Professional Documents
Culture Documents
Studies in Phrasing and Form PDF
Studies in Phrasing and Form PDF
STEWART MACPHERSON
RICKS COLLEGE LRC t/
DATE DUE
f'OW iQj
\7
}\/ O }
ot^£8 oHvai '©ynaxB^
aSaJBQQ SiiOltf
To his Friend
STUDIES IN
PHKASING AND EOKM.
BY
STEWART MACPHERSON
(Professor and Lecturer in Die Royal Academy of Music
Author of "Practical Harmony," "Form in Music," etc.)
Part I.
Examples to be Phrased 33
Part II.
\* The thanks of the Author are due to the following firms for permission to use
extracts from their copyright works :
Messrs. Alfred L-enKniek & Co., for Messrs. Peters (Leipzig), for Grieg's—
Brahms' " Intermezzo " in C. Op. 118. " Pianoforte Stticke."
Op. 1. No. 2.
,, "Intermezzo" in E 9 minor. " Pianoforte Concerto." Op.
1(5.
Op. 118. " Ballade." Op. 24.
"Ballade." Op. 118. " Lyrische Stiicke." Op. .07. No. SI.
Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University-Idaho
http://archive.org/details/studiesinphrasinOOmacp
STUDIES IN PHRASING AND FORM.
INTRODUCTORY REMARKS.
ON THE VALUE OF INTELLIGENT ANALYSIS.
In undertaking the analysis of a work of musical art, it is
possible to approach the task in one of two ways, (i) in the
spirit of one who merely seeks to measure the superficial area
of that work —
so to speak —
and to "label" its various sections
according to a prescribed method or (ii) in the spirit of one
;
who, realizing the value to the student (or even the mere
listener) of an appreciation of shape, yet desires to penetrate
more deeply into the mind of the composer, and to follow his
thoughts and intentions to the full. Unfortunately, the number
of even professed music-students who are content with belonging
to the first of these classes is lamentably
Unmusical large, and it is owing to the unmusical and
inartistic attitude of such that the idea of
Musical Analysis stands in the minds of many g^asi-artistic
people as the equivalent of a pedantic dissection of the music,
by which all its aroma, all its vital essence, is in danger of
being lost. The position of these high-souled persons is
represented by the following remarks, culled from a review
upon a comparatively recent work on Musical Form: "From
the point of view of the student, and in the light of modern
development, it is questionable if the critical examination
of the anatomy a classical work is of any value what-
of
ever individual who achieves enjoyment
The
by listening to a fine fugue, for example, finding his melody
in a subject that must necessarily be artificial, all the harmony
he wants in the mechanical passage of the various parts, and
his structure so determined that he need not give the question
a moment's thought, cannot be expected to realize the ideals
of that other individual, who looks for a more natural expression
in the art that gives him pleasure, who derives his satisfaction
from the sensuous charms of rich, full harmonies, and the melody
that arises out of them; ivith the structure on no preconceived
Copyright, 1911, in U.S.A., by Joskph Wilijams, Tjimttf.p.1 J.W., r
l. ), 238.
2 STUDIES IN PHRASING AND FORM.
plan, but evolved from a poetic basis, and subject to all manne
of surprising and delightful changes."
And, if the attempt to get beneath the surface of th
music we come into contact with, which we call Musics
Analysis, were really and of necessity to imply that our fine
musical feelings would by its means become so atrophie
that we should inevitably end by " finding all our melod
in that which must be artificial, and our harmony in th
mechanical passage of the various parts," then, surety, sue
analysis would indeed be, not only useless, but pernicious
But when we begin to realize that, undertaken in the rigb
spirit, it merely indicates that we bring on
T ru ® an(* intelligence to bear upon the study of on
analysis
music, and seek to follow out in a reasonabl
way the development and interplay of th
composer's thoughts, such shallow and meaningless statement
as those quoted above carry with them their own condemnatior
For we may be sure that the " sensuous charms of ricr
full harmonies " which the writer of the passage seems t
regard as the summum bonum of all musical experiences, wi'
not be appreciated less fully by him who brings the hearin,
ear and the understanding mind to bear upon those feature
of the music which —
simply because they require the aler
—
use of our faculties so often are passed over by the averag
listener unrecognized and even unheard.
But, important as a critical knowledge of his music i
to the listener, to the executant it becomes vital. Half th
unmeaning performances we hear in drawing
Unmeaning' rooms and in concert-rooms result from th
performances. ...
^ non-appreciation otf i^orm or QU
-r? •
bnape in +tn
i
b2
—
Part I.
CHAPTER I.
^5FE=EgEE _L.
——
jFgJJSifteiS
*»5S3
PIPW II
s£ <j
Z2.
=t ^ -*=&
I
3.
i
mW ^ £:
t|p-
4^
£=£
:£ :& H
q
^R=M =t
3
r^ ii
-t T"
§fci* £=£ fc£>
6&
p ZX -U*- !!
>
t ">
s — o :p=£
— eL
c?
ar 1 -*-
t
J
4.
-p- ijp-
£ S # fl&
5EBE
:
^-b
J
±£
!?F
^Tt~^
3"^-w-^t^ -&-
&c.
JklitJ
tt
-
r^-f m v^
rQ-
\&-
Adagio.
ftJ£
BE££££££ i—
5.
^#
PtP^ 2Z "pP~
r
ikzzb-FFFPr-R^hznziz » # _L„i_i =ZLl_U U=J
3 ^E
:^;q*^t7^»3e rl«-r-r^^-v
j
—
,
P3
133 r*""W |
I J J J I m-0-0
The accented
m&=£ -&-
Z2I
-1
—S i-
pulse. '•
-p-
m
ftp-
W
*-i 3==F
Sounding approximately
Written.
10.
I
wis 1
Sounding approximately.
~
11.
i ^=X "1
i
"1 "1 i
"1
1
(c) The " Mezzo-Staccato" (or so-called "Portamento")
— represented by either or T t Here the
-f .
~^ .-
notes are held for almost their full value, but at the
same time slightly detached from one another. A
certain degree of weight is usually associated with
the performance of " mezzo-staccato " passages
Written.
12.
;£EE I
—
— —
Sounding approximately.
<:, /\, 5/, sfz, fz, rf, and intended to refer to the
emphasizing of a single note or chord.
(e) The " Weight-mark," indicated by the following
sign : —
over or under a note.*
,
THE SLUE.
This is in some senses the most important of all the signs
used by composers as directions as to the manner in which
their works should be performed, and yet, as
USG we nave already pointed out, no other sign
of llur^
has ever been used in such a haphazard or
unsystematic way as has the familiar curved line known as the
slur. For its proper use as an indication of the rhythmic
grouping of the notes, the first essential is that he who would
so use it must clearly realize the form or shape of the complete
sentence or "paragraph" which is to be "phrased." For no
so-called " phrasing " can be tolerated which contravenes or
ignores the rhythmical division of the music
Phrasing must
not contravene
into its proper periods! —
those periods which
are determined by the occurrence of cadences.
rhythmical
periods. These periods must be found first, and care-
fully borne in mind, otherwise a travesty like
the following may quite conceivably be the result :
Moderate.
Haydn. — G minor Sonata.
^r
S3 «^pH«- xi i
~£
f |
*
{-^e-
l?l P
T L-
14.
r:
i^f^EE 55:
m ^^*fZ++*h+-
-t*
:
3
t
1 * =t
' ^=^
r
1
H -i^ :*«
w £:
-P!
^
Here the non-appreciation of the particular harmonic pro-
gression involved in the construction of tiie cadences is
responsible for the meaningless phrasings represented by the
slurs. The example moreover shews that it is impossible to
ignore the mutual dependence of rhythm and harmony to
which we referred on page 9. Therefore the question of the
determining of the larger rhythmical periods is intimately
bound up with the question of harmony, which thus often
forms an important guide in the matter of
Harmony must phrasing. If, for instance, the student
be a guide to who was responsible for the above piece of
rhythmical " phrasing " had mentally realized the sound
division.
of the familiar
| |
implied in bar 2 at f, such
a solecism as that committed in the severing the first of these
chords from the second, and joining the latter on to the next
part of the phrase, would have been impossible. Similarly, in
bar 1, Dominant 7th
at X, the separation of the discord of the
from resolution would hardly have found a place in this
its
particular student's scheme of slurs It will readily bo seen !
-? — —H — t^ESS—
^F
'
— -I
15.
^F
^ —
:Ctr*:
?p!=^E3E^^S3EE6
£
^
'^ b«-
^ ^=2
I
* ^*3=a g^i=ir
tf- 'I
p-
fe
In connexion with the bearing of harmony upon the
rhythmical divisions of a passage, itwill be of service to
remember that discords, especially when
Accented occurring on accented or other important
discords.
parts of the bar, should mostly be grouped
along with their resolution, e.g. :
16.
mm *M i i i
J_ i I
j J I
~^-$-± o '
17.
jfe
4
!!
_i=-
£ '
!fe=8r:+— II
— —
from Beethoven :
Beethoven.— Sonata
-
in B^, Op. 22.
pT ~ X~1
^&
&^d£
Adagio.
->=+-
r&V* II
18.
^^=
^zfcft:
M^feg^=M=M
where the accented passing-note (or appoggiatura), A natural,
slurred " on to the harmony-note, B flat, which follows it.
is "
19.
Allegretto.
Beethoven. — Sonata, Op. 2, No. 2.
iii
////s
Moreover, in the great majority of cases, it is easily and
readily felt that successive bars are of varying iceiglit, and
that it is impossible to accent any two
Varying' weight adjacent bars equally strongly. This is, of
course, most clearly observable in passages
of rapid, or moderately rapid, tempo, where the bars follow one
another closely. If the above extract from Beethoven's
* Not necessarily, be it noted,, the most " intense " point of its melody.
— * :
:il ii
±=t
3 3
u
LlU _ -*--* u
II
w\\\
////• >
This particular example shews still further the way in which,
as was stated above, small groups of notes lead up to some
Figure ending"
—
point usually an accented pulse in which —
^ ney g ncj their completion. Here, in every
J
with accented / ,,
• *-
instance, the group ol four semiquavers occur-
n0 £ e
ring on the 3rd beat of the bar so leads up
to the crotchet on the strong beat of the following bar. The
figure therefore includes that accented note, and is consequently
to be " phrased " along with it :
>
22. k
* The stronger bars are marked — and (for the rhythmic climax of the
phrase), = ; the weaker bars u.
— p
C3 CS !-;
O
E ^g^^^gg|ggglj^^ggi
^=* -^—^ ±&1
Allegretto, -f""
-o- -^
CJ ~& \
23.
-
ta £=&
<s>- 1
r ^ 3dtzcfc-zzbzi
-P— f^
3- -&-
l
&c.
; s -
p— -
g -
II
— 5
-Oh ^=± :£
rj- -c*
24.
ZSV-U 71
1
!
! 1 , „ ^—-j
/
=fc£
SS$E3 ^ r r -
ill
-G>-
&C.
wm
H=£=z£
:^=z^:
x£ £=£ II
feFJE idrr -i — i-
PVF
mmmm
P
1 J
£=;
u__. L
:t:
:t:
tflrFrfrr^r*-
v-^H i— =3—£=fc
r^--^i?frt=i=t=Er-fc=r
(
cl-C.
•-sMd: =f
^ ' J- * -I — =- — '
JJ^M ,X>ffiffi£g
SBgjfPS^^
/ 7'
f>--
—b — *
As written.
Jlolto vivace.
Schumann —Novellette No. 8.
*#
:
4=—s>: (S>-
ICfc
27.
==t
Sg=CT7-ZTO^ ^p
tr- ir
ieeSfc
~c?~ -c^-
=5 ^n3 i r* ^»
=P^3=^ f
3 :f —
—
i
-i/ i-
:5S=zj
«
-S»;
cr iSb
J!=S^
— £*—£3
=F
« ife^:
/ ffjt
- # ,
—
i
m.
:N ^z^:
it
rz\
~T
t-
-U ^ -2±" II
*0& 58=
EHa^E-S@l
y=V-
fe
=T-
'A I 3
:cr
28.
-H--<
- :i
4 ^ S^E
— — —
s
-<SI
i
zt zt / q: it /
*
<TN
St
II
•
(#
m- -^StH-# —*-r — i
——
I
-K Rih-
I
CH'AlTEli II
29.
3 6t
\ § ~* . . .
JEW* tr
t=-
?ERL^zJzj:ezl -^ I
&c.
--N-
&i: =3- Szz__zizp:
Allegro moderate.
? r Trr' 1
IhTH^' a R=r^' iHM
-
30.
^Tqp=fb-ff=j z=pzjz^^ I
—^/
— — 1 — —
^ r f f r r --j
-
f—f- «~f - -
E= £ *?=*=*
dfc — — — F—
I i I
F t^= — — 5^=^—R-
i — ——-
i
^ n
&c.
i^E3z=E= @3 i
h-
a
Correct Phrasing. —
(The grouping of less accented bars, in
quick tempo, together with the following accented bars)
»m^ Presto.
kr$r^t^=Ft=*
^=L=Bz -V-
111
31.
> — =p=J53 nri
M
1 -
^g«^
-i^_
1
(Weak.) (Strong.) (Weak.) (Strong.)
3FFF
Presto.
3E?
A^£^ I f i P
b
r r_fjiig
32. J
§1 a
(Weak.) (Strong.) (Weak.) (Strong.)
\-m — i
: m
m- -m — \-*5-m —* m
Beetho ven .
— onata Op. 31, No.
, 1.
Allegretto.
EEE^
nfeS£ *c
t=tz
35.
1^^™"1
g^zj
gj
-T3-
"+-*-
if- %*- *^
JPZL
&c.
m^ *
3
— i-
m
h
36.
fczrsS^q
&c.
i> rm rm. n-w—frn
Later in same movement.
f- frfr/f- ^-
:£:
37.
1P#
2=fc ==ttj «fc
:feSS:
Ac t=q
3
i^
-y*-
&i
— -i
-febzfcsf
"^js^
t
-I 1
W—V ,.
1
W-
t=
5rf=?c
&c.
—
* *
6..
-h
=** 4-
m t»1 w
=P4=
mm 8 -PL
w=%m
-4=
*-*-+ H #=ffl
sll
38. -^
V . <tc.
-i
I=^m
^±=^^t=.
p
t=^
si
—i
— i-
——
=*
=Eg3E -i \-m— I
I
m :
-&- m-
rasee
^
-0- -£
0L^~~- -*-"-*'
=-W . ^ to.
¥
b&.W&L
5=1
-ff
40.
I
STUDIES IN PHBASING AND FOBM. 25
iz
-p—
I!
&c.
*«IJ1 1
:£ II
asi
sf &c.
* —
42.
43.
j
i ^1r4-^=g=g£
(iv) The repetition of a note generally indicates a point
heyond which the slur cannot he carried without
a temporary hreak (which, however, may denote
little more than the slight separation caused hy
the raising of the hand from the keys) :
*?p~
%j
** m e
P
44.
-t -i
mE*$^
m _4 wirp-W
r
cv.c.
H^
@Br:i2
sf
-
M
See also example 40 above, from Beethoven's Sonata, Op. 53.
—
m
& m
THE INTERLINKING OE SLURS.
In cases where there is an "overlapping" of rhythmical
such as very often takes place in passages of accom-
figures,
paniment founded on arpeggios or broken
Overlapping of chords, the "interlinked slur" is a very
rhythmical
figures.
valuable means
directing the player's
of
thoughts to the real rhythmic
forward
destination of a " figure" at which point, however, no break is
;
Andante grazioso.
Mendelssohn. — " Liodcr ohne Worte,"
•> No. XI.
A:
&S& =5 =
gigp
Tins form of slurring often very useful, too, as a help to
is
the correct appreciation, on the part of the player, of the shape
of an extended melody, e.g. '.
—
28 STUDIES IN PHBASING AND FOBM.
Beethoven. — Sonata, Op. 2, No. 1.
*
Adagio.
47.
to TO to _roi rw r^
111! i ^r
i
SEE
33U33
^F 1
Up
—
Presto agitato.
Brahms. — Sonata in C, Op. 1.
w* sf s/ J J *«
49.
^ggnfflgg^j^ **
gll
3idi
fES i£F <i* —r^r i
gEBB ll
.y ores.
I ^*a=i q=^={=?=3 ta
£ Hi
*» ii
i
Grieg. — P.F. Concerto.
Allegro marcato.
v JL JL
IeS^^^^SS Sffi
L
51. /* /*
^ I. '
r
S*
^
*
^E&^-JglPffi I
»3 5
Ac.
— — —
q 4 1 rr* "*
g —g— g
^ ± t +
52.
8m
|fe[|
fe
^JS J^ffiggggggg^fe
— g ig
The above example shews the anticipated course of the music abruptly
—
checked by the final chord of the extract a point at which an ordinary
—
perfect cadence in A major would normally be due and a special degree of
force and vividness required at this interruption, to which the player's
is
attention is called by the " accent " and "/s."
Sometimes, however, the effect of surprise is carried out by gentler
means, and a chord may be intended to impress itself upon the hearer's
attention bv a piano or pianissimo, instead of by a
eigm " forte or fortissimo. In such a case, the "weight-
\r *»
mark " ( —
or -v) is often more appropriate than the
"accent" (r> or sf or fz), which usually implies a certain degree of
explosive energy which would be clearly out of place :
53.
'-#=£: tr.
*
55.
rfarf:
ijpijili
V */ il'C.
d:
Ejrf:
;
-m
-j-
—m -la-
i
-m- -m-
SI
-m-
56.
0* ): i
? (\
h
-* — *- ~#=W-
1t II
58
t=pt *& &c.
&F i
££T
I
I!
EXAMPLES TO BE PHRASED.
Zifoli (1685- ?). — Sarabando in G minor.
Largo.
3
r-T-f- ' rfffTT , m .
'!
^^S^m^B
f^^-
tr -<s>-
Tt
*<=*-
fcs 0-P-0*
zpz=z^zztL fc
—l 1
mm
i \
I—
f^^^^f
d J J •*•-
sse te
dc
ji
i^a
F=J
t¥m- *=
tS>-
II
i- j. q.
se BEM *
^
i£^£
*S r * • i~r • if
T
r
•
^^
c
t
B*j=Ud— \
*"-
I
: = i
SSEfegEfes :*=*: 1
^2f.
I*=L
3.
w=& 7~F
T-
i
—
= F-=-a- m- -0 Zm~^A 1
^
=t=t
§-t= :z
3
--^=4= —i—!—r-
Tl I— J"
&fe=s -o-
w -d
^ ±= II
^-¥- # ^ #
rk£f?E£ t -*-^ ac3=*
as*=p
r
8
J
^jp^^feteNg *E <£>-^ *
i
,;
J. S. Bach. — Bourree from English Suite, No. 2
s^
!
£**4 -H
5.
rTt/rrr
Hfii Uj s>-
JlJ J- 2St
! -<S>-
tfct ^-J-JJ^
SS-S-
S*£«3^
trr r r
*^£* * • -
G>- ZOI i
:p:
r IP-
tr
fc=fc^:
1^ S :c
r^ r -1
p ^
m^k
^
-%
c 2
m-rj 4
3E±
t-p: II
• —
^r^ — S3 ^ — I
\-0>
6.
\
@5 3: £3
j* # * # # ML
*- #-
^ qS" -*-
2 fe£
-#- •
.0*0*.
-tv~t -M—+-
m \m \ \0 \ \ * + * + * m m \
— \ m
SEE £ ^Fh*
7.
(
&> ^ ^ E: ^ J
7^ I M-
^Efi^rT jy-^ ^
> .. »
EfiSf
ii
J"1
@S -*t—J-*
:;ae
~
-fe i ..
STUDIES IN PBBASING AND FOftM. 37
8.
«7
4 J 4- 4±-
m
jL^l
mEn &*
1=£
5> >G>
T~
-G>-
-* g-
1
fcs
^U. -e>-
I
—<s>
J -J-
&-
^
* E -*-=-»-
r
r=r
£=p: *^i 2=^
z^SE(z
ir
& 24
2%=g
#>
-»-
-<s>- 3t=3=jg n, j
o-
xz I!
F
Allegro. GALurn (1706-1785).— Allegro.
9.
ifsg^tspf 3
^^=gg^ggg £
38 STUDIES IN PHRASING AND FORM.
m * -*-
I
@ip^£ ^£TirrriH4
* # =p-=p P=?*
fcfca ^r
w*
j*rT^--0^! i k
—
eyd>
-* #-
ss -=r
£:
fef:
z£
^r
-*-
s
T
-*
JE^ra
S
b-f #
a
I
I
—
sp
££
fei
dr. rt^ztrt
^#^ * -*#-
:
r-
-»—#-
£f
11.
£»£^
-)•-»
^£fE^
:b=9:
*d»
«y .^- _^- -*-
;p:
t. Itif—* .Vf*
a$ -4 1 :t:
2=g=^
- B*
Sib
£«=fe
P
S£ *=t*^t*=t li
«z
F^4
12.
=H= —
*r
^££*h ~N fe
: # # tf _
I i
a=E3 fefel 2 |
*
*- -*-
*—*-
¥ r-
¥
(9-^ r-*
M NgF^ s:
H--H1
p- — 3 i O- 2-
5 f-f
f
Mozart (1756-1791).— Sonata in BJ7, No. 4.
Andante cantabile.
13.
=t
#fel{=|!^
*/
=^ =.-,
^e^^
nd?
$.%=i=£m
m -& — 3 —-y -i
i^&Bfe —
*==*«-=w
' II
W. (J.)
Ita
a* **
=t=
p=B II
—H
g^a^gg^^^
Andante.
£
His
9-4-*-
£r«
*
m e=t
P
?*=
fe^i^t&f^i iSB
^Pi**
^5^ ^: -*r £E£
t=fc.
15.
j
« W? 3a=* ^ -*
:^ee
^~ 5C 4f
Sf >#
%fe2==EE^
fa*
=M EtP
UB — ££
Ji*Zj&=i
t-t-t-t-:
U*
-:
*4f -- ,—
*a -^ — p- ^--^^
42 STUDIES IN PHRASING AND FORM.
1L -#--r- -•-
4 5
33e£=3eeM
I
J:
Pe 3=£: fai ^=i
'#
^
r ^fcTa^
iA--A^^d-i-^-^^
i sff^l II
-0i*
Allcqro.
u
k*~,_
=^ —^ _
m- —-^fcp^-
16.
^^^^^
—Up
Ijfg^^EEEE^ -e>-
a
t
Ff£-ffi^ E^t££r
=t
^^^^
ff
p
*=f=l
4
:ot
e»- Z± Jg^TtTFB
i i i
i i i ij i i
U L
i i i i i
i
17.
i
J-
=-V^
-^— —
v"^-
I
iagia^^g^^g4fe i
--I-
V
» _ _
*=£ P
^ -* fcEf
r)
=fcz=iil9
F^T?
Eg^E^ill
OT >
—
ta =*z^r JtZ^ZuKL
18.
*=£.
&
§Sfc|3 i i j i
- n ! '^
i
r vm-
n r
g!=9 ^tZ^&ZZZZj.
1»
1
4=-
&{»-<— I—^- fr^TI
tk iPPii ^^ S ^r-*-*—*-
_h .^be
as f hffrf
±
^ #-
f f ,
# -*-
fft J£J
£- p^- -*- -*-
^-.-n — q u m - rT^=
1 -ii, i
,
.- —
*J
^i^ii^i^l fc_
k*- '
S*
B£=?
I I
gp*=Jptg=^
— — — —f
v&
-?-
e^iiE?=F=FSB^II
I
.-*
§^5
*£
F3F*3=*3
U«-h -m-
P -#-
I i- l
-#-
l ^
-»-
5
s
Beethoven.— Sonata in E minor, Op. 90.
Non troppo allegro. ~£L~.pL- . rJ^
*&-*
H|2 EE —— i i
t
19.
^^5
iffei 3£ "-^- l <^>-
iEl "P"-
(• «-•
£*=*
it::
:tzz£=z:t 2r -
r- FF-t -- II PF t -P :: :
#*
i
y| --r7T-f ,(W j F
aLJg —F^^ F^K^-^
"-1 1
fe=i
p- [3 y
^^^^^^^^J -ply
^^^^^^^J
r?fy" f
^™^^i^d i
^3=e
"3r
# —*— — 5 (• L
m —m—m— -# r m # —
"F "F
rjuIrMr [tMte
ifep^i
I
U.PS :3=t
J=- i=
*E*
g-g*
rJHI-
— #-#—t #-1 #-i
[jl^R
+^0-
:z
:t: I:
~: S
* J* r
¥
1 . i J— E
S^Sf i
tdCa ^3^
fw=n
;e=t=p
i-i
g ,1 E.
3»-
tzs3=tz3-:
#*
W ^-^Hffe
1
20.
m
3
PS*" (3 n
*r.
y ffti
*=S -i
3 *•"* f»
'/
i i.-^ ^ 91
STUDIES IN PHRASING AND FORM. 47
**=
w
FS^P
>=-y
C M>
t=.
Zj.
^^
cd
-(&-
—
-Vp-
—»— S- 3
tr^
~^3
ra-
i
w il
E !
21.
a. ^^
-5—*—*:- d=5
iil3E£i
M j T p j
! '£3=3=3 ==&f: £B
ta--M
^bj^^FFI*
t^p^ega
*-
At*:
/
r
b
F=£* .^^^q^R^"^
fc *L/*J : •I=tpte1 H «• —
-ftr*=TT'=*=i3=i^=^=fli
fe-
f*fe££
**'
i
teggj^gg^^ii
"Wtmt
4«&tnfe molto.
Schubebt.- Sonata in E ?, Op. 122.
4 ^ -I
—m-\—\
1
O »——M-
22. i =F« ft
t&2
rm-f m* «=g=£:
t-T
J*
lESt
;
£^E i=g^l£§l3*5 lilili
, t h
23.
L- 6U -<5»-
-&- d^
^fr ?z
E
rr=5— 1^-
H^flS Z*£
s
fcfck
ft
k
*
^ b*
*
*3^
^fff^H
@SP b& -£^-
E ?z
»y^F 5 IS>-
I I
24.
13^3 P .1:
=F
'
p£-:
£
*—
8m.
D
gg^^ i
—
50 STUDIES IN PHRASING AND FORM.
loco.
1> ti
ffjf fe££gffr«S=4
-I— — — ——M—
i i i i
-*- *-
3z=~-23
5^3
£ lt—w£—£-
3
S£E^ E 5E£
/r
+—
—— —— —
k=P£« -,
:
i i ; i 1 i
-m-
1
1:
^^^m
Lfr p
K9—i& iizr.
53E S Jfc
x
ls£ fo7>i£.
" Ind time.
Sva 8va
»-(«-
^3t_ jloco. -m£f£r *-*-?**
\ « Zoco.
v —m~
fe I
-__-p:._-te.
!
:£—.J-3
:
?=^EEE?=^3
* X
Weber (1786-1826).— Sonata in C, Op. 24.
A dagio
JfeJM=E
25.
dai-
a n 'TFFt
-«*- -•- -#-
r —
tr
^ .£
f
fe3
-,£>» p -r^)i
=S
V=*
-d- 5 &— F w m
L—sJ—br«—t-—
!--
l
t"
—*t^*-*-« J - i — I
>—g
*£=?
1
.
1"
it|—
I
bests
=j:
-+0 -&--* -\—G* ~ <& li
%J -31
V'J V~'
3j_;.
:p_
fl»»
Z*J*L*±JA^l
>—r-
26.
P ^^sgsliiil
^ :
mmi^vr- -1 /
s&
Sll
rfF3
p==a
v-> .
1 h
r- £**u£f££ ^
52 STUDIES IN PHRASING AND FOEM.
iS .
m -o- -0- -0- -i-
,
-3=--,
gl
ip
£^-fr—
^e
-<<S>-
-w
S
»- :&
**
4- -
-F- -h -*-
f-0 ^--rrrfm-mr^
gtt^S X3i a- 35
(Q* *£§£
US* :& 3E
59E :^3:
«
«3# |5pSg SSs
y=w
*S3
fcfc^
*
^ .^r^H
^b-J l
—\Wf \~m
f-
F-
.un4 -1=
^frf^'^ ^.*q=
Sill
! gi XZ II
1
^S^fi^feB
I
B
27.
ite
E^g j^^jxJ' j:
I 3
n ggf8 ,* !
feBBba ,
— i i
3:=ts
ii i-
MM
3
*-
£3^ *
£»
«=« r
4
f
P
Mendelssohn. — Fugue iu E minor
Allegro encrgico. i"—--•••^
E **= -iHH
H-f—
28.
wm^^=^^s^^^a
mMS^^0§^
==p
* f f rHfL
•it™ — # "***#"•
54 STUDIES IN PHRASING AND FORM
W- — ^fw~»
w —:*-&—t— 3 EEj i
' ^* * J
_Q_
~^- 1£2I
) i
-<s>-
,^ «
tz'-i-g^tilzzpE^
h -I j-
«=J^ F-S=l
« — # — F-
r r i
§
_Q.
-O- ^ ES>-
i P=fe5=
m*qFfN
^^a^ tp
afgEEtaa
-i-S-f-gj-Jzjrp|
-+-+* ms -H-p- II
i—<—
-i
t s
^**:.«5:j»g:.#S:.«J: J: :g: g. :g: :•: :g: "g: :g
:
g t=t=i
ffi^M— 3—
g^i
-sb-K- — i
fcfcf
i i
^
1
^— i
w*—m—'*-\
U-U
1 1
'*
*»^# **-*•*#-'#-**-*•
'—c~x\
J
——I t:
£ tf^ 3:
3=i =t
:*zzra:
j I
J , I
l I ii.i
tit? =
IS^EEE S=e£ =p
—
1 -*- -5f-
-«- -»--•-.
4i Si # i
J
:£J2:
i
He£ = J J M fl ^ |
Wflf' w¥
»Pi=t
—
JpjW
\- i
=fc
_i_cjr
3 1
^ H-p »
^ F=F
r-"
a
^s
gs "1
J.
rp
^
^m =t
i-
3
^ ^
tf
I
i
iui— ^_ :
d===q--M-i^. :
- -
30.
±&=i>:
m=m= wmHIe^f=E^ i
56 STUDIES IN PHRASING AND FORM.
to
J
i^pi^ig^=iiip
si
If
M * i *
_j:j
fa^te
^=£S 3
*
&
EH P
LdLd
'
^^ -p-
j r
s :t=+
4^-
m
Schumann (1810-1856).— From Album
Andante espressivo. for tho Young.
B3 -©<-
31.
i rrr i m^^rrr
&k\ fi
&-
1 Y=*-
v
S^c W «
ac«P m
^r *f ^r^f
@ SEE *=* £ Q .
J^^T-n ^V-|3
SSS^ gE^s
-n
^ S ?z
1
f 1
1
k W-j=i fr+fe!-
Am *~ W-
k ^Sfeg frf—ct
1
^^ 4*
¥:
O-
^ # ^ P-
-* *-
*P -1— f
II
J.
« *z -^- 3 s 5
Z2ZZ II
v^/
- —#»— —0^-0—0— 1
—^0— mv— m \
^.
0^-0-
=
l
0/^,0
/~S 1.
0:
|/=N
32. r r r
^i r
^its=& £
r r
f "
r f r
b-fi
f ^r^^=p=^p
^gTj^^g : *j^g: gSi y^i: : g^fl: g^d: IBE £^
PJ^ :iz: £
fcfc
ir- -0-
r ~r -5-
r r
j rj—1Wz=aL ^^^ 3= *P S
r
^ g rx ^
-i-* -r*-
r
58 STUDIES IN PHRASING AND FORM.
pippiiisp
£*•- ^£
W =F=S
rt
& ^F^
-3"
=:5=F?
is:
m¥
1
fctt
* JTTTr
f
s B r
-a |*
^
-« « ? f 1 r—Vy
Q- ^
1
Ugl £
B ^p *—*-
m^
Semplice. , Schumann. —Romanze in F 4.
^&*s^^¥
i^=^fe «M|
34.
^m — H^ n^ t—
tp* p
*«*
^W^ ^JHfcJ:
t^OT
^fl-
!_«*»_•
4
«-4^
«- n -*-.
3# ^
IB
A #s
i*t
sr^ayj^
s I
T3
^
rpfxp-Tfy
iftS^S^^ IP
60 STUDIES IN PHBASING AND FOBM.
Chopin (1810-1849).— Rondeau in E£, Op. 16.
Sva -\
Allegro vivace. ,
E^3^
rte-^-r
35.
i r-
8m 8ra,
i>-
i>W
rF^I^-i-q ^^
i h-^
J
» fcfc
=t
*$
#*
td?
- *=±±
BE
j
^
'c ff'"'
3
STUDIES IN PHRASING AND FORM. 01
SS
P^Nf 3 tl i
i jHf^E
tiBfrrrrtF fe te s*. ,
62 STUDIES IN PHRASING AND FORM.
CuoriN. — Sonata in B minor, Op. 59.
U
P&W
Largo.
-&-
f
w ^ <Zs
37.
^**iilSEE I:
"H^ rf3=H* "1
rs
i -*r__3
fet ,
*Z ZT
j
% mi m
* g:
1 W
-<S>
* ml-
i
r=F
-^^
F -J-*!-
^
J =? i
I
*S$
dfrHfc
^%\*=S
f
I'^fH^
S
#^1 I >
3*
=
FZL-^
S
?Jl
la
— £
-ill !!*
JIJIJ^LL^ r J 13
i ||
r J.
4
^p £
f*-
r
'
"1 --
e-
2±
i^-
n -M^r
i
r~^w^^
au,;.3j.
T f*Ef
*r
i
1 1
jdi,r^ ^
-• — *- fl*
?y rT^ =3
-<s>-
38.
STUDIES IN PHRASING AND FORM. 63
£^
^Bpf£ mii —i— — i i
»j i
fe-
a * ts^—
i
^^
inr^r •
tmtat
=± S3
*^*-
^±(i==5[HE iii —
Pj»rT>fr«
J F-
i
±=*
r ^
IPS
S^
& r
^liBm
sfcfcr^F
S^eE
r i
64 STUDIES IN PHBASING AND FOBM.
Sterndale-Bennett (1816-1875).—" The Lake," Op. 10.
j. Andante tranquillo.
tt &
ifg
-3 3 m --^
n*
39.
r 3-
-p
m*=« Ss
*z*-«C?jt?at
•te ±afa±aa l up
^S [, "1 ±zdz:
to
3=3: :3=3:
*A Tjk, J:
£===5=5
W-H
^-^
=1=3: *1
3 I
* P^* ^ l/^ —*4
PfF
g^n^iza
I pi
^=^#1^=^^ ej
L.H.
#Mt
^P=!°r# 3: 13 r -
^
•7
1 P r^i
3
J
BKa"^a^r^«pf^ is is 'is
* g>
r=r5 s
:> J'T
"
-3—3-
iifl
-=r r
"»t 5K
STUDIES IN PIIBASING AND FOBM. 65
40.
q.^h
tofrff t 1
^ l
41.
GG STUDIES IN PHBASING AND FOBM.
—is
mnipppi
-
n . j s*. ^j^s q^q.
'#- fsr3:
kg i
b*
h
g a±jbgt±JbE
*
*-^
e id
r 3Et
? i»
^ 22
^T¥ f
^^5 22
/T\
i
-<s
22: 22
»w
izxi 1
Quasi adagio.
-^=v • •
mm P~
HSfe S£
42.
& f- By,
I '&j&m^ q=>?4
^A 4Mf
fc
£
E
.#-
i
IE
^jpipg -h-1
n/~ff .irft~p
£ <S>-
rrii>Kfii.r
**
£
* £
^ £
I 3=p: I I *
^
STUDIES IN PHRASING AND FOBM. G7
* -&—r
*k -hJ~^ /f £
^^ i
Is
^*,
fcp.
&&# M—ZSM —
3-«^M a
#-*f3
H*
f 1r —W
«y
$E«£
4^4=
>M—#-
»-2
jfe ^jm
-j- E £ r
IL *
P^
j£fe-*-yf -f
A?
dfe.
g
rTT
t £ f *lfe?t
r> ?^fe
V f^t^i^fj
*-
i
g^
^gfcTTt '# 3
5
^F^ 3^F
zt
«EJJ^
8va
} Ife-1-rf-f-f
I 1
d2
68 STUDIES IN PHRASING AND FORM.
loco.. m .
U f-
*m t[^;
~J-
It
-n-
Allegro ma sostenuto.
r*
-k
EEE -s>-
r
/
sE
43.
:i a.
mtf
u
^e5?! r^i^
»I FF? £
?
, i *i * i r i r i
I
' i
y
M-.
^
:|?~pr ^ 3—s^sHIg
£= 2|
s=
Ito-
m fi^giP P 1
f-rfrr-r^r- f rf r¥
STUDIES IN PHRASING AND FOtiM. 69
44.
p^ip BE
Tlli G F i
J. N
=fc3:
£EE I
* f -i-
t^
d: =£
3=93S
>W- fe
-1^ .*-
HO*St* 555
s
JSP*:
r-w* t^
=t
»<o
i^»u-*" *&&
B
X=M1 * a
cr — !-:
i=-— f=^
V*.
* £.
b |#^f-F
~rj.
*<5*-
;^E^
#.G
^Pl
70 STUDIES IN PHRASING AND FORM.
Bkahms. — Intermezzo in E j> minor, Op. 118.
Andante largo e mesto. m
t=t
45.
P^PfN 0£E*
±$i
*E^^«a
93 rtV
22iz=&
s
I
If
W-
las Vs
i* -J-
3
5^ r
S=S |t H g § 3
ffiy-
'*" :
^^fjf^ "
f"
1
'
"
^ffi^qTl|
fete
** PPi
CSe? tiissr *r l/w*
Allegro grazioso.
j ££*.
Ii!_<k~ t£ -» m-
i zz
-*-<E-^
46.
ffcr f^
Safpif £: £e * * W |
-<s>-
•
$m$
—
*
^MM -<s>-
f
I I
fr-
J J J- -<:-i
£
P^? i
i^tbLP
-&--
^^^^ff^y
IffeE: £»ffi -#--[— -f- H
^*
f*#^S^
'#
T3t
febE:
^
¥
£ zt=
%t*.
a
*3
# p3E&
#4=^
*
piB
M.S.
4^
!g
M.D.
M.D. _jt
wn
.Von allegro.
8m— Grieg. —Pianoforte Stiicke, Op. 1, iSTo. 2.
V^
47.
7=i —T=
g£c
=3*
w*
\'P'
V-
r f
72 STUDIES IN PHRASING AND FORM.
rrTTn T> ^r 7
•
lg=F•:
£ g^^
f-
Yy jf f
-q:
3 ^
"r
•
z=^J
1
• tg
brH—
^a
i
-A ,"
.
j
q V
•
=^JV_
rz JM L
@^S
— '
I
VW- m^i S«*
• — -r
3tZ3!
^ -«
^
— m—m
i
-m- -m-
^ "T
m-
-m-
H
-m- -m-
r
I
^^
S I
i—m
IN JV
— m—
-m- -m-
r k^
gh-
I
-<st-
•
mm s
i
m I -U
I ?2
i i s
-^-EZgrttTZ '•^-v ^
(9:
jQI
I
-<s>-
3^C3
I
Un poco andante.
Geieg.— Ballade, Op. 24.
STUDIES IN PHRASING AND FORM. 73
dp-*
*
dg rrz
^m
r=^f^r^5
-m- -gh-
fete
5 -&
-D
P
^3 ?2
J a B
1 F*
-4-.JV-,
*J t Jj^Jffi
4|
j£jjj|E
r •If^'ftf- [^
# gig
^ :
CJ ¥- w *
i
^
8va~
AJErrg
M
Pf =3=—
* b-
S 3:
ma^m ^B
y _r r g b^^ s g ^s r r r i» £=
<§#"-
!
8m
M£-r-H=^ #=^
^3
:
uU '—U ggTt¥T
[^ j
74 STUDIES IN PHRASING AND FORM.
OU CV*rv*'**-r*r<*r^-\
ffirffi
H«
s w~
-f^- .
Qkk o
} ^F *
***=A
2nd. /T\
* 1 ^ — ^ lw *
^
H
»-
fcs=£
3E
-»
3^ f P-
I
-fcsf
Pfiif:
^=fe i-t^a
;ar-» ^—5 i=t V=V-
I
*
Andante cantabile. i. I i
n
1
^4-^ ? ^t^^T
-g-
t
3£* If
r *i r r
49.
J>.
P-^ JJT 3 ---
^^
1
m± it
^
.
4* P-
S*
fcd: -i- sPf £
*1
—
-p »-
H
¥ 4^
h
r
^
rT2-«--i r
^ r
1
fT?-*-^ r -*•
^
"i -
i*
^S
,
f -p — p-
fr-
-p-
-<£>-
§
JS*£E B dfcyjg
£— s
fefc -—
P 1
#
r
P 1-^t
-o-
^ ^
-G>-
'
i
fc^- ¥m
_i_ -_/
II
*r r W>\
PU-*it££l IP ^BU fE B I
_F5 J
ffd^Srf
*^3
j i ,
50.
^r-a
{>-
£—SB i= ^
§^s raa
P- ^1
-*4 J
@£=S ^s*"- E^ ^P
76 STUDIES IN 1'llliAslNO AND FORM.
Part II.
FIRST GROUP.
ACCENT, TIME AND EHYTHM.
1. Name some of the evidences of Form in music, and
describe them in detail.
2. Distinguish between the terms Melody and Harmony,
and shew by an example (or examples) how a melody may, by
its own outline, strongly suggest its connexion with a clearly-
defined harmony.
3. State in what important way Khythmic shape is connected
with and influenced by Harmony.
4. Name a few types of musical composition whose titles
readily afford some clue to their character.
5. What is meant by Accent ? In what way does Accent lie
at the root of all idea of musical shape ?
6. What is Time ? Shew various kinds of Time by musical
examples.
7. Shew, by examples, two easily-recognizable ways in which
the universal instinct of Duple and Triple accentuation, or
grouping, is illustrated in music.
8. Are all the bars, or measures, of the following passages
equally accented ? If not, mark those that are rhythmically
stronger with >.
(a)
*rf
^k=i
•
F
XXL
-^ ^ ^-^
£
>>
'ZZ3EZ
II
Allegretto. Beethoven.
=2-4- -&-
<«>
pi.4cg -&- ±-*zbt *=
-&-+• I
I
M %rf±
1
-Gh-
^2:
m -!
(&-=- y-r
«y
w H2
S^EgEEEEg
Fr-y^frfff^
W—
d Si
Allegretto Schubert.
-£=£
w iMkfEE 3^5 jtEzrp:
£St pff^f -j
S
p;b
i
1* tV=
a
Allegro. Beethoven.
=**
wffl 3CJ: 4:
^
S^ Alleg retto.
23: Iee!I[]
Mozart.
-O
-<s>-
» g
(?) is£$ -F t E=
-*
£ ^£f-£ftj P-
£21
I
W |^lM*^EllEEEElii HeHI]
1 EE^
*7V
sem/>re staccato.
78 STUDIES IN PHRASING AND FORM.
?-
N.B.
iF=F ^e
— Comment on any peculiarity in
>0-r
!
memi
bp-ri>^— .
T 65B- UzJ:
oo f=e
-<s>&- T± -G>-
-e*-
u*»- -£
I
Vivace Lisz:
The asterisks in this example indicate the rhythmic periods of the music,
i.e., its grouping into phrases.
9. What do you mean by Rhythm ? Distinguish between it
and Accentuation, (b) Time.
(a)
10. Describe the term Cadence, and give examples (from some
standard work) of the more familiar types of Cadence.
11. (a) What part do Cadences play in determining the
Bhythm of a passage ? (b) Describe approximately the mental
effect of each kind of Cadence, comparing each with the idea
of punctuation in speech or writing.
12. Name the two most important rhythmical periods.
13. (a) What is a Phrase? (b) What is the length of the
most usual type of Phrase ?
14. Give several examples, from standard works, of such
" normal" Phrases.
15. Of what length are the Phrases in the following
examples? Indicate the conclusion of each Phrase by an
asterisk.
A11 Mozart.
Allegro.
—
Molto allegro.
P1 Pi ^ e
n
_h LJ
-J- j j ~ j
^
*i i
\ " =J — f-*
p 1-
f
L^ Ifl
Beethoven.
Largo e mesto.
-
B fl is :
(«)'
l-ir-
J J- J
i# f f*T *
„ i
m=fi e
^Bts: T=t .
p
%'-
m £
*
I
s£d
\
S
ir "i
^ «r
^1
=t !?-
it
d»^* -I 4 -*i
P
80 STUDIES IN PHRASING AND FORM.
Schumann.
Allegro
^=*=
*=£ :p==* —0- ^-
i
r***
* * t#- -*-
-#
<g* s im us p
^§!
@ fe* ^B
Schumann,
Fifrtc^.
JhJIl*
^Jfqff-.f f
:
HIS
t**:
(*) I
£2:
*u?3lM\i*m
$m — — -0 '
l-0
Z21
tr
m
****=* * m
'
ait m
A**
^a feP
3|
^ < jg)3- m
5±
i
#- =£"
E^i -±
Allegro. Schubert.
-fc*
fjtzdS T^~T^
&
(/)
AtJ J?^ si
g^-g i -M 2^:
?i=tt H -
STUDIES IN PHBASING AND FORM. 81
m s s
m 6^7
-4
£6
p
AV
r>^ .
Ife!: =?«
r-^r-t? acafc tLjr-^trr
f
)
@t|t^
»i*=i*
Allegretto Brahms.
*y
** sp^
(?)
66
Use:
qs; fcl
FU Mf £
? : -
^^^^pai e=*=3
% :
i» S ^
Tf
S em
s
Poco allegro, con affetto. Liszt.
5^E a -# # ^ I** ^
w r-
^m
-Gf-
Allegretto. MOZART.
i
i
-*±.
^-^H^-S
-m-0
^^m *3EEsl
-»-*
e=»
m
(")
± ft=m-
I
^_^m & ^ 3
m t=i-
€z£ £e;
(Ca-
m^m^B & m % m
II
&c.
md^iftce.),
r sas
m ^s^-rx.
STUDIES IN PHRASING AND FORM. 83
Mozart.
.uie fjro c on sjjlilio.
A llc yro spirito ,*>-• —^\
'f^mn\
(b)
aiiEi=§£t£f i i-f i
rfTr^ r. g
S
*Ezm
$jk-M .fi r+j
'
S M 3Q-
£ e
e>if* Mp E
(Cadence. . .)
>l J
•
* 1—ig
•
i
s &C.
:M *F=t=
-^ —-;
:;?l
£-#.*-
1 IB
£ &£0iJ ^ s
"^-
to
br -*-
S3
Eb£
be
£ I £.
^-^ggaa eg
r E 1
(Cadence.)
84 STUDIES IN PUBASING AND FORM.
tr.
J w* mi &c.
J. #r *'
n- ~fSh
il
i
i
j ^O i ^ i r
LU>'
i
'ffn-lrli i -
$z±
,J i-
^,f>^fcA
PS _ l|
ast act r
E
| |
I
I I
&c.
i ^Q * -#
«3w—
;
1 ? :nz
IG
£: vn
I
Beethoven.
Allegro.
V-Jk.
ttarfmBto
^s
(e)
fe?
#- -f*to -*- -•- -m- -p-
5 iiL 1"
^
STUDIES IN PI1BAS1NG AND FOBM. 85
/=H
fr-f-f fl* 3:
3p **
I m
!ett=
tf^
s
H=f
reuo.' _|*_u
Allegretto. :— ^ _ . Beethoven.
J3Ei:TH0VJiiJS.
18. Upon what part of tho final bar of a Phrase does the
" Cadence-chord "* usually fall ? (live some examples.
* For the explanation of this term, see the Author's " Form in Music,"
pages 1G and 17 (footnote).
86 STUDIES IN PHRASING AND FORM.
19. Name three cases in which an exception to this general
rule is frequently to be found.
20. Does the barring of the following passages convey the
correct idea of the accentuation of the music ? If not, alter the
barring so as to produce the effect actually intended by
the composer :
<«)
Mm 3
f r
=t
i i
-4-
Lfr
tfc*
4 .$ ia
f
fcri
t
r
i
o-
^^ PPP c^r
fe£
i
Andante.
^
^ •J J.
Beethoven
I
4"
4T-g ^-^3: 3:
-*-
s
*t
iN
3- ^
PI*#JH '
-^
iV
|HB i j 1
m- -m- -*-
=-^ t
g -&>-
-i
^ "1
h "1
-J—*1—f*— [J
£j£J*=j
: ^
m jrrr¥ -jO kf T. --
s^ = 'IT '
f-^ n
iff^T-Hl
B°&
i^ — ^ «
^t*
SECOND GEOUP.
PHRASES AND SENTENCES— EHYTHMIC EXTENSION
AND CONTRACTION.
1.Define a musical Sentence.
2.Of how many phrases does a Sentence usually consist ?
Give some examples of the most common type of Sentence.
3. Give an example of a three-bar Sentence.
4. Of how many phrases does the first Sentence of Schumann's
11
Arabeske " (Op. 18) consist?
5. Enumerate some of the means by which a composer is
enabled to make the phrases of a musical Sentence respond
satisfactorily one to the other. Give musical illustrations to
shew what you mean.
6. What is faulty in the construction of the following
Sentence ?
Moderate).
rPfek 33 -<s>-
-
$ fe
* W £ -*9-
j- _U- r- !» r
^r
^f ^rHj^ Jr-
s
^fi-Ui
5 p
-
-o-
r t* r r
^ f
ICI*
-e>-^
!' -F F— p=Fg=JS
'
id
7. What do you mean by the rhythmic period entitled a
11
Section " ? Of how many bars does it usually consist ?
88 STUDIES IN PHRASING AND FORM.
8. Give two illustrations of each of the following (from
different authors, if possible) :
Allegro. J. B. Cramer.
(a) £2_ ^
^rttirmrmn &c.
-*-+-
i m-tW atz
-^-r-r^F
^LJf?
-3-
s
^ v
—w-^-p
,/"^ t
:fi£
Z^aSS*! —~
I
^="
*
-£-
^
[ |
IH^
"""^^
^ m 1
W
^^ -H M N"^
^-~Tf * ~t£ &0.
m
Largo appassionato. Sonata in A, Op. 2, No. 2.
J-
M*ffrffffflTrig
(&)
_£2_
dj^awa
g f»a«a
i^§
s
:-l
.d. J i r -
.11
i
F£ gf
<-> j>
#-F -a-
f M
SEfcg 3t=z£
3 J =^ N^^ i
i i J~I
===j ==j === uy^ ^\ yj^ vt
?
m
W¥^- £^5^? g^l J
r r-y- r^±dL^CJ
90 STUDIES IN PHRASING AND FORM.
-0- 9 y w
Sonata in D, Op. 10, No. 3
Allegro.
-I.
'##
-^
^ i£
[e) P
^=tJ=
^3
S& :
-0-4-
-©- e ^ 3C=**
-psc
*
V=V
life Mg-fc £
S3
^ ^r^r^ -<s>-
*=+
I 0-
*Z£ :z&
!
73"
sf
r
*. M.
Mj
* J J
-a ^—
.«L J.
#=
-«-
,
& g>
- fry
res
.-
•
-
1
cres.
*/
-Oh
IB 1
^?r FS^:
iv j .
j
i
p
^z
22:
M f-
£ftS
^ p*g
t=
:
s :
** wa 7? fr-
^3 -Ol- i II
ES g g E3E 33^S=
(«*)
„-? 5v *i^af
«-«-#
^Tr3-
: -«-•-
S^ fefcff
r "i
-&
m
P§ -*B* 1
I
*PE ffiES
^mapz j 3: *
*/:
I
£T^=S=PJ
^ fcfe
-± tt
cres.
£=rr-tir^—r
SE^ m *fc
"vd^
n»
3^3
¥=^¥ i II
PP &c.
*F
5fc=p si
02 STUDIES IN PHRASING AND FOBM.
Ibid.
KB nil ^ ^n a
3 *Tp-^f*
(e)
*T^ P
f
1 Sf 3 S
^S £ f^f
*)r |
^mF^ J-A-A
S? ^ 3
w~fr <
a B ^K
:£i
^
cres.
^ ^ i£ *t
L-qiji3 h.
^r>—
P
I tf'l
J^ g'l d:
^ f 'f
^. .
^4 ^
pp
@i* **=
SE" ]3~ ~T^
^fefe
> i>
-i
g |j -i
j g
=g
*=5f I
^m
W
s i
&c.
Presto.
Haydn. — Sonata in G, No. 10.
f-
=4^ ^^ -^ tHUU-U=^
mf
(a)
« ^ » i—
f-V^T^^— •
- vr £
fc£
S£iL±:
-»-
^J -£
feS -*1-H-
s pg i
FFrl
^£
3tit*
-
? p lg
cres.
! rH f-f-f f M * Sg?3
cres.
si —j i j i
i i 1 1 1 i i
" i
3 j i
f it -it
•
if
#F — . ^--f-
g^^&W^Q 8
/ A
* « 1
H=feH E
-J-f-J-J : : : t
Ep©!
t±3$r> »-*T^-i» r— r- I iCm
^^
r <r
t r f -
I-
i
*=
Allegretto.
Haydn. — Sonata in A, No. 26.
4A
pp^ 3=3: ~?~
1 "1 3—-3-
&
(0
J '»/ crcs.
t*-t
it
-PH 1
H
*4=-^t
T^^l
W
§=£ ^=^
*I#
5 -n-
"ZJ
dim.
«* gfrf»f ?i
I
:e=c -3:
— —
h
M m ^=3: i
PP
'M ^zjz*z
— 3 E m j i l ub 1
—
J J *
*
| #
'J. g JT l
3 * '
fe£=?=*
r
S 2££ p^-
t- 1-
^^i
*£
g^ g P '
« Sill
P
%* Compare the above extract with the following, pointing out any
rhythmical and other differences :
* I&id.
£^ *f g "1 "1 =
(d) s mf cres.
+- -m- -m- -p- -m- -*~
4=^4=- XL
-I— !
h
w»
=4fel -1 — 1- ^*Jn^
d—
-
j* 5^
*
«
J dim.
t-f-r *£ a
AV
t*4
t=5 5 :£=5 -^ *f
v '
cres.
T
-f»-i-#-
.MM
96 STUDIES IN PHRASING AND FORM.
H
* r kii ^^^ i
dim. ores.
*+
^& ^J
Allegro.
Haydn. — Sonata in C, No. 5.
F-f-rferr
-I* !«-
CF ^^E^ a m
/
^a i ** |^ j£
K
^fc.
^ J.
/ &c.
f^F
£
=T
d:
HT3-
JH-* ^ S-£
— I ^
—|jj
33-1
W
~~j
t\ J := ^Sg * b*
fc:
(/)
^ £*fc
/
f
*^—^ —
g
I
P
r r -i —— i i-
i M g p g
m m m m m m -*--•- -*- -# -|
£ ££ ££
if- -
Andante.
Mozart. — Sonata in D, No. 10.
A
r
m
faM^=*
#
.0.
4K>
£
nni
(9)
E
'ms&
±z f:± mm f
m—A 835
—— — i I
r=™-
98 STUDIES IN PHRASING AND FORM.
*=*=*
p
£=T
-O-
/?
y-n-P- ^ /
-<S>-
iets
§
fc*
sfTT a s
i -.&.
-w
jo: V
15:
i£:
^|P
1.
h
£
P
P M P
P V P
^ /
&^
»1
£
""S^T
O
;-'-
II
I!
^ * s
Alleqro
Beethoven. — Sonata in G. Op. 14, No. 2.
*t*=r SoM
1W
J
IB
/
CO
^^M
^=£=3
J n a
^ ^^
^ WB 3j=e
rtr
B —
!
f
\
13fs^
^"
#*
5:
? :
AS f
:
g
I:
5fe "^"513
i
—I-
-m-
-=r~=r
—H — I-
-m- -m~
it
*
1
-J-
-m-
11F~7~ 1
I
s==as & i
Sp TJJJlJ *-§
,t !&
*F
3 P ^§ 3s 1
E
i
S T==F
y^~y -a-—•»
-*
f>
i!i
^ P-
^
&c.
y # if "^r B II
w V
s w
S
tic* ^5 f
±
-*«=«-
=w^F^m
e? ;
^
w^r^ g^ ^r^ri^ l3
-s s=fc£
cres.
gr g^X~JS
=3*
|
»>
^ 3
^
a i
O-
j
fr-g^-frS-
*l* 1 =1 3=E II
¥
/
—+»-
fe=?^
S±^=^ 3=i=3 |=====eB
f
Schubert. — Sonata in A, Op. posth,
Allegro.
£*#= -&-
-t#* Jfe
-6^- — '
m
J 4
J S
J d
J ''
P~
p Q
<
^
U) pp
e 2
S
4—t—
S S
tfm g-
100 STUDIES IN PHRASING AND FOBM.
"J. "521JLAAJ
=U*
i
19-
A f~T
^e<
F-
4—U-
ca
:
j
a
j C s
p zz
feEbm
JJ-T^-r—
E
3
i
! t <s» i e 2=E
-•
JJd-
^rf^TTjfif T^£q i
*t
£@ i IE Z2
i g« q
te> -*D
I
Allegro molto.
I £S3
g±i i—
•/Tl
p q
s
p
Tl
q
I
g q p
i
f
CO p cres.
fe
n,Q.
TOft a
-i
ii
m=<
x* ^
f
m^Cm nf'f. A fl fr
^N •*"
g^PlT^ i
Ju
m^
PS ^ ii
STUDIES IN PHRASING AND FORM. 101
?b
ifcyg
n ~w
—w iL
iL_L^J
, MJM±h£^ rtt
102 STUDIES IN PHRASING AND FORM.
Brahms. — BalLade in G minor, Op. 118.
Allegro energico
ttpii *^ *&
ml \P g
w =- .
• • |
—
/
i
@fcftfc=ii
£3
^
£:
* 3
i^s
^m =r
^ j
r • I "T"
•
r
\
•
It *l i*- •
M
.
'
j ; |
i
'
-i l
l
!
^ * II
&c.
^e^y^4^Ff^ m
^-
L
5 -5
THIRD GROUP.
THE SIMPLE BINAEY AND TERNARY FORMS.
1. Describe very simply and concisely what is meant by the
terms Binary and Ternary in speaking of the form of a piece
of music.
—
FOUETH GEOUP.
THE MINUET AND TEIO (OE EPISODICAL) FORM--
THE OLDER RONDO.
1. Shew clearly how the Minuet and Trio of the classical
masters carries out the Ternary principle of Form in musical
composition.
—
FIFTH GROUP.
SONATA-FOEM.
1. What is Describe its main features.
a Sonata?
2. What does (i) a String-Quartet, (ii) a
relationship
Symphony, (hi) a Concerto, usually bear to a Sonata ?
3. Trace the connexion between the simple Ternary form of
most of the classical Minuets and that of the first movement
of most Sonatas.
4. What are the names usually given to the three main
divisions of a movement in Sonata-form (or First-movement-
form) ?
5. What is meant by the expression "Exposition" in
connexion with Sonata-form ? In other words, what is its
purpose ?
6. Describe the usual details of the Exposition of a movement
in Sonata-form.
7. Name any characteristics desirable in a good First Subject.
Quote some examples which appear to you to carry out these
requirements.
8. In what respects should the Second Subject of a Sonata-
movement be in contrast to the First Subject ? Shew these
points by quotations from standard works.
9. What is meant by the Transition (or Bridge-passage) in
Sonata-form ?
10. Name the more usual methods adopted in the construction
of such a Transition. Give an example of each.
11.In what respect did Beethoven improve upon the work
of his predecessors in this particular direction ?
12. Give any sort by which it may often be
of general rule
possible (particularly the writings of the great classical
in
masters) to determine the conclusion of the First Subject, and
the beginning of the Transition.
STUDIES IN PHRASING AND FOBM. 107
13. Give any reason which may possibly account for the
Second Subject of a Sonata-movement usually occupying a
larger part of the Exposition than the First Subject.
14. The Second Subject usually consists of two or more
distinct musical ideas illustrate this from a Sonata of
;
Beethoven.
15. What used to be (and often still is) the key generally
adopted for the Second Subject ?
16. Name some exceptions to this general rule.
17. What peculiarity do you notice as to the commencement
of theSecond Subject in the first movement of Beethoven's
"Sonata Pathetique " ?
18. What is there noteworthy the key of the
as to
Second Subject in the first movement Beethoven's Sonata
of
in G (Op. 31, No. 1), both as regards its beginning and its
close ?
19. What part of the Exposition of a movement in Sonata-
form is represented by the somewhat frequently used term
" Codetta " ? What is its purpose ? Give some examples.
20. Quote a few instances in which Beethoven has " linked-
up " the conclusion of his Exposition with the " repeat " of
this portion of the movement, thus avoiding a definite stop at
the conclusion of the Second Subject.
21. Analyse fully the Exposition of as many as possible of
the following " First-movements." The works referred to are
in all cases Sonatas for the Pianoforte :—
(i) Sonata in B flat (No. 4)... Mozart
(ii) „ F(No. 6) ... Mozart
(hi) ,, A minor (No. 7) Mozart
(iv) „ D(No. 13) ... • . . Mozart
(v) „ C minor (No. 18) . . . Mozart
(vi) „ E (No.
flat 1)... Haydn
(vii) „ E flat (No. 3)... Haydn
(viii) „ Aflat (No. 8)... . . . Haydn
(ix) „ F(No. 20) ... . . . Haydn
(x) „ C minor (No. 22) Haydn
(xi) „ F minor (Op. 2, No. 1) . . . Beethoven
(xii) „ C (Op. 2, No. 3) Beethoven
(xiii) „ E flat (Op. 7)... • • • Beethoven
(xiv) „ D (Op. 10, No. 3) . . . Beethoven
(xv) „ D(Op. 28) ... . . • Beethoven
(xyi) „ C(Op. 53) ... . . • Beethoven
(xvii) ,, F minor (Op. 57) ... Beethoven
(xviii) ,, D minor (Op. 49) . . . Weber
(xix) ,, B flat minor (Op. 35)) Chopin
(xx) „ G minor (Op. 22) Schumann.
22. Name some of the chief resources open to a composer in
the working-out of his ideas in the Development Section of a
Sonata-movement. Give an example of each.
108 STUDIES IN PHRASING AND FORM.
23. How would you describe —with reference to the plan of
the whole movement —the passage commencing thus: —
£
sfp &c.
SIXTH GROUP.
DEPAETUEES FEOM THE NOEMAL TYPE OF
SONATA-FOEM— VARIATIONS— THE SONATA AS
A WHOLE.
SEVENTH GROUP.
FUGUE AND CANON.
1. Distinguish briefly between the terms Contrapuntal (or
Polyphonic) and Harmonic (or Homophonic), as representing
definite periods or schools of thought in the history of musical
composition. Quote an example of each style of writing.
2. Name the principal contrapuntal Forms.
3. Describe what is meant by a Fugue.
4. Give (very briefly and without going into detail) an
outline of the plan of most Fugues.
5. Describe the following terms in Fugal construction
(i) Subject, (ii) Answer, (iii) Eeal Answer, (iv) Tonal Answer.
Subject. Answer.
Subject. Answer.
(ii)
~nr
T±
=P^
^
Answer.
^
m fegraz^ 2
Subject.
&-
-&>-
i I
Z2I
o:
^
-o- -Q.
(iv) W%~T
^3 7
~ ::22i
II
Answer. tr.
-rdr -<&
—
w Subject.
II
-&-
(v)
&:.'2 ?2= I -*— m-
I
Answer. /r.
W-
<o»
-<s>
t -*=> m
112 STUDIES IN PHRASING AND FORM.
Subject.
* # * fr>rf
<*>igii —
-J
M
Answer.
m -<s>- ~=tr
m w%
Subject. Answer.
<™j fe r
wYl r ' -f f £- n
0=^ z± #-*-
ik -o-
II
Subject.
*
<viii)
ir*l ^rB=g p =t
Answer.
--**
J L_ J_^_
it i
-I- —=§£ 5S
F=i>
"I ; I
Subject.
(«) &-Igipgggrq^g
Answer.
1 * I I i b
£
(*)
SH-Jba
Subject.
m #*
ii
Answer.
i
f ft
m
Answer.
Subject.
(xi)
5 :£:
q=p%^ rj^-fr
—p i r !
j^l ^ fl
Answer.
Subject.
(xii) s
i J 'IN ' -3-
* As far as the point at which c;h)i voice has completed it 9 first entry
114 STUDIES IN PHRASING AND FOBM.
26. Comment upon the passage extending from bar 26 (fourth
beat) to bar 29 (third beat) in the same Fugue.
27. Comment upon the passage extending from bar 35
(second beat) to bar 39 beat) in the same Fugue.
(first
28. Give any sort of general rule by which you can tell
whether the entry of the Subject (or Answer) next succeeding
the ordinary (or normal) Exposition is either (i) a Eedundant
Entry, or the first entry of a Counter-Exposition or (ii) the ;
-4-
A
1 nl^^^rEE
(«)
m^k
£±±
-&>-
322:
Subject.
3J&> tr
m
Z^^i^
rr^
tar fr- ^'H f—a
m
ai_g_
-
Zt 1
?r- Id-Li
m
FrH
*±*L
^ CJ.
J=5
m J» rz
±*~r.
J_d
-d±M * a
r-r-r*
^2:
i
JTlJ
Rfe-
g
:fct
-&-
I
^ Ibid.
yrf-y-^d
t
(b) Subject.
!
OE
4^
:
f*
:
-J-- J ^ baL
=P-=-
±
#*=Pi
i
S$ —
jl
^L E •
gpg tT^i » gjj
*?
ga-j
&&=**gp J
?
: .y^P^ 1
g Bjrr ^B TT
& a
=~
LJ*# 1
S*fc
*
j<S>- 2J3 P=
:
. q
J -
J S
V-.
3. '
1 I
I, I I
ii
116 STUDIES IN PHRASING AND FORM.
30. What kind of a Fugue is represented by the following
Exposition? Quote other instances of a similar kind:
tr
Handel.
&
i
fcfc3=3 *^
?=E
*?
I
"
'
u
r-n r~ri i
I m^tztk
r -&-rn *-F-l—
itiiyg
^^F a^P= i ~ <S>-
£-g r
C^ g '
<TL& ;
^
fr.
ie^S
tdi
*£ *'
1VVV-".
SB
U^g^^g Eft
<tc.
* -^ 0-
W=f 3* s
J= I
-(• FP iq:
gffiSEE
31. Comment upon the following fugal extracts :
Handel.
(«)
fe^^l^H^i
«#
^#H: ikUp§p I
-I
"Q^7Pi
? m^r *
etc.
J-
!
^ CJfcjjcJ g —ff* I
^-^-
!-
ii
—
(Exposition of Fugue.)
Handel.
3^^ lor
(*)
! % -&- _C2I
-&-
22l ^hd$=i
s ^ 5
p -
S Z2
a r~rr
-4-
o-
J &c.
.oL JZt-
@ j.
-&-
-<s>-
Z2I
m
32. Describe the terms (i) Fughetta, (ii) Fugato.
33. What is a Canon ? Quote an instance of Canonic
writing.
34. Describe the special characteristic of each of the following
examples of Canon :
Brahms.
^W
(«) JL +
Sfe=^ -LA I
&c.
#-# sa
** 1
tef
±^E
Bach.
(6)
«
s*
ro
r> o:
£=t=}l*=S=
118 STUDIES IN PHRASING AND FORM.
r==n p
i — —h-
£
-\
— ——
1
1 1 1 1
9 -w-M*-
—I I
•r -\
&- -&- -&-
w=?^ ?2I
5
£» *-
fe
^=^
ta =^ I'Kmv ^0
:
s East
j &c.
221 fZ » p
*= ^j— u
Mozart.
w
P=mP-#
1st
Violin. 31
i° r
^s>- -^
Viola .
» — n(S^ :
"L$f
'Cello
and
Basso.
a Z2I
fa-
fer r rrt - .
<S>
?z
I
W 5Bill
&c.
u y^
I -<s>-
-<s>-
-o-
Z2L
E=a 22:
I
s :pr £
**-
^fl*-
STUDIES IN PBHASING AND FOBM. 119
u .. +r*r fftffft*
Mozart.
(d)
fc#
ill
&0.
*=$ £
g fas. 1
Ml
Matthew Locke (1672).
*£ iS>- -<s>-
2Z -<S>-
"C7"
_pr^_ _^_
m. -& r—<^>
:p=*
Hffffi o-
Z±
-N- »
3de m P
atzzi:
^--P-
**
t ' ^— M-
P-
£ -o-
23:
I H^ -£* -e>-
ii
EIGHTH GROUP.
THE SYMPHONY— THE OVERTURE—
THE CONCERTO— CONCERTED CHAMBER-MUSIC.
1. Distinguish between the terms Symphony, Overture and
Concerto, as these are used at the present day.
2. In what important respect did the old (so-called) "Italian
Overture" differ from the "French Overture" which was its
historical contemporary ?
3. Which of these forms was destined
to play the more
important part as the foundation of the plan of the modern
Symphony, and for what reason ?
I. In what respects did Haydn and Mozart advance the art
of symphony- writing ?
5.What would you consider to be the most noteworthy
features in Beethoven's development of the symphonic art ?
6. Comment on
the Symphonies of Spohr, Mendelssohn, and
Schumann, pointing out some of their features of strength and
of weakness.
7. Name the most distinguished writer of Symphonies since
Schumann.
8. Describe the two main kinds of modern Overture, and
(a)
give any information that you can as to their usual form.
(b) Name some examples of each type.
9. Distinguish between Chamber-music and Orchestral
music.
10. When mayconcerted Chamber-music be said to have
had its Trace briefly its rise and development.
origin ?
II. (a) Distinguish between the older and the more modern
use of the term Concerto, (b) From whose time does the latter
approximately date ?
12. Give, in the form of a diagram, the outline-plan of the
first movement in a Concerto of the period of Mozart and
Beethoven.
13. Analyse fully the first movement of Beethoven's Piano-
forte Concerto in G major (Op. 58).
14. What is the " Cadenza " in a Concerto ?
15. In what directions has the form of the Concerto been
frequently modified by modern composers ?
16. Of how many movements does a Concerto usually
consist ?
17. What is meant by the term " Concertstuck " ? Name
two examples of this class of composition by well-known
writers.
Enumerate the most celebrated Concertos
18. (since the
time of Mozart) for (i) Pianoforte and Orchestra, (ii) Violin
and Orchestra.
— —
NINTH GROUP.
DANCE FORMS: THE SUITE, PARTITA, ETC. -
INDEFINITE FORMS.
1. Trace briefly the origin of the Suite.
2. Name the principal dances to be found in most of the
Suites of Bach and Handel.
3. Give any other titles which are practically synonymous
with that of " Suite."
4. What
is the Form of most of the movements in the Suites
of thecomposers of the 17th and 18th centuries?
5. Analyse fully each number in the following Suites, pointing
out any features of special interest in their course :
Allegro molto.
i « d ' «
(i)
Sf tw
Efct
£ V-
m Hfl
&c.
-w\
m&B^ * a
4=-
I!
Presto.
ii)K
*m
B
^H^gi
122 STUDIES IN PHRASING AND FOBM.
Molto moderate,
tr tr # -^
I &
! g
(iii)
§=a
£4: E i
*
i
i-
S3 S
T-W+-T*
i U I
b- U
&.Q.
m ^
Andante sostcnute
Vivace.
tail p -;- 1
(v)
# — *-• *
^35
•
* « f
f?fF
iffiF?
*-» f" * m *
^lil^B^^ ,
E
in
« ^-
^p
t.
—
Allegro moderate). r -N
iss
* r I JTJ J zz
i_U
(vi)
w
^3
'
-
10. State
^
S
what kind
of the following extracts
(S>
of
:
^
modern dance
I
is represented by each
Andante moderate.
«5BE
/
m go. rrf>-g
3? a
(i)
Modern to
i £
w
8
ij
ty _j— ^—^ -
-^ — 0/. — 1_ |
1 £ *3=
i #
7j
L
> ""^ 3
:ll
Allegro moderato.
(ui)
^ rfrrf &a
^P1T^~H
&c.
*
TO?# B £=SsEE E IH
r
124: STUDIES IN PHRASING AND FORM.
Allegro vivace.
(iv)
mm
3t
£tj
,Q .
iy ^iiJ_
«9-
^ S.
A ^
^
v^.
tfe ? i P
P -h=r
^.^ 1
&c.
TENTH GROUP.
I. HISTOEIOAL DEVELOPMENT OF SONATA-FOEM.
II. MODEEN TENDENCIES.
APPENDIX.
%* For the sake of clearness, the Fugue has been written on three staves,
one for each of the voices for which it is composed.
— —
Outline Scheme of Fugue : Exposition as far as bar 13 Counter- ;
—
Exposition bars 17-31 Middle (or Modulatory) Section bars 31-64
; —
—
;
Exposition.
^m
9 S. (Tonic key).
i&jrX-V
^o-ft
3 §
>!!
126 STUDIES IN PIIBASING AND FORM.
Tonal A. (Dominant key).
b -1 "i
-*— *-y
F l*r*
tr.
^~^~w
-*-* ?-*+ rfv^nTfT
^R
c.s.
m
c.s.
^b i I
| | |
|
i
I J * J J I
|l
ag
(Codetta.
>?*--
HnH
10
m 113P=H^?
S. (Tonic key).
33=*
*r.
5 1
Episode 1 (founded in Bass upon C.S.)
-^=^1
F^
:? *=1
15
3t±±ZM + * & m Y* * * P^
ir«
#-# P P
S.
^
COUNTEK-EXPOSITION.
(Tonic key),
-F
SB
j
^s ^m M i
a —— i -
^TTJ
a^ m
tr.
=
t aB=
Continuation
- ^
c.s.
*-m
0-m-0
i ^t3E
*r^r mm
A. (Dominant key). 5
20 J»
tr~
g^=PE
of C.S. S -^:
-*-l*
-*— j^f
4^g^ 1
£§
|
C.S. (varied).
1 * ta *-*- i a g
•<
e i
S. (in
25 a.
@ 3 — =£
S. (Tonic key).
Middle (or
?^?
w
^ 1 1
M
Modulatory) Section.
#
Episode 2 (founded
* Lf I
^
JJ
^^"
^ upon 3rd bar of S. in
£ m : :
l#-CfcS L (partof).fr-
I
^^
^
-d
3=* # P
s
(The Bass during
this Episode is
I
— -I* * — i
1
free imitation
between Treble and Alto).
>•
a 35
s E te=£=fe
V^^P
reminiscent of the 1st bar of S. both in
an ascending and descending form).
128 STUDIES IN PHRASING AND FORM.
D minor).
—
S. (in
rtj fc.
*^ -I i i
^F3-
i i
i i
^""t
3 r ^
!SE = E
—— —— —
I I I I —
.UK. ?-
V=&
=sS
^^
^S •*—*-
(Cadence
1*^ 40
S. (in Stretto with Alto).
m i
"ai —^—
<—i ——
r
£=3=
bars in D minor.
^N ^=5±=^
?=
*
_
m
r
I
1—
1—1-
i
u
r
'
* iTTTTT -3-
^3RF*~*^F
45
m 3EIi
S. (in
tot
G minor
I
fcz* 4—
-*-+•
t*&3
S. (in Stretto with Bass).
-
i -I -I
—
m pi-
50
y
i
3 — *1- 3=3: a
:d
slightly varied).
5 —
4
AN'
*
3 ^m
5F (Cadence-bars in G minor).
+=^-
-^-3-
J ^F^ ^^
54+*' =P i
^ a
I '
|
I
j:
£ 55
1 i I
-r- i
H—1-H—
i i
+-
*^^h^i^i-.
I
S. in Tonic key (varied)
* M P-m-
iSS I
i
i i i
^2 1. S=
130 STUDIES IN PHRASING AND FORM.
AV
S7\
*3r •^*+
l^rjst
|
(Coda, to end of Fugue.) i i I
.
\L/
pa m
an idea which recurs in the course of the succeeding "Allegro
di molto " on several occasions. The Introduction leads
directly into the
i
sf
-G>-
ftj--r-»|-fl
JU — p t ft
m w
t <$— i
''
1
1
&c.
^m& fc
** * &c.
—
major (bar 79 to bar 103) —
H &o.
Development —
This portion of the movement begins (bar 123) with a
reference, in G minor, to the Introduction. This passes,
by means of an extraordinarily beautiful enharmonic
modulation (bar 125), into the key of E minor, after
which the " Allegro di molto e con brio " is resumed. The
remainder of the Development Section is founded upon
the Principal Subject, chiefly in the form it first assumed
during the Transition but in bars 130-133, and
;
ig:; Ff f-rf g f .
pfe &c.
2qr
3 S &c.
I FEl EEE p?=« =3=tp ;
merging into
-M-
m&
w£ I E &c.
m qzizt ZZ2I
fr
Z£ &c.
i r T t i -r i
HE
m tif-r jtur:
i i
i i r i—— i
t—
^c
$ t£] *
Coda, which begins at the " Grave " (bar 285), with an
allusion to the chief idea of the Introduction, afterwards
referring to the Principal Subject, on the resumption
1
&c
t
—
N.B. It will be observed that this Principal Subject in itself
constitutes a small piece in simple Ternary Form, Part I extending
from bar 1 to bar 16 (the second 8 bars being merely a varied form of
the first 8 bars), Part II beginning in bars 16-17 and overlapping
(in bar 29) the commencement of Part III, which is the re-statement
of Part I.
rrrrrrrrrrrr
Z^ ESES «!Z ^SBS
This leads without break into
S^ &c.
M
BS :*
=*=*" Ac.
134 STUDIES IN PHRASING AND FORM.
Alternative Analysis of " Adagio Cantabile."
By some this movement is classified as a Simple (or Older)
Eondo, as follows —
A. Principal Subject, in Tonic key (bar 1 to bar 16).
B. First Episode, beginning in F minor and passing through the keys
of E flat, C minor, E flat, back to A flat (bar 16 to bar 29).
A2 . Return of Principal Subject in Tonic key (bar 29 to bar 36).
C. Second Episode, in Tonic minor key (bar 36 to bar 51).
A3 . Return of Principal Subject in Tonic key (bar 51 to bar 66).
Coda (bar 66 to end).
:
&c.
Transition to
T~W
commencing thus
T±-
25),
m
W^ fe- m
E33
&c.
ibV^fj j j j il l
Prominent use is also made of a figure of triplets,
V~ =K
i BE S^i Z£
*1 TT rT"
^e^fp
££*
£^ -<=>-
teEE £ij&c.
This does not close finally in the Tonic key, but
merges into a Transition, passing through F minor,
and ultimately reaching an Imperfect Cadence in
C major (bar 134), being immediately followed by
136 STUDIES IN PHRASING AND FORM.
B2 . Return of Second Subject in Tonic major key (bar 134
to bar 171). This, as before, consists of two separate
sections
m £r &C.
s£ gj
feg — — — pqEsE
j j 4 , gj-g
&c.
i i i I
i
the triplet figure before alluded to being again much
employed, e.g. —
z2
jji*#p -*-*-
^"^Tfrrfe
pa pr-r; ?£ &c.
Educational Works
bv Stewart Macpherson
(Professor of Harmony and Composition at the Royal Academy of Music, ana
the Royal Normal College for the Blind).
Stewart Macpherson
This Edition is unique in the fact that each Sonata is preceded by a complete
analysis of its several movements, based upon the principles set forth in the
The phrasing throughout this edition has been carried out in accordance
with modern ideas on this important subject, and it is believed that, where
such phrasing has been added by the Editor, it will be found to be thoroughly
in accordance with the meaning and spirit of the music.
1.
i. sxuegro.
Allegro. . -m. m -\ 4-
1 ~t net 1/-
S—g:
P
Allegro vivace 8. Grave (Pathetique). Op. 13.
2.
-JL. net 1/-
3- net 1/-
9. Allegro
net 1/6 ££ 3=3
|S***Ei^fEEfE itil 1*
~=H net 1,'
P P I
4. Allegro molto e con brio. Op. 7. 12. Andante con variazioni. _Op. 26.
-v—tt
±t
£ -w-
'/'
m ^3== net 1/6 -^ — net 1/6
5 . A Ileg ro molto Op. 10, No. 1. Moonlight Sonata. Op. 27, No. 2.
^ 10.
13.
P"V.
Allegro.
Andante
**=
In course of publication (ready shortly)
j J i
Op.
~jm |«J
14, No.
J-
2.
net */-
15. Allegro (Pastorale).
:
Op. 28.
net 1/-
net 1/-
LONDON
JOSEPH WILLIAMS, LIMITED, 32, Great Portland Street, W.
NEW YORK: EDWARD SCHUBERTH & CO., 11, East 22nd Street.
Joseph Williams, Limited, beg to announce the forthcoming issue of an important