LESSON 6. Analyze the following examples, locating the cadences and defining their value (as perfect or semicadence); and determining the nature of each irregular phrase (as small, large, or extended phrase):
Beethoven, pianoforte sonata, op. 22, second movement (Adagio), first 30 measures.
Beethoven, pianoforte sonata, op. 28,Scherzo-movement.
Beethoven, pianoforte sonata, op. 14, No. 3,Menuetto.
Mendelssohn, Songs Without Words: No. 4, first 5 measures.
No. 46, last 9 1/2 measures.
No. 42, last 15 measures.
No. 45, last 11 measures.
No. 12, last 12 measures.
No. 14, last 11 measures.
No. 36, last 22 measures.
No. 37, last 11 measures.
Beethoven, pianoforte sonata, op. 27, No. 2, last movement; measures 7 to 23 from the second double-bar.
Beethoven, pianoforte sonata, op. 28, first movement; from the double-bar (near the middle of the movement) measures 21 to 94 (fermatasymbol); in this extraordinary specimen of phrase-development, the original four-measure phrase yields seventy-four successive measures, with very few cadences to divide it even into sections. Same sonata, last movement, last eighteen measures.
PHRASE-ADDITION.—The phrase is the structural basis of all musical composition. By this is meant, not necessarily the single phrase, but the phrase in its collective sense.
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 certain limited section of the piece, or for a brief composition in small form (like Schumann, op. 68, No. 8).
The act ofadditiondoes therefore enter into the processes of music-writing, as well asextension. Phrase may be added to phrase, in order to increase the primary material, and to provide for greater breadth of basis, and a richer fund of resources. The condition to be respected is, that such aggregation shall not become the ruling trait, and, by its excess, supplant the main purpose,—that ofdevelopment. That is, it must be held rigidly within the domain of Unity. The student of the classic page will therefore expect to find a more or less marked family resemblance, so to speak; prevailing throughout the various phrases that may be associated upon that page.
Each additional phrase should be, and as a rule will be, sufficiently "new" in some respect or other to impart renewed energy to the movement; but—so long as it is to impress the hearer as being the same movement—there will still remain such points of contact with the foregoing phrase or phrases as to demonstrate its derivation from them, its having "grown out" of them.
This process of addition (not to be confounded with the methods of extending a single phrase, illustrated in the preceding chapter) is exhibited first, and most naturally, in the so-called Period-form.
THE PERIOD.—The Period-form is obtained by the addition of a second phrase to the first. It is therefore, in a sense, a double phrase; that is, it consists of two connected phrases, coveringeight ordinary measures, or just double the number commonly assigned to the single phrase.
Each one of these phrases must, of course, have its individual cadence, or point of repose; the first—called theAntecedent phrase—has its cadence in the fourth measure, and the second—called theConsequent phrase—in the eighth measure. The effect of the Period-form is that of a longer sentence interrupted exactly in the middle,—not unlike a bridge of two spans, resting on a central pier. But, precisely as the central pier is only an intermediate point of support, and not terra firma, so the ending of the Antecedent phrase is never anything more weighty than a semicadence, while the definite, conclusive, perfect cadence appears at the end of the Consequent phrase,—or of the entire period-form.
The reason for this distinction of cadence is obvious. A period is not two separate phrases, but two related and coherent phrases which mutually balance each other. The Consequent phrase is not merely an "addition" to the first, but is its complement and "fulfilment." The two phrases represent the musical analogy of what, in rhetoric, would be called thesis and antithesis, or, simply, question and answer. In a well-constructed period the Antecedent phrase is, therefore, always more or lessinterrogative, and the Consequent phraseresponsive, in character.
For illustration (Mendelssohn, No. 28):—
Example 44. Fragment of Mendelssohn.[Illustration: Example 44. Fragment of Mendelssohn.]
Example 44. Fragment of Mendelssohn.[Illustration: Example 44. Fragment of Mendelssohn.]
The co-operation, or interaction, of the principles of Unity and Variety, is nowhere more strikingly shown than in the formulation of the musical period. Either element has the right to predominate, to a reasonable degree, though never to the exclusion or injury of the other. In the above example, the principle of Unity predominates to a somewhat unusual extent:—not only the figures (marked 1-2-3-4), and the motives (a-b), are uniform, in the Antecedent phrase itself, but the melody of the Consequent phrase corresponds very closely throughout to that of the Antecedent, only excepting a trifling change in the course (markedN. B.), and the last few tones, which are necessarily so altered as to transform the semicadence into a perfect cadence. It is this significant change,at the cadence, which prevents the second phrase from being merely a "repetition" of the first one,—which makes it a "Consequent," a response to the one that precedes.
Further (Mendelssohn, No. 23):—
Example 45. Fragment of Mendelssohn.[Illustration: Example 45. Fragment of Mendelssohn.]
Example 45. Fragment of Mendelssohn.[Illustration: Example 45. Fragment of Mendelssohn.]
In this example also, the Consequent phrase is a complete affirmation of its Antecedent, agreeing in its melodic form with the latter until the cadence is nearly due, when an extra measure is inserted (as extension), and the usual digression into the necessary perfect cadence is made. The condition of Unity predominates, but a noticeable infusion of Variety takes place.
Further (Mozart, pianoforte sonata):—
Example 46. Fragment of Mozart.[Illustration: Example 46. Fragment of Mozart.]
Example 46. Fragment of Mozart.[Illustration: Example 46. Fragment of Mozart.]
Here, again, the condition of Unity prevails, but with a still greater infusion of Variety; the melody of the Consequent phraseresemblesthat of the Antecedent in every detail; the rhythm is identical, and it is evident that the second phrase is designed to balance the first, figure for figure, the principal change being that some of the figures are simply turned upside down (compare the places markedN. B.). The semicadence rests upon a dominant chord (fifth-step) of D major; the perfect cadence upon the same chord, it is true, but astonicharmony of A major, with keynote in the extreme parts. Being a keynote, though not in the original key, it is valid as perfect cadence.
Further (Beethoven, pianoforte sonata, op. 13):—
Example 47. Fragment of Beethoven.[Illustration: Example 47. Fragment of Beethoven.]
Example 47. Fragment of Beethoven.[Illustration: Example 47. Fragment of Beethoven.]
Example 47 continued.[Illustration: Example 47 continued.]
Example 47 continued.[Illustration: Example 47 continued.]
In this example, the condition of Variety predominates decidedly. The Consequent melody differs totally from the Antecedent, even in rhythm, and the necessary portion of Unity is exhibited only in equality of length,uniformity of accompaniment, and similarity of character (tonality, and general harmonic and rhythmic effect). Observe the diversity of melodic extent, in the two phrases, in consequence of the preliminary tone borrowed from the semicadence for the Consequent phrase. Greater variety than here will rarely be found between two successive phrases that are intended to form the halves of one coherent period.
For more minute technical details see the HOMOPHONIC FORMS, Chapter V.
LESSON 7. Analyze the following examples. Locate the cadences; compare the phrases and define the degrees of Unity and of Variety exhibited in the melody, or elsewhere; and mark such irregularities of forms (or extensions) as may be found:—
Mendelssohn, Songs Without Words, No. 35, measures 5 1/2-13. (By 5 1/2 is meant themiddleof the fifth measure, instead of its beginning.)
No. 45, first 8 measures.
No. 29, measures 4 1/2-12.
No. 14, " 1-8.
No. 34, " 1-10.
No. 18, " 1-9; 10-17.
No. 9, " 3 1/2-7.
No. 27, " 5-12.
Schumann, op. 68, No. 3, measures 1-8; 9-16.
No. 5, measures 1-8; 9-16. (Do not overlook the preliminary tones which precede the first measure.)
The first eight measures of Nos. 6, 7, 8, 9, 11, 12, 15, 22, 23, 24, 26, 30, 32, 39. Also Nos. 13 and 28, firsttenmeasures.
Beethoven, pianoforte sonatas: op. 2, No. 1,Adagio, measures 1-8. Same sonata, third movement, "Trio," measures 1-10.
Op. 2, No. 2,Largo, measures 1-8; alsoScherzo, measures 1-8; alsoRondo, measures 1-8.
Op. 2, No. 3, measures 1-13; alsoScherzo, measures 1-16; also last movement, measures 1-8.
Op. 10, No. 1,Finale, measures 1-8; and measures 16 1/2-28.
Op. 10, No. 3, measures 1-10; alsoLargo, measures 1-9; 9 1/2-17; alsoMenuetto, measures 1-16; alsoRondo, measures 1-9.
Op. 14, No. 2, measures 1-8; alsoAndante, measures 1-8; alsoScherzo, measures 1-8.
After analyzing these examples, the student may venture to define the periods in other compositions, classic or popular, especially such as he may chance to be learning.
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 operation is performed on a correspondingly larger scale, and partly because the resources of technical manipulation increase, naturally, with the growth of the thematic material.
Among the various methods adopted, there are three, each significant in its own peculiar way, that provide sufficiently exhaustive directions for the student of structural analysis.
ENLARGEMENT BY REPETITION.—The first and simplest method is to increase the length of the period-form by the process ofrepetition; repetition of the entire sentence, or of any one—or several—of its component members, in a manner very similar to that already seen in connection with the single phrase (Chap. VI, Ex. 39, etc.), and under the same conditions of Unity and Variety; that is, the repetitions may be nearly or quite literal, or they may have been subjected to such alterations and variations as the skill and fancy of the composer suggested.
An example of complete repetition (that is, the repetition of the entire period), with simple but effective changes, may be found in Beethoven, pianoforte sonata, op. 13,Adagio, measures 1 to 16. Examine it carefully, and observe, among other details, the treatment of the perfect cadence (in the 8th measure). See also, Song Without Words, No. 27, measures 5 to 20.
The repetition of one of the two phrases is exhibited in the following (Mozart, sonata No. 14):—
Example 48. Fragment of Mozart.[Illustration: Example 48. Fragment of Mozart.]
Example 48. Fragment of Mozart.[Illustration: Example 48. Fragment of Mozart.]
The Antecedent is a regular four-measure phrase, with semicadence (made on the tonic chord, but with3das uppermost tone); the Consequent is a six-measure phrase, with perfect cadence, and is repeated, with partial change of register. The whole is a "period with repeated Consequent."
A somewhat elaborate example of extension by detail-repetition is seen in the following (Chopin, Mazurka No. 20, op. 30, No. 3—see the original):
Example 49. Fragment of Chopin.[Illustration: Example 49. Fragment of Chopin.]
Example 49. Fragment of Chopin.[Illustration: Example 49. Fragment of Chopin.]
Example 49 continued.[Illustration: Example 49 continued.]
Example 49 continued.[Illustration: Example 49 continued.]
These sixteen measures are the product out of eight measures, by extension; that is, they are reducible to a simple period-form (as may be verified by omitting the passages indicated under dotted lines), and they represent in reality nothing more than its manipulation and development. The original 8-measure period makes a complete musical sentence, and was so devised in the mind of the composer,without the extensions. The method of manipulation is ingenious; observe the variety obtained by the striking dynamic changes fromfftopp; and, hand in hand with these, the changes from major to minor, and back (as shown by the inflection ofb-flat tob-double-flat). These are first applied to members only, of the Antecedent, as indicated by the bracketsaandb, and then to the entire Consequent phrase. Observe, also, that in the repeated form of the latter, the rhythm is modified to a smoother form, during two measures. The result here achieved is constant Unity and constant Variety from almost every point of view, admirably counterbalanced.
THE PHRASE-GROUP.—A second method consists in enlarging the period-form to three phrases, by the same process of addition which, as explained in the preceding chapter, transforms the single phrase into the double-phrase or period. In order to preserve the continuity of the three phrases, it is evident that the second phrase mustalsoclose with a semicadence,—the perfect cadence being deferred until the last phrase is concluded.
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This form, be it well understood, does not include any of the triple-phrase designs which may result from merely repeating one or the other of the two phrases that make a period, as is shown in Ex. 48.All such phrase-clusters as are reducible to two phrases, because nothing more than simple repetition has been employed in their multiplication, should always be classed among ordinary periods; for two successive phrases, if connected (that is, unless they are purposely broken asunder by a definite perfect cadence at the end of the first phrase) always represent the analogy of Question and Answer.
The enlarged form we are at present considering consists of threedifferentphrases, as a general rule; probably very closely related, or even distinctly resembling one another; but too independent, nevertheless, to constitute actual repetition, and therefore to admit of reduction to two phrases. For this very reason it cannot justly be called "period" at all, but takes the name of "phrase-group." An illustration by diagram will make the distinction clear:—
Phrase group diagram.[Illustration: Phrase group diagram.]
Phrase group diagram.[Illustration: Phrase group diagram.]
Observe that the classification depends upon the number of phrases,—upon themelodicidentity of the phrases,—and upon thequality of the cadences.
No. 1 is illustrated in Ex. 15; No. 2, in Ex. 42 and the first four measures of Ex. 43 (cadence not perfect, it is true, but same phrase-melody andsame cadence); No. 3 is seen in Ex. 44 (phrase-melody similar, but cadences different)—also in Ex. 47; No. 4 is seen in Ex. 48; No. 5 is rare, but an example will be discovered in Lesson 8; No. 6 is illustrated in the following (Grieg, op. 38, No. 2):—
Example 50. Fragment of Grieg.[Illustration: Example 50. Fragment of Grieg.]
Example 50. Fragment of Grieg.[Illustration: Example 50. Fragment of Grieg.]
Comparing this sentence with Ex. 48, we discover the following significant difference: There, no more than two phrases were present; the whole sentence wasreducibleto two phrases. Here (Ex. 50), however, no such reduction is possible; three sufficiently similar—and sufficiently different—phrases are coherently connected, without evidence of mere repetition; it is the result of Addition, and the form is aphrase-group. The first cadence is, strictly speaking, aperfectone; but of that somewhat doubtful rhythmic character, which, in conjunction with other indications, may diminish its conclusive effect, and prevent the decided separation which usually attends the perfect cadence. This is apt to be the case with a perfect cadenceso near the beginning(like this one) that the impression of "conclusion" is easily overcome. In a word, there is no doubt of the unbroken connection of these three phrases, despite the unusual weight of the first cadence. See also the first cadence in Ex. 51.
By simply continuing the process of addition (and avoiding a decisive perfect cadence) the phrase-group may be extended to more than three phrases, though this is not common.
THE DOUBLE-PERIOD.—A third method consists in expanding the period into a double-period (precisely as the phrase was lengthened into a double-phrase, or period),by avoiding a perfect cadence at the end of the second phrase, and adding another pair of phrases to balance the first pair. It thus embraces fourcoherentphrases, with a total length of sixteen measures (when regular and unextended).
An important feature of the double-period is that the second period usually resembles the first one very closely, at least in its first members. That is, the second phrase contrasts with the first;the third corroborates the first; and the fourth either resembles the second, or contrasts with all three preceding phrases. This is not always—though nearly always—the case.
The double-period in music finds its poetic analogy in almost any stanza of four fairly long lines, that being a design in which we expect unity of meaning throughout, the progressive evolution of one continuous thought, uniformity of metric structure (mostly inalternatelines), the corroboration of rhyme, and, at the same time, some degree and kind of contrast,—as in the following stanza of Tennyson's:
Phrase 1. "The splendor falls on castle walls,Phrase 2. And snowy summits old in story;Phrase 3. The long light shakes across the lakes,Phrase 4. And the wild cataract leaps in glory."
The analogy is not complete; one is not likely to find, anywhere, absolute parallelism between music and poetry; but it is near enough to elucidate the musical purpose and character of the double-period. And it accounts for the very general choice of this form for the hymn-tune.
The following illustrates the double-period, in its most regular and convincing form (Beethoven, pianoforte sonata, op. 49, No. 1):—
Example 51. Fragment of Beethoven.[Illustration: Example 51. Fragment of Beethoven.]
Example 51. Fragment of Beethoven.[Illustration: Example 51. Fragment of Beethoven.]
Each phrase is four measures long, as usual; the first one ends (as in Ex. 50) with one of those early, transient perfect cadences that do not break the continuity of the sentence; the second phrase ends with a semicadence,—therefore the sentence remains unbroken; phrase three isexactlylike the first, and is therefore an Antecedent, as before; phrase four bears close resemblance to the second one, but differs at the end, on account of the perfect cadence. The evidences of Unity and Variety are easily detected. The main points are, that the second pair of phrases balances the first pair, and that the two periods are connected (notseparateperiods). See also Ex. 53, first 16 measures.
LESSON 8.—Analyze the following examples. They are not classified; therefore the student must himself determine to which of the above three species of enlargement each belongs:
Mendelssohn, Songs Without Words, No. 29, measures 1-21, (first 4 measures an introductory phrase).
No. 37, first 17 measures.
No. 30, first 15 measures (last phrase irregular).
No. 16, measures 4-9 (small phrases).
No. 33, first 12 measures.
No. 27, first 20 measures (introductory phrase).
No. 3, first 29 measures, to double-bar (introductory phrase).
No. 36, first 27 measures (the similarity between phrase one and phrase three proves the double-period form; the extra phrases are extension by "addition," as in the group form).
No. 6, measures 8-17.
Mozart, pianoforte sonata. No. 13 (Peters edition), first 16 measures.
Sonata No. 2, first 16 measures (last four measures are extension).
Sonata No. 3, last movement, first 16 measures.
Sonata No. 10, second movement, first 16 measures.
Beethoven, pianoforte sonatas; op. 49, No. 2, first 12 measures.
Op. 10, No. 3, first 16 measures.
Op. 10, No. 2, first 12 measures.
Op. 26, first 16 measures.
Op. 31, No. 2, last movement, first 31 measures (extension by repetition).
Schumann, op. 68, Nos. 16, 20, 33, first 16 measures of each; No. 13, first 10 measures; No. 15, first 16 measures.
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, will admit of division into either two or three fairly distinct sections, or Parts, of approximately equal length. The distinctness with which the points of separation are marked, and the degree of independence of each of these two or three larger sections, are determined almost entirely by the length of the whole. And whether there be two or three such divisions depends to some extent also upon the length of the piece, though chiefly upon the specific structural idea to be embodied.
A composition that contains two such sections is called a Two-Part (or bipartite, or binary) form; and one that contains three, a Three-part (tripartite, or ternary) form.
Such rare exceptions to these structural arrangements as may be encountered in musical literature, are limited to sentences that, on one hand, are so brief as to require no radical division; and, on the other, to compositions of very elaborate dimensions, extending beyond this structural distinction; and, furthermore, to fantastic pieces in which the intentional absence of classified formal disposition is characteristic and essential.
The terms employed to denote this species ("Song-form" or "Part-form") do not signify that the music is necessarily to be a vocal composition of that variety known as the "Song"; or that it is to consist of several voices (for which the appellation "parts" is commonly used). They indicate simply a certaingrade,—not a specific variety,—of form; an intermediate grade between the smallest class (like brief hymn-tunes, for example), and the largest class (like complete sonata-movements). An excellent {84} type of this grade of Form is found in the Songs Without Words of Mendelssohn, the Mazurkas of Chopin, and works of similar extent.
The word Part (written always with a capital in these lessons) denotes, then, one of these larger sections. The design of the Part-forms was so characteristic of the early Germanlied, and is so common in thesongof all eras, that the term "Song-form" seems a peculiarly appropriate designation, irrespective of the vocal or instrumental character of the composition.
The student will perceive that it is the smallest class of forms—the Phrase-forms,—embracing the phrase, period and double-period, to which the preceding chapters have been devoted. These are the designs which, as a general rule,contain only one decisive perfect cadence, and that at the end; and which, therefore, though interrupted by semicadences,are continuous and coherent, because the semicadence merely interrupts, and does not sever, the continuity of the sentence. (This grade of forms might be called One-Part forms).
THE PARTS.—If we inquire into the means employed, in the larger Part-forms, to effect the division of the whole into its broader Parts, we find that the prime factors, here again, are Cadence and Melody. The strongest sign of the consummation of a Part is adecisive perfect cadence, resting, as usual, upon the tonic harmony of the chosen key; a cadence sufficiently emphatic to interrupt the closer cohesion of the phrases which, precede, and bring them, as completed Part, to a conclusion. Such a cadence, marking the end of the First Part, may be verified in Mendelssohn's Songs Without Words, No. 23, measure 15; No. 3, measure 29 (at the double-bar,—a sign which frequently appears at the termination of Part One); No. 20, measure 21; No. 27, measure 12; No. 34, measure 10.
Another indication of the Part-form is a palpable change in melodic character in passing from one Part into the next; sufficient to denote a more striking "new beginning" than marks the announcement of a newphraseonly. The change, however, is as a rulenot very marked; it is sometimes, in fact, so slight as to be no more than simply palpable, though scarcely definable on the page. For these divisions are, after all, the several "Parts" of one and the same song-form, and, therefore, any such radical change in melodic or rhythmic character, or in general style, as would make each Part appear to be awholly independentmusical idea (subject or theme), would be manifestly inconsistent.
Generally, both these factors (cadence and melody) unite to define the end of one Part and the beginning of the next. Should either one be feeble, or absent, the other factor will be all the more pronounced. Thus, the cadence of Part One may be less decisive, if the change in melodic character at the beginning of Part Two is well marked; this is seen in No. 33, measure 12. The reverse—a strong cadence and but little melodic change,—in No. 13, measure 20.
THE FIRST PART.—Part One may be designed as period, double-period, or phrase-group; sometimes, though very rarely, as single phrase, repeated. It ends, usually, with a strong perfect cadence on the tonic chord of the original key, or of some related key (that is, one whosesignatureclosely resembles that of the original key). An introductory phrase, or independent prelude, may precede it.
THE SECOND PART.—Part Two, as intimated, is likely to begin with a more or less palpable change of melodic character,—by no means is this always the case. It may be designed, also, as period, double-period, or phrase-group, and is somewhat likely to be a little longer (more extended) than Part One. A concluding section (called codetta if small, coda if more elaborate) often follows, after a decided perfect cadence in the original key has definitely concluded the Part.
The following is one of the simplest examples of the Two-Part Song-form (a Germanliedby Silcher):—
Example 52. Fragment of German _lied_.[Illustration: Example 52. Fragment of German _lied_.]
Example 52. Fragment of German _lied_.[Illustration: Example 52. Fragment of German _lied_.]
The whole embraces four phrases, and might, for that reason, be mistaken for a double-period. But thestrong perfect cadenceat the end of the first period (reinforced by the repetition), and the contrasting melodic formation of the second period, so separate and distinguish the two periods as to make them independent "Parts" of the whole. It is not one "double-period," buttwo fairly distinct periods. The first cadence (in measure 4) has again, strictly speaking, the elements of a perfect cadence, but, like others we have seen (Exs. 50, 51), too near the beginning to possess any plausible concluding power.
A somewhat similar specimen may be found in the theme of Mendelssohn's Variations in D minor, op. 54, which see. Each Part is a regular period-form, with correct semicadence and perfect cadence. The problem of "agreement and independence" in the relation of Part II to Part I is admirably solved; it is a masterly model of well-matched Unity and Variety, throughout.
For a longer and more elaborate example, see No. 6 of the Songs Without Words, in which, by the way, the principle of enlargement by the addition of an independent prefix (introduction) and affix (coda) is also illustrated:—
First number the forty-six measures with pencil.
The first cadence occurs in measure 7, and marks the end of the prélude. Part I begins in measure 8. In measure 11 there is a semicadence, at end of Antecedent phrase; in measure 17, a strong perfect cadence, which, in connection with the subsequent change of melodic form, distinctly defines the end of Part I (period-form, extended). Part II therefore begins in measure 18. In measures 21, 25, 29, cadences occur, but none conclusive enough to close the Part. This conclusion takes place, however, in measure 34. Part II proves to be a double-period. A coda begins in measure 35; its first members resemble the first phrase of Part I. In measure 40 another section of the coda begins, borrowed from the prélude. For exhaustive technical details of the Two-Part Song-form, see the HOMOPHONIC FORMS, Chapters 9 and 10.
LESSON 9.—Analyze the following examples of the Two-Part Song-form. Define the form of each Part, marking and classifying all cadences; and indicate introductions and codas (or codettas), if present.The first step in the analysis of these forms is to divide the whole composition into its Parts, by defining the end of Part One. The next step is to define the beginning of Part One, and end of Part Two, by separating the introduction and coda (if present) from the body of the form.
Beethoven, pianoforte sonatas: op. 57, Andante, Theme.
Op. 109,Andante, Theme.
Op. 111, last movement, Theme of Variations.
Op. 79,Andante, first 8 measures (unusually small); same sonata, last movement, first 16 measures.
Op. 54, first 24 measures (each Part repeated).
Op. 31, No. 3,Menuetto(without Trio).
Op. 26, "Trio" ofScherzo; also last movement, first 28 measures (second Part repeated).
Op. 27, No. 2, "Trio" ofAllegretto.
Mozart, pianoforte sonatas: No. 2 (Peters edition),Andante, measures 1-20; and measures 21-40.
Schumann, op. 68, No. 7; No. 4; No. 35; No. 42; No. 23 repeated; last 16 1/2 measures, (coda).
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 a perfect cadence in its course as to divide it, in a marked manner, into two separate and fairly individual sections or "Parts."
Between this and the next higher form,—that withthreesuch Parts,—there is a distinction far more essential and characteristic than that of mere extent; a distinction that does not rest simply upon the number of Parts which they respectively contain. Each of the two classes of formal design, the Two-Part and the Three-Part, embodies a peculiar structural idea; and it is the evidence of these respective ideas,—the true content of the musical form,—which determines the species. The "number" of sections is, in this connection, nothing more than the external index of the inherent idea.
The Two-Part forms embody the idea ofprogressive growth. To the first Part, a second Part (of similar or related melodic contents) is added, in coherent and logical succession. It should not be, and in good clear form it is not, a purely numerical enlargement, for the association of the second Part with a foregoing one answers the purposes of confirmation and of balance, and is supposed to be so effectuated as to institute and maintain unity of style, and some degree of progressive development. But the second Part, in this bipartite design, does little or nothing more, after all, than thus to project the musical thought on outward in a straight line (or along parallel lines) to a conclusion more or less distant from the starting-point,—from the melodic members which constitute the actual germ, or the "text" of the entire musical discourse. A very desirable, not to say vital, condition is therefore {90} lacking, in the Two-Part forms; namely, the corroboration of this melodic germ by an emphatic return to the beginning and an unmistakable re-announcement of the first (leading) phrase or phrases of the composition.
Nothing could be more natural than such corroboration. Any line of conduct, if pursued without deviation, simply carries its object farther and farther away from its origin. If, as in the circle, this line is led back to the starting-point, it describes the most satisfying and perfect figure; it perfects, by enclosing space. Whereas, if it goes straight onward, it ultimately loses itself, or loses, at least, its connection with its beginning and source.
Nowhere is this principle ofReturnmore significant and imperative than in music, which, because of its intangibility, has need of every means that may serve to define and illuminate its design; and hence the superior frequency and perfection of the Three-Part form,which, in its Third Part, provides for and executes this Return to the beginning. Its superiority and greater adaptability is fully confirmed in the practice of composition; the number of Three-Part forms exceeds the Two-Part, in musical literature, to an almost surprising degree; and it may therefore be regarded as the design peculiarly adapted to the purposes of ordinary music writing within average limits.
The three successive divisions of the Three-Part Song-form may then be characterized as follows:—
PART I.—The statement of the principal idea; the presentation of the melodic 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 cadence in the principal key, or one of its related keys.
PART II.—The departure (more or less emphatic) from this leading melodic 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 retrospective bent, and—when thoroughly legitimate—its last few measures prepare for, and lead into, the melodic member with which the piece began. Its form is optional; but, as a rule, decisive cadence-impressions are avoided, unless it be the composer's intention tocloseit with a perfect cadence (upon anyotherthan the principal tonic), and accomplish the "return to the beginning" by means of a separate returning passage, called the Re-transition.
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 slight changes, or even striking variations, possibly certain radical alterations, occur; sometimes it is only a partial recurrence, the first few measures being sufficient to prove the "Return"; sometimes, on the other hand, considerable material (more or less related) is added, so that Part III is longer than the First Part.
From this it appears that much latitude is given to the composer, in his formulation of the Third Part. All that the Part has to prove, is its identity as confirmation of the leading motive, and this it may do in many ways, and with great freedom of detail, without obscuring the main purpose. It is precisely this richness of opportunity, this freedom of detail, which enhances the beauty and value of the tripartite forms.
The following is a very regular example of the Three-Part Song-form (Schumann, op. 68, No. 20):—
Example 53. Fragment of Schumann.[Illustration: Example 53. Fragment of Schumann.]
Example 53. Fragment of Schumann.[Illustration: Example 53. Fragment of Schumann.]
Example 53 continued.[Illustration: Example 53 continued.]
Example 53 continued.[Illustration: Example 53 continued.]
This version is as complete as it can conveniently be made upon one single staff (chosen in order to economize space); but the student will find the formal design somewhat more plastically defined in the original, complete form, and he is therefore expected to refer to the latter. Part I is an unusually regular double-period, with three semicadences and a strong perfect cadence, on the original tonic, to mark its conclusion; the double-bar is an additional confirmation of the end of the Part. The second Part runs in the key of E major (the dominant of the original key) throughout; its form is only a phrase, but repeated,—as is proven by the almost literal agreement of the second phrase with the preceding one,cadence and all. Part III agrees literally with Part I in its melodic formation, but differs a little in the treatment of the lower (accompanying) voices.
In the theme of Mendelssohn's pianoforte Variations in E-flat major (op. 82), which see, the design is as follows:—Part I is a period of eight measures. Part II is also an 8-measure period, ending upon the tonic chord of B-flat major (the dominant key), as first eighth-note of the 16th measure; the following eighth-note, b-natural, represents what we have called the Retransition (in its smallest conceivable form), as it fulfils no other purpose than that of leading back into the first tone of the First Part. Part III isonly a phrase, and therefore shorter than Part I; but it corroborates thebeginning, and, in fact, the entire contents of the First Part.
The plan of Mendelssohn's 28th Song Without Words is as follows:—First number the 38 measures,carefully. The first four measures are an introductory phrase, or prélude; Part I begins in the second half of measure 4 (after the double-bar) and extends, as regular 8-measure period, to measure 12. Part II follows, during the same measure; its form is a period, extending to measure 20, and closing with a very distinctly marked semicadence on the dominant chord (chord of D). Part III is 14 measures long, containing therefore six more measures than the First Part; its first phrase is almost exactly like the first phrase of Part I; its second phrase (measures 25-28) differs from any portion of Part I, but closely resembles the melodic formation of Part II; its third phrase is based upon the preceding one (notas repetition, however), and is expanded to the 34th measure. The form of Part III is phrase-group. The last four measures are codetta, or postlude, and corroborate the prélude.
For exhaustive technical details of the Three-Part Song-form, see the HOMOPHOBIC FORMS, Chapters 11, 12, 13, 14 and 15.
LESSON 10.—Analyze the following examples of the Three-Part Song-form. The first step, here again, is to fixthe end of the First Part; the next, to mark the beginning of the Third Part, by determining where thereturn to the beginningis made. These points established, it remains to fix the beginning of Part I, by deciding whether there is an introductory sentence or not; then the end of Part II, by deciding whether it leads directly into Part III, or comes to a conclusion somewhat earlier, to make room for a Retransition; then the end of Part III, by deciding whether a codetta or coda has been added. The extremities of the three Parts being thus determined, there will be no difficulty in defining theformof each. Very particular attention must be devoted tothe comparison of Part III with Part I, in order to discover, and accurately define, the difference between them,—in form, in extent, in melodic formation, or in technical treatment.
Mendelssohn, Songs Without Words: No. 22, No. 35, No. 32, No. 45, No. 42, No. 31, No. 27, No. 46, No. 25, No. 20, No. 26 (Re-transition, middle of measure 25 to measure 29); No. 36 (beginning of Part III, measure 60, somewhat disguised); No. 47, No. 12, No. 15, No. 3, No. 43, No. 40, No. 37, No. 2, No. 33, No. 30, No. 1.
Schumann, op. 68; No. 3; No. 12, first 24 measures; No. 14, No. 16, No. 17, No. 21 (Part I closes with a semicadence, but made in such a manner that it answers its purpose without the least uncertainty); No. 24, No. 25, No. 26, No. 28; No. 29, last 48 measures (including coda); No. 33 (long coda); No. 34; No. 37, first 32 measures; No. 38; No. 40, first movement (2-4 measure); No. 41.
Beethoven, pianoforte sonatas: op. 2, No. 1, third movement,—both theMenuettoand theTrio. Op. 2, No. 2, third movement,—bothScherzoandTrio. Same sonata, last movement, first 16 measures (Parts II and III consist of a single phrase each; therefore the whole is diminutive in extent; but it is unquestionably Three-Part Song-form, because of the completeness of Part I, and the unmistakablereturn to the beginning).
Op. 7,Largo, first 24 measures. Same sonata, third movement; also theMinore. Same sonata, last movement, first 16 measures.
Op. 10, No. 2, second movement, first 38 measures.
Op. 10, No. 3,Menuetto.
Op. 14, No. 1, third movement; also theMaggiore.
Op. 14, No. 2, second movement, first 20 measures.
Op. 22,Menuetto; also theMinore.
Op. 26, first 34 measures; same sonata.Scherzo; same sonata,Funeral march(also theTrio; what is its form?).
Mozart, pianoforte sonatas: No. 15 (Peters Edition),Andante, first 32 measures.
No. 1, last movement, first 50 measures.
No. 12, first 18 measures. Same sonata,Trioof the second movement (Part III returns to the beginning very briefly, and is otherwise different from the First Part almost throughout).
No. 13,Adagio, first 16 measures.
Chopin,Mazurkas(Peters edition), No. 11, No. 22, No. 24, No. 40, No. 49.
In the following examples, the student is to determine whether the form is Two-Part or Three-Part:—
Mendelssohn, op. 72 (six pianoforte pieces), No. 1; No. 2; No. 3, No. 4, No. 6.—Etudes, op. 104, No. 1, No. 3.
A curious example may be found in Schumann, op. 68, No. 32; the form is actually Two-Part, but with a very brief reminiscence of the beginning (scarcely to be called a Return) in thelast two measures,—which are, strictly speaking, no more than a codetta. The Second Part is repeated.
In Schumann's op. 68, Nos. 8, 9, and 11 (first 24 measures), thesecondPart is unusually independent in character; completely detached from Part III, and exhibiting no symptoms of leading into the latter, as second Parts have commonly been observed to do.