Lessons in Music Form Part 14

With reference to all uncertain cases, it must be remembered that _the more doubtful a distinction is, the less important is its decision_.

These designs naturally merge one in another, and at times it is folly to impose a definite a.n.a.lysis upon them.

The a.n.a.lysis should be as minute as possible, nevertheless. The first step is to define the extremities of the two themes. This fixes the coda (and the introduction, if present); the re-transition (returning pa.s.sage into the Princ.i.p.al theme); and the transition into the Subordinate theme--if present. The form of each theme must be defined in detail, as in Ex. 54:--

Beethoven, pianoforte sonatas: op. 2, No. 1, _Adagio_.

Op. 7, _Largo_.

Op. 2, No. 3, _Adagio_.

Op. 79, _Andante_.

Op. 27, No. 1, _Allegro molto_.

Schubert, pianoforte _Impromptus_, op. 90, No. 2; and No. 3.

Chopin, _Mazurka_, No. 26.

Chopin, _Nocturnes_: op. 27, No. 1.

Op. 32, No. 2.

Op. 37, No. 2.

Op. 48, No. 1.

Op. 55, No. 1; and No. 2

Op. 62, No. 1.

Op. 72, No. 1 (E minor, posthumous).

CHAPTER XIV. THE SECOND RONDO-FORM.

As described in the preceding chapter, the Second Rondo-form contains two digressions from the Princ.i.p.al theme, called respectively the first and second Subordinate themes. It bears the same relation to the Five-Part Song-form, that the First Rondo-form bears to the Three-Part Song-form.

For the sake of effective contrast, _the two Subordinate themes are generally differentiated_ to a marked degree; more precisely stated, the _second_ Subordinate theme is likely to differ strikingly both from the Princ.i.p.al theme and from the first Subordinate theme; the result is that, as a general rule, the second digression is more emphatic than the first.

To prevent the enlarged design from a.s.suming too great dimensions, the several themes are apt to be more concise than in the first Rondo-form; the Two-Part form is therefore more common than the Three-Part; the first Subordinate theme is generally brief, and the Princ.i.p.al theme upon its recurrences, is frequently abbreviated,--especially the last one, which often merges in the coda.

An example of the second Rondo-form (which may be sufficiently ill.u.s.trated without notes) will be found in the last movement of Beethoven's pianoforte sonata, op. 49, No. 2 (G major). Number the one hundred and twenty measures, and define the factors of the form with close reference to the following indications--the figures in parenthesis denoting the measures:

_Princ.i.p.al theme_. Part I (1-8), period-form; Part II (9-12), phrase; Part III (13-20), period-form.

_Transition_, period-form (21-27), leading into the new key.

_First Subordinate theme_, period-form (28-36), with

_Codetta_, repeated (37-42).

_Re-transition_ (43-47).

_Princ.i.p.al theme_, as before (48-67).

_Second Subordinate theme_, double-period (68-83); the process of _Re-transition_ manifests its inception about one measure before (82), and is carried on to measure 87.

_Princ.i.p.al theme_, as before (88-107).

_Coda_, period, with modified repet.i.tion of consequent phrase (108-119),--followed by an extra perfect cadence, as extension.

LESSON 14.--a.n.a.lyze the following examples, as usual. Review the directions given in Lesson 13:--

Beethoven, pianoforte sonatas: op. 10, No. 3, last movement.

Op. 14, No. 2, last movement (called _Scherzo_).

Op. 79, last movement (very concise).

Op. 13, _Adagio_ (still more concise. Is this not a Five-Part Song-form?)

Beethoven, _Polonaise_ for the pianoforte, op. 89.

Mozart, _Rondo_ in A minor, for pianoforte.

CHAPTER XV. THE THIRD RONDO-FORM.

In this form of composition there are three digressions from the Princ.i.p.al theme. But, in order to avert the excess of variety, so imminent in a design of such length, the digressions are so planned that _the third one corresponds to the first_. That is, there are here again only two Subordinate themes (as in the Second Rondo-form), which alternate with each other, so that the succession of thematic factors is as follows: Princ.i.p.al Theme; 1st Subordinate Theme; Princ.i.p.al Theme; 2d Subordinate Theme; Princ.i.p.al Theme; 1st Subordinate Theme; Princ.i.p.al Theme; and coda.

It will be observed that this arrangement is another confirmation and embodiment of the Three-Part (tripart.i.te) form, with its "recurrence of the first section," magnified into larger proportions than any examples thus far seen. The three portions are called, _Divisions_. The first is known as the _Exposition_, comprising the Princ.i.p.al Theme, First Subordinate Theme, and recurrence of the Princ.i.p.al Theme; the second division consists of the Second Subordinate Theme only; the Third Division is the _Recapitulation_ of the first Division.

THE EXPOSITION.--This first Division, the "statement," compounded of two themes and a recurrence, is in itself a complete (though probably very concise) First Rondo-form; therefore, in order to confirm the intended design, at least one of its themes must contain two (or more) Parts,--otherwise it would be no more, all together, than a Three-Part Song-form, and the _whole_ Rondo would be reduced to the design of the First Rondo-form. In a word, the Exposition must correspond concisely to the table given on page 108. The First Subordinate theme takes its usual emphatic position in a different key,--generally closely related to the key of the Princ.i.p.al theme.

Sometimes, but by no means regularly, the Exposition closes with a decisive perfect cadence in the original key.

The Middle Division.--As this should balance (at least approximately), the Exposition, it is likely to be a fairly broad design,--not greater, however, than a Three-Part Song-form (possibly with repet.i.tions), and often no more than a Two-Part form. As intimated in the preceding chapter, the Second Subordinate theme is usually strongly contrasted with the other themes, in character, key, and length; but the same unity of total effect is necessary, as in the smaller Rondo-forms. The re-transition (or returning pa.s.sage) is often quite lengthy and elaborate; it is seldom an independent section of the form, however, but generally developed out of the last phrase of the theme, by the process of "dissolution,"--to be explained more fully in Chapter XVII.

THE RECAPITULATION.--This corresponds, theoretically, to the _da capo_ in the Song with Trio, or to the variated recurrence of the Princ.i.p.al theme in the First Rondo-form. But it is more than either of these.

The term "Recapitulation" is more comprehensive than "recurrence" (in the sense in which we have thus far employed the latter word), as it always refers to the reproduction of a _collection_ of themes, and, chiefly on this account, is subject to certain specific conditions of technical treatment.

Recapitulation, in the larger designs of composition, _invariably involves transposition_, or change of key,--the transposition of the First Subordinate theme, from the key chosen for its first announcement (in the Exposition) back _to the princ.i.p.al key_ of the piece. This, as may be inferred, greatly affects the original transition and re-transition; and it may necessitate changes within the theme itself, in consequence of the change of register.