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Cornell UniversityLibrary

The original of this book is inthe Cornell University Library.

There are no known copyright restrictions inthe United States on the use of the text.


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MUSICAL FORM.


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MUSICAL FORMA SYSTEMATIC COURSE

IN THIRTY THREE EXERCISESWITH NUMEROUS EXPLANATORY EXAMPLES, MODELS,

EXERCISES AND QUOTATIONS FROM THE MASTER-WORKSINTERSPERSED THROUGHOUT THE TEXT.

FOR USE IN COLLEGES,PRIVATE TEACHING, AND FOR SELF -INSTRUCTION.

BY

LUDWIG BUSSLER.TRANSLATED, WITH THE AUTHOR'S CONSENT, FROM THE SECOND

REVISED AND ENLARGED GERMAN EDITIONBY

N. GANS-

CARL HABEL WILLIAMS & NORGATKPUBLISHER. 14, HENRIETTA STREET, COVENT GARDEN,

33, WILHELM STRASSE, LONDON.


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PREFACE.The present branch of the Science of Composition treats of

those forms, upon which are based most of the works ofHaydn, Mozart, Beethoven, Weber, Schubert, Men-

delssohn, Schumann and numerous others, besides themajority of living composers.

Since their music, by reason of its not being subject tooutward influences, evolves in conformity with its own laws, itfollows that these forms owe their establishment to instrumentalmusic. Hence the preference with which they are designatedthe "Forms of Instrumental Music". Albeit, their influence uponvocal music, especially upon that of the above named masters,has been very great, which fact it is an easy matter to demon-strate.

In contradistinction to the contrapuntal forms, they aretermed free, since they admit of every kind of tonal contexture,and are neither restricted to imitation, nor to the audible metreof the older musical style, but may nevertheless include both.


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- VI -than in the foregoing studies, and that many, who have advancedthus far with tolerable skill and success, may have recognizedthe limits of their abilities in the task of the Study of Form.It just demands quite another gift to be able to proceed self-dependently in the production of free formations, than to yieldto distinct directions with more or less aptitude. The necessarymaterial can only be furnished by innate talent. Therefore ourcourse in composition is so arranged, that the rudimentarystudies of Harmony and Counterpoint in the Strict Style arefollowed by Free Counterpoint, which has the power of gradu.ally liberating the shackles of the former, and furnishes thequalified with a fund of artistic material. To train the un-qualified to become composers, however, is neither missionnor merit of the Study of Composition.

From what has been stated above, it furthermore follows,that the style, to which the forms in point belong, ranges ona higher standpoint of view, than does the old contrapuntalone, which, moreover, it is capable of absorbing. For thisreason, it is by no means inappropriate, that, as well as wedesignate Lessing, Schiller, Goethe our poetical classics,we Germans should be wont to term the three great mastersin music of just that superior style: Haydn, Mozart, Beetho-ven, our musical classics, and admire in their works the loftiestproductions of the musical art.

In its present (second) edition, this Text-Book of Form hasremained materially the same. For several emendations, I am


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VII normale superieure" at Paris. He has referred to my work inhis treatise: "Metres lyrique d'Horace etc". His other obser-vations, cordially communicated to me by letter, have been ofdeterminate influence particularly upon the new shape I havegiven the subjects on Long Period, Long Bipartite Song-form,the Song, and the Fourth Part of the Sonata form. All otheremendations and additions are the product of my continued activ-ity as teacher and critic.

LUDWIG BUSSLER.


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TABLE OF CONTENTS.Page

Preface VIntroduction XV

PART 1.The Elementary and Song-forms.

(A) The Section. 1. The Bimeasure or Phrase . . 1

First Exercise. 2. The Double Bimeasure 4 3. The Short or Quadrimeasure Section .... 5

Second Exercise.

(B) The Period. 4. The Short or Octomeasure Period 8

First Form 8,Third Exercise. I.

Second Form 10Third Exercise. II.

Third Form 12Third Exercise, III.

Fourth Form . . 13Third Exercise. IV.

(C) The Short Song-forms.


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PageFourth Exercise. I.Second Form, (a) In Major Mode .... 18

Fourth Exercise. II.(B) In Minor Mode . . . 20

Fourth Exercise. III. 6. The Long or Octomeasure Section, and the Long

Period 24I. Independent, Tonic .... 24

Fifth Exercise. I.II. Antecedent and Consequent ... .27

Fifth Exercise. II.III. Double Section 29

Fifth Exercise. III. 7. The Tripartite Period 31 8. The Short Tripartite Song-form . . . . 33

Sixth Exercise.

(D) The Long Song-forms. 9. The Long Bipartite Song-form 39

Seventh Exercise. 10. The Long Tripartite Song-form 40

(E) Licenses in Construction.* 11. Elongation . . . 41

Ninth Exercise. I.Ninth Exercise. II.Ninth Exercise. III.

12. Contraction " 50Tenth Exercise. I and II.

Tenth Exercise. III. 13. Concurrence of a Final with an Initial Measure . 53 14. Irregular Measure-Groups 55

I. Trimeasure.II. Pentameasure.


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XI Paga

PART II.Song-forms Applied.

(A) The Compound Song-form. 17. Compound Song-form 64 18. Variation. Etude. Prelude.... 65 19. The Dance Forms proper 66

Polka 68Galop 69Mazurka 69Waltz ' ... .69

Eleventh Exercise. 20. The March Forms 72

Festal March 73Funeral March 83Polonaise . . . 83Contredanse, Quadrille 84

Twelfth Exercise. 21. Idealized Dance Forms . . 84

Minuet.Scherzo.

Thirteenth Exercise. 22. Special Forms .93

Fourteenth Exercise.Fifteenth Exercise.

(B) The Lower Rondo Forms. 23. Introduction . . 96 24. Rondo of the First Form 97

Sixteenth Exercise. 25. Rondo of the Second Form 104

Seventeenth Exercise. 26. Rondo of the Third Form 107


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XII -Page

(C) The Song. 28. The Song 113

Nineteenth Exercise.

PART III.The Sonata Form.

29. The Sonata and the Sonata Form 117(A) The Sonatina.

30. The First Part of the Sonatina Form 121Twentieth Exercise.

31. First Part of the Sonatina in Minor Mode . . 126Twenty-First Exercise.

32. Third Part of the Sonatina Form in Major Mode . 129Twenty-Second Exercise.

33. Third Part of the Sonatina in Minor Mode . 130Twenty-Third Exercise.

34. Omission of the Modulation in First Part . . 134 35. The Second Part of the Sonatina Form . . 135Twenty-Fourth Exercise.

(B) The Sonata.THE FIRST PART OF THE SONATA FORM.

36 Extension of the Chief Subject 140(a) By Repetition, usually with Appendix . 140(b) By Annexation 142(c) By Period-construction . 144

Twenty-Fifth Exercise. 37. The Mediating Episode 155

(a) Borrowed from thematic contents of ChiefSubject 157


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XIII

Twenty-Sixth Exercise.38. The Secondary Subject . . 161

Twenty-Seventh Exercise. 39. The Conclusion .... . . ... 165 40. The Appendix . 167 41. The Return 169

Twenty-Eighth Exercise.

THE THIRD PART OF THE SONATA FORM OR THERESTATEMENT.

42. The Restatement 171Twenty-Ninth Exercise.

43. Modulatory License 175 44. Modification of the Single Members in the Third Part 176

THE SECOND PART OF THE SONATA FORM OR THEDEVELOPMENT. .

45. The Development .179 46. Thematic "Work . . . 179

Thirtieth Exercise.

THE FOURTH PART OF THE SONATA FORM OR THEBEETHOVEN ANNEX.

47. The Beethoven Annex 186 48. Licenses of the Sonata Form 188

188193193194195197

1. Licenses in. Modulation2. Displacement of Divisions3. Introduction and Independent Episode4. Change of Time and Tempo ....5. Thematic Work .... . .

49. Modification of the Sonata Form in the Finale


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XIV PART IV.

The Higher Rondo Forms. 50. The Higher Rondo Forms ... .... 200 51. The Fourth Rondo Form . 200

Thirty-First Exercise. 52. The Fifth Rondo Form 203

Thirty-Second Exercise. 53. The Extended Forms in Slow Tempo . ... 207Thirty-Third Exercise. I. 54. The Sonata as an Independent, and as a Concrete,Work of Art 216

Thirty-Third Exercise. II. 55. Suite. Symphonic Poem 220 56. Vocal Music in Instrumental Forms .... 231


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MUSICAL FORM.INTRODUCTION.

1. The study of Musical Form presupposes a proficiency inthe Sciences of Harmony and Counterpoint. To interlace these inone with the Science of Form would not alone be detrimental tothe lucidness of a course of study, but would also confuse the student,and retard his development.

2. The task here in point is that of construction, i. e., thegrouping together of identical, similar and diverse musical thoughtsinto one complete organism, which in music is commonly designatedas a piece, but is called, in concrete determination, form.

3. Construction is free, when it is not, as with Counterpoint,restricted to Imitation, nor, as in the older forms of Opera andInstrumental Music, to the distinctly audible metre. However, thefree forms may include every manner of contrapuntal style, and theaudible metre is by no means excluded, since the dance-forms belongto them.

4. The varieties of forms being very great, a course of studymust needs treat only upon such principal forms, as constitute thebasis of all the others.^ Among those, the Elementary forms andthe Sonata form deserve the most attention : the former, because oftheir constituting the minutest parts of all forms; the latter, byreason of its overtopping every one of the other forms, as regardsvariety, wealth of content and adaptability.

5. Mozart and Haydn developed these forms to absolute


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XVI -productions in the province of instrumental tone-color, and with hisconsummation of thematic work, the equivalent for the formercontrapuntal style. He thus to a certain extent unites all the previoustendencies of musical art upon the higher standpoint of a free,rhythmical formation, and is just therefore essentially the master ofmodern art, from whose works models are preferably to be drawn.

6. In order to facilitate the simultaneous teaching of severalpupils, a method has here been adopted throughout, which consistsin the employment of the limited first exercises for the productionof the later extensive ones; since only the greater minority of pupilsare capable of furnishing new material for each exercise, withoutbecoming cursory and careless in their work.

Remark. The first complete system of the Science of Form wasproduced by A. Eeicha (died at Paris, 1836). C. Czery (diedat Vienna, 1857) translated it into German, and annotated it, withspecial regard to the works of Beethoven. A. B. Marx (died atBerlin, 1866) improved the entirely too abstract terminology of his'predecessors, by bringing it closer within the province of generalusage (of the German language); and acquired a great deal of meritin contributing to the intelligibility and propagation of the science.


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PART I.THE ELEMENTARY AND SONG-FORMS.

(A) THE SECTION, 1. THE BIMEASURE OR PHRASE.

In order to render the species of time of a musical strainintelligible to the sense of hearing, it is requisite, that the lengthof this strain exceed at least one measure; for it is the return ofthe similar moments of the species of time (i. e., of like measure-components) in the second measure, that renders the kind oftime discernible to the ear.A series of tones, whose species of time is rendered in-telligible to the sense of hearing by being in excess of the lengthof one measure, is what we designate a Bimeasure or Phrase.The Bimeasure constitutes the fundamental element of ourentire classical instrumental forms, in consequence of which, themajority of compositions belonging to these may easily be resolvedinto JBimeasures.

This assertion is not in need of any special proof, as it willbe verified by all the examples contained in the present work.We distinguish three kinds of Bimeasures, viz.:

1. Such as completely fill the space of two measures withnotes; as for example:*

* As it is but fair to presuppose an acquaintance with, the works here referredto, it will be admissible to quote them for the most part in melodic extract, in orderto save considerable space. It would not be advisable to confine these referencesto a melodic extract without this presupposition, for, the taking asunder of a con-crete work of art, according to abstract forms of reasoning, involves an aesthetic


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Phrase. 1.

Ex. 1.Beethoven,

MoZAKT.

JH.UTI|J


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Phrase. 1. 33. Such as lead into what follows, i. e., into the thirdmeasure; thus:

Ex.4.Beethoven.

Mozart. Adagio. Haydn.^^^I^H^r.jjj I jjjyj-. HIn the case of several of these exercises the attention is directed,

by means of brackets, to the fact, that the ear does not counta measure from bar to bar, but from the first note to the com-pletion of the metrical value of such a measure. Thus, if apiece commence with an up-beat, its metre is counted from this on.Numerous Bimeasures resolve into two monomeasure thoughts,thus:Ex. 5. Beethoven.

I,Haydn.

y |f ciLffjr. 1^Wherever it seems advisable to call attention to this division,such Bimeasures will be designated according to metrical numera-tion* by "2x1".

* By Metre is meant the arrangement into measures, and the connections anddivisions of measures according' to numeral conception. Rhythm is the measured mo-tion of music on a basis of such a division into multifarious moments of fixed dura-


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4 Double Phrase. 2.

First Exercise.Write numerous Bimeasures of all three kinds, particularly

the first.They are to be executed with complete harmony for the Piano

(some, at will, for String Quartet, Harmonium, Organ, or evenfor voices), the best ones to be selected and numbered for lateruse. In relation to them are to be considered all the principaltempi. One should also endeavor to subject himself to the influencei various characteristic attributes, such as the pastoral, religious,doleful, cheerful &c. in writing this and all subsequent exercises.The following examples from Beethoven illustrate, each, one of thethree kinds of Bimeasure or Phrase.

MODELS.Ex. 6. Beethoven. Presto. Allegro con brio.

ffe i^-imu?as s=%Bf^nrw*j'jj'H&ii,

Adagio grazioso ISir r fl l -U^gS a *m^

2. THE DOUBLE BIMEASURE.The mere repetition of a Bimeasure is not designated a Quad-

rimeasure according to metrical numeration , but 2X2, i. e.,twice a Bimeasure. Thus:

Ex.7. *


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Short Section. 3.The importance of these designations and appellations to the

technic of composition will be seen in the more extended con-structions.

Nevertheless, here, with practical studies in composition, thereis no actual need of fixing the terms of form -construction in theirminutest details. This is rather the office of musical science.Mere, the ideas are conveyed by a teaching system as the vehicleof designation, and are determined only so far as is in keepingwith the technical end in view.

Such variants as touch only the tonal and not the rhythmicalstructure, arc also considered repetitions, the similarity being thedistinguishing feature; as for instance in both of the following:

Ex. 8.

Ex. 9.fljj J I r r m r r ru j*

Beethoven.

h l ' i SU PiP [ iCT ^ifjp=fc=Even rhythmical variants are permissible with repetitions, when

they do not affect vital points, but are confined to subordinate mo-ments. This is the case, for instance, with embellishments, figurateadornments and the like. Thus:Ex. 10.Beethoven.ETHOVEN. T ^^O

^==3. THE SHORT OR QUADRIMEASURE SECTION.

Any other expansion to the extent of four measures consti-tutes a Short or Quadrimeasure Section. This, too, is of three


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Short Section. 3.

(1.) Filled up.iix. II. Ueethovek. P^ il. it If| U, I' I Nil 1! II1 2x1 | 1 2 | I 2x1

l/V null Tip i^TTTT

| | 2

(2.) Not filled.MoZABT.

jfrMrflftrff^Here, the last quarter in the Quadrimeasure is left open for

connection.

(3.) LeadingBeethoven.


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Short Section. 3.

MODELS.Allegro.

Ex. 12.i Beethoven.&E3 : b r, J r f r | J- ÎJTJ] j_j

Adagio molto espr#pg "ffi J?M Ht ^S^Q 7Tj . j Jj . r^ jâ"' i r ' r fff Âllegro.

_^f rr r->f =


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Short Period. 4.

(B) THE PERIOD. 4. THE SHORT OR OCTOMEASURE PERIOD.The unvaried repetition of one and the same Section by the

repeat sign produces no new form. A written out, or a varied repe-tition gives what is termed a Double Section.

If the repetition of the strain be so varied, as to form withthe original a harmonic contrast, which places them in the recip-rocal relation of Antecedent and Consequent, a Period is theresult.

This relation is occasioned by the dissimilitude of their ca-dences.

First Form.The Antecedent has a Semi-cadence on the Dominani;

the Consequent, a Perfect Full Cadence on the Tonic.Ex. 13.

.. Beethoven.11


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Short Period. 4.

b n fr | f'ttK|r ir r i^ r r:r&Consequent.

Third Exercise. I.Write numerous octomeasure Periods of the first form,

utilizing in part the previous work.MODELS.

Ex. 14.Prestissimo. Beethoven.gm mj" ' ^ jmSE E&vh l JjJJ^ i r 7 Jl ttjf r *fA r g^ @^ 1#V^^2K 2-& tk 3EJ'TT?? 1 ^ * J-J]^ 1iV\, I 7^^^

ip^frrPoeo Allegretto e grazioso.retto e grazioso. -~^ i s^pig ,


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fi|,|

(iy|JW 11sE &

Second Form.The Semi-cadence of the Antecedent assumes the character

of a more or less perfect Full Cadence on the Dominant.Ex. 15. _^ ^- Mozakt.j/w jUrr^r ^r i ifack/ l r^

Antecedent.

HlK^H/ i aa gfeConsequent.

Third Exercise. II.Write Periods of the second form.Convert some of those constructed in the first form into the second,

Ex. 16. Beethoven.Allegro vivace. fa, ^~~

\>, arv k I . I I rL I gg^ , r BMP? g^


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iShort Period. 4. 11^ If ^^w

I Il^m' r.nnKeniient.onsequent.

tftg ffl:s

Maestoso andante.^#^^#^#1 ilp cresc. /" ff^*,b II: i p cresc. /" //^fff

^-^HJjrffe^/ ? jj) >^^-Mj;j^LZ^^^^Si p-/3 ffcresc. =^?:^=gs? ^ F*=y=3=

f-IjEEiE?=E ^1 *-^T


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12 Short Period. 4.j,^S/JT*^^ ^mIThe theme of the Scherzo of Beethoven's At? Maj. Sonata

(which, in the 1st. Ed. of this work, occupied the place of thepreceding Ex.) and that of the Scherzo of his C# Min. Sonata differfrom actual Double Sections merely by their containing the har-monic relation of Dominant to Tonic, which in the case of boththemes, however, concerns not only their cadences, but also theentire themes, themselves. The first Section is in the key of theDominant, the second, in that of the Tonic.

Third Form.The Semi -cadence or the Dominant Cadence of the Ante-

cedent is replaced by an Imperfect, and exceptionally by a Per-fect Full, Cadence on the Tonic Triad.

Ex. 17. Mozaet. (Child's Song.) Imp. Full Cad.

JHHi j Jt "Tl^ / ji r r. rr r. I ^^Antecedent. Pert. Full Cad. Webek.^TflTrTTjU J'JJ J11J-*Consequent.

Full Cad. Beethoven.MgifegSafrjfljrfrt-y+^j^


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Short Period. 4. 13

Third Exercise. III.Write several Periods of the third form.

Ex. 18.Allegretto.

MODELS.Beethoven.

ITSf^j* J- -:/ *s */ / /

f I VM=*,^f ' T ' f ' f.^fr frjiij^'%g ^

Fourth Form.The Consequent is not an exact imitation of the Anteced-

ent, but only resembles it.Allegretto. Beethoven.

Ex. 19. 1 P i Antecedent.3 ^gHff - 'frySri Consequent^. f< ; -.t^jv^mrff^ i f i ?mm

instead of


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14 Short Period. 4.Allegro. Mozart.

jVr.il n i H- i H-ff IrTf Urrjgjjgiis J J I ,1

Third. Exercise. IV.Write Periods of the fourth form.

MODELS.Ex. 20.Andante cantabile. Beethoven.

P *f sf * *^J 1 J, J 1 Jj- fgfl^t f ADteced. rt .

ffff/rBf2*3

j/,n /?*

Consequentif Efcrtrc-ra^^The young composer, here pursuing the study of musical form,

will, besides preparing his exercises, bestow vigilant attention to allthe forms he may meet with in the course of his practical life inmusic, and in every case endeavor to explain them in accordance


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Short Bipartite Song-form. 5. 15"to quote a model for every form, without first being necessitatedlo refer to the scores. Every class of music in which the mastershave moved furnishes material for this purpose not exclusivelyinstrumental music, but vocal as well, including the Opera andOratorio.

The Period as an independent art form is to be found onlyin short songs.

(C) THE SHORT SONG-FORMS. 5. THE SHORT BIPARTITE SONG-FORM.A mere repetition of a Period, even with changes (variations)does not produce a higher form. But the conjunction of an eight-

measure Period with a second part of equal length, to which it isrelated by affinity of contents, gives what may be termed a ShortBipartite (i. e., consisting of two parts) Song-form. Its commonscheme is (2 X 4) + (4 + 4).

The Antecedent of the second part receives an entirely new,or at least somewhat different content, whilst its Consequent isidentical with, or similar to, the Consequent of the first part.Representing similar Sections by a, and dissimilar ones by &, thiswouid be the plan: a a b a.

First Form.First part: Identical with the Periods constructed in the preceding

exercise, and which should be utilized here.Second part: The Antecedent deviates more or less from the first

part in its contents, and forms a Semi-cadence on the Domi-nant, or, exceptionally, one of the Cadences of the 2nd and


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16,

KoSAhuft

r


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Short Bipartite Song -form. 5. 17

Fourth Exercise. I.In accordance with the foregoing, write very numerous

Short Bipartite Song-forms, partly utilizing the Periods of thepreceding Exercise, and partly with entirely new material.

Ex. 22.Adagio.

MODEL.Beethoven.

dolce p J />>. | N îrr^\r r ryj Mr r1st. Part. Antecedent. U }fl JPtH^fl I J F mConsequent'

| f*p | f fF- 1 SEEEJ?I -îffrft as* i j-ls^1=1

2nd Part. ^_Ântecei ffi R^ fgj_garrt^rt ^^ggp^^^


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18 Short Bipartite Song -form. 5.

Consequent.

In this Ex., the Consequent of the second part is not exactlylike that of the first part, but only similar to it. The Conse-quents of both parts are identical in the Bipartite Song-form ofthe piece by Beethoven, the first Period of which is given at Ex. 14(Toco Allegretto). See Sonata, Op. 7, E b Maj., Finale.

The Kondo of the Sonatina, Op. 49, No. 1, GMin., also beginswith a Bipartite Song-form of this order.

(A)Second Form.

In the Major Mode.The first part closes with a Full Cadence in the key of

the Dominant, to which it thus modulates. The second partis constructed like that of the first form, and closes in theTonic key.

Fourth Exercise. II.


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Ex. 23.Andante.MODEL.

Beethovenl^j^frRWjtfEfrafFirst Part. Anteced,^a m4=

tea * ffr -tmm^tiImp. Full. Cad.^k-m==iEE

& a SJ p nj&ilnttf^=Consequent.

s *Full Cad. key of Dom.

3^ ' LJ~r^II do.

\ m m j ^fesSecond Part. Antecedent.


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Semi-cad. on Dom. Consequent.4 1 jj j m i

(B) In the Minor Mode.In Minor, the first part closes either in the Minor key of the


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MODELS.Ex. 24. Bhetboyeh.

Antecedent

s b 4 tei asi *= -t iw^a i jj^j jj^Mp

Consequent

fc23*

^^^E^^ -J^W-++T*m ^Minor key of the Dom. Antecedent.^mjm m-trf&^-LSLm I jc^*i 1


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' Ornisennaronsequent.

w y i i fEx. 25.

Allegretto.First Part.

Parallel Maj.

Antecedent. CnnspminTit

2e5Consequent.

Second Fart.Tonic.

' ftfWtf lfflifl^MAntecedent. Consequent.


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&j i j i jj.j!iijaiUjj i tjj ji jijji^frju^jj^ i j^i i jiijijipi

Fourth Exercise. III.Write Bipartite Song-forms in Minor in the manner of the

foregoing.Just as the repetition of a Phrase produces no Section, nor

that of a Section a Period, so the repetition of a Period does notgive a Song -form, even if it exhibits characteristic distinguish-ing features, and is not (as was the case in previous examples)merely a literal repetition designated by the repeat sign.

Thus, the Scherzo of Beethoven's A.V Maj. Sonata Op. 26,begins with an eight- measure Period closely allied to a DoubleSection, which Period is repeated with rhythmical variations, con-stituting simply a Kepeated Period, but not a Song-form.

Ex. 26.

pd^i iLuTWtTIRepetitions of this kind are frequently met with in compositions


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24 Long Section and Long Period. 6.

Ex. 27.pmtfV insteadof 4^/ l ^ljIn the beautiful Adagio of the C Minor Sonata for Piano and

Violin, the taking up of the theme by the Violin is nothing morethan a repetition of the first Period.Remark on the second form in Major. The first part, when in

the Major mode, occasionally closes in the Minor key of theMediant; as C Maj. in E Min., Ab Maj. in C Min., Fjf Maj. inA# Min. Thus:Ex. 28.

fa '' r & r J I UAj I J- ; j ja N -Jjj:zt=^=^y=^s

6. THE LONG OR OCTOMEASURE SECTION,AND THE LONG PERIOD.Two contiguous Sections of different contents, lacking har-

monic and rhythmic correspondence, do not constitute a Period, butan octomeasure Section.

I. Such Sections frequently terminate on the Tonic as inde-pendent ones, e. g.

Ex. 29.

PMozart.

(Juvenile Work.)

r I ft r fr i rj r r4r^-J^i1

^&


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Long Section and Long Period. 6. 25. Beethoven.HE^

^ _


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Pf rr r it c feEr r t r ^^Y*k & & & tf \& :fl&&jflf fB7I^| lr J ii^^S /j ,jJi f

im^it N ? \ h 4 4- (2jX 2).t*rnt.^ J'l^^ i^fppi/

^\k lit, ni "{ 3 illgj 4 : '^ 'i 1 t r r ' iJ *a tempo

(2Xl)+ (2X2)+2.^ 1? |, 4 *=m


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Long Section and Long Period. 6. 27II. Two 8-measure Sections may unite to form a Long

(16-measure) Period by occupying the position of Antecedent andConsequent.

Ex. 32.

$SferSemi-cad.

BE 8 / I J "I tJJJ ^ IfSHiSemi-cad.M 1 i r i r ,jl^iag

We have here an 8-measure Antecedent consisting of twoSub-sections, each one of which represents a 4-measure Antecedent.At the same time, it forms a Double Antecedent, i. e., two Ante-cedents united into a single one. In the present case, it is followedby a similarly constructed Consequent which repeats the entireAntecedent, but terminates on Tonic in the last two measures:

feEP i-6 -I'lJU J3 1Thus, a Long sixteen-measure Period has beenproduced.

Ex. 33.Allegro Mozart.^ iHrrrir rr irifftm3E mt J I

^ i n ft iL J


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measures 1-6 The first Period, through the lively rhythm of its conclusion,

immediately joins with the next one, a procedure, which lends tothe higher forms, particularly in Allegro tempo, that urging-onwardand exp eelancy-awakening quality, and that compactness, whichtogether constitute their aesthetic character.

The Long eight-measure Section may, in all the higherforms, occasionally replace the Short eight-measure Period.

Fifth Exercise. II.(a) Convert the previously written independent Octomeasures

into eight-measure Antecedents.(b) Complete these latter to sixteen- measure Periods by

appending Tonic Octomeasures to them.(c) Construct such like Periods anew.

MODEL.Ex. 34.

Antecedent.


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Period -like Double Sections. 6. 29

fcfc'^Jin ' D j-j "cJ-cj' "

Safe 4 4 44-4x ' lJ Lyv r pr ftf i trfTff ff i r r ?

Pp? Tg3 ^ W . ?Jft|T fc9 &'-L!f J liv l ylPgtdg i^T9:^ J J Eg ilisw (j" a

III. 7%e *SAor( Double Section in place of the Long Section.Those Octomeasures, that have a thematic correspondence, hut, byreason of their uniformity of construction, and similarity of melodicmotion (i. e., to a certain extent, moving in the same direction),answer more nearly to the nature of repetition than periodicity,


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30 Period -like Double Sections. 6

Ex. 35Allegro

Mozaet.A kind ofSemi-cad.

^t iiiUHhi \ \\\f^YA kind ofImp. Full Cad.

fy.jimp, run

First part of theme, which terminates on Tonic.

pjtmrfff^rtr T i ^n^^g^^^^tf ^mrrfmSub-dominant. Imp. Full Cad.A kind ofSemi-cad.

y=*f. i r r. rwir

3^^-j-^^l-j^-Trrr-^^^Imp. Full Cad.

with Suspension.

They may be treated as constituting the first half of an Antecedent,Frequently so with Mozart. The Allegro of Beethoven's Eg-mont Overture likewise begins with this kind of Section.

An example of a Double Section, which is at the same timean Antecedent (hence, an Antecedent Double Section, Double Sectionwith Semi-cadence) is the following commencement of the Pilgrims'Chorus from Tannh&user:


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Tripartite Period. 7. 31Ex. 36.

Andante.mIFF t*= = Sub-domJ. Wagnek.i=m3Semi-cad.m^&i^Bt

The character of a Sectional Repetition in contradistinction toperiodicity, becomes still more palpable, when both Sub-sections formSemi-cadences; as in the theme of Mendelssohn's A Min.Symphony:

Ex. 37.Allegro. Mendelssohn.

Semi-cad.in CMaj. Semi-Gad-in EMin.

Fifth Exercise. III.Construct Sections of ,this kind in accordance with the

preceding examples.Remark. Obviously, the second part of the Song-form is not

actually a Period, even though, on occount of its harmoniccorrespondence, it is occasionally so called, and its membersdesignated Antecedent and Consequent.

7. THE TRIPARTITE PERIOD.


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32 Tripartite Period. 7.

Ex. 38.

itec ^Ss m=5-jflV T * M f-r Lf 1 r I J- / 1 r * fl

jflty a J ?EOf greater frequency are Long Tripartite Periods in the follow-

ing construction:Antecedent: 8 measures = First Part.

Intermediate Section: 8 measures = Second Part.Consequent: 8 measures = Third Part.

An example of this kind is the following, taken from a juvenilework of Mozart, though it does contain a slight irregularity,,namely, the elongation of the second Section from eight measuresto nine; a matter which will he treated later on in the course ofthis work.

The Long Tripartite Period.Ex. 39.

Allegro. Antecedent.Mozart.

(KBchel's Catalogue, No. 58.)

ite w.w =*& gfe3 n =3 TTgS^AA l=frttw In-s feg PPflliilf^^ # sr V


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Short Tripartite Song -form. 8. 33termediate Section.

Consequent.

itei

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