Lessons in Music Form Part 10

No. 6, measures 8-17.

Mozart, pianoforte sonata. No. 13 (Peters edition), first 16 measures.

Sonata No. 2, first 16 measures (last four measures are extension).

Sonata No. 3, last movement, first 16 measures.

Sonata No. 10, second movement, first 16 measures.

Beethoven, pianoforte sonatas; op. 49, No. 2, first 12 measures.

Op. 10, No. 3, first 16 measures.

Op. 10, No. 2, first 12 measures.

Op. 26, first 16 measures.

Op. 31, No. 2, last movement, first 31 measures (extension by repet.i.tion).

Schumann, op. 68, Nos. 16, 20, 33, first 16 measures of each; No. 13, first 10 measures; No. 15, first 16 measures.

CHAPTER IX. THE TWO-PART SONG-FORM.

THE SONG-FORM OR THE PART-FORM.--Almost every musical composition of average (brief) dimensions, if designed with the serious purpose of imparting a clear formal impression, will admit of division into either two or three fairly distinct sections, or Parts, of approximately equal length. The distinctness with which the points of separation are marked, and the degree of independence of each of these two or three larger sections, are determined almost entirely by the length of the whole. And whether there be two or three such divisions depends to some extent also upon the length of the piece, though chiefly upon the specific structural idea to be embodied.

A composition that contains two such sections is called a Two-Part (or bipart.i.te, or binary) form; and one that contains three, a Three-part (tripart.i.te, or ternary) form.

Such rare exceptions to these structural arrangements as may be encountered in musical literature, are limited to sentences that, on one hand, are so brief as to require no radical division; and, on the other, to compositions of very elaborate dimensions, extending beyond this structural distinction; and, furthermore, to fantastic pieces in which the intentional absence of cla.s.sified formal disposition is characteristic and essential.

The terms employed to denote this species ("Song-form" or "Part-form") do not signify that the music is necessarily to be a vocal composition of that variety known as the "Song"; or that it is to consist of several voices (for which the appellation "parts" is commonly used).

They indicate simply a certain _grade_,--not a specific variety,--of form; an intermediate grade between the smallest cla.s.s (like brief hymn-tunes, for example), and the largest cla.s.s (like complete sonata-movements). An excellent {84} type of this grade of Form is found in the Songs Without Words of Mendelssohn, the Mazurkas of Chopin, and works of similar extent.

The word Part (written always with a capital in these lessons) denotes, then, one of these larger sections. The design of the Part-forms was so characteristic of the early German _lied_, and is so common in the _song_ of all eras, that the term "Song-form" seems a peculiarly appropriate designation, irrespective of the vocal or instrumental character of the composition.

The student will perceive that it is the smallest cla.s.s of forms--the Phrase-forms,--embracing the phrase, period and double-period, to which the preceding chapters have been devoted. These are the designs which, as a general rule, _contain only one decisive perfect cadence_, and that at the end; and which, therefore, though interrupted by semicadences, _are continuous and coherent_, because the semicadence merely interrupts, and does not sever, the continuity of the sentence.

(This grade of forms might be called One-Part forms).

THE PARTS.--If we inquire into the means employed, in the larger Part-forms, to effect the division of the whole into its broader Parts, we find that the prime factors, here again, are Cadence and Melody.

The strongest sign of the consummation of a Part is a _decisive perfect cadence_, resting, as usual, upon the tonic harmony of the chosen key; a cadence sufficiently emphatic to interrupt the closer cohesion of the phrases which, precede, and bring them, as completed Part, to a conclusion. Such a cadence, marking the end of the First Part, may be verified in Mendelssohn's Songs Without Words, No. 23, measure 15; No.

3, measure 29 (at the double-bar,--a sign which frequently appears at the termination of Part One); No. 20, measure 21; No. 27, measure 12; No. 34, measure 10.

Another indication of the Part-form is a palpable change in melodic character in pa.s.sing from one Part into the next; sufficient to denote a more striking "new beginning" than marks the announcement of a new _phrase_ only. The change, however, is as a rule _not very marked_; it is sometimes, in fact, so slight as to be no more than simply palpable, though scarcely definable on the page. For these divisions are, after all, the several "Parts" of one and the same song-form, and, therefore, any such radical change in melodic or rhythmic character, or in general style, as would make each Part appear to be a _wholly independent_ musical idea (subject or theme), would be manifestly inconsistent.

Generally, both these factors (cadence and melody) unite to define the end of one Part and the beginning of the next. Should either one be feeble, or absent, the other factor will be all the more p.r.o.nounced.

Thus, the cadence of Part One may be less decisive, if the change in melodic character at the beginning of Part Two is well marked; this is seen in No. 33, measure 12. The reverse--a strong cadence and but little melodic change,--in No. 13, measure 20.

THE FIRST PART.--Part One may be designed as period, double-period, or phrase-group; sometimes, though very rarely, as single phrase, repeated. It ends, usually, with a strong perfect cadence on the tonic chord of the original key, or of some related key (that is, one whose _signature_ closely resembles that of the original key). An introductory phrase, or independent prelude, may precede it.

THE SECOND PART.--Part Two, as intimated, is likely to begin with a more or less palpable change of melodic character,--by no means is this always the case. It may be designed, also, as period, double-period, or phrase-group, and is somewhat likely to be a little longer (more extended) than Part One. A concluding section (called codetta if small, coda if more elaborate) often follows, after a decided perfect cadence in the original key has definitely concluded the Part.

The following is one of the simplest examples of the Two-Part Song-form (a German _lied_ by Silcher):--

[Ill.u.s.tration: Example 52. Fragment of German _lied_.]

The whole embraces four phrases, and might, for that reason, be mistaken for a double-period. But the _strong perfect cadence_ at the end of the first period (reinforced by the repet.i.tion), and the contrasting melodic formation of the second period, so separate and distinguish the two periods as to make them independent "Parts" of the whole. It is not one "double-period," but _two fairly distinct periods_. The first cadence (in measure 4) has again, strictly speaking, the elements of a perfect cadence, but, like others we have seen (Exs. 50, 51), too near the beginning to possess any plausible concluding power.

A somewhat similar specimen may be found in the theme of Mendelssohn's Variations in D minor, op. 54, which see. Each Part is a regular period-form, with correct semicadence and perfect cadence. The problem of "agreement and independence" in the relation of Part II to Part I is admirably solved; it is a masterly model of well-matched Unity and Variety, throughout.

For a longer and more elaborate example, see No. 6 of the Songs Without Words, in which, by the way, the principle of enlargement by the addition of an independent prefix (introduction) and affix (coda) is also ill.u.s.trated:--

First number the forty-six measures with pencil.

The first cadence occurs in measure 7, and marks the end of the prelude. Part I begins in measure 8. In measure 11 there is a semicadence, at end of Antecedent phrase; in measure 17, a strong perfect cadence, which, in connection with the subsequent change of melodic form, distinctly defines the end of Part I (period-form, extended). Part II therefore begins in measure 18. In measures 21, 25, 29, cadences occur, but none conclusive enough to close the Part.

This conclusion takes place, however, in measure 34. Part II proves to be a double-period. A coda begins in measure 35; its first members resemble the first phrase of Part I. In measure 40 another section of the coda begins, borrowed from the prelude. For exhaustive technical details of the Two-Part Song-form, see the h.o.m.oPHONIC FORMS, Chapters 9 and 10.

LESSON 9.--a.n.a.lyze the following examples of the Two-Part Song-form.

Define the form of each Part, marking and cla.s.sifying all cadences; and indicate introductions and codas (or codettas), if present. _The first step in the a.n.a.lysis of these forms is to divide the whole composition into its Parts, by defining the end of Part One_. The next step is to define the beginning of Part One, and end of Part Two, by separating the introduction and coda (if present) from the body of the form.

Beethoven, pianoforte sonatas: op. 57, Andante, Theme.

Op. 109, _Andante_, Theme.

Op. 111, last movement, Theme of Variations.

Op. 79, _Andante_, first 8 measures (unusually small); same sonata, last movement, first 16 measures.

Op. 54, first 24 measures (each Part repeated).

Op. 31, No. 3, _Menuetto_ (without Trio).

Op. 26, "Trio" of _Scherzo_; also last movement, first 28 measures (second Part repeated).

Op. 27, No. 2, "Trio" of _Allegretto_.

Mozart, pianoforte sonatas: No. 2 (Peters edition), _Andante_, measures 1-20; and measures 21-40.

Schumann, op. 68, No. 7; No. 4; No. 35; No. 42; No. 23 repeated; last 16 1/2 measures, (coda).