Practice in Thematic Development

What you will get from doing this: a heightened and detailed awareness of the developmental
techniques which can be brought to bear in your composition.

During today's lesson time:

PART I In the first hour:

1. Read carefully the pages below by Dr Ronald Caltabiano, headed 'Music

231'. (You may find it helpful to print it all out.)

2. On a separate sheet of paper, summarize in one line for yourself, every type
of thematic development described in the above document, making sure you
have understood what that compositional technique does to the music.

3. Listen (on headphones) to the attached mystery mp3 file. It lasts

approximately 13 minutes.

4. As you listen to the music, tick off which of the developmental techniques you
have read about in the Caltabiano document are being used in the mp3.

5. You may find developmental techniques employed in the music which are not
listed in the Caltabiano paper, in which case add these to your list!

6. What is the difference between developmental approaches listed in the paper

and in the mp3 you have heard?

PART II In the second hour:

1. Read the 4-page article extract by the un-named writer (written in 1905)
called 'Art of the Musician' at the bottom of this PDF file.

2. The article mentions several works. Pick one of these, find a score of it from
the Library and a recording on CD, LP or at:

http://www.naxosmusiclibrary.com
User: mdx605 Passwd: anglo

3. Listen to the chosen piece (just one movement) whilst following the score.

4. As you listen, take notes of the types of thematic development used perhaps
for use in your own music later.

5. Leave summaries and notes in your tutor's pigeonhole in the Staff Room.
 Music 231
Motive Development Techniques, part 1

New Material
Fourteen motive development techniques:

Part 1 (this document) Part 2

* repetition * compression
* sequence * inversion
* interval change * interversion
* rhythm change * diminution
* fragmentation * augmentation
* extension * ornamentation
* expansion * thinning

Techniques of motive development are numerous, ranging from simple repetition to complex combinations
of variations. We will examine fourteen basic techniques and analyze examples using them individually
and in combination. As part of the definition of each variation type, note that some techniques change the
length of the motive, while others do not.

Repetition
Repetition is the simplest and one of the most prevalent kinds of motive development. Repetition is
usually immediate, but may be preceded by intervening material. [motive length: same as original]
Sequence
The motive is repeated at another pitch level. In most common-practice music, the motive is transposed
tonally, i.e. without chromatic alterations. The result is that intervals may change quality (but not
number). [motive length: same as original]

In the Beethoven example below, the motive's opening major third becomes a minor third in the
sequences that follow. Similarly, the interval between the third and fourth notes is a major second in the
motive and first sequence, but a minor second in the final sequence. The example from Scheherazade is a
literal sequence; every tone has been transposed a major second (sometimes written as a diminished
third) higher.
Interval change
The most common interval change occurs at the end of a otherwise literal motive repetition. But they can
also occur anywhere in a motive and include one or several intervals. [motive length: same as original]
play

Rhythm change
Rhythm changes add a subtle change to a motive. [motive length: same as original]

In the Mozart example below, the added sixteenth notes give the third bar an extra push forward. The
rhythm alteration in the Stravinsky moves second beat accent between D and E. Copland uses rhythmic
changes to add more motion to each consecutive measure.

Fragmentation
One germ of a motive may be repeated and varied separately from the rest of the motive. [motive length:
shorter than original]

This is central to the music Haydn and Beethoven, and is found in the music of every common-practice
composer.
Fragmentation, example 1

Fragmentation, example 2
Extension and Expansion
Extension and expansion both involve lengthening the motive. If new material (or fragments, etc.) comes
before the final note, it is referred to as an expansion. If new material begins with the final note, delaying
the expected cadence, it is referred to as an extension. [motive length: longer than original]
Other examples:
1 Expansion in: Mendelssohn, Song Without Words, Op. 67, No. 5, above
2 Extension in: Beethoven, Symphony No. 4, Trio from the Minuet, above
3 Extension in: Mozart, Piano Sonata, K332, above

The E-flat clarinet solo in the first movement of John Adam's Chamber Symphony provides a particularly
interesting use of motive extensions. Note the length in beats of each extended motive.
Extensions in John Adams CHAMBER SYMPHONY

Please note: the information on this page has been supplied by Dr. Ronald Caltabiano
 Music 231
Motive Development Techniques, part 2

New Material
Fourteen motive development techniques:

Part 1 Part 2 (this document)

* repetition * compression
* sequence * inversion
* interval change * interversion
* rhythm change * diminution
* fragmentation * augmentation
* extension * ornamentation
* expansion * thinning

Compression
Compression (also known as elision) is a less common development technique in which the motive is
shorted by removing material from its middle. Do not confuse this with diminution (see below).
Compressed motives are shorter than the original motive (because material is removed), but their note
values are the same. [motive length: shorter than original]

Inversion
The motive (or part of it) repeated in the opposite direction, i.e. intervals that went up now go down, and
vice versa. Inversion may be strict (usually in twentieth-century music) or tonal (in most common-practice
music). [motive length: same as original]

In a tonal inversion, the qualities of intervals are often changed as their direction is reversed. For
example, an ascending major third might become a descending minor third.

Small divergences from completely strict inversions are accepted as normal. In the Bartok example below,
notice the irregularity in the inversion of the second measure.
Interversion
Interversion is the restatement of a motive with its germs reordered. [motive length: same as original]

In the second example below, notice the introduction of a new germ in conjunction with the interversion.
This results in an unusual five-measure phrase.
Diminution and Augmentation
In a motivic restatement, note values may be shortened (diminution) [motive length: shorter than
original] or lengthened (augmentation) [motive length: longer than original] .

In early contrapuntal forms (fugues, canons, etc.), these processes were applied strictly to every note of a
motive: every note value would either be doubled, quadrupled, halved, or quartered. In the eighteenth
and nineteenth centuries, liberties were sometimes taken so that some notes would be shortened (or
lengthened) while others would not, or they might be shortened or lengthened by different amounts.
Ornamentation and Thinning
Ornamentation is a common technique in which notes are added to the motive while keeping the melodic
and rhythmic outline of the motive intact. (Note that these notes are specifically written into the music by
the composer, unlike the implied ornamentation is Baroque music or in improvisational music.) Thinning is
the opposite process, removing some notes but retaining the essential outline. [motive length: same as
original]
Additional examples
The body of music literature contains countless examples of development techniques that are too subtle or
too individual to catalogue. Further, the techniques listed in these pages are often combined in unique
ways. Examine the examples below, paying special attention to combinations of development techniques.
You may need to describe variations as based on multiple techniques (for example a sequence with a
rhythmic change) or you may wish to describe consecutive techniques (for example the first germ might
be inverted, the second germ might be sequenced).

Bach: The Art of Fugue, Canon I

Dvorak: Symphony No. 9, Fourth Movement

Summary

Technique Method Length of original

repetition restatement same
sequence restatement transposed same
interval change same rhythm, interval or same
intervals altered
rhythm change same intervals, rhythm varied same
fragmentation part of original (usually a germ) shorter
repeated
extension material added at end of motive longer
expansion material added in the middle of longer
the motive
compression material removed from the shorter
middle of the motive
inversion interval direction reversed same
interversion germs presented in a different same
order
diminution note values reduced shorter
augmentation note values lengthened longer
ornamentation non-harmonic tones added same
thinning non-harmonic and/or same
ornamenting tones removed

Please note: the information on this page has been supplied by Dr. Ronald Caltabiano
Art of the Musician
Music - Thematic Development
Author unlisted. Published 1905

EVERY composer of eminence acquires an individual style which dominates his work
in spite of any amount of variety in its character and subjects. Nothing more
frequently eludes analysis than the basis of individual style ; yet critics with but fair
powers of observation do not fail to distinguish the work of familiar composers. Who
that knows anything of the creations of those men could think that Beethoven was
the composer of an unfamiliar piece which was really the production of Bach, or of
Mendelssohn, or of Chopin, or of Liszt? Yet certain composers have successfully
imitated the works of others, or even more felicitously the style common to an epoch
or a nation; for style is not merely an individual peculiarity. There are styles ancient
and modern, styles severe and light; styles harmonic and contrapuntal, styles oriental
and barbaric, styles classical and romantic, styles thematic and lyric ; but as it is
difficult to select the distinctive element upon which individual style is based, so it is
well-nigh impossible to find an example that shall fall exclusively under the head of a
single style.

Lyric style is that in which flowing melody is the most prominent feature. It is that
which is best adapted for the singing of a simple ballad, although as a style it is not
out of place in instrumental music. In contrast to it thematic style is that in which the
structure, as a whole, is the product of the musicianly manipulation of a small portion
of melody, rhythm or harmony, which is not merely repeated (a plan that is wholly
consistent with the lyric style), but is imitated, contrasted with various associated or
accompanying ideas, exhibited in new lights — in short, developed. A piece may
belong in some portions to the lyric, and in others to the thematic style, and its lyric
portions are likely to make the widest popular impression — to display the
composer's spontaneity, inspiration, and mastery of harmony and proportion - but
The Art of the

Musician is revealed most convincingly in thematic style. Variations may exhibit in

some sense the lyric and thematic style at once, a variation being in itself, perhaps,
lyric, but in its relation to the lyric theme, properly thematic; since the working over of
the original melody so as to give it a new interest while yet maintaining its identity, is
precisely what would be called a form of thematic development.

In the earlier portions of this volume incidental allusion has been made to other
processes of development, but for a good understanding of The Art of the Musician, a
more thorough investigation must be made of the methods by which composers
handle, as their material for the construction of tone-poems, those elements which as
such have been hitherto the chief objects of our consideration.

Development in musical composition may be defined as the doing of something with

a musical idea that while changing it allows of the recognition of the source of the
developed form. Mere repetition is not development ; but however little the change
made if it is noticeable at all, the result to which it leads must be considered a
development.

And changes that are noticeable under some circumstances may not be so under
others. For example, a passage may be reproduced in a new key. Surely the
transposition is a change, and hence the second performance may be called a
development of the first. But in one sense it is true that we have but a single scale
which we are accustomed to use in two modes. An Authentic cadence (see Ex. 47), if
it be in accord with the attunement, produces one and the same effect in whatever
key it is heard, and the same is true of most uncomplicated musical ideas, at least
when heard on the piano. Hence, if the passage be reproduced, say, after a page or
two of intervening music involving a natural transition to the key in which the
reproduction occurs, the second use of the passage would be considered a repetition
in spite of the transposition. That is to say, no noticeable change would have been
introduced. But after the playing of a passage in one key, its immediate repetition in
every detail except that the second performance is in a new key, would rank as a
development. An instance of development of this sort is to be found almost at the
very beginning of Beethoven's Sonata in G, Op. 31, No. 1, where the first twelve
measures in the key of G are at once repeated in the key of F. A few changes are
introduced, but much of the second sentence is identical with the first except for the
transposition ; yet the second, where exactly like the first in every other respect, must
still rank as a development of the first because the immediate change to a key so
abruptly . introduced and so little related is strikingly noticeable. This, however, is
almost the simplest kind of development.

A passage may even be developed by simplification. For example, in Beethoven's

Sonata, Op. 28, the first seven beats of the slow movement are reproduced later
(measure 67) without harmony, and again (measure 87) without the characteristic
rhythmical movement of the bass, each of these new forms being simpler than the
original and developed from it.

Such a plan of treating an idea is utilized for the purpose of quieting down an exciting
passage, or at the end of some humorous marches where by repeating a strain with
omissions of certain notes, and pianissimo, the effect of distance and of retreating is
suggested.

The processes by which musical texts are developed are usually forms of what is
technically called imitation. That may be defined as a reproduction of some one or
more, but not of all, the elements of a brief musical passage. Where all the elements
are reproduced we have either a repetition or a variation. The latter term is rather
more vague than imitation, and often includes imitation as one of its elements. But
variation, as commonly understood, concerns itself with rather longer passages than
are the foundations for imitations, and in variation the chief concern is the
recognizable display of the fundamental passage, while in imitation the chief concern
is development. Still a short passage may be treated by variation as distinguished
from imitation. For example, here are two brief passages from Beethoven, Op. 13
and Op. 31, No. 1, showing how the master has developed both by variation. Every
note in a) is to be found again in b), yet with additions which increase the interest but
in no way obscure the fact that to a large extent b) in each case is a repetition of a),
varied.

So many avowed examples of variation are available that further illustration of the
subject is unnecessary. For devices of this sort one may examine the second
movement of Beethoven's Sonata in G, Op. 14, No. 2, or of the Sonata in F minor,
Op. 57, or the movement mentioned in an earlier chapter, the first of the Sonata in A
flat, Op. 26, which is a little more intricate. As a result of the search, many imitations
may be dis-covered, but the variations are so called because they take up a theme of
considerable length and so treat it as to have its presence as the underlying feature
of the variation always evident. The alteration of a passage by merely reproducing it
an octave higher or lower, even in part, would rarely count for more than a repetition.
Imitation is partial reproduction, regardless of the proportion of the part reproduced to
the whole. It may be rhythmic, harmonic, melodic, direct, contrary, retrogressive,
augmented, contracted, free or strict. But by whatever device the resemblance is
introduced, there must be difference or the word imitation is not applicable.

Examine for a moment the trio of Beethoven's Sonata in D, Op. 28, third movement
(Ex. 64). Disregarding the repeat, it consists of twenty-four measures which readily
divide into six sections of four measures each. These may be lettered for reference,
when it will be seen that considering the melody alone, b) is a strict rhythmic and a
partial melodic repetition of a). As it differs from a) in the last two notes, it is an
imitation, not a repetition, but c) and e) as far as melody alone goes, are repetitions
of b), and so also are d) and f) of a). But the melody is accompanied, and considering
melody with accompaniment, there are no repetitions — even the six beats of d) and
f) which have identical letters, have the bass notes an octave higher in f) than in d).
The whole passage, then, is a simple development by imitation from the germ
presented in the first four measures.

A passage in harmonic imitation is given the specific name of sequence. Such a

passage usually involves imitation in melody and perhaps in rhythm, as well as in
harmony. Examples 65 and 66 afford a simple illustration from Beethoven's Sonata in
E flat, Op. 31, No. 3, first move-ment, where a single germ gives origin to the whole
passage ; and one slightly more complex from the same master's Sonata in G, Op.
31, No. 1, first movement, where two germs, one of two measures, marked a), and
the other of one measure, marked b), give origin to the passage.

The rhythm of the melody (left hand part) of the first measure of Ex. 66 is imitated in
the third, fifth, sixth, seventh, eighth, and later measures; and the design itself is a
free imitation of the striking rhythm of the first measure of the sonata. This with some
of its other imitations (the last being from the last movement of the work) may be
seen

But by far the most important form of imitation is the melodic, and of that abundant
illustration may be drawn from the Beethoven Sonata in G, which has furnished
examples of other varieties. Examining again Ex. 66, note that the melody in the left
hand from the beginning of the excerpt for nine measures, is imitated in the right
hand part beginning with the eleventh measure, at first in strict rhythm, but from the
sixteenth measure with a change in rhythm. Example 68 from the slow movement
shows a melodic germ (in which may be included the bass melody of two notes) and
its imitations. In the last movement the opening thirty-two measures show for half the
distance a melody in the upper voice that is at once imitated in a lower part, the
imitation jumping to the upper voice for nearly two measures (27th and 28th). (See
Ex. 69.) The same antecedent serves as the basis of the next illustration (Ex. 70), but
the original theme is not carried far. The ex-ample, however, displays " canonic
imitation " within itself, and as such has an interest all its own. The first three
measures of melody in the bass (counting from middle to middle) are at once imitated
in the upper voice, and that strictly except for the b natural which in one case
responds to b flat. And as soon as the upper voice ceases to imitate, it becomes itself
proposta and for five measures sings what is imitated a measure later by the bass.
That old style of composition known as " canon " always presented a continuous
theme which was imitated according to some law by another voice entering after the
leader but before the theme had gone far.

More involved forms of imitation may be passed over with a word and an illustration
or two. It is found possible to write imitations with great freedom and have them still
capable of showing their origin. A number of antecedents and consequents, all from
this saine sonata of Beethoven, Op. 31, No. 1, are displayed in the following
excerpts. Example 71 is a free, direct imitation carrying the curve of the melody, but
with added notes and a greater range. Example 72 shows several contrary imitations,
the answering voice moving in the opposite direction from the leader. Ex-ample 73
shows imitation by contraction, some or all of the notes of the answer being shorter
than those of the leader. There is no good example of augmented imitation in the
sonata, but the effect is produced by the change of time to Adagio near the close of
the last movement, the notes being the same and of the same relative value as in a
measure in fast time near the opening of the movement. Example 74 is not from the
sonata but from Andre's work on Musical Theory. It shows retrogressive imitation
(and some other points at the same time), the notes after the double bar being the
same as those before it read backward. " Cancrizans " means " like a crab," that is,
moving backwards. The music is so constructed that either part may be uppermost
indifferently ; [c) is the same as b) but with inverted voices.]

With command of so much of the material and the methods of The Art of the
Musician, it is possible to trace out many of the plans of develop-ment used in the
construction of a thematic work. The Beethoven Sonata in D, Op. 28, called "
Pastorale," contains a number of interesting developmental devices, and the student
is recommended to secure a copy of the work and to number its measures
throughout for reference. A number should be placed before every bar, single or
double, just as they are printed and without regard to repetitions or even to the
number of beats in the bar, (i. e., whether it is full or but partly filled). Commence
anew with number one at the beginning of each movement. There are 462 measures
in the first movement, 103 in the second, 70 in the Scherzo, 24 in the Trio, and 212 in
the Rondo.

The first ten measures are immediately developed by a dispersion of the harmony
and by placing them in a higher (thinner) octave, at 169 by a transposition, and at
179 by a new (minor) mode. The melody in 3, 4, 5, 8, and 9, appears again in 21–26
but with its two parts in reverse order, and rhythmically changed. 31–34 is condensed
to 36—38. 40—47 appears varied 48—55. 63—66 appears simplified and over a
single bass note (pedal point, although a very brief one) 71—74. The little passage
174—177 is given a new mode and an elaborate bass 184—187, then a new key and
one note added to the first melody note (the octave) 188—191, then melody taken to
left hand 192—199, then the melody is condensed 200—207, then still further
condensed 208—216, then the left hand part has a contrary imitation of the last
condensation, the right hand having a still more condensed direct imitation, 225—
240.

In the Andante, measures 1 and 2 are found in major at 4 and 5, freely imitated in 10
and 11 (the curve of the melody followed but with new intervals and rhythm), varied
at 51 and 52, simplified at 67 and 68 ; and still further at 87 and 88. The rhythm of the
second beat of measure 2 may be traced as an influential consideration in 10, 12, 15,
25, and following measures. Compare, also, measures 3 and 89.
In the Scherzo measures 1—16 are enriched in harmony at 17—32, and part of them
still more at 57—64. Measures 1—4 give rise to measures 33-44. In the Trio,
measures 1–4 are reproduced to some extent in each following group of four
measures ; in 5–8, reharmonized and with new ending. Later the two sections of
melody appear in reverse order, and the movement of the left hand part is modified.
The first seventeen measures of the Rondo are reproduced from 52 with a few notes
added. These are slightly changed in the recurrence beginning at 114. At 169 and at
194 begin parts modelled upon the bass of the opening measures. This bass as
found in measures 4–7 is the source of the upper part from 69. The passage 80-114
is such a splendid piece of development work that a part of it will be quoted as
Example 75 for the benefit of those who may not have the sonata at hand for the
examination of references already given. The real student of The Art of the Musician
will not fail to provide himself not only with this one, but with a complete set of the
Sonatas of Beethoven.

One is sometimes tempted to wonder if the composer intends all the small features of
thematic development that can be discovered in his work by such minute
examination as has just been given some of the details of Beethoven's Pastoral
Sonata. It is safe enough to assume that the mere habit of composing, of working
with musical ideas, to some extent creates, through mental automatism, results such
as have been discovered, and it is therefore quite possible that the analyzer may
point out some imitations and developments that the composer did not consciously
intend. But such instances must be the exceptions, as one will readily admit after an
ex-tended examination of many compositions in the thematic style. When great
pieces, one after another, display such handling of musical material as has been
discovered in the sonata just studied, it becomes evident that art works that live,
exert power, and redound to the honor of their composers, have been elaborated with
care, skill, and judgment by one who works for the love of his task and because he
believes with Michael Angelo that " Trifles make perfection, but perfection is no trifle."
The examination just concluded might easily have been carried much further, and as
will be seen from following chapters, there are still other ways of working out thematic
development, but the point to be emphasized here is that The Art of the Musician is
shown in the creation of master-works by combining elements into themes, themes
into passages, passages into movements, and movements into complete
compositions. He who can best attend at once to the minor details and the large
aggregations, can, as composer, produce the most profound impression, or as
listener realize most fully the scope and beauty of the creation.

Source:
http://www.oldandsold.com/articles30/music-art-7.shtml
Accessed 2/2011