[Illustration: Example 20. Fragment of Mendelssohn.]

The question naturally arises: What tones are chosen to provide material for this continuation of the rhythm? They are usually derived from the cadence-chord, or its auxiliary embellishments; and the methods employed may be classified as follows:

(1) The rhythmic pulse is marked in the accompanying (subordinate) parts, as seen in Ex. 15, Ex. 18, and the following:—

Example 20. Fragment of Mendelssohn.[Illustration: Example 20. Fragment of Mendelssohn.]

Example 20 continued.[Illustration: Example 20 continued.]

The point of repose is marked by the longer melody tonef, on the accent of the fourth measure. The value of the cadence-chord is recorded, however, in the living tones of the accompanying figure, which here (as in almost every similar case in composition) continues its rhythmic movement undisturbed.

(2) The cadence-chord, or, more properly, thecadence-tonein the melody, is shifted to some later beat in the cadence measure. Thus:

Example 21. Fragment of Mozart.[Illustration: Example 21. Fragment of Mozart.]

In this example there is in reality no irregularity, because the cadence-tone rests upon anaccented beat(the fourth, in 6-8 measure), and the conditions of a cadence are fulfilled byanyaccent, primary or secondary, of the final measure. But it belongs, nevertheless, to this class of disguised cadences; for whatever results, thus, in abbreviating the value of the cadence-chord, lightens the effect of the cadence, and serves the desirable purpose so persistently pursued by all good writers. Further:—

Example 22. Fragment of Beethoven.[Illustration: Example 22. Fragment of Beethoven.]

Example 22 continued. Fragments of Mendelssohn, Schumann, and Mozart.[Illustration: Example 22 continued. Fragments of Mendelssohn, Schumann, and Mozart.]

Nos. 2 and 3 illustrate the method most commonly adopted in shifting the cadence-tone forward to a later beat; namely, by placing an embellishing tone (usually the upper or lower neighbor) of the cadence-tone upon the accented beat belonging properly to the latter. Nos. 4 and 5 are both extreme cases; the actual cadence-tone is shifted to the very end of the measure, so that the effect of cadential interruption is very vague and transient,—and will be quite lost unless the player is intelligent enough to emphasize, slightly, the phrasing (by making a distinct, though very brief, pause before attacking the following measure). See also Ex. 17, No. 2, the first phrase; here, again, the melody runs on (through tones which embellish the cadence-chord,f-a-c) to the last 8th-note of the fourth measure.

(3) A certain—entirely optional—number of tones are borrowed from the value of the cadence-chord, aspreliminary tonesof the following phrase. An illustration of this has already been seen in Ex. 14, No. 2 and No. 3. It is the employment of such preliminary tones, that, as thoroughly explained in Chapter III, creates a distinction between themelodicbeginning and the actual vital starting point of the phrase; or that gives the phrase an apparently shifted location in its measures.

Further (the actual cadence-tone is marked):—

Example 23. Fragments of Beethoven and Mendelssohn.[Illustration: Example 23. Fragments of Beethoven and Mendelssohn.]

Example 23 continued. Fragment of Mendelssohn.[Illustration: Example 23 continued. Fragment of Mendelssohn.]

No. 1 illustrates, again, the absence of preliminary tones in one phrase, and their presence in the next. In each of these examples (excepting, perhaps, No. 2) the cadence is so thoroughly disguised that there is little, if any, evidence left of the "point of repose." In No. 4, particularly, the cadence-measure is rhythmically the most active one in the phrase. And yet the presence of a genuine cadence at each of these places, marked *, is as certain and indisputable as in Ex. 19. The ear will accept a cadence upon the slightest evidencein the right place,—where a cadence is expected. See, also, Mozart pianoforte sonata No. 10 (in D major), first 12 measures; measure 8 is acadence-measure.

Here follow a few more examples which illustrate the most extreme application of this principle of borrowed tones,—a mode of treatment very common in the music of Mozart, Haydn, and, in fact, all classic writers:—

Example 24. Fragments of Mozart.[Illustration: Example 24. Fragments of Mozart.]

Example 24 continued. Fragment of Beethoven.[Illustration: Example 24 continued. Fragment of Beethoven.]

It is difficult to believe that in each of these cases the long array of 16th-notes should not constitute the actual beginning of the phrase, but are only preliminary; and yet this is the only correct view to take of it, and it is the view which will simplify all analysis, when thoroughly comprehended. It must be seen that the cluster of 16th-notes in the cadence-measure (of the preceding phrase) isone-sixteenth short of a full measure, and, therefore, it does not represent the first measure of the next phrase, because our inviolable rule is that the first measure of a phrase is its firstfullmeasure. The above examples emphasize the correct manner of counting the measures; and they simply illustrate possible methods ofdisguising the cadence.

In some cases it is difficult to determine whether the tones which thus disturb the "repose" of the cadence-measure belong to the cadence-chord (that is, to thepresentphrase), or, as preliminary tones, to the following phrase. Upon careful scrutiny, however, it will be found possible to decide, by examining their melodic bearing, to which phrase they pertain. In Example 22, they are manifestly (even in No. 5) a part of the present phrase; in Example 23 and 24 they are as certainly preliminary to the phrase which follows. In the following example they seem to constitute an entirely independent little "interlude," without direct reference to either phrase:

Example 25. Fragment of Mozart.[Illustration: Example 25. Fragment of Mozart.]

THE ELISION.—Finally, there are some (very rare) instances where the composer appears to yield to the seductive influence of such extensive preliminary groups as those seen in Example 24, and by setting aside the trifling discrepancy, permits the apparent preliminary tones to represent theactual first measure of the next phrase. This is easily accomplished, when, as in Example 24, No. 2, it is only one 16th-note short of a full measure. And although this 16th, being the cadence-chord, is actually equivalent to the whole measure, it is sometimes less confusing to the hearer to silence it. This is called stifling the cadence (or Elision); and its presence depends simply upon sufficient proof that what was supposed to be the cadence-measure (and to a certain extent is such) is at the same timereally the first measure of the next sentence. The following contains an illustration of the elision of a cadence:

Example 26. Fragment of Mozart.[Illustration: Example 26. Fragment of Mozart.]

Example 26 continued.[Illustration: Example 26 continued.]

The proofs of this very singular and apparently untrustworthy analysis are: (1) That there is absolutely no doubt about the first cadence, marked *; (2) that a cadence is consequently due, and expected, four measures later,—this proving the measure in question to be the "cadence-measure of the old phrase," as it is marked and as it appeals to our sense of cadence; (3) that the last four measures unmistakably represent a regular, compact phrase,—this proving that the "cadence-measure of the old phrase" is unquestionablyat the same time the first measure, or actual beginning, of the new phrase. In a word, one measure is lost—not in effect, for the elements of the expected cadence are all present,—but in the counting. This lost measure is the stifled cadence-measure, omitted by Elision.

Such cases are, as stated, very rare; so rare that the student will do wisely to leave them quite out of his calculations.

In order to elucidate the embarrassing matter still more fully, we shall take two more examples of a very misleading character, which the superficial observer would probably define as elisions, but which are almost certainly regular cases of disguised cadence merely:

Example 27. Fragment of Mozart.[Illustration: Example 27. Fragment of Mozart.]

Here again there is no doubt of the presence of a cadence at the first *; but this "cadence-measure" appears almost as certainly to be at the same time the initial measure of a new phrase. This, however, proves not to be the case, becausethere are four measures left, without this one. That is, counting backward from the final cadence, we locate the "first measure" after, notwith, the cadence-measure. And this is the way the passage was meant to sound by its author, and the way it will and must sound to the student who has properly cultivated his sense of cadence.

Example 28. Fragment of Beethoven.[Illustration: Example 28. Fragment of Beethoven.]

This case is extremely misleading; it is hard to believe (and feel) that the characteristic onset of the 16th-triplet figure does not herald the new phrase; but all the indications of strict, unswerving analysis (not to be duped by appearances) point to the fact that this is one of the common cases of disguised cadence, and not an elision of the cadence. Thesforzandomarks of Beethoven confirm this view, and, as in Example 27, we have our four measures to the next cadence, without this "cadence-measure."

The characteristic traits of all these various phases of cadence formation are:—

(1) That the actual cadence-tone in the melody may be of any time-value, from the full extent of the cadence-measure down to the smallest fraction of that measure. In Ex. 19 it was the former, unbroken; in Ex. 17, No. 1, also, but broken into the six pulses of the measure; in Ex. 20 it was shortened, by a rest, to one-half its real value; in Ex. 26 it was reduced to one-quarter of its true value; in Ex. 25, to one 8th-note; and in Ex. 24, No. 3, to one 16th-note.

(2) That the cadence-tone in the melody may be shifted forward to almost any point beyond its expected position upon the primary accent. In Ex. 20 (and many other of the given illustrations) it stands in its legitimate place, at the beginning of the measure; in Ex. 21 it stands upon thesecondaccent of the measure; in Ex. 22, No. 1, on the second beat in 3-4 measure; in Ex. 22, No. 5, on the third beat of the triple-measure; in Ex. 22, No. 4, on the last eighth note in the measure.

(3) That in almost every case the effect of absolute cessation is softened by marking the rhythm of the cadence-measure; in no case is the rhythm permitted to pause (not even in Ex. 19, where the accompaniment, not shown, is carried along in unbroken 8th-notes). In some part or other, by some means or other, the cadence-measure is kept alive; either by continuing the accompaniment, as in Exs. 18 and 20, or by quickly picking up a new rhythm, as in Exs. 27 and 28. Conspicuous exceptions to this rule will be found, it is true, in hymn-tunes and the like; though occasionally even there, as the student may recall, the rhythm, in some cadence-measures, is carried along by one or more of the inner voices; for example, in the hymn-tune "Lead, Kindly Light," of J. B. Dykes. (See also Ex. 29.)

SPECIES OF CADENCE.—In text-books and musical dictionaries several varieties of the cadence are distinguished, but they are chiefly distinctions without any more than one essential point of difference, namely, difference in force or weight. It is therefore feasible to reduce all these varieties to two,—the heavy cadence and the light cadence. The former is represented by the so-called Perfect cadence, the latter by the many grades of Semicadence.

PERFECT CADENCE.—There is one method of checking the current of the melodic phrase with such emphasis and determination as to convey the impression of finality; either absolute finality, as we observe it at the very end of a composition, or such relative finality as is necessary for the completion of some independent section of the piece,—conclusive as far as that section is concerned, though not precluding the addition of other sections to this, after the desired degree of repose has been felt. This is known as the perfect cadence, or full stop. It is always made upon thetonic harmonyof some key as cadence-chord, with thekeynote itself in both outer parts, and—when desired in its strongest form (without such disguising as we have seen)—upon anaccentedbeat, and of somewhat longer duration than its fellow tones. For illustration:—

Example 29. Fragment of Schubert.[Illustration: Example 29. Fragment of Schubert.]

At the end of this four-measure phrase there is a perfect cadence, exhibited in its strongest, most conclusive form. It is practically undisguised, though the cadence-chord is reduced to three beats (from the four to which it is entitled) to make room for the preliminary beat of the next phrase (calculated to correspond to the one at the beginning of this phrase).

The cadence-chord is the tonic harmony of C minor; upon the primary accent of the 4th measure; it is considerably longer than any other tone in the phrase; and the keynotecis placed both at the top and at the bottom of the harmonic body. See also Ex. 15; the cadence is perfect, because the cadence-chord, on the accent of the 4th measure, is the tonic harmony of G major, with the keynote as highest and as lowest tone. It is abbreviated by rests, which very slightly diminish its weight. Ex. 17, No. 2, closes with a perfect cadence; it is the tonic harmony of C major, on an accent, and with the keynote in the two extreme parts. See also Ex. 20.

In the following:

Example 30. Fragment of Schumann.[Illustration: Example 30. Fragment of Schumann.]

the cadence-chord stands upon the secondary accent (3d beat) of the final measure. This method of shifting the cadence forward is generally adopted in large species of measure (6-8, 9-8, and the like), and has been defined among the devices employed in disguising orlighteningthe cadence. In Ex. 22, No. 5, the cadence-chord is shifted to the last beat (unaccented) of the final measure; this lightens the cadence very materially, but it does not affect any of its essential properties as perfect cadence. The following is similar:—

Example 31. Fragment of Schumann.[Illustration: Example 31. Fragment of Schumann.]

The cadence-chord occupies the unaccented (2d) beat, and is no longer than any other chord in the phrase. Despite its striking brevity, it is nevertheless a perfect cadence, disguised; it is the tonic chord of C major, with the keynote at top and bottom. See also Ex. 23, No. 1.

The following illustrations come under the head of the disguised cadences seen in Ex. 24:—

Example 32. Fragments of Mendelssohn and Schubert.[Illustration: Example 32. Fragments of Mendelssohn and Schubert.]

In No. 1 the cadence is perfect, for it is the tonic chord of G major, keynotegat top and bottom, and on the primary accent of the fourth measure; but the uninterrupted continuation of the movement of 16ths, in the right hand, shortens the uppermost keynote to a single 16th-note, and would entirely conceal the cadence, were it not for the distinct evidence of repose in the lower part.

In No. 2 the movement in the upper part appears to shatter the cadence; the keynote does not appear on the accent, and its announcement at the end of the first triplet is very brief. For all that, it is an unmistakable perfect cadence; the chord thus shattered (or "broken," technically speaking) is the tonic harmony of the key, and the keynotedoesappear as uppermost (and therefore most prominent) tone, in the same order of percussion as that given to each of the preceding melody tones.

At the end of an entire piece of music, or of some larger section of the piece, the cadence-chord, on the other hand, is often lengthened considerably, for the sake of the greater weight and decision of cadential interruption required at that place. Thus:—

Example 33. Fragment of Schubert.[Illustration: Example 33. Fragment of Schubert.]

The last two measures are merely the prolongation of the final cadence-chord. See also, Mendelssohn, Songs Without Words, No. 4, last five measures; No. 8, last eight measures; and others.

Another peculiarity of the final cadence is, that sometimes theuppermosttone is the 3d or 5th of the tonic chord, instead of the keynote,—a significant device to counteract the dead weight of the cadence-chord, especially when prolonged as just seen. See No. 10 of the Songs Without Words, last six measures; it is the tonic chord of B minor, but the toned(the 3d) is placed at the top, instead ofb. Also No. 16, last chord; No. 38, last chord; No. 6, last three measures (the 5th of the tonic chord as uppermost tone). At any other point in the piece this default of the keynote would, as we shall presently see, almost certainly reduce the weight of the cadence from "perfect" to "semicadence"; at the very end, however, it cannot mislead, because it does not affect the condition of actual finality.

SEMICADENCE.—Any deviation from the formula of the perfect cadence—either in the choice of some other than the tonic chord, or in the omission of the keynote in either (or both) of the outer parts—weakens the force of the interruption, and transforms the cadence into a lighter, more transient, point of repose, for which the term semicadence (or half-stop) is used. The semicadence indicates plainly enough the end of its phrase, but does not completely sever it from that which follows.

It is these lighter, transient forms of cadence to which a number of different names are given; for the student of analysis (and the composer, also, for that matter) the one general term "semicadence," or half-cadence, is sufficient, and we shall use no other.

If, then, a cadence is final in its effect, it is a perfect one; if not, it is a semicadence. The harmony most commonly chosen as the resting-place of a semicadence is the chord of thedominant,—the fifth step of the momentary key,—that being the harmony next in importance to that of the tonic (the one invariably used for the perfect cadence). The following example illustrates the dominant semicadence:—

Example 34. Fragment of Brahms.[Illustration: Example 34. Fragment of Brahms.]

The cadence-chord is the dominant harmony (roote) in the key of A minor; neither of the two upper tones on the first and second beats is the root of the chord; it is quite sufficient that the root appears as lowermost tone, and even this is not necessary. The "point of repose" is shifted to the second beat, in the manner so amply illustrated in the examples of the disguised cadence; the methods we have seen may be applied toanykind of cadence.

See also Ex. 18; the key, and therefore the chord, at the semicadence is the same as that of the above example (simply major instead of minor).

Also Ex. 23, No. 4; the semicadence chord is the dominant harmony of E-flat major; it is skillfully disguised. Ex. 25, dominant harmony of A major. Ex. 26, last four measures; the semicadence is made upon the dominant of C minor.

In the following:

Example 35. Fragment of Schumann.[Illustration: Example 35. Fragment of Schumann.]

the semicadence in the fourth measure is made with the dominant harmony of C major (the tonesg-b-d-f); it is so disguised as to remove all signs of interruption; but the chordprevailsthroughout the measure, and (as may be seen by reference to the original, op. 68, No. 3) the next measure—the fifth—exactly corresponds to the first; this indicates another "beginning," and proves our "ending."

But though the dominant is thus generally employed at the semicadence, it is by no means the only available chord. It must be remembered that every cadence which does not fulfil the definite conditions of the perfect cadence, is a semicadence. Examine each of the following, and determine why the point of repose is each time a semicadence:—Ex. 1; Ex. 9, No. 3; Ex. 14, No. 2, fourth measure; Ex. 14, No. 3, fourth measure; Ex. 19; Ex. 22, Nos. 3 and 4; Ex. 23, No. 2, fourth measure.

The distinction between the two species of cadence becomes most subtle when thetonic harmonyis chosen for the semicadence,but with some other part of the chord than the keynote as uppermost (or lowermost) tone. This might appear to lighten the perfect cadence too immaterially to exercise so radical an influence upon the value (weight) of the interruption. Thekeynote, however, is so decisive and final in its harmonic and melodic effect—everywhere in music—that its absence more or less completely cancels the terminating quality of the cadence-chord; in other words, the force of a tonic cadence depends upon the weight and prominence of thekeynote.

For example:

Example 36. Fragment of Schubert.[Illustration: Example 36. Fragment of Schubert.]

The first, second, and third of these cadences is made upon the tonic harmony, on the accent of each successive fourth measure. But they are onlysemicadences, as the melody (uppermost part) rests upon the Third of the chord,c, instead of the keynote; this substitution ofcfora-flatis sufficient to frustrate the perfect cadence and diminish it to a transient interruption. The final cadence is perfect, however, because there the uppermost toneisthe keynote. See also Ex. 21; and Ex. 17, No. 2, fourth measure (semicadence, withainstead offas principal tone in upper part, and disguised by the continuation of rhythmic movement to the end of the cadence-measure). In Ex. 17, No. 1, the cadence is made with the tonic harmony of G minor, but with the Third (b-flat) at the top.

LOCATING THE CADENCES.—Next to the recognition and comparison of the different melodic sections of a composition (in a word, themelodic delineationof the whole), the most significant task in music analysis is the locating and classifying of the cadences. They are the angles of the design, so to speak; and have the same bearing upon the sense of the music as punctuation marks have in rhetoric. Intelligent and effective phrasing, adequate interpretation of the composer's purpose, is impossible without a distinct exposition of the cadences,—if not of the inferior points of interruption between motives, also.

The best general rule for locating cadences is, probably, to look for them in the right place, namely, in thefourth measurefrom the beginning of each phrase. The fairly regular operation of this rule has been verified in Lesson 4. But exceptions have also been seen (in Ex. 17), and many more are certain to be encountered, simply because the principle of Unity (exemplified by the prevalence of the four-measure standard) must interact with the principle of Variety (exemplified in all phrases of irregular extent).

Therefore, the more reliable method, as already stated, isto define the beginning of the following phrase,—for each successive beginning involves a foregone cadence, of course. No very definite directions can be given; experience, observation, careful study and comparison of the given illustrations, will in time surely enable the student to recognize the "signs" of a beginning,—such as the recurrence of some preceding principal member of the melody, or some such change in melodic or rhythmic character as indicates that a new phrase is being announced.

LESSON 5. Analyze, again, Schumann,Jugend Album(op. 68), No. 6, locating every cadence and defining its quality,—as perfect cadence or semicadence. Also Nos. 22, 24, 26, 28, 30, 33, 14, 15, 16, 3,—and others. As a curious illustration of the difficulty which may sometimes attend the analysis of phrases and cadences, the student may glance at No. 31 (Kriegslied, D major); a more baffling example will rarely be found, for the piece abounds in irregular phrase-dimensions, and cadences that are disguised to the verge of unrecognizability; the only fairly reliable clue the composer has given lies in the formation of the melodic members (the clue intimated in the explanatory text following Ex. 35).

Also Mendelssohn, Songs Without Words, No. 34 (first phrase six measures long); No. 40; No. 18.

Also Beethoven's pianoforte sonata, op. 22, third movement (Menuetto); op. 28, second movement (Andante).

Again the student is reminded that it is not only permissible, but wise and commendable, to pass by all confusing cases; without being careless or downright superficial, to observe a certain degree of prudent indifference at confusing points, trusting to that superior intelligence which he shall surely gain through wider experience.

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 text preceding Example 17, which should be reviewed. It is now necessary to examine some of the conditions that lead to this result.

The causes of irregular phrase-dimension are two-fold; it may result

(1) from simply inserting an additional cadence, or from omitting one. Or

(2) it may be the consequence of some specific manipulation of the phrase-melody with a view to its extension or expansion, its development into a broader and more exhaustive exposition of its contents.

THE SMALL AND LARGE PHRASES.—If a cadence is inserted before it is properly due, it is almost certain to occur exactlyhalf-wayalong the line toward the expected (regular) cadence,—that is, in thesecondmeasure. This is likely to be the case only when the tempo is so slow, or the measures of so large a denomination, that two of them are practically equal to fourordinarymeasures. By way of distinction, such a two-measure phrase is called a Small phrase. For example:—

Example 37. Fragment of Mendelssohn.[Illustration: Example 37. Fragment of Mendelssohn.]

There is no reasonable doubt of the semicadence in the second measure, because enough pulses have been heard, up to that point, to represent the sum of an ordinary phrase. If this were written in 6-8 measure (as it might be), it would contain four measures. See, also, Song No. 22 of Mendelssohn,—9-8 measure, adagio tempo; the phrases are "Small"; note particularly the last two measures. The same is true in No. 17. About Schumann, op. 68, No. 43 (Sylvesterlied), there may be some doubt; but the measures, though of common denomination, contain so many tones, in moderate tempo, that the effect of a cadence is fairly complete in the second measure.

If, on the other hand, one of the regular cadences is omitted,—owing to the rapidity of the tempo, or a small denomination of measure,—the phrase will attain just double the ordinary length; that is,eightmeasures. An eight-measure phrase is called a Large phrase. For illustration:—

Example 38. Fragment of Beethoven.[Illustration: Example 38. Fragment of Beethoven.]

There is not the slightest evidence of repose or interruption in the fourth measure, nor of a new beginning in the fifth, wherefore the cadence is not expected until four more measures have passed by. The inferior points of repose in the upper parts, at the beginning of the 5th, 6th and 7th measures, serve only to establish melodic, or rather rhythmic, variety, and have no cadential force whatever. See Mendelssohn, Song No. 8; the first cadence appears to stand in theeighthmeasure; the tempo is rapid and the measures are small; it is obviously a large phrase. The phrase which follows is regular, however; thereisa cadence in the twelfth measure, thus proving that Large phrases may appear in company with regular phrases, in the same composition. In other words, the omission of an expected cadence (or the insertion of an additional one) may be anoccasionaloccurrence,—not necessarily constant. See, again, No. 22 of the Songs Without Words; the first and second phrases are small; the third phrase, however (reaching from measure 6 to 9 without cadential interruption), is of regular dimensions.

THE PRINCIPLE OF EXTENSION.—The other cause of modified phrase-dimension is one of extreme importance, as touching upon the most vital process in musical composition, namely, that ofphrase-development.

Setting aside all critical discussion with reference to the question, "What is good music?" and simply accepting those types of classic composition universally acknowledged to be the best, as a defensible standard (to say the least), we find that such a page of music exhibits the pursuit of some leading thought (melodic motive or phrase), with precisely the same coherence and consistency, the same evidence of determined aim, as is displayed in the creation of a forcible essay, a masterly poem, an imposing architectural plan, or any other work of art that betrays intelligence and a definite, fixed, purpose. This is no more nor less than might be expected from the dominion of the law of Unity.

The equally inflexible demands of Variety are satisfied by presenting this self-same leading thought in ever new and changing aspects,—notby exchanging the thought itself for a new one at each successive angle. This latter faulty process would naturally lead to a conglomeration of impressions, baffling comprehension and jeopardizing real enjoyment.

In a classic page of music we perceive that each successive unit grows, more or less directly, out of those which go before; not so directly, or with such narrow insistence as to produce the impression of sameness and monotony, but with such consistency of design as to impart a unified physiognomy to the whole. Hence, it will often be found that every melodic figure, during a certain section (if not the whole) of a composition, may be traced to one or another of the figures which characterized the first phrase, or the first two or three phrases, of the piece. This was emphasized by our reference, near the end of the first chapter, to the 8th Song Without Words of Mendelssohn. If the student, in analyzing the melody of that composition, will endeavor to penetrate some of the clever disguises employed by the composer (for the sake of Variety), he will find the whole piece reducible to a very few melodic figures, announced at or near the beginning. See also No. 45 (C major), No. 36, No. 26. Also Schumann, op. 68, No. 7, No. 8, No. 18, No. 23. Also Beethoven, pianoforte sonata, op. 10, No. 2, last movement; op. 26, last movement.

In musical composition this process is known as thematic development, and it generally extends over the whole, or a greater part, of the piece.

Its operation on a smaller scale, with more limited reference to one phrase alone, effects the development of the phraseby extension.

The process of extension or expansion, by means of which the phrase usually assumes a somewhat irregular length, consists mainly in the varied repetition of the figures or motives that it contains; and the continuity of the whole, as extension of theone phrase, is maintained by suppressing the cadence—suspending all cadential interruption—during the lengthening process. For example:

Example 39. Fragment of Mendelssohn.[Illustration: Example 39. Fragment of Mendelssohn.]

These six measures result from a repetition (variated) of the third and fourth measures of the original—regular—four-measure phrase. A cadence is due in the fourth measure, but it is not permitted to assert itself; and if it did, its cadential force would be neutralized by the entirely obvious return to (repetition of) the motive just heard. Further:—

Example 40. Fragment of Mendelssohn.[Illustration: Example 40. Fragment of Mendelssohn.]

There is no cadence in the fourth measure,—the current of the melody obliterates it and hurries on, voicing the last measure again and again until it dies away in the tenth measure, where a cadence ends it. That it should be thetenthmeasure is purely accidental; the number of measures is of little account in the act of extension; here, it was continued until a convenient place was found (with reference to chord and key) for the cadence. Further:—

Example 41. Fragment of Mendelssohn.[Illustration: Example 41. Fragment of Mendelssohn.]

Measures 1, 2, 3 and 8 constitute the original regular four-measure phrase.

The following regular phrase (to be found in the last movement of Beethoven's pianoforte sonata, op. 28):—

Example 42. Fragment of Beethoven.[Illustration: Example 42. Fragment of Beethoven.]

is immediately followed by this lengthy and elaborate extension:—

Example 43. Fragment of Beethoven.[Illustration: Example 43. Fragment of Beethoven.]

Example 43 continued.[Illustration: Example 43 continued.]

The portion markedbis a complete repetition, with quaint variation, of the original four-measure phrase, markedain Ex. 42;cis a repetition of the last figure (just one measure) of the phrase, with the melodic parts inverted, or exchanged;dandeare a literal repetition of the two preceding measures—(c) andc;fis another recurrence of (c), with still another inversion of the melodies;grepeatsean octave higher; andhis nothing more or less than a curious repetition ofg, in longer tones, and in reversed direction. Distinct cadential interruption is carefully avoided after the original phrase has been announced, that is, throughout Ex. 43,—which is the significant proof (borne out by the manifest identity of themelodicmembers) that these measures form part and parcel of the original phrase, as extension or development of it, andnota new phrase. The total length is sixteen measures, developed thus out of the original four.

For an exhaustive explanation of phrase-extension, with all the technical details, the student is referred to my HOMOPHONIC FORMS, Chapter III.

Another method of extending a phrase consists in prefacing a measure or two of purelyintroductorymaterial; it is, therefore, rather anticipation than prolongation, and is composed most commonly of the figure of the accompaniment, announced briefly before the actual phrase-melody begins.

This is shown very clearly in the first measure of the 22d Song Without Words; also in the first measure of No. 7, No. 31, No. 42, No. 40, and others; the firsttwomeasures of No. 34, and No. 1; the firstthreemeasures of No. 19, No. 26, and No. 37,—and needs no further illustration. It emphasizes the necessity of vigilance in defining the correctstarting-pointof the first phrase; for a mistake at the beginning may interfere seriously with the locating of the cadences (according to our fundamental four-measure rule). For instance, in No. 42 the cadences donotfall in the 4th, 8th, 12th measures—and so on—but in the 5th, 9th, 13th, 17th, from the very beginning of the piece.

When the introductory passage is longer thanthreemeasures, it probably constitutes a complete phrase by itself, with its own cadence; in which case, of course, it must not be analyzed as "extension." For example, at the beginning of No. 29; still more apparently at the beginning of No. 28, No. 41, and others.

INHERENT IRREGULARITY.—Finally,—there exists another, third, condition, besides those mentioned at the head of this chapter, whereby a phrase may assume an irregular dimension; not by doubling or dividing its length (as in the large and small phrases) nor by the processes of extension,—but by an arbitrary and apparently incalculable act ofmelodic liberty,—by allowing the melody to choose its own time for the cadential interruption. This comparatively rare occurrence is illustrated in Ex. 17, No. 1 (five-measure phrase), and Ex. 17, No. 2, second phrase (six measures long). It is true that in each of these cases the "extra" measures might be accounted for as "extension by modified repetition,"—for instance, in No. 1 thesecondmeasure might be called a reproduction (or extension) of the first measure. But cases will be encountered where a phrase of three, five, six, or seven measures will admit of no such analysis. In such instances the student is compelled to rely simply upon the evidence ofthe cadence. As was advised in the context of Ex. 17, he must endeavor to define the phrase by recognition of its "beginning" and "ending," as such; or by exercising his judgment of the "cadential impression." See also Ex. 48, second phrase (six measures).

See Schubert, pianoforte sonata No. 1 (A minor, op. 42)Scherzo-movement; first 28 measures, divided into 5 phrases,—as demonstrated by the melodic formation—of 5, 5, 5, 7 and 6 measures. Also Schubert,Impromptu, op. 90, No. 3, measures 42 to 55 (phrases of 5, 5 and 4 measures.)

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