A THE LARGER FORMS MUSICAL COMPOSITION AN EXHAUSTIVE EXPLANATION OF THE VARIATIONS, RONDOS. AND SONATA DESIGNS, FOR THE GENERAL STUDENT OF MUSICAL ANALYSIS, AND FOR THE SPECIAL STUDENT OF STRUCTURAL COMPOSITION By PERCY GOETSCHIUS ‘Momphonic Borms of Musical Composition: ary Counterpoint Applied Countorpoi Lessons bn Music Porm eee NEW YORK G. SCHIRMER, Ive. 11sCopvasc, 19 G, SCHIRMER, INC. Copyright renewal assigned, 1943, to G. Schirmer, Ine TO MY DEAR FRIEND FELLOW-STUDENT EDGAR STILLMAN KELLEY Printed in the U.S.A.PREFACE. “And tie earth twas without form and void; and darkness was upon the face of the desp.” Genesis, I, 2 Onler is heaven's first laze.” — Auexaypen Pore. Passion, whether great or nob, must never be expressed in an ex aggerated manners and music—even in the most ardent moment — ought never to offend the ear, but should alzoays remain music, whose object it is to give pleasure.” Mozart “Inspiration without methods and means at its disposal will no more enable a man to write a symphony than to build a ship or a cathedral.” —C. Honenr H. Parry. “Evolution of the art of musi “Thave never believed it possible that any natural or improved ability can claim inmunity from the companionship of the steady, plain, hard. working guelities, amd hope to gain its end.” —Dickexs, “David Copperfield.” ‘The present volume is a sequel to the Homophonic Forms and Ap- plied Counterpoint, and is similarly designed for the use both of the student of analysis, and the student of practical composition, Tt claims to be no more than a guide for the student through the successive stages in the evolution of the larger and largest forms of music structure, Therefore the classic point of view has been adoptedvi PREPACE. and illustrated, not only because that would appear to provide the most reliable basis of technical habit, but also because the thorough knowledge of these older forms must precede the inevitable and desie- able advance into the modern ones. Without attempting any direct defence of conservatism, the author ‘earnestly advises the young composer to master these classic forms by conscientious solution of each successive task given in the book. This, will furnish him with a basis, both technical and conceptive, upon which he can most safely and most fully realize his personal artistic impres- sions and convictions. The classic designs are not lightly to be over- thrown, for they are the cumulative product of a gradually dawning recognition of nature’s musical laws, steadily progressing and crystali ing through the gathering and eliminating experiences of masterminds during many past centuries. Tt seems reasonable, therefore, to assume that true structural progress cannot be achieved by abandoning these, bbut rather by building upon them, ‘The student who desires to obtain a general view of this structural territory, or to proceed more quickly, may limit himself to the paragraphs in larger fe, which are continuous and complete, The additional lucidations in smaller type, and the references, are so ample that they, also, may be partly omitted by those who prefer a shorter, though some- ‘what superficial, course, ‘The analytic student will omit the given Ex: cercises. ‘The practical student must make faithful use of them. tis narrow-minded to assume that these exercises, and the persist cent application of “rules,” will hamper genius. They need not be executed coldly and mechanically, Subjective, personal, enthusiasm may course just as hotly hete as in the pursuit of any other occupation ; and the student is nowhere invited to check this enthusiasm — only to control and guide it, Properly applied by the student, these exercises cean thus only increase the power of his genius. PERCY GOETSCHIUS. New York Cur, Siplomber, 1915 TABLE OF CONTENTS. (Tae number in arnt fer tthe agg) Introduction EEE ab ee eee 7 DIVISION ONE. ‘THE VARIATION-FORMS. comp: ‘Table. Hoe e Chapter I. Tur Grourp-Morve 2 ee. 3 Definition (3). Upper parts (8). Design (9). Licences (19). Methods of eslation (13). Ground-motive in inner or upper past (13). ‘Bxercise 1 _ eee acct ‘Chapter 11, Tite Growwn-tass, on Basso OstiNato, 8 Definition (1). Teeatinent (15-21). In inner or upper part (22) Exercle 2. . .38 Chapter IM, Tie Passacacusa. 2. 2 ss 29 Original Dance (23). Tdealizedl form (24). Treatment (25-28). Thematic rmotive (29). Interludes (0). Codetta or Coda (31). Exerele 3. ‘| ae tte Serie » Chapter IV. Tue Cuaconsie 5 2.40 Original Fance (32). Mealzed form (33). Distinctive traits (54). Patterns G3). Variations interrupted (36). Treatment of Tonallty (39). Codetta or Coda G8}. The Chaconne Theme (39) eerie gs ss 7 ESE Eee tere EeE Hei eoa Chapter V. Tue Suats. (on Sistrtx) VaRIATION-Fomst.. 38 Distinction (40-41). Theme (42). Treatment (43-44). Points of “contact between Theme and Varistions (45). Patterns (46). The Melody as guide (47) Tes treatment (48). ‘The Chords as guide (49). The Bass as guide (50)- The Structural design as guide (52). Unessential extensions (53). Alterations of « gen feral character? Mode (543); Key (548); Meter (54013 Style (sud); Rhythm (54) Double-variaticn (54). Interlude (542)- Codetta or Coda (55 8). Finale (550. Exercises. . : 8 Chapter VI, Tun Lance (on Michie) VaRiarton-Fors. <8 Distinction (56-60). Modifications of the form (61-62), Tasertons: Codetas (632); Duplictions (638); Entire Part (63). Extraneous additions (63). Varia ‘ions 48 whole (66). Exercise 6 eee oevill conTENTS, DIVISION TWO. THE RONDO-FORMS, Tntroiction: Constructive Mass (67). Defnition of Theme (68). Structural fncple ofall Rondo designs (70). chapter VIL. Tux Fiast Roxpo Fons ses on Diagram (71)- Principal Theme (72-73). Transition (74). The process of ‘Transitions Fist_and. Second “Acts” (75). Exceptional objective. points (76) ‘Transtionphrase (77). Dissolution of the form (78-79). Subordinate Theme (1). Deginning in same key (82),_Differentiation (83). Derivation from Principal Theme (Gi). Form of the Subord. Theme (83). The Retranston (86). Treatment (87) letta (88). Dissolution (89). “Second Act” (90). Recurrence of the Trin. Theme (91-92). ‘The Coda (93); bref (94). Relation of the First Kondo form to the Songform with To (95)- Progressive intermediate stages (96), Exercise 7. - : coer (Chapter VIII, Tir Secon Roxoo For - 8 Diagram (97). Principal Theme (98). First Transition (99). Fist Subori rate Theme (109). Fist Retransiion (tot), Fit Recurrence of Peincipal Theme “ala capo” -—(a02). Second Transition (103). Second. Subordinate Theme (io). Second Retranstion (105). Second “da capo" (106), Coda (107). Rela tion of Second Rondo form to Songeform with two Trios (108). Concise ‘Themes (109) Brecise® oe 36 Chapter IX. Tie Tink Roxpo Foe... ar Diagram (110). Progressive dimension of Tripartite forma (111) Recapituation (112), ‘Transposition of First Subord. Theme (113). The Fist Division (115) The Middle Division (17)- ‘The Recapitulation (119-120). Transition — modifier tion (121). Direction of ‘Transposition (123). Misleading transpositions (123-124) Misleading thematic coincidences (123). Retranstion —modifeation (136). Final “da capa” (427). Coda (128). Limits of the Kondo form (129). Brereleg 6 ee tg DIVISION THREE, ‘THE SONATA-ALLEGRO FORMS... 50 Introduction: Constructive Basis (130). Exposition (131). Smaller and Larger species (132) Chapter X. Tux SoNaTINA-FoRM. 131 Defnition, and. Diagrats (133). The Exposition (135-138)- The Retransiion (39). The Recapituation, and Coda (140). Intermediate grades (141) Exercie 1006 eee EEE eee CONTENTS. ix Chapter X1, Tite Sonara-Autecxo For... 5 «16h Definition, and Diagram (442). The Double-bar (144). ‘The Exposition: Pela ‘Theme (143)i Transition (240); Subordinate ‘Theme (147)5 Codetta (148); Double- ar—repetior and double ending (149). The Development (rs0). Structure and contents of the Development (151). Retransition (152). The Recapitulation (154) ‘The Cou (155%, Coda as Second Development (156). Exercise te REECE SHH is (Chapter KIL, Mrsiariies SosaTa-ALtnexo, a8 xxPANDED ‘THREE Past Sox¢-Forx erevesiracs' 7 Definition (157). Diagram (138)- Conn of evelation (159) Norewoutny Vagieries oF tite SONATA-ALLEGRO FoR... 186 Ieginning of the Development coincident with that of the Exposition (162)- Enlarged Sonainafrm (161). "The Hasie Motive (168). "Transpoed Themes (17) Polyphony, in the Larger forms (1684). Melody Expansion (1683) exercise 12 201 Chapter XII, Taetcinan Fons es 308 Totroduetion (169-173). Exchanges, of Mixtutes: ‘The Rondo vith Develop- ment (172-7431 Masleadiog resemblance (175); The Sonataallegro with a Middle ‘Theme, or acw thematic Kpisode (176). Augmentations of the form: Independent Introduction, or Coda (178); Double Subordinate ‘Theme (179); The Concertos allegeo (180) Sonatina fom with final da capo” (181); Larger forms with “Tio (483). Abbesiations, or Omissions (184). "Dislocations" ofthe design (183) Exercise 13 . ars Chapter XIV, Tso.aran Usiqor Desions se ea Chapter XV, Tux Ovserene a Definition (188). ‘The Oratorio Overture (199). ‘The Dramatic or Classic Over- ture (101). Potpours+Overture (193). Concert Overture (193). "Tome-poem (194) “The purpose of Music (195). General principles (197). Exercise os DIVISION FOUR, Chapter XVI. Comrovnn Forms 6 “The Suite (198). The Complete Sonata (19). Insertion ofa Minuet or Scherzo 0c), Conveational arrangement of Movements (201). Keys of Movements (202). ‘Thematic interslation of Movements (203). Do, rio, ee (204). Concerto (205). Symphony (208), Symphonic poem (207)-THE LARGER FORMS OF MUSICAL COMPOSITION INTRODUCTION. 1. The term “Larger Forms” refers specifically to those composi tions which assume greater proportions, and therefore requite greater breadth of design, and more concentration in the conception and ar- rangement of the structural factors. But length is not the distinct trait; fora movement may be concise and faiely brief, and still comprise the characteristics of a Larger form. 2, The dimensions which Larger forms usually assume, and the increased necessity of sustaining interest by effective contrasts, lead naturally to the employment of all the resources of tone-combination, and, therefore, of both distinctive styles of composition — the homo- phonic and the polyphonic. For this reason, these Larger designs are sometimes called the “Mixed Forms.” '& The homophonic texture is that ia which one single melodic line represents the chief content, seile all that goes with it i merely harmonic accompaniment. Tn the polyphoni: texture, two oF more, o all, ofthe lines are of eq melodie prom fnence and importance. “Pure homophony is seen in the 2sth (and others) of the Songs without Words of Mendelssohn ; pure polyphony in the Fugues of Bach's welltempered Cavichorl, The numeri intermediate or mixed grades, between the two genuine styles —as in the Scheran of Beethoven's snd plte, Sonata —are called * polyphonic," but not “polyphony.” 4, The larger forms may be classed in four distinctive Divisions: I. The Variation-forms; IL, The Rondo-forms; IIL. ‘The Sonata-allegro forms; and IV. Compound forms. DIVISION I. THE VARIATION-FORMS.2 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 4 COMPARATIVE TABLE OF DIVISION 1. Tasco osmsaro Ground | Grounds | Paseacasi Basso ost AMosie of one Prat of 0 oF two mea | o our eas Tanase nsss Peviad (oe repeated OFS mensates of which | or aPart | s-Part Sone Vaninos sos Chaconae. [Small Larne Variation: | "Variation || fom fom, ns) |Doubleperad [Usally >. or freshly | aren ebioly | the burden fe Saneform, x6| form, x80 32 Jnbuss. | iba [usally the Josoatly the | manure | mensaren serine. Dusrsc ‘Triple Giger . Hoomophonie | Homoptonic | Peeponder- hanging "changing | atly pa readin | forms, Phonics fhythmic | phmsegoup | thematic ands hare | dete, sccompan ‘movie frm ent of in upper onthe. (aaded) Stratare continous, with ostinany (transient) cadence ikerption, ie ine | tenay | Sty lemsty tie | (hs or | onde) Inbal the| ano to | aa sate) | | Minor ot ‘major mode.) Prepinderantly| Chey homopbons, occa ‘omophone: | sionally polypbosic; the varying | wariatons completely sep patterns of | rated, asa rule (ebiaty) "|porm of [Form of Tnemonke gu) Theme ze. | Theme treated sation, with | tain, with | with pester fpprorinate | unesatil "| freer, and retention of | extensions. | transformed Beto [by tsertions ontine andextensioos ous, partly Elabortion, crane, ae wel a8 waists, Variation THE GROUND-uorivE, 3 CHAPTER L THE GROUND-MOTIVE, 5. The Ground-Motive isa brief melodic figure, usually one measure in length (Sometimes less or more), placed, as a rule, inthe bass part, and repeated there an optional number of times. ‘These repetitions are generally exact, but may be modified. And the motive i occasion- ally transferred to another part. _ See Ex. 1, bass, 6. Its usual retention in one and the same part, however, distinguishes the Grouns-motive fram the motive ofthe Invention-frms, in which Iti constantly i= fated in changing parts. "The term Ground-motive is adopted in this book, nt alone bbecause of its Ieetionin the bass (the “round” part), but more particularly i reference to its objct an character as fundamental motive, —even when placed in some upper part. TA sentence contrived with a Groond-motive i¢ not a Variation-form in the recognized senst of the term but it hasa very sinlar technical asi and should be regarded as an enbryonie condition of the same process of thematic development Which leads direcly into the genuine Vaeltion-form. It is more likely to occur during certain sction of larger design (as in Ex. 1) than to form the basis of an ‘entire composition (as in Ex. 6, No. 1). 8 At each repetition or recurrence of the Ground-motive the upper parts (or those others not holding the motive) are so changed as to con- stitute new melodic, harmonic, rhythmic, or contrapuntal associations with it. See Es. x, upper staff. ‘This indicates the relation of the Ground-motive to the Variation foem, whichis Adena as a series of ingeniously model (or vasiated) repstitions of an adopted “Theme.” Here, the thematic germ is simply smaller, being only @ motive or figure 9. It is customary, and wise, not to alter the harmonization at ery successive recurrence of the Ground-motive, but to use the same, or nearly the same, form for two successive announcements (see Ex. 1, measures 1-23 3-43 Ex. 4, measures 3-5), Also, to construct related (if not strictly similar) two-measure, or four-measure groups, in order to obtain the structural elfect of phrase- and period-formations (see Ex. 1, measures 1-25 5-6; Ex. 4, measures 4-5, 8-9). Also, to revert, later on, to preceding groups, so a to confirm the later, and to intimate stil larger designs (double-period, or even Song-forms). See Ex. 1, measures 2-4, 9-11; Ex. 6, No. 2, measures 11, 12, ete like measures r,4 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 10. 2, etc, Such confirmations or duplications constitute the only legiti- mate means of obtaining effective and intelligible form. Compare par. 12¢, d. 10, For the sake of greater freedom and effectiveness, three licences, are recognized as valid and permissible; but they are not to be applied in later recurrences of the motive, the necessity of avoiding monot- ony becomes evident 1. Unessential (that is, slight, unimportant) melodie or rhyth- mic alterations of the motive itself. These may con- sertion of embellishing tones (passing and neighboring notes); dots; rests; shifting the position of the motive in the measure; an occasional modifica- tion by accidentals. 2. Transferring the Ground-motive to some other part,— as a rule, not until it has appeared several the bass (or whatever its own part may be) 3+ Substitution of sequence for repetition, whereby the motive appears upon other scale-steps, of in different keys. ‘These points are all illustrated in the following example, from the Finale of Brahma’ rst Symphony: et ”, Par. a, THE GROUND-MoTIVE, *1) Ground-motive of four diatonic tones, one measure in length, St the second best, Observe that a Ground-motive may occupy any penton in the but beginning 2) The melodic formation of the second measure is similar to that of the Sst ‘Also meas. confms meas. 3 (as sequence); that is the measures are cas in paira”™ *3) The motve, i bass, ie shifted up an octave sammy?) Messe $6 contra measures 2, lea Consequent phrase inthe pero: * 9 sree *6) The motive in bass is shifted up sth; that i, i is epmoduced in sequence instead of repetivon " 7) The melee form is infected by the accidental eat ___,°8) The motive is transferred to the uppermost part, and, at the same time, it is shythmically stifted—back one hall-beat. 4 0) The motive appears, in the sme syncopated form, in “tenor.” the Dass descends to its former register. measures 24 ‘This measure and the next two UL. Upon the recurrence of this passage, later in the movement of the Symphony, itassumes the following, more vital and interesting shape:6 THE LARGER FORMS OF MUSICAL COMPOSITION, Pat. 12. 1) The Ground-motive appears frst in the soprano, then ia bass; and this ‘regula alternation of bass with the upper part continues tothe end ofthe sentence, 12 a. The “variation” of the accompaniment to the successive recurrences of the adopted motive induces the composer to exercise unlimited ingenuity, and the result may be unique and effective. 4, The treatment of the added parts may be either homophonie or polyphonic, more commonly the former. But, in any case, the student must remember that no musi is certain of its appeal without definite, and sustained, melodic design; and he should therefore direct his effort first to the conception of a good counter-melody. ¢. It is also equally important to adopt and develop, beforehand, some perfectly definite plan for the entire sentence or composition, in order to avoid an absurd jumble of patterns, which would destroy the unity and effectiveness of the structural design as a whole. ‘This is clearly illustrated in some of the following examples: E 1, of Arensky, is a Song-form with Trio; Ex. 6, No. 2, of Brahms, is a group of phrases approximating the 5-Part form (two returns to the first phrase); Ex. 7, No. 1, of Bizet, is a Song with Trio, the Ground-motive running through the Principal Song and its da capo, but abandoned during the Trio up to the retransition, where it re-enters; Ex. 7, No. 3, of Lachner, is a regular Three-Part Song-form, d. ‘The device most naturally employed for this purpose is (as hinted in par. 9) that of duplication. The term “duplication” is em- ployed here, and throughout the book, to indicate the principle of repetition, reproduction, or recurrence, in the broadest sense, and may involve almost any degree of variation that could reasonably be ine cluded in a re-statement of any member or section of the form. ‘Duplic cation means, then, the repetition (more or less exact, but possibly greatly modified), or the recurrence, of a measure, a phrase-member, a phrase, or an entire period, Par. 3a, THE GROUND-MoTIVE, 7 For illustration: In Ex, 6, No.1, measures 3-5 form an Antecedlent pheate, dupli- cated, in the following three measures, as Consequent phrase (ia contrary motion); {nthe same example, at note), there isa recurrence or duplication ofthis measure Period and at note *5), a return to the beginning and recurrence of the frst 12 ‘measures (in dierent shythmic form), In Ex. 7, No. x, four successive announce: iments ofthe Ground-motive become the basis of «continuous 4-measie melody, as Antecedent phase, immesiately duplicated as Consequent phrase. Somewhat init fs Ex. 7, No. in which the duplication or repetition results in a 16-measure Double period of very definite and striking melodie forma (as Part 1), — followed by Part II, of equally clear design, and, later, by Part II as recurrence of Part I. Further illustrations:8 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 12. ) From the Finale of Brahmas? 2nd Symphony 2) This Ground-motive is also one measure log, beginning at the unaccented second beat. It remains in boss throughout "3) Here the motive is sifted to the next higher step, form. *4) Again shifted up one step, and also expanded (by partial augmentation) to cover tro measures *5) The sentence ends with this announcement of the fist half of the motive only, in regular augmented form. $6) The structural grouping, in sets of four similar measures, is apparent here. 4 changed to the minor Par. ta THE GROUND-MoTIVE. 9 1) From the Allereto grastoo of Brahms? and Symphony. The Ground- motive may be interpreted to probably conceived as beginning with the third beat. The repetitions are not al- tered at al ‘A somewhat similar passage occurs in the fist movement of Beethoven's th Symphony, measures go to 29 from the end, ‘The Ground-motive, derived fom the beginning of the Principal Theme, is two measures long, and appears eleven times in succession in bass, without change (Ex. s, No. 1). And also near the end of the frst movement of Beethoven's oth Symphony (Ex. §, No. 2):to THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 13. Par. 1a, THE GROUND-MOTIVE, $ 32 THE LARGER FORMS OF MUSICAL COMPOSITION Par. 3a, Patra. 13 1) The Ground-motive includes six quarter-notes in fre-quarter measure; at ‘each recurrence tis therefore shifted forward one beat, with unique resale 2) The mdody here is the contrary motion of that at the beginning. 43) Here the Ground-motive regains its original location in the measure, and the preceding phrase is repeated (and extended to x0 measures), while the motive appears in broken-oetave form. *4) This passage, with transposition to the dominant key, answers, in the form, ‘© Subordinate Song-form, with da cope 1g measures later. The Ground-motive retain its original otters, however, but the thint note becomes gsharp, 5) The de capo, or retum to the beginning, in mora elaborate rhythmic form, %6) The Ground-motive (after four measures) is shifted down a fourth. 7) Here (again after four measures) it resumes its original location; but the recurrence of the fst phrase does not appear until two measures later, —in cone sequence of the ssmeasite phrase, *8) Shifted upstard a fourth 0) This measure, and the fllowing three measures, constitute an Taterlude, oF tort of retransitin, ‘1o) The Ground-motive is transferred to the inner part, and back, twice. The cadence follows. This entire extract forms the “Trio of aa Intermezzo, op. 116, Nova. 1) The Ground-motive here, and later, is abbreviated by omission of the final tone, oF tones 12) Transforeed, in abbreviated form, to an upper part. See further: Rheiberger, Organ Piers, op. 156; No. 7, "In memoriam.” Ground-motive of two measures: FEES ts ise times; frequently shifted to other scalesteps; no interludes; extended at the end by a beet codets Retest in bas exclusively, 42 Rheinberger, Organ Picees, op. 1673 No.12 (Finale); motive of one measure a ‘quently shifted to other steps, and often interrupted by interludes, ‘Techaikoweky, 4th Symphony, frst movement, measure 134 (Bow sot il tempo reciente) though 22 measures, PRAY SAS p55 Pi See a, the “Tio” of second. movement (pi mor); motive meldialy Arthur Shepherd, Pite, Sonata, op. 4,second movement. Motive of two meas- FARES Thovaghout the movement, but frequently14 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 19 Mosskowski, “Bosh No. , (Moorish Fanta), Motive of two measures $9 + Pt BB SSS in onary maton 8 tine’) and agin in bass; then in 0 Chie inthe upper pat, and finally again in bes. ff Fist a bass (14 presentation) then im sopmano enlarged, forms, Warser, Titan und Tale,” Act. Sene V, Ds sande herih he wd sets neat, ou teens toear Horde," Tas ostinato a fhap ior, Motive fone esse: (eyez Sin, wth acon allation of to d'harp—and a ew oer changes a> wa hansen serena tet PTET 1 rons cough the entre, tity lengthy, compo: il if As ioterstingilstraio of consistent formal din Jean Sibeliue, Pastorale from “Pelleas und Metisande” No. 5)._The Ground-mosive, of six beats: FERRIES epee is aanounced in bass, and remains, thoughout, in the same register; but other Tower, bustones ae fequetly at, which give tothe motive the efecto an inner part Amoi change occu at then ofthe motive, in thee ofthe presentation. 13, When the motive is announced — and retained — in some upper part, itis not a Grownd-motive in the stricter sense of the word; but the principle, and the treatment, are exactly the same: Novt, “Le Cason Par. 33. THE GROUND-MOTIVE. 15 Yast tesaning16 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 13. Par. 33. THE GROUND-MOTIVE 7 1) From Biset’s orchestral suite, “L’AsiGienne," gth movement ‘The mo- tive, one measure long, is presented constantly ia the inner pact. 2) The closing, re-trasitonal, measures of the Trio." 5) The motive of one measure appears inner putt, but is practically a bass, with the fist tone held as organ-point. Tt runs through the entire composition (44 measures) without change 4) Similars the motive is really in tenor, ut the bass fs chiefly an organ-point See also: Detuasy, Song vith pit. “Les cloches.”. The motive of one measure 2 £, appears first in bass (5 presentations, and cadence); then (BRE PE pre a tines an arco then fe man, in the fallonig tre rhythmically modi forms, to the en Pow ilo H pga SPSS SiS (FETT ane ina catene ‘This is a very Beautiful and instrictive example, worthy of close study fe), the passage with four: Binet, Suite “L’AriGienne,” fest movement (Pre fat signature, ‘The motive, two measures long: five ay wv sented constantly in the soprano (to times), with one chromatic change (in the oth presentation).18 THE LARGER FORMS OF MUSICAL COMPOSITION Pat. 14 Maurice Ravel, Sonatine in f-sharp minor, last movement, measutes 62-94 Note. —Such examples as the following of Chopin: oy Lecrecrrecre! Pema Berceuse, o among the the sentence, but 57}; — anil Tochaikowsky, op. 11 (Andante), cannot be classed otives, Because they” are not the thematic source and basis af rely figural motives, of distinctly accompany’ng character, ‘whose uniformity, though characteristic and effective, is mather accidental than intentional EXERCISE | Write a numberof sentences (brief, but complete), with Ground-motive, Use diferent kinds of measure, and various rhythmic forms, for each; also, motives of diferent length, and varied locaton in the measur in etent. Note, particuasly, par. 120 ‘but not beyond fu measures CHAPTER IL, THE GROUND-BASS, OR BASSO OSTINATO. 14 The Ground-bass, or, as it is more universally called, the basso ostinato (persistent bass), differs from the Ground-motive only in length. In some of the above examples the term “basso ostinato” might apply quite as well as Ground-motive, and is actually employed by Arensky (Ex. 6, No. 1), Novééek, and others, for brie? motiv ‘The basso ostinato is, however, usually a complete four-measure phrase. melody, with cadence either on the tonic or the dominant. Sometimes, as stated, it is only two measures long; very rarely, a phrase of eight measures the Comparative Table, at the head of this Division 15. When the basso ostinato is used as constructive basis, it leads, Ddecause of its length, to broader and more definite structural results than can be obtained with the Ground-motive. Therefore, it lends itself readily to development into a complete movement, with clearly defined form, 16, In its treatment it corresponds, in every essential detail, to that of the Ground-motive. As the name implies, it is supposed to appear in bass, and to be repeated there, throughout; and in older examples this is always the ease. Par. 10, THE GROUND-BASS, OR BASSO OSTINATO. 19 ted Pe eie 4 eye A]20. ‘THE LARGER FORMS OF MUSICAL COMPOSITION. Par. x7 1) From the opera “Dido and Aeneas” of Purell (Novello ettion), No. 2 ‘The Ground: bass is a complete four-measute phrase, with strong tonic cadence. 2) Here, about in the auiddle of the Song,” the motive is transferred t0 the dominant key, where it appears twee '3) Note the effective treatment (evasion) of the eadence here, to prevent mo- rotony; also examine the other (earlier) eadences, which are “bridged over” without rhythmic interuption. See alio, ia the same [No 38 (lour-measure phrases). orks No, 6 (cght-messure phrase), No. 12, No. af, AZ. ‘The added material, in the upper part, should be devised with the utmost ingenuity, in varying forms or patterns, for each successive recurrence of the Ground-bass. It may be, and usually is, homophonic; and, as usual, the melody of the upper part claims chief attention, But it may also be more or less imitatory, or even strictly polyphonic, — in which case it is likely to be assigned to the Passacaglia group, and to assume a correspondingly definite conventional character (pat. 25). 18, The basic phrase may be a genuine basso ostinato, appearing only in the bass voice, But it may also be transferred, at times, to some other part; it may be shifted, as sequence, to other scale-steps, with or without change of key; and it may be unessentially modified, melodically or rhythmically. "Comp. pat. to. 19, Here, again, the style or “pattern” of the added parts may be retained, with litle change, for two (or even more) successive announce- ments of the Ground-bass, (Comp. par. 9.) ‘And the design of the sentence as a whole may (and should) represent the purpose and effect of such complete structural formations as the ‘Three-Part Song-form and the like. (Comp. par. 12c, and par. 15.) Or, in the absence of such definite structural traits, the whole may constitute a Group of phrases, with more or less evidence of some plan ‘of continuous development, leading, through progressive stages of Par.0. THE GROUND-BASS, OR BASSO OSTINATO. 21 constantly increasing melodic, harmonic and (particularly) rhythmic interest and power, to a climax at, or near, the end, 20. The most effective result is likely to be achieved by interrupting. the series of thematic announcements after a time—best near the middle of the entire movement — and interposing a section in distinctly contrasting style, as Interlude or “Trio.” ‘This should, of course, be followed by a resumption of the basso ostinato cither exactly as before, or, better, in new and more brilliant forms. 21. But, with this exception, no cessation of the repetitions of the ‘asso is considered legitimate; and the successive variations are, natu- rally, not to be isolated by heavy cadence impressions, but should be as continuous as is compatible with effective structural presentation, ‘The monotony of the regularly recurring cadence of the bass theme may be avoided by skilful evasion of the cadence — ingenious harmonic and thythmic treatment of the given cadence-tones. See Ex. 8, note22 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. a1, | Par.at. THE GROUND-BASS, OR BASSO OSTINATO. 23 = Six thoes #3) ase eat et erescenlo24 THE LARGER FORMS OP MUSICAL COMPOSITION. Par. a van at, IRE GROUND-PASS, OR BASSO OSTINATO: 2s red] pete leell * ae . ge a » 1) -The Fine of Brahe Yaris, op 6 on Thee of Hagta,—*) : bs sya lope een mening men a themes wk toh tv, age arama an pce beats} then eighth-notes; then sivicenths in the accompanying innee pats, against tnd then Sth note carried over into the version at note at *s) itis in the tenor; at *6) the minor to aswert ills at *7) the theme is in soprano, and fully ia minor; at *S) ite atill higher, Note the rhythms. = x %9) The thematic melody returns to the bass. °r0) Here the theme is disolved — {nto a coda, with bearing on the Theme of the Variations, 226 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 5, Runner dt Lf dod dled aii t ae The “Crucfius" from Bach's B minor Mass, The original should be thoroughly stulied. ‘The Theme is four measures long, with dominant cadence. Ie is presented 1 times, constantly in bass, and with but two modications, ia the Jast tro announcements, — the final one is significant, as it cadences in © major. 42) Here the fourpart mixed chorus enters, and continues throughout, with ‘most masterly and efective imitations (polyphonic) "3) From “Judas Maccabeus,” Nos, 38 and 39. The theme, four messures Jong, with dominant eadenc, is retained in bass; bat with frequent interludes, and shifted a sed higher during a later section, "4) From “Serenade,” op. 16, for orchestra (38d movement). ‘The huss appears only during the principal sections, is often shilted sequentially, and subjected to significant rhythmic alterations, "3) From "Monologe,” op. 162, for ongan; No, «2, Motive, two measure long, in bass throughout, without modifcatic 0) Ladislas Aloiz, Var. fortwo pianos, op. 28. Ground-bass, four measures Jong, as Introdue 1 tthe fina 22, The thematic melody may, as stated in par. 18, appear at times in an upper part; but it may also assume its legitimate place there, eemaining in one or another of the upper parts, excepting when trans: ferred occasionally to the bass. In this ease it is, properly speaking, a ‘melodia ostinata (the name adopted by Rheinberger in his op. 174, tr, See Ex, 11, No. 2). Leal a Eee f Feo THE GROUND-BASS, OR BA Dresto 2728 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 22. ae 4,No. 11). Itappears fit in the upper part then inthe inner (tenor, and then jn the bass; and this order of altemate upper, inner and lower part, is adhered to srielly and without movification of the thematic melody, throughout From Beethoven's oth Symphony, the “Trio” of the Scherzo-movement ‘The thematic phrase of four measures is prcsented fst in nelody of this Smcasute Petiod is the Theme of the composition (op. ints. [trans through the entie “Trio,” with a he W interruptions, and with no anges than a modulation to the dominant, and systematic shifting of resister, *3) The motive transferred to an Inner par, nd is contrapuntal asncate appears above. H ao 0) Here the motive abbreviated. Se the orignal Sev alr Beethoven, pite. Sonat, op. 28; "Tio" ofthe Scherzo, ‘The mative in b minor and D major Rheinbergee, op. 167, No. 10; Saprano ostinato throughout (see Ba. 15, Nox 3) EXERCISE 2. A number of examples of the fusie extnato, and mcalia ostn types of measure 2. Employ aad of saythm. Limit the theme to four onfinany micas lures, or two large measutes.-‘The following ren basso may be usel for experimen: Par. a3. THE PASSACAGLIA. a 9 CHAPTER TIL THE PASSACAGLIA, 3, The Passacaglia (French Passacaille) was originally a dance (probably of Spanish origin), always in the minor mode, and always in triple measure (usually $—more rarely Z or 3). It was commonly ‘eight measures in length; sometimes, as period-form, with a light semi- cadence in the middle. ‘The practical availability of so brief a sentence for a complete and lengthy dance was secured by the simple device of numerous repetitions ‘These were at frst probably nearly or quite literal; but it became the custom to modify or variate the repetitions more ot less freely, though never elaborately — the “variations” consisting chielly of simple har- monic figuration or arpeggiation (and slight melodic embellishment) of the original chords, in different rhythms. ‘The melady, or tune proper, of the dance was treated with comparative indifference, or disregarded altogether; the basis of the sentence was its chords, and this lent para~ mount importance to the bass-part, which was retained almost un- changed, thus crea spression of a basso ostinato throughout the many repetitions of the dance-sentence. See par. 25. See Bach, Cvichonl composions (Peters Flion, No. 1959) No. 6 on page 4p. The "Tage" (Pascale) ie an Smeasure Peiod of two parallel phrases hn the cme bass, This Period i ceeated 18 times with "variation," chil of A riytimie naire, Between Vatlations 6-7, 9-1 and at the end, there is a da apo, or return othe orignal form of the thematic Very similis the “Passicglo” of Preaeobald, cited in x. 15 (No.9) QA. The idealized Passacaglia, in its modern artistic form (most common in oxgan literature), bears only a general resemblance to the original dance, though it has retained the name, That i, itis invariably 3 (or 3) measire; is in minors and consists ina series of repetitions of the bass theme, “There isan inexplicable confusion of titles ina“ Pasacaile" of Handel (Suite No. for the cvichrd, which i ia $ measure. 25, From the basso astinat, to which elass of composition it dis- tinctly belongs, the modern Passacagtia differs only in certain charac- teristic traits: The bass theme i usually longer; sometimes more elaborate; the treatment is preponderantly contrapuntal; and the form30 THE LARGER FoR: OF MUSICAL COMPOSITION. Par. 46. as a whole may pursue a more definite design. (It will be noted that a basso ostinato may be in any species of measure, in either mode, and of any rhythmic character. The Passacaglia, on the other hand, has its fixed conditions, — par. 24.) See the Comparative Table at the head (of this Division 8. The theme, in bass, is most frequently eight measures in length; sometimes more, rarely less. It is generally of simple, almost austere melodic and rhythmic character; though occasionally more ornate and striking themes are chosen. Compare the theme of Bach, in Ex. 14, with those given in Ex. r5; and with the following of Max Reger : the theme is usually announced frst alone (as in the fugue), én ‘the bass, where it best manifests its significance as actual thematic basis, — as principal tone-line, to which others are to be added by the polyphonic process. It is then repeated, in that voice, under the same general conditions as those which govern the Ground-motive and Ground-bass; name a) It may be rhythmically modified; see Ex. 14, notes *6) and *r1). ) It may be unessentially embellished, with neighboring notes or passing notes, especially when these are introduced in conformity with the imitatory motive” adopted in the added (upper) parts; see Ex. 14, notes *6) and *4) c) It may be transferred to another, higher, part; see Ex. 14, note 12). Much more rarely, it may appear as sequence, on other steps, or in another key; see Ex. 15, note *2). ‘The simple change of mode is always permissible; compare Ex, 9, notes *6) and *7). 28. ‘The treatment of the accompaniment in the upper (added) parts is preponderantly polyphonic, that is, contrapuntal or imitatory; Dut not necessarily wholly 80, as purely harmonic patterns may occur from time to time, It is, however, the polyphonic character of the Passacaglia that distinguishes it from the Chaconne, and Variatione forms in general Par. 29 THE PASSACAGLIA 31 29. ‘Therefore, a “Motive” is chosen for each successive manip lation of the bass-theme, and is imitated and developed as in the Inven- tion, or choral=figuration, Here, again, the same (or a similar) motive may be used for two successive variations, Comp. par. 9; and see Ex. 14, notes *8), *9) and *19). And, as shown in the Ground-motive, and in the basso ostinato, a systematic increase in rhythmic animation is likely to occur; and other devices of progressive development may be so applied as to achieve an effective structural design in the entire series, with a view to providing the necessary contrasts and climaxes. 30. Interludes may appear, at proper intervals, between the varia tions; especially when caused by a natural expansion of the cadence- chord. It is especially effective and appropriate to insert a modulating interlude — perhaps extended by a dominant organ-point — immedi- ately before the final announcement of the bass-theme, or at some other inviting point near the end. 31. An extension at the end, in the nature of a Codetta or Coda, is possible and desirable ‘The following organ Passacaglia of Bach, one of the most masterly ‘models of this form, illustrates the more important of the above details:32 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 3. var st. TUE PASSACAGLEA. 33.35 TUE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 336 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 31 -ll ote the melodic structure of the Theme; the rsation of the halé-notes, at the beginning of each measure, to each other and to the key (the dominant note with its lower and upper neighbors during the frst pease, and thea the intervals of the tonic chord, in descending succession); and the manner in which neatly every fone ofthese accented hall-notes is preceded by its lower diatonic ei 1 term “Var.” is usod here for convenience; ft docs not appear in the covignal. Var. T is homophonie, the motive in soprano being melo *3) Var. 1 is a duplication of Var. 1, with new phrase-meloily, built wpon the ) Var. TIT is polyphonic, based upon the imitations of the adopted motive Gin Sthsnotes, a8 marked). I sil be noticed that the motive in this and all suc variations, begins during the cadence —b © the Theme sts i in bass ed to Sths and ats, +5) The rhythm ie aces *6) Motive § tones, harmonic form. Th sin bass, i madd Both ameladically and rhythmically in onder to paticipate in the imitation of the motive Compare note *4) 47) The thythm again accelerated, to eunning ets 48) Var. VIL is, in a sense, a duplication of VI, en motive, but in contrary motion, and extended to tio beats ing the same distonie *o) Var. VIIL is another duplication of VI (or VII), with the same diatonic motive extended to thre, and more, bests. Similar to-note"6), which see 12) A flowing motive of 5 beats, not imitated in altemate parts, but retained throughout in soprano. ‘The rhythm of the ‘Themis ia bass is again chythmically ‘mode by shortening each half-note to a quater. 12) The Thome i transfered to the soprano. This Vat. i a duplication o inasmuch as the line of 16th-notes fs rpraduced literally, in a lower part ‘pdal-bass is discontinusd, to emphasize the shifting ofthe 1 13) The Theme is again in soprano, in Var, XI, accompanied polyphonieally with a “jagged” motive of j or more beats in the wet parts, Par. 31 TUE. PASSACAGLIA 37 414) The Theme is in the alto, and modified melodically and rhythaially, as in Variations V ard IX, in conformity with the adopted m #45) Vatiatioes XIV and XV sre both pre harmonic figurations the presen tation f the Thene, in the tenor (Uhe pedal islet), i unique: See the original. *16) The * measures of the bass Theme, of which it is practically a diminution, Th ‘ment is harmonic, — the messures ate duplicates, without “imitation.” «XVII returns to 4" motive, in r6th-note, is a direct allusion to the last Sve 19) Vat. XVUL accelerates the shythm to a6th-riplets, the shythm of Var. IV; the Theme in bass is moslied hy reducing each quarter toan Sth, with prceding sbtes 1s) Note tenga "bing eect th mative (—two beats tn eat, wi) Mae 3 «) Ths varaton ences the Passa pee As ina, tile isa duplication of XIX, with the motive doubled in gals is aed, See, further, the following: Baers at38 THE LARGER FORMS OP MUSICAL COMPOSITION. Par. 3x. uae Bao. wm i —s Boas 1) Op. 32, Finale Ongan Sonata). ‘The Theme, an S-measure Period with tonic cadence, stated frst in bass fone, Tt appears chiey in bass, but is trans: ferred at tines to an upper part, and occasionally slightly embelished. ‘The treat- iment ispolponc, and there is & progresiveshythme design Par. st. THE PASSACAGLIA 39 *2) Passacatla, op. 156, No. 11. ‘Theme, an S-measuire Period with dominant cadence. Tt is stated in bass, but immediately accompanied, The Theme appear constantly in bass, and is tronsferrad at each presentation Jo othr steps, ehiedy i ascending sequences in the 3rd. The treatment is preponderantly harmonic, but ‘occasional imitations and contrapuntal passages occur, *3) Passaglia, op. 167, No. 10, ‘The Theme, an S-measure Petiod with dom rant cadence, isstated first in soprano alone, and i then retained in soprano through: ‘out, a8 melodia etna. The treatment is polyphonic. *4) Op. 85, No. 2. The Theme, 4 (large) measures with dominant exdence, ap- eas first in bas alone; it presented thre times ine minot, then tice in gminoe (vith modified cadence at each change of key); then once in soprano in e minot, fonce in bass inj minor; then in ¢ minor, in wprano, his, soprano, tent, a bas again in soprano (g minor), bass (¢ minor, ¢ minor, and ¢ minor). "Piss followed by a Fugue, as Finale, whose Subject counterpoints the basse esinate, which Sally Joins i, in the coda 5) Passacayla upon the name B-A-C-H, op. 39. ‘The Theme appears chiely in bass, Te occurs few times in B-fat major! is considerably modified, both melodi cally and shythnically — principally the latter. The treatment is almost entirely hhomophonic, preponderant chromatic, and extremely brilliant. *6) Passacaglia and Fugue, op. 10. An intrnduction, based upon the ‘Theme in ‘expanded form, lads into the Passicagl Double”) serves as Finale, A very effective and beautiful example, worthy of careful scrutin ‘The Fugue ¢ *7) The Thane, an &measure phrase, modulates early into the dominant key (sharp minor) and cadences there. ‘The treatment i largely polyphonic and inc volves many ski melodic and rhythmic modifications ofthe ‘Theme. *8) A base etinato, but not “Passacagtia of the conventional type, inasmuch 1s the Theme isin major (comp. par. 24} and par. 13), 0) Brescobalat calls it a “Passcagli.” This, though thoroughly seholastle And artistic in technical treatment, belongs more properly to the traditional type of the Passacagln as Dance, — similar to the example of Bach, cited in par. 23. The ‘Theme isan S-itasure Pevid, of, more properly, a repeated q-measure Phrase; it is in mafor; the four-measure section is repeated 45 Limes (Non 14 to 52 in g-minos) in varited forms, with constant and dict reference to the harmonic basis — and to the melody. In this respect it bears closer relation to the Chaconne-forms (p 534), especially as itis ia major, and exhibits no bass asinawo. Ta many outward ‘units itis strikingly similar to the Chaconne of Baeh for Solo Violin, cited in Ex. 1, EXERCISE 3. ‘A number of examples ofthe Passacaglia, chiefly forthe angun, but also for the pianoforte, or any ensemble of instruments with which the stunt ts familiar. ‘The themes cited in Ex. 15 (especially Nos. 4,4, of 8) may be utilzed; or better the student may invent and manipulate his xn themes40 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 3a. CHAPTER IV, THE CHACONNE, 3% The Chaconne (Italian Ciaccona) was also originally a populat dance; it is very similar to the Passacagtia, and is often confounded with the latter. Tt was always in 3 (that is, triple) measure, usually eight ‘measures in length; was either in major or in minor, and was many times repeated, with the same simple rhythmic and melodic modifica tions as those employed in the repetitions of the Passacaglia 33, The artistic or idealized Chaconne, likewise, often closely re- sembles the modern Passacaglia, and has not escaped being, confounded with, or even regarded as identical and interchangeable with, the latter. But it appears possible to define (or, at least, to establish for the student’s convenience) the characteristic traits of the Chaconne, as recognized and adopted in the majority of existing examples. See the Comparative 1 34 Thes 4, The “theme” of the Chaconne is not a basso ostinato, but consists primarily in the chord-successions upon which the thematic sentence (usually eight measures, rarely only four) is erected. Out of thes chords emerges a Melody, the air or tune of the dance, in the upper- most part, which in many cases is so definite and lyric as to appear to be the real thematic thread. And this may, to some extent, be the case, — the chords then representing the natural harmonization of that melody. fable at the head of this Division. distinctive traits are as follows: This view is borne out in the title to some of Handel's “Lesons for the harps chord” namely: “Chaconne, sith Variations” (Ex. 16), In thes, the Ae” seems to be the principal themati thread, although iti the cords alone, altimately, which control the conduct of the variations. Further, in thus sbifting the malady into sgrcater prominence, the Chaconne approaches the nature of the conventional ‘ion-forms,"| of compos not called by hima * tnd i, indeed, to be regarded as the first o incipient grade of this class Mons, So, for example, thee-minae Variations” of Beethoven (Bx. x8) are Chaconne” ata, although they are a genuine type of that class It is, however, positively distinctive of the Chaconne that the chord-succession is retained as basis, with a few natural or interesting modifications and modulations, even when the original melody disap. pears, oF assumes quite a different form, Precisely as shown in par. 23, this retention of the chords leads as a matter of course to the more or less exact retention of the original bass- Pat. 35 THE. CHACONYE, at part, thus lending support to the impression of a basso ostinato. But the difference in the operation of this idea, and the actual between a “retained bass” and a genuine “Ground-bass” (as thematic fundament), is quite as essential as it is obvious: In the Passacaglia the basso astinata is the source and basis of the whole structure; whereas in the Chaconne the recurring bass is merely a consequence, by no means limited, of the retained chord-suecessions out of which the structure is really evolved. Comp. pat. 2: 4, ‘The treatment of the Chaconne is not polyphonic, as is that of the Passacaglia, but preponderantly homophonic, or harmonic. ‘The successive modified repetitions (or variations) are but Tittle more than figurations of the chords, in ingenious forms of broken and embellished harmony. Compare par. 28. ‘This distinction in the methods of treatment is the natural consequence of the location of the ehie thematic thread> Tn the Passacag distinction nt ein the bas, as singe {one line, to waich other lines are added, fn contrapuatal texture: Ta the Chaconne ics in the somano, as lyric prod of the chords, sehih induce harmonic manipe lation. The Passueaglia is built chiely from the bottom upisant the Chaconne, from the meloly dosrnvae ¢ The Passacaglia is not classed among the conventional variation- forms; but the Chaconne, as already noted, may justly be looked upon as the first or lowest grade of the sents severa’ features (absent in the Passacaglia) that are peculiar to this class of composition, ariation-form, inasmuch as it pre- 85, The manner in which the chords of the theme are broken, oF figurated, constitutes what might be called the “pattern” of the varia- tion, carried along in consistent recurrence through the entire series of ‘chords, with sufficient modification, here and there, to avoid monotony Hore, again, the same pattern, with change of register, is frequently used for two, or even three, successive variations; thus exemplifying the principle of duplication, defined in par. rac as a vital element in the creation, and distinct presentation, of a structural design, Comp, pars. 9, 19. Chocenne #3 (e2 ae 1. 2: oa fi ‘—42 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 35. Par. 35. THE CHACONNE. 43 *1) From andes “Lessons” for the Clavichoed (or Harpsichort) ‘Theme (the Ctaconne proper) is an S-measure Period, with periect foprano-meloly isthe chet element; and, with its chond accompaniment i lace ‘more or less accurately through each variation. In the original version there are 6 dence 2) The bass corresponds exactly to that of the Theme, —but simply because the chrd-suceaions ae the sme *3) The cadencemeasure isso bridged over as to connect the variations without Inecruption (see par. 36) _—_— 4) Vat. HL isa duplication of Var. 1 that is, very nearly the same pattern i ‘wed foreach, The same is true of Variations g and ro, — and many other pat. 45) This variation, lke almost ll which follow, consists clearly in nothing more than a figuration ofthe chords of the Theme. The pattern is defined simply by the manner in which the first ehord is broken, milodially and hythoneally "6) A.Canoa inthe octave, ater one beat. See the orignal, See als the other Chaconne in Handel's “Lessons,” apparently & modified version of the above Theme, also in G major, a See further:44 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 3s Jom Dessanane Bact (664799) 41) A séemeasure Phrase, major mode, ‘The Variations (ve fn 4, four in F, two in B, and seven in A) all Both mel jst in purely harmonic figuration of the chor and bass are retained nealy literally, throughout. of styles ike that of the “Passacaglia” of Handel #2) Another curious confus sited inp. 24 (in measure). This called “Chaconne,” dst the fact tat ‘! Then iis in Zmeasure. The Theme isa foursmeasute phease, major mi Variations, all in @ major, derive ‘The basis retained almost literally; the me from the homts by simple harm has more moda 38. The variations of the Cha other (that is, are continuous), especially during such groups of two or three variations as are based upon the same pattern, But it is indica tive of the relation of the Chaconne to the Variation-form proper, th an occasional complete break, or full stop, occurs, severing that varia uch interruptions are not found in the ly continuous. Comp. par. 2r mane are often connected with each tion from the followin Pas lia, which is always st 37, Partly in consequence of this incipient independence of certain separate variations, some liberty is permitted in the tre of the tonality. Thus it is quite common, in the Chaconne, to alter the mode (from minor to major, or vice versa) during certain single variations, for groups of variations; see Ex. 18, note *12). This, however, is the only device employed; no change of key-mote, or change of meast made, in the variations of the Chaconne; nor are alterations of the form, by extension of the Theme, considered legitimate, In a word, the connection between the Theme and its several variations is here Par. 37 THE CHAC NE. 45 still very close. ‘The latter are referred directly to the Theme, of which they are usually closely related duplications, in all essential respects, See further: ee to ee ) LS, De ee ais e¥ a46 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 3. Par. sr. THE CHACONNE. 748 ‘THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 3p Par. 37. THE CHACONYE, 49 1) The famous “e minor Variations” of Basthoven for pianoforte, Tt ie evident that the clords form the Theme, and that the upper melody, beautiful and fignifcant as it, s an external ausliary, not ecngnieably present in more than halfdozen ofthe 32 variations. Note the bassmelody, also. ny pattern” appears alternately in ascending and descending form (con: trary motion). The bas-part, throughout, conforms to th of the Theme, 0: 3) Note the change in the chori-form; in the Theme it is the dominant-7th of { minor (major), bere the diminished-th. Comp, note *6). 4) The fist variation has no rhythmic break at its cadence, but runs on into £ the next. The sume is tre ofthe second variation, and of several others, : a 5) The sane “pattem” fs used for the second variation (par. 45), but trans os Motive Sl ferred to the “oer hand” (lower register). In varittion No. 3, alo, the sume f° - patter is empleyed, but in both hands. In other words, Variations 2 and 3 are upications of Var. 6) Another change of chord, Comp. note 5) 7) This group of three continuous varlations, with the same patter, i here Drought toa fll stop, and severed from the nest °8) Here thee is an intimation ofthe thematic melody in the iner past. The bass-parecorrejonds to its progressions in the Theme 9) These three St-notes are derived from the thee notes in the seventh meas: ture of the Them>. See the original, and observe the manner in which Var. sends *1o) The patter inthe “let hand” is the sime as that of Var 11) The gaxd-notes inthe pattem are borrowed from the melody of the Theme itself (end of the second measure). Var. 1 is the mate to Var. 40, with the two parts (hands) inverts 12) Here the mode changes, feom minor to major. The melody of the ‘Theme fs plainly indicated, but in smoother thythmie form 13) A complete change of the bass-part, and, consequently, a new chor series, begins here. Sce the orignal, The ass has an ascending chromatic move rent, instead of descending, asin the Them 14) Variations 1 and 14 are both derived fom Var. 12, a8 “duplications” of the latter, The mel, in shite re ng) V 16) Var. ry rotums to minor. TL is an “Tavention with independent bass,’ and has its Motive, derived from the thematic melody Bustuovan, 17) Te Var. 20 the original bass appears as uppermost part. Var. a1 is its gat *18) Here a striking simplification of the Theme appears, in subdued rhythm. “4 44, ~ t da expo), with harmonic figueation in gand-notes, Var. 32 sits mate, or duplication, a another variation, with evaded cadence and extension; and then a Coda of 18 meas- tures, comprising Uhre smaller sect os. See par 8, and pat. 5.$0 THE LARGER FORMS OF MUSICAL COMPOSITION. Pax. 38. 388. The last presentation or variation of the Chaconne is usually extended by the addition of a Codetta or Coda, derived either directly from the pattern of the variation, or from the Theme itself, or from related material ‘The distinction between codetta and co i as follows: The codetta is a single section, —a phrase of four, of two, measutes, duplicated (repeated, usually with some modification), and. sometimes extended at the cadence, The ena, on the ‘other hand, is a group of eodettas, —contains, therefore, more thaw ene section, of decreasing length, as a rule. See par. 554. Examine carefully the last vatation of Beethoven (Ex. 18), in the original; and also the cola of Brahms (Ex. 29). Further illustrations ection Par. 98. THE CHACONNE, su 1) The Chaconne for Solo Violin, from the 4th Sonata, J. $. Bach, The Theme © sentence, as repeated plraze (not Period), of she conventional type. contents are the chords, of which the ‘uppet and lower ins (melody and bass) are rather the index than the cause +2) Note thatthe cadence is everywhere bridged over by maintaining the rhythmic movement, and beginning immediately the patter ofthe following variation. Pro Wision was made fr this atthe outset, by beginning with two "preliminary beats” (before the real frst measure). In Var. r, both the melody and bass of the Theme are closely followed 43) Var 2 isa duplication of Var x with chromatic bass, sure, and in minor. ts actual then$2 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 38 1 melodically embellished duplication ofthe first, instead of a nearly exact repetition, as in the preceding presentations. Tn this change of pattern after four meatures is so radical thit the ‘be reduced to-one of its two (eimilae) phrases; thus, Variations 44) To Var. 5, the socond pr “Theme appear 15, 28,29, $1, 32 and 33, are only out measures long. See the orginal 45) Variations 17 to 26 are in the major mode, Var. 27, and to the end gin 6) The end of the serics consists in a recurrence of the Theme as at the be nat modified, and Ted tha strong tonic he orginal, and note the “pattems,” particularly with reference to their influence upon the rth inning (the customary “da cope”), the last 4 me desig ons, or amplifications, of this Chaconne af for fll orchestra; and an a structive transcrip of Bach are: an arrangement by Joachim mint forthe pianoforte by B. Busont ‘See further: THE CHACONNE. 53THE CHACONNE. 55 5) GoTm | eg tee) 1) ff Seo oneal 1) Te final movement of Brahms? 4th Symphony. The composer has given no name to this movement; it has ben called, by diferent writers, both Passacagla and Chaconne, most frequently the fomier. It appears to posses all the distinctive traits of the Chaconne-form, however. The Theme is an S-mcasure phrase the burden of whichis the melody of the soprano, — and the chords which go with it. ‘The bass part has no thematic importance, excepting when it takes charge ofthis thematic melody (which t frequently, but by no micans constantly, does). ‘There is ‘noteworthy absence of the dominant harmony, in the fist 6 measures; when it pear, in the 7th measure, iti in a rare altered form (with lowered second sale- sep). *2) The “variations” ate not numbered or indicated in any’ way, in th £ ‘They ae mated here merely for convenience. Tn"Var. +” the thematic melody V5 is still in soprano, but an octave lower than before. The chords are retained exactly : a in the Theme, but sbarply enelated on the second beat only | fF 3) The thematic melody descends again one octave, to the tenor. Var. 2 is 8 ‘the only one of the whole series which has a polyphonic character; the ma Seta thre dlatnte nes, and is imitation, are unstable oval SIE a etree eh a Not, yateaaly, the treatment ofthe cadence measures (te the org a F “The tonic cdencetone is always present, but ala divested f is wonton | I Eg ; ‘Comp. *2). => é Tn Var 5, the thematic melody reappears in the soprano; in Var i or the fit time, pinced inthe base iy 5) Va. 5 a duplication of Var. 4 6) Vasithns 6 10 gradually increase the rhythmic pus, though dotted Ath, and 6th to this, ‘Vrs x subses abruptly to a quit shythm of 7) Tn Var, 1, the measure changes to double ts original length, the quarter- otc emaning equal, thus presen the Theme in geoune “augmentation.” "The tle, in soprno, i diwlved Into a cane, 8) With Var 1, the mode is altered from minor to major. The Theme sil pest in augaenttion. 0) The thamatic melody is delicately “pointed” out (lor four mesures) by the cent on the het tone nea the end of the measure ro) Va. 156 8 duplication of 14 (— thematic melody i bass). m1) Here the conventional “ds capo” takes place: the orignal mode and meas te ae resumed le measures. 54 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 38. | Sec I, 8 aes 4) Soe 1 Smaak See TY, 8 ome ig 872 12) Note the unusual manner in which the tonic cadence-note ¢) is harmonized, I fe See ig) Variona ng, , and 36 ate equlvieatto tbe sgnicant “ret to the I beginning,” which constitutes so vital a condition of clear and logical musical struc- tore Vat ise ently exact counterpartof Vans Var a5 slay Te Var 2 Var 6 daly resembles Var Sr) Varatons 228 and 29 are of unusual melodic and bampnie grace. Vat ge extended w expended foor measures, tis end in imprenive preparation fr the Coda $ig) The Coa as usual, seona inform (pas 38 and s38). The int etine Egsgteet sa)56 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 38 {is based upon the first half ofthe thematic melody. At *16) the original sharp is changed to lat, and greatly emphasized, — see the origi 12) Sections TL, IT and IV are cach 8 meacures in length (the extent of the Theme); each consists in the duplication of a gmeasure phrase; and each i based on 8 dimi 118) This is followed by a Veh Section, similar to the TVth; and a inal, VIth Section, of 9 measure, a reiteration of th cadence-chords on" ofthe thematie melody See further: ‘Chopin, Berceuse, op. 57. This would scarcely be called @ typical Chaconne, but it is nevertheless an example of the Chaconne-form. After two introductory measures (announcing the uailomm altemation of tonie and dominant harmonies ‘which culate uninterruptey through the piece —to the Cova), the “Theme,” a foursmeasure melody, i thus stated Andante orn pag tat tite Poa F Divot “This 4-messure phase recurs twelve tines; in some cases the melody may be aistinétly traced, but inthe most of Ue presentations iti the clords (the * rocking” toniedominant) which provide the delightfully omamental lines of the upper stric- ture, After “Var.” 12,4 Cod of 16 measute i added it consists of two Sections the fist Section introduces, forthe ist time, the subdominant chord and key the secon Section i the traditional “da eps,” of divect reference to the original pre= sentation ofthe thematie melody, — extended Brahms, op. 188, No, 5 (Romance for pfte)s the middle Part (2-sharp signa tur). By no means a typical Chaconne, but « member of the same structural family: A measure phrase with five repetitions or variations, based strictly upon the clonds of the thematic phrase, followed by a codetta (as retransition to the Principal Part of the composition) Brahms, op. 119, No.2 (Iatermeazo for pfte.): Similar, but less genuine. This unique designs appnoximately & Group of phrases with *Trio” in strict Three- Part Song-form, But it closely resembles the Chaconne-fore inasmuch as neatly ‘every phease inthe group Its the same thematic contents, se . fis Aiea sll “The thematie melody occurs inthe fist two measures, and is immediately dul cated and extended, ‘These two thematic measures recur at measures 9, 11, 15 (transposed to a minor), 15 (sequence), 18 (ransposed tof minor), 20 Gine minor, a8 at the beginning), 29; and again, in’ measure 36, expanded to four measures, as principal phrase of the “Trio,” in major. thus i bata se zie Joachim Raff, Chaconne in @ minor forthe pte, for four hands, op. 150. The ‘Theme is anrouned after an Inirdution, Tt 8m minor, measure, and fee measures ong. There are first 9 “variations” (not so called in the original) in ‘@ minor ~ the oth one extended two measutes at ie end; then two ia C major, {2 minor (some extended), 2 in 4 major, one each in C major and minor; fi fn e minor; then a ‘da capo" statement, and Coda Erich W. Korngold, the final movement of Sonata, No. t, for the pianoforte: Toene je howe te 99 agi oe _t d 8h eet ese ae Behe Pee \syy the Theme (only) bears these nls and is therefore pny not ofgial vith Rorngol, but its claoriton forms the last movement of Wis Sonata, Te is ot called "Chaconne," but obviowly belongs to that tribe, ‘The ‘Theme f seen mneasures in kngth. Note the soprano, all tones from the 4 manor chord. ‘The principal bas fs the chor-sucestony though the Butine i everywhere more of Tes event; its retain, as bus, daring the fist gor 6 statements then prevent ‘ith varied dications in other parts. ‘There ar, Sm all 13 variaons in minor, (in majors the lst 2.0F jac i minor ‘Tae Cuaconne Tie 39, Tt is not easy to define the qualities of a good (original) working, ‘Theme. The predominant attribute should, however, be simplicity. A natural, unaffected chord-succession, with an attractive melodic upper line, will yield better results than a showy or dramatically im- pressive one can; a Theme that is elaborate in itself will admit of but little further elaboration; the art of variation is to develop unexpected effects not directly patent in the Theme. ‘This is possible, with the exercise of sufficient ingenuity, and with the understanding that very great liberties may (and must) be taken with the Theme, on condition that these Jo not wholly destroy its essential el ments.58 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 4a At the same time, a Theme, while simple as a whole, must contain ‘one or more striking traits which impart a distinct physiognomy to it, and establish a convincing point of contact between it and its variations, In this respect, note the irregular rhythm in meastre 6 of Ex. 18 (Beet- hhoven), and the chromatic bass; and the dissonant Second-dominant chord (II?) on the first accent in Ex. 19 (Bach); the raised 4th scale- step in the sth measure of Ex. 20 (Brahms); and the steiking harmo- nization of a very simple melody, in Ex. 24 ‘This latter trait — peculiar, irregular, abnormal harmonies — it is to shun, in the Theme, for nothing grows so quickly and inevitably wearisome as the regular recurrence of any abnormal feature, Above all things, monotony (in the Theme, or in the rhythmic, me- lodic and harmonic treatment of its variations) must be rigidly guarded against EXERCISE 4, A number of examples of the Chaconneform; major or minor; almost, i aot auite, exclusively in $ measure; with (chilly) $-measure Themes CHAPTER V. THE SMALL (OR SIMPLE) VARIATION-FORM, 40. ‘The distinction between the three grades of the Variation-form (chapters 4, 5 and 0), as shown in the Comparative Table at the head of this Division, is due primarily to the length of the Theme, In the Chaconne, itis usually an 8-measure sentence, or One-Part form. In the Small Variation, usually 16 measures, either as double-period, or ‘Two-Part form; or, possibly, Incipient Three-Part form, In the Large Variation, usually 20 to 24 measures, as Three-Part form, some. times Incomplete. Other distinctions, concerning melody and formal structure, will be pointed out later. AL. This ditference in the extent of the thematic sentence has an obvious, and significant, bearing upon the nature of the task, and, con- sequently, upon the attitude of the student. As the Theme becomes Par. 42, THE SMALL (OR SIMPLE) VARIATION-FORM. 59. longer, the disposition increases to lay greater stress upon the melody or air; to sparate the variations; and to direct more attention to the structural conditions (the “form”), —of each variation, and of the entire series, 42, The Theme of the Small variation-form, as stated in par. 40, is usually x6 measures in length, as double-period,* Two-Part Song-form,t possibly incipient Three-Part form. ‘The double-period is employed in Beethoven's “Righini Variations” (24, in D major); the Two-Part Mendelssohn's “Variations sérieuses” (d minor, op. 54); the Incipient Taree-Part form in the 1st movement of Mozart’ pite. Sonata in A major (Schirmer ed., No. 9). Other dimensions are occasionally found, as, for example, a small Two-Part form (8 measures) in the ‘Theme of Brahms! “Handel Variations” (B-lat major, op. 24). But 16 measures is the normal length. The essential traits are similar to those given in the definition of the Chaconne Theme (par. 39, which review). But the Theme of the varia- tion-form proper usually has a more pronounced Iyric quality; its burden is the melody, or air, to which the chords are added as harmonic accompaniment. And although the earlicr distinctive custom of waiting variations tpon some popular song, opera aria, or other favorite com position, has given way to that of preparing original Themes, the latter are generally far more melodious than harmonic in character. 43. a. In the Small form, with its 16-measure Theme, the varia- tions, being longer than those of the Chaconne, are more independent of each other, and more likely to constitute separate sentences, each complete in itself 4. The variaticns are, as a rule, no longer connected with each ‘ther. Each one receives its full perfect cadence, and is thus brought to a complese close. form Nevertheless, in some instances a few of the traits of the Chaconne still adhere to the Small saration-form: At times, the same “patter,” ofa related one, fs used for wo (not more) successive variations; Ex. 25, notes *3),*),*8). And occasionally f variation may be connected with the following one, —only by “bring” the cadence, shythmically; Mendelssoba, op. 54 (Fx. 35), Var. 1-2, 23, 3-4, 6-7, 9-40, 2-13, 16-17. The variations may become somewhat more independent of their Theme, — not closely related duplicates, as in the Chaconne, but60 THE. LARGER FORMS OF MUSICAL COMPOSITION. Par 44, actual variations, more ingeniously differentiated from the Theme and from each other. ‘They may be said rather to allude, than to refer, to their ‘Theme; hence, greater liberty is exercised in the choice of “pat tern,” and in defining the character of each individual variation, 44, In this smaller grade of the Variation-form proper, the separate variations, as ‘modified repetitions of the Theme,” should exhibit their relation to, and derivation from their Theme with convincing clearne dotherwise, in the abs ble proof of its thematic origin, the variation is, more accurately stated, an “improvisation” upon the Theme, and manifests only a remote or indirect relation to the latter ence of stich recogni C 45, For this reason, it is necessary to define the essential elements ‘of the Theme, and to de maintained between it and its variations, Of these there are four, readily definable and recognizable: ‘The melody of the Theme; ‘The chord-successions (or harmonic body) of the 3. The bass of the Theme; and 4. The general form, or structural outline of the Theme. 46, a. In any case, the frst step is to invent a motive or Pattern for the variation. See par. 3 ‘This is generally a brief figure, of one beat (rare), one-half measure, OF two measures (rarely longer), which appears at the beginning of the variation, and is then conducted through the variation, guided by the melodic and harmonic movements of the Theme, and in more cor less close keeping with the adopted basis of contact (pat. 45) ermine the principal points of contact to be ‘a whole meas Note the artay of pattems ia Exs. 18, 19, 29 and 25; and observe that itis the general mel the style and elfet of the variation ‘The patter is often derived from some feature of the Theme itself, See E note *o) anid note *tt). Also Ex. 25, nate"). and, especially, rhythmic construction of the patter that defines Andante of 3 Sets | a of = Par. 46 =_— =—= THE SMALL (OR SIMPLE) VARTATION-FORM. 61 Var, 2, Poco pi animato Var. 5 Pi animate Tempo det Temg # rat6 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 46. *1) Only & portion of the ‘Theme is given, sufcient to define the conception of citer, The pattern of Vat «might be defined asa “runaing inner pat, with Eeavedto bass, beneath the orginal melody.” Te is adhered to throughout. 2) The “motive” of the pattern, in the lower sta, is derived from the Tast member of the Theme (measures r5 and x6— which se), to the Bassnotes of which it exatly corresponds +3) Vas. 4s the mate to Var. 3; it utilizes the same “moti 4) Varo is the mate to Var. 8 5) A fughetta; se par. 54d of four tones, but 6) The thematic melody in tenor, nealy literal, throughout. 7) Change of mode; melody in tenor. 8) Vat. 17s the mate to Var. 16; itis followed by a long Coda of four Sections (occ pa. gsi). Tn every one ofthese “patterns” the presence of the fs fco melody the Theme (o and g-sharp) i clearly recognized Te is by no means necessary to adhere strietly to the adopted pattern through cout, although this s generally done, The effort to defeat monotony, and the natural exhibition of ingenuity and freedom, wil lead to occasional slight — or even great tne pattern, these, however, seldom affect the rhythm. This feedom St treatment i frequently conspicuous in the vasations of Beethoven, in which, fastea of continuous reiterations of the same patter, often a number of motives {always closely assimilated, particulaely ia respect of thythm) appear, in the suc- ceesive pase, petiods, or Parts of the same variation. alterations of 47. Of the four essential thematic elements enumerated in par. 45 the most important and indicative is the Melody. The more or less constant adherence to the ait or melody is hy far the most natural and Par. 48. THE SMALL (OR SIMPLE) VARTATION-FORM, 63 common method of establishing contact between Theme and Variation And this is the reason why the Theme of a small variation-form should present a more distinctly Iyric appearance (should have a more promi nent melody-line) than that of the Chaconne. 48, (First glance at par. 58) When the melody-tine is thus adopted as the basis of the variation, it may be traced quite, or nearly, literally a, In the same (apper) part Mendelssove, op. 54, Var. 1—THiterally; Var. 2—nearly literally. Such nearly exact geention of the melady of the Theme is very apt to oceut fn the Jest variation, which naturally represents direct restatement and confirmation of the ‘Theme, before its more elaborate variation is undertaken. The succeeding varia tions then diverge more and more widely from the thematic melody — fora time ‘until it seems effective to tetuom and state the melody again in its original form (as ‘aussi da caps, fom time to time). Tn this respect, the above variations of Mendelssoha lop. 54) ave typical 1b. Or the melody may be placed in an inner or lower part — again, cither quite, or neatly, literally; perhaps with different harmonization, and always with new and ingenious patterns. Mendelesoba, op. 54, Var. 13 (very neaey Hteral, i tenor); Var. 14 (nearly itera, in tence, during the frst Part; then more obscured); see Ex. 25, notes *6) and 7) Beethoven, “Russian” variations (12, in A major), Var. 4 (melody in tenor, nearly exact, dring fst and thi Part), Op. 26, 4-flat major pfte. Sonata; Var. 2 (in bass — Liter in inner part — neatly exact) smphonic Ktudes (op. 13), Var. 2 melody in bass, later in inner part. Brabme, op. 0, Var. 1, — melody in bass. Or the successive members of the melody may appear in alter nate parts futons Esl QP ee64 THE LARGER FORMS OP MUSICAL COMPOSITION. Par. 48 The orignal melo not appear in Mendelsso Sce also Mendetssoln, op. 82, Var. 3. Brahms, “Handel Variations,” op. 24, Var. 10; Var. 18 (alterate leit and right hand) are Bere indicated by = ==, which, of course, do the 0 denotes the absence of an original 4. The melody may be elaborately ornamented, or dissolved into a florid cantilena or “aria” (similar to the process sometimes applied to a chorale melody: See the author's Applied Counterpoint, pat, 107) Beethoven, op. 35 (15 variations in E-dat major), Var. 15. Alko his op, 120 (Diabeli” vatitions), Var. 34; and op. 34 (6 variations in F major, Var. #, and ‘the adagio molt in the Coda; also 13 variations in | major (Ditteraor), Var. 13, e. In variations for the organ, especially in so-called Chorale- variations, the thematic melody is likely to be retained as more or less strict cantus firmus, with polyphonic treatment of the accompanying parts. Bach, orzan compositions, Vol. 5 (Peters edition), Second Division (page 60); four sets of Chorale-variations. "The word “partite” is used instead of variations” in Nos. 1 and 2. No. 4 is a seties of canonie variations. The Chorale-theme ap- pears, as contus rma, in vations parts — most frequently in soprano; usualy te tained literally, sometimes m into a Moti ara, Jf. The successive tones of the melody are often presented in de. tached or fragmentary order. This is especially apt to be the case when the chord:-basis is prominent (par. 49), or when the pattern is of a figural character. See also par. 51. For illustration: Par, 48 THE SMALL (OR SIMPLE) VARTATION-FORM. 65 Nov Melody of Theme (Bx 98-1) Var. 4g. Incase the melody of the Theme is chosen as chief line of contact, it goes without saying that the original chord-harmonization, and the bass, may be partly or wholly changed. Comp. pars. 49 and 50. For example:66 THE LARGER FORMS OF MUSICAL COMPOSITION Par. 48 Par. 48 THE SMALL (OR SIMPLE) VARIATION-FORM. o7 are OBR68 THE LARGER FORMS OF MUSICAL COMPOSITION. Pa. 49. *1) The Theme (and its melody) are F-fot major. Tn this voriation, the selody remains ini original place, but iis harmonized in ¢ minor. 2) The bass continues in broken o 43) This note (elt in the Theme) new key. s the only one changed to accommodate the *4) Very similar: ‘The melody of the Theme is in B-lat majors inthis variation it isin g minor pointed by the short gracenote in each best. See the original “Handel” variations, op. 24), 6) The notes of the thematic melody retain their positon on the staf, but Doth the key and the harmony are greatly changed %6) Here the original line is changed, nd then abandoned, 2) The meloly corresponds note for note tothe original, excepting the two in serted tones marked 0, ‘The chord-analysis shows the nidical change in harmony. 49, When the chords are adopted as the principal basis of the vatia- tion, with more or less exact adherence to the harmonic and modulatory ‘movements of the Theme, much liberty may be taken with the original melody-line. It may be vaguely represented by its salient fragments, or it may disappear altogether. This style of variation reverts, in a sense, to the character of the Chaconne-form, Beethoven, op. 35 ( fo. 1), Ware 2,3 4 15, Beethoven, § Variations in P major (Shssmayer), Vat. 1, 4 Beethoven, 10 Variations in B-flat major (Sali) Dut Title trace'of the original melody. Tn uct of the original chords Variations + to 7 all bear far. 5, wholly new melody appears as 50, When the original bass-line of the Theme is adopted, the original melody, and the chord-successions, may be more or less completely transformed. (This style constitutes an allusion to the basso estinato.) In the E-lat major Variations of Beethoven, op. 35 (subsequently utilized in the Finale of his Thinl Symphony), very marked prominence js given to the bass bart. TL is used in four literal presentations, for the Introduction to the entre work, somewhat after the manner of a aso oitinats, but shifted successively, each time an octave higher; in the fist presentation iti alone, in all the characteristic and unlovely rigor of a genuine bassline; in the second presentation one melds part is added; then to, then three; —and upon its ffth presentation the actual telotic Theme ofthe work i erected upon i, fllowed by rs variations, and a Finale ‘See tie original, Ta many of these variations, the bassline (especially the fist fou, ‘nd the ast four —and often more —measices) is persistently present. Tn Varia ions 4, 6 7, 8,10, 11, 12 and 15 {tis less conspicuous, its place being represented by the chords in general; in Var. 14 i is especially significant, being used as uppermost pat during the fist 8 measures. The Finale, with which the set conclies, const of four Sections (see par. 552): The fies is faely strict Fugue whowe subject is derived from the fst 4 oF § measures of the thematic hiss; Section two isa sot of Par. 50. THE SMAL (OR SIMPLE) VARIATION-FoRM. 69 4a capo, or statement of the Theme in very nearly its original form, with modified repetition of the second Part; Seetion three is another complete fand extended) variation, with che melody in bass; Section four (last of measures) is « cndetia, based upon reteraions of the frst tia measures of the melody ‘Very similar, in every exental resect, i op. 5 of Schumann (called Im prompts,” insted of variations, for pte), which see A very unigue application ofthe base-line, as bearer of the variation, is shown ia op. 9 of Brahms ("Schumann variations), Var 2: (Scmmssann) ll — *1) There isa curious transformation of the meter, through which four original measures are expressed in one measure; —consoquently, this whole variation is only six measures long (but then repeated). The bassline is retained! almost literally, throughout, while the orginal melody and harmony are but vaguely intimated, here and there BLN. B. In none of these cases is strict, continuous, adherence to the adopted basis necessary. ‘Thus, one of the three principal guides (melody, chorls, or bassline) may be pursued for a time, and chen abandoned for another, so that the variation may exhibit, in different phrases, different points of contact. ‘The only requisite is, that the connection between the variations and their ‘Theme be plausibly recognizable, in a general way at least; certain single points of contact, suliciently frequent and numerous, should be established; especially those points where the Theme exhibits somewhat characteristic or striking features, In a word, the hearer should obtain a glimpse, here and there at least, of the melody or the original harmony, and of the fairly prominent traits of the Theme, Compare par. 48f.70 ‘THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 2. 52, When the greatest freedom is desired, the variation cuts loose from the usual guides (melody, chords, or bass) and demonstrates its relation to the Theme only by general structural coincidence. This is the case when the form, or the general structural oulline of the Theme is adopted as basis, — see par. 45, condition 4. The Theme is, so to speak, reduced to its skeleton, and this is re-clothed with, at times, wholly new melodie and harmonic material. For example: Par. 52. THE SMALL (OR SIMPLE) VARIATION-FORM, nm Hl 1) The strctural outline of the Theme may be defined as flows A member (one measure), reproduced (by sequence); a third member (to measures), beginning a8 reproduction sequence) of the preceding, and leading to a semicadence in the 4th measure. "Then a member caresponding to the fist one (as repetition), reproduced (by sequence); a thied member leading to a perfect cadence fn the Sth measure, 2) The structural outline of the Variation is dened as fallows: A member (one measure), reproduced (by repetition); a hint member (two measures) begiming as reproduction (repetition) of the preceding, and leading to 2 semicadence in the 4th messure, Then & member corresponding to the fst one (as sequence), epreduced (by repetition); a third member leading to a perfect cadence fn the Sth measure, ‘Upon carefel comparison, the student will persive that the two structural ot Jines are Klenticl, But “repetition” is substituted for “sequence” in three places, and “sequence” for “repetition” in one place, —thus arriving at a wholly new re sult, from precisely the same scheme of repraduced members. ‘The cadences occupy the'same points, but the second (perfect) one is merely in a diferent key. ‘The “glimpses” ofthe thematic melody are revealed at the letters A and B. Analyze the remaining half of this Var, (Mendelseoha, op. 54); and also the following Var. (No.9). I willbe observed that Var. gis heenty measures long, ~ increased fom te original number (sixteen) by repeating the last phrase. Se pat. 53 ‘The “structaral outline” of a Theme is defined by its length (number of meas ture), is form, she number and harmonic character offs cadences, the presence of repetitions or sequences, and of characteristic traits of melodic progression, All these traits may be preserved in the variation, but so diferently interpreted as to form a wholly new picture. For instance, by’ an unimportant alteration ofan important trait retaining the loation of the cadence, but chasing their harmony or keys substituting “sejuence” for “repetition,” and vice versa; substituting “ascending” for “descending” sequence; and so forth.72 ‘THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 53. 453. The rule for the variation-form, during the classic period, was that the form of the Theme should undergo no change; that is, that ‘ach variation should contain the same number of measures as the Theme (excepting the final one, to which a Codetta or Coda might — or should — be added) This rule is not considered binding, in the more modern era. But itis characteristic of the Smaller variation-forms that no essential alter- ations ofthe design of the Theme are permissible. The wnessomal, and therefore permissible, extensions, are those which result from the simple repetition of a phrase, oF of a phrase-member, — naturally with modi- fication; oF from the process known as Expansion (prolonging a single prominent melody-tone or chord; see Homophonic Forms, par. 260). Mondelssoba, op. 54 (Fs. 50); Variations 1 to 8 ate all 16 measures long, like the Theme; Var. 9, a8 already pointed out, is 20 measures long, because ofthe rep- tition (an octave higher) of the fourth g-measute phrases Var. x5, similarly, has = repetition (an octave lower) of the fourth pliase; Vaz. 10 is extended, at the end, to 18 measures In Beethoven, op. 34 (F/ major) there is an Expansion, as “cadenza,” in the sth measure from the end Beathoven, 8 variations in F major (“SUssmayer"); the Theme (with its rep- stitions) contains 24 measures; Var. 7 contains 28 — measures 19-20 of the Theme being extended, by reiteration, t 6 measure, Beethoven, 24 variations in D major (*Righii"); in Var. 23 each of the two Smeasure Periods i repeated, with elaborate modiication More vital transformations of the thematic d Larger vatiation-form, are shown in par. 63 ign, peculiar to the 54, Besides these specific details, there are certain alterations of a general character which may affect some of the vatiations as a whole, ‘These are 4. The change of mode, — referred to in par. 37, and encountered already in the Chaconne (Ex. 18, Variations 12 to 16), See Bx. 25, Var 14 Beethoven, op. 130 (“Diabell"); the Theme is ia C majors Variations 9, 9, 439, sr atein ¢ minor. 4b. The change of Rey ‘This more significant alteration is usually limited, in the Smaller form, to mext-rdlated keys, or to the so-called Mediant keys, which, though remote, exhibit peculiarly vital ties of relationship. Par 54. THE SMALL (OR SIMPLE) VARIATION-FORM. 73 See Es. 28, No. 15 Vat. 6 isin the relative minor key. Ex. 8, No. 23 Var. 28 fs in the relative minor key. Ex. 28, No. g; Var. 5 is in the toniermediant key (f, tonic=modiant, thint step of D-lat major. Brahms, op. 9 (“Schumann” variations); the Theme, and variations 1 t0 8, are in fsharp minor; Var. 9 isin & minor (the subdominant); Var. 10 in D major (sabdominant-elative); ‘Var. 14 in G major (remote), ending in fsharp minors Var, a5 in Gefat major (~ P-shagp, change of mode); Var. 36 in Fsharp major Tachaikowsky, op. 19, No. 6 (Ex. 52, No. 1); the Theme, and variations 4 t0 4 ate in F majar; Var ein D lat major (the tonie-mediant key); Var. 6, F major; Var. 7, in the Phrygian mode on (eclesiastie); Var. § in d minor (the lative key); Vat. in Bflat major (the subdominant); Var x0 jn f minor (the change of rode); Variations #4 and 12 again in P major. In Beethoven, op. 34,4 singular systematic change of key occurs, in descending thins from variation to variation, The Theme is in F major; Var. x in D major {mediant = dominant); Var. 2 in Belat major (tonie = median, withthe preced ing key); Var. ia G major (mediant = dominant); Var. 4 in E-lat major (Conie = rediant); Var. in ¢ minor (mediant ~ donsinant); this keynote, cf the dominant. of the original key, Fy being in the minor form, an Interlude follows (pr 4), luring which the trad changes (ots major form and becomes the true dominant of BB Var. 6, and the Coda, are then sgain in P major. Such extreme changes of key ‘are more likely to occur in the Larger form. ¢. The change of meter (time-signature). ‘echaikowiky, op. 15, No. 6; the Theme, and vations «and 2, ate in B mesure; Vat. 3s in measure; Var. 4 in measure (E51, Noa) Var 85 Var. Gin 8; Var 7 in 8; Var. 8 in $5 Var. o in Qi Var. voin $s Var. 11 in Bs Var and Coda, agsin ia Smeasure, Te is unusual to change the measure fn this man net in almost every vatiation. In Mendelssohn, op. in Beethoven, op. 35, there is but one change from measure —in Var. 25, to 8 there is no change at als 4d. The acoption of some conventional type or style of composition for one or another of the variations. ‘Thus, a variation may assume the character of a March, Minuet, Waltz, Mazurka, Gavotte, Aria (par, 48d), Invention, Fughetta, Canon, or any other type, — with corresponding change of time-signature (par. 540). wen, op. 353 Var. 7 isa Canon in the octave (compare Ex. 16, note *6)) Als his op. 120 ("Diabell” variations); Var. visa Marehs Var. 19, canonie; also Var, 29; Var. 2248 pattemod ater Lepord 2 in Moraes “Don Giovanai; Var, 24 isa Fughetta; Var, 30, an Invention; Var. 31, n Ava; Var. 32, Fugue, Best Bratims, op. 9 (“Schumann variations); Var. § a Canon fn the octaves Var, 14.4 Canon inthe second Var. 15 4 Canon in the thie; Var. roa'*Quodibet”; Var. gis patterzed afters composition of Schumann (Irom his op. 0).74 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 54: ‘Techaikowaky, op. 19, No. 6; Var. 9 is a Mazurke (Ex. 38, No.1). Arensky, Suite (Variations) for evo pi Marche triomphale, Menuct, Gavotte, Shetzo 305, op. 33: Théme, Dialogue, Vale, ‘Marche fundbre, Noctumme, Polonaise ¢. Transformations of the rhythm. ‘This extremely effective process is applied to the first melodic member of the Theme (at least, — sometimes carried on consistently through the entire Theme), and consists in so shifting the tones in the ‘measure that the accented and unaccented points are exchanged, or otherwise modified. For example pif@ope et Stripe Var No.5. Hirst mel member (pees 6 So gat mel mene 1) gilt Par. sq. THE SMALL (OR SIMPLE) VARIATION-FORM. 3 Var. 2, (Teno +1) Prom Tachatkowsky's Trio in a minor, op. 5a (last movement). To this class of rhythmic modifications belongs also the augmen- {ation of the Theme, whereby one measure of the latter is so expanded 1s to cover two, or more, in the variation, See Fx. 31,No. 2 (Liadow, Var. 7). Also Glazounow, op. 72, Var. 8 (double- augmentation) and others. OF similar nature ie Ex. 20 (Brahms), Var. 22. The Tess common diminution i sen in Ex. 29. Jf The diublecariation. In this rare species of the form, two strongly contrasted patterns are alternately applied, usually to the ‘complete repetition of each phrase or Part. Beethoven, 24 Vatiation in D major (*Righini"” Theme); Vas. x4 Beethoven, Sonata, op. top, tied movement, Var. 2 g. In rare cases, an Interlude is inserted, as transitional passage, between two variations. Comp. par. 65. Beethoven, op. 34, between Variations 5 and 676 ‘THE LARGER FORMS OF MUSICAL COMPOSITION. Ps ss. 55. The entire series of variations is almost invariably rounded off (as in all the larger designs) with an addition at the end, in the nature of a Coda. This final extension may assume three different dimen- heme itself, or of the entire composition; and partly in keeping with the character of the last variation, and the general necessity of instituting good balance, and effecting an adequate ending. Thus: sions; partly according to the extent of the 4. The addition may be limited to a brief Codelta, of one section, with the customary repetition, or duplication, and extension, — at tached to the last variation, (See the author's Homophonic Forms, par, 5%.) Atypical illustration of the “Codetta'”is seen at the end of Ex. 34. Boothoven, 6 Variations in F ("Schweiseried”); the last two full measures, Also, 6 Variations in G (original Theme); last r4 measures (called “Coda” in the orginal, but belongs to the Codeta cass, eeause ft consists of one section only, — two measures, repeated 3 times, and further extended by § or 6 repetitions of the sdence-chords), b. Or the addition may be a complete Coda. (Homophon par. 08.) ‘The desi Forms, of a Coda is invariably sec fonal. That is, it consists he character and extent of which can be determined only by the composer's judgment and sense of pro- portion. ‘The Coda is therefore an essentially indefinite and formless son, forms an important contrasting clement in the otherwise logical and systematic structure; and, in dismissing the constraint of definite structural arrangement, it affords the writer full freedom to exercise his imagination, and create an elfec- tive climax, ‘of a number of successive “ Sections, factor, which, for precisely this re ‘The term “Section” is here applied to any epi iudfinite form, — in dix tinction to the terms Phrase, Peviod, Part, ete, whose structural conditions are more of les accurately fixed. "Tis use in the analysis of the Fugue, Thvention, Fan tasia, and a few author's Applied Counterpoint ‘The number of seetions is optional ‘The length of a section is optional. The final ones aze apt to de- crease in estent, and the very last one is practically identical with a Contetta ‘The contents of each section are optional, though it is natural that each should refer more or less direetly to the various members of the Theme, particularly to the first melodie member. A section may constitute an additional variation (perhaps extended — perhaps ab- breviated), in which some new pattern is utilized. may occur in Par.g5. THE SMALL (OR SIMPLE) VARIATION-PORM. ” several successive sections, as incomplete variations. It is not unusual to devote one section of the Coda toa re-statement of the Theme, or of its first phrases, as traditional da capo. ‘Schubert, Inprompt, op See alu, Besthovea, op. 33) oP. 35) and the 55 variations fa ¢ minor, ‘The Cad in each ofthese cots contain addtional complete variations 142, No. 5, Bat It is also possible to introduce new material (though not wholly’ irrelevant) in one or more of the sections. ‘The sections may be separated from each other by fairly complete cadences, or —as is more common — each may be carried over unin- terruptedly into the following one. ‘The beginning of a new section, ease of such unbroken transition, is shown by a positive change of rhythm, or of pattern. [A section is frequently duplicated, in sequence. Ina general sense, the Coda (and also the ale” isa free, fan- tasia-like, manipulation of salient fragments of the Theme, thus differ- ing from the variations, in which the whole theme is present.78 THE LARGER FORMS OP MUSICAL COMPOSITION. Par. 55 Par.gs. THE SMALL (OR SIMPLE) VARIATION-FORM. 79 See, 5 (8 mes) See. $_(G mesure) Berrnovr. ee gon fa fl te to end ll 1) A Russian dance, The Theme, 19 measures long, is Incipient Three-Part The Cod is attached to the r2th (last) variation, Tt will be observed that cach of its seven Sections wtilizes the first melodie member of the ‘Theme, Section t isa three-voice Invention, in double-counterpoint. *3) Scction Sis the fil “Codetta": ‘The two measures ere shown, duplicated and extended Se also: Beethoven, 24 Variations in D major (“Righini"). ‘The Coda, which is attached to the last variation, begins with a section of § measures, consisting of new (but related) melodic member; it is repeated and extended, and doses with a ‘complete tone eidence, of intentionally humorous character. Section two, based Upon the fist phase of the Theme, i$ measures long; then repeated and skilfully spun out (so measures). Section three (allegr) grote out of the end of tis, and fs 16 measures long, wth a strong dominant semicadence. Section four (presto astai) 48 measures long, tothe end, is based upon the frst period of the Theme, and humor- ‘ously drawn out in four suceesive augmentatons ra) Rubinstein, ¢ minor pfte. Sonata, op. 20, second movement. The Coda, at tached to the 4th Var. (which as an evaded cadence), enasists of thee bref setions, cach of which reviews the patter of foregoing variations; then a fourth section of 11 menses, to the end Lisdow, op. st (Ex. 32, No.2), has a Coda, attached to the last variation, com- sisting of 1 section based upon the frst melodic member (8 measures, duplicated and spun out, 20 measures); and a second section, with sighdy differeat treatment of the same member, 11 measures, tothe ead Mendelssohn, op. 54. The Coda follows the 17th Var its fist section is based ‘upon the lat phrise of Var. x6 (2 measures, very briliant); setion two is « patil do capo, —the fist Part of the Theme, extended (24 measures, sith strong dom: rant semicadenes; section three (presto), 21 measures long, fs partial variation; section four (22 measures) is a partial duplication of section three; section five, similar i § measures long; section sx, its duplication and extension, comprises 20 measures, tothe end. ¢, The “Finale” is wholly independent of the last variation, and therefore constitutes a separate movement, by itself. In design, it ‘corresponds to the Coda, being sectional in form. But it is somewhat80 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 5s. characteristic of a Finale, that its first section is polyphonic, assuming the appearance of a fugue-esposition, or of an extended, genuine fugue, of two or more fugato sections. For this a subject is naturally chosen that is derived dizectly from the initial phrase of the Theme, Beethoven, op. 35 (Ex. 28, No. 1), Finale, ‘The first section is ani ingenious Fugue, whose subject represents th notes to which the whole Finale is described) a lengthy, eof the Theme (see pir. 5, in the Brahms, op. 56 (orchestral vasiations on a Theme of Haydn). The Finale is the basco oninalo given in Ex. 9; dissolved into a Coda Or the entire Finale is a Concert-fugue, — sectional, of course Brahms, op. 24 (*Handel” variations, Finale Or some later section of the Finale may develop into a fugato B. Rudorl, Variati extremely ingenious work. ‘The Finale con for orchestra, op. 2$ (Ex. 5%) No. 5), Finale, A masterly, 3 chiely in a series of fragmentary Otherwise, of in addition to these polyphonic sections, the Finale is similar in character to the Coda, and is subject to the same conditions. ‘The.impression conveyed is, as stated, that of fragmentary manipula. tion, with a view to brilliancy and an effective climax. ‘The student should make a thorough study of as many of the fol- lowing Variation-forms as he can procure, and of any others which he may encounter (— first glance at pars. 63 and 66): ‘Mozart, pite. Sonata, No.9 (Schirmer edition), frst movement Mozart, pte, Sonata, No. 15, last movement Beethoven, 12 Variation in A (“Rossin Ex. Beethoven, 24 Variations in D (*Righini”), Beethoven, op. 35 (Ex. 28, No. 1). And other Variations of Basthoven, easily recognizable as Staler form, Andante Beethoven, pte. Sonata, op. 54, Beethoven, pte. Sonata, op. 109, nda Beethoven, pite. Sonata, op. 57, Andante, Beethoven, pfte. Sonata, op. rt, second movement Gn some respects Langer fora Beethoven, Fantasia, op. 77, Allegri, Beethoven, Sonata for pte. and violin, op. 12, No, 1, second movement. Par. 5 THE SMALL (OR SIMPLE) VARIATION-FORM. 8r Beethoven, Sinata for pte. and violin, op. 30, No. 1, third movement. Beethoven, Beethoven, plte. Trio, op. 1, No. g, second movement ata for pfte, and violin, op. 96, last movement Beethoven, plte, Trio, op. 11 lst movement. Beethoven, Sting quartet, op. 18, No.3, second movement ‘Schubert, Inprompts, op. 142, No. 3, Bat Mendelssoha, Sonata for pfte. and "ello, op. 17 Mendelssoba, V ations for pianoforte, op. 54 (BS. $0). Brahms, plte. Sonata, op. 1, Andante Brabm Brahms, pte, Var, op. 24 (°Handel"; Ex. 28, No. 2) pifte Sonata, op. 2, Andowte. Brahms, Strg-sextet, op. 18, Andante, Brahms, String sextet, op. 36, Adosio. Brahms, String quartet, No. 5, op. 67, st movement, Brahms, pte. Var, op. 21) No. Brahms, pfte. Var, op. 21, No. 2 (quasi Chaconne form). Schuman, Impromptus, op 5 Karl Nawratil, pte Var, op. 7. ‘achaikowsty, pte. Var, op. 19, No. 6 (Bs. 31, No.2). Paderewski, Var and Fugue, op. 1 (comprising some traits ofthe Langer form). Paderewskt, op. 16, No. 5 (ditt). EXERCISE 5. [A number of examples of the Theme with variations in the Small or Simple form, with Codeta, Cola, or Finale, ‘The stulent may select a Theme from any fnurce (hut See par 40); of may invent original Themes. The following Theme is submitted for manipulation:82 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 56. pte ee] f a CHAPTER VL. THE LARGE (OR HIGHER) VARIATION-FORM. 56, The distinction between the Small and Large grades of the variation-form is defined primarily by the length of the Theme, which, in the higher grade, is usually the Three-Part Song-form (Beethoven, op. 34),— sometimes Incomplete (Mendelssohn, op. $2, and op. 83). Comp. par. 40, and see the Comparative Table at the head of this Division, 57, But the two grades are differentiated in a much more vital respect, and this concerns the whole artistic aspect and the consequent treatment, which is more creative than imitative, and more elaborate 58, The mass of directions in the preceding chapter, which might be feared to hamper and stultify the student's original conception, were given in systematic detail because these constitute the technical basis of the problem of variation; and this must be mastered before it is wise to break loose from the lines of the Theme, and venture to develop it with freedom. Par. 59. THE LARGE (OR HIGHER) VARIATION-FORM. 83 59, But in the higher grade, the student gives free rein to his imagi- nation, and evolves more independent results from his Theme. In this grade, the variations are more properly Elaborations than mere modified duplications of the Theme. Hence itis that, while a longer ‘Theme is usually chosen, as affording 4 wider field of operation, it is nevertheless possible to develop an im- posing work, decidedly “large” in spirit, from a comparatively brief ‘Theme. Two conspicuous examples of this are the variations by Gtazounow, op. 72, on a Russian melody of only seven measures (Ex. 435); and those by Rachmaninow, op. 22, on the c minor Prelude of Chopin, which is a period of 8 measures, 60. «. The leading purpose in the smaller grade is technical man- ipulation, — “variation,” with fairly direct reference to the Theme. In the larger grade the leading purpose is imaginative and creative manipulation, “elaboration,” with only general allusion to. the ‘Theme. The variation is not the prime object, but becomes the means 40 am eminend ertistic end. 4, Tt must be understood, however, thut not every variation assumes broadet proportions; thefirst few variations are always more directly related to the Theme, and the impulse of freedom grows as the form advances. In this respect the varia” ns of Glazounow (op. 72) ate typical and highly effective 61. Such a creative process cannot always be carried on, with the necessary freefom, within the exact limits of the Theme. ‘The con- fines of the latter must be broken through, its lines broadened, its scope widened, to make room for the unrestricted exercise of imagination, and to provide increased opportunity for {ree development. This manipulation and expansion of the structural design of the ‘Theme may be conducted in two ways: 1. So as to secure unessential extensions of the Theme, by mere repetitions, or Expansions, which do not alter the form; and 2, So.as tocffect more or less complete transformation of the design. 62. a. The first class, unessential extensions, may be applied in both the smaller and larger grades of the variation-form, ‘Their opera- tion in the smaller grade is explained in par. 53, wl 8, The second class, transformation of the design (always as en- largement), involves a number of independent additions to the original members of the Theme, which may all be classed under the head of Insertions. 63, There are three kinds of independent insertions, as follows:84 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 63. 4, The insertion of a Codetta, possible at any important (tonic) cadence in the course of the variation; and, of course, even more plau- sible at the end of the variation, “This is always feasible, because a Codetta is defined a “‘an extension at the cadence,” — not ofthe cadence itsel, but slicently independent of it to constits fairly distinct member of the design ane of the design, especial and this may’ be applied to any tonic to any one which terminates a “Part (or (Sce Homophonic Forms, par. 8 and, particulary, 98) For illustration: Do ytt es aoe Gree paleo egal 45) ~ erin Par. 63. THE LARGE (OR HIGHER) VARIATION-FORM. 8586 ‘THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 6s, 1) This variation isa transposed presentation of the Theme from Aflt major to te relative minoe 2) This Insertion of four measures is practically an Expansion of the cadence: chord (chord of ¢— first as tonie of ¢ minor, and Inter, sith natural, as dominant ‘of f minor); but itis so distinct in style as to become a independent “Codetta.” *3) The second Period is exactly similar to the Sst Petio, excepting that its CConsequent phase is shifted a 4th higher, precisely as in the Theme, %4) Here the Insertion is a genuine qmessure Covet, with the customary duplication and extension, See the orignal }, The insertion of a Duplication; — either as complete sequence of a phrase (or other member of the form); or as reproduction (quasi repetition) of a phrase, with a different ending (cadence). Such reproductions, contradicting the principle of mere “repetition,” as they do, constitute actual alterations of the form, and therefore contsibute to its enlargement The Sequence” ie shown in Ex. 35, note *3) ‘The “Duplication” (with new cadence) occurs in Var. 1 of the same work (Glazounow) : The first Phrase, corresponding to the ftst half of the Theme (lex. 35), is 8 measures long, because two ofits measures represent one measure of the Theme; it begins in Fsharp majoe, and ealences on ve dominant; the Phrase is ostensibly a “repetition” of this —~ but prove cadences om the tonic of major. ) See pr. , The insertion of an entire Part. This is the most significant method, as it results in complete transformation of the design, This is best illustrated by 4 diagram, — applied to the simple Period-form: Given a period, a5 follows, in paral! construction (the Consequent phrase be- sinning, atleast, with the same melodic member as the Antccedent past) Ant. Phe, Conse. Phe. 1 the two phrases are drawn apart, thas Ant, Ph. Con, Phe cad, far enough to admit of a genuine Insertion as actual Departure, ot Second Par, the CConsequent phrase becomes a Third Port, with its evidence of a “Return to the be- aning” (being parallel with is Antecedent), and the simple Period-design has been ransformed into a Three-Patt Songform. The Antecedent phrase can easly be ex- teavded tothe dimension ofan adequate First Part, by the means indicated in pat. 692 (above). Thus: Par 63. THE LARGE (OR HIGHER) VARIATION-FORM. 87 Part I, Part 1 ratttas [Vt Tnsertion (same pattern) “Though a digression, or “departure,” iti obvious that this inserted Second Part — in common with all Insertions — must consist of strictly related, homogeneous material. Te wil, at least, always utilize the sme, ora very sila, pattern For illustration of all three of the above classes of Insertion: Thame, Andante ip Amtecdent Phase (eee; | ——— q var.7. Alegre op pe bee? me tt PE pati fete tH te tte tee pep te yee Se]88 THE. LARGER FORMS OF ovecton (4 meas) ‘quent phrase be "2) AC this point the second mea hence the abbreviation to sven mea like the Antecedent MUSICAL COMPOSITION. Pat. 63. ) The construction of the Theme (Period-form) is parallel; that ithe Conse- of the (Antecodent) phrase is omitted — Tn every variation this wanting measure Par. 63. THE LARGE (OR HIGHER) VARIATION-FORM, 8 3) The Tnertion isa sequential duplication of the frst phase (pr. 638) *4) This ealence, for emphasis, ill an extra, fifth, measure 5) The Incertion is equivalent to a complete Seoond Part (par. 630), which, though a new member of the design, is developed out of the pattern of the Fist Prt, and alluds (inthe uppermost part) tothe frst member ofthe thematic mel. %6) The “tetwen to the beginnin phrase of the Theme (comp, note"). comesponding here to the Consequent ") This isthe inserted measure, referred to in note "2 8) The Codetta is buile upon the prevaling pattem, and eoincies with Part 1 This work of Glazounow will repay thorough analysis; the student should endeavor to vetly the following traits Vas. 1s practically a restatement of the Theme, with full harmony, and “eorected” to8 measuees. Var. 2, similar (melody exact). Var. 5, similar, — extended at the end to.g measures, Variations ¢, sand 9 (each 8 measures) abandon the direct line of thematic melory, but refer osly to Vac. 7 is the “transformed” desig, shown in Es. 35. Var 8 is. curious double augmentation Cour measures equal to one of the Theme); the melody iy traceable as described in par. 43f; a Codeta, with duplication and extension i added (last 4 measures). Vae- 9 (1-amajs) i ip pPart Song-forme, Part 1 hs the 8 aneacue of the Theme, but with “false” cadence —in F major; Part 11 is an Insertion, based ‘on the prevalent pattern; Part HIT isa partial recurrence of Part I, but tansposed, and extended by a brief Codetta, and an Expansion. Vat 1 eso transformed into 3 Part Song form: Part Lis the &-measure Theme, with correct eadence — a complete Variation; Part IT isan Insertion, based on the second member ofthe Ant. Phrase (presented four times in sequence); Part THT is like Part J, but “Incomplete consisting ofthe Conseq. Phrase only; a Codetta is added. Var. rx (sharp major) is ako sart Scng-form Part I (16 measures — to measures to one of the Theme) fs, ike Var. 9, the Theme with “false” cadence —in major; Part T i based on ‘the prevailing pattern; Part TIT like Part T, but “Incomplcte,” also stating the Consoq. Phrase only; 1 Codetta with duplication and extension, is added. Var. 12 is 9 sort of Fantasia (cectional form), np of (lor) Parts; the ‘whole variation ia ung combination of the dist and steond mciers of the Ant approximating 4 Gi Phrase (measures 1-2, 34) —the later membor everywhere in " Dinination”; a ie wded. Var. 13 is 4 Group of (Uhre) Phrases: Phe. 1, the Ante (representing the Consequent);Phr. 3, another Sequence, ily extender; a Codetta isadded, the duplication of which is the Conseq. Phrase mplete. Var. 14 —an exquisite example of ereative evolution — is also 8 5-Part bret C ecient Phr. 3,4 Sequen Lis the Theme comple Counter-melody" in the soprano; Part Il, an Insertion, i the sequential develop rent of thie Counter melody; Part TT ie lite recurrence of Patt T; three biel Cvdettas are added. ‘The following number isa genuine Finale (named, ceroncously, Var. 35,” —ctmp. par. 55), See also: Liadow, op. st (Es. 34). Tn Var. the form of the Theme is un- changed. In Vat, 2 is extended by unessential repetitions, Var. 3 is extended: by an Introduction of two measuses (see par. 65-2); and by the Tnsertion of an additional 2-messure member (duplicated) at the end of Phe. 2—and Pr. 4. Tn Var. 4, the fora is enlarged by the insertion of a Cadetta at the end of Ph 290 THE LARGER FORMS OF MUSICAL COMPOSITION. Pet. 64 and Phr. 4, and an additional brief Codetta at the end In Var § the form is un changed. Tn Var. 6 (a partial Canon) the form is enlarged by extensions, and Co- ddttas (as in Var. 4 and Var. 8). Var. 7 contains an inserted Covetta at the end ‘of Phrase 2; this Codetta is duplicated and extended; the corresponding Codetta appears at the end of the 4th Phrase, duplicated, and extended the extension it * 5) into a “Transition” into the next variation (see par. 65-4). Ex. 34. Var. is extended by the simple (exact) repetition of the second Period. Var. to is enlarged by an independent Introduction, and by extensions and Codettass and to this Var. is added the Coda: Section 1, eight measures is based on the frst melodic member; itis duplicated and grealy ex tended; Section 2, similar, covers the last 11 measures. disolved” (we par, Var. 8 illastrate 64. In the higher form of the variation, where such transformations of the design are undertaken, it is almost obligatory to adopt, and adhere to, the melody-line of the Theme (in a certain sense as if it were a Fugue-subject), as this is the only line of contact which will demon- strate with sufficient clearness the F uasi distorted) varia tion to its Theme, ation of the ( 65, Besides the Insertions, described in par. 63, which enter into the very grain of the Theme, and develop it from within, there ‘other * extraneous — additions, which may be attached 'to certain variations, or to the whole series, namely 1, An independent Introduction to the entiee work, Beethoven, op. 35 A brief Introduction to any single variation, Liadow, op. 51, Var. 5 and Var, so 3+ An Interlude between toro successive variations (par. 54g). ext 4. A Transition from one variation into the Liadow, op. 51, Vat. 7 into Var & s- And the usual Coda or Finale — which is almost indispensable. ‘The directions for these are given in par. 556 and c. 66. Earnest thought should be directed to the series of variations asawwhole. It is advisable to compose a number of variations (possibly a much larger number than will be needed), as the moods come, and then to select from this number (rejecting in cold blood the less effective or obviously superfluous ones) those that will constitute an effective dramatic succession, with a view to good contrasts, and to the proper number and degree of climaxes. As already stated (par. 608), the first ew variations are simpler than the later ones, and refer more directly Par. 66, THE LARGE (OR IGHER) VARTATION-PoRM. or to the Thems, ‘The changes of Key, rhythm, and fempo, constitute the chief means of obtaining variety and progressively accumulating interest Here, again, the student is advised to make a conscientious study of the following variation-forms, in all of which the traits of the Larger or Higher grace are present Haayda, pite variations in f minor (unusually vith Teo") Beethoven, Sonata for pte. and violin, op. 47 (“Kreutzer”), second movement. ~ Pite, Sonata, op. 26, frst movement. —Pite. variations in F major, op. 34. Plte. var. in C ajar, op. 120 (*Diahll”) Schubert, pte, Sonata, No. 1, Andante, Brahms, op.o (“Schumann”). "This set has no Cov mg Theme, inthe form ofa “Song Brahms, orchestra variations, op. 6 (*Haytla”); see Ex. 9, which is the Finale Brahms, plc. Ti in C major, op. 87, Andante, Brahms, pite var, 4 hands, op. 23 ("Schu 0") Mendelssobs, pe. var, op. 83, and op. 8, Chopta, pte. war, op. #2. (Chopin, Conert-variations, pe. and orchestra, op. + (“Don Juan") ‘Sebumana, pie. Sonata, op. 14, thind movement, ‘Schumana, pte. var. op # (Abege”) ‘Schumann, Symphonic Etudes, pit.,op. 13. The remote reference to the Theme, in some of the numbers, induced Schumann to substitute the term Etude for Va Schumann, Ver. fortwo pianos, op 46 Mrs. HH. A, Beach, “Balkan” variations, op 60 Dro, pite, var, op. 36. Areasky, Suite (Var) for two pianos, 0p. 35 César Franck, Symphonic var. for plte. and orchestra in fsharp minor work of road deiign and most mastery execution, ‘Karl Navratil, pite var BA. Schiltt,pfte. var, op. 62.-—~ Abs op. a9 (Vat, and Fugato), Grieg, Ballade for pte, op. 24 Liadow, op. 31 (Ex. 34) Gtazounow, op. 72 (Ex. 39) Rachmaninow, op. 2+ (Chopin-Préie, ¢ minor).92 ‘THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 6». Paderewsk, eat minor, op. 25 (Fugue-Finale) Saint-Saéns, Var. for two pianos, op. 35 (*Beethove D. G. Mason, Hlegy in fce var-form, op. 2 E.R, Krooger, nite. var Radort, Var. for orchestra, op. 24 (Bx. 3, NO 3). EXERCISE 6. A, An example of the Larger variation form, with Coda of Finale, upon a Theme in s:Part Somg-lorm, without B. An exam and enlargement to j-Part form) in some of the ater variations; and with Coda or Finale C. Several examples upon a brie Theme (aot lee than Period, or Doubl period, — preferably ia parallel construction), with Tasertions that effect comple transformation of the os; and ‘with Cada of Finale ial change of form, le upon a Theme in 2-Part Songeiorm, with Insertions (Codetas, DIVISION TWO. THE RONDO-FORMS. Ixrropvertoy. 67, ‘The constructive Basis of the several forms of musieal composi- tion may be classiied as follows: 4a, That of the Phrase is the melodic figu by the chord-successions, 2, That of all Homophonic Forms (Period, Double-period, Two- and Three-Part Song-forms, with or without * ¢. That of the Invention, and other smaller the Motise (or Phrase-member), 4. That of the Fugue is the Subject, or complete melodie phrase ¢. That of the Canon is the continuous melodic Leader. ith is the The "of member, borne out io”) is the Phrase wphonic forms, is at of the Variation, and all other Larger forms (Rondo, Sonata), or complete musical sentence Par. 68. THE RONDO-FORMS. 93 68. A “Theme,” as shown ia the variation-forms, is an independent ‘musical sentence, distinctive in style and character, and usually complete {nits stractural design. Therefore its smallest dimension will naturally be a Period-orm — eight ordinary measures — consisting of to Phrases which balance and complement each other, and. therefore enclose definite and sufficient contents. But itis mote likely, especially in broader designs, to be more than a single Period, and is perhaps most commonly a full Song for three Parts, — though rarely, if ever, longer than the latter, except- ing when extended by unessential repetitions. ‘A Theme may be of any melodic, harmonic, or th but its niessage must be clearly expressed, and must be sign for only such are available for effective development. form, of two Comp, par. 395 but note that the definitions there given refer to Theme des signed for cordon, The Thenie of « Kondo of Sonata should be more vitally in Gividualized; mot only for its own sake, as standard-bearer of the composition, but flo in onder to invite logical manipulation and development, See par. 69. In al of the Larger Forms (beyond the Variation-form) there are at least too Themes; each one distinct in character, and well con- trasted with the other, and frequently (though not always) complete in its design. Of these, the one which first appears is called the Principal Theme, and the other, or others, Subordinate 70, The structural principle underlying all Rondo designs is that of Alternatioa, — the alternation of a Principal 1 more Suborcinate Themes. ‘The extent of the design depends upon the number of times that a digression fom the Principal Theme occurs. Tn the First Rondo form there is one digression (or, one Subordinate ‘Theme), and, consequently, one return to, and recurrence of, the Prin- cipal Theme, — that is, one complete alternation of the two Them Tn the Swond Rondo form there are two digressions (or, two Subor- dinate Themes), and two returns In the Third Rondo form there are three digressions and (usually) three returns,94 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 7% CHAPTER VIL. THE FIRST RONDO FORM, TL. The diagram of the First Ros form is as follows: Paisctrat, Tue: Scuononsare Tara Parscreat, Tae | Copa Tae: Presciran THEM, 7% The design of the first Theme, in the First Rondo form, is generally the j-Part Song-form; in rare instances only One-Part form (Period, Double-period, or Phrase-group) — perhaps extended by complete or partial repetition; still more uncommon is the 2-Part form. It should be a simple, clear, but characteristic statement, of pro- ponderantly lyric (melodious) character; not fragmentary, but con- ceived as a sustained, tuneful melodic idea, and not too elaborately extended. Comp. par. 68 ‘The character of the Rondo Theme is optional; it may proceed fcom any mood, from the most sombre to the most gay, though the Iyrie is probably the most appropriate ‘The student should not confound the traditional Rondo ste (usually gracefal and moderately animated) with the Rondo fora. The latter designates a siractural design, which may be applied to any style of music See Beethoven, pite, Sonata, op. 2, No. 1, Adagio (the Principal Theme fs In- iplent 5-Part form, 16 measures Beethoven, pite. Sonata, op. 52, No. x, Adagio (Incomplete s-Part form, 34 measures, Part Ta parallel Double period) Beethoven, Sonata, op. 2, No. 5, Adagio (Petiod, extended, 11 measure). Schubert, pite. Sonata, No. 6 op. 147, Andante (Complete art form, 27 Brahms, Symphony No, 5, Andente (Group of four Phrases, quasi 5-Ps 24 measure). artform, 78. The Principal Theme, in the First Rondo form, usually ends swith a complete tonic cadence, in its own key. See Ex. 36, note *1) Other methods of treatment, including the process of “Dissolution,” will be shown later — ps. Par. 74, THE. FIRST RONDO FORM. 95. ‘One Theme being thus definitely terminated, conceptive action turns to the following Theme, and the question arises: How can a ‘good connection be established between the two Themes? All that takes place at this point is comprised under the general head of “Tran- sition,” ny (equally normal and effective) forms, that admit of classification as below. and may assume very 1 TA. a. The definite cadence of the Prin. Th. (in case this method of termination is adopted) is sometimes followed by an immediate announcement of the Subordinate Theme — that is, without any transitional material, — with an abrupt change of key, See Ex, 36, No Also Beethoven, Sonata, op. 2, No.2, Large, measure 19 (29). The illustrations of the structure of the Larger Forms which follow are Hnited chiefly to the pianoforte Sonatas and other works of Beethoven ; partly because of their unquestoned authority, and partly because the student wil nd them con venient of acces, }. Such total absence of transitional material is, however, unusual, because incompatible with the desirable continuity and unity of the design, The least that is likely to intervene, between the Themes, is a transitional “bridging” of the cadence-measure, — possibly involving the necessary modulation. For illustration (Ex. 36, No. 2) Nar Adagio Brarwovan, op 2, No Pan of Pein. Th Sarde Th Noa. Lang96 THE LARGER FORMS OF MUSICAL COMPOSITION. Par.75, z =H l <=, bs 1) In both cases, this @ complete toni cadence, in the original key, #2) Sonata, op. 7, second movement, See the original also, Beethoven, Sonata, op. 31, No. ty Adagio, measure 34 (55). In some rare instances there is still less evidence of transition; the Prin. ‘Th. ending with an elision of its cadence, which represents at the same moment the beginning of the Subordinate Theme. See Bosthoven, Sonata, op. ends in measure 11) the Suby Th, tute. The fact 0. The Pein. Th, an extended peti, same point, with change of si e accent of the actual cadence-measiee, ent) of the next Theme, is proven bythe style, rhythm, tempo, key, and dynamics, the cadence-chon the beginning (8 plete chang (Other, more claborst, forms abrupt and ansition are shown in par. 7 Tuk: Process oF Transtti0s, 15. The primary of of a transition is to approach the key in which the following Theme is to appear. Its aim is, therefore, uswally the dominant harmony of the coming key, since that is the legit and most convenient medium through which Th very distinct, successive stages or moves (or, as they might aptly be called, “acts ‘The first stage, or act, consists in leading the harmonies o the desired Position, —as stated, usually to the prospective dominant; cither dominant triad, or dom.-7th chord, with root in bass; or the dominant note, in bass, without reference to the chords involved. ‘The second stage, or act, consists in establishing this dominant, By ale tonic may be reached. whole is generally divided into two, sometimes dwelling upon (or near) it for a few beats or measures, until the most appropriate or effective moment arrives for its resolution into the first melodic member of the new Theme Pat. 75. THE. FIRST RONDO FORM. 97 Allegro tor tg os tomes 5 2 Domne BD Nowe: Allegro a | weernoven ears98 THE LARGER FORMS OF MUSICAL COMPOSITION. Pax. 75. Dominant (ot A) 1) This is not a Fist Rondo form, but that does not affect the illustration As stated in par. 6 all these Larger Forms, without exception, contain tw Themes (at lest), which ate presented one after the other; and this succenive prewntation takes place, in every insance, as fist and chiol object of the whole design. From thisit follows that all the Larger Forms are peatically identical (in general structure) ip tothe point where this dub presentation is accomplished, — as may be seen by comparing th sgeams. For this reason, iustations ofthese inital process may be chosen ftom any of the Largee designs, with a view to desirability only 2) At this point, with the insertion of the deflecting accidental (thou ‘odulaton takes place), the proces of“ dissolution” (sce pa. 73) begins to oper sand this also marks the actual beginning of the “ist act” of transition, 3) Here the modulatory movement culminates upon the chon of fxharp, whose root ~fshagp, in bass —is the daninant note of the prospective key and ‘Theme And therewith the “second act of transition begins, continuing solidly upon the ominant note (as organ-point) for five measures *4) Here the dominant is finally resolved (a0 longer as tonie chord of Fisharp ‘major, but as dom.seventh chord of B), into the fst melodic member of the Subord Theme *5) This sa very bref transitional passage; the “frst act” begins (as dissolution of the form, by modulatory dellction) with this beat —frnatural in bassand leads Auickly wo the prospective dominant. 46) The “second act” runs only through this one measure, as bridging. See alo, Beethoven, Sonata, op. 2, No. 2, Largo, measutes (29,30) 3 Sometimes one or the other of the two transitional “acts” is not only thus brief (Ex. 37, No. 2), but is omitted altogether, for some ‘obvious reason or other, Par. 75. THE FIRST RONDO FORM. 99 ed of Prin. Th Nova. Allegro No.2. Paw allegreto. ee Be intervene me «7 rb100 THE LARGER FORMS OF MUSICAL COMPOSITION. Pat. 76. => ete tonic cadence, at the end of the Prin, Theme, inthe orginal key. gst act” of actual transition (sndulatory deletion) begin here, and leads to the prospective dominant, fa, in bass. *5) The “second act” would enter ere, but fs omitted, beetuse unnecessary, — the Sub. Theme itself beginning (and dveling) upon *a)-Part frm, built upon the text “Kyrie eleison” t he Sub, Theme, a phrase-group with Codetta, fon the text “*Cariste cleison”; the retransition (orchestra alone) is five measure Tong. ~ See aso, in the same Mass, the Benedctus, ~ very similar, Brahms, Symphony, No. 4, op. 98; Andinte (note the i symphony, No. 4, op. 08, Andante (note the interesting teatment of the Recaptilation).— Violin Sonata, No. 3, op. 108, Adagio (very concise, but regula). —Hlora‘Trio, op. 49, frst movement. ° ” Intenarpiate Grape, 11 As the setrnsional mater isere between the Espsiton and is Recapitulaon, gradually increases In length and atsumes a tore indviea and important character, the desig approsches the larger Sonatallege form; for when ths ntemediate sentence be. comes of suftent weight to rete the impresion uf an Indgpendent Divison, the form has advanced from the we Division to the Thee Division degn."Compare pat. 152 -As ng, however, s the inser ton (ao mater ow lengthy tay bes ay ony veo character and purpose, the frm is unquestionably Sonatn compar panto ‘Aut thellstations fered toabovethrecan be no doubt. But a sumter of examples wll be encountered, howe prece easier ton may appear diicalt-—wotBcene of tne rm, or bey Theme wh has it anything, odo with he dea), bt sly inconequen ofthe indefinite re All such quonable examples may be lgjtiately digas of as catenin Sais om an Stage For illustration: lative significance of the intermediate162 THE LARGER FORMS OF MU ge SICAL COMPOSITION. Par. 144 Par. 14 TUE SONATINA-FORM. 16 3 necond ac” — — fe 4 ail 1) The presence of Cosettas is, in itself, an intimation of the larger design fn the composer's purpose. This hind Codett, i, tobe sute, very brief, and might be regarded Tut it has some thematic impor tance, and is duslcated at the begianing of the Coda (meas. 2¢ from the en) ‘a nee extension of the cade 5) This dosblebar i very significant, and, in connection with the marks that ‘repetition of the entire Exposition, itis almost conclusively indicative of Sonaa-Allegro, fori, Comp. ar 144 call the Lage 3) The intermediate sentence here is eleven measures long (about one-quarter ofthe length ofthe Exposition), and begins, atleast, with some evidence of inlepens lent purpose. Tt weakens, however, in the fourth measure, and thereafter is obvi- curly nothing but @ genuine rtransition. ‘The form i strictly speaking, “Sonatina”, Dut with a decided advance toward the Sonats-allegro design, as indicated by the ouble-bar, and the decisive conclusion of the Exposition See further ss with a Beethoven, Sonata, op: 40, No. 2, frst movement: The Exposition c doublechar (and repetitin-marks) in mess. 535 the intermediate section covers fourteen measures, of which only the Ist four are obviously retranstion, This movement, themfore, represents a st itive advance towaed the larger de- Beethoven, Sonata, op. 109, Presisimo out a double-bar; the intermediate sc {ind a 35 measures long — just one-al! the length of the Esp ‘aborate polyphonic (or, a las, imitatory) development of the bass-part of the fst ‘pire {Dria. Th), and te nowhere — not even atthe end —of a distinctly retransi= ional character "Therelore, this movement shoul be assigned to the Sonata lllegeo forms, with some rettogeession toward the smaller design,164 THE LARGER FORMS OF MUSICAL COMPOSITION. Par, x42. Beethoven, Sonata, op. 110, Srst movement, somewhat similar no doublebar; mediate section 17 measure long. Beethoven, Sonata, op. x06, Adagio: Very broad; no double-bary intermediate section 19 measures, of which the last g oF r0 are distinctly retransitionsl, — the form is “Sonatina,” with some advance toward the Sonataallego desig Mozart, pit. Sonata, No. 6 (Schirmer ei), last movement: The Exposition ens with a double-bary the intermediate section is so miasures long, and not at all suggestive of retrasition; the form is Somativallegr, slightly rtrogresive, — Also, pie, Sonata, No. 8 chimes ey don, —Soatnetorm, sprcehing the larger design. " EXERCISE 10. bri train. Soe NB below Alo one oto xan Ta raid tempo, and brad design — but wth gen C. One empl, with doublebar atthe end of the Exposon, anda semeohat independent, but nt lengthy, intermediate section SpA sa any stint nn, maybe che rte movements rinnoforts; enn, pies and Vn or ell; pte Tro, or Quartet; Stng-quartey ‘or Quintet. See Exercise 7, A, “N.B." See par. 1685. ee : CHAP THE SONATA-ALLEGRO FORM, 142. This term must not be confounded with “Sonata.” It refers to a structural design, and not to the conventional compound form of composition bearing the titles Sonata, Symphony, Duo, Trio, etc (par. 199). tis the design most commonly applied to th of th frst (allegro) movement Sonata, hence the term: Form of the Sonata-allegro, of “Sonata- allegro form.” ‘The term “Sonata-form” is misleading, and should not be used. Further, the title does not imply that it is used only for the Sonata-allegro movement: It may be applied to any style of com- position in the larger form, and to any tempo (or “ movement”). ‘The diagram of the Sonata-allegeo form is as follows: Par. 143 SONATA-ALLEGRO FORM. 165 [ Bepeston Development| Reapltten | prin Th, [Swboe. TA) Cor] Sectional Prin. Th |swo. Th. | Co- \Cot Any Part| Rebted dts) form | As Inefore| Transposed 4"? form [key | One (o pri oe | cipal ke) Transition) | | (Compare this diagram with that of the Third Rondo form, par. 110, and note both the similarity and the difference.) M3. Note that the Sonata-allegro form, like the Third Rondo form, is another, and the most refined, manifestation of the tripartite struc- tural principle, Compate par. x11. It is the most eminent and artistic sgrade of the Taree-Part form. 144. ‘The double-bar, at the end of the Exposition, is characteristic of the Sonata-allegro form, and is rarely omitted. Its original purpose —to mark the customary repetition of the Exposition —is no longer recognized, inasmuch as this repetition, in the modern Sonata and Symphony, is considered needless, and is not often insisted upon. But ‘the double-bar has a deeper significance: It reinforces the impression cof a fully completed union of the two Themes, thus confirming the ‘object of the Exposition; hence the almost invariable addition of one oor more Codettas to the Subord. Theme, as these serve to strengthen the impression of finality. And this impression must be assured, even ion, and the double-bar itself, are omitted. Reironsition | (oui) | when the repe: ‘Tue Exposritoy. 145. Review paragraphs 135-137: ‘The Principal ‘Theme must be sufficiently striking and attractive to challenge attention and excite interest. It may be in any style of me- lodic and rhythmic conception, and may reflect any emotional moods may be tragic or gay, rapid or deliberate, Iyric or dramatic. But it ‘must be significant and worthy of development, no matter how simple in character. Tits form is optional, and will be determined chiefly by its normal proportion to the proposed extent of the movement. ‘The most effec- tive is probably the Two-Part form, as this is less complete within itself than the Three-Part166 THE LARGER FORMS OP MUSICAL COMPOSITION. Par. 146. The first presentation of the Prin. Theme should be as straightforward and unaffected as possible. Its elaboration and development come later, as ruling purpose of the whole movement. See pat. 197, 1 10 6. See Schubert, Uninished! Symphony; note the simplicity in the announcement of the Prin. Theme. — Beethoven, Ninth Symphony, Prin, Theme ofthe fest mave- ment. Also other Symphonies of Beethoven, — Brahma, Second Symphony, Prin, ‘Theme of the frst and last movements. Also Prin. Theme of the Fist Symphony, Jast movement, Those ar all moves of clearness M6, ‘The transition into the Subordinate Theme may be effected in the usual manner: x. Through an independent Transition-phrase (which may be decidedly individual; may possess genuine thematic importance; and may be “spun out,” through its two “acts,” to considerable length). or, 2. By dissolution of the final phrase of the Prin, Theme, 147, The Subordinate Theme is placed in some other Key, usually the closely related dominant or relative of the original key — though ‘other, even remote, keys are possible. ‘The key to be avoided for the Subord. Theme is the sudominant In thythmic character, and mood, it should contrast elfectively with its companion-Theme. The form is optional, but is usually smaller (shorter) than that of the Prin. Theme, (Review par. 84 and Ex. 45) 148. As implied, the addition of a Codetta is almost imperative, and not infrequently two, three, and even more, Codettas follow the Subord. Theme, generally decreasing successively in length. ‘The (first) Cocietta usually presents a marked contrast, in rhythm and style, to both Themes, and may be thematically significant; though it should not create the impression of a genuine Theme (wherefore the epithet “closing Theme” is not consistent), The contents may be wholly nev, or may be derived (more or less directly) from the Prin. ‘Theme — or from any foregoing factor. Each Codetta is, as a rule, duplicated; often with considerable modification and extension. An illustration of Exposition will be found in Ex. 55. (The student should, and probably will, perceive that every detail fm the for: ration of the Exposition [sso consistent, logical, and maturaly a to be selenide, and compel unquestioned adoption as the surest and simplest means of securing & truly efectve presentation of this broad thematic material. But above all things ee a WE a TENT PR Ta ® £ 2 é hk ait ae Par. 149. THE SONATA-ALLEGRO FORM. 167 The must bea in mind that walimiod freedom is Uf tothe imagination, nthe execution of this design. No two among a milion Expositions need be alle, though al follow the fundamental lines ofthe design with the same strictness) 19. The end of the Exposition is usually indicated by the double- bar. Review par. 144. ‘The various methods of treating this “ending” may be classified as follows: 4a. The Exposition may close with a complete and emphatic tonic cadence, followed by the double-bar, and marks of repetition, See Beethoven, Sonata, op. 2, No. 1, fist movement. movements of Sonata, op. 7 fst "No. 1, fist movement;” op. 14, No.2, fist movement, 4. The double-bar may be attended by two endings, because of some slight change in the rhythmic condition upon proceeding into the Development. Beethoven, Sonata, op. 2, No. 3 st movement; op. x0, No.2 fist movements ‘0p. 2, No.2, fist movement. Or the two endings may indicate a (perhaps slight) harmonic change, involved by the repetition, —as in Beethoven, Sonata, op, 13, first movement; and op. 2, No. x, last movement. ¢. Or, of the two endings, the first may be a brief “retransition” back to the beginning (for the repetition), and the second ending a similar “transition” into the first section of the Development. Beethoven, Sonata, op. 38, No. 2, fst movement; Sonata, op. 31, Nox 3, Scherzo (our measures before the double-bar-—see Ex. 55); sce alo the lst movement, four reatures before the doublebar. Alo op. 27, No. 2, last movement, tw measures before the double-bar; op. 28, first movement, four measures before the double bat. 4. The final phrase of the Exposition may be dissolved, and led — ‘without double ending — first back to the beginning (for the repetition), and then over into the Development. This is practically the same as Beethoven, Sonata, op 1, No. 3, fist movement; op 24, No.1 frst movement; ‘op. 3, No.2, st movement; op. 31, No , fst movement; op. 53, frst movement; ‘op. 37, ast movement. ¢. More rarely, the repetition is omitted, and, in that case, the double-bar may not (usually does not) appear. Beethoven, Sonata, op. 10, No. 3, argo —lght doublebar (measure 25) but no repetition, Sonata, op. 22, Adagio; the Exposition ends in measure 30, without {he double-bar, nd is followed in meas. st bythe Development. (The fist light louble-bar, in meas. 12, indicates the end of Part T of the Prin. Theme.) —Sonata, ‘op. 57, first movement; the Exposition ends fa measure sx before the change of sig: ature (fom for fats tothe natural”). —Op. 9 st movement; the Expo tion closes, without doublebae, in measure 81,— Symphony, No. TT, Larghet, po double-bar168 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 150. ‘Tue Deveroraent. 150. The middle Division of the Sonata-allegro form is called a “development,” because it is devoted to the free manipulation of the various thematic members of the Exposition, with a view to the more complete unfolding (or developing) of their resources. And, since this is the chief aim, all restraint which might hamper the most effective presentation and combination of the foregoing thematic material, is the Development is free, in every sense, —not subject to any of the structural conditions which govern the Exposition. Neither the choice of material, the order of presentation, the method of treat- ment (homophonic or polyphonic), nor the extent of each successive process, — none of these matters are prescribed, but rest solely with the judgment of the composer. Ic is in this very respect that the Development constitutes a very necessary and emphatic contrast with the foregoing Exposition and the succeeding Recapitulation, While the Exposition demands some degree of control and regulation, the Development calls forth the untram- meled imagination and ingenuity of the writer. ‘The Exposition is the mote or less sober and judicious (wot lifeless or unimpassioned) “pre- sentation” of the various factors; the Development is their illumination and vitalization, their shifting into more interesting positions, in rela- tion to cach other and to the whole ABL. a. The form of a Development is always sectional. (Review par. 556, with reference to the definition of sectional form.) b. The number of sections is optional ¢. The extent, contents, and style of each section, are also optio In other words, any section of the Development may derive its mat jal from the Prin. Theme, from the Subord. Theme — from any melodic member of either Theme, — from the transition, or from the Codettas. ‘The only conditions are, that no Theme should appear in its complete form; and that no member should appear in the same key as before (ic., as in the Exposition), To this natural rule there are but very few legitimate exceptions. (Comp. par. 162.) Tt emphasizes the impor- tant general principle that the Development, as a whole, should avoid the original key — since the latter is the proper domain of the Reca- pitulation (and of the Coda, to some extent). d, Further, one of another of the sections may be partly, or even decidedly, new. This, though somewhat less usual, is thoroughly con- sistent with the purpose of the Development, especially when the new THE SONATA-ALLEGRO FORM. 169 ‘members are analogous, or used in connection and combination with the essential ones . The sections are frequently grouped in pairs—as duplication (especially as sequence). J. A sec:ion is not likely to have a complete cadence, because it would arres: the very vital urgent quality of the Development. A Tight semicadence is ail that marks the end of a section, as a rule; and even that isnot necessary, fora change of style, or exchange of thematic ‘material, suiciently indicates where a new section begins. In other words, the extent of a section is defined by the retention of the same style, Or the same contents. 152, The ultimate aim of the Development is to regain the original Key and prepare for the Recapitulation. Therefore, its final section {possibly more than one) is equivalent to the usual retransition, or to the “second act” of that proces 4163. The lest, nd possibly the ony, way to master the wnique problem of ee tive Development is to amine minutely, the metho adopted hy the arent masters of composition, Therefore, cose srutiny ofthe following ikstations in which very one of eave deta wil be vrei) f extremely Important Compare te following example, rom Beethoven's Sonata, op. 3, No. Sere, withthe orginal: Exrosrrion Prin The) ( pret ey Par bigs:370 THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 153. —— e Par. 133, THE SONATA-ALLEGRO FORM. Codetts 1 ete od Devetorseex staccato Gog ese A (extension) (Craesition tata the reopen) Te mesa)172 THE LARGER FORMS OF MUSICAL COMPOSITION, Pat. 13. Sec. 1¥ (6 mnsares) *2) The Prin, Theme isa ragular Thrce-Past Song-frm. sr) me Teanstan phrases Borrowed directly from the Second Part ofthe Pin heme, and suggests the intention of repeating Parts IK and IIL (as is legitimate, and not uncommon. omaphonic Farms, par 1954). Se pt. 125, ” *3) The Subord. Theme begins in an unexpected key (th F ged ie Saber ted ley (the remote F major), but pes into the usual dominant (F-fat major) in the 3d Phrase. Tt, also, is sed upon foregoing material; The lower part (left hand). is derived from the Second Part, and the upper from the bas, of the Prin, Theme 4) There are two Codettas, repectively two measures, and! one measure, in length, closely analogous to the foregoing thematic members, and each duplicate 3) The treatment of the ending of the Exposition eamabirte the ‘explained in par. 149¢, which see. ° fe method strated: Section I derived from the Prin. Theme, very drcety, bu laced tn dtr Pia Theme Seton I, ron the ast mesure of Part Two (Pin Tey Par. 153 THE SONATA-ALLEGRO FORM. 173 *7) Section IV was conducted to the prospective dominant, and it therefore ‘executed the “fist act” of retransition. Section V is the “second act” (all upon this dominant), and represents what i usually called the retransition” proper. See the following, also, and note that each of these Developments, must be studied with close reference to its foregoing Exposition, in order to be of full benefit: Beethoven, Sonata, op. 2, No. 1, fist movement: The Development, after the oublebar, contains sx sections; Seeton I, 7 measures, is derived from the Prin ‘Theme; See. I1,8 measures, from the Subord, ‘Theme; ‘See. TIE, ro measures, isa seaquence of sectim II, extended; See. TV, § measures, rows out of section TI, and Teads to the prossective dominant; Sec. V, 12 measures, is the retransition proper, Dat is interrupted and followed by a sith section (7 measures), which is another phase of the "second act,” derived ftom the second measure ofthe Prin. Theme, Sonata, op. No. gy fist movement: Sec, Tof the Development, 6 measures, is rived from the lst Codetta but one; See IT, 12 measures, bears close relation to the Second Part of the Prin. Theme, but is a practically new passage, in riliant broken chords; Sec. ITT, 4 measures, sa restatement of the fst phrase of the Prin ‘Theme, in a different key, of courses See. TV, 17 measures, isa novel treatment of the int tivo measures of the Prin, Theme, and i spun out by two sequences, the lst fone extended, and led to the prospective dominant; Sec. V, 9 measures, i the re- transition, based upon the inital figures of the Prin. Theme. ‘Sonata, op. 22, frst movement; Sec. Tof the Development, 2 messures, co sponds to the lst (ourth) Codettas See. TE, 4 measures, coresponds to the third Cadetta; See. HE, 7 mewures, to the second Cadetta. ‘These sections, it wil be ‘seen, proceed systematically buckvard from the doublebar. Sec. TV, 10 measures, reverts to the third and fourth Codettas, and isa seuentiad group of phrases. Such fexjuentil formaon isa natural and elective device forthe Development, for evident reasons, See. V 13 measures, grows out ofthe preceding one, and is a stirring pase age in harmonic figuration; note the progression of the lowermost (bass) par. ‘See. VI, 15 measures, i the tetransiton, all upon the dominant. ‘Sonata, op. 55, fst movement: Sec. I of the Development, 4 measures, grows secjueatially nt of the lst member ofthe Codetta; See. I, 6 measures, restates the frat phrase ofthe Prin, Theme, in a diferent key, and extends its Se. TT, 8 meas- ‘ures follows up this extensions. See. TV, 9 measures, is a modified manipulation of the same themavie member; Sec. V, 50 measures, is «Tong, sequential, presentation ff the intial phrase of Part Two ofthe Subord, Theme; note the modulatory design, land the manner in which its last seven measure relax into, and upon, the prospective dominant; See. V1, 13 measures isthe rtransition, based upon the fourth measure ofthe Prin. Theme. Sonata, op. 9, frst movement: The eoaventional double-bar is omitted; the exponition conc with measure 81; the fist section of the Development isan “inter- ude” of theee measures, echoing the foregoing cadences Soe. TI, 7 measures, is de ved dreetly from the fst phrase ofthe Prin. Theme; Sec. TIT, 9 measutes, is based fon the 3ed mensuee inditectly upon measures 21-22) of the Prin. Theme — note the baseptogeeson; Sec. TV, 9 measures, maintains the sume ehyttm, but iso wae nce; it has the “leading” quality ofa transition, as dominant, into the next