Lessons in Music Form. Percy Goetschius
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rel="nofollow" href="#litres_trial_promo">[Illustration: Example 35. Fragment of Schumann.]
[Illustration: Example 36. Fragment of Schubert.]
CHAPTER VI. IRREGULAR PHRASES.
[Illustration: Example 37. Fragment of Mendelssohn.]
[Illustration: Example 38. Fragment of Beethoven.]
[Illustration: Example 39. Fragment of Mendelssohn.]
[Illustration: Example 40. Fragment of Mendelssohn.]
[Illustration: Example 41. Fragment of Mendelssohn.]
[Illustration: Example 42. Fragment of Beethoven.]
[Illustration: Example 43. Fragment of Beethoven.]
[Illustration: Example 43 continued.]
[Illustration: Example 44. Fragment of Mendelssohn.]
[Illustration: Example 45. Fragment of Mendelssohn.]
[Illustration: Example 46. Fragment of Mozart.]
[Illustration: Example 47. Fragment of Beethoven.]
[Illustration: Example 47 continued.]
CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM.
[Illustration: Example 48. Fragment of Mozart.]
[Illustration: Example 49. Fragment of Chopin.]
[Illustration: Example 49 continued.]
[Illustration: Phrase group diagram.]
[Illustration: Example 50. Fragment of Grieg.]
[Illustration: Example 51. Fragment of Beethoven.]
CHAPTER IX. THE TWO-PART SONG-FORM.
[Illustration: Example 52. Fragment of German lied .]
CHAPTER X.--THE THREE-PART SONG-FORM.
[Illustration: Example 53. Fragment of Schumann.]
[Illustration: Example 53 continued.]
CHAPTER XI. ENLARGEMENT OF THE THREE-PART SONG-FORM.
[Illustration: Diagram of Parts.]
CHAPTER XII. THE SONG-FORM WITH TRIO.
CHAPTER XIII. THE FIRST RONDO-FORM.
[Illustration: Example 54. Fragment of Beethoven.]
[Illustration: Example 54 continued.]
[Illustration: Example 54 continued.]
CHAPTER XIV. THE SECOND RONDO-FORM.
CHAPTER XV. THE THIRD RONDO-FORM.
CHAPTER XVI. THE SONATINE FORM.
CHAPTER XVII. THE SONATA-ALLEGRO FORM.
[Illustration: Example 55. Fragment of Beethoven.]
[Illustration: Example 55 continued.]
[Illustration: Example 55 continued.]
[Illustration: Example 55 continued.]
CHAPTER XVIII. IRREGULAR FORMS.
CHAPTER XIX. APPLICATION OF THE FORMS.
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