1 Augmentation Of The Regular Form
To this species belong those forms (small and large) which are provided with a separate Introduction, or Interludes, or an independent Coda (in addition to, or instead of, the usual consistent coda). For example, Beethoven, pianoforte sonata, op.... 2 Abbreviation Of The Regular Form
This consists chiefly in the omission of the Principal theme after the Development (that is, in beginning the Recapitulation with the Subordinate theme). Other contractions, by omission of portions (Parts) of important thematic members, during the... 3 Dislocation Of Thematic Members
By this is meant, any exchange or alteration of the regular and expected arrangement of members. This can refer, naturally, only to what occurs after the Exposition,--that is, during the Recapitulation; for it is the Exposition which determines th... 4 Mixture Of Characteristic Traits
This process tends to affiliate the two distinct classes of larger or higher forms, whose respective characteristics were explained and compared at the beginning of Chapter XVI. Upon very careful revision of this explanation, and reference to the ... Afterword
The expression Musical Forms is often used, somewhat carelessly and erroneously, with reference to Styles or Species of composition, instead of to the structural design upon which the music is based. The Barcarolle, Mazurka, ?tude, Anthem, and so f... Application Of The Forms
The use of the various forms of composition, that is, their selection with a view to general fitness for the composer's object, is, primarily, simply a question of length. The higher aesthetic law of adjusting the design to the contents, of which w... Beats
The beats are the units in our System of Measurement,--as it were, the inches upon our yardstick of time; they are the particles of time that we mark when we count, or that the conductor marks with the beats of his baton. Broadly speaking, the ordi... Cadences In General
A cadence is the ending of a phrase. Strictly speaking, every interruption or break between figures, and between all melodic members, is a cadence; but the term cadence is applied to nothing smaller than entire phrases. The cadence is the point ... Causes
The possibility of deviating from the fundamental standard of phrase-dimension (four measures) has been repeatedly intimated, and is treated with some detail in the text preceding Example 17, which should be reviewed. It is now necessary to examine... Causes
Despite the many points of resemblance between the various forms to which our successive chapters have been devoted,--the natural consequence of a continuous line of structural evolution to which each plan owes its origin,--they are separate and ind... Classification Of The Larger Forms
The Sonatine form is the smaller variety of two practically kindred designs, known collectively as the Sonata-allegro forms. In order to obtain a clear conception of its relation to the latter, and also to the Rondo-forms, it is necessary to subje... Contents Of The Phrase
The question may arise, what is it that makes a phrase,--the rhythm, harmony, or melody? Strictly speaking, all three; for music subsists in the ceaseless co-operation of these three primary elements of composition, and no phrase is wholly complete... Defining The Figures
It is not always easy to distinguish the figures in a melodic sentence. While they are unquestionably analogous to the words in speech, they are by no means as concrete, nor are they separated as distinctly, as the words upon a written or printed s... Dissolution
When any section of a higher form starts out with a perfectly definite structural intention, pursues this intention for a time (sufficient to establish it), but then insensibly diverges and gradually adopts a new modulatory direction,--as transition... 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 Par...

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 Exposition The Recapitulation Causes The First Part Lesson 8 Relation To The Three-part Song-form Length Of The Regular Phrase Repetition Of The Parts