FREE BOOKS

Author's List




PREV.   NEXT  
|<   67   68   69   70   71   72   73   74   75   76   77   78   79   80   81   82   83   84   85   86   87   88   89   90   91  
92   93   94   95   96   97   98   99   100   101   >>  
. 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, _Bourree_ 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 legitimat
PREV.   NEXT  
|<   67   68   69   70   71   72   73   74   75   76   77   78   79   80   81   82   83   84   85   86   87   88   89   90   91  
92   93   94   95   96   97   98   99   100   101   >>  



Top keywords:
subordinate
 

pianoforte

 

Menuetto

 

student

 

evolution

 
Chopin
 
analysis
 

Mendelssohn

 
Wedding
 

suspected


examples

 

classed

 
uncertain
 

forgetting

 
verify
 

independent

 
literature
 
future
 

Mention

 

explained


belonging

 

higher

 

foregoing

 

necessity

 

response

 

expansion

 

conformably

 

constant

 

preceding

 

design


manner

 
emerges
 

naturally

 

inevitably

 

continuous

 
reproduction
 

legitimat

 
unbroken
 

active

 
variety

agents
 

entire

 
haphazard
 
arbitrary
 

escaped

 

observant

 
EVOLUTION
 

successive

 
enlargement
 

progressive