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ML 410.M93S17

Short and concise analysis of lUozart's

3 1924 017 088 976

E^
WB

The
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Cornell University
Library

original of

tiiis

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is in

Cornell University Library.

There are no known copyright

restrictions in

the United States on the use of the

text.

http://www.archive.org/details/cu31924017088976

A SHORT AND CONCISE

ANALYSIS
OF

MOZART'S
TWENTY-TWO

PIANOFORTE SONATAS
(With a Description

of

some

of the

Various Forms.)

BY

Janet Salsbury,
MUS. DOC. DUNELM.
"Professor

of ^Music, Ladies

Price

CHICAGO, U.S.A.

Street, Regent Street,

Hanover
CLAYTON F. SUMMY CO.,

CO..

14,

COPYRIGHT.

Che\le^hflTii.

Net.

1/6

London

WEEKES &

College,

1917

64,

W.

EAST VAN BUREN STREET.

BY WEEKES & CO

CONTENTS.

In the compilation of the short description of

the various

Forms

acknowledge

my

indebtedness to

various books, especially to Mr. Stewart Macpherson's

excellent

"Form

from which

in

Music" (Joseph Williams,

obtained

much

Ltd.),

valuable information.

Janet Salsbury.

SHORT DESCRIPTION OF THE

VARIOUS FORMS.
SONATA FORM.
Also called (i) First-Movement Form,
Allegro Form,

Symphonies,

and

(all

etc.,

so

named because

(2)

the

Symphony Form, (3) SonataMovements of Sonatas,

First

are most frequently constructed on this particular design),

(4) formerly called

Binary Form, because the movement

is

founded on

two subjects.
Sonata Form consists of three parts
(i)

A.

Enunciation or Exposition.

Free Fantasia or Development, and

(2) B.
(3)

The

A2. Recapitulation.

Enunciation, or Part

two Subjects, a Principal

and a Second Subject, the key of
the time of Beethoven was almost invariably in the Dominant
I.,

consists of

or ist Subject invariably in the tonic key

which up to

when the movement was in a major key, or in the relative major when the
movement was in a minor key. Beethoven, and composers since his time,
have taken more
being in

the same

liberty in the choice

as the Transition, Connecting

may

consist of

of key.

key, are generally connected by

new matter

These two subjects, not

means of a passage known

The

Episode or Bridge Passage.

Transition

or be formed from part of the Principal Subject.

The Development, or Part

II. of

a Sonata, consists

(i)

of the

development of ideas in the Enunciation, thus presenting them in different

aspects to those already given, or (2) of an entirely

new

episode, or (3) of

both Thematic Development and Episodical Matter.

"With Mozart's Sonata

Professor Prout in his 'Applied Forms,' says

movements

in

general

more Episode and

less

Thematic treatment

mostly be found in the Free Fantasia than with either

[Copyright, 1914, by

Webkes &

Co.]

Haydn

will

or Beethoven."

ANALYSIS OF MOZART'S
With regard

to the keys used, with the exception that the tonic

avoided, the composer

is

usually

entirely free in his choice.

is

In the Recapitulation, or Part III., the Enunciation is repeated

with more or less modification.
The Second Subject is transposed to the
tonic, but if any irregularity of key has occurred in this part of the Enunciation, a corresponding key (or series of keys), is generally found in the Re
capitulation, the Transition being usually altered towards the end to effect
this

change.

Coda,

or

'

Tail-Piece,'

is

sometimes added

the

after

actual

Recapitulation of the subjects has ended.

In the time of

Haydn and Mozart,

this

often

Cadence, thus emphasizing the close

time of Beethoven,

has

movement

it

of a

consisted

repetition of the Final

mere

but from the

developed into a very important part of the

added, not as a rule by using new material,

fresh interest being

but by the development of ideas already heard, thus increasing the effect
by carrying the music to a higher climax both in regard to its emotional and
constructive sense.

SONATA FORM.
A.

Enunciation.

Principal Subject (tonic).

Transition.
Second Subject (usually in
dominant or other related
key).

The Enunciation

is,

A2.

Free Fantasia.

B.

Thematic Development,

New

or (2)

Episode,

or

Thematic Development
and Episodical matter.

(3)

Recapitulation.

Principal Subject (tonic).

Transition.
Second Subject (tonic).

Coda.

as a rule, repeated.

MODIFIED OR ABRIDGED SONATA FORM.

Is,

as

its

name

implies, a modification of Sonata

Enunciation and Recapitulation

A.

Enunciation.

B.

Principal Subject (tonic).

Transition.
Second Subject (usually in
dominant or other related

This

Form

is

Free Fantasia.

Omitted,
>
sometimes a link (of perhaps I bar) modulating

back

to the tonic key.

frequently used for

ments of Sonatas, Symphonies, etc.

The Enunciation

is

Form.

It consists of the

the Free Fantasia being omitted.

not repeated.

A2.

Recapitulation.

Principal Subject (tonic)

Transition.

Second Subject
Coda.

Opera Overtures, and

for

(tonic).

Slow Move-

PIANOFORTE SONATAS.

EPISODICAL FORM.
{3)

This form consists of three parts;

A2. Re-statement.

(i)

A. Statement,

B. Contrast,

(2)

It is so called because the middle part differs both in character and

Key from the principal theme, and is only heard between the theme and its

re-appearance

may

part

this

Form

Episodical

somewhat

is

therefore

similar to "

be described as an

Minuet and Trio

"

" Episode."

Form, but

in

the latter the parts are divided into 3 distinct divisions, whereas in the
former the parts run one into another, and the design is of one continuous

movement.
This form is to be found in many types of movements, such
movements of Cyclic Works, Impromptus, Polonaises, etc.

A.
Principal

Statement.

B.

Theme,

A2.

Contrast.

Episode,,

the design of which

frequently as follows
A. B, A2.

differing in character

is

key from

Theme, but
same form.

beginning and ending in

and

as slow

Re-statement.

Principal Theme.
Coda usually added.

the Principal
usually in the

tonic key.

MINUET AND TRIO FORM.

Similar to

Episodical

marked; the Minuet

Ternary Form
character

A.

is

the Trio

and often
Statement.

Form, but the divisions are more strongly

usually in itself a complete

in key.

is

similar as a rule

movement

in form,

in

Simple

but contrasted

in

ANALYSIS OF MOZART'S

OLDER OR SIMPLE RONDO FORM.

Design

A, B, A2, C, A3.

This primitive type of Rondo consists of a Principal Theme (A)

which must be heard at least three times and Episodes (B, C) occurring
The Episodes should be in
between each appearance of the theme.
contrast, both in character and key to one another and also to the

main theme.
In the earliest examples, the Episodes or Couplets only slightly

differ

from the main theme.

Part

A.

Principal

B.

Episode

Theme

I.

B.

I.

(tonic).

A2. Principal Theme

Episode

C.

(related key).

A2.

Part II

A3. Principal Theme (tonic)

II.,

Coda frequently added.

contrasting in character
and key to Theme and

(tonic).

Episode

Part III.

I.

RONDO-SONATA OR MODERN RONDO FORM.

Rondo-Sonata Form

is

more or

less

a modification of Sonata and

Older Rondo Form.

structure it consists, like Sonata Form, of two Subjects, a
and a Second Subject, but in Rondo-Sonata Form, after the Second
Subject has been heard, a return is made to the Principal Subject in the

In

its

Principal

tonic

key which ends the

Enunciation,

Enunciation ends with the Second Subject

the chief

mark of

make

in the

is

similar to the Older

Sonata Form

secondary key

the

this is

two Forms.

distinction in the structure of these

Rondo-Sonata Form
both

whereas in

Form

in the fact that they

a return to the Principal Subject (in tonic key) to end the

Enunciation or

first

part of the

Subject in Rondo-Sonata

Form

movement.

They

differ, in that

the Second

recurs in Part III., whereas Episode

I.,

in

Older Rondo Form does not so recur.

RONDO-SONATA FORM.
A.

A.

Part

I.

Principal Subject (tonic).

Transition.
B. Second Subject,
(frequently dominant key.)
A2. Principal Subject (tonic).

B.

Part

II.

A2.

Part III.

A3. Principal Subject

(tonic)

Transition.
B2. Second Subject (tonic).
A4. Principal Subject (tonic

Coda.

PIANOFORTE SONATAS.
.H

.H o.
H'Ej

o c 8
o o

-"

(U

" " C
o

^
-^m

.n

>, '^

(U

.1

1)

pq

o
(U

,3 CO

"O

0)

"

&
M
tJ

a
s

>;

o "
S u

0)
.
_ 5j
a
S M m

a o "

en

o
c
o

^ ^ ^I

.a

3*j
v

43
o,

"

5:

.2
"

d-o

"^

a. Si,

~
Oh

a o gw s " o u .^0
.M^H
m o-TS J< N cue;-

S S >
o i?

!-

'S

""fHW

Oil

"
t3

-2 -3
>**

\s
-a

(U

"- -s .^

w
in

(-^

Pi

<

O !U
q.*:

sag
~

CD

HISS'S

fci

o
c
o

P<

'o

rt

ti

.2

*-

Cd

d 5j
w

ra

bo

a.
^
gHW

T3
..1-1

>,

.a

c T3
V

g
2

-3 .a

0)

**-

?Q

C_i

^ ^

.S

-^

j^
^ c " '"o

J=

=^

I)

"

"5 v2

Ph
'

.rH

s
O

j3
.J3

5 s B

W
J=V-i

ST

-a >:

s s

ri

Pi

rm

"ti

.7^

rt

u a.
'3
o o_ c

.0

H
"3
O " m
ni

o
ea

e g m -je
2
E" c -Q
O
o

-^

aj

3a.
-

.2

" o

^u
go

*-

j: *

2"-S

_,

CO

a 3 g

CI.
" P g
g [A
c
<i>

_3

O cd
Oh U

rt

<u

es

fl
(u

s a

Mf

17
'^

=
ca

.is

-3
g
= o

|J

g"Tr-S.2pdS

S
S, g

-'Q o

W . Q

rt

..^

':3

fl

,^

5^

ti,

4^

^
a>

(u

S "

IS
r-

.2

(u

O U

fe

rt

-f

ri

2 c

>

g o

te

"

J3

C8

c
o

j3

"

s i_r
O s
o 01
0)
y
'to
a ^ ^ b
o rt 5 <u 2 rt
u
^w

ANALYSIS OF MOZART'S

10

In course of time this simple type of Binary

Form expanded

into a

more

developed and important movement in which the cadence bars grew into a
Second Subject and in which was more freedom in the choice of key in the

second half of the movement.

Through

all

the various developments which Binary

Form underwent

passed into Ternary Form, the chief principle remained the

same, namely, that Part I. (A) represented a statement, and that Part II. (B)
represented a response and a certain amount of contrast to this statement.
before

it

finally

SIMPLE TERNARY OR THREE-PART FORM.

A.

Part

I.

PIANOFORTE SONATAS.

FORM OF THE VARIOUS

MOVEMENTS
IN
Sonata
<Pauer's Edition).

EACH SONATA.

11

ANALYSIS OF MOZART'S

12

ANALYSIS OF MOZART'S

TWENTY-TWO
PIANOFORTE SONATAS.
SONATA
Edition

The

No.

Cotta, No.

(Pauer's Edition).

1.

No.

Peters,

5.

Riemann, No.

16.

11.

small figures in brackets shew the beat, or portion of the beat, in

the bar.

Allegro.

"-

4<MJ^^'F4^
ANALYSIS.
First

A.

Movement.

i6<3) 19

2038

Principal Subject

Keys.

Bars.

^9-57

Transition
Second Subject
(see

Double bar and

major.

Sonata Forrn.
A2.

B. Free Fantasia,

Enunciation.

Bars.

I 16W

Allegro.

A)

repeat.

Recapitulation.

Bars.

58-69
7074
74(3)

-99

Keys..
t
(3

ggC-S-ioo

Principal Subject
Transition
Second Subject

Coda

Double bar and

* For other Editions see Contents

p.

3.

repeat.

PIANOFORTE SONATAS.

13

REMARKS.
The

A.

Closing Section of the Second Subject commences at bar 3

(Enunciation), .and at bar 92 (Recapitulation).

There

is

a very short Coda, which however adds a sense of

finality to

the movement.

ANALYSIS.
The numbering

begins from the

Second movement.
A.

Enunciation.

Bars.

Principal Subject

Second Subject

28<3)

(see

Andante.

bar.

Sonata Form.

major.

B. Free Fantasia.

Keys.

I 10

whole

first

Bars.
28(-3)42

A2.

Recapitulation.

Bars.

43 5o(i)
SI

-74

A)

Double bar and repeat.

Keys.
Principal Subject

Second Subject
(see A)

Double bar and

F
F

repeat.

REMARKS.
The

A.

Closing Section of the Second Subject begins at bar 26 (EnunIn the Recapitulation this section (bar 68'-') commences with
figures from the Principal Subject, but concludes as in the Enunciation
ciation).

there

is

no Coda.

ANALYSIS.
The numbering

begins from the

Third movement.
A.

Enunciation.

first

Allegro.

whole bar.

major.

Sonata Form.

ANALYSIS OF MOZART'S

14

lation the

music

figures

is

reproduced as

employed

Edition

bar 132
is

Coda

follows which

not usual) concludes with the

in the closing section of the Enunciation.

SONATA
The

far as

second subject, and (which

treats of the

No.

Cotta, No.

6.

2.

(Pauer's Edition).

Peters,

No.

11.

Riemann, No.

5.

small figures in brackets shew the beat, or portion of the beat, in the

bar.

Allegro assai.

No.

2.

ANALYSIS.
First

A.

Movement.

Enunciation.

Allegro assai.

major.

Sonata Form.

PIANOFORTE SONATAS.

15

REMARKS.
A.

The Closing

Section of the Second Subject

(Enunciation), and at bar

B.

The middle

s;'^'

part of this

interpolated between Parts

and

movement

commences

There

(Recapitulation).

is

at

bar 21

'3''

no Coda.

consists merely of a passage

which opens with reference to the

Principal Subject and modulates to Bfe minor, and from thence descends by
degrees to the Dominant of C minor, in which key a fragment of the
Principal Subject

Subject in

is

I.

III.,

introduced just before the re-entry of the Principal

minor.

ANALYSIS.
The numbering

begins from the

Third Movement.
A.

Enunciation.

first

Presto,

whole bar.

major.

Sonata Form.

ANALYSIS OF MOZART'S

16

ANALYSIS.
First

A.

Movement.

Enunciation.

Bars.

Keys.

Bars.

Bp.

4169

Principal Subject
8(-)-i7(i)
Transition
i7'-) 40 Second Subject

Double bar and

Sonata Form.

B\t major.

A2.

B. Free Fantasia.

i_8C)

(see

Allegro.

F.

Recapitulation.

Keys.

Bars.

70-77

Principal Subject
Transition
77(^-86(4)
86<-'' 109 Second Subject

Bt?..

B^

A)

Double bar and

repeat.

repeat.

REMARKS.
A.

The

Closing Section of the Second Subject

(Enunciation), and at bar

There

is

103''''

commences

at bar 34'-'

(Recapitulation).

no Coda.

ANALYSIS.
Second movement.
A.

Enunciation.

Andante amoroso.

El? major.

Sonata Form.

PIANOFORTE SONATAS.

17

ANALYSIS.
The numbering
Third Movement.
A. Part

begins from the

Keys.
A. Principal
Subject

whole

bar.

Rondo-Sonata Form

major.

A2. Part

Part II.

B.

I.

Bars.

117

B?

Rondo.

first

Keys.

Bars.

52-67

C.

6870

Link leading

Episode
I.

18 27'=' Transition

()

24140

(see B)
88(4)

Bar 43
(o^

lib.)

-89

toi

114w Transition

a,

142 Link

ance of Prin
cipal Subject

(3)

(3)

142-159 As.

pal Subject

[59

Subject

Bi?

Bt?

(4)

of Principal

Princi-

Principal

Subject

appearance

43-51 A2.

leading

to re-appear-

Ei7

leading to re

cipal Subject
(I)

BI7

(see "D)

(2)

major 140
pal Subject
(see C)

(3)

ance of Prin
(3)

BP

90-ioi(') D. Episode

Link leading
to reappear

of Principal
Subject
Second
B2.

Subject

cipal Subject
Princi

7188(3) A3.

Subject

iKeys,
(I)

FragmentI
minor 114133 A4.

to re-appear

Second

B.

III.

Bars.
(3)

ance of Prin

28-43W

(see A).

162

Coda

REMARKS.
A.

The Second

Part of this

movement

contains two Episodes with

Principal Subject appearing between the two.

Episode

I.,

bar 52, in

II.

commences

minor, consists of two parts, each being

repeated.

Episode

at bar

90

in Ei?

major.

Notice that the opening figure of the Principal Subject is in the key of
tonic key.
minor, which figure is directly repeated a second lower in
B.

C.

43*" are the Closing Section of the Second Subject.

89 attached the end of the Principal
The two notes in bars
Bars 39"'

88'*

to

of the sub-dominant,
Subject change the key from the tonic to that
enters.
Episode
new
the
latter
which

D.

Bars 136'"

in

140*" are the Closing Section of the Second Subject.

ANALYSIS OF MOZART'S

18

SONATA
Edition

The
in

No.

4.

Peters,

No.

(Pauer's Edition).
9.

Riemann, No.

9.

small figures in brackets shew the beat, or portion of the beat,

the bar,

Ada^o.
No.

4-

/?k^
tnf
First Movement.

The
affix to it

" hybrid " character of this

any "

set " form.

some

old Binary (as seen in

Modern Sonata Form.

The

Adaaio.

following

is

the

It

Ei? major.

movement renders

it

impossible to

belongs to the Transition period between the

of the pieces by Scarlatti

and

Paradies),

and

the

PIANOFORTE SONATAS.

19

REMARKS.
A.

Parts

Part

I.

I.

Part III.

and
(i)

III. are divided into

Tonic, bars

(1) Tonic, bars

two portions

i 8'".

(2)

24 32"'.

Dominant, bars 8<* 16".

(2) Tonic, bars

32'* 40.

ANALYSIS.
The numbering

begins from the

Third Movement.
A.

Enunciation.

first

Allegro.

whole

El;^

bar.

Major.

Sonata Form.

ANALYSIS OF MOZART'S

20

ANALYSIS.
First

A.

Movement.

Enunciation.

Allegro.

major.

Sonata Form.

PIANOFORTE SONATAS.

21

REMARKS.
The Second

A.
Section

II.,

bar

73*3';

Subject consists of three Sections.

and the Closing Section, bar

takes place in the Recapitulation.

SONATA
Edition Cotta, No.
The

No.
15.

There

is

a very

g'j'^.

short'

Section

(Pauer's Edition).

6.
Peters,

No.

lo,

Riemann, No.

^
s
i^

^E

::P=

ati:

ANALYSIS.
First

A.

14.

small figures in brackets shew the beat, or portion of the beat, in

Allegro.

6.

bar 41:

division

Coda.

the bar.

No.

I.,

The same

Movement.

Enunciation.

Allegro.

D. major.

Sonata Form.

ANALYSIS OF MOZART'S

22

ANALYSIS.
Second Movement. Rondeau en Polonaise.
A.

Part

I.

A major.

Rondo-Sonata Form.

PIANOFORTE SONATAS.
Variation VIII., which

again in the major mode,' and

is

opening figure in octaves which

theme.

The

2S

taken from the

is

first

is

built

on the

three notes of the

chief points of interest in Variation IX. are the syncopated effects,

and the canonic treatment of the theme

motion

in similar

the

first

time (bar 4) the canon

is

the second time (bar la^*) in contrary motion.

Variation XI.

an example of " double "

is

variations,

instead

of the

repeat of each part (by means of double bars and repeats), a second variation
of each part precedes the

The Tempo

is

changed

Variation XII.

is

character of the theme

also

first

by the change to

variation of the following part.

to Adagio,

is

altered by a change in the

triple

(5)

time

SONATA No.
Edition Cotta, No.
11.

The

and the theme

is

much ornamented.

another example of " double " variations.

a short

7,

Coda

is

Tempo

to Allegro,

and

added.

(Pauer's Edition).

Peters,

No.

Riemann, No.

8.

6.

small figures in brackets shew the beat, or portion of the beat,

the bar.
''

Allegro con spirito.

No.

7.

^^

=P

:^:

ANALYSIS.
First
A.

The

Movement.
Enunciation.

Allegro con spirito.

major.

Sonata Form.

ANALYSIS OF MOZART'S

24

ANALYSIS.
Second Movement.

Andante un poco Adagio.

Episodical
A.

Part

I.

Form

(see A).

major.

PIANOFORTE SONATAS.

25

REMARKS.
The Second

A.

Section
bar

I.,

bar

Subject consists of three Sections.

39<-";

Section II, bar 58;

and the Closing Section,

77'"

In the Recapitulation the Second Subject consists of two Sections.

I., bar 142'"; and Section II., bar 163.
This Second Section is
extended, and leads straight into the re-appearance of the Principal Subject
Section

at bar 189.

Owing

B.

to the short Episode in Part

II.,

Part III.

commences

with

the repetition of the Second Subject in tonic key, instead of the third entry

of the Principal Subject.

SONATA
Edition

The

Cotta, No.

No.
16.

8.

(Pauer's Edition).

Peters, No. 7.

Riemann, No.

16.

small figures in brackets shew the beat, or portion of the beat,

in the bar.

Allegro maestoso.

No.

8.

BE

i=t

^m

ANALYSIS.
First

A.

Movement.
Enunciation.

Allegro maestoso.

minor.

Sonata Form.

ANALYSIS OF

26

MOZART'S

ANALYSIS.
The numbering

begins from the

Second Movement.

A.

Enunciation.

first

whole

bar.

Andante cantabile con espressione.

Sonata Form.

major.

PIANOFORTE SONATAS.

SONATA

No.

Edition Cotta, No.

The

27

9.

(Pauer's Edition).

Peters,

13.

small figures in brackets

shew

No.

Riemann, No.

3.

8.

the beat, or portion of the beat, in

the bar.

Allegro con spirito.

-'-

f^i-.i

r&^^^

ANALYSIS.
First

Movement.
Enunciation.

Bars.

17"'

Principal Subject

Transition
Second Subject
(see

Double bar and

A2.

Keys.

Bars.

Bars.

40-78(3)

78(*)-99('l

105

Recapitulation.

Keys.

99104

A)

Sonata Form.

major.

B. Free Fantasia.

716(3)

j6(* 39

Allegro con spirito.

ri2

Second Subject
(see B)

Principal Subject

Coda

repeat,

REMARKS.
The Second

A.

bar 16'*; Section

This

B.

is

II.,

Subject

bar

24(""';

consists

of

three

Section

Sections.

and the Closing Section, bar

I.,

36.

an irregular Recapitulation, the Second Subject coming

before the Principal Subject.

The

Closing Section of the Second Subject

is

here omitted

the Second

Section (bar 87) leading straight into the Principal Subject.

ANALYSIS.
Second Movement.

Andante con

espressione.

Modified Rondo-Sonata Form.

A.

Part

I.

G major.

ANALYSIS OF MOZART'S

28

REMARKS.
The Second

A.
Section

II.,

The same

at bar 25 with a

I.,

bar

le'"';

fragment of the Principal Subject.

division takes place in the Recapitulation.

There

B.

Section

Subject consists of two Sections.

commencing

is

no middle part

to this

movement;

bars

50'* 52"' form a

link leading to Part III.

Part III.

C.

commences with the

repetition of the

Second Subject

As

(transposed into the tonic key) instead of the Principal Subject.

is

no middle

of Part III.

is

there

of the Principal Subject at the beginning

part, the third entry

not necessary.

ANAI^YSIS.
The numbering

begins from the

Third Movement.
A.

Part

A.

Principal

Bars.

l6<3>-26<)

Subject
Accessory bars
to

Principal

Subject
26<s) 40 Transition

41-83'" B.

Second

Subject
(see

83-85

A)

Link

leading
to re-appeat
ance of Prin
cipal Subject
86-102") A2.
Principal Subject
(3)

B.

Keys,

I 16W

Rondo.

I.

whole

major.

bar.

'Rondo-Sonata Form.
A2.

Part II.

Bars
<2)

first

(4)

Episodes

leading to
re-appear
ance ot Prin
cipal Subject
in tonic

Keys.
ft)

173-1

minor
and G
189
major
(3)
:S4->73 Transition
206

A3. Principal
Subject

(1)

Subject
(I)

244 248 Link

leading

to re-appearance of Principal Subject

248256 A4. Principal

Subject
(3)

ft)

256266

102 119 Transition

leading to

Accessory bars
to

Principal

Subject

in

(4)

266^-269 Coda

REMARKS.
A.
Bars

Section
79''

II.

205 Transition
244 B2. Second

key

Episode
B minor

Bars.

Keys.
(I)

U9 154 C.

Part III.

of Second Subject

commences

at

bar 56.

83'" are closing bars to same.

In the Recapitulation the Second Section commences at bar 221.

PIANOTORTE SONATAS.

SONATA
Edition

The

29

No. 10.

Cotta, No.

3.

Peters,

(Pauer's Edition).
No.

Riemann, No.

2.

4.

small figures in brackets shew the beat, or portion of the beat,

in the bar.

Allegro maderato.

No.

10.

7" 2
*J

tr.

mf

ANALYSIS.
First

A.

Movement.
Enunciation.

Allegro moderato.

major.

Sonata Form.

ANALYSIS OF MOZART'S

30

REMARKS.
Part

Part II.
first

(A

Binary Form, and consists of two sentences. The first of

dominant key; the second of 12 bars ending in tonic key.

in

I. is

8 bars ending in
is

Form, and consists of two sentences. The

minor, and ending in the relative major
of 8 bars, ending with Perfect Cadence in tonic

also in Binary

of 8 bars beginning in

flat)

the second, also

key.

Coda

Part III.

of 4 bars
is

is

added.

similar to Part

but without repeats.

I.

founded on the opening theme of Part

the movement.

II.,

Coda

of 4 bars,

but in the major mode, concludes

ANALYSIS.
Third Movement.

20
21

32'''

Second Subject
(see A)

Double bar and

A2.

Keys.

Bars.

Bars.

69-95

96 IIS

Principal Subject
Transition

33-68

Sonata Form.

major.

B. Free Fantasia.

Enunciation.

Bais.

Allegretto.

Recapitulation.

Keys.
Principal Subject

(I)

116131

i32-i68(i'

Transition
Second Subject

i6S<"-i7i

Coda

Double bar and

repeat.

repeat.

REMARKS.
The Second Subject

A.
Section

II.,

bar 47

The same

Section

I.,

bar 33;

61'*.

division takes place in the Recapitulation.

SONATA

No.

Edition Cotta, No.

The

consists of three Sections.

and the Closing Section, bar

9.

11;
Peters,

small figures in brackets

(Pauer's Edition).
No.

shew the

12.

Riemann, No.

13.

beat, or portion of the beat, in

the bar.

Andante grazioso.

^p=

PIANOFORTE SONATAS.

First

Movement.

Andante

The "Air" or Theme

is

31

ANALYSIS.
grazioso.
A major.

Simple Ternary Form.

in

A
Bars

In

all

18

:||:

B
912

A2
1318

same throughout.

Ornamentation of the theme

characterises Variation IJ.

major to minor.

The change

The
of

of the theme, which

In-

is

heard in Variation

Variation

HI.

the

I.

mode

is

triplet figure

changed from

parts flow throughout in semiquavers.

Tempo to Adagio in Variation

also much ornamented.

V. alters the character

is

In Variation VI. the character of the theme

to

:||

the Variations the outline of the melody can easily be traced

the harmonies are practically the

Tempo

Air with Variations.

Allegro and also in the change to

is

altered by the change of

short

Coda

numbered

as 523

time.

concludes the movement.

ANALYSIS.
The

bars at

la Volta

{|

2a Volia

in the Trio are

and 52b.

ANALYSIS.
Second Movement.

A.

Menuetlo.

Menuetto and Trio. A major and

Minuet and Trio Form.

major.

ANALYSIS OF MOZART'S

32

ANALYSIS.
The

numbering begins from the

The

bars at

la Volta

Third Movement.

||

whole

first

2a Volta

Alia Turca.

are

bar.

numbered

minor.

as 96a

and pbb.

Episodical Form.

PIANOFORTE SONATAS.

83

REMARKS.
The Second

A.
Section

bar 56

II.,

The same
There

is

Subject consists of four Sections

Section III., bar 71

Section

I.,

bar 41;

and the Closing Section, bar

division takes place in the Recapitulation.

no Coda.

ANALYSIS.
Second Movement.
A,

Enunciation.

Adagio.

Bt7

major.

Modified Sonata Form.

86-

ANALYSIS OF MOZART'S

34

REMARKS.
The

A.

bar

Principal Subject consists of two distinct ideas;

and

bar 15.

The Second

B.

Subject, which enters in the dominant minor key,

Section L, bar 50; Section

nant major key; and the Closing Section, bar 85.

consists of three Sections.

The same
There

is

II.,

bar 65 in domi-

division takes place in the Recapitulation.

same

a short Coda, concluding with the

ployed at the end of the Principal Subject in Part

SONATfi. No.
Edition

Cotta, No.

10.

13.

figures as those

em-

I.

(Pauer's Edition.)

Peters,

No.

Riemaun, No.

4.

7.

The numbering begins from the first whole bar. The small figures
brackets shew the beat, or portion of the beat, in the bar.

in

Allegro.

ANALYSIS.
First

Movement.

Bf

Bars.

Keys.

Bars.

I 10(3)

BU

63W 9 J la

10

U)

Principal Subject
22
Transition

23-63(3'

A2.

Recapitulation.

Keys.

Bars.
U)

(3;

93103

Principal Subject

B?

Second Subject
(see A)

Double bar and

Sonata Form.

major.

B. Free Fantasia.

Enunciation.

A.

Allegro.

103
119

118
165

Transition
Second Subject

Double bar and

repeat.

repeat.

REMARKS.
The Second Subject

A.
Section

bar

II.,

bar 39;

consists of four Sections.

Section III., bar

50'"'';

Section

I.,

bar 23

and the Closing Section,

59<-".

The same
no Coda.

division

takes

place

in

the

Recapitulation.

There

is

PIANOFORTE SONATAS.

85

ANALYSIS.
The

bars at

la Volta

Second Movement.
A.

Enunciation.

||

2a Volta

Andante

are

cantabile.

numbered

Eb

as

major.

8ia and 8ib.

Sonata Form.

ANALYSIS OF MOZART'S

36

FANTASIA AND SONATA

No,

14.

(Pauer's EditionJ.

FANTASIA.
Edition

Fantasia

is,

as

Cotta, No.

its

Peters,

18.

No.

18.

implies, a composition written according to

name

the fancy of the composer and need not follow any particular form.

This Fantasia in
Andantino,

Allegro,

series of movements^-Adagio,
and Tempo primo running one into

minor consists of a

Piti

Allegro,

another.

C minor and leads into

minor and ends with a short cadenza on the
dominant 7th in.Bl7, in which key the Andantino enters j towards the end
of this movement the key is changed so as to lead into the Tiii Allegro in G
The Adagio movement

the Allegro, which starts in

begins in the key of

minor.

The last movement (Tempo primo) is built on material from the

Adagio section, and starts with a recurrence of the opening theme in C minor,
which gives a certain amount of unity to the whole composition.

SONATA
Edition

The

No. 14.

Cotta, No.

18.

Peters,

(Pauer's Edition.)
No.

18.

Riemann No.

18.

small figures in brackets shew the beat, or portion of the beat,

in the bar.

^S

Allegro molto.

No.

14.

:i=t

ANALYSIS.
First

A.

Movement.

Enunciation.

Allegro molto.

minor.

Sonata Form.

PIANOFORTE SONATAS.

37

REMARKS.
The Second

A.

Section

bar

II.,

Subject consists of four Sections.

Section

36;

bar

III.,

Section

I.,

bar 23

and the Closing Section,

59'-"j

bar 67'".

The

first

The

short

Section of the Second Subject

Coda

is

is

omitted in the Recapitulation.

founded on Principal Subject.

ANALYSIS.
Second Movement.
A.

Part

A.

Principal

Keys.

8 i6(i)B.

E7

B.

I.

Bars.

17

Adagio.

Theme

EP

Episodel.

B?

A2.
Keys.

',

to re-ap-

'

pearance of

Part III.

iKeys

Bars.

4147<3)Ia3.

C.
Episode

Ap

II.

Principal

Ep

Thsme

47U)_57| Coda

(see A)
Link leading

i6<-"

Rondo Form.

Part II.

Bars.

2440

Older

major.

(see

B)
:

Principal
17

23

Theme

|A2. Principal Theme

Ep

REMARKS.

16 are the Closing Section

A.

Bars 13"'

B.

The Coda

is

founded on Principal

to

Episode

Theme and

I.

Episode

I.

ANALYSIS.
The numbering

begins from

Third Movement.
A.

Part

I.

th'e first

Allegro assai.

whole bar.

minor.

Rondo-Sonata Form.

ANALYSIS OF

38

MOZART'S

REMARKS.
The

A.

Closing Section of the Second Subject

(Enunciation) and at bar

The Second

B.

Part of this

commences with

at

bar

74'-''>

(Recapitulation).

icjj^-"^

of a few bars forming a link, as

Part III.

commences

it

movement

is

irregular, as

were, between Parts

I.

it

and

consists merely
III.

Second Subject instead

the recapitulation of

of the third entry of Principal Subject, owing to the shortness of this middle
Section.

The Coda

C.

is

founded on material from Part

SONATA
Edition

Cotta, No.

The numbering
The

No. 15.
17.

Peters,

begins from the

first

II.

and Second Subject.

(Pauer's Edition.)
No.

i.

Riemann, No.

whole bar.

small figures in brackets shew the beat, or portion of the beat, in

the bar.
Allegro.

No.

15.

ANALYSIS.
First
A.

15.

Movement.

Enunciation.

Allegro.

major.

Sonata Form.

PIANOFORTE SONATAS.
4i<3) to

The

bar 57(0;

39

bar S7(> to bar 66'') transition to Section

II.,

bar

Closing Section commences at bar 89.

The same
There

is

division takes place in the Recapitulation.

no Coda.

ANALYSIS.
Second Movement.
A.

Enunciation.

Andante.

BP

major.

Sonata Form.

66C^'.

ANALYSIS OF

40

MOZART'S

REMARKS.
Part II. consists of iwo Episodes (instead of one), with Principal

A.

Subject appearing between the two.

one

Closing Section of the Second Subject

B.

The

C.

Episode

in Bft

I. consists of two Themes, one in

major (bar 68), ending with a half Cadence

Episode

D.

commencing

at bar 30.

minor (bar 51) and

in F.

102, A,
Ternary piece in itself. Bars 95
key (F minor), and ending in the relative major key

II. is a little

in tonic

Bars 103

(Aflat).

commences

Bars 109

108'*, B.

ii6a. As,

with

Theme

in bass,

beginning and ending in tonic key (F minor).

The Coda

E.

is

chiefly

founded on material from the Principal Subject.

Imitations on the Figure in bar 2 of Principal Subject will be seen com-

mencing

at bar 152.

SONATA
Edition

The

No. 16.

Gotta, No.

i.

(Pauer's Edition.)

Peters,

No.

15.

Riemann, No.

small figures in brackets shew the beat, or portion of the beat,

in the bar.

Allegro.

No.

'^

16.

Dol.

ANALYSIS.
First

A.

i.

Movement.

Enunciation.

Allegro.

major.

Sonata Form.

PIANOFORTE SONATAS.

41

REMARKS.
A.

The Closing

Section of the Second Subject commences at bar 26

(Enunciation), and at bar 71"' (Recapitulation).

B.

The

There

is

no Coda.

Principal Subject enters in the Icey of the sub-dominant (F)

instead of the usual tonic key.

ANALYSIS.
Second Movement.
A.

'

Part

I.

Andante.

major.

Older Rondo Form (see A.)

ANALYSIS OF MOZART'S

42

ANALYSIS.
The numbering
Third Movement.
A.

Part

I.

begins from the

Allegretto.

first

whole bar.

major.

Older

Rondo Form,

(see A).

PIANOJi-ORTE

SONATAS.

43

REMARKS.
A.
Section

The Second
II.,

Subject consists of four Sections.

bar 46; Section

The same

III.,

Section I., bar 32 ;

bar 64; and the Closing Section, bar 76.

division takes place in the Recapitulation.

There

is

no Coda

ANALYSIS.
The numbering begins from
Second Movement.
A.

Par

I.

Allegretto.

the

first

whole

major.

bar.

Older

Rondo Form

(see

A)

44

ANALYSIS OF MOZART'S

REMARKS.
The

A.

Closing Section of the Second Subject

(Enunciation), and at bar 200 (Recapitulation).

commences

There

is

at bar 70

no Coda.

ANALYSIS.
The

bars at

la Volta

Second Movement.
A.

Parti.

||

2a Volta

Adagio.

are

numbered

EIj major.

as

32a and 32b.

Older Rondo Form.

PIANOFORTE SONATAS.

45

REMARKS.
A.

This

is

a curiously constructed

two separate ideas or

consists of

movement; the

Principal

Theme

which is a little Ternary

piece in itself; as follows
Section I., A, bars 18'* B, bars 8'-* 14 A2,
bars 15 22 ,
Section IL, A, bars 2 2<-<' 3o' ;- B, bars 30'-*' 34'^'; A2,
sections, each of

bars

34*"''

42'*'.

This Episode

B.
bars 53

56

is also Ternary in design, as: A, bars

45
A2, curtailed, bars 57 60.

The Coda

C.

is

52;

B,

founded partly on the Principal Theme and partly on

the Episode.

SONATA

No. 19.

Edition Cotta, No.

The numbering

14.

(Pauer's Edition.)

Peters,

begins from the

No.

first

13.

Riemann, No.

whole bar.

The

small figures in

brackets shew the beat, or portion of the beat, in the bar.

M

No.

19.

Allegro.

=5ss
TF^fr

sD

'"8

fr

/^

3^
ANALYSIS

17.

X
3fca^;

ANALYSIS OF MOZART'S

46

ANALYSIS.
Second Movement.
A.

Part

B.

I.

Keys,

Bars.

6'=)

Az. Part

Part II.

Keys.

Bars.

A
leading
to re-appearance of Principal

III.

Keys

Bars.

n 4459'"
mmor

4143 Link

Link leading
to Episode
in F;| minor

Episodical Form.

major.

17-41" Episode

Principal

Theme
i6<-)

Adagio.

'S9(-='-67

Principal

Theme
Coda

(see

A)

Theme

REMARKS.
A.

The Coda

is

founded on material from the Episode.

ANALYSIS.
Third Movement.
A.

Part

I.

Allegretto.

majors

Rondo-Sonata Form.

PIANOFORTE SONATAS.

47

D.

This Transition from Second Subject to Principal Subject differs

I., connecting Principal Subject with Second Subject
here founded on the Link commencing at bar 58.

from the one in Part

It is

SONATA

No. 20.
Edition

The numbering

(PaueVs Edition).

Cotta

begins from the

No.

first

12.

whole

The

bar.

small figures in

brackets shew the beat, or portion of the beat, in the bar.

.0.

Allegro, ^^
Allegro.

No.

JL-

;fc^^^rr.'ir^

pf

ANALYSIS.
First

A.

Movement.

Keys.

I 8i

Principal Subject
g(-3) 32O)
Transition
32(3' 57 Second Subject
(see

A2.

B. Free Fantasia.

Enunciation.

Bars.

Sonata Form.

B|^ major.

Allegro.

Recapitulation.

Bars.

Bars.

5885'"

g4(-3)-92W

Principal Subject

92<-3>-I07'3)

Transition
Second Subject

Keys.

io7'-3'-i32

Bb

A)

Double bar and

repeat.

REMARKS.
A.
bar

32''3';

The Second
Section

The same
There

is

II.,

Subject
bar 42

of

consists

three

Sections

and the Closing Section, bar

Section

I.,

53.

division takes place in the Recapitulation.

no Coda.

ANALYSIS.
Second Movement.

The " Air " 'or Theme

Andante.
is

sentences, each being repeated

tonic key
eight bars

m
;

E|? major.

Air with Variations.

Simple Binary Form.

the

first

It

consists of two

sentence of eight bars begins in the

and ends in the dominant major

and ends in the tonic key.

the second sentence

is^

also of

ANALYSIS OF MOZART'S

48

The Harmonic

basis

is

practically

unchanged

in all the variations,

the Melodic outline can easily be traced.

Ornamentation of the
Variation II.

short

is

Theme

is

heard in Variations

I.

and

III.

characterised by the Syncopated rhythm.

Coda concludes

the movement.

ANALYSIS.
The numbering

begins from the

Third Movement.

Menuetto

first

whole

(B!^ major),

bar.

and Trio

Minuet and Trio Form.

A.

Menuetto.

(EP^ major).

and

PIANOFORTE SONATAS.

49

REMARKS.
The

A.

Principal

1728

B, bars
B.

Theme

.A2, bars

Ternary

is

29 44W

in design, as: A, bars

Part II. consists partly of Episodical matter,

development.

It starts with

i 16"';

bars 4o'3' 44C) are four accessory bars.

an Episode in

and

Efe after

partly of

which there

Thematic
is

much

development of the principal theme.

SONATA
The

No. 21.

(Pauer's Edition).

small figures in brackets shew the beat, or portion of the beat, in

the bar.

Allegro moderate.

No.

21.

1^
f

-T
-

r rrrr
u
I

ANALYSIS.
First

A.

Movement.
Enunciation.

Allegro moderato.

Bl^ major.

Sonata Form.

ANALYSIS OF MOZART S

50

ANALYSIS.
The numbering
Second Movement.
A.

Part

I.

begins from the

Andante

first

grazioso.

whole

bar.

F major.

Simple Ternary Form.

PIANOFORTE SONATAS.

51

REMARKS.
A. The Closing Section commences at bar 27" (Enunciatibn), and at
bar 86'" (Recapitulation). There is no Coda.

ANALYSIS.
Second Movement.
A.

Enunciation.

Andante.

major.

Sonata Form.

De&icatc6

WILLIAM

H.

CUMMINGS,

to

Esq., F.S.A.,

Hon. R.A.M.

{Principal of the Guildhall School of Music.)

Musical

Ornaments

SIMPLY EXPLAINED. AND WITH WO QUESTIONS

AND EXERCISES.
WITH NUMEROUS EXAMPLES FROM THE WORKS OF
J.

Bach,

S.

Beethoven,

Handel, Clemenii, Czerny, Haydn, Mozart,

Mendelssohn, Chopin, Schumann, and Grieg.

BY

H. A.

HARDING, Mus. Doc, OxON.

(Licentiate of the

Royal Academy of Music, Fellow

Price

Key

oj the Royal College ofOrganists^ ana

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100 Questions and Exercises

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another extremely useful book prepared for examination candidates
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supply the necessary information.

This

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Dr. Harding's work is simplicity itself, and deals with each form of " grace
note" separately, giving the generally accepted rendering of it under all the
ordinary circumstances in which it is likely to appear.

The London Musical Courier.

The

various ornaments are explained in the clearest manner, and a selection

of examples added from the compositions of most of the great masters.

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5C0RE READING EXERCISES.

Written speciallyfor Candidates Preparing for the R. CO. Ejcaminations.

Book

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II.

Each

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REnrijE-yiT.
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HANOVER STREET, REGENT STREET. W.

G. Augustus Holmes and Frederick J. Karn.

Contemporary Pianoforte Music.

A

SERIES

of Compositions for the Pianoforte, selected from the best of the more modern Composers; with
Fingeringj Explanation of all Ornaments and Embellishments, Remarks upon the Form and ConMetronome Marks, and General Directions for Performance,

struction,

XToiHF Bat.d.y.

N'KaxKiLtiepai
*No.

c
2 c
I

,,

Jensen

Berceuse, Op. 12

''

,,

4 c Tarantella in

Chas. Mayer
Humoresque in G, Op. 19, No. 4

No

Tschaikowsky
Tschaikowsky
N. W. Gade 3
15 c Wanderstunden,Op.8o, No. I /r//r
H. Litolff 4
d Spinnlied, Op. 81
,, 16 d Wanderstunden, Op. 80, No. 6 Heller
e Lc desir, Op. 14
H, Cramer 3
*,, 17 c Arabesque in A minor
Heller
<; La Danse des Sylphes
Alf.JaMll 4
*,, 18 (/CradleSonginGflat, Op. i3^^/^
* These are issued with either English or Porei:n Fingering.

..

s c

,,

7
8

,,

,,

Wander5tunden,Op.8o,No,2 ^tf//fr 3
A minor, Op. 121 No. 2

,,

e:

No.
,,

Helier
*

9 b Barcarole, Op. x^t^'^o.^ Chas. Mayer

10 h Mazurka
Chas. Mayer
II c Melody in F, Op. 3, No. i Rubinstein
1 2 c Romance in F
Rubinstein
13 c Mazurka in D, Op. 40,
s

Three Original Melodies, Op. 45

easy; b

Ji c Chant sans paroles

moderately easy c intermediate; ddifficult; every

;

BOOK

I.

contains Analysis of the Structure and

Sonata in D (Pastorale) Op. 28 (A.C. 109) Beethoven

Bach
Prelude and Fugue in Cfl major, No. 3

BOOK
FJJ,

Polonaise in

Impromptu
Impromptu

Op. 78 (A.C.

Afc.

Op

86)

53

AC. Op 29
E2, Op. 90, No.

in
in

II.

Harmony

of

Prelude and Fugue in B&, No. 6

Rondo

in

Mendelssohn

Mozart

(A. C. 47)

contains

Rondo Piacevole, Op.

Beethoven
Chopin
Chopin
(A.C. 85) Schubert

BOOK

difficult.')

M usi(.

fto^ilyjej of pijiDoforte

Sonata in

..

25 (A.C. 87) Sierndale Bennett

(No. 5 of Six Small Preludes) .... Bach
alia Polonaise, Op. 37 (A.C. 69)

Prelude in

Rondeau

Sierndale Bennett

contains
Beethoven.
Sonata in C, Op, 2, No. 3 (A. C. 116)
Sonata in E minor, Op. 90
Study in CJ( minor, Op. 10, No. 4 (A.C.
Allegro Grazioso, Op. 18 iA.C g^)Sterndale Bennett
(The figures in brackets refer to the numbers in the Academic Classics.)
III.

Beethoven
Chopin

100)

''THESE Books are

intended for the use ot Candidates preparing for various Examinations for Diplomas in
Pianoforte Playing.

They show

the construction, or form, of each piece in detail. Subjects, episodes, and other points being
is necessary for the complete knowledge of
form " of the var'ous

marked, and such information given as

classical examination pieces.

'

'

OTHER BOOKS TO FOLLOW.

Price,

Bscb Book,

The Academi c Series of Classicah

II'.

odern Songs

"THIS SERIES
'

of Standard Songs is primarily intended for those who are entering for the various public
examinations in vocal music, especially those of the London College of Music in its several grades.

Music by
No.

Orpheus with

Come into the garden, Maud

Bid me discourse
.^

Angels ever bright and

To Anthea

Hark

fair

. .

BisJiop

Handel
Haiton

Hark

the

Keys

Sullivan
Bal/e

his lute

Lark

G,
.

Schubert.

Price of each,

11=

A and Bb
and D

net cash.

F
F

E
BI2

Compass of ist

B to E
C to F
A toG

D to F

DJtoE
EBto F

B. ftupBstns

Holmes and Frederict

J.

Kam.

THE

ACADEMIC MAMUAL OP MDSICAL HISTORY

Gontaining a History of the Art of Music up to the present time.
to meet the requirements of the Various Musical

Specially designed

Examinations and

PART

I.

Students of Music generally.

for

-EXTRACT FROM PREFACE.

writers have given us Histories of Music, but there

a paucity of concise and readable books,
MANY
something more than a mere collection of bald statements or tables of
yet not discursive and diffuse.
is still

facts,

No

made

that this Manual is a complete History of the Art of Music ; indeed, to treat so large
and comprehensive a subject inso few pages would be a manifest impossibility. But it is hoped it will be
found to contain a great deal of information within a small compass in other words, to be a tnultum inparvo.

pretence

is

Every care has been taken not only to free the book from needless intricacies calculated to confuse
the young student, but also to make it interesting and readable, and accurate in regard to the dates
mentioned, so that it may prove a thoroughly reliable work of reference.
The plan upon which the work is arranged sets forth all dates, etc., in such a manner as to be
readily impressed upon the mind.
_

PRICE, Limp Clotb

Thirteenth Thousand.

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MDSieaL HRT-F0RMS:
THEIR HISTORY AND CHIEF COMPOSERS.
Being;

Part

II.

of

the

"Academic Manual

of

Musical

History."

is
THIS book gives an historical survey of tlie various forms, vocal and instrumental, *in which music
composed. It is not intended to explain and illustrate by analysis the technical structure of the several
Forms of instrumental music such as the Rondo., the Fuue, the Lied ohne ivorte {and other pieces generally
written in Aria or Episodical Form) or any other Forms commonly found, since this information and plans
of the technical structure of such movements will be found in "Analysis of Pianoforte Music" now in
preparation ; but a plan of the modern Binary Kjr Sonata Form as exhibited in the Jirst movement of a
Sonata, String Quartet or Symphony will be found herein, and it is hoped the large amount of space devoted
to the later composers of the zQth Century (especially the Russian and Czech) and their works, togetherwith
the history of the modern development of the classical forms, will be found of great advantage to all students

of music.

EXTRACT FROM PREFACE.

the second portion of the Academic
of music concise sketches of Musical Art-Forms.

This Manual

is

Manual o/ Musical History,

placing before

all

lovers

strictest scrutiny has been bestowed in the endeavour to make all dates and other details absolutely
a very essential matter to those preparing for examinations.
it is hoped that the Manual will prove a valuable book of reference, whether as to
composers, or regarding the development of the great Art-Forms of the Opera, Concerto, Symphony, Sonata,
the
names and composers, etc., having been brought to the twentieth century.
history
and
such
etc.,

The

reliable,

Speaking generally,

CONTENTS.
The Anthem. The Cantata. The Chorale.The Church Service. The Concerto. The Glee.
The Madrigal.The Mass. The Motet. The Opera. The Oratorio. The Sonata. The String
Quartet. The Suite. The Symphony.- Symphonic Poems.
Fifth Thousand.

STUDENTS

PRICE,

in

Limp

of Holmes and Karn's "Academic

and "Musical Art Forms" (part

Clotii

2s.

Manual of Musical History"

II.), will find very great help in

" Historical Chronology of Music " (part III.), which, in addition to dates of
Composers' Births and Deaths, and a Summary of the rise of the various Schools of Music,
new and revised edition (2/-) is now
has 773 Questions on Musical History .
the
ready. These Questions are arranged in Periods to coincide with the chapters in
History, and are invaluable to those preparing for Musical Examinations, as they

(part

I.)

Musical

test the

knowledge of the Student in tlie actual period Of history

covered by the examination.

which

will be

A USEFUL WORK FOR SINGING CLASSES.

Choral Primer
AND

Exercise-Booii

Sight-Singing
BY

SAMUEL WEEKES, M us.

Royal Academy

Doc.

of Music.

Fellow of the
Fellow of the Royal College of Organists.
Licentiate in Music, Trinity College, London.

Extract from Preface to the

New

Edition.

hai
"In order to increase the usefulness of this little book, the author
omitting some o(
thoroughly revised, re-arranged, and partly re-composed it :
written several two-part
the least important numbers of the former edition, he has
will increase its choir
fugues, exercises on imitation, etc., which he is confident
training value."

work was primarily written for a newly formed class, knowing

yet by leaving out the elementary portion, the exercisef
subject,
the
nothing of
" Although this

will

be found very beneficial, even to an advanced class."

Extract from Preface to the Original Edition.

which over 17,000 were
book a single suggestive word has
(of

issued.)

in general been used as a texl

that he feels the intelligence and
on which the teacher can enlarge to the extent

In this

capabilities of his class

IT

demand."

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