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 which separate
each from the following one; the figures may be noted, also, but only
mentally. No. 35 may also be analyzed in the same manner.
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Group Of Parts
In some, comparatively rare, instances, the arrangement of perfect cadences is such that,--coupled with independence of melodic formation and character,--the composition seems to separate into four or more individual sections or Parts, with or with... Inherent Irregularity
Finally,--there exists another, third, condition, besides those mentioned at the head of this chapter, whereby a phrase may assume an irregular dimension; not by doubling or dividing its length (as in the large and small phrases) nor by the processe... Length Of The Regular Phrase
Fortunately for the work of analysis, there are certain established landmarks of forms, so conscientiously observed, and so firmly grounded in the practices of classic writing (because the necessary consequences of natural law), that it is generall... Lesson 1
The student is to study this chapter thoroughly, and write answers to the following questions; if possible, without reference to the text:-- 1. What does Form in music mean? 2. Define the conditions which constitute good form. 3. When is a c... Lesson 10
Analyze the following examples of the Three-Part Song-form. The first step, here again, is to fix the end of the First Part; the next, to mark the beginning of the Third Part, by determining where the return to the beginning is made. These points e... Lesson 11
Analyze the following examples of the enlarged Three-Part Song-form. As before, the form of each Part should be defined, and introductions and codas (if present) properly marked. All of the given examples belong to this chapter, but are not classi... Lesson 12
The following examples all belong to the Song with Trio. They should be analyzed as usual, each Song separately, defining the Parts, their form, and other details, as minutely as possible. Careful analysis is the first condition of intelligent inte... Lesson 13
Analyze the following examples. They are not classified; the student must determine whether the form is pure First Rondo, or an intermediate grade between Rondo and Song with Trio. One of the examples is a genuine Song with Trio; and one is a Thre... Lesson 14
Analyze the following examples, as usual. Review the directions given in Lesson 13:-- Beethoven, pianoforte sonatas: op. 10, No. 3, last movement. Op. 14, No. 2, last movement (called Scherzo). Op. 79, last movement (very concise). Op. 13... Lesson 15
Analyze the following examples, as usual. They represent chiefly the Third Rondo-form, but one example each of the First and Second Rondo-forms have been introduced, to stimulate the vigilance of the student. Review the directions given in Lesson ... Lesson 16
Analyze the following examples of the sonatine-form, in the usual exhaustive manner:-- Beethoven, pianoforte sonatas; op. 10, No. 1, Adagio. Op. 31, No. 2, Adagio. Mendelssohn, Andante cantabile in B-flat major (pianoforte). Mozart, pianof... 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... Part I
The statement of the principal idea; the presentation of the melodic and rhythmic contents of the leading thought, out of which the whole composition is to be developed. It is generally a period-form, at least, closing with a firm perfect cadence i... Part Ii
The departure (more or less emphatic) from this leading melodic statement. It is, for a time, probably an evident continuation and development of the melodic theme embodied in the First Part; but it does not end there; it exhibits a retrospective b... 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...