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Chapter 6: Discrete Probability Distributions

Section 6.1 Exercises

Exercises 1 – 8 are the Check Your Understanding exercises located within the section. Their
answers are found on page 260.

Understanding the Concepts

9. random variable
10. 1
11. Continuous
12. population
13. True
14. True
15. False. The possible values of a discrete random variable can be listed.
16. False. The standard deviation is found by taking the square root of the variance.

Practicing the Skills

17. Discrete
18. Discrete
19. Continuous
20. Continuous
21. Discrete
22. Continuous
23. Discrete
24. Continuous
25. Continuous
26. Discrete
27. Yes
28. Yes
29. No, because the probabilities do not sum to 1.
30. No, because a probability cannot be negative. Also, the probabilities do not sum to 1.
31. No, because the probabilities do not sum to 1.
32. Yes

33.  X  1(.42)  2(.18)  5(.34)  7(.06) = .42 + .36 + 1.7 +.42 = 2.9
 2 X  12 (.42)  22 (.18)  52 (.34)  7 2 (.06)  2.92 = .42 +.72 + 8.5 + 2.94 – 8.41 = 12.58 – 8.41 = 4.17
Therefore,   4.17  2.042

34.  X  8(.15)  13(.23)  15(.25)  18(.27)  19(.1) = 1.2 + 2.99 + 3.75 +4.86 +1.9 = 14.7

 2 X  82 (.15)  132 (.23)  152 (.25)  182 (.27)  192 (.1)  14.7 2
= 9.6 + 38.87 + 56.25 + 87.48 + 36.1 – 216.09
= 228.3 – 216.09 = 12.21
Therefore,   12.21  3.494
35.  X  4.5(.33)  6(.11)  7(.21)  9.5(.35) = 1.485 + .66 + 1.47 + 3.325 = 6.94
 2 X  4.52 (.33)  62 (.11)  72 (.21)  9.52 (.35)  6.942
= 6.6825 + 3.96 + 10.29 + 31.5875 – 48.1636
= 52.52 – 48.1636 = 4.3564
Therefore,   4.3564  2.087

36.  X  3(.1)  0(.17)  1(.56)  3(.17) =  .3 + 0 + .56 +.51 = .77

 2 X  (3)2 (.1)  02 (.17)  12 (.56)  32 (.17)  .77 2
= .9 +0 + .56 + 1.53 – .5929
= 2.99 – .5929 = 2.3971
Therefore,   2.3971  1.548

37.  X  15(.15)  17(.23)  19(.25)  22(.27)  26(.1) = 2.25 + 3.91 + 4.75 + 5.94 + 2.6 = 19.45
 2 X  152 (.15)  172 (.23)  192 (.25)  222 (.27)  262 (.1)  19.452
= 33.75 + 66.47 + 90.25 + 130.68 + 67.6 – 378.3025
= 388.75 – 378.3025 = 10.4475
Therefore,   10.4475  3.232

38.  X  120(.3)  150(.3)  170(.15)  180(.25) = 36 + 45 + 25.5 + 45 = 151.5

 2 X  1202 (.3)  1502 (.3)  1702 (.15)  1802 (.25)  151.52
= 4320 + 6750 + 4335 + 8100 – 22952.25
= 23505 – 22952.25 = 552.75
Therefore,   552.75  23.511

39. .3 + x + .3 + .2 = 1, so x = .2

40. .25 +.15 +x +.05 +.15 = 1, so x = .4

Working with the Concepts

41. (A) .2 (B) .2 + .1 = .3 (C) .1 (D) .1

(E)  X  0(.1)  1(.2)  2(.4)  3(.2)  4(.1) = 0 + .2 + .8 + .6 + .4 = 2
(F)  2 X  02 (.1)  12 (.2)  22 (.4)  32 (.2)  42 (.1)  22 = 0 + .2 + 1.6 + 1.8 + 1.6 – 4 = 5.2 – 4 = 1.2
Therefore,   1.2  1.095

42. (A) .3 (B) .1 +.25 = .35 (C) .1 (D) .2 + .1 + .05 = .35

(E)  X  0(.1)  1(.25)  2(.3)  3(.2)  4(.1)  5(.05) = 0 + .25 + .6 + .6 + .4 + .25 = 2.1
(F)  2 X  02 (.1)  12 (.25)  22 (.3)  32 (.2)  42 (.1)  52 (.05)  2.12
= 0 + .25 + 1.2 + 1.8 + 1.6 + 1.25 – 4.41 = 6.1 – 4.41 = 1.69
Therefore,   1.69  1.3
(G) P(3) + P(4) + P(5) = .2 +.1 +.05 = .35
43. (A) .1 (B) .3 + .1 + .1 = .5 (C) .1 + .1 = .2 (D) .5 + .3 + .1 = .9
(E)  X  0(.5)  1(.3)  2(.1)  3(.1) = 0 + .3 + .2 + .3 = .8
(F)  2 X  02 (.5)  12 (.3)  22 (.1)  32 (.1)  .82 = 0 + .3 + .4 + .9 – .64 = 1.6 – .64 = .96
Therefore,   .96  .980
(G) .5 + .3 = .8

44. (A) .15 (B) .03 + .02 = .05 (C) .7 (D) .7 + .15 +.1 = .95
(E)  X  1(.7)  2(.15)  3(.1)  4(.03)  5(.02) = .7 + .3 + .3 + .12 + .1 = 1.52
(F)  2 X  12 (.7)  22 (.15)  32 (.1)  42 (.03)  52 (.02)  1.522 = .7 + .6 + .9 + .48 + .5 – 2.3104
= 3.18 – 2.3104 = .8696
Therefore,   .8696  .933
(G) No, the mean is only 1.52.

45. (A) .38 (B) 1 – .04 = .96 (C) 1 – .33 = .67 (D) .06 + .04 = .1
(E)  X  0(.33)  1(.38)  2(.19)  3(.06)  4(.04) = 0 + .38 + .38 + .18 + .16 = 1.1
(F)  2 X  02 (.33)  12 (.38)  22 (.19)  32 (.06)  42 (.04)  1.12 = 0 + .38 + .76 + .54 + .64 – 1.21
= 2.32 – 1.21= 1.11
Therefore,   1.11  1.054

46. (A) .258 (B) .258 + .343 + .227 + .06 = .888

(C) .343 + .227 +.06 = .63 (D) .015 + .097 = .112
(E)  X  0(.015)  1(.097)  2(.258)  3(.343)  4(.227)  5(.06)
= 0 + .097 + .516 + 1.029 + .908 + .3 = 2.85
(F)  X  02 (.015)  12 (.097)  22 (.258)  32 (.343)  42 (.227)  52 (.06)  2.852
2

= 0 + .097 + 1.032 + 3.087 + 3.632 + 1.5 – 8.1225 = 9.348 – 8.1225 = 1.2255

Therefore,   1.2255  1.107

47. (A)
x P(x)
0 .0680
1 .1110
2 .2005
3 .1498
4 .1885
5 .1378
6 .0889
7 .0197
8 .0358

(B) .1378 + .0889 +.0197 +.0358 = .282

(C) .068
(D)  X  0(.068)  1(.111)  2(.2005)  3(.1498) 
4(.1885)  5(.1378)  6(.0889)  7(.0197)  8(.0358)
= 0 + .111 +.401 + .4494 +.754 + .689 + .5334 + .1379 + .2864 = 3.36
 (E)  2 X  02 (.068)  12 (.111)  22 (.2005)  32 (.1498)  42 (.1885)
+ 52 (.1378)  62 (.0889)  72 (.0197)  82 (.0358)  3.362
= 0 + .111 + .802 + 1.3482 + 3.016 + 3.445 + 3.2004 + .9653 + 2.2912 – 11.2896
= 15.1791 – 11.2225 = 3.8895
Therefore,   3.8895  1.97

48. (A)
x P(x)
0 .0326
1 .5272
2 .3180
3 .0871
4 .0230
5 .0121

(B) .087
(C) .0871 + .0230 + .0121 = .122
(D)  X  0(.0326)  1(.5272)  2(.318)  3(.0871)  4(.023)  5(.0121)
= 0 + .5272 + .636 + .2613 + .092 + .0605 = 1.58
(E)  X  02 (.0326)  12 (.5272)  22 (.318)  32 (.0871)  42 (.023)  52 (.0121)  1.582
2

= 0 + .5272 + 1.272 + .7839 + .368 + .3025 – 2.4964 = 3.2536 – 2.4964 = .7572

Therefore,   .7572  .87

49. (A)
x P(x)
0 .1278
1 .1241
2 .1236
3 .1222
4 .1227
5 .1247
6 .1266
7 .1283
8 .1278

(B) .122
(C) .1266 + .1283 = .255
(D)  X  1(.1278)  2(.1241)  3(.1236)  4(.1222) + 5(.1227)  6(.1247)  7(.1266)  8(.1283) 
=.1278 +.2482 + .3708 +.4888 + .6135 + .7482 + .8862 + 1.0264 = 4.51
(E)  x  1 (.1278)  22 (.1241)  32 (.1236)  42 (.1222)
2 2

+ 52 (.1227)  62 (.1247)  7 2 (.1266)  82 (.1283)  4.512

= .1278 +.4964 + 1.124 +1.9552 + 3.0675 + 4.4892 + 6.2034 + 8.2112 – 20.3401
= 25.6747 – 20.3401 = 5.3346
Therefore,   5.3346  2.31
50. (A)
x P(x)
0 .1579
1 .2105
2 .3684
3 .2105
4 .0526
5 .1579

(B) .368
(C) .1579 + .2105 + .3684 = .737
(D)  X  1(.1579)  2(.2105)  3(.3684)  4(.2105)  5(.0526) = .1579 + .421 + 1.1052 + .842 + .263
= 2.789
(E)  x  1 (.1579)  22 (.2105)  32 (.3684)  42 (.2105)  52 (.0526)  2.789 2
2 2

= .1579 + .842 + 3.3156 + 3.368 + 1.315 –7.778521

= 8.9985 – 7.2.789 = 1.219979
Therefore,   1.219979  1.104
51. E(X) =  X  500(.001)  1(.999)  .5 - .999 = -$.50, which is an expected loss of 50 cents
52. E(X) =  X  5.50(.075)  1(.925)  .4125 - .925 = -$.51, which is an expected loss of 51 cents
1 5 4 5 1
53. E(X) =  X  4    1       $.17 which is an expected loss of 17 cents
6 6 6 6 6
 1   35  30 35 5
54. E(X) =  X  30    1       -$.14, which is an expected loss of 14 cents
 36   36  36 36 36
1 14 1 1
55. (A) E(X) =  X  1        0
5 4 5 5 5
(B) Answers will vary. However, if you don’t answer a question, your score is the same as the
expected value of a random guess.
1 13 1 3 1
56. (A) E(X) =  X  1       
 4  4  4  4 16 16
(B) Yes, because your expected gain is greater than 0.
57. E(X) =  X  10,000(.20)  50,000(.15)  .4(0)  20,000(.25) = 2,000 + 7,500 – 5000 = $4,500. It
would be wise to make the investment, because she can expect to make a profit.
58.
x P(x)
1000 .9516
–19,000 .0484
The expected value of the profit is 1000(.9516) – 19,000(.0484) = 951.6 – 919.6 = $32
59. (A)
y P(y) Kids
0 .5 G
1 .52 = .25 BG
2 .53 = .125 BBG
3
3 .5 = .125 BBB
(B) E(X) =  X  0 .5  1.25   2(.125)  3(.125)  0  .25  .25  .375  .875
(C)  x2  02 (.5)  12 (.25)  22 (.125)  32 (.125)  .8752
= 0 + .25 + .5 + 1.125 –.765625 = 1.875 – .765625 = 1.109375
Therefore,   1.109375  1.0533
60. (A)
x P(x) Kids
0 .53 = .125 BBB
2 3
1 .5 + .5 + .5 =.875 G + BG + BBG

(B) E(X) = X  0    
.125  1 .875  0  .875  .875
(C)  x2  02 (.125)  12 (.875)  .8752 = 0 + .875 –.765625 = 1.875 – .765625 = 1.09375
Therefore,   1.09375  .3307

Extending the Concepts

61. (A) Since we are sampling 3 components, the number of successes may be 0, 1, 2, or 3.
(B) P(3) = .8  .8  .8  .83  .512
(C) P(FSS) = .2  .8  .8  .2  .82  .128
(D) Both involve two successes and one failure, so their probabilities are the same as the answer to
part (C), .128
(E) P(2) = P(SSF) + P(SFS) + P(FSS) = 3(.128) = .384
 
(F) P(1) = P(SFF) + P(FSF) + P(FFS) = 3(.8) .2 2 = .096
(G) P(0) = P(FFF) = .23  .008
(H)  X  0(.008)  1(.096)  2(.384)  3(.512)  0 + .096 + .768 + 1.536 = 2.4
(I)  X2  02 (.008)  12 (.096)  22 (.384)  32 (.512) 2.42  0 + .096 + 1.536 + 4.60 – 5.76
= 6.24 – 5.76 = .48
Therefore,   .48  .6928

Section 6.2 Exercises

Exercises 1 – 4 are the Check Your Understanding exercises located within the section. Their
answers are found on page 271.

Understanding the Concepts

5. two
6. trials
7. np(1  p)
8. True
9. False. A binomial random variable with n trials can never have a value greater than n.
10. True

Practicing the Skills

11. Does not have a binomial distribution because the sample is more than 5% of the population.
12. Binomial, with n = 10.
13. Binomial, with n = 7.
14. Does not have a binomial distribution, because it is not the number of successes in independent trials.
15. Does not have a binomial distribution, because it is not the number of successes in independent trials.
16. Binomial, with n = 250.
17. P(3) = 5 C3  .73 (1  .7)53  10(.343)(.09)  .3087, mean = np = 5(.7) = 3.5,
variance = np(1  p)  5(.7)(.3)  1.05, standard deviation = variance  1.05  1.025
101
10 C1  .2 (1  .2)  10(.2)(.134217728)  .2684, mean = np = 10(.2) = 2,
1
18. P(1) =
variance = np(1  p)  10(.2)(.8)  1.6, standard deviation = variance  1.6  1.265
20 8
19. P(8) = 20 C8  .6 (1  .6)
8
 125,970(.01679616)(.000016777)  .0355, mean = np = 20(.6) = 12,
variance = np(1  p)  20(.6)(.4)  4.8, standard deviation = variance  4.8  2.191
14 8
20. P(8) = 14 C8  .3 (1  .3)
8
 3,003(.00006561)(.117649)  .0232, mean = np = 14(.3) = 4.2,
variance = np(1  p)  14(.3)(.7)  2.94, standard deviation = variance  2.94  1.715
21. P(0) = 3 C0  .40 (1  .4)30  1(1)(.216)  .216, mean = np = 3(.4) = 1.2,
variance = np(1  p)  3(.4)(.6)  .72, standard deviation = variance  .72  .849
6 6
22. P(6) = 6 C6  .8 (1  .8)
6
 1(.262144)(1)  .2621, mean = np = 6(.8) = 4.8,
variance = np(1  p)  6(.8)(.2)  .96, standard deviation = variance  .96  .980
23. P(Fewer than 3) = .7969,

mean = np = 8(.2) = 1.6, variance = np(1  p)  8(.2)(.8)  1.28,

standard deviation = variance  1.28  1.131
24. P(14 or more) = 1 – P(13 or less) = 1 – .4510 = .5490,

mean = np = 15(.9) = 13.5, variance = np(1  p)  15(.9)(.1)  1.35,

standard deviation = variance  1.35  1.162
25. P(2 or fewer) = .8108

mean = np = 50(.03) = 1.5, variance = np(1  p)  50(.03)(.97)  1.455,

 standard deviation = variance  1.455  1.206
26. P(More than 27) = 1 – P(27 or fewer) = 1 – .5886 = .4114

mean = np = 30(.9) = 27, variance = np(1  p)  30(.9)(.1)  2.7,

standard deviation = variance  2.7  1.643

Working with the Concepts

27. (A) X is Binomial with n = 10 and p = .5, P(4) = 10 C4  .54 (1  .5)10 4  210(.0625)(.015625)  .2051
(B) P(Fewer than 3) = .0547

(C) P(7 or more) = 1 – P(six or less) = 1 – .8281 = .1719

It would not be unusual to pass by guessing.

28. (A) X is Binomial with n = 10 and p = .25, P(3) = 10 C3  .253 (1  .25)103

= 120(.015625)(.1334838867)  .2503
(B) P(More than 2) = 1 – P(2 or fewer) = 1 – .5256 = .4744

(C) P(7 or more) = 1 – P(six or less) = 1 – .9965 = .0035

It would be unusual to pass by guessing.

29. (A) X is Binomial with n = 12 and p = .81, P(12) = 12 C12  .8112 (1  .81)1212  1(.0798)(1)  .0798
(B) P(10) = 12 C10  .8110 (1  .81)1210  66(.1215766546)(.0361)  .2897
(C) P(10 or more) = 1 – P(9 or fewer) = 1 – .4060 = .5940

(D) Since the P(11 or more) = 1 – P(10 or fewer) = 1 – .6957 = .3043, this would not be an unusual
occurrence.
30. (A) X is Binomial with n = 12 and p = .08, P(3) = 12 C3  .083 (1  .08)123
=220(.000512)(.4721613633) = .0532
(B) P(Fewer than 3) = .9348

(C) P(More than 2) = 1 – P(2 or fewer) = 1 – .9348 = .0652

(D) Since P(0) = .3677. This would not be unusual.

31. (A) X is Binomial with n = 25 and p = .67, P(20) = .0691

(B) P(15 or fewer) = .2919

(C) P(More than 20) = 1 – P(20 or fewer) = 1 – .9504 = .0496

(D) P(Fewer than 12) = .0149. This would be unusual.

32. (A) X is Binomial with n = 15 and p = .58, P(6 or more) = 1 – P(5 or fewer) = 1 – .0479 = .9521

(B) P(Fewer than 10) = .6570

(C) P(8) = .1900

(D) P(More than 12) = 1 – P(12 or fewer) = 1 – .9811 = .0189. This would be unusual.
33. (A) X is Binomial with n = 20 and p = .07, P(2 or more) = 1 – P(1 or fewer) = 1 – .5869 = .4131

(B) P(Fewer than 4) = .9529

(C) P(0) = .2342. This would not be unusual.

(D) Since this is a binomial discrete random variable, its mean is n  p  20(.07)  1.4
(E) Since this is a binomial discrete random variable, its variance is n  p(1  p)  20(.07)(.93)  1.302
The standard deviation is 1.302  1.1411
34. (A) X is Binomial with n = 15 and p = .53, P(9) = .1780

(B) P(More than 10 ) = 1 – P(10 or fewer) = 1 – .9080 = .0920

(C) P(Fewer than 8) = .4065

(D) P(15) = .0000731. This would be unusual to occur.

(E) Since this is a binomial discrete random variable, its mean is n  p  15(.53)  7.95
(F) Since this is a binomial discrete random variable, its variance is
n  p(1  p)  15(.53)(.47)  3.7365 . The standard deviation is 3.7365  1.933 .
35. (A) X is Binomial with n = 30 and p = .67, P(18) = .1166

(B) P(More than 15) = 1 – P(15 or fewer) = 1 – .0514 = .9486

(C) P(Fewer than 12) = .0010

 (D) P(More than 25) = 1 – P(25 or fewer) = 1 – .9899 = .0101. This would be unusual.

(E) Since this is a binomial discrete random variable, its mean is n  p  30(.66)  19.8
(F) Since this is a binomial discrete random variable, its variance is n  p(1  p)  30(.66)(.34)  6.732
The standard deviation is 6.732  2.595
36. (A) X is Binomial with n = 16 and p = .25, P(5) = .1802

(B) P(More than 6) = 1 – P(6 or fewer) = 1 – .9204 = .0796

(C) P(Fewer than 3) = .1971

(D) P(More than 8) = 1 – P(8 or fewer) = 1  .9925 = .0075. This would be unusual.

(E) Since this is a binomial discrete random variable, its mean is n  p  16(.25)  4
(F) Since this is a binomial discrete random variable, its variance is n  p(1  p)  16(.25)(.75)  3
The standard deviation is 3  1.7321
37. (A) X is Binomial with n = 25 and p = .30, P(6) = .1472

(B) P(More than 8) = 1 – P(8 or fewer) = 1 – .6769 = .3231

(C) P(Fewer than 4) = .0332

(D) P(More than 10) = 1 – P(10 or fewer) = 1 - .9022 = .0978. This would not be unusual.

(E) Since this is a binomial discrete random variable, its mean is n  p  25(.3)  7.5
(F) Since this is a binomial discrete random variable, its variance is n  p(1  p)  25(.3)(.7)  5.25
The standard deviation is 5.25  2.2913
38. (A) X is Binomial with n = 10 and p = .81, P(7) = .1883

(B) P(More than 6) = 1 – P(6 or fewer) = 1 – .1039 = .8961

(C) P(Fewer than 5) = .0049

(D) P(Fewer than 4) = .00062. This would be unusual.

(E) Since this is a binomial discrete random variable, its mean is n  p  10(.81)  8.1
(F) Since this is a binomial discrete random variable, its variance is n  p(1  p)  10(.81)(.19)  1.539
The standard deviation is 1.539  1.2406
39. (A) X is Binomial with n = 10 and p = .15, P(7 or more) = 1  P(6 or fewer) = 1  .999865  .000135

(B) Yes, since the probability of this happening is so very close to zero.
(C) Yes, because if the shipment was good, it would be unusual for 7 or more of 10 items to be
defective.
(D) P(2 or more) = 1  P(1 or none) = 1  .5443  .4557

(E) No, since this should occur 45.57% of the time.

(F) No, because if the shipment was good, it would not be unusual for 2 of 10 items to be defective.
40. (A) X is Binomial with n = 8 and p = .80, P(at most 2) = .00123

(B) Yes, since the probability of this happening is so very close to zero.
(C) Yes, because if the claim was good, it would be unusual for 2 or fewer of 10 people to have
smoke detectors.
(D) P(at most 6) = .497

(E) No, since this should occur just about half of the time.
(F) No, because if the claim was true, it would not be unusual for 6 of 8 people to have smoke
detectors.
Extending the Concepts

 .6  25  14 
41. (A) P(X = 15) =    (.14651)  (1.5)(.7333333)(.14651)  .16116
 .4  14  1 
 .35  10  0 
(B) P(X = 1) =    (.0134627)  (.5384615385)(10)(.0134627) = .0724915
 .65  0  1 
 .35  10  1 
P(X = 2) =    (.0724915)  (.5384615385)(4.5) (.0724915)  .1756524
 .65  1  1 
Continuing these computations yields:
x P(x)
0 .0134627
1 .0724915
2 .1756524
3 .2522188
4 .2376677
5 .1535699
6 .0689096
7 .0212029
8 .0042814
9 .0005123
10 0000276

Section 6.3 Exercises

Exercises 1 – 4 are the Check Your Understanding exercises located within the section. Their
answers are found on page 277.

Understanding the Concepts

5. space, time
6. t
7. False. For a Poisson random variable with rate λ and time interval t, the possible values of x are 0, 1,
2, ...
8. True
(2  5)5 105
9. P(5) = e2(5)   e10  .0378
5! 5!
(.5  4)3 23
10. P(3) = e.5(4)   e2  .1804
3! 3!
(.1 10)2 12
11. P(2) = e.1(10)   e1  .1839
2! 2!
(1  2) 0
2 0
12. P(0) = e1(2)   e2  .1353
0! 0!
(.2 10)0 20
13. P(At least one) = 1 – P(0) =1 – e.2(10)   e2  1 – .1353 = .8647
0! 0!
 (.3  8)0 2.40
14. P(At least one) = 1 – P(0) = 1 – e.3(8)   e2.4  1 – .0907 = .9093
0! 0!
15. P(No more than 5) = P(5 or fewer) = .7851

16. P(More than 2) = 1 – P(2 or fewer) = 1 – .8335 = .1665

17. P(More than 9) = 1 – P(9 or fewer) = 1 – .7166 = .2834

18. P(Fewer than 3) = .8088

Working with the Concepts

19. (A) P(4) = .1339

(B) P(More than 1) = 1 – P(1 or fewer) = 1 – .0174 = .9826

(C) P(Between 5 and 7 inclusive) = .4589

(D) Since this is a Poisson discrete random variable, its mean is   t  3(2)  6
(E) Since this is a Poisson discrete random variable, its standard deviation is
  t  3  2  6  2.4495
20. (A) P(5) = .1008

(B) P(0) = .0498

(C) P(Less than 2) = .1991

(D) P(Greater than 1) = 1 – P(1 or fewer) = 1 – .1991 = .8009

(E) Since this is a Poisson discrete random variable, its mean is   t  3(1)  3
(F) Since this is a Poisson discrete random variable, its standard deviation is   t  3 1  3  1.7321
21. (A) P(0) = .2231

(B) P(At least 1) = 1 – P(0) = 1 – .1353 = .8647

22. (A) P(0) = .2019

(B) P(At least 2) = 1 – P(1 or fewer) = 1  .3546 = .6454

23. (A) P(5) = .0916

(B) P(10) = .1048

(C) P(Fewer than 3) = .2381

24. (A) P(8) = .1033

(B) P(15) = .0724

25. (A) P(18) = .0844

(B) Since this is a Poisson discrete random variable, its mean is   t  10(2)  20
(C) Since this is a Poisson discrete random variable, its standard deviation is
  t  10  2  20  4.4721
26. (A) P(12) = .0829

(B) Since this is a Poisson discrete random variable, its mean is   t  5(3)  15
(C) Since this is a Poisson discrete random variable, its standard deviation is
  t  5  3  15  3.873
27. (A) Since n = 200  100 and p = 4 %  10%, we may proceed. Using .04 for  and 200 as t, we get
(.04  200)6
P(6) = e.04(200)  .1221
6!
(B) P(Fewer than 3) = .0138

(C) P(More than 10) = 1 – P(10 or fewer) = 1 – .8159 = .1841

(D) mean = 200(.04) = 8

(E) standard deviation = 8  2.8284
28. (A) Since n = 5000  100 and p = .0011  .1, we may proceed. Using .0011 for  and 5000 as t,
(.0011  5000)5
we get P(5) = e.0011(5000)  .1714
5!
(B) P(Fewer than 4) = .2017

(C) P(More than 3) = 1 – P(3 or fewer) = 1 –.2017 = .7983

(D) mean = 5,000(.0011) = 5.5
(E) standard deviation = 5.5  2.3452

Extending the Concepts

0
29. (A) P(X = 0) = e    e
0!
(B) X = 0 means that no events occurred in 1 second. Therefore, the amount of time that elapses until
the next event will be greater than 1.
(C) P(T > 1) = P(X = 0) = e  
(2 )0
(D) P(X = 0) = e2  e2
0!
(E) X = 0 means that no events occurred in 2 seconds. Therefore, the amount of time that elapses until
the next event will be greater than 2.
( t ) 0
(F) P(X = 0) = et  e  t
0!
(G) X = 0 means that no events occurred in t seconds. Therefore, the amount of time that elapses until
the next event will be greater than t.
(H) P(T > t) = P(X = 0) = e t
Chapter Quiz

1. The five individual probabilities only add to be .93. They need to sum to 1.
2.  x  2(.3)  1(.2)  4(.1)  5(.4)  2
3. (A)  x2  (2)2 (.3)  12 (.2)  42 (.1)  52 (.4)  22 = 1.2 + .2 + 1.6 +10 – 4 = 9
(B)   9  3
4. We are solving the equation: .23 + .12 + .09 + x + .37 = 1
.81 + x = 1
x = .19
5.

6. (A) .2 + .2 = .4
(B) .1 + .1 = .2
(C) 1 – .1 = .9
(D) 1 – .4 = .6
7.  x  0(.4)  1(.2)  2(.2)  3(.1)  4(.1)  1.3
8.  x2  02 (.4)  12 (.2)  22 (.2)  32 (.1)  42 (.1)  1.32 = 0 + .2 + .8 + .9 + 1.6 – 1.69 = 1.81
Therefore,   1.81  1.3454
9. (A) P(0) = .0769

(B) P(At least 1) = 1 – P(0) = 1 – .0769 = .9231

(C) P(No more than 3) = .7604

10. mean = n  p  50(.05) = 2.5

standard deviation = np(1  p)  50(.05)(.95)  2.375  1.5411
11.
x P(x)
0 .24 = .6(.4)
1 .52 = 1 –.24 – .24
2 .24 = .4(.6)
12. (A) P(4) = .1755

(B) P(Fewer than 6 over 2-days) = .0671

(C) P(At least 1 over a half-day) = 1 – P(0) = 1 – .0821 = .9179

13. 10  8  80
14. variance = 10  8  80; standard deviation = 80  8.9443
15. P(4) = .1755

Review Exercises

1. (A) Yes, because each individual probability value is between 0 and 1 inclusive, and they all sum to
1.
(B) No, one cannot have a negative probability value.
(C) No, one cannot have a probability value that is greater than 1.
(D) Yes, because each individual probability value is between 0 and 1 inclusive, and they all sum to
1.
2. (A)  x  6(.21)  7(.12)  8(.29)  9(.11)  10(.01)  11(.26)  8.37
(B)  x2  62 (.21)  72 (.12)  82 (.29)  92 (.11)  102 (.01) 112 (.26)  8.372  73.37 – 70.0569 = 3.3131
(C)   3.3131  1.8202
3. P(3 or higher) = .18 + .16 + .07 = .41
4. (A)
x P(x)
1 .5632
2 .2500
3 .1147
4 .0473
5 .0171
6 .0053
7 .0018
8 .0006
(B) P(1) = .5632
(C)  x  1(.5632)  2(.25)  3(.1147)  4(.0473)  5(.0171) 6(.0053)  7(.0018)  8(.0006)  1.731
(D)  x2  12 (.5632)  22 (.25)  32 (.1147)  42 (.0473) 52 (.0171)
62 (.0053)  72 (.0018)  82 (.0006) 1.7312 = 4.0972 – 2.9964 = 1.1008
Therefore,   1.1008  1.049
5. (A) P(3 or fewer) = .6630

(B) P(Exactly 3 women) + P(Exactly 2 women) = .576

6. (A) P(4 or more) = 1 – P(3 or fewer) = 1 – .3057 = .6943

(B) P(Fewer than 3) = .1353

(C) Yes, because P(0) = .00564.

 1   17  15 17 1
7. E(Profit) =  X  15    1      =  $.11, which is an expected loss of 11 cents
 18   18  18 18 9
8. (A) P(3) = .0480

(B) P(More than 2) = 1 – P(2 or fewer) = 1 – .0146 = .9854

(C) Yes, because P(10) = 0.00511.

9. (A) P(5) = .2756

(B) P(More than 6) = 1 – P(6 or fewer) = 1 – .8156 = .1844

(C) Yes, because P(8) = .0360

10. No, the trials are not independent. If it rains on one day, it is more likely to rain the next day.
11. Yes; because the sample size is less than 5% of the population, X may be considered to have a
binomial distribution.
12. (A) P(5) = .1606

(B) P(Fewer than 2) = .0174

(C) P(More than 1) = 1 – P(1 or fewer) = 1 – .0174 (from part B) = .9826

13. mean =   t  2  3  6
14.     t  6  2.4495
15. P(5) = .0876

Write About It

1. Answers will vary. One such answer:

X = the number of people who go to the Mall of America on any given day. This variable is discrete,
because its values are limited to whole number data values only.
2. Answers will vary. One such answer:
X = the weight (in pounds) of all male students on the UCLA campus today. This variable is
continuous, because its values are not restricted to whole number data values only.
3. Yes, it is still possible to lose money. On the average, if the experiment is done a large number of
times, then you would expect to make a gain. However, you can still lose money on a single
application.
4. If we sample items from a population, then as the sample size grows larger, the sample mean will
approach the population mean.
5. Answers will vary.
6. The binomial distribution is not appropriate, because the five men selected do not represent an
independent random sample from the population. This is because they are all related and share
heights through heredity lines. It depends on the overall makeup of the large family as to whether the
probability is likely to be greater than or smaller than the value predicted by the binomial distribution.
If the males in the family tend to be very tall on the average, then the probability will be lower. If
however, the males in the family are shorter, on the average, then the probability will be larger.
7. Answers will vary.
Case Study

The fraud is ii, because the first digits there are more uniformly distributed than they are in either i or iii.
In those choices, smaller numbers tend to occur more frequently as the first digit than the larger numbers.

i.
First Digit Frequency Probability
1 9 .3000
2 3 .1000
3 3 .1000
4 2 .0667
5 2 .0667
6 2 .0667
7 4 .1333
8 2 .0667
9 3 .1000

ii.
First Digit Frequency Probability
1 4 .1333
2 4 .1333
3 2 .0667
4 3 .1000
5 4 .1333
6 3 .1000
7 5 .1667
8 2 .0667
9 3 .1000

iii.
First Digit Frequency Probability
1 10 .3333
2 5 .1667
3 5 .1667
4 2 .0667
5 2 .0667
6 3 .1000
7 0 .0000
8 2 .0667
9 1 .0333
Another random document with
no related content on Scribd:
This lute music must have been usually played in rooms of limited
size, for the delicate tone quality of the lute would scarcely render it
practical for accompaniments to dances. Hence we may conclude
that this early lute music was played for its own sake. It is the earliest
form of true chamber music and represents the beginning of
absolute instrumental music in general.

We find already in this early chamber music the elements of artistic

form. It is evident from the examination of numerous collections from
the sixteenth century that composers for the lute applied the principle
of contrast, being impelled thereto by a natural artistic sense. In
Petrucci’s lute collection (1507-08), for example, a Ricercar is
preceded by a sort of prelude-like Tartar le corde that in its rapid
passages forms an evident contrast to the even and more simple
style of the Ricercar. It is this tendency toward artistic contrast that
helped to build up the cyclical forms of the suite and of the sonata.

Lutenists, in fact, preferred to combine their favorite songs and

dances in groups of two, three, or more, which thus constituted the
earliest suites. A suite of three dances is to be found in Petrucci’s
collection. It contains a Pavane, a Saltarello, and a Piva. The
Pavane (in common time) gives the melodic material for the two
other movements (in triple time), a crude example of the use of a
leading theme in the different movements. Attaignat’s French
collection (1529) also contains a suite of three dances: Bassedance,
Recoupe, and Tordion. Some German suites consisted of a slow
movement (in triple time), and a second, more rapid, on the melody
of the first. The individual pieces sometimes had no names, but
frequently the slow movement was called Hoftanz, while the fast
movement bore the designation Hupfauff. Other combinations of
movements were Ein guter Hoftanz (in common time), Proportz
darauf (in triple time), and Pavana, or Ein kunstreicher Gassenhauer,
Ander Thyl, Proportz dritt Thyl. Toward the middle of the century,
when movements increased in number, the suites ended with a
postlude, such as a Toccata. The relation between the movements
was evident not only in the common thematic material, but also in
the use of the same key throughout. Later the dances were grouped
under their different titles—all the Pavanes and Allemandes, for
instance, being brought together. Not every kind of dance was
regarded as suitable for combination with others. Such dances as
Caluta a la Spagnola or a la Italiana, the Branle, the Morino, the
Balletti, the Polish, ‘Welsh,’ French, Swiss, Hungarian, Bavarian, and
Swabian dances are always found alone. The contrasted tempi of
the better suites lent them a certain variety and lightness.
Lute music gradually ‘went out of fashion,’ as Thomas Mace, himself
a composer for the lute, remarked, because it was ‘a very
chargeable instrument’ and ‘the hardest instrument in the world.’ In
the meantime certain composers were writing chamber music for
which no special instrument was indicated. Of this class of
instrumental compositions we may mention especially a Canzon da
sonare a 4, by Florentino Maschera from his Libro primo de canzoni
da sonare a 4 (1593). It is called La Capriola and is written for basso,
tenore, alto, e canto. Maschera’s canzonas are among the earliest
printed specimens of independent instrumental compositions. Their
phrase structure is very irregular. One canzona, for instance, has an
introduction of twenty-one measures, followed by a longer piece of
six periods of 22, 21, 18, 19, and 23 measures. On the whole,
Maschera’s instrumental compositions are vocal in character and
polyphonic in style. Almost the same may be said of the Canzoni and
Sacræ Symphoniæ of Giov. Gabrieli (1597), although his Sonata con
tre violini and canzoni a 6 (two violins, cornetto, tenore, trombone
and bass) (1615) show an advance in instrumental writing. In
Gabrieli’s Sonata piano e forte, we meet for the first time the term
‘Sonata.’ This composition is scored for a double choir of
instruments, the first consisting of a cornet and three trombones, and
the second of a violin and three trombones. These two choirs are
employed antiphonally. Gabrieli usually preferred to score his
sonatas and canzonas for eight instruments in two choirs, but not
infrequently he wrote from four to twenty-two parts in one or three
choirs.

In comparing Gabrieli with Maschera we get the impression that

while Maschera’s canzonas are song-like, Gabrieli’s polyphonic style
represents rudimentary symphonic music.

A link in the evolution of chamber music form is to be found in the

Fantasie overo Canzoni alla Francese per suonare nell’organo ed
altri stromenti musicali a 4, by Adriano Banchieri (1603). In some of
these pieces the first part corresponds with the third, the second part
appearing as a kind of middle movement, an arrangement that
shows the elements of the three-part form of the modern sonata.

We have seen that chamber music included dances (single and in

suites) and compositions of free invention. The names of the former
class of pieces clearly expressed and described the character of the
music. The terms applied to compositions of free invention, however,
were not strictly defined, and compositions with scarcely any
difference between them were variously entitled Sonata, Fantasia,
Simphonia and Canzona. To illustrate the uncertain terminology of
the time we may quote the following from Prætorius’ Syntagma
Musicum (1618): ‘In my personal opinion there is still some
difference between Sonatas and Canzonas. Namely, Sonatas
contain serious, solemn and pompous music, in the manner of
Motettes; while the Canzonas briskly, quickly, and merrily pass
away.’ Sometimes, however, the term ‘Sonata’ conveyed the idea of
music that was played at banquets and for dancing.

Currently with the rise of music of free invention, dances and suites
were further cultivated, as we see from the large number of such
compositions extant. The dances of Melchior Franck (1603) were
sometimes of polyphonic phraseology, sometimes of lively flowing
melodies, with irregular structure, and we find a Galliarde by Johann
Ghro (1604) consisting of periods of 13—11—11 measures. Similar
pieces by Brade (1607), Thomas Simpson (1617), Erasmus Widman
(1618), and others, showed more or less skill in handling their
musical materials. Besides single dances, we find also several
interesting and valuable collections of suites. I. H. Schein’s
Banchetto musicale, 1617, a series of twenty suites, contains very
characteristic examples of the suite in five movements. We may
quote here the beginnings of the five movements of his tenth suite:
Similar to Schein’s suites in the character of their variations are
those by Paul Bäuerl, edited six years earlier. Variations in suites
were so popular that in a work by Andreas Hammerschmidt (1639)
the author gave instructions for playing ‘Gaillarde on the 1, 2, 7,
Pavane.’ Change in the order and in the number of the single
movements is to be found in the suites of Johann Neubauer (1649).
They contain only four movements, Pavane, Gaillarde, Balletto, and
Courante. The Balletto stands for the Allemanda and Tripla, having
two parts, the first in common, the second in triple, time.

The four movement form of suite was adopted by Froberger (1649),

and by K. Briegel (1652). After the middle of the century composers
began to include in their suites movements that were not dances,
such as Canzonas, Symphonias, Sonatas, Sonatinas or Præludia.
The earliest examples of those are by I. R. Ahle (1650), Martin
Rubert, Joh. Jak. Löwe (1658), Diedrich Becker (Musikalische
Frühlingsfrüchte, 1668), Joh. Rosenmüller (Sonata da camera,
1667), Joh. Petzolds (Leipzigische Abendmusik, 1669), Esajas
Reusser (Suites for two violins with continuo, containing the following
movements: Allemande, Courante, Sarabande or Gavotte, Gigue,
with an Adagio—called Sonata—as introduction, 1670). Thus
through the mixture of ‘suites’ with ‘sonatas’ the way was prepared
for the classical chamber-sonata.

II
It must not be forgotten that an important part of early chamber
music consisted of various compositions in the form of vocal pieces
—madrigals, canons, rounds, and catches. As far as we know the
earliest printed collection of such music extant is a volume entitled
Pammelia (o) Musicks Misscellane (1609). The mixed variety of
these ‘pleasant and delightful Roundelays’ shows skillful
counterpoint and good harmony. The names of the composers are
not mentioned in the book, but since the style of the compositions
suggests great antiquity, this collection may represent the oldest
printed vocal chamber music. With the striking progress of
instrumental music, purely vocal compositions were less and less
used as chamber music, since instruments were being used to play
in unison with the voices. Such performances were called concertati.
Significant vocal compositions with instrumental accompaniments
were produced by Peri (1561-1633) and Caccini (d. 1618), whose
Cantate da camera or Madrigali da camera were mostly pieces for a
single voice accompanied by a single instrument. On the whole,
however, it is not necessary to emphasize the vocal music here,
since chamber music as we know it today represents a purely
instrumental development.

We have already referred to Gabrieli’s use of the term sonata and to

the first specimens of canzonas. Besides these we may mention a
Canzon francese a risposta by Viadana (1602) for ‘violino, cornetto,
two tromboni, and basso continuo.’ The parts of the instruments that
lead the melodies are handled here as in a dialogue. The treatment
of the melody is monodic rather than contrapuntal.

Of much more interest and value are a Sonata in dialogo for violin,
with basso continuo, and a Sonata detto la moderna, from the Varie
Sonate (1613) of Salomone Rossi. Rossi’s sonatas contain good
examples of variations on a basso ostinato (Sopra l’Aria della
Romanesca and Sopra l’Aria di Ruggiero). The basses, however, are
not always strictly carried out. Rossi also cultivated variations on
melodies not in the bass. He is noted for his first attempts in the form
of the trio sonata (two violins with basso continuo), where, as in his
simpler and shorter ‘Sinfonias,’ the homophonic style is predominant.
His compositions have thematic unity, and he sometimes demands
the changing of his tempi (Si replica l’ultima parte ma piu presto).

Similar to Rossi’s trio sonatas are those by Buonamente (1626), who

is likewise fond of variations and of writing in dialogues for two
violins. In his Sonate a 3 (for two violins and string-bass) the bass
has a more important rôle than a mere accompaniment; it also helps
to carry the themes, showing a tendency toward independent
movement. A sonata (113 measures long) arouses our interest by
the development of the first three notes of its theme that
reappears in the following manner reminding us of the C
minor symphony of Beethoven. Some of Buonamente’s sonatas end
with the complete form of the original themes as if to unify the whole
composition—a characteristic we again find in Beethoven (i.e., at the
end of the first movement of the eighth symphony). The single
themes and the lack of variety in tempi lend a certain monotony to
Buonamente’s compositions, though otherwise they are very
interesting.

Another writer of sonatas in Rossi’s manner is Francesco Turini

(Tanto tempo hormai, 1624). His compositions, too, are in the form of
variation suites, where the same bass, with slight changes in rhythm
and character, is used in all movements. For the sake of
completeness we may also mention G. Allegri’s sonatas for four
string instruments, which may be considered crude early specimens
of the string quartet.

An important advance in chamber music compositions is marked by

B. Marini, who introduced into the trio sonata a second theme,
contrasting strongly in rhythm with the first. This new second theme
is announced simultaneously with the first when the latter appears
for the second time thus:

Marini is also notable for the use of chromatics in his later works
(1651) and his effective instrumental writing. He did not, however, lay
special stress upon developing the idea of the new theme nor upon
giving more independence to the two leading instruments.
Frescobaldi also failed to recognize the possibilities of the second
motive in his trio sonatas (1628). The idea, however, was well
developed by Tarquinio Merula (especially in a sonata called La
Pedrina, 1637), whose works (Canzoni da sonar, 1615, Canzoni
overo Sonate concertate da chiesa e camera a 2 e 3, 1637, etc.)
show not only more proficiency in instrumental writing, but also
greater independence in the single parts and more individuality in the
bass parts. Merula’s compositions have a sort of jovial humor, and
on the whole they produce a more satisfactory general effect than
those of his predecessors.

Of minor importance are the Sinfonie ad uno e duoi violini, a duoi

trombone, con il partimento per l’organo con alcune quattro viole,
1629, by Mont’Albano, and the few chamber music compositions
(besides solo sonatas) by Fontana (1630, 1641), whose graceful
melodies are suggestive of the coming era. In further developing the
forms of chamber music (mostly in trio sonatas) an important place
belongs to Maurizio Cazzati (d. 1677), who is distinguished
especially for his clear-cut melodies. The following from his sonata,
La Lucilla (1648), is a good example:

Here the contrasting second theme is brought in before the

exposition of the first is completed. La Lucilla has repose and
thoughtfulness instead of the restlessness usual in similar
compositions. It is in four parts and ends with the first theme without
the contrasting second motive.
"The concert"; painting by Terborch.
Among other chamber music composers of the middle of the
seventeenth century, we may point out Massimiliano Neri, who first
used the terms sonata and canzona without any distinction. After his
time the term canzona was less and less used and the name sonata
finally became general for all instrumental chamber music
compositions. Neri’s works are characteristic products of the century.
His scoring for three to twelve instruments, his restless changing of
rhythm and tempo, his lack of unity and ‘development,’ are the ever-
present signs of the age in which he wrote. Still, his construction of
phrase, his modulations, his more graceful figures show an
improvement upon the writing of his predecessors. The following
analysis of his Sonata in nine movements (1651) for two violins, viola
and bass—another ancestor of the modern string quartet—shows
the looseness of form which was characteristic of all contemporary
instrumental music:

Movement I: in 4/4—46 measures

Movement II: Adagio in 3/2—20 measures
Movement III: Allegro in 4/4—26 measures
Movement IV: Adagio in 4/4—8 measures
Movement V: Allegro in 6/4—22 measures
Movement VI: Adagio in 4/4—6 measures
Movement VII: Allegro in 3/4—24
56 measures
Adagio in 3/4—32
Movement VIII: Allegro in 4/4—5 measures
Movement IX: Presto in 4/4—9 measures

Among writers of sonatas who varied less the number of movements

we may notice Nicolaus Kempi (Sonatas and ‘Symphonies’ for 1-3
violins, 1-5 instruments, 1644, 1647, 1669), who employed the four
movements of the modern cyclical sonata form, thus:

I. A pathetic movement (in the style of the Pavane).

II. An Allegro movement (imitative).
 III. Gaillarde or Courante.
IV. Similar to the first movement (with figurative elements).

Although Kempi’s compositions show some improvement in fluency,

they are otherwise of little interest.

Of far more eminence is Giovanni Legrenzi, the first composer of

chamber music who abandoned entirely the term canzone. He is
rightly called a ‘master of first rank,’ and his harmonies, chromatics
(in the Sonata La Cornava, 1655), and modulations are noteworthy.
In his trio sonatas (La Rosetta, 1671) and in his Sonata a 5: La
Fugazza, he demonstrated that a few instruments could be made to
express musical ideas of genuine value.

Among the minor sonata writers of this period we may mention

Mazzolini (Sonate per camera a 3, containing preludes and dances),
Mazzaferrata (Sonate a due violini: con un basetto viola, 1674, all in
four movements), Bononcini (Sonate da chiesa and ‘Symphonie’ for
two to eight instruments 1666, 1678), Tonini, C. A. Marini, Grossi,
Taglietti, Rugieri, Vinacesi, Zanata, Charelli, and Gighi.

Practically all the compositions we have noticed possess for us little

interest apart from their significance in the evolution of chamber
music. To a modern ear their appeal is very slight. Historically,
however, they are of importance, constituting as it were the
substructure upon which the edifice of chamber music has been
reared. Between them and the music which has a genuine artistic
appeal and an emotional content lies a sort of transition stage in
which the most notable names are Giovanni Battista Vitali, Antonio
Veracini, and Giovanni Bassani.

III
Vitali is the dance composer par excellence of the seventeenth
century. His Correnti e balletti da camera a 2 violini col suo basso
continuo (1666) have melodic value and clarity of structure and form.
In his Balletti correnti, e capricci per camera for two violins and bass
(1683), in his Sonate da camera for two violins and bass (1667), and
in sonatas for two to five instruments (1669) we find inspiration,
expression, and a dignified style. Vitali’s sonatas consist of three
movements. The first and the last are in fast 4/4 time, and in fugal
style; the middle, in 3/4 or 3/2 time, is more tranquil in character.
Sometimes a short largo precedes the first movement, sometimes a
largo is inserted before or after the middle movement. The two
allegros are thematically connected. In one sonata Vitali uses the
same theme through all three movements with a dexterity that
suggests the influence of his teacher, Cazzati.

Antonio Veracini (1690) was not a fertile composer, and he is

important rather for his personal influence than for the volume of his
work. His Sonate a 3, Sonate da chiesa a violino e violoncello and
Sonate da camera a 2, possess nobility and individuality of style,
with a certain melodic originality. His forms are clear, his
contrapuntal combinations not unattractive, and all his details with a
few exceptions show careful workmanship. His adagios are
especially fine.[60]

Giovanni Battista Bassani, too, derives his importance largely from

his personal influence, especially as the teacher of Arcangelo Corelli.
Bassani’s chamber music compositions include Balletti, Correnti,
Gighue e Sarabande a violino e violono overo spinetta, con il
secondo violino (1673); twelve sonate da camera (each containing
four dances in the following order: 1—Balletto, 2—Corrento, 3—
Gigha, and 4—Sarabanda); Sinfonie a due o tre instrumenti con il
basso continuo per l’organo (1638), in which each single piece bears
the title of ‘sonata.’ All these compositions are interesting rather than
attractive; though while emphasizing and broadening the technique
and form of his predecessors, Bassani improved upon their harmony
and exhibited more fluency and smoothness through better
modulations and transitional passages. We may note especially his
independent part-writing, his rythmic steadiness, and his ingenious
working-out of motives taken from the main theme. The device of
developing themes in contrapuntal works had been variously used
since Gabrieli, but the credit for first resolving a theme into its
motives and working with them skillfully belongs to Bassani. The
following examples will clearly show Bassani’s skill in thematic
development.

The theme of a Sonata (for two violins, violoncello ad libitum and

organ, 1683):

The motives:

and

Here again we are reminded of Beethoven’s Fifth Symphony.

The large amount of chamber music composed toward the end of

the seventeenth century is eloquent of the popularity of this class of
composition. In fact chamber music was so much favored that a
certain Thomas Britton (in London) formed a chamber music club
(1678) and gave weekly concerts for thirty-six years, at first free of
charge but afterwards at a subscription fee of ten shillings. Later,
similar and stronger organizations came to play an important part in
the development of music.

IV
We now arrive at an epoch in chamber music where for the first time
we meet with works that are today deemed worthy of performance
for their purely musical value. The beginning of this era is marked by
the name of Arcangelo Corelli (1653-1713). Corelli’s music is simple
and expressive in style and is distinguished by a peculiarly ascetic
and spiritual quality suggestive of the church. It is plastic and concise
in thought and dignified and noble in utterance. Corelli was not a
pioneer. It was his mission to synthesize into a more logical and
graceful whole the musical effects discovered by his many
predecessors, and his highly individual genius enabled him to do this
with a distinction which makes his name a landmark in the progress
of the art of music. In analyzing Corelli’s compositions we find
graceful harmonies, fluent modulations and pleasingly regular, well-
balanced phrase structures. His musical ideas, especially in the
adagio movements, have dignity, grace and lucidity. His allegros,
although not lacking in dignity, do not stand on the high artistic level
of his slow movements.

Corelli’s earliest chamber works are included in a collection of XII

Sonate a tre, due violini e violone col Basso per l’organo, op. 1
(1683). In these church-sonatas his strong individuality is already
apparent, although Bassani’s influence is clearly recognizable. Some
passages lack beauty and are not very pleasing to the ear. The
sonatas consist of four movements, as follows: adagio, allegro,
adagio, allegro. Sometimes the first slow movement is replaced by
an allegro, and the second movement is in a related key. The
seventh sonata has only three movements: allegro, adagio and
allegro.

The next series, XII Sonate a camera a tre, due violini e violone e
cembalo, op. 2 (1685), consists of idealized dances with a prelude
(largo or adagio). The third sonata of this collection has the following
movements: Prelude (largo), Allemande (allegro), adagio (of free
invention), and Allemande. The twelfth sonata has a Ciaccona and a
longer allegro movement. Corelli’s talent appears to better
advantage in his Sonate da chiesa a 3 (1689) and in Sonate da
camera a 3 (1694) which in form are similar to his previous sonatas.
Most of them are in the suite form; some consist of movements of
abstract nature, some show a combination of different forms.

The period of chamber music composition inaugurated by Corelli

lasted until about the middle of the eighteenth century. It is
characterized by a mixture of contemporary and older monodic and
polyphonic styles, with a strong tendency toward independent,
individual part writing. In this period Corelli’s pupils and imitators
produced valuable works, though they could not surpass their
master. Among his more prominent pupils may be mentioned F.
Geminiani (1680-1782) and P. A. Locatelli (1690-1764). Geminiani’s
works (sonatas for two violins and 'cello, and sonatas for two violins
and bass) possess neither individuality nor enduring merit, but they
claim attention for the careful marking of dynamic nuances. In
Locatelli’s sonatas for two violins and cembalo, the virtuoso element
is too strong to make them good examples of pure ensemble writing.
The same may be said of Torelli’s (d. 1708) Concerti da camera for
two violins and bass, Sinfonie for two, three and four instruments,
Balletti da camera for three violins and bass, Sinfonie a 3, Conzerti a
4, Conzerti musicali a 4, and Caprici musicali per camera, for violin,
viola and archlute. Torelli helped to fuse the Sonata da camera with
the Sonata da chiesa and is notable as the first to use the term
concerto. In general the violinist-composers of the period preferred
to cultivate solo sonatas and concertos which would demonstrate the
virtuosity of the performers. The elevation of chamber music through
serious and pure ensemble writing was not at all their aim. This was
notably the case with F. M. Veracini (1685-1750), a pupil and cousin
of Antonio Veracini, and with T. Antonio Vitali—Sonate da chiesa for
violin and 'cello (1693), Sonate for two violins and bass, Conzerto di
Sonate a violino e violoncello e cembalo (1701).
The most prominent and gifted of Corelli’s immediate successors
was Antonio Vivaldi (died 1743). His early compositions were ‘wild
and irregular,’ but later, under the influence of Corelli’s pure style, he
acquired an ‘elegant manner of writing’ that was often entirely free
from contrapuntal phraseology. His works (Sinfonie, Sonate, etc.)
became the models of his time and exercised a strong influence
even upon Bach. On the whole, however, he pandered chiefly to the
prevailing passion for virtuosity. His sonatas are written in three
movements. The opening movement still lacks the ‘song-like’ second
theme of the modern sonata-movement, and its first theme is long,
consisting of several brief, slightly-developed motives. His second
movements closely resemble the preludes of his fellow-composers.

Up to the time of Haydn and Boccherini we find very few important

works in ensemble chamber music. The solo sonata was chiefly
cultivated and from it the sonata form really was developed. So we
find that the instrumental compositions of Alessandro Scarlatti (1659-
1725) are not of much value (sonata for two flutes, two violins and
continuo, sonatas for flute, sonatas for three flutes and continuo). His
Sonate a quattro (string-quartets of archaic style) in which tediously
developed figures are the principal movements and only the little
‘brisk minuettos’ have a certain modernity, are below the artistic
standard established by Corelli. Much the same may be said of
François Couperin’s (1668-1733) trio sonatas entitled La Parnasse
ou l’apothéose de Corelli, and other trios for two violins and bass,
and Pièces de viole, published in 1724-26.

The two great composers, John Sebastian Bach and George

Frederick Handel, also produced more valuable works in the form of
solo sonatas, suites, and concertos than in ensembles. Bach’s
concertos are often classified as chamber music and indeed the
grouping of the solo instruments of his Brandenburg concertos
resembles chamber music combinations. In his trio sonatas for two
violins and thorough-bass, or for flute, violin and thorough-bass,
Bach employed the three movement form of Vivaldi. Handel[61]
cultivated the four and five movement form of Corelli.