Part 7 (1/2)

The following the the ti, seven-beat _

[Music]

Those ish to do a little investigating of their own in the field ofexamples of 5/4 and 7/4 metres in Ravel's _Daphnis and Chloe_, in d'Indy's Sonata for Violin and Pianoforte and in the Ballet es where, for special effect, the usual beats are elided or extra beats inserted Schu experimenters in this respect and such fantastic effects are frequent in his pianoforte works--notably in the _Carnaval_, op 9, and in the _Phantasiestucke_, op 12, _eg_

[Music: SCHUMANN: _Carnaval_]

With reference to all the foregoing principles and coainst the assumption that music, from the standpoint of the composer or the listener, is ” of -machine But, as order is Heaven's first law, it is true that roups; and where departure is made from this practise the effect is one most carefully planned The matter deserves earnest consideration, for, in what is known as the ”rhythmical sense,” An nations--are still woefully deficient As rhyth in which the listener should ent cooperation with the freedom of the composer

CHAPTER V

THE TWO-PART AND THREE-PART FORMS

Now that a clear insight has been gained into the formation of the normal sentence, we are in a position to understand how sentences may be combined to make complete compositions The simplest and most primitive structure is that which contains _two_ co itself naturally into _two_ parts and hence known as the Two-Part Form This form by reason of its simplicity and directness is often found in the short pianoforte pieces of Schu period there was no attempt at differentiation between vocal and instru the 15th and 16th centuries was often entitled ”buon da cantare ou suonare,” _ie_, equally well suited for voices or instruments

When instrumental players were in search of pieces, they simply transferred to their instruals and Canzonas which were then so fashi+onable[63] With the development of instruments--especially of the Violin family--and with the desire for an instrumental style which should be independent of words, principles of coherent design had to be evolved; and they were suggested by the definiteand, above all, by the symmetrical phrases of the Folk-dance, used to accompany the _rhythmical_ motions of the body By a utilization of these principles of balanced phrases, of contrasted keys and of periodic theradually worked out a structure of its own,[64]

of which we find examples in National dances and in the compositions of such pioneers of instrumental style as the Italians Corelli and Vivaldi, the Frenchlishman Purcell

[Footnote 63: For a complete account of this process see Parry's _Evolution of the Art of Music_, p 115 _seq_]

[Footnote 64: This book ive an historical account of the development of instrumental form The subject is set forth comprehensively in the article on Form in Grove's Dictionary (Vol II, p 73) and in the Fifth and Sixth Chapters of Parry's _Evolution of the Art of Music_]

[Music:

Viens dans ce bocage belle Aminte, Sans contrainte L'on y fore belle Aminte, Il est fait pour les plaisirs et les jeux]

In this rhythhtly dance of exactly 8 measures (an old French _Tambourin_ taken from Weckerlin's _Echos du Temps Passe_) we see clearly the influence of the metrical stanza of words and of the balanced phrases in the instrumental part, necessary to accompany the steps of the dancers The melody of the accompaniment was played on a flute or some simple kind of pipe, and the bass on a Tambour de Basque--a rude form of drum, which repeated continually the tonic and dominant of the key; the saurdy

[Music: PURCELL: Jig]

In this Jig, which was a favorite type with the English peasantry--divided into three sentences of exactly 8 measures each--the dance rhythm is very sharply defined Froradually evolved, of which the chief features will now be indicated The music was divided into _two_ distinct halves and it beca each half--in the early days of the forn of repeat); later, as coained freedom, with considerable amplification Each half presented the _same_ material (it was a _one_-theme form) but the two halves were contrasted in _tonality_, _ie_, the first part, beginning in the hoenerally the doradually inal key, and often--especially in Haydn and Mozart--repeated the entire eneral effect of such a for the actions of ”the King of France ith twenty thousand ain”--but he surely had no exciting adventures in between! It is evident that this for in scope and in opportunity for variety and contrast It did, however, emphasize the principle of recapitulation; in fact it became the convention (as we shall see in the dances of the Suite) for the closing measures of the second part to be an exact duplicate in the home-key of that which had been presented at the end of part one We shall observe, as we continue our studies, that the trend ofover to the Three-part form, the essential feature of which is restate contrast_

[Footnote 65: See _The Appreciation of Music_ by Surette and Mason, p

36]

For illustrations of the Two-part Form see the Supplement Nos 20, 21, 22, 23, 24

Only in such comparatively simple examples as those just cited is found this perfect balance in the length of the two parts We often observe extended sentences in the first part; and it becathened, to include modulations into more remote keys and even to display certain develop exah definitely in Two-part form, (_ie_, it is in two clear divisions and has but _one_ theretto of Beethoven's Fourth Sonata It was, in fact, this instinct for contrasting variety in the second part[66] which (as can be shown froradually led to the developing and establishment of the Three-part form

[Footnote 66: As an illustration of this tendency see the Scherzo of Beethoven's Second Sonata, the second part of which has a new theh the movement as a whole is clearly in Two-part form]

[Footnote 67: See _The Sonata Form_ by WH Hadow, Chapter III]

The essentials of this structure, so frequent in all pianoforte literature, are the existence of _three_ distinct _parts_--hence the name: a clause of assertion in the hoenuine _contrast_ to the first part in regard to key, eneral treatment, and a third clause of reassertion, which shall repeat--either literally or in varied form--the material of part one[68] In the Three-part form, as employed in the classic Minuet and Scherzo, each of the three parts _taken by itself_ is in coenerally a literal repetition of part one, it was not written out, but at the end of the inally written in three-voiced harmony) we find the direction ”Minuet or Scherzo da capo,”a return to the first part A coda or tail-piece is often added to round out the forhly familiar with the Three-part form, in connection with the classic Symphonies soon to be studied (each Minuet, Scherzo or Trio being an example), our illustrations show the use of this form in independent pieces and are chiefly taken fro so to interest the student in the beauty of these coood o hand is hand For examples[69] see Supplement Nos 25, 26, 27

[Footnote 68: The three-part form is derived partly from the Italian ”da Capo Aria” and partly from the fundamental instinct for restate]

[Footnote 69: Additional illustrations, which will repay study are the following: the Allegretto of Beethoven's Sixth Sonata; the Schubert Impromptu, op 90, No 4; Brahms's Intermezzo, op 117, No 1 and the Ballade in G minor, op 118, No 3, and for orchestra--in extended treatment--Debussy's _Prelude a l'apres-midi d'un Faune_]