FREE BOOKS

Author's List




PREV.   NEXT  
|<   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   >>  
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 _Codett
PREV.   NEXT  
|<   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
 

Principal

 

themes

 

period

 

pianoforte

 
Chopin
 
Adagio
 

measures

 
generally
 

present


transition

 

define

 
Beethoven
 

illustrated

 
sufficiently
 

abbreviated

 
merges
 
recurrences
 

dimensions

 

assuming


prevent

 

enlarged

 

design

 

concise

 

common

 

frequently

 

movement

 

phrase

 

minute

 

Transition


Codett

 
leading
 

denoting

 

Number

 

hundred

 
twenty
 

sonata

 
factors
 

indications

 
figures

parenthesis
 

reference

 
posthumous
 
CHAPTER
 

preceding

 

chapter

 
SECOND
 

Andante

 
detail
 

Allegro