The Trio Or Subordinate Song

The division which follows, as second

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

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

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

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

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

minore, intermezzo, alternative, etc.). br />


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

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

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

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

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

obligatory, the element of contrast having become more important than

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

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

measures of transitional material.





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

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

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

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

the necessity for it increases with the growth of the form. In a

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

as indispensable.



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

principal song,--called the da capo (or from the beginning),

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

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

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

directions da capo suffice, instead of re-writing the entire

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

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

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

whole.



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

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

become complete Song-forms. An important distinction, to which

especial attention must be directed, is the completeness of the

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

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

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

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