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 into the

following section,--the form is said to be dissolved. Such dissolution

takes place, naturally, within the later section of the theme, or

Part, or whatever it may
e, whose actual, definite ending in the

expected key is thus frustrated. For instance, the second (or third)

Part of a theme may be dissolved; or the last phrase of a period or

double-period; or the repetition of a phrase. And the dissolution is

invariably applied before a transition or re-transition, as a means of

interlocking the factors of the form more closely and coherently.

Therefore it is a process peculiarly adapted to the higher designs of

composition, and is seldom omitted in the sonata-allegro form. For an

illustration, see Beethoven's sonata, op. 14, No. 2, first movement:

The Principal theme is a Two-Part Song-form; Part I, a period, from

measures 1 to 8; Part II begins in measure 9, and has every appearance

of becoming also a period; its Antecedent phrase closes in measure 12,

its Consequent begins in measure 13--but its end, as Second Part, in

the usual definite manner, cannot be indicated; the key is quietly

changed from G to D, and then to A, in obedience to the call of the

Subordinate theme (beginning in measure 26), into which these last 10

or 12 measures have evidently been a Transition. The Second Part of

the Principal theme therefore includes the transition; but where the

Second Part (as such) ends, and the transition (as such) begins, it is

impossible to point out accurately. The definition of this Principal

theme is, Two-Part form with dissolved Second Part, or, still better,

with transitional Second Part.



* * * * * *



In our illustration of the sonata-allegro form it is necessary, on

account of limited space, to select a very concise example, of unusual

brevity,--Beethoven, sonata, op. 49, No. 1, first movement; the

original may be referred to, for the omitted details:--



The thematic factors are small, but none is omitted; every essential

component is represented.



For a more extended and fully developed example of the sonata-allegro

form, see Beethoven, pianoforte sonata, op. 14, No. 2, first movement;

number the 200 measures, and verify all the details according to the

following analysis (figures in parenthesis refer as usual to the

measures):--



Principal Theme, Part I, period-form (1-8). Part II (9- ), dissolved

(about 14) into Transition ( -25).



Subordinate Theme, Part I, period, extended (26-36). Part II,

period, probably (37-41-47).



Codetta I, period, extended (48-58).



Codetta II, Small phrase, extended (59-63). Here the Exposition

closes, with the customary double-bar and repetition marks.



Development, Section I (64-73), from Principal theme. Section 2

(74-80), from Subordinate theme. Section 3 (81-98), from Principal

theme. Section 4 (99-107), closely resembling the Principal theme, but

in a remote key. This section practically ends the Development,

inasmuch as it culminates upon the dominant of the original key.

Section 5 (107-115), establishment of the dominant. Section 6

(115-124), the Re-transition. The Recapitulation begins with the



Principal Theme, Part I, period (125-132). Part II, group of

phrases, longer than before (133-152).



Subordinate Theme, as before, but in the principal key (153-174).



Codetta (I), as before, but slightly extended (175-187). The second

codetta is omitted.



Coda, phrase, repeated and extended (188-200).



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