Lesson 17
Analyze the following examples, as usual, carefully defining all the details of the form, according to the general plan adopted in our text:-- Beethoven, pianoforte sonatas; op. 2, No. 1, first movement (diminutive, but very complete and perfect)... Lesson 18
Analyze the following examples of Irregular form. They are classified, as in the text:-- 1. Beethoven, sonata, op. 81, first movement. Beethoven, sonata, op. 49, No. 2, first movement. Beethoven, sonata, op. 2, No. 3, first movement. Beet... Lesson 19
The student may now indulge in independent research, in the careful analysis of the following works: The pianoforte sonatas of Haydn (every movement of each). The sonatas for pianoforte and violin of Mozart, Beethoven, Brahms, Rubinstein, Grieg,... Lesson 2
Write careful and complete answers to the following questions:-- 1. What is Time, as applied to music? 2. What is tempo? 3. Give a full definition of the beat. 4. By what time-value is it most commonly indicated? 5. Give a full definiti... Lesson 3
Analyze the third Song Without Words of Mendelssohn (A major, the so-called Hunting Song); first of all, locate the principal melody,--it is not always the uppermost line of tones; then divide this melody into its melodic motives, marking the breaks... Lesson 4
Procure the Jugend Album, op. 68, of Schumann, and mark the phrases in Nos. 1, 2, 4, 5, 6, 7, 8, 9, 13, 18, 20, and others. In the given numbers the phrases are all regular,--four measures in length. Analyze in the same manner Mendelssohn's Songs... Lesson 7
Analyze the following examples. Locate the cadences; compare the phrases and define the degrees of Unity and of Variety exhibited in the melody, or elsewhere; and mark such irregularities of forms (or extensions) as may be found:-- Mendelssohn, ... Lesson 8
Analyze the following examples. They are not classified; therefore the student must himself determine to which of the above three species of enlargement each belongs: Mendelssohn, Songs Without Words, No. 29, measures 1-21, (first 4 measures an ... Lesson 9
Analyze the following examples of the Two-Part Song-form. Define the form of each Part, marking and classifying all cadences; and indicate introductions and codas (or codettas), if present. The first step in the analysis of these forms is to divide... Locating The Cadences
Next to the recognition and comparison of the different melodic sections of a composition (in a word, the melodic delineation of the whole), the most significant task in music analysis is the locating and classifying of the cadences. They are the a... Measures
A measure is a group of beats. The beats are added together, in measures, to obtain a larger unit of time, because larger divisions are more convenient for longer periods; just as we prefer to indicate the dimensions of a house, or farm, in feet or... Melody
Any succession of single tones is a melody. If we strike the keys of the piano with two or more fingers of each hand simultaneously, we produce a body of tones, which--if they are so chosen that they blend harmoniously--is called a Chord; and a ser... Modification Or Disguising Of The Cadence
The most natural and characteristic indication of a cadence is the longer tone, seen in the examples to which reference has just been made; for a tone of greater length than its fellows is, in itself, the most conclusive evidence of a point of repo... Modified Repetitions
The quality and extent of the changes that may be made, in order to enrich the composition without altering its structural design, depend, as has been intimated, upon the judgment and fancy of the composer. The student will find no part of his anal... Origin Of The Name
The fully developed Sonata-allegro form is the design in which the classic overture and the first movement of the symphony, sonata and concerto are usually framed. The student must be careful not to confound this musical form with the complete sona...

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