3 0 mm

H E N RY FRO WDE

O X F O R D U N I V E RSI T Y P R ESS W AREH O U SE

A M E N C O R N E R, E C .
 T HE R EV . T . VE R E BAY N E , M A . .
,

I N REM E MBRA N C E OF A L ONG FR I EN D S H I P ,

AN D AS A G RAT EF U L A C! NO W L E D G M EN T OF M AN Y ACT S OF ! I NDNESS

,

T H I S T REATI S E

IS A FFE CTI O NAT E LY I

D E D CA TE D

T H E AU THO R .
 P R EFA C E T O T H E F I R ST E D I T I ON .

T HE p re s e n t T r e a tise is i n te n d e d to su l
pp y an c kn owl e dged
a w a n t, an d

to b e a s e quel to th e A ut h or s wor k s on ’
H a r m on y a nd C o un te rp o i n t .

He h a s bee n so o fte n a sk e d to w te ri a t re tise

a on th e s ub! e c t of Form to s e rve ,

as a te xt - b ook ha t
, t he is en c u ra ge d t o h O p e t h
o at th e foll o wi g p ge s m a y pr ove
n a

u s e fu l ,
a nd s up pl y a wa n t t h a t i s c e ta i n l y fe l t
r .

He h a d i te d e d to h a ve wri tt e n a f w c ha pte rs on T
at on e i
t me n n e u

st r m e ta t i o
u n it h e r a s a A pp e di x to th e p re s e t Vol u m e or a s a s e p r t e
n, e n n n , a a

w ork B t su b s e qu e t c o si d e r t i on h s s tisfi e d h i m th t th e e x c e l l t t re a t is e s
. u n n a a a a en

o f Be rl i o d ! s t e r o f w h ic h th
z an f rm r h b e
a n t r s l t d i to E gl is h
,
e o e as en an a e n n ,

m pl y s u ffi c e for th e i s t u c ti o f s tud e t s i f wri ti g for va ri o us

'

a th e t n r on n n ar o n

i s t ru m e ts
n n .

T h ou gh th A u th or fe l s th t h c h o e s tl y y th t h e h a s spa re d n o pa i n s
e e a e an n sa a

to r e d r th is Tr e a
n et is o n Fo rm s p rf c t s p o ssi b l ee h e y t k o ws th a t t h e r e a e e a , e n

m u s t b e om issi o s d bl m is h s i it ; a d h e th e re fo r e h o p e s t ha t i f it s h oul d
n an e e n n

e v r re ch
e s c o d e di ti o h m y ha v e th e b e e fi t of fri e dly cri ticis m to id
a a e n n e a n n a

h im i th e ta s k f i m prov i g it
n o n .

O c tober , 1 8 7 4 .
 P R EFA C E T O T H E S E C O N D ED I T I O N .

I N th e e l e ve n ye a rs wh ich h a ve ela p s e d si n c e th e p ubl i ca t i on of th e for m e r

e d i ti on of thi s Tre a tis e , s om e n ot un fri e n d l y cri t icis m s of t h e wo rk h a ve pp e r e d a a ,

i i
c on ta n n g va l ua bl e s ugge s ti on s of wh ic h th e A u th o r h a s t h a n kfu ll y a va i le d h i m s el f
in p re p a rin g th e p re s e n t Edi ti on for th e P r e ss . N ot a fe w i a cc ur ci e s ( fort u n
n a a te l y

of no g r ea t im p or ta n c e h owe v e r! h a v e al o s be e n dete c te d , wh ic h h a ve n ow be e n

r c te d
co r e . I n th e Fi fth an d N i n th C h a p t e rs s om e c o side r bl e c h a
n a n
ge s an d a dd i ti o n s

h a ve b e e n m a d e , wh ich i
w l l , it is h op e d i n cre a s e
,
th e us e fu l n e ss and c om pl e te e ssn

of th e w o rk . The A uth o r ven t ure s th e re fore to ex pre ss h is r st

ea n e w is h th at th e

Trea ti s e in its p re s e n t
, a m en de d fo rm , m a y p ro v e as a cc e pta bl e to m u sica l s tud e n ts
as h e h as r e a s on to b el i e ve i t h a s b e e n h i th e r to .

Dece mber , 1 885 .

 T ABL E OF C ON T ENT S .

C H AP T ER I .

I tr duct ry
n o o and Ge e r l O b s rv ti s
n a e a on

C H AP T ER II .

O f M l dy N d f G ius Rul s m y id t ev k l t t G ius D i ff r ce

e o . ee o en . e a a o o e a en en . e en

i th is r sp ct b tw
n M l dy d th r br ch s f M usic l Study M l dy
e e e een e o an o e an e o a . e o

m us t b i d fi i t ! y Gr g ri S c l s Pri cipl f Sym m try P ri ds

e n a e n e e . e o an a e . n e o e . e o ,

P hr s s a ed S tr i s
,
E x m pl f Sym m tric l M l d y
an a n lys d A lysis
. a e o e a e o ana e . na

f
o G d s
“
th ! u
o O rl ppi g P ri ds A lysis f D u bl C h t
a ve e een.
”
ve a n e o . na o a o e an .

P r l g tio on f P ri d s b y I t rp l ti
a on oC m b i ti e f M l di s i succ si
o n e o a on . o na on o e o e n es on .

Irr gul r Rhyth m A lysis f Ch rm t G b ri ll

e a . M l di M dul tina o a an e a e e .
”
e o c o a on .

I stru m t l d V c l M l d y c m p r d G e r l C uti s Addi ti l Rul s

n en a an o a e o o a e . ne a a on . on a e .

C H AP T ER III .

De fi n i ti on o f Fo rm Ad. v a n ta ge s it o ffe r s . List of u su a l F rm s

o . Rfr c e e en e to
Tr tisea e on C u t rp i
o n e o nt and Fu g ue

C H AP TER IV .

Of th e An ci en t Bi ry F rm
na o . I ts two va ri ti s
e e
 C O N TENT S .

C H AP T ER V .

P AG E

O f th e Mdr o e n Bi ry F rm A lysis f it I t
na o . na o . s two divisi s S b s cti s
on . u e on .

S qu c
e en e o f ! ys C u rta il m t P r l g ti
e . en . o on a on . R ul s f M i r M d
e or no o e.

T bul r vi
a a ew a

C H APT ER VI .

Of th e T r a ry F rm
e n o . Ana lysis of it . T b ul r vi
a a ew

C H AP T ER VI I .

Of th e Mi u n et F rmo . O ri gi l ki dna n . Tri o . R pee a ts . C od a . S ch re z o .

I n te rm e zzo

C H APT ER V III .

O f th e Ron d o F rmo . I ts two va ri ti s

e e . C h r c t ristic f tur s
a a e ea e . A ly is na s of it .

T b ul r vi
a a ew

C H AP T ER IX .

O f th e “
Air wi th Va ri a ti on s . D scrip tio
e n . R ul s e . C uti s a on

C H AP T ER X .

O f th e F u g u e F rm M y b c m b i e d
o . a e o n w t ih th e Mdr o e n B nai ry F rm o . Or w th i
an
“
Air wi th V ri ti s a a on
”

C H APT ER XI .

Of C mbio i s
n a t on of F rm s
o . D i ff r
e ent M “
o ve m e n t s Symp h i s d S
. on e an on a ta s .

O rd r e o f ! ys e . O ld u se of th e wo rd S on a t a . C h m b r m usic C c rt s
a e -
. on e o
 C O N TEN T S .

C H APT ER XI I .

P AG E

O f V c l C m p si ti
o a o C s s wh r r gul r F r m is dm i sibl Applic ti
o on . a e f e e e a o a s e . a on o

va ri us F rm s t V c l C m p si ti
o o o N ti l S gs H ym Tu s A th m s
o a o o on . a on a on . n ne . n e

M t tts T h R u d
‘
o e . Fr C
e V c l F rm
o n , or ee a no n, a o a o

C H AP T ER XI I I .

O f F rm l ss M usic
o e C up d F t isi
. N w F rm s
“
C u ti s t B gi rs
o e e an a e . e o . a on o e nne .

“
Ars c l r rt m Av id c f pr li xi ty P r m u t i m p rt c f M l dy
e a e a e . o an e o o . a a o n o an e o e o .

A l gy f M usic d P i ti g C cl udi g R m rks

na o o an a n n . on n e a
 LI ST O F EX AMP LES .

R gu l re a Me l ody by H a y d n, a na lys d e

2 .
-
T he “
O ld H u dre dth T u
n n e, a na lys e d
3 .
—M l dy b ye o Moz a rt . Pr l o on a t on
g i
4 . La ci d r a em l a m an o . By M oz a rt
5 —Me l ody by H a yd n
.
, ana lys d e

6 .
—S on g by D e lla Ma ri a , ana lys de

7 .
—Pa rt f D ue t fr o a om M rc e ll s a o
’ “
P s lm s
a , to illu stra te ove rl ppi g
a n of

Ph r s s a e

8 .
—A lysi na s of H d l s A ir
an e
’
Bu t Th u dids t
o n ot lea v e

9 .
—Gi gue by H a n d e l , ana lys ed . A cien nt B i na ry F rm o .
( F irs t Va ri e ty !
.

l o— . E x m pl
a e of th e s a me F rm o . Air by He ss e , a na lys d e

l l .
—E xa m pl e of A ci t Bi ry F rm
n en na o .
( S
e c d
onV ri t y ! Aair Lesc ia . a

pi g an a
”
fr m H d l s Ri ld
o an e
’
na o

l2 .
—S on a ta by F . -
A . G . O .
,
in th e M oz a rtea n S tyl e , a na lys e d
 T HE P RI NC I P LE S

FOR M A ND G EN ER A L C O M P O SI T I O N

I N M U SI C .

C HAP T ER I .

I n tr od u c tor y .

1 is oft e n thought th a t w h e n a s tude n t h a s thoroughly m a st e red

. IT ,

the the o ry a n d pra ctice o f Ha rm on y a n d Coun t e rpoint a n d c a n con s e que ntly

,

h a rm oni s e a n y giv e n m e lody c o rr e ctly a n d v a riously a n d intro duce such

,

”
le a rne d dev ice s a s im ita tions a n d c a n ons i n to his work th e n he is
,

a tra in e d m usici a n a n d co m pos e r a n d h a s o nl y to a pply hi s a cquir e m e n ts

,

in orde r to e nrich th e w orld w ith n e w a n d e xce llen t com p o sitions of his

own N o m ista k e c a n be grea t e r th a n this : it m ight a s w e ll b e supp o s e d
.

th a t a m a n w h o h a d le a rnt gra m m a r a n d o rthogra phy m ight th e re upon

se t up for a n e pic poet , or b e com e a w rite r of s a tirical e ss a ys w ithout
,

fu rthe r tra in in g Fo r in truth H a rm o ny a n d C ount e rpoin t a r e a fte r

.
,

a ll, but th a t pr e pa ra t o ry st udy of th e techn ica l ru l e s w ithout w hi ch th e

edifi c e c a nnot b e rea re d ; but it re quire s a rchitectura l skil l a n d e xp e rience
in a ddi tion to form them into a rea lly good m usical structure .

“
I !
B
2 T HE PR INCIPLES O F FO RM AND G E NERAL C OM POSITI ON .

2 . Thi s a rchitectura l skill a n d e xperience ca nnot be im p a rted entirely

by b ooks In som e d e gre e it is a n a tura l gift poss e ss e d by c e rt a in
. ,

person s a n d denie d to others

,
‘

A nd j u s t a s we a r e told th a t P o e t a
.

”
n a scitu r non fit so it m a y b e s a id of a co m poser th a t th e re quisite
, ,

geni us m ust be born in h im a n d ca nnot be a cquire d by study Still

, .
,

a s there ar e different de gre e s o f g eni u s a n d o f a ptitud e a m on g m e n so ,

it m a y well b e argue d that any one wh o h a s the le a st m usical per

c e t ion c a n tell w h a t l a tent sp a rks o f inv entive m usical fire he m a
p y
possess An d if so it is obvious t h a t cultiv a tion a n d study wil l tend
.
,

to dev elope those hidden resources a n d quicken th e crea tive powers .

A knowle dge of H a rm ony a n d C o u nterpo int is the first a n d m ost in

dispens a ble requi sit e for such a purpose ; but a fter a ll H arm ony and , ,

C ounterpoint a r e not enoug h by the m selves t o e n a ble the student to

accom plish the toilso m e a sce nt of the m usica l P a rn a ssus T h e power .

o f ori gin a tin g new m elodies and o f co m b inin g the m together s o a s to

form a consistent w hole is th e first fa culty of w hich any n ewly awakened -

genius will a va il itself The Ha rm onic a n d C ontra punt a l tre a tm ent o f

.

s u ch m elodies m a y b e rega rded a s a b solutely ne cess a ry if the co m poser

aspires to cli m b the highest pea ks But the origination of m elody is
.

after a l l the true a c t of com position ; w hile the correct w a y o f usin g a n d

c om bin ing n e w m elodies is on e o f the highest w a lks o f a r t And this is .

exactly where the power a n d im port a nce o f s ym m etry a n d rhythm ic

bala nce m a ke them selves felt and fro m this considera tion we m ust
,

deduce the whole theory a n d pra ctice of MU S I CAL FO RM whi ch is to ,

be the principal s ubj ect of this tre a tise .

Our first care then m ust be to inves tiga te th e laws of m el od y .

 C H A F T ER I I .

Of M e l od y .

1 .A G ENERAL d e finit ion o f M e lo dy w ould de scribe it a s a succession

o f single m usic a l sounds a rra n ge d in a cert a in orde r both a s to pitch
”
a n d a s to rhyth m so a s to pr o duce a n a gree a bl e i m pressi o n o n the ear
,
.

Bu t thi s a lthough a correct gene ra l d e finition wo u l d be in sufficient as

, ,

a uid eith er t the co m position or to the n lysis f partic ul ar

g e o a a o

m elodies unl e ss a cco m p a ni e d by m a ny speci a l rules a n d expl a n a tions

, .

2 . Indeed it m a y well be doubted whether the com position o f new

m elodies w orthy o f the n a m e c a n b e a cquired by rul es or definitions
, ,

a t a ll The m ost th a t such a rtifici a l a ids ca n d o is to ena ble the student

.

to a void gla ring errors in his ow n works a n d to de tect them in the

works o f o thers The fa cu l ty o f inv e n ting a new m elody is a gif t a s
.
,

we h a ve al re a dy obs e rved ; it m ust com e a s it were spont a neously into

, ,

t h e co m poser s he a d
’

In this fa ct i n de e d it is obv iously a kin to po e try ;

.

for a lthough you m a y te a ch a m a n th e ru les of v e r sifi ca tion or of m elody ,

yet you ca nnot there by m a ke h im a poet or a com poser unless he h a v e ,

a l so th e s e na tura l di spositions fo r the work which constitute h i m w h a t

is co m m o nly called a ge n i u s Both poetry a n d m elody a ppea l to the

.

e m otion s o f th e h e a rer for th e ir e ffect d no he rer w ill re ognise o r

; a n a
c
r e spond to their a ppeal unl ess it ha ve its origin in th e e m otions or
,

pa ssions o f the com poser o r poet him self Such e m otional powers of
.

B 2
4 T H E PRIN C IP LES OF FO RM AND G E NERAL C OMPOS ITI ON .

influencing others through the m edium o f the a rts c a nnot be acquired

by study unless th e cre a tive ger m o f the m be a lre a dy there But if
,
.

it be there — if th e student b e gift e d th a t is with e v e n a single sp a rk

, , ,

o f po e tic o r m usic a l fi e r — th e n indeed the rul e s o f a r t c a n fa n th a t

,

Sp a rk into a fl a m e and ena bl e the la t e nt gifts to d e v elope th e m selv es

,

into re a l a rtistic powers And th e se powers m a y fa irly be ca lled i n

.

u e n c e s b e ca use t h e sister a rts m a y be reg a rded a s a kind o f l a n g u a g e

fl ,

where in so to express it soul spe a ks to soul ; and if th e l a ngua ge of

, ,

a r t be n o t understood it m ust be bec a use either the b e a r e r is de a f o r

,

the spea ke r m ispronounces his words In other term s the true criterion
.
,

o f a r t is the e ffe ct it produc e s o n a n intellige n t he a rer ; without this

e ffect a ll the la bour expended o n it m a y b e s a id to h ave b een u tterly

3 These re m a rks do not a pply so m uch to H a rm ony a s they do to

.

Melody for a n y m a n m a y le a rn how to h a r m onise correctly by a diligent

study o f the principles and rules o f tha t b ra nch o f the art a n d by the ,

a id o f qu a lified instru ctors It does not require the gift o f genius to

.

m a ke a m a n a good h a rm onist ; al though it m ust be confess e d th a t

without th a t gift he will n e ver be a bl e to strike o u t n e w efie c ts in
’

H a rm on y But in the c a se o f Me lody no a m ount of study c a n te a ch

.

an unm usic a l m a n to invent a n e w tune a lthou gh he m a y le a rn to,

find ou t the fa ul ts in an ol d on e o r to copy its m erits .

4 A ga in C ounterpoint a n d the a r t o f Fugue c a n b e m a st e red

.
,

thoroughly by dint o f l a borious a pplic a ti o n e v en fa irly good fugu e s m a y

b e produced withou t a n y real m usic a l inspiratio n thoug h o f course they ,

would be a ll the b e tter w e re th a t i m port a nt e l e m ent pre s e nt G iv en .

th e m elodi e s a n y stu dious m u sica l schola r m a y lea rn to supply the

,

ha rm onies the counterpoints a n d even the instrum entation But when

, ,
.

he h a s done al l this he wil l onl y h ave proved hi m self a g ood a r r a n ger

, ,
 OF ME LO D Y . 5

not a c om p oser ina s m uch a s the very foun d a tion

,
on whi ch a ll hi s
superstructure h a s b e en re a red is not h is own a t a ll .

5 . From wh a t h a s
just been s a id it fo llo w s th a t fro m one point o f ,

V iew M e lody is the m ost im port a n t a n d nec e ss a ry of t h e e le m e nts w hich

,

go to m a ke a good com poser A m a n m a y be a thoro u ghl y a ccom plish e d

.

m usici a n a n e xce llent critic a n a d m ira bl e a rr a n g e r a p e rfect sight re a der

, , ,
-
,

a brillia nt pla yer a n exquisite singe r a st e a dy a cco m p a n yist or a n

, , ,

e xperienced conductor ; a n or a ll o f th e s e thi n gs h e m a be but if

y y ;
-

in a ddition to his oth e r qu a li fica tions h e is not a ble to c om p o se good

origina l m elodies he h a s no cla im to be conside re d a true co m poser
,
.

6 . Onthe oth e r ha nd t h ere is re a son to b e liev e th a t the pow e r of

origina ting good m elodies is la tent in m a ny pers on s w h o a r e ignora nt of
the ir own fa culties a n d ha v e th e re fore nev e r cu l tiv a ted the m In a l l such
, .

ca ses a n a cqua int a nce w ith the rul e s o f a r t a n d a c a r e ful study o f the
best m ode l s will t e nd to dra w out a n d m a k e a v a ila bl e th a t hidd e n pow er
a n d it is prin cip a l ly to such perso n s th a t this portion o f o u r tre a tise

w ill b e fo und u s e fu l .

7 M o re ov e r it will sure ly be a dm itte d to be a m a nife st a dv a nta ge

.

to a n y lov e r o f m usic if h e c a n a n a lyse a n y m e lody h e m a y h e a r so ,

a s t o b e a bl e to judg e of it s m erits or d e m e rits To thi s o bj e ct al so .

this trea tise p a ys a ttention a n d will there fore i t is hoped be helpful

, , ,

to the stud e nt .

8 . A m e lody if it is to produce a pl e a sing e ffe ct o n the c a r m ust

, ,

b e w rit t e n in s o m e definite ton a lit y T h e interv a ls of w hich it consis t s

.

m ust fo rm p a rt of som e regula r sca l e In a ncie n t tim es lon g b e fore

.
,

the inv e n tion o f H a rm ony sca l e s w ere m ore v a rie d a n d a lso less
, ,

sa tisfa ctory t ha n they a r e n o w The conside r a tion o f th e An cient

.
’

Greek sca les and likewise o f O rienta l system s is foreign to t h e

, ,
6 T H E PRI NCI PLES O F F O RM AND G E NE RA L C OMPO SIT ION .

p urpose o f this work c lled Gregori a n scales it m a y

. Bu t of t h e se - a

be s a id th a t they are founded on the Gr e ek tetra chords a n d n a m ed ,

a fter the ancient Gr e ek m odes They consis t as d o ou r m odern diatonic

.
,

scal es o f t ones a n d sem itones a n d they also a gree with our sca les in
, ,

o nl y a dmi tting two s e m itones in th e octave Bu t th e y diffe r fro m ou r .

m odern sca les in the p l a ce o f their sem itones : in ste a d o f pla cin g the m
a lwa ys between the 3 r d and 4th an d the 7 th and 8 th degrees a s in , ,

the m od e rn m ajor m ode or b etw een t h e z u d a n d 3 r d a n d the 7 th a n d

, ,

8 th as in o u r pre sent m inor m ode the a ncient m usic ia ns of Europe

, ,

placed their se m itones very va riously a s will be seen by the a nnexed ,

dia gram in which the va rious Gregori a n scal e s or m odes a r e pla ced in
,

order with their Greek n a m es a ttached a n d d ivided into their t wo

, ,

divisions of au th en tic a n d p la ga l with the principal note ( ca lled in ancient ,

d a ys th e D o m in a nt ! in la rg er cha racters by w a y of distinction .

AUT H ENT I C . PLAG AL .

Doria n , or fi rst m od e . Hypo d o ri a n , o r se con d m ode .

D e fg a b c D . a bc D efg a . .

P h rygian , or thi rd m od e . H yp op h rygia n , or fou rt h m od e .

Ef g a b c . bc fg a b .

Lyd ia n , or fi fth m o d e . Hyp ol yd ia n , or s xti h m od e .

F g a b c d eF . c d n a bc .

M i xol yd ia n , or s e ve n th m od e . Hy p o m ixol yd i a n , or e ighth m ode .

G a bc d e f G . d ef G a bc d .

A line h a s been drawn under th e l e tters i ndicating the interval of

a sem itone in the a bove ta ble .

9 .It will b e ob serv ed t ha t none o f these scal es coincide exactly

w ith ou r m ajor a n d m inor m odes Th e second m ode looks like a m inor .

sca l e b u t the principal n o te is D instead of A So aga in the sixth m ode

, .
,
 OF MELO D Y .

looks l ike a m ajor sca le but th e princip a l not e is not C but F Me lo di es

, .

written in a n y of the s e sc al e s h a v e th e e ffe ct o f bein g a s we m a y sa y in

, ,

n o p a rticul a r k e
y ; a n d if w e a t t e m pt to h a r m o n is e the m w e a r e obliged
,

for th e m os t p a rt to b e gin a n d e n d ou r ha rm o nies in a di ffe rent key

from tha t w hich s e e m s to pre va il in t h e cours e of the piece Although .

then it m ust b e a dm itt e d tha t m a ny m e lodie s o f this kind ha v e a c e rt a i n

wild a n d crud e ch a rm o f their o wn y e t no on e in the pres e nt d a y would
,

fe e l inclined to com pose in such im p e rfe ct a n d unsa tisfa ctory sca les
!

A s soon a s the m ode rn syst e m of tona lity wa s discovered a n d introduced

to the m usical world som e three hundred ye a rs a go a l l new m e lo di es ,

were m a de to confo rm to it a n d every piece of m usic re quir e d a proper

,

close o n the tonic This then is a n essentia l re quisite in e v ery fresh

.

m e lody ; it m ust b e w ritten in so m e m aj or or m inor k e y closin g o n th e ,

k e y note with a regula r cadence fr om do m ina nt to to ni c

, .

10 The next funda m e nt a l principle which re gu l a tes the production

.

o f go od m e lody is th a t of S m m e tr Th e r e ca n b e no doubt th a t th e
y y .

m ore re gul a rly bala nced the m em bers of a m elody a r e the m ore e asily ,

in telli gible it will be In m edi ae va l tim es the onl y sym m e try Observ ed
.

wa s th a t O f the poetry to which the m usic w a s set e xcept inde ed in ,

the ca se of da nce m usic which necess a rily h a d a m usica l rhyth m of its

-
,

own , but of w hich we unfortuna te ly kno w very little Ev e r sinc e the

.

introduction of the signs for notes o f va rious le ngths ( by Fra nco in ,

the m iddle of the twelfth century ! a n incre a sin g a tt e ntion to a n d a ppr e

,

cia tio n o f m usica l sym m e try a n d rhythm ha ve m a de them se lv e s fe lt

an d no m e lody ca n be s a tisfa ctory to m odern ca r s in which thes e
condi tions a r e not duly fulfilled .

11 . Every re gul a r m elody m a y be div ided into P e r i od s P h r a ses , ,

and Str a i n s . These may be s a id to c onsti tute the P rosody of m u sic .

8 T HE PRINC I PLES O F FO RM AND G E NE RAL C OMPO SITI ON .

Le t us an a lys e a fr a gm ent o f m e lody in order to expla in this . The

O pera
’ ’

fol lowing is th e be ginn ing o f the Huntsm an s C horu s in W eb er s

D er Fr e y sch ii tz

This ta ken al tog e th e r is a P e r i od —a co m ple te sentence endin g with

, ,

a fu ll s te p It is divided into two P h r a se s o f equ a l length E ach of

. .

these ph ra s e s is sub divid e d into two equal Str a i n s The strains are .

m a rked by bra ckets pl a ced over t h e not es ; t h e p hrases by lon g er

bra ckets pla ced under the m H e re we obviously h ave perfect sym m etry
.

a n d re gularity throughout t h e whole p e riod .

12 . exist however without m elody H ere for

Sym m etry ma y , , .
,

inst a nce there is no m elody b ut y e t there is perfect symm etry ; for

, ,

we h a ve a period of eight ba rs divided into two equ a l and sim ilar

phr ases a n d e a ch phra se consisting a s it were of t wo equ a l a n d sim ilar
, , ,

stra ins as indica ted by the brackets But this cannot be calle d m u si c
, .
,

because t here is no m e lody a t a l l To m ake m u sic of it it will b e

.
,
 OF ME L O D Y. 9

nece ssa ry to build a m e lody on this sym m etrica l b ut m on otonous b a sis .

This m a y b e done a s follows

The sym m e trica l a rra nge m ent h e re rem a i ns a s b e fore : the v a l u e of

the notes is not a ltered : t h e division o f th e period int o phra ses a n d
stra ins is e xa ctly th e s a m e : but there h a s be e n sup e ra dd e d a re a l
m elody a n d it h a s b e en m a de so by v a rying t h e pitch o f the n otes
,
.

T h e gr e a t principle O f d e finit e sca l e a n d k e y w ithout w hich no m e lody

,

ca n e xist h a s here be e n c a rri e d out

,
. In the present inst a nce our
m e lody is in the key o f C m ajor . A m elody n e ed n o t be k e pt rigidly
in on e key ; b u t it sho uld b e gin a n d e n d in it al ways ; a n d in the
c a se O f so e xce edin gly short a m elody a s this on e whi ch is o nly e igh t
,

ba rs long no room is left for a n y d e p a rture from the k e y in which it

,

begins a n d ends Inde e d so sim ple is th e tona lity o f this tune tha t
.
, ,

it c a n be a ccom p a ni ed by the desc e nding sc al e o f C excepting indeed

,

the l a st no te but on e ; thus

or still b ett e r
by a dopting the bass figure ,
which occurs
bu t on e throughout in this wa y
,
10 T HE PR I N C I PLES OF F ORM AND G ENERAL C OMPOS ITI ON .

13 But let us n ow proce e d to a n a lyse this

. m elody a little m ore
'
na rrowly It c o nsists of th e following stra ins
.

No . I . No . 2 .

NOw it is notic e a b l e th a t of these fo ur stra ins none except the la st , ,

wholly sa tisfies the e a r : there is a l w a ys a cra ving for som e new thing
to follow until w e ge t t o the e n d o f N O 4 And w h y is this ! Sim ply
, . .

b e éfiu se there is n o full stop in the sentence till then ; no p e rfe ct

cadence or clos e L et us then consider this m a tter of ca d e nces or closes
.

w ith refe rence to the construct ion o f a m elody The m ea ning Of .

ca dences in re l a tion to H a rm ony tog ether with the necess a ry rules for
,
’
this a spect of th e m is ful ly expla ined a n d discussed in t h e a uthor s
,

”
Tre a tise on Ha rm o n y Ch a pters XI I I a n d XI V But purely m elodic
, .

cade nces where n o a ccom p a n ying h a rm ony is present va ry som ewh a t

, ,

from th e ca dences of ha r m ony b ein g m or e num erou s a n d o f a differen t

, ,

n a t ur e in so m e respects .
 OF MELO D Y . 11 .

4 A m elodic p e rfect c a dence m ust end w ith t h e key not e pre cede d
1 .
-
,

by e ith e r the d o m ina nt i ts e lf or som e note b e l o n gm g to t h e dom in a nt

,

chord .

It m ust a lso gene ra lly fa ll on th e first or stron g be a t o f th e b a r

’

.
,

To both t h e se rul e s the re a r e e xce ptions b u t th e y a r e of co m p a ra tiv e ly ,

ra re occurr e nce .

Le t u s n ow a pply th e m t o the four stra in s of w hich th e a bo v e m e lody

consists .

In N o I th e c a d e nce is n ot perfe ct bec a use it goes fro m th e ton l c

.
,

C to t h e d o m i n a n t G a nd al so b e ca us e it e n ds on t h e l a s t or w e a k be a t
,

of th e b a r .

In No lthough th e ca d e nce fa lls on the strong b e a t y e t it d oe s

. 2 ,
a ,

n o t e n d on the t o ni c but on th e l e a di ng n o t e o r m aj o r third of th e

, ,

d om in a n t : it is the re fo re a l so a n im p e rfe ct c a de nc e .

I n No 3 a l though t h e c a den c e goes fro m t h e d om in a n t to th e

.
,

ton i c y e t it is n ot a p e rfe ct m e lodic ca d e nce ina s m uch a s it fa lls o n

, ,

t h e w e a k or s e con d b e a t of th e b a r .

Bu t in N o 4 th e c a d e n ce n o t o nl y go e s fro m dom in a n t to t on ic
.
,

but a lso fa lls on t h e stro n g bea t a t t h e b e ginnin g o f th e la s t b a r : this

th e n is a p e rfe ct ca d e nc e or full st e p ; the e a r is sa tisfie d ; it re quire s
,

nothin g m ore to fo llo w T h e re fo re a s fa r a s it go e s thi s li ttl e p e riod

.
, ,

o f m e lody short a s it is is a bs o lutely com plet e

, , .

15 . The
n e xt poin t to o b se rv e is the corre spond e n ce w hich e xis ts
b e tw e e n th e fo ur stra ins .

T h e first is re p e a t e d ve r y n e a r ly in the sa m e int e rv al s by the

, ,

thir d on ly a t a pitch a fifth low e r A s t h e first go e s fr om th e t o nic

, .

to th e d o m in a n t so do e s th e thi r d go fro m th e s ubdo mina n t t o t h e

,

t on ic T h e corre sp o n d e n ce b e t w e en t h e se cond a n d fo urth str a ins is

.

Of a diffe re nt sort d ep e ndi n g e ntirely on th e ca d e nce s Th a t of t h e

, .

C 2
12 T HE PR I N CI PLES OF F ORM AND G ENERAL C OMPOS ITI ON .

se cond stra in is the s a m e a s to sym m etry o f rhyth m wi th th a t o f the

fourth for th e y both e n d with o n e note o n the down b e a t ; but
!

,
,

w h e re a s the s e cond l e a ds a w a y fro m the key the fourth stra in le a ds

,

“
ba ck to it ; where a s th e s e cond a ppe a rs to a sk H ere I a m how
, ,

”
sh al l I ge t ho m e i t h e fo urth stra in a nswe rs th e enquiry by e m
”
pha tical ly crying C om e this w a y now you a r e a t ho m e a ga in
, ,
.

16. By a ddin g va rious h a rm onies o f cours e the m e a ning of th e

, ,

m e lody m a y b e conside ra bly v aried . For i nst a nc e the h al f close a t th e

,
-

e n d of t h e second stra in m a be thus conv e rt e d i n to a re a l m odul a tion

y
into th e key of G m ajor or o f A m inor ; thus
,
 OF M ELO D Y
. 13

6
3 5 2 3
But wh a t w e h a v e chie fly t o a t te nd to at present is the
a lon e,a p a rt from a l l h a rm onic c onsid e ra ti o ns .

17 N ow , if it w e re w ish e d t o l e ngth e n this little m e lody th e first

,

Op e ra tion w ould b e to ge t rid o f th e full close o r p e rfe ct c a denc e a t

,

t h e e n d o f th e p e riod o r a t l e a s t so to m odify o r w e a ken it a s to

,

des troy its fin a lity a n d thus to in duce th e e a r to e xp e ct som e thing

,

t o c om e a ft e r it : o the r w is e t h e e ffe ct o f th e w h o le pi e ce wo u l d be
ra th e r th a t o f tw o dis tin ct m e lodie s h e a rd in succ e ssion tha n tha t o f
o n e m e lo dy d iv id e d into t w o p e ri o ds Instea d therefore O f m a kin g th e
.
, ,

l a st ba rs e n d a s th e y do a t pre s e n t it will be necessa ry to a lter the

,

c lo se som e w h a t a s fo llo w s

Th is is n ow l o nge r a p e rfe ct m e lodic ca de nce for it ne ith e r ends

no ,

on th e k e y not e n o r does it fi n ish o n t h e stron g b e a t of th e b a r

-
, .

It is n o w fit t o re ce iv e som e such a ddition a s th e foll owin g :

14
’

T HE PR IN CIPLES OF F ORM AND G ENE RAL C OMPOS ITI ON .

1 8 If this n e w p e riod b e a na lys e d it will be seen to consi st like

. , ,

the form e r o n e o f e ight b a rs di vided into t w o equa l phra ses o f four

, ,

b a rs th e s e a ga in b e in gsubdiv id e d i n to str a ins of tw o ba rs e a ch so th a t

,
,

in p o int o f sym m e tr y it is a s c o m pl e te a n d re gu l a r a s its predecessor

,
.

In a ll othe r re sp e cts how ever it di ffers fro m it a ltoge th e r For th e

, , .

t w o stra ins w hich m a k e u p its form er ph ra se a r e a lm os t a like e xce pt ,

a s to pitch w h e r e i n th e y diffe r by an a sc e nt o f a w hole tone

,
The .

second phra se cont a in s tw o u t t e rly dissim ila r stra i n s o f whic h th e ,

fo rm e r is som e wh a t of a n i m it a tion o f the pre c e din g str a i n s w hil e ,

the la tt e r com es to a close on the n ote G But h e re the que s tion .

a rises w h a t sort o f G
,
h a v e w e h e re ! Is it a do mi n nt or a tonic G
a !

In other w ords h a s a m odul a tion t a k e n pla c e into th e k e y o f G or

, ,

a r e we still in th a t o f C ! This ques tion is a t once a nswered by t h e

occurre n ce o f F it t w ice in th e p e riod w hich not e fo rm s no p a r t o f the
,

sca l e of C b u t b e l ongs to tha t of G of wh ich it is the l e a ding note

, , .

We ha v e th e n m odula ted into the key of G But h a ve we co m e to a .

full close in th a t k e y ! Is the e a r sa tisfied with the e n d to w hich

this n e w p e riod h a s a rriv e d ! or do e s it cra e som e thing m ore ! M ost
’

a ssur e dly it a sks fo r m ore an d for tw o re a sons ; first becaus e the

,

con cludin g no te is not on the strong but o n th e we a k bea t of t h e

b a r ; a n d s e co ndly a n d chiefly b e c a us e th e i m pre ssi o n O f t h e o rigi n a l
'
key of C is n o t en tire ly e fla ce d a n d th e re fo re a tra ce of th e do m ina nt
,

ch a ra cte r of the G still re m a in s . The m e lody th e re fore 1 8 still in c om

p l e te ; a n d it m a
y be co m p l e t e d in two w a ys : e ith e r by co m posi n g a n

e n tir e ly n e w p e riod to succ e e d th e l a st one w h ich sh a ll e n d

,
re gula rly
with a full close on C ; o r by r e pe a ting the first m e l ody by w a y of
conclusi o n w ith its or igin a l fu l l close T a kin g th e l a tter o f th e se
.

a l te rn a ti v e s th e co m pl e t e d m elody w ill be a s
, follo w s consisting
,

a l to g e ther of thr e e e qu a l p e riods of e ight b a rs e a ch .

O F MELO D Y
.
16 T HE PRIN C IP LES OF F ORM AND G ENERA L C OMPO SITI ON .

19 . Bu t m os t so m e w ha t l e ss sym m e trica l i n
m e lodies are

structure th a n th e foregoing exa m ple A nd m usic h a s this in com m on .

w ith v e r sifi ca tio n th a t a sligh t dep a rt ure from a bsolute re g u l a rity o f

,

form m a y h e so m etim es a relief t o the e a r a n d a n i m prov e m ent of t h e

e ffe ct w hil e a t the s a m e tim e the strictes t sym m etry is usu a lly
,

observed a n d a n y exc e ptions to it should b e m ad e a n d gua rd e d by

,

the m os t c a reful a ttention to th e requirem ents o f g ood ta ste .

It h a s becom e unfortun a tely a fa shion with young com posers a t

,
‘

t h e pre s e nt d a y I n fa r t oo m a ny cas e s t o disp a ra g e re gul ar m elody

, , ,

and t o co m pose piec e s so m e ti m e s o f gre a t l e ngth in which it is

, ,

h a rd o r even i m possible to detect a n y air ( or regula r m elody!

, ,

wh a tsoever Aga inst such a syste m o f com position it is hi g h tim e

.

to prot e st Music without m elody m a y fi tl y be l ik e ne d to a paint ing

.

without a n outl ine o r to a poem wit h out a n y definite m ea ning

,
.

In de fe nce o f this modern cra z e a ga inst re gul a r m elody it is ,

so m e tim es urged tha t all t h e bes t successions of notes h a ve be e n

e xh a u s ted in the w orks O f t h e gre a t C o m posers so t ha t it is i m possible,
'
t o w rit e a good a ir n o w a d a y s wi th o u t being g uilty o f pl a gia ris m
- -
.

Bu t th a t th is is a fals e a ssertio n is su fficiently prove d by the fa c t

“ “
‘
 OF MELO D Y .
17

th a t n ew produced e ve n I n th ese l a tter d a ys which

m e l o die s are , ,

a r e b o th origina l a n d ple a sing D oubtless a s tim e go e s on a n d m ore

.
, ,

m e l o di e s a r e invented th e difficu l ty o f producing good n ew o n es

,

in cre a s e s But such is th e m a rve ll o us num b e r of possible perm uta

.

tio n s of th e n otes fro m which m elod ie s m a y be construct e d th a t it ,

will be m a ny y e a rs inde e d before th a t diffi culty beco m es in su r m o u n t

a bl e
. I t is to b e fe a re d in fa ct th a t the re a l re a son why young
, ,

com pos e rs a ffe ct t o d isp a ra ge a n d de spise r e gula r m e lody is sim ply

bec a use th e y a r e una ble to produce it the m selv es .

20 . The a bov e m e lo dy is a bsolute l y regula r a s w e h a v e shown , .

Ev ery p e riod is di v ided i n to e qu al a n d sim il a r phra se s a n d e a ch phr a se ,

is com p o s e d of e qua l a n d si m ila r stra in s But a stra in m a y con sis t O f

.

thre e b a rs inst e a d of two ; o r a phra se m a y cont a in thre e stra in s

i nst e a d o f four o r t w o ; or a ga in a p e ri o d m a y b e c o m p o se d o f thr e e
,

phra ses inste a d of two or four T h e m e lodies re s u lting fro m t h e a b o v e

.

com bin a tions w ill be l e ss symm etrica l a n d regul a r th a n those w e h a v e

be en hitherto consideri ng ; b u t th e y m a y be ve ry bea utiful n ot with -e

standing .

21 .
“
God
s a v e the ! u een m a y be cited a s a r em a rka bly good
inst a nce of a m e lody of a slightly irregula r kind Inde e d it is so .

en d e a red to us by Old a ssocia tions a n d p a triotic fe e li ngs th a t we do ,

n ot e a sily recogn ise its d e p a r ture s fro m the nor m a l form Ye t it is .

essentia l ly a n irre gula r m e lody I t is div id e d into t wo p e riods b u t

.
,

they a r e of unequ a l length The fo rm e r p e riod consists of t hr e e stra ins

.

o f t w o b a rs ea ch T h e l a tter m a y be di vid e d in to t w o phra s e s o f four

.

ba rs e a ch o f these phra ses b ein g di visible i nt o stra ins of h alf tha t

,
18 THE PRINC IPLES OF F ORM AND G E NERAL C O MP O SITI O N .

Now th e form er peri od rath er gi v e s t h e i d e a o f b eing an expansion

!

o f a r e gul a r four b a r phr a se o f t wo stra i n s fo r m e d b

-
,

O f an a ddition a l stra in insert e d b etween the two ot hers a n d m o ulded

,

as a co u nterpar t t o t h e fi rst T hu s
.

is th e open in g strain

is the second or in terpolated strain , of which th e rhythm Is o b vio us l y

 OF MELO D Y .
19

th e sa m e in a ll re s pe ct s . The third stra in ,

wh ich form s perfe ct close on the tonic is som ewh a t di fferent I n

a ,

rhythm from its two predecessors And it is a som ewh a t n otic e a ble
.

fa ct th a t the irregularity of the w hole period in the m a tter o f

sym m e try t a kes o ff som ewh a t from t h e a bsolute perfection O f this full
close a n d le a ds the e a r to expect so m e sort of continu a tion Thus one .

irre gu l a rity of constructio n in thi s c a se neutra lis e s the e ffe ct of the other .

C onsequently the be a uty o f the m elody a s a whole r e m a I n s u m m p a i r e d .

In the s e con d period the first thing whi ch we Observe is the rhythm
o f the first tw o stra ins w hich is th e s a m e a s th a t o f the openin g strains
,

o f t h e form er period thus securing unity O f e ffe ct in the w hole a ir

,
.

These stra in s a r e a l so simil a r t o on e a noth e r in the order or succession

!

of inte rv a ls except th a t the second is pi tched on e degree lower in the

,

sca le th a n the first thu s ,

T hethird stra in is a ltogether unl ike th e rest a n d is cle a rly to be ,

re ga rde d a s a connecting link or ra the r a s a prep a ra tion for the fina l

,

clos e which follows it These two concluding stra ins m a ke up thi s

.
20 T HE PRINC IPLES OF F ORM AND G ENERAL C OMPOS ITI O N .

The a ir is on the whole a very good exa m ple of an irregula r

m elody .

22 .It som e tim e s ha ppens th a t the sa m e b ar form s the close of on e

perio d a n d the b e ginnin g o f a n other In this case th e a dj a cent
.

p e riods ove r lap a n d th e whole m el o dy is consequently one b a r shorter

,

tha n perfe ct sym m etry would r equire It is however quite possible to .

construct a m e lody conta inin g this peculi a rity wh ic h sh a l l not produce ,

b a d effect H ere is a n ex a m pl e t a k e n from Reich a s Tra it é de ’

a .

”
Mel od ie .It consists of two p e riods o f four b a rs each whi ch o v e rla p ,

one a noth er by h a lf a b ar and yet do not by any m e a ns produce a n

,

unplea s a nt res u lt .

Firs t p e ri o d of fo u r ba rs .

S e c on d p e ri o d of fo u r b a rs .

Such m e lodies bove m ust al w a ys b e to a cert a in extent

as th e a

la m e a n d un sa tisfa ctory nor can th e y eve r produce so g ood a n effe ct

,

a s thos e in whic h the re uir e m ents o f erfect sym m etry a r e enforce d :

q p
still the a bove ex a m p l e and m a ny others whi ch m ight b e quoted
, ,

s u fli ce to show the use w hich m a b m a de o f suc h co m positio n s and

y e ,

it is obv ious th a t th e y a fford a va lua ble elem ent of variety .

23 . P e rh a ps
the best a n d c om m onest insta nce o f this particul a r
s ort of m elody is to be fo und in an ordina ry E n lish single o r do u b le g
 OF MELO D Y . 21

ch a nt . For ex le take the well k nown

-
ch ant in E , by L ord
Morni n gton .

A s usu a lly w ritte n of course it a ppe a rs to consist O f fo ur phra s e s

, ,

of which the first a n d third conta in thre e ba rs e a ch w hile the second

,

a n d four th cont a in four a piece .This a ppa ren tly lim ping a n d a nom a lous
stru cture m a y prob a bly b e expl a in ed by supposing that the fourth a n d
e lev enth b a rs do a s it wer e double duty ; servin g b ot h a s closes a n d

co mm e ncem ents O f a dj a cent phra ses Thus

.

m ay b e re g a rded a s a phr a se o f four ba rs Sta r ting a ga in with the

.

s a m e four th b a r the second phra se com es ou t a s follows

,

w hich is perfe ctly regu l a r a n d form s the conclusion of the firs t period
,

of the ch a nt with a n im perfect c a dence or half close on the fifth of

,
-

,
22 T HE PR IN C I PLES OF FORM AN D G ENE RAL C OMPO SITI O N .

the do m inant ch ord I f t h e thi rd phr a se

. be treated in the sam e way
as the first the result is
,

which m a y be regarded as a re gu l a r a n d sym m etri ca l fra gm ent o f

m e lody four bar s in leng th
,
Then la stly rega rding t h e eleventh b a r
.
,

a s b e ing not only the concludin g b a r of the third phra se b ut a lso the ,

com m encem ent of the fourth the conclusi on o f the chant will be as
,

tha n wh ich nothi ng ca n be m ore re gul a r as it is a phra se o f fo ur

,

ba rs e nding with a full clos e on the tonic SO th a t i n this c a s e a

.

m e lody o f fourteen bars produces virtu a lly the effects O f a m or e regul a r

o n e o f sixteen : a n d w h a t m a kes this expl a n a tion of the construction

of an English double ch a nt m ore prob a ble is th e fa ct th a t th e

note s w
.

hich a r e here s upposed t o ( 1 6 doubl e duty a n d to a c t in tw o

,

c a p a citie s at onc e a r e a lw a ys r e c itin g n otes ( i e notes O f indefinite

:

, . .

l e n gth on which lon g p a uses a r e ge nera lly m a de ! a n d are therefore

, ,

exc e ptiona lly well a da pted for the purpos e

-
.

24 But ch a nts are by no m e a ns the o n ly co m m on ca ses o f m elodies

.

in w hich phra ses or periods m a y b e s a id to o v erl a p I t ofte n h a ppens .

t hat I n a duet or oth e r concert e d piece wh e re the voices o r ins tru m ents
, ,

co m e in with their respective m elodic periods in succession to on e

 OF MELO D Y . 23

anoth er, th e sa m e b a r form s the concl usion of o n e period

- —
be ginning o f a nother for ins tance ,

O ther exa m pl e s will b e

“

g iven at the end of t h is volu m e , to which we

r e fe r the stude nt .

25 . O ther
ca s e s where th e s a m e thi ng occurs m a y b e foun d in
fugues c a nons a n d other im it a tiv e or contra punt a l c om position s Here
, , .

is a fugue subj e ct o f Ha nd e l s
’
24 T HE PRIN CIPLE S OF F ORM AND G ENERAL C OMPOS ITI O N .

Handel does not scruple to bring in the an swer to this subject in th e

fourth ba r which b a r a lso co n cludes the origina l m elody
,
So t h e .

phr a se s overl a p a n d the b a r does do uble duty th us

, ,

This is so com m on in fugal w or k s, that it b e needless to give

m ore ins tances a t prese nt .

26 . Another la rg e cl a ss of are irregu l ar on acco unt o f

m elodies
certain interpol a ted strains which sepa ra te p h ra se fro m phra se and ,

period from period These interpol a tions are o f va rious kinds So m e

. .

tim es they are sim ple p rolongations of a phrase by the a ddition of a n

extra b a r or two wh ich gene rally b ear s s o m e a nalogy to wh a t goes
,

”
before ( as is the ca se with the first part o f G od s a ve the ! ueen ,

al ready refe rred to

! So m etim
. es they t a ke the for m of an echo or

repetition o f p a rticu lar phrases or stra ins Such ech oes or repe titio n s
.

ha ve often a v e ry good effect when th e y occu r in the a ccom pa ni m ent

to a song or a s a contras ting orches tral effect in pi e ces for a full
,

ba nd T h e fo llowin g m elody from Re ich a is a perfectly regu l a r a n d

.
 OF MELO D Y . 25
“

sym m etrical one of eight b a rs divided into two equ a l phra ses e a ch
, ,

phra se con sisting o f two stra ins O f e qua l length The form er .

ends wi th a n i m p e rfect ca dence w hile t h e la tter finishes with a

,

close .

This m ay be m a de p e rha ps m ore intere stin g by repea ting th e se cond

in a octa ve a n d thus producing a kind
,

of echo .

Or a ga in som e tim e s a kind of pre m onitory stra in is pre fix e d to a

,
’

p e rio d by w a y of prepa ra ti o n Those wh o a r e fa m ilia r with L e slie s

.

ch a rmin g Trio a Ca none 0 m e m ory

, w ill re m e m b e r th e em ph a ti c
,

w a y in which h e brings in e a ch voic e with a pr e li m i n a ry e xcl m a ti o n

a
before the regu l a r m e lody is co m m enced This is re a lly a m ost e ffective
.

inst a nce of t h e kind of inte rpola tion wh ich w e ha ve been conside ri n g .

E
26 T HE PRINC I PLES OF F ORM AND G ENERAL C OMPOS ITI ON .

27
. All t h e m elodies hitherto considered h a ve been short a n d
s i m ple
.
But it will b e e a sily see n th a t so m e a ddition a l rules a r e

required when lo n ge r a n d m ore co m plica ted co m positions h a ve to b e

a n a l y sed fro m a m elodic poin t o f view If period b e a dded to p e riod
.
,

and phr a se pil e d upon phra se withou t a n y order a s to pitch le n gth

, , ,

rhythm or m od ula tion no good resul t ca n e v er be obt a ine d Th e re

, ,
.

m ust b e intellig ent design in order to s e cure the a ttentio n intere st , ,

a n d com prehension o f the listener An d the first considera tion should

.

be sym m etr y of r h yth m bet w een the periods I t is a v e ry genera l ru le .

!
,

tha t every period should be fo l lo w ed by a com p a ni on or a nsw ering ,

period w ith exa ctly the s a m e rhythm a s its e lf The m elo di es hi therto
,
.

quot e d h a ve been a l l m ore o r less constr u cted on this m od e l T heir

, ,
.

periods for the m ost part run in co u ples E a ch couple m a y diffe r fro m .

othe r couples a s to rhyth m ; th o ugh the v a riety of go o d rhy thm ical

form s is by no m ean s gre a t The m os t satisfa ctory p e riods a r e thos e
.

w hi ch consis t o f four eight o r sixteen b a rs

, ,
T h e next b est a r e thos e
.

consi stin g of three six or twelv e ba rs P eriods form ed o f other num bers
, , .

of b a rs g e nera lly produce a li m pin g or h a ltin g e ffec t o n the m ind a n d ,

should not b e taken a s m odels At th e s a m e ti m e a fe w good e x a m ples

.

m a y be fo und of m elodie s cont a ini n g periods or phr a ses O f fi ve b a rs wh e n

such is the case such periods o r phra s e s should a lw a ys b e a cco m pa n i e d
by a sim il a r co m p a nion A s a n inst a nc e of a m e l o dy thus form ed
. ,

none perh a ps ca n be found m ore succ e ssful th a n the O ld Fr e nch a ir

”
Ch a rm a nte G a brielle whic h consists of two periods th e for m er
, ,

containi ng six b a rs w hile the la t ter is co m posed o f t wo com panion

,

p hras es O f five ba rs e a ch .
 OF ME L O D Y . 27

In th is , as h e r inst a nc e s it is m a i n ly t h e for m i n w hich

in m a ny ot ,

th e v e r s ifi c a tion of th e w o rds is c a st which re n d e rs t h e irr e gu la r

rhyth m o f th e m usic t o l era ble O n th e whol e t h e stud e nt w ill do
.

w e ll t o a v o id in his co m p o sit ion s a l l phra se s o r p e ri o ds of fi v e or

se ve n b a rs a n d con fine him self to those of four e ight or sixt e en in
, , , ,

pre fe rence t o a l l oth e rs .

28 . The
n e xt consid e ra t ion is t h e proper co m bin a tion o f un ity a n d
v a riety in t h e m a tter o f m odul a ti o n If e v ery p e riod in a n ext e n ded
.

m e l o dy beg a n a n d ende d w ith t h e to n ic or e v en w ith a n y note in ,

t h e t oni c h a rm o n y a m ost i n suffe ra bl e m onot o n y w o uld in e v it a bly be

,

pro duce d T o a v o id this re sult it is a bso lut e ly n e c e ss a ry to v a ry t h e

.
,

k e ys o f the diffe re nt p e ri ods by th e introduction o f judicious m o du l a tion s

,

o r progr e ssions ; o n ly t a k in g c a re a lwa y s to b e gi n a n d e n d t h e whole

m e lody in its princip a l k e y a n d if p o ssibl e to e n d it on th e k e y n ot e
,
-

its e lf A t the s a m e tim e it is v e ry nece ss a ry to g ua rd a g a i n st

.

cha nging th e k e y so oft e n a s to o bscure o r lose sight o f the origin a l

ke v. If t his o rigin a l k e y b e lost to t h e m e m ory o f th e h e a re r a ll ,

u n i ty o f d e sign is s a crificed About h a lf w a y through a n e xt e n de d

.
-

m e lody it is usu a l a n d d e sira bl e to co m e to a full cl o s e in so m e n e a rly

re la t e d k e y such a s t h e do m ina n t o r t h e r e la tiv e m in or o r m ajor
, , .

This re st s t h e c a r wi thout giv ing t h e e ffect of fin a l com pl e tion a n d ,

thus pre p a r e s the wa y for the re m a inde r o f the tun e And gre a t .

ca re should b e t a ken tha t e a ch p e riod should flow e a sily out o f its

E 2
28 T HE PRI N C I PLES OF F ORM AND G ENERAL C OMPOS ITI ON .

pred e cessor without a n y violen t bre a k in the tona l ity ; oth e rwis e
,
a

j e rky a n d disconne ct e d e ffect wou ld be produced which ought to , be

ca r e full y a voide d .

29 In th e nex t pl a ce there is a g re a t dist inction between v oc a l

.

and i nstrum e n t a l m e lody Instrum en t a l m elody m a y ra n g e over a

.

l a rge r co m p a ss of no tes th a n vocal ; it m a y indulge in dist a nt skips

and a wk w a rd interva ls whi ch a r e utterly ina d m issible in m usic for
,

v oices . Aga in vocal m usic is very depend e nt o n th e words to which i t

,

is set a n d of which it should be th e expon e nt The e m otiona l ch a ra ct e r

,
.

o f t h e words shoul d govern th e styl e o f th e m elody No m e lody se t

.

t o w ords can b e considered good if it does n ot a g ree in a ll r e spects

,

with t h e sentim e nts it is m e a n t to convey It is tr ue ind e ed th a t

.

m e l o dy ca nnot e xpress v e ry d e fi n it e id e a s by i tself : a p a rt fro m words ,

a ll tha t it c a n do is t o excite certa in e m oti o ns a n a l ogou s to th e

, m ore
obvious o n es which the words a lone c a n d e fine Thu s it c a n i n t e nsify
.

the effect o f po e try a lthough it never c a n usurp its pl a ce But such

, .

intensifica tion can only be secured by sui ting the sty l e o f the m usic to
the id e a im p a rted by the w ord s to which it is s e t P ure l y instr um enta l
.

m usic is o f course independent o f a l l suc h considera tions .

30 There are two great d a ng ers which b e set an inexperienced

.

co m poser of m elodi e s from opposit e qu a rters which ought not t o b e

,

p a ssed over in th is pl a ce O n e o f th e se d a n ge rs a rises fro m the n a t u r a l

.

tendency which e xists to fa ll into conv entiona lism s a n d h a ckneyed

phra s e s N othin g vulga ris e s a tune so m uch a s this The oth e r a n d
. .

opposi te d a n ge r is a cert a in m orbid cra ving a ft er origina li ty with

w hich m a ny yo u n g co m pos e rs s e e m to be a ffli cted Such a t e ndency
.

is ut terly de structive of a l l rea l m e lody for it chok e s sponta ne ous

,

origina tion a t its birth I t is im possible t o o strongly to w a rn a

.

beginner a ga inst these two pitfa lls .

 OF MELO D Y . 29

31 . We h a v e s e en tha t m e lody
ought to be w ritten in a d e fin ite ‘

a n d r e gul a r sc a l e th a t it should b e gin a n d end in the sa m e key th a t

, ,

it shou l d be conc e iv e d in syst e m a tic rhyth m a n d a bove a l l th a t it ,

sh o uld b e sym m e trical As a de duction fro m so m e of th e s e d a ta it is

.
,

cle a r tha t those m e lodie s ca n a lone b e conside re d p erf e c t w hich a d a pt

the m se lve s re a dily to h a rm ony For a m e lody whi ch c a n o nly be
.

h a rm on ised a w k w a rdly ( a s for e x a m ple a la rge num ber o f s o cal l e d -

Gre go ri a n ch a nts a n d hym n s ! how ev er pl e a sin g it m a y a pp e a r to som e

,

person s wh e n he a rd by itse lf c a n y e t n ever produce p e rfe ct m usic

, .

For t h e stra in e d a n d unn a tura l h a r n i on ie s which a r e r e quire d t o

a ccom p a ny such a m e lody a r e in them selv es a dr a wba ck to th e
excell e n c e of t h e co m poun d a n d forbid us to reckon the m u sic thus
,

produce d a s p e rfect I t should b e re m e m bere d th a t m usic con sists o f

.

t w o ess e ntia l el e m en ts m el ody a n d h a rm ony

, M elo dy con ce iv e d without
.

h a rm on y is the m usic of b a rba rous a n d s a v a g e n a tion s or e lse of the ,

old d a ys b e fore h a rm ony w a s discov e red Ev e ry m usica l person.

n o w a d a ys
- -
w h o h a s t h e pow e r of m e nta ll y co n ceiv ing m e lody a lso ,

con ce iv e s ( a lb e it unconsciously! a h a rm on ic a ccom p a nim e nt t h e re to In .

th e c a se o f a n e duc a te d m usic a l e a r t h e o n e nec e ss a rily invol ve s the

, ,

oth e r It is th e re fore ob v ious th a t a m e lody de prive d of th e n a tura l

.

h a rm o n y which b e longs t o it a n d wa s conceived w ith it only e m

, ,

bodi e s hal f th e ori gin a l conce ption a n d is there fore im perfect m usic
, .

O n t h e other h a nd h a rm ony w ithout m e lody c a n n e v er int e r e st a

h e a rer It c a n conv e y no d e finit e e m otion t o his m in d It h a s no
. .

outlin e to d e fine it It h a s no prim a ry idea to illustra t e I t m ust

. .

e v e r b e v a gue and unsa tisfa ctory an d a kin to the m ournful sighing

,

of th e bre e ze as,
it pla ys a m ong t h e strings o f a n A e olia n ha rp .

It is obv ious then th a t th e se twin sisters M e lody a n d Ha rm ony , ,

should never b e s e pa ra ted ; they ca nnot thrive a p a rt .

30 T HE PRI NC I PLES OF F ORM AND G ENERA L C OMPOS ITI ON .

3 2 . Thefollow ing rules are given in conclusion by way of ad vice

youn g com pos e rs
i N ever a tt e m pt to ge t rid of the id e a o f h a rm ony w hich w i l l
.

a lw a ys co m e into your he a d to gether with a n y m elody you

m a y conceive .

11 . Nev er a llow yourself to m odul a t e from k e y to key on a n y

instrum e nt w ithout a n e ffor t to produc e so m e m e lody a long
with you r h a rmonies .

111 . Ne v e r co m m it to p a per a n d ret a i n a s approved a n y

, ,
m elodic
conception w hich fa ils to re a lise al l those condi tions of per
fe ction which h a v e b e en enu m era ted in t his ch a pt e r .

iv . N e ver r e st sa t isfi e d with any com position howe v e r g ood m a y

,

b e its h a rm ony form count e rpoint or instru m e nta tion unl e ss

, , , ,

it is found e d on regul a r a n d int e restin g m elodies .

v . G et into a h a bit o f a n a lysing m elodies a ccordin g to th e

principl e s l a id down in this ch a pter Fo r the b e tt e r guid a n ce
.

o f the stud e nt in th e work o f a n a lysis a fe w speci m e ns h a v e

b e e n gi v e n a t the end of this vol um e pp 6 2 to 6 7 Nos 1 2

, .
,
.
, ,

3 , 4, 5 an d 6 .
 C HA P T E R I I I .

O n For m .

1 . FORM
in m usic m a y b e d e fin e d a s T h e a r t of b a la ncing th e
constitu e nt p a rts o f a com posit ion w ith refe re n ce to sym m etry of
con str u ction We h a v e a lrea dy s e e n t h e im porta nce o f thi s principle
.

as a ppli e d to a sim pl e m elo dy Bu t still m ore im port a nt do e s it

.

beco m e w h e n w e a r e e nga ge d on m ore e xtended a n d com plica t e d

w o rks O f cours e t h e s e l e c tion o f fo rm s m ust be purely a rbitra ry a n d
. ,

those form s will b e b e s t which m ost perfe ctly e con o m is e n e w ide a s ,

without inv ol v i n g t e dio us rep e tit io n a n d pr olixity .

2 . If a lon g com position consist o f a succession o f n e w idea s stru ng

togethe r w ithout re g a rd to re gu l a rity o f order it will be im possibl e for
,

the hea r e r to e n t e r int o a n y of th e m so a s to e n gra ve th e m on his

'
m e m o ry ; for e a ch succ e e din g ide a w ill d riv e a w a y a n d e fi a c e th e
i m pre ssio n o f t h e l a st To a v oid this re sult it is ess e n tial t h a t th e
.

princip a l ide a s should be introduc e d m ore th a n on ce a ccordi ng t o som e

,

syst e m a tic pla n .

3 . O n th e
other h a nd if t h e princip a l ide a s a r e too frequently a n d
,

i njudiciously reitera ted the b e a r e r will tire of th e m b e fore the w

, hol e
pie ce is conclude d a n d thus a ll interest will be lost It is t h é obj e ct
, .

of r u l e s o
ff e r m to steer clear o f these two opposi t e d a n g e rs .
32 T HE PRIN C IPLES OF F ORM AN D G ENERAL C OMPOS ITI ON .

4 Th e re a r e m a ny ki n ds o f form which have been adop ted a n d

.

com m e nded to us by the best cla ssica l com pose rs of w hich it will b e ,

ne cessa ry t o tre a t in orde r The principal form s a r e th e followin g

.

I . The Ancien t Bin a ry Form .

The Modern Bin a ry For m .

The Ternary Fo rm .

The Minu e t Form .

The Rondo Form .

The Va ri a tio n s F orm .

7 . The Fugue Form .

Of these seven specie s the l a s t or Fugu e Form h a s been alre ady

, ,

’
suffi ciently expl a ined in the a uthor s Trea tise on C ounterpoint Ca n on , ,

”
a n d F ugue ,to which the stud e n t is referred a n d no further expl a n a ti o n
,

o f it will be n e eded in this volum e The other six m ust b e ex a mi ned

.

se pa ra t e ly to ge ther with cer ta in m inor v a rieties which m a y b e look e d

, ,

u pon a s derived fro m so m e o f the a bove .

5 All these form s are a r bi tr a r y

. I t is perfe ctl y conceiv able th a t
.

—
som e g re a t g enius a seco n d H a ydn Moz a rt or Beethoven m a y ,
— ,

inv ent so m e new form of equ a l va lue Bu t such ge nius es wh o ca n . ,

thus revolutionis e the wh ole m usica l world a r e not of frequent occur ,

rence a n d it would b etoken n o s m all a rroga nce in a n ordin a ry m usical

,

student to a tte m p t suc h a fe a t E qually to b e deprecated is th a t

.

fa lse feeling of indep e ndence whic h so m e t i m es pro m pts co m posers to

disp ense with all re gularity of form wh a tsoever O f bot h these pitfa lls .

l e t the st u dent b eware .

 C HAP T E R I V

Of th e An c i e n t Bi n a r y F o r m .

1 . TH I S is prob a bly the olde st sp e cie s o f form a s it is unqu e stiona bl y ,

d e rive d fro m a n cie n t d a nc e m usic t h e origin of w hich is los t in a ntiqu i ty

, .

It consists a s it s na m e i m ports o f two pa rts th e la tt e r o f w hich m ust

, , ,

b e in so m e w a y th e co m ple m e nt o r re spon se to th e form e r Mo st o l d .

songs a r e w ritte n o n t his m o del a n d w e a lso fi n d it in Ga vo t t e s , ,

C or a n tos R ig a do o n s J iggs a n d othe r o l d fa shio n e d d a n ce tune s such

, , ,
- -
,

”
a s w e re us e d to m a ke up s e ts or suite s d e piec e s dow n t o the
, ,

d a ys o f B a ch a n d H a n d e l We h e re giv e t w o v a rietie s of this fo rm

. .

No . I .

1 P rincip a l m elody , sa
y sixte e n ba rs in prin cip a l key
, .

11 C om bi n in g p a ssa ges m odula t in g sim ply and quickly into the

key of th e dom ina n t .

Se cond m e l ody in do m ina nt key concludin g the first d iv ision ,

”
with or w ithout a r e pea t .

F
34 T HE PR IN C I PL E S OF F O RM AN D G ENERAL C OMPOS ITI O N .

P ri n cip a l m elody ( N o i !.tra nsposed into

. key of D om ina nt ,

and perh a ps curt a il e d slightly .

v C o m bini ng pa ss a g es
.
m od u l a ting si m ply and b riefly into orig in a l
k ey .

Se cond m e l ody transp osed into orig ina l key ,

an d so concludin g
th e wh ole piece .

No . 2 .

1 . P rincip a l m elody in principa l key lea ding int o ,

11 Second a ry m elody in key o f do m ina nt a fte r w hich a return to ,

origina l m elody curtailed concluding in the s a m e with double

,

b a r a n d a re p e a t
, .

11 New m elody in relative m ajor o r m inor ( a s the case m a y be ! ,

trea ted with seconda ry m e lody & c exa ctly lik e the form er ,

div ision a n d ending in the s a m e k e y a s it begins ; th e n Da

,

C a po the origina l first division ending a t the first doubl e

, ,

bar .

Most of
’
2 . H a ndel s song s are written in o n e or other of th e
above va rie tie s of this form . So m e exam ples will b e found at the
end of this Vo l um e .
 C HA P T E R V .

Of th e Mod e r n Bi n a r y F or m .

1 T H I S is th e m ost i m port a nt form o f a l l Ev ery o n e o f th e sy m

.
.

!
pho n ie s of Ha ydn a n d M oz a rt a n d t h e e a rli e r one s o f B e e tho v e n c o n t a in , ,

m o v e m e nts c a s t in this m ould : a n d e v e ry co m poser w h o h a s fo ll o w e d

in t heir tra ck h a s giv e n us specim ens o f it in sy m phoni e s o v e rtures c on , ,

c e rtos s o n a t a s a n d ch a m b e r m usic for string e d instrum e nts ; nor a r e th e re

, ,
-

w a ntin g n u m e rous good inst a nces of it a s a ppli e d to v oca l m usic al so .

2 .
L ike
t h e l a s t d e scribed form it is div id e d into t w o p a rts o r sec
-
, ,

tions gene ra ll y ( though n ot a lwa ys! sep a ra ted by a double b a r a n d ofte n

, ,

with a r e pe a t .

3 T h e for m e r di v ision or secti o n cont a i n s a l l the r a w m a te r i a l a ll t h e

. ,

o rigin a l m e l o di e s o f t h e pi e ce Th e se succe e d e a ch oth e r w i thout co ntra pun t a l

.

o r h a r m o n ic d e v e l o p m e nts a ccordi n g t o a c e r t a in ord e r o f k e s e qu e n c e

y
-
.
,

T h e ord e r w ill b e a s follo w s if t h e pi e c e is in a m aj o r key

First o rigi n a l th e m e o r m e lody in t h e princip al k e y ; it m a y
a .

b e o f 8 1 2 1 6 2 0 o r 2 4 b a rs le n gth ; i t m a y b e m a d e
’

, , , ,

a cc o rdi n g t o t h e rul e s fo r m e l o dy l a id do w n i n Ch a p ter I I ,

(5 41 — 2 0 a n d m a
y v a ry in l e n gth a n d in ch a r a ct e r a cc o rdi n g
to the d 1 m e n sio n s in t e n d e d for t h e w hol e pie ce .

i gh t i d d b s id th t l l B th
It m n s Sym ph i s c t i d m v m ts i
ee e a a a ee o ve n
’
on e on a n e o e en n

th M d r Bi ry F rm if w w r t
e o e n thna t rm i s m wh t l s r s s F
o , e e e o u se e e n a o e a oo e en e . or

th e ly ss ti l d p rtur fr m th e r gul r f rm ul i which th gr t C m p s r

on e en a e a e o e a o a n e ea o o e

i dulg s i th s m m ts is i sub stitu ti g s m th r

n e n e e rly r l t d k y f th t f
ove en n n o e o e n ea -
e a e e or a o

th d mi
e t i o th first i tr ducti
nan f th ns c d th m e m l dy St ill th is i
n o on o e e on e e or e o .
, s

an irr gul i ty th u gh b u tiful e i suc h h ds a d th r f r ! ustifi s th g r l

e ar , o a ea on n an , n e e o e e e e ne a

ass rt i i th t x t
e on n e e .
36 TH E PRIN C I PLES OF F ORM AN D G E NERAL COMPOS ITI ON .

T h e B r i d ge ,
com pos e d of m od u l a ting p a ssa ges to le a d from the
,

first to the s econd t hem e The se p a ssa ge s m a y b e n e w or

. ,

th e y m a y b e m a de ou t of fra gm en ts of the origina l th e m e ;

th e y m a y be m e lodic in ch a ra ct e r o r not a ccordi n g to cir
, ,

c u m s ta n c e s They should be so contriv ed a s to l e a d th e e a r

.

t o exp e ct so m e new them e in th e k e y o f the dom i n a nt a n d ,

for this purpose they shou l d g e nera lly be conclud e d by som e

sort o f ped a l o n the d om i n a n t of th e n e w k ey Thus fo r .

ex a m pl e supposin g the origina l them e to b e in the k e y o f

,

D m ajor t h e bridg e should consist of p a ss a g es o r pr ogr e s

,

sions m odul a ting in som e such w a y a s the following

No I
. .

8 13
g
or , No 2 . .

8 U 1!
2
or , No 3 . .

8
3 5
s
 OF TH E MO D ERN BI NARY FORM . 37

7 . The bridge l e a ds us i n to t h e key o f t h e do m in a nt o n ,

w hich m ust n o w b e introduc e d a s e cond origin a l th e m e o r

m e lody . This sh o uld pre se n t so m e points of contra st w ith
t h e ch a ra ct e r o f th e firs t th e m e for the s a ke o f v a riety a n d ,

m a y v a ry in l e ng th a ccording t o circu m sta nc e s .

6 . A fe w p a ssa ge s of a tol e ra bly brilli a nt kin d sh ould l e a d to a

perfe ct clos e in th e key o f th e dom in a n t thus form ing the ,

conclusion o f th e first section o f th e pie ce .

4 .In t h e sec ond s e ction o f the com p o sit ion sh o uld b e dev e loped
th e ide a s a lre a dy e n u n ci a t e d in t h e first p a rt But i t m a y be di v id e d
.

in to t w o subsection s in the form e r o f w hich th e se d e v e lopm ents a r e

,

a . In fa ct th e on ly u se of this form er s ub section is to give a n

-

opportun ity for th e d e v e lopm ent o f ide a s Th e se de v e lop .

m e nts sho u ld b e o f a contra punt a l c a nonic a l im it a tiv e o r

, , ,

fuga l kin d a n d t h e re fo re it is oft e n d e sira bl e so to

,

con struct such origin a l m e lo die s a s m a y w o rk w ell t og e th e r

in doubl e counterpoint T h e stud e nt m a y be re fe rre d a lso
.

th e re m a rks o n fu g a l Ep isod e s in t h e a uthor s ’

to
Tre a tis e o n C oun t e rpoin t Ca n on a n d Fugu e Cha pt e r
, , ,

X X II for v a rio us m od e s o f im it a tive tr e a tm e n t which

, ,

m a y w e ll be i n troduced in this p a rt o f a pi e ce As .

to m o dula tion this subs e ction ought n ot to b e gin in the

,

o rigi n a l k e e sp e ci a lly if t h e first di v isi o n of t h piec

y , e e

h a s b e e n r ep e a te d But it m a y st a rt in a n y of the fol

.

lowing k e ys
i T hed om ina nt m ajor ;

11 . The do m in a nt m inor ;
38 T H E PRINC I PLES OF FORM AN D G ENERAL COMPOS ITI ON .

iii The sup e rtonic m ajor

.
,

i v T h e m e di a n t m inor ;
.

v. The t on ic m inor
vi The m inor m e dia nt m aj or
.
-
.

The m odul a tions e m ploy e d m a y be l e ft to the u n

fe ttere d fa ncy o f the co m poser provi d e d only they nev e r
,

tra n sgress the rules of h a rm ony or th e d i ct a tes o f good

,

t a ste
. T h e l e ngth o f this subs e ction is v e ry v a rious
a ccording to circu m st a n ces If the origin a l ide a s do n ot
.

l e nd them selv e s sufficiently well t o developm ent it is ,

a l lo w a ble to intro d uce a n e w origina l ide a contriv ed

expressly to work in with those a lre a dy existing T his
.

subs e ction ou ght to e n d with the h a rm ony o f the dom ina n t

o f the origina l key ,
inte n sifying its dom in a nt ch a ra cter if ,

need b e by the intro duction o f a dom ina nt peda l leading

,

dire ctly into the s e cond subs e ction .

B Th is second sub se ction

. looked upon a s the d én o fim e n t
m ay b e
o f th e w hol e pi e c e
. I t usu a l l y b e gins by re pea tin g the
o rigin a l th e m e or m elody in the origi n al k e y e ith e r ,

ex a ctly o r w ith such v a ri a tions a n d curt a ilm e nts a s t h e

c a s e m a y s e e m to d e m a nd This is foll ow e d by a bridge
.

of m odu l a ting p a ssa ges a na l ogous to b u t y e t di ffe r e nt

,

from th a t in t h e form er di v ision In the pre s e nt c a se it

, .

sh ou l d le a d first fro m a n d th e n b a ck to the origina l k e y

, ,

introdu cin g it if n e ce ssa ry w ith a dom ina nt p e da l Afte r

, , .

this co m e s th e secon d origin a l the m e in t h e key of the

tonic ( a n d not a s befo re in th a t of t h e do m ina nt ! a n d
, ,

thus w ith a fe w brilli a n t p a ss a g e s a n d c o ncluding chords

, ,

th e wh o l e pi e ce co m es to a s a tisfa ctory t e r m in a tion .

 OF THE MO D ERN BINARY FORM . 39

If th e com pos e r wish e s to l e n g th e n th e pie ce h e m a y do it in m a ny

wa ys . A cc e ssory pa ssa g e s m a y b e a dde d to e ither or both O f th e
princip a l the m e s ; or th e d e v elopm e nts of t h e form e r subsection m a y
b e ext e nd e d into r e a l epis o des ; o r a co d a m a y b e a dd e d a t the end ,

which m a y eith e r consist of bril l i a n t p a ss a ge s o r m a y its e lf b e a n ,

e pis o de ,or m a
y b e form ed of fug a l d e v elop m ent s a n a logous to thos e

d e scrib e d a bo v e .

If it b e de sire d o n th e oth e r h a nd to shorten the piece th e form e r

, , ,

subs e ction con t a inin g t h e d e v e lop m e n ts m a y b e curta ile d or e v en ,

a l m os t o m itt e d a s is g e n e ra lly d o n e in t h e o v e rture s of It a li a n op e ra s

, ,

a n d in the first m o v e m e n ts o f sh o rt e a sy son a ti n es .

5 . If th e pi e ce be in the m inor k e y t h e order will be as fo llo ws

FI R ST D I VI SI O N .

First origina l them e in origin a l k ey .

6 Bridge. m odul a tin g

in to r e la tive m ajor a n d e ndin g genera lly,

w i t h a d om i n a nt p e da l in tha t k e y so a s to le a d t h e e a r
,

to e xp e ct the
7 . Se cond princip a l them e in ,
th e k e y o f th e rel a tiv e m aj or .

3 . Acc e ssory p a ss a g e s & c concluding this div ision in the

, .
, k ey
O f th e re l a t iv e m aj o r .

SEC ON D D I V I SI O N .

a . First subs e ction . D e v e lopm e nts ,

b e ginning In

following ke ys
i Re l a tiv e m ajor

11 . M in or of re la tiv e k ey
 T HE PRI NC I PLES OF FORM AN D G ENERAL COMPOS ITI ON .

iii . ! y
e of sm inor
e venth ,
m ajor ;

iv . Sub m edi a n t m ajor ; -

v .
—
Sub m e di a nt m in o r ;
vi. Fla ttened tonic m ajor

it will then m odula t e contra puntally or other wise a s a b ove

described a n d so le a d ( by a dom ina nt ped a l genera lly!
,

into the
6 . Se cond subsection which com m ences with the origina l the m e
,

in the origina l key a n d is conducted e x a ctly like a piece

,

in the m ajor key a s a bov e described exce pt th a t

, ,

7 . The second princip a l the m e m a y be reproduc e d either in th e

m inor or t h e m aj or o f the origin a l k e y Thi s w ill o f .

cours e depend p a rtl y on th e ch a ra ct e r of the m elody a n d ,

p a rtly o n the t a ste of th e co m poser If brilli a n cy a n d .

strong contra st a r e required it will be b e st to conclud e

,

in the m ajor If the w hole pie ce is intended to p a rt a ke

.

of a p a th e tic or m yst e rious cha ra cter then a mi nor ,

conclusion will be pre fe rred .

8 . It m ay be Observ e d tha t som e tim es t h ough ra r e ly the second

, ,

principal subject is i n troduced int o the first div ision in the

m inor k e y O f the do m ina nt inste a d O f the rela tiv e m aj or
, ,

th a t div ision there fore e nding in a m inor key In such .

a ca se i t is Obvious th a t the m odula tions in the second

division will h a ve to b e so m ewh a t m o di fied .

We will n ow give a g e nera l t a b ul a r v iew o f the b in a ry form to ,

the student in im pressing it o n his m em ory .

 OF T HE MODE RN BINARY FORM . 41

F I RS T D IVI S I ON .

First ri gi l
o na S c d ri gi l
e on o na Acc ss ry id a s
e o e ,

he m e hem e &c c cludi g in

~

t . t ,
in n ew k ey . .
,
on n

n ew k ey .

SECOND D IV I S I ON .

F IR ST S U B SE C TION

P rp tu l m dul ti s
e e a o a on and d l pm
e ve o en t s . H lf cl s
a o e on d mio n ant
( p
e d la! of o ri g i a l k
n e
y .

S EC OND S UBSEC TION .

F irst th em e in th e Tr si t m dul
an en o a S c d th m tr s
e on e e an C d o p ss g s
a , or a a e

ti s f u d d
on o n e on p s d i t th i
o e n o e or f rm in g co cl usi o
o n n .

th ebridg d e, an gi n al k ey of th e
l di g b ck t
ea n a o h l pi c e
w o e e .

th s me k y
e a e .
 C H A P T E R VI .

Of th e T e r n a r y F or m

1 . TH I S form divides a piece into three portions of a b out equa l

len gth .

2 The firs t portion is devoted t o the exposition o f the origin al

.

m elodies or the m es o n which the whole pi e ce is to be built I t sh o uld .

b e gin a n d end in the sam e k e y a n d only tra ns ient m odu l a tions and
,

short dev elop m ents are a dm iss ible .

3 . The s e cond portion is form ed li ke the first I t m ust however

.

begin a n d end in so m e di ffere nt key from the precedin g I t m ust b e .

a l so t h e exponent o f new them es O n l y tra nsie nt m odul a tions and

.

short d e v elop m ents ca n b e adm itte d I t sho uld end in the key in
.

which it b e gins I ts length should b e as ne a rly a s m a y b e the sam e

.
, ,

a s t h a t O f the first portion The key in which it is com posed shoul d

.

b e nearly related to th a t O f the firs t portion so a s to succeed it

,

without the int ervention o f m odul a ting chords or p a ssa ges The parts.

are sep a rated by a double b a r genera lly without re pe a ts

,

4 The th ird portion genera lly b egins in the origin a l key o f th e

.

pie ce in which o f co urse it al s o conclude s

, N o new them e should be
.

h e re introduced Mod ulations a r e adm issible a n d desira bl e pro v id e d

.
,
 OF T HE T ERNARY FORM . 43

th e origi n a l key h e n e v e r e ntire ly fo rgotten D e v e l op m ents o f the .

th e m e s c o nt a ined in both th e pre ce di n g p o rtion s should fo rm th e prin

c i a l m a teri a l u sed an d t h e w hole sh o u l d cu l m in a te in a brilli a n t and
p ,

effe ctive coda form e d in a sim il a r w a y .

5 . We subj oin a t a bul a r v i e w of this form .

F IR ST P ORTION . S C ON D P ORTION
E . T H IRD P ORTION .

E xp si ti
o o n of t h e m e s ; h rdly
a C om m e n c e and end in s om e M dul ti g d l p m ts
o a n e ve o en

a ny mo dul ti
a on or d l
e ve rly r l t d k y ; w
n ea -
e a e e ne f rm d t f l l p
o e ou O a re

o
pm e n t ; en d in o ri gi lna th m s tr t d
e e ,
i first
ea e as n i s th m s b gi i g
v on e e ,
e nn n

k ey . p rti i l l r sp cts
o on n a e e . and di g i ri gi l
en n n o na

k y e d c cludi g wi th
, an on n

cd o a.
 C H A P T E R VI I .

Of th e M in n e t F or m .

1 . T HI S
is a li ght a n d plea sing form of s m a ll e r dim ensio n s tha n ,

the foregoing it is useful a s a contra st or relief b etween two longer

,

m ovem ents in a gra ver style .

2The origin a l m inuet form a lwa ys consisted Of a piece in tripl e

.

”
ti m e a n d of m odera t e speed to which w a s a tt a ched a trio or
,

a ddition a l m ovem ent a l wa ys e n ding with a repetition O f the m inue t

,

i tsel f .

3 The m inu e t a n d trio were a lwa ys written in t h e shor t o r

.

ancient binary form No I eac h consisting o f two portions s e p a ra ted by

, .

a doub le b a r and e a ch portion repea ted ; excepting wh e n t h e m inue t

,

w a s pl a yed over for the la st ti m e a fter the trio w h en no rep e a ts were ,

m a de T O ensure this a t the end o f th e trio the w ords

.
,
M e n u e tt o
”
Da Ca po s e n z a re plica were usu a lly inserted T h e trio was a l m os t .

always in som e ne a rly re l a ted k e y .

4 . So m eti m es fe w
dditiona l b a rs by way of coda were a dded to
a a

the m inuet aft er its la st rep e tition with the object o f le a ding s m oothly,

into the succeedin g m ove m e nt .

A n e xa m ple of a regula r m inuet a n d trio will be found a t pp .

1 2 3 t o 1 2 7 .

Vi d a p .
33 .
 OF T HE M INU E T FORM . 45

5 B e e thov e n introduce d a m ore lively style of m inuet a n d trio

.
,

ca lled a sche rzo A r e gu l a r sch e rz o e x a ctly r e s e m bl e s a m i n u e t a n d

”

trio sa v e th a t it is gen e ra lly in 2 tim e a n d is a l wa ys m uch quicke r

, ,

a n d m ore liv e ly th a n t h e older form .

6 . So m e tim e s the tri o of a sch e rzo is n ot a distin ct m ov e m e nt but ,

is ra th e r a m e re prolonga tion o f the scherzo disp e nsi n g with th e usu al

,

re pe a t s .

7 . L a s t ly B e e thov e n an d a fte r
others sub
h im Me nd e ls sohn an d
s t itute d a m ov em e n t in 2 tim e fo r t h e sch e rzo or for th e trio or for , ,

both Such a m ovem e n t O fte n a ssu m e s la rg e r dim e nsions a n d is w ritten

.
,

in th e m odern bin a ry fo rm I n such a c a se it is ca lled a n Int e rm e zz o

. .

8 . fore goin g m o difica t ion s o f th e regul a r m in u e t m a y

An y of th e
b e a dva nt a geously a dop te d a ccordi n g to t h e r e quire m e nts O f the pi e ce
into which th e y a r e to b e i n troduc e d .

9 If it is d e sired t o le n gthe n a r e gul a r m inu e t a secon d or e v e n

.
,

a th ir d trio m a b e a dded a l w a ys pr o v id e d th a t t h e m inu e t w i t hout

y , ,

re p e a ts be pla ye d a ga in b e twe e n ea ch trio a n d a t the end of th e

, ,

whol e .

If th e m inue t fo rm i s a do pt e d for a co m ple t e a n d is ol a t e d

10 .

com position it should b e l e n gth e n ed conside ra bly a n d th e n both the

, ,

m inuet a n d trio m a y be w ritt e n in the t e rna ry form .

1 1 Ma rches a r e written m o st l y in th e m inuet form on ly in

.
,

co m m o n tim e a n d w ith a frequ e n t u se o f th e p e cul ia r m a rch rhyth m

,
-

They g e n era lly h a v e m ore tha n on e tri o ,

an d

ve ry oft e n
so a brillia nt cod a to conclud e
al .

1 2 O n e peculia r v a ri e ty o f m a rch e xists

. w hich Me yerb e e r ,
h as
in a gre a t m e a sure m a d e h is o wn ca lled a Torch M a rch Ma rch e ,
-
,
au x
46 T HE PR I NC I PLES OF F O RM AN D GENERAL COMPOS ITI O N .

F la m b e a u x , or ( w ithccura cy ! Fa k e l t a n z ; which is ra ther a

m ore a

m inu e t t h a n a m a rch and is pla yed by a m ili tary b a nd a t gr a n d

,

R oy a l Wedding s in P r u ssia B a va ri a a n d a fe w oth e r G erm an C ou r ts

, , .

Although very m ilit a r y in genera l styl e it is written in very slow,

triple tim e which invests it with a po m pous a n d cour tly ch a ra cter

,

m ore a kin to the o l d

“
Minu et de l a C o ur th a n to a nyt h in g el se I t .

is o f considera ble l en gt h a n d con tains several trios and episodes b esides

, ,

a cod a to conclude .
 C H A P T E R VI I I .

Of th e R on d o F or m .

1 . TH I S form is of two kinds o n e dev e loped

,
ou t of the Bi n ary , an d

th e othe r o u t of the T e rn a ry Form .

2 Its chie f ch a ra ct e ristic in e v ery ca s e is the continua l recurrence

.

o f t h e first origin a l th e m e with w hich every d iv ision a n d sub se ction

,
-

m ust a lw a ys con clud e s a v e tha t a t the l a st rep e tition it m a y be

,

follow e d by a fina l coda .

3 . Ev e ry
re p e rcussion O f th e origina l th e m e m ust b e in its o wn

origin a l k e y Bu t ce rt a in curta il m e nts or v a ria tions

. of it may be
a dm itted wh e n its r e petitio n s a r e m a ny .

4 A s it follows fro m th e re a pp e a ra nc e of the or 1 g1 n al th e m e a t

.
'

e v e ry d o uble b a r th a t e a ch di vis ion a n d sub s e ction w ill end in th e

-

origina l key c e rt a in m odifica tion s of the m odul a t ion s a n d successions

,

of k e will b e n e c e ssita t e d which will be su fficiently o b vious to the

y ,

stude nt w ithout b e in g mi nut e ly described h e re .

5 . A s the origina l the m e will b e very Often heard during the

cours e of th e pi e c e it will b e b e st t o a v oid m a king it m ore tha n
,

sixte e n b a rs in l e n gth although a ccessory m e lodie s m a y be a ppended

,

to it on its first a pp e a ra nc e which m a y a dv a n ta geously b e om itte d

,

a ft e rw a rds The s e cond origin a l th e m e m a y be m a d e O f lon ge r

.
 T HE PR I NC I PLES OF FOR M AND GENERAL COMPOS ITI ON .

d im e ns io n s ,
it w ill o n ly b e h e a rd t wice during the course
as Of the
pie ce ,
an d th e n in diffe ren t keys .

We w ill n o w giv e a t a bula r v ie w of th e

6 . Rondo Form , which will
sufficiently e xpla in its structure .

FIR S T R O N DO FO R M , DERI V E D FR O M BI N A RY FO R M .

F I RS T D IV I S I ON .

Firs t ri g i l th m
o na e e, Brid g t l d fr m
e o ea o S c d ri gi l
e on o na Acce sso r y id e a s a n d F irst th em cur e,

w i th cc s ry m
a es o e firs t t s e co d
o n t h em e ,
in new k ey . p ss g s m du
a a e o ta il d d r p t d
e an e ea e

l di s & O ft
o e , c .
, en t hem e . l ti g b a ck to
a n i its ori gi a l
n n

en di g with th e m
n e

rp td
e ea e .

SECOND D IV I S I ON ,

FIR ST S U BSE C TION .

P rp tu l m dul ti s
e e a o a on and H alf cl s o e on d mi
o nant F irst th m i xte s b t e e, n e n o, u

d l p m t s f b th
e ve o en o o
( p d l !e a of o ri gi l na wi th u t cc ss ri s I t
o a e o e .

th e m s e . k ey . m y b a slightly v ri d
e a e or

m b r oid e r d
e e .

S EC OND S U BSEC TION .

A cc ss ry p ss g s
e o a a e S e c o d th
n eme in Sh or t cc ss ry d e
a e o C da o and c o clusi o
n n.
an d piso d l d v l p
e a e e o
ginal k e
y . ve ol p m t l di g en s ea n

m ts l e d i g i t
en a n n o i t first th e m e i
n o n

or i gi l k y nacur e ,

t il d B t th is p
a e . u or
ti on is s m tim s o e e

al t g th r m i tt d
o e e o e ,

i th i te rests f
n e n o

b r vi ty
e .
 OF T HE RO NDO FORM . 49

SEC O N D R O NDO FO RM , DER I VE D FR O M T ERN A R Y FO R M .

F I RS T P O RT I O N .

E xp si ti
o on o f o rigi l th m
na d cc ss ry m l di s
e e, a n a e o e o e , wt ih O rigi l th
na em e ins me a k e y,
s lightly m dula ti g pa ss ges l a di g t
o n a , e n o bu t curt il d
a e .

SECOND PORTI ON .

B gi i w k y with w th m s a n d
e n n ne e ne e e , Bridg e , or a cc ss ry e o F irst th em e rigi l
in o na

slight m dul ti s l di g ba ck to
o a on , ea n id a s
e ,m du l a ti g
o n k ey, un c r ile d
u ta .

s om e n e w k ey . b ck to a

T H I RD POR TI ON .

M dul ti g d l pm ts f rm d t of
o a n e ve o en o e ou Firs t th em e in o ri gi l na Cd
o a and c clusi
on on .

l l pre vi us th m s b t ul ti m a te ly
a o e e ,
u k e y, ri d
va e and

l di g b ck to ea n a c urt il d a e .
 CHAPT ER I X .

Of th e Ai r with Va r i a ti on s .

1 TH I S form is used either for co m pl ete isolated pieces

.
,
or as pa rt
of m ore extended co m positions .

2 . It
is perh a ps o n e of the Oldes t form s a s it w a s very com m only ,

em ployed thre e hundred ye a rs a go for virgin a l m usic a n d consorts for ,

“

”
v iols I t a l m os t a lw a ys form e d p a r t o f r e gul a r suites de pi ec e s for the
.

spinet and h a rpsichord down to t h e tim e o f J S B a ch a n d H a ndel !

, . . .

I t was often introduced into sy m pho n ie s qu a rt e t ts a n d sona t a s by ,

-
, ,

H a ydn Moz a r t Be e thov en a n d their followers

, , L a stly a v e ry florid , .
,

a n d brilli a n t form o f i t h a s been used in the co m position o f a l a rge

quantity o f m odern pi a no forte m usic It is the refore o n th e whol e .

Th r is c sid r b le e l gy b twe th is f rm d th e ci t cus t m f wri ti g

a on e a e ana o e en o an an en o o n

Di visi s up onG r u d B ss A dm ir b l sp ci m s f m ve m ts th us c tri v d m y

on a o n a .
”
a e e en O o en on e a

b e f u d i th w rks f P urc ll Bl w
o n n deth r E glis h c m p s rs f th
o o l tt r p rt e ,
o , an o e n o o e O e a e a

o f th s e v te t h c tury Als i th s f H d l d J S b sti B ch T h G r u d

en e en en . o n o e o an e an . e a an a . e
“
o n

B ss ( i I t li
a
”
B ss sti t ! is s h r t s ri s f t s r p t d O e r a d
n a an
“
a o o r na o
”
a o e e o no e , e ea e v n o ve

a g i c ti u usly th r u gh u t th wh l m m t
a n on n o r wh ic h m y v ri us m l di e s
o o e o e o ve en , o ve as an a o e o

an d h rm i s a pl c don e b m d t gr wi t h i t G r lly th g r u d b ss
are
”
a e as ca n e a e o a ee . en e a e o n a

is ti ly c fi d to th k y f th pi c ; b t cc si lly i t is ll w d t C h g t
en re on ne e e o e e e u o a on a a o e o an e o

sm o e rly r l t d k y A s
n ea x m pl f gr u d b ss i
e a e ei ri bl k y I
. an e a e O a o n a n on e n va a e e ,

w u ld qu t
o th b u tiful s g Wh I m l id i
o e e ea rth i P urc ll s D id d on ,
“
en a a n ea ,
”
n e
’ “
o an

JE ne a swhi l i st c f gr u d b ss wh ich is ll w d t m d l te I w uld

e as an n an e o a o n a a o e o o u a o

r f r t th ch rus T s g d d c i H d l s r t i f S m s
e e o e o o on an an e,
”
n an e
’
o a or o o a on .
”
 OF T HE A I R WI T H VAR I ATI ONS . 51

a form o f c o n sid e ra ble i m p o r ta nce a lth o ugh p e rh a ps i n fe rior from

,
an

a r tis t ic p o i n t o f v i e w to th o se w e h a v e a lre a dy d e scrib e d .

3 . V a ri a tions m a y b e
c on struct e d e i th e r u pon a n origina l t h e m e o r
m oti v o or upon so m e w e ll kn o w n o r p o pul a r m e lody
,
-
T h e l a t t e r is th e .

pl a n c om m o n ly a dopt e d by m od e r n com pos e rs of pia no fort e m usic T h e .

fo rm e r is t h e m ore cl a ssica l w a y a n d ought a l on e to b e us e d wh e n

,

a t h e m e w i th v a ri a ti o ns fo r m s a p a rt o f a l a rg er work T h e t w o w a ys .

h o we v e r a r e of e qu a l a n tiquity a n d h a v e both b e e n a d o pt e d by som e

,

o f t h e best a nci e n t a n d m od e rn co m pos e rs o f instrum ent a l m usic .

4 .ch a ra ct e r o f the v a ria tions will va ry a ccordin g t o th a t o f

T he
t h e instru m e nt or c om bin a tion o f instrum e nts for which th e y a r e
, ,

i n t e nded An d th e re fore the rul e s w e sh a ll h e re gi v e m ust be subj e ct

.

t o m a ny corr e spondi n g m odifica tio n s a ccording to circu m st a nces .

5 . The fo llowing are so m e O f the w a ys in which m e l o dies m a y be

va rie d :
1 P rese rv e th e m elody
una lte re d but va ry the a cco m p a n i m ents
,

by intro ducin g m ore fl or id figure s a n d ra pid p a ss a g e s .

11 O rna m e n t t h e m e l o dy wi th gra c e not e s sh a k e s a ppoggi a tura s

.
-
, , ,

p a ssin g a n d a u xili a ry not e s turn s a n d t h e lik e

, , .

i n Introduc e brilli a n t p a ss a g e s c o ntinuously w hich sh a ll conta in .

in th e m t h e n ot e s o f t h e m el o dy whil e a t th e s a m e ti m e ,

t h e y fo rm a n e m broid e ry th e re o n .

iv P u t th e m e lody if m aj o r I n to t h e m inor of the k e y o r into

.
, , ,

t h e re l a ti ve m in o r or if it b e m in or th e n i n t o a m ajor
, ,

k e y ; s o a s to a lt e r its ch a ra c t e r .

v i C h a ng e t h e p a c e o f the m e l o dy fr o m fa st t o sl o w o r fro m ,

sl o w to fa st ; o r else ch a n g e the ti m e o f i t fro m co m m on

'

t o tripl e or fro m si m pl e t o co m pound o r t h e c o nv e rse O f

, ,

th e se .
52 T HE PR IN CI PLE S OF FORM AND GENERAL COMPOS ITI ON .

P u t th e m e lody in t h e ba ss o r in a n inner part a n d we a v e

,

in a new m elody with it 1 n the upper p a r t .

Tre a t th e them e can onically or with p e rpetua l i m ita tions

, ,

a n d va rious counterpoints.

C o m bine som e o f th e a b ove wa ys tog ether if the them e will

a d m i t O f it
.

6 Th e re is o f cours e n o ru l e which lim its th e nu m b er o f va ri a tions

.

m a y b e s uccessively introduced except t h e r e quire m ents of good

,

t ast e Suffi ce it to sa y th a t if they exceed a certa in lim it extre m e

.

we a riness is sure to be produced .

 CHAPT ER X .

Of th e Fu gu e F or m .

1 . det a ile d a ccount o f this form th e student i s r e fe rred to

FO R a

th e a uthor s Trea tise on C ounterpoint C a non and Fugue where th e

’

, , ,

subj e c t is fu l ly discussed .

2 But th e fugue fo rm m a y b e com bi n e d w ith the m ode rn bina ry

.

form v e ry a dv a nta ge ously e ith e r in ov e rture s or in t h e la st m ov e m e n ts

,

o f son a t a s sym phonie s a n d qua r te tts P e rha ps th e finest e xa m ples of

, ,
.

”
such a com bin a tion a r e th e ove rture t o Moz a rt s op e ra D ie Za u b e r flOte ’
,

a n d t h e fi n a l e t o his sym phony in C No 6 W e sp e cia lly reco m m e nd

, . .

the student to exa m ine and a na lyse thes e m a gnificent works and to ,

i m itate the m a s fa r as h e can .

3 . A fu gue on th e origin al the m e will often m a ke a g o od fina le to

a se t of va ria tions
.
 C H A P T E R XI .

Of C om bi n a ti on s f
o For m s .

1 . va rious fo rm s d e scrib e d in th e preceding ch a pters

T HE are O fte n
”
ff of
“
g rouped to g e th e r to c on sti tute t h e d i e r e nt m ove m ents , which
t h e l a rge r sort O f instrum e nt a l w orks consi st .

2 Th u s a r e constru ct e d sy m phon ie s a n d sona ta s ; str in g tr ios qua r

.
~
,

t e tt s quint e t t s s e stetts s e ptet ts a n d o t te tts ; ov e r t ur e s a n d conc e rtos

, , , ,

and a lso so m e ti m es thou gh m uch m ore ra re ly certain v oca l c o m

, , ,

positions .

3 . A sym phon y is by fa r th e m ost i m port a nt co m position o f a ll a s ,

r e ga rds th e pow e rs a n d re sourc e s of abso l u te m u si c i e m usic w hich , . .

dep e nds sol e ly o n its e lf for its e ffe cts a n d is in no w ise d e p e nd e n t o n

,

w ords scen e ry a cti n g or a n y oth e r extra neous co n ditio n

, , ,
Th e re fore a .

sym pho n y m a y b e r e g a rd e d a s the highest deve lopm ent to which the a r t

o f m usic h a s e v er a tt a ined .

4 . A sym phony is a w ork com posed for a full orch e stra ; it con sis ts
Of thre e or four distinct m ove m e nts e a ch m ov e m e nt b e ing co m ple te
,

in i ts elf ; a n d inv olv e s a l l the know n re sourc e s o f pure m usica l a r t .

5 . The
firs t m o v e m e nt of a s y m phony is u su a l ly a n a llegro a ,

to l e ra b l y br isk pie ce ( pre ce d e d so m e ti m e s ho we v e r by a n introduction

, ,
 COM BI NA TI ONS OF FORMS . 55

in slow tim e in no pa rticul a r form of a m aj e stic

, ,
or m ysteri o us
ch a ra cte r! This a lle gro is al m ost a l wa ys w ritten in the
.
re gu l a r m odern

bina ry form a s described in C ha pter V

, .

6 The s e cond m ov e m e nt of a sym phony is ge n era lly slow ; a da gio

.
,

l a rg o or a nda n te It sho u l d b e of a de e ply i m p a ssione d a n d em otional

, .

cha ra cter c on t a ining good flowing m e lo d ie s a n d str iking ha rm o n ies

, , .

T h e for m m a y b e e ither m odern bin a ry or t e rn a ry So m e tim es indeed .

a the m e with v a ri a tio n s is substitu te d b u t this is not so co m m o n n o r is , ,

it a de sira ble pla n t o fo llow T h e s e con d m o v e m en t o u gh t n o t to b e

.

in t h e s a m e k e y a s the first b ut in so m e n e a rly re l a ted k e y so a s to

, ,

av o id m o n o t o n y a n d s e cure contr a st a n d r e lief

,
.

7 . third m ov e m ent should be a m inuet a n d trio a sch e rzo o r

T he , ,

p e rh a ps a n int e rm e zz o So m etim e s this m ove m e nt is pl a ced before

.

the slow m ove m e n t th e ir orde r b e in g thus invert e d ,

So m e tim e s it .

is a lt o g e th e r om it ted In this ca se a g a in th e re should b e a cha n ge

.

of key ca r e b e in g t a k e n to choos e on e w hich w ill equa lly w e ll follow

,

wh a t prec e d e s a n d le a d in to t h a t w hich is to com e a fte r

,
.

8 . T h e l a st
con cluding m o v e m e nt usu a l l y ca lle d the fin a le
,
or , ,

sho uld a l w a ys be in the sa m e k e y a s th e fi rst m ov e m e n t e xcep tin g ,

o n ly th a t w h e n th e sym phon y begin s in a mi n or key the fin a l e m a y ,

b e e i ther in th e m i n o r or th e m ajor o f t h e s a m e Thi s la s t m ov e m e nt .

Should b e g e ne ra lly o f a li v e ly a n d busy ch a ra ct e r a n d should a l w a ys ,

con clude with a brilli a nt cod a It m a y b e eith e r in th e m odern .

bina ry tern a ry or ro ndo form o f which ho wev e r the l a st is p r e

, , ,

fe r a b l e .

9 . T he e ffe
ct of a sym phony dep e n ds Of cours e in a v er y gre a t ,

d e gre e ,
u pon t h e skill di spla ed in its instrum ent a tion
y of which this ,
56 T HE PR I N CI PLE S OF FO R M AND G ENE RAL C OMP O S ITI ON .

is n otthe place to spe a k Every student w h o h as an a m bition t o try

.

this h ighest w a lk o f a r t m us t ca reful ly study the the ory a n d pra ctice

,

o f w ritin g for v a rious instru m ents and devo t e m uc h ti m e a n d p a i n s

,

t o the a n a lysis o f t h e sym p h onies o f Ha ydn Mo z art Bee th oven Spoh r , , , ,

and Mendelssohn .

10 . work co m posed for on e or a t the m ost for two

A sona ta is a ,

ins tru m ents ; general ly for th e pianoforte A s rega rds its form howe v er .

it is ide ntica l with th e sym phony and therefore all the rules for the ,

com position o f sym ph onies in tha t respect will equally a pply to th e

ca se of son a tas .

1 1 If it is desired to write a ve ry short son a ta th e de v elop m ents

.
,

o f th e bin a ry m ove m ents m us t be curtail e d a n d the third m ovem ent ,

o m itt ed The com position will then be properly c a lled a S on a tin a

. .

12 The m odern b inary form is Oft e n b u t inaccura t e l y styled th e

.
“

”
sona ta form o n account o f its bein g a l wa ys a do p ted for the principal
,

m ove m ents of son a ta s .

13 The term sona ta was al so form erly a pplied to sh or t concerted

.

pieces fo r three or fo ur strin ged instrum ents as in the cas e O f those ,

by Corell i Ge m iniani and P u rcell Bu t this a pplica tion o f the word

, , .

h as long since fa lle n into disuse .

14 . is t h e na m e given to trios qua rt e tts qu i ntetts

Ch am b er -
m usic , , ,

sestetts septetts and otte tts for instrum ents o f the violin cl a ss o r for
, , , ,

these in conjun ction wit h the pia noforte All such co m positions a r e .

writ ten on the sa m e m odel as sym ph onies a n d sona tas a s fa r as form is ,

concerne d So m etim es also co m positions O f exa ctly sim ila r form a n d

.

kind a r e written for various wind instrum ents with O r witho ut the ,

pianoforte ; or for a co m b in a tio n O f wind a n d stringed instrum ents .

The s e ho w ever a r e n o t so com m on a t present a s they ought to be ,

 COM BI NA TI ONS OF FOR MS . 57

conside rin g th e m a rvel lo u s va ri e ty O f be a utiful e ffe cts which th e y

ca n produce In a l l th e se ca se s it should be borne in m ind tha t
.

they di ffer from sy m phonies by ha vin g on e instrum ent only to each

pa rt .

15 . C once rtos
sym phonie s in which som e on e instrum ent ( or
ar e

at m ost tw o instru m e nts ! be a r a pro m inent p a rt the res t o f the ,

orchestra bein g onl y e m pl oyed to support them e ither by a cco m p a nim ent ,

a l te rn a tio n or contra s t In form conce rtos d i fle r in no esse ntia l respec t

, .

from th e fo re goi n g kin ds o f com position I t will there fore b e ne edless

.

to enl a rg e on th e m further .

16 . O v e rtures
ither ins tru m ent a l m ovem ents pre fixe d to ora t orio s
are e

an d op e ra s or indep e nd e nt co m positions fo r the orchestra I n which

, ,

la tt e r ca se they a r e properly styled Concert O ve rtures Th e y a r e a l m ost .

inva ria bly writ ten in th e m odern bina ry form only with the second ,

s e ction curta il e d m ore or l e ss e sp e cia lly in its first sub section ( s e e

,

p a ge B e fo re th e t im e o f H a ydn ove rtur e s c o nsisted O f thre e m ove

,

m e nts o r m ore ra re ly O f tw o
,
T h e first w a s a po m pous sort o f slow
.

introduction t h e second a qu i ck fuga l m ovem ent a n d the third a m inuet

, ,

o r a m a rch Moz a r t revi ved t h e fu ga l m ovem e n t in his gra nd ove rture

.

”
to Die Za u b e r flOte com bini n g it m ost wo n d e rfu l ly with the m od e rn
“
,

bina ry form It is to b e re grett e d th a t this a d m irable co m po und form

.

of overt ure h a s not b een m ore extensively a dopted .

 C H A P T E R XI I .

Of Voca l C omp ositi on .

1 . It h a s a lrea dy been observed th a t regul a r form is m a inl y

a pplic a ble to i n strum e nt a l m usic r a th e r th a n to vocal ; a n d the re a son

is thi s —tha t in vocal m usic the first considera tion m ust alwa ys be
,

the words to which it is set Still for all th a t there a r e m a ny c a ses

.
, ,

in w hich voca l m usic m a y al so be adv a nt a geously ca st in a regul a r

for m without a n y detrim ent to the w ords
,
When e v e r this is the
.

ca se it is very desira ble to a va il on e self of th e fa cility thus afforded

,
.

2 . Ma ny slight song s an ddu e ts for voices w ith a cco m p a nim ent for
th e pi a noforte a r e set to such v e ry we a k a n d a l m o st unm e a ning words
th a t th e se m a y count for al m ost nothin g a n d the m usic m ust a s i t
,

were shine by its own intrinsic light .I t will be a gre a t a dvant a g e

th e n to l e t it a ssum e som e regul a r form .The b est w ill genera lly be
either o f th e kind s of a ncien t bi n ary or the m odern bina ry curt a iled
,

and sim plified . An e xa m pl e O f such v oca l m usic w hich is deserving ,

O f ca reful study m a y be fo und in Ha yd n s c e lebra t e d ca nz onets Most

,
’
.

of H a nde l s son gs a r e likewise s e t in the a ncient b in a ry form Mo z a rt

’

als o frequently write s his airs in the m odern bin a ry form N or a r e .

e x a m ples of the tern a ry form by any m e a ns wa ntin g There a r e other.

cas es a ga in in w hich th e words the m s e lves a r e suggestive o f som e

 OF VOCAL COMPOS ITI ON . 59

regula r form Wh e n . t his is the c a se ,

it ought of course to b e
unh e sit a tingly a dopt e d .

3 the fu gue for m is p e rh a ps the co m m ones t of a l l in th e case Of

. Bu t
sa cred chorus e s a n d it should be fre e ly adopted whenever it does n ot
,

too m uch Obscure th e sen se o f th e words .

Na tiona l son gs a n d choruses often t a ke the form o f a kind o f

4 .

voca l m a rch a n d should b e considered a s speci m ens o f a ncient bina ry

,

form .

5 . Hym n tunes are ve ry reg u la r in form but th e ir fo rm is m er e ly

,

th e sh ort bi n a ry fo rm of a re gula r m elody a s d e scrib e d in the second

,

ch a pter of this work .

6 . Anth e m soften ne a rly form less and sim ply foll o w the
are ,

rhyth m o f t h e w ords to which th e y a r e se t B u t freque ntly th e y .

cont a in m o v e m e nts in th e fugue form a n d also in the ca s e o f m a n y , ,

m ore rec e n t speci m e ns there a r e m o v e m ents in a curt a iled m od e rn

,

bina ry form For exa m ple th a t fi n e a nth e m by Sir J oh n Go ss If w e

.
, ,

b e lie v e tha t J e sus die d a n d the second m ove m ent of his P ra is e th e

,

”
L ord 0 m y soul
,
.

7 Ma ny of th e m ot e tts of H a ydn a n d Moz a rt are written strictly

.

in the m o d e rn bi n a r y fo r m ; for e xa m pl e H a ydn s I n sa n a e e t v a n a e ,

’ “

an d Mo z a rt s Sple nd e n t e T e D eus And a ga in I n his

’
cu r a e , .
,

“
Misericordi a s Dom in l M oz a rt h a s c o m bin e d th e bin a ry a n d fugue
,

form s I n a m a st e rly w a y All th e s e sp e ci m e n s a n d m a n y m or e like

.
,

the m should b e c a re fully studie d by the y o ung co m p o ser

,
.

8 Th e re is a nother form a l m os t e xclusiv e ly v oca l w h ich ought

.
, ,

n ot t o b e p a ssed o v er h e re This is th e roun d or fr e e c a n on I n this

.
, .
,

on e v oice b e gins a m elody a n d co m pl e t e s o n e division of it Th e n .

60 THE PR IN C I PL E S OF FORM AN D GENERAL COMPOS ITI ON .

a noth er voice sin gs th e s a m e w hile the form er voice contin ues t h e,

ne xt division o f it which m us t be so constructed a s to run in corr e ct

,

do u ble count e rpoint w ith it Then a third voice co m es in under the

.
,

sa m e conditions a n d so forth This is a n exceedingly ple a sing kind o f

, .

co m position a n d m uch to be recom m end e d

,
The la te Sir H e n ry R . .

Bishop gr e a tly exc e l led in this style o f m usic H is Wh en the wind

“
.

” ” ”
H a rk ! tis t h e India n drum T o see his fa ce
“ ’
blo ws , and m a ny ,
“
,

o th e rs d e serve to live in the m em ory O f m ore th a n on e genera tion

, .

Cherubini w a s a lso a m a st e r in the a r t of co m posin g such pieces H is .

”
P e r fi d a Clo ri is t oo wel l known a n d a dm ired to need fur ther pra ise
h ere The student m a y b e a l so re fe rred to such ex a m ples a s Rossini s
.
’

” ”
Cie lo il m io l a bbro ispira C u r sch m a n s Ti preg o O m adre pia a n d
’

, , ,

L es l ie s 0 m em ory
’
.

When the round o r free canon is wedded to co m ic or hu m orous

9 .

“
w ords the piece is c al led a
,
c a tch an d t h e a im O f the co m poser ,

should be t o interwea ve t h e p a rts in such a m a nner a s sh a ll b e s t

illustra te a n d brin g ou t the a m using ide a s intend e d to be convey e d
by t h e words A s exa m p l es m a y be n a m ed D r Na res
. .
“
Wilt thou .
’

Mist e r Spe a ker t h ough tis la t e

’ “
l e nd m e thy m a re J Ba i l d on s
’
.
,

S We b b e s
’ ’
Wo u ld you know m y C elia s charm s and D r C a ll cott s .
’

”
Ah ! h ow Sophi a , .
 C H A P T E R XI I I .

1 T HERE a r e m any co m positions whi ch c a nno t b e bro u ght under

.

an
y of t h e for e g oing h e a ds a n d which
, y e t possess a cert a in reg u l a rity
o f structure p e culia r to th e m s e l v es So m e w riters w o u l d cla ss a l l th e s e
.

”
w orks tog e th e r a s co m pos e d in the
, C oupe d e Fa nta isie or fa nt a si a
,

form But it is b e tter p e rha ps to rega rd them a s in div idua l a ttem pt s

.

t o invent n e w fo rm s e a ch o f w hi ch m ight be follo w ed by oth e r co m posers

, ,

did it seem equ a lly a pplica ble to a n y b u t the o n e com pos ition in wh ich
it first a ppea re d . For a ft er a ll reg u l a r form s a r e a bsolu t e ly a rbitra ry
, , ,

a n d a r e re co gnised a n d reco m m e nd e d chi e fly b e c a us e exp e ri e n c e a n d the,

pra ctice o f the b e st com posers ha ve dem onstra ted th e ir superior e xc e l le nce
,

a n d v a lue .

2 .The gr e a t d a nger o f going in se a rch of new form s l ies in ,

the risk O f losing a ll re g u l a rity Of structur e a n d thus destroying every

,

a dv a nta g e which a re gul a r form could supply The young com pos e r .

is therefore a dv ised o n no account to a ttem pt new form s especia lly in ,

instrum ental m usic but to be cont ent with g etting a s m a ny origin a l

,

effe c ts as he ca n out of the old for m s A fi r st cla s s com poser of l on g

.
-

'

experience m a y of course do with im punity w h a t wo u l d be a n a ct of

con ce ited folly in a tyro a n d m a tured geniu s m a y e a rn pra ise for
,

judiciously viola ting rules the in fraction of whi ch would justly expose
,

a youn ger co m poser t o ridicule a n d censure Therefore a n ex a mple o f

.

da ring license fro m the approved works of a cla ssical writ e r ought n e v e r
62 T HE PRI NC I PLES CF

to be a dduced as an excu se for errors in the m usic o f a l e a rner It is .

a l w a ys nec e ssa ry t o acquire the h a b it O f o b servin g rules with fa cili ty

b efore b egi nni ng to seek wa ys and m e a ns of b reaking the m .

But a b ove a l l should the c o m poser s m otto b e A rs celare artem

’
“
3 . .

In oth e r words let h im strive to intro duce all the reso urces o f the a r t
, ,

whether O f harm ony counterpoint form or instrum entatio n without

, , , ,

le tting the lab our O f such devices a ppea r c o nspic uously in hi s

com positions All should be done n a tura lly easily a n d a s it were
.
, ,

sponta neously other wise h al f t he e ffect o f t h e science em pl o yed will

,

be entirely neutralised .

4 . ga in sho u ld be carefu l ly avoided It is fa r b e tte r

P rolixity, a , .

fo r the a udience to wish for m ore a n d ca ll fo r a re petition o f the piec e

, ,

tha n for them to be we a ried with it a n d wish it over b efore its ,

conclusion .

5 .There is s o m etim es a tendency am ong m odern com posers to

m a ke m elody a n d re gula rity of design alto gether subsidia ry to
in st r um ent a l e ffect Such a m ethod o f proc e eding is gre a tly to be
.

deprecat ed ina sm uch as it is a com plete inv ersion of the true order o f
,

th i n gs The better w a y is a lw a ys to b e gin with the m elody then

.
,

h a rm onise it then extend it and continue it with other m e lodie s

,

a ccording to som e r e gul a r form then introduce if n e e d b e the s e tting

, , ,

O ff O f instru m e nta l variety o f e ffe ct F or it is here i n a nalo g ous to

.

the a r t o f p a inting wh e re the a rtist b egins with a ske tch o r o u t

,

line then sh a de s it and giv es it substa nce then extends a n d co m bines

, ,

toge th e r the m a in fea tures of h is pictu r e a ccording to the ru les of

p e rspective a n d lastly colours t h e wh ole a n d thus crowns his
, ,

work . At t h e sam e tim e the genera l effe ct o f the picture o r o f ,

th e m usic a l co m position as the cas e m a y be m a y b e conc e ive d

, ,
 FORM AND G ENERAL C OMPOS I TI ON . 63

in the m ind O f the artist or co m p o s e r before h e e nt e rs on his

, ,

w ork . O nly w h e n he proc e eds to em body h is preconceiv e d id e a s ,

h e m ust set a bout hi s t a s k se cu n d u m a r te m or else a fa ilure w ill

,

prob a bly e n sue A n ora tor m ust be sure tha t he kn ows wha t h e wa nts
.

to s a y b e fo re h e b e gins to spe a k or h e w ill spea k nonsen s e w hile a t

, ,

t h e sa m e tim e h e m ust spe a k good gra m m a r and pronounce his w ords

,

cle a rly or h e will be unint e lligible

, .

6 We h a v e n ow gone through the va rious m a tters needed to ena ble

.

the student to a cquire th e a r t of com position ; a ll tha t re m a in s is to

com m end the follo win g exa m ples to his c a re ful study a n d to e xpre ss
, ,

in conclusion a n e a rn e st hope tha t this w ork m a y h e lp t owa rds

,

th e i m prove m ent O f m usica l com position a n d m usical criticis m in

this count r y .
 EX A M P L ES .

by H AYD N .

By th e brackets it will b e perceiv ed th a t t h is m elody consists O f two

sim il a r and corresponding periods of eight ba rs e a ch.
 E XAMP LE S. 65

Ea chp riod is di
e v id e d into two phra ses of four bars e a ch .

Ea ch phra se is m a d e up o f two stra ins O f two ba rs e ach .

The first phra se ends w ith a n im perfe ct ca de nce on the fifth o f the
domi na nt o n the down bea t
,
-
.

The second ph ra se conclud e s with the thi rd of th e tonic b u t at th e ,

u
p
-
be at .

The third phra s e suggests first a tra nsition i n to B m inor a n d th en ,

finishes with the third o f the do m ina nt on th e u p bea t -

.

T h e fo urth phra s e winds up the m elody w ith a p e rfe ct tonic cadenc e .

This m elody is th e re fore in a l l respects perfectly regular .

NO 2 — T he O ld
. . tu n e ( e qu a l n ote s ve r si on ! .

This tune is p e rfectl y regul a r I t c a nn ot b e subdivi d ed into stra in s

.
,

but consists of tw o p e riods of e ight ba rs e a ch th e s e b e ing subdiv ide d

,

into phra ses of four ba r s .

The only i m perfe ction is th e p e rfect tonic close a t the e n d of th e

thi rd ph ra se : were the tun e ha rm onised it w ou l d b e w e ll to a ccom p a ny
thi s clo se w ith e ither an inverte d chord of G or w ith the ch Or d o f
,

E m inor .
66 T HE P R I N CI PLES OF FORM AND GENERAL CO MPOS ITI ON .

NO . 3 .
—
M e l od y by M O ZART .

As it st a nds this is a perfe ctly r e gu la r p e riod It c a n b e prolonged

, .

by th e addition O f t w o b a rs par ta king o f the n a ture of a n echo thus

,

NO . 4.
—M e lod y by
’

M O ZART , wi th a s i m i l a r p r ol on ga ti on .
 EXAMPLE S .

No .
—
5 1l [e l od y by
. HAY DN , a na ly se d .

This m e lo dy is div ided in to thre e p e ri o ds o f w hich t h e first a n d la st

,

a r e p e rfe ct ly r e gul a r
. The se e a ch con sist O f t w o phr a se s a n d t h e s e a r e
,

sub d iv ide d into s tr a m s o f tw o ba rs e a ch .

Bu t t h e s e c o nd period is irre gul a r in a s m uch a s it c on t a in s o nly six

,

b a rs a n d c a n not b e split up int o phra se s but o nly int o thre e equa l

, ,

! 2
68 THE P R IN C I PL E S O F FORM AND G ENERAL C OMPOS ITI O N .

stra ins e a ch o f tw o ba rs
,
It will perha ps b e b est to look upon th e
.

thi rd Of these stra ins a s a kind of interpol a ted coda t o give em ph a sis
,

t o the two preceding ones .

This m elody a ffords a good exa m ple O f h a lf ba r r h y th m th a t is t o

-
,

say rhythm com m encing al wa ys a t the l a tter h a lf of a b a r Wh e n a

,
.

m elody is so constructe d it is im port a nt th a t this syst em of rhythm

,

sh ould b e consistently ad h ered t o throu ghou t t h e w h o le iece

p .

NO 6 . .
-
Lon ger m e l od y , wi th wor d s, by D ELL A MARI A , a na ly s e d .
 E XAMPLES . 69

Th1 s a ir 1 s a noth e r inst a nce of a m elody b e ginn ing every stra in on

t h e l a tt e r ha lf o f th e b a r
.

Af te r a n instru m e n tal phra se O f four b a rs div id e d into two e qu a l

,

stra in s t h e v o ic e b e gins a pe riod of e ight b a rs div ide d in to t w o phra ses

, ,

of fo ur b a rs a n d th e se a g a in subdi v id e d into stra in s of t w o b a rs e a ch

,
.

Then t w o b a rs of in strum e n t a l ritorn e llo a r e in terpola t e d by w a y of

prolonga tion . T h e v oice th e n e n t e rs up on t h e s e cond p e riod which is
,

n o t s o r e g u la r a s the fo r m e r o n e
, a s its s e co n d phra s e is l e n g then e d by

a cod a O f t w o b a rs ,
a dd e d in o rd e r to e m ph a sis e t h e conclu di n g w ords ,

t h e s e b e ing a s it we re th e pith o f t h e w hol e s e n ti m e nt . Th e s e ir r e gu

l a r it ie s do not in the le a st i m p a ir the sym m e trica l b e a uty O f the whole
7 0 T HE PR I NC I PLES OF FORM AND GENERAL COMPOS ITI ON

No . 7,
—Exa mp l e of a
p a rt o f a Du e tt i n wh ich,
th e p a r ts ove r l a
p , so

f th e en d s o h
as to a
pp ar en tly c u t o f p r a ses .

Fr o m M AR C ELLO sa l m s s
’
S P . P al m vi . 1 .

L e n to .

g no r qu an d o a r -
d e il fu o -
co d el

qu a n do a r -
d e il fu o -
co d el gi ns to Tu O fu
 EXAMPLES . 7 l

Tu -
o fu ro

13 14

11 0 1 1
‘

11 sa r me co di gi u di ce il ri o
g .r &c .

gi u -
di cc ii ri g o r di giu -
di c e i l ri
-
gor . &c .

In th e forego ing e xa m pl e the first two ba rs a r e a n instrum enta l

sym phon y o f o n e s t ra in The m e lody b e gins a t the third b a r with a
.
,

phra se of four b a rs divid e d into t w o equ a l stra ins Be fore this ph r a se .

’

is conclude d the second voic e en te r s with a sim ila r m elody a t the sixth
,
7 2 T HE PRI N CI PLES OF F O RM AND G E NER AL C O MPOS ITI O N .

b arthus app a rently though not really cuttin g off the phr ase b eg un by
, , ,

the firs t v oice At t h e fifteenth b a r the s a m e thing occ urs excep t tha t
.
,

in this ca se it is the lower voice which leads .

No 8. .
—
A na lysis o
f H a n d el
’
s Air i n th e M essi a h ,
“
Bu t T h ou
d id st n ot l e a ve .

Th e m usic o f th is ex a m pl e is n o t given h ere b ecause every on e m a y ,

be s upposed to possess a copy O f so popula r a work as that in whi ch

it occurs .

This song is a very good specim en O f the an cient b inary form It .

is in the k e y o f A m ajor a n d com m e nces with an orchestra l sym phony

,

Of fi v e b a rs The voice then begins the m e lody a t b a r 6 which fo rm s

.
,

a phra s e o f fi ve b a rs in consequenc e o f an int erpol a t e d b a r l ike a n in

,

st r u m e n ta l ritornello Then follows a t b ar 1 1 a m odu l a tion into the key

.
, ,

o f the do m ina nt E m ajor l e a ding to a concluding phra se o f m el o dy

, ,

which closes the first division O f the son g in the key of E a t b a r 1 7 .

At bar 1 8 the firs t m elody is tra nsposed int o E a n d slightly ,

a l tere d so as to glide into the key of A a ga in a t b a r 2 0 in ,

which key the rem a inder o f the a ir is kept concluding with an a lm os t ,

exa ct count e rp a rt of the phra se which ended the form er divisio n only ,

t ra n sposed into the key o f A in w hi ch the a ir regul a rl y ends

, .

Most of Han d e l
s longer a irs a r e wri tten in th e second variety of
’

th e a ncie nt bina ry form of which a specim en w ill be given hereafter

, .

Me a n whil e it will be well to study t h e followin g ex a m ple of a n

i nstrum ental piece by the sa m e grea t co m poser in which t h e b ars h av e ,

b een num b ered in order to facilitate a nalysis .

 EXAMPLES .
7 3

NO 9 . ,
—G igu e f r om th e fi r st
“
Su ite d e P i ece s, by HAN DEL .

Although th e re is not m uch regul a r m e lody in this pi e ce y e t it is ,

a fa ir e xa m pl e O f t h e firs t v a riety o f th e O ld bina ry form T h e first .

subject O ccu pl e s Bl X b a rs a n d is in a qua si fuga l s tyle A t th e t e nth

‘

-
, .

b a r th e re is a m odul a tion into th e k e y of th e dom in a n t E a fte r which , ,

a s e ries o f p a ssages le a d to a c o ncludin g phr a se o f four b a rs e nding in

E , at bar 2 2 .

At b a r 23 the fir s t subject is tra nsposed into th e key of E , and

At bar 2 7 b e gin a serie s O f m od u l a tions t o lead b a ck gra dua lly

to the k ey Of A .

At b a r co m m ences a num b e r of p a ssa ges in the key of A

32 ,

a lm ost identica l w ith thos e which occurred in t h e form e r pa rt in th e

k ey of E .

T he four concluding b a rs corre spond with those which closed th e

p a rt only o f course tra nspo se d in to A
, .
7 4 T HE PRI NC I PLE S OF FORM AND GENERAL COMPOS ITI ON .
EXAMPLES . 7 5
7 6 T HE PR I N CIP LES OF FORM AND GENERAL C OMPO SITI ON .
EXAMPLES . 7 7
7 8 T HE PR I NC I PLES OF FORM AND GENERAL COMPO SITI ON .
 EXAMPLES . 7 9

NO . 10 .
—Exa mp l e of F ir st Va r i e ty f
o th e O ld B i n a r y
F or m .

The first t w e n ty -
on e b a rs are an instrum ent a l sym phony to introduce
th e V o1 ce .

A t the 2 2 n d b a r th e voic e ent e rs with t h e princip al m e l ody in

th e k e y of A m ajor This m e lody is a curiously con struct e d on e a s it
.
,

is co m pos e d of fo ur phra s e s o f th r e e ba rs ea ch .

A t th e 3 4th b a r the se cond subj e ct is introduced in t h e key o f E .

A sh o rt sy m ph o ny o f six ba rs in t ro duces the first subj e ct tra nspos e d

in to E a n d curta ile d so a s to return to th e origin a l k e y o f A A fte r
, ,
.

which a cces sory p a ssa ge s lead to the second subj e ct which rea p pea rs ,

at the 7 3 r d b a r tra n spos e d in to A in whi ch k e y the m ovem e n t

, ,

conclude s .

T his a ir m ay be re g a rded a s a link bet w e en th e tw o va rieties o f

th e Old bina ry form , a s i t poss e sses a second p a rt com m encing a t b a r
,
80 T HE PR I NC IP LES OF FORM AND G ENERAL COMPO S ITI ON .

9 2, an d le a ding ba ck to a rep e tition of th e origina l a ir , Da l se gno

’
al fine .

S e sp u n ta a m i ca ste l la .

A ir from th e O p e ra of
“
T igr a n e , by H ASSE .

An d a n te .
EXAMP LES . ( 81
82 PRI N CI PLES OF F O RM AND GENERAL C O MPOS ITI ON .

s te l la , ti mi chi e r o,

den te e bel la, P er ch e n el

 EXAMPLES
. 83

p
u O sp e u
p O sp e
84
'
THE P RI N CI PL ES O F FORM AND GENERAL C OMP O S ITI O N .
 EX AMPLES . 85

s tel la ri d e n te
-
e

b el la , d en - te e b el la, ri d e n te
-
e b el la ,
86 T HE PR I N CI PLES OF FORM AND G ENERA L COMPO S ITI ON .

P er ch é n el su o se n t ie rO n el su o se n t ie -
rO.
 EXAMPLES . 87

puO sp e rar,

uO spe rar .
p
88 T H E PRIN CI PL ES OF FORM AND G ENE RAL COMPOS ITI O N .

C o si qu e s
’
t a l ma mi - a,
~

c h al
’
se r -
to , a l so
g l i o as
 EXAMPLES . 89

qu e l la be l la so s sp i -
ra, C ol c ui £3

-
ma a C OD .
90 T HE PRIN CI PLES OF FORM AND GENE RAL C OM P O S ITI ON .

ma a co n te n

Da l Segno al Fin e .

Da l Segu e c l Fin e .
 EXAM PLES . 91

No 1 1
. .
—Exa mp l of e th e Se con d Va r ie ty of An ci en t Bin a r y F or m .

Ai r L a scia ch
’
io p i a n ga , th e O p e ra of
“
Ri n a l d o ,
by H ANDEL .

e ch e so sp i ri la li b er ta ! e ch e SO
92 T HE PR I N CI PL E S OF FORM AN D GENERAL C O MPOS ITI ON .

sp i ri , e ch e so spi ri la li ber

La s c ia
“

c h ’
io p i an ga m ia c ru da
 E XAMPLES . 93

s or te , ch e so sp i -
ri la li b er
 T HE P RIN CI PLES OF FO R M AND G EN ER A L C OMP O S ITI ON .

Il d u o lo
-
in fra n g
a
 EXAMPLES . 95

C ap b a l Fin e .

de
’
m ie i mar ti ri sol p e r
96 T HE PRIN CIP LES O F FO RM AND GEN E RAL C OMP O S ITIO N .

No . 12.
—S on a ta in F by th e REV SI R F A G O U SELEY BART
, . , . .
, .

The following sonata h as b een expressly co m posed in i m ita tion O f

the regul ar style O f the Moz arte a n epoch .

The first m ovem ent is in the m odern b inary form .

The second m o v e m ent is in the tern a ry form .

T h e thir d movem ent is a perfectly regul a r m inue t and trio .

The fo u rth m ov e m ent is a rondo ba se d on the m odern b ina ry form .

The b a rs h a v e b e en n umb e red an d ,

a c a reful a nalysis has b een
added by wa y o f m od e l
,
.

The first subj e ct consists of sixteen ba rs in the key O f F divided ,

into two periods o f eight b a rs e a ch whereof the form er ends with a n ,

i m perfect o r do m inant ca dence w hile t h e la tter concl udes wit h a perfect

,

c adence 1 1 1 t h e tonic .

At the las t be a t of b a r 1 6 com m enc e s the b ridg e m od u l atin g into ‘ ’

th e key o f the do m ina nt a n d t e rm in a tin g wit h the do m in a nt h arm ony

,

o f the new key a t b a r 2 2 .

A t the l a st b ea t of b a r 2 2 th e second subject is introduced in

the key o f C and in t h e tenor p a rt It is eigh t ba rs in l e n g th a n d
, .
,

is succeeded by a ccessory pa ss a ge s bringing the firs t division ,

of the
m ovem ent t o a close in the k e y o f C a t b a r 3 8 .

The second division begins a t b a r 3 9 in the key of D m inor ,

m odula tin g perpet u ally a n d introducing the first subjec t in va rious

,

keys a n d in im ita tive co unterpoint until b a r 52 ,

.
 EXAM P LES . 97,

Ba r 53 dom ina nt C pedal o n which , are b uilt fragm ents O f second

subj e ct leading b a ck to th e rep e rcussion
, of th e firs t subject slightly
,

va rie d a n d curt a iled a t b a r 58 .

A t the fourth b ea t of bar 6 5 begin a cc e ssory p a ssa ges instead O f

bridge ending
,
on do m ina nt of o ri gina l k e y .

At the fourt h beat of bar 7 0

begins the second sub e ct tra ns ose d
into F a n d pla y e d in the tre ble instea d o f t h e tenor with sh
, ,

e m b e lli sh m ents .

Ba rs 7 8—8 9 : a ccessory p a ss a ges in the k e y of F intended , to brin g

th e whole m ove m ent t o a br illi a nt conclusion .

Al legr o mod er a te .
98 THE PRI N CI PLES OF F ORM AND G ENERAL C O MP O S ITI ON .
EXAMPLES . 99
1 00 THE PRI N CI PLES OF FORM AND G EN E RAL COMPO SITI O N .

il ca n to ben ma r ca to .
 EXAMPLES . 1 01

can br ie .
1 02 T H E PRI NC I PLES OF FORM AND GENERAL COMPOS ITI ON .
EXAMPLES
. 1 03
1 04 PRIN CI P LE S OF FO RM AND G ENE RAL CO MPOS ITIO N .
EXA MPLES . 1 05
1 06 T HE P RI N CI PLES OF F O R M AND G ENE RAL COMPOS ITI ON .
EXA MPLES . 1 07
1 08 T HE PR I NC I PLES OF FO R M AND GENERAL COMPOS ITI ON .
EXAMPLES . 1 09
1 10 T HE PRI NC I PLES OF FORM AND GENERAL COMPOS ITI ON .

tu tta f e rz a .
 E XAMPLES 111

S e c on d M ove m e n t .

First subj e ct in D m inor of eight b a rs divided into t wo periods O f

,
'

four bars ea ch concludin g in th e k e y o f F m ajor a t b a r 8

,
.

Ba r 9 : a cc e ssory subj e ct in F e ight b a rs long a n d m odu l a ting ba ck

, ,

a g a in t o t h e orig ina l k e of D m inor

y .

Ba r 1 7 : fi rs t subject repeated but so ch a nged a s t o e n d in the

,

k e y o f D m in o r .

Ba r 2 4 is a n in terpola t e d b a r to prolong th e ca d e nc e

Ba r 2 6 : n e w subject co m m encing the second d iV1 s1 on in the key

O f B fla t a n d k e e pm g entirely in th a t key
,
‘
.

—
Ba rs 50 53 : four b a rs inserted to connect the second and third
divisions .

Ba r third division b e gin nin g a n d e nding in D m inor a n d con ,

s 1 stin entirely O f deve lo p m n t s of t h pr cedi ng subjects m odu la ti ng

g e e e ,

i n to s e v era l k e ys but re turning to t h e origina l key o f D m inor

,
.
‘

Ba rs 7 9 —82 : thre e concludin g b a rs by w a y O f coda .

1 12 T HE PR I NC I PLES OF FOR M AND G E NERAL C OMPOS ITI ON .

An d a n te e on e sp r e ssi on e .
EXAMPLES . 113
1 14 T HE P RI NC I PLES OF FORM AND GENER AL COMPOS ITI ON .
EXAMPLE S
.
115
116 T HE PR I NC I PLES OF FORM AND GENE RA L COMPOS ITI ON .
EXAMPLES . 1 17
1 18 T HE PR IN CI PLES OF FORM AND GENERAL COMPOS ITI ON .
EXAMPLES .
1 19
1 20 T HE PR I NC I PLES OF FORM AND G ENERAL C OMP O S ITI ON .
EX A MPLES .
1 22 T HE PRI N CI PLES OF FO R M AND GENERAL COMPO S ITIO N .
 EXAMPLES .
1 23

M i nu e t .

R egul a r m inu e t
in th e old bin a ry for m . Subj e c t of sixteen
'
with four a ccessory b a rs in the k e y o f F .

Ba rs 2 1 —2 8 : Me l o d y of eight b a rs l e a ding b a ck to origina l subj e ct

,
.

B a rs —
2 9 40 O rigin al subj e ct but ,
ch a ng e d so a s to re m a i n in B fla t ;

w ith f o ur a cc e ssory b a rs tra n sp o s e d in t o t h e s a m e k e

y .

R 2
1 24 T HE PR I NC I PLE S OF FO RM AND GENERAL COMPO SI T I ON .

T e mp e d i Mah n e tte , ma n on tr epp e l e n to .

EXAMPLE S
.
1 26 T HE PR I N CI PLES OF FORM AND G ENERAL COMPO S ITI ON .
 EXAMPLES .
1 27

Re gu l a r Trio in the Old bina ry for m Exa ct coun terp a rt of Min u e t

. ,

o n ly in th e k e y of E fla t a n d w ith e ntirel y n e w m e l o dies

,
.
1 28 T HE PR INC I PLES OF FORM AND GENERAL COMPO SITI ON .
EXA MPLE S
.
1 29
1 30 T HE PR I N CI PLES OF FORM AND GENERAL COMPO S ITI ON .
 EXAMPLES .
131

R on d o .

Ba r 1 : first subject of sixteen bars divided into , t wo equa l periods .

Ba r 1 7 accessory m e lody of eight b a rs le a din g ba ck to the

subj e ct .

25 : repercussion of m a in subject to conclud e th e fi rst sub

sec tion .

Ba r 3 3 : bridge to m odu l a t e i n to key O f dom inant .

Ba r 4 8 dom ina nt pe d a l to e s ta blish the key of C

‘

: .

Ba r 5 6 secon d subject of sixteen b a rs in th e key of C .

a ccessory pass a ges to second su bject .

80 : do m ina nt seve nth lea din g ba ck to original subject in th e

key of F, t o con clude th e div ision .

Ba r d e velopm e nts a n d
91 :
p e rp e tua l m odul a tions form e ou t of
previous subjects a n d figure s .

Ba rs 1 0 8—1 8 : ten ba rs of en ha rm onic m odul a tion .

Ba r 1 3 6 dom in a n t cl ose le a din g t o origina l subj e ct in F slightly ,

e m b roidered to conclud e the sub section

,
-
.

Ba r 1 54 : developm e nts an d m odul a tions l ea ding to second subject .

Ba r 1 7 0 : dom in a nt p e da l .

Ba r 1 8 1 : second subje ct tra n spo se d in to F .

Ba r 1 9 6 : a cc e ss o ry p a ssa g e s by wa y o f c onclusi on .

S 2
1 32 T HE PR I N CI P LE S OF FO RM AND GENERAL COMP O S ITI O N .

8 vi .

Al l egr e tto vi va ce .
EXAMPLES .
1 34 T HE P R I N CI PLE S OF FORM AND GENERAL COMPOS ITI ON .
EXAMPLES .
1 36 T HE PRI NC I PLES OF FORM AND GENE R AL COMPOS ITI ON .
EXAMPLES . 137
133 T HE PR I NC I PLES O F FORM AND GENERAL COMPOS ITI ON .

a te mp o .
EXAMPLE S
.
1 40 T HE P RI N CI PLES OF FORM AND GENE RAL COMPOS ITI ON .
EXAMPLE S
.
1 4;
42 T HE PR I NC I PLES OF FORM AND G ENERAL C OMPOS ITI ON .
EXAMPLE S
. 1 43
1 44 T HE
,
PR I NC I PLES OF FO RM AND GENERAL C OMPOS ITI ON .

ra ll . a te mp o
.
EXAMPLES .
1 45
1 46 T H E PR I N CI PLES OF FORM A ND GENERAL COMPOS ITI ON .
EXAMPLE S
.
1 47
1 48 T HE PR I NC I PLES OF FORM AND GEN ERAL COMPOS ITI ON .
EXAMPLES . 1 49
1 50 T HE PRI NCIPLES OF FORM AND GENE R AL COMPOS ITI ON .
 EXAMPLES . 1 51

W e wo uld further re co m m e nd fo r study a n d a na lysis B e e thoven s ’

Se pte t t O p 2 0 which c on sis ts o f th e following m o v e m e n ts a ll v e ry

, .
, ,

re gula r a s to form a n d b e a utiful a s to m e lody ha rm ony a n d

, , ,

inst rum e nt a tion .

1 . I n troduction in ,
E fla t m ajor 3 4 ,
« -
. A d a gio .

A lle gro con brio in ,

E fla t m ajor, 0 . M ode rn bin a ry form .

Ada gio C a nt a bile ,

in A fla t m ajor , 9 8 -
. Mode rn bina ry form .

Min uet and Trio ,

in E fla t m ajor, 3 4 -
.

Ai r wit h Va ria tions ,

in B fla t m ajor, 2 4 - . An da nte .

Scherzo and Trio ,

in E fla t m ajor, 3 4 -
. All e gro Vi va ce . Minu e t

7 . Introduction to Fina le , in E fla t m inor, 2 4

-
. Anda n t e con m ote .

8 Fina le,
. In E fla t m ajor, ( 13, P resto . Mode rn Bin a ry Form .

T H E EN D .