, it is given in extract in the following: — 192 Sonata. § 48. Ex. 258. XT » !•"" » ' • " * mf « m/ p I fcp: C f i f\nrj-* $ f li t mf p " mf p if p ¥*^M JJ | JH *ff frcr*^ vrr ^r 9 v r r r & jJ r <■. ^ /r>. j ? y ffi Cr •> p #=F* f^nrrl^ J JlJJrrclJTh S UT r bft;r^' J^l^jr pu^ frr 2 8 ^ r r jjjftfl i cj , f r7P r , y ifl ^ENr^p^ plg cresc. To this, joins the Conclusion, like- wise greatly ex- tended. This Secondary Subject has, to a certain extent, absorbed the Mediating Episode (which commonly forms a part of the Chief Subject), taking it as its Antecedent, in opposition to its occupying the position of Consequent to the Chief Subject. Its dimension, too, answers to this conception, since a bipartition of this Part (comp. § 30) takes place on the Semi-cadence, which introduces the new key. Licenses of the Sonata Form. § 48. 193 2. Displacement of Divisions. Occasionally the Chief Subject, when it seems worthy of any special interest, appears once more to conclude the whole. Some- times it also exchanges its wonted place at the commencement of the Eestatement for a position at the close of same. This occurs, for instance, in Mozart's sprightly D Maj. Sonata for Piano and Violin: — Ex. 259. Allegro. flal r f irrjr &c. fey^ff TO m& ^ where the lively figuration of the Development would, by too close a proximity with the Chief Subject, detrimentally influence the latter, which is likewise based on such a figuration. In Beethoven's D Min. Sonata, the Mediating Episode of the First Part is taken up into the Development, constituting the essential matter of same. It is on this account, that the Mediating Episode is altogether omitted in the Eestatement, and is replaced by a few arpeggio chords. 3. Introduction and Independent Episode. The Allegro of the Sonata is not seldom preceded by a slow movement (Adagio, Largo, Lento etc.) as an Introduction; as, for- example, in Mozart's E(? Maj. Symphony, Beethoven's Sonate Pathetique, besides countless other works. This Introduction occa- sionally has an after-effect upon its succeeding movement, which borrows Motives from it. In Mozart's Et> Maj. Symphony, the semiquaver figure of the Mediating Episode: — Ex. 260. Bussler, Musical Form. 13 194 Sonata. § 48. is borrowed from the introductory Adagio. In the Pathetique Sonata, the Allegro is repeatedly interrupted by the Largo of the Introduction. Also this passage in the Development: — Ex. 261. » .nfrrnr *4 fi> rrfhfff z E is to be traced to this Motive of the Introduction: — $ H-b- which in turn is derived from the first measure of same:- Grave. Ex. 262. FFFF- / ^S ! -•^•■•■•saW: 4^" Lh? to u i^ w Not only may an allusion to the Introduction appear as a free episode within a closed form, but there may also be an independent Theme occurring in the Development , as , for instance in that of the first movement of the Eroica Symphony, which is devoid of any thematic reminiscence whatsoever. 4. Change of Time and Tempo. Combinations of different Tempi within the course of the Sonata form are exhibited, for example, in Beethoven's D Min. Sonata, whose Chief Subject has two Tempi. A duo Sonata in C Maj. by Mozart puts forth its Chief Subject in Adagio: — Licenses of the Sonata Form, § 48. 195 Ex. 263. » ^ U JU-7.pic*i r "fr c* but its Secondary Subject in Allegro: Ex. 264. f < *• * as With modern composers, the changes of Time and modifications of Tempo are still more extensively the custom; but these are very liable to become contradictory to the encompassing consistency of the form. 5. Thematic "Work may extend over other members of the Sonata form than just the Mediating Episode, Appendix, Development, or the Final Appendix, where we have hitherto found it. In his F Min. Sonata, Op. 57, Beethoven forms the Secondary Subject from a free inverse motion of the principal Motive: — Ex. 265. Chief Subject. Second. Subj. ft*" v ut ' i I P teE & =5= y^ ^ f^FS fe $ ^ m =£ *>-^" In Liszt's B Min. Sonata ("dedicated to Kobert Schumann"), the Secondary Subject: — 13* 196 Ex. 266. Sonata. § 48. • • ■ • I J J_ J i - ,J ^ ■* — gjt i is formed, by Augmentation, from Motive | a | of the Chief Sub- ject:— Ex. 267. Allegro energico. J£ m F? $1 P^^^# ^e r *= ^ ^- V * *^3$^ S^* n 1 - ( -^i-^ 4a i r TF ^S is ** 4=*=p jot J£ ^ #i s* 4 fe * tt' f^rffgy w i$=$ Jj-tp. xn\% < l Finale. § 49. 197 However, the Secondary Subject, whose mission it is to present the greatest thematic contrast of the Sonata form, is but rarely the seat' of thematic reminiscences. On the other hand, thematic connection is frequently contained in the Conclusion. We have already noticed this occupying a portion of the Conclusion (Ex. 223) in Mozart's G-Min. Symphony. In the repeatedly quoted G Min. Quintet of this master, the Conclusion consists of the principal Motive and a Cadence-formula. To this are joined a thematic Appendix and a such-like Return. Thematic affinity of all parts, due to rhythmical similarity, is of frequent occurrence. This is the case with the Finale of Beetho- ven's D Min. Sonata, and many of the works of numerous other composers. § 49. MODIFICATION OF THE SONATA FORM IN THE FINALE. The Finale, as the concluding movement of a longer work, is wont to set off its terminational character by having its divisions to close more definitely than is the case in the other movements. Thus, already the first four measures of the Finale of Beethoven's C Min. Symphony: — Ex. 268. |P£^ £ \ •? & i r ? ^ form a conclusion, as it were. After a greatly extended Semi-cadence, the Chief Subject terminates with an exhaustive and powerful close on Tonic: — Ex.269. ;- 198 Sonata. § 49. ■J ffffffini— ^=5:^= This is the case with the Mediating Episode, which enters upon ahove close with this new Motive: — Ex.270. S=iE ■J-.l>» *& ^ »^ and, reaching the Changing Dominant through a Semi-cadence, marks, in the course of the latter, a Perfect Cadence and transition to the Secondary Subject, which, although occurring in the midst of rapid motion, yet palpably impress themselves upon the ear. Thus: — Ex. 271. Semi-cad. on Changing Dom. Perf. Cad. (Inner parts to be seen // in original. J 2*E mV u p p . f .» » I i m on Chg. Dom. Secondary Subject. ^■ttP'xpit)'" ' tfjjireif r &M ' r C l feJ I fe gg: f I t B 3 ' J J Finale, § 49. 199 Likewise the Secondary Subject, by means of a very decided Cadence, leads into the Conclusion: — ifc# 3= = E^^EEiEfe £ which represents a firmly tonic strain, but, after its repetition, con- ducts, though without making any manner of Cadence, back to the opening the first time, and the second time, to the Development. This movement and the Finale of the C$ Min. Sonata belong, by reason of the remarkable lucidness of their structures, to the most suitable models that could be offered the young composer. N. B. The episode in \ time, taken up in the Development, is a reminiscence of the Scherzo (Allegro), and is thus independent. Occasionally the Chief Subject of the Finale is in Song-form, particularly in the Short. The Theme (Ex. 21) in the Finale of Mozart's Gr Min. Symphony, for example, is in this form. The Chief Subject of the first movement (Allegro) of Beethoven's A Maj. Symphony is in extended Short Tripartite Song-form , the closed nature of which, however, has been removed by a dynamic and rhythmic climax. PART IV. THE HIGHER RONDO FORMS. § 50. The Higher Rondo Forms presuppose an acquaintance with, and training in, the Sonata form, since they consist of combinations of the Sonata form with the Song-form. § 51. THE FOURTH RONDO FORM. The Chief Subject of this Rondo is in Bipartite, or Tripartite (usually the former) Song-form. This is followed, as in the Sonata, by a Transition, mostly concise, which conducts into the Secondary Subject by modulating to its key. But this Secondary Subject rarely has the independence of that of the Sonata form, but rather resembles the Conclusion of the Sonata form, so that we might say the Secondary Subject is omitted, and the modulation leads at once into the Conclusion. Upon the close of the Secondary Subject, a return episode is formed, which — Conclusion and Appendix being left out — leads back to the principal key, in which then the Chief Subject is re- peated. Accordingly, the First Part closes in the principal key. Now comes, as Second Part, a Subject in Song-form, in a different key (that of the Parallel, Sub-dominant, Mediant, or in like-named) , occupying the same place as the Development in the Sonata. This is termed the second Secondary Subject, or, also, Middle Subject. Its Song-form is not always entire; being at times interrupted, or curtailed, or even replaced by a Period, or by a combination of Sections. Upon the close of this Subject, again appears the return epi- sode into the Chief Subject, and with this, the Restatement, i. e.. Rondo IV. § 51. 201 repetition of the First Part without the modulation, as in the Sonata form. (Thus the Secondary Subject is in the principal key.) Owing to the absence of the modulation, the propriety of once more re- peating the Chief Subject at the conclusion becomes questionable. It is therefore curtailed, or omitted altogether, or even replaced by a free Coda of thematic connection. Thirty-First Exercise. In accordance with the preceding directions and the follow- ing examples, compose several Rondos of the Fourth Form. Make use as much as possible of previous matter. The Finale of Beethoven's Ab Maj. Sonata is one of the most celebrated examples of this kind. The entire movement is in almost continuous semiquaver motion (being interrupted only by very short rests), which commences with the opening of the Chief Subject: — Ex. 272. Allegro. ^IH^ I ^Ij^fc 1} ^^ 16 meas.: First Period The construction of the Chief Subject is as follows: — Antecedent ... 8 meas. Consequent ... 8 „ 16 „ (instead of a second J Modulating Section 8 „ Period) a Double Section. (Same Section . . 8 „ 32 meas. 32 meas. This would, according to §§ 7 und 9, count as a Long Bipartite Song-form. A Mediating Episode of 4 measures, with the figure of the Chief Subject, leads to the Changing Dominant: B Maj., which forth- with changes into the Dominant harmony of Eb Maj., on which the Secondary Subject then begins: — 202 Rondo IV. § 51. Ex. 273. $ & FwUM m£ Mediating Episode. »/ ■*■-■*- ££3 m +- — F ^i^W/pufp A>» f , t I , j bi U U s / p Secondary Subj. I fe* ^^P *F Jt 6. This extends through 16 measures. Upon its conclusion enters a return passage, that leads back to the Chief Subject, thus:— Ex. 274. #^^ ij^ j i Jp3|i ^| ^§ m =£ r f^gg Chief Subj. S ffi §H s ^* I which is repeated in its entirety. Immediately following its con- clusion comes a Subject in Bipartite Song-form, in C Min.: — Ex. 275. Rondo V. § 52. 203 whose First Part is repeated. The Second Part, however, does not even attain the closed Sectional form, but through modulating Bi- measures, leads to the Dominant of Aj? Maj., and from here, back to the Chief Subject. This form is worked out with more detail in the Rondos of the Sonatas in C and A Maj. Op. 2. In the latter of these, the second Secondary Subject (Second Part, Middle Subject) becomes plainly perceptible to the eye by the change of signature. § 52. THE FIFTH RONDO FORM. The Fifth Rondo Form is substantially the form of the Sonata, in which the place of the Development is occupied by an extensive Subject in Song-form- At the Conclusion of the First Part of many Rondos of this form, the Chief Subject is repeated in the principal key. Wherever this is to occur, however, that key must naturally be modulated to. Instead of this repetition, an Appendix in the second key, formed of Motives of the Chief Subject, is just as often to be met with. The principal difference between the Rondo of the 4th form and that of the 5th form is essentially this: the former confines the Sonata form to two Subjects, and usually puts the significance of the Secondary Subject in the background, yet in every case re- peats the Chief Subject; whereas the latter renounces no part of the Sonata, but does not always repeat the Chief Subject at the close of the First Part. First Part. The Chief Subject of the Fifth Rondo Form has generally the structure of that of the Sonata. It may also take the Song-form, but not be of greater extent than the Short. The Mediating Episode evolves in exactly the same way as in the Sonata; now of thematic connection, again having independent contents. The Secondary Subject is, in regard to its modulation, equally as fixed as in the Sonata-form. The same applies to the Conclusion. 204 Rondo V. § 52. The Appendix either recapitulates the Chief Subject by the- matic resemblance, or forms a Return to the repetition of same in its original key. Now and then the Appendix is wanting. When the repetition of the Chief Subject does occur, it is usually curtailed. Second Part. Now enters, instead of the Development, a Subject in Song- form, the chief characteristic of the present form, which, in point of its key, has the same bearings as that in the 4th Rondo. To this is not seldom joined a piece of Development proper, at least some manner of Thematic Work, which leads back to the Third Part, the repetition of the First Part without modulation. In the Sonata as a whole , these Rondo forms constitute the concluding movements, and as such exhibit a disposition to firmly circumscribed organization. Thirty-Second Exercise. In accordance with given directions and the following ex- amples, compose Rondos of the Fifth Form. Again here material on hand should be preferably employed,. An example of the 5th Rondo form of exceedingly distinct delineation is to be seen in the last movement of Beethoven's F Min. Sonata, Op. 2, which, moreover, is usually considered the best model of this form. The First Part proceeds as in that of the Sonata, closing with a reminiscence of the Chief Subject: — Ex. 276. i » n Rondo V. § 52. 205 p^f j =1 1 . f 4 i f i tf&JW r « as> s^ E:i=^ (1 is omitted here.; mm *= ztnji^m -g ^ The triple Chord of the Dom. 7th of A\? Maj.:- Ex. 277. £=}eIe=e ^ B2 ^3 3= suffices to introduce the Subject, decisive for this Hondo form. Thus,: Ex. 278. m m sempte piano e dolce. ^^ r r r i i f f f i i M4 ^VW iTlfr g »j',> i f f f | j M i This Subject concludes in A|? Maj. in the fifty-first measure. This is the plan of its construction: — 206 Rondo V. § 52. First Part Second Part I Independent Tonic Section (§ 6) . . 10 meas. y Repetition in varied tone-combination 10 ,, Intermediate Section (2X4) . . . . 8 „ Consequent . . . , 8 „ Interm. Section and Consequent as re- peated Second Part (§8) . . .16 „ Total 52 meas. Accordingly, it is in Short Tripartite Song-form. However, if the Sectional form of its Parts be taken into account, it really exhibits Tripartite Period-form (§ 7), consisting (when divested of its repetitions) of 10+8+8 measures. Upon the last measure, a Development on the first Motive of the Chief Subject begins: — Ex. 279. i fe£ S 4= 5 pp * H; * b ^^=^^^^^ which leads to that Subject in 30 measures. Omitting the Song-form Subject in AJ7 Maj. (the scheme of which has been shown above), we would have a Sonata movement entirely in the manner of a Finale. The whole of the present movement is particularly fit to serve the young composer as a model. The Rondo of the E(? Maj. Sonata, Op. 7, likewise belongs to this form. Its Secondary Subject evolves from this Motive: — Ex. 280. 35£ : V-J7-^- pmm its Conclusion from this: Ex. 281 ^ubi'Gtii »/ tr tr Movements in Slow Tempo. § 53. 207 After the Conclusion, the Chief Subject appears once more, but in this shape: — First Period: Antecedent and Consequent (see Ex. 14). Second Period: Antecedent and (instead of Consequent) a Transition : — Ex. 282. ' to C Min. , in which key a Tripartite Song-form with all the usual repetitions takes place, and by means of an Appendix, reaches the Restatement. The attention of the young composer is furthermore called to the Rondo of the Pathetique Sonata, which is likewise in the 5th form. Its Middle Subject in A|? Maj. is particularly interesting, on account of the employment of Mixed Counterpoint. (Comp. "Cpt. in the Free Style", § 30.) § 53. THE EXTENDED FORMS IN SLOW TEMPO. All the past exercises to the Sonata form and the extended Rondo forms allied to it were throughout in quick tempo. Albeit these forms are also employed in slow tempo. The Sonata (or, as the case may be, Sonatina) form is very often to be found in slow movements of the classics. However, the Development, in consideration of the tempo, is generally curtailed to a minimum, or is omitted altogether (§ 35), the requirement of Thematic Work being gratified by variations on the Chief Subject. As an example of a slow movement without a Development, may be mentioned the Adagio motto of Beethoven's C Min. So- nata, Op. 10: — 208 Movements in Slow Tempo. § 53. Ex. 283. yvirn\^ TTt ^a After the First Part is brought to a regular close in Ej? Maj., a single Dom. 7th chord (Ex. 284) suffices to introduce the Kestate- ment, which likewise proceeds regularly. Ex. 284. i S3E & m ,r '^y 3E 1 1 .-r ^ i s/p // f #5feg ffi £ The D Min. Sonata, Op. 31, exhibits the same form. The Mediating Episode begins thus: — : Ex. 285. ^m rj '±'i ^ and, consistent with regularity, terminates on the Changing Dominant: C Maj. Thereupon the Secondary Subject enters in the key of Dom.: F. Movements in Slow Tempo. § 53. 209 Ex. 286. and forms a Bipartite Period of the third fprm (comp. p. 23). Con- clusion and Appendix being omitted, a Keturn of 5 measures leads to the Kestatement, which proceeds regularly throughout, the Chief Subject serving as the foundation of an animated figuration in demi- semiquavers. Compare also the Adagio of Mozart's F Maj. Sonata, the Chief Subj. of whose first movement was shown at Ex. 201. The Adagio dffettuoso ed appassionato of Beethoven's String Quartet in F Maj., Op. 18, exhibits Sonata form with a short De- velopment. In the deeply pathetic Adagio motto e rnesto of the great F Maj. Quartet, Op. 59, on the other hand, is to be seen the Sonata form with an extensive Development. Its Chief Subject, the Antecedent of which is shown in the following Ex. (in the Consequent, the Cello takes up the melody), is in Long Period form: — Ex. 287. p sotto voce Bussler, Musical Form. 210 Movements in Slow Tempo. § 53. morendo cretc. ». The Mediating Episode is connected with the last Motive of the Chief Subj.:— Ex. 288. ■ i j.^Jilrfj- In 4 measures it arrives at the Changing Dom. (G Maj.), upon which in 3 measures it forms a Semi -cadence twice and a transition into C Min., where the Secondary Subject enters in 'Cello: — Violoncello. espr. ■ At the end of 13 measures, this Subject makes an inflection to the 4 chord, for the purposee of forming a Cadence: — 4± Ex. 290. ff 7 * 7 I / But here evolves a Cadence-formula of so significant and peculiar a character, as to entitle its being considered an independent Con- clusion, albeit its commencement occurs simultaneously with the termination of the Secondary Subject: — Movements in Slow Tempo. § S3. 211 E n x -f L iJij^ibiib? i & gp^fe & s§ rfa^rafi m **f i * 4 4' i r 4 4 * (Kepeats with a slight variant of the figuration.) Whether the remaining 5 measures should be counted to the Conclusion, or be considered as entirely, or only in part, constituting an Appendix, is no weighty matter here. Now the Development begins, which consists of 38 measures against 45 of the First Part, and evolves matter, first from the Secondary Subject, then, Chief Subject, and finally from the Conclu- sion. An episode in DJ; Maj. — motto cantabile — of melting tenderness, is developed from the Secondary Subject. Thus: — Ex. 292. motto cantabile. $ & i- W=F ^m pine. ^^ 2 2 2 P ?-& $k $ te=h & Motive of the Conclusion. arco JDflflj'ufrfffift f ^S yjigil j s wt'-'$ f Taking up the continuation here, the Cello proceeds, with the first Motive, in the Circle of 5ths: — D|? Maj., A\> Maj., E> Min., B(p> Min., FMin., C Maj. — to the Dom. of the principal key, 14* 212 Movements in Slow Tempo. § 53. where, after a repeated Cadence-formula, a Keturn conducts to the Restatement. This proceeds regularly. However, the Chief Subject is curtailed, and in compensation thereof, appears again at the close ; a by no means rare occurrence with slow movements. This recur- rence of the Chief Subj. leads to a greatly extended figurate Cadence, which ushers in the next movement of the Quartet, the "Theme Russe", Allegro. Another example to be considered here is the Adagio sostenuto of Beethoven's Op. 106, the longest and most profound slow movement for Pianoforte in Sonata form. The first entrance of its Secondary Subject occurs in D Maj. The Chief Subject is repeated at the conclusion of the movement. Of the slow movements of the same master's Symphonies, those of the first, second, fourth and Pastoral (sixth) are in Sonata form. An interesting metrical structure is exhibited in the Andante of Mozart's C Maj. Symphony. The Chief Subject concludes with the eleventh measure, and just on this measure (comp. § 36) commences to repeat, forming an Antecedent of 8 measures with Semi-cadence on Dom. At this juncture, after the mode of Dom. has changed, a Subject in C Min. enters, which we will have to regard as a Mediating Episode: — Ex. 293. • After 8 measures of bold harmony and rhythm, it forms a Semi-cadence on the Changing Dominant (G- Maj.) This is followed by the Secondary Subject (12 w measures), to which joins a Con- clusion of 4 measures. Appendix is wanting. However, a figurate transition in the first Violin conducts the first time to the Repe- tition, and the second time, into the Development. Thus: — Movements in Slow Tempo. § 53. 213 Ex. 294. INN; ')•<. jvj' i * K^ J -'P^ 9^ £z (Observe how unexpectedly the Chord of the Dom. 7th of D Min. enters here, lending a most remarkable charm to the sus- pended d.) The further course of this movement is as follows: — Mediating Episode extended to 14 measures. Chief Subject thematically elaborated with the Motive of the demisemiquaver figure, which already in the First Part accompanied it in its repetition. Now comes this same Motive, worked up to a //, which, with a reminiscence of the Mediating Episode: — Ex. 295. m ^f Egg V f p i^S afi 8 ? ^ i ig-gg ^ m. i Wt leads, not to the Chief Subject, but to the Secondary Subject, which thus opens the Third Part of this Sonata form. From here on, everything takes a regular course, only the Chief Subject, which was omitted above, again appears after the Conclusion. An Ap- pendix of 3 measures terminates the whole. This movement seems 214 Movements in Slow Tempo. § 53. also to admit of being differently comprehended, i. e., by confining the Development to the Mediating Episode of 14 meas. through extension (comp. Beethoven's D Min. Sonata) , and counting the Kestatement only from the thematic elaboration of the Chief Subject; particularly, since this tripartition of the movement exhibits the following proportions: — First Part, 44 measures; Development, 15; and Restatement, 42. Albeit the spacious 5th Hondo form seems little appropriate for slow tempo, yet its Sonata-form part admits of being curtailed to a Sonatina, and thus made accessible to the slow tempo. This shape of the 5th Rondo form is to be seen in the cel- ebrated Largo e mesto of the D Maj. Sonata, Op. 10, one of the most profound movements of Beethoven. Its First Part evolves in the manner of the Sonatina, thus: — Chief Subject. Ex. 296. (Concludes in the ninth measure.) Ex. 297. Mediating Episode. (In 8 measures, concludes in C Major.) Ex. 298. Secondary Subj. in A Min. j„j .M i rpflirspg! TT^r Jr X k & J~B *t Movements in Slow Tempo. § 53. 21S ^r^rrtw v - m r>hM fff f (At the end of 9 meas., con- cludes in A Min.) Ex. 299. Conclusion. m i v r_ ^ pp cresc. T m .rp miv *i kz ?E& - W« (Continues for 4 measures and terminates the First Part without an Appendix.) But the Middle Subject: — j| i /Jlffl "; 8 T J f f | frff rT | fp^r^ -« r- b *j JV ^ *./* (Continues 14 meas.) CLT CI/ CLT CL_ T ^ instead of constituting a Song-form, introduces a new Motive: Ex. 301. jfir«tintotri>iflii / p P pff J I i I i with which it modulates to the Dominant of the principal key, and then proceeds back to the Chief Subject. Such a license of con- traction is but a natural requirement of the slow tempo. 216 The Sonata as an Art-Form. § 54. The Third Part, after pursuing the regular course of a He- statement lacking the Conclusion, exhibits a grand figurate thematic elaboration of the principal Motive (Ex. 282), which conducts to the close, with this figure: C^d of the Middle Subject. This The- matic Work may be viewed both as a Rondo-like repetition of the Chief Subject, and also as an Annex in the sense of § 47. An Appendix of intensely pathetic content, which is connected with Motive | a | of Ex. 296, is joined to the close. Thirty-Third Exercise. I. Compose a slow movement in Sonata form or in one of the higher Eondo forms. § 54. THE SONATA AS A COMPOSITE, AND AS AN INDEPENDENT, ART-FORM. The Sonata form is very common as a piece of music in a single movement, but is not thus generally called Sonata. It is rather given a specifying appellation answering to its inner or outer nature, as Capriccio, Characteristic Piece, Concert Piece, Allegro etc Mendelssohn's Capriccio for Pianoforte and Orchestra in B Min., Op. 22, is in Sonata form; likewise the same composer's Song without Words in Fj} Min., \ time. To such a movement is often united a preceding Introduction, possessing distinct thematic contents, which however, may in a variety of ways influence the Sonata-form move- ment. Of works for orchestra, the Overtures of the classical and romantic schools are in Sonata form, as for example: — without Introduction: Mozart's Overture to Figaro, Mendelssohn's Heb- rides and Midsummer Night's Dream Overtures (the few fermatas, re- peatedly occurring at the opening of the latter, not being considered a distinct Introduction) ; with Introduction: Mozart's Don Giovanni and ZauberflSte (Magic Flute), Beethoven's Fidelio and Leonore Overtures; with Introduction and distinct close: Beethoven's Overt- ure to Egmont, in which a reminiscence of the Introduction appears Ihe Sonata as an Art-Form. § 54, 217 in the Secondary Subject, and the Conclusion constitutes a triumphal march. Meyerbeer's Overture to Struensee is, in regard to its form, based upon it. The grandiose Introduction of this work enters episode-wise in the Development of the Sonata-form part, and evolves to a triumphal march at the conclusion of the whole. The Allegro of Wagner's Overture to Tannhauser, which is formed of Motives from the scene in the Hill of Venus, is likewise in Sonata form, but expands to the 5th Hondo form, as it were, by the inclusion of the Middle Subject in Gr Maj.:— Ex. 302. Eight Violins. Clarinet. i j . 1 *r r c i h The Allegro is inclosed in the Pilgrims' Chorus, which con- stitutes the Introduction and the Conclusion. The latter, in con- formity with the later Paris revision, is omitted at the performance of the opera, so that the Overture proceeds on to the drama without interruption. Gr luck's Overtures to Alceste and to Iphigenia in Aulis had not yet taken the Sonata form, but nevertheless show indications of it. In keeping with their dramatic design, they lead immediately into the opera. In their Overtures, the French and Italien opera composers of the period of the classical instrumental music — Boieldieu, Auber, Kossini etc. — employ in their Overtures the Sonata form with its Form-members definitely framed in, whereby it assumes a somewhat trivial character. Liszt's B Min. Sonata (dedicated to Robt. Schumann) represents Ihe greatest extension of the Sonata form in a single movement, not 218 2 he Sonata as an Art-Form. § 54. only on account of its inner expansion of the Form-members and Parts, but also by reason of its including the Adagio in the movement. Sonatas in two movements are frequent; for example, of Bee- thoven's Pianoforte Sonatas, his Op. 78, in F$ Maj. (first movement in Sonata form), Op. 90, E Min. (both movements in Sonata form, the second one inclining to the Eondo) , Op. 54 , F Maj. {neither movement in Sonata form). Of Mozart's works, may be mentioned his Duo Sonata in E Min. , the Chief Subject of which has been shown at Ex. 19. A Haydn example is the Pianoforte Sonata in C|Min.:— Ex. 303. ^Hr^hp 2 Such Introductions, that do not evolve into decidedly distinct forms, are not counted as separate movements. Hence, Beethoven's Sonata in Min., Op. Ill, has but two movements. In the same master's Op. 53, C Maj., it is questionable whether the Intermezzo, preceding the Rondo , should be regarded as a distinct movement, or as an Introduction. The latter acceptation is usually given the preference, classing this Sonata among the two-movement works. However, the opening Adagio of Mozart's Sonatina for Pianoforte and Violin in E Min. (the oft-quoted production of Mozart's child- hood) is rather too lengthy to be denied the nature of a distinct movement, even though it proceeds into the Allegro without inter- ruption. Ex.304. Adagio. -fr- itsi ± ^=£ ^^ dolce mnm~~^ r*w } fl & & & i p j: j j/ J jJ l As far as its stucture is concerned, the Rondo of this Sonatina» to which we once more here revert, is actually a Minuet with two Trios. The Sonata as an ArUForm. § 54. Ex. 305. Rondo. Tempo di Menuetto. 219 Second Theme. First Trio. j ' "|! i flu i h j r f i r r.*r.' i frj ^ Third Theme. Second Trio. « M, f 'rM i rj .,,1^ . Violin an octave lo-wer. dolce assai 3R &=^ £gg ^ ^ 3= 9? The Duo Sonata consisting of an Adagio in Maj. f time, Allegro Gr Min. \, and Variations Gr Maj. f, should now be examined. Also the Adagio of this work, even though it is not detached, is of such length as to exclude its being considered a mere Introduction. Sonatas in several movements for Orchestra are termed Sym- phonies. Those for more than two instruments are designated after the number, and occassionally, genus of the instruments employed, as Trio, String Quartet, Quartet etc. Generally the first movement alone is in Sonata form; exceptionally, three movements. Albeit the great masters have also designated such works as Sonatas, that contain not a single movement in Sonata form, in which case they merely exhibit the general tendency of that style. Thus Mozart's Pianoforte Sonata in A Maj. consists of a Theme with Variations, Minuet and Alia Turca; Beethoven's A\> Maj. Sonata, Op. 26, of Theme with Variations, Scherzo, Funeral March and Rondo. 220 The Sonata as an Art-Form. § 54. The key of the Sonata or Symphony etc. is determined by the first movement, irrespective of any deviation as to the key of the Introduction. The Kreutzer Sonata, for instance, is in A Min., though its Introduction is in A Maj. Frequently the Finale of Sonatas in Min. key is in Maj.; e. g.. Choral (D Min.) Symphony and that in C Min. In Mendelssohn's A Maj. Symphony, this is exceptionally just the reverse. The key of the individual movement, in case it changes its mode, is determined by the commencement. Most Sonatas have three movements, and among these are the most celebrated ones, as the Pathetique, the C# Min., the Appasio- nata. In the Cfl Min. Sonata, only the last movement is in Sonata form; its first movement not having any prescribed form, for which reason Beethoven designated this Sonata "quasi una fantasia". (Noteworthy is the affinity between the modulation in the first move- ment of this Sonata and that in the Funeral March of Op. 26.) The consummate shape of the Grand Sonata, as is to be found in most of the Symphonies of Haydn and Mozart (and in all their later ones); in all of Beethoven's Symphonies; in the great String Quartets and Quintets, and allied species of instrumental music, consists of four movements: — Allegro (with or without Introduction), Slow Movement, Minuet or Scherzo, Finale. Allegro. There are also extensive Introductions which are not counted as distinct movements, as in the case of Beethoven's A Maj. Symphony: — Ex. 306. Poco sostenuto. Oboe, i ■P- ■*■ P U Beee it e£= ±*±± Clarinet. aa= ¥£ J n ifl r £ * m 4= _£_ The second and third movements exceptionally change their order. This is the case, for instance, in Beethoven's Choral Suite. Symphonic Poem. § 55. 221 Symphony, and B|? Maj. Sonata, Op. 106, since in each of these works, the extensiveness and thematic constitution of the first move- ment demand the contrast occasioned by that order. The place of the slow movement is sometimes occupied by an Allegretto, as in the E(? Maj. Sonata, Op. 31, and in the seventh and eighth Sym- phonies of Beethoven. In the latter Symphony, the Minuet, in compensation of that condition, is in the slow, ceremoniously graceful tempo, originally peculiar to this dance. Exceptions of this kind are but a natural consequence of the inner conditions of the work in hand. Hence, the arbitrary bringing on of such a state only in- dicates that one has not comprehended the nature of form-evolution, and vainly takes recourse to the unessential and superficial for auxiliary means. However, it cannot be denied, that, occasionally, movements are strung together for no other reason than that of just having them ready, nor is this exactly censurable. A grouping of this kind at any rate bears the stamp of unity, inasmuch as all the movements are by one and the same author. Thirty-Third Exercise. II. Group previously composed movements into Sonatas, or, as the case may be, add such as are lacking. § 55. SUITE. SYMPHONIC POEM. In the Suite, the combination of individual movements is less fixed than with the Symphony or Sonata. In the latter, it must appear as though the movements proceeded one after the other with psychological necessity. In the Suite, they range in conformity with their outward features of resemblance and dissimilarity. The move- ments themselves should be of a rather loose structure, short and easy to apprehend. Accordingly, the emotional content is of less importance. A good Suite-movement would make but a poor Sonata- movement, and vice versd. The Suite belongs to the precursors of the Sonata, and, in its original shape, consists of a series of Dance-form and Song-form movements, preceded by a festal Introduction (for instance, an Andante with a Fugue) which is designed to recur at the close. Modern 222 Vocal Music in Instrumental Forms. § 56. Suites deviate variously from this fundamental form, and approach the Sonata or Symphony etc. Thus Raff's Suite in G Min. Op. 162, for Pianoforte, is, in regard to its form, a Sonata, and all the more so, since its first movement is in Sonata form. The Symphonic Poem represents the adaptation of the Leading- motive Style to instrumental music, with poetic significance. § 56. VOCAL MUSIC IN INSTRUMENTAL FOEMS. The great masters of the classical instrumental music and their most closely related contemporaries and followers were so familiar with the chief of those forms, the Sonata, that they brought its characteristics to bear also upon the more extensive vocal composi- tions. In such cases, the given text, by virtue of its logical and psychological significance, obviously set bounds to the purely musical propension of that form. Albeit this inclination may be recognized not only in the Masses of Haydn and Mozart, whose texts could more easily accommodate themselves to any other musical form, but is also frequently to be met with in Opera. The Bfc> Maj. Aria of Octavio in Mozart's Don Giovanni is in Sonata (Sonatina) form; likewise the first Aria of Donna Elvira (designated Terzetto, on account of the short episodes which are interspersed by Don Giovanni and Leporello): — Ex. 307. r c c r ^S Ah! chi mi di Where shall I find ce ma - 1 a to hen 2® m Furthermore, the Aria of Pizzaro in Beethoven's. Fidelio, and many others. The second Grand Aria of Elvira: — *■»»■ kj)A r f. i rJ'^ trar.fr* Mi tra di quell' al - ma in gra - ta, Cru - el heart, thou hast be trdy'd me, Vocal Music in Instrumental Forms. § 56. 223 is in the 1st Eondo form. Particularly the start in the evolution of the Sonata form, just where it proceeds from the Chief Subject to the entrance of the Secondary Subject, is to be found in numerous vocal pieces with accompaniment, and even in the Ensemble, which involves a dramatic scene. That the student is aware of the fact, that nearly all the Overtures of the classical masters, Mozart, Beetho- ven, Weber, Mendelssohn etc., are in Sonata form, is taken for granted. The present tendency of the Opera has, with inner necessity, induced the replacing of the Overture by the Prelude. An unsur- passed model of such is the Prelude to Wagner's Lohengrin, the structure of which will not remain a mystery to any one that has thus far pursued our Course in Form. (This Prelude has been elucidated in the author's "Partiturstudium", p. 291.) The student has followed up and exercised himself in the evolu- tion of form, from the simple combination of the Bimeasure (Phrase) to the artistic structure of the Grand Sonata and its allied forms. The vast diversity, which has thus presented itself to his view, demonstrates, that in this, as well as in the other "branches of musical evolution, not only innate talent, but also the most thorough ex- pertness is requisite for the consummation of perfect works of art, such as we have frequently had occasion to examine. And it is just this masterly skill that renders one able to select, with surety, from the inexhaustible abundance of all that is technically possible, the aesthetically (artistically) apposite to each case in hand. ERRATA. . 50, add to the 6th line from bottom : particularly the Tripartite. 56, 1. 5, for in tanto read intanto. 70, 1. 9 from bottom, for lattitude read latitude. INDEX. The references in this Index are to the Pages. Abstractions, 1, 148. Accompaniment, 68 ; figure of, 83, 96. Adagio, 70. Aesthetic, 1, 28, 55, 59, 67, 78, 129, 132, 143, 146, 165, 179, 187. Affinity, thematic, 166, 197. After-beat, 68. After-effect, 193. Alia breve, 69. Alternation, 124. Analysis, 112; Analysis of Form, 63. Annex, the Beethoven. 129, 186.' Annexation, 142. Anomaly, 133. Antecedent, 7, 8, 10, 15,' 19, 21, 34, 46, 73, 79, 125, 145, 192, 201 ; Com- pound. 27. Antiquated, 85, 107. Appendix, 44, 49, 73, 89, 103, 121, 125, 132, 167, 169, 190, 195; a concluding Section as, 44. Arbitrary, arbitrariness, 68, 180. Aria, 222. Arrangement of measures,. 70. Articulation, 63. Artist, 148. Artistic discretion, 120. Auber, 217. Augmentation, 196. Augmented 6th, Chd. of the 87. Bach, Variations by, 65 ; Well-temp. Clav., 66. B ussier, Musical Form. Bar, 3, 54. Basses of dances, 72. Basso ostinato, 86, 188. Ballad, 93, 117. Beethoven: Concertos, 5, 6; Overt., 2, 30, 216; Quartets and Quint., 3, 7, 148, 209 ; Sonatas (incl. Duo and Trio), 2, 3, 4, 5, 9, 10, 11, 12, 13, 14, 17, 19, 21, 23, 25, 26, 27, 29, 35, 42, 43, 44, 45, 47, 51, 53, 58, 60, 85, 98, 110, 112, 127, 134, 136, 139, 141, 144, 145, 152, 157, 162, 165, 166, 167, 170, 176, 178, 189, 194, 195, 201, 204, 207; Symphonies, 3, 6, 8, 16, 22, 25, 55, 62,. 87 89, 90, 92, 100,, 105, 147, 175, 182, 197; Variations, 66, 101, 105. Beethoven Annex, the, 129, 186. Beginner, 94, 136. Bimeasure, 1, 3, 4, 55, 60, 87, 159, 223; double, 4, 87; metrical system of Bimeasures, 114. Binary Time, 69. Biographical, 107. Bipartition, 125, 165. Body, revolution of, in dancing, 67. Boieldieu, 217. Bold constructions, 56. Bolero,' 85. Borrowing, as to Motives, 81. Bourree, 85. Brackets, 3. 15 226 Index. Caeaura, 63. Cadence, 8, 199; Compound, 75; De- ceptive, 89, 139; Full, 8, 18, 79, 156; Imperf. Full, 19, 42; Partial, 40, 57, 59, 73; Perf., 34, 42; Semi-, 8, 10, 15, 27. 31, 34, 79, 92; on Mediant in Maj., 59. Cadence -formula, 88, 89, 111, 121, 165, 191, 210. Cadenza, 46, 186. Canon, 61, 170, 180, 184, 185; canon- ical episode, 105. Cantabile character, 161. Change of time and tempo, 194. Changing Dominant, 155, 191, 198, 201, 212. Characteristic attributes, 4. Characteristic compositions, 93. Chirography, 113. Chief Subject, 64, 69, 77, 94, 121, 125, 137, 157, 200. Chopin, 67, 83, 84, 86, 94. Circle of 4ths, 51, 173; Circle of 5ths, 80. Clearness, 182, 199. Climax, 100, 120, 199 Close, extended, 165; definite, 198. Closed forms, 97. Coda, 68, 69, 78, 81, 86, 122, 142, 201. Coherence, 57. Combination of Short and Long forms, 51, 64. Commencement, 54. Commonplace, 140. fcompactness, 28. Complete, 16, 41. Cbmposer, 1, 14, 57, 147, 206. Concatenation, 120; melodic, 128. Concert performance, 68, foot-note. CoAcerto, 186. Concise, 143. Conclusion, 121, 125, 165, 197, 200; compound, 165. Concurrence of final and initial meas- ure,\ 53, 126, 161. Connecting Episode, 122; member, 169. Connection, thematic, 138, 139, 197, 203. Consequent, 8, 10, 15, 18, 19, 21, 34, 46, 73, 79, 125, 146, 192, 201, 206. Content, emotianal, 40, 93, 117, 132, 158, 179. Contents, new, 35; thematic, 157; independent, 203. Context, 42. Contexture, 182. Contiguity, 120. Continuation, 169. Continuity, 120. Contrast, 141; harmonic, 8; thematic, 197. Contraction, 36, foot-note; 50, 86, 107, 171, 183, 214. Contradiction to truth, aesthetic, 1. Contrary motion, 182, 195. Contredanse, 72, 84. Correspondence, 24; thematic, 70, 129; rhythmical, 24. Counterpoint, 57, 96, 106; Double, 111, 173; Mixed, 207; Quadruple, 179, 187. Counting of measures, 3, 53, 54. Curtailing, as to Developm. in slow tempo, 206. Dances; drawing-room, and enter- tainment music, 64; social, 67; odd numbers of Sections in music of, 67. Dance-forms, idealized, 86, 86; anti- quated, 85. Delineation, 204. Delivery, 67. Determination of form, 104. Designation, 5. Definitions, rigorous determination of, 62. Development or Elaboration, 60, 126, 136, 172, 179, 203; laws, governing the, 181. Index. 227 Diabelli, 165. Dimensions, 124, 187. Discernment, 177. Discretion, 125; artistic, 120. Dismemberment of Motives, 62. Disordered, 125. Displacement, 193. Division, 121. Dominant, 10, 34, 65; key of, 18, 34, 86, 122, 125, 134, 155, 188; key of in Min., 21. Dom. 7th, Chd. of, 78. Double Bar, 136. Double Bimeasure ; Double Phrase, 4. Double stoppings, in employment of Stringed Instr., 65. Dramatic, 114. Duodecimeasure, 55. Duplication, 58. Dynamic, 125. Ear, 35, 54. Education, general, 114. Effects, harmonic, 70. Eight-measure, 27,- 28, 34, 125. Elaboration, 126. Elegy, 93. Elongation, 39, 40, 46, 86, 95, 128, 171, 183; by an Appendix, 42. Embellishments, 5. Enharmonic, 57. Entrance, 70, 74. Enunciation, 61, 120, 126. Epic, 117. Episode, 64, 98, 108, 167; canon- ical, 104; connecting, 122, foot- note; independent, 40, 193; new, 45. Equipoise, 146, 165. Error in writing, 61, foot-note. Etude, 66; overreaching the object of techn. exercise, 67. Evenness, numeral, 56, 67, 72. Evolution? musical, 60. Expansion, 183. Expectancy-awakening quality , 28, 78, 121. Expedient, 117. Extended forms, 207. Extension, 114, 140. Extract, melodic, 1, 116. Fanfare, 74. Fantasia, 70. Fashion, as to society dances, 68. Fermata, 114, 157, 172. Festal March, 74, 85. Figuration, 59, 77, 94, 99, 106, 161, 165, 179. Finale, 70, 197, 201, 219; modifica- tion of Sonata form in, 197. Firmness, 113. Fixed forms, 60. Flourish of trumpets, 74, 81. Formal structure, peculiarity of, 87. Fore-beat, 68, 83. Form-members, 121. Forms of dances, 68. Formula of close, 82. Formulary, 187. Free Style, 117, 180, 187. Fugato, 92, 106. Fugue, 173, 180, foot-note, 187. Funeral March, 83, 85. Fundamental element, 1. Galop, 69. Gang (passage), 60. Genius, 164. Gluck, 217. Goethe, 114, 118. Gounod, 118. Grand Sonata, 121, 140. Harmonic effects, 70. Harmonium, 4. Harmony, 57, 155, 173, 179. Haydn, 23, 65, 86, 87, 175, 179, 218, 220, 222; Variations by, 65. Hearing, sense of, 1. 15* 228 Index. Heine, 118. Hexameasure, 55. Historical, 107. Horns, 181. Humoristic treatment, 69. Identity, departing from: as to Con sequent, 40. Imagination, 1, 97. Imitation, 44, 47, 89, 170; canonicm 61, 99 Imitators, 84. Impromptu, 94. Independence, 106, 159, 160, 16(1, 194, 199. Independent Episode, 193. Ineptitude, of texts, 118. Inner necessity, 57. Initial beat, 72. Instrumental forms, 1, 221. Instrumentation, 179. Instrumental music, 15, 188. Intercalations, 44. Interjacent, 129. Intimate connection, 96. Intrada,'74, 78. Introduction, 68 to 70, 74 to 76, 88, 188, 193, 215. Invention, process of, 63, 113. Inventive power, 164. Inverse motion, 195. Inversion, 111. Irregularity, 32. Irreversible, 116. Iterations, 182. Juxtaposition, 179, Key, Qhange of, 65; like -named Maj., 86, 200; Minor, 69; princi- pal, 201, 203. Kind, Friedrich, 118. Kuhlau, 121, 122, 129. 155. Lack of skill, 65. Language, laws of, 113. Lay, 114. Leading-motive Style, 63, 180. Length, 36, 94. Lengthening, 129. License, 36, foot-note; in modulation, 57, 174, 188; of the Sonata form, 188. Liszt, 81, 195, 217; Variations by, 66. Logical, 57, 113. Looseness, metrical and rhythmical, 97. Lotti, 117. Lowe, 118. Lyric, 113. Maggiore, see Major. Major, 18, 104, 175. March, 72 to 85; Festal, 74, 85; Funeral, 83, 85, 86; Military, 69; Wedding, 69. Marx, 60. Master-works, 15, 40, 106, 165. Mazurka, 69, 84. Measure-groups, irregular, 55, 83. Mediant, key of, 24, 34, 59, 104, 188. Mediating Episode, 121, 125, 127, 130, 155, 158, 172, 192, 198, 208 to 214. Melancholie, 93. Melody, 68; of Waltz, 70. Members, 130. Memory,, 1, 14. Mendelssohn, 30, 40, 41, 74, 115, 181, 216, 223; plan of Wedding March by, 82. Metre, 3, 114, 118. Metrical structure, 128, 140. Meyerbeer, 73, 217. Middle Subject, 200. Mind, 141. Minor, 20, 33, 69, 83, 104, 126, 130, 156, 162, 176, 189, 220. Minore, see Minor. Minuet, 40, 49, 86, 219. Mode, change of, 68; Major, 18, 104, 175; Minor, 20, 33. Indent. 229 Modern, 74, 195, 221. Modus, 60. Modification, 40, 176. Modulation, 45, 58, 87, 103, 121, 155; abrupt, 133 ; extraneous, 57. Modulatory, 122, 155, 161, 182, 185. Monomeasure, 3, 67. Monotony, 73. -Mozart, 2, 3, 6, 8, 10. 12, 14, 16, 24, 27, 29, 30, 31, 32, 39, 42, 51, 52, 54, 55, 56, 73, 85, 103, 107, 108, 109, 118, 121, 130, 133, 134, 142, 144, 145, 155 to 157, 160, 164, 165, 168, 169, 179, 180, 184, 186, 187, 191, 209, 212, 219, 220; juvenile works of, 24," 32, 109, 218, 219. Motive, 60, 63, 112, 131, 164, 170, 172, 179, 182, 183, 188, 196, 210; dismemberment of, 62 ; melodic 165; predominating, 66; rhythmical, 84; thematic, 62. Musical Drama, 63, 180. Musical Work, origination of a, 63. National dances, 85. Naturalness, 57. Necessity, inner, 57, 223. Negligence of part-progression, 42. Nocturne, 93. Notation, convenient mode of, En- harmonic, 57. Note-values, species of, 3, foot-note, 124. Novelty, demands of, 57. Numeration, metrical, 3, 6, 53. Octomeasure, 8, 24, 54. Oddity, 57. Odd numbers of measures, 67. Opera, 15, 73, 114, 180, 222. Oratorio, 15. Orchestra, 104. Orchestration, 67. Organ, 4. Overture, 217. Parallel, key of in Maj., 20, 22, 34, 83, 104, 122, 126, 155, 188; termi- • nation in, 57. Part, 8, 15, 18, 19, 68, 121, 122, foot- note, 129, 135, 171, 179, 186. Partiturstudium, 59, 156, 186, 190, 223. Pas (step), 67. Passage, 60, 103. Pedal-point, 141, 144, 172, 182, 185. Pentameasure, 55, 73. Perception, 58. Period, 28, 33, 34, 65, 70, 78, 86, 144; Bipartite, 209; Long, 27, 39; Long Tripartite, 32; repetition of a, 15, 23, 24; Short or Octomeasure, 8; Short Tripartite, 31, 206 ^trans- position of a, 57. Periodicity, 29, 33. Phrase, 1, 2, 4, 23, 61, 64, 125. Phrasing, 63. Piano Setting,* 42, 64. Plan (scheme) 68, 82, 128. Poem, 118; epic, 117; lyric, 113. Poet, 114. Poetry, 113. Point of connection, 117, 140. Polka, Polka Mazurka, 68. Polonaise, 72, 83, 84. Popular designation, 40. Potpourri, 70. Practice, the composer's, 57. Practical, 14. Prelude, 66, 117, 223; rhythmical, 68; in contrapuntal form, 67. Preponderance, as to modern music, 59. Printing, the art of, 113. Professional training, 114. Proportion, numerical, 124, Pulsations, 74, 83. Quadrille, 72, 84. Quadrimeasure, 4, 53, 113. Quadripartition, 122, .125. Quartet, String, 4, 42, 87, 220. 230 Index. Radical, 155. Radziwil, 118. Raff, 66, 85, 222. Reciprocal relation, 8, 140. Recitative, 176. Refrain, 142. Reichardt, 118. Reissiger, 118. Relations, harmonic, 40. Reminiscence, thematic, 194, 197, 204. Repeat signs, 8, 34, 39, 136. Repetition, 5, 34, 36, 39, 140, 169; lit- eral, 23; varied, 38; written out, 29. Resemblance, 35; thematic, 204. Resignation, 93. Restatement, Recapitulation, (Re- prise), 129, 171, 185. Rests, 2. Return, 169, 204. Rhenish Polka, 68. Rhyme, 118, 119. / Rhythm, 3, 68, 83; rhythmical ar- rangement, 72; uniformity, 97. Rigaudon, 85. Ritmo a tre battute, 55. Romance, 117. Rondo, Lower forms of, 97; Higher 200. Rossini, 217. Roundelay, 97. Sarabande, 85. Scheme (Plan), 68, 82. 182. Scherzo, 86, 90, 220, (Minuet, Epi- sode, Intermezzo), 64. Science, musical, 5, 112. Schubert, 84, 115, 118. Schumann, 118. Score-study, 93, 112. Secondary Subject, 121, 125, 161, 161 ; key of, 162. Second Part, 34, 40, 46, 51, 52, 135, 200. Section, 28, 24; Compound, 88; Double, 8, 29, 79, 125, 201; elon- gation of, 32; Independent, 206; Intermediate, 32, 45, 47, 99, 206; similar and dissimilar, 15; Long 24, 27, 31, 34, 70; Short, 5. Sectional form, 65. Sectional repetition, 31. Semi-cadence formula, 49, 134, 141, 144, 184. Sequence, 51, 60, 103, 182, foot-note; Modus of, 60; Motive of, 59. Shadings, dynamic, 65. Similar, similarity, 15, 18, 33. Similitude, 53. Sketching, 129. Skill of the composer, 68; lack of, 65. Slow tempo, 207. Slur, 23. Society accomplishments, 71. Solo parts, 70. Sonata form. 120, 140, 188, 197, 203, 207, 216 to 222, out-lines of Sonata form in Prelude, 67. Sonatina. 121 to 140, 207 to 216, 222. Song, 113. Song-form, 86, 89, 93, 103, 107, 200, 202, 204; Compound, 64, 77, 103; Long, 69; Long Bipartite, 39, 104, 201; Long Tripartite, 40, 47, 69, 108, 117, 201; modern pieces in, 59; Short Bipartite, 15, 18, 23, 37, 74; Short Tripartite, 33, 44, 58, 68, 69, 110, 206. Song without Words, 93. Sonorousness, 78. Spirit of the age, 59. Stage, 74. Stanza, 117. Standard, 124. Step, 67, 73, 83, 84. Stereotyped dance-rhythm, 96. String of Sections, 40. String Quartet, 65; Exercises to be written for, 42. Style, Strict and Free, 57; Leading- motive, 63, 180. Sub-dominant, 75. Index. 231 Subjects, in Rondo forms, 97. Sub-mediant, 87, 190. Sub-section, 81. Suite, 221. Superabundance, 125. Super-tonic, 75. Suspension, 30. Symmetry, 52, 130. Symphonic forms, 77. Symphonic Poem, 221. Syncopation, 185. Talent, specific, 70. Tarantella, 85. Technic of Composition, 4, 5, 57., ' Technical, 132, 164, 179. Tempo, 68, 112; changes of, 68, foot- note, 194; of Funeral March, 80. Termination, 54. Text, 114, 222; declamation of, 116; ineptitude of, 118; repetitions of, 115; scriptural, 118. Ternary time, 69. Theme, 60, 97, 121, 179; with Va- riations, 65. Thematic connection, 138, 139, 197. Thematic Work, 60, 63, 65, 125, 161, 172, 179, 188, 195; zenith attained in, 63. Theory, 112. Time, species of, 1; contrasts of (Binary, Ternary), 68 to 70; keep- ing, 73, 219. Tonal contexture, 97; tonal struct- ure, 5. Tone-combinations, 60. Tone-color, tone shading, 65. Tonic, 8, 22, 25, 34, 70, 73, 130. Transfiguration, 147. Transition, 49. 75, 122, 200; tran- sitional forms, 112. Translocation, 60. Transposition, 57, 125. Trimeasure, 55, 73. Trio, 64, 67 to 69, 77, 86, 89, 90; canonical, 85. Tripartition, 125, 146, 214. Tutti, 142. Unconsciously made comparison, 55. Uniformity, rythmical, 125, foot-note. Unimportance, 112, 137, 140. Unisono, 180. Unity, 66, 120, 122. Unvaried repetition, 8. Up-beat, 3, 68, 72. Urging nature, 28, 146, 161. Variant, 5, 211. Variations, 39, 65, 104, 219; capac- ity of depicting scenes, 66. Varied repetition, 8. Variegated, 125. Variety, 40, 122; of rhythm, 70, 124. Versification, 114. Virtuosity, 66, 111. Virtuoso, 186. Voices, 4, 117. Vocal music, 113, 222. Wagner, 31, 63, 74 to 82, 117, 182, foot-note, 217, 223; plan of Tann- hauser March by, 82. Waltz, 69, 72, 84; its numbers, 70. Wearisome, 125. Weber, 12, 78, 83, 84, 1 16, 1 18, 121, 223. Wedding March, 82. Words, accent of, 116. Work of art, 1. Work, voluntary additional, 59. Zelter, 114, 118. Berlin. Printed by Martin Oldenbourg 5, Adler - Strasse. : 31- ■-;"..■ ■■■■•■■ ■■"- . ;a y iffllsifep. Si ■raSS '• ; r; k IBl!