Part 6 (1/2)

[Music]

When the chord is carried over to a weak beat of the _

[Music]

We now give two ht measure Sentence which clearly exe_

[Music: BEETHOVEN: 3rd Sonata]

In this vigorous and clear-cut sentence we find in the 4th measure an effect of surprise and suspense; for the chord on the first beat is an inverted position of the dos are masculine, _ie_, the chords which end the phrases coincide with the strong beats

[Music: BEETHOVEN: 1st Sonata]

This graceful sentence is noteworthy for the clear division of the first phrase into two contrasting sections; whereas, in the second phrase, a cli no ood exas are feminine, _ie_, the cadential chord occurs on a _weak_ beat of the ht- of the slow hth Sonata, in which every section differs fro sentence of the first movement of the Tenth Sonata--noticeable for the indefiniteness of the cadences until the final close is reached in retto of the Sixth Sonata which is one long sweep, with only the faintest indications of subdivision]

Music, however, would be very rigid and would seem measured off with a yard-stick if the sentences were equally of eight ” effect of much so-called popular music is due to the stereotyped metrical pattern You can always tell just where and how you are coy, coan to combine three four-measure phrases into a _twelve_ measure sentence It is obvious that with three phrases there can be more subtle effects of contrast and balance than with two, as the following chart makes plain:

____________ / A Contrast B Contrast C ____________/ (4 measures) (4 measures) (4 measures) balance ______________________________________/

[Music: BEETHOVEN: 6th Sonata]

In this sentence it is evident that we cannot stop at the 8th measure and that our first definite conclusion is in measure 12 Let the student observe the varied melodic outline in the three phrases, and question hi

MINUETTO OF BEETHOVEN'S FIRST SONATA[58]

[Footnote 58: Lack of space will prevent hereafter the citation in actual notes of the examples from Beethoven His works are readily accessible, and it may even be assumed that every music-lover owns the Pianoforte Sonatas]

In this beautifully constructed twelve-measure sentence we have the main motive of the entiresecondary motive in measures 3 and 4 The second four-measure phrase, _ie_, measures 5, 6, 7 and 8, repeats the material exactly, but with a modulation into the relative major Inin the alto voice (which should be brought out in perfor in the relative ive an echo-like effect, which will be explained e come to extended sentences Such a sentence is not to be considered as one of 14 ives that number; for the first complete cadence occurs in the 12th measure at the end of the third four- supplementary[59]

[Footnote 59: Another excellent example of a 12 measure sentence with an extended cadenceof the first movement of the Third Beethoven Sonata]

The last type of simple, normal sentence is that of 16 measures, divided into 4 phrases of 4 measures each A clear distinction must be drawn between two successive sentences of 8 enuine 16 measure sentence In the latter case there is no complete and satisfactory stop until we reach the cadence in the 16th measure

FIRST SENTENCE OF THE FIRST MOVEMENT OF THE TWELFTH SONATA

No difficulty will be found in following the cadences and endings of this sentence, the long-drawn out lines of which give an impression of repose and tranquillity Two more excellent exaio of the Fifth Sonata, and in the Scherzo of the Third; the latter move h the three types of sentence just studied, _ie_, of 8, 12 and 16 measures are the normal ones, and would include a majority of all sentences--especially in se coidity were there invariably to be cadential pauses at every 4theffect of poetry which has too great uniformity of -deck” type are considered thoroughly ”sing-song” It is obvious that elasticitythe norh the addition of extra ical o of phrases

The si a sentence is by the extension, or repetition, of the final cadence--that effect which is so frequent in the chamber and symphonic music of Haydn, and which has its comic manifestation in the so-called ”crescendo” of the Rossini Operatic Overture[60]

[Footnote 60: For a burlesque of this practise see the closing hth Symphony]

[Music: HAYDN: _Quartet, op 74, No 2_]