Lessons in Music Form / A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition

CHAPTER XI. ENLARGEMENT OF THE THREE-PART SONG-FORM.

REPETITION OF THE PARTS.—The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimensions of his original design, resorts as usual to the most legitimate and natural means at his disposal—that of repetition. By so doing, he reinforces the principle of Unity, and, instead of obscuring, places the contents of his design in a stronger and more convincing light. It is true that the act of mere repetition involves the risk of monotony; but against this the composer has an efficient safeguard,—that of variation. He may modify and elaborate the repetition in any manner and to any extent that seems desirable or necessary, the only limitations being that the identity of the original Part must be preserved beyond all danger of misapprehension, and (as a rule) that the cadences shall not be altered.

The act of repetition is applied to the First Part alone, and to the Second and Third Parts together; very rarely to the Second Part alone, or to the Third Part alone.

EXACT REPETITIONS.—When Part I,—or Parts II and III together,—are to be repeated without any changes, it is customary to employ the familiar repetition-marks (double-bar and dots); with "first and second ending," if, for any reason, some modification of the cadence-measure is required. This is illustrated in the 7th Song Without Words; Part I is repeated alone, and Parts II and III together; both repetitions are indicated by the customary signs, and each has a double ending. See also, Schumann, op. 68, No. 1; Part I is repeated exactly, with repetition-marks; Parts II and III are also repeated literally (all but the very last tone in the lower part), but written out,—apparently without necessity. Also No. 2; the literal repetition of Part I is written out; Parts II and III have the repetition-marks.

MODIFIED REPETITIONS.—The quality and extent of the changes that may be made, in order to enrich the composition without altering its structural design, depend, as has been intimated, upon the judgment and fancy of the composer. The student will find no part of his analytical efforts more profitable and instructive than the careful comparison of these modified repetitions with the original Parts; nothing can be more fascinating and inspiring to the earnest musical inquirer, than thus to trace the operation of the composer's mind and imagination; to witness his employment of the technical resources in re-stating the same idea and developing new beauties out of it,—especially when the variations are somewhat elaborate.

It must be remembered that mere repetition (even when modified,—as long as it can be proven to be nothing more than repetition) does not alter the form. A phrase, repeated, remains a phrase; nothing less than a decided alteration of the cadence itself will transform it into a double-phrase (or period). Similarly, a period, repeated, remains a period, and does not become a double-period; and a Part, repeated, remains the same Part. Therefore, the student will find it necessary to concentrate his attention upon these larger forms, and exercise both vigilance and discrimination in determining which sections of his design come under the head of "modified repetition."

For an illustration of the repeated First Part, see the 9th Song Without Words; Part I is a four-measure period (of two small phrases) closing in the seventh measure; the following four measures are its modified repetition. For an example of the repeated Second and Third Parts, see No. 48. In No. 29, both repetitions occur, with interesting changes; the repetition of Part I begins in measure 13; that of Parts II and III in measure 35; the last 10 1/2 measures are a coda.

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THE FIVE-PART FORM. The repetition of the Second and Third Parts together is sometimes subjected to changes that are almost radical in their nature, and therefore appear to modify the form itself. These important changes chiefly affect the Second Part, when it reappears as "Fourth" Part. When the alteration of the Second Part (that is, the difference between Part IV and Part II) is sufficiently radical to suggest the presence of a virtually new Part, the design is called the Five-part Song-form. The possible repetition of the First Part, it will be inferred, does not affect this distinction in the least; it hinges solely upon the treatment of the reproduction of Part Two. For illustration:

The Five-Part form is illustrated in the 14th Song Without Words;—(first, number the measures; observe that the two endings of Part I are to be counted as the same measure, and not separately; they are both measure 8):—Part I extends to the double-bar, and is repeated literally, only excepting the rhythmic modification of the final measure; Part II extends from measure 9 to 23; Part III, measures 24-35; Part IV, measures 36-47; Part V, measures 48-60; coda to the end. The comparison of Part IV with Part II discloses both agreement and diversity; they are, obviously, practically the same Part, but differ in key, in form, and in extent. The comparison of Parts I, III, and V reveals a similar condition, though the agreement here is much closer, and each confirms the leading statement.

A more characteristic example will be found in the familiar F major Nachtstück of Schumann, op. 23, No. 4, which see:—Part I extends from measure 2 to 9 (after 1 1/2 measures of recitative introduction); Part II, measures 10-13; Part III, measures 14-21; Part IV, measures 22-32; Part V, measures 33-40; codetta to end. The Fourth Part bears very little resemblance to the Second, and assumes rather the character of a wholly independent Part.

GROUP OF PARTS.—In some, comparatively rare, instances, the arrangement of perfect cadences is such that,—coupled with independence of melodic formation and character,—the composition seems to separate into four or more individual sections or Parts, with or without a recurrence of the First one; or into three different Parts, lacking the evidence of the return to the beginning. When such irregularities are encountered, or when any conditions appear which elude or baffle natural classification among the Three-Part Song-forms (simple or enlarged), the piece may be called a group of Parts. The use of this term is entirely legitimate, and is commended to the student on account of its convenience, for all examples of the Song-form which, upon thoroughly conscientious analysis, present confusing features, at variance with our adopted classification. Of one thing only he must assure himself,—that the design is a Song-form (i.e. an association of Parts), and not one of the larger forms to be explained in later chapters. The definition is given in Chapter IX (on page 84).

A fair illustration of the utility of the term "Group of Parts" is seen in Schumann, op. 68, No. 18. Others will be cited in the following Lesson.

LESSON 11.—Analyze the following examples of the enlarged Three-Part Song-form. As before, the form of each Part should be defined, and introductions and codas (if present) properly marked. All of the given examples belong to this chapter, but are not classified; it is purposely left to the student to determine where repetitions occur, and whether they are exact, or variated,—in a word, to decide which of the above diagrams the composition represents.

Mendelssohn, Songs Without Words, No. 3, No. 4, No. 8, No. 10, No. 11, No. 12, No. 16, No. 17, No. 19, No. 21, No. 23, No. 24, No. 27, No. 31, No. 34, No. 39, No. 43, No. 44, No. 46.

Schumann, op. 68, No. 5; No. 6; No. 10; No. 13; No. 15; No. 19; No. 22; No. 30; No. 36; No. 43.

Mendelssohn, op. 72, No. 5.

Chopin, Prélude, op. 28, No. 17.

Mozart, pianoforte sonata No. 8, Andante (entire).

Mozart, No. 18, Andantino (of the "Fantasia").

Chopin, Mazurkas, No. 1, No. 2, No. 4, No. 5, No. 8, No. 15, No. 16, No. 18, No. 37, No. 44, No. 48.

GROUPS OF PARTS:

Chopin, Mazurkas, No. 3 (apparently five Parts, not counting repetitions; Part V corroborates Part I, but the intervening sections are too independent to be regarded as one long Second Part,—as would be the case if this corroboration were Part III). Also No. 7 (same design); No. 14 (four Parts, the last like the first); No. 19 (four Parts, the fourth like the second); No. 20: No. 21; No. 27 (Part V like I, Part IV like II); No. 34; No. 39; No. 41.

Schubert, Momens musicals, op. 94, No. 3.

CHAPTER XII. THE SONG-FORM WITH TRIO.

Another method of enlargement consists in associating two different—though somewhat related—Song-Forms. The practice was so common in certain of the older dances, particularly in the minuet, that this design is also known as the Minuet Form.

THE PRINCIPAL SONG.—The first division, called the principal song, is either a Two-Part or a Three-Part Song-form,—most commonly the latter. It is generally entirely complete in itself; the fact that another division is to be added, does not affect its character, form, or conception.

THE "TRIO," OR SUBORDINATE SONG.—The division which follows, as second song-form, was formerly called the "Trio," and it has retained the name in the majority of examples of this form, although the old custom that gave rise to the term has long since been discontinued. A more accurate designation, and one that we shall here adopt, is "Subordinate Song." (Other names, which the student will encounter, are "maggiore," "minore," "intermezzo," "alternative," etc.).

Like the principal song, its fellow (the subordinate song) may be either a Two-Part or a Three-Part design. It is very likely to resemble its principal song in species of measure, tempo, and general style; and its key may be the same as that of the principal division, or, at least, related to it. But similarity of style is by no means obligatory, the element of contrast having become more important than Unity, in a design of such extent. It is also usually complete in itself, though its connection with its principal song may involve a few measures of transitional material.

THE "DA CAPO."—This association of song-forms is subject to the principle which governs all tripartite forms, namely, the return to the beginning, and confirmation of the first (or principal) statement; not only because of the general desirability of such a return, but because the necessity for it increases with the growth of the form. In a design that comprises a number of entire song-forms, it may be regarded as indispensable.

Therefore, the subordinate song is followed by a recurrence of the principal song,—called the da capo (or "from the beginning"), because of those Italian words of direction given to the player upon reaching the end of the "Trio," or subordinate song. The reproduction of the principal division is likely to be literal, so that the simple directions "da capo" suffice, instead of re-writing the entire division. But, here again, changes may be made,—generally unimportant variations which do not obscure the form; or an abbreviation, or even slight extension. And a codetta or coda is sometimes added to the whole.

The Song with Trio is thus seen to correspond to the Three-Part Song-form, upon a larger scale. The several Parts of the latter become complete Song-forms. An important distinction, to which especial attention must be directed, is the completeness of the contents of each song-form, and their fairly distinct separation from each other, in the Song with Trio. The significance of these traits will become apparent to the analytic student, as he progresses along the line of form-evolution into the still larger designs.

LESSON 12.—The following examples all belong to the Song with Trio. They should be analyzed as usual, each Song separately, defining the Parts, their form, and other details, as minutely as possible. Careful analysis is the first condition of intelligent interpretation; and the more complete the analysis, the fuller and more authoritative the interpretation:—

Beethoven, pianoforte sonatas: op. 2, No. 1, third movement; the divisions are called Menuetto and Trio, therefore this is an authentic type of the present design; each is a complete Three-Part Song-form; the key is the same, though a change from minor into major takes place; after the Trio, the Menuetto does not re-appear (on the printed page), but its reproduction is demanded by the words Menuetto da capo, at the end of the Trio.

Op. 2, No. 2, Scherzo and Trio.

Op. 2, No. 3, Scherzo and Trio.

Op. 7, third movement, Allegro and Minore.

Op. 10, No. 2, second movement, Allegretto (the subordinate song is not marked, but is easily distinguished; there are no da capo directions, because the principal song is re-written, with alterations).

Op. 10, No. 3, Menuetto and Trio.

Op. 14, No. 1, second movement. Allegretto and Maggiore; a coda is added.

Op. 22, Menuetto and Minore.

Op. 26, Scherzo and Trio.

Op. 27, No. 1, second movement, Allegro molto; the Trio is not marked; the "da capo" is variated, and a coda follows.

Op. 27, No. 2, Allegretto and Trio.

Op. 28, Scherzo and Trio.

Op. 31, No. 3, Menuetto and Trio.

Schumann, op. 68, No. 11; here there are no outward indications of the Song with Trio, but that is the design employed; for the subordinate song the measure is changed from 6-8 to 2-4, but the key remains the same; the reproduction of the principal song is indicated in German, instead of Italian.

No. 12, No. 29, No. 39 (here the da capo is considerably changed).

In No. 37 the "subordinate song" is represented by no more than a brief Interlude (measures 33-40) between the principal song and its recurrence,—just sufficient to provide an occasion for the latter (which, by the way, is also abbreviated).

Mozart, pianoforte sonatas: No. 2, Andante cantabile; each song-form has two Parts; the subordinate song changes into the minor.

No. 9, second movement, Menuettos; the subordinate song is marked "Menuetto II," a custom probably antedating the use of the word "Trio" (see Bach, 2d English Suite, Bourrée I and II).

No. 12, Menuetto.

Schubert, Momens musicals, op. 94, Nos. 1, 4, and 6.

Schumann, op. 82 (Waldscenen), Nos. 7 and 8.

Chopin, Mazurkas, Nos. 6, 12, 23, 47, 50. In Nos. 10, 45, 46 and 51, the subordinate song consists of one Part only, but is sufficiently distinct, complete, and separate to leave no doubt of the form.

Also Chopin, Nocturne No. 13 (op. 48, No. 1).

Examples of this compound Song-form will also be found, almost without exception, in Marches, Polonaises, and similar Dance-forms; and in many pianoforte compositions of corresponding broader dimensions, which, if extended beyond the very common limits of the Three-Part form, will probably prove to be Song with Trio. This the student may verify by independent analysis of pianoforte literature,—never forgetting that uncertain examples may need (if small) to be classed among the group-forms, or (if large) may be suspected of belonging to the higher forms, not yet explained, and are therefore to be set aside for future analysis. Mention must be made of the fact that in some rare cases—as in Mendelssohn's well-known "Wedding March"—two Trios, and consequently two da capos, will be found.

CHAPTER XIII. THE FIRST RONDO-FORM.

EVOLUTION.—It cannot have escaped the observant student of the foregoing pages, that the successive enlargement of the structural designs of musical composition is achieved by a process of natural growth and progressive evolution. No single form intrudes itself in an arbitrary or haphazard manner; each design emerges naturally and inevitably out of the preceding, in response to the necessity of expansion, and conformably with the same constant laws of unity and variety,—the active agents, along the entire unbroken line of continuous evolution, being reproduction (Unity) and legitimate modification (Variety); or, in other words, modified repetition. It is upon the indisputable evidence of such normal evolution in the system of musical structure, that our conviction of the legitimacy and permanence of this system rests.

The diagrams which appear on pages 78 and 98 partly illustrate the line of evolution, which, in its fullest significance, may be traced as follows: the tone, by the simplest process of reproduction, became a figure; the figure, by multiplication or repetition, gave rise to the motive; the latter, in the same manner, to the phrase. The repetition of the phrase, upon the infusion of a certain quality and degree of modification (chiefly affecting the cadences) became the period; the latter, by the same process, became the double-period. The limit of coherent phrase-succession (without a determined interruption) being therewith reached, the larger Part-forms became necessary. The Two-Part form emerged out of the double-period, the two "connected" periods of which separated into two "independent" Parts, by the determined interruption in the center. And, be it well understood, each new design having once been thus established, its enlargement within its own peculiar boundaries followed as a matter of course; I mean, simply, that the two Parts did not need to remain the periods that were their original type; the process of growth cannot be stopped. The Three-Part form resulted from adding to the Two-Part the perfecting reversion to the starting-point, and confirmation of the principal statement. The Five-part form, and the Song with Trio are enlargements of the Three-Part forms by repetition or multiplication; and with the latter the limit of this particular process appears to be achieved. Any further growth must take place from within, rather than by addition from without.

But the process of evolution continues steadily, as the student will witness. To one vital fact his attention is here called,—a fact which he is enjoined to hold in readiness for constant application,—namely, that perfection of structural design is attained in the Three-Part form, and that every larger (or higher) form will have its type in this design, and its basis upon it. The coming designs will prove to be expansions of the Three-Part form.

THE RONDO-FORMS.—The structural basis of the Rondo, and other larger or (as they are sometimes called) higher forms, is the Subject or Theme. The form and contents of this factor, the Theme, are so variable that a precise definition can scarcely be given. It is a musical sentence of very distinct character, as concerns its melodic, harmonic and, particularly, its rhythmic consistency; and of sufficient length to establish this individuality,—seldom, if ever, less than an entire period or double-period; often a Two-Part, not infrequently a complete Three-Part Song-form, though never more than the latter.

In the Rondo-forms, two or three such Themes are associated in such alternating succession that, after each new Theme, the first or Principal Theme recurs. The term "Rondo" may be referred to this trait, the periodic return of the Principal theme, which, in thus "coming round" again, after each digression into another theme, imparts a characteristic circular movement (so to speak), to the design. In the rondos, then, all the movements of musical development revolve about one significant sentence or theme, the style of which therefore determines the prevailing character of the whole composition. This, which is naturally called the Principal theme, is placed at the beginning of the rondo. Its end being reached, it is temporarily abandoned for a second sentence, called the Subordinate theme, of more or less emphatically contrasting style and of nearly or quite equal length (generally shorter, however), and always in a different key. After this there occurs the momentous return to the beginning,—the most insistent and vital fundamental condition of good, clear, musical form, of whatsoever dimension or purport,—and the Principal theme reasserts itself, recurring with a certain degree of variation and elaboration (occasionally abbreviation), thus vindicating its title as Principal theme, and stamping its fellow-theme as a mere digression. After this,—if a still broader design is desired,—another digression may be made into a new Subordinate theme, in still another key, followed by the persistent return to the Principal theme. And so on. Upon the Subordinate theme, or themes, devolves the burden of variety and contrast, while the Principal theme fulfils the requirements of corroboration and concentration. A coda, sometimes of considerable length, is usually added; it appears to be necessary, as a means of supplying an instinctive demand for balance, increased interest, and certain other scarcely definable conditions of very real importance in satisfactory music form.

Of the Rondo-forms there are three grades, distinguished respectively by the number of digressions from the Principal theme:—

The First Rondo-form, with one digression (or Subordinate theme), and one return to the Principal theme;

The Second Rondo-form, with two digressions, and two returns;

The Third Rondo-form, with three digressions and three returns. The persistent recurrence of the Principal theme, something like a refrain, and the consequent regular alternation of the chief sentence with its contrasting subordinate sentences, are the distinctive structural features of the Rondo.

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THE FIRST RONDO-FORM.—This consists, then, of a Principal theme (generally Two-Part or Three-Part Song-form); a Subordinate theme in a different key (probably a smaller form); a recurrence of the Principal theme (usually more or less modified or elaborated); and a coda. Thus:—

The design is that of the tripartite forms. But it is not to be confounded with the Three-Part Song-form, because at least one of its Themes, and probably both, will be a Part-form by itself. It is an association of Song-forms, and therefore corresponds in design to the Song with Trio. The first Rondo differs from the latter, however, in being more compact, more coherent and continuous, and more highly developed. This manifests itself in the relation of the Themes to each other, which, despite external contrast, is more intimate than that between the Principal and Subordinate Song (or Trio); further, in the transitional passages from one Theme into the other (especially the Re-transition, or "returning passage"); in the customary elaboration of the recurring Principal Theme; and in the almost indispensable coda, which often assumes considerable importance, and an elaborate form and character.

The evolution of the First Rondo-form of the Song with Trio may be clearly traced in classic literature. Many intermediate stages appear, naturally; and it is sometimes difficult to determine whether the design is Rondo or compound Song-form, simply because it is scarcely possible to decide just when the "Trio" assumes the more intimate relation of a Subordinate theme, or when the freedom and comparative looseness of association (peculiar to the Song with Trio) is transformed into the closer cohesion and greater smoothness of finish which fuses all the component Parts of the design into one compact whole,—the distinctive stamp of all so-called "higher" forms.

The thoughtful examination and comparison of the following four examples will elucidate the matter:—

1. Beethoven, first pianoforte sonata (op. 2, No. 1), Menuetto and Trio. Already analyzed as a perfectly genuine Song with Trio.

2. Beethoven, pianoforte sonata, op. 28, second movement, Andante. The principal Song is in the Three-Part form, with exact repetitions. The subordinate song differs so radically in style, and each song is so complete and distinct from the other, that the form is almost certainly Song with Trio; but there is a strong intimation of the Rondo-form in the elaborate variation of the da capo, and in the treatment of the coda (last 17 measures), in which motives from both Songs are associated so closely as to vindicate their kinship. In a word, this movement possesses,—despite the apparent independence of its Songs,—some degree of that continuity, compactness and artistic finish which culminate in the genuine Rondo-form.

3. Mozart, pianoforte sonata, No. 10, second movement (Rondeau en polonaise). The continuity and unity of this composition is so complete that it is certainly a Rondo-form; the principal theme is a fairly large Three-Part form; the subordinate theme (measure 47-69) is a Two-Part form, the second part corresponding in contents to the second Part of the principal theme; the recurrence of the principal theme is abbreviated to one of its three Parts, and is merged in the coda (last seven measures), which assumes the nature of a mere extension. Despite all this evidence, there still remains a certain impression of structural independence, which, so to speak, betrays the "seams," and militates somewhat against the spirit of the perfect Rondo-form. See also, No. 13, Adagio.

4. Beethoven, pianoforte sonata, op. 2, No. 2, Largo; the unessential details omitted in the following (in order to economize space) appear, of course, in the original,—to which the student is expected to refer.

This is a genuine First Rondo-form. All the factors of which it is composed, Phrases, Parts and Themes, are so closely interlinked that the continuity, cohesion and unity of the whole is complete. The variety of contents which these factors exhibit (greatest, naturally, between the two themes), does not disturb the impression that the whole movement is a unit. This is due, at least partly, to the manner in which the perfect cadences are disguised; each one is passed over with the least possible check of rhythmic movement (measures 8, 19, etc.), thus snugly dove-tailing the structural factors. The coda is elaborate and unusually long; it consists of several "sections," as follows (see the original): from measure 1 (the last measure in Ex. 54) to measure 4, a phrase, derived from the second Part of the Principal theme; measures 5-7, an abbreviated repetition; measures 8-14, a phrase, derived from the Principal theme; measures 15-17, a transitional passage; measures 18-25, a period, closely resembling Part I of the Principal theme; measures 26-30, final phrase.

LESSON 13.—Analyze the following examples. They are not classified; the student must determine whether the form is pure First Rondo, or an intermediate grade between Rondo and "Song with Trio." One of the examples is a genuine Song with Trio; and one is a Three-Part Song-form; with reasonable vigilance the student will detect these "catches." To distinguish these three designs from each other, recollect—

That the Three-Part Song-form consists of three single Parts, fairly similar in character, fairly small in form, and severed either by a firm cadence, or by unmistakable proof of new "beginning;"

That in the first Rondo-form, at least one of the themes (if not both) contains two (or three) Parts; and,

That in the Song with Trio, the two "Songs" are more independent of each other, and more decisively separated, than are the "themes" of the Rondo-form.

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 analysis upon them.

The analysis 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 passage into the Principal 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 Principal 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 Principal 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 assuming 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 Principal 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 illustrated 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:

Principal 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).

Principal 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.

Principal theme, as before (88-107).

Coda, period, with modified repetition of consequent phrase (108-119),—followed by an extra perfect cadence, as extension.

LESSON 14.—Analyze 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 Principal 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: Principal Theme; 1st Subordinate Theme; Principal Theme; 2d Subordinate Theme; Principal Theme; 1st Subordinate Theme; Principal Theme; and coda.

It will be observed that this arrangement is another confirmation and embodiment of the Three-Part (tripartite) 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 Principal Theme, First Subordinate Theme, and recurrence of the Principal 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 Principal 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 repetitions), 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 passage) 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 Principal 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 principal 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.

Further, the last recurrence of the Principal theme being no less than its fourth announcement, is rarely complete; as a rule, a brief intimation (the first motive or phrase) is deemed sufficient, and this is then dissolved into the coda; or the Principal theme, as such, is omitted, or affiliated with the coda, or one of its sections.

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For an illustration of the Third Rondo-form, the student is referred to the last movement of Beethoven's pianoforte sonata, op. 2, No. 2, the diagram of which is as follows:—

For its detailed analysis, number the measures as usual (there are 187, the "second ending" not being counted), and define each factor of the form by reference to the given indications,—the figures in parenthesis again denoting the measures:—

Principal Theme, Part I (1-8), period-form. Part II (9-12), phrase. Part III (13-16), phrase.

Transition, period-form (17-26), leading into the new key.

First Sub. Theme, period, Antecedent (27-32), Consequent (33-39).

Re-transition (40).

Principal Theme, as before, (41-56). This ends the EXPOSITION.

Second Sub. Theme, Part I (57-66), period, literal repetition. Part II (67-74) period-form. Part III (75-79) phrase.

Parts II and III repeated (80-92); the process of re-transition begins one measure earlier (91), and is pursued to measure 99.

The RECAPITULATION begins in the next measure with the

Principal Theme, as before, slightly modified (100-115).

Transition, as before, slightly abbreviated (116-123).

First Subordinate Theme, as before, but transposed to the principal key, A major, and somewhat modified (124-135).

Principal Theme begins in measure 135, where the preceding theme ends; consequently, there is an Elision. In measure 140 it is dissolved into the

Coda: Section 1 (to measure 148).

Section 2 (149-160).

Section 3 (161-172).

Section 4 (173-180).

Section 5 (to end).

LESSON 15.—Analyze the following examples, as usual. They represent chiefly the Third Rondo-form, but one example each of the First and Second Rondo-forms have been introduced, to stimulate the vigilance of the student. Review the directions given in Lesson 13:

Beethoven, pianoforte sonatas: op. 26, last movement, (very concise, but a perfect model of the form).

Op. 28, last movement.

Op. 7, last movement.

Op. 2, No. 3, last movement.

Op. 13, last movement.

Op. 22, last movement.

Op. 14, No. 1, last movement.

Op. 31, No. 1, Adagio.

Beethoven, Rondos for pianoforte, op. 51, No. 1; and op. 51, No. 2.

Mozart, pianoforte sonata, No. 4, last movement; No. 3, last movement.