The Parts
If we inquire into the means employed, in the larger
Part-forms, to effect the division of the whole into its broader Parts,
we find that the prime factors, here again, are Cadence and Melody.
The strongest sign of the consummation of a Part is a decisive perfect
cadence, resting, as usual, upon the tonic harmony of the chosen key;
a cadence sufficiently emphatic to interrupt the closer cohesion of the
phrases which, p
conclusion. Such a cadence, marking the end of the First Part, may be
verified in Mendelssohn's Songs Without Words, No. 23, measure 15; No.
3, measure 29 (at the double-bar,--a sign which frequently appears at
the termination of Part One); No. 20, measure 21; No. 27, measure 12;
No. 34, measure 10.
Another indication of the Part-form is a palpable change in melodic
character in passing from one Part into the next; sufficient to denote
a more striking new beginning than marks the announcement of a new
phrase only. The change, however, is as a rule not very marked; it
is sometimes, in fact, so slight as to be no more than simply palpable,
though scarcely definable on the page. For these divisions are, after
all, the several Parts of one and the same song-form, and, therefore,
any such radical change in melodic or rhythmic character, or in general
style, as would make each Part appear to be a wholly independent
musical idea (subject or theme), would be manifestly inconsistent.
Generally, both these factors (cadence and melody) unite to define the
end of one Part and the beginning of the next. Should either one be
feeble, or absent, the other factor will be all the more pronounced.
Thus, the cadence of Part One may be less decisive, if the change in
melodic character at the beginning of Part Two is well marked; this is
seen in No. 33, measure 12. The reverse--a strong cadence and but
little melodic change,--in No. 13, measure 20.
More
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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... The Melodic Figure
The smallest unit in musical composition is the single tone. The smallest cluster of successive tones (from two to four or five in number) that will convey a definite musical impression, as miniature musical idea, is called a Figure. Assuming the ... The Melodic Motive Or Phrase-member
This, as has already been stated, is a somewhat longer section, compounded of two or more figures. Being thus longer, the breaks or spaces between motives are generally more emphatic and recognizable than those between the figures, and therefore i... The Necessity Of Form In Music
So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence there, that a few general principles are submitted at the outset of our ... The Parts
If we inquire into the means employed, in the larger Part-forms, to effect the division of the whole into its broader Parts, we find that the prime factors, here again, are Cadence and Melody. The strongest sign of the consummation of a Part is a de... The Period
The Period-form is obtained by the addition of a second phrase to the first. It is therefore, in a sense, a double phrase; that is, it consists of two connected phrases, covering eight ordinary measures, or just double the number commonly assigned ... The Phrase
It is not altogether easy to give a precise definition of the phrase. Like so many of the factors which enter into the composition of this most abstract, ideal, and intangible of the arts, the phrase demands considerable latitude of treatment, and ... The Phrase-group
A second method consists in enlarging the period-form to three phrases, by the same process of addition which, as explained in the preceding chapter, transforms the single phrase into the double-phrase or period. In order to preserve the continuity... The Principal Song
The first division, called the principal song, is either a Two-Part or a Three-Part Song-form,--most commonly the latter. It is generally entirely complete in itself; the fact that another division is to be added, does not affect its character, form... The Principle Of Extension
The other cause of modified phrase-dimension is one of extreme importance, as touching upon the most vital process in musical composition, namely, that of phrase-development. Setting aside all critical discussion with reference to the question, W... The Recapitulation
This corresponds, theoretically, to the da capo in the Song with Trio, or to the variated recurrence of the Principal theme in the First Rondo-form. But it is more than either of these. The term Recapitulation is more comprehensive than recurrence ... The Recapitulation
This, the third Division, is, as usual, a review of the original presentation of the thematic material,--the recurrence of the Exposition. It is sometimes a nearly exact reproduction, excepting the necessary change of key in the Subordinate theme a... The Rondo-forms
The structural basis of the Rondo, and other larger or (as they are sometimes called) higher forms, is the Subject or Theme. The form and contents of this factor, the Theme, are so variable that a precise definition can scarcely be given. It is a ... The Second Part
Part Two, as intimated, is likely to begin with a more or less palpable change of melodic character,--by no means is this always the case. It may be designed, also, as period, double-period, or phrase-group, and is somewhat likely to be a little long... The Small And Large Phrases
If a cadence is inserted before it is properly due, it is almost certain to occur exactly half-way along the line toward the expected (regular) cadence,--that is, in the second measure. This is likely to be the case only when the tempo is so slow, ... The Sonata-allegro Form
As distinguished from the sonatine-form, with its two Divisions, this larger species, based upon precisely the same structural idea, has three Divisions,--the Exposition, a middle Division called the Development (growing out of the brief interlude o... The Sonatine Form
In the Sonatine-form, or the smaller variety of the sonata-allegro designs, this Exposition (or first Division) is followed at once,--or after a few measures of interlude, or re-transitional material,--by a Recapitulation of the Division, as was see... The Song-form Or The Part-form
Almost every musical composition of average (brief) dimensions, if designed with the serious purpose of imparting a clear formal impression, will admit of division into either two or three fairly distinct sections, or Parts, of approximately equal ... The Third Rondo Form
In this form of composition there are three digressions from the Principal theme. But, in order to avert the excess of variety, so imminent in a design of such length, the digressions are so planned that the third one corresponds to the first. Tha... The Trio Or Subordinate Song
The division which follows, as second song-form, was formerly called the Trio, and it has retained the name in the majority of examples of this form, although the old custom that gave rise to the term has long since been discontinued. A more accur... Time
Time is the same thing in music that it is everywhere else in nature. It is what passes while a piece of music is being played, sung, or read. It is like the area of the surface upon which the musical structure is to be erected, and which is measu... Unity And Variety
As much as opinions and beliefs may differ, among music critics, as to the necessity of Form in music, and the conditions of its existence, no reasonable objection can be taken to the hypothesis that Clearness and Attractiveness are the two vital r... T The Second Rondo Form
As described in the preceding chapter, the Second Rondo-form contains two digressions from the Principal theme, called respectively the first and second Subordinate themes. It bears the same relation to the Five-Part Song-form, that the First Rondo...