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 MODELS OF Musical form 
 
 GOETSCHinS 
 
 
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 oUL 
 
 1762S-S 
 
& 
 
 MODELS 
 
 OF THE 
 
 PRINCIPAL MUSICAL FORMS 
 
 EXTRACT FROM LECTURES 
 
 UPON THE 
 
 “EVOLUTION OF MUSICAL FORMS*' 
 
 DELIVERED BY 
 
 PERCY GOETSCHIUS, MUS. DOC. 
 
 AT THE 
 
 NEW ENGLAND CONSERVATORY 
 
 NEW ENGLAND CONSERVATORY 
 BOSTON, MASS. 
 
 1895 
 
Copyrig:ht, 1895 , by PERCY GOETSCHIUS. 
 
3 
 
 PREFATORY REMARK. 
 
 The term musical ^^Forms” of which progressive Models 
 are here given, is adopted in the sense of musical ^^Structural 
 Designs” and not musical ^^Styles.” 
 
 The inevitable incompleteness of the list of illustra - 
 tions is partly accounted for in the note upon Irregular De- 
 signs (p..39), which see. 
 
 .|. 
 
 EXPLANATION OF SIGNS. 
 
 v = the harmony of the Dominant, or 5th Scale- step oT 'the 
 
 tonality. 
 
 I = the harmony of the Tonic, or 1st Scale -step. 
 
 ^ II = a perfect Cadence in the course of the Composition. 
 
 II the perfect Cadence at the end of the Composition, 
 
 V « an ordinary (light) Semicadence. 
 
 V = a heavy Semicadence. 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/modelsofprincipa00goet_0 
 
MODELS OF MUSICAL FORMS. 
 
 THE PHRASE. 
 
 Consisting of four ordinary measures 
 in moderate tempo. 
 
 IVIoderato. 
 
 See also Examples a to la. Two- measure Phrases < slow 
 tempo and large measures) in Examples 16; 18j Example 28, Part I. 
 Example 35, Principal Theme;. Example 36, Codetta II. 
 
 Eight-measure Phrases: Example 34, and. Subordinate Theme. 
 
6 
 
 DIVISION OF THE PHRASE INTO MELODIC MEMBERS. 
 
 Phrasin,^^ the joints ” or points of separation m 
 the Phrase -melody. 
 
 Allegro. 
 
 MENDELSSOHN, Song Without Words, No, 13. 
 
 Joint in the centre. 
 
 MENDELSSOHN, Song Without Words, No. 20. 
 
 Subdivision of first half. 
 
 MENDELSSOHN, Song Without Words, No.4. 
 
 Subdivision of each half. See Ex.l. 
 LOCATION OF THE CADENCE. 
 Cadence- chord falling upon first beat, 
 
 Ex.6. 
 
 See also Examples 1.2.3. 11. 12.14. 19. etc. Example 25, Part II 
 and Part III. Example 26, Part III. 
 
7 
 
 Cadence -chord falling upon the secondary accent 
 
 See also Example 15, Phrase 2 . Example 18, Phrase 1. Example 35, 
 Phrases 1, 2 . 
 
 Cadence - chord falling upon an unaccented heat. 
 
 See also Example 4j Example 16, Phrase 1. Example JiO,Phrases 
 i, S, 3. Example 23, Phrase 1. 
 
 Cadence on second 8th.- note. 
 
 MENDELSSOHN, Song Without Words, No. 33. 
 
 See also Example 24, Part II., Phrases 1,2,3, 4. Example 28, 
 Part I. , Phrase 1. Example 33, Phrase 1. Example .3.3, 1st. Subordin- 
 ate Theme, Phrases 1,2,3. 
 
 Cadence on last beat of the measure. 
 
 MENDELSSOHN, Song Without Words, No. 48. 
 
 See also Example 8b. Example 18, Phrases 2,3. 
 
THE REPEATED PHRASE. 
 
 Cadence retained with no essential 
 (See Table at the end.) 
 
 Ex.il.^ 
 
 
 
 
 
 
 
 
 
 ^hras( 
 
 
 
 
 
 ition. — 
 
 ■ X 
 
 ^ f r 
 
 III' 
 
 
 id 
 
 
 J Bepe 
 
 
 
 FOLK-SONG. 
 
 See also Example \^. Example 28, Coda. Example 84, Codetta. 
 
 1 
 
 THE PERIOD (or Double-Phrase.) 
 Firstly, the PeHod of ^^Pamllel construction ” 
 
 Evolved out of the Repeated Phrase,’’ 
 by differentiation of the Cadences/See Table.) 
 
 See also Ex. 24, Part I. Ex. 2.5, Part I. Ex. 26,PartI. Ex.29,PartI. 
 Ex. .8.3, first 8 measures. Ex. .84, first 8 measures. 
 
9 
 
 Secondly, the Period of Oppcrdte^^ (or Contrary) 
 construction. 
 
 Ex.l4. 
 
 Antecedent Phrase. 
 
 Semicad.,, 
 
 Consequent Phrase. Perf.Cad. 
 
 “TONE-RELATIONSr Lesson 48, No. 6. ( GOETSCHIUS.) 
 
 Thirdly, the Period of ^'^Contrasting ^\*onstruction. 
 
 Semicad. 
 
 Ex.15. 
 
 El^ V 
 
 Consequent Phrase. Perf.Cad. 
 
 See also Example 28, Parts Land II. Example 26, Part II. 
 Example 27, Parts Land II. Example 28, Part I. Example 34, 1st. 
 Subordinate Theme. 
 
THE PERIOD WITH REPEATED CONSEQUENT PHRASE. 
 
 The Cadence of Consequent Phrase retained, 
 with no essential alteration. 
 
 MENDELSSOHN, Song Without Words, No. 19, Part III. 
 
 See also Example 29, Part III. 
 
 The Period with repeated Antecedent Phrase, or with a 
 repetition of both Antecedent and Consequent |coniparatively rare] 
 is constructed on the same principle. 
 
 THE PERIOD WITH CONSEQUENT- GROUP. 
 
 The Cadences of the Consequent Phrases [Nos. 2 and 3 ] 
 essentially differentiated- thus constituting a^^Keproduction,” 
 instead of^^epetition”of the Consequent Phrase. 
 
 The Period with Antecedent -group [rare] is constructed 
 on the same principle. 
 
THE GROUP OF PHRASES. 
 
 11 
 
 At least three in number j frequently four, five, or 
 more Phrases, in unbroken, successioir. 
 
 Phrase No.l. Semicad. Phrase No.5i 
 
 See also Example 28, Part III. Example 29, Part IV. Example 
 35, Principal Theme. Example 36, Subordinate Theme. 
 
 THE REPEATED PERIOD. 
 
 No essential alteration of the Cadence. 
 Compare Example 11 . (See final Table.) 
 
THE DOUBLE - PERIOD (or Quadruple -Phrase.) 
 
 Evolved, in Parallel construction^ ovii of the ^^Repeated Pe - 
 riod,” by differentiation of 2nd. and 4th. Cadences. Characteris - 
 tic traits: Phrase 8 like Phrase 1; and no complete inter r up - 
 
 tion in the course. See final Table. Compare with Exs. 12.&18. 
 
 BEETHO^^N, Op. 26. 
 
13 
 
 Measures small, but tempo slow. If the were Alle- 
 
 gro or Presto, the form would be a Single Period, of two eight- 
 measure Phrases. 
 
 See also Example 29, Part II. Example 33, 1st. Subordinate 
 Theme. Example 36, Principal Theme. 
 
 DOUBLE -PERIOD OF CONTR.\STING CONSTRUCTION. 
 
 Rare; Phrase 3 unlike Phrase 1,* 
 see Example ^,Part II. Example a8,Part II. 
 
 THE DOUBLE -PERIOD, EXTENDED TO FIVE 
 OR MORE PHRASES. 
 
 Distinctive traits, as above: 3rd. Phrase like 1st. Phrase, 
 and no complete separation of the series of Phrases. 
 
 (Phr.6.) Per f. Cad. 
 
 MENDELSSOHN, Song Without Words, No. 36. 
 
 B V 
 
 I 
 
14 
 
 THE CODETTA. 
 
 Appendix to Period or Double -Period. 
 
 CODETTA 
 
 Perf.Cad. 
 
 HAYDN, Symphony 8. 
 
 See also Example 32, Subordinate Theme. Example 35, last 3 
 measures. 
 
 *|i 
 
15 
 
 THE BI- PARTITE OR TWO-PART SONG-FORM. 
 
 PRIMARY DESIGN. 
 
 Equal Parts, each in Period- form; evolved out of the ^^Double-Pe- 
 riod” by contrasting construction, and complete break [Cadence] 
 in the centre. Compare ^\ith Example ^iO,and Example 19. 
 See final Table. 
 
 Part I, (Period-form.) P.rf.Cad. 
 
 See also, MENDELSSOHN, Op. 54, Theme. 
 
 TWO-PART SONG-FORM, WITH DIFFERENTIATED PARTS. 
 
 Part I. (Period-form.) 
 
 V 
 
 extension. 
 
16 
 
 Part II. (Double- Period, contr.constr.) 
 
 Phr.l. Phr.2. 
 
 Phr.4. 
 
 MENDELSSOHN, Op.72;No.2. 
 
 See also Song’ Without Words, No. 6. 
 
17 
 
 THE THI-PARTITE OR THREE-PART SONG-FORM. 
 INCIPIENT GRADE. 
 
 Evolved out of the Two -Part Song -form/’ by distinct evi - 
 dence of a return to the first Phrase. See final Table. Com- 
 pare with Example 
 
 Part I. ( Period -form.) 
 
 Ex.^5. 
 
 SILCHER. 
 
 See also Example 32, Principal Theme. Example 33, 2nd. Subor- 
 dinate Theme. 
 
 THE THREE -PART SONG -FORM, INCOMPLETE. 
 
 (or Abbreviated.) 
 
 The 3rd. Part a contracted reproduction of Part I. Resem - 
 bles Ex 25, but contains a larger, more complete and independent, 
 
 Part I. (Period -form.) 
 
 2nd.Part. 
 
 EX.26.F 
 
18 
 
 MENDELSSOHN, Op. 83, Theme. 
 
 See also MENDELSSOHN, Op. 8)^, Theme; and Song Without 
 Words, No. IS. 
 
 THREE -PART SONG, ORDINARY COMPLETE FORM. 
 PRIMARY SPECIES. 
 
 Part III. exactly like Part I.{See final Table.) 
 
 Part /.(Period- form.) 
 
 Example 33, Principal Theme. 
 
FULLY DEVELOPED THREE-PART SONG-FORM. 
 
 19 
 
 The 3rd. Part a confirmation of the beginning of Part I. 
 but subsequently extended and developed into an independent 
 Part. See Table. 
 
 prelude (or Introductibn.) 
 
 Part y. (Period -form.) 
 
 Repetition of Part i . Cad. 
 
 Part IP (Double-Period.) 
 
Retransition. Part ///.{Group of Phrases.) 
 
 Phr. 1, (from Part I. exact.) Phr. S (from 
 
 MENDELSSOHN, Song Without Words, No. 46. 
 
 See also Songs \yithout Words, Nos. 40 , 25 . 
 
 This example also illustrates the Introduction, Interlude? 
 Ketransition, and Coda. See Example 2a, Codetta, and Ex- 
 ample 24, Prelude and Postlude. 
 
 For illustration of REPEATED PARTS, see Exs.27; 28?29; 
 Ex. 83, 2nd. Subordinate Theme. Ex. 34, 2nd. Subordinate Theme. 
 
THE FIVE -PART SONG- FORM 
 
 21 
 
 Evolved out of the Three -Part Form ’by Repetition, or 
 Reproduction, II. and ///.; and distinguished by more 
 
 or less essential difference between Part II and Part IK 
 See final Table. 
 
 ( Double-Period.) 
 
 Phr.4. (abbrev.) 
 
2.2 
 
 Part K (modified version of Parts Land III.) (Per. with Consequent- 
 
MENDELSSOHN, Song Without Words, No. 14. 
 
 See also Nos. 34, 17; and Op. 7S, No. 5. — CHOPIN, Prelude 
 Op. 28, No. 17.— Example 34, 2nd. Subordinate Theme. 
 
 THE SONG -FORM WITH TRIO, 
 
 OR MINUET WITH TRIO. 
 
 An enlargement of the Three -Part Song- Form, effect- 
 uated by compounding different [though kindred] Song Forms. 
 See final Table. 
 
 Ex. 30. See Beethoven, Pianoforte Sonatas Nos.l,2,3,and 4; 
 the third movement of each (“Minuet” or “Scherzo.”) 
 
 THE SONG- FORM WITH TW^O TRIOS. 
 
 Ex.31. See Mendelssohn, “Wedding- March” from “Midsummer- 
 Night’s Dream.” — Schumann, Symphony No. 1 , “Scherzo.” 
 
 ■|i 
 
24 
 
 THE FIRST RONDO-FORM. 
 
 Evolved out of the ^^Song- form with Trio,” by establishing 
 closer organic relation, conjunctioi;i and coherency between the 
 successive members of the structural design. Consists of. a 
 Principal Theme, one Subordinate Theme, and a recurrence of 
 the Principal Theme. To these essential Members may be add- 
 ed [largefy at option] Introduction, Transition, Retransition, 
 Codettas, Coda. See Table. 
 
 Prin. Theme. (Three-Part Song-form.) 
 
 Pa-t I.(Period.) 
 
 Ferf. 
 
 Sva 
 
25 
 
 F major. 1 
 
 BEETHOVEN, Pianoforte Sonata, No. 1, Adagio. 
 
 See also BEETHOVEN, Pianoforte Sonata Op.79, Andante . — And 
 CHOPIN, Nocturnes Op. 32, No. 2; 0p.48,No. 2. 
 
2-6 
 
 THE SECOND RONDO -FORM. 
 
 Evolved oat of the First Rondo -form ’by expanding the 
 1st. Division (i.e.the Principal Theme) into a complete, though 
 concise. First Rondo-form. Consists of a Principal Theme in 
 alternation with two different Subordinate Themes. Similar in 
 design to the Song- form with Two Trios.” See final Table. 
 
 FIRST DIVISION. 
 
 Perf. Cad. 
 
 Part* ni,( Period.) 
 
27 
 
 SECOND DIVISION. 
 
 ^7id, Sudord, ThemeX'^-YzxX Song- form, incipient grade.) 
 
 Part I. ( Period.) Bl> major. 
 
Part III. (Phrase,) 
 
 F major. 
 
 BEETHOVEN/'Andante Favori.” 
 
 See also BEETHOVEN, Rondo, Op. 51, No. 1; Pianoforte Sonata, 
 Op.lo,No. Finale, — MOZART, Rondo in A minor. 
 
THE THIRD RONDO FORM. 
 
 29 
 
 Evolved out of the ^‘Second Rondo- form” by adding a 
 Recapitulation of the entire first Division. A very broad ex- 
 pansion of the Three -Part Song-form. Consists of a Prin- 
 cipal Theme in alternation with three Subordinate Themes , 
 the third one of 'which is similar to the first Subordinate 
 Theme, See Table. 
 
 (FIRST DIVISION.) 
 
 Prin Theme. (Three-Part Song-Form.) 
 
 Ex.34. 
 
 Part I. (Period) 
 
 Perf.Cad. 
 
 transitional passage. 
 
30 
 
 1st. Sudor d. T/ieme.{ Period with extended re- 
 
 production.) 
 
 Reproduction. 
 
 transitional 
 
 Codetta. 
 
 Dominant of C. 
 
Prin.Theme. (reduced to 2- Part Song- form.) 
 
 
 to Transition.) 
 
 SECOND DIVISION. 
 
 %rvl- Su6ord. Theme. (3- Part Song-Form.) 
 
 Part I. (Period; two 8-measure Phrases.) F major. 
 
 Part II. Period, *(4 measure -Phrases.) 
 
32 
 
 Part II. (IV). 
 
 Part III.(V). (Dissolvedlnto Re- 
 
33 
 
 RECAPITULATION OF 1st. DIVISION. 
 
 Part III. (dissolved into Transition.) 
 « 
 
 transitional passage. 
 
 1st. S lizard. Subject, (as before.) 
 
 Prin Theme. - . . - - - - Coda. 
 
 BEETHOVEN, Pianoforte Sonata Op. 2^, No. 3, Finale. 
 
 See also Beethoven Op. 2, No. 2, Finale; Op. 13, Finale; Op. 28, Fi- 
 nale; Rondo Op. 51, No. 2. 
 
 Ill 
 
34 
 
 THE SONATINE -ALLEGRO FORM. 
 
 Derived from the ^^Third Rondo-form” by a process of 
 contraction and concentration. Instead of the “Alternatioii’of a 
 Principal with various Subordinate Themes, is substituted the 
 'Union of Principal and one Subordinate Theme”on an equal 
 footing. A broad expansion of the Two-Part Song- form. 
 Closely related in design to the Second Rondo-form. Consists 
 of a Principal Theme, Transition, Subordinate. Theme (and Co 
 detta) as ^‘Exposition” followed ( after a brief Interlude or Re- 
 transition.) by the ^‘Recapitulation.” See Table. 
 
 EXPOSITION. 
 
 Introduction. 
 
 Prin. Theme, 
 
 Perf. 
 
Betransition. 
 
 RECAPITULATION. 
 
 Pr'in. Theme. ( Group of Phrases . ) ^ 
 
 Phr.l. 
 
 Phr.a 
 
 Cad. 
 
 MENDELSSOHN, “Andante cantabiIe”for Pianoforte. 
 
 See also -BEETHOVEN, Pianoforte Sonata Op. 10, No. 1, Adagio. 
 SCHUBEBTj Pianoforte Sonata No. 4, Op 12S, Andante. 
 
30 
 
 THE SONATA- ALLEGRO FORM. 
 
 Evolved out of the ^^Sonatine -Allegro form” by insert- 
 ing a more or less elaborate^^Episode” or Development’ be- 
 tween the Exposition and its Recapitulation. Abroad ex- 
 pansion of the Three -Part Song -form!’ Related in design 
 to the “Third Rondo-form.” See Table. 
 
 EXPOSITION. 
 
 f Prin.Thetne. (Double-Period.) 
 
 Ex.36. 
 
 Phrase 1. A minor. 
 
 Phr.3. 
 
37 
 
 ^TT T II Repetition of Codetta. - - - - extension. 
 
38 
 
 RECAPITULATION. 
 
 Phr. 4. (dissolved into Transition.) 
 
 Cad.yCodetta II. with its repetition. (No separate (Toda.) 
 
 MOZART, Pianoforte Sonata in A minor, 1st. movement. 
 
 See also: BEETHOVEN, Pianoforte Sonata Op. 14, Nq. 2, 1st. move- 
 ment. Op. 22, 1st. movement . \Symphony No. 5, 1st. movement . 
 
 
 
39 
 
 THE IRRPTGTJLAH DESIGNS. 
 
 The foregoing pages only contain examples of the Reg^ 
 xdar musical designs, arranged in progressive order, according 
 to their generally increasing dimensions , and along a line of 
 consecutive structural development. But a great number of 
 intermediate and irregular varieties of form exist which it is 
 needless to illustrate, inasmuch as they must necessarily ei- 
 ther admit of demonstration as modifications of these Reg- 
 ular designs, or will evade demonstration altogether, as lack- 
 ing those elements of logical coherency which constitute the 
 vital and only condition of^^Form”in musical composition. 
 To these latter comparatively ” designs belong: all 
 the Group -forms (of which one typical illustration is given in 
 Ex. 18); the Fantasie;the Potpourri; and, as a rule, all so-called 
 Tone -poems, and Program-music generally. On the other hand, 
 those Irregular designs which nevertheless admit of analysis 
 according to the fundamental principles of musical logic, may 
 be classified in the following four-fold manner. 
 
 1 . As representing an AUGMENTATION of the design. 
 (Examples: Sonatine- allegro with additional recurrence of Prin- 
 cipal Theme at the end. Sonata- allegro with two success- 
 ive Subordinate Themes. Any higher form with additional 
 Introduction, Interludes [e.g. the Tutti” of the Concerto] , or 
 independent Coda.) 
 
 2. As representing an ABBREVIATION of the design. (Ex- 
 amples: Sonata- allegi’o in which the Pr in .Theme is omitted after 
 the development; etc.) 
 
 3. As representing a DISLOCATION of the members of the de- 
 sign. (Examples : A Development after the Prin. Theme instead of 
 before it. Any alteration of the arrangement of members in the 
 Recapitulation.) 
 
 4 . As representing a MIXTURE of Rondo and Sonata -alle- 
 gro designs. (Examples: The 2nd. and 3rd. Rondo -form with a 
 Development instead of the 2nd. Subord.Theme. Sonata-allegro 
 design with new middle Theme instead of development.) 
 
40 
 
41 
 
 10 . 
 
 11 . 
 
 1 ». 
 
 13 . 
 
 14 . 
 
 Prin.Th.- ^^nbord.Th. 
 
 Prin.Th. 
 
 (Trans.) 
 
 1st. Division. N 
 
 ( Retrans.) 
 
 ^ First Rondo*form. 
 
 Pr.Th. 
 
 Pr.Th. S.Th.I. Pr.Th. 'S.Th. II. 
 
 II II II II 
 
 (Trans.) (Retrans.) (Trans.) (Retrans.) 
 
 ^Coda. II Second Rondo-form. 
 
 1st .Division. 
 
 Middle Div. Recapitulation. 
 
 Pr.Th. S.Th.I. ,Pr.Th>,"S;Th. II^,,Pr.Th. S.Th.I. Pr.Th. 
 
 Third 
 
 -Coda. II 
 
 form. 
 
 Exposition. \ / Recapitulation. 
 
 Pr.Th. S.Th. (CodeS\/Pr.Th. S.Th. ^Codet 
 f '■fa.P* 
 
 ( Retrans.) 
 
 „ Sonatine alle- 
 tiTp gro form. 
 
 Pr.Th. „S.Th. Codet- '« Development. X Pr.Th . .,S-Th. Codet- 
 
 Exposition. 
 
 Episode. 
 
 Recapitulation. allegro 
 form. 
 
 EMBRYO AND BASIS OF ALL MUSICAL FORM.. 
 
 The Phrase. 
 
 BI- PARTITE FORMS. 
 
 Period. Double-Period. Two-Part Song- form. Second Rondo- 
 form. Sonatine- allegro form. 
 
 TRI-PARTITE FORMS. 
 
 Three-Part Song-form . Song-form with Trio. First Roiido - 
 form. Third Rondo -form. Sonata- allegro form. 
 
 THE END. 
 
42 
 
 INDEX. 
 
 THE PHRASE. 5 
 
 Division of the Phrase into Melodic Members. 6 
 
 Location of the Cadence. 6 
 
 The Repeated Phrase 8 
 
 THE PERIOD ( or Double -Phrase): 
 
 Parallel construction 8 
 
 Opposite or Contrary construction 9 
 
 Contrasting construction. 9 
 
 The Period with repeated Consequent Phrase 10 
 
 The Period with Consequent -Group 10 
 
 The Group of Phrases. 11 
 
 The Repeated Period. 11 
 
 THE DOUBLE -PERIOD (or Quadruple -Phrase): 
 
 Parallel construction 1^ 
 
 Contrasting construction. 13 
 
 The Double-Period extended to 5 or more 
 
 Phrases. 13 
 
 The Codetta. 14 
 
43 
 
 THE BI- PARTITE OR TWO-PART SONG-FORM: 
 
 Primary .design 15 
 
 Two-Part Song- form with differentiated 
 
 Parts. 15 
 
 THE TRI-PARTITE OR THREE -PART SONG-FORM: 
 
 Incipient grade. 17 
 
 Incomplete (or abbreviated) jp 
 
 Ordinary Complete form, primary species. 18 
 
 Fully developed Tbree-Part Song -form 19 
 
 Repeated Parts. W 
 
 THE FIVE -PART SONG -FORM: 21 
 
 THE SONG-FORM WITH TRIO: 23 
 
 The Song-form with Two Trios. 23 
 
 THE FIRST RONDO -FORM; 24 
 
 THE SECOND RONDO -FORM: 26 
 
 THE THIRD RONDO-FORM: : 29 
 
 THE SONATINE - ALLEGRO FORM : 34 
 
 THE SONATA- ALLEGRO FORM: 36 
 
 THE IRREGULAR DESIGNS; 39 
 
 DIAGRAM-TABLE : 40 
 
 Embryo and Basis of all Musical form. 41 
 
 Bi-Partite forms. 41 
 
 Tri -Partite forms 41