A third method consists in expanding the period into a double-period (precisely as the phrase was lengthened into a double-phrase, or period), by avoiding a perfect cadence at the...
We learned, in the preceding chapter, that the Two-Part Song-form is a composition of rather brief extent, with so decisive a perfect cadence in its course as to divide it, in a ma...
The possibility of deviating from the fundamental standard of phrase-dimension (four measures) has been repeatedly intimated, and is treated with some detail in the text preceding...
Procure the Jugend Album, op. 68, of Schumann, and mark the phrases in Nos. 1, 2, 4, 5, 6, 7, 8, 9, 13, 18, 20, and others. In the given numbers the phrases are all regular,--four...
In the Sonatine-form, or the smaller variety of the sonata-allegro designs, this Exposition (or first Division) is followed at once,--or after a few measures of interlude, or re-tr...
This first Division, the statement, compounded of two themes and a recurrence, is in itself a complete (though probably very concise) First Rondo-form; therefore, in order to confi...
This corresponds, theoretically, to the da capo in the Song with Trio, or to the variated recurrence of the Principal theme in the First Rondo-form. But it is more than either of t...
As described in the preceding chapter, the Second Rondo-form contains two digressions from the Principal theme, called respectively the first and second Subordinate themes. It bear...
So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence ther...
The smallest unit in musical composition is the single tone. The smallest cluster of successive tones (from two to four or five in number) that will convey a definite musical impre...
In this form of composition there are three digressions from the Principal theme. But, in order to avert the excess of variety, so imminent in a design of such length, the digressi...
In some, comparatively rare, instances, the arrangement of perfect cadences is such that,--coupled with independence of melodic formation and character,--the composition seems to s...
Any deviation from the formula of the perfect cadence--either in the choice of some other than the tonic chord, or in the omission of the keynote in either (or both) of the outer p...
Any succession of single tones is a melody. If we strike the keys of the piano with two or more fingers of each hand simultaneously, we produce a body of tones, which--if they are...
This, as has already been stated, is a somewhat longer section, compounded of two or more figures. Being thus longer, the breaks or spaces between motives are generally more emphat...
As much as opinions and beliefs may differ, among music critics, as to the necessity of Form in music, and the conditions of its existence, no reasonable objection can be taken to...
A measure is a group of beats. The beats are added together, in measures, to obtain a larger unit of time, because larger divisions are more convenient for longer periods; just as...
The first and simplest method is to increase the length of the period-form by the process of repetition; repetition of the entire sentence, or of any one--or several--of its compon...
The fully developed Sonata-allegro form is the design in which the classic overture and the first movement of the symphony, sonata and concerto are usually framed. The student must...
The repetition of the Second and Third Parts together is sometimes subjected to changes that are almost radical in their nature, and therefore appear to modify the form itself. The...
A cadence is the ending of a phrase. Strictly speaking, every interruption or break between figures, and between all melodic members, is a cadence; but the term cadence is applied...
The Period-form is obtained by the addition of a second phrase to the first. It is therefore, in a sense, a double phrase; that is, it consists of two connected phrases, covering e...
In its ordinary, normal condition the phrase is a musical sentence four measures in length. But this rule has its necessary exceptions; necessary because, as we have learned, the p...
The other cause of modified phrase-dimension is one of extreme importance, as touching upon the most vital process in musical composition, namely, that of phrase-development. Setti...
Analyze the following examples of the Three-Part Song-form. The first step, here again, is to fix the end of the First Part; the next, to mark the beginning of the Third Part, by d...
A second method consists in enlarging the period-form to three phrases, by the same process of addition which, as explained in the preceding chapter, transforms the single phrase i...
Time is the same thing in music that it is everywhere else in nature. It is what passes while a piece of music is being played, sung, or read. It is like the area of the surface up...
Part Two, as intimated, is likely to begin with a more or less palpable change of melodic character,--by no means is this always the case. It may be designed, also, as period, doub...
The statement of the principal idea; the presentation of the melodic and rhythmic contents of the leading thought, out of which the whole composition is to be developed. It is gene...
When Part I,--or Parts II and III together,--are to be repeated without any changes, it is customary to employ the familiar repetition-marks (double-bar and dots); with first and s...