Distinction Between Bipartite And Tripartite Forms
The Sonatine Form
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music
2 Abbreviation Of The Regular Form
Application Of The Forms
Random Music Lessons
Contents Of The Phrase
The First Rondo-form
The Second Part
The Melodic Figure
Species Of Cadence
The phrase is the structural basis of all musical
composition. By this is meant, not necessarily the single phrase, but
the phrase in its collective sense.
The phrase is, after all, only a unit; and the requirements of Variety
cannot be wholly satisfied by the mere development and extension of a
single phrase, except it be for a certain limited section of the piece,
or for a brief composition in small form (like Schumann, op. 68, No. 8).
The act of addition does therefore enter into the processes of
music-writing, as well as extension. Phrase may be added to phrase,
in order to increase the primary material, and to provide for greater
breadth of basis, and a richer fund of resources. The condition to be
respected is, that such aggregation shall not become the ruling trait,
and, by its excess, supplant the main purpose,--that of development.
That is, it must be held rigidly within the domain of Unity. The
student of the classic page will therefore expect to find a more or
less marked family resemblance, so to speak; prevailing throughout the
various phrases that may be associated upon that page.
Each additional phrase should be, and as a rule will be, sufficiently
new in some respect or other to impart renewed energy to the
movement; but--so long as it is to impress the hearer as being the same
movement--there will still remain such points of contact with the
foregoing phrase or phrases as to demonstrate its derivation from them,
its having grown out of them.
This process of addition (not to be confounded with the methods of
extending a single phrase, illustrated in the preceding chapter) is
exhibited first, and most naturally, in the so-called Period-form.
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