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preface 7
■■ Exercise sets have been carefully evaluated to ensure appropriate gradation of level,
odd/even pairing, and specific connection to the objectives being evaluated. In ad-
dition, MyMathLab usage data was analyzed to expose any exercises that needed
improvement.
■■ MyMathLab has been greatly improved to include a vast array of new resources for
both instructors and students. In addition to a greater quantity and variety of exer-
cises, MyMathLab now includes more videos, additional levels of assessment, and
interactive figures to help students gain the skills and knowledge they need to be
successful in this and future courses.
Our Approach
Intuitive Presentation
Although the word intuitive has many meanings and interpretations, its use here means
“experience based, without proof.” Throughout the text, when a concept is discussed,
its presentation is designed so that the students’ learning process is based on their ear-
lier mathematical experience. This is illustrated by the following situations.
■■ Before the formal definition of continuity is presented, an informal explanation is
given, complete with graphs that make use of student intuition about ways in which
a function could be discontinuous (see pp. 125–126).
■■ The definition of derivative, in Chapter 1, is presented in the context of a discussion
of average rates of change (see p. 145). This presentation is more accessible and real-
istic than the strictly geometric idea of slope.
■■ When maximization problems involving volume are introduced (see pp. 260–262),
a function is derived that is to be maximized. Instead of forging ahead with the stan-
dard calculus solution, the text first asks the student to make a table of function
values, graph the function, and then estimate the maximum value. This experience
provides students with more insight into the problem. They recognize not only that
different dimensions yield different volumes, but also that the dimensions yielding
the maximum volume may be conjectured or estimated as a result of the calculations.
■■ The explanation underlying the definition of the number e is presented in Chapter 3
both graphically and through a discussion of continuously compounded interest
(see pp. 346–347).
■■ Within MyMathLab, students and instructors have access to interactive figures that
illustrate concepts and allow manipulation by the user so that he or she can better
predict and understand the underlying concepts. Also available within MyMathLab
are questions that provide focus for student use.
Timely Help for Gaps in Algebra Skills

One of the most critical factors underlying success in this course is a strong foundation
in algebra skills. We recognize that students start this course with varying degrees of
skills, so we have included multiple opportunities in both the text and MyMathLab to
help students target their weak areas and remediate or refresh the needed skills.
In the Text
■■ Prerequisite Skills Diagnostic Test (Part A). This portion of the diagnostic test as-
sesses skills refreshed in Appendix A: Review of Basic Algebra. Answers to the ques-
tions reference specific examples within the appendix.
■■ Appendix A: Review of Basic Algebra. This 11-page appendix provides examples
on topics such as exponents, equations, and inequalities and applied problems. It
ends with an exercise set, for which answers are provided at the back of the book so
students can check their understanding.
■■ Prerequisite Skills Diagnostic Test (Part B). This portion of the diagnostic test as-
sesses skills that are reviewed in “Chapter R: Functions, Graphs, and Models,” and
the answers reference specific sections in that chapter. Some instructors may choose
8 preface
to cover these topics thoroughly in class, making this assessment less critical. Other
instructors may use all or portions of this test to determine whether there is a need
to spend time remediating before moving on with Chapter 1.
■■ Chapter R: Functions, Graphs, and Models. This chapter covers basic concepts re-
lated to functions, graphing, and modeling. It is an optional chapter based on stu-
dents’ prerequisite skills.
In MyMathLab
■■ Integrated Review. You can diagnose weak prerequisite skills through built-in diag-
nostic quizzes. By coupling these quizzes with Personalized Homework, MyMathLab
provides remediation for just those skills a student lacks. Even if you choose not
to assign these quizzes with Personalized Homework, students can self-remediate
through videos and practice exercises provided at the objective level. MyMathLab
provides the just-in-time help that students need, so you can focus on the course
content.
■■ New! Basic Skills Videos. Videos are now available within exercises to help refresh
the key algebra skill required for a specific exercise.
Exercises and Applications

There are over 3500 assignable section-level homework exercises in this edition. A large
percentage of these exercises are rendered algorithmically in MyMathLab. All exercise
sets are enhanced by the inclusion of real-world applications, detailed art pieces, and
illustrative graphs. There are a variety of types of exercises, too, so different levels of
understanding and varying approaches to problems can be assessed. In addition to
applications, the exercise sets include Thinking and Writing, Synthesis, Technology Con-
nection, and Concept Reinforcement exercises. The exercises in MyMathLab reflect the
depth and variety of those in the printed text.
The authors also provide Quick Check exercises, following selected examples, to
give students the opportunity to check their understanding of new concepts or skills as
soon as they learn them and one skill at a time. Instructors may include these as part
of a lecture as a means of gauging skills and gaining immediate student feedback. An-
swers to the Quick Check exercises are provided following the exercise set at the end
of each section.
Relevant and factual applications drawn from a broad spectrum of fields are in-
tegrated throughout the text as applied examples and exercises, and are also featured
in separate application sections. Applications have been updated and expanded in this
edition to include even more real data. In addition, each chapter opener features an ap-
plication that serves as a preview of what students will learn in the chapter.
The applications in the exercise sets in the text and within MyMathLab are
grouped under headings that identify them as reflecting real-life situations: Business
and Economics, Life and Physical Sciences, Social Sciences, and General Interest. This
organization allows the instructor to gear the assigned exercises to specific students
and also allows each student to know whether a particular exercise applies to his or her
major.
Furthermore, the Index of Applications at the back of the book provides stu-
dents and instructors with a comprehensive list of the many different fields considered
throughout the text.
Opportunities to Incorporate Technology

This edition continues to emphasize mathematical modeling, utilizing the advantages
of technology as appropriate. The use of Excel as a tool for solving problems has been
expanded in this edition. Though the use of technology is optional with this text, its
use meshes well with the text’s more intuitive approach to applied calculus.
preface 9
Technology Connections
Technology Connections are included throughout the text to illustrate the use of
technology, including graphing calculators, Excel spreadsheets, and smartphone
apps. Whenever appropriate, art that simulates graphs or tables generated by a graph-
ing calculator is included as well. The goal is to take advantage of technology to
which many students have access, wherever it makes sense, given the mathematical
situation.
Four types of Technology Connections allow students and instructors to explore
key ideas:
■■ Lesson/Teaching. These provide students with an example, followed by exercises to
work within the lesson.
■■ Checking. These tell the students how to verify a solution within an example by us-
ing a graphing calculator.
■■ Exploratory/Investigation. These provide questions to guide students through an
investigation.
■■ Technology Connection Exercises. Most exercise sets contain technology-based ex-
ercises identified with either an icon or the heading “Technology Connection.” This
type of exercise also appears in the Chapter Review Exercises, Chapter Tests, and the
supplemental Printable Test Forms.
Extended Technology Applications at the end of every chapter use real applica-
tions and real data. They require a step-by-step analysis that encourages group work.
y
More challenging in nature, the exercises in these features often involve the use of re-
(– 2, 4) 4 (2, 4)
gression to create models on a graphing calculator. The data in the Extended Technol-
3
ogy Applications has been updated wherever possible to keep the applications fresh for
⎛–1– , –1–⎛
instructors and relevant for students.
2 ⎝ 2 4⎝
f(x) = x2
Use of Art and Color
(–1, 1) 1 (1, 1) One of the hallmarks of this text is the pervasive use of color as a pedagogical tool.
⎛– –1– , –1–⎛ ⎛–1– , –1–⎛
⎝ 2 4⎝ ⎝ 2 8⎝ Color is used in a methodical and precise manner that enhances the readability of the
–2 –1 1 1 1 2 x text for students and instructors.
– –– ––
⎛– –1– , – –1–⎛ 2 2
⎝ 2 8⎝ –1 (0, 0) ■■ When two curves are graphed using the same set of axes, one is usually red and the
other blue, with the red graph being the curve of major importance. The equation
(–1, –1)
–2 labels are the same color as the curve for clarity (see p. 68).
g(x) = x3 ■■ When the instructions say “Graph,” the dots match the color of the curve.
–3 When dots are used for emphasis other than just merely plotting, they are black.
Throughout the text, blue is used for
Slope m 1
s ecant lines and red for tangent lines
(see p. 144).
Q1
■ R ed denotes substitution in equations
Slope m 2
while blue highlights the correspond-
Secant lines Q2
ing outputs, and the specific use of color
Slope m 3
is carried out in related figures (see pp.
Q 3 Slope m Slope m =
4 222–223).
T instantaneous rate
■ B eginning with the discussion of inte-
Q4 of change at P
Tangent line gration, an amber color is used to high-
P
light areas in graphs (see p. 416).
10 preface
Opportunity for Review and Synthesis

Recognizing that it is often while preparing for exams that concepts gel for students, this
text offers abundant opportunities for students to review, analyze, and synthesize recently
learned concepts and skills.
■ A Section Summary precedes every exercise set to assist students in identifying the
key topics for each section and to serve as a mini-review.
■ A Chapter Summary at the end of every chapter includes a section-by-section list of
key definitions, concepts, and theorems, with examples for further clarification.
■ Chapter Review Exercises, which include bracketed references to the section in
which the related concept is first introduced, provide comprehensive coverage and
appropriate referencing of each chapter’s material.
■ A Chapter Test at the end of every chapter and a Cumulative Review at the end of
the text give students an authentic exam-like environment for testing their mastery.
Answers to the chapter tests and the Cumulative Review are at the back of the text
and include section references so students can diagnose their mistakes while prepar-
ing for exams.
New and Revised Content

In response to faculty and student feedback, we have made many changes to the text’s
content for this edition. New examples and exercises have been added throughout each
chapter, as well as new problems to each chapter’s review exercises and chapter test.
Data have been updated wherever achievable, so problems use the most up-to-date in-
formation possible. Following is an overview of the major content changes in each
chapter.
Chapter R
Several new exercises have been added to this chapter, including 10 in Section R.2 that ad-
dress how to describe functions verbally and translate them algebraically. In Section R.5,
a subsection and several exercises were added that cover exponential functions and their
graphs to help bridge the gap in student understanding of those functions. Section R.6 has
expanded discussion of exponential functions, along with four new exercises involving
exponential models. Throughout, data-driven examples were updated when possible.
Chapter 1
The goal for Chapter 1 was to update the data-based examples and consolidate similar
exercises into a more manageable number. Section 1.8 has changed the most, with the
addition of examples and exercises designed to help students visualize acceleration and
velocity. In addition, l’Hôpital’s Rule is briefly covered in a synthesis exercise.
Chapter 2
In Section 2.5, Example 3 has been rewritten to factor in cost, spreadsheet use has been
added to show how a minimum or maximum can be found numerically, a new Technol-
ogy Connection has been added, and Examples 6 and 7 were integrated into a single
example. Several examples in Section 2.6 have been consolidated, and a new Quick
Check exercise has been added. The main change to Chapter 2 is the addition of the
expanded and updated Section 2.7, “Elasticity.” This new location is a more natural fit
than its former position as Section 3.6. The former Section 2.7, “Implicit Differentia-
tion and Related Rates,” has become Section 2.8.
preface 11
Chapter 3
New material on exponential functions has been added to Section 3.1 based on the ex-
panded content in Section R.5. In Section 3.2, there is more emphasis on the general anti-
derivative for 1/x, for all x except x = 0, through additional examples and exercises. The
Rule of 70 is now included in Section 3.3, which also has a new Technology Connection.
Section 3.5 has been expanded to include a discussion on annuities. New Section 3.6 cov-
ers the topic of amortization and includes some Excel spreadsheet applications.
Chapter 4
Application examples and exercises were added and updated throughout Chapter 4.
In addition, new material on Simpson’s Rule was added to Section 4.2, and the topic of
recursion was moved to a synthesis exercise in Section 4.6.
Chapter 5
Topics throughout Chapter 5 were expanded, allowing for over 80 new exercises and
applications. Improper integration at a vertical asymptote was added to Section 5.3,
and finding volume by shells was added to Section 5.6.
Chapter 6
The main changes in Chapter 6 are the addition of exponential regression to Section
6.4 and the addition of average value of a two-variable function to Section 6.6. New
application exercises were also added, and data-driven examples and exercises were
updated throughout.
Appendix A
New material on the Principle of Square Roots was added as a reference for students.
Supplements
Student Supplements Instructor Supplements
Graphing Calculator Manual for Applied Mathematics Instructor’s Solutions Manual (downloadable)
(downloadable) • Provides complete solutions to all text exercises
• By Victoria Baker, Nicholls State University • Available to qualified instructors through the Pearson
• Contains detailed instruction for using the TI-83/TI-83+/ Instructor Resource Center, www.pearsonglobaleditions
TI-84+C .com/bittinger, and MyMathLab
• Instructions are organized by topic. Printable Test Forms (downloadable)
• Downloadable from within MyMathLab • Contains four alternative tests per chapter
Excel Spreadsheet Manual for Applied Mathematics • Contains four comprehensive final exams
(downloadable) • Includes answer keys
• By Stela Pudar-Hozo, Indiana University-Northwest • Available to qualified instructors through the Pearson
• Contains detailed instruction for using Excel 2013 Instructor Resource Center, www.pearsonglobaleditions
• Instructions are organized by topic. .com/bittinger, and MyMathLab
• Downloadable from within MyMathLab PowerPoint Lecture Presentations
• Classroom presentation software oriented specifically to
Video Lectures with optional captioning (online)
the text’s topic sequence
• Complete set of digitized videos for student use
• Available to qualified instructors through the Pearson
anywhere
Instructor Resource Center, www.pearsonglobaleditions
• Example-level and lecture-level videos available
.com/bittinger, and MyMathLab
• Available in MyMathLab
12 preface
Technology Resources
MyMathLab® Online Course (access code required) to be read and interacted with via keyboard controls
MyMathLab from Pearson is the world’s leading online re- and math notation input. MyMathLab also works
source in mathematics, integrating interactive homework, with screen enlargers, including ZoomText, MAGic,
assessment, and media in a flexible, easy-to-use format. and SuperNova. And all MyMathLab videos for this
MyMathLab delivers proven results in helping individ- course have closed captioning. More information
ual students succeed. on this functionality is available at mymathlab.com/
• MyMathLab has a consistently positive impact on student accessibility.
retention, subsequent success, and overall achievement. And, MyMathLab comes from an experienced partner with
MyMathLab can be successfully implemented in any envi- educational expertise and an eye on the future. Whether
ronment—lab-based, hybrid, fully online, or traditional. you are just getting started with MyMathLab, or have a
• MyMathLab’s comprehensive online gradebook auto- question along the way, we’re here to help you learn about
matically tracks students’ results on tests, quizzes, home- our technologies and how to incorporate them into your
work, and in the study plan. You can use the gradebook course. Contact us at www.mymathlab.com.
to quickly intervene if your students have trouble, or to
provide positive feedback on a job well done. MyLabsPlus
MyMathLab provides engaging experiences that personal- MyLabsPlus combines proven results and engaging experi-
ize, stimulate, and measure learning for each student. ences from MyMathLab® with convenient management
• Personalized Learning: MyMathLab’s personalized tools and a dedicated services team. Designed to support
homework and adaptive study plan features allow your growing math programs, it includes additional features
students to work on just what they need to learn when it such as:
makes the most sense. • Batch Enrollment: Your school can create the login
• Chapter skills check quizzes are available (at the name and password for every student and instructor,
chapter level and course-wide) to help students so everyone can be ready to start class on the first day.
recognize what prerequisite skills they may need to Automation of this process is also possible through
brush up on. integration with your school’s Student Information
• The results of the chapter skills check quiz can be System.
tied to personalized homework so that each student • Login from your campus portal: You and your students
is given targeted skills to practice prior to starting can link directly from your campus portal into your
course-level work. MyLabsPlus courses. A Pearson service team works with
• Exercises: The homework and practice exercises in My- your institution to create a single sign-on experience for
MathLab are correlated to the exercises in the textbook, instructors and students.
and they regenerate algorithmically to give students • Advanced Reporting: MyLabsPlus’s advanced report-
unlimited opportunity for practice and mastery. The soft- ing allows instructors to review and analyze students’
ware offers immediate, helpful feedback when students strengths and weaknesses by tracking their performance
enter incorrect answers. on tests, assignments, and tutorials. Administrators can
• Multimedia Learning Aids: Exercises include guided so- review grades and assignments across all courses on your
lutions, sample problems, animations, videos, and eText MyLabsPlus campus for a broad overview of program
access for extra help at point-of-use. performance.
• Videos include section-level, lecture-style videos as • 24/7 Support: Students and instructors receive 24/7
well as example-level videos. Both are helpful re- support, 365 days a year, by email or online chat.
sources when instructors or tutors are not available. MyLabsPlus is available to qualified adopters. For more
• MathTalk videos show how the math the students are information, visit our website at www.mylabsplus.com or
learning now may apply to their future careers. These contact your Pearson representative.
videos could be used to kick off a lecture, in a flipped TestGen®
classroom setting, or as a way to motivate students. TestGen® (www.pearsoned.com/testgen) enables in-
• Videos can be assigned as homework or as a prerequi- structors to build, edit, print, and administer tests using
site to students getting started on the homework. Pre- a computerized bank of questions developed to cover all
made questions are available for the MathTalk videos. the objectives of the text. TestGen is algorithmically based,
• Interactive figures illustrate concepts and allow ma- allowing instructors to create multiple but equivalent ver-
nipulation, so the user can better predict, visualize, sions of the same question or test with the click of a but-
and understand the underlying concept. Questions ton. Instructors can also modify test bank questions or add
are available within MyMathLab to provide focus for new questions. The software and testbank are available for
student use. instructors to download from Pearson Education’s online
• MyMathLab Accessibility: MyMathLab is compatible
catalog.
with the JAWS screen reader, and enables problems
preface 13
Acknowledgments
As authors, we have taken many steps to ensure the accuracy of this text. Many devoted
individuals comprised the team that was responsible for monitoring the revision and
production process in a manner that makes this a work of which we can all be proud.
We are thankful for our publishing team at Pearson, as well as all of the Pearson rep-
resentatives who share our book with educators across the country. Many thanks to
Michelle Christian, who was instrumental in getting Scott Surgent’s first book printed
and in bringing him to the attention of the Pearson team. We would like to thank Jane
Hoover for her many helpful suggestions, proofreading, and checking of art. Jane’s at-
tention to detail and pleasant demeanor made our work as low in stress as humanly
possible, given the demands of the production process. Geri Davis deserves credit for
both the attractive design of the text and the coordination of the many illustrations,
photos, and graphs. She is always a distinct pleasure to work with and sets the stan-
dard by which all other art editors are measured. Many thanks also to Jennifer Blue,
Lisa Collette, and John Morin for their careful checking of the manuscript and typeset
pages. We are grateful to all those who have contributed to the improvements of this
text over the years, including those who were instrumental in helping us to shape this
11th edition.
The following individuals provided terrific insights and meaningful suggestions for
improving this text. We thank them:
Fernanda Botelho, University of Memphis
Hugh Cornell, University of North Florida
Marvin Stick, University of Massachusetts, Lowell
Timothy D. Sullivan, Northern Illinois University
Kimberly Walters, Mississippi State University
Pearson would like to thank and acknowledge the following people for their work on
the Global Edition.
Contributor
Mani Sankar, East Point College of Engineering and Technology
Reviewers
C.V. Vinay, JSS Academy of Technical Education
Moetaz Hammouda, American University of Cairo
Jayalakshmamma D.V., Vemana Institute of Technology
This page intentionally left blank
Prerequisite Skills
Diagnostic Test
To the Student and the Instructor
Part A of this diagnostic test covers basic algebra concepts, such as properties of exponents, multiplying and factoring polyno-
mials, equation solving, and applied problems. Part B covers topics, discussed in Chapter R, such as graphs, slope, equations of
lines, and functions, most of which come from a course in intermediate or college algebra. This diagnostic test does not cover
regression, though it is considered in Chapter R and used throughout the text. This test can be used to assess student needs for
this course. Students who miss most of the questions in part A should study Appendix A before moving to Chapter R. Those
who miss most of the questions in part B should study Chapter R. Students who miss just a few questions might study the re-
lated topics in either Appendix A or Chapter R before continuing with the calculus chapters.
Part A 32. Raggs, Ltd., a clothing firm, determines that its total revenue,
Answers and locations of worked-out solutions appear on p. A-39. in dollars, from the sale of x suits is given by 200x + 50.
Determine the number of suits the firm must sell to ensure that
Express each of the following without an exponent. its total revenue will be more than $70,050.
1. 43 2. 1 - 225 3. 1 12 2 3 4. 1 - 2x21 5. e 0 Part B
Express each of the following without a negative exponent. Answers and locations of worked-out solutions appear on p. A-39.
6. x -5 7. 1 2 -2
1
4 8. t -1 Graph.
Multiply. Express each answer without a negative exponent. 1. y = 2x + 1 2. 3x + 5y = 10
9. x 5 # x 6 10. x -5 # x 6 11. 2x -3 # 5x -4 3. y = x 2 - 1 4. x = y2
Divide. Express each answer without a negative exponent. 5. A function f is given by f1x2 = 3x 2 - 2x + 8. Find each
of the following: f102, f1 - 52, and f17a2.
a3 e3
12. 2 13. -4 6. A function f is given by f1x2 = 1x + 322 - 4. Find all x
a e
such that f1x2 = 0.
Simplify. Express each answer without a negative exponent.
7. Graph the function f defined as follows:
14. 1x -223 15. 12x 4y -5z 32 -3
4, for x … 0,
Multiply. f1x2 = c 3 - x 2, for 0 6 x … 2,
16. 31x - 52 17. 1x - 521x + 32 2x - 6, for x 7 2.
18. 1a + b21a + b2 8. Write interval notation for 5x 0 - 4 6 x … 56.
19. 12x - t22 20. 13c + d213c - d2 3
9. Find the domain: f1x2 = .
2x - 5
Factor.
10. Find the slope and y-intercept of 2x - 4y - 7 = 0.
21. 2xh + h2 22. x 2 - 6xy + 9y2
11. Find an equation of the line that has slope 3 and contains
23. x 2 - 5x - 14 24. 6x 2 + 7x - 5
the point 1 - 1, - 52.
25. x 3 - 7x 2 - 4x + 28
12. Find the slope of the line containing the points 1 - 2, 62
Solve. and 1 - 4, 92.
26. - 56x + 10 = 12x + 2 27. 3x1x - 2215x + 42 = 0 Graph.
1
2x 6 18 13. f1x2 = x 2 - 2x - 3 14. f1x2 = x 3 15. f1x2 =
28. 4x 3 = x 29. - = 2 x
x - 3 x x - 3x
16. f1x2 = 0 x 0 17. f1x2 = - 2x
30. 17 - 8x Ú 5x - 4
18. Suppose that $1000 is invested at 5%, compounded a nnually.
31. After a 5% gain in weight, a grizzly bear weighs 693 lb.
How much is the investment worth at the end of 2 yr?
What was the bear’s original weight?
15
Credits
Chapter R p. 17: The Washington Post/Getty Images. p. 18: Berents/Shutterstock. p. 23: The Washington Post/Getty Images.
p. 26: (upper) ZUMA Press, Inc./Alamy; (lower) Bo Bridges/PR Newswire/AP Images. p. 52: Felinda/Fotolia. p. 55: Kruwt/Fotolia.
p. 57: Scott Surgent. p. 62: Karramba Production/Fotolia. p. 69: Graphicus, Serafim Chekalkin. p. 75: Kyslynskyy/Fotolia.
p. 86: Monkey Business Images/Shutterstock. p. 88: Brian Jackson/Fotolia. p. 89: Blend Images/Shutterstock. p. 106: Stephen
Coburn/Shutterstock.
Chapter 1 p. 108: Scott Boehm/Associated Press. p. 126: Bastos/Fotolia. p. 133: Kunal Mehta/Shutterstock. p. 143: Oliver
Hausen/Fotolia. p. 150: Graphicus, Serafim Chekalkin. p. 164: (upper) Kushnirov Avraham/Fotolia; (lower) Scott Boehm/
Associated Press. p. 168: Federicocandonifoto/Shutterstock. p. 171:Bildagentur Zoonar GmbH/Shutterstock. p. 175: Brian
Spurlock. p. 178: Robnroll/Shutterstock. p. 190: Dotshock/Shutterstock. p. 202: Bikeriderlondon/Shutterstock. p. 203: New
York Daily News Archive/Getty Images.
Chapter 2 p. 204: Stephen Shepherd/Alamy. p. 232: Graphicus, Serafim Chekalkin. p. 235: gpointstudio/Shutterstock. p. 248:
uss Reed/Globe Photos/ZUMAPRESS/Alamy. p. 259: Scott Surgent. p. 263: (upper) Stephen Shepherd/Alamy; (lower) Screenshots
from Microsoft® Excel®. Used by permission of Microsoft Corporation. p. 269: Screenshots from Microsoft® Excel®. Used by
permission of Microsoft Corporation. p. 273: Mi.Ti./Fotolia. p. 285: Losevsky Pavel/Alamy. p. 294:Minerva Studio/Fotolia.
p. 296: (left) francesco de marco/Shutterstock; (right) 3D4Medical/Science Source. p. 308: Mike Thomas/Fotolia. p. 309: (left)
njsphotography/Fotolia; (right) mattjeppson/Fotolia.
Chapter 3 p. 310: Dragon Images/Shutterstock. p. 321: Peter Bernik/Shutterstock. p. 341: (left) Glow Images; (right) Dragon
Images/Shutterstock. p. 343: UPI/Heritage Auctions/Newscom. p. 348: (left) Vladimir Mucibabic/Fotolia; (right) EZIO
PETERSEN/UPI/Newscom. p. 349: Edelweiss/Fotolia. p. 350: Chuck Crow/The Plain Dealer/Landov. p. 351: Mike Blake/Reuters.
p. 355: UPI Photo/Debbie Hill/Newscom. p. 360: Josemaria Toscano/Fotolia. p. 364: Ethan Daniels/Shutterstock. p. 370: Tommy
E Trenchard/Alamy. p. 386: Photos 12/Alamy. p. 387: (upper left) PIXAR ANIMATION STUDIOS/WALT D ISNEY PICTURES/Alb/
Album/Superstock; (bottom right) Mim Friday/Alamy.
Chapter 4 p. 388: Transtock/Superstock. p. 395: Nenetus/Shutterstock. p. 396: Michael Jung/Shutterstock. p. 399:
PicturenetCorp/Fotolia. p. 400: Sira Anamwong/Shutterstock. p. 415: Transtock/Superstock. p. 420: Karichs/Fotolia. p. 461:
NASA. p. 463: (bottom left) 06photo/Shutterstock; (top right) Nik Wheeler/Alamy. p. 464: (top left) Wassiliy/Fotolia; (bottom
right) estherpoon/Shutterstock.
Chapter 5 p. 465: Anekoho/Fotolia. p. 471: Darryl Leniuk/Getty Images. p. 479:Sergey Volkov/Fotolia. p. 482: Anekoho/
Fotolia. p. 495: SeanPavonePhoto/Fotolia. p. 497: Tetra Images/Alamy. p. 508: Jens Kalaene/dpa/picture-alliance/Newscom.
p. 510: Brian Spurlock. p. 513: dvande/Shutterstock. p. 514: fotogrammi3/Fotolia. p. 516: mirec/Fotolia. p. 517: John Elk/Getty
Images. p. 518: Chris VanLennep Photo/Fotolia. p. 521: Popperfoto/Getty Images. p. 540: Vladimir Salman/Shutterstock.
Chapter 6 p. 541: Tom Grill/Corbis. p. 544: aigarsr/Fotolia. pp. 546–547: Quick Graph, Kz Labs. p. 548: (left) Tom Grill/
Corbis; (right) lafoto/Shutterstock. p. 549: Corbis. p. 552: VIEW Pictures Ltd/Alamy. p. 557: Maisie Paterson/Getty Images.
p. 560: Rick Hanston/Latent Images. p. 571:H. Ruckemann UPI Photo Service/Newscom. p. 576: ZUMA Press, Inc/Alamy.
p. 581: picsfive/Fotolia. p. 595: Suzanne Tucker/Shutterstock.
Appendix B pp. 614–615: Screenshots from Microsoft® Excel®. Used by permission of Microsoft Corporation.
16
R Functions, Graphs,
and Models
What You’ll Learn Why It’s Important

R.1 Graphs and Equations This chapter introduces functions and covers their notation,
R.2 Functions and Models graphs, and applications. Also presented are many topics
R.3 Finding Domain and Range considered often throughout the text: supply and demand; total
R.4 Slope and Linear Functions cost, revenue, and profit; the concept of a mathematical model;
R.5 Nonlinear Functions and and curve fitting.
Models Skills in using a graphing calculator are introduced in
R.6 Mathematical Modeling and optional Technology Connections. Details on keystrokes are
Curve Fitting given in the Graphing Calculator Manual (GCM).
Part A of the diagnostic test (p. 15), on basic algebra
concepts, allows students to determine whether they need to
review Appendix A (p. 601) before studying this chapter. Part
B, on college algebra topics, assesses the need to study this
chapter before the calculus chapters.
y
Where It’s Used
Number of female high school
3.4
3.21 3.22
Participation of Females in High school 3.2 3.11 3.17 3.17
3.02 3.08
athletes (in millions)
Athletics: What is the predicted number of 3.0 2.87 2.91 2.95
female high school athletes in 2017? (This 2.8

problem appears as Example 5 in Section R.1.) 2.6
2.4
2.2
2.0
’04 ’05 ’06 ’07 ’08 ’09 ’10 ’11 ’12 ’13 x
Year
(Source: National Federation of State High School Associations.)
17
18 C h a p t e r R ● Functions, Graphs, and Models
Graphs and Equations

R.1 What Is Calculus?
What is calculus? This is a common question at the start of a course like this. Let’s
consider a simplified answer for now.
● Graph equations. The common food can comes in many sizes, as the photo at the left illustrates.
● Use graphs as mathematical The following is a typical problem from an algebra course. Try to solve it. (If you need
models to make predictions. some algebra review, refer to Appendix A at the end of the book.)
● Carry out calculations involving
compound interest.
Algebra Problem
A soup can contains a volume of 250 cm3. If the height of the can is twice the
length of the radius of the base, find the dimensions of the can.
From geometry, the volume of a cylinder is V = pr 2h, where r is the radius of the
circular base in centimeters and h is the height in centimeters. Since V = 250 and
h = 2r, we have pr 212r2 = 250, or 2pr 3 = 250. Solving for r, we find that the soup
can has a radius of approximately 3.4 cm and a height of 6.8 cm.
The following is a calculus problem that a manufacturer of cans might need to
solve:
Calculus Problem
A soup can is to contain a volume of 250 cm3. If the cost of the material for the
two circular ends is $0.0008 per square centimeter and the cost of the material
for the side is $0.0015 per square centimeter, what dimensions will minimize the
cost of the can?
One way to solve this problem might be to choose several sets of dimensions that give
a volume for the can of 250 cm3, compute the resulting costs, and determine which is
the lowest. For any r, we must have h = 250>pr 2. Using a computer spreadsheet, we
could create a table such as the one below. We let r = radius in centimeters and h =
height in centimeters.
A B C
1
2 Radius Height Cost
3 r h C
4 3.5 6.495277933 0.275868914
5 3.6 6.139440947 0.273485845
6 3.7 5.812063892 0.271525071
7 3.8 5.510190767 0.269961189
8 3.9 5.231239624 0.268771404
9 4 4.972947167 0.2679352
10 4.1 4.733322705 0.267434061
11 4.2 4.510609676 0.267251237 Possible lowest cost
12 4.3 4.303253363 0.267371533
13 4.4 4.109873692 0.267781137
14 4.5 3.929242206 0.268467467
From the data in the table, we might conclude that the lowest cost is about $0.26725
per can when the can’s radius is 4.2 cm and its height is 4.51 cm. But how can we be cer-
tain that no other dimensions will give a lower cost? We need the tools of calculus to
answer this. In Chapter 2, we will study such maximum–minimum problems, includ-
ing a complete solution to this one, which appears as Example 3 in Section 2.5.
R .1 ● Graphs and Equations 19
Other topics we will consider in calculus are the slope of a curve at a point, rates of
change, area under a curve, accumulations of quantities, and some statistical applications.
Graphs
The study of graphs is an essential aspect of calculus. A graph offers the opportunity
to visualize relationships. For instance, the graph below shows how life expectancy
has changed over time in the United States. One topic that we consider later in calcu-
lus is how a change on one axis affects the change on another.
ESTIMATED LIFE EXPECTANCY OF U.S. NEWBORNS

BY YEAR OF BIRTH, 1929–2013
100
Life expectancy (in years)

80
60
40
20
0
’29 ’35 ’41 ’47 ’53 ’59 ’65 ’71 ’77 ’83 ’89 ’95 ’01 ’07 ’13
Year of birth
(Source: U.S. National Center for Health Statistics.)
Ordered Pairs and Graphs

Each point in a plane corresponds to y
an ordered pair of numbers. Note in the
6
figure at the right that the point corre- (2, 5)
(– 3, 5) 5
sponding to the pair 12, 52 is different
4
from the point corresponding to the pair (4, 3)
3
15, 22. This is why we call a pair like 2 (5, 2)
12, 52 an ordered pair. The first number 1
is called the first coordinate of the point, (0, 0)
–6 – 5 –4 –3 –2 –1 1 2 3 4 5 6 x
and the second number is called the –1
second coordinate. Together these are the –2
(– 4, –2)
coordinates of the point. The horizontal –3
line is often labeled as the x-axis, and –4
(3, –4)
the vertical line is often labeled as the –5
y-axis. The two axes intersect at the ori- –6
gin, 10, 02.
Graphs of Equations
A solution of an equation in two variables is an ordered pair of numbers that, when
substituted for the variables, forms a true statement. If not directed otherwise, we
usually take the variables in alphabetical order. For example, 1-1, 22 is a solution of
the equation 3x 2 + y = 5, because when we substitute -1 for x and 2 for y, we get a
true statement:
3x 2 + y = 5
31-122 + 2 ? 5
3 + 2 5
5 5 true
Definition
The graph of an equation is a drawing that represents all ordered pairs that are
solutions of the equation.
We obtain the graph of an equation by plotting enough ordered pairs (that are
solutions) to see a pattern.
Example 1 Graph: y = 2x + 1.
Solution We first find some ordered pairs that are solutions and arrange them in a
table. To find an ordered pair, we can choose any number for x and then determine y.
For example, if we choose -2 for x and substitute that value in y = 2x + 1, we find
that y = 21 -22 + 1 = -4 + 1 = -3. Thus, 1-2, -32 is a solution. We select both
negative numbers and positive numbers, as well as 0, for x.
5 (2, 5)
x y 1x, y2 4 y = 2x + 1
3 (1, 3)
-2 -3 1-2, -32
2
-1 -1 1-1, -12
1 (0, 1)
0 1 10, 12
1 3 11, 32 –4 –3 –2 –1 1 2 3 4 x
(–1, –1) –1
2 5 12, 52
–2
(–2, –3) –3
(1) Choose any x.
–4
(2) Compute y.
(3) Form the pair 1x, y2.
(4) Plot the points.
After we plot the points, we look for a pattern in the graph. In this case, the points
Quick Check 1 suggest a solid line. We draw the line with a straightedge and label it y = 2x + 1.
Graph: y = 3 - x. 1
Example 2 Graph: 3x + 5y = 10.

Solution We could choose x-values, substitute, and solve for y-values, but we first
solve for y to ease the calculations.*
3x + 5y = 10
3x + 5y - 3x = 10 - 3x Subtracting 3x from both sides
5y = 10 - 3x Simplifying
1# 1#
5 5y = 5 110 - 3x2 Multiplying both sides by 15, or dividing
both sides by 5
y = 1
5
# 1102
- 1
5
# 13x2 Using the distributive law
3
= 2 - 5x Simplifying
= - 35 x + 2
Next we use y = - 35 x + 2 to find some ordered pairs, choosing multiples of 5 for x
to avoid fractions.
*Be sure to consult Appendix A, as needed, for a review of algebra.

(– 5, 5) 5
4
3
x y 1x, y2 3x + 5y = 10 (0, 2)
2
0 2 10, 22 1
5 -1 15, - 12
–5 – 4 –3 –2 –1 1 2 3 4 5 x
-5 5 1- 5, 52 –1
(5, –1)
–2
–3
Quick Check 2
Graph: 3x - 5y = 10. We plot the points, draw the line, and label the graph as shown. 2
Examples 1 and 2 show graphs of linear equations. Such graphs are considered in
greater detail in Section R.4.
Example 3 Graph: y = x 2 - 1.
Solution
y
x y 1x, y2 4
3 (2, 3)
-2 3 1- 2, 32 (–2, 3)
2 y = x2 – 1
-1 0 1- 1, 02
(–1, 0) 1
0 -1 10, - 12 (1, 0)
1 0 11, 02 – 3 –2 –1 1 2 3 4 x
–1
2 3 12, 32
–2 (0, –1)
Quick Check 3 This time the pattern of the points is a curve called a parabola. We plot enough points
Graph: y = 2 - x 2. to see a pattern and draw the graph. 3
Example 4 Graph: x = y2.

Solution In this case, x is expressed in terms of the variable y. Thus, we first choose
numbers for y and then compute x.
x y 1x, y2 3
(4, 2)
4 -2 14, -22 2
(1, 1) x = y2
1 -1 11, -12 1
0 0 10, 02 (0, 0) 1 2 3 4 5 6 x

–1
1 1 11, 12
(1) Choose any y. –2 (1, –1)
4 2 14, 22 (4, –2)
(2) Compute x. –3

Quick Check 4 We plot these points, keeping in mind that x is still the first coordinate and y the second.
Graph: x = 1 + y2. We look for a pattern and complete the graph by connecting the points. 4
Technology Connection
Introduction to the Use of a Graphing Calculator: It is often necessary to change viewing windows in or-
Windows and Graphs der to best reveal the curvature of a graph. For example, each
of the following is a graph of y = 3x 5 - 20x 3, but with a
Viewing Windows different viewing window. Which do you think best displays
In this first of the optional Technology Connections, we be- the curvature of the graph?
gin to create graphs using a graphing calculator. Most of the
y = 3x 5 – 20x 3
coverage will refer to the various models of TI-83 and TI-84 5000
calculators but in a somewhat generic manner, discussing
features common to most graphing calculators. Although
some keystrokes will be listed, exact keystrokes can be found –5 5
in the owner’s manual for your calculator or in the Graphing
Calculator Manual (GCM) that accompanies this text.
The viewing window is a feature common to all graph-
ing calculators. This is the rectangular screen in which a –5000
graph appears. Windows are described by four numbers

y = 3x5 – 20x3 y = 3x5 – 20x3
in the format [L, R, B, T], representing the Left and Right 500 80
endpoints of the x-axis and the Bottom and Top endpoints
of the y-axis. A window feature can be used to set these
dimensions. Below is a window setting of 3- 20, 20, - 5, 54
–4 4 –4 4
with axis scaling denoted as Xscl = 5 and Yscl = 1, which
means that there are 5 units between tick marks extending
from - 20 to 20 on the x-axis and 1 unit between tick marks
extending from - 5 to 5 on the y-axis. –500 –80
5 In general, choosing a window that best reveals a graph’s

WINDOW characteristics involves some trial and error and, in some
Xmin = –20
Xmax = 20 cases, some knowledge about the shape of the graph.
Xscl = 5
Ymin = –5 –20 20 To graph an equation like 3x + 5y = 10, most calcula-
Ymax = 5 tors require that the equation be solved for y. Thus, we must
Yscl = 1
Xres = 1 rewrite the equation and enter it as
–5 - 3x + 10 3
y = , or y = - x + 2.
Scales should be chosen with care, since tick marks 5 5
become blurred and indistinguishable when too many
(See Example 2.) Its graph is shown below.
appear. On most graphing calculators, a window setting
of 3- 10, 10, - 10, 104, Xscl = 1, Yscl = 1, Xres = 1 is y = – 35 x + 2
considered standard. 10
Graphs are made up of black rectangular dots called
pixels. The setting xres allows users to set pixel resolution
at 1 through 8 for graphs of equations. At Xres = 1, equa- –10 10
tions are evaluated and graphed at each pixel on the x-axis.
At Xres = 8, equations are evaluated and graphed at every
eighth pixel on the x-axis. The resolution is better for smaller
–10
Xres values than for larger ones.
To graph an equation like x = y2, we solve for y and
Graphs get y = 2x or y = - 1x. We then graph both equations,
Let’s use a graphing calculator to graph the equation
y1 = 2x and y2 = - 2x.
y = x 3 - 5x + 1. The equation can be entered by press-
ing E and entering x^3−5x+1. We obtain the following
graph in the standard viewing window. Exercises
Graph each of the following equations. Select the standard
y = x3 – 5x + 1 window, 3- 10, 10, - 10, 104, with Xscl = 1 and Yscl = 1.
10
1. y = x + 3 2. y = x - 5
3. y = 2x - 1 4. y = 3x + 1
–10 10
5. y = - 23 x + 4 6. y = - 45 x + 3
7. 2x - 3y = 18 8. 5y + 3x = 4
–10
(continued)
9. y = x 2 10. y = 1x + 422 17. y = ∙ x ∙ (On most calculators, this is entered as

y = abs1x2.)
11. y = 8 - x 2 12. y = 4 - 3x - x 2
18. y = ∙ x - 5 ∙ 19. y = ∙ x ∙ - 5
13. y + 10 = 5x 2 - 3x 14. y - 2 = x 3
20. y = 9 - ∙ x ∙
15. y = x 3 - 7x - 2 16. y = x 4 - 3x 2 + x
Mathematical Models
When a real-world situation is described using mathematics, the description is a
mathematical model. For example, the natural numbers constitute a mathematical
model for situations in which counting is essential. Also, the speed at which a body
falls due to gravity can be described using a mathematical model.
Mathematical models are abstracted from real-world situations. A mathematical
model may give results that allow us to predict what will happen in the real-world
situation. If the predictions are too inaccurate or the results of experimentation do
not conform to the model, the model must be changed or discarded.
CREATING A MATHEMATICAL MODEL

1. Recognize a 2. Collect 3. Analyze 4. Construct 5. Test and refine 6. Explain and
real-world data. the data. a model. the model. predict.
problem.
Mathematical modeling is often an ongoing process. For example, finding a math-

ematical model that will provide an accurate prediction of population growth is not
a simple task. Any population model that can be devised will need to be reshaped as
further information is acquired.
Example 5 The graph below shows participation by females in high school ath-
letics from 2004 to 2013.
PARTICIPATION OF FEMALES IN HIGH SCHOOL ATHLETICS

y
Number of female high school
3.4
3.17 3.17 3.21 3.22
3.2 3.08 3.11
athletes (in millions)
3.02
3.0 2.87 2.91 2.95
2.8
2.6
2.4
2.2
2.0
’04 ’05 ’06 ’07 ’08 ’09 ’10 ’11 ’12 ’13 x
Year
(Source: National Federation of State High School Associations.)
Use the model N = 0.041t + 2.88, where t is the number of years after 2004 and N is
the number of participants, in millions, to predict the number of female high school
athletes in 2017.
Quick Check 5 Solution Since 2017 is 13 years after 2004, we substitute 13 for t:
Using the model in Example 5,
N = 0.041t + 2.88 = 0.0411132 + 2.88 = 3.41.
determine the year in which the
number of female high school According to this model, in 2017, approximately 3.41 million females will participate
athletes will reach 3.5 million. in high school athletics. 5
As is the case with many kinds of models, the model in Example 5 is not perfect.
For example, for t = 1, we get N = 2.921, a number slightly different from the 2.91
in the original data. But, for purposes of estimating, the model is adequate. The cubic
model N = -0.00043t 3 + 0.003t 2 + 0.044t + 2.87 also fits the data, at least in the
short term: For t = 1, we get N ≈ 2.92, close to the given data value. But for t = 13,
we have N = 3.00, which is quite different from the prediction in Example 5. The dif-
ficulty with a cubic model here is that, eventually, its predictions become undepend-
able. For example, the model in Example 5 predicts that there will be 3.54 million
female high school athletes in 2020, but the cubic model predicts only 2.58 million.
We always have to subject our models to careful scrutiny.
Compound Interest
One important model that is extremely precise involves compound interest. Suppose
we invest P dollars at interest rate r, expressed as a decimal, and compounded annu-
ally. The amount A1 in the account at the end of the first year, is given by
A1 = P + Pr = P11 + r2. The original amount invested, P,
is called the principal.
Going into the second year, we have P11 + r2 dollars, so by the end of the second
year, we will have the amount A2 given by
A2 = A1 # 11 + r2 = 3P11 + r2411 + r2 = P11 + r22.
Going into the third year, we have P11 + r22 dollars, so by the end of the third year,
we will have the amount A3 given by
A3 = A2 # 11 + r2 = 3P11 + r22411 + r2 = P11 + r23.
In general, we have the following theorem.
Theorem 1
If an amount P is invested at interest rate r, expressed as a decimal, and
compounded annually, in t years it will grow to the amount A given by
A = P11 + r2t.
Example 6 Business: Compound Interest. Suppose $1000 is invested in

ibonacci Investment Fund at 5%, compounded annually. How much is in the account
F
at the end of 2 yr?
Solution We substitute 1000 for P, 0.05 for r, and 2 for t into the equation
A = P11 + r2t and get
A = 100011 + 0.0522 Substituting
= 100011.0522 Adding terms in parentheses
= 100011.10252 Squaring
Quick Check 6
= +1102.50. Multiplying
Business. Repeat Example 6 for
an interest rate of 6%. There is $1102.50 in the account after 2 yr. 6
For interest that is compounded quarterly (four times per year), we can find a for-
mula like the one above, as illustrated in the following diagram.
The number of times interest is

A = P(1 + r) t
compounded goes from t to 4t.
Each time interest

is compounded, the
r
(
A = P 1 + −r
4 ) 4t
rate used is −.
4
“Compounded quarterly” means that the interest is divided by 4 and compounded

four times per year. In general, the following theorem applies.
Theorem 2
If a principal P is invested at interest rate r, expressed as a decimal, and
compounded n times a year, in t years it will grow to an amount A given by
r nt
A = P a1 + b .
n
Example 7 Business: Compound Interest. Suppose $1000 is invested in

ellington Investment Fund at 5%, compounded quarterly. How much is in the
W
account at the end of 3 yr?
Solution We use the equation A = P11 + r>n2nt, substituting 1000 for P, 0.05 for r,
4 for n (compounding quarterly), and 3 for t. Then we get
#
0.05 4 3
A = 1000 a1 + b Substituting
4
= 100011 + 0.0125212
= 100011.0125212
= 100011.1607545182 Using a calculator to approximate 11.0125212
Quick Check 7
= 1160.754518
Business: Compound Interest.
≈ +1160.75. The symbol ≈ means “approximately equal to.”
Repeat Example 7 for an interest
rate of 6%. There is $1160.75 in the account after 3 yr. 7
A calculator with a y x or ^ key and a ten-digit readout was used to find

11.0125212 in Example 7. The number of places on a calculator may affect the accu-
racy of the answer. Thus, you may occasionally find that your answers do not agree
with those at the back of the book, which were found on a calculator with a ten-digit
readout. In general, when using a calculator, do all computations and round only at
the end, as in Example 7. Usually, your answer will agree to at least four digits. It is a
good idea to consult with your instructor about the accuracy required.
Section Summary
● Most graphs can be created by plotting points and ● An example of mathematical model is the formula for
looking for patterns. A graphing calculator can create compound interest. If P dollars are invested at interest
graphs rapidly. rate r, compounded n times a year for t years, then the
● Mathematical equations can serve as models of many amount A at the end of the t years is given by
kinds of applications. r nt
A = P a1 + b .
n
R.1 Exercise Set
Exercises designated by the symbol are Thinking and Press, 2/18/2010.) How fast was he going when he reen-
Writing Exercises. They should be answered using one or two tered the half-pipe?
English sentences. Because answers to many such exercises
will vary, solutions are not given at the back of the book.
Graph. (Unless directed otherwise, assume that “Graph”
means “Graph by hand.”)
1. y = x - 1 2. y = x + 4
3. y = - 14 x 4. y = - 3x
5. y = - 53 x + 3 6. y = 2
3 x - 4
7. x + y = 5 8. x - y = 4
9. 6x + 3y = - 9 10. 8y - 2x = 4 26. Skateboard bomb drop. The distance s1t2, in feet,
traveled by a body falling freely from rest in t seconds is
11. 2x + 5y = 10 12. 5x - 6y = 12 approximated by
13. y = x 2 - 5 14. y = x 2 - 3 s1t2 = 16t 2.
15. x = y2 + 2 16. x = 2 - y2 On April 6, 2006, pro skateboarder Danny Way smashed

the world record for the “bomb drop” by free-falling
17. y = ∙ 4 - x ∙ 18. y = ∙ x ∙ 28 ft from the Fender Stratocaster guitar atop the Hard
Rock Hotel & Casino in Las Vegas onto a ramp below.
19. y = 7 - x 2 20. y = 5 - x 2 (Source: www.skateboardingmagazine.com.) How long
21. y - 7 = x 3 22. y + 1 = x 3 did it take until he hit the ramp?
Applications
23. Medicine. Ibuprofen is a medication used to relieve pain.
The function
A = 0.5t 4 + 3.45t 3 - 96.65t 2 + 347.7t, 0 … t … 6,
can be used to estimate the number of milligrams, A,
of ibuprofen in the bloodstream t hours after 400 mg of
the medication has been swallowed. (Source: Based on
data from Dr. P. Carey, Burlington, VT.) How many mil-
ligrams of ibuprofen are in the bloodstream 2 hr after
400 mg has been swallowed?
24. Running records. According to at least one study, the
world record in any running race can be modeled by 27. Hearing-impaired Americans. The number N, in
a linear equation. In particular, the world record R, in millions, of hearing-impaired Americans of age x can
minutes, for the mile run in year x can be modeled by be approximated by the graph that follows.
R = - 0.006x + 15.714. N(x)
Use this model to estimate the world records for the mile 6
Number of hearing-impaired
Americans (in millions)
run in 1954, 2000, and 2015. Round your answers to the 5

nearest hundredth of a minute.
4 N
25. Snowboarding in the half-pipe. Shaun White, “The
3
Flying Tomato,” won a gold medal in the 2010 Winter
Olympics for snowboarding in the half-pipe. He soared 2
an unprecedented 25 ft above the edge of the half-pipe.
1
His speed v1t2, in miles per hour, upon reentering the
pipe can be approximated by v1t2 = 10.9t, where t is
0 20 40 60 80 100 x
the number of seconds for which he was airborne. White 92.3
Age (in years)
was airborne for 2.5 sec. (Source: “White Rides to
Repeat in Halfpipe, Lago Takes Bronze,” Associated (Source: Better Hearing Institute.)
Exercise Set R.1 27
Use the graph to answer the following. investment worth (rounded to the nearest cent) at the
a) Approximate the number of hearing-impaired end of 3 yr, if interest is compounded:
Americans of ages 20, 40, 50, and 60. a) annually? b) semiannually?
b) For what ages is the number of hearing-impaired c) quarterly? d) daily (use 365 days
Americans approximately 4 million? e) hourly? for 1 yr)?
c) Estimate the age for which the greatest number of
Americans is hearing-impaired. 32. Compound interest. The Kims deposit $1000 in Wiles
d) What difficulty do you have in making this Municipal Bond Funds, at 5%. How much is the invest-
determination? ment worth (rounded to the nearest cent) at the end
of 4 yr, if interest is compounded:
28. Life science: incidence of breast cancer. The following a) annually? b) semiannually?
graph approximates the incidence of breast cancer y, c) quarterly? d) daily (use 365 days
per 100,000 women, as a function of age x, where e) hourly? for 1 yr)?
x represents ages 25 to 102.
Determining monthly loan payments. If P dollars are
I(x)
borrowed at an annual interest rate r, the payment M made
each month for a total of n months is
500
r r n
a1 + b
Incidence of breast cancer
12 12
400 M = P
per 100,000 women
.
r n
I a1 + b − 1
300 12
200
33. Fermat’s Last Bank makes a car loan of $18,000, at 6.4%
interest and with a loan period of 3 yr. What is the
monthly payment?
100
34. At Haken Bank, Ken Appel takes out a $100,000 mort-
gage at an interest rate of 4.8% for a loan period of 30 yr.
0 10 20 30 40 50 60 70 80 90 100 110 120 x
What is the monthly payment?
Age
Annuities. If P dollars are invested annually in an annuity
(Source: Based on data from the National Cancer Institute.)
(investment fund), after n years, the annuity will be worth
a) What is the incidence of breast cancer in 40-yr-old 11 + r2n − 1

W = PJ R,
women? r
b) For what ages is the incidence of breast cancer about where r is the interest rate, compounded annually.
400 per 100,000 women?
c) Examine the graph and try to determine the age 35. Kate invests $3000 annually in an annuity from Mersenne
at which the largest incidence of breast cancer Fund that earns 6.57% interest. How much is the invest-
occurs. ment worth after 18 yr? Round to the nearest cent.
d) What difficulty do you have making this
36. Paulo establishes an annuity that earns 7 14% interest and
determination?
wants it to be worth $50,000 in 20 yr. How much will he
29. Compound interest. Southside Investments purchases need to invest annually to achieve this goal?
a $100,000 certificate of deposit from Newton Bank,
37. Condor population. The condor population in California
at 2.8%. How much is the investment worth (rounded
and Arizona from 2002 to 2012 is approximated in the
to the nearest cent) at the end of 1 yr, if interest is
graph below.
compounded:
CONDOR POPULATION
a) annually? b) semiannually? y
c) quarterly? d) daily (use 365 days
400
e) hourly? for 1 yr)?
Number of condors
350
(wild and captive)
30. Compound interest. Greenleaf Investments purchases

a $300,000 certificate of deposit from Descartes Bank, 300
at 2.2%. How much is the investment worth (rounded 250
to the nearest cent) at the end of 1 yr, if interest is
compounded: 200
a) annually? b) semiannually? 150

c) quarterly? d) daily (use 365 days
e) hourly? for 1 yr)? ’02 ’03 ’04 ’05 ’06 ’07 ’08 ’09 ’10 ’11 ’12 x
Year
31. Compound interest. Stateside Brokers deposit $30,000 in (Source: Based on data from esasuccess.org.)
Godel Municipal Bond Funds, at 4%. How much is the
a) In what years was the condor population at or above while Commonwealth Savings offers 4.43%, com-
230? pounded monthly.
b) In what year was the condor population at 200? a) Find the annual yield for both accounts.
c) In what year was the condor population the highest? b) Which account has the higher annual yield?
d) In what year was the condor population the lowest?
46. Chris is considering two savings accounts: Sierra
38. Speculate as to why the condor population in California Savings offers 5%, compounded annually, on savings
and Arizona experienced such a dramatic rise in accounts, while Foothill Bank offers 4.88%, com-
2007–2008. pounded weekly.
a) Find the annual yield for both accounts.
Synthesis b) Which account has the higher annual yield?
Retirement account. Sally makes deposits into a retirement 47. Stockman’s Bank will pay 4.2%, compounded annually,
account every year from the age of 30 until she retires at on a savings account. A competitor, Mesalands Savings,
age 65. offers monthly compounding on savings accounts. What
If Sally deposits $1200 per year and the account
39. a) is the minimum annual interest rate that Mesalands
earns interest at a rate of 4% per year, compounded needs to pay to make its annual yield exceed that of
annually, how much will she have in the account Stockman’s?
when she retires? (Hint: Use the annuity formula 48. Belltown Bank offers a certificate of deposit at 3.75%,
given for Exercises 35 and 36.) compounded annually. Shea Savings offers savings
b) How much of that total amount is from Sally’s accounts with interest compounded quarterly. What is
deposits? How much is interest? the minimum annual interest rate that Shea needs to pay
Sally plans to take regular monthly distributions
40. a) to make its annual yield exceed that of Belltown?
from her retirement account from the time she
retires until she is 80 years old, when the account
will have a value of $0. How much should she take Technology Connection
each month? Assume the interest rate is 4% per year,
compounded monthly. (Hint: Use the formula given The Technology Connection heading indicates exercises
for Exercises 33 and 34 that calculates the monthly designed to provide practice using a graphing calculator.
payments on a loan.)
b) What is the total of the payments she will receive? Graph.
How much of the total will be her own money
49. y = x - 150 50. y = 25 - ∙ x ∙
(see part b of Exercise 39), and how much will be
interest? 51. y = x 3 + 2x 2 - 4x - 13
Annual yield. The annual interest rate r, when compounded 52. y = 223 - 7x 53. 9.6x + 4.2y = - 100
more than once a year, results in a slightly higher yearly
interest rate; this is called the annual (or effective) yield 54. y = - 2.3x 2 + 4.8x - 9
and denoted as Y. For example, $1000 deposited at 5%, 55. x = 4 + y2 56. x = 8 - y2
compounded monthly for 1 yr (12 months), will have a value
of A = 100011 + 0.05 12 = $1051.16. The interest earned
12 2
is $51.16/$1000, or 0.05116, which is 5.116% of the original Answers to Quick Checks
deposit. Thus, we say this account has a yield of Y = 0.05116,
1. y = 3 - x 2. 3x - 5y = 10
or 5.116%. The formula for annual yield depends on the annual
y y
interest rate r and the compounding frequency n:
6 4
r n 4 2
Y = a1 + b − 1.
n 2
−4 −2 2 4 x
−2
For Exercises 41–48, find the annual yield as a percentage, −4 −2
−2
2 4 x
−4
to two decimal places, given the annual interest rate and the
compounding frequency.
3. y = 2 - x 2 4. x = 1 + y2
41. Annual interest rate of 5.3%, compounded monthly y y
2 2.0
42. Annual interest rate of 4.1%, compounded quarterly 1.0
−2 −1 1 2 x
−2
43. Annual interest rate of 3.75%, compounded weekly −1 1 2 3 x
−4 −1.0
44. Annual interest rate of 4%, compounded daily −6 −2.0
45. Lena is considering two savings accounts: Western Bank 5. 2019 6. There is $1123.60 in the account after 2 yr.
offers 4.5%, compounded annually, on saving accounts, 7. There is $1195.62 in the account after 3 yr.
R .2 ● Functions and Models 29
Functions and Models

R.2 Identifying Functions
The idea of a function is one of the most important concepts in mathematics. Put sim-
ply, a function is a special kind of correspondence between two sets. Let’s look at the
● Determine whether a following.
correspondence is a function.
● Find function values. To each letter on a telephone keypad there corresponds a number.
● Graph functions and determine To each model of television in a store there corresponds its price.
whether a graph is that of a To each real number there corresponds the cube of that number.
function.
In each of these examples, the first set is called the Correspondence
● Graph functions that are domain and the second set is called the range. Given Domain Range
piecewise-defined. a member of the domain, there is exactly one member
of the range to which it corresponds. This type of cor-
respondence is called a function.
Definition
A function is a correspondence between a first set, called the domain, and a
second set, called the range, such that each member of the domain corresponds
to exactly one member of the range.
Example 1 Determine whether or not each correspondence is a function.

a) Cumulative number of iPhones sold b) Squaring
Domain Range Domain Range
2009 20,400,000 3 9
2010 40,000,000 4 16
2011 72,000,000 5
2012 125,400,000 -5 25
(Source: Apple Inc.)
c) Basketball teams d) Basketball teams

Domain Range Domain Range
New York Knicks Knicks New York
Los Angeles Lakers Lakers Los Angeles
Clippers Clippers
Atlanta Hawks Hawks Atlanta
Solution
a) The correspondence is a function because each member of the domain corresponds
(is matched) to only one member of the range.
b) The correspondence is a function because each member of the domain corresponds
to only one member of the range, even though two members of the domain
correspond to 25.
c) The correspondence is not a function because one member of the domain, Los
Angeles, corresponds to two members of the range, the Lakers and the Clippers.
d) The correspondence is a function because each member of the domain corresponds

to only one member of the range, even though two members of the domain
correspond to Los Angeles.
Quick Check 1
Determine whether or not each Example 2 Determine whether or not each correspondence is a function.
correspondence is a function.
Domain Correspondence Range
a) The domain is the books in a
a) A family Each person’s weight A set of positive numbers
library, the range is the set of
positive integers, and the cor- b) The integers Each number’s square A set of nonnegative
respondence is the page count 5 c, -3, -2, -1, 0, 1, 2, 3, c6
integers:
of each book. 50, 1, 4, 9, 16, 25, c6
b) The domain is the letters of the c) The set of all states Each state’s The set of all 100
alphabet, the range is the set of U.S. Senators U.S. Senators
people listed in the white pages Solution
of the New York City phone
a) The correspondence is a function because each person has only one weight.
book, and the correspondence
is the first letter of a person’s b) The correspondence is a function because each integer has only one square.
last name. c) The correspondence is not a function because each state has two U.S. Senators. 1
Consistent with the definition on p. 29, we regard a function as a set of ordered

pairs, such that no two pairs have the same first coordinate paired with different sec-
ond coordinates. The domain is the set of all first coordinates, and the range is the set
of all second coordinates. Function names are usually represented by lowercase let-
ters. Thus, if f represents the function in Example 1(b), we have
f = 513, 92, 14, 162, 15, 252, 1-5, 2526
and
Domain of f = 53, 4, 5, -56; Range of f = 59, 16, 256.
Finding Function Values

Many functions can be described by an equation like y = 2x + 3 or y = 4 - x 2. To
graph the function given by y = 2x + 3, we find ordered pairs by performing calcu-
lations for selected x values.
for x = 4, y = 2x + 3 = 2 # 4 + 3 = 11; The graph includes
14, 112.
for x = -5, y = 2x + 3 = 2 # 1-52 + 3 = -7; The graph includes
1-5, - 72.
for x = 0, y = 2x + 3 = 2 # 0 + 3 = 3; and so on. The graph includes
10, 32.
For y = 2x + 3, the inputs (members of the domain) are the values of x substi-
tuted into the equation. The outputs (members of the range) are the resulting values
of y. If we call the function f, we can use x to represent an arbitrary input and f1x2,
read “ f of x” or “ f at x” or “the value of f at x,” to represent the corresponding output.
In this notation, the function given by y = 2x + 3 is written as f1x2 = 2x + 3, and
the calculations above can be written more concisely as
f142 = 2 # 4 + 3 = 11;
f1 -52 = 2 # 1-52 + 3 = -7;
f102 = 2 # 0 + 3 = 3; and so on.
Thus, instead of writing “when x = 4, the value of y is 11,” we can simply write
“ f142 = 11,” which is most commonly read as “ f of 4 is 11.”
It helps to think of a function as a machine. Think of f142 = 11 as the result of

putting a member of the domain (an input), 4, into the machine. The machine knows
the correspondence f1x2 = 2x + 3, computes 2 # 4 + 3, and produces a member of
the range (the output), 11.
Function: f1x2 = 2x + 3
x
Input Output
4 11
-5 -7
0 3
f f (x)
t 2t + 3
a + h 21a + h2 + 3
Remember that f1x2 does not mean “ f times x” and should never be read that way.
Example 3 The squaring function f is given by

f1x2 = x 2.
Find f1 -32, f112, f1k2, f12k 2, f11 + t2, and f1x + h2.
Solution We have
f1 -32 = 1 -322 = 9;
f112 = 12 = 1;
f1k2 = k 2;
f12k 2 = 1 2k 22 = k;
f11 + t2 = 11 + t22 = 1 + 2t + t 2; For a review of algebra, see
Appendix A on p. 601.
Quick Check 2
f1x + h2 = 1x + h22 = x 2 + 2xh + h2.
A function f is given by
f1x2 = 3x + 5. Find To find f1x + h2, remember what the function does: It squares the input. Thus,
f142, f1-52, f102, f1a2, f1x + h2 = 1x + h22 = x 2 + 2xh + h2. This amounts to replacing x on both sides of
and f1a + h2. f1x2 = x 2 with x + h. 2
Example 4 A function f is given by f1x2 = 3x 2 - 2x + 8. Find f102, f1-52,

and f17a2.
Solution One way to find function values when a formula is given is to think of the
formula with blanks, or placeholders, as follows:
f1 2 = 3# 2 - 2 # + 8.
To find an output for a given input, we think: “Whatever goes in the blank on the left
goes in the blank(s) on the right.”
Quick Check 3 f102 = 3 # 02 - 2 # 0 + 8 = 8

A function f is given by f1-52 = 31-522 - 2 # 1-52 + 8 = 3 # 25 + 10 + 8 = 75 + 10 + 8 = 93
f1x2 = 3x 2 + 2x - 7. Find f17a2 = 317a22 - 217a2 + 8 = 3 # 49a2 - 14a + 8 = 147a2 - 14a + 8
f142, f1-52, f102, f1a2, and f15a2. 3
The TABLE Feature

The table feature is one way to find ordered pairs of The arrow keys, h and e, allow us to scroll up and
inputs and outputs of functions. To see how, consider down the table and extend it to other values not initially
the function given by f1x2 = x 3 - 5x + 1. We enter it as shown.
y1 = x 3 - 5x + 1. To use the table feature, we access the X Y1
12.3 1800.4
table setup screen and enter the x-value at which the table 13.3 2287.1
will start and an increment for the x-value. For this equation, 14.3 2853.7
15.3 3506.1
let’s set TblStart = 0.3 and ∆Tbl = 1. (Other values can be 16.3 4250.2
17.3 5092.2
chosen.) This means that the table’s x-values will start at 18.3 6038
0.3 and increase by 1. X = 18.3
TABLE SETUP
TblStart = .3
DTbl = 1 Exercises
Indpnt: Auto Ask
Depend: Auto Ask Use the function given by f1x2 = x 3 - 5x + 1 for
Exercises 1 and 2.
1. Use the table feature to construct a table starting with
x = 10 and ∆Tbl = 5. Find the value of y when x is 10.
We next set indpnt and Depend to Auto and then press Then find the value of y when x is 35.
table. The result is shown below.
2. Adjust the table settings to indpnt: ask. How does the table
X Y1
.3 –.473
change? Enter a number of your choice and see
1.3 –3.303 what happens. Use this setting to find the value of y
2.3 1.667
3.3 20.437 when x is 28.
4.3 59.007
5.3 123.38
6.3 219.55
X = .3
Example 5 A function f subtracts the square of an input from the input:

f1x2 = x - x 2.
f1x + h2 - f1x2
Find f142, f1x + h2, and .
h
Solution We have
f142 = 4 - 42 = 4 - 16 = -12;
and f1x + h2 = 1x + h2 - 1x + h22
= x + h - 1x 2 + 2xh + h22 Squaring the binomial
= x + h - x 2 - 2xh - h2.
f1x + h2 - f1x2
For the expression , we have
h
f1x + h2, found above f1x2
$+++ ++%+++ ++& $+%+&
f1x + h2 - f1x2 x + h - x - 2xh - h - 1x - x 22
2 2
=
h h
Quick Check 4 2
h - 2xh - h
A function f is given by = Simplifying
h
f1x2 = 2x - x 2. Find
f142, f1x + h2, and h11 - 2x - h2
= Factoring
f1x + h2 - f1x2 h
.
h = 1 - 2x - h, for h ≠ 0. 4
Graphs of Functions
Consider again the function given by f1x2 = x 2. The input 3 is associated with the
output 9. The input–output pair 13, 92 is one point on the graph of this function.
Definition y
The graph of a function f is a draw-
ing that represents all the input– Graph of f
output pairs 1x, f1x22. In cases where y = f(x)
the function is given by an equation,
(x, f(x))
the graph of the function is the graph
of the equation y = f1x2. x
It is customary to locate input values (the domain) on the horizontal axis and
output values (the range) on the vertical axis.
Example 6 Graph: f1x2 = x 2 - 1.

Solution
y
4
x f1x2 1x, f1x2
(−2, 3) 3 (2, 3)
-2 3 1- 2, 32 2
f(x) = x2 − 1
-1 0 1- 1, 02 (−1, 0) 1
(1, 0)
0 -1 10, -12
−3 −2 −1 1 2 3 4 x
1 0 11, 02 −1
(1) Choose any x. 2 3 12, 32 −2
(0, −1)
(2) Compute y.
Quick Check 5 We plot the input–output pairs from the table and, in this case, draw a curve to com-
Graph: f1x2 = 2 - x 2. plete the graph. 5
Graphs and Function Values to use the trace feature. To do so, graph the function, press
trace, and either move the cursor or enter any x-value that is
We graphed equations in the Technology Connection in in the window. The corresponding y-value appears automati-
Section R.1. To graph a function, we use the same procedure, cally. Function values can also be found using the value or
after changing the “ f1x2 = ” notation to “y = .” Thus, y-vars feature. Consult an owner’s manual or the GCM for
to graph f1x2 = 2x 2 + x, we key in y1 = 2x 2 + x. details.
10
Y1 = 2X 2 + X Exercises
1. Graph f1x2 = x 2 + 3x - 4. Then find f1 - 52, f1 - 4.72,
–10
f1112, and f12>32. (Hint: To find f1112, be sure that the
10
window dimensions for the x-values include x = 11.)
X = –2 Y=6 2. Graph f1x2 = 3.7 - x 2. Then find f1 - 52, f1 - 4.72, f1112,

–10 and f12>32.
There are several ways to find function values. One is 3. Graph f1x2 = 4 - 1.2x - 3.4x 2. Then find f1 - 52,
to use the table feature, as previously discussed. Another is f1 - 4.72, f1112, and f12>32.
The Vertical-Line Test y
Let’s now determine how to look at a graph and de- x = y2

(x 1, y1)
cide whether it represents a function. In the graph y1
at the right, note that the input x1 has two outputs.
Since a function has exactly one output for every
input, this graph cannot represent a function. Note x1 x
that a vertical line can intersect the graph in more
than one place. y2
(x1, y2)
The Vertical-Line Test

A graph represents a function if it is impossible to draw a vertical line that
intersects the graph more than once.
Example 7 Determine whether each of the following is the graph of a function.

a) y b) y c) y
x x x
d) y e) y f) y
Quick Check 6
Determine whether each of x
the following is the graph
a x a x
of a function.
a) y
Solution
a) The graph is that of a function. It is impossible to draw a vertical line that intersects
x
the graph more than once.
b) The graph is not that of a function. A vertical line (in fact, many) can intersect the
graph more than once.
b) y c) The graph is not that of a function.
d) The graph is that of a function.
e) The graph is that of a function. Note that a vertical line at x = a would intersect
the graph once.
x
f) The graph is not that of a function. Note that a vertical line at x = a would intersect
the graph more than once. 6
Functions Defined Piecewise

Sometimes functions are defined piecewise, using different output formulas for
different parts of the domain, as in parts (e) and (f) of Example 7. To graph a piecewise-
defined function, we usually work from left to right, using the correspondence specified
for the x-values on each part of the horizontal axis.
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If the certain chivalric romanticism of Weber’s music is hard to
analyze, the special charm of Schubert’s is wholly elusive. We have
to do with an utterly different nature. Weber was an aristocrat, a
rover among wild companions, a hanger-on at the theatre for a while,
if you will, but none the less of distinguished birth, of polished
manners and of fine wit. Schubert was more than any other of the
composers, even more than Haydn, a man of the people. He was
happy to mingle with the peasants, happy to play hours at a time for
their dancing. Beethoven is said to have modelled the music of the
country people’s dance in the ‘Pastoral Symphony’ upon the music
he heard played in a certain country tavern to which at one time he
delighted to go. Brahms in his impoverished boyhood used to earn a
few pence by playing for the sailors’ dancing in the taverns along the
waterfront of Hamburg. But Beethoven regarded himself, as we have
said, as the high priest of an exalted art; and Brahms was hardly less
imperious. Yet Schubert, for all his ideals which rose ever and ever
higher, for all the fact that he numbered acquaintances in the same
aristocratic families which had seen Haydn, Mozart, and Beethoven
come and go, remained a man of the people, a singer in the sway of
his art, a loveable, reckless, sentimental and affectionate boy.
All his music is lyrical. The song is never absent from his pianoforte
works, no matter how instrumental parts of them may be. He is
essentially a melodist. His rhythms have the lilt of a dance. These
two elements are not disguised. They undergo no intellectual
transformations. They are as obvious as in the folk-songs and
dances of the country people with whom he loved to associate.
Hence the almost complete lack of sophistication in his music, the
naturalness which distinguishes it from all other music.
His harmonies are strange and warm. They lack the subtlety of
Mozart on the one hand, the frankness of Weber on the other. They
have not the expressive significance of Beethoven. They seem
rather to go beside his music than to go under it. One listens through
them, so to speak, as one might look upon a procession through a
colored mist that now conceals, now discloses, that always plays
magic tricks with the sight. Two harmonic procedures appear more
or less regularly in his music. One is the interchange of major and
minor, the other the bodily shifting of the harmonic fabric up and
down the scale. The latter are changes rather than modulations. By
reason of these unexpected, unaccountable harmonies, his music
sounds now near, now far. One moment it is with us and familiar, the
next it is aloof and strange.
Schubert’s hands were thick, his fingers short and fat. Though he
was not an elegant or a polished player, he had great beauty of
touch and a natural, easy fluency, especially in the rapid passages of
his own works. Richard Heuberger, in his excellent book on
Schubert, points to the fact that most of Schubert’s pianoforte music
is written in keys that require the use of many black notes on the
keyboard; and suggests, as one reason for this, that Schubert found
it easier to play in such keys. It is generally admitted that the key of
G major is the most difficult for the pianist.
Schubert’s pianoforte music comprises many long sonatas, two sets

of impromptus, a set of short pieces called ‘Musical Moments’ and a
number of waltzes and other dances. The sonatas are for the most
part unsatisfactory as such. In such extended forms there is need of
an intellectual command of the science of music, and a sense of
great proportions, both of which Schubert lacked. Hence the
separate movements, the first and even more often the last, are
loose and rambling in structure, and too long for the work as a
whole. There is so little cohesion in the group that one may in most
cases take the individual movements quite out of it and play them
with perfect satisfaction.
Not all the movements are over-long, and some of the sonatas can
be enjoyed in their entirety. Perhaps the most satisfactory from the
point of view of structure is that in A minor, opus 42. In this the first
movement is admirably constructed, firmly knit, full of distinct
contrast, and in the middle section well developed. The andante and
variations is undeniably long, but the formal preciseness of the
following movement and of the rondo succeeds in giving to the group
a definiteness and balance which will pass muster.
A sonata in D major, opus 120, is considerably shorter, but is even
from the point of view of form less satisfactory. The first movement
reveals one of Schubert’s great weaknesses. It happens here to be
almost inconsiderable, but it is none the less evident. This is the lack
of ideas in the treatment of the development section. There are nine
measures which give the impression that Schubert was content to
keep his music going with makeshifts. We have nothing of any
significance, a series of octaves in the left hand answered by a
series in the right, and a full chord at the beginning of each measure,
whereby a desired modulation from the key of C-sharp minor to that
of A major is accomplished.
This is bare music. The passage is so short that it hardly mars the
movement seriously, but unhappily other movements are nearly
destroyed by the weakness at which this one hints. For example, the
first movement of a sonata in A minor, opus 143, which contains
themes that are truly inspired, breaks hopelessly adrift in the
development section. The section is fatally long, too. And what does
it offer to hold our interest? Only measure after measure of an
unvaried dotted rhythm, for the most part in the right hand over
chords which may be beautiful but are seemingly without any aim.
Schubert either does not know what to do or he is utterly lost in
dreaming.
This is real tragedy in music, the ruin of most beautiful ideas by a

fatal weakness. The opening theme promises even more than that of
the earlier sonata in the same key. It is most mysterious, most
suggestive, the very best of Schubert. And the second theme is of
unearthly beauty. But in this weak movement both are lost, both
thrown away. The whole sonata suffers in consequence. The
andante is not especially noteworthy, but the scherzo is a
masterpiece, not only of expression, but of workmanship; and so is
the final rondo.
Similarly, the sonata in B-flat major, written not long before he died,
falls into a heap of ruins. The first theme of the first movement is
matchless in beauty. Schubert is loth to leave it, we are loth to have
it go. A strange melody in F-sharp minor does for a second theme,
and this simply rambles on through sudden changes of harmony until
it reaches the key of F major, only to give way to measure after
measure of equally aimless wandering, with only figures to save the
music from amorphousness. Note then a closing theme of perfect
beauty! Play it with all tenderness, with all the delicate suggestion
you can put into it, and still even this first section of the music is long
and overbalanced. There is a wealth of poetry in it, even a great
depth of feeling and a heart-moving sadness. It seems a sacrilege to
decry it; yet there it stands, frustrate.
The development section is what one would expect, weak in

structure. Yet the second part of it is strangely moving, from the
establishment of the key of D minor to the return of the first theme.
The life of the music seems held in suspense. There is only a steady
hushed tapping of triads, measure after measure, swaying from D
minor to F major and ever back again, with reminiscences of the
rambling measures in F major of the first section, floating here and
there like mist in a dull rain. Strains of the first theme drift by, there
are low muffled trills on D. Finally, the tapping ceases, as rain might
cease; a quiet scale, like drops from the branches of some wet tree,
falls to a low trill, and, after a silence, the first theme comes back into
the music.
One can hardly find sadder or more beautiful music than these
measures, or than the lovely first theme; and yet the movement is
strangely without form and void. The andante which follows it is
overdrawn. The repetitions of the sections in A major might have
been omitted to better effect; but there is no looseness of structure.
The music is unspeakably sad, with the sadness of the songs of the
Winterreise. The scherzo is flawless, the final rondo long but well
sustained. Yet, by reason of the aimlessness of long measures in the
first movement, the sonata as a whole is like a condemned building.
And in this sonata, too, there is an intensity of mood that, except for
the last movement, should succeed in welding the whole group
together. Even the last movement is not entirely independent.
What is most lamentable in all this is that Schubert poured much of
his most inspired music into the sonatas. Little of his music presents
more intrinsically beautiful material. In no other of his pianoforte
pieces did he show such a wide and varied control of the technical
possibilities of the instrument. Yet all would seem to be of little or no
avail. Many of the most precious of his poetic fancies lie buried in
these imperfect works.
Though Schubert was not a virtuoso, he displayed instinct for and

ingenuity in devising pianoforte effects. In the huge ‘Wanderer
Fantasy,’ opus 15, he seems to have set himself the task of
awakening the greatest possible resonance of the instrument. The
big chords and arpeggios in the first movement are not, however,
overpoweringly effective. The variations in the second are more
successful. They certainly look impressive on the printed page, and
the sound of the climax is gigantic. But the stupendous is not natural
to Schubert on the whole. He is more of a poet than a virtuoso. The
first movement and the scherzo of the sonata in D major, opus 53,
are big in effect. The spacing and rhythm in the piu lento section of
the first movement has been pointed out by Heuberger as significant.
The vigorous first subject of the scherzo can make the piano ring.
But in general Schubert shows at his best as regards pianoforte
writing in more delicate measures, and in brilliant rather than
massive and sonorous effects. The last movement of the sonata in A
major, opus 120, is a good example of a piquant style of which he
was master. Here the long scales terminating in chords high up on
the keyboard are quite dazzling.
He was not especially original in accompaniment figures. One finds a

great deal of mediocre Alberti-bass stuff. On the other hand, he is a
master in weaving a more subtle sort of arabesque about his
melodies, or over or below them. One sees this not far from the
beginning of the adagio movement of the big fantasy opus 15, in the
ornamentation of the Fantasia, opus 27, and in the Trio of the
Scherzo in opus 147. The closing measures of the first section of the
first movement of this sonata are very like Chopin. There are many
passages of excellent free writing for the instrument, such as the C
major section of the allegretto in opus 164. This, and, in another way,
the second section of the minuet in opus 122, are very like passages
in the Schumann Carnaval. On the whole his treatment of the
pianoforte is more delicate and more distinguished than Weber’s.
Dr. Oskar Bie has remarked wisely in his history of pianoforte music
that to one who has not a soft touch the beauties of Schubert’s
music will not be revealed. It is particularly in lovely, veiled passages
that he excels. Except for the final rondo almost all of the sonata in
B-flat major to which we have referred is to be played very nearly
pianissimo. The poetic and generous Schumann felt that in certain
parts of the andante of the great C major symphony, a spirit from
heaven might be walking through the orchestra, to which the
instruments would seem to be listening. There are many passages in
the pianoforte music which suggest such ghostly visitations, which
whisper far more than speak. And in such places Schubert’s scoring
will be found to be matchless, as delicate as Chopin’s, though less
complicated.
In spite of the many inspired themes in the sonatas, and of the

variety and richness of pianoforte effects with which they are often
presented, the works are, as we have already said, too faulty or too
weak in structure to hold a secure and honored place in pianoforte
literature. It is vain to speculate on what Schubert might have done
with the form had he lived longer. The last sonata is discouraging.
But in shorter forms there is no doubt that he was a supreme and

perfect artist. The two sets of impromptus and the set of shorter
pieces called the Moments Musicals are masterpieces. It is hardly an
exaggeration to say that in them lie concealed the root and flower of
the finest pianoforte literature produced during the next half century
or more in Germany. Mendelssohn, Schumann, and Brahms owe
immensely to them.
Each set of Impromptus consists of four pieces. The title was not
given to them by Schubert, but was added by the publishers of the
first editions, the Haslingers of Vienna. Schumann suggested that
the first, second, and fourth of the second set might be taken as
three movements of a sonata in F minor. The first of these is very
much after the manner of the first movements of Schubert’s sonatas;
but the first section is not repeated, and the section which at first
might suggest a real development section is repeated entirely at the
end of the piece.
The first impromptu of the first set is built on a single phrase. The
quality of the music is legendary. A sharp preliminary G claims our
attention, and then the story begins, pianissimo, a single voice,
answered, as it were, by a chorus; and what this voice sings, or
rather chants, is the burden of the rest. One might fancy the piece a
series of variations but that there seems to be some story
progressing with it. At times the theme is smooth and serene, as in
the A-flat major section near the beginning, where it floats along over
a rolling accompaniment. Later on it is passing through dark, wild
forests. The agitated triplet octaves, inexorably on G, suggest the
‘Erl King.’ And so ever on, the same phrase, as if it were a lone
soldier on his way through a land now wild and dreary, now sunny.
During the last two pages the restless triplet figures are never still,
and always they come back to beat on G. Just before the end the
agitation stops, but still the G persists, in long octaves, and still the
tramp of the soldier keeps on. What it may mean no one can tell.
The impression is that the strange music continues on, long after our
ears have heard it die away.
The second impromptu is for the most part in a light and happy vein.
There is a constant flow of triplet figures, wonderfully graceful and
sinuous, over the simplest of accompaniments. A sudden change of
mood, an abrupt modulation, usher in a section in the nature of a
trio. There is a bold melody, greatly impassioned, very much after
the manner of Schumann; a breadth of style and a power wholly
different from the light figure-work which has preceded it. But back to
the lighter mood the music comes again, back to the flow of
exquisite, light sound, only to be brought once more to a sudden
check. There is a short coda of greatest vehemence and brilliance.
Here is salon music of a wholly new variety. It has nothing in
common with the showy polonaises and rondos of Weber, nor yet
with the sentimental nocturnes of Field. In fact, one would find it
difficult to find its parallel elsewhere in the literature of pianoforte
music, its strange combination of ingenuousness and grace and wild
passion.
The third is in G-flat major, though it is perhaps better known in the

key of G, to which Haslinger took the liberty of transposing it, much
to the harm of its effect. It is in the nature of a reverie, akin to the
nocturnes of Field in spirit, but far broader in plan and more healthy
in sentiment.
Something of the airiness of the second impromptu is to be found in

the fourth; but here the runs have an harmonic significance rather
than a melodic. They are flowing chords, successive light showers of
harmonies. The very sameness of the figuration adds to the charm,
and does not, it may be added, take away from the difficulty. Only
twice is the gentle vibration so produced interrupted for long; once to
give way to a short melody, once during the long, impassioned
middle-section in C-sharp minor.
What stands out in this group of pieces as a whole is the restraint in

form, so lacking in the sonatas, and the fineness of pianoforte style.
There is a great economy of writing. The piano is left to speak for
itself; it is not often taxed to make music grand enough for the
orchestra. In the second and fourth of the series an accompaniment
is hardly more than suggested, except in the impassioned middle
sections; yet the passage work is in no way of the virtuoso type. It
has a refinement that is, apart from Bach, Mozart, and Chopin,
unusual in pianoforte music. And what is ever worthy of notice in all
the work of Schubert is the prevalent pianissimo. The spiritual visitor
is ever present. One feels that Schubert was wholly lost in his music,
that he surrendered himself utterly to the delight of sound, of softest
sound. The four works are equally inspired. They are full of ecstasy,
full of rapture.
The impromptus of the second set are not so invariably fine, yet as a
whole they are a momentous contribution. The first and the fourth
are longer and more elaborate than any in the first set, and
consequently one feels in them the lack of proportion and control
which weakened the sonatas. The third is, as a matter of fact, a
series of variations; and they can hardly be said to suffer from any
weakness. Rather they are exceedingly well done. However, better
variations have been written—not, it may be remarked, by Weber—
and the form is dangerously likely to prove stupid except in the
hands of a man who has a special skill in it. There is necessarily
lacking a chance for that spontaneity and freedom which one
associates more with Schubert than with any other composer.
The last impromptu is conspicuous for a gay brilliance, perhaps a

better brilliance than Weber revealed, but a less effective one. It
suggests Liszt. Passages remind one of the Gnomenreigen. There
can be no mistaking the Hungarian quality of the melodies, the mad,
rhapsodical, Gypsy style.
The first impromptu contains more of the quality of the extraordinary

Schubert; is perhaps too long, but is full of fine inspiration and
romantic fancy. The opening theme is in ballade style, with a rather
incongruous touch of conventionality here and there. The second
theme is purely lyrical, though the persistent eighth-note rhythm in
which it is presented gives it a spirit of restlessness. It is thrice
repeated, and the figure-work in the high registers which adorns the
third statement of it is effective and beautiful. The theme itself is
silenced unexpectedly and the figure-work leads down again into the
deep registers, where it flows in a hushed arpeggio figure. Over this
a third theme is suggested, which, with its answer woven in the
accompaniment, constitutes a distinct second section of the piece,
releases a different mood. It is for the most part soft, yet it is
strangely impassioned. It leads back again to the first theme and the
whole is repeated, with a change only of key. At the end, the first
theme once more adds a touch of the ballade. The two measures
before the final chords have all the strange power of suggestion
which one associates with Schubert, leaving one with the impression
that the music has rather passed on than ended, as if the song, like
that of the ‘Solitary Reaper,’ could have no ending.
There is no contemporary music with which one may compare these

impromptus. They are not sentimental idylls like the nocturnes of
Field, nor show pieces like the shorter works of Weber. They have
nothing in common with the music of the contemporary virtuosi, nor
with that of any virtuosi. They are extraordinarily rich in genuine
musical worth, and, like all of Schubert’s music, in form or out of
form, inspired. Even more remarkable are the six short pieces called
‘Musical Moments.’ Three of these are but two pages long; only one
more than four. Each is wholly different from the others in mood. In
all of them the pianissimo prevails. Schubert is whispering, not
speaking. They are essentially pianoforte music, too. Though there is
nothing elaborate in the style of them, not the slightest trace of a
striving for new effects, yet it may be questioned if any German
pianoforte music shows greater understanding of what one might call
the secret and intimate qualities of the instrument.
There is practically no thickness of scoring. Only the trio sections of

the first and last are open to even suspicion in this regard. There is
no commonplaceness or makeshift in the accompaniments. The
monotonous tum-tum of the third is necessary in the expression of
the mood of dance and song which the piece embodies, of wild
dancing and intensely emotional song, more than half sad. The
workmanship of all is delicate, whether it be deliberate or instinctive.
There is in all a great appreciation of effects of contrast, of loud and
soft, which are the very first of the peculiarities of the instrument; an
appreciation of the sonority, rich but not noisy, which the pedal
allows; of the charm of soft and distinct passage notes, of vigorous,
percussive rhythm. All is perhaps in miniature; but the six pieces are
the essence of German pianoforte music, both in quality and style;
the very root and stock of the short pieces of Schumann and Brahms
by which they are distinguished.
As to the nature of the separate pieces, little need be said. They are
pure music, perfect art. In the sound of them are their completeness
and their justification. The first may suggest dreams. The figure out
of which it is made is of the woodland. It suggests the horns of elf-
land faintly blowing. It is now near, now far. As the notes of the bugle
will blend in echoes till the air is full of a soft chord, so does this
phrase weave a harmony out of its own echo that, like the sounds of
a harp blown by the wind, is more of spirit than of flesh. Even in the
trio something of this echo persists.
The remaining five keep us closer to earth, are of more substantial

and more human stuff. Yet note in the second, in the second
statement of the first theme after the first episode, how a persistent
E-flat suggests again the ghostly visitor to which the music itself
seems to listen. The third is, as has been suggested, a dance, soft
yet half barbaric. Is the melody sad or gay? It is blended of both, like
the folk-songs of the Slavs and the Celts, the character of which it
breathes. One is tempted to ask if there ever was softer music than
Schubert’s. The music enters its coda here thrice piano, and twice
on its way to the end it grows still softer.
The fourth suggests a prelude of Bach, except for the trio, which
again has the character of a folk-song and again is softer than soft.
The fifth is a study in grotesque. Even here there are fine effects,
such as the echo of the first phrases; but the general impression is of
almost savage accents and harsh dissonances. The last has a touch
of Beethoven, though the melodies are of the kind that Schubert
alone has ever heard, and the harmonies here and there rise, as it
were, like shifting, colored mist across the line of the music.
It cannot be said that the melodies and harmonies of either the

Impromptus or the ‘Musical Moments’ are more inspired than those
of the sonatas. Indeed, there are passages in the latter of more
profound and more intense emotion than finds expression in the
shorter pieces. But most of the sonatas are in ruins. Their beauties
are fragmentary and isolated; whereas nearly all the Impromptus and
all the ‘Musical Moments’ have a beauty and firmness of line and
design as well as of content. For this reason they stand as the best
of his pianoforte works; and of their kind they are unexcelled in
music. They are genuinely beautiful music; they are perfectly suited
to the piano, drawing upon its various qualities without showing them
off; they are finished in detail, balanced and well-knit in structure. A
new epoch in the art begins with them.
It should be mentioned that Schubert’s waltzes and other dances

bear very clearly the stamp of his great genius. They are not
elaborate. Much of their beauty is in their naïve simplicity. They gain
nothing by being dressed up in the gaudy raiment which Liszt chose
to hang upon many of them. They should be known and played as
Schubert wrote them, not as profound or as brilliant music, but as
spontaneous melodies in undisguised dance rhythms. They are, in
fact, dance music, full of the spirit of merry-making, not in the least
elegant or sophisticated. To our knowledge there is no other music of
equal merit and charm composed in this spirit expressly for the
piano. Schubert is unique among the great composers in having
treated dance forms and rhythms thus strictly as dances.
V
All the work of Weber and most of that of Schubert fall within the
lifetime of Beethoven. The three great men constitute the foundation
of the pianoforte music of the great German composers of the next
generation. But Beethoven’s influence is largely spiritual, as Bach’s.
There was nothing more to be done with the sonata after he finished,
and long before his death the progress of pianoforte music had taken
a new turn. It is not inconceivable that before very long Beethoven’s
sonatas will be regarded as the culmination and end of a period of
growth, just as the music of Bach is already regarded; that he will
appear materially related only to what came before him, and to have
died without musical heir. The last sonatas rested many years
generally unknown. His peculiar and varied treatment of the
pianoforte in them found few or no imitators. The technique of the
instrument that Schumann and Chopin employed was not
descended from him; rather from Weber on the one hand and from
Mozart and Hummel on the other.
Even in the matter of form he exercised hardly more than a spiritual

influence, as regards pianoforte music alone. Schumann and Chopin
both wrote sonatas, but the sonatas of neither show kinship to those
of Beethoven. The Brahms sonatas are more closely related to
Weber than to Beethoven. The Liszt sonata in B minor and the Liszt
concertos are constructed on a wholly new plan that was suggested
by Berlioz; and the two long works of César Franck are not even
called sonatas. The sonata in pianoforte music alone had had its
day. The form remained but the spirit had fled. If music came back to
it at all, it came back to sit as it were among ruins.
The change which came over music was but the counterpart of the
change which came over men and over society. It was evident in
literature long before it affected music. It might in many ways be said
to have reached music through literature. The whole movement of
change and reformation has been given the name Romantic. It was
accompanied in society by violent revolutions, prolonged
restlessness, the awakening of national and popular feeling. It is
marked in literature and in music by intensely self-conscious
emotion, by an appeal to the senses rather than to the intellect, by a
proud and undisguised assertion of individuality.
Most great music is romantic music. The preludes of Bach, the little
pieces of Couperin, a great deal of Haydn, Mozart, and Beethoven
have a personal warmth which is essentially romantic. Music draws
its life more directly from emotions than the other arts. But there are
signs in the music of these men of an objective, an external ideal, to
which they have conformed the expression of their emotions. They
do not work upon the spur of emotional excitement alone. That is but
the germ from which their music starts. They have a power to
sustain. They work with music; and the ideas which they choose to
work with are chosen from a thousand others for the possibilities
they contain of expansion, of alteration, of adaptability to the need of
the work as a whole. Within the limits of this work emotional
inspiration plays its part, adding here and there a bit of harmony, a
new phrase. These are romantic touches. These reveal the quick or
the inert nature back of the music. But back of it all the architectural
brain presides, building a structure of broad design, or of exquisite
proportions. The ideal is commonly known as classical; and these
composers are properly called classical.
The Romantic composers, on the other hand, treasure their moods.

They enshrine their separate inspirations. It is the manner of their
time. They are, as we have said, emotionally self-conscious. This is
one of the marks by which we may know them. The architectural
ideal loses their devotion. They lack, in the first place, the prime
desire to sustain, in the second place, the power. The change shows
itself distinctly in the works of Weber and Schubert, both of whom
are recognized as the first of the Romantic composers.
Take, for example, the sonatas of Weber. The movements are, as we

have ventured to suggest, like broad pictures. They are a series of
figures, of colors and shadows, like tapestries. They conform to the
rules of form, but they have little or nothing of the spirit of it. They
seem to cover the outlines of a story. They suggest the theatre. So
little is their form all-sufficing that we are tempted to fit each with a
chronicle taken from olden days of knighthood. At last Weber does
so himself—gives us stories for two of his compositions.
And the sonatas of Schubert, what a ruin are they! Moments of hot
inspiration, of matchless beauty; well-nigh hours of fatal indifference
and ignorance. On the other hand, he has left us short pieces which
the publishers must needs call impromptus for lack of any other
name; ‘Musical Moments,’ each the full and perfect expression of a
single, swift inspiration. His muse whispers in his ear and before she
has flown away he has written down what she prompted. She makes
short visits, this muse. So much the worse for him if she starts him
upon a sonata. He is soon left with nothing but a pen in his hand.
Weber with his stories, Schubert with his short forms, are the
prototypes of most of the Romantic composers to come. We shall
find everywhere signs of the supremacy of the transient mood.
Stories will be lacking, at least in pianoforte music; but there will be
titles, both vague and specific, labelling the mood so that the music
may exert an added charm. There will be something feverish,
something not entirely healthy in it all. As we shall see, composers
will expend their all in a single page. Yet there will come a warmth
and a now sad, now wild poetry.
The virtuosi, and Weber among them with his showy polaccas and
rondos, speak of the change. They appeal to the general public.
They are sensationalists. The aristocratic amateurs will no longer
hold musicians in dependence. There is a mass of people waking
into life. The crowd makes money, it buys pianos; it will pay to hear a
man, or a woman, perform on the household instrument. It will
submit to the intoxicating, swift fingers, to the display of technique.
Not that the aristocratic amateurs were always less open to such
oratorical persuasion; but the public now holds the money bags, and
it will pay to hear fingers, to see flying arms and streaming hair. Who
will care to hear a man improvise a fugue in five parts? How will they
judge virtue but by virtuosity?
On the other hand, men will begin to write about their art, to defend
their new ideals, to criticize and appreciate the outpourings of each
genius as he comes along, to denounce the virtuosi who have
nothing to show but empty show. A musician holds a place now as a
man, a man of the world and of affairs. He makes a name for himself
as a poet, a critic, a satirist. And on the verge of all this new
development stand Weber and Schubert; the brilliant, witty patriot,
the man who spent his energy that a national opera might be
established in the land of his birth; and the man who had no thoughts
but the joy of his art, the warmth of music, no love but the love of
song, the singer of his race and his companions.
FOOTNOTES:
[31] Les pianistes célèbres. 2d edition, Paris, 1878.
CHAPTER VI
MENDELSSOHN, SCHUMANN AND
BRAHMS
Influence of musical romanticism on pianoforte literature—
Mendelssohn’s pianoforte music, its merits and demerits; the
‘Songs without Words’; Prelude and Fugue in D minor; Variations
Sérieuses; Mendelssohn’s influence, Bennett, Henselt—Robert
Schumann, ultra-romanticist and pioneer; peculiarities of his style;
miscellaneous series of piano pieces; the ‘cycles’: Carnaval, etc.
—The Papillons, Davidsbündler, and Faschingsschwank; the
Symphonic Études; Kreisleriana, etc., the Sonatas, Fantasy and
Concerto—Johannes Brahms; qualities of his piano music; his
style; the sonatas, ‘Paganini Variations,’ ‘Handel Variations,’
Capriccios, Rhapsodies, Intermezzi; the Concertos; conclusion.
The progress of German pianoforte music is consistent and

unbroken from the death of Schubert down to the end of the
nineteenth century. All composers, both great and small, with the
exception of a few who would have had music remain in the forms of
Haydn, Mozart, and Beethoven, even at the price of stagnation little
better than death, submitted themselves and their art to the
influences of the Romantic movement which had placed so distinct a
mark on the music of Weber and Schubert. We meet with relatively
few long works. The best of these are frankly called Fantasies,
claiming little relation to the sonata. Hundreds of sets of short pieces
make their appearance. Rarely have the separate pieces in a set any
conventional or any structural relation. The set as a whole is given a
name, simple and generic, or fantastical. We meet ‘Songs Without
Words,’ ‘Fantasy Pieces,’ ‘Melodies for Piano,’ ‘Nocturnes,’ ‘Ballads,’
‘Novelettes,’ ‘Romances,’ ‘Night Poems,’ ‘Love Dreams,’
‘Rhapsodies,’ ‘Diaries,’ and ‘Sketch-books.’ There are Flower, Fruit,
and Thorn pieces, Flying Leaves, Autumn Leaves, and Album
Leaves, even the ‘Walks of a Lonely Man’ and Nuits Blanches.
Most of these short pieces conform to one of three types. Either they
are moods in music, in which case they have no distinctive features;
or they are genre pieces, a diluted, watery (usually watery) picture
music; or, by reason of the constant employment of a definite
technical figure, they are études or studies. Most of them are mild
and inoffensive. Few of them show marked originality, genuine fervor
or intensity of feeling. They are evaporations rather than
outpourings; and as such most of them have been blown from
memory. A cry against this vigorous wind of Time, harsh and
indiscriminating as in many cases it may appear to be, is hopeless.
Not refinement of style nor careful workmanship can alone save
music from the obliterating cyclone. One may as well face the fact
that only a few men’s moods and reveries are of interest to the
world, that sentimentality must ever dress in a new fashion to win
fresh tears and sighs.
I
The sweetest singer of songs without words was Felix Mendelssohn-
Bartholdy. He sang the sweetest stories ever told. He was thoroughly
prosperous in his day; he was even more than that, he was
admirable and worshipful. The whole of his life reads much like the
accounts of Mozart’s early tours. He was the glass of fashion and the
mold of form in music; not only in pianoforte music, but in orchestral
and vocal music as well. One might continue the quotation, and
remark how the observed of all observers is now quite, quite down;
but one may never say that his music is out of tune and harsh. Its
very mellifluousness is what has condemned it. It is all honey,
without spice. For this reason it has become the fashion now to slight
Mendelssohn, as it once was to revere him.
This is unjust. His pianoforte music is such an easy mark for

epigrams that truth has been sacrificed to wit. There is much in it that
is admirable. Some of it will probably come to life again. Indeed, it
has not all the appearance of death now, choked as it may seem to
be in its own honey. A few of the ‘Songs Without Words,’ the Prelude
and Fugue in E minor, opus 35, some of the short capriccios and the
Variations sérieuses still hold a high place in pianoforte literature.
The mass of his music, however, has fallen into disgrace. This is not
wholly because the world ate too much of it and sickened. One does
not look askance at it as one looks at sweets once immoderately
devoured and henceforth distressful even to the eye. One sees
weakness and defects to which its fate may be attributed.
At the basis lies a monotony. His melodies and harmonies are too
unvaryingly alike. He is a slave to milky mannerisms. The curves of
his melodies are endlessly alike; there is a profusion of feminine
endings, dwellings in commonplaceness, suspensions that have no
weight. His harmonies are seldom poignant. His agitation leads no
further in most cases than the diminished seventh. To this he comes
again and again, as regularly or as inevitably as most Romanticists
went to tombstones for their heroics. The sameness of melody, the
threadbare scheme of his harmonies, these mark a composer with
little great creative force.
In the pianoforte music one finds even a lack of ingenuity. He has

nothing to add to the resources of the instrument. He knew himself to
be sterile in pianoforte figures. The ‘Songs without Words’ show but
two or three types of accompaniment, and these are flat and
monotonous. There are the unbroken chords, usually without a trace
of subtlety in line, such as we find in the first, the fifteenth, the
twenty-first, the thirty-seventh, and numerous others. There are plain
chords, usually triads, monotonously repeated, as in the tenth,
twentieth, twenty-second, and thirty-ninth, flat with the melody, or in
syncopation as in the fourteenth and seventeenth. There are the
rocking figures such as one finds in all the ‘Gondola’ songs, in the
so-called ‘Spring Song,’ and in the thirty-sixth. Only rarely does he
give to these figures some contrapuntal flexibility, as in the fifth and
in the thirty-fourth, known as the ‘Spinning Song,’ and in the
eleventh.
There are many songs which have no running accompaniment,

which are in the simple harmonic style of the hymn tune. These are
usually extremely saccharine. The few measures of preludizing with
which they begin are monotonously alike—an arpeggio or two, as if
he were sweeping the strings of his harp, as in the ninth and the
sixteenth. Some, however, are vigorous and exciting, like the
‘Hunting Song’ (the third), and the twenty-third, in style of a folk-
song.
It is the lack of variety, of ingenuity and surprise which makes the

‘Songs without Words’ so extraordinarily sentimental and inanimate
as a whole, both to the musician and to the pianist. The
workmanship is always flawless, but there is little strain to pull it out
of perfect line. Mendelssohn had considerable skill in picture music.
The overture to ‘Midsummer Night’s Dream’ and the overture
suggested to him by his visit to Fingal’s Cave are successful in this
direction. It is worthy of note that at least two of the best of the
‘Songs without Words’ are in the nature of picture music—the so-
called ‘Hunting’ and ‘Spinning’ songs. The gondolier songs likewise
stand out a little from the rest in something like active charm. These
offer him an external idea to work on and he brings to his task a very
neat and sensitive, though unvaried, technique.
He had also a gift, rather special, for light and tripping effects. It does
not often show itself in the ‘Songs without Words.’ There is one in C
major, published after his death, which shows him to advantage in
this vein, and the light ‘Spring Song’ has a touch of it. Among his
other pieces the Rondo Capriccioso in E major and the little scherzo
in E minor stand out by virtue of it.
Of the longer pieces we need touch upon only two. These are the
Prelude and Fugue in E minor and the Variations sérieuses. The

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Calculus and Its Applications 11th

Edition – Ebook PDF Version

Calculus with Applications 11th Edition, (Ebook PDF)

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Timely Help for Gaps in Algebra Skills

Exercises and Applications

Opportunities to Incorporate Technology

Opportunity for Review and Synthesis

New and Revised Content

Multiply. Express each answer without a negative exponent. 1. y = 2x + 1 2. 3x + 5y = 10

What You’ll Learn Why It’s Important

Athletics: What is the predicted number of 3.0 2.87 2.91 2.95

female high school athletes in 2017? (This 2.8

Graphs and Equations

ESTIMATED LIFE EXPECTANCY OF U.S. NEWBORNS

Life expectancy (in years)

Ordered Pairs and Graphs

gin, 10, 02.

Example 2 Graph: 3x + 5y = 10.

*Be sure to consult Appendix A, as needed, for a review of algebra.

Example 4 Graph: x = y2.

0 0 10, 02 (0, 0) 1 2 3 4 5 6 x

(3) Form the pair 1x, y2.

graph appears. Windows are described by four numbers

5 In general, choosing a window that best reveals a graph’s

9. y = x 2 10. y = 1x + 422 17. y = ∙ x ∙ (On most calculators, this is entered as

CREATING A MATHEMATICAL MODEL

Mathematical modeling is often an ongoing process. For example, finding a math-

PARTICIPATION OF FEMALES IN HIGH SCHOOL ATHLETICS

Example 6 Business: Compound Interest. Suppose $1000 is invested in

The number of times interest is

Each time interest

“Compounded quarterly” means that the interest is divided by 4 and compounded

Example 7 Business: Compound Interest. Suppose $1000 is invested in

A calculator with a y x or ^ key and a ten-digit readout was used to find

R.1 Exercise Set

15. x = y2 + 2 16. x = 2 - y2 On April 6, 2006, pro skateboarder Danny Way smashed

run in 1954, 2000, and 2015. Round your answers to the 5

a) What is the incidence of breast cancer in 40-yr-old 11 + r2n − 1

30. Compound interest. Greenleaf Investments purchases

a) annually? b) semiannually? 150

44. Annual interest rate of 4%, compounded daily −6 −2.0

Functions and Models

Example 1 Determine whether or not each correspondence is a function.

c) Basketball teams d) Basketball teams

d) The correspondence is a function because each member of the domain corresponds

Consistent with the definition on p. 29, we regard a function as a set of ordered

Finding Function Values

It helps to think of a function as a machine. Think of f142 = 11 as the result of

Example 3 The squaring function f is given by

Example 4 A function f is given by f1x2 = 3x 2 - 2x + 8. Find f102, f1-52,

Quick Check 3 f102 = 3 # 02 - 2 # 0 + 8 = 8