Lessons in Music Form Part 17

_Coda_, phrase, repeated and extended (188-200).

RELATION TO THE THREE-PART SONG-FORM.--In a former chapter (XIII) the Three-Part form was defined as the type of perfect structural design, upon which every larger (or higher) form is based. Nowhere is the connection more striking, and the process of natural evolution out of this germ more directly apparent, than in the sonata-allegro design.

See the diagram on page 124. The Exposition corresponds to the First Part, _so expanded as to comprise the two themes and codetta_, fused into one larger division; the "statement" of a more comprehensive thematic group than the ordinary Part contains, but no more, for all that, than the usual initial "statement." The Development corresponds to the Second Part (proportionately expanded), and the Recapitulation to the Third Part, or recurrence and confirmation of the "statement."

Any Three-Part Song-form, the moment that its First Part expands and divides into the semblance of two fairly distinct thematic sections, becomes what might be called a miniature sonata-allegro form. Many Three-Part Song-forms are so broad, and many sonata-allegros so diminutive, that it is here again often difficult to determine the line of demarcation between them. Example 55 (cited because of its comparative brevity) is scarcely more than such a broadly expanded Three-Part Song-form. An example which approaches much more nearly the unmistakable Three-Part song, may be found in Mozart, sonata No. 12, _Menuetto_:--

_Part I_, section one (embryo of a princ.i.p.al theme), measures 1-10, period, extended; section two (embryo of a subordinate theme) measures 11-18, period, _in different key_.

_Part II_, group of three phrases, measures 19-30.

_Part III_, section one, as before, measures 31-40; section two, as before, _but in the princ.i.p.al key_, measures 41-48.

This is, of course, a Three-Part Song-form; but the essential features of the Sonata-allegro are unquestionably present, in miniature.

See also, Beethoven, sonata, op. 101, first movement; certainly a sonata-allegro design, but diminutive.

The superiority of the sonata-allegro form over all other musical designs, is amply vindicated by the breadth of its thematic basis, the straightforwardness and continuity of its structural purpose, the perfection of its thematic arrangement, and the unexcelled provision which it affords for unity, contrast, corroboration, balance, and whatever else a thoroughly satisfactory structural design seems to demand. Hence, while brief triumphs of apparent "originality" may be achieved by simply running counter to this and similar designs, it seems scarcely possible that any musical form could be contrived that would surpa.s.s the sonata-allegro, the last and highest of the forms of composition.

LESSON 17.--a.n.a.lyze the following examples, as usual, carefully defining all the details of the form, according to the general plan adopted in our text:--

Beethoven, pianoforte sonatas; op. 2, No. 1, first movement (diminutive, but very complete and perfect).

Op. 2, No. 2, first movement.

Op. 10, No. 3, _Largo_.

Op. 22, first movement (four or five codettas).

Op. 14, No. 1, first movement.

Op. 22. _Adagio_.

Op. 27, No. 2, last movement.

Op. 28, first movement.

Op. 31, No. 1, first movement.

Op. 31, No. 3, first movement (the last 2 1/2 measures of the Exposition are a transitional Interlude, which leads back into the repet.i.tion, and on into the Development).

Same sonata, _Scherzo_.

Op. 31, No. 2, last movement (coda contains the entire princ.i.p.al theme).

Op. 78, first movement (diminutive).

Op. 79, first movement.

Op. 90, first movement, (no "double-bar").

Op. 57, first movement.

Same sonata, last movement.

Mozart, sonatas: No. 7, first movement.

No. 3, first movement. No. 4, first movement; also _Andante_.

No. 8, first movement. No. 5, first movement.

No. 10, first movement. No. 6, first movement.

No. 1, _Andante_. No. 6, last movement.

Mendelssohn, pianoforte _Caprice_, op. 33, No. 2 (brief introduction).

Sonata, op. 6, first movement.

Op. 7, No. 7.

_Fantasia_, op. 28, last movement.

Schubert, pianoforte sonatas: op. 143, first movement.

Op. 42, first movement.

Op. 120, first movement.

Op. 147, first movement (in the Recapitulation, the princ.i.p.al theme is transposed).

Op. 164, first movement (the same).

Beethoven, symphony, No. 5, first movement.

Symphony, No. 1, first _Allegro_; also the second movement; and the _Finale_.

CHAPTER XVIII. IRREGULAR FORMS.

CAUSES.--Despite the many points of resemblance between the various forms to which our successive chapters have been devoted,--the natural consequence of a continuous line of structural evolution to which each plan owes its origin,--they are separate and independent designs, with individual character and purpose; so much so, that the composer may, and usually does, select and apply his form according to the purpose which he has in view. But the form is made for the music, not the music for the form; no serious composer writes music for the sake of the form, but chooses the form merely as a means to an end. The highest ideal of structural dignity and fitness is, to work from the thematic germ _outward_, and to let the development of this germ, _the musical contents_, determine and justify the structural plan and arrangement.

But the aims of the composer outnumber the regular forms, and therefore modifications are unavoidable, in order to preserve the lat.i.tude which perfect freedom of expression demands. The student may rest a.s.sured of the existence of many irregular species of these fundamental forms (as exceptions to the rule) and must expect to encounter no little difficulty and uncertainty in defining the cla.s.s to which his example belongs,--until wider experience shall have made him expert.