The cadence-chord is the dominant harmony (root e) in the key of A minor; neither of the two upper tones on the first and second beats is the root of the chord; it is quite sufficient that the root appears as lowermost tone, and even this is not necessary. The "point of repose" is shifted to the second beat, in the manner so amply illustrated in the examples of the disguised cadence; the methods we have seen may be applied to any kind of cadence.

See also Ex. 18; the key, and therefore the chord, at the semicadence is the same as that of the above example (simply major instead of minor).

Also Ex. 23, No. 4; the semicadence chord is the dominant harmony of E-flat major; it is skillfully disguised. Ex. 25, dominant harmony of A major. Ex. 26, last four measures; the semicadence is made upon the dominant of C minor.

In the following:



the semicadence in the fourth measure is made with the dominant harmony of C major (the tones g-b-d-f); it is so disguised as to remove all signs of interruption; but the chord prevails throughout the measure, and (as may be seen by reference to the original, op. 68, No. 3) the next measure—the fifth—exactly corresponds to the first; this indicates another "beginning," and proves our "ending."

But though the dominant is thus generally employed at the semicadence, it is by no means the only available chord. It must be remembered that every cadence which does not fulfil the definite conditions of the perfect cadence, is a semicadence. Examine each of the following, and determine why the point of repose is each time a semicadence:—Ex. 1; Ex. 9, No. 3; Ex. 14, No. 2, fourth measure; Ex. 14, No. 3, fourth measure; Ex. 19; Ex. 22, Nos. 3 and 4; Ex. 23, No. 2, fourth measure.

The distinction between the two species of cadence becomes most subtle when the tonic harmony is chosen for the semicadence, but with some other part of the chord than the keynote as uppermost (or lowermost) tone. This might appear to lighten the perfect cadence too immaterially to exercise so radical an influence upon the value (weight) of the interruption. The keynote, however, is so decisive and final in its harmonic and melodic effect—everywhere in music—that its absence more or less completely cancels the terminating quality of the cadence-chord; in other words, the force of a tonic cadence depends upon the weight and prominence of the keynote.

For example:



The first, second, and third of these cadences is made upon the tonic harmony, on the accent of each successive fourth measure. But they are only semicadences, as the melody (uppermost part) rests upon the Third of the chord, c, instead of the keynote; this substitution of c for a-flat is sufficient to frustrate the perfect cadence and diminish it to a transient interruption. The final cadence is perfect, however, because there the uppermost tone is the keynote. See also Ex. 21; and Ex. 17, No. 2, fourth measure (semicadence, with a instead of f as principal tone in upper part, and disguised by the continuation of rhythmic movement to the end of the cadence-measure). In Ex. 17, No. 1, the cadence is made with the tonic harmony of G minor, but with the Third (b-flat) at the top.

LOCATING THE CADENCES.—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 analysis is the locating and classifying of the cadences. They are the angles of the design, so to speak; and have the same bearing upon the sense of the music as punctuation marks have in rhetoric. Intelligent and effective phrasing, adequate interpretation of the composer's purpose, is impossible without a distinct exposition of the cadences,—if not of the inferior points of interruption between motives, also.

The best general rule for locating cadences is, probably, to look for them in the right place, namely, in the fourth measure from the beginning of each phrase. The fairly regular operation of this rule has been verified in Lesson 4. But exceptions have also been seen (in Ex. 17), and many more are certain to be encountered, simply because the principle of Unity (exemplified by the prevalence of the four-measure standard) must interact with the principle of Variety (exemplified in all phrases of irregular extent).

Therefore, the more reliable method, as already stated, is to define the beginning of the following phrase,—for each successive beginning involves a foregone cadence, of course. No very definite directions can be given; experience, observation, careful study and comparison of the given illustrations, will in time surely enable the student to recognize the "signs" of a beginning,—such as the recurrence of some preceding principal member of the melody, or some such change in melodic or rhythmic character as indicates that a new phrase is being announced.

LESSON 5. Analyze, again, Schumann, Jugend Album (op. 68), No. 6, locating every cadence and defining its quality,—as perfect cadence or semicadence. Also Nos. 22, 24, 26, 28, 30, 33, 14, 15, 16, 3,—and others. As a curious illustration of the difficulty which may sometimes attend the analysis of phrases and cadences, the student may glance at No. 31 (Kriegslied, D major); a more baffling example will rarely be found, for the piece abounds in irregular phrase-dimensions, and cadences that are disguised to the verge of unrecognizability; the only fairly reliable clue the composer has given lies in the formation of the melodic members (the clue intimated in the explanatory text following Ex. 35).

Also Mendelssohn, Songs Without Words, No. 34 (first phrase six measures long); No. 40; No. 18.

Also Beethoven's pianoforte sonata, op. 22, third movement (Menuetto); op. 28, second movement (Andante).

Again the student is reminded that it is not only permissible, but wise and commendable, to pass by all confusing cases; without being careless or downright superficial, to observe a certain degree of prudent indifference at confusing points, trusting to that superior intelligence which he shall surely gain through wider experience.



CHAPTER VI. IRREGULAR PHRASES.

CAUSES.—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 Example 17, which should be reviewed. It is now necessary to examine some of the conditions that lead to this result.

The causes of irregular phrase-dimension are two-fold; it may result

(1) from simply inserting an additional cadence, or from omitting one. Or

(2) it may be the consequence of some specific manipulation of the phrase-melody with a view to its extension or expansion, its development into a broader and more exhaustive exposition of its contents.

THE SMALL AND LARGE PHRASES.—If a cadence is inserted before it is properly due, it is almost certain to occur exactly half-way along the line toward the expected (regular) cadence,—that is, in the second measure. This is likely to be the case only when the tempo is so slow, or the measures of so large a denomination, that two of them are practically equal to four ordinary measures. By way of distinction, such a two-measure phrase is called a Small phrase. For example:—



There is no reasonable doubt of the semicadence in the second measure, because enough pulses have been heard, up to that point, to represent the sum of an ordinary phrase. If this were written in 6-8 measure (as it might be), it would contain four measures. See, also, Song No. 22 of Mendelssohn,—9-8 measure, adagio tempo; the phrases are "Small"; note particularly the last two measures. The same is true in No. 17. About Schumann, op. 68, No. 43 (Sylvesterlied), there may be some doubt; but the measures, though of common denomination, contain so many tones, in moderate tempo, that the effect of a cadence is fairly complete in the second measure.

If, on the other hand, one of the regular cadences is omitted,—owing to the rapidity of the tempo, or a small denomination of measure,—the phrase will attain just double the ordinary length; that is, eight measures. An eight-measure phrase is called a Large phrase. For illustration:—



There is not the slightest evidence of repose or interruption in the fourth measure, nor of a new beginning in the fifth, wherefore the cadence is not expected until four more measures have passed by. The inferior points of repose in the upper parts, at the beginning of the 5th, 6th and 7th measures, serve only to establish melodic, or rather rhythmic, variety, and have no cadential force whatever. See Mendelssohn, Song No. 8; the first cadence appears to stand in the eighth measure; the tempo is rapid and the measures are small; it is obviously a large phrase. The phrase which follows is regular, however; there is a cadence in the twelfth measure, thus proving that Large phrases may appear in company with regular phrases, in the same composition. In other words, the omission of an expected cadence (or the insertion of an additional one) may be an occasional occurrence,—not necessarily constant. See, again, No. 22 of the Songs Without Words; the first and second phrases are small; the third phrase, however (reaching from measure 6 to 9 without cadential interruption), is of regular dimensions.

THE PRINCIPLE OF EXTENSION.—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.

Setting aside all critical discussion with reference to the question, "What is good music?" and simply accepting those types of classic composition universally acknowledged to be the best, as a defensible standard (to say the least), we find that such a page of music exhibits the pursuit of some leading thought (melodic motive or phrase), with precisely the same coherence and consistency, the same evidence of determined aim, as is displayed in the creation of a forcible essay, a masterly poem, an imposing architectural plan, or any other work of art that betrays intelligence and a definite, fixed, purpose. This is no more nor less than might be expected from the dominion of the law of Unity.

The equally inflexible demands of Variety are satisfied by presenting this self-same leading thought in ever new and changing aspects,—not by exchanging the thought itself for a new one at each successive angle. This latter faulty process would naturally lead to a conglomeration of impressions, baffling comprehension and jeopardizing real enjoyment.

In a classic page of music we perceive that each successive unit grows, more or less directly, out of those which go before; not so directly, or with such narrow insistence as to produce the impression of sameness and monotony, but with such consistency of design as to impart a unified physiognomy to the whole. Hence, it will often be found that every melodic figure, during a certain section (if not the whole) of a composition, may be traced to one or another of the figures which characterized the first phrase, or the first two or three phrases, of the piece. This was emphasized by our reference, near the end of the first chapter, to the 8th Song Without Words of Mendelssohn. If the student, in analyzing the melody of that composition, will endeavor to penetrate some of the clever disguises employed by the composer (for the sake of Variety), he will find the whole piece reducible to a very few melodic figures, announced at or near the beginning. See also No. 45 (C major), No. 36, No. 26. Also Schumann, op. 68, No. 7, No. 8, No. 18, No. 23. Also Beethoven, pianoforte sonata, op. 10, No. 2, last movement; op. 26, last movement.

In musical composition this process is known as thematic development, and it generally extends over the whole, or a greater part, of the piece.

Its operation on a smaller scale, with more limited reference to one phrase alone, effects the development of the phrase by extension.

The process of extension or expansion, by means of which the phrase usually assumes a somewhat irregular length, consists mainly in the varied repetition of the figures or motives that it contains; and the continuity of the whole, as extension of the one phrase, is maintained by suppressing the cadence—suspending all cadential interruption—during the lengthening process. For example:



These six measures result from a repetition (variated) of the third and fourth measures of the original—regular—four-measure phrase. A cadence is due in the fourth measure, but it is not permitted to assert itself; and if it did, its cadential force would be neutralized by the entirely obvious return to (repetition of) the motive just heard. Further:—



There is no cadence in the fourth measure,—the current of the melody obliterates it and hurries on, voicing the last measure again and again until it dies away in the tenth measure, where a cadence ends it. That it should be the tenth measure is purely accidental; the number of measures is of little account in the act of extension; here, it was continued until a convenient place was found (with reference to chord and key) for the cadence. Further:—



Measures 1, 2, 3 and 8 constitute the original regular four-measure phrase.

The following regular phrase (to be found in the last movement of Beethoven's pianoforte sonata, op. 28):—



is immediately followed by this lengthy and elaborate extension:—



The portion marked b is a complete repetition, with quaint variation, of the original four-measure phrase, marked a in Ex. 42; c is a repetition of the last figure (just one measure) of the phrase, with the melodic parts inverted, or exchanged; d and e are a literal repetition of the two preceding measures—(c) and c; f is another recurrence of (c), with still another inversion of the melodies; g repeats e an octave higher; and h is nothing more or less than a curious repetition of g, in longer tones, and in reversed direction. Distinct cadential interruption is carefully avoided after the original phrase has been announced, that is, throughout Ex. 43,—which is the significant proof (borne out by the manifest identity of the melodic members) that these measures form part and parcel of the original phrase, as extension or development of it, and not a new phrase. The total length is sixteen measures, developed thus out of the original four.

For an exhaustive explanation of phrase-extension, with all the technical details, the student is referred to my HOMOPHONIC FORMS, Chapter III.

* * * * * *

Another method of extending a phrase consists in prefacing a measure or two of purely introductory material; it is, therefore, rather anticipation than prolongation, and is composed most commonly of the figure of the accompaniment, announced briefly before the actual phrase-melody begins.

This is shown very clearly in the first measure of the 22d Song Without Words; also in the first measure of No. 7, No. 31, No. 42, No. 40, and others; the first two measures of No. 34, and No. 1; the first three measures of No. 19, No. 26, and No. 37,—and needs no further illustration. It emphasizes the necessity of vigilance in defining the correct starting-point of the first phrase; for a mistake at the beginning may interfere seriously with the locating of the cadences (according to our fundamental four-measure rule). For instance, in No. 42 the cadences do not fall in the 4th, 8th, 12th measures—and so on—but in the 5th, 9th, 13th, 17th, from the very beginning of the piece.

When the introductory passage is longer than three measures, it probably constitutes a complete phrase by itself, with its own cadence; in which case, of course, it must not be analyzed as "extension." For example, at the beginning of No. 29; still more apparently at the beginning of No. 28, No. 41, and others.

* * * * * *

INHERENT IRREGULARITY.—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 dividing its length (as in the large and small phrases) nor by the processes of extension,—but by an arbitrary and apparently incalculable act of melodic liberty,—by allowing the melody to choose its own time for the cadential interruption. This comparatively rare occurrence is illustrated in Ex. 17, No. 1 (five-measure phrase), and Ex. 17, No. 2, second phrase (six measures long). It is true that in each of these cases the "extra" measures might be accounted for as "extension by modified repetition,"—for instance, in No. 1 the second measure might be called a reproduction (or extension) of the first measure. But cases will be encountered where a phrase of three, five, six, or seven measures will admit of no such analysis. In such instances the student is compelled to rely simply upon the evidence of the cadence. As was advised in the context of Ex. 17, he must endeavor to define the phrase by recognition of its "beginning" and "ending," as such; or by exercising his judgment of the "cadential impression." See also Ex. 48, second phrase (six measures).

See Schubert, pianoforte sonata No. 1 (A minor, op. 42) Scherzo-movement; first 28 measures, divided into 5 phrases,—as demonstrated by the melodic formation—of 5, 5, 5, 7 and 6 measures. Also Schubert, Impromptu, op. 90, No. 3, measures 42 to 55 (phrases of 5, 5 and 4 measures.)

LESSON 6. Analyze the following examples, locating the cadences and defining their value (as perfect or semicadence); and determining the nature of each irregular phrase (as small, large, or extended phrase):

Beethoven, pianoforte sonata, op. 22, second movement (Adagio), first 30 measures.

Beethoven, pianoforte sonata, op. 28, Scherzo-movement.

Beethoven, pianoforte sonata, op. 14, No. 3, Menuetto.

Mendelssohn, Songs Without Words: No. 4, first 5 measures.

No. 46, last 9 1/2 measures.

No. 42, last 15 measures.

No. 45, last 11 measures.

No. 12, last 12 measures.

No. 14, last 11 measures.

No. 36, last 22 measures.

No. 37, last 11 measures.

Beethoven, pianoforte sonata, op. 27, No. 2, last movement; measures 7 to 23 from the second double-bar.

Beethoven, pianoforte sonata, op. 28, first movement; from the double-bar (near the middle of the movement) measures 21 to 94 (fermata symbol); in this extraordinary specimen of phrase-development, the original four-measure phrase yields seventy-four successive measures, with very few cadences to divide it even into sections. Same sonata, last movement, last eighteen measures.



CHAPTER VII. THE PERIOD-FORM.

PHRASE-ADDITION.—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, only a unit; and the requirements of Variety cannot be wholly satisfied by the mere development and extension of a single phrase, except it be for a certain limited section of the piece, or for a brief composition in small form (like Schumann, op. 68, No. 8).

The act of addition does therefore enter into the processes of music-writing, as well as extension. Phrase may be added to phrase, in order to increase the primary material, and to provide for greater breadth of basis, and a richer fund of resources. The condition to be respected is, that such aggregation shall not become the ruling trait, and, by its excess, supplant the main purpose,—that of development. That is, it must be held rigidly within the domain of Unity. The student of the classic page will therefore expect to find a more or less marked family resemblance, so to speak; prevailing throughout the various phrases that may be associated upon that page.

Each additional phrase should be, and as a rule will be, sufficiently "new" in some respect or other to impart renewed energy to the movement; but—so long as it is to impress the hearer as being the same movement—there will still remain such points of contact with the foregoing phrase or phrases as to demonstrate its derivation from them, its having "grown out" of them.

This process of addition (not to be confounded with the methods of extending a single phrase, illustrated in the preceding chapter) is exhibited first, and most naturally, in the so-called Period-form.

THE PERIOD.—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 eight ordinary measures, or just double the number commonly assigned to the single phrase.

Each one of these phrases must, of course, have its individual cadence, or point of repose; the first—called the Antecedent phrase—has its cadence in the fourth measure, and the second—called the Consequent phrase—in the eighth measure. The effect of the Period-form is that of a longer sentence interrupted exactly in the middle,—not unlike a bridge of two spans, resting on a central pier. But, precisely as the central pier is only an intermediate point of support, and not terra firma, so the ending of the Antecedent phrase is never anything more weighty than a semicadence, while the definite, conclusive, perfect cadence appears at the end of the Consequent phrase,—or of the entire period-form.

The reason for this distinction of cadence is obvious. A period is not two separate phrases, but two related and coherent phrases which mutually balance each other. The Consequent phrase is not merely an "addition" to the first, but is its complement and "fulfilment." The two phrases represent the musical analogy of what, in rhetoric, would be called thesis and antithesis, or, simply, question and answer. In a well-constructed period the Antecedent phrase is, therefore, always more or less interrogative, and the Consequent phrase responsive, in character.

For illustration (Mendelssohn, No. 28):—



The co-operation, or interaction, of the principles of Unity and Variety, is nowhere more strikingly shown than in the formulation of the musical period. Either element has the right to predominate, to a reasonable degree, though never to the exclusion or injury of the other. In the above example, the principle of Unity predominates to a somewhat unusual extent:—not only the figures (marked 1-2-3-4), and the motives (a-b), are uniform, in the Antecedent phrase itself, but the melody of the Consequent phrase corresponds very closely throughout to that of the Antecedent, only excepting a trifling change in the course (marked N. B.), and the last few tones, which are necessarily so altered as to transform the semicadence into a perfect cadence. It is this significant change, at the cadence, which prevents the second phrase from being merely a "repetition" of the first one,—which makes it a "Consequent," a response to the one that precedes.

Further (Mendelssohn, No. 23):—



In this example also, the Consequent phrase is a complete affirmation of its Antecedent, agreeing in its melodic form with the latter until the cadence is nearly due, when an extra measure is inserted (as extension), and the usual digression into the necessary perfect cadence is made. The condition of Unity predominates, but a noticeable infusion of Variety takes place.

Further (Mozart, pianoforte sonata):—



Here, again, the condition of Unity prevails, but with a still greater infusion of Variety; the melody of the Consequent phrase resembles that of the Antecedent in every detail; the rhythm is identical, and it is evident that the second phrase is designed to balance the first, figure for figure, the principal change being that some of the figures are simply turned upside down (compare the places marked N. B.). The semicadence rests upon a dominant chord (fifth-step) of D major; the perfect cadence upon the same chord, it is true, but as tonic harmony of A major, with keynote in the extreme parts. Being a keynote, though not in the original key, it is valid as perfect cadence.

Further (Beethoven, pianoforte sonata, op. 13):—



In this example, the condition of Variety predominates decidedly. The Consequent melody differs totally from the Antecedent, even in rhythm, and the necessary portion of Unity is exhibited only in equality of length, uniformity of accompaniment, and similarity of character (tonality, and general harmonic and rhythmic effect). Observe the diversity of melodic extent, in the two phrases, in consequence of the preliminary tone borrowed from the semicadence for the Consequent phrase. Greater variety than here will rarely be found between two successive phrases that are intended to form the halves of one coherent period.

For more minute technical details see the HOMOPHONIC FORMS, Chapter V.

LESSON 7. 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 irregularities of forms (or extensions) as may be found:—

Mendelssohn, Songs Without Words, No. 35, measures 5 1/2-13. (By 5 1/2 is meant the middle of the fifth measure, instead of its beginning.)

No. 45, first 8 measures.

No. 29, measures 4 1/2-12.

No. 14, " 1-8.

No. 34, " 1-10.

No. 18, " 1-9; 10-17.

No. 9, " 3 1/2-7.

No. 27, " 5-12.

Schumann, op. 68, No. 3, measures 1-8; 9-16.

No. 5, measures 1-8; 9-16. (Do not overlook the preliminary tones which precede the first measure.)

The first eight measures of Nos. 6, 7, 8, 9, 11, 12, 15, 22, 23, 24, 26, 30, 32, 39. Also Nos. 13 and 28, first ten measures.

Beethoven, pianoforte sonatas: op. 2, No. 1, Adagio, measures 1-8. Same sonata, third movement, "Trio," measures 1-10.

Op. 2, No. 2, Largo, measures 1-8; also Scherzo, measures 1-8; also Rondo, measures 1-8.

Op. 2, No. 3, measures 1-13; also Scherzo, measures 1-16; also last movement, measures 1-8.

Op. 10, No. 1, Finale, measures 1-8; and measures 16 1/2-28.

Op. 10, No. 3, measures 1-10; also Largo, measures 1-9; 9 1/2-17; also Menuetto, measures 1-16; also Rondo, measures 1-9.

Op. 14, No. 2, measures 1-8; also Andante, measures 1-8; also Scherzo, measures 1-8.

After analyzing these examples, the student may venture to define the periods in other compositions, classic or popular, especially such as he may chance to be learning.



CHAPTER VIII.—ENLARGEMENT OF THE PERIOD-FORM.

The processes of extension and development are applied to the period in the same general manner as to the phrase. The results, however, are broader; partly because every operation is performed on a correspondingly larger scale, and partly because the resources of technical manipulation increase, naturally, with the growth of the thematic material.

Among the various methods adopted, there are three, each significant in its own peculiar way, that provide sufficiently exhaustive directions for the student of structural analysis.

ENLARGEMENT BY REPETITION.—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 component members, in a manner very similar to that already seen in connection with the single phrase (Chap. VI, Ex. 39, etc.), and under the same conditions of Unity and Variety; that is, the repetitions may be nearly or quite literal, or they may have been subjected to such alterations and variations as the skill and fancy of the composer suggested.

An example of complete repetition (that is, the repetition of the entire period), with simple but effective changes, may be found in Beethoven, pianoforte sonata, op. 13, Adagio, measures 1 to 16. Examine it carefully, and observe, among other details, the treatment of the perfect cadence (in the 8th measure). See also, Song Without Words, No. 27, measures 5 to 20.

The repetition of one of the two phrases is exhibited in the following (Mozart, sonata No. 14):—



The Antecedent is a regular four-measure phrase, with semicadence (made on the tonic chord, but with 3d as uppermost tone); the Consequent is a six-measure phrase, with perfect cadence, and is repeated, with partial change of register. The whole is a "period with repeated Consequent."

A somewhat elaborate example of extension by detail-repetition is seen in the following (Chopin, Mazurka No. 20, op. 30, No. 3—see the original):



These sixteen measures are the product out of eight measures, by extension; that is, they are reducible to a simple period-form (as may be verified by omitting the passages indicated under dotted lines), and they represent in reality nothing more than its manipulation and development. The original 8-measure period makes a complete musical sentence, and was so devised in the mind of the composer, without the extensions. The method of manipulation is ingenious; observe the variety obtained by the striking dynamic changes from ff to pp; and, hand in hand with these, the changes from major to minor, and back (as shown by the inflection of b-flat to b-double-flat). These are first applied to members only, of the Antecedent, as indicated by the brackets a and b, and then to the entire Consequent phrase. Observe, also, that in the repeated form of the latter, the rhythm is modified to a smoother form, during two measures. The result here achieved is constant Unity and constant Variety from almost every point of view, admirably counterbalanced.

THE PHRASE-GROUP.—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 into the double-phrase or period. In order to preserve the continuity of the three phrases, it is evident that the second phrase must also close with a semicadence,—the perfect cadence being deferred until the last phrase is concluded.

{78}

This form, be it well understood, does not include any of the triple-phrase designs which may result from merely repeating one or the other of the two phrases that make a period, as is shown in Ex. 48. All such phrase-clusters as are reducible to two phrases, because nothing more than simple repetition has been employed in their multiplication, should always be classed among ordinary periods; for two successive phrases, if connected (that is, unless they are purposely broken asunder by a definite perfect cadence at the end of the first phrase) always represent the analogy of Question and Answer.

The enlarged form we are at present considering consists of three different phrases, as a general rule; probably very closely related, or even distinctly resembling one another; but too independent, nevertheless, to constitute actual repetition, and therefore to admit of reduction to two phrases. For this very reason it cannot justly be called "period" at all, but takes the name of "phrase-group." An illustration by diagram will make the distinction clear:—



Observe that the classification depends upon the number of phrases,—upon the melodic identity of the phrases,—and upon the quality of the cadences.

No. 1 is illustrated in Ex. 15; No. 2, in Ex. 42 and the first four measures of Ex. 43 (cadence not perfect, it is true, but same phrase-melody and same cadence); No. 3 is seen in Ex. 44 (phrase-melody similar, but cadences different)—also in Ex. 47; No. 4 is seen in Ex. 48; No. 5 is rare, but an example will be discovered in Lesson 8; No. 6 is illustrated in the following (Grieg, op. 38, No. 2):—



Comparing this sentence with Ex. 48, we discover the following significant difference: There, no more than two phrases were present; the whole sentence was reducible to two phrases. Here (Ex. 50), however, no such reduction is possible; three sufficiently similar—and sufficiently different—phrases are coherently connected, without evidence of mere repetition; it is the result of Addition, and the form is a phrase-group. The first cadence is, strictly speaking, a perfect one; but of that somewhat doubtful rhythmic character, which, in conjunction with other indications, may diminish its conclusive effect, and prevent the decided separation which usually attends the perfect cadence. This is apt to be the case with a perfect cadence so near the beginning (like this one) that the impression of "conclusion" is easily overcome. In a word, there is no doubt of the unbroken connection of these three phrases, despite the unusual weight of the first cadence. See also the first cadence in Ex. 51.

By simply continuing the process of addition (and avoiding a decisive perfect cadence) the phrase-group may be extended to more than three phrases, though this is not common.

THE DOUBLE-PERIOD.—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 end of the second phrase, and adding another pair of phrases to balance the first pair. It thus embraces four coherent phrases, with a total length of sixteen measures (when regular and unextended).

An important feature of the double-period is that the second period usually resembles the first one very closely, at least in its first members. That is, the second phrase contrasts with the first; the third corroborates the first; and the fourth either resembles the second, or contrasts with all three preceding phrases. This is not always—though nearly always—the case.

The double-period in music finds its poetic analogy in almost any stanza of four fairly long lines, that being a design in which we expect unity of meaning throughout, the progressive evolution of one continuous thought, uniformity of metric structure (mostly in alternate lines), the corroboration of rhyme, and, at the same time, some degree and kind of contrast,—as in the following stanza of Tennyson's:

Phrase 1. "The splendor falls on castle walls, Phrase 2. And snowy summits old in story; Phrase 3. The long light shakes across the lakes, Phrase 4. And the wild cataract leaps in glory."

The analogy is not complete; one is not likely to find, anywhere, absolute parallelism between music and poetry; but it is near enough to elucidate the musical purpose and character of the double-period. And it accounts for the very general choice of this form for the hymn-tune.

The following illustrates the double-period, in its most regular and convincing form (Beethoven, pianoforte sonata, op. 49, No. 1):—



Each phrase is four measures long, as usual; the first one ends (as in Ex. 50) with one of those early, transient perfect cadences that do not break the continuity of the sentence; the second phrase ends with a semicadence,—therefore the sentence remains unbroken; phrase three is exactly like the first, and is therefore an Antecedent, as before; phrase four bears close resemblance to the second one, but differs at the end, on account of the perfect cadence. The evidences of Unity and Variety are easily detected. The main points are, that the second pair of phrases balances the first pair, and that the two periods are connected (not separate periods). See also Ex. 53, first 16 measures.

LESSON 8.—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, Songs Without Words, No. 29, measures 1-21, (first 4 measures an introductory phrase).

No. 37, first 17 measures.

No. 30, first 15 measures (last phrase irregular).

No. 16, measures 4-9 (small phrases).

No. 33, first 12 measures.

No. 27, first 20 measures (introductory phrase).

No. 3, first 29 measures, to double-bar (introductory phrase).

No. 36, first 27 measures (the similarity between phrase one and phrase three proves the double-period form; the extra phrases are extension by "addition," as in the group form).

No. 6, measures 8-17.

Mozart, pianoforte sonata. No. 13 (Peters edition), first 16 measures.

Sonata No. 2, first 16 measures (last four measures are extension).

Sonata No. 3, last movement, first 16 measures.

Sonata No. 10, second movement, first 16 measures.

Beethoven, pianoforte sonatas; op. 49, No. 2, first 12 measures.

Op. 10, No. 3, first 16 measures.

Op. 10, No. 2, first 12 measures.

Op. 26, first 16 measures.

Op. 31, No. 2, last movement, first 31 measures (extension by repetition).

Schumann, op. 68, Nos. 16, 20, 33, first 16 measures of each; No. 13, first 10 measures; No. 15, first 16 measures.



CHAPTER IX. THE TWO-PART SONG-FORM.

THE SONG-FORM OR THE PART-FORM.—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 or three fairly distinct sections, or Parts, of approximately equal length. The distinctness with which the points of separation are marked, and the degree of independence of each of these two or three larger sections, are determined almost entirely by the length of the whole. And whether there be two or three such divisions depends to some extent also upon the length of the piece, though chiefly upon the specific structural idea to be embodied.

A composition that contains two such sections is called a Two-Part (or bipartite, or binary) form; and one that contains three, a Three-part (tripartite, or ternary) form.

Such rare exceptions to these structural arrangements as may be encountered in musical literature, are limited to sentences that, on one hand, are so brief as to require no radical division; and, on the other, to compositions of very elaborate dimensions, extending beyond this structural distinction; and, furthermore, to fantastic pieces in which the intentional absence of classified formal disposition is characteristic and essential.

The terms employed to denote this species ("Song-form" or "Part-form") do not signify that the music is necessarily to be a vocal composition of that variety known as the "Song"; or that it is to consist of several voices (for which the appellation "parts" is commonly used). They indicate simply a certain grade,—not a specific variety,—of form; an intermediate grade between the smallest class (like brief hymn-tunes, for example), and the largest class (like complete sonata-movements). An excellent {84} type of this grade of Form is found in the Songs Without Words of Mendelssohn, the Mazurkas of Chopin, and works of similar extent.

The word Part (written always with a capital in these lessons) denotes, then, one of these larger sections. The design of the Part-forms was so characteristic of the early German lied, and is so common in the song of all eras, that the term "Song-form" seems a peculiarly appropriate designation, irrespective of the vocal or instrumental character of the composition.

The student will perceive that it is the smallest class of forms—the Phrase-forms,—embracing the phrase, period and double-period, to which the preceding chapters have been devoted. These are the designs which, as a general rule, contain only one decisive perfect cadence, and that at the end; and which, therefore, though interrupted by semicadences, are continuous and coherent, because the semicadence merely interrupts, and does not sever, the continuity of the sentence. (This grade of forms might be called One-Part forms).

THE PARTS.—If we inquire into the means employed, in the larger Part-forms, to effect the division of the whole into its broader Parts, we find that the prime factors, here again, are Cadence and Melody. The strongest sign of the consummation of a Part is a decisive perfect cadence, resting, as usual, upon the tonic harmony of the chosen key; a cadence sufficiently emphatic to interrupt the closer cohesion of the phrases which, precede, and bring them, as completed Part, to a conclusion. Such a cadence, marking the end of the First Part, may be verified in Mendelssohn's Songs Without Words, No. 23, measure 15; No. 3, measure 29 (at the double-bar,—a sign which frequently appears at the termination of Part One); No. 20, measure 21; No. 27, measure 12; No. 34, measure 10.

Another indication of the Part-form is a palpable change in melodic character in passing from one Part into the next; sufficient to denote a more striking "new beginning" than marks the announcement of a new phrase only. The change, however, is as a rule not very marked; it is sometimes, in fact, so slight as to be no more than simply palpable, though scarcely definable on the page. For these divisions are, after all, the several "Parts" of one and the same song-form, and, therefore, any such radical change in melodic or rhythmic character, or in general style, as would make each Part appear to be a wholly independent musical idea (subject or theme), would be manifestly inconsistent.

Generally, both these factors (cadence and melody) unite to define the end of one Part and the beginning of the next. Should either one be feeble, or absent, the other factor will be all the more pronounced. Thus, the cadence of Part One may be less decisive, if the change in melodic character at the beginning of Part Two is well marked; this is seen in No. 33, measure 12. The reverse—a strong cadence and but little melodic change,—in No. 13, measure 20.

THE FIRST PART.—Part One may be designed as period, double-period, or phrase-group; sometimes, though very rarely, as single phrase, repeated. It ends, usually, with a strong perfect cadence on the tonic chord of the original key, or of some related key (that is, one whose signature closely resembles that of the original key). An introductory phrase, or independent prelude, may precede it.

THE SECOND PART.—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, double-period, or phrase-group, and is somewhat likely to be a little longer (more extended) than Part One. A concluding section (called codetta if small, coda if more elaborate) often follows, after a decided perfect cadence in the original key has definitely concluded the Part.

The following is one of the simplest examples of the Two-Part Song-form (a German lied by Silcher):—



The whole embraces four phrases, and might, for that reason, be mistaken for a double-period. But the strong perfect cadence at the end of the first period (reinforced by the repetition), and the contrasting melodic formation of the second period, so separate and distinguish the two periods as to make them independent "Parts" of the whole. It is not one "double-period," but two fairly distinct periods. The first cadence (in measure 4) has again, strictly speaking, the elements of a perfect cadence, but, like others we have seen (Exs. 50, 51), too near the beginning to possess any plausible concluding power.

A somewhat similar specimen may be found in the theme of Mendelssohn's Variations in D minor, op. 54, which see. Each Part is a regular period-form, with correct semicadence and perfect cadence. The problem of "agreement and independence" in the relation of Part II to Part I is admirably solved; it is a masterly model of well-matched Unity and Variety, throughout.

For a longer and more elaborate example, see No. 6 of the Songs Without Words, in which, by the way, the principle of enlargement by the addition of an independent prefix (introduction) and affix (coda) is also illustrated:—

First number the forty-six measures with pencil.

The first cadence occurs in measure 7, and marks the end of the prelude. Part I begins in measure 8. In measure 11 there is a semicadence, at end of Antecedent phrase; in measure 17, a strong perfect cadence, which, in connection with the subsequent change of melodic form, distinctly defines the end of Part I (period-form, extended). Part II therefore begins in measure 18. In measures 21, 25, 29, cadences occur, but none conclusive enough to close the Part. This conclusion takes place, however, in measure 34. Part II proves to be a double-period. A coda begins in measure 35; its first members resemble the first phrase of Part I. In measure 40 another section of the coda begins, borrowed from the prelude. For exhaustive technical details of the Two-Part Song-form, see the HOMOPHONIC FORMS, Chapters 9 and 10.

LESSON 9.—Analyze the following examples of the Two-Part Song-form. Define the form of each Part, marking and classifying all cadences; and indicate introductions and codas (or codettas), if present. The first step in the analysis of these forms is to divide the whole composition into its Parts, by defining the end of Part One. The next step is to define the beginning of Part One, and end of Part Two, by separating the introduction and coda (if present) from the body of the form.

Beethoven, pianoforte sonatas: op. 57, Andante, Theme.

Op. 109, Andante, Theme.

Op. 111, last movement, Theme of Variations.

Op. 79, Andante, first 8 measures (unusually small); same sonata, last movement, first 16 measures.

Op. 54, first 24 measures (each Part repeated).

Op. 31, No. 3, Menuetto (without Trio).

Op. 26, "Trio" of Scherzo; also last movement, first 28 measures (second Part repeated).

Op. 27, No. 2, "Trio" of Allegretto.

Mozart, pianoforte sonatas: No. 2 (Peters edition), Andante, measures 1-20; and measures 21-40.

Schumann, op. 68, No. 7; No. 4; No. 35; No. 42; No. 23 repeated; last 16 1/2 measures, (coda).



CHAPTER X.—THE THREE-PART SONG-FORM.

DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS.—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 marked manner, into two separate and fairly individual sections or "Parts."

Between this and the next higher form,—that with three such Parts,—there is a distinction far more essential and characteristic than that of mere extent; a distinction that does not rest simply upon the number of Parts which they respectively contain. Each of the two classes of formal design, the Two-Part and the Three-Part, embodies a peculiar structural idea; and it is the evidence of these respective ideas,—the true content of the musical form,—which determines the species. The "number" of sections is, in this connection, nothing more than the external index of the inherent idea.

The Two-Part forms embody the idea of progressive growth. To the first Part, a second Part (of similar or related melodic contents) is added, in coherent and logical succession. It should not be, and in good clear form it is not, a purely numerical enlargement, for the association of the second Part with a foregoing one answers the purposes of confirmation and of balance, and is supposed to be so effectuated as to institute and maintain unity of style, and some degree of progressive development. But the second Part, in this bipartite design, does little or nothing more, after all, than thus to project the musical thought on outward in a straight line (or along parallel lines) to a conclusion more or less distant from the starting-point,—from the melodic members which constitute the actual germ, or the "text" of the entire musical discourse. A very desirable, not to say vital, condition is therefore {90} lacking, in the Two-Part forms; namely, the corroboration of this melodic germ by an emphatic return to the beginning and an unmistakable re-announcement of the first (leading) phrase or phrases of the composition.

Nothing could be more natural than such corroboration. Any line of conduct, if pursued without deviation, simply carries its object farther and farther away from its origin. If, as in the circle, this line is led back to the starting-point, it describes the most satisfying and perfect figure; it perfects, by enclosing space. Whereas, if it goes straight onward, it ultimately loses itself, or loses, at least, its connection with its beginning and source.

Nowhere is this principle of Return more significant and imperative than in music, which, because of its intangibility, has need of every means that may serve to define and illuminate its design; and hence the superior frequency and perfection of the Three-Part form, which, in its Third Part, provides for and executes this Return to the beginning. Its superiority and greater adaptability is fully confirmed in the practice of composition; the number of Three-Part forms exceeds the Two-Part, in musical literature, to an almost surprising degree; and it may therefore be regarded as the design peculiarly adapted to the purposes of ordinary music writing within average limits.

The three successive divisions of the Three-Part Song-form may then be characterized as follows:—

PART I.—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 generally a period-form, at least, closing with a firm perfect cadence in the principal key, or one of its related keys.

PART II.—The departure (more or less emphatic) from this leading melodic statement. It is, for a time, probably an evident continuation and development of the melodic theme embodied in the First Part; but it does not end there; it exhibits a retrospective bent, and—when thoroughly legitimate—its last few measures prepare for, and lead into, the melodic member with which the piece began. Its form is optional; but, as a rule, decisive cadence-impressions are avoided, unless it be the composer's intention to close it with a perfect cadence (upon any other than the principal tonic), and accomplish the "return to the beginning" by means of a separate returning passage, called the Re-transition.

PART III.—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 reproduction is sometimes exact and complete; sometimes slight changes, or even striking variations, possibly certain radical alterations, occur; sometimes it is only a partial recurrence, the first few measures being sufficient to prove the "Return"; sometimes, on the other hand, considerable material (more or less related) is added, so that Part III is longer than the First Part.

From this it appears that much latitude is given to the composer, in his formulation of the Third Part. All that the Part has to prove, is its identity as confirmation of the leading motive, and this it may do in many ways, and with great freedom of detail, without obscuring the main purpose. It is precisely this richness of opportunity, this freedom of detail, which enhances the beauty and value of the tripartite forms.

The following is a very regular example of the Three-Part Song-form (Schumann, op. 68, No. 20):—



This version is as complete as it can conveniently be made upon one single staff (chosen in order to economize space); but the student will find the formal design somewhat more plastically defined in the original, complete form, and he is therefore expected to refer to the latter. Part I is an unusually regular double-period, with three semicadences and a strong perfect cadence, on the original tonic, to mark its conclusion; the double-bar is an additional confirmation of the end of the Part. The second Part runs in the key of E major (the dominant of the original key) throughout; its form is only a phrase, but repeated,—as is proven by the almost literal agreement of the second phrase with the preceding one, cadence and all. Part III agrees literally with Part I in its melodic formation, but differs a little in the treatment of the lower (accompanying) voices.

In the theme of Mendelssohn's pianoforte Variations in E-flat major (op. 82), which see, the design is as follows:—Part I is a period of eight measures. Part II is also an 8-measure period, ending upon the tonic chord of B-flat major (the dominant key), as first eighth-note of the 16th measure; the following eighth-note, b-natural, represents what we have called the Retransition (in its smallest conceivable form), as it fulfils no other purpose than that of leading back into the first tone of the First Part. Part III is only a phrase, and therefore shorter than Part I; but it corroborates the beginning, and, in fact, the entire contents of the First Part.

The plan of Mendelssohn's 28th Song Without Words is as follows:—First number the 38 measures, carefully. The first four measures are an introductory phrase, or prelude; Part I begins in the second half of measure 4 (after the double-bar) and extends, as regular 8-measure period, to measure 12. Part II follows, during the same measure; its form is a period, extending to measure 20, and closing with a very distinctly marked semicadence on the dominant chord (chord of D). Part III is 14 measures long, containing therefore six more measures than the First Part; its first phrase is almost exactly like the first phrase of Part I; its second phrase (measures 25-28) differs from any portion of Part I, but closely resembles the melodic formation of Part II; its third phrase is based upon the preceding one (not as repetition, however), and is expanded to the 34th measure. The form of Part III is phrase-group. The last four measures are codetta, or postlude, and corroborate the prelude.

For exhaustive technical details of the Three-Part Song-form, see the HOMOPHOBIC FORMS, Chapters 11, 12, 13, 14 and 15.

LESSON 10.—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 determining where the return to the beginning is made. These points established, it remains to fix the beginning of Part I, by deciding whether there is an introductory sentence or not; then the end of Part II, by deciding whether it leads directly into Part III, or comes to a conclusion somewhat earlier, to make room for a Retransition; then the end of Part III, by deciding whether a codetta or coda has been added. The extremities of the three Parts being thus determined, there will be no difficulty in defining the form of each. Very particular attention must be devoted to the comparison of Part III with Part I, in order to discover, and accurately define, the difference between them,—in form, in extent, in melodic formation, or in technical treatment.

Mendelssohn, Songs Without Words: No. 22, No. 35, No. 32, No. 45, No. 42, No. 31, No. 27, No. 46, No. 25, No. 20, No. 26 (Re-transition, middle of measure 25 to measure 29); No. 36 (beginning of Part III, measure 60, somewhat disguised); No. 47, No. 12, No. 15, No. 3, No. 43, No. 40, No. 37, No. 2, No. 33, No. 30, No. 1.

Schumann, op. 68; No. 3; No. 12, first 24 measures; No. 14, No. 16, No. 17, No. 21 (Part I closes with a semicadence, but made in such a manner that it answers its purpose without the least uncertainty); No. 24, No. 25, No. 26, No. 28; No. 29, last 48 measures (including coda); No. 33 (long coda); No. 34; No. 37, first 32 measures; No. 38; No. 40, first movement (2-4 measure); No. 41.

Beethoven, pianoforte sonatas: op. 2, No. 1, third movement,—both the Menuetto and the Trio. Op. 2, No. 2, third movement,—both Scherzo and Trio. Same sonata, last movement, first 16 measures (Parts II and III consist of a single phrase each; therefore the whole is diminutive in extent; but it is unquestionably Three-Part Song-form, because of the completeness of Part I, and the unmistakable return to the beginning).

Op. 7, Largo, first 24 measures. Same sonata, third movement; also the Minore. Same sonata, last movement, first 16 measures.

Op. 10, No. 2, second movement, first 38 measures.

Op. 10, No. 3, Menuetto.

Op. 14, No. 1, third movement; also the Maggiore.

Op. 14, No. 2, second movement, first 20 measures.

Op. 22, Menuetto; also the Minore.

Op. 26, first 34 measures; same sonata. Scherzo; same sonata, Funeral march (also the Trio; what is its form?).

Mozart, pianoforte sonatas: No. 15 (Peters Edition), Andante, first 32 measures.

No. 1, last movement, first 50 measures.

No. 12, first 18 measures. Same sonata, Trio of the second movement (Part III returns to the beginning very briefly, and is otherwise different from the First Part almost throughout).

No. 13, Adagio, first 16 measures.

Chopin, Mazurkas (Peters edition), No. 11, No. 22, No. 24, No. 40, No. 49.

In the following examples, the student is to determine whether the form is Two-Part or Three-Part:—

Mendelssohn, op. 72 (six pianoforte pieces), No. 1; No. 2; No. 3, No. 4, No. 6.—Etudes, op. 104, No. 1, No. 3.

A curious example may be found in Schumann, op. 68, No. 32; the form is actually Two-Part, but with a very brief reminiscence of the beginning (scarcely to be called a Return) in the last two measures,—which are, strictly speaking, no more than a codetta. The Second Part is repeated.

In Schumann's op. 68, Nos. 8, 9, and 11 (first 24 measures), the second Part is unusually independent in character; completely detached from Part III, and exhibiting no symptoms of leading into the latter, as second Parts have commonly been observed to do.



CHAPTER XI. ENLARGEMENT OF THE THREE-PART SONG-FORM.

REPETITION OF THE PARTS.—The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimensions of his original design, resorts as usual to the most legitimate and natural means at his disposal—that of repetition. By so doing, he reinforces the principle of Unity, and, instead of obscuring, places the contents of his design in a stronger and more convincing light. It is true that the act of mere repetition involves the risk of monotony; but against this the composer has an efficient safeguard,—that of variation. He may modify and elaborate the repetition in any manner and to any extent that seems desirable or necessary, the only limitations being that the identity of the original Part must be preserved beyond all danger of misapprehension, and (as a rule) that the cadences shall not be altered.

The act of repetition is applied to the First Part alone, and to the Second and Third Parts together; very rarely to the Second Part alone, or to the Third Part alone.

EXACT REPETITIONS.—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 second ending," if, for any reason, some modification of the cadence-measure is required. This is illustrated in the 7th Song Without Words; Part I is repeated alone, and Parts II and III together; both repetitions are indicated by the customary signs, and each has a double ending. See also, Schumann, op. 68, No. 1; Part I is repeated exactly, with repetition-marks; Parts II and III are also repeated literally (all but the very last tone in the lower part), but written out,—apparently without necessity. Also No. 2; the literal repetition of Part I is written out; Parts II and III have the repetition-marks.

MODIFIED REPETITIONS.—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 and fancy of the composer. The student will find no part of his analytical efforts more profitable and instructive than the careful comparison of these modified repetitions with the original Parts; nothing can be more fascinating and inspiring to the earnest musical inquirer, than thus to trace the operation of the composer's mind and imagination; to witness his employment of the technical resources in re-stating the same idea and developing new beauties out of it,—especially when the variations are somewhat elaborate.

It must be remembered that mere repetition (even when modified,—as long as it can be proven to be nothing more than repetition) does not alter the form. A phrase, repeated, remains a phrase; nothing less than a decided alteration of the cadence itself will transform it into a double-phrase (or period). Similarly, a period, repeated, remains a period, and does not become a double-period; and a Part, repeated, remains the same Part. Therefore, the student will find it necessary to concentrate his attention upon these larger forms, and exercise both vigilance and discrimination in determining which sections of his design come under the head of "modified repetition."

For an illustration of the repeated First Part, see the 9th Song Without Words; Part I is a four-measure period (of two small phrases) closing in the seventh measure; the following four measures are its modified repetition. For an example of the repeated Second and Third Parts, see No. 48. In No. 29, both repetitions occur, with interesting changes; the repetition of Part I begins in measure 13; that of Parts II and III in measure 35; the last 10 1/2 measures are a coda.

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THE FIVE-PART FORM. 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. These important changes chiefly affect the Second Part, when it reappears as "Fourth" Part. When the alteration of the Second Part (that is, the difference between Part IV and Part II) is sufficiently radical to suggest the presence of a virtually new Part, the design is called the Five-part Song-form. The possible repetition of the First Part, it will be inferred, does not affect this distinction in the least; it hinges solely upon the treatment of the reproduction of Part Two. For illustration:



The Five-Part form is illustrated in the 14th Song Without Words;—(first, number the measures; observe that the two endings of Part I are to be counted as the same measure, and not separately; they are both measure 8):—Part I extends to the double-bar, and is repeated literally, only excepting the rhythmic modification of the final measure; Part II extends from measure 9 to 23; Part III, measures 24-35; Part IV, measures 36-47; Part V, measures 48-60; coda to the end. The comparison of Part IV with Part II discloses both agreement and diversity; they are, obviously, practically the same Part, but differ in key, in form, and in extent. The comparison of Parts I, III, and V reveals a similar condition, though the agreement here is much closer, and each confirms the leading statement.

A more characteristic example will be found in the familiar F major Nachtstueck of Schumann, op. 23, No. 4, which see:—Part I extends from measure 2 to 9 (after 1 1/2 measures of recitative introduction); Part II, measures 10-13; Part III, measures 14-21; Part IV, measures 22-32; Part V, measures 33-40; codetta to end. The Fourth Part bears very little resemblance to the Second, and assumes rather the character of a wholly independent Part.

GROUP OF PARTS.—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 separate into four or more individual sections or Parts, with or without a recurrence of the First one; or into three different Parts, lacking the evidence of the return to the beginning. When such irregularities are encountered, or when any conditions appear which elude or baffle natural classification among the Three-Part Song-forms (simple or enlarged), the piece may be called a group of Parts. The use of this term is entirely legitimate, and is commended to the student on account of its convenience, for all examples of the Song-form which, upon thoroughly conscientious analysis, present confusing features, at variance with our adopted classification. Of one thing only he must assure himself,—that the design is a Song-form (i.e. an association of Parts), and not one of the larger forms to be explained in later chapters. The definition is given in Chapter IX (on page 84).

A fair illustration of the utility of the term "Group of Parts" is seen in Schumann, op. 68, No. 18. Others will be cited in the following Lesson.

LESSON 11.—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. All of the given examples belong to this chapter, but are not classified; it is purposely left to the student to determine where repetitions occur, and whether they are exact, or variated,—in a word, to decide which of the above diagrams the composition represents.

Mendelssohn, Songs Without Words, No. 3, No. 4, No. 8, No. 10, No. 11, No. 12, No. 16, No. 17, No. 19, No. 21, No. 23, No. 24, No. 27, No. 31, No. 34, No. 39, No. 43, No. 44, No. 46.

Schumann, op. 68, No. 5; No. 6; No. 10; No. 13; No. 15; No. 19; No. 22; No. 30; No. 36; No. 43.

Mendelssohn, op. 72, No. 5.

Chopin, Prelude, op. 28, No. 17.

Mozart, pianoforte sonata No. 8, Andante (entire).

Mozart, No. 18, Andantino (of the "Fantasia").

Chopin, Mazurkas, No. 1, No. 2, No. 4, No. 5, No. 8, No. 15, No. 16, No. 18, No. 37, No. 44, No. 48.

GROUPS OF PARTS:

Chopin, Mazurkas, No. 3 (apparently five Parts, not counting repetitions; Part V corroborates Part I, but the intervening sections are too independent to be regarded as one long Second Part,—as would be the case if this corroboration were Part III). Also No. 7 (same design); No. 14 (four Parts, the last like the first); No. 19 (four Parts, the fourth like the second); No. 20: No. 21; No. 27 (Part V like I, Part IV like II); No. 34; No. 39; No. 41.

Schubert, Momens musicals, op. 94, No. 3.



CHAPTER XII. THE SONG-FORM WITH TRIO.

Another method of enlargement consists in associating two different—though somewhat related—Song-Forms. The practice was so common in certain of the older dances, particularly in the minuet, that this design is also known as the Minuet Form.

THE PRINCIPAL SONG.—The first division, called the principal song, is either a Two-Part or a Three-Part Song-form,—most commonly the latter. It is generally entirely complete in itself; the fact that another division is to be added, does not affect its character, form, or conception.

THE "TRIO," OR SUBORDINATE SONG.—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 gave rise to the term has long since been discontinued. A more accurate designation, and one that we shall here adopt, is "Subordinate Song." (Other names, which the student will encounter, are "maggiore," "minore," "intermezzo," "alternative," etc.).

Like the principal song, its fellow (the subordinate song) may be either a Two-Part or a Three-Part design. It is very likely to resemble its principal song in species of measure, tempo, and general style; and its key may be the same as that of the principal division, or, at least, related to it. But similarity of style is by no means obligatory, the element of contrast having become more important than Unity, in a design of such extent. It is also usually complete in itself, though its connection with its principal song may involve a few measures of transitional material.

THE "DA CAPO."—This association of song-forms is subject to the principle which governs all tripartite forms, namely, the return to the beginning, and confirmation of the first (or principal) statement; not only because of the general desirability of such a return, but because the necessity for it increases with the growth of the form. In a design that comprises a number of entire song-forms, it may be regarded as indispensable.

Therefore, the subordinate song is followed by a recurrence of the principal song,—called the da capo (or "from the beginning"), because of those Italian words of direction given to the player upon reaching the end of the "Trio," or subordinate song. The reproduction of the principal division is likely to be literal, so that the simple directions "da capo" suffice, instead of re-writing the entire division. But, here again, changes may be made,—generally unimportant variations which do not obscure the form; or an abbreviation, or even slight extension. And a codetta or coda is sometimes added to the whole.

The Song with Trio is thus seen to correspond to the Three-Part Song-form, upon a larger scale. The several Parts of the latter become complete Song-forms. An important distinction, to which especial attention must be directed, is the completeness of the contents of each song-form, and their fairly distinct separation from each other, in the Song with Trio. The significance of these traits will become apparent to the analytic student, as he progresses along the line of form-evolution into the still larger designs.

LESSON 12.—The following examples all belong to the Song with Trio. They should be analyzed as usual, each Song separately, defining the Parts, their form, and other details, as minutely as possible. Careful analysis is the first condition of intelligent interpretation; and the more complete the analysis, the fuller and more authoritative the interpretation:—

Beethoven, pianoforte sonatas: op. 2, No. 1, third movement; the divisions are called Menuetto and Trio, therefore this is an authentic type of the present design; each is a complete Three-Part Song-form; the key is the same, though a change from minor into major takes place; after the Trio, the Menuetto does not re-appear (on the printed page), but its reproduction is demanded by the words Menuetto da capo, at the end of the Trio.

Op. 2, No. 2, Scherzo and Trio.

Op. 2, No. 3, Scherzo and Trio.

Op. 7, third movement, Allegro and Minore.

Op. 10, No. 2, second movement, Allegretto (the subordinate song is not marked, but is easily distinguished; there are no da capo directions, because the principal song is re-written, with alterations).

Op. 10, No. 3, Menuetto and Trio.

Op. 14, No. 1, second movement. Allegretto and Maggiore; a coda is added.

Op. 22, Menuetto and Minore.

Op. 26, Scherzo and Trio.

Op. 27, No. 1, second movement, Allegro molto; the Trio is not marked; the "da capo" is variated, and a coda follows.

Op. 27, No. 2, Allegretto and Trio.

Op. 28, Scherzo and Trio.

Op. 31, No. 3, Menuetto and Trio.

Schumann, op. 68, No. 11; here there are no outward indications of the Song with Trio, but that is the design employed; for the subordinate song the measure is changed from 6-8 to 2-4, but the key remains the same; the reproduction of the principal song is indicated in German, instead of Italian.

No. 12, No. 29, No. 39 (here the da capo is considerably changed).

In No. 37 the "subordinate song" is represented by no more than a brief Interlude (measures 33-40) between the principal song and its recurrence,—just sufficient to provide an occasion for the latter (which, by the way, is also abbreviated).

Mozart, pianoforte sonatas: No. 2, Andante cantabile; each song-form has two Parts; the subordinate song changes into the minor.

No. 9, second movement, Menuettos; the subordinate song is marked "Menuetto II," a custom probably antedating the use of the word "Trio" (see Bach, 2d English Suite, Bourree I and II).

No. 12, Menuetto.

Schubert, Momens musicals, op. 94, Nos. 1, 4, and 6.

Schumann, op. 82 (Waldscenen), Nos. 7 and 8.

Chopin, Mazurkas, Nos. 6, 12, 23, 47, 50. In Nos. 10, 45, 46 and 51, the subordinate song consists of one Part only, but is sufficiently distinct, complete, and separate to leave no doubt of the form.

Also Chopin, Nocturne No. 13 (op. 48, No. 1).

Examples of this compound Song-form will also be found, almost without exception, in Marches, Polonaises, and similar Dance-forms; and in many pianoforte compositions of corresponding broader dimensions, which, if extended beyond the very common limits of the Three-Part form, will probably prove to be Song with Trio. This the student may verify by independent analysis of pianoforte literature,—never forgetting that uncertain examples may need (if small) to be classed among the group-forms, or (if large) may be suspected of belonging to the higher forms, not yet explained, and are therefore to be set aside for future analysis. Mention must be made of the fact that in some rare cases—as in Mendelssohn's well-known "Wedding March"—two Trios, and consequently two da capos, will be found.



CHAPTER XIII. THE FIRST RONDO-FORM.

EVOLUTION.—It cannot have escaped the observant student of the foregoing pages, that the successive enlargement of the structural designs of musical composition is achieved by a process of natural growth and progressive evolution. No single form intrudes itself in an arbitrary or haphazard manner; each design emerges naturally and inevitably out of the preceding, in response to the necessity of expansion, and conformably with the same constant laws of unity and variety,—the active agents, along the entire unbroken line of continuous evolution, being reproduction (Unity) and legitimate modification (Variety); or, in other words, modified repetition. It is upon the indisputable evidence of such normal evolution in the system of musical structure, that our conviction of the legitimacy and permanence of this system rests.

The diagrams which appear on pages 78 and 98 partly illustrate the line of evolution, which, in its fullest significance, may be traced as follows: the tone, by the simplest process of reproduction, became a figure; the figure, by multiplication or repetition, gave rise to the motive; the latter, in the same manner, to the phrase. The repetition of the phrase, upon the infusion of a certain quality and degree of modification (chiefly affecting the cadences) became the period; the latter, by the same process, became the double-period. The limit of coherent phrase-succession (without a determined interruption) being therewith reached, the larger Part-forms became necessary. The Two-Part form emerged out of the double-period, the two "connected" periods of which separated into two "independent" Parts, by the determined interruption in the center. And, be it well understood, each new design having once been thus established, its enlargement within its own peculiar boundaries followed as a matter of course; I mean, simply, that the two Parts did not need to remain the periods that were their original type; the process of growth cannot be stopped. The Three-Part form resulted from adding to the Two-Part the perfecting reversion to the starting-point, and confirmation of the principal statement. The Five-part form, and the Song with Trio are enlargements of the Three-Part forms by repetition or multiplication; and with the latter the limit of this particular process appears to be achieved. Any further growth must take place from within, rather than by addition from without.

But the process of evolution continues steadily, as the student will witness. To one vital fact his attention is here called,—a fact which he is enjoined to hold in readiness for constant application,—namely, that perfection of structural design is attained in the Three-Part form, and that every larger (or higher) form will have its type in this design, and its basis upon it. The coming designs will prove to be expansions of the Three-Part form.

THE RONDO-FORMS.—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 variable that a precise definition can scarcely be given. It is a musical sentence of very distinct character, as concerns its melodic, harmonic and, particularly, its rhythmic consistency; and of sufficient length to establish this individuality,—seldom, if ever, less than an entire period or double-period; often a Two-Part, not infrequently a complete Three-Part Song-form, though never more than the latter.

In the Rondo-forms, two or three such Themes are associated in such alternating succession that, after each new Theme, the first or Principal Theme recurs. The term "Rondo" may be referred to this trait, the periodic return of the Principal theme, which, in thus "coming round" again, after each digression into another theme, imparts a characteristic circular movement (so to speak), to the design. In the rondos, then, all the movements of musical development revolve about one significant sentence or theme, the style of which therefore determines the prevailing character of the whole composition. This, which is naturally called the Principal theme, is placed at the beginning of the rondo. Its end being reached, it is temporarily abandoned for a second sentence, called the Subordinate theme, of more or less emphatically contrasting style and of nearly or quite equal length (generally shorter, however), and always in a different key. After this there occurs the momentous return to the beginning,—the most insistent and vital fundamental condition of good, clear, musical form, of whatsoever dimension or purport,—and the Principal theme reasserts itself, recurring with a certain degree of variation and elaboration (occasionally abbreviation), thus vindicating its title as Principal theme, and stamping its fellow-theme as a mere digression. After this,—if a still broader design is desired,—another digression may be made into a new Subordinate theme, in still another key, followed by the persistent return to the Principal theme. And so on. Upon the Subordinate theme, or themes, devolves the burden of variety and contrast, while the Principal theme fulfils the requirements of corroboration and concentration. A coda, sometimes of considerable length, is usually added; it appears to be necessary, as a means of supplying an instinctive demand for balance, increased interest, and certain other scarcely definable conditions of very real importance in satisfactory music form.

Of the Rondo-forms there are three grades, distinguished respectively by the number of digressions from the Principal theme:—

The First Rondo-form, with one digression (or Subordinate theme), and one return to the Principal theme;

The Second Rondo-form, with two digressions, and two returns;

The Third Rondo-form, with three digressions and three returns. The persistent recurrence of the Principal theme, something like a refrain, and the consequent regular alternation of the chief sentence with its contrasting subordinate sentences, are the distinctive structural features of the Rondo.

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THE FIRST RONDO-FORM.—This consists, then, of a Principal theme (generally Two-Part or Three-Part Song-form); a Subordinate theme in a different key (probably a smaller form); a recurrence of the Principal theme (usually more or less modified or elaborated); and a coda. Thus:—

Principal Theme. Subordinate Theme. Prin. Theme. Coda. 2- or 3-Part Period, Double-period, As before, Optional Song-form. 2- or 3-Part usually Probably a form. Different variated. perfect cadence. style and key. Sometimes Possibly a few Possibly a brief abbreviated. beats or measures codetta; and of transitional usually a few material, leading measures of into next theme. Re-transition.

The design is that of the tripartite forms. But it is not to be confounded with the Three-Part Song-form, because at least one of its Themes, and probably both, will be a Part-form by itself. It is an association of Song-forms, and therefore corresponds in design to the Song with Trio. The first Rondo differs from the latter, however, in being more compact, more coherent and continuous, and more highly developed. This manifests itself in the relation of the Themes to each other, which, despite external contrast, is more intimate than that between the Principal and Subordinate Song (or Trio); further, in the transitional passages from one Theme into the other (especially the Re-transition, or "returning passage"); in the customary elaboration of the recurring Principal Theme; and in the almost indispensable coda, which often assumes considerable importance, and an elaborate form and character.

The evolution of the First Rondo-form of the Song with Trio may be clearly traced in classic literature. Many intermediate stages appear, naturally; and it is sometimes difficult to determine whether the design is Rondo or compound Song-form, simply because it is scarcely possible to decide just when the "Trio" assumes the more intimate relation of a Subordinate theme, or when the freedom and comparative looseness of association (peculiar to the Song with Trio) is transformed into the closer cohesion and greater smoothness of finish which fuses all the component Parts of the design into one compact whole,—the distinctive stamp of all so-called "higher" forms.

The thoughtful examination and comparison of the following four examples will elucidate the matter:—

1. Beethoven, first pianoforte sonata (op. 2, No. 1), Menuetto and Trio. Already analyzed as a perfectly genuine Song with Trio.

2. Beethoven, pianoforte sonata, op. 28, second movement, Andante. The principal Song is in the Three-Part form, with exact repetitions. The subordinate song differs so radically in style, and each song is so complete and distinct from the other, that the form is almost certainly Song with Trio; but there is a strong intimation of the Rondo-form in the elaborate variation of the da capo, and in the treatment of the coda (last 17 measures), in which motives from both Songs are associated so closely as to vindicate their kinship. In a word, this movement possesses,—despite the apparent independence of its Songs,—some degree of that continuity, compactness and artistic finish which culminate in the genuine Rondo-form.

3. Mozart, pianoforte sonata, No. 10, second movement (Rondeau en polonaise). The continuity and unity of this composition is so complete that it is certainly a Rondo-form; the principal theme is a fairly large Three-Part form; the subordinate theme (measure 47-69) is a Two-Part form, the second part corresponding in contents to the second Part of the principal theme; the recurrence of the principal theme is abbreviated to one of its three Parts, and is merged in the coda (last seven measures), which assumes the nature of a mere extension. Despite all this evidence, there still remains a certain impression of structural independence, which, so to speak, betrays the "seams," and militates somewhat against the spirit of the perfect Rondo-form. See also, No. 13, Adagio.

4. Beethoven, pianoforte sonata, op. 2, No. 2, Largo; the unessential details omitted in the following (in order to economize space) appear, of course, in the original,—to which the student is expected to refer.



This is a genuine First Rondo-form. All the factors of which it is composed, Phrases, Parts and Themes, are so closely interlinked that the continuity, cohesion and unity of the whole is complete. The variety of contents which these factors exhibit (greatest, naturally, between the two themes), does not disturb the impression that the whole movement is a unit. This is due, at least partly, to the manner in which the perfect cadences are disguised; each one is passed over with the least possible check of rhythmic movement (measures 8, 19, etc.), thus snugly dove-tailing the structural factors. The coda is elaborate and unusually long; it consists of several "sections," as follows (see the original): from measure 1 (the last measure in Ex. 54) to measure 4, a phrase, derived from the second Part of the Principal theme; measures 5-7, an abbreviated repetition; measures 8-14, a phrase, derived from the Principal theme; measures 15-17, a transitional passage; measures 18-25, a period, closely resembling Part I of the Principal theme; measures 26-30, final phrase.

LESSON 13.—Analyze the following examples. They are not classified; the student must determine whether the form is pure First Rondo, or an intermediate grade between Rondo and "Song with Trio." One of the examples is a genuine Song with Trio; and one is a Three-Part Song-form; with reasonable vigilance the student will detect these "catches." To distinguish these three designs from each other, recollect—

That the Three-Part Song-form consists of three single Parts, fairly similar in character, fairly small in form, and severed either by a firm cadence, or by unmistakable proof of new "beginning;"

That in the first Rondo-form, at least one of the themes (if not both) contains two (or three) Parts; and,

That in the Song with Trio, the two "Songs" are more independent of each other, and more decisively separated, than are the "themes" of the Rondo-form.

With reference to all uncertain cases, it must be remembered that the more doubtful a distinction is, the less important is its decision. These designs naturally merge one in another, and at times it is folly to impose a definite analysis upon them.

The analysis should be as minute as possible, nevertheless. The first step is to define the extremities of the two themes. This fixes the coda (and the introduction, if present); the re-transition (returning passage into the Principal theme); and the transition into the Subordinate theme—if present. The form of each theme must be defined in detail, as in Ex. 54:—

Beethoven, pianoforte sonatas: op. 2, No. 1, Adagio.

Op. 7, Largo.

Op. 2, No. 3, Adagio.

Op. 79, Andante.

Op. 27, No. 1, Allegro molto.

Schubert, pianoforte Impromptus, op. 90, No. 2; and No. 3.

Chopin, Mazurka, No. 26.

Chopin, Nocturnes: op. 27, No. 1.

Op. 32, No. 2.

Op. 37, No. 2.

Op. 48, No. 1.

Op. 55, No. 1; and No. 2

Op. 62, No. 1.

Op. 72, No. 1 (E minor, posthumous).



CHAPTER XIV. THE SECOND RONDO-FORM.

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 bears the same relation to the Five-Part Song-form, that the First Rondo-form bears to the Three-Part Song-form.

For the sake of effective contrast, the two Subordinate themes are generally differentiated to a marked degree; more precisely stated, the second Subordinate theme is likely to differ strikingly both from the Principal theme and from the first Subordinate theme; the result is that, as a general rule, the second digression is more emphatic than the first.

To prevent the enlarged design from assuming too great dimensions, the several themes are apt to be more concise than in the first Rondo-form; the Two-Part form is therefore more common than the Three-Part; the first Subordinate theme is generally brief, and the Principal theme upon its recurrences, is frequently abbreviated,—especially the last one, which often merges in the coda.

An example of the second Rondo-form (which may be sufficiently illustrated without notes) will be found in the last movement of Beethoven's pianoforte sonata, op. 49, No. 2 (G major). Number the one hundred and twenty measures, and define the factors of the form with close reference to the following indications—the figures in parenthesis denoting the measures:

Principal theme. Part I (1-8), period-form; Part II (9-12), phrase; Part III (13-20), period-form.

Transition, period-form (21-27), leading into the new key.

First Subordinate theme, period-form (28-36), with

Codetta, repeated (37-42).

Re-transition (43-47).

Principal theme, as before (48-67).

Second Subordinate theme, double-period (68-83); the process of Re-transition manifests its inception about one measure before (82), and is carried on to measure 87.

Principal theme, as before (88-107).

Coda, period, with modified repetition of consequent phrase (108-119),—followed by an extra perfect cadence, as extension.

LESSON 14.—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 (called Scherzo).

Op. 79, last movement (very concise).

Op. 13, Adagio (still more concise. Is this not a Five-Part Song-form?)

Beethoven, Polonaise for the pianoforte, op. 89.

Mozart, Rondo in A minor, for pianoforte.



CHAPTER XV. THE THIRD RONDO-FORM.

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 digressions are so planned that the third one corresponds to the first. That is, there are here again only two Subordinate themes (as in the Second Rondo-form), which alternate with each other, so that the succession of thematic factors is as follows: Principal Theme; 1st Subordinate Theme; Principal Theme; 2d Subordinate Theme; Principal Theme; 1st Subordinate Theme; Principal Theme; and coda.

It will be observed that this arrangement is another confirmation and embodiment of the Three-Part (tripartite) form, with its "recurrence of the first section," magnified into larger proportions than any examples thus far seen. The three portions are called, Divisions. The first is known as the Exposition, comprising the Principal Theme, First Subordinate Theme, and recurrence of the Principal Theme; the second division consists of the Second Subordinate Theme only; the Third Division is the Recapitulation of the first Division.

THE EXPOSITION.—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 confirm the intended design, at least one of its themes must contain two (or more) Parts,—otherwise it would be no more, all together, than a Three-Part Song-form, and the whole Rondo would be reduced to the design of the First Rondo-form. In a word, the Exposition must correspond concisely to the table given on page 108. The First Subordinate theme takes its usual emphatic position in a different key,—generally closely related to the key of the Principal theme.

Sometimes, but by no means regularly, the Exposition closes with a decisive perfect cadence in the original key.

The Middle Division.—As this should balance (at least approximately), the Exposition, it is likely to be a fairly broad design,—not greater, however, than a Three-Part Song-form (possibly with repetitions), and often no more than a Two-Part form. As intimated in the preceding chapter, the Second Subordinate theme is usually strongly contrasted with the other themes, in character, key, and length; but the same unity of total effect is necessary, as in the smaller Rondo-forms. The re-transition (or returning passage) is often quite lengthy and elaborate; it is seldom an independent section of the form, however, but generally developed out of the last phrase of the theme, by the process of "dissolution,"—to be explained more fully in Chapter XVII.

THE RECAPITULATION.—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 these. The term "Recapitulation" is more comprehensive than "recurrence" (in the sense in which we have thus far employed the latter word), as it always refers to the reproduction of a collection of themes, and, chiefly on this account, is subject to certain specific conditions of technical treatment.

Recapitulation, in the larger designs of composition, invariably involves transposition, or change of key,—the transposition of the First Subordinate theme, from the key chosen for its first announcement (in the Exposition) back to the principal key of the piece. This, as may be inferred, greatly affects the original transition and re-transition; and it may necessitate changes within the theme itself, in consequence of the change of register.

Further, the last recurrence of the Principal theme being no less than its fourth announcement, is rarely complete; as a rule, a brief intimation (the first motive or phrase) is deemed sufficient, and this is then dissolved into the coda; or the Principal theme, as such, is omitted, or affiliated with the coda, or one of its sections.

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For an illustration of the Third Rondo-form, the student is referred to the last movement of Beethoven's pianoforte sonata, op. 2, No. 2, the diagram of which is as follows:—

Middle Exposition. Division Recapitulation. ———————————— ————— ————————————————— Pr.Th. 1stSub.Th. Pr.Th. 2d Sub.Th. Pr.Th. 1st Sub.Th. Pr.Th. and Coda ———————————— ————— ————————————————— A maj. E maj. A maj. A minor A maj. A maj. A maj.

For its detailed analysis, number the measures as usual (there are 187, the "second ending" not being counted), and define each factor of the form by reference to the given indications,—the figures in parenthesis again denoting the measures:—

Principal Theme, Part I (1-8), period-form. Part II (9-12), phrase. Part III (13-16), phrase.

Transition, period-form (17-26), leading into the new key.

First Sub. Theme, period, Antecedent (27-32), Consequent (33-39).

Re-transition (40).

Principal Theme, as before, (41-56). This ends the EXPOSITION.

Second Sub. Theme, Part I (57-66), period, literal repetition. Part II (67-74) period-form. Part III (75-79) phrase.

Parts II and III repeated (80-92); the process of re-transition begins one measure earlier (91), and is pursued to measure 99.

The RECAPITULATION begins in the next measure with the

Principal Theme, as before, slightly modified (100-115).

Transition, as before, slightly abbreviated (116-123).

First Subordinate Theme, as before, but transposed to the principal key, A major, and somewhat modified (124-135).

Principal Theme begins in measure 135, where the preceding theme ends; consequently, there is an Elision. In measure 140 it is dissolved into the

Coda: Section 1 (to measure 148).

Section 2 (149-160).

Section 3 (161-172).

Section 4 (173-180).

Section 5 (to end).

LESSON 15.—Analyze the following examples, as usual. They represent chiefly the Third Rondo-form, but one example each of the First and Second Rondo-forms have been introduced, to stimulate the vigilance of the student. Review the directions given in Lesson 13:

Beethoven, pianoforte sonatas: op. 26, last movement, (very concise, but a perfect model of the form).