THE VARIOUS STYLES OF WRITING.

103

Ped^ Ptd^ P4d.Ji PedJ

""u Mj %i ^
Ped.J P4d.^ Ped.J
Ped. J /V"/..
 MUSIC COMPOSITION.
I04

In the above there

quotation,
apparentlybut two voice parts,but
are

the chords are well broughtout and die quotation is not contrapuntal.
The broken chord in the lefthand does duty for several voices and the
harmonic effectis the same as thoughseveral voices were heard simul-
taneously.

The broken chord in stylepermitsthe

arpeggio use of many voices:

Ex.
173.

Chopin's Etude,Op. lo, No. ii, from which the above is taken,
quotation
is written throughout in arpeggio style.
Without breakinga chord,as many as twelve voices may appear, in
which case one in each hand playstwo
finger tones:

Ex.
174.

loco.

may be added or discontinued at the

Voice parts upon the pianoforte
pleasureof the composer and melodies and voice progressionsmay be
in
multiplied octaves. Parallel octaves therefore abound in pianoforte
literature.

The Stiong Quartet.

Many and rich resources are found in composingfor the StringQuartet*

Greater scope as to voice compass and technicalitiesis offered in this
styleof writing in the vocal style.Chords are possible
than is possible
on each of the instruments of the quartetand the composition
istherefore
not limited to four-part writing.Varied effects may be producedhy
introducing harmonics
muted strings,
fizskaio, and ponHceUo.
 THE VARIOUS STYLES OF WRITING.
lOS

Two violins(first
and second),viola and 'cello,constitute the string
quartet. The firstviolin corresponds
to the sc^rano, the second violin
to the alto,the viola to the tenor and the 'celloto the bass.

The Violin.

The four strings

of the violin are tuned to gf ^ ~Y df-^ "

)"

a ( cb ""^ J ^^^ ^ f^\ J. The compass of the instrument

follows:

0 .

Ex.
176.
^=t

Several tones higherthan the above may be written for virtuosi. By

the of
harmonics,tones higherthan indicated may
use be produced.
A tone producedupon an open stringis more sonorous than a tone
which requires
fingering. Sharp keys are, therefore, more frequently
used incomposingfor strings than flat keys. Open tones are often
^
designated
by an over the note.
Chords'*'of two, three,and four tones are possible
upon the violin.
Chords of two tones may be emplo3redpianoor forkfbut chords of three
or four tones for a singleperformershould only be employed in forte

passages. In writingchords of three or four tones, not over two tones

should be sustained.

not
.O-

IBI

All chords below the d are, of course, impossible

string upon a single
instrument unless the tuningof the stringsis lowered or the chord
playedarpeggioor tremoh. Where such chords are written the tones
of which are to be sounded simultaneously,
two or more performersto
the part are necessary and the chords are marked divisi.

* When wridng chords for dM ttrliif

iattmiiieBti iIm ttadmrt tlMMld have tmblM of phjpmblcdwrdi
reference. Such tables may
for readjr be foand faimost treatisesapoa iastrameatattOB.
 io6 MUSIC COMPOSITION.

The unison may be employed effectively upon d, a and e, in which

case, one of the tones will be produced upon an open string:

1V
""1^1 ^' I

Other imisons offer technical difficulties.

Arpeggi,tremolos,rapid passages, and all musical ornaments are

effective upon the violin.

The Viola.

The four of the viola

strings are tuned to c f

d f IHI ^
jiand a f |^[ j.The practical
compass of the instru-
ment

follows:

Ex.
1 78. f-4"

The low and middle of the viola are notated in the C-def
registers upon
the third line and the upper registerin the G-clef.
All that has been said of the different effects upon the violin as well
as of the techniqueof writingfor this instrument is applicable
to the
viola.

The 'Cello (Violoncello).

The four of the 'celloare

strings tuned to c ( "9* )"S ( 9' J

d (9 "g
j,and a f "9* J. The lower and middle registers
are

notated in the F-clef; the middle registeris also notated in the C-def
on any staff degreebut usually on the fourth line;the upper register
is notated in the C-clef or the G-clef .
The notation in the G-clef at the
commencement or when the F-clef indicates
following tones an octave

the C-clef the notation shows

higherthan theysoimd, but when following
the actual sounds. compass of the instrument follows:
The practical

Ex. St
-^-
m
179.
^
 BINARY AND TERNARY FORMS.
107

That that has been said of the violin is true of the 'cellowith the
modification that the 'cellodoes not lend itselfto as rapidpassages as

the violin.
Duplication of Factors.

Duplication or omission of chord factors cannot be boimd by rules.

In orchestral composition where many duplications are necessary, effec-
tive
resultsdependupon the experience and ingenuity of the composer as
well as upon the character of the composition at hand. Some orchestral
compositions are adapted to three sectional arrangements, in which case
a four or more voice chord for strings is duplicated by wood wind and
brass. Such an arrangement need not, necessarily, preponderatein
orchestral composition, and, in fact,the so-called orchestral colorings
are obtained by deviations from the above arrangement.
A remarkable exampleof is to be found in the last measure
duplication
of Saint-Saens' ItUroductian and Rondo for violin and
Capriccioso chestra.
or-

Here,the chord contains fifteenroots,one third,

and two fifths.
the
Occasionally technical
possibilitiesof an instrument influence the
manner and number of duplications,but artisticchord effects should
not be sacrificedto techniquesof an instrument.

Exercises, Group 15.

Harmonize accordingto directions,
Exercises 1-3 in Appendix B,
page'147. The work in AppendixA should now be commenced.

CHAPTER XVI.

BINARY AND TERNARY FORMS.

The simplesttwo-part compositionconsists of two balancingperiods.

Tonal is
variety obtained by modulation as is shown in the following
diagram:
Diagram 6.

i A ist Fteriod (Antecedent). ||B 2nd Period (Consequent). |

IZZZZ8 or 16 measures, if rggMlar.~ I S or 16 measures, if regular. |[
May not repeat. I May not ri
or may or may repeat.

I Key of C modulatingto G, F, a or e, etc. || Modulatingback to and endingin C. I

The simplestthree-part compositionconsists of three divisions,

the
second part being a contrast after statement and the third beinga
restatement after contrast. The contrast is obtained by the appearance
io8 MUSIC COMPOSITION.

of a new motive,and tonal variety

theme or is obtained by the appear-
ance
of the second part in a new key. Tonal is
unity preservedby
the reappearance of the "home key" at restatement. The following
diagramillustrates:
Diagram 7.

ZI8 or 16 measures, ifregu]ar.Ilt8

or 16 measures, if regular.lJlS
or 16 measures, if regular.xl
May or may not repeat.ZljL_.Mayor may not repeat.ZztzMay or may not repeat. LI
Theme I in the key of Theme II in a contrasting Recurrence of Theme I in the
the signature.Transitions key. Transitions may be key.
original Sometimes
may be made. made. verbatim,sometimes varied.

Most dance music from the old dance of the Classical Suite to our

modem in either two-part or three-part

waltzes are form.
It will be remembered that in the division of a period,we had thesis
and antithesis,or, in other words, an antecedent division followed by
a consequent division. Two-part form often presents similar construc-
tion
"
an antecedent
periodfollowed by a consequent period.
In two-part and three-part form, transition, as well as modulation,

may occur, but too much transitionand transitionto remote keys (especi-
ally
in binaryform)Is likely to obscure the main in
keys short or simple
compositions.
These two forms (binary and ternary) serve as the basis for the more

elaborate forms. Frequently a composition as a whole shows binary

or ternaryform also a well defined part of the composition shows one of
these forms. (SeeBach, Gavotte,Ex. 183.)
The classical and modem suites should be carefully studied and
analyzed, also the waltzes,marches,etc.,of modem composers. Many
of the songs of Schubert and Schumann are valuable examplesof these
forms.
The quotationsshow two-part
following and three-part
compositions:
(Binary) Gavotte, Corelli.
A xst Period.

'\"
|ii r ' ,^^
:i '^1^ I
Ex.
180.

kw
^u
s
t
1
^
A
InF-
 BINARY AND TERNARY FORMS.
109

InC- In F-

^^

-InC-

B 2nd Period.

UL
m
"A

^
f 1 "

r
"

E="=" ^^ t V

m I
"

""*-
Ind- In F-

^^ 11
3=3:
t
^^
I r
no
MUSIC COMPOSITION.

and Period repeated.

i44g3

/'^iUJjiJ
(Ternary)
A "t Period in a minor, R. Schumann, Op. 68, No. 8.
AlUgrocon Mo.

Ex.
181.

n jiflIj
jj-i
-S
"
"
 BINARY AND TERNARY FORMS.
Ill

B 2nd Period in P major.

A y^ Period in a minor.

!i 'TLU
JLL^jjvimw^^m
" "
 no MUSIC COMPOSITION.

Iand Period repeated.

f^k

^
"
.^J f r ti if f f
i i i?
F-

(Ternary)
A ist Period in a minor. R. Schumann, Op. 68, No. 8.
Allegro con brio.

Ex.
181
 BINARY AND TERNARY FORMS.
Ill

B 2nd Period in P major.

i *) *l j
"
*1 *1 \ j'.'^-ij
jT'iJT^

A 3^^ Period in a minor.

^^m\il'jj\ ^^\\^WMi
1^1
112 MUSIC COMPOSITION.

". Grieg, Op. 12, No. 7.

e minor-

PH"! r ? f

B
I
i ^5^
? ^^^^

I ^
*'-J*=^ ^ * "
-X fr
^^
f "^ r
G major-

-b minor V 1GV7 G major-

 BINARY AND TERNARY FORMS.
113

^m ?
HLi' i
-54"

5 ";*."".
i fit

^
n-j TT3i"^r!l.

-e vii" V
e minor-

I^N=^i^^lr i r II. r ^^ f
"e minor-

tf ^^gj^T^^ M
r fj "

t i
" 1" ^X^XJ
fc E E
'
ITTT f I Ml^^
In the above example,the
firstperiod A is in the key of e minor. The second
periodB is in the key of the relative major but ends in the originalkey, e minor.
The third period (thesecond A) is in the key of e minor. The modulations are as
follows:from e to G and from G to e. At the fifteenth measure, there is a transition
from G to b returningto G in the sixteenth measure.

The above quotationsexemplifysimplebinaryand ternary forms.

They are examplesof the forms in the strictapplication
of the terms and
coincide with diagrams6
and 7. Many binaryand ternarycompositions
are less regular construction and many
in are more elaborate. Analysis
is the key to success in understanding
the ways in which compositions
in these forms are varied.
"4 MUSIC COMPOSITION.

ThefoUowingdiagramrepresentsa composition of two themes,both

themes of which are in the same key but in which several other tonalities
transitorilyoccur, hence the desirablenessof the same main key for both
themes. A similar construction is possible in three-part form.

Diagram S.

First Period. (Theme i.) B Second Period. Tlieme 2.)

iMay or may not repeat.1 IMay or may not repeat.!

I
Comnendng and ending in the key Commencing and ending in the same

of thesignature.One transition or key as theme i. One transition or

several are made. several are made.

The foUowingdiagramshows a common ternaryconstruction. Many

compositions similarly constructed may at firstsightappear too complex
for three-partform, but a careful analysbwill show the means by which
complexity is gainedupon a basis of ternary fonn.

Diagram 9.

First Period. B Second Period. Third Period.

UMay or may not repeat.

I
First theme presented
in Second tiieme presentedin First theme verbatim or may be
one of the ^lays previously one of the ways previously varied by contraction, expansion
described. described. and otiier means. To end in
the main key of the composition
formal
is its principal obligation.

For a of the
simpleapplication above structure see Schumann, Op. 68,
No. 20.

The construction of Bach's Gavotte from the Sixth English Suite

is shown in the following of
quotation the upper voice part. This com-
position

is in two divisions called Gavotte i and Gavotte n (Musette).

Each division isin three-partform similar to Diagram 9 and the comp"osi-
tion as a whole is in three-part
form.

Gavotte I. J. S. Bach.
A in d minor.
tr

Ex. 1
r r
11,,,irfjt
t^fTr^g ;=t:
188. \3"

First theme ending on the dominant of d-minor

 BINARY AND TERNARY FORMS.
"5

d V

B yarlo,"key..
"l^^ ir

d V
Second tiieme made up of
largely material of the firsttheme and containing
ji.

i^,"^ri',rrr
free transition commencing in a minor

A in d-minor

J
^,"
IXjH P Ir'"/f r'r J-7-^" J
-"-

r'tUuili/' r
JI First theme (entersin an inner voioe) varied

tr

IfiJ^ fW^
ji" I[lEr
f ^
fry i9-
/f\

I
Fine
I

Gavotte II (Musette)
A in D-major.

i
I First theme of Gavotte li
'ii6 MUSIC -COMPOSITION.

1st V 2nd

B in-D-majdr
and G.-major.
tr

Second theme of Gavotte II with transition

A in D-major.
tr

Mn^^^
w
First theme of Gavotte II varied
slightly

jst \2nd .\

Gavotte I D,C,
al Fine

Notice that the first theme, A, of Gavotte i ends with dominant harmony
(Half Cadence) which is irregular.Notice, too, that the consequent
themes show less contrast than consequent themes in most music of the
nineteenth and twentieth centuries;the motives and figuresof all the
themes show considerable
similarityalthougheach theme has individu-
ality,
and the compositioncan hardlybe considered what we may call a
monothematic composition. For such a compositionsee Schumann's
rrawweref (AppendixB, No. 2).

Exercises, Group 16.

(Binary ) Menuet from Don Juan,

1. A W. A. Mozart.
 INTRODUCTION AND INTERMEZZO.
"7

Eju^lffM^
"
(Ternary.) Gavotte, C. Gurlitt, Op. 172
2. A

^ 1=4:
i I
ji J ij
J j_i jjTJ;^^ ""s^

S
^ w^ J 14;
^
*
^^
B

fftrr^TfflT^ M J*' I*-

P J jjs^
^Sm^Uj:^^^f^fI\ q

^^ ^
":
"*-#-
i^=
Ktf ^^

^S
3. Harmonize Example 183.
Continue the work in AppendixA.

CHAPTER XVII.

INTRODUCTION, INTERMEZZO, EPISODE, AND CODA.

A composition is frequently
precededby introductory
measures. A
long introduction may form a satisfactorily
completecomposition in
itselfsuch as are foimd in many overtures, sets of waltzes,
etc. The
introductory
measures usuallyforeshadow the themes,establishthe main

*
Copyright,1890,Arthur P. Schmidt.
ii8 MUSIC COMPOSITION.

key and sometimes the rhythm. In case that the introductorymeasures

do not foreshadow that that is to follow but simplyestabli^ the key,

such measures are often called prdudein contradistinction to itUroducUon.

The tenn frdude isalso applied which

to oompofiitkms are more or lessfree in form
and of the nature of free improvisatic"i
but not Such
introductory. an of
application
the teim may be found in Chopin'sPrdudes,

of short introductionsand preludes

Quotations foUow:

Bkbthovbn, Op. 46.

Ex.
184.

Voice.
^I^"?

etc.

^^^^^p """ --

F. Liszt, Du Bist IVie Eine Blume.

^^m Voice.
to
Adagio con tenerezza.

etc.

^MfWtx ^^
 INTRODUCTION AND INTERMEZZO.
"9

F. ScHUBBRT, Am Meer,

Ex.
etc.
186.

Forexamplesof longintroductions the student isreferred to the following

compositions:
JosephHaydn: S3rmphonyin G Major,first17 measures.
Ludwig van Beethoven: Sonata Pathetique, first10 measures.
W. A. Mozart: Overtiue,The Magic Fluie,first15 measures.
Johann Strauss' (n),Emil Waldteufel's and J. Gungl'sWaltzes.
The Inteiucezzo*
may be of any length and of irregular
construction*
It is characterized by the absence of definitemelody and usuallyconsists
of melodic fragmentsin sequence, of scale passages, or of broken chord
passages of transitionalcharacter. The intermezzo has two particular
fimctions: (i) as a substitute for theme and (2) as an
contrasting
a

interlude between two themes.

contrasting The followingquotations
exemplify.
E. Grikg, Op. 12, No. 3.

'

^U j 'ij

*The term inUrmeMM Is also applied to short compositions,to the entr'acte,

to the intermediate
dances of the suite,and occasionally to a movement of a symphony. (See Goets's Syn^hony, second
movement.)
320 MUSIC COMPOSITION.

Intennezzo (Substitute for contrasting division)

I
i *-"
*

%
nty =^
at^
!=": ^t"
^
-^.
r

j- j^ I J
1^
27-

/ //

3 a
""" =^ i^ *
^ X 1

"

/J/ Y ^"//
 INTRODUCTION AND INTERMEZZO. 12 k:.

^^^-i
T
sa/

Notice the two themes before the the last half of the
intermezzo,
second theme is made up of material from the first theme thus making^
less contrast than is usual between themes. The intermezzo, however
furnishesvivid contrast. The restatement after the intermezzo is made

up of material from both' themes and is not unlike many codas.

Fr. KuHLAU, Scherzo.

A Theme I in C-major.

Ex.

k *.
^ I I I

i
(^ ^"" #-

^m ^P" #-

{^m ^ ^ i \
133 MUSIC COMPOSITION.

B Theme II in G-major and A-minor.

Intermezzo ooolaining transitional material over

cadences in G-major and modulating to C-ma jor.

8va.

If rtrtii 'frtH^m
*
I t
^ ^*

Theme I in originalkey (C-major)

 THE EPISODE AND CODA.
"3

Theme I repeatedan octave higher.

m " " " m^

^

Notice that the second theme leads into the intermezzo. A group of
measures of this type marked Intermezzo might well be analyzed as
Extended Cadences (inthis case, extension of Theme II) and is so called
by some theorists.
The Episode has similar functions and is similar in character to the
Intermezzo. Episode,however, is more melodious and partakesthe
The
character of a subsidiary theme. Episodesoccur in Fugues and serve
as intermediate parts between the repetitions of a fugue theme. For an

example of an Episode see the Slow Movement from Mozart's String

Quartet in C major commencing at the thirteenth measure and extending
through the twenty-fifth. Theme n commences at the twenty-sixth

measure.

The Coda is a chordal or thematic appendageand follows the natural

termination of
period,form, or movement.
a The functions of the coda

are (i) to emphasize the motive, the final cadence, or other material,
(2)to convey the compositionback to the main key where the finaltheme
ends in a different key,and (3) to summarize the material of a com-
position.
 MUSIC COMPOSITION.
124

F. Liszt, Du Bist Wie Eine Blume,

Termination of Theme |

Ex.
189.

" "
ICoda (emphasizingthe motive).

F. Schubert, Op. io6, No. 4.

TCTiination of Theme |
F

Coda (emphasizingfinal cadence.)

J. Brahms, Op. io$, No. 3.

Theme ending in d-minor. |
*^ i
Voice.

t
P^ ^
m T"
n-
i

k
aih^|i"Jiyir
f
i
ICoda (conveyingback to main key, F-major). [
 THE RONDO AND THE VARIATION FORM.
laS

Tie plagaldose may be considered a short coda. Codas which smu-

mariz^ the material of a composition long; for example,see
are usually

codas to the orchestral waltzes of and Gungl. Bee-

Waldteufel,
Strauss, thoven
was the firstcomposer who gave to the coda in the
great dignity
Sonata Form and in his in
compositions this Form may be found long
and elaborate codas. .

The work for this standard c("ii-

chaptershould consist of analyzing
positionscontainingintroductions,intermezzi,episodes, and codas.
Original
work in should
composition also be done.

Exercises, Group 17.

1. Exercises 4 and 5 in Appendix B, pages 149. and 150.

2. Appendix A may be finished.
3. Write an introduction and a coda for Exercise 2, Group 14, page 100.

4. Analyze the harmony in Examples 184, 185,186,187,188, 189,190

and 191.

CHAPTER XVIII.

THE RONDO AND THE VARIATION FORM.

The Rondo is
compositionconsisting
a of a principal subjectan-
nounced

and reciuring after contrasting sections. The earlycomposi-

tions
in this form are primitiveand consist of a subjectof definitelength,
usuallyof eightmeasiues in | rh3rthm, ending with a perfectcadence.
Between each recurrence comes a section less definite and with no

apparent objectin view other than tonalityand to furnish contrast in

aggrandizethe principal subject As the form developed,contrasting
themes supplantedthe indefinitesection until the fully
developedform
culminated in the work of Beethoven. The following diagrami^ows the
structure of a Rondo by Couperin: .

'

V
. , ." .piagnmi 10. .
-
.

A -S measures. B 4 mieasures.
"

[jA 8 measures. (IC 8 measures. ||

Subject,Bb"
Principal Contrastingsection Recurrence of Contrastingsection
ending in F. PrincipalSubject. in g. ""-

" m -^
' *

D " *
"8 m^asiir^.
IIAS measures. 14 measures. A

Recurrence, of .
Cp/itrastingsection I, Recurrence of
PrincipalSubject. ia Bb and c." PrincipalSubject.
136 MUSIC COMPOSITION.

The foUowingdiagramshows the structure of highlydeveloped

a more

Rondo; second movement of Beethoven^s 5iMiato PolAelJ^Me.

II.

A 8iiieasiifat(repeats).||
B measures. ||A la 8 measures, li C i4mBunn"

PrincipalSubject in Ab. Episodein f-minor. Recurrence of and Episodein

Repeats 8va with varied Principal
Subject. abi B, and Ab.
accompaniment.

A 8 measures (repeats). \ CODA. 7 measures. 11

The number of recurrences principal subjectis not restricted

of the
with the exception that it occurs at least three times. The intervening
sections may consist of contrasting themes,iniermezzi, or episodes.The

principal subject on each occurrence usually doses with a final cadence,

whereas the intervening sections often lead into the principal subject or

pause on a semi-cadence. The princqial subjectis occasionally varied

in its several recurrences, often appears with varied accompaniment,
sometimes with changeof harmony,and is occasionally eictended.
In the highly complex Rondo Form may be found transitional meas- ures,

passage work, elaborate extensions,

and codas between the vari-
ous
divbions of the composition.The third movement of Beethoven's
Sonata shows great complexity
Paihetique in structure and the student
the harmonic and formal structure of
should analyase this movement.

The Variation Form.

The Variation Form is a term ai^liedto composition

a in which one
or more themes ispresented
and in variously
re-presented di"fering styles.
The examplesof the Variation Form were principally
older concerned
with a groundbass which served as a basis for building
subsequentvafia"
tions. The most highlydevel(^)ed exampleof this styleis to be found
in J. S. Bach's Vanaiions on an Aria in G Major which is a Sarabande
with thirty variations. Here, Bach used the harmonic structure of the
Aria as a baas on which he built,contrapuntally, thirtycontrasting
movements.
 THE RONDO AND THE VARIATION FORM.
137

Later,a theme as well as a ground bass served as basis upon which

a

variations were built. In some cases, we find contrastingthemes (see

Haydn'sAndanie with Variations in F Minor) servingof which the first
is the most importantand therefore most thorougjily
worked out. sodes,
Epi-
variations,
introductions to etc.,made their
cadenzas,intermezzi,
appearance as well as elaborate codas,and to-daywe have a highly
complex form which exists as a completeopus number or as a movement
of a Sonata or Symphony.
The Rondo and Variation Forms are sometimes combined. For such
an example,see Haydn's F Major Sonata for violin and clavier (slow
movement) which should be analyzed.
Some of the
principalways in which a theme may be varied follow:
(i)by changingthe styleof acounpaniment;(2)by changingthe
the
harmonization of the theme; (3)by writing a new theme to the harmon-
ization
of the principal theme; (4)by changingthe lengthof the various
notes therebyobtaining a new rh3rthmand often a new metre; (5)by
repetitionof certain notes which may or may not changethe metre; (6)
by introducing tones ornamental to the tones of the theme,scale passages,

passingtones between the tones of the theme,etc.; (7)by obscuring the

theme by arpeggio figuration of the tones of the theme; (8)by inverting
the intervals of the theme; and (9)by expandingor contracting the
intervals in the theme.
lyrical
A to the Variation Form than an
theme lends itselfless readily
epic-like theme with potentialities.
Contrapuntaltechniqueis necessary to successful results in many
cases, but fairly good resultsin the ways of varyinga theme such as are
listedabove may be obtained without such knowledge.
The work for this chaptershould consist of analyzation of standard
compositions in the Rondo Form and in the Variation Form. A theme
should be chosen and worked out in variations in the various ways
enumerated in this work in the Rondo
chapter.Originalcomposition
Form and Variation Form may be done.

Exercises, Group 18.

I. Exercises 6, 7 and 8, AppendixB, pages 150 and 151.

a. Compose a theme; harmonize and treat it in a manner similar to
Diagram 10, page 125.
3. Compose a theme of at least eightmeasures; harmonize and write
five or more variati("is.
lis

CHAPTER XIX.

THE SONATA FORM.

As the form grows more complicated, the need of contrapuntalskill

becomes more apparent and this need manifests itselfwhen considering
the Sonata Form. The Sonata Form isthe most
complexof allthe forms
and requires the greatestamount of technique. Tliis chapter,
therefore,
aims only to the equipping of the student with knowledgesufficientto
the analyzation and appreciation of the Sonata Form.
The term "Sonata" is applied in three (Merent ways. Previous to
the work of PhilippEmanuel Bach (1714-1788), the term was used
loosely and meant almost any kind of a composition for instruments in
contradistinction to the cantata. To-day, the term is used more nitely
defi-
and is applied to a composition for solo instrument (usually in
four separatemovements) based on more conventional lines. Thirdly,
the term is applied in conjimction with the term "Form" (SonataForm)
to signify a certain structure of one or more of the movements of a
Sonata.
I The modem Sonata usually consists of four separatemovements, each
of which is a completeform but allof which constitute a whole with more
or less interrelationship between the various movements. The common

disposition of the movements is: ist movement. Allegro;2nd movement,

"Slow"; 3rd movement. Minuet or Scherzo; 4th movement. Allegro.
The firstmovement is frequently precededby an introduction usuallyin
slow tempk). The first movement is in Sonata Form. The following
movements may be in Sonata Form or in any of the forms heretofore
considered. A for orchestra similar to the Sonata
composition is called
a Symphony. The Sonata and Symphony sometimes consist of three
movements.
The Sonata Form is,in a broad sense, Three-Part Form. The first

part (A) is called "Exposition," the second part (B),"Development,"

and the third part (A) Recapitulation. The Exposition consists of two
or more themes in contrasting keys; the Development consists ot an
unfolding in the motives of the themes in k
of the lateht possibilities
transitionalmanner; the Recapitulation consists of a restat"ebitof Bie
themeis of the Exposition with iemphasisupbn the main key; A common
tonal scheme of structure is shown in the following diagram:
 THE SONATA FORM.
f39

piagram 12.

(A Exposition. |J"B D9TBlopiiiMit~

ifC Recapitulation.

Transitions,may, of course, occur. the Recapitulation

Not infrequently
is in two contrastingkeys,the firsttheme usually
in the subdominant of
the main key and the second theme in the main key. Notice that such
a tonal scheme results in the reappearance of both themes in different
keysfrom those in which they appear in the Exposition.The Develop-
ment
section is the most
complicated part of the movement and is the
least rigid. Oftentimes it partakesthe character of a free fantasia.
Here, new musical thoughtsgerminatefrom the original motives and
more or lesschaotic tonalityoccurs, giving
us contrast and variety.The
return at Recapitulation to the themes in their original form with em-
phasis

upon the main key roimds up the movement and givesus unity.
Subsidiary themes, episodes, passage work of rhapsodical, transitional,
or cadencial material, of themes (sometimesvaried,
repetition sometimes
verbatim),conclusion themes and codas are found
frequently in the
movement.

Overtures,movements of trios, and

quartets,quintets, concertos are

written in Sonata Form.

specific
For example of
a the Sonata Form, the first movement of
Beethoven's Symphony No. 3 in E-flat {Eroica^
Op. 55) is chosen for
brief analysis.*

In analyzingan orchestnd score, notice must be taken of the fact that the clarinets,
horns,and trumpets are "transposing instruments" and are written tran^"osed;for

for the B-flat Clarinet or B*flat Trumpet really

sounds b-flat therefore the tones are notated a major second higher
J
than they actuallysound. The written scale of c for an e-flatinstrument actually
sounds the scale of e-flat,
etc. All strings, flutes (inorchestrations),
oboes,English
horns,bassoons,tubas,and trombones (when in the bass or c-defs)are written "con-
cert,"
that is,accordingto the tones they sound. Trombones written in the g-def,
however, are treated as tn^nsposinginstruments in b-flat.

*The orchestral score to this Symphony should be in the hands of the student that he may analyze
the harmonic progressions
as well as to assist him in his
of the Form.
analysis An inexpensivemtnia"

tore score is obtainable in the Payne Series publishedby Ernst Eulenberg,Leipxig,

and is for sale by
most largemusic dealecs.
 MUSIC COMPOSITION.
130

The Symphony (Eraica)is scored for two

flutes,two oboes, two
clarinets (inb-flat),two bassoons, three horns (ine-flat,but changing)^
two trumpets (ine-flat), t3anpani, double bass,and quartet of strings.
Theme i which is the chief theme is sounded by the cello piano but
introduced by two fortetonic chords by full orchestra. The motive is
tossed aroundamong the different instruments until the entrance of a
theme at the forty-fifth
subsidiary measure. This theme starts with
dominant harmony in the key of b-flat preceded in the forty-fourth
measure by augmented sixth chords. The tonality of b-flat is only
vaguelyestablishedand at the sixty-fifth measure a connecting transi-
tional
passage leads to the second theme proper (which is in the key of
b-flatmajor)at the eighty-third measure. At the one hundred and ninth
measure a passage founded upon the rhythm and ideas of the princq"al
and subsidiary themes commences. Notice at the one hundred and
twenty-third measure the dissonant chords upon the weak beats which
obscure the tonality until at the one hundred and twenty-eighth measure

the dominant seventh chord in itsfirstinversion in the key of f enters and

is reiterated forzandofor four measures. The rhythm in these four
measures two-four. At the end of the Exposition
in effect,
is, the material
of the long coda which ends the movement is foreshadowed. The
Expositionnow repeatsverbatim.
The Exposition does not end with a finalcadence but coalesces with
the Development. The Development consists of the unfolding of the
potentialitiesof the firsttheme and the subsidiarytheme. The material
of the second theme is very littleused which is an unusual circumstance
in a Development. The transitions are radical and interesting; note,
especially, measures 181 to 185. The radical dissonances also deserve
study, for example,measure 348 to 279 and elsewhere, but above all,
measures 394 and 395 where the horn sounds the tonic chord in Eb major
while the violins sound the dominant seventh chord. This placehas
caused much discussion and many amusinganecdotes and mistakes on
the part of musicians and publishers. An Episodein E-minor commences
at measure 384. This episode reappears at measure 322 in E-flat minor.
At measure 338,theme i for further
developmentand evolves,
reappears
transitionally,
to a fortissimoclimax for full orchestra at measure 362.
Fragments of theme one are heard on a diminuendo until at measure 394,
theme x isheard in the horn with the radical accompanimentmentioned
above. This is followed by a modulation
F-major,the horn again
to

soundingtheme i but this time in F (measure408). At measure 4x6 the

firstviolin and flute sound theme x in D-flat (measure409).
 THE SONATA FORM.
"31

The Development and Rec^"itulation coalesce and the firsttheme

appears in E-flat major. The Recapitulationdiffersin many respects

from the Exposition but not sufficiently
to destroyunity. The Sub-
sidiary
theme re^pears at measure 448 but this time on the dominant
harmony in E-flat. The connecting transitionalpassage conunences at

measure 468 but this time a fifth lower than in the

Exposition.The
second theme enters at measure 468 in E-flat. Compare the passage of
dissonances conunendng at measure 526 with the passage in the Exposi-
tion
(commencing measure
at 123).
The Coda commences at measure 552 coalescing with the Recapitula-
tion.
It is an example of one of Beethoven's contributions to the Sonata

Form and is not a mere termination

appendagebut a complexpart of
or

the movement. Notice that the principal theme is sounded firstupon

the E-flat chordsthen upon the D-flat majorchord,and thirdly upon the
C-major chord. No modulatingchords are used until measure 569.
Here the dominant harmony in C-majoris insistedupon until measure
573) where instead of resolving,itprogresses to the dominant harmony in
the key of F. At measure 595 a new melodious passage in chromatic and
lyric-like styleenters,sounded by cello and bassoon in xmison. Com-mencing
at the crescendo^
measure 627,we are led back to the main
and
tonality, from here to the end of the movement the key of E-flat
domineers with onlyoccasional and temporary transitions. Notice the
insistenceupon dominant harmony in the home key commencing at the
S3mcopation, measure 681, and continuingthroughthe fourth measure
from the end.
A diagrammaticillustrationof the structure of Eroka follows:

Diagram 13.

Two tonic Principal

theme in Development of Restatement of Further opment
devel-
cbords ("b) "b, Subsidiarytheme the and
principal themes and passages and statement
re-

introdttdng in Bby Second theme subsidiarythemes. of the Exposition. of

main theme. in Bb. Transitional Episode. Themes in Eb. themes ing
bring-
and pas" (PluralTonaUty.)
Rhapsodical (Mono-Tonality the ment
move-

igtB, (Dual Tonal-

ity with transitions.) to a close
with transitions). in"b.

The student should analyzethe harmony and form of several ments

move-

in Sonata Form. The Beethoven pianoforte

sonatas are excellent
for this. These may be obtained in editions.
inexpensive
 MUSIC CX)MP09ITI0N.

CHAPTER XX.

THE MIXED AND FREE FORMS.

The or Medley consists of

Poi-paurri a selection of themes from an

opera, folk songs, or national songs, etc.,strung togetherin contrast to

one another. Operaticmedleysusuallyconsist of a selection of the
most populartunes of a single opera althoughoccasionally one finds
a selection consisting
of times from various operas. The pot-pourri
has
no set form and no value other than a sensuous one.*
The followingdiagram shows the disposition of the movements in
a selection from Mascagni'sCavaUeria RusHcana togetherwith the key
scheme:

Diagnun 14.

The popularoverture in the

is frequently pot-pourri,but in styleof a

this case the themes are original.Such an overture as Suppe's Poei and
Peasant has more unity,however, than most operatic,national,and folk

medleys. The followingdiagram shows the disposition of the move-

ments

of Poet and Peasant,

*The lacks unitywhich

pot-pourri is a of all
hecsstfryquality arts..
 THE MI^ED AND FREE FORMS.
133

"S-

The Fantasia is a
composition in which the composer givesfree scope
to his fancyor imagination. The form is whollyfree, but unityis main-
tained

by various devices such as the persistence of motives,character-

istic
rhythmicand harmonic figures, etc. In many of the instrumental
works of the earlycomposers, including those of the earlyEnglish, and,
later,those of J.S. Bach, may be found the older application of the term.
The principal characteristicsof the early Fantasias was the development
of a theme by free imitation. Since then, the term has come to be

appliedto the developmentsection of the Sonata Form, as well as fre- quently

and inexcusably to the pot-pourri. Interesting Fantasias may
be found in the works of Mozart, Beethoven,Schumann, and in those of
our presentday composers.

Program Music.

Program music is instrumental music,the mood, form and context of

which is determined by its titleor by a description
either printedupon
the composition, rather than by abstract musical formalities. Although
the older composers including Kuhnau, Bach, Couperinand Rameau,
wrote a few small works of this kind.Program Music did not become a

common styleuntil the Romantic Period.

The comparatively late developmentof Program Music was due prin-
cipally
to the inadequacies in the media of expression,
the immatured
state of instrumental music, the bigotryof musical theorists,and the
environment and lack of breadth in the education of the so-called Clas-
sicists.
 MUSIC COMPOSITION.
134

Symphony, Beethoven opened new paths and since its

In the Pastoral

pxoductionthe listof programmatic music has grown, and much of the

best music is now either realistic,
characteristic,or descriptive.
Modem composers seem to preler a definite inspirationto a more or

less prosaicweaving of tones. They desire to express in their music the

emoticms of their inner lifewhether kindled by literature, a mood, vision,

object,event, philosophy,or picture. To a specific inspiration, a com-

position

of this type owes its form.

The bemg empiricaland governed by the specificinspiration
form
necessitates concrete study,and no better examples for such study can
be had than the Symphonic Poems of Liszt and his successors.
For the benefit of those students who cannot obtain scores of Sym"

phonic Poems, a brief analysisof a Symphonic Poem is given.

Les Preludes Fsanz Liszt.

J

The compositionis founded upon a portionof Lamartine's MediiaUons^

a prose translation of which follows:

What is our lifebut a series of Preludes to the unknown song, the firstsolenm note

of which is sounded by death? Love is the enchanted dawn of every life;but what

is the destiny where the first joys of happiness are not interruptedby some storm,
whose whose
fatal breath dissipatesits fair illusions, fatal lightningconsumes its altar?
And where is the wounded that does
spirit not seek, when one of its tempests is over,

to cahn its memories in the peacefullifeof the country? Yet man cannot long resign
himself to the kindly monotony which firstcharmed him in his companionship with

Nature, and when trumpet'sloud blast has called him

''the to arms," he rushes to the

point of danger, regardless of the nature of the strife,in order to gain,by combat,
possession of his strength.

The Symphonic Poem flutes,

is scored
2 for 3
obpes, 2 clarinets,2
bassoons, 4 horns, 2 trumpets, 3 trombones, bass tuba, tympani, drums,
cymbals,harp, and the usual strings.
The compositionmay be divided arbitrarily into six parts played,

however, without pause. Each part depictsa different phase of Lamar-

tine's poem, but the whole is founded principally

upon two themes which

appear in various melodic, harmonic,

and rhythmic guises. A diagram

follows:
 THE MIXED AMD FREE FORMS.
"35

Diagram t6.

xsT Theme

Recitative for strings. Motive answered by wood wind (Andante

I). Leads upon a crescendo to a new form of the same theme

(Andante maestoso V) sounded by bass strings, bassoons, bones,

trom-

and tuba. Leads upon a diminuendo to a third form of

the theme (f) sounded by second violins and cellos with an echo I
in basses and bassoons at the end of each phrase. Moduktes to

E-major, followed by transition.

2ND Theme

Sounded by horns and violas (C-V)* Rei4)pears: oboes, dari-

nets, and bassoons; developed to a climax. Reminiscences of

theme z in horns, flutes, and darinets.

Development

PrincquJly of theme i (Allegro ma non txoppo | and Allegro

1;
tempestuoso V)- Suggests storm. (Quiets down leading to the

next theme.

3BD Theme

(Allegretto pastorale f). Figures of the theme sounded first by

horn, then oboe, followed by clarinet, and then tossed around;

Reappearance of motive of theme 2.

Restatement of 2Nd Theme

In violins, then in horns and violas, followed by wood wind and

h
horns. Developed transitionally leading to the next division. " u

Fkee Recapftulation

(Allegro marziale, animato ]). Theme i sounded by horns and

trumpets, answered by low strings and trombones. Developed

to a union with 2nd theme. Theme 2 in a new rhythm and mood

sounded fortissimo by wood wind, horn, and violins. Sudden

traniriticms. Reappearance of theme z in a former guise sounded

by basses, bassoons, trombones, and tuba CV). Ends fortissimo
with full orchestra.
13^ HUSIC COMPO3IXI0N.,

APPENDIX A.

MELODmS FROM BACH'S CHORALS.

1.
/P\

m -""-
Llii-U^ m
/7\

Hif f ndu 3
^^m
/T\ n\

m "a^
f5"-

E
J=rt
"*' "
#
^M "^9-
^"^
f I** IJ II

/TV

^^ ^^
/TV "^
,

m tS*- i^ i
3.

/TN

4*J
IJ J J J IJ~^
"^"

/C\

^ ^^

/TS /TN /T\

^gLgli-i ^ ^^
/f\ /"IN

iff=d
i *
^^ "^-
P
 MELODIES FROlf BACH'S CHbRALS.
137

^T\

i,f J J I ii^fjj jii J I

ijijji i

6.
/TS /TS

^^ ^^ In r r I

/T\
/T\

/f\

'hTj J J|JHI
^

7.
/f\ ^T\
I ! J" ^ir-q
P #==? m f=f
"^"
3
/TN

/T\ /T\

j J J ll II
138 MUSIC COMPOSITION.

1 1.

44
^j J r rxjJ^Tlrn J J Ir r r ra

12.

l(J''
I' ' '
III rjJ J|X -fLcj

JJi-nTjjJ|J;j.]i
13.
 MELODIES FROM BACH'S CHORALS. 139

15.

J J J Jij J J Jif r r fi-'^'1

jij J /JJiJJ J a

/f\

Lrr ^^irrmv^m
^^
r^-^lf:t\('ril

r J ^';^iJ J J J I

^N
I40 MUSIC COMFOSlTK"N.

20.

^
Wt'.IJl^i ^

^S

22.
/ts

fe
^s 1=1:

/^

^^ ^ t=^ "
i9-
'
# IP # if
1"-

^ T.iiT.ri^-^
r..f ^ e t=$
m ^
23.
/*N

^^ '^ 3 g ^PP^^
T""-
^^
^N
3=t
|j',i"jj9j-J|itJ_f^^^
g i ""^ i^
"J^
 MELODIES FROM BACH'S CHORALS. 141

i"f.*r
nr rif-rU 1 rir-cfi^
Jua

26.

t=t=t J
^rirrvcji^
/ts

r r r Ifr r 1

27.

jJJiJ
ijf/aj
 MUSIC COMPOSITION.
M^

/T\ /TN

i m J I ;jj|j
2Z 1=

/TN
fc
i s
P
S
tt=t
m

/r\

^B

/"S
if
^ ^
i
W
J gJ ''

SO.
/TS

il^'Jir cj^
 MELODIES FROM BACH'S CHORALS.
US

^^

\^yi-i'!i\n
S2.
y?\

m =t
"2^=
?=lt^
E
""^

Ty?T-
J
/r\

^ffl
" ^
:t
?2=p:
t=t ^

S4.

/T\ /TN /tS

p ? rifir T f iri
/T\

2i ^ ^^
"44 MUSIC COMPOSITION.

ii'ii'h 11 I nil |i
I 1
,II

lij '
ll |l' HI 111|ii|ii|i
IIIJl'll

"Hi I iQi^i|ii||i
If I 'li II
i||i|i

'

fiiiii
'illIiiiiiiI^'Ti||

ifiJa^
f|jjjj|jj
41.
/T\

FdWi I il'i11,^^
 MELODIES FROM BACH'S CHORALS.
"45

42.

(iJ |j J J ^ i r If f

43.

rn-'niJJjJij.'irirr
iijl'^ji^'

ij'/jffif
rir ririrrrifirrrM
46.

ifr^rffiJrr^irfrrii-rr

fr /rs

1^ "
^ "
"^
^^^iT^n ""- 3 ^

"J"^if
t" 11*r -^"^
r^*^' ^i*'
ir!*"""*'n
146 liffUSIC COMPOSITION.

47.

/FN

-J ^ ^\cfjir*^
* -^ fir r f ir r

rrTr r'rTff"^

"f.'''rrrrl^^rrJl'^
JJl^

49.

/P\

J J Ji^JiJ J J ^S i
TTN

^^ -""-
lE tS^
f fir f l-i^1

g '^
iftifffl'^ '^11
'fflfffl'^

^^
 MISCELLANEOUS EXERCISES. 147

fj J J JiTT^r r ^ffi'^^
^i^i-
APPENDIX B.

MISCELLANEOUS EXERCISES.

I .
Harmonize the accompaniment
violinsolo with pianoforte
following
Andante. P. Mascagni.

ufarrT^fjiU
pp
6

"Hti-^
t-.f"
^
Id rrf
"

r cJiO
y

^^ f^.ir fir T
pp /

^m f
^ |ff
f |r~r|p"^

ifffW ffu f 1
/-("-

^
^ a
148 MUSIC COMPOSITION.

r m^' !"f,r f E
/

fi^' "'^^
^1
iT"
CJLT
Iji^r- l1 '
'
I'
^/w. ^ A^

2. Harmonize the following

ist violinpart for string
quartet:
R. Schumann.

IJJH^
||!,J__.^

iJKi ijj:\r\^'m

a tempo

i^^-^ri^^^^i^^^^i^
i5[[jlr
jTigf -^

/TV

3. Harmonize the following solo:

melody for pianoforte
Minuet. Bkethoven.
Ugato,

[jicjrcjulu
c^ rfjir''^:
 MISCELLANEOUS EXERCISES. Z49

^^

D.C. dl Fifu.

4. Compose a choral for mixed chorus to the following

poem by
Thomas Moore:

Thou Art, O God.

Thou art,O God, the lifeand light

Of allthis wondrous world we see;
Its glowby day, itssmile by night,
Are but reflectionscaughtfrom thee;
Where'er we turn, thy gloriesshine.
And fairand
all things bright
are thine!

When day, with farewell beam, dela3rs

Among the openingclouds of even.
And we can almost think we gaze
Through goldenvistas into heaven.
Those hues,that make the sun's decline
So soft, Lord!
so radiant. are thine.
 MUSIC COMPOSITION.
ISO

When night,with wingsof Starry gloom,

O'ershadows allthe earth and skies"
Like some dark, beauteous bird,whose plume
Is with
sparkling unnumbered eyes.
That sacred gloom, those firesdivine,
So Lord^are
grand,so countless, thine.

When youthful springaroimd us breathes.

Thy spirit
warms her fragrantsigh;
And every flower the summer wreathes
Is bom kindling
beneath that eye.
shine.
Where'er we turn, thyglories
And all thingsfairand bright
are thine.

5. Harmonize the following song with accompaniment.

pianoforte
Supplyan Introduction and Coda:

Allegretto, H. KjERULF.
p .
"

i^s.m. '^^ J JIJ J'li^l^^

?r?
riL r9\

^f'^Jiljj^ ^^m

a tempo

F i;Jf ir ^jj}
\^^'j I i ^\h^ r
,

6. Compose melody foimded upon the following

a motive. Add a

consequent periodin a contrasting key and restate the first period.

Harmonize for (ist)pianofortesolo,(2nd) string quartet,and (3rd)

Adagio,
vocal quartet: -_
1 jj^i. "i9-
 MISCELLANEOUS EXERCISES.
"SX

Ccftnpose
7. three or more contrastingsections (themes,intermezzi or
episodes)
to the following subject.Harmonize for pianoforte and supply
a Coda:
W. A. Mozart.
AlUgreitograzioso.

wm^

lfrgfJ#L;CfrrL;r^

8. Write four or more variations on the following

theme. Harmonize
solo or
for pianoforte string
quartet:
John Bull.

Allegro, ^ ^ /""^ F (g r^

"11^\r TTTT^
" 1 r~~1
y f

s ^ t
r
/

-C^ ?=^
n^r r E tt=tt
rg'i rgt
I
 MUSIC COMPOSITION.
iS"

APPENDIX C

I. PRINCIPAL TRIADS OP THB MAJOR MODE IN ROOT

POSITION.

1.
2z:

4: "^" -w 2z: I
2.

^ b 4 "g
-^-
"*^ i
3.
t^-r

vmr-^ "f*-*-
r riffn.-i
4.

^ ^^ ^s i
"iSi-^ -Oh-r

6.
u.

i
"

^ -'Mrrii "29-
-*^ a: ""-
T^
i=t "?^

6.

^B s:
-^ 221
:2:
I
7.

^^=^M=i ^
^ :^
Si

II. ALL THB TRIADS OP THB MAJOR MODB IN ROOT

POSITION.
8.

w 7SL t t i
m -BL -^-
E -^h
"A
t
m
-tS"- -""-

o.
(^ -*"
^=4:
^ 3 S f"-
i 3^ """-
^
ID.

^s S ^
3 i
3 """-
^m "^"-
 TRIADS OF THE MINOR MODK
153

11.

y-u rir fir ^irjT-j i

12.

^ i
f ^

IHJ J i ^m
f ^ E
13.

i=t
^ ^^ 3 I
^
14.

r firjiJ
F^t'ij^r j-ij^YrYWfm^ "

15.

3
p
^^ 1^
3 3^ ipi

III. THE TRIADS OF THE MINOR MODE IN ROOT POSITION.

17.
"I 8|

S "^^f 3 ^^
e^i T^ 2:
I
18.
8Q 8Q 8Q

^ p t 2z: i
10.
8| 31 6| 8|
19- ^-

9%^ ?
t^
s
f5" ^
ZZ s
20.
8" 8| "I 8|

^^ ?"
^^ ^

s
^-

E i
 MUSIC COMPOSITION.
^54

21.
at 81 51 a| 31 sf "! a|

IV. INVERSIONS OF THE TRIADS.

22.
0 0 0 2 1

pi^r rir IM^ ^^ i

""S"-j-

23.
.
I. o 2 S
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APPENDIX D.

DEFINITIONS.

Of the Technical Terms used in the Text.

Active. " A tone which is not finaland when heard,leaves something

to be desired. An active tone or chord has more or lessdefinitetendency
to progress to another tone or chord.
Cadence. "
A fallor close of a strain;inflectionof rhythmicflow.
Resolution under Resolution.)
(SeeCadencing
Chordal Tone. "
A tone which is a member of the chord with which
it sounds.
Concealed Fifths. "
A in
progression which
any two voices,ated
situ-
any distance apart other than a proceedin parallel
fifth, motion to
a fifth. {SteParalld Fifths.)
Dissonance. "
A minglingof two or more tones with unrestful effect.
The term is comparative,
and the amount of inherent
activity in any
dissonant dependsupon and environment.
culture,
era,
Factor. "
A tone member of a chord; called in most text books
"
interval.'*
Fixed Unison. "
The result of the diatonic resolution to a unison of
a voice part from the dissonant of the intervalof a second.
Form. Arrangement of the parts and elements (rh3rthms,
"
phrases,
themes,and tonalities)
periods,
sections, constituent of music by which

S3rmmetry of outline is obtained with variety

and unity.
Homofhonic.Pertaining of composition
to that style "
havingone
predommatingmelody accompaniedby other parts which supplythe
Harmony. Opposed to polyphonic.
 i6o MUSIC COMPOSITION.

Idiomatic. Pertaining to a progression

"
or usage which has become

characteristicthroughconstant application on the part of composers and

is often opposed to logicaltheory.
Modulation. A consummate changeof key which enters into the
"

architectureof a composition.
MoNOTONic, Characterized by a single
"
main key.
Motive. A melodic germ.
"
A group of notes from which a period,

movement, or composition may be developed.

N.B. "
Take notice.
NoN-CHORDAL ToNE. " A tone which is not a member of the chord
with which it sounds.

Thes3nnbol (X) placedovernotes denotes non-choidal tones. The symbol en-

dosed by parentheses a chordal tone havinga characteristicof a non-chordal
signifies
tone.

Parallel sths. A
any two voices situated a
7- in which
progression
fifth(ortwelfth,
etc.)apart proceedin parallel
motion to another fifth.

CoNSEcnriVE Fifths. A
progressionin which any two voices situated a fifth
"

(ortwelfth,etc.)apart proceed in either contrary or parallel

motion to another fifth.
(SeeConcealed Fifths,)

.
Parallel A progression in which any two voices situated an
8ths. "

octave (doubleoctave, etc.)apart proceedin parallelmotion to another

octave.

Consecutive Octaves. " A in

progression which any two voices situated an

octave (doubleoctave, etc.)apart proceed in either contrary or parallel

motion to
another octave.

Period. completemusical sentence.

"
A
Phrase. A portionof a periodterminating
"
with a cadence.
Polyphonic. Pertaining to that style
"
of composition having two or

more independentmelodies simultaneously, harmonizingone with other.

an-

Opposed to homophonic.
Resolution. "
The of a
progression dissonant chord to another chord
such as permitsthe factors of the former to to their
proceedaccording
tendencies.

r Cadencing Resolution. "

The resolution of a dissonant chord to the chord
whose root is situated a fourth above (ora fifthbelow)the root of the former chord.
NoN-cADENcmG RESOLUTION OR Progkession. " A resolution or of
progression
a chord to any chord other than the one whose root is situated a fourth above (ora
fifthbebw) the root of the former chord.
 DEFINITIONS. l6i

Tendency. "
A characteristic attribute of active tones.

Transition. "
A transient change of key.

Triad. "
A chord of three tones.

" "
Major Triad consists of a root (or fundamental) tone; its major srd and its

perfect 5th.

Minor Triad consists of a root tone, its minor 3rd and its perfect 5th.

.Diminished Triad consists of a root tone, its minor 3rd and its diminished 5th.

Augmented Triad consists of a root tone, its major 3rd and its augmented 5th.