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THE GIFT OF
A. A., §tanley
|
MUSIC
A PPRECIATION
Based upon Methods of Literary Criticism
BY
*
CLARENCE G. HAMILTON, A.M.
Professor of Music at Wellesley College
BOSTON
OLIVER DITSON COMPANY
NEW YORK CHICAGO
CHAS. H. DITSON & CO. LY ON & HEALY
Copyright MCMXX
BY OLIVER DITSON CoMPANY
International Copyright Secured
CONTENTS
PAGE
Book List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Suggestions for Study . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Preliminary Questions. . . . . . . . . . . . . . . . . . . . . . . . . . . 18
PART I: TYPES OF PIANO MUSIC. . . . . 31
TYPE I: The Dance. . . . . . . . . . . . . . . . . . . . . . . . . 33
TYPE II: The Lyric Piece. . . . . . . . . . . . . . . . . . . . . 55
TYPE III: The Étude. . . . . . . . . . . . . . . . . . . . . . . . . 77
TYPE IV: The Étude-Lyric. . . . . . . . . . . . . . . . . . . . 93
TYPE V: The Theme With Variations. . . . . . . . . . 110
TYPE VI: The Transcription. . . . . . . . . . . . . . . . . . . 128
TYPE VII: The Sonata-Allegro. . . . . . . . . . . . . . . . . . 144
TYPEVII-A: The Modified Sonata-Allegro. . . . . . . . . 171
TYPE VIII: The Rondo. . . . . . . . . . . . . . . . . . . . . . . . . 175
TYPE IX: The Sonata as a Whole. . . . . . . . . . . . . . 193
TYPE X: Fugal Music. . . . . . . . . . . . . . . . . . . . . . . . 212
TYPE XI: The Suite . . . . . . . . . . . . . . . . . . . . . . . . . . 237
TYPE XII: The Fantasia. . . . . . . . . . . . . . . . . . . . . . . 248
PART II: TYPES OF CHAMBER AND
ORCHESTRAL MUSIC . . . . . . . . . . . . . . . . 259
TYPE IX-A Chamber Music . . . . . . . . . . . . . . . . . . . . 263
TYPE IX-B Orchestral Music: The Symphony . . . . 280
TYPE VII-B Orchestral Music: The Concert Over-
ture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
PART III: TYPES OF VOCAL MUSIC 317
TYPE XIII: The Folksong. . . . . . . . . . . . . . . . . . . . . . . 321
TYPE XIV: The Art Song. . . . . . . . . . . . . . . . . . . . . . . 333
TYPE XV: The Art Ballad. . . . . . . . . . . . . . . . . . . . . 353
TYPE XVI: The Opera and the Oratorio. . . . . . . . . . 370
The illustrative examples of piano pieces and songs that
appear in this book” are issued by the publishers
in a separate volume entitled
TYPICAL PIANO PIECES AND SONGS
Used as Illustrations in
Hamilton's Music Appreciation
Price $1.50
*Except Grieg's From Holberg's Time, Op. 40
(Ditson Edition, No. 187)
A Folk DANCE AT CAPRI
EXAMPLES ANALYZED
BACH: Gavottes I and II, from Third English Suite. .
MOSZKOWSKI: Mazurka, Op. 10, No. 3. . . . . . . . . . . . .
CHOPIN: Nocturne in B major, Op. 32, No. 1 . . . . . . . .
TOHAikovsky: June (Barcarolle), Op. 37, No. 6. . . .
BACH: Prelude in D major, from the Well-tempered
Clavichord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SCHüTT: Étude mignonne, Op. 16, No. 1. . . . . . . . . . .
SCHUMANN: Novellette in B minor, Op. 99, No. 9. . . .
CHAMINADE: Les Sylvains, Op. 60. . . . . . . . . . . . . . . .
HANDEL: Air and Variations from Suite V. . . . . . . . .
MENDELSSOHN: Andante con Variazioni, Op. 82. . . .
WAGNER-SINGER: Spinning Chorus. . . . . . . . . . . . . . .
CoLERIDGE-TAYLOR: Transcription of Negro Melody,
Op. 59, No. 22. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
HAYDN: First Movement from Sonata in F major. . .
BEETHovKN: First Movement from Sonata, Op. 13. .
BEETHOVEN: Adagio from Sonata, Op. 10, No. 1 . . . .
MOZART: Rondo from Sonata in C major. . . . . . . . . .
BEETHOvKN: Last Movement of Sonata, Op. 13. . . .
HAYDN: Sonata in F major. . . . . . . . • . . . . . . . . . . . . .
BEETHOVEN: Sonata, Op. 13. . . . . . . . . . . . . . . . . . . . .
HADLEY: Canon, Fate, Op. 14, No. 2. . . . . . . . . . . . . .
CLEMENTI: Exercise 10, from Gradus ad Parnassum
BACH: Two-part Invention, No. 8. . . . . . . . . . . . . . . .
BACH: Fugue No. 5, in D major, from Well-tem-
pered Clavichord, Vol. I. . . . . . . . . . . . . . . . . . . . . . .
PAGE
43
49
64
70
83
87
99
103
115
120
134
139
154
161
I'71
I82
187
201
205
215
216
219
227
BACH: Fugue No. 21, in B-flat major, from Well-tem-
pered Clavichord, Vol. 1. . . . . . . . . . . . . . . . . . . . . . .
HANDEL: Harpsichord Suite, No. 16. . . . . . . . . . . . . .
GRIEG: From Holberg's Time, Op. 40. . . . . . . . . . . . .
MOZART: Fantasia in D minor. . . . . . . . . . . . . . . . . . .
231
240
243
251
5
6 MUSIC APPRECIATION
PAGE
Liszt: Hungarian Rhapsody, No. 11. . . . . . . . . . . . . . .254
BEETHovKN: String Quartet, Op. 18, No. 3. . . . . . . . 265
Dvořák: Sonatine, Op. 100, for Violin and Piano... 271
y MozART: Symphony No. 4, in G minor. . . . . . . . . . . . 284
BEETHovKN: Symphony No. 5, in C minor. . . . . . . . 291
MENDELssohn: Overture, The Hebrides, Op. 26. . . . 302
WAGNER: Overture to Tannhäuser. . . . . . . . . . . . . . . . 309
ENGLISH. Folksong: 0 No, John. . . . . . . . . . . . . . . . . 325
WELSH. Folksong: All Through the Night . . . . . . . . . 327
NEGRO Folksong: Swing Low, Sweet Chariot . . . . . . 328
FRANz: The Rose Complained, Op. 42, No. 5. . . . . . . . 339
GRIEG: A Swan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
DEBUssy: The Bells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
SCHUBERT: The Erlking . . . . . . . . . . . . . . . . . . . . . . . . . 358
CHADwick: A Ballad of Trees and the Master. . . . . . . 364
VERDI: Opera, Aida. . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
THREE CHILDREN PLAYING INstruMENTs
BARTHolom MEo Montagna
-
LIST OF BOOKS TO WHICH REFERENCE
IS MADE
APTHORP, W. F.: The Opera, Past and Present
(Charles Scribner's Sons)
BACH, A. B.: The Art Ballad; Loewe and Schubert
(William Blackwood & Sons, London)
BIE, OsCAR: A History of the Pianoforte and Pianoforte Players
(E. P. Dutton Co.)
BURTON, FREDERICK: American Primitive Music
(Moffat, Yard and Co.)
DENs MORE, FRANCES: Chippewa Music, two volumes Teton Sioux
Music (Bulletins 45, 53 and 61 of the Bureau of Eth-
nology, Smithsonian Institution, Washington, D. C.)
DUNHILL, THOMAS F.: Chamber Music
(Macmillan and Co.)
ENGEL, CARL: National Music
- (Longmans, Green and Co.)
FINCK, HENRY T.: Songs and Song Writers
(Charles Scribner’s Sons)
GoFTSCHIUs, PERCY: Lessons in Music Form
(Oliver Ditson Company)
The Homophonic Forms of Musical Composition
The Larger Forms of Musical Composition
(G. Schirmer)
GROVE's DICTIONARY: Five volumes
(Macmillan and Co.)
HAMILTON, C. G.: Outlines of Music History
Sound and its Relation to Music
(Oliver Ditson Company) tº
HENDERSON. W. J.: The Orchestra and Orchestral Music
(Charles Scribner's Sons)
HEYDRICK, B. A.: How to Study Literature
(Hinds and Noble)
HIGGs, JAMES: Fugue
(Novello and Co.)
KILBURN, N.: The Story of Chamber Music
(Charles Scribner's Sons)
RREHBIEL, H. E.: Afro-American Folksong
(G. Schirmer)
The Pianoforte and its Music
(Charles Scribner's Sons)
7
8 MUSIC APPRECIATION
LEE, E. MARKHAM: On Listening to Music
(London, Kegan Paul)
MacPHERson, STEwART: Form in Music
(London: Joseph Williams)
Mason, D. G.: A Guide to Music
(Doubleday, Page and Company)
The Orchestral Instruments and What They Do
(Novello and Co.)
PAUER, E. Musical Forms
(Oliver Ditson Company)
PARRY, C. H. H.: The Evolution of the Art of Music
(Appleton and Co.) -
PATTERson, A. W.: The Story of the Oratorio
(Charles Scribner's Sons)
PRATT, W. S.: The History of Music
(G. Schirmer)
SHARP, CECIL: English Folksong
(Novello and Co.)
SHEDLock, J. S.: The Pianoforte Sonata
(London: Methuen and Co.)
STRAYER AND Norsworthy: How to Teach
(The Macmillan Company)
STREATFELD, R. A.: The Opera
(J. B. Lippincott Co.)
WEITZMANN, C. F.: A History of the Pianoforte and Pianoforte Litera-
ture. (G. Schirmer)
Schubert AND His FRIENDs
Music Appreciation
BASED UPON METHODS OF LITERARY CRITICISM
SUGGESTIONS FOR STUDY
If we say that a person has the ability to appre-
ciate music, we imply that he has the power, first,
to distinguish rationally between what is good and
what is poor in a musical composition, and, second,
to listen to a piece of music with intelligent en-
joyment.
Certain elementary types of music, such as the
folktune, are so simple in their structure that they
are readily understood even by those who have
had no musical training whatever. Not so, how-
ever, with the more complex types; for the proces-
ses of music are so subtle and the meaning is so
indefinite as compared with that of the other arts,
that even a well-versed musician must frequently
hear an elaborate composition several times before
he can pass a mature judgment upon its worth.
Consequently, some compositions which sound
attractive on a first hearing will finally be cast
aside as unworthy, while others, less obvious in
their interest, will reveal more enduring qualities
upon a closer acquaintance.
In dealing with a piece of literature the student
seeks to discover the exact nature of the thought
that is expressed, and the means by which this
expression is secured. Similar factors, although
generally less obvious, are present in a musical
work; consequently, for the proper estimation of
the latter, similar methods may be employed.
9
10 MUSIC APPRECIA TION
It is proposed to present in the following pages
a plan for arriving by very direct means at the
thought and expression in music. Recognized
types of musical composition will be considered in
order. Under each of these types the student will
be asked questions of vital import both as to details
and as to general effects; and guiding principles will
be presented as aids in solving the problems pre-
sented. In other words, he is to be properly
equipped for the exercise of his own judgment,
which, however, is unhampered in its application
to the special work under consideration.
There are three main divisions in the book, the
first dealing with types of piano music, the second
with types of music for instruments in combina-
tion, and the third with types of vocal music.
On account of the availability of the piano and the
fact that nearly all types are exemplified in its
music, the greater part of the book is occupied
with piano music. The application of these types
to other kinds of music is then explained.
There are many and increasing ways in which
courses in music appreciation are at present
conducted. Most important and far-reaching,
however, are those courses which are incorporated
into the curricula of Schools and colleges, and
which are therefore planting fertile seeds of musical
culture in a great variety of receptive minds.
Appreciation may be taught also to special classes
of music students, or to private music pupils.
To meet all these needs, the questions and ex-
amples here given may be used with great elas-
ticity. Since the types are not necessarily con-
secutive, some may be omitted, or the Order may
be changed at will. Questions may also be elided
at the discretion of the teacher, and others may be
SUGGESTIONS FOR STUDY 11
added. Examples that are given may sometimes
be disregarded, while others may readily be sub-
stituted or added.
Let us now consider how the course may be
presented under the above conditions.
I
CLAss WoRK IN HIGH SCHOOLS AND COLLEGES
As equipment for such classes it is necessary
that a piano should be provided, and that the
instructor or an assistant should be able to play
upon it music of at least moderate difficulty.
Mechanical instruments, the phonograph or the
piano-player, are also useful for purposes either
of direct instruction or as auxiliaries to the stu-
dent’s practice. Each student should be provided
with note-book, text-book, and, so far as is pos-
sible, with copies of the more important examples
of music that are to be employed.*
A general class will naturally consist of students
of various grades of musical proficiency. If any
students have little or no previous musical train-
ing, it may be necessary to give them some special
instruction as to the rudiments of notation, etc.
In any case, however, the teacher should make
sure that the definitions under Preliminary Ques-
tions are thoroughly understood by all the stu-
dents, since hazy ideas concerning the terms there
explained are often a serious hindrance to progress.
With these fundamentals assured, the students
are prepared to begin the course proper. Type 1,
The Dance, is approached through the Foreword,
*A separate volume is published by the Oliver Ditson Company containing, the
piano pieces and songs used as illustrations in this book. This collection should be
in the hands of each student.
12 MUSIC APPRECIATION
which should be explained by the teacher, and
which may be further enlarged upon by reference
reading.
At the same lesson, the questions and accom-
panying remarks under two or three sections may
be read and commented upon. The piece, Ex-
ample 1, under this type, is then played with
clearness and expression twice in succession, while
the students listen with books closed. Parenthet-
ically it may be said that whenever a composition
is taken up for discussion it should first be per-
formed as a whole, generally two or even three
times, in order that the sense of unity of details
may be brought vividly before the minds of the
students. In the case of a long work, such as a
symphony or an opera, this rule may be applied
to the individual movements or numbers of which
it is composed.
After the composition has thus been performed,
the teacher should point out, or better still, should
ask the students to suggest any themes or figures
that play an important part in its structure.
Sometimes such a passage may be represented by
a melodic motive such as that which begins
Chaminade's The Fauns (see page 103):
or again it may consist of a rhythmic figure such as
occurs in measure thirteen of the same piece:
2-> More often, however, it will be better
to play the passage with its harmonic
setting, as in presenting the theme of
# Mendelssohn’s Andante con Varia-
13 e -
zioni (see page 120):
SUGGESTIONS FOR STUDY 13
A valuable aid toward
the study of themes con-
sists in sketching their
rhythmic or melodic out-
lines, as explained in
1 Type II; B:3 and C:3.
Although such outlines may be roughly and
quickly drawn, they make it necessary for the
student to think carefully about what he is hearing;
and from them he will be able to talk intelligently
about the movement and the melodic progression.
Careful note should be kept of the passages thus
studied, and at each lesson some of them should
be played for identification by the students.
Such identification may be made the occasion of a
review of the features of the composition to which
the theme belongs: its structure, style, or other
distinguishing characteristics.
The questions that have already been explained
are next again propounded and applied to the
piece just played, when the answers given by
individual students are commented upon and
corrected. Since the above work should be suf-
ficient to fill the lesson period, an assignment for
the next period may then be made. This assign-
ment may include (1) specific reading or writing
upon the subject presented in the foreword;
(2) further study of questions already taken up,
and a comparison of the answers given with those
in the text-book under Example I; (3) a preliminary
study of the questions and their explanatory
remarks under new sections of Type I. When
considering questions formerly presented, the stu-
dents should have the score of the music example
before them.
In following lessons the remaining questions
14 MUSIC APPRECIATION
under Type I are first studied and then applied
to Example I. Example II is then similarly
treated, after which one other example of this
type, at least, may profitably be studied and com-
pared with the two examples in the text-book. A
repetition of these processes is recommended in
the study of each of the succeeding types, which
are taken up preferably in the given order. The
rapidity with which such material is pursued will
of course depend upon the time at the disposal of
the teacher.
Excellent subjects for occasional essays or for
other research work in music history or form may
be drawn from the Forewords which introduce the
various types. Examinations and other tests
may be compiled (1) from topics suggested in the
text-book under the different types, and (2) from
the audition of a composition either familiar or
new to the students. In the latter case, specific
questions may be given the students to answer,
such as those relating to the form, rhythm, melody,
etc. of the piece; and the piece may be played to
them two or three times, with short intervals,
say of two or three minutes each, between the
renditions.
In the study of instrumental music other than
that written exclusively for the piano and of vocal
music of all kinds, the phonograph will be found
of service. Complete records of standard sym-
phonies, of movements of string quartets, etc.,
are now obtainable; so that the color scheme of
these compositions may be amply suggested to
the students.
SUGGESTIONS FOR STUDY 15
II
CLASS WORK WITH SPECIAL MUSIC STUDENTS
Such work may readily be conducted according
to the plan suggested above. Another more
specialized plan, however, may be found desirable
by teachers in institutions or by private teachers,
in grouping the students into Interpretation
Classes, composed of pupils who are studying a
standard instrument such as the piano, of vocal
students, or of a mixture of students in various
fields. - -
In such classes as these, individual students are
called upon to play or sing compositions upon
which they have been working under private in-
struction. After a piece has been performed once,
its type is decided upon by the students; and at
the conclusion of the Second performance the ques-
tions under this type are propounded by the teacher
and answered by the students with the aid of the
teacher. According to this plan, therefore, no
fixed order of types is observed, but the situa-
tion is focused upon the results of the stu-
dents’ daily practice. Meetings of such a class
may be held weekly, fortnightly, or even monthly,
as circumstances permit. The advantages of
this plan for work in musical clubs are readily
perceived.
III
INDIVIDUAL WORK WITH MUSIC PUPILS
During the process of mastering a given piece
of music, a pupil is often so engrossed with tech-
nical details, such as fingering, notation, etc., that
he utterly fails to obtain that perspective which
16 MUSIC APPRECIATION
will enable him eventually to give a coherent per-
formance of the entire composition. It is at this
point that work in Appreciation may properly be
introduced. If it is not possible to pursue this
work in class, as suggested in II above, the fol-
lowing plan may be adopted:
After a given piece has been well learned and
preferably memorized, its type is decided upon by
teacher and pupil, and the pupil is then asked to
write out appropriate answers to the questions
under this type, for the next lesson. These
answers are subsequently read by the teacher
and any doubtful points are cleared up. The
pupil should also be prepared to sing or play,
preferably from memory, important themes which
he has discovered in the piece (see page 12).
In this way, each composition that is studied is
made the subject of critical inquiry, with the
result that the attention of the pupil is finally
focused, as it should be, upon the interpretation
of the music.
Doubtless the clever teacher will find useful
means of modifying the plans just outlined, or
will invent other modes of procedure. In any
case, however, he should keep constantly in view
the essential aim of instruction in music appre-
ciation, which is to give to the pupil the power of
thinking in no uncertain terms about the music
which he hears or plays. Let us, in other words,
substitute for vague and shadowy adjectives such
as “pretty,” “sweet,” “doleful,” or “stupid,”
which frequently mark the limit of an auditor’s
musical intelligence, the more specialized and
accurate criticisms that will be given by an auditor
SUGGESTIONS FOR STUDY 17
to whom the message of music is adequately con-
veyed, and by whom this message may in turn be
transmitted to others.
From a recent book* we quote the following
significant summary of the factors involved in the
successful conduct of an appreciation course:
“The work of the teacher (of appreciation)
may be organized around the following heads:
(1) it is of primary importance that the teacher
bring to the class an enthusiasm and joy for the
picture, music, poetry, person or achievement
which he wishes to present; (2) children must not
be forced to accept nor even encouraged to repeat
the evaluation determined by teachers; (3) spon-
taneous and sincere response on the part of chil-
dren should be accepted, even though it may not
conform to the teacher’s estimate; (4) children
should be encouraged to choose from among many
of the forms or situations presented for their ap-
proval those which they like best; (5) the tech-
nique involved in the creation of the artistic form
should be subordinated to enjoyment in the field
of the fine arts; (6) throughout, the play spirit
should be predominant, for if the element of
drudgery enters, appreciation disappears.”
*Strayer and Norsworthy; How to Teach.
PRELIMINARY QUESTIONS
There are certain terms which concern the vital
elements of music structure that should be clearly
understood by the student as a necessity to lucid
musical thought. Accordingly in the following
paragraphs answers are presented to the ques-
tions regarding these terms that would naturally
be asked by the student.
1. How is sound produced?
Sound is produced by the vibrations of a sound-
ing body. These vibrations are communicated
to the surrounding air, which in turn carries them
to the ear of the listener. Thence, by a delicate
and complicated mechanism, they are transmitted
to the brain centers, where they are translated
into terms of consciousness.
2. How are noise and tone distinguished?
When the vibrations are irregular, as in this
diagram:
a confused sound is produced which is called
moise. When, however, the vibrations occur in
regular waves, thus:
the result is called tone. Music deals primarily
only with tone, although tonal effects are oc-
18
PRELIMINARY QUESTIONS 19
casionally reinforced by certain kinds of noise,
such as that of the bass drum in the military band.
3. What are the properties of tone?
Tone has four properties, all of which are always
found in combination: namely, duration, pitch,
intensity and quality.
4. How is duration of tone measured?
By short, even time-intervals, called beats.
In a given composition the beats are of unequal
importance, appearing in a succession of regular
groups, called measures, in each of which one of
the beats is more prominent than the others. A
measure may be either duple (consisting of two
beats); triple (consisting of three beats); or com-
pound (consisting of combinations of these simple
measures).
5. What is tempo?
Tempo is the name given to the rate of rapidity
with which a composition is performed. For a
given piece the tempo is suggested by the com-
poser; and this tempo is kept with little or no
variation unless the composer otherwise directs.
Common words denoting tempo are these:
Largo, adagio, lento. . . . . . . . . . . . very slow
Andante. . . . . . . . . . . . . . . . . . . . . slow
Andantino. . . . . . . . . . . . . . . . . . . rather slow
Moderato. . . . . . . . . . . . . . . . . . . . . at a moderate pace
Allegretto. . . . . . . . . . . . . . . . . . . . . rather fast
Allegro. . . . . . . . . . . . . . . . . . . . . . fast
Presto. . . . . . . . . . . . . . . . . . . . . . . very fast
Variation in tempo is indicated by such words as ritenuto,
ritardando, rallentando (denoting a gradual decrease of
rapidity), and accelerando (denoting a gradual increase in
rapidity).
20 MUSIC APPRECIATION
6. What is rhythm?
Within the framework afforded by the beats
and measures, tones of various lengths are ar-
ranged in a kind of time-pattern. Such a time-
pattern is called a rhythm. For instance, in the
following two measures, each of which is divided
into four beats:
f
2 t
f : © • º : & 4- • !
we may find such a rhythm as is indicated by the
horizontal lines beneath. In musical notation
this rhvthm is measured N […
8,S rº. # J. J. J |J. JJ |
A given rhythm may be used many times in the
course of a composition.
7. What is pitch?
When the same number of vibrations per second
continue in a sounding body, the result is said to
be a monotone. If, however, the vibrations be-
come more frequent, the tone grows more acute,
or rises in pitch; and if they become less frequent,
the tone grows more grave, or is lowered in pitch.
Sound is audible from about 16 to 38,000 vibra-
tions per second. Our musical system takes as
its standard of pitch 435 vibrations to the
tone d' from which the vibration number
of all other tones may be readily
computed.
8. What are scales?
To furnish a systematized basis for musical
progressions, tones are arranged in succession,
according to fixed relationships of pitch. If one
Sounding body vibrates twice as fast as another,
the tone of the former is an octave above that
PRELIMINARY QUESTIONS 21
of the latter. In our musical system the octave
is divided into twelve proportionately equal inter-
vals, called half-steps. Only seven of the tones
thus selected, however, appear in the two so-
called diatomic scales upon which our music is
mostly based, the major and the minor. Each of
these scales or modes consists of whole and half-
steps (or in one case of a step and a half), arranged
in the following order:
Major
Steps—1, 1, 3%, 1, 1, 1, 9%–12 half-steps
Minor
Steps—1, 9%, 1, 1, 9%, 1%, J/3–12 half-steps
These intervals are illustrated in the following
Scales. Observe that the sign — indicates a whole
step, S- a half-step, and + a step and a half:
º C-major.
Y/ - º
Zaº Tºº arº ( QY I
={º} - _º K.C. Cº-> Pl
Q) •º- © © ( QY sº wº-y £ºs - * ~ * —-
- * ~ sº *
^ C minor
Y/ f * tº I
- - | arº. [A] Cº. wº Tºl
ić, - lººr- º ) Nº. IT
Ry—=-s-----—H-e —wº
9. What is a melody?
When tones of varying pitches are regulated by
a rhythmic pattern, the result is a melodic pro-
gression. Such a progression, for instance, is
produced by clothing the two-measure rhythm
quoted in Question 6, with tones of rising or falling
pitch, thus:
- t ºmº-ºp gº-º-º-º-º: {
i- | —.
f l
i
!
22 MUSIC APPRECIATION
or, in musical notation: H=HEFEEE
y n e' I
When one or more such melodic progressions
constitute a musical idea, they are called a
melody.
10. What is intensity?
Intensity refers to the loudness or softness of
tones. General degrees of intensity to be observed
in a composition are indicated by these terms:
pp (pianissimo), very soft
p (piano), soft
mp (mezzo piano), medium soft
mj (mezzo forte), medium loud
f : (forte), loud
ff (fortissimo), very loud
Variations in intensity are indicated by cres-
cendo (becoming gradually louder), diminuendo
(becoming gradually softer), etc. Important ef-
fects are produced by placing a sudden stress,
called an accent, upon an individual tone or chord.
Accents are indicated by the signs A, -, Sf
(sforzando), etc. As we have seen, regularity of
accent is an important structural feature in music.
11. What is counterpoint?
Music that consists of the combination of two
or more melodies written in contrasting rhythms
and pitch-outline is called contrapuntal or poly-
phonic music; and the art of so combining melo-
dies is called the art of counterpoint.
An illustration of contrapuntal writing may be found in
the Bach Invention, No. 8 (see page 219).
12. What is harmony?
When several tones may be agreeably heard in
combination, they are said to be in harmony with
one another. Three or more tones thus combined
PRELIMINARY QUESTIONS 23
produce a chord. The art of harmony is dis-
tinguished from the art of counterpoint in that the
former deals primarily with chords and their pro-
gressions, and the latter with combined melodies.
An example in which the harmony is prominent may be
found in the theme of Mendelssohn’s Andante and Variations
in E-flat major (see page 13).
13. What is tone-quality?
When a sounding body vibrates as a whole, it
also divides up into segments which produce
higher tones that are called overtones, or har-
monics. A violin string, for instance, while vibrat-
ing as a whole, may vibrate also in halves, thirds,
quarters, fifths, etc. It is the presence of these
overtones which permits us readily to distinguish
between the kinds of tone given out by different
instruments: for example, a violin, having high
overtones, speaks in incisive and penetrating
accents; while a French horn, having few over-
tones, is round and mellow in tone-quality.
14. What is music form?
Form in music is the result of an organization
of the various musical materials, rhythm, mel-
ody, harmony, etc.—into patterns that follow one
another in orderly succession and in a series of
likenesses and contrasts.
In creating musical form, unity is secured by the persist-
ence of a given measure, by the regular occurrence of an
accent or group of accents, and by the repetition, either
exact or suggestive, of musical ideas; variety is secured by
the alternation of contrasting ideas, or by the introduction
of new details; while the demands of symmetry are met by
effecting a nice balance of one detail with another, and a due
proportion between the larger divisions of the work. Certain
factors are employed in musical design, such as the figure,
the motive, the phrase, the period, the subject, the transitional
passage, the development, etc.
24 MUSIC APPRECIATION
15. What is a musical figure?
The smallest group of notes that contains the
germ of a musical idea is called a figure. In the
first two measures of the Bach Gavotte, Type I,
Example I, for instance, there are three of these
figures, all nearly alike in rhythm:
figure. figure figure
motive
Evidently, from this example, a figure may begin or end
on any beat of the measure. We should also observe that
a figure corresponds closely with a word in language, and
that the same figure may be used frequently in a composi-
tion, just as the same word may recur in a piece of literature.
16. What is a motive?
When two or more figures are connected to form
a larger section of the musical thought, the result
is called a motive. An example of the motive has
just been presented in the excerpt from the Bach
Gavotte, which is composed of three figures in suc-
cession. While the motive marks a slight break
in the music, the sense of incompleteness which it
leaves demands an immediate continuance of
the thought.
17. What is a phrase?
Again, two, or even more than two motives may
unite to form a phrase. The phrase generally
suggests a more decided break in the music than
the motive, and hence is defined in its ending by a
chord progression that indicates the character of
the phrase as final, interrogative or indefinite.
The final or authentic cadence consists of the chord
PRELIMINARY QUESTIONS 25
on the fifth degree of the scale fol-
lowed by that on the first degree, or
tonic of the scale, thus:
Another final cadence, associated
with the church Amen, is the plagal & V
cadence, consisting of the chords on the fourth
degree and tonic of the scale:
It should be mentioned that both the au-
thentic and the plagal cadences have differ-
ent degrees of finality, according to the
arrangement of their component notes.
C; IW I By reversing the authentic ca-
dence, the interrogative, or half-ca-
dence is formed:
There are various forms of the in-
definite, or deceptive cadence, which
most frequently, however, consists
of the chords on the fifth and sixth degrees of the
scale:
C: I y
A given composition is, as a rule,
regulated by a certain phrase-length
which is fixed for this particular com-
position, and is therefore called its
c. v. v. unit-phrase. Four measures is the
most frequent length for this phrase, as in the Bach
Gavotte (Type I, Example I), where the unit-phrase
begins with a half-measure and ends in the middle
of the fourth measure. In the more elaborate
forms of composition, however, the unit-phrase is
freely contracted or expanded on many of its
appearances.
To determine the length and character of phrases, the
student should first become thoroughly familiar with the
sound and effect of each of the above cadences. In playing
or hearing a composition, he should then first determine
26 MUSIC APPRECIATION
when the periodic breaks occur at the end of the phrases,
and then what is the character of each phrase, as tested by its
cadence. In connection with each piece that is studied,
drill of this kind may be given.
18. How are phrases combined?
Modern music, the forms of which were derived
primarily from the gestures of the dance, consists
of a series of balancing phrases which stand to
each other in the relation of question and answer.
Two, or sometimes three such phrases thus form
a complete thought, called a period. In turn, two
or more periods may succeed each other to form
a division; and divisions may combine to form
parts or movements.
19. What is a subject?
A subject is a musical idea which may be re-
peated or developed in the course of a compo-
sition. The subject may be a complete idea, con-
sisting of one or more periods; or it may be a mere
fragment, such as a single motive. The word
theme is frequently used as synonymous with
subject, although it more properly refers to a short
progression, such as a single figure or motive. In
the first movement of Beethoven’s Fifth Sym-
phony, for instance (see page 291), the first four
notes constitute a theme, while the first subject
extends through twenty-one measures.
20. What are other formal parts of a composi-
tion?
Sections of a composition in which a subject is
definitely stated are called principal passages,
and sections which simply bridge over the interval
from one principal passage to another are called
transitional passages. A composition may also
PRELIMINARY QUESTIONS 27
have an introduction, and an ending, called the
coda. Development sections are made up of a
varied treatment of the subjects in a composition.
The form of a musical composition may range,
therefore, from that of a single sentence to an
elaborate architectural structure composed of
figures, motives, phrases, periods, divisions, etc., all
arranged in symmetrical and unified order.
All of the above definitions will be amplified and
illustrated under the various types which are to
be presented.
VIRGINAL or SPINET, BY ANDREAs RUCKERs, ANTwerP, 1610
(Boston Museum of Fine Arts)
ITALIAN HARPsichord, 17th CENTURY
Front board removed
(Metropolitan Museum of Art)
PART I
TYPES OF PIANO MUSIC
GERMAN CLAvichord, 1765
(Metropolitan Museum of Art)
For an instrument like this Bach wrote his
Well-tempered Clavichord
PART I
TYPES OF PIANO MUSIC
GENERA). Of all the varied and highly-organized
** instruments that are in modern use,
the piano is undoubtedly the most useful; for not
only does it possess an extensive repertory of
music in which are exploited the features peculiar
to itself, but it is also of inestimable value for
suggesting in no uncertain way the structural
details of all other kinds of music whatever. In
listening to a Song without Words played on the
piano, for instance, the hearer readily imagines the
tones of the human voice, perhaps even the words,
enhanced by their harmonic background; and in
listening to an orchestral transcription for the
piano, his fancy may recall the insistent tones of
many familiar instruments, with their constant
interplay of shifting harmonies.
Not only all musical forms, indeed, but also all
the elements which enter into musical composi-
tion may be reproduced on the piano, save,
perhaps, the element of color, which nevertheless
may be aptly impersonated. It is therefore pos-
sible, through study of the different types of
piano music, to acquaint oneself with the funda-
mental features of every variety of musical ex-
pression, and thus to arrive at an understanding
of those basic principles which lead to an intelli-
gent and appreciative enjoyment of music as an
art. With this end in view we begin our survey
of the field of music by a study of piano types,
31
32 MUSIC APPRECIATION
depending upon the knowledge thus gained to
assist our judgment in dealing with music that is
produced by other media.
HARPsichord, By Josephus KIRKMAN, LoNDoN, 1798
(Boston Museum of Fine Arts)
TYPE I
THE DANCE
FOREWORD
Two types of stringed instruments with keys
were early in use—the clavichord and the harp-
sichord. In the former the strings were struck
by metal tangents affixed to the inner ends of
the keys, and in the latter they were plucked
by quill-like devices. The virginal and spinet
QUEEN ELIZABETH's VIRGINAL
(South Huntington Museum)
The Queen is said to have been a skilful performer on
this instrument. Virginal was the English for the Spinet.
were small household instruments of the latter
type, while the harpsichord proper was more
adapted to concert purposes. Queen Elizabeth,
whose reign extended from 1558 to 1603, prided
herself upon her skill as a performer on the
virginal, one of the predecessors of our modern
piano, and encouraged musicians to write for
this instrument; with the result that it was
cultivated by English composers, despite its
weak tone. For themes they often used popu-
33
34 MUSIC APPRECIATION
lar dance-tunes, to which they gave settings in
accordance with the musical art standards of their
day. Thus they started the long list of idealized
dance music which has continued to our own
times. In France, Germany, and Italy many
composers soon devoted their attention to this
style; and in the works of Bach and Handel the
climax of the early School was attained. When
the great Viennese composers of the eighteenth
century were elaborating their harmonic forms,
the minuet, then fashionable in Viennese society,
became incorporated into Sonatas and symphonies;
and its successor, the waltz, was also cultivated by
Beethoven, Schubert, and von Weber.
The power of dance music to express national
characteristics was not fully revealed, however, un-
til Chopin, in his mazurkas, polonaises, and walt-
zes, glorified the popular styles of Poland. Many
other composers, such as Grieg, Brahms, and
Dvořák, following in his footsteps, have ex-
ploited the traits of the music of their native
countries in graceful and spirited measures, and
in compositions which, for the most part, are in
short and simple forms.
QUESTIONS
A: FORM
1. What are the principal divisions of the piece,
and how long is each? What subordinate divisions
are there?
In the classic dance form there were generally
but two divisions, A, B, of which Division B was
often longer than Division A; hence the dance
was said to be in two-part form. Sometimes,
however, Division A was repeated, either exactly
THE DANCE 35
or with alterations, after Division B, making the
so-called small three-part form. In a similar man-
ner, two dances of like character were often per-
formed in succession, after which the first dance
was repeated, thus making the large three-part
form. Both the small and the large three-part
forms are frequent in modern music.
Illustrations of all of these forms may be found in the
Two Gavottes from the Third English Suite by Bach (see
page 43).
Observe that in the description of the form of a composi-
tion, the word part will be used for the larger and more com-
plete divisions, and the word division for the subordinate
sections of a part. For instance, in Example I under this
type (A: 1) there are three parts, of which the first and third
each consist of two divisions, and the third of three divisions.
2. Are the divisions quite distinct, or are there
connections between them? Describe any such con-
nections that occur.
The divisions in the classic dances were as a
rule very distinctly marked off. In more modern
compositions, however, one division often leads
directly to the next, or is connected with it by
means of a transitional passage.
3. What are some of the principal figures that
are used in the piece? What repetitions of these
figures occur?
For the musical figure, see Preliminary Questions,
No. 15, page 24. The repetition of such figures is
one of the most important devices at the com-
poser’s command for Securing unity of structure.
Such repetitions are seldom exact in every re-
spect: indeed, often the rhythm of the figure
alone is retained, while the melodic intervals are
considerably changed.
36 MUSIC APPRECIATION
4. Show the structure of the principal motive or
motives.
The composition of motives is explained in the
Preliminary Questions, No. 16, page 24. Regu-
larly, the motive is two measures long, and is
composed of several musical figures.
5. Are the phrases regular? Show the limits and
character of a number of the phrases.
For the term phrase, see Preliminary Questions,
No. 17. In modern music, phrases succeed each
other as do lines of poetry. Sometimes their
endings are clearly defined, and sometimes they
are purposely covered up, or connected to the next
phrases. The endings of the large divisions are
more apt to be clear and decisive than those of
the subordinate phrases.
Applying the cadence tests explained in the Preliminary
Questions, the student should seek to find the limits of the
principal phrases, and to determine their character. By
carefully listening to each phrase, it should not be difficult
to determine whether it is final, interrogative or indefinite.
6. Are the different divisions written in the same,
or contrasting keys? What are these keys, and what
modulations occur?
A composition usually begins and ends in the
same key, which may be determined by observing
the key-signature and the final chord of the piece.
Different divisions are, however, often written in
contrasting keys or modes, and a division may
begin in one key and end in another.
B: MOVEMENT
1. What is the measure of the piece?
For the term measure, see Preliminary Questions,
THE DANCE 37
No. 4. In duple measure we have the grouping
1-2, 1-2, and in triple measure the grouping
1-2-3, 1-2-3, etc. All measures are fundamentally
either duple or triple; although we often find
compound measures, such as #, #, }, },etc., which
are combinations of the simple measures.
2. What is the pace? Does this vary in the
course of the piece, and if so, in what do the changes
consist?
Pace is technically known in music as tempo
(see Preliminary Questions, No. 5). The length
of a beat is not absolutely fixed, as is that of a yard
or a pound; but in a given composition it is sug-
gested by Italian terms, by which it is approx-
imately determined. While in some composi-
tions, especially those of the classic schools, the
original pace is adhered to with considerable
strictness, in compositions of a more emotional
kind the tempo becomes changeable and elastic.
3. Is the piece adapted to dancing, or is it a
purely ideal conception, based upon a dance rhythm?
In order to fulfil the former condition the piece
would be best interpreted when played in strict
time, and at the pace which the dance demands.
• In the idealized dance, however, these rigid condi-
tions are rarely observed, since they tend to fetter
the emotional freedom of the whole.
4. What is the nature of the rhythm?
For the term rhythm, see Preliminary Questions,
No. 6, page 20. Generally there are several
rhythms that are especially frequent, of either
similar or contrasting types.
Rhythms may be described as regular, when the
longer notes come on the principal beats; as
38 MUSIC APPRECIATION
irregular, when the contrary is the case; as even,
smooth, jerky, varied, etc.
5. Does the rhythmic element predominate over
the elements of melody and harmony?
In a simple folk-dance, the rhythmic pulse is the
most prominent feature, since the emphasis of this
pulse is the most needful element for dancing
purposes. Composers of the art-dance, however,
exalt other elements, such as those mentioned,
sometimes above the fundamental pulsations.
C: MELODY
1. Are the chief melodies song-like, or instru-
mental in character?
Melodies are song-like, or vocal, when they move
along smoothly, more often from one degree of the
scale to another, and in flowing rhythms, which
would not be too rapid for a singer to manage
easily. Naturally, also, they would not go far be-
yond the limits of the human voice, which normally
extends only for about an octave and a half. In-
strumental melodies, on the contrary, may involve
long or angular leaps from one note to another of
a chord, together with quick or jerky rhythms,
staccato notes, strong accents, or short, broken
groups of notes.
2. How would you describe the melodic outlines
of the principal subjects?
The chief melodies, alluded to above, are called
subjects or themes (See Preliminary Questions,
No. 19). As these subjects rise and fall in pitch,
an up-and-down movement is suggested which
may be represented graphically by a wavy line.
This line is known as the melodic outline. If the
tune winds closely about a single tone, its outline
THE DANCE 39
is said to be horizontal or wavering; if it rises or
falls by scale-degrees it is called scale-wise; and
if it skips up or down the tones of a chord it is said
to possess an arpeggio (harp-like) outline. Com-
binations of these motions may produce a varied,
jumpy, or angular outline, while an alternating
up and down movement results in a wave outline.
This question affords an opportunity for studying and
learning to recognize the subjects of the examples that are
cited.
3. Are the melodies above, below, or within the
range of the accompaniment?
In simple styles of music the melody is apt to
be above the accompaniment. But when the
accompaniment becomes more elaborate it fre-
quently plays about the melody, or, for special
effects the latter may occur in the low register.
A. Are there any subordinate melodies or mel-
odic fragments, and, if so, where are they located?
Sometimes the interest of a composition is vastly
increased by snatches of melody which peep out
here and there in the accompaniment. Often these
snatches are parts of the principal subjects.
D: ACCOMPANIMENT
1. Is the accompaniment chiefly melodic or har-
monic?
That is, is it formed mostly or wholly of second-
ary voice parts, or is it grouped into chords or
arpeggios?
2. If the accompaniment is formed mainly of
chords, are these massed together, or arpeggiated?
Chords are said to be arpeggiated (played like
40 MUSIC APPRECIATION
a harp) when their individual tones are sounded
quickly in succession, instead of together.
3. What is the range of the accompaniment?
Some accompaniments are narrow in range: for
instance, such as are comprised mainly within the
compass of an octave. Others spread over a much
more extensive portion of the keyboard, and are
therefore wide in range.
J. Is the accompaniment thin or full?
Some accompaniments are very slight and deli-
cate, while others are rich with many notes and
complex texture.
5. Are there figurations in the accompaniment?
Often the accompaniment involves the frequent
or even continual repetition of a rhythmic figure
that winds about through varied harmonies and
gives a distinct flavor to the whole piece.
E: STYLE
1. To what school does the piece belong?
The prevailing style employed by a group of
composers in any given epoch is called a School.
Such schools embrace the early classic, the later
classic, the romantic, the national, etc. The early
classic, which reached its climax in the works of
Handel and Bach, was based on voice-writing, in
which instrumental music was written as though
it were intended to be sung by two or more voices.
Hence, instead of being grouped into chords, the
accompaniment was treated as though it were a
distinct melody in itself. Composers of the later-
classic school, of whom Haydn, Mozart, and Bee-
thoven in his earlier style were leaders, wrote in
a more modern fashion, but with the emphasis
THE DANCE 41
placed upon beauty of form, and of tonal combina-
tion. The romantic school, which flourished in
the nineteenth century, made the ea pression of
personal emotion its principal object, achieved by
striking contrasts, vivid climaxes, and the like.
In the national school the traits of individual
peoples are made evident.
2. What kind of dance is this? What are its
distinguishing features?
Each kind of dance has its peculiarities of mea-
sure, rhythm, style, etc. These peculiarities are
often determined by the traits of the peoples
among whom the dance either originated or has
become popular.
3. What is the general mood of the piece?
Characteristic moods in dance music are happy,
joyous, rollicking, dignified, stately, dreamy, mar-
tial, changeable, etc.
4. Is the piece pleasing as a whole? Are any
parts commonplace or tedious?
5. Are there important contrasts of color? If so,
cite eacamples.
Color, in music, refers to the different kinds or
qualities of tone. The quality of the tone in the
piano does not admit of much real variation; but
such variation may be suggested by the use of
different degrees of force, staccato, legato, pedal
effects and the like. Hence the question concerns
the vividness of the contrasts in styles and moods
that occur. -
6. Where are the chief climaa’es? Which one
is most important of all, and how is it attained?
All music is composed of a series of tonal pro-
gressions, corresponding to the phrases, each of
42 - MUSIC APPRECIATION
which mounts up to a culminating point, just as a
wave breaks, after rolling slowly in upon the sands.
Each large division has also its own point of
greatest intensity, and, finally, the composition
as a whole should grow to a climax, generally near
the end. What is the exact nature of this climax
is the problem for the student to solve.
7. Compare this composition with another of
the same type.
Sometimes we can best appreciate a composition
by comparing its melodies, rhythms, harmonies,
etc., with those of another piece of a similar con-
struction. Points of both likeness and unlikeness
should be sought out.
F: COMPOSER
1. Mention a few details of the composer’s life
and surroundings.
The most important events in a composer's life
are those which have a direct bearing upon his
music,+the dates of his birth and death, his early
music study, the places in which he lived, impor-
tant positions which he occupied, etc.
2. Do any traits of his nationality appear in
this piece? Cite eacamples.
The character of peoples of different nation-
alities is invariably apparent in their folk-music.
Hungarian music, for instance, has jerky rhythms
and fitful tempos, characteristic of the emotional
race; English music is straight-forward and clear
in structure and rhythm; while French music
often takes on a piquant turn.
3. For what other kinds of music is the composer
noted?
THE DANCE 43
A composer often excels in some particular line
of musical work, such as opera, Orchestral music,
songs, or piano music. Occasionally, however,
a composer may be equally at home in several of
these forms.
EXAMPLES OF TYPE I
Before studying any example, number the measures in
order by placing a figure either at the beginning of each
measure, or, as is generally sufficient, at the beginning of the
fifth, tenth, fifteenth measure, etc. Count the first full
measure as number 1. When a division is repeated, number
it but once. If there are two endings, use the same numbers
for each, calling the first ending a and the second ending b.
Thus in the Bach Gavotte I (Example I below), the two end-
ings in measure eight are numbered respectively 8a and 8b.
If a measure is divided, be careful to number it but once;
for instance, in the Bach Gavotte I, measure 8a is completed
by the half-measure at the beginning of the piece, and
measure 8b by the first half-measure of the following division.
I
Two GAvoTTES FROM THE THIRD ENGLISH SUITE
Johann Sebastian Bach, 1685–1750
A: FORM
1. The two companion Gavottes are played as
Parts I, II and III of the large three-part
form, since after Part II, Part I is repeated or
alternated (whence the term alternativo), thus
making Part III. Part I consists of thirty-four
measures, and Part II of sixteen measures. In
Part I the divisions are A (eight measures, re-
peated) and B (twenty-six measures, repeated).
Observe also that there is a break in the middle of
measure 18.
Part II consists of A* (four measures, repeated);
B (eight measures); and A* (four measures).
44 MUSIC APPRECIATION
B and A* are repeated together. Thus Part II
is in the small three-part form.
2. The divisions are in general
distinct, although there are three
notes of connection between Divi-
sions A and B of Gavotte I: b
8
3. Under Preliminary Ques- º
tions, No. 15, the three figures of the first motive in
this piece are explained. These figures are all va-
rieties of a rhythmic figure that is used throughout
the piece, and which therefore constitutes an im-
portant unifying factor. At the beginning of each
division, for instance, this figure is in evidence.
While it generally occurs in the upper voice-part, it
is occasionally taken by the lower voice, as in meas-
ures 14-16. The recurrence of the figure is only
interrupted, indeed, by occasional passage-work,
introduced for variety. 9
4. Most of the motives resemble the first one
(see Preliminary Questions, No. 16); although
this motive is sometimes supplanted by the run-
ning passages referred to in the previous answer,
as in measures 6-8.
5. The four-measure phrase-unit is continued
throughout, except in measures 8-14, where it is
extended to six measures by the repetition of the
running figure in the upper voice.
Most of the phrase-endings are precise, although
there are close connections, especially between the
subordinate phrases. As examples of phrases in
this piece, we may mention Phrase I (measures 1-4)
which ends with an authentic cadence that is
somewhat indefinite in that it leads to the balanc-
ing Phrase II (measures 4-8), which ends with
another authentic cadence, but in B-flat major;
THE DANCE 45
Phrase III (measures 8–14), more wandering in
character, and ending with an authentic cadence
in D minor; etc. Less definite cadences occur
in measures 21–22 and 29–30, while a half-cadence
occures in measures 7-8 of Gavotte II.
6. Gavotte I as a whole is in G minor. There
is a modulation to B-flat major in measure 8,
and soon after a modulation to D minor, which
key continues into measure 18. Beginning then
in C minor, a short passage leads in measure 26
to the original key, G minor, in which this gavotte
ends. Gavotte II is in G major throughout.
B: MOVEMENT
1. The movement is duple, with two half-notes
or their equivalent to each measure. r
2. Bach gave no indication as to the pace,
which is that of a somewhat lively dance. This
pace remains unvaried except at the end, which
should be somewhat slower, in accordance with the
custom of Bach’s time.
3. It is well adapted to the movements of th
dance. -
4. The regular two-measure rhythm of the first
motive, based upon the succession of a quarter
and two eighth notes, per- , ,
sists throughout: p J JJ |J JJ J JJ J
Occasional variety is introduced into the rhythm,
as in measures 11-13, where there are unbroken
eighth notes in the upper voice and quarter notes
in the lower.
5. While the entire composition is dominated
by the persistent rhythm mentioned above, the
melody is considerably varied. The implied har-
monies are simple, diatonic and clear.
46 MUSIC APPRECIATION
C: MELODY
1. The outlines and range of the melodies in
Gavotte I are instrumental, not vocal. Those of
Gavotte II might be sung, although they also have
an instrumental cast.
2. In Gavotte I the voice parts are full of zig-
zag progressions, which rise and fall in uneven
lines. These lines are softened, however, in
Gavotte II, where gentler wave-curves prevail.
3. The upper voice is generally first in im-
portance, while the lower voice has the effect of
an accompaniment.
4. According to the principles of contrapuntal
writing, the voice-parts are in constant contrast
to one another. The voice which takes or sug-
gests the principal motive is always of primary
importance.
D: ACCOMPANIMENT
1. In a strict sense, there is no accompaniment
in this piece, since it is composed of combined
melodies which are theoretically of equal value.
Except in measures 13-15, however, where the
principal subject is in the lower voice, this lower
part (or two parts in Gavotte II) is distinctly subor-
dinate to the upper part in effect, and may there-
fore be treated as an accompaniment to it.
2. Chords are merely suggested in the melodic
Outlines and combinations.
3. In Gavotte I, about two and one-third oc-
taves; in Gavotte II, only a sixth.
4. Though there are no chord-massings, the
active and buoyant nature of the melodic parts
gives a sense of harmonic fulness.
THE DANCE 47
5. In measures 2 and 3, the lower part sup-
ports the upper by a four-note figure, repeated
on successively lower
tones of the scale. EEEE tº Tºº
Such a repetition is TüIL 3. TT
called a sequence:
E: STYLE
1. To the early-classic School. Gavotte I has
two voices, while in Gavotte II a third voice
is added, singing on a single tone below the other
tWO. -
2. A gavotte is an old French dance in duple
measure. As in the example which we are study-
ing, the gavotte begins on the second half, and
ends with the first half of a measure.
The name Musette, applied to Gavotte II, is that
of a mediaeval instrument which continually
sounded a bass note, like a bagpipe. Contrast
between the two gavottes is heightened by the
introduction of the repeated lower tone, that
imitates this effect.
3. Leaping and joyous in Gavotte I; more
Quiet in Gavotte II.
4. It is pleasing.
5. Gavotte I is much brighter and louder than
Gavotte II, though in each there are various
degrees of forte and piano. The range of color,
however, is not great.
6. At the ends of the principal divisions. The
chief climax is contained in the last few measures
of Gavotte I, where the upper voice rises gradually
in pitch, and culminates in the third measure from
the end: a
48 MUSIC APPRECIATION
Jº
31 32 33 34
7. This question will be answered under the
next example.
F: COMPOSER
1. Johann Sebastian Bach was born in Eisenach,
Saxony, March 21, 1685. Coming of a long line of
distinguished musicians,
he early devotcd himself
to music study, so that at
fifteen, when he entered
a convent school at Lüne-
berg, a town of North
Germany, he was quickly
made a choir-boy. His
mature life was spent in
unceasing labor, chiefly
as organist at Weimar
(1708–1717); as chapel-
- master for the Prince
J. S. BACH of Cöthen (1717–1723);
and finally as organist and director in several
churches at Leipsic. He became blind in the
year before his death, which occurred in 1750.
Most of Bach’s dance music was written while
he was in charge of an orchestra at Côthen. His
wonderful genius in adapting the methods of the
early classicists to the most intricate and subtle
compositions, both instrumental and vocal, en-
titles him to a leading place among musicians.
THE DANCE 49
2. National traits in this piece are shown in its
clearness of formal organization, nice balance of
phrases and strong harmonic framework.
3. Bach wrote in all of the forms known in his
day except that of the opera. His compositions
include many elaborate works for organ and
clavier, besides orchestral and chamber music.
II
MAZURKA, OP. 10, No. 3
Moritz Moszkowski, 1854–
A: FORM
1. The principal divisions are: introduction
(four measures); A* (sixteen measures); B (six-
teen measures; transitional passage (eight meas-
ures); A* (sixteen measures). Beginning at Divi-
sion B, the remainder of the piece is repeated, with
a slight modification of the ending.
Divisions A*, B, A* each consist of two eight-
measure periods.
2. Except that the transitional passage leads
directly to Division A*, the divisions are quite
distinct.
3. A motto figure found
in the first measure of A*:
appears in some form or other throughout the piece.
Sometimes it is unchanged, as in measure 13; some-
times it appears in even notes,
as in measure 9: again, it either
occurs on a differ- ent degree of the
scale (measure 41), 9 or with certain
A) { TTE-
AT: TFT-II Tºº L. L.
aſ TTT2"Iſ T-T IºT
ſaw AT]
NWA ELº
50 MUSIC APPRECIA TION
of its intervals altered, as in measure 45:
Traces of it are found in a
figure that is announced in the
first measure of Division B:
and is used Se-
Quentially during this division.
Two other figures at the beginning
>
w - of A*, that in meas– (). *
ure 6, and that in measures 7 and ####
45°
8 also are given $
varied treatment.
4. The first motive (meas-
ures 5 and 6) is made of the first two figures shown
above, each of which is one measure long. This
motive is balanced by a second motive, coincident
with the third figure. From these two motives are
derived those which follow.
5. Regular four-measure phrases prevail
throughout the piece. Phrase I, closing with a
Somewhat vague authentic cadence, is balanced
by Phrase II, itself not wholly definite in its end-
ing, though closing with another authentic ca-
dence. The period formed by these two phrases
is followed by a similar period, more intense in
character, however, and more definite in its end-
ing. In Division B the subordinate phrases are
more closely connected than in Divisions A.
6. Divisions A are in G major, while Division
B is in D major. Though chromatics are frequent,
there are no other decisive modulations. Shifting
harmonies are found in the transitional passage.
B: MOVEMENT
1. Triple (#).
2. Allegro (fast).
THE DANCE 51
In order to enliven the ending, a slackening of
speed is indicated just before the two final measures
in Divisions A. -
3. If the piece were to be danced, the tempo
should be kept more strict than is indicated. .
Probably also a slower pace would be adopted.
4. The rhythm is erratic, with unexpected
accents and jerky effects.
5. While the rhythm is the most obvious
feature, the melody and harmony are equally in-
teresting.
C: MELODY
1. Instrumental.
2. Waves, varying in length, characterize the
outline, with frequent and quick upward leaps.
3. There is but one melodic part, which is
invariably the highest.
4. Occasionally an alto part is added to the
soprano melody, as in measures 6 to 12. This part
has, however, no individual importance. In meas-
ures 29 and 30, the lower part takes on a contra-
puntal character: y
--- D: ACCOMPANIMENT
1. It is almost wholly harmonic.
2. Generally the chords are massed, although
sometimes a single note precedes or follows the rest
of the chord, as in the introduction.
$52 MUSIC APPRECIATION
3. The accompaniment part which the #E
left hand plays extends from bass D *Us
- to treble G. Fragments of the accom-
paniment that are above this limit are
played by the right hand.
4. Use of the pedal gives a full effect to the
somewhat scattered chords.
5. There are no prominent figures except the
frequent appearance of the well-known bass figure
in which the lowest tone of the chord precedes its
remaining tones, as in measure 12:
E: STYLE
1. To the romantic School, with national
traits.
2. The mazurka is a national Polish dance in
triple measure. It is characterized by leaping
melodies, jerky rhythms and irregular accents
which occur especially on the third beat of the
In eaSure. -
3. The mood is one of unrestrained gaiety.
4. It is bright, compact and interesting
throughout.
5. There are occasional quick changes from
loud to soft, as in measures 36 and 37.
6. Each time that Division A occurs there is a
climax just before its last two measures, where the
melody leaps up to a culminating point and then
falls to an accented note, on the second beat of the
measure. This climax is especially vivid in meas-
ures 57 b and 58 b:
THE DANCE 53
7. Compared with the Bach Gavottes, this
composition has a more modern flavor through
its harmonic accompaniment, its fitful, erratic
rhythms, the extensive compass of its melody and
its tonal contrasts. Like the Bach piece, however,
it is unified by the continual use of motto figures
and motives. Its phrases are more regular and
distinct than those of the first gavotte.
F: COMPOSER
1. Moritz Moszkowski
is a Polish pianist who
was born in Breslau,
August 23, 1854.
Having taught in two
conservatories of Berlin,
he settled in Paris in 1897,
where he has since been
occupied chiefly with
teaching and composing.
2. The emotional tem-
perament of the Poles
is evident throughout
this piece.
3. Most of Moszkowski’s music is for piano.
He has also written instrumental music in the
larger forms, and an opera.
Moszkowski
54 MUSIC APPRECIATION
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals
Classic Grade
BACH: Gavotte and Bourrée from Fifth French Suite . . . . . . . . . . III-IV
BACH: Gavottes I and II from Sixth English Suite . . . . . . . . . . IV
BEETHovEN: Minuet from Sonata, Op. 49, No. 2 . . . . . . . . . . . III
HANDEL: Gigue in G minor, from Ninth Suite . . . . . . . . . . . . . . V
HAYDN: Menuetto from Sonata in G (No. 11, Peters Ed.) . . . . . III
MozART: Menuetto from Sonata in A (No. 12, Peters Ed.) . . . . IV
SCHUBERT: Minuet in B minor . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
Modern
BoHM: Fairy Dance, Op. 284. . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
CHAMINADE: Arlequine, Op. 53. . . . . . . . . . . . . . . . . . . . . . . . . . . IV
CHAMINADE: Callirhoë, Air de Ballet . . . . . . . . . . . . . . . . . . . . . . IV
CHOPIN: Mazurka in B-flat, Op. 7, No. 1 . 4. . . . . . . . . . * e e s e º e IV
CHOPIN: Polonaise in C-sharp Minor, Op. 26, No. 1 . . . . . . . . . V
CHOPIN: Waltz in D-flat, Op. 64, No. 1 . . . . . . . . . . . . . . . . . . . . IV
CHOPIN: Waltz in E Minor (Posthumous) . . . . . . . . . . . . . . . . . V
DELAHAYE: Columbine, Minuet . . . . . . . . . . . . . . . . . . . . . . . . . . III–IV
DUBOIs: Chaconne in E minor . . . . . . . . . . . . . . . . . . . . . . . . . . . III–IV
DURAND: Chaconne, Op. 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
ENGELMANN: Mazurka, Op. 730, No. 4. . . . . . . . . . . . . . . . . . . . II
GLUCK-BRAHMs: Gavotte in A. . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
GRIEG: Waltz, Op. 12, No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
GoDARD, B.: Second Gavotte. . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
RROEGER: Mazurka-Serenade, Op. 68, No. 3. . . . . . . . . . . . . . . IV
LIszT: Valse Impromptu in A-flat. . . . . . . . . . . . . . . . . . . . . . . . . VI
MAcDowell: Polonaise, Op. 46, No. 12. . . . . . . . . . . . . . . . . . . VI
SAINT-SAENS: First Mazurka, Op. 21 . . . . . . . . . . . . . . . . . . . V
Von WILM: Gavotte, Op. 81, No. 10 . . . . . . . . . . . . . . . . . . . . . . II-III
SUPPLEMENTARY READINGS
BIE: A History of the Pianoforte, Chapters 1 and 2.
GoFTschius: Lessons in Music Form, Chapters 9, 10, 11, 12. The
Homophonic Forms of Musical Composition, Chapter 22.
GRovE’s DICTIONARY: Articles, Dance Rhythm, Gavotte, Waltz, etc.
HAMILTON: Outlines of Music History, Chapter 5, Section 1; Chap-
ter 11, Section 2.
KREHBIEL: The Pianoforte and its Music, Chapters 5 and 6.
MACPHERSON: Form in Music, Chapters 8, 9, 11, 24.
PAUER: Musical Forms (Dance Music).
WEITZMANN: A History of Pianoforte Playing and Pianoforte Litera-
ture, Part I.
TYPE II
THE LYRIO PIECE
FOREWORD
In the early nineteenth century, when instru-
mental forms of music had been worked out to a
high degree of perfection, composers began to em-
ploy music primarily as a medium for expressing
their own personal feelings, rather than mere tonal
beauty, as had their predecessors. Since this
emotional style demanded a greater elasticity of
treatment, they sometimes made use of the con-
ventional forms, with occasional modifications,
and sometimes invented new forms to suit their
special needs.
Now, the most personal kind of music which we
have is the lyric song, or song which embodies some
vivid emotional experience. Very beautiful songs
of this nature were written by Franz Schubert and
others of his school; indeed, possessed by this
genius for personal expression, some of these writers
even went so far as to sing their melodies upon
instruments, instead of with the voice.
By this time the pianoforte had developed a
sustained and mellow tone which made such lyric
playing possible; and in consequence many me-
lodic pieces were written for this instrument that
gave inspiration to a host of succeeding pianists
and composers. Mendelssohn called such lyrics
Songs without Words; while other writers, notably
Schumann, Chopin, and Liszt, invented for them
a variety of names, Romance, Revery, Nocturne,
55
56 MUSIC APPRECIATION
Consolation, etc.—signifying an expression of tender
and dreamy sentiment. Grieg, indeed, frankly
used the term Lyric Piece, as a name for his short
tone-poems.
Inasmuch as a true lyric voices but a single
mood, pieces of this type are as a rule short and
unified in style.
We may expect, therefore, to find their structure
clear and simple, like that of a brief lyric poem.
A: FORM
1. How many divisions are there, and what pro-
portion do they bear to one another?
Much of the interest of a composition depends
upon the good taste of the composer in adjusting
the length of each division according to its degree
of importance relative to the other divisions.
In early writings, many repetitions were indicated,
so that often each division of the composition was
performed two or more times. Realizing the
monotony of this proceeding, composers after-
wards took pains to introduce variety, by adding
new features in a repetition, or by shortening
materially the repeated division.
2. Are the different divisions distinct or con-
mected? If the latter, show how connections are
made. *
In the classic epoch, before 1800, each division
regularly had its distinct ending, after which a new
passage was clearly introduced. Less severe out-
lines, however, characterized the writings of the
romantic school; and in modern works we often
find one part gliding imperceptibly into the next so
that each musical idea blends naturally with the one
which follows. Such connection may be made by
THE LYRIO PIECE 57
introducing a link passage, by continuing the
figure in the accompaniment, by letting the melody
proceed on in unbroken flow, and the like.
3. If any division is repeated, are there changes
made? If so, in what do these changes consist?
The reason for such varied treatment has been
suggested under the first question in this section.
Such changes may occur (a) in the melody, which
may be embellished, transferred to another register,
strengthened by the addition of a secondary
melody, etc.; (b) in the accompaniment, by the
use of new rhythmic figures, by alterations in the
harmony, etc.; (c) in the shape, by the introduc-
tion of new rhythms, by the expansion or contrac-
tion of the repeated divisions, etc.
4. What passages are principal and what are
transitional in character?
For principal and transitional passages, see
Preliminary Question, No. 20. Ordinarily a com-
position begins with a principal passage, somewhat
formal in its outlines. After thus announcing his
text the composer may indulge his whims by excur-
sions into any desired keys; and he may or may
not return to a definite subject at the end.
5. What is the length of the unit-phrase in this
piece? Show how at least one important phrase is
constructed as to motives and figures.
See Preliminary Questions, Nos. 15, 16 and 17.
While the most usual length for a unit-phrase
is four measures, other lengths are in use, such as
two, three, six or even eight measures.
In a song melody there are, as a rule, fewer
breaks in the continuity of tone than in an in-
strumental melody, which is apt to be more abrupt
in style.
58 MUSIC APPRECIA TION
6. Are any of the phrases eatended? If so,
mention an instance and show how the eatension is
effected.
Phrases may be extended (a) by lengthening the
cadence progression, (b) by interpolating repeti-
tions or new material into the body of the phrase,
and (c), more rarely, by employing introductory
notes. *
B: MOVEMENT
1. What is the measure? Are there changes in
this measure? -
Romantic compositions of the type under con-
sideration are more liable to changes in measure
than are those of the dance type. Sometimes
without altering the measure-signature a com-
poser introduces what is really a new measure for
a short time, as in the following example, in which
the evident accent of the melody indicates a
change into # measure. Dotted lines show
where the measure-bars really belong:
Schumann, Preambale from Carnaval, Op. 9
> > > >
>
>
2. What is the general movement? Does this
involve changes of tempo?
Words indicating movement are: Slow, dreamy,
dignified, serene, agitated, lively, passionate, flowing,
etc. -
Naturally no form of composition has so elastic
a tempo as the song, since every variation in the
feelings of the singer has its bearing upon the pace
THE L YRIC PIECE 59
of the music. Hence in the instrumental song,
which we are now studying, we may expect many
such fluctuations. The performer, however, should
take care not to make the piece ridiculous by need-
less exaggerations.
3. Outline the chief rhythm or rhythms. What
is the character of each?
A simple method of notating the rhythm as it
comes to the ears of the listener is to make a series
of dots and dashes corresponding roughly with the
time-values of the tones. Thus the rhythm with
which the Star-Spangled Banner begins:
may be thus indicated:
; 2 3 *
4. Are there special rhythmic effects? If so,
do these aid the emotional eacpression?
Among such effects may be mentioned those
produced by opposing rhythms, as, for instance,
when we have two notes in one part against three
in the other:
Allegretto
...Grieg, Berceuse
Rhythm, which represents the heart-beats of the
music, has direct control over its emotional effect.
60 MUSIC APPRECIATION
Agitation, for example, is suggested by a quickened
pace and unevenness of rhythm; while soothing
effects are induced by a slackened pace and even,
lingering rhythms.
C: MELODY
1. How many subjects are there, and where is
each first introduced? * -
For the term subject see Preliminary Question,
No. 19. In a short lyric piece we should expect
to find either a single subject, or subjects which
closely resemble each other. Occasionally, how-
ever, decided contrasts of subject are employed.
2. How do the melodies lie, relative to the ac-
companiment?
Very beautiful romantic effects are produced
by veiling the melody, as it were, by an accompani-
ment that is woven about it. In the middle regis-
ter of the piano a melody becomes especially mel-
low and song-like in character.
3. Sketch the melodic outline of the principal
subject. How can this be described?
Just as we indicated the rhythm by dots and
dashes, so a melody may be suggested by a line
which rises and falls with it. For instance, the
opening bars of the Star-Spangled Banner (see B:
3 above), may be graphically outlined thus:
||
* - H-
1. 2 3 4
Dotted lines indicate the measure-bars.
THE LYRIO PIECE 61
Having pictured the subject in this way, we may
easily describe its rise and fall in pitch.
The student should be drilled, at this point, in the recog-
nition of the subject.
4. Are the chief subjects repeated or imitated, as
a whole or in parts? If so, cite instances.
The student should be constantly on the alert
to detect any reference to the principal subjects in
the melodic parts which occur in the accompani-
ment, in transitional passages, etc.
5. Are there subordinate melodies, and if so, what
wse is made of them?
Such subordinate melodies, occurring occasion-
ally or frequently in a composition, may either
imitate or contrast with the principal melodies.
D: ACCOMPANIMENT
1. Is the accompaniment of the same mature
throughout, or does it alter materially in pattern?
Some accompaniments might be called atmos-
pheric, since the continued use of a characteristic
figure creates a sensation akin to that of coolness
or of warmth, of clearness or mistiness. Increase
or decrease in complexity may excite or soothe the
feelings.
2. Does the accompaniment involve chiefly chords
or arpeggios?
Chords punctuate the rhythm into precise beats,
while arpeggios (broken chords), produce a flowing,
blended effect.
3. Is the accompaniment thin or rich in teacture?
A composer may use a thin accompaniment
when he wishes to focus the attention of the
62 MUSIC APPRECIA TION
auditor strictly upon the melody. Richer accom-
paniments may blend the melody closely into its
background.
4. What is the nature of the harmony?
Simple and placid melodies, such as cradle songs
or boat songs, demand correspondingly simple
harmonies; while warm, passionate melodies re-
Quire rich chords of varying hues. Modern com-
posers fulfil this latter condition by frequent
chromatic progressions and luscious modulations.
E: STYLE
1. What is the dominant mood?
A true lyric piece centers around a single mood,
which appears in varying shades of intensity.
2. Is the piece unified? Show any devices that
make for unity.
By unity in a composition we mean that effect
of coherency and completeness which every work
of art should give. There are many devices which
are employed in music to attain this result. Some
of these are (a), the repetition or imitation of the
themes as a whole or in parts; (b), the nice bal-
ance of phrases; (c), the use of a similar figure in
the accompaniment throughout; and (d), the
gradual growth of interest. In a lyric piece, the
dominant mood is emphasized by constant refer-
ence to the leading subject.
3. Does the piece grow in interest to the end?
If so, what contributes to this growth?
Interest in a piece may be developed by (a), a
gradual increase in tone-power up to a climax, after
which a gradual decrease may or may not occur;
(b), a kind of continual wave-outline in the con-
THE L YRIC PIECE 63
secutive phrases; and (c), the addition of new
features, such as the embellishment of the melody
or the strengthening of the accompaniment.
4. What important changes in intensity occur,
and what is the reason for these?
Such changes often add to the interest by pro-
ducing a contrast or a climax. Sudden leaps from
pianissimo to fortissimo or vice versa may indicate
the onrush of a sudden emotion, or they may sim-
ply give a novel or humorous turn to the music.
5. What passages or points do you like the best?
What is the reason for your preference?
It is of great value to the student to form a
critical judgment of the musical expression in this
way, and to select the features of special interest.
Some unexpected turn of rhythm, melody, or har-
mony, or a combination of these, may produce an
effect which influences the whole character of a
passage or even an entire piece.
6. Compare this with a similar composition.
F: COMPOSER
1. What are the principal events in his life?
Mention especially the events which have a
direct bearing upon his musical development.
2. What is his rank as a composer?
Only a few musicians are commonly accorded
the first rank. In the second rank come compo-
sers like Grieg or MacDowell; while a host of
others must be content with third or fourth place.
It is a hazardous attempt to assign a status to
composers who are still living, and any such grad-
ing must be subject to revision in the future.
64 MUSIC APPRECIATION
3. For what classes of music is the composer
especially noted?
See Type I, F: 3 (page 42).
4. In which of the musical elements is he at his
worst and his best?
Elements referred to are form, rhythm, melody,
harmony, and color.
EXAMPLES OF TYPE II
Number the measures of each example as described under Examples
of Type I.
- I
NoCTURNE IN B MAJOR, Op. 32, No. 1
Frédéric Chopin, 1810–1849
A: FORM
1. There are two principal divisions, the second
of which is repeated. A short coda follows. The
piece is therefore in the two-part form, thus:
A (measures 1-20); B' (measures 21-41); Bº
(measures 41-62); coda (measures 62-65).
Evidently the two divisions are of about equal
length. The repetition of Division B is amply
justified by its variety and charm of style and by
the subtle touches that add new attractiveness to
its second appearance. -
2. Division. A closes clearly and with precision
on the first beat of measure 20, and Division B'
enters on the second beat without perceptible
break. A similar ending and the commencement
of Division B” occupies measure 41; but in
measure 62, the ending of Division B” merges into
the coda, which serves to intensify and complete
the thought.
THE I, YRIO PIECE 65
3. Three changes are found in the repetition
of Division B. The first two of these are very
slight, consisting of the addition of a grace-note in
measure 43 and a chromatic interval in measure
45; while a more elaborate effect occurs in the
downward run in measure 60, which leads to the
ending. Chopin's artistic restraint is shown in
the delicacy with which these changes are intro-
duced.
4. In Division A, the first seven and one-
quarter measures are principal in character. Then
follow several transitional measures (measures
8-12), after which the principal passage returns
with embellishments. Division B, although it
contains varied materials, may yet be considered
a principal passage as a whole; and on its repe-
tition, the coda completes its meaning.
5. The four-measure unit prevails. Exam-
ining the first phrase, we find it made up of a two-
measure motive which is repeated, with the addi-
tion of several decora- Figure 1 Figure? .
tive notes. Two con- - H.H. ' º
trasting figures unite to # –
form this motive: . . Motive {
Closing with a half-cadence, the first phrase is
answered by a contrasting phrase that ends with
a final cadence.
6. An interluding phrase that extends through
measure 12 is extended by three introductory notes
in measure 8. *
In Division B the phrases are mostly irregular.
That in measures 20-24 has three introductory
notes, like the phrase just described; the next
(measures 25-30) is extended to six measures by
the sequential repetition of the last motive;
66 MUSIC APPRECIATION
while the following phrase (measures 31-41) ex-
tends through nearly eleven measures by repeti-
tions and an elaborate ending. The coda is really
a still further extension of the final phrase of Bº.
B: MOVEMENT
1. Quadruple measure prevails throughout;
though this measure is interrupted for the free
passage in measure 63.
2. The movement is flowing and sustained,
but of an emotional nature that causes frequent
variations in the pace. An instance of such varia-
tion occurs in measures 6-7, where the music hur-
ries to a climax, which breaks off abruptly and is
followed by a tender and subdued cadence. This
cadence occurs again in measures 18–19; and in
measures 36 and 57 it is followed by an emotional
passage which, in the last case, develops into the
fitful changes of the coda.
3. In the first two measures the rhythm of the
melody is as follows:
f
That of the second subject (measure 20) begins
thus:
1. 2 3
!
º
º
2O 21 22
4. Measures six and seven contain an interest-
ing rhythmic contrast, since the first of these is
divided into four notes of equal value, while in the
Second the time is irregularly broken up. Erratic
rhythms pervade the coda. *
THE LYRIO PIECE 67
C: MELODY
1. There are two subjects, the first occupying
measures 1-7, with part of measure 8; and the
second beginning on the second beat of measure 20.
The principal section of the latter ends with
measure 24, though other and varied phrases carry
it into measure 41.
2. The principal melody is in the upper voice
throughout.
3. The melodic outline of the first four meas-
ures is as follows:
1 2 3 i4
At the start it winds closely about a single tone
(D-sharp); but after a slight fall it leaps up in a
graceful figure (measure 2). The similarity in
outline between the two halves of the phrase is
apparent in the diagram (see A: 5 above).
4. An interesting use is made of the cadence-
turn which appears first in measure 7. At or
near the close of each division this turn is heard;
also it is imitated in measures 28, 30, 49, and 51
of Division B. There are other suggestions of it
in the little figures of the coda.
5. In measures 22–26 and 43-47 the secondary
part in the upper voices has almost the character
of a contrasting melody. Observe especially the
descending four-note scale-progression in measures
68 MUSIC APPRECIA TION
22 and 26, which imitate similar progressions in
the preceding measures:
§ D: ACCOMPANIMENT
1. The waving figure:
2
is maintained with slight interruptions and changes
up to the coda, where the altered style calls for a
different treatment.
2. Mostly arpeggios, although two or three
notes are occasionally played together.
3. The wide range of the accompaniment and
the blending of its tones by the pedal give it a
rich effect.
4. Starting out with simple combinations, the
harmony soon becomes more emotional through
the use of chromatic chords. In Division B and
in the coda are delightful chromatic modulations.
E: STYLE
1. Dreamy and tender, but with emotional
warmth.
2. The use of the cadencing figure described
above (C: 4) and the waving accompaniment fig-
ure are the most prominent unifying devices.
3. Interest is given to Division B by the use of
harmonies that are more complex than those of
Division A, and by its elaborate ending, which in
the repetition leads into the dramatic and pas-
sionate strains of the coda.
THE LWRIO PIECE 69
4. Emotional outbursts and contrasts occasion
many fluctuations in intensity, as in the cadence of
which we have noted the frequent use, where
(measures 5-7) the music increases in volume and
speed till a sudden revulsion of feeling takes place.
In the coda, two sudden rushes of tone followed by
sharp, full chords precede the sustained and melan-
choly final phrase.
5. Especially noteworthy are the many delicate
embellishments, such as those of the figure in
measure 2, which occur in measures 4 and 16.
Growing directly out of the lovely, clinging theme,
these seem to invest it with added significance.
6. This will be treated under the next example.
F: COMPOSER
1. Chopin was born near
the Polish city of Warsaw,
February 22, 1810, and was
educated among the aristo-
cratic youths in the school
where his father was a teacher.
His emotional and refined
playing afterward made him
the idol of the cultured classes
in Paris, where he spent the
most of his life, and where he
died of a lingering illness in
1849.
2. Chopin's fame rests al-
most exclusively upon his piano compositions, the
nobility and grace of which have won for him the
status of an artist of the first rank.
CHoPIN
3. Music for the pianoforte.
70 t MUSIC APPRECIATION
4. Chopin is distinguished in his use of all the
elements of music. His singing, graceful melodies,
varied and elastic rhythms and richly emotional
harmonies are expressed in forms that are un-
fettered by conventionality.
II
JUNE (BARCAROLLE), OP. 37, No. 6
Peter Ilyitch Tchaikovsky, 1840–1893
A: FORM
1. This piece is in the large three-part form,
as follows: Part I (measures 1-32); Part II.
(measures 32–51); link passage (measures 52–53);
Part III (measures 54-83); coda (measures 84–99).
We observe that Part II is about two-thirds the
length of Part I, and that the coda is about one-
half the length of Part I.
2. Part I ends on the first beat of measure 32,
and is followed on the second beat by Part II.
The accompaniment helps to make the connection
close. A link, nearly two measures long, connects
Parts II and III. The latter part ends on the
first beat of measure 83, the coda entering as a
new idea in the second half of this measure.
3. Part III is a repetition of Part I, except that
the left hand is made to play a greater number of
imitative melodic figures in the middle voice
(see C, 4).
4. Part I, itself in the small three-part form,
is made up of a principal passage (measures 2-12);
a transitional passage (measures 13–22); and a
THE L YRIC PIECE 71
return of the principal passage (measures 23-32.)
Part II starts out in a definite manner, but becomes
more and more wandering to the end. The coda
is increasingly vague in outline.
5. Four measures. The melody of the first
phrase consists of a two-measure motive which is
not readily divisible into shorter figures, and a
sequentially repeated figure of four notes, thus:
• Motive Figure. Figure
6. By a further repetition of the four-note
figure the second phrase is extended to six meas-
ures. A similar extension occurs in the fourth
phrase (measures 16-22). There are interesting
phrase-extensions in Part II.
B: MOVEMENT
1. Double duple measure. During a portion
of Part II there is a change to triple measure.
2. Calm and wave-like throughout Parts I
and III; increasingly agitated in Part II, espe-
cially when the measure changes to #, where one
beat seems to be omitted from each measure in
the hurried progress. A still further contraction
takes place in measures 47-51, where the measure
is really duple. After the strenuous climax in the
latter measures, the link passage brings back the
serene mood of the beginning.
3. An even and tranquil rhythm character-
izes the opening melody (measures 2-6):
i I ſ |
t | | |
i l — ... I
t § i j=
ſ ! l t
! ! ſº |
t • t I l
72 MUSIC APPRECIA TION
while two rhythms of a more intense nature clothe
the melody of Part II:
† ——H 3 –
33 34 40 41
4. The syncopated rhythm in the first measures
of Part II creates a hurried effect that is empha-
sized by the change of measure, when the short
notes come irregularly on the first beats, while the
chief accent is thrown upon the second beats.
With the change to duple measure in measures
49–52, the climax of intensity is attained.
While the syncopations in Part II are indicative
of agitation, those which occur continually in the
coda have a lingering, soothing effect.
C: MELODY
1. Measures 2-10 contain the principal subject.
2. Generally in the upper voice, though frag-
ments occur in the middle voice.
3. The melodic outline of measures 2-6 is this:
T TH_ _ _
_HT
3. 3. 4 5. 6
Prom this outline it is seen that after a gradual
even rise, the melody falls in circling fragments.
4. Reference has been made (A : 3) to the imi-
tative Snatches of melody which are played by the
THE LYRIO PIECE 73
left hand. In Part I these occur only as answers
to the short figures in measures 4-6 and 24-26;
but in Part III the imitation is more frequent,
sometimes contrasting with the upper voice, as in
measures 53-55, where the latter moves up,
down, while the imitation moves down, up:
54 55
and sometimes merely continuing the rhythm, as
in measures 64-66:
64 65 66
Imitations appear also in the coda.
5. Part II starts out with a new melody,
which, however, proves to be only of short dura-
tion (measures 32-39); for another melody of a
livelier nature, enters (measure 40), which is also
short-lived.
D: ACCOMPANIMENT
1. There is a material change in Part II from
the quiet style of Part I to nervous syncopations:
etc.
32 P 33 34
which change to other fitful figures. We have
noted the additions which occur in Part III (C: 4).
Varied devices are found in the coda.
74 MUSIC APPRECIATION
2. Chiefly chords, although arpeggios occur in
Parts I and III.
3. Simplicity characterizes the beginning; but
there is an increasing richness of texture.
4. The chords, of a prevailing minor cast, are
euphonious and conventional in their succession.
Intense emotion is suggested in the strong chro-
matic chords which end Part II.
E: STYLE
1. Calm and somewhat melancholy, inter-
rupted by a passionate outburst.
2. The frequent return of the principal subject
(measures 2-12), which is heard four times as
a whole, and the many references to its melody
and rhythms, are the chief unifying devices.
Others are found in the imitative melodic figures,
in the long crescendo of Part II, etc.
3. In Part II interest is added by the entire
contrast in treatment. Again, on the return of
Part I, new features occur (C: 4); and in the coda
the novel descending and ascending outline at-
tended by occasional reminiscences of previous
themes carry the mind of the hearer forward to
the ethereal close.
4. Part II is made up of an almost continual
crescendo, which conveys the impression of intense
emotion. Again, the descent to a pianissimo in
the coda, followed by a short upward wave of
tone, leaves us with a sense of perfect repose.
5. The return of Part I (measure 53) is par-
ticularly beautiful on account of its fine con-
trast with the preceding passage, to which the
dignified and reposeful link passage gives just the
THE LYRIC PIECE 75
right bond of connection. Especially attractive,
too, are the imitations in Part III.
6. Our two examples are written in much the
same mood, with the same quiet flow of melody
and accompaniment. The Barcarolle, however,
is more passionate in the middle division, while
the Nocturne has a more dramatic ending. Where-
as, too, the interest in the Nocturne is increased
by the addition of embellishments, in the Barca-
rolle the same end is sought by the snatches of
melodic imitation.
*
F: COMPOSER
1. Peter Ilyitch Tchai-
kovsky, the son of a min-
ing engineer in Russia,
was born May 7, 1840.
As a youth he was in
the government employ;
but turning to music, he
studied at the Conserva-
tory of Petrograd. After
graduation he taught at
the Moscow Conserva-
tory for some years. His
later life was devoted Tchaikovsky
mainly to travel and musical composition. He
died in 1893, at Petrograd.
2. Probably the second rank.
3. Operas and large orchestral works.
4. While Tchaikovsky seems equally at home
in his development of all the musical factors, his
effects of intense color are particularly striking.
76 MUSIC APPRECIATION
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
Grade
ARENSKY: Consolation, Op. 36, No. 5 . . . . . . . . . . . . . . . . . . . . . IV-V
BRAHMS: Intermezzo, Op. 118, No. 2 . . . . . . . . . . . . . . . . . . . . . . V
CHOPIN: Nocturnes, Op. 9, No. 2; Op. 37, No. 1 . . . . . . . . . . . IV
DEBUSSY: Réverie in F Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
ESSIPOFF, STEPAN: Swing Song . . . . . . . . . . . . . . . . . . . • - - - - - - - II
GODARD, B.: Au Matin, Op. 83. . . . . . . . . . . . . . . . . . . . . . . . . . . III-IV
GRIEG: Albumleaf, Op. 12, No. 7. . . . . . . . . . . . . . . . . . . . . . . . . II-III
GRIEG: Berceuse, Op. 38, No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . III
GRIEG: Erotik, Op. 43, No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
GRIEG: To Spring, Op. 43, No. 6. . . . . . . . . . . . . . . . . . . . . . . . . V
HENSELT: Liebeslied, Op. 5, No. 11 . . . . . . . . . . . . . . . . . . . . . . . . IV
LISZT: Consolation, No. 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
LISZT: Liebestraum, No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V-VI
MACDOWELL: An Old Garden, Op. 61, No. 1 . . . . . . . . . . . . . . . IV
MAcDowHLL: An Old Love Story, Op. 62, No. 1 . . . . . . . . . . . . . IV
MENDELSSOHN: Songs Without Words, Nos. 6, 7, 9, 14, 22,
25, 44. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III–IV
Moszkowski, Berceuse, Op. 38, No. 2 . . . . . . . . . . . . . . . . . . . . . IV-V
NOLLET, Elegy, Op. 88. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
RUBINSTEIN: Third Barcarolle. . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
RUBINSTEIN: Romance, E-flat . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
SCHARWENKA, PH.: Gondellied, Op. 63, No. 3. . . . . . . . . . . . . . . III
SCHUBERT: Moment Musical, Op. 94, No. 2 . . . . . . . . . . . . . . . . IV
SCHUMANN: Des Abends and Warum? from Op. 12 . . . . . . . . . IV-V
SCHUMANN: Träumerei, Op. 15, No. 7 . . . . . . . . . . . . . . . . . . . . . IV
SCHUMANN: Op. 68, Nos. 1, 5, 10, 28. . . . . . . . . . . . . . . . . . . . . . I-III
SCHUETT: Rêverie in A-flat, Op. 34, No. 5 . . . . . . . . . . . . . . . . . IV
Scott, CYRIL: Notturno, Op. 54, No. 5 . . . . . . . . . . . . . . . . . . . IV
SIBELIUs: Romance in D-flat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
THOMſ: Under the Leaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
SUPPLEMENTARY READINGS
BIE: A History of the Pianoforte, Chapters 8 and 9.
GOETSCHIUs: Lessons in Music Form, Chapters 6, 9–12. The Homo-
phonic Forms of Musical Composition, Chapter 20.
HAMILTON: Outlines of Music History, Chapter 8, Section 3; Chapter
10, Section 2.
KREHBIEL: The Pianoforte and its Music, Chapters 10 and 11.
WEITZMANN: A History of the Pianoforte and Pianoforte Literature,
Part 6, The Romantic Style.
TYPE III
THE ETUDE
FOREWORD
By the term étude (or study), is meant a compo-
sition, generally short, of which the primary ob-
ject is the mastery of one or more technical diffi-
culties characteristic of the instrument for which
it is written. In a piano étude, for instance, we
may expect to find certain figures or short progres-
Sions that are liable to occur in piano pieces used
repeatedly, in order that the player may gain
facility in performing them under all sorts of con-
ditions. This emphasis of the technical side of
playing has resulted, as might be imagined, in the
production of a very large number of études which,
however great their value for practice purposes,
have little or no real musical merit. On the other
hand, the minute study of intricate passages which
they afford has, in many instances, furnished the
inspiration for pieces of unusual brilliancy and
fluency, in which such passages are employed as a
setting for musical ideas of genuine importance.
Accordingly, from the time when piano music
began we find composers often writing in the
étude style. Various names were applied to works
of this sort, such as toccata for an elaborate com-
position or prelude for a simpler one. Many of
the preludes of Bach, for instance, consist mainly
of the repetition of a short melodic figure, which
sometimes works up to a dramatic climax. But
77
78 MUSIC APPRECIATION
in the hands of the later romantic composers, such
as Chopin, Liszt, and Rubinstein, the étude as-
Sumes larger proportions, often involving a tour
de force which demands the acme of pianistic
skill, and often, too, as in the études of Chopin,
becoming the vehicle of rarely beautiful musical
expression.
A: FORM
1. Is the piece called an étude? If not, what
reason is there for considering it such?
See Foreword. Some études are given fancy
or descriptive titles, such as “Winter Wind,”
“In Autumn,” etc.
2. Are there distinct divisions? If so, name
them.
Shorter études, by reason of their continuous
flow, are often cast in a kind of unit form, without
evident breaks or changes. Others are in the more
familiar forms, such as the two-part or small three-
part form.
3. Point out any passages that are repetitions,
either eacact or slightly varied, of preceding passages.
If there are changes in such repetitions, in what do
these changes chiefly consist?
Repetition, in one guise or another, is the chief
device at the disposal of a composer for securing
unity of form. When we meet themes or passages
in new shapes or circumstances, it is like discover-
ing old friends while on our travels. Take care,
in listening to music, to fix important subjects
firmly in the mind, in order that they may easily
be recognized upon their reappearances.
4. Is the composition well-proportioned? Is it
too short or too long?
THE ETUDE 79
A common fault in étude writing occurs when a
composer dwells upon certain rhythmic figures
until they become tiresome to the listener as well
as to the player. On the other hand, brevity,
while it seldom detracts from the interest in a
piece, may indicate a poverty of invention on the
part of the writer. Happy the composer who is
able to adapt the proportions of his piece ac-
curately to the significance of the musical thought
which he wishes to express! ſº
B: MOVEMENT
1. What is the measure of the piece?
See Type I, B: 1, (page 36)
2. What is the tempoº Is this emotionally
altered?
Since the étude ordinarily exhibits the writer’s
cleverness in musical construction rather than his
emotional expression, the pace is apt to be uni-
formly regular, except, perhaps, at the ending,
where it may be quickened or retarded. Some-
times, however, the emotional element plays a
more important part.
3. How may some of the important rhythms in
the piece be described?
Often an étude is based upon an even flow of
notes. Sometimes, however, rhythmic peculiari-
ties are an important feature.
J. Are there any opposing or contrasting rhythms?
Two even notes in one hand against three in
the other, or three in one hand against four in the
other are examples of opposing rhythms. By
the term contrasting rhythms reference is made to
80 MUSIC APPRECIATION
the simultaneous occurrence of rhythms of differ-
ent character, such as a slow rhythm in one voice
and a quick one in another.
C: SUBJECTS
1. How many important technical figures are
employed? Sketch the melodic outline of each.
By important figures we mean those which
occur repeatedly as constructive elements in the
piece.
2. What is the technical purpose of each of these?
That is, in what way is each designed to increase
the ability of the player? For example, a figure
may give practice in the performance of trills,
scales, chords, double thirds, octaves, etc.
3. Is the technical work designed for the right or
the left hand, or for both equally?
In a series of études the writer often devotes
each to special technical drill for one hand. Some-
times in successive études the hands alternate in
assuming the burden of this work.
A. Are the technical figures chiefly rhythmic,
melodic, or harmonic? ro
Especially useful, of course, are figures which
combine two or even three of these elements.
5. Are lyric melodies or melodic fragments in-
troduced, and if so, how?
Modern composers often experiment in adding
such lyric features to relieve the technical dryness
of the étude.
D: ACCOMPANIMENT
1. Are the technical figures involved in the ac-
companiment, or do they constitute the principal part?
THE ETUDE 81
In études for the left hand the technical figures
often serve as the accompaniment to a melody
which appears above them. Sometimes the fig-
urated part shifts from one hand to the other, now
occupying the center of interest, and now becom-
ing subordinate.
Again we may have figurations in both hands at
once, or divided between the two hands.
2. How can you describe the accompaniment as
a whole?
This question calls for such adjectives as thin,
rich, arpeggiated, chordal, figurated, sustained, stac-
cato, compact, eacpanded.
3. Is the accompaniment eacclusively in one hand,
or is it divided between the two hands?
Some études consist entirely of an accompani-
ment-like figure that is played by alternating
hands. This effect occurs in Schumann’s Kleine
Studie, Op. 68, No. 14, in which a waving arpeggio
figure is constantly in evidence:
ſº. What is the nature of the harmony? Is it
an important factor?
Often the étude is saved from becoming hope-
lessly commonplace by interesting harmonic ef-
fects. This distinction will be appreciated if we
compare the barren harmony of a Czerny study
with the rich and elegant chord successions upon
which Chopin builds the technical figures in his
group of études.
82 MUSIC APPRECIA TION
5. Is there much modulation? Where is modula-
tion most in evidence?
Quick changes of key are often used to suggest
varying shades of emotion. Naturally, these shad-
ings occur more frequently as a composition grows
in intensity of expression.
E: STYLE
1. What is the general mood of the piece?
See Type I, E: 3, page 41.
2. How do the pedagogic and musical interests
compare in the piece?
That is, does the piece call attention chiefly to
the dexterity of the performer, or does this dexter-
ity serve mainly as a means toward the interpre-
tation of the thought?
3. Does the same style prevail throughout, or are
there contrasting passages?
The étude does not necessarily involve strong
contrasts, although these occasionally appear.
4. Are there any striking dynamic effects? Cite
eacamples.
Dynamic effects refer to changes in loudness or
softness. These may occur gradually, in a long
crescendo or diminuendo, or they may be sudden,
as in the case of strongly accented notes or a quick
contrast in style.
5. Are there any particularly beautiful or harsh
effects? Cite eacamples.
One striking difference between the classic and
the modern composers is that the former made
tonal beauty their chief aim, while the latter exalt
the element of personal expression to such an ex-
THE ETUDE 83
tent that they at times employ even painful dis-
cords to gain their object.
6. Compare this with a similar composition.
F: COMPOSER
1. Give some facts about the composer. Is he
noted chiefly as pianist or piano teacher?
Since étude writing requires a very intimate
acquaintance with the instrument and its peda-
gogical needs, it follows that composers of this
type of music are as a rule experienced as per-
formers or teachers.
2. What traits of his writings, character or
nationality, if any, appear in this piece? -
Many composers have certain tricks of writing
that often appear in their works. Again, a com-
poser’s character may be interestingly revealed by
his style of writing: Schubert’s simple and child-
like nature, for instance, is constantly suggested
by his naïve and spontaneous music.
EXAMPLES OF TYPE III
Number the measures as described under Examples of Type I.
I
PRELUDE NO. 5 FROM VOLUME I OF THE WELL-
TEMPERED CLAVICHORD
Johann Sebastian Bach, 1685–1750
A: FORM
1. A prelude is strictly an introduction to a
more elaborate or formal composition. This pre-
lude, for instance, precedes the fugue that is studied
in Example I of Type X, Class III. Its Étude
84 MUSIC APPRECIA TION
character is evident in the persistence of a figure
that is especially adapted to the technic of the
piano.
2. While this prelude is practically a unit in
form, subordinate divisions may be distinguished.
These, as suggested by Busoni, occur at the ends of
measures 13, 19 and 26. The coda begins with
measure 27.
3. There are many sequential repetitions: the
melodic motive of measure 2, for instance,
appears with different locations in each of the six
following measures, and also frequently in the
remainder of the prelude. There are no exact
repetitions of passages, however.
4. For the kind of material presented, the
composition seems of admirable length.
B: MOVEMENT
1. o ż measure.
2. Although Bach did not indicate the tempo,
it is generally understood as lively. The piece is
best performed as though there were but two
beats to the measure. In the last two measures
the pace is retarded and the style broadened.
3. Up to the last three measures the upper part
is in even sixteenth notes, supported by notes in
the lower part which mark the beats. The
rhythm of the last three measures is emotionally
erratic. -
4. No.
C: SUBJECTS () }; —º-H Figure 2
1. Two four-note fig- ##EEEEEEEEE
ures, announced at the j | |
OutSet: Motive
THE ETUDE 85
make up a motive upon which the whole
prelude is based. These figures may be/TN J
represented by two opposing curves, thus:
The student should trace these figures through the first
thirty-one measures.
2. Practice of this prelude tends to equalize
the command over the fingers of the right hand.
3. Except in measures 29 and 30, the left hand
has little to do.
4. Each two-beat motive is built upon the
notes of a chord. Sometimes two consecutive
motives define the same chord, as in measures
1 and 20.
5. No.
D: ACCOMPANIMENT
1. Except in measures 29 and 30, where a
middle part is introduced, they are exclusively in
the upper part.
2. Single notes in the bass part beat the time
and help to define the chords.
3. See previous answer.
4. The harmonic progressions are simple, but
normal and varied. f
5. The tonality continually shifts about among
nearly related keys. At the end of the first section
(measure 13), there is a momentary return to the
original key, D major. G major is reached in
measure 20, persisting for nearly three measures.
The coda is based almost entirely upon the domi-
nant, A, of the tonic key, D, to which a definite
return is made in the final cadence.
86 . MUSIC APPRECIATION
E: STYLE
1. Bright, active and happy.
2. They are well balanced.
3. The same style prevails up to the coda, in
which the mood becomes more intense, until it
vents itself in the dramatic closing passage.
4. In measures 33 and 34, full chords punctuate
the principal beats.
5. Continual and pleasing surprises occur in
the varied presentation of the principal motive.
The dramatic intensity of the ending marks a
stirring climax to the whole.
6. This question will be answered under the
next example.
F: COMPOSER
1. For facts about Bach’s life, see Type I,
Example I, F: 1. Although Bach was ill-appre-
ciated during his lifetime, he was generally ac-
knowledged to be a leader among organists; and
he possessed equal skill in clavier playing. Many
of his clavier pieces were written for his sons,
whose musical education he personally supervised.
2. Bach’s concentration of style, by which
the attention is focused upon a short subject that
is presented in varied aspects, is well illustrated
in this prelude, as is his use of such a subject in
sequential progressions.
THE ETUDE 87
II
ETUDE MIGNONNE, Op. 16, No. 1
Eduard Schuett, 1856–
A: FORM
1. The piece is called an Etude, qualified by
the adjective mignonne, meaning “delicate,”
“pretty.”
2. Written in the small three-part form, the
étude is divided thus: A' (measures 1-16, repeated
with slightly different ending); B (measures
17-32); A* (measures 33–48). B and A* are then
repeated together (measures 49-84), with the
ending of A* considerably intensified, leading to the
coda (measures 85–117).
3. Division A* on its first appearance, marked
pianissimo, consists of the repeated version of A",
(given in measures 1-16b). On its second ap-
pearance it is announced by a strong, sustained
fifth in the bass (measures 65–66), and is extended
to twenty measures by a climactic ending. In the
coda the first four-measure phrase of the principal
subject is heard sequentially four times, mounting
up from bass to high treble (measures 85-100),
after which the first motive (one measure long) is
heard four times, dying away to a whisper in the
highest register.
4. What seems to be an over-repetition of the
principal subject may be justified by the shortened
forms in which it reappears, and by the new and
interesting effects which are added in the coda.
88 MUSIC APPRECIATION
B: MOVEMENT
1. Triple (#).
2. The pace is moderate, with a slight retard
before each new division is introduced, and a
quickening at the close.
3. A persistent rhythmic motive of nine triplet-
sixteenth notes halts only at measure 105, where it
gives place to final rhythmic chords, among which
an upward run is introduced.
4. In measures 75-78 the left hand plays two
notes against three in the right hand, thus:
76
C: SUBJECTS
1. There are many modifications of the melodic
outline that clothes the rhythmic motive to which
we have alluded (B: 3): but none of these modi-
fications materially alter its original character,
which is that of a play upon the notes of a chord,
descending and ascending.
2. Facility in performing fragments of ar-
peggios, combined with melodic expression.
3. Both hands are involved, although the chief
burden of the work is in the right hand.
4. Harmonic, although the melodic element is
also prominent.
5. Certain notes of the motive are made to
serve both as a part of the accompaniment and as
THE ETUDE 89
the tones of a lyric melody, which fits them like a
glove:
Skill on the part of the performer is required,
in order that this melody may sing out distinctly
above the accompaniment.
D: ACCOMPANIMENT
1. We have just drawn attention (C: 5) to the
dual office performed by the technical figures that
make up the chief motive. a
2. Arpeggiated and flowing.
3. It is divided between them.
4. The harmony is sweet and emotional, with
chromatic changes that are especially noticeable
in measures 74-77, where they intensify the
climax.
5. Transient modulations are frequent. In
Division B, a sequence figure, beginning in D
major, passes through E-flat and E major (meas-
ures 17-27), after which there is a quick return to
D major. In the coda, there is an alternation
between the major keys of D and B-flat, with the
final triumph of the former key.
E: STYLE,
1. Dreamy and poetic.
2. Technical display is quite subordinated to
romantic expression.
3. No essential change in mood occurs, al-
though the emotional expression is much varied.
90 MUSIC APPRECIATION
4. A far-off effect is produced when A* enters
for the first time pianissimo (measure 33). There
is a fiery climax in the second entrance of A*,
where a fortissimo is gradually attained: an effect
which is balanced in the coda by a corresponding .
diminuendo to a whisper, after which there is a
quiet ending.
5. Grace and refinement characterize the piece;
qualities which are emphasized in the delicacy
with which one division leads into another; in the
fine climax just described; in the gradual upward
progress of the principal motive during the coda
until it vanishes in the upper air; and in the few
final arpeggiated chords which, though simple in
structure, seem to test the entire piano compass.
6. Our two examples illustrate the distinction
between the classic and modern styles: the one
precise and clear in outline, diatonic in harmony,
progressing steadily toward its goal; and the
other sensuous, highly colored, with flowing fig-
ures interwoven with a tender song. A single
technical figure dominates
both studies; and each
arrives at a dramatic cli-
max near the end. In the
Schuett piece the greatly
increased compass is made
possible by the more ex-
tended scale of the mod-
ern piano.
F: COMPOSER
1. Edward Schuett is
a native of Petrograd,
where he was born Octo- SCHUETT
THE ETUDE 91
ber 22, 1856. After study at Petrograd, Leipsic and
Vienna, he toured for some time as piano virtuoso.
In 1881 he settled in Vienna as conductor of a music
society, and has since devoted himself mainly to
composition. His most important works are writ-
ten for the piano.
2. Schuett’s works are highly romantic, over-
flowing with emotional effects of rhythm, melody
and harmony. Many of them are brilliant and
of technical difficulty.
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
- - Grade
BACH: Well-Tempered Clavichord, Vol. I, Preludes Nos. 2,
6, 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
BERTINI: Twenty-five Studies, Op. 100 . . . . . . . . . . . . . . . . . . . . III
BURGMüLLER: Twenty-five Studies, Op. 100 . . . . . . . . . . . . . . . . II-III
CHOPIN: Etudes Op. i0, Nos. 5, 7, 12 . . . . . . . . . . . . . . . . . . . . . . V-VI
Op. 25, Nos. 1, 2, 3, 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V–VII
CHOPIN: Preludes, Op. 28, Nos. 1, 3, 14, 16 . . . . . . . . . . . . . . . . IV-V
CRAMER: Studies, Nos. 1, 3, 4, 7, 8, 13, 17. . . . . . . . . . . . . . . . . . . IV-V
(Von Bülow Edition)
CUI: Prelude in A-flat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
FootB: Nine Studies, Op. 27. . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
GoDARD, B.: Au rouet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
GRIEG: Papillon, Op. 43. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
HELLER: Studies, Op. 46, Nos. 1, 3, 5, 8, 12, 14. . . . . . . . . . . . . . III–IV
HELLER: Studies, Op. 47, Nos. 1, 2, 8, 15, 19, 23. . . . . . . . . . . . . . III-IV
HITz: The Merry Mill, Op. 203 . . . . . . . . . . . . . . . . . . . . . . . . . . . II-III
Huss: Etude Mélodique. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
LEMOINE: Fifty Juvenile Studies, Op. 37. . . . . . . . . . . . . . . . . . . *II-III
MAcDowell: Twelve Studies, Op. 39 . . . . . . . . . . . . . . . . . . . . . IV-V
MAcDow ELL: Witches' Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . V–VI
MoscHELES: Studies, Op. 70, Nos. 4, 7, 8, 12. . . . . . . . . . . . . . . V
Moszkowski: Etude in G, Op. 18, No. 3. . . . . . . . . . . . . . . . . . IV
PARADIES: Toccata in A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
RACHMANINov: Prelude, Op. 32, No. 5 . . . . . . . . . . . . . . . . . . . . V
RAFF: Etude Mélodique. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
RAFF: La Fileuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
RAviNA: Etude de style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
SCHUMANN: Kleine Studie, Op. 68, No. 14 . . . . . . . . . . . . . . . . . II
WoLLENHAUPT: Five Etudes, Op. 22. . . . . . . . . . . . . . . . . . . . . . IV
92 MUSIC APPRECIATION
SUPPLEMENTARY READINGS
BIE: A History of the Pianoforte, Chapter 7.
GRove’s DictionARY: Article, Etudes.
HAMILTON: Outlines of Music History, Chapter 5, Section 1.
MAcPHERson: Form in Music, Chapter 24.
GoBTschius: The Homophonic Forms of Musical Composition,
Chapter 21.
WEITZMANN: A History of the Pianoforte and of Pianoforte Literature,
Part V, The Brilliant Style.
LADY PLAYING THE CLAvecin, 1688
TYPE IV
THE ETUDE-LYRIC
FOREWORD
A large class of compositions contrast one or
more parts in the brilliant or flowing style of the
étude with others of a lyric nature. Since this
type presents excellent opportunities for varied
color treatment, it appeals strongly to writers of
the romantic schools, who apply it to short com-
positions termed Romances, Reveries, Nocturmes,
Barcarolles, Impromptus, etc. Such composi-
tions are ordinarily cast in the large three-part
form, often with a coda, and generally with modi-
fications of Part I on its reappearance. Some-
times the étude part precedes the lyric, and some-
times the contrary order is followed.
A: FORM
1. Show the eatent of each of the principal parts.
Which of these are essentially lyric, and which are
étude in style? º
Melodies may, of course, be involved in the
€tude parts, and, on the other hand, the lyric
melodies may be supported by figurated accom-
paniment. The student is to decide which factor
is dominant in either case.
2. Are the two kinds of passages distinctly sep-
arated, or are there connecting devices? If the latter
are present, in what do they consist? -
93
94. MUSIC APPRECIATION
Often the composer guards against an unpleas-
antly abrupt change from one style to another
by adding a connecting passage, or by varying the
mood of an ending until it approaches that of the
part which follows.
3. Does each principal part have subdivisions?
If so, in what do they consist?
As was the case with compositions of the Dance
Type (Type I), each part may take the form A B,
or A* B A*. Sometimes, however, a part is purely
transitional in nature, assuming the unit form.
4. Which of the two styles seems to be first in
importance?
The fact that one of the styles is heard more
frequently or for a longer time than the other does
not necessarily prove that it is of primary im-
portance. A brilliant running passage, for in-
stance, which precedes and follows a short song-
part, may serve mainly to set off the latter, just as
an elaborate frame may enhance the beauty of a
small picture.
B: MOVEMENT
1. Does the measure change, and if so, how?
Radical changes of measure do not often occur
in a short composition, although an occasional
passage may sometimes take on a new measure.
2. What is the tempo, and how is it affected by
the changes in style?
We naturally expect to find more flexibility of
tempo in the lyric than in the étude parts. Such
elasticity in the rate of speed is called tempo
rubato.
THE ETUDE-LYRIC 95
3. How do the rhythms of the two styles compare?
In changing from running passages to a song
melody, a radical change of rhythm is to be ex-
pected. Sometimes, however, a bond of union
between the different styles is effected by con-
tinuing or suggesting the rhythm of the étude
figures in the accompaniment to the lyric parts.
C: SUBJECTS
1. Outline the first motive of the étude and of the
lyric parts. What figures are involved in each?
See Type II, C: 3, page 60. In sketching the
outline, rests are indicated by breaks, and staccato
notes by dots.
2. In the étude parts, what is the nature of the
technical figure or figures?
That is, “what kind of technical work do they
require of the player?”
3. Does the lyric element enter into the étude
parts, and if so, how?
Sometimes a lyric melody is added to the étude
section upon its second appearance, when the
technical figures assume the office of an accom-
paniment.
4. What is the register of the melody in the
lyric parts, and how does this register affect the
mood?
Melodies in the upper register tend toward light-
ness and brilliancy. Those in the middle register
are naturally more soulful in character, while those
in the bass are profound and dignified.
5. Are there any subordinate melodic parts of an
imitative or contrasting mature?
96 MUSIC . APPRECIA TION
Diversity of interest and relevancy of structure
are often secured by such additions. Certain com-
posers, notably Schumann, are particularly fond
of contrapuntal devices.
D: ACCOMPANIMENT
1. Where is the accompaniment located in each
part?
That is, what part of the piano does it occupy,
and how does it lie, relative to the principal
melody?
2. Of what is the accompaniment composed?
The accompaniment may be made up of chords,
arpeggiated or otherwise, of running figures, of
imitative passages, etc.
3. What is the degree of importance of the ac-
companiment in each part?
Sometimes the accompaniment is a mere shad-
owy background, serving mainly to beat out the
time or to furnish a harmonic framework. But
again it may become an emotional factor that
adds tenfold lustre to the melody which it supports.
J. How does the harmony of each part compare
with that of the others? | -
The possibility of employing plain harmonies for
one style and more emotional ones for the other, or
of signalizing each style by its peculiar key, fur-
nish further opportunities for contrast in composi-
tions of this type.
E: STYLE
1. What are the intellectual values of each part?
By intellectual values we mean the factors
which appeal most directly to the intellect of the
THE ETUDE-LYRIC . t 97
hearer, such as good proportions, clever develop-
ment of themes, skill in the use of imitative pas-
sages and logical cadences.
2. What are the emotional values of each part?
By emotional values we mean those factors
which especially affect our emotions, such as strong
accentuation, syncopated rhythms, sensuous or
dramatic effects of pitch, contrasts of piano and
forte, chromatic chord progressions, and lengthen-
ing or abbreviation of phrases.
3. Point out the chief climaa’es in each part.
Does one climaa rise above all the others, and if so,
which one?
In compositions of a serene nature the climaxes
are not so obvious as in those of a more stimulating
cast; hence they are sometimes neglected by per-
formers, with flat and uninteresting results. A
piece of music without a centralizing climax is like
a body without a head.
4. What features does the piece possess which
would naturally tend to make it popular or the
7"everse?
Out of the vast number of piano pieces that are
constantly coming from the hands of the pub-
lishers, only comparatively few possess qualities
which secure for them a wide circulation. Some
distinction of style, some novel turn of musical
speech, or even certain figures which prove useful
for teaching purposes may bring a piece into gen-
eral favor; while obscure or commonplace ex-
pression, tiresome length, or irritating demands
upon a player's technic may correspondingly con-
sign the piece to speedy oblivion.
98 MUSIC APPRECIATION
5. What is the comparative value of the various
factors in this piece?
Some compositions are particularly noteworthy
for their melodic flow, others for their rhythms,
harmonies, etc. Point out any of these factors in
the piece which are conspicuously interesting or
dull. .
6. Compare this with a similar composition.
F: COMPOSER
1. What are the chief events in the composer's
life?: -
2. In this piece, what traits are purely general,
and what ones are national or personal?
As’we have seen before, our musical system is
built upon balancing phrases, defined by conven- .
tional chord prégressions and cadences which are
easily recognized, in whatever form they appear.
Wherſ we hear effects which seem quite out of the
ordinary, these, as a rule, may be traced either to
some national influence or to the peculiar ideas of
the composer birmself.
3. Quote away criticism of the composer or his
works that you can find which has a bearing upon
this piece. *
Magazine and newspaper articles, dictionaries,
and books may be drawn upon for such material.
THE ETUDE-LYRIC 99
EXAMPLES OF TYPE IV
Number the measures as described under Examples of Type I.
I
NOVELLETTE IN B MINOR, OP. 99, No. 9
Robert Schumann, 1810–1856
A: FORM
1. There are three parts, each forty-four
measures long; although a repetition of Parts I
and II is indicated. Part I and Part III (which
is the same as Part I) are études in style, while the
lyric element predominates in Part II.
2. They are quite distinct.
3. Part I consists of: A* (measures 1-8);
B (measures 9–24); A* (measures 25-32); coda
(measures 33-44). A' is repeated; and B, A* and
coda are repeated together. The coda is con-
structed of the same material as B.
Part II consists of C* (measures 45–60); D
(measures 61-72); C* (measures 73–88). C* is
repeated alone, and D Cº. are repeated together.
4. Since the étude style not only dominates
Part I but is also an undercurrent in Part II, it
may be considered as first in importance.
B: MOVEMENT
1. The measure (#) does not change.
2. Vivace (quick), inscribed at the beginning,
applies to the whole piece. The lyric nature of
Part II, however, implies some elasticity of tempo.
3. In Parts I and III the rhythm is irregular
and assertive, while in Part II it is flowing and
more tranquil.
100 MUSIC APPRECIATION
C: SUBJECTS
1. Part I begins with a two-measure motive:
Figure 1 Figure 2
I I 1. Tº
H-E-F-I-E-F-H
*-i-sº-º-º-º-º-
Motive
the outline of which may be thus
presented: la -
There are two figures in this 3. f
motive, as shown above.
The motive of Part II is coinci- º
dent with the first phrase:
† 45 ºff ºf 48 i
Motive
and is not divisible into figures. It may be
sketched thus:
|-
|
a-
do
42 48
2. A precise and resilient touch is required for
the execution of the technical figures in Part I.
Part II, although primarily lyric, demands tech-
nical proficiency in playing the legato chromatic
scales, which are occasionally combined with other
notes played by the same hand.
3. There is no lyric melody in Parts I and III.
4. In Divisions C" and C* of Part –0
II the melody is in the *o-ſº ----- #
prano register, with these limits: #
THE ETUDE-LYRIC 101
In Division D it involves but º_{e o e
three notes in the tenor compass:#2= s EH
5. Four voices apparently enter in succession
in A* of Part I, each of the last three sounding
the principal motive an octave higher than the
one preceding. This effect is repeated in measures
27–32. A busy contrapuntal melody is found in
measures 17–24. In measures 61-69 the bass
imitates the tenor in contrary motion, thus:
J. J. J. J. T. J. J. J.
=9:#E
* | g”
ſ I Ti I I
- 9-ſº
#
#
D: ACCOMPANIMENT
1. In Parts I and III the accompaniment is
mainly, though not wholly, below the melodic
part (see previous answer). It is also below in
Part II, except in Division D, where the chromatic
runs are above the melody.
2. Of staccato notes and chords in Parts I and
III; of chromatic runs with supporting chords in
Part II.
3. It is rather more important in Part II than
in the other parts.
4. Plain harmonies prevail in each part. These
are much enriched in Part II by the chromatic
passing-tones.
E: STYLE
1. Intellectual values are more apparent in
Parts I and III, in the imitative work of Divisions
A" and A*, also in the sequential use of the two-
measure motive which occurs four times in meas-
102 MUSIC APPRECIATION
ures 9-16 and twice in measures 33–36. The pro-
portions of the whole piece are ideally perfect.
2. Emotional factors include the active rhythms
of Parts I and III and the purring chromatic runs
and wave-like phrases of Part II.
3. Divisions A* and A* of Parts I and III each
end with a climax. The chief climax in Parts I
and III, however, occurs at the end. Measure
72 in Part II seems to mark the culminating point
of this part.
4. Active rhythms, contrasts in style and com-
pactness of structure are attractive features in this
piece.
5. In Parts I and III the rhythm dominates
the whole. Melody and running accompaniment
are almost equally conspicuous in Part II.
6. This question will be answered under the
next example.
F: COMPOSER
1. Robert Schumann
was born at Zwickau, a
town of Saxony, June
8, 1810. Frºm bºwsing
about his father's book-
shop, he early developed
a fondness for romantic
literature, the spirit of
which he afterwards at-
tempted to introduce in-
to music. Destined at
first for the law, he final-
ly abandoned his legal
Schum ANN courses at Leipsic and
Heidelberg to devote himself to music. An unfortu-
nate experiment upon his fourth finger dashed his
THE ETUDE-LYRIC 103
ambition of becoming a concert pianist, and turned
his thoughts toward composition. Up to 1840 he
wrote mostly piano pieces. These were followed
in turn by Songs, symphonies, chamber music and
choral music. A mental trouble caused his death
at Bonn, in 1856. t
2. This piece is built upon conventional form
and harmony. The imitative passages and se-
quences in Parts I and III are characteristic of
Schumann, as is also the suave contrast of style
in Part II.
3. In The Romantic Composers D. G. Mason
Says:
“All Schumann’s work tends in the direction of what is
highest and most beautiful in music. . . . Whenever
and wherever men pursue what is pure, high, fresh, noble
and fair in music, there the spirit of Schumann will be at
work.”
II
LEs SYLVAINs (THE FAUNs), OP. 60
Cécile Chaminade, 1861—
A: ForM
1. The form is as follows: Part I (measures
1–13); Part II (measures 13-28); repetition of
Parts I and II (measures 28–49); Part III (meas-
ures 49-61); coda (measures 61-70). Part III
is almost identical with Part I. Parts I and III
are lyric, while Parts II and the coda are étude
in style.
2. There are no connecting passages, although
one part follows closely after another.
104 MUSIC APPRECIATION
3. Parts I and III each consist of a six-measure
period which is repeated with the melody pitched
an octave higher and the accompaniment intensi-
fied. Part II consists of two sequential phrases
and a brilliant passage, seven measures long.
In the coda, a four-measure phrase is answered
by a phrase extended to five measures by free runs.
4. The two styles seem nearly equal in im-
portance.
B: MOVEMENT
1. The measure does not change.
2. While there are no marked changes in
tempo, a lighter and more vivacious style is indi-
cated in Part II (leggierissimo vivo). A full stop at
the end of this part precedes the reentrance of the
principal subject. There are emotional changes
of tempo in the coda.
3. In Parts I and III the lyric melody is regu-
lar in rhythm, although it is supported by a con-
tinually syncopated accompaniment. Fitful and
irregular rhythms characterize Part II and the
coda.
C: SUBJECTs
1. The melody in Part I begins with a two-
measure motive:
Figure 1 Figure 2
Motive
which may be divided into two figures, as indi-
cated. Sketched in outline, this motive appears
thus:
THE ETUDE-LYRIC I05
} 2 3
A thrice repeated figure makes up the one-
measure motive of Part II. Two staccato notes
introduce this figure on its first appearance:
Figure Figure Figure
Motive
The outline of this motive is thus sketched:
4 v v \,
13 14 15
2. Quick fragments of arpeggios, played by
both hands, or by the hands in alternation.
3. Only in the coda, where the styles are
combined.
4. The melody appears sometimes in the
middle register, as a contralto voice, and some-
times an octave higher, where it has a brighter
effect. -
5. In the coda (measures 61-70) there are five
references to the principal figure in Part II by
voices that follow one another in varied registers,
thus:
106 MUSIC APPRECIA TION
r—
61 62
64
D: ACCOMPANIMENT
1. When the melody is in the middle register
the accompaniment is on both sides of it; other-
wise the accompaniment is below. In the étude
parts there is only a suggestion of an accompani-
ment.
2. In Parts I and III the fundamental chord-
tones are sounded in the bass on the accented beats
of the measures. Other tones of the chords,
grouped together, are played in Syncopated rhythm
between the melody tones. In Part II and the coda,
the accompaniment is in fragmentary snatches,
consisting of single tones and arpeggio figures.
3. It forms a rich background in the lyric parts;
while in the étude parts it is only a foil for the
principal voice.
4. In the lyric parts it is sweet and sensuous,
while in the étude parts it is active and precise.
E: STYLE
1. The piece is well proportioned, and there is
some development of the technical figures in the
THE ETUDE-LYRIC 107
étude parts. On the whole, however, the intel-
lectual interest is slight.
2. A tender, impassioned melody absorbs the
attention in the lyric parts. Unexpected, will-
o'-the-wisp effects pervade the étude parts, with
dainty touches such as the glissando in measure
20 and the airy, vanishing arpeggio in measure 27.
3. Measure 11 contains the culminating point
of Part I, reached again in measure 32, and in
measure 59, where it is re-inforced by a high
Octave tone:
3.
poco rit
--
a fempo
j-i IT-Rºi
# $º. #
A more startling climax occurs, however, at the
beginning of measure 25 (also of measure 46).
Similarly, a culminating point is reached on the
first note of measure 67.
4. The emotional warmth and delightful con-
trasts, together with the facile technic of this
piece, have made it deservedly popular.
5. Melody is perhaps the chief factor, although
rhythm is a close second. The harmonies, though
of chromatic warmth, show no special originality.
6. Both of the examples studied are in the large
three-part form, although a coda is added in
The Fawns. While, however, the étude part
occupies the chief position in the Novellette, the
f
60%N # $:N. ;
108 MUSIC APPRECIATION
lyric part is of first importance in The Fauns.
Accordingly, the Novellette seems dominated by
physical activity, while The Fauns has an atmo-
sphere of sensuous charm.
F: COMPOSER
1. Mme. Cécile Cham-
inade is a thorough Paris-
ian, having spent her life
in Paris, where she was
born August 8, 1861, and
where her music studies
were carried on. She has
won distinction by her
piano playing as well as
by her compositions,
which consist chiefly of
piano pieces and songs.
CHAMINADE
2. In general structure this piece follows con-
ventional lines. Personal feeling is evident in the
lyric melody; while French tendencies are seen in
the naïve and chic turns of the étude portion.
3. In Music for November, 1897, Mrs. Crosby
Adams aptly says:
“Chaminade has not disdained to use heaven-born melody
and clear rhythms, so unmistakable in their swing that even
the uninitiated are carried along with the charm of the
movement.”
While written in simple forms and with conven-
tional harmonies, Chaminade's music is replete
with subtle and unexpected effects that excite the
curiosity and delight of the hearer.
-
THE ETUDE-LYRIC 109
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals
Grade
BRAHMs: Intermezzi, Op. 117, Nos. 1 and 2 . . . . . . . . . . . . . . . . V
CHAMINADE: Automne, Op. 35, No. 2 . . . . . . . . . . . . . . . . . . . . . IV-V
CHOPIN: Impromptu in A-flat, Op. 29 . . . . . . . . . . . . . . . . . . . . . V-VI
CHOPIN: Fantaisie Impromptu, C# Minor, Op. 66. . . . . . . . . . . VI
CHoPIN: Nocturne in F, Op. 15, No. 1 . . . . . . . . . . . . . . . . . . . . V
CHoPIN: Prelude, Op. 28, No. 15 . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
EHRLICH: Barcarolle in G. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
FAURé: Impromptu in F Minor . . . . . . . . . . . . . . . . . . . . . . . . . . V
KULLAk: Boating on the Lake, Op. 62, No. 8 . . . . . . . . . . . . . . III
Moszkowski: Serenata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
NEviN, E.: Barchetta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
NEv1N, E.: Il Rusignuolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
REINHold: Impromptu in C-sharp Minor, Op. 28, No. 3. . . . . . IV-V
RHEINBERGER: Ballade in G Minor. . . . . . . . . . . . . . . . . . . . . . . IV
RUBINSTEIN, A.: Fourth Barcarolle, G Minor. . . . . . . . . . . . . . IV-V
Schubert: Impromptu, Op. 90, No. 2... . . . . . . . . . . . . . . . . . . V
SCHUBERT: Impromptu, Op. 90, No. 4. . . . . . . . . . . . . . . . . . . . . IV
Schubert: Impromptu, Op. 142, No. 2... . . . . . . . . . . . . . . . . . . IV
Schum ANN: Traumeswirren, from Op. 12 . . . . . . . . . . . . . . . . . . V
SCHUMANN: Sicilienne, Op. 68, No. 11 . . . . . . . . . . . . . . . . . . . . . II-III
SUPPLEMENTARY READINGS
See references under Types II and III, also
HAMILTON: Outlines of Music History, Chapter 8, Section 2.
Music, By E. LAchen AL
TYPE V
THE THEME WITH VARIATIONS
FOREWORD
Early compositions for keyboard instruments
with strings often consisted of the simple presen-
tation of some folktune with the subsequent varia-
tion of this tune in different ways by the addition
of all kinds of interesting features. William Byrde
(1543?–1623), a favorite composer to Queen
Elizabeth, is said to have first used this form,
which became popular after his time as a means of
displaying the cleverness of composers in mani-
pulating their materials. The magic touch of
Haydn, Mozart, and Beethoven glorified this, as
well as all other types of music which they treated;
but after them, the dignity of the variation form
was often sacrificed to mere brilliancy and in-
genuity by composers who sought only to tickle
the ears of the crowd. At present this type is
regaining some of its former prestige, especially in
works for the orchestra, in which great variety of
instrumental color is possible.
When the subject or theme consists of a tune
with formal divisions, it is often called the Air.
A: FORM
1. How many divisions of the theme are there, and
what is the length of each?
Generally the theme is short, and is made up of
clearly-marked, balancing phrases. Occasionally,
II.0
THE THE ME WITH VARIA TIONS III .
however, a longer theme appears, as in Haydn’s
celebrated Variations in F minor.
2. How many variations' are there and how does
the form of each compare with that of the theme?
Almost every musical component is subject to
alteration; although it is seldom that all are
changed at the same time, since we should never
Quite lose the connection of the variations with the
original theme. Less variation of the form is apt
to occur, on the whole, than that of any other
factor.
3. Are the variations quite distinct from each
other, or are there connecting links between them?
Often it is the case that several variations are
naturally grouped together, after which a more
decided change may occur; and infrequently,
special bonds of connection are inserted between
the members of such a group.
4. Is there a coda, and, if so, of what is it com-
posed?
In the development of this type an increasing
use was made of the coda, as a means of unifying
a composition that might otherwise appear some-
what scattering in its parts. Codas of great
length are not infrequent.
B: MOVEMENT
1. What is the measure of the theme? Is this
measure altered in the course of the composition?
The composer is apt to indicate a new measure
when the tempo changes radically to very slow or
very fast.
2. What is the pace of the theme, and how is this
pace altered in the variations or coda?
112 MUSIC APPRECIATION
Any change of mood is readily reflected in the
tempo, just as a person is apt to walk slowly or
fast, according as his mind is calm or excited.
3. Describe the rhythm of the theme. How is
this afterwards altered?
The addition of embellishments implies changes
in the division of the beats which may decidedly
affect the initial mood. Again, new accompani-
ment figures may bring in new rhythmic relations.
4. How are the variations related dynamically?
Dynamic effects are those which have to do with
the strength of tone.
Fine contrasts are often effected by a change
from a loud to a soft variation, or the reverse.
Often, too, the absence of rhythmic accents in one
variation is contrasted with jerky or strongly
accented pulsations in another.
C: MELODY
1. What is the general melodic outline of the
theme?
This question concerns especially the direction
and extent of its progress in pitch, together with
some mention of the kind of intervals involved,
whether close together or wide apart.
Drill upon the recognition of the theme may be given at
this point. -
2. In what variations is this outline most clearly
retained, and in which ones is it obscure or impercep-
tible?
In some variations we are able to hear the ori-
ginal air, note for note; while in others it is only
suggested by the surrounding features.
THE THE ME WITH VARIATIONS 113
3. What are some of the devices by which the
principal melody is altered or embellished?
Such devices are the addition of trills, turns,
etc.; the change of rhythm or intervals; the trans-
position to a new key or register, etc.
4. Is the theme imitated, or are other melodic
parts added, in the variations?
We may even find a fugal passage, in which a
portion of the theme is made the basis of complex
part-writing.
D: HARMONY AND ACCOMPANIMENT
1. Are all the variations in the same key? If
not, indicate any key-changes.
In the classic variations the original key was
generally retained, except for a change to the
minor in a middle movement.
2. Are there any radical departures from the
original harmonies in the variations? If so, what
is the emotional result, if any?
For instance, a new harmonization by means of
chromatic chords may place the theme in quite a
new emotional light.
3. Are characteristic figures used in any of the
forms of accompaniment?
A change from a chord figure to an arpeggio
figure, for instance, may contrast a solid with a
light structure.
4. Where is the accompaniment located in each
variation?
Is it below, above, or around the theme? Is it
in the lower, middle, or upper register of the
piano?
114 MUSIC APPRECIATION
E: STYLE
1. What is the mood of the theme?
Is it happy, gay, calm, child-like, sad, contem-
plative, etc.? -
2. What is the mood of each variation, and how
are the different moods related?
We may have a complete contrast of mood be-
tween one variation and the next; or each of
Several variations may simply intensify the mood
of the previous one.
3. Does the interest increase in the progress of
the variations, and, if so, where does it attain its
greatest climaa-2
Sometimes each of the variations has its indi-
vidual climax, each more striking than its pre-
decessors.
4. Do the variations really add to the beauty of
the theme? Are any of them dull or “trashy”?
In a long series of variations such as we find in
the works of the classic writers, some movements
may appear dull or commonplace.
Unless, too, each treatment of the theme places
it in a new and beautiful aspect, and unless the
embellishments seem to grow directly out of their
subject and to invest it with new charms, the varia-
tions may be classed as superficial, and therefore
worthless as art creations.
5. Which of the variations are mainly emotional,
which are technical, and which are intellectual in
style?
Mere embellishments simply add to the emo-
tional effect or technical brilliancy; while with the
THE THE ME WITH VARIA TIONS 115
addition of melodic figures or imitative designs the
intellectual values are increased.
6. Compare this with a similar composition.
F: COMPOSER
1. When and where was the composer born? Is
he still living, and if not, when and where did he die?
2. What are his chief musical works?
3. To what school does he belong?
See Type I, E: 1 (page 40).
4. What are some of his characteristics as a
composer? -
These may be determined by reference to a
biographical dictionary, and by the study of the
above and other examples of his writings.
EXAMPLES OF TYPE V
Number the measures consecutively, from beginning to end, as
described under Examples of Type I.
I
AIR AND WARIATIONS FROM SUITE V, IN E MAJOR
(Called THE HARMONIOUs BLACKSMITH)
George Frederick Handel, 1685–1759
A: FORM
1. There are two divisions to the theme:
Division A, four measures long, and Division B,
eight measures long. The two-measure phrase-
unit persists throughout.
2. After the theme come five variations (called
doubles in some editions). Each of these varia-
tions has exactly the same form as the theme.
I 16 MUSIC APPRECIATION
3. At the close of the first, second and fourth
variations, the bass ascends in a broken chord that
furnishes a slight connecting link to the next varia-
tion, as at the end of Variation I:
# - f|*
Otherwise the variations are quite distinct from
One another.
4. There is no coda.
B: MOVEMENT
1. The measure is quadruple (C), and is un-
changed during the piece. The measure signa-
ture #, used in the upper part of Variation
III and the lower part of Variation IV, simply
specifies the rhythmic division into triplet sixteenth
notes, without actually changing the fundamental
IOlea,SUII’é. *.
2. In the original edition there were no marks
of tempo. The character of the theme, however,
naturally suggests a dignified and not too rapid
pace. It is customary to play Variations. I and
II a little quicker than the theme itself, Variations
III and TV still more rapidly, and Variation V at
a lively pace.
3. The theme is in steady, regular rhythm,
with few and simple subdivisions of the beats:
More rapid movement is set up by the prevailing
THE THE ME WITII VARIA TIONS 117
sixteenth notes in Variations I and II, the triplet
sixteenth notes in Variations III and IV, and the
thirty-second notes in Variation V.
4. Since no marks of expression were given by
Handel, dynamic effects in this piece depend en-
tirely upon the fancy of the player or the judgment
of the editors of the various editions. Naturally
the music grows in strength when approaching a
climax; and also there should be enough variety
to provide against monotony. All such changes,
however, should be employed with much restraint,
since the strong color-contrasts found in modern
music are out of place in the formal music of Han-
del’s time.
C: MELODY
1. Proceeding often from one tone of a chord to
another, sometimes by long leaps, the theme has
an unusually angular outline, as may be seen in
the first phrase:
# Aſuſtſ ºf
I 2
Evidently the rigid, hammer-like nature of the
melody (whence the name Harmonious Blacksmith),
offers excellent opportunities for the embellish-
ments that are to follow.
2. In Variation I, the original theme is clearly
heard in the sixteenth notes of the upper part.
Its outlines become less and less distinct, however,
in the ensuing variations, until in Variation V,
little but a suggestion of the melody remains amid
118 MUSIC APPRECIATION
the rushing scale-runs. The gradual change from
an angular chord-outline to flowing, scale-wise
progressions is noteworthy.
3. Woven into the sixteenth-note figure of the
first variation, the melody becomes divided be-
tween the two upper parts of the second variation.
Variations III and IV correspond in treatment
with Variations I and II; while in Variation V the
melodic outlines are quite lost.
4. There are no direct imitations of the theme.
Its treatment in two voice-parts, in Variations II
and IV, has been suggested in the preceding para-
graph.
D: HARMONY AND ACCOMPANIMENT
1. They are all in the same key.
2. The harmonic structure is the same in each
of the variations as in the theme. This inflexible
shape gives great firmness and unity to the whole
composition. -
º 3. Variation II employs a sixteenth-note figure
* in the accompaniment that is derived from the
melodic embellishment of Variation I: Notice
etc.
18
also the fitful figure which occurs several times at
the close of Variation II:
Triplet figures make up
the accompaniment of Wa- 23
riation IV; and octave scales answer each other in
ascending and descending runs, in Variation V.
4. The accompaniment proper is generally in
the lower part; although in Variation V, which is
etc.
THE THEME WITH VARIATIONS 119
really an étude in style, the chief interest fre-
quently shifts from one hand to the other.
E: STYLE
1. The mood of the theme is calm, but confi-
dent and determined.
2. Tranquil in Variations I and II, the mood
becomes more buoyant in Variations III and IV,
and is riotously gay in Variation V.
3. Each variation attains a higher degree of
intensity than the one before it, so that the lastº
variation represents the climax towards which all
the previous variations have been steadily pro-
gressing.
4. It is easy to account for the exceptional
popularity of this piece when we observe its re-
markable compactness of expression and the
masterly way in which, without a superfluous
note, the interest is constantly quickened, while
the presence of the original theme is continually
felt.
5. Intellectual interest is stimulated by the /~
distinct, well-balanced form and the clever voice-
writing; useful technical problems are presented
to the pianist; and the emotional grip of the piece
is unflagging. All of these factors, therefore, are
equally in evidence.
6. This question will be answered under the
next example.
**
...~"-
F: COMPOSER
1. George Frederick Handel was born on Feb-
ruary 23, 1685, in Halle, a town of Saxony. He
died in London on April 14, 1759, a naturalized
British subject.
120 MUSIC APPRECIATION
2. Handel wrote over
forty operas and about thir-
ty oratorios, besides other
choral and orchestral works,
piano pieces, etc. His fame,
however, rests chiefly upon
the oratorios, of which the
Messiah is most popular.
3. Like Bach, Handel
belongs to the school of con-
trapuntal music, in which !--
combined melodies furnish
the basis of composition.
His extensive operatic writ-
ing, however, brought him into close touch with
- the monophonic, or solo style of writing, instituted
by the Italian opera composers.
4. Handel's music is clear and straight-forward
in style, with a strong rhythmic swing and com-
pactness of expression. The figure of the black-
smith striking upon the iron with steady and un-
flinching blows, which the above composition is
said to typify, is suggestive of Handel himself,
who pursued his way with fearless perseverance,
conquering in the end the machinations of his
enemies and the numerous other difficulties that
beset him.
HANDEL
II
ANDANTE CoN VARIAZIoM1 IN E FLAT, OP. 82
Felia, Mendelssohn-Bartholdy, 1809–1847
A: ForM
1. The theme is in the small three-part form,
with the following divisions: A' (measures 1-8);
THE THEME WITH VARIATIONS 121
B (measures 9-16); A* (measures 17–20). Divi-
sign A” consists of only the latter half of Division
A*.
2. Divisions A* and B have the same form in
each of the variations as in the theme. While the
form of Division A* is unchanged in Variations I
and II, this division is considerably modified in
the other variations. In Variation III it is ex-
tended to six measures; in Variation TV the whole
of Division A* returns, with slight modifications;
and in Variation V, Division A* is extended to
32 measures.
3. Each variation excepting the last ends
definitely, with no connecting link to the one which
follows it.
4. An elaborate coda, starting in measure 154,
lasts through 43 measures. At the beginning and
end of this coda there is a treatment of the prin-
cipal subject in several voice-parts. The middle
portion consists of brilliant arpeggio work.
B: MOVEMENT
2
1. The entire composition is in f measure.
2. A moderately slow pace is indicated for the
theme by the word andante. No change is
specified until Variation III, which is marked
faster (pill vivace). Variation IV is a little slower
(piu moderato); and in Variation V a return is
made to the original tempo (tempo I). A slacken-
ing pace is indicated for the last ten measures of the
coda.
3. The calm, regular rhythm of the theme:
* HTHFTP, HTFT).
122 MUSIC APPRECIATION
is afterwards variously altered. In Variation I,
for instance, a jerky rhythmic fig- -
ure, one measure long, jºi. H | JTJ |
In Variation II the serene rhythm of the theme re-
turns; but in Variation III this is replaced by
chattering sixteenth notes. Fragments of the orig-
inal even rhythm are heard in Variation IV, inter-
spersed with drum-beats in the bass. In the
remainder of the composition, hówever, the rhythm
of the theme persists in the midst of a decorative
accompaniment.
4. After the steady rise and fall of tone in the
theme and the first two variations, come the sharp
tonal contracts of Variation III. The concluding
fortissimo of this variation gives place to the open-
ing pianissimo of Variation IV; while a wide range
of tonal power characterizes Variation V.
C: MELODY
1. The theme has a continual up-and-down,
or wave outline, as may be seen in this sketch of
the first unit-phrase of four measures:
# T- || | | T-
I 2 3 4
The waves are of varying dimensions, although
Scale-wise intervals predominate.
2. Variations II, IV and V preserve this out-
line to a greater degree than Variations I and III,
in which the original outline is considerably ob-
scured.
THE THE ME WITH VARIA TIONS 123
3. In the first four variations the melody is
presented often in a fragmentary manner. New
melodic turns occur in Variation II; while in Varia-
tion V the original melody appears an octave lower
in pitch than at first.
4. Imitative passages occur in Division B of
Variation I; and Variation III is composed of
short passages that answer each other in rapid suc-
cession. At the beginning and end of the coda
there are interesting fugal passages.
D: HARMONY AND ACCOMPANIMENT
1. They are all in the same key.
2. There are frequent suspensions in Variation
IV which impart a clinging character to the phrase-
endings. Slight harmonic changes in the other
variations give them plasticity of style.
It is of interest to note that every tone of the
scale is contained in
the passing chord that
occurs in measure 11:
3. Accompaniment
figures occur as follows:
In Variation II a triplet-note figure, which hums
busily about in the bass register; in Variation III
the chattering chords which answer each other in
groups of four or two notes; in Variation IV the
drum-beats in octaves, mostly on bass B-flat; and
in Variation V the figure in thirty-second notes
which seems to spring directly out of each melody
tone: -
--> * *
Lessº”
Tºº-º-º-º-º-º-º-º-º-º-º-e- *
A TENT *º--> *. mT--~~~~-ºſ--
ſº DITFººl lººDTººl. Tº TILºCº--
Sºº-Hºº-ºº-Hºº-º-HBAFTA" EFRCPE=ſ==
124 MUSIC APPRECIATION
4. Closely united with the melodic figures in
Variation I, the accompaniment is beneath the
melody in Variations II, III and IV. In Varia-
tion V, however, the melody is embedded in the
accompaniment, which winds closely about it.
E: STYLE
1. The theme is contemplative and devout in
mood, becoming intensely earnest in Division B.
2. Variation I is more spirited than the theme
itself. The mood of the theme recurs in Variation
II, however, although an agitated figure appears in
Division B. Variation III is full of animation;
short, pleading figures are frequent in the quieter
Variation TV; and Variation V is intense and dig-
nified.
3. Each variation whets the interests of the
hearer through its change of mood and its culmina-
tion in Division B. The grand climax, however,
is attained in Division A* of Variation V, which
rises to a high pitch of brilliancy and impetuosity.
4. There is an entire absence of triviality in
this piece. Each variation presents the theme in
a new and striking aspect, all together forming a
well-contrasted but unified whole.
5. Like the theme, each variation has its emo-
tional climax in Division B. There is excitement
in Variation III and a strength of passion in Varia-
tion V that contrast with the calm mood of the
other variations.
Technical skill is demanded for the performance
of Variations II, III and V; while in Variation I
and the coda the intellectual element comes to the
fore through the imitative voice-writing.
THE THE ME WITH VARIATIONS 125
6. Compared with Handel’s variations (Ex-
ample I) this composition shows more elasticity
of form, harmony and rhythm and more varied
contrasts. Many modern technical devices are
also found which are foreign to the compositions of
Handel's time, such as the repeated chords in
Variation III and the elaborate arpeggios of the
coda. There is, however, a manly vigor and a
noble simplicity about the Harmonious Black-
smith which more than balance the elaborate
workmanship of the present example.
F: CoMPOSER
1. Jacob Ludwig Felia Mendelssohn-Bartholdy,
was born in Hamburg, February 3, 1809, about
fifty years after the death -
of Handel. He died at Leip- -
sic, November 4, 1847.
2. Mendelssohn’s instru-
mental compositions include
orchestral overtures and
symphonies, chamber mu
sic; and many works for
piano and for organ. Among
his vocal works are songs,
choral settings of psalms,
and two oratorios, St. Paul
and Elijah, the latter mod-
eled after the oratorios of MENDELssohn
Handel.
3. While Mendelssohn was a devoted student
of the works of the great masters who preceded
him, and hence cast many of his compositions in
the classic forms, he yet wrote with an emotional
warmth and a freedom of style that are character-
126 MUSIC APPRECIATION
istic of the more modern schools. Hence he may
be called a classico-romanticist.
4. Beauty of form and elegance of finish
characterize all of Mendelssohn’s compositions.
While the rugged, passionate expression of a
Beethoven or a Schumann is wanting, they are yet
models of refined musical diction.
Serene, hymnlike melodies, such as that of the
above theme, are supported by full and compact
harmonies that frequently involve suspensions.
As a piano virtuoso, too, Mendelssohn often in-
dulges in brilliant passage-work, such as that found
in the last variation and the coda.
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
Grade
BEETHove N: Six Variations on Nel Cor. . . . . . . . . . . . . . . . . . . II-III
BEETHOVEN: Six Variations on an Original Air . . . . . . . . . . . . III
BEETHovKN: Andante from Sonata, Op. 14, No. 2 . . . . . . . . . IV
BEETHovKN: Andante con Variazioni from Sonata, Op. 26. . . . V
BEETHovEN: Six Variations in F, Op. 34. . . . . . . . . . . . . . . . . . VI
BEETHovKN: 32 Variations in C minor . . . . . . . . . . . . . . . . . . . . V-VI
BULL, D.R. JoHN: Courante, Jewel . . . . . . . . . . . . . . . . . . . . . . . III
BYRDE, WM.: The Carman’s Whistle . . . . . . . . . . . . . . . . . . . . . IV
BYRDE, WM.: Sellenger's Round . . . . . . . . . . . . . . . . . . . . . . . . . IV
CHOPIN: Variations sur un air national, allemand . . . . . . . . . . V
DUPONT-HANSEN: Theme variée. . . . . . . . . . . . . . . . . . . . . . . . . . V
GLAZUNov: Theme and Variations, Op. 72 . . . . . . . . . . . . . . . . VI–VII
GRIEG: Ballade, Op. 24. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VI–VII
HAYDN: Air and Variations in F minor . . . . . . . . . . . . . . . . . . . V
HAYDN: Allegretto innocente, from Sonata in G (No. 10 in
Peters edition). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I
MENDELSSOHN: 17 Variations serieuses, Op. 54 . . . . . . . . . . . . V–VI
MozART: 12 Variations on the air Ah, vous dirais-je, Maman . . II-III
MozART: 9 Variations on the Minuet of Mr. Dupont. . . . . . . III
MozART: Theme and Variations from Sonata in A major . . . . IV-V
SCHUBERT: Impromptu, Op. 142, No. 3. . . . . . . . . . . . . . . . . . .
Schum ANN: Variations on the name Abegg, Op. 1 . . . . . . . . . . V
SCHUMANN: Symphonic Etudes, Op. 13. . . . . . . . . . . . . . . . . . . VI–VII
THE THEME WITH VARIATIONS 127
SUPPLEMENTARY READINGS
GoFTschius: The Larger Forms of Musical Composition, Division I.
GRove's DictionARY: Article, Variations.
HAMILTON: Outlines of Music History, Chapter 5, Section 2, Chapter 8,
Section 1. -
MAcPHERson: Form in Music, Chapter 18.
WEITZMANN: A History of the Pianoforte and Pianoforte Literature,
Part III, The Lyrical Clavier Style.
PIANo BY CRistofori, ITs INVENToR, FLoRENCE, 1720
Earliest known example of the instrument
-
(Metropolitan Museum of Art, New York)
TYPE VI
THE TRANSCRIPTION
FOREWORD
Closely allied to the Air with Variations is the
Transcription. In this latter type some composi-
tion or part of a composition originally written for
voice or for instruments other than the piano is
transformed into a piano piece in such a way that
at least a general impression of its intended effect
is secured. Songs, organ works, portions of operas
and even symphonies have thus been treated,
sometimes with surprising results. Transcriptions,
however, vary greatly in order of merit, ranging,
as they do, from a mere string of operatic airs put
together with little or no logical connection, to
artistic works by masters of piano technic, in which
the skilful management of piano devices sometimes
produces the effect of a full orchestra or an expert
singer.
Only a composer of rare taste and judgment is
able to write a transcription which avoids on the
one hand a too barren and literal setting of the
original and on the other a series of cheap embellish-
ments. Hence the student should cultivate care-
ful discrimination in judging compositions of this
type.
A: SOURCE
1. What is the nature of the original composition
which is transcribed?
128
THE TRANSCRIPTION 129
Classify it as a song, an excerpt from an opera,
an Orchestral work, etc.
2. Mention some important facts about the com-
poser of the original work.
In order to listen to the piece intelligently, the
hearer should have some knowledge of the aims
and style of the composer of the original. He is
then better fitted to pass judgment on the merit
of the transcription.
3. What do you know about the original work?
If it has words, what is their significance?
Any such facts are of value in determining the
interpretation of the transcription. If a scene
from an opera is transcribed, read the story of the
opera, and find out the connection, if possible.
If the work is a song, endeavor to learn what the
words are, something of the status of the poet, and
the like.
B: FORM
1. How many divisions are there, and how are
they related?
Note especially which divisions are principal
and which are transitional in character.
2. Which passages are derived directly from the
original and which ones are added by the composer?
Transcriptions are apt to have an introduction
and coda, both of which, added by the transcriber,
are at times quite elaborate. Interluding pas-
sages, not in the original, are less frequent.
3. Is the original shortened or lengthened in the
transcription? -
When the source is a long composition, such as a
movement from a symphony, passages are some-
130 MUSIC APPRECIATION
times omitted that are not well adapted to rendi-
tion on the piano. On the other hand, parts of a
song may be repeated or enlarged upon in order
to secure a more effective climax.
C: MOVEMENT
1. What is the tempo at the beginning? Does
this tempo change in the course of the piece, and if
so, in what ways?
Changes in tempo are most likely to occur
in transcriptions which involve several different
movements, such as those founded upon scenes
from operas.
2. Are the rhythms, in general, regular or irreg-
ular? Are there many different rhythmic patterns?
Here again the simple or complex nature of the
original composition is a determining factor.
3. Is the rhythmic accent strongly assertive in
the piece, or is it subordinate to the melody or har-
mony?
The wide diversity of subjects for transcriptions
makes it quite possible for one of these to treat
martial, swinging rhythms while another deals with
sweet and flowing melodies.
4. What passages contain the most interesting
rhythmic effects?
That is, in what passages are the subdivisions of
the measure or the brilliancy of the rhythmic ac-
cent most conspicuous?
D: MELODY
1. What is the general character of the melody?
Consider especially whether it is instrumental,
lyric, or dramatic.
THE TRANSCRIPTION , 131
2. Does the melody lie within the voice range, and
if so, what voice could best sing it?
Ordinarily voices have a range of about an oc-
tave and a half, though melodies are not effective
if written mainly in the extreme limits of this
COmpass.
In general, the four types of voice have the fol-
lowing compass:
Soprano Contralto Tenor .<> Bass
ar * ...” ſº ºr T. II.
& 2* IT & 2” |
* Tº Y * , º 9. 2” T.I.
iſ VSUZ ** * It H & Tº
.* Q) so e) —..” ©
-Cyr
3. Does the transcription aid the emotional effect
of the melody? If so, in what way does it do this?
If the exact notes of a song are transferred to
the piano with no attempt to emphasize their
emotional crises, the transcription becomes but
a pale reflection of the original. In a transcription
of a higher order, however, the composer seeks not
so much to reproduce the composition accurately
upon the piano as to impress the hearer with some-
thing of its original effect. Thus in the case of a
song, which, when played upon the piano, lacks
the sustained tone of the voice, the adapter may
so enrich the accompaniment or embellish the
melody as to thrill the hearer with its warmth of
style. Similarly, sweeping arpeggios sustained
by the pedal may suggest the breadth and fulness
of an operatic or orchestral work.
sºms
$Cº.
4. Are there similar or contrasting melodic divi-
sions?
In a short song the same kind of melody may
prevail throughout. Naturally, when the com-
position is elaborate, or when several themes are
132 MUSIC APPRECIATION
treated in the same transcription, greater contrasts
are found.
E: HARMONY AND ACCOMPANIMENT
1. Are the chords in general slight, compact, or
dispersed?
Here again the treatment will depend upon the
character of the original piece and the degree of
difficulty which the composer wishes to introduce
into the transcription. A delicate, naïve theme
calls for a light and simple accompaniment;
churchly compositions call for closely woven
chords; while dramatic and orchestral works sug-
gest extended chords and arpeggios.
2. Are there distinctive pedal effects? If so,
how are these employed?
Modern pianists put great reliance upon the
pedals as means of expression. By the use of the
right or damper pedal, successive tones in various
parts of the piano may be united, so that we may
often hear a dozen or more tones at once; while
by using the left or soft pedal together or in alter-
ation with the damper pedal, a great variety of
lights and shadows may be introduced. The
middle or sustaining pedal, which is employed to
keep individual tones sounding while other
tones are played, is also used, but with less fre-
Quency. §
3. Does the accompaniment change its style in the
course of the piece?
Often different stanzas of a song are varied
by different kinds of accompaniment.
A. Does the accompaniment reflect the spirit of
the original composition?
THE TRANSCRIPTION º 133
Much of the success of a transcription depends
upon the degree of skill with which the composer
uses his accompaniment to enhance and emphasize
the original theme or themes.
F: STYLE
1. Does the same style prevail throughout, or are
there considerable changes?
In a song transcription the varied treatment of
different verses may result in striking contrasts of
style. Different themes, too, afford material for
such contrasts.
2. Point out any especially strong, dramatic,
or tenderly eacpressive passages. How are such
effects produced?
The composer has command of many devices
that make for strength, such as heavy, assertive
chords or ponderous, low tones, often aided by the
damper pedal. The dramatic element may be em-
phasized by long, startling jumps or brilliant, Sud-
den climaxes, while the tender emotions are roused
by low-murmuring tones, chromatic harmonies,
and mystic, soft-pedal passages.
3. Is the style, in general, commonplace or dis-
tinguished?
The question here refers to the treatment given
the original material, and not to that material
itself. A very beautiful melody, for instance, may
be transcribed in a trite manner, while, on the
other hand, some ordinary theme may be glorified
by a skilful and artistic setting.
J. Does the transcription add to the effect of the
original, or detract from it?
A clever use of pianistic devices may illuminate
134 MUSIC APPRECIATION
a theme brilliantly, providing that they are nicely
adjusted to it. Flashy and irrelevant runs and
embellishments, however, are sure to disgrace the
finest melodic material.
5. Compare this with a similar composition.
G: COMPOSER OF THE TRANSCRIPTION
1. Give date and place of his birth and of his
death, if he is not still living.
2. What were his chief musical activities, and
where was his life chiefly spent?
Many composers have been prominent in other
fields of musical activity as conductors, teachers,
virtuosi, etc.
3. Give an estimate of his piano works.
This may be derived from musical biographies
or criticisms. The value of such criticisms, how-
ever, can be best tested by a personal study of the
composer’s works.
A. What other kinds of music has he written be-
sides that for the piano?
EXAMPLES OF TYPE VI
Number the measures as described under Examples of Type I.
I
SPINNING CHORUs from “The Flying Dutchman.”
(Wagner)* Otto Singer, 1863–
A: SOURCE
1. The Flying Dutchman, from which this
Spinning Song is taken, is an Opera.
2. Richard Wagner, its composer and the
most noted opera writer of the nineteenth cen-
* Reference is here made to the abridged and simplified version.
THE TRANSCRIPTION 135
tury, was born in Leipzig, in 1813, and died in
Venice, in 1883. As an opera reformer he suc-
ceeded in giving greater sincerity and consistency
to dramatic music; while
as a composer he en-
riched immeasurably the
power of musical expres-
sion.
3. The Flying Dutch-
man deals with a mythical
sea-captain who is com-
pelled to wander about
in his phantom ship until
he finds a maiden who is
willing to sacrifice herself
for his sake. Senta, the
heroine, who finally lib- WAGNER
erates him from his sad
fate, sings this song with her companions at the
beginning of the second act of the opera, while
seated at the spinning wheel.
B: FORM
1. The divisions are: introduction (1-4); A*
(5-21); B (22-28); connecting passage (29-39);
C (40–47); D (48–75); A* (76–91); connecting
passage (92-99); Cº (100-115); coda (116-125).
Divisions A, B and C may be regarded as the
principal passages, while Division D and the con-
necting passages listed above are transitional in
character. All the divisions are closely connected.
2. Although the piece is founded throughout
upon material derived from the original, this ma-
terial is freely treated and adapted to the piano.
3. Only the chief themes of the chorus are
transcribed. The original is very much longer.
136 MUSIC APPRECIATION
C: MOVEMENT
1. The tempo, which is moderately fast, does
not change during the piece.
2. The rhythms are regular, and there are not
many different rhythmic patterns.
3. Rhythm, melody, and harmony are of about
equal interest in the piece. The long notes that
repeatedly come on the accented beats in the
melody, thus: } THT3 THT,
and that are further emphasized by the short notes
which precede them, tend to make the rhythmic
accent prominent.
4. The principal rhythm just quoted is dom-
inant throughout the piece. There are occa-
sional passages where regular sixteenth notes
occur in the melody over triplet sixteenths in the
accompaniment. An effect of this nature, fol-
lowed by a welcome interruption to the continual
flow of tone occurs in measures 28–30:
28 º 29 30 31
D: MELODY
1. It is lyric and vocal.
2. Examining the voice-part proper, we find
that the compass of the melody extends from
— F. f) #o
e to g # # a=
or over the entire Soprano
i
THE TRANSCRIPTION 137
range. Much of the melody lies in the lower, or
alto part of this compass, however.
It may be noted that this transcription is writ-
ten in the key of the original song.
3. Since the original composition is for chorus
and Orchestra, much of its harmonic material is
necessarily omitted in the transcription, which is
intended to fit the requirements of a moderately
difficult piano piece. The emotional effect is,
however, well suggested in the buzzing accom-
paniment, which at times (as in measures 107-115)
takes on an orchestral breadth of style.
4. There are no striking contrasts in the
melody.
E: HARMONY AND ACCOMPANIMENT
1. Compact chords occur frequently in the
part played by the right hand. Sometimes, as in
measures 38–39, these strongly reinforce the me-
lody. Toward the end (measures 107-115), chords
and arpeggios resound in both hands.
2. It is necessary to use the damper pedal with
much discretion, since the accompaniment may
easily become unpleasantly blurred by its too
generous employment. Generally, this pedal
should be merely touched on each accented
beat, as an added means of Securing accent.
More pedal may be used, however, in the orches-
tral measures 107-115. Employment of the soft
pedal contributes toward the vanishing effect of
the last four measures.
3. Occasionally the monotony of the humming
accompaniment in the lower part is broken by a
pause, or by arpeggios, as in the passage beginning
in measure 100.
138 MUSIC APPRECIATION
4. It does, in its suggestion of the whirr of the
spinning wheel.
F: STYLE
1. No marked change of style occurs.
2. The pause in measures 29 and 30, and the
short recitative in measures 72-75 serve as a
pleasing contrast to the general flow of the music.
Measures 107-115 furnish an interesting climax,
before the quiet ending.
3. While the style shows no marked distinction,
the transcription is pianistic, and cleverly written.
4. In an unpretentious manner, and without
the aid of difficult technical devices, the transcrip-
tion well suggests the spirit of the original selection.
5. This question will be answered under the
next example.
G: COMPOSER
1. Otto Singer (whose father, of the same name,
was also a distinguished composer) was born in
Dresden, September 14, 1863. He is still living.
2. His early youth was spent in the United
States, where he studied music with his father.
After subsequent music study he conducted and
taught in several German cities, finally settling in
Berlin.
3. He is “especially skillful in transcribing for
piano complicated modern orchestral scores.”
4. Male choruses, a concert piece for violin
and orchestra, etc.
A THE TRANSCRIPTION 139
II
SOMETIMEs I FEEL LIKE A MOTHERLEss CHILD
Op. 59, No. 22
Samuel Coleridge-Taylor, 1875–1912
A: SOURCE
1. A folksong of the American Negro.
2. Like that of all genuine folksongs, the origin
is unknown (see Type XIII, page 321).
3. The songs of the American Negro are in-
timately concerned with religion, which is applied
to every-day experiences. Evidently this is a song
of slavery, in which religious belief becomes a con-
solation for loneliness.
B: FORM
1. After two measures of introduction, the
song proper is presented (measures 3-17). The
last 4% measures constitute a refrain, which is
then extended, with references to the initial
melody, through measure 31. A development of
this melody then takes place, until it reappears in
full harmonies in measure 50. Another extension
of the refrain (measures 64-75) forms a coda.
2. Scarcely any passages are not directly de-
rived from the original song, in either melody or
rhythm or both. The connection is perhaps less
obvious in measures 28–31.
3. The whole song, with refrain, is presented
twice (see B: 1 above):
C: MOVEMENT
1. Impressively slow at the beginning, the
tempo often fluctuates with the emotional ex-
140 MUSIC APPRECIATION
pression. This fluctuation is especially apparent
in the climactic middle part, which involves a con-
tinual increase in animation up to the closing
measures (48–49), in which a return is made to the
original pace.
2. The irregular rhythm familiar to us as the
basis of the modern “rag-time” (originally derived
from Negro music) underlies the whole piece,
frequently, however, alternating with a triple divi-
sion of the beat. Other interesting rhythms occur,
especially in the accompaniment.
3. With all the diversity of rhythm, the
measure-accent is always strongly in evidence.
4. Opposing rhythms in melody and accom-
paniment often occur, as in measures 36-37:
36- '--
D: MELODY
1. As might be expected, the melody is lyric
and vocal.
2. When first presented, the mel- #9–0–
ody lies within these limits: #==
which cover almost the entire contralto range.
3. Yes, by the rich harmonic setting, and the
emotional climax in the middle part.
4. The refrain (measures 13-17), with its down-
ward sequence, contrasts in range with the first
part of the song, which involves only a few con-
tiguous tones.
THE TRANSCRIPTION 141
E: HARMONY AND ACCOMPANIMENT
1. They are generally full and compact, al-
though in measures 32-35 the arpeggio form is
used.
2. In order that the dispersed chords may be
heard as a whole, it is necessary to employ the
damper pedal; in fact the frequent use of this
pedal is indicated in the score. The soft pedal
may also be employed in the lightest passages,
especially in the last six measures.
3. Yes, several times. Beginning with effects
in the lowest register, it deals with more ethereal
harmonies in measures 19–31, after which it be-
comes gradually more ponderous and rich in
texture, finally dying out in the chromatic chords
of measures 70–75.
4. Emotional richness and vivid contrasts are
added to the original melody by the accompani-
ment.
F: STYLE
1. There are striking contrasts of tonal volume
and registers.
2. A charming interlude is furnished by the
harp-like chords of measures 28-31; great dramatic
intensity is attained in the middle portion; and
the delicate mood recurs near the end, supported
by occasional deep octaves in the bass.
3. There is much individuality of style, and a
serious sympathy with the spirit of the song.
4. It illuminates and illustrates the simple Sen-
timent of the song in a vivid manner.
5. Compared with the Spinning Song, this
piece is much more dramatic in effect. While the
142 MUSIC APPRECIATION
Spinning Song follows the graceful, continuous
flow of the maidens’ chorus, the Negro song is
invested with varied rhythms, intense color con-
trasts, and an overwhelming climax that cen-
tralizes the effect of the whole.
G: COMPOSER OF THE TRANSCRIPTION
1. Samuel Coleridge-Taylor was born of an
African father and an English mother in London,
August 15, 1875, and
died in Thornton Heath,
England, September 1,
1912.
2. IIis musical stud-
ies were pursued chiefly
at the Royal College of
Music, London, where
his early compositions
were produced. Besides
his activities as com-
poser, he laught violin
- and also acted as con-
CoLERIDGE-TAYLoR ductor, in which capac-
ity he visited this
country in 1904 and 1906, performing his own
works.
3. Of his compositions in general, another dis-
tinguished member of his race, Booker T. Wash-
ington, says:
“His work possesses not only charm and power, but dis-
tinction, the individual note. The genuineness, depth and
intensity of his feeling, coupled with his mastery of technic,
spontaneity and ability to think in his own way, explain
the force of the appeal his compositions make.”
THE TRANSCRIPTION 143
These words aptly characterize his piano music.
4. His genius was especially displayed in his
choral works, of which Hiawatha’s Wedding Feast
and The Death of Minnehaha are fine examples.
He also wrote orchestral and violin music, and
romantic Songs.
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
Grade
ALABIEFF-LISZT: The Nightingale . . . . . . . . . . . . . . . . . . . . . . . . V–VI
BALAKIREv-GLINKA: The Lark . . . . . . . . . . . . . . . . . . . . . . . . . . V
BEETHOvEN.RUBINSTEIN: Turkish March from Ruins of
Athens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
BENDEL-WAGNER: Walther's Prize Song . . . . . . . . . . . . . . . . . . V
CHOPIN-LISZT: The Maiden's Wish . . . . . . . . . . . . . . . . . . . . . . V
CoLERIDGE-TAYLOR: Deep River . . . . . . . . . . . . . . . . . . . . . . . . V
DONIZETTI-LISZT: Reminiscences of Lucia di Lammermoor . . . VI
GRAINGER: Irish Tune from County Derry . . . . . . . . . . . . . . . . V
JENSEN-NIEMANN: Murmuring Zephyrs. . . . . . . . . . . . . . . . . . . IV
ERUG, D: Flowers of Melody from Favorite Operas (Ditson
Edition). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . II
MENDELssoRN-HoFFMAN: Scherzo from Scotch Symphony . . V
MENDELssoRN-LISZT: On Wings of Song. . . . . . . . . . . . . . . . . . V
RossINI-KUHE: Cujus Animam (from Stabat Mater) . . . . . . . . IV
ScHUBERT-LISZT: Du bist die Ruh” . . . . . . . . . . . . . . . . . . . . . . . V
SCHUBERT-I/ISZT: Hark, Hark, the Lark! . . . . . . . . . . . . . . . . . . W
SCHUBERT-LANGE: Serenade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
SCHUBERT-HELLER: The Trout . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
WAGNER-LISZT: Elsa’s Dream (from Lohengrin) . . . . . . . . . . . IV-V
WAGNER-LISzT: O Thou Sublime, Sweet Evening Star (from
- Tannhäuser) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV—
WAGNER: Selections from the Music Dramas, edited by Otto
Singer (Musicians Library) . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-
WAGNER-WollBNHAUPT: Spinning Song, from the Flying
Dutchman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SUPEPLEMENTARY READINGS
BIE: A History of the Pianoforte, Chapter 9.
GRove’s DICTIONARY: Articles, Arrangement, Transcription.
HAMILTON: Outlines of Music History, Chapter 9, Section 2, Chapter
11, Section 4. \
TYPE VII
THE SONATA-ALLEGRO
For Eword
During the seventeenth and eighteenth centuries,
music for instruments, either singly or in combina-
tion, became immensely popular, especially in
Italy and Germany. As a result, composers in
those countries vied with each other in inventing
and elaborating interesting and symmetrical forms
in which to cast their works. It was in Germany,
however, toward the close of the eighteenth cen-
tury, that the most important of all these forms,
which we are now to study, was perfected in its
essential features. This type we will call the
sonata-allegro, because it is almost invariably
used for the first movement of the classic somata
(see Type IX) in its various applications,—the
piano Sonata, the string quartet, the symphony,
etc. It should be observed, however, that the use
of the sonata-allegro form is not confined to this first
movement, but that it may be employed as the
basis of other movements of the Sonata, or for
other kinds of compositions.
Compared with such simple forms as those of the
type already studied, the sonata-allegro form is
conspicuous for its architectural character, shown
in the unity of various details. There are three
divisions, in the first of which two subjects or
themes are stated, in contrasting keys; in the
second of which portions of these themes are
144
THE SONA. TA-ALLEGRO I45
woven into a more complex fabric; and in the
third of which the original themes reappear, this
time both in the same key.
As established by Haydn and Mozart, the
Sonata-allegro form is as follows:
Introduction (optional).
1. ExPOSITION
(a) First subject, in tonic key;
(b) Transitional passage;
(c) Second subject, in key of contrast;
II. DEVELOPMENT
III. RECAPITULATION
(a) First subject, in tonic key;
(b) Transitional passage;
(c) Second subject, in tonic key.
CoIDA (optional).
With the outlines of this form clearly in mind,
we are now prepared to study its appearance in
standard compositions.
A: GENERAL FACTs
1. In what key is the movement written as a
whole?
Each of the pieces which go to make up a com-
plete Sonata is called a movement. It is a recog-
nized principle that an individual piece should be
written in a prevailing, or tonic key, in which it
begins and ends. The last few chords in the piece
are an index to this key.
2. What is the length of each large division?
Following the introduction, which, if present,
is easily distinguished, the exposition continues
until both of the principal subjects have been
presented and the double bar is reached, where a
repetition of the entire exposition is usually in-
dicated. The development, pursuing a devious
146 MUSIC APPRECIATION
course, ends when the first subject reenters in
its original key. The recapitulation involves the
same material as the exposition. A simple end-
ing, or a more elaborate coda completes the move-
ment.
3. What measures and tempos are found?
Duple or quadruple measure, and a moderately
Quick pace are characteristic of compositions
written in Sonata-allegro form. Neither measure
nor tempo are, as a rule, conspicuously varied,
except that an introduction, when used, is ordi-
narily much slower than the movement proper.
B: THE ExPOSITION
1. If there is an introduction, what is its charac-
ter and its relation to the rest of the movement?
Introductions are infrequent, especially in piano
compositions written in Sonata-allegro form.
When used, the introduction may consist of only
a few measures, that are designed to attract the
attention of the hearer and to put him into a recep-
tive mood for what follows; or it may be organ-
ically connected with the movement proper, in
which case a more elaborate treatment may reason-
ably be expected.
2. Is the first subject clearly defined? How
many measures does it occupy? -
Ordinarily the first subject is only a few measures
in length, say from 8 to 16. It may end dis-
tinctly, with a definite cadence, or it may merge
imperceptibly into the transitional passage.
3. Is the first subject vocal or instrumental in
character? Sketch the melodic and rhythmic outline
of the first unit-phrase. -
THE SONA. TA-A LLEGRO 147
As a rule, this subject is distinctly instrumental,
with decisive, virile rhythms and well-marked
figures that may be used in the ensuing develop-
ment section. For the method of sketching the
outlines of the melody, see Type II: C: 3, page 60.
4. What may be said of the harmonies that sup-
port the first subject?
Simple chords, especially those of the tonic
and dominant, usually support the first subject.
These are expressed in an accompaniment which
may be thin or full, chordal or arpeggiated, etc.
Further drill may here be given on the recognition of this
subject or its motives.
5. Is there a transitional passage, and if so, how
long is it?
Rarely, the first subject leads directly to the key
of contrast, in which the second subject is to ap-
pear. More often, however, there is a transi-
tional passage, which acts as a kind of bridge be-
tween the two keys and also between the mood of
the first subject and that of the second subject.
6. How is the transitional passage related to the
two subjects?
In the works of the older sonata writers (espe-
cially Haydn and Mozart), the transitional pas-
Sage often consisted merely of a succession of runs,
which modulated from the tonic key to the key of
contrast, and was otherwise unrelated directly to
the two subjects. With Beethoven, however, the
transitional passage frequently starts as an appar-
ent continuation of the first subject, but alters in
character as it proceeds, until it ultimately in-
troduces the mood of the second subject, to which
it leads. &
148 MUSIC APPRECIA TION
7. In what key does the second subject enter?
Does this key persist to the end of the eacposition?
If the tonic key of the movement is major, we
may expect the second subject to enter in the
major key founded on its dominant (or fifth of the
scale): for instance, if the original key is C major,
the new key will be G major. If, however, the
tonic key is minor, the second subject will enter
regularly in the key of its relative major: for in-
stance, if the tonic key is C minor, the new key
will be E-flat major. Regularly, too, the music
remains in the new key to the end of the exposi-
tion. The student should be prepared to meet ex-
ceptions to all these modes of procedure.
8. What divisions has the second subject? Is
there a codetta?
Less conciseness and definiteness are found in
the second subject than in the first subject. Some-
times the former consists of two or more divisions,
in which different tunes appear. The last of these
divisions may have a cadencing effect which en-
titles it to the name of codetta (little ending).
9. How does the second subject compare in mood
with the first subject?
Haydn often begins the second subject like the
first subject, except that it is in the new key, after-
ward wandering into unexplored fields. But in
general, a more distinct contrast is involved, the
second subject taking on a song-like character
that is often tenderly expressive.
The students may here be drilled on the recognition of the
second subject.
10. Does the eacposition end decisively, or is it
connected to what follows?
THE SONA. TA-ALLEGRO 149
Sometimes the exposition ends with a clear
cadence in the new key. Occasionally, however,
the music proceeds onward without a break, in
which case there are often two endings, the one of
which leads to the repetition of the exposition,
while the other leads to the following development
Section.
C: THE DEVELOPMENT
1. Are there subordinate divisions in the develop-
ment, and if so, what is the length of each?
In the development section, which consists of a
free fantasia based mainly upon materials derived
from the exposition, the composer may give rein
to his imagination and his originality. Since,
therefore, the development has ordinarily an un-
settled and wandering character, there are often
no clearly marked divisions, especially when this
Section is short. Any obvious change of color,
style or material may, however, be regarded as the
beginning of a new division.
2. In what key does the development begin? Are
there many or remote modulations?
Often the development starts in the key in
which the exposition ends, quickly changing, how-
ever, to other keys. We may expect to find fre-
quent modulations in the course of a long develop-
ment, although the keys used in the exposition
are avoided. Frequently the dominant of the
original key of the movement is reached just before
the recapitulation opens.
3. What themes, motives or figures in the ea:po-
sition are made use of in the development, and where
are these most prominent?
I 50 MUSIC APPRECIA TION
While portions of the two subjects are most
often taken for development, any other figures
from the introduction, transitional passage or
codetta may equally well be used.
A. Does new material in the way of themes or
Jigures prominently appear?
In rare cases, the composer constructs his de-
velopment from practically new material, or in-
troduces an entirely new subject. Ordinarily,
however, new figures are employed mainly to em-
phasize or lead up to climaxes in the emotional
thought.
5. In what ways are materials derived from the
eacposition altered or combined in the development?
Such themes or figures (a) may appear in other
keys or registers than those formerly used; (b)
may be altered in the supporting harmonies or
accompaniment figures; (c) may be treated imi-
tatively by different voices; (d) may be embell-
ished or expanded; and (e) may be colored by
dynamic effects or different tone-qualities.
6. Does the development grow in interest, and if
so, how is this effect produced?
Devices used by the composer to attract and
retain the hearer’s attention are: increase in the
complexity of the musical design, enrichment of
the harmony as the composition progresses, em-
ployment of vivid tone-coloring, etc.
7. How does the development lead up to th
recapitulation? r;
Often the development ends in an uncertain
manner, as if groping for a way out of its difficul-
ties, which are finally solved when the well-known
first subject returns. Sometimes, as in the first
THE SONA. TA-ALLEGRO I51
movement of Beethoven’s Sonata, Op. 2, No. 1,
faint glimmerings of this first subject suggests its
reappearance. The final measure or measures
usually poise upon a harmony that leads directly
into that of the recapitulation.
D: THE RECAPITULATION
1. Does the first subject return eacactly as in the
ea:position? If there are changes, in what do these
consist?
Regularly, there are no changes in the first sub-
ject, although there are sometimes slight variations
in the way of embellishments or strengthening
materials (see the first movement of Beethoven’s
Sonata, Op. 14, No. 1). Sometimes the ending of
the first subject is slightly changed to assist the
alterations in the transitional passage.
2. How does the transitional passage compare
with that in the eacposition? \
Since the second subject is now to be located in
the tonic key, there is no longer a need for the
transitional passage as a modulating agent. In
order to preserve the proper proportions between
exposition and recapitulation, however, this pas-
sage is generally retained, altered to conform to
the new conditions, and often shortened or made
more interesting by the addition of new features.
3. Is the second subject regular in form and key?
If not, describe any irregularities.
Regularly, the second subject is simply trans-
posed from the key in which it originally appeared
to that of the tonic key of the movement. When
this tonic key is minor, the mode of the second
subject is regularly changed to minor, although it
152 MUSIC APPRECIATION
often enters in major, becoming minor, however,
before the end of the movement.
4. In what does the ending consist? If there is a
coda, describe its contents.
In the older sonatas the recapitulation often
ended exactly as did the exposition, or with the
addition of a few closing chords; except, of course,
that the key changed to that of the original tonic.
Beethoven, however, generally adds a coda, which
often assumes the dimensions of a fourth division,
characterized by vivid climaxes and brilliant tech-
nical effects.
E: STYLE
1. What mood or moods predominate in the
movement?
Unlike the lyric piece (Type II), the first move-
ment of a Sonata often presents at least two con-
trasting moods, to which the two subjects are an
index. The sonata-allegro form may, however,
be modified to suit lyric expression (see Type
VII-A, page 171).
2. Are there striking climaa’es in the movement?
If so, where do these occur?
Especial opportunities for such a climax occur
in the development and the coda, in either of
which the composer may rise to dramatic heights of
expression.
3. Point out any important effects of (a) melody,
(b) rhythm, (c) harmony which occur in the move-
ment. How does each of these appeal to the listener?
A composer’s originality is often shown in his
ability to invent devices to stimulate, soothe, sur-
prise or even shock the listener. Two or all three
THE SONA. TA-ALLEGRO 153
of the elements mentioned in the question may
combine to produce this result.
4. Is the movement compact or diffuse in style?
Sometimes, as in Beethoven’s Fifth Symphony
(first movement), the ideas are very closely
packed together and tersely expressed. Again,
as in most of Schubert’s sonatas, there is a ten-
dency to wander on, especially in the develop-
ment, to great length.
5. Is strength or sweetness the predominant fac-
tor?
A composition may be stern or even harsh in its
harmonies and yet impress us by its vigor and in-
tensity of meaning. On the other hand, one that
is merely pleasing in style is apt to lack the more
enduring qualities. Occasionally a composer such
as Beethoven, for instance, has the rare genius to
combine strength and sensuous beauty in equal
proportions.
6. How does this compare with a similar com-
position?
F: COMPOSER
1. What are the principal details of his life?
2. Mention some of the traits of his character.
Great music is always the expression of the life
and inner thoughts of its composer. In a musical
work, therefore, we may expect to find a reflection
of the composer’s nature: his sunny, profound,
intellectual, or passionate disposition, and even
his daily habits, as reflected in the methodical,
careless, impetuous or slowly-matured style of his
works.
154 MUSIC APPRECIATION
3. What kinds of compositions did he chiefly
write?
J. How does his work compare with that of his
contemporaries?
In every epoch there are two classes of com-
posers: those who are simply following in the foot-
steps of their predecessors, and those who are
striving after new and original methods. Often
a composer, starting out as a member of the first
group, has eventually joined the second, or is at
least greatly influenced by their ideas.
EXAMPLES OF TYPE VII
Number the measures as described under Examples of Type 1.
I
FIRST MOVEMENT FROM SONATA IN F MAJOR
(No. 20 in Peters’ Edition) ...”
Francis Joseph Haydn, 1732–1809
A: GENERAL FACTs
1. In F major.
2. The divisions are as follows:
Exposition, measures 1-46;
Development, measures 47-85;
Recapitulation, measures 86-127.
3. Throughout, the movement is in % IOlea,S-
ure. The tempo as indicated is allegro moderato
(moderately fast), and this tempo remains un-
changed.
B: THE EXPOSITION
1. There is no introduction.
2. Clearly defined phrases and a final authentic
cadence characterize the first subject, which oc-
cupies twelve measures.
THE SONA. TA-ALLEGRO 155
3. Instrumental, by reason of its irregular
rhythms, melodic leaps and detached groups of
notes.
The first phrase-unit, four measures long, has
this melody in the upper voice:
A sketch representing the variations in rhythm
and pitch in this melody gives the following ir-
regular outline:
# -
Embellishments of the above figures occur when
they are repeated in the succeeding measures.
4. Simple, detached chords, suggesting tonic
and dominant harmony:
and melodic groups, constitute the accompaniment
to the melody in the upper voice.
5. There is a transitional passage, a little over
eight measures in length. -9–===
6. A sportive figure: 5 *
I 56 MUSIC APPRECIA TION
derived from the first subject in its embellished
form, plays about during the key-changes in the
transitional passage, which leads joyously up to
the second subject.
7. Save for a short incursion into the key of
A-flat major (measures 29–31), the second subject
remains constantly in C major, the dominant of
the tonic key, F major.
8. Measures 21-28 include the first division,
while the second division, beginning in measure
29, extends through the first beat of measure 44.
Measures 44-46 constitute a brief ending (or
codetta).
9. Like the first subject, the second subject is
light and gay in mood. Its melody, however, is of
a more rippling character.
10. The final decisive cadence in C major
which ends the exposition is rendered more em-
phatic by the pedal tone C, which underlies the
last three measures.
C: THE DEVELOPMENT
1. We may distinguish three divisions in the
development, the first comprised in measures
46–60, the second in measures 61-77 and the third
in measures 77–85.
2. Beginning in C major, the development
passes through several transient modulations, ar-
riving at the key of A major in measure 60. Re-
garding the final chord in this key as the domi-
nant of D minor, Haydn then proceeds in the
latter key, which is observed until measure 77.
Several other keys are then touched upon, until
the development rests on the dominant seventh of
F major.
THE SONATA-ALLEGRO 157
3. Four measures of the first subject open the
development, after which the playful figure made
from this subject is imitated in various voices:
51 53 54
The passage beginning in measure 60 is derived
from the transitional passage in the exposition.
4. In measures 54–57 a
running figure occurs, thrice
repeated in sequence:
Brilliant passage work, be-
ginning in measure 68, con-
tinues to the end of the development.
5. New keys are employed for the first subject,
which appears in C major, and for the portion de-
rived from the transitional passage (see 3 above),
which appears in D minor. Imitative use of a
leading figure has been noted in the preceding
answer. The brilliant passage beginning in meas-
ure 68 constitutes a kind of expansion of the pre-
ceding material.
6. Interest is stimulated by the use of new keys
and figures, and especially by quickening the notes
and expanding the compass in the bravura passage
into which the development is finally resolved.
7. A vague and airy effect is imparted to the
dominant seventh chord, with which the develop-
Inent closes:
158 MUSIC APPRECIATION
which leaves the
hearer with a long-
ing for the chord
of F major that
immediately fol-
85 lows.
D: THE RECAPITULATION
1. No change occurs until the eleventh measure
of the first subject, which closes abruptly on the
dominant chord: <-
2. Since the
first subject is =
made to lead di-
rectly to the sec-
ond subject, the
transitional passage is entirely omitted.
3. While the second subject occurs regularly
in the key of F major, there are some interesting
changes in its structure. A new piece of passage-
work runs through measures 101-110, underscored
in the last six measures by a prolonged trill on C.
There is no change of key such as took place in
measures 29-32 of the exposition. The last part
of the subject is, however, strictly regular.
4. Except for the change of key to F major,
the ending observes the same formula as in the
exposition, without additional coda.
95
E: STYLE
1. Light-hearted gaiety is the prevailing mood
throughout. In this case the two subjects present
merely phases of the same mood, and not radic-
ally contrasting emotions.
THE SONA. TA-ALLEGRO 1.59
2. In its varied wanderings, the development
reaches the first goal triumphantly in measure 60,
where it rests on the chord of A. From a quiet
beginning in the passage which follows, a more
complex and vivid journey ensues, finally cul-
minating on the first note of measure 77. This
climax is still further emphasized by a series of
chords and runs over an insistent bass (measures
77-83). The two final measures of both exposi-
tion and recapitulation form a climax to what
precedes them. *
3. Grace and variety is afforded by the
rhythmic and melodic alteration of the initial
figure from
Notice how the climax is reinforced by the syn-
copated rhythms in measures 77-83, also how the
effect is further emphasized by the accented chords
on the dominant:
ey o
Jºffé
79
Another interesting harmonic coloring is afforded
by the change to A-flat in measure 29.
4. Simplicity and directness of expression char-
º
160 MUSIC APPRECIATION
acterize the whole movement. All details aid
toward the unfolding of the musical thought,
which is unified by constant references to the chief
subjects.
5. No great depths of passion are sounded; yet
the movement has a youthful vitality and rhythmic
force that is joined to constant grace of motion.
6. This question will be treated under the next
example.
F: COMPOSER
1. Francis Joseph Haydn was born in the
Austrian village of Rohrau on March 31, 1732.
His parents were peas-
ants. Marked as a
musician from early
childhood, he became
a choir boy in a neigh-
boring town, and
eventually at St. Ste-
phens Cluuicli, Vieuria.
After his dismissal
from the latter posi-
tion, in 1748, he
suffered the usual
hardships of an impe-
HAYDN cunious and strug-
gling artist; but
finding appreciative patrons in the wealthy
Hungarian family of the Esterhazys, he remained
the leader of their musical establishment for many
years. Except for two notable journeys to Eng-
land, his old age was passed in Vienna, where he
was held in high esteem. He died there on May
31, 1809.
THE SONA. TA-ALLEGRO I61
2. Haydn was the possessor of a simple, kindly
nature, which was expressed in his devotion to his
friends and his unfailing fund of humor. His
scrupulous care in manners and dress extended
itself also to his compositions, which are models of
good taste in materials and structure.
3. Sonatas for piano and for other instruments,
string quartets and Symphonies are his chief instru-
mental works, while songs, operas and choral works
reach their culmination in his two oratorios, -
The Creation and The Seasons.
4. In perfecting the great classic forms of in-
strumental music, Haydn accomplished the result
for which his predecessors had long been striving.
He thus prepared the way for his younger contem-
porary, Mozart, whose genius enabled him to grasp
and enlarge upon what Haydn suggested. Thus
while Mozart writes with more elegance and emo-
tional variety, Haydn writes in a vigorous, op-
timistic vein that is always both healthful and
inspiring.
II
FIRST MOVEMENT FROM SONATA
Op. 13 (Pathétique)
Ludwig van Beethoven, 1770–1827
A: GENERAL FACTs
1. In C minor.
2. The divisions are as follows:
Introduction, measures 1-10 (10 measures);
Exposition, measures 11-132 (122 measures), repeated;
Development, measures 133-194 (62 measures);
Recapitulation, measures 195-294 (100 measures);
Coda, measures 295-310 (15 measures).
162 MUSIC APPRECIATION
3. In the introduction, also in the interludes
(measures 133-136, 295-298) the measure is quad-
ruple (C), and the tempo is indicated by the word
grave (very slow and dignified). In the main body
of the movement, however, the measure is duple
(Ö), and the tempo is allegro di molto e con brio
(very fast and vivacious).
B: THE EXPOSITION
1. It is the character of the introduction which
justifies the title of Pathetic Sonata for the whole
of this work. Deep melancholy, interrupted by
passionate outbursts of grief, is the prevailing
mood. The leading motive: _0, _s =
often reiterated, leads to a cli- #EEEEEEEEEE
max in measure 9, whence the
music flutters down, finally poising on A-flat be-
fore plunging into the first subject of the Allegro.
Twice does the theme of the introduction return
in interluding passages (see A: 3 above); while it
is referred to also in measures 140-143 and 146-149.
2. Sixteen and a half measures (measures
11-27) are occupied by the first subject, which
breaks off on the dominant chord as the impetuous
rhythm of the next passages enters abruptly.
This subject consists of four unit phrases of ap-
proximately four measures each. -
3. A compass of two octaves, together with the
irregular rhythms, testifies to the instrumental
character of the first subject. Consisting of an
ascending scale in detached notes, the melody of
the first phrase ends with a note that also begins
the second phrase:
1* *** - sº
THE SONA. TA-ALLEGRO 163
This melody has the following outline:
II 12 13 14 15
4. Much of the melodic subject is over a long
rolling pedal note on the tonic, C. In general, the
harmony is on conventional lines, with occasional
chromatic alterations.
5. Beginning in measure 27, the transitional
passage lasts through measure 50,—twenty-three
and a half measures.
6. An assertive octave G is twice followed by
brilliant downward arpeggios; after which come
Several modulatory phrases that contain reminis-
cences of the first subject. Meanwhile the rolling
bass rises chromatically from G to B-flat (measures
35-43) that fades away as it prepares for the en-
trance of the second subject (measures 49–50).
7. We find the second subject entering in E-flat
minor instead of E-flat major, as would regularly
be the case. A change to D-flat major occurs
in measures 63-75, after which several transient
modulations bring us to the regular key of E-flat
major (measure 89), which continues to the two
final chords of the exposition.
8. There are three divisions, the first extending
through measures 51-88, the second from measure
164: MUSIC APPRECIATION
88 through the first beat of measure 113, and the
third from the second beat of measure 113 through
measure 132. This last division, with its sugges-
tions of the first subject (measures 121-125), has
the effect of a closing passage.
9. A lighter, more joyous mood pervades the
first division of the second subject, with its tripping
figure that dances gaily about the accompaniment,
quickly bounding from bass to treble register:
2T,
Ap —= I- - i. -E-I etc.
sº 53° 53° 54° ºf §
A greater earnestness is found in the second
division, however, with its persevering climax that
breaks into brilliant passage work in the third
division.
10. Each of the two endings arrests the atten-
tion upon a chord that points inevitably to what is
to follow: the first ending upon the dominant
seventh of C minor and the second ending upon the
dominant seventh of G minor.
C: THE DEVELOPMENT
1. After the interlude (measures 133-136) we
may distinguish two divisions, the one comprised
in measures 137-167, and the other in measures
167–194.
2. Starting in G minor, the interlude modu-
lates to E minor, in which the development proper
begins.
Several short modulations lead to a long passage
over a persistent G, which, as dominant, points
THE SONA. T.A-ALLEGRO 165
steadily to the return of the first subject in the
tonic key, C minor (measure 195).
3. Appearing in the interlude, the theme of the
introduction is heard again in measures 140-143
and measures 146-149 (see B: 1 above), alternat-
ing with snatches derived from the first subject.
Fragments of the latter figure mount up in the
lower part against rolling tones in the upper regis-
ter (measures 149-159). In measures 171-173 and
179-181 other references are made to the first sub-
ject.
4. An arpeggio figure grumbles like distant
thunder in measures 167–171 and again in measures
175–179:
168 170 171
Noticeable also is the wide separation of parts
where the flute-like treble sports about over the
distant bass:
%2 -->
--~~
Ji
$f
#
5. Material from the transitional passage
(measures 35–45), that was originally derived from
the first subject, is played upon during the first
division of the development, appearing in various
keys and (measures 149-159) reversing its position
relative to the accompaniment, since it occurs in
the lower register with the waving octaves above.
tº #
113
166 MUSIC APPRECIATION
Some of the melodic intervals of the first subject are
widened in measures 171-173 and 179-181.
6. Growth in interest is stimulated by changes
of key, new presentation of former materials, and
especially by the passage over the bass G, in which
the higher voices mount steadily upward over a
wide compass and in emphatic rhythms.
7. By the long, waving run, which descends
through a compass of four and a half octaves,
until it reaches its goal in the bass C.
D: THE RECAPITULATION
1. Through twelve measures the first subject
is presented exactly as in the exposition. In the
thirteenth measure, however, (measure 207) it
modulates into new regions.
2. Taking its cue from the descending chords
of the first subject, the transitional passage arrives
through several groups of these at the chord of
C major. Although its material is quite different
from that of its companion passage in the exposi-
tion, the ending is simi- a
lar, with its alternating #EEEEEEEE
B, C, B, C, etc: v. Hºw ºw-w
3. The second subject enters in F minor instead
of C minor, as we might expect. C minor is
reached in measure 237, however, and this key is
retained through the regular succession of the
second and third divisions.
4. A pause on a dissonant chord (measures
293-294) ushers in another four-measure interlude
in the style of the introduction, after which the
first subject rushes impetuously on, until it ex-
plodes in a series of violent crashes.
| I I I-
|
THE SONA. TA-ALLEGRO 167
E: STYLE
1. Deep melancholy, voiced in the introduc-
tion, remains as a background for the conflict
between the vehement impulsiveness of the first
subject and the tender lightness of the second
subject. - -
2. Yes, toward the end of the development
(measures 180-187), and in the final passage.
3. Beethoven’s fondness for scale melodies is
shown in the first subject, which begins with the
scale of C minor with its third omitted:
ir-H-fie—º- 13 * 14 15
A fine effect is produced by the chordal descent
from this climax against a rising wave of tone in
the bass.
16 17
Other important effects have already been
touched upon.
5. Strength and sweetness are admirably con-
trasted and blended.
6. Compared with the movement from the
Haydn Sonata (Example I), this composition is
more spirited and contrasted in its moods, and
more profound in thought. While Haydn ex-
presses mere joy in beauty of sound, Beethoven
deals with the deeper emotions of hope or despair.
168 - MUSIC APPRECIATION
F: COMPOSER
1. Among the Viennese group of composers
who lived in the later eighteenth and early nine-
teenth centuries, by far the greatest was Ludwig
van Beethoven, who was
born at Bonn-on-the-
Rhine, December 16,
1770. His father, a tenor
singer, was his first mu-
sic teacher. Attracting
the attention of influen
tial people through his
remarkable musical gen-
ius, he was sent to Vienna
in 1792. After study will
IIaydn and others and
some concert appearanc-
es, he devoted himself for
the rest of his life main-
ly to composition. The
care of an ungrateful nephew and an ear trouble
which finally resulted in total deafness united with
money difficulties to make many of his latter days
miserable. He died in Vienna on March 26, 1827.
2. Often uncouth in appearance and thoroughly
improvident in worldly matters, Beethoven yet
possessed a nobility of character that is reflected
in the intense and lofty style of his works. A
devoted lover of nature, he sought much of his
inspiration from fields and hills. Like Haydn,
he was ever ready for a joke; and like him again,
he was a loyal friend to the circle of those intimates
who valued him for the intrinsic qualities which
they had the insight to recognize.
3. Beethoven was primarily an instrumentalist,
BEETHove N
-
THE SONA. TA-ALLEGRO 169
w
and his greatest achievement is in his nine orches-
tral symphonies. In the list of his compositions
are also found works for piano alone or in combina-
tion with other instruments, string quartets, over-
tures, choral works and one opera.
4. No one of Beethoven’s contemporaries, with
the possible exception of Schubert, is worthy of
comparison with him. Beginning where Haydn
and Mozart left off, Beethoven elevated music
from a merely formal art to a medium of intense
expression.
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
First movement of each of the following:
BEETHovEN: Grade
Sonata, Op. 2, No. 1, in F minor . . . . . . . . . . . . . . . IV
Sonata, Op. 10, No. 1, in C minor . . . . . . . . . . . . . . . . . . . . . IV
Sonata, Op. 10, No. 2, in F major . . . . . . . . . . . . . . . . . . . . . IV
Sonata, Op. 10, No. 3, in D major . . . . . . . . . . . . . . . . . . . IV–V
Sonata, Op. 14, No. 1, in E major . . . . . . . . . . . . . . . . . . . . . IV
Sonata, Op. 14, No. 2, in G major. . . . . . . . . . . . . . . . . . . . . IV—V
!-Sonata, Op. 31, No. 3, in E-flat major . . . . . . . . . . . . . . . . . V
Sonata, Op. 49, No. 2, in G major . . . . . . . . . . . . . . . . . . . . III
Sonata, Op. 53, in C major. . . . . . . . . . . . . . . . . . . . . . . . . . . VI
Sonata, Op. 57, in F minor. . . . . . . . . . . . . . . . . . . . . . . . . . . VI
Sonata, Op. 90, in E minor . . . . . . . . . . . . . . . . . . . . . . . . . . . V
CHOPIN: Sonata, Op. 35, in B-flat minor . . . . . . . . . . . . . . . . . . . VI–VII
CLEMENTI: Sonata, Op. 36, No. 4. . . . . . . . . . . . . . . . . . . . . . . . . III
GRIEG: Sonata, Op. 7, in E minor . . . . . . . . . . . . . . . . . . . . . . . V–VI
HAYDN: Sonata, No. 2, in E minor (Peters’ Edition). . . . . . . . III
Sonata, No. 3, in E-flat major & “ . . . . . . . . . . IV
Sonata, No. 5, in C major & 4 “ . . . . . . . . . . III–IV
Sonata, No. 7, in D major & & “ . . . . . . . . . . III–IV
Sonata, No. 11, in G major & 4 “ . . . . . . . . . . III
KUHLAU: Sonatinas, Op. 55, Nos. 1 and 2. . . . . . . . . . . . . . . . IV
MACDOWELL: Norse Sonata, Op. 57 . . . . . . . . . . . . . . . . . . . . . VI-VII
Keltic Sonata, Op. 59 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VI–VII
170 MUSIC APPRECIATION
Grade
MozART: Sonata, No. 5, in F major (Peters' Edition) . . . . . . . III–IV
Sonata, No. 14, in G major -- “ . . . . . . . . . . III–IV
Sonata, No. 15, in C major -- “ . . . . . . . III
Sonata, No. 18, in C minor -- “ . . . . . . . . V
Schubert: Sonata, Op. 120, in A major . . . . . . . . . . . . . . . . . . . IV-V.
Schuman N: Sonata in G minor, Op. 22. . . . . . . . . . . . . . . . . . . . VI
Schuman N: Sonatina, Op. 1186 . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
SUPPLEMENTARY READINGS
GoFTschius: Lessons in Music Form, Chapter 17
The Larger Forms of Musical Composition, Division 3.
GRove’s DICTIonARY: Article, Sonata.
HAMILTON: Outlines of Music History, Chapter 6, Chapter 7, Section 1.
MAcPHERson. Form in Music, Chapters 14, 15, 16.
SHEdlock: The Pianoforte Sonata.
º
º º
BEEThoven's PIANo, IN Bonn
TYPE VII-A
THE MODIFIED SONATA-ALLEGRO
FOREWORD
It often happens that a composer, wishing to
avoid the more complex details involved in the
sonata-allegro form, virtually does away with
the development division, following the exposi-
tion immediately by the recapitulation. Since
this modified form is frequently used for the first
movement of a sonatina (or little sonata), it is
sometimes called the sonatina form. It is also
applicable to slow movements of Sonatas, or other
lyric pieces, in which the development of the two
subjects would be out of keeping with their purely
melodic character. Operatic overtures also some-
times adopt this structure.
To analyze a piece in modified Sonata-allegro
form, follow the Questions given under Type VII,
omitting those which refer to the development
(Section C).
EXAMPLE
MoLTO ADAGIO FROM SONATA, OP. 10, No. 1
Ludwig van Beethoven, 1770–1827
A: GENERAL FACTS
In A-flat major.
2. Exposition, 44 measures.
Development, I measure (measure 45).
Recapitulation, 45 measures (measures 46-91).
Coda, 22 measures (measures 91-112).
I
171
172 MUSIC APPRECIATION
3. * measure and a very slow tempo (molto
adagio) prevail throughout.
B: THE EXPOSITION
1. There is no introduction.
2. Four evenly-balanced phrases of four meas-
ures each constitute the first subject.
3. It consists of a song-like melody, with fre-
quent graceful embellishments. In the first unit-
phrase this melody proceeds as follows:
or, sketched in outline, it may be thus represented:
: 3
! ! ; i i
I 2 3 4. 5
4. Quiet, rich chords support the first eight
measures. These are resolved into a smoothly-
flowing part in sixteenth notes through the last
eight measures.
5. A transitional passage of seven measures
connects the two subjects.
6. The transitional passage, made up of pairs
of measures that alternate brilliant with soft ef-
fects, is in somewhat startling contrast to both
subjects.
7. In the key of the dominant, E-flat major,
which continues to the end of the exposition.
8. There are no definite divisions.
THE MODIFIED SONA. TA-ALLEGRO 173
9. Beginning in the same tender accents, the
second subject mounts up to a high register, be-
coming more joyous and active as it progresses.
10. It ends definitely.
C: THE DEVELOPMENT
This is represented by a single chord (measure
45), on the dominant of A-flat, to which it leads.
D: THE RECAPITULATION
1. There are slight additions, such as these
connections between measures:
•+ |-}-
46 47 48 49
and the imitative bass part in measures 50-53.
2. It is two measures longer. Measures 65-70
wander through rich, low chords into vague keys,
returning, however, to the dominant seventh of
A-flat, on which the second subject begins.
3. It is quite regular.
4. There is a coda, in which the first subject
takes new and delightful turns over a syncopated
accompaniment that involves new melodic parts.
A peaceful ending dies away slowly on the descend-
ing tonic chord.
E: STYLE
1. As befits its lyric character, the movement
voices but a single mood, that of Serenity and hope.
174 MUSIC APPRECIA TION
2. Toward the close of the exposition and the
recapitulation occur the points of greatest in-
tensity.
3. The contrasts, in the transitional passage
present interesting phases of all these elements:
f jº
17 19° 20 T
4. While there is no haste in the progress of the
thought, its concentration is apparent.
5. Perhaps tenderness is the prevailing factor,
although Beethoven’s dramatic virility speaks in
such passages as the one just quoted (see 3 above).
6. The underlying feeling of strength may be
best appreciated by comparing this movement with
No. 1 of Zwei Clavierstücke, by Mendelssohn, which
is written in the same form, but with less contrast
of style. •
F: COMPOSER
See Example II, F, under Type VII, (page 168).
OTHER COMPOSITIONS OF THIS TYPE
Grades from I to VII are indicated by Roman Numerals
BEETHovKN: Sonata, Op. 31, No. 2, Adagio movement . . . . . V
BEETHovKN: Andante espressivo, from Sonata, Op. 81a. . . . . . . IV-V
ECUHLAU: Sonatina, Op. 20, No. 2. First and last movements III-IV
MENDELssohn: No. 1 of Zwei Clavierstücke . . . . . . . . . . . . . . . IV
MozART, : Sonata in F major, No. 6 (Peters’ Edition), Adagio
movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SCHUBERT: Sonata, Op. 122, Andante moderato . . . . . . . . . . . IV-V
SUPPLEMENTARY READINGS
Add to references under Type VII
GOETschi Us: Lessons in Music Form, Chapter 16.
MACPHERson: Form in Music, Chapter 17, (1).
TYPE VIII
THE RONDO
FOREWORD
An old form of folk-song consisted of a simple
chorus, sung by a number of people in unison, after
which one of the performers extemporized a solo.
The chorus was then sung again, and was followed
by a second solo, extemporized by another per-
former. This process was continued as long as
was desired, the chorus always singing the same
melody, while each solo was varied in words and
music.
We have here the origin of the classic rondo
(or round), so-called because the music invariably
came around again to the melody announced at the
beginning. It should be observed that the three-
part forms which we have already considered are
really germs of the rondo, since the third part in
these forms is virtually a repetition of the first
part.
For the present, however, we shall class as
rondos only those compositions in which the
principal subject occurs at least three times.
Accordingly, the simplest formula for the rondo
will be:
Al B A* C A8,
in which A represents the principal subject, while
B and C represent the intervening divisions, or
episodes, as they are called. Similar divisions,
such as D A*, may be added, although as a pre-
175
176 MUSIC APPRECIATION
caution against monotony the appearances of the
principal subjects are usually limited to four or
five. Generally, too, the rondo closes with a
coda.
In addition to the simple rondo, just described,
a more highly organized type was developed by
Beethoven, especially for use in the concluding
movement of his sonatas, in which the sonata-
allegro form was combined with the simple
zondo form. This higher rondo form, or sonata-
Tondo, begins with the exposition of two subjects, as
in the sonata. The first theme then recurs in the
tonic key, as in the rondo, after which a new and con-
trasting division takes the place of the development.
The recapitulation and coda follow, as in the sonata-
allegro form. Here is the formula:
A*, Principal Subject, in tonic key;
B', Second Subject, in contrasting key;
A*, Principal Subject, in tonic key;
C, New division;
A*, Principal Subject, in tonic key;
Bºond Subject in tonic key; !nºwrun
OCl3,
} Eacposition
A: GENERAL FACTs
1. In what key is the piece written? Does the
key-signature change in the course of the piece?
Modulations may, of course, take place without
a change of key-signature. The latter is generally
used only when a new key is introduced for an
entire large division.
2. What is the tempo-sign and the measure-
signature? Do either of these change?
Many rondos are written in a light, free style,
with rather fast tempo. There are rondos, how-
ever, of a slow and serious character, as may be
THE RONDO - 177
seen in the Adagio cantabile of Beethoven’s Sonata,
Op. 13, which is in the simple rondo form.
3. Is the piece in the form of the simple rondo
or the somata rondo?
There may be more than one subject in the
simple rondo form. In order, therefore, for a
rondo to be in the higher form, it is necessary that
a second subject appear at least twice, first in a
contrasting key and lastly in the tonic key, as was
explained in the Foreword.
4. What is the letter formula for the rondo? Show
the length of each division.
Regularly, the secondary appearances of the
subject are in the same form and key as at first.
Sometimes, however, the subject is abbreviated
by the omission of the latter part, or by the elimina-
tion of repetitions. To determine the length of
the subject, therefore, examine it each time that
it occurs, adopting the boundaries which seem
most consistent. (For the structure of the sub-
ject, see B: I below).
5. Is there an introduction? If so, how is it
related to the main body of the piece?
Introductions are seldom found except in the
works of the later writers of rondos, such as Men-
delssohn and Chopin.
B: THE PRINCIPAL SUBJECT
1. What is the form of this subject?
In the works of eighteenth century writers the
rondo subject was generally very short, consisting
of a single period made of two balancing phrases.
Later on, however, we find subjects in two-part
or even three-part form.
178 MUSIC APPRECIATION
2. What is the character of the melody?
A rondo subject differs from the principal sub-
ject of the first movement in sonata-allegro form
in that it is more flowing and tuneful in style, and
less easily resolvable into characteristic figures for
development. The tune may be sprightly and
highly embellished; or it may be of a sustained,
lyric character.
3. What is the compass of the melody?
Animated subjects naturally travel over a wider
compass than subjects of a more subdued nature.
4. How long is the unit-phrase, and what is the
rhythm of the first phrase? Is this rhythm repeated
in a balancing phrase?
For the explanation of phrases and their various
groupings, see Preliminary Questions, Nos. 17
and 18 (pages 24, 25). *
5. What kind of an accompaniment has the
principal subject? -
Since the melody is the most important feature,
the accompaniment is generally slight in texture,
voicing conventional harmonies.
6. Eacamine the other entrances of the subject.
Are these precisely the same as on its first appear-
ance? If not, what are the points of difference?
In the later occurrences of the subject, especially,
the composer often introduces variants, in order
to whet the interest of the listener. Such variants
are of a subtle nature, consisting of a more rapid
accompaniment, embellishments or imitations of
the melody, etc.
C: EPISODES AND CodA
1. What is the prevailing key in each of the
episodes?
THE RONDO 179
The first episode is generally in a nearly related
key, the second in a key more remote, and so on.
2. What part of each episode is purely transi-
tional, and what part presents new themes?
New subjects are introduced according to the
length and scope of the piece. In a simple rondo
each episode may represent merely a slight di-
gression from the principal subject, to which it
promptly returns. In a more pretentious rondo,
however, one or more new subjects may engage
the interest. We have observed (see Foreword)
that in the Sonata-rondo form the second subject
plays an important part, and that a third subject
may usurp the place of the development.
3. Are there references to the principal subject in
any of the episodes, and if so, how are these references
introduced?
Sometimes the principal subject apparently
enters during an episode, but in a foreign key.
Such a false entrance must not be counted as
another A division, in which the subject is always
in the tonic key.
4. Point out any especially striking passages in
the episodes. What particular feature is involved
in each of these?
Each episode may be considered as a little
journey taken from one’s home, to which a return
is finally made. Points of interest, such as un-
usual harmonies, dramatic climaxes, clever mel-
odic turns, etc., tend to enrich the musical values
and to add the charm of adventure to the experi-
ence of the listener.
5. Is there a coda? If so, of what is it composed?
Since the coda is intended to collect and em-
phasize the scattered threads of the narrative, we
180 MUSIC APPRECIA TION
may expect it to contain references to the principal
subject or to important events that have transpired
in the course of the composition.
D: GENERAL STYLE
1. What is the mood of the principal subject?
How does it compare with that of each of the episodes?
A central mood or character is given the rondo
by its principal subject; and this mood is em-
phasized by the new point of view broached by
each episode. The first episode may show but
slight contrast from the subject; but in the second
episode this contrast is generally increased. Ad-
verse elements are finally brought into harmonious
relations in the coda.
2. Is the composition as a whole soothing or
stimulating? Give an illustration of either effect.
While a flowing style is usually associated with
our conception of a rondo, it is quite possible for
the composer to excite the listener continually by
animated rhythms, melodic leaps, etc.
3. Cite any dramatic effect which occurs in the
course of the piece.
Even in a quiet composition, the composer often
introduces some unexpected turn to vary the
monotony.
4. Are the harmonies conventional? How are
they treated in the accompaniment?
Much depends upon the composer’s skill in the
treatment of the accompaniment as a means of
enlisting and retaining the auditor's interest. An
underlying unity of style must, however, be
apparent.
THE RONDO * 181
5. Are there imitative effects? If so, cite eac-
amples.
Interesting turns are often given to the music
when an upper voice is mocked by a lower one, or
when a previously-heard strain sounds out in an
unexpected place.
6. Compare this with a similar composition.
E: COMPOSER
1. Give dates and places of his birth and death.
What events in his life especially influenced his
ſmusic?
External circumstances often exert a powerful
influence on a composer’s career. Haydn’s en-
gagement with the Esterhazy family, for instance,
instigated a long line of orchestral compositions
demanded by his position as leader of a prominent
musical establishment. Schumann directed his
attention solely to composition as the result of a
lameness of his fourth finger, caused by a foolish
experiment designed to strengthen the finger-
chord.
2. If the composer is well-known, mention several
compositions for which he is famous.
A composer's reputation with the public at large
generally rests upon surprisingly few of his works.
Beethoven’s Fifth Symphony and Moonlight Sonata,
Handel’s Messiah, Mendelssohn’s Songs Without
Words,-these are the titles which the composers’
names conjure up in the mind of the average music
lover.
3. Quote an estimate of the composer as a musi-
cian, giving the authority.
Musical biographies, histories or essays may be
consulted for such a quotation.
I82 MUSIC APPRECIATION
EXAMPLES OF TYPE VIII
Number the measures as described under Examples of Type I.
I
RONDO MOVEMENT FROM SoNATA IN C MAJOR
(Köchel edition, No. 279; Peters’ edition, No. 15)
Wolfgang Amadeus Mozart, 1756–1791
A: GENERAL FACTs
1. C major. The key-signature does not
change.
2. The tempo sign is Allegretto, signifying a
rather fast pace. Duple measure (#) is indicated.
3. This piece is in simple rondo form.
4. The divisions are as follows:
A*, 8 measures (repeated).
B, 12 measures (measures 9-20).
A*, 8 measures (measures 21–28).
C, 24 measures (measures 29–52).
A*, 8 measures (measures 53–60).
Coda, 13 measures (measures 61-73).
5. There is no introduction.
B: THE PRINCIPAL SUBJECT
1. This is in period form, made up of two
balancing phrases of four measures each, thus:
Allegretto_ Question phrase
| - e
mf
THE RONDO I83
Answer.
4 5.f 6 7
2. It is sprightly and pianistic, with contrasts
between staccato and legato passages.
3. A ninth, extending within +==
these limits: # e–H
4. The unit-phrase is four measures long. In
the first unit-phrase we have the following rhythm:
# T. L., T. L. Fºlºr:17;
This rhythm is repeated in the next four meas-
ures, except that the last three sixteenth notes are
omitted.
5. Imitations of the upper voices constitute
the accompaniment part in the first two measures
of each phrase, while in the remaining two meas-
ures the accompaniment merely suggests the
underlying harmonies.
6. There are no variations in the presentation
of the subject on its different appearances, except
that it is repeated only the first time that it occurs.
C: EPISODES AND CODA
1. Episode B is mostly in G major, and Epi-
sode C is in a A minor.
2. Both episodes are almost wholly transitional
in character.
3. Measures 12–16, in Episode B, contain a
paraphrase of the principal subject, while refer-
184 MUSIC APPRECIATION
ences to the three-note staccato figure of the subject
are heard repeatedly in Episode C, first in one voice
and then in another.
4. At the end of Episode B the light downward
chromatics prepare the mind of the auditor for the
reéntrance of the subject. Pairs of notes in se-
Quence lend especial delicacy to these passages in
Episode C:
5. A continuous running passage, the material
for which is derived from what has preceded,
carries the coda on swiftly to a brilliant close.
D: GENERAL STYLE
1. Light-hearted gaiety is the prevailing mood
of the whole composition. This mood is slightly
intensified in Episode B, takes a more serious view
of life in Episode C, and becomes riotously happy
in the coda.
2. Though the insistent rhythms are stimulat-
ing in their effects, the rondo as a whole is of a
delicate and fanciful nature which soothes, rather
than excites the listener. Passages like the follow-
ing, in which the melody flows in graceful curves,
appeal primarily
to the pure sense
of beauty:
3. The insistent
figure in measures
48–50 becomes
THE RONDO 185
more impetuous, until it is abruptly broken
off for the return of the principal subject:
^
51. 52
49 50
4. Simple harmonies are employed throughout.
Occasionally these are merely suggested in the
lower part (see B: 5 above); while at other times
the chord-tones appear in quick succession, as in
the passage just quoted (see preceding paragraph).
The latter form of accompaniment, which is
called the Alberti bass from an Italian composer
who is credited with its invention, was very popular
in Mozart’s time.
5. The imitations in the principal subject have
already been cited (see B: 5 above). This same
figure, sounding in the bass of measures 28–30, is
immediately imitated in the upper voice (measures
30–32). A similar effect occurs in measures 40-44.
6. This question will be treated under the next
example.
E: COMPOSER
1. A continuous musical atmosphere sur-
rounded the early life of Wolfgang Amadeus
Mozart, who was born in Salzburg, January 27,
1756. From the age of three he began to play the
harpsichord, inspired by the example of his sister
Maria Anna, five years older. Both children were
taught by their father, Leopold Mozart, himself
distinguished as violinist and composer, who, when
Wolfgang was six years old, began a series of
186 MUSIC APPRECIATION
several trips with his two “wonder-children,”
during which they astonished the courts of Europe
by their precocious
musicianship.
Thus Mozart's musi-
cal career was influenced
by dilettantes and pro-
fessional musicians in all
the leading countries. In
London, Christian Bach,
one of J. S. Bach’s fa-
mous sons, inspired him
with new ideas; in Italy
he imbibed the Italian
fondness for formal mel-
ody. Later on, at Augs-
burg (1777) he heard and
adopted for use the new
Stein pianos; and at Mannheim (1778) he heard the
most famous orchestra of his day. In the same year
at Paris his study of French opera emphasized his
bent toward dramatic music. We should not
forget to mention, too, his close intimacy with
Haydn, which resulted in mutual musical benefit.
All these early musical influences bore fruit in
the brilliant galaxy of compositions which pro-
ceeded from his pen during his struggles with
poverty and lack of recognition after his marriage
to Constanze Weber, in 1781. He died at Vienna
December 5, 1791.
2. Of his orchestral symphonies, that in G
minor and the Jupiter, in C major (both written
in 1788) are best-known. Most dramatic of his
operas is Don Giovanni (1787 at Prague), the
popularity of which is contested by his comic opera
Le nozze di Figaro (The Marriage of Figaro), pro-
\ THE RONDO 187
duced in Vienna in 1786. Many piano Sonatas,
fantasias and concertos, chamber compositions,
overtures, etc., are also included among his works.
3. “Speaking in general terms, it may be said that the
music of Mozart, if lacking the humor, the homeliness and
the raciness of that of Haydn, exceeds it in grace, in elegance,
and in an exquisite finish, that are entirely his own and dis-
tinguish his writings in a notable degree from those of his
contemporaries.” Stewart MacPherson, Music and its Appre-
ciation.
II
RONDO, LAST MOVEMENT OF SONATA, OP. 13
Ludwig van Beethoven, 1770–1827
A: GENERAL FACTs
1. In C minor. The signature does not change.
2. The tempo sign is Allegro (fast), and the
measure-signature is t (duple, or 3).
3. In the form of the sonata-rondo.
4. The divisions are as follows:
A*, (measures 1-17);
B', (measures 18-61);
A” (measures 62–78);
C (measures 79-120);
A” (measures 121-134);
B” (measures 135-170);
A* (measures 171-182);
Coda (measures 183-210).
5. There is no introduction.
B: THE PRINCIPAL SUBJECT
1. Two four-measure balancing phrases form
the nucleus of this subject. The second phrase is
then repeated, intensified, and is followed by a
kind of peroration, five measures long.
I 88 MUSIC APPRECIATION
2. . A light, tripping style characterizes the
melody, which is instrumental and climactic in
Scope. w
3. The compass is an eleventh, a .#
having these limits: * -----
4. Four measures. The melody
of the first phrase has this rhythm:
*†J. J. Aldº. . .2.
motive motive
A different, but similar rhythm occurs in the
next phrase.
5. Upward octave arpeggios are sometimes ex-
tended and sometimes broken into a zigzag figure.
6. All the entrances of the subject are practic-
ally the same in the first eight measures. A* is
like A* throughout; but in the latter half of A*
the melody is at first transferred to the tenor reg-
ister, after which there is a modulation to C major;
while the latter half of A* is shortened, and varied
by a high running figure.
C: EPISODES AND CODA
1. Episode B" quickly modulates from F minor
to E-flat major, in which it remains for the most
part until it finally returns to C minor. Episode
C is in A-flat major, returning to C minor at the
close; and Episode B" is mainly in C major.
2. Episode B" presents two new themes in
measures 25–33 and 44-51. The rest of this episode
is transitional. Measures 79-105, of Episode C, are
occupied with a new theme, after which prepara-
tion is made for the return of the principal subject.
THE RONDO 189
The new themes of Episode B" reappear in measures
134-143 and 154-167, Episode Bº.
3. The syncopated figure in measures 12 and
14 of the principal subject:
• T=== Es—
–94 ºf fºre, - £ bf. 42.
reappears in measures 25 and 31–32, Episode B",
also in measure 134, Episode Bº. Again, the
rhythm of this figure clothes the contrapuntal
voice in measures 83-84, 87–88 and 91–92, Epi-
sode C.
4. A bustling triplet figure, first heard in Epi-
sode B" (measure 33): a sº T-
and much in evidence #–£–###### É-
Tº Hº Hº
in all three episodes, # %
furnishes an attractive e
contrast to the rhythm of the principal subject.
Slower rhythms and contrapuntal treatment dis-
tinguish Episode C. All three episodes are unified
by the brilliant scale-run with which they finally
usher in the principal subject.
5. In the coda, snatches of the triplet figure are
interrupted by crashing chords, after which this
figure leads to a climax, when the downward scale
emphasizes the dominant chord of A-flat major
(measures 198-202). A fragment of the principal
subject is now quietly presented in this latter key;
and its echo is interrupted by the final abrupt
Scale-run.
D: GENERAL STYLE
1. It is bright and active, notwithstanding the
minor mode in which it is cast. In general, the
episodes are composed of busily flowing interludes
190 MUSIC APPRECIA TION
and more tranquil themes, although each episode
becomes agitated at the approach of the principal
subject.
2. It is stimulating as a whole, since the active
rhythms and leaping figures of the principal subject
predominate. More soothing themes are found in
the episodes, such as that in measures 44-50:
44 45. 46. 47/
3. Intensely dramatic is the rushing downward
scale which appears at the close of each episode and
twice in the coda.
4. There is much strength and variety in the
harmonic structure, in which the chords are well-
balanced and euphonious. The latter are often
broken up for the accompaniment into arpeggio
figures.
5. An interesting example of the sequence oc-
curs between measures 18–21 and 22-25. There
are imitations of the triplet figure in measures
51–56 and 143-149. Especially noteworthy is the
contrapuntal treatment of the theme in measures
79-105, which includes this imitative passage:
95 96 97 98
6. Of the two rondos which we have studied,
the first is evidently much lighter and simpler in
THE RONDO 191
style. While both have brisk, lively themes, the
Mozart rondo sustains throughout an atmosphere
of abstract beauty and grace, while the Beethoven
rondo involves radical changes of mood, dramatic
climaxes and telling color contrasts. Mozart treats
the last movement of his sonata as a playful
jeu d'esprit; Beethoven makes of a movement
similarly placed an emotional and vital peroration
to the entire work.
E: COMPOSER
1. See answers under Type VII, page 168.
Events which reacted on Beethoven’s music were
his early friendships with the von Breuning family
and other influential people; his study in Vienna;
his concert playing; and his various irritating
troubles, such as the care of his nephew, lack of
money and deafness.
2. Among Beethoven's piano works, his Pa-
thetic Sonata, Op. 13 (from which our example is
taken) and his so-called Moonlight Sonata, Op. 27,
No. 2 are perhaps most popular. His Fifth Sym-
phony is the best-known of his orchestral works
(see Type IX-B, Example II, page 291).
3. “Beethoven stands just at the turning-point of the
ways of modern art, and combines the sum of past human
effort in the direction of musical design with the first ripe
utterance of the modern impulse—made possible by the great
accumulation of artistic resources—in the direction of human
expression.”
C. H. H. Parry:-The Evolution of the Art of Music.
[92 MUSIC APPRECIATION
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
SIMPLE RONDO FORM Grade
BEETHov EN: Adagio cantabile, from Sonata, Op. 13. . . . . . . . . . IV
Scherzo, from Sonata, Op. 14, No. 2. . . . . . . . . . . . . . . . . . . IV
Tempo di Menuetto from Sonata, Op. 49, No. 2 . . . . . . . . II-III
Rondo, Op. 51, No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III–IV
Last movement from Sonata, Op. 53 . . . . . . . . . . . . . . . . . . VI
Vivace, from Sonata, Op. 79. . . . . . . . . . . . . . . . . . . . . . . . . III–IV
DUSSEK: Rondo, La Matinee . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
FIELD: Rondo in E-flat major . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
HAYDN: Finale from Sonata in D major, No. 7% . . . . . . . . . . . III-IV
Finale from Sonata in F major, No. 9" . . . . . . . . . . . . . . . III-IV
Finale from Sonata in C major, No. 5* . . . . . . . . . . . . . . . III
HUMMEL: Rondo in C, Op. 52. . . . . . . . . . . . . . . . . . . . . . . . . . . II-III
KUHLAU: Sonatina, Op. 55, No. 1. Last Movement . . . . . . . III
MozART: Rondo in A minor . . . . . • * * * * * * * . . . . . . . . . . . . . . . . IV-V
Last movement from Sonata in F, No. 1*. . . . . . . . . . . . . . IV-V
Last movement from Sonata in C minor, No. 18* . . . . . . . V
SCHUBERT: Last movement from Sonata, Op. 53. . . . . . . . . . . V
SCHUMANN: Grillen, from Op. 12. . . . . . . . . . . . . . . . . . . . . . . . . V
Arabesque, Op. 18. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
SONATA-RONDO FORM
BEETHovKN: Last movement from Sonata, Op. 2, No. 2 . . . . V
Last movement from Sonata, Op. 14, No. 1 . . . . . . . . . . . . V
Allegro, last movement from Sonata, Op. 26 . . . . . . . . . . . V
Rondo, Op. 51, No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
Tast movement from Sonata, Op. 90 . . . . . . . . . . . . . . . . . . V
Von WEBER: Rondo brillant (La Gaieté), Op. 62 . . . . . . . . . . V
SUPPLEMENTARY READINGS
GoFTschi Us: Lessons in Music Form, Chapters 13, 14, 15. The Larger
Forms of Musical Composition, Division 2.
GROVE's DICTIONARY: Article, Rondo.
HAMILTON: Outlines of Music History, Chapter 6, Section 3; Chapter 7,
Section 1.
MACPHERSON: Form in Music, Chapters 12 and 17 (2).
*Peters’ Edition.
TYPE IX
THE SONATA AS A WHOLE
FOREWORD
During the eighteenth century, instrumental
music was widely cultivated in its various branches,
such as orchestral music, string quartets, and music
for solo instruments, especially the piano and
violin. As a result, each of these branches became
gradually more complex and elaborate, taking on
architectural forms, of which the sonata-allegro
(see Type VII) is the most highly organized ex-
ample. Besides such an inward expansion as is
shown in the latter form, however, musical works
were lengthened by the combination of several
pieces or “movements’’ into cyclic (circular)
groups. Cycles of dances grouped in this way had
already been cultivated by earlier composers under
the title of suite (see Type XI). To the more
pretentious cycles written in the eighteenth
and nineteenth centuries, however, several names
were applied, such as the sonata (sound piece),
when the composition was for one or two solo
instruments, for instance, the piano alone or with
violin; the string quartet, when it was for four
stringed instruments; the symphony, when it was
for orchestra; and the concerto, when it was for
one or more solo instruments with orchestra. All
of these forms may be classed together as belonging
to the sonata type.
* 193
194 MUSIC APPRECIA TION
With Haydn and Mozart, the piano sonata
regularly has three movements: the first moder-
ately fast, the second slow and the third, or finale
light and rapid. To the string quartet or sym-
phony a fourth movement in dance style is added
between the slow movement and the finale.
Beethoven applies the four-movement grouping
also to a number of his piano Sonatas.
Our list of questions is accordingly prepared for
the four-movement structure as it occurs in the
classic works. In studying Sonatas which have
but two or three movements, only the questions
which apply to these movements need be regarded.
So also, in considering Sonatas of exceptional struc-
ture, in which the order of movements is changed
or other movements are added, the questions may
easily be adapted to meet the altered demands.
A: FORMAL FACTs
1. How many movements has the sonata?
2. In what key is each of these?
Generally the first movement, the minuetto
(if there be one) and the finale are all in the same,
or tonic key; although the mode may be changed
from major to minor or the reverse. A new key,
more or less remote from that of the other move-
ments, is ordinarily employed for the slow move-
ment. X-
3. In what measure is each of the movements?
Does this measure change in the course of a given
movement?
A. What tempo indication is given for each
movement? Is the tempo radically altered while a
movement is in progress? -
THE SONA. TA AS A PVHOLE 195
Ordinarily, except when there is an introduction
(see Type VII, B: 1), both measure and tempo
remain unaltered. ..
5. How many measures are there in each move-
ſment?
6. What is the time of performance of each
ſmovement?
The time of performance depends upon both the
number of measures and the pace at which the
music is played. A slow movement which con-
tains comparatively few measures, for instance,
may occupy more time than a fast movement
which has many more measures. Much depends,
too, upon the performer's conception of the inten-
tions of the composer, and the amount of liberty
which he consequently takes in his interpretation.
The answer to this question, therefore, must be
only approximate.
Note.—In our present study we shall be occupied chiefly
with the general features of the sonata. For a more detailed
analysis, each movement should be considered under the
special type to 7hich it belongs.
B: THE FIRST MOVEMENT
1. What is its form? Outline the principal divi-
sions.
Nearly all of the first movements of the classic
Sonatas are cast in the sonata-allegro form. As
exceptions, we may mention the first movements of
Mozart’s Somata in A major and that of Beetho-
ven’s Sonata, Op. 26, both of which are in the form
of the air with variations (Type V).
2 What is the nature of the subject or subjects?
If there is more than one subject how are these
subjects related in style?
196 MUSIC APPRECIATION
The possible relations of the two subjects in-
volved in the sonata-allegro form have been
pointed out under Type VII, B, page 148.
3. Is there much thematic development? If so,
what subject-material is thus treated? ;
For the nature of thematic development, see
Type VII, C: 5, page 150.
4. What is the character of the harmony, and
how is it applied in the accompaniment?
Formal, diatonic harmonies, which prevailed in
the earlier sonatas, developed with Beethoven and
his successors into free, rich and modulatory chord
successions. Much of the emotional effect, indeed,
depends upon the composer’s skill in weaving these
harmonies into the texture of the whole.
5. Is the movement in its entirety concise o
diffuse in style?" :
Beethoven’s first movements are models of con-
centration and relevancy of detail. Other writers,
notably Schubert, sometimes wander on to tire-
Some length, especially in the development section.
C: THE SLOW MOVEMENT
1. To what type does the movement belong?
Outline the formal divisions. -
Often the slow movement is based upon the
large three-part form, which is frequently employed
in lyric pieces (see Example II under Type II)
and in which each part may have subordinate
divisions. Other forms are the modified sonata-
allegro form (Type VII-A) and the variation form
(Type V); while the complete sonata-allegro form
(Type VII) and the rondo form (Type VIII) oc-
casionally occur. -
THE SONA. TA AS A WHOLE 197
2. Are one or more formal melodies used as
subjects? Outline the melody at the beginning of the
principal subject.
Since the slow movement is essentially lyric in
character, we may expect to find it based upon
song-like melodies, which, however, may have an
instrumental compass.
3. How does the accompaniment support the
melody?
Accompaniments may range from those which
furnish merely a simple background for the melody
to those which involve an elaborate enrichment of
the entire emotional effect.
4. Are the phrases generally regular in effect,
or are they earpanded or contracted?
While most formal compositions are regulated
by the recurrence of a unit-phrase of a given length
(see Preliminary Question, No. 17), the composer
frequently lengthens his phrase to accommodate a
more important or intense turn of his thought.
Phrases are less often contracted.
D: THE MINUET MOVEMENT
1. What are the principal parts, and what are
their proportionate lengths?
In the time of Haydn and Mozart, the minuet
(a slow dance in } measure), was very popular
in Vienna. It was natural, therefore, that they
should select this dance to introduce into their
larger works of the Sonata type, such as sym-
phonies and string quartets. Eventually the
minuet quickened in its pace, so that Beethoven,
while retaining the same form, sometimes gave it
the name scherzo (jest).
198 MUSIC APPRECIATION
In the minuet (minuetto, menuetto), two dances
of the same kind were combined: the menuetto
proper and the trio, the latter so-called because
it was originally written for three instruments.
Each of these dances might be in either two-part
form (A B) or small three-part form (A* B A*);
and they were combined to effect a large three-part
form, often with coda.
2. What are the rhythms of the first phrases of the
minuet and of the trio? How do these rhythms
compare with one another?
Contrast between these two parts is often gained
by the introduction of a new and interesting
rhythm as foundation for the trio.
3. What is the key-relationship between the prin-
cipal parts (minuet and trio)?
This relationship is usually simple, consisting
often of a change from major to minor, or vice
Q)07"SOL.
4. What prominent figures are found in either
the melody or the accompaniment?
Especially in the trio, the accompaniment is
often composed of a repeated rhythmic or melodic
grOup.
E: THE FINALE
1. To what formal type does this movement
belong? Indicate its principal divisions.
A favorite form, especially with Haydn and
Mozart, is that of the air and variations. The
simple rondo form and the Sonata-allegro form
are also common; while Beethoven developed and
frequently employed the form of the sonata-
rondo. Exceptional forms sometimes occur, such
THE SONA. TA AS A PWHOLE 199
as the fugues in Beethoven's Sonatas, Op. 106
and Op. 110.
2. If there are two or more subjects, what are some
of the points of similarity or contrast between them?
A rhythmic subject is often contrasted with one
of a smooth, lyric style.
3. Are there alterations in the treatment of the
subjects on their reappearances? If so, in what do
these alterations consist?
Melodic embellishments, new figures in the ac-
companiment and imitative melodic fragments are
frequent additional features.
4. Is the movement as a whole simple or complea:
in style?
In the early sonatas the finale was generally of
a light, sometimes even trivial style. Beethoven,
however, gave quite a new significance to the move-
ment, making it a fitting climax to an elaborate
and purposeful art-work.
F: GENERAL STYLE
1. Are there any direct connections between the
movements?
Such connections are exceptional in the classic
sonatas, although in the Sonatas of later composers
references to preceding themes are often found,
especially in the finale. Ordinarily, too, each
movement is distinct in itself; although occa-
sionally the composer indicates that one movement
should follow another in immediate succession.
2. What changes of mood are involved in the
sonata as a whole?
It may be said that, as a rule, the first movement,
with its architectural structure, appeals primarily
200 MUSIC APPRECIATION
to the more intellectual emotions; that the lyric
slow movement addresses the more spiritual emo-
tions; that the minuet affords a light diversion;
and that the finale, with its persistent rhythms,
appeals primarily to physical sensations. The
moods of the various movements may be widely
contrasted, or they may be but fluctuations of a
single emotional state.
3. Is the sonata strictly impersonal in style, or
is the personal element made prominent?
Rousseau defined music as “the art of combining
sounds in a manner agreeable to the ear.” This
element of pure beauty of sound and its confine-
ment to formal limits was the chief object of the
early sonata writers. Even Haydn and Mozart,
nevertheless, struck a note of more personal ex-
pression in their later works; and this note was
warmly accentuated by Beethoven, whose compo-
sitions are thus increasingly affiliated with those
of the romantic school (see Type I, E: 1).
J. Does the sonata possess unity as a whole?
In an ideal sonata the movements should be
perfectly in keeping with one another, each one
retaining the interest of the auditor throughout,
and no one movement sounding out of harmony
with the others in length or style of treatment.
5. What are some of the chief features of interest?
Each movement should possess some distinctive
feature or features that make for variety or con-
traSt. * -
6. Compare this with another sonata.
G: COMPOSER
1. What are the principal details of his life?
2. Mention some of the traits of his character.
THE SONA. TA AS A WHOLE 201
3. What kinds of compositions did he chiefly
write?
4. How does his work compare with that of his
contemporaries?
For notes on these questions, see Type VII,
Section F, page 153. r
EXAMPLES OF TYPE IX
Number the measures of each movement as described under
Examples of Type 1.
I
SONATA IN F MAJOR
(No. 20 in Peters’ Edition)
Francis Joseph Haydn, 1732–1809
A: FoEMAL FACTs
1. There are three movements.
2. The first movement is in F major, the second
in F minor and the third in F major.
3. The first movement is in # measure, the
second in § measure and the third in % Iſlea,SUII’é.
Each measure continues throughout its respective
movement.
4. Allegro moderato (moderately fast) heads the
first movement; Larghetto (rather slow and solemn)
heads the second movement; and Presto (very
Quick) heads the third movement. No change in
these tempos is indicated during their respective
movements.
5. In the first movement there are 127 meas-
ures; in the second there are 39 measures; and
in the third there are 147 measures. No account
202 MUSIC APPRECIATION
is taken in these figures of the indicated repetitions,
which double the length of each movement.
6. If all the repetitions that are indicated are
observed, the first movement occupies approx-
imately seven minutes, the second seven and a half
minutes and the third three and a half minutes.
B: THE FIRST MOVEMENT
. This movement has been studied in detail under Example I of
Type VII, page 154.
1. The movement is in sonata-allegro form,
with the following divisions:
Exposition, measures 1-46 (repeated).
Development, measures 47-85.
Recapitulation, measures 86-127.
2. Short, rhythmic figures make up the first
subject, while the second subject is composed
mostly of graceful running passages. Both sub-
jects are light, delicate and instrumental in style.
3. Portions of the first subject are presented
in various ways during the development section.
4. The harmonies, which are employed chiefly
to define the structure of the movement, are va-
riously suggested in the airy accompaniment.
5. Haydn’s mastery of clearness and symmetry
are shown in this movement.
C: THE SLOW MOVEMENT
1. This movement is in modified sonata-
allegro form (see Type VII-A, page 171), with the
following divisions: exposition, measures 1-20; re-
capitulation, measures 21–39.
2. Both of the subjects, though lyric in spirit,
are yet instrumental in style, consisting of frag-
THE SONA. TA AS A WHOLE 203
mentary figures, many of which are adorned with
trills. In the first four measures the melody has
this outline:
3. The supporting chords are broken up into
a wavy arpeggio figure that continues through the
greater part of the movement.
4. Definite phrase-divisions are obscured during
most of this movement by the continuous flow of
the melody. Asserted clearly in the first four
measures, the first subject leads directly to the
second subject, in A-flat major, which proceeds
in a varied but unbroken succession up to the
double bar. In the second division (measures
21–39) the first subject, suggested in the first three
measures, is again followed by the second subject,
which continues through the remainder of the
movement.
D: THE MINUET
Omitted in this sonata
E: THE FINALE
1. This movement is in the sonata-allegro
form, with the following divisions:
Exposition, measures 1-52.
Development, measures 53-93.
Recapitulation, measures 94-147.
2. In melody and rhythm the second subject
(which begins directly after the first subject, in
204 MUSIC APPRECIATION
measure 16), is not essentially different from the
first subject; although its two divisions, connected
by an interlude (measures 27–32) give it a less
concise effect than that of the first subject.
3. During its first five measures the first sub-
ject, on its reappearance in measure 93, is precisely
as in the exposition. An elaborate extension,
made up of sequence figures, then leads to the
second subject (measure 112). Besides its change
of key to F major, the second subject also begins
more like the first subject than it did before, but
quickly announces its regular progressions (meas-
#. 117), after which it continues to the end as at
rSt.
4. Although marked by simplicity of style, the
movement contains much graceful and varied
harmonic treatment in the form of sequences.
Such treatment is found especially in the develop-
ment, where transient modulations follow each
other in rapid succession.
F: GENERAL STYLE
1. No.
2. Keen alertness and increasing activity char-
acterize the first movement; dreamy contentment
the second; and innocent gaiety the third.
3. It is wholly impersonal, presenting formal
beauty of tonal combinations that voice general
moods.
4. Simplicity of style pervades the three move-
ments, which present a cycle of happy experiences.
5. In the first movement we may mention the
graceful embellishment of the principal theme, in
measures 4-5, and the climactic effect of the
THE SONA. TA AS A WHOLE 205
brilliant arpeggios in measures 68–83. Trills con-
stitute the distinctive feature of the Larghetto,
furnishing frequent decorations, of which those in
measures 7 and 8 are striking examples. In the
last movement there is scarcely any interruption
to the bright, gossipy chatter. *
6. This question will be answered under the
next example.
G: COMPOSER
For answers to these questions, see Type VII,
Example 1, Section F, page 160.
II
SoNATA IN C MINOR, Op. 13 (Pathétique)
Ludwig van Beethoven, 1770–1827
A: FORMAL FACTs
1. Three.
2. The first and last movements are in C minor,
and the second movement is in A-flat major.
3. Quadruple measure is employed in the intro-
duction to the first movement. This measure
changes to duple in the following Allegro. There
are two short passages during the movement in
which the quadruple measure returns.
# measure continues throughout the second
movement. The duple measure is unchanged in
the last movement.
Movement I has two general tempo marks:
Grave (very slow and dignified) for the introduction
and the two short passages which refer to it, and
Allegro di molto e con brio (very fast and with
206 MUSIC APPRECIATION
energy) for the body of the movement. Move-
ment II is marked Adagio cantabile (very slow and
in singing style) and Movement III simply Allegro.
Save for slight fluctuations, these tempos are main-
tained through the respective movements.
5. In Movement I there are 310 measures (of
which the last is a rest); in Movement II there are
73 measures; and in Movement III there are 210
Iſlea,SUII’éS.
6. If the exposition is repeated, the first move-
ment occupies nearly eight minutes. Each of the
other two movements occupies about four min-
utes; hence together they take about the same
time as the first movement alone.
B: THE FIRST MOVEMENT
This movement has been studied in detail under Example II of
- Type VII, page 161
1. The movement is in sonata-allegro form,
prefaced by an introduction of ten measures. The
regular divisions are as follows:
Exposition, measures 11-132 (repeated).
Development, measures 133-194.
Recapitulation, measures 195-310.
2. The first subject is bold and aggressive in
style, while the second subject furnishes a pleasing
contrast by its light and playful mood (see Type
VII, B:3, 9, pages 162, 164).
3. There is not much thematic development;
although several references are made to the first
subject during the development section (see Type
VII, C: 5, page 165). -
4. Especially rich and full is the treatment of
the harmony in the introduction, through repeated
chords, blended by pedal effects. There are three
THE SON ATA AS A WHOLE 207
varieties of accompaniment during the Allegro:
rolling octaves (measures 11-49); dainty, rhythmic
chords in the treble register with the second subject
(measures 51–88); quickly alternating chord-tones
in both hands (measures 89-111). These figures
are repeated during the remainder of the movement.
5. The movement is well-knit throughout.
C: THE SLOW MOVEMENT
1. There are the following divisions:
A" (measures 1-16);
B (measures 17–28);
A” (measures 29–36);
C (measures 37–50);
A” (measures 51-66);
Coda (measures 67-73).
Evidently the form is that of the simple rondo
(see Type VIII). -
2. Besides the principal subject there is only
one distinctively formal melody, which appears in
Division C as the soprano part of a duet, with the
tenor as an answering voice, in such phrases as
this: - *
eto,
37 38 39
This melody quickly modulates, however, and
wanders away to the return of the principal subject.
Here is the outline of the first four measures of
the principal subject:
208 MUSIC APPRECIATION
— – :
1 2 3 4 *
3. Mainly by a waving figure in which six-
teenth notes alternate, sounding the chord-tones
thus:
J.
p
1
In the third entrance of the subject, regular six-
teenth notes give place to triplets, thus:
51 52
4. While the phrases are in general regular,
there is an occasional extension in the episodes.
D: THE MINUET MOVEMENT
Omitted in this sonata.
F: THE FINALE
This movement has been studied in detail under Example II of
Type VII, page 187
1. The movement is in sonata-rondo form,
with the following divisions:
THE SONA. TA AS A WHOLE 209
A" (measures 1-17);
B' (measures 18-61);
A” (measures 62–78);
C (measures 79-120);
A” (measures 121-134);
B” (measures 135-170;
A* (measures 171-182);
Coda (measures 183-210).
2. There are three distinct subjects. Of these,
the principal subject (measures 1-17), though flow-
ing in style, is yet full of vitality on account of the
insistent accent on the first beats of the measures.
The second subject has two divisions, the first of
which (measures 25–43) is somewhat vague but
climactic; while the second (measures 44-61)
begins in more precise rhythm. Division C in-
volves a third subject (measures 79-107) of a more
sustained lyric style and interspersed with imi-
tative phrases.
3. Division A* is exactly like Division A*.
Tn the ending of Division A*, however, the melody
descends to the lower part and a modulatory pas-
sage introduces Division Bº. Division A* is
shortened, and its ending is enlivened by con-
tinuous eighth notes (measures 178-182). Division
B' is, as we might expect, in the contrasting key
of E-flat major; but Division B” appears in the
tonic key, C, in the major mode, however, and is
also altered in its ending.
4. Necessarily, a movement in Sonata-rondo
form has considerable complexity of structure.
Each division is so clearly defined, however, that
there is no difficulty in following the formal divi-
SIOIlS.
210 MUSIC APPRECIA TION
F: GENERAL STYLE
1. No.
2. In the first movement, the introduction
voices the deep sadness which has given the name
Pathetic to the Sonata. Contrasting with this
mood, the Allegro is a passionate outburst of in-
tense emotion, sometimes lightened a bit, as in the
second subject, but occasionally recurring to the
despairing note of the introduction. A mood of
profound calm pervades the second movement,
while the activity of an earnest mind seems por-
trayed in the third movement.
3. While the Sonata expresses general emotions,
there is evident, especially in the first movement,
a strong undercurrent of individual feeling, shown
in the varied rhythms and strong climaxes.
4. The proportional lengths of the movements
noted in A:5 above, point to the importance of the
first movement as the emotional center of the work,
from which the moods of the other movements
naturally radiate. One feels in listening to the
Sonata a sense of perfect fitness between the tem-
pestuous first movement, the tranquil Adagio,
and the active Finale.
5. In the first movement we are particularly
impressed by the rich, deep harmony of the intro-
duction, and the contrasting registers in the Alle-
gro; the low mutterings in measures 167–171 and
the high pitch of the succeeding passage (measures
171-175). An attractive feature of the second
movement is the duet (see C: 2 above) and the
climaxes which it involves. In Movement III
contrasting varieties of style and color are contin-
ually apparent.
THE SONA. TA AS A WHOLE 211
6. Compared with Haydn’s Sonata in F,
analyzed as our first example, this sonata, though
lacking the naïveté of Haydn, is yet conceived on a
much broader scale, both formally and emo-
tionally. In contrast to Haydn’s delicate, tenu-
ous strains, this sonata appears clothed in rich
coloring, full chords and varied registers that
demand a piano of larger compass and greater
Sonority. Instead of Haydn’s gentle, contented
moods, we find in Beethoven the vivid passions
and extreme moods of a man of tempestuous
emotions.
G: COMPOSER
For answers to these questions, see Type VII,
Example II, Section F, page 168.
OTHER COMPOSITIONS OF THIS TYPE
The sonatas quoted under this heading in Type VII are now avail-
able for study as a whole.
SUPEPLEMENTARY READINGS
BIE: A History of the Pianoforte, Chapters 5 and 6.
GOETSCHIUs: The Larger Forms of Musical Composition, Chapter 16.
GROVE's DICTIONARY: Article, Sonata.
HAMILTON: Outlines of Music History, Chapters 6 and 7.
KREHBIEL: The Pianoforte and its Music, Chapters 8 and 9.
MACPHERSON: Form in Music, Chapter 19.
SHEDLOCK: The Pianoforte Sonata.
WEITZMANN: A History of Pianoforte Playing and Pianoforte Litera-
ture, Parts 3 and 4. t
TYPE X
FUGAL MUSIC
FOREWORD
In the early Christian church, where the higher
forms of music were cultivated, music was almost
entirely vocal, and was rendered either by a single.
voice or by a number of voices in unison. About
the middle of the tenth century, however, part-
writing, in which two or more contrasting melodies
are sung by different voices, began to develop;
and during the succeeding five centuries nearly all
of the better class of music was written in this style.
The art of combining melodies in accordance with
certain accepted rules was called counterpoint,
or note against note.
Imitative counterpoint grew rapidly in favor,
especially during the thirteenth, fourteenth and
fifteenth centuries, when composers invented all
sorts of complicated and illusive ways of repeating
a theme in various parts. At first all such com-
positions were called fugues, from the Latin word
fuga, a flight, since one voice apparently was in
constant pursuit of another. Afterward, however,
different classes of fugal music became distin-
guished, according as the imitation was continuous
or interrupted. In the former case the composi-
tion was called a canon; while from the latter
method was developed the fugue proper. In-
strumental as well as vocal music was eventually
written in fugal style.
212
FUGAL MUSIC 213
We shall now study in order three important
classes of fugal music.
CLASS I: THE CANON
In this class, the first voice, called the antecedent,
begins a melody that is soon imitated by the
second voice, or consequent, which continues to
shadow it during the entire composition, except
occasionally in the few closing notes. While the
canon form is found especially in the works of
ancient writers, it is occasionally introduced with
good effect into modern works.
QUESTIONS
1. What species of canon is used in the compo-
sition?
There are several varieties of canon, the most
usual of which is the direct canon. In this species
the notes of the consequent, which are of the same
values as those of the antecedent, proceed in the
same direction as the latter, and by intervals of
the same degree. The inverted canon differs from
the direct canon only in the fact that each interval
is sung by the consequent in the opposite direction
to that in which it moved in the antecedent.
Less usual forms are the canon by augmenta-
tion, in which each note of the consequent has
twice the value of the corresponding note of the
antecedent; the canon by diminution, in which the
note-values are similarly decreased in the conse-
quent; the retrograde or “crab.” canon, in which
the consequent sings the notes of the antecedent
in reverse order; etc., etc. -
2. At what interval is the canon written? Is the
consequent above or below the antecedent?
214 MUSIC APPRECIATION
Ordinarily, each note of the consequent is an
octave above or below the note which it imitates,
in which case the canon is said to be in the octave.
Any other interval may be observed, however,
especially the fourth or the fifth.
3. How long does the antecedent continue before
the consequent enters?
The consequent as a rule begins very soon, some-
times within the limit of the first measure.
4. Is the canon finite or infinite?
If the canon comes to a definite ending, it is
said to be finite. If, however, the natural ending
is so interlocked with the beginning that the com-
position may be repeated ad libitum, without break
in the imitation, the canon is said to be infinite.
5. Describe the key, measure and tempo mark.
How long is the canon?
6. Are any other parts present besides those en-
gaged in the canon proper?
Sometimes the canon is enriched by other con-
trapuntal parts that do not necessarily share in
the imitation. Modern writers often create a
romantic effect by adding an harmonic accom-
paniment.
7. Mention any important effects that occur of
rhythm, melody, phrasing, mood, etc.
Fugal music is not generally written in the
balancing phrase structure of modern music, and
is therefore less capable of detailed formal division.
8. Give some facts regarding the composer.
FUGAL MUSIC 215
EXAMPLES OF CLASS I
Number the measures as described under Examples of Type I.
I
CANON, Fate, OP. 14, No. 2
Henry K. Hadley, 1871–
1. This is a direct canon.
2. At the interval of an octave. The conse-
quent is below the antecedent.
3. The consequent enters two beats after the
antecedent has begun.
4. The canon is finite, although the direct
imitation continues to the end.
5. The key is D-flat major, the measure is
# and the tempo mark is andante dolorosamente
(rather slow and in a sorrowful mood). There
are thirty measures in all.
6. An accompaniment of occasional notes and
detached chords is added.
7. A swaying, even rhythm is clothed with a
melody that consists mostly of a varied treat-
ment of the following
motive:
Consisting, as it does,
of emotional harmonies
and expressive climaxes,
the piece presents a mod-
ern use of an ancient mu-
sical form.
8. Henry K. Hadley is
HADLEY an American composer,
216 MUSIC APPRECIATION
born in Somerville, Mass., December 20, 1871.
He is well-known as orchestral conductor and
composer of orchestral and choral works in large
forms.
II
ExERCISE 10 FROM Gradus Ad Parnassum, Vol. 1
Muzio Clementi, 1752–1832
1. This is an inverted canon, inscribed canon
infinito, per moto contrario, e per giusti intervalli
(infinite canon, by contrary movement and by
equal intervals).
2. Since the melodic parts move in contrary
directions, the intervals are of necessity constantly
changing. The key-note, A, however, is answered
by C-sharp in the imitative part, an octave and a
sixth below the antecedent part.
3. One measure. -
4. As suggested in the title, this is an infinite
canon, although a close is provided in the second
ending.
5. The key is A major, the measure is #, and the
tempo mark is allegro moderato (moderately fast).
6. No.
7. A flowing melody in sixteenth notes is occa-
sionally interrupted by pauses, especially where
the syncopated rhythm accompanies an octave
jump, thus:
The phrases
are irregular,
and the style
is of the intel-
lectual, rather
than the emotional order.
10 11 L- |
FUGAL MUSIC 217
8. Muzio Clementi, born in
Rome in 1752, lived a long life
of unremitting labor as pian-
ist, teacher, music publisher
and composer. Many distin-
guished pianists are numbered
among his pupils. His Gra-
dus ad Parnassum (Steps to
Parnassus), a collection of
100 piano studies written in
all the known styles of his
day, is a standard work for
CLEMENTI the education of pianists. He
died in 1832.
CLAss II: THE INVENTION
Invention is the title given by Johann Sebastian
Bach to a series of thirty short compositions which
he wrote primarily as clavier studies for his sons.
Fifteen of these inventions consist of two voice-
parts, while the remaining fifteen, sometimes called
symphonies, consist of three voice-parts. In each
invention a leading motive or “subject” is sounded
a number of times by alternate voices and under
varied circumstances, with interluding material
between its appearances. Since the invention
furnishes a simple example of the interrupted
canon, it becomes a connecting link between the
canon proper and the conventionalized fugue form.
QUESTIONs
1. What is the key, measure and tempo of the
invention?
2. How long and of what nature is the leading
motive?
218 MUSIC APPRECIA TION
Sometimes this motive is sung by a single voice,
and sometimes another voice enters with it, singing
different notes. The motive may be distinguished,
however, by its character and the fact that it is
immediately imitated by a second voice.
4. How many sections are there in the invention?
How long is each section, and to what key does it
lead? -
An invention is regularly continuous in style and
material. There are, however, cadencing points
of more or less definiteness, which divide the whole
into two or more sections.
5. How many times does the leading motive
appear? Are there changes of the original motive
in any of these appearances?
Occasionally slight alterations in the intervals
of this motive are introduced. Bach is also fond
of treating the motive in inversion (upside down),
as in the inverted canon.
6. Mention any important sequence effects.
Often some interesting figure, perhaps derived
from the leading motive, is made into a flowing
Sequence. -
7. What is the general mood of this invention?
Are its various parts symmetrical, in portraying that
'mood? -
Although primarily of an intellectual and tech-
nical type, each of Bach’s inventions presents
some dominant mood that is easily distinguished.
FUGAL MUSIC 219
EXAMPLE OF CLASS II
Number the measures as described under Examples of Type I.
Two-PART INVENTION, NUMBER 8
Johann Sebastian Bach, 1685–1750
1. The key is F major, the measure #. While
Bach did not indicate the tempo, a somewhat
lively pace is evidently demanded.
2. A jubilant figure, which leaps gaily up the
tones of the chord, constitutes the motive, which
is one measure long and is an-
nounced by the upper voice:
3. The motive is answered
an octave lower by the second voice, while the first
voice sings a downward scale passage in sixteenth
notes that contains a se-
Quential repetition of a
four-note figure:
4. There are two sections. The first, measures
1-12, leads to the key of C major. The second,
measures 12–34, begins before the first section
ends, and finally returns to the tonic key, F major.
5. Counting the inverted uses of the motive,
there are twenty-one entrances of the latter. Slight
changes in the order of chord-notes occur, such
as those in measures 7 and 8. In measure 7 the
motive begins with a leap of a fifth, and in measure
8 with the leap of a fourth, instead of a third, as at
the beginning. Observe the inverted motive in
measures 21–27.
6. Sequences in the use of figures, such as that
Quoted in measure 2, are frequent, especially in
measures 5–7, and measures 26-29. In measures
21–25 the inverted motive appears in sequence
22() MUSIC APPIRECIA TION
H. times in the bass and twice in the treble,
thus:
24 25 26
while corresponding sequences occur in the ac-
companying voice-part.
7. The cheerful, playful mood of the motive is
felt throughout the invention. As is customary
in the two-part form, the second section is much
longer and more diversified than the first. Unity
between the two divisions is secured by the use of
the same ending formula:
11 12
which closes the first section in the key of C, as
above, and the second section in the key of F.
CLASS III: THE FUGUE
From the study of Class II of fugal music, we
have seen how in an interrupted canon the device
of frequently repeating a prominent motive came
to be employed as a unifying factor. From this
FUGAL MUSIC 221
principle of repetition was finally evolved the most
highly organized of all the contrapuntal forms,
namely, the fugue itself: a form which has proved
useful for varied and elaborate expression in both
vocal and instrumental works. While the final
form of the fugue was developed by generations of
composers, it reached its perfection in the works
of Johann Sebastian Bach, in which symmetry
and dignity of architectural proportions is united
to genuine musical expression. Since Bach’s time,
composers have striven to enlarge the sphere of the
fugue by employing a greater range of keys and
by adding other features; often, however, with a
consequent impairment of those classic ideals of
unity and simplicity of structure that were main-
tained by the earlier writers.
In the fugue, the voices enter one by one, alter-
nately singing subject and answer. This process
constitutes the exposition. A development por-
tion follows, in which all the voices are engaged,
singing subject, answer, or interluding material in
new keys; and the whole concludes by a closing
section, in which there is a decisive return to the
original tonality. -
. A striking difference between the fugue and
the sonata-allegro consists in the fact that the
fugue is based primarily upon a single subject,
while the sonata-allegro has two subjects.
Often the exposition of a fugue appears in the
course of a composition without the accompanying
development. Such a movement is called a
fugato. We shall confine our present study to
the complete fugue.
A: GENERAL FACTs
1. What is the key, measure and tempo of the
fugue? Are there variations in any of these factors?
222 MUSIC APPRECIA TION
2. How many voice-parts are there? Are these
parts strictly carried out?
Bach’s fugues usually consist of from two to
five voice-parts, three or four occurring most
frequently.
In writing instrumental fugues, especially those
for piano or organ, there is a temptation occasion-
ally to introduce other parts, to strengthen or
enrich the harmony. Bach seldom yields to this
temptation, although it is a common practice with
later writers.
3. How long is the exposition? The develop-
ment? The closing section?
When the last voice has sung either subject or
answer, the exposition ordinarily ends. From
this point the development extends to the point
where the closing section begins, in the tonic key.
4. Is the fugue preceded by a prelude? If so,
what is the eatent and style of the latter? Has it
any marks of similarity or connection with the fugue
itself?
A prelude is usually composed of the repetition
of some short figure, and may therefore be studied
under Type III. Sometimes, however, the prelude
assumes a different character, such as the lyric
or the fugal. Bach’s preludes as a rule have no
direct connection with the fugues which they
introduce. -
B: THE ExPOSITION
1. By which voice is the subject first sung?
In a two-voice fugue the voices may be desig-
nated as upper and lower. When there are three
voices, they may be called upper, middle and
lower. Soprano, alto, tenor and bass constitute a
FUGAL MUSIC 223
four-voice fugue; and in a fugue of five or more
voices one or more of these parts is divided, so
that there are two sopranos, two altos, etc.
2. How long is the subject?
Ordinarily the subject is anywhere from one to
six measures long, although shorter and longer
subjects are found occasionally. The subject ex-
tends to the first note of the answer.
3. Sketch the subject, and describe its melodic
and rhythmic features. Is it climactic?
Either the melodic outline or the notes themselves may be
written.
A good fugue subject should increase in interest
up to a culminating point. This increase may be
effected by one or more of the following factors:
(1) quickening of the rhythm, (2) widening of the
compass, (3) rise in pitch of the melody.
4. By which voice is the answer sung? Are its
intervals identical with those of the subject?
The notes of the answer are regularly a fifth
above or a fourth below the corresponding notes
of the subject. Thus the tonic, or key-note of the
scale is answered by the dominant, or fifth of the
scale. But observe carefully that when the domi-
nant occupies an important place in the subject,
it is answered not by the second of the scale, as
we might expect, but by the tonic. As a result,
the answer may diverge from the subject in several
of its notes.
5. How does the countersubject compare with the
answer?
The melody which is sung by the first voice while
the second voice is singing the answer is called the
countersubject. Generally the countersubject con-
224 MUSIC APPRECIA TION
trasts with the answer in rhythm and melodic
outline. The countersubject frequently plays an
important part in the remainder of the fugue,
appearing sometimes above and sometimes below
the subject or answer, whenever these occur.
6. Is there an interlude after the answer? If so,
how long is it, and of what material is it composed?
If the fugue has but two voice-parts, the expo-
sition regularly closes with the answer, described
above. If there are other voice-parts, however, a
short interlude generally precedes the entrance of
the third voice. This interlude may be made of
new material, or, as is more usually the case, its
material may be derived from the subject or coun-
tersubject.
7. Describe the remainder of the eacposition.
After the interlude just mentioned, the third
voice enters, singing the subject, and the fourth
voice follows, singing the answer. If there are
other voices, these enter alternately, in a similar
manner. As the last voice to enter finishes either
subject or answer, the exposition closes. In rare
cases there is a second exposition, in which the
voices enter in a different order.
C: THE DEVELOPMENT AND CLOSING SECTION
1. What are the principal keys to which modula-
tion is made in the development?
In the classic fugue, emphasis is placed on tonic
and dominant keys in the exposition, while in the
development the keys to which modulation is
made are nearly related to the tonic key, about
which they center, and to which they finally return.
2. Is there a stretto? If so, describe the order
of voices in it, and the manner in which they are
ntroduced. -
FUGAL MUSIC 225
Increase in complexity of voice-writing is the
rule during the development and closing section,
toward the end of which the voices often sing
subject and answer in rapid succession, one voice
Overlapping another in their apparent haste. This
part is called the stretto, or contracted passage.
Partial strettos sometimes occur earlier in the
development.
3. Is there an organ point during the closing sec-
tion?
In the concluding measures of a fugue the key-
note is often sustained for some time by the bass
voice, while the other voices come gradually to a
state of rest. Such a sustained tone is called an
organ point, since it is peculiarly an organ effect
produced by holding down a pedal note while the
other melodic parts are continued on the manuals.
4. How many times does the subject or the
answer occur during the development, outside of the
stretto? By which voice is each entrance sung?
Slight variations often occur in the ending of
subject or answer. Such variations, however,
should not be confused with false entries of the
subject, in which only a few notes of it are sung.
More elaborate variations include the use of the
inverted subject, the subject in augmentation, in
diminution, etc. (See Class I, Question 1, of this
type, page 213).
When the intervals of subject and answer have
certain points of difference, it is easy to distinguish
between them during the development. If they
are exactly alike, however, the problem becomes
more difficult, depending for its solution upon the
obvious relations which the entrances bear to one
another.
226 MUSIC APPRECIATION
5. Describe the interludes, as to their relative
lengths and the use of material derived from the sub-
ject or other sources.
In some fugues much is made of interludes,
while in others they play a less important part.
As a rule, the interludes grow shorter as the fugue
progresses, until the stretto is reached.
D: GENERAL STYLE
1. What is the prevailing mood?
Since a fugue regularly has but a single subject,
which pervades the whole composition, the mood
may be intensified, but is seldom radically altered.
2. Are the melodic parts vocal or instrumental
in style?
In order to be vocal, the voice-parts should each
have a range of less than two octaves, and should
have singable rhythms and intervals.
3. In what respects is this fugue especially in-
teresting or uninteresting?
Much of the interest generally depends upon the
attractiveness of the subject, although the form,
climactic effects, skill in managing the voice-parts,
novelty in treatment of subject-material, etc., each
play an important role.
4. Compare this with a similar composition.
E: COMPOSER
1. Give some facts about his life.
2. Is his music chiefly contrapuntal or harmonic?
Bach and Handel were the last of the great con-
trapuntists. Later composers have written mostly
FUGAL MUSIC - 227
in harmonic forms, or forms in which chords and
their progressions are prime considerations.
3. If possible, quote some criticism of the com-
poser’s fugal writings.
EXAMPLES OF CLASS III
Number the measures as described under Examples of Type I.
I
FUGUE No. 5, FROM VOLUME I OF THE WELL-
TEMPERED CLAVICHORD
Johann Sebastian Bach, 1685–1750
A: GENERAL FACTs
1. The key is D major, and the measure is
Quadruple (C). A moderate pace is apparently de-
manded by the nature of the fugue. No radical
change in this pace is indicated.
2. There are four voice-parts, all of which are
strictly carried out, since the three-note chords
which occasionally occur may always be resolved
into the proper number of voice-parts. Observe
that the octaves that are found in the bass part of
the last three measures in some modern editions
were written as single notes by Bach.
3. The exposition occupies the first five
measures, overlapping slightly into measure 6.
Seventeen measures are then devoted to the
development, which is followed by the closing
section, of five measures.
4. A prelude, thirty-five measures long, pre-
228 MUSIC APPRECIATION
cedes the fugue. This prelude
is built upon an eight-note
motive:
which somewhat resembles the beginning of the
fugue-subject. The mood is light and active;
and there is a dramatic climax at the end.
For an analysis of this prelude, see Type 3,
Example 1, page 83. -
B: THE ExPOSITION
1. By the bass.
2. One measure.
3. A short run of notes ends in a leap to a high
note (B), from which the melody stalks down in
broken rhythm to F-sharp, the true climax note:
4. By the tenor, which begins on the dominant,
A. The intervals are identical with those of the
subject.
5. The countersubject begins with the jerky
rhythm with which the subject ends, afterwards,
however, taking quarter notes
against the broken rhythm
of the subject:
Contrary to the usual custom, this countersubject
plays no part in the rest of the fugue.
6. An interlude of one measure precedes the
entrance of the third voice. This interlude in-
troduces a short figure in * 4-ºf-ther-
notes, which is afterwards fre- #5 *==• *
quently in evidence: 4
7. Alto and soprano now enter in succession,
singing respectively subject and answer. The last
FUGAL MUSIC 229
note of the answer is shortened as the next interlude
begins.
C: THE DEVELOPMENT AND CLOSING SECTION
1. B minor (measure 9); A major (measure
10); G major (measure 11); E minor (measure 15);
D major (measure 21).
2. In measures 20-21 the effect of a stretto
is given by the occurrence of the dashing run of the
subject successively in Soprano, alto, bass, tenor
and bass again. Neither of these entrances is
completed, however. The effect of a partial
stretto is given also in measures 11 and 13, in each
of which the true entrance of the theme in the upper
voice is preceded by a false entrance in the bass.
3. There is no organ point.
4. Measures 6-9 represent a kind of appendix
to the exposition, since the subject is again heard
in the key of D major, as though given out by a
fifth voice (measure 7), but is answered a sixth
higher by the soprano (measure 8), which modu-
lates to B minor. In measure 11 the subject enters
in the Soprano, answered (measure 12) a fourth
lower by the alto. Again (measure 13), the sub-
ject appears in the soprano, and is answered
(measure 14) by the tenor; after which (measure
15) the subject resounds for the last time in its
complete form, now in the low bass.
5. An interlude of one measure, which begins
on the second beat of measure 6, involves the twice
repeated rushing motive of the subject. This
motive appears twice also in the next interlude, of
two measures, beginning with measure 9, alternat-
ing with a sequential use of the motive in sixteenth
230 MUSIC APPRECIA TION
notes taken from the third measure (see B: 6
above). From beat 2 of measure 16, a climactic
passage which extends to the closing section (meas-
ure 23), involves an interplay of the two motives
just mentioned, together with the stretto effect
(see 2 above). The closing section (measures 23–27)
is occupied with subject motives which emphasize
the tonic key, D major.
D: GENERAL STYLE
1. Energetic and assertive.
2. They are instrumental in rhythms and
compaSS.
3. Immediately commanding attention by its
striking rhythm, the subject is everywhere in evi-
dence, knitting the piece into a compact and unified
whole.
4. This question will be answered under the
next example.
E: COMPOSER
1. See Type I, Example I, F, page 48.
2. Bach’s music is written mostly according
to contrapuntal methods, although in his preludes
and fantasias he introduces many modern effects.
In the two volumes of his Well-tempered Clavi-
chord, from the first of which both of our examples
are taken, he has left a remarkable and varied
series of contrapuntal works. Each of these
volumes consists of twenty-four preludes and
fugues, one in each major and minor key. Bach
adopted a new system of tuning the clavier of his
day by which the intervals of the scale were made
equal by slightly modifying or tempering the true
scale, thus permitting a free interchange of keys.
FUGAL MUSIC 231
Since the above work was intended as a demonstra-
tion of this key-equality, it was named the Well-
tempered Clavichord.
3. In his Cours de composition, Vol. II, Vincent
d'Indy, the French scholar and musician, says:
“The understanding of this work of forty-eight preludes and
fugues is of equal importance to the composer in learning how
to construct a musical and expressive fugue, and to the pian-
ist in acquiring a technique that is accurate, reliable and in-
dependent of those academic conventions which almost
always tend toward virtuosity and not art.”
II
FUGUE No. 21, FROM VOLUME 1 OF THE
WELL-TEMPERED CLAVICHORD
Johann Sebastian Bach, 1685–1750
A: GENERAL FACTs
1. The key is B-flat and the measure is #. A
moderately fast pace, which remains unchanged
throughout the composition, is implied.
2. There are three voice-parts, all of which are
strictly observed throughout the composition.
3. The exposition occupies measures 1-16, the
development measures 17-40, and the closing sec-
tion measures 41-48. -
4. Bach's organ style is suggested in the prel-
ude, which is a healthful, bright little piece con-
sisting of passages made of a wavy chord-figure,
rapid scale-runs and occasional full, Sonorous
chords. Except in the general mood, there is no
connection between prelude and fugue.
}
232 MUSIC APPRECIA TION
B: THE ExPOSITION
1. By the upper voice.
2. Four measures.
3. Beginning in eighth notes in the first meas-
ure, a motive is repeated, in the second measure,
on the next higher scale-degrees and partly in
sixteenth notes. During the next two measures,
sixteenth notes which rise still higher (to E-flat)
continue a wavy figure:
1 2 3. 4 5
Hence, through its quickened rhythm and rise in
pitch, the subject steadily grows in intensity.
4. By the middle voice. Since the subject be-
gins on the dominant, F, this note is answered by
the tonic, B-flat, a fourth above. For a similar
reason, B-flat is also the third note of the answer.
All the other notes of the answer, however, are a
fifth above the corresponding notes of the subject;
hence the answer begins with a leap up and down
a third, in distinction from the subject, in which
the voice moves up and down a second, thus:
4-
Answer º e
etc. & b #–EE fººl etc.
... .” “ illflº
5 6
-j-
1 2
5. In rhythm and melodic outline the counter-
subject consistently contrasts with the answer.
We observe the syncopated rhythm at the end of
the first two measures of the countersubject, and
the groups of five repeated notes in the other two
IQ628,SUII’éS :
*
&
T-- T T T
FUGAL MUSIC 233
During the entrance of the subject in the third
voice (measures 9-13), the countersubject is sung
by the middle voice, and a second countersubject,
of fragmentary character, appears in the upper
VOICe:
Much is made of both these countersubjects
throughout the fugue, since, with slight modifica-
tions, they accompany each entrance of subject or
all SW6"I’.
6. There is no interlude during the exposition.
7. Immediately after the answer, in the middle
voice, the subject reënters in the lower voice
(measures 9-13). Regularly, the exposition
should close here; but in order to complete the
form by a proper response, the upper voice sings
the answer (measures 13-17), giving the effect of a
fourth voice-part.
C: THE DEVELOPMENT AND CLOSING SECTION
1. The exposition closes in the dominant key,
F. Measures 17 and 18 modulate to G minor,
which key continues to measure 26, there changing
to C minor. While other keys are touched upon,
no permanent key is reached till measure 37, when
the key of E-flat is asserted. The closing section,
beginning with measure 41, is in B-flat major.
2. There is no real stretto, although a stretto
effect is produced when the middle voice sings half
the answer (measures 35-36), but is cut off by the
entrance of the subject in the upper voice (meas-
ure 37).
234 MUSIC APPRECIATION
3. No.
4. Four and one-half times, as follows:
Measures 22–26, subject in middle voice;
Measures 26-30, answer in lower voice;
Measures 35-36, 9% answer in middle voice;
Measures 37-41, subject in upper voice;
Measures 41–45, answer in middle voice.
5. Interlude 1, measures 17–22, fragments of
countersubjects in first two measures, inverted
motive of subject in last two measures.
Interlude II, measures 30–35: inverted subject
motive three times in upper voice, twice in middle
voice.
Ending passage, measures 45-48: continuation of
last part of subject.
D: GENERAL STYLE
1. Bright and happy.
2. In range, intervals and rhythm the fugue is
decidedly instrumental. 2-
3. The continuous flowing movement, punc-
tuated by the upward leaps of the subject, carries
the hearer irresistibly on, from one feature to
another.
4. Both of the fugues used as examples are
cheerful and active in style. The first, however,
is more abrupt and energetic, while the second
moves gaily along, with a constant undercurrent
of sixteenth notes. Compactness of structure
characterizes the first fugue, while the second is
smoother, and more graceful in outline.
F: COMPOSER
1, 2. See answers under Example I.
3. Dr. Hugo Riemann, in his Analysis of J. S.
FUGAL MUSIC 235
Bach's Well-tempered Clavichord, characterizes this
prelude and fugue as
“Two fresh, healthy pieces without subtleties or mystifi-
cations of any kind. The fugue is one of the most pleasing,
most unpretending, most harmonious pieces of the Well-
tempered Clavichord.”
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
CLASS I
* Grade
GRIEG: Canon, Op. 38, No. 8. . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
JADASSOHN: Scherzo in Canon Form. . . . . . . . . . . . . . . . . . . . . . IV
REINECKE: Dialogue (Canon), Op. 107, No. 22 . . . . . . . . . . . . II-III
Canon, Op. 268, Bk. II, No. 12. . . . . . . . . . . . . . . . . . . . . . II-III
SCHUMANN: Canonisches Liedchen, Op. 68, No. 27. . . . . . . . . . III
Canon from Sonata, Op. 118b. . . . . . . . . . . . . . . . . . . . . . . . IV
Canon, Op. 124, No. 20. . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
CLASS II
All of Bach’s Inventions are fruitful subjects for study. The follow-
ing, however, are especially recommended:
Two-voice Inventions
No. 1, in C major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
No. 4, in D minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
No. 5, in E-flat major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
No. 13, in A minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
No. 14, in B-flat major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
Three-voice Inventions
No. 1, in C major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
No. 4, in D minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
No. 8, in F major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
No. 10, in G major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
CLASS III *
BACH: Fugue in A minor, from Little Preludes and Fugues. . . . . IV
Preludes and Fugues from the Well-tempered Clavichord,
Vol. 1, Nos. 1, 2, 3, 6, 10, 17; Wol. II, Nos. 12, 15 . . . . . . . . . IV-V
Fugue from Chromatic Fantasie and Fugue . . . . . . . . . . . . . . VI
FRESCOBALDI: Fugue in G minor . . . . . . . . . . . . . . . . . . . . . . . . . V
(From Early Italian Piano Music, in Musicians Library)
236 MUSIC APPRECIATION
Grade
HANDEL: Fughette in C major . . . . . . . . . . . . . . . . . . . . . . . . . . . II-III
Fugue in D major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III–IV
Fugue in F major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV
MENDELssohn: Fugue in D major, Op. 7, No. 3. . . . . . . . . . . V-VI
Prelude and Fugue in F minor, Op. 35, No. 1 . . . . . . . . . . VI
Prelude and Fugue in E minor, Op. 35, No. 5. . . . . . . . . . V-VI
RHEINBERGER: Fugue in G minor. . . . . . . . . . . . . . . . . . . . . . . . VI
A. ScARLATT1: Fugue in A minor . . . . . . . . . . . . . . . . . . . . . . . . IV-V.
(From Early Italian Piano Music, in Musicians Library)
Schum ANN: Fugue in D minor, Op. 72, No. 1. . . . . . . . . . . . . . IV-V.
Kleine Fuge, Op. 68, No. 40 . . . . . . . . . . . . . . . . . . . . . . . . . III-IV
Seven Pieces in Fugue Form, Op. 126. . . . . . . . . . . . . . . . . III-V
SUPPLEMENTARY READINGS
BIE: A History of Pianoforte Music, Chapter 4.
GRove’s DictionARY: Articles, Canon, Fugue.
HAMILTON: Outlines of Music History, Chapter 5.
Higgs: Fugue.
KREHBIEL: The Pianoforte and its Music, Chapter 7.
MAcPHERson: Form in Music, Chapters 20, 21.
ITALIAN CLAvichord, 1537
(Metropolitan Museum of Art)
TYPE XI
THE SUITE
FOREWORD
In the Foreword to Type I it was shown that a
form frequently employed by the early composers
of clavier music was that of the folk-dance. Such
a dance, however, was naturally too short for a
pretentious musical work. Accordingly, two me-
thods developed by which this limited Scope was
enlarged: the one, that of writing variations to the
original dance, such as were studied under Type V;
and the other that of writing a series of dances in
contrasting styles, but all in the same key. Such
a series was called a suite, or sometimes a partita.
Of the early composers of suites, we may espe-
cially mention Henry Purcell (1658–1695) in Eng-
land, and François Couperin (1668–1733) in France.
With Bach and Handel, however, the classic suite
reached its climax. Succeeding composers, how-
ever, have written suites, some of which are in
imitation of the ancient styles, while others consist
of short romantic movements in distinctively
modern dress. -
The suite was a direct precursor of the sonata
(see Type IX), which was a result of the elabora-
tion and amplification of certain dances of the
suite.
A: FORM
1. What is the key of the suite? Is this key
common to all the movements?
237
238 MUSIC APRECIATION
In the classic suites the key and mode remains
the same in all the movements. Modern writers
do not always observe this convention, however.
2. What are the movements? Are these usual
or unusual?
While no strict rules are observed as to the name
and number of the movements, certain dances were
more often used than others in the suite. Four
dances, indeed, were especially employed: the
allemande, the courante, the sarabande and the
gigue; while other dances frequently found were
the minuet, the gavotte, the bourrée, etc. A suite
often began with a prelude; and movements of a
lyric or intellectual type were also occasionally in-
troduced, such as the air with variations and the
fugue. -
3. What is the measure and tempo of each move-
ment? -
Each dance has its characteristic measure and
tempo, although this tempo is often quickened.
The minuet, for instance, which was originally in
slow # measure, sometimes takes on a much more
rapid pace, especially when used as one of the move-
ments of a symphony.
4. In what form is each movement of the suite?
Early dances are usually in two-part form (A B),
although the simple three-part form (A* B A*)
occasionally appears.
5. What is the approacimate time of performance
of each movement, including the repetitions that are
indicated?
As in the sonata, the first division of an old
dance is almost always repeated. Often the
second division also has repetition marks.
THE SUITE - 239
B: STYLE,
1. What movements are chiefly contrapuntal,
and what ones are chiefly harmonic in treatment?
The classic suites were in general written ac-
cording to contrapuntal methods, although the
formal character of the music invited chord pro-
gressions, especially in the cadences. Modern
Suites often employ the harmonic style.
2. How do the movements differ in rhythm?
Figures or steps which are employed in a given
dance determine the rhythm of its music.
3. Mention any striking imitative effects that
OCC?!?”.
In the early suites, fugal music, with its thematic
imitation, is often in evidence.
4. Is there any thematic material in common
between the movements?
Handel often begins different movements of a
suite with similar motives, although this practice
is not general.
5. Describe any especially interesting effects of
harmony or accompaniment.
While such effects are more common in modern
suites, there is a greater emphasis upon chord
progressions in the early suites than in other
classes of contrapuntal music, owing to the folk-
tune character of most of the dances.
6. What is the general style of each movement?
Classic dances range in variety from the serious
and dignified to the riotously gay.
7. Compare this with another suite.
240 MUSIC APPPRECIA TION
C: COMPOSER
1. Give some facts about his life.
2. What distinctive traits of the composer ap-
pear in this suite?
Any composer who is not simply an imitator of
others is sure to have certain tricks of expression;
—accompaniment figures, turns of melody, chord
progressions, etc.—which distinguish his music
from that of his predecessors. It is such original
features as these that give to his works an indi-
viduality of style.
3. What other suites has he written?
EXAMPLES OF TYPE XI
Number the measures of each dance as described under Examples
of Type 1.
I
SUITE FOR HARPSICHORD, NO. 16
George Frederick Handel, 1685–1759
A: FORM
1. G minor. All the movements are in this
key. g
2. This suite consists of the four most typical
dances: allemande, courante, sarabande and gigue.
3. The Allemande is regularly in moderately
fast # measure; the Courante in quick # measure;
the Sarabande in slow ; measure; and the Gigue
in lively $ measure.
4. In the two-part form (A B), with each divi-
sion repeated.
THE SUITE 24l
5. About two minutes are occupied by each
of the first three movements. The Gigue occupies
a little over one minute.
B: STYLE
1. The Allemande, Courante and Gigue are
written in imitative counterpoint. While three
and sometimes four parts are found in the Sara-
bande, the effect of this dance is that of a melody
with a chord accompaniment, which contains oc-
casional melodic effects.
2. A regular rhythm underlies the Allemande,
consisting chiefly of continuous eighth and six-
teenth notes or of alternations of an eighth and
two sixteenth notes, as in the -*.
opening motive: Jhi Jº JTF. 7
In the Courante, the even flow of eighth notes is
kept up in one or another of the parts. The even,
stately rhythm of the Sarabande is occasionally
broken by a dotted eighth and sixteenth, as in the
first four measures: . . ººmi ; : - ºn 1.
Four beats with quick? J J Jºl J J E JºJ JJ J.
triple divisions enliven the pace of the Gigue.
3. All the movements with the exception of the
Sarabande begin each division with a canonic
imitation of the leading motive. Except in the
second division of the Gigue, where contrary con-
ditions exist, each of the entrances is taken by the
upper voice, which is then imitated by the lower.
The Allemande, for instance, begins as follows:
242 MUSIC APPRECIATION
4. There is a strong resemblance between the
initial motives of the Allemande and the Courante,
thus:
otherwise, no direct connection is apparent.
5. Since the harmony is purely constructive,
no striking harmonic effects are observable. Eigh-
teenth century formality of style is apparent in
the cadences to the various divisions, each of which
ends with a firm chord that is generally preceded
by a trill in the Soprano part, *
as in the Sarabande:
6. Energetic, but some-
what reserved in style, the
Allemande prepares the way
for the light-hearted activ- 24
ity of the Courante. This movement is followed
by the grave and stately measure of the Sarabande,
which in its turn introduces the hilarious Gigue.
7. This question will be answered under the
next example.
C: COMPOSER
1. See Type V:F. As a boy, Handel turned
to music in defiance of the wishes of his father,
who was bent on his becoming a lawyer. While
a member of the orchestra of the Hamburg Opera
House (1703–1706), he composed four operas
which brought him a reputation that was aug-
mented by subsequent Italian successes. Called
to England in 1710, he entered upon a long career
as composer of operas and afterwards of oratorios.
His indomitable spirit triumphed over two bank-
ruptcies, broken health, and even blindness, which
overtook him in 1752.
THE SUITE 243
2. Handel's music is invariably manly, straight-
forward and full of vitality. As in this suite, his
ideas are presented in clear, distinct forms, with
no meaningless or unnecessary notes.
3. In 1720 Handel published eight harpsichord
suites, which he wrote for his pupils, the daughters
of the Prince of Wales. In 1733, nine more suites
were published.
II
FROM HOLBERG’s TIME, OP. 40
Edvard Hagerup Grieg, 1843–1907
A: FORM
1. G major is the key of the first three and the
last movements, while G minor is the key of the
fourth movement. The trio of the last movement
is also in G minor.
2. The movements are: 1. Praeludium (Prel-
ude); 2. Sarabande; 3. Gavotte (with Musette);
4. Air; 5. Rigaudon (with Trio). All these move-
ments are found in the classic suites, although the
strict dance character is departed from in the
Prelude and the Air.
3. 1. Quadruple measure (C), Allegro vivace
(fast and lively); 2. ź measure, Andante espressivo
(somewhat slow, and expressive); 3. Duple meas-
ure (Ö), Allegretto (rather fast); 4. # measure,
Andante religioso (in devout style); 5. Duple meas-
ure (Ö), Allegro con brio (fast and energetic).
4. Two-part form is used in the Prelude, and
the simple three-part form in the Sarabande and
the Air. Both the Gavotte and the Rigaudon are
244 MUSIC APPRECIA TION
in the large three-part form, in which each part
is a complete composition (see Type 1, Example 1,
A: 1, page 43).
5. The Prelude occupies three minutes; the
Sarabande and the Gavotte each about two and a
half minutes; the Air a little over five minutes;
and the Rigaudon a little less than five minutes.
B: STYLE
1. Only occasional contrapuntal effects occur,
since as a whole the suite is harmonic in treatment.
2. Continuous sixteenth notes characterize the
Prelude. A somewhat irregular rhythmic design
is found in the Sarabande, as in the first four
Iſlea,SUII’éS .
*J. J.T. ſ.77 ſº J
Decisive climaxes occur in the Gavotte on the long
notes at the end of phrases, such as those that
begin the second and fourth measures:
* . . . . J. J. J. . . . .”
º are many quick rhythmic divisions on the
rst beats in the Air, such as those
in the second measure: # Hi, |
A running movement in eighth and quarter notes
is prevalent in the Rigaudon.
3. In several measures of the Sarabande the
bass imitates the soprano, as
in the fourth measure:
Measures 31-34 of the Air
contain imitations of the
upper by the lower voice.
Perhaps the most striking
THE SUITE 245
imitations, however, are those in measures 9-15
of the Rigaudon, where a sequence is con-
structed from the imitative treatment of the mo-
tive of the first measure of the dance. This mo-
tive is eventually divided up into a half-measure
figure.
4. No important thematic connection is found.
The Sarabande and the Gavotte open to the same
three notes: -
Sarabande
r—-l f) (, E-H
| __-
HT etc. ##EEF== etc.
*. Q) *=s* | !
5. Although this suite is written in imitation
of the ancient style, distinctively modern effects
are frequent. Such effects are found in the appear-
ance of the melody, played by the left hand, on the
high notes, with the murmuring accompaniment
below (Prelude, measures 9-17, etc.); the arpeggio
figures for alternating hands, the massive chords
and the generally wide compass of the Prelude;
the chords and wavering figure that support the
tenor melody in the Air (measures 40–47); etc.
6. While the classic style is predominant,
Grieg's romantic tendencies are apparent in the
high coloring and emotional expressiveness of the
Prelude and the Air.
7. This suite is much more elaborate in form
and materials than the Handel suite, Example I.
Whereas, too, Handel centers the attention con-
tinually on the interplay of melodic parts, Grieg
rather emphasizes progressions of chords, which
are frequently written with a modern lavishness of
component tones.
246 MUSIC APPRECIATION
C: COMPOSER
1. Born at Bergen,
Norway, June 15, 1843,
Grieg showed such un-
usual musical ability in
hisearly years that he was
sent to Leipsic for exten-
sive study. Not long af-
ter his return to his native
country, he became en-
thusiastic over Norwe-
gian folk-music, and set
to work to embody its
traits in his own compo-
GRIEG sitions. His success in
this venture is evidenced
by the novelty of his style and the widespread
recognition of his genius. He died at Bergen,
September 4, 1907.
2. In this suite, Grieg attempts to illustrate
the kind of music in vogue in the day of Ludwig
Holberg (1684–1754), who is called the father of
modern Norwegian literature. While Grieg's own
refined and tasteful methods are in evidence
throughout, it is in the Air that the erratic rhythms
and bold dissonances of the Northern school are
especially prominent. Such a passage as this, in
measures 38 and 39 of the Air, is especially charac-
teristic in its succession of chromatic thirds which
rise close below the wavy accompaniment:
3. Besides this suite, which is also available
for string orchestra, Grieg published two modern
THE SUITE 247
suites for orchestra or piano, both of which were
drawn from his incidental music to Ibsen's drama,
Peer Gynt.
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
Grade
BACH: English Suites, Nos. 3, 5 and 6. . . . . . . . . . . . . . . . . . . . IV-VI
French Suites, Nos. 1 and 5 . . . . . . . . . . . . . . . . . . . . . . . . . III-V
Partitas, Nos. 4 and 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
BARGIEL, W.; Suite in G minor, Op. 31. . . . . . . . . . . . . . . . . . . V
COUPERIN, F. : Suite in G minor. . . . . . . . . . . . . . . . . . . . . . . . . IV-V
D’ALBERT, E.: First Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
GRIEG: First Peer Gynt Suite, Op. 46. . . . . . . . . . . . . . . . . . . . IV-V
HANDEL: Suites, No. 3, in D minor; No. 5, in E minor:
No. 9, in G minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -IV-V
No. 10, in D minor . . . . . . • * c e s e s e s e e s = • * * * * * * * * * * * * * * III-IV
MAcDow ELL: First Modern Suite. . . . . . . . . . . . . . . . . . . . . . . . V-VI
MOZART: Suite in C major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IV-V
PURCELL: Suites, I-VIII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III–IV
REINHOLD: Suite mignonne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III
SCHUMANN: Papillons, Op. 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
Carnaval, Op. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VI
Kinderscenen, Op. 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III–IV
SUPPLEMENTARY READINGS
BIE: A History of the Pianoforte, Chapters 1 and 2.
GROVE's DICTIONARY: Article, Suite.
HAMILTON: Outlines of Music History, Chapter 5, Section 2; Chapter 11,
Section 2.
KREHBIEL: The Pianoforte and its Music, Chapters 5 and 6.
MACPHERSON: Form in Music, Chapter 24.
PAUER: Musical Form (Dance Music).
WEITZMANN: A History of Pianoforte Playing and Pianoforte Literature,
Part I.
TYPE XII
THE FANTASIA
FOREWORD
One of the earliest names applied to compositions
for instruments alone was the fantasia, or fanciful
piece. As its title implies, the fantasia is a piece
in which the composer, exempt from the restric-
tions of conventional form, may allow free rein
to his imagination, which is fettered only by his
own sense of artistic proportions. Frequently the
fantasia contained a number of movements, which,
however, were written in a much freer style than
those of the Sonata. Organ fantasias and also
fantasias for various combinations of instruments
were common before the time of Bach, who has left
notable examples of this type, for both clavier and
Organ.
For our present study we shall class under this
head all those works which are somewhat elaborate
in their structure, but which do not fall as a whole
under any of the types previously presented.
Often such a composition derives its form and con-
tent, in part at least, from some imaginative and
external ideas in the composer’s mind, such as a
story or a landscape. It may then be classed
as program music, in distinction to a piece of
absolute music, which is independent of such ideas.
Since works of this type cover so wide a field,
only questions of general import will be presented.
248
THE FAN TASIA 249
A: FORM
1. How many movements are there?
A fantasia may of course consist of a single
movement, presumably of somewhat fanciful de-
sign. More commonly, however, several move-
ments are found.
2. What is the key, measure and tempo of each
novement? w
3. What are the proportionate time-lengths of
these movements? How long does it take to perform
the entire composition?
J. Is there any thematic or other connection
between the movements?
Ordinarily the movements of a fantasia are more
closely connected than those of a suite or a sonata.
Frequently one movement leads directly to the
next, and a theme used in one movement will
sometimes appear in another.
B: MELODY, PHRASING AND ACCOMPANIMENT
1. What kind of themes are used in each move-
ment?
Such themes may be either wandering or defin-
ite; they may be purely instrumental, such as
running or arpeggio figures; lyric, with expressive
vocal melody; harmonic, in the form of a short
chord progression, etc.
2. What kinds of accompaniment are used?
See Type 1, D: 1-5, page 39.
3. Are the phrases well-defined?
See Type 1, A: 5, page 36.
4. Are the phrases eacpanded or contracted?
Mention instances.
See Type 9, C: 4, page 197.
250 MUSIC APPRECIATION
C: STYLE
1. Does the composition increase in interest?
If so, where does the climaa, of interest occur?
Important factors in holding the attention of the
auditor are (1) the frequent introduction of new
and piquant features; (2) the gradual intensifica-
tion of the effect by added emotional stress, (3)
contrasts of style.
2. What important contrasts appear?
Such contrasts are found especially between the
different movements.
3. Are program ideas involved? If so, how are
they represented in the music?
If a composer is depicting a scene, he may sim-
ulate its general emotional effect by music which
is loud or soft, slow or quick, tender or dramatic,
etc.; or he may even imitate actual sounds con-
nected with the scene, such as the singing of birds,
the purling of a brook, etc. -
4. Is interest in the composition eaccited chiefly
by its technical, intellectual, or purely emotional
features?
All these factors go to make up the composition,
but they are seldom equal in their appeal to the
listener. -
5. Compare this with another composition of the
Same type.
D: COMPOSER
1. Give some facts about his life.
2. What individual traits of the composer are
prominent in this composition?
3. What other compositions of this type did he
write?
THE FAN TASIA 251
EXAMPLES OF TYPE XII
Number the measures as described under Examples of Type I.
I
FANTASIA No. 3, IN D MINOR
Wolfgang Amadeus Mozart, 1756–1791
A: FORM
1. There are three movements.
2. The first two movements are in D minor,
quadruple measure (c); and the third movement
is in D major, ź measure. Andante (rather
slow) is indicated for the first movement; adagio
(very slow) for the second movement; and alle-
gretto (rather fast) for the third movement.
3. About three minutes are occupied by the
Andante and Adagio together, the first of which is
merely a short prelude to the second. The third
movement occupies a little less than a half minute.
Hence the whole composition takes about four and
one-half minutes.
4. While the themes of the three movements are
different, one movement leads directly into the
next.
B: MELODY, PHRASING AND ACCOMPANIMENT
1. A waving arpeg-
gio figure one measure
in length is the basis
of the Andante move-
ment:
252 MUSIC APPRECIA TION
In the Adagio, a song-like motive:
13
is developed in alternation with an agitated figure
in sixteenth notes and with short, scale-wise ca-
denzas. Sportive, instrumental figures in dainty
rhythms leap about in the last movement, as at
the beginning:
55 56 58
2. Repeated double notes, often succeeding a
fundamental bass tone, support a
the melody of the second move— étc.
ment:
Composed at first of chord fragments, the accom-
paniment of the last w
movement develops
into a swaying figure: -
returning, however, to the chord suggestions in the
last division.
3. In general, yes.
4. In the Prelude (first movement) a phrase of
four measures is followed by an expanded phrase
of seven measures. In the Adagio, the first two
regular groups, of four measures each, are fol-
lowed by irregular groupings: measures 20-22,
*-
THE FAN TASIA 253
for instance, consist of a phrase contracted to three
measures, while measures 23-27 consist of a phrase
extended to five measures. Notice also the two
extensions by cadenzas (measures 34 and 44).
Regular four-measure phrases in the Allegretto
movement are interrupted by the bright cadenza
(measure 86). A phrase of seven measures (meas-
ures 91-97) and a final phrase of six measures are
found after the cadenza.
C: STYLE
1. Yes. Each of the cadenzas marks a climax
point, the most important of which occurs in the
last movement (measure 86).
2. With its light, gay style, the last movement
is in strong contrast to the serious Adagio. In the
last movement a contrast from the exuberant
climax of the cadenza is afforded by the return
to the bright, tripping theme which opens the
movement.
3. No.
4. Emotional effects are paramount in the song-
melody of the Adagio, with its dramatic moments,
and in the dance-like rhythms of the Allegretto.
Technical interest, nevertheless, centers in the
cadenzas, while intellectual demands are satisfied
by the compact, well-balanced structure.
5. This question will be answered under the
next example.
D: COMPOSER
1. See Type 8, Example 1, Section E, page 185.
2. Mozart's genius for Italian-like, flowing
melody, delicate embellishments, clearness of struc-
254 MUSIC APPRECIATION
ture and fluent passages in scales and arpeggios
is evident in this fantasia.
3. There are three other fantasias for piano:
No. 1 in C major (with fugue); No. 2, in C minor;
and No. 4, also in C minor, introducing the elab-
orate Sonata in the same key.
II
HUNGARIAN RHAPSODY, No. 11
Franz Liszt, 1811–1886
A: FORM
1. There are four movements.
2. Movement 1 is in A minor, quadruple meas-
ure (G). Its tempo is generally slow, but emo-
tionally erratic (lento a capriccio).
Movement II is in A major, duple measure (#).
Its tempo mark is andante sostenuto (moderately
fast and in sustained style).
Movement III continues the key and measure
of Movement II, but is much quicker (allegro
vivace).
Movement IV is really a continuation of Move-
ment III, although the key changes to F-sharp
major, and the pace is quickened to the limit of the
pianist’s ability (prestissimo).
3. About five minutes are required for the per-
formance of the entire piece, divided as follows:
Movement I, two minutes; *
Movement II, one and a quarter minutes;
Movements III and TV, one and three-quarter minutes.
4. Except that Movement TV is a continuation
of Movement III there is no direct connection
between the movements.
THE FANTASIA 255
B: MELODY, PHRASING AND ACCOMPANIMENT
1. Since the first movement has the character
of a free improvisation, no definite theme appears.
Movement II has the fitful rhythms and erratic
melodic outline of Hungarian folktunes. After
the lively instrumental runs of Movement III,
a stirring folktune appears in Movement IV.
2. Movement I is composed mainly of arpeggio
passages. Rhythmic chords, sometimes in the
upper register, accompany the melodies of Move-
ment II; lighter chord figures are used in Move-
ment III; and fuller chords and octaves give
sonority to the finale.
3. In general, yes; although they are often
closely connected.
4. Regular four-measure phrase-units prevail
in the second and fourth movements, except at
the end of the latter, where an insistent extension
occurs. Erratic phrases, however, make up move-
ments I and III. Movement III consists of three
and four measure phrases, often extended by bril-
liant runs.
C: STYLE
1. The whole composition is a gradual cres-
cendo in vital energy, which reaches its maximum
only at the very end.
2. Distinct changes of style are apparent in
passing from the first to the second movement and
from the second to the third movement.
3. No program ideas are directly involved,
although the whole composition is a reflection of
the Hungarian national temperament.
256 MUSIC APPRECIATION
4. The erratic and contrasted emotional
rhythms and melodies upon which the piece is built
are rendered more vivid by the scintillating tech-
nical effects in which they are clothed. There is
little of the intellectual element.
5. Both this piece and the Mozart Fantasia
(Example I) illustrate the virtuoso style of their
respective epochs: the Mozart Fantasia reflecting
in its delicacy of treatment and graceful decora-
tions the light tone and short compass of the early
Viennese pianos, while the Liszt Rhapsody em-
ploys the richly varied tonal range of the modern
concert grand. Mozart's suave, Italian melodies,
too, are in strong contrast to the fitful, rhythmic
tunes of the Hungarian gypsies.
D: COMPOSER
1. Franz Liszt was
born in Raiding Hun-
gary, October 22, 1811.
He died in Bayreuth,
July 31, 1886.
Liszt was a boy-prod-
igy as pianist, arous-
ing the enthusiasm of
Beethoven by his play-
ing in Vienna. After
phenomenal successes
as piano virtuoso,
he settled at Weimar
Liszt as Court Conductor,
in 1849,-a position
which he retained for ten years. During the re-
mainder of his life, which was spent chiefly in Italy
and at Weimar, his reputation as player, composer
THE FANTASIA 257
and teacher attracted scores of admirers to his side,
many of whom afterward themselves became world-
renowned musicians.
2. Liszt's broad outlook upon the whole field
of music and his amazing fertility in inventing
new pianistic effects are displayed in this piece.
Another prominent trait is his sympathetic appre-
ciation of the music of the Hungarian gypsies,
ºted during several years’ residence among
them.
3. He wrote fifteen Hungarian Rhapsodies for
piano, some of which are also scored for orchestra.
OTHER COMPOSITIONS OF THIS TYPE
Grades, from I to VII, are indicated by Roman numerals.
6|rade
BACH: Chromatic Fantasy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VI.
CHOPIN: Ballade in G minor, Op. 23. . . . . . . . . . . . . . . . . . . . . VI
Fantasy, in F minor, Op. 49. . . . . . . . . . . . . . . . . . . . . . . . . VI-VII
LISZT: Hungarian Rhapsody, No. 11 . . . . . . . . . . . . . . . . . . . . . VI
MENDELssohn: Fantasy on an Irish Song, Op. 15 . . . . . . . . . . IV-V
Fantasy, Op. 28 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V-VI
MozART: Fantasia in C minor, No. 2 . . . . . . . . . . . . . . . . . . . . . V
Fantasia in C minor (with Sonata). . . . . . . . . . . . . . . . . . . V
RAFF: Willanella, Op. 89 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
Schum ANN: Fantasy, Op. 17. . . . . . . . . . . . . . . . . . . . . . . . . . . . . VI
SUPPLEMENTARY READINGS
BIE: A History of the Pianoforte, Chapter 8.
GROvK.’s DICTIONARY: Article, Fantasia. *
HAMILTON: Outlines of Music History, Chapter 6, Section 3; Chapter 8
ITALIAN SPINET, BY Domenico Dr PESARo, 1561
(Metropolitan Museum of Art)
ºn º | º
º | º ---
º
FLEMIs H. Double SPINET or VIRGINAL, 1600
(Metropolitan Museum of Art)
258
PART II
TYPES OF CHAMBER AND ORCHESTRAL
MUSIC
INSTRUMENTs of THE SEvent EENTH CENTURY
(From a print of the period)
260
PART II
TYPES OF CHAMBER AND ORCHESTRAL
\ MUSIC
GENERAL REMARKs. In our résumé of the
various types of piano music we have incidentally
become acquainted with the forms upon which mu-
sic for all combinations of instruments is based. In
studying such music, therefore, we have first to
classify the particular composition under its proper
type, and then to follow the questions prescribed
for that type, eliminating any that apply solely
to the piano, and adding any that especially
consider the results of combining two or more
instruments. g
Music for more than one instrument may be
classified as either chamber or orchestral. Cham-
ber music is music of a somewhat intimate charac-
ter, fitted especially for a room or small hall, and
produced by two or more solo instruments playing
together. Orchestral music, on the contrary, is
music of a larger and more highly-colored scope,
in which groups of the same instruments may play
upon a single part. Ay
Besides perfecting the form of the sonata, upon
which previous composers had long been experi-
menting (see Type 7, Foreword), Haydn deter-
mined once and for all the principal media to which
this form should be applied; first, to the piano
sonata; second, in chamber music, to the sonata
for piano and violin or other orchestral instru-
ments, the trio and the string quartet; and third,
261
262 MUSIC APPRECIA TION
in orchestral music, to the symphony. We are
now to examine again the sonata type as it appears
in this new dress.
COMPASS OF THE INSTRUMENTS OF THE ORCHESTRA
so
CFViolin Double Bass
Strings
É
Wood Wºrld
8 Va e. b
=
=
*
Piccolo Flute Oboe #:
Prass
Valve Valve
Trumpet Horn in F
w; \º
=
TYPE IX-A
CHAMBER MUSIC: THE STRING QUAR-
TET, TRIO, SONATA FOR PIANO
AND VIOLIN, ETC.
FOREWORD
So closely is the form of the sonata identified
with chamber music that the names in the above
title immediately imply works in Sonata structure.
The string quartet, for instance, is accepted as a
sonata for first and second violins, viola and
'cello; a trio as a sonata for piano, violin and
'cello; a string quintet as a Sonata for first and
second violins, viola, 'cello and bass, etc.
Our examples include two works in Sonata
structure, the first for string quartet and the
second for piano and violin, both of which are
popular combinations. The same list of ques-
tions, however, may be applied to any other piece
of chamber music which has this structure.
QUESTIONS
Sections A, B, C, D, E and G are identical with
the corresponding sections in Type IX.
Substitute for Section F in Type IX the fol-
lowing:
- F: ENSEMBLE
1. For what instruments is the composition
written?
There are many other chamber combinations
than those mentioned above, such as the piano
263 .
264 MUSIC APPRECIA TION
Quartet, the string octet, and also groups of wind
instruments.
2. Are these instruments treated as of equal
importance?
Theoretically in chamber music each instru-
ment has an equal voice. In early works, how-
ever, such as the first quartets by Haydn, one
instrument (the first violin), has a dominant part,
to which the others are subordinate. Later on,
and especially in Beethoven’s works, a much
better balance is secured. In some modern trios,
violin and piano Sonatas, etc. undue prominence
is given to the piano part.
3. Is the composition confined to the natural
scope of chamber music, or does it have orchestral
tendencies?
While the earlier composers were content to
restrict their chamber music to its naturally
subtle and intimate style, later composers, be-
ginning with Mendelssohn, seek to imitate the
more vivid coloring and wider scope of orchestral
music.
4. Quote some passage in which the various parts
are distributed with especial skill.
In such a passage, richness and fullness of har-
mony should be secured, while each instrument
still maintains its individuality.
5. Mention some interesting effect of accom-
paniment. ;
The slender character of a chamber work gives
opportunity for the introduction of many decora-
tive figures as a background for the more decisive
themes.
6. Are there any direct connections between the
novements?
See remarks under Type IX, F: 1, page 199.
CHAMBER MUSIC 265
EXAMPLES
Before studying each example, the student should be
familiar with the chief characteristics of the instruments
involved in the score. For a description of these instru-
ments, see Hamilton’s Sound and its Relation to Music,
Chapter 9.
Number the measures of each movement as described
under Examples of Type I. -
I
STRING QUARTET IN D MAJOR, OP. 18, No. 3
Ludwig van Beethoven, 1770–1827
This may be studied from Payne's Miniature Score. A
piano arrangement of Beethoven's Quartets is published in
the Litollf Edition.
A: FORMAL FACTs
1. There are four movements.
2. All are in D major except the second (slow)
movement, which is in B-flat major.
3. Movement I is in duple measure (Ö);
Movement II is in #: Movement III is in #; and
Movement IV is in §.
4. The first and third movements are marked
Allegro (fast); the second movement Andante
con moto (at a moderate pace and with a swinging
movement); and the last movement Presto (very
quick). No radical changes of tempo are indi-
cated in the movements.
5. In the first movement there are 269 meas-
ures; in the second movement there are 151
measures; in the third movement there are 168
measures; and in the fourth movement there are
364 measures.
266 MUSIC APPRECIA TION
6. Approximately, the time of each movement
is as follows: Movement I, six minutes; Move-
ment II, five minutes; Movement III, two min-
utes; Movement IV, six minutes.
B: THE FIRST MOVEMENT
1. This movement, which is in the usual
sonata-allegro form, has the following divisions:
Exposition, measures 1-107 (repeated);
Development, measures 108b-157;
Recapitulation, measures 158-238;
Coda, measures 240-269.
2. The first subject, with its commanding
entrance, lends itself readily to imitation in the
different parts:
*:2-o-º-Tz—
1st Violin : - f E=== H- } H
•) 1 p 2 3 4
_- Pºº-sº | " —
tº-F-C-E-S-H H E-E-L-T-I-I-II F L \ I
EHe=E====EEEEEEE
6 7 8 9 10
Strongly contrasting is the restless second sub-
ject, with its syncopated rhythm that is em-
phasized by all the instruments together:
Violin I
Violin II
Viola
Cello
68/o Sf 69 70 71
CHAMBER MUSIC 267
Both subjects are primarily instrumental in
style.
3. A short development section consists mainly
of the appearance of the first subject and the transi-
tional passage, both of which are varied in key, and
otherwise altered.
4. Conventional harmonies prevail in the ex-
position, except that the second subject is in the
unexpected key of C major. The development,
however, passes through a number of interesting
modulations.
5. The whole movement is straightforward and
compact.
C: THE SLOW MOVEMENT
1. This movement is in the simple rondo
form, with the following divisions:
A*, measures 1-12;
B, measures 13-46;
A*, measures 47–62;
C, measures 63-109;
A*, measures 110–119;
Coda, measures 120-151.
2. There is only one formal subject, the
melody of which (given at first to the second
violin), is as follows:
3. In various ways; sometimes by sustained
chords, as at the beginning; sometimes by alter-
nating chord-tones, staccato, as in measure 17;
268 MUSIC APPRECIA TION
Sometimes with repeated or syncopated notes in
one or more parts, etc.
4. Extensions of the four-measure phrase-
unit are frequent.
D: THE MINUET MOVEMENT .
1. Part I is subdivided into A (eight measures,
repeated); and B (54 measures, repeated). &
Part II (the trio), also in two-part form, consists
of C (12 measures, repeated), and D (24 measures).
Part III is the same as Part I, with the omission
of the repetition.
2. While the initial rhythm of the minuet:
#J 14 J.J. J.J. JJJ J J JJJ J Jil.
is clear-cut and of decided character, that of the
trio:
# J JJJJJJ JJTJJJ JIT J
has greater continuity of style.
3. Parts I and III are in D major and Part II
is in D minor.
4. In Part II, this figure:
2*Violin nºn-F-I-I
occurs four times in succession, the last time
followed by two fragmentary echoes.
E: THE FINALE
1. This movement is in Sonata-allegro form,
with the following divisions:
CHAMBER MUSIC 269
Exposition, measures 1-119a (repeated);
Development, measures 114b-210;
Recapitulation, measures 211-318;
Coda, measures 319-364.
2. A graceful downward curve, followed by
an upward Scale run, characterizes the first subject:
The second subject is in jerky rhythms, with
leaping melodic outline:
3. No radical change in the treatment of the
subject appears in exposition and recapitulation,
except that in the recapitulation the second sub-
ject is regularly transposed to the tonic key,
D major.
4. While the instruments engage in many
delicate effects of repartee, the movement as a
whole is clear and straightforward. *
F: ENSEMBLE
1. For first and second violins, viola and
°cello.
2. Although the first violin generally has the
leading part, each of the other instruments plays
with freedom, within its own sphere.
3. It is genuine chamber music.
270 MUSIC APPRECIATION
4. In the following passage from the Andante
movement (measures 5-12) the first three measures
of the theme are repeated by the first violin, while
the second violin, which had played these meas-
ures an octave lower in the first three measures of
the movement, continues a figure derived from the
fourth measure of the theme. Meanwhile other
rhythmic figures are played by viola and 'cello:
Violin I
Violin II
Viola
Cello
9 - 's 11 - -
5. When the theme returns for the third time
(A*), it is accompanied by a wavy figure in the
viola and by the figure derived from its fourth
CHAMBER MUSIC 271
measure, which now is taken by the 'cello:
violin I
Violin II
Viola
Cello
p
110 111 112
6. No.
G: COMPOSER
Answers to these questions will be found under
Type VII, Example 2, Section F, page 168.
II
SONATINE, Op. 100, FOR VIOLIN AND PIANO
Antonin Dvořák, 1841-1904
A: ForMAL FACTs
1. Four.
2. All are in the key of G, which is major in
all but the second movement, where it is minor.
3. Movement I is in #, Movement II is in
#, Movement III is in #, and Movement IV is
in #.
4. Movement I is marked Allegro risoluto
(fast and with determination); Movement II,
Larghetto (at a leisurely rate); Movement III,
272 MUSIC APPRECIA TION
Molto vivace (very lively); and Movement IV,
Allegro (fast). No radical change of tempo occurs
in the first three movements, although measures
44–55 of Movement II are slightly faster than the
rest of the movement (poco più mosso). In Move-
ment IV a much slower tempo is indicated for
measures 106-149, and for the corresponding pas-
sage in measures 295-338.
Approacimate
5, 6. Measures Time of performance
Movement I, 195 5 minutes
Movement II, 87 4% “
Movement III, 85 2% 6 6
Movement IV 379 6 6 &
Total 746 1734 6 &
B: THE FIRST MOVEMENT
1. This movement, written in Sonata-allegro
form, has the following divisions: - &
Exposition, measures 1-67b;
Development, measures 68-111;
Recapitulation, measures 112-183;
Coda, measures 183-195.
2. The first subject is bold and aggressive in
its first four-measure phrase, but more suave in
the answering phrase. A similar contrast is found
in measures 9-16. Delicate and playful in mood,
the second subject (measures 37-60) contrasts well
with the first subject. -
3. Material from the first subject is treated
throughout the development, which is compara-
tively short.
4. Euphonious and well-balanced harmonies
prevail, with interesting modulations, such as the
CHAMBER MUSIC 273
change to B-flat major in measures 68-79, and to
D-flat major in measures 80-89. In the exposi-
tion the second subject occurs in E minor, the
relative to the tonic key, G major. The accom-
paniment, much varied in style, is now assertive
in rhythm and now rippling with scale-wise or
arpeggio figures.
5. It is concise.
C: THE SLow MovKMENT
1. This is a lyric piece (Type II), with the
following divisions:
Part I, measures 1-39;
Transitional passage, measures 40–43;
Part II, measures 44-71;
Part III, measures 72–87.
2. Part I begins with a repeated eight-measure
melody that is followed by a more elaborate sec-
tion in B-flat major. In Part II there is a graceful
subject, first announced by the piano over arpeg-
giated chords. Again appearing in Part III, the
first eight measures of the initial subject are fol-
lowed by dreamy reminiscences of its principal
motive.
The violin melody of the first phrase of the first
subject has the following pitch outline:
3 4
º
}
l
}
|
)
}
tL_j i \-
3. In the beginning by chords (measures 1-24),
sometimes resolved into melodic parts; then by a
flowing arpeggio figure:
274 MUSIC APPRECIA TION
figure
25 26
In Part II a slow trill in sixteenth notes, played
first by the violin and then by the piano, forms a
background to the melody. In Part III, a chord
accompaniment is mainly employed.
4. Except in the transitional passages (meas-
ures 40-43, 60-71), the four-measure phrase-unit
is strictly observed.
D: THE MINUET MOVEMENT
1. This movement, here called a scherzo (page
197), has the following divisions:
Part I, measures 1-55;
Part II, measures 56–85;
Part III, a repetition of Part I.
Each division of Parts I and II is regularly
repeated: hence Part I really has 110 measures,
Part II 60 measures and Part III 55 measures.
Part I is thus nearly as long as the other two parts
together.
2. Parts I and II begin with these rhythms:
Part I: } tº J.J J. J.J. J.
Part II: # J J J J J J J J J J J
Evidently Part I is based upon a much more erratic
rhythm than Part II.
CHAMBER MUSIC 275
3. Parts I and III are in G major. Part II
is in the key of the dominant, C major.
4. In Part I the rhythmic figure of the first
two measures (see 2 above)
flavors the whole structure.
A violin figure:
also serves as an interesting accompaniment. The
following figure is prominent –9–1–
as accompaniment in the trio: #======
56
E: THE FINALE
1. This movement is in sonata-allegro form,
with the following divisions:
Exposition, measures 1-150;
Development, measures 151-219;
Recapitulation, measures 220–339;
Coda: measures 339-379.
2. Examining the melodic part of the first
phrases of the two principal subjects:
1st Subject
- >
fº =
Violin
Violin
cº-s 63 64 65
we find that while the first is rhythmically varied,
the second is of persistently jerky rhythm. In
pitch outline, the first subject has at first a strong
downward trend; while the second wavers about
a given pitch (E). Compared with these themes,
the lyric division of the second subject (measures
106-149) has a smoothly flowing, though rhythm-
ically varied melody, of which the initial upward
trend is in contrast to that of the first subject:
276 MUSIC APPRECIA TION
molfo tranquillo 2-5s
__--~~ *s,
106?? 107 108 109
3. In the recapitulation the first subject is
much shortened, and its accompanying harmonies
are varied. Whereas the two divisions of the
second subject were respectively in E minor and
E major in the exposition, they appear in G
minor and G major in the recapitulation.
4. While the movement is somewhat intricate
in structure, the simplicity of its melodies and
their accompanying harmonies makes it easy for
the hearer to grasp. &
F: ENSEMBLE
Violin and piano.
Yes.
It is true chamber music.
. In Movement I, measures 96-102, there is
an interesting exchange of melodic and accom-
panying parts between piano and violin. A
similar exchange occurs in the coda (measures
183-186), and at various other points throughout
the sonatine.
5. New and attractive rhythmic figures give
unexpectedness to the accompaniment. Observe,
for instance, the leaping accompaniment motive of
Movement I, measures 29–30:
:
– f.
CHAMBER MUSIC 277
6. There are no direct connections, although
the family resemblance of the themes is apparent.
G: COMPOSER
1. A native of Bohemia, Antonin Dvořák was
born September 8, 1843,
the son of an innkeeper.
As a result of early mu-
sical promise, he went to
Prague, where his budding
genius was finally recog-
nized by prominent mu-
sicians, such as Smetana
and Brahms. In 1890 he
became professor at the
Prague Conservatory, and
during 1892-5 he was di-
rector of the National
Conservatory at New Dvořák
York. The remainder of
his life was spent at Prague, where he died May 1,
1904.
2. Dvořák had the simple tastes and love of
home characteristic of the peasant class. His
ruling passion, music, was early fed by the stores
of Bohemian folktunes heard in his youth; and the
“homey” flavor of these tunes pervades all his
music.
3. Among Dvořák's works are several operas
and large choral works; chamber and orchestral
music, the latter including several symphonic
poems and five symphonies, of which the last,
From the New World, is based upon the distin-
guishing traits of Negro music.
278 MUSIC APPRECIATION
4. Dvořák may be classed among those “na-
tional” composers who have sought at once to
show their patriotism and to enrich general musical
resources by employing the idioms and phraseology
of national folktunes. Themes of this kind he
treats with a “love of exotic color, odd rhythms,
sudden excursions in tonality, curious melodic
intervals” which make him a distinguished figure
among his contemporaries.
OTHER COMPOSITIONS OF THIS TYPE
Any of the standard string quartets, trios, sonatas for violin and
piano, etc., may well be studied. The following are especially recom-
mended:
STRING QUARTETS
BEETHove N: Quartet, Op. 59, No. 2, in E minor.
BRAHMs: Quartet, Op. 67, in B-flat major.
Dvořák: Quartet, Op. 96, in F major (on Negro themes).
HAYDN: Quartet, Op. 54, No. 1, in G major.
MozART: Quartet, No. 1, in G major (dedicated to Haydn).
SCHUBERT: Quartet, Op. 29, in A minor.
SONATAS FOR PIANO AND WIOLIN
BEETHovEN: Sonatas, Op. 12, No. 3; Op. 24; Op. 30, No. 3; Op. 47
(Kreutzer).
BRAHMs: Sonata, Op. 78.
CoNVERSE: Sonata in E minor.
CoRELLI: Sonata in E minor.
DE LAMARTER: Sonata in E flat.
FAURF: Sonata, Op. 13.
Foot E.: Sonata, Op. 20.
FRANCE: Sonata in A.
GoDARD, B.: Sonata, Op. 12.
GRIEG: Sonatas, Op. 8; Op. 13; Op. 45. -
HANDEL: Sonata No. 1 in A major. (Ditson Edition, No. 321.)
HAYDN: Sonata in G major.
MozART: Sonatas, No. 3, in D major; No. 17, in A major.
PURCELL: Sonata in G minor.
SCHUBERT: Sonatines, Op. 137, Nos. 1, 2, 3.
SjöGREN: Sonata, Op. 19.
TARTINI: Sonata in G minor. (Ditson Edition, No. 351.)
SUPPLEMENTARY READINGS
DUNHILL, THOMAs F.: Chamber Music.
GROVE's DICTIONARY: Articles Chamber Music, Quartet, Trio, etc.
CHAMBER MUSIC 279
HAMILTON: Outlines of Music History, Chapter 7, Section 1; Chapter
10, Section 1.
KILBURN: The Story of Chamber Music.
LEE, E. MARKHAM: On Listening to Music, Chapter 5.
MAcPHERson: Form in Music, Chapter 22, Section 3.
THE FLoNzALEY QUARTET
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TYPE IX-B
ORCHESTRAL MUSIC: THE SYMPHONY
FOREword
Consisting of an aggregation of independent
parts, each of which is distinguished by its individ-
ual tone-color or quality, the orchestra may be
considered as a large and complex instrument,
comparable only to the pipe-organ. There is this
advantage in the orchestra over the organ, how-
ever, that in the orchestra each part is played by a
single performer or group of performers, and
hence becomes subject to a very personal atten-
tion. When all these parts are blended together
by the baton of an expert conductor, therefore,
the result is a composite of tone produced by a
considerable number of musicians, each one of
whom is contributing his fund of expression to the
general effect.
With the greatly increased possibilities of hold-
ing his auditors’ interest that are provided by the
limitless variety of tonal combinations at his dis-
posal, the orchestral composer is enabled to write
works of much more extended scope than those
which we have hitherto studied. Rendered more
complex and elaborate in its details and decked in
prismatic colors, the Sonata consequently develops
into that climax of instrumental grandeur, the
orchestral symphony. $
While the early growth of the opera rapidly
made more demands upon its instrumental back-
280
THE SYMPHONY 281
ground, it was some time before the personnel of
the orchestra became conventionalized. From
various attempts at combining instruments, the
strings soon became recognized as the chief com-
ponents. TWhen wind instruments were added,
these often overbalanced and obscured the weaker
members, such as the violins. Moreover, the
instruments was at first disregarded. With the
advent of Haydn, Mozart and Beethoven, how-
ever, the foundations of the modern orchestra
were firmly laid.
The following questions, which primarily con-
cern the symphony, are also applicable to the
concerto: that parallel type of orchestral music
in which especial prominence is given to a solo
performer. It should be noted that in the classic
concertos the exposition of the Sonata-allegro
form in which the first movement is cast, is reg-
ularly given twice, once by the orchestra alone
(tuiti), and once by the soloist with more or less
orchestral accompaniment.
At this point the student should be made familiar with the
structure and leading characteristics of each of the orchestral
instruments. For a description of these instruments, see
Hamilton's Sound and its Relation to Music, Chapter 9.
Phonograph records entitled “The Instruments of the Or-
chestra,” should be played, and the tone-quality of each
instrument noted by the class.
QUESTIONS
Sections A, B, C, D, E and G are identical with
the corresponding sections in Type IX.
Substitute for Section F in Type IX the follow-
Ing: {
282 MUSIC APPRECIATION
F: ENSEMBLE
1. What instruments are employed in the score
of the first movement, and in what order are the parts
for these instruments written, from top to bottom of
the score?
When the different orchestral parts are written
one above the other, the result is called a score.
Orchestral scores are written ordinarily with the
wood-wind choir of instruments at the top.
Under these come in order the brass, the percussion
instruments and the strings. When a solo part is
added, this is inserted just above the string parts.
2. Is this list of instruments altered in suc-
ceeding movements?
Sometimes instruments are withdrawn, or added
i for special effects.
3. What is the general style of the orchestration?
The orchestration may be tenuous and delicate,
as in early symphonies, or it may be rich and full,
as in the works of Schumann and Brahms. More-
over, two kinds of orchestration may be distin-
guished. In the first of these kinds, which may
be described as “muddy” orchestration, differ-
ent varieties of instruments play upon each part,
in full effects. When there are several melodies
in combination, for instance, the upper melody
may be taken by flutes, oboes, trumpets and
first violins, while a similar mixture might play
each of the other melodies. In “colored” or-
chestration, on the other hand, each melody is
played by its special choir of instruments; for
instance, one melody may be taken by all the
strings, another by the wood-wind and a third by
the brass.
THE SYMPHONY 283
4. Mention some characteristic effect of the
wood-wind instruments.
Mozart and especially Beethoven showed the
artistic value of expressing certain ideas by their
proper tone-colors: a pastoral theme by oboes or
flutes, a hunting song by horns, a martial air by
trumpets, etc.
5. Mention some characteristic effect of the brass
instruments.
In the scores before Beethoven, these instru-
ments are very sparingly used.
6. Are the tympani given special importance,
and if so, how?
These instruments do not always appear in the
classic scores.
7. Mention some characteristic effect of the
stringed instruments.
Since the strings furnish the foundation of the
orchestra on account of their flexibility, wide com-
pass and power of expression, they are almost
always of primary importance in a score.
8. Quote a passage in which the different choirs
of instruments are interestingly contrasted.
Such a contrast may be attained by giving the
melody to a single instrument or choir of instru-
ments while another choir takes the accompani-
ment; by employing different choirs in alterna-
tion, etc.
9. Are there any direct connections between the
Tmovements?
See remarks under Type IX, F: 1, page 199.
| 10. Compare this with a similar example.
284 MUSIC APPRECIA TION
EXAMPLES
These may be studied from Payne's Miniature Score and
also from the piano score.
Number the measures of each movement as described under
Examples of Type I.
I
SYMPHONY IN G MINOR, No. 40
Wolfgang Amadeus Mozart, 1756-1791
A: FORMAL FACTs
1. There are four movements.
2. All are in G minor except the second,
which is in E-flat major.
3. Movements I and IV are respectively in
Quadruple and duple measure; Movement II in
- g measure; and Movement III in } Iſlea,SUII’é.
4. The first movement is marked Allegro
molto (very lively); the second movement An-
dante (moderately slow); the third movement
Allegro (lively); and the fourth movement Alle-
gro assai (very quick).
5. In the first movement there are 299 meas-
ures: in the second there are 123 measures; in the
third there are 168 measures; and in the fourth
there are 292 measures.
6. Approximately, the time of each movement
(observing all repetitions) is as follows: Movement
I, seven minutes; Movement II, ten minutes;
Movement III, two and a half minutes; Move-
ment IV, four minutes.
B: THE FIRST MOVEMENT
1. This movement, which is in the usual sonata-
allegro form, has the following divisions:
THE SYMPHONY 285
Exposition, measures 1-100;
Development, measures 101-164;
Recapitulation, measures 165-285;
Coda, measures 286-299.
2. The first subject is smooth and lyric in
style, with graceful wave outline, such as is found
in the first four and a half measures:
TTTTPII-T IIſ IP-IITST
*P---EH-HF-H ITT T. T.
Its tripping rhythm contrasts with the suave
measures of the second subject, which begins
(measure 44) with pleading, downward chromatics:
44 45 46 47
3. Continual material for development is found
in the three-note detached groups of the first sub-
ject, which are tossed about during the codetta
(measure 72) and especially during the develop-
ment, where they undergo kaleidoscopic changes of
key.
4. A notable example of the emphasized ca-
dence is found in measures 16-20. Formal har-
monies are much softened in this movement by the
frequent downward progressions that, suggested
in the second subject, appear most strikingly in
the transition from the development to the recap-
itulation (measures 139-164).
5. Notwithstanding the lyric character of its
themes, the movement is rendered concise and
286 MUSIC APPRECIA TION
coherent through its continual insistence upon
certain features such as those described above.
C: THE SLOW MOVEMENT
1. This movement is also in Sonata-allegro
form, with the following divisions:
Exposition, measures 1-52 (repeated);
Development, measures 53-73;
Recapitulation, measures 74-123.
Measures 53-123 are also repeated. There is no coda.
2. Although couched in balancing phrases, the
two subjects are built upon unusual lines. A fugal
theme, for instance, begins the first subject, in
which viola, second violin and first violin enter
successively, each sounding a series of repeated
notes, and each of the last two playing a scale-
degree higher than the one which preceded it.
The second subject (measure 17) starts with as-
sertive, syncopated notes that soon, however,
break into the fairy-like, fragmentary figure which
has appeared before, and which is in evidence
throughout the movement, either as melody or as
accompaniment:
21
3. Detached chords and thematic snatches
such as those just suggested make up an accom-
paniment which is closely woven into the melodic
fabric.
THE SYMPHONY 287
4. Though the movement is built upon the
four-measure unit, there are many expanded
phrases, such as the seven-measure phrase in
measures 13-19, which is the first irregular unit
to be observed.
C: THE MINUET MOVEMENT
1. The following divisions are found:
Minuet—A (measures 1-14) + B (measures 15-42).
Trio=C' (measures 43–60) + D (measures 61-68) + Cº.
(measures 69–84).
After the trio the minuet is repeated. Divi-
sions A, B, C*, and D + Cº. have marks of repetition.
2. Assertive, syncopated rhythms begin the
minuet in a six-measure phrase that is composed
of two shorter groups of three measures each:
->
r
f
t 2 4 5 6
. The six-measure phrase which begins the trio
is in three groups, that are based upon a more even
rhythm:
288 MUSIC APPRECIA TION
3. G minor, the key of the minuet, is changed
to G major in the trio.
4. Frequent sequential use is made of this
figure, which appears in the -94–
second measure of the theme:
E----T-I
e) ti------,
Likewise the melodic figure in measures 48-50:
is of frequent and diverse f); 2TF
occurrence in the trio.
E: THE FINALE
1. The sonata-allegro form appears again in this
movement, with the following divisions:
Exposition, measures 1-108;
Development, measures 109-189;
Recapitulation, measures 190–292.
There is no coda.
*x
#2 º'
+-F
2. Based upon an up- -0.
ward staccato arpeggio:
TI
I
|
I
:
*
#
Aſh
F-
I
|
i
Aº
E-
i
*~1
2
which reminds us of the melodic figure quoted from
measures 48–50 of the preceding movement, the
first subject is purely instrumental, and as such
contrasts keenly with the lyric second subject,
which begins thus (measure 55):
55 56
3. Figures from the first subject are constantly
woven into the development. This subject ap-
pears in its original form at the beginning of the
THE SYMPHONY 289
recapitulation, in which the second subject is
changed from the key in which it first appeared,
B-flat major, to the tonic key, G minor. There
are also graceful variants introduced into this sub-
ject, such as this syncopated violin figure, in
measures 239-245: -
-04–––.-------
289 240 24; 242 243 244, 245
4. While there are interesting key-changes in
the development, the movement is uniformly
clear in treatment.
F: ENSEMBLE
1. In order from the top line of the score
downwards, the instruments for which parts are
written are these: wood-wind, one flute, two oboes,
two bassoons; brass, two horns; strings, first
and second violins, viola, 'cello and bass. Clari-
nets and tympani are conspicuous for their ab-
Se]]Cé.
2. No.
3. The whole symphony is lightly and del-
icately scored.
4. In the first movement, measures 160-164,
the high chromatic tones are played by the flute
alone, answered by the oboes, while the bassoons
repeat and sustain the octave D. This wood-
wind coloring well prepares the way for the
violins, which begin the first subject in octaves in
measure 164.
5. The mellow tones of the horns are used
mainly to give body to the harmony. Their
peculiar coloring is felt especially in the second
290 MUSIC APPRECIA TION
movement, where they often assert the monotone
figure of the subject, while other instruments are
playing in graceful melodic curves, as in measures
Horns
etc.
Strings
4 5K 6
6. Tympani are not used.
7. No better example of the use of the strings
could be cited than that which appears at the
very beginning of the symphony, where violins
play the graceful theme in octaves, while violas
Violins
THE SYMPHONY 291
chatter a busy accompaniment figure that is sup-
ported by the occasional fundamental tones played
by 'cellos and basses.
8. Interesting tonal contrasts are frequent in
the trio of the Minuet, where strings and wind
play answering passages. In measure 69 the horn
adds its lingering tones to those of the strings,
connecting the string phrase to the answer by the
wood-wind (measure 75).
9. No. -
10. This question will be answered under the
next example. .
G: COMPOSER
For answers to questions about Mozart, see
Type 8, Example 1, Section E, and Type 12,
Example I, Section D, pages 185 and 253.
II
SYMPHONY No. 5, IN C MINOR, Op. 67
Ludwig van Beethoven, 1770–1827
This may be studied both from the full score and from the
piano score. -
A: FORMAL FACTs
1. F OUII’. -
2. Movements I and III are in C minor;
Movement II is in A-flat major; and Movement
IV is in C major.
3. Movement I is in #; Movement II is in
#; Movement III is in #; and Movement IV
is in # (c). During measures 153-206 of the
292 MUSIC APPRECIA TION
last movement, the measure changes to that of
Movement III (#), after which it returns to #.
4. Movement I, Allegro con brio (fast, with
forcefulness); Movement II, Andante con moto
(at a moderate pace, but with rhythmic swing);
Movement III, Allegro (fast); Movement IV,
Allegro maestoso (fast, but with dignity). In
measures 153-206 of the last movement the tempo
changes to that of Movement III; and from
measure 353 the pace gradually quickens, becoming
very fast (presto) from measure 362 to the end.
5, 6. Measures Time of performance
Movement I, 502 6% minutes
Movement II, 247 6% “
Movement III, 373 4. & ©
Movement IV, 444 8 & C
Total, 1566 25 66
B: THE FIRST MOVEMENT
1. Sonata-allegro, divided thus:
Exposition, measures 1-124, repeated;
Development, measures 125-252;
Recapitulation, measures 253-372;
Coda, measures 373–502.
2. Both of the principal subjects are made up
from the assertive figure
announced in the first two
Iſlea,SUII’éS · 1ſº 2
While, however, the first subject (extending through
measure 24) is based almost entirely upon this
figure, the second subject uses it only incidentally,
following its emphatic announcement by a ten-
derly suave lyric motive that is enlarged upon with
reminiscences of the leading figure in the bass:
THE SYMPHONY * 293
d
63 64
65
65
3. Throughout the movement, the four-note
figure just referred to is almost constantly in evi-
dence, sometimes tossed about by different instru-
ments, as by the strings in measures 6-19, some-
times blatantly asserted, as by the horns in
measures 60-61, and again suggested in the back-
ground, as by the bass strings in measures 65, 66
and following.
4. Well-balanced, normal harmonies prevail,
furnishing a structural background for the musical
fabric. During the passage in the development
extending through measures 195-240, the chro-
matic, antiphonal harmonies become the dominant
factor of interest.
5. Through its insistence upon a single short
musical figure, the movement becomes a marvel
of concentrated thought.
C: THE SLOW MOVEMENT
1. This is in the form of a theme with varia-
tions (see Type V), with the following divisions:
Theme, consisting of A (measures 1-22); B (measures
23–49);
Variation I, measures 50-98;
Variation II, measures 99–184;
Variation III, (theme shortened) 185-205;
Coda, measures 206-247.
294 MUSIC APPRECIATION
2. The subject or theme is in two divisions:
A (measures 1-22) and B (measures 23–49). Divi-
sion A consists of a formal melody made of two
balancing four-measure phrases, which are followed
by phrases that variously emphasize the cadence.
Division B announces a contrasting melody in the
same key, A-flat major, which, however, soon
changes to C major. After this melody has been
strongly asserted in the latter key, a graceful pas-
sage (measures 39–49) leads to the first variation.
During the first four measures of the movement,
the melody (played by violins and 'cellos) has the
following pitch-outline:
& 4.
3. Division A of the theme is supported at first
mainly by pizzicati notes in the basses. A figure
in triplet sixteenths, however, accompanies the
chief melody in Division B. These initial de-
vices are intensified in many ways during the
variations, as in Division B of Variation I, where
thirty-second notes take the place of triplet six-
teenths in the accompaniment:
4. They are often expanded. Measures 9-22,
for instance, are really an elaboration of the
second phrase of the theme.
THE SYMPHONY 295
D: THE MINUET MOVEMENT
Part I, measures 1-140, 140 measures;
Part II (trio), measures 141-235, 95 measures;
Part III measures 236–323, 88 measures;
Coda (leading to Movement IV) measures 324-373,
50 measures.
Part I is a little longer than Part II (in which the
first 20 measures are repeated), and somewhat
shorter than Part III and the coda together.
2. These rhythms are as follows:
Minuet (four-measure unit):
# , , J J J J J J la
Trio (six-measure unit):
# J JJJJJJJJJJJJ J J J J J J J J J J
Evidently the phrase-rhythm of the trio is
quicker and more extended than that at the
beginning of the minuet.
3. Parts I and III are in C minor. Part II
is in C major,
4. Beginning in measures 71-72, the rhythmic
figure: . . . . . . is much used during the re-
É' ' mainder of this part, also in
Part III and the coda. Observe that this figure
is practically the same as that of the . JJJ |J
first movement: y >
E: THE FINALE
1. Sonata-allegro form, with the following
divisions:
Exposition, measures 1-85 b,
Development, measures 86-206;
Recapitulation, measures 207-294;
Coda, measures 295-444.
296 MUSIC APPRECIATION
2. Bold and rhythmic, with leaping progres-
sions, the first subject (measures 1-25) is in effect-
ive contrast to the second subject. This latter
has two divisions, the first, beginning in measure
44, consisting largely of a sportive motive that is
made of scale-snatches in triplet groups; and the
second, beginning in measure 64, more sustained
in style, and with downward scale-fragments.
3. In the recapitulation the subjects are
presented as at first, except that the second subject
appears regularly in the tonic key, C major, instead
of in G major, as in the exposition.
4. A clear, straightforward style character-
izes the movement.
F: ENSEMBLE
1. Two flutes, two oboes, two clarinets, two
bassoons, two horns, two trumpets, kettledrums
and the usual strings: first and second violins,
violas, 'cellos and basses.
2. Only in the last movement, in which is
added a piccolo, a double-bassoon and three trom-
bones. g
3. Beethoven’s genius is displayed in the well-
balanced, normal orchestration, in which each
instrument is chosen for its power of expressing
the exact shade of thought that he desires, and in
which all the instruments work together to pro-
duce a closely-knit, euphonious texture.
4. In Movement I, the little oboe solo
(measure 268) is a charm-
ſº s Oboe GN Adagio *N
ing relief from the con- #########
tinuous flow of tone: ºf 257+= ~
In Movement II we observe the responsive
phrase of the wood-wind in measures 11-15, and
THE SYMPHONY 297
especially the passage (measures 128-146) during
which the woodwind instruments play graceful
Scale progressions of contrasting thirds.
5. They are most in evidence in the last move-
ment, where they are used to add richness and
volume to the tonal masses. A short horn pas-
Sage occurs in Movement I (measures 59-62),
where the theme is an- a Horns $f $f $f
I
nounced by the horns #######EEEEE
in unison, fortissimo: e) *T*
5%; 60 61 gº-
Similarly, in Movement III, measures 19–26, the
horns bear the burden of the theme:
Horns
** *
19ſ,” 21 25
6. A remarkable passage occurs in the last
fifty measures of Movement III, during which the
drum-beat on the tonic, C, beginning pianissimo
with the rhythm of the principal motive:
Kettledrum, , , gradually increases in
2EEEEEEEEEEEE|etc. tone, until in the final
324/7, 325 326 measures it insistS On
the mighty crescendo that ushers in the last move—
ment. .*
7. Rapid passages involving sequences, such as
that in measures 95-110 of Movement I, are
characteristic of the strings. The singing tones
of violas and 'cellos are evident in the first eight
measures of Movement II. Lively work for
°cellos and basses occurs in the trio of Movement
III, beginning in measure 141.
8. Movement I, measures 196-240, contains a
striking example of such contrast in the mystic
harmonies that are sounded in alternate groups
by wind and strings.
298 MUSIC APPRECIATION
9. Movement III leads directly to Movement
IV through the long crescendo in measures 324-373.
The four-note motive which Beethoven is said
to have called “Fate knocking at the door,” and
which is so closely knit into the fabric of Move-
ment I (see B: 2 above), reappears in measure 19
of Movement III. From this point it dominates
a large portion of the movement; and, as if un-
conquerable, it interrupts the progress of Move-
ment IV, asserting itself in measures 153-206.
10. Both of the symphonies which we have
studied are models of musical form. While both,
too, are distinguished by lucidity of style and con-
centration of thought, Beethoven’s symphony has
a masterful directness and a variety of color that
contrasts with Mozart’s elegance of style and
melodic smoothness. No harsh or blatant note
is allowed to enter into the delicate scoring of
Mozart’s symphony. Beethoven, however, be-
ginning with the startling assertion of the domi-
nant motive, proceeds through a succession of
emotional moods to the triumphant climaxes of
the last movement, in which heavy brass instru-
ments are called upon to emphasize the tonal
crises.
G: COMPOSER
For answers to these questions, see Type VII,
Example II, Section F, page 168.
-*
OTHER COMPOSITIONS OF THIS TYPE
The following symphonies are especially recommended for study:
BEETHovEN: Symphony No. 1, in C major. .
Symphony No. 3 (Eroica), in E-flat major.
THE SYMPHONY 299
BRAHMs: Symphony No. 1, in C minor.
D'INDY: Symphony in B-flat.
Dvořák: Symphony No. 5 (From the New World), in E minor.
FRANCE: Symphony in D minor.
HAYDN: Symphony No. 6 (Surprise), in G major.
RELLEY, E. S.: New England Symphony.
MENDELSSoHN: Symphony No. 4 (Italian), in A.
MozART: Symphony in C (Jupiter).
SCHUBERT: Symphony in B minor (Unfinished).
SCHUMANN: Symphony No. 1 (Spring), in B-flat.
TCHAIKovsky: Symphony No. 6 (Pathetic), in B minor.
SUPPLEMENTARY READINGS
GROVE's DICTIONARY: Articles Orchestra, Symphony.
HAMILTON: Outlines of Music History, Chapter 6, Section 3; Chapter 7,
Section 1.
Sound and its Relation to Music, Chapter 9.
HENDERSON: The Orchestra and Orchestral Music.
LEE, E. MARKHAM: On Listening to Music, Chapter 3.
MACPHERSON: Form in Music, Chapter 22, Section 1; Chapter 23.
MASON, D. G.: The Orchestral Instruments and what they do.
PRATT: History of Music, Sections 132, 147, 148, 211.
|OOOD.O
Tympani Drums &
&
|g|g| 9 || 9 |
X | X X X
Horns
O || O O | O O
X X X X X
Bassoons Clarinets Oboeb
O ... O - O O
O O O O
O ... O ... O ... O O © xO 2.9 ×9 ×9 x|s
3° 3° 5° 5' 5"| 2 |*6 *6 to *o to *E.
16 First Violins | Con.] 14 Second Violins
SYMPHONY ORCHESTRA
(Seventy-nine performers)
TYPE VII-B
ORCHESTRAL MUSIC: THE CONCERT
OVERTURE
FOREWORD
It is possible to find orchestral music that is
written in many of the types which we have
previously presented, and to study it under its
proper type, with the addition of questions relative
to the ensemble, or general effect, such as those
given under Type IX-B or under the present type.
Orchestral suites, for instance, both classic and
modern, are numerous. Examples of the former
are found in the suites by Bach, and of the latter
in Grieg's Peer Gynt Suites.
In the last-named suites is found that descriptive
element which is frequently made use of in or-
chestral writing, on account of the great variety
of tonal effects that are possible. Program music,
indeed, finds its chief representative in the sym-
phonic poem, a composition of elaborate detail,
illustrative of a poem or succession of literary
ideas. The symphonic poem is a distinctively
modern creation, since it was invented by Franz
Liszt (see Type XII, Example 2, Section D). It
may be studied under Type XII.
Of a more formal type, but still suggestive of the
picturesque, is the orchestral overture. Origin-
ally serving strictly as an introduction to an opera
or an oratorio, the overture was for a long period
very indefinite in form, often consisting merely of
- 300
THE CONCERT OVERTURE 301
a series of airs that were afterward prominent in
the dramatic production. The use of overtures
in the concert hall, however, incited composers to
give more attention to their formal structure, with
the result that concert overtures came to be
written, each of which consisted of one movement,
founded as a rule upon the Sonata-allegro form,
which, however, was often modified in its details.
While the older masters—Mozart, Beethoven
and Weber, wrote overtures in this form as
preludes to their dramatic works, later composers,
beginning with Mendelssohn, have written many
overtures that are quite complete in themselves,
but that are based upon some external suggestion
of scenery or poetic idea.
QUESTIONS
Sections A, B, C, D and F are identical with the
corresponding sections of Type VII.
Substitute for Section E in Type VII the fol-
lowing:
E: ENSEMBLE
1. What instruments are employed in the score,
and in what order are the parts written, from top
to bottom? -
See Type IX-B, F: 1, page 282. -
2. What is the general style of the orchestration?
See Type IX-B, F: 3, page 282. -
3. What eacternal ideas, if any, are illustrated
in this overture?
Such an idea may be derived from scenes in the
drama which the overture introduces, from some
scene or train of thought in the composer's mind,
sº tº
s e o * ~
tº
302 MUSIC APPRECIATION
from ideas suggested in a poem, national event,
etc.
4. How are these ideas suggested in the music?
Themes may be associated with personages or
situations in the drama; rhythms may suggest
such thoughts as the calm of twilight, the din of
battle, etc.; accompaniment may picture the .
motion of the waves, the rustle of tree-tops, etc.
5. Mention one or two instances of the effective
wse of the tone-color of individual instruments.
Very beautiful effects are often produced by
bringing to the fore some special instrument, such
as the flute or the oboe.
6. When, in your opinion, does the climaa, of
the overture occur, and how is it effected?
Since the overture is closely associated with
dramatic music, a gradual culmination of interest
is to be expected.
7. Compare this with a similar composition.
EXAMPLES
I
OVERTURE, “THE HEBRIDEs, ’’ OP. 26
Feliac Mendelssohn-Bartholdy, 1809–1847
This may be studied from Payne's Miniature Score and
also from the piano score.
Number the measures as described under Examples of
Type I.
A: GENERAL FACTs
1. In B minor.
2. Exposition, measures 1-95 (95 measures).
THE CONCERT OPERTURE 303
Development, measures 96-179 (84 measures).
Recapitulation, measures 180–216 (37 measures).
Coda, measures 217-268 (52 measures).
3. Quadruple measure (C) is indicated through-
out. The tempo sign Allegro moderato (moderately
fast) is unchanged until two measures before the
coda, when the pace slackens a bit (un poco rit.).
At the beginning of the coda the direction ani-
mato, a tempo is given, indicating that the original
pace is to be resumed, but with more animation of
style.
B: THE EXPOSITION
1. There is no introduction.
2. While the first subject is somewhat ex-
tended, since it occupies the first 32% measures,
the constant presence of the leading motive makes
its structure easy to follow.
3. Although the princi-
pal figure of the first subject II
is smoothly melodic: ſo
the compass and fragmentary character of th
subject as a whole are decidedly instrumental.
The first four measures consist of a repetition of
the above melodic motive, played by bassoons,
violas and 'cellos.
4. Simple, sustained chords furnish the main
support to the melody in the first eight measures.
These chords are then replaced by a figurated ac-
companiment, which lasts to measure 26, when
contrapuntal treatment completes the first subject.
5. The transitional passage begins in measure
33 and extends into measure 47.
6. A new motive, which
appears first in measure-29: "JTF-H
304 MUSIC APPRECIATION
is emphasized in various ways during the transi-
tional passage, which fades into the shimmering
dominant chord of D major.
7. Thus introduced, the second subject enters
in the key of D major. This key continues with-
out radical change to the end of the exposition.
8. We may distinguish between the second
subject proper (measures 47–69) and the codetta
(measures 70-95).
9. There is no marked contrast in mood be-
tween the two subjects, although the second is
more sustained and lyric than the first. Both are
introduced by the lower instruments ('cellos and
bassoons). While the first subject is made of a
short downward motive, the second subject starts
out with an upward outline that has more the
effect of a formal melody, and that rises rapidly
to an emotional climax, from which it afterwards
lingeringly falls: -
10. Closing with a fanfare on the chord of D
major, the exposition ends with the tones D
F-sharp, emphasized by horns and trumpets
alone. Since these tones are also the two upper
tones of the chord of B minor, the transition to the
latter key, in which the development opens, is
thus readily accomplished.
C: THE DEVELOPMENT
1. We may distinguish three divisions: the
first included in measures 96-130, the second in
measures 131-148, and the third in measures
I49–179.
THE CONCERT O VER I’URE 305
2. Beginning in B minor, the development
passes rapidly through E major, C major, G
minor, B-flat major, F major, C minor and G
minor, arriving (measure 129) at a pause on the
chord of D major, which is taken as the dominant
of G major, in which key the next division begins.
Passages in G major and F major then proceed to
B-flat minor (measure 149). In the third division
many chromatic key-changes lead finally to the
chord of F-sharp (measure 178), the dominant of
the tonic key, B minor, in which the recapitula-
tion begins.
3. In the first division, a varied treatment of
the principal motive of the first subject is followed
by a reminiscence of the second subject. From
measure 130, the principal motive is constantly in
evidence in one form or another until measure 165,
where brilliant passage work claims the attention.
4. There is little new Clarinets and Bassoons
material in evidence. In º
measures 112-122, this mo-
tive is heard several times:
113
conſorza
5. As we have seen, the development is based
mainly upon the principal motive of the first sub-
ject, which appears in a great variety of keys,
played either by a single instrument or, more
often, by a group of instruments. Alterations
in its form also occur, as in measures 139-144,
where it is thus played by a solo flute:
Flute “- _-- -
*~~ . 2-se -> .*-
44-##-fºr-, * frº-, *-fºr-
#EEEEEEEEEEEEEEEEE
e) *439 140 14iTS142 ' 143 144
Notice also the passage beginning in measure 149,
306 MUSIC APPRECIATION
where this motive is suggested alternately by
strings and woodwind, in light, staccato chords:
Wood-
Wind
Strings
, 150
6. The development grows in interest by con-
stant changes of style and by a series of climaxes,
each more insistent than the one which precedes.
7. By upward chromatic progressions, which
increase in rapidity and terminate in a long trill,
played on the dominant of the tonic key, B minor,
by violins and clarinets. Under this trill the
first subject quietly reappears. -
D: THE RECAPITULATION
1. The first subject is much compressed, since
it occupies but ten measures (measures 180-189),
instead of the original 32% measures of the
exposition.
2. New material is found in the -
transitional passage (measures 190- #####
201) in which the figure: e) T 190 T.
rises and quickens through four measures, after
which descending scale passages quiet the mood
for the entrance of the second subject.
3. Beginning in the key of B major (instead of
B minor which would be more regular), a frag-
THE CONCERT OF ERTURE 307
ment only of the second subject (measures 202-
214) is sung by the first clarinet, soon joined by the
second clarinet (measure 206), over sustained
strings. The movement is halted by the call of
the horns (measures 211-213), echoed by the
clarinets (measures 215-217), which usher in the
lively coda.
4. Staccato chords, rapid scale-runs and trum-
pet calls maintain a continual tonal activity during
the coda. There are occasional references to the
leading motive, which, after the stirring climax,
is thrice sounded by the clarinet, each time more
faintly than before (measures 264-267):
4.--> pº -
264 265 266
E: ENSEMBLE
1. The order of parts, reading from top to
bottom of the score, is this: two flutes, two oboes,
two clarinets, two bassoons, two horns, two trum-
pets, two tympani, first and second violins, violas,
°cellos, basses.
4. Mendelssohn’s orchestration, like most of
his work, is a model of elegance and finish. Joined
with perfect clarity is a richness and fullness of
harmony, in which each instrument plays its
individual part with distinction.
3. In the summer of 1829, Mendelssohn, then
in his twentieth year, made a tour of Scotland,
visiting the Hebrides Islands, where he saw Fin-
gal's Cave. Writing on August seventh of that
year, he says, “In order to make you understand
how extraordinarily the Hebrides affected me, the
308 MUSIC APPRECIATION
following came into my mind there,” adding the
first twenty measures of the Hebrides Overture.
On the first production of this overture at a Phil-
harmonic concert in London, May 14, 1832, it
was given the title, “Overture to the Isles of
Fingal.”
4. There is no attempt at detailed description
in the overture. We may readily imagine that the
constant reiteration of the undulating motive of
the first subject and the insistent rhythmic swing
of the whole overture represent the dashing of the
waves upon the island coast.
5. Such instances are found in the flute solo
over a quiet string accompaniment, beginning in
measure 138 (quoted above under C: 5); the
clarinet passage in measures 202-214 (see D: 3
above); and the final announcement of the subject
motive in measures 264-267 (see D: 4 above).
6. A climax is attained near the close of the
development by the passage ending with up-
ward chromatics (measures 171-178). Still more
intense, however, is the climax which culminates
just before the close of the overture. Throughout
the coda, there is a constant increase in animation,
until (measure 243), over rushing passages played
by all the strings in unison, we hear loud trumpet-
calls that are followed by a cadencing progression
of intense activity in all the instruments (measures
258-264).
7. The answer to this question will be given
under the next example.
F: COMPOSER
See Type 5, Example II, F: 1, page 125.
1. Born of a wealthy Jewish family, Mendels-
sohn’s evident musical genius was fostered by the
THE CONCERT OVERTURE 309
most favorable surrounding influences and by the
best available instructors. His boyhood was
passed in Berlin, where the Mendelssohn house was
the resort of the most noted people of the day, and
where Felix’s early compositions were produced
at private Sunday concerts. As a youth he was
given the advantages of foreign travel in Great
Britain, Italy and Switzerland. Having won un-
limited prestige as performer, teacher, conductor
and composer, he spent the remainder of his life
in unceasing activity in Germany and in England.
In Leipsic he was founder of the Conservatory
and was leader of the Gewandhaus Orchestra.
He died in 1847.
2. Mendelssohn’s charm of manner, brilliant
mind and magnetic personality attracted hosts of
friends wherever he went. Unspoiled by wealth,
he was unceasingly devoted to his art, making each
new experience a source of inspiration, as we have
seen in the case of his visit to the Hebrides. His
sunny disposition and prosperous career unfitted
him for the deeper passions, such as those dis-
played by Beethoven; yet his works are models
of refinement and good taste.
3, 4. For answers to these questions, see Type
V, Example II, Section F, page 125.
II
OvKRTURE TO TANNHAUSER
Richard Wagner, 1813–1883
This should be studied from both the full score and the
piano arrangement.
310 * MUSIC APPRECIATION
A: GENERAL FACTs
1. In E major.
2. Measures
Introduction, measures 1-80 . . . . . . . . . . . . . 80
Exposition, measures 81-194 . . . . . . . . . . . . . 114
Episode (development), measures 195-219. . 25
Recapitulation, measures 220-320 . . . . . . . . 101
Coda, measures 321-442. . . . . . . . . . . . . . . . . 122
Total 442
3. Introduction, # measure, Andante maes-
toso (rather slow and dignified). During measures
38–80 the parts for first and second violins are
written in § measure.
The main body of the overture is in duple
measure (6), Allegro (fast). Only slight changes
of tempo are indicated until measure 273, where a
much quicker pace begins; and from measure
369 the music accelerates to the end.
B: THE ExPOSITION
1. Founded on the stately motive of the Pil-
grims’ Chorus:
r—#-º-º-º-Hºº-º-º-º-º-2
which is presented first in plain chords and then
embellished by a violin figure (sometimes called
the motive of rejoicing):
the introduction is dignified and solemn in style.
2. Measures 81-136 are occupied with the first
subject, which is presented in various phases.
THE CONCERT OVERTURE 3.11
3. The first subject is built upon important
motives in the opera, rather than upon conventional
phrases. Of these motives, the first is the exu-
berant theme of the Venus mountain, given out
by the violas:
Beginning in the second measure of this theme,
a countermotive is announced by the high instru-
ments:
__-
a g +, +, #ef eTe ** **, Te
Lºſ | I - I :
*
Vººl ºf III
ZAC Tºº--
rt-Lº. –H–E–
}= #5 84
There is also a subsidiary theme given out by
violins, which is much like *Tº Her a
the countermotive, and which # | É ff ſº.
starts in measure 124, thus: ºf Tºp
4. Since with the first subject a bacchanalian
revel begins, the harmonies are unrestrained,
frenetic, and charged with chromatic progressions,
as in the two motives last quoted, and as also
illustrated in the 'cello accompaniment to the
subsidiary theme:
5. This passage is but five measures long
(measures 137-141). -
6. It is simply a brilliant link-passage.
7. In B major. There is a modulation to
F-sharp major in measure 157. After measure
166, the tonality shifts frequently.
312 MUSIC APPRECIA TION
8. There are two divisions, the first consisting
of measures 142-157, and the second of measures
158-171. A codetta, which completes the expo-
sition, consists of a wild orgy of tone, in which the
Venus mountain motive is twice heard.
9. Tannhäuser’s spirited Hymn to Venus, sung
in Act I, furnishes the second subject. This
theme has more the character of a formal melody
than the fragmentary first subject. It begins with
a trumpet-like motive:
# #e
I I H
I LI º
Tº: * .
TI r- I -
f
=
10. It rests upon the dominant seventh of
G major (measures 194–195).
C: THE DEVELOPMENT
1–7. Instead of the regular development, Wag-
ner here introduces a short episode, based upon
the alluring melody sung by Venus to Tannhäuser
in the first act. This melody is played by the
clarinet:
Clarinet
*T200 TE20 202 TT 203 204
The first section (measures 195-
º tº e © st Vi. *
203) is in G major. Following *: A
this section there are numerous #2–H–fºr-
modulations, during which this e) 204 P-305
figure is prominent:
interwoven with snatches of the Venus mountain
THE CONCERT OF ERTURE 313
motive (measures 205, 207, 209 and 211). The
episode leads directly to the recapitulation.
D: THE RECAPITULATION
1. Omitting the first part of the first subject,
the recapitulation begins with its subsidiary
theme, given out by violas, with the inevitable
chromatic passages in the 'cellos. This passage
(measures 220-237), which is somewhat extended
from its former length, begins in B major, instead
of E major, as at first.
2. Consisting of but four measures (measures
238-242), the transitional passage merely em-
phasizes the dominant chord of E major. :
3. Its two main divisions (measures 246-257,
258-272), are presented regularly in the keys of
E major and B major. The codetta, however, is
considerably altered, beginning with the motive
formerly contained in the first subject:
#-ºia-Hā
and working up to a high pitch of fury, during
which the violin figure called the motive of re-
joicing enters over tremulous chords (measures
309-319,) leading up to the coda proper.
4. While the violin figure ever quickens its
pace, the Chorus of the Pilgrims which was heard
in the introduction is thundered forth by trom-
bones and trumpets, within the full harmonies
that are played by the rest of the orchestra.
E: ENSEMBLE
1. From top to bottom of the score, the parts
are as follows: piccolo, two flutes, two oboes, two
314 MUSIC APPRECIA TION
clarinets, four horns, two bassoons, three trum-
pets, three trombones, bass tuba, kettledrums,
triangle, cymbals, tambourine, strings.
2. The orchestration is full, sonorous and
powerful, with a great variety of color effects.
3. This overture epitomizes the opera as a
whole, which has for its theme the conflict between
earthly and spiritual desires. Lured by the wiles
of Venus, Tannhäuser abandons himself to earthly
pleasures; but through his love for the Saintly
Elizabeth, he is finally redeemed.
4. In the Pilgrim’s Chorus with which the
overture begins, the ultimate trend of the plot is
placed before us: the search for the spiritual life.
The lawless scenes in the Mountain of Venus are
suggested in the main body of the overture; but
finally these give way before holier aspirations.
Wagner himself has thus interpreted the meaning
of the coda: t
“But already the dawn begins to break; from afar is heard
the Pilgrims' Chant. As this chant draws closer and yet
closer, as the day drives the night farther back, that whir
and soughing of the air—which had erewhile sounded like
the eyrie cries of souls condemned—now rises, too, in ever
gladder waves; so that when at last the sun ascends in
splendor, and the Pilgrims' Chant proclaims in ecstasy to
all the world, to all that lives and moves thereon, Salvation
won, this wave itself swells out the tidings of sublimest joy.”
5. Such instances are (1) the exclusive use of
wind instruments at the beginning and end of the
introduction; (2) the clarinet solo during the
episode (measures 195-220), in which it is sup-
ported by an etherial accompaniment furnished by
violins divided into eight parts; (3) the ascending
chromatic passages played by the 'cellos in the
measures immediately following (measures 220-
237).
THE CONCERT OVERTURE 315
6. At the very end. It is effected by a con-
tinual increase in tone and speed during the coda.
7. While both the overtures which we have
studied may be classed as “program” music, the
Hebrides suggests descriptive ideas only in a
general way, while the Tannhäuser Overture is
more definite and detailed in its ideas. Mendels-
Sohn writes solely for the concert stage, employing
conventional forms with refinement and elegance
of musical diction; Wagner, on the other hand,
seeks theatric display to whet the appetite of his
audience for the coming spectacle. In orches-
tration, Mendelssohn scores for the usual instru-
ments, which are combined with technical mastery
and artistic restraint; while Wagner, in his whirl
of sensational display, calls into service additional
instruments of tonal strength and of barbaric
appeal.
F: COMPOSER
1. Richard Wagner was born in Leipsic, May 22,
1813. His boyish enthusiasm for music and the
theatre bore fruit in several early dramatic works;
and he became conductor in several German cities
successively. After occupying a similar position
in Riga, he went to Paris, where he struggled
vainly for recognition. From Dresden, where
several of his operas were produced and where he
became court chapelmaster, he was banished for
his political opinions in 1849. During several
years’ residence in Zürich he developed his new
operatic theories, and in accordance with these
theories he set to work upon his great music
dramas. Production of the latter was delayed,
however, until he was befriended by the King of
Bavaria, through whose influence Wagner was
316 MUSIC APPRECIA TION
enabled to see the realization of his dreams. He
died in Venice, February 13, 1883.
2. A dauntless self-confidence which triumphed
over apparently insuperable obstacles shaped his
career. While in his music dramas he posed as
philosopher, poet, master of stage-craft and musi-
cian, it is upon his genius as musical composer that
his fame finally rests.
3. Operas, or, as he preferred to call them,
Music Dramas.
4. Wagner's conspicuous and dominating gen-
ius overshadowed that of his contemporaries, es-
pecially in the field of opera, in which Verdi was
his chief rival. With Liszt, Wagner stood out
as the champion of “program” music, against
such “absolutists” as Schumann and Brahms.
OTHER COMPOSITIONS OF THIS TYPE
BEETHovEN: Overture, Leonora No. 3.
BRAHMs: Academic Overture.
ELGAR: Overture, In the South.
GoLDMARK: Overture, Sakuntala.
MASSENET: Overture, Phèdre.
MENDELssohn. Overture to the Midsummer Night’s Dream.
MozART: Overture to Don Giovanni.
ROSSINI: Overture to William Tell.
SULLIVAN: Overture, In Memoriam.
TOHAikovs KY: 1812 Overture.
WAGNER: Overture to Die Meistersinger.
WEBER: Overture to Oberon.
SUPPLEMENTARY READINGS
GRove’s DICTIONARY: Article, Overture.
HAMILTON: Outlines of Music History, Chapter 8, Section 1; Chap-
ter 9, Section 2.
HENDERSON: The Orchestra and Orchestral Instruments.
LEE, E. MARKHAM: On Listening to Music, Chapter 3.
MACPHERSON: Form in Music, Chapter 22, Section 2; Chapter 26.
PAUER: Music Forms: The Overture.
PART III
TYPES OF WOCAL MUSIC
JENNY LIND
(1820-1887)
3.18
PART III
TYPES OF voCAL MUSIC
GENERAL REMARKs. During the early Chris-
tian centuries, music was divided into two sharply
defined classes, the religious and the secular.
In religious music, which was almost exclusively
vocal, the melodic form and progression depended
primarily upon the words of the ritual or scripture
which it was intended to illustrate; while in secular
music, which was both vocal and instrumental, the
form followed the motions of the dance. It is
necessary to bear in mind these two sources of
music in order to understand modern vocal forms,
since, although the two styles were eventually
intermingled, their basic differences were yet im-
portant factors in determining the types which we
are now to study.
Mediaeval church composers were occupied
chiefly in working out technical problems, such as
a scale structure, notation and part-writing. As
results of their labors a means was found for per-
petuating musical ideas with considerable accuracy,
and the science of counterpoint was elaborated,
becoming the foundation of the various fugal types
which have been presented in previous pages.
These church composers, however, at first took
no account of the immense fund of popular music
which grew up outside of their jurisdiction, and
which therefore was not molded by their precepts.
It was this folk-music, however, which eventually
determined not only the scales, but also the periodic
319
320 - MUSIC APPRECIATION
phrase-structure of our modern harmonic types:
for with the advent of solo song in the seventeenth
century, melodic structure soon came to be regu-
lated by the simple forms of the folk-tunes which
had become familiar through ages of popular use.
OLD ENGLISH MAY-Polº, DANCE
TYPE XIII
THE FOLKSONG
FOREWORD
The definition of what constitutes a folksong is
disputed. Some persons include under the title
all those simple songs which, whether their origin
is or is not known, have become popular posses-
sions by reason of their long-standing vogue: for
instance 'Way down upon the Swanee River, by
the American Stephen C. Foster (1826-1864).
Other persons, however, would accept as genuine
only those folksongs that have apparently grown
up among the people where they are sung and where
they have sometimes been passed about for gener-
ations before they have been written down.
Only in comparatively recent times have the
eyes of musicians and scholars been opened to the
value of this latter class of folk material. The
results of this tardy recognition, however, are
already seen in the development of national musical
styles and in the collation of folksongs by scientific
investigators. In Russia, a vast and interesting
fund of folk music has been brought to light by the
group of so-called “New Russians” and their fol-
lowers; while such composers as Grieg in Norway,
Dvořák in Bohemia, Chopin in Poland and Sibelius
in Finland have perpetuated national traits in
music of enduring value.
In France, Julian Tiersot, and in England,
Cecil Sharp have been leaders in the scientific
321
322 MUSIC APPRECIATION
investigation of folk music in their respective
countries. Mr. Sharp's labors have been carried
on in this country also, especially in the southern
Appalachian mountains, where he has unearthed
a rich store of folksongs. The similar work of Miss
Loraine Wyman and Mr. Howard Brockway in
the mountains of Kentucky should also be men-
tioned. -
Two other native sources of music in this country
are especially important in the development of a
national style: the Negro and Indian Songs.
With the former we have already become familiar
through the periodic tours of Jubilee singers and
the published collections of their songs. Atten-
tion was attracted to the possibilities of this music
by the production of Dvořák's symphony From the
New World (see Type IX-A, Example II, page 277);
and many fine settings have recently been given
Negro tunes, especially by Coleridge-Taylor (see
Type VII, Example II, Section G). Enthusiasts
such as Alice Fletcher, Frederick Burton, Charles
Wakefield Cadman, Arthur Farwell and Thurlow
Lieurance have revealed the intense significance
of Indian music to such good purpose that the
United States government has commissioned Miss
Ruth Densmore to work among the Indians. The
results of this work are already apparent in music
and in the collation of a large number of phono-
graph records of Indian songs, preserved in the
Smithsonian Institute, Washington, D. C.
For our present purposes, we shall class umder
the folksong type only those songs the origin of
which is unknown. Moreover, these songs will
be studied regardless of any accompaniment
which may have been added, notwithstanding that
such accompaniments have in many instances been
THE FOLKSONG 323
furnished by musicians who have thus greatly
enriched the intrinsic value of the songs. It should
also be remarked that, owing to the unstable
manner by which it is ordinarily perpetuated, a
folksong is liable to all sorts of modifications in
melody and rhythm during the lapse of time and
in the course of its transmission from one locality
to another. Hence a number of versions of the
same song are often found, either of which seems
equally authentic with the others.
QUESTIONS
1. To what class does the song belong?
A song may be the expression of some dominant
emotion, when it is called a lyric, or it may describe
an event or tell a story, when it is called a narra-
tive song or ballad.
1. What is the theme of the poem?
A lyric song may deal with love, patriotism,
religious ecstacy, etc. All kinds of stories may
be told in the ballad: imaginative, humorous,
pathetic, dramatic, etc. Sometimes a ballad is
accompanied by moral reflections on the story.
3. What is the form of the music?
Frequent forms are (1) the unit or stanza
form, in which the music is composed of a single
sentence; (2) the two-part form, in which there
are two more or less contrasting divisions; (3)
the three-part form (A* B A*), in which a contrast-
ing division is followed by a return to the first divi-
sion. Often a short refrain is added, to which
nonsense words are sometimes sung, such as
“With a down, derry, derry, derry, down, down.”
324 Aſ USIC APPRECIA TION
J. Does the music fit the mood of the words?
Inasmuch as the same music is generally used
for all the stanzas of the poem, it can express the
sentiment of the words only in a very general way.
5. In what key and mode is the music written?
Since folktunes often antedate our modern
musical system, they are frequently founded upon
scales that have fallen into disuse, such as the
mediaeval modes. A scale much in vogue among
primitive peoples called the pentatonic is often in
evidence. This scale avoids the smaller intervals
which occur in our major and minor modes by
omitting the tones that produce them. Thus the
pentatonic scale begin- -0 x-r---, FH
ning on C: j= Ee-º –
–G-TO
wº-dºw
by omitting F and B, does away with half-step
intervals.
6. What is the rhythmic structure of the melody?
Is the same rhythm used more than once?
One of the chief unifying factors in a folksong is
the repetition of the same rhythm. Sometimes
the entire song is made up of such repetition.
7. What is the general melodic outline?
A gradual rise in pitch, often followed by a cor-
responding fall, is another factor which makes for
unity.
8. What national traits, if any, are found in the
song?
Since folk-music is the natural product of the
people, it is certain to reflect traits of their charac-
ter. A sturdy, vigorous people, like the English,
for example, produces folksongs of straightforward
melody and regular rhythms; while the mercurial
THE FOLKSONG 325
nature of the Hungarian is suggested in erratic
rhythms and fitful tempos. Individual nations
have a fondness, too, for certain melodic pro-
gressions: in Norway, for instance, the drop from
the seventh to the fifth of the . ()
Scale is frequent: #FFH
C: |
9. Compare this with other folksongs.
EXAMPLES
I
“O NO, JOHN ?”
English Folksong
From One Hundred English Folksongs, edited by Cecil J.
Sharp, in the Musicians Library.
Allégro moderato
-0-9 —r- fº -> t 1—1
Pº-Fi I H t H--—; I Aºl Aſh ; I | | I T
wº H===
On yon-der hill there stands a - crea-ture; Who she is I
f) 9 t I H I-1 H I | I !
*
-—- - 6' 7
do not know. I'll go and court her for her beau-ty; She must an-swer
04—— º
YZ Tº I Fºl I I I I ſºm- I I I.
#EEEH ========H
+)-a-e-o 9 i 10 S-----H
Yes or No O No, John! No, John! No, John! No!
1. This may be classed as a humorous lyric,
rather than a ballad, since, although the narrative
element is present, this element is subordinated
to the expression of personal emotion.
2. In the seven stanzas the man woos a maiden
who has been commanded by her father to answer
326 MUSIC APPRECIA TION
No to all suitors. In consequence, she apparently
turns a deaf ear to his plea at first; but the tables.
are turned in the last stanzas by the form of the
question. Stanza. Seven contains the dénouement:
“Then I will stay with you forever,
If you will not be unkind.
Madam, I have vowed to love you;
Would you have me change my mind?”
“O No, John No, John 1 No, John' No!”
3. The song consists of a single period eight
measures long, followed by a refrain of three
measures. The period is made up of two four-
measure phrases.
4. Poem and words are admirably adapted to
each other in their simple style and lilting rhythm.
Especially delightful are the emphatic No’s 1
in the refrain.
A-
5. As given here the tune is in our major mode,
key of C. Mr. Sharp mentions other versions,
however, that are based upon mediaeval modes.
6. The even rhythm which generally prevails
is varied in measures 2,5 and 6 by two & J JJ J J
eighth notes on the second beat, thus: ~
and in measure 10 by this slightly
different pattern: $º |J J J J
7. Two short up- - -
and-down waves com-
pose the first four
IſleaSUII’éS .
ending a fifth higher than the first note. Phrase
two begins (measure 5) with a repetition of the
second measure, — a motive that is then heard
lower in pitch (measure 6) – after which the tune
continues its downward course to the starting
point. In the refrain a descending octave scale,
THE FOLKSONG 327
two notes of which (B and A) are transposed in
their order, ends with a decisive upward leap to the
tonic, G.
8. Many humorous songs are found among
English folksongs, some of them, as in the above
example, involving a touch of dialogue. Sturdy
rhythms and a simple directness of style are Eng-
lish traits.
9. This question will be answered under Ex-
ample III.
II
“ALL THROUGH THE NIGHT”
Welsh Folksong
From One Hundred Folksongs of All Nations, edited by
Granville Bantock, in the Musicians Library.
f) A | -- *
*A A I A H I I N I I \TI I Å l
A ſº- - I IN I I I I IY I | | I ENT I 2 |
A Zººl II I 2- | As * * { } f | I ITI zł ſº I
º * Hºº sº. s wº I wº ( . A I I G A & H Çeº/ * |
1 2 º 4 . . .
Love, fear not if sad thy dream-ing, All thro’ the night,
f) # º A. I l t
Hº-H-I-N- H-N- EEE N–H 2–
e)T 5 - . . . . 6 • -7 8 .
Though o'er cast, bright stars are gleam-ing, All thro' the night.
B e
9-# Aº I ºf A zº I } I I ſ + I I
A I TI I I ITI -] I I ITTI | vºy |
9 TT 10 -T-11- 12 &
Joy will come to thee at morn-ing, Life with sun-ny hope a-dorn-ing,
* A*
º ... I A †
H {N I |
e) 13 UL, 14 * 16
Though sad dreams may give dark warn-ing, All thro' the night.
}
i
|
I
|
k
I
t
I
I
|
dº 5*
1. This is a lyric song.
2. Tenderness and pathos are the keynote of
this simple song, in which a lover seeks to calm
the fears of his beloved.
328 MUSIC APPRECIATION
3. Inasmuch as the whole of the first phrase
returns at the end, this may be classed as a three-
part melody, with the divisions: A* (four measures,
repeated); B (four measures); A* (four measures).
4. The quiet, regular rhythms and smooth
melody are well adapted to the slow, expressive
character of the song.
5. In the major mode of G.
6. Division A is composed of a
repetition of the rhythm: |J. JJ J
followed by the rhythm of the | J. J. J. J.
motto phrase:
Division B is in even quarter notes throughout.
7. Division A quietly undulates about the
tonic, G. A brighter effect enters with the
higher pitch of Division B, which soon leads down
the scale, however, to the return of Division A.
Division B involves an interesting
sequence, made of a four-note scale #EE
figure: - g-——
8. The simplicity and sentiment of the Welsh
character are evident in this song.
9. This question will be answered under the
next example.
“SWING LOW, SWEET CHARIOT”
Negro Folksong
From Jubilee and Plantation Songs
1. To the lyric class.
2. Like most Negro songs, this deals with
religious aspiration and the hope of a future life.
THE FOI. KSONG 329
Swing low, sweet char-i - ot, - Com-ing for to car-ry me home,
J-5)
1. I looked o - wer Jor- dan, and what did I see-
2. If you . get there be - fore — I do, -
3. The bright - est day that— ev - er I saw.—
4. I'm some - times up and— some - times down.
Com -ing for to car-ry, me home?, A. band of an-gels
Com -ing for to car-ry ‘me home, Tell, all— my friends I’m
Com-ing for to car-ry, mé home, When Je – sus wash'd my
Com-ing for to car-ry me home, But still my soul feels
--> --> -º- O-º
| g I - T
• &y | * |
ZTEN LA LA LA LA A A. A I Z |
V #2 –4 Ž º TA *— | §
\ 11 12 13
Z f) \ D. C.
|
* †S
Gº-ºf-
- D
com-ing af-ter me, - Com-ing for to car-ry me home.
com - ing— too, - Com-ing for to car-ry, me home.
sins— a - ‘way, Com -ing for to car-ry me home.
heav'n.- : ly— bound, Com-ing for to car-ry me home.
o
2
H -º- =E====HEA I
Pº r | IA A -
V § I–2–2 r —H
1 15, r Ø V V 16
4.
330 MUSIC APPRECIA TION
3. There are two parts, nearly alike in the
music, and each eight measures long. The first
part is in the nature of a refrain, with unvarying
words; while in the second part there are dif-
ferent words for the solos in each verse. The whole
song consists of an alternation of two-measure
solos and a two-measure answering chorus. Each
part is made up of two balancing four-measure
phrases, which are alike except in the fact that the
º phrase has a more definite ending than the
rSt.
4. Especially in the refrain does the music fit
the words,--a descending pitch and sustained
style accompanying the Swing low, sweet chariot,
while a brighter uplift occurs with the chorus Com-
ing for to carry me home.
5. The tonality is that of F major; but the
notes of the melody are based upon the pentatonic
scale: C, D, F, G, A. Many Negro songs are
º upon this primitive Scale (see Foreword, page
321.
6. Each phrase has essentially the rhythm:
. . . . .'; ...}}}} | . .
In the two phrases of the Second part, however,
the first two measures of this rhythm are variously
subdivided to accommodate the metre of the words.
7. As explained under 4 above, each phrase has
a pitch-outline that consists of a downward and
an upward curve. In phrases two and four the
last two notes descend to the tonic, F.
8. Negro songs often consist of a varying solo,
which alternates with a fixed refrain. A still
more striking characteristic, however, is the ir-
THE FOLKSONG 331
regular rhythm produced by bringing a short note
on an accented beat, with a -*— -j-
long note following it, as in ####
measures one and two: SSVTE EIT
&
1. 2
Often this syncopated effect is emphasized by a
perverted accent of some syllable, as is implied
in the setting of the words: Swing low, sweet chariot.
This perverted accent has been made prominent
in the modern “ragtime” songs.
9. Of our three examples, the second is a pure
lyric, while the others have touches of the pic-
turesque or the narrative elements. All are sim-
ple in form; but in sentiment they are widely
dissimilar, expressing respectively humor, roman-
tic love and religious fervor. In style, the first
is sprightly and direct, the second sustained and
emotional, and the third mercurial in rhythm.
While each melody has a wave-outline of pitch,
that of the English song is somewhat angular,
that of the Welsh song is continually undulating,
and that of the Negro song is the least variable.
OTHER COMPOSITIONS OF THIS TYPE
There are many collections of folksongs that may be drawn upon for
additional examples. We may especially recommend the following,
published by the Oliver Ditson Company:
JUBILEE AND PLANTATION Songs. -
Twº NTY KENTUCKY MoUNTAIN Songs: Collected by Loraine Wyman
and Howard Brockway.
MY FAVORITE FOLKSONGs: Edited by Marcella Sembrich.
Folksongs of EASTERN EUROPE: Edited by Ralph R. Whitehead. ,
FoERSONGS AND OTHER SONGS FOR CHILDREN: Edited by Jane
Radcliffe-Whitehead. ;
Also these volumes of the Musicians Library:
ONE HUNDRED Folksongs of ALL NATIONs: Edited by Granville
Bantock.
ONE HUNDRED ENGLISH Folksongs: Edited by Cecil J. Sharp.
SIXTY FOLKsongs of FRANCE: Edited by Julian Tiersot.
SIxTy IRISH SONGs: Edited by William Arms Fisher.
SEVENTY SCOTTISH SoNGs: Edited by Helen Hopekirk.
332 MUSIC APPRECIATION
SUPPLEMENTARY READINGS
BURtoN, FREDERIck: American Primitive Music.
DENs MoRE, FRANCEs: Chippewa Music (two volumes).
Teton Sioux Music
(Bulletins 45, 53 and 61 of the Bureau of American Ethnology,
Smithsonian Institution, Washington, D. C.)
ENGEL, CARL: National Music.
GRove's DICTIon ARY: Article, Song.
KREHBIEL: Afro-American Folksong.
PARRY: The Evolution of the Art of Music, Chapter 3.
SHARP, CECIL: English Folksong.
HAMILtoN: Outlines of Music History, Chapter 1, Section 1; Chap-
ter 2, Section 2.
Prefaces to the folk song volumes in the Musicians' Library listed
on page 331 should also be consulted.
A BREToN Folk DANCE
TYPE XIV
THE ART SONG
FOREword
# While the folksong arises from simple and un-
taught expression, the art song is the result of
cultured musical thought. To write a successful
art Song, indeed, the composer must have not only
a high order of imagination, but also a masterful
command of musical effects; since he must not
only invent a melody that is exactly fitted to the
mood of the poem, but he must also give this
melody an harmonic setting which will supplement
and emphasize its varied emotional hues.
During the seventeenth and eighteenth cen-
turies, serious composers were so much occupied
in planning out elaborate forms, such as those of
the Sonata, symphony and opera, that they re-
garded the writing of short songs as unworthy of
much attention. With the spread of democratic
ideas, however, voiced in the American and French
revolutions, the need for passionate expression
resulted in the beginning of a long series of song
writers which has continued to the present day
and which includes such composers as Schubert,
Schumann, Franz, Brahms, Rubinstein, Tchai-
kovsky, Grieg and MacDowell.
As was explained in connection with the folk-
song (see Type 13, Question 1), an art Song may
be classed as either a lyric or a ballad. Under
the present type we shall study only the song
333
334 Aſ USIC APPRECIA TION
proper, or lyric song, which is peculiarly personal
in its expression, and is thus concerned with the
various phases of some emotional reaction to
circumstances.
A: THE POEM
1. If possible, give some facts concerning the
author of the poem.
While the music of most song masterpieces has
been written to the words of distinguished poets,
many excellent settings have been given words by
obscure or anonymous writers. Unfortunately,
many inferior poems have been set to music that
is worthy of a better text.
2. How may the poem be classified as to its sub-
ject matter?
Such a poem may be classified as reflective,
fanciful, patriotic, descriptive, convivial, humorous,
sacred, as a lyric of love, of battle, as society verse.
or as combinations of two or more of these.
3. What is its central theme?
This theme is the principal thought or emotion
about which the poem is built.
4. What is its movement?
This may be described by such words as smooth,
dignified, solemn, light, rollicking, graceful, power-
ful, spirited, regular, uneven, etc.
5. What is its mood and style?
Mood may be tender, dreamy, intense fanciful,
eacalted, pathetic, etc.
Style may be characterized by grace, strength,
beauty of sentiment, etc.
6. What is its structure?
THE ART' SONG 335
This includes the number of stanzas, the length
of lines, the way in which the latter rhyme, etc.”
B: THE MUSIC: FORM
1. What kind of setting is employed?
If the setting is exactly the same for each stanza,
as in the folksong, the music may be called folk-
style or strophic. If, however, the music follows
more accurately the sentiment of the words, illus-
trating individual thoughts in the poem, the setting
may be called detailed. Such illustration may be
very slight, affecting only an occasional word or
phrase, or it may intimately reflect each shade of
thought throughout the poem.
2. What is the key and measure?
Many songs, including the classics, are now pub-
lished in more than one key in order that they may
be available for voices of different range. Thus
a song may be published for high or low voice, or
sometimes also for medium voice. While the
effect of most songs is not materially altered by
such transposition, that of others is considerably
changed. A brilliant song, for instance, may
lose its chief charm if rendered in a low key.
3. What are the formal divisions?
( Art songs are often based on the same forms as
those of the folksongs. When a detailed setting is
employed, however, these forms may be consider-
ably modified, since the form may be made to
depend entirely upon the composer's conception
of the meaning of the words.
* For a more detailed account of the Lyric, see B. A. Heydrick:
How to Study Literature, Chapter on Lyric Poetry.
336 MUSIC APPRECIA TION
4. How long is the unit phrase? In what ways,
if any, is this phrase altered in length?
For the unit phrase, see Preliminary Questions,
No. 17. While the four-measure unit prevails
in songs as in instrumental compositions, the two-
measure unit is often employed in short songs.
C: RHYTHM AND MELODY
1. Is the principal melody carried by the voice
or the instrumental part?
Although the principal melody is regularly
given to the voice, in modern songs it is sometimes
found in the instrumental part, while the voice
sings a kind of melodic recitation above it (see
D: 1 below).
2. What is the compass of the song-melody?
This compass may be determined by observing
the lowest and highest notes in the song-part.
3. Quote any important figure or motive in the
melodic part, and show how it is employed in the
course of the song.
For the Figure and the Motive, see Preliminary
Questions, Nos. 15 and 16, page 24.
A. What tempo is indicated? To what eatent
is this tempo to be varied?
On account of the emotional character of a song,
considerable freedom is usually allowed the singer
in the use of the tempo. Such liberty should not
degenerate into license, however.
5. What is the nature of the rhythm? Are there
important contrasts of rhythm between melody and
accompaniment? If so, describe them.
A Song-part in irregular rhythm may be steadied
THE ART SONG 337
by an accompaniment in regular rhythm, and
vice versa.
6. Are there any sequence effects in the melody?
If so, describe them.
Increase in intensity is often obtained by repeat-
ing the same motive at a continually higher pitch.
D: HARMONY
1. Which is the more important, if either, the
vocal part or the accompaniment?
Song accompaniment has developed gradually.
While in the earliest songs only a few scattered
chords served as a background for the song-
melody, this background was gradually enriched
until it has sometimes come to take the chief place
in the setting.
2. What kind of an accompaniment is employed?
Describe any important figures upon which it is
based. *
The accompaniment may consist of chords, ar-
peggios, Scale-passages, figures, voice-parts, or
combinations of these. Sometimes the voice-
part is doubled in the accompaniment.
3. How may the harmony be classified?
Such adjectives as conventional, structural, chro-
matic, modulatory, emotional, full, tenuous, vague,
etc., may be used.
J. Mention some striking hurmonic effect that
OCC’llſ”.S.
Often the emotional expression is much em-
phasized by appropriate turns of harmony.
5. What relation do the purely instrumental
passages bear to the song-part?
338 MUSIC APPRECIATION
Introductions, interludes and postludes are freely
used in Song-writing. Some organic connection
should exist between these and the song proper.
E: GENERAL STYLE
1. Are words and music well-adapted to each
other in rhythm?
Accented syllables of the words should always
come upon corresponding accents of the musical
Iſle:RSUII'é.
2. Are words and music of equal value? If not,
which is the more worthy?
Such equality is, of course, rare. While good
music is occasionally written to inferior words,
it is frequently the case that immortal words are
caricatured by quite inadequate music.
3. What effect has the music upon the sentiment
of the words? Mention an instance where the music
distinctly emphasizes the verbal meaning.
Even in a folk-style setting, prominence may be
given to some special feature of each stanza.
In a detailed setting, the word-painting is scrime-
times very evident.
4. Where is the chief climaa, and how is it
produced?
This climax may occur on either a very high or
a very low note of the song-melody. Such a note
is often given added prominence by its emphasis
or its length.
5. What characteristics of the composer are in
evidence?
As a rule, a composer has certain inevitable tricks
of style,_turns of melody, fondness for certain
THE ART SONG 339
forms or styles, rhythmic devices, which dis-
tinguish his works.
6. Compare this with a similar eacample.
F: COMPOSER
1. Mention some facts about his life.
2. How does he rank as a song-writer?
3. What other works has he composed?
EXAMPLES
Number the measures of each as described under Examples of
Type I.
I
“THE ROSE CoMPLAINED" OP. 42, NO. 5
(Es hat die Rose sich beklagi)
Robert Franz, 1815–1892
A: THE POEM
1. The words are taken from the Persian of
Mirza Schaffy. Franz wrote them to the German
version by Friedrich von Bodenstadt (1819–1892),
which in turn has been translated into English
by George L. Osgood.
2. It may be classified as a lyric of fancy.
3. For his central theme, the poet takes the
fragrance of the rose.
4. The movement is smooth and graceful.
5. Tenderness of mood is combined with
delicacy of sentiment.
6. The poem consists of a single stanza, six
limes long. Lines one and four, two and five,
three and six rhyme with each other.
340 MUSIC APPRECIATION
B: THE MUSIC: FORM
1. This is a folk-style setting.
2. The key is D-flat major and the measure
3. For musical purposes, the single stanza of
the poem is divided into two parts, of three lines
each. Two measures of introduction are followed
by six measures of song-part. These eight meas-
ures are repeated for the second part, after which
the first four measures of the piano part, slightly
altered in their ending, follow as a postlude.
4. No alterations occur in the length of the
unit-phrase, which is two measures.
C: RHYTHM AND MELODY
1. In the first two measures of each part, as in
the postlude, the melody is taken by the piano;
otherwise it is played and sung at the same time.
2. A tenth:
3. Each two-measure phrase begins. ; Fri |J)
with the rhythmic figure: - *
(Confer the principal motive of Beethoven's Fifth Symphony,
Type IX-B, Example II, B: 2, page 292). -
4. There is no radical change of tempo, which
is marked larghetto (somewhat leisurely); al-
though the singer would, of course, treat this
tempo with elasticity, to render the song with its
due expression.
5. With the exception of the figure quoted
above, the rhythm is placid and regular. A syn-
copated accompaniment figure: |; JIT |
however, saves the music from monotony.
THE ART SONG 341
6. There are no direct sequences, though the
phrases resemble each other closely.
D: HARMONY
1. Since the song-melody as well as the accom-
paniment is played throughout on the piano, and
the voice apparently comes in only as an acces-
sory, the piano part represents the complete struc-
ture. On the other hand, the very coyness of the
voice-part and the veiled manner of its entrance
adds both to its prominence and to its charm.
2. The melody in the piano part is supported
by chords, of which the lower notes, in the bass,
are followed by other chord-notes, cast in Synco-
pated rhythm such as that quoted above (C: 5).
3. Purely diatonic in its component tones, the
harmony is mainly structural, with smooth chord-
progressions.
4. Perhaps the ascent to the inharmonic high
F in measures 7 and 15 is the most striking effect.
5. Since musical proportions suggest four phra-
ses, and the poem as divided by Franz has but three
lines to a stanza, an introductory line is provided
by the instrumental beginning of each of these
stanzas. Unity and completeness are furthered
by the four-measure prelude.
E: GENERAL STYLE
1. An exact scanning of the verses is furnished
by the music.
2. The delicate sentiment of the words finds
its exact counterpartin the simplicity of the musical
Setting.
342 MUSIC APPRECIATION
3. There is little attempt at expressing the
sentiment or sound of individual words in the
music. The nearest approach to such a device is
found in the concluding line:
Und dort ein ev'ges Leben habe
where the musical climax comes on the word
ew’ges (eternal), which is also the climax of the
thought. Difficulties of translation, which have
resulted in putting the word find upon this musical
climax, have thus weakened the bond between
words and music.
4. The climax of each verse comes on the up-
lift of the voice to F, in measures 7 and 15.
5. Simplicity, sweetness and tenderness.
6. This question will be answered under Ex-
ample III.
F: COMPOSER
1. Robert Franz was born at Halle, Saxony
(Handel’s birthplace), June 28, 1815. After a
considerable musical ed- ºl
ucation, which included
a diligent study of the
classics, he attracted at-
tention by the publication
of a set of twelve songs,
in 1843. He was forced
by deafness to give up
several positions as or—
ganist and conductor, in
1868; and thereafter he
was kept frºm pºverty
by artist friends in his
native country and in the
United States. He died October 24, 1892.
FRANz
THE ART SONG 343
2. His reputation rests almost entirely upon
his 350 songs, of which the melodic beauty, fitness
to the words, and polish of expression place him
in the front rank of song writers.
3. A few choral works and part-songs, besides
revised arrangements of works by Bach and
Handel.
II
A Swan
Eduard Grieg, 1843-1906
A: THE POEM
1. Henrik Ibsen (1828-1906), author of the
poem, was a Norwegian writer, famous as the
creator of a new realistic type of drama, in which
the shams of Society are mercilessly exposed.
Grieg wrote incidental music to Ibsen’s lyric
drama Peer Gynt.
2. This may be called a reflective lyric.
3. The swan song.
4. Tranquil and dignified.
5. Tender and sympathetic in mood, the poem
is written in a chaste though simple style.
6. There are three stanzas, the first and third
consisting of four short lines each, and the second
of four longer lines. In stanzas one and three the
rhyme occurs between alternate lines; while in
stanza one the rhyme is irregular.
B: THE MUSIC: FORM
1. Detailed.
2. We shall study the song in F major, the
344 - MUSIC APPRECIATION
original key. There is also a transposed version,
in D major. The measure is #.
3. A", measures 1-10; B, measures 11-21;
A*, measures 22–31.
4. The unit-phrase is two measures long. In
Division B, each of the first two phrases is ex-
tended to three measures by instrumental repeti-
tion of the last measure; while the third phrase
(measures 17-21) is extended
to five measures by repetition
of the figure:
Otherwise, the phrases are regular.
C: RHYTHM AND MELODY
1. By the voice. #==
2. A tenth: $H==
3. The motive with £H= A †
which the song begins:
is slightly varied imme- -9–E–h-e-r---
diately afterward, thus: #H#HE=
S-3
4. Andante ben tenuto (moderately slow, and
well-sustained). Division B becomes increasingly
animated; but Division A* is again tranquil, ending
very slowly (lento).
5. As a rule, the shorter notes come on the first
beats, grouped as either a dotted eighth and six-
“" (J. J. J.); º' (AAJ J )
An accompaniment figure (J J ) unites with
the vocal part to throw the accent forward upon
the second beat of each measure.
THE ART SONG 345
6. In Division B a powerful crescendo is secured
by beginning pianissimo with this motive:
# b N= k—T-S-E- lºº
Ty y y wT & ey
and repeating it twice, each time a third higher.
Finally its second measure is twice powerfully em-
phasized (measures 18-21).
D: HARMONY
1. They are excellently balanced, although the
vocal part is the central feature.
2. Quiet, full chords prevail, with occasional
imitative passages. The rhythmic figure in meas-
ure 1 is much employed.
3. Unusual dissonant chords, such as those on
the second beats of measures 1, 2, 3 and 4, give
distinction to the style. Several chromatic pas-
sages (measures 5-8, 20–21, 26-28) vary the pre-
vailing diatonic harmonies.
4. See previous answer. Observe the change
to a minor chord on the second beat of measure
3, also the unexpected and delightful change to
D-flat major in measures 26-27.
5. They serve generally to suspend the interest
and excite the listener’s attention. The first of
these passages is an interlude between stanzas one
and two (measures 9-10). Each of measures 13
and 16 is an echo of the previous measure Meas-
ure 30 prepares for the final lingering strain.
E: GENERAL STYLE
1. Perfectly.
2. They are apparently of equal value.
346 MUSIC APPRECIATION
3. A flood of light is cast upon the inner senti-
ment of the poem by the musical setting.
4. Measures 20–21, And song with death
came contain the most powerful climax. In the
pianissimo of the last four measures, however,
we find the real culmination of the sentiment.
5. Traits of Grieg's music are observable in
the short melodic motive at the beginning and its
immediate repetition with embellishment; in the
quick change from major to minor of a given
chord (measures 2, 3); in the progression from the
tonic of the scale downward to the
seventh and fifth scale-tones (meas- #EEEE
ure 5): -
and in the use of unusual chords, such as that on
the second beat of the first measure.
6. This question will be answered under the
next example.
F: COMPOSER
1. See Type 11, Example 2, C: 1, page 246.
2. Grieg “used his great talent first, last, and
all the time to express the simplicity and the
tender poetry of his own homeland. His gifts
were not broad. They were exquisite and minia-
ture-like, sometimes gnomish, like himself. He
was always a singer, whatever instrument or in-
struments he was writing for.” He undoubtedly
stands among the greatest of song-writers.
3. Orchestral, chamber and piano music, as
well as some choral works.
*Stamford and Forsyth: A History of Music.
THE ART SONG 347
III
THE BELLs
(Les cloches)
Claude-Achille Debussy, 1862-1918
A: THE POEM
1. Paul Bourget (1852– ) is a distinguished
French novelist who was made an Academician in
1894 and an Officer of the Legion of Honor in
1895.
2. This is a descriptive and reflective lyric.
3. The message of the bells.
4. Tranquil and flowing.
5. The mood is dreamy, and the style tender
and delicate.
6. There are three stanzas of four lines each,
of which the first and third and the second and
fourth rhyme with each other. In the first and
third lines of each stanza there are four metric
feet, and in the second and fourth lines there are
three.
B: THE MUSIC: FORM
1. Detailed.
2. Somewhat vague throughout, the prevailing
tonality during the first two stanzas is A minor,
and in the last stanza its relative major, C. The
measure is # (c).
3. These are:
A: Measures 1-10 (including two measures of introduc-
tion);
B: Measures 11-20;
C: Measures 21-40 (including five measures of ending.)
348 - MUSIC APPRECIA. T (ON
4. Each stanza consists of two phrases. In
the first stanza each of these is four measures long;
in the second stanza they are slightly lengthened;
and in the last stanza the first phrase is six, and
the second phrase is six and one-half measures.
C: RHYTHM AND MELODY
1. The principal melodic figure (see 3 below)
is carried by the accompaniment, while the voice
sings a kind of obligato melody.
2. An eleventh:
3. What may be called the #=
bell motive: #-F#-H==
forms a constant background. This motive is
continually repeated as just quoted throughout
Divisions A and B. In Division
C the notes are lengthened and #
placed in the upper register, #
thus: 21 22
while in the postlude they become:
4. Andantino quasi allegretto
(rather slow but light in style). 37
The third stanza is taken somewhat slower, and
with tender expression. -
5. The rhythm of the -
bell motive dominates the far through the air
song. Rhythmic freedom 2: . . .
characterizes the song
part, which often con-
trasts with the accom-
paniment, as in measure
15:
<> f* f.
THE ART SONG * 349
Five different rhythms are found in this measure,
thus:
Voice ld d J |
JT, TTT
Accompaniment d . & J)
. . . .
6. There are no sequences.
D: HARMONY
1. The two factors are well-balanced.
2. Besides its continual sounding of the “bell
motive,” the accompaniment consists mainly of
short arpeggio figures, a
such as that at the be- #EEEEEEEEE etc.
ginning: e) Y- -
3. It is vague and suggestive.
4. On account of the insistence upon the “bell
motive,” there are many points of dissonance
between melody and accompaniment. A par-
ticularly lovely change is produced by the intro-
duction of the E-flat in measures 33-35, and in the
Subsequent return to the tonality of C major.
5. Two measures of introduction serve to set
the pace and to announce the “bell motive”
twice. The change in the tempo and register
of this motive is presented in measures 21-24; and
finally a reminiscence of it is heard in the fading
measures of the ending. -
350 MUSIC APPRECIATION
E: GENERAL STYLE
1. Yes, in the original French. Such a fitness
is apt to be disturbed in a translation, as in measure
six, where the last syllable of silently comes on an
accented beat.
2. Debussy is eminently successful in creating
by his music the tenderly quiet atmosphere of the
poem.
3. There is word-painting throughout. This
is exquisitely suggestive on the words “faded, the
gears that are gone,” where the mystic harmonies
seem an echo of the dim past.
4. The quiet, almost monotonous tone of the
song is suddenly intensified on the note E in
measure 31. From this point to the end, the
beauty of the song is at its height.
5. Fondness for unusual, mystic harmonies,
which suggest, rather than reveal his thought.
Outlines of melody and harmony are blended in
progressions that intentionally obscure the tonality
and obscure the phrase-divisions. -
6. All three of the songs which we have studied
are based upon reflective or fanciful poems. In
all three, also, the accompaniment plays an im-
portant part, emphasizing and enriching the song-
part in A Swan, supplementing the words in The
Rose Complained, and involving the chief melody in
The Bells. National traits are observable, too,
in all three, the Teutonic fondness for sweet
harmonies and symmetrical form in The Rose
Complained, the more rugged harmonies and
peculiar melodic progressions in A Swan, and the
piquant and elusive style of modern France in
The Bells.
THE ART SONG 351
F: COMPOSER
1. Born August 22,
1862, in St.-Germain-en-
Laye, France, Claude-
Achille Debussy entered
the Paris Conservatory
at eleven. Having won
the Grand Prize in 1884
by his cantata l'Enfant
prodigue, he spent the
next four years in Italy,
developing that “impres-
sionistic” style which
was at first considered
extraordinary, but which
finally established his fame. His remaining life
was spent largely in composition. He died in
Paris, March 26, 1918.
2. His upwards of fifty songs are delicate and
refined examples of his art.
3. His other compositions include works for
orchestra, chamber works, a mystery The Martyr-
dom of St. Sebastian, incidental music to several
plays, and a considerable number of piano pieces.
DEBUssy
OTHER COMPOSITIONS OF THIS TYPE
The following standard songs are especially recommended for class
study. Where a song is published in more than one key, the low key
is ordinarily better adapted for class use, as the song may then be readily
sung by the students.
BRAHMs: Love song, (Minnelied) Op. 71, No. 5.
Thought like music, (Wie Melodien) Op. 105, No. 1.
CHoPIN: My delight.
Dvořák: As my dear old mother, Op. 55, No. 4.
352 MUSIC APPRECIA TION
FRANz: For Music, Op. 10, No. 1.
Request, Op. 9, No. 3.
Now welcome, my wood, Op. 21, No. 1.
GoDARD, B.: Florian’s song.
- GRIEG : Solvejg's song, Op. 23, No. 1.
The old mother, Op. 33, No. 7.
SCHUBERT: Hark, hark! the lark.
My peace thou art.
The wanderer.
MACDow ELL: The sea, Op. 47, No. 7.
Thy beaming eyes.
MASSENET: Elegie.
MENDELssohn. On wings of song.
MOZART: The violet.
SCHUMANN: Dedication, Op. 25, No. 1.
In May.
The lotus flower, Op. 25, No. 7
RACHMANINOFF: Before my window Op. 26, No. 10.
RIMSKY-KoRSAKOFF: The nightingale and the rose, Op. 2, No. 2.
STRAUss, R.: Serenade, Op. 17, No. 2.
ToBAïKovsky: None but the lonely heart, Op. 6, No. 6. ..
WAGNER: O thou sublime, sweet evening star, from Tannhauser.
Walther’s Prize Song, from Die Meistersinger.
Most of the above songs are included in the Fifty Mastersongs of the
Musicians Library (Oliver Ditson Company). Other volumes in this
library especially valuable for this purpose are:
MoDERN FRENCH SONGS: Two volumes.
MoDERN RUSSIAN Songs: Two volumes.
SONGS BY THIRTY AMERICANs.
See also the notable collections: (Oliver Ditson Company).
CALVE, EMMA: My Favorite French Songs, 2 vols.
CULP, JULIA: My Favorite Songs, 2 vols.
FARRAR, GERALDINE: My Favorite Songs.
GERHARDT, ELENA: My Favorite Songs.
GLUCK, ALMA: My Favorite Songs.
DEBUssy, CLAUDE: Twelve Songs.
SUPPLEMENTARY READINGS
FINCK, H. T.: Songs and Song Writers.
GROVE's DICTIONARY: Article, Song.
HAMILTON: Outlines of Music History, Chapter 10, Section 1; Chap-
ter 11, Sections 2 and 3. -
HEYDRICK: How to Study Literature, Chapter on Lyric Poetry.
MAsON, D. G.: A Guide to Music, Chapter 17.
PARRY: Evolution of the Art of Music, pages 285-292.
PAUER: Musical Forms, Chapter on secular forms of vocal music.
TYPE XV
THE ART' BALLAD
FOREWORD
The word ballad comes from the Italian ballata,
meaning a dancing piece. Originally, therefore,
it signified a song which could be danced while it
was sung. Very early, however, the ballad, which
was especially popular in England, took on a nar-
rative or descriptive style that has since become a
recognized characteristic.
While a great mass of popular ballads, mostly of
little or no musical value, has since been produced,
a more worthy successor to the early form has
developed in the art ballad. In its larger forms.
the art ballad, written for voice and orchestra,
approaches the level of the epic poem; while in
the less pretentious ballad with piano accompani-
ment, masterpieces of dramatic writing have been
composed. These have been rivalled by instru-
mental ballads, such as the immortal four of
Chopin and the four Ballades, Op. 10, by Brahms.
In Germany, Schubert’s contemporary, Karl Loewe
(1796-1869) developed the vocal art ballad, writing
most of his over five hundred songs in this style.
His inspiration and subjects were derived from
English sources.
Under the present type we shall study the vocal
art ballad, emphasizing especially its peculiar
characteristics.
353
354 MUSIC APPRECIA TION
A: THE POEM
1. Are the words by a noted writer? If so, give
some facts about him.
2. How may the poem be classified?
Ballads may be classified as heroic, tragic,
humorous, serious, realistic, allegorical, imaginative,
romantic, fanciful, sacred, secular, etc.
3. What characters are involved?
The story naturally has to do with one or more
individuals.
4. What are the chief facts of the narrative?
5. What mood or moods are suggested in the
poem?
Whereas a lyric is concerned with one central
emotion, the ballad, often dealing with various
characters and scenes, may involve a variety of
emotional moods.
B: THE MUSIC FORM
1. What kind of setting is employed?
SeeType XIV, B: 1. Exceptin its very simplest
forms, the ballad naturally has a detailed setting.
2. To what eactent is the form of the music deter-
mined by that of the poem?
The music may follow one of the recognized
forms, such as those presented in the earlier types
of Part I; or it may illustrate so minutely the
details of the poem as to depart entirely from con-
ventional structure.
3. What are the principal divisions, and what
are their proportionate lengths?
THE ART BALLAD 355
4. How long is the phrase-unit? Cite one or
more passages, if possible, in which this unit is
altered.
More variety of phrase-lengths than usual may
be expected in illustrating different scenes and
moods. -
C: MOVEMENT
1. What is the measure? Is this altered, and
if so, how?
2. What is the tempo? How is this changed or
modified?
3. What kinds of rhythms are predominant in
the voice-part? Cite at least one typical rhythm in
this part.
4. What kinds of rhythms are found in the ac-
companiment? How are these related to the rhythms
of the voice-part?
Contrasts of rhythm between voice-part and
accompaniment are particularly apt to occur in
this type.
D: VOICE-PART
1. What is the voice-range in the ballad?
2. What kinds of melody does the voice sing?
In a tragic or otherwise impassioned ballad the
smooth voice-progressions of the lyric often give
way to the devices of dramatic music: long leaps
in pitch, sudden interruptions, irregular rhythms,
etc.
3. Are there melodic repetitions or sequences?
If so, cite eacamples. -
4. Point out instances where the voice-part
reacts directly to the sentiment of the words.
356 MUSIC APPRECIA TION
In a detailed setting, even the sound of indi-
vidual words may be accentuated in the music.
5. Are the melodic progressions determined
mainly by the demands of the voice or by the senti-
ment of the poetry?
In Italian music, the vocal demands are gener-
ally the prime consideration. German writers
often sacrifice these to forceful expression.
E: HARMONY AND ACCOMPANIMENT
1. What kinds of accompaniment are used?
See Type XIV, D: 2, page 337. In an elaborate
art ballad the accompaniment is a powerful factor
toward illustrating the story.
2. What accompaniment figures are found?
3. In the harmony classic or modern in style?
Formal progressions of chords, often gracefully
decorated, are characteristic of the classic style.
Modern composers, on the contrary, use every
known device of chromatic chords, startling modu-
lations, even jarring dissonances to emphasize
varied emotions.
J. What demands does the accompaniment make
wpon the player?
The variety of style involved in the art ballad
and the illustrative value of its accompaniment
frequently increase the difficulties of the latter.
5. What is the key of the song, and to what
eatent are modulations used?
For the key, see Type XIV, B: 2, page 335.
Dramatic effects are often stressed by key-changes.
6. What purely instrumental passages are there,
and what relation do these bear to the song?
See Type XIV, D: 5, page 337.
THE ART BALL AD 357
F: STYLE
1. How does the music interpret the moods of the
poem?
Such interpretation may be very general, as
when an entire stanza is set to a formal melody;
or it may be changed with nearly every phase of
the emotion.
2. What is the dynamic range of the song?
A ballad may as a whole be subdued or forceful
in tone, or it may contain various degrees of force,
from pianissimo to fortissimo.
3. What startling contrasts occur, if any, and
where?
Contrast is a favorite device for dramatic effect.
4. Where is the chief climaar, and how is it
produced?
3. What devices of the composer’s style are
apparent?
See Type XIV, E: 5, page 338.
6. Compare this with a similar eacample.
G: COMPOSER
1. Give some details of his life.
2. To what eatent has he written picturesque
or dramatic music?
3. What classes of music has he written?
358 MUSIC APPRECIA TION
EXAMPLES
Number the measures of each as described under Examples
of Type I.
I
THE ERLKING, OP. 1 `----
Franz Schubert, 1797–1828
(Transposed edition, in E minor)
A: THE POEM
1. Johann Wolfgang von Goethe (1794-1832),
author of the words, is the foremost German poet
and prose-writer. Of his longer works, his literary
drama Faust is most notable. His shorter poems
have inspired many musical compositions.
2. As a tragic, dramatic narrative.
3. Characters are the father, the child, and the
Erlking. A.
4. Riding home through a furious storm, the
father seeks to quiet the fears of his young son, who
cries repeatedly that the Erlking is luring him
away. Becoming more insistent, the Erlking
threatens to take the child by force. Pressing
on through the tempest, the father arrives home,
only to find the child dead in his arms.
5. The increasing agitation of both father and
child, and the determined persistence of the
Erlking. Over all is the dread sense of impending
tragedy.
B: MUSIC: FORM
1. Detailed.
2. The music departs from conventional forms
in depicting graphically the successive events of
the tale.
THE ART BALL AD - 359
3. 1. Introduction, measures 1-15;
Narrative, measures 16-32;
Interlude, measures 33–36; -
Dialogue (father, son, father), measures 37-54;
Interlude, measures 55-57;
Erlking, measures 58-72;
Dialogue (son, father), measures 73–85;
Erlking, measures 86-96;
Dialogue (son, father), measures 97-112;
Interlude, measures 113-116;
Erlking, measures 117-131;
. Narrative, measures 132-148.
4. Four measures. This unit is sometimes
shortened, as in measures 70-72, where it is reduced
to three measures; and sometimes lengthened, as
in measures 143-148, where it is increased to five
measures. Occasionally there is a short interlude
between two phrases, such as the one-measure
interlude in measures 19-20.
i
;
C: Movement *
1. Throughout, the ballad is in # measure (o).
2. No material change occurs, except that
toward the end the tempo, which is marked
allegro, quickens gradually until the tragic con-
cluding words, which are deliberately declaimed.
3. At first, regular rhythms prevail in the
voice-part, as at the beginning:
. . . . . . . . . . .
More flowing rhythms are found in the Erlking’s
speeches; and the child’s cries involve this agi-
tated movement:
. º J. Alſº, t . º J. 2. t
360 Aſ USIC APPRECIATION
4. In its continual triplet rhythm, the accom-
paniment contrasts strongly with the voice-part.
A motto phrase played by the left hand has this
rhythm: |...º. . |.
D: VOICE-PART
1. A twelfth : #===
=(&)—E==E
e) +”
2. The melody is irregular in outline, to depict
the varying emotions. Sometimes it proceeds in
close intervals, as in measures 76-79:
77 ~
What the Erl King whis-pers so soft in my ear?
while sometimes it proceeds along the chord tones,
as in measures 20–24:
==HH-Hºº-º-º:
It is the fa - ther with his child;
3. There is little exact repetition in the voice-
part. The motive in measures 93-94 is imme-
diately repeated, slightly intensified.
Measures 97-104 are the same as measures
72–79, except that the former are a step higher in
pitch. This phrase is reiterated again (slightly
changed in ending) in measures 123-131, but a half-
step higher than before.
4. Such passages as the following:
4% º l l l l
R.
f)
2–#- H 2–H HN-H H ITI
#H==H===Hi-HHH =
* 37 * 38 39 40
My son, in ter - ror why hid - est thy face?
and also those voicing the child’s cries are in
THE ART BALL AD 361
marked contrast to the seductive strains sung by
the Erlking.
5. Often by the sentiment of the words, as in
measures 120–127, etc.
E: HARMONY AND ACCOMPANIMENT
1. Rapid full octaves and chords, which re-
Solve into arpeggios during measures 87-96.
2. An agitated motto figure
Alf —º
Sº E-T-I I
*
|
I I |
2- |
vºy |
==
|
frequently rushes in, like a gust of the storm.
3. In its chromatic progressions and the emo-
tional dissonances that occur, especially in the
passages quoted in D: 3 above, the harmony is
distinctly modern.
4. The rapidly repeated octaves and chords in
the right-hand part are so taxing on the player
that even Schubert himself, who was a competent
pianist, is said to have been unable to perform
them. Expertness and nerve are required of the
player throughout.
5. We are studying the song in the more sing-
able key of E minor, although it was originally
written in G minor, a third above. There are
many modulations, generally to nearly related
keys. A seductive modulation to C major occurs
in measure 117, roughly changing with the senti-
ment of the words in measures 120-123. The
modulation to F major near the end (measures
143-146) arrests the attention before the final
chords.
362 MUSIC APPRECIATION
6. Under B: 3 the chief instrumental passages
have been listed. For the most part, these in-
tensify the tragic atmosphere by their repeated
notes and the underlying storm motive.
F: STYLE
1. By free melodic progressions, appropriate
accompaniment, and emotional harmonies.
2. From the softest to the loudest possible, in
both song-part and accompaniment.
3. Each character is distinguished by the style
of its music: the low tones of the father, the shrill
voice of the child and the light, caressing tones of
the Erlking.
4. In the last four measures, by the sinister
pause in the rush of the music, and by the unac-
companied, low tones of the tragic words.
5. Schubert’s style is so largely determined
by the words of the poem to which he writes that
his songs have fewer characteristics in common
than is usual. His fondness for an inflexible,
virile rhythmic accent, direct and compelling har-
monies, quick changes between major and minor,
and an unfailing simplicity and beauty of melody
are apparent in this ballad.
6. This question will be answered under the
next example.
G: COMPOSER
1. Franz Schubert was born January 31, 1797,
in Lichtenthal, a district of Vienna. He was
taught music first by his father and brothers, and
then by the parish music-master, who said that
when he tried to teach him anything he found that
he already knew it. All of his life Schubert seems
THE ART BALLAD 363
to have thought in mu-
sic as easily as persons
ordinarily think in the
language of speech. At
school he filled quanti-
ties of paper with com-
positions for orchestra,
piano, etc. At sixteen he
became for a short time
assistant in the school
in which his father was
teacher. During this
time he spent his spare
hours in writing songs;
and he finally took lodgings in Vienna, where he de-
voted himself mainly to composition. But Schubert
had few influential friends to push his works into
favor; and he died at the age of thirty-one poor
and comparatively unknown.
2. Although Schubert wrote seventeen operas,
and although there are dramatic moments in
many of his songs, such as The Young Nun,
Death and the Maiden, etc., his genius was essen-
tially lyric, and is most frequently displayed in his
tender, simple and appealing melodies.
3. Chiefly songs, of which he left more than
six hundred and fifty. Operas and choral works,
ten orchestral symphonies, seven overtures, cham-
ber music and piano solos came also from his fluent
pen.
Schubert
364 MUSIC APPRECIATION
II
A BALLAD OF TREES AND THE MASTER
George W. Chadwick, 1854–
A: THE POEM
1. Sidney Lanier (1842–1881) was a native of
Macon, Georgia. After various activities as
teacher, lawyer and musician, he became lecturer
on English literature in the Johns Hopkins
University in 1879. His published literary works
include a number of poems of exceptional excel-
lence.
2. As a sacred descriptive ballad, imaginative
in treatment.
3. The Master, and the Trees, which are in a
measure personified.
4. Weary and discouraged, the Master goes
into the woods, where the Trees soothe his troubled
spirit. He comes from the woods fortified for his
coming trial; and at last is slain upon a tree.
5. Tender and pathetic emotions are involved.
B: THE MUSIC: FORM
1. Detailed.
2. The two-part song-form, employed by the
composer, is adhered to, notwithstanding the free
style of the melody.
3. After an introduction of eight measures, the
two stanzas are presented. These are the divi-
sions of the latter:
Stanza I: A", measures 9-16; interlude, two measures;
B", measures 19–26; interlude, three measures.
Stanza II: A*, measures 30-37; interlude, two measures;
B”, measures 40–51; ending, four measures.
THE ART' BA LLA D 365
The voice-divisions are each eight measures long
except the last, which is extended to eleven
Iſlea,SUII’éS.
4. Four measures. The last phrase of the
voice-part (measures 44-51) is extended to eight
measures by lengthening the individual tones and
broading the style.
C: MOVEMENT
1. #. This is not changed.
2. Moderato alla marcia (at a moderate speed
and in march rhythm). There are no marked
deviations from this tempo, although the B part
of each stanza is especially sustained in style.
3. This irregular rhythm is prominent in the
A divisions: |..}}}. . . . . . .
The B divisions enlarge upon this rhythm:
l, A.J. J. Jºl. J.
4. A swinging rhythm of even quarter notes
emphasizes the indicated march time, especially
in the instrumental passages. In Divisions B, the
voice-rhythm is doubled or imitated in the ac-
companiment.
D: VOICE-PART
1. An unusual range is employed:
2. In Divisions A and also in the final phrase,
the melody has the character of a dramatic reci-
tation of the words. In other parts of the B divi-
Sions the melody is flowing, tender and lyric.
366 MUSIC APPRECIATION
3. The figure of the first #1 , V T-I
measure of the voice-part: #H#H=
3-
is repeated with E flatted in measure 13. It
appears on other scale-tones in measures 25 and
34, and as at first in measure 30. The lyric mo-
tive in measures 19-20 is intensified in measures
21-22, and is twice repeated at a higher pitch,
with some modifications, in measures 40-43.
4. Each word is made emphatic, and the
tragedy is made vivid by the downward progres-
sions and the significant pauses in measures 45-48:
Aº I Å i —l H I I —I
2–H–F C–H–H | i H–E–E.
$ º I - i | * vºy & C —l # s | TI
# -—
46 & 7.
They slew Him, They slew Him last—
5. Expression of the inner sentiment of the
poem is the dominant factor. The melody, though
vocal in progressions, is wide in range and unusual
in rhythms.
E: HARMONY AND ACCOMPANIMENT
1. Firm chords and octaves in even rhythms
are used throughout, although melodic motives
occur in the B divisions.
2. A three-note figure is used sequentially in
introduction and interludes: ..?
In measures 51–52, the
order of these notes is re- 1 *
versed, and in measures 53-54, they appear in
slower rhythm: Aºp Zºo
3. Modern, in its use of # =
Q gº | Bat-
full chords and dissonances. 53 # # 54 bºs
THE ART BALL AD - 367
4. There are wide stretches, which demand a
firm and accurate touch.
5. We use the version in D minor. The ori-
ginal is written in C minor, and there is another
transposed edition in E minor. Divisions A are
in the tonic key. Division B' is in F major, and
Division B” begins in B-flat major, modulating back
to D minor in measure 44.
6. Introduction, interludes and ending are
listed under B: 3 above. These serve chiefly to
maintain the march rhythm.
F: STYLE
1. Solemn, stately music in the minor key
voices the pathetic opening words. As the Trees
show their protecting pity, the music becomes
tender and clinging. Again the more solemn
strains are heard, but this time in a triumphant
vein; and a reminiscence of the lyric motive
ushers in the final tragic phrase.
2. There is much variety in the dynamic
coloring.
3. These are evident in the alternation of the
dramatic recitations with the lyric melody.
4. In the last phrase, produced by a quick
ascent to the highest note, F, in measure 44, fol-
lowed by the emphatic descending tones. The
ending is quiet and simple.
5. This composition reflects Chadwick’s straight-
forward, rhythmic style, together with his mastery
of the technic of intimate and forceful expression.
6. While variety of moods and character de-
liniation are found in the Erlking, a lofty, dignified
atmosphere surrounds the Ballad of Trees. In
368 MUSIC APPRECIATION
both ballads the music is founded upon a per-
sistent rhythmic accent; but in the Erlking the
prevailing emotions are excitement and dread,
while the Ballad of Trees is calm and dignified.
Form in the Erlking is shaped by the phrases of the
dialogue and the narration; in the Ballad of
Trees it is based upon a recognized musical con-
struction. Both ballads are pointed examples of
the power of music to intensify and illustrate
literary ideas. -
G: COMPOSER
1. George Whitefield Chadwick was born in
Lowell, Massachusetts, November 13, 1854. After
- extensive musical study
in this country and
abroad, he settled in Bos-
ton in 1880, where he has
since been occupied as
teacher, organist, conduc-
tor, and, from 1897, as
director of the New Eng-
land Conservatory of
Music.
2. For the stage he
has written two comic
CHADwick operas and a lyric drama.
- His orchestral music in-
cludes large works of a dramatic character; and
among his vocal works are ballads for solo and
orchestra, besides a number of dramatic choral
compositions.
3. In addition to the compositions already
mentioned, Chadwick has written three sym-
phonies, five string quartets, a string quintet,
THE ART BALLAD 369
many songs, church anthems, etc. His works as
a whole follow the standards of absolute rather
than program music.
OTHER COMPOSITIONS OF THIS TYPE
CHADwick: Aghadoe.
Lochinvar's ballad.
CHOPIN: The parted lovers.
LISZT: The Loreley.
The King of Thule.
LOEw E, Carl: Edward.
Henry the Fowler.
The Clock.
Odin’s ride over the sea.
RUBINSTEIN, A.: The Asra, Op. 32, No. 6.
SCHUBERT:
Death and the Maiden.
Der Doppelgänger.
The Fisherman.
The Dwarf.
The Organ grinder.
SCHUMANN: The two Grenadiers.
STRAUss, R.: The three holy Kings, Op. 56, No. 6.
Welsh folk ballad: The dying Harper (arr. by Kurt Schindler.)
Russian composers have shown a special fondness for the ballad form.
The following examples may be found in Modern Russian Songs in the
Musicians Library, 2 vols.
BoroDINE: The sleeping Princess.
GLINKA: Star of the North.
IPPOLITOFF-IVANOFF: Once there lived a king.
MoUSSORGSKY: Martha’s song (from Boris Godounoff.)
- Parrot song (from Boris Godounoff.)
RIMSKY-KoRSAKOFF: The maid and the sun.
The nightingale and the rose.
STRAvTNSEY: The Cloister (La Novice).
TANIEFF: The Minuet.
The birth of the harp.
WIHTOL: Beggar’s song.
SUPPLEMENTARY READINGs
BACH, A. B.: The Art Ballad: Loewe and Schubert.
FINCK: Songs and Song Writers, Chapter 4.
GROVE: Dictionary of Music and Musicians, Articles Ballad, Song.
HAMILTON: Outlines of Music History, Chapter 7, Section 2; Chap-
ter 11, Section 4.
HEYDRICK: How to Study Literature, Chapter on Narrative Poetry.
MAson, D G.: A Guide to Music, Chapter 17.
PARRY: Evolution of the Art of Music, pages 285-292.
PAUER: Musical Forms, chapter on secular forms of vocal music.
TYPE XVI
THE OPERA AND THE ORATORIO
FOREWORD
Under this final type we are to study those
elaborate forms, primarily vocal, in which all
known musical resources are drawn upon to il-
lustrate a dramatic action or story. In the long
and varied career of the opera and the oratorio,
the struggle to unite the two arts of music and
literature has resulted in many diverse styles and
structures, which it is difficult to group under a
single head. The questions which will apply to
all of these compositions, therefore, must neces-
sarily be very general in character. The student
may, however, fill in these general outlines from
his previous study by a more detailed examination
of the work under consideration.
The opera was originated by a band of enthu-
siasts who, toward the close of the sixteenth cen-
tury, used to meet in Florence to discuss the pos-
sibility of a return to Greek ideals of simplicity
in art. Several of the members wrote monodies,
or musical recitations with a slight instrumental
accompaniment; and the success of these attempts
led to the production of what is known as the first
opera, in 1600. Quickly gaining in favor, the
opera soon became a craze in Italy, whence it
spread to other lands, especially France, Germany
and England.
370
THE OPERA 371
While in the very first operas the music was
purely illustrative, depending entirely upon the
text for its structure, the Italian fondness for
melody soon demanded the introduction of more
formal numbers; and eventually this formalism
in music came to dominate and pervade the
dramatic element. Subsequently, from time to
time, composers have arisen who have attempted
to emphasize the original purpose of the opera,
and to adapt it also to varying national conditions.
Beginning at about the same time, the oratorio
was at first distinguished from the opera only by
its religious text, since it was acted with appropri-
ate scenery and costumes. Later on, however,
the oratorio took on an individual choral charac-
ter, in which parts of the action were frequently
narrated in song, and in which the chorus became
the chief feature. By substituting the word
oratorio for opera, the following questions may
easily be adapted to the study of the former struc-
ture. Secular, as well as sacred oratorios, have
also been written.
Observe also that a modern cantata is practic-
ally a less pretentious Oratorio, and that it may
therefore be included also under this type. Many
choral works, both secular and sacred, may be
included under this heading.
A: GENERAL STRUCTURE
1. What kind of an opera is it?
We may distinguish three principal kinds of
operas:
(1) The Grand Opera. This is generally founded
on a lofty or heroic theme, which involves sump-
372 MUSIC APPRECIA TION
tuous Scenic display, many characters, continuous
music and frequently a tragic ending.
Throughout the eighteenth century, the Italian
grand opera held sway, with its absurdities and
mannerisms. Subsequent developments of the
grand opera are seen in the pompous, the historical,
the romantic, the legendary, the heroic, the realistic,
etc. Wagner's so-called music dramas are usually
classed as grand operas.
(2) The Opéra Comique. This is the title given
in France to a less conventional and more intimate
kind of opera. While the comic element is usually
involved, the plots are sometimes serious and even
tragic. The mystic, symbolic and realistic opera
is found in this class, which also includes the
lyric drama (drame lyrique). Sometimes there is
little or no distinction between a grand opera and
an opéra comique.
(3) The Burlesque Opera. This class includes
the Italian opera buffa, the French opéra bouffe,
and operettas, such as those of Gilbert and Sullivan,
in all of which there are absurd situations, satirical
comedy and light music.
It should be said that some classics, such as
Weber's Der Freischütz and Mozart's Marriage of
Figaro are generally classed as grand operas, al-
though they contain the element of comedy.
2. What is the nature of the plot, and where is
the story laid?
Plots of the early operas were founded on classic
legends or Oriental tales. All kinds of plots, real
or imaginary, are employed in modern operas.
3. When and where was the opera first performed?
THE OPERA 373
Upon the success or failure of the première of an
opera often depends its future status.
4. Who are the dramatis personae, and what
are the principal voices?
An opera usually involves both “principals”
and chorus. In the early operas, the bass voice
was not admitted among the principal singers.
Modern opera, however, employs all varieties of
voices in the chief rôles.
5. Is there spoken dialogue?
Grand opera does not regularly include spoken
dialogue. Der Freischütz is an exceptional in-
stance of its introduction.
6. How many acts are there? -
The number of acts in an opera varies from one
to five. Three is perhaps the favorite number,
although short operas of one or two acts have
recently become popular.
B: DETAILs
Under this heading each number of the opera is to be
studied consecutively. After playing the number through,
decide what one or more of the following conventional forms
are employed. Show how these forms are introduced and how
the number contributes toward the progress of the dramatic
action. Also point out any especially important features of
the music. - -
(a) The Orchestral Movement
At the beginning of the opera there may be a
formal overture, or simply a prelude leading im-
mediately into the action. Other orchestral num-
bers may include introductions to the several acts,
incidental music during a pause in the action or
illustration of the action, music for triumphal
processions, music to interpretative dances called
ballets, etc.
374, MUSIC APPRECIA TION
(b) The Recitative
This is a kind of declamatory song, which de-
livers the words in the same irregular rhythms in
which they would naturally be spoken, only with
melodic rising and falling inflections. Sometimes
the only support for this declamation consists of
detached chords that mark the changes in har-
mony, when it is called recitativo secco (dry recita-
tive). Again, a more characteristic and continuous
accompaniment may support the declamation,
when it is called recitativo stromentato (accom-
panied recitative).
Recitatives may be lyric, conversational, mar-
rative or dramatic. Narrative recitative is fre-
quent in the oratorio, while dramatic recitative is
characteristic of the opera.
(c) The Solo Song
In the old Italian opera the action was often
interrupted while a character expressed his feelings
on the situation in a more or less elaborate and
formal manner. Most popular of such solo forms
was the aria, usually consisting of three parts
(A* B A*). Less pretentious forms have the names
arietta, cavatina, romanza, etc. A combination
of the recitative with expressive melody in more
formal phrases is called the arioso. This kind of
song is common in modern operas.
In the first division of the grand aria of the
Italian opera the singer expresses the chief senti-
ment in broad and often highly ornamented phrase-
ology. A contrasting division, less formal in
structure, is shorter and more explicit in style.
Then comes the da capo, or return to the first divi-
sion, which the singer often ornamented by inter-
THE OPERA 375
polated trills, runs and cadenzas. The melody of
the aria may be sustained and lyric, florid, drama-
tic, etc. Various types of arias were distinguished
as aria cantabile (quiet and slow), aria parlante
(more declamatory), aria di bravura (brilliant and
decorated), etc.
(d) The Grand Scena
This is composed of a contrasting succession of
solo recitatives and formal airs which represent
a character as actuated by a series of varied moods
that eventually lead to an emotional climax.
(e) The Ensemble or Concerted Number
Portions of the opera in which two or more
principals are employed are called ensembles
or concerted pieces. Such numbers consist of
duets, trios, quartets, quintets, etc.
As a rule, the number is begun by single voices,
so that a climax may be effected at the end, when
all take part at the same time. Sometimes the
chorus is added in interpolated phrases or as a
kind of background for the soloists.
(f) The Chorus
Representing “the united expression of a number
of individuals whose feeling is impressed by an
event or idea in so thoroughly uniform a manner
that all of them. unite in the same expression,”
the chorus fulfils a great number of functions.
Since it must be memorized and acted, the music
of the operatic chorus is generally simple in con-
struction. No such restrictions occur in the
oratorio, in which the chorus may mark the acme
of contrapuntal art.
*Prout: Musical. Forms.
376 MUSIC APPRECIA TION
A chorus may express merely general ideas, to
give atmosphere and picturesqueness to a Scene,
or it may represent a vital element in the dramatic
action. While the regular chorus is written for
four voices, either “mixed” or exclusively for men
or women, the voice-parts may be increased or di-
minished in number, and more than one chorus
may be used at the same time.
(g) The Finale
As a brilliant close to an entire opera, or some-
times also to other acts than the last, the com-
poser writes a finale, in which many or all of the
principals and the chorus sum up the situation
and enhance the dramatic climax. Fragments of
preceding themes in new settings, as well as en-
tirely new effects, are presented in a series of solos,
ensembles and choruses that succeed each other
in contrasting styles.
C: GENERAL FEATURES
1. Is the libretto dramatically consistent?
Poor or undramatic librettos have caused the
failure of many operas. -
2. Is the music consistent with the words and the
dramatic action? -
It is this consistency which was wholly lacking
in the old Italian operas, and which great re-
formers, notably Gluck and Wagner, have striven
to attain.
3. Does the music characterize individuals or
ideas? If so, name instances.
Some composers, such as Weber, have cleverly
suggested the traits of an individual in the music
THE OPERA 377
given him to sing. Wagner uses the leitmotiv
(musical motive) to suggest the nature of a person,
idea, place, etc.
4. Are there vivid contrasts? Mention instances.
In a long work such as an opera or oratorio the
necessity for variety in treatment is apparent.
5. What is the relation of the orchestral to the
vocal parts?
In the old Italian operas the orchestra simply
furnished a background for the melody. Wag-
ner’s conception of the function of the orchestra
was quite the opposite of this, however, since he
relegated the principal melody to the orchestra,
while the characters sung in dramatic recitative. -
Although modern composers do not as a rule follow
Wagner’s example in this respect, the place of the
orchestra is now generally on a par with that of the
singers.
D: CoMPOSER
1. Give some details of his life.
2. What other operas has he written, and how do
they compare with this one?
3. What is his status as an opera composer?
378 MUSIC APPRECIA TION
EXAMPLE
OPERA, AïDA
Giuseppe Verdi, 1813-1901
Reference is made in the answers to the edition of the opera edited
by Philip Hale, published by the Oliver Ditson Company.
A: GENERAL STRUCTURE
1. A romantic grand opera.
2. The story is one of love and jealousy. The
action takes place at Memphis and Thebes, in
Egypt, during the reign of the Pharaohs.
3. At Cairo, December 24, 1871. Verdi was
especially commissioned to write this opera by
the Viceroy of Egypt. The first European per-
formance took place at Milan, February 8, 1872.
4. The following are the dramatis personae:
AfDA: Ethiopian slave of Amneris . - e & - - Soprano
AMNERIS: Daughter of the king . - - - . Mezzo-Soprano
THE KING OF EGYPT * g - & - * * * . Bass
RADAMES: Captain of the guards . e - - - s Tenor
AMONASRO: King of Ethiopia, father of AïDA & e * Baritone
RAMFIs: High Priest & - e * - * - Bass
MESSENGER. sº Tenor
Priests, priestesses, ministers, captains, soldiers, officials, slaves,
prisoners, Egyptians, etc.
5. No.
6. Four.
B: DETAILS
ACT I
SCENE I: A hall in the king’s palace, Egypt.
No. 1. A short prelude in fugal style forms a vague but dignified
introduction. RAMFIs and RADAMES converse in accompanied reci-
tative. RAMFIS speaks of rumors of war with Ethiopia, and hints that
RADAMES is to be chosen leader of the Egyptian armies.
No. 2. RADAMES voices his ambitions in recitativo secco that is inter-
rupted by trumpet calls. As he speaks of his love for Afoa, a sus-
tained accompaniment is added. An aria follows, founded on this
theme:
THE OPERA 379
Ra - diant A - ? - da,—
This aria is in the form A* B A2, Coda. Division A1 consists of an
apostrophe to the beauty of AfDA. In Division B, RADAMES aspires
in a thrilling climax to restore her to her native land and throne. After
Division A", which is more richly accompanied than Division A", the
coda emphasizes the thought contained in Division A. Contrast to the
rising inflections of the main theme is given by the low monotone of the
coda, which precedes the dramatic climax. The latter is rendered the
more impressive by terminating pp on high B-flat:
O_l PPP dim. 20p zno rendo
- ſº
º Rºad. Teaſ Eºſ EFEEFEEEEEEEEEEE
ºf-HEEEE tº 2—2–2 2—P--—
+--- r r r— A I - I I g
Athrone that mid stars should stand, a throne that mid stars should standſ—
No. 3. Ensemble. In a duet between AMNERIs and RADAMEs, her
love for him is disclosed, and her jealous fear lest AfDA may be a rival.
In the trio which ensues upon Afi A's entrance, AMNERIs artfully tries
to probe the latter’s secret, while RADAMEs fears lest she may discover it.
No. 4. Concerted Piece. The KING, guards, etc., enter to trumpet-
like music. In accompanied recitative by the KING and a messenger,
an invasion by the Ethiopians is announced, and their capture of
Thebes. Amid cries of vengeance from the chorus the KING proclaims
RADAMES leader of the Egyptian armies, urging him on to victory in the
following martial theme, which is afterward worked up to a vivid climax
by principals and chorus:
I f |--
I - I
- "T" Tº - |
Up! of Nile's broad sa - cred riv-er, Guard the shores, E-gyp-tians brave;
No. 5. Scena. AIDA is torn between her love for her father and
for RADAMES, now arrayed against each other. Her feelings are ex-
pressed in an impassioned recitative and arioso song, which is followed
by a more contrite song of supplication to heaven to aid her distress.
SCENE II. Interior of the temple at Memphis.
No. 6. Finale. RAMFIs and priestesses invoke the God PTAH in
Oriental strains. Priestesses perform a sacred dance, during which
RADAMES enters. He is consecrated leader of the Egyptian hosts.
ACT II
SCENE I. A hall in the apartments of Amneris. She is attended by
female slaves, who attire her for the triumphal feast.
No. 7. Introduction. After a few harp-like chords in the orchestra,
the action begins with a three-part women’s chorus, during which
380 MUSIC APPRECIA TION
AMNERIs thrice sings an ecstatic lyric passage. The chorus is inter-
rupted by a lively dance of slave boys, after which it is resumed. AM-
NERIs (recitative) bids the slaves retire as AíDA enters.
No. 8. Duet: AMNERIs and AIDA. During a succession of dramatic
recitatives and formal melodies, AMNERIs, by sympathetic words, tricks
AfDA into a confession of her love for RADAMEs, and then vows vengeance
upon her. The distant song of the Egyptians marching to battle is
heard in the chorus-theme of Number 4. Having pled in vain with
AMNERIs, Aïd A implores the pity of heaven in strains similar to those
which closed her scena, No. 5.
SCENE II. Entrance gate to the city of Thebes, with triumphal arch
and the king's throne.
No. 9. Finale. Upon the appearance of the KING, accompanied
by AMNERIs, state officers, priests, etc., choruses composed of people
and priests sing of their recent victories over the Ethiopians in the
following theme:
- — vºy º- -: ———H
Glo-ry to I - sis, and the land Eer by her arm pro-tect-ed!
A triumphal procession of the Egyptian troups is led by groups of
trumpeters playing this theme:
Dancing girls enter, with spoils of the conquered. RADAMEs is
hailed as hero by the king. Next come the Ethiopian captives, among
whom AfDA recognizes her own father, AMONASRO, whose rank is,
however, unknown to the others. To RADAMEs' request, and against
the judgment of the HIGH PRIEST, the KING pardons the captives, re-
taining, however, AIDA and her father as hostages. A united chorus
closes the act.
SCENE: A moonlight night on the shores of the Nile. The temple of Isis
7s seen through the foliage.
No. 10. (a) The brief orchestral prelude is vague and mystic.
(b) A short unison chorus of priests and priestesses is heard within
the temple.
(c) RAMFIs and AMNERIs, with attendants, disembark from a boat.
AMNERIs comes to the temple for consecration before her marriage to
RADAMEs. The chorus continues.
THE OPERA 381
(d) AfDA enters, veiled. In accompanied recitative she tells of her
appointment to meet RADAMEs, and of her fears that he may be faith-
less. The Romanza, O Native Land, follows.
No. 11. Duet: AIDA and AMONASRO. In dramatic recitative and
arioso AMONASRO, who has awaited his daughter, discloses the woes of
his people, and persuades AIDA to win RADAMEs to their cause.
No. 12. Finale. (a) Duet: AIDA and RADAMEs. The motive with
which RADAMEs greets AfDA:
Ty- T-3–
^ &T&Ti- A * | Tº
º **—£4–H Hº-ſº =H PEREEEEE
Laº J Ł, ſº y || || |- T] wº º, 2. ' I I ======
ºf Ž g I -ms p. wº | ( ) wº
A-gain I find thee, dear - est A - i - da.
is prominent in this duet, in which RADAMEs finally yields to AfDA's
entreaties to fly with her.
(b) Trio. At the appearance of AMONASRO, RADAMEs is horrified
at finding himself a traitor.
(c) As RADAMEs is being dragged off by AMONASRO, AMNERIs ap-
pears from the temple with RAMFIs. RADAMEs surrenders to RAMFIs
and is seized by the guards. Rapid, fragmentary recitative accom-
panies the action.
ACT IV
SCENE. I. Hall in the King’s palace.
No. 13. (a) The despair in AMNERIs' heart is suggested by a few
introductory measures.
(b) AMNERIs, torn between love and jealousy, resolves to appeal
again to RADAMEs.
(c) Led in by guards, RADAMEs is promised freedom by AMNERIs
if he will renounce his love for AïDA, but refuses.
No. 14. Scene of the Judgment. The monotonous voices of the
priests are heard in the subterranean hall, condemning RADAMEs to
be buried alive beneath the altar of the temple. AMNERIs shrieks in
despair as his fate is decided.
SCENE II. The stage is divided, the upper portion disclosing the temple
of Vulcan, and the lower portion the crypt beneath, in which Radames
has just been immured.
No. 15. Duet, with chorus of priests. Hearing a moan near at
hand, RADAMEs discovers AíDA, who has resolved to die with him, and
has therefore concealed herself in the crypt. While priests chant
above them, RADAMEs and AfDA, transported by their love for each
other, welcome death in the following theme:
f) Aida
A
f l—a ſº ! - - fº. * i-
24–HPEE7; ń-FE-HEFº à-Hº-
Sºf
tº-pº-B-tº-º-º-Hy TTI 2- W T TV U | TE Zºº /
y way t Tº" UEy- LZ º | IZT
—I y n r
Fare-well, O earth, fare-well, thou dark vale of Sor-row
AMNERIs, clad in black robes, throws herself upon the fatal stone
of the tomb. AfDA dies in RADAMEs' arms.
389 MUSIC APPRECIATION
C: GENERAL FEATURES
1. Yes, the whole action is concentrated upon
the love of AïDA and RADAMES, which triumphs
over the jealous rage of AMNERIs.
2. Both vocally and instrumentally, the music
constantly interprets words and plot.
3. As a whole, the music is indicative only of
the general mood expressed by a character, and
not of his individual traits. Local color is fre-
quently suggested by Oriental touches, as in the
chorus of priests at the beginning of Act III.
4. In the duet between Aid A and AMNERIs
(No. 8) AMNERIs suddenly changes from tones of
apparent gentleness and sympathy to accents of
relentless hate. Perhaps the finest contrasts are
in the last scene, where the ecstatic duet between
AïDA and RADAMES is accompanied by the dole-
fully monotonous chant of the priests in the temple
above.
5. Brilliant choral climaxes occur at the end of
Nos. 4 and 6 of Act I and at the close of Act II.
A vivid dramatic effect is attained by the quick
action at the end of Act III; and at the end of
Act IV occurs the emotional crisis of the whole
Opera.
6. The orchestra constantly illustrates and
emphasizes the voice-parts by intense coloring and
tender, rich or brilliant effects.
D: COMPOSER
1. On October 10, 1813, Giuseppe Verdi was
born in the little village of Roncole, which is near
the town of Busseto, Italy, at the foot of the Ap-
pennine range. Although his parents were lowly
THE OPERA 383
people, they were able to give him some musical
advantages; so that as a young man he had al-
ready acquired such musical prestige that he was
made conductor of the lo-
cal orchestra at Busseto. T
Having moved to Milan,
in 1838, his aspirations
as an opera composer
were rudely checked for a
time by the death of his
wife and two children;
but he finally embarked
upon a career of opera
writing that terminated
only with his death, in
1901. -
2. Of his more than VERDI
thirty operas, the earlier
ones, such as Ernani, Rigoletto, Il Trovatore and
La Traviata won unparalleled popularity through
their melodious and dramatic style. The thinness
of their orchestration was, however, in marked
contrast to the rich texture of his three latest and
most important operas, Aïda (1871), Otello (1887),
and Falstaff (1893), all of which were written after
he had become acquainted with Wagner’s works.
3. Verdi is without question the foremost of all
Italian opera writers. “A man of the people,
Italian to the core, a dramatic enthusiast and a
great melodist, yet a student, susceptible to sug-
gestions from all sources, a real master of the voice
and ultimately of orchestration, . . . he not
only brought lustre to the departing glory of the
old Italian opera, but clearly led the way toward
the new era of today, in which fresh creators are
finding their place.”
* Pratt; The History of Music.
384 MUSIC APPRECIA TION
OTHER COMPOSITIONS or THIS TYPE
OPERAS
BALFE: The Bohemian Girl.
BELLINI: La Somnambula.
BEETHOVEN: Fidelio.
BIZET: Carmen. -
DONIZETTI: The Daughter of the Regiment, Lucia di Lammermoor.
FLOTow, F. von: Martha.
GLUCK: Orfeo ed Euridice.
Gounod: Faust.
MASCAGNI: Cavalleria Rusticana.
MASSENET: Manon.
MEYERBEER: Les Huguenots.
MozART: Don Giovanni.
MoUssor GSKY: Boris Godounoff.
OFFENBACH: The Tales of Hoffmann.
PUCCINI: La Bohème.
ROSSINI: The Barber of Seville.
SAINT-SAfNs: Samson and Delilah.
STRAUss, R.: The Rose Cavalier.
TCHAIKovs KY: Eugene Onegin.
THOMAS: Mignon.
VERDI: Il Trovatore.
Rigoletto.
Falstaff.
Otello.
WAGNER: Die Meistersinger.
Lohengrin.
Tannhäuser.
voN WEBER: Der Freischütz.
ORA TORIOS
BACH: The Passion according to St. Matthew.
ELGAR: The Dream of Gerontius.
FRANCK, C. The Beatitudes.
GOLDMARK: Arminius.
Gounod: The Redemption.
HANDEL: Israel in Egypt.
The Messiah.
HAYDN: The Creation.
KELLEY, E. S.: Pilgrim’s Progress.
MENDELSSoHN: Elijah.
St. Paul.
Hymn of Praise.
PARKER: Hora Novissima.
PIERNE: The Children’s Crusade.
CAN TATAS, etc.
BARNBY: Rebekah.
BENNETT, W. S.: The Woman of Samaria.
BRUCH: Fair Ellen.
THE OPERA 385
CHAdwick: Judith.
Cow EN: The Rose Maiden.
Dvoi Ak: The Spectre’s Bride.
GAUL, A. R.: The Holy City.
Gou Nod: Gallia.
HAD LEY, HENRY: In Music's Praise; The New Earth.
PARKER, J. C. D.: Redemption Hymn.
RHEINBERGER: Toggenburg.
Ross INI: Stabat Mater.
Schum ANN: The Pilgrimage of the Rose.
STAINER, J.: The Daughter of Jairus.
SULLIvan, A.: The Golden Legend.
The Prodigal Son.
TAYLoR, DEEMs: The Highwayman.
SUPPLEMENTARY READINGS
APTHoRP: The Opera, Past and Present.
GRove’s DictionARY: Articles, Opera, Oratorio, Cantata, Passion
Music, etc.
HAMILTON: Outlines of Music History, Chapter 4, Section 1; Chap-
ter 5, Section 3; Chapter 7, Section 3; Chapter 9.
LEE, E. MARKHAM: On Listening to Music, Chapters 8, 12.
PATTERson: The Story of Oratorio. º
PARRY: The Evolution of the Art of Music, Chapters 7, 10. -
PAUER: Musical Forms (Vocal Music).
STREATFEILD: The Opera.
PARIs OPERA. House,
IN DEX
Names of persons are in black face type
A
Accompaniment, , , , , , , , , , * * * * * * * * * * * * * * * * * * * * * * * * 80, 81, 96, 113
kinds of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 40 61 62 132, 196
figurations in, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
variations in, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
in rondo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178, 180
Alberti bass, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
in slow movement, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
in minuet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
in canon, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
in chamber music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
in overture, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
of folksongs, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322, 323
of art song, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336, 337
of ballad, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355, 356
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370, 374
Air, and variations, . . . . . . . 110-127, 195, 196, 198
Answer, in fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221, 223-225
Aria, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374, 475
Arietta, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Arioso, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374,
Art ballad, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353–369
Art song, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333-352
R
Bach, Christian, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Bach, J. S., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 40, 221, 226, 300, 343
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48, 49, 86, 230, 231
Two Gavottes from Third English Suite, . . . . . . . . . . . . . . . 24, 25, 53
study of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43–49
Preludes, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77, 90
study of Prelude in D major, . . . . . . . . . . . . . . . . . . . . . . . . 83–86
Inventions, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217-220
Fugues, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221, 222, 234, 235
study of fugue in D major, . . . . . . . . . . . . . . . . . . . . . .227-231
study of fugue in B flat major, . . . . . . . . . . . . . . . . . . . 231-235
Well-tempered Clavichord, . . . . . . . . . . . . . . . . . . . . . . . . . . . 230, 231
Ballad. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323, 333, 354
See also art ballad
Ballet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Barcarolle, , . . . . . . '• , , , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . * * * * * .70, 93 .
387
388 IND EX
*Beat, definition of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Beethoven, . .40, 110, 147, 152, 153, 196, 197-200, 281, 283, 301, 309
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168, 169, 191
Sonata, Op. 2, No. 1, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Sonata, Op. 10 No. 1, Molto Adagio, study of, . . . . . . . . . . . . 171-174.
Sonata, Op. 13, first movement, 161-167; second movement, 177
last movement, 187-191; all movements, 205-211
Sonata, Op. 14, No. 1, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Sonata, Op. 26, first movement, . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Sonata, Op. 27, No. 2, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181, 191
Sonatas, Op. 106 and 110, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
String Quartet, Op. 18, No. 3, study of, . . . . . . . . . . . . . . . . . 265-271
Fifth Symphony, . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 153, 181, 191
Bourget, Paul, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Brahms, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 282, 316, 333
Ballades, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘. . .353
Brockway, Howard, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Burton, Frederick, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Byrde, Wm., , , , , , , , , , , , , , , , , , , , , , , , , , i t . . . . . . . . . . . . . ; , , , 110
C
Cadence, kinds of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 25
Cadman, C. W., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Canon, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212-218, 220
Cantata, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Cavatina, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374,
Chadwick, G. W., life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368, 369
A Ballad of Trees and the Master, study of, . . . . . . . . . . . . . . 364-368
Chamber music, types of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259-279
Chaminade, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Les Sylvains, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12, 103-108
Chopin, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 69, 177, 321
Nocturne, Op. 32, No. 1, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-69, 75
Etudes, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Ballades, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Chord, definition, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
in accompaniment, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Chorus, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371, 373, 375, 376
Chromatic progressions, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Clementi, M., life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Climax. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41, 62, 77, 97, 114
in Sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150, 152
in fugue subject, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
in overture, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
in art song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375, 376
a Coda, definition, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
in theme and variations, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
in transcription, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
in Sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
in rondo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178-180
in slow movement, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Codetta, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
INDEX 389
Coleridge-Taylor, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . 142, 143, 322
Sometimes I feel like a Motherless Child, study of, . . . . . . . . 139-142
Composer, . . .42, 43, 63, 64, 83, 98, 115, 134, 153, 154, 181, 200, 201, 388,
339, 357, 377
Concerted piece, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Concerto, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193, 281
Consolation, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Counterpoint, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 212, 319
Countersubject, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223, 224
Cyclic groups, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
D
Dance, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33-54
ballet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Debussy, Claude, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
The Bells, study of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347-350
Densmore, Ruth, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Development, in sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . 145, 149-151
thematic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
of fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224-226
Division, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 35, 36, 56, 57
Duet, in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Dvořák, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 277, 278, 321
Sonatine, Op. 100, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . 271-277
From the New World, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277, 322
Dynamics, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82, 112, 357
E
Elements, musical, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
English music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Ensemble, in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375, 376
Episode, in rondo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175, 178-180
Etude (Study), study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77-92
Etude-Lyric, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93-109
Exposition, of Sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145-149
of fugue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221-224
F
Fantasia, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248-257
free. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Farwell, Arthur, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Figure, . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 35, 80, 113, 149, 150, 151, 198
Finale, in Sonata, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194, 198, 199
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Fletcher, Alice, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Folkmusic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 110, 319, 320
Folksong, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321-333
0 No, John, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . : . . . . . . . . . 325–327
All through the Night, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327–328
Swing low, Sweet Chariot, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328-331
The three songs compared, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
390 INDEX
* Form, . . . . . . . . . . . . . . . . . . . . . . 34-36, 56-58, 78, 79, 93, 94, 110, 111, 129
two-part, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34, 78, 198
small three-part, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 78, 198
large three-part, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
(shape) variations in, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144-152, 193
modified sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171-173
rondo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176, 177
Sonata, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195-199, 261
- OVerture, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300, 301
folksong. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
song-lyric, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334, 335
art Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335, 336
T ballad, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354, 355
OPera» . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371-373
Foster, Stephen C., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Franz, Robert, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333, 342–343
The Rose complained, study of, . . . . . . . . . . . . . . . . . . . . 339–342, 350
French music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Fugal music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113, 212-236, 319
Fugalo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199, 212, 217, 220-236
G
Gavotte, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . * * * * * * 43-48, 53
Gilbert, W. S., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Gluck, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Goethe, J. W. von, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Grand scena, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Grieg, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 56, 63, 321, 333
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246, 247, 346
A Swan, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343-346, 350
Suite, From Holberg’s Time, study of, . . . . . . . . . . . . . . . . . . 243-247
Peer Gynt Suites, , , , , , , , , • * * * * * * * * * * * * * * * * * * * * * * * * * * * * , , , 300
H
Hadley, Henry K., life, etc., . . . . . . . . . . . . . # t t t t t < * * * * * * * * * * * 215, 216
Canon, Fate, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Handel, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 40, 226, 343
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119, 120
Harmonious Blacksmith, study of, . . . . . . . . . . . . . . . . . . 115-119, 125
Harmony, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 62, 81, 96, 113, 132
in Sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147, 196
in rondo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
in chamber music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
in art song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333, 337
in ballad, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
in recitative, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Harpsichord, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 33
IND EX 391
*->
2-
Haydn, . . .40, 110, 111, 145, 147, 169, 181, 186, 187, 194, 197, 198, 200,
261, 264, 281
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160, 161
Sonata in F major, first movement, study of, . . . . . . . . 154-160, 167
entire sonata, study of, . . . . . . . . . . . . . . . . . . . . . . . 201-205, 211
Horn, French, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Hungarian music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
I -
Ibsen, Henrik, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Imitation, in rondo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Impromptu, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Indian songs, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Instruments in combination, . . . . . . . . . . . . . . . . . . . . . .263,264, 281-283
* Intensity, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 63, 337
Interlude, in fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224, 226
Introduction, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27, 129, 146
K
Key, changes in, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
of sonata-allegro movement, . . . . . . . 145, 146, 148, 149, 151, 152
in rondo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176, 179
of Sonata movements, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
in minuet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
in fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221, 224
of folksong, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
of art song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
I,
Lieurance, Thurlow, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Liszt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 78, 300, 316
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256, 257
Hungarian Rhapsody, No. 11, study of, . . . . . . . . . . . . . . . . 254-256
Loewe, Karl, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Lyric, drama, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
piece. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56, 171
SOD18, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323, 333, 354
M
MacDowell, Edward, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63, 333
Mazurka, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 52
. Measure, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19, 36, 37, 58, 94, 111
in Sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
in Sonata-movements, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194, 195
of art song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Melody, . . . .21, 38, 39, 57, 60-62, 80, 95, 112, 113, 130, 131, 197, 226
in rondo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
of folksong, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323-325
of art song, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333, 336, 337
of ballad, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355, 356
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371, 375, 377
392 INDEX
Mendelssohn, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 177, 264, 301
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125, 126, 307-309
Andante con variazioni, study of, . . . . . . . . . . . . . . . . . . . 12, 120-126
Zwei clavierstücke, No. 1, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Songs without words, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Overture, The Hebrides, study of, . . . . . . . . . . . . . . . . . . 302-309, 315
Minuet (Minuetto), . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 194, 197, 198
-Modes, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 324
Modulation, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62, 82, 149, 224, 356
Monody,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370
Mood, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41, 62, 82, 114
in sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
in rondo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
in sonata, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199, 200
in invention, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
in fugue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
in folksong, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
of song lyric, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
of ballad, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354, 357
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Moszkowski, Moritz, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Mazurka, Op. 10, No. 3, study of, . . . . . . . . . . . . . . . . . . . . . . . 49-53
Motive, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 36, 217, 218, 220
Movement, (tempo), . . .36–38, 58-60, 79,80, 94, 111, 112, 130, 334, 355
(complete piece), . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 145, 193-200
Mozart, Leopold,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Mozart, W. A., . . . . . . . . . . . . . . 40, 110, 145, 147, 161, 169, 194, 197, 198,
200, 281, 283, 301
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185-187
Rondo in C major, study of, . . . . . . . . . . . . . . . . . . . 182-185, 190, 191
Sonata in A major, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Symphony in G minor, study of, . . . . . . . . . . . . . . . . . . . . . . 284-291
Marriage of Figaro, . . . . . . . . . ‘. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Musette, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Music dramas, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
N
National traits, in folksong, . . . . . . . . . . . . . . . . . . . . . . . 324, 325, 327, 328
Negro music, . . . . . . . . . . . . . . . . . . . . . . . . . . . 139–142, 277, 322, 328-331
Nocturne, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 93
Noise, and tone, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Notation, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
O
Opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280, 300, 333
study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370-385
Oratorio, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370-385
Orchestral music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ". . 264
types of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259-262, 280-316
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373, 377
IND EX 393
Orchestration, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282, 283
Organ, pipe, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Organ point, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Outline (pattern), melodic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 38, 60
rhythmic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 59
Overtones (harmonics), . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Overture, operatic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171, 373
Concert, , , , , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . , 300-316
P
Part, (division) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 35
Passage, . . . . . . . . . . . . . . . . . . . . . . . . . 26, 63, 93, 94, 129, 133, 147, 151
Pedals, in piano, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132, 133
Period, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
- Phrase, . . . . . . . . . . . . . . . . . . . . . . 24-26, 36, 57, 58, 197, 320, 336, 355
Piano, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31, 55, 77
Pitch, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 324
Polonaise, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Prelude, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77, 83
before fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
operatic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Program music, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 300-302, 315, 316
Q
Quartet, operatic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
See also string quartet
Quintet, operatic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
See also string quintet
R
Rank, of composers, . . . . . . . . . . . . . . . . . . . ê š + i t . * * * * * * * * * * * * * * * * * * 63
Recapitulation, in sonata-allegro, . . . . . . . . . . . . . . . . . . . . . 145, 151, 152
Recitative, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374, 375, 377
Religious music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
choral, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Repetition, device for unity, . . . . . . . . . . . . . . . . . . . . . . 35, 78, 220, 221
of rhythm, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Revery, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 93
Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 37, 59, 95, 130
in minuet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
in overture, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
of folksongs, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323-325
of art song, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336-339
of ballad, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
in operatic recitative, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Romance (Romanza), . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 93, 374
Rondo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196, 198
study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175-192
Rubinstein, Anton, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78, 333
394 IND EX
S
Scales, defined, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
major and minor, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
tempered, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
in middle ages, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.19
pentatonic, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .324
Schaffy, Mirza, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Scherzo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Schools of music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40, 200
Schubert,. . . . . . . . . . . . . . . . . . . . . . . . . 34, 55, 153, 169, 196, 333, 353
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362,363
The Erlking, study of, . . . . . . . . . . . . . . . . . . . . . . 358-362, 367, 368
Score, orchestral, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Schuett, E., life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90, 91
Etude mignonne, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87-90
Schumann, R., . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 181, 282, 316, 333
life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102, 103
Novellette, Op. 99, No. 9, . . . . . . . . . . . . . . . . . . . . . . . . . . 99-103, 107
Section, of invention, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
closing, in fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221, 224, 225
Secular music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319, 371
Sequence, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218, 337
Sharp, Cecil, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321, 322, 326
Sibelius, Jean, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Singer, O., life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Transcription of Spinning Chorus, study of, . . . . . . . . . . 134-138, 141
Sonata, . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144, 171, 261, 263, 280, 333
as a whole, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193-211
for piano, violin, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261-264
Sonata-allegro, . . . . . . . . . . . . . . . . 144-170, 195, 196, 198, 221, 281, 301
modified, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171-174, 196
Sonatina, form, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171-174
Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 58, 320
classes (settings) of, . . . . . . . . . . . . . . . . . . . . . . . . . . 323, 334, 338, 354
in opera or oratorio, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374-375
See also folksong, art song.
Song without Words, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31, 55
Sound, how produced,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Spinet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Star-Spangled Banner, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Stretto, of fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224-226
String quartet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193, 194, 197, 261-271
quintet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
octet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Structure, see form.
Style, . . . . . . . 40–42, 62, 63, 82, 83, 96-98, 114, 115, 133, 134, 152, 153,
180, 181, 199, 200, 282, 321, 334, 338, 339, 357
Subject, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 60, 61, 80, 95
of sonata-allegro, . . . . . . . . . . . . . . . . . . . 144, 146, 148, 151, 195, 196
of rondo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177-180
of finale, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
of invention, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217, 218
of fugue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221-226
INDEX 395
Suite, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193, 194, 300
study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237-247
Sullivan, Sir Arthur, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.2
Symphonic poem, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Symphony, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193, 194, 197, 217, 262, 333
study of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . , 280–299
T
Tchaikovsky, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 333
June, Barcarolle, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-75
Tempo (pace), . . . . . . . . . . . . . . . . . . . . . . . . . . 19, 37, 79, III, II2, 130
rubato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
in Sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
in rondo, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
in Sonata movements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194, 195
in folksong, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
in art song, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
* Theme, defined, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
with variations, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110- 127
of Sonata-allegro, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144, 149, 150
in overture, . . . . . . . . . . . . . . . . . ... • * * * * * * * * * * * * * * * * s e º e º 'º 8 s tº º 302
of lyric poem, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323, 334
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Tiersot, J., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32]
Toccata, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Transcription, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128-143
Trio, in minuet, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
piano, . . . . . . . . . . . . . . . . . . . . . . .* * * * * * * * * * * * * * * * * * s is e g º e s tº e & 261
in opera, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Tone, and noise, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
properties of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
duration of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
color or quality of, . . . . . . . . . . . . . . . . . . . . 23, 41, 280, 281, 283, 302
U.
Unity, devices for, . . . . . . . . . . , a * * * * * * * * * s tº s º is tº e º e º e º e s a º e º º º 35, 62
Values in music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96-98, 114, 115
Variations, theme with, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . 110-127
Verdi, life, etc., . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316, 382, 383
opera, Aida, study of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378-383
Violin, overtones of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Virginal, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Vocal music, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
types of, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317-385
Voice-writing, . . . . . . . . . . . . . . . . . . . . . ". . . . . . . . . . . . . . . . . . . . . . . . . . . 40
in fugue, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222-226
in operatic chorus, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
396 INDEX
W
Wagner, life, etc., . . . . . . . . . . . . . . . . . . . . 134, 135, 315, 316, 372, 376, 377
Overture to Tannhäuser, study of, . . . . . . . . . . . . tº tº e s e e s e 309-315
Spinning Chorus from The Flying Dutchman, study of, . . . . 134-138
• Waltz, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Weber, von, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34, 376
Der Freischutz, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372, 373
Wyman, Loraine, , , , , , . . . . . . . . , , , , , , , w 9 e º 'º w w w e º 0 ° tº a , , , , 322
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