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larger
forms of musical compos tipn
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THE
LARGER FORMS
OF
MUSICAL COMPOSITION
AN EXHAUSTIVE EXPLANATION OF THE VARIATIONS, RONDOS, AND SONATA DESIGNS, FOR THE GENERAL STUDENT OF MUSICAL ANALYSIS, AND FOR THE SPECIAL
STUDENT OF STRUCTURAL COMPOSITION
BY
PERCY GOETSCHIUS
AUTHOR OF
Exercises in Melody-Writing ; The Theory
and Practice of ToneRelations; The Material used in Musical Composition ; The Homofhonic Forms of Musical Composition ; Blemen*ary Counterpoint ; Applied Counterpoint;
Lessons in Music
Form ;
etc.
SECOND EDITION
NEW YORK
G.
SCHIRMER,
1915
Inc.
Copyright, 191S, by G.
SCHIRMER, INC.
25992
Printed in the U. S. A.
TO MY DEAR FRIEND
AND
FELLOW-STUDENT
EDGAR STILLMAN KELLEY
PREFACE.
"
And the earth
was without form and void; and darkness was upon
the face
of the deep."
Genesis,
I, 2.
" Order
is
heaven's first law."
Alexander
must never
be in the most ardent
Pope.
" Passion, whether great or not,
aggerated manner;
and music
even
expressed in
moment
ought
it is
an
ex-
never
to
to
offend the ear, but should always remain music, whose object
give pleasure."
Mozart.
and means at
its
" Inspiration without methods
disposal will no more
enable
a man
to
write a symphony than to build a ship or a cathedral." " Evolution of the C. Hubert H. Parry.
art of music." "
/ have never
qualities,
believed it possible that
any natural or improved
ability
can claim immunity from the companionship of the steady, plain, hard-
working
and hope
to
gain
its
end."
"
Dickens.
David Copperfield."
The
present volume
plied Counterpoint,
student of analysis,
It claims to
is a sequel to the Homophonic Forms and Apand is similarly designed for the use both of the and the student of practical composition.
be no more than a guide

Therefore the
classic
for the student through the
successive stages in the evolution of the larger and largest forms of
music structure.
point of view has been adopted
vi
PREFACE.
illustrated,
and
most
not only because that would appear to provide the
but also because the thorough knowledge of these older forms must precede the inevitable and desirable advance into the modern ones.
reliable basis of technical habit,
Without attempting any direct defence of conservatism, the author

earnestly advises the
young composer
to master these classic forms
by
conscientious solution of each successive task given in the book.

will furnish
This
him with a basis, both technical and conceptive, upon which be can most safely and most fully realize his personal artistic impressions and convictions. The classic designs are not lightly to be overthrown, for they are the cumulative product of a gradually dawning
recognition of nature's musical laws, steadily progressing
and
crystaliz-
ing through the gathering and eliminating experiences of master-minds
during
many
past centuries.
It
that true structural progress cannot
seems reasonable, therefore, to assume be achieved by abandoning these,
but rather by building upon them.
The
student
who
desires to obtain a general view of this structural
territory, or to
proceed more quickly,
in larger type,
elucidations in
also,
may limit himself to the paragraphs which are continuous and complete. The additional smaller type, and the references, are so ample that they,
by those who prefer a
must make
shorter,
maybe
partly omitted
though somethem.
persist-
what
superficial, course.
The
analytic student will omit the given Exfaithful use of
ercises.
The
practical student
It is
narrow-minded to assume that these exercises, and the
ent application of "rules," will
hamper
genius.
They need not be
executed coldly and mechanically. Subjective, personal, enthusiasm may course just as hotly here as in the pursuit of any other occupation
and the student is nowhere invited to check this enthusiasm only to Properly applied by the student, these exercises control and guide it. can thus only increase the power of his genius.
PERCY GOETSCHIUS.
New York
Citv, September, 1915.
TABLE OF CONTENTS.
(The numbers
in parenthesis refer to the paragraphs J
PAGB Introduction
i
DIVISION ONE.
THE VARIATION-FORMS.
Comparative Table Chapter I. The Ground-Motive Definition (5). Upper parts (8). Design (9). Licences variation (12). Ground-motive in inner or upper part (13).
Exercise
i
3
(10).
Methods of
ig
II.
Chapter
Definition (14).
The Ground-Bass, or Basso O^tinato.

In inner or upper part
(22).
...
18
Treatment (15-21).
Exercise 2
28
Chapter
Original
III.
The Passacaglia
(24).
29
Dance
(23).
Idealized form
Treatment (25-28).
Thematic
motive
(29).
Interludes (30).
Codetta or Coda
(31).
Exercise 3
39
Chapter IV. The Chaconne 40 Original Dance (32). Idealized form (33). Distinctive traits (34). Patterns Variations interrupted (36). Treatment of Tonality (37). Codetta or Coda (35). The Chaconne Theme (39). (38).
Exercise 4 58
Chapter V.
Distinction
(40-41).
The Small
Theme
(or Simple) Variation-Form.
...
58
Treatment (43-44). Points of contact between Theme and Variations (45). Patterns (46). The Melody as guide (47). The Chords as guide (49). The Bass as guide (50). The Its treatment (48).
(42).
Structural design as guide (52).

eral character
:
Unessential extensions (53).

(54*)
;
Alterations of a gen;
Mode
(54a)
Key
Meter
(54c)
Style (541/)
Rhythm
(54^).
Double-variation (54/).
Interlude
(54ij).
Codetta or Coda (55a,
i).
Finale (5Sc).
81
Exercise 5
(or Higher) Variation-Form. . . 82 Distinction (56-60). Modifications of the form (61-62). Insertions Codettas (630); Duplications (63^); Entire2.Part (63c). Extraneous additions (65). Varia-
Chapter VI.
The Large
tions as
a whole
(66).
Exercise 6
vii
92
viii
CONTENTS.
DIVISION TWO.
THE RONDO-FORMS.
PAGE
Introduction
principle of all
:
Constructive Basis (67).

designs (70).
Definition of
Theme
(68).
Structural
Rondo
Chapter VII.
The
First
Rondo Form
Transition
(74).
94
Diagram
Transition:
(71).
Principal
Theme
(72-73).
(75).
The
process of
First
and Second "Acts"

(82).
Transition-phrase (77).
Dissolution of the form (78-79).

Differentiation (83).
Exceptional objective points (76). Subordinate Theme (81).
Beginning in same key

(84).
Form
of the Subord.
Theme
(93)
;
Codetta
(88).
Dissolution (89).
Theme
(91-92).
The Coda
Derivation from Principal Theme The Re-transition (86). Treatment (87). "Second Act" (90). Recurrence of the Prin. Relation of the First Rondo form to brief (94).
(85).
the Song-form vrith Trio (95).
Progressive intermediate stages (96).
Exercise 7
127
Chapter VIII.
The Second Rondo Form

(98).
128
First
Diagram
nate
(97).
Principal
Theme
First Transition (99).
Subordi-
capo" Second Transition (103). Second Subordinate Theme (102). Second Retransition (105). Second " da capo " (io6). Coda (107). Rela(104). tion of Second Rondo form to Song-form with two Trios (loS). Concise Themes
(109).
"da
Theme
(100).
First Retransition (loi).
First Recurrence of Principal
Theme
Exercise 8
136
Chapter IX.
The Third Rondo Form

Theme
(113).
Diagram (no).
(112).
Progressive dimension- of Tripartite forms (in).
137 Recapitulation
Transposition of First Subord.

Division (117).
The
First Division (115).
The Middle
tion (121).
The
Recapitulation (119-120).
Retransition
Transition
modificaFinal
Direction of Transposition (122).
Misleading transpositions (123-124).
Misleading thematic coincidences (125).

"
modification
(129).
(126).
da capo
" (127).
Coda
(128).
Limits of the
Rondo form
Exercise g
150
DIVISION THREE.
THE SONATA-ALLEGRO FORMS

Introduction: Constructive Basis (130).
species (132).
150
Smaller and Larger
Exposition (131).
Definition,
(139).
Chapter X. The Sonatina-Form 151 and Diagram (133). The Exposition (135-138). The Retransition The Recapitulation, and Coda (140). Intermediate grades (141).
164
Exercise 10
CONTENTS.
ix
PAGB
Chapter XI. The Sonata-Allegro Form 164 Definition, and Diagram (142). The Double-bar (144). The Exposition Prin. Theme (145); Transition (146); Subordinate Theme (147); Codetta (148); Doublebar repetition and double ending (149). The Development (150). Structure and contents of the Development (151). Retransition (152). The Recapitulation (154). The Coda (155). Coda as Second Development (156).
:
Exercise 11
181
Chapter XII.
Definition (157)-
Miniature Sonata-Allegro, as expanded Three.Part Song-Form

Diagram
(158).
182
Course of evolution (159).

. .
Noteworthy Varieties of the Sonata-Allegro Form.
186
Beginning of the Development coincident with that of the Exposition (162). Enlarged Sonatina-form (164). The Basic Motive (165). Transposed Themes (167).
Polyphony, in the Larger forms (i68a).
Melody Expansion
(168*).
Exercise 12
201
Irregular Forms 201 Exchanges, or Mixtures: The Rondo with Development (172-174); Misleading resemblance (175); The Sonata-allegro with a Middle Theme, or new thematic Episode (176). Augmentations of the form: Independent
Chapter XIII.
Introduction (169-171).
Introduction, or
allegro (180)
(183).
;
Coda
(178);
Sonatina-form with
Double Subordinate Theme (179); The Concertofinal " da capo " (181) Larger forms with " Trio "
;
Abbreviations, or Omissions (184).
" Dislocations " of the design (185).
Exercise 13
215
Chapter XIV.
Isolated Unique Designs
216
Chapter XV.
Definition (188).
ture (191).
The Overture
220
Oratorio-Overture (190). The Dramatic or Classic OverConcert-Overture (193). Tone-poem (194). Potpourri- Overture (192).
The
The purpose
of
Music
(195).
General principles (197).

225
Exercise 14
DIVISION FOUR.
226 Chapter XVI. Compound Forms The Complete Sonata (199). Insertion of a Minuet or Scherzo Conventional arrangement of Movements (201). Keys of Movements (202). (200). Thematic inter-relation of Movements (203). Duo, Trio, etc. (204). Concerto (205). Symphony (206). Symphonic poem (207).
The
Suite (198).
THE LARGER FORMS OF

MUSICAL COMPOSITION
INTRODUCTION.
The term "Larger Forms" refers specifically to those composiwhich assume greater proportions, and therefore require greater breadth of design, and more concentration in the conception and ar1.
tions
rangement of the structural factors. But length is not the distinctive trait; for a movement may be concise and fairly brief, and still comprise
the characteristics of a Larger form.
2.
The dimensions which Larger forms

by
employment
usually assume,
and the
increased necessity of sustaining interest

naturally to the
efEective contrasts, lead
of all the resources of tone-combination,
and, therefore, of both distinctive styles of composition
the homo-
phonic and the polyphonic.

The homophonic
For this reason, these Larger designs are sometimes called the "Mixed Forms."
3.
texture
all
is
that in which one single melodic line represents

it is
the chief contents, wliile
that goes with
merely harmonic accompaniment.
In the polyphonic texture, two or more, or all, of the lines are of equal melodic prominence and importance. Pure homophony is seen in the 25th (and others) of the Songs without Words of Mendelssohn ; pure polyphony in the Fugues of Bach's
well-tempered Clavichord.
the two genuine styles
as
The numerous
"polyphony."
intermediateôr mixed grades, between
in the Scherzo of
Beethoven's 3rd
pfte.
Sonata
are
called "polyphonic," but not

4.
The
I.
larger forms
may
be classed in four distinctive Divisions:
The Variation-forms; 11. The Rondo-forms; .III. The Sonata-allegro forms; and IV. Compound forms.
DIVISION
I.
THE VARIATION-FORMS.
THE LARGER FORMS OF MUSICAL COMPOSITION.
Par. 4.
COMPARATIVE TABLE OF DIVISION

Basso osiinaio
I.
Par. s.
THE GROUND-MOTIVE.
CHAPTER
5.
I.
THE GROUND-MOTIVE.
The Ground-Motive is a brief melodic figure,
usually one measure
in length (sometimes less or more), placed, as a rule, in the bass paJt,
are generally exact, but
and repeated there an optional number may be modified.

ally transferred to another
of times.
These repetitions
is
And
i,
the motive
occasion-
partXSee Ex.
bass.
6. Its usual retention in one and the same part, however, distinguishes the Ground-motive from the motive of the Invention-forms, in which it is constantly imitated in changing parts. The term Ground-motive is adopted in this book, not alone because of its location in the bass (the "ground" part), but more particularly with reference to its object and character as fundamental motive, even when placed in some upper part.
7.
sentence contrived with a Ground-motive

it
is
recognized sense of the term; but
has a very sinular technical
not a Variation-form in the basis, and should be
regarded as an embryonic condition of the same process of thematic development which leads directly into the genuine Variation-form. It is more likely to occur
during a certain section of a larger design (as in Ex. entire composition (as in Ex. 6, No. i).
8.
i),
than to form the basis of an
At each
repetition or recurrence of the
Ground-motive the upper
parts (or those others not holding the motive) are so changed as to constitute
new
melodic, harmonic, rhjrthmic, or contrapuntal associations

i,
with
it.
See Ex.
upper
staff.
This indicates the relation of the Ground-motive to the Variation-form, which is "a series of ingeniously modified (or variated) repetitions of an adopted Theme." Here, the thematic germ is simply smaller, being only a motive or figure.
defined as
9.
It is customary,
and
wise, not to alter the harmonization at
every successive recurrence of the Ground-motive,
but to use the same,
or nearly the same, form for two successive announcements (see Ex. i, measures 1-2; 3-4; Ex. 4, measures 3-5). Also, to construct related
not strictly similar) two-measure, or four-measure groups, in order to obtain the structural effect of phrase- and period-formations (see Ex. I, measures 1-2; 5-6; Ex. 4, measures 4-5, 8-9). Also, to revert,
(if
later on, to preceding groups, so as to confirm the latter,

still
and to intimate
See Ex.
i, i,
larger designs (double-period, or even Song-forms).

6,
measures 2-4, 9-11; Ex.
No.
2,
measures
11, 12, etc., like
measures
Par. lo.
Such confirmations or duplications constitute the only legiti2, etc. mate means of obtaining effective and intelligible form. Compare
par. I2C, d.
For the sake of greater freedom and effectiveness, three licences and permissible; but they are not to be applied until, in later recurrences of the motive, the necessity of avoiding monotony becomes evident:
10.
are recognized as valid
1.
Unessential (that
is,
slight,
unimportant) melodic or rhyth-
mic
alterations of the motive itseM.
These
may
con-
sist in
the insertion of embellishing tones (passing and

shifting the position
neighboring notes); dots; rests;

of the
motive in the measure; an occasional modificaaccidentals.
tion
2.
by
Transferring the Ground-motive to some other part,

as a rule, not until
it
has appeared several times in
the bass (or whatever

3.
its
own
part
may
be).
Substitution of sequence for repetition, whereby the motive
appears upon other scale-steps, or in different keys. These points are all illustrated in the following example, from the Finale of Brahms* ist Symphony:
2)
Ex.,
Pi^^MAim I'M Tf f
f
'
.*i):
PlB i
*4)
*#-
[Ground-motive]
^^m
#j#fm^
m
r
PJZ^,J^.4
m Mr
H"-
i=^
r
'
Par. II.
THE GROUND-MOTIVE.
imIIS
m^
-*ih
p
6)
7)
Brahms.
*i)
at the second beat.
Ground-motive of four diatonic tones; one measure in length, but beginning Observe that a Ground-motive may occupy any position in the
of the second measure
;
measure.
*2)
The melodic formation

4 confirms meas. 3
is
similar to that of the
first;
also meas.
*3) *4)
(as sequence)
that
is,
the measures are "cast in pairs."
The motive,
in bass, is shifted up an octave. Measures 5-6 confirm measures 1-2, like a Consequent phrase
in the period-
form.
*5)
The bass descends

The motive
to its former register.
This measure and the next two

is, it is
agree with measures 2-4.

*6)
in bass is shifted
up a
sth; that
reproduced in sequence,
instead of repetition.
*7) *8)
is
The melodic form is inflected by the accidental e-flat. The motive is transferred to the uppermost part, and,
at the same time,
it
rhythmically shifted
*9)
11.
back one half-beat.

same s}mcopated form,
in "tenor."
The motive
appears, in the
Upon the rectirrence of this passage,

it
later in the
movement of
the
Symphony,
assumes the following, more vital and interesting shape:

Ground-motive
.^
^mm
f
^^ r
.^
n^
Ir
Par. la.
*i)
The Ground-motive appears
first in
the soprano, then in bass;
and
this
regular alternation of bass with the upper part continues to the

12.
end
of theisentence.
a.
The "variation"
of
the accompaniment to the successive
recurrences of the adopted motive induces the composer to exercisfc
unlimited ingenuity, and the result

b.
may
be unique and
effective.
The treatment of the added parts may be either homophonic or polyphonic, more commonly the former. But, in any case, the student
must remember that no music is certain of its appeal without definite, and sustained, melodic design; and he should therefore direct his effort first to the conception of a good counter-melody. c. It is also equally important to adopt and develop, beforehand, some perfectly definite plan for the enlire sentence or composition, in order to avoid an absurd jumble of patterns, which would destroy the unity and effectiveness of the structural design as a whole. This is clearly illustrated in some of the following examples: Ex. 6, No. i, of
Arensky,
is
a Song-form with Trio; Ex.
of phrases approximating the 5-Part
6, No. 2, of Brahms, is a group form (two returns to the first
7, No. i, of Bizet, is a Song with Trio, the Ground-motive running through the Principal Song and its da capo, but abandoned during the Trio up to the retransition, where it re-enters; Ex. 7, No. 3,
phrase); Ex.
of Lachner,
d.
is
a regular Three-Part Song-form.

is
device most naturally employed for this purpose hinted in par. 9) that of duplication. The term " duplication "
The
(as
is
em-
ployed here, and throughout the book, to indicate the principle of repetition, reproduction, or recurrence, in the broadest sense, and may involve almost any degree of variation that could reasonably be included in a re-statement of any
member
or section of the form.
Dupli-
cation means, then, the repetition (more or less exact, but possibly greatly modified), or the recurrence, of a measure, a phrase-member, a
phrase, or
an
entire period.
Par. la.
TBE GROUND-MOTIVE.
illustration: In Ex. 6, No. i, measures 3-5 form an Antecedent phrase, duplicated, in the following three measures, as Consequent phrase (in contrary motion); in the same example, at note *3), there is a recurrence or duplication of this 6-measure
For
Period;
and at note
(in difiEerent
*s),
measures
a return to the beginning and recurrence of the first 12 rhythmic form). In Ex. 7, No. i, four successive announce-
ments of the Ground-motive become the basis of a continuous 4-measure melody, as Antecedent phrase, immediately duplicated as Consequent phrase. Somewhat similar is Ex. 7, No. 3, in which the duplication or repetition results in a i6-measure Doubleperiod of very definite and striking melodic form (as Part I), followed by Part II, of equally clear design, and, later, by Part III as recurrence of Part I.
Further illustrations:
8
'i)

From
the Finale of
Par. 12.
Brahms' 2nd SymjAony.

is
*2) This
Ground-motive
is
also
one measure long, beginning at the unaccented
second beat.
*3)
It remains in bass throughout.

shifted to the next higher step,
Here the motive
and changed to the minor
form.
*4)
Again shifted up one step, and also expanded (by partial augmentation) to
cover two measures.

*5)
The The
sentence ends with this announcement of the
first
half of the motive
only, in regular
augmented form.
is
*6)
structural grouping, in sets of four similar measures,
apparent here.
ritard.
^
p
Brahms.
^
itat
*i)
dim.
the Allegretto grazioso of Brahms' 2nd Symphony. The Groundbe interpreted to represent any location in the measure, but it was probably conceived as beginning with the third beat. The repetitions are not al-
From
^^
pp
motive
may
all.
tered at
somewhat similar passage occurs in the first movement of BeetboTen's 7th Symphony, measures 50 to 29 from the end. The Ground-motive, derived from the beginning of the Principal Theme, is two measures long, ani appears eleven times in succession in bass, without change (Ex. 5, No. i). And also near the end of the first movement of Beethoven's 9th Symphony (Ex. 5, No. 2):
^ ^ 4
Par. la.
THE GROUND-MOTIVE.
No.
I.
II times
^ ^
Ex. 6.
No.
3.
Bebthovbn.
F F ?
I
^h^
ârbib=b:j
b^
tf*"
f*
7 times
See further:
Na
IS ^
In octaves
-#
.)
Ground-Motive
fi,'uji;ii^Nii,^
^ i^
^^
.1
^1
J
^^
^^^^^^m ^ r-T^r^^
lf=i
J
1/
.. ^3)
etc.
9 measures
-*
t
Par. la.
lO
or
^''N.B.
I
Krr L/J^
w**^
TW w
m 9
s*
No.
Cadence
$=M ^'
r-^
A. Arensky, op.
5.
r^ ,^
^
2.
w
_j
i
i
i
_*
U=v
J__*_
r
:tP:
mjl
5-measure phrase
t^ ^
-.^
-a^
'^^ff-^^
i_
#4=H^
J
Gr.-mot.
s~^^!2f'
Par. IS.
THE GROUND-MOTIVE.
II
5-ineas.
* s ^ri
-l^-*-
k^
^s^
pg^ a^
I
^1
'^
phrase
7)'
'
'
^f4rrr
^
f[rri:iri
as at the beginning
etc. 7
meas.
^J
^
r
1^
^.:t=t
8va..
w
^
-i^
icbf;
^îâb^
I^^Ê
###T^
8);
#=^=5t
.H-
^^
IE
-1^ -
^
"F
t'
Similar to measures 2-5
IE i
1r
Y
t''^
1^^
Brahms,
op. 116-2.
i P^f
^'
'y
^g^^ ^
^1/
1
iî
H
motive
;;:
r*-'I 1
etc.
12
No.
3.

From
Parsifal,
Par. la.
Gr.-motive
'I
8
*i~
"1
r
d. S
StesS ^LJJ^HZl "33f

Octaves
m
*ll)
*i2) abbr.
etc.
S.d
d.d
J-
^^
later
9^
â^g^
abbr.
!'-f
^=#
=Li
s
iî
dt^'E
HF^^
^
^
abbr.
xrn~^n^
6 *
r k.
I
etc.
i^ m
p
-a.
P^ *^^=S
^-9*
R.
8va
Wagner.
~-g>
y-
finally
^^^m ^
tr^ T
i^^
Octaves
""
----
Par. 12.
THE GROUND-MOTIVE.
includes six quarter-notes in jJse-quarter measure;
13
at
*i)
The Ground-motive
it is
each recurrence
*2) *3)
therefore shifted forward one beat, with unique result.
The melody
here is the contrary motion of that at the beginning. Here the Ground-motive regains its original location in the measure, and
is
the preceding phrase
repeated (and extended to 10 measures), while the motive
appears in broken-octave form.

*4) This passage, with transposition to the
dominant key, answers, in the form,
to a "Trio," or Subordinate Song-form, with da capo
Ground-motive retains
g-sharp.
*5)
its original letters,
The 14 measures later. however, but the third note becomes

more elaborate rhythmic
The da
capo, or return to the beginning, in
form.
*6)
*7)
The Ground-motive
Here (again
first
(after four measures) is shifted

it
down a
fourth.
after four measures)
resumes
its original
location;
recurrence of the
phrase does not appear until two measures later,
but the
in con-
sequence of the s-measure phrases.

*8) Shifted *9) This measure,
upward a fourth. and the following

is
three measures, constitute an Interlude, or
sort of retransition.
*io)
The Ground-motive
transferred to the inner part,
and back,
twice.
The
cadence follows.
This entire extract forms the "Trio'' of an Intermezzo, op. 116,

here,
No.
2.
*ii)
The Ground-motive
and
later, is
abbreviated
by omission
of the final
tone, or tones.
*i2) Transferred, in abbreviated form, to an upper part.
See further:
Rheinberger, Organ Pieces, op. 156; No.
of
7,
"In memoriam."
Ground-motive
two measures:
Reiterated in bass, exclusively, 42
times; frequently shifted to other scale-steps; no interludes; extended at the end
by a
brief codetta.
Rheinberger, Organ Pieces, op. 167; No. 12 (Finale); motive of one measure
^
^^T^'l^
|~~:
I
This
is
practically
one tone only, as broken octave;
it is fre-
-^-
quently shifted to other steps, and often interrupted by interludes.
Tschaikowsky, 4th Symphony,

precedente);
first
movement, measure 134 {Ben
sost.
tempo
through 22 measures,
of second
See also, the
same Symphony, "Trio"

modified.
movement (pii
mosso); motive melodically
Arthur Shepherd, Pfte. Sonata, op.

ures:
_
^^
4,
second movement.
Motive
of
two meas-
Throughout the movement, but frequently

coll' 8.
interrupted,
and modified.
14

Moszkowski, "BoabdU," No.
3,
Par. 13.
(Moorish Fantasia).
Motive
of
two measures
in contrary motion (16 times), and again in

chiefly in the
\^^
upper part, and
jB
First in bass (14 presentations), then in soprano
bass;
then in other, enlarged, forms,
finally again in bass.

I,
Wagner, "Tristan und

heil;
Isolde," Act.
Scene V,
Da
stand er herrlich, hehr
und
2 measures, bass, four presentations.
Ottokar Novifek," Basso ostinato" m/-sharp minor.
Motive
of
one measure:
It runs through the entire, fairly lengthy,

sition,
compoalso
with occasional alteration of d to d-sharp
and a few other changes;

is
transferred briefly to the uppermost part.
An
interlude
of
inserted, near the end.
Kov4cek, "Basso ostinato" in e-minor.
Motive
two measures:
An interesting illustration of consistent formal design.

Jean Sibelius, Pastorale from "Pelleas und Melisande" (op. 46, No.
Ground-motive, of
six beats: s)-
The
5?
is announced in bass, and remains, throughout, in the same register; but other, lower, basstones are frequently added, which give to the motive the effect of an inner A melodic change occurs, at the end of the motive, in three of the presentations. part.
13.
When the motive is announced
and retained in some upper
part,
it is
not a Ground-Tnotive in the stricter sense of the word; but the
principle,
and the treatment, are exactly the same:

..
No.
"
Le
Carillon."
tf P&
Ex.
7.
i=S A
rTT^r-ri
^tA^
i)4 meas.
gtt
M p
i
m M ^=m
1 I I i
^^
lll-rz^,
1
'-rzi
iS
J ^
Yl"=^^^^^
5=S=ar
^
15
Par. 13.
TEE GROUND-MOTIVE.
later
I'
f^=^
^ftr
X-1
4=^
^ t
etc.
'^^^^^^^^m r^r
*-)
I
8va,.
^.
rf^^^j^.
M.-
^^ J ^ ^
later
:
^=
later
-:
.J..
A.
Georges Bizet,
ir-^r^ g^^g^^^g
i i-i^
J.t^
S:
iAl
i
etc.
S^
twice
^
I
:u^
i
^FRF-
^ i ^%i F^^
^?t__:?E_
twice
as at beginning

l6
No.
Par. 13.
TEE LARGER FORMS OP MUSICAL COMPOSITION.

2.
Moderaio
^
-I
r\
i^-rh-*2*^#
F-
m
^
?t=^
Motive
*3)
^^^4^P^'
r-
Itt
iTMi^g =t3tdra
-!-
T"
No.
Part
3. I
" Trio "
HS-
=P^:
au S
4)
Gr.-Mot.
"1
i^^
-*ljb-
Par. 13.
THE GROUND-MOTIVE.
17
i l^
^^^
4>-
^n:liH
i
^^ ^^=^~"^"^m
r
r
Part II
Fbahz Lachner,
op. 113.
*i)
tive,
From
one measure long,
Bizet's orchestral suite, "L'Arl&ienne," 4th movement. is presented constantly in the inner part.
The mo-
*2)
*3)
The dosing, re-transitional, measures of the "Trio." The motive of one measure appears as inner part, but
first
is
practically a bass,
with the
tone held as organ-point.
It runs through the entire composition (44
measures) without change.

*4) Similar: the motive
is
really in tenor,
pfte.,
but the bass
is
chiefly
See also: Debussy, Song with

*'-
"Les cloches."
The motive
an organ-point. of one measure
^@gE
P"
1" '
"p
[
appears
first
in inner parts (13 times,
in bass (5 presentations, and cadence); then and cadence); then in soprano,
major (N.B.)
in the following -three rhythmically modified forms, to the end: 8va
and
twice
final
cadence.
twice
twice
This
is
a very beautiful and instructive example, worthy of dose study.

first
Bizet, Suite "L'Arl6sienne,"

flat signature.
movement
long:
(Prelude), the passage with four-
The motive, two measures
_(y b
('
|rir
1^
>i
[J
is
pre-
the 9th sented constantly in the soprano (10 times), with one chromatic change (in
presentation).
THE LARGER FORMS OF MUSICAL COMPOSITION
Par. 14.
Maurice Rayel, Sonatine in /-sharp minor, last movement, measures 60-94. Note. Such examples as the following of Chopin:
1 J -[-j J J
i
I
etc. (Polonaise,
op-
S3);
and
11 (Andante),
(Berceuse, op. 57);
and Tschaikowsky, op.
cannot be classed
and
basis of
among
the Ground-motives, because they are not the thematic source
the sentence, but merely figural motives, of distinctly accompanying character, whose uniformity, though' characteristic and effective, is rather accidental than
intentional.
EXERCISE
I.
Write a number of sentences (brief, but complete), with Ground-motive. Use different kinds of measure, and various rhythmic forms, for each; also, motives of different length, and varied location in the measure, but not beyond two measures
in extent.
Note, particularly, par. 12c.
CHAPTER
14.
II.
THE GROUND-BASS, OR BASSO OSTINATO.

The Ground-bass,
(persistent
or, as it is
more universally
called, the basso
from the Groimd-motive only in length. In some of the above examples the term "basso ostinato" might apply quite as well as Ground-motive, and is actually employed by Arensky (Ex. 6, No. i), Novacek, and others, for brief motives. The basso ostinato is, however, usually a complete four-measure phrasemelody, with cadence either on the tonic or the dominant. Sometimes, as stated, it is only two measures long; very rarely, a phrase of eight measures. See the Comparative Table, at the head of this Division.
ostinato
bass),
differs
15.
When
the basso ostinato
is
used as constructive basis,
it leads,
because of
its length,
to broader
and more
definite structural results
than can be obtained with the Ground-motive. Therefore, it lends itself readily to development into a complete movement, with clearly
defined form.
16.
In
its
treatment
it
corresponds, in every essential detail, to
that of the Ground-motive.
As the name
implies, it is supposed to
appear in bass, and to be repeated there, throughout; examples this is always the case.
and
in older
Par. i6.

Voice
19
|J
Ex.
8.
IS^ ^
i)
wm^rr
r^-^T^ fiz
,L^
j4
^4i^
IJ
nfff
Basso ostinato
^m
g^ ^
u^M
^
S d
^
.
r c; "ff t\^ i^^ m ^^

,
T^-^:
--
f^r-T
p-
^
^^
9M=
P^rH
i=
etc.
3
etc.
See original
7 times
tlien
fig^
measures
later
^33 gp^
?^
20

finally:
Par. 17.
PURCELL.
i^ Wf
>
jj^ ^'
etc. 6 times;
"i) From the opera "Dido and Aeneas" of Purcell (Novello edition). No. The Ground-bass is a complete four-measure phrase, with strong tonic cadence.
2.
*2) Here, about in the middle of the "Song," the motive is transferred to the dominant key, where it appears twice. *3) Note the effective treatment (evasion) of the cadence here, to prevent monotony; also examine the other (earlier) cadences, which are "bridged over" without rhythmic interruption. See also, in the same work: No. 6 (eight-measure phrase), No. 12, No. 24, No. 38 (four-measure phrases).
17.
The added
material, in the upper part, should be devised with
the utmost ingenuity, in varying forms or patterns, for each successive

recurrence of the Ground-bass.
It
may be, and usually is, homophonic;

But
even
strictly polyphonic,
and, as usual, the melody of the upper part'claims chief attention.

it
may
also
be more or
less imitatory, or
which case it is likely to be assigned to the Passacaglia group, and to assume a correspondingly definite conventional character (par. 25).
in
18.
The
basic phrase
only in the bass voice.
But
may be a genuine it may also be
basso ostinafo, appearing

transferred, at times, to
be shifted, as sequence, to other scale-steps, with or without change of key; and it may be unessentially modified,
it
some other part;
may
melodically or rhythmically.
19.
Comp.
par. 10.
Here, again, the style or "pattern" of the added parts
may
be
retained, with Uttle change, for
ments of the Ground-bass.
two (or even more) successive annoimce(Comp. par. 9.)
And the design of the sentence as a whole may (and should) represent the piurpose and effect of such complete structural formations as the Three-Part Song-form and the like. (Comp. par. 12c, and par. 15.)
Or, in the absence of such definite structural traits, the whole
constitute a
may
Group
of phrases,
with more or
leading,
less
evidence of some plan
of continuous development,
through progressive stages of
Par. 20.
21
interest
constantly increasing melodic, harmonic and (particularly) rhythmic and power, to a climax at, or near, the end.
20. The most efiective result is likely to be achieved by interrupting the series of thematic announcements after a time best near the
middle of the entire movement

followed
or,
and interposing a section in distinctly

This should, of course, be
either exactly as before,
contrasting style, as Interlude or "Trio."
by a resumption of the basso osHnato, better, in new and more brilliant forms.
21.
basso
rally,
is
But, with this exception, no cessation of the repetitions of the considered legitimate; and the successive variations are, natu-
not to be isolated by heavy cadence impressions, but should be as

of the regularly recurring cadence of the bass
skilful
continuotis as is compatible with effective structural presentation.
The monotony
may be avoided by
*3).
evasion of the cadence
ingenious harmonic
See Ex.
8,
theme
note
and rhythmic treatment
of the given cadence-tones.
Further:
-J.J^.-^^
ffr-îrrrr^rfM
Ex. 9.
i)
[^ ite
ia
-J-
I FFfrf l^S
ss
^^Mm\ii^,^ ^m
r
i
1 1
-p'T-
'
22
THE LARGER FORMS OP MUSICAL COMPOSITION.
Par. ai.
mj^^=nR;o^m^M g^^^ p
J^:;^^ b^^g^=:^^^=:^z;
^
etc.
:J^
i^
4 i
? ^^ ]^]^^^^^doicer;7;)
Ci-J
rJJ^ ^-^
i^p
J
See original
i
^
if^C ^
''^
1
r"*^^
-X
"^
A
^
--^
^
1"^
^!!
"**
''
^ ^
1'
=^=^-'^^

Par. 21.

J
23
'
"1
^
etc.
_ _
semplice
I
f^
etc.
1
X
i
1
|
^^^^M^-^X
M^ i
etc.
f-
[^n .-f:^=SH*-'H6-f^
t-^^
*7)
-5*-
i a'
/>
si
J^
etc.
1 ft
t^ftLLrÊTLSrcm
^
2a marcato
^^
F
AJ_ i^^J-^^
bi
d2t
etc.
-ss-^-
^
rg
I-I
>
J-
bg
i?2=^
:i=^
See original
^î
r
;^î6
crescendo
i^
^^^3^
*8)
gg=î
^T
SE
i
/b-JTl
#^^
,J7^
n-
-M-
t=t=
9^^

24
Par. ai.
##
etc.
I
i ;^?%
0^
19-
ma
s=*
^^^
f:
^
î>*:l
514 *=i rri' r

Ê^'ZJIX
r^T
-!?-r-
*( '9)
i x;/]7i
S*;
^^^^
first
ijî^j:*^
^
j .-j
'
at *6) the
^^^
See original
^
Brahms.
I
etc.
ff
.^Zr^^^rgg
*i) The Finale of Brahms' Variations, op. 56, on a Theme of Haydn. *2) Here the Ground-bass assumes its permanent rhythmic form. It is a five-measure phrase, and this irregularity of form proves effective in removing the monotony of the cadences, which, though not evaded, always occur a measure later than expected. *3) During these six repetitions of the bass, the rhythm of the added upper parts
undergoes changes: at
beats;
a few J -triplets appear; then steady, emphatic quarter-
then eighth-notes; then sixteenths in the accompanying inner parts, against syncopated half-notes above; then i6th-note triplets; and then 8th-note triplets,
carried over into the version at note *4).
*4)
The theme begins

begins to assert
*io)
it is still
to rise
itself;
m
is
register;
at *s)
it is is
in the tenor;
mmor mode
at *8)
theme
*9)
m soprano, and fully in minor;

on the Theme
The thematic melody
returns to the bass.
higher. Note Here the theme
at *i) the the rhythms.

dissolved
into a coda, with bearing
of the Variations.
Par. 21.

No.
I.
25
S :g=g
Ex. lO.
9=^ i
Ground-bass
--
r
Bach.
*i) Orchestra
2 ^pf^
fe
No.
2.
=sa:
Tl
IS
-p-^^-p
J
1*2):
I
etc.
^gztfJ^4^-^î4^J
j-i
y^.^^
i^
=P==(C
Handel.
3)
Orchestra
gM=
L
No.
3.
iUiJ
Ground-bass
-'
-#-
i2==ci:
4)
X-
11
^rrnijj ?73f
[
n 1
In octaves
g^ ^^
^
W.
m
tt^'
J!-
r=fe^-r^=yf
=*=5a
^^
^
.
I
i^t
Brahms,
I
etc.
^1
26
No.

4.
Par. 22.
Rheinberger.
^^m ^^p
No.
5.
î^J-JtJ-^J,JJ_l ^
-
rrrrf
Ei
Tffr
Ladislas
etc.
Alo'iz.
^BEi
*6)
^
"^
--
*i) The "Crucifixus" from Bach's B minor Mass. The original should be thoroughly studied. The Theme is four measures long, with dominant cadence. It is presented 13 times, constantly in bass, and with but two modifications, in the the final one is significant, as it cadences in G major. last two announcements, *2) Here the four-part mixed chorus enters, and continues throughout, with most masterly and effective imitations (polyphonic). *3) From "Judas Maccabaeus," Nos. 38 and 39. The theme, four measures long, with dominant cadence, is retained in bass; but with frequent interludes, and shifted a 3rd higher during a later section. *4) From "Serenade," op. 16, for orchestra (3rd movement). The basso appears
only during the principal sections,

significant
is
often shifted sequentially,
and subjected to
rhythmic alterations. *5) From "Monologe," op. 162, for organ; No. 12. Motive, two measures long, in bass throughout, without modification. *6) Ladislas Aloiz, Var. for two pianos, op. 28. Ground-bass, four measures long, as Introduction to the final Fugue.
22. The thematic melody may, as stated in par. 18, appear at times an upper part; but it may also assume its legitimate place there, remaining in one or another of the upper parts, excepting when transIn this case it is, properly speaking, a ferred occasionally to the bass.
in
melodia ostinata (the
name adopted by
i).
Rheinberger in his op. 174,
No.
II.
See Ex. 11, No.

No.
1.
" Melodia ostinata''
Ex.
1
1.
^SÊfeJE^ -Ht W\
-s*-
M.
s
Rheinberger.
nr^FI
r^trnftr^
Mel.
ost.
^
TEE GROUND-BASS, OR BASSO
OSTINATO.
27
Par. 22.
No.
2.
Presto
fe^
Biiii
*2)
-Ki-
1^
f-1
P~ m
isi
*
4 times
^ X
=rf
S^gâfe^
li
#-
etc.
# w # 1^
3)
fe^
#-T^
Nti
I
later
later
"(<
*
r
^#ftTtrf^^^%^^^
"-J^
g'
^fe;.
4)
1^-^
*i
-^|.. -^
g^
etc.
Si ^j^_SIii^sli-i
r~T
Beethoven.
^1
I'
later
28
"i)
174,

The melody
11).
Par. as.
of this 8-measure Period
is
the
Theme
of the composition (op.
upper part; then in the inner (tenor), and then in the bass; and this order of altemajp" up^krj inner and lower part, is adhered to strictly, and without modification of,*he thematic melody, throughout. *2) From Beethoven's 9th ^l^phony, the "Trio" of the Scherzo-movement.
No.
It appears first in the
The thematic phrase

osHnata.
of four pi&sures
is
presented
first in
It runs through tl)^ entire "Trio," with a
the Soprano, as melodia few interruptions, and with no
other changes than a modulation to the dominant, and systematic shifting of register. *3) The motive is tijinsferred to an inner part, and its contrapuntal associate
appears above.
*4)
y
is
Here the motuj'e
abbreviated.
See the original.
is
See also: Beethoven, pfte. Sonata, op. 28; "Trio'' of the Scherzo. The motive a Soprano ostinato; a four-measure phrase, whose repetitions nm through the
whole "Trio," with alternate change of cadence, in 6 minor and
D major.
Rbeinberger, c^. 167, No. 10; Soprano ostinato throughout (see Ex. 15, No. 3).
EXERCISE
2.
number
two
of ej^mples of the basso ostinato,
and mdodia
ostinata.
Employ
various types of measire, and of rhythm.

ures, or
large measures.
Limit the theme to four ordinary measThe following given basso may be used for experimen-
tation:
SeveraV repetitions
then:
Ex.
12,
m^^îimm^
and:
I
,i.
r>T?'>
v4 r-n^ tiT
rV
-^
1^
^j^ i,.tt!rrr*^^t^
|
GOETSCHIUS.
m
f
letc, etc,
minor
Par. 23.
THE PASSACAGLIA.
29
CHAPTER' III. THE PASSACAGLIA.

23.
The
Passacaglia (French Passacaille) was originally a dance
(probably of Spanish origin), always in the minor mode, and always in

triple
measure (usually |
more
rarely | or |).
It
was commonly
eight measvires in length; sometimes, as period-form^ with a light semi-
cadence in the middle.
The
practical availability of so brief
a sentence for -a complete and
lengthy dance was secured by the simple device of numerous repetitions.
These were at first probably nearly 6r quite literal; but it became the custom to modify or variate the repetitions more or less freely, though
never elaborately
the "variations" consisting

The
was
chiefly of simple har-
monic figuration or arpeggiation (and
slight melodic embellishment) of
the original chords, in different rhythms.

altogether; the basis of the sentence
melody, or tune proper,
of the dance was treated with comparative indifference, or disregarded

its chords,
and
this lent para-
mount importance
the
to the bass-part, which was retained almost un-
changed, thus creating the impression of a basso ostinato throughout
many
repetitions of the dance-sentence.
See par. 25.
40.
See Bach, Clavichord compositions (Peters Edition, "No. 1959) No. 6, on page The "Dance" (Passacaille) is an 8-measure Period of two parallel phrases
upon the same bass. This Period is repeated 18 times with "variations," chiefly of a rhythmic nature. Between Variations 6-7, 9-10, and at the end, there is a da
capo, or return to the original form of the thematic Period.
Very
similar is the "Passacaglio" of FrescobalA, cited in Ex. 15 (No. 9).
24. The idealized Passacaglia, in its modern common in organ literature), bears only a general
artistic
form (most
invariably
resemblance to the
it is
original dance,
though it has retained the name.

is
That is,
a
(or |)
measure;
in minor;
and
consists in
series of repetitions of
the bass theme.

There
is
an inexplicable confuaon
which
is
of titles in a " Passacaille " of
Handel
(Suite
No.
7 for the clavichord),
in
measure.
to"
25.
From
the basso ostinato,
which
class of composition it dis-
tinctly belongs, the

teristic traits:
modern Passacaglia differs only The bass theme is usually longer;

is
in certain charat-
sometimes more
elaborate; the treatment
preponderantly contrapuntal; and the form
30
Par. 26.
as a whole
basso ostinato
may pursue a more definite may be in any species of

character.
design.
(It will
be noted that a
measure, in either mode, and of
any rhythmic
fixed conditions,
par.
The
24.)
Passacaglia, on the other hand, has its
See the Comparative Table at the head
of this Division.
26.
The theme,
in bass, is
less.
most frequently eight measures

It is generally of simple,
in length;
sometimes more, rarely

striking
almost austere
melodic and rhythmic character; though occasionally more ornate and
themes are chosen.
Compare the theme
of Bach, in Ex. 14,
with those given in Ex. 15; and with the following of

Ex. 13.
Max Reger
m^^^^^^m
Max
Reger,
it
--^
op. 96.
m
basis,
*ap
The theme
where
it is
#
first
?^
alone (as in the fugue), in
27.
usually announced
its
the bass,
polyphonic process.
which others are to be added by the under the same general conditions as those which govern the Ground-motive and Ground-bass; namely:
tone-line, to
as principal
best manifests
significance as actual thematic
It is then repeated, in that voice,
a)
b)
It
It
may be rhythmically modified; see may be unessentially embellished,

when
Ex. 14, notes *6) and *ii). with neighboring notes or
passing notes, especially
these are introduced in conformity with
the imitatory "motive" adopted in the added (upper) parts; see Ex. 14, notes *6) and *i4).
c)
It
*i2).
may be transferred Much more rarely,
to another, higher, part; see Ex. 14, note
steps, or in
mode
parts
is
it may appear as sequence, on other another key; see Ex. 15, note *2). The simple change of always permissible; compare Ex. 9, notes *6) and *;).
28.
is
The treatment
of the
accompaniment in the upper (added)

is,
preponderantly polyphonic, that
contrapuntal or imitatory;
but not necessarily wholly so, as purely harmonic patterns may occur from time to time. It is, however, the polyphonic character of the
Passacaglia that distinguishes
it
from the Chaconne, and Variation-
forms in general.
Par. 39.
THE PASSACAGLIA.
Therefore, a
31
"Motive" is chosen for each successive manipuand is imitated and developed as in the Invention, or chorale-figuration. Here, again, the same (or a similar) motive may be used for two successive variations. Comp. par. 9; and see Ex. 14, notes *8), *9) and *i9). And, as shown in the Ground-motive, and in the basso ostinato, a systematic increase in rhythmic animation is likely to occur; and other devices of progressive development may
29.
lation of the bass-theme,
be so applied as to achieve an effective structural design in the entire series, with a view to providing the necessary contrasts and climaxes.
30.
Interludes
especially
may
appear, at proper intervals, between the varianatural expansion of the cadence-
tions;
when caused by a
and appropriate to insert a modulating interlude perhaps extended by a dominant organ-point immediately before the final announcement of the bass-theme, or at some other
chord.
It is especially effective
inviting point near the end.

31.
An
extension at the end, in the nature of a Codetta or Coda,

desirable.
is
possible
and
The
following organ Passacaglia of Bach, one of the most masterly

illustrates the
models of this form,

Theme
more important
of the
above
details:
aarjtr
(Var. I.),
rm-ir nr
rTr^J-M 1~ ^
^'I
igt
>
-I*^*-^-.>-a-y
-^-
i^^fe^s^^
e
IF
^4
32
THE LARGER- FORMS OF MUSICAL COMPOSITION.

Var.
II.
Par. 31.
3)
Igga ^
i
-
Sfc^
^^^^^^^
i
Var.
III.
^ ^^S^^=î
ir-
-'
etc.
See
4) *'*^
the original
^<
M.
-C^
~-
etc.
"m
^?
M.
cad.
M.
E
V.
IV.
i
V.
Par. 31.
THE PASSACAGLIA.
M.
33
^^ S^ a^g r
itt
Ld-r
^ ^^^
etc.
S
cad.
^=^
M.
^^^^^
see o riginal
i^ 5i
ir
^
*6)
M.
^^
VII.
vin.
îd
etc.
9)
^ ^ ^ ^
cad.
*8)
M.
^g^
34
Par. 31.
XI.-
yMf ^^m
etc.
Theme
=^ ^r^rrm^l
B3
XII.
i2)
ffi-
gf^s
m=-t
m
I
cad.
^^
etc.
*i3)
gSfeE^
-i--M=-
^
XIV. XV.
Par. 31.
THE PASSACAgLIA.
XVI.
.
35
XVII.
XVIII.
.^ ^1
M. i6)
^rcT
i^ m
Birl?
^
etc.
j:
^M
^
^^g
M..
i8)
XIX.
rM.-
Ml
-4:1-
M..
etc.
B^
XX.
i
i
t>
1
I9)
^
rPf
-P-
*
' j J
fr
i
1
>
i
^
I
=
r
iffi=^
36
Par. 31.
Bach.
*i)
Note the melodic structure
of the
Theme; the
relation of the half-notes, at
the beginning of each measure, to each other and to the key (the dominant note g with its lower and upper neighbors during the first phrase, and then the intervals of the tonic chord, in descending succession); and the manner in which nearly every
one of these accented half-notes

*2)
original.
is
preceded by
its
lower diatonic neighbor.
The term "Var."

Var. I
is
it does not appear in the homophonic, the motive in soprano being melodic only, not
is
used here for convenience;
imitatory.
*3) Var. II is
a duplication of Var.
I,
with
new phrase-melody,
built
upon the
same motive.
*4) Var. Ill
is
8th-notes, as marked).
polyphonic, based upon the imitations of the adopted motive (in It will be noticed that the motive, in this and all succeeding
variations, begins during the cadence
before the Theme

and
i6ths.
sets in, in bass.
*S)
*6)
The rhythm
is
accelerated to 8ths
melodically
Motive of 3 tones, harmonic form. The Theme, in bass, is modified both and rhythmically, in order to participate in the imitation of the motive. Compare note *i4).
*7)
The rhythm again

VII
is,
accelerated, to running i6ths.
*8) Var.
in a sense, a duplication of VI,
employing the same diatonic
motive, but in contrary motion, and extended to two beats.

*9) Var.
VIII
is
another duplication of
VI
(or VII), with the
same diatonic
motive extended to three, and more, beats.

*io) Similar to note *6), which see.
*ii)
throughout in soprano.
flowing motive of 3 beats, not imitated in alternate parts, but retained The rhythm of the Theme in bass is again rhythmically
modified by shortening each half-note to a quarter.

"12)
The Theme
is
is
transferred to the soprano.
This Var.
is
a duplication of X, a lower part.
inasmuch as the
pedal-bass
line of i6th-notes is
reproduced
literally, in
The
discontinued, to emphasize the shifting of the
Theme.
*i3) The Theme is again in soprano, in Var. XII, accompanied polyphonically with a ".jagged" motive of 3 or more beats in the lower parts.
^
Par. 31.
THE PASSACAGLIA.
The Theme
is
37
*i4)
in the aJto,
and modified melodically and rhythmically, as

the presen-
in Variations
and IX,
in conformity with the adopted motive.
*iS) Variations
XIV
and
XV
are both pure harmonic figuration;
taUon
of the
Theme,
in the tenor (the pedal is silent), is unique:
See the original.
16)
The "jagged"
motive, in i6th-notes,
of
is
a direct allusion to the last five
measures of the bass
ment
is
"imitation." harmonic, the measures are duplicates, without
Theme,
which
it
is
practically a diminution.
The
treat-
*i7) Var.
XVII
accelerates the
rhythm
to i6th-triplets.
the rhythm
of Var. IV; the
Theme
in bass is modified
Var. XVIII returns to by reducmg each quarter-note
to an 8th, with preceding 8th-rest.

i8)
Note the smgular "boring"
effect of the
motive
(two
beats in length,
suggesting
measure).
19) Var.
XX
is
aduplication of
XDC, with
the motive doubled in ards.
proper. *2o) This variation concludes the Passacagha

is
As Fmale, a
triple-fugue
added.
See, further, the following:
Rheinberger.
No.
I.
^
No.
^.
Rheinberger.
2)
fiH*
s
f^
:etc.
Sequence
Rheinberger.
^^^^^
3)
No.
3.
^^
ni^
SlGFRID KARG-ELERT.
No.
4.
^^^îfcEfefe^^g^Jî
Geo. Schumann.
No.
5.
AC H
38
No.
6.
Par. 31,
^^s E^
=t
6)
M ^^^m^^^
Elias Blum.
D. G. MASON.
No.
J.
itelM^^^ *
No.
8.
f
GOETSCHIUS.
I i
^^ isS
No,
*-i=^
(Fassacaglio)
Sfe
*8)
9.
irS:?^ i^
Man.
S
-
]ri=p=
#^^
P=83=S
fî^H'^rP
|
-_ ^
i^ ^
Fed.
^f-f.Ff-f-.f
^ r|rrt f^^
^^^f^
.
i^fe3^ ^
3t-i: <
^
g^
*i)
(Var.
G.
I.)
Frkscobaldi
^^
(1583-1644).
a ^^^^P^^
^J
^
J..
/
;ii
I
etc.
^JT^
4l-^1
:t-
^-s-
PJC
f
-JS-S-
^S m
but
:tP=
I
The Theme, an 8-measure Period with
It appears chiefly in bass,
slightly embellished.
is
Op. 132, Finale (Organ Sonata).

is
tonic cadence,
stated
first in
bass alone.
transtreat-
ferred at times to an upper part,
and occasionally
The
ment
is
polyphonic, and there
is
a progressive rhythmic design.
Par. 31.
THE PASSACAGLIA.
No.
11.
39
*2) Passacaglia, op. 156,
Theme, an 8-measure Period with dominant
cadence.
It
is
stated in bass, but immediately accompanied.

is
The Theme appears
constantly in bass, and

occasional imitations
transferred at each presentation to other steps, chiefly in
ascending sequences in the 3rd.
The treatment
is
preponderantly harmonic, but
and contrapuntal passages

No.
10.
occur.
*3) Passacaglia, op. 167,
The Theme, an 8-measure Period with domiand

is
nant cadence,
is
stated
first
in soprano alone,
is
then retained in soprano through-
out, as melodia ostinata.

'
The treatment The Theme, 4

it is
polyphonic.
*4)
Op.
8s,
No.
^.
(large)
pears
first in
bass alone;
presented three times in
measures with dominant cadence, apc minor, then twice in g minor
(with modified cadence at each change of key); then once in soprano in c minor, once in bass in / minor; then in c minor, in soprano, bass, soprano, tenor, and bass; again in soprano (g minor), bass (c minor, g minor, and c minor). This is followed
by a Fugue,
joins
it,
as Finale,
whose Subject counterpoints the basso
ostinato,
which
finally
in the coda.
*S) Passacaglia
in bass.
cally
upon the name B-A-C-H, op.

few times
39.
The Theme appears

is
chiefly
It occurs a
principally the latter. The treatment and rhythmically homophonic, preponderantly chromatic, and extremely brilliant.
in 5-flat major; is considerably modified,
both melodialmost entirely
*6) Passacaglia and Fugue, op. 10. An introduction, based upon the Theme in expanded form, leads into the Passacaglia. The Fugue ("Double") serves as Finale. A very effective and beautiful example, worthy of careful scrutiny.
phrase, modulates early into the dominant key and cadences there. The treatment is largely polyphonic and involves many skilful melodic and rhythmic modifications of the Theme.
*7)
The Theme, an 8-measure
(/-sharp minor)
*8)
basso ostinato, but not "Passacaglia" of the conventional tsê, inasmuch

is
as the
Theme
in
major (comp. par. 24; and par.

a "Passacaglio."
14).
*g) Frescobaldi calls it
This, though thoroughly scholastic
and
artistic in technical
treatment, belongs more properly to the traditional type of
the Passacaglia as Dance,
similar to the example of Bach, cited

or,
is
in par. 23.
The
it
Theme
is
an 8-measure Period,
more properly, a repeated 4-measure Phrase;
repeated 45 times (Nos. 14 to 32 in g-minor) and in variated forms, with constant and direct reference to the harmonic basis to the melody. In this respect it bears closer relation to the Chaconne-forms (par. In many outward 34), especially as it is in major, and exhibits no basso ostinato.
in major;
the four-measure section
traits it is strikingly similar to the
Chaconne
of
Bach
for Solo Violin, cited in Ex. 19.
EXERCISE
A
number
any ensemble
3.
of examples of the Passacaglia, chiefly for the organ, but also for the
pianoforte, or
themes cited
The of instruments with which the student is familiar. better Ex. 15 (especially Nos. i, 4, or 8) may be utilized; or the student may invent and manipulate his own themes.
in
40
THE_ LARGER FORMS OP MUSICAL COMPOSITION.
Par. 3a.
CHAPTER
32.
IV.
THE CHACONNE.
The
it is
Chacontte (Italian Ciaccona)
was
also originally a popitlar

is
dance;
very similar to the Passacaglia, and

It
often confounded with
was always in | (that is, triple) measure, usually eight measures in length; was either in major or in minor, and was many times repeated, with the same simple rhythmic and melodic modifications as those employed in the repetitions of the Passacaglia.
the latter.
33.
The
artistic or idealized
Chaconne, likewise, often closely
re-
sembles the modern Passacaglia, and has not escaped being confounded
with, or even regarded as identical
and interchangeable with, the

(or,
latter.
But
it
appears possible to define
at least, to establish for the
student's convenience) the characteristic traits of the Chaconne, as
recognized and adopted in the majority of existing
examples.
See
the Comparative Table at the head of this Division.

34.
a.
These distinctive
traits are as follows:
The "theme"
of the
primarily in the chord-successions
Chaconne is not a basso ostinato, but consists upon which the thematic sentence
is
(usually eight measures, rarely only four)
erected.
Out
of these
chords emerges a Melody, the air or tune of the dance, in the upper-
most part, which
in
the real thematic thread.
many cases is so definite and lyric as to appear to be And this may, to some extent, be the case,
the chords then representing the natural harmonization of that melody.

This view
is
home
out in the
title
to
some
of Handel's "Lessons for the harpsi-
chord," namely: "Chaconne, with Variations" (Ex. 16).

to be the principal thematic thread, although
it is
In these, the "Air" seems
control the conduct of the variations.
the chords alone, ultimately, which Further, in thus shifting the melody into
of the conventional
greater pronjinence, the
Chaconne approaches the nature
"Varia-
tion-forms,"
and
is,
of compositions.
not called by him
indeed, to be regarded as the first or incipient grade of this class So, for example, the c-minor " Variations " of Beethoven (Ex. 18) are "Chaconne" at all, although they are a genuine tjrpe of that class.
It
is,
chord-sttccession is retained as basis,
however, positively distinctive of the Chaconne that the with a few natural or interesting
modifications
pears, or
and modulations, even when the
original
melody disap-
assumes quite a different form.
Precisely as
shown
in par. 23, this retention of the chords leads as a

less
matter of course to the more or
exact retention of the original bass-
Par. 35.
THE CHACONNE.
41
part, thus lending support to the impression of a basso ostinato.
But
the difference in the operation of this idea, and the actual distinction between a "retained bass" and a genuine "Ground-bass" (as thematic
fundament),
in the
is
quite as essential as
is
it is
obvious:
In the Passacaglia
the basso ostinato
the source and basis of the whole structure; whereas
limited, of the retained chord-successions out of

really evolved.
b.
Chaconne the recurring bass is merely a consequence, by no means which the structure is
is not polyphonic, as is that of the Passacaglia, but preponderantly homophonic, or harmonic. The successive modified repetitions (or variations) are but little more than
Comp. par. 25. The treatment of the Chaconne
figurations of the chords, in ingenious forms of broken
and embellished
harmony.
Compare
par. 28.
is
This distinction in the methods of treatment
the natural consequence of the
it is in the bass, as single tone-hne, to which other lines are added, in contrapuntal texture: In the Chaconne it is in the soprano, as lyric product of the chords, which induce harmonic manipu-
location of the chief thematic thread: In the Passacaglia
lation.
The
Passacaglia'
is
built chiefly
from the bottom upward; the Chaconne,
from the melody downward.

c.
The
first
Passacaglia
is
not classed among the conventional variation-
forms; but the Chaconne, as already noted,

as the
may
justly be looked
it
upon
pre-
or lowest grade of the Variation-form, inasmuch as
sents several features (absent in the Passacaglia) that are peculiar to

this class of composition.
35.
The manner
in
figurated, constitutes
which the chords of the theme are broken, or what might be called the "pattern" of the variathrough the entire
there, to avoid
is
tion, carried along in consistent recurrence
series of
chords, with suflScient modification, here
and
monotony.
frequently
Here, again, the same pattern, with change of register,
used for two, or even three, successive variations; thus exemplifying

the principle of duplication, defined in par. 12c as a vital element in the
creation,
and
distinct presentation,
of a structural design.
Comp.
pars. 9, 19.
Chaconne
*i)
}^
Ex.
1^
iJ. ^. '-f-^F-ry-^
i
P
,
-ii
-f-
P-
16.
u__:sii
-IM.
42
Par. 35.
=P^=i=
^î^
f-*--^J itat
-i!-
H
*2)
Var.
I.
nit
J
J=p=^
î itt
J ;^>-
r i
J-L_ J
iSi-^
fefiii
B3=
i
3E STT
m
S
-iS'-r-
^r^^^
pi^
F
Var.
2.
^
4^==t -#-etc.
I
gpa#âa
(
*^
;P^
X s s
3.
-^
Var.
Var.
9.
etc.
5)
U4-^^^W^f^
Var, 10.
-
X-
-X
X
etc.
etc.
[fe
X-
^P^^
tiM^.-

Par. 35-
THE CHACONNE.
Var. 20.
43
Var. 15.
etc.
_
-
PtJE
Var. 31.
s-
ifffff
etc.
gg ^
etc.
m
Var. 36.
etc.
---
#-
Var. 38.
Var.
43,
etc.
*6)
^g .S^
*i)
From Handel's "Lessons"

(the
for
the
Clavichord
(or
Harpsichord).
The
an 8-measure Period, with perfect cadence. The soprano-melody is the chief element; and, with its chord accompaniment, is traced more or less accurately through each variation. In the original version there are 62
Theme
Chaconne proper)
is
variations.
*2)
The bass corresponds The cadence-measure

is
exactly to that of the
Theme,
but simply because
the chord-successions are the same.

*3)
is
so bridged over as to connect the variations without
interruption (see par. 36).

*4) Var. Ill
a duplication of Var. II; that

is
is,
very nearly the same pattern

10,
is
used for each.
The same
true of Variations 9
and
and many other
pairs.
clearly in nothing more *S) This variation, like almost all which follow, consists than a figuration of the chords of the Theme. The pattern is defined simply by the manner in which the first chord is broken, melodically and rhythmically.
*6)
Canon
in
in the octave, after
Chaconne
Handel's "Lessons,"
one beat.
also in
See the original.
See also the other
major, and apparently a modified
version of the above
Theme.
See further:
44

Chaconne, No.
i.
Par. 35.
JoH.
Bernhard Bach
(1676-1749).
I.
*i) A six-measure Phrase, major mode. The Variations (five in A, four in E, two in B, and seven in A) all consist in ptirely harmonic figuration of the chords. Both melody and bass are retained nearly literally, throughout.
"2)
Another curious confusion of
styles, like that of the

is
"Passacaglia" of Handel
fact that
cited in par. 24
it is
(m ^ measure). in 4 measure. The Theme
This
is
called a
"Chaconne," despite the
a /ow-measure phrase, major mode.
There are 25
figuration.
Variations, all in
major, derived from the chords
The
bass
is
retained almost literally; the melody has
by simple harmonic more modifications.
Chaconne are often connected with each two or three variations as are based upon the same pattern. But it is indicative of the relation of the Chaconne to the Variation-form proper, that an occasional complete break, or full stop, occurs, severing that variation from the followipg one. Such interruptions are not found in the Passacaglia, which is always strictly continuous. Comp. par. 21.
36.
The
variations of the
other (that
is,
are continuous), especially during such groups of
37.
separate variations,
tonality.
Partly in consequence of this incipient independence of certain some liberty is permitted in the treatment of the
Thus it is quite common, in the Chaconne, to alter the mode (from minor to major, or vice versa) during certain single variations, or groups of variations; see Ex. 18, note *i2). This, however, is the
only device employed; no change of key-note, or change of measure, is made, in the variations of the Chaconne; nor are alterations of the
form,
by
extension of the
the connection between the
Theme, considered legitimate. In a word, Theme and its several variations is here
4
Par. 37.
THE CHACONNE.
close.
45 Theme,
of
still
very
The
latter are referred directly to the
which
they are usually closely related duplications, in See further:

Theme
*i)
all essential respects.
\iMyrW^f^^^rH'-'Lti
Ex. 18.^
^
f
<
^^^=m S4 f^=M
AChords C I
;
ffi
FV
V
7
P
1
i ^
IX
JS-
M~^r^
P-
^^
ii2j
h^
j_ijg
^Tj
g^ se
Var.
I.
cIV
Irs-
^jr[oî h AT ^-'
V
| l
^
I
V f=
1
rvi
.
^^
k'
'
|ri]^^^^^ r
^^7Fs:g.^r^^^ fe: i^S^^^
^^^^^^^
g^^^s ^ l
-=1
li
s-
X-
?"
46
Par. 37-
^
w
T^"^X
Var.
2.
^^=^=^
etc.
See original
^^
Var.
3.
-- -- -- -- -- --
kI
^tjT^
i^*"T" j
"*! _
'
'
''
r^*
iF^^
-i(--#-
is w
^
*6)
S^^
.
^ ^
m
4 i i
&
FIX
etc.
See original
*7)
Var.
4.
-fr
''I
j^
JUZ
*%)
etc.
i^
X-
47
Par. 37.
THE CHACONNE.
^
Var.
5.
Var.
7.
^S ^
-^m
*9)
etc.
***:
I
'
etc.
IE
N ^' N^
J
tâ^flftte
D^nxi^TH i^^^^H^^S ^^^Ê^^^
*io)
9.
I
^ ^^
^
f-!Sf*i3)
etc.
s^ m^
Var.
etc.
^ SE
Var.
10.
Var.
12.
rTi TFli-^
:^3b
semplice J
etc.
*ii)
etc.
i2)
p ^
"^^
Var.
I
l^jtL
^
r-
13.
i
i
IE i
H
I4)
5EE^
etc.
9^=^
iE
--j-^
^
48
TEE LARGER FORMS OF MUSICAL COMPOSITION.

Var.
14.
Par. 37.
^g
^t=s=
r-r-rr=f=f=^
8va
^4t^"^
Var, 20.
ft
Var. 30.
^^
Beethoven.
II
I
19) See originaL
Par. 37.
THE CHACONNE.
of
49
for pianoforte.
*i)
The famous "c minor Variations"

is, is
Beethoven
It is
evident that the chords form the Theme, and that the upper melody, beautiful and
significant as it
an external
auxiliary,
not recognizably present in more than a

also.
half-dozen of the 32 variations.

*2)
Note the bass-melody,
trary
The "pattern" appears alternately in ascending and descending form motion). The bass-part, throughout, conforms to that of the Theme.
Note the change
in the chord-form; in the
(con-
*3)
Theme
*6).
it is
the dominant-yth of
/ minor
*4)
(majbr), here the diminished-yth.
Comp. note
the next.
The first variation has no rhythmic break at its cadence, but runs on The same is true of the second variation, and of several others.
into
*S) The same "pattern" is used for the second variation (par. 35), but transferred to the "other hand" (lower register)^ In variation No. 3, also, the same
pattern
is
employed, but in both hands.
In other words, Variations 2 and 3 are
duplications of Var. i.
*6)
Another change of chord. Comp. note
*i).
*j) This group of three continuous variations, with the
same pattern,
is
here
brought to a
*8)
full stop,
is
and severed from the

an intimation
its
next.
Here there
of the thematic melody in the inner part.
The
bass-part corresponds to
9)
progressions in the
Theme.
ure of the Theme.

*io)
*ii)
itself
These three 8th-notes are derived from the three notes in the seventh measSee the original, and observe the manner in which Var. 5 ends.
The pattern
in the "left
hand"
is
the same as that of Var.
7.
The 32nd-notes
in the pattern are
(end of the second measure).
borrowed from the melody of the Theme Var. 11 is the mate to Var. 10, with the two
parts (hands) inverted.

*12)
is
Here the mode changes, from minor
to major.
The melody
of the
Theme
plainly indicated, but in smoother rhythmic form.
13)
series,
begins here.
complete change ofj the bass-part, and, consequently, a new chordSee the original. The bass has an ascending chromatic move-
ment, instead of descending, as in the Theme.

*i4) Variations 13
and 14 are both derived from Var.
12, as "duplications" of
the latter.
The melody,
in shifted registers, is retained literally.
*iS) Variations 15
and 16 (mated)
are
still
in major.
*i6) Var. 17 returns to minor.
It is
an "Invention with independent bass,"
and has
its
Motive, derived from the thematic melody.

its
*iy) In Var. 20 the original bass appears as uppermost part. Var. 21 is mate, or duplication, with inverted registers. Var. 22 is a Canon in the octave.
*i8)
Here a
Var. 31
striking simplification of the

is
Theme
appears, in subdued rhythm.
an exact re-statement of the original melody, (as conventional with harmonic figuration in 32nd-notes. Var. 32 is its mate, or duplication, da capo), considerably embellished. This becomes the Finale of the composition, and consists, measures); then first, of the complete Var. (32); then an extension, as interlude (10 another variation, with evaded cadence and extension; and then a Coda of 18 measSee par. 38, and par. 55. ures, comprising three smaller sections.
ig)
so
38.

The
last presentation or variation of the
Par. 38.
Chaconne
is
usually
extended by the addition of a Codetta or Coda, derived either directly
from the pattern of the variation, or from the Theme

related material.
itself,
or from
The
section,
distinction
between codetta and coda
is
as follows:
The codetta
is
a single
phrase of four, or two, measures, duplicated (repeated, usually with
and sometimes extended at the cadence. The coda, on the contains, therefore, more than one section, of decreasing length, as a rule. See par. 556. Examine carefully the last variation of Beethoven (Ex. 18), in the original; and also the coda of Brahms (Ex. 20).
some
modification),
is
other hand,
a group of codettas,
Further illustrations:
Repetition
.Theme: Phrase
Ex.
19.
|.
w^rwr^ f^
^=^r=^J=h==h
pm
.
^^^ 1^
m 3^
f
Var.
II
1.
IT wi.
2)
^
2.
cad.
Var.
cad.
^-T
*4)
fl*-
etc
Par. 38.
THE CHACONNE.
Var4
51
Var.
J,
I*
-F
etc
etc.
'
'=="^-
Var. 8.
II
cad.
^m r
20.
Var. 17.
n
f
Var. 27.
etc.
1 1
Var.
cad.
T^
II
Var. 30.
Var. 32.
cad.
cad.
Var. 34. (Theme, as da capo)
Bach.
is
The Theme *i) The Chaconne for Solo- Violin, from the 4th Sonata, J. S. Bach. an 8-measure sentence, as repeated phrase (not Period), of the conventional type,
in minor.
lines
5 measure, and
Its actual thematic contents are the chords, of
which the
upper and lower
(melody and bass) are rather the mdex than the cause.
*2) Note that the cadence is everywhere bridged over by maintaining the rhythmic movement, and beginning immediately the pattern of the following variation. Provision was made for this at the outset, by beginning with two "preliminary beats" (before the real first measure). In Var. i, both the melody and bass of the Theme
are closely followed.

*3) Var. 2
is
i,
with chromatic bass.
52
*4)
Par. 38.
is a melodically embellished duplication of the a nearly exact repetition, as in the preceding presentations. In several instances this change of pattern after four measures is so radical that the Theme appears to be reduced to one of its two (similar) phrases; thus, Variations
first,
instead
In Var.
3,
the second phrase
of
IS, 22, 29, 31,
32 and 33, are only four measures long.
See the original.
*S) Variations 17 to 26 are in the

in minor.
*6)
major mode.
Var. 27, and to the end, again
The end
of the series consists in a recurrence of the
Theme
as at the be-
ginning (the customary "da capo"), the last 4 measures somewhat modified, and led to a strong tonic cadence. There is no codetta. Examine the original, and note the
variety of "patterns," particularly with reference to their influence
upon the rhythmic
design as a whole.
of
Two ingenious and instructive transcriptions, or amplifications, of this Chaconne Bach are: an arrangement by Joacbim Rafi for full orchestra; and an arrangement for the pianoforte by F. Busoni.
See further:
AlUgro
Par. 38,
THE CHACONNE.
53
^
cadence
"""
'
cadence
|
etc.
etc.
(13)
Th. 9)
m:,jiMi .-j=^j=^=i F7^T"^f ^-^H

S)
pp
gtfei'f rf
i rhj7Ti/^^^
r^
etc.
-T"'
^-^
X f
54

(14)
Par. 38.
(iS)
(i6)Th.
I
I
P^
/
<^l7/i;.
etc. *io)
*i i)
ff
See original
(17-23) (24-25-26) (27-30)
(31,
Coda)
*i5)
Jt
J.
1""
1
It
I
I
E lU
*i4)
Section
See the
original
*I3)
P
i,
20 measures
pii=
g
Cadence
m r
8var
-fe
:i
-1 -I
P-
I i
fb, '^rt
1
bE p=^ ^^
^^ B
i6)
etc.
!bi
&^ S^
Sec.
Ill,
ss r
=t
8 meas.
etc.
BrAhms.
Section II, 8 measures *I7)
Sec. IV, 8 meas.
s'
'
2f f yj
tf^gpJK
,jiJ
^Îte
Par. 38.
THE CHACONNE.
55
*i) The final movement of Brahms' 4th Symphony. The composer has given no name to this movement; it has been called, by different writers, both Passacaglia and Chaconne, most frequently the former. It appears to possess all the distinctive
however. The Theme is an 8-measure phrase, the burden of which is the melody of the soprano, and the chords which go with it. The bass-part has no thematic importance, excepting when it takes charge of this thematic melody (which it frequently, but by no means constantly, does). There is a noteworthy absence of the dominant harmony, in the first 6 measures; when it appears, in the 7th measure, it is in a rare altered form (with lowered second scaletraits of the Chaconne-iorca,
step).
are not numbered or indicated in any way, in the original. marked here merely for convenience. In "Var. i" the thematic melody is still in soprano, but an octave lower than before. The chords are retained exactly as in the Theme, but sharply enimciated on the second beat only.
*2)
The "variations"
They
are
*3) The thematic melody descends again one octave, to the tenor. Var. 2 is the only one of the whole series which has a poljTjhonic character; the motive of
three diatonic tones,
and
its
imitations, are immistakable.
*4) Note, particularly, the treatment of the cadence measures (see the original).
The tonic cadence-tone Comp. *i2).

In Var.
first
is
always present, but always divested of
its
monotony.
3,
the thematic melody reappears in the soprano; in Var. 4
it is,
for the
time, placed in the bass.

*5) Var. 5
is
4.
*6) Variations 6 to 9 gradually increase the rhythmic pulse, through dotted

Sths,
and
i6ths, to i6th-triplets.
Var. 10 subsides abruptly to a quiet rhythm of whole measures.

*7)
In Var.
12, the
measure changes to double
its original
length, the quarter-
notes remaining equal, thus presenting the
Theme in genuine "augmentation."

The Theme
measures)
The
still
melody, in soprano,
*8)
is
dissolved into a cantilena.
With Var.
13, the
mode
is
is
altered from minor to major.
appears in augmentation.
*9)
The thematic melody

is
delicately
"pointed" out
(for four
by
the
accent on the highest tone near the end of the measures.

*io) Var. IS *ii)
a duplication of 14
thematic melody
in bass).
original
Here the conventional "da capo" takes place: the
mode and measharmonized.
ure are resumed.

*i2)
Note the unusual manner
in
which the tonic cadence-note
(e) is
"13) Variations 24, 25, beginning," which constitutes so vital a condition of clear and logical musical strucVar. 25 is similarly like ture: Var. 24 is a nearly exact coimterpart of Var. i,
and 26 are equivalent
to the significant "return to the
Var.
2,
Var. 26
closely resembles Var. 3.
30
is
*14) Variations 27, 28 and 29 are of unusual melodic and harmonic grace. Var. extended or expanded four measures, at its end, in impressive preparation for as usual, sectional in form (pars. 38
the Coda.
*iS)
The Coda
is,
and
SS^)-
The
first
section
56
is
Par. 38.
based upon the first half of the thematic melody. At *i6) the original o-sharp see the original. changed to 6-flat, and greatly emphasized,
is
*i7) Sections II, III and IV are each 8 measures in length (the extent of the Theme); each consists in the duplication of a 4-measure phrase; and each is based on a "diminution" of the thematic melody.
*i8) This
is
followed
by a Vth
Section, similar to the IVth;
and a
final,
Vlth
Section, of 9 measures, as reiteration of the cadence-chords.
See further:
Chopin, Berceuse, op. S7- This would scarcely be called a typical Chaconne, but it is nevertheless an example of the Chaconne-form. After two introductory measures (announcing the imiform alternation of tonic and dominant harmonies
which
oscillate uninterruptedly
is
through the piece
to the Coda), the "Theme," a

Chopin.
it -#
four-measure melody,
thus stated:
Ex.
21.
^m ^
Dbl
Andante
1^^--
S
is
Fggf^ga]
V
added;
it
distinctly traced,
This 4-measure phrase recurs twelve times; in some cases the melody may be but in the most of the presentations it is the chords (the "rocking" tonic-dominant) which provide the deUghtfuUy ornamental lines of the upper structure.
After "Var."' 12, a
Coda
of 16 measures
first
consists of
two
Sections:
the
first
Section introduces, for the

is
time, the
subdominant chord and key; the
second Section
the traditional
"da capo," or
sentation of the thematic melody,

(*"
extended.
direct reference to the original pre-
Brahms, op. 118, No. s (Romanze for pfte.); the middle Part (2-sharp signaBy no means a typical Chaconne, but a member of the same structural family: A 4-measure phrase, with five repetitions or variations, based strictly upon the chords of the thematic phrase, followed by a codetta (as retransition to the
ture).
Principal Part of the composition).
Brahms, op.
unique design
is
119,
No.
(Intermezzo for pfte.): Similar, but
less
genuine.
TMs
approximately a Group of phrases, with "Trio'' in strict ThreePart Song-form. But it closely resembles the Chaconne-form, inasmuch as nearly every phrase in the group has the same thematic contents.
Andantino
Brahms.
etc.
The thematic melody

cated and extended.
at the begmning), 29;
occurs in the first two measures, and is immediately dupUThese two thematic measures recur at measures 9, 11, 13
(transposed to a minor), 15 (sequence), 18 (transposed
to/ minor), 20
(in e
minor, as
and again,
measiu-e 36, expanded to four measures, as
principal phrase of the "Trio," in major; thus:

Par. 39,
THE CHACONNE-THEME.
57
Brahms.
etc.
Ex.
is
Grazioso
23,
Joachim
Raff,
Chaconne
after
in o
minor
for the pfte. for four hands, op. 150.
The
Theme
announced
an Introduction.
first
It
is
in a minor,
measure, and tweke
measures long.
a minor
the gth one extended two measures at

W.
Korngold, the
final
There are
9 "variations" (not so called in the original) in

its
end; then two in
C major,
5 in
o minor (some extended), 2 in A major, one each in C major and e minor; in a minor; then a "da capo" statement, and a Coda, ending in major.
finally 3
Erich
movement
of Sonata,
No.
i,
for the pianoforte:
Theme
Ex.
i^ ^^
-s-^
-J
J-
J ^
i"-.
A. V. Z.
*i)
^ga
r-J-zg;
I
SH
24.
ms ^
i)
-Us>-
=g=ttFq^-: a
>
The Theme
(only) bears these initials,
and
is
^^
therefore plainly not original
with Korngold, but its elaboration forms the last movement of his Sonata. It is not called "Chaconne," but obviously belongs to that tribe. The Theme is seven The all tones from the d minor chord. measures in length. Note the soprano,
principal basis
is
less evident; it is
the chord-succession, though the hass-Une is everywhere more or retained, as bass, during the first s or 6 statements; then presented,
with varied modifications, in other parts. 6 in major; the last 2 or 3 are in minor.
There
are, in all, 13 variations in minor,
The Chaconne-Theme.
39.
It
is
Theme.
The predominant
not easy to define the qualities of a good (original) working attribute should, however, be simplicity.
imaffected chord-succession, with an attractive melodic
better results than a
natural,
upper
little
line, will yield
showy or dramatically imitself will
pressive one can; a
Theme
that
is
elaborate in
is
admit of but
further elaboration; the art of variation
to develop unexpected
effects
exercise of sufficient ingenuity,
not directly patent in the Theme. This is possible, with the and with the understanding that very
great liberties
may (and must) be taken with the Theme, on condition do not wholly destroy its essential elements. that these
58

At the same
time,
Par. 40
one or more striking traits
a Theme, while simple as a whole, must contain which impart a distinct physiognomy to it, establish a convincing point of contact between it and its variations. and In this respect, note the irregular rhythm in measure 6 of Ex. 18 (Beethoven), and the chromatic bass; and the dissonant Second-dominant
chord (IF) on the
first
step in the 5th measure of Ex. 20 (Brahms); nization of a very simple melody, in Ex. 24.
accent in Ex. 19 (Bach); the raised 4th scaleand the striking harmo-
This latter
trait
peculiar, irregular,
abnormal harmonies
it is
wise to shun, in the Theme, for nothing grows so quickly
and inevitably
wearisome as the regular recmrrence of any abnormal feature. Above all things, monotony (in the Theme, or in the rhythmic, melodic
and harmonic treatment
of its variations)
must be
rigidly
guarded
against.
EXERCISE
4.
number
of examples of the Chacomie-form;
major or minor; almost,
if
not
quite, exclusively in
measure; with (chiefly) 8-measure Themes.
CHAPTER
THE SMALL
40.
V.
(OR SIMPLE) VARIATION-FORM,

between the three grades of the Variation-form
The
distinction
(chapters 4, 5 and 6), as shown in the Comparative Table at the head of this Division, is due primarily to the length of the Theme. In the
Chaconne,
it is
usually an 8-measure sentence, or One-Part form.
In
the Small Variation, usually 16 measures, either as double-period, or
Two-Part form; or, possibly. Incipient Three-Part form. In the Large Variation, usually 20 to 24 measures, as Three-Part form, sometimes Incomplete.
Other distinctions, concerning melody and formal structure, wiU
be pointed out
41.
later.
This
difiference in the
extent of the thematic sentence has an
obvious, and significant, bearing
sequently, upon the attitude of the student.
upon the nature of the task, and, conAs the Theme becomes
Par. 4a.
TBE SMALL
(OR SIMPLE) VARIATION-FORM.
59
longer, the disposition increases to lay greater stress upon the melody or air; to separate the variations; and to direct more attention to the
structural conditions (the "form"),

entire series.
42.
of
each variation, and of the
The Theme
of the Small variation-form, as stated in par. 40, is
usually 16 measures in length, as double-period,* Two-Part Song-form,t

possibly incipient Three-Part form.J
The
double-period
is
employed
the
in Beethoven's "Righini Variations" (24, in
D major);
the Two-Part
form
in
in Mendelssohn's "Variations sinenses " (d minor, op. 54);
Incipient Three-Part form in the ist
movement
of Mozart's pfte.
Sonata
major (Schirmer
of
ed..
No.
9).
Other dimensions are occasionally
found, as, for example, a small Two-Part form (8 measures^) in the
Theme
The
16 measures
Brahms' "Handel Variations" (5-flat major, op. is the normal length.

(par. 39,
24).
But
essential traits are similar to those given in the definition of the
Chaconne Theme
which review).
But the Theme of the variaits
tion-form proper usually has a more pronounced lyric quality;
burden is the melody, or air, to which the chords are added as harmonic accompaniment. And although the earlier distinctive custom of writing variations upon some popular song, opera aria, or other favorite composition, has given way to that of preparing original Themes, the latter
are generally far more melodious than harmonic in character.
43.
tions,
a.
In the Small form, with
its
i6-measure Theme, the varia-
being longer than those of the Chaconne, are more independent
of each other,
and more
likely to constitute separate sentences, each
complete in
b.
itself.
other.
The variations are, as a rale, no longer connected with each Each one receives its full perfect cadence, and is thus brought
some instances a few of the traits of the Chaconne still adhere At times, the same "pattern," or a related one, is used
to a complete close.
Nevertheless, in
to the Small variation-form:

for
two (not more) successive variations; Ex. 25, notes *3), *4), *8). And occasionally only by "bridging" the a variation may be connected with the following one, cadence, rhythmically; Mendelssohn, op. S4 (Ex. 25), Var. 1-2, 2-3, 3-4, 6-7, 9-10,
11-12, 16-17.
c.
The
variations
their
Theme,
not closely related duplicates, as in the Chaconne, but

See the author's Ffomophanic Forms, chap. VIII.
may become somewhat more
independent of
Homophonic Forms, chap. IX. Homophonic Forjns, par. 84. IT Homopkonic Farms, par. 76.
t
60

more ingeniously
differentiated
Par. 44.
actual variations,
from the Theme and
from
their
each other.
They may be
said rather to allude, than to refer, to
Theme; hence, greater liberty is exercised in the choice of "pattern," and in defining the character of each individual variation.
44.
In
this smaller
grade of the Variation-form proper, the separate
variations, as "modified repetitions of the

relation to,
Theme," should
exhibit their
and derivation from
their
Theme with
convincing clearness;
otherwise, in the absence of such recognizable proof of its thematic

is, more accurately stated, an "improvisation" upon the Theme, and manifests only a remote or indirect relation to
origin, the variation
the latter.
45.
For
this reason, it is necessary to define the essential
elements
of the
Theme, and
to determine the principal points of contact to

it
be
maintained between
readily definable
1.
and
its variations.
Of these there are
four,
and recognizable:
of the
2.
3.
4.
The melody of the Theme; The chord-successions (or harmonic body) The hass of the Theme; and The general form, or structural outline of
In any case, the
first
Theme;
the Theme.
46.
a.
step
is
to invent a motive or Pattern
for the variation.
See par. 35.

(rarely longer),
This
is
generally a brief figure, of one beat (rare), one-half measure,
a whole measure, or two measures
which appears at the
beginning of the variation, and is 'then conducted through the variation, guided by the melodic and harmonic movements of the Theme, and in more
or less close keeping with the adopted basis of contact (par. 45).
Note the array
of patterns in Exs. 18, 19, 20
and
25;
and observe that
it is
the
general melodic and, espedally, rhythmic construction of the pattern that defines the style and effect of the variation.
The
pattern
is
often derived from
some feature
of the
Thsme
itself.
See Ex. 18,
note *9) and note *ii). Also Ex. 25, note *2). Theme. Mendelssohn, op. 54.
Andante
!!;^
Var.
1.
Andante
Par. 46.
THE SMALL
Var.
2.
{OR SIMPLE) VARIATION-PORM.

Var.
61
Pocopiit,
animato
3.
Piii
animato
m^^^^^^^^^
9i
t^
J^lJTt Si
Var.
4.
*2)
m
It
Var.
5.
Agitato
Var. 6.
(Ex. No.
26, 2.)
62

Var.
Var. 13.
14.
Par. 46.
I6=|: ^ w
6)
W
-^
Th.
gfeE
Var. 15.
WPi^n iffm rr i a ^5=^P^

.
7)
Var. 16. Alio, vivace
Var.
17,
and Coda
*i
*i)
Only a portion
of the
Theme
is
given, suffident to define the conception of
the patterns.
The pattern
of Var. i
staccato bass, beneath the original

""2)
might be defined as a "running inner part, with melody." It is adhered to throughout.
The "motive"'
of the
of the pattern, in the lower staff, is derived
member
it
Theme
is
(measures 15 and 16
which
from the
last
see), to
the bassnotes of which
exactly corresponds.
*3) Var.
the mate to Var. 3;
it utilizes
the same "motive" of four tones, but
in contrary motion.
*4) Var. g is the *5) *6) *7)
mate
to Var. 8.
54/f.
fughetta; see par.
The thematic melody

Change
of
in tenor, nearly literal, throughout.

in tenor.
mode; melody
16; it is followed by a long Coda of four Sections In every one of these "patterns" the presence of the first two melody tones of the Theme (o and g-sharp) is dearly recognized.
*8) Var. 17 is the
(see par. 556).
b.
mate to Var.
It
is
by no means necessary
is
to adhere strictly to the adopted pattern through-
monotony, and the natural or even great alterations of the pattern; these, however, seldom affect the rhythm. This freedom of treatment is frequently conspicuous in the variations of Beethoven, in which, instead of continuous reiterations of the same pattern, often a number of motives
effort to defeat
out, although this
generally done.
The
exhibition of ingenuity
and freedom,
will lead to occasional slight
(always closely assimilated, particularly in respect of rhythm) appear, in the successive phrases, periods, or Parts of the
same
variation.
47.
Of the four
essential thematic elements

is
enumerated in par. 45,
the most important and indicative
the Melody.
is
The more
or less
constant adherence to the air or melody
by
far the
most natural and
Par. 48.
THE SMALL
63
common method of establishing contact between Theme and Variation. And this is the reason why the Theme of a small variation-form should
present a more distinctly lyric appearance (should have a more promi-
nent melody-Une) than that of the Chaconne.

48.
(First
glance
at
par.
58.)
adopted as the basis of the variation,

literally:
a.
it
When the melody-Une is thus may be traced qmte, or nearly,
In the same (upper) part.

op.
S4,
Mendelssohn,
variation,
Var.
literally;
Var.
is
nearly
literally.
Such
first
nearly exact retention of the melody of the
Theme
very apt to occur in the
which naturally represents a direct re-statement and confirmation of the Theme, before its more elaborate variation is undertaken. The succeeding variations then diverge more and more widely from the thematic melody for a time until it seems effective to return and state the melody again in its original form (as quasi da capo, from time to time). In this respect, the above variations of Mendelssohn (op. 54) are typical.
b.
Or the melody may be placed
in
an inner or lower part
again,
either quite, or nearly, literally; perhaps with different harmonization,
and always with new and ingenious

Mendelssohn, op.
literal,
patterns.
S4, Var. 13 (very nearly literal, in tenor);
in tenor, during the first Part;
Var. 14 (nearly then more obscured); see Ex. 25, notes *6)
and
*7).
Beethoven, "Russian" variations

nearly exact, during
(in bass
(12,
in
first
and third Part).
later in iimer part
nearly exact).
Op.
26, 4-flat
major), Var. 4 (melody in tenor, major pfte. Sonata; Var. 2
Schumann, Symphonic Etudes (op.

part.
c.
Brahms,
op. 9, Var.
i,
melody in bass.
of the
13), Var. 2
melody
in bass, later in inner
Or the
successive
members
melody may appear
in alter-
nate parts.
This
is
seen in the variation just cited
Beethoven,
op. 26, Var. 2;
and
in the
following:
No.
1.
Melody
of
Theme
etc.
Beethoven.
64

No.
2.
Par. 48.
Mel. of
Theme
i# iF=^
f=:i
etc.
Mendelssohn.
i)
^^^^%l
original
in>
*i)
The
not appear
note.
melody tones are here radicated by , which, of course, do Uendelssohn's version; the o denotes the absence of an original
3.
See also Mendelssohn, op. 82, Var.
Brahms, "Handel Variations,"
op. 24,
Var. 10; Var. 18 (alternate left and right hand).
florid cantilena or
elaborately ornamented, or dissolved into a "aria" (similar to the process sometimes applied to a chorale melody: See the author's Applied Counterpoint, par. 107).
d.
The melody may be
Beethoven, op. 35 (15 variations in -flat major), Var. 15. Also his op. 120 ("Diabelli" variations), Var. 31; and op. 34 (6 variations in F major), Var. i, and
the adagio molio in the Coda; also 13 variations in
e.
major (Dittersdorf), Var.
12.
variations, the thematic

strict cantus firmus,
In variations for the organ, especially in so-called Choralemelody is likely to be retained as more or less
with polyphonic treatment of the accompanying
parts.
four sets of Chorale-variations.

in Nos. I
Bach, organ compositions. Vol. s (Peters edition), Second Division (page 60); The word "partite" is used instead of "variations"
and
2.
No. 4
is
a series of canonic variations.
pears, as cantus firmus, in various parts
most frequently in soprano;

and
there, or dissolved
The Chorale-theme apusually re-
tained literally, sometimes modified here

into a florid aria.
/.
by ornamentation
The
successive tones of the
tached or fragmentary order.
This
melody are often presented in deis especially apt to be the case
when the
chord-basis
is
prominent
(par. 49), or
when
the pattern
is
of a
figural character.
See also par. 51.
For
illustration:

Par. 48.
TffE
No.
SMALL
Melody
of

Theme
(
65
Ex.
27,
^
No.
I.
Ex. 28-1
Var.
I.
etc.
Beethoven.
#-
^^^=^==p
2.
,.
g^^êtcg
Beethoven.
Mel. of
Theme
^ ^^^f^^^
etc.
etc.
\\
im
No.
3.
Mel. of
#
i^*^
Theme ( Ex. 28-4) p -
8va..
=*
8va..
TF
=i^3
No.
4.
m i^^
-^^
li
LlADOW,
etc.
Mel. of
Theme
Chopin)
i^j
^j+^^tsj -i
^^
^-ii:
Rachmaninow.
etc.
^.r^
'
STl^^^r^^'^^-î^r^
g. In case the melody of the Theme is chosen as chief line of contact, goes without saying that the original chord-harmonization, and the Comp. pars. 49 and 50. bass, may be partly or wholly changed. it
For example:
66

No.
1.
Par. 48.
Theme
J,^-
a-j
s=
-m^t
fffn^ffifff
^^^^S^% a a^
^!
Jl.
Var.
6.
Par. 48.
TEE SMALL
Var. 21.
{OR SIMPLE)
VARIATION-FORM.
Brahms.
67
etc.
No.
3.
Theme
aa M=
i:
I
^
1 jjrj^;;
C-T'
cJ
P
r
etc.
Var.
5.
TSCHAIKOWSKY.
^ ^
No.
4.
iJi-^-j^^ j^
^"^^
JH n:fc#
i
,
J^
^
=?=*:
^^
r
Theme
s
T
i*!=i=^
^
etc.
bMI
AMI
7b
n7y la
7
II
I^
Vol
68
*i)

The Theme (and
its
Par. 49.
its
melody remains in
*2)
original place,
melody) are in -flat major. In this variation, but it is harmonized in c minor.
the
The
bass continues in broken octaves.
*3) This note (e-flat in the
Theme)
is
the only one changed to
accommodate the
new
key.
*4)
it is in
Very similar: The melody of the Theme is in B-flat major; in this variation pointed by the short grace-note in each beat. See the original g minor ("Handel" variations, op. 24).
*5) The notes of the thematic melody retain their position on the both the key and the harmony are greatly changed. *6)
staff,
but
Here the
original line
is
changed, and then abandoned.
*7)
serted
The melody corresponds note for note to the original, excepting the two intones marked o. The chord-analysis shows the radical change in harmony.
49.
tion,
When
the chords are adopted as the principal basis of the varialess exact
with more or
of the
adherence to the harmonic and modulatory

liberty
movements
melody-line.
Theme, much
may
be taken with the original

its salient
It
may
be vaguely represented by
fragments,
or
it
may
disappear altogether.
This style of variation reverts, in a
sense, to the character of the
Chaconne-form.
i),
Beethoven, op. 35 (Ex.
28,
No.
Var.
2, 3, 4, 11, 12, 13. i, 4.
Beethoven, 8 Variations in
F major
(Siissmayer), Var.
Beethoven, 10 Variations in B-flat major (Salieri); Variations i to 7 all bear but little trace of the original melody. In Var. s, a wholly new melody appears, as
product of the original chords.
50.
melody, and the chord-successions,

transformed.
When the original bass-line of the Theme is adopted, may be more or less
the original
completely
(This style constitutes an allusion to the basso ostinato.)
the Finale of his Third S3anphony), very

part.
In the -flat major Variations of Beethoven, op. 35 (subsequently utilized m marked prominence is given to the bassIt is used, in four literal presentations, for the Introduction to the entire
work, somewhat after the manner of a ba^so ostinato, but shifted successively, each
time an octave higher; in the
first
presentation
it is
alone, in
aU the characteristic
and imlovely
part
is
a genuine bass-line; in the second presentation one melodious and upon its fifth presentation the actual added; then two, then three;
rigor of
melodic
Theme of
last four
7, 8,
the work
is
erected
upon
it,
followed
by 15
variations,
and a
Finale.
See the original.
In many of these variations, the bass-line (especially the
and the
and often more measures)

and 15
it is less it is
first four,
is
persistenfly present.
its
In Varia-
tions 4, 6,
10, II, 12
conspicuous,
place being represented
by
the chords in general; in Var. 14 part during the

first
especially significant, being used as
uppermost
8 measures.
of four Sections (see par. s$c):
The Finale, with which the set concludes, consists The first is a fairly strict Fugue, whose subject is
is
derived from the
first
4 or 5 measures of the thematic lass; Section two
a sort of
Par. 50.
THE SMALL
of the
(OR SIMPLE)
VARIATION-FORM.
69
da capo, or statement
variation, with the
Theme
in very nearly its original form, with modified

is
repetition of the second Part;
Section three
another complete (and extended)
is a codetta, based upon reiterations of the first two measures of the melody. Very similar, in every essential respect, is op. s of Schumann (called "Impromptus," instead of variations, for pfte.), which see.
melody
in bass;
Section four (last gj measures)
A very unique appUcation of

op. 9 of
the bass-line, as bearer of the variation,
is
shown
in
Brahms ("Schumann"
Theme
variations), Var. 2:
(Schumann.)
^=^
^
etc.
?^
Var.
2.
r
Brahms.
i*A lE^S
*i)
-N:fv-
S"*
:^=?c
te m
^
etc.
*i) There is a curious transformation of the meter, through which four original consequently, this whole variation is only measures are expressed in one measure; The bass-line is retained almost literally, six measures long (but then repeated). throughout, while the original melody and harmony are but vaguely intimated, here
and
there.
51.
N. B. In none
of these cases is strict, continuous, adherence to
the adopted basis necessary.
(melody, chords, or bass-line)
Thus, one of the three principal guides may be pursued for a time, and then
abandoned
for another, so that the variation
may
exhibit, in different
phrases, different points of contact.
The only requisite is, that the connection between the variations and their Theme be plausibly recognizable, in a general way at least;
certain single points of contact, sufficiently frequent
and numerous,
should be estabUshed; especially those points where the Theme exhibits somewhat characteristic or striking features. In a word, the hearer should obtain a glimpse, here and there at
original
least, of
the melody or the
harmony, and
par. 48/.
of the fairly
prominent
traits of the
Theme.
Compare
70
52.
TEE' LARGER FORMS OF MUSICAL COMPOSITION.
Par. 5a.
When
the greatest freedom
is
desired, the variation cuts loose
from the usual guides (melody, chords, or bass) and demonstrates its This relation to the Theme only by general structural coincidence.
is is
the case
when
the
form, or the general structural outline of the
adopted as
basis,
see
Theme
speak, reduced to
its
The Theme is, so to par. 45, condition 4. and this is re-clothed with, at times, skeleton,
For example:
wholly new melodic and harmonic material.

Theme
^^
i^
B
tt.
^^
Par. 52-
THE SMALL
71
5
perf. cad.
*i)
The structuial outline of the Theme may be defined as follows: member (one measure), reproduced (by sequence); a third member (two
measures), beginning as reproduction (sequence) of the preceding, ahd leading to a
semicadence in the 4th measure.

repetition),
reproduced (by sequence); a third
Then a member corresponding to the first one (as member leading to a perfect cadence
in the 8th measure.
*2)
The structural outline of the Variation is defined as follows: member (one measure), reproduced (by repetition); a third member (two
measures) beginning as reproduction (repetition) of the preceding, and leading to a semicadence in the 4th measure. Then a member corresponding to the first one (as
sequence), reproduced (by repetition); a third
in the 8th measure.
member
leading to a perfect cadence
Upon
careful comparison, the student will perceive that the
two
structural out-
lines are identical.
But "repetition"
is
substituted for "sequence" in three places,
and "sequence"
sult,
thus arriving at a wholly new refor "repetition" in one place, from precisely the same scheme of reproduced members. The cadences occupy the same points, but the second (perfect) one is merely in a different key. The "glimpses" of the thematic melody are revealed at the letters A and B. Analyze the remaining half of this Var. (Mendelssohn, op. 54); and also the following Var. (No. 9). It will be observed that Var. 9 is twenty measures long,
increased from the original
number
(sixteen) by repeating the
The
"structural outline" of a
ures), its form, the
repetitions
traits
Theme is defined by its number and harmonic character of its cadences, the presence of or sequences, and of characteristic traits of melodic progression. AU these
See par. 53. length (number of measlast'
phrase.
may
wholly
trait
new
be preserved in the variation, but so differently interpreted as to form a picture. For instance, by an xmimportant alteration of an important retaining the location of the cadences, but changing their harmony or key;
substituting "sequence" for "repetition,"

for "descending" sequence;
and
vice versa; substituting "ascending"
and so
forth.
72
53.

The
Par. 53.
rule for the variation-form, during the classic period,
was
that
that the form of the
Theme
should undergo no change; that
is,
Theme
each variation should contain the same number of measures as the (excepting the final one, to which a Codetta or Coda might
or should
be added).
is
'
This rule
it is
not considered binding, in the more modern era.
But
characteristic of the Smaller variation-forms that
no
essential alter-
The unessential, and which result from the simple repetition of a phrase, or of a phrase-member, naturally with modification; or from the process known as Expansion (prolonging a single prominent melody- tone or chord; see Homophonic Forms, par. 29c).
ations of the design of the
Theme
are permissible.
therefore permissible, extensions, are those
Mendelssohn, op. 54 (Ex. 30); Variations

the
to 8 are all 16 measures long, like
Theme; Var.
9,
as already pointed out,
is
20 measures long, because of the repVar. 10
etition (an octave higher) of the fourth 4-measure phrase;
repetition (an octave lower) of the fourth phrase;
is
Var. 13, similarly, has a extended, at the end,
to 18 measures.
In Beethoven, op. 34 (F major) there measure from the end.

Beethoven, 8 variations in
etitions) contains
is
an Expansion, as "'cadenza,"
in the sth
24 measures; Var. 7 contains 28 being extended, by reiteration, to 6 measures.
major ("Sussmayer"); the Theme (with its repmeasures 19-20 of the Theme
Beethoven, 24 variations in D major ("Righlni"); in Var. 23 each of the two 8-measure Periods is repeated, with elaborate modifications.
More
vital transformations of the
thematic design, peculiar to the
Larger variation-form, are shown in par. 63.

54.
Besides these specific details, there are certain alterations of a
general character which
may
affSct
some
of the variations as
a whole.
These
a.
are:
The change
of mode,
referred to in par. 37, and encountered

Theme
is
already in the Chaconne (Ex. 18, Variations 12 to 16).

See Ex. 25, Var. 14.
Beethoven, op. 120 ("Diabelli"); the

30, 31 are in c minor.
h.
in
major; Variations
9, 29,
The change
of key.
This more significant alteration is usually limited, in the Smaller form, to next-rdated keys, or to the so-called Mediant keys, which, though remote, exhibit peculiarly vital ties of relationship.
Par. 54.
THE SMALL
i;

is
73
2;
See Ex. 28, No.

is
Var. 6
in the relative
28,
minor key.
is
Ex. 28, No.
Var. 21
in the relative
minor key.
Ex.
No.
3;
Var. 5
in the tonic-mediant
key
(/,
tonic = mediant, third step of )-flat major).
Brahms, op. 9 ("Schumann" variations); the Theme, and variations are in /-sharp minor; Var. 9 is in i minor (the subdominant); Var. 10 in
(subdominant-relative);
to 8,
major
Var. 11 in
major (remote), ending in /-sharp minor;
Var. 15 in G-flat major
(=
F-sharp, change of mode); Var. 16 in F-sharp major.
No. 6 (Ex. 3T, No. i); the Theme, and variations t to major (the tonic-mediant key); Var. 6, F major; Var. 7, in the Phrygian mode on A (ecclesiastic); Var. & in d minor (the relative key); Var. 9 in B-flat major (the subdominant); Var. 10 in/ minor (the change of mode); Variations 11 and 12 again in F major.
Tschaikowsky, op.
19,
is
4, are in
F major;
Var. 5
in Z)-flat
thirds
In Beethoven, op. 34, a singular systematic change of key occurs, in descending from variation to variation. The Theme is in F major; Var. i in D major Var. 2 in B-flat major (tonic = mediant, with the preced(mediant = dominant)
;
(mediant = dominant); Var. 4 in -flat major (tonic = mediant); Var. s in c minor (mediant = dominant); this keynote, c, is the dominant of the original key, F; being in the minor form, an Interlude follows (par. 54g),
ing key); Var. 3 in
G major
during which the triad changes to its major form and becomes the true dominant of F; Var. 6, and the Coda, are then again in F major. Such extreme changes of key are more likely to occur in the Larger form.
c.
The change
of meter (time-signature).
19,
Tschaikowsky, op.
measure; Var. 3
is
No.
6;
the Theme, and variations
and
i);
2,
are in
in
-in
measure; Var. 4 in ^^ measure (Ex. 31, No.

;
Var. s in |;
Var. 6 in ; Var. 7
12,
and Coda, again
in
f Var. 8 in 4 measure.
is
4; Var. 9 in |; Var. 10 in |; Var. 11 in 4; Var.

It
is
unusual to change the measure in

is
this
manall;
ner in almost every variation.

in
In Uendelssohn, op. 54, there
no change at
Beethoven, op. 35, there
but one change from
measure
in Var. 15, to
measure.
d.
The adoption
of
some
conventional type or style of composition
for one or another of the variations.
Thus, a variation
may
assiune
the character of a March, Minuet, Waltz, Mazurka, Gavotte, Aria with (par. 48^), Invention, Fughetta, Canon, or any other type,
corresponding change of time-signature (par. 54c).

Beethoven, op. 35; Var. 7 is a Canon in the octave (compare Ex. 16, note *6)). Also his op. 120 ("DiabeUi" variations); Var. i is a March; Var. 19, canonic; also Var. 20; Var. 22 is patterned after Leporello's first aria in Mozart's "Don Giovanni"; Var. 24 is a Fughetta; Var. 30, an Invention; Var. 31, an Aria; Var. 32, a Fugue.
Var. 14 a Var. 9
is
Brahma, op. 9 ("Schumann" variations); Var. 8 is a Canon in the octave; Canon in the second; Var. 15 a Canon in the third; Var. 10 a "Quodlibet";
patterned after a composition of
Schumann
(from his op. 99).
74

Tschaikowsky, op.
ig,
Par. 54.
No.
6;
Var. 9
is
a Mazurka (Ex. 31, No.
i).
Arensky, Suite (Variations) for two pianos, op. 33: Theme, Dialogue, Valse, Marche triomphale, Menuet, Gavotte, Scherzo, Marche funSbre, Nocturne, Polonaise.
e. Transformations of the rhythm. This extremely effective process is applied to the first melodic sometimes carried on consistently member of the Theme (at least,
through the entire Theme), and consists in so shifting the tones in the measure that the accented and unaccented points are exchanged, or otherwise modified. For example:
No.
1.
First mel.
member
of
Theme
Var. 4.
_ A
A
-(Zêtc
i=Pf^
Var.
6.
Var.
7.
Var.
g.
^* .
Var. 10.
-v
Var. II.
^
etc.
No.
z.
First mel.
member
Var.
>!.
(Bass)
LlADOW.
SS5^ Id^
No.
3.
fe^
First mel.
-q^^-
--H^ -1 1 j-iijiji-i rrT^:^^

i
Two
measures equal to one of
tlie
Theme
W^\
etc.
member
^^^
Var.
8.
tS:
^^^^r^f\
RUDORFF.
i1^
No.
4.
m
member
<*i)
:=
m
^
etc
First mel.
ms
f-
^-T-
P^^^
etc.
Par. 54.
Var.
THE SMALL
2.
{OR SIMPLE)
VARIATION-FORM.
;s
(Tenor)
etc.
Var.
1.
Var. 9.
M li^
Var. 10.
#=i^Me
->
-etc,
s^^?;
-etc.
(Mazurka)
etc.
*i)
From Tschaikowsky's
this class of
Trio in a minor, op. 50 (last movement).
To
tation of the
Theme, whereby one measure
rhythmic modifications belongs also the augmenof the latter is so expanded
as to cover two, or more, in the variation.

See Ex. 31, No. ^ (Liadow, Var. 7). Also Glazounow, op. 72, Var. 8 (doubleaugmentation) and others. Of similar nature is Ex. 20 (Brahms), Var. 12. The less common diminution is seen in Ex. 29.
/.
'
The
double-variation.
In this rare species of the form, two
strongly contrasted patterns are alternately applied, usually to the
complete repetition of each phrase or Part.

D major
("Righini" Theme); Var. 14.

2.
Beethoven, Sonata, op. 109, third movement, Var.
transitional passage, g. In rare cases, an Interlude is inserted, as between two variations. Comp. par. 65.
Beethoven, op. 34, between Variations 5 and
6.
76
55.

The
entire series of variations is almost invariably
Par. 53.
(as in all the larger designs)
rounded off with an addition at the end, in the nature
of a Coda.
This
final
extension
sions; partly according to the extent of the
may assume three different dimenTheme itself, or of the entire
composition;
variation,
effecting
a.
and partly in keeping with the character of the last and the general necessity of instituting good balance, and an adequate ending. Thus:
addition
The
may be
limited to a brief Codetta, of one section,
with the customary repetition, or duplication, and extension, tached to the last variation.
51.)
at-
(See the author's
A typical illustration of the "Codetta" is

F
Homophonic Forms, par. seen at the end of Ex. 34,

full
Also, 6 Variations in
original,
("Schweizerlied"); the last two

last 14
measures.
(original
Theme);
class,
measures (called "Coda" in the

it
but belongs to the Codetta

times,
because
consists of one section only,
two measures, repeated 3

cadence-chords)
h.
and further extended by
5 or 6 repetidons of the
Or the addition may be a complete Coda.
{Homophonic Forms,
par. 98.)
The design of a Coda is invariably sectional. That is, it consists number of successive " Sections," the character and extent of which can be determined only by the composer's judgment and sense of proportion. The Coda is therefore an essentially indefinite and formless
of a
factor, which, for precisely this reason,
forms an important contrasting element in the otherwise logical and systematic structure; and, in
the writer
dismissmg the constraint of definite structural arrangement, it affords full freedom to exercise his imagination, and create an effec-
tive climax.
The term "Section"
is
here applied to any episode of indefinite form,

Its
is
in dis-
tinction to the terms Phrase, Period, Part, etc.,
more or less accurately fixed. tasia, and a few other forms,
whose structural conditions are use in the analysis of the Fugue, Invention, Fan-
encountered in the author's Applied Counterpoint.
The number of sections is optional. The length of a section is optional. The final ones are apt to decrease in extent, and the very last one is practically identical with a
Codetta.
The contents
Theme,
of each section are optional,

less directly to
though
it is
natural that
of the
each should refer more or

particularly
the various
members
to the first melodic
member.
an additional variation (perhaps extended perhaps abbreviated), in which some new pattern is utilized. This may occur in
constitute
section
may
Par, ss-
TBE SMALL
77
several successive sections, as incomplete variations.

to devote one section of the
its first
It is not unusual
Coda
to a re-statement of the
Theme, or of
phrases, as traditional da capo.

3, B-flat.
Schubert, Impromptu, op. 142, No.
See also, Beethoven, op. 34; op. 35; and the 33 variations in c minor. Coda in each of these sets contains additional complete variations.
The
It
is
also possible to introduce
new
material (though not wholly
irrelevant) in
one or more of the sections.
The
sections
cadences, or
as
may
is
more common
be separated from each other by fairly complete each may be carried over unin-
terruptedly into the following one.

case of such imbroken transition,
is
The beginning shown by a
of a
new
section, in
positive change of
rhythm, or of pattern.
A section is frequently duplicated, in sequence.

tasia-like,
In a general sense, the Coda (and also the "Finale") is a free, fanmanipulation of saUent fragments of the Theme, thus differis
ing from the variations, in which the whole theme Theme
present.
Ex.
^^^sî^s
l)
32.^
etc.
^fe
nJl
a
12.
-f
hH-
^
"-
Var.
'fr
^T
---^Z~\
-i-#-
MMi^r"
-I
Section i (21 measures)
"
II
(Th.)
Sec. 2 (10 measures)

I I
I
##fe
etc. to
Ei==td
:f
Irf
tr
r-f=fti=
78

Sec, 3 (8 meas.)
1
>
Par. ss-
-t
etc. to
t^r^^
ft
etc. to
^^
f
Sec. 4 (lo meas.)
îlfe
etc. to
m JJJJJJi J
iS
M^
II
^m
1
Sec.
IX
--
(41
measures)
-X
^
flJfe
W-
--
^^
I
etc. to
^^^^^^ y^
I
!,
T
-
^
=^
meas.)
Sec. 6 (12 meas.)
^ NffWtf
:^
t|f
ff f
.Jl.{]
etc. to
H^
|
jT"
^^tnrfiifr^
Par. 5S.
THE SMALL
{OR SIMPLE)
Sec.
VARIATION-FORM.
%
79
^
'
(8
measures)
^r^-'-\t:^
*3)
.
etc. to
^
'a
Theme.
Beethoven.
I
end
etc. to
'
Lc_r lt
Russian dance.
.j*
Ujû
melodic
""H^t!
is
*i)
The Theme,
19 meastires long,
Incipient Three-Part
form.
*2)
The Coda
its
is
attached to the 12th

utilizes
(last) variation.
It will
be observed that
Section i
each of
is
seven Sections
the
first
member
of the
a three-voice Invention, in double-counterpoint.

*3) Section 8 is the final
"Codetta": The two measures here shown, duplicated
and extended.
See also: Beethoven, 24 Variations in
is
D major
("Righini").
The Coda, which
attached to the last variation, begins with a section of 8 measures, consisting of a

(but related) melodic
new
member;
it is
repeated and extended, and closes with a

Section two, based
complete tonic cadence, of intentionally humorous character.
upon the
first
phrase of the Theme,
is
8 measures long; then repeated and skilfully
spun out (30 measures). Section three {allegro) grows out of the end of this, and is 16 measures long, with a strong dominant semicadence. Section four {presto assai) 48 measures long, to the end, is based upon the first period of the Theme, and himiorously drawn out, in four successive augmentations.
Rnbinstein, c minor pfte. Sonata, op. 20, second movement.
The Coda,
at-
tached to the 4th Var. (which has an evaded cadence), consists of three brief sections, each of which reviews the pattern of foregoing variations; then a fourth section of 11
measures, to the end.
Iiiadow, op. 51 (Ex. 31, No.
sisting of
2),
has a Coda, attached to the last variation, con-
a section based upon the first melodic member (8 measures, dupUcated and spun out, 20 measures); and a second section, with slightly different treatment of the same member, 11 measures, to the end.
Mendelssohn, op. 54. The Coda follows the ryth Var.; its first section is based upon the last phrase of Var. 16 (24 measures, very brilliant); section two is a partial the first Part of the Theme, extended (14 measures, with strong domida capo,
nant semicadence); section three {presto), 21 measures long, is a partial variation; section four (12 measures) is a partial duplication of section three; section five,
similar, is
8 measures long; section
six, its
duplication
and extension, comprises 20
measures, to the end.

c.
The "Finale"
is
wholly independent of the last variation, and
therefore constitutes a separate
movement, by
itself.
In design,
it is
it
corresponds to the Coda, being sectional in form.
But
somewhat
8o
Par. SS-
characteristic of a Finale, that its first section is polyphonic,
assuming
the appearance of a fugue-exposition, or of an extended, genuine fugue,

of
two or more fugato

is
sections.
For
this
a subject
is
naturally chosen
that
derived directly from the
initial
phrase of the Theme.
Beethoven, op. 35 (Ex. 28, No. i), Finale. The first section is quite a lengthy, ingenious Fugue, whose subject represents the hass of the Theme (see par. 50, in the
notes to which, the whole Finale
is
described).
Brahms, op. 56
(orchestral variations
on a Theme
of
Haydn).
The
Finale
is
the hasso ostinato given in Ex. 9; dissolved into a Coda.
Or the
entire Finale is a Concert-fugue,

variations), Finale.
sectional, of course.
Brahms, op. 24 ("Handel"
Or some
later section of the Finale
may
develop into
a.
fugato.
E. Rudorfi, Variations for orchestra, op. 24 (Ex. 31, No.

extremely ingenious work.
3), Finale.
A masterly,
The
Finale consists chiefly in a series of fragmentary
variations, including a fugato.
Otherwise, or in addition to these polyphonic sections, the Finale

is
similar in character to the Coda,

is,
and is subject
to the
same
conditions.
The impression conveyed

tion,
as stated, that of fragmentary manipula-
with a view to brilliancy and an effective climax.
The student should make a thorough study

he
of as
many
of the fol-
lowing Variation-forms as he can procure, and of any others which
may
encounter
first
glance at pars. 65 and 66)

first
Hozart, pfte. Sonata, No. 9 (Schirmer edition),
movement.
Mozart,
pfte. Sonata,
No.
15, last
movement.
("Russian"; Ex. 32).

("Righini").
Beethoven, op. 35 (Ex. 28, No. i). recognizable as Smaller form.
And
other Variations of Beethoven, easily
Beethoven,
Beethoven,
pfte. Sonata, op. 14,
No.
2,
Andante.
pfte. Sonata, op. 109, pfte. Sonata, op. 57,
Andante.
Beethoven,
Andante.
(in
Beethoven,
form).
pfte. Sonata, op.
in, second movement
some
respects. Larger
Beethoven, Fantasia, op.
77, Allegretto.
Beethoven, Sonata
for pfte.
and
violin, op. 12,
No.
i,
second movement.
Par. 55.
THE SMALL
(OR SIMPLE)
and and
No.
VARIATION-FORM.
No.
i,
8i
Beethoven, Sonata for
pfte. pfte.
violin, op. 30,
third
movement.

Beethoven, Beethoven,
violin, op. 96, last

3,
movement.
pfte. Trio, op. i,
second movement.
pfte. Trio, op.
n,
last
18,
movement.
No.
3,
Beethoven, String-quartet, op.
second movement.
Schubert, Impromptu, op. 142, No.
3, 5-flat.
Mendelssohn, Sonata
for pfte.
and
'cello,
op. 17.
Mendelssohn, Variations for pianoforte, op. 54 (Ex. 30).
Brahms,
pfte. Sonata, op. i.
Andante.
Brahms, Brahms, Brahms, Brahms, Brahms,
pfte. Sonata, op. 2, Andante. pfte. Var., op. 24
("Handel"; Ex.
28,
No.
2).
String-sextet, op. 18, Andante. String-sextet, op. 36, Adagio.
String-quartet,
No.
3,
op. 67, last

i.
movement.
Brahms, Brahms,
pfte. Var., op. 21, pfte. Var., op. 21,
No. No.
2 (quasi
Chaconne-form).
Schumann, Impromptus,
Karl Nawratil,
op. 5.
pfte. Var., op. 7.
Tschaikowsky,
pfte. Var., op. 19,
No. 6 (Ex.
31,
No.
i).
Faderewski, Var. and Fugue, op. 11 (comprising some

Paderewski, op.
16,
traits of the
Larger form).
No. 3
(ditto).
EXERCISE
A
number
of
5.
examples of the
form, with Codetta, Coda, or Finale.

source (but see par. 40); or
Theme with variations in the Small or Simple The student may select a Theme from any may invent original Themes. The following Theme is
submitted for manipulation:
Moderato
-751-

82
Par. 56.
GOETSCHIUS.
i
^
J
_,Jr
ii
i I
oPP^.
^^ tt
?
zg-
vr
-d-
f=f=
^\=k
-^^
CHAPTER
THE LARGE
56.
VI.
(OR HIGHER) VARIATION-FORM.

between the Small and Large grades of the
The
distinction
is
variation-form
defined primarily
by
the length of the
Theme, which,
in the higher grade, is usually the Three-Part
op- 34)1
sometimes
and
Song-form (Beethoven,
Comp.
57.
par. 40,
see the
Incomplete (Mendelssohn, op. 82, and op. 83). Comparative Table at the head of this
Division.
But the two grades are differentiated in a much more vital and this concerns the whole artistic aspect and the consequent treatment, which is more creative than imitative, and more elaborate.
respect,
58.
The mass
of directions in the preceding chapter,
which might
be feared to hamper and stultify the student's original conception, were given in systematic detail because these constitute the technical basis of
the problem of variation;
and
this
to break loose from the lines of the
must be mastered before it is wise Theme, and venture to develop it
with freedom.
Par. 59.
TBE LARGE
{OR
HIGHER) VARIATION-FORM.
83
But in the higher grade, the student gives free rein to his unagiand evolves more independent results from his Theme. In this grade, the variations are more properly Elaborations than mere modified duplications of the Theme. Hence it is that, while a longer Theme is usually chosen, as affording
59.
nation,
a wider
field of operation, it is nevertheless possible to

spirit,
posing work, decidedly "large" in
develop an imfrom a comparatively brief
Theme.
Two conspicuous examples of this are the variations by Glazounow, op. 72, on a Russian melody of only seven measures (Ex. 3S); and those by Kachmaninow, op. 22, on the c minor Prelude of
Chopin, which
60.
a.
is
a period of 8 measures.
leading purpose in the smaller grade
fairly
is
"variation," with direct reference to the Theme. In the larger grade the leading purpose imaginative and manipulation, "elaboration," with only general allusion to the
ipulation,
is
The
technical
man-
creative
Theme. The variation is not the prime to an eminent artistic end.

'
object, but
becomes the means
b.
It
proportions; the
must be understood, however, that not every variation assumes broader first few variations are always more directly related to the Theme,
this respect the varia-
and the impulse of freedom grows as the form advances. In tions of Glazounow (op. 72) are typical and highly efiective.
61.
Such a creative process cannot always be carried on, with the
necessary freedom, within the exact limits of the Theme.

fines of the latter
The
con-
widened, to
must be broken through, its lines broadened, its scope make room for the unrestricted exercise of imagination,
and
to provide increased opportunity for free development.
This manipulation and expansion of the structural design of the Theme may be conducted in two ways:
1.
repetitions, or Expansions,
2.
So as to secure unessential extensions of the Theme, by mere which do not alter the form; and So as to
a.
effect
more
or less complete transformation of the design.
imessential extensions, may be applied in both the smaller and larger grades of the variation-form. Their operation in the smaller grade is explained in par. 53, which review.
62.
The
first class,
b.
The second
of
class,
transformation of the design (always as en-
largement), involves a
members
63.
number of independent additions to the original the Theme, which may all be classed under the head of
insertions, as follows:
Insertions.
There are three kinds of independent
r
84
Par. 63.
a. The insertion of a Codetta, possible at any important (tonic) cadence in the course of the variation; and, of course, even more plau-
sible at the
end
of the variation.
feasible,
This
is
but suflSciently independent of it to constitute a fairly distinct member of the design; and this may be applied to any tonic cadence in the course of the design, especially to any one which terminates a "Part" (or
cidence,"
itself,
not of the cadence

(See
always
because a Codetta
is
defined as
"an
extension at the
Period) pf the form.
Homophonic Porms, par. 980 and,
particularly, 98c).
For
illustration:
Theme
(Double-period)
Antecedent Phrase
Consequent Phr.
34.
?i-^^^^Kt^SE^ i ^Ê
First Period
^^^
p'
fg'
^3t^
i
Dom. Cad.
Ant. Phr.
i^ iaajt^f^^^-^-^
^
tff
tst
Second Period
-SI-i9-.
-P^
Var.
8.
First Period
^^^^ziuJim m nj
*i)
m
r
J-
f^
â
^=^ -x=:^^:^^ -jg-fe
FP*p?
Insertion
^
Par. 63.
^
Second Period
THE LARGE
$$
^^
i5^^ ^
m^
Codetta
^
^m
ri
^
etc. to
h^!^^^ ^^
*4)
g* ? ^
I
J
H=2-
p-1 End ^^
1-
7 3=
Duplication
[
,.
S!
M-^
liJ
IJiJ. ^
(i^
"
4-
i
r^
J
^^
"
r<1
m
etc.
i
Extension
'a""
to
ê S^
^
etc.
^
LlADOW,
op. 51.
'
^_/>
^^^^^^
^
-f^
!g|^
-X
iJ,
Tl^S^
86
*i)

This variation
is
Par. 63.
a transposed presentation of the Theme, from A-iat major
to its relative minor.

*2)
This Insertion of four measures
chord (chord of c of/ minor); but it

*3)
is
first
as tonic of e minor,
is
so distinct in style
is
an Expansion of the cadenceand later, with e-natural, as dominant as to become an independent "Codetta."
practically
first
The second Period

is
exactly similar to the
Period, excepting that
its
Consequent phrase
*4)
shifted a 4th higher, precisely as in the
Theme.
duplication
b.
Here the Insertion is a genuine 4-measure Codetta, with the customary and extension. See the original.
insertion of a Duplication;
The
either
as complete sequence
of a phrase (or other
member
of the form);
or as reproduction (quasi
repetition) of
a phrase, with a different ending (cadence).
constitute actual alterations of the form,
Such reproductions, contradicting the principle of mere "repetition," as they do, and therefore contribute to its enlargement. The "Sequence" is shown in Ex. 35, note *$). The "Duplication" (with new cadence) occurs in Var. 11 of the same work (Glazounow) : The first Phrase, corresponding to the first half of the Theme (Ex. 3s), is 8 measures long, because two of its measures represent one measure of the Theme; it begins in /?-sharp major, and cadences on the dominant; the second but proves to be a "duplication," as it Phrase is ostensibly a "repetition" of this cadences on the tonic of A major. (See par. i2d.)
c.
The
insertion of
it
an entire Part.
This
is
the most significant
method, as
This
is
results in complete transformation of the design.
best illustrated
by a diagram,
applied to the simple Period-form:

Consequent phrase beas the Antecedent phrase):
Given a period, as
follows, in parallel construction (the
ginning, at least, with the
same melodic member
Ant. Phr.
Conseq. Phr.
cad.
If the
two phrases are drawn apart, thus:
\\
Ant. Phr.
\
cad.
enough to admit of a genuine Insertion as acliiol Departtire, or Second Pari, the Consequent phrase becomes a Third Part, with its evidence of a "Return to the befar
ginning" (being parallel with its Antecedent), and the simple Period-design has been transformed into a Three-Part Song-form. The Antecedent phrase can easily be ex-
tended to the dimension of an adequate First Part, by the means indicated in par. 636
(above).
Thus:
Par. 63.
THE LARGE
(OR
HIGHER) VARIATION-FORM.
Part
87
Parti
V
\
m.
V
II
Though a
in
Part 11 as
Insertion
(same pattern)
digression, or "departure," it is obvious that this inserted
all
common with
Insertions
must
consist of
strictly related,
Second Part homogeneous
material.
It will, at least, always utilize the same, or
a very
similar, pattern.
For
illustration of all three of the
above
classes of Insertion:
Theme.
Andante
Antecedent Phrase
Ex.
35.
ife i^ g^
/
cad.
j'/TT^-^jConsequent Fhi,
-^
^^=t
m^
Var.
7.
iPÂ m
*i)
^ ^
2)
Â
-s
feî
s-
^m
Allegro
P.
If
:;
itfi IE
Ant. Phr.
<^^=^ ^ F=r^
|g
,i g
'^
r
^
-i
i
>'*-
9^
tfc^ n
Pattern
tinMJirrffi
-Os-
^m
Insertion (5 meas.)
=5=F=
^
etc. to
^
cad.
cad. *3) Sequence of Ant. Phr.
*4)
mij^Mn^î ^0\
88

Insertion (4 meas.)
Par.
63,
i ^
Part
t* w^
a ^^^
-MII.
S^
Part III.
m^
etc.
*5)
m m
-qX-
^^^
m
^w
^wa
8va..
- ^
6)
5:
<&-
^
8va
etc. to
End
=9^
5^^
Codetta
8)
ffi^
t=r^ Ê^^?
Glazounow,
op. 72.
U
Extension
etc. to
=
*i)
=E=
faPy
=ff^
^^
that
is,
The
construction of the
like the
Theme
(Period-form)
is parallel;
the Conse-
quent phrase begins

*2)
Antecedent.
At
this point the
hence the abbreviation to seven measures.

is
second measure of the (Antecedent) phrase is onutted In every variation this wanting measure
inserted; see note *;).
Par. 63.
THE LARGE
Insertion
is
(OR HIGHER)
VARIATION-FORM.
first
89
*3)
The
a sequential duplication of the

fills
phrase (par. 63b).
*4) This cadence, for emphasis,
an
extra, fifth, measure.
*S) The Insertion is equivalent to a complete Second Part (par. 63c), which, though a new member of the design, is developed out of the pattern of the First Fart, and alludes (in the uppermost part) to the first member of the thematic melody. *6)
phrase of the
The "return to the beginning," corresponding Theme (comp. note *i). The Codetta
here
to
the
Consequent
7) This is the inserted measure, referred to in note "2). *8)

is
built
upon the prevaiUng pattern, and coincides with Part

will
II.
This work of
Glazounow
repay thorough analysis;
the student should
endeavor to verify the following traits: Var. i is practically a re-statement of the Theme, with full harmony, and "corrected" to 8 measures. Var. 2, similar (melody extended at the end to 9 measures. Variations 4, 5 and 6 exact). Var. 3, similar,
(each 8 measures) abandon the direct line of thematic melody, but refer dosely to
it.
Var. 7
is
the "transformed" design, shown in Ex. 35.
Var. 8
is
a curious double
is
augmentation (four measures equal to one of the Theme); the melody
traceable
as described in par. 48/; a Codetta, with duplication and extension, is added (last 14 measures). Var. 9 (A major) is in 3-Part Song-form: Part I is the 8 measures of
in F major; Part II is an Insertion, based the Theme, but with "false" cadence on the prevalent pattern; Part III is a partial recurrence of Part I, but transposed, and extended by a brief Codetta, and an Expansion. Var. 10 is also transformed into a complete 3-Part Song-form: Part I is the 8-measure Theme, with correct cadence variation; Part 11 is an Insertion, based on the second member of the Ant. Phrase
(presented four times in sequence);
Part III
is
Uke Part
is
I,
but "Incomplete"
of
consisting of the Conseq. Phrase only; a Codetta

is
is,
also 3-Part Song-form; Part I (16 measures

like Var. 9,
the
Theme with
"false" cadence
like
two measures to one the Theme) A major; Part II based on

in
is
added.
Var. 11 (F-sharp major)
the prevailing pattern;
Part III
Part
I,
but "Incomplete," also stating the
is
Conseq. Phrase only; a Codetta, with duplication and extension, is added. Var. 12 a sort of Fantasia (sectional form), approximating a Group of (four) Parts;- the
is a unique combination of the first and second members of the Ant. the latter member everywhere in "Diminution"; a Phrase (measures 1-2, 3-4) Var. 13 is a Group of (three) Phrases: Phr. i, the Antebrief Codetta is added. cedent; Phr. 2, a Sequence (representing the Consequent); Phr. 3, another Sequence, greatly extended; a Codetta is]added, the duplication of which is the Conseq. Phrase
whole variation
complete.
Var. 14
an exquisite example
is
of creative evolution
is
also a 3-Part
Song-form;
Part I
the
Theme
complete, with the melody in the tenor, and a
"Counter-melody"
in the soprano;
Part
II,
an Insertion,
literal
is
is
the sequential developthree brief
ment
of this Counter-melody;
Part III
is
recurrence of Part I;
Codettas are added. The following munber comp. par. ssc). "Var. IS,"
a genuine Finale (named, erroneously,
changed.
See abo: Liadow, op. 51 (Ex. 34). In Var. t the form of the Theme is unIn Var. 2 it is extended by imessential repetitions. Var. 3 is extended:
of
by an Introduction
Var. 4, the form
is
two measures
(see par. 65-2);
additional 2-measure
member (duplicated) at enlarged by the insertion
the end of Phr. 2

of
and by the Insertion of an and Phr. 4. In a Codetta at the end of Phr. 2
90
and Phr.
changed.

4,
Par. 64.
and an
additional brief Codetta at the end.

(a partial
In Var. $ the form
is
un-
In Var. 6
this
Canon) the form

8).
is
enlarged
by
extensions,
dettas (as in Var. 4 of Phrase 2;
and Var.
is
Var. 7 contains an inserted
and CoCodetta at the end

is
Codetta
duplicated and extended; the corresponding Codetta
appears at the end of the 4th Phrase, duplicated, and extended; the extension
"dissolved" (see par. 78) into a "Transition" into the next variation (see par. 65-4). Var. 8 is illustrated in Ex. 34. Var. 9 is extended by the simple (exact) repetition of the second Period. Var. 10 is enlarged by an independent Introduction, and
by
extensions and Codettas; and to this Var.

is
is
measures,
based on the
2, similar,
first
mplodic member;
added the Coda: Section i, eight it is duplicated and greatly ex-
tended; Section
covers the last 11 measures.
64.
In the higher form of the variation, where such transformations

is
of the design are undertaken, it
almost obligatory to adopt, and

(in
adhere
to,
the melody-line of the

is
Theme
a certain sense as
if it
were a
Fugue-subject), as this
the only line of contact which will
demon-
strate with sufficient clearness the relation of the (quasi distorted) varia-
tion to its
65.
Theme.
the very grain of the
other
extraneous additions,
whole
Besides the Insertions, described in par. 63, which enter into Theme, and develop it from within, there are
variations, or to the
1.
series,
which may be attached to certain namely:
An
independent Introduction to the entire work.
Beethoven, op. 35.

2.
A brief Introduction to
51, Var. 3
any
10.
single variation.
Liadow, op.
3. 4.
and Var.
An
Interlude between two successive variations (par. 54^).
A Transition from one variation into

8.
the next.
Itiadow, op. SI, Var. 7 into Var.

5.
And
the usual
Coda
or Finale
which
is
almost indispensable.
c.
The
directions for these are given in par. 556
and
66.
as a whole.
Earnest thought should be directed to the series of variations It is advisable to compose a number of variations (possibly
much larger number than will be needed), as the moods come, and then to select from this number (rejecting in cold blood the less effective
or obviously superfluous ones) those that will constitute an effective dramatic succession, with a view to good contrasts, and to the proper
number and degree
of climaxes.
As already
stated (par. 606), the
first
few variations are simpler than the
later ones,
and
refer
more
directly
Par. 66.
THE LARGE
to the
the chief
interest.
Theme. The changes of key, rhythm, and tempo, constitute means of obtaining variety and progressively accumulating
is
Here, again, the student

or Higher grade are present:
advised to
of the following variation-forms, in all of
make a conscientious study which the traits of the Larger
Haydn,
pfte. variations
in/ minor (unusually long Theme, in the form of a "Song
with Trio").
pfte.
Pfte. Sonata, op. 26, first
and violin, op. 47 ("Kreutzer"), second movement. movement. Pfte. variations in F major, op. 34.
Pfte. var. in
major, op. 120 ("Diabelli").

i.
Schubert, pfte. Sonata, No.
Andante.
Brahms,
op. 9
("Schumann").
This set has no Coda.
Brahms, orchestra
Finale.
variations, op. 56
("Haydn"); see Ex.
9,
which
is
the
Brahms,
Brahms,
pfte. Trio in pfte. var.,
C major,
op. 87, Andante.
4 hands, op. 23 ("Schumann").
Mendelssohn,
Chopin, pfte.
pfte. var., op. 82,

var., op. 12.
and op.
83.
Chopin, Concert-variations,
pfte.
and
orchestra, op. 2
("Don Juan").
Schumann,
Schumann, Schumann,
in
pfte. Sonata, op. 14, third

pfte. var., op. i
movement.
("Abegg").
some
of the
pfte., op. 13. The remote reference to the Theme, numbers, induced Schumaim to substitute the term Etude for Varia-
Sjonphonic Etudes,
tion.
Schumann, Var.
for
two pianos, op.
46. 60.
Mrs. H. H. A. Beach, "Balkan" variations, op.

Dvorik,
pfte. var., op. 36.
Arensky, Suite (Var.)
for
two pianos, op.
33.
C^sar Franck, Symphonic var. for pfte. and orchestra in /-sharp minor, work of broad design and most masterly execution.
Karl Nawratil,
pfte. var., op. 15.
Ed.
Schiitt, pfte. var., op. 62.
Also op. 29 (Var. and Fugato).
Grieg, Ballade for pfte., op. 24.
Liadow, op. 51 (Ex.
34)35).
Glazounow, op. 72 (Ex.
Rachmaninow,
op. 22 (Chopin-Prflude, c minor).
92

Paderewski,
e-flat
Par. 67.
minor, op. 23 (Fugue-Finale).
Saint-Saens, Var. for two pianos, op. 35 ("Beethoven").
D. G. Mason, Elegy in
E. R. Kroeger,
free var.-form, op. 2.
pfte. var., op. 54.
Sudors, Var.
for orchestra, op. 24 (Ex. 31,
No.
3).
EXERCISE
A. An example
B.
6.
of the Larger variation-form, with
Coda or Finale, upon a Theme
in 3-Part Song-form, without essential change of form.
and enlargement to 3-Part form)

or Finale.
period,
An
example upon a Theme in 2-Part Song-form, with Insertions (Codettas, in some of the later variations; and with Coda
C. Several examples upon a brief
Theme
(not less than Period, or Double-
preferably
in parallel construction), with Insertions that effect complete
transformation of the form into larger designs, in some of the later variations; and
with Coda or Finale.
See par. 65, and par. 66.
DIVISION TWO.
THE RONDO-FORMS.
Introduction.
67.
The
That
constructive Basis of the several forms of musical composiclassified as follows:
tion
may be
a.
of the Phrase
is
the melodic figure, or member, borne out
by the
chord-successions.
b. That of all .Homophonic Forms (Period, Double-period, Twoand Three-Part Song-forms, with or without "Trio") is the Phrase. c. That of the Invention, and other smaller polyphonic forms, is
the Motive (or Phrase-member).

d.
e.
f.
is
That of the Fugue is the Subject, or complete melodic phrase. That of the Canon is the continuous melodic Leader. That of the Variation, and all other Larger forms (Rondo, Sonata),
the Theme, or complete musical sentence.
Par. 68.
THE RONDO-FORMS.
93
68. A "Theme," as shown in the variation-forms, is an independent musical sentence, distinctive in style and character, and usually complete in its structural design. Therefore its smallest dimension will naturally
be a Period-form eight ordinary measures consisting of two Phrases which balance and complement each other, and therefore
enclose definite
But
single
and sufficient contents. more likely, especially in broader designs, to be more than a Period, and is perhaps most commonly a full Song-form, of two
it is
or three Parts,
though
of
rarely,
if
ever, longer than the latter, except-
ing
when extended by
unessential repetitions.
A Theme may be
but
its
any melodic, harmonic, or rhythmic character;

significant,
message must be clearly expressed, and must be

are available for effective development.
for only such
Comp.
par. 39;
signed for variation.
but note that the definitions there given refer to a Theme deThe Theme of a Rondo or Sonata should be more vitally in-
dividualized; not only for its
own
sake, as standard-bearer of the composition, but
also in order to invite logical manipulation
and development.
See par. 72.
69.
In
all of
the Larger
are at least two Themes; each one distinct in character,

trasted with the other,
in its design.
Forms (beyond the Variation-form) there and well con-
and frequently (though not always) complete

is
Of these, the one which first appears and the other, or others. Subordinate.
70.
called the Principal Theme,
The
structural principle underlying all
of Alternation,
the alternation
of a Principal
Rondo designs is that Theme with one or
more Subordinate Themes.
The
extent of the design depends upon
the nvmiber of times that a digression from the Principal Theme occurs. In the First Rondo form there is one digression (or, one Subordinate
Theme), and, consequently, one return to, and recurrence of, the Printhat is, one complete alternation of the two Themes. cipal Theme, In the Second Rondo form there are two digressions (or, two Subordinate Themes), and two returns. In the Third Rondo form there are three digressions and (usually)
three returns.
^4
7HE LARGER FORMS OP MUSICAL COMPOSITION.
Par. 71.
CHAPTER
71.
VII.
THE FIRST RONDO FORM.

The diagram
Theme
of the First
Rondo form
is
as follows:
Principal
Principal
Subordinate Theme
DiEerent key,
Theme
Coda
Any
Part-form.
As
before,
usually (next) related.
possibly
(Codetta).
modified.
The Principal Theme.

72.
The
design of the
first
Theme,
in the First
Rondo
form,
is
generally the 3-Part Song-form; in rare instances only One-Part form

(Period,
Double-period,
or
Phrase-group)
still
perhaps
is
extended
by
complete or partial repetition;

It should
more uncommon
the 2-Part form.
be a simple,
clear,
ponderantly lyric (melodious) character;

extended.
but characteristic statement, of prenot fragmentary, but con-
ceived as a sustained, tuneful melodic idea, and not too elaborately
Comp.
par. 68.
The
character of the
Rondo Theme
is
optional;
it
may
proceed
from any mood, from the most sombre to the most gay, though the lyric is probably the most appropriate.
The student shoidd not confound the
traditional
Rondo
style (usually graceful
and moderately animated) with the Rondo form. The design, which may be applied to any style of music.
See Beethoven, pfte. Sonata, op.
cipient 3-Part form, 16 measures).
2,
latter designates
a structural
No.
i,
Adagio (the Principal
Theme
is
In-
Beethoven, pfte. Sonata, op. 31, No.

measures, Part I a parallel Double-period).
i.
Adagio (Incomplete 3-Part form, 34
Beethoven, Sonata, op.

Schubert,
measures).
pfte.
2,
No.
3,
Adagio (Period, extended, 11 measures).
Sonata, No. 6, op. 147, Andante (Complete 3-Part form, 27
Brahms, Ssmiphony No.

24 measures).
73.
3,
Andante (Group of four Phrases, quasi 3-Part form,
The
Principal
Theme,
in the First
its
Rondo
form, usually ends
with a complete tonic cadence, in
own
key.
See Ex. 36, note *i).

will
Other methods of treatment, including the process of "Dissolution,"
shown
later
par.
be
"nc.
Par. 74.

definitely terminated,
9S
(ionceptive action
One Theme being thus

turns to the following
Theme, and the question arises: How can a good connection be established between the two Themes? All that takes place at this point is comprised under the general head of "Transition," and may assume very many (equally normal and effective)
forms, that admit of classification as below.
Transition.
Th. (in case this method sometimes followed by an immediate announcement of the Subordinate Theme that is, without any
74.
0.
The
definite cadence of the Prin.

is
of termination
adopted)
is
transitional material,
with an abrupt change of key.

2,
See Ex. 36, No. i. Also Beethoven, Sonata, op.
No.
2,
Largo, measure 19 (20).
The
their
chiefly to the pianoforte Sonatas
Larger Forms which follow are limited and other works of Beethoven partly because of unquestioned authority, and partly because the student will find them conillustrations of the structure of the
;
venient of access.
b.
Such
total absence of transitional material
is,
however, unusual,
because incompatible with the desirable continuity and unity of the

design.
The
least that is likely to intervene,
between the Themes,
transitional "bridging" of the cadence-measure,
possibly involving
No.
2)
op.
:
is
the necessary modulation.

No.
For
illustration (Ex. 36, end

Th.
Adagio
Prin.
Beethoven,
of Prin.
II
2,
No.
1.
Theme
Subord. Th.
Ex.
36.
i^ im P'-^-r n
No.
2.
etc. to
*i)J- JL
etc.
h^*
-^*
cad.
Largo
Theme
T
etc. to
i
end of Prin. Th.
Prin.
-^^^-
:a=^
Si
96

Transition
Par. 75.
Subordinate
Theme
Beethoven.
rjj=^f=i^g^^.,
II
^_ ^ ^
cad.
*i}
In both cases, this
*2) Sonata, op. 7, second
See also,
c.
a complete tonic cadence, in the original key. movement. See the original. Beethoven, Sonata, op. 31, No. i. Adagio, measure 34 (35).
is
In some rare instances there
is still
less
evidence of transition;
the Prin. Th. ending with an elision of the same
its
cadence, which represents at
moment
the beginning of the Subordinate Theme.
See Beethoven, Sonata, op. 2, No. 3, Largo. The Prin. Th., an extended period, ends in measure 11; the Sub. Th. begins at the same point, with change of signais at the
fact that the cadence-chord, on the accent of the actual cadence-measure, same time the beginning (first accent) of the next Theme, is proven by the abrupt and complete change of style, rhythm, tempo, key, and dynamics. (Other, more elaborate, forms of transition are shown in par. 77.)
ture.
The
The Process of
Transition.
75. The primary object of a transition is to approach the key in which the following Theme is to appear. Its aim is, therefore, usually the dominant harmony of the coming key, since that is the legitimate and most convenient medium through which a tonic may be reached.
The
very
process as a whole
is
generally divided into two, sometimes
distinct, successive stages or
moves
(or,
as they might aptly be
called, "acts"):
The
position,
first stage,
as stated, usually to the prospective dominant;

triad, or
or act, consists in leading the harmonies to the desired,

either the
dominant
dom.-yth chord, with root in bass; or the dominant note, in bass, without reference to the chords involved.
The second
dwelling
stage, or act, consists in establishing this dominant, by
upon
{or near) it for
a few beats or measures, until the most

for its resolution into the first
appropriate or effective
melodic
member
of the
moment arrives new Theme.
J
Par. 75-

No.
I.
97
Allegro
Transition
tt
Ex.
37.'
:
Beethoven, Sonata, major, op. 14, No. I, meas. 13 See tê original, *i)
"^
major
("second act")
("first act")
-^-
-(&-
^
'3)
:t
tt
--r=u
nti^M
ki.
^m
Dominant
(of
j>
A:
^M
/
B)
^^ri^ ^^m
T
p -m
IE
^=^
'ILL/CJLLT
LUJ LLLf'aLnUI'
Subordinate
Theme
tt
/
^
B V
7
z.
-i4-p^-^
i=j^^
etc.
Âf^yî^
No.
I]
Allegro
Prin. Th., Part II
5 Beethoven,
Sonata, D, op.
last
lo, No. 3, movement, measure 13
1^
5e& the
original.
y
I
^ D
ii^--J-4
major
98
Par. 75.
dissolved into Tiansition
Dominant
(of
A)
*i) This is not
As
stated in par. 69,
(at least),
a First Rondo form, but that does not afEect the illustration. all these Larger Forms, without exception, contain two Themes which are presented one after the other; and this successive presentation
first
takes place, in every instance, as

this it follows that all the
and
chief object of the
whole design.
From
Larger Forms are
pra,ctically identical (in general structure)
to the point where this double presentation is accomplished, as may be seen by comparing the given diagrams. For this reason, illustrations of these initial processes may be chosen from any of the Larger designs, with a view to desirability only.
up
"2) At this point, with the insertion of the deflecting accidental (though no modulation takes place), the process of "dissolution"' (see par. 78) begins to operate; and this also marks the actual beginning of the "first act" of transition. *3)
Here the modulatory movement culminates upon the chord

in bass
root
/-sharp,
of /-sharp,
whose
is
the dominant note of the prospective key and Theme.
And
dominant note
*4)
therewith the "second act" of transition begins, continuing solidly upon the (as organ-point) for five measures.
Here the dominant
is finally
resolved (no longer as tonic chord of F-sharp

first
major, but as dom.-seventh chord of B), into the
melodic
member
of the Subord.
Theme.
a very brief transitional passage; the "first act" begins (as dissolution deflection) with this beat /-natural in bass,and leads quickly to the prospective dominant.
*S) This is
of the form,
by modulatory
*6)
The "second act" runs only through

2,
this
one measure, as bridging.
See
also,
BeethOTen, Sonata, op.
No.
2,
Largo, measures (29, 30) 31.
only thus brief (Ex. 37, No. obvious reason or other.
Sometimes one or the other of the two transitional "acts" is not 2), but is omitted altogether, for some
Par. 75.
TBE FIRST RONDO FORM.

end of Prin. Th,
No.
I.
99
Transition
Allegro
Ex.
^m
^^^^^ CS^ ^ ^
j
1 1
88.
Sonata, A-flat,
ojv,
26,
*i)
^
^
"r"
^
^
last
movement, measure 27
m
f
See the original.
p-l
~
~w~
-9-
A-flat maj.
"^cad.
ii
^ m
*2)
^
sf
ite s
H't
-^)J
^^-^
t.
etc.
Subord.
Theme
Dom.
(of E-flat)
end
No.
2. /Vo
of Sub.
Th. *4)
allegretto
i P
TTTg dj
Beethovejj,
Sonata, op.
last
7, E-flat,
movement, meas. 47-
ff
See the original.
>t
-^
"i^B-flat
7"
major
lOO
Par. 76.
*i)
*2)
Complete tonic cadence, at the end of the Prin. Theme, in the original key.
The
"first
act" of actual transition (modulatory deflection) begins here, and
leads to the prospective dominant, i-flat, in bass.

*3)
The "second act" would
enter here, but
is
omitted, because unnecessary,
the Sub.
Theme
itself
beginning (and dwelling) upon the dominant harmony.
"4) This is the reversed order of

transition (par. 86).
The
principle,
Themes, and the process involved is called Reand the process, are exactly the same as in the
Transition, only excepting that

"first
it is chiefly
act"
is
possible,
occupies the original

*S)
and necessary because the Subord. Theme frequently dominant throughout. See next *note.
tonic cadence, at the
is
in this direction that the omission of the
The complete
end
of the Subord.
Theme.
Being
itself
the prospective dominant, the "first act"
not needed.
Therefore only the "second
act"
is
performed, in the following two measures.

2,
See also, Beethoven, Sonata, op. 31, No. Th. ends with complete tonic cadence in its
own
Adagio; in measure 38 the Subord. key, F major. This F being the

is
prospective dominant (of the next Theme), no "first act"
4 measures represent the "second act" Th. appears in measure 43.

76.
dwelling
required; the following

Prin.
upon the dominant; the
re-transition)
a.
This fundamental rule for the construction of a transition (or is, however, often modified.
objective point of the transition
The
may be some
other tone
than the prospective dominant;

into the
for example,
the Second-dominant
(2d scale-step); or any other tone or chord that will lead powerfully
new Theme
4th scale-step,
the leading- tone).
(the 6th scale-step, probably lowered,
the raised
See Beethoven, Sonata, op. 31, No. i, Adagio, measures (34) 35 (36). The the end of the Prin. Theme is prolonged (two measures), with change of mode, and becomes the Mediant (3rd scale-step) of the following key 4-flat inajor.
C at
Also:
'
Par. 76.

No.
I.
loi
first
Transition ("
act") i)
w
Brahms,
Ex.
39.
r\'
Symphony, No. 3, F, op. Andante, measure 34

See the
original.
go,
mi ^ '4jU4
.
II
i=*
'
dim.'
^
^:
i
p#mFf
Subord.
Theme
X
*2)'
-gJi
//o/ê
4_i ^ /|
i<ig
f
?^Jg"p^
f
G
^^
etc.
yft|j
.f-
fv
f
Second-dom. (of G)
i
i
major (dom.)
^
No.
z.
Allegro
Retransition ("second act")
T"
./i?^
ff
i
J=r=tI
allargando.
^^^^^^
3)
Prin. Th.
^1 3
J
I I
GOETSCHIVS, op.
15.
^g M î^TOT^^
etc.
Scheme
JtV
VI
:BI
B
i)
major
induced by dissolution of an extended Transition-Phrase been going on for some time; at this point it makes a decisive move towards a minor, and soon reaches the tone A and the chord of A (major).
The
"first act",
(par. 770), has
Par. 76.
102
*2) This
tive
key
G major, and
is
the Second-dominant (dominant-of-the-dominant) of the prospecis
chosen as aim of the transition, because the Subord.
Theme
chances to begin on the dominant harmony of G.
ition extends only
The "second act" of transthrough the cadence-measure, as bridging, and is signalized by the
significance.
g-natural,
*3)
is
which gives the chord olAa. dominant
The
root of this chord, B-flat (upon which the "second act" of retransition
is,
based, for ten measures)
as ^-sharp, the leading-tone of the following key and
Theme.
b.
At
times, the transition leads to the

is
dominant of some other
than the coming key, and
then followed by an miexpected "false"
resolution (on the principle of Cadence-modulation)
Allegro
Ex.
Beethoven,
Sonata, op. 28, D,
first
40.
CXi
movement, measure 58-
^^
See the original.
Dominant
(of
A)
*i)
End of
Transition
II
Subord. Th.
"=^
^^ r^
pp.
etc.
^^^^J^
F-sharp minor
*2)
is
*i) This dominant note, E, is reached several measures before (in meas. 55) and dwelt upon, as "second act" of transition, up to the Subord. Theme, which sets in, however, in an unexpected key.
*2) The first phrase of the Subord. Theme ends, nevertheless, in the proper key, major, thus ultimately vindicating the transitional tone E. See also, Beethoven, Sonata, op. 10, No. i, last movement, measure 16, dominant of c minor, followed abruptly by the Subord. Theme in -flat major (meas-
ure 17).
c. In rare instances, the transition leads to the tonic itself of the coming key and Theme; and this tonic is then usually retained for one single measiure, which assumes the nature of an introductory anticipa-
tion of the
accompaniment
of the
new Theme.
Thus:
#
Par. 77.
103
Bebthovbn,
Sonata, op. 2, No.
last
z,
A,
movement, measure 24-
See the original.
E as tonic
(of
E)
es 1^
life
End of
Transition
-
Introductory measure
^ ^
R'=T=f
etc.
*i)
^
Subord.
Theme
If
major
*i) The legitimate aim of this transition, in view of the coming Itey ( major), would have been the tone and chord of B, its dominant. Instead of which, it drives
straight at the conaing tonic,
and then
enters it passively, without resolution.

3,
See also, Brahms, Sjonphony, No.

the following
of a
Andante (Ex. 39, No:

85).
i),
measures 77-84;
these are the "second act" of retransition, dwelling
Theme (which begms in meas. most uncommon and hazardous process.
upon C, the tonic and key of notable and masterly example
Beethoven, Sonata, op. 22, Adagio, measure 18 (end of transition on B-flat); meas. 19 (beginning of Subord. Theme in B-flat). Beethoven, Sonata, op. 49, No. i, second movement; meas. 30-32. Beethoven, op. 49, No. 2, first movement; meas.
20-21.
This
is,
naturally, a
transition, as the tonic

77.
somewhat misleading and dubious method note has no urging force into "itself."
still
of
Reverting to par. 74, which review, there are
other forms
of transitional material, as follows:

a.
Principal
Quite frequently, the complete tonic cadence at the end of the Theme is followed by a phrase of more or less independent
'
I04
THE LARGER FORMS

is is
OF,
MUSICAL COMPOSITION.
Par. 77.
character (new), which

If this inserted
designed to serve the transitional purpose.
member
definite phrase,
with cadence,
it
may be
and
called the TransiHon-Phrase.
The treatment
consists, naturally
usually, in re-stating the Transition-phrase, as duplication; this dupli-
cation
is
then dissolved and
led, as "first
act" of transition, to the pro-
spective dominant;
the latter generally prolonged, as "second act",
and resolved into the Subord. Theme. For example:

end of Prin. Th.
Beethoven, Sonata,
op.
m
i
10, No. X, first movement, meas. 28- "^ j{!_ See the original.
*:
=Z^
compl. ton. cad.
Transition-plirase
J
-(2-:
Jh-^ i^^^ ^-s p
?J Jhi2J
-fS>-=-
followed
iby
J
-
X ^^
sequence.
Then
A-
another
^sequence
im^ t
("first act") par.
^
^
s
Dominant
"^
extended and dissolved
78
feJ^LiL
1^
55=
f^
3^
4^
^H^
r^?-^
-iS-X-
3 Wr iiii
;-=-
"second act"
^44
-^
-rm
jS^
(of -flat)
^^û ^5^
Si-r-
Par. 77.

II
lOS
Subord.
Theme
^^^
H-jgy
--^*-n
jgg[r~~"s
=tp:
s
63.
sM
in Ex. 40.)
f=
^
13, last
3,
:t
tef
-flat major
etc.
Also, Beethoven, Sonata, op. 28, first movement. The Transition-phrase (new) appears in meas. 40-43; duplicated in sequence, meas. 44-47; these eight measures are repeated (modified); the "second act" covers meas. 56-62; Subord. Th. in meas.
(Shown
Beethoyen, Sonata, op.

pears in meas. 18-21;
movement.
The Transition-phrase (new) ap-
followed
by a sequence
leading to the tonic (meas. 25) of the
very
Subord. Theme, which follows immediately.
Also Sonata, op. 22, last movement,
similar (Transition-phrase, new, meas. 18-22).

first
Beethoven, Sonata, op. 31, No.

(new), measures 26-32,
is
movement.
The
Transition-phrase
followed
by a
curious prolongation of the transitional
operation, consisting in the wholly unexpected insertion of a reminiscence of the Prin.
Theme
Subord.
ition.
(in
Theme
meas. 33-45) leading to the prospective dominant, and followed by the (meas. 46). This insertion is the second Section of the entire trans-
(See par. 556, in reference to the "Section";
and note that sectional

is
ar-
rangement
may
occur in any portion of the form which
not subject to
definite
most rarely
structural conditions: in the Coda, the
"Development"
[par. 150], the Re-transition,
in the Transition, as here.)
covers meas. 17-20;
movement. The Transition-phrase and led to the tonic of the next Theme, as shown in Ex. 41. Beethoven, Symphony, No. 2, Larghetto, meas. 33; the Prin. Th. is a full Two-Part form, with repetitions, otherwise this Transition-phrase would be "Part II".
Beethoven,
Sonata, op.
it is
2,
No.
2,
last
duplicated, dissolved,
Schubert, Sonata No.

ruptly, with
6, op.
147, Andante.
The
Transition-phrase enters ab-
an elision of the cadence-measure of the Prin. Theme, in meas. 27. Its complete change of style verifies the elision, and also gives it the appearance of an
almost foreign link;
it
proves, however, to be directly related, thematically, to the
Subord. Theme, which begins in meas. 32.

b.
or new, in
itself.
Often the Transition-phrase, instead of being thus independent, its construction, is derived from material of the Prin. Theme
In
this case it is
"independent" only in
its
its
location, while
thematically relevant, and consistent with
surroundings.
See Beethoven, Sonata, op. 14, No. 1, first movement; the Transition-phrase is so similar to the Prin. Theme, that it sounds at first as if a duplication (Shown in Ex. 37, No. 1.) Also Sonata, op. 10, No. 3, of the latter were intended. first movement, very similar (meas. 17-22).
(meas. 13)
io6

is
Par. 77.
Beethoven, Son. op. 26, last movement; the Transition-phrase thematic figure of the Prin. Theme (Ex. 38, No. i).
derived from the
Beethoven, Son. op. 27, No. i, last movement; Transition-phrase from Theme, meas. 25-32; "second act", meas. 32-33; Subord. Theme, meas. 36.
Prin.
Beethoven, Son. op. 31, No. 3, Scherzo; Transition-phrase derived so exactly from Part 11 of the Prin. Th., that here again the intention of duplicating the latter meas. 29-32; "second act", meas. 33-34; Subord. Theme, meas. is intimated;
35.
(Shown in Ex.
$5, note *2.)

3,
Brahms, Symphony
of the first
Andante; the Transition-phrase
is,
at
is,
first,
a re-statement
member
of the Prin.
Theme
(meas. 24-25),
and
therefore, a direct
deduction from the chief thematic proposition. It is duplicated, dissolved, and led to the Second-dominant of the next Theme, as shown in Ex. 39.
c.
Or the
transitional process
may
maintain
still
closer adherence
to the Prin.
Theme
some
(than that of thematic derivation),
and proceed
form.
directly out of
phrase of the latter, by dissolution of the
The
following illustrations will
be better understood by
Allegro
Principal
first
reading par. 78.
For example:
Theme
Ex.
^ ^
4\
l5=
Beethoven,
Son., op. 14, No. 2,
first
43.
movement.
See the original
t w
l=S
etc.,
g-measure
2.
Period (as Part
9^-^
cad.
^S
î
tr
1
10.
II.
:igr
r r
12. 13.
nrîj^
Jj
^JJ^ L
'
p^
Par. 77.

"first
107
act" of transition
*5) Dominant (of
D)
20.
i^
21.
etc.
22.
23.
jt~.
^^mm^^ m
II
Subord. Th.
(comp. meas. 9)
,
etc.
24.
^^-
2S.
T^^^^Z^
*i) This
is
:^:
I
by
unquestionably the Second Part of the Prin. Theme, and not to be

it is finally utilized
confoiinded with a Transition-phrase, although

extension and dissolution.
*2)
is
as transition,
The
first
sign of weakening of the principal key, for modulatory deflection,
exhibited in this c-sharp.

"3) This melodic figure runs through the entire transitional extension. *4)
Here the
transitional modulation is
consummated, leading, at note

major).
*$), to
the dominant, A, of the coming key and
Theme (D
I08
*6)

The "second act"
of transition
is
Par. 77.
performed upon the dominant note, A,
maintained as organ-point unyieldingly in bass, for 7 measures. See also, Beethoven, Sonata, op. 31, No. 2. Part II of the Prin.
in
Theme
begins
measure 21 (with elision); it remains in its key, d minor, up to meas. 31, where it is deflected into a minor; therewith, the "first act" of transition begins, and extends to meas. 41, where it cadences on E, the dominant of the coming Theme; the "second act" is simply the bridging of this measure; the Subordinate Theme appears in
meas. 42, upon the same dominant harmony (of a minor). ment of the same Sonata, similar in every respect.
See also the last move-
Beethoven, op.
10,
No.
i,
Adagio.
The Second Part
of the Prin.
Th. begins in
meas. 21, reaching the prospective dominant in meas. 22; the Subord. Th. follows in meas. 24, on the same dominant harmony.
measure
17, is dissolved in
Beethoven, op. 31, No.
2,
Adagio.
Part II of the Prin. Th. begins in measure
18; is dissolved, in meas. 23, immediately into the prospective
dominant
(C),
which
is
prolonged, as "second act", to meas. 30; the Subord. Th. appears in meas. 31, in F.
Beethoven, op. Beethoven, op.

17,
10,
No.
3, last
movement; Part
II dissolved.
See Ex. 37, No.
2.
28, last
movement.
The
transitional process starts in
measure
Prin.
with a phrase in contrasting rhythm, which may be regarded as Part II of the Theme, but has somewhat more of the appearance of an independent TransitionIt is duplicated
phrase (par. 770).
and dissolved
in the usual
manner; the "second
act" covers measures 26-28; Subord. Th. in meas. 29.
Beethoven, op. 31, No.
i, first
movement.
Part I of the Prin. Th. to measure
30; Part II to meas. 45; Part III begins in meas. 46; is dissolved in meas. 53, the prospective dominant (/-sharp) appearing in meas. 54; the "second act" extends
to meas. 65; Subord. Th. in meas. 66.

Part. I of the Piin. Th. to measure 17; Beethoven, op. 7, first movement. Part II to meas. 24; the next measure (25) is an ostensible return to the beginning therefore the index of Part HI; it is, however, abruptly deflected (dissolved) by the
D-flat,
and extended, as
it
"first
act" of transition (with infusion of new material) to
measure 35, where
subsides
upon the prospective dominant; "second act", meas-
ures 35-40; Subord. Th. in meas. 41.
Beethoven, op.
(measures
22, first
movement.
The
is
Prin. Th.
is
a group of four phrases

first
i, s, 9, 12).
The
fourth of these Phrases, like the
one,
and therefore
suggestive of the intention of duplication,

13,
utilized as transition; dissolved in meas.
and led to the prospective dominant
in meas. 16;
"second act," meas. 16-21;
Subord. Th. in meas. 22.
Brahms, Symphony, No.

(measures
i.
Andante.
The
Prin.
Th.
is
a Group of six,phrases
ending with complete tonic cadence in meas. 27. A Transition-phrase follows, which (as in Beethoven, op. 28, last movement) may be regarded as Part II. It is duplicated, dissolved, and led to the prospective dominant in meas. 34; "second act" to meas. 38; the Subord. Th. begins in meas. 39.
i, s, io> ^4, 18, 22),
Broad comparison
of the preceding paragraphs (and par. 82) will reveal the three
possible locations of the transitional
Par. 746, and par. 77a,

tuio
independent
movement:
transitional material inserted between the
Themes.
Frequent.
Par. 78.
IO9
Thane
itself,
Par. 77c,
transition
effected during the later course of the Prin.
inwhing
Very
dissolution.
Par. 82,
rare.
Fairly frequent.
transitional act performed during the early course of the Subord. Theme.
Dissolution of the Form.

78.
phrase
is
said to be "dissolved" when, instead of closing
upon its own tonic, it is deflected (by moduand conducted (perhaps with extensions) to some other key and chord, most commonly to a dominant, and generally the dominant of the coming Theme.
with
its
expected cadence,
lation),
The
of
process of dissolution
is
applied invariably to the final phrase
some member of the form: To the Third Part of a Three-Part form (which would then be defined as a "Three-Part form with dissolved Third Part"); or to the Second Part of a Two-Part form (illustrated in Ex. 43); or to the Consequent phrase of a Period (single or double);
or to the last phrase in a phrase-group form.
species are given in par. 77.
79.
Illustrations of all these
Dissolution of the form occurs, naturally, only in connection

retransition
with the process of transition (or
par. 86)
and
its real
object consists solely in achieving the "first act" of a transitional
movement. For this reason, dissolution is also very commonly applied to a or, more frequently Transition-phrase (as shown in Ex. 38, No. i),
still,
to the duplication of such independent single phrases as the Trans-
ition-phrase,
and the Codetta to a Theme. Such phrases as these, which appear where the passage into another
is
Theme
imminent, are often
first
stated in simple form, with their
legitimate cadence,
nition of this
tion."
and then duplicated, with dissolution. The defiwould be "phrase with transitional (or dissolved) duplica>
One
illustration will suffice:
end
of Codetta I
Codetta II "i)
s 44.
Ex.
J
Beethoven,
Sonata, op. 13, last
W-J
p
"
"
,
^
'
g^^
'
movement, measure so-
,0
^
cad.
'
lo
Par. 7a
_^
II
Duplication
^g
I
t^
^ ^
dissolved
( "first
act " of retransition)
S ^^^^ :^^*
g^ *r.**^. m
"second act"
*2)
^m
H t=5|r
*t|
^
-*^
'^^
r
t--^^
-^f
im
ii^
.^. Dominant
(of
C)
^
II
Prin. Til.
*=F^
I
etc.
g^fe^^
It
flit-LlJtl^
*i) This is the second one of two Codettas, added to the Subordinate Theme. See par. 88. It is the material designed tor the retransition (par. 86), and proves to be a "phrase with dissolved duplication," extended into the usual "second act" on the prospective dominant.
*2)
See also Ex. 41
The dissolution is induced by the modulatory deflection through this (-natural. The transition, the end of which is shown in the example, is a
:
phrase with dissolved duplication.
Par. 80.
1 1
80.
In the First Rondo form, the Transition, as seen in the diagram,
leads from the Principal
Theme
into
The Subordinate Theme.

81.
It
is
a fundamental condition of the Subord. Theme, that

is
it
should appear in a different key from that of the Prin. Theme.
And
with but very few exceptions this The

exceptions to this rule are
the case.
in the
works of Beethoven than in Subord. Theme in the same key (often the opposite mode), and then leads it over into the "right" key (par. 82). See his String-quartet, op. 18, No. 6, Adagio, meas. 17; and String-quartet, op. 74, Adagio, meas. 25. The most unitsual example occurs in his Polonaise, op. 89, a Second Rondo form, in which both Subord. Themes are in the same key as their Prin.
those of any other writer.
more common
He not infrequently begins his
Theme.
See also, Beethoven, Sonata, op.
2,
No.
3,
Adagio; the Subord. Th.
same key
as the Prin.
Theme, E, but
in the opposite
mode
is
in the
e minor.
The most common and

key
efEective
keys for the Subord.
Theme
are,
the dominant key after a major Prin. Theme;
or the relative major
after a minor Prin. Theme. may be chosen; near or remote But any other related key and even a wholly unrelated keyis possible, if justified by the nature of the Themes and the special structural purpose.

Sub. Th. in A-&a,t major.
2,
No.
i, first
movement:
Prin.
Theme
first
in
/ minor;
Same Sonata, Adagio:

then
Prin. Th.,
F major;
/
Subord. Theme,
in
d minor, and
C major.
last
Same Sonata,
Sonata, op.
(instead of
2,
movement:
2, first
Prin. Th.,
minor; Sub. Th., c minor (dominant
key, after a minor Prin. Th.).
E major) later major.

7,
No.
movement:
Prin. Th.,
major;
Sub. Th., e minor
Sonata, op.
relation).
Largo: Prin. Th.,

x.
i, first
C major;
Sub. Th.,
i4-flat
major (tonic-mediant
Ex. 36, No.
Sonata, op. 31, No.

later
movement:
Prin. Th.,
major; Sub. Th.,
major,
minor
(relative of the dominant).
Sonata, op. 31, No. 3, Scherzo:

later -flat major.
Prin. Th., A-&a,t major;
Sub. Th.,
F major,
Sonata, op. S3>

ant-tonic relation).
first
movement:
Prin. Th.,
major; Sub. Th.,
major (medi-
It is least favorable to choose the suhdominant key, as this
is
dull
in effect.
82.
In very rare
cases,
the Subord.
Theme
begins,
immediately
after the cadence of the Prin. Th. (without transition), in the same key,
112

its
Par. 83,
that of the Prin. Th.; and then gradually swings over into
proper
key; thus, so to speak, including the transition within

See Beethoven, Sonata, op.
follows immediately, in the
into c minor,
7, last
itself.
movement: The
its first
Prin.
Theme, an Incipient
3-Part form, comes to a complete tonic ending in measure 16.
The Subord. Theme

deflected (meas. 19)
23).
same key
(-flat);
and then
first
into B-flat major
the proper key (meas.
phrase
is
What emis
phasizes this curious irregularity (an instance of almost oppressively dose logic),
the fact that this (meas. 8-9).
phrase
is
derived directly from the Second Part of the Prin.
Theme
Opinions
to define the actual beginning of the Subord.

is
the continuity,
modification,
prevail in
unless it be in- meeis. 25, where a somewhat striking rhythmic and the proper key, asserts itself. Almost exactly the same conditions Beethoven, Andante favori in F major (measure 30).
may differ concerning this analysis; but it appears impossible Theme at any later point, so persistent
83. Besides the change in key, there should also be a sufficiently marked change in style. For the Subord. Theme, while preserving close and evident organic relations with its Prin. Th., must nevertheless
be well contrasted in general

its
effect,
perhaps
chiefly
with regard to
well mated, but
rhythmic character.
differentiated in
This
is,
The two Themes should be appearance and in "mood".

most
difficult
problems of effective composition, and The student should make a careful study of the Themes thus associated in the Sonatas and other works of Beethoven,
one whose solution cannot be indicated by
rules.
naturally, one of the
Brahms, and other

imagination and
If
above
one
modem
all
masters;
things
and, for the rest, exercise his

his
own
musical
judgment.
the Prin. Th.

If
is lyric,
the Subord.
the other
Theme may be
dramatic; and
lighter
vice versa.
is serious,
may be
of a
somewhat
between the Themes will usually rest upon their rhythms, either the rhythmic nature of the thematic melody, or of the accompaniment, or both.
character;
forth.
and so
The most
striking distinction
84.
The
old rule (in force during the early classic eras of strict
thematic unity) that the Subord.

Prin.
Theme
should be derived from the
Theme, or at least be thematically related to it, is generally abandoned in modern music, because of the greater difficulty of creating
the necessary contrast.
and there in Beethoven (op. 26, last movement movement the melodic member of the Subord. Theme is the same as that of the Prin. Theme, in contrary motion; Sjmiphony, No. s, c minor, first movement; also Sonata, op. 7, last movement cited in par. 82; and, very pointedly, in op. 14, No. 1, last movement, where the Subord. Theme, beginning
'
Ex. 45, No.
Its influence is
i;
still
traceable here
op.
2,
No.
1, first
abruptly, without transition, in measure 14,
is
derived directly from the consequent

chiefly in key).
phrase of the Prin. Theme, from which
it differs
Also in
Brahms
Par. 84.
TEE FIRST RONDO FORM.

of a reactionary spirit, in recent works:
"3
No.
2;
and again, with some evidence

String-quartet, op. 45,
pfte. Sonata, op. 75, e minor, first
movement
Ex.
45,
Glazonnow, Vincent d'Indy,
major,
first
movement.
It is evident, however, that
when the Subord. Theme

the Prin. Theme,
it
is
thus derived
nevertheless
from, or thematically related
to,
must
assume a
sufficiently
style.
it
independent aspect;
must present the usual

its
contrast in
It
may
it
adopt thematic material from
Prin.
Theme, but
its
must work
over into a new thematic condition, assuring
This, as intimated, may best be characteristic independence. brought about by some essential alteration of the rhythmic conditions.
For example:
Subord.
Allegro
Prin. Th.
^
=^
etc.
Ex.
Beethoven,
Sonata, op. 26,
last
45.
movement.
See the original.
See Ex. No.
38,
I
v*-Jf;
?S*
Theme
i)
No.
2.
Moderate
Prin.
Theme
GtAZOUNOWj
Sonata, E, op. 75,
movement. See the original.

first
-f
-r
^S
14

Subord.
Par. 85
Th
i m
^
etc.
^
^3;_^
*2)
i-f=r
-
^J-J-iL
.TP
r
^^;
1
I
etc.
dolce
m
No.
3.
Andante
sost.
Prin. Th.
Brahms,
Symphony, No. 2d movement.
I,
f
I
j}
strings
'f [
try L_L
t*
etc.
9W^S^~
^^^
*^
original.
Subord. Th. *3)
</0/i;
etc.
ûi^n^riMii:âj^ p~^ ^
*i)
The thematic
figure of the Prin.

is
Theme,
in contrary motion,
to the lower part, as accompaniment,

distinctive line of the latter
is,
the basis of the Subord.
and transferred Theme; but the
nevertheless, the sharp staccato figure in the upper
part, which creates a

*2)
marked contrast
in style with the foregoing.
The melody of the Subord. Th. is patterned exactly after that of the Prin. Theme. The necessary contrast is amply provided by the complete change of
"mood"
'3)
{.dolce),
and the change of rhythm, both

of the Subord.
in the
melody and
is
in the lower part
(triplets).
The wholly new melody
Theme
a counterpoint
.
to that of the
Prin. Theme, which appears, below, as
shown by the
The change
of
mood
is
very marked.
of the Subord. Theme is optional, but it is somewhat be a shorter, more concise, design than that of the Prin. Theme. It is therefore frequently no more than a One-Part form (Period, Phrasegroup, or Double-period). And, as will be shown, a Codetta is often
85.
The form
likely to
added
(par. 88).
Par. 8s.

of the
1 1
At least one
rondo
will represent
two Themes should be more than One-Part form, or the whole a total of but three Parts, and therefore will create the impression
of 3-Part form only.
N.B. Every composition in which there is a "return to the beginning" (after an actual departure) is an example of the tripartite design. But there are many such tripartite forms, which differ from each other in size or extent, and, though fundamentally similar, become independent of each other through their several degrees of dimension, of scope,
and
of purpose.
Not
that dimension alone differentiates musical de-
signs;
for there are quite genuine First
Rondo forms
that are very
in connection with frequency of cadence and changes of thematic contents, does con-
short, while others are unusually long.
But dimension,
tribute in
some degree
to the definition of the form, since all these
elements together are involved in the presentation of the adopted purpose.
Compare Schumann, Sonata,
op. 22, Andantino.

is
This
is
only a 3-Fart Song-
form; but the 2nd Part (meas. 22-38)
of so different
assume the importance and effect of a Theme. 1 5-1; also 3-Part form only, but decidedly suggestive of First Rondo form, because Beethoven, Violin Sonata, op. 96, of the radically independent style of its 2nd Part. Adagio. The Prin. Th. is an extended Period, only. What follows is practically a one phrase, with extended duplication; and a rather long retransSecond Part, ition which illustrates the effective swaying back and forth around the prospective dominant; then the Prin. Th. and Coda. The design is, probably, only 3-Part
a style, in its later course, as to And Chopin, Nocturne, No. 4, op.
Song-form, but with decided
"Rondo"
effect.
Uendelssohn, op.
it is
16,
No.
3; the Prin.
Th.
is
a period, with introductory phrase;

in phrase-group form,
dissolved into a brief transition, followed
by a Subord. Th.
with a Codetta, from which a fairly lengthy retransition leads to the Prin. Theme, extended to phrase-group form and followed by a brief Coda. It is only 3-Part
Song-fonn, but has
tibe
breadth of the Rondo.

5,
Schubert, Sonata, No.

in which the Subord.
op. 143, Andante;
a very concise
First
Rondo
form,
tween the Prin.
Theme (meas. 21-30) is but little more than an Interlude beTheme (in 2-Part form) and its da capo (partly transposed). But
to represent a "digression."
it is sufficiently characteristic
a genuine, though small. First Rondo BeethOTen, Sonata, op. 79, Andante; The Prin. Th. is in diminutive 2-Part form; the Subord. Th. a 4-meas. Period, extended to 7 measures, with a Codetta, duplicated and dissolved (as shown in Ex. 48).
form.
The Re-transition.
86.
The term
Re-transition
is
applied
by the author
to the passage
back into the previous Prin. Theme, in distinction to the Transition into a new Theme. The process is practically the same in both cases,

Il6
Par. 87.
though a difference in treatment

the difference in location
may
assert itself, in consequence of
and aim.
The
Retransition
is
often longer
and more elaborate than the Transition, and not infrequently separates into two or more sections. Illustrations have already been given, in Ex. 38, No. 2; Ex. 39, No. 2; and Ex. 44; which see.
87.
The
of
Retransition, like the Transition,
may
be initiated in a
number
a.
ways:
close with a complete tonic cadence
The Subord. Theme may

is,
(that
witkoui dissolution of the form), usually in its
own
key,
this
will
some other key, though quite as completely. In case, the Retransition will have its independent beginning, and include its "two acts" within itself. more
rarely in
Assai allegro
end of Sub. Th.
Retransition-phrase
m^WW.
Dominant (of G)
*i) *)
major
complete tonic cadence in the key of the Subord. Theme,

Retransition-phrase
is
C major.
Theme, be-
The
derived
from the chief member of the Prin. Theme.

this is the Prin.
Avoid the blunder of jumping at the conclusion that
Par. 87.
117
cause it chances to resemble it. It is not in the right key, nor is it the entire Theme. See par. 123. See also: Beethoven, Sonata, op. 7, last movement, the second ending after the last double-bar (with repetition marks).
par. 104)
Beethoven, Rondo, op. 51, No. i, C major. The Subord. Th. (a Second Subord. is in c minor; it ends with complete tonic cadence in that key, therefore
already on the original tonic.
For that reason, the retransition is long, including return to, the key of C. The first Section is a one-voice passage (meas. 72-75); Sec. 2 is derived from the Prin. Th., in a remote key, leading to the prospective dominant (meas. 76-83); Sec. 3 is the "second act" of retransition (meas. 83-91). Sonata, op. 10, No. 3, last movement. The Subord. Theme (a Second Subordinate), is in B-flat major; it makes its cadence, however, on the tonic of E-flai major, in meas. 41; the retransition starts immediately, and contains three brief sections: Section i (meas. 41-43), new, but so closely related that it might be regarded as the final phrase of the Subord. Theme; Sec. 2 (meas. 46-49) derived from the Piin. Theme in a remote key, but dissolved and led to the prospective dominant (chord
three sections, in order to get
away from, and
of .4, in 2? major); this is the "first act" of actual retransition; Sec. 3 (meas. 50-55)
is
the "second act," and
is
a quaint demonstration of the principle of dwelling upon,
or near, the dominant; Prin.
Theme
in meas. 56.
Sonata, op.
22, last
6-flat
Subord. Th. (Second) in / minor;

103);
b.
complete tonic cadence in
movement. minor (meas.
followed
If,
by the two
is
distinct acts of retransition.
as
likely, the Subord.
complete tonic cadence

consequently, no "first " second act."
Theme is in the dominant key, its be the prospective dominant, and, only the act" of transition will be necessary,
will itself
end of Sub. Th.
{|
Retransition
("
second act")
te
Beethoven,
EX.y
.
;j^K;,|^:.=^
i,_
Sonata, op. 26,

last
movement.
original.
See Ex. 45, No.
9izfcg2 and the
-rr
cad.
Dominant
(of (01 A-flat)
etc.
ii8
"i)
Par. 88.
Complete tonic cadence in the key of the Subord. Theme (-flat). This already the prospective dominant, wherefore no "first act" of transition appears. In such cases, the "second act" prolongs and establishes the dominant, as usual, but its function is centred upon the addition of the minor ph, wliich transforms the chord (as tonic of the former key) into an actual dominant {Aovn-yth chord) of
chord
is
the coming key.

*2) This d-flat is the yth in question,
and records the
decisive operation of the
retransitional act.
the
The transforming dominant-7th (4-flat) See Ex. 38, No. 2. first note of the Prin. Theme.
See
also,
first
appears with
28, last
movement; the
retransition begins in
meas. 43 (as "second act" only); in meas. 47, the dominant-yth (g-natural) is introduced, securing the identity of the bass tone A as dominant, no longer tonic.
Similar, Sonata, op. 10,
No.
1,
3, last
movement, measures 23-24.
Also, Sonata, op.
^,
No.
Adagio, measure 3! only.
88. As stated above, it is quite common to add a Codetta, or even more than one, to the Subordinate Theme. This may. consist of any thematic material, wholly new, or more or less directly related to or derived from the foregoing. But it is perhaps most common and effective to borrow it from motives of the Prin. Theme (as in Beethoven, op. 2, No. I, Adagio, meas. 27-29). The Codetta is generally a comparatively brief phrase, of two or four measures, and is, as a very general jrule, duplicated. (If there are two Codettas, the first one is likely to be longer, four or eight measures,
duplicated as usual.)
The
followed
(if
duplication
may have
the complete tonic cadence, and be

retransition.
by the independent
necessary
it
But
it
is
more natural
see par. 876) to dissolve this duplication, thus trans-
forming
into the " first act' ' of retransition.
See Ex. 44,

is
applied to
dominant
the second Codetta.

If
the Subord. Theme, and therefore
its
Codetta,
in the
key, then, as
shown
in par. 876, the retransition will be limited to its
"second act" alone.
end of Subord. Theme
Codetta
Beethoven,
Ex.
48. <
Rondo, op. 51, No. See the original.
i.'
cad.
^m ^=f
i^
Pai. 8g.
TEE FIRST RONDO FORM.
119
^
IE? I ^
p --W
1"^
m.
(
If
^
i
duplication
^m TT
I
i
Retransition
"second act")
=?= wy^=^
*i)
-s
?q^4^MJ jnJTjn
n^
^
etc.
Si?-
*i)
This i^-natural
initiates the actual transitional
movement, by changing the
tonic, G, into
See also:
ition is
a dominant (of C). Beethoven, Sonata, op.
2,
No.
i,
Adagio, meas. 27-31; the retransS-flat.
merely bridging, in meas. 31, with insertion of the dominant-yth,
89.
with a complete tonic cadence (be

it is
When, on the other hand, the Subord. Theme does not it in its own, or some other,
close
key),
because the principle of "dissolution" has been active. This is less clear, because definite cadences are of great assistance but it may to the hearer, who profits by distinct structural outlines, be quite as effective, and is, of course, more artistic, as it estabUshes
method
(Compare par. 197, No. i.) The final phrase of the Subord. Theme, in this case, is dissolved, and this dissolution (or modulatory deflection) constitutes, as usual, the "first act" may of retransition, leading to the prospective dominant (or whatever covers the "second be chosen as leading factor), whose prolongation
more complete
continuity.
act."
See Ex. 39, No.
2;
and the
following:
120

Subord. Th. Phrase 1(4 measures)
Par. 89.
z4l Beethoven,
Sonata, op.
Ex.
7,
Largo.
;
See Ex.
49.
and the
36, No. 2 original.
M=M ^^^^^m0^^
*"
.
etc. to
Phrase 2 (4 measures)
iJr^TlT"
^S^^ î
\^
'
dissolved ("first act " of retransition
i^ PST
^
-i
i}!
./
9^ft^-^^-^^
B^ ^
bv
itî
=î
g^'
P
^
f=fi
Retransi-
*d=w-ad=
i
>tion (" second act ")
.P=^
I
/
u f
I
r^ P
*2)
Section
1st
8
Dominant
8
(of C)
8
-=t-S
^^
See the original
-S
i^-
PP
i^
Par. 8g.

Section 2
121
Section 3
8va
^ê*i^
I
Prin. Th.
i
--^
'
^j^^P^^ft^
i>P
^^^
etc.
î}^îp
^ ^

one of and last *i) The Subord. Th. is a Group of (3) phrases, the third which (patterned after the first one) is dissolved, as shown, and thus led to a cadence, upon G, the dominant of the coming Theme.
is unusually elaborate, and separates into three suflSdently This would not appear to have been necessary; but the creative imagination of the tone-master dictated it; and it serves to illustrate and confirm the countless ways in which a fundamental principle may be carried out. Section i
*2)
The
retransition
distinct sections.
sways around the dominant, G, and then

*3) Section 2 is
slips
away from
it
to return, soon.
an allusion (only) to the principal melodic member, in a remote key, and fragmentary. This insertion, very characteristic of Beethoven, must not be Section 3 returns to the dominant, and prohastily called the "Principal Theme." longs it, quite steadily, up to the announcement of the Prin. Theme. See par. 123.
A
in
similar long retransition,
similar
1,
also in its sectional arrangement, occurs
Beethoven, Rondo, op. 51, No.
cited in the notes to Ex. 46.
122
Par. 90.
Also, Beethoven, Sonata, op. 13, last

is in
movement: The Suboid. Theme (Second)

is
3-Part Song-form, of which the Third Part
dissolved (in meas. 104), leading
dominant (G) in meas. 107; from there to meas. 120 this doim'nant is persistently maintained, as "second act" of retransition. Sonata, op. 2, No. 2, Largo; the Subord. Theme is a Group of (3) phrases, the last one of which (meas. 27) is dissolved, and led to tJie prospective dominant in the retransition being meas. 31; the Prin. Th. appears in the following measure,
to the prospective
unusually brief.
90.
The "second act"

but
it
of transition
taining or establishing of the

teristic in style;
dominant
and retransition the mainis often somewhat characbut

little
should not be so striking in contents as to invite
the impression of a Theme.
Usually
it is
more than the
harmonic figuration of the chord or chords in question, so simple as not

to disturb the effect of merely dwelling upon, or circling about, the
dominant
(or
whatever the leading factor
may be).
more or
less
The
Theme,
retransition, especially, is quite likely to contain
direct allusions to the initial melodic
naturally not
member
of the
coming (Principal)
in the
all'
same key.
See Ex. 46; Ex. 47; and
the retransitions in Beethoven, Sonata, op. 22, last
movement.
Also Ex. 49, section
2 of
the retransition.
In retransitions,
of the tonic
it is
wise to avoid any conspicuous presentations
" The latter may be touched, in movement sways back and forth around the dominant; especially when the opposite mode of the tonic chord is used; or when the latter appears as 6-4 chord. But the "tonic" element should not be so prominent as to anticipate and weaken the
harmony
of the
coming key.
passing,
if
the transitional
effect of the
da capo (recurrence of the Prin. Theme).
The Recurrence or the

91.
Principal Theme.
of the Principal
In the First Rondo form, the recurrence
Theme
(or the
"da capo,"
as
it is
of its first presentation
often called)
literal
may be an
exact reproduction
copy.
Mozart, Sonata, No. 14 (Schirmer
edition), Adagio.
2,
No.
3,
Adagio.
But
this is rare.
It is far
or even considerably variated

op. 7, Largo.
2,
more likely to be somewhat embellished, and elaborated.

Largo; Sonata, op.
1, 2,
No.
2,
No.
i,
Adagio; Sonata,
Brahms, Symphony^No.
Andante
soslenulo.
^"-
9a-

a.
123
does,
92.
The
Prin. Th.,
upon
its
recurrence,
may, and often
close with a complete tonic cadence in its
own
key, in which case the
Coda
(or, if brief,
the Codetta) which follows will be "independent."

2,

b.
No.
i,
Adagio, measure 47.

final
But, perhaps quite as commonly, the
phrase of the Prin.
Th.
is
dissolved, or its cadence evaded, so as to lead over without in-
terruption into the Coda.

Prin. Th.
In
this case, the dissolved portion of the
becomes the
first
2,
section of the Coda.

3,

of the expected cadence.
No.
Adagio, measure 30 from the end; an evasion
7, Largo, meas. 17 from the end; an elision of Beethoven, Violin Sonata, op. 12, No. 2, Andante, meas. 30 from the end the form is dissolved by expanding the dominant chord, at the cadence. Schubert,
Sonata, op.
the cadence.
;
Sonata, No.
6,
Andante, meas. 16 from the end; the Third Part of the Prin. Th.
is
Mendelssohn, "Midsummer Night's Dream," Notturno, meas. 40 from the end; a beautiful example of dissolution, or merging in the Coda; for this purpose, the Prin. Th. (as da capo) is reduced to its First Part, the last two measures of which are spun out, extended by the introduction of a phrase from the Subord. Theme and further allusions to the first phrase of the Prin. Theme all closely coherent, and developed into a group-form of singular charm and effectiveness, as first section of the Coda. A second section follows Qast 18 measures).
dissolved, as first section of the Coda.
The Coda.
here has the same design and treatment as in the and elsewhere. That is, it is invariably sectional in form; the number of sections, the extent, and the contents of each, are wholly optional, and subject only to the obvious necessity of good proportion; of interesting and effective structure, especially in regard to contrasts; and of suf&ciently close relation to the motives and moods that have gone before. Review, carefully, par. ssa, and, particularly, b.
93.
The Coda
variation form
One
or another of the sections
is fairly
certain to allude directly
Theme; and in some Codas there is a disposition to revert to the Subord. Theme. Occasionally, a section, if not too lengthy, may present wholly new (though strictly affiUated) material.
to material of the Prin. Beethoven, Sonata, op. 2, No. i, Adagio. The Coda (last 14 measures) contains two sections: Section i (5 measures) is derived from the second phrase of the Subord. Theme; Section 2 (to the end), from the Codetta of the Subord. Theme. Sonata, op. 2, No. 2, Largo. The Coda (last 30 measures) contains four sections: Section i (8 measures) is derived from the Second Part of the Prin. Theme,
phrase, duplicated;
elision,
Section 2 (10 measures)
is
derived, after an evaded cadence,
with
from the Prin. Theme; Section 3
(8 measures), is
fairly accurate re-
124
^^-S
LARGER FORMS OF MUSICAL COMPOSITION.

first
Par. 94.
statement of the
phrase of the Prin. Theme, and a
new Consequent
phrase;
Section 4 (to the end), a Codetta, with the customary repetition and extension. Sonata, op. 2, No. 3, Adagio. The Coda (last 30 measures) contains four sections:
Section
Prin.
t
(two measures)
2
is
derived, after
an evaded cadence, and
elision,
from the
Theme; Section
(12 measures), from both Parts of the Subord.
Section 3 (11 measures) is a nearly complete re-statement of the Prin. 4 (to the end), a Codetta, alluding- to the Prin. Theme.
Theme; Theme; Section
Sonata, op.
2 (6 measures),
is
7,
Largo.
is
The Coda
contains four sections (last 17 measures):
Section i (5 measures)
elision, from the Subord. Theme; Section from the second measure of the Prin. Theme; Section 3 (2 measures), entirely new, but related; Section 4 (to the end), a re-statement of the first phrase
derived, after
an
of the Prin. Th., with characteristic chromatic harmonization.
tions:
Sonata, op. 31, No. i. Adagio. The Coda (last 21 measures) contains two secSection i (10 measures a s-measure phrase, duplicated) follows the com-
plete tonic cadence,
and
is
closely related to traits of the Prin.

first
the end)
is
a Codetta, based upon the
two measures
of the Prin.
Theme; Section 2 (to Theme, with
unusually persistent reiterations and extensions.

is
i.
Andante
fifth
sostenuto.
The Coda
an
(last
28 measures)
contains two sections: Section i (14 measures) follows
elision of the cadence,
and
an extended statement of the end) is new, but closely related,

94.
a 6-measure phrase, duplicated.

Coda has but one
section
phrase of the Prin. Theme; Section 2 (to the
In rare
cases, the
as
will
Codetta:
Beethoven, Sonata, op. 79, Andante, last 5 measures.
Or,
still
more
rarely, the
Coda
is
entirely omitted,
as
be seen,
in later forms.
Relation of the First Rondo Form to the Song-form WITH Trio.

95. The observant student will have perceived that the First Rondo form has the same fundamental design as the Song-form with (one) the Trio being the equivalent of the Trio, or the "Minuet-form,"
Subordinate Theme.
In fact, the First Rondo form bears about the same relation to the Minuet, as does the scholastic Chaconne or Passacaglia to the primitive
dances of those names (par. 24);
and may be defined as an

is,
artistic
or refined version of the dances that are cast in the mould of the Song-
form with Trio.

Trio
(in
The
chief distinction
its inferior
that while the Song with
keeping with
rank) displays simple Part-forms,

decisive cadences, tie First
clearly separated
by frequent and
Rondo
form
is
one continuous whole.
Par. 96.
TBE FIRST RONDO FORM.

The gradual
125
96.
progressive idealization of the Song-form with
Trio passes, naturally, through

exact qualification.
many
intermediate grades; some more
closely approaching the one or other extreme,
and some which defy
which contribute to the widening distinction between (Beethoven, Sonata, op. 2, No. i, Menuetto) and the genuine First Rondo form (the same Sonata, Adagio), may be classified as follows:
traits
The
the typical Song-form with Trio
1.
The
insertion (in the
'from the Trio into the

Trio).
2.
Song with Trio) "da capo."

7,
of a retransitional passage,
third
movement,
last
two measures of the Minore
(or
The
addition of a Coda, to the Song with Trio.

14,

(or Trio) is dissolved into
No.
i,
second movement; the end of the Maggiore
Sonata, op.
3.
is
2,
No.
3,
a retransition, and a Coda follows the da capo. Scherzo, the same, in both particulars.
written out, instead of being merely indicated
The modification or variation of the da capo, which, consequently, by the letters D. C, or
their equivalent.
Beethoven, Sonata, op. 10, No. 2, second movement. A retransition follows the Trio (indicated only by the change of signature), and leads into the da capo, which is
a recurrence
of the Prin. Song, modified

i,
by
sjTicopation.
Sonata, op. 27, No.

4.
Molto
allegro, similar.
Also, Sonata, op. 28, Andante.

its
The
is
character of the digression ("Trio"), and also

its
key.
The
Song-form (dance) and

tion
Trio are separate sentences, whose associathe Subord. Th. of the
apparently accidental and external;
rondo, on the other hand, should blend intimately with its Prin. Theme, as an outwardly contrasting aspect of the same mood. Further, the
with change of mode.
sometimes Rondo, the Subord. Th. is always in a different key; or if (as in Beethoven, op. 2, No. 3, Adagio) the Subord. Th. legins in the same key, or its opposite mode, it soon
key of the Trio is often the same as that
of its principal dance,
But
in the genuine
passes over into,
and
asserts, its
proper key.
a vexing hybrid, which eludes strict Beethoven, Sonata, op. 28, Andante It is clearly Song-form with Trio up to the da capo, and then quite as clearly First Rondo form to the end, with its variated da capo, and its 'significant Coda. It suggests a possible and not unnatural change of Beethoven's attitude
classification.
during the composition,
as
if
his interest in his
Themes
increased,
and induced
him
to refine the structure
more and more
as he proceeded.
Chopin, Mazurka, No. 26
probably
Rondo
form, though a "dance "-species.
126
Par. 96.
all
very
probably Rondo form, though its cadences are Chopin, Nocturne, op. 9, No. i probably Song with Trio. Also definite. Also Nocturne, op. 9, No. 3
i
Nocturne, op. 27, No.
probably Rondo form.

3,
Beethoven, Violin Sonata, op. 30, No.

viation,
Tempo
di menuetto; probably
Song with
Trio (both in same key and mode); the Trio and da capo are repeated, with abbre-
and Coda.
18,

effect).
No.
2,
Adagio (decidedly Song with Trio
in
3,
third
movement.
The student
is
tirged to
of all the following examples of the First
make thorough and Rondo
thoughtful analysis
form, as nothing
is
more illuminating than to follow, observantly, the workings of a mastermind. Some of them have been repeatedly cited, above, for the illustration of some details; but they should now be scrutinized as a whole:
Beethoven, Sonata, op. 2, No. No. 3, Adagio. Op. 7, Largo. Andante (very concise).
2,
Op.
i,
Adagio.
31,
Sonata, op.
No.
1,
2,
No.
2,
Largo.
Adagio (very broad).
Op. Op.
79,
Beethoven, Bagatelles, op. 33, No. i; irregular; the Subord. Th. is in the same Op. 33, No. 3; irregular; "Subord. Th." only an key (opposite mode), and brief. Interlude. Op. 33, No. s; Uke No. i. Op. 33, No. 6; brief Subord. Theme, derived from the Prin. Theme.
Op. 30, No.

Song-form).
Beethoven, Viohn Sonatas: Op. 12, No. 2, Andante. Op. 12, No. 3, Adagio. Op. 96, Adagio (very concise 2, Adagio. probably only 3-Part
Beethoven, String-quartet, op. 18, No. 6, Adagio; the Subord. Theme begins in Beethoven, Trio, op. 11, Adagio; (Coda, a frank reminiscence of the Subord. Theme).
the same key, opposite mode.

the Subord.
6,
op. 147, Andante.
Sonata, No.
9,
A, Andantino;
10, S-flat, Andante; broad. Sonata, No. 5, op. 143, Andante; Impromptu, op. go. No. 3; very broad, many da capo partly transposed. (The preceding Impromptu, op. 90, repetitions; Subord. Th., Two-Part form.
form.
Sonata, No.
Theme
is
represented
by an episode
concise;
of fantastic character, in sectional
No.
2, is
a First Rondo form, suggestive of the Song with Trio.)

r,
Schumann, Symphony, No.
5-flat, Larghetto; Prin. Th.,

I.
Three-Part form,
Part III transposed; da capo abbreviated to Part
Mendelssohn, Notlurno from "Midsimmier Night's Dream."
Op. 43, Andante ("Serenade"). Violoncello Sonata, op. 45, g minor, Andante. Andante (very elaborate Coda, "suggestive, only, of a second digression). Pfte. Trio,
op. 49, Andante (Subord.
op. 66, Andante (similar).
Theme
begins in
Pfte. Concerto same key, opposite mode). Pfte. Trio,
in
Par. 96.
12/
Chopin, Nocturne, op. 32, No. 2 (possibly Song with Trio). Nocturne, op. 48, I (probably Song with Trio; Subord. Theme in same key, opposite mode). Nocturne, op. 48, No. 2, similar. Nocturne, op. 55, No. i. Nocturne, op. S5> No. 2 the design irregular in dimensions, but rendered recognizable by the cadences;
No.
Prin.
Theme, 3-Part
period, to meas. 12; Subord.
Theme. Two-Part Song-form, 22
measures long;
retransition,
one measure; da capo abbreviated to four measures;

first
long Coda, four sections, the
and second derived from the Subord. Theme.
Pfte. Sonata, op. Nocturnes, op. 62, No. i; op. 62, No. 2; op. 72, No. i (No. 19). Sonata, 6 minor, op. 58, Largo. 4, Larghetto; Subord. Th. begins in same key.
Barcarolle, op. 60; very broad; Section i of the
Coda an almost
literal
recurrence of
Part
Two
of the Subord.
Theme.
2 (possibly
Song with Trio). Ballade, op. Intermezzo, op. 10, No. 6 (similar). Pfte. quartet, No. i, op. Serenade, op. 16, Adagio non troppo. No. 3 (similar). 'Horn-trio, op. 40, 25, AndarUe (elaborate "sectional" transition and retransition). String-quartet, op. 51, No. x, Romanze (Subord. Theme Adagio mesto (concise). String-quartet, op. 51, No. 2, begins in the opposite mode of the principal key). Pfte. quartet. No. .3, Andante modsrato (Parts I and II of the da capo transposed). String-quartet, No. 3, op. 67, Andante (in the da capo, the Prin. op. 60, Andante. Symphony, No. i, op. 68, Andante (Part I of the Theme is partly transposed). Pfte. Concerto, op. 83, Andante (elaborate Prin. Theme extended, in the da capo). Symphony, No. 3, op. 90, Andante. retransition, four sections, one entirely new). Viohn Sonata, No. i, op. 78, Adagio. Violoncello Sonata, No. 2, op. 99, Adagio. Violin Sonata, No. 3, op. 108, poco presto; broad, but regular; Prin. Theme, 2-Part form, duplicated; no transition; Subord. Theme, 2-Part form, duplicated;
118,
Brahms, Intermezzo, op. 118, No. Intermezzo, op. No. 3 (similar).
116,
retransition, 22 measures;
Coda, three sections.
Maurice Ravel, Sonatine in /-sharp minor, second movement.

meas. 23-26); 3-Part form (Part III transposed and abbreviated measure 27, begins in same key; Part II extended, as retransition.
Prin.
Theme,
Subord. Th.,
Glazounow, Sonata, No.
i,
op. 74, second
movement
(Part II of the Prin. Th.
reconstructed in the da capo).
EXERCISE
7.
It is of the utmost importance that the student should fully master the First Rondo form, because this design presents the fundamental conditions of all the larger forms, namely: The conception of different (related, but contrasting) Themes;
their effective connection, through a suitable transition, and retransition; and the Coda. Until the ready solution of these problems becomes almost automatic, the
composer cannot cope with the

fore, persistent
stfll
larger designs, with
any hope
is
of success.
There-
and exhaustive
i
practice in this Exercise
earnestly recommended.
See,
first,
par. 197,
to 6.
in major;
A. Construct a First Rondo form
Prin.
Theme, a 3-Part Song-form,
slow tempo; brief transition, as possibly Incomplete, or Incipient grade, preferably in "bridging"; Subord. Theme in the Dominant key, 2-Part Song-form, with complete
tonic cadence;
retransition,
capo) nearly
literal;
"second act" only; recurrence of Prin. independent Coda, brief (quasi Codetta).
Theme
[da
128
N.B.
Par. 97.
For
is
this exercise,
any instrument, or ensemble, may be chosen.

difficulties will divert his
But
the student
advised to limit himself to the pianoforte, or pfte. and violin (or
'cello),
and
to avoid
any elaborate ensemble whose

is
attention from
the structural conditions he

transition-phrase,
aiming to master.
B. Rondo in minor; Prin. Theme, a 2-Part Song-form, complete tonic cadence; dissolved and led to prospective dominant; Subord. Theme,
Double-period, complete tonic cadence; retransition, both acts; da capo somewhat

modified; Coda, one or two sections.
Theme, a 2-Part Song-form, the last phrase dissolved, by brief "second act"; Subord. Theme, a Phrasegroup, the last phrase dissolved, followed by a longer "second act"; da capo elaborated; Coda, two or more sections. D. Rondo in minor; Prin. Theme, optional form, complete tonic cadence; Subord. Theme beginning in same key and modulating soon to the proper key; Codetta, duplicated and dissolved, as retransition; da capo elaborated, the last phrase disC.
in major; Prin.
Rondo
as "first act" of transition, followed
solved, as first section of the Coda.
E. Rondo,
larly optional.
all details
of structure optional.
And many more examples, simi-
CHAPTER
97.
VIII.
THE SECOND RONDO FORM.

See par. 70.
The diagram
of the
Second Rondo form
is
as
follows:
Prin. Th.
Par. 99.
129
The
99.
a.
First Transition.
As
before, the Prin.
Theme may
close
with
its
complete
tonic cadence, in which case the transition will be "independent." Review par. 73, and par. 740 and b. It then generally assumes the
nature of a Transition-phrase, dissolved, or duplicated and dissolved, leadmg to the prospective dominant (or whatever the basis of the
"second act"
b.
may
be).
Review
par. 77a,
and
b.
Or
Or,
the final phrase of the Prin.
Theme may be
dissolved, as
"first act" of transition.

c.
Review
par. 77c.
much more rarely, the Subord. Theme may follow the tonic include cadence of the Prin. Theme immediately, in the same key, and
its transition into
the proper key, within
itself.
Review
par. 82.
The
100.
First Subordinate Theme.
In a structural design which is to contain two Subord. Themes, should not only form an effective it is evident that each of the two Prin, Theme, but that they should also differ strikingly contrast to their
from each
other.
The proper attitude will be gained by conceiving the First Subord. the Theme as a comparatively moderate or narrow digression, and longer digression Second Subord. Theme as a more positive, wider and
from the Prin. Theme.
placed in a nearly Therefore, the First Subord. Theme is usually relative from minor), and is related key (the dominant from major, or the generally only one Part (period or likely to be concise in form,
phrase-group).
But, as usual, a Codetta
may be added
(par. 88).
Theme (O, an Incipient 3-Part Beethoven, Rondo in C, op. Sh No. i: Prin. slightly extended, with a 2-measure CoI. Subord. Theme (G), a period, form- the Theme (D), a 2-Part form, Sonata, op. 10, No. 3, last movement: Prin. detta. dissolved, but not extended. the I. Subord. Theme (A), a regular period, dissolved; Incomplete 3-Part form; last movement: Prin. Theme (G), an
Sonata, op. 14, No. 2, a minor), a group of four phrases. I Subord. Th. (e minor (o mmor), a complete On the other hand: Mozart, o-minor Rondo: Prin. Th. complete 3-Part form, with Codetta to 3-Part form; I. Subord. Theme (F major), a
both the First Part and the Third Part.
The
101.
First Retransition.
in the First Rondo This follows exactly the same course as Review par. 86, 87a to be lengthy. form, excepting that it is not likely
and
b,
89.
130
Par. 102.
The
Firsx Recurrence (or da capo) of the Prin. Theme.

first
it is
102. The Theme; but

it to its first
da capo may be a complete re-statement of the Prin. very common, in favor of concise form, to abbreviate
Part, or its equivalent.
Beethoven, Rondo in C, op. 51, No. i: Prin. Theme, 3-Part form; first da capo, Sonata, op. 10, No. 3, last movement: Prin. Part only (8 measures). Theme, 2-Part form; the first da capo, its first Part only, with evaded cadence.
its first
da
On
the other hand: Beethoven, Sonata, op. 14, No.

is
2, last
capo
a complete and
literal
re-statement of the Prin.
movement; the Theme.
first
The Second
103.
Transition.
The passage from

is
the Prin.
Theme
Theme
Or a
frequently omitted altogether,
the
into the Second Subord.

latter beginning ab-
ruptly, in its
own
key.
brief transitional
"bridging" intervenes, within the cadenceis
measure.
And, of course, an independent transition

is
possible;
or one that
induced by dissolution, from the end of the
first
da capo.
Beethoven, Rondo in C, op. 51, No. i: no second transition. Sonata, op. 10, No. 3, last movement: The da capo closes in meas. 33 with an evasion of the expected cadencejjtwo measures of transitional material^ foUow, based on the coming tonic
(not
dnthe
2,
usual dominant);
11.
Subord.
Theme
in meas. 35.
Sonata,
op. 14,
"No.
last
movement: The da capo ends
in meas. 64 with complete tonic cadence;
a Transition-phrase follows, derived directly from Part duplicated and extended to meas. 72.
Two
of the Prin.
Theme
The Second Subordinate Theme.

For the second of the two digressions, or Subord. Themes, (though by no means imperative) to choose both a more remote key, and a larger form; and also to institute a more complete and striking change in style. The signature frequently changes here.
104.
it is
common
Beethoven, Rondo in C, op.
51,'
-flat major, complete 3-Part form.
Sonata, op.
No.
i:
II.
Subordinate Theme, in c minor and

14,
No.
2, last
movement:
in
Prin.
Theme
in G; I. Subord.
dominant key,
and extensions. Sonata, op. 10, No. 3, last movement: Theme, in 5-flat and -flat, an extended phrase, only.
Theme in e and a minor; II. a fairly common choice), complete
Subord.
Prin.
Theme
Th.
in
(the sub-
3-Part form, with repetitions
D;
II.
Subord.
The Second Retransition.

105.
digression,
ition
As the Second Subordinate Theme is usually a more striking both in key and in length, it follows that the second retransmay require to be more extended and elaborate than the first.
Par. io6.
TEE SECOND RONDO FORM.
I3I
It may be independent, following the complete cadence of the Subord. Theme; in which case it will comprise both of the transitional "acts," and may even be sectional in form.
Or
it
may
emerge, by dissolution, out of the
final
phrase of the
Subord. Theme.
Sonata, op. No. movement, analyzed in the notes to Ex. 46. Sonata, op. No. movement (shown Sonata, op. No. Ex. which movement: Prin. Th. G major; Second Subord. Theme in C major (the subdominant at the change signature);
in detail in the notes to Ex. 46).
10,
3, last
Beethoven, Rondo, op.
51,
No.
(the second retransition of which
is
analyzed
also in
14,
2, last
46,
see).
49,
z, last
in
in
it is
a concise double-period, the fourth phrase of which
is
dissolved,
becoming the
"first act,"
and followed by three measures of "second
act.''
The Second Recurrence
(or da capo) of the Prin. Theme.
106. The final da capo, in the Second Rondo form, is generally a complete re-statement of the Prin. Theme, but may, of course, be abbreviated; and is not infrequently dissolved and merged in the Coda.
Review paragraphs 91 and

Beethoven, Rondo, op.
ure 92)
is
92.
i:
51,
No.
the final statement of the Prin.

its
Theme
(meas-
Third Part (measure 105); this first measure is halted, and followed by swift modulations into c minor and iJ-flat major, to measure 109; these five measures constitute, therefore, the first Section of the Coda.
complete up to \hs first measure of
Sonata, op.
10,
No.
3, last
movement: In
this
Rondo, the Principal Theme

first
undergoes a curious transformation at each recurrence; at
(as seen) it is
Two-Part form, dissolved; as first da capo it is abbreviated to its First Part, with evaded cadence; upon its final recurrence it is enlarged to a complete Three-Part form, by an effective extension of the former Second Part; it has a complete tonic followed by an independent Coda. Sonata, cadence (in meas. 22 from the end), op. 14, No. 2, last movement: the final da capo is a complete, and literal, re-state-
ment
of the Prin. Theme.,
The Coda.
107.
This
is
subject to precisely the
same conditions as
in the
First
Rondo
form.
Review, thoroughly, par. 93.
Beethoven, Rondo, op. 51, No. i: The first Section of the Coda (as already seen) emerges from the dissolution of the Third Part of the Prin. Theme; Section 2 (suggestive of the first two measures of the II. Subord. Theme) is six measures long; Section 3 (new), five measures; Section 4 (from the Prin. Theme), eleven measures;
Sonata, op. 10, Section s (from the Prin. Theme), four measures, to the end. No. 3, last movement: The final da capo closes, with a complete tonic cadence, in
measure 22 from the end; the
first
Section of the
Coda
(derived from the Prin.
Theme)
132
is
Par. io8.
seven measures long

measures;
to the
rt\
';
Section 2 (Prin. Theme), two measures; Sec-
tion 3 (new, but derived rhythmically

five
from the
first
measure of the Prin. Theme),

I.
Section 4 (combination of Prin. Theme and seven* measures, to the end. Sonata, op. 14, No. 2, last
Subord.
Theme),
final
movement: The
Section of the
is
da capo
closes,
with complete tonic cadence, in meas. 160; the
first
Coda
(derived directly from the Second Part of the Prin.
Theme)
14 measures long;
Section 2 (from the Prin. Theme), fifteen measures;
Section 3 (new, but related), twenty-four measures; Section 4, a nearly exact duplication of Section 3; Section s
(from the Prin. Theme), seventeen measures, to the end.
Relation of the Second Rondo form to the Song-form WITH Two Trios.
108.
This relation
is
the same as that of the First

Trio, though less apparent
Rondo form
to
the Song-form with

quent.
One
and much
(The
less fre-
Review
par. 95,
7,
and
96.
first

is
op. 164, Allegretto quasi Andantino.
da capo
transposed, from
major to
27,
major.
i, first
Glance at par. 167.)
No.
movement,
probably Rondo;
I.
Subord.
Theme
in
same key.
109.
cise,
the
The Second Rondo form, like the First, is sometimes very conThemes being limited to a One-Part form. In this case, the
but
falls
design approaches the Five-Part Song-form (see Homophonic Forms,

par. io6e),
acter,
when the Parts
within the domain of these Larger forms, in charare so distinctly individualized as to create the
impression of legitimate Themes.

type.
Review
par. 68,
and
par. 85, small
13, Adagio: apparently a Five-Part Song-form, since (One-Part) form; the Prin. Theme, a repeated period, 16 measures; I. Subord. Theme, a 7-measure phrase, eked out with a Codetta (duplicated and dissolved, as retransition); Prin. Theme, one statement of the period; II. Subord.
each
"Theme"
is
m small
Theme an 8-measure
and extended,
period, followed by a retransition, which may be regarded as a Second Part, dissolved; Piin. Theme as at first, followed by a Codetta, duplicated
to the end.
N.B. Since there is no elision in the cadence-measure 22 from the end the student must beware a/ counting this measure twice. The " first measure " of the Coda is, therefore, measure zi from the end. This same, somewhat confusing, condition prevails in many places, and demands strict discrimination on the student's part. The tones which thus often fill out the cadence-measure constitute that species of " bridging " known as preliminary tones of the actual phrase " not
its
first
measure."
See Homophonic Forms, par. 2a, small type
and Ex.
66, with its context.
Par. log.
TEE SECOND RONDO FORM.
133
Beethoven, Violin Sonata, op. 30, No. i, Adagio; broader than the preceding example, and obviously Rondo form possibly First Rondo, with Prin. Theme as 3-Part form (abbreviated to One-Part in the da capo), and a fairly long Coda.
Mozait, Sonata,
minor (Schirmer
ed.,
No.
18), Adagio.
The
following
list
of examples of the Second
Rondo form should

*i)
also
be most diligently studied:

Prin.
Theme
Si
Ex.
,
Beethoven,
String-quartet,
op. 74, Adagio. See the original.
50."
1.
Subord.
Theme
*3)
im.
fc^
r" i^ h m
S ^^
etc. to
^ ^îrxjS
-r^^^rr^
Tonic cad. *2)

Retransition
p^?i
etc. to
^8
134

Prin.
Par. 109.
Theme
*4)
wwm^^
htaj
i^_^_^^
^ IE
L &^^^
II.
J?^
etc. to
Subord.
Theme
*5)
FW^
coll'
Par. log.

,
135
Prin.
Theme
iS W
'^
fer
hf r^f- T r S^"" mi'
WXPi^^S
^j
s
-1
-^=?=
etc. to
I
136
*8)

The second
recurrence of the Prin.
Par. xog.
Theme,
is
like the first, is
form, but again modified in treatment;

taining) the
*9)
dominant chord
thus merging
its
cadence
unchanged in evaded by substituting (or reCoda.
in the first section of the
The Coda
(meas. 137-167) contains four brief sections, dealing with the

Prin.
I. Subord. Theme, the Codetta of the Theme, and an extended cadence. See
Theme, the
first
motive of the Prin.
further:
(cited above,
Sonata, op. No. Sonata, op. No. movement movement. Sonata, op. movement. Sonata, op. 49, No. movemovement (very broad, unusment small Themes). Sonata, op. the key ually long Coda). Polonaise, op. 89 three Themes C major F major Subord. Theme begins the prinand minor). Andante favori key, with material from the Prin. Theme). Trio, op. No. Adagio. op. Adagio (Ex. Trio, op. No. Andante quasi Uozart, Rondo minor Themes). Don Giovanni, No. 24 a
whole).
10,
3, last (ditto).
but to be analyzed here as a

14,
2,
last
2, last
79, last
(concise,
53, last
(all
in
of
in
(the
I.
in
cipal
1,
i.
9,
2,
Allegretto.
^^String-quartet,
74,
50).
in
(large
{Elvira,
"Mi
tradi quell'alma ingrata").

i,
Carl Uaria v. Weber, Sonata, No.
op. 24, last
movement {Perpetuum
(II.
mobile).
Schubert, pfte. Sonata, No. 2, op. 53, last movement form with Trio). Fantasia, op. 78, last movement.
Subord.
Theme a
Song-
Josef Suk, pfte. Suita, op. 21, last movement.
Brahms,
78, last
pfte. Sonata, op. i, last
(elaborate Coda).
Symphony, No.
i,
movement. Sonata, op. 5, last movement Poco Allegretto. Violin Sonata, No. i, op.
movement.
EXERCISE A
number
I
8.
of
Second Rondo forms;
different tempi
and
character, Adagio,
Larghetto, Andante, Allegretto cantabile, Allegro maestoso, Allegro con brio, etc.
See
par. 197,
N.B.
Any instrument, or ensemble, may be employed; but
to
7.
see Exercise 7,
A.
Par.
no.
THE THIRD RONDO FORM.
137
CHAPTER
110.
IX.

See par. 70.
The diagram
of the
Third Rondo form
is
as
follows:
First Division
Prin. Th.
Middle Division
//.
Recapitulation
Prin. Th.
/.
Suh. Th. Prin. Th.

Possibly
Sub. Th.
/.
Sub. Th. Prin. Th.

(and)
Any
Part-
Related
key
abbreviated
form"
Broader form, probably a remote key
As
before
As before,
but
transposed
(to princi-
Coda
Trans.
Trans./
Retraus.^
Retrans.
pal key)
(par. 1216)
significant traits
HI. The thoughtful consideration of this diagram reveals several which distinguish it from the preceding Rondo forms.
all, it is another example (and the largest) of the "tripartite" form, and represents the most extreme evolution (in extent) of the
First of
structural principle of
underlies every grade of the Three-Part form.
"Statement-Departure- and Return," which Review par. 85, N.B.

a phrase, only,
usually, a
'
The
1.
progressive stages of this evolution are thus distinguished:
the third a confirmation the The Three-Part Song-form the Period, or more, the third
of
2.
The
Three-Part Period (of which each "Part"

first)
is
(of
which each Part
is,
like
first)
3.
The Song-form wUh

counterpart
Trio (each division an entire Song-form);
and
its refined
4.
The
First
Rondo form (each

first);
division
an individual Theme, the
third a recurrence of the

5.
The Third Rondo form
(the first division a complete First
Rondo
form, the middle division an emphatic Departure, and the Recapitulation a confirmation of the first division).
Other manifestations of this sovereign principle of musical structure will be encountered later (par. 143).
112.
The Third
it is
division of this
form
because
collective
re-statement,
is called
the Recapitulation,
of several individual factors.
138
This
act,

and therefore the name, occurs here
is
Par. 113.
for the first time in the
process of formal evolution, but

trait of all the succeeding
113.
a distinctive and indispensable
Larger forms.
Probably the most significant technical feature of a Recapituthe transposed recurrence of the First Subordinate
lation
is
Theme
(as a
rule, shifted to
the principal key).

of this
is,
The consequence
digression
that while there are three digressions

all different
from the Prin. Theme, they are not
the Subord. Theme
departures:
in the Recapitulation
corresponds
The
third
to the first digression, or First Subord.
transcends in importance the
and
allied
Theme. But this recxirrence common, unaltered da capo of the Minuet dance-forms, and also averts monotony, by appearing in a
principal
different key.
That the
key should usually be chosen, in confirmation of

is
the ruling tonic centre,

114.
obviously logical.
I.
This transposition of the
Subord.
Theme
naturally,
and
almost inevitably, exerts an important influence upon the treatment of the transition and retransition, as will be shown.
The
First Division.
115. In view of the length of the Third Rondo form, it would be unwise (under ordinary conditions) to choose large designs for the
Themes.
At the same
time,
it is
not
Theme
in the Three-Part Song-form,
though
Subord.
is
uncommon
to
mould the
is
Prin.
usually concise (Inrarely
complete, or Incipient grade).
The
I.
Theme
than a One-Part form, though a Codetta

viated to one, only, of
its
frequently added.
more And,
as a rule, the first da capo (recurrence of the Prin.
Theme)
is
abbre-
Parts.
both be so brief as to mere Three-Pori form (par. 85). The end of the first division is often marked with a double bar. This is not by any means a necessary element in the Third Rondo form, but appears, as a technical expedient, only when the signature is changed for For all the Rondo forms are distinguished the key of the middle division. by their almost unbroken continuity from beginning to end. Nevertheless, it is effective, and customary, to mark the close of the first division quite emphatically, by a strong cadence, and by an abrupt announcement of the II. Subord. Theme (without transition).
On
the other hand, the

first
Themes should not
reduce the whole
division to a
Par. ii6.

2,
I39

Principal Theme,
No.
2,
last
movement:
major, 3-Part form. Incipient grade (to measure 16)
Transition-phrase (to measure 20), duplicated, dissolved,
and
led
to the pro-
spective ionic (measure 26);

/.
Suhord. Theme,
major, period-form. Consequent phrase extended and dis-
solved, as retransition (measures 27-39);
"second act" to meas. 40; Prin. Theme (measures 41 to 56), as before, slightly modified. It ends with a
is
complete tonic cadence, and
followed immediately (that
is,
without transition) by
at this point,
the II. Subord. Theme, in a minor and
C major. A double-bar appears
in consequence, only, of the change of signature.
In Beethoven, Sonata, op.

(JS-flat
major)
is
abbreviated,
only
7, last
its first
movement, the recurrence of the Prin. Theme and second Parts are stated (to measure
62);
two measures of chromatic
transition follow, leading to the prospective tonic;
the II. Subord.

repetition), in
Theme
begins, with double-bar (on account only of the intended

c minor.
measure 65, in
tween the
II.
2, No. 3, last movement, no double-bar appears beand middle divisions; but the alteration of style is very marked in the Subordinate Theme, which is reached by a brief chromatic transition (measures

first
101-102).
116.
The
transition
and the
form.
is
retransition are
made
precisely as
shown
An
in the First
Rondo
excellent example, just cited,
the Beethoven Sonata, op.
2,
No.
3, last
move-
ment: Principal Theme, C major, 3-Part form; Part III is dissolved (in meas. 22) and led to the prospective dominant (meas. 29); the I. Subord. Theme, G major, is a period (measures 30-39), duplicated and extended, closing on its tonic, G, in meas. 55; a two-measure Codetta is added, and three times repeated; the "second act"
of retransition extends from meas. 64 to 69, where the Prin.
latter
is
Theme
reenters.
The
Part (meas. 69-76) which is, however, duplicated, the mediant of the greatly extended, and led to a complete tonic cadence upon A coming Theme (meas. 77-101). As stated above, two chromatic measures lead to
abbreviated to
its first
the II. Subord. Theme.
The Middle
117.
Division.
The second
division of the Third
Rondo form
consists solely of
the II. Subordinate Theme, Theme. Both the Theme and the retransition are therefore likely to assmne greater dimensions, and a more striking appearance, than the foregoing factors. Hence the frequent change of signature, and a marked contrast in style, especially in rhythmic character, and in
with its retransition
back to the Prin.
"mood."
ordinate Theme, in
2,
No.
3, last
is
movement
(just cited):
The
//. Sub-
major (meas. 103),

the latter
is
fairly
broad 3-Part form with repetition
of Parts II
and
III;
dissolved (in meas. 147),
"spun out," and
led to
I40
Par. ii8.
the prospective dominant (measure 164), therewith closing the "first act" of retransition;
the "second act" extends to meas. 181

last
where the Recapitulation begins.

II.
Beethoven, Sonata, op. 28,

is
movement: The
Subord.
Theme
(meas. 68)
a 2-Part form; the Second Part (meas. 79), imitatory, is extended, and led to the prospective dominant (meas. loi); the "second act" of retransition extends to meas.
113; the Recapitulation begins in the following measure. There is, in this example, no transition into the II. Subord. Theme, no change of signature, and, consecfuently, no double-bar. The keys are D major and G major.
118.
It
is
evident that the design, up to this point, agrees exactly
with that of the
Second Rondo form.

is,
that this similarity
nevertheless,
But the student more external than
will appreciate
vital.
com-
poser should, surely, always be fuUy conscious of his larger purpose;
and this consciousness should inform him whether he has in mind to employ the Second form or the Third. For this choice, despite complete external likeness in design, must determine many finer details of
conception.
The Recapitulation.
119.
The
salient
feature of the Recapitulation
is,
Themes
are (as a rule) in the same key
the original key.

by
that
all
the
con-
The
sequent danger of monotony must be averted by judicious treatment

of the transition
and
retransition,
and
also
interesting variation in
the presentation of the

120.
Themes
themselves.
of the Recapitulation, is
first
The
Prin.
Theme, at the beginning
usually presented in its complete form, as at

viated),
(that
is,
not abbre-
though
it is
often variated and ornamented, sometimes con-
siderably.
BeethoTen, op.
2,
No.
2, last
movement: The Recapitulation begins at the

again changed to three sharps;
first
it
third
double-bar, where the signature
is
extends through
16 measures; compare carefully with the
16 measures of the
movement.
Beethoven, op. 7, last movement: The Recapitulation begins in the seventh measure from the last double-bar with two endings; compare with the first 16 measures of the movement, and note the ornamentation in triplets.
Beethoven, op. 22, last movement: The Recap, begins in meas. 112; compare first 18 measures of the movement; note the transferring of the melody to
with the
the inner register, and other (rhythmic) changes.
In Beethoven, op.
26, last
lation, exactly as at first (meas. 13
movement, the Prin. Th. is re-stated, in the Recapitufrom the last double-bar with two endings).
I.
121.
From
the fact that the recurrence of the
Subord. Theme,
it is
at this point, takes place in the same key (par. 119),
evident that
Par. 121.
I4I
the transition here must pursue a course widely different from that of the ordinary transition, as exhibited in the First division.
a.
rare
One way method is
the
most simple, though
inartistic,
to take advantage of the similarity of key,
and therefore and omit
the transition altogether.
at the
This happens in Beethoven, Rondo, op. 51, No. 2 {G major): The Recap, begins "Tempo I," where the signature is changed from four sharps back to one sharp; the Frin. Theme extends through the following 24 measures, closing with a
complete tonic cadence, and followed immediately by the
h.
I.
Subord.
Theme
(in G).
But the opposite course

away from
is
generally adopted: Instead of shortis
ening, or omitting, this transition, it
made
longer than before, so as
to admit of getting
is
the principal key,
and returning
to
it.
This
by the arrows in the diagram (par. no), which compare. This more extended course of the transition almost invariably includes a more or less emphatic modulation in the subdominani direction, for several reasons, chief among which is, probably, the fact that the I. Subord. Theme, in the First division, is usually placed above the Prin. Theme (in the dominant key, at least from major), and thereindicated
fore reappears, in the Recapitulation, in a of its first location.

This
last
is
key which
is
the subdominant
disclosed
by comparing
the succession of keys
in,
say, Beethoven, op. 28,
movement:
Sub. Theme Pr. Th.
II.
Prin. Th.
/.
Subord. Th. Prin. Th.
I.
Sub. Th.
Pr.TL&Coda
Dmaj.
maj. *i)
D
Theme
G maj. etc.
D maj. *i) D
D,
*i)
The
I.
Subord.
appears
first
in
A, then
key.
in
consequently
it is
finally transposed to the
subdominant of
its first
The subdominant infusion is clearly shown in the Sonata just cited (op. 28, last movement): The Recap. {D major) begins in meas. 114; the transition, in meas. 130,
is
exactly as before (meas. 17);
in meas. 13s it
modulates downward into the sub-
the prospective dominant {A), and the "second transition, runs through measures 138-144; the I. Subord. Th. enters in act" of than at first, in consequence 145- The transition is three measures longer
dominant keys,
meas.
G major and e minor;
measures 17-28, 29). of this modulatory excursion (compare with
Beethoven, op. 26, last movement: The transition (in the Recap.) begins in the beginning); comparison meas. 42 from the end, exactly as in meas. 28 (from longer, including two subwith measures 28-32 shows that here it is considerably In Beethoven, modulations, into 6-flat minor (i.e., from four flats into five) dominant transposed Sonata, op. 12, No. 3, last movement, the Prin. Th. itself is partly
.
VioUn
beginning of the Recapitulation). to the subdominant key (at the
142
c.

As
usual, the process of dissolution
Par. 121.
phrase in the recurrence of the Prin.
may be applied Theme (or a part of
to the final
it),
leading
also,
smoothly into the
I.
Subord. Theme.
This method of transition,
usually exhibits the subdominant tendency.

Prin. Th.
(first
time)
^ff^
Beethoven,
Sonata, op.
last
13,
movement.
^
-^js-
#jj
See the original
g^TTp
g
etc. to
-&*
Codetta (duplication)
iS<P
^z;
*F
\
I
^
I
-^^*&t^^^^^ ^^.^
^- H"
^=f:
/r
'
rj p^.:
i^ w
i^ ^
it
Efe
2)
gpjpr^f=^
/
-
^^
4^
1^
^
^
I
X
*3)
etc. to
Prin. Th. (in the Recap.)
^^
V
irL[Jrrr]
^^
Par. lai.
I.
Subord.
Theme
(transp.)
^.^-^
*-
^^^^^rf^^mfs^^^-^^ p ^ i^ m
dolce
5)
I
etc.
P%^ l=t(t^ f r
Dominant
(of
C)
*i)
The
Prin.
Theme
is
a period, with repeated Consequent phrase, and a twoof
measure Codetta, the duplication

*2)
which
is
here shown.
A full tonic cadence, followed

I.
(in the first division)
by a 4-measure
transition,
leading to the
*3)
Subord.
Theme
in -flat
major
(see the original).
This
is
the duplication of the Consequent phrase, extended and dissolved
as shown.
*4) *5)
Here the subdominant infusion (into/owr
flats) asserts itself.
The
I.
Subord.
Theme
appears in
C.
major
see par. 122.

movement, the
transi-
d.

its
2,
No.
2, last
tion
is
exactly as before, excepting an unimportant abbreviation of two
measures (not affecting

This
the
first
cadence, upon E).

it
transition
(JS)
prospective ionic
instead
A
is
given in Ex. 41, and, as there pointed out,

of the usual dominant.
leads to the
note, E, is
But
is
this
same
dominant of the key in which the

major),
lation (the principal key,
I.
Subord.
Theme
it
to stand in the Recapitu-
therefore
serves the transitional purpose
here, without change, even better than before.
See measures 24-25 from the change
of signature (to three sharps).

e.
The connection
7, last
is
Sonata, op.
,
of Themes movement:
cited in par. 82,
is
somewhat peculiar
in Beethoven,
The
peculiarity
which review; namely, the
I.
Subord.
Theme
begins (in measure 17) in the same key, -flat major, and makes the transition to during its first half-dozen measures. In the RecapitulaB-flat major within itself
tion, precisely the
same conditions
prevail:
The
I.
Subord.
Theme
begins, as before,
144
Par. 122.
in -flat major; it modulates soon into the

its
subdominant (/ minor), and thence makes
way back
itself.
again to
its
proper key, E-flat major,

etc.,
again containing
its transition
within
See measures 23-31,
from the
last
double-bar with two endings.

is
122.
The
First Subordinate
Theme,
in the Recapitulation,
trans-
posed, ahnost always, to the principal key, as intimated in the diagram.

a.
The
is
chief exception occurs in
Rondos
in minor,
where a change
of the Beet-
of
mode
not uncommon.
Thus, in the
last
movement
hoven sonata,'op. 13
Prin. Th. l.Suh.Th. Prin. Th.

c
n.Subord.Th.
minor -flatmaj.
*i)
c min.
Par. 184.
I4S
(i) If it is
(2) If it is (3) If it
not in the legitimate and expected key; only a portion of the Theme (less than one entire Part) does not appear in its expected place in the design.
in the right
See Example 49, note *s). This is not the Prin. Theme itself, because it is not key (C), and, chiefly, because it is no more than a fragment of the Theme.
;
Also Ex. 46, note *2) not the actual Prin. Theme, but merely employed as retransition, for the same reasons. Also
its
thematic motive
10, No. 3, last movement; measures 46-48 are only an Theme, because limited to this fragment, and in the wrong key; they represent a section of the retransition. Similar: Rondo, op. 51, No. i; measures 76-83 allude to the Prin. Theme, but only to utilize its first phrases as material for the retransition (second section). This was a favorite device of Beethoven, and
aUitsion to the Prin.
is
worthy of imitation.
124.
On
the contrary, such a recurrence
represent the
(i) If it
Theme,
it;
even
when transposed
may and
will actually
covers the entire Theme, or a convincingly large proportion
{an entire Part) of
(2) If it ultimately turns
(3) If it appears
back into the legitimate key; where expected.

No.
i, first
See par. 1226.
Also, Beethoven, Sonata, op. 10,
in meas. 128 (compare measures 56-70 from the beginning).

of
for
but swings over into the In other words, key, the given reasons. Also, Beetthe Subord. Theme, despite the change
of the expected key, c minor,
latter
this is
110-127 from the double-bar;
the Subord.
Theme
appears here in
movement, measures F major instead key, and begins anew
movement, at the change of signature to two Theme, although it appears in D major, instead of F major compare the first 12 measures of the movement. Four measures later it regains the original key, and is then duplicated there, in ultimate confirmation of its' thematic quality. Also, Sonata, op. 7, last movement, measure 28 from the end: The phrase in E major is a transposed statement of the Third extended, led back to the original Part (of the final recurrence of the Prin. Theme) key, and there duplicated, with some alterations. Also, Sonata, op. 22, last movehoven, Sonata, op.
10.
No.
2, first
sharps:
The
following 12 measures are the Prin.
ment: The II. Subord. Theme (measures 72-103) is a 3-Part form, with transposed as every detail proves. Similar: Sonata, op. 14, No. i, last movement, Third Part from first change of signature to the next.
Such
125.
transpositions, especially of entire
Themes, are frequently en-
countered in the larger forms of Schubert, as will be seen (par. 167).
is
partly analogous to par. 123 Another misleading device the free adoption of any foregoing thematic unit, as basis for quite
or, in
another factor of the form;
other words, the use of the selfsame

structural
thematic
material
his
for
different
purposes.
The student
must be on
guard against misinterpretation of these deceptive
146
TBE LARGER FORMS OF MUSICAL COMPOSITION.
Par. ia6.
coincidences,
is
must not jump at the conclusion that such a member

in question, simply because it looks like
it.
the
Theme
See Ex. 55,
note *2).
Instances of this kind have already been seen: Beethoven, Sonata, op. 26, last movement. As shown in Ex. 38, No. i, Ex. 45, and Ex. 47, the transition, I. Subord. Theme, and retransition, are all wrought out of the thematic figure of the Prin. Theme. Sonata, op. 14, No. i, first movement (Ex. 37): measures 13-14 are identical with
is,
Theme; their recurrence movement: The I. Subord. Theme (meas. 14) is similar to the Consequent phrase of the Prin. Theme. Sonata, op. 14, No. 2, last movement: The transition (meas. 64-72) is based upon the Second Same movement: The first section of the Part of the Prin. Theme (meas. 8-16). Coda (meas. 160) is so nearly identical with the Second Part of the Prin. Theme, immediately preceding, that it might easily be construed as an intention of repeating the foregoing two Parts; there, it was in the Prin. Theme; here, it is in the Coda thus serving a wholly different purpose. Sonata, op. 22, last movement: The transition-phrase, first stated in measures 18-20, and again (before the II. Subord. Theme) in measures 67-69, is utilized as thematic basis of the entire Second Part of
measures 1-2; at
first,
these figures are a part of the Prin.
however, a part of the transition.
Same sonata,
last
the II. Subord.

in
Theme
(measures 80-95).
.i.
An unusually misleading example occurs

The 8-measure
No.
2,
Largo, measure 13 from the end:
period,
from
this point, is
not the Prin.
Theme
being unquestionably nothing else than to it, because it is not in the proper place one of the four sections of the Coda, and because, furthermore, it differs from the Theme (measures 1-8 of the movement) significantly in the (important) fifth
itself,
despite very dose resemblance
measure.
*
,
Such instances
of the
employment
precisely as
of the
same thematic
factor for
widely different aims, are extremely numerous.

cidences should appear,
coherent, musical form.
is it
And
that these coin-
should be, in good, logically
For they contribute to the unity of the design, and can easily be so manipulated as to avert monotony or confusion. The student must simply keep his attention bent unwaveringly upon
the broad, vital lines of the design as a whole,
and not allow these
to
become obscured.
126.
After the presentation of the
I.
Subord. Theme, in the Re-
capitulation, attention will be directed to the return of the Prin.
Theme;
and the same
involved in this retransition as in the preceding transition, in consequence of the similarity of key.
difficulties are
As
tage,
before (par. 121a), this similarity
is
sometimes turned to advan-
and an immediate return made
to the Prin.
Theme, without
transition.
Beethoven, Sonata, op. 2, No. 2, dose connection is emphasized by an
last
movement, measure 53 from the end; the
elision of the cadence.

Par. 127.

I.
I47
Subord.
Generally, however, the final phrase of the

its
Theme
(or
Codetta)
is
dissolved,
and led
No.
3, last
its
to the prospective
dominant in the
usual manner.
movement; at measure 68 from the end, dominant (G) instead of its tonic; this is exactly where it dosed in the first division (meas. S5 from the beginning), and results from different manipulation of its final phrase compare carefully. From this
I.
2,
the
Subord.
Theme
terminates on
dominant, the retransition {including the former Codetta) proceeds almost exactly as before. Sonata, op. 7, last movement, similar (meas. 41-44 from the end). Sonata, op. 13, last movement, similar; the Codetta (meas. 57 from the end) is reduced to the first of its two phrases, which is duplicated, extended, dissolved, and
led to the dominant in the usual way; the "second act" follows, to the re-entrance
movement: The I. Subordinate Theme is and also its Codetta, with its duplication and dissolution; this leads, of course, into the suhdominant key (meas. 48-50 from the end); it is followed by a pretended announcement of the first phrase of the Prin. Theme, in the subdominant key; this is not, however, the Theme itself, but merely
of the Prin.
Theme.
Sonata, op.
22, last
re-stated exactly as in the first division,
the second section of the retransition (comp. par. 123).

enters a few measures later.
The
actual Prin.
Theme
127,
The
final presentation of the Prin.

is
Theme
in the
Third Rondo
form
icant
is its
fourth statement, and
therefore (unless unusually signif-
and
attractive) apt to be ineflEective, although prescribed in the

is
For this reason, as intimated in the diagram, it most common to abbreviate it, or to merge it in the Coda (by way Compare par. 106. dissolution), or even to omit it altogether.
regular design.
In Beethoven, op.
entirely omitted.
26, last
of
movement, the
final
da capo
(i.e.,
the Prin.
Theme)
is
The I. Subord. Theme, with its complete tonic cadence, is followed immediately by the Coda (measure j6 from the end). See also: Beethoven, Rondo, op. 51, No. 2: The final recurrence of the Prin. Theme is omitted; the I. Subord. Theme (in the Recapitulation) is stated completely, and
exactly as before (with slight changes, only);
as retransition,
is
also
added here, but as first

(Part III)
is
section of the
what followed it in the first Division, Coda (measure 48 from the
end).
The
Prin.
Theme
therefore terminating a
movement, the
in its III. Part
final Prin.
2, No. 2, Largo. No. 2, last movement: The final Prin. Theme is abbreviated to its First Part, which is, however, ingeniously extended (meas. 53 from the end). Sonata, op. 2, No. 3, last movement: The final Prin. Theme (measure S4 from the Sonata, op. 28, last moveend) appears fragmentarily, as first section of the Coda. ment: The I. Subord. Theme (in the Recapitulation, measure 145) recurs as before, with its Codetta; the latter, also, is dupUcated twice and extended exactly as before
of the Coda.
Compare
par. 125
especially the reference to op.
alluded to, quite strongly, in the second section
Sonata, op.
2,
fifth
lower (or 4th higher) than at
first;
the Prin.
Theme,
as final da capo, does not follow, but it is intimated, in the suhdominant key (G), as On the other hand, in Beethoven, Sonata, op. 7, last first section of the Coda.
Theme
appears more elaborate than before, being extended
by a
characteristic modulation (measures 11-41
from the end).
148
THE LARGER FORMS OF MUSICAL COMPOSITION. The Coda.
Par. 28.
128.
preceding
The consistency of Rondo forms, and
the
Coda corresponds here
to that of the
requires no further illustration.
129.
Beyond
this the
digression from,
and return
Rondo form very rarely extends. Further to, the Prin. Theme would divest the form
of the necessary compactness in the First

discursive,
and symmetry, so admirably manifested and Third Rondo forms especially; and would produce a straggling impression, of questionable interest, and inevita-
bly monotonous.
Even
the Third
Rondo form,
as has been learned,
has no more than two different Subord. Themes.

Isolated examples of
a more extended form occur
in Hozart, Sonata,
No. 8
(Schirmer edition), last movement; and Sonata, No. 17, last movement.
Also:
Beethoven, Violin Sonata, op.
23, last
movement. was often prolonged

(See Homodigressions or "couplets."
And
the Primitive small
"Rondeau"
of the 17-18 centuries
to include three,
and even more, independent
phonic forms, par. 108.)
The
following
the above paragraphs.

as a whole:
Rondos of Beethoven have been cited in detail in But they should now be thoroughly analyzed
No. No.
Beethoven, Sonata, op. Beethoven, Sonata, op.
2,
2,
2,
3,
Beethoven, Sonata, op. Beethoven, Sonata, op. Beethoven, Sonata, op.

Beethoven, Sonata, op. Beethoven, Sonata, op.
7,
13,
last
14,
movement
of each.
No.
i,
22, 26, 28,

2.

See further:
12, 12,
No. No.
1,
third third
movement; movement;
(last
(last
da capo omitted). da capo omitted).
Beethoven, VioUn Sonata, op.
2,
Beethoven, Violin Sonata, op. 12, No. 3, third movement; (Prin. Th. at the beginning of the Recapitulation partly tranposed to the subdominant; final
da capo merged
in the
Coda).
Par. 129.

(I.
149
Subord. Theme, in the
Beethoven, Violin Sonata, op. 24, last movement; Recapitulation, appears in a remote key).
Beethoven, String-Trio, op.
long, sectional in form,
3, last movement; (very broad; II. Subord. Theme and imitatoiy; long Coda, ten brief sections).
i,
op. 42, last
movement
last last
(broad).
Mozart, Sonata, No. 13 (Schirmer edition), Uozart, Sonata, No. 10 (Schirmer edition),
movement. movement.
da capo).
(regular; final
Glazounow,
pfte. Sonata,
No.
2,
op. 75, Scherzo (no final op. 74, last
Glazounow, pfte. Sonata, No. merged in the Coda).
i,
movement;
da capo
Mendelssohn, Violoncello Sonata, op. 45,
and
every case, extremely ingenious and effective). Pfte. Trio, No. I, op. 49, last movement; (very broad, but regular; effective Pfte. Trio, No. II, op. 66, last reference to the II. Subord. Theme in the Coda).
retransitions
latter, in
the
last
movement; (elaborate
transitions
movement
(very similar; also contains a climactic reference to the 11. Subord. Theme,
in the Coda).
Beethoven, Violoncello Sonata, op.

last
5,
No.
i, last
movement.
Op.
$>
No.
2,
movement.
Beethoven, Symphony, No. 6 (Pastorale),
last
movenient
16 measures Violoncello
Theme
of Intro-
duction.
Beethoven, Symphony, No.
4,
Adagio.
op. 18, last
Brahms,
No.
2,
String-sextet,
No.
a,
i,
movement.
Sonata,
167a).
the Recapitulation).
Violin Sonata, No. Violin
op. 99, last
movement
(Prin.
Theme
transposed, in the Recapitulation; par.
op. 100, last
movement
3,
(Prin.
transposed, in
Sonata, No.
op. 108, last
movement; a superb
example; Prin. Theme, 2-Part form. Part II dissolved, as transition; I. Subord. Theme, broad 2-Part form. Part I duplicated. Part II related to Prin. Theme; Codetta (two measures), duplicated and extended, as retransition; first recurrence of
Prin.
Theme reduced
to its First Part
first
phrase transposed;
II.
Subord.
Theme
(related to Prin.
retransition;
Theme), a group of phrases, imitatory, phrase four extended as
second recurrence of Prin.
Theme
(Recapitulation), Part I transposed
and elaborately extended. Part II

Coda,
last 27 measures.
as before, but with different
methods of
dissolution;
Beethoven, String-quartet, op. 18, No. 4, last movement: This is the design of Rondo form; but its distinct cadences, and detached periods, assign it to Schumann, pfte. Quintet, op. 44, second the lower grade of Song-form with Trios.
the Third
movement (Marcia)
is similar.
50

EXERCISE
9.
styles,
Par. 130.
number
of examples of the
Third Rondo form, in various
but in no
See par.
tempo slower than Allegretto. Write for pianoforte, organ, pfte. duo (Violin or N.B.
'Cello), or trio.
197, I to 7.
DIVISION THREE.
THE SONATA-ALLEGRO FORMS.

Introduction.
130.
Review
par. 70.
Of the two
is
distinct classes of the Larger
forms, that of the
Rondo
based throughout, as has been shown, upon
the structural principle of Alternation.
The fundamental
Themes upon
because
it
structural idea of the other class, the Sonata-
allegro, is that of Union,
the union or association of

first,
two contrasting
quite,
or nearly, equal footing.
The second Theme

"Subordinate" only
should be as significant as the

Principal
131.
and
is
called
occupies the second place in the thematic order,
the
Theme
being
first in order,
naturally.
This union of the two Themes (made binding by the necessary
transition
between them, and further confirmed
as a
rule
by the
which
addition of one or more Codettas) constitutes the Exposition,
very frequently terminates with a complete tonic cadence, in the key

chosen for the Subord. Theme,
132.
and a double-bar.
the Exposition
In the larger species of this class, the Sonata-allegro form, is followed by a so-called Development, and the latter by
therefore the design comprises
a Recapitulation of the Exposition;

three Divisions.
In the smaller species, the Sonatina-form, the Exposition

at once (or after a few measures of retransition)
therefore this design contains
is
followed
by the
Recapitulation;
two Divisions only.
Par. 133,
THE SONATINA-FORM.
151
CHAPTER
X.
THE SONATINA-FORM.
133. The term sonatina, as diminutive of "sonata" is applied without further qualification to the smaller species of this class of forms, and does not imply any special tempo or style of music. Comp. par. 142.
The diagram
of the Sonatina-form
is
as follows:
Exposition
Prin.
Recapitulation
Prin. Th. Subord. Th.
Theme
Part-
Subord. Th.
Retrans.
Coda
Any
form.
Related
key.
As
before.
Transposed
(to princi-
Transition
Transition.
pal key).
(Codetta.)
(Codetta.)
(modified)
As pointed out in Ex. 37, note *i), which review, all of the same schedule up to, and into, the Subordinate Theme. After that they diverge and pursue different courses, accord134.
larger forms follow the
ing to the purpose of creating either one of
the three Rondos, the
Sonatina-form, or the Sonata-allegro form.
This confirms the prin-
ciple that the form should be determined by the music, and not the music by the form. The design which the music is to adopt cannot be positively forecast until enough of the latter has appeared to define
the choice.
The student must, however, make
it his
aim at
first
to
carry out the fixed details of each diagram in turn, and familiarize himself
thoroughly with each, untU, by comparison, he has fully mastered the

distinctive qualities of
them
all,
and
can, later on, guide his conception
into its
proper and most effective channels.
Compare
par. 118.
The
135.
Exposition.
in the Sonatina-form,
any and in almost any style and tempo, though usually a slow movement. Review par. 68j As a rule, it will be somewhat less pretentious than
Principal
in of the Part-forms (probably not the largest, often only One-Part),
The
Theme,
may be
that of the larger (Sonata-allegro) species.
152
136.

The
Par. 136.
in purpose
tion;
transition into the other Theme is in no respect different from that of any other form, and requires no further explana-
but
it is
considered an indispensable factor, and
is
often some-
what
assertive.
137.
The Subordinate Theme,
as intimated, must be regarded as a
more
fore
significant element, here,
than in the Rondo forms, and
may there-
somewhat greater length. It is placed, as usual, in some related key; most commonly in the dominant key from major, or the relative key from minor. The addition of a Codetta, or even more than one (in the same
be both more elaborate,
striking,
and
of
key),
is
characteristic,
though not imperative in
this smaller species
the Sonatina-form.
138.
See Ex. 54, note *i).
cadence, or
Whether the Exposition terminates with a complete tonic is dissolved and led into the retransition, depends upon the character and current of the music. No "double-bar" ever appears (as in the Sonata-allegro form par. 144), as this would interfere with the retransition, and is furthermore needless because the Exposition of a Sonatina-form is never repeated. But the Exposition should, nevertheless, be conceived as a finished whole, a consummated union free from any symptom of the Rondo, despite the of the two Themes immediate retransition to the Prin. Theme.
The Retransition.
139.
The
length and importance of the retransition depends upon

it
circumstances; but
never oversteps the purpose of mere retransition,

Its
even when
is
fairly lengthy, in the genuine Sonatina-form.
conduct
determined according to the rules already given.

Exposition
Prin.
Theme
*2)
Beethoven,
Ex.
Trio, op.
I,
No.
2,
52.
îl
Adagio movement.
See the original.i)
Par. 139.
THE SONATINA-FORM.
153
^^m ^
r
p
r
etc.,
^^^^^^=?=f:?=P
>.i
I I
"i
to
=!^S3
'
I'-i
I-
i^
dissolved
(" first act
" of Transition)
îy^^rrr,rfrriz- -r^rrr.>T^
|
iW
^rr
^ M f
-!
^^f
r>rug3
^^=fL
^^
:i
J :fe#?^ ^^=r=fTr
i=^ L.;;^_^j_iii
^ ag-iJUJ
3S.
T->-^
I
fe^^^g f
"second act"
*
I
=#it
^îji^jf^
r-
E3E3E
!S
^ra-jîi 1^3 m
^
-IL
HJ
etc.,
3 meas.
*3)
Prospective dominant
hr:^JTi ^^H-y^
etc.,
mr^r^
3 meas.
1 54
Par. 139,
pp
I I
espressivo
I
i-^^-i
.^^_4-j-a.^
^^ ^^ ^H^^S
-^
#-
t==^
1#^
Hi=t
w*
etc.,
^
'
:.^r-f-
-^^-
7 meas.
.g?^?^ fr ff
^.
^^-
End
Extension
of the
1 1
etc.,
2 meas.
f
'
f
'
r
'
Exposition
Retransition
j^^^J
EJ^^^^^
Par. 139.
TBE SONATINA-FORM.
"second act"
ISS
Recapitulation
^^M^^^M
etc.
s/
*i)
Dominant
The
original
is is
The above example
which should be carefully consulted. condensed to a pianoforte version, for convenience.

in Trio-score, of course
*2) The Prin. Theme is a regular 8-measure period, duplicated, dissolved, extended, and led to the prospective dominant, where the ''second act" of transition
begins,
*3)
as shown.
The transitional prolongation of the dominant extends through eight measures,
in
all.
*4)
The Subord. Theme
is
a Group of (four) phrases, quasi Double-period.

major, in which (remote) key
it
It
begins in the customary dominant key, and continues there for eight measures;
then modulatg^, abruptly, to complete tonic cadence.
terminates, with a
*S) There is no Codetta to the Subord. Theme; but one-measure extension of the cadence. *6)
its
place
is
taken by this
The
entire retransition is based
Principal
Theme, but employed
in such a skilful
upon the initial melodic member of the manner as to prepare for, and yet
not arUicipate, the
Theme
itself.
See further (the Exposition only)

Beethoven, Sonata, op. 10, No. i, Adagio: Prin. Theme (il-flat major), TwoPart form. Part II dissolved, as transition (meas. 17-21, 22, 23); Subord. Theme (-flat major) quasi Period, with duplication of each phrase (meas.- 24-42) ; cadence
extension, in lieu of a Codetta (meas. 43-44) ;
the Exposition closes with a complete
tonic cadence in -flat major (meas. 44);
the retransition covers only one measure
the simple arpeggiated dominant-seventh chord
meas. 45.
Beethoven, Sonata, op. 31, No. 2, Adagio: Prin. Theme (B-flat major) is inTwoPart form (Part I, to meas. 17); Part II is dissolved, as transition, and led, rather abruptly, to the prospective dominant (meas. 23); the "second act" extends to
meas. 30; the Subord.
(meas. 31-38);
Theme {F
major)
is
the retransition covers four measures,

is
a duplicated phrase with tonic cadence is merely a "second act,"
upon the prospective dominant, and

Beethoven,
pfte. Trio, op. 9,
patterned after the preceding "transition";
the Recapitulation follows, in meas. 43.
No.
1,
Adagio: The
final
phrase of the Subord.
Theme
is
dissolved,
and
led directly over into the Recapitulation.

is
Theme, and extended
Beethoven, String-Trio, op. 3, Adagio: A brief Codetta into a brief (s-measure) retransition.
added to the Subord.
IS6
Par. 140.
The Recapitulation, and Coda.

140.
As
in the
Third rondo form, the Recapitulation here
is
collec-
tive re-statement of the thematic
members
of the first Division or
Exposition;
and
dinate Theme,
as
it
involves the inevitable transposition of the Subor-
rule,
to the principal key.
Review
par.
119.
This change of key influences the conduct of the transition, as shown Also par. 122. in par. 121, which carefully review.
The
illustration given in Ex. 52 (Exposition), is continued, as
Re-
capitulation, in the following
manner:
Prin.
Recapitulation Theme *i)
w
Ex.,
Continuation inuation
of Ex. 52.
t*i
I
a5
Ei^îîbS
.p.
-I
CS
53.
m^
II
IjJ^^j^jto
i^^^^jJtJJJ^J
etc.
iA4 m
to
'
'
'
'
Extension and Transition ("second act")
^^^^1f
ft4y.JJJJJjJj,r^tT^-ff-^^
Par. 140.
THE SONATINA-FORM.
57
^g
^^'
^
i*
-t
4
A
-1
1 I .
^^^^
^
I
i'l^r^^
Subord.
^
^^^
Theme *3)
11
^^^
PP
sf
tffr.
etc. to
158

Coda
Section
i (8
Par. 140.
measures)
Sec, 2 (II measures)
fi
M"^ ^T*lf=H
ff
^=~P
etc.
gÊHSE
cad.
(elision)
<.
^
1
%=^^^^ m
Sec.
Ig
measures)
^ *
-1
4(7 measures)
etc.
etc.
=1=1-
Sec. J (10 measures)
*i)
The
Prin.
Theme
first
is
presented as before, but embellished.
Compare
(in the
original)
with the
version.
*2)
course,
At this point, the final phrase of the Prin. Theme diverges from its original and is directed toward the prospective dominant (in this case, B). The
"second act" is much shorter than before, but runs into the Subordinate Theme in the same maimer.
Par. 140.
THE SONATINA-PORM.
is
159
Compare
*3)
The Subord. Theme
transposed, as usual, to the principal key.
Ex. 52.
*4) The somewhat unusual (remote) modulation, made in the final phrase of the Subord. Theme, in the Exposition, is made again here to C major and is followed up, as there, with a Uttle change, so that the Recapitulation closes with a com-
plete tonic cadence in a minor (instead of

"5)
E major,
as was to be expected).
The Coda
begins, with
all
contains five brief sections,
an elision of the cadence, in this remote key. It of which (excepting, perhaps, section 3) are derived
is
from the Prin. Theme.

key,
Section 2
patterned after the retransition.
The
original
regained at the end of the second section, and maintained to the end, only excepting one brief modulation in section 4.
major,
is
See the continuation (as Recapitulation) of the examples given at

the end of par. 139:
BeetboTen, Sonata, op.
Pfte. Trio, op. 9,
10,
No.
i.
Adagio.
No. Adagio. Sonata, op. 31, No. String-Trio, op. Adagio.

i.
2,
Adagio.
3,
See further (the entire movement of each)

8, Allegretto scherzando.
4, op. 122, Andante molto; Prin. Theme (g minor), group of four phrases, and Codetta; the Subord. Theme (in an unexpected key E-Bat major) is a Two-Part form, and closes with a complete tonic cadence in 6-flat minor (instead of the expected 5-flat major); the retransition is an apparent extension of the foregoing, and covers 7 measures; the Recapitulation closes in
minor, and the
first
section of the
Coda
is
analogous to the retransition; a later
sectio;! re-states
the Codetta to the Prin. Theme, which was omitted in the Recapitupar. 185, "Dislocation of the structural factors."
7,
lation.
Compare

is irregular,
op. 164, last
movement.
The modulatory
design
as follows:
dissolved.
Prin.
Theme, a minor, Two-Part form,
Subord. Theme,
duplicated.
major, phrase-group, with elaborate Codetta (in
major),
No
retransition,
but an abrupt resumption of the Prin. Theme, transposed
to
e minor; (review par. 124).
Subord. Theme,
G major,
of the
as before,
is
the Codetta
in
major.
The first section Comp. par. 181.
Coda
a partial statement of the Prin.
Theme
(Part
I).
Schubert, pfte. Sonata, No. 2, op. 53, Andante con moto: Prin. Theme, large Three-Part form; no transition; Subord. Theme, also broad Three-Part form; retransition, nine measures; in the Recapitulation, the Third Part of the Prin. Theme is transposed, in direct preparation for the transposition of the Subord. Theme; the first
section of the
Coda is a partial statement of the principal member
of the Prin.
Theme.
is
greatly extended,
is
Schubert, Unfinished Symphony, h minor. Andante con moto: The Subord. Theme and closes in the (remote) key of C major; the retransition
(12 measures)
a very
effective expansion of the
E of
this
C major chord,
as tonic of
the succeeding Prin.
Theme {E
major).
l6o

7 (Schirmer edition), Adagio;
Par. 140.
Mozart, Sonata, No.

of "bridging" only;
Retransition, one measure
no Coda.
Clementi, "Gradus ad Pamassum" (Schirmer's compl. edition). No. 35 (orig. No. 19 (orig. ed. 36); the Prin. Theme transposed to the opposite No. 11). mode, in the Recapitulation. No. 24 (44).
ed.
Mendelssohn, Presto agitato in b minor for the pfte. (preceded by an Andante Three-Part form). An illustration of the breadth which the Sonatinaform may assume, quite irrespective of its diminutive title: A 4-measure Introduction (par. 178) precedes the Prin. Theme; the latter is in Three-Part form, with complete
cantabile in
tonic cadence, followed
by an independent
Codetta
Transition-phrase, duplicated and dis-
solved as usual;
Subord.
I,
Theme (A major and

II,
/-sharp minor), Two-Part form,

of the
broad;
Codetta
18 measures;
8 measures (duplication dissolved);

is
retransition,
4 measures;
Recapitulation, a
somewhat extended recurrence
Exposition;
the final phrase of the second Codetta
dissolved into the Coda, the
first section of which presents the first (brief) member of the Prin. Theme, greatly Analyze carespun out; the following two sections are brilliant and effective.
fuUy.
but unmistakably
brief
Mendelssohn, S3rmphony, No. 3 (a minor), Adagio: Introduction, 9 measures; Theme {A major), double-period, with Codetta; no transition; Subord. Theme (o minor and E major), a Two-Part form, the second Part very similar to the fifteen measures second Period of ihe Prin. Theme; the retransition is rather long
Prin.
retransitional in character;
Recapitulation fairly exact; very
Coda.
Mendelssohn, Ssonphony, No. 4 {A major)^ Andante con moto: Introduction, Three-Part form with all the repetitions, 3 measures; Prin. Theme very broad and a Codetta, duplicated and dissolved, as usual; the retransition covers two measures, derived from the Introduction; in the Recapitulation, the Prin. Theme is intimated only, by a fragment of its initial Part, transposed, but spun out into a trans-
ition;
the
Coda
consists chiefly of
a statement
effectively extended
of the
foregoing Codetta.
Mendelssohn, 'Cello Sonata, No. 2, op. 58, Allegretto scherzando; broad, but The same Sonata (op. 58), last movement: Another example of extreme breadth which the Sonatina-form may assume; the Prin. Th. is preceded by a lengthy
regular.
Introduction (see par. 178);

fairly
the Subord.
Theme
is
is
large
Two-Part form, with two
long Codettas (letters
"F" and "G");

(letter
the retransition (letter

proportionately long.
"H")
is
19
measures in length; the Coda
"P")
Such broad dimensions, though somewhat unusual, are by no means Since the distinction between the latter and the Sonata-allegro form rests solely with the presence or absence of a genuine Development, it follows that the omission of
incompatible with the Sonatina design.
the latter, alone,
may
not prevent the employment of large and im-
portant Themes.
Two
unusually concise examples, on the other hand:
Par. 141.
THE SONATINA-FORM.
161
Beethoven, Sonata, op. 8ia, Andante ("1 'Absence"): Prin. Theme, c minor, a group of four phrases (measures 1-14); Subord. Theme (G major), an extended phrase (measures 15-20); no retransition; in the Recapitulation, the Prin. Theme,
beginning at
21-30);
its
second phrase,
is
transposed to
Subord.
Theme
[F major
measures
/ minor and
31-36);
other keys (measures
Codetta, six transitional
measures, leading into the next movement.
ures;
Mendelssohn, Andante cantaUle in B-flat major, pfte.: Introduction, three measPrin. Theme, period, dissolved; Subord. Theme, single phrase, meas. 12-16; Codetta, to meas. 20; retransition, two measures; Recapitulation regular; final Codetta, two measures.
Further: Schubert,
Mass
in ^l-flat, Kyrie:
The
Prin.
Theme,
in 2-Part form,
is
built
upon the
text
"Kyrie
eleison''; the
Sub. Theme, a phrase-group with Codetta,
on the text "Christe eleison"; the retransition (orchestra alone) long. See also, in the same Mass, the Benedictus, very similar.
is five
measures

the Recapitulation).
regular).
Horn-Trio, op.
Violin
4, op. 98,
Sonata, No.
40, first
Andante (note the interesting treatment of 3, op. 108, Adagio (very concise, but movement.
Intermediate Grade.
141. As the retransitional material, inserted between the Exposition and its Recapitulation, gradually increases in length, and assumes a more individual and important character, the design approaches the
larger Sonata-allegro form;
for
when
this intermediate sentence be-
comes
of sufficient weight to create the impression of
an independent
Division, the form has advanced from the Two-Division to the Three-
Division design.
tion (no matter
character
Compare
par. 132.
it
As
long, however, as the inser-
how
lengthy
may
is
be)
is clearly
only retransitional in
and purpose, the form
unquestionably Sonatina; compare
par. 139.
About the illustrations referred to above,there can be no doubt. But a ntunber of examples will be encountered, whose precise classificanot because of concise form, or brevity of tion may appear diffictilt Themes (which has Uttle, if anything, to do with the design), but solely
in consequence of the indefinite relative significance of the intermediate
"Retransition."
All such questionable examples
"Intermediate Grades"
form.
between
may
be legitimately disposed of as
Sonatina-form and Sonata-allegro
For
illustration:
l62

Exposition
Prin. Th.
Par. 141.
^fe
Ex.
54..V
Beethoven,
,
.^
i,
U?^^
.JL!
~ "y
etc.
Sonata, op. 10, No.

last
,J^
movement.
_See the original.
^^
Codetta I
i)
~\-'
w
j>
nn
meas. 1-16
-'^^^
Snbord. Th.
Codetta II
-g-
f f^^Sgte.
'
'
etc.
etc.
.^
meas. i^-zS 17-28
meas. a8-w 88-37
pwyj]
^P
(Codetta III)
^^
Intermediate section
=t
tj
i^
*-j?*j)
*2)
*:^
P, n>(Retransition)
^^ ^ ^^
S-n-
itibrg:
*-=H
-j?^=l-
:^
^bJ>, iS=2_
"first act"
ifife
SE
Par. 141.
TEE SONATINA-FORM.
"second act"
163
^^
g^
f p^^^ = " ff f
It
'
fe
k=
m
Dominant
i IE
.
Recapitulation
!>'>>
^JJJ
-p^-.
jjj Njj-Fr
i- >-'-tH
iat
-^-P
is,
Jf --^ --^--r
N
i
lyH
FT
I
an intimation of the larger design in to he sure, very brief, and might be regarded as a mere extension of the cadence. But it has some thematic importance, and is duplicated at the beginning of the Coda (meas. 21 from the end).
'i)
The
presence of Codettas
in
itself,
the composer's purpose.
This third Codetta,
is,
*2) This double-bar

call for
is very significant, and, in connection with the marks that a repetition of the entire Exposition, it is almost conclusively indicative of
the larger, Sonata-Allegro, form.

*3)
Comp.
and
par. 144.
The
intermediate sentence here
is
eleven measures long (about one-quarter
of the length of the Exposition),
begins, at least, with
dent purpose.
It weakens, however, in the fourth mesisure,
some evidence of indepenand thereafter is obvi-
ously nothing but a genuine retransition.
The form is,
strictly speaking, " Sonatina",
but with a decided advance toward the Sonata-allegro design, as indicated by the
double-bar, and the decisive conclusion of the Exposition.
See further:
2, first
'
movement: The Exposition
closes with
double-bar (and repetition-marks) in meas. 52;
the intermediate section covers
fourteen measures, of which only the last four are obviously retransition.
This
movement,
sign.
therefore, represents a
still
more
positive
advance toward the larger de-
without a double-bar;
Beethoven, Sonata, op. 109, Prestissimo; The Exposition ends in meas. 70, the intermediate section begins at once, with cadence-elision,
is
and
35 measures long
elaborate polyphonic (or, at least, imitatory) development of the bass-part of the first
phrase (Prin. Th.), and

tional character.
is
just one-half the length of the Exposition; a a distinctly retransinowhere not even at the end
it is
fairly
of
Therefore, this
movement should be assigned
to
the Sonata-
allegro forms, with
some
retrogression toward the smaller design.
64

first
Par. 14a.
Beethoven, Sonata, op. no,
movement, somewhat
similar;
no double-bar;
intermediate section 17 measures long.
Beethoven, Sonata, op. 106, Adagio: Very broad; no double-bar; intermediate

section 19 measures, of which the last 9 or 10 are distinctly retransitional,
the
all
form
is
"Sonatina," with some advance toward the Sonata-allegro design.

pfte. Sonata,
Mozart,
No. 6 (Schirmer
the form
is
ed.), last
is
movement: The Exposition
ends with a double-bar; the intermediate section

suggestive of retransition;
pfte.
30 measures long, and not at
Sonata-allegro, slightly retrogressive.
Sonata, No. 8 (Schirmer ed.). Andante,
Sonatina-form,
Also,
approaching the
larger design.
EXERCISE
A.
10.
number
of examples of the genuine Sonatina-form, in slow tempo,
and with
brief retransition.
See N.B. below.
B. Also one or two examples in rapid tempo, and broad design

uine retransition.
but with gen-
C.
One example, with double-bar

usual,
at the end of the Exposition, and a somewhat
independent, but not lengthy, intermediate section.
N.B. As
or Quintet.
pianoforte; organ; pfte.
any instrument, or ensemble, may be chosen for these movements: and Violin, or 'cello; pfte. Trio, or Quartet; String-quartet, See Exercise 7, A, "N.B." See par. 1686.
CHAPTER
XI.
THE SONATA-ALLEGRO FORM,

to
142. This term must not be confounded with " Sonata." It refers a structural design, and not to the conventional compound form of
titles
composition bearing the

(par. 199).
Sonata, Symphony, Duo, Trio,
etc.
It
is
the design most
commonly applied to the first
{allegro)
movement
of the Sonata,
hence the term:

Further, the
Form
of the Sonata-allegro, or "Sonatais
allegro form."
The term "Sonata-form"

title
misleading,
it is
and should
used only for
not be used.
does not imply that
the Sonata-allegro
position in the larger form,
movement: It may be applied to any style of comand to any tempo (or "movement"). The diagram of the Sonata-allegro form is as follows:
Par. 143.
THE SONATA-ALLEGRO FORM.

Exposition
I6S
66
Par. 146.
The first presentation of the Prin. Theme should be as straightforward and unaffected as possible. Its elaboration and development come See par. 197, i to 6. later, as ruling purpose of the whole movement.
See Schubert, Unfinished Symphony; note the simplicity in the announcement
of the Prin.
Theme.
ment.
Also other Ssmiphonies of Beethoven.

of the first
Beethoven, Ninth Symphony, Prin. Theme of the move Brahms, Second Ss^mphony, Prin.
first
Theme
last
movement.
146.
and last movements. Also Prin. Theme of the First Symphony, These are all models of clearness.
The
transition into the Subordinate
Theme may be
effected
in the usual
1.
manner:
Through an independent Transition-phrase (which may be may possess genuine thematic importance; and may be "spim out," through its two "acts," to considerable length).
decidedly individual;
Or,
2.
By
dissolution of the final phrase of the Prin.

is
Theme.
147.
The Subordinate Theme
placed in some other key, usually
the closely related dominant or relative of the original key

other, even remote, keys are possible.
though
The key
to be avoided for the
Subord.
Theme
is
the subdominant.
In rhythmic character, and mood, it should contrast effectively with its companion-Theme. The forrfl is optional, but is usually
smaller (shorter) than that of the Prin.
Theme.
(Review par. 84 and
Ex. 4S-)
148. As implied, the addition of a Codetta is almost imperative, and not infrequently two, three, and even more. Codettas follow the Subord. Theme, generally decreasing successively ia length. The (first) Codetta usually presents a marked contrast, in rhythm and style, to both Themes, and may be thematicaily significant; though it should not create the impression of a genuine Theme (wherefore the
epithet "closing
wholly new, or
Theme
or from any foregoing
Theme" is not consistent). may be derived (more or less

factor.
rule,
The
contents
directly)
may be from the Prin.
Each Codetta is, as a modification and extension.

in Ex. 55.
duplicated;
often with considerable
An illustration
of Exposition will be found
(The student should, and probably will, perceive that every detail in the formation of the Exposition is so consistent, logical, and natural, as to be self-evident, and compel unquestioned adoption as the surest and simplest means of securing a
truly elective presentation of this broad thematic material.
But above aU
things
Par. 149.

is left to the
167
he must bear in mind that unlimited freedom

of this design.
imagination, in the execution

all
two among a million Expositions need be alilce, though the fundamental lines of the design with the same strictness.)
149.
No
follow
The end of the Exposition is usually indicated by the doubleReview par. 144. The various methods of treating this " ending " may be classified as follows:
bar.
a.
The
Exposition
may
close with a complete
and emphatic
tonic
cadence, followed
movement;
b.
by the
double-bar,
and marks
of repetition.

op. 10,
No.
i, first
2, No. i, first movement. Sonata, op. movement; op. 14, No. 2, first movement.
7,
first
endings, because of change in the rhythmic condition upon proceeding into the Development.
The double-bar may be attended by two
some
slight

op.
2,
^,
No.
3, first
movement; op.
10,
No.
2, first
movement;
No.
2, first
movement.
change,
Or the two endings may indicate a (perhaps slight) harmonic involved by the repetition, as in Beethoven, Sonata, op. 13, first movement; and op. 2, No. i, last movement.
c. Or, of the two endings, the first may be a brief "retransition" back to the beginning (for the repetition), and the second ending a
similar "transition" into the first section of the Development.

measures before the double-bar.
before the double-bar; op. 28, d.
2, first
(four measures before the double-bar
see Ex. ss)
movement; Sonata,
J
see also the last

2, last
Also op. 27, No.
No. 3, Scherzo movement, four movement, two measures

op. 31,
first
movement, four measures before the double-bar.
The
final
phrase of the Exposition
without double ending
first
may be dissolved, and led back to the beginning (for the repetition),
This
is
c.
and then over

op. 31,
into the
Development.
first
practically the
first
first
same as
Beethoven, Sonata, op. 10, No. 3,
No.
-2,
op. 57, last

e.
movement; op. movement.

last
31,
movement; op. 14, No. i, No. 3, first movement; op. S3,
movement; movement;
More
rarely, the repetition is omitted, and, in that case, the
double-bar
may
not (usually does not) appear.

10,

repetition.
Sonata, op.
No.
3,
Largo
light double-bar
(measure 29) but no
the double-bar, and is double-bar, in meas. 12, indicates the end of Part I of the Prin. Theme.)
op. 57,
first
Adagio; the Exposition ends in measure 30, without followed in meas. 31 by the Development. (The first light
22,
Sonata,
movement; the Exposition ends
Op. 90, first movement; the Exposinature (from four flats to the "natural"). Symphony, No. 11, Larghetto; tion closes, without double-bar, in measure 81.
in
measure
six before
the change of sig-
no double-bar.
l68
Par. 150.
The Development.
150.
The middle Division

it is
of
the Sonata-allegro form
is
called a
"development," because
various thematic
devoted to the free manipulation of the
members
of the Exposition, with a
view to the more
complete unfolding (or developing) of their resources.

is
the chief aim,
all restraint
And, since this which might hamper the most effective

in every sense,
presentation and combination of the foregoing thematic material,
removed;
the Development
is free,
not
is
subject to
any
of the structural conditions
which govern the Exposition.
Neither
of treat-
the choice of material, the order of presentation, the
method
ment (homophonic
process,
none of these matters are prescribed, but

of the composer.
or polyphonic), nor the extent of each successive

rest solely
with the
judgment
It is in this very respect that the
Development constitutes a very
necessary and emphatic contrast with the foregoing Exposition and the
While the Exposition demands some degree and regulation, the Development calls forth the imtrammeled imagination and ingenuity of the writer. The Exposition is the more or less sober and judicious {not lifeless or unimpassioned) "presentation" of the various factors; the Development is their illumination and vitalization, their shifting into more interesting positions, in relation to each other and to the whole.
succeeding Recapitulation.
of control
151.
a.
The form
of a
Development
is
always
sectional.
(Review
par. 556, with reference to the definition of sectional form.)

6.
c.
The number of sections is optional. The extent, contents, and style of each
section, are also optional.
In other words, any section of the Development
may derive its material
from the Prin. Theme, from the Subord. Theme from any melodic member of either Theme, from the transition, or from the Codettas. The only conditions are, that no Theme should appear in its complete form; and that no member should appear in the same key as before (i.e.,
as in the Exposition).
legitimate exceptions.
To this natural rule there are but very few (Comp. par. 162.) It emphasizes the important general principle that the Development, as a whole, should avoid
the original key
since the latter is the proper
domain
of the Reca-
pitulation (and of the Coda, to

d.
some
extent).
Further, one or another of the sections

This, though
may be
partly, or even
decidedly, new.
sistent with the
somewhat
less usual, is
thoroughly con-
purpose of the Development, especially when the new
Par. 152.

are analogous, or used in connection
169
members
e.
and combination with
the essential ones.
The
sections are frequently grouped in pairs
as
duplication
(especially as sequence).
f.
section
is
not likely to have a complete cadence, because
it
would
arrest the very vital urgent quality of the
Development.
A
and
light semicadence is all that
marks the end
of a section, as a rule;
even that
is
not necessary, for a change of

is
style, or
exchange of thematic
material, sufficiently indicates where a
words, the extent of a section

style,
defined
new section begins. In other by the retention of the ;same
or the same contents.
152. The ultimate aim of the Development is to regain the original key and prepare for the Recapitulation. Therefore, its final section (possibly more than one) is equivalent to the usual retransition, or to
the "second act" of that process.

the unique problem of effecmethods adopted by the great masters Therefore, dose scrutiny of the following illustrations (in which of composition. every one of the above details will be verified) is extremely important. Compare the following example, from Beethoven's Sonata, op. 31, No. 3, Scherzo,
163.
best,
The
and possibly the
only,
way to master
tive
Development
is
to examine, minutely, the
with the original:
Exposition
Prin. Th. i)
etc.,
to
nr^
I/O
Par. 153,
m
sm
\
Part III
-m-0-
ff.
^
staccato
^
etc.,
ff
Transition
to
^^ ^^^^f
2)
^rrrv*
wm
iX-EV^-k'
/<7<r<7
i w.
k<-
//
ritard.
m^m^^^ ^^ -^^ m
ff
P*i)
etc.
-^ tt
Subord. Th. Phrase i
Phrase 3
Sva
yf
staccato
r^-r-^
=
to
I^^^M^
etc.,
^t
H?^
Codetta I
-- stacr.iito
'
Par. 153.

Codetta II
(extension)
171
r;^dupKcated ;^ h and
extended,
staccato
^^g^g^^
^feS
-
=-#
^-^
^1
s-=4-
^
fe IE
(Return to the beginning)
"q gigjlji^jjlj J
staccato
j J |q 6i^J=
j^n:]ES^j_4_|j_jj
i^^=^ ^
Rep. of the Exposition
/"-*-
^
(Transition into the
rj^
Development)
it:
M
etc.
a*
*'
staccato
i^fcl 6!^5=^
^^^^^^^^
Development
Section I (6 measures)
6)
i^ ^^
Sec. II (13 measures)
^
staccato
i=:
^>^l '^^ ES
T^-*Sec. Ill
""
staccato
^1 m^m^m^^
etc.
(7 meas.)
staccato
172

Sec.
Par. 153.
IV
(6 measures)
N^tfl
etc.
Sec.
(10 measures)
'P
^^-T^n^g y^^
S^gSp
*7)
^
staccato
etc. to
^.f
i^
S^
Dominant
Prln. Th.
aife^
ritard.
I
etc
^^^=f^S^=^
*i)
*2)
a ^^^^^g'^j^
an unexpected key
(left
The The
Prin.
Theme
is
a regular Three-Part Song-form.
is borrowed directly from the Second Part of the Prin. Theme, and suggests the intention of repeating Parts II and III (as is legitimate, and not uncommon. Homophonic Forms, par. 1050). See par. 125.
Transition-phrase
*3)
The Subord. Theme
begins in
(the remote
major), but
It, also, is
passes over into the usual dominant (E-flat major) in the
3d Phrase.
is
based upon foregoing material:
The lower part
hand)
derived from the
Second Part, and the upper from the bass, of the Prin. Theme.
*4)
length, closely analogous to the foregoing thematic

*S)
There are two Codettas, respectively two measures, and one measure, in members, and each duplicated.
The treatment
of the ending of the Exposition corroborates the
method
explained in par. i4gc, which see.

*6) The Development embraces five sections of various lengths (fairly brief), the thematic relations of which to the members of the Exposition are clearly demonstrated: Section I, derived from the Prin. Theme, very directly, but placed in a diferent
key (see par. isoc); Section II, from the Subord. Theme; Section III, again from the Prin. Theme; Section IV, from the last measure of Part Two (Prin. Theme).
Par. 153.
173
*7) Section IV was conducted to the prospective dominant, and it therefore executed the "first act" of retransition. Section V is the "second act" (all upon
this dominant),
and represents what
is
usually called the "retransition" proper.
See the following, also, and note that each of these Developments
must be studied with

to be of
full benefit:
close reference to its foregoing Exposition, in
order
BeethoTen, Sonata, op.
2,
No.
i, first
movement: The Development,

I,
after the
double-bar, contains six sections;
Section
7 measures,
is
derived from the Prin.
Theme;
Sec. II, 8 measures, from the Subord. Theme; Sec. Ill, 10 measures, is a sequence of section II, extended; Sec. TV, 8 measures, grows out of section III, and leads to the prospective dominant; Sec. V, 12 measures, is the retransition proper,
but is interrupted and followed by a sixth section (7 measures), which is another phase of the "second act," derived from the second measure of the Frin. Theme. Sonata, op. 2, No. 3, first movement: Sec. I of the Development, 6 measures, is derived from the last Codetta but one; Sec. II, 12 measures, bears close relation to the Second Fart of the Frin. Theme, but is a practically new passage, in brilliant broken chords; Sec. in, 4 measures, is a re-statement of the first phrase of thePrin.
Theme,
the
Sec. IV, 17 measures, is a novel treatment of two measures of the Frin. Theme, and is spim out by two sequences, the last one extended, and led to the prospective dominant; Sec. V, 9 measures, is the retransition, based upon the initial figures of the Prin. Theme. Sonata, op. 22, first movement: Sec. I of the Development, 2 measures, corresponds to the last (fourth) Codetta; Sec. II, 4 measures, corresponds to the third Codetta; Sec. HI, 7 measures, to the second Codetta. These sections, it will be seen, proceed systematically backward from the double-bar. Sec. IV, 10 measures, reverts to the third and fourth Codettas, and is a sequential group of phrases. Such sequential formation is a natural and effective device for the Development, for evident reasons. Sec. V, 13 measures, grows out of the preceding one, and is a stirring passage in harmonic figuration; note the progression of the lowermost (bass) part. Sec. VI, IS measures, is the retransition, all upon the dominant. Sonata, op. 53, first movement: Sec. I of the Development, 4 measures, grows
in a different key, of course;
first
sequentially out of the last'member of the Codetta; Sec. 11, 6 mesisures, re-states the
first
ures, follows
phrase of the Frin. Theme, in a different key, and extends it; Sec. Ill, 8 measup this extension; Sec. IV, 9 measures, is a modified manipulation of
the same thematic member; Sec. V, 30 measures, is a long, sequential, presentation of the initial phrase of Fart Two of the Subord. Theme; note the modulatory design,
and the manner in which its last seven measures relax into, and upon, the prospective dominant; Sec. VI, 13 measures, is the retransition, based upon the fourth measure
of the Prin.
Theme.
first
Sonata, op. 90,
Exposition closes with measure 81; the
movement: The conventional double-bar is omitted; the first section of the Development is an "inter-
lude", of three measures, echoing the foregoing cadence; Sec. 11, 7 measures, is de9 measures, is based rived directly from the first phrase of the Prin. Theme; Sec.
m,
upon the 3rd measure
(indirectly
upon measures 21-22)
of the Frin.
Theme
note
the bass-progression; Sec. TV, 9 measures, maintains the same rhythm, but is otherwise new; it has the "leading" quality of a transition, as dominant, into the next
174
section;

Sec. V, 20 measures,
is
Par. 153.
phrase of the Prin. Theme, and

Sec. VI, 14 measures,
tonic
is
its final
a sequential (or imitatory) presentation of the third extension leads to the prospective dominant;
the retransition;
six-four
chord,
throughout
thus
it utilizes
the dominant in bass, but as

par. 76c. This final secmeasure of the Prin. Theme,
exemplifying the curious irregularity of
leading to the following

tion
into
is
Theme through
its tonic.
Compare
first
a singularly ingenious manipulation of the
which the whole unique process finally merges.
Beethoven, Symphony, No. 4, first movement: The Prin. Theme begins, after an independent Introduction, in measure 43. The first section of the Development (immediately after the double-bar) is a two-measure extension of the final Codetta; Sec. n, 16 measures, is derived from the initial measure of the Prin. Theme; Sec. Ill,
14 measures, continues this figure-as bass, against the preliminary notes (i6ths) which occur at the very beginning of the Prin. Theme; Sec. IV, 24 measures, combines the
first
4-meas. phrase of the Prin.

Sec. V,
Theme
is
imitatory;
40 measures,
it is
with a new melodic (contrapuntal) member a long, climactic, presentation of the first measure
is
of the Prin.
Theme,
in sequential succession;
the beginning
measure of the independent Introduction to this movement; note that the o-sharp is the enharmonic equivalent of the tonic, 6-flat; its appearance here is an actual premonition of the coming Theme, which, here again, is entered through its ionic; Sec. VII, 16 measures, is derived from
of the retransition;
patterned after the
final
the second phrase of the Prin.

third section, but with
Theme; Sec. VIII, 32 measures, is patterned after the more pointed employment of the "preliminary tones."
No.
2,
Schumann,
pfte. Sonata,
is
op. 22, first
movement: The
first
section of the
a new melodic member, but closely allied to the foregoing; its presentation is sequential; Sec. II, 16 measures, is also new, though related in character to the Subord. Theme, also sequential; Sec. Ill, 11 measures, grows
Development, 29 measures,
out of the preceding; Sec. IV, 16 measures, reverts to the
Theme,
Prin.
initial
member of
the Prin.
also sequential,
and
similar in rhythmic treatment to all the preceding
sections;
Sec. V, 8 measures, is
fairly exact presentation of the first
phrase of the
Theme,
in a different key;
is
also based
phrase (beginning in misleading proximity to the principal key), also sequential, and led to the prospective dominant, as tonic six-four chord; Sec. VII, 6 measures, is the retransition proper.
upon the
first
Mendelssohn, Sjonphony, No. 3, a minor, first movement {Allegro un poco agitato) The first section of the Development, 29 measures, grows out of the final (cadence) member of the Exposition, gradually quickened, and with interspersed fragments of the second measure of the Prin. Theme; Sec. II, 25 measures, is based upon the
first
phrase of the Subord. Theme, in sequential (or imitatory) presentation; Sec. HI, is derived from the Second Part of the Prin. Theme; Sec. V, 8 measures, is a nearly exact recurrence of the first
14 measures, grows out of section II; Sec. IV, 17 measures,
phrase of the Codetta; Sec. VI, 13 measures, emerges out of the preceding section; Sec. VII, 19 measures, is the retransition proper.
Brahms, Violoncello Sonata, No.
i,
op. 38, first
movement: The
first
section of
the Development, 16 measures (beginning one measure after the double-bar), is derived from the first member of the Prin. Theme compare minutely with the Ex-
Par. 153.

is
17S
position; Sec. II, 7 measures,
a more animated manipulation of the same the-
still more passionate presentation, limited Theme; Sec. IV, 8 measures, a dramatic recurrence of the first period of the Subord. Theme, in a remote key; Sec. V, 8 measures, is a duplication of the same period, with complete change of character; Sec. VI, 3 meas-
matic member;
Sec. Ill, 12 measures, a
to the second measure of the Prin.
grows out of the last measure of the preceding, with accelerated rhythmic accompaniment, leading to the prospective dominant; Sec. VII, 17 measures, is the retransitlon proper, for which the Codetta is utihzed. Nothing could be more artistic, masterly, and thoroughly effective than this Development, with its admirable continuity, its thematic unity, and its vivid sequence of "moods," or phases of normal and vigorous emotional life. Its careful study will prove extremely instructive to
ures,
the observant student.
Glazonnow, pfte. Sonata, No. 2, op. 75, first movement: There is no "doublebar" at the end of the Exposition; at the change of signature from one sharp to five sharps, the second Codetta is duplicated; the Development follows this, in meas. 7 from the change of signature; Section I, 17 measures (to next change of signature), is based upon the first 4-measure phrase of the Prin. Theme, in a sort of diminution, later spun out melodically; Sec. II, 8 measures, refers to the second and canonic, 4-meas. phrase of the Prin. Theme; Sec. Ill, 12 measures (to next change of signature), is derived, ingeniously, from the chief thematic member of the Prin. Theme; Sec. IV, 24 measures, is a continuation and lengthy extension of the preceding section; 2 sharps), resembles the first section, but Sec. V, 19 measures (to new signature is more elaborate; Sec. VI, 12 measures (to one-sharp signature), is the retransitlon, shifting from the basstone A to the basstone C, which. is utilized (as "second act") see par. 76a. as 6th scale-step of the prin. key (e minor)
Schubert, pfte. Sonata, No. 5, op. 143, first movement: Section I of the Development, 10 measures, is derived from the first and second periods of the Prin. Theme; Sec. II, 13 measures, is a combination of the first and third periods; Sec. Ill, 14 measures, the same material, with different treatment; Sec. IV, 17 measures, utilizes the same rhythmic figure, in conjunction with the Subord. Theme; Sec. V, 8 measures,
is
the retransitlon.
Schubert, pfte. Trio, No. i, op. 99, first movement: Section I of the Development, 8 measures, closely resembles the Prin. Theme (in the opposite mode of the original key); Sec. II, 19 measures (including a sequential duplication), is similar, but more elaborate, and extended; Sec. Ill, 16 measures (sequential duplication), is based upon the Subord. Theme, with the chief rhythmic motive of the Prin. Theme; Sec.
rV, 14 measures (sequential duplication) is similar, but more elaborate and vigorous; Sec. V, 6 measures, utilizes the first member of the Subord. Theme, in diminution; Sec. VI, 12 measures, is derived from the Codetta; Sec. VII, the retransition, is
other keys) the first period of the following Prin.
24 measures long (including sequential duplication), and directly anticipates (jm. Theme. Note the modulatory
design of the whole Development.
176
Par. 154.
The Recapitulation.
154.
Review
par. 140.
In the Sonata-allegro form, the Recapitulation may be simple and fairly exact, but it is hot unlikely to be somewhat more elaborately
modified than in the
Sonatina-form.
In compositions of unusual
is
breadth, and especially where the Exposition
lengthy,
it is
not uncomis
mon
rule,
to abbreviate the Prin. Theme.
As
usual, the transition
modi-
fied, in
reached follows the
view of the transposed location of the Subord. Theme. As a once the Subord. Theme is the conduct of the Recapitulation
lines of
the Exposition closely, without
much
modification or abbreviation, through the Codetta or Codettas, which
here become the threshold of the Coda.
Compare the
following Recapitulation, from BeethOTen's Sonata, op. 31,
No.
3,
Scherzo, with the original.
See Ex. 55:
Prin.
Recapitulation Theme
i^
Ex.
e6.'>
m
Continuation
%^'etc.
'
of
Ex.
55.
'^ measures, as before, to the
"T'll-
#^'#"i-^
I
=^3
Uiq'gglg l
'"
beginning of
Part III.
^ 5
Part III
Transition *2)
f "p
!.
tr
?c:^
PP
feH-/piJlh; ^^f^^^
m^
tr
ftc^-^'^1J
I
^jf^j
Par. 154.

Subord. Th.
177
Phrase
3.
Phrase
1.
etc.
_Phrase 2.z; Sequence
1?"^"
staccato
^
q'
-*-
;f^
'm
-f-
^^^ i^^
*tf^êtc.,
to
^C
r Bjl^-i^-^
Codetta I
9-J'
q-j^
Codetta II
^^ 4i^^^
staccato
-!^duplicated! -^_li
etc.
and
extended,
to
yh'i>
1
i
ff
SS
.^
V
staccato
zp:
Coda
*5)
ifct'^tT
^^=ir
g^ ^
E^
^j
etc.,
^J^^
;^^
'
'
'
y^mt^^ hmm^m^
^__
4 measures, to
^p
it
'^
'J,
^ *
l^-^ dl ifejjl
178

and II
of the Prin.
Par. 155.
i) Parts I
Theme
the Tliird Part, here,

*2)
is slightly
is
modified
compare the
Phrase
are stated exactly as in the Exposition;

original.
The
transition
also exactly as before, entirely without regard to the
coming
at
transposition of the Subord.

*3)
first,
Theme.
The
shift of
key
is
made
abruptly;
i of
the Subord.
Theme
is,
one step higher than in the Exposition, but its conduct is so modified as to lead which, in other words, to the proper key at the beginning of the second phrase is nffth lower (or fourth higher) than before.
*4)
The
third phrase,
and both Codettas, are reproduced
precisely as before,
but in the principal key.

*S)
The Coda
is
very brief
one
section only
and
consists mainly in the
extension of the final Codetta.
The student should continue

the Exposition.
the analysis of every
movement given
in par. 153, carefully comparing the Recapitulation, in each case, with
Such analysis
is
of the
utmost value, and should be
pursued thoroughly, persistently and patiently. No further directions are required. The student must have so trained his faculty of observation,
by
impulse
mental and emotional of the composer.

The Coda.
The Coda,
this time, as to recognize
and follow without
effort
every
155,
,
in a Sonata-allegro form, does not differ
from that
of the foregoing larger forms, as a rule.
greater significance,
But it sometimes assumes and may be somewhat more elaborate, than in the
Rondos or Sonatina-form. Its purposes are: To round off the form, by taking up any loose thematic ends that may seem to be unfinished; to establish more perfect balance in the proportions of the Divisions;
possibly
though rarely to create an additional climax, or to provide

Its
brilliant finish.
most natural and general

whole design into the
artistic object
is,
ever, to converge the
tonic,
and
to establish
howand
confirm the latter, as ultimate aim; hence the very
common, and usually

Review, carefully,
very marked, inclination into the subdominani keys.

par. 93.
In BeethOTen, Sonata, op.

first
22, first
movement, the Coda
the Recapitulation closing exactly as the Exposition does.
z, No. 2, movement, the same. Sonata, op. 2, No. i, first movement; the Coda (last Sonata, op. 10, No. i, first sis measures) is an extension of the final Codetta. movement; the "Coda'' (last two measures) is nothing more than two vigorous Sonata, op. 14, No. 2, first movement; cadence-chords, added to the final Codetta. the Coda (last 13 measures), one phrase, duplicated and extended, is a parting glance at the Prip. Theme, with positive subdominant infusion (quasi "plagal" in general
Sonata, op.
is
omitted altogether,
Par. 156.

op. 27,
79
is
effect).
Sonata,
it
No.
2,
last
movement;
the
Coda
(last
43 measures)
typical;
reviews, in a very masterly manner, the contrasting emotional phases of
the preceding Divisions, and emphasizes them with additional brief but powerful climaxes. Sonata, op. 31, No. i, first movement; the Coda (last 46 measures) is
derived wholly from the principal thematic member;
it
begins like the Develop-
ment, and in the same key, but the dominant and tonic chords
op. 31,
the
is,
as a whole, nothing
more than an exposition

is
elements of the perfect cadence.

(last
Sonata,
of
No.
2, first
movement; the "Coda"
movement; the Coda (last 50 measures) contains four sections, which utilize, successively, the Subord. Theme, the last Codetta, and the first member of the Prin. Theme. Sonata, op. 10, No. 3, first movement; there are six brief sections in the Coda (last 50 measures); Section I is an extension of the last Codetta but one, down into the subdominant key; Sections II and III foUow the design of the final Codetta; Section IV grows out of the preceding; Sec. V refers to the thematic motive of the Prin. Theme; Sec. VI is similar, but new
of the fimal tonic chord.
7, first
Sonata, op.
10 measures)
merely an expansion
in treatment.
156.
It
is
possible for the Coda, with its entire freedom .from struc-
tural constraint, to
assume the proportions and the character
"Second Development,"
likely to
following, perhaps,
of a
the conduct of the fore-
going Development proper, more or less closely.
This
is
particularly
happen
in very broad Sonata-allegro forms (chamber-music,
and symphonies).
See Beethoven, Sonata, op. 81.4,
embraces
five sections;
the
first
first Allegro; The Coda (last 98 measures) one (23 measures), which begins similar to the Develfirst
opment,
is
a frank re-statement of the
period of the Prin.
Theme,
in related keys,
extended; the remaining sections are four different (quasi polj^jhonic) manipulations
which appears in the Introduction (compare par. 166). Sonata, last 57 measures, and contains five well-marked sections; it begins hke the Development, and maintains the "development" character persistently; Section IV is a distinct statement of the Subord. Theme. Violin Sonata, op. 30, No. 2, first movement; the Exposition closes in measure 74 (75) without double-bar; the first section of the Development is ostensibly an additional Codetta, which is extended and "developed," in the most genuine fashion; the Coda (last 47 measures) begins in precisely the same manner, and, as a Violin Sonata, op. 23, first movewhole, is in dose analogy to the Development. ment: The Development and Recapitulation are repeated together, after which there VioUn Sonata, op. 12, No. 2, is a brief Coda, patterned after the Development.
of the basic motive
op. S3,
first
movement; the Coda covers the
first
movement.
In Beethoven, Symphonies II (last movement), V (last movement), VII (last and other of Beethoven's larger movements, movement), VIII (first movement), this relation of the Coda to the Development, either in actual material or in treatment, is still more evident, and intentional.
l8o
Par. 156.
very thoroughly.
analyzed.
The following examples of the Sonata-allegro form are to be analyzed Some of them have been already cited, and partly
easily recognized
trifling irregidarities will be foimd, but they are and accounted for; and the infinite diversity of treatment, dictated by the character of the Themes, but strictly within the broad requirements of the form, will prove both instructive and
few
stimulating to the observant student:

Mozart,
pfte.
Sonata, No. 12 (Schirmer edition),
No.
last
16, first
movement.
Sonata, No.
17,
Andante.
piter"), first
movement (second Codetta new; movement; largely polj^phonic; the Coda

is
brief
is
movement. Sonata, Symphony C major ("JuCoda). Same Symphony,

first
in
a "Second Development";
its
second section
a quintuple-fugue exposition, the five subjects of which are derived
from the Exposition as follows: I, from the Prin. Theme; II, from the transition; III, from the same, modified; IV, from the "second act" of the transition; V, from
the Subord.
Theme
(the
{Applied Counterpoint, Ex. 182).
Fantasia
i, first movement. Sonata, No. 3, op. 120, first Development and Recapitulation are repeated together, after which a brief Coda follows). Sonata, No. $, first movement. Sonata, No. 10, first movement (ingenious retransition). Symphony in 6 minor ("Unfinished"), first movePfte. Trio, No. 2, op. 100, first movement (very broad; seven Codettas). ment.
movement,
in G, op. 78, first
movement
(typical).
Mendelssohn, second movement. Pfte. Trio, No.
pfte. Sonata, op. 6, first
Violoncello Sonata, No.

I,
movement.
i,
Symphony No.
3,
a minor,
op. 49,
first
movement
qp. 45, first movement (very broad). (very broad; no double-bar; Subord.
Theme more
section
assai animate).
prevalent than the Prin. Theme; the
Coda contains a new, but
related,
Schumann, Toccata,
double-bar; the
op. 7 (chiefly group-formations, but well-defined
Recapitulation abbreviated;
long Coda).
Sonata,
Themes;
(no
op.
14,
Coda is a genuine "second Development," practically a re-stateSonata, op. 22, first movement. ment of the Development proper). Symphony, No. I, op. 38, first movement. Allegro molto vivace (concise Exposition; Development sequential; the Prin. Theme, in the Recapitulation, is introduced through the tonic, instead of the dominant, and is presented in augmentation; the Coda contains a
first
movement
wholly
new
section).
2,
No.
2, first
movement
(no Coda).
Sonata, op.
lo.
No.
first
i, first
movement,
(in the Recapitulation, the
Subord.
Theme is first partly
and then completely re-stated in the original key). Sonata, op. 10, No. 3, Sonata, Op. 22, Adagio (small Subord. Theme; no Coda). movement. Sonata, op. 3r, No. u, first movement. Sonata, op. 28, first movement. Same Sonata, last movement (the Coda contains, as second section, the entire Prm. Theme). Sonata, op. 31, No. 3, first movement (quaint retransition). Sonata, op. S7, Sonata, op. 78, first movement (concise). first and last movements. Sonata,
posed,
trans-
op. 106, first
movement
(very broad).
12,
ment.
Violin Sonata, op.
No.
3, first
Violin Sonata, op. No. movement. Violin Sonata, op.

12,
i, first
move-
24, first
Par. 156.
l8l
(broad).
movement.
Violin
No.
Sonata,
I,
op.
47,
first
quartet, op. 18,
first
movement.
molto (no double-bar;
the
Coda
String-quartet, op. 59, No. i. Adagio re-states the Prin. Theme, and is then dissolved, as
movement, Presto
String-
transition into the next
Allegro con brio.
movement). Symphony, No. I, op. 21, first movement. Symphony, No. Ill, op. 55, first movement (very broad; the
long Development presents, in
its later course, a new period, which reappears in the No, V, first movement. Symphony, No. VIII, first movement (the Subord. Theme, both times, begins in an imusual key and is then stated
Coda).
Symphony,
in the proper key).
Sonata,'op.
first
Brahms,
pfte. Sonata, op. i, first

5, first
movement.
movement. Sonata, op. movement. Nothing could be more illuminating and inspiring
2, first
to the serious student of classic form than the larger works of
Brahms;
(in
therefore
the most thorough analysis of the following
movements
is
urged
each case the
Violoncello Sonatas, op. 38; op. String-Quartets, String-Quintet, op. String-Sextets, op. 18; op. Nos. and op. Pfte. Quartet, No. op. op. 36. Pfte. Trio, No. op.
first
movement, unless otherwise noted)
Violin Sonatas, op. 78; op. 100; op. 108;

gg.
movement
I
of each.
2;
SI,
67.
88.
Ill,
87.
2,
26.
Dvoriik,
Symphony, "The
New
World,"
first
first
and
last
movements.
Rubinstein, "Ocean" Symphony,

Raff, SjTnphony,
movement.
(in the Exposition,
Im
Walde,
first
movement
the Subord.
Theme
is
in the
subdominant key; in the Recapitulation,
in the
dominant key
both singularly
irregular). pfte. Sonata,
Glazounow,
subject,
No.
2,
op. 75,
first
movement.
Also the last movement;

is
(at the beginning of the Recapitulation, the Prin.
and treated accordingly). (regular and very clear).
Also
Theme
i,
announced as fuguefirst
Sonata, No.
op. 74,
movement,
Maurice Ravel, "Sonatina" in /-sharp minor;
first
and
last
movements.
(regular,
Paul Dukas,
pfte.
Sonata in
e-flat
minor;
first
and second movements
and
clear).
Josef Suk, Suita, op. 21,
first
movement.
pfte., op. 45, first
-Mac
Dowell, "Tragic" Sonata for
Introduction,
par. 178).
movement
(with Independent
EXERCISE
II.
A large number of examples of the ordinary,

allegro tempo,
regular. Sonata-allegro form; chiefly
but also occasional experiments with Andante or even Adagio; any style may be chosen; and, as usual, the movement may be coijceived for any instrument, or ensemble of instruments. See par. ig7, i to 7. And par. i68b.
I82
Par. 157.
CHAPTER
XII.
MINIATURE SONATA-ALLEGRO, AS EXPANDED THREEPART SONG-FORM.

157.
In the foregoing chapters, the course of structural evolution
was traced in progressive stages from the Song with Trio, through the three successive Rondos and the Sonatina-form, up to the most perfect
design
But
line
the Sonata-allegro form. course converges with another, and much of evolution from the Three-Part Song-Form
this
is
itself.
more direct, For the
Three-Part Song-form
the exact prototype of the Sonata-allegro
form, and the latter emerges out of the former through the natural
and
For this reason, form would appear to be the more normal, although the longer line of development is historically quite as real, and has supplied the composer with the variety of intermedirect process of growth, or general enlargement.
this derivation of the Sonata-allegro
diate designs.
158.
The correspondence
is
partite forms
illustrated
of the smallest and largest genuine by the following diagram:
tri-
Three-Part Song-form.
Parti
Par. isg.
MINIATURE SONATA-ALLEGRO.
183
of the Exposition.
First Part into
Hence, any sign of a division of the original unbroken more than one structural factor indicates the vital budding
nature's
process which
159.
is
method
of
advancing growth.
The
incipient condition of this
ples of the Three-Part Song-form in
advance is seen in those examwhich Part I is extended by the
addition of a Codetta (which, though never so homogeneous and tiny,
does represent a somewhat independent structural factor).

See, first, Kendelssobn, Song without Words, No. 7, which is a genuine 3-Part Song-form, without the sUghtest hint of a separation of the members of the First
Part, but which has the typical double-bar,
and
repetitions.
Then, Uendelssohn, Song without Words, No. 39, in which several fairly disin measure 7, a symptom of "dissolution"; in measure 9, the advent of a somewhat independent Consequent phrase in a related key (the prototype of the Subord. Theme); and, in measure 13, a brief Codetta, duplicated as usual. This contains, in reality, no more thematic material than a Song-form is entitled to, but it is surely headed in the direction of the Sonata-allegro
tinct signs of separation are evident:
form.
Note
that, in the
Third Part, the Consequent phrase
is
transposed to the
principal key.
very similar to the preBeethoven, Sonata, op. 7, third movement Mozart, Sonata, No. g (Schirmer ed.), Menuetto (without the Trio). A decided advance is exhibited in Beethoven, Sonata, op. 10, No. 2, last movement: measures 15-23 represent an incipient Subord. Theme; and the following Codetta In the Third Part, only the (to measure 32) is a distinctly marked thematic factor. Codetta reappears, but transposed, and considerably extended (as Coda). This is The line still within the domain of the Three-Part Song-form, but is "overgrown." of demarcation is passed in Beethoven, Sonata, op. loi, first movement, which is a
Further:
ceding.
Minature Sonata-allegro form
Prin.Th. (Period) *i) Antecedent Phrase
Beethoven,
Sonata, op. loi,
first
'.
movement.
See the original.
m
A major, V
84

_ ^ _, Consequent Phrase
dissolution
Par. 159.
transition
Subord. Th. (2-Part) Part I
"fT'mP,'rA(^ ^ ^g^ f^^m

J
"1
B,
4-meas.
dtfft.
etc.
Consequent
phrase, to
Hi J
iiu^^
53.3.
^^-WM
|3. 5.
(^
i.
*!*'
m
w
**:
II
Part II
^rf^f^-ftt
etc., 5
measures,
^m
1 1
Codetta
-,
duplication
i
^*l^
-^36- i^
='--
semplice
>
f=iifc=5E^
It
--r-
=^
Par. 159.
18S
Recapitulation
Prin. Th.
3)
^.^
"t=irr
H
Subord.
(Co nsequent Phrase )
^^S^^^^ Pf^
m only a
key)
is
iJîl
1^
Theme
*4)
etc.
^f^l'i
Principal
^(in the
#?
is
*i)
The
Theme
begins with the dominant harmony, and
concise
period, including the transition.
The Subordinate Theme

or, at least,
dominant
longer; probably a
Two-Part form,
a group of three well-defined

'
.
phrases, the last one (Part II) considerably extended.
86
*2)

There
is
Par. i6o.
no double-bar, but the ending

is
of the Exposition
is
unmistakable.
The Development
*3)
20 measures in length, divided into two sections.

in the opposite
In the Recapitulation, the Prin. Theme begins

contracted to a 6-measure period.
mode
(o minor)
and
is
*4)
From
here on, the Subord.
Theme and Codetta
(transposed) are reproduced

is
almost exactly as before, after which a Coda of 18 measures

the original; and compare the whole
added.
Compare with
This
movement with the diagram

its
in par. 158.
movement might be regarded as a Three-Part Song-form, but opment into a broader and higher structural purpose cannot
See, further:
expansion and devel-
fail to
be recognized.

iature Sonata-allegro form.
allegro).
Sonata,
Sonata, op. 49, No.

i,
79, first
movement;
similar,
x, first
but more obviously Min(concise Sonata-
op.
2,
No.
first
movement
decidedly Sonata-allegro
6,
movement
form,
but concise.
3, op. 120,
Andante (Miniature Sonata-allegro form).

ed.),
3.
Uozart,
pfte. Sonata,
No. $ (Schirmer
Andante; and No.
Adagio.
Mendelssohn, Praeludiimi, op. 104, No.

Sonata-allegro form).
Presto
agitato in g
minor (concise
Development and Recapitulation together (as i;i Beethoven, movement; Schubert, Sonata, No. 3, first movement; and a few other of the above movements) is in keeping with the usual repetition of the Second and Third Parts together, in the 3-Part Song-form (see Beethoven, the Minuet-movements of the Sonatas). ,
repetition of the
The
Sonata, op. 10, No.
2, kist
160.
As has been
repeatedly shown,
it
is
not dimension, but indiin
viduality oj character,
and completeness, even
narrow
limits,
that
define
a "Theme."
Therefore the sentence
may
and still represent a genuine Theme. This is which review; and is demonstrated in some of the examples for reference at the end of par. 140 (Beethoven, Sonata, op. 8i.4, Andante; Sonata, op. 109, first movement).
161.
be brief and concise, touched upon in par. 85,
In
its
"ui}folding," the 3-Part Song-form
may
pursue another
course of growth, and become a First

is
This, however, normal and genuine, and must be regarded as an aberration, not to be encouraged, and easy to distinguish from the legitimate
far less
Rondo
form.
process of evolution.
See, again, par. 85,
and the references there given.
Noteworthy varieties of the Sonata-allegro form.

162.
In some
cases, notably in the Sonata-allegro
forms of Brahms,
the Development begins with a marked statement of the Prin.

in the original key,
and
nearly, or exactly, as at the beginning.
Theme, (Comp.

Par. 163.
c.)
187
par. 150
This arouses an impression of the Rondo form, or of the
when (as is not uncommon) the double-bar But it is always limited to the first phrase or period of the Prin. Theme, and soon identifies itself as the first Section of the Development. It is wholly justified, as an ingenious substitute for the traditional repetition of the Exposition which is precisely what it repreSonatina-form, especially
is
omitted.
sents, xmtil it dissolves into the
Development, thus serving a double

is
a,im.
This unusual method of beginning the Development

(moderately, and, as
just
it
encountered in Beethoven,
i, first
one measure, at the beginning the Development, exactly the measure the Prin. Theme the same key), after which the harmony Also Sonata, op. No. movement; the seven measures the Develthe Prin. Theme. Also Sonata, op. 31, opment correspond exactly to those Allegro No. movement. Also Schumann, Symphony, No.
of
is
were, tentatively), in Sonata, op. 14, No.
movement;
like
is
first
of
(in
deflected.
31,
1, first
first
of
of
3, first
i, first
(brief).
In
all of
these examples the double-bar

is
is
present, wherefore
;
the form
impossible.
movement of Theme, in the

(It will
each), the
In Beethoven, Sonata, op. 10, No. i Development begins with the first phrase of the Prin.
any misconception of and op. 14, No. 2 (first
opposite mode of the original key. be remembered, that, as a rule, when the Development utilizes the Prin. Theme at the outset, it is in a different key: see Beethoven, Sonata, op. 2, No. 2;
op. op. 28
ure 148,
first movement of each.) 7; The method is adopted with fuller consciousness, and to a much greater extent, in Brahms, Symphony, No. 2, op. 73, last movement: The Exposition ends in meas-
without double-bar; six measures of retransitional bridging follow, and the Development begins, in measure 155, precisely as the whole movement began; practically the entire Development is a manipularion of the members of the Prin.
Also, Symphony, No. 4, op. 98, first movement: The Exposition closes measure 137, without double-bar; eight measures of retransitional bridging lead into the Development (meas. 145), whose first Section corresponds exactiy to the Note the impressive augmentation of the principal beginning of the Exposition. Also, thematic member, at the beginning of the Recapitulation (measure 247). Symphony, No. 4, Allegro giocoso; The Development begins, as in the above examples,
Theme.
in
with a direct presentation of the Prin.

key);
in the Recapitulation, the Prin.
Theme (partial, of course, but in the original Theme reappears (13 measures before the
first (i.e.,
poco meno presto) a half-step higher than at

in a wholly different,
transposed),
and
is
presented
ment.
movement.
op. 87,
Also, Serenade, op. n. String-Quartet,

first
more
serious
and
Isnic,
mood from
16, first
op. 51,
I. Pfte.-Quartet, op. 25, first movement. III. Pfte. Trio, No. 2, last movement.
that of the rest of the move-
movement.
is
Beethoven, Symphony, No. 2, last movement; the double-bar Also Symphony, No. 8, last movement; the same.
omitted.
163.
To what
structural
irregularity
this
particular
manner of
opening the Development
may
give
rise, will
be shown in par. 172.
i88
Par. 164.
But there is one noteworthy consequence which is in no sense irregular, and manifests itself in a significant enlargement and enrichment of the
Sonatina-form.
164.
In
this,
the Enlarged Sonatina-form, there
is
(as
usual)
no
double-bar;
a few measures of retransition lead to the Recapitulation,
which begins, of course, with the Principal Theme.
Thus
far the
form
corresponds to that variety of the Sonata-allegro in which, as shown
above
Prin.
(par. 162), the
Theme,
in the original key.
Development begins with the first member of the But in the Enlarged Sonatina-form
a much larger portion (often the whole) of the Prin. Theme is presented, and spun out as quasi Development until the Subord. Theme appears,
after which, as usual, the course of the Exposition is closely followed
(in the original key),
up
to the Coda.
Thus:
Exposition
Prin. Th. Subord. Th.
Recapitulation
Prin. Th.
Siibord. Th.
Coda
ReRelated
key.
trans.
Extended and
" developed "
Transposed.
Codetta
Codetta
Compare
and lends
form
to
this
diagram with that in par. 133, and observe that

artistic
this
manipulation greatly enhances the

it
value of the Sonatina-form,
a significance almost equal to that of the Sonata-allegro whose structural elements it contains. Comparison with the diagram in par. 142 shows that it differs from the Sonataitself
all of
number of its independent Divisions (the Development and Recapitulation being merged by introducing the process of Development during the statement of the Prin. Theme).
allegro only in the
i, op. 68, last movement {Allegro non troppo). The a 3-Part Song-form, with a duplication of Parts II and III (measures 1-9-17-25-33); Part III (as Part V) is dissolved, and becomes transitional in meas. 4S; the Subordinate Theme is a 2-Part Song-form (see measures 57-71), the Second
See Brahms, Symphony, No.
Prin.
Th.
is
95);
Part leading without cadence into the First Codetta (measure 87, duplicated in meas. the Second Codetta begins in meas. 107, duplicated in measure in. The Exposition closes in meas. 122 without double-bar (as usual in the Sonatina-form)measures 123-4 are the retransition. The Recapitulation begins in meas.
125;
section I
is
Part I of the Prin. Theme; section
II,
Part II of the Prin.

is
Theme
(meas.
133)1 deflected into -flat major,
and extended; section III
based upon Part III
Par. 164.
ENLARGED SONATINA-FORM.
189
of the Prin.
material;
ginal key
meas. 159 to 171; section V is a "development" in character, utilizing the former transitional material; sec. VI (meas. 183) continues the process, dupli-
section
Theme, in E-Sa.t major (meas. 143), spun out, and infused with new IV corresponds exactly to Part V of the Prin. Theme, in the ori-
cated in meas. 188; section VII (meas. 196) resumes the style of section V; section VIII (meas. 207) alludes strongly to the Prin. Theme; section IX (meas. 218)
is
new; section
X (meas. 224)
Theme
is
the transition, quite different from the former one,
into the Subord.
(meas. 240).
From
this point, the course agrees exactly
with that of the Exposition, leading into the Coda in the same manner as before
into the Recapitulation.
18,
No.
3,
Andante con moto; very
similar,
but
more
concise.
The structural plan of the Enlarged Sonatina-form is carried out with singular definiteness of purpose, and in so original and logical a manner that it seems to establish a new and legitimate form, in
Biahms, Symphony, No.
3, op. 90, last Allegro.
(First
number the measures
up
to 200.)
The Exposition:
A.
First Antecedent phrase (measures x-4);
>
"
E.
F.
B. First Consequent phrase (meas. s-8); \ (t.^t/t.-'ti. r^ ^Part I of Pnn. Theme (/ mmor). / \ C. Second Antecedent phrase (meas. 9-13); D. Second Consequent phrase (meas. 14-18);-'
Part
,,,,
n (meas. 19-29);
;
Part III (meas. 30-35) Dissolution G. Sequence, and transition (meas. 36-45); E. Prospective dominant, "second act," new transition-motive (meas. 46-51); J. Subord. Theme, C major. Part I (meas. 52-61);
K. Subord. Theme, Part II (meas. 62-74);

L.
Codetta
I,
M. Codetta
II,
with duplication (meas. 75-95); extended, dissolved as retransition (meas. 96-107).

(the lettered groups corresponding to the above)
The Recapituiation
A. Extended (meas. 10S-113); B. In augmentation (meas. 114-119);

C. Extended (meas. 120-129); D. In augmentation (meas. 130-133), and spun out as "development" (meas.
134-148);
E.
F. G.
"Developed" (meas. 149-171); Extended (meas. 172-181);

Partial (meas. 182-187);
H. As before, transposed (meas. 188-193); /. As before, transposed to F major (meas. 194-203); K. L. As before; M. As before; dissolved, again, but this time into the Coda.
go*
Par. 163.
See also:
Brahms, Serenade,
op. 11, last
movement.
26, last
Brahms, 2nd Pfte. quartet, op.
movement.
i,
Brahms,
ist String-quartet, op. 51,
No.
last
movement.
Another noteworthy method of enrichThe Basic Motive. the resources and widening the structural scope of the Sonataing allegro form, consists in adopting a sort of double thematic basis for the somewhat after the manner of the first species of the Prin. Theme,
165.
Double-fugue, in which the Subject is a dual quantity, instead of a This appears to be distinctive of the Symsingle thematic thread.
phony; but its application to any Larger form seems feasible. Of these two thematic factors, the first assumes the importance of a Basic Motive, which underlies the whole movement, or, at least, all of It is announced _^rs<, and alone, and may be a its more essential parts. melodic, or a full harmonic, motive. That it is in no sense merely
introductory,
is
proven at once by the fact that the
initial
member
of
the Prin. Theme, which follows immediately,
is built
contrapuntdly
upon the basic motive. For illustration:

Basic Motive
No.
^7~?^-
I.
Brahms,
i,
SlSympliony, No.
first allegro.
im%
-s^
Ex.
58.*-
See the original.
P^^
s11
1
1*1
=x-
^^% M
Prin. Tlieme (Part 1)
J
'ik
-Ur
,
r r
FT!
-Ir
M * * u-Tj
I
^^
&:S
11
i^ s^
1 1
Basic Motive

Par. 165.
BASIC MOTIVE.
191
(Part III) (Prin. phrase, expanded)
Basic Motive (contrary motion)
im
ei fr^^ 1^ Sfel ^f g ^f^^^^^g^^^

l^-n
^^
*
_
;
tMi-
^_
ii
.Cl-.'*.
Subord.
Theme
(Basic Motive)
etc.
î^^FS
?
I>
I
-J--.JJ4
^^
w.
frlFP=
(derived from Prin. phrase)
mP "TTT
î.J.
.
P-
fi=^
TJr-l
^^^
-\p
'I
fl
etc. *i)
9^ It
^-^-r-
"~ll?
ji=Z=
I
Basic Motive (contrary motion)
192
No.

2.
Par. 163.
Prin.
Theme
(Part
I)
a: Brahms,
first
Symphony, No. movement.

original.
2,
m ^ ^-=f
^W tM
I
: I
j-tti
^m
-<SKMotive
2m
p\ .j^
See the
3=^
-g
|
.
I
g^ =r
.
u ^
I
Motive
Basic Motive
^
-^
1::
etc.
-s
l^^j^4
etc.
Later:
^^^:=^HWJ
Motive
i
Prin.
^* f^^
J.
Theme
(Part II)
Motive (dim.) Motive (augm.)
liL-i-J
Later:
<i
etc.
îSj^fiJgf
^:^
?g4
5g t^ ^^<-^r-
vn
Motive
ijftf Later:
^î>
dfc^
etc.
J;
^&5
Later:
1^
J
3="
staccato
/
L
&
J-J J J
=^j-
p=

Par. 165.
BASIC MOTIVE.
Motive
193
g^
etc.
-f
Later:
^ ^rMt-rrrrr^'i^*
-^
(Subord. Theme)
H
etc.
^^
w
etc.
IT
Later:
I
^W ^m
U^=J.
r
No.
3.
^
ff
Prin.
*2)
Theme
(Antecedent phrase)
/^.
Brahms,
Symphony, No. first movement,
See the original.
3,
j^.
S
^^.^ "^~
&^f
4:1-
j^^^.^^
1
'
-#4^
I
!3)
I
I
segue^
-ten^
^^
l2S2
I^
Basic Motive
^^
s
(Consequent phrase)
t^f.f
rri-
^Jii
r:
^^
sag
.
p"
Motive
'i.
~F
zp-i
-rt
T^T^ BC^
segueu_r seg .ZET"!
H i^
r:L
seg
|
=^
L->
^1j
194
Par. 165.
4-^ -
fe
f^=^
î
5=^
'MntivK
^
I
:
>-
tr
^
=-1-^
^=
m
is
*2)
Motive
I
etc.
Later:
E ^
i
etc. 4)
s>-^
I
both these
is
*i) It is left to the student to trace the masterly manipulation of
thematic threads through the entire movement,
especially to note the prevalence

metamorphoses,
is, is
of the chromatic Basic Motive, which, through all its manifold
always recognizable and keenly assertive.
In
this
movement, the Basic Motive,
brief as it
fully equal to,
if
not
importance, and permeates the structure in a singularly ingenious and vitalizing manner. The student will find inspiration in
superior to, the Prin.
itself in
Theme
the thorough exploration of the movement, and the (enthusiastic

analysis of its fabric.
*3)
not cold-blooded)
For the
details of the inner
accompaniment, see the
original.
Motive and the actual Principal Theme are so intimately interwoven, that they appear coordinate in thematic significance and in the degree of attention which each compels. But the student will recognize that the
*4) Here, again, the Basic
Par. i66.
BASIC MOTIVE.
properly called the basic motive, for the entire melody of the Prin.
it
195
former
is
is
Theme
adjusted contrapmitally to
(or derived contrapuntally
from
it).
Both are wholly
Theme, which presents a very striking contrast measure and character, and provides the chief sections of the Development. Again, the student is urged to make an exhaustive study of this masterly movement, and to note, constantly and earnestly, the manner and spirit in which the structural plan is executed. If these thematic devices were employed with complacent calcuabsent, however, from the Subord.
in key,
lation,
and the lines drawn merely with
clever technical ease
as
Ufeless arabesques
the music would be to some extent interesting and even
but not inspiring. These symphonic movements, however, are vitalized by an emotional energy and warmth of passion that is at times almost overpowering in its intensity; and the
artistic,
structural devices are applied in the control of this surging passion,
and as
the last
and
most eminent means of preserving the unity and concentration of the whole.
166.
in a totally different
remote suggestion of such a double thematic basis, though and less significant sense, may be detected in
is
those larger fqrms with an Independent Introduction (par. ijSd), for
which, in a few cases, a specific motive

(in the
chosen,
and
later alluded to
movement
proper).
first
For example: Beethoven, Sonata, op. Si A,
movement.
The
first
three
chords of the Introduction are, to a considerable extent, "thematic":
(Sub. Th.)
Introd.
Allegro
(Codetta
I)
Adagio
Ex.
59.
Later:
etc.
Later
*i=
tt
i ûl
(Codetta III)
^
^^
-*Z9-
l-U
3*er"
^m
Pt=^
^^
etc.
etc.
Later
:_
^^
I'
f-f.
196

(Development)
(Coda)
f
Par. 167,
Ife:
Later:
P
-i^
etc.
Later:
Vs-
i^ m
f3
Par- i68.
TRANSPOSED THEMES.
is
97
a.
This
Recapitulation,
applied strikingly to the Principal Theme, which, in the occasionally appears at least partially in some
other than the original key.
In order to comprehend fully how this may be done without impairing the structural purpose, the student should thoroughly review par.
123,
and
especially par. 124.
See, again, Beethoven, Sonata, op. 10,
No.
2, first
movement: The
is,
at the beginning of the Recapitulation (two-sharp signature)
for
Prin. Theme, a while, in D
major instead of
F major.
78,

statement of the Prin.
Prin.
second movement (Sonatina-form, with additional
Theme
at the end
par.
(Pr.
181) :
In the Recapitulation, the
Theme
is
presented in
major, instead of F-sharp major.

4, Allegro giocoso

Schubert, Sonata, No. 3,
key).
(already cited, in par. 162).
last
movement
Th. transposed to the sub-dominant
Schubert, Sonata, No. Schubert, Sonata, No.
6, first
movement
(the same).
7, first
movement
(the same).
Last movement of the
same Sonata
b.
(Prin.
Th. transposed to the dominant key).

is
This modulatory shifting process
so frequently applied to the
its key with complete freedom, and even with disregard of the principle of relation
Subordinate
Theme
(which has often been seen to choose
to the principal
tion), that
both in the Exposition and in the Recapitulakey no further discussion or illustration is necessary.
For a particularly interesting example, see Beethoven, Symphony, No. 8, first movement, and last movement: The Subord. Theme begins, in every case, in an unexpected key, but (also in every case) swings over into the proper key after one Sonata, op. 31, Period. See also Beethoven, Sonata, op. 53, first movement. Sonata, op. 31, No. 3, last movement. No other master No. I, first movement.
employs the device of transposition quite so
freely, or so effectively, as
does Schubert.
168.
a.
Polyphony, in the Larger Forms.
The
use of polyphonic
as well as homophonic texture, in the execution of the Larger designs of composition, as pointed out in par. 2, has been witnessed in many of
the foregoing examples.
But
there are cases where the adoption of the
and contrapuntal treatment generally, is not merely incidental (or peculiar to the Development), but pervades the Themes themselves, and thus enters vitally into the purpose and character of the movement; and such examples may be classed among the noteworthy varieties of the Larger Forms. For illustration:
polyphonic or imitatory
style,
igS

'Cello Sonata, op. 38, last
Par. i68.
Brahms,
movement: As a whole,
fugue, in Sonata-allegro form (with a Dislocation fugal exposition, chiefly of Subject
par. 185);
this is
a Double-
the Prin.
Theme
is
B.
String-quintet, op.
88, last
A; the Subordinate Theme begins with Subject movement; an admirable example of an elaborate
Fugue
in strict Sonata-allegro
form (no double-bar).
a movement: the Development is an elaborate fugato, upon the first phrase of the Prin. Theme, and a general imitatory atmosphere pervades the movement; it is not, however, a Fugue as a whole. Sonata, op. no, last movement: This is, roughly speaking, a
Fugue, in Sonata-allegro form (no double-bar).
Also, Beethoven, String-quartet, op. 59,
No.
Sonata, op.
3, last
movement;
practically
loi, last
Sonatina-form;
the "Subord.
transposed,
is is
Theme"
Theme is a lyiic Adagio (with Introduction par. 178), a Fugue; in the Recapitulation, the Fugue, besides being manipulated in contrary motion. Mendelssohn, Sonata, op. 6, third
the Prin.
is
movement,
similar, excepting that here the Prin.
Theme
is
fugato,
and the Subord.
Theme
lyric.
Other interesting examples

Mozart,
of
more or
less essentially pols^phonic character:
ture to Die Zauberfiote.
No.
2, last
Beethoven, Sjonphony, No. movement. C^sar Franck, Violin Sonata

this connection, attention
C major S3anphony,
last
movement (Quintuple
in
fugue).
9, Scherzo.
Mozart, Over Sonata, op.

10,
A,
last
movement
(canonic
Prin.
Theme).
b.
In
may be
directed to the
employment
of the extremely vital device of Melody Expansion in the Larger Forms.

See,
first,
is
Homophonic
differs
Forms, par. 32.
It
tion,
analogous to the thematic modification
known
as
Augmenta-
but
from
this in that it is
not applied to the whole member,
bodily,
but consists in expanding (rhythmically enlarging or lengthen-
ing) single tones, or tone-groups, or repeating tone-groups, so as to
"stretch" the melodic phrase, so to speak, over a larger

measures.
number
of
As "Augmentation," it appears frequently in the music of Bach and other contrapuntists; also in that of Haydn and Mozart. As "Melody Expansion" it is suggested, only, in Beethoven; and is applied with more definite purpose in Mendelssohn {Homophonic Forms, Example 44). But it was reserved for Brahms to make thoroughly conscious, vital and truly significant use of Melody Expansion, as a practically new and powerful factor of legitimate structural development, and consistent thematic derivation. For illustration:
a No.
I.
Allegro non troppo

Violin-:
77,
Ex.
;&!>_
Brahms,
first
60.
V~ Concerto, op.
movement,
-a
^*
5^^î^
Sh
etc.
Original melodic sentence
Par. i68.
MELODY EXPANSION.
199
Later form:
A-
i i 1
i)
^
iE
t^^ i
-<&'. -&-'.
'S:
-S-'m
^S- m
i^
X
f^
Adagio
No.
2.
ggg'
[gjg-v-r2ag-T-|zaS'-;
etc.
i
ît^
-<-@-
ST Brahms,
'
Violin
Concerto, second
movement.
*2) meas.
^m
i.
^
3.
2.
4.
original melodic sentence (8 measures)
h^-tfe'
Later form (14 measures)
F=FFT
H'-^*=
T r
*=t
^*2)
..
expanded
^
(Sz/a..
.-rrrrrt
^^ rTrfTi-^^^^S^^
expanded
Par. i68.
200
^^ s^=^s
7j.
8.
=Ft{F=f=M
expanded
6.
iÔ:'
^^ i =t4f
modified and expanded
i?-^
ife
^
etc.
expanded
Allegro vivace
No. 3
<j ;
n
P4-
Brahms,
first
'Cello
v.
Sonata, op. 99,
i-^
t^
*i *
I
movement. Meas.
i.
2.
3.
4.
Original melodic sentence (8 measures)
î^-expanded form
^"^"'
h-
^^
^ A\
^.
_juji;i:
Immediate
^1~
;
duplication, in
-^g-^
Meas. ir
i^
#5^
:f^-f^
i?
I
ifa
^^ 9^
s
and
2)
TTT
m
*3)
(repetition of i
:9^
^3
qf^
%J^ r-mr-j
i
^ r r-rtr-Ff-r-f^
I
-^
-#--^t:
i i
^.rr iir ^ttr,!
4.
expanded
>
etc.
extension
Par- 169.
IRREGULAR FORMS.
201
*i) In this example, the expansion of the melodic sentence assumes the unusual form of "imitation," expansion in which different voices participate. The prin-
ciple is the
same, of course.
See the original.
Here the process See the original, in order to appreciate the full significance of the harmonic associations, in the accompaniment.
of expansion
is
*2)
The measures
are numbered, for convenient comparison.
clearly exhibited.
*3) Here,
Another
Theme
is
both repetition and expansion are active. See the original. may be seen in Ex. 58, No. i; Part HI of the Principal an expanded version of Part I (involving repetitions, also).
illustration
EXERCISE
A. B.
12.
characteristic.
but thoroughly Themes). C. Two or more examples of the Enlarged Sonatina-form. D. An example of the Sonata-allegro form, with Basic Motive and Prin. Theme. E. An example of the Sonata-allegro form, with transposition of the Principal
in the Recapitulation.
Two or more examples of the Miniature Sonata-allegro form. An example of the Concise Sonata-allegro form (with brief,
Theme,
F.
An
example of the Sonata-allegro form, with polyphonic treatment.
CHAPTER
XIII.
irregular forms.
Introduction.
169.
a.
It is but natural that
regular or conventional arrangement

factors of the
form
shoxild occur.
an occasional deviation from the and treatment of the essential These irregularities do not, however,
contradict the fundamental principles of musical structure, but are the
decidedly rare exceptions which "prove the rules. They corrtain nothing which violates or obscures any of the vital lines of the designs, since their object, dictated always by the particular character of the music itself, is merely to lay more emphasis upon one or another of the the-
matic members, or to provide more effective contrasts and better balance of parts; in a word, to obtain a more telling presentation of
the thematic material.
h.
The student has observed

form are
of
that the various
members and
divi-
sions of the
two
distinctly
opposed kinds:
202
Par. 170.
1. The thematic components (Prin. Theme, Subordinate Theme, and the Codettas), whose treatment is regulated by fairly strict conditions; and 2. What might be termed the episodic components (the Transition, Retransition, the Development, and the Coda), which are treated with almost absolute freedom, and conform to no other law than that imposed by the imagination and good judgment.
170.
very
common
general cause of irregularity
is
traceable to
the
manner
is
of treating these "episodic," or free, factors of the form.

telling, for
There
or
no
example,
when a
retransition, impelled
by the
impetus of the musical material,
may expand
into a developing section;
when the
ously begun,
extension or dissolution of one of the basic phrases, ingenumay be spun out, similarly, into a " development," or into
assimie both xinexpected contents
an
or
episodic division, or be transformed into a
when a Coda may

This
is
new thematic member; and length.
quite as
it
should be, for
it
prevents the necessary controlling
influence of the fundamental thematic conditions
equally necessary freedom of conception

the musical ideas themselves to define
from hampering the and expression; and it enables the most appropriate form of
each part and of the whole.

171.
The
1.
Irregularities
may be
roughly divided into four classes:
Exchanges or Mixtures of the Thematic

factors
2.
Augmentations
Abbreviations (omissions)
Alterations in the order of the thematic
factors ("dislocations")
(
of the regular
designs.
3. 4.
Exchanges, or Mixtures.
I.
The Rondo with Development.

classes
172.
allegro
this
are radically
The two
of
Larger forms
Rondo,
and Sonatait is for
differentiated, as has
been seen; and
very reason that an occasional fusion, or exchange, may take place between the two, in a perfectly recognizable (and therefore per-
Such a fusion occurs, now and then, in the Third Rondo form (more rarely in the Second Rondo), when a Development
missible) manner.
takes the place of the Second Subordinate
Theme.
Par. 173.
IRREGULAR FORMS.
203
The
roving, generally urgent, often polyphonic, character of a
"Development" is so well-defined (par. 150) that it cannot be confounded with any other factor of the design, and, therefore, its presence (as irregularity) in the Rondo cannot be mistaken.
See Beethoven, Sonata, op. 27, No. i, last movement. with Development," and has the following design:
It is a
"Third Rondo,
First Division
Prin. Th.
Middle Div.
Development,
instead of
//.
Recapitulation
Prin. Th.
*i)
I.
Sub. Th.
Prin. Th.
I.
Sub. Th.
transposed,
Coda
as usual
Sub. Th.
*i)
Compare
this
with the diagram in par. no.
The
details are as follows:
Principal Theme, -flat major, Part I'(meas. 1-8);
Part II (meas. 9-16),
re-
peated (17-24); Part III (meas. 25 ), dissolved (meas. /. Subordinate Theme, B-flat major (meas. 36-56); Codetta (meas. 56 ), extended (to meas. 72);
Reiransition (meas. 72-81);
28), transition (29-35);
Principal Theme, Parts I and II (meas. 82-97);
Part II duplicated, as before,

11, extension
but dissolved and led to a cadence in

Development, section
I,
G-flat
major (meas. 98-106)

(meas.
di-
polyphonic (meas. 106-131); section
132-139) to the prospective dominant;

gression from the dominant,
Recapitulation
section III, retransitlon,

it
an ingenious
and back
to
(meas. 140-166);
Codetta, which
once, the final
(meas. 167 The Recapitulation ends with the ), as usual. extended and led to a dominant semicadence; the Coda follows at da capo being omitted (but alluded to in the final section).
is
173.
It
is
obvious that this thematic arrangement elevates the

it
Rondo
form, and leads
toward the Sonata-allegro form,

It interrupts, for
of
distinctive feature is the Development.
which the a time, the
characteristic structural process of the
alternation of a Prin.
Theme with
various new Themes,
Rondo, namely: the constant and substi-
tutes the leading principle of the Sonata-allegro:
the elaboration or
development of the original thematic material.

i,
See further:
ment
in place of the II. Subord.

is
Theme.
the principal motive
represented in
(Third Rondo, with Development

plete).
at the change
No.
i,
movement (Third Rondo, with DevelopThe final da capo is omitted, as such; but Sonata, op. 90, last movement the Coda).
last
of signature; Recapitulation
String-quartet,
No.
2, last
com-
op. 18,
I.
last
movement (Third Rondo form, with

begins each time a sth too high, and
is
elaborate Development; the
Subord.
Theme
then drops into the proper key;

Trio, op. 9,
the last da capo
merged
in the
Coda).
Pfte.
movement (Third Rondo, with Development; both
retrans-
204
^^^ LARGER FORMS OF MUSICAL COMPOSITION.
Par. 174.
itioss lead to
a heavy dominant chord, followed, singularly, by a light double-bar
to
mark the form;
the final da capo
is
omitted, but alluded to in the Coda).
No. 2, last movement (Third Rondo, with Development). No. 3, last movement (a very unusual design for a modem sonata-movement, suggestive of the old-fashioned Rondeau, in which a brief Principal phrase alternates with quite a number of similarlyl)rief "Subordinate" phrases. This alternating process continues for 90 measures, and is then followed by a genuine Development, to meas. 141, where the Principal phrases again appear, followed by a
Violin Sonata, op.
Violin Sonata, op. 30,

30,
fairly
lengthy Coda).
Mozart, Sonata, No. 12 (Schirmer edition), last movement (Second Rondo, with
additional Development, as extension of the second retransition, similar to par. 174,
which
see;
the 11. Subord.
Theme
is
genuine).
Mendelssohn, "Midsummer Night's Dream," Scherzo (Third Rondo, with DeEtude, op. 104, No. 5, F major, (Second Rondo form, with Developvelopment).
ment).
9,
major, last
ment.
The
design
persistent duplications
favorite manner.
tively, in ii'-sharp
In the Recapitulation, the Prin. Theme
especially in the major). Sonata, No.
is
legitimate
and
clear,
movement (Third Rondo, with Developbut is rendered extremely broad by

I.
Subord.
Theme
is
after
Schubert's
first
stated, tenta-
10, B-flat major, last
movement (Third
Rondo, with Development; also very broad design, but perfectly clear; the Prin. Theme has a tmique modulatory beginning, which influences all the retransitions; three large Codettas follow the I. Subord. Theme).
Brahms, 2nd
ment).
3rd
I.
pfte. Concerto, op. 83, last
pfte. Trio, op. 87, last
omitted in the Recapitulation).
movement (Third Rondo, with Developmovement (the same; Part I of the Prin. Th. Serenade, op. 16, last movement (the same).
Marcia funebre (Second Rondo, with Developsame key, but opposite mode; Part of the Prin. Theme is transposed, in every instance, to the subdominant key). Symphony, No. 7, Allegretto (Second Rondo, with Development; at the beginning, there are three complete repetitions of the Prin. Theme; in the Coda, a portion of the Subord. Th. appears as Section I, and the first Period of the Prin. Th. as Section TTT).
3,

Subord.
ment; the
Theme
is
in the
174.
in the Third
is
The insertion of a Development has been seen to occur chiefly Rondo form, and occasionally in the Second Rondo. There
it
no apparent place for
in the First
thematic members could maintain
its integrity, if
Rondo form, because none of the replaced by a De-
velopment.
But
it is
nevertheless practicable to create the impression
of a "developing" section, even in the First
Rondo
form,
out the retransition (as intimated in par. 170), after the specific
by spinning manner
of a Development.
See Brahms, S3fmphony, No.
Prin.
2,
op. 73, Adagio:

1-17);
Theme [B major), 3-Part period (meas.
Transition-phrase (meas. 17-27); "second act" (meas. 28-32);
Par. 17s.
IRREGULAR FORMS.
205
Subordinate Theme (^''-sharp major), 3-Part form (measures 33-44); Codetta (meas. 45-49);
Relransition, as fairly elaborate
"Development" (meas. 49-67;
there
is
a curious
"false start" of the Priu.
member
in meas. 65);
Prin. Theme, as before, but modified (meas. 68-80);
The Coda
briefly, to
begins in meas. 81, precisely as the Transition-phrase did, and reverts,
the "development" style.

i (similar; the Subord. Theme is in the same extended in the manner of a Development; the Prin. abbreviated to its First Part, which is then extended in lieu of
it is
Also Brahms, Ballade, op. 10, No.

key, but opposite mode;
Theme, as da
a Coda).
175.
capo,
is
The Third Rondo form with a Development
bears a misleading
resemblance to that variety of the regular Sonata-allegro form in which the Development begins with a partial statement of the Prin.
Theme
exactly as at the beginning of the Exposition (par. 162).

is
This
best illustrated
by a comparative diagram:
'I)
First Division
Prin. Th.
Middle Div.
Pr. Th.
Development,
instead of
Recapitulation
Pr. Th.
I. Sub. Th.
I.
Sub. Th.
Prin. Th.
and Coda
Relransition
II. Sub. Th.
2)
Exposition
Prin. Th.
Development
Pr. Th.
as ist
Recapitulation
Prin. Th.
Sub. Th.
Subord. Th.
Coda
Section
following
Sections
*i)
Third Rondo form, with Development
(par. 172).
"2) Regular Sonata-allegro form, with first
member
of the Prin.
Th. as Section I
of the Development.
The
distinction
lies,
of
course, in the pmrpose of the composer,

clearly
according to which
it
must be
shown whether the form
is
to be
"Rondo"
(exhibiting the principle of Alternating Themes), or "SonataIt will manifest itself
allegro" (Exposition of Associated Themes).

in the location of the double-bar, or of the
the Divisions
as shown
in the diagram.
heavy bar which separates In the presence of a double-
206
Par. 176.
bar, there can be no misconstruction.
In the absence of a double-bar,

first re-
the distinction depends upon the extent and quality of the

transition (which
chiefly,
may
support the Rondo-impression); but also, and
upon the
it is
quantity of the Prin.

it will
Theme that
is
presented at this
point: If
only a fragment,
clearly prove to
be no more than
a genuine and
establish the
the
first
section of a genuine
Development; but
if it is
fairly
complete presentation of the Prin. Theme,

form.
difference is dearly exhibited
is
it will
Rondo
The
movement
Beethoven, Sonata, op. 31, No. i: The first a Sonata-allegro of the above t3T)e; the last movement is a Third Rondo
with Development.
n. The Sonata-allegro with a Middle Theme OF, THE Development.

176.
in,
or instead
This comparatively unimportant irregularity
is
the result
of a slight concession of the Sonata-allegro design to the Rondo-principle.
It consists in introducing into the Development,
or partly
substituting for the latter, a
more or
less
new
thematic episode, which

effect of
may,
in extreme cases,
assume precisely the rank and
a "Second
par.
Subordinate Theme," and which, in any case, interrupts, or greatly

limits,
the process of genuine "Development."

is
Compare
173,
which
here reversed; the Sonata-allegro exhibits new

is
traits, after its
Exposition
completed, instead of confining
itself to its
own
original
thematic members.
The
justification of this
treatment
is
pointed out
in par. is^^j which review.

found in Beethoven, Sonata, op. 2, No. i, last movea wholly new thematic factor appears instead of the expected Development. This new episode, or Middle Theme, is a complete 3-Part Song-form, with all the repetitions, and assumes the nature and significance
characteristic
is
example
ment: After the
ustial double-bar,
of
an additional "Subord. Theme."

is
process of "development"
After it has reached its full tonic cadence, the begun, in the usual way, and carried on, through the
retransition, to the return of the Prin.
Theme
(Recapitulation).
See further:
(without repetition)
10,
No.
3,
Largo:
A light double-bar
marks the end

tion.
of the Exposition;
is
melodic sentence
mately, with a
No. i, first movement: The Development begins, legitimember of the Prin. Theme (in the opposite mode 12 measures); the following section is a new Middle Theme, extending to the Recapitulation. Sonata, op. 14, No. I, first movement: The first section of the Development is derived from
op. 10,
Sonata,
instead of a "Development," an entirely new annoimced, which, with its extension, leads to the Recapitula-
Par. 177.
IRREGULAR FORMS.
is
207
third section
is
the Prin. Theme; the second section

retransition.
a Middle
Theme; the
the usual
Mozart, Sonata, No. 16 (Schirmer edition), Andante: With the exception of the beat, the entire second Division is a new Middle Theme. In Mozart, Sonatas, Nos. 4, 6, 7, IS, the first movement of each, the Development contains more or less
first
new
No.
material.

6, op. 147, last
4, op. 122, last
movement. In Sonatas No. large section of the Development is new.
movement
7
(also first
movement).
Sonata,
of each),
and 8
(first
movement
2, op. 61, Adagio (third movement) The form is but legitimate and clear; the Exposition ends in meas. 62 (without doublebar); the 12 measures which follow constitute a new thematic member, and lead to the Recapitulation (in measure 74).
:
concise,
Brahms, 2nd
pfte. Concerto, op. 83,
second movement {Allegro appassionato):
An
extremely interesting and powerful, but imique, movement;

leads to the usual double-bar; a genuine
section of which leads to
a regular Exposition
Development follows, the third (or fourth) an unexpected complete tonic cadence in the original key; hereupon the signature changes (to two sharps) and a characteristic Middle Theme,
strongly suggestive of a "Trio," follows (par. 183);
it
also has a complete tonic
cadence, but (at the change of signature, back to one

transition,
carried over into a rewhich leads into the genuine Recapitulation (with the customary transSee also, Brahms' Rhapsodic position of the Subord. Theme); the Coda is brief. in g nunor (op. 79, No. 2) Prin. Theme, Two-Part form, with an important Codetta; Sec. I of the Development (8 measures) is derived from the Prin. Theme; Section 11 is its sequence; Sec. Ill, from the Codetta; Sec. IV is mm, and assumes the rank of a "Middle Theme"; it is in Two-Part form, dissolving into the retransition.
flat) is
Augmentations.
augmentation of any one of the regular designs results from the insertion, or addition, of one or more complete, but extraneous, not included, or expected, in the original plan. structuraOactors Such extra members may appear at the beginning, or dturing the Expo177.
An
sition;
possibly,
though more
rarely, in the later course of the
move-
ment.
178.
Independent Introduction
mon
a.
augmentation consists in
Probably the most comor Coda. an independent Introduction, placed
before the Exposition.
This
may
be
brief
and unessential:
2o8

first
Par. 178.
Beethoven, Sonata, op. 78,
four measures.
Mendelssohn, Caprice, op. a,

possess,
No.
2.
b.
Or
it
may
be longer;
may
be in Group-form, or in complete
Twoc.
or Three-Part Song-form;
and may
differs,
both
in character
and contents, independent

the
significance.
In this case, the Introduction
as a rule, completely from
tempo (being almost always much slower andante, or adagio). And it may be either a general means of estabUshing the key, without any thematic reference to the following
movement
proper, in style and in
Allegro:
Beethoven, Symphony No. i, first movement; S3anphony No. 2, first movement. In the Symphonies, No. 4 and No. 7, there is first a lengthy independent Introduction (in slower tempo), and then an additional, brief, direct introductory phrase of a few measures, in the Allegro tempo. Sonata, op. in, first movement. llendelasohn,
Caprice, op. 33,
No.
i.
d.
Or
it
may be
thematically related to, or even constructed sys-
tematically upon, thematic
members
of the
movement proper:
Beethoven, Sonata, op. 57, last movement, first 19 measures. Brahms, Ss^mSymphony, No. i, op. 68, phony. No. 4, op. 98, Andante, first four measures.
first
movement.
Pfte. Sonata, op. 2, last

13,
movement.

Coda.
and
especially in Sonata op. &1A, (first
movement
and
of each), fragments of the Introduction recur during the following Development,
The final phrase

and
led to a
is,
The key
of an independent Introduction is usually dissolved heavy dominant ending, often considerably expanded. naturally, the same as that of the movement proper.
i, last
In Brahms, Symphony, No.

Allegro; it is
Its
this introduction is constructed
movement, it is in the opposite mode (c minor); wholly upon thematic members of the following therefore "independent" only in tempo, but wholly related in contents.
will
thorough analysis
e.
prove most instructive.

is
To
some extent analogous,
section in the
Coda
usually the
the insertion of
final section
in contrasting (usually
an
irregu-
an independent
quicker) tempo.
lar
This, however, can scarcely be regarded as

(like
augmentation, since the Coda
to any
number
the Development) has a right of Sections, with any contents.
See Beethoven, Sonata, op. sZt end of the last movement {Prestissimo). Symphony, No. s, end of the last movement (Presto). Brahms, S3miphony, No. 3, end Mendelssohn, Symphony, No. 3 (a minor), of the last movement (slower tempo).
end of the
last
movement
(slower tempo).
This factor
First
is
strikingly significant in
Brahms, Sonata,
op. 5, Andante; the form
is
has the appearance and importance of a
II.
Rondo, but the independent Coda Subord. Theme, m the subdominant key.
Par. 179.
IRREGULAR FORMS.
Double Subordinate Theme.
of
209
179. in
In Sonata-allegro (possibly also
Rondo) designs
unusual breadth, or conceived with a certain
exuberance of
it is sometimes possible to Themes in succession (in the Exposition, of course). This is a very rare augmentation, and its presence can be verified only in those cases where that thematic member which corresponds to the first Codetta is so elaborate and extensive as to claim attention as a genuine Theme. Such analysis seems reasonable, and con-
conceptive imagination,
identify two Subordinate
venient, in the following:

(measures 1-13); Part
dinate
.i,
No.
3, first
movement:
Prin.
Theme, C major, Part
11, dissolved
(meas. 14-23); transition (meas. 24-26); Subor-
Theme
"A"
(in g
minor, dissolved, meas. 27-43);

(in
Subordinate Theme
"B"
transition (meas. 44-46); major). Part I (meas. 47-61); Part II (corresponding
to Part II of the Prin.
Theme, meas. 62-77); Codetta
I (meas. 78-84); Codetta II
(meas. 85-90); Double-bar.
Also in Beethoven, Sonata, op. 7, first movement: Subordinate Theme "A", measure 41; Subordinate Theme "B", meas. 60. The latter (Sub. Th. "B") might be regarded as the First Codetta, but it has fuU "thematic" value. The real first Codetta appears in meas. 93.
Still
more convincing
is
Mozart, Sonata, No. 17 (Schirmer edition),
first
move-
ment:
Prin.
Theme,
major, measures 1-31; Transition-phrase, dupUcated, and dis-
solved into the prospective dominant (meas. 32-41); Subordinate Theme "A", C major (meas. 42-57); Transition-phrase, dupUcated, and dissolved, again, mto the
dominant (meas. 58-66); Subordinate Theme "B", C major (meas. 67-89); I. Codetta (meas. 89 etc.). It is evident that no other interpretation of this design is so consistent as that of an Augmentation, consisting in the addition of another Subordinate Theme. And the same condition is unmistakably present in Chopin, e minor pfte. Concerto, op. 11, last movement: A very broad Third Rondo form, in which, besides there is a I. Subordinate Theme which par. 1806, the usual toi-msertions, appears in two wholly distinct thematic divisions: I. Subordinate Theme "A", in meas. 120, and I. Subordinate Theme "B", in meas. 171-173, etc. These might, it is true, be regarded as the First and Second Parts, respectively, of one Subordinate Theme; but their radical difference in character is much more suggestive of individual
Themes.
somewhat
type, occiurs
though of a less common No. i, last movement: in Beethoven, Sonata, op. 49,
similar thematic insertion,
After the Prin. Theme,

the transition leads
complete (though Incipient) Three-Part Song-form,
mode
(meas. 20)
ordinate
Theme
followed by two measures of bridging, which lead to the Subproper; and the same insertion occurs again, slightly altered, at the
retransition.
to
distinctly independent thematic period, in the opposite
end of the Subord. Theme, before the an "Intermediate motive."
This insertion might be called
2IO
180.
nificant

The
Concerto-allegro.
Par. i8o.
Additions, or insertions, of a very sigin the various
and conspicuous nature appear

an equally
movements
of
the Concerto, which, as a natural consequence of the association of an

individual Solo-part with
vital orchestral
accompaniment,
are almost invariably a positive augmentation of the usual, regular,

designs.
a.
The most noteworthy
of these (more
is
common
in the earlier,
than in the modern, Concerto),
a preliminary presentation of the
chief thematic material of the Exposition; not as
an Introduction, but
as a sort of pseudo-Exposition, sometimes
all
in the principal key, pre-
ceding the actual Exposition.

It is generally assigned to the orchestra alone, as in the first
movement
Brahms, and 2 and 3; and in his Violin Concerto. Mendelssohn, Violin Concerto. ist pfte. Concerto, op. 15; and Violin Concerto. But the Solo-instrument sometimes participates, especially at the very beghming, as in the first movement of Beethoven, pfte. Concertos, Nos. 4 and 5. Brahms, 2nd
hoven,
pfte. Concertos,
Nos.
i,
of Beet-
pfte. Concerto, op. Z^.
This introductory Exposition, and the following genuine Exposition,

represent, in a sense, the customary repetition of the Exposition. repetition never occurs in the Concerto,
This
and
therefore the usual (heavy)
double-bar, with repetition-marks,
is
invariably omitted.
and note the
Examine, thoroughly, the beginning of Beethoven's 3rd pfte. Concerto, op. 37, relation of the introductory Exposition to the subsequent genuine one.
b. Besides this extra member, at the outset, the Concerto-movements are further augmented by fairly frequent "tutti" passages,
for the orchestra alone;
inserted
for necessary contrast as Inter-
end of the thematic statements in the Solo-part sometimes between the Themes; and at the end of the Recapitulation, leading into the
ludes, chiefly at the
(between the Exposition and the Development;
Cadenza).
See Beethoven, pfte. Concerto, No. 3, first movement (analyze the whole movement, thoroughly): Orchestral Exposition; regular Exposition; "tutti "-insertion at the end of the Exposition; Recapitulation; " tutti "-insertion and Cffliewzo; Coda.
Also the last movement of Chopin's e minor Concerto (cited in par. 179).
c.
The conventional
is,
Cadenza
is
also a distinctly extraneous inser-
tion.
It occurs at (or within)^the cadence-harmony of the Recapitu-
lation (that
before the Coda), whence

significance,
its
is
name.
The Cadenza
has,
as a rule,
no structural
and
therefore never essential.
Its chiefly superficial purpose is to provide for the Solo-performer
Par. i8i.
IRREGULAR FORMS.
211
specific opportunity to display his technical dexterity. But its mere presence does, nevertheless, exert an influence upon the impression of the whole, which cannot be ignored; therefore, it is considered necessary
with the rest of the movefrom foregoing thematic members; and to exercise fine artistic discrimination. In many (older) concertos, the place for the Cadenza is designated, and its achievement is then left to the Solo-performer, who might even improvise its contents. The wisest course is, no doubt, for the composer, if he wants it, to incorporate
it
to
mould
in
some degree
of consistency
ment;
to derive its contents
his
own
Cadenza, or
pfte.
its
equivalent, into his work;

first
as in
pfte.
Schumann,
a minor,
others.
first
Concerto in a minor,
movement; Grieg,
first
Concerto in
movement; Mendelssohn,
Violin concerto,
movement,
and
not
181.
Sonatina-form with
final
da capo.
The Sonatina-form
is
infrequently augmented
by an
additional presentation of
the Prin,
Theme
at the end of the Recapitulation. In the examples given in Chap. X, an apparent extra da capo of this kind was sometimes observed; but in the genuine Sonatina-form this would be no more than a
first
fragmentary allusion, as
of the Coda.
section (or
perhaps some later section)
(See again, for example, Beethoven, Sonata, op. lo, No. i. Adagio, in which the Coda, measure 22 from the end, begins with the first phrase only of the Prin. Theme. This is not enough to constitute an augmentation of the formal design.)
As
course.
real augmentation, this final
da capo must represent the whole,
or at least one whole Part, of the Prin. Theme, in the original key of
it is, thus, an obvious recurrence of the Prin. Theme, it from which a significant relation to the Second Rondo form the Sonatina-form differs (externally) only in that the same Subord.
When
establishes
Theme
appears twice, instead of two different ones.
Compare the
par. 97:
following diagram with that in par. 133,
and with that in
Exposition
212

it is
Par. i8a.
breviated; after the Recapitulation,
stated, with evident purpose, in the proper

finally
key (34 measures from the end), but somewhat abbreviated, and brief Coda.
Similar: Chopin, Sonata, op. 58, h minor, last
ures;
in the Recapitulation, the Prin.
merged
in
movement: Introduction, 8 measit
Th.
is
transposed to the subdominant key;
reappears, in the original key, complete, before the Coda.
8, c
minor. Adagio.
tditiovi), Andante;
Mozart, Sonata, No. 13 (Schirmer
concise,
but
clear.
Brahms, 2nd
Pfte.-quartet, op. 26, poco adagio.

18,
No.
6, last
movement: Independent
Intro-
duction; the reappearance of the Prin.
Theme
after the Recapitulation, both before
and
in the Coda,
is
persistent.
3, op. 97, third
movement: The design
is
imusual,
approaching the Group-form; Prin. Theme, period (measures 1-5); Subord. Theme, (Part I, meas. 6-10; Part II, meas. ii-is, complete tonic cadence); Prin. Theme
("Codetta" in
effect),
with
new Consequent phrase
(meas. 16-21);
Subord.
Theme
(meas. 22, extended to meas. 34); (meas. 36-40); Coda to the end.
Retransition, one measure;
Prin.
Theme, again
182.
(third)
The enlargement of the Rondo by the addition of another Subordinate Theme, must be accounted for as an augmentation
And glance,
again, at Mozarf, Sonata,
of the
Third Rondo form.

movement.
See par. 129.
No.
17, last

capriccio, op. 129,
No.
8, last
23, last
movement; and movement.

different
See
also,
Beethoven, Rondo a
which contains three
Subordinate Themes and two complete Developments.

183.
Larger
Forms
with "Trio."
The "Trio"
and
is
is
a structural
division peculiar to the Dance-forms,
usually confined to the
Menuet, March, Scherzo, and related compositions of that domain. Its presence in one of the Larger forms may result partly from a refinement of the dance-form, as shown in paragraphs 95 and 96, whereby the "Trio", emulates a real Subordinate Theme. Or it may occupy an independent place in a Larger form, in consequence of the enlargement of
the principal division (the first, or principal,
is illustrated clearly in the Scherzo of
Song-form).
Beethoven's 9th symphony: the prinThis cipal division is magnified into a complete Sonata-allegro form (as indicated in paragraphs 157, 158); wherefore, the form of the entire Scherzo must be defined as a
"Sonata-allegro with Trio."
159; the
See also Mozart, Sonata, No. 9 (Schirmer ed.), Menuetto already cited in par. "Menuetto" is a Miniature Sonata-allegro, and to this is added the usual
"Trio" (and da capo).
The
ist
Rhapsodie of Brahms (op.
79,
No.
i) is similar
Par. 184.
IRREGULAR FORMS.
213
though less pronounced; the principal division is a broad Three-Part Song-form; Part I has two Codettas, and is repeated; Part II is sectional; Part III is extended, but without the two Codettas; and to this Principal Song-form a "Trio" is added.
Brahms, 2nd
with "Trio."
'Cello Sonata, op. gg. Allegro passionato,
is
a First
Rondo form,
Beethoven, 3rd 'Cello Sonata, op. 69, Scherzo,

the "Trio" and da capo repeated.
a First Rondo form, with "Trio";
Mendelssohn, Trio, op. 66, Scherzo,

capo
is
a.
Sonatina-form, with "Trio"; the da

only.
so abbreviated as to represent the
Coda
the examples cited in par. 96 (section 4) lowing, somewhat more significant, movements:
To
may be added
the
fol-
Brahms, Symphony, No. 2, third movement: This would probably be called a Song-form with Trio; but the "Trio"' is derived from the principal Song, and the Trio and da capo are duplicated, with important changes. The design approaches the First Rondo in character and spirit (with duplication). VioUn Sonata, No. 2, String-quintet, op. 88, Grave; also op. 100, Andante and Vivace; very similar. similar. Also, Beethoven, Sonata, op. 54, first movement.
Abbreviations, or Omissions.
184.
The omission
of
an important thematic member
is
not likely
to occur anjnvhere but in the Recapitulation, though possible at other

points, especially in the
Rondo.
of these abbreviations,
is
The most common

Prin.
the omission of the
Theme
after the
Development, in the Sonata-allegro form.

of
The
retransition, at the
end
the Development, leads directly into the
Subord. Theme, instead of into the Prin. Theme.
Thus:
Exposition
214
Par. 185.
The
omission is owing, usually, to the fact that the Development deals very largely with members of the Prin. Theme, and therefore renders another
announcement
of the latter unnecessary.
See Chopin, pfte. Sonata in J-flat minor, op. 35, first movement: The Development sets in, normally, after the double-bar, and covers S7 measures, to the "dominant" at the bejginning of the retransition; seven measures of the latter lead into the Subord. (instead of the Prin.) Theme.
Chopin, Sonata in h minor, op. 58,

(about 16 measures) of the Prin.
first
movement, very
similar:
The
first
phrases
Theme
are omitted, at the beginning of the Re-
capitulation; then follows one characteristic (later) phrase of the Prin.
the transition,
leading
Theme, and
to the Subord.
Theme.
clearly
Bxa-hms,' Capriccio, op. 116, No. i:
an omission
of the Prin.
Theme, at
the beginning of the Recapitulation.
Mendelssohn, Song without Words, No.
5.
Praeludium, op. 3s, No.
3.
Uendelssohn, g minor pfte. Concerto, last movement: The Subord. Th. is in the same key as the Prin. Theme; in the Recapitulation the Subord. Theme is omitted, In the first movement of the same Concerto, the Rebut is alluded to in the Coda. D minor Concerto, last movement: The capitulation is greatly abbreviated. Symphony, No. IV, Subord. Theme, here also, is omitted in the Recapitulation. Rondo brillante, op. 29: The Prin. Theme is omitted in the Saltardlo; the same.
Recapitulation, but iritimated in the Coda.
The example of Brahms (Sonata, op. s, Andante), cited in par. ij%e, might also be analyzed as a Second Rondo form, with a conspicuous omission of the Prin. Theme as final da capo. And, similarly, the fairly numerous examples of Second and Third Rondo forms, in which the final da capo is merged in the Coda, or even wholly omitted (review par. 106, and par. 127), may be regarded as Abbreviated designs. A similar
omission of the final Prin.
Theme
is
in the First Rondo form would appear to be con-
tradictory; but this analysis
The
Prin.
Theme
is
suggested in Beethoven, Violin Sonata, op. 24, Adagio: a Three-Part Song-form (meas. 1-37); what follows (in the opfairly con-
posite
mode) appears to be a duplication, but very soon diverges into a
vincing Subord.
only
the Prin. Theme, as such,
Theme
(17 measures long); the remaining sections are plainly

is
Coda
omitted.
"Dislocations" of the Design.

185. The alterations in the legitimate order of thematic members, which the name "Dislocations" may be given, appear only in the to Recapitulation; and are more common in the Sonata-group than ui the Rondo-group. They do not admit of specific classification, but appear to be quite arbitrary and sometimes whimsical, although, in some cases, the reason is clear and well-grounded. They can best be
understood by analysis of the following examples:
^"-
^86.
IRREGULAR FORMS.
215
Brahms, 'Cello Sonata, op. 38, last movement a Concert fugue (double) in Sonata-allegro form. In the Recapitulation, the Prin. Theme appears after (instead of before) the Subord. Theme.
_
tion, the I.
Chopin, Concerto in e minor, Romance: Third Rondo form; in the RecapitulaSubord. Theme (at the 4-flat signature) precedes the Prin. Theme, instead
it.
of following
Uozart, Sonata, No. 15 (Schirmer ed.), second movement: Same as the preceding example; it is a Third Rondo form, and the I. Subord. theme precedes the Prin. Theme, in the Recapitulation. Sonata, No. 14, last movement: The form is vague, owing to the similarity of the Prin. Theme and I. Subord. Theme; but it is probably a Third Rondo form, with a Development instead of the II. Subord. Theme; the
latter is followed
by the
I.
ever, reappears completely in the Coda).
Subord. Theme (instead of the Prin. Theme, which, howSonata, No. 14, first movement: In the
Recapitulation, the ist Codetta appears before (instead of after) the Subord. Theme.
Mendelssohn, "Midsummer Night's Dream," Scherzo: In the Recapitulation of Rondo with Development (already cited), the two phrases of the I. Subordinate Theme are presented in reversed order the Consequent phrase preceding, instead of following, the Antecedent phrase.
this
BeethOTen, String-quartet, op. S9> No. 2, last movement: Third Rondo with Development; in the Recapitulation, the I. Subord. Theme precedes the Prin. Theme.
186.
Upon
arriving at the conclusion of the Irregular designs, the
be inclined to assume that any arrangement of the thematic factors is possible, and may doubt the justice or necessity of There is some apparent reason insisting upon any "regular" design.
student
may
and it is probable that many a fantastic form has been composed, emanating from the untrammeled imagination, that is quite as effective and convincing as those that accept the guidance of the
for such doubt;
conventional
lines.
(Witness the "Group-forms," "Sectional forms,"

first place,
the "Fantasia," and some of the soul-compelling products of the "Tone-
poem"
style.)
But, in the
the student's extensive analysis

legitimate or "regular"
and observation
will convince
him that the
designs far outnumber the irregular ones;

will recognize that the irregularity is
and, in the second place, he
always incidental, rather than due to emotional and imaginative impulses within the confines of the normal design, and does not overthrow any iiital condition of the structural scheme as a whole.
essential;
that
it is
EXERCISE
may
13.
A. An example of the Rondo with Development. Any instrument ot ensemble be chosen. Review notes to Exercise 10 ("N.B."). B. An example of the Sonata-allegro with a Middle Theme.
2l6
C.

A Sonata-allegro,
Par. 187.
with Independent Introduction (and, perhaps. Independent
Coda).
D.
E.
F. G.
A Concert-allegro, with "oiche.stral" Augmentations, and Cadenza. A Sonatina-form with additional (final) da capo. A Scherzo, in Sonata-allegro form, with "Trio." A Sonata-allegro, with omission of the Prin. Theme in the Recapitulation.
of the Third
(f,e.,
H. An example
in the Recapitulation
the Subord.
Rondo form, with reversed presentation Theme before the Prin. Theme).
of
Themes
CHAPTER
187.
XIV.
ISOLATED UNIQUE DESIGNS.

The examples
of Larger
Forms whose
analysis follows, are
not classed among the Irregular designs, because they are not in any
sense typical, but merely isolated specimens of unusual thematic ar-
rangement which do not admit of ordinary classification. Their justice and eSectiveness is not called in question, inasmuch as, in common
with
all
structural designs, regular or fantastic, they evidently appealed
to the composers as the
most appropriate method of presentation]^for

itself.
the specific quality of the music

o.
form, and
Beethoven, Symphony, No. 5, Andante. This is ostensibly a First Rondo is an illustration, as unique as it is effective, of the "Expansion" of an other-
wise regular design
by
the process of duplication (free repetition
see par.
i2d).
The
a Three-Part Song-form; Part I contains four phrases (measures I, 5, II, 16), the fourth phrase practically a duplication of the third; Part II is a Double-period (measures 23, 27, 32, 39); Part III is a nearly literal recurrence of
Prin.
is
Theme
Part I (measures 50-71); this is followed by a modified duplication of Parts II and (Part n, meas. 72-98; Part III represented by two repetitions of its first two III.
phrases, finally dissolved, meas. 99-123);
what
follows
it
is
a sort
of Interlude, which,
however, represents the Subord. Theme, although
contains no
new members
(meas.
124-157); the retransition follows, and contains three sections (measures 158, 167, 176), the second of which resembles the Prin. Theme, but is in the opposite mode and
obviously belongs to the act of retransition; the Prin.
and
is
reduced to
four sections.
par. 173,
b. is
Theme recurs in meas. 185, Part only; the Coda begins in meas. 206, and contains (The Allegretto of Beethoven's 7th Symphony, cited at the end of
its First
similarly
"expanded" by duplications
9,
of the Prin.
Theme.)
Adagio,
is
larged
by
is
duplication,
and the
insertion of a
ostensibly a First Rondo form, enDevelopment (as retransition). Its
design
thus:
Prin. Theme, 5-flat major (with two measures of unessential Introduction),

Period, the Consequent phrase of which
is
repeated, extended,
and dissolved;
Par. 187.

(
217
Subord. Theme,
Sttbord.
major, a Period, duplicated, extended and dissolved; Prin. Theme, B-flat major, complete, but modified; } Duplication of
the
first
Theme,
major, complete, but modified;
presentation.
Development, as retransition; Prin. Theme, 22 measures, as before, cadence evaded and led into the Coda,
which embraces
c.
six sections.
Somewhat
is
similar
is
5,
op. 143, last
movement.
The
form
by a duplication of the Exposition: Prin. Theme, a minor, Two-Part form, and transition;
Sonatina, enlarged
Stibord.
Theme, F major, Three-Part Period (three phrases, with all the repetitions).
) J
Retransition of three measures;

Prin. Theme,, a minor, partly transposed; Subord. Theme, C major (proper liey);
Retransition, 42 measures;
Duplication of the
foregoing.
Prin. Theme, abbreviated;
Subord. Theme,
Brief Coda.
d.
major (proper key);
Recapitulation.
best be defined as a
Beethoven, String-quartet, op. S9, No. i, second movement. This might Group of Themes a Prin. Theme, and two Subordinates in
the following order:

Prin.
Prin.
Theme
II.
(B-flat major);
I.
Subord.
Theme
{d minor);
Theme, reconstructed;
Subord.
Theme
(/ minor, Three-Part form, with
Development, as long retransition; Prin. Theme (transposed to G-flat major, and with a new contrapuntal melody); I. Subord. Theme (g minor); Retransition; Reconstructed Prin. Theme {F major, E major, d minor, JS-flat major);
repetitions);
n. Subord. Theme
e.
(6-flat
minor); Coda, beginning in 6-flat minor.

25, last
BTahms,ist Pfte. quartet, op.
movement, Alia Zingarese;

Subord.
A very broad
is
Third Rondo form, with several
irregularities; the II.
Theme
a complete
of
"Song with Trio"; the final da capo Part I, and merged in the Coda.
(Prin.
Theme)
is
abbreviated
by the omission
/. Mendelssohn, Scherzo capriccioso, in /-sharp minor: Fantastic and irregular, but approximating the Third Rondo form. It has the following design: I. Sub. Th. Prin. Th. (brief). II. Sub. Th. Prin. Th. I. Sub. Th. Prin. Th. (brief). II. Sub. Th. Coda. Prin. Th.
This might admit of several apg. Mendelssohn, Overture to "Melusine." proximate definitions, the most tempting of which is, to declare the first 46 measures an Introduction (par. 178^). But these measures are so significant, so genuinely
and are interwoven so essentially with the texture of the whole, that it seems more reasonable to define them as an additional Principal Theme. The presence of two Subordinate Themes has been demonstrated (par. 179), and this suggests the possibility of a similar two-fold Principal Theme, contradictory as it
thematic,
may
appear.
Further, an analogous structural idea
Basic motive which
may accompany, and
is conveyed, in embryo, in the even transcend in importance, the Principal
In the above Overture, the graceful opening measures, (par. 165). would be called "Prin. Theme, A," and the following dramatic member, "Prin. Theme, 5."
Theme
in
in
F major,
/minor,
2l8

Allegro con moio Frin. Theme "A" * ^ *
Par. 187.
m V^^^
I
Ex.
<
61.
P
1
ES
i^?
w
-i;b4
sg
^^=
^^
* -._.,. *
I
etc.,
to
gi^=s
Transition, or Connecting-link
Agitato
Prin.
Theme "B"
fefi-Ji^^
SilE^
Sto^
ZnJTJTS'
iXr
Par. 187.
219
Mendelss ohn, "M elusine"
^ri n i^>f
f
I
Wrm JJJJIfTTT^ ^fe ^

.
'.
I.
I.
i.
'
g
etc.
^^^^
'
'^rfl
Both
Coda.
flTfrV
and
in the
is
of these appear in the Development, in the Recapitulation (briefly),
As
to the rest, the
contrasting (lyric)
h.
movement Subord. Theme.
plainly Sonata-allegro form, with the usual
Brahms,
It
ist pfte. Concerto, op. 15, first

is
movement.
This
is similar,
but
less
pronounced.
plausible, perhaps inevitable, to accept Prin.
Theme "A" and
"B," although
the Solo-part),
position,
"B"
is
(which appears at the beginning of the actual Exposition
in
decidedly less vital than
"A," which opens the introductory Êx-
and pervades the movement.
Maestoso.
Prin.
Theme "A"
Ex.
62.
^
Prin.
^ P^?fv-i^#
0h.j$^
=1=^-^
etc.
-w
-^'
Theme "B"
SOlO Solo
I
I
i
,
Êa^
^^^
220
Par. i88.
M
m^
may
modern Larger Forms.
wm s^
J
M^
I^^Brahms,
op. 15.
etc.
-'
Other examples of unique structural arrangement might be cited, but these are sufficient to direct the student's attention to what he
expect to encounter, in his general analysis, especially of the more
CHAPTER XV.
THE OVERTURE.
188.
is
As
the
name
an opening number
primarily
indicates,
the Overture
(always orchestral)
It
is,
of the Oratorio or Opera.
however, usually an independent movement, complete in itself, and therefore may be detached from its origiaal dramatic associations, and
be employed as a separate number upon any concert program. This circimistance has given rise, in two conspicuous instances (the Concertoverture and the Tone-poem), to a modilBied application of the term "Overture," whereby, similar to the occasional use of the term "Prelude,"
it
may
signify
general reference, only, to

189.
an entirely independent composition, with some dramatic subject.

as follows:
The Overture admits of a five-fold classification, The Oratorio Overture; 2. The Dramatic or Classic Overture; 3. The Potpourri Overttu:e; 4. The Concert-Overture; and 5. The Tone-poem.
1.
190.
The Overture
to
an Oratorio
is
most commonly an orchestral
fugue, or other polyphonic form, in keeping with the dignity of the sacred subject; usually with an independent Introduction in slower
tempo.
See Handel, the "Messiah."
Mendelssoliii, "Elijah."
Par. 191.
THE OVERTURE.
The Dramatic
221
191.
or Classic Overture refers directly to a drama,
play, melodrama, opera, or theatrical presentation of

title is
any kind. Its "Hamlet," "komeo and Juliet," "Prometheus," "Faust"; or is borrowed directly from the title of the drama which it precedes: e.g., "The Tempest."
therefore usually personal
for example,
Its design is abnost invariably the Sonata-allegro form, often with
an independent Introduction.
See Mozart's operas "Don Giovanni," "Figaro." Cherubini, "Medea." Beethoven, the four Overtures ("Leonore" and "Fidelio") to his opera "Fidelio."
Wagner,
"La Dame
"Coriolan,"
"The Flying Dutchman." Weber, "Der Freischutz." Boieldieu, blanche." And the Overtures to the dramatic plays: Beethoven, "Egmont." Mendelssohn, "Midsummer Night's Dream." Gold-
mark, "Sakuntala."
See also, the other Overtures of Beethoven
;
the Overtures of Cherubini, Mozart,
Schumann, Weber.
Similar in purpose, but of inferior structural significance, are the
brief
Operas as Verdi's
Isolde."
192.
(and not detachable) "Introductions" or "Preludes" to such "Aida"; Wagner's "Lohengrin," "Tristan und
The
Potpourri-Overture
is
always connected with the lighter

Its design
is
or comic type of Opera, or Operetta.
the group-form,
or sectional form, sometimes approaching the regular arrangement of a
Larger form, but most commonly a mere

selected
series of
melodic episodes,
from the music
of the opera itself, with a
view to individual
and
collective attractiveness.
See
Flotow,
"Martha."
Rossini,
"William Tell."
Meistersinger," the Overture to which, though a work of

character, great breadth,
Also Wagner, '?Die commanding contrapuntal

belongs properly to the
and eminent
artistic significance,
"Potpourri"
193.
class.
The
is
Concert-Overture
is
designed
for
"concert"
perform-
from the theatre to the concert hall. Thus it is, also, to some extent sundered from the drama, and divested of immediate connection with any dramatic theme. (This, of course, refers to the sêcj^c Concert-overture, and not to those Dramatic Overtures which actually precede an opera, and are
ance,
therefore, in a sense, transferred
and
merely inserted in a concert-program because of their

value.)
intrinsic musical
For
this reason, the title of
a concert-overture
may
be per-
some character in sacred or secular history ("Joan of Arc," "Samson"); or in mythology ("Hercules' Youth"); to some abstract idea ("Spring"); or even to some concrete
sonal or impersonal;
refer to
may
222
subject,
Par. 194.
if
susceptible of poetic or emotional environment, or suggestive
of shifting
"Fingal's Cave").
moods (Mendelssohn, "Calm Sea and Prosperous Voyage"; Or it may refer to the drama in a more general
or indirect way, without the necessity or the intention of actual connec-
any Play which bears the same name; for example, the Wagner; "1812" of Tschaikowsky ; "Meluwhich may, or may not, serve as actual introsine"; "Sakuntala";
tion with
" Faust "-overtmre of
duction to the corresponding theatrical presentation.
The form
but
is
of the Concert-overture is also usually Sonata-allegro;
often very broad,
and may be treated with much freedom
(or
irregularity), in order to
provide for the brilliancy and independent
effectiveness imperatively necessary in case of isolated performance.
In what manner be applied

ingenuity.
to, or
this classic design (the Sonata-allegro
form)
may
may be
modified and adjusted
to,
the successive the student's
dramatic details of the chosen subject, must be
left to
Almost every drama, and even wholly abstract subjects, provide natural contrasting episodes, which may be represented by the successive members of the design. (By way of very broad suggestion: "Hamlet" and "Ophelia," or "Romeo" and "Juliet," would naturally serve as types for the Prin. Theme and Subordinate Theme, respectively; and other episodes would lend themselves plausibly enough This may shock the to the Codettas, Development, and so forth.) enthusiastic young composer's sensitive poetic conception; but he
should
is
know
that a musical composition with definite stnictural outlines
vague, and whose intent

is
more powerful and convincing than one whose form is is uncertain. And, further, if the student wise enough to confine himself to one strong general impression,
invariably
(instead of
dissipating
this impression
as central dramatic idea
by
wandering through numerous accidental phases of the dramatic narrative), he may be sure that the sequence of members represented by the Sonata-allegro form is far more consistent, natural, and effective than
any arbitrary design could
be,
which he might devise.
See
par. 194, 197.

See further: Brahms, "Academic Festival-Overture," op. 80; "Tragic Overture," Weber, "Jubel-Ouverture." Mendelssohn, Overtures, op. 24, op. loi.
194.
op. 8i.
The Tone-poem
or
Tone-picture
is
not an Overture, in the
accepted sense of that term.

of composition than to
But
it is
more
closely related to that class
any
other, and, in fact,
may
best be defined as
a development of the idea embodied in the Concert-overture.
As the
P".
195.
THE OVERTURE.
223
title indicates,
the Tone-poem refers to some poetic idea, or narrative;
most frequently
it adopts some motto, or some brief literary product, either poetry or prose, as basis for musical illustration; and since it therefore follows the order of incidents or thoughts presented in the
motto or
text,
and
successively gives
style ip properly called
them musical expression, the "program music." A typical example is "Die
Ideale" of Liszt (a "description" of a complete poem by SchUler). The sectional form, or Group-form, must of necessity be adopted, because the free presentation of an arbitrary series of dramatic or
emotional episodes could scarcely be
made
In
to conform to the firmly set
as in every other respect, the Tone-poem stands for the last degree of freedom, and is farthest rethis,
diagram of any regular Larger form.
moved from
the absolute musical conception which
the pulse of the regular designs
because these designs are such true
falls
so readily into
and ample exponents of the universal laws of structure. To what extent, and in what manner, this freedom is to be used, rests solely with
the musical conscience of the composer.
Music has always been regarded and defined as a vehicle for the expression and the reflection of "moods." This is doubtless true, inasmuch as the specific sound of the varied intervals, chords and other tone-combinations (coupled with rhythm and dynamics) does appear to possess a close and universally recognizable analogy to various emotional phases; some chords "sound" joyous, and others sombre; some seem to represent hatefid, others amiable, attributes (compare the "yearning" harmonies in the first scene of "Die Walkure," with the deadly hatred suggested by Hagen's chords in "Die Gotterdammerung"). But music can, with its multitude of varying rhythms, its infinite shades of dynamics, and the direction and speed of its lines, closely imitate actual physical movements and conditions; and may, therefore, to some extent, "illustrate" the shifting motions of an active narrative: For example, the slow or swift ascent or descent of material objects, and a multitude of natural sounds (the flight of an arrow, the rocking of a boat, the gentle movement of a zephyr, the roE of thunder, the downas in the thunderstorm in Beethoven's 6th Symphony; the hollow pour of rain clicking of bones, as in the "Dance of the Dead" of Saint-Saens ; the gallop of horse, as in Raff's "Lenore "-Symphony, and Liszt's "Mazeppa"; the murmur of a spinning wheel; the tread of giants, the clumsy winding of a dragon, as in Wagner's "Rheinsee also the numerous "descriptive" episodes in the first Part of Haydn's gold"; "Creation,"and in the plague-choruses in Handel's "Israel in Egypt"; also, as an interesting example of musical suggestion, Bach, Organ compositions, Vol. V, Peters the pedal-bass of the chorale elaboration, Dutch Adam's Pall edition. No. 13
195. of emotion (feeling, sentiment, passion),
constant descending diminished-seventh progressions). But they who would defend the integrity of music declare that these are
all
purely external adjuncts, not inherent qualities, of musical material, and that they should serve no other purpose than to emphasize the inherent meaning of the tonerelations
and
tone-associations;
that music can be, and should be, an absolute art,
224
and
is
Par. 196.
anything outside o the

noblest use
is
not to be applied to the superficial and childish illustration or description of that its specific province of pure musical expression
exemplified in the classic symphonies and Chamber-works, which are

se.
absolute music-creations, pure Music, per
They
also voice the suspicion that the
composer who utilizes these exterior traits of music for the illustration of physical episodes and movements, does so from insufficient knowledge of the true meaning of the musical "parts of speech," and therefore caricatures, instead of discoursing in a language that is vastly more subtle, more searching and powerful in its appeal than
mere words can ever be. Extreme views are always wrong. Everything that is, is right, in its proper place, and in proper proportion. All error lies in exaggeration. The student is urged to weigh these conflicting opinions seriously and thoroughly; to form his own conviction, and to follow, unfalteringly, his artistic impulses and beliefs. (See Homophonic Forms, par. g/e.)
The
application of
what might be
called the physical qualities of
music, for suggestion and imitation,

tive in the Opera; in the
may be
considered almost impera-
accompaniment to Songs; and in that melodramatic species of the Tone-poem called musical Recitation (recitation with "descriptive" musical accompaniment as "Enoch Arden" of
Richard Strauss).
196.
Examples
of the
Tone-poem are
sufficiently
numerous.
The
student will find ample material for examination and analysis in the
may add to these "Till "Ein Heldenleben" and "Sinfonia Domestica" of Richard Strauss ; and any other modern examples that he may entwelve Sinfonische Dichtungen of Liszt; but
Eulenspiegel,"
counter.
197.
In the conception and composition of the Overture,
or, for
that matter, of any of the Larger Forms, the student must bear the
following General Principles in mind:
1.
The Themes should be presented

fairly frequent,
in a simple, clear
mSnner.
Cadences should be
and
sufficiently forcible to give the
hearer a clear impression of the architecture of the movement.
At
least
is
from time to time the hearer must get truly enjoyed that is not comprehended.
2.
his bearings, since
nothing
The thematic members should, nevertheless, be distinctly characA good Theme is always easily recognizable. There must be sufficient symmetry of construction, and corrob3. oration of members; this is obtained by very frequent (almost constant)
terized.
application of the process of duplication.
Par. 197.
THE OVERTURE.
the other hand, there must be
sxifficient contrast.
225
This refers
4.
On
to smaller as well as to larger factors,

striking,
and should be
fairly frequent
and
though not too abrupt or too extreme.

of all art-creation is Monotony, and this must be Hence, the process of extension and expansion must
The arch-enemy
carefully avoided.
be freely employed, in order to vary the phrase-lengths (distance between cadences); and no end of imagination and ingenuity must be
appUed
5. 6.
in modifying the necessary repetitions
and duplications.
Exaggeration, in every respect, should be guarded against.

Clearness of design (for the hearer) and a perfectly sure con-
sciousness of the successive steps in the execution of the structural design (for the composer), can best be seciured
by reasonable regard
For example,
for
the conditions of the simple, smaller, forms.

association of
the natural
an Antecedent and Consequent phrase; the
relation of the
Parts (in the Song-form) to each other; the ever-present operation of

the principles of repetition or duplication, of parallel construction, of
extension and expansion
in
the progressive structure, or in the
spinning-out, of the fundamental phrases and periods.

7.
Perhaps most important
tenance
and increase
of all, there
of interest;
must be a constant mainand a constant forward striving,
a steady impulse and "push," that keeps the musical spirit thoroughly This very element must, however, be emphasized by the conalive. trasting relaxctlions, from time to time, which provide variety, and prebut without wholly checking the underpare for the next climax
current of energy.
the Dramatic Overture, and Concert-Overture, some 8. For "dramatic" design is necessary. But this should be followed in its broadest lines, only, and not so closely as to hamper the purely musical expression, and the adherence to an effective structural design (than which, as hinted, none is more reliable than one of the regular forms, as
rule).
EXERCISE
One example
the Tone-poem.
14.
each, at least, of the Dramatic Overture, the Concert-overture,
and
DIVISION FOUR.
CHAPTER
198.
XVI.
THE COMPOUND FORMS.

Compound forms
oldest of these
is
are
those larger
collective
compositions
which contain a number of
different
and iadependent movements.

utilize
The
Later,
the Suite, which, however, being originally a
collection of
Dances only, did not

or
some degree
of artistic refinement
any of the Larger Forms. was imparted to the Suite

none of the
of
by introducing one
Larger Forms.
more numbers
of
a scholastic type, as the Prelude,

these, also, required
Gigue (contrapuntal) and Fugue; but
The numbers
of the Suite (and of the Serenade, Diall
vertimento, etc.) were usually
in the
same key, and the number
the Dances, or "Movements," was optional.
The more modern Suite is no longer solely a collection of Dances, and often contains some elaborate movements, and Larger Forms; but dance-forms and allied types are usually present, and complete freedom governs the choice of styles, and the number of movements, which are thrown together more loosely, and not inter-related, and definite, as are the movements of the Sonata or Symphony (par. 199; 206).
See the Suite for pianoforte by d'AIbert, op.
Suites for orchestra
i
(conventional Dance-forms); the
by Franz Lachner
the Serenades for String-orchestra
by Robert
Volkmann ; Serenades
for full orchestra
by Brahms,
op. 11,
and op.
r6.
In some cases the distinction between the Suite and the Sonata approaches the vanishing-point, and the changed.
titles
are then apt to be ex-
Beethoven calls his op. 26 a "Sonata "; but the term "Suite"
would be more appropriate, since the four movements are a set of March, and a "Toccata" in Rondo form. And op. 21 of Josef Suk is called a Suite, for no obvious reason;
Variations, a Scherzo, a Funeral
for the first
movement
is
a genuine Sonata-allegro (though of a some-
what
fantastic character) ; the second
movement
is
claims a rightful place in the Sonata); the third
is an.
a Menuetto (which Adagio ("Dumka,"
or Folk-song) ; and the fourth, a genuine Rondo.
Mozart, Sonata, No.
IS (Schirmer ed.) might be designated Suite: its three
movements are
"Allegro," "Rondeau en Polonaise,"
"Theme and
Variations."
226
Par. igg.
TEE COMPOUND FORMS.

The most
artistic
227
is
not
ments
1.
199.
and
significant
compound form
the Sonata,
the "Sonata-form," but the complete Sonata (par. 142).
The
early Sonata consisted of three
"Movements,"
so contrasted that the
slow movement
(in the
2.
An An Adagio, An Allegro,
(in a different key) appeared between two rapid movesame key). The order was, therefore: Allegro, of a somewhat serious, stately, or spirited character;
Largo, or Andante, usually lyric, sometimes dramatic,
or even elegiac, and always dignified;

3.
Allegretto, or Presto, of
a more
lively, gay, or brilliant
character (often a Rondo).

For typical examples, see Mozart, Sonata, No. 17 (Schirmer ed.); Beethoven, Sonata, op. 10, No. i; op. 13; op. 31, No. i and No.
200.
also
2.
No.
16.
movements there was later added (in the early and S)anphony) a fourth movement, and for this a Dance-form was borrowed from the Suite, to provide a good contrast with the original three styles. At first the Minuet was chosen, and usually inserted as third movement:
these three
String-quartet,
2,
To
Haydn, any one of the twelve well-known Symphonies. No. 1; op. 22; op. 31, No. 3.
In
many
instances a
more sturdy, or
rapid, type of
Minuet was emand
ployed:
Uozart, Symphony in
-flat.
Beethoven, Symphonies, Nos.
4.
And when the "Minuet" was still more accelerated, and assumed a playful or humorous character, it was called Scherzo.
2,
No.
2; op. 2,
No.
3; op. 28.
Symphonies, Nos. 2 and 3
movement, while retaining the usual 3-4 measure and the general character of a Dance-form, had no specific title,
Sometimes
this third
but took the tempo-designation

I,
7,
{Allegretto, Allegro):
3.
Poco
Allegretto e grazioso;
Allegro; Symphony, No. Symphony, No. 4, Allegro
giocoso ("Scherzo").
201.
1.
This association of four movements:
Serious Allegro.
2.
Adagio or Andante.
3.
4.
Minuet or Scherzo.
Brilliant Allegro.
became the established, conventional, form of the complete Sonata, and any digression from this scheme of movements is regarded as an irregularity.
228

in the second
Par. 202.
For example, the Scherzo precedes the slow movement Symphonies of Schumann.
In Beethoven, Sonata op.
27,
and third
No.
i,
the
first
movement
is
omitted
the Sonata
beginning with the slow movement; also in the next Sonata, op. 27, No. 2. This probably accounts for Beethoven's cautious title for both: Sonata quasi una Fantasia.
In Beethoven, Sonata, op. 10, No. 2, the slow movement is omitted. In the Sonata, op. 78 {Allegro ma non troppo; Allegro vivace) there is neither a slow movement nor a Minuet. Op. 90 is similar. In op. S4 (Menuetto; Allegretto) the opening Allegro and
the slow
movement
is
In op. 27, No.
movement
there are five
as stated the opening Allegro omitted; but another slow Allegro. In Schumann, Symphony, No. inserted before the movements an additional slow movement preceding the Allegro.
I is
are omitted.
See also op. iii.
final
3,
final
202. a.
As a
rule,
only the slow
movement
is
placed in some other
(usually related) key.

Thus, in Beethoven, Sonata, op.
major; Scherzo,
Allegro 2, No. 2 major and a minor; Rondo, A major.
:
vivace,
major; Largo,
But other key-conditions

10,
occasionally prevail:
all four movements in the same key. Beethoven, Sonata, op. j, No. i Op. similar (though the opposite mode appears). No. 3; op. 14, No. i; op. 28
Brahms, Symphony, No. i first movement, c minor; second movement, E major; movement, ^l-flat major; fourth movement, C major (Introduction, c minor). Symphony, No. 2: the four movements are in D major, B major, G major and D
:
third
major, respectively.
6.
The
structural design of the several
tent, optional.
But the
following choice
is
movements is, to some exmost common:
For the
first Allegro,
the Sonata-allegro form;

(in the
ment, the First Rondo form

Sonata-allegro form)
;
for
for the slow moveSymphony, sometimes Sonatina or the Minuet or Scherzo, the 3-Part Song-form,
with one or two Trios;

form.
203. a.
of
for the Finale, the
Second or Third Rondo
form, or, occasionally (especially in the Symphony), the Sonata-allegro
The legitimate complete Sonata is not a haphazard

is
collection
movements, as
the Suite, but
is
an
artistic unit.
Therefore a more
or less palpable organic relation, a certain unity of
"mood," might be
expected to prevail throughout the movements.

par. 66,
which review.)
is analogous to This was evidently not demanded of the early
(This
contrasts;
lation
Sonata and Sjonphony, which seem to aim, rather, to secure marked but the higher artistic idea of establishing "spiritual" re-
between the movements, so that they
shall successively represent

is
progressive phases of the collective artistic purpose of the composer,
^"-
*3.
THE COMPOUND FORMS.
229
consciousness.
being cultivated in the modern Sonata and Symphony with increasing It can scarcely be claimed for the earlier works of even
is
Beethoven,
and
but becomes increasingly noticeable in his later periods; some of the Symphonies and Chamber works of Brahms.
positively present in
6.
technically,
The determination to thus unify by instituting aaud thematic
the Sonata
relations
is
manifested,
between the move-
ments.
See Brahms, ist Violin Sonata, op. 78.
In the
first place,
the rhythmic figure
J^3
is
conspicuous in
11.
all
three movements.
And, second, the Prin. Th. of
the Adagio becomes the
Subord. Th. of the last movement.

75:
Glazounow, Sonata, op.
Movements one and
three are based
upon the
II.
self-
same thematic
figure
:^ '^T^ ];
and the thematic melody of the

last
Subord.
Th. of the second movement reappears in the Coda of the
movement.
Vincent d'Indy, String-quartet, op. 45: The thematic figure of four tones
s.
d'iNDY
:etc.
Ex.
63.
H.'y
to,
'
'
'
"
W^^^
and
first
is
adhered
as basic motive, throughout all four movements.

is
It occurs at the out-
set of each
movement, but
soon followed by other melodic members;
also
forms a sort of thematic impulse to the other structural members of the movements.
Brahms, Ssmiphony, No.

Ex. 58, No.
i) is
The The
Basic Motive of the
movement
(given in
reechoed in measures 4-6 of the Andante.

:
Brahms,
the
first
pfte. Sonata, op. i
principal thematic figure of the first

initial figure of
movement
constitutes, in altered
rhythmic form, the

is
the last movement; and
phrase of the Scherzo
derived from the plagal ending of the preceding (slow)
movement.
Beethoven, Symphony, No. V: The principal melodic phrase of the Third move-
ment reappears
retransition).
in the last
movement,
in the last section of the
Development
(as
Also, the rhythmic figure
J J J
and third movements, and reappears, quickened, movement.

Beethoven, Sonata, op. loi
:
in the
common to the first Subord. Theme of the last

|
is
The
initial
phrase of the
first
movement
recurs, as
quasi Introduction, before the last movement.
Brahms, Sjmiphony, No. Ill: The melodic motive of the Prin. Th. in the first movement, is reverted to, in the independent Coda of the Finale, so that the Symphony
ends, so to speak, as
it
began.
230

in e minor:
Par. 204.
Tschaikowsky, Symphony, No. V,

first
The introductory motive

movement refers
of the
movement
enters vitally into the structure of the Finale.

:
Schumann S3miphony, No.

to the Finale.
Ill:
The fourth
(slow)
thematically
Florent Schmitt, pfte. quintet, op. 51 The last movement contains Themes from
:
the
first
movement.
51,
and
Brahms, String-quartet in c minor, op. last movements are identical.

Brahms,
String-quartet, op. 67:
No.
i:
The
initial
motives of the
first
Prin. Th. of the first
movement,
See further:
Concerto.
Saint-Saens,
When
is
CSsar
similar to Symphony, No. in, cited above. Franck, Violin Sonata A. Liszt, -flat major
in
c
The
last Variation, in the Finale, reverts to the
pfte.
minor
pfte. Concerto. is
204.
written for pianoforte or organ, the term "Sonata"

called a
employed; and even when two solo-instruments are chosen (as "Duo"),
the work
more commonly
"Sonata"
(Violin Sonata, 'Cello
Sonata,
etc.).
When
three solo-instruments are used, the

String Trio,
work
is
called a
(pfte. Trio,
Horn
Trio, Clarionet Trio, etc.
the
"Trio"
latter
two always impl3dng the presence of the pianoforte). A Sonata for foiur instruments is designated a "Quartet," and so on, up to Septet, Octet, or even Nonet. When more than this niunber of instruments
are employed, the term "Sinfonietta" or*" Symphony"
205.
is
used.
Concerto
is
a Sonata for some solo-instrument, invariably

(pfte.
with orchestral accompaniment

102; Beethoven, op. 56.
Concerto, Violin Concerto,
etc.).
In a Double-Concerto, two solo-instruments are engaged: Brahms, op.
is a Sonata for full orchestra. Being the most form of musical composition, it is not customary to introduce into the S3anphony any movements of a less distinguished or regular type than the Sonata-allegro or Rondo forms, excepting,
206.
The Symphony
dignified
serious
and
of course, the conventional Minuet, Scherzo, or allied
Song-form with
Trio.
his III.
The adoption
of the Variation form,
by
Beethoven, as Finale of
of his
Symphony, and of the Chaconne, by Brahms, as last movement IV. Symphony, is therefore regarded as exceptional.
207.
The term Symphony,
or S3anphonic poem,
is,
nevertheless,
not infrequently applied to an expanded form of the Tone-poem (par. The title seems to be wholly defensible in the case of those 194).
genuinely "symphonic" works which reflect in a very general way, and
Par. 207.
THE COMPOUND FORMS.
23
without pronounced detailed musical "description," some universal

idea or impression.
For example: The Forest SjTnphony, and Lenore SsTnphony, of Raff ; the Ocean of Rubinstein ; the New World Symphony of Drorik ; the Columbus S3Tnphony of Abert ; "Joan of Arc" of Moszkowski. Perhaps, also, the Pastorale Sjrmphony of Beethoven, and the "Rustic Wedding" of Goldmark, to which category belongs the "Characteristic Sonata" of Beethoven, op. 81^, for piano-
Symphony
forte.
The
descriptive, or programmatic, quality is
more pronoimced, and

;
the symphonic rank (as such) proportionately lowered in the
Symphony
of Liszt
"Scheherazade" of Rimsky-Korsakoff
"Dante" "Tod und

orchestral
Verkldrung" of Richard Strauss; and

works, to which the
title
many
other
is
modern
"Symphonic poem"
usually frankly given.

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'

Cornell University Library

forms of musical compos tipn

3 1924 022 495 067

BOUGHT WITH THE INCOME OF THE

SAGE ENDOWMENT fOND

Cornell University Library

Cornell University Library.

There are no known copyright

the United States on the use of the

EDGAR STILLMAN KELLEY

And the earth

was without form and void; and darkness was upon

heaven's first law."

" Passion, whether great or not,

" Inspiration without methods

disposal will no more

art of music." "

believed it possible that

any natural or improved

be no more than a guide

for the student through the

successive stages in the evolution of the larger and largest forms of

point of view has been adopted

not only because that would appear to provide the

Without attempting any direct defence of conservatism, the author

to master these classic forms

conscientious solution of each successive task given in the book.

ing through the gathering and eliminating experiences of master-minds

that true structural progress cannot

seems reasonable, therefore, to assume be achieved by abandoning these,

but rather by building upon them.

desires to obtain a general view of this structural

proceed more quickly,

analytic student will omit the given Exfaithful use of

narrow-minded to assume that these exercises, and the

ent application of "rules," will

They need not be

The Ground-Bass, or Basso O^tinato.

(or Simple) Variation-Form.

Structural design as guide (52).

Unessential extensions (53).

Codetta or Coda (55a,

Constructive Basis (67).

and Second "Acts"

Dissolution of the form (78-79).

Exceptional objective points (76). Subordinate Theme (81).

Beginning in same key

the Song-form vrith Trio (95).

Progressive intermediate stages (96).

The Second Rondo Form

First Transition (99).

First Retransition (loi).

First Recurrence of Principal

The Third Rondo Form

Progressive dimension- of Tripartite forms (in).

Transposition of First Subord.

First Division (115).

Direction of Transposition (122).