CONTENTS.
CHAPTER I.PAGEELEMENTS OF MUSICAL FORM.1I.INTRODUCTORY1II.WHAT TO NOTICE FIRST3III.MUSICAL MOTIVES4IV.WHAT THE COMPOSER DOES WITH HIS MOTIVES6V.THE FIRST STEPS AS REVEALED BY HISTORY10VI.A SPANISH FOLK-SONG12VII.BALANCE OF PHRASES13VIII.SUMMARY14CHAPTER II.FOLK-SONGS.16I.FOLK-SONGS AND ART SONGS17II.AN ENGLISH FOLK-SONG20III.KEY AND MODULATION21IV.BARBARA ALLEN22V.NATIONAL CHARACTERISTICS IN FOLK-SONGS25VI.AN IRISH FOLK-SONG26VII.A GERMAN FOLK-SONG28VIII.SUMMARY30CHAPTER III.THE POLYPHONIC MUSIC OF BACH.31I.WHAT IS POLYPHONY32II.AN INVENTION BY BACH33EXAMPLE FORANALYSIS, No. 1.Bach: Two-voice, Invention. No, VIII, in F-major34III.A FUGUE BY BACH37EXAMPLE FORANALYSIS, No. 2.Bach: Fugue No. 2, in C-minor, in three voices."Well-tempered Clavichord," Book I38IV.GENERAL QUALITIES OF BACH'S WORK43CHAPTER IV.THE DANCE AND ITS DEVELOPMENT.48I.MUSICAL CHARACTER OF DANCES48II.PRIMITIVE DANCES52EXAMPLE FORANALYSIS, No. 3.Corelli: Gavotte in F-major56III.A BACH GAVOTTE57EXAMPLE FORANALYSIS, No. 4.Bach: Gavotte in D-minor, from the Sixth English Suite57CHAPTER V.THE SUITE.62I.DERIVATION OF THE SUITE62II.THE SUITES OF BACH65EXAMPLE FORANALYSIS, No. 5.Bach: Prelude to English Suite, No. 3, in G-minor65EXAMPLE FORANALYSIS, No. 6.Bach: Sarabande in A-minor, from English Suite, No. 268EXAMPLE FORANALYSIS, No. 7.Bach: Gigue, from French Suite, No. 4, in E-flat71III.THE HISTORIC IMPORTANCE OF THE SUITE72CHAPTER VI.THE RONDO.74I.DERIVATION OF THE RONDO75II.A RONDO BY COUPERIN79EXAMPLE FORANALYSIS, No. 8.Couperin: "Les Moissonneurs" ("The Harvesters")80III.FROM COUPERIN TO MOZART83IV.A RONDO BY MOZART86EXAMPLE FORANALYSIS, No. 9.Mozart: Rondo from Piano Sonata in B-flat major87CHAPTER VII.THE VARIATION FORM—THE MINUET.93I.VARIATIONS BY JOHN BULL94II.A GAVOTTE AND VARIATIONS BY RAMEAU97III.HANDEL'S "HARMONIOUS BLACKSMITH"100EXAMPLE FORANALYSIS, No. 10.Handel: "The Harmonious Blacksmith," from the Fifth Suite for Clavichord101IV.HAYDN'S ANDANTE WITH VARIATIONS, IN F-MINOR103EXAMPLE FORANALYSIS, No. 11.Haydn: Andante with Variations, in F-minor104V.THE MINUET108CHAPTER VIII.SONATA-FORM, I.110I.COMPOSITE NATURE OF THE SONATA110II.ESSENTIALS OF SONATA-FORM111III.A SONATA BY PHILIP EMANUEL BACH114EXAMPLE FORANALYSIS, No. 12.Philip Emanuel Bach: Piano Sonata in F-minor, first movement115IV.HARMONY AS A PART OF DESIGN125V.SUMMARY126CHAPTER IX.SONATA-FORM, II.128I.HAYDN AND THE SONATA-FORM128EXAMPLE FORANALYSIS, No. 13.Haydn: "Surprise Symphony," first movement131II.MOZART AND THE SONATA-FORM134EXAMPLE FORANALYSIS, No. 14.Mozart: Symphony in G-minor, first movement136III.MOZART'S ARTISTIC SKILL138CHAPTER X.THE SLOW MOVEMENT.143I.VARIETIES OF FORM143II.SLOW MOVEMENTS OF PIANO SONATAS145III.THE STRING QUARTET148EXAMPLE FORANALYSIS, No. 15.Haydn: Adagio in E-flat major, from theString Quartet in G-major, op. 77, No. 1149IV.GENERAL CHARACTERISTICS151V.FORM OF HAYDN'S ADAGIO152VI.MOZART AND THE CLASSIC STYLE153EXAMPLE FORANALYSIS, No. 16.Mozart: Andante from String Quartet in C-major156VII.FORM OF MOZART'S ANDANTE159CHAPTER XI.BEETHOVEN—I.161I.GENERAL CHARACTER OF BEETHOVEN'S WORK161II.ANALYSIS OF A BEETHOVEN SONATA166EXAMPLE FORANALYSIS, No. 17.Beethoven: Path?ique Sonata, first movement166EXAMPLE FORANALYSIS, No. 18.Beethoven: Path?ique Sonata, second movement170EXAMPLE FORANALYSIS, No. 19.Beethoven: Path?ique Sonata, third movement171III.SUMMARY174CHAPTER XII.BEETHOVEN—II.176I.FORM AND CONTENT176II.BEETHOVEN'S STYLE178EXAMPLE FORANALYSIS, No. 20.Beethoven: The Fifth Symphony, first movement181III.THE DRAMATIC ELEMENT IN BEETHOVEN'S MUSIC185IV.THE SIGNIFICANCE OF THE FIRST MOVEMENT OF THE FIFTH SYMPHONY187CHAPTER XIII.BEETHOVEN—III.191I. THE SLOW MOVEMENT BEFORE BEETHOVEN191II.THE SLOW MOVEMENTS OF BEETHOVEN'S EARLY SYMPHONIES192EXAMPLE FORANALYSIS, No. 21.Beethoven: The Fifth Symphony. Slow movement195III.INDIVIDUALITY OF THE ANDANTE OF THE FIFTH SYMPHONY198IV.THE HARMONIC PLAN201V.THE UNIVERSALITY OF BEETHOVEN'S GENIUS203CHAPTER XIV.BEETHOVEN—IV.205I.BEETHOVEN'S HUMOR205II.SCHERZOS FROM BEETHOVEN'S SONATAS209EXAMPLE FORANALYSIS, No. 22.Beethoven: Scherzo from the Twelfth Sonata209EXAMPLE FORANALYSIS, No. 23.Beethoven: Scherzo from the Fifteenth Sonata210III.THE SCHERZOS OF BEETHOVEN'S SYMPHONIES211EXAMPLE FORANALYSIS, No. 24.Beethoven: Scherzo from the Fifth Symphony218IV.GENERAL SUMMARY221