Music
THE NECESSITY OF FORM IN MUSIC.--So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence there, that a few general principles are submitted at the outset of...
CADENCES IN GENERAL.--A cadence is the ending of a phrase. Strictly speaking, every interruption or "break" between figures, and between all melodic members, is a cadence; but t...
12. CHAPTER I. INTRODUCTION.THE NECESSITY OF FORM IN MUSIC.--So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, an...
14. CHAPTER III. FIGURE AND MOTIVE.THE MELODIC FIGURE.--The smallest unit in musical composition is the single tone. The smallest cluster of successive tones (from two to four or five in number) that will convey...
13. CHAPTER II. FUNDAMENTAL DETAILS.TIME.--Time is the same thing in music that it is everywhere else in nature. It is what passes while a piece of music is being played, sung, or read. It is like the area of the...
36. CHAPTER XVII. THE SONATA-ALLEGRO FORM.ORIGIN OF THE NAME.--The fully developed Sonata-allegro form is the design in which the classic overture and the first movement of the symphony, sonata and concerto are usually...
30. CHAPTER XIII. THE FIRST RONDO-FORM.EVOLUTION.--It cannot have escaped the observant student of the foregoing pages, that the successive enlargement of the structural designs of musical composition is achieved by...
17. CHAPTER VI. IRREGULAR PHRASES.CAUSES.--The possibility of deviating from the fundamental standard of phrase-dimension (four measures) has been repeatedly intimated, and is treated with some detail in the tex...
15. CHAPTER IV. THE PHRASE.THE PHRASE.--It is not altogether easy to give a precise definition of the phrase. Like so many of the factors which enter into the composition of this most abstract, ideal, and...
19. CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM.The processes of extension and development are applied to the period in the same general manner as to the phrase. The results, however, are broader; partly because every operati...
20. CHAPTER IX. THE TWO-PART SONG-FORM.THE SONG-FORM OR THE PART-FORM.--Almost every musical composition of average (brief) dimensions, if designed with the serious purpose of imparting a clear formal impression, wil...
37. CHAPTER XVIII. IRREGULAR FORMS.CAUSES.--Despite the many points of resemblance between the various forms to which our successive chapters have been devoted,--the natural consequence of a continuous line of st...
38. CHAPTER XIX. APPLICATION OF THE FORMS.The use of the various forms of composition, that is, their selection with a view to general fitness for the composer's object, is, primarily, simply a question of length. The h...
18. CHAPTER VII. THE PERIOD-FORM.The phrase is, after all, only a unit; and the requirements of Variety cannot be wholly satisfied by the mere development and extension of a single phrase, except it be for a ce...
29. CHAPTER XII. THE SONG-FORM WITH TRIO.Another method of enlargement consists in associating two different--though somewhat related--Song-Forms. The practice was so common in certain of the older dances, particularly...
35. CHAPTER XVI. THE SONATINE FORM.CLASSIFICATION OF THE LARGER FORMS.--The Sonatine form is the smaller variety of two practically kindred designs, known collectively as the Sonata-allegro forms. In order to obt...
26. CHAPTER XI. ENLARGEMENT OF THE THREE-PART SONG-FORM.REPETITION OF THE PARTS.--The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimens...
33. CHAPTER XV. THE THIRD RONDO-FORM.In this form of composition there are three digressions from the Principal theme. But, in order to avert the excess of variety, so imminent in a design of such length, the digre...
25. Part III is phrase-group. The last four measures are codetta, orLESSON 10.--Analyze the following examples of the Three-Part Song-form. The first step, here again, is to fix _the end of the First Part_; the next, to mark the beginning of the...
24. PART III.--The recurrence and corroboration of the original statement;_the reproduction of Part I_, and therewith the fulfilment of the important principle of return and confirmation. The reproduction is sometimes exact and complete; sometimes sli...
21. CHAPTER X.--THE THREE-PART SONG-FORM.DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS.--We learned, in the preceding chapter, that the Two-Part Song-form is a composition of rather brief extent, with so decisive...
28. Part II, measures 10-13; Part III, measures 14-21; Part IV, measuresGROUP OF PARTS.--In some, comparatively rare, instances, the arrangement of perfect cadences is such that,--coupled with independence of melodic formation and character,--the co...
34. Part III (13-16), phrase.LESSON 15.--Analyze the following examples, as usual. They represent chiefly the Third Rondo-form, but _one example each_ of the First and Second Rondo-forms have been introduce...
31. CHAPTER XIV. THE SECOND RONDO-FORM.As described in the preceding chapter, the Second Rondo-form contains two digressions from the Principal theme, called respectively the first and second Subordinate themes. It b...
27. Part I are to be counted as the _same measure_, and not separately;they are both measure 8):--Part I extends to the double-bar, and is repeated literally, only excepting the _rhythmic_ modification of the final measure; Part II extends from mea...
32. Part III (13-20), period-form.23. PART II.--The departure (more or less emphatic) from this leadingmelodic statement. It is, for a time, probably an evident continuation and development of the melodic theme embodied in the First Part; but it does not end there; it exhibits a...
22. PART I.--The statement of the principal idea; the presentation of themelodic and rhythmic contents of the leading thought, out of which the whole composition is to be developed. It is generally a period-form, at least, closing with a firm perfect...
9. CHAPTER XVII.--THE SONATA-ALLEGRO FORM.4. CHAPTER V.--CADENCES.10. CHAPTER XVIII.--IRREGULAR FORMS.1. CHAPTER I.--INTRODUCTION.5. CHAPTER VI.--IRREGULAR PHRASES.7. CHAPTER XI.--ENLARGEMENT OF THE THREE-PART SONG-FORM.2. CHAPTER III.--FIGURE AND MOTIVE.11. CHAPTER XIX.--APPLICATION OF THE FORMS.3. CHAPTER IV.--THE PHRASE.6. CHAPTER IX.--THE TWO-PART SONG-FORM.8. CHAPTER XII.--THE SONG-FORM WITH TRIO.