. MT58.G598c.l

MT58 .G598Goetschius, Percy,1853-1943.Models of themusical formslectures upon the "evolutiorof musical forms"

'ercy,

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MODELSOF THK

PRINCIPAL MUSICAL FORMS

EXTRACT FROM LECTURES

,UPON THE

"EVOLUTION OF MUSICAL FORMS"

DELIVERED BY

PERCY GOETSCHIUS, MUS. DOC.

AT THE

NEW ENGLAND CONSERVATORY

NEW ENGLAND CONSERVATORY

BOSTON, MASS.

1895

G.SCHIRMERjR.(Boston Muuic Co.)

26WESTST,, - BOSTON.

Copyright, 1895, by PERCY GOBTSCHIUS.

IA V

PREFATORY REMARK.

The term musical Forms" of \vhich progressive Models

are here given, is adopted in the sense of musical Structural

Designs'/ and not musical Styles."

The inevitable incompleteness of the list of illustra -

tions is partly accounted for in the note upon Irregular De-

signs (p.39), which see.

*

EXPLANATION OF SIGNS.

v =» the harmony of the Dominant,or 5th Scale-step-oT^he

tonality.

r — the harmony of the Tonic,or lst Scale-step.

II = a perfect Cadence in the course of the Oomposition.

II = the perfect Oadence at the end of the Oomposition.

V «- an ordinary (light) Semicadence.

V = a heavy Semicadence.

1|.

MODELS OF MUSICAL FORMS.

THE PHRASE.

Consisting of four ordinary measures

in moderate tempo.

Ex.l.<

4*Moderato.

p^ j.Jj^JjJjjiJ^fete

H^-pf flf f- l

p fflP—^-4i

9=ri *

# MENDELSSOHN, Song Without Words, No.4.

See also Examples 2 tg 12. Two-measure Phrases ( slow

tenipo and large measures) in Examples 16; 18; Example 28,Part I.

Example 35, Principal Theme:. Example 36, Codetta II.

Eight-measure Phrases: Example 34, 2nd. Subordinate Theme.-

DIVISION OF THE PHRASE INTO MELODIC MEMBERS.

Phrasing; the «*joints " or points of separation mthe Phrase-melody.

Allegro.

ex.«. ifthtf J-U S ;.;. j. i ).rJ ^

i J.^t.^-rrMENDELSSOHN, Song Without Words , No. 13.

Joint in the centre.

Ex.3.

MENDELSSOHN, Song Without Words, No. 2-0.

Subdivision of first half.

Ex.4. 1 M ffitmFOLK-SONG.

Subdivision of second half.

Ex.5. **? £ N

MENDELSSOHN, Song Without Words, No.4.

Subdivision of each half. See Ex.l.

LOCATION OF THE CADENCE.

Cadence-chord falling upon first beat,

or primary accent, of the final measure

.

**^f-J^y-J-t^Y l£XMK0LK-S0NG. nSee also Examples l.ft.8. n. 12.14. lfl.etc. Example 2.->, Part II

and Part III. Example 20, Barl III.

Cadence-chord falling uppn the secondary accent.

MENDELSSOHN, Song Without Words, No.45. i

See also JExample 15,Phrase 2. Example 18,Phrase 1. Example 35,

Phrases 1, 2.

Cadence - chord fallingupon an unaccented beat.

SAV

CHOPIN, Mazurka S.

m i wand

CHOPIN, Mazurka 8. ^-^ V T

See also Example 4; Example 16,Phrase l.Example 20,Phrases

1/2,3. Example 23, Phrase 1.

Cadence on second 8th.-note.

Ex.9.

v-iMENDELSSOHN, Song Without Words,No.33.

See also Example 24,Part II., Phrases 1,2,3,4. Example 28,

Part I.,Phrase 1. Example 33, Phrase 1. Example 33, lst.Subordin-

ate Theme, Phrases 1,2,3.

Cadence on last beat of the measure.

Ex.lO. IBS m^^ & (V) I

•-#

MENDELSSOHN, Song Without Words, No. 48.\

*f"

See also Example 8b. Example 18,Phrases 2,3.

THE EEPEATED PHRASE.

Cadenee retairied with no essential alteratipn.

(See Table at the end.)

Ex.ll.J^mm

jjjjjj»

m ui w

Repetition.-

JJI £

*4i

v i

*•>

FOLK-SONG.

See also Example 12. Example 28,Coda. Example 34,Codetta.

1

THE PERIOD (or Double-Phrase.)

Firstly, the Period of Parallel construction."

Evolved out of the"Repeated Phrase,"

by differentiation of the Cadences/See Table.)

Phrase.

Ex.ia.RepeatedPhrase. §||§ p• 9

i=at WPerf.Cad. ll^£ltitionPerf.Cad. *^»"«"- _ — Perf.Cad.

r^frr- rf-f. r> t£riEj

cL

3=

Antecedent Phrase.

|JEx.l3.ParaUel Peribd.^^^^jMTJ .

ftTp^^r KflCo

J

. | Spmi-cadenee. Consequent Phrase

VPerf.Cad.

0W-g rtrrrr

BEETHOVEN, Op.33, No.3. «•MENDELS80HN, Song Without Words,Na3R.

See alsoEx.24,Part l. Ex.26,Part I. Bx.86,Par< I. Rx.£9,PartI.

Ex.33,first 8 measures. Ex.84,f1r6l B measures,

Secondly, the Period of "Opposite" (or Contrary)

construction.

Antecedent Phrase. Semicad.

Ex!4. <Oe S J J I ^J V yiEEEMmF# maj I

Consequent Phrase. Perf.Cad.

"TONE-RELATIONS, Lesson 48, No.6. (GOETSCHIUS.)

Thirdly, the Period of Contrasting"constrtwtim.

Semicad.

Antecedent Phrase.

Ex.15. ^m^mmmm^M g5-

El> V

Consequent Phrase

4=4Perf.Cad.

$k j ji j j1 jj1^ j

1 r^jnTu^MENDELSSOHN, Song Without Words, No.7, Part in. v

fj

See also Example 23, Parts I. and II. Example S6,Part II..

Example 27, Parts I. and II. Example 28, Part I. Example 34, lst.

Subordinate Theme.

10

THE PERIOD WITH REPEATED CONSEQUENT PHRASE.

The Cadence of Consequent Phrase retained,

with no essential alteration.

**

Antecedent Phrase.

Andante.

Ex.i6.\m w J

; p^riTii^j. k£kk±m

Consequent

J-WlJ *

^Phrase.

1Cadence. II ConsequentPhr.repeated. Cad.

v 1 .

'•'

MENDELSSOHN, Song Without Words, No. 19, Part III.

See also Example 29, Part III.

The Period with repeated Antecedent Phrase, or with a

repetition of both Antecedent and Consequent [comparatively rare]

is constructed on the same principle.

THE PERIOD WTTH CONSEQUENT- GROUP.

The Cadences of the Consequent Phrases [Nos. a and 3 ]

essentiaUy differentiated • thus constituting a"Reproduction,"

instead of"Repetition"of the Consequent Phrase.

Sem?'cad.Antecedent Phrase.

Ex.17. % ^m^=^m

F0LK-SOKG.

See also Kxample 29,P;ir!.Y.

The Period with Vnteoedent-group [rare] is ooostructed

on the same prinoiple.

11

THE GROUP OF PHRASES.

At least three in number; frequently four, five, or

more Phrases,inunbroken, successioir.

Phrase No.l.-

Andante.

Semicad. - Phrase No.k.

V

Ex.ia |iLTc K ffig

MENDELSSOHN, Song Without Words, No.18.

See also Example 28,Part III. Example 29,Part IV. Example

35,Principal Theme. Example 36, Subordinate Theme.

THE REPEATED PERlOD.

No essential alteration of the Cadence.

Compare Example 11. (See final Table.)

Antecedent Phrase. S^cni-

Ex.19.forte.

^m ti mcad. Consequent Phrase

V

:?M * * m ^^

12

Cad II

RePe*ition of wbole Period

piano.

mmm s ^^m m^m^^ ?g&

vi W*S ta *U3^3 ei=E§p^

HAYDN, Symphony 11. (Peters Ed.)

THE DOUBLB - PERIOD (or Quadruple-Phrase.)

Evolved,in Pardllel construdion, out ofthe Repeated Pe-

riod,"by differentiation of Snd.and 4th. Cadences. Characteris -

tic traits: Phrase 3 like Phrase 1; and no complete interrup -

tion in the course. See final Table. Compare with Exs. 12.& 13.

Period I. Ant.Phrase.

Andante.Cons.Phr.-

Ex.K.zo^n-tt^iETft-i 1

J

^mSemicad

Period II. Ant. Phra^e.

Cons. Phrase

.

Per&Cal.

BEETHOVEN.Op. tiM.

13

Measures small,but tempo slow. If the tempo were Alle-

gro or Presto, the form would be a Single Period,of twoeight-

measure Phrases.

See alsb Example 29, Part II. Example 33, ist. Subordinate

Theme. Example 36, Principal Theme.

DOUBLE-PERIOD OF CONTRASTING CONSTRUCTION.

Rare; Phrase 3 unlike Phrase 1,-

see Example »4,Part II. Example »8,Part II.

THE DOUBLE-PERIOD, EXTENDED TO FIVE

OR MORE PHRASES.

Distinctive traits, as above: 3rd. Phrase like lst.Phrase,

and no complete separation of the series of Phrases.

Period I. Ant. Phrase.

ikJL .. b—^-Cons.Phrase.

%»*•\pnr ii^irtoi^rU-iO^

Semicad

Cons Phrase-group. - (Phr.5.)

§** J * JJ^iiP[ 1J J J^i-l pr 1 J JjpJ J[ L[j*=

(Phr.6.) Perf.Cad.

l^fW3!

77"^MENDELSSOHN, Song Without Words,No. 36.

B V I

14

THE CODETTA.

Appendix to Period or Double-Period.

Period.

« ^ ^ » —fr r

r r r r

i> t n ^s=?

Fp ' *#*T

CODETTA-Perf.Cad.

I=tdt fe^e M H^i *=mi. t

r Ll±U rV I

u±pmi'-L' i *£WfffiHrjLLUJ T

HAYDN, Symphony 8-

See also Exaraple 32, Subordinate Theme. Example 8ff,las1 g

measures.

i|i

15

THE BI-PARTITE OR TWO-PART SQNG-FQRM.

PRIMARY DESIGN.

Equal Parts, eaeh in Period-form; evolved out of the 'Double-Pe-

riod by contrasting construction, and complete break [Cadence]

in the centre. Compare with Example 20,and Example 19.

See final Table.

Part I. (Period-form.)Perf.Cad.

FOLK-SONG.

See also, MENDELSSOHN, Op. 54, Theme.

B? V I

TWO-PART SONG-FORM,WITH DIFFERENTIATED PARTS.

Part I. (Period-form.)

Andante

Ex.34.yfc| ^measurcs foeludc.l j jflj.f [ |

*j»| J "

J"3|gJj J^jJ

extension.-

16

Part II. ( Double-Period, contr. constr.)

Phr.l. Phr.2.

Phr.4.

I Phrase 4; reproduction and exten-

IVrf.Cad.

MENDELSSOHN, 0p.72'f Nb.».

Sh»- ;iisn s.iii-- Withoul Wbrda,No.e,

17

THE TRI-PARTITE OR THREE-PART SONG-FORM.

INCIPIENT GRADE.

Evolved out of the Two-Part Song-form," by. distinct evi -

dence of a return to the first Phrase . See final Table. Oom-

pare with Example 28.

Part I. ( Period-form.)-

Ex.S5.^jj k jT^^ 1

J- J J1 J J> J-P

I ,n^rr § J- J «N J JJ^Perf.Cad.

E

Part II. (Phrase-form.)

^^ fc or $ ** -mMm* • *

Dom. Cad

.

.Par^ ///". ( Phrase-form •, like Part I .) Perf. Cad.

ki\ J;~J. V

J>

nrm '

*

SILCHER.

See also Example 32, Principal Theme. Example 33, 2nd. Subor-

dinate Theme.

THE THREE-PART SONG-FORM, INCOMPLETE.

(or Abbreviated.)

The 3rd.Part a contracted reproduction of Part I. Resem -

bles Ex 25,but contains a iarger, more complete and independent,

Snd.Part.Part I. (Period-form.)

Ex.36.

18Perf.Cad. Part ^(Period-form.)

Dom. Cad. Part III (Phrase form; abbr. of Part I.)Perf.Cad.

MENDELSSOHN, Op.83, Theme.

See also MENDELSS0HN,0p.82, Theme;and Song Without

Words, No. 13.

THREE-PART SONG,ORDINARY COMPLETE FORM.

PRIMARY SPECIES.

Part III. exactly like Part I.(See final Table.)

Part I. ( Period- form.)

b*».^*^*Ulf?

35se&ue.^ cr r i

r * if

Perf.Cad./tortf //.(Period-form .)__ j rir c ji .\rci iuu-iurui./

? rf^^n^Blu v

"r: i r'rr i^g

Dom.Cad. /Vi/"/ III. ( recurrence of Part I.)

frr^^s m~m—w

rmrr.tegue.Perf Cad.

iKt^wl fi-U^*HATDN, Syrnphonv 7.

*

See also WENDEL8SOHN, SongBWithoul Wbrd8,Noe.4« and »».

Example 83, PrincipaJ Thei

19

FULLY DEVELOPED THREE-PART SONG-FORM.

The 3rd. Part a confirmation of the beginning of Part I.

btrt subsequently extended and developed into an independent

Part. See Table.

Part I. (Period-form.)

Uh\v

j^ r f r\>

Pei-f.Cad. Interhede.

Lir |y

fl

J i;Trf rf j .*

-

Repetition of Part 1

.

Cad.

niibnn as abov^ £3=r [f i

'

.FVzrtf 77. (Doiible-Period.)

P J ^ ir~cttrLrcrir

P

tJ %~fggPhr.l. ' ^*3 Phr. *»

Phr.3. Phr.4.

Retransition. Part III. ( Group of Phrases.)

Phr. 1. (from Part I. exact.) Phr.2(from

% ^^Part I. modified.) Phr.3 (resembles Part I. but developed

!i!i5ad

- II a*«.

g .T. gr ^rr i r ^r' a TT-tjiwmOTOT £into indep.Phr.)

(Phrase,repeated and extended.

P r^vJ Jlir-sr-rrrr[IB r ^TZ ^3=

it=m M * *

IJft * H

# _

7

MENDELSSOHN, Song Without Words, No. 46.

See also Son£s Without Words, Nos. 40, 25.

This examplo also illustrates the Introduction, Interlude5

Retransition, and Coda. See Example &&, Codetta; and Ex-

ample 24, Prelmle and Postlude.

For illustration of REPEATED PARTS, see Exs.87;*8,#S9j

Ex.88, 2nd. Subordinate Theme. Ex.84^^nd.Subortiinate Theme.

21

THE FIVE-PART SONG-FORM

Evolved out of the 'Three-Part Form"by Repetition, or

Reproduction, ofParts II. and III; and distinguished by more

or less essential difference between Part II and Part IV.

See final Table.

Part I. (PeriocUform.)

ex.29.jgjJEf ^[-^\f 1 [^JH l^^Wl-J:^^

Part ir.

-—__ __-^ ^*_

""Phr.l.

Phr.a'-

Phr.3.

j 1 J. \QI J5Phr.4.(abbrev.)

22

Part III. (Period, rep . Consequent .)

^rr«n i j «nn i

j

t u^w f;« =pP 9 f M-

(Repetition of Consequent Phr.)

Perf. Cad. Part IV. ( transposed and abbreviatedver-

sion of Part II.) (Phrase-G-roup.)

B JiJ W#je*BPhr.3.

.Partf K (modified version of Parts I.and III.) ( Per. with Consequent -

F^5l^^3r '^r^t^Conseq. 1,

GrroupJ Semicad.

\' Conseq. fb.

Perf.Cad.23

JvTi

MENDELSSOHN, Song Without Words,No. 14.

See also Nos. 34, 17; and Op. 72, No. 5.— CHOPIN, Prelude

Op. 28, No. 17— Example 34, 2nd. Subordinate Theme.

THE SONG-FORM WITH TRIO,

OR MINUET WITH TRIO.

An enlargement of the Three-Part Song-Form,effect-

uated by compounding different [though kindred] Song Forms.

See final Table.

Ex.30. See Beethoven, Pianoforte Sonatas Nos.l,2,3,and4;

the third movement of each ("Minuet" or "Scherzo")

THE SONG-FORM WITH TWO TRIOS.

Ex.31. See Mendelssohn, Wedding-March" from 'Midsummer-

Night's Dream."— Schumann, Symphony No. l,"Scherzo."

•!

24

THE FIRST RONDO-FORM.

Evolved out of the Song-form with Trio," by establishing

closer organic relation, conjunction and coherency between the

successive members of the structural design. Consists of. a

Principal Theme, one Subordinate Theme, and a recurrence of

the Principal Theme. To these essential Members may be add-

ed [largery at option] Introduction, Transition, Retransition,

Codettas, Coda. See Table.

Prin.Theme. (Three-Part Song-form.)

&*n*nPart I.(Period.

Perf.

Cad.%va

Sva

Part IH.IPhrase.)

25

Perf.CadJ Suiordinate Therne. (Period.)

M•".

i

1

j rjir^D minor.

8m.

Sva.Perf.^5

pOiJr^y^^toCad. Codetta.

^p^g^btj

Repetition of Codetta.

Cad. n /"g\ "£-

M'Jji I j.%fflJWfl*jp

Cad. Re-transition.

^ j p^w§gf^-f^ji^Prin. Theme. ( variated.)

t g£ eto.ll nieasnfes-

Cad. ||Coda

£^5 eferli measure^" m— ^as before.

fPmajor.

BEETHOVEN, Pianoforte Sonata, No.l, Adagio.

See also BEETHOVEN, Pianoforte Sonata Op.79, Andante . — And

CHOPIN, Nocturnes 0p.32,No.»; 0p.48,No. 2.

S6

THE SECOND RONDO-FORM.

Evolved out of the First Rondo-form"by expanding the

Ist. Division (i.e.the Principal Theme) into a complete,though

concise, First Rondo-form. Consists ofaPrincipal Theme in

alternation with two different Subordinate Themes. Similar in

design to the"Song-form with Two Trios." See final Table.

FIRST DIVISION.

Prin.T7ieme. ( Three-Part Song-form.

ex.33.[ ^g ^M^J^n ;se * w

I ^pPart I.<Period.)

Perf. Cad.

g^i^ji i

J wq i n^irj mPart n.(Phrase-Group.)

i^V «•"• «PUO ^fo.O niwiro- liko Vurl 7. IParWII.(PeriodJ

27

l.st. SudordinateTIieme . { Double -Period .

)

Cad. II ^ simile'.

VW&XJ-4}

^i^mu&m 0-p

i

Perf.CadRetransition. Prin.T7ieme.

F major.

Perf.Cad.

P§ etc 28 measures as before,' variatett jqi h.-ii.

1 '

*N^

SECOND DIVISION.

2-w/. Sudord. Theme.

(

3-Part Song-form,incipient grade.)

I> P H P m * Si\)i

Part I. ( Period.) Bt major

28

?^^ i jtfl^rta tiirflP i

(Phrase

i*-p—p-

Perf.

^mrrrjmni^ *=M *-*^r

Part IlUPhrase.)

||2,. ReTransTHorT

rb- i # . s^& ••!?•i • - . 1 1.^114^

yff i LJ^iffiCgig

Prin.Theme.

F major.

Cad. Coda.

v h * * ferto-^~e to - 73 meiunreg.

BEETHOVEN,"Andante Favori."

See also BEETHOVEN, Rondo, Op.si.No. l; Pianoforte Sontfta,

Op.10, Nb.8. Finale.- MOZART, Rondo in A minor.

29

THE THIRD RONDG EORM.

Evolved out of the Second Rondo-form by adding a

Becapitulation of the entire first Division. A very broad ex-

pansion of the Three-Part Song-form. Consists of a Prin-

eipal Theme in alternation with three Subordinate Themes,

the third one of which is similar to the first Subordinate

Theme, See Table.

(FIRST DIVISION.)

Prin Theme . (ThreerPart Song-Form.)a

Bzm.| $H Ji

\ l£jtfftfZlztf4£=mJHf PT DTfj^ P

Partl.(Period)

p Jm sPart IUPeriod.)

simili.simili.

amjuu^t' ^s ?=f

simili.

r r iH.J>rr

i r n ^^ __==_

Part III.(dissolved into Transition.)

$r ^ pi r^r^-i^^f^pr :ir^r_^_^J4

transitional passage.

30

Ist. Sudord. TAeme. (Veriod. vrith extended re-

production.)

Reproduction.

Perf.Cad.||

1**J. • • » ff

??^? y $ i 1 tr»r if jjfiji1 J :3fcc—r-a=t

^ J»mm^smmmmmmmtransitional

W^i^r^^ i FlJM-M^rHextension.

Codetta. i_ jju £'h«

- Dominant of 0.

Repetition of Codetta

31

Prin.T7ieme. ( reduced to 2-Part Song-form.)

fe

fj\ '

ff-m I Pm m WWf Ictc.6--ffieasures i

\^ v1 <2_s • • •

miz±

Part I. (Period.) Cad. II Part II.( dissolved in-

j> r pt p i r ^ £^##'f » . . . » , rA+r^mto Transition.)

y l 7- etc 16'mcasures

^TTJ^T^SECOND DIVISION.2nrl. Sudorrt. T7teme. (3-Part Song-Form.)

^

Part I. (Period; two 8-measure Phrases.) F major,

&5 ^p^f^p

y r^bJ ^t^THjT^ \> B F B _J^gfr= =£f=f^EEgPart II. Period;(4 measure-Phrases.)

^ «M JJJ JJJl^ kfeEB?~^ r ffPS^j ?p* ^

fH""PartIII.(8-meas-

Perf.Cad.

P7 W^mJ. U »M^

urePhrases.)5Fr

r

3a

Reproduction of Parts Il.and III

f-rWjtjp^ i

i,» ff^^jUl \iMPart II. (IV).

ffl4JJ|i>

r g pj^^uUikE^s f i

Part IIL(V). (Dissolved'into Re -

£• hfk

-r^r^- f ,rr ir Vh^-T»-5-

transition.) transitional ex

f r.Tr rr-tU> J - l^frg«^*v

tension.

jr; y^. . • y

111*#—

—

«

.

pF^f ^^^^tDominant of C.

Codetta-group.

ri 17

i ^#ot^ ^?^pRetransition.

±=#j^##^ r5zaL-

r* f^te £

^ •# *

' ^^T^fJ""^^- I III 'I

33

RECAPITULATION OF lst.DIVISION.

Pinn. TJieme. (3-Part Song-form.) , 8~

jn^ J lL£Tf3 M4- Fi»-ft-P--T- :cto.^4 mcasuros.

Part I. Part II.

Part III. (dissolved into Transition.)

pr g i

J ^J ^ir-?rB"N»M^se r p

i'»^

transitional passage.

fcl

lst. Sudard. Subject. (as before.)

» »f p rfjJE fjj measures ;r7 * 7 ^

C major.

Codetta. Retransition

» J T? [XIetcll measures wm tgkas beforC

- CftszTz.

BEETHOVEN, Pianoforte Sonata Op.a,No.3, Finale.

See also Beethoven Op.2,No. 2,Finale; 0p.l3,Finale; 0p.38,Fi-

nale; Rondo Op. 51, No. 2.

i|i

34

THE SONATINE-ALLEGRO FORM.

Derived from the Third Rondo-form" by a process of

contraction and concentration. Instead of the "Alternation of a

Principal with various Subordinate Themes, is substituted the

"Union of Principal and one Subordinate Theme 'on an equal

footing. A broad expansion of the Twb-Part Song-form.

Closely related in design to the Second Rondo-form. Consists

of a Principal Theme, Transition, Subordinate Theme (and Co

dettaj as "Exposition" followed (after a brief Interlude or Re-

transition.) by the Recapitulation." See Table.

Ex.35

Introduction

Andante.

EXPOSITION.

Prin. TJieme.

Phr.aPhr 9

^~Phr.3

Phr.4. (Transitional.)

Phr.6.

Phr.5.

Perf.

Cad.ii Subord.Theme. (Period-form.)

S: I

•': : j : *_-j

-d- -4- -4- 4-- m -4- 4-4--4 1-SE^

mm Per*5

V J . -I I 1 I• * d-d—d mw^Retransition.

k

RECAPITULATION.Prin.Theme. ( Group of Phrases . ) y

^ir^-^ogtffl^qPhr.l.

Phr.3;

mmmmmgimim(Transitional.)

Phr. 4.

Perf.Cad.Sufiord. Theme.

Phr.5.

iPeriod-form.)

B\> major.

lU.JJJJjJTTO^frfrrrri 1, ^MCad. 1] exte.nsion

Cad. Codetta

MENDELSSOHN, "Andante eantabile"for Pianoforte.

See also BEETHOVEN,Pianoforte Sonata Op.lO,No.l, Adagio.

SCHUBERT, Pianoforte Sonata No.4, Op 122, Andante.

36

THE SONATA-ALLEGRO FORM.

Evolved out of the Sonatine -Allegro form" by insert-

ing a raore or less elaborate Episode" or Development be -

tween the Exposition and its Recapitulation. A broad ex-

pansion of the Three-Part Song-form. Related in design

to the"Third Rondo-form." See Table.

EXPOSITION.

Prin.TJietne. (Double-Period.

Ex.36. a> TTrr~FvtQPhrase 1. A minor.

[j"ng3 a g0' \ f f ' P F \ f f-mmv -->.

j'

^i cjr^p^ &m =t=e mPhr.2.

Phr.3.

^r^Phr. 4. ( dissolved into Traosition .

)

Cad. Codetta.

37

_y£__Repetition of Codetta.

j_ « &-

extension.wmmJSE*

CadSu&ord. T7ieme. (Group of Phrases.)

— O -

{ m Wm ^\^mm

Phr.I. C major.

simile Phr. 2.

J1„~

n__ o S»

h «^^ 3t

simile Phr.3.

Perf.Cad„Code*ta L

simile.

Perf.Cad. ||Repetition

tr

________ SEE .i-..i.

etOi^ measuresj

Cad.||Codetta II. Cad.jjRepetition.

38

EPISODE Oft DEVELOPMENT.

%23 measures

Dominant of A

4 moasufgg;various Keys^

Dominant of A minor.

RECAPITULATION.Prin. T7ieme. (Double-Period.)

^pr^Phr.l& 2.

P ' p 1» ±*=*P* i f -f-£3

Phr. 3.

Phr. 4. ( dissolved into Transition

^WrrVrryfWPFi^Cad ||Codetta

riii4 otc . 5 measup*^

I 1 l

Cad.||

Sudord.T/tet/te. (Phrase-Group.)

A minor.

Cad. ||Codetta I. with its repetition.

* ^m^^-^^el^-H-moafiur-eSv eTo.IS ni ea>-.urp».

Cad.yCodetta II. with its repetition. (No separate Coda.)

WpSf ^m meto. 3 mea^ures .

MOZART, Pianoforte Sonata in A minor, Ist.movement.

See also: BEETHOVEN, Pianoforte Sonata Op.l4,N0.2,lst.move

ment. Op. 22, ist. movement . Symphonj No.6j Ist. movement

.

,,,

39

THE IRREGULAR DESIGNS.

The foregoing pages only contain examples of the Reg-

ular musical designs, arranged in progressive order, according

to their generally increasing dimensions , and along a line of

consecutive structural development. But a great number of

intermediate and irregular varieties of form exist whieh it is

needless to illustrate, inasmueh as they must necessarily ei-

ther admit of demonstration as modiiications of these Reg-

ular designs, or will evade demonstration altogether, as lack-

ing those elements of logical coherency which constitute the

vital and only condition of4

Form in musicarcomposition.

To these latter comparatively<(

for?rdess " designs belong: all

the Group-forms (of which one typical illustration is given in

Ex.i8); the Fantasie;the Potpourri,- and,as a rule, all so-called

Tone-poems,and Program -music generally. On the other hand,

those Irregular designs which nevertheless admit of analysis

according to the fundamental principles of musical logic, mayhe classified in the following four-fold manner.

1. As representing an AUGMENTATION of the design-

(Examples: Sonatine-allegro with additipnal recurrence of Prin-

cipal Theme at the end. Sonata-allegro with two sficcess-

ive Subordinate Themes. Any higher form with additional

Introduction, Interludes [e.g. the Tutti" of the Concerto] , or

independent Coda.

)

2. As representing an ABBREVIATION of the design. (Ex-

amples: Sonata-allegro in which the Prin.Theme is omitted after

the development;etc.)

3.As representing a DISLOCATION of the memhers of thedo-

sign. (Examples : A Development after the Prin.Theme instead of

before it. Any alteration of the arrangement of members in the

Recapitulation.)

4. As representing a MIXTURE of Rondo and Sonata-alle-

gro designs.(Examples: The Snd.and 3rd. Rondo-form with a

Development instead of the 2nd. Subord.Theme. Sonata-allegro

design with Rew middle Theme instead of development.)

40

2,

4.

6a,

s.

9.

DIAGRAM-TABLE.

-

—

i\ Sirnple Phrase.

——1|

—*—1| Repeated Phrase ( same Cadence.)

a b«—-II

Period (different Cadence.)

——u—-—1|—

1| Period, rep . Consequent ( same Cad.

)

*. yl bLv—^—lf Period, Consequent-Group ( different Cad.)

a c etc- Group of Phrases.

1 V- f

a b „ a b—2—|j_*— °—1|Repeated Period (same Cadence.)

al-

v

bL, y

aa- y-^HI Double-Period ( different Cadence.)

-^—-y—

-

|f—^—y——1|2-Part Song-form (equal Parts.)

2-Part Sonfr-form

( differentiatedParts.)

|H . *H1|

3-Part Song-form ( Incipient Grade.)

J ilU .DI II 3-Part SoneMorni (fiilh

^d) ^ 1

developed.)

Prin. Song. Tno. IT. S.(daCapo.) „ . , „ .

~u~~U 1|1|. ..

ii^-;—1|— i—-^i Son&fonn wnh Trn».

10.

11.

13.

13.

14.

4«

Prin.Th.. ..Subord.Th. ..Prin.Th. „Coda.,

_. - _ _ _

1| [|First Rondo-form.

(Trans.) (Retrans.)

Ist.Division. \

Pr.Th. S.Th.I. Pr.Th. v.S.Th.II. Pr.Th.,

"",

fl |Coda. IISecond Rondo-form.

(Trans.)(Retrans.) (Trans.) (Retrans.)

lst.Division. Middle Div. Recapitulation.

Pr.Th. S.Th. L _ Pr.Th> .^.Th. IL^ „^rJ_.

, S.Th. I. , Pr.Th .

.

,'Jjjjjj!}

II II-Coda.||K°ndo -

form.

Exposition. \ / Recapitulation.

Pr.Th. S.mlSdet-ypr.Th. S.Th. (Codet- Sonatine alle-

1 I ta.) I 1 .- > I Coda. II

( Retr.ans.)

ta.) gro form.

Pr.Th. ..S.Th. Codet-

Exposition.

DevelopmentX Pr.Th . S .Th . Codet -

II Coda.\\

Jonata-Episode. Recapitulation. allegTo

form.

-H-

EMBRYO AND BASIS OF ALL MUSICAL FORM..

The Phrase.

BI-PARTITE FORMS.

Period. Double-Period . Two-Part Song-form. SecoridRondo-

form. Sonatine-allegro form.

TRI-PARTITE FORMS.

Three-Part Song-form. Song--form with Trio. First Rorido

form. Third Rondo-form. Sonata-allegro form.

THE END.

42

INDEX.

THE PHRASE. 5

Division of the Phrase into Melodic Members. 6

Location of the Cadence. 6

The Repeated Phrase . 8

THE PERIOD (orBouble-Phrase):

Parallel construction 8

Opposite or Contrary construction 9

Contrasting construction. . 9

The Period with repeated Consequent Phrase 10

The Period with Consequent-Group 10

The Group of Phrases. 11

The Repeated Period. 11

THE DOUBLE-PERIOD (or Quadruple -Phrase)

:

Parallel construction 12

Contrasting construction. 13

The Double-Period extended to 5 or more

Phrases. 18

The Codetta. U

43

THE BI-PARTITE OR TWO-PART SONG-FORM:

Primary !design 15

Two-Part Song-form with differentiated

Parts. 15

THE TRI-PARTITE OR THREE-PART SONG-FORM:

Incipient grade. 17

Incomplete (or abbreviated

)

17

Ordinary Complete form,primary species ... 18

Fully developed Three-Part Song-form 19

Repeated Parts. 20

THE FIVE-PART SONG-FORM: 21

THE SONG-FORM WITH TRIO: 23

The Song-form with Two Trios _._23

THE FIRST RONDO-FORM :..... 24

THE SECOND RONDO - FORM

:

,. 26

THE THIRD RONDO - FORM

:

:._ 29

THE SONATINE-ALLEGRO FORM: ._._____ ...34

THE SONATA- ALLEGRO FORM: „.36

THE IRREGULAR DESIGNS: ...39

DIAGRAM-TABLE: 40

Embryo and Basis of all Musical form._____ 41

Bi-Partite forms. 41

Tri -Partite forms 41

DATE DUE

AUG -5 2003

DEMCO 38-297