VIEW THE MOBILE VERSION of www.sings.ca Informational Site Network Informational
Privacy
  Home - Music Terms - Music Lessons - How to Sing - Music History - Singing Choirs - Children Songs - The Voice - Advice for Singers
   Lyrics: by Arist - (HED) P.E. to BREAKING POINT - BRIAN MCFADDEN to FINGERTIGHT - FIONA APPLE to JUSTIN GUARINI - JUSTIN TIMBERLAKE to MURPHY LEE - MUSE to SARINA PARIS - SASH to THREE 6 MAFIA - THREE DAYS GRACE to ZWAN

Most Viewed

The Double-period
Distinction Between Bipartite And Tripartite Forms
Lesson 4
Causes
The Sonatine Form
The Exposition
The Recapitulation
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music


Least Viewed

The Exposition
The Recapitulation
Causes
Exceptions
The Second Part
Part I
Evolution
The Development Or Middle Division
The Phrase
Length Of The Regular Phrase


Random Music Lessons

The Exposition
The First Part
The Principle Of Extension
Lesson 14
The Phrase
The Trio Or Subordinate Song
The Period
Afterword
The First Rondo-form
Origin Of The Name



Distinction Between Bipartite And Tripartite Forms





We learned, in the
preceding chapter, that the Two-Part Song-form is a composition of
rather brief extent, with so decisive a perfect cadence in its course
as to divide it, in a marked manner, into two separate and fairly
individual sections or Parts.

Between this and the next higher form,--that with three such
Parts,--there is a distinction far more essential and characteristic
than that of mere extent; a distinction that does not rest simply upon
the number of Parts which they respectively contain. Each of the two
classes of formal design, the Two-Part and the Three-Part, embodies a
peculiar structural idea; and it is the evidence of these respective
ideas,--the true content of the musical form,--which determines the
species. The number of sections is, in this connection, nothing more
than the external index of the inherent idea.

The Two-Part forms embody the idea of progressive growth. To the
first Part, a second Part (of similar or related melodic contents) is
added, in coherent and logical succession. It should not be, and in
good clear form it is not, a purely numerical enlargement, for the
association of the second Part with a foregoing one answers the
purposes of confirmation and of balance, and is supposed to be so
effectuated as to institute and maintain unity of style, and some
degree of progressive development. But the second Part, in this
bipartite design, does little or nothing more, after all, than thus to
project the musical thought on outward in a straight line (or along
parallel lines) to a conclusion more or less distant from the
starting-point,--from the melodic members which constitute the actual
germ, or the text of the entire musical discourse. A very desirable,
not to say vital, condition is therefore {90} lacking, in the Two-Part
forms; namely, the corroboration of this melodic germ by an emphatic
return to the beginning and an unmistakable re-announcement of the
first (leading) phrase or phrases of the composition.

Nothing could be more natural than such corroboration. Any line of
conduct, if pursued without deviation, simply carries its object
farther and farther away from its origin. If, as in the circle, this
line is led back to the starting-point, it describes the most
satisfying and perfect figure; it perfects, by enclosing space.
Whereas, if it goes straight onward, it ultimately loses itself, or
loses, at least, its connection with its beginning and source.

Nowhere is this principle of Return more significant and imperative
than in music, which, because of its intangibility, has need of every
means that may serve to define and illuminate its design; and hence the
superior frequency and perfection of the Three-Part form, which, in
its Third Part, provides for and executes this Return to the
beginning. Its superiority and greater adaptability is fully
confirmed in the practice of composition; the number of Three-Part
forms exceeds the Two-Part, in musical literature, to an almost
surprising degree; and it may therefore be regarded as the design
peculiarly adapted to the purposes of ordinary music writing within
average limits.

The three successive divisions of the Three-Part Song-form may then be
characterized as follows:--





Next: Part I

Previous: Lesson 9



Add to del.icio.us Add to Reddit Add to Digg Add to Del.icio.us Add to Google Add to Twitter Add to Stumble Upon
Add to Informational Site Network
Report
Privacy
SHAREADD TO EBOOK


Viewed 4655