Lessons in Music Form Part 19

Mozart, sonata No. 13, last movement (the Development occurs _after_ instead of before the Princ.i.p.al theme,--in the Recapitulation).

4. Beethoven, pianoforte sonata, op. 31, No. 1, last movement.

Beethoven, pianoforte sonata, op. 90, last movement.

Mendelssohn, pianoforte etude, op. 104, No. 2.

Beethoven, pianoforte sonata, op. 10, No. 1, first movement.

Beethoven, pianoforte sonata, op. 2, No. 1, last movement.

Mozart, sonata No. 7, _Andante_.

Mozart, sonata No. 14, last movement.

CHAPTER XIX. APPLICATION OF THE FORMS.

The use of the various forms of composition, that is, their selection with a view to general fitness for the composer's object, is, primarily, simply a question of length. The higher aesthetic law of adjusting the design to the contents, of which we spoke in the preceding chapter, comes into action after the main choice has been determined.

The smallest complete form, that of the PHRASE, can scarcely be expected to suffice for an independent piece of music, though its occurrence as independent _section_ of an entire composition is by no means rare. The nearest approach to the former dignity is the use of the Large phrase in one instance by Beethoven, as theme for his well-known pianoforte Variations in C minor; this theme, and consequently each variation, is a complete and practically independent composition. At the beginning of Beethoven's pianoforte sonata, Op.

27, No. 1, the student will find a succession of independent four-measure phrases, each with a definite perfect cadence, and therefore complete in itself; this chain of independent phrases is, in fact, the structural basis of the entire first movement, interrupted but briefly by the contrasting _Allegro_. The simple phrase may, also, find occasional application in brief exercises for song or piano; and we have witnessed its use as introduction, and as codetta, in many of the larger designs.

The next larger complete form, the PERIOD, is somewhat more likely to be chosen for an entire composition, but by no means frequently. The early grades of technical exercises (public-school music, and similar phases of elementary instruction) are commonly written in period-form, and some of the smallest complete songs in literature (a few of Schumann's, Schubert's, and others) may be defined as period-forms, extended. The theme of the Chaconne (found in the works of Handel, Bach, and even some modern writers) is usually a period. Of the Preludes of Chopin for pianoforte (op. 28), at least four do not exceed the design of the extended period. But these are, naturally, exceptional cases; the proper function of the period-form in music is, to represent the _Parts_, and other fairly complete and independent thematic members of larger forms. This is very largely true of the DOUBLE-PERIOD, also; though it is a very appropriate and common design for the hymn-tune, and similar vocal compositions; and is somewhat more likely to appear as complete composition (in exercises, smaller piano pieces and songs) than is the single period. Nine of Chopin's Preludes are double-periods.

The TWO-PART SONG-FORM, as already intimated, is not as common as might be supposed. It is sometimes employed in smaller compositions for piano (variation-themes and the like), or voice; and is probably the form most frequently chosen for the hymn-tune. But its most important place in composition is in the larger forms, as its design adapts it peculiarly to the purposes of the themes, both princ.i.p.al and subordinate.

The THREE-PART SONG-FORM, on the contrary, is unquestionably the most common of all the music designs. Probably three-fourths of all our literature are written in this form, with or without the repet.i.tions, or in the related Five-Part form. It is therefore difficult to enumerate the styles of composition to which this admirable design is well adapted, and for which it is employed.

The GROUP-FORMS will be found in many songs, etudes, anthems, and compositions of a fantastic, capricious, rather untrammeled character, in which freedom of expression overrules the consideration of clear, definite form. It is the design perhaps most commonly selected for the Invention, Fugue, and--particularly--the various species of Prelude; though these styles, and others of decidedly fanciful purpose, are not unlikely to manifest approximate, if not direct, correspondence to the Three-Part Song-form. The modern Waltz is usually a group of Song-forms.

The SONG-FORM WITH TRIO is encountered in older dances, especially the Menuetto, Pa.s.sapied, Bourree, and Gavotte (though even these are often simple Three-Part form, without Trio); and in many modern ones,--excepting the Waltz. It is characteristic of the March, Polonaise, modern Minuet, Gavotte and other dances, and of the Minuet--or Scherzo-movement, in sonatas and symphonies.

The FIRST RONDO-FORM is sometimes subst.i.tuted for the Song with Trio (to which it exactly corresponds in fundamental design, as we have learned) in compositions whose purpose carries them beyond the limits of the Three- or Five-Part forms, and in which greater unity, fluency and cohesion are required than can be obtained in the song with trio; for instance, in larger Nocturnes, Romanzas, Ballades, etudes, and so forth. The peculiar place for the First Rondo-form in literature, however, is in the "slow movement" (_adagio, andante, largo_) of the sonata, symphony and concerto, for which it is very commonly chosen.

It may also be encountered in the _small_ Rondos of a somewhat early date; and is of course possible in broader vocal compositions (large opera, arias, anthems, etc.).

From what has just been said, the student will infer that the rondo-form is not employed exclusively in pieces that are called "Rondo." In the sense in which we have adopted the term, it applies to a _design_, and not to a style, of composition; precisely as the sonata-allegro form may appear in a composition that is not a sonata.

This must not be overlooked. Furthermore, there are a few cases in literature in which a movement marked "Rondo" is not written according to the rondo-form.

The Second and Third Rondo-forms are so similar in purpose and character that they are generally applied in the same manner, with no other distinction than that of length. Besides occasional occurrence as independent compositions (for instance, the two Rondos of Beethoven, op. 51, the A minor Rondo of Mozart, the Rondos of Field, Dussek, Hummel, Czerny, etc.), these designs are most commonly utilized for the _Finale_ (last movement) of the complete sonata, concerto, string-quartet, trio, and other chamber-music styles; more rarely for the finale of the symphony.

The SONATINE and SONATA-ALLEGRO FORMS, likewise, serve corresponding purposes, and are chosen according to the length or breadth of design desired. The sonatine-form may therefore be expected in the first movement of smaller sonatas, or sonatinas (as they are often called), but it is not infrequently employed in the "slow movement" of larger sonatas or symphonies.

The most distinguished of all music-designs, the sonata-allegro form, is almost invariably chosen for the opening movement of sonatas, symphonies, concertos, trios, string-quartets and similar compositions, sometimes in greatly augmented dimensions. It is also not unlikely to appear in the slow movement, and _finale_, of the symphony.

LESSON 19.--The student may now indulge in independent research, in the careful a.n.a.lysis of the following works:

The pianoforte sonatas of Haydn (every movement of each). The sonatas for pianoforte and violin of Mozart, Beethoven, Brahms, Rubinstein, Grieg, and others.

The Trios of Beethoven, Mendelssohn, Schubert.

The String-quartets (in pianoforte arrangement) of Haydn, Mozart, Beethoven, Mendelssohn, Brahms, Schubert.

The Overtures (in pianoforte arrangement) of Mozart, Beethoven, Weber, Cherubim.

The Concertos (pianoforte or violin) of Mozart, Beethoven, Mendelssohn, Rubinstein, Saint-Saens, Schumann, Grieg, Chopin. Also a number of smaller (single) pianoforte compositions:--the etudes of Chopin; a few etudes of Czerny, Cramer, Clementi, h.e.l.ler; the mazurkas, nocturnes, and preludes of Chopin; and miscellaneous pieces by modern writers,--Grieg, Rubinstein, Tschaikowsky (and other Russians), Sgambati, Saint-Saens, Moszkowski, Raff, Reinecke, Scharwenka, Schutte, MacDowell,--or any other compositions, vocal or instrumental, in which the student may be interested, or which he may be studying.

AFTERWORD.

The expression "Musical Forms" is often used, somewhat carelessly and erroneously, with reference to _Styles_ or _Species_ of composition, instead of to the structural design upon which the music is based. The "Barcarolle," "Mazurka," "etude," "Anthem," and so forth, are _styles_ of composition, and not necessarily identified with any of the structural _designs_ we have been examining. Read, again, our FOREWORD. The general conditions which enter into the distinctions of _style_ are enumerated in my "h.o.m.ophonic Forms," paragraph 97, which the student is earnestly advised to read. As to the manifold styles themselves, with which the present book is not directly concerned, the student is referred to Ernst Pauer's "Musical Forms," and to the music dictionaries of Grove, Baker, Riemann, and other standard writers, where a description of each style or species of composition may be found.

THE END.