Op. 28, last movement.

Op. 7, last movement.

Op. 2, No. 3, last movement.

Op. 13, last movement.

Op. 22, last movement.

Op. 14, No. 1, last movement.

Op. 31, No. 1, Adagio.

Beethoven, Rondos for pianoforte, op. 51, No. 1; and op. 51, No. 2.

Mozart, pianoforte sonata, No. 4, last movement; No. 3, last movement.



CHAPTER XVI. THE SONATINE FORM.

CLASSIFICATION OF THE LARGER FORMS.—The Sonatine form is the smaller variety of two practically kindred designs, known collectively as the Sonata-allegro forms. In order to obtain a clear conception of its relation to the latter, and also to the Rondo-forms, it is necessary to subject the entire group of so-called "higher" forms to a brief comparison.

The larger, broader, or "higher" designs of musical composition are divided into two classes: the three Rondo-forms, and the two Sonata-allegro forms. The latter constitute the superior of the two classes, for the following reasons:—

In the first place, the rondos rest upon a narrower thematic basis, centering in one single theme—the Principal one—about which the other themes revolve. Further, their most salient structural feature is nothing more significant than simple alternation (of the Principal theme with its one or more Subordinates) the Principal theme recurs after each digression with a persistence that lends a certain one-sidedness to the form,—only excepting in the Third (and highest) Rondo-form, which, by virtue of its broad Recapitulation of the first Division, approaches most nearly the rank of the Sonata-allegro design, as will be seen.

In the Sonata-allegro forms, on the other hand, the leading purpose is to unite two co-ordinate themes upon an equal footing; one is to appear as often as the other; and the two themes together constitute the thematic basis of the design. These are, as in the rondos, a Principal theme (called principal because it appears first, and thus becomes in a sense the index of the whole movement), and a Subordinate theme (so called in contradistinction to the other),—contrasting in character, as usual, but actually of equal importance, and of nearly or quite equal length. To these, there is commonly added a codetta (or "concluding theme" as it is {122} sometimes called, though it seldom attains to the dignity of a theme),—sometimes two, or even more, codettas, which answer the general purpose of a coda, rounding off and balancing this Division of the design. This union of the two or three thematic components that are to represent the contents of the design, is the Exposition, or first Division, of the Sonata-allegro forms. It indicates a point of contact between the latter and the rondo,—in the Third form of which we also find an Exposition. Careful comparison of the two types of exposition reveals the significant difference between the two classes, however; in the Third Rondo, the exposition was an alternation of themes, with decided preference for the principal one; in the Sonata-allegro it is a union of themes, without preference, resulting in a broader thematic basis.

THE SONATINE FORM.—In the Sonatine-form, or the smaller variety of the sonata-allegro designs, this Exposition (or first Division) is followed at once,—or after a few measures of interlude, or re-transitional material,—by a Recapitulation of the Division, as was seen in the Third Rondo-form, and under the same conditions of transposition as there. The diagram of the form is therefore as follows:—

Exposition. Recapitulation. ——————————————- ——————————————— PR. TH. SUB. TH. CODETTA. Very PR. TH. SUB. TH. CODETTA. ——————————————- brief ——————————————— As usual. In some Optional. Inter- As In the Also in related lude before. principal principal key. key. key.

An additional coda is, as usual, likely to appear at the end.

This diagram should be very carefully compared with that of the Third Rondo-form on page 119, and the points both of agreement and dissimilarity noted. More minute details of the Sonatine form will be given in the next chapter, in connection with the larger and more fully developed Sonata-allegro form.

An illustration of the Sonatine-form will be found in Mozart, 6th pianoforte sonata, adagio. Number the measures, as usual, and analyze with reference to the indications given; the figures in parenthesis again denote the measures.

Principal Theme, B-flat major, period-form,—possibly double-period, because of the slow tempo and large measures (1-8). There is no Transition.

Subordinate Theme, F major, period-form, extended. Antecedent (9-12); consequent, very similar (13-16); extension by addition of new phrase, as in the group-form (16 1/2-19).

Codetta, also in F major, very brief, only one-half measure, and repeated as usual (19 1/2-20). This ends the Exposition.

Interlude, the remaining beats of measure 20; it is, of course, a brief re-transition, and is therefore strongly suggestive of the First Rondo-form, the details of which exactly coincide, thus far, with the above factors of the sonatine-form. Such coincidences merely confirm the unbroken line of evolution, and are to be expected in the system of legitimate, rational music designs. The RECAPITULATION (the original da capo) follows, beginning with the

Principal Theme, B-flat major, as before (21-28) but somewhat embellished. Again, there is no Transition. (Here the similarity to the First Rondo ends.)

Subordinate Theme, corresponds very closely to the former version, but transposed to B-flat major, the principal key, and variated (29-39).

Codetta, also in B-flat major (39 1/2-40), slightly extended. There is no coda.

LESSON 16.—Analyze the following examples of the sonatine-form, in the usual exhaustive manner:—

Beethoven, pianoforte sonatas; op. 10, No. 1, Adagio.

Op. 31, No. 2, Adagio.

Mendelssohn, Andante cantabile in B-flat major (pianoforte).

Mozart, pianoforte sonata. No. 17, Andante amoroso (somewhat longer interlude).

Mendelssohn, Presto agitato in B minor for pianoforte (preceded by an "Andante cantabile" which has no connection with the sonatine-form of the presto, but may also be analyzed). This design is very broad; each factor is expanded to its fullest legitimate extent, especially the "codetta" section.



{124}

CHAPTER XVII. THE SONATA-ALLEGRO FORM.

ORIGIN OF THE NAME.—The fully developed Sonata-allegro form is the design in which the classic overture and the first movement of the symphony, sonata and concerto are usually framed. The student must be careful not to confound this musical form with the complete sonata of three or four movements. It is not to be called the "sonata form," but the "sonata-allegro form." It is to one movement only, generally the first one, which is (or was) very commonly an allegro tempo in the sonata and symphony, that the present design refers; and its name, sonata-allegro, is derived from that old historic species of the sonata which consisted originally of but one movement, generally an allegro.

THE SONATA-ALLEGRO FORM.—As distinguished from the sonatine-form, with its two Divisions, this larger species, based upon precisely the same structural idea, has three Divisions,—the Exposition, a middle Division called the Development (growing out of the brief interlude of the sonatine-form), and the Recapitulation. The diagram (the keys of which correspond to the plan of Beethoven, op. 14, No. 2, first movement) is as follows:

Exposition. Middle Div. Recapitulation. ——————————— ——————- ————————————- Pr. Sub. Codetta. Development, Phr. Sub. Codetta Th. Th. various keys, Th. Th. and Coda. ——————————— ending with ————————————- G maj. D maj. D maj. Retransition. G maj. G maj. G maj.

Compare this diagram, also, with that of the Third Rondo-form, and note, accurately, the points of resemblance and contrast.

Compare it, further, with the diagram of the sonatine-form, on page 122. It will be observed that here the Recapitulation does not follow the Exposition at once, as there, but that a complete middle division intervenes, instead of the brief interlude or re-transition; from which the student may conclude that the sonatine-form gradually grows into the sonata-allegro form, as this interlude becomes longer, more elaborate, and more like an independent division of the design. Or inversely, and perhaps more correctly, the sonata-allegro becomes a sonatine-design by the omission (or contraction) of the middle Division.

THE EXPOSITION.—The presentation of the thematic factors, the statement or Exposition of the two themes and codetta, is made exactly as in the sonatine-form, though probably upon a broader scale. The Principal theme is usually a Two-Part Song-form, at least; often Three-Part. In broader designs, a separate transitional passage appears; in more concise designs, the transition is developed out of the last Part of the Principal theme by the process of dissolution—as will be seen. The object of the transition is, as usual, to lead into the new key (of the Subordinate theme). It is sometimes, though very rarely, omitted.

The Subordinate theme contrasts notably with its fellow, but asserts equal importance, as a rule, and may be of equal, or nearly equal, length. The addition of a codetta is almost indispensable, and frequently two or more appear, growing successively shorter, and generally repeated. In the sonata-allegro the Exposition closes, as a rule, with a very decisive perfect cadence, followed by a double-bar, and—especially in older sonatas—repetition-marks; the repetition of the Exposition being justly considered important, as a means of emphasizing the "statement," and enforcing the hearer's attention to the thematic contents before preceding to their development in the second division of the form. In the sonatine-form, on the contrary, this positive termination of the Exposition (and consequently the double-bar and repetition) will very rarely be found.

THE DEVELOPMENT, OR MIDDLE DIVISION. The second division of the sonata-allegro form is devoted to a more or less extensive and elaborate manipulation and combination of such figures, motives, phrases or Parts of the Exposition as prove inviting and convenient for the purpose, or challenge the imaginative faculty of the composer. In this division, opportunity is provided for the exhibition of technical skill, imagination and emotional passion; for the creation of ingenious contrasts and climaxes, and, in a word, for the development of unexpected resources not strikingly manifest in the more sober presentation of the thematic factors during the Exposition. The intermingling of new material is naturally also involved in the process of development; sometimes to such an extent that the new predominates over the old,—in which case the middle Division is more properly called an EPISODE.

This second Division of the sonata-allegro form (the Development or Episode) corresponds precisely, as will be recognized, to the second Part of the Three-Part Song-form; consequently, it represents the "departure" (see page 90), and entails, in rational form, the significant "return" to the beginning. Further, it matches to some degree the "digression" in the rondo-forms. At all events, its important structural function is to establish contrast; and the necessity for corroboration of the leading thematic ideas—in consequence of this contrast—is satisfied in the Division which succeeds.

It is sometimes possible to mark the exact point where the Development ends and the process of re-transition commences; but usually the return to the beginning is accomplished so gradually that no sensible interruption occurs.

THE RECAPITULATION.—This, the third Division, is, as usual, a review of the original presentation of the thematic material,—the recurrence of the Exposition. It is sometimes a nearly exact reproduction, excepting the necessary change of key in the Subordinate theme and codetta, and such modification of the transitional section as may be thereby involved. Sometimes, however, considerable alteration is made, at times so elaborate (especially in broader examples) that, though preserving easy recognizability, the Recapitulation assumes the appearance of a new version of the Exposition, and becomes a more independent part of the design.

A coda is almost always added; sometimes brief, but occasionally so elaborate and extensive as to merit the appellation "second Development."

DISSOLUTION.—When any section of a higher form starts out with a perfectly definite structural intention, pursues this intention for a time (sufficient to establish it), but then insensibly diverges and gradually adopts a new modulatory direction,—as transition into the following section,—the form is said to be dissolved. Such dissolution takes place, naturally, within the later section of the theme, or Part, or whatever it may be, whose actual, definite ending in the expected key is thus frustrated. For instance, the second (or third) Part of a theme may be dissolved; or the last phrase of a period or double-period; or the repetition of a phrase. And the dissolution is invariably applied before a transition or re-transition, as a means of interlocking the factors of the form more closely and coherently. Therefore it is a process peculiarly adapted to the higher designs of composition, and is seldom omitted in the sonata-allegro form. For an illustration, see Beethoven's sonata, op. 14, No. 2, first movement: The Principal theme is a Two-Part Song-form; Part I, a period, from measures 1 to 8; Part II begins in measure 9, and has every appearance of becoming also a period; its Antecedent phrase closes in measure 12, its Consequent begins in measure 13—but its end, as Second Part, in the usual definite manner, cannot be indicated; the key is quietly changed from G to D, and then to A, in obedience to the call of the Subordinate theme (beginning in measure 26), into which these last 10 or 12 measures have evidently been a Transition. The Second Part of the Principal theme therefore includes the transition; but where the Second Part (as such) ends, and the transition (as such) begins, it is impossible to point out accurately. The definition of this Principal theme is, "Two-Part form with dissolved Second Part," or, still better, "with transitional Second Part."

* * * * * *

In our illustration of the sonata-allegro form it is necessary, on account of limited space, to select a very concise example, of unusual brevity,—Beethoven, sonata, op. 49, No. 1, first movement; the original may be referred to, for the omitted details:—



The thematic factors are small, but none is omitted; every essential component is represented.

For a more extended and fully developed example of the sonata-allegro form, see Beethoven, pianoforte sonata, op. 14, No. 2, first movement; number the 200 measures, and verify all the details according to the following analysis (figures in parenthesis refer as usual to the measures):—

Principal Theme, Part I, period-form (1-8). Part II (9- ), dissolved (about 14) into Transition ( -25).

Subordinate Theme, Part I, period, extended (26-36). Part II, period, probably (37-41-47).

Codetta I, period, extended (48-58).

Codetta II, Small phrase, extended (59-63). Here the Exposition closes, with the customary double-bar and repetition marks.

Development, Section I (64-73), from Principal theme. Section 2 (74-80), from Subordinate theme. Section 3 (81-98), from Principal theme. Section 4 (99-107), closely resembling the Principal theme, but in a remote key. This section practically ends the Development, inasmuch as it culminates upon the dominant of the original key. Section 5 (107-115), establishment of the dominant. Section 6 (115-124), the Re-transition. The Recapitulation begins with the

Principal Theme, Part I, period (125-132). Part II, group of phrases, longer than before (133-152).

Subordinate Theme, as before, but in the principal key (153-174).

Codetta (I), as before, but slightly extended (175-187). The second codetta is omitted.

Coda, phrase, repeated and extended (188-200).

RELATION TO THE THREE-PART SONG-FORM.—In a former chapter (XIII) the Three-Part form was defined as the type of perfect structural design, upon which every larger (or higher) form is based. Nowhere is the connection more striking, and the process of natural evolution out of this germ more directly apparent, than in the sonata-allegro design. See the diagram on page 124. The Exposition corresponds to the First Part, so expanded as to comprise the two themes and codetta, fused into one larger division; the "statement" of a more comprehensive thematic group than the ordinary Part contains, but no more, for all that, than the usual initial "statement." The Development corresponds to the Second Part (proportionately expanded), and the Recapitulation to the Third Part, or recurrence and confirmation of the "statement."

Any Three-Part Song-form, the moment that its First Part expands and divides into the semblance of two fairly distinct thematic sections, becomes what might be called a miniature sonata-allegro form. Many Three-Part Song-forms are so broad, and many sonata-allegros so diminutive, that it is here again often difficult to determine the line of demarcation between them. Example 55 (cited because of its comparative brevity) is scarcely more than such a broadly expanded Three-Part Song-form. An example which approaches much more nearly the unmistakable Three-Part song, may be found in Mozart, sonata No. 12, Menuetto:—

Part I, section one (embryo of a principal theme), measures 1-10, period, extended; section two (embryo of a subordinate theme) measures 11-18, period, in different key.

Part II, group of three phrases, measures 19-30.

Part III, section one, as before, measures 31-40; section two, as before, but in the principal key, measures 41-48.

This is, of course, a Three-Part Song-form; but the essential features of the Sonata-allegro are unquestionably present, in miniature.

See also, Beethoven, sonata, op. 101, first movement; certainly a sonata-allegro design, but diminutive.

* * * * * *

The superiority of the sonata-allegro form over all other musical designs, is amply vindicated by the breadth of its thematic basis, the straightforwardness and continuity of its structural purpose, the perfection of its thematic arrangement, and the unexcelled provision which it affords for unity, contrast, corroboration, balance, and whatever else a thoroughly satisfactory structural design seems to demand. Hence, while brief triumphs of apparent "originality" may be achieved by simply running counter to this and similar designs, it seems scarcely possible that any musical form could be contrived that would surpass the sonata-allegro, the last and highest of the forms of composition.

LESSON 17.—Analyze the following examples, as usual, carefully defining all the details of the form, according to the general plan adopted in our text:—

Beethoven, pianoforte sonatas; op. 2, No. 1, first movement (diminutive, but very complete and perfect).

Op. 2, No. 2, first movement.

Op. 10, No. 3, Largo.

Op. 22, first movement (four or five codettas).

Op. 14, No. 1, first movement.

Op. 22. Adagio.

Op. 27, No. 2, last movement.

Op. 28, first movement.

Op. 31, No. 1, first movement.

Op. 31, No. 3, first movement (the last 2 1/2 measures of the Exposition are a transitional Interlude, which leads back into the repetition, and on into the Development).

Same sonata, Scherzo.

Op. 31, No. 2, last movement (coda contains the entire principal theme).

Op. 78, first movement (diminutive).

Op. 79, first movement.

Op. 90, first movement, (no "double-bar").

Op. 57, first movement.

Same sonata, last movement.

Mozart, sonatas: No. 7, first movement.

No. 3, first movement. No. 4, first movement; also Andante.

No. 8, first movement. No. 5, first movement.

No. 10, first movement. No. 6, first movement.

No. 1, Andante. No. 6, last movement.

Mendelssohn, pianoforte Caprice, op. 33, No. 2 (brief introduction).

Sonata, op. 6, first movement.

Op. 7, No. 7.

Fantasia, op. 28, last movement.

Schubert, pianoforte sonatas: op. 143, first movement.

Op. 42, first movement.

Op. 120, first movement.

Op. 147, first movement (in the Recapitulation, the principal theme is transposed).

Op. 164, first movement (the same).

Beethoven, symphony, No. 5, first movement.

Symphony, No. 1, first Allegro; also the second movement; and the Finale.



CHAPTER XVIII. IRREGULAR FORMS.

CAUSES.—Despite the many points of resemblance between the various forms to which our successive chapters have been devoted,—the natural consequence of a continuous line of structural evolution to which each plan owes its origin,—they are separate and independent designs, with individual character and purpose; so much so, that the composer may, and usually does, select and apply his form according to the purpose which he has in view. But the form is made for the music, not the music for the form; no serious composer writes music for the sake of the form, but chooses the form merely as a means to an end. The highest ideal of structural dignity and fitness is, to work from the thematic germ outward, and to let the development of this germ, the musical contents, determine and justify the structural plan and arrangement.

But the aims of the composer outnumber the regular forms, and therefore modifications are unavoidable, in order to preserve the latitude which perfect freedom of expression demands. The student may rest assured of the existence of many irregular species of these fundamental forms (as exceptions to the rule) and must expect to encounter no little difficulty and uncertainty in defining the class to which his example belongs,—until wider experience shall have made him expert.

All such irregular (or, in a sense, intermediate) varieties of form must necessarily either admit of demonstration as modification of the regular designs; or they will evade demonstration altogether, as lacking those elements of logical coherence which constitute the vital and only condition of "form and order" in musical composition.

To these latter comparatively "formless" designs belong:—all the group-forms; the majority of fantasias, the potpourri, and, as a rule, all so-called tone-poems, and descriptive (program) music generally.

On the other hand, those irregular designs which nevertheless admit of analysis according to the fundamental principles of structural logic, and are therefore directly referable to one or another of the regular forms, may be classified in the following four-fold manner—as Augmentation, Abbreviation, Dislocation, or Mixture, of the proximate fundamental design.

1. AUGMENTATION OF THE REGULAR FORM.—To this species belong those forms (small and large) which are provided with a separate Introduction, or Interludes, or an independent Coda (in addition to, or instead of, the usual consistent coda).

For example, Beethoven, pianoforte sonata, op. 13, first movement; the first ten measures (Grave) are a wholly independent Introduction, in phrase-group form, with no other relation to the following than that of key, and no connection with the fundamental design excepting that of an extra, superfluous, member. The principal theme of the movement (which is a sonata-allegro) begins with the Allegro di molto, in the 11th measure. Similar superfluous sections, derived from this Introduction, reappear as Interlude between the Reposition and Development, and near the end, as independent sections of the coda.

In a manner closely analogous to that just seen, the fundamental design of any movement in a concerto is usually expanded by the addition of periodically recurring sections, called the "tutti-passages," and by a "cadenza," occurring generally within the regular coda. In some concerto-allegros (for instance, in the classic forms of Mozart, Beethoven and others), the first orchestral tutti is a complete introductory Exposition, in concise form, of the thematic material used in the body of the movement. See the first piano-forte concerto of Beethoven, first movement.

Further, when the design is one of unusual breadth, as in some symphonic movements, or in elaborate chamber music, the number of fundamental thematic members may be so multiplied that it is necessary to assume the presence of two successive Subordinate themes, of equal independent significance,—such significance that neither of them could be confounded with a mere codetta, or any other inferior thematic member. See Beethoven, pianoforte sonata, op. 7, first movement; the Subordinate theme runs from measure 41 to 59; it is followed by another thematic section (60-93) which is so independent, important and lengthy, that it evidently ranks coordinate with the former, as second Subordinate theme. It might, it is true, be called the second Part of the Subordinate theme (the latter being no more than a repeated period); or it might be regarded as the first codetta; its thematic independence seems, however, to stamp it Second Subordinate theme.

Further, it is not uncommon to extend the sonatine-form by adding, at the end, a more or less complete recurrence of the Principal theme,—instead of, or dissolved into, the customary coda. This may be seen in Mozart, pianoforte sonata, No. 3, Andantino; the superfluous recurrence of the Principal theme begins in measure 19 from the end, after the regular sonatine-design has been achieved, fully, though concisely.

2. ABBREVIATION OF THE REGULAR FORM.—This consists chiefly in the omission of the Principal theme after the Development (that is, in beginning the Recapitulation with the Subordinate theme). Other contractions, by omission of portions (Parts) of important thematic members, during the Recapitulation, are also possible, but not so common.

An illustration of the omitted Principal theme may be found in Mendelssohn, Songs Without Words, No. 5:—

Principal Theme, period, extended (measures 1-11, dissolved into Transition—18).

Subordinate Theme, phrase, repeated and extended (19-28). Codetta (28-33). Double-bar.

Development (measures 34-58). Retransition (59-62).

Principal Theme—omitted.

Subordinate Theme, as before (63-76). Codetta.

3. DISLOCATION OF THEMATIC MEMBERS.—By this is meant, any exchange or alteration of the regular and expected arrangement of members. This can refer, naturally, only to what occurs after the Exposition,—that is, during the Recapitulation; for it is the Exposition which determines the plan, and regular order, of the thematic members. For example, Mozart, pianoforte sonata. No. 13, first movement:—

Principal Theme, with Transition (measures 1-27).

Subordinate Theme (28-41).

Codetta I (42-53).

Codetta II (54-58). In the Recapitulation, the arrangement is thus:—

Principal Theme, Codetta I, Subordinate Theme, Codetta II; that is, the first codetta appears before, instead of after, the Subordinate theme.

4. MIXTURE OF CHARACTERISTIC TRAITS.—This process tends to affiliate the two distinct classes of larger or higher forms, whose respective characteristics were explained and compared at the beginning of Chapter XVI. Upon very careful revision of this explanation, and reference to the given diagrams, the student will perceive that the distinctive trait of the sonata-allegro form is the section of Development which it contains; and that of the three Rondo-forms is the absence of such a Development. Of the mixed forms under consideration there are two: one in which a section of Development is introduced into the Rondo (as substitute for one of its Subordinate themes); and the other a sonata-allegro, in which the Development is omitted, and a new theme (a sort of additional Subordinate theme) inserted in its place. In other words, a Rondo (second or third form—probably not the first rondo-form) with a Development; and a sonata-allegro with a new Middle theme, or Episode (as we have already called it).

The Rondo with Development is illustrated in Beethoven, pianoforte sonata, op. 27, No. 1, last movement; it is the third rondo-form, designed as follows:—

Principal Theme, Two-Part form (measures 1-24).

Transition (25-35).

First Subordinate Theme, period, extended,—or phrase-group (36-56). Codetta (57-72).

Re-transition (73-81).

Principal Theme (82-97).

Transition (98-106). Then, instead of the Second Subordinate theme, a

Development (106-138); followed by an elaborate

Re-transition (139-166), and a regular

Recapitulation. Two wholly independent coda-sections are added, an Adagio (derived from the third movement of the sonata) and a Presto, based upon the Principal theme.

The sonata-allegro with new Middle theme is illustrated in Beethoven, pianoforte sonata, op. 14, No. 1, first movement; the middle Division contains a preliminary allusion to the Principal theme, but is otherwise an entirely new thematic member, very suggestive of the "Second Subordinate theme" of the Rondos (17-measures long,—up to the Re-transition, in which, again, the Principal theme is utilized).

LESSON 18.—Analyze the following examples of Irregular form. They are classified, as in the text:—

1. Beethoven, sonata, op. 81, first movement.

Beethoven, sonata, op. 49, No. 2, first movement.

Beethoven, sonata, op. 2, No. 3, first movement.

Beethoven, sonata, op. 49, No. 1, last movement (not "Rondo," as marked, but sonatine-form, augmented).

Mozart, sonata No. 1, first movement.

Mozart, sonata No. 17, last movement (Rondo, with three Subordinate themes).

Mendelssohn, Capriccio brillant, in B minor. Schubert, pianoforte sonata No. 8 (Peters ed.). Adagio.

2. Mendelssohn, Praeludium, op. 35, No. 3.

Mozart, sonata No. 8, last movement.

Schubert, sonata No. 8, last movement.

Brahms, pianoforte Capriccio, op. 116, No. 1.

Chopin, pianoforte sonata, op. 35, first movement.

3. Mozart, sonata No. 3, first movement.

Mozart, sonata No. 13, last movement (the Development occurs after instead of before the Principal theme,—in the Recapitulation).

4. Beethoven, pianoforte sonata, op. 31, No. 1, last movement.

Beethoven, pianoforte sonata, op. 90, last movement.

Mendelssohn, pianoforte etude, op. 104, No. 2.

Beethoven, pianoforte sonata, op. 10, No. 1, first movement.

Beethoven, pianoforte sonata, op. 2, No. 1, last movement.

Mozart, sonata No. 7, Andante.

Mozart, sonata No. 14, last movement.



CHAPTER XIX. APPLICATION OF THE FORMS.

The use of the various forms of composition, that is, their selection with a view to general fitness for the composer's object, is, primarily, simply a question of length. The higher aesthetic law of adjusting the design to the contents, of which we spoke in the preceding chapter, comes into action after the main choice has been determined.

The smallest complete form, that of the PHRASE, can scarcely be expected to suffice for an independent piece of music, though its occurrence as independent section of an entire composition is by no means rare. The nearest approach to the former dignity is the use of the Large phrase in one instance by Beethoven, as theme for his well-known pianoforte Variations in C minor; this theme, and consequently each variation, is a complete and practically independent composition. At the beginning of Beethoven's pianoforte sonata, Op. 27, No. 1, the student will find a succession of independent four-measure phrases, each with a definite perfect cadence, and therefore complete in itself; this chain of independent phrases is, in fact, the structural basis of the entire first movement, interrupted but briefly by the contrasting Allegro. The simple phrase may, also, find occasional application in brief exercises for song or piano; and we have witnessed its use as introduction, and as codetta, in many of the larger designs.

The next larger complete form, the PERIOD, is somewhat more likely to be chosen for an entire composition, but by no means frequently. The early grades of technical exercises (public-school music, and similar phases of elementary instruction) are commonly written in period-form, and some of the smallest complete songs in literature (a few of Schumann's, Schubert's, and others) may be defined as period-forms, extended. The theme of the Chaconne (found in the works of Handel, Bach, and even some modern writers) is usually a period. Of the Preludes of Chopin for pianoforte (op. 28), at least four do not exceed the design of the extended period. But these are, naturally, exceptional cases; the proper function of the period-form in music is, to represent the Parts, and other fairly complete and independent thematic members of larger forms. This is very largely true of the DOUBLE-PERIOD, also; though it is a very appropriate and common design for the hymn-tune, and similar vocal compositions; and is somewhat more likely to appear as complete composition (in exercises, smaller piano pieces and songs) than is the single period. Nine of Chopin's Preludes are double-periods.

The TWO-PART SONG-FORM, as already intimated, is not as common as might be supposed. It is sometimes employed in smaller compositions for piano (variation-themes and the like), or voice; and is probably the form most frequently chosen for the hymn-tune. But its most important place in composition is in the larger forms, as its design adapts it peculiarly to the purposes of the themes, both principal and subordinate.

The THREE-PART SONG-FORM, on the contrary, is unquestionably the most common of all the music designs. Probably three-fourths of all our literature are written in this form, with or without the repetitions, or in the related Five-Part form. It is therefore difficult to enumerate the styles of composition to which this admirable design is well adapted, and for which it is employed.

The GROUP-FORMS will be found in many songs, etudes, anthems, and compositions of a fantastic, capricious, rather untrammeled character, in which freedom of expression overrules the consideration of clear, definite form. It is the design perhaps most commonly selected for the Invention, Fugue, and—particularly—the various species of Prelude; though these styles, and others of decidedly fanciful purpose, are not unlikely to manifest approximate, if not direct, correspondence to the Three-Part Song-form. The modern Waltz is usually a group of Song-forms.

The SONG-FORM WITH TRIO is encountered in older dances, especially the Menuetto, Passapied, Bourree, and Gavotte (though even these are often simple Three-Part form, without Trio); and in many modern ones,—excepting the Waltz. It is characteristic of the March, Polonaise, modern Minuet, Gavotte and other dances, and of the Minuet—or Scherzo-movement, in sonatas and symphonies.

The FIRST RONDO-FORM is sometimes substituted for the Song with Trio (to which it exactly corresponds in fundamental design, as we have learned) in compositions whose purpose carries them beyond the limits of the Three- or Five-Part forms, and in which greater unity, fluency and cohesion are required than can be obtained in the song with trio; for instance, in larger Nocturnes, Romanzas, Ballades, Etudes, and so forth. The peculiar place for the First Rondo-form in literature, however, is in the "slow movement" (adagio, andante, largo) of the sonata, symphony and concerto, for which it is very commonly chosen. It may also be encountered in the small Rondos of a somewhat early date; and is of course possible in broader vocal compositions (large opera, arias, anthems, etc.).

From what has just been said, the student will infer that the rondo-form is not employed exclusively in pieces that are called "Rondo." In the sense in which we have adopted the term, it applies to a design, and not to a style, of composition; precisely as the sonata-allegro form may appear in a composition that is not a sonata. This must not be overlooked. Furthermore, there are a few cases in literature in which a movement marked "Rondo" is not written according to the rondo-form.

The Second and Third Rondo-forms are so similar in purpose and character that they are generally applied in the same manner, with no other distinction than that of length. Besides occasional occurrence as independent compositions (for instance, the two Rondos of Beethoven, op. 51, the A minor Rondo of Mozart, the Rondos of Field, Dussek, Hummel, Czerny, etc.), these designs are most commonly utilized for the Finale (last movement) of the complete sonata, concerto, string-quartet, trio, and other chamber-music styles; more rarely for the finale of the symphony.

The SONATINE and SONATA-ALLEGRO FORMS, likewise, serve corresponding purposes, and are chosen according to the length or breadth of design desired. The sonatine-form may therefore be expected in the first movement of smaller sonatas, or sonatinas (as they are often called), but it is not infrequently employed in the "slow movement" of larger sonatas or symphonies.

The most distinguished of all music-designs, the sonata-allegro form, is almost invariably chosen for the opening movement of sonatas, symphonies, concertos, trios, string-quartets and similar compositions, sometimes in greatly augmented dimensions. It is also not unlikely to appear in the slow movement, and finale, of the symphony.

LESSON 19.—The student may now indulge in independent research, in the careful analysis of the following works:

The pianoforte sonatas of Haydn (every movement of each). The sonatas for pianoforte and violin of Mozart, Beethoven, Brahms, Rubinstein, Grieg, and others.

The Trios of Beethoven, Mendelssohn, Schubert.

The String-quartets (in pianoforte arrangement) of Haydn, Mozart, Beethoven, Mendelssohn, Brahms, Schubert.

The Overtures (in pianoforte arrangement) of Mozart, Beethoven, Weber, Cherubim.

The Concertos (pianoforte or violin) of Mozart, Beethoven, Mendelssohn, Rubinstein, Saint-Saens, Schumann, Grieg, Chopin. Also a number of smaller (single) pianoforte compositions:—the etudes of Chopin; a few etudes of Czerny, Cramer, Clementi, Heller; the mazurkas, nocturnes, and preludes of Chopin; and miscellaneous pieces by modern writers,—Grieg, Rubinstein, Tschaikowsky (and other Russians), Sgambati, Saint-Saens, Moszkowski, Raff, Reinecke, Scharwenka, Schuette, MacDowell,—or any other compositions, vocal or instrumental, in which the student may be interested, or which he may be studying.

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AFTERWORD.

The expression "Musical Forms" is often used, somewhat carelessly and erroneously, with reference to Styles or Species of composition, instead of to the structural design upon which the music is based. The "Barcarolle," "Mazurka," "Etude," "Anthem," and so forth, are styles of composition, and not necessarily identified with any of the structural designs we have been examining. Read, again, our FOREWORD. The general conditions which enter into the distinctions of style are enumerated in my "Homophonic Forms," paragraph 97, which the student is earnestly advised to read. As to the manifold styles themselves, with which the present book is not directly concerned, the student is referred to Ernst Pauer's "Musical Forms," and to the music dictionaries of Grove, Baker, Riemann, and other standard writers, where a description of each style or species of composition may be found.



THE END.