Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
59
A74
190Ob
c.2
MUSI
NEW
EDITION, REVISED
FORM
AND ENLARGED.
IN MUSIC.
THE
FUGUE
..BACH
AND
J.
HUMFREY ANGER,
MUS. BAG., OXON.
Copyright, , 9oo.
LONDON
LTD.,
BERNERS STREET, W.
U.S.
AMERICA:
PHILADELPHIA.
OF TORONTO
OWARO JOHNSON
MU6JC LIBRARY
CONTENTS.
Page.
Chapter.
PREFACE
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
INTRODUCTION
,,
,,
12
continued
19
THE
THE
THE
THE
THE
THE
37
RONDO ELEMENT
IN
43
FORM
47
SONATA FORM
51
...
59
63
FUGUE
66
FUGAL ANALYSIS
73
XIII.
XIV.
XV.
34
FORM
IN
79
...
VOCAL Music
83
88
APPENDIX.
A.
B.
C.
GENERAL DEFINITIONS
103
D.
112
E.
EXAMINATION QUESTIONS
122
giving the
Form
93
the
Order of
101
PREFACE.
THE
of this
work
is
to place
Rhythm,
and
special purpose
its
evolution into
Form
same
little
in
Composition, in as
manner
time, in as concise a
as possible.
With
this object in
view
to the
do
so,
but
have devoted
it
is
not possible to
nor have
attempted
each
at least a chapter to
and
at
some
length,
and including
account
to "another
added a
obsolete,
It is
more
or
less
in vocal music.
PREFACE.
To
excellent treatises
the authors of
many
for I
for the
most
part,
present century
The
student about to
commence
mony and
fair
the study of
Form
knowledge of Har-
have by him
and Fugues
(the
He
should also
and
in dealing
is
as necessary to the
New
Testaments
is
Conservatory of Music
',
H. A.
FORM
IN MUSIC.
CHAPTER
I.
INTRODUCTION.
FORM may be
employed
in musical
it is
moulded.
its
birth.
FORM
IN MUSIC.
" The
Had
and
devoted their
Of
(1685-1750) and G.
F.
Handel (1685-1759),
in
whom
consummated.
Joseph Haydn (1732-1809), the founder of the
orchestra, appreciating the want of a form,
(other than the fugue), in which continuity of movement should be the characteristic feature, and following
a suggestion from the great Bach family, evolved that
which, from its frequent employment in the sonata,
modern
is
now
generally
"Lay
known
Scott.
FORM
IN MUSIC.
Brahms (1833-1897)
in his compositions generally.
alone, since the death of Beethoven, has intensified
the principles of form in music, by equalizing the
consistency of the composition throughout.
In the works of Richard Wagner (1813-1883), on
the other hand, form plays a somewhat subservient
The prototype of a school which has been
part.
called "the music of the future," he devoted his life
for the most part to the reform of the opera ; and
claiming that music was but the handmaiden of
poetry, he refused to accept or to employ the set
His treatment of the
forms of the older masters.
Leit-Motif (Leading Theme), is a noticeable feature
of his greater works, and these are justly held in the
In the matter of abstract music,
highest esteem.
however, he appears to realize the necessity of a
"
I am afraid," he indeed confesses,
regular form.
" that
my scores will be of little use to the composers
of instrumental music." *
Now
plays
it is
its
sentiment expressed in
primary importance, but
"
in instrumental
most important
Wagner," Dictionary
of
part.
it
also
somewhat modifies
Grove.
FORM
10
IN MUSIC.
the
very
The
composition.
In the course of the development of form in
composition, various arbitrary forms have from time
Some of these, such as the
to time been employed.
canon and fugue, have been in use since the early
days of the Belgian school, while others, especially
the mediaeval dance forms, have gradually become
more
or less obsolete.
The
may be summarized
1.
2.
as follows
3.
4.
5.
6.
7.
To
may be added
The Theme with variations.
The Fantasia, etc. (compositions
the above
definite form),
without any
and
now be our
FORM
IN MUSIC.
II
FORM
IN MUSIC.
CHAPTER
II.
The Normal
2.
The Binary
sentence
and
3.
The Ternary
The
period
is
in every case
divisible
into equal
is
FORM
IN MUSIC.
13
The phrase is sometimes divisible into equal portions called strains, f and the strain into equal portionscalled motives;! but these subdivisions of the musical
sentence are not arbitrary.
The
work
f
is
By some
FORM
14
IN MUSIC.
music.
(
^^
),
^^
composition.
Now
this
seen,
is
When
is
of equal
FORM
1.
2.
3.
4.
15
The
results
IN MUSIC.
of the
extension
in
what
is
commonly
called
and
five-bar
seven-bar rhythm,
itself is
The
follows
1.
Perfect
2.
Imperfect
chord.
3.
Deceptive
cadences
ending with
any
other
chord.
The
following
committed
to
memory
be
FORM
i5
IN MUSIC.
FIG.
(6)
J.
The cadences
in chants,
i.
(c)
JL
J.
J.
hymn-tunes,
etc.
The
name
FORM
IN MUSIC.
now
and examine
the
The
Sonatas,
tences
refer
to his
following
Beethoven
musical
sen-
2.
Sonata VIII
2,* Adagio cantabile in A flat,
measures i-8 3 regular Normal sentence.
Sonata V
2, Adagio molto in A flat, measures
3.
Sonata XIII
1.
sures 1-25
III
Sonata
4.
5.
irregular
Sonata II
Sonata
IV
irregular
flat,
mea-
sures i-i9
6.
2,
2
,
2,
1-24',
Ternary sentence.
FORM
i8
IN MUSIC.
MEASURES.
i.
2.
3-
45.
6.
7-
8.
9-
10.
ii.
12.
Sonata
FORM
IN MUSIC
CHAPTER
III.
continued.
THE
composition
FIG.
2.
The
single
irregular
seen in
measures.
FORM
20
IN MUSIC.
may be
regular,
and
is
practically the
rhythm of
hymn tune.
The number
expressed as follows
FIG.
3.
S.M. (6.6.8.6.)*
2
2
C.M.
(8.6.8.6.)
L.M.
(8.8.8.8.)*
-JL|| J_|.
These
number
J J jj.J_| JJ.
lines.
FORM
IN
MUSIC.
21
Hymn
in
FIG.
4.
ES
5F
'
l^
gg?
In this melody the first, second and fourth phrases
same (each concluding with a perfect cadence
are the
FORM
22
IN MUSIC.
To
assist the
character,
FIG.
5.
A Folk-song rhythm.
f-j-4J.^.a
There are here ten measures it is, therefore, an
normal sentence, or an extended period.
;
Irregular
The
each
FORM
IN MUSIC.
FIG.
JJO| J, J. Jf
6.
FIG.
7.
24
FORM
IN MUSIC.
FORM
Another
setting of the
IN MUSIC.
same rhythm
FIG.
Allegro.,
9.
:-
"-N
=1=
fcr
r
'
i
uj*~
FORM
26
may,
or
IN MUSIC.
be phrased thus
-*
strains,
thus
4
4
or thus
may be
sub-
FORM
MUSIC
IN
EXERCISE.
(i.)
4
(2.)
ijj|j.ji|
sij-6
)j-|jjjj{
|
(4.)
(S-)
(6.)
3
4
sy4
JJJ | J.J-
FORM
IN MUSIC.
(70
_J_JJJ_J_J_J_
j j j j
(8.)
JJ1-J-J-J-JT
(9).
(10.)
JjJJ
J,j^Uh[U3,
(").
JJJ.
UJfUCLU
FORM
IN MUSIC.
(12.)
JJ.
-J-Jj. J-J(13.)
4_*C=
*
4
ULJJJ3-JJ-J3J5
Jv3 -D-lJ-pU-0- J-J- J3 J5
FORM
.JO
IN MUSIC.
(16.)
5ICL-J3tj
FORM
IN MUSIC.
31
commence
in
to
the style
write
of the
old ballads.
notes, etc.
imitation, will
EXERCISE.
Compose melodies of the old ballad
character to the following verses.
Each verse should
be set to two or three different airs, as much
contrasted with one another as possible
:
(i).
Who
While the
Burns.
(2).
Oh
shall
we despond, while
the
pages
of time
Sargent.
(3).
That by and by
And
will
Tennyson.
(4).
As a magnet's control on
The steel it draws to it,
Is the charm of thy soul on
The thoughts that pursue
it.
Lytton.
FORM
32
IN MUSIC.
(5).
Thy
Clougti.
(6),
We see but
May
tapers,
(7).
Then
farewell
home
in the tide,
furious ride,
Scott.
(8).
Upon
1
a barren steep,
And
Eternity.
Lytton.
(9).
With
Fond, on thy
Thy
Burns.
(10).
is very glad,
leaps like a little child
That is just released from a weary task
With a spirit free and wild.
It
When
Bayley.
FORM
IN MUSIC.
33
(II).
ever blest,
To
Give
all
me
And
Smyth.
(12).
when happy
faces
FORM
34
IN MUSIC.
CHAPTER
IV.
place.
object of modulation
Too
to avoid
is
mono-
much
prominence to the
original key, on the one hand, and an ever restless
change of key, on the other, are the two evils of which
.the composer must ever beware.
tonality.
When
remembered
is
it
is
made up
FIG. ii.
FORM
IN MUSIC.
35
FIG. 12.
to the scale of
to
It
also
may
be said
similarly related to
that
there
are
five
keys
first
relation-
tion.
From
" Musical
Form," E. Prout-
FORM
36
All
IN MUSIC.
those
of
first
and
second
Transition
modulation.
and
is
It is
term almost
employed
synonymous with
an abrupt
in reference to
change of key.
short compositions modulation is naturally
In longer works
restricted to nearly related keys.
more distant keys are introduced, while in the
would appear to be
greatest masterpieces there
practically no limit to the modulations, provided they
Kere introduced in accordance with the laws of form.*
EXERCISES. Name the attendant keys of
major,
brief
In
minor,
Name
flat
flat
major,
Chopin's Nocturne in
major,
Opus
/?
FORM
IN MUSIC.
CHAPTER
37
V.
the
"
The terms
Part
FORM
IN MUSIC.
Part
I.
FORM IN MUSIC.
39
The
for Minuets,
songs
character.
Analysis of
movements
in
Scherzo in
Sonata
II, 3,
Part
/.
Beethoven
FORM
40
IN MUSIC.
Period (C)
of which
second
is
is
cadential repetition
I.
a
a
Q
FORM
III.
IN MUSIC.
in
flat,
Part
I.
41
Sonata XIII,
3.
FORM
42
II.
ternary form
Sonata
I,
2.
,,
IX,
2.
Adagio in F.
Allegretto in
3.
,,
XXV,
2.
Andante
E minor.
G minor.
3.
Largo in C.
Menuetto in B
I.
2.
Menuetto
3.
Vivace in G, to measure
3.
Adagio
2.
3.
4.
XX,
5.
XXV,
XXXI,
6.
in
>
Sonata IV,
XI,
XII,
1.
simple
movements
2.
in
2.
1.
III.
IN MUSIC.
in
in
flat.
flat
minor.
51*.
FORM
IN MUSIC.
CHAPTER
43
VI.
sition
in
proper
three
Part
I.
FORM
44
IN MUSIC.
key relationship.
When
compound
composer.
It is worthy of
that
after
etc.
FORM
IN MUSIC.
Analysis of
movements
45
in
Minuets
generally,
Part
I.
and
trios r
FORM
46
EXERCISES:
following
1
2.
Sonata IV,
,,
VI,
3.
,,
4.
,,
5.
,,
6.
Analyze
movements
3.
2.
X,
3.
XII, 3.
XIII, 2.
XV,
This movement
may
2.
IN MUSIC.
the
in ternary
construction
proper form
of
:
the
FORM
IN MUSIC.
CHAPTER
47
VII.
IN FORM.
FORM
48
The
IN MUSIC.
I.
FORM
IN MUSIC.
49
Analysis of
movements
in
1.
4.
upon
FORM
IN MUSIC.
say,
Analysis of a
movement
in
I.
in
D, Sonata
II, 2.
FORM
IN MUSIC.
CHAPTER
51
VIII.
is
now more
generally
The student must not confuse sonata form with the son
The sonata as a whole will be considered in due cou
itself.
it
se
Sonata form
is
FORM
52
IN MUSIC.
symphonies,
The
etc., it
was perfected.
FORM
IN MUSIC.
53
that key.
of a
is
contrasted
only second in
importance.
When the
subject
is
Beethoven, and occasionally more modern compohave employed for their second subject a key
other than the Dominant; e.g., in Sonatas XVI, i,
and XXI, i, the second subject appears in the key of
the Mediant major, a key of second relationship.
In minor movements the second subject is sometimes
heard in the Dominant minor; e.g., Sonatas I, 4,
sers,
and XIV,
The
3.
subject
The
codetta
;
it
feature
" Musical
commence
are
in
which the
free
FORM
54
1.
2.
3.
4.
5.
6.
The
The
The
The
The
The
Supertonic major,
Mediant minor,
Tonic minor,
minor-Mediant
IN MUSIC.
The
The
The
The
The
The
major.
relative major,
minor of relative key,
minor-seventh major,
Submediant major,
Submediant minor,
flattened Tonic
major.
"The
repetition
of
To
"
The
chief
1.
Melodic.
2.
Rhythmic.
Harmonic.
3.
4.
5.
6.
ornament
generally)."
" These
are, however," adds Sir John, "always more
or less combined ; for example, a melody is rarely
developed without frequent changes of key, or of
harmony ; also a rhythm is rarely developed without
involving a certain amount of melodic development,
and so on. The last of the above methods (6) is of
less artistic importance than the other five."
The free fantasia will of course conclude with the
dominant chord of the original key, and so prepare
* "
Composition."
(Novello's Primer).
FORM
IN MUSIC.
55
The
for
it
is
absent, immediately
allusion to the
original subject, as a finishing touch to the art ideal
of the form.
follows,
coda,
rarely
We
FORM
Analysis of
movement
IN MUSIC.
in
Allegro in
Part
/,
FORM
II.
Allegro molto in
Part
I.
IN MUSIC.
flat
57
i.
FORM
58
IN MUSIC.
the following
XI-i.
II.
in
VII-i
VIII-i
XVI-i.
first
move-
III, VI,
XV,
FORM
IN MUSIC.
CHAPTER
59
IX.
Sonata form
is
employed
for slow
movements-
it is
treated.
As a
customary
to
this portion a
new subject in a nearly related key, as in the ternary
minor,
proper form, e.g^ the Largo e mesto in
Another variation
is
to substitute for
VII,
2.
6o
FORM
IN MUSIC.
The
following table
will
FORM
6l
IN MUSIC.
Analysis of a
movement
in
Part
Sub.
(b}
Bridge, I9 -23 ,
Sub. II,23-4i x ,
I-IQ
2
(c)
Sub.
I,
Part III.
//.
te)Sub. 1,113-130!.
and a new
subject,
68-112.
-5o
2
5o -68',
(d) Bridge, 4i
(*)
Part
1.
(a)
I,
flat
153-165,
Sub. I, i65 2 -i83 J ,
Coda, 183 to end.
(/) Bridge,
(k)
(/)
!
the
first
(e)
subject.
This
is
first
subject.
is
() The
first
subject
The
first
bridge
(h)
of
flat.
is
is
now
varied.
extended and
now
FORM
62
IN
MUSIC
(k)
(/)
character,
treatment
figure of a cadential
initial figure
of the
first
EXERCISES ON THE
subject.
following
movements:
FORM
IN MUSIC.
CHAPTER
63
X.
THE FANTASIA,
AND THE AIR WITH VARIATIONS.
UNDER
tions
1.
The
Capriccio,
whimsical character
composition of a sprightly,
2. The
Impromptu, a composition having an
extemporaneous character
3. The Intermezzo or Interlude, a composition for
and
performance between the acts of a drama
4. The Rhapsody, a composition consisting of an
unconnected series of melodies
;
FORM
64
IN MUSIC.
Beethoven has
his
VARIATIONS.
composition.
"
"
Bach's
(Vol.
Passacaglia in
Peters' Ed.).
I.,
The
following
which an
1.
air
Ornamental
important
ways
in
notes^
the most
varied
are
may be
elaborating the
melody with
and other
auxiliary notes.
Brilliant passages, either scale or arpeggio
in
FORM
IN MUSIC.
Varied accompaniments
3.
65
either with
new
figures
Any
9.
As a
finale,
composer may
points
modes of
of
variation.
theme.
The
air
movements
cyclic
with variations
often under the
for
compositions
is
employed
for
single
name
the
of fantasia, and in
second or last
first,
movements.
WITH VARIATIONS.
I.
2.
Sonata,
,,
3.
,,
4.
,,
5.
,,
movements
XIV,
XIX,
XXII,
XXIV,
XXVI,
I,
2,
2,
2,
2,
in C sharp minor.
Allegro in G.
Adagio
Allegretto in F.
FORM
66
IN MUSIC.
CHAPTER XL
THE FUGUE.
As an
it
was originally
called.
Imitation
is
exactly
is
repeated,
and may be
important being
FORM
Imitation
Imitation
Imitation
Imitation
by
by
by
by
IN MUSIC.
67
augmentation,
diminution,
contrary motion,
contrary motion with augmentation or
diminution,
Imitation with reversed accent (per arsin et thesin),
Imitation in retrograde motion (per recte et retro),
also called cancrizans,
like a crab.
/.*.,
walking backwards
The
FORM
68
IN MUSIC.
were
It
more
in existence.
was
left
to G. F.
Handel and
J.
S.
Bach (though
its
perfection.
"
theme or phrase
called the
subject."
and
it should, above
treatment.
all,
be suitable
for contrapuntal
suit the
sometimes, how-
A tonal
answer
is
FORM
IN MUSIC.
69
the answer
counterpoint, so that
it
(or answer).
second countersubject
is
Occasionally a
introduced forming triple
ment.
VI.
The
pedal
is
Analytically
basis,
The
an instrumental fugue.
called a lead.
in
is
FORM
70
IN
MUSIC
ended.
and fugue
An
Fugue
in
the
FORM
2.
3.
4.
5.
6.
7.
IN MUSIC.
modern
fugues.
The
FIG. 13.
order of entry of the
subject and answer in the exposition of a four part fugue may
be seen from the following diagram, in which the letters S, A,
T, B denote the soprano, alto,
tenor and bass voices
The subject may be given out
by any voice, but the answer in
a strict fugue must be taken up
by that voice next in the circle
(either before or after), the remaining voices entering
For example, if the first lead
successively in rotation.
be in the soprano, then the next lead must be in either
the alto or the bass ; and the complete order of entry
will be in the one case, S,A,T,B, and in the other,
:
S,B,T,A.
No
but
it is
or bass.
Bach occasionally
*
The subtonic implies the note below the tonic, according to the
key signature this note cannot well be called a leading note, neither
can it conveniently be called the flattened leading note.
;
FORM
72
IN MUSIC.
All
employs them, <?.., Vol. I, Nos. i, 12 and 14.
the expositions in Vol. II are regular.
This will be
seen by referring to the table of leads in Appendix B.
The
is,
ployed
and
the
opera
"The Magic
movement
combined forms
the last
in
to
movement
free.
In the
latter
case (also
FORM
IN MUSIC.
CHAPTER
73
XII.
FUGAL ANALYSIS
IT has become customary in analyzing the construction of a fugue to
employ a
special chart, in
is
which
represented.
may be
By
presented
The
its
third.
or tonal
accompanying
the Answer be
and then examine the counterpoint
the answer, and see if the same
FORM
74
will
be
the
IN MUSIC.
Next
counter-subject.
examine
the
When
by each voice
subject,
section.
motion.
in
development, and
any such devices as
the
stretto, or
former episodes
Next
will
be employed.
are
generally
employed.
I,
No.
i.
J. S.
Bach
ma. for
FORM
IN MUSIC.
75
Fig. 14.
1234
18
19
20
21
22
23
10
11
12
13
5
A
T
B
14
15
16
17
24
25
26
27
Subject.
REMARKS.
answer, subject.
major,
major,
major,
in
minor,
is
major,
is
minor,
major,
G major.
constructed on a
FORM
76
IN MUSIC.
Fugue
in
minor, for
Fig- 151
10
11
12 13 14
15
16 17
B
18 19 20 21 22 23 24 25 26 27 28 29 30 31
------
Subject.
1st Counter-subject.
2nd Counter-subject.
REMARKS.
The subject
The answer
is
is
tonal.
The
last
The
two leads
FORM
IN MUSIC.
77
III. Analysis
of the Fugue in
by table
major, for three voices, Vol. I, No. 3
:
MEASURES.
and
sharp
FORM
78
IN MUSIC.
almost continuously.
The principal keys employed
development
sharp minor,
major,
FORM
IN MUSIC.
CHAPTER
79
XIII.
The
cyclic forms
and
Oratorio.
may be
regarded as a development
of the principles of ternary proper form.
For, whereas
in the latter there are three distinct parts, the second
being contrasted with the first and third, both in
style of composition, and in key relationship, etc., so,
Here there
indeed, is it with the typical cyclic form.
are three distinct movements, the first and last being
usually of a bright Allegro character, both in the
same key, while the second is usually an Andante
(or other slow) movement of a tranquil character and
in a nearly related key.
FORM
So
IN MUSIC.
and
movement (when there are four moveusually either a minuet and trio, or a scherzo
and trio, written, as was stated in Chapter V, in
The scherzo, or a movement
ternary proper form.
The
ments)
third
is
XII,
XIII,
XVIII,
XXIX
employed
of the
movement.
first
The
finale, as
FORM
IN MUSIC.
81
movement in the
XIV, XXV, and
following sonatas
XXX;
and even
in the
following
four-movement sonatas
Nos.
I,
Wood- Wind.
Brass.
Strings.
Oboes.
4 Horns.
2 Trumpets.
2nd
Clarinets.
3 Trombones.
Violas.
Flutes.
2 Bassoons.
ist Violins.
Violins.
Violoncellos.
Double Basses.
Percussion.
2 Kettle- Drums.
FORM
82
The concerto
is
IN MUSIC.
or
for three
quartets,
quintets,
viola,
and
etc.,
violoncello.
Reference may here be made to the Organ Sonatas by MenThese six noble compositions, though termed sonatas
delssohn.
by the composer himself, do not in any case contain a movement
form.
in
sonata
They may be said to bear the same
strictly
relation to the orthodox cyclic form that the fantasia bears to
the orthodox single forms, and hence may be termed irregular
cyclic forms.
Another cyclic composition of an even freer character is the
Organ Symphony, an invention of C. M. Widor's, the celebrated
French organist.
FORM
IN MUSIC.
CHAPTER
#3
XIV.
ANCIENT FORMS
MORE OR
FORM
LESS OBSOLETE.
may be
said
to
to these alone is traceable that symmetry of construction (in even the shortest compositions of the
Part
Sentence
I,
II,
(as
Sentence
tonic.
dominant.
When employed
was
Part 11.
I.
now)
for
,,
I,
dominant.
II, tonic.
FORM
84
IN MUSIC.
An
Gigue.
In addition to the above the following were also
popular old dances: the Bourree, Brawl, Cebell,
Chaconne, Gavotte, Hornpipe, Minuet, Passacaglia,
Passepied, Pavan, Polonaise. Rigadoon, Siciliano.
Brief definitions of these and other old dances
under General Definitions, Appendix C.
will
be found
FORM
IN MUSIC.
85
come
The word
is
probably derived from the
sound, though some authorities
would derive it from sonetto, a sonnet.
The early sonata seems to have had no very definite
form as a whole ; each composer that employed the
term, applied it to a series of short movements of
Italian
sonata
sonare,
to
diverse character.
The weak feature in
tonality, for every
the
suite
movement was
was monotonous
in the
same
two
key.
made
"
(for
and a
were
Sonata
da
Chiesa
(Church Sonata)
Op. i. No. i.
Sonata da Camera
(Chamber Sonata)
Op.
2.
No.
i.
Grave.
Largo.
Allegro.
Allegro.
Adagio.
Corrente.
Gavotta.
Allegro.
much
FORM
86
IN MUSIC.
modern
form,
ment of form.
FORM
IN MUSIC.
87
The
construction
modern
garb.
FORM
88
IN MUSIC.
CHAPTER
FORM
IN
XV.
VOCAL MUSIC.
is,
finally
FORM
The
IN MUSIC.
89
may be
At
mation.
first,
two
distinct
movements.
The word
Glee, signifying
harmony,
numbers
may be
No.
'
'
'
'
'
'
'
FORM
90
IN MUSIC.
et
Vanae Curae" of the former are not only conupon the principles of sonata form, but an
structed
orchestral
accompaniment of a
free character
is
also
added.
sung
by
It
J. S.
Bach.
particular form.
is, to all intents
FORM
IN MUSIC.
91
In
this
connection mention
may be made
of the
Communion
Service,
the
Magnificat
and
Nunc
Dimittis.
Finally, the highest form of vocal music is to be
found in the Oratorio and the Opera. In addition to
the definition given above of the Cantata, these two
great works each require an overture, and they also
instrumental numbers,
dramatis persona are introduced.
Sacred and secular music have ever progressed
by side, the hymn-tune has its counterpart in
ballad, the motet in the madrigal, the anthem in
part-song, the sacred in the secular cantata,
and
further,
form employed
for choral
side
the
the
and
movements of
FORM
92
proper form
is
IN MUSIC.
is
are
judiciously
"Hallelujah" chorus
Frederick
HandeL
in
APPENDIX
A.
BEETHOVEN'S SONATAS.
TABLE GIVING THE FORM EMPLOYED FOR EACH
MOVEMENT.
Movement.
FORM IN MUSIC.
94
Movement.
FORM
Movement.
No.
I.
9, in
IN MUSIC.
Key.
2.
Allegro.
Allegretto and
3.
Maggiore.
Allegro commodo.
i.
95
Form.
FORM
96
Movement.
No.
13,
in
Form.
Key.
flat,
Fantasia."
i.
IN MUSIC.
Op.
27,
No.
i.
"Quasi una
FORM
Movement.
IN MUSIC,
97
FORM
98
Movement.
No.
22, in F,
Tempo
2.
Allegretto.
No.
23, in
Op,
assai.
I.
Allegro
Modified Rondo.
major.
2
3.
54,
F
F
Form.
Key.
d'un
Menuetto.
1.
IN MUSIC
Fantasia.
"
Appassionata."
FORM
Movement.
IN MUSIC.
FORM
Movement.
No.
I.
31, in
Moderate
IN MUSIC.
Key
flat,
cantabile.
Op. no.
Form
101
APPENDIX
B.
BACH'S FUGUES.
TABLE SHOWING THE ORDER OF LEADS
EACH EXPOSITION.
Volume
No.
I.
IN
102
FORM
IN MUSIC.
BACH'S FUGUES.
continued.
II.
IN
io 3
APPENDIX
C.
GENERAL DEFINITIONS.
Accent.
A stress laid
upon
the measure
is
called syncopation.
Accompaniment.
suite.
Aria.
(See Song.
Aria Parlante.
told in
Ballet.
words.
(2)
Venetian gondoliers.
FORM
104
l,
An
(Braule).
IN MUSIC.
common
time,
of a
gay character.
Brindisi. A melody in triple time of a florid character.
Burden. The chorus or refrain of a song.
Burletta. A comic opera or farce, interspersed with songs.
CaehUCa.
Cadence,
(See Bolero.)
The final harmonic progression (the
(Close).
chords) of a phrase.
brilliant passage, of no definite form, introCadenza.
duced into the concerto to exhibit the technical ability of the
two
last
performer.
An
Calata.
Italian
dance,
in
duple time,
of
lively
character.
Canto Fermo.
Canzona. (i)
(2)
An
obsolete instrumental
Catch.
Cavata
Chamber
GENERAL DEFINITIONS.
105
position.
Coloratura.
runs,
trills, etc.
An
Comie OpePa.
humorous
description.
Concerto.
composition in (regular) cyclic form for one
especial instrument, with orchestral accompaniment.
short concerto.
Coneertstuek (Concert-piece).
Courante. An old dance in triple time, of a running
movements.
Dance Music.
Dithyramb.
Divertimento.
the suite.
Division.
or
instruments upon a
simple theme.
instruments, or for
Dump.
And
old
English dance,
in
common
time,
of a
dubious character.
EcOSSaise.
style.
lively dance, in
A digression,
FORM
106
IN MUSIC.
Exposition.
The
in a fugue.
A lively
Fandango.
Spanish dance in
Fanfare.
flourish
of trumpets.
short
composition
Fantasia.
fancy.
Farandola.
in
composition
which form
is
subservient to
South of France.
Figure. A group of notes a motive.
Finale. The last movement in cyclic forms ; the last part
of an act of an opera.
Folia. A Spanish dance similar to the Fandango.
ForlanO. A Venetian dance, in 6-8 time of a lively char;
acter.
Form.
The
plan
of
construction
employed
in
musical
composition.
sonata form.
according to
theme or phrase
called the
subject."
on a
Hailing.
GENERAL DEFINITIONS.
Hornpipe. A dance
so named from
rhythm
horn at
107
either end.
Hymn. A short
Idyll.
Jig .
See Gigue.
triple time,
and of a
graceful character.
Lavolta.
Lead. A
An
three or
more
Maggot,
An
it
was
Elizabethan period.
old instrumental composition of a whimsical
brought to perfection
in the
national,
quick,
religious,
slow,
FORM
108
An
Minuet.
IN MUSIC.
old
The Minuet
character.
Sonata.
Modulation.- Change
An
Monferina.
of key.
Italian dance,
in
6-8 time,
of a rustic,
cheerful character.
Monodrama.
A
popular in
Moorish
England.
Morisea.
Motet.
A sacred
Madrigal.
A subdivision
Motive.
of one measure.
Movement.
portion of a composition in
complete
with
An
Murky.
cyclic form,
style of a ground.
Musette.
unchanging
bagpipe.
Naehspiel,
postlude.
National MUSIC.
style of music, peculiar to, or characteristic of, a particular nation.
Suite.
Octet.
A composition
Overture.
An
sufferings
Christ.
GENERAL DEFINITIONS.
109
phrases.
origin.
together.
A
A
QllOdlibet, ("
position of a free,
Recitative.
Redowak.
What you
and
please").
An
indefinite little
com-
A musical declamation.
A Bohemian dance, in
triple time, of
a slow
character.
Rlcercata.
A sort
Rigadoon.
An
of fantasia, or toccata.
old French dance, in duple time, of a gay
character.
FORM
10
Rondo.
subject
is
IN MUSIC.
An
heard at
Round.
at the unison.
Roundelay.SaltarellO.
very animal ed
played.
Septet.
character.
Sketch,
(Skizze).
subject.
Sonata.
instrument.
Sonatina.
little
development.
two
violins, viola
Strophe.
A
and
Ill
portion (verse) of a
When
is
poem intended
set to the
to be sung.
it is called
same music
Study,
(Etude).
an important composition
a phrase only.
"set of
Suite, (Suite de pieces).
chiefly (or wholly) of old dance tunes.
Symphony.
pieces,"
consisting
form
for the
orchestra.
Tyrolienne.
Variations.
dancing.
theme
is
Villanella. An Italian
singing, of a lively character,
An
Voluntary.
a church service.
VorspieL
Waltz. A
A prelude.
Well-tempered Clavier,
(Wohltemperirtes Clavier).
The
112
APPENDIX
D.
ANGLICAN CHANTS
THE GRAND
Ci
(SINGLE).
ANGLICAN CHANTS.
ANGLICAN CHANTS
(DOUBLE).
HENRY LAWES,
1
1595-1662.
rr r
=t
'
-g-
J- J.
-$?-
^H
WM. CROTCH,
RECTE ET RETRO.
J
IS
'
"T IT
1775-1847.
HYMN TUNES.
114
HYMN
S.
BRIDE.
TUNES.
S.M.
S.
HOWARD,
TJT"
sbat
^ S
@rfr--
1710-82.
"II
rJ
^%-
-F
P?
I
" to
SBrfc:
S.
^
I
H^&g-
CM.
ANN,
"MR. DENBV."
rJ
Tj
r
i
fe^
it
-Ji
"T:
-j-
"
j j J
1687.
HYMN TUNES.
g<r*-s
-UL
_j
" J
<l
s ^B*U
^
,J
'2
n g
r r
P P
i
JUJ-
OLD HUNDREDTH.
L.M.
GOUDIMEL?
C.
1510-1572.
_i
_C2_
gj
r r r
i
J.
g~
~j
<5>
-j
r r r r
J
n6
HYMN
TUNES.
mm
-*
CANON.
L.M.
-p
CD
T. TALLIS, 1520-85.
-j
c?
u:mzri
j^-^-H^
ftg:|4-
--+3
t^=
'
^j.-H-trJ^T^d^^!
'
?
:
HZ
-P
HYMN
L.M.
MELCOMBE.
-Z-fo-
TUNES.
117
WEBBE,
S.
1740-1816.
&==&
& &
& a
rj
-I
'
gj
TTTTJ
;*=&=*>
&&?=
-H
p
J
CHORALE,
H H
J J
^
J-. rj
q-
*-grt
TOHANN CRUGER,
^^
J_
r!
Harmonized by Mendelssohn.
1598-1662.
US
HYMN
O*
TUNES.
I
__)_
I22=:rcr=:
^
*^
i
P m
FTrr
JL
^^4
Ff
1
tn
.J.
JJ*
=S3=
TT
j. j.
J^J.
&
-e^-
M
1
rf
BALLAD MELODIES.
119
BALLAD MELODIES.
(TRADITIONAL.)
THE
BAILIFF'S
There was
DAUGHTER OF ISLINGTON.
a youth, and a
well
be - lov- ed youth,
And
=t
he
"-E!k_
He
- liff' s
BALLAD MELODIES.
120
THE VICAR OF
**
In
J
*
EJ
BRAY.
i -j
=3-ji
* *
Ti
harm meant,
zea
lous
r^t^H
-l-^-j--iH
When loy-al
ty
I,
^^
so
-fer-ment;To
got pre
teach
my
no
And
il
flock
MI
it
nev
er miss'd,
point
ed,
And
^S
curs'd are they that
noint
And
ed.
this
do re
is
sist
law,
Or touch
the Lord's a
will main-tain,
my
dy
ing
day,
?=t
King may
Sir,
That what
so
ev
qs^s;
reign
$*+=*+
til
Un
Still
I'll
Bray,
Sir.
er
BALLAD MELODIES.
DRINK TO ME ONLY.
on
to
will
=tt-J
-
me
Drink
a drink di
ask
And
cup
The
wine.
ly
with thine
Or
leave a
thirst that
vine,
I'll
from the
not
ask
soul doth
But might
for
rise,
of
nec
tar
with-
kiss
v
ffl>
And
eyes
JZ3:
the
in
sip,
for
thine.
Doth
Love's
APPENDIX
E.
EXAMINATION QUESTIONS.
1.
Explain the meaning of
musical composition.
Form
as
applied to
an important
part
in
music
"The
art."
5.
Name
centuries, to
the
composers
whom we
advancement of Form.
6. Can it be said that the principles of Form have
been advanced since the death of Beethoven ?
7. What part does Form
play in the school of
composition inaugurated by Richard Wagner?
8. For what reason is Form a more important factor
in instrumental, than in vocal music?
9. Name the arbitrary Forms employed in music
during the i8th and i9th centuries.
sentence.
12.
How
EXAMINATION QUESTIONS.
13.
Briefly
describe the
period,
12$
phrase, the
the
4~
23.
it is
Rhythm, and
state
whether
EXAMINATION QUESTIONS.
124
24. Write a simple melody, exemplifying the construction of a regular musical Sentence, to the following
lines
Name
voices.
25. Compose an irregular binary (or two period)
melodic sentence.
26. Explain the meaning of key-relationship; and
name
27.
What
is
second movement
What
is
Form
Forms.
32. For what compositions are the simple binary
and ternary Forms chiefly employed ?
33. Analyse the construction of the Scherzo in A flat
^without the Trio) in Sonata No. XII, Beethoven.
34. Write out a tabulated sketch of the ternary
proper Form.
35. Give some account of the ternary proper Form.
Name the movement in cyclic compositions which is
.always written in this Form.
EXAMINATION QUESTIONS.
36.
Form
is
125
chiefly
Can
39.
What form
is
employed by modern
usually
composers
Compare
40.
music
simple rondo.
Of
all
is
the
which
the
may commence.
Enumerate the various methods available
developing a theme in the free fantasia.
according to Ouseley,
50.
51.
How
is
the
52.
besides the
first
for
is
movements of
EXAMINATION QUESTIONS.
126
FIRST MOVEMENT.
How
do you account
and the
(d) Can you find any exceptions to the accepted rules of sonata
form in the recapitulation ?
SECOND MOVEMENT.
Write a brief analysis of the construction of
and name the form in which it is written.
(e)
this
movement,
THIRD MOVEMENT.
(/) Is this
(g)
rondo
grand form
of double bars?
In what key is the middle portion for the most part
written ? How does this part conclude ?
(j) At what measure (counting from the end) does the coda
(A)
(*)
commence ?
employed ?
movements ?
chiefly
of the other
Is
it
EXAMINATION QUESTIONS.
127
Can
strictly
68.
Enumerate the
69.
Fugue.
70. Name the special features of interest appertaining to the Fugue.
71. Explain the meaning of Answer, and state when
a tonal answer
is
usually required.
four-part fugue.
Mention examples of
76.
irregular expositions
in
Bach's Fugues.
77.
fugue
give
Draw, on a
employed.
EXAMINATION QUESTIONS.
28
Which of
79.
Beethoven,
by
the great
each
of
first
to
in
is
partly
of
constructed
measures
8 1.
in
fugato.
82. Compare the
J. S.
features are to
be found
a tonal answer,
(a)
an irregular exposition,
and
(g)
no episodes.
Fugue
83.
(c)
in
minor, Vol.
I,
No.
tempered Clavier.
Is the
(a)
(c)
(d)
begin
answer
Is there
(b)
real or tonal ?
a counter-subject?
in
flat
instruments of
87. Enumerate and classify the
which the orchestra consisted in Beethoven's day.
88. Describe the ancient Binary Form, and trace
its
EXAMINATION QUESTIONS.
89. Describe the Suite-de-Pieces.
ments
form
this
29
Of what move-
usually consist?
important form did the Suite give place ?
did
To what
now employed
in music ?
Mention any instances of an instrumental form
(other than the fugue) being employed for a choral
movement.
99. Show that sacred and secular music have been
98.
HARMONY
Doc., Oxon.
identity of
a chord depends."
The
student
is
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII-XV.
XVI-XX.
XXI-XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
Sequences.
Writing in Four Parts.
Accents, Rhythm, Cadences, and Elementary
Form.
Chords from the Minor Scale.
Harmonization of Diatonic Melodies.
Suspensions.
Passing Notes.
Inversions.
LONDON
BERNERS STREET, W.
CHARLES W. PEARCE,
Mus.
Bound
HIS
the
information
be found most valuable for those who may be preone of the various p?,per-work examinations in
rudimentary musical knowledge, or who may be desirous of
being able to answer fluently the viva voce questions put by
the examiners in practical subjects, such as pianoforte and
It
will
paring for
how much
and
makes
itself felt.
LONDON
BERNERS STREET, W.
LIMITED,
Theoretical
Elementary Ear-Training
Rudiments of Musical Knowledge
Rudiments of Music for Choirs and Schools
Manual Of Sight Singing, Part I. Paper Cover, Is., Cloth,
.
Fred. G. Shinn
c. W. Pearce
Is
Harvey Lohr
6d. F.J. Sawyer
Is. 4d., in
Cloth, 2s.