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3 192"022375921"

Cornell University Library

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in
text.

the United States on the use of the

http://www.archive.org/details/cu31924022375921

MUSICAL FORM.

MUSICAL FORM
A SYSTEMATIC COURSE
IN

THIRTY THREE EXERCISES

WITH NUMEROUS EXPLANATORY EXAMPLES, MODELS, EXERCISES AND QUOTATIONS FROM THE MASTER-WORKS INTERSPERSED THROUGHOUT THE TEXT. FOR USE IN COLLEGES,
PRIVATE TEACHING, AND FOR SELF -INSTRUCTION.
BY

LUDWIG BUSSLER.
TRANSLATED, WITH THE AUTHOR'S CONSENT, FROM THE SECOND
REVISED AND ENLARGED GERMAN EDITION
BY

N.

GANS-

CARL HABEL
PUBLISHER.
33,
14,

WILLIAMS & NORGATK

HENRIETTA STREET, COVENT GARDEN,

WILHELM STRASSE,

LONDON.
20,

BERLIN.
COPYRIGHT 1894 BY THE PUBLISHER.

south Frederick street,

EDINBURGH.
5

PREFACE.
The present branch
of the Science of Composition treats of

those forms, upon which are based most of the works of

Haydn, Mozart, Beethoven, Weber, Schubert, Mendelssohn,

Schumann and numerous

by reason of

others, besides the

majority of living composers.

Since their music,
its

not being subject to

outward

influences, evolves in conformity with its

own

laws,

it

follows that these forms

owe

their establishment to instrumental

music.
the

Hence the preference with which they are designated

of Instrumental Music".
Albeit, their influence

"Forms

upon

vocal music, especially upon that of the above

named

masters,

has been very great, which fact

strate.

it is

an easy matter to demon-

In contradistinction to the

contrapuntal forms,

they are

termed

free, since

they admit of every kind of tonal contexture,

and are neither

restricted to imitation, nor to the audible metre

of the older musical style, but

It

may

nevertheless include both.

follows from

this

that the

demands made upon the

essentially creative talent, in this province, are decidedly greater

than
in the foregoing studies,
skill

VI

and that many, who have advanced and success, may have recognized
Study of Form.
self-

thus far with tolerable

the limits
It just

of their abilities in the task of the

gift to

demands quite another

be able to proceed

dependently in the production of free formations, than to yield

to distinct directions with

more or

less aptitude.

The necessary
Therefore our

material can only be furnished by innate talent.

course
studies

in

composition

is

so

arranged,
in

that the

rudimentary

of

Harmony and Counterpoint

the Strict Style are

followed by Free Counterpoint, which has the power of gradu.

ally liberating

the shackles

of the

former,

and furnishes the

qualified with a fund of artistic material.

To
is

train

the

un-

qualified to

become composers,

however,

neither

mission

nor merit of the Study of Composition.

From what
that the style,

has been stated above,

to

it

furthermore follows,
belong, ranges on
old contrapuntal

which the forms

in point

a higher standpoint of view, than one, which, moreover, reason,

it it is

does

the

capable

of absorbing.

For

this

is

by no means inappropriate, that, as well as we

Schiller,
to

designate Lessing,

Goethe

our poetical

classics,

we Germans should be wont

in

term the three great masters

music of just that superior

classics,

style:

Haydn, Mozart, Beethoin their

ven, our musical

and admire
art.

works the

loftiest

productions of the musical

In

its

present (second) edition, this Text-Book of

Form
I

has

remained materially the same.

For several emendations,

am

indebted to Mons. 0. Reimann, "maitre de conferences a l'ecole


normale superieure" at Paris.
his
treatise:

VII

has referred to
etc".

He

my work

in

"Metres lyrique d'Horace

His other obser-

vations, cordially communicated to

me by

letter,

have been of

determinate influence particularly upon the new shape I have

given the subjects on

Long Period, Long

Bipartite Song-form,
All other

the Song, and the Fourth Part of the Sonata form.

emendations and additions are the product of

ity as

my

continued activ-

teacher and

critic.

LUDWIG BUSSLER.

TABLE OF CONTENTS.
Page

Preface
Introduction

V XV

PART

1.

The Elementary and Song-forms.

(A)

1.

The

Section.
.

The Bimeasure

or Phrase

First Exercise.

2. 3.

The Double Bimeasure The Short or Quadrimeasure

4
Section

....

Second Exercise.
(B)
4.

The Period.
8
8,

The Short
First

or Octomeasure Period

Form
Third Exercise.
I.

Second Form

10
II.

Third Exercise.
Third

Form

12
III.

Third Exercise,
Fourth Form
.

13
IV.

Third Exercise.

(C)
5.

The Short Song-forms.

Bipartite Song-form

The Short
First

15 15

Form

Page

Fourth Exercise.
Second Form,
(a) In

I.

Major Mode
II.
.

....
. .

18

Fourth Exercise.
(B) In

Minor Mode
III.

20

Fourth Exercise.

6.

The Long
Period
I.

or Octomeasure Section,

and the Long

24

Independent, Tonic

....
I.

24

Fifth Exercise.
II.

Antecedent and Consequent

...
II.

.27
29

Fifth Exercise.
III.

Double Section

Fifth Exercise.

7. 8.

III.

The Tripartite Period The Short Tripartite Song-form

31
.

33

Sixth Exercise.

(D)
9.

The Long Song-forms.

Bipartite Song-form

The Long

39

Seventh Exercise.
10.

The Long

Tripartite Song-form

40

(E) Licenses in Construction.

* 11.

Elongation

41

Ninth Exercise. Ninth Exercise.

I.

II.

Ninth Exercise.
12.

III.

Contraction

"

50

Tenth Exercise. I and II. Tenth Exercise. III.

13.

Concurrence of a Final with an

Irregular Measure-Groups
I.

Initial

Measure

53 55

14.

Trimeasure.

II.

Pentameasure.
57 60

15. 16.

Licenses in Modulation

Motive and Thematic

Work

XI

Paga

PART

II.

Song- forms Applied.

(A)
17. 18.

The Compound Song-form.

Etude.

Compound Song-form
Variation.

Prelude

....
...

64
65
66

19.

The Dance Forms proper

Polka Galop

68 69 69
'

Mazurka Waltz

.69
72
73

Eleventh Exercise.
20.

The March Forms Festal March Funeral March

Polonaise Contredanse, Quadrille
.

83
.
.

83

84

Twelfth Exercise.
21.

Idealized

Dance Forms

84

Minuet.
Scherzo.

Thirteenth Exercise.
22.
Special

Forms

.93

Fourteenth Exercise.
Fifteenth Exercise.

(B)
23. 24.

The Lower Rondo Forms.

.
.

Introduction

96
97

Rondo

of the First

Form

Sixteenth Exercise.
25.

Rondo

of the Second

Form

104

Seventeenth Exercise.
26.

Rondo

of the Third

Form

107

Eighteenth Exercise.
27.

Transitional

Forms

112


(C)
28.

XII

Page

The Song.
113

The Song

Nineteenth Exercise.

PART

III.

The Sonata Form.

29.

The Sonata and

(A)

the Sonata

Form

117

The

Sonatina.

30.

The

First Part of the Sonatina

Form

121

Twentieth Exercise.
31.
First Part of the Sonatina in

Minor Mode

126

32.

Twenty-First Exercise. Third Part of the Sonatina Form in Major Mode

129

Twenty-Second Exercise.
33.

Third Part of the Sonatina in Minor Mode

130

Twenty-Third Exercise.
34. 35.

Omission of the Modulation in First Part

134
135

The Second Part

of the Sonatina

Form

Twenty-Fourth Exercise.

(B)

The Sonata.

THE FIRST PART OF THE SONATA FORM.

36

Extension of the Chief Subject

(a)
(b)
(c)

140

By By By

Repetition, usually with

Appendix

140 142
144

Annexation
Period-construction
.

Twenty-Fifth Exercise.
37.

The Mediating Episode

(a)

155
contents of Chief

Borrowed from thematic

Subject

157

(b) Independent
(c)

159
. . .

Combination of hinds (a) and (b)

160

XIII

Twenty-Sixth Exercise.
38. The Secondary Subject
. .

161

Twenty-Seventh Exercise.
39. 40. 41.

The Conclusion The Appendix The Return

....
.

...

165 167

169

Twenty-Eighth Exercise.

THE THIRD PART OF THE SONATA FORM OR THE

RESTATEMENT.
42.

The Restatement

171

Twenty-Ninth Exercise.
43. 44.

Modulatory License
Modification of the Single

175

Members

in the

Third Part

176

THE SECOND PART OF THE SONATA FORM OR THE DEVELOPMENT.

.

45. 46.

The Development Thematic "Work

Thirtieth Exercise.

.179
.

179

THE FOURTH PART OF THE SONATA FORM OR THE BEETHOVEN ANNEX.

47. 48.

The Beethoven Annex

Licenses of the Sonata
1.

186

Form

188 188

Licenses

in.

Modulation

2. 3.

4.
5.

Displacement of Divisions Introduction and Independent Episode Change of Time and Tempo

193 193

Thematic

Work

....
Form

....
.
.

194
195
197

49.

Modification of the Sonata

in the Finale

XIV

IV.

PART

50.
51.

The Higher Rondo Forms. The Higher Rondo Forms ... ....
The Fourth Rondo Form
.

200 200

Thirty-First Exercise.
52.

The

Fifth

Rondo Form

203

53.

The Extended Forms

Thirty-Second Exercise. in Slow Tempo

I.

...

207

Thirty-Third Exercise.
54.

The Sonata

as an Independent, and as a Concrete,

Work

of Art

216
II.

Thirty-Third Exercise.
55. 56.

Symphonic Poem Vocal Music in Instrumental Forms

Suite.

....

220 231

MUSICAL FORM.
INTRODUCTION.
1.

The study

of Musical

Form presupposes
Counterpoint.

a proficiency in
interlace these in

the Sciences of

Harmony and
of

To

one with the Science

Form would

not alone be detrimental to

the lucidness of a course of study, but would also confuse the student,

and retard
2.

his development. in point is that of

The task here

construction,

i.

e.,

the

grouping together of identical, similar and diverse musical thoughts

into one complete organism,

which in music

is

commonly designated
form.

as a piece, but is called, in concrete determination,

3.

Construction

is

free,

when
as
in

it

is

not,

as with Counterpoint,

restricted

to Imitation,

nor,

the older forms of

Opera and

Instrumental Music, to the distinctly audible metre.

free forms

However, the

may
is

include every

manner

of contrapuntal style,

and the

audible metre
to them.

by no means excluded, since the dance-forms belong

4.

The

varieties of forms being very great, a course of study

must needs treat only upon such principal forms, as constitute the
basis
of
all

the others.^

Among

those, the
:

Elementary forms and

the former, because of the latter,

the Sonata form deserve the most attention

their

constituting
its

the

minutest

parts

of all forms;

by

reason of

overtopping every one of the other forms, as regards

variety, wealth of content

5.

and adaptability.

Mozart and Haydn developed these forms to absolute perfection. Beethoven enriched and enlarged them with the greater
solidity

and variety of

his

harmonic contexture, with

his path-beating


consummation of
contrapuntal style.
tendencies

XVI

productions in the province of instrumental tone-color, and with his

thematic

work,

the

equivalent

for
all

the

former

He

thus to a certain extent unites

art

the previous
of

of musical

upon the higher standpoint

is

free,

rhythmical formation, and

just therefore essentially the

master of

modern
6.

art,

from whose works models are preferably to be drawn.

In

order to facilitate the simultaneous teaching of several

pupils, in the

a method has here been adopted throughout, which consists

employment of the limited

first

exercises for the production

of the later extensive ones; since only the greater minority of pupils

are

capable of furnishing

new material

for each exercise,

without

becoming cursory and careless in their work.

Remark.

The

first

complete system of the Science of

1836).
C.

Form was
(died

produced by A. Eeicha (died at Paris,

at Vienna,
special

Czery
it,

1857) translated

it

into

German, and annotated

A. B.

with

regard to the works of Beethoven.

Marx

(died at
his'

Berlin,

1866) improved the entirely too abstract terminology of

by bringing
it

predecessors,

closer within the province of general

usage (of the German language); and acquired a great deal of merit
in contributing to the intelligibility

and propagation of the science.

PART

I.

THE ELEMENTARY AND SONG-FORMS.

(A)

THE SECTION,

In

1.

THE BIMEASURE OR PHRASE.

to

order

render the species

it

of time
is

of

a musical strain

intelligible to

the sense of hearing,

requisite, that the length

for
(i.

of this strain exceed at least one

measure;
that

it

is

the return of

the similar

moments
in

of the species of time

e.,

of like measure-

components)

the

second

measure,

renders

the

kind

of

time discernible to the ear.

telligible to the

of tones, whose species of time is rendered insense of hearing by being in excess of the length one measure, is what we designate a Bimeasure or Phrase. of
series

The Bimeasure

constitutes

the
in

fundamental element of our

consequence
of

entire classical instrumental

forms,

which, the

majority of compositions belonging to these

into JBimeasures.

may

easily

be resolved

This assertion

is

not in need of any special proof, as

it

will

be

verified

by

all

the examples contained in the present work.

We
1.

distinguish three

Such as completely

kinds of Bimeasures, viz.: fill the space of two measures with

notes; as for example:*

* As it is but fair to presuppose an acquaintance with, the works here referred will be admissible to quote them for the most part in melodic extract, in order It would not be advisable to confine these references to save considerable space. to a melodic extract without this presupposition, for, the taking asunder of a conto, it

crete

work

of art,

according to abstract forms of reasoning, involves an aesthetic

contradiction to truth, and is liable to mislead the youthful imagination into the channel of disastrous abstractions. The young composer should therefore complete in his mind the melodic extract of the work, either from memory, or from the original.

B ussier, Musical Form.

Phrase.

1.

Ex. 1. Beethoven,

MoZAKT.

JH.UTI|J
J
2.

l
<
J ll

j
-

tf,/3l7n"r l^tf,
l ,,

a.

Haydn.

^
it

J
1

J
i

1,

ii

'

r
either sup-

Such as do not
with rests,

fill

the second

measure, but

plement

or leave the remainder open for connection

with a new thought.

(a)
Beethoven. EETHOVEN.

Supplemented with

rests.

ftlft ft

j/r.rirffg|
Ex.2.

^S
I

t>

^f! jfffff ff

ji'f'-jjjj.
^)
Ex.
.

.j'-i

jA-^Jlfflip l
further connection.
Phrase.
|

ie/< open

/or-

3.

Beethoven.

New
tor

Mozakt.

cEtcf

i^r

jA
Haydn. T if I

*E
i

j}M

fti

u]

j,

jp

ji

Phrase.

1.

3
i.

3.

Such as lead
thus:

into

what follows,

e.,

into

the

third

measure;

Ex.4. Beethoven.

Mozart.

Adagio.

Haydn.

^^^I^H^r.jjj
piece

jj jyj-.

In the case of several of these exercises the attention

is directed,

by means of brackets, to the fact, that the ear does not count a measure from bar to bar, but from the first note to the completion of the metrical value of such a measure. Thus, if a

commence with an up-beat, its metre is counted from this on. Numerous Bimeasures resolve into two monomeasure thoughts,
Beethoven.

thus:

Ex.

5.

Haydn.
I,

y
Wherever
tion* by
it

|f

ciLffjr.
call

^
attention to this division,

seems advisable to

such Bimeasures will be designated according to metrical

numera-

"2x1".

* By Metre is meant the arrangement into measures, and the connections and divisions of measures according' to numeral conception. Rhythm is the measured motion of music on a basis of such a division into multifarious moments of fixed dura-

tion.

mical
a

The metrical art is represented in music by the different kinds of time; rhythart, by the species of note-values. For instance, the beats, 1, 2, 5, 4 constitute
but the Motion,

Metre,

\j

which occurs on a

basis of this metre, is a Rhythm.

1*

Double Phrase.

2.

First Exercise.
Write numerous Bimeasures of
the
first.

all

three kinds, particularly

They are
(some,
at will,

to

be executed with complete harmony for the Piano

for

String

Quartet,

Harmonium,
considered

Organ,

or

even

for voices),
use.

the

best ones to be selected

to

and numbered for later

all

In relation to them are

be

the

principal

tempi.

One should

also endeavor to subject himself to the influence

i various characteristic attributes,

doleful,

such as the pastoral, religious,

subsequent exercises.
each,

cheerful &c.

in

writing this and all

The

following examples from

Beethoven

illustrate,

one of the

three kinds of Bimeasure or Phrase.

MODELS.
Ex.
6.

Beethoven.

Presto.

Allegro con brio.

ffe

as
m

m? i^-imu s=
f^nrw*
Adagio grazioso

%B

j'jj'H&ii, fir
S

fl

-U ^gIS

^
Bimeasure
is

*m
not designated a
,

2.

THE DOUBLE BIMEASURE.

Quadi.

The mere
rimeasure

repetition of a
to

according

metrical

numeration

but

2X2,

e.,

twice a Bimeasure.

Thus:

Ex.7.

^m
we term such a

Double Bimeasure

Accordingly,
or

repetition a

Double Phrase.

Short Section.

3.

The importance
technic
of
structions.

of these designations
will

and appellations
the

to

the
con-

composition

be

seen in

more

extended

Nevertheless, here, with practical studies in composition, there no actual need of fixing the terms of form -construction in their minutest details. This is rather the office of musical science.
is

Mere,

the ideas are conveyed by a teaching

system as the vehicle

far

and are determined only so with the technical end in view.

of designation,

as

is

in

keeping

Such variants as touch only the tonal and not the rhythmical
structure,

arc

also considered

repetitions, the similarity being the

distinguishing feature; as for instance in both of the following:

Ex.

8.

fljj
Ex.
9.

m
[

r r

j*
Beethoven.

h
ments.

'

SU Pi P iCT ^ifjp
is

=fc=

Even rhythmical
This

variants are permissible with repetitions,

when

they do not affect vital points, but are confined to subordinate mothe case, for instance, with embellishments, figurate
like.

adornments and the

Ex. 10. Beethoven. EETHOVEN.

Thus:

^^O

^=
3.

^=
other expansion to the extent of four measures consti-

THE SHORT OR QUADRIMEASURE SECTION.

Any
Quadrimeasure
(3.) that,

tutes a Short or

Section.
fills

This, too, is of three

kinds;

viz.:

(1.) that,

which complety

the
to

space;

(2.)

that,

which does not;

which leads over

a continuation.

Short Section.

3.

(1.)
iix.

Filled up.

II.

Ueethovek.

P^

il.

it

If

|
1

2x1

U,
|

I'
1

Nil
|

II
I

2x1

/V null Tip i^TTTT

| |

(2.)

Not

filled.

MoZABT.

jfrMrflftrff
Here, the
connection.
last quarter in the

^
is

Quadrimeasure

left

open for

(3.)

Leading

Beethoven.

Short Section.

3.

MODELS.
Allegro.

Beethoven.

i&E
Ex.
12.

b r,

J-

^IJTJ]

j_j

Adagio molto espr

#pg
r

"f fi

M H T
J?
j
.

^Q
t
j
r

^S 7T
j

aa n"'

Jj

r^

'

fff

^ ^

^^
r

Allegro.

r->f

_^f
c

fete
f

uo ^- TTjr-

Short Period.

4.

(B)
4.

THE PERIOD.
of one

THE SHORT OR OCTOMEASURE PERIOD.

and the same Section by the

The unvaried repetition

repeat sign produces no
tition gives If the

new

form.

A written

out, or

a varied repe-

what

is

termed a Double Section.

as to

repetition of the strain be so varied,

form with

the original
rocal
result.

a harmonic contrast,
of

which places them in the recipConsequent,

a Period
is

relation

Antecedent

and

the

This relation
dences.

is

occasioned by

the

dissimilitude

of their

ca-

First Form.

the

The Antecedent has a Semi-cadence on the Dominani; Consequent, a Perfect Full Cadence on the Tonic.
Ex.
..

13.

Beethoven.
11

<N

J|J

JU .J-J
Semi-Cad.
j-

Antecedent.

iConseq:uent.

^JjljJjJ
i

Perf. Cad.

^
m
l

r=fr

TTm

^T^
r

Mozart.

Antecedent.

Semi-Cad.

Us i
(Minor.)

gj

J
i

^
f

J i

Consequent.

Full Cad.

flur.

^m

Mozart.
r
*

Jr

3= P-*.

Short Period.

4.

f n& fr 'ttK|r
|

ir

^
I.

r:

Consequent.

Third Exercise.
Write numerous octomeasure
utilizing in part the previous work.

Periods

of the

first

form,

MODELS.
Ex.
14.

gm jj"
vh l
f
JjJJ^

Prestissimo.

Beethoven.

'

j
7
Jl

mSE
ttjf

E&
r
*

m
1
1

2K &

2-

#V^^
tk
3E
J'TT??
1

J-J]^

V\ ,

^^^
7

ip^frr
-~^
i

gretto e grazioso. Poeo Allegretto

*=f
P

s^pig^
*
*_,

Ife

0.0*0^0

|,|
|

fi

(iy

JW
&
^-

11

s
of a more or
Ex.
15.

BE
Second Form.

The Semi-cadence of
less perfect

the Antecedent

assumes

the character

Full Cadence on the Dominant.

_^

Mozakt.

j/w

jUrr^r

^r

ifack/

Antecedent.

Hl

K^H/ aa gfe
i

Consequent.

Third Exercise.
Write Periods of the second form.
Convert some of those constructed in the
Ex. 16. Allegro vivace.

II.

first

form into the second,

Beethoven.
^~~
I

iMP?
\>,

arv

k .
I

g^
fa,

rL

gg^

, r

Ant.BRedfiTit.

tt

^-

^
ft

Short Period.

4.

11

If

^^w
l^m'
r.nnKeniient. Consequent.

g s
I
I

ffl:

^#^^#^#1
p cresc. /"
ff

Maestoso andante.

il
//

p cresc. /"

^ a

*,b

II:

If

ff

^-^HJjrffe^/
^-Mj;j^LZ

jj)

>^
ff

^^^^
p-/3
cresc.

Si s?

^^=^?:^=g
j,

=3=

F*=y

a ?=E ^ Hipp *?=

sg ^e

o ^1

jEEiE f-I *-^T

12

Short Period.

4.

j,^S/JT*^

^ m
The theme
(which,
in of

^m
I
the Scherzo of
this

Beethoven's

At? Maj. Sonata

of

the 1st. Ed. of

work,

occupied the place

the

preceding Ex.) and that of the Scherzo of his

C#

Min. Sonata

differ

from actual Double Sections merely by their containing the har-

monic relation of Dominant

themes,

to Tonic,

which in the

case

of both

however,

concerns not only their cadences,

but also the

entire themes, themselves.

The

first

Section

is

in

the key of the

Dominant, the second,

in that of the Tonic.

Third Form. The Semi -cadence or the Dominant Cadence of the Antean Imperfect, and exceptionally by a Perfect Full, Cadence on the Tonic Triad.
cedent is replaced by
Ex.
17.

Mozaet.

(Child's Song.)

Imp. Full Cad.

JHHi

Jt

"T

l^

r Antecedent.

ji

rr

r.

^^

Pert. Full Cad.

Webek.

^TflTrTTjU

J'JJ J11J-*

Consequent.

Full Cad.

Beethoven.

gife gSafrjfljrfrt-

y+^j^
fr

ffi*

LOTjK7

ffr|rf
|

Short Period.

4.

13

Third Exercise.
MODELS.
Ex.
18.

III.

Write several Periods of the third form.

Allegretto.

Beethoven.

ITS
f ^j*
/
*s
I

J- -:

*/

V
'

M=*
,

^f
r
t'

'

'

f.^f

^ %g
The Consequent
ent,

frjiij

^
the Anteced-

Fourth Form.
is

not
it.

an exact imitation of

but only resembles

Allegretto.

Beethoven.
Antecedent.

Ex. 19.

^P
1

i
'frySri

3
Consequent

^gH
-.
i

ff t^jv^mrff^
-

^.

f<

?mm

instead of

^&^^

14
Allegro.

Short Period.

4.

Mozart.

jVr. n
il

H-

H-ff IrTf
J J
I

Urr

jgjjgiis

,1

Third. Exercise.
Write Periods of the fourth form.

IV.

MODELS.
Ex. 20.

Andante

cantabile.

Beethoven.

*f

sf

*
1

*^

=^t

J
ADteced.
rt

J,

J j-

fgfl

ffff/rBf
2*3
Consequentif

n ^^ Efcrtrc-ra
j/
/?*
,

The young composer, here pursuing the study

will,

of musical form,
all

besides preparing his exercises, bestow vigilant attention to

the forms he

may meet

with in the course

of his practical life

in

music,

and in every case endeavor

to explain

them
is

in

accordance
to carry

with the system here set forth.

in his

Moreover, he

supposed
is

memory a

stock of classical music, from which he

enabled

Short Bipartite Song-form.

5.
first

15
being necessitated

"to

quote a model for every form, without

lo refer to the scores.

Every

class of
this

music in which the masters

purpose

have moved furnishes material for

instrumental music,
Oratorio.

to

not exclusively
the

but vocal as well,

including

Opera and

The Period
in short songs.

as an independent art form

is

be

found only

(C)

THE SHORT SONG-FORMS.

5.

THE SHORT BIPARTITE SONG-FORM.

of a Period, even with changes (variations)

mere repetition

But the conjunction of an eightmeasure Period with a second part of equal length, to which it is
related by affinity of contents,
gives

does not produce a higher form.

what may be termed a Short

Bipartite

(i.

e.,

consisting of two parts)

Song-form.

Its

common

scheme

is

(2

X 4) + (4 + 4).
of the

The Antecedent
or at
least

second part receives an entirely new,

content,
whilst
its

somewhat
or

different

Consequent
first

is

identical

with,

similar to,

the

Consequent of the

part.
this

Representing similar Sections by a, and dissimilar ones by &,

wouid be the plan:

a a b

a.

First Form. First part:

Identical with the Periods constructed in the preceding

exercise,

and which should be

utilized here.

Second part:
part in

The Antecedent
its

deviates

more or

less

from the

first

contents,

and forms a Semi-cadence on the Domione of the Cadences of the 2nd and
.

nant, or, exceptionally,

3rd forms of the preceding

The

Consequent

is

either

identical with, or similar to, the Consequent of the first part.

16,

K
oS

Ah

u
ft

Short Bipartite Song -form.

5.

17

Fourth Exercise.

I.

In accordance with the foregoing, write very numerous

Short Bipartite Song-forms, partly utilizing the Periods of the

preceding Exercise, and partly with entirely

new

material.

MODEL.
Ex. 22.

Adagio.

Beethoven.

dolce

gyj
1st.

irr^\r Mr
r

/>>.

^
r

Part.

Antecedent.

U
F -

}fl

JPtH^fl

m
^_^
fgj_

Consequent '

SEEEJ?

f*p

as j-ls^ a I -^iffrft ffi ^ 1=1 garrt^rt ^

* *

2nd Part. Antecei

R^

^ggp^^^
B ussier. Musical Form.

18

Short Bipartite Song -form.

5.

Consequent.

In this Ex.,
like

the Consequent of the second part

first

is

not exactly

that
of

of

the

part,

but

only
in

similar

to

it.

The Conseof

quents

both parts

are

identical
first

the Bipartite Song-form

is

the piece by Beethoven, the

Period of which

given at Ex. 14

(Toco Allegretto). The Kondo

See Sonata, Op. 7,

Eb

Maj., Finale.

of the Sonatina, Op. 49, No. 1,

GMin.,

also begins

with a Bipartite Song-form of this order.

Second Form.

(A)
The
the
is
first

In the

Major Mode.
Cadence
form,
in the key of thus modulates.
first

part
to

closes

with a Full
it

Dominant,

which
that

The second part

constructed like

of the

and

closes

in

the

Tonic key.

Fourth Exercise.
in

II.
this second order

Write pieces in Bipartite Song -form of

Major keys.

Short Bipartite Song -form.

5.

19

MODEL.
Ex. 23.

Andante.

Beethoven

l^j^frRWjtfEfraf ^a m
First Part.

Anteced,

#4=

tea

ffr

-tmm^ti
Imp. Full. Cad.

^k-m==i EE

&
^

SJ

9^=
Consequent.

nj&ilnttf
*
Full Cad. key of Dom.

s
'

3^

LJ~r^
II do.

mm

^fes
Second Part.
Antecedent.

a^j

2*

20

Short Bipartite Song -form.

5.

Semi-cad. on

Dom.

Consequent.

jj

(B) In

the Minor Mode.

In Minor, the first part closes either in the Minor key of the Dominant (A Min. in E Min. C Min. in Gr Min. etc.) or in the parallel Major key (A Min. in C Maj., C Min. in E(7 Maj. etc.).
,

Short Bipartite Song -form.

5.

21

MODELS.
Ex. 24.

Bhetboyeh.

Antecedent

tei
w
jj^j fc23*
i

as
*=
-t i

^ a

Consequent

jj^

Mp
*-++T*

^^^E^^

-J^W

^
jc^*
i

Minor key of the Dom.

Antecedent.

^mjm m-trf&^-L
SLm i
mUfmim'*^ ^
I1
i

22

Short Bipartite Song -form.

5.

'

Ornisennar Consequent.

w
Ex. 25.
Allegretto.

First Part.
Parallel Maj.

2e5

Antecedent.
CnnspminTit Consequent.

Second Fart.
Tonic.

'

ftfWtf fflifl^M
l

Antecedent.

Consequent.

Likewise the following melody, which immediately succeeds the

foregoing and enters as a counterpoint to
it.

Short Bipartite Song -form.

5.

23

&j

j jj.j!iijaiUjj
i
i

ji

jijj

jj

i^

frju^jj^

j^i

jiijij ipi

Fourth Exercise.
Write Bipartite Song-forms in Minor
foregoing.
Just as
the repetition of a

III.
in the

manner of the

Phrase produces no Section, nor

exhibits characteristic
in

that of a Section a Period, so the repetition of a Period does not

give

Song -form, even

and
is

if

it

distinguish-

ing features,

not

(as

was the case

A.V

previous

examples)

merely a

literal repetition

designated by the repeat sign.

Thus, the Scherzo

begins

of

Beethoven's

Maj.

Sonata Op. 26,

to

with

an eight- measure Period

is

closely

allied

Double
con-

Section,

which Period

repeated with rhythmical variations,

stituting simply a

Kepeated Period, but not a Song-form.

Ex. 26.

pd^i
in

i TWtTI
too,

Lu
from the

Repetitions of this kind are frequently met with in compositions

compound forms, and should be

The
Cjj

strictly distinguished

higher forms.

Min. Sonata,
ties.

exhibits such a repetition

enhanced rhythmically through

Thus:

24

Long

Section

and Long Period.

6.

Ex. 27.

pm
tfV
first

instead
of

4^/
is

^lj
and

In the beautiful Adagio of the

Violin,

C Minor Sonata

for Piano

the taking up of the theme by the Violin

nothing more

than a repetition of the

Period.

Remark on

the second

form

in Major.

The
in in

first

part,

when

in

the Major mode,

occasionally closes

the Minor key of the

Mediant; as C Maj. in

Min.,

Ab Maj.

Min., Fjf Maj. in

A#
Ex.

Min.

Thus:

28.

'' r

fa

&

J
I

UA

J-

ja

Jjj:z

t=^=^y=^s

6.

THE LONG OR OCTOMEASURE SECTION, AND THE LONG PERIOD.

contiguous
Sections
of
different

Two

contents,

lacking

har-

monic and rhythmic correspondence, do not constitute a Period, but

an octomeasure Section.
I.

Such Sections frequently terminate on the Tonic as indee.

pendent ones,
Ex. 29.

g.

Mozart.
(Juvenile Work.)

P ^&

ft r fr

rj r
1

r4r^-J^i

&=*=*&s

^?^B^

Long

Section

and Long

Period.

6.

25
Beethoven. <? J3EETH0VE1
.

HE

^
IEE
Long
Sectional form appear.

^ _

The

less perceptibly its division appeals to the ear,

the

more

jferfect does the

In measured tempo

it constitutes the noblest form of structure.

Ex.30

Beethoven.

SI &
The student As early as

fe

m^M^F^
is

m
it.

advised to bestow most diligent study upon

in his Op. 1,

Beethoven

tested the

power

of this

construction in the second

theme

of the Finale of that work.

Fifth Exercise.
In

I.

accordance

with

the

foregoing,

construct

numerous

octomeasure Sections with Tonic termination.

MODELS.
Ex. 31.
Allegro.

Beethoven.

Hfc^

m^t^^n^

^m

26

Long

Section

and Long Period.

6.

Pf Y*k & & & tf

r
r

rr
r

it

t
\

feE ^^ &: &&

c
r

fl

jflf

B7I^|

J lr

ii

^S

/j

^
,jJ

4it

^
^\k gj
lit, 4

m^ N? h
\

4 4- (2jX

2).

t*r
nt.

J'l^^
ni
:

^fppi
/ "{

'^
J
4

3 r

ill
'

'

a tempo

(2Xl) + (2X2)+2.

1?

*=m
also

The explanatory examples may

be looked upon as models.

Long
II.

Section

and Long

Period.

6.

27
form
a

Two

8-measure

Sections

may

unite

to

(16-measure) Period by occupying the position of Antecedent

Long and

Consequent.
Ex.
32.

$SBE

fer
8

"I tJJJ

^ If Hi
Semi- cad.

M
We
At
have
here
the same time,
it

Semi-cad.
1

,jl^i ag
consisting
of

an

8-measure Antecedent

two

Sub-sections, each one of which represents a 4-measure Antecedent.

forms a Double Antecedent,

i.

e., it

two Anteis

cedents united into a single one.

In the present case,

followed
entire

by a

similarly

constructed

Consequent which

repeats

the

Antecedent, but terminates on Tonic in the last two measures:

P
produced.
Ex. 33. Allegro

feE

i-6

-I'lJU J3
1

Thus, a Long

sixteen -measure

Period has been

Mozart.

3E

Hrrrir rr irifftm
J

t
i

ft

The preceding commencement of the Allegro of the Don Giovanni Ouverture, also forms a compound Antecedent, which is completed
to a

Period by the addition of the Consequent.

Thus:

28

Long

Section

and Long Period.

6.

measures

1-6

its

The

first

Period,

through the lively rhythm of

conclusion,

immediately joins with the next one,

a procedure, which lends to

the higher forms, particularly in Allegro tempo, that urging-onward

and exp eel ancy-a wakening

quality,

and

that

compactness,

which

together constitute their aesthetic character.

The Long

eight -measure

Section

may,

in all the

higher

forms, occasionally replace the Short eight-measure Period.

Fifth Exercise.
(a)

II.

Convert the previously written independent Octomeasures

into eight-measure Antecedents.

(b)

Complete these latter to sixteen- measure Periods by

appending Tonic Octomeasures to them.

(c)

Construct such like Periods anew.

MODEL.
Ex. 34. Antecedent.

Period -like Double

Sections.

6.

29

fcfc
'

^Jin

'

D j-j "cJ-cj'
4 4 4

"
r

Safe

4-4 x

'

lJ Ly
r
i

pr

ftf

trfTff ff
#
|T

Pp? 9
J

T g3

^W

&

?J ft

fc

'-L!f

liv
g

* gtdg
l

y lP

i^T

9^
:

w
J J
E

ilis (j"

7%e *SAor( Double Section in place of the Long Section. III. Those Octomeasures, that have a thematic correspondence, hut, by reason of their uniformity of construction, and similarity of melodic
motion
(i.
e.,

to

a certain extent,
to

moving

in

the

same

direction),

answer more nearly

are to be
rule,

the

nature of repetition

than periodicity,

regarded as Double Sections, and not Periods.

yet
this

As a

they do not form Perfect Cadences;

may

exception-

ally occur.

30
Ex. 35 Allegro

Period -like Double

Sections.

6
Mozaet.

A kind
\

of

^t iii UHhi
fy.

Semi-cad.

\\\f^Y
A
kind of
Full Cad. jimp, Imp. run

First part of theme, which terminates on Tonic.

pjtmrfff^rtr T

^^^^
Sub-dominant.

^n^^g tf^^mrrfm
i

Imp. Full Cad.

kind of

y=*f. r
i

r.

^^-j-^^l-j^-Trrr-^
Mozart.
The Allegro
of

wi ^^
r

Semi-cad.

Imp. Full Cad. with Suspension.

They may be treated

Frequently so with

as constituting the first half of an Antecedent,

Beethoven's Egis

mont Overture

likewise begins with this kind of Section.

of a

An example
with Semi-cadence)

Double Section, which

at the

same time

an Antecedent (hence, an Antecedent Double Section, Double Section

is

the following

Chorus from Tannh&user:

commencement

of the Pilgrims'

Tripartite Period.

7.

31
Sub-dom

Ex. 36.

Wagnek.

Andante.

IFF

=
t*=

J.
3

i=m

m^&i^Bt
The character
periodicity,

Semi-cad.

of a Sectional Repetition in contradistinction to

still

becomes

Semi-cadences;

Symphony:
Ex. 37.

as

in

more palpable, when both Sub-sections form the theme of Mendelssohn's A Min.

Allegro.

Mendelssohn.

Semi-cad.
in

Semi-Gadin

CMaj.

EMin.

Fifth Exercise.
Construct
Sections
of ,this

III.

kind in accordance with the

preceding examples.

Remark.

Obviously,

the

second part

of

the

Song-form
its

is

not

actually

a Period,
it

even though,
is

on occount of

harmonic

correspondence,

occasionally so called,

and

its

members

designated Antecedent and Consequent.

7.

THE TRIPARTITE PERIOD.

consisting of three eight-measure Sections,
is

Short Periods,

are
the

extremely rare.

An example

furmshed by the theme

of

second movement of Beethoven's

F$

Maj. Sonata, Op. 78:

32
Ex.
38.

Tripartite Period.

7.

tec i
jflV T
jflty
*

^ M
J

3=5-

^S s
1

m
J-

f-r

Lf

fl

?E
in the follow-

Of greater frequency are Long Tripartite Periods

ing construction:

Antecedent: 8 measures
Intermediate Section: 8 measures

Consequent: 8

= First Part. = Second Part. measures = Third Part.

following, taken

work

An example of this kind is the of Mozart, though it does

from a juvenile
irregularity,,

contain

slight

namely, the elongation of the second Section from eight measures to nine; a matter which will he treated later on in the course of
this

work.

The Long Tripartite Period.

Ex. 39.
Allegro.

Mozart.
Antecedent.
(KBchel's Catalogue, No.
58.)

w ite
AA gS^ w

w. =*&
3

n
l=frtt

*fe
=3

g TT
In-

ss^
feg

sr PPflliilf^

#
-f

SS rr^V g^
^

Short Tripartite Song -form.

8.

33

termediate Section.

Consequent.

iB^i
As

te

<

i
'

f)

J
H
may
a);
is

Measures

16

=5
additional examples of such

f
Tripartite Periods,

Long

be mentioned the theme of Beethoven's EMin. Trio of his AMaj. Sonata, Op. 2 (the scheme of which
the march from

Sonata, Op. 90; the

aa

Handel's "Judas Maccabaeus",

first

etc.;

in all of

which

a periodicity of the

and third parts

is

lacking,
is

and Long Sections

regularly the case

have taken the place of Short Periods, which with the Intermediate Section or second part.

Having the same compass and principal divisions as the TriExthese. partite Song-forms, they are commonly classed among
amples are therefore
Song-form.
to

be found along with the Exercises in Tripartite

8.

THE SHORT TRIPARTITE SONG-FORM.

extreme

identical, or similar In a Tripartite piece, there enters between This length. same the of one Intermediate an parts,

intercalated

part

is

only exceptionally in Period-form,

but for the

3

B ussier,

Musical Form.

34

Short Tripartite Song -form.

8.

sake of variety of construction,

usually has

one or other of the

8-measure Sectional forms.

The three parts of

their succession:

this

Song-form are termed in the order of

First

a
Part.

Period.
Section.

Second
Third

I
j

6 Long

Period.

According
jointly

to

common

usage, the second

and

third parts are

designated the

second part,

because they are frequently

repeated as such, being situated between repeat signs.

First Part.

Antecedent. Terminates with Semi-cadence,

exceptionally, Perfect,

or Imperfect, and

Full Cadence

in Tonic;

or Full Cadence in

key of Dominant.

_JL
Ex.40.
'-

'-

b"

jr

-e>

&
G G
Maj.
Maj.
or in key of Dominant;
of

C Maj.: C Min.:

Semi-cadence on G; or Full Cad. in C, or

Semi-cadence on G; or Full Cad. in C, or

Consequent.
or key of Mediant.

Terminates on Tonic;
In

Minor: on Tonic; or key

Dominant

in

Min.; or in parallel Maj.

C Maj.: C Min.:
Antecedent.

in in

C C

or
or

GMaj., or EMin.

G Min.,

or E\> Maj.

Third Part.

Same

as

in

the

first

Period,

but with

still

more prominent Semi-cadence.

Consequent.
Thus,
it

Has Tonic

termination.
first

will

be seen, that the

and third parts may under

circumstances be identical.

The Second Part,

which the Tripartite Song-form intercalates between those two parts, usually terminates with a Semi-cadence, in order to introduce the
third part.

Short Tripartite Song -form.

8.

35

The greater the resemblance between the first and third parts, new contents to the second part. Each one of the three parts may have a Long Sectional Form instead of Period-form. (Comp. 7.)
the greater the propriety of giving

Illustrate

by means of a melody without accompaniment

all the Structures of

Form thus

far explained.

Sixth Exercise.
In accordance with the foregoing, write pieces in Short Tripartite Song-form, partly from former work, partly anew.

MODELS.
Ex. 41.
Scherzo. Allegro assai.

faf

-#-

P First Part.

mm

^^p ^ m^ iJ4 ^
(A Period.)
Antecedent.

Beethoven.

6 e==
Consequent.

V3

36

Short Tripartite Song -form.

8.

^stf^fa
(A Period.)

-a^
r
'

Contracted Consequent.

'*

'
Allegretto

4 h^
1

l(*

)l
'

*"
!7^

m
||J
\

Part.

First Part. (A Period.)

f"
J
I

i F=^

3bi

)==M =t
5t==*rrs:

y^4k^lr
(Double Section.)

ij

l^g
I

Second

jM

r'rr

'rrto;
l

tirfcj

^
Third

jMr'r
Part.

"fr rrfa-

rrCA;

r
l

fi

>'^

(A Period.)

g'^jljflflNjyJ r^cm
l

=&

. Allegro.

(In reality a Tripartite Period.)

g!r7^Uj

Jl

jl

fl>i

:
I

,j.

* Here, two measures are lacking by contraction. Comp. 12. This license, however, should not as yet be imitated. It is on account of the lucid structure of its second part, that this piece has nevertheless been chosen for an example.

Short Tripartite Song -form.

First Part.

8.

37

'A Long Antecedent.)

[Comp.

7.]

rr
|

fl>

,.-Ji'

rr
first.)

f-^hj^j^p
(Long Intermediate
Section.)

Second Part.
(Same contents as

I .Hhyi frrlTr
l

f r
i

Third Part
,

(like the first). (Long Consequent.)

j.'

frlrJJI t Jjj

i
i

,lff

JK

Ifrfr^
Allegro.
First Part. (Long Section.)
|^^_

fff fff fffc

,

^^

w^ r
jl>

^dl
*

;r<

^
a
4*

^^
a
n
|

m M
I

^^
am
Section.)

2.

Second Part. (Double

>

^:ll*'i LI
ri

38

Short Tripartite Song -form.

8.

^^x^^txt^
s
T
\

^
:j=
*

^p^ ^i)}swwm
^
Third Part

m
:

is^to^^ii g iHn 4=
r
J

(like the first).

f
r
The Trio
of

Beethoven's

Maj. Sonata, Op. 28, contains six

in point of

repetitions of the

same Section, admirably varied

harmony,

which are drawn together into three Short Periods.

Long

Bipartite Song -form.

9.

39

(D)

9.

THE LONG SONG -FORMS.

THE LONG BIPARTITE SONG-FORM.

the 32-measure
parts.
Its

The 16-measure Period is composed of two 8-measure Sections; or Long Bipartite Song-form, of two 16-measure
construction
is

the same as that of the Short Bipartite

Song-form, namely,
four Sections.

aa

b a, with
of

twice the length of each of

of this form
A\>

its

The most appropriate example

p. 26),

would

be the theme to the variations

Op. 26 (comp. Ex. 32,

Beethoven's
it

Maj. Sonata,

were

not for the fact of the Ante-

cedent of the second Period (the Intermediate) being elongated by

two measures.

By
the

repetition of the individual parts, whether merely indicated

sign,

by the repeat

whether varied, and for that reason written out,

to 64.

number

of

measures becomes increased

Song-form
is

of this kind,

consisting of

64 measures through

repetition

to

be

seen, for example, in the

Maj. episode of the Finale of

Mozart's

Min. Sonata:

Ex. 42.

iI

*fc:

faM

WM
A Period
Ex. 43.

m
i

&C.

2*.

of 1 6 measures enclosed in repeat signs

= 32 measures.

The second part begins thus:

ftVflitritof

i^f^
I

rt
8 measures
is

"

j)?lllj

=F
16 measures;
to the

and closes at the

sequent
of

end of 8 measures, to which the second Conjoined,

making together

repeated, 32 measures.
first

Sum

total 64.

Compare "Kemarks"

Hondo form.

40

Long

Tripartite

Song -form.

10.

Seventh Exercise.
Write pieces
in the

Long Bipartite Song-form.

10.

THE LONG TKIPARTITE SONG-FORM.

the

In just the same manner as two long 16-measure parts go to

make up
form
is

Long

Bipartite Song-form,
parts.

the

Long

Tripartite Song-

composed of three such

relations

The harmonic
the

between the Partial Cadences remain

last in

same as they were grouped

In
ordinary Dance-forms
designated the
for

8;

this

form being

at

bottom merely an elongation of the Short Tripartite form.

(comp. Part
II),

the

second Period

is

popularly

second part,
which

and,

being without any

thematic link,
episode
in

the

most part

forms an
is

entirely

independent

the

key of Dominant,

followed

by a

literal

repetition of the first part.

In the higher forms, the second part, being thematically linked

to the
first,

rarely takes the form of a Period, but frequently that

of a string of Sections.

This naturally results from the requirement

of variety in the construction of the different parts,

whose

relation-

ship

is

a thematic one.
in

Even

the

first

and third parts, the Consequent not

infre-

quently departs from

its

identity to that extent, as not to contribute

to a Period, but to the combination of

two 8-measure Sections into

free

one

16-measure Double Section.

Entirely

constructions

will

be treated under "Scherzo".

The Long Tripartite predominates among the Song-forms.

it,

To

belong the majority of Minuets and Scherzi of the classical Sym-

phonies, Quartets, Quintets, and Sonatas for one or

more instruments.
though often

But

in

most of these movements, the form

modified through
elongations,

is

slightly,

unessentially,

or

contractions.

We

present here an example from a later master, the Trio of

Mendelsemotional

sohn's

Maj. Symphony, since

it

contains the division into exactly

its

three times 16 measures, and, moreover, by reason of

content, is worthy of a place beside the classical master-works.

Long
Ex.44.

Tripartite

Song -form.

10.

41
Mendelssohn.

(From here

on, in

W
quent.

melodic extract, which should be completed from the original.

gJU
(Long
Section.)
\

^ -^j
I

j, J'

j.

^S

Second Part.

mU^B M
\

tii'i

.l

^l

^r

rr
i

Third Part.
the First Part, 16 measures.)

42
It
is

Elongation.

11.

advisable

henceforth to

write

the

exercises

chiefly

for

String Quartet,
part-progression.

since Piano Setting is apt to lead to negligence of

Eighth Exercise.
Write pieces in the Long Tripartite Song-form.

(E)

LICENSES IN CONSTRUCTION.
11.

ELONGATION.

Without altogether changing its form, a part of a strain may become elongated by an appendix issuing from the context. One
of the simplest

examples

is

offered in the

theme

of

Mozart's

Maj.

Sonata, presented as Ex. 13.

The second part

is

of this theme, instead

of concluding exactly like the first,

given an Imperfect Full Ca-

dence, to which a Phrase of two measures with a Perfect Cadence

is

added:

Ex. 45.

m$^m^$m
to the close of the piece in Short Bipartite

Imp. Full Cad.

Appendix.

Beethoven appends

Song-form beginning thus (see Ex. 19):

Ex. 46.

Pj^gj i
k

an entire Section of seven measures:

Ex. 47.

$N
;

zli

tofW^^pij u urn MMXMZ^m

t
,

Elongation.

11.

43
34.):

In the

Rondo

of the

same Sonata (comp. Ex.

Ex. 48.

he has elongated

(in the

same manner as Mozart has

in the

Ex.

quoted above) the close of the Consequent two measures; thus:

Ex. 49.

similar

elongation

may be

seen in the theme of the Largo

appassionato of the
Ex. 50.

Maj. Sonata Op. 2:

4FI

=t
.

-r
J

^g
Here,
part to
the

XEEE
r
composer conducts the Consequent of the second
before

the Dominant,

he

takes up the close.

Thus, the

four measures of the Consequent are extended to seven:

sf
Ex.51.

sf

sf

mm^^m
^M
hitherto

fiigii 5

The extensions
but a few measures.

shown are confined

to the addition of

In the Trio of the A|? Maj. Sonata, Op. 26,

we

44
find

Elongation.

11.

a Bipartite Song-form with a

second part drawn out to twice

the usual length

fore a

16 measures instead of 8

constituting there-

Long Period-form.

Strains like these hold the

mean between

the

Long and the Short Song-form,

being

composed of the con-

stituents of both.

Ninth Exercise.

I.

In accordance with the foregoing, elongate several of the

pieces in Bipartite Song -form, that were written as the Fourth Exercise.
Elongations of the kind
the Short Tripartite Song-form.
of

under treatment are

to

be

found in

So, the third part of the Allegretto

is

Beethoven's F Maj.

Sonata, Op. 10,

elongated,

in the first

place,

two measures through an intercalated imitation:

Ex. 52.

aBt

'VV
gg

J
i

Imitation.

,tt m ^m
I.

m^\njnrm
then, the last four measures are repeated an octave lower:

Ex. 53.

JlMM^
tfpi
this

4=
i

and

finally,

a concluding Section (or Period?) of eight measures

is

appended:
Ex.
54.

f&^
by means

^##
8.

Jf

H ^^E^
ex-

Thus, the third part of

Short Tripartite Song-form has,

of intercalation, repetition

and an appendix, been

tended to nearly thrice the length of such a part,

comprising 23

measures instead of

Elongation.

11.

45

The Intermediate Section

of the Scherzo of the

Maj. Sonata,

Op. 2, has been similarly treated.

Ex. 55.

^-Osfepredominates in the
first part,

This motive

which

is

repeated.

Hereupon, the second part modulates

the same motive, from

in eight

measures with
is

AMaj.

to

G$Min.,

to

which

strung a caentirely

dence of two

measures

in the latter key.

Then comes an
to

new episode
this

in Git Min., which, after eight measures departs from

to

key

in order

modulate in

five

measures back

Maj.:

Ex. 56.

Episode. New J&pisoae. JNew

fr

mm
i
= i

it*

ftf#r rfrfr

Ufr

ir

^ yi^3fe :ry
l

m
g-

**-ftftfitfm*zfr
&M
,i.

j?

L.

U-iJU rfj hk J. r
s5-

^ifej
P
first

S
this,

Upon
In the

follows in regular order, the

part, forming the

third, but with an appendix of four measures.

Eondo
is

of the

Min. Sonata, Op. 90, the Short Tripartite

Song-form has been carried out regularly, excepting, that the Inter-

mediate Section

repeated:

46
Ex. 57.

Elongation.
Intermediate Section.

11.

fl

ur r^mir-f
i

frr

iim

pm
It

Repetition.

^-t

t*

ms&Mrm
ai
%t
the way, that

H
Full

whilst both the Antecedent and Consequent are not.

may be remarked, by
the

we have here a Short

in

Tripartite Song-form, each part of which terminates with a Perfect

Cadence on Tonic;

second part,

consequence of the

repetition, does this even twice.

Ninth Exercise.
pieces in Short Tripartite Song-form.

II.

Produce elongations on several of the previously written

The Adagio
of of the GrMaj. Sonata, Op. 31, exhibits an elongation

the

Long Bipartite

Song-form.

The

first

part

closes

in

the

sixteenth measure, in which also the Antecedent of the second part

begins.
Close of 1st Part.

2nd begins.

Ex.58.

The Antecedent
of eight,

of this

second part has ten measures instead

and

in the tenth, spins out a lengthy Cadenza:

Ex.

59.

tr

m
to the regular

which leads back

8-measure Consequent.

Elongation.

11.

47
the Intermediate Section

Extended

similarly

two measures,
of

is

{Antecedent of the second part)

the

theme

to the

variations,

with which the At? Maj. Sonata, Op. 26, opens:

m$Ui
Ex.
60.

cresc.sf

lf-r

Se
TtLT

Deceptive Cad. Appendix.

Of course,

Long

Bipartite

an elongation may be effected on any part of the These two examples, however, will Song-form.

suffice for the

young composer

to gain

an adequate

insight.

Ninth Exercise.
Song-forms.

III.

Elongate several of the previously written Long Bipartite

Although the Long Tripartite Song-form in

greatest

itself

occupies the

compass, elongations of

it

to

still

greater

dimensions are

very frequent.
Instead of
its

many examples

completeness, the Scherzo of

in extract, we present here one in Beethoven's third Sonata. It begins

with a 16-measure Period, based on Imitation.

Ex.
61.

This

is

repeated.

Allegro.

S-

rirr^

J
i

J
i

.i

i-J.

Antecedent.
-

^tr

UI

Cr

'r

T _

fr

48

Elongation.

11.

i
+*
i

m
r

,^7^

^^c-M
Consequent.

^^ Us

&#=<M=y

^M4Md
'j-

S3
The second part, which forms the continuation from here, begins with the same Imitation, and at the end of sixteen measures has again reached the Dominant of the key, being thus ready to
lead into the third part, the repetition of the
Ex. 62. Second Part (Intermediate Sec).
first.

#H

CMin.

err
*U=ti

Bt?Min.

iipppiiiiii [TT f

mt'W

Elongation.

11.

49

Aj> Maj.

C Min.

<y

gflf

ttJ"

At

|g

flJ

I W#

fafe

* ^^E
/

^S
f
cadence
formula,
is

*
'

^Y-* af Tc
is

vfw orr?
V
up seven
first

1
**~V ct

>f

This transition

detained by a varying repetition of the Semi-

which takes

measures.

The eighth

measure
Ex. 63.

at the

same time the

one of the third part.

% ^ ^^T fflTfrf^ VI
\

>~-*i.
V
/

>
I

I'

%J

'

^
I'

ll*

'

=*

^^f^^^
iv^:
rf().

c*.-^

Seventh measure.

Commencement
of 3rd Part.

m
To the
pendix of 9
B ussier,
third part,
(i.
.,

3=Tan Ap-

which

is

of

regular construction,

1) measures is affixed.

Musical Form.

50
Ex.64. Appendix.

Contraction.

12.

i 7JJ

'

^
/
> '

/
:

JP' r* j J
i

9^73 ^J ^f>
1

JTJ

^J^
./

tin m &*
ff>

LMJM
"-

b
'

&
//

^j jl!^

I
We

JJ=S

-*h+

te^i
have thus seen how 3

-?-f

16 measures have been elongated

to 64, exclusive of repetitions.

Ninth Exercise.
form, previously written.

IV.

Elongate several of the pieces in the Long Tripartite Song-

12.

CONTRACTION.

Contraction naturally touches chiefly and preferably the extended

Long

Song-forms.
affecting the first part,
first

As

we

find it, in

for

instance,
first

in the
in-

Minuet of Beethoven's
stead of being formed of 4

Sonata,

which the

part,

X4

measures, consists of 3

X 4 + 2 = 14.
,

(The second part

part, to
12.)

is

likewise

contracted to 14 measures

the third

Contraction.

12.

51

The second part is frequently composed of 8 measures in the manner of the Short Song-form; as for instance in the Minuet of
the

Maj. Sonata, Op. 10, No.

3.

In the
construction
repeats:
Ex. 65.

movement
of

in question,

the

first

part

is

of the regular

16 measures

length,

terminates

on

Tonic,

and

^
part,

f=f-rrr

rq^uu_i-I
r
i

f^jrh^rV=qrrr

-^M
Min. to

^m
The second
in

fflE^ *
B

however, has only 8 measures, and consists

of a Sequence through the circle of fourths, from

Maj.

4 times 2 measures:

Ex

C6

A
quoted,
In

j,rfrftfftrerMi;Jl4fe=
Long forms are
example here

In numerous cases of this kind, the Short and

comhined and, at the

same time, mixed.

is

(In the

the succeeding third part

oonsiderahly elongated, from

16 to 30 measures.)

Mozart's
is

Et> Maj.

Symphony,

too, the

second part of the

Minuet
Ex.

contracted to eight measures:

67.

Be

#-Hh*

p^

& ^4-ggffl
\J
I

J J-

3*

fefefeF#q=Wf-^

^g

52

Contraction.

12.
on the other hand,
is

The

third part of the

same movement,

lengthened 4 measures.
In the

same master's G Maj. (Jupiter) Symphony, the second

is

part of the Minuet

shortened to 12 measures:

Ex.

68.

|lj_^

jj.jlJ

J_g
r
,

jl

U^-LUx^

f- ^uu

u^ftBaf
I

Tenth Exercise.

& II.
Long
Bipartite

Produce contractions on Long Tripartite Song-forms.

Contractions are not generally appropriate to the

Song-form, since they are apt to disturb only too conspicuously the

symmetry
form.

of its

parts,

which

is

less

the

case

with the Tripartite

Produce contractions on several Long Bipartite Song-forms.

In the Short Tripartite Song-form,

a contraction of the Inter-

mediate Section
Ex. 69.

is

occasionally resorted to; as in the following:

+
f
l

Mozart.

$Li ^i r nrinrrnrr

-lrfr^

^LgTJ
This
allied

jlTj
I

-^p

Close.

Repetition from t tot, J. "** 7 meas.

example belongs to those Short Song-forms, which are

the Tripartite Period ( 7 and 8).

to

The Phrases

of the

Concurrence of a Final with an Initial Measure.

13.

53

first

part

may be

designated according to their similitude,

rather a Section

abbe,
on the

thus

constituting

than

a Period, whilst,

other hand, the latter seems indicated by the harmonic relation of

Dom.

to

Tonic.

In the Andante of
last part is contracted

Beethoven's
2 measures:

Maj. Sonata,

Op. 28, the

Ex. 70.

Contractions- produced on the Short Bipartite Song-form would

be

scarcely

perceptible,

because of

its

occupying the

smallest di-

mensions.

Tenth Exercise.

III.

Contract several pieces in Short Tripartite Song-form.

13.

CONCURRENCE OF A FINAL WITH AN

INITIAL MEASURE.
especially in the longer construc-

It is of frequent occurrence,

tions,

that the last measure of a division of a strain concurs with

the

first

one of the succeeding part;

the

in other words,

that a strain

commences with
in

same measure as

the

one

with

which the

foregoing closes: a conclusion and a commencement being thus united

a single measure.
Wherever
it

Such measures count among those of the

i.

part which they conclude, as also, the part they begin,

doubly.
in

e.,

count

should be

desirable to indicate this property

metrical

numeration,

we

express the final measure

by a

slur

after the number; the initial measure by a slur before the number.

Thus, for instance,

4^

indicates a Quadrimeasure,

whose

last

meas-

ure at on
the

the same time

serves as the
indicates

beginning of a

new

division;
first

other hand,

w4

Quadrimeasure,

whose

54
measure

Concurrence of u Final with an Initial Measure.

13.

is

simultaneously the

conclusion
student's

of a preceding
practice
in

division.

Up

to the

present stage of the

composition,

such measures have been met with almost

sition

exclusively in the Tran-

from the Intermediate part into the Last part; which latter
Thus,

was either the third Period, or the Consequent of the second.

for

instance,

the third

part

of

the

Minuet of Mozart's C Maj. measure

of the Interfirst

Symphony

enters simultaneously with the last

mediate part (Ex. 68.), forming a Concurrence of the

measure

of the third part with the last measure of the second, thus:

Ex. 71.

2nd Part.

S}

iE

3rd Part.

^r

^r

Similarly, this

measure :-

Ex. 72.

rk+i?

it

which must be affixed to Ex. 63., so as to complete

measure,
constitutes both the

to

an Octo-

commencement

of the third part

and

termination of the second.

In

counting measures,

one must note well

for,

which part of the

i.

measure the division begins with,

musically,

e.,

to the ear,

measures do not count from bar to bar,

but from

a particular
1,

measure-member

to

like

measure-member.

(Comp.

p. 3.)

In

the following example, from second quarter to second quarter.

Ex.73

piiap
Alter some of the previously written
as to occasion the concurrence of a final

work

in such

manner

with an

initial measure.

Irregular Measure- groups.

14.

55

14.
I.

IRREGULAR MEASURE-GROUPS.
is

ATrimeasure
contracted

regarded as an

elongated
,

Bimeaswre
more
fre-

or

Quadrimeasure.
unite
to

Two Trimeasures
form

quently

three Bimeasures,

a Hexameasure,

two of

which constitute a Duodecimeasure

G-

etc. The Minuet of Mozart's Min. Symphony opens with two Trimeasures, thus:

Ex. 74.

ffi^+^jg^g^g^gg
These may be comprehended as expansions
of:

Ex. 75.

or as contractions from:-

Ex. 76.

$=^^m$fr+i<=^m
The cause
such
irregular
of the

peculiar
is

aesthetic impression

occasioned by
(unconsciously

formations

to

be

traced to

this

made) comparison with their corresponding regular formations. Beethoven and his successors explicitly designate such Trimeasures "Bitmo a tre battute", i. e., trimeasure rhythm. The most
noteworthy

example of the kind

this

is

to

be found in the ninth Sym-

phony, where

Trimeasure:

Ex. 77.

* P 3E2 S|^3pE 3p

is

the subject of a very extensive thematic development.

Convert previously written Bimeasures and ftuadrimeasures

into Trimeasures.
II.

Pentameaswe

is

generally

regarded as being derived

Thus, the following one:

from a Quadrimeasure by elongation.

56

Irregular Measure- groups.

14.

Andante maestoso.

Ex. 78.

JU ^ nrrr
i

for instance from:

Ex. 79.

EE

U
commencement

or from:-

Ex. 80.

Efc

% S^
of

The

following

sprightly

Mozart's

little

Min. Symphony:

$B S^J *
derived from:
Ex. 82.

Ex.81.

&e

^s
&c.

==

m4
divisibility

| JLfi4.jL^E

Elongate several Quadrimeasures into Pentameasures.

Other irregular measure-groups of 7, 9, 11, 13
etc.

measures

may

likewise be explained on a basis of Elongation or Contraction

of corresponding regular formations.

Unusual measure-groups are of importance

structions,

to the longer con-

as effectually interrupting,

of their

rigid

by two.

where desirable, the symmetry A 7 -measure construction of

So,
too, the

three (1

+ 2)

and four

(3X1

+ 1)

measures constitutes the rhythmi-

cally blithe opening of

Mozart's Figaro Overture.

softly
(II

theme of the gently and

in the Opera,

flowing Bt> Maj. Aria

of Ottavio,

Don

Giovanni,

mio tesoro in tanto)

it

commences
be noticed,

with a 7-measure construction.

Over and above,

will

that just the great masters of form are fond of free

structions,

and bold con-

and are averse

to

wedging their thoughts into the bounds

of measure-groups of

numeral evenness.

Modulation.

15.

57

15.

LICENSES IN MODULATION.
difficult for

That
evident.

it

cannot be

any one that has studied Harmony,

is

to effectuate every possible modulation in whatsoever form,

self-

To the contrapuntist, then, who masters both the

Strict

at this

and Free Style, such a task can be but child's play. Therefore, advanced stage of study, no great value can be set upon tasks of that kind. In the Composer's Practice, however, the demands of novelty are often in favor of extraneous modulation,
even where
absolute
it

is

not

required

by an inner necessity.

Since

an
it

command
of

of the material of

Harmony

is

presupposed,

cannot be
that

import to set up
as the following
let us

the empiric,

or logical

bounds

of

procedure,

exercises are in this

regard pre-

cisely defined.

But

observe by an example,
of

how

the apparently

extraneous may be the result

inner necessity,

and,

moreover,

how,
style,

after all,

it

will

be proven to be well founded, coherent in

naturalness.
all

and of perfect
the

In

most celebrated of

Funeral Marches,
is

the

one in

Beethoven's A(? Maj. Sonata,

Op. 26,

to

be found

the' greatly

wondered

at

modulation from Aj? Min. to

the Partial Cadence in

DMaj.
This March
is

in the Tripartite Song-form.

It

opens with an

8-measure Period,
(C\? Maj.),
inant:

which

terminates

in

the parallel

Major key

and whose Antecedent forms a Semi-cadence on Domin perfect regularity.

thus

Now, instead of repeating

this period,

whether

literally

or in variation,

Beethoven

trans-

poses
C\>

it

into

the Minor of the

above cited parallel key

into

Min.

The modulation referred

for,

to is a necessary result of this

transposition,

the parallel key to C\>

Min.

is

jE\?p

Maj., but
51.)

written

at once as

DMaj.

(Comp. "Practical Harmony",

Beethoven,
key of

in the interest of a convenient

mode

of notation, avails

himself of the Enharmonic notation as early as the entrance of the

C\> Min., which he writes as

B Min.
merely as a
repeat
sign,
repetition,

We
similar
to

might regard
one
that
is

this

transposition

indicated
its

by

the

had not

Beethoven, though

retaining

nature, yet, carried out the

mod-

58

Modulation.

15.

ulation differently from the sixth measure on.

The

first

time,

h&
into

proceeds through the Dominant key of A\> Min.:

the
parallel key:
C\?

E\> Min.

Maj.; but the second time, by way

:

of the
(7

Sub-dominant of
Fj> Min. J into its
essentially the

B Min. E Min. (in reality, Sub-dom. of C Min. parallel: D Maj. This diversity in carrying out
to the perception as

same modulation appeals

being

a mere (transposed) repetition.

Ex. 83.
l

First Period.

\P'^ V' J3

J?777rto3fa Jl J J3

J J J

J3

Second Period.

jig

Ji
lt

mm

(,j.

J3

,j

j g j Ji

inJ j j

J3

igtoo m<-^fluj3ja^3

p^f^m^i^^^i
Thus,

we have here a Double Period

of

16

(2X8)

measures

as the first part of a Song-form.

The second part (Intermediate Section)

is

contraction to a

Quadrimeasure, with a transition into the third part. The modulation from D Maj. to the Dominant of A|? Min: E> Maj. is effectuated
immediately
through
the

Enharmonic Change of the Chord of the

G\>

Diminished 7th,

D F k\?
is

(Comp. "Practical Harmony",

57.)

The third part

ures.

in Period-form,

and

is

drawn out

to

10 meas-

A
In

repetition does not take place.

determining the

form of

this

March, we cannot,
instead of a

all

con-

sidered,
in

but

decide in

favor of the Short Tripartite

discussed above,

Song-form,
repetition

which the duplication

first

of the

Period,

has

taken place;

whilst the

second part has

is

been reduced to half the regular length, and the third part, which otherwise normal in its construction, is elongated by two measures.

Modulation.

15.

59
aesthetic significance of

We
this

have not

to

deal

here with the

in it. These are acknowledged with admiration by the entire musical world. Indeed,

March, nor with the modulations contained

is

there

scarcely another composition of this class, deserving mention

beside this work.

Transpose this March into different keys, either at once at

the Piano, or previously in writing.

For additional examples

to this ,

see the author's

"Partitur-

studium" (Modulations of the classical masters as displayed in their scores), Book II: "Modulationsformen", particularly 25, on
Beethoven's Symphonies; 27, on Bach; pages 262

&

291, on Wagner.

when in a Maj. key, not infrequently contain a Cadence on the Mediant in Major; as, for instance, in a strain in C Maj., on E Maj., being a variant, as it were to the usual Partial Cadence in E Min. (see Remark 5). Occasionally, the first part of a piece in Minor terminates in the Major key of its Dominant; as in G Maj. when the strain is in the key of C Min. As the preponderance in modern music, after
pieces in Song-form,
, ,

Modern

all,

lies

in

characteristic

harmonic

treatment

(Modulation),

the

endeavor at oddity in
keeping with the
to

this

direction

can

only be regarded as in

spirit of the age.

This circumstance gives rise

certain

tasks,

which,

though really lying outside the study of

composition

proper,

should

by

no means be passed over here.

Moreover, they furnish material for voluntary additional work.

Write Bimeasures containing extraneous modulations.

Such are well
Sequences, and

adapted as Motives for interesting harmonic

also receive a contrapuntal treatment in choice

may

and spirited

figuration.

(Comp. "Harmony", 51; especially 62,

Wagner.)

Write quadrimeasure Sections, each one of which

carry out a prescribed extraneous modulation.
In this and the following exercises,
of Cadence.

is

to

avoid commonplace forms

In like manner, write:

(1)

Long Sections

( 6).

(2)

Pe-

riods terminating in unusually distant keys.

(3)

The same

60

Motive,

and Thematic Work.

16.

with uncommon Chief and Partial Cadences,

the foregoing into different Song-forms.

(4)

Draw up

16.

MOTIVE, AND THEMATIC WORK.

the subject
of any

A
musical

musical thought that forms

evolution
is
is

manner
rule,

of

termed a Motive.
only
to

However, as a

this

designation

applied

tone -combinations of a lower stage

of development than the Sectional form, thus,

est the Phrase.

approaching at highis

When

a Sectional, or a higher, form

it

employed
to

as

the Motive of
it

any manner of development,

appropriate
to its

is

customary

designate

by a term

form,

or

even as the

Theme.

The

fixed forms that have thus far

come under our notice

are,

with but few exceptions, developments from Motives.

Exceptionally,

Motives are employed

for, the production of strung-out constructions

lacking firmness of form, and which are termed by

i.

Marx,

"Gang",

e.,

Passage.
is

passage

of

this

kind,
the

founded on a particular

Motive,
of

termed a Sequence,
is

when
a

Modus

of the succession

repetitions of the Motive

significance of a

definite one,

and otherwise has

of this has

the

free Sequence.

The nature

been

explained in the author's "Practical Harmony", 51, where, mora?

over, these designations have appeared
first. it
is

Section, too,

may

be given a passage-like treatment, when

higher form.

not developed into a

In

Beethoven's Bb Maj.

Sonata, Op. 106, the

first

Bimeasure
i.

at once serves as the

Motive of a repetition by translocation,

Thus:

e.,

the transferring to another degree of the same key.

Ex. 84.

Allegro

Motive,

and Thematic Work.

16.

61
is

In the Development of this movement, the same Motive

subject of a very extensive evolution:

the

Ex. 85.

3e& BE
95* EE

rui f

M^=S
1

=t

Canon

in the

lower 4th.

ligS & N a^^rcg

35fc=fc
(The imitation makes a free change of

ZZ

and so forth in
ical

free canon-

imitation;

afterwards

3-part, running out in 3rds

^ ZZ

finally 4-part,

running out
all,

in double 3rds. In

over

40 measures.

interval.)

This
is

is

furnished by only a portion of the

preceded by a short introduction, the Motive of which initial Phrase; thus:

El.86.

gfe^

This Motive again appears after the canonical strain. Now even the first two notes alone several times serve as a Motive of developThis is also the case in the Enunciation (first part of the ment.

movement), shortly before the entrance of the

Maj. signature:

y ivjiluj
Ex. 87.

f.r.f
C

v-l\

CI

harmony

In most editions, this JE, where it occurs for the third time, and in close in the passage in thirds, has erroneously been printed F:

ltl\ ?

f!f

'f

If

'IF

ft

62

Motive,

and Thematic Work.

IS.

Likewise, towards the end of the Development, shortly before

the entrance of the

Min. signature:

mi
Ex. 88.

f Tf ;f =& == ,T f
,

fr

m
In the
first

**

few
of the

i-i

5 ^^
this

In this manner, longer Motives can be dismembered into shorter

ones; and the reverse, shorter Motives united into longer ones.

movement

Maj. Symphony,

Motive

Lflf
predominates.

{Not

as

is

sometimes

erroneously

stated,

J_J J

which, of course, proceeds from the former.)

The
Motive,

first

movement
I

of the

C Min. Symphony
its

is

based on

this

J J J
it

J\

and maintains

own

against

all

the thematic

changes
In

undergoes.

Mozart's

Min. Symphony,

this

Motive

[f
|

pre-

dominates.

Yet, a greater portion of the

Theme proper

occasionally

becomes a Motive of development.

Thus
in

it

will

be seen that one Motive

producing a solid form.

purpose.
the

Only exceptionally

may unite may a

with another
single

Motive

suffice for this

At

times,

apprehension
of

interpretation

may waver
of

between the

acceptation

a single worked-up Motive, or

combination of several;

as,

for instance, here:

(a)

(b)

Ex. 89.

^e*fi
no importance to the Art of Composition.

where the Motive

of (a), or as a

(b) may be viewed either as a staccato variant new Motive. A rigorous determination of definitions

in the present sphere is of

Motive,

and Thematic Work.

IS.

63

Work up

Motives into Passage-like Strains by means of

Translocation, Transposition, Modulation, Contrapuntal Devices,

Augmentation, Diminution, Contrary Motion, Figuration, Variation etc.

Every manner
independently,
or

of
into

formation

of

Motives,

whether
is

developed
as

Themes

of

distinct form,

designated

Thematic Work.

Since a musical

work
it

of art does not necessarily

originate in the succession of time as

presents

itself,

after

com-

pletion, to the hearer, the Thematic "Work,

may, in the process of

invention,

take the lead;

i.

e.,

a well denned Theme

may be
or

con-

structed subsequent to a

development from Motives.

Over against

the finished work of art, one apprehends the

Theme

Themes

to

be

dismembered
has attained

into
its

Motives,
zenith in

and

these

worked up.

Thematic

Work

Quartets.

"Wagner

introduced

Beethoven's Symphonies and String it into the Musical Drama as the

Thematic Motive,
is

Leading-motive

style.

The

term

in

contra-

distinction to others that

may

present themselves,
first,

applied to the

predominating, occasionally the

hence, principal Motive.

By Caesuras

are meant the perceptible divisions of Measures,

Phrases, Sections, in short, of any form-parts.

in the delivery of a musical

Their representation

work

is

called

Phrasing or Articula-

tion; in Theory, Analysis of

Form.

PART

II.

SONG-FORMS APPLIED.
(A)

THE COMPOUND SONG- FORM.

17.
into

Combinations of strains in Song-form

of

independent piecesconstitute

music,

or

independent portions

of

extended pieces,

Compound Song-forms.
measurable
field

These almost exclusively govern the im(i. e.,

of

Dance Music proper

such as

is

composed

for the specific purpose of dancing) of

and the higher and lower classes

Drawing-room and Entertainment music.

is,

The Scherzo

(or Minuet,

Episode, Intermezzo) of Symphonies

of these forms, which,

in nearly every case, in

one

moreover are quite frequent

piece in Song-form, the

in all the other

departments of composition.

As a

rule,

the

first

Chief Subject,
is

is

succeeded by a second, as Trio, which in turn

return of the Chief Subject.

followed by the

In

all

subsequent exercises, the student should, wherever

feasible,

employ previous work.

their chief organs of per-

The Piano and String Quartet being

place here.
Since, in the delivery of a

formance, a few observations pertaining to these will not be out of

Piano Setting,
is

but a

single in-

dividual has the disposal of the instrument's resources, which indeed

are considerable in every respect, the composer

to confine himself to

not necessitated

any particular mode of setting, or number of

all

real parts.
filling

Ever at his command, rather, are up and completing harmonies, as well as

parts and
entire

the

means

of

of doublings of inis

dividual

chords.

Of no mean importance

the

Variation.

18.

65

contrast of tone-coloring accomplished

by dynamic shadings and the

greater extent by the em-

various gradations of touch,

but

to

still

ployment of different positions (octaves) of the instrument.

at the master-works will suffice to confirm this statement,
it* full understanding.

glance

and afford

The String

Quartet, on the other hand,

is

to

be regarded
occasionally

as the union of four real parts, which, however,

may

be confined to three or even two, by the doubling of main parts at

the unison, or the octave.

Thus, for instance,

Haydn

has written

a canonical Scherzo, in which two instruments each unite to perform

one of the parts.

So far as his

acquaintance with the stringed

instruments extends, the young composer

pings,

may employ double

i.

stop-

but only in the service of tone -shading,

filling

e.,

for coloristic

purposes, and not merely for

up

deficient

harmonies, a proskill.

cedure that would only be indicative of a lack of

18.

THE VARIATION. ETUDE. PRELUDE.

simplest form of ranging together independent. pieces
is

The
in its

to

be found- in the Theme with Variations.

simple
aspect,

In

it,

Theme

is

announced:
each of

then

repeated in

divers Variations,

which carries out a

device

different figurate motive,

or also,

contrapuntal
1

on a fixed harmonic foundation.

times the key,

may be
It is

changed.

Even the Mode, and at The Theme is usually in Song-

form, but sometimes in that of a Period

in Sectional form.

exceptionally,

though,

taken for granted that the student became

skill in,

acquainted with, and tried his

Variation during his studies

to Counterpoint, practice

in Counterpoint in the Free Style.

Next
of the

in Variation affords the best training in Thematic

Work. Beethoven's
and
later

creations in this field,

and those

earlier

masters

are

universally
is

known.
form,

The
and
it

last

movement

of the

phony
are

in this

predominates in

Eroica Symthe last movement

limits of this

of the ninth {Choral)

Symphony.

The extreme
Variations",

form

marked

in

Bach's "Air with 30

in

Beethoven's

"33 Variations on a Waltz by

a Theme in

Diabelli",

and

his

"32 Variations on
the Andante in

C Min." As an

important work of art of this form of

writing long since very popular,

may be mentioned

Maj. of

Haydn's G

Maj. Symphony:

Bussler, Musical Form.

66

Variation.

18.

Ex. 90.

$ 3P2 & 2
4-

The manner

in which

Beethoven

has produced a

Theme and
is

Variations thereto from the Period shown as Ex. 20,

to

be ob-

served in the "Kreutzer Sonata", Op. 47.

The Variations
noblest virtuosity,

in

Eaff's Suite
as

for

Piano in
also,

Min.

may be

designated models of perfection,

may

but in the sense of

has written on this

the Variations which Liszt

celebrated Theme:

Ex.

91.

P I PP?3 P
Fantasia.
life.

in

his

"Don Juan"

Frequently have Variations risen to

the capacity of depicting scenes from

The Etude
i. e.,

is to

a certain extent a Variation without a Theme,

it

is

founded on the plan of the Song-form, instead of being

based on a particular Theme.

The

essential contents of the

Etude

are composed of the manifold repetitions of a given Motive as the

figure of a certain technical exercise.

The more rigorously

is
its

this is

carried through, hence,

tained, the greater

the firmer the unity of the piece the freedom in

main-

may be

formal construction,

and
Nos.

in its modulations. in the simpler

3, 5,

This also applies to the older form of the

Prelude
1,

form of construction,

as, for instance, in

2,

etc.

of

Bach's "Well-tempered

Clavichord".

Numerous Etudes

attain the expansion of the

form; as for example, the

E Min.

Etude

of

Compound SongChopin:

Vivace

teggerio.

Ex. 92.

Scherzando. Seherzando.

>l

pgf
the Trio of which
is

composed

of

an altogether different Predom-

inating Motive; thus:

Dances.
Piu Unto.

19.

67

8,

j^ffJff/ff/
sostenuto.

ftf^
J
S2-

Ex.

93.

^B

In this and similar Etudes the technical end in view has been

subordinated to the aesthetic principle of delivery,

which, in the

present case demands a contrast to the soaring motion, breathed forth, as it were, of the first part, and which it finds in the Trio.
Just as numerous Etudes, overreaching by far any object of
technical exercise, assume the aspect of charming pieces (as in the

case

of the

above cited one,

so

and many others By Chopin and

of

other

composers),
a
piece
of

the

appellation that

many

music
of

was not

originally
its

Etude has been given to intended to have

being technically in

pursued the
that form,
to

office

one,

on account of

and because the

composer's modesty has prompted him

remain reticent as

to the higher

mark he has

set.

Likewise are many

forms.

of Bach's Preludes written in contrapuntal

Others again have not, in point of contents, a single feature His Prelude in in common with the design of technical exercises. the outlines of has II, Clav." "Well-temp. Bf? Maj., No. 21 of the
the Sonata form.

19.

THE DANCE FORMS PROPER.

The chief forms of the social dance are based upon a 2-measure pas (step), which effects one complete revolution simultaneously with a remove forward of the body. Each measure corresponds to
measure, a semi-revolution of the body, hence, with every alternate altogether is it Therefore the dancer sets in with the same foot. inadmissible to introduce Sections or Periods of odd numbers

Heptameasures in any of these of measures, as Tri-, Penta-, or Even measure -groups that are not thoroughly built on dances. For duality are apt to have a disturbing influence upon dancing.
,

this

reason

it

is

necessary to

confine

the Periods to

4-,

8-,

and

16-measure constructions.

Yet, with the most noted writers of this

68

Dances.

19.

species of composition, are to be found the exceptional constructions

of 10,

12, 20,

24

etc.

measures, in which, however, every impro-

priety has been averted by the skill of the composer.

Those of the society dances, that are founded on combined

steps, as, for instance, the Rhenish Polka, in which the third

and

fourth measures have a

different

step

from

the

first

and second

(2X1
known.
as
it

and 4

X7
this

2 )>

are

much

subject to fashion

and not generally

For

reason they will not be considered here, where,

this subject is quite dispensable.

is,

an exhaustive treatment of
of

The principal forms

dances are determined by the

chief

contrasts of time (as binary, ternary)

and tempo

(slow, fast).

Binary Time.

Slow Tempo.

Polka,
1.

short Introduction in Polka tempo, generally no longer

than 2 or 4 measures;

does not belong to the dance proper,

and

may

therefore be of irregular construction.

2.

Polka.

Quaver or semiquaver up-beat, as a

Length, with repetitions:

rule.

Short

Tripartite Song-form.

2X8

2X16 =

48 measures.
3.

Trio.

Construction similar to that of Polka.

Frequently

introduced by a short, merely rhythmical, Prelude of 2 or 4 measures; as

N J^ N

r^

This short Prelude does not interrupt

the dance.
4. Repetition of Polka with a Coda affixed, which is generally 8 measures in length, and contains distinct indications of the ap-

proaching close.

This Coda

is

no longer a part of the dance proper.

rise to the following figures of

The rhythm of the Polka gives

accompaniment
:

i
Fore- Afterbeat beat

'

i
'

Fore- Afterbeat beat

Forebeat
is

After-

beat

Upon
*

this,

the melody

formed.
i.

In concert performance, dances are shaded rhythmically,

e.,

tempo-changes

occur, that are carried to extreme arbitrariness;

and

indications to this effect are to

be found in the scores of some composers of dance music.

Dances.

19.

gg

For information regarding

see
the

the orchestration

of dance music,
Berlin:

author's

text-book of "Instrumentation."

Carl

Habel.

As ranking
the

next

to

the

Polka in point of
which,

affinity,

comes

ordinary Military March,

((p),

however,

is

often written in

alia breve time

hence,

in crotchets instead of in the

quavers

of the Polka-rhythm, and need not begin with an up-beat.

Binary Time.

Quick Tempo.

Galop.
It

has the same form as the Polka, but

is

in quicker two-four

time, each measure receiving but one beat, the time being counted
1
|

1 etc.,
is

whereas in the case of the Polka,

1,

1,

The

Galop

frequently in Long Song-form.

Ternary Time.

Slow Tempo.

Mazurka.
1.

Introduction.

few measures in the tempo of the dance.

Tripartite Song-form: First Part,

2.

Mazurka.

Long or Short

Second Part,
Trio.

Repetition

of First Part;

each

of

8 or 16 measures

length, not counting the repetitions.

3.

Long
to

Tripartite
It

Song-form;

second part
the

may

also

be shortened

8 measures.

may have

Long

Bipartite

or

the Short Tripartite Song-form.

4.

Repetition of the

Mazurka and

a short Coda.

The Trio of most of these dances is in a different key to the Chief Subject, for the most part in that of the Sub-dominant.

Minor
and

keys are only exceptionally appropriate

is,

to

dances proper,

that

when

they are treated humoristically, which,

how-

ever, is to be

avoided here altogether.

Ternary Time.

Quick Tempo.

Waltz.
This
dances.
is

the most peculiar and prominent of the actual society

is

The Waltz

in a

quick three-four time,

of the

each measure

receiving but one

beat.

The form

Waltz

differs

from that

of the other dances.

70

Dances.

19.

A
for
its

greater degree of specific talent for dance-melody

is

requisite
Its

composition than for that of the other dances.

as follows
:

usual

form

is
1.

Introduction.
;

Contents generally

foreign

to

those of the

dance proper
in orchestral
parts.
2.

frequently a lengthy Adagio or Fantasia, which,

setting,
is

when

not

seldom combined with prominent solo

This leads to a Short "Entrance" in Waltz-tempo, which immediately ushers

in the
3.

Waltz, which has 5 numbers,

counted successively from

to 5.

Occasionally, there are only 4; rarely 3.

These numbers which constitute the "Waltz proper may be of

like or different construction.

Yet, they are generally (and in our

present exercises should be throughout) composed of two 16-measure

Periods, both of which are repeated.

When

in Tripartite form,
first;

then

the third

part should be a repetition of the

there being ex-

ceptions, however, which will not

be considered here.
that, within

These Periods are for the most part so constructed,

any one of the numbers, they do not exhibit any thematic corre-

spondence between themselves,

without

being thus two

adjoined

Periods

any further connection.

Here,

too,

a Long Section

may

replace a Period.
the principal key,
relationship

The terminations are only seldom

yet,

distant from

they need not be

confined

to the

nearest

to Tonic.

There

is

no restriction as to the key of

each single number.

4.

Finale.

Instead of being a short Coda, this

in

is

an extensive

Finale in Waltz-tempo,

which the most striking numbers of the

Waltz are repeated (Potpourri), and perhaps a new one introduced.

Futhermore, to the variety in rhythmical arrangement of the

Waltz melody,

is

allotted the widest lattitude,

and whilst the Bass

and inner parts incessantly maintain the dance-rhythm, the melody

may move over them in the most unrestrained manner. Harmonic effects, however, should be applied here
other dances only with the greatest of caution,
too apt to arrest the mind,
of dance-music.

as with all

since they are but

and divert

it

from the essential purpose

Examples
abundant, that

of all
it

of the

above treated

dances

are

so

super-

would be quite superfluous

to refer to

any partic-

Dances.

19.

71
one of the branches of

ular

ones.

Moreover, dancing constitutes

hence,
is

society

accomplishments,

universally

known, and there-

fore not in

need of being minutely discussed.

Eleventh Exercise.
In accordance with the chief forms set forth here, write
dances, principally Waltzes.

Compose various dances

These latter should

to the following

given Basses.

first be

transposed into different keys,

and arranged

into the respective species of time.

Ex. 94.
Ho.
l.

TRIPARTITE SONG -FORM.

(First Part.)

Q:
\

== ==
I i

= =
===
i i I

i-.

=== |

(Second Part.)

~1

'

(Third Part
like the 1st; varied at pleasure.)

- 2i=-=:~t-t==l
cv

Teio

72
Tbio.

March.

20.

March.

20.

73

the Polka.

The Military March has been considered in connection with To a certain extent, it is the lowest form of March. The Festal March is in four-four time. In marching, two

definite steps are

made to each measure; but in keeping time, each measure receives either four or two beats. It is not absolutely remeasures be of even number.

quisite that the

The celebrated March

with a

from
vire,

Meyerbeer's "Prophete" commences even

thus:

Pentameas-

Ex. 95.

=m

$
of
its

^
five
so.

j {

^^p
ex-

The March, No. 22,

of

Mozart's u Le Nozze di Figaro"

hibits a peculiar construction in the, obviously intentional,

monotony
G;

Partial Cadences, most of which terminate towards G, (Ex. 96).

first

Even the
the
first is

measures of the melody are ruled by

in

this

8-measure Section terminates

a Section
consisting

Maj.

following which,

there

of two Trimeasures,
first

both

of

which

terminate just
js

Thus, the

part comprises 14 measures, and

to

repeated.

The

whole of the second part corresponds

the

first;

the Antecedent, here also, concludes in

G Maj.;

the Consequent

makes a
Appendix

digression into Tonic through a 6-measure Section similar

to the one

that
of

brings the
,

first

part to a close.

Then comes an

4 measures

forming a brief close in intervals of the

C Maj.

Triad.

Ex. 96.

r-r

s^erf i f-^

74

March.

20.

f^m^m^^T^T^=f^m *m g=rrir^ S
grr-tirr-r

Htrfrrf^f^i
i
sa r fetf.a^fci

ss

fes

jag
This
yet
is

^^
March which
to,
is is

^^i
only of scenic importance to the Opera,,

marched

without a Trio.
is
it

The Festal March

ures, as are dances,

not limited to any fixed rhythmical

fig-

but

must naturally be so constituted, that

prevailing

the regular pulsations,

ing,

corresponding to the steps taken in marchIts

be

distinctly

felt.

form

is

the Short Bipartite

Song-form for both March and Trio.

According as circumstances
(often in the

may demand,
Below

it

may have an Introduction

he shown the

form of a

Fanfare), an "Entrance" into the Trio, and a Coda.

will

construction of two of the most im-

portant, renowned, and. celebrated

Marches

of

modern

music, which
serve

have served many composers as models, and

yet
to

will continue to

many more: Mendelssohn's Wedding March from the music "Midsummer Night's Dream" and Wagner's "March from Tannboth quite
appropriate as examples to our subject from

hcLuser" ;

the fact that they are actually

employed

to

be marched to

on

the stage.

Both compositions open with an introductory

or Intrada:

flourish of trumpets

March.
Ex. 97.

& 20.

75
MKNDEL880HN.

isggLl "STVlA^^-i-^

^^
Waoner.

Ex.

98.

With Mendelssohn, the Introduction leads

Theme, which
Ex. 99.
is

at once into the

founded on the celebrated chord-progression:

iS
*///

* iiiig
OMaj.
OMaj. OMaj.
6

>

.i

j'

SMin. Chd. of7thonII|BJ/iin. Chd. of substitutes Sub-dom. Dom. 7th.

E Min. Tonic.

OMaj
Tonic.

Sub-dom.

Compound Cadence.

Compound Cadence.

the

the E Min. and The immediate connection of both Cadences must be accounted for in the relationship of the C Maj. Triad on the Mediant to the Sub-dominant (comp. the author's

"Harmony",
59

28),

and

in

the

substitution of the

latter

by the

Triad on the Super-tonic or 2nd degree.

(Comp. "Harmony" 27)

in their respective bearings

&

71.)

Thus,

E Min.

and

D Min.,

on C Maj., follow here in immediate succession.

Wagner's
made
into the

Introduction, which, owing to the inflection that

is

Dominant,

assumes the character of an Antecedent,

does not immediately

lead into the

Theme, but
the

is

repeated three

times, interrupted by allusions to subsequent Motives of the March.

But the

third

time

it

proceeds

to

Theme proper,

with

the

following intercalated Transition:

76
Ex. 100

March.

20.

peS mpp P
against

-m-nrn
w
measures

mk^^u^^
Thus, the Introduction of "Wagner's March has 23

Mendelssohn's. Mendelssohn's Theme

4
of

is

constructed

in

Short Tripartite

Song-form:
First Part:

2X4 = 8,

repeated

16 measures

Second Part:

= 8 Consequent = 2X4 = 8
Antecedent
16, repeated

32 measures 48 measures.

sum

total

Mendelssohn
of

includes the 4 measures of Introduction in the

repetition of the first Period,

whereby the

first

part attains a length

of

20 measures.

Counting in the 4 measures

the

initial

Intro-

duction,

the length of what

we have

thus far analyzed amounts to

56 measures.
Ex. 101.
tr

Mendelssohn.

^r^'Mr^zH^Aj
First Part.
|

Imp. Full Cadence.

Introduction
is

inserted here

ff ^

r
l

r^Tff^frJ' rr
l

r=

Perf. Full Cad.

Second

frf-rJUr.rf f
l

j|;

.i

rq-^-H

Part.

Semi-cad.

fr^-^%^
Semi-cad.
in

(Measures 18.)

Third Part.

Full

key of

Cad Dom.

March.

20.

77

From
of

here on,

the

previously

treated

Mendelssohn's March keeps within the hounds Compound Song-forms, whereas that of

Wagner

approaches in structure the extended Symphonic instru-

mental forms that will be treated subsequently.

Now Mendelssohn
Ex.
102,

adds a Trio in

G May. *

[u
if

U ^ U: m
in

&em
which conducts to the repetition of the Chief Subject, which
shortened to an 8-measure Period.
is

now

Then comes a second Trio

F May.

-=*-=
Ex. 103.

1^^^^
followed by the
entire Chief Subject

which

is

without repetitions,

but containing enhanced figuration:

Urn
Ex. 104.

ii

i^^to^fe

78

March.

20.

after which, enters the Intrada with

growing sonorousness

n ^^ feUig mm mr* mrmfmrmrw

Ex. 105.

-i

and

finally

a brilliant Coda of
parts (save the

2X8 + 10^

measures.

In

all

first),

the composer has avoided Perfect

Full Cadences, in consequence of which, this

quality
aesthetic
of

March possesses
connection
with

that
the

uninterrupted
of exciting

urging

forward in

power

expectancy, which particularly

Weber,

among

the earlier composers, succeeded in accomplishing to an equal

degree in his Overtures.

Wagner
Ex. 106.

does not

construct his

Theme

in Song-form,

but as

a 16-measure (Long) Period:

Well sustained

pn ifp^i
p
OS

ffikjj

^rf

J.^pff^=fejgl
\

8pk*-r
and immediately

t.

v it*

f
I

fHf^^f^
to this, joins a

new Theme

in the

same key,

like-

wise in the form of a 16-measure Period:

m ^\i

Ex. 107.

rJ7J F
|

fojimtf rDj j/iry

Match.

20.

79

the Antecedent of which terminates with the Chord of the D&m7th.,

"forming a Semi-cadence on Dominant:

Ex. 108.

{BMaj.)

jj,rfir eJr fJjj

|

^pai^5

m
ing to
it:

mm
JW
Cadence in

m
VI
fcey

f r
V7

ff

the Consequent, a

0/ Dominant by modulat-

80
(3 sharps.)

March.

20.

M'iW
ggjjji li
Thus
stituting a

far,

there

are

three
the

16-measure parts: the

two

first

con-

Tonic Period;
the
third

second,
of

a Period that modulates to

corresponding Sections

the Dominant;

consisting

both of which proceed from Tonic,

the Antecedent modulating to

the key of Dom., the Consequent modulating two keys in the "Circle
of 5ths" farther.

Now

enters

still

another

division,
It

one to

which allusion has

been made by

the Introduction.
of

commences with the Minor

Sub-dominant
part closes:
Ex. 111.

that

key

on

whose Dominant the preceding

ffij

y, t,

Ffe^^
of Cjf

m
The preceding part terminated on the Dominant
Maj.

The present one begins on the Minor Sub-dominant

but taken as the Tonic of
Imperfect Full Cadence
in

of this key,

F$

Min.

Its

Antecedent closes with an

in

F$Maj., and

the

same manner as
so in
this-

above the

F$

Min. Triad followed the

G
F$

Maj. Triad,
Maj.

instance, the

Min. Triad follows the

March.
Ex. 112.

20.

81

m&
Its

iSS
fifth

m i ggfcEEJE*
Consequent makes an inflection with the
of the initial key,

measure towards
flourish of

the

Dominant

where the introductory

this

trumpets again enters, extending

measures.

Consequent to twelve (4

+ 8)

At
the

this juncture, all that occurred before,

is

commencing with
is

Principal Theme,

repeated with the support of a chorus.

followed

This unabridged repetition, comprising 68 measures,

by the Chief Subject/" and with enhanced

figuration, thus:

Ex. 113.

i
s

tt#=
//
ft

<U
f
j

\ T&r*

f\\

\-

^S

The Coda, which brings the March to a close, borrows from the Motives of the first and second Themes and Introduction. In Liszt's Piano Transcription of this celebrated March, the
tender Theme:

p^jftf-p^

m
%

^y> N^_^
do not take into account.

*=
=3f

which in the Opera accompanies the entrance of the minstrels, forms the Trio proper, but which we, pursuing the original composition,

We

accept the

Wagner March

rather as a

March

in several divisions (independent Themes), but without a Trio.

similarity, 6 in

Both Marches here considered exhibit a

6 ussier
,

that

Musical Form.

82

March.

20.

the commencement of each forms

Compound Cadence, hence,

for-

mula

of a Close.

Let us set up side by side the plan of each:

Mendelssohn's Wedding March.

Introduction: 4 measures

Measures

4
.

Chief Subject: Short Tripartite Song-form with repetitions

52

First Trio,
First Part:

G Major:
Form.
Semi-ca-

Antecedent: dence on Dominant, 6 measures, repeated

Sectional
Cad.,

elongated

Second Part: Double Section,

2X4

Maj. measures, repeated

12

Gr

Maj., Imperf. Full

16
8

Repetition of the Chief Subject shortened to a Period, not repeated

Second Trio, F Major:

First Part:
Sectional Form, 8 measures
.
. . .

8 16 16

Second Part: Sectional Form, 8 measures, repeated

Transition: Antecedent: D Min., Semi-cad. on Dom., 8 measures; Consequent: transitional, 8 measures

Repetition

3X8
Coda:

of Chief measures

Subject:

Short Tripartite

Song-form,

24
16 measures; Close, 10 measures
.
.

Introduction,

4 measures; thematic reminiscences, 8 meas-

ures, repeated

30

Total 186

Tannhauser March. Waarner's

Introduction: Intrada, 4; Interm. Section, ^_,4,_,
;

Measures

Intrada, 4;

Interm. Section, 2; Interm. Section: (fourth Theme), 4; Intrada, 4; Interm. Sec, 4 Interm. Section, 2

23^_,

Chief Subject: Tonic Period Second Theme: Modulating Period

16 16 16
(8

Third Theme: (Double) Antecedent Fourth Theme: Double Section with Transition,

4)

+8

measures

20 68

Repetition of all four Themes Repetition of the Chief Subject: Antecedent as above; Consequent with prolonged Close, and Deceptive Cadence
with the
4

chord
Cad., 8 measures; Sec-

17
Intrada

Coda: beginning with the Deceptive

ond Theme,

8^;

&

Close,

21

36

Total 212

March.

20.

83
is

The tempo

of the

Funeral March
(Comp.
Ex. 83,

the slowest of Largo.

in

A
his

peerless

model has been furnished by Beethoven

Sonatas.
p. 58.)

one of one

Pianoforte

The

by

Chopin, which ranks next

place
in

in popularity, has also

is

been allotted a

a Sonata.

The Funeral March

always in Minor key,

or in parallel Maj.

and the Trio almost exclusively

in like-named,

key, or in the Maj. key of the Sub-mediant (lower third; as

C Min.

Afc>

Maj.).

Festal Marches in Minor,

which are not actually

explained

intended for funeral solemnities, do not require so slow a tempo.

The construction
above.

of

Beethoven's March has been

is

The Trio

(in A\> Maj.) consists of

two 4-measure Sections

that are repeated.

Coda, which concludes in Major,

appended

to the repetition of the

March.

The Polonaise
is

a lively

March

in

three-four

time.

step

is

made

to

each

(quarter)
is

crotchet.

The

figure of

accompaniment of the Polonaise

in this characteristic

rhythm:

jfl

i i i

J J

J J J # I i

Yet

it

is

not

absolutely

necessary to

adhere to
it

it

throughout,

as

innumerable examples
of the Polonaise,

illustrate.
it

Furthermore,

is

a characteristic

that

tends to group the

last

two measures of

every Period into three

measures

as will be seen iD the follow-

ing:
Ex. 115.

Weber.

-Vt

rf rf-rMi-

-Mff-f-ff
6*

84

Idealized

Dance Forms.

21.

^s

il

f
C
{
I

WmM
U.
The Contredanse,
is

ut..

-.1

|j/

3EEE

Quadrille,
is

likewise

related to the

March, hut

written in \ and

time,

two steps heing made

to each measure.

It

has

five

or six divisions

or figures separated from each other hy rests; the last one running
into a circular dance proper.

Twelfth Exercise.
Compose Marches and Polonaises, particularly in accordance
with the principal forms as
set forth here.

21.

IDEALIZED DANCE FORMS.

which,

There are numerous compositions,

tended nor even appropriate
for

though neither

in-

dancing purposes,

horrow

their

rhythmical Motive and the most general outlines of construction, In this hut with every license, from some definite form of dance.
respect, the

Waltz has proven

in

itself to

be the most

fertile.

It

has

been

glorified

compositions
all,

by Schubert,

Weber

(Invitation

to the
all

Dance) and, above

by Chopin.

In such charming pieces,

the subtilties of an exceedingly high development of the technic

of art are united with

an entirely free treatment of the dance-rhythm.

Through Chopin and many others, most of whom, however,

are
his

imitators,

the

forms of the

Mazurka

(prototype

of

the

Idealized

Dance Forms.

21.

85
like ideal culti-

Polka-Mazurka)
vation.
etc.

and Polonaise have undergone a

too,

Other national dances,

such as the Bolero, Tarantella

Eecently,
distinguished com-

have been similarly built upon.

posers have bestowed an equal amount of interest on the antiquated

dance forms of past Bigaudon etc., etc.

centuries,

such as the Sarabande,

Bourne,

Particularly Kaff's

work

in this field merits

being designated as pre-eminent.

In this respect, the classical masters have given their attention
to the

March
is

in particular.

It

will

be taken for granted that the

student

acquainted with

the

Funeral March of Beethoven's

A\? Maj.

Eroica Symphony; the previously mentioned one in his Sonata; the Festal March in the A Maj. Sonata, Op. 101:
Ex. 116. Vivace alia Marcia.

with the canonical* Trio, and the March of his "Ruins of Athens.''

The Alia turca

of

Mozart's

Maj. Sonata:
fc

Ex

117.

I
\v*i
|

fca

m ^g
JJ

S
ffi=R

2EEE

& i^m^m^^ m ^s
f

Comp. the author's "Modern Counterpoint and Fugue."

86

Scherzo.

21.
peculiarity of this composition
is

likewise belongs to this class.

that this 8-measure Period follows every part as a kind of

Coda:

Ex. 118.

In
affecting

Chopin's Funeral March, the manner the muffled tolling of

is

left

hand imitates in an
a kind
of

bells,

"Basso

ostinato", as

similarly the case with the second

Impromptu and

an Etude of the same master.

The most important

has

of the idealized

proceeded from the

place in the

antiquated Minuet,
large

dance forms is that which and which has found

works
of the
classical

a constant

instrumental

masters as the Minuet or Scherzo.

This movement
is

usually in Bipartite,

or in Tripartite Song-

form variously modified by elongations and contractions,

one part,
various

now

of

again

of another;
Its

as has been previously illustrated by

is

examples.

Trio

generally in

the same key;

is

excep-

tionally in
its

that of the Dominant.

in the like-named

When

the Scherzo

in Minor,

Trio
Efc>

is

Major key.
the

In

Mozart's Symphonies
In

in
in

Maj. and C Maj., the Trio remains in the principal key; but

his

Min. Symphony,

it

is

in

like-named Major key.

is

Haydn's D Maj. Symphony

mediant of
its

(No. 2), the Trio

in the

key of Sub-

like-named Minor, hence in B|? Maj., a by no means

In

rare key-relationship between the different parts.

first,

Beethoven's
is

second, Eroica, fourth, Pastoral and

(as in

eighth Symphonies,
in

the Trio

the
its

above mentioned ones by Mozart)

the

same key with

Scherzo; in the fifth and ninth, in the parallel

Scherzo.

21.

87

Maj. key; in the seventh, in the Maj. key of Sub-mediant: Scherzo in

Maj., Trio in

Maj.

The seventh Symphony

is

is

the only one of

Beethoven's,

in

which the Scherzo

not in the key of the Symphony.

Haydn's Symphonies and String Quartets

which just enjoy universal favor, but the
less

not only those

as well of

known ones

are

furnish an inexhaustible

choice of

consummate models

that

species,

which are in greater proximity

to

to the original form.

Such
in

also

be found in Mozart's instrumental works,

and

numerous Pianoforte Sonatas,

Duos, Trios and String Quartets

of

of

Beethoven.
those limits.
the
in

Of the Scherzi
first,

the

last

named

master's

Sym-

phonies, those in the

second, fourth and eighth keep within

call attention,

We
in

manner
some

by several examples, to which Beethoven proceeded in elaborating this form

shall

now

of his

other works,
it

how he extended and remodeled

it

in the Scherzo; which,

is

hoped, will be an

incentive to the stu-

dent of composition for his deeper study of other works.

In the seventh, the

A Maj.

Symphony,

the

first

part of the
that

Scherzo exhibits only the one peculiarity of formal structure,

it

opens with an introductory Bimeasure:

Presto.

Ex. 119.

m
part

4-

TTTT
which, throughout the movement, serves as a connecting
the different parts.
that
Interesting in point of
closes
in

member
is

of

modulation

the fact,

the

first
is

A Maj.

(the

key of the Symphony),

which key

reached through the

sudden transition from

Maj.,

with the aid of the Chord of the

Augmented

6th:

Ex. 120.

krr ff *
i i

(Bass in 8ves.)

#6

88
The
struction,
first

Scherzo.

'21.

part consists

really of a 16-measure Sectional conis

which, however,
it

lengthened by a Cadence-formula of

six measures, whilst

is

preceded by two measures of introduction;

1)

thus: 2

+ (2 X 4) + (2 X 2) + (2 X
follows,

+ (2 X 2) + 4 = 24.
on the other
the "Development"
in

The part which now

extent, as
to

the second 'part,

hand, oversteps the ordinary limits of the form in question to that

be

akin in
the

character to

the

Sonata-form.

At

end of four measures composed of the

an 8-measure
Section
enters,

introis

ductory

Motive (Ex. 119),

that

composed

of repetitions of the Motives of this Phrase:

Ex. 121.

m$^
into
<

partly of the whole, partly of only the second measure (Comp. Ex. 120).

The second Motive, transposed

D
Jfm

Maj.:

Ex. 122.

is

repeated four consecutive times, after which

it

appears in C Min.

zt.m.

^^
At

5?
Exclusive of

and

in four

measures reaches the Dominant of C.

its

introduction, thus

much
is

of the second part proves to be a

Compound

Section of 8

+ 4 + 4=
C Maj.
to

16 measures, with modulation from

given an exact repetition, but
its

A Maj.

to

C Maj.
is

This Section

modulation

now from
it

B\> Maj.

this juncture,

another repetition

seems about to take place in B(> Maj., but as early as in the third
measure,

becomes associated with the introductory Motive, thus:

Ex. 124.

m
Violinn

TTT *=*=rfr ffi=S

&
Viola.

^^

i^P

\>*-

rH

'

rmr-r fft t

Scherzo.

21.

89

which conducts to the entrance of the

first

8-measure Section, that here

appears two consecutive times, and which through the taking up by the

Bass of a four-part imitation (the fourth being in contrary motion):

Ex. 125. crescendo.

in
m

rr fffifff fff i^Hig?e

'
'

TTit^
i

r r r

'

i i

6
1

6T
f-

I
i

Third Part

(like the 1st).

^#1
e3 *=
leads into the third part,
consists

Mrr
the

3=
first.

the counterpart of the

The Close
first

of an 8-measure Cadence -formula,

in twelve

which occurs

in

measures with the same formula C Maj., and thereupon the introductory Motive termination, complete Maj. After this in is sustained p in the and enters tuttiff, perches upon A, which

Violins.

Beneath

this

sustained J.,

Trio in

Maj.

enters,

which pursues the

regular course of an elongated Tripartite Song-

form, and by means of the celebrated Deceptive Cadence: Ex. 126

Violins. Viola.

proceeds with a 14-measure Appendix to the return of the Scherzo, which, save that its second part is not repeated here, is identical

with

its

initial

entrance.

90

Scherzo.

21.
repetitions

Thereupon the Trio with

enters for the second time.

all

its

and the Appendix

Now
titions.

a further re-entrance of the Scherzo, but without repe-

Again the Appendix perches upon the notable

first

that

ushered in the Trio, of which, however, only the

are announced here,
first in

two measures;

Mag., then repeated in Min.

following;

which, comes a very concise Close to

Ex. 127.
Presto meno assai.

conclude the movement:

Presto

Tutti

|g
t>

bU

^i=P
is

the
structure

===,=*=*

Even more peculiar

fifth, the

of

the Scherzo

of the

C Min. Symphony.

The Antecedent:

Ex. 128.

jAir?

ir

rr r ^ k
\

l i^
pp

pp

m
IjJ

^^

^jijl J
7

rlf,j

jX_i

,. w< rit. poco

vKjnj

Scherzo.

21.

91

is
;
t

repeated

with

slight

elongation.

Hereupon, a

new Theme

appears:
Ex. 129. a tempo.

iES3E3=EE33E3 1$ M f ^f
//'

3^S
I

\j

*l

bJ

92
Ex. 131.

Scherzo.

21.

jjA

Tl

r f-ir

\^r\rn

n \m

^
r
|

ri^

rirr^r ^g
counterpoint to the chief Motive

After
of the

this,

Beethoven adds

as

a,

Theme, now

in the Bass,

a spirited melody in Treble, which

forms a Perfect Cadence:

Ex. 132.

:
|

r
|

fj^^Lj
f
l

^ rmr^
j|J

^ni=r
r f

Hr

jA^ n ^/rhf rr lfl?]j|'Jg ^

r
i

tir

|S
Aside from these

and becomes affirmed by an 8-measure Appendix.

two Cadences, the entire movement exhibits only Semi-cadences.

Less irregular
for
its

is

the Trio,

which

is

technically

remarkable
mighty

being worked up in fugato,

and on account

of the

Bass-figure, with which the second part opens.

Special Forms.

22.

93

Ex. 133.

//
i

^JUJJJJJ|JJJ^
r

rr

Jf
|

i|
r

^UfP wvr
f

'f

i
:

ji

r
|

j,

m u ^rff7rr+frff4
t
'

Hi

J.

f'r

\^=r(^

$
The
of
its

MH
latter,

fed^M
in repeating, changes the cresc.

close of the first part is regular, in G- Maj.; so that of the

second, in

C Maj.

The

alff

previous entrance into

a diminuendo al pp,

and without
the
further

forming any termination,

Scherzo.

proceeds at once to the repetition of the

is

The young composer

grand movement.

advised to

observe

course of this

Thus much was necessary as a

guidance to this manner of score-study.

Thirteenth Exercise.
Compose Minuets and Scherzi, but without designedly overstepping the limits of the Song-form.

22.

SPECIAL FORMS.
characteristic

There
belong

are

numerous
most

compositions

to

which

many

of the

original structures

that

do not borrow
of form, belong

from any
to the

distinct

form of dance, and

yet, in point

previously treated Song-forms.

Foremost among these, are

which,
bearing such appelor other
titles,

to be mentioned those in slow

lations as

tempo,

"Elegy, Ballad, Song without Words"

emotional
content, as

some

of

which intimate their

"Melancholie,

Eesignation, Nocturne &c,"

constitute either independent pieces, or

94

Special Forms.

22.
Of the
latter kind, for

separate movements of longer compositions.

instance, is

the "Andante" of

Beethoven's
I.

Sonata, Op. 28, whose

individual divisions were quoted in Part

Fourteenth Exercise.
Compose a slow movement in Compound Song-form.
Models
Part
for

the

individual

parts

are

copiously

furnished

in

I of this

work.
of

The number
equally as
great.

compositions of this
shall

kind in

quick tempo

is

"We

now proceed
it

briefly to

dismember an

exceedingly attractive model of this species of composition: the Im-

promptu, Op. 29, by Chopin,

ticularly instructive.

being universally known and par-

The

left

hand executes a

figurate

by the intercalated Suspension,

D:

Motive enhanced in interest

Ex. 134.

te P
?W" Jj ^^ggJ]
however,
with

This
deal

point,
solely
lively

we must overlook
structure,

here,

where we have
easily

to

formal

which,

in pieces

of so subtile

and

a figuration as the

present one,

may

escape the

observation of the beginner.

The

entire

composition

pursues an uninterrupted motion,

the

Cadences being veiled in rapid figuration.

The Chief Subject (which

is

is

based on the above quoted Motive)

in

Tripartite Song- form, consisting of 8, 10 and 16 measures.

The Trio

is

in

Bipartite Song-form, of 16 and

|:

16

:|

measures.

The Repetition
If

of the Chief Subject is a literal one.

short.

Appendix concludes the whole.

we now

turn to the

individual

parts,

we

shall

observe at

the

opening

a regular

Period of the

second form,

composed of

Antecedent and Consequent, each of four measures length:

Special Forms.

22.

95

Ex. 135

P^m
L-"~

Semi- cad.

> '

"H

m V*
fro,

The second part modulates

TVIin.,

to

and

from Ef> Maj.

to Bi?

back

to A)? Maj., then

between AJ? and E[? Maj.:

bis

|A" TJ *n JV
Ex. 136.
,

upon which

it

takes

up a Chromatic succession of Chords of the

6th:
Ex. 101. 137.
JCjX.

b
i-ft

*-to

simile -

fob _" P.

t*
-
to

^- frfVnV'f l fe
<!

&c

T)y

the

repetition of which,
is

it

becomes elongated by two measures.

that of this third part has long

The
since

third part

then attained by a Semi-cadence on Dominant.

elongation
to
is
it

An
better

extended

like

been familiar
advantage,
it

us.

But

in

order to

observe this state to

its

advisable to

divest the Period of

elon-

gation, thus reducing

to the length of the first Period.

96
Ex.
138,

Rondo.

S 23.

jA'ij.i^jru

^^
u
it

$&
jfr

ifc

m-

i^^
i

LT eL [j
'
is

tL [J t{,
/2

j,>V ^J Cf C f
This

P**

measures

inserted.

^E zz

followed by an Appendix

and a Transition into the

the Trio,

Trio, the interesting modulation contained in which, the student is

advised
suffice to

to

examine.

As

to

the

construction of

will

remark, that the

first
is

Period consists of twice 8 measures,

of the
first,

and that the second, which

the intention of

same length, seems

but repeats

to

have

returning to the

instead.

Thus

the Trio

might

be accepted
its

as

being in an

incomplete Tripartite

Song-form, which, in
of parts.

present bipartition, exhibits no correspondence

Fifteenth Exercise.
Compose a piece in quick tempo in Compound Song-form,
bnt in
its

construction, independent of any definite dance form.

the

The employment of a stereotyped dance-rhythm figure for accompaniment is by all means to be avoided.

B ) THE

LOWER RONDO
23.
so

FORMS.
of

Like the Song-forms,

the

Lower forms

the

Rondo are

based essentially on closed elementary forms, but are distinguishable

from the Compound Song-forms by their possessing a more immediate

intimate

connection of parts.

Hondo

I.

24.

97

In aspect, they frequently approach the Song-form to such an extent

as to

leave one in

uncertainty as

to

which of the two

is

present in a given case; for,

whereas the Song-form occasionally has

its

a tendency to obliterate the outlines of on the other hand, now

scription.

parts, the

Eondo form,

and then admits of a more exact circum-

The nature

of the Rondo-form,

whence

its

name

Roundelay
distin-

to

consists in digressing from a Chief Subject,

it.

and then returning

That property
it

of the

Rondo-form, however, which

guishes
as

essentially

from the Compound Song-forms

dance forms

particularly

exhibited in the

consists in the metrical

and

rhythmical looseness of its structure and tonal contexture. Rhythmical uniformity is totally disregarded. Both in point of construction
its

own resources, hence,

and of rhythmical arrangement, the imagination is left to free, but in consequence, becomes the

loser of one of its supports.

Rondo-forms are divided into

ones
are

Lower and Higher.

The Lower

based

exclusively

the Higher ones, in

upon the Song-form and its elements; part, on the Sonata form, and therefore prelatter.

suppose an acquaintance with the

The point of distinction between the

forms
is

different

the
:

number of Subjects employed.

of the First
of the of

Accordingly,

Lower Rondo we

distinguish

Rondo Rondo Rondo

Form: one Subject. Second Form: two Subjects. the Third Form: three Subjects.

24.

HONDO OF THE FIRST FORM.

By
this latter designation

This contains but one independent Subject, between which and

its

recurrences there are no closed forms.

are meant, besides the Song-form, the Period and the Long Sectional

Forms terminating on
All

Tonic.
of

other forms

measure-groups are
entitled,

not

sufficiently

com-

plete

within

themselves to be

face to face with a Chief

Subject, to the importance of a

Theme.
7

B ussier,

Musical Form.

98

Rondo

I.

24.

A Theme
generally
in

is

never

otherwise than in a definitely closed form,

or in

the Simple Song-form,

that

of a

Long Period;

rarely, though, a greatly extended Section.

The intermediate
i.

divisions or

Episodes may

either be

thematic
Theme;
Motives,

e.,

working up

some thought or other

contents
into
i.

of the Principal

or

have

independent

e.,

introducing

new

jwithout developing

them

a closed form.
are varied, as a rule, this being
is

The recurrences
this form.

of the

Theme

particularly the case in slow tempo, which

decidedly peculiar to

The Close

is

frequently augmented by an Appendix.

is

An

example of the present form of Eondo

furnished by the

"Largo appassionate" of Beethoven's Sonata in

AMaj.,

Op. 3,

whose Chief Subject or Theme

(comp. Ex. 50

is

in

extended Bipartite Song-form

of
it,

&

51).

At the conclusion

enters the following

Episode

in

Min.:

Ex. 139.

PP

^ fy
:

n t,
f

rf

S-

,
,

it,

f~iW=f

p-

-*

ffi^ rzl e m *
i

2%=^
r

and, in four measures, terminates in the key of

F$

Min., in which

key

its

repetition immediately follows,

but with the melody in the

inner part:

Rondo
Ex. 140.

I.

24.

99

,]|j.

^=E

fejZ=

With a new Motive:

Ex. 141.

fff ft
I

1 1

m
is

an

inflection is

made

into

Sub-dominant of the principal key, through

is

which the Chief Subject

literal,

arrived at,

and which

here

only a

unvaried repetition.

To

this is

appended an episode of 4

measures, related to the Intermediate Section of the Chief Subject.

It

exhibits the following canonical imitation:

Ex. 142.

p^mt^m
m
fffff
3E

i
J-

tek-E ffl^ f

This

is

repeated with enhanced figuration:

4M^ m
Ex. 143.

ffllfeLrfl

m ^s ^
*=j

7*

100

Bondo
the

I.

this

24.

With

concluding

measure

of

episode,

the

Chief Subject

enters in

Minor,
Here

with a powerful harmonic climax leading into the

it

Dominant.

again appears,

but shortened to an 8-measure

Period, and with a

new

figuration of the second voice-part:

I
Ex. 144.

-I

J-

$^

f fj

rrrr rrrr
is

Thereupon the entire movement

8-measure Appendix.

brought to a conclusion by an

Sixteenth Exercise.
Compose a Rondo of the First Form in slow tempo.
Of which
all

works written
be

in this form,

there

is

one in particular

cannot but

regarded as
is

taking

precedence in point of

celebrity

and perfection, and that

in

the "Andante" of
it is

Beethoven's
details to

Symphony
student of

C Minor.
is is
it

Though

taken for granted, that the

with
all

composition

acquainted

the
it

of this

work,

it

nevertheless

necessary here to subject

a technical

analysis, not only that

may

serve as a model of form-construction,

but in order to point out, as well, the manner in which the

riations on the given
introduced.

Va-

Theme have been executed and

successively

The Chief Subject (presented as Ex. 30) becomes elongated

from 8 to 22 measures by means of an episode developed from
close.
its

Joined to

this,

enters another Subject of

figure of

27 measures

(rhyth-

mically akin to the

first

the Chief Subject)

beginning in

At?

Maj.:
Ex. 145.

dolce

& ^S w=*

iS

Rondo

1.

24.

101
to ff:

and through the celebrated transition from pp

Ex. 146.

m& eg
forms
a

uJ

hnJ
the

p4
this

Cadence

in

<7 .Mix;.

Now

same Subject,
in

time

announced by the Brass instruments, begins

CMaj.:

Ex. 147.

^^Jj^^^
and modulates
jp

from that key back

to

Ab

Maj., where the

first

Variation enters:

^
bV
Ex.

^ =i ^V L^J^
g*E
'

Ex.

148.

*]

*f

i ff**
j

&c.

all'8.

-777 7

^^
figuration,
this

gg

j
the
entire

With gradually growing

ground covered by
all

traverses

that preceded.
follows:

The second Variation which now

149.

102
is

Rondo

I.

24.

limited to the Chief Subject proper (8 measures), repeats in climax,

to the third

and then conducts at once

Ex. 150.
~

Variation:

.-.

This reaches a conclusion in

its

tenth measure on Dom., after

which enters the

four-part
this

episode in Flute,

Oboe and

Clarinets,

which evolves from

Motive:

Ex. 151.
dolce

and which eventually leads back

Ex. 147.
After
this,

to the return of the

C Maj.

episode,

a figurate modulation leads into the last two

Variations, the

first

of

which

is

Minor-e

(Minor):

P
Ex. 152.

fet
p

*
g&

ty*-^
whilst the second
is

& m

^m^mM^ m =
Ex. 153.

of a free
<r

^-

i.

&V
-.

i'

canonical construction :-

*-ZT~l

jH=ttz

33 I

hHh^-

Rondo

I.

24.

103

The succeeding pin mosso and Tempo

cluding Appendix.

constitute

the con-

In quick tempo, the

in

extended,

and at

Eondo form may be best constructed the same time diffuse, Tripartite Song-form:
first
its

departing from the Subject and returning to

contracted repetition
etc.;

through the channel of Sequences, Passages, Modulations

gressing again, and then resuming
the whole with an Appendix.
it

di-

in

its

complete form, concluding

A Beethoven

example: Sonata, Op. 10, No.

3,

Rondo:

Allegro.

Remark.
It

was pointed out above

confounded with the

simple Song-form,
if

that the Hondo might easily be Compound Song-form. But the extended An example, too, may be mistaken for a Eondo.
,

not exactly eminent,

this

yet exceedingly lucid,

is

the "Andante

un

poco Adagio" of

Mozart

Sonata:

Ex. 154.

fl<l?f" r

^f

This lengthy piece of 79 measures :-

Ex. 155.

pp
is

m
fp
(or ranges
literal

simply a Bipartite

Song-form
It
is

between Bi- and Triand varied repetitions

partite) that is

extended by means of

of its

individual parts.

proportioned as follows:

{Antecedent
Consequent

8 measures

8
16 12

Varied Repetition
|

Antecedent Consequent
Varied Repetition
Elongation of Close

Second Part

'

20
4_.

Appendix

Total

79

104

Rondo II

25.

25.

RONDO OF THE SECOND FOEM.

of the second form,

In the

Rondo

two Subjects counterbalance

key,
generally
as in the

each other,
has the

the second of which,

in respect to its
first,

same bearings upon the

has
is

Compound Songis

forms

the Trio

upon the Chief Subject; that

exceptionally
in in

to

say,

this

Second Subject
being
generally

but

the key of the Dominant,

the

in

parallel

key,

or
is

like-named (Maggiore
re-

[Major]
verse),

when
or in

the Chief Subject

in

Minore [Minor] and the

occasionally,
in

that of the Mediant,

and,

a more

distant key.

The First Subject Rondo form.

is

constructed like

the

Theme

of the first

The Second Subject

joins at once to the First.

is

either introduced

by a
it

transition,

or

In the latter case,

closely approaches
of the latter

the

Compound Song-form.

However, the Theme

is

must

necessarily have a Song-form structure, which

not the case with

the present

Rondo form, whose Second

a

Subject, prior to its termto

ination,
Subject.

exhibits

decided

inclination

return

to

the

First

As

to the

determination of form,
Subjects occurs

it

is

immaterial whether the

repeatedly;
likewise,

interchange

of

but once or

whether, in their repetitions, the Subjects are contracted, elongated,

or in their original lengths.

The incomparable "Allegretto"

Subject and Trio,

of

Beethoven's

Maj. Sym-

phony, although closely allied to the Compound Song-form of Chief

is

a notable example of the present form.

The
which
to

strain in Short Bipartite Song-form (comp. Ex. 25),

upon

this

peerless

composition

is

based,
of its

and which
last

is

extended

24 measures by the
three Variations,

repetition

8 measures, recurs
growth
until the

first in

which,

commencing with the combination

in

of Violas, 'Cellos

and Double Basses, proceed

orchestra

power

of
:

the

full

becomes unfolded.

Then

this

short

transition

Rondo

II.

25.

105

Ex. 156.

m MM
^'""
u'
.

-=

"
!

^
=3
A Ma).,
and maintains
in
'

leads to the Second Subject, which

is

in

the Bass the following Fundamental Motive: Ex. 157.

ft%
E
Ex. 158.

j-

ii'Ji'CF

fr

^if-r^ =^==^=
The construction of the Second Subject
Maj. (Dominant)
. .

is

as follows:

Period (with above Antecedent) terminates in

16 meas.

Intercalated canonical episode

Clarinet.

.3X2 = 6
_^"

i
Period
of

I^JniB
r

Be/
the
first

twice

8 measures;

time

terminating in principal key, the second time

in C Maj Above canonical episode

16 meas.
in

C Maj

44 meas.

106

Rondo
The commencement
is

II.

25.
to.

not returned
of

The episode breaks

Oboe

off here,

and

seizes the

Dominant

Min.
(see p. 23) in Flute,

Fourth Variation.
*and Bassoon;

Counterpoint

Theme
is

in the Bass.

Figuration in Violins and Viola.

is

The Variation

lengthened by an Appendix, which

immediately

followed by a Fugato on this Theme:

Ex. 159.
,

jj

JJJ
and

fMf flUJ&a
figuration
in

as a
//,

fifth

Variation;

closes with a

Wood

"Wind

counterpoised the last 8 measures by the development, in String

Quartet, Trumpets, Horns and Kettle-drums, of the principal Motive

which terminates firmly

in

Min.

Now comes
repetition
of

the transition, as at Ex. 156, slightly varied, and

the Second Subject here

shortened

to a

Period ter-

minating on Tonic, with an Appendix

of 4^_, measures.

Then an Episode

of 8

+4

measures taken from principal Motive.

Last Variation and Close.

The Subject in
because
it

A Maj.

can not be comprehended as a Variation,

conditions;

lacks the

necessary harmonic
is

and

to

be a
justly

Trio, independence of structure

wanting.

Hence, we
the

may

consider

it

the Second Subject

of a

Rondo of
scope
of

Second Form,

the Chief Subject of which appears in different Variations.

Simpler and quite within

prehension,
following
is

the

the

beginner's

comin the

the construction of the

Kondos (Second Form)

Beethoven

Pianoforte Sonatas:

C Maj.,

Op. 2.

Adagio.

First Subject:

E Maj.; E Maj.;
C Maj.;

Second Subject:

E Min.
Finale.

E Maj.,
G

Op. 14.

First Subject:

Second Subject:
Maj., Op. 31.

G Maj.*
Adagio.
First Subject:

Second Subject: A\> Maj.

besides numerous other compositions of the great masters.

Designated by some as a Rondo of the

4th'

form, the second part of the Trias a

partite Song-form of the First Subjoot being

comprehended

Secondary Subject.

Rondo

III.

26.

107

Seventeenth Exercise.
Compose a Rondo of the Second Form.

Tempo

Allegretto.

26.
In the

RONDO OF THE THIRD FORM.

of this form, the three Subjects which
it

Rondo

contains

are so

distributed,

that,

following

the Second,

the First

returns

complete or shortened,
in turn followed
its

succeeding which,

the Third enters,

being

by the

recurrence of the First Subject

(either in
to

entirety or

somewhat shortened) with an Appendix leading

the Close.

First Subject.

Second Subject.
First Subject.

Third Subject.
First Subject.

Appendix and
The
First Subject (particularly

Close.
in quick

when

tempo)

is

mostly

in extended Song-form, so that the points in which the Third Rondo

Form
from

differs
its

from the Compound Song-form with two Trios (aside

freer

and more elaborate constitution than the

to

latter)

are

merely in the predominance of an inclination

make
the

transitions,

and

in

the

contractions

of the

re-entrance

of

First Subject.

Albeit, these are not exactly safe criteria.

In

many

of the antiquated, but nevertheless interesting, moveto the primitive period of

ments belonging
last century,

form-development of the
is

the affinity between the forms in point

of

clearly ex-

hibited.
at
as,

To such belong many

cannot

Mozart's

juvenile works, which,

least,

be denied an historical and biographical interest;

for instance, the little Violin Sonata in E{> Major:

108
Ex.
160.

Rondo III
Allegro vivace.

26.

Bight ;h.

Violin.

Left H.

jA

r
t,

i M m ^ Si
j
-

Its

i^Vsi Subject

is

in

Long

Tripartite Song-form.

Immediately

following this, comes a Song-form Episode in

C Min:

Ex. 161.

i^Ff
fy\
i
\

f?r

/fr

-r

f,

rr~n
i

\t

i'r

Pfgf
i

^
whose
key.

it r

iV f

i*

f *r

first

Period terminates, in conformity with the rule, in parallel

continuation, which

The

now proceeds

in the first place as the

commencement

of the second part of a Bipartite Song-form:

Rondo
Ex. 162.

III.

26.

109

jAHT
i
b%

i- J r

^l
J
*

UN ^U
b*-.

J^PT^nJM
b*=

^mt s
Now
Ex. 39, where
Ex. 163.

^
its

as
in EJ>

terminates suddenly at the end of four measures more in C Min., in

order to modulate thereafter back to the Dominant of the principal

key, where the First Subject, contracted into a Period-form, returns.
the Third Subject enters,
it is

commencing

Min. (comp.

quoted in

entirety):

to m

J3-J-JJ
*

ipfp * &=H
_ measures.
The First Subject work
for an ex-

It is in Tripartite

Song-form of 25 s

returns on the final measure.

The reason
ample,
is

of our having
its

selected just

this

not in the sense of

being of special importance, which,

of this

indeed, as an early juvenile

work

immortal master,

it

cannot

assume; but rather on account of the great simplicity and lucidness These properties may also be observed in of its formal structure.
the

Hondo

of his Sonatina in
Allegro.

CMaj.:

i *
Ex. 164.
<

ItfZ-l

it^i
and in that of
his

;fc
J

h"r

t^J h" &

will

Min. Sonatina (Ex. 29), whose Subjects

be

As a transition to the B eethoven models to follow here, we present a work which has latterly been extensively played by the most eminent virtuosi: the Hondo in A Min. by Mozart:
explained later on.

110

Rondo

III.

26.

Ex. 165.
l

ftfftf
The
finest

r-t>rof the

Lr
is

Beethoven example

Third Rondo Form

the Finale of his great Sonata in

Its First Subject:

Min., Op. 53.

Ex. 166.

Allegro Moderate. Antecedent.

pp

fe^Etf
-^r

^
-

Consequent.

i
y
if//

=^=tf

Utfi

^
j
8 measures.

n
is in

elongated Short Tripartite Song-form.

Appendix and Transition:

Ex.

167.

Rondo
Second Subject in
Ex.168.

III.

26.

Ill

Min:

ft

Mm
*-*

i
-+v

*^ t
X +

m
EjX. 169.

m
$ 3

Termination of Antecedent. Consequent follows. Together 16 meas. This is succeeded by a Double Section of 2 2 4 measures.

Repetition of the First Subject in

its

entirety.

Third Subject in C Min.:

The same

in R. H. a

semiquaver later:

S PB
BE
Repeats.
triplets.

ip B^gg
Bass counterpoints in semiquaver
cpt. in

g^m^p
in

Melody

right hand.

Consequent: Counterpoint (double

the 8ve) in right hand:

Ex. 170.

wp r fE

f-r

&

s
Eepeats, inverted at 8ve

fcafl

ipi.

EBj
;

whereupon

its

concluding Phrase

is

repeated

once

entirely, then

its

second half twice, and a Cadence-formula appended.

Now

the

First Subject

again,
is

and Conclusion.

The

last

repetition of the First Subject

preceded by an

extensive Intro-

duction developed from the principal Motive, which takes into account

the

performer's virtuosity.

The

repetition itself,

however,

is

cur-

112
tailed.

Transitional Forms.

27.

This

is

followed by an extensive elaboration of the Motive

of the Transition, Ex. 167, of

and a "Prestissimo", in which the Motive

Here,
too,

the

First

Subject

is

almost exclusively employed.

the performer's virtuosity has been taken into account.

Eighteenth Exercise.
In accordance with the guidance and the models here given,

compose a Rondo of the Third Form in quick tempo.

27.

TRANSITIONAL FORMS.
first

Banging between the

certain
transitional

and second forms of the Eondo, are

to

forms

which seem

share

the

properties of

both.
ing,

They

originate from the first

its

Rondo form through the assumits

on the part of

intermediate episodes, of an unusually indeSec-

pendent structure, or from the second Rondo form, in that

ond Subject
there

is

short, unimportant,

or of a digressing character.

In such cases, the determination as to the form remains doubtful,

being present a Rondo

to first form.

either of the first to

second,

or of

second

All forms exhibit such transitional states, the exhaustive treat-

ment

of

which however, does not concern the Study of Composition,

but rather that of Analysis (score-study), and in a deeper sense,

Theory proper, and Musical Science.

A
ond
Sonata,

movement which seems

of

to

waver between the

of

first

and

sec-

forms

Rondo
It

is

the

Andante
greatly

Beethoven's

E|? Maj.

Op. 7.

has

a very

extended Chief Subject in

CMaj.:
Largo, con gran
espressione.

p
171.

*~?
!

T-

mms j^^ rw^m

j
j
i

The Song.
which
in Tripartite Song-form.

28.

113
is

is

To

it,

joined an Episode in

A)? Maj.:

Ex. 172.

PPP^WP
which begins with a Quadrimeasure terminating on Tonic.
followed by a Quadrimeasure in
This
is

F Min.,
Now

equally as firm in structure,

and of
to the

like thematic contents.

the same begins in D\r Maj.,

but in the fourth measure modulates with the Chord of the Augm. 6th

Dominant of
accept in

C Maj.
its

In view of the firmness of

clined to
this

Sectional

structure,

one

is

in-

Episode a Second Subject,

and decide

in

favor of the second form of Eondo.

Considering the swerving modulation, however, the presence of

the character of a Subject would be disputable, and thus a
of

Rondo
of the

the

first

form apprehended.
First form.

In truth,

it

is

a Rondo

Second

to the

C)
not unrestricted,

28.

THE SONG.
is
i.

In the Song, the musical form

e.,

is

not

subjected exclusively to musical conditions,

the
to

but

is

dependent upon

poetical

form

and

logical

laws of language.
its

One

is

justified

suppose that the lyric

poem and

musical setting were origi-

nally one in invention and execution, in other words, that the

poem
of

was invented
chirography,
gradually

at

once musically.

Due
to

chiefly

to

the

diffusion

and even more so,

the

art of

printing,

the two

became separated.

Poetry accumulated ideal matter to

efficiently

such an extent, and music so

created for itself independent

forms, that the two could no longer originate in union, but had to
Bussler, Musical Form.
ft

114
be combined with one
unity of the Song
or

The Song.
another
(in

28.
order
to

in

restore

the

original

Lay

German, Lied)
age
has

the

meaning of
on a

which

is

"vocal poem".
present
it

Only just in the

become possible,

basis of extraordinarily extensive intellectual capacities, for the Art

of

Harmony matured
of

to a

consummate means

of expression, in con-

nection with dramatic action and declamation, to effectuate, in the

province

Grand Opera, a restoration

of

the

original

bearings

upon a higher standard.

There can be no doubt that every musical form
being poetically imitated,
that
it

is

capable of

is

throughout

possible to furnish

with an apposite and poetical text, any composition which does not
overstep the limits of vocal setting.
This, however,
is

the task of

the musical poet, and not of the poetical composer.

To the

latter is here

imposed the opposite task: that of com-

posing the music to a given strophic poem. This subject,

the professional

which far more concerns general education than

musician,

training of the

can only be

considered

secondarily by the Science of Form, a course in which must therefore

content itself with

establishing
shall

upon

it

but a single Exercise.

explain
the
chief

Nevertheless,

we

proceed to briefly

technical relations existing between the music

and the

text,

both of

which in a great measure interlock.

I.

and

versification of

The Musical Composition corresponds faithfully the poem, and adapts these to
in

to the
its

metre

metrical
8-, etc.
to

system of Bimeasures, i. e., organizes them into measure forms, the peculiarities and licenses stated
being taken into account.

2-, 4-,

11

14

Thus:

Ex. 173.

*-f-rl

~ r

'T^yfW-k
in

r
till

r
the

^S
grave,
-

Zeltee.

There reigned a sovereign

Thule,

Was

constant

To

V*
whom

'

r
I

>
dy-

r
ing,

t\ft
A
golden

r-H-rA^
goblet

his

true -love

gave

(The last measure

is

an extension, a written out fermata, as

it

were.)

The Song.

28.

H5
"The Maid's Lament".

Schubert.
Ex. 174.

i if*
maid

*\
The
3

J-

$
-

Hi

t
the

iJ
storm

oak

wood

blusters,

m
m

clouds

urge,

The

*==*=*
is

ig
ted

J"
of

J? j
surge.

sea

by

shore
I

The
3

i
r

*v

J'

J>

J^

Jlfr

J*

p-

pi

p
?

p3X
woe
to

wild waves are

chopping with might, with might,

&

3s

fe^/h'jH^ jff^l^ :^*

dark

she sobs her

the

some

night.

Her

eyes

much be

dim

med from wee

ping.

II.

The Musical Composition

to

avails itself of repetitions of the

text, in order to

produce a more complete organization than would

be the case without them, and

ure; as here:

expand

into a freer formal struct-

Ex.175.

[2(3

X4) = 2X
e
i

12]

Mendelssohn.

"Hunters' Farewell".

fi |A

:i

r
I

r.

*
so

<^-m
pro -found,

, r

i!
and

Lovely

wood, who

He

that

rear'd thee grand

J
lof
-

j
ty?

,)
I

ii

if
sing

t
praise
I
I

rrr-r^
-

will

His

de

vout

ly,

Till*

-my

I
r

t=rr^T p4=^^
:=
voice

should

cease

to

sound,

will
1

sing

His

praise

de-

^ fcfjr
fir
I

C'fi
till

f;

l
to

IJ

e=^

vout-ly,

my

voice should cea*e

I

sound. Fare thee well, fare thee

Mf

rffir Vli
r

r'TTtTT^
O
love-ly
.

well, fare

thee well, fare thee well, fare thee well, fare thee well,

jM^-P-Hr
wood, fare thee

Mr
thee well,

cr
O

rTr
love
-

well, fare

ly

wood.

8*

116
Since
it

The Song.

28.

is

taken for granted that the student

it

is

familiar with

this composition,

will

be

permissible to let this meager melodic

extract suffice here.

III.

The Musical Composition binds

of

itself

only to the irreverstext,

ible

laws

the

logical
its

declamation

of

the

but in other

respects maintains

own

in accordance

with purely musical laws.

In

the
in

hand

German and English languages, the logical accent goes hand with the accent of the words, whereas the French
treatment of the text
is

possesses only a final accent, hence, no logical accent of the words.

freer

to

be met with

especially

in

Grand Opera, Oratorio

(Cantata), and in

the Concert Style.

An Example.
Alle meine Pulse schlagen,

Und

das Herz wallt ungestum.

Konnt' ich das zu hoffen wagen?

Suss entzuckt entgegen ihm!

0,

how

ev'ry pulse is flutt'ring,

And how fast my heart does beat. Could I hope to know such rapture ?
Charm d
that

we

in joy shall meet

Ex.
f

176..

Webek.

"Freischutz"

tt "<rJ
All*

p
-

cM^rtrlfl rj^g
Pul
pulse
se
is

meine
ev

schlagen,
fiutVring,

und das

Herz
fast

wallt

un
heart

gedoes

ry

And how

my

ifcfes
I
stiim.

rkiis
ent
-

tiUV Ur\r-^
r
ziickt

Siiss

ent

ge
joy

gen
shall

ihm.
meet
1

beat 1

Charm?d

that

we

j,W

m
k i?

j_ j
Siiss

jUt-tftMS
-

tr
gen
shall

1
ihml
meet

' i)

ent
that

ziickt

ent

ge
joy

Charmed

we

in

'iJ

mfEU^ Mj
j
konnt'ich Could I

J
zu
to

Jj^F?
hof
-

das hope

fen

know

such

The Song.

28.

117

<"lf
wa
rajj

w^\l

J^rtJj^

gen ?
fure?

118
nity for

The Song.
making comparisons.
by

28.

For

instance,

Goethe's "The Fisher,"

Eeichardt, Schubert, Keissiger etc.; Goethe's "King of Thule," by Zelter, Kadziwil, Gounod etc. Numerous other poems of various authors, but particularly Goethe and
composed

Heine,
here.

that have been differently set to music, could be mentioned

Model Compositions

are:

Schubert's "Erl-King",

SchuIn

mann's "The two

Grenadiers", C.

L6we's

Ballads.

Ineptitude of the text must be corrected by the composer.

his libretto to "Freischiitz", of the worst for the

Kind

comitted the error (indeed,

to

one

Art of Composition

deal with) of failing to

circumscribe thought and line simultaneously with the rhyme,

when

he wrote:

Abends bracht' ich reiche Beute,

Und

wie Tiber eignes Gluck,

Drohend wohl dem Morder,

Sich Agathe's Liebesblick.

freute

Some I came with plenteous capture, And as if this meant her goal,
E'en at
Filled

me

repining,

rapture
soul.

my

dear Agatha's

Weber
ticipial clause

corrected this error of his poet by isolating the par-

(between the dashes), and assigning

as
it

it

to a

Dominant

chord

a Cadence,
it

were

thus

ignoring

the

awkward
rhyme in
in

rhyme, and causing

orated

to vanish in the up-beat.

In this he corrob-

Mozart's

emphatically

stated

opinion as to the

musical texts.

Mozart proceeded
the

similarly

in

his

"Ave verum"
(rhyme)

which

poem

exhibits the

same error:
corpus,

Ave verum

natum

De Maria

virgine,

He

ignored metre and rhyme, and composed:

Ave verum corpus, natum de Maria virgine.

Music rhyme,

is

far superior to poetry in point of rhythmical art

is

and

wealth of sound, and, for this reason, but

not in need of verse and

clauses
is

may

content

itself

with

short

which mostly
case with all

occupy the space of a musical Phrase.

scriptural
texts.

This

the

Albeit,

rhyme

is

adapted to the short musical

The Song.
forms with their definite divisions,

28.

119

owing to the correspondence of

"Beute,

endings, and in this respect, is often desirable.

Feminine endings of the

rapture])

lines

(as

freute" [capture,

may

easily

beguile the

beginner into the frequent emis

ployment of Suspensions with Eesolution, a procedure which

too apt to degenerate into the unmelodious.

only

He must

therefore be
(i.

cautioned against abuse in this direction.

accented final syllables, as "Blick,

Masculine endings
soul}) are

e.,

Gliick" [goal,

more

advantageous.

The accompaniment
and melodic support
(e. g.,

to the

song

may be

simple,

harmonic

Schubert's "Eose among

the Heather");

or a complementary tone-painting to the vocal part

(e. g.,

Schubert's
{e. g.,

"The Trout")

or a more or less independent piece of music, which

combines with the Song in interpreting the same idea

Schu-

mann's

Moonlight: "It was as though the heaven").

PART

III.

THE SONATA FORM.

29.

THE SONATA AND THE SONATA FORM.

is

By Sonata
independent

understood a piece of music consisting of several

to

movements, and intended

Only

be

performed by one or

several solo instruments.

of
this

exceptionally does a musical

work
the
It

appellation

consist of

but

a single movement, and com-

paratively

rarely
is

of

two movements.

By Sonata Form, on

other hand,
is

understood the particular form of a movement.

shall

that which

we
of

now proceed

to consider.

The

peculiarity of the Sonata

form consists in the designed

to

predominance

concatenation (continuity) in contradistinction

contiguity, which latter quality decidedly prevails in the Song-form,

and, even though

conditionally,

yet

throughout in the

first

Rondo

form.
since
it

The Sonata marks a most

pursues the

distinct

contrast to these forms,

endeavor to avoid

detachments,

and produce

the greatest possible unity of structure.

of its First Part (Enunciation),
ally quite
it

Though

at the conclusion

forms a Perfect Full Cadence usuyet this

exhaustively carried out,

occurs in a

different
initial

key
key,

to the signature, mostly in

i.

one that has reference to the

e.,

in near kinship to

it.

Thus,

our present task

is

to

evolve

from

all

the

means

of of

form-construction hitherto

acquired,

an intimate

concatenation

form-parts into a whole, bearing the stamp of such.

the Section, as
it

In this endeavor,

were, takes the form of a continually spinning-out

Antecedent, which excites the want of a Consequent, hence arouses

expectancy.

Here

arises the danger at

once of overhastening ,

of

too early expending all the

means necessary

for a climax, of losing

the artistic discretion which conditions the clearness of a work.

In

order to avert this danger,

it

is

necessary to outline precisely the

Sonatina.

30.

121
furthermore

subdivisions of the

form,

termed

Form-members;

to maintain a systematic modulation: to employ only such Cadence-

formulas as are not

detrimental to the

progress of continuity,

by

occupying rhythmic or harmonic positions that do not render a Full

Close possible.

The Sonata form

is

that

which

is

common

to the first

movespecies

ments of Sonatas, String Quartets, Symphonies,

and

all

of instrumental music allied to these; furthermore, to most Finales

(last

movements) of that

species, as well

as to Overtures (those of

Mozart, Beethoven, Weber

in slow tempo.

etc.); finally, to

numerous movements
a distinction

According

to

the compass of the

work,

is

made
forms

between Sonatina (short Sonata form), Sonata and

Grand

Sonata.

We

shall

now proceed

to follow

up

this,

the chief of

all

of instrumental music,

from the juvenile

simplicity of a

Kuhlau

Sonatina to the wonderful structure of a Symphony by

Beethoven.

(A)
30.

THE

SONATINA..

THE FIRST PAET OF THE SONATINA FORM.

of the Sonatina

The First Part

Form

divides into five closely

connected Form-members of various degrees of extension:

1.

2. 3.

Chief Subject (also termed First Theme). Mediating Episode.

Secondary Subject
Conclusion.

(or

Second Theme).

4.
5.

Appendix.
five

These
1.

members are grouped

into

two greater divisions:

2.

Chief Subject and Mediating Episode, Secondary Subject with Conclusion and Appendix,
compass of these two divisions; on account

by reason
key

of the quite equal

of the modulation, by which, from the Secondary Subject on, a

is

new

adhered

to

and owing

to the signification

of the two opposite

this

Themes which

constitute the

most essential contrast of

form.

By
which
it

counting the Mediating Episode to the Chief Subject, to

generally bears kinship,

and the Appendix

to the

Con-

122
elusion,

Sonatina.

30.

we obtain three

divisions,

the middle one of which

is

fur-

nished by the Secondary Subject*

Just as naturally

may

a quadripartition be produced from the

above shown two

Subject

divisions,

by dividing the

first

one into Chief"

and Mediating Episode, and the second into Secondary In all this manifold Subject and Conclusion with Appendix.
partibility is exhibited organic unity

and variety of form.

form makes a
definite close,

The First Part

key

of

the Sonatina

thus appearing independent; but this close takes place in a different

to that of the Tonic,

and viewed in
it

this light,

appears dependits

ent, like a lengthy

Antecedent, as

were, biding

Consequent.

The

close of the First Part,

when in Major, occurs

,,

in

Dominant
is

key,

Minor, in
of

the Parallel

Major.
This
repetition

The First Part

is

the Sonatina

repeated.

sometimes introduced by a Keturn, which,

principal

following the Coda,

leads back into the

key

and

to

the

opening.

Below

is

shown the First Part

in the smallest

of a juvenile Sonatina for

Piano by

Kuhlau

(intended as an instructive work for children), which, being composed

compass of

this

form,

is

particularly

adaptable as

first

example.

Ex. 177. Allegro. I. Chief Subject.

~~

~"

|is

feJU

^p-pjj-pij-jg

f^r j s

w
*

Fn\py\i]Ujip-pui
The term Connecting Episode
is also to

In the First Part of the Sonata form, the Mediating Episode is a modulatory it is the medium of transition into the new key. It is frequently termed Transition, an appellation which is not altogether consistent, because this episode
one, since

gives up its modulation in the Third Part. he met with.

Sonatina.

30.

J23
II.

Mediating Episode.

Modulation into key of Dominant.

in. Secondary Subject.

fe=fa
4

ftlWni GMaj.

15

16

(Full Cad. C in

gE^s y

r
18

^=^
17

G Maj.)

19

20

21 <

22

23

y.

ifefe

IV. Conclusion.

^ H^p
g

g5

^=ff

124

Sonatina.

30.

*^

26

27

^T=
V. Appendix.

28

29

^?=
if%Er
|

^M^
d fcf f^ EsgE^
to the Repetition.
31

Return
30

The

five

members

of

this

little

model Sonatina
is

exhibit

the

following numerical proportion, which, of course,

not an absolute,

but rather a proximate, standard.

1.

Chief Subject, 8 measures (4

+ 4). X 2).
(4-t-4,_).

2. 3. 4.

Mediating Episode, 8 measures (4

Secondary Subject, 8

W measures
X 2).
1

Conclusion, 4 measures (2

5.

Appendix, 2 measures

(4X

/ 2 )-

On
that the

observing the
variety of

numbers

in

parentheses,

one will

perceive

metrical

construction or

measure-concatenation

has been accomplished by the alternation of 4-measure with 2-measure forms.

Less alternation than here could not occur.

In composing his Exercises, the young composer should have

due care to the production of such alternation.

Rhythmic variety
species of
to

consists in the

employment
points of

of the

different

note-values

within the

prevailing
to the

metrical

construction,

which also belongs variety as

entrance within

Sonatina.

30.

joe

the given kind of time.*

over been
satisfactory,

accomplished

In the foregoing example this has moreby the most unpretending, yet, entirely

means.

Such variety should

likewise be

aimed at

throughout, but only as discreetly and gradually as here, since a superabundance in this respect would render the piece variegated,
disordered and wearisome, f
In bipartition the
vision of

preceding model movement exhibits the

of 16
of

di-

16

+ 14 measures;
+ 8 W + 7 measures; 8 + 8 + 8 W + 7 measures.
8-measure
(or

in tripartition,

in quadripartition,

The Chief Subiect

at its entrance to

consists of an

Long [comp.

6]) Antecedent, to which joins the Mediating Episode appearing

be a Consequent.
it

corresponding Consequent,
( 1, 2) of the first

modulates

But instead of producing the by a quadruple Phrase

Motive of the Chief Subject:

Ex. 178.

through
to the

the Chord

of

the

Dom. 7th
this,
it

of

Maj. (meas. 15 and 16)

key

of Gr Maj.

During

rises dynamically to & forte,

rhythmically to triplet-motion (meas. 13 to 16).

The Secondary Subject returns

and piano.
Section (4
Its

to the

calmer

quaver-motion

structure

is

that of an

independent Tonic Double

+ 4)

[see 4, 6],
its

approaching the Period-form with an

Imperfect Full Cadence of

Antecedent (

4).

The Conclusion
the

is

in the of

form of a Double Bimeasure

( 2);

Appendix
The forms

consists

4 half-measures.

of the last three parts are respectively curtailed to

the following lengths: 8, 4, and 2 measures; as also their elements;

4, 2,

and

V2

measure.

From

the Secondary Subject on, the key of Dominant prevails.

The Mediating Episode is evolved from a Motive of the Chief Subject; in our present example by transposition (meas. 11, 12),
change
of

mode (meas.

13, 14),

and modulation (15, 16).

is

Such

employment of a Thematic Motive

termed, according to 16,

Thematic Work.
In the present example, the Secondary Subject enters on the second crotchet, the Conclusion, on the second quaver. Comp. p. 3. f The opposite fault, rhythmical uniformity would render the contexture rigid,
*

clumsy and repulsive.

126
It is all
it

Sonatina.

31.

made

further use of here,

but only incidentally,

to

be

the more exhaustively treated later on.

For methodical reasons,

where
it

becomes necessary
greatest

to

take up this subject only there,

in

attains its

importance

praxis:

in the

Development or

Elaboration of the Sonata form.

Twentieth Exercise.
In

accordance with the

given

directions,

compose First

Parts (Enunciations) of Sonatinas in Major keys.

model.

The explanatory example previously elucidated may serve as a The length and organization of its members, however, are
Thus,

not to be regarded as absolute, but only as being general.

for instance, the Chief Subject can be a tonic

and independent one

final

(not necessarily an Antecedent),

and the concurrence of a

applied.

with

measure ( 13) may be frequently work may be employed.

an
initial

Previous

31.

FIRST PART OF THE SONATINA IN MINOR MODE.

in

Should the Sonatina be

instead of

Minor key, the Mediating Episode,

digresses into that

proceeding to the key of Dominant,

of the parallel Maj.,

which predominates from the Secondary Sub-

ject on to the
If,

end of the Conclusion.

for example, the

model accompanying the preceding were in

Min., the Mediating Episode would have to proceed to E\? Maj.:

Ex. 179.

Sonatina.

31.

127
Secondary Subject.

j>'\>

,r Irt fr C/ kj t^f

KT

^SE^
Minor may be
1.

S &
A
seen in
very
concise, First Part
of

a Sonatina in

Beethoven's G Min.

Sonatina,

Op. 49, No.

Similarly

as in the

Kuhlau

Sonatina, the Chief Subject here forms an Ante-

cedent with Semi-cadence:

Ex. 180.

=5 sg
:

&c.

m/

4 meas.

$-l

fc
:

ffr ff

g fl

^
regularly,
,

(Semi-cad.)

^P
of a Semi-

The Consequent, which begins

Mediating Episode,

takes the form of a

office

and modulates (assuming the

cadence) to the Dom. of the parallel key:

Ex. 181.

m?
S

e
Measures
/P

1,2&3.

^
5.

gas

^^ HH^frbeat.

^ 111!
Up

W
affinity to the Chief Subject) enters,

*=

where presently the Secondary Subject (which

repeating the last

is

not without melodic

and extends through 9 meas-

ures,
it

In comparison with the Chief Subject,

thus appears disproportionally long.

128
Secondary Subject.

Sonatina.

32.

Ex. 182-

The Conclusion borrows

ject; thus:

its

contents from the Secondary Sub-

bis

pf
Ex. 183.

vmm mm^
<
\

tr\r,

te

Appendix

is

wanting.
five

Yet, we might regard the repetition of the last

of the

measures

Secondary Subject as taking the place of a Conclusion, parsince

ticularly

they

constitute an

independent division.

The

five

measures, designated above as the Conclusion, would then be viewed

as an Appendix.

Thus, the plan of construction would be as follows:

Chief Subject:

8 measures.

(Antecedent.)

Mediating Episode: 7

(Consequent.)

Secondary Subject: 9
Conclusion
5
,

(Borrowed from the Secondary

Subject.)

Appendix:

w5

,,

(Connected
of the

with

the

contents

Secondary Subject.)

Viewed
as a

in this light, the present

form becomes more adaptable

Moreover, the metrical
than
is

model
is

for the

young composer.

struct-

ure

of greater import to

form-construction,

the melodic

concatenation.

Twenty-First Exercise.
Compose First Farts of Sonatinas in Minor mode.

Sonatina.

32.

129

32.

THIRD PART OF THE SONATINA FORM IN MAJOR MODE.

of

The Third Part

in that all its
initial signature.

the Sonatina

form

differs
,

from the
,

First,

divisions are in the

same key

i.

e-

in that of the

Aside from

this,

it

takes precisely the same course.

Thus, from the Secondary Subject on, the whole must he

transposed into the key of Tonic;

whether a 4th higher, or a 5th

lower, the aesthetic efficacy must determine.

Here the Mediating Episode becomes a mere interjacent

since the

one,

modulation
it

is

no

longer needed.

The Kuhlau Sonatina

where the modulation

(Ex. 177) retains

literally

up

to the point

would he made, and then transposes the modulating measures 15

and 16

into the Tonic:

i
Ex. 184.

cj

H/ "V

^
in

J
Secondary Subject.

m
The Appendix
close.
is

^m
generally lengthened, in order to affirm the
Sonatina,

In the

Kuhlau
In

two Chords

Maj. are added

for this purpose.

Beethoven's Sonatina

in

G-Min.

the Conindi-

clusion

and Appendix are considerably elongated, wherein an

thus
essentially a
is

cation of the later "Beethoven Annex'' already appears.

The Third Part

is

repetition of

the First,

but without modulation,

and

therefore denominated Eestatement

(Keprise), or Kecapitulation.

Methodically,

it

would not be inadequate

to begin the exercises

this,

on Sonatina and Sonata with the Third Part, and upon

struct the First Part

con-

by changing the interjacent episode, between

into a modulating one.
to this

the Chief
rate, the

and Secondary Subjects,

At any

young composer may resort

.

method

of

procedure

in sketching,

should he ever be at a loss as to a suitable digression.

He

will then first construct the

Third Part (Eestatement), and from

this,

form the First Part (Enunciation) by the addition of a modq

Bussler, Musical Form.

130
ulation.

Sonatina.

33.
throughout this Subject

This

applies to

all

similar cases

of our treatise.

Remark.

One should make a

distinction

between the Parts,

the chief divisions of the entire

movement

in Sonata form,

and the

Members,

the sub-divisions of the Parts.

Twenty-Second
to all the Sonatinas in

Exercise.

In accordance with the foregoing, construct Third Farts

Major composed for Exercise 20.

essential

The form-member
Third
Part
is

subject to the most

change in the
First Part,

the Mediating

Episode,

which, in the

possesses the signification of a modulatory one, and which as such

is

really

superfluous
It

here.

Nevertheless,
its

it

is

but

exceptionally

ignored.

may be

divested of

modulation,
in

or this latter

may
and

be

augmented by inner
symmetry,
since

digressions,

order not to
of the

destroy the
parts

formal

the

metrical

bearings

members are more important than the harmonic. In the previously quoted models and the work the student has executed after these,
the Mediating Episode borrowed
ject,
its

contents

from the Chief Sub-

indeed, for the most part, assumed the significance of a Conit:

sequent to

a Consequent, which, modulating one degree farther

in the Circle of 5ths, presented itself

times the Mediating Episode

larly,

is

anew made up

as an
of

Antecedent

Someparticu-

new Motives,

when

the Chief Subject concludes on Tonic, and in consequence

can

not.

at once furnish the Mediating Episode with a point of con-

tinuation.

To eliminate the Mediating Episode from the Third Part

it

(Restatement), in a case of this kind, would be depriving

essential

of an

moment

of its contents.

33.

THE THIRD PART OF THE SONATINA IN

MINOR.
maintains
not

In a Sonatina in a Minor key, the Third Part only the principal mode, but also the principal key.

Subject
essential

with

what follows
is

it

therefore

The Secondary undergoes a much more

in Major.

change than

the

case in the Sonatina

For

Sonatina.

33,

131
first (as

this

reason,

the

procedure of composing the Third Part

is

mentioned in 31)
in

even more
in Major.

advantageous

with

the Sonatina

Minor mode than that

Twenty-Third Exercise.
To the First Farts
posed,
of Sonatinas in

Minor previously com-

write Third Farts,

transposing the Secondary Subject

and Conclusion into the Minor mode of the Tonic key.

In

Mozart's

little

Min. Sonatina, the Chief Subject of which,

at Ex. 29, the

8 measures, terminating on Tonic, has been shown

course of the Third Part exhibits the following aspect:

Ex. 185. Mediating Episode: 8 measures.

ms
\

&

lQf

i^Ji|

4=t=
r

w?
i
1

4=*
jj
j

m
m

<

r,

w>

ft fr ? g tf
>$
This
i

r}

k
as
it

^
strictly

member must be regarded

which engages

independent,

even

though the Motive,

throughout,

has been drawn

beat to
fourth

from the third and fourth measures

beat)
in the

(from

fourth
the
in

of the

Chief

Subject.

Now

follows

Secondary Subject
accordance with the
9*

principal key

and

in

Minor mode,

132
rule.

Sonatina.

33.

We

shall again here

merely indicate the imitation played by

the Violin.

Secondary Subject. (8 meas.) 186. Ex.186. Ex. K -a J

*mt&-^$i&

=**=

is
&c.

m
Now
Ex. 187./

i meas.

4tF-4

enters the very short Conclusion:

tfW
which
is

wm
of

FTO3*5
followed

by an Appendix
Part of

three

measures in

Min.

arpeggio.

In

the

First

this

Sonatina,

the

Secondary Subject,

Conclusion and Appendix are, in conformity with the rule, in parallel

key:

Maj.

Albeit, there, the Mediating Episode does not

of

modu-

late to the

Dom.

Maj., but occupies precisely the same position

its

as here, in respect to

Semi-cadence in

Min.

Undoubtedly, the (technically simple) modulation seemed to the composer aesthetically inadmissible, as
being contradictory to the emotional content of the piece.

He

therefore

inserted

in the First Part,

between the Minor

side (Chief Subject

and Mediating Episode) and the Major side

(Secondary Subject and Conclusion), an episode of 10 measures:

Sonatina.

33.

133

Second Mediating Episode, Ex. 188.

violin
.

P
^
i
t

r
jjjjjjj j j j

^^
z
1

=ra

^*
' -

m ^=
rrr?w ^ ^5
&c.
'

ij

m,fl
'Ltf
r'

"

^g
which enters at once
this in Gr

^
the

c/

^
character

Maj.

the somewhat ahrupt nature of

consistent with the

modulation having been deemed

the

work Dominant of
of

and,
Maj.,

ultimately forming a Semi-cadence

on the

prepares

entrance

of

the

Secondary

Subject.

But whence
first

the derivation of this intercalated episode?

The

measure

is

the

contrary motion to

the

first

measure of the

Chief Subject; the succeeding Motives are borrowed from the sixth

measure of same.
This episode, which, in the First Part, accomplishes what the
preceding episode could not,
ever, in the First Part,
it

is

wanting

in the

Third Part.

Howcon-

is

to

be regarded as an anomaly,

nected with the antiquated custom of once more alluding to the Chief
Subject prior to the
though,

entrance of the Secondary Subject.

the entire Third Part in his

Perhaps,
first.

Mozart had Mode

(but

mind

There are also instances, which do not count as anomalous, in

which the

not the key) of the Third Part

is

changed;

as, for instance, in a movement in G Min., the Secondary Subject, Conclusion and Appendix of the Third Part are in G Maj. The
.

Close

may

likewise occur in Major, or be led back to Minor.

134

Sonatina.

34.

34.

OMISSION OF THE MODULATION IN THE FIRST PART.

Major mode, a Semi-cadence on the Dom.,
the
of a

"With Sonatinas in
instead

modulation to

key

of

Dom.,

is

frequently
his

to

be

met with.

Thus, for instance,

Beethoven,
to

in

Sonatina in

GMaj., Op. 49, concludes

the key of the Ex. 189.
.

the Mediating

Episode with a rather

broad Semi-cadence formula,

which the Secondary Subject in

joins:
,

Dominant immediately

OlS

iJ (iJ tiJ jJ fJ/ sS lS ll r f f r T

I

ft

A rJ

-f

1,JjJ
l

rMr-f

*
i

Secondary Subject.

lS jlS fjJ rjS\fl-fa \J7T7

D

J7p

Likewise in Mozart's
Ex. 190.

Maj. Sonatina for four hands:

E
p"-f-

nwm
=
*~~
y

4
|* *
'

f
'

-J

1^ r

[\j*

Secondary Subj.

Sonatina.

35.
which,

135
by reason of their

Even
length,

in Sonatas of greater extent,

as well as
is

content,

can not be classed under the head of

Sonatinas, key.

to

be found

this simple

means

of introducing the

new

In the one in
Allegro.

Maj. by

Mozart,

for instance:

Ex. 191.

^J'l^7
r

the Secondary Subject

^^
is

Wm

rf,f,|f

rfJa

attached to the Semi-cadence in just that

manner:
Ex. 192.
Semi-cad.

^4^
^w*=& g 5ggTO
t
>

w~*

S^8
A Maj

r
f

j,

rf

h t^^s)tfe
\

Secondary Subj e ct.

P ff^
The advantage derived from
this
is,

that

the

Chief Subject

and

Transition

may (however,

are not obliged to) be retained un-

altered in the Third Part.

After the manner of the foregoing, alter some of the previous work.

35.

THE SECOND PART OF THE SONATINA FORM.

is

There

a Second Part, occupying the middle between the two

parts of the Sonatina hitherto practised.

136
This Second Part
(1) a
is

Sonatina.

35.

either:

Development from constituents thus the purpose of Thematic Work; or

(2) it brings

of the First Part,

serving

new matter,
it

which, however,

may

not assume a

closed form, because

or, finally

would otherwise pass

into the

Hondo form;

(3) it introduces

little

of both.

This third

is

the predominent
the rigorous re-

kind, since

it

holds the appropriate

mean between

strictions of the first,

and the arbitrariness

of the second kind.

The length

of the
it

Second Part varies greatly.

Sonatinas are to
for-

be found, in which

consists of but a

few measures, occasionally,

ming merely a return passage be met

with, in which
it
it

into the Eepetition; again, others are to

well-nigh attains the length of the First Part.

In general

may

be taken as a rule for the beginner, that the Seof,

cond Part should not be shorter than about half the length

nor

longer than at highest rate equally as long as, the First Part.

Twenty-Fourth Exercise.
In accordance with the preceding, write a Second Part (the

Development or Elaboration) to each one of the- hithcomposed Sonatinas in Maj. and Min. keys. It is advisable to compose several to each Sonatina. Unite the Parts of the most successful ones into complete
so called

erto

Sonatina movements.

The Second Part

Song-form,
is

of

the Sonatina,

like

that of the Tripartite

in

frequently

enclosed

together with the Eepetition

double bars with repeat signs.

Let us now examine several model Sonatinas.

In

Beethoven's Sonatina

in

Maj., Op. 49, the Development

presents fourteen measures over against 52 of the First Part; thus:

Ex. 193.

Thematic working-up of the Chief Subject.

JNN* CITlffM
/

#J

If

P
9-

T>

Min.

to

A Min,

Q'ff

ft'mjUiljJJ^

Sonatina.

35.

137

jt it
/

rfrrft|f
-

r
i

rprttm
Semi-cad.
in

A Min.

to

BMin.

j-Ji

J}j

'

H^ylKHj^
E3'
of

j,

m
-
-

f,Tf

r^M= E!
^^

Semi-cadence formula on Dom.

E Min.

i
:

7TJ
s

J'JJ'J

>

IS
Sequence through, the Circle of 4ths from E Min.

^
to

iW^I^ **
GMaj.
Restatement.

^tu
The
first

car^

six

measures are employed with the Chief Subject;

the remainder introduces formulas of minor importance that render

no other service than to lead into the Eestatement, and, by virtue

of their

unimportance, augment in

significance

the

re-entrance of

the Chief Subject. In

Mozart's
opening

E
is

Min. Sonatina (Ex. 185), the Second Part preof

sents 15 measures

against 39

the First,

and 29 of the Third

Thus:

Part.

Its

connected with the Chief Subject; the remainder

is free,

likewise formulary, yet of greater significance.

138
Ex. 194.

Sonatina.

35.

P
*
*

S=S=3=lfcfc:SzS
v

s gJ-|r*

t^ryr

m ffB-fm^} &

mm
S
ffl

g^"?

r'^tai'.'
i

^
7

rrr .

^F^ ^pV^Fr-

; ;f

si liF ?S
'

^tf^rrfr^i^
te-5-

^^^ ^^^
^
p
p-

r~

V^

S
calando

^
L
f'lf^rJlr
jr

JUJ

H
P

r- f
Return.

JI^'J

J
TT

Restate-

* &=&
yet,

ment.

In both Sonatinas, thematic connection, at least,

is

exhibited;

independent formation predominates.

Sonatina.

35.
Min.
Sonatina
of

139

The
however,

Development
consists

of

the
of

Beethoven,
At once the

principally

thematic

contents.
is

opening, a modulation to the key of E(? Maj.,

connected with the

Secondary Subject;

thus:

Ex, 195.

This
in EJ7,

is

followed by an entirely
off in

new episode

of

X4

measures

rounded

Tonic key:

Ex. 196.

S
of our
little

3
which,
notably (p. 127)
is

The succeeding eighteen measures, however, are thematically

connected with the Secondary Subject,
thematically related to the Chief Subject.

The contents

model Sonatina by Kuhlau

evolution of this

is

of

entirely free formation.

The Second Part

Motive:

of

it

begins with the

new

riff
into

a 4-measure Section,

accompanying
after another

figure of the left

and only borrows the in itself insipid hand from the commencement. Then,

4 measures,

enters, in this rhythmic variation:

m\H
a Deceptive Cadence
in At> Maj.,
,

which leads to a Semi-cadence

scale

on the

Dom.

of

C Min.

and thence on, in commonplace

and

140
5-note

Sonata.

36.
These
passages

passages,

into

the

Restatement.

may

of

course be
clusion and

regarded as being thematically

connected with the Conthey are at

all,

Appendix

of the First Part,

if

in their

unimportant commonness, entitled to thematic significance.

importance, commonplaceness
,

The un-

formulary nature of their respective

Developments does not

in point,

fall

to the

reproach of the two compositions

which are

consummate models

qualities are rather essential to the Sonatina, since its

of their kind. These Development

in a meas-

(Second Part) must not

detrimentally influence the iteration of the

Subjects in the Restatement.

The

entire

Development
It also

is

ure here a Cadence on the Chord of the Dom. 7th,

which leads

back from the Dominant

poise of

to the

Tonic.

maintains the equi-

Dominant against the

entirely Tonic Restatement.

(B)
By extending
sequently,
its

THE SONATA.
of

the form-members
the

the

Sonatina,

and con-

entirety,

Sonata

is

produced.

The reciprocal

relations of the parts

and members remain unchanged in regard to the

only a Sonata of unusual dimensions.

modulation, as well as the extension and metrical formation in general.

The Grand Sonata, too,

the

is

Albeit, the appellations given

by composers waver.

The Pathetique,

Min.

Min. Op. 2, for example,

(Appassionata)
,

are Sonatas; the

C Maj.

Op. 52,
are

F Min. Op. 57 Grand Sonatas.

and the Bb Maj. Op. 106,

THE FIRST PART OF THE SONATA FORM.

36.

EXTENSION OF THE CHIEF SUBJECT.

(a)

By

Repetition, usually with

an Appendix.
importance,
it

Should the Chief Subject be of adequate

ularly,

partic-

of characteristic rhythmic construction,

may be

repeated,

in

which case the termination of the repetition serves as a point

of connection for

what

follows.

Chief Subject.

36.

141

Ex. 197.

M^ J^Ir ^S
Allegro con
brio.
I
l

*t

Ibe
The
above
celebrated
is

m
Theme
two

from

Beethoven's
and
it
it

Sonate

pathetique, Op. 13,

characteristic
repetition,

appropriate for repetition, by reason of the

of
its

contrast
its

divisions;

demands
does not
its

this
suffi-

since in

prescribed

rapid

tempo,

ciently infix itself in the

mind

at a single hearing.

In

repetition,

though,

it

forms a Semi-cadence:

Ex. 198.

im 3= nJ" j;
fc

y
*r

A&

In their harmonic reto a certain extent,

first,

iife
to

which attaches an 8-measure Semi-cadence formula on Pedal-point.

is

This

followed by the Mediating Episode.

lations,

the Antecedent and Consequent have,

exchanged places.
Semi-cadence.

The Full Cadence comes

and then the

In the E(? Maj. Sonata, Op. 31, the Chief Subject

is

repeated
of

with

Tonic

termination

which

is

affirmed

by an

Appendix

2X4 + 2X2

measures.
of the

The Chief Subject

time

Maj. Sonata, Op.

is

2,

which consists
curtailed.

of two thematically different Sections,

first
it

repeated

The

terminates in the key of Dominant,

Maj.; the second

time, in the principal key,

Maj., where, without there being an

enters.

Appendix added, the Mediating Episode immediately

The Chief Subject of the Symphony

extensively lengthened,

in

Maj.

consists

of

Short Period, an elongated 2nd part, and a repetition of the Period

with a Cadence-formula which

immediately

142
proceeds to Cfl-E-Ajf, Episode.

Sonata.

36.
this

and through

chord,

into the Mediating

In the Pastoral Symphony, the elongation of the Chief Subject,

which terminates on Tonic,

titions.

is

also

essentially founded
in

upon repeof this

Likewise

the

slow

movement,

Sonata form,

Symphony.

(b)
of a

By
it

Annexation
initial
is

2nd Subject, which, as

were, bears toward the

or Refrain.

Subject

the relations of a Postlude, Coda,

This

common

form with Mozart.

In
this

master's Ej? Maj.

Symphony, the Chief Subject forms

the following Period of 14

space,

14

w measures,

which, in order to save

we

present in its

most meager extract; thus:

MOZAET.

Ex. 199.

Allegro.

jAijJl^

7^
i

P^>

fij

^ Hrrurn-ff^?^p ^^
1 -

Ij

'

fij

fSg
I

^
I

i-r?H

f f f

E
I

m
i

iE3ESJ
=&

/ili

J.'J'f

= rirrnrMrfHf

pgft,

f r

<jU

<Ttjt

(f ,

j' ,

^
were, comprising

Upon
strain,

the final measure (lacking here) of this tenderly expressive

it

enters a passionate forte, a "tutti" as

18 measures:

Chief Subject,.

36.

143

Ex. 200.

trry-r-

33E 5

j jj

I*

P
With
begins.

ir'HT

e^a
S
5=

:j tj
the
last

jAV__K f M f
measure,
the

Mediating (modulatory) Episode

Ex. 201.

Allegro.

MoZAKT.

b-'i

.1

Jlr

^|Cjril r

Jr

fr.i_ T

J-

fTfrc

N^I^JTj j^
I

(Inserted Imitation [comp. Ex.

Additional Subject.

LuM
Appendix.

^
first
its

^m
to die

nt ^r\nf\t
\

? *

Aesthetically, the preceding Ex. differs essentially from the one

quoted, in that

which seems
divisions

its 2nd Subject is succeeded by a soft echo, away in the Appendix. The shorter forms of occasion the more concise shape of the whole.

In the

Finale of

Beethoven's Sonata

in

C$ Min.

(Op. 27)

144
the Chief Subject becomes

Sonata.

36.
following Pedal-point

lengthened by the

on Dominant:
Ex. 202.

m
i
i*

B3S5

&m
OM

f*#

im Tf $m
if
which
is

^m
SB

aJ
i

%
g.
of

4
a

ti

it

au

substantially

Semi -cadence formula, but one

that

ingenious and characteristic kind which

Beethoven

has employed

instead of the commonplace ones previously in vogue.

Beethoven
B(? Maj., Op. 106,

opens the Chief Subject of his Grand Sonata in

with a kind of Prelude,

and then adds

.a

2nd
into-

Subject in Bt> Maj. which terminates on Tonic,

the Mediating Episode.

and conducts

(c)

By

Period-construction.

Owing
as a

to its closed form, the

Long Period

is

not well adaptable

member

of the Sonata

movement.

Yet, the Chief Subject often

forms an Antecedent extended by repetitions, or additions, or both,

to

which joins the Mediating Episode, which at

of

first

seems to be a
instead

Consequent with the Motives

the Antecedent;

thus

of

combining with the latter to form a Period, the Consequent reaches

over into the system of a
in

in

new key. {E. g., Mozart's Symphonies C Maj. and G Min.) However, above we have already noticed a Mozart example, which a Long Period united with an additional Subject to form
Extended Periods, that by themselves occupy

the Chief Subject.

the entire space of the Chief Subject, are also to be met with.

Chief Subject.

36.

145

The Chief Subject of the

ven,
is

Min. Sonata, Op. 90, by Beetho-

in the

form of a Tripartite Period:

Ex. 203.
First Part.

(4X2 meas., a quadruple Phrase

[comp.

1, 2].)

Beethoven.

Second Part (2x2

+ 2x1 + 2)

j^K-ff^f=f4r
1

flrTT^
Third Part.

i
i

.j/yf

r-irj.fi

as

[2

2]

+4X
i

1)

j-i j

ijjju
,
.

firt riji juJjji

"
i

Appendix.

W
Ex. 204.

it

ft f rtfrl-r

Antecedent. j-l r

p
j

I-,

^fj>

HH
j
7

Mozart.

* f.

M{^
simile

/f

l,J 'I Ci/

^irrrr

^n^Tit^
Viola.
i i

m&
6 ussier
,

iJ J

JW;
f
10

Consequent.
Musical Form.

146

Sonata.

36.

m
BE

^ ^u yjMA
r
\r
<,

-m-rr=Z^=fCM.

J]

;^J

ft 'i j

3K

trrf fff.f

^ to^^ fVff^T
'

^^
t'A'tu

i/rfr

f ni

pffleSf

m
measures termi-

In the above example,

we

find the first four

nating with a Semi-cadence, which appears to characterize them as

an Antecedent.

The

continuation, however, does not complete this

Antecedent to a Period, but again forms a Semi-cadence (by means

of the of

Chord

of the

Augmented
is

6th).

Aesthetically, too, the character

a Consequent

wanting,

owing to the urging nature of the

Only just here the Consequent

treatment of the Motives, notwithstanding the fact of their being

developed from the

first

Antecedent.

proper begins, which places 16 measures against the 8 of the Ante-

cedent,

The extension

is

connected with the Motive

|

|,

which

appears four times, and leads to the thematically free conclusion.

The

unusual

tripartition

and

expansion

of

the

Consequent,
its

noticeable in the above examples,

have released the Period of

closed character which

is

inconsistent with the Sonata

Form.
after 5

Beethoven,
ures

in his

Symphony

in

Min., forms,

meas-

of Introduction,

an extended Antecedent of 16 measures.

corresponding Consequent of 20 measures enters after 3 introductory

ones.

The elongation

of

4 measures

is

produced from

this

Motive

of the Antecedent:

Chief Subject.

36.

147

Ex. 205.

p*mM

which has been transfigured and elaborated in the Consequent in

the following manner:

Ex. 206.

iQ>

n*]-|

148

Sonata.

36.

The student is cautioned against composing these Subjects in the shape of meager melodic extracts (such as in part have, for reasons previously stated, been unavoidably presented here), afterwards adding their harmonic organization. This method would render the conits

texture dry, superficial and old-fashioned, because of having a basis of inartistic abstractions. The young artist should rather have the complete harmonic texture in his mind, as, also, the manner of interpretation

through that performing organ which he

the time.
In

is

employing at
incentive to the

order

to

furnish

something entire

as an
will

imagination, several models by

their complete state.

Beethoven

be given below in

MODELS.
Ex. 207.
Allegro con brio.
(Chief Subject of Str. Quartet in

Beethoven.

Mao., Op. 18.)

pi im-ai^i
Antecedent.
i

i
i

j_jjj

B jj-3
i

]^

...

t^

j=JB-#
*\i
5=

SEgE

m
.

M
*j
i

U^g^ JJ J ^g p
i
Jr~~"*"~1

Consequent
(elongated).

JuJ

t>

=5

a
1
1

jgr/ji
cEr-fJ
1

iif

^U mm
fe

Ty-H

Chief Subject.

36.

149
Perf. Full Ca-

frffET
f

M f;
1

T*.
i

r'tT j

||^^

(Sub-dom.)

^
dence.

-~

i
'

Appendix

to

Consequent: a 2nd Consequent, as

it

were.

HI
r;>
r

*=t
i

j-

fiji

rJ
i-

^
Ex. 208.

^;_r ^
tt

j-J3

5 jj

,-^frJa

|j

^ j !^

^f^-^
i
*
'

i ^

i
c/

^
/

g~E/
Pert'.

Elongation

by-

Full Cadence.

Period- construction

'KTt-C
^r
r

-C
r

and Annexation.

Allegro vivace.

Chief Subject of Str. Quartet in C Maj., Op.

Prelude.

Short Section.

^S

150

Sonata.

36.

|j

ttfif

^FT^
i
d

i J^J
#.

\fc
cresc.

IH*
/
I
'

3^=

.Prelude elongated.
re

p
*
|
i |
i

Additional
col' 8

fT-F

Double Phrase.

pra

* *

Subject (of a Cadence character).

c. 8.

i
"^**

* 4
?
I

S&
r

^ ^igruj^iJg MR^T TT^f

/
* ?
|

__

mm

flj-JEfl.jm m*
P^ I J
|

x.
Contractions
(2

x.
X
1

X.

M ff X

+3X

V)-

h^t^-if^ v jfW% s=s ^ =3 *z-r-^.

xE

&L

Chief Subject.

36.

151

|li
j'

iVr&J*"
j?^
j
Elongation by
Eepetitions

"

ebe

Gr"^ n

and

Annexation.

152
Ex. 209.
Violin.

Sonata.
Presto.

36.

Chief Subject of the Kreutzer Sonata.

"

ii<

iii
by expansion

ii T
i

'"? Antecedent

(9

meas.

of the Close).

'^"
Pianoforte.

UU
J

t=^^^
'

i"
i

s/p

^iMH-' ff 3^=5
J J r
I

4=
Repetition.

roW

r"P
f
/
rail.

If

^=

i'r
"
1 *
.

ii
'

ji-

ji-

r /

i'-.M
4
|

s:

f^H- IJ*J* h*-|j*j^ MJ j

i
1

JW
'

3jfc=z
j j

?4j
J
i

J-J

m l*E3 i ^ ^n F^^ Xp. I i ^f^ f

J
J
t
1

? J J

jj

jl^'

rail.

rr
s
t>
' i

fe

:fc=

raff.

i
3=

8/

ftrf.

'

'

Chief Subject.

36.

153

i
p

* *
'

.Consequent (8 meas.).

jjui^nujjj W i
cresc.

ss*
tJ

3fc

r "
-u^/

'

3
/

IJ

= t
*/

-#-

i
?
:

^^
*~^r*
meas.)

|>-WJ

^J+Jl JffJ
J J

^
d
J
I

rr

bJ

jj^M
?
f
1

Appendix (2X8
r

$
|i

n
JJJ]
r r

? Jl^fp

jjn
=3

J7T3
*

jm
a

4=
I

r^r
J

#fe

^^
J

=3=

IJ

==*

f
r^r
r r

i
*:

SS il
* ^
i 3

rrrrTrfr

^^^

154

Sonata.

36,

^^
-^?#^

h-&rM

QEEE

J-

tf=J ffi
^r^j
j f. !U_JR
0...
.

tfr frff
i

re
'

NBH

i
?
:

ijij
-*.*.

i^
*.

lysi
cJ-cj

im
FP

p*

^m

tLd rtj

i g

^
ffi

i
=^P

^^ m rm

rrn

^
fp

=3=

i #f#g
3=

E= OT*

bo
I

ran

T*

i? js

Mediating Episode.

37.

155

37.

THE MEDIATING EPISODE.

through which the new key (of the
In Sonatas in Major, the key of

Notably, in the First Part of the Sonata form, the Mediating

Episode

is

a modulatory one,
is

Secondary Subject)

introduced.
is

the Secondary Subject

in

regularly that of the Dominant; in Sonatas

or in that of the

Minor,
in a

it is

in parallel key,
in

Dominant

in Minor.
to

Thus
in

Sonata

Maj., the modulation must be

made

G Maj
of the

a Sonata in C Min., to Et> Maj. or

its

G
is

Min.

The procedure

modulation in
I.

present employment

a more or less decided one.

"With the Sonatina,

we became acquainted with a procedure (p. 134), by which merely a Semi-cadence on Dom. is formed, and thereupon the Secondary Subject introduced. Though so
loose a

procedure

is

rarely

to

be met with in the Sonata,

yet

it

does occur, particularly with

In this case,

Mozart.

(Comp. Ex. 191,

has
the

192.)

the Mediating Episode

simple

task of producing a Semi-cadence in the principal key.

II.

The modulation
the

is

more

radical,

when

the

introduction into

new key

is

accomplished by the Dom. 7th harmony of

that key,

as in the

Kuhlau model
is

Sonatina.

There the en-

trance of the Secondary Subject the

preceded by the Chord of

Finale
of

Dom. 7th

of

its

key.

{E.

g.,

Beethoven's
procedure
is

C# Min.
(E.
g.,

Sonata.)

Equally as advantageous
the

that of introducing

new key by

D Min.

Sonata: Finale.
6th.)

own Semi-cadence. Semi-cadence IV V with passing

its

Chord of the Augm.

III.

The most radical procedure, however, and one most usual in Grand Sonatas, is to modulate beyond the new key, namely, If, for example, we intend to proceed to that of its Dominant.
from C Maj. to

Maj.,

we would modulate
it

first

to

Maj.,

and from here back, as

were, to

Maj.

Should our object

be to digress from A Min. to EMin., we would modulate to B Maj. as the Dominant of E Min. This Dominant of the

Dominant has been

(p.

designated

in

the

author's

"Harmony"

182) as

Changing Dominant, and

in the Science of

Form

constitutes that harmony, with which the change of key becomes

156
effectuated.

Sonata.

37.
p.

(Comp. the author's "Partiturstudium"

345.)

Should the Secondary Subject of Sonatas in Minor be in the

parallel key (as
is

invariably the case with Mozart, and often

so with Beethoven),

then the Mediating Episode modulates to

it

the

Dom.

of the parallel, which, however,

is

not customary

to designate as

"Changing Dominant".

If

we

intend proceeding
to B|? Maj., the

from C Min.

to Ej? Maj.,

we would modulate

Dominant

of the parallel key.

Thus, for instance,

to the

Mozart,

in his Gr Min.

Symphony, modulates
Secondary
at

Dom.

of parallel key, prior to his establishing the

Subject in Bt? Maj.,

parallel:

even though he

had already arrived

the

Ex. 210.

^rr^'

'tf

&&
sb
<?==i?:

S y^=e
A
the

3^3=last
is

two of
in

procedure

which holds the mean between the

is

those set forth here,

that by which a Full Cadence

formed

new key;

as in

Beethoven's

Maj. Sonata, Op. 10:

j/ijjjjj

li'l

HliHri+^i
j

m
~z?

'r

''j

'

Mediating Episode.

37.

157

L^fi
/
-Vfflf .-"I

j|

$
S=^

_jr-1

TP^I

158
Ex. 214.

Sonata.

37.

Mediating Episode (issuing forth as a repetition)

^[k^ip^^ir rUrroi
-rf-r
>M.
\>.

^
rl
j

i a^
f

Hii St

flft^t* Clg f^g rr ^ ipip

rrtr
Parallel.)

g
f r

(Dom. of

Appendix.

(Semi-cad. in C Min.)

simile

mm
3c

Secondary

*T
the

H
so in this

Subject
in

C Maj. follows here.

As
example,
Episode.
In
after

in

the

Beethoven example,

modulating Consequent

was preceded by a Cadence-formula on Dominant,

Mozart

such a formula follows the modulation of the Mediating

Beethoven's
it

Et? Maj. Sonata, Op. 31,

[a]),
is

the Chief Subject,

being repeated ( 36,

is

followed by the Mediating Epiits

sode, with which

connected through

principal Motive.
effects

With

the

second Motive,

the

Mediating Episode

the

prescribed

modulation.
In the
first

movement

of the

Ninth Symphony (Choral,

Min.),

the Mediating Episode, which, possessing the most lofty emotional

Mediating Episode.

37.

159
is

content, ranges as the zenith of Symphonic Art,

organization.

of a similar formal

In

its

36th measure,

it

draws from both of the con-

stituents of the Chief Subject,

and in the 74th measure, is located on the Dom. of the key of the Secondary Subject, here, by exception,

that of the

Sub-mediant

(Bj? Maj.), instead of parallel key.

(b) Independent.

The Mediating Episode evolves from

the
of

its

case
the

in

Mozart's

E|? Maj.

Symphony.

own Motives. This is To the Chief Subject

the

first

Allegro (Ex. 199

&

200), immediately joins

Me-

diating Episode with this Motive:

n
Ex. 215.

frrtttftni.

s m
affinity to

whose second measure bears thematic

figure of the introductory Adagio.

the demisemiquaver

This Motive, aBimeasure, repeats, whilst modulating,

<S2_

five times:

Ex. 216.

m-rtf s
''

If

i."

u-.

S
F
Maj.
:-

&S

and

establishes itself on Pedal-point in

Ex. 217.

H?

9fP
(In 4 Octaves.)

&FFft

in order to digress with this

new Motive:

Ex. 218.

^^m
to the

s*
into the

t f .i-t
j

r =3=

key of B> Maj.,

Secondary Subject.

160
In the

Sonata.

37.

Don

Giovanni Overture, the Mediating Episode takes

of
this

a perfectly independent position between the Chief and Secondary

Subjects.

Beethoven examples
first

order are:

Finale of the

C Min. Symphony, the 47

Symphony, the

Allegro of the
first

Maj. Symphony (meas.

of the

to 68) in particular;

then the

movements
etc.

Pastoral

Maj. Sonata, Op. 10,

(c) Combination of kinds (a)

and

(b).

The Mediating Episode proceeds from the Chief Subject, but

in its progress,

assumes an independent structure.

In his
in the

Min. Symphony,

Mozart

constructs the Chief Subject

form of an

extended Antecedent of 16 measures.

first

To

this

Antecedent, joins the Mediating Episode, in the Consequent:

Ex. 219

place

as

j,>&lr&r
J
*
i

Jlf

Lg|fC?fCj
r
1

f>r?-

r?

c?

f^

'

^V tf
l

1*

V
fi

Modulation to B7Maj.

New

Subject in

Mediating- Episode

j/f
i

I"

r
->

nr Hiii
|

ftr

^
fr
that

rt

jTtLT ,
to

HW rfrf
1

Ml Modulation

Dom.

of Parallel key.

g/f"rr|r^|^
Here the Mediating Episode
to its conducting to the
this
is

Here enters the Secondary Subj.

T=F?=t
to

be seen commencing as a

Consequent, and then proceeding to an independent formation prior

Secondary Subject.
situated in the
to

peculiarity is,

new episode

is

already

key of the Secondary

Subject,

and yet modulates anew

that key.

We

may

notice this

kind of modulation in Mozart's

C Min. Sonata

(comp. Ex. 35), in

Secondary

Subject.

38.

2.61

which the Mediating Episode proceeds from the Chief Subject, appearing to produce a repetition of the latter, but with a single stroke, digresses
to Et? Maj., there,
sets

up a new episode, and conducts

proceeds

it

to the

Dominant.

Beethoven

similarly in his EJ? Maj. Sonata,

Op. 7, but, as in Ex. 211, he concludes the Mediating Episode not on the Dominant, but on the Tonic of the Secondary Subject, Bt? Maj.

Twenty-Sixth Exercise.
In accordance with the kinds of construction here set forth, form to the Chief Subjects composed for the preceding Exercise, Mediating Episodes that introduce the key of the Secondary Subject, in the manner of II and III of the ways of procedure shown on page 155.

The Mediating Episode should urge onward, and conduct

to a

new

goal.

Therefore
fault

it

should never be overcharged with Thematic

to

Work, a

common

many

of the latest composers.

38.

THE SECONDARY SUBJECT.

in the

The Secondary Subject generally stands

trast to the Chief Subject.
It is inclined to

most striking con-

be of a cantabile character;
of very elaborate

especially so,
figuration.

when

the Chief Subject

its

was composed

Otherwise,

structure exhibits equally as great a variety

it

as the Chief Subject; indeed,

often possesses a greater wealth of

Motives, and contains the most important modulation of the First Part.

As a

rule, the extension of the

Secondary Subject

is

somewhat

greater than that of the Chief Subject without the Mediating Episode;

but decidedly less than that of the Chief Subject with the Mediating
Episode.

Below we present two Secondary Subjects

Secondary Subjects
their

that

may

serve

as samples of construction.

The

first

which the
keys.
the

student writes should

terminate firmly in

respective
in

To be

sure,

there are

master-works in numbers,
immediately

which

Secondary Subject leads

first

into the Conclusion;

as in the

movements

of the

C Min. and

Maj. Symphonies.

Cases, however, in which the final

measure of the Secondary Subject concurs with the initial one of the Conclusion, as in the Finale of the C Min. Symphony, are not
classed under the head of those, but are regarded as regular.
Bussler, Musical Form.
\\

162

Sonata.

38.

The key
of

of the Secondary Subject ( 37)

is

a Major Sonata

that of the Dominant;

Parallel, or

Minor Sonata, that of the

Dom.

in Minor.

In accordance with the preceding,

accessible

the student

should examine

the structure of the Secondary Subjects of the best

known and most

Symphonies, Sonatas, String Quartets of Beethoven, those of the last three Symphonies of Mozart (O Min., Efy Maj., C Maj.), and other Sonata-form (first) movements by these masters

and by Haydn; and determine

their proportion to the Chief Subject.

Ex. 220. Allegro. Secondary Subject (Gjj Min.)

Finale of Sonata in

Beethoven. C Min.

Motive.

Contraction.
|

Allegro.

Secondary Subject (Eb Maj.).

First

movement of Sonata in
r
i

Mozaet. C Min.

p*rvrt
Motive.

nrtjum
Free Contrary

Tonic

to

Dominant.

ite Ws
Repetition,

m
enhanced in tone and

sirze
figuration.

m
Motion.

-l/ejrnt
Repetition: (Dominant
to

New

Motive.

*wi 1e
i

P-i^-M-

ff-

-f-

f-

fff

= ff f

cu

(Deceptive Cad.)

fo^rTOflr
>-

HHjrFiPffNew
Motive.

Tonic.)

Secondary

Subject.

38.

163

+=F
Translocated,

and Transposed.

m sfe
Sub-dom. harmony.
i

y,,

,QTmr

irc;

,cr

>,

|A

if

^m
7

Repetition, altered in tone.

==
ir*
Sub-dom. harmony.

ai
R

Deceptive Cad. Sub-dom. harmony.

* i
3S &
ft

** rud

-"ii
tfy.

t=^

^U^^lfe
=#
:

n^
Close.

**

Close. Clos

11*

164

Sonata.

38.

One

sees, that also in the present instance, both of the great

masters do not adhere to

but forsake these after a
to

the Motives of the

single

first

few measures,

repetition,

in order to pass over

new

ones.

The Subjects themselves, however, are

perfectly closed.

Twenty-Seventh Exercise.
Compose Secondary Subjects
With
this,

to previous as

work.
as

as

with past Exercises,

is

much

possible of

appropriate work previously executed

to

be employed

the

not for

the purpose of sparing the labor of exerting the fancy, but because
of the fact, that here

but with form-construction.

object of cultivation.

we have not Not

to deal with the inventive

power,
present

genius,

but taste

is

An
is

example, in which a Mediating Episode (with new Motives)

intercalated between the Secondary Subject (a 16-measure Period)

is

and the succeeding Conclusion,

to

be seen in

Mozart's F Maj.
Thus:

Sonata, whose Chief Subject was shown at Ex. 201.

Ex. 221

&c. to

*l

.M

tfr
i

m
(Begins
its

^Pi
^\
Of
still

^idhr
is is

^
E

Secondary Subj. on Sub-dom. of

key.)

greater importance

the Mediating Episode

in

the

Kreutzer Sonata, which

ject in

intercalated between the Secondary Sub-

Maj. and the Conclusion in

entire

Min., and which once

first

more

executes the

modulation.

In the

case,

it

would be

reasonable to apprehend the

peculiar Antecedent to the Conclusion.

new Mediating Episode as a thoroughly The apprehension of such

Conclusion.

39.

165
in the

like

Consequent to the Secondary Subject,

doubtful,
since

second case,
is

is

made

the

new Mediating Episode

based on the

Motives of the Chief Subject.

39.

THE CONCLUSION.

From an
was
in

aesthetic point of view, the Conclusion generally ap-

proaches in character the Chief Subject, especially when the latter

spirited
figuration.
Its

extension
of

is

usually such as about

of

establishes

the

equipoise

30)

a bipartition

the Part in

which

it

is

situated.
it

Technically,

has upon the whole the character of an extended

Conclusions that repeat, as
with.

Cadence-formula on a Melodic Motive.

well as

compound

ones, are to be
of

met
is

Perfect in

point

lucidness,

the Conclusion of
It joins

Beetho-

ven's

Ctt

Min. Sonata, last movement.

is

immediately to the

Secondary Subject, and

Ex. 222.

repeated in climax; thus:

fh\j\m\ti

mm^Kf^
r iJflu
Repeats with
extended
close.

J?** ^rrffiTffifqjtffjffi

jy7ff-

^MffMlr
The Conclusion
of three Sections:
of

Mozart's G Min. Symphony

is

composed

Ex.223.

First.

166

Sonata.

39

ft" "I

J
'

"

r J

p^=Third.

^
Conclusion

r Fg ffrg.
.

^ f ;jI

r^tej
On account
Occasionally

rrrnfrffttCfi

feU^
the

Appendix
follows.

of its thematic affinity (contrary motion), the first

of these might be considered a part of the Secondary Subject.

appears

as

mere Appendix

to

the Secondary Subject.

This

is

the case in

Beethoven's

Min.

Sonata, Op. 90, (comp. Ex. 203, 36). Ex. 224.

Thus:

m
i

3=t
/

y-w^r^

tr
&-

k
&-

m
dim.

i^

f^W
^m
particularly

pp

Sometimes the Theme of the Conclusion

is

decidedly independent,
a slight

when the Secondary Subject possessed but

Thus the Overture
to

degree

of independence.

"Freischiltz" contains the

Appendim;

40.

167
its

celebrated Aria of Agatha (comp. Ex. 176) in

the
afore -mentioned

Conclusion.
is

Also

Conclusion of the Kreutzer Sonata

an im-

portant and independent Theme.

Ex.225.
Presto.

Kreutzer Sonata. Conclusion of the

Pianoforte
(in octaves.)

first Allegro.

^t

*i

r*'

r~

*c-

f rr.

i
i
ir
i-

Tr.'f
(doubled 3
oct.

. i

f*frf
*e
.J
.1
i

^
Violin

Trrr.f
lower in Pianoforte.)

J-

BjT

<
i

1
v r

t
i

''

tt

i i

Tf

*f,-

^friJ^
r-

rrrr f
i

*#

ftfrrnf
40.

THE APPENDIX.
form-member,
is

The Appendix,
the Sonatina, as the

familiar to us, through our acquaintance with

fifth

in the Sonata

form also

confined to but a few chords.

it

Albeit there are instances, in which

attains greater dimensions, comprising even several short episodes.

in respect to lucid partition of its divisions
is

Exemplary

and the normal

Min. Sonata,

structure of same,

the "Finale" of

Beethoven's

Cfl

where, to the Conclusion,

as
it

presented at Ex. 222, joins, dying away

were, the following episode as an Appendix:

168
Ex. 226.
[Construction:

Sonata.

40.

^^^^^^^i
in

2x2 + 2x1]

sp^ssip ^^
e

fifty
ittEEfe

fff|P
X
'

rf.

\^*

W
c
Min.

Ex. 227.

Beethoven,

SympHony.

!'

J'lf

fif'i f|f

Mozart.

GMin. Symphony.

Return.

41.

169
of two distinct parts

An example
is

of the

Appendix consisting
Sonata of

furnished

by the

Maj.

Mozart

(comp. Ex. 201).

Thus:

m
Ex. 229.

^
r r

^
=

'^V ^

^V^
^^g

is#pipiipipi#

Only two chords

constitute

this

member
to

in

Beethoven's
It
is

EMin.

Sonata,

Op. 90.

These

are joined
is

Ex. 224.

of

rare occurrence that the Appendix

totally wanting.

41.

THE RETURN.
we
a connecting member, joined mediately or

From our

acquaintance with the Sonatina (comp. Ex. 177),

is

became aware that there

as the case

immediately to the close of the First Part, for the purpose of leading,

may

be,

either to the Repetition, or to the Continuation.

is

The need

of such a

member

conditioned by the relation of the Close

the to the Recurrence, and, again, to the continuation into

Second Part.

170

Sonata,

41.

Mozart,

in

his

C Min. Sonata, employs

is

for

both purposes,

the following figure which Ex. 230.

drawn from the Chief Subject:

It

i^m
^5 BE
This
is

TpZp

h mm

r~s

ms
Sonata,

followed the

first

time by the Repetition, the second time by Development.

To

the

Appendix (Ex. 226)

in the Finale of his

C# Min.

Beethoven
Ex. 231.

adds the following Return:

gi ^a
Subject,
is

-& <*

w
S
J
1

**

** Repetition

commences

m
of

< ?
-

z y <s y
*

-^ g* < g<

here.

f
occurrence

This manner of forming the Return from Motives of the Chief

very
frequent, indeed,
his followers.

almost regular,

with

Beethoven and
Mozart,
in

his

Min. Sonata for Piano and Yiolin,

even

employs as a Return, a Canon based upon the Chief Subject:

Ex. 232.
(Played in octaves.)

yjrir^UJJJ

i)\t+U
if

^
i

r?n
jjjj a IK

*:

(Comp. Ex.

69.)

Pf^

r fr

Third Part.

42.

171

which, in the Third Part, recurs in the principal key in the following shape:

Ex. 233.

i
m
j^rt9=11

ffffrr
3E

ff

rr

^
rr -g
i

K
f
i

.ffcf r
.

tjifn-rrr

r<tTfr

|r

c^jiyfff^

Twenty-Eighth Exercise.
Complete the First Parts of Sonatas previously "written,

by adding the Conclusion and Appendix, and, where required,

a Return to the Repetition.

Through the Exercises

the'

in

the

present

division

of this work,

young composer has come Form.

in possession of several First Parts

of the Sonata

We

shall

now turn our

attention to the easy

task of constructing the Third Part, the so called Eestatement.

THE THIRD PART OF THE SONATA FORM

OE

THE RESTATEMENT.
42.

The Third Part

cisely like

is

produced from the

First, through the avoid-

ance of the modulation.

The process

of its

construction
its

is

pre-

that of the Sonatina.

On

the whole,

divisions retain

their original dimensions,

though contractions and elongations are

by no means

inadmissible.

Owing
sode,

to the omission of the modulation,

the Mediating Epi-

between the Chief and Secondary Subjects, really becomes

172
dispensable,

Sonata.

42.

and in fact there are examples,

in
is

which
to

it

is

alto-

gether omitted in the Restatement.

Again here

be quoted the

excellent Cfl Min. Sonata, in which the Chief Subject in the Third

Part,

just

as

in the First,

closes on a

Semi L cadence with Pedal-

point and Fermata, and thereupon

the Mediating Episode being

omitted

immediately enters the Secondary Subject:

I
Ex. 234.

&& Js
Also in
the

Wjl^f^f
D
Min. Sonata
of
,

mi

All the rest, from here on, pursues the regular course.

Op.

31, the broad and firmly

is

closed Mediating Episode

the Third Part.
in the

the First Part

it

entirely omitted in
its

However,
(II

was already repeated in

entirety

Development
rule,

Part), or rather, as the Development.

is

As a
its

though, the Mediating Episode

frequently
is

retained by the
to surrender

masters of the Sonata form,

station for

being

made

Thematic Work, and

works,

not seldom elongated.

this

In
in the

his

later

Mozart employs
Thus
a
I

Member

preferably

manner

just described.
I

in his

Min. Symphony, where

the characteristic Motive

of the Mediating Episode:

m
Ex. 235.

=i

rfV^|f^fr| rr^
i

fcjj?
Jfe

?ifTf ferf

v r_

Pi^

^m *=

Third Part.

42.

173

.;;

m
j f
r

r,

Yrrf
f

nJ ,pg|

**=
C
'

'

W
j,^

"r

,j| f irf

<

j,.ir^Mf
r

i^
l

r-f

J r

fyl

r^n ^drf ClXr

l

j/^rlin
undergoes
an
interesting

*
point

(Comp. Ex.

219.)

development

in

of
is

harmony and
elongated 21
(Jupiter)

counterpoint,

and, compared with the First Part,

measures.

In the celebrated "Finale" of the great

in

C Maj.

Symphony, worked-up

Fugue
for

in

quadruple
as

counterpoint*,

the

member

in

point

is

utilized

equally

interestiug

a Stretto

through the Circle of 4ths; thus:

Ex. 236.

3*1

i r

i
E
#6 #6

*
J
L
Jw te
6

fe

te=
(Counterpointed by two other Motives.)

te
inserts a

#6

In the

first

movement

of the

same Symphony, Mozart

nevertheless

Mediating Episode, likewise of modulatory importance, which, though

no longer than in the First Part,

its

is

more elaborate

in

harmonic and

contrapuntal bearings.

Below are presented both

episodes for comparison.

*

Comp

the author's "Counterpoint and Fugue in the Free Style",

174.

Sonata.

42.

Third Part.
This
poser.

43.

175
to

procedure

is

also

here

commended
,

the young comit

Eatain the Mediating Episode

but elaborate

in-

an ap-

propriate manner.

Twenty-Ninth Exercise.
Write the Third Fart
posed Sonatas.
to each one of the previously com-

43.
In gether

MODULATORY LICENSE.

with the

Sonatinas in Minor keys, whose Secondary Subject tosucceeding Conclusion and Appendix oppose the
the

transposition into Minor,

instead.

Tonic key in Major

is

employed

Besides in numerous compositions by

Haydn,

this

modulatory

license is to be found, and, indeed, quite significant, in

Beetho-

ven's

C Mm.

Symphony..

There the Secondary Subject:

Ex. 238.

'

uum M
rj ?2 f
d

_a

5ESE3E*
character would be sacrificed entirely.
in the Tonic

w
For
this reason, it
>

*
its

does not admit of being transposed into Minor, in which mode

appears

key in Major: CMaj.:

Ex. 239.

i'VuiV^'
2te BE

^
"Or

176
in

Sonata.

44.

which also the succeeding Conclusion takes place; whose triumphThus:

ant ardor likewise opposes the transposition into Minor.

Ex. 240.

MrTfr
(See 47.)

pnni
l

fo'/

j fe
in

That, notwithstanding, this

besides the means through which
for later discussion.

movement concludes
it is

Minor mode,

accomplished, will he reserved

In accordance with the foregoing', change several move-

ments sketchwise.

44.

MODIFICATION OF THE SINGLE MEMBERS IN THE THIRD PART.

I.

Of the Chief Subject.

In his
of

Min. Sonata,
its

Beethoven

curtails the Chief Subject

,

the greater part of

figurate contents

whilst he lengthens

it

by two Largo Eecitatives:

Ex. 241
.

Largo.

n
m
fa
\
j

i?

^
Allegro.

JjjjHrt.

f/ J

ft

r
j

u* g> a a ^j o d o as a =g
i

Adagio.

i
Largo.
*.
"">
"
|

ea

cresc.

if

;r~

PP pp

-,

M=M=i

Third Part.

44.

177

i =33;
=9i
IE
Ex.242.

ff,f

"
'

'

Cf

Hereupon, with these few modulatory measures:

J}6

Allegro.

p_

^=

1 1 l 5=3=
*

=
S

*=p S^

^
|7_

*=

^=
(

he digressess, omitting the Mediating Episode

42),

to the Sec-

ondary Subject, which here enters in

Ex. 243.

Min.

i.*i
f

.* frff !*! *
|

^m
pp

m
In

3tj3t^=Ei3

HI

the Sonate Pathetique,

he forms from the second part of

the Chief Subject a modulatory episode: Ex. 244.

be I $

ee
3;

b^

rrr

I^ Fff^

fr/ |
12

simile sempre.

^P
^V r EE
Bussler, Musical Form.

rii

rr

178

Sonata.

44.

which here occupies the position that the Mediating Episode did
in the First Part.

The

ability to

make such

alterations depends

upon the proper

discernment of the given conditions in a particular case, and upon

a surety in the mastery of form, which the young composer
is

now

on the road

to acquire.

II.

The Mediating Episode

in order to in

is

sometimes merely transposed,

This
is

remain unaltered.
E(? Maj.

the

case,

for

instance,

Mozart's

Symcon-

phony, where, in order that the unaltered Mediating Episode may,

in

the Third Part, terminate

on Tonic, the Chief Subject

is

ducted to the Sub-dominant for the sake of the termination.

to

("Tonic

Dominant"

is

equivalent to "Sub-dominant to Tonic".)

III.

The Secondary Subject

Sub-dominant, and,

of the Sonate Pathetique enters in the key of

only just in the thirteenth measure digresses to the Tonic key; thus:

Ex. 245.

^ _

f^^fff

M^f
>j

m m$

8-i-g

^BS

ffirt^rn^r

H^^

^rr

pern

^mrfFff* e
/

mM
/

ife

^T=?

nn

Development.

45.
that,
in the First Part,

179
this

Attention

is

called to tie fact,

Subject enters in the Minor mode, instead of Major, of the parallel

key, and only concludes in Major.

THE SECOND PART OF THE SONATA FORM.

OR

THE DEVELOPMENT.
45.

The Development
clusively,

in the

Grand Sonata should be occupied

ex-

or very nearly so, with the

Themes and Motives

of the

First Part.

Wherever
is
e.

this is not the case,

the significance of the

Sonata

Form
as
its

detrimentally affected,
(i.

albeit the value of the art-

work
rate,

such

aesthetically)

remains uninfluenced.

At any

emotional

content

is

either not equal to the

form of the
it.

Grand Sonata,
generally

or, as with the

Eroica Symphony,

it

overtops

In the master-works of
is

Mozart and Haydn,

it it

the Development

half as long. parts;

much shorter than With Beethoven,

Symphony,

the other two Parts,

being about

attains the length of the other

is

in the Eroica

even longer.
its

This

is

due

to

the fact, that

in

Beethoven's

genius found

greatest auxiliary source

Thematic Work,

whereas the

first

named masters

rather

considered as their task the juxtaposition of the Themes.

46.

THEMATIC WORK.
is

By

the

term Thematic Work,

comprehended every form

of evolution which a

Theme
or

or part of

same can possibly undergo,

art,

whether through the agency of the harmonic

tion,

figuration, varia-

counterpoint,
its

instrumentation;

each one of these

terms

being taken in
of

most comprehensive sense.

Thus, any manner

organization,

that can be evolved from a

Theme,

is

embraced

in the

term Thematic Work.

the

In

works of the classical masters

of instrumental music,

which almost exclusively engage our attention here, the province

of Counterpoint in Thematic

Work

is

limited, as a rule, to Imita12*

180
tion.
It
is

Sonata.

46.

only exceptional,
it

and when there

is

a special object

in view, that

extends over the forms of

Fugue and Canon.*

des
in

In this sense,

Mozart,
in
his

in his

Overture to "Die ZauberfiSte",

and Beethoven,
the

Overture to "Weihe
is

Hauses"
the

touch
in

form

of

Fugue.

The Canon

employed

Sonata

C Min. for Violin and Pianoforte by Beethoven. The Finale of Mozart's Jupiter (C Min.) Symphony even is based on quadruple counted in, quintuple) (and, indeed, if an accessory Theme be Short Canons, to be found in Beethoven's Symcounterpoint.
phonies and other instrumental works,
author's
in

have been exhibited

in the

"Free Style"

21, 31).

Yet these are only exceptions

proportion to the vast majority of works

exceptions

which

go to show how far Thematic

of it,

Work can

advance,

when demanded
in or-

and

to

what extent the composer must be equipped,

all

der to be prepared for

In
the

events.

Operas and Musical Dramas of

Wagner,

Thematic

Work
basis

has been established upon an entirely new, a poetioo-musical,

and form of elaboration,

in the

so

called

Leading-motive
be incomprehenthis

Style, the magnificent technic of which

sible,

will neither

nor

unattainable

to

any one that has thus far pursued

course in composition.
In the Development of the Sonata form, Thematic

Work must

proceed systematically, but not arbitrarily,

to another.

skipping from one thought

The

chief

difficulty
it

with

the

Development

lies

in

the

fact,

that, in its modulation,

generally

commences with the same har-

mony, as the one with which' it should conclude, i. e., the DomiIn order to remove this difficulty, and gain space for the nant.
modulation, the masters occasionally open the Development with a

modulation

to

a distant key.
briefly

In the

first

movement

of his Jupiter
at

Symphony, Mozart
that; thus:

modulates to E[? Maj., and unisono,

Ex. 246.

n
i

? J9v

55=
* In the finale of Beethoven's A Maj. Sonata, Op. 101, the Development takes the form of a Fugut, whose Subject is based on the Chief Subject) In the B flat Maj. Sonata, Op. 106, the Development of the first movement begins with a Canon, which

later proceeds

with added 8rds.

Comp. Ex.

85.

The Development.
In

46.

181
opens
the

his

Maj. Sonata,

velopment in BJ7 Maj.:

fefe.

Op. 10,

Beethoven

De-

i
Ex.247.

tt

Ng#i
indisputably the most

^Pf
In

Mendelssohn's A Min. Symphony,

species

important work of that

which the after-Beethoven period

is

has produced, the introduction to the Second Part

quite unique.

Namely, the Tonic

is

of

Min., in which key the First Part closes,

this

retained

and
two

against
octaves:

the

Horns

Ctt
its

sound the perfect 5th

Grti

in

digression which seems never to lose

power

of novelty; thus:

in'if/lf
Ex. 248.

J'^

iij^l^

&Z

a.

ingl
E
the Tonic of

mm
,

"Were this

E Maj.

the entrance of

C$ Min. Dom-

would be commonplace and

In

ineffective.

Mozart's

Gr

Min. Symphony, in which the relation of

inant

is

not present,

the modulation, also with but a few chords,

proceeds from

Bp

Maj. (parallel key) to F|| Min.:

Ex. 249.

4= !fe
r
it

*i m
\i.

&
are: no Motive

The cardinal laws governing the Development

should be taken up, unless should a Motive be forsaken until

undergoes some form of evolution; nor

it

has been effectively worked up.

it

After

it

has once been quitted,

it

though,

should not be taken up

effect

anew, save when

contrasting, or

may be

set off with

augmented

by proper

by a climax.

182

Sonata.

46.

The
should

modulation

should

he

systematically

conducted;
in

there
the

be no disordered wavering to and fro;

of

particular

Dominant
of the

the

principal key

should be avoided

before the end

of

Development has been reached.

is

The termination

the

Development

more adaptable than any other place

for bearing

a Pedal-point on Dominant.

In the contexture of the Development, fixed forms should reign

supreme,

as

is

the

case

in

the

other Parts,

only that here the

short forms prevail, and are not carried out on a Tonic basis, but
in

modulatory

manner.

Here
of

is

where

modulations

may be
apt
to

freely resorted to.

Sequence -like
appear impotent,
is

iterations

short

divisions

are

very

pedantic and old-fashioned.

for
it

But, naturally,

this

not always the case,

just depends

upon the character of

the sequence.*

On
skillfully

the other hand, the repetition of greater divisions, especially

formed ones, in a

different

key, and perhaps, also, with

slight alterations,

might be of material advantage to the Developits

ment, in that the clearness of

form may thereby be augmented.

Such

like repetitions are to

be found in the greater Symphonies by

Beethoven,
There ments
is

particularly in the first

not a Symphonic

of the

Sonata form in

movement of the ninth. movement which puts forth the moa more succinct and, at the same time,
Symphony.
Of the Motives of the

forcible

manner than the

C Min.

First Part, the following ones are employed in the Development:

Ex. 250.
I

The

principal Motive:

g^P'l?

JJ

J ~jvj; the thematically

related Motive ive:

J J J

the first half of same:

J J J

=$

and the contrary motion of

it;

the expansion of the principal Motive:

r~rgq;

the second and third measures of the latter:

* In Wagner's works, aro to be found harmonic sequences that are surely the opposite of dry and pedantic.

The Development.

46.

183

Besides these,

Beethoven

forms a contraction of the

principal Motive

the foregoing, in the following

The Development proceeds with

order

Motive

constitutes the Introduction,

4 measures, and a
I

Double Section in
sion,

Min., 8 meas.; Motive

c
| |

twice in succes-

4 meas.
of

Motive

modulates in 4 meas. from

Min. to the

Dom.

Min., with this counterpoint:

'h Up
the

iijbjUfrJJ j
Antecedent of the Chief Subject
proceeding
b
|
|

to the present juncture, the

has been conducted to

Min. ; but the second division of same, to

division

Dom.
to

of

C Min.
of

Second

repeats

from
c
| |

C Min.

Dom.

Min., 8 measures.

Motives
,

and

as before.
to
last

Second division again repeats

8 meas.,

but from
b
| |

G
|

Min. Tonic
c
,

Secondary Triad II,

Motives
;

and

|.

The

4 measures are repeated twice

the
|.

second time

curtailed

measure

=
,

7 measures, Motive

c
|

Thus

far a total of

43 meas.

Motive
|

twice in elongation

rrr * Jp
\ \

t;

Motive

184

Sonata.

46.

In the 1st movement of his

the Development

Symphony

in

Maj.,

Mozart
to

opens
of

with

the

modulation,

in

unison,

the key

E*? Maj., shown at Ex. 246, and repeats the Conclusion in

Ex. 251.

this key.

To

the last Motive of same:

4/f^rc'fffi f
'

he

joins

a modulation,

by transferring the Motive from Flutes and

Bassoon

to the Violins; thereupon proceeding to

contrasting rhythms:

m=m^$0mm
I?*;*

Min. with these

*. 'fa

and

in

the

alternation

of both divisions of the Violins with Viola

and and

Double Basses.

Now

he forms a free two-part

canon between Violins

first

Double Bass with Viola, based on the

this

half of the Motive, with

transient modification

of
its

same:
final

E, closes

this also in

Min., and on
its

measure, introduces the Motive

of the Conclusion in

original shape:

f^ps
cadence formula on the Dom.
changes into the Dom. of
the lower parts, thus:
of

adding hereto

the imitation of the last measure, and constituting therewith a Semi-

Min.

This

Dom.

of

Min.

Maj.

by means of the progression of

jrrffrtfr

HtBfoamg;
w~

im

The Development.

46.

185

Heretofore, the Development was engaged exclusively with the

Conclusion of the First Part,

same.

principally

with the

last

Motive of

Now

the Chief Subject takes part, entering in

it

F
It

Maj. together

with the

counterpoint

had

in.

the First Part.

first

modulates

to

Min., and there, forms with

its

Motive an episode of forcible

syncopation of the Full Orchestra against the Violins:

which

is

of

10 measures length, and closes in

Maj.

Thereupon,

repetition of its termination, p, and Motive of the Conclusion:

Now, 6 measures

of Pedal-point on G,

as

Dom.

of the principal key;

being composed of the same Motive

of the Conclusion; and then through a short canon:

Bassoon.

2
i
l

m
|

ffffrf fffrtrf|,ffrfe

0:
the Kestatement

f frff^
In this Development,
It

is

Jreached.

one particular

produces the Motive of the Conclusion predominates throughout. first modulatory strain, as well as the close, and twice draws in
its

course the measure that originally preceded.

lies

Between those two

principally of the

limits,

the elaboration of the Chief Subject,

186
first
Efc>

Sonata.

47.

Motive of same.
Maj.,

The modulation reaches on the one

side to

Min.; on the other side,

Min.,

Maj.: thus moving

through 7 to 8 places of the Circle of 5ths.

As a supplement

to this subject of our treatise,

is

the

author's

"Partiturstudium", pages 265 to 273,

commended

for study.

Thirtieth Exercise.
Write Developments
well considered, plan.
to previous

work

first,

in accordance

with the two models here given; then after a self-devised, but

THE FOURTH PART OF THE SONATA FORM

OR

THE BEETHOVEN ANNEX.

47.

The extension
viously

of the Close in the

Bestatement has been pre-

made mention of. One of this kind may be seen in the first movement of Mozart's G Min. Symphony, between the Conclusion
and Appendix; in
for Pianoforte
his

C Min. Sonata;
in his

in his second

Min. Sonata

and Violin; and

of the Concerto,

Quintet in
is

Min., as an Annex.

The Cadenza
is

which

frequently very diffuse, and

generally left to the skill of the virtuoso, constitutes an extension

pf the close, being

commonly situated between Conclusion and Ap-

pendix.

The extension which Beethoven has supplied as an Annex

between Conclusion and Appendix,
Sonata, Op. 2; in
his
in the first in

movement
of

of his his

Op. 53; and

the Finale

C Maj. C$ Min.

Sonata;

is

allied to the

Cadenza of the Pianoforte Concerto.

first

Extensions of the kind

cited are to be found in the Sonata

form movements of Beethoven, increasing in dimensions with their

chronological order.

Thus
1,

in his Op.

7,

E(? Maj.; Op.

10, No. 3,

DMaj.; Op. 31, No.

Op. 57,

Maj.; Op. 31, No. 2,

Min.;

Op. 101,

Maj.,
of

Finale;

DMin., besides many

Finale;
others.

They contain Thematic Work

a Cadence

character on previous

188

Sonata.

48.

complete quadrimeasure as often.

episodical Motive
of

Twice

in

succession

does

the

the Development

appear.

Also the Struggleis

Motive, rising in chord -intervals through the Bass,

the Development.

drawn from

The remainder

of the Motives

have already heen

present in the First Part.

In the Choral Symphony, the Fourth Part hegins, after ample
justice has been done to

the Sonata

form,
first

on the up-beat to the

three measures of the

427th measure.

To begin with, the

Chief Subject serve as a Motive, then come two constituents of the

Secondary Subject, and thereupon, the third and fourth measures

of the Chief Subject; again the matter from the Secondary Subject,

and the third measure

in

of the

Chief Subject.

Now

a short Cadence

D
61?

Min. upon the conclusion of which the Basso ostinato: d c c%

a b

eft

enters,

and repeats
finally,

six times.

Thereupon, repeated

Cadence -formations, and

the Chief Subject.
to

unisono close with the Motive of

of
its

Every one
skill

divisions

has the inclination

form a close; yet the

monotony.

of the master has averted even the

slightest

48.

LICENSES OF THE SONATA FORM.

Art of Form,
the com-

After the most important task of the

position
of
it

complete movements in Sonata form,

will

has been accom-

plished,

be appropriate

to point out the licenses

which the

great masters have adopted in the employment of this, the chief of

all

forms of instrumental music,

from
its

yet without abandoning

its

essential

conditions; furthermore, to direct our attention to those modifications

of this form, that result

combination with an Introduction, as

well as from the advanced evolution in its Thematic

Work.

1.

License in Modulation.
is

The

transition in the First Part

known

to us

as regular,

when
it

in

Major movement,

occurs into the key of Dominant;

in a

when
it

Minor movement,
(or the

occurs into the key of the Parallel

Mediant

in Minor),

or into the

key of Dominant.

Licenses of the Sonata Form.

48.

189
(

A
the

trifling

deviation

is

to

be

seen

in

the Finale

time) of

Mozart's F Maj. Sonata, where

key of Dominant,
the
is

the Secondary Subject, though in

in

its

Minor mode; and

More

in the Sonate
is

Pathetique,
the

entrance

of the Secondary Subject of which

significant

in

Minor mode

(yet closes in Major).*

modulatory
his

deviations are furnished by the later works of

followers.

Beethoven and
in Major.

Key

of

Mediant instead
great

of

Dominant

In

Beethoven's
Ex. 252.

C Maj. Sonata:

Allegro con brio.

m
i

s nmHMi
the Secondary Subject:-

Ex. 253.

#r4'

dolce e molto ligaio.

^^ PSBf rgS*&
and the Conclusion:
Ex. 254.

m&
&

sf

~~~

rT

Till

sWi&^&
T=

3*3

* In the Sonata Appassionata, Op. 57, the Secondary Subject is in Major, thus being regular; but the Conclusion and Appendix are in Jlfinor, so that the First Part closes in A flat Min. By reason of this fact, the Secondary Subject appears as an episode of subdued brilliancy amidst the prevailing gloom of the entire movement.

190

Sonata.

48.

INP
T

>^)^r^
whilst

appear in
to

Maj.

the

Appendix digresses through

Min.

Min.
Ex.255,
,
rj

ugff'

St

mm
one octave
is

Similar in this respect,

his Sonata in

Maj Op. 31: B Maj.

and

B Min.; and his E(? Maj. Sub-mediant instead

Quartet Op. 127:

of

Min.

Dominant, or Parallel key:

in

the String Quintet in

CMaj., Op. 29:

Maj. and

Min.; in

the great B(? Maj. Sonata (Ex. 84), Op. 106, and in the Bl? Maj.
Trio, Op.

97 (Ex.

4): G-

Maj. which key predominates in the First Min. Sonata, Op. Ill:
its

Part, from the Secondary Subject on; in the

Maj., the Parallel of the Sub-dominant instead of

likewise
in

own

Parallel,
in

E[? Maj.;

the Choral

(D Min.) Symphony: B\> Maj.

the place of the

Maj.

The other

eight Symphonies of this master

in

are of modulatory regularity.

The exceptional manner

movement, and

which the

Secondary Subject of the

eighth

first

of the Finale, of the

Symphony

enters

is

but of a transient nature.

11.

Oomp. theresee the

with the B(? Maj. Trio,

Op

For supplementary matter,

author's "Partiturstudium" 24, particularly p.

260265, and

27.

Licenses of the Sonata Form.

'

191

In opposition to the above stated extension of the modulation

to the

Mediants, we quote a case here,

in

which the Secondary

Subject enters in the principal key (thus without modulation), and

only later on in
its

course, with the Consequent, as

it

were, leads
its

to the Parallel key.

This case, which stands alone in point of

first

extent,

is

to

be
of

seen in the
the

movement

of

Mozart's GrMin.
this master.

Quintet,

one

most remarkable compositions of

at Ex.

To the Long Period, presented

terially

204, which constitutes the

which
is

Chief Subject, joins a short episode of 6 measures,

ma-

but a Cadence-formula (on Tonic).

in

Hereupon, the Secondary

Subject,
figure:

GrMin.

enters,

supported by a plain accompanying

Ex: 256.

frYl
sm

-j

k
r
Thus:
/"""

^ E^i ml*'
9=
to the

p*'

wm
r
after touching the

-=*=S

and forms a Semi-cadence

quent enters.

in B\? Maj., which,

Changing Dominant, proceeds

Tonic Triad, where the Conse-

Ex. 257.

.\

r r:\Qiriw
Changing Dom.

v.

Semi-cad.

ni
i

f.\

f ft

y rr

ft

>
r

tr

r*

^
\f

^. fl

-'

mf

W
in

Consequent.

$^^rrrrThe course

y rv%^gs
i

of this technically significant Secondary Subject in

the Restatement confirms the explanation just enunciated.

For the
the

purpose of making a comparison,

following:

it

is

given

in

extract

192
Ex. 258.

Sonata.

48.

XT

!""

"
'

mf m/

fcp:

I
" mf
p

f\nrj-*$

li

mf p

if p

*^M vrr
9v
r

JJ
|

JH *ff
^r
j ?

frcr*^
ffi Cr
>

& jJ r ^ /r>.
<.

#=F*
UT

JlJJrrclJTh f^nrrl^ pu^ bft;r^' J^l^jr

r

frr 2

r
r

jjjftfl
i

cj

f r7P

ifl

y
cresc.

^ENr^p^plg
it

To

this, joins the Conclusion, likewise greatly extended.

This Secondary Subject has, to a certain extent, absorbed the Mediating Episode (which commonly forms a part of the Chief
Subject), taking

as

its

Antecedent, in opposition to
Its

its

occupying

the position of Consequent to the Chief Subject.

dimension, too,

answers to this conception,

30) takes place

since a bipartition of this

Part (comp.

on the Semi-cadence, which introduces the new key.

Licenses of the Sonata Form.

48.

193

2.

Displacement of Divisions.
the Chief Subject,

Occasionally

when

it

seems worthy of any

special interest, appears once

more

to conclude the whole.

Someof

times

it

also

exchanges

its

wonted place

at the

commencement

the Eestatement for a position at the close of same.

for

This occurs,

instance,

in

Mozart's

sprightly

Maj. Sonata for Piano and

Violin:

Ex. 259.

Allegro.

flal

irrjr
&c.

m&
where the
which
is

^ fey^ff TO
lively figuration of the

Development would, by too

close

a proximity with the Chief Subject, detrimentally influence the latter,

likewise based on such a figuration.

In

Beethoven's
is

D Min.
It is

Sonata,

the

Mediating Episode

of

the First Part

taken up into the Development,

constituting the

essential matter of same.

on

this

account, that the Mediating

Episode

is

altogether omitted in the Eestatement,

and

is

replaced

by a few arpeggio chords.

3.

Introduction and Independent Episode.

The Allegro of the Sonata is not seldom preceded by a slow movement (Adagio, Largo, Lento etc.) as an Introduction; as, forexample,
in

Mozart's
an

E(? Maj.

Symphony, Beethoven's Sonate

This Introduction occa-

Pathetique, besides countless other works.

sionally

has

after-effect
it.

upon
In

its

succeeding movement,
Et> Maj.

which

borrows Motives from

Mozart's

Symphony, the

semiquaver figure of the Mediating Episode:

Ex. 260.

Bussler, Musical Form.

13

194
is

Sonata.

48.

borrowed from the introductory Adagio.

is

In the Pathetique Sonata,

the Allegro

repeatedly interrupted by the Largo of the Introduction.

Also

this

passage in the Development:

Ex. 261.

.nfrrnr *4

fi>
is

rrfhfff E

to

be traced to

this

Motive of the Introduction:

$H-bwhich
in turn is derived

from the

first

measure of same:-

Grave.

FFFF-^saW:
Ex. 262.

4^"

Lh?

^S
movement

to
of

! u i^ w
may
as
,

Not only may an

allusion to the Introduction appear as a free

also

episode within a closed form, but there

be an independent

Theme
the
first

occurring in the Development

of the Eroica

for instance in that of

is

Symphony, which

devoid of any

thematic reminiscence whatsoever.

4.

Change

Time and Tempo.

Beethoven's

Combinations of different Tempi within the course of the Sonata

form are exhibited, for example,

in

Min. Sonata,

whose Chief Subject has two Tempi.

duo Sonata in C Maj. by

Mozart

puts forth

its

Chief Subject in Adagio:

Licenses of the Sonata Form,

48.

195

Ex. 263.

U JU-7.pic*i
in

"fr c*

but

its

Secondary Subject

Allegro:

Ex. 264.

<

as

With modern composers, the changes of Time and modifications of Tempo are still more extensively the custom; but these are very liable to become contradictory to the encompassing consistency of
the form.

5.

Thematic "Work

may extend

over other members of the Sonata form than just the

Mediating Episode, Appendix, Development, or the Final Appendix,

where we have hitherto found

In his

it.

Min. Sonata, Op. 57,

Beethoven

forms the Secondary

Subject from a free inverse motion of the principal Motive:

Ex. 265.

Chief Subject.

ft*"

ut
=5=

Second. Subj.

teE &

y^
'

P ^
13*

f^FSfe ^ m $ =
In Liszt's

*>-^"

Min. Sonata

("dedicated to Kobert Schumann"),

the Secondary Subject:

196
Ex. 266.

Sonata.

48.

J_

,J

gjt

i
is

formed, by Augmentation, from Motive

a
|
|

of the Chief

Sub-

ject:
Ex. 267.
Allegro energico. J

F?
r

$1

P^^^#
^-

^e
n
^S **
r

^
1

*=

*
4a

*^3$^
S^*

TF

-^i-^

i
^

4=*=p

jot J
4
fe *
tt'

is #is*

f^rffgy

w i$=$

Jj-tp.

xn\% l
<

Finale.

49.

197
it is

However, the Secondary Subject, whose mission

the

to present

greatest

thematic

contrast

of

the Sonata form,

is

but rarely

the seat' of thematic reminiscences.

On
of

the other hand, thematic connection

is

frequently contained

in the Conclusion.

We

have already noticed

in

this

occupying a portion
In

the Conclusion

(Ex. 223)

Mozart's G-Min. Symphony.

this master,

the repeatedly quoted

consists

Min. Quintet of

the Conclusion

of

the

principal Motive

and a Cadence-formula.
due to rhythmical

To

this

are joined a thematic Appendix and a such-like Return.

Thematic

affinity of all parts,

similarity, is

of frequent occurrence.

This

is

the case with the Finale of

Beetho-

ven's

Min. Sonata,

and many of the works of numerous other

composers.

49.

MODIFICATION OF THE SONATA FORM IN THE FINALE.

of a longer work, is
its

The Finale, as the concluding movement

wont
to
to
set
off
its

terminational character by having

divisions

close

more

definitely
first

than

is

the case in the other movements.

Thus, already the

four measures of the Finale of

Beethoven's

C Min. Symphony:

Ex. 268.

|P^
it

were.

&

form a conclusion, as on Tonic:

Ex.269. ;-

After a greatly extended Semi-cadence,

the Chief Subject terminates with an exhaustive and powerful close

198

Sonata.

49.

ffffffini

Finale,

49.

199

Likewise the Secondary Subject,

Cadence, leads into the Conclusion:

by means of a very decided

ifc# 3=
E^^EEiEfe
which represents a firmly tonic
ducts, though without
strain, but,

after its repetition, con-

making any manner

of Cadence, back to the

to the

opening the

first time,

and the second time,

Development.
belong,
to the

This movement and the Finale of the

C$ Min. Sonata

by reason of the remarkable lucidness of their structures,

most suitable models that could be offered the young composer.

N. B.
is

The episode

in

time, taken up in the Development,

is

a reminiscence of the Scherzo (Allegro), and

Occasionally
the Chief Subject

thus independent.
is

of the Finale

in Song-form,

particularly

in

the Short.

The Theme (Ex. 21)

is

in

the Finale of

Mozart's

Gr

Min. Symphony, for example,

of the
is

in this form. of

The
the

Chief Subject

first

movement

(Allegro)

Beethoven's
,

Maj. Symphony

in

extended Short Tripartite Song-form

closed nature of which, however, has been removed by a dynamic

and rhythmic climax.

PART

IV.

THE HIGHER RONDO FORMS.

50.
with, and

The Higher Rondo Forms presuppose an acquaintance

training in, the Sonata form,

since they consist of combinations of

the Sonata form with the Song-form.

51.

THE FOURTH RONDO FORM.

of this

The Chief Subject

This
concise,
is

Rondo

is

in Bipartite,

or Tripartite

(usually the former) Song-form.

followed,

as in the Sonata,

by a Transition, mostly

which conducts into the Secondary Subject by modulating

to its key.

But

this

Secondary Subject rarely has the independence

of that of the Sonata form, but rather resembles the Conclusion of

the Sonata

form, so that

we might say

the Secondary Subject

is

omitted, and the modulation leads at once into the Conclusion.

Upon
back

the close of the Secondary Subject, a return episode

is

formed, which

Conclusion and Appendix being

left

out

leads
is

to the principal

key,

in

which then the Chief Subject

re-

peated.

Accordingly, the First Part closes in the principal key.

comes, as Second Part, a Subject in Song-form, in a

Now
different

key (that of the Parallel,

,

Sub-dominant, Mediant,

or in
in the
also,

like-named)
Sonata.

occupying
is

the

same place as the Development

This

termed the second Secondary Subject, or,

Its

Middle Subject.

Song-form
or

is

not always entire; being at times

interrupted, or curtailed,

even replaced by a Period, or by a

combination of Sections.

Upon

the close of this Subject, again appears the return epii.

sode into the Chief Subject, and with this, the Restatement,

e..

Rondo IV.

51.

201

repetition of the First Part without the modulation, as in the Sonata

form.
to

(Thus the Secondary Subject

is in

the principal key.)

Owing
re-

the absence of the modulation, the

the propriety of once

more

peating
It is

Chief Subject at the conclusion

becomes questionable.

therefore curtailed, or omitted altogether, or even replaced by

a free Coda of thematic connection.

Thirty-First Exercise.
In accordance with the preceding directions and the following examples, compose several Rondos of the Fourth Form.

Make

use as

much as

possible of previous matter.

The Finale of Beethoven's

celebrated examples of this kind.

Ab

Maj. Sonata
entire

is

one of the most

is

The

movement

in almost

continuous semiquaver motion (being interrupted only by very short

rests),

which commences with the opening of the Chief Subject:

Allegro.

Ex. 272.

^^
16

^IH^ ^Ij^fc
I

1}

The construction

of the Chief Subject

is

as follows:

Antecedent
16 meas.: First Period

(instead of a second
J

Consequent Modulating Section

.

... ...
.

8 meas. 8 8 8

Period) a Double Section.

32 meas.

(Same Section

32 meas.

This would, according to 7 und 9, count as a

Long Bipartite Song-form.

Mediating Episode of 4 measures,

with

the

figure

of the

Chief Subject, leads to the Changing Dominant:

with changes into the Dominant harmony of

B Maj., which forthEb Maj., on which the

Secondary Subject then begins:

202
Ex. 273.

Rondo IV.

51.

$m
3 m

&

Mediating Episode.

*-*+-

FwUM ^i^W/pufp
/

A>

t , , j U U s / p Secondary Subj.
I

bi

I^^P *F
fe*
Ex. 274.

Jt

6.

This extends through 16 measures.

Upon

its

conclusion enters

a return passage, that leads back to the Chief Subject, thus:

#^^ ij^
^ m
=

Jp3|i

^|

r
Chief Subj.

f^gg
H s
which
is

S ffi
I
entirety.

^*
in
its

repeated

Immediately following

its

con-

clusion comes a Subject in Bipartite Song-form, in

C Min.:

Ex. 275.

Rondo
whose First Part

V.

52.

203

is repeated. The Second Part, however, does not even attain the closed Sectional form, but through modulating Bi-

measures, leads to the Dominant of Aj? Maj., and from here, back
to the Chief Subject.

This form

is

worked out with more

detail in the

Rondos of the

Sonatas in

C and

Maj. Op.

2.

In the latter of these, the second

Secondary Subject (Second Part, Middle Subject) becomes plainly

perceptible to the eye by the change of signature.

52.

THE FIFTH RONDO FORM.

is

The Fifth Rondo Form

in

substantially the form of the Sonata,

is

which the place of the Development

occupied by an extensive

Subject in Song-form-

At

the Conclusion

of
is

the First Part of

many Rondos

of this

form, the Chief Subject

this is to
to.

repeated in the principal key.

Wherever

occur,

however, that key must naturally be modulated

repetition,

Instead of this

an Appendix in the
is

second key,

formed of Motives of the Chief Subject,

with.

just as often to be

met
form

The principal
that
of

difference between the

is

Rondo

of the 4th

and

the

5th form

essentially this: the

former

confines

the Sonata form to two Subjects, and usually puts the significance
of the Secondary Subject in the background, yet in every case re-

peats

the Chief Subject;

whereas

the

latter renounces

no part of

the Sonata,

but does not

always repeat the Chief Subject at the

close of the First Part.

First Part.

The Chief Subject

structure

of the Fifth
It

Rondo Form has generally the

of that of the Sonata.

may
in

also take the Song-form,

but not be of greater extent than the Short.

The Mediating Episode evolves

in the Sonata;

exactly the

same way as

now

of thematic connection, again having independent

contents.

The Secondary Subject

is,

in

regard to

its

modulation, equally

as fixed as in the Sonata-form.

The same

applies to the

Conclusion.

204
The Appendix
its

Rondo
either

V.

52.

recapitulates the Chief Subject

by

the-

matic resemblance, or forms a Return to the repetition of same in

original key.

Now

and then the Appendix

of

is

wanting.

When

the repetition

the Chief Subject

does

occur,

it

is

usually curtailed.

Second Part.

Now

enters,

instead of the Development,

a Subject in Song-

form, the chief characteristic of the present form, which, in point

of its key,
this is not

has the same bearings as that in the 4th Rondo.

To

seldom joined a piece of Development proper,

of

at least

some manner

Thematic Work, which leads back

to the

Third Part,
the repetition of the First Part without modulation.

In

the Sonata

as

a whole

these

Rondo forms

constitute the
to firmly

concluding movements,

and as such exhibit a disposition

circumscribed organization.

Thirty-Second Exercise.
In accordance with given directions and the following examples, compose Rondos of the Fifth Form.

Again here material on hand should

be preferably employed,.
distinct

An

example of the 5th Rondo form of exceedingly

is

delineation

to

be

seen

in

the last

movement
is

of

Beethoven's
of

Min. Sonata, Op. 2, which, moreover,

usually considered the

best

model

of

this

form.

The First Part proceeds as in that

the Sonata, closing with a reminiscence of the Chief Subject: Ex. 276.

Rondo

V.

52.

205

p^f
as>

=1

s^
(1 is

E:i=^

tf&JW r
*=
-g

mm
omitted here.;

ztnji^m ^
The
triple

Chord of the Dom. 7th

of A\? Maj.:-

=}eIe=e
Ex. 277.

^^3 3=
B2
Hondo form.
Thus,:

suffices to introduce the Subject, decisive for this

Ex. 278.

^^

m
is

m
e dolce.

sempte piano

r r r
i

f f f
i

M4
measure.

^VW iTlfr g
j',>
i

fff

Mi
in

This Subject concludes

in A|? Maj.

the

fifty-first

This

the plan of

its

construction:

206
I

Rondo

V.

52.

First Part
y

Independent Tonic Section ( 6) Repetition in varied tone-combination

.

Intermediate Section

(2X4)
,

Second Part

Consequent

10 meas. 10 ,, 8 8

Interm. Section

and Consequent as
. .

re-

peated Second Part (8)

.16

Total 52 meas.
Accordingly,
if
it

is

in

Short Tripartite Song-form.

its

However,
it

the Sectional form of

Parts be taken into account,

( 7),

really

exhibits Tripartite Period-form

its

consisting

(when divested of

repetitions) of

10+8+8

measures.
first

Upon

the last measure, a Development on the

Motive of

the Chief Subject begins:

fe iS
Ex. 279.

4=
pp

5
*
H;

^^=^^^^^
we would have a Sonata movement
entirely
of a Finale.

which leads to that Subject in 30 measures.

Omitting the Song-form Subject in AJ7 Maj. (the scheme of which

has been shown above),

in the

manner

to serve the

The whole of the present movement is particularly fit young composer as a model. The Rondo of the E(? Maj. Sonata, Op. 7, likewise belongs to
Its

this form.

Secondary Subject evolves from

this

Motive:

Ex. 280.

35 : V-J7-^its

pmm
tr
tr

Conclusion from this:

Ex. 281

^ubi'Gtii
/

Movements in Slow Tempo.

53.

207

After the Conclusion, the Chief Subject appears once more, but
in this shape:

First Period:

Antecedent and Consequent (see Ex. 14).

Second Period:
Transition

Antecedent and (instead of Consequent) a

Ex. 282.

'

to

C Min.

in

which key a Tripartite Song-form with

all

the usual

repetitions takes place, and

by means

of

an Appendix, reaches the

Restatement.

the

The attention of the young composer is furthermore called to Rondo of the Pathetique Sonata, which is likewise in the 5th
Its

form.

Middle Subject

in A|?

Maj.

is

particularly

interesting,

on
in

account of the employment of Mixed Counterpoint.

the Free Style", 30.)

(Comp. "Cpt.

53.

THE EXTENDED FORMS IN SLOW TEMPO.

past exercises to
allied to it

All the

the Sonata

form and the extended

in quick tempo.

Rondo forms

were throughout
the case

Albeit

these forms are also employed in slow tempo.

The Sonata
Development,
to a
in

(or,

as

may

be, Sonatina)

form

is

very

often to be found in slow movements of the classics.

consideration
is

However, the

of the tempo, is generally curtailed

minimum, or

omitted altogether ( 35),

the requirement of

Thematic

Work

being gratified by variations on the Chief Subject.

As an example of a slow movement without a Development, may be mentioned the Adagio motto of Beethoven's C Min. Sonata, Op. 10:

208

Movements in Slow Tempo.

53.

Ex. 283.

^a
After the First Part
is

yvirn\^ TTt
brought to a regular close in Ej? Maj.,
suffices to introduce the Kestate-

a single Dom. 7th chord (Ex. 284)

ment, which likewise proceeds regularly.

Ex. 284.

S3E i& ,r

'^y

m
s/p

3E

.-r

//

#5feg ffi

f
same form.

The

Min. Sonata,

Op. 31,

exhibits

the

Mediating Episode begins thus:

The

Ex. 285.

^mrj

''i

and, consistent with regularity, terminates on the Changing Dominant:

C Maj.
Dom.:

Thereupon the Secondary Subject enters

in

the key

of

F.

Movements in Slow Tempo.

53.

209

Ex. 286.

and forms a Bipartite Period of the third fprm (comp.

clusion and
to

p. 23).

Con-

Appendix being omitted, a Keturn

of

5 measures leads

the Kestatement, which proceeds regularly throughout, the Chief

Subject serving as the foundation of an animated figuration in demi-

semiquavers.

Compare

also the
first

Adagio of Mozart's

F
at

Maj. Sonata, the Chief Ex. 201.

Subj. of whose

movement was shown

The Adagio
Quartet in
velopment.

dffettuoso ed appassionato of

Beethoven's

String

Maj., Op.

18, exhibits Sonata form with a short

DeMaj.

In the deeply pathetic

Adagio motto
is

e rnesto of the great

Quartet, Op. 59, on the other hand,

to

be seen the Sonata form

with an extensive Development.

of

Its

Chief Subject, the Antecedent

which

is

shown

in the following Ex. (in the Consequent, the Cello

is

takes up the melody),

Ex. 287.

in

Long Period form:

sotto voce

Bussler, Musical Form.

210

Movements in Slow Tempo.

morendo

53.

cretc.

The Mediating Episode

the Chief Subj.:
Ex. 288.
i

is

connected

with the last Motive of

j.^JilrfjDom. (G
Maj.),

In 4 measures
in 3 measures

it
it

arrives at the Changing

upon which

forms a Semi -cadence twice and a transition into

Min., where the Secondary Subject enters in 'Cello:

Violoncello.

espr.

At the end
to the 4

of

13 measures, this Subject makes an inflection

chord, for the purposee of forming a Cadence:

4
Ex. 290.

ff
But here evolves
a character, as
clusion,
albeit
its

7
I

a Cadence-formula of so significant and peculiar

to entitle its being considered

an independent Con-

commencement occurs simultaneously with the

termination of the Secondary Subject:

Movements in Slow Tempo.

S3.

211

Ex

& i&
n

-fL

iJij^ibiib?

gp^fe
r rfa^rafi **f
i

s m
an Appendix,
is

* 4 4'

4 4

(Kepeats with a slight variant of the figuration.)

Whether the remaining 5 measures should be counted

no weighty matter here.

to the

Conclusion, or be considered as entirely, or only in part, constituting

Now
against

the Development begins,

which consists of 38 measures

first

45 of the First Part, and evolves matter,

finally

from the

Secondary Subject, then, Chief Subject, and

sion.

An
Ex. 292.

episode
is

in DJ;

Maj.

from the Conclu-

motto

cantabile

of melting

tenderness,

developed from the Secondary Subject.

Thus:

& W=F

motto cantabile.

i-

^m
?-&

pine.

^^
$
te=h &

2 2 2

P
arco

$k

Motive of the Conclusion.

JDflflj'ufrfffift

^S yjigil wt'-'$ f
first
B(p>

j
Dom.
of

s
E>
Min.,
the
principal key,
14*

Taking up the continuation here, the Cello proceeds, with the

Motive, in the Circle of 5ths:

the

D|? Maj., A\> Maj.,

Min.,

FMin., C Maj.

to

212

Movements in Slow Tempo.

53.

where, after a repeated Cadence-formula, a Keturn conducts to the

Restatement.
is

This proceeds regularly.

However, the Chief Subject

This recur-

curtailed,

and in compensation thereof, appears again at the close

a by no means rare occurrence with slow movements.

rence of the Chief Subj. leads to a greatly extended figurate Cadence,

which ushers in the next movement of the Quartet,

Russe", Allegro.

the

"Theme

Another example to be considered here

of

is

the Adagio sostenuto

Beethoven's Op. 106,

the longest

and most profound slow

movement

for Pianoforte in Sonata form.

The

first

entrance of
is

its

Secondary Subject occurs in

at the conclusion of the

Maj.

The Chief Subject

repeated

movement. Of the slow movements of the same master's Symphonies, those of the first, second, fourth and
Pastoral (sixth) are in Sonata form.

An
of

interesting

metrical

structure

is

exhibited in the Andante

Mozart's C Maj. Symphony.

The Chief Subject concludes with the eleventh measure, and

just on this

measure (comp. 36) commences to repeat, forming an Antecedent of 8 measures with Semi-cadence on Dom. At this

juncture, after the

enters,

mode

of

Dom. has changed, a Subject

to

in

C Min.

which we

will

have

regard as a Mediating Episode:

Ex. 293.

After

8 measures

of bold

harmony and rhythm,

(G-

it

forms a
followed

Semi-cadence on the Changing Dominant

Maj.)
to

This

is

by the Secondary Subject (12

clusion of
transition
tition,

measures),
is

which joins a Con-

4 measures.
in

Appendix
Violin

wanting.

However, a figurate
time to the Repe-

the

first

conducts the

first

and the second time, into the Development.

Thus:

Movements in Slow Tempo.

Ex. 294.

53.

213

INN;
')<.

jvj'

*
J

K^
z 9^
(Observe how

-'P^

unexpectedly the

Chord of

the

Dom. 7th

of

Min. enters here, lending a most remarkable charm to the susd.)

pended

The further course

Chief Subject

of this

movement
elaborated

is

as follows:

Mediating Episode extended to 14 measures.

thematically

with the Motive of the

demisemiquaver
it

figure,

which already

in the First

Part accompanied

in its repetition.

Now

comes

this

same Motive, worked up

to

a //, which, with

a reminiscence of the Mediating Episode:

Ex. 295.

m
thus

^f Egg
V

^
p

i^S
i Wt
of
this

afi ?

ig-gg

m.

leads, not to the Chief Subject, but to the Secondary Subject, which

opens

the Third Part

Sonata form.
only

From here

on,

everything takes a regular

course,

the Chief Subject,

which

was omitted above,

again

appears after the Conclusion.

An Ap-

pendix of 3 measures terminates the whole.

This movement seems

214
also to

Movements in Slow Tempo.

53.

admit of being differently comprehended,

to

i.

e.,

by confining
through
the

the

Development

the

Mediating Episode of 14 meas.

extension

(comp. Beethoven's

Min.

Sonata)

and

counting

Kestatement only from the thematic elaboration of the Chief Subject;

particularly,
since
this

tripartition

of the

following proportions:

First Part,

movement exhibits the 44 measures; Development, 15;

little

and Restatement, 42.

Albeit
the

spacious

5th

Hondo form seems

to
is

appropriate

for slow tempo, yet its

to a

Sonata-form part admits of being curtailed

the slow tempo.
to

Sonatina, and thus made accessible

This shape of the

5th Rondo form

of the

be seen in the

cel-

ebrated

Largo
manner

mesto

Maj. Sonata, Op. 10, one of the

Its First

most profound movements of Beethoven.

in the
of the Sonatina, thus:

Part evolves

Chief Subject.

Ex. 296.

(Concludes in the ninth measure.)

Ex. 297.

Mediating Episode.

(In 8 measures,

concludes
in

C Major.)

Ex. 298.

Secondary Subj. in

Min.

jj

.M rpflirspg! TT^r Jr X & J~B *t k

i

Movements

in

Slow Tempo.

53.

21S

^r^rrtwv

m
-

(At the end of 9 meas., con-

cludes in

A Min.)

r>hM
Ex. 299.
Conclusion.

ffff
v
r_
cresc.

i
pp

^
kz ?E&
-

m .rp miv
*i

(Continues for 4 measures and terminates the First Part without an Appendix.)

But the Middle Subject:

";

J f frffrT fp^r^
f
| |

j| i

/Jlffl

r-

b
Ex. 301.

*./*

*j

JV

CLT CI/

CLT

CL_

^
new Motive:

(Continues 14 meas.)

instead of constituting a Song-form, introduces a

jfirtintotri>iflii
/
p

Ppff
with which
it

modulates to the Dominant of the principal key, and

then proceeds
traction
is

back

to

the Chief Subject.

Such a license of con-

but a natural requirement of the slow tempo.

216

The Sonata as an Art-Form.

54.

The Third Part,

after

pursuing

the

regular course of a He-

statement lacking the Conclusion, exhibits a grand figurate thematic elaboration of the principal Motive (Ex. 282), which conducts to
the close, with this figure:

C^d

of the

Middle Subject.

This The-

matic

Work may

be viewed both as a Rondo-like repetition of the

Chief Subject, and also as an

Annex

in the sense of

An Appendix
with Motive
|

of intensely pathetic content,

|

which

47. is connected

of Ex. 296, is joined to the close.

Thirty-Third Exercise.
higher Eondo forms.

I.

Compose a slow movement in Sonata form or in one of the

54.

THE SONATA AS A COMPOSITE, AND AS AN INDEPENDENT, ART-FORM.

in a
It is

single

The Sonata form is very common as a piece of music movement, but is not thus generally called Sonata.
its

rather given a specifying appellation answering to

inner or outer

nature, as Capriccio, Characteristic Piece, Concert Piece, Allegro etc

Mendelssohn's
Op. 22,
is

Capriccio for Pianoforte and Orchestra in

Min.,

in Sonata form; likewise the

same composer's Song without

is

Words

in Fj} Min., \ time.

To such a movement

often united a

preceding Introduction, possessing distinct thematic contents, which

however,
ment.

may

in a variety of

ways influence the Sonata-form movethe

Of works for orchestra,

romantic schools
Introduction:
rides

Overtures of the
as
for

classical

and

are in Sonata form,

example:

without

Mozart's Overture to Figaro, Mendelssohn's Heband Midsummer Night's Dream Overtures (the few fermatas, rewith Introduction: Mozart's Don Giovanni
Flute),

peatedly occurring at the opening of the latter, not being considered

distinct Introduction) ;

and ZauberflSte (Magic

Beethoven's

Fidelio and Leonore

Overtures; with Introduction and distinct close:

Beethoven's

Overt-

ure to Egmont, in which a reminiscence of the Introduction appears

Ihe Sonata as an Art-Form.

in the

54,

217

march.

Secondary Subject, and the Conclusion constitutes a triumphal Meyerbeer's Overture to Struensee is, in regard to its form, based upon it. The grandiose Introduction of this work enters
episode-wise in the Development of the Sonata-form part, and evolves

to a triumphal of

march

at the conclusion of the whole.

The Allegro

Wagner's

from the

Overture to Tannhauser, which is formed of Motives scene in the Hill of Venus, is likewise in Sonata form,
as
it

but expands to the 5th Hondo form,

of the

were, by the inclusion

Middle Subject

in Gr

Maj.:

Ex. 302.
Eight Violins.

Clarinet.

i
1

j
The Allegro
stitutes
is

*r
in

h
which conin con-

inclosed

the Pilgrims' Chorus,

the Introduction

and the Conclusion.

is

The

latter,

formity with the later Paris revision,

omitted at the performance

of the opera, so that the Overture proceeds on to the

interruption.
Gr

drama without
had

luck's Overtures

to Alceste

and

to Iphigenia in Aulis

not yet taken the Sonata form, but nevertheless show indications of
it.

In keeping with their dramatic design,

they lead immediately

into the opera.

In their Overtures,
the

the French and Italien opera

composers of the period of

classical

instrumental
in

music

Boieldieu, Auber, Kossini etc. the Sonata form with its Form-members
it

employ

their Overtures
in,

definitely

framed

whereby

assumes a somewhat Liszt's

trivial character.

Min. Sonata (dedicated to Robt. Schumann) represents

Ihe greatest extension of the Sonata form in a single movement, not

218
only

2 he Sonata as an Art-Form.
on account of
its

54.

inner expansion of the

of its including the

Form-members and

Parts, but also

by reason

Adagio in the movement.

Sonatas in two movements are frequent; for example, of Bee-

thoven's Pianoforte Sonatas,

in Sonata form), Op. 90,

his Op. 78, in

F$

Maj.

(first

movement

Min. (both movements in Sonata form,

,

the

second one inclining to the Eondo)

in

Op. 54

Maj. {neither

movement
his

Sonata form).
in

Of Mozart's works, may be mentioned

,

Duo Sonata
at

Min.

the Chief Subject

of

which has been

shown

Ex. 19.

A Haydn

example

is

the Pianoforte Sonata in

C|Min.:

Ex. 303.

^Hr^hp
Min., Op.
,

2
In the same

Such Introductions, that do not evolve

forms, are not counted as separate movements.

into decidedly distinct

Hence, Beethoven's

Sonata in

Ill, has but two movements.

master's Op. 53,

preceding the

C Maj., it is questionable whether the Intermezzo, Rondo should be regarded as a distinct movement,
The
latter acceptation is usually given the
this

or as an Introduction.

preference,

classing

Sonata

among

the

two-movement works.

However, the opening Adagio of Mozart's Sonatina for Pianoforte

and Violin
hood)
is

in

Min. (the oft-quoted production of Mozart's childtoo lengthy to be denied the nature of a distinct
it

rather

movement, even though

ruption.

proceeds into the Allegro without inter-

Ex.304.

Adagio.
-fr-

itsi ^=
dolce

^^ mnm~~^
J j: j j/ jJl

r*w }fl
As
to

& && p
is

far as its stucture is concerned, the

Rondo

of this Sonatina

which we once more here revert,

actually a

Minuet with two

Trios.

The Sonata as an ArUForm.

Ex. 305.

54.

219

Rondo.

Tempo

di Menuetto.

Second Theme.

First Trio.

'

"|!

flu

r r.*r.'

frj

Allegro
Gr

Third Theme.

Second Trio.

M,
f

Violin an octave lo-wer. dolce assai

'rM
gg
9?

rj

&=^ 3R 3=
The Duo Sonata
Min.
\,

^ ^
in

.,,1^

consisting

of an
Gr

Adagio
f,

Maj.

f time,

and Variations

Maj.

should
it

now be examined.
is

Also the Adagio of this work, even though

such length as to exclude
its

is

not detached,

of

being considered a mere Introduction.

Sonatas in several movements for Orchestra are termed

Symafter

phonies.

Those

for

more than two instruments are designated

etc.

the number, and occassionally,

genus of the instruments employed,

Generally the
first

as Trio, String Quartet, Quartet

movement
Albeit the
that

alone great

is

in

Sonata form; exceptionally, three movements.

designated
in

masters have also

such works

as

Sonatas,

contain not a single

movement

Sonata form, in which case they

style.

merely exhibit the general tendency of that

Pianoforte Sonata in

Thus Mozart's
Variations,

Maj. consists

of

Theme with

Minuet and Alia Turca; Beethoven's A\> Maj. Sonata, Op. 26, of Theme with Variations, Scherzo, Funeral March and Rondo.

220
The key
first

The Sonata as an Art-Form.

of the

54.

Sonata or Symphony
of

etc.

is

determined by the

movement, irrespective
in

any deviation as to the key of the

for instance, is in

Introduction.
its

The Kreutzer Sonata,

is

Min., though

Introduction
is

A
e.

Maj.
g..

Frequently the Finale of Sonatas in

Min. key

in Maj.;

Choral (D Min.) Symphony and that in

this is exceptionally

C Min.
changes

In

Mendelssohn's A Maj. Symphony,

The key
is

just the reverse.

its

of the individual

movement,

in case

it

mode,

determined by the commencement.

Most Sonatas have three movements, and among these are the most celebrated ones, as the Pathetique, the C# Min., the AppasioIn the Cfl Min. Sonata, only the last movement is in Sonata form; its first movement not having any prescribed form, for which
nata.

reason

Beethoven
is

designated this Sonata

"quasi una fantasia".

(Noteworthy

the affinity between the modulation in the first move-

ment
in

of this Sonata

and that in the Funeral March of Op. 26.)

of the

The consummate shape

later ones); in all of

Grand Sonata,
and

as is to be found

most of the Symphonies of

Haydn
allied

Mozart

(and in

all

their

Beethoven's Symphonies;
and
species

in the great String

Quartets

and Quintets,

of instrumental

music,

consists of four

movements:
Introduction),

Allegro (with or without Slow Movement, Minuet or Scherzo,

Finale.
Allegro.

There are also extensive Introductions which are not counted

as
distinct

movements, as

in

the

case

of

Beethoven's

Maj.

Symphony:
Ex. 306.

Poco

sostenuto. Oboe,

U P Beee

P-

* * e=

Clarinet.

aa=

* m
order.

it

r
__

n ifl

4=
third

The second and

This
is

movements exceptionally change

for

their

the

case,

instance,

in

Beethoven's

Choral

Suite.

Symphonic Poem.

55.
since

221
in each of these
first

Symphony, and B|? Maj. Sonata,

Op. 106,

works, the extensiveness and thematic constitution of the

moveof
in

ment demand the contrast occasioned by that order. The place the slow movement is sometimes occupied by an Allegretto, as
the E(? Maj. Sonata, Op. 31, and in the seventh and eighth

Sym-

phonies of

Beethoven.

In the latter
is

Symphony,

the Minuet, in

compensation of that condition,

tempo, originally peculiar to

in the slow,

ceremoniously graceful
this

this dance.

Exceptions of

kind are

but a natural consequence of the inner conditions of the work in

hand.

Hence, the arbitrary bringing on of such a

state only in-

dicates that one has not

comprehended the nature

to
it

of form-evolution, superficial

and vainly takes recourse

auxiliary means.

the

unessential

and

for

However,

cannot be denied, that, occasionally,

for no other reason than that of just

movements are strung together

having them ready, nor
this
is

this exactly

censurable.

grouping of
all

kind at any rate bears the stamp of unity, inasmuch as

the

movements are by one and the same author.

Thirty-Third Exercise.
the case

II.
or, as

Group previously composed movements into Sonatas,

may

be,

add such as are lacking.

55.
In the Suite,
fixed

SUITE.

SYMPHONIC POEM.
is
it

the combination of individual movements

or Sonata.

less

than with the Symphony

In the latter,

must

appear as though the movements proceeded one after the other with
psychological necessity.
their

In the Suite, they range in conformity with

dissimilarity.

outward features of resemblance and

Accordingly,
the

The moveof less

ments themselves should be of a rather loose structure, short and

easy to apprehend.
importance.

emotional content

is

good Suite-movement would make but a poor Sonataof the Sonata, and, in its

movement, and vice versd.

The Suite belongs

original

to the precursors

shape,

consists

of

series of

Dance-form and Song-form

an Andante

movements, preceded by a
with a Fugue) which
is

festal Introduction (for instance,

designed to

recur

at the close.

Modern

222

Vocal Music in Instrumental Forms.

56. and approach

Min. Op. 162,
all

Suites deviate variously from this fundamental form,

the Sonata or
for Pianoforte,
so,

Symphony
is,

etc.

Thus Raff's Suite

its

in

in

regard to
is

form, a Sonata, and

the more

since its first

movement

in Sonata form.

The Symphonic Poem represents

the adaptation of the Leading-

motive Style to instrumental music, with poetic significance.

56.

VOCAL MUSIC

IN

INSTRUMENTAL FOEMS.
music and their
so familiar
its

The great masters

with
the
chief
of

of the classical instrumental

most closely related contemporaries and followers were

those forms,
the Sonata, the
characteristics to bear also
tions.

that they brought

upon

more extensive vocal composiby virtue of

its

In such cases,

the given text,

logical

and

psychological significance, obviously set bounds to the purely musical

propension of that form.

not only in the Masses of

Albeit this inclination

may be

recognized
texts could

Haydn

and Mozart, whose

to

more
is

easily

accommodate themselves

any other musical form, but

also frequently to be

met with in Opera.

The

Bfc>

Maj. Aria of

Mozart's Don Giovanni is in Sonata (Sonatina) form; likewise the first Aria of Donna Elvira (designated Terzetto, on account of the short episodes which are interspersed by Don Giovanni and
Octavio in
Leporello):

r
Ah!

c
chi
shall

^S
ce

Ex. 307.

Where

mi di I find

ma
to

hen

2 m
Furthermore, the Aria of Pizzaro in Beethoven's. Fidelio, and many
others.

The second Grand Aria

of Elvira:

* kj)A

r
Mi
Cru

f.

rJ'^ trar.fr*
di
heart, quell'
al
-

tra
- el

ma
be

in

gra

- ta,

thou

hast

trdy'd me,

Vocal Music in Instrumental Forms.

56.

223

is

in

the

1st

Eondo

form.

Particularly the start in the evolution

it

of the Sonata form, just where

proceeds from the Chief Subject

is

to the entrance of the Secondary Subject,

to

be found in numerous

vocal pieces with accompaniment, and even in the Ensemble, which

involves a dramatic scene.

That the student

is

aware of the

fact,

that

nearly

all

the Overtures of the classical masters,

etc.,

Mozart, Beethois

ven,

Weber, Mendelssohn
The present tendency
is

are in Sonata form,

taken for

granted.

of the

Opera has, with inner necessity,

induced the replacing of the Overture by the Prelude.

An

unsur-

passed model of such

structure
of

the Prelude to

Wagner's

Lohengrin, the

which

will not

remain a mystery to any one that has

(This Prelude

thus far pursued our

Course in Form.

has been

elucidated in the author's "Partiturstudium", p. 291.)

The student has followed up and exercised himself

tion of form, from the simple combination of the to

in the evolu-

Bimeasure
its

(Phrase)

the artistic structure of the

diversity,

Grand Sonata and

allied forms.

The vast
evolution,

which has thus presented

this,

itself

to

his view,

demonstrates, that in

as well as in the other "branches of musical

not only innate talent, but also the most thorough exrequisite for the

pertness

is

consummation of perfect works of

occasion to

art,
it

such as

we have

frequently had

examine.

And

is

just this masterly skill that renders one able to select, with surety,

from the inexhaustible abundance of

all

that

is

technically possible,

the aesthetically (artistically) apposite to each case in hand.

ERRATA.
.

50,

add
1.

to the

6th line from bottom

particularly the Tripartite.

56, 70,

5,

1.

for in tanto read intanto. 9 from bottom, for lattitude read latitude.

INDEX.
The references
Abstractions,
1,

in this Index are to the Pages.

148.
;

Bar,
of,

3, 54.

Accompaniment, 68 figure
Adagio, 70.
Aesthetic,
1,

83, 96.

Basses of dances, 72. Basso ostinato, 86, 188.

Ballad, 93, 117.

28, 55, 59, 67, 78, 129,

132, 143, 146, 165, 179, 187.

Affinity, thematic, 166, 197.

Beethoven:

2, 30, 216;
3, 7,

Concertos, 5, 6; Overt., Quartets and Quint.,

;

After-beat, 68.
After-effect, 193.

148, 209

Sonatas

(incl.

Duo
11,

and Trio), 2, 3, 4, 5, 9, 10,

12, 13, 14,

Alia breve, 69.

Alternation, 124.
Analysis, 112; Analysis of Form, 63.

17, 19, 21, 23, 25, 26,

27, 29, 35, 42, 43, 44, 45, 47, 51,

53, 58, 60, 85, 98, 110, 112, 127,

Annex, the Beethoven.

Annexation, 142.

129, 186.'

134, 136, 139, 141, 144, 145, 152,

157, 162, 165, 166, 167, 170, 176, 178, 189, 194, 195, 201, 204, 207;

Anomaly,

133.
7, 8, 10,
15,' 19,

Antecedent,

21, 34,
;

46, 73, 79, 125, 145, 192, 201

Com-

Symphonies, 3, 6, 8, 16, 22, 25, 55, 62,. 87 89, 90, 92, 100,, 105,
147, 175, 182, 197; Variations, 66,
101,

pound. 27.
Antiquated, 85, 107.

105.
the, 129, 186.

Appendix, 44, 49, 73,

concluding Section
Aria, 222.

89, 103, 121,

Beethoven Annex,
Beginner, 94, 136.

125, 132, 167, 169, 190,

as, 44.

195;

Bimeasure,

1,

3, 4, 55,

60, 87, 159,

Arbitrary, arbitrariness, 68, 180.

223; double,

4,

87; metrical system

of Bimeasures, 114.

Arrangement of measures,. 70.

Articulation, 63.
Artist, 148.

Binary Time,

69.

Biographical, 107.
Bipartition, 125, 165.

Artistic discretion, 120.

Body, revolution
Boieldieu, 217.

of, in

dancing, 67.

Auber, 217.
Augmentation, 196.

Bold constructions,
Bolero,' 85.

56.

Augmented

6th, Chd. of the 87.

Borrowing, as to Motives, 81.

Bach, Variations by, 65

Clav., 66.

Well-temp.

Bourree, 85.
Brackets,
3.

B ussier, Musical Form.

15

226
Caeaura, 63. Cadence,
8,

Index.

Connecting Episode,
169.

122;

member,

199; Compound, 75; De89,

ceptive,

139; Full,

8,

18, 79,

Connection, thematic, 138, 139, 197,

203.

156; Imperf. Full, 19, 42; Partial,

40, 57, 59, 73; Perf., 34, 42; Semi-,
8,

Consequent,

8, 10, 15, 18,

19, 21, 34,

10,

15,

27.

31, 34, 79, 92;

on

46, 73, 79, 125, 146, 192, 201, 206.

Mediant

in Maj., 59. 111, 121,

Content, emotianal, 40, 93, 117, 132,

158, 179.

Cadence -formula, 88, 89,

165, 191, 210.

Contents, new, 35;

thematic, 157;

Cadenza, 46, 186.

independent, 203.
Context, 42.

Canon, 61, 170, 180, 184, 185; canonical episode, 105.

Contexture, 182.
Contiguity, 120.

Cantabile character, 161.

Change of time and tempo, 194. Changing Dominant, 155, 191, 198,
201, 212. Characteristic attributes, 4.

Continuation, 169.
Continuity, 120.
Contrast, 141; harmonic, 8; thematic,
197.

Characteristic compositions, 93.

Contraction, 36, foot-note; 50, 86,

107, 171, 183, 214.

Chirography, 113.

Chief Subject, 64, 69, 77, 94, 121,

125, 137, 157, 200.

Contradiction to truth, aesthetic,

1.

Contrary motion, 182, 195.

Contredanse, 72, 84.

Chopin, 67, 83, 84, 86, 94.

Circle of 4ths, 51, 173; Circle of 5ths,
80.

Correspondence, 24; thematic,

129; rhythmical, 24.

70,

Clearness, 182, 199.

Counterpoint,
111, 173;

57,

96, 106;

Double,

Climax, 100, 120, 199

Close, extended, 165; definite, 198.

Mixed, 207; Quadruple,

3, 53, 54.

179, 187.

Closed forms, 97.

Counting of measures,
tempo, 206.

Coda, 68, 69, 78, 81, 86, 122, 142, 201.

Curtailing, as to Developm. in slow

Coherence, 57.

Combination of Short and Long forms,

51, 64.

Dances;

Commencement, 54. Commonplace, 140.

fcompactness, 28.

and enterodd numbers of Sections in music of, 67.

tainment music, 64;
social, 67;

drawing-room,

Dance-forms, idealized, 86, 86; antiquated, 85.

Delineation, 204. Delivery, 67.

Complete, 16, 41.

Cbmposer,

1,

14, 57, 147, 206.

Concatenation, 120; melodic, 128.

Concert performance, 68, foot-note.

CoAcerto, 186.
Concise, 143.

Determination of form, 104.

Designation,
Definitions,
of,

5.

rigorous

determination

Conclusion, 121, 125, 165, 197, 200;

62.

compound, 165. Concurrence of final and

ure,\ 53, 126, 161.

Development or Elaboration,
initial

60, 126,

meas-

136, 172, 179, 203; laws, governing

the, 181.

Index.

227

Diabelli, 165.

Expectancy-awakening quality , 28,

78, 121.

Dimensions, 124, 187. Discernment, 177.

Discretion, 125; artistic, 120.

Expedient, 117.

Extended forms, 207.

Extension, 114, 140.
Extract, melodic,
1,

Dismemberment
Disordered, 125.

of Motives, 62.

116.

Displacement, 193.
Division, 121.

Fanfare, 74.

Dominant,

10, 34, 65;

key

of,

18, 34,

Fantasia, 70.

86, 122, 125, 134, 155, 188;

key

Fashion, as to society dances, 68.

of in Min., 21.

Dom.

7th, Chd.

of,

78.

Fermata, 114, 157, 172. Festal March, 74, 85.

Figuration, 59, 77, 94, 99, 106, 161,
165, 179.

Double Bar, 136. Double Bimeasure Double Phrase, 4. Double stoppings, in employment of
;

Finale, 70, 197, 201, 219; modification of Sonata

Stringed Instr., 65.

form

in,

197.

Dramatic, 114.

Firmness, 113.

Duodecimeasure, 55.
Duplication, 58.

Fixed forms,

60.

Flourish of trumpets, 74, 81.

Dynamic,

125.

Formal

structure, peculiarity

of, 87.

Fore-beat, 68, 83.

Ear, 35, 54.

Education, general, 114.

Effects, harmonic, 70.

Form-members, 121. Forms of dances, 68. Formula of close, 82.

125.

Eight-measure,
Elegy, 93.

27,- 28, 34,

Formulary, 187.

Elaboration, 126.

Free

Style, 117,

180, 187.

Fugato, 92, 106.

Elongation, 39, 40, 46, 86, 95, 128,

171, 183;

by an Appendix,
5.

42.

Embellishments,

Fugue, 173, 180, foot-note, 187. Funeral March, 83, 85. Fundamental element, 1.
Galop, 69.

Enharmonic,

57.

Entrance, 70, 74.

Enunciation, 61, 120, 126.
Epic, 117.

Gang

(passage), 60.

Genius, 164.
Gluck, 217.

Episode, 64, 98, 108, 167; canonical,

104;

connecting, 122, foot-

Goethe, 114, 118.

note; independent, 40, 193; new,

45.

Gounod, 118.

Grand Sonata,
61, foot-note.

121, 140.

Equipoise, 146, 165.

Error in writing,

Etude, 66; overreaching the object

of techn. exercise, 67.

Evenness, numeral, 56, 67, 72.

Evolution? musical, 60.

Harmonic effects, 70. Harmonium, 4. Harmony, 57, 155, 173, 179. Haydn, 23, 65, 86, 87, 175, 179, 218,
220, 222; Variations by, 65.

Expansion, 183.

Hearing, sense

of,

1.

15*

228
Heine, 118.

Index.

Lay, 114.
55.

Hexameasure,
Horns, 181.

Leading-motive Style, 63, 180.

Length, 36, 94. Lengthening, 129.
License, 36, foot-note; in modulation,
57, 174, 188; of the Sonata form, 188.

Historical, 107.

Humoristic treatment, 69.

Identity, departing from: as to

Con

Liszt, 81, 195, 217; Variations by, 66.

sequent, 40.

Logical, 57, 113.

97.

Imagination,

1,

Looseness, metrical and rhythmical,

97. Lotti, 117.

Imitation, 44, 47, 89, 170; canonicm

61,

99
94.

Imitators, 84.

Lowe,
106,

118.

Impromptu,
194, 199.

Lyric, 113.

Independence,

159,

160,

16(1,

Maggiore, see Major.

Major, 18, 104, 175. March, 72 to 85; Festal,
74,

Independent Episode, 193.

Ineptitude, of texts, 118.

85;

Inner necessity, 57.

Initial beat, 72.

Funeral, 83, 85, 86; Military, 69;

1,

Instrumental forms,

221.

Wedding, Marx, 60.

69.

Instrumentation, 179.

Master-works,

15, 40, 106, 165.

Instrumental music, 15, 188.

Intercalations, 44.

Interjacent, 129.

Intimate connection, 96.

Intrada,'74, 78.

Mazurka, 69, 84. Measure-groups, irregular, 55, 83. Mediant, key of, 24, 34, 59, 104, 188. Mediating Episode, 121, 125, 127, 130, 155, 158, 172, 192, 198, 208
to

Introduction, 68 to 70, 74 to 76, 88,

188, 193, 215.

214.

Melancholie, 93.
of,

Invention, process

63, 113.

Melody, 68; of Waltz, 70.

Inventive power, 164.

Members,
Memory,,

130.
1,

Inverse motion, 195.

Inversion, 111.
Irregularity, 32.
Irreversible, 116.
Iterations, 182.

14.

Mendelssohn, 30, 40, 41, 74, 115,

181, 216, 223;

plan of

Wedding

March
Metre,
3,

by, 82.
114, 118.

Juxtaposition, 179,

Metrical structure, 128, 140.

Key,

Qhange

of,

65;

like

-named

Meyerbeer, 73, 217. Middle Subject, 200.

Maj., 86, 200; Minor, 69; principal, 201, 203.

Mind, 141.
Minor, 20, 33, 69, 83, 104, 126, 130,
156, 162, 176, 189, 220.

Kind, Friedrich, 118.

Kuhlau, 121, 122, 129. 155.

Minore, see Minor.

Minuet, 40, 49, 86, 219.

Lack

of skill, 65.
of,

Mode, change
113.

of,

68; Major, 18, 104,

Language, laws

175; Minor, 20, 33.

Indent.

229
key of
in, 57.

Modern, 74, 195, 221. Modus, 60.

Modification, 40, 176.

Parallel,

in Maj., 20, 22, 34,

83, 104, 122, 126, 155, 188; termi

nation

Modulation, 45, 58, 87, 103, 121, 155; abrupt, 133 extraneous, 57.
;

Part, 8, 15, 18, 19, 68, 121, 122, footnote, 129, 135, 171, 179, 186.

Modulatory, 122, 155, 161, 182, 185.

Partiturstudium, 59, 156, 186, 190, 223.

Monomeasure, Monotony, 73.

3,

67.

Pas

(step), 67.

Passage, 60, 103.

Pedal-point, 141, 144, 172, 182, 185.

-Mozart, 2, 3, 6, 8, 10. 12, 14, 16, 24,

27, 29, 30, 31, 32, 39, 42, 51, 52, 54, 55, 56, 73, 85, 103, 107, 108,

Pentameasure, 55, 73.

Perception, 58.
Period, 28, 33, 34, 65, 70, 78, 86, 144;
Bipartite, 209; Long, 27, 39;

109, 118, 121, 130, 133, 134, 142,

144, 145, 155 to 157, 160, 164, 165,

Long

168, 169, 179, 180, 184, 186, 187,

Tripartite, 32; repetition of a, 15,

23, 24;

191, 209, 212, 219, 220; juvenile

Short or Octomeasure, 8;

works

of, 24,"

32, 109, 218, 219.

Short Tripartite, 31, 206 ^transposition of a, 57.

Periodicity, 29, 33.

Motive, 60, 63, 112, 131, 164, 170,

172, 179, 182, 183, 188, 196, 210;

dismemberment of, 62 melodic 165; predominating, 66; rhythmical, 84;

;

Phrase,

1,

2, 4, 23, 61,

64, 125.

Phrasing, 63.

thematic, 62.

Musical Drama,

63, 180. 63.

Piano Setting,* 42, Plan (scheme) 68,

64. 82, 128.

Musical Work, origination of a,

National dances, 85.
Naturalness, 57.
Necessity, inner, 57, 223.

Poem, 118;
Poet, 114.

epic, 117; lyric, 113.

Poetry, 113.

Point of connection, 117, 140.

Polka, Polka Mazurka, 68.
Polonaise, 72, 83, 84.

Negligence of part-progression, 42.

Nocturne, 93.
Notation, convenient

Popular designation, 40.

mode
of, 3,

of,

En-

Potpourri, 70.
Practice, the composer's, 57.

harmonic, 57.
Note-values, species
124. foot-note,

Practical, 14.

Prelude, 66, 117, 223; rhythmical, 68;

of,

Novelty, demands

57.
3, 6, 53.

Numeration, metrical,
Octomeasure,
Oddity, 57.

in contrapuntal form, 67. Preponderance, as to modern music,

59.

8, 24, 54.

Printing, the art

of,

113.

Professional training, 114.

of measures, 67.

Odd numbers
Oratorio, 15.

Proportion, numerical, 124,

Pulsations, 74, 83.

Opera, 15, 73, 114, 180, 222.

Orchestra, 104.
Orchestration, 67.

Quadrille, 72, 84.

Quadrimeasure,

4, 53,

113.
.125.

Organ,

4.

Quadripartition, 122,

Overture, 217.

Quartet, String, 4, 42, 87, 220.

230
Radical, 155.
Radziwil, 118.
Raff, 66, 85, 222.

Index.

Intermediate, 32, 45, 47, 99, 206;

similar and dissimilar, 15;
24, 27, 31, 34, 70; Short, 5.
8,

Long

Reciprocal relation,
Recitative, 176.

140.

Sectional form, 65.

Sectional repetition, 31.

Refrain, 142.

Semi-cadence formula, 49, 134, 141,

144, 184.

Reichardt, 118.
Reissiger, 118. Relations, harmonic, 40.

Sequence, 51, 60, 103, 182, foot-note; Modus of, 60; Motive of, 59.
Shadings, dynamic, 65.
Similar, similarity, 15, 18, 33.
lit-

Reminiscence, thematic, 194, 197, 204.

Repeat
eral,

signs, 8, 34, 39, 136.

5, 34, 36, 39, 140,

Repetition,

169;

Similitude, 53.

23; varied, 38; written out, 29.

Sketching, 129.
Skill of the

Resemblance, 35; thematic, 204.

Resignation, 93.

composer, 68; lack

of, 65.

Slow tempo, 207.

(ReSlur, 23.

Restatement,
prise), 129,

Recapitulation,
171, 185.

Society accomplishments, 71.

Rests,

2.

Solo parts, 70.

Return, 169, 204. Rhenish Polka, 68.

Sonata form. 120, 140, 188, 197, 203,

207, 216 to 222, out-lines of Sonata
/

Rhyme, 118, Rhythm, 3,

119.

form in Prelude,
Song, 113.

67.

68, 83;

rhythmical ar-

Sonatina. 121 to 140, 207 to 216, 222.

rangement, 72; uniformity, 97. Rigaudon, 85.

Song-form, 86, 89, 93, 103, 107, 200,

202, 204;

Ritmo a tre battute, Romance, 117. Rondo, Lower forms

200.

55.

Compound,

64, 77, 103;

Long, 69; Long Bipartite, 39, 104,

of,

97; Higher

201;

Long

Tripartite, 40, 47, 69,

108, 117, 201;

modern pieces
15,

in,

Rossini, 217.

59;

Short Bipartite,

18, 23,

Roundelay,

97.

37, 74;

Short Tripartite, 33, 44,

93.

58, 68, 69, 110, 206.

Sarabande, 85.

Song without Words,

Sonorousness, 78.
Spirit of the age, 59.

Scheme

(Plan), 68, 82. 182.

Scherzo, 86, 90, 220, (Minuet, Episode, Intermezzo), 64.

Stage, 74.

Science, musical,

5,

112.

Stanza, 117.

Schubert, 84, 115, 118.

Standard, 124.
Step, 67, 73, 83, 84.

Schumann,

118.

Score-study, 93, 112.

Stereotyped dance-rhythm, 96.

121,
125, 161,

Secondary Subject,
161
;

String of Sections, 40.

key

of,

162.

String Quartet, 65; Exercises to be

written for, 42.
Style, Strict

Second Part,
Section,

34, 40, 46, 51, 52, 135, 200.

28,

24;

Compound,
125, 201;

88;
elon-

and Free, 57; Leading-

Double,

8, 29, 79,

motive, 63, 180.

gation of, 32; Independent, 206;

Sub-dominant, 75.

Index.

231

Subjects, in

Rondo

forms, 97.

Translocation, 60.
Transposition, 57, 125.

Sub-mediant, 87, 190.

Sub-section, 81.
Suite, 221.

Trimeasure, 55, 73.

Trio,
64,

67 to 69, 77, 86, 89, 90;

Superabundance, 125.
Super-tonic, 75.

canonical, 85.
Tripartition, 125, 146, 214.
Tutti, 142.

Suspension, 30.

Symmetry,

52, 130.
77.

Symphonic forms, Symphonic Poem,

Syncopation, 185.

Unconsciously made comparison, 55.

Uniformity, rythmical, 125, foot-note.

221.

Unimportance, 112, 137, 140.

Unisono, 180.
Unity, 66, 120, 122.

Talent, specific, 70.

Tarantella, 85.

Unvaried repetition,
4, 5, 57.,

8.

Technic of Composition,
'

Up-beat,

3, 68, 72.

Technical, 132, 164, 179.

Urging nature, 28,

of,

146, 161.

Tempo,

68, 112;

changes

68, foot80.

note, 194; of

Funeral March,
of,

Variant, 5, 211.
Variations, 39, 65, 104, 219; capac-

Termination, 54.
Text, 114, 222; declamation
116;
of,

ity of depicting scenes, 66.

ineptitude of, 118; repetitions

Varied repetition,
Variegated, 125.

8.

115; scriptural, 118.

Ternary time, 69. Theme, 60, 97, 121, 179; with Variations, 65.

Variety, 40, 122; of rhythm, 70, 124.

Versification, 114.

Virtuosity, 66, 111.

139, 197. 125, 161,

Thematic connection, 138, Thematic Work, 60, 63, 65,

in,

Virtuoso, 186.

Voices, 4, 117.

172, 179, 188, 195; zenith attained

63.

Vocal music, 113, 222.

Theory, 112.

Wagner,
of, 1;

31, 63,

74

to 82, 117, 182,

Time, species
ing, 73, 219.

contrasts

of

foot-note, 217, 223; plan of

Tann-

(Binary, Ternary), 68 to 70; keep-

hauser March by,

Waltz, 69, 72, 84;

82.

its

numbers, 70.
18, 121, 223.

Tonal contexture, 97; tonal

ure, 5.

struct-

Wearisome,
Weber,

125.
1

12, 78, 83, 84, 1 16,

Tone-combinations, 60.
Tone-color, tone shading, 65.
Tonic,
8, 22, 25, 34, 70, 73, 130.

Wedding March,
Words, accent
of,

82.

116.

Work

of art,

1.

Transfiguration, 147.
Transition, 49.
75,

Work, voluntary
122,

additional, 59.

200; tranZelter, 114, 118.

sitional forms, 112.

Berlin.
Printed

by Martin Oldenbourg
5,

Adler - Strasse.

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