Theory Practice of Musical Form

JC-NRLF

T

II

E

THEORY AND PRACTICE OF

MUSICAL FORM: OX THE BASIS OF

LtJDWIG BtfSSLER'S MUSI KALI SC HE FORMENLEHRE."

FOR INSTRUCTION IN COMPOSITION BOTH

IN

PRIVATE AND IN CLASSES.

BY J.

H.

G.

CORNELL.

NEW YORK SCHIEMER. 1908

MUG!

Copyright,

1883,

by Q. Schirmeb.

6104

BERKELEY MUSIC LIBRARY UNIVERSITY OF CALIFORNIA

Electrotyped by Smith

& McDouqal,

8a

Beekman

Street,

New

York.

AT 110

PREFACE. FORM,

may

in art,

be comprehensively defined as the extern*,

shape and order in which artistic conceptions are presented, other words, as

—in

outward expression of the subject-matter or

the

many forms as art-works, although numbers of these individual forms may and Now, the summary actually do agree in certain essential features. of the principal features in which a number of art-works agree, is import of the art-work.

Accordingly, there

may

be as

called Art-form.

The

necessity of form to the special art of music

immediately obvious as in the case of the other arts

is,

;

perhaps, not so

yet

it is

certain

that without an adherence to the laws of form a coherent, intelligible

musical composition

is

as inconceivable as

—for example— a A

sculpture, or a building, without plan or design. (if

indeed music

it

chaos.

music

should be called) without a determinate tonality

or key-relationship, without harmonic,

symmetry— in

picture, a

piece of

a word, without form,

Hence the absolute

—

melodic, rhythmic order and is

nothing

else

than a tonal

necessity to the would-be musical

poser of the study of the laws of musical form,

—a

necessity

comfrom

not even the possession of genius, can dispense

which no natural gifts, " Form,'" says Eckermaxx (Beitrage zur Poesie) him.

—

sult of the efforts,

through thousands

of years, of the

—"

is

the re-

most excellent

masters, which every one cannot too soon appropriate to himself.

It

— PREFACE.

4

were a most insane delusion of misconceived originality,

if

each one

were to go about on his own account} fumbling for that which

Form

ready on hand in great perfection. imitated, otherwise progress in art

is

would be out

every one would have to begin anew,"

is

of the question,

And Goethe,

etc., etc.

speak-

ing of the strict requirements of the laws of art-form, says that

" precisely genius, natural

al-

handed down, learned,

talent, that is the first to

and that pays them the readiest obedience."

it is

understand them,

The study

of musical

form, however, of course presupposes the knowledge of the laws of

Harmony and

Counterpoint, as an indispensable preliminary condition;

which knowledge, accordingly,

work assumed

in this

is

as part of the

student's equipment.

In view of the fact that the means or organs by which musical tones are produced are either natural (the (musical instruments), music

instrumental

To one

;

or, 3.

is

mixed —

either e.,

i.

human

voice), or artificial

purely vocal

1.

at once vocal

;

or, 2.

purely

and instrumental.

or the other of these three grand divisions of musical forms

every musical composition must be assigned.

Further, each one of

these form-genera, as embracing compositions having either but a single movement, or

many

movements,

accordingly, either simple,

is,

or composite (cyclical). its

various species,

solo voice:

Eecitative, Air,

Again, each one of the three form-genera has as follow.

Arioso,

— A.

Vocal Forms.

Arietta,

Song, Scena,

etc.

Ballad, Canzone,

—

(b)

For

Quartet, Quintet, Sextet,

without

solo)

:

—

(a) For a

Canzonetta, Cavatina, Eomance,

several solo voices: Duet, Terzet (Trio),

etc.

— (c)

For chorus a cappella (with or

Chorus, Mass, Psalm, Madrigal, Motet, Glee,

B. Instrumental Forms, rious Dances and Marches

;

(a) In one

movement (simple)

:

etc.

the va-

Pianoforte pieces, such as Etude, Song

without words, Fantasia, Nocturne, etc; Orchestral Overture (Operaoverture, clical):

Concert-overture), etc.

Duo, Trio, Quatuor,

Serenata, Sonata,

Symphony,

mental Forms,

(a)

The

— (b)

Sextet, etc.

With many movements (Cy-

Septuor, etc.;

—C

Concerto, Suite,

Mixed Vocal and Instru-

various choral compositions with organ or

orchestral accompaniment, viz.

:

Mass, Litany.

Te Deum laudamus,

PBEFACE. Stabat

Mater,

retta,

Anthem, Hymn,

Service,

Oratorio, Passion, etc.

5

— (b)

Psalm,

Represented on the Stage:

Cantata,

Opera, Ope-

Melodrama, Vaudeville, etc

The forms

chiefly treated of in this book, as constituting the basis

compositions of IIayhn,

the greater part of the instrumental

of

Choral.

Mozart, Beethoven,

mann,

Weber, Schubert, Mendelssohn,

INSTRUMENTAL MUSIC.

Here music

(such as are imposed by the

cording to the laws of

—

is

great,

nature.

—

especially

and easy

Tbe present book is

is

text, etc.,

own

its

however, on vocal music

composers

><

nt-

and of most living composers, are called the forms of

etc..

free

from external restraints

in vocal

The

music), and rules ac-

influence of tbese forms, of

that

the

above-mentioned

of demonstration.

substantially a translation of

• Musikalische Formenlehre," a work

much

clearness and thoroughness, to which, in

have made considerable additions.

its

to be

Ludwig BusSLKR'a

recommended

for its

present English dress, I

Within the

last

few years

much

has undeniably been done in our country (thanks to the greater number

and conscientious teachers)

of thorough

solid musical education

;

the subject of musical form

more

in the direction of a

and among other

results, the

importance of

beginning to be appreciated, not only

is

by the professional student of music but also by the rapidly increasing class of

advanced amateurs desirous of an

The

masterpieces of composition.

intelligent

enjoyment

of the

present addition to the meagre ver-

nacular literature of the subject will therefore, as I hope and believe,

be welcomed by

The aim and

its

plan

all

of the is

interested in the cause of this beautiful art.

work

is,

in

one word, to teach musical construction,

perfectly simple.

smallest of the elementary ones,

emplified

;

the student

in the given form.

compositions

is

Each form, beginning with the very is

clearly explained

As repeatedly

— those of

and copiously ex-

then required to originate a musical thought

small extent

stated in the Exercises, the

— are to

ing the succeeding ones, of larger form

:

first

be utilized for constructthis

will facilitate class-

instruction in musical form, as but few pnpils are able to continually

furnish

and

new material

careless.

for these Exercises without

becoming

superficial

6

PREFACE.

For valuable matter gathered for this book from Grove's Dictionary, Stainer's "Composition," Arrey von Dojjher's " Musika-

Dr.

lisches Lexicon," F. J.

Widmann's

Kuxkel's

" Melodiebildungslehre,"

Herrmann Kuster's acknowledge my obligation?.

« Formenlehre,"

trage," etc., I hereby

J.

New

York, January,

1883.

H.

Benedict

" Populare Vor-

CORNELL.

CONTENTS. FIRST PART. THE ELEMENTS OF MUSICAL FORM. FIRST

DIVISION.

THE SECTION AND PHRASE. CHAPTER

I.— (Introductory.) PAGE 15

Meter and Rhythm

CHAPTER The

II.

Section

18

First Exercise

21

CHAPTER

III.

—

Double Section. Phrase Second Exercise

22

24

SECOND DIVISION.

THE PERIOD. CHAPTER

IV.

Simple, eight measure Period

27

Form

28

First

Third Exercise Second Form Third Exercise

(1)

29 30

(2)

30

Third Form Third Exercise

(3)

32

Fourth Form Third Exercise

(4)

31

32

34

CONTENTS.

8

CHAPTER

V. PAGE 34

Exceptional Period-forms Four-measure Periods

34

Periods of various unsymmetrical Construction Periods of three Phrases

35-36

37

THIRD DIVISION.

THE SMALL PRIMARY FORMS. CHAPTER

VI.

The small two-part Primary Form First Form

39 39 41

Fourth Exercise (1) Second Form (1) in Major Fourth Exercise (2) Second Form (2) in Minor Fourth Exercise (3) Third Form Fourth Exercise (4)

42-

42 45 47 48 50

CHAPTER The

(1)

50 50

Independent

Fifth Exercise (2)

As Part

(3)

51

(1)

52

of a Period

Fifth Exercise

53 53 55

(2)

Double Phrase

Fifth Exercise

(3)

CHAPTER The

VII.

— eight-measure— Phrase

large

VIII.

large (three-part) Period

•

CHAPTER The small

three-part

IX.

Primary Form

57 58

Sixth Exercise

FOURTH

55

DIVISION.

THE LARGE PRIMARY FORMS, CHAPTER The

large two part Primary

Seventh Exercise

Form

X. 62 63

CONTENTS.

CHAPTER The

large three-part Primary

9

XI.

PAGE 03

Form

Eighth Exercise

05

FIFTH DIVISION.

LICENSES OF CONSTRUCTION. CHAPTER

XII.

Extension

Of the small two-part Primary Form Ninth Exercise (1) (b Of the small three-part Primary Fonn Ninth Exercise (2) C Of the large two-part Primary Form Ninth Exercise (3) (d) Of the large three part Primary Form Ninth Exercise (4) (a)

i

i

CHAPTER

65 65 67 67 69

69 70 70 73

XIII.

Abbreviation

73

Of the large three-part Primary Form Tenth Exercise (1) (b) Of the small three-part Primary Form Tenth Exercise (2) (a)

CHAPTER

73 74

75 76

XIV.

Coincidence of the Final and the Initial Measure (Overlapping)

76

CHAPTER XV. Irregular Groupings of Measures

CHAPTER

78

XVI.

Licenses of Modulation

Eleventh Exercise

81

82 83

(1)

(2)

SIXTH DIVISION.

THE MOTIVE, AND ITS DEVELOPMENT. CHAPTER Nature of the Motive

XVII. 83

CONTENTS.

10

CHAPTER

XVIII. PAGB

Development of the Motive (a)

86

Repetition

86

Twelfth Exercise

88

(1)

(b) Alteration of Intervals

Twelfth Exercise (2) (C) Rhythmic Diminution ami Augmentation Twelfth Exercise (3)

CHAPTER Development of the Motive (d.)

89

90

XIX.

—(Continued)

91

Inversion

91

Thirteenth Exercise (e)

88 89

94 94

Contrapuntal Treatment

CHAPTER XX. Development of the Motive

—(Concluded)

96 96

(f ) Variation

Fourteenth Exercise (g)

97

(1)

Dismemberment and Enlargement

Fourteenth Exercise (h) The Passage Fourteenth Exercise

97 100

(2)

100 102

(3)

SECOND PART. APPLICATIONS OF THE PRIMARY FORM.

FIRST

DIVISION.

COMPOSITE PRIMARY FORM. CHAPTER The Theme with Variations.— The Study

(Etude)

CHAPTER The Dance-forms

proper

Fifteenth Exercise

XXI. 103

XXII. 105 108

CONTENTS.

CHAPTER

11

XXIII. PAGE 110

The March forms Sixteenth Exercise

121

CHAPTER XXIV. Idealized Dance-forms

121

Seventeenth Exercise

1

29

CHAPTER XXV. Special

Forms

130

Eighteenth Exercise

(1)

130

(2)

132

SECOND DIVISION.

THE LOWER RONDO-FORMS. CHAPTER XXVI. The Rondo form,

in General

133

CHAPTER The Rondo

of the First

XXVII.

Form

134

Nineteenth Exercise

136

CHAPTER The Rondo

of the Second

Twentieth Exercise.

XXVIII.

Form

140 143

„

CHAPTER XXIX. The Rondo

of the Third

Form

143

_

Twenty-first Exercise

147

CHAPTER XXX. Transitional

Forms

148

THIRD DIVISION. CHAPTER XXXI. The Vocal Song

,

149

CONTENTS.

12

THIRD PART.

THE SONATA-FORM. CHAPTER

XXXII. PAGE 157

Sonata and Sonata-form

THE SONATINA.

A.

CHAPTER

XXXIII. 158

First Part of the Sonatina-form Twenty-second Exercise

163

CHAPTER XXXIV. First Part of the Sonatina in

Minor

164

.

166

Twenty-third Exercise

CHAPTER XXXV. 166

Third Part of the Sonatina in Major Twenty-fourth Exercise

167

CHAPTER XXXVI. 168

Third Part of the Sonatina in Minor Twenty-fifth Exercise

168

c

=

CHAPTER XXXVII. 171

Omission of the Modulation in the First Part Twenty-sixth Exercise

CHAPTER

172

„

XXXVIII. 173

Second Part of the Sonatina-form Twenty-seventh Exercise

B.

173

THE SONATA. CHAPTER XXXIX.

Enlargement of the Principal Subject Twenty-eighth Exercise

CHAPTER The Intermediate Group Twenty-ninth Exercise

• •

•

178 184

XL. 191

196

CONTENTS.

CHAPTER

13

XLI. PAGE

The Secondary Subject (Song group)

196

Thirtieth Exercise

I'M

CHAPTEB

XLII.

The (losing Group

200

CHAPTEB

XLIII.

The Coda

202

CHAPTER

XLIV.

The Connecting Liuk

204 205

Thirty-first Exercise

CHAPTER XLV. Third Part of the Sonata-form Thirty-second Exercise

206

209

CHAPTER

XLVI.

Modulatory License

200

CHAPTER Modifications of Particular

Groups

in the

XLVII.

Third Part

CHAPTER

213

CHAPTER Work

in the

XLIX.

Development-portion

214 220

Thirty-third Exercise

CHAPTER The Sonata-form

as a

210

XLVIII.

The Development-portion

Thematic

,

L.

Whole

220

CHAPTER Modification of the Sonata-form in the Finale

LI.

229

CONTENTS.

14

FOUETH PART. THE HIGHER RONDO-FORMS. CHAPTER

LII.

PAGE 232

The Fourth Rondo-form Thirty-fourth Exercise

233

CHAPTER The

LIII.

Fifth Rondo-form

235 236

Thirty-fifth Exercise

CHAPTER

LIV.

The Slow Tempo

239 247

Thirty-sixth Exercise

CHAPTER

LV.

The Composite Large Sonata

247

Thirty -seventh Exercise

250

CHAPTER

LVI.

Other Applications of the Instrumental Forms

251

APPENDIX. THE STROPHE

254

INDEX

257

—

FIRST PART. THE ELEMENTS OF MUSICAL FORM.

FIRST DIVISION. THE SECTION AND PHRASE.

CHAPTER

(Introductory.)

I.

METER. RHYTHM. 1.

Meter,

in music, is the

grouping of two, three or more tones,

as time-units, into a whole, or time-integer, called Measure, the first

part of which

— the

—

— has

an accent, the second part Arsis either no accent or a weak one. Thus, the grouping, e.g., of four Thesis

quarter-notes into a measure gives the meter whose signature

the principal accent being on the ary) accent on

the third

:

A

|

first

j

quarter-note, the j

|

I.

weak

is

4-,

(second-

In a piece of music,

embracing a series of measures, the rule is that all measures have (1) number of time-units (metrical parts) of equal length ; and ("^) a uniform alternation of accent and non-accent ; i. e., the accent falls on the same metrical part in one measure as in another. The reguthe same

larly recurring

accent enables the ear to separate the measures one

from another

for the eye, they are separated by

;

means of the

vertical

line, called bar.

2.

Ehythm

has regard to the motion of tones on the basis

oi

metrical division and comprises (1) the combination of tones of equal or of unequal duration (represented by the various kinds of musical notes) into manifold small time-figures, forming distinct groups (in this sense every germinal musical

thought

— or,

technically speaking,

Motive, consisting of a few notes, or of notes and rests, and

more

ol

——

——

—

THE ELEMENTS OF MUSICAL FORM.

1G

sharply outlined by means of a caesura,* is a rhythm) ; (2) the comPeriods, etc., bination of these smaller rhythms into larger forms

less

—

in which larger sense the word rhythm expresses the grouping of

measures.

3. For the sake of convenient reference, rhythms are designated according to the number of measures they occupy. Thus we have the owe-measure rhythm, or Moistometee the rhythm of two measures ;

Dimeter; of three measures Trimeter; of four measures Tetrameter of five measures Pentameter, etc. The measures are of course counted from bar to bar, when the rhythm begins (whether ;

with a note or a rest) at the very beginning of the measure j otherwise the ear counts the measure from the first tone to the completion of the value of the measure (this is indicated in many of our illustrations by the bracket

rhythm

In the latter case the

I).

I

on the Anacrusis,!

of

which our

illustrations afford

said to begin

is

many

examples.

* The Caesura, or point of division, marks the rhythmical end-point of both the As the caesura is not always the final note

larger and smaller parts of a melody.

of a part of a melody, it should be distinguished from the " Section " and " Phrase," terms which indicate the small portions of a melody with regard to their melodic end-points. The caesura always falls on an accented metrical part. "Up-beat" f A Greek word borrowed from poetry and suggested instead of (from the German " Auftakt "). The Anacrusis is essentially the beginning on a

Hence, in duple, quadruple and triple meter, assuming that the metrical parts are quarters, and overlooking for the present the metrical members (divisions of the quarters into eighths, sixteenths, etc.), the fol-

non-accent or a weak accent.

lowing anacruses are possible "

A

I

I

; I

b)

(1)

:

; I

|

* I

with secondary accent

Moreover

members

(to

speak

in -f- only one

4

now

|

Q |

;

(3) in

a

I

two

-?-

4

(2)

by members of the

by members of the

thesis:

£

The

application

etc.),

and

to

to triple

three, viz: a)

:

a)

,*

A

\f

f

;

b) f

f

1*1 f

I

the accented metrical parts afford

Here are some examples

anacruses, thus greatly increasing their number.

(1)

4

of the smaller divisions of the measure), the unaccented

—not only of the unaccented but also of

of anacruses afforded

-£-

;(2)in

|

c) taking as anacrusis the third quarter,

and

A

:

J

00

:

A

still

smaller

' I

arsis

f

1*

1*

I

===i' i=i'

members

and quadruple meter

:

(e.

offers

g.,

no

\

H I

* \

*=*

^_^

difficulty.

in

I

:

I

S==f

~9

f u|

l

^

I

fill

Here follow a few

17

HIIYTIIMS.

4. The Monometer sometimes occurs diate repetition, as in the following

rhythmical unit,

as

however, generally combined with

is,

either (a) preceding

monometers

it,

another

— larger— rhythm,

as in the following example, in which the two

rhythm (dimeter)

are followed by a two-measure

Scherzo.

2.

Eg

following

;

Beethoven.

^S

fcEi

or, (b)

imme-

Beetiiovkn.

Adagio.

it

in

example:*

it,

as

——

-E^P

&

*

-J

*

*1'

" I

etc.

:

:p=±

or, finally (c) inserted

w

£^ Si

between two larger rhythms, as:

Allegro

.*_ rn^-^^M

S|^£EEga=3

i&=E§^s

=1=

L

J

n 5Pe£*£JE&=3 Ji

examples of anacruses

I

*

The

in

L

Beethoven.

^^^E

compound meter, say

-5

o

:

J I

ninnnnimns \*\fnn*\ I

V

quotations are given mostly in a melodic abridgment, for saving room.

THE ELEMENTS OF MUSICAL FORM.

18

5. The monometer consists generally of but one tone-figure. in Fig.

* 'J f •

y

,n

Fig.

measures

1,

f

3,

*j

;

2,

1,

in Fig. 2,

measures 2-4,

trary, are generally

Thus, rhythmic figure

we have

this principal

measures

1, 2,

the figure

The

larger rhythms, on the con-

P

J

f

\

:

f'iV ii

'(C

i

tetrameter

P

P

:

i

l

l

\

p i

therefore a

is

f f f •

composed of many, for the most part

tone-figures, as for instance in Fig. 4, measures 1-4

this

'

:

P i

p p*

u

composite

{

\

p p u

I

•

)'

different,

;

p i

>' *

rhythm, comprising four

different tone-figures.

6. The most common constituent of melody is the rhythm of two measures dimeter, which we shall therefore assume as the startingpoint of formal construction.

—

CHAPTER

II.

SECTION. To render

7.

it

the meter of a musical thought intelligible to the ear y

thought exceed the limit of one measure. For, only by the recurrence of the same elements of the meter (the

requisite that this

it is is

same metrical parts)

in the second measure, that the

meter can be

recognized by the hearing. S. A tone-succession which, extending beyond the limits of one measure, renders the meter recognizable by the ear, is called in general a Phrase, specifically a Section, when its usual extent is that of

two measures.

The

section, in this sense, constitutes the

fundamental

instrumental forms, collectively, so that the greater part of the compositions in these forms can easily be divided

element of our

up

classical

into sections.

9. fills

We

distinguish three kinds of sections, viz

—with tones —the space of two measures,

:

(a) that

which quite

as:

Be ethove n. a.

Beethoven.

b.

" |

"i

— Till:

TIUN.

SK(

19 Mozart.

d.

c.

mimmmm^mM

-±=?±=3

MOZABT.

Il/TDN.

%fr^TVtT^kf&-^m

It

r (b) that which does not fill out the second measure with tones, but either

supplements

it

with reds

as,

;

Beethoven.

^^m

0—0

-#— -0—'I

9

T \-0

6.

* * *_fc_f_+_^. = ^e XT^^4J4-\ ft*! :

Beethoven.

or, leaves

thought;

^

—r

—r

rr

the remainder of

Beethoven.

c.

it

-*

the introduction of a

free, for

new

as,

Beethoven.

if

7-

B fcr,

i

f

J

New f

f

jr^Gtt

Section. p

I

p

p-

—p

f

p m

.=.

1

p—

4Z l^ te=fet .

Mozart. b.

if:

I

Haydn.

—

.

— —

i

THE ELEMENTS OF MUSICAL FOKM.

20 (c) that

which leads over ai

*

3.

Beethoven.

*

*- *•

-^rw— #— #— —H !

wh at follows

into

Y&-.

(the third measure); as, Beethoven.

b.

wm^^&^

'-p-

i

Mozart.

C. Adagio.

)-4~

s-0 +0

-*

10. Many

T^ff^

^f-g^=

CS^ "^

sections are

thought (monometer)

;

Haydn.

d.

L lrr

1

r

1

•

ffl

:

r^X-

& — 0-*-

I

formed by the repetition of a one-measure

as,

Beethoven.

a.

Schumann.

b.

.9.

T+-r=.

^$

-*

Chopin.

c.

OT-J-,

:lQ+=5.

*=•-

The ples

repetition need not, however, be as exact as in the above exam;

it

may embrace

variations;

only the essential rhythm, while admitting tonal

as,

Beethoven.

a.

b.

Orate.

MOZAKT.

Beethoven.

— ^^^i ^jfe^gj^ ^si^ -U

-i--H

CoDtrary Motion.

Haydn.

h^

-^4-^

= —^-l-J-j-H^ff 1

* J

In referring, when desirable, pressed by the metrical cipher

11. It

may

L

to this construction, it

will

be ex-

2x1.

be observed here, that there will occasionally bp found

—

THE

21

SECTION'.

portions of the measure, the section,

etc.,

consisting mostly

of*

figures

not strictly belonging to the essentia] rhythm, but merely serving to connect two rhythms, which liguivs, or (as tiny sometimes arc) single notes,

may

be called

in the following

Adagio,

a.

1 1

•

MELODIC Co.\.un< tions.

These arc indicated

examples by brackets:

o

ej=£££f£p£ngpi

ffi

Beethoven.

A dagio.

b.

etc..

^"**

*J

~"

C.

' '

etc.

*^

" i

Beethoven.

^**

i

^

Adagio.

m

-#-.-#•

Beethoven.

—

«\5

r-1—

=r FS UlT? 11 r ±±:3 f P S '.-rWS

FIRST EXERCISE. Compose

many

sections of all the three hinds, especially of the

These sections should be arranged with complete harmonization

first.

for the piano

(some, at option, for string quartet, organ, as also for voices), the best ones to be

view to future use, numbered. The principal tempi Here follow three examples from Beethoven, one of each kind

selected, and, with a

indicated.

to

be

:

Models. a.

Beethoven.

Presto.

b.

Allegro

roti brio.

3=3 ±f-

m— 4

1

1—4-L »— ?

*

L ^-r

ffl

m -0-l-0 L #

1

12.

T — + -_

—.

—

——

—

J=tz m

*

rr

»

J

:

|

THE ELEMENTS OF MUSICAL FORM.

22 Adagio

C.

grazioso.

3^

e

r^^^EjgjgBj

CHAPTER

III.

DOUBLE SECTION. 12. The mere

repetition of a Section (dimeter) does not constitute

a h-measure phrase (tetrameter); indicated by the cipher 2 x 2.

it

S.

Among

-L-i

1

simply a Double-Section,

is

E§ L -L_J_^U J E=£E3E — 0-

13.

PHRASE.

±^=J4 -L—

these repetitions are included

marked

2x1

t=&

Eg

-L—

— as in the case of

the con-

Paragraph 10), such variations but even here there must as are of a tonal (not rhythmical) nature be a perceptible similarity, in spite of the variation, as in the following examples struction

(see

Chap.

II,

;

a.

2

14. .-

i

a

—

b.

5-*-

Even rhythmical

-F—

=L-J

*

=gE

fl

Beethoven.

EE3= IqEfe #

=€—z^rrq— a: J- —

_

—

* -i-w—

I

I

1-

-* -j

variations are admissible, if confined to subordinate

details, as is the case a

—

l-P--

with embellishments, figurations, etc. +

Beethoven.

,—i!2

_ £:

15.

9 =! :

ri

DOUBLE SECTION AND

23

IMIKA.SE.

BiBTuuvnr. Allegro.

b.

^^St£

||

(The + in the above two examples calls attention to the Blight rhythmical changes introduced in the repetition, in Ex. a, by the insertion of a changing-note, in b, by the omission of the anacrusis.)

13.

A

thought foiming a section sometimes occurs four Su< h a construction, embracing eight For au called Quadruple Section, and marked 4 x 'I.

musical

times in immediate succession.

measures,

example

is

see Fig.

2C>'3.

Every extension of a musical thought to four measures, other than any such extension already noticed, constitutes the Phrase, or 1-t.

Tetrameter.

This

too, like the section, is either (a) filled out, or (b)

disjunct, or (c) connective,

—each of these terms

referring to the con-

struction of the second constituent section.

Filled out

(a)

Beethoven.

:

^Seb^I m&^3g ^±sm 2x1

..

b.

=

(b)

Disjunct *-£•

+ a quarter new thought.)

(At for a

Mozart.

:

fS>

:

'f—0- :=t

a=zs2z:

note of the measure remains free, serving as a starting-point

(c)

Connective

:

Beethoven.

-*Ti-

18.

r-ta=g

mmm^m

p=gftaE

THE ELEMENTS OF MUSICAL FORM.

24

SECOND EXERCISE. Compose very many Jf-measure phrases, (1) by completing the numsections composed for the first exercise, each one in a different

bered

manner ; and (2)

new ones. Models.

a.

Allegro.

Beethoven.

19-

b. Adagio rrwltoespr.

C.

Allegro.

--4J*=T-

15. The form of the phrase just considered, is perhaps the commonest, yet it is not the only one. The truth is that the structure of the phrase does not absolutely depend on the number of four measures, for there are phrases of as few as two measures (these occur chiefly in

the compound meters) and as many as ten. The phrase is essentially an element of melody embracing two (at the least) or more measures terminated by a cadence of some kind, and sensibly forming a separate group by itself.

DOUBLE SECTION AND PHRASE. Remark.

— The doctrine

i

Tonic

'1'rtinl

f

The Cadence,

cinctly staled.

[f this

Triad

is

the harmonic dost, or Cadence,

tone of the

final

The authentic

chord

is

may here

be suc-

whose final harmony is the immediately preceded by the dominant harmony, we

strictly so-called, is thai

have tne authentic tonic cadence; tonic half-cadence.

25

if

by the subdominant, the plugal cadence, or

tonic cadence

precisely the /»»»• //VY,

in either of the latter cases the cadence

perfect,

ii.

,

,

not

it>

when

tin'

Third dot

uppermost its

Fifth

;

Another kind of cadence, on the dominant harmony, gener-

imperfect.

is

improperly so called, consists of a point of rest by the tonic Triad. The expression halfcadena when the word "tonic" is not prefixed) designates this point of rest on the dominant, indicated in

ally preceded

some of our illustrations by I V, or I V. The abbreviations " Per. Cad." (perfect cadence) and " Im. Cad." (imperfect cadence) refer of course to the authentic tonic cadence, whether the tonic of the key of the piece he meant, or the tonic for the time being, resulting from a modulation.

16. The phrase is simple, if consisting of but one rhythm, and comembracing more titan one rhythm. Every simple phrase is therefore a rhythm, but not every rhythm is a phrase, because in manv rhythms especially the smaller ones both the extent of at least two measures and the cadence are lacking. 17. At the close of most initial phrases of a melody, the ear expects a second phrase of analogous rhythmic structure, as complementary or responsive. This expectation is generally fulfilled, for, in fact, phrases are most frequently paired in this way, as we shall see farther on. Nevertheless, the phrase beginning a melody occasionally ends with a perfect authentic tonic cadence, thus forming a musical thought which is in so far satisfactory in itself as it does not so imperatively require a subsequent phrase as complementary. As a general rule, a phrase, or larger group, closing with a perfect authenposite, if

—

tic

ent

—

cadence on the tonic of the key.

and

complete in

itself,

is

regarded as absolutely independ-

and may be followed,

heterogeneous group, or by a repetition,

tit

pleasure, by a

etc.

18. Here follow some examples of phrases outside of the regular form of four measures. They are given for promoting the insight T

into the nature of the phrase, not for imitation at the present stage of

our study.

Two-Measure Phrase.

(Other examples of the 2 measure phrase, Fig. 33.)

— THE ELEMENTS OF MUSICAL FORM.

26

Five-Measure Phrase.

CT TO

!TTS-*T

T

^^g^^ H

1

H

!

i

y

etc.

TCalltwoda.

(3+2)

r

"i

gfe^Ep^gEEEg

*-'-0

—-^g

Schubert.

F.

P^^ CT^ -

&E

21,

(2-"-8)

Allegretto.

a.

1

I

V

Six-Measure Phrase. a.

22.

Allegro motto.

fe^fpip^^^gi^

hit

Beethoven.

r

b.

r

v

i

-3

Adagio.

|

^^«__ -jy

Per.

c.

i

Cow »wfo.

Haydn.

etc.

Cad on Domina/.f.

Mendelssohn

(Simple.)

??=«=Fzz=zr—

II

t==

:t=£=:'

Pf „

Tonic half-cadence.

Seven-Measure Phrase. .4ssa£ vivace.

(5x1 + 2)

s==>^=r

23.

^=5=-^

BEET1* /VEN.

-0—^—0.1-*-

?—J— *-?-#---*-T ^=d=J=fc

feE _t^ iz:

x_£_Z—

:

I

the simple, eight-measure period.

27

Ten-Measure Phrase. 24.

Beethoven.

^M^^?=g^^ Remakk. — The spoken of in Par.

last

17.

example,

The

Fiir- '24.

Qluetratea the independent tonic phrase

eight-Tneasun phrase will be considered later.

SECOND DIVISION. THE PERIOD.

CHAPTER

IV.

THE SIMPLE, EIGHT-MEASURE PERIOD. 19. The Period is a tone-form outlined and organized in a certain rhythmic, melodic and harmonic order, constituting in itself a little. piece of music, or forming in conjunction with other periods a member of a larger composition. special

We

are speaking of the period with

reference to the free forms of instrumental music, as distin-

guished from vocal music, in which latter

its

laws are more or less

conditionated by the text. 2().

The

period, in

two four-measure second Antithesis.

typical

it^

pi/rases, the first

This

and most usual form, being generally called

the simple period.

is

It closes

consists of Thesis, the

mostly with

a tonic cadence ; a different close, as for instance in the key of the

or— in minor—in

dominant,

the parallel major key, of course presup-

poses either a repetition of the period

itself,

closing this time in 'he

tonic, or the addition of other periods.

21. As practice tial,

is

to

the

tonal contents of the period, the general rule and

that of similarity in the two phrases.

however, as the Antithesis often .-hows

from that

-of

the Thesis.

What

is

a

This

is

not essen-

construction differing

generally essential

is.

that there

C

THE ELEMENTS OF MUSICAL FORM.

28

should be a certain contrast between the two phrases, whereby the may appear as complementary or responsive to the first (see

second one Par. 1?).

This

22. The

is

usually effected by the harmonic cadence.

repetition, without material alteration, of a jj/wase, con-

Double-Phrase, marked, in metrical cipher, 2x4. the repeated phrase contains certain changes whereby

stitutes simply a

23. But it is

if

harmonically contrasted with the

are correlated as Thesis

This correlation phrases

is

Hence

close.

and

first

Antithesis,

one, so that the two phrases

we have the Period.

based on the different ways in which the two

result

four

different forms.

FIRST FORM.

24. The Thesis

closes with a half-cadence, the Antithesis with

a

perfect authentic cadence in the tonic.

v

i

J=Ft ~*~jg-

*

*

3^5

*

#—L^

,

*

-0

Vr

'

0—

—

Thesis

Beethoven. Per. Cad.

-0

—

^J

>—*

Antithesis.

(Minor.)

n

—

0-

-?-*-?-

72—C

^

Thesis.

Mozart. Per. Cad.

#

.

THE

SIMl'LK,

E1QHT-MEA8UEB PERIOD.

THIRD EXERCISE

20

(1).

Compose many eight-measure Periods of the first form, some new

%

others extensions of former exercises.

Models. a.

U

Prestissimo.

*

26.

*

"*

£}*"

s

p^^gg s=S

:±

»-#—£-«

»r

il

l

ft*

"*

ir Ct'

*

3*—

PS

MF—rS=H: ** *•

•

!

iis

"*

ft"*"

i- T

—

i

—— — I

:

t=l 3=

i

i-r

If

i^gi s

S

:d?

Beethoven.

*—

tK

fi^^Elg

§lfc*=s=£=is=r=£

-Psco Allegretto e grasioso.

b.

^SipEEEEE^^=^p§igpi| p

—

s I

^EJEE^zi==f

9

.

THE ELEMENTS OF MUSICAL FORM.

30

-*

— :^

*-*-*

2rfe

—p-

S3

:p:

-!—r— Beethoven.

^^l^ifeil — T

*.

#.

SECOND FORM. 25. The Thesis

*—

•^



—

—d

~1 ^ri

J

——f-^-H l~d —

==

I—

jtr

-

iri

'

ft

*

l

*

^ g —Tf-^=% 1

|

|

***

•J I

-#•*

-0-

Beethoven.

I

I

Periods of Three Phrases.

29. Periods

of three phrases are often found,

having of course

for

the most part twelve measures, sometimes more, sometimes fewer.

Such

a period

is

not unfrequently composed of a Thesis and a double

Thesis and an Antithesis.

Antithesis, or vice versa, of a Double

In

other cases the second phrase does not form part of the Thesis or of the Antithesis, but appears simply as middle phrase. a.

39.

12

Measures (3x4).

*

.3 f ?\r-*-? ^j4H-r-r-| .

i

b

.

_

i

Mnuetto.

12

^ i

Measures

(3 * 4).

Mozart

9*

\~"^ —i—

•5-'

K Beethoven.

-£*-•

Jj-^V

3r=

—

J

L

L#ir/=#:

Sg

THE ELEMENTS OF MUSICAL FORM.

38 C.

12

Measures

(3 x 4).

German

d.

!-/£* —"

11

Measures

Folk-song.

+ 4 + 4).

(3

—iv~J—i— — -*-#-r-#i»-*"*-*H I

»---»

7

h hj—|— h

-»-»

JL German

Folk-song.

W^T*^^^

+1

—'—

'

Cod

(The above melody, Fig. 39 d, really ends on the note marked +, what follows a repetition, as it were a Coda.)

is virtually

e,

~W ^~

13 Measures

(4+2 + 2 + 5).

a—g—g—#—

g~ n

i

f-f—0

—— g

* -f«-.-*— d-«— »—j-

R^^F

III

g^B^^j^^E^^Egl^^^Ep^ Nageli.

30. The young composer who musical forms, carefully notice

will, all

here applies to the study of the

over and above the working out of his exercises, the forms which he meets with in his daily musical

always explaining them to himself according to the doctrine of form. It may also be assumed that he carries in his memory a

life,

treasure of classical music, from which he can draw models for every

THE SMALL TWO-PART PRIMARY FORM.

39

Every species of music in abundant material for this, not only instrumental but also vocal music, opera and oratorio. form, without having

to

consult scores.

which our masters have composed,

affords

THIRD DIVISION. THE SMALL PEIMARY FORMS.

CHAPTER

VI.

THE SMALL TWO-PART PRIMARY FORM. 31. The mere not give

rise to a

repetition of a period, even with modifications, does But the union of two periods so conhigher form.

structed that one constitutes a Thesis, the other

the

Two-part Primary Form.

This

is

its

Antithesis, affords

the simplest of

musical

all

forms after the period, being almost synonymous with '-'tune," " melIn this form were cast the first beginnings of melody, espeody.'' cially the typical folk-song, called by the Germans " Yolks-lied," from which circumstance some musical theorists of that nationality have called the form " Lied-form," the English equivalent of which is

But

" song-form."

as

form embraces

this

a

great

many

different

Dances and Marches, the the name primary form has been

species of music-pieces, such as the various

Theme with

variations, etc., etc.,

suggested* as more appropriate to

primary form

is

it.

The

essential principle of the

the presentation of one musical thought (or of one

principal thought), followed by another, contrasting with

it,

then

returning to the original to conclude.

32.

A

general rule for the structure of the two periods

the Thesis of the second one tithesis (of the

the

is

formed

of

is,

that

new matter, whilst the An-

same period) exactly corresponds

to the Antithesis of

first.

FIRST FORM.

33. The

1st period is precisely of the

24 and exemplified in Figs. 25, 26. * cians.

By

a writer (Mr. C. H.

His

article,

IT.

under the

kind described

in

paragraph

The periods composed

for the

Parry) in Grove's Dictionary of Music and Musi" Lied-form," is well worth reading.

title

—

c

THE ELEMENTS OF MUSICAL FORM.

40

Third Exercise

(1),

page 29, should here be

In the 2d period,

utilized.

the Thesis, whose matter more or less differs from that of the 1st period, closes with the Half-cade nee, and, exceptionally, with one of the cadences mentioned in Chapter IV, paragraphs 2b, 26.

Antithesis

exactly corresponds to that of the 1st period.

First Period. Thesis.

40. »

ff

0—i-g

e

1

s_L*_-_ #

1

—&—

Antithesis.

:fc=i= *

•- 1 -,

*

*

M

,

—J-«-.—g

^

-1

Skcond Period. Thesis.

See

* i *

J

i

+3—**

*

iBeethoven.

Antithesis.

feEj^^

-*

*

z n_j-4-j-J=rt—rt-

First Period. b.

^2.

+.

felrjj^H^^^^^^^^ 0-

+—

-

—

-•—

1

11

*-

*

r Pii

* r

P

-

n

s-£=m^\ Second Period.

H

2-

tz

—

^ 1

i

^2.

0-

F

ffi Mozart.

j^##

^^mM.

'

r

THE SMALL TWO-TAUT TIMMAKY FORM.

FOURTH EXERCISE

41

(1).

Compose, in accordance with the foregoing, very

many

small two-

part primary forms, partly from Vie periods of the preceding exercise, partly from new material.

Model. Adagio.

41.

dolce.

p

mt^

=•-=¥=£

1 1st Period.

T^Vniaia Thesis

— lt- +-*-\-*

i^S=^-#^

•

F |

Antithesis. i

9

—

j

—r—

i

*

.

3=1-

:

,«s»

*

d

.

A m m

—— I

I-

2d Period. I

^ i P

^

¥ftf Tr»sf

f -*

^W—Z(SL=TZ--

SV5

,

»

h*

*

-l-

— •— -r *+L4

j*'**-

&+0-

——

t

THE ELEMENTS OF MUSICAL FOKM.

42

— 9 — 5M 9-

-\

—

\-4--A

*-t—«==^

——

i

i*W *e

Remark, is

merely

as to Fig. 41.

.similar

—«U-3—

fe^

ft

±££i

y-

:

Beethoven.

Here, as in

many

cases, the Antithesis of the

2d period

— not strictly corresponding—to that of the 1st period.

In a manner similar to the above, Beethoven works up the period (poco given in Fig. 26 b, into a piece in two-part primary form, in his Sonata,

allegretto)

Op.

7, last

movement.

The Rondos

in the

two

little

Sonatas, Op. 49, also begin in

this form.

SECOND FORM. IN THE MAJOK MODE.

(1)

34. The

1st period closes

with an authentic cadence in the key of The 2d period is constructed

the dominant, implying a modulation. as in the first form,

and

Occasionally, the 1st

closes in the tonic.

period closes with an authentic cadence in the (minor) key of the

Mediant

(for instance, in e-minor, if the

major key be

FOURTH EXERCISE

C, etc.

).

(2).

Compose small pieces in major, in the second two-part primary form.

Models. Andante

1st Period.

k-->-

h-t-f42.

V

Thesis.

fXX=ML :zt=t=

b=Lj

—•

«

—

THE SMALL TWO-PART

^

+.+ +

PltlMAK'.

FORK.

*-

+-

-^

IlU.

13

Cad.

«-'^— «:

#

te gfe^aa ?? ^:

Antithesis.

l'*-«

-0-'-0 #-*-#

—

—»-

S33: -•

:fc=-

-

rrT —*— E£3E=

3»

«• '5*

—

Perf. auth.

'5*

0-

.

r^J

Cadence

in the

'J

m

ji^^

Dom.

^=5=3=

—*-

tda

2d Period.

Thesis.

rg

1»-

-«•»

— —* i

—J ^•0-

-#-'-»

— »-

*- -

A'-0-

--.— •

—

3=

-.-r^

£*

^^g=3=:

-J

L

—

—

I

l

THE ELEMENTS OE MUSICAL 10UM.

44

Antithesis.

9

^1

B

:

-1

1

1

i

<

fcfe -•*"-*•-**-

*•*

-»*:

U

»_ _»

1

Beethoven.

9

=^1 5^Eejj

: S

b.

Andantino.

i

—

t'ittis— *+-* -It-j

0-

43.

1

1

H

1

r

S—\* rJ ^*-

—tH — m — -^— y— ~is—

r

i

-r-H h 4—w™^ —

1

i

-J

i

1

-»i

|

«JtJ^— 1

y- « — -I

.

-H-j *—1-*

*_-____,

1

*

r

Cpzj—F

r

^—

-J

r J—B-h*

C "p

—

1

C5^-*-

tf:

!—^— »r ^ +

^—rr-r=^r-F—r

I

\-g

HW r

-4—*-

1

r

-j^n

i

i

e^iHt -X—r-»— ^H-b— ^3-1 -r b-J^h-^- J-*- J-r-f- J *

—

PC

f

T C

—

Cadence

I

*?

I

^f=

r

|

jt-i-?-J-*-l--?

4.)

the K :

V

First Period. Allegretto.

-

44 b.

— — -«+-«,——*--—f"^——d~JT:l — —1* — *5*ii 55=r*# — * — tj —'^ix* «~* l* — — cd * — *^-nH i*_«—»_*J£5_ # _J— — —€ —L*—*_«_J_# — — # _ #»#_L^_

Q'arj» -

.

—

*

r*.

-

._!_•

|

1

Antithesis.

Thesis.

Second Period. r?s

s

d m, •

I i

,

—

*-jit

1_|

-A-i-v*-

A_|

1

T_i«

1

—*— :#

i~J -I1_«

1

Hr

So, too, the

*

r

1 »_lgj

Thesis.

counterpoint to

Beethoven.

1— -J— j*-MiJ- r J

-I

»

—

,_1_#

1 1

1

Antithesis.

melody which immediately follows the above, as a it,

-3T

viz

:

5* .^=t^^X^_pt^_ #_ # _d>t_# _#=t^^ =t

#-**

iPPPPiiP

FOURTH EXEECTSE

(3).

Compose pieces in two-part primary form, in minor.

3G. The

repetition of a period, even with variations, yet without

the contrast necessary for correlating the

two periods as Thesis and double-period,

Antithesis, as just illustrated, constitutes simply a

not a primary form.

Av

Thus, for example, the Scherzo of Beethoven's

Sonata, Op. 26, begins with an 8-measure period, which

diately repeated with rhythmical variations.

is

imme-

:

THE ELEMENTS OF MUSICAL FORM.

48

-I— Ffe^F=^^^=F?Ei=E2— 3«=E^F^ I

I

ftr

fe4-

46

Such

repetitions often occur in cyclical compositions,

and should

be well distinguished from higher forms. The Allegretto of Beethoven's cti-minor Sonata, Op. 27, also shows a similar repetiti on, written out, varied

by

ties,

and rhythmically elaborated. t>.

Repeated thus

i2l^=^=Eg=|j5- fefeE

r

T"

*,

,*

-# T#

*

47.

te^fefe

V

THIRD FORM. 37.

It will be noticed

those in Figs. 46, 47 there cadences,

i. e.,

that in the case of is

a- repeated

period like

no harmonic correspondence of the

the cadence of the second period does not contrast this first one, for the simple reason that each period closes

period with the

The case often occurs, with one and the same (the tonic) cadence. however, of two connected periods almost exactly alike in which this harmonic correspondence of the cadences is found, whereby the two periods are made to correspond on the whole as Thesis and Antithesis, thus constituting a third two-part primary form. Examples of this are the two periods of the

Eondo

of

Beethoven's

2?|z-ma;jor Sonata,

Op. 22, given below as a model 38. In such periods the Thesis of one corresponds to that of the other, the Antithesis of one to that of the other, unlike the first and In this second forms, in which Antithesis corresponds to Thesis. third form, therefore, Thesis and Antithesis usually have fewer (Fig. 48).

—

t

^

Till:

Thesis.

Antith.

j st Period,

a

£d

b

a a

We may

—

Period, "

Jst -'d

ThesU.

Anttth.

a a

b. b.

Model.

w_ P - m 2 F-44 »-l^.48.

40

express the former relationship thus;

the present one thus :

1st Period.

r--»-T

^

SMALL TWO-P.VRT PRIMARY FORM.

common.

features in

*

*

-

5*-—

S=

•

*-

JT_ =t;—

Thesis.

z=± r4-

Ii)il.J_#— -»_ jr#•^

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-5-

—

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P Beethoven.

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etc.

:

THE ELEMENTS OF MUSICAL FORM.

50

Remark.— At the place marked + in the above example the amount of two measures (added in the original to the regular 8-measure form by a license to be explained later) has been purposely eliminated, in order that the example may serve as a model in the regular form. (See Fig. 67.)

FOURTH EXERCISE

(4).

Compose pieces in two-part primary form with the construction just and illustrated by the preceding model (Fig. 48).

explained,

CHAPTER

VII.

THE LARGE (EIGHT-MEASURE) PHRASE. 39. Two connected phrases

of different matter, yet without har-

—

—

monic and rhythmic correspondence, form not a period, but an 8-measure phrase. This construction may be regarded under three aspects. (1)

40. This kind

Independent.

of phrase is often independent; in other words, is

a musical thought forming a complete whole in

itself, as

closing with

the perfect tonic cadence (see Par. 17).

+&*&

Beethoven.

ipsgj^©^ w -•

Often the division into two parts is less obvious the phrase then seems to be simple rather than composite. For example ;

THE

50.^

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,V^

51

EIGHT-MEA8UBB PHBABE.

r-c

•;-c£.

|

x'y'.-:\ Beethoven.

Qui

^g^g=^ig^^i^ii^i

ii.

i

:

This construction may be considered the most perfect form of the mrase, and requires specially diligent practice.

FIFTH EXERCISE Compose

many

independent 8-measure phrases.

—

TL.T

Models.

Allegro.

fc j

(1).

ffifr-J

j

J

J

J

^

^r i/J 1

3

T

e==^

51a.

^farefcm^ — SO

f;

jdLjt

-•-#

ft

W^pii^ppi

;rJ^

* #

a

I

Beethoven.

$ #

^E i

e)_

^

=i=;

I

J

I""*

I

3i$;

r r

r

etc.

1

M

—

—

—

—

THE ELEMENTS OF MUSICAL FOKM.

52

Ht.

—s—&—*—

*

L

—

u^# -0-

-i*-

51b.

—

FvHFa-*g~

.>

§ii

-&-

1-

-0-

:

—Si—i—iE$B H z

i

—t —

t-

tr

—

1-

'

'

'

Vi/

Beethoven.

a tempo.

1—

1

—# — #— i?^:.-*-* -^-

ix-ts^-. -^-m

-0-

—

-+

1

S

r

—-**#— *#

—— I

I

^H 1

^==^

=

-4

(2)

^

As Part of a Period.

41. The 8-measure phrase may form part of a period, by taking For example

the place of a Thesis or an Antithesis.

:

Andante.

—^^"^-i— o^r^^n-i—

52.

IHPES

E5

1-vir =5 :

I

1

1

J

*^

M

'

_^_L

RF=P

4=8

^±*Z9Z9Z~JE3=J

^

mi Beethoven.

Per. Ton. Cad.

i

l«J

LI j

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=*¥

'

—

Yr.

'

f

fe3 * #^g^

1

f—V-

i

5

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P^-* iSg^^s £fc=? a.f F=-N-

rs

#

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M

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Till;

SMALL TIIKEE-PART PRIMARY FORM. Mozart. tr.

#*-«*

V 7 ^r*-

?

*^

-3?-'

^

-0-

^%pp 47. In most cases the large three-part period

is

regarded as a

three-part primary form in which the period-form of the Thesis

and and third parts) is lacking, and large phrases take the place of 8-measnre periods, which is almost invariably the case in

Antithesis

(first

the second part (middle group).

Examples

of this species will be

found

in the

exercises on the

three-part primary form.

CHAPTER

IX.

THE SMALL THREE-PART PRIMARY FORM. 48. The Three-part Primary Form

is

constructed by inter-

polating between the two divisions of the third two-part primary form

having the same dimensions. This added having for the most part, for the sake of variety, any one of the 8-measure phrase forms (Chap(see Par. 37, 38) a division

part

is

only exceptionally in period-form

,

ter VII).

49. The

three divisions of this primary form are severally

named,

according to their order,

First Part,

Second Part, Third Part. In

common

parlance, however, the second and third parts are classed Second Part, because they are, as such, frequently repeated, and stand in common between signs of repetition. The following is the scheme. together as

First Part.

50. Thesis

closes

with Half-cadence

;

or,

with the imperfect

—

— THE ELEMENTS OF MUSICAL FORM

58

authentic tonic cadence; or, with authentic

exceptionally the perfect

cadence in the key of the dominant.

Antithesis the dominant

; or, in the key of mediant.— (h) In minor: the normal key (minor) of the dominant ; or, in

in

closes (a) or, in

;

in the tonic; or, in

major

in

:

the tonic

the key (minor) of the

the parallel major key.

Third Part. 51. Thesis closes just as in the dominating still more. Antithesis closes in the tonic. Remark.

— The

first

first part,

and the third part

may

the Half-cadence pre-

therefore under certain circum-

stances be exactly alike in construction.

52. Between

two divisions the three-part primary form

these

interpolates a

Second Part, of the same dimensions, which usually closes with a Half-cadence, in order to introduce the third part. This second part may be constructed out of larity

new

between the

53. The

material,

first

all

the more so

and the third

application

of

instead of the period-form,

the

when

there

is

great simi-

part.

phrase-form (Chapter VII), not only in the second part (as

large

is feasible,

already stated), but also in each of the two other parts, at pleasure.

SIXTH EXEECISE. Corn-pose pieces in small three-part jwimary form, partly from former

exercises, partly of It will also

new

material.

be a very useful exercise to point out, in single one-voiced melo-

dies, all the features of the formal construction here indicated.

Models. a.

Allegro assai. First 3t Part. ran.

3=

fa t

58.

^0^

^— Antithesis.

-^— »

— •HI!

SMALL TIIKKL-I'AKT PKIMAUY FORM. Second

Part.

—#_£-*_CT-3__V

m

59

^3^3F£9:

:

-

f

L-

*t

—

*

'-

:3EE

Beethoven. -#

—1=

*f3.

m^m

s9

» -#

*?

.*

•^-y-

Abbreviated Antithesis.*

^

H

b.

Allegretto.

*-

-*-

?=^i

5=£

->-

First Part.

K

Period.

,

1

9i'£E

—

--'

JiJ !

I

^

"l

^g= ii^g r

* Here two measures are lacking, through abbreviation. See Chapter XIII. Nevertheless, the examlicense, however, should not yet he imitated here. ple was chosen on account of the clearness of the construction of the second part.

This

—

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—

»

»

THE ELEMENTS OF MUSICAL FORM.

60

-&—*1***-*-*i

3

-I

1

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4

k=.-jz=j=*=ir*—^

—*—

kj— —0

0-m

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^hj

Second Part.

^m^^^^^^m^^m Double Phrase.

g=l=b=EiEL_i

\- -i

l

+^gr

t=tv£=F=tP

Third Part.

ffi=Mli^^feE^=|E=^li=^^ |=i±=t£=tj: Period.

Beethoven.

C.

First Part.

Allegro.

=

^==

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4=

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#

#—

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Second Part, with similar matter.

SS a^ m^Tf^ff i-^f tr

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Third Part.

»

t—i^j-

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=j =^i:'g=t==^--

±

— — r-

Beethoven.

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h

1

iL-izi ill

First Part

*S»fe

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9 =*=? £=i=b=n :

n ^ iiL:

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THE SMALL THRLE-I'AHT PRIMARY POBM.

>;i

*=S

^x Second J/rea.

I

#_ f

pF

1 *'

#=

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r

Part.

Sato.

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lit*! j

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1

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i

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:

a-t^r*-^= * *

V ?^==i^Me^i T=t :

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THE ELEMENTS OF MUSICAL FORM.

62

^SB --0-

*- m

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zu

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Beethoven.

£# n+

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15—

—

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T

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FOURTH DIVISION. THE LAEGE PRIMARY FORMS. CHAPTER

X.

THE LARGE TWO-PART PRIMARY FORM. 54. Two 8-measure phrases combined form the 16-measure period two 16-measure periods the 3^-measure or Large Primary Form. 55. By repetition of the parts, whether they be repeated note for note, as indicated by the signs |: :||, or whether they be varied and written out, the number of measures is increased to 64. Such a 64-measure primary form is for example the Trio in -Z>J2-major of Beethoven's .F-major Sonata, Op. 10, No. 2. (Par. 41),

tei

ZBIZIIffi

'*=£%

3^

59. -0

r r The

t

variation, however,

second part,

is

r

*

f «c fcfE

limited here to the

first part,

whilst the

:

THE LARGE THREE- PAKT 1'RIMAKY FORM.

BpE

03

^

60.

is literal?//

The

repeated.

measures of the Trio do not

last six

In-long-

to the form, but constitute an independent introduction to the follow-

ing part, in /-minor

n

W

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