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 bent, and--when
thoroughly legitimate--its last few measures prepare for, and lead
into, the melodic member with which the piece began. Its form is
optional; but, as a rule, decisive cadence-impressions are avoided,
unless it be the composer's intention to close it with a perfect
cadence (upon any other than the principal tonic), and accomplish the
return to the beginning by means of a separate returning passage,
called the Re-transition.
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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... Phrase-addition
The phrase is the structural basis of all musical composition. By this is meant, not necessarily the single phrase, but the phrase in its collective sense. The phrase is, after all, only a unit; and the requirements of Variety cannot be wholly s... Preliminary Tones
It is a singularly effective and pregnant quality of the element of musical rhythm, that its operations are not bounded by the vertical bars which mark off the measures. That is to say, a rhythmic figure (and, in consequence, a melodic figure or mo... Relation To The Three-part Song-form
In a former chapter (XIII) the Three-Part form was defined as the type of perfect structural design, upon which every larger (or higher) form is based. Nowhere is the connection more striking, and the process of natural evolution out of this germ ... Repetition Of The Parts
The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimensions of his original design, resorts as usual to the most legitimate and natural means at his dis... Rhythm
This word signifies arrangement,--a principle applied, in music, to the distribution or arrangement of the tones according to their various time-values. The system of measurement (or metric system) furnishes tone material with all the details of di... Semicadence
Any deviation from the formula of the perfect cadence--either in the choice of some other than the tonic chord, or in the omission of the keynote in either (or both) of the outer parts--weakens the force of the interruption, and transforms the cade... Species Of Cadence
In text-books and musical dictionaries several varieties of the cadence are distinguished, but they are chiefly distinctions without any more than one essential point of difference, namely, difference in force or weight. It is therefore feasible to... Tempo
This refers to the degree of motion. The musical picture is not constant, but panoramic; we never hear a piece of music all at once, but as a panorama of successive sounds. Tempo refers to the rate of speed with which the scroll passes before our ... The Development Or Middle Division
The second division of the sonata-allegro form is devoted to a more or less extensive and elaborate manipulation and combination of such figures, motives, phrases or Parts of the Exposition as prove inviting and convenient for the purpose, or chall... The Double-period
A third method consists in expanding the period into a double-period (precisely as the phrase was lengthened into a double-phrase, or period), by avoiding a perfect cadence at the end of the second phrase, and adding another pair of phrases to balan... The Exposition
This first Division, the statement, compounded of two themes and a recurrence, is in itself a complete (though probably very concise) First Rondo-form; therefore, in order to confirm the intended design, at least one of its themes must contain two (... The Exposition
The presentation of the thematic factors, the statement or Exposition of the two themes and codetta, is made exactly as in the sonatine-form, though probably upon a broader scale. The Principal theme is usually a Two-Part Song-form, at least; often... The First Part
Part One may be designed as period, double-period, or phrase-group; sometimes, though very rarely, as single phrase, repeated. It ends, usually, with a strong perfect cadence on the tonic chord of the original key, or of some related key (that is, on... The First Rondo-form
This consists, then, of a Principal theme (generally Two-Part or Three-Part Song-form); a Subordinate theme in a different key (probably a smaller form); a recurrence of the Principal theme (usually more or less modified or elaborated); and a coda. ... The Five-part Form
The repetition of the Second and Third Parts together is sometimes subjected to changes that are almost radical in their nature, and therefore appear to modify the form itself. These important changes chiefly affect the Second Part, when it reappea...