CHAPTER XII. THE SONG-FORM WITH TRIO.

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

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

THE "TRIO," OR SUBORDINATE SONG.--The division which follows, as second song-form, was formerly called the "Trio," and it has retained the name in the majority of examples of this form, although the old custom that gave rise to the term has long since been discontinued. A more accurate designation, and one that we shall here adopt, is "Subordinate Song." (Other names, which the student will encounter, are "maggiore," "minore," "intermezzo," "alternative," etc.).

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

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

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

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

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

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

Op. 2, No. 2, _Scherzo_ and _Trio_.

Op. 2, No. 3, _Scherzo_ and _Trio_.

Op. 7, third movement, _Allegro_ and _Minore_.

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

Op. 10, No. 3, _Menuetto_ and _Trio_.

Op. 14, No. 1, second movement. _Allegretto_ and _Maggiore_; a coda is added.

Op. 22, _Menuetto_ and _Minore_.

Op. 26, _Scherzo_ and _Trio_.

Op. 27, No. 1, second movement, _Allegro molto_; the Trio is not marked; the "_da capo_" is variated, and a coda follows.

Op. 27, No. 2, _Allegretto_ and _Trio_.

Op. 28, _Scherzo_ and _Trio_.

Op. 31, No. 3, _Menuetto_ and _Trio_.

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

No. 12, No. 29, No. 39 (here the _da capo_ is considerably changed).

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

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

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

No. 12, _Menuetto_.

Schubert, _Momens musicals_, op. 94, Nos. 1, 4, and 6.

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

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

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

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