FREE BOOKS

Author's List




PREV.   NEXT  
|<   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   >>  
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:-- _Middle_ _Exposition._ _Division_ _Recapitulation._ ------------------------ ---------- ---------------------------------- Pr.Th. 1stSub.Th. Pr.Th. 2d Sub.Th. Pr.Th. 1st Sub.Th. Pr.Th. and Coda ------------------------ ---------- ---------------------------------- A maj. E maj. A maj. A minor A maj. A maj. A maj. 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.
PREV.   NEXT  
|<   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:
movement
 

measure

 

Section

 
period
 

Principal

 

phrase

 

begins

 

transition

 

measures

 

modified


pianoforte

 
Beethoven
 

student

 
Second
 
slightly
 

Transition

 

Elision

 

Subordinate

 

abbreviated

 

RECAPITULATION


preceding

 

transposed

 

principal

 

vigilance

 

Review

 
directions
 

stimulate

 

introduced

 

Lesson

 

sonatas


perfect

 

concise

 
chiefly
 

pursued

 

examples

 

represent

 

Analyze

 

LESSON

 

dissolved

 

ending


analysis
 
number
 

counted

 

indications

 

figures

 
parenthesis
 

reference

 
define
 
factor
 

detailed