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

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The Project Gutenberg EBook of Lessons in Music Form, by Percy Goetschius This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Lessons in Music Form A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition Author: Percy Goetschius Release Date: September 22, 2006 [EBook #19354] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK LESSONS IN MUSIC FORM *** Produced by Al Haines LESSONS IN MUSIC FORM A MANUAL OF ANALYSIS OF ALL THE STRUCTURAL FACTORS AND DESIGNS EMPLOYED IN MUSICAL COMPOSITION BY PERCY GOETSCHIUS, MUS. DOC. (Royal Wrttemberg Professor) AUTHOR OF THE MATERIAL USED IN MUSICAL COMPOSITION, THE THEORY AND PRACTICE OF TONE-RELATIONS, THE HOMOPHONIC FORMS OF MUSICAL COMPOSITION, MODELS OF THE PRINCIPAL MUSIC FORMS, EXERCISES IN MELODY WRITING, APPLIED COUNTERPOINT, ETC. $1.50 BOSTON OLIVER DITSON COMPANY New York -------- Chicago CHAS. H. DITSON & CO. -------- LYON & HEALY COPYRIGHT. MCMIV, BY OLIVER DITSON COMPANY MADE IN U. S. A. [Transcriber's note: This book contains a few page references, e.g., "...on page 122". In such cases the target page number has been formatted between curly braces, e.g. "{122}", and inserted into this e-text in a location matching that page's physical location in the original book.] FOREWORD. The present manual treats of the structural designs of musical composition, not of the styles or species of music. Read our AFTERWORD. It undertakes the thorough explanation of each design or form, from the smallest to the largest; and such comparison as serves to demonstrate the principle of natural evolution, in the operation of which the entire system originates. This explanation--be it well understood--is conducted solely with a view to the _Analysis_ of musical works, and is not calculated to prepare the student for the application of form in practical composition. For the exhaustive exposition of the technical apparatus, the student must be referred to my "Homophonic Forms." The present aim is to enable the student to recognize and trace the mental process of the composer in executing his task; to define each factor of the structural design, and its relation to every other factor and to the whole; to determine thus the synthetic meaning of the work, and thereby to increase not only his own appreciation, interest, and enjoyment of the very real beauties of good music, but also his power to _interpret_, intelligently and adequately, the works that engage his attention. * * * * * * The choice of classic literature to which most frequent reference is made, and which the student is therefore expected to procure before beginning his lessons, includes:-- The Songs Without Words of Mendelssohn; the _Jugend Album_, Op. 68, of Schumann; the pianoforte sonatas of Mozart (Peters edition); the pianoforte sonatas of Beethoven. Besides these, incidental reference is made to the symphonies of Beethoven, the sonatas of Schubert, the mazurkas of Chopin, and other pianoforte compositions of Mendelssohn, Beethoven, Chopin, and Brahms. PERCY GOETSCHIUS. BOSTON, MASS., Sept., 1904. TABLE OF CONTENTS. CHAPTER I.--INTRODUCTION. THE NECESSITY OF FORM IN MUSIC THE EVIDENCES OF FORM IN MUSIC UNITY AND VARIETY CHAPTER II.--FUNDAMENTAL DETAILS. TIME TEMPO BEATS MEASURES RHYTHM MELODY CHAPTER III.--FIGURE AND MOTIVE. THE MELODIC FIGURE DEFINING THE FIGURES THE MELODIC MOTIVE, OR PHRASE-MEMBER PRELIMINARY TONES CHAPTER IV.--THE PHRASE. THE PHRASE LENGTH OF THE REGULAR PHRASE EXCEPTIONS CONTENTS OF THE PHRASE CHAPTER V.--CADENCES. CADENCES IN GENERAL MODIFICATION, OR DISGUISING OF THE CADENCE THE ELISION SPECIES OF CADENCE PERFECT CADENCE SEMICADENCE LOCATING THE CADENCES CHAPTER VI.--IRREGULAR PHRASES. CAUSES OF IRREGULARITY THE SMALL AND LARGE PHRASES THE PRINCIPLE OF EXTENSION INHERENT IRREGULARITY CHAPTER VII.--THE PERIOD-FORM. PHRASE-ADDITION THE PERIOD CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM. ENLARGEMENT BY REPETITION THE PHRASE-GROUP THE DOUBLE-PERIOD CHAPTER IX.--THE TWO-PART SONG-FORM. THE SONG-FORM, OR PART-FORM THE PARTS THE FIRST PART THE SECOND PART CHAPTER X.--THE THREE-PART SONG-FORM. DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS PART I PART II PART III CHAPTER XI.--ENLARGEMENT OF THE THREE-PART SONG-FORM. REPETITION OF THE PARTS EXACT REPETITIONS MODIFIED REPETITIONS THE FIVE-PART FORM GROUP OF PARTS CHAPTER XII.--THE SONG-FORM WITH TRIO. THE PRINCIPAL SONG THE TRIO, OR SUBORDINATE SONG THE "DA CAPO" CHAPTER XIII.--THE FIRST RONDO-FORM. EVOLUTION THE RONDO-FORMS THE FIRST RONDO-FORM CHAPTER XIV.--THE SECOND RONDO-FORM. DETAILS CHAPTER XV.--THE THIRD RONDO-FORM. THE EXPOSITION THE MIDDLE DIVISION THE RECAPITULATION CHAPTER XVI.--THE SONATINE-FORM. CLASSIFICATION OF THE LARGER FORMS THE SONATINE-FORM CHAPTER XVII.--THE SONATA-ALLEGRO FORM. ORIGIN OF THE NAME THE SONATA-ALLEGRO FORM THE EXPOSITION THE DEVELOPMENT, OR MIDDLE DIVISION THE RECAPITULATION DISSOLUTION RELATION TO THE THREE-PART SONG-FORM CHAPTER XVIII.--IRREGULAR FORMS. CAUSES AUGMENTATION OF THE REGULAR FORM ABBREVIATION OF THE REGULAR FORM DISLOCATION OF THEMATIC MEMBERS MIXTURE OF CHARACTERISTIC TRAITS CHAPTER XIX.--APPLICATION OF THE FORMS. APPLICATION OF THE SEVERAL DESIGNS IN PRACTICAL COMPOSITION AFTERWORD LESSONS IN MUSIC FORM. CHAPTER I. INTRODUCTION. THE NECESSITY OF FORM IN MUSIC.--So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence there, that a few general principles are submitted at the outset of our studies, as a guide to individual reflection and judgment on the subject. Certain apparently defensible prejudices that prevail in the minds of even advanced musical critics against the idea of Form in music, originate in a very manifest mistake on the part of the "formalists" themselves, who (I refer to unimpassioned theorists and advocates of rigid old scholastic rules) place too narrow a construction upon Form, and define it with such rigor as to leave no margin whatever for the exercise of free fancy and emotional sway. Both the dreamer, with hisindifference to (or downright scorn of) Form; and the pedant, with his narrow conception of it; as well as the ordinary music lover, with his endeavor to discover some less debatable view to adopt for his own everyday use,--need to be reminded _that Form in music means simply Order in music_. Thus interpreted, the necessity of form, that is, Order, in the execution of a musical design appears as obvious as are the laws of architecture to the builder, or the laws of creation to the astronomer or naturalist; for the absence of order, that is, Disorder, constitutes a condition which is regarded with abhorrence and dread by every rational mind. A musical composition, then, in which Order prevails; in which all the factors are chosen and treated in close keeping with their logical bearing upon each other and upon the whole; in which, in a word, there is no disorder of thought or technique,--is music with Form (_i.e._ good Form). A sensible arrangement of the various members of the composition (its figures, phrases, motives, and the like) will exhibit both agreement and contrast, both confirmation and opposition; for we measure things by comparison with both like and unlike. Our nature demands the evidence of _uniformity_, as that emphasizes the impressions, making them easier to grasp and enjoy; but our nature also craves a certain degree of _variety_, to counteract the monotony which must result from too persistent uniformity. When the elements of Unity and Variety are sensibly matched, evenly balanced, the form is good. On the other hand, a composition is formless, or faulty in form, when the component parts are jumbled together without regard to proportion and relation. Which of these two conditions is the more desirable, or necessary, would seem to be wholly self-evident. The error made by pedantic teachers is to demand _too much_ Form; to insist that a piece of music shall be a model of arithmetical adjustment. This is probably a graver error than apparent formlessness. Design and logic and unity there must surely be; but any _obtrusive_ evidence of mathematical calculation must degrade music to the level of a mere handicraft. * * * * * * Another and higher significance involved in the idea of Form, that goes to prove how indispensable it may be in truly good music, rests upon the opposition of Form to the material. There are two essentially different classes of music lovers:--the one class takes delight in the mere sound and jingle of the music; not looking for any higher purpose than this, they content themselves with the purely sensuous enjoyment that the sound material affords. To such listeners, a comparatively meaningless succession of tones and chords is sufficiently enjoyable, so long as each separate particle, each beat or measure, is euphonious in itself. The other class, more discriminating in its tastes, looks beneath this iridescent surface and strives to fathom the underlying _purpose_ of it all; not content with the testimony of the ear alone, such hearers enlist the higher, nobler powers of Reason, and no amount of pleasant sounds could compensate them for the absence of well-ordered parts and their logical justification