The Sonatine form is the smaller variety of two practically kindred designs, known collectively as the Sonata-allegro forms. In order to obtain a clear conception of its relation t...
Analyze the following examples of the enlarged Three-Part Song-form. As before, the form of each Part should be defined, and introductions and codas (if present) properly marked. A...
Analyze the following examples of Irregular form. They are classified, as in the text:-- 1. Beethoven, sonata, op. 81, first movement. Beethoven, sonata, op. 49, No. 2, first movem...
The second division of the sonata-allegro form is devoted to a more or less extensive and elaborate manipulation and combination of such figures, motives, phrases or Parts of the E...
Analyze the following examples, as usual. Review the directions given in Lesson 13:-- Beethoven, pianoforte sonatas: op. 10, No. 3, last movement. Op. 14, No. 2, last movement (cal...
The student may now indulge in independent research, in the careful analysis of the following works: The pianoforte sonatas of Haydn (every movement of each). The sonatas for piano...
Analyze the following examples. Locate the cadences; compare the phrases and define the degrees of Unity and of Variety exhibited in the melody, or elsewhere; and mark such irregul...
There is one method of checking the current of the melodic phrase with such emphasis and determination as to convey the impression of finality; either absolute finality, as we obse...
In a former chapter (XIII) the Three-Part form was defined as the type of perfect structural design, upon which every larger (or higher) form is based. Nowhere is the connection mo...
As distinguished from the sonatine-form, with its two Divisions, this larger species, based upon precisely the same structural idea, has three Divisions,--the Exposition, a middle...
Almost every musical composition of average (brief) dimensions, if designed with the serious purpose of imparting a clear formal impression, will admit of division into either two...
This consists chiefly in the omission of the Principal theme after the Development (that is, in beginning the Recapitulation with the Subordinate theme). Other contractions, by omi...
Finally,--there exists another, third, condition, besides those mentioned at the head of this chapter, whereby a phrase may assume an irregular dimension; not by doubling or dividi...
Write careful and complete answers to the following questions:-- 1. What is Time, as applied to music? 2. What is tempo? 3. Give a full definition of the beat. 4. By what time-valu...
Analyze the following examples. They are not classified; therefore the student must himself determine to which of the above three species of enlargement each belongs: Mendelssohn,...
Next to the recognition and comparison of the different melodic sections of a composition (in a word, the melodic delineation of the whole), the most significant task in music anal...
The quality and extent of the changes that may be made, in order to enrich the composition without altering its structural design, depend, as has been intimated, upon the judgment...
The phrase is the structural basis of all musical composition. By this is meant, not necessarily the single phrase, but the phrase in its collective sense. The phrase is, after all...
The structural basis of the Rondo, and other larger or (as they are sometimes called) higher forms, is the Subject or Theme. The form and contents of this factor, the Theme, are so...
The division which follows, as second song-form, was formerly called the Trio, and it has retained the name in the majority of examples of this form, although the old custom that g...
The use of the various forms of composition, that is, their selection with a view to general fitness for the composer's object, is, primarily, simply a question of length. The high...
The student is to study this chapter thoroughly, and write answers to the following questions; if possible, without reference to the text:-- 1. What does Form in music mean? 2. Def...
The recurrence and corroboration of the original statement; the reproduction of Part I, and therewith the fulfilment of the important principle of return and confirmation. The repr...
Despite the many points of resemblance between the various forms to which our successive chapters have been devoted,--the natural consequence of a continuous line of structural evo...
The presentation of the thematic factors, the statement or Exposition of the two themes and codetta, is made exactly as in the sonatine-form, though probably upon a broader scale....
This, the third Division, is, as usual, a review of the original presentation of the thematic material,--the recurrence of the Exposition. It is sometimes a nearly exact reproducti...