The First Part
Part One may be designed as period, double-period, or
phrase-group; sometimes, though very rarely, as single phrase,
repeated. It ends, usually, with a strong perfect cadence on the tonic
chord of the original key, or of some related key (that is, one whose
signature closely resembles that of the original key). An
introductory phrase, or independent prelude, may precede it.
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Part Iii
The recurrence and corroboration of the original statement; the reproduction of Part I, and therewith the fulfilment of the important principle of return and confirmation. The reproduction is sometimes exact and complete; sometimes slight changes, ... Perfect Cadence
There is one method of checking the current of the melodic phrase with such emphasis and determination as to convey the impression of finality; either absolute finality, as we observe it at the very end of a composition, or such relative finality as... Phrase-addition
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 s... Preliminary Tones
It is a singularly effective and pregnant quality of the element of musical rhythm, that its operations are not bounded by the vertical bars which mark off the measures. That is to say, a rhythmic figure (and, in consequence, a melodic figure or mo... Relation To The Three-part Song-form
In a former chapter (XIII) the Three-Part form was defined as the type of perfect structural design, upon which every larger (or higher) form is based. Nowhere is the connection more striking, and the process of natural evolution out of this germ ... Repetition Of The Parts
The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimensions of his original design, resorts as usual to the most legitimate and natural means at his dis... Rhythm
This word signifies arrangement,--a principle applied, in music, to the distribution or arrangement of the tones according to their various time-values. The system of measurement (or metric system) furnishes tone material with all the details of di... Semicadence
Any deviation from the formula of the perfect cadence--either in the choice of some other than the tonic chord, or in the omission of the keynote in either (or both) of the outer parts--weakens the force of the interruption, and transforms the cade... Species Of Cadence
In text-books and musical dictionaries several varieties of the cadence are distinguished, but they are chiefly distinctions without any more than one essential point of difference, namely, difference in force or weight. It is therefore feasible to... Tempo
This refers to the degree of motion. The musical picture is not constant, but panoramic; we never hear a piece of music all at once, but as a panorama of successive sounds. Tempo refers to the rate of speed with which the scroll passes before our ... The Development Or Middle Division
The second division of the sonata-allegro form is devoted to a more or less extensive and elaborate manipulation and combination of such figures, motives, phrases or Parts of the Exposition as prove inviting and convenient for the purpose, or chall... The Double-period
A third method consists in expanding the period into a double-period (precisely as the phrase was lengthened into a double-phrase, or period), by avoiding a perfect cadence at the end of the second phrase, and adding another pair of phrases to balan... The Exposition
This first Division, the statement, compounded of two themes and a recurrence, is in itself a complete (though probably very concise) First Rondo-form; therefore, in order to confirm the intended design, at least one of its themes must contain two (... The Exposition
The presentation of the thematic factors, the statement or Exposition of the two themes and codetta, is made exactly as in the sonatine-form, though probably upon a broader scale. The Principal theme is usually a Two-Part Song-form, at least; often... The First Part
Part One may be designed as period, double-period, or phrase-group; sometimes, though very rarely, as single phrase, repeated. It ends, usually, with a strong perfect cadence on the tonic chord of the original key, or of some related key (that is, on... The First Rondo-form
This consists, then, of a Principal theme (generally Two-Part or Three-Part Song-form); a Subordinate theme in a different key (probably a smaller form); a recurrence of the Principal theme (usually more or less modified or elaborated); and a coda. ... The Five-part Form
The repetition of the Second and Third Parts together is sometimes subjected to changes that are almost radical in their nature, and therefore appear to modify the form itself. These important changes chiefly affect the Second Part, when it reappea... The Melodic Figure
The smallest unit in musical composition is the single tone. The smallest cluster of successive tones (from two to four or five in number) that will convey a definite musical impression, as miniature musical idea, is called a Figure. Assuming the ... The Melodic Motive Or Phrase-member
This, as has already been stated, is a somewhat longer section, compounded of two or more figures. Being thus longer, the breaks or spaces between motives are generally more emphatic and recognizable than those between the figures, and therefore i... The Necessity Of Form In Music
So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence there, that a few general principles are submitted at the outset of our ... The Parts
If we inquire into the means employed, in the larger Part-forms, to effect the division of the whole into its broader Parts, we find that the prime factors, here again, are Cadence and Melody. The strongest sign of the consummation of a Part is a de... The Period
The Period-form is obtained by the addition of a second phrase to the first. It is therefore, in a sense, a double phrase; that is, it consists of two connected phrases, covering eight ordinary measures, or just double the number commonly assigned ... The Phrase
It is not altogether easy to give a precise definition of the phrase. Like so many of the factors which enter into the composition of this most abstract, ideal, and intangible of the arts, the phrase demands considerable latitude of treatment, and ... The Phrase-group
A second method consists in enlarging the period-form to three phrases, by the same process of addition which, as explained in the preceding chapter, transforms the single phrase into the double-phrase or period. In order to preserve the continuity... The Principal Song
The first division, called the principal song, is either a Two-Part or a Three-Part Song-form,--most commonly the latter. It is generally entirely complete in itself; the fact that another division is to be added, does not affect its character, form... The Principle Of Extension
The other cause of modified phrase-dimension is one of extreme importance, as touching upon the most vital process in musical composition, namely, that of phrase-development. Setting aside all critical discussion with reference to the question, W... The Recapitulation
This corresponds, theoretically, to the da capo in the Song with Trio, or to the variated recurrence of the Principal theme in the First Rondo-form. But it is more than either of these. The term Recapitulation is more comprehensive than recurrence ... The Recapitulation
This, the third Division, is, as usual, a review of the original presentation of the thematic material,--the recurrence of the Exposition. It is sometimes a nearly exact reproduction, excepting the necessary change of key in the Subordinate theme a...