FOOTNOTES:[25]The musical foot does not always correspond exactly with the “measure”; for the measure begins with the accent, while the foot often ends or culminates with the accent. The measure is marked off by the bar lines, but the foot sometimes spans the bar line.[26]It must be remembered that all primitive music was vocal.[27]The reason of the “answer at the fifth” is this: the tonic and dominant being the two tonal centres of the key, about which all its sounds are grouped, it is natural that they should be treated as complementary to each other and made the bases of contrast effects. After the subject is announced in the tonic, then, it is answered in the dominant, or a fifth above (or a fourth below, which amounts to the same thing). See Figure VIII.[28]A still more primitive type of structure, occasionally but not uniformly used in symphonies and sonatas, is the variation form. This consists of a theme, generally in simple binary or ternary form, subjected to many successive modifications or “variations,” generally of a superficial kind. Though low in the scale of musical organisms, it is surprisingly effective in the hands of real masters of musical development such as Beethoven and Brahms.[29]This is the case with the Trio, or second Minuet, as well as with the Minuet proper.[30]At first the second subject was in a contrasted key; now both subjects are in the tonic.
FOOTNOTES:
[25]The musical foot does not always correspond exactly with the “measure”; for the measure begins with the accent, while the foot often ends or culminates with the accent. The measure is marked off by the bar lines, but the foot sometimes spans the bar line.
[25]The musical foot does not always correspond exactly with the “measure”; for the measure begins with the accent, while the foot often ends or culminates with the accent. The measure is marked off by the bar lines, but the foot sometimes spans the bar line.
[26]It must be remembered that all primitive music was vocal.
[26]It must be remembered that all primitive music was vocal.
[27]The reason of the “answer at the fifth” is this: the tonic and dominant being the two tonal centres of the key, about which all its sounds are grouped, it is natural that they should be treated as complementary to each other and made the bases of contrast effects. After the subject is announced in the tonic, then, it is answered in the dominant, or a fifth above (or a fourth below, which amounts to the same thing). See Figure VIII.
[27]The reason of the “answer at the fifth” is this: the tonic and dominant being the two tonal centres of the key, about which all its sounds are grouped, it is natural that they should be treated as complementary to each other and made the bases of contrast effects. After the subject is announced in the tonic, then, it is answered in the dominant, or a fifth above (or a fourth below, which amounts to the same thing). See Figure VIII.
[28]A still more primitive type of structure, occasionally but not uniformly used in symphonies and sonatas, is the variation form. This consists of a theme, generally in simple binary or ternary form, subjected to many successive modifications or “variations,” generally of a superficial kind. Though low in the scale of musical organisms, it is surprisingly effective in the hands of real masters of musical development such as Beethoven and Brahms.
[28]A still more primitive type of structure, occasionally but not uniformly used in symphonies and sonatas, is the variation form. This consists of a theme, generally in simple binary or ternary form, subjected to many successive modifications or “variations,” generally of a superficial kind. Though low in the scale of musical organisms, it is surprisingly effective in the hands of real masters of musical development such as Beethoven and Brahms.
[29]This is the case with the Trio, or second Minuet, as well as with the Minuet proper.
[29]This is the case with the Trio, or second Minuet, as well as with the Minuet proper.
[30]At first the second subject was in a contrasted key; now both subjects are in the tonic.
[30]At first the second subject was in a contrasted key; now both subjects are in the tonic.