,,! ,,appreciation ,,( ,,music ,,vol4 ,i4 ,,! ,,appreciation ,,( ,,music ,,clo? #a4ej ,by ,?omas ,:itney ,surette & ,daniel ,gregory ,mason ,,supplem5t>y ,,volume ,,( ,,musical ,,illu/rations #a4jj ,,vol4 ,,ii4 ,,great ,,mod]n ,,compos]s ,,clo? #a4ej ,by ,daniel ,gregory ,mason ,,vol4 ,,iii4 ,,%ort ,,/udies ,,9 ,,great ,,ma/]pieces ,by ,daniel ,gregory ,mason ,,o!r ,,works ,,by ,,daniel ,,gregory ,,mason ,a ,,guide ,,to ,,music4 ,a ,,book ,,= ,,beg9n]s ,,clo? #a4be ,,or*e/ral ,,in/rum5ts ,,& ,,:at ,,!y ,,d1 ,,) ,,tw5ty-,,sev5 ,,illu/rations ,,& ,,or*e/ral ,,*>t ,,clo? #a4be ,,! ,,appreciation ,,( ,,music ,,volume ,i ,,by ,,?omas ,,:itney ,,surette ,,& ,,daniel ,,gregory ,,mason ,,n9? ,,edition ,supplem5t>y ,volume ( ,musical ,illu/rations ,price #a4jj ,,new ,,york ,,! ,h4 ,w4 ,,gray ,,co4 ,,sole ,,ag5ts ,,= ,,novello ,,co41 ,,ltd4 ,,copyright1 #aijg1 ,,by ,,! ,h4 ,w4 ,,gray ,,company ,! ,knick]bock] ,press1 ,new ,york ,,prefatory ,,note4 ,?is book has be5 prep>$ 9 ord] to provide read]s :o wi% to li/5 to music intellig5tly1 yet )\t go+ into te*nicalities1 ) a simple & practical guide to musical appreciation writt5 f ! li/5]'s r ?an f ! pr(essional musician's /&po9t4 ,! au?ors believe t !re is at ! pres5t mom5t a g5u9e ne$ = su* a book4 ,tea*]s 9 s*ools1 colleges1 & univ]sities1 educators 9 all p>ts ( ! c\ntry1 & ! music-lov+ public g5]ally1 are e day realiz+ m vividly ! importance ( apply+ to music ! k9d ( /udy :i* has long be5 fruitfully pursu$ 9 ! o!r arts2 & ) ! adoption1 9 #aijf1 by ! ,college ,entrance ,exam9ation ,bo>d1 ( musical appreciation z a subject :i* may be (f]$ = entrance to college1 ?is mode ( /udy+ music has e/abli%$ itself firmly 9 our educational sy/em4 ,yet its progress is /ill hamp]$ by ! lack ( suitable text-books4 ,! exi/+ books are = ! mo/ "p ei!r too te*nical to be easily foll[$ by ! g5]al read]1 or s rhapsodical & impressioni/ic z to be ( no use to him4 ,9 ! foll[+ pages an ef=t has be5 made1 fir/1 to pres5t to ! read] 9 cle> & unte*nical language an acc\nt ( ! evolution ( musical art f ! primitive folk-song up to ! symphony ( ,bee?ov52 second1 to illu/rate all ! /eps ( ?is evolution by c>efully *os5 musical examples1 9 ! =m ( %ort quotations 9 ! text & ( complete pieces pr9t$ 9 a supplem5t2 ?ird1 to facilitate ! /udy ( ^! examples by means ( detail$ analysis1 measure by measure1 9 _m cases put into ! %ape ( tabul> views2 & f\r?1 to m>k out ! l9es ( fur!r /udy by sugge/+ collat]al read+4 ,too mu* /ress _c be laid on ! fact t ! music itself is ! c5tral po9t ( ! s*eme ( /udy1 to :i* ! read] mu/ return ov] & ov] aga94 ,c>efully att5tive1 conc5trat$ li/5+ to ! typical pieces pres5t$ 9 ! supplem5t is ! ess5ce ( ! "w1 to :i* ! read+ ( ! text is to be consid]$ m]ely z an aid4 ,^! pieces are = ! mo/ "p n beyond ! rea* ( a piani/ ( mod]ate ability4 ,at ! same "t1 ! au?ors h realiz$ t "s read]s :o might pr(it mu* by su* /udy w n be able to play1 or h play$ = !m1 ev5 ^! pieces4 ,= !m1 h[ev]1 ! music w /ill be accessible ?r\gh me*anical in/rum5ts4 ,9 view ( ! fact t "o ( ! *ief difficulties 9 ! /udy ( musical appreciation is ! unfamili>ity ( classical music to ! ord9>y /ud5t1 ! use ( an in/rum5t by ! /ud5ts !mselves %\ld =m an important "p ( ! "w 9 classes :]e ?is book is us$ z a text-book4 ,x is hop$ t ) su* practical laboratory "w by all memb]s ( ! class1 & ) ! help ( collat]al read+ done outside ! class "u ! direction ( ! tea*]1 & te/$ by writt5 pap]s on assign$ topics1 ! c\rse ( /udy outl9$ "h w be f\nd well-suit$ to ! ne$s ( s*ools & colleges1 z well z ( g5]al read]s4 ,,cont5ts4 ,,*apt] ,i4 ,,page ,,elem5ts ,,( ,,musical ,,=m4 #a ,i4 ,,introductory #a ,,ii4 ,,:at ,,to ,,notice ,,fir/ #c ,,iii4 ,,musical ,,motives #d ,,iv4 ,,:at ,,! ,,compos] ,,does ,,) ,,8 ,,motives #f ,v4 ,,! ,,fir/ ,,/eps ,,z ,,reveal$ ,,by ,,hi/ory #aj ,,vi4 ,a ,,spani% ,,folk-,,song #ab ,,vii4 ,,balance ,,( ,,phrases #ac ,,viii4 ,,summ>y #ad ,,*apt] ,,ii4 ,,folk-,,songs4 #af ,i4 ,,folk-,,songs ,,& ,,art ,,songs #ag ,,ii4 ,,an ,,engli% ,,folk-,,song #bj ,,iii4 ,,key ,,& ,,modulation #ba ,,iv4 ,,b>b>a ,,all5 #bb ,v4 ,,national ,,*>act]i/ics ,,9 ,,folk-,,songs #be ,,vi4 ,,an ,,iri% ,,folk-,,song #bf ,,vii4 ,a ,,g]man ,,folk-,,song #bh ,,viii4 ,,summ>y #cj ,,*apt] ,,iii4 ,,! ,,polyphonic ,,music ,,( ,,ba*4 #ca ,i4 ,,:at ,,is ,,polyphony #cb ,,ii4 ,,an ,,inv5tion ,,by ,,ba* #cc ,,example ,,= ,,analysis1 ,no4 #a4 ,ba*3 ,two-voice1 ,inv5tion4 ,no1 ,,viii1 9 ,f-major #cd ,,iii4 ,a ,,fugue ,,by ,,ba* #cg ,,example ,,= ,,analysis1 ,no4 #b4 ,ba*3 ,fugue ,no4 #b1 9 ,c-m9or1 9 ?ree voices4 ,well-temp]$ ,clavi*ord1 ,book ,i #ch ,,iv4 ,,g5]al ,,qualities ,,( ,,ba*',s ,,"w #dc ,,*apt] ,,iv4 ,,! ,,dance ,,& ,,its ,,developm5t4 #dh ,i4 ,,musical ,,"* ,,( ,,dances #dh ,,ii4 ,,primitive ,,dances #eb ,,example ,,= ,,analysis1 ,no4 #c4 ,corelli3 ,gavotte 9 ,f-major #ef ,,iii4 ,a ,,ba* ,,gavotte #eg ,,example ,,= ,,analysis1 ,no4 #d4 ,ba*3 ,gavotte 9 ,d-m9or1 f ! ,six? ,engli% ,suite #eg ,,*apt] ,v4 ,,! ,,suite4 #fb ,i4 ,,d]ivation ,,( ,,! ,,suite #fb ,,ii4 ,,! ,,suites ,,( ,,ba* #fe ,,example ,,= ,,analysis1 ,no4 #e4 ,ba*3 ,prelude to ,engli% ,suite1 ,no4 #c1 9 ,g-m9or #fe ,,example ,,= ,,analysis1 ,no4 #f4 ,ba*3 ,s>ab&e 9 ,a-m9or1 f ,engli% ,suite1 ,no4 #b #fh ,,example ,,= ,,analysis1 ,no4 #g4 ,ba*3 ,gigue1 f ,fr5* ,suite1 ,no4 #d1 9 ,e-flat #ga ,,iii4 ,,! ,,hi/oric ,,importance ,,( ,,! ,,suite #gb ,,*apt] ,,vi4 ,,! ,,rondo4 #gd ,i4 ,,d]ivation ,,( ,,! ,,rondo #ge ,,ii4 ,a ,,rondo ,,by ,,c\p]9 #gi ,,example ,,= ,,analysis1 ,no4 #h4 ,c\p]93 ,les ,moissonneurs 7,! ,h>ve/]s7 #hj ,,iii4 ,,f ,,c\p]9 ,,to ,,moz>t #hc ,,iv4 ,a ,,rondo ,,by ,,moz>t #hf ,,example ,,= ,,analysis1 ,no4 #i4 ,moz>t3 ,rondo f ,piano ,sonata 9 ,b-flat major #hg ,,*apt] ,,vii4 ,,! ,,v>iation ,,=m--,,! ,,m9uet4 #ic ,i4 ,,v>iations ,,by ,,john ,,bull #id ,,ii4 ,a ,,gavotte ,,& ,,v>iations ,,by ,,rameau #ig ,,iii4 ,,h&el',s ,,h>moni\s ,,blacksmi? #ajj ,,example ,,= ,,analysis1 ,no4 #aj4 ,h&el3 ,! ,h>moni\s ,blacksmi?1 f ! ,fif? ,suite = ,clavi*ord #aja ,,iv4 ,,haydn',s ,,&ante ,,) ,,v>iations1 ,,9 ,f-,,m9or #ajc ,,example ,,= ,,analysis1 ,no4 #aa4 ,haydn3 ,&ante ) ,v>iations1 9 ,f-m9or #ajd ,v4 ,,! ,,m9uet #ajh ,,*apt] ,,viii4 ,,sonata-,,=m1 ,i4 #aaj ,i4 ,,composite ,,nature ,,( ,,! ,,sonata #aaj ,,ii4 ,,ess5tials ,,( ,,sonata-,,=m #aaa ,,iii4 ,a ,,sonata ,,by ,,philip ,,emanuel ,,ba* #aad ,,example ,,= ,,analysis1 ,no4 #ab4 ,philip ,emanuel ,ba*3 ,piano ,sonata 9 ,f-m9or1 fir/ movem5t #aae ,,iv4 ,,h>mony ,,z ,a ,,"p ,,( ,,design #abe ,v4 ,,summ>y #abf ,,*apt] ,,ix4 ,,sonata-,,=m1 ,,ii4 #abh ,i4 ,,haydn ,,& ,,! ,,sonata-,,=m #abh ,,example ,,= ,,analysis1 ,no4 #ac4 ,haydn3 ,surprise ,symphony1 fir/ movem5t #aca ,,ii4 ,,moz>t ,,& ,,! ,,sonata-,,=m #acd ,,example ,,= ,,analysis1 ,no4 #ad4 ,moz>t3 ,symphony 9 ,g-m9or1 fir/ movem5t #acf ,,iii4 ,,moz>t',s ,,arti/ic ,,skill #ach ,,*apt] ,x4 ,,! ,,sl[ ,,movem5t4 #adc ,i4 ,,v>ieties ,,( ,,=m #adc ,,ii4 ,,sl[ ,,movem5ts ,,( ,,piano ,,sonatas #ade ,,iii4 ,,! ,,/r+ ,,qu>tet #adh ,,example ,,= ,,analysis1 ,no4 #ae4 ,haydn3 ,adagio 9 ,e-flat major1 f ! ,/r+ ,qu>tet 9 ,g-major1 op4 #gg1 ,no4 #a #adi ,,iv4 ,,g5]al ,,*>act]i/ics #aea ,v4 ,,=m ,,( ,,haydn',s ,,adagio #aeb ,,vi4 ,,moz>t ,,& ,,! ,,classic ,,/yle #aec ,,example ,,= ,,analysis1 ,no4 #af4 ,moz>t3 ,&ante f ,/r+ ,qu>tet 9 ,c-major #aef ,,vii4 ,,=m ,,( ,,moz>t',s ,,&ante #aei ,,*apt] ,,xi4 ,,bee?ov5--,i4 #afa ,i4 ,,g5]al ,,"* ,,( ,,bee?ov5',s ,,"w #afa ,,ii4 ,,analysis ,,( ,a ,,bee?ov5 ,,sonata #aff ,,example ,,= ,,analysis1 ,no4 #ag4 ,bee?ov53 ,pa?tique ,sonata1 fir/ movem5t #aff ,,example ,,= ,,analysis1 ,no4 #ah4 ,bee?ov53 ,pa?tique ,sonata1 second movem5t #agj ,,example ,,= ,,analysis1 ,no4 #ai4 ,bee?ov53 ,pa?tique ,sonata1 ?ird movem5t #aga ,,iii4 ,,summ>y #agd ,,*apt] ,,xii4 ,,bee?ov5--,,ii4 #agf ,i4 ,,=m ,,& ,,cont5t #agf ,,ii4 ,,bee?ov5',s ,,/yle #agh ,,example ,,= ,,analysis1 ,no4 #bj4 ,bee?ov53 ,! ,fif? ,symphony1 fir/ movem5t #aha ,,iii4 ,,! ,,dramatic ,,elem5t ,,9 ,,bee?ov5',s ,,music #ahe ,,iv4 ,,! ,,significance ,,( ,,! ,,fir/ ,,movem5t ,,( ,,! ,,fif? ,,symphony #ahg ,,*apt] ,,xiii4 ,,bee?ov5--,,iii4 #aia ,i4 ,,! ,,sl[ ,,movem5t ,,be=e ,,bee?ov5 #aia ,,ii4 ,,! ,,sl[ ,,movem5ts ,,( ,,bee?ov5',s ,,e>ly ,,symphonies #aib ,,example ,,= ,,analysis1 ,no4 #ba4 ,bee?ov53 ,! ,fif? ,symphony4 ,sl[ movem5t #aie ,,iii4 ,,individuality ,,( ,,! ,,&ante ,,( ,,! ,,fif? ,,symphony #aih ,,iv4 ,,! ,,h>monic ,,plan #bja ,v4 ,,! ,,univ]sality ,,( ,,bee?ov5',s ,,g5ius #bjc ,,*apt] ,,xiv4 ,,bee?ov5--,,iv4 #bje ,i4 ,,bee?ov5',s ,,humor #bje ,,ii4 ,,s*]zos ,,f ,,bee?ov5',s ,,sonatas #bji ,,example ,,= ,,analysis1 ,no4 #bb4 ,bee?ov53 ,s*]zo f ! ,twelf? ,sonata #bji ,,example ,,= ,,analysis1 ,no4 #bc4 ,bee?ov53 ,s*]zo f ! ,fifte5? ,sonata #baj ,,iii4 ,,! ,,s*]zos ,,( ,,bee?ov5',s ,,symphonies #baa ,,example ,,= ,,analysis1 ,no4 #bd4 ,bee?ov53 ,s*]zo f ! ,fif? ,symphony #bah ,,iv4 ,,g5]al ,,summ>y #bba ,,! ,,appreciation ,,( ,,music ,,*apt] ,i4 ,,elem5ts ,,( ,,musical ,,=m4 ,i4 ,,introductory4 ,( ! ?\s&s ( p :o consid] !mselves lov]s ( music1 x is surpris+ h[ few h any real appreciation ( x4 ,x is safe to say t out ( any score ( p]sons ga!r$ to he> music1 :e!r x be hymn1 song1 oratorio1 op]a1 or symphony1 t5 are n li/5+ at all1 b are look+ at ! o!rs1 or at ! p]=m]s1 or at ! sc5]y or programme1 or are lo/ 9 _! own ?\ghts4 ,five m are bask+ 9 ! s\nd z a dog basks 9 ! sun--enjoy+ x 9 a sleepy1 languid way1 b n actively foll[+ x at all4 ,= !m music is1 z a not$ critic has said1 a dr[sy rev]ie1 reliev$ by n]v\s ?rills4 ,!n !re are "o or two to :om ! music is br++ pictures or /ories3 visions ( trees1 cascades1 m\nta9s1 & riv]s fill _! m9ds1 or !y dream ( pr9cesses 9 old ca/les1 set free f magic slumb] by brave h]oes f af>4 ,p]haps also !re is "o :o takes a m]ely sci5tific int]e/ 9 ! music3 he is s busy analys+ !mes & labell+ motives t he =gets to enjoy4 ,only two out ( ! tw5ty are left1 !n1 :o are actively foll[+ ! melodies1 liv+ ov] aga9 ! ?\ghts ( ! compos]1 really appreciat+1 by vigor\s & delightful att5tion1 ! beauties ( ! music itself4 ,c we n1 y & ,i1 jo9 ! ranks ( ^! true lov]s ( music8 ,c we n le>n to free our m9ds ( all side issues z we li/5--to =get audi5ce1 p]=m]s1 & sc5e1 to =get pr9cesses & h]oes1 to =get ev]y?+ except ?is unique exp]i5ce t is unfold+ itself be=e our e>s8 ,c we n1 ar\s+ ourselves f our dr[sy rev]ie1 foll[ ) active co-op]ation & vivid pleasure ea* tone & phrase ( ! music1 = itself alone8 ,"o ?+ is sure3 ,unless we c d s1 we %all miss ! ke5e/ enjoym5t t music has to (f]4 ,= ?is enjoym5t is n passive1 b active4 ,x is n en\gh to place ourselves 9 a room :]e music is go+ on2 we mu/ by conc5trat$ att5tion2 absorb & m5tally dige/ x4 ,)\t ! help ( ! al]t m9d1 ! e> c no m he> ?an ! eye c see4 ,sir ,isaac ,newton1 ask$ h[ he _h made 8 wond]ful discov]ies1 answ]$1 ,by int5d+ my m9d4 ,9 no o!r way c ! lov] ( music p5etrate its my/]ies4 ,k ( musical te*nicalities1 on ! o!r h&1 is n necess>y to appreciation1 any m ?an k ( ! nature ( pigm5ts or ! laws ( p]spective is necess>y to ! appreciation ( a picture4 ,su* te*nical k we may disp5se )1 if only we are will+ to "w = our musical pleasure by giv+ active att5tion1 & if we h "s guidance z to :at to li/5 = among s _m & su* at fir/ confus+ impressions4 ,su* guidance to awak5$ att5tion1 su* unte*nical direction :at to li/5 =1 x is ! object ( ?is book to give4 ,,ii4 ,,:at ,,to ,,notice ,,fir/4 ,x is no wond]1 :5 "o /ops to ?9k ( x1 t music1 9 spite ( its deeply /irr+ effect ^u u1 (t5 defeats our be/ ef=ts to und]/& :at x is all ab\t1 & leaves u aft] x is ov] ) ! uncom=table s5se t we h _h only a mom5t>y pleasure1 & c take no?+ def9ite away ) u4 ,x is z if we _h be5 pres5t at "s important ev5t1 )\t hav+ ! lea/ idea :y x 0 important1 or :at 0 its real mean+4 ,all ( u1 at "o "t or ano!r1 mu/ h _h ?is exp]i5ce4 ,&1 inde$1 h[ c\ld x be o!rwise8 ,music gives u no?+ t we c see ) our eyes or t\* ) our h&s4 ,x does n ev5 give our e>s def9ite words t we c foll[ & und]/&4 ,x (f]s u only s\nds1 s(t or l\d1 long or %ort1 high or l[1 t fl[ on inexorably1 & t too (t5 come to an end )\t leav+ any tangible impressions beh9d !m4 ,no wond] we are (t5 bewild]$ by an exp]i5ce s peculi> & s fleet+4 ,yet ^! s\nds1 subtle z !y are1 h a s5se1 a logic1 an ord] ( _! own2 & if we c only le>n h[ to approa* !m1 we c get at ?is inn] ord]l9ess t makes !m into music4 ,! process ( p]ception :i* we h to le>n "h is some:at ak9 to c]ta9 m famili> processes4 ,= example1 :at comes to our eyes f ! out] _w is simply a mass ( impressions ( diff]5tly color$ & %ap$ spots ( light2 only gradually1 z we gr[ out ( infancy1 d we le>n t "o gr\p ( ^! spots ( light %[s u a h\se1 ano!r a tree1 & s on4 ,simil>ly words1 z we easily realize 9 ! case ( a =eign language1 are to ! untra9$ e> m]e isolat$ s\nds ( "o k9d or ano!r2 only ) practice d we le>n to connect gr\ps ( !m into intelligible s5t5ces4 ,s x is ) music4 ,! s\nds are at fir/ m]e s\nds1 sep>ate1 fragm5t>y1 unrelat$4 ,only aft] we h le>n$ to gr\p !m into def9ite melodies1 z we gr\p spots ( lights into h\ses or trees1 & words into s5t5ces1 d !y become music = u4 ,to approa* s\nds 9 su* a way z to make s5se ( !m--t is ! art ( li/5+ to music4 ,,iii4 ,,musical ,,motives4 ,! fir/ /ep 9 mak+ s5se ( any unfamili> ?+ is to get q cle>ly 9 m9d its c5tral subject or subjects1 z1 = example1 ! fundam5tal idea ( a poem1 ! ma9 cont5tion ( an essay1 ! *>act]s ( a novel1 ! text ( a s]mon4 ,all music wor?y ( ! "n has its own k9d ( subjects2 & if we c le>n to take note (1 rememb]1 & recognize !m1 we %all be well on ! road to und]/&+ :at at fir/ seems s intangible & bewild]+4 ,a possible confusion1 due to ! use ( t]ms1 mu/ "h be gu>d$ aga9/4 ,! ^w subject is us$ 9 a special s5se1 9 music1 to mean an entire !me or melody1 ( _m measures' duration--?us we speak ( ! fir/ subject ( ,bee?ov5's ,fif? ,symphony1 mean+ ! entire cont5ts ( measures #f-ba4 ,n[ ?is is obvi\sly a diff]5t mean+ ( ! ^w subject f ! g5]al "o we use :5 we speak ( ! subject ( a poem or a picture1 z ! fundam5tal idea ab\t :i* x all c5t]s4 ,?is long musical subject all c5t]s ab\t a little idea ( f\r notes1 ann\nc$ 9 ! fir/ two measures ( ! symphony3 ,music3 score ,b z we are already us+ ! ^w subject to mean some?+ else1 we mu/ h ano!r "n = ?is brief *>act]i/ic bit out ( :i* s mu* is made1 & = ?is ! ^w motive is us$4 ,"h aga9 !re is a diff]5ce ( usage :i* mu/ be not$4 ,:5 we speak ( a motive or lead+ motive ( ,wagn]1 we mean n a %ort gr\p ( ?is k9d1 b an entire melody associat$ ) "s special "* or idea2 e4 g41 ! ,siegfri$ motive4 ,let u "h1 h[ev]1 keep ! ^w motive to mean a %ort *>act]i/ic gr\p ( tones or figure1 & ! ^w subject to mean a complete melody or !me built up out ( "o or m motives4 ,! smalle/ elem5ts into :i* we c analyze ! subject-matt] ( music are motives--t is1 bits ( tune1 gr\ps ( f two to a doz5 tones1 :i* h an individuality ( _! own1 s t "o ( !m _c possibly be confus$ ) ano!r4 ,yankee ,doodle1 = in/ance1 beg9s ) a motive ( sev5 notes1 :i* is q individual1 & :olly diff]5t f ! motive ( six notes at ! beg9n+ ( ,god ,save ! ,k+1 or ! motive ( five notes at ! beg9n+ ( ! ,blue ,danube waltz4 ,! ?ree motives are s diff]5t t nobody ( ord9>y musical intellig5ce w\ld conf\nd !m "o ) ano!r1 any m ?an he w\ld conf\nd ! subject ( ,longfell['s ,psalm ( ,life ) t ( ,br[n+'s ,incid5t ( ! ,fr5* ,camp1 or ! *>act]s 9 ,dombey & ,son ) ^? 9 ,tom ,jones4 ,! :ole musical individuality ( ea* ( ! ?ree tunes gr[s out ( ! individuality ( its special motive4 ,"h1 evid5tly1 is a matt] ( prim>y importance to ! w\ld-be intellig5t music lov]4 ,if he c le>n to di/+ui% ) c]ta9ty :atev] motives he he>s1 half ! battle is already ga9$4 ,f\r po9ts w be noticeable 9 any motive he may he>4 ,its notes w v>y z to 7#a7 l5g?1 7#b7 acc5t1 7#c7 met] or gr\p+ into regul> measures ( two1 ?ree1 or f\r notes1 & 7#d7 pit*4 ,if he c once =m ! habit ( notic+ !m1 he w h no fur!r difficulty 9 recogniz+ ! !mes ( any music1 &1 :at is ev5 m important1 foll[+ ! v>i\s evolutions ?r\gh :i* !y pass z ! compos] works out 8 ideas4 ,! importance ( su* active p>ticipation 9 ! compos]'s ?\ght _c be exagg]at$4 ,)\t x !re _c be any true appreciation ( music2 ?r\gh x alone does ! li/5] em]ge f dr[sy rev]ie1 reliev$ by n]v\s ?rills into ! cle> daylight ( g5u9e arti/ic enjoym5t4 ,,iv4 ,,:at ,,! ,,compos] ,,does ,,) ,,8 ,,motives4 ,let u put ourselves n[ 9 ! place ( a compos] :o has ?\ght ( c]ta9 motives1 & :o wi%es to make !m into a complete piece ( music4 ,:at %all we d next ) ^! scraps ( melody1 attractive b fragm5t>y8 ,n[1 "o ?+ we c see at once f our k ( arts o!r ?an music4 ,we mu/ someh[ or o!r keep repeat+ our c5tral ideas1 or our piece w w&] (f into mazes & fail to h any unity or intelligibility2 yet we mu/ also v>y ^! repetitions1 or !y w become monoton\s1 & ! f9i%$ piece w h no v>iety or su/a9$ int]e/4 ,! poet mu/ keep h>k+ back to ! ma9 !me ( 8 poem1 or x w deg5]ate into an incoh]5t rhapsody2 b he mu/ pres5t new phases ( ! root idea1 or he w simply repeat himself & bore 8 read]s4 ,! ar*itect1 hav+ *os5 a c]ta9 k9d ( column1 say1 = 8 build+1 mu/ n place next to x ano!r /yle ( column1 f a diff]5t c\ntry & p]iod1 or 8 build+ w become a mess1 a m$ley1 a nightm>e2 b nei!r mu/ he make 8 entire build+ "o long colonnade ( exactly simil> columns1 = !n x w\ld be hopelessly dull4 ,9 %ort1 e arti/ has to solve 9 8 own way ! problem ( comb9+ unity ( g5]al impression ) v>iety ( detail4 ,)\t ei!r "o ( ^! ess5tials1 no art c be beautiful4 ,"h we are1 !n1 ) our motive & ) ! problem be=e u ( repeat+ x ) modifications suffici5t to l5d x a new int]e/1 b n radical en\gh to hide its id5tity4 ,if we are mak+ our music = sev]al voices or in/rum5ts1 or = sev]al p>ts all play$ on "o in/rum5t l ! organ or ! piano1 we c let ^! diff]5t voices or p>ts s\nd ! motive 9 succession4 ,if1 :ile ! new voice takes ! motive1 ! voice previ\sly br\ght 9 goes on ) some?+ new1 !n we %all h a v agreeable m+l+ ( unity & v>iety4 ,?is is ! me?od us$ 9 all canons1 fugues1 inv5tions1 & s on1 & 9 vocal r\nds4 ,= an example1 take ! r\nd call$ ,?ree ,bl9d ,mice 7see ,figure ,i74 ,music3 score ,,figure ,i4 ,,?ree ,,bl9d ,,mice4 ,?ree bl9d mice1 ?ree bl9d mice1 ,see h[ !y run1 see h[ !y run1 ,!y all ran af - t] ! f>m - er's wife1 ,:o cut (f _! tails ) a c>v - + knife4 ,did y ev - er see su* a sight 9 y\r life z ?ree bl9d mice4 ,"o p]son1 ,a1 beg9s ?is melody alone1 & s+s x ?r\gh4 ,:5 he has rea*$ ! ?ird measure1 ,b /rikes 9 at ! beg9n+4 ,:5 ,b 9 8 turn has rea*$ ! ?ird measure 7,a be+ n[ at ! fif?71 ,c comes 9 9 ! same way4 ,9 a ^w1 ! ?ree p s+ ! same tune 9 rotation 7:5ce ! "n1 r\nd74 ,& ! tune1 ( c\rse1 is s contriv$ t all its diff]5t sections1 s\nd$ simultane\sly by ! v>i\s voices1 m]ge 9 h>mony4 ,?is k9d ( lit]al repetition by "o "p ( :at ano!r has j done is call$ imitation1 & is a fundam5tal pr9ciple ( all t great dep>tm5t ( music kn[n z ! polyphonic1 or _m-voic$4 ,b n[1 notice ano!r k9d ( repetition 9 ?is little tune4 ,measures #c & #d practically repeat1 ?\gh at a diff]5t place 9 ! scale1 ! ?ree-note motive ( measures #a & #b4 7,9 ord] to con=m to ! words1 ! second note is n[ divid$ into two1 b ?is is an unimportant alt]ation47 ,! naturalness ( ?is k9d ( repetition is obvi\s4 ,hav+ begun ) our motive 9 "o place1 x easily occurs to u to g on by repeat+ x1 9 ! same voice1 b high] or l[] 9 pit* ?an at fir/4 ,! m]e fact t x is high] or l[] gives x ! agreeable novelty we desire1 yet x rema9s p]fectly recognizable4 ,we may call ?is sort ( repetition1 :i*1 l imitation1 is ( ! greate/ utility to ! compos]1 transposition1 to indicate t ! motive is %ift$ to a new place or pit*4 ,b suppose we d n wi% ei!r to imitate or to transpose our motive1 is !re any o!r way 9 :i* we c effectively repeat x8 ,yes3--we c foll[ its fir/ appe>ance ) some?+ else1 entirely diff]5t1 & aft] ?is int]val ( contra/1 come back aga9 & re/ate our motive j z x 0 at fir/4 ,look+ at ,?ree ,bl9d ,mice aga91 we see t ?is device1 z well z ! o!r two1 is us$ !re4 ,aft] ! fif?1 six?1 & sev5? measures1 :i* conta9 ! contra/1 ! eigh? measure returns lit]ally to ! orig9al motive ( ?ree notes1 ?us r\nd+ out & complet+ ! tune4 ,?is ?ird k9d ( repetition1 :i* may be call$ re/atem5t aft] contra/1 or simply re/atem5t1 is also widely 9 use 9 all k9ds ( music4 ,a mo/ famili> in/ance occurs 9 ,way ,d[n ^u ! ,suwanee ,riv]4 ,let u keep di/9ctly 9 m9d1 9 all our /udy1 ^! ?ree modes ( repetition1 :i* are ( radical importance to musical design3 #a/1 ! imitation ( a motive 9 a diff]5t voice or "p2 #b;d1 ! transposition ( a motive1 9 ! same voice1 to a high] or l[] place 9 ! scale2 #c;d1 ! re/atem5t ( a motive already once /at$1 aft] an int]v5+ contra/4 ,we %all con/antly see ^! k9ds ( repetition--imitation1 transposition1 & re/atem5t--us$ by ! great compos]s to give _! music t unity 9 v>iety1 t v>iety 9 unity1 )\t :i* music c be nei!r intelligible nor beautiful4 ,v4 ,,! ,,fir/ ,,/eps ,,z ,,reveal$ ,,by ,,hi/ory4 ,x mu/ n be ?\ght t ^! ways ( v>y+ musical motives )\t de/roy+ _! id5tity 7 quickly f\nd out by musicians4 ,on ! contr>y1 x took c5turies1 lit]ally c5turies1 to discov] ^! devices t seem to u s simple4 ,all savage races are musically l *ildr52 !y _c keep m ?an "o or two %ort bits ( tune 9 m9d at ! same "t1 & ^! !y simply repeat monoton\sly4 ,! fir/ two examples 9 ,figure ,,ii1 tak5 f ,sir ,hub]t ,p>ry's ,! ,evolution ( ! ,art ( ,music1 give an idea ( ! fir/ /age ( ! savage musician4 #a4 ,music3 score #b4 ,music3 score #c4 ,music3 score #d4 ,music3 score ,,figure ,,ii4 ,,tunes ,,( ,,primitive ,,savages4 ,! fir/ is f ,au/ralia1 ! second f ,tongataboo4 ,bo? are made ( a s+le motive endlessly repeat$ )\t relief4 ,9 a slightly high] /age1 two motives are us$1 b ) little m skill4 ,numb] #c1 9 ,figure ,,ii1 is an example4 ,!n come tunes 9 :i* "o or m motives1 repeat$ lit]ally1 are /ill ! ma9 feature ( ! design1 b 9 :i* a c]ta9 am\nt ( v>iety is introduc$ betwe5 ! repetitions 7see ,numb] #d1 9 ,figure ,,ii1 a ,russian tune74 ,"h ! little *>act]i/ic figure ( f\r %ort notes & a long1 m>k$ ,n4,b41 is agreeably reliev$ by o!r mat]ial4 ,,vi4 ,a ,,spani% ,,folk-,,song4 ,f su* primitive music z ?is to ! beautiful folk-song ( ! mod]n nations is a long /ep inde$4 ,ev5 9 ! simple/ real folk-songs1 ! means ( v>i$ repetition ( ideas t we h be5 discuss+ are us$ ) an +5uity :i* places !m on an inf9itely high] level ?an ^! primitive ef=ts ( savages4 ,x is true t 9 folk-songs1 :i* 7 sung by a s+le voice in/ead ( a gr\p ( voices1 ! device ( imitation 0 us$ h>dly at all3--t is available only :]e !re are sev]al diff]5t voices to imitate "o ano!r4 ,b 9 ord] to see :at good use 0 made ( transposition & re/atem5t we ne$ take only a s+le example1 f ,galicia 9 ,spa9 7see ,figure ,,iii74 ,let u exam9e ?is tune 9 "s detail1 z a prep>ation = a fur!r /udy ( folk-songs 9 a lat] article4 ,music3 score ,f ,galicia 9 ,spa94 ,,figure ,,iii4 ,,folk-,,song4 ,! tune1 9 spite ( its impression ( consid]able v>iety1 is f\nd$ entirely on two motives-- ,music3 score ,music3 score ,9 ! six? & sev5? measures1 7#a7 is s alt]$ & transpos$ t x ends on ,d in/ead ( on ,c1 & 9 ! eigh?1 n9?1 & t5? measures 7#b7 is transpos$ s z to end on ,g in/ead ( on ,c4 ,by ^! transpositions ! important elem5t ( contra/ is introduc$1 & :5 !re=e we h1 at ! end1 ! two motives giv5 aga9 almo/ exactly z to fir/1 we get1 by ?is re/atem5t aft] contra/1 a delightful s5se ( unity & complet5ess4 ,! means "h are wond]fully simple1 b ! effect is truly arti/ic4 ,,vii4 ,,balance ,,( ,,phrases4 ,an important pr9ciple ( musical design is introduc$ to our notice by ?is little melody4 ,x w be obs]v$ t x divides itself into ?ree equal p>ts3 ! /atem5t1 measures #a-e2 ! contra/1 measures #f-aj2 & ! re/atem5t1 measures #aa-ae4 7,we may repres5t ^! by ! lett]s ,a1 ,b1 & ,a47 ,n[ ^! ?ree p>ts1 be+ ( equal l5g? & simil> mat]ial1 balance ea* o!r j z l9es 9 poetry d4 ,"o makes u expect ano!r1 :i*1 :5 x comes1 fulfills our expectation4 ,?us we get ! impression ( regul>ity1 ord]1 symmetry4 ,?is elem5t ( symmetry1 or ! balanc+ ( "o phrase ( melody by ano!r1 l ! balanc+ ( "o l9e ( poetry by ano!r1 z 9 ! v]ses ,! l[+ h]d w9ds sl[ly o'er ! lea1 ,& leaves ! _w to d>kness & to me4 is a mo/ important "o1 z we %all soon see1 9 all mod]n music4 ,?is balance ( "o l>ge section ( a melody by ano!r is (t5 ref]r$ to by ! t]m rhy?m1 ow+ to its analogy ) rhy?m 9 ar*itecture 79 ! symmetry1 = example1 ( two halves ( a build+74 ,b x is simpl] to keep ! ^w rhy?m1 9 music1 to mean r a *>act]i/ic comb9ation ( tones1 z reg>ds _! relative l5g? & acc5t1 z1 ! rhy?m ( ! fir/ motive 9 ,bee?ov5's ,fif? ,symphony 7see motive quot$ on page #e74 ,9 ! pres5t articles ! ^w w be us$ 9 ?is latt] s5se4 ,,viii4 ,,summ>y4 ,9 ?is *apt] we h se5 h[ music1 9 spite ( its subtle1 intangible nature1 has c]ta9 def9ite features call$ motives1 :i* we c le>n to recognize & foll[ by notic+ ! l5g?1 acc5t1 metrical arrangem5t1 & movem5t up or d[n1 ( ! tones ( :i* !y are compos$4 ,we h se5 t ^! prim>y motives are work$ up into complete pieces ( music by be+ repeat$ ) su* alt]ations z s]ve to v>y !m pleasantly )\t disguis+ !m beyond recognition4 ,! *ief k9ds ( modifi$ repetition we h notic$ are imitation1 transposition1 & re/atem5t aft] contra/4 ,all ( ^! we h se5 illu/rat$ 9 ,?ree ,bl9d ,mice4 ,we h rem>k$ h[ v gradually musicians got away f monoton\s h>p+ on _! ideas by us+ ^! devices4 ,9 connection ) ! ,spani% folk-song1 we h not$ t1 al?\gh imitation 0 n available1 transposition & re/atem5t 7 mo/ effectively us$4 ,f9ally1 we h se5 t music1 l poetry1 has its l>g] balance ( phrases1 by :i* :ole p>ts ( a melody are set (f aga9/ "o ano!r & made to balance1 j z l9es d 9 v]se4 ,9 succe$+ *apt]s we %all trace out all ^! pr9ciples 9 m detail4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,p>ry3 ,! ,evolution ( ! ,art ( ,music1 ,*apt]s ,i & ,,ii2 ,dick9son3 ,! ,/udy ( ! ,hi/ory ( ,music1 ,*apt] ,i2 ,grove3 ,diction>y ( ,music & ,musicians1 article ,=m4 ,,*apt] ,,ii4 ,,folk-,,songs4 ,9 ! fir/ *apt] we h trac$ ! evolution ( ! =mal elem5t 9 music1 ! elem5t ?r\gh :i* x gradually atta9$ coh]5ce4 ,we h se5 t ?is elem5t is an expression ( t common s5se :i* rules 9 all ?+s2 t ! v>i\s exp$i5ts adopt$ 9 music z means ( keep+ ! c5tral idea be=e ! li/5]1 &1 at ! same "t1 provid+ him ) suffici5t v>iety to reta9 8 int]e/1 are dictat$ by t s5se ( fitness t op]ates ev]y:]e 9 life4 ,& ^! simple =mal pr9ciples1 s conceiv$1 w be f\nd to und]lie ! l>g] musical =ms t w engage our att5tion 9 succe$+ *apt]s4 ,let u always keep 9 m9d t1 :ile ! psy*ological effect ( music rema9s a consid]able my/]y1 & ! appreciation ( great music mu/ be a p]sonal & individual act involv+ a c]ta9 receptivity & s5sitiv5ess to musical impressions1 yet ! p]ception ( ! logic or s5se 9 a piece ( music is a long /ep t[>ds und]/&+ x1 & "o ( ! be/ means ( cultivat+ t receptivity & s5sitiv5ess4 ,folk-songs h be5 describ$ by an em95t writ]#a z ! fir/ essays made by man 9 di/ribut+ 8 notes s z to express 8 feel+s 9 t]ms ( design4 ,we %all %ortly exam9e "s typical folk-songs 9 ord] to see h[ ?is design gradually became l>g] & m v>i\s1 & h[1 ?r\gh ?is process1 ! f\ndations 7 laid = ! ma/]pieces ( mod]n in/rum5tal music4 ,we %all see t ?is advance has accompani$ an advance 9 civilization2 t z m5's lives h become bett] ord]$1 z high] /&>ds ( liv+ & ?9k+ h appe>$1 ! s5se ( beauty has gr[n until1 f9ally1 ?is /eady progress has result$ 9 ! creation ( c]ta9 p]man5t types4 ,x mu/ be kept 9 m9d1 h[ev]1 t ^! primitive types are l>gely ! result ( in/9ctive ef=t1 & n ( consci\s musical k4 ,! sci5ce ( music1 z we "k x1 did n exi/ :5 ^! songs 7 writt54 ,i4 ,,folk-,,songs ,,& ,,art ,,songs4 ,9 ord] to di/+ui% betwe5 ,folk-songs & songs l ^? ( ,s*ub]t & ,s*umann1 musicians call ! latt] ,art songs4 ,! folk-song is a nave product1 spr++ almo/ unconsci\sly f ! he>ts ( simple p1 & n int5d$ to convey any su* def9ite expression ( ! mean+ ( ! words z is convey$ 9 mod]n songs4 ,:ile !re are specim5s#b ( ! art song t closely approa* ! simplicity & beauty ( ! folk-song1 ! art song 9 g5]al is n only ( wid] range & ( wid] application to m5's ?\ghts & feel+s1 b x also has1 z an integral "p ( x1 an accompanim5t ( :i* ! folk-song1 9 its pure /ate1 is entirely devoid4 ,a fur!r di/+ui%+ *>act]i/ic ( ! folk-song is t x is (t5 compos$ 9 "o ( ! old ecclesia/ical modes4 ,^! modes 7 old =ms ( ! scale t exi/$ be=e our mod]n h>monic sy/em came into use4 ,! foll[+ ,engli% folk-song1 call$ ,salisbury ,pla91 is 9 ! ,aeolian mode4 ,music3 score ,,figure ,,iv4 ,?is song is writt5 9 ! scale repres5t$ by ! :ite keys ( a pian(orte beg9n+ on ,a1 & ! peculi>ly qua9t effect ( x is due to ! unusual int]vals ( t scale z comp>$ ) our common scale =ms4 ,!re are v>i\s modes#c call$ ,phrygian1 ,dorian1 etc41 ea* hav+ its own peculi> quality4 ,?is qua9tness & *>act]i/ic quality to be obs]v$ 9 modal folk-songs almo/ entirely disappe>s :5 an accompanim5t ( mod]n h>mony is add$1 z is (t5 done4 ,folk-songs occupi$ a mu* m important place 9 ! lives ( ! p :o us$ !m ?an is commonly suppos$4 ,:5 we consid] t at ! "t ! e>lie/ ( !m 7 writt5 few p c\ld read or write1 t books 7 pr9t$ 9 ,lat91 & t !re 7 no newspap]s1 railways1 or telegraphs1 we c und]/& h[ l>ge a "p ^! old songs play$ 9 ! s*eme ( life4 ,! /roll+ s+] 0 ! newspap] ( ! "t4 ,fur!rmore1 ! g5]al illit]acy ( ! p made ( ! folk-song a natural v5t = _! feel+s4 ,) a limit$ vocabul>y at _! disposal1 x 0 natural t !y %\ld use ! song z a m$ium ( expression = _! joys & sorr[s4 ,ge/ure 0 also "p ( _! language1 & 9 a modifi$ way1 z a means ( expression1 may be said to h p]=m$ some?+ ( ! function ( song4 ,_m ( ! olde/ melodies exi/$ z an adjunct to danc+ & religi\s c]emonials1 & 71 !re=e1 to "s ext5t utilit>ian4 ,b s intimate 0 _! relation to ! ideas & feel+s ( ! p :o us$ !m t1 9 spite ( ! crud5ess & simplicity ( ! m$ium employ$1 ! songs ( ! v>i\s nations are entirely di/9ct f ea* o!r1 & to a rem>kable degree express ! *>act]i/ics ( ! p :o produc$ !m4 ,! songs us$ ) ?is *apt] are *os5 *iefly to illu/rate ! v>i\s me?ods 7already describ$7 ( atta9+ v>iety & unity 9 music4 ,if little space is devot$ "h to o!r consid]ations1 ! read] mu/ be> 9 m9d t our purpose is to lead him f9ally to z complete an appreciation z possible ( ! ma/]pieces ( in/rum5tal music1 & t ?is appreciation mu/ beg9 ) a p]ception ( ! relation%ips betwe5 ! v>i\s p>ts ( a primitive piece ( music4 ,,ii4 ,,an ,,engli% ,,folk-,,song4 ,9 ,figure ,v is %[n ! old ,engli% song ,polly ,oliv]4#d ,music3 score ,,figure ,v4 ,?is is a traditional song h&$ d[n )\t any record ( its orig91 f g5]ation to g5]ation4 ,its unkn[n compos] has manag$ v deftly to make x hang toge!r4 ,a good deal is made1 9 p>ticul>1 ( ! *>act]i/ic little motive ( ?ree notes :i* fir/ occurs at ! beg9n+ ( ! ?ird measure4#e ,9 ! v next measure1 ! f\r?1 ?is is transpos$ to a l[] position4 ,go+ on1 we f9d x com+ 9 aga91 mo/ effectively1 9 measure #g1 ?is "t transpos$ upw>ds2 & x occurs aga9 twice at ! end ( ! melody4 ,?us a c]ta9 unity is giv5 to ! entire tune4 ,aga91 ! device ( repetition aft] contra/ is well us$4 ,aft] measures #a-i1 :i* /ate ! ma9 idea ( ! melody1 measures #i-ac come 9 ) a pron\nc$ contra/2 b ?is is imm$iately foll[$ up1 9 measures #ac-ag1 by a lit]al repetition ( ! fir/ f\r measures1 :i* s]ves to r\nd out & satisfactorily complete ! :ole4 ,we ?us see illu/rat$ once m ! s*eme ( =m :i*1 9 ! la/ *apt]1 we d5ot$ by ! lett]s ,a-,b-,a4 ,?is song pres5ts a fur!r elem5t ( =m by means ( :i* mu* v>iety is imp>t$ to music4 ,,iii4 ,,key ,,& ,,modulation4 ,x w be notic$ t ! fir/ phrase ( ,polly ,oliv] 7measures #a-e7 moves ab\t ! tone ,e-flat & ends ^u x ) ! effect ( com+ to re/1 & t ! second phrase 7measures #e-i7 simil>ly moves ab\t & comes to re/ on ! tone ,b-flat4 ,! la/ phrase 7#ac-ag71 l ! fir/1 moves ab\t ,e-flat4 ,?is mov+ ab\t a c]ta9 tone1 :i* is1 s to speak1 ! c5t] ( gravity ( ! :ole phrase1 is call$ by musicians be+ 9 ! key ( t tone2 & :5 ! c5t] ( gravity *anges1 musicians say t ! piece modulates f "o key to ano!r4 ,?us1 ?is fir/ phrase is 9 ! key ( ,e-flat1 ! second modulates to ! key ( ,b-flat1 & ! song lat] modulates back aga9 to ! key ( ,e-flat4 ,"h we h ano!r v important pr9ciple 9 mod]n music1 ! pr9ciple ( key or tonality1--important because x makes possible a great deal ( v>iety t /ill does n int]f]e ) unity4 ,by putt+ ! fir/ "p ( a piece 9 "o key1 ! second "p 9 ano!r1 & f9ally ! la/ "p 9 ! orig9al key1 we c get mu* div]sity ( effect1 & at ! same "t end ) ! same impression ) :i* we began4 ,we %all only gradually appreciate ! imm5se value to ! musician ( ?is arrangem5t ( keys4 ,a fur!r elem5t ( =m is f\nd 9 ,polly ,oliv]1 namely1 ! balance ( phrases4 ,?is balance ( phrases "o aga9/ ano!r is d]iv$ ultimately f ! tim$ motions ( ! body 9 danc+1 or f ! met] ( ! f\r l9e v]se to :i* ! music 0 sung4 ,& ?is balance ( phrases1 d]iv$ f ^! elem5tal s\rces1 /ill dom9ates 9 ! melodies ( ! great ma/]s1 al?\gh x is manag$ ) con/antly increas+ fre$om & ela/icity1 s t we f9d 9 mod]n music little ( t s+-song me*anical regul>ity :i* we may note 9 mo/ folk-songs & dances4 ,,iv4 ,,b>b>a ,,all54 ,let u n[ exam9e ano!r old ,engli% song1 ,b>b>a ,all54 ,score3 music ,,figure ,,vi4 ,9 ,sc>-let ,t[n :]e ,i 0 born1 ,!re 0 a fair maid dwell9'1 ,made ev' - ry y\? cry well-a-day1 ,h] "n 0 ,b>b>a ,all54 ,all 9 ! m]ry mon? ( ,may1 ,:5 gre5 buds !y 7 swell9'1 ,"y ,jemmy ,grove on 8 dea? b$ lay ,= love ( ,b>b>a ,all54 ,!n sl[ly1 sl[ly %e came up1 ,& sl[ly %e came nigh him1 ,& all %e said :5 !re %e came3 ,"y man1 ,i ?9k y're dy+4 ,:5 he 0 dead1 & laid 9 grave1 ,h] he>t 0 /ruck ) sorr[4 ,o "m1 "m6--make my b$1 ,= ,i %all die to-morr[6 ,%e1 on h] dea? b$ z %e lay1 ,begg'd to be buri$ by him1 ,& sore rep5t$ ( ! day ,t %e did e'er d5y him4 ,f>ewell6 %e said1 ye maid5s all1 ,& %un ! fault ,i fell 94 ,h5ce=? take w>n+ by ! fall ,( cruel ,b>b>a ,all54 ,?is also is a traditional song4 ,! words celebrate ! emotion ( unrequit$ love1 a favorite subject ) ! old ballad writ]s4 ,9 ! music1 we %all f9d a fur!r illu/ration ( ! use ( ! devices already ref]r$ to4 ,we note fir/ ( all t !re is ?r\gh\t ! melody a con/ant use ( "o rhy?mic motive4 ,?is figure appe>s 9 ! fir/ f\r notes ( ! song1 & is f\nd at ! beg9n+ ( e o!r measure save ! fif? & ! la/4 ,:ile ^! transpositions are n s lit]al z is t at ! beg9n+ ( ,polly ,oliv]1 !y are nev]!less suffici5tly close to s]ve ! purpose ( pres]v+ unity :ile /ill provid+ v>iety4 ,! tune is held toge!r by ?is insi/5ce on ! motive2 !re is consid]able v>iety 9 ! melody ( ! v>i\s phrases1 b ?r\gh x all runs ?is p]si/5t rhy?m4 ,al?\gh ,b>b>a ,all5 does n1 /rictly speak+1 conta9 a modulation1 s9ce !re is 9 ! melody no note =eign to ! key 9 :i* ! song is writt51 yet ! fir/ & la/ phrases c5t] r\nd ,d1 ! key-note1 :ile ! second phrase 7to ! words ,!re 0 a fair maid dwell9'7 c5t]s r\nd & comes to re/ on ,a1 ?us produc+ ! effect ( a half pause1 z if punctuat$ ) a semicolon4 ,a v important po9t %\ld be not$ 9 ref]5ce to ^! half pauses or modulations 9 a melody1 namely1 t !y usually occur on ! fif? note ( ! scale ( ! orig9al key1 call$ by musicians ! dom9ant4 ,9 ! ?ree songs we h consid]$ ?us f> ! second phrase has s end$4 ,?is modulation to ! dom9ant is ! mo/ common "o 9 music1 & we %all (t5 h occasion to ref] to x 9 lat] *apt]s4 ,f9ally1 a comp>ison ( ! ?ird phrase ( ! music--!re 0 a fair maid dwell9'--) ! la/--h] "n 0 ,b>b>a ,all5--w reveal a consid]able simil>ity 9 bo? rhy?m & melodic cont\r or curve4 ,by means ( ?is simil>ity1 & by ! return1 9 ! la/ phrase1 to ! orig9al key1 our s5se ( proportion is satisfi$ & a c]ta9 logic is imp>t$ to ! tune4 ,x %\ld also be notic$ t ! melody is a p]fect example ( t balance ( phrases already ref]r$ to1 ! two halves 7#a-e & #e-i7 be+ ( precisely ! same l5g?4 ,v4 ,,national ,,*>act]i/ics ,,9 ,,folk-,,songs4 ,b>b>a ,all5 is l _m o!r ,engli% tunes 9 be+ /raight=w>d1 positive1 &1 9 a measure1 unromantic4 ,x lacks ! s(t1 undulat+1 & poetic elem5t to be obs]v$ 9 ! ,spani% folk-song 7see ,*apt] ,i71 b has a vigor & some:at matt]-(-fact quality *>act]i/ic ( ! race t produc$ x4 ,! /ory 0 evid5tly popul> 9 ! old5 "t1 z _m v]sions ( x ) diff]5t music h be5 f\nd all ov] ,engl&4 ,all ! important ev5ts ( ! times 7 celebrat$ 9 song4 ,!re 71 = example1 _m songs ab\t ,napoleon & ! dang] ( an invasion ( ,engl&1 su* z ,boney's ,lam5tation4 ,songs 7 writt5 ab\t political affairs & ab\t religion1 & !re 7 _m deal+ ) popul> *>act]s su* z ,rob9 ,hood4 ,celebrat$ crim9als became ! subjects ( songs1 :ile poa*+ & o!r lawless acts committ$ by ! peasants--:i* 9 ^? days 7 puni%$ ) ! greate/ sev]ity--7 frequ5tly us$ z ! basis = ! /roll+ s+]s' ballads4 ,su* titles z ,"h's adieu to all ,judges & ,juries1 ,! ,gallant ,poa*]s1 & ,botany ,bay are frequ5tly to be f\nd4 ,f a p]usal ( a l>ge numb] ( ! old songs "o ga!rs a q compreh5sive idea ( ! ways ( life & ! ?\ghts & feel+s ( ! p ( ,m]rie ,engl&4 ,a k9d ( rude philosophy seems to h evolv$ itself out ( ! mass ( common s5tim5t4 ,& ! v]ses1 rude z !y are1 h a *>act]i/ic directness & vigor t gives !m a value ( _! own4 ,pla91 def9ite n>rative *>act]izes mo/ ( ! ,engli% songs4 ,! "n ( ! h]o & h]o9e are usually giv5 ) ! greate/ accuracy1 z are all ! o!r details ( ! /ory4 ,"o old ,engli% song1 = example1 beg9s z foll[s3 ',twas ! eighte5? ( ,augu/1 ,! eigh? mon? ( ! ye>4 :ile ano!r is entitl$3 ,! ,?ree ,but*]s2 or1 ,gibson1 ,wilson1 & ,johnson4 ,/ill ano!r beg9s3 ,eli ,sykes1 9 ! t[n ( ,batley1 ,kill$ 8 swee!>t1 ,hannah ,brooke4 ,?is quality is 9 m>k$ contra/ to ! m romantic & poetic elem5t to be f\nd 9 ! songs ( _m ,european nations4 ,?is en]getic & /raight=w>d quality 9 old ,engli% melodies does n prev5t !m f be+ beautiful2 !y are true to human nature & unspoil$ by sophi/ry4 ,,vi4 ,,an ,,iri% ,,folk-,,song4 ,our next illu/ration is an ,iri% song call$ ,! ,flight ( ! ,e>ls1 "o ( ! mo/ beautiful ( melodies4 7,see ,figure ,,vii47 ,9 ?is illu/ration ! curv$ l9es repres5t ! phrases & correspond to ! l9es ( ! poem1 :ile ! brackets %[ ! l>g] =mal /ructure ( ! melody1 ,a be+ ! /atem5t1 or clause ( ass]tion1 ,b ! clause ( contra/1 & ,a ! re/atem5t4 ,a m]e glance at ?is music w %[ h[ c]ta9 phrases are us$ ?r\gh\t to hold ! melody toge!r4 ,! fir/ & second measures1#f = example1 conta9 a phrase ( :i* "o "p or ! o!r w be f\nd 9 almo/ e measure ( ! song4 ,! fir/ half ( ! song ends at #i ) a modulation to ! fif? above1 or dom9ant1 :ile ! re/atem5t aft] contra/ 7beg9n+ on ! la/ note ( measure #ac7 is q cle>4 ,music3 score ,,figure ,,vii4 ,c]ta9 details may be po9t$ out = ! b5efit ( ! /ud5t4 ,! fir/ phrase1 end+ on ! note ,d 7#e71 gives a s5se ( be+ pois$ = a mom5t be=e proce$+ to ! next note1 ,d n be+ a po9t ( re/ su* z is suppli$ by ! ,c ) :i* ! second phrase ends--at #i4 ,! same device is us$ at ! end ( ! ?ird phrase 7#ac74 ,! clause ( contra/ 7#i-ac71 :ile bas$ on ! rhy?m ( ! motive ( ?ree notes at ! beg9n+ ( ! song1 is di/+ui%$ f ei!r ( ! o!r two p>ts by ! abs5ce ( ! *>act]i/ic sixte5?-note figure ( measure two4 ,?is song ju/ifies all t we h said ab\t ! poetic beauty ( folk-songs4 ,)9 its %ort compass are conta9$ elem5ts ( p]fection t may well a/oni% ^? :o look on folk-songs z immat]ial to ! developm5t ( ! art ( music4 ,= ?is melody is z complete & p]fect an expression ( t natural idealism t seems to h animat$ human be+s f ! e>lie/ times z is ! pres5t day music ( our own ideals4 ,,vii4 ,a ,,g]man ,,folk-,,song4 ,! next illu/ration is a well kn[n ,g]man folk-song call$ ,si/] ,fair4 ,music3 score ,,figure ,,viii4 ,?is melody is "o ( great beauty & t5d]ness4 ,l _m o!r ,g]man folk-songs1 x is full ( quiet s5tim5t1 n ov]-/ra9$1 b sweet & :olesome4 ,x conta9s c]ta9 =mal elem5ts ) :i* we are already famili>3 7#a7 ,repetition1 betwe5 ! fir/ motive 9 measures #a & #b1 betwe5 measures #e-f & #g-h1 & betwe5 measures #c-d & #aa-ab2 7#b7 transposition1 :]e ! motive 9 measure #i is inv]t$ 9 measure #aj 7?is is an imitation ( rhy?m b n ( melody72 7#c7 re/atem5t aft] contra/1 ! la/ f\r measures be+1 9 effect1 a repetition ( ! fir/ f\r ) ! fir/ motive f measure #i inv]t$2 7#d7 modulation1 ! fir/ phrase be+ 9 ,a-m9or1 ! second 9 ,c-major1 & ! la/ 9 ,a-m9or aga94 ,?is is a p>ticul>ly cle> example ( a modulation1 z ! ?ree phrases di/9ctly c5tre r\nd _! respective key-notes1 or tonal c5tres4 ,x %\ld be not$ t ! modulation is n to ! fif? above ! key-note1 z 9 mo/ ( ! o!r examples1 b to ! ?ird above4 ,?is is common 9 songs 9 ! m9or key4 ,q a di/9ct *>m is imp>t$ to ! fir/ phrase ( ?is melody by ! use at ! end ( measure #b ( ! little rhy?mic figure t has already appe>$ at ! beg9n+ ( ! fir/ & second measures4 ,!re is an unexpect$ *>m 9 ?is %ift+ ( a motive f "o "p ( a measure to ano!r4 ,we %all see ?is device ( musical con/ruction 9 _m ( ! l>g] works t are dealt ) 9 lat] *apt]s4 ,!re are a great _m beautiful ,g]man folk-songs :i* w\ld be well wor? /udy "h did space p]mit4 ,! /ud5t is ref]r$ to su* collections z ,reimann's ,das ,deuts*e ,li$1 :]e ! be/ ( !m w be f\nd4 ,,viii4 ,,summ>y4 ,9 ?is brief /udy ( folk-songs we h not$ t ! /ream ( pure native melody 0 indep5d5t ( ! art-song & foll[$ its own natural *annel1 b t1 9 spite ( its limitation1 pres5ts to u "s well develop$ =mal types4 ,we h se5 h[ important a "p modulation plays 9 ! plan ( a piece ( music1 & h[1 by means ( a *ange ( key1 a new k9d ( v>iety may be imp>t$ to a melody4 ,we h obs]v$ h[ closely ! old songs reflect ! *>act]i/ics ( ! p :o produc$ !m1 & h[ intimate 0 ! connection betwe5 ! songs--) ! v]ses to :i* !y 7 set--& ! ?\ghts & feel+s ( ^? :o us$ !m4 ,9 /udy+ ! ,g]man folk-song we h obs]v$ a subtle elem5t ( =m1 namely1 ! %ift+ ( a motive f "o "p ( a measure to ano!r4 ,9 ! next *apt] we %all take up ! /udy ( simple polyphonic pieces1 su* z h already be5 ref]r$ to 9 deal+ ) ! r\nd1 ,?ree ,bl9d ,mice4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,p>ry3 ,! ,evolution ( ! ,art ( ,music1 ,*apt] ,,iii2 ,grove's ,diction>y ( ,music & ,musicians1 articles ,song & ,=m4 ,,footnotes3 #a ,sir ,hub]t ,p>ry 9 ,! ,evolution ( ! ,art ( ,music4 #b ,su* z ,s*ub]t's ,haid5-,rsle94 #c ,! read] w f9d an acc\nt ( ^! modes 9 ,grove's ,diction>y ( ,music "u ,modes1 ,ecclesia/ical4 #d ,9 ,had['s ,songs ( ! ,briti% ,isl&s 7,curw5 ,co41 ,london74 #e ,! fir/ p>tial measure is c\nt$ z "o4 #f ,! p>tial measure at ! beg9n+ is c\nt$ z "o4 ,,*apt] ,,iii4 ,,! ,,polyphonic ,,music ,,( ,,ba*4 ,we h se5 9 ! la/ *apt] "s typical examples ( folk-songs1 :i* h s]v$ to give u an impression ( folk-music 9 g5]al1 s9ce x always con=ms1 9 all ess5tials1 to ! type !y illu/rate4 ,folk-music is g5]ally simple & unsophi/icat$ 9 expression2 x is g5]ally ca/ 9 %ort & obvi\s =ms2 & x g5]ally consi/s ( a s+le melody1 ei!r sung alone or accompani$1 on "s primitive in/rum5t1 by a few ( ! commone/ *ords4 ,! prom95ce giv5 to a s+le melody by music ( ?is type1 h[ev]1 makes x unsuitable = gr\ps ( diff]5t voices1 su* z a vocal qu>tet or a *orus2 & !re=e :5 musicians began to pay att5tion to music int5d$ = *ur* use !y _h to "w out a diff]5t /yle1 9 :i* sev]al p>ts1 sung by ! v>i\s voices1 c\ld be /rongly individualiz$4 ,?is l$ to :at is call$ ! polyphonic1 or _m-voic$ /yle4 ,ano!r reason :y ! ecclesia/ical /yle always rema9$ unlike ! secul> 0 t ! le>n$ *ur* musicians disda9$ any use ( ^? me?ods :i* grew up 9 connection ) folk-songs & dances1 consid]+ !m pr(ane or vulg>4 ,_h !y be5 will+ to /udy !m1 !y might h add$ mu* vitality to *ur* music2 b !y ma9ta9$ an attitude ( alo(ness & ( contempt = ! popul> music4 ,i4 ,,:at ,,is ,,polyphony8 ,! peculi>ity ( ! polyphonic /yle is t t portion ( ! music :i* accompanies ! *ief melody is no long] a s]ies ( *ords z 9 folk-music1 b a tissue ( second>y melodies1 l ! *ief "o1 & h>dly less important4 7,?is arises1 z we h j sugge/$1 f ! necessity ( giv+ ea* ( ! f\r voices or gr\ps ( voices1--soprano1 alto1 t5or1 & bass1--some?+ individual & int]e/+ to d47 ,! diff]5ce betwe5 ! two /yles is app>5t ev5 to ! eye1 on ! pr9t$ page4 ,a folk-song1 or any o!r piece 9 homophonic or "o-voic$ /yle1 has ! *>act]i/ic appe>ance ( a l9e ( notes on top 7! melody71 ) gr\ps ( o!r notes hang+ d[n f x "h & !re1 l clo!s f a clo!s l9e 7! accompanim5t74 ,a ,ba* fugue1 9 pr9t1 pres5ts ! appe>ance ( f\r 7or m7 int]lac+ l9es ( notes4 7,see ,figure ,,ix47 ,music3 score 7a7 ,beg9n+ ( ,polly ,oliv]4 ,:ile ! dawn on ! m\nta9 0 mi/ - y & grey1 ,music3 score 7b7 ,passage f ,ba* ,fugue 9 ,g-m9or ,well-,temp]$ ,clavi*ord1 ,book ,i4 ,,figure ,,ix4 ,,diff]5ce ,,betwe5 ,,homophonic ,,& ,,polyphonic ,,/yle4 ,hi/orically speak+1 ! fir/ great culm9ation ( ! polyphonic /yle is f\nd 9 ! ecclesia/ical *oruses ( ,pale/r9a 7#aebh-aeid72 b x 0 n until some:at lat] t ?is /yle 0 appli$ to in/rum5tal music4 ,9 ! inv5tions1 canons1 preludes1 toccatas1 & fugues ( ,johann ,seba/ian ,ba* 7#afhe-agej71 we get ! fir/ great examples ( polyphony z appli$1 n to m]ely ecclesia/ical music1 b to music :i* by its secul> "* & its v>iety ( emotional expression is univ]sal 9 scope4 ,,ii4 ,,an ,,inv5tion ,,by ,,ba*4 ,su* is ! +5uity & ! p]fection ( detail 9 ,ba*'s works 9 ! polyphonic /yle t a life-"t might be sp5t 9 /udy+ !m4 ,!y h t delicacy ( inn] adju/m5t m usually f\nd 9 ! works ( nature ?an 9 ^? ( man2 _! melodies gr[ out ( _! motive g]ms z plants put =? leaves & fl[]s2 _! sep>ate voices fit into "o ano!r l ! cry/als 9 a bit ( qu>tz2 & ! :ole fabric ( ! music /&s on its elem5tal h>monies z solidly z ! m\nta9s on _! granite bases4 ,we c hope to see z little ( ?is augu/ c\ntry ( ,ba*'s m9d by analyz+ a few pieces z a man may see ( ! hills & moors 9 a day's excursion--b1 nev]!less1 a beg9n+ mu/ be made4 ,! ess5tial features ( ?is music may be se5 9 ev5 s simple a piece z ! ,inv5tion 9 ,f-major1 numb] #g1 9 ! two-voic$ inv5tions1 ?\gh x is writt5 = only two voices & is b ?irty-f\r measures long4 ,,example ,,= ,,analysis1 ,no4 #a4 ,ba*3 ,two-voice ,inv5tion ,no4 ,,viii41 9 ,f-,major4 ,! subject or !me ( ?is inv5tion is a melody ( two measures' l5g?1 fir/ giv5 out by ! soprano1 & consi/s ( two motives or *>act]i/ic figures1 "o 9 eigh?-notes1 /accato1 mak+ a s]ies ( leaps1 ?us3 ,music3 score & "o a graceful desc5d+ run 9 sixte5?-notes1 ?us ,music3 score ,notice h[ *>m+ly ! /accato & ! legato are contra/$ 9 ^! motives4 ,! entire inv5tion is made out ( ?is subject by means ( ^? me?ods ( v>i$ repetition discuss$ 9 ,*apt] ,i41 especially imitation & transposition4 ,= example1 ! l[] voice1 :i* we w call ! bass1 imitates1 almo/ exactly1 ?r\gh ! fir/ elev5 measures1 :at ! soprano says a measure be=e x4 ,on ! o!r h&1 9 measure #ab ! bass />ts ! ball a-roll+ by giv+ ! subject 7?is "t 9 ! key ( ,c71 & ! soprano takes its turn at imitat+4 ,!n1 f measure #bi to ! end1 x is aga9 ! soprano :i* leads & ! bass :i* imitates4 ,! /ud5t %\ld trace out ^! imitations 9 detail1 admir+ ! skill ) :i* !y are made always h>moni\s4 ,!re are _m in/ances ( transposition also1 mo/ ( !m c>ri$ out s sy/ematically t !y =m :at musicians call sequ5ces4 ,a sequ5ce is a s]ies ( transpositions ( a motive1 %ift+ x 9 pit* ei!r upw>d or d[nw>d1 & c>ri$ out sy/ematically ?r\gh sev]al repetitions4 ,examples3 measures #d1 #e1 & #f1 transposition ( ! motive 9 soprano1 ?ree repetitions2 measures #ba1 #bb1 #bc1 transposition ( motives ( bo? voices1 ?ree repetitions2 measures #bd1 #be1 transposition ( motives ( bo? voices1 two repetitions4 ,! second ( ^! sequ5ces is %[n 9 ,figure ,x4 ,x w be not$ :at a /rong s5se ( regul>1 ord]ly progress ^! sequ5ces imp>t to ! melodies4 ,x is int]e/+ to see t ! same g5]al s*eme ( keys is embodi$ 9 ?is inv5tion t we h obs]v$ 9 folk-songs3 i4 e41 ! modulation to ! dom9ant 9 ! middle 7measure #ab71 & ! return at ! end to ! orig9al key4 ,?is divides ! piece into two unequal halves1 ! fir/ mak+ an excursion away f ! home key1 ! second return+ home--mu* z ! ,k+ ( ,france1 ) tw5ty ?\s& m51 m>*$ up ! hill & !n m>*$ d[n aga94 ,su* a two-"p /ructure is obs]vable 9 ?\s&s ( %ort pieces1 & is call$ by musicians b9>y =m4 ,music3 score ,,figure ,x4 ,sequ5ce f ,ba*'s ,inv5tion 9 ,f-,major4 ,! diff]5ce 9 texture betwe5 ?is piece & any folk-song or dance w be/ be appreciat$ by play+ ov] ! bass "p alone1 :5 x w be se5 t1 f> f be+ m]e fill+ or accompanim5t1 x is a delightful melody 9 itself1 almo/ z int]e/+ z its m prom95t companion4 ,inde$1 9 ! :ole inv5tion !re are only two tones 7! ,c & ! ,a 9 ! f9al *ord7 :i* are n melodically necess>y4 ,su* is ! spl5did economy & cle>ness ( ,ba*'s musical ?9k+4 ,be=e go+ fur!r1 ! read] %\ld exam9e = himself sev]al typical inv5tions1 z1 = example1 ,no4 ,i1 9 ,c-major2 ,no4 ,,ii1 9 ,c-m9or2 ,no4 ,x1 9 ,g-major1 & ,no4 ,,xiii1 9 ,a-m9or1 9 ?is set by ,ba*1 not+ 9 ea* case3 7#a7 ! individuality ( ! motives us$1 7#b7 ! imitations f voice to voice1 7#c7 ! sequ5ces1 7#d7 ! modulations1 7#e7 ! polyphonic "*1 z evid5c$ by ! self-suffici5cy & melodic int]e/ ( ! bass1 & 7#f7 ! /ructural division ( ! entire inv5tion into m or less di/9ct sections4 ,,iii4 ,a ,,fugue ,,by ,,ba*4 ,! same g5]al me?od ( compos+ t is exemplifi$ 9 ! inv5tions we see appli$ on a l>g] scale 9 ! fugues ( ,ba*4 ,! def9ition ( a fugue giv5 by "s wag--a piece ( music 9 :i* "o voice aft] ano!r comes 91 & "o li/5] aft] ano!r goes out--is true only :5 ! li/5]s are un$ucat$4 ,= a tra9$ e> !re is no ke5] pleasure ?an foll[+ ! w9d+s ( a well writt5 fugue4 ,x is1 at ! same "t1 true t a fugue pres5ts especial difficulties to ! e>1 because ( its intricately int]wov5 melodies4 ,9 a folk-song !re is n only b "o melody1 ) no?+ to di/ract ! att5tion f x1 b x is compos$ 9 def9ite phrases ( equal l5g?1 l ! l9es 9 poetry1 ) a pause at ! end ( ea*1 9 :i* ! m9d ( ! li/5] c take brea?1 s to speak1 & re/ a mom5t be=e r5ew+ att5tion4 ,n s 9 ! fugue1 :]e ! bits ( tune occur all ?r\gh ! :ole range ( ! music1 are ( v>y+ l5g?s & "*1 & ov]lap 9 su* a way t !re are few if any mom5ts ( complete re/ = ! att5tion4 ,p]haps ?is is ! *ief reason :y fugues h ! reputation ( be+ dry4 ,z is sugge/$ by ! d]ivation ( ! ^w fugue1 f ! ,lat9 fuga1 a flight1 ! *>act]i/ic peculi>ity ( ! =m is ! entrance1 "o aft] ano!r1 ( ! sev]al voices1 :i* ?us seem to pursue or *ase "o ano!r1 to g ?r\gh a sort ( musical game ( tag1 9 :i* fir/ "o & !n ano!r is ,x4 ,fir/ "o voice beg9s ) ! subject ( ! fugue1 9 ! tonic key 7key 9 :i* ! piece is writt574 ,next ent]s a second voice1 imitat+ ! fir/1 b pres5t+ ! subject n 9 ! tonic1 b 9 ! dom9ant key4 ,!n a ?ird1 once m 9 ! tonic1 & f9ally ! f\r?1 aga9 9 ! dom9ant4 ,aft] ^! entrances all f\r voices proce$ to play ) ! subject1 transpos+ x 9 all sorts ( +5i\s ways1 & /ray+ (f at times into episodes1 g5]ally 9 sequ5ce =m1 b f9ally com+ back1 t[>ds ! end ( ! fugue1 ) r5ew$ en]gy to ! subject itself4 ,all ?is may be se5 9 su* an example z ! ,fugue 9 ,c-m9or 9 ,ba*'s ,well-,temp]$ ,clavi*ord4 ,,example ,,= ,,analysis1 ,no4 #b4 ,ba*3 ,fugue ,no4 #b1 ,c-m9or1 9 ?ree voices4 ,well-,temp]$ ,clavi*ord4 ,book #a4g ,l all ! fugues 9 ,ba*'s ,well-,temp]$ ,clavi*ord1 ?is fugue is prec$$ by a prelude1 9 free /yle1 l a s]ies ( embroid]ies on *ords1 int5d$ to prep>e ! ne>] = ! m active musical enjoym5t ( ! fugue to come4 ,p>ry1 9 ! ,ox=d ,hi/ory ( ,music1 says ( ! ,prelude ( ,ba* & ,h&el3 ,x might be a simple s]ies ( h>monies su* z a play] might extemporize be=e beg9n+ ! ,suite or ! ,fugue1 su* is ! case 9 ! pres5t prelude2 or1 its !me might be treat$ 9 a cont9u\s consi/5tly homog5e\s movem5t unre/rict$ z to l5g?1 b nev] los+ sight ( ! subject 444 etc4 ,a fugal subject is usually long] & m pret5ti\s ?an an inv5tion subject1 & m ne>ly approa*es :at we %\ld call a complete melody4 ,x may conta9 sev]al motives4 ,moreov]1 :ile ! second voice is answ]+ ! subject1 ! fir/ voice cont9ues ) fur!r melody1 & if ?is is ( def9ite1 individual "* x may easily assume almo/ z great importance z ! subject itself1 9 :i* case we may give x ! "n ( c\nt]-subject4 ,9 ,figure ,,xi ! subject & c\nt]-subject ( ?is fugue are %[n4 ,! long brackets %[ subject & c\nt]-subject2 ! %ort brackets %[ ! ?ree *ief motives1 m>k$ a1 b1 & c4 ,! simplicity ( ! melodic mat]ial is noticeable4 ,motive a1 :i*1 ) its ?ree repetitions1 =ms mo/ ( ! subject1 consi/s ( five tones1 9 a *>m+ & un=gettable rhy?m ( two %orts & ?ree longs4 ,motive b is simply a desc5d+ scale1 9 equal %ort notes4 ,motive c is f\r equal long notes4 ,play ! subject & c\nt]-subject ?r\gh sep>ately1 sev]al times1 & get !m well by he>t be=e go+ f>!r4 ,?is fugue is a wond]ful example ( :at a ma/]-compos] c make out ( simple mat]ials2 ! :ole piece is built f ^! ?ree motives4 ,our analysis may conv5i5tly be made 9 tabul> =m1 ! /ud5t be+ expect$ to trace out ! developm5t = himself1 measure by measure4 ,music3 score ,music3 score ,,figure ,,xi4 ,,subject ,,& ,,c\nt]-,,subject ,,( ,,ba*',s ,,fugue ,,9 ,c-,,m9or 7,,well-,,temp]$ ,,clavi*ord7 ,,table ,,( ,,!matic ,,treatm5t ,,( ,,fugue ,,9 ,c-,,m9or ,measures4 #a- #b ,subject 9 ,alto4 #c- #d ,subject answ]$ 9 ,soprano 7imitation71 c\nt]-subject 9 ,alto4 #e- #f ,episode #a3 ,motive a prom95t 9 ,soprano4 #g- #h ,subject 9 ,bass1 c\nt]-subject 9 ,soprano1 fragm5ts ( motive c 9 ,alto4 #i-aj ,episode #b3 ,motive a toss$ betwe5 ,soprano & ,alto1 motive b 9 ,bass4 #aa-ab ,subject1 9 key ( ,e-flat major1 9 ,soprano1 c\nt]-subject 9 ,bass4 #ac-ad ,episode #c3 ,motive b 9 ,soprano1 motive c 9 o!r two voices4 #ae-af ,subject 9 ,alto1 c\nt]-subject 9 ,soprano1 motive c 9 ,bass4 #ag-ai ,episode #d3 ,motives a & b v>i\sly di/ribut$ betwe5 all ?ree voices4 #bj-ba ,subject 9 ,soprano1 9 tonic key aga91 c\nt]-subject 9 ,alto1 motive c 9 ,bass1 #bb-be ,episode #e3 ,motives a & b 9 all voices4 #bf-bh ,climax3 ,subject 9 ,bass1 motives b & c 9 o!r voices4 #bi-ca ,coda3 ,subject 9 ,soprano4 ,note t all ! episodes take ! =m ( sequ5ces1 z1 = example1 9 ! foll[+ in/ance 7measures #i-aj73 ,music3 score ,,figure ,x,ia4 ,a ,,sequ5ce ,,f ,,ba*',s ,,fugue ,,9 ,c-,,m9or4 ,! g5]al =m ( ?is fugue illu/rates ! same pr9ciples ( modulation1 & ( re/atem5t ( subject aft] contra/1 t we notic$ 9 ! folk-songs & 9 ! inv5tion4 ,?is may be tabulat$ ?us3 ,,table ,,%[+ ,,/ructure ,,( ,,fugue ,,9 ,c-,,m9or4 ,a4 ,b4 ,a4 ,,/atem5t4 ,,contra/4 ,,re/atem5t4 ,measures #a-aj 9 ,measures #aa-ai 9 v>i\s ,measures #bj-ca key ( ,c-m9or4 keys1 beg9n+ ) ,e-flat4 9 ,c-m9or4 ,! modulation 9 ?is case1 h[ev]1 is n to ! dom9ant key1 b to :at is call$ ! relative major key1 z is usual 9 pieces writt5 9 m9or keys1 7see ! folk-song1 ,si/] ,fair1 9 ,*apt] ,,ii71 ! reason be+ t ! relative major af=ds ! mo/ natural contra/ to a m9or key1 j z ! dom9ant af=ds ! mo/ natural contra/ to a major key4 ,! conclusion is emphasiz$ by ! f9ely rugg$ /atem5t ( ! subject 9 ,bass at measure #bf4 ,! treatm5t ( ?is fugue1 = all its consummate skill1 is comp>atively simple4 ,x does n employ ! m subtle devices (t5 employ$ 9 fugues1 ( :i* may be m5tion$ ! foll[+3 #a4 ,inv]sion3 ,! subject turn$ upside d[n1 :ile reta9+ its id5tity by means ( its rhy?m4 ,music3 score ,orig9al ,subject4 ,music3 score ,inv]sion4 ,,figure ,,xii4 ,,! ,,device ,,( ,,inv]sion4 ,music3 score ,orig9al ,subject4 ,music3 score ,augm5tation4 ,music3 score ,orig9al ,subject4 ,music3 score ,dim9ution4 ,,figure ,,xiii4 ,,! ,,devices ,,( ,,augm5tation ,,& ,,dim9ution4 #b4 ,augm5tation & ,dim9ution3 ,! l5g? ( ! notes d\bl$ or halv$1 :ile _! relative l5g?1 or rhy?m1 is c>efully ma9ta9$4 7,figure ,,xiii47 #c4 ,%ift$ rhy?m3#h ,! subject %ift$ z reg>ds its position 9 ! measure1 s t all ! acc5ts fall diff]5tly4 ,music3 score ,orig9al ,subject4 ,music3 score ,%ift$4 ,,figure ,,xiv4 ,,device ,,( ,,%ift$ ,,rhy?m4 #d4 ,/retto3 ,! imitation ( ! subject by a second voice occurr+ prematurely1 be=e ! fir/ voice has complet$ ! subject1 frequ5tly ) highly dramatic effect4 7b7 9 ,figure ,,ix is an example ( /retto4 ,^! devices are m5tion$ "h n only because !y occur 9 _m fugues1 b because !y are us$ 9 ! symphonic music ( ,moz>t & ,bee?ov51 z we %all lat] h occasion to see4 ,,iv4 ,,g5]al ,,qualities ,,( ,,ba*',s ,,"w4 ,p]haps ! mo/ exact+ ( all te/s applicable to music is ! te/ ( economy4 ,are !re sup]flu\s tones t d n enri* ! h>mony8 ,are !re unnecess>y subjects n ne$$ to fill ! s*eme ( design8 ,if s1 no matt] h[ beautiful ! music1 x is defective z art4 ,ba* be>s ?is te/ victori\sly4 ,!re is n a note ( 8 writ+ :i* "o w\ld will+ly sacrifice4 ,!re is n a melody t is n ne$$4 ,ea* subject is n m]ely introduc$ & dismiss$1 b is develop$ to ! utmo/1 s t all t 0 implicit 9 its g]m becomes explicit 9 its f9al =m4 ,!re is no confusion ( ! outl9e1 no ov]cr[d+ ( ! canvas1 no blot*9ess 9 ! color4 ,z ,giotto prov$ 8 supremacy among draughtsm5 by ! app>5tly simple b really enorm\sly difficult feat ( draw+ a complete1 p]fect circle ) "o /roke ( ! p5cil1 s ,ba* con/antly proves 8 supremacy among musicians by mak+ two voices satisfy ! e> l an or*e/ra4 ,& ?is purity ( texture is q compatible ) ! utmo/ ri*ness4 ,inde$1 ,ba*'s polyphonic scores are inimitably ri*1 s9ce ea* voice s+s its own melody1 & ! melodies all int]play h>moni\sly l ! l9es ( a well-compos$ picture4 ,^? :o call ,ba*'s fugues dry make an a/oni%+ confession ( _! own ins5sibility or crudity ( ta/e4 ,ba*'s melodies are n1 to be sure1 l ,annie ,laurie or ,home1 ,sweet ,home4 ,b nei!r is daylight l c&le light2 yet we d n call x d>kness because x is diffus$ ?r\gh all ! atmosph]e in/ead ( conc5trat$ 9 a s+le visible ray4 ,ba*'s d>+ has be5 ! subject ( ! endless admiration ( /ud5ts4 ,especially 9 ! matt] ( h>mony he did ?+s 9 ! eighte5? c5tury1 & entirely on 8 own responsibility1 t :ole s*ools ( compos]s b& toge!r ) a s5se ( revolution>y c\rage to d 9 ! tw5tie?4 ,he is truly "o ( ! mo/ mod]n ( compos]s1 & w always rema9 s4 ,compos]s :o might h be5 8 gr&sons are n[ antiquat$1 :ile he is always contempor>y ) ! be/ musical ?\ght4 ,brahms1 irritat$ at ,rub9/e9's p]si/5t patroniz+ ( ,papa ,haydn 9 8 book1 ,a ,conv]sation on ,music1 rem>k$ 9 8 dry way3 ,rub9/e9 w soon be ,great-gr&fa!r ,rub9/e91 b ,haydn w !n be /ill ,papa ,haydn4 ,! same might be said ev5 m truly ( ,ba*1 :o w always be ! fa!r ( musicians4 ,ano!r way 9 :i* ,ba* is mod]n is 9 ! v>iety ( 8 musical expression4 ,x is n only t 8 range ( diff]5t species ( works is s great1 rea*+ f ! ec/atically t5d] & exalt$ religi\s *oral compositions1 su* z cantatas1 motets1 oratorios1 & passions1 ?r\gh ! gr& & monum5tal organ toccatas & fugues1 to ! intimate1 colloquial suites & sonatas = or*e/ra & = clavi*ord2 x is ev5 m wond]ful t 9 a s+le "w1 su* z ! ,well-,temp]$ ,clavi*ord1 he kn[s h[ to s\nd ! :ole gamut ( human feel+1 f ! deep & sombre passions ( ! s\l to ! homely gaiety or bant]+ humor ( an idle mom5t4#i ,ba* might h boa/$1 _h x be5 9 8 nature to boa/1 t 9 ?is "w he _h n only writt5 9 e key kn[n to musicians1 b 9 e mood kn[n to m54 ,x is ! musical ,comdie ,huma9e4 ,ba* liv$ quietly & 9 almo/ complete obscurity2 = ! la/ qu>t]-c5tury ( 8 life he held a po/ z tea*] ( music & *ur*-music director 9 ,leipsic4 ,he travell$ little1 s\ght no worldly fame1 took no pa9s to secure p]=mances ( 8 works1 &1 above all1 made no compromise ) ! popul> ta/e ( 8 day4 ,he produc$ 8 great compositions1 "o aft] ano!r1 9 ! regul> day's "w1 = p]=mance 9 8 *ur* or by local or*e/ras & play]s4 ,he nev] p9$ = a recognition t 9 ! nature ( ?+s he c\ld n h2 he wrote ! music t seem$ good to him1 & ?\ght t 8 responsibility end$ !re1 & t 8 rew>d lay !re4 ,! cynic :o said ,e man has 8 price 0 evid5tly n acqua9t$ ) ! life ( ,ba*4 ,/eadily ignor+ ^? temptations to pro/itute 8 g5ius = ! public's pleasure1 :i* s mat]ially affect$ ! life c\rse ( 8 great contempor>y ,h&el1 he foll[$ 8 own ideals ) an undivid$ m9d4 ,z always happ5s 9 su* cases1 s9ce x takes decades = ! _w to compreh5d a s9c]e individual1 or ev5 c5turies if 8 individuality is deep & unique1 he 0 n appreciat$ 9 8 life-"t1 nor = _m ye>s aft] 8 dea?4 ,inde$1 he is n appreciat$ n[1 = a man c be appreciat$ only by 8 equals4 ,b we h at la/ got an inkl+ ( ! treasure t /ill lies hidd5 away 9 ,ba*2 & :ile ,h&el & ! o!r idols ( ! age s\nd daily m ?9 & ar*aic1 ,ba* gr[s ev] ri*] z ! und]/&+ we br+ to him increases1 & /ill holds out 8 promise ( novel & p]5nial arti/ic delights4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,w4 ,r4 ,spald+3 ,tonal ,c\nt]po9t4 ,edw>d ,dick9son3 ,/udy ( ! ,hi/ory ( ,music1 ,*apt] ,,xx4 ,c4 ,h4 ,h4 ,p>ry3 ,evolution ( ! ,art ( ,music1 ,*apt] ,,viii4 ,,footnotes3 #g ,numb] ! measures1 & call ! voices soprano1 alto1 & bass4 #h ,! read] %\ld exam9e ! example ( %ift$ rhy?m giv5 9 ! second *apt] 9 deal+ ) ! ,g]man song1 ,si/] ,fair4 #i ,9 ,book ,i1 = example1 ,fugue ,,ii is z light & delicate z ,,xii is s]i\s & e>ne/2 ,,xvi is pa!tic1 ,,xvii vigor\s & rugg$1 ,,xviii ?\ghtful & my/ical1 etc4 ,,*apt] ,,iv4 ,,! ,,dance ,,& ,,its ,,developm5t4 ,i4 ,,musical ,,"* ,,( ,,dances4 ,9 ! la/ *apt] we /udi$ ! mo/ important applications ( ! polyphonic /yle1 :i* orig9at$ 9 music = voices1 to ! music ( in/rum5ts4 ,we saw h[ 9 su* music ! att5tion ( ! compos] 0 divid$ among sev]al equally important voices or p>ts1 & h[ mu* he made ( ! pr9ciple ( imitation2 & 9 connection ) ! fugue we rem>k$ t ! v complex int]weav+ ( ! diff]5t voices 9 su* music1 "o beg9n+ be=e ano!r leaves (f1 & all toge!r mak+ an intricate web1 pres5t$ c]ta9 difficulties to ! li/5] accu/om$ to ! m mod]n /yle1 9 :i* a s+le voice has ! melody1 & /ops %ort at regul> int]vals1 giv+ ! he>] a *ance to draw brea?1 z x 71 & r5ew att5tion = :at is com+ next4 ,li/5+ to mod]n music is l read+ a s]ies ( %ort s5t5ces1 ea* cle>ly & def9itely end$ by its own full /op4 ,li/5+ to ! old polyphony is m l read+ "o ( ^? long & involv$ s5t5ces ( ,de ,qu9cey or ,walt] ,pat]1 9 :i* ! clauses are intricately int]wov5 & mutually dep5d5t1 s t we c get ! s5se only by a long-su/a9$ ef=t ( att5tion4 ,?is m involv$ /yle1 suitable to voices1 b less natural to in/rum5ts1 _h hi/orically a v long life4 ,mu* ( ! in/rum5tal music ( ! sixte5?1 sev5te5?1 & eighte5? c5turies 0 9 fact no?+ b a transf]5ce to in/rum5ts ( music really conceiv$ = voices4 ,?us1 = example1 9 ! sixte5? c5tury1 :5 madrigals & canzonas1 :i* 7 compositions = voices 9 ! polyphonic /yle b ( a m secul> "* ?an *ur* music1 7 exce$+ly popul>1 ! compos]s = /r+$ in/rum5ts & = ! !n v fa%ionable lutes1 :5 !y want$ some?+ ( a sup]ior ord]1 444 simply play$ madrigals1 or wrote music 9 imitation ( any ( ! v>ieties ( *oral music1 n realiz+ t )\t ! human tones 444 :i* gave expression to ! ris+ & fall+ ( ! melodic mat]ial1 ! effect 0 po9tless & flat4#aj ,ev5 ,ba* & ,h&el1 9 ! eighte5? c5tury1 71 by _! deeply-root$ habit ( ?9k+ vocally1 9 "s degree hamp]$ 9 ! se>* = a purely in/rum5tal /yle4 ,in/rum5tal music1 hav+ to get along )\t words1 mu/ f9d "s pr9ciple ( coh]5ce1 "s k9d ( def9ite design1 :i* w make x intelligible )\t ! help ( words1 & enable x to /& on its own feet4 ,& "h comes 9 ! importance ( folk-song1 & ( ! folk-dance :i* grew up beside x1 to our mod]n in/rum5tal music4 ,= bo? song & dance po9t$ ! way to su* a pr9ciple ( indep5d5t intelligibility1 ?r\gh def9ite balance ( phrases 7see ,*apt] ,i71 & ?r\gh contra/s & resemblances ( key 9 ! v>i\s phrases & sections ( a composition4 ,music int5d$ to accompany songs or dances _h to consi/ ( balanc$ phrases ( equal l5g?--9 ! case ( songs1 because x _h to reproduce ! v]se /ructure ( ! words1 :i* ( c\rse 7 compos$ 9 regul> /anzas ( equal l9es1 & 9 ! case ( dances1 because x _h to af=d a basis = symmetrical movem5ts ( ! body4 ,& :5 once x 0 ?us divid$ up into equal phrases1 x took musicians b a %ort "t to f9d t ^! phrases c\ld be effectively contra/$1 & made ! p>ts ( l>g] musical organisms1 by be+ put into diff]5t keys 7z we h se5 9 ! in/ances ( modulation cit$ 9 ,*apt]s ,,ii & ,,iii74 ,h[ vital ^! pr9ciples ( /ructure 9 balanc$ phrases & sections1 & ( contra/ ( keys1 are to ! entire mod]n developm5t ( music1 we %all realize fully only z we proce$4 ,aga91 bo? song & dance h prov$ supremely important to ! developm5t ( ! homophonic /yle 7"o melody1 ) accompanim5t n itself melodic74 ,9 ! case ( song ! reason is obvi\s4 ,a song r5d]$ by a solo voice1 ) in/rum5tal accompanim5t1 naturally takes ! homophonic /yle1 s9ce x w\ld be highly artificial to make ! subord9ate elem5t 9 ! comb9ation z prom95t z ! *ief "o4 ,dance is less inevitably homophonic ?an song2 inde$ _m dances1 z we %all see1 are to a great] or less degree polyphonic2 b nev]!less ! t5d5cy t[>d homophony is always app>5t4 ,9 ! fir/ place1 ! int]weav+ ( _m melodies w\ld t5d to obscure ! division into def9ite phrases1 s9ce an inn] melody might sometimes fill up ! pause 9 ! ma9 "o1 z we saw x con/antly do+ 9 ! fugue4 ,secondly1 ! mode ( p]=m+ dances t5ds to give prom95ce to a s+le melody4 ,! old dances 7 g5]ally play$ by "o melodic in/rum5t1 su* z a viol9 or hautboy1 accompani$ by *ords on an in/rum5t ( ! lute or guit> family1 & frequ5tly by a drum to /r5g!n ! acc5ts4 ,su* a comb9ation af=ds b "o prom95t voice1 & does n l5d itself naturally to polyphonic writ+4 ,music3 score ,,figure ,,xv4 ,vi5s dans ce bo- ca- ge1 belle ,a- m9 - te1 ,sans contra9 - te ,l'on y = - me des vux2 ,vi5s1 ,vi5s dans ce bo - ca - ge1 belle ,a- m9 - te1 ,il e/ fait p\r les plai-sirs et les jeux3 ,! ,tamb\r91 = in/ance1 an old ,fr5* dance ( ,prov5ce1 0 play$ by "o p]=m]1 ! melody ) "o h& on ! gal\bet1 a k9d ( pipe or flageolet1 & ! accompany+ rhy?m ) ! o!r on a small drum4 ,! quotation 9 ,figure ,,xv1 tak5 f ,wek]l9's collection1 ,e*os du ,temps ,pass 7,vol4 ,,iii71 is a good example ( ?is anci5t dance4 ,9 ?is arrangem5t = piano1 ! left h& imitates ! drum1 & ! "r h& ! gal\bet or pipe4 ,?is quotation illu/rates ! common use ( dance melodies 9 songs4 ,_m primitive airs 7 s us$ 9 ! old5 times4 ,,ii4 ,,primitive ,,dances4 ,! rude dances :i* spr+ up spontane\sly 9 all communities1 savage z well z civiliz$1 & ( :i* we 9 ,am]ica h examples 9 ! w>-dances ( ,indians & ! cake-walks ( negroes1 are ?us se5 to be pregnant ( influ5ce on develop$ musical art1 no less ?an ! folk-songs :i* we discuss$ 9 ! second *apt]1 & ! m academic music 9 ! polyphonic /yle :i* we treat$ 9 ! ?ird4 ,bo? songs & dances1 inde$1 sometimes ent] into arti/ic music ev5 9 _! crude =m1 b 9 mo/ cases compos]s treat !m ) a c]ta9 fre$om1 & 9 v>i\s ways enhance _! effectiv5ess1 z ,haydn1 = in/ance1 treats ! ,croatian folk-tune ,jur ,po/aje1 9 ! ,&ante ( 8 ,pauk5wirbel ,symphony4 ,9 ,figure ,,xvi ! read] w see bo? ! crude =m ( ! tune & ! %ape into :i* ,haydn m\lds x = 8 purposes4 ,music3 score ,jur ,po/aje4 ,music3 score ,,haydn',s ,v]sion4 ,,figure ,,xvi4 ,9 ! long process ( developm5t :i* songs & dances ?us und]go at ! h&s ( compos]s1 !y ( c\rse lose to "s ext5t _! contra/+ *>act]s1 until 9 mod]n music ! dance & ! song elem5ts are z inextricably int]wov5 z ! w>p & ! wo( ( a well-made fabric4 ,z imitation is only slightly available 9 homophonic music1 ! unity s vital to all art is atta9$ 9 dances *iefly by transpositions ( motives1 (t5 9 sy/ematic sequ5ces1 by m or less exact balance ( phrases1 & by re/atem5t aft] contra/4 ,9 crude examples ^! means are crudely us$2 9 ! "w ( ma/]s !y are treat$ ) m subtlety & ela/icity2 b always a c>eful analysis w discov] !m4 ,x w n[ prove enlight5+ to comp>e1 f ?is po9t ( view1 ?ree dance tunes ( v diff]5t degrees ( m]it4 ,music3 score ,,figure ,,xvii4 ,a ,branle or ,brawl f ,arbeau's ,or*esographie1 7#aede74 ,figure ,,xvii %[s an anci5t ,branle or ,brawl ( ! sixte5? c5tury1 tak5 f ,arbeau's ,or*esographie1 publi%$ 9 #aede4 ,! /rong met]1 caus+ a di/9ct acc5t on ! fir/ note ( ea* measure1 w at once be not$1 especially if x be contra/$ ) ! m mod]ate acc5tuation ( ! folk-songs ( ,*apt] ,,ii4 ,su* /rong met] is naturally *>act]i/ic ( all dance tunes1 int5d$ z !y are to guide & /imulate ! regul> /eps ( ! danc]4 ,! phrase balance1 ?\gh m>k$1 is n absolutely regul>1 b ! two two-measure phrases at ! beg9n+ & ! s+le "o at ! end suffice to give an impression ( pron\nc$ symmetry4 ,! six-measure phrase aft] ! d\ble-b> is g5]at$ by ! sequ5tial treatm5t ( ! little motive ( measure #e4 ,?is sequ5ce 7measures #e1 #f1 #g1 #h1 #i7 is wor?y ( note because ( ! excessive l5g? to :i* x is c>ri$4 ,five repetitions are too _m1 & gr[ monoton\s4 ,a m skilful compos] w\ld h secur$ 8 unity )\t s great a sacrifice ( v>iety--9 a ^w1 he w\ld h treat$ a device good 9 itself ) less crudity4 ,! exact repetition ( measures #c-d at ! end is an effective use ( re/atem5t aft] contra/4 ,al?\gh ! :ole ( ! orig9al !me is n giv51 !re is en\gh ( x to give ! s5se ( ord]l9ess 9 design4 ,a ,gavotte 9 ,f-major by ,arcangelo ,corelli 7#afec-agac71 ! fam\s viol9 virtuoso ( ! sev5te5? c5tury1 pr9t$ 9 ,aug5]'s edition ( ,pieces by ,corelli1 w illu/rate a di/9ctly high] /age 9 ! treatm5t ( a dance =m4 ,?is is well wor? a brief analysis4 ,,example ,,= ,,analysis1 ,no4 #c4 ,corelli3 ,gavotte 9 ,f-,major4 ,"h ! phrase balance1 ?\gh entirely satisfy+ to ! s5se ( rhy?m1 is mu* m ela/ic ?an 9 ! brawl4 ,! measure-l5g?s ( ! phrases are n all ! same2 !y are z foll[s3 #a1 #a1 #b1 #a1 #a1 #a1 #b1 #b4 ,?is gives ! tune an agreeable v>iety4 ,x w be not$1 h[ev]1 t ! sequ5ce is /ill treat$ r fumbl+ly4 ,9 ! ?ree measures aft] ! d\ble-b>1 ! same motive is repeat$ ?rice1 ea* "t high] ?an be=e1 & to a fa/idi\s e> ! ?ird repetition gr[s slightly we>isome4 ,on ! :ole1 nev]!less1 ! ga9 9 ela/icity & fre$om ov] ! la/ example is m>k$4 ,! g5]al /ructure & s*eme ( modulation 9 ?is little ,gavotte ( ,corelli des]ves c>eful att5tion1 because x is 9 ^! respects typical ( a v great numb]1 inde$ ( ! majority ( ! %ort dances ( ! sev5te5? & eighte5? c5turies4 ,x is divid$ into two di/9ct halves1 & :ile ea* deals ) ! same musical mat]ial1 ! two are /rongly contra/$ 9 ! matt] ( key4 ,! fir/ beg9s 9 ! home key & leaves x to end 9 a contra/$ key1 9 ! pres5t case ! dom9ant4 ,! second1 beg9n+ 9 ! dom9ant1 modulates back aga9 to ! home key1 & ends !re4 ,?is s*eme1 call$ by musicians b9>y or two-"p =m1 is a v simple & natural "o = %ort pieces ( ?is k9d1 & is to be f\nd 9 ?\s&s ( ! movem5ts ( ,corelli1 ,sc>latti1 ,c\p]91 ,rameau1 ,purcell1 ,h&el1 ,ba*1 & o!r ma/]s ( _! day4 ,x is ev5 m common ?an ! t]n>y =m to :i* we %all come 9 a mom5t4 ,,iii4 ,a ,,ba* ,,gavotte4 ,if ! read] w n[ comp>e ) ^! two dances ! ,gavotte 9 ! six? ,engli% ,suite ( ,j4 ,s4 ,ba*1 :o _h ! advantage ( liv+ half a c5tury lat] ?an ,corelli 7besides be+ an immeasurably great] g5ius71 he w be amaz$ to see ! p[] & orig9ality ) :i* a ma/] c treat a traditional =m4#aa ,,example ,,= ,,analysis1 ,no4 #d4 ,ba*3 ,gavotte 9 ,d-,m9or f ! ,six? ,engli% ,suite4 ,be=e look+ at matt]s ( detail1 we mu/ notice ! /ructure ( ! piece z a :ole1 s9ce x is n only highly int]e/+ 9 itself1 b is an example--! fir/ we h _h on a l>ge scale--( a type ( con/ruction t is p]haps m popul> ) musicians ( all s*ools ?an any o!r4 ,?is /ructural type is no?+ b an application to an entire piece ( t ?ree-"p =m :i* we h se5 9 little 9 ! ,galician folk-song ( ,*apt] ,i & 9 ,polly ,oliv] 9 ,*apt] ,,ii1 & to :i* we may n[ give ! "n ( t]n>y =m1 to di/+ui% x f ! b9>y =m discuss$ 9 ,*apt] ,,iii4 ,ba* "h writes two di/9ct gavottes1 repeat+ ! fir/ aft] ! second3 s t ,gavotte ,i is a /atem5t1 ,gavotte ,,ii a contra/ 7emphasiz$ by *ange ( key f m9or to major71 & ! repeat$ ,gavotte ,i a re/atem5t4 ,?is practice is v frequ5t 9 ,ba*'s suites1 :]e we (t5 f9d two c\rantes1 two b\rres1 two passepi$s1 two m9uets1 etc41 comb9$ 9 ?is way1 ! function ( ! second be+ to af=d contra/ to ! fir/4 ,9 "s in/ances ! second ( ! pair is call$ trio1 probably because ! e>lie/ examples 7 writt5 9 ?ree-voice h>mony1 or musette1 f ! ,fr5* ^w = bagpipe1 9 ref]5ce to ! drone bass imitat+ t in/rum5t4 7,?is is ! case 9 ! pres5t gavotte1 :]e ! gavotte ,,ii be>s ! alt]native "n ( musette47 ,9 ! sonatas & symphonies ( ,haydn1 ,moz>t1 & ,bee?ov51 z we %all see lat]1 ?is ?ree-section /ructure is f\nd 9 ! m9uet ) trio1 & 9 ! s*]zo ) trio4 ,nor is x less common 9 mod]n music1 occurr+ notably 9 ! m>*es ( ,s*ub]t1 _m ( ! %ort pieces ( ,s*umann1 9 ! polonaises & "s ( ! nocturnes ( ,*op91 9 ! rhapsodies & int]mezzos ( ,brahms1 & 9 ! lyric pieces ( ,grieg4 ,inde$1 its naturalness & cle>ness inevitably comm5d x to all compos]s4 ,look+ m closely we see1 aga91 t ! same s*eme is us$ by ,ba* 9 ea* ( ! two gavottes1 consid]$ sep>ately4 ,9 ! fir/1 we note ! /ructure ,a measures #a-aj1 ,b measures #aa-bg1 ,a measures #bg-ce2 9 ! second we f9d1 ,a measures #a-aj1 ,b measures #aa-ai1 ,a measures #ai-bh4 ,! /ud5t %\ld v]ify ?is analysis = himself4 ,proce$+ n[ to details1 we notice fir/ t ,ba*1 supreme ma/] ( polyphony t he is1 writes ev5 a gavotte 9 su* a way t ea* ( its voices has its own melodic value4 ,! gavotte itself is 9 ?ree voices ?r\gh\t1 & ! musette 9 two1 & :ile ^! voices are n s purely melodic z 9 an inv5tion or a fugue1 & !re is little /rict imitation1 yet ! g5]al effect is polyphonic r ?an homophonic4 ,9 measures #bg-ca ! alto voice ev5 has ! !me4 ,! phrase balance is fre] ?an ev5 ,corelli's1 because ,ba*'s m9d is quick] to seize ^u & "w out ! lat5t possibilities ( 8 melodies4 ,all beg9s regul>ly en\gh3 ! fir/ f\r phrases are ea* two measures 9 l5g?2 b aft] ! d\ble-b> ! plot beg9s to ?ick54 ,fir/ we f9d two m phrases j l ! prec$+ ones 7measures #aa-ac & #ac-ae72 b 9 ! next phrase1 begun 9 ! same way1 9 measure #ae1 ! yea/ ( ,ba*'s fancy beg9s to "w1 & ! melody broad5s out 9 a s]ies ( evolutions1 fir/ 9 ! soprano & lat] 9 ! alto1 n com+ aga9 to a po9t ( re/ 7end ( a phrase7 until measure #bc4 ,?is ext5sion ( a phrase ?r\gh ! g]m9ation or blossom+ ( ! ?\ght 79 ?is case x all comes f ! bit ( melody 9 measure #g7 is a matt] ( supreme importance 9 composition1 & ?is in/ance ( x1 z well z ano!r 9 measures #bc-bg1 %\ld be c>efully /udi$ by any "o :o desires to und]/& music4 ,! p[] ?us to develop or draw =? ! hidd5 pot5tialities ( 8 motives is "o ( ! mo/ important ( all ! gifts :i* g to make a compos]4 ,/ill fur!r in/ances ( x %\ld n[ be f\nd by ! /ud5t himself 9 ! musette4 ,! arti/ic fre$om & felicity ( ,ba*'s way ( work+ is fur!r illu/rat$ by ! mann] 9 :i*1 :ile us+ ! g5]al pr9ciple ( ! sequ5ce z a means ( giv+ 8 music unity ( idea1 he avoids ^? ov]lit]al1 me*anical transpositions ( motive :i* we f\nd 9 ! m primitive dances4 ,!re is j ! contra/ "h t !re is betwe5 a poor speak]1 :o keeps repeat+ ! same ^w or phrase ) futile emphasis1 & ! man ( real eloqu5ce1 :o foll[s a tra9 ( ?\ght no less closely1 b manages con/antly to ca/ 8 ideas 9 new phraseology & fre% figures ( spee*1 s t ! v>iety ( :at he says is q z /rik+ z its fundam5tal unity4 ,! elem5t ( v>iety introduc$ into ! contra/-section ( ! gavotte 7#aa-bg71 by ! free modulation ?r\gh sev]al keys1 %\ld also be rem>k$4 ,! plan ( modulation is diff]5t f any we h yet _h4 ,in/ead ( beg9n+ 9 ! relative major 7:i* w\ld be ! key ( ,f71 ! section beg9s 9 ! dom9ant m9or 7,a-m9or74 ,a good _m keys are !n t\*$ ^u be=e ! tonic or home key is rea*$ at ! re/atem5t 7#bg-ce71 :i*1 by a *>m+ subtlety1 beg9s ) ! !me 9 ! alto in/ead ( ! soprano voice4 ,9 all ^! matt]s we detect ! work+s ( an orig9al & inv5tive m9d1 :i*1 f> f be+ hamp]$ by work+ 9 a traditional =m1 is /imulat$ to con/antly new solutions ( old problems1 & s produces a piece ( music at once p]fectly cle> & fasc9at+ly int]e/+4 ,9 ! next *apt] we %all see h[ compos]s comb9$ gr\ps ( su* dances z ?is1 ) o!r pieces ( a diff]5t "*1 into ^? suites :i* 7 ! mo/ popul> =ms ( in/rum5tal music 9 ! eighte5? c5tury4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,grove's ,diction>y3 article ,rhy?m1 & articles "u names ( v>i\s dances1 z ,gavotte1 ,allem&e1 ,c\rante1 ,m9uet1 ,gigue1 etc4 ,o!r examples ( dances may be f\nd 9 a collection ( tw5ty-five old gavottes1 publi%$ by ,breitkopf & ,hrtel1 & 9 a volume ( miscellane\s old dances 9 ! ,litolff ,edition4 ,,footnotes3 #aj ,p>ry3 ,evolution ( ! ,art ( ,music1 page #aae4 #aa ,= ?is analysis1 numb] all ! measures & p>ts ( measures consecutively1 :i* w give #ce measure numb]s 9 ! ,gavotte prop]1 & #bh 9 ! second ,gavotte or ,musette4 ,,*apt] ,v4 ,,! ,,suite4 ,i4 ,,d]ivation ,,( ,,! ,,suite4 ,once musicians _h begun to realize h[ dances c\ld be develop$ into f9i%$ pieces1 l ! gavotte ( ,ba*1 :i* we discuss$ 9 ! la/ *apt]1 !y 7 quick to avail !mselves ( ?is advantage by comb9+ sev]al su* dances into a gr\p1 ?us mak+ a composition ( "s l5g? & dignity & yet ( popul>1 easily compreh5sible /yle4 ,su* compositions1 kn[n 9 ,engl& z ,lessons1 9 ,france z ,ordres1 & 9 ,g]many z ,suites & ,p>titas1 became num]\s 9 ! sev5te5? & eighte5? c5turies4 ,! fir/ hi/orical /ep 9 ! developm5t ( ! suite 0 tak5 :5 ! great viol9-mak]s ( ,cremona & ,brescia1 9 ,italy1 br\ght ! viol9 to a wond]ful me*anical p]fection e>ly 9 ! sev5te5? c5tury4 ,virtuosos on ?is brilliant in/rum5t 7 n sl[ to appe>1 & !y dazzl$ _! audi5ces ) pieces kn[n z sonatas1 ?\gh hav+ little 9 common ) :at we n[adays call a sonata4 ,_! sonata da *iesa1 or *ur* sonata1 0 a gr\p ( pieces1 all polyphonic 9 "* & d]iv$ f ! old *oral madrigals & canzonas2 ! sonata da ballo1 or dance sonata1 0 a gr\p ( dance tunes2 ! sonata da cam]a1 or *amb] sonata1 comb9$ bo? types4 ,gradually ! fir/ become obsolete1 & ! second & ?ird took respectively ! names suite & p>tita1 al?\gh ! nom5clature 0 inexact1 z suites (t5 conta9$ movem5ts ( /rict & sev]e polyphonic /yle z well z dances4 ,! greate/ ( ! viol9 virtuosos 0 ,arcangelo ,corelli1 ^: sonatas reta9 _! *>m ev5 = our mod]n e>s1 z may be se5 f ! sample ( 8 "w /udi$ 9 ! la/ *apt]4 ,ab\t ! end ( ! sev5te5? c5tury ! key$ in/rum5ts1 su* z ! h>psi*ord1 ! clavi*ord1 ! sp9et1 & o!r precursors ( our mod]n pian(orte1 fir/ rea*$ ! degree ( me*anical p]fection :i* enabl$ !m to rival ! viol92 & x 0 accord+ly n until !n t important pieces = su* key$ in/rum5ts began to be writt54 ,at ! end ( ! sev5te5? & ! beg9n+ ( ! eighte5? c5turies1 h[ev]1 we f9d int]e/+ music = ^! in/rum5ts by compos]s ( sev]al nations4 ,9 ,france ,c\p]9 7#affh-agcc7 wrote :at he call$ ,ordres1 %ort s]ies ( pieces 9 dance /yle1 piquant 9 rhy?m1 melodi\sly graceful1 pr(usely embroid]$ ) embelli%m5t2#ab & he 0 foll[$ by ,rameau 7#afhc-agfd7 ) simil> works4 ,a curi\s :im ( ^! ,fr5* ma/]s 0 ! app5d+ ( picturesque titles to _! pieces1 su* z ,! ,tamb\r9e1 ,! ,h51 ,! ,return ( ! ,birds1 etc4--a practice :i* anticipates ! program music ( to-day4 ,italy _h "o extraord9>y g5ius 9 ?is dep>tm5t ( music1 ,dom5ico ,sc>latti 7#afhc-ageg74 ,he 0 a mo/ brilliant p]=m] on ! h>psi*ord1 delight$ 9 all feats ( agility1 & lov$ to surprise & a/oni% 8 audi5ce4 ,9 %ort he 0 a virtuoso1 & 8 p]=mances mu/ h creat$ ! k9d ( s5sation 9 ! sev5te5? c5tury t ,liszt's did 9 ! n9ete5?4 ,= vivacity1 wit1 irony1 mis*ief1 mock]y1 & all ! category ( human traits :i* ,bee?ov5's s*]zo s]v$ s brilliantly to express1 says ,p>ry1 ! _w _h to wait = a full c5tury to see ,sc>latti's equal aga94 ,"s ( ! preludes1 s>ab&es1 m9uets1 c\rantes1 etc41 compos$ by him1 /ill reta9 _! int]e/4 ,8 beautiful ,pa/orale 9 ,e-m9or1 & 8 ,cat fugue1 writt5 on a !me play$ by a pet cat runn+ across ! keybo>d1 are sometimes he>d 9 recitals4 ,x 0 9 ! h&s ( ! ,g]man ma/]s1 ,ba* & ,h&el1#ac h[ev]1 t ! suite rea*$ its highe/ /ate4 ,^! two great compos]s1 born 9 ! same ye>1 #afhe1 possess$ n only ! s5se ( te*nical effect :i* made ,sc>latti great1 & ! high spirits1 en?usiasm1 & s5se ( proportion :i* are ne$$ = ! production ( idealiz$ dance movem5ts su* z ,c\p]9 & ,rameau h giv5 u1 b !y _h great musical le>n+1 & mu* exp]i5ce 9 ! use ( ! /rict *oral /yle ( polyphonic writ+1 :i* !y %[$ by introduc+ into _! suites c]ta9 movem5ts mu* m s]i\s 9 /yle & exalt$ 9 s5tim5t ?an dances4 ,! ,engli% & ,fr5* ,suites1 s call$1 ( ,ba*1 & ! ,twelve ,h>psi*ord ,suites1 or ,lessons1 z !y 7 call$ 9 ,engl&1 ( ,h&el1 des]ve to rank among ! great ma/]pieces ( musical art4 ,,ii4 ,,! ,,suites ,,( ,,ba*4 ,! six ,engli% & six ,fr5* ,suites ( ,ba*1 :i* des]ve a m detail$ /udy ?an any o!rs1 consi/ g5]ally ( f five to eight sep>ate pieces or movem5ts4 ,! fir/1 d]iv$ f ! sev]] type ( ! sonata da *iesa1 & ?us1 m remotely1 f ! *oral madrigal & canzona 7see above71 is always m intricate & elaborate ?an ! o!rs4 ,9 ! ,engli% ,suite x is a long contrapuntal prelude1 ) imitations & sequ5ces su* z we /udi$ 9 ! inv5tion & ! fugue4 ,9 ! ,fr5* ,suites x is an allem&e1 less elaborate b /ill dignifi$ & impressive4 ,we see ?is to be appropriate :5 we rememb] t ! he>] is be/ able to foll[ intricacies :5 8 m9d is fre% & unjad$4 ,,example ,,= ,,analysis1 ,no4 #e4 ,ba*3 ,prelude to ,engli% ,suite1 ,no4 #c1 9 ,g-,m9or4 ,! ,motives3 ,! !matic mat]ial out ( :i* ?is prelude is develop$ is v simple1 consi/+ ( j two motives1 :i* we w call 7a7 & 7b74 ,music3 score ,motive 7a7 7imitat$ ?r\gh f\r voices47 ,music3 score ,motive 7b7 7imitat$ by a second voice7 measures #cc-cf4 ,,figure ,,xviii4 ,,motives ,,( ,,ba* ,,prelude ,,9 ,g-,,m9or ,note ! effective contra/ betwe5 ! bold1 ass]tive "* ( motive 7a7 & ! m graceful "* ( 7b74 ,/ructure3 ,! prelude divides itself into sev5 cle>ly m>k$ sections1 ea* end$ by a well-m>k$ cad5ce4 ,let u exam9e ^! briefly 9 turn4 ,section ,i1 measures #a-cb1 key ( ,g-m9or3 ,f\nd$ on motive 7a71 ) _m sequ5ces :i* ! read] %\ld n[ be able to trace = himself4 ,section ,,ii1 measures #cc-ff3 ,beg9s 9 ,g-m9or1 modulates to ,b-flat major1 ! relative major4 ,motive 7b7 9 soprano1 measures #cc-cd2 9 alto1 measures #ce-cf2 9 bass1 measures #dc-dd4 ,motive 7a71 measures #ce1 #cf1 #cg 7alto71 #ch1 #ci1 #dc1 #dd1 #ec1 #ed1 etc4 ,section ,,iii1 measures #fg-ih1 key ( ,b-flat3 ,an almo/ exact copy ( ,section ,i1 9 a diff]5t key4 ,section ,,iv1 measures #ii-abd3 ,beg9s 9 ,b-flat major1 modulates to ,d-m9or1 ! dom9ant ( ! orig9al key4 ,bo? motives toss$ ab\t f voice to voice4 7,! read] %\ld locate ea* in/ance = himself47 ,section ,v1 measures #abe-afj3 ,beg9s 9 ,d-m9or1 modulates to ,e-flat major1 ?us giv+ v>iety ( key 9 ! middle "p ( ! composition1 :i* we beg9 to see is an important pr9ciple ( =m4 7,comp>e ! ,gavotte ( ! la/ *apt]47 ,v simil> 9 treatm5t to ,section ,,ii4 ,section ,,vi1 measures #afa-agi3 ,modulates back f ,e-flat major to ! home key1 ?us prep>+ ! way = ! f9al /atem5ts & conclusion4 ,9 measures #age-agh ! insi/5ce ( ! bass on ! tone ,d1 ! dom9ant ( ! orig9al key1 w be notic$4 ,su* an insi/5ce on "o tone is call$ a p$al po9t1 because s frequ5tly f\nd 9 ! p$al "p ( organ music1 & s]ves admirably "h to prep>e ! m9d = ! triumphant return to ,g-m9or 9 ! f9al section4 ,! re/ ( ,section ,,vi is made up ( sequ5ces1 ?us3 #afb-afe1 #aff-afi1 #agj-agc2 & !n1 #agc1 #agd1 #age1 #agf1 #agg1 #agh4 ,section ,,vii1 measures #ahj-bac3 ,almo/ entirely 9 ! home-key1 ?us emphasiz+ ! s5se ( f9ality4 ,! bulk ( ?is section is fur!rmore id5tical ) ,section ,i1 ?us af=d+ a f9e example ( ! pr9ciple ( re/atem5t aft] contra/4 ,altoge!r ?is is a mo/ int]e/+ movem5t4 ,9 ! great effect made ) simple means we recognize aga91 z we did 9 ! case ( ! inv5tion & ! fugue1 ! spl5did p[] ( ,ba*'s m9d4 ,! pr9ciples ( imitation ( motives f voice to voice1 ( transpositions ( a s+le motive 9 a s+le voice giv+ rise to ! _m sequ5ces1 & ( re/atem5t aft] contra/1 all discuss$ 9 ! fir/ *apt]1 are illu/rat$ m brilliantly ?an by any o!r composition we h ?us f> exam9$4 ,f9ally1 9 ! v>iety ( key ( ,section ,v1 plac$ 9 ! middle ( ! piece1 & 9 ! unity ( key ( ! fir/ & la/ sections1 we get a /rik+ anticipation ( a pr9ciple ( con/ruction :i* we %all lat] see to be at ! root ( ! mo/ important ( mod]n =ms1 ! sonata-=m4 ,aft] li/5+ to su* a movem5t z ?is we naturally wi% to relax a little2 & we are1 !re=e1 pleas$ to he> a s]ies ( dances ( v>i\s rhy?ms & qualities ( expression1 ca/ 9 simple b9>y or t]n>y =ms1 & ei!r frankly homophonic 9 /yle or n too elaborately polyphonic4 ,x is impossible to describe 9 detail "h all ! dances f\nd 9 suites1 b ! table on page #fh w give an idea ( ! m important ones4 ,! gavotte /udi$ 9 ! prec$+ *apt] gives an excell5t g5]al impression ( ! liveli] dances us$1 :i* may be f>!r def9$ by a glance at su* typical pieces z ! b\rres ( ! fir/ & second ,engli% ,suites1 & ! gavottes ( ! ?ird ,engli% & fif? ,fr5* ,suites4 ,!re is g5]ally also to be f\nd 9 ,ba*'s suites1 introduc$ = ! sake ( contra/ & 9 ord] to repres5t ! m emotional side ( musical expression1 a s>ab&e or o!r su* sl[1 /ately1 & sometimes truly noble movem5t4 ,let u take1 z an example ( ?is elem5t1 ! ,s>ab&e f ! second ,engli% ,suite4 ,,figure ,,xix4--,,! ,,*ief ,,dances ,,us$ ,,9 ,,suites ---------------------------------------- -------------------------------- ,,"n ,,orig9 ,,met] ,,=m ,,"* ---------------------------------------- -------------------------------- ,allem&e,g]man #d-d ,usually b9>y ,brisk1 flu5t4 ,c\rante ,fr5* #c-b or #c-d b9>y ,m]ry1 en]getic4 ,s>ab&e,spani% #c-b1 #c-d b9>y ,/ately1 s]i\s1 sometimes noble4 ,b\rre ,fr5* #d-d1 #b-d t]n>y,lively4 ,gavotte ,fr5* #d-d t]n>y,mod]ately quick1 well-m>k$4 ,m9uet ,fr5* #c-h1 #c-d t]n>y,well-regulat$ gaiety1 c\rtly4 ,passepi$,fr5* #c-d ,animat$1 brisk4 ,l\re ,old ,fr5*#f-d ,sl[1 /ately4 ,anglaise ,fr5* #b-d ,lively1 en]getic4 ,polonaise,poli% #c-d ,dignifi$1 b animat$4 ,pavane ,fr5* #b-d ,/ately4 ,rigaudon ,fr5* #b-d1 #d-d ,v lively1 gay4 ,gigue ,d\btful #f-h1 #ab-h b9>y ,v rollick+ & m]ry4 ---------------------------------------- -------------------------------- ,,example ,,= ,,analysis1 ,no4 #f4 ,ba*3 ,s>ab&e 9 ,a-,m9or f ,engli% ,suite ,,ii ,! melodic g]m f :i* ! piece is develop$ is ! foll[+ v s]i\s & e>ne/ phrase3 ,music3 score ,,figure ,,xx4--,,!me ,,( ,,ba* ,,s>ab&e a phrase 9 :i* great dep? ( almo/ tragic feel+ is express$4 ,aga9/ ?is is set1 = ! sake ( relief1 ! light] & m suave melody ( measures #e & #f1 treat$ 9 freely sequ5tial fa%ion4 ,! :ole s>ab&e is built f ^! two brief melodic figures4 ,?is s>ab&e s]ves z an admirable illu/ration ( ! type ( beauty common 9 ! music ( ,ba*4 ,its phraseology1 if we may use ! t]m1 is q diff]5t f t 9 use 9 ! music ( to-day2 x is full ( qua9t & ar*aic turns ( musical spee*--=mal sequ5ces1 little motives t s\nd to u almo/ me*anical4 ,x is l an et*+ ( ,dr]'s1 full ( detail1 ea* l9e c>efully drawn1 & ! :ole picture in/9ct ) life4 ,?us its type ( beauty diff]s s mat]ially f t to :i* we are accu/om$ t x (t5 fails 9 its appeal4 ,only by us+ our imag9ation are we able to project ourselves1 s to speak1 into ano!r milieu1 ano!r "t1 ano!r po9t ( view4 ,& ?is is ! te/ ) :i* any ar*aic "w ( art confronts u4 ,)\t imag9ation 9 ! behold] a picture by ,botticelli1 = example1 is a curiosity r ?an a "w ( art4 ,its /range allegory1 its qua9t idea ( l&scape1 its figures ) _! unusual pos+--all ^! are beautiful or m]ely curi\s accord+ z we look at !m4 ,beauty is 9 ! eye ( ! behold]4 ,! repetition at a high] pit* ( ! ma9 motive 9 measures #c-d is highly poignant2 & ?r\gh\t ! expression is int5sifi$ by ! use ( ri* & (t5 complex h>mony1 z p>ticul>ly 9 ! la/ f\r measures ( all4 ,not)/&+ ! e>ne/ & impassion$ "* ( ?is s>ab&e1 its d]ivation f ! dance is cle>ly reveal$ 9 ! regul>ity ( ! balance ( phrases consi/+ ( equal measure gr\ps1 :i* divide up z foll[s3 #b1 #b1 #d1 #d 7d\ble-b>72 #b1 #b1 #d1 #b1 #b1 #d4 ,! symmetry is mu* m precise ?an 9 an inv5tion or a fugue4 ,! =m is b9>y or two-"p4 ,"p "o1 measures #a-ab1 beg9s 9 ,a-m9or & ends 9 ! relative major1 ! key ( ,c4 ,"p two1 measures #ac-bh1 beg9s 7) ! orig9al motive7 9 ,c-major1 & returns to ,a-m9or4 ,! sequ5ce ( measures #bc-bd1 ) measures #ba-bb1 is v beautiful & des]ves special notice4 ,foll[+ ! s>ab&e ! read] w obs]ve a m florid v]sion ( x1 be>+ ! caption1 ,les agrm5ts de la mme ,s>ab&e--,ornam5ts = ! same ,s>ab&e4 ,?is is an example ( ! practice1 common 9 ,ba*'s day1 ( weav+ a net-"w ( grace-notes1 trills1 & o!r decorations ab\t a melody1 a practice due 9 "p to ! natural fondness ( all musicians = effect1 & 9 "p to ! fact t ! in/rum5ts ( t day 7 s small & poor t a tone c\ld only be su/a9$ by be+ /ruck _m times4 ,?is cu/om ( ornam5t+ melodies ) all mann] ( embroid]y gave rise to ! !me & v>iations1 a =m :i* we %all /udy lat]4 ,all ! o!r ,engli% ,suites ( ,ba* conta9 v beautiful s>ab&es2 ^? 9 ! ,fr5* ,suites are less int]e/+1 ?\gh ! fir/ conta9s a f9e example4 ,all ( ,ba*'s twelve suites end ) gay & vigor\s gigues1 ! mo/ rollick+ ( all ! dances us$4 ,?is is natural en\gh1 9 view ( ! desirability ( clos+ ! suite ) an impression ( en]getic vitality4 ,^! gigues are 9 ! headlong #f-h or #ab-h met]2 !y are polyphonic 9 texture1 & con/ruct$ 9 ! b9>y =m4 ,(t5-times a high degree ( contrapuntal skill is %[n 9 _! composition1 b usually ?is does n int]f]e ) _! light & almo/ c>eless "*4 ,a curi\s feature ( mo/ ( !m is t 9 ! second half ! motive is inv]t$ or turn$ upside d[n4 ,,example ,,= ,,analysis1 ,no4 #g4 ,ba*3 ,gigue1 f ,fr5* ,suite ,,iv 9 ,e-,flat4 ,music3 score ,!me ( ,gigue1 ,ba*'s ,fr5* ,suite ,,iv1 & its ,inv]sion4 ,music3 score ,inv]sion ( !me1 beg9n+ ( second half4 ,,figure ,,xxi4 ,! gay little !me is compos$ ( two motives1 z indicat$ 9 ,figure ,,xxi1 9 :i* ! long brackets %[ ! !me & its imitation by ! second voice to ent]1 & ! %ort brackets %[ its compon5t motives1 ( contra/+ "*4 ,9 measures #e & #f ! !me is aga9 imitat$ by ! ?ird voice 7left h& "p74 ,9 ! c\rse ( ! developm5t a /ill m lively figure makes its appe>ance 9 measures #ai1 #bc1 #bd & #be4 ,! n[ famili> sequ5ces are f\nd at e turn4 ,! =m is b9>y 7,"p ,i1 measures #a-bf2 ,"p ,,ii1 measures #bg-fj74 ,! inv]sion ( ! !me1 %[n 9 ,figure ,,xxi1 makes ! subject ( ! second half4 ,! key-sy/em is p]fectly simple4 ,"p ,i modulates f ! tonic1 ,e-flat1 to ! dom9ant1 ,b-flat2 ,"p ,,ii beg9s !re & returns to ! home-key4 ,,iii4 ,,! ,,hi/oric ,,importance ,,( ,,! ,,suite4 ,9 ! c\rse ( ! eighte5? c5tury ! suite gradually wan$ 9 popul>ity1 & gave place to ! m highly organic sonata4 ,mod]n suites1 notable among :i* are su* delightful works z ,bizet's ,l',arlesi5ne1 ,grieg's ,pe] ,gynt1 ,dvork's ,suite = small or*e/ra1 opus4 #ci1 ,ts*aik[sky's ,nut-,crack] ,suite1 & ,brahms's ,s]5ades = or*e/ra1 are1 aft] all1 exceptional & infrequ5t1 & n ! inevitable m\ld 9 :i* ! compos] ca/s 8 ideas4 ,b ! hi/orical importance ( ! suite 0 great1 & x fell into disuse only aft] its lessons _h be5 ?or\ghly le>n$4 ,?r\gh x musicians develop$ ! dance elem5t :i* mu/ always be "o ( ! two ma9 /r&s ( all music2 ?r\gh x !y le>n$ to sub/itute = ! anci5t polyphonic /yle :i* is suitable to voices ! homophonic /yle be/ adapt$ to ! capacities & ! limitations ( in/rum5ts2 & ?r\gh x !y became famili> ) ^? simple b9>y & t]n>y =ms 9 :i* su* in/rum5tal music is mo/ conv5i5tly & effectively ca/4 ,?us ! suite =m$ ! bridge betwe51 on ! "o h&1 7a7 crude folk-songs1 7b7 primitive dances1 & 7c7 /rict polyphonic =ms su* z ! inv5tion & ! fugue1 & on ! o!r1 ! sonatas1 qu>tets1 conc]tos1 & symphonies ( ,haydn1 ,moz>t1 & ,bee?ov54 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,dick9son3 ,! ,/udy ( ! ,hi/ory ( ,music1 ,*apt]s ,,xiii & ,,xiv4 ,p>ry3 ,evolution ( ! ,art ( ,music1 ,*apt]s ,,viii & ,,ix2 ,mason3 ,bee?ov5 & ,8 ,=]unn]s1 ,*apt] ,,iv4 ,,footnotes3 #ab ,edw>d ,dick9son1 ,! ,/udy ( ! ,hi/ory ( ,music1 page #hd4 #ac ,h&el1 ?\gh he liv$ 9 ,engl&1 0 9 8 music a ,g]man4 ,,*apt] ,,vi4 ,,! ,,rondo4 ,! /udy ( ! suite conta9$ 9 ! la/ *apt] has br\ght u = ! fir/ "t into contact ) a cyclic =m4 ,we h se5 t1 z in/rum5ts develop$1 z ! te*nique ( play+ !m advanc$1 & z ! !mes & _! h>monies became m pla/ic1 compos]s naturally s\ght "s l>g] plan ?an t af=d$ by a s+le dance =m2 !y ?us arriv$ at ! suite4 ,b ! suite 0 incl9$ to be monoton\s4 ,! same key 0 us$ = all ! sep>ate movem5ts1 !re 0 an almo/ inv>iable /at$ l5g? = ea*1 & ! rhy?ms 7 too insi/5t to admit ( great v>iety ( expression4 ,s compos]s began to exp]im5t ) o!r =ms1 *ief among :i* 0 ! sonata4#ad ,?r\gh all ! re/ ( ?is book we %all be deal+ directly or indirectly ) ! musical =ms t g to make up ! complete sonata4 ,9 ! pres5t *apt] we %all deal ) "o ( its simple/ & mo/ primitive types ( /ructure1 ! rondo4 ,sonatas 7 writt5 z f> back z ! sev5te5? c5tury4 ,kuhnau's celebrat$ ,bible ,sonatas1 crude attempts at program music1 are among ! notable examples ( primitive sonatas4 ,^! 7 inde$ s\nd-pieces1 b _! resemblance to a real sonata1 z we und]/& ! t]m1 is slight4 ,ba* & ,h&el ea* wrote sonatas2 & "s ( ,ba*'s are ma/]ly examples ( ! !n prevail+ /yle4 ,8 sonata = viol9 & piano 9 ,f-m9or 7numb] ,v 9 ,pet]s' edition7 may be /udi$ z an example ( ! =m4 ,x conta9s f\r movem5ts1 ! fir/1 second1 & f\r? ( :i* are purely polyphonic1 ! ?ird be+ "o ( ^? beautiful m$itative pieces ( a some:at rhapsodical /yle 9 :i* ,ba* seems to h specially delight$4 ,italian contempor>ies ( ,ba* also wrote sonatas1 & "s ( ^? by ,d4 ,sc>latti 7#afhc-ageg7 & ,a4 ,corelli 7#afec-agac7 7 ( consid]able importance 9 ! developm5t ( ! =m4 ,all ^! e>ly specim5s1 h[ev]1 7 ei!r vague & indet]m9ate 9 =m1 or 7 hamp]$ 9 _! expression by ! old polyphonic me?ods4 ,! mod]n sonata fir/ beg9s to em]ge 9 ! "w ( ,philip ,emanuel ,ba*1 son ( ,john ,seba/ian1 & 8 compositions 9 ?is /yle w be ! subject ( a lat] *apt]4 ,i4 ,,d]ivation ,,( ,,! ,,rondo4 ,our inve/igations into ! =mal elem5t ( e>ly dance music h ?us f> reveal$ two plans1 b9>y & t]n>y1 i4 e41 two-"p & ?ree-"p4 ,= su* %ort pieces z ! inv5tions ( ,ba*1 & = _m ( ! sep>ate dances 9 suites1 ! two-"p =m 0 adequate1 b :5 in/rum5tal music began to develop on broad] l9es1 s t ea* ( ! halves 0 ext5d$ to a consid]able l5g?1 ! advantage ( ! ?ree-"p =m ) its re/atem5t aft] contra/ 0 readily p]ceiv$1 & x came to be frequ5tly us$4 ,among ! e>ly exp]im5ts 9 =m we f9d a k9d ( ext5sion ( t]n>y =m by ! repetition ( its sep>ate p>ts4 ,su* pieces sometimes consi/ ( b "o /able phrase 7,a7 ) alt]nat+ phrases ( an indef9ite "*1 :ile o!rs alt]nate two set phrases1 z3 ,a1 ,b1 ,a1 ,b1 ,a1 ,b1 ,a1 etc4 ,! "o fix$ pr9ciple 9 ^! pieces seems to be t !y %\ld end ) ! phrase ) :i* !y began4 ,9 primitive songs ?is fix$ "p con/itut$ ! *orus1 ) :i* ! solo melody alt]nat$1 hav+1 ( c\rse1 diff]5t words = ea* v]se4 ,music3 score ,,figure ,,xxii4 ,,n\el ,,de ,,las ,,fl\s4 7,,c>ol ,,( ,,! ,,fl[]s7 ,*orus4 ,come ) u1 sweet fl[]s1 & wor%ip ,*ri/ ! ,"l1 ,let y\r p]fumes hov] r\nd ! ,babe ador$4 #a/ #bnd ,sopranos4 #a4 ,mode/ violet1 hid+ 9 ! grassy %ade1 ,?\ can/ say h[ humble ,he = u is made4 ,*orus4 ,come ) u1 c4 7,d4,c47 #b4 ,lily fair1 l[ b5d+ 9 ! sun's w>m light1 ,?\ do/ tell t ,he is pure z ?\ art :ite4 ,come ) u1 c4 #c4 ,z ?\1 ,pansy1 %9e/ =? 9 bright array1 ,s do? ,he ,8 maje/y to man display4 ,come ) u1 c4 #d4 ,z ?\1 ,rose1 wide-op5+ do/ ?y sc5t imp>t1 ,s ,8 love exp&+1 draws ea* s9ful he>t4 ,come ) u1 c4 ,! "q is sometimes rais$ :e!r 9 ! primitive c>ol ! *orus began1 or :e!r1 z 9 _m ( our own popul> songs1 x wait$ until ! end ( ! fir/ solo v]se4 ,probably ! =m] is ( ! great] antiquity2 9 any case1 x is f x t ! rondo#ae is d]iv$4--,had[1 ,sonata ,=m4 ,an example ( ?is primitive type ( c>ol w be f\nd 9 ,figure ,,xxii4 ,?is is an anci5t c>ol f ! old prov9ce ( ,bas-,qu]cy 7n[ ,lot-et-,g>onne7 9 ! s\?we/]n "p ( ,france4 ,! obvi\s weakness ( ?is =m1 :5 appli$ to in/rum5tal music1 is its monotony4 ,"o w\ld soon we>y ( a bald repetition ov] & ov] aga9 ( two phrases or two melodies to :i* no v>iety 0 imp>t$1 su* z ! *ange ( words supplies 9 ! =ego+ c>ol4 ,9 ord] to avoid ?is disadvantage ! natural /ep to take w\ld be to imp>t1 by "s means or o!r1 v>iety to ! music2 & ?is 0 soon p]ceiv$ by compos]s4 ,! idea ( a fix$ "p rema9$1 i4 e41 ! *ief musical idea 0 reta9$ 9 its orig9al =m1 b ! second>y melodies 7 v>i$4 ,once ?is *ange _h tak5 place ! rondo became a frequ5t m$ium ( musical expression4 ,specim5s ( ! e>ly rondo may be f\nd 9 ,purcell's song1 ,i ,attempt f ,love's ,sickness to ,fly1 & 9 ,ba*'s1 ,passepi$ en ,rondeau1 f ! fif? ,engli% ,suite4 ,! =mula = ^! two pieces is ,a1 ,b1 ,a1 ,c1 ,a4 ,ano!r int]e/+ po9t is ! plan ( ! h>mony ( ! contra/+ sections 9 ! rondo4 ,! fir/ ( ^! 7,b7 w\ld naturally foll[ ! prevail+ cu/om = sections ( contra/1 & be 9 ! dom9ant1 or1 if ! piece 7 9 m9or1 9 ! relative major 7see ,*apt] ,,ii472 b ! second 7,c7 (f]$ a fur!r means ( v>iety1 & ! in/9ct ( compos]s l$ !m to treat x 9 a free mann] & n conf9e x to any "o key4 ,ea* ( ! examples ( rondo =m ref]r$ to above adopts ?is me?od ( proc$ure4 ,:ile ?is e>ly =m ( ! rondo possess$ a c]ta9 *>m1 x 0 some:at rigid 9 effect1 s9ce ! v>i\s sections 7 sep>at$ f ea* o!r by a full close or complete pause4 ,!y 7 l little blocks t fitt$ toge!r into a def9ite1 if some:at /iff patt]n4 ,,ii4 ,a ,,rondo ,,by ,,c\p]94 ,! primitive rondo 0 *iefly cultivat$ by ! ,fr5* h>psi*ord compos]s ( ! e>ly eighte5? c5tury1 ( :om ,c\p]9 7#affh-agcc7 & ,rameau 7#afhc-agfd7 7 ! mo/ di/+ui%$4 ,ref]5ce has be5 made 9 our *apt] on ,! ,suite to ! ,ordres ( ^! compos]s1 & to ! p]fect+1 at ! end ( ! sev5te5? c5tury1 ( ! in/rum5t = :i* !y 7 writt51 ! h>psi*ord4 ,! /r+s ( ! h>psi*ord 7 n /ruck by hamm]s1 z 9 ! mod]n pian(orte1 b pluck$ by quills1 z ! /r+s ( a banjo are pluck$ by ! f+]s ( ! play]4 ,x has be5 said ( ! h>psi*ord t x produc$ a scrat* ) a tone at ! end ( x4 ,! tone produc$ 9 ?is primitive way 0 weak & ( brief duration1 s t compos]s n only _h to keep re-en=c+ a tone by /rik+ x aga91 z 9 ! trills & o!r ornam5ts s *>act]i/ic ( _! music1 b _h to avoid altoge!r any long su/a9$ passages su* z are common 9 mod]n music4 ,!y _h also to sub/itute = ! polyphonic /yle1 ! entire effectiv5ess ( :i* dep5ds ^u ! su/a9m5t ( its melodies1 a homophonic or "o-voic$ /yle :i*1 :ile di/9ct f t usual 9 mod]n piano music1 0 hi/orically an important factor 9 its developm5t4 ,,example ,,= ,,analysis1 ,no4 #h4 ,c\p]93 ,les ,moissonneurs 7,! ,h>ve/]s74 ,?is nave & delightful piece is a good example ( ! prevail+ /yle ( ,fr5* dome/ic music 9 ! eighte5? c5tury4 ,x is notable = its "* ( elegance2 x is salon music1 b at ! same "t x reveals a c]ta9 mimetic quality common among ! ,fr5*4 ,! sw+ ( its rhy?m seems to cat* a little ( ! idea convey$ by ! title4 ,c\p]9's pieces h be5 call$ a sort ( ref9$ ballet music1 & !y are1 z a :ole1 bas$ on well def9$ rhy?mic movem5t4 ,b we may trace 9 !m ! gradual progress away f dance =ms & t[>ds a fre] & m idealiz$ expression4 ,c\p]9 0 call$ by 8 contempor>ies ,le ,gr&1 & 0 an important figure 9 ! musical life ( ,p>is dur+ ! reign ( ,l\is ,,xiv4 ,8 influ5ce ext5d$ beyond ,france2 ev5 ,john ,seba/ian ,ba* adopts "s ( 8 me?ods 9 writ+ 8 ,fr5* suites4 ,les ,moissonneurs may be =mally tabulat$ z foll[s3 ,,figure ,,xxiii4 ,,/ructural ,,plan ,,( ,,c\p]9',s ,,les ,,moissoneurs4 ---------------------------------------- ------------------- ,section ,measures ,notes ---------------------------------------- ------------------- ,a #afa-i ,entirely 9 tonic key ) pause at end4 7,! key is ,b-flat major47 ---------------------------------------- ------------------- ,b #aj-ad ,modulat+ to ! dom9ant & end+ !reon4 ---------------------------------------- ------------------- ,a #ae-bc ,an exact repetition ( ! fir/ ,a4 ---------------------------------------- ------------------- ,c #bd-cb ,entirely 9 relative m9or key ) pause at end4 ---------------------------------------- ------------------- ,a #cc-da ,an exact repetition ( ! fir/ ,a4 ---------------------------------------- ------------------- ,d #db-ef ,beg9n+ 9 tonic2 modulat+ to ,c m9or & back aga94 ---------------------------------------- ------------------- ,a #eg-fe ,an exact repetition ( ! fir/ ,a4 ---------------------------------------- ------------------- ,an exam9ation ( ?is rondo w reveal t ! subsidi>y portions--,b4 ,c4 & ,d4--are episodes r ?an di/9ct !mes4 ,_! melodies1 in/ead ( be+ entirely new z 9 ! m highly develop$ rondos ( ,haydn & ,moz>t1 are ei!r lit]al copies ( ! *ief melody1 or close imitations ( x1 9 relat$ keys2 s t ! *ief v>iety imp>t$ by !m is a v>iety ( h>mony4 ,! plan ( ^! h>monies %\ld be c>efully not$1 p>ticul>ly ! use ( ! home key 9 ! section m>k$ ,d4 ,?is me?od ( unify+ a melody or a :ole piece1 by com+ back to ! orig9al key at ! end1 embody+ z x does an important /hetic pr9ciple1 has be5 po9t$ out sev]al times already4 ,we may say1 !n1 t ! /ructure ( ?is piece is h>monic r ?an !matic4 ,9 all in/rum5tal music ( any consequ5ce ?is h>monic elem5t is ( great importance4 ,! use ( ! ^w ,c\plet to describe ! episodes seems to indicate ! d]ivation ( ^! rondos f ! old song & *orus l ! ,c>ol ( ! ,fl[]s4 ,9 fact1 "o gets f ?is piece a decid$ impression z ( a fix$#ag "p 9 some:at rigid =m1 & ) comp>atively full h>monies1 alt]nat+ ) v]ses 7c\plets7 9 :i* ! "r h& plays1 z x 71 a solo melody aga9/ an unobtrusive accompanim5t4 ,,iii4 ,,f ,,c\p]9 ,,to ,,moz>t4 ,?is =m ( ! rondo#ah p]si/$ until ! "t ( ,haydn & ,moz>t1 & our next example = analysis is f t p]iod4 ,dur+ ! c5tury t elaps$ betwe5 ,c\p]9 & ,moz>t ! piano 0 s p]fect$ z to displace ! h>psi*ord4 ,! inv5tion ( ! damp] p$al entirely *ang$ ! /yle ( writ+ = ! piano1 & ! necessity = fill+ out ! melody ) elaborate ornam5tation no long] exi/$4 ,! great] p[] & bett] action ( ! new in/rum5ts also af=d$ compos]s a mu* wid] scope4 ,b m important /ill1 dur+ ?is c5tury ,philip ,emanuel ,ba* 7#agad-aghh7 _h writt5 "s pian(orte works t advanc$ ! art into a new realm4 ,9 ! eigh? *apt] we %all /udy "o ( 8 pian(orte sonatas1 b x may be said "h t bo? ,haydn & ,moz>t freely ackn[l$g$ _! great debt to him4 ,?is /udy is po/pon$ = ! mom5t because he did n affect ! =m ( ! rondo4 ,franz ,josef ,haydn 7#agcb-ahji71 :o sp5t _m ye>s z ,kapellmei/] to ,pr9ce ,e/]hazy & :o1 9 consequ5ce1 liv$ m or less isolat$ f ! _w1 made _m int]e/+ exp]im5ts ) musical =ms4 ,he may be said to be ! fa!r ( ! symphony & ! /r+ qu>tet1 & sev]al ( 8 piano sonatas conta9 movem5ts t are obvi\sly attempts at creat+ new =ms or comb9+ old ones 9 new ways4 ,8 n9?#ai piano sonata1 = example1 has = its f9ale a curi\s & int]e/+ comb9ation ( ! rondo & ! v>iation =m1 :ile ! f9ale to ! ?ird sonata is m>k$ ,tempo di ,m9uetto4 ,su* exp]im5ts are always to be f\nd :5 we exam9e ! "w ( creative m9ds4 ,music3 score ,,figure ,,xxiv4 ,haydn's sonatas ?us provide u ) a l9k 9 ! *a9 t b9ds ,moz>t to 8 pr$ecessors4 ,! =ego+ quotation f ,haydn's second sonata w illu/rate ! primitive nature ( "s ( 8 rondo !mes 7,figure ,,xxiv74 ,?is !me is1 9 effect1 a jolly dance tune )\t pret5sions to dignity1 & aga9/ x is plac$ a conv5tional patt]n accompanim5t4 ,ano!r rondo !me f ,haydn may be cit$ to illu/rate 8 g5tle humor4 ,music3 score ,,figure ,,xxv4 ,?is has = its fir/ episode1 or second>y !me1 ! foll[+ vividly contra/+ passage3 ,music3 score ,,figure ,,xxvi4 ,^! two quotations illu/rate ! *ildlike navet ( ,haydn's nature4 ,he is nev] tragic2 8 pieces are l delightful pictures ( rural life pa9t$ by an arti/ :o 0 himself c\ntry born & br$ & :o feels ! natural *>m ( ! simple/1 commone/ ?+s4 ,haydn's pictures are flood$ ) sunlight4 ,,iv4 ,a ,,rondo ,,by ,,moz>t4 ,wolfgang ,amadeus ,moz>t 7#agef-agia71 aside f 8 supreme greatness z a compos]1 repres5ts ! culm9ation ( :at is call$ ! ,classical p]iod4 ,! t5d5cy away f /rict polyphony & t[>ds a free homophonic /yle has already be5 not$4 ,x 0 ! peasant-born ,haydn :o fir/ subord9at$ polyphony1 produc+ long in/rum5tal pieces bas$ on song melodies4 ,8 symphonies & /r+ qu>tets are bubbl+ ov] ) melodi\sness4 ,(t5 frankly adopt+ folk tunes1 or inv5t+ !mes 9 ! same /yle1 he produc$ great works t dep5d h>dly at all on ! int]weav+ ( !mes1 b h z _! basis r ! exposition ( s+le melodies z ! raison d'tre ( ! music4 ,n by any means lack+ 9 erudition1 ,haydn turns to nave melody z 8 natural means ( expression4 ,along ) ?is elem5t1 & z a compon5t "p ( :at we call classic1 is t p]fection ( =m & /yle t p>ticul>ly di/+ui%es ! music ( ,moz>t4 ,8 works are (t5 cit$ z ! mo/ p]fect illu/rations ( ! classic idea 9 music1--?is t]m ref]r+ 9 a g5]al way to ! abs5ce ( individualism 9 con=mity to a g5]al type ( /yle & =m1 navet z oppos$ to self-consci\sness1 symmetry ( outl9e1 highe/ f9i% ( detail1 purity ( s\nd1 l(t9ess & s]5ity ( mood4--,dick9son1 ,! ,/udy ( ! ,hi/ory ( ,music4 ,,example ,,= ,,analysis1 ,no4 #i4 ,moz>t3 ,rondo f ,piano ,sonata 9 ,b-flat major4 ,?is rondo is ! la/ ( ! ?ree movem5ts ( ?is *>act]i/ic sonata4 ,moz>t's piano sonatas seldom h m ?an ?ree movem5ts1 & ( ^! ! rondo is la/1 ! plan be+ to pres5t ! m highly organiz$ movem5ts fir/1 & to end1 z 9 ! suite1 ) a bright & *e]ful piece4 ,! rondos ( ?is p]iod 7 lively & rhy?mically en]getic4 ,:ile n ess5tially dance-l1 !y nev]!less 7 ultimately d]iv$ f ! dance1 & lack$ ! m$itative & s5tim5tal qualities to be f\nd 9 sl[ movem5ts4 ,x is f "o ( ^! two s\rces--! dance tune & ! folk-song--t all ^! sonata movem5ts sprang4 ,contributory /reams ent]$ "h & !re--! polyphonic influ5ce is disc]nible2 ,italian op]a l5ds its flu5t vocal /yle & occasionally its love ( display 9 elaborate cad5zas2 &1 ( c\rse1 ! idiom ( ! piano--! peculi> mann] ( writ+ t ! in/rum5t requires--is always pres5t4 ,! fir/ !me ( ?is movem5t1 = example1 sugge/s motion2 "o c almo/ imag9e ! op5+ section 7measures #a-af7 z suit$ to ! fir/ evolution 9 a dance1 & ! second 7beg9n+ at measure #af7 z ! /ra9 int5d$ = a new set ( danc]s1 :ile ! *ords 9 measure #ag q vividly sugge/ ! /eps ( a dance4 ,! left h& "p is l>gely 9 ! famili> idiom ( ! piano ( ,moz>t's "t1 ?\gh !re is occasionally polyphonic treatm5t--z 9 measures #a-h4 ,! v>i\s divisions ( ! piece are /rongly m>k$ by cad5ces1 sometimes prec$$ by =mal patt]ns ( scales1 or o!r mean+less passages1 z at #add-adg1 su* z ,wagn] lik5$ to ! clatt] ( di%es at a royal banquet4 ,sequ5ces1 s famili> 9 ! music ( ,ba*1 frequ5tly appe> "h1 & 71 inde$1 a "p ( ! phraseology ( ! "t4 ,! passage betwe5 measures #ahi & #aic is1 9 ?is respect1 especially notable because ( ! h>% dissonance betwe5 ,e-flat & ,d at measure #aia4 ,! cad5za is an int]e/+ & unusual factor 9 ?is rondo4 ,a cad5za always occurr$ 9 c]ta9 types ( op]atic arias1 & 9 ! conc]to 0 introduc$ to display ! skill ( ! p]=m]1 b x is unusual to f9d "o 9 a rondo4 ,,figure ,,xxvii4 ,,/ructural ,,plan ,,( ,,moz>t',s ,,rondo ,,9 ,b-,,flat ,,major4 ---------------------------------------- ------------------------------- ,section ,measures ,notes ---------------------------------------- ------------------------------- ,a #a-bd ,*ief !me 9 two sections 7#a-h & #i-bd71 ! la/ slightly ext5d$4 ---------------------------------------- ------------------------------- ,b #bd-dj ,fir/ contra/+ !me 9 dom9ant4 ,measures #cf-dj con/itute a codetta to ?is section4 ---------------------------------------- ------------------------------- ,a #da-fd ,*ief !me z be=e1 b modulat+ 7#fb7 to ! relative m9or4 ---------------------------------------- ------------------------------- ,c #fd-aaa ,second contra/+ !me 9 two p>ts3 #a/ 9 ,g-m9or 7#fd-ge71 #bnd 9 ,e-flat major 7#gf-ij74 ,?is section is conclud$ by a passage 9 ,c-m9or bas$ on motive f *ief !me1 & by a codetta 7#aje-aaa7 simil> to t 9 ,b4 ---------------------------------------- ------------------------------- ,a #aab-adh ,*ief !me z be=e1 b ext5d$4 ---------------------------------------- ------------------------------- ,b #adh-agb ,fir/ contra/+ !me n[ 9 tonic1 & ) an ext5d$ codetta4 ---------------------------------------- ------------------------------- ,a #agc-bbd ,free treatm5t ( *ief !me1 & o!r mat]ial3 motive f codetta ext5sively us$ 7#agi-aif72 cad5za 7#aih72 epilogue1 or coda 7#bac74 ---------------------------------------- ------------------------------- ,?is rondo fl[s on happily f beg9n+ to end )\t t\*+ ei!r great heights or dep?s4 ,x is a good example ( a /yle ( piano music int5d$ m = ! dome/ic circle ?an = ! conc]t room4 ,x %[s t abs5ce ( individualism 9 con=mity to a g5]al type ( /yle & =m ref]r$ to by ,dick9son1 i4 e41 "o does n feel 9 li/5+ to x ! obtrusion ( a p]sonal po9t ( view2 !re are no idiosyncrasies su* z are cont9ually appe>+ 9 m mod]n music4 ,!re is "h also t purity ( s\nd t *>act]izes ,moz>t's music4 ,!re are no elisions1 no subtleties ( musical language1 no sugge/$ mean+s su* z "o f9ds1 = example1 9 ,s*umann4 ,!re is ! same placidity1 ! same cle>ness ( mean+1 ! same lucidity ( diction t we f9d 9 ! poetry ( ,moz>t's day4 ,musical language 0 n !n ov]laid ) second>y significance z x has s9ce become4 ,an exam9ation ( ,figure ,,xxvii w reveal a consid]able advance 9 ?is rondo ov] t ( ,c\p]94 ,! la/ section 7,a7 9 p>ticul> fulfills its (fice ( provid+1 z x 71 a k9d ( d5\em5t to ! :ole piece2 ! int]e/ is skillfully made to c5t] or come to a climax "h1 & ! /iff angul>ity t *>act]izes ! old] rondo is conspicu\sly abs5t4 ,& :ile ! s*eme ( h>monies 9 ?is rondo has _m elem5ts 9 common ) t ( ,les ,moissonneurs1 !re are "h excursions1 by ! way1 into o!r keys giv+ v>iety & w>m? ( color4 ,b1 mo/ important ( all1 ! recurr5ce ( ! fir/ contra/+ !me 7at measure #adh7 9 ! tonic key aft] hav+ fir/ appe>$ 9 ! dom9ant 7measure #bd7 gives to ?is piece a real /r5g?1 or /\tness ( con/ruction4 ,x is z ?\gh !re 7 c]ta9 /r&s 9 ! fabric t run entirely ?r\gh x & make x firm1 :]eas ! ,c\p]9 rondo seems to be made by putt+ toge!r a s]ies ( little blocks4 ,ano!r important po9t ( contra/ betwe5 ^! two rondos is 9 ! matt] ( !mes4 ,:]e ,c\p]9 has only "o1 :i* he pres5ts 9 a v>iety ( *>m+ =ms1 b f :i* little t is new is evolv$1 ,moz>t has ?ree di/9ct contra/+ !mes1 & a little codetta motive2 & all ^! g]m9ate1 ev5 if b slightly1 into new musical developm5ts4 ,! codetta passage1 9 p>ticul>1 spr\ts & blossoms 7#agi-aif7 9 a mo/ delightful mann]1 ! little g]m hav+ fir/ appe>$ 7#cf7 z an unpromis+ & monoton\s succession ( s+le notes4 ,we ref]r$ at "s l5g?1 9 ! *apt] on ,! ,dance & ,its ,developm5t1 to ?is g]m9ation ( musical ?\ght z ( ! greate/ importance 9 composition4 ,! read] w readily und]/& t ! highe/ =m ( an art l music1 9 :i* ! elem5t ( "t ent]s z a vital matt]--9 :i* ! message ( ! compos] comes to u 9 successive s\nds--mu/ dep5d on some?+ m ?an ! beauty ( its sev]al & successive melodies4 ,9 ! fir/ place1 ! limit ( su* a succession w\ld soon be rea*$2 ! m9d1 aft] hav+ tak5 9 a c]ta9 numb] ( melodies1 w\ld lose track ( ! fir/ ones & be left 9 utt] confusion4 ,! obvi\s device ( repeat+ ! fir/ phrase or melody at ! po9t :]e1 o!rwise1 ?is confusion w\ld result1 has be5 ! det]m9+ motive ( _m ( ! simple =ms we h ?us f> /udi$4 ,b ?is1 aft] all1 is a primitive me?od1 & x is obvi\s t its possibilities are limit$4 ,! rondo is1 9 effect1 ! fur!/ po9t to :i* ?is plan c g4 ,! fundam5tal quality 9 any?+ liv+--be x ! /ate1 ! *ur*1 ! family or ! human body--is organism1 ! relation ( all ! p>ts to ! :ole4 ,s 9 ! greate/ music z 9 ! greate/ lit]ature1 ev]y?+ g]m9ates f c]ta9 fundam5tal ideas1 & no?+ is extrane\s4 ,?is rondo ( ,moz>t repres5ts a c]ta9 t5d5cy ( 8 to /r+ beautiful melodies toge!r--= 8 fund ( melodies 0 well nigh inexhau/ible4 ,b he 0 too great a ma/] n to see ! weakness ( su* a proc$ure1 & 9 works l 8 ,g-m9or symphony he has left ne>ly p]fect examples ( ?is high] =m ( musical developm5t2--p]fect1 t is1 )9 8 own horizon--a wid] view 0 to unfold itself f t height to :i* ,bee?ov5 f9ally /ruggl$4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,p>ry3 ,! ,evolution ( ! ,art ( ,music1 pp4 #eb & #bda4 ,dick9son3 ,! ,/udy ( ! ,hi/ory ( ,music1 ,*apt] ,,xiv4 ,goets*ius3 ,! ,homophonic ,=ms ( ,musical ,composition1 p4 #bjc4 ,mason3 ,bee?ov5 & ,8 ,=]unn]s1 ,*apt] ,,iv4 ,had[3 ,sonata ,=m1 ,*apt] ,,ix4 ,,li/ ,,( ,,supplem5t>y ,,pieces ,,= ,,/udy4 ,haydn3 ,f9ale ( ,sonata 9 ,d-major1 ,no4 #g 7,s*irm] ,ed474 ,f9ale ( ,sonata 9 ,d-major1 ,no4 #i 7,s*irm] ,ed474 ,moz>t3 ,f9ale ( ,sonata 9 ,f-major1 ,no4 #ag 7,s*irm] ,ed474 ,,footnotes3 #ad ,sonata1 orig9ally f ,italian ,suon>e1 to s\nd1 z ,cantata 0 f ,italian ,cant>e1 to s+4 ,lat] ! ^w ,sonata took on a m precise mean+1 :i* we %all /udy 9 lat] *apt]s4 #ae ,! "n ,rondo 7,fr4 ,rondeau7 is d]iv$ f r\nd1 & its application to pieces ( ! type we are consid]+ 0 due to ! con/ant recurr5ce ( "o pr9cipal melody4 #af ,! fir/ p>tial measure & all ! o!r half measures :]e ! d\ble b>s occur are c\nt$ sep>ately1 mak+ #fe measures 9 ! :ole piece4 #ag ,! fix$ "p 7,a7 9 ! ,rondo ( ?is p]iod usually ent]$ b ?ree times in/ead ( f\r z is ! case "h4 ,c\p]9's ,la ,b&ol9e 79 ,les ,maitres du ,clavec97 is ano!r example ( ! ext5d$ =m ( ! ,rondo4 #ah ,pau]'s ,alte ,mei/] 7,breitkopf & ,hrtel7 conta9s sev]al int]e/+ ,rondeaus by ,c\p]9 & ,rameau4 ,les ,maitres du ,clavec91 edit$ by ,kohl] 7,litolff71 ,vols4 ,x & ,,xi1 may also be consult$4 #ai ,! numb]s ref]r$ to "h are ^? ( ! ,s*irm] edition4 ,,*apt] ,,vii4 ,,! ,,v>iation ,,=m--,,! ,,m9uet4 ,! process ( musical developm5t we h be5 consid]+ 9 previ\s *apt]s has t5d$ gradually b surely t[>ds fre$om ( expression &1 at ! same "t1 def9it5ess ( =m4 ,z ?is process has advanc$1 melodies h become less & less con/ra9$1 yet ! =ms !mselves h cry/alliz$ into c]ta9 accept$ types4 ,! ideal ( all ?is progress 0 unity & v>iety2 9 o!r words1 compos]s felt ! desire to exp& _! p[]s ( expression & saw t ?is expansion mu/ 9 ! nature ( ?+s con=m to c]ta9 /hetic pr9ciples & obey c]ta9 laws4 ,m]e luxuriance ( spee* )\t ord] or sy/em means confusion2 b ord] & sy/em )\t liv+ feel+ means aridity4 ,^! two elem5ts mu/ g h& 9 h&1 & 9 ! music ( ma/]s l ,ba*1 ,bee?ov51 & ,brahms !y d4 ,! s-call$ v>iation =m admirably illu/rates ^! t5d5cies4 ,f its v beg9n+ d[n to ! pres5t day !re has be5 a con/ant re-adju/m5t ( its expressiv5ess & its =mal int]e/2 a con/ant attempt to /rike ! "r balance betwe5 ! two qualities4 ,! =m is almo/ z old z music itself4 ,f ! e>lie/ times compos]s h felt ! necessity ( v>y+ _! tunes by "o device or ano!r4 ,ev5 be=e ! o!r primitive =ms _h cry/alliz$1 crude v>iations exi/$1 & we f9d old hymn tunes or popul> songs repeat$ ov] & ov] aga9 ) elaborate *anges ( phraseology or ) contrapuntal devices4 ,c]ta9 arid processes--su* z writ+ a tune backw>ds--7 sometimes employ$1 & a /udy ( ! :ole range ( ! v>iation =m 9 its e>ly /ages reveals a con/ant fluctuation4 ,i4 ,,v>iations ,,by ,,john ,,bull4 ,among ! mo/ int]e/+ ( ^! e>ly attempts to solve ! problem are c]ta9 pieces by ! ,engli% compos]s = ! h>psi*ord :o liv$ 9 ! latt] "p ( ! sixte5? c5tury4 ,john ,bull 7#aefc-afbh71 a *ori/] 9 ! ,*apel ,royal ( ,que5 ,elizabe?1 0 "o ( ! mo/ fam\s ( ^!1 & he has left u sev]al pieces 9 v>iation =m1 "o ( :i*1 ,c\rante ,jewel1 is well wor? our att5tion4 ,! c\rante 7,fr4 c\rir1 to run7 is "o ( ! old dance =ms t became imb$d$ 9 ! suite1 :]e x foll[$ ! op5+#bj ,allem&e4 ,?is p>ticul> example ( ! c\rante illu/rates ! habit1 common at t "t1 ( writ+ pieces bas$ on well kn[n dance rhy?ms su* z we h /udi$ 9 ,*apt]s ,,iv & ,v4 ,compos]s attempt$ to provide fur!r int]e/ 9 _! pieces by giv+ !m special titles4 ,we f9d1 = example1 "o ( ,byrd's h>psi*ord pieces call$ ,gali>do1 ,mrs4 ,m>y ,br[nlo1 & "o ( ,bull's entitl$ ,pavana1 ,/4 ,?omas ,wake4 ,?is t5d5cy 9 ,engli% music t[>ds def9it5ess ( idea1 & away f all t is vague1 has be5 already not$ 9 our *apt] on ,folk ,songs4 ,! ,c\rante ,jewel is an int]e/+ example ( a =m ( v>iation t has n[ become practically obsolete4 ,x consi/s ( f\r sep>ate melodies1 ea* imm$iately foll[$ by its v>iation4 ,! plan might be express$ by ! foll[+ =mula3 ,a1 a2 ,b1 b2 ,c1 c2 ,d1 d1 ! l>ge lett]s repres5t+ ! !mes & ! small lett]s ! v>iations4 ,! fir/ !me beg9s z foll[s3 ,music3 score ,,figure ,,xxviii4 ,f fir/ !me ( ,bull's ,c\rante ,jewel4 ,! complete !me is sixte5 measures long & is divid$ (f into phrases ( regul> l5g?4 ,?is is imm$iately foll[$ by ! v>iation1 ! correspond+ portion ( :i* w be f\nd 9 ,figure ,,xxix4 ,music3 score ,,figure ,,xxix4 ,"p ( ! v>iation4 ,9 ,figure ,,xxx are %[n ! fir/ phrases ( ! second1 ?ird & f\r? melodies1 9 ord] t ! read] may see h[ di/9ct is ea* "o4 ,music3 score ,,ii ,music3 score ,,iii ,music3 score ,,iv ,,figure ,,xxx4 ,?is little piece illu/rates :at has be5 already said ab\t fre$om ( expression4 ,x does n impress u z /rictly dance music2 x is manife/ly writt5 = its own sake & repres5ts t natural t5d5cy to create some?+ beautiful :i* und]lies art ev]y:]e4 ,b 9 respect ( ord] & design we f9d "h a decid$ weakness4 ,f\r sep>ate & successive ideas1 ea* foll[$ by an elaboration ( itself1 w\ld make a poor model = any art4 ,"o feels a s5se ( vagu5ess aft] li/5+ to a piece s con/ruct$2 no s+le idea dom9ates2 "o longs = "s po9t ^u :i* ! att5tion may be c5t]$4 ,,ii4 ,a ,,gavotte ,,& ,,v>iations ,,by ,,rameau4 ,pau]'s ,alte ,mei/]1 ,vol4 ,i1 conta9s ano!r int]e/+ exp]im5t 9 ! v>iation =m1 a ,gavotte & ,v>iations by ,rameau 7#afhc-agfd74 ,! op5+ phrase ( ?is ,gavotte runs z foll[s3 ,music3 score ,,figure ,,xxxi4 ,fir/ phrase ( ,gavotte by ,rameau4 ,9 ! v>iation ( ! above1 :i* w be f\nd 9 ,figure ,,xxxii1 ! !me is pres5t$ less def9itely ?an 9 ! orig9al1 :ile ! upp] "p 9 sixte5? notes makes a k9d ( free c\nt]po9t4 ,music3 score ,,figure ,,xxxii4 ,fir/ phrase ( ,v>iation by ,rameau4 ,:at has be5 said 9 our la/ *apt] ( ,c\p]9's h>psi*ord pieces applies to ^! v>iations ( ,rameau4 ,!re is 9 !m a k9d ( ref9em5t & delicacy t *>act]izes all ! ,fr5* music ( t p]iod4 ,! !me itself is less nave ?an t ( ! ,c\rante ,jewel1 & m sugge/ive ( ! sl[ movem5t !mes ( ! sonatas ( lat] compos]s4 ,9 fact1 ?is has 9 x little ( ! real ,gavotte1 its m$itative quality is too /rong & its rhy?ms too weak4 ,^! two compositions admirably illu/rate ! g5]al /riv+ = "s ord]$ means ( expression 9 secul> music t *>act]izes ! sev5te5? c5tury4 ,x 0 a "t ( grop+4 ,sacr$ music _h l>gely occupi$ ! att5tion ( compos]s1 & few pa?s _h be5 op5$ = ^? :o desir$ o!r means ( expression1 s t ! problem ( secul>ization 0 ! all-important "o4 ,x mu/ also be kept 9 m9d t ?is p>ticul> advance c\ld n take place until musical in/rum5ts & ! te*nique ( play+ !m _h be5 p]fect$4 ,z late z #aega ,amm]ba*'s ,orgel od] ,in/rum5t ,tabulatur 0 publi%$1 =bidd+ ! use ( ei!r ! ?umb or little f+] 9 organ play+1 & writ]s ( ! sev5te5? c5tury speak ( c]ta9 uses ( ! ?umb 9 play+ z d>+ innovations4 ,c\p]9 9 8 ,l',art de ,t\*] le ,clavec91 publi%$ 9 ,p>is 9 #agag1 advocates a sy/em ( f+]+ t /ill uses ! ?umb 9 a clumsy mann]1 & x 0 n until ,john ,seba/ian ,ba*'s me?od ( tun+ by equal temp]am5t & 8 new sy/em ( f+]+ came into use t music = ! h>psi*ord & clavi*ord 0 fre$ f ! old incubus ( an awkw>d me*anical te*nique4 ,= x is obvi\s t an art c nev] rea* any?+ l p]fection z long z its work+ mat]ials are inadequate4 ,9 piano play+1 = example1 "o c\ld n use *ords spread out f> beyond ! grasp ( ! h&s until ! su/a9+ p$al _h be5 inv5t$4 ,:ile ^! conditions exi/$1 compos]s naturally turn$ _! att5tion to sacr$ music & to ! op]a1 :]e !re 7 few] limitations4 ,among ! _m examples ( ! v>iation =m produc$ 9 ! "t ( ,c\p]9 & ,rameau ! mo/ important are ^? ( ,ba* & ,h&el4 ,s9ce we are "h deal+ ) ! precursors ( ! sonata & symphony & ) ! developm5t ( homophonic music1 we %all n discuss ,ba*'s celebrat$ ,goldb]g ,v>iations1 :i* are ma/]ly examples ( 8 intricate & vivid polyphony1 b %all turn to a set ( v>iations 9 m mod]n =m by ,h&el4 ,! read] may1 h[ev]1 consult ! second ,s>ab&e accompany+ ,*apt] ,v = an example ( ,ba*'s me?od ( elaborat+ a giv5 !me4 ,,iii4 ,,h&el',s ,,h>moni\s ,,blacksmi?4 ,our *apt] on ! suite has giv5 ! ord] 9 :i* ! v>i\s dances usually appe>$1 & m5tion 0 !re made ( ! exceptions occasionally to be f\nd among ! works ( adv5tur\s compos]s4 ,george ,fr$]ic ,h&el 7#afhe-agei7 compos$ a set ( ,suites de ,pices p\r le ,clavec9 conta9+ sev]al movem5ts n usually f\nd 9 ! suite =m4 ,among ^! are ,allegros1 ,pre/os1 & ,arias con ,v>iazioni1 :ile 9 ,h&el's ,sonatas are to be f\nd s>ab&es1 gavottes1 & b\rres4 ,9 o!r words1 ! suite & ! sonata1 z conceiv$ by ,h&el1 are m or less conv]tible =ms2 x is n until ! next g5]ation t ! mod]n sonata beg9s to em]ge 9 ! pian(orte works ( ,philip ,emanuel ,ba*4 7,see ,*apt] ,,viii47 ,^! di/9ctive pieces repres5t ! grop+ ( compos]s aft] "s new & m flexible m$ium ( expression ?an t provid$ by /iff dance =ms4 ,& ?is same fundam5tal pr9ciple ( gr[? is :at1 _m ye>s lat]1 l$ ,bee?ov5 to enl>ge ! scope ( ! sonata1 & /ill lat] produc$ ! symphonic poem ( ,liszt & o!r mod]n compos]s4 ,ea* phase ( an art has its culm9ation :]e a m$ium becomes p]fect$--& !re=e exhau/$2 :]e ! fl[] blooms & dies4 ,?is po9t is rea*$ :5 "s great ma/] unites 9 8 works two ess5tial qualities complem5t>y to ea* o!r1 namely1 ! idea & its =mal inve/iture4 ,su* a po9t 0 rea*$ 9 ,ba*'s ,fugues1 9 ,moz>t's ,symphonies1 & 9 ,bee?ov5's ,/r+ ,qu>tets2 9 all ^! ! two great elem5ts ( p]fection 7 unit$4 ,9 ,moz>t's ,g-m9or ,symphony1 = example1 ! ?+ said1 & ! mann] ( say+ x--! design1 ! or*e/ral expression1 etc4--are id5tical1 b 9 ! in/rum5tal works ( ,h&el ! matt] 0 /ill 9 process4 ,! ,h>moni\s ,blacksmi? is 9 ! fif? ( ! ,suites de ,pices p\r le ,clavec91 commonly kn[n z ,lessons1 & compos$ = ,pr9cess ,anne1 ,h&el's royal pupil1 daught] ( ! ,pr9ce ( ,wales4 ,?is suite consi/$ ( ! foll[+ pieces3--,i4 ,prelude1 ,,ii4 ,allem&e1 ,,iii4 ,c\rante1 ,,iv4 ,air4 ,,example ,,= ,,analysis1 ,no4 #aj4 ,h&el3 ,! ,h>moni\s ,blacksmi?1 f ! ,fif? ,suite = ,clavi*ord4 ,! biographies ( ,h&el give sev]al v]sions ( ! /ory suppos$ to be connect$ ) ?is little piece4 ,x seems to be q c]ta9 t ! compos] nev] us$ ! title1 & t x has "o at all is probably due to ! fact t ! public seems to l a piece bett] if x is suppos$ to be ab\t some?+4 ,_m simil> uses ( supposititi\s titles w occur to ! read]1 z1 = example1 ! ,moonlight sonata ( ,bee?ov51 & ! ,ra9-drop prelude ( ,*op91 nei!r ( :i* grotesque names 0 ev] sanction$ by ! compos]4 ,if ?is tune ( ,h&el's ev] 0 sung by a burly smi? at 8 =ge he 0 inde$ an h>moni\s blacksmi?4 ,9 any case1 x is a matt] ( record t ! id5tical anvil 0 f9ally discov]$ by a ,mr4 ,cl>k & f\nd a re/+ place z a curio 9 an ,egyptian ,hall 9 ,london4 ,! tune itself has qualities famili> en\gh to /ud5ts ( ,h&el's in/rum5tal music4 ,its f9al cad5ce1 9 p>ticul>1 is ?or\ghly ,h&elian1 & all ?r\gh x !re is t decisive & ass]tive mann] t *>act]izes ! melodies ( ?is great man4 ,!re is no?+ ( ! my/ic ab\t ,h&el2 8 oratorios & ne>ly all 8 small] pieces h a /raight=w>d & uncompromis+ /yle4 ,he nev] gropes2 8 music speaks ( an unfalt]+ self-confid5ce1 uncl\d$ by d\bts4 ,! me?ods ( treatm5t 9 ! v>iations is a simple "o4 ,! h>monies rema9 ! same ?r\gh\t1 :ile ! melody is *ang$ 9 v>i\s ways4 ,9 v>iation ,i1 = example1 ! fir/ two notes ( ! orig9al melody h be5 made into an arpeggio1 or brok5 *ord1 & ?is treatm5t p]si/s ?r\gh\t4 ,9 v>iation ,,ii ! melody loses some?+ ( its physiognomy1 & is only sugge/$ by occasional notes 9 ! upp] or l[] "p = ! "r h&1 :ile ! left h& plays a famili> patt]n accompanim5t4 ,v>iation ,,iii plays lightly ) ! orig9al !me1 hov]+ ar\nd x ) delicate scale passages4 ,?is v>iation illu/rates an important pr9ciple ( musical appreciation4 ,play$ by itself1 )\t ref]5ce to :at has prec$$ x1 x w\ld be s lack+ 9 def9it5ess z to be un9t]e/+2 its connection ) ! orig9al !me1 h[ev]1 l5ds to x a c]ta9 *>m & significance4 ,s 9 ! long] in/rum5tal pieces ( ! great ma/]s :o foll[$ ,h&el1 we f9d :ole sections ^: mean+ dep5ds on _! relation to :at has prec$$ !m1 & our appreciation ( ! significance ( su* passages is 9 exact proportion to our p[]s ( co-ord9at+ 9 our own m9ds ^! v>i\s sections ( a "w1 (t5 sep>at$ f ea* o!r by a consid]able lapse ( "t4 ,! f\r? v>iation is l an inv]sion ( ! ?ird1 ! left h& n[ tak+ ! rapid scale passages4 ,v>iation ,v is ! lea/ def9ite ( !m all1 be+ made ( scales play$ aga9/ *ords t dimly outl9e ! orig9al melody4 ,! ,h>moni\s ,blacksmi? is n a highly develop$ piece ( music1 = x lacks "o ess5tial elem5t--9 an in/rum5tal piece z long z ?is !re %\ld be "s g]m9ation4 ,! sev]al v>iations ( ?is melody are m]ely slightly alt]$ v]sions ( ! orig9al idea2 9 highly develop$ specim5s ( ?is =m ea* v>iation is a new creation g]m9at$ f ! p>5t ?\ght4 ,,iv4 ,,haydn',s ,,&ante ,,) ,,v>iations ,,9 ,f-,,m9or4 ,ref]5ce has already be5 made 9 our *apt] on ,! ,rondo to ! great advance 9 pian(orte music br\ght ab\t by ,philip ,emanuel ,ba* & ,haydn1 b ,haydn's ,&ante ) ,v>iations 9 ,f-m9or is /ill m mature ?an any ( ! pieces to :i* we ref]r$4 ,9 fact1 ?is ,&ante is ,haydn's mo/ *>m+ pian(orte piece1 unit+ z x does ! be/ ( 8 qualities4 ,x is ! fir/ composition 9 homophonic /yle we h /udi$ 9 :i* ! int]e/ ( ! li/5] is con/antly engag$ f beg9n+ to end4 ,!re are "h no bald repetitions1 z 9 ! ,rondo ( ,moz>t1 no mean+less accompanim5t figures1 no conv5tional end+s1 b f fir/ to la/ ,haydn tempts u onw>d by con/antly unfold+ new beauties1 yet nev] leaves u vaguely w&]+1 d\btful ( our />t+ po9t4 ,9 %ort1 ?is &ante is a f9e example ( a well organiz$ piece ( music2 x is full ( v>iety1 yet its unity is unmi/akable4 ,,example ,,= ,,analysis1 ,no4 #aa4 ,haydn3 ,&ante ) ,v>iations 9 ,f-,m9or4 ,x is unusual = a v>iation !me to be 9 two di/9ct p>ts1 z is ! case "h4 ,! *ief !me 9 ,f-m9or is foll[$ by a trio !me 9 ,f-major ( q a di/9ct "*4 ,?is is "o ( ! _m int]e/+ exp]im5ts ( ,haydn 9 devis+ new =ms or comb9+ old ones4 ,! weakness ( ?is arrangem5t is t ! :ole !me is a little too long2 x lacks ! concis5ess t is necess>y to a !me t is to be treat$ 9 a long s]ies ( v>iations4 ,! trio !me is also less int]e/+ ?an ! fir/ !me & does n l5d itself s readily to v>iations4 ,an important pr9ciple ( musical developm5t is involv$ "h4 ,x w be f\nd f an exam9ation ( ! music ( ! great compos]s t ! mo/ p]fect lyric melodies d n g]m9ate1 :]eas !mes l ! fir/ !me ( ?is &ante1 ! fir/ !me ( ,bee?ov5's ,fif? ,symphony--:i* are n by any means beautiful lyric melodies--are pregnant ) possibilities4 ,any p]fect melody l ,annie ,laurie1 = example1 is a complete ?+2 no?+ c be add$ to x or tak5 away f x4 ,! two !mes j m5tion$1 on ! contr>y1 are made up ( motives :i* are *>act]iz$ by "s individual quality & :i* conta9 c]ta9 pot5tialities t are realiz$ only z ! piece progresses4 ,& 9 g5]al x may be not$ t ! di/9ctly lyric compos]s1 su* z ,s*ub]t1 ,s*umann1 & ,grieg1 h n be5 conspicu\sly successful 9 ^? l>g] =ms :]e ?is pr9ciple is mo/ op]ative4 ,! little motive ( five notes ) :i* ! "r h& "p ( ! &ante by ,haydn beg9s illu/rates ?is4 ,!re is h>dly a measure ( ! orig9al !me & ( its v>iations 9 :i* ?is motive is n he>d1 & ! v>iety ,haydn imp>ts to x is q rem>kable4 ,! trio !me1 on ! o!r h&1 is m lyric--m song-l1 &1 z a consequ5ce1 we f9d ! v>iations consi/ ( elaborate ornam5tations ( ! !me r ?an ( new ideas g]m9at$ f x4 ,v>iation ,i is a p>ticul>ly int]e/+ example ( ,haydn's /yle4 ,! syncopation 9 ! "r h& "p1 ) its delicacy ( utt]ance1 & its occasional t5d] poignancy 7z at measure #eb7 gives to ?is portion ( ! piece an unusual *>m4 ,! transposition ( ! syncopation to ! left h& 7at measure #ef7 is p>ticul>ly int]e/+ because ( ! delicate dissonances t result4 ,! passage at measures #hc-hh might almo/ h be5 writt5 by ,rameau or ,c\p]91 s full is x ( trills & o!r ornam5ts4 ,?is is 9 ! old h>psi*ord /yle ( ! g5]ation be=e ,haydn4 ,v>iation ,,ii pres]ves ! h>mony ( ! orig9al !me1 b supplants its melody by a flu5t & int]e/+ passage 9 sixte5? notes t passes at w f "o h& to ! o!r4 ,^! two free v>iations1 ?r\gh :i* ! orig9al !me has dimly %one1 are n[ succe$$ by a f9ale1 s call$1 9 :i* ! !me is pres5t$ 9 its simple =m z if to br+ ! li/5] home aga9 aft] 8 excursions afield4 ,& "h1 x %\ld be specially not$1 ,haydn omits all ref]5ce to ! trio !me1 z if consci\s ( its inf]iority4 ,! :ole f9ale 7f measure #adg7 is a k9d ( dramatic summ+ up ( ! /ory1 & s]ves mu* ! same purpose z t ( ! re/atem5t 9 t]n>y =m4 ,! passage betwe5 measures #aie & #bjj is an int]e/+ example ( a process common 9 pure music4 ,"h ! motive ( ?ree notes 79 "r h&71 d]iv$ f ! orig9al five note motive 9 measure #a1 gradually loses its physiognomy until its *>act]i/ic outl9e has entirely disappe>$ & x has become a purely conv5tional figure4 ,a celebrat$ example ( ?is process is %[n 9 ,figure ,,xxxiii f ! fir/ movem5t ( ,bee?ov5's ,/r+ ,qu>tet1 op4 #ei1 ,no4 #a4 ,music3 score ,fir/ phrase ( ,!me f ,bee?ov5's ,qu>tet1 op4 #ei1 ,no4 #a4 ,music3 score ,passage f ,developm5t ,section4 ,,figure ,,xxxiii4 ,! passage f :i* ! second ( ! quotations is tak5 is "o ( ! mo/ beautiful 9 all *amb] music1 & ! :ole developm5t section 9 ?is wond]ful movem5t w repay ! close/ /udy4 ,haydn's &ante ends ) a few t5d] allusions to ! p]si/5t motive ( ! orig9al !me1 :i* fa9tly e*oes 9 pa!tic cad5ce4 ,su* passages ende> ,haydn to u because ( _! g5u95ess4 ,!re is no?+ false 9 8 s5tim5t2 he is always /raight=w>d1 he always writes unaffect$ly4 ,among ! great compos]s he /&s ap>t z a simple-he>t$ man1 :o 0 )\t guile1 & :o reta9$ to ! end ( 8 life ! same *ildlike navet4 ,v4 ,,! ,,m9uet4 ,! g5]al *>act]i/ics ( dances l ! m9uet1 gavotte1 etc41 h be5 ref]r$ to 9 ,*apt] ,,iv1 :]e ! inclusion ( ! m9uet 9 ! sonata & symphony ( ! classical p]iod 0 not$4 ,we are "h *iefly conc]n$ ) ! effect ( ?is inclusion on ! m9uet itself & ) its /atus 9 ! gr\p ( movem5ts t made up ! cyclic =m4 ,! m9uet is a dance ( ,fr5* orig91 *>act]iz$ by /atel9ess & grace4 ,! e>lie/ music writt5 = x consi/$ ( "o melody conta9+ two eight measure phrases4 ,^! 7 gradually l5g!n$1 & f9ally a second m9uet 0 add$ z 9 ! gavotte4 ,ba* us$ ! m9uet sp>+ly 9 8 suites4 ,! read] is ref]r$ to ! f\r? ,engli% ,suite1 :i* conta9s a m9uet foll[$ by m9uet ,,ii1 n call$ ,trio4 ,h&el occasionally incorporates ! m9uet 9 8 suites & frequ5tly uses x z ! la/ movem5t 9 8 oratorio ov]tures4 ,all ^! old m9uets 7 9 sl[ tempo1 b ! desire = fre$om ( expression impell$ compos]s n only to exp& !m 9 v>i\s ways1 b1 f9ally1 to increase _! spe$4 ,?is important *ange 0 d\btless l>gely inspir$ by ! desire = contra/ 9 ! movem5ts ( ! symphony1 = 9 ! sonatas ( ,haydn & ,moz>t we f9d ! middle movem5t usually an &ante or adagio1 & :5 ! m9uet#ba is incorporat$ x is 9 sl[ tempo4 ,practically all ! m9uets ( ,ba* & ,h&el z well z ^? ( ! ,haydn-,moz>t-,bee?ov5 p]iod 7 writt5 9 :at we h call$ simple t]n>y =m1 ! second m9uet1 or trio1 con/itut+ ! middle section1 ,b4 ,occasionally a m9uet ) two trios appe>s1 9 :i* case ! =m becomes ,a1 ,b1 ,a1 ,c1 ,a4 ,m>*es 7:i* are commonly 9 simple t]n>y =m7 are q frequ5tly writt5 ) two trios1 ! mo/ famili> example be+ ! well kn[n w$d+ m>* by ,m5delssohn4 ,! symphonic m9uet is ! only relic ( ! suite reta9$ 9 ! sonata & symphony4 ,! *anges x und]w5t ?r\gh ?is promotion f ! ranks ( ! old dances 7 n only *anges ( tempo1 b ( _s or ess5ce4 ,= :]eas x _h be5 demure1 conv5tional1 & /ately1 z if p]vad$ by a k9d ( c\rtly grace1 x became 9 ,haydn's "t a wayw>d1 humor\s1 & ev5 frolicsome memb] ( musical society1 & provid$ a c]ta9 lightness & spontaneity mu* ne$$ 9 ! sob] symphonic family4 ,! read] is urg$ to consult any ( ! m9uets to be f\nd 9 ! /r+ qu>tets or symphonies ( ,haydn & ,moz>t4 ,^! popul> %ort movem5ts are s available 9 arrangem5ts = ! piano t x is n ?\ght necess>y to incorporate "o "h4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,grove's ,diction>y3 articles ,m9uet1 ,sonata1 & ,symphony4 ,%$lock3 ,! ,pian(orte ,sonata4 ,mason3 ,bee?ov5 & ,8 ,=]unn]s4 ,,footnotes3 #bj ,9 ,ba*'s ,engli% ,suites a ,prelude is plac$ be=e ! ,allem&e4 #ba ,see ! ,m9uet 9 ,haydn's piano sonata 9 ,e-flat 7,no4 #c 9 ,s*irm] edition7 & ! ,m9uet 9 ,moz>t's well kn[n piano sonata 9 ,a-major 7) ! ,!me & ,v>iations74 ,,*apt] ,,viii ,,sonata-,,=m ,i4 ,i4 ,,composite ,,nature ,,( ,,! ,,sonata4 ,und\bt$ly ! mo/ important ( all musical =ms to-day is ! sonata1 z w easily be recogniz$ if we rememb] t n only ! pieces :i* be> ?is "n z a title1 b also ! num]\s symphonies1 ov]tures1 conc]tos1 & trios1 qu>tets1 qu9tets1 & s on1 are examples ( ?is =m4 ,! symphony is simply a sonata1 on a l>ge scale1 = or*e/ra2 ! ov]ture is a simil> piece = or*e/ra1 9 "o movem5t2 ! conc]to is1 z x 71 a symphony ) a solo in/rum5t emphasiz$ or plac$ 9 ! =egr\nd2 trios1 qu>tets1 qu9tets1 etc41 are sonatas = v>i\s gr\ps ( /r+ & w9d in/rum5ts4 ,?us x w be se5 t ! bulk ( all in/rum5tal music is ca/ 9 ?is ev] available & useful =m ( ! sonata4 ,at ?is po9t1 h[ev]1 a confusion is likely to arise f ! fact t ! t]m sonata is us$ 9 two s5ses4 ,x means sometimes a complete piece ( music 9 ?ree or m di/9ct movem5ts2 at o!r times x means a s*eme or plan ( musical /ructure exemplifi$ 9 "o or m ( ^! movem5ts1 usually ! fir/4 ,:5 us$ 9 ?is s5se x is g5]ally c\pl$ ) ! ^w =m3 ?is is ! way 9 :i* we %all use x "h1 lett+ sonata-=m mean ?is peculi> type ( musical /ructure1 to be describ$ 9 detail pres5tly1 :ile us+ sonata alone to "n a complete composition ( :i* "o or m movem5ts are 9 sonata-=m4 ,! sonata1 z writt5 by ,philip ,emanuel ,ba*1 ,haydn1 ,moz>t1 ,bee?ov51 & mod]n compos]s1 usually conta9s "s movem5ts 9 =ms m primitive ?an sonata-=m1 & already famili> to u4 ,?us ! m9uet1 :i* (t5 appe>s z ! second or ?ird movem5t ( a sonata1 has *ang$ little s9ce ,moz>t's day2 ! rondo1 frequ5tly us$ 9 ! f9ale ( a sonata1 rema9s 9 all ess5tials z x is pres5t$ 9 ! la/ diagram ( ,*apt] ,,vi2 & ! !me & v>iations1 s f> z its =mal plan is conc]n$1 has rema9$ v mu* z ,haydn left x1 al?\gh1 9 common ) ! rondo1 x has be5 va/ly enri*$ 9 cont5t & div]sifi$ 9 /yle by ! g5ius ( ,bee?ov54 ,,ii4 ,,ess5tials ,,( ,,sonata-,,=m4 ,! elem5t ( true novelty 9 sonatas is to be f\nd1 n 9 ^! primitive movem5ts1 b r 9 ^? movem5ts :i* are 9 sonata-=m1 & :i* %[ a bread? ( conception & an elaboration 9 developm5t nev] f\nd 9 simple lyric =ms l ! m9uet4 ,?is bread? & elaboration is always ! result ( a g]m9ation ( musical ?\ght1 su* z we h already (t5 m5tion$1 & by virtue ( :i* alone a composition c take on real gr&eur ( proportions4 ,! ess5tials ( sonata-=m are 7#a7 ! pres5tation ( two or m !mes or subjects 9 t section kn[n z ! ,exposition1 & symboliz$ 9 our diagrams by ! lett] ,a2 7#b7 ! evolution ( ^! !mes1 by means ( melodic g]m9ation1 9 t section kn[n z ! ,developm5t1 & symboliz$ by ,b2 & 7#c7 ! re/atem5t ( ! orig9al !mes1 r\nd+ out ! movem5t symmetrically1 9 ! section kn[n z ! ,recapitulation1 & symboliz$ aga9 by ,a on acc\nt ( its practical id5tity ) ! ,exposition4 ,x matt]s n :i* movem5t ( a sonata takes ?is *>act]i/ic =m1 :e!r1 z 9 ! majority ( cases1 x is ! fir/ 7:5ce ! t]m fir/-movem5t =m1 (t5 us$ z a synonym = sonata-=m7 or ! sl[ movem5t1 z (t5 happ5s1 or ! f9ale4 ,:]ev] sonata-=m exi/s we f9d ?is ?ree-"p sectional /ructure1 result+ f ! natural g]m9ation 9 ! middle section ( ! musical ideas /at$ 9 ! fir/1 foll[$ by _! re/atem5t 9 ! ?ird section4 ,! read] may ask at ?is po9t1 9 :at respect su* a =m diff]s f ! simple t]n>y =m illu/rat$ 9 a m9uet1 = example1 :]e9 ! second section usually conta9s "s developm5t ( ! !me1 & ! ?ird "s recapitulation4 ,! answ] is t 9 ! sonata-=m ! enl>gem5t ( ! proportions ?r\gh\t results1 fir/1 9 ! sub/itution ( complete & m or less contra/+ !mes1 = ! r slight musical subject ( a m9uet1 & second1 9 ! sub/itution ( a long & elaborate developm5t ( ^! !mes = ! r casual & sup]ficial modification ( ! subject :i* =ms ! second section ( a m9uet4 ,moreov]1 9 ! sonata-=m a novel feature is ! contra/ introduc$ by mak+ ! fir/ section embody duality ( key 7fir/ !me 9 tonic1 second 9 relat$ key7 :ile ! ?ird section1 by pres5t+ bo? !mes 9 ! tonic1 embodies unity ( key4 ,nev]!less x rema9s true t sonata-=m is1 bo? logically & hi/orically1 a developm5t ( su* simple =ms z we h 9 ! m9uet1 z is indicat$ by ! "n ( develop$ t]n>y =m (t5 giv5 to x4#bb ,sonata-=m is ?us b an extreme application ( c]ta9 ess5tial pr9ciples ( /ructure exemplifi$ 9 simple ways 9 o!r m primitive musical =ms1 & = t matt] 9 _m o!r dep>tm5ts ( life4 ,x is p]haps n ov]-fanciful to discov] ! same pr9ciples 9 ! con/ruction ( a novel1 9 :i* we (t5 f9d3 fir/1 ! pres5tation ( c]ta9 *>act]s1 m or less 9 antagonism2 second1 ! developm5t ( ! plot & ( ! *>act]s !mselves2 & ?ird1 ! reconciliation ( ! *>act]s 9 ! d5\em5t4 ,simil>ly1 a s]mon consi/s ( 7#a7 ! ass]tion ( a text or subject ( disc\rse1 7#b7 ! illu/ration ( its tru? by examples & o!r elucidations ( :at is impli$ 9 x1 & 7#c7 a f9al re/atem5t ( x ) ! great] =ce made possible by its discussion4 ,or aga91 we may see /rik+ analogies to ! arti/ic =m we are consid]+ 9 su* processes ( nature z ! budd+1 fl[]+1 & dea? ( a plant1 or 9 human life ) its y\?1 its p]iod ( activity1 & its "t ( retrospect4 ,,iii4 ,a ,,sonata ,,by ,,philip ,,emanuel ,,ba*4 ,sonata-=m1 hi/orically speak+1 fir/ takes def9ite %ape 9 ! "w ( ,philip ,emanuel ,ba* 7#agad-aghh71 ! mo/ di/+ui%$ ( ! sons ( ! great ,seba/ian ,ba*4 ,?\gh n a man ( ! highe/ creative g5ius1 ,c4 ,p4 ,e4 ,ba* possess$ an +5uity & a pione]+ _s :i* l$ him to make innovations s important t ,haydn & ,moz>t freely ackn[l$g$ _! debt to him4 ,feel+ t music 9 ! polyphonic /yle _h rea*$ its full developm5t1 he 0 orig9al & adv5tur\s en\gh to seek new means ( expression & a novel comb9ation ( features ( /yle already famili>4 ,9 ord] to und]/& ! situation t confront$ him we mu/ put aside tempor>ily ! impressions we h receiv$ f ! ,&ante ( ,haydn & ! ,rondo ( ,moz>t1 s9ce bo? ^! compositions 7 produc$ at a "t :5 8 influ5ce _h already made itself felt4 ,he _h to face ! problem ( writ+ in/rum5tal music t %\ld be free f ! con/ra9+ influ5ce ( ! dance1 ( polyphonic /yle1 & ( ! elaborately ornam5t$ /yle ( op]atic music4 ,he _h also to f9d out h[ to unify a long piece ( in/rum5tal music by co-ord9at+ all its p>ts4 ,! only solution ( ^! problems lay 9 inv5t+ :at might be call$ pure in/rum5tal melody3 i4 e41 melody t 0 ess5tially expressive 9 ! p>ticul> m$ium employ$--! piano1 ! viol91 ! or*e/ra--& t 0 unhamp]$ ei!r by /rict poetic or dance =ms1 or by ! peculi> phraseology ( polyphony4 ,he did n1 to be sure1 entirely a*ieve ?is2 we f9d evid5ces ( bo? ! old] /yles 9 8 music4 ,b an exam9ation ( any in/rum5tal ma/]piece ( ,bee?ov5 w reveal h[ mu* he ow$ to ! pione] labors ( ,c4 ,p4 ,e4 ,ba*4 ,we mu/ "h caution ! read] aga9/ ! supposition t music at ?is p>ticul> "t leap$ sudd5ly =w>d4 ,! t5d5cies t we h be5 speak+ ( 7 lat5t long be=e ,philip ,emanuel ,ba* appe>$1 & !re 0 no /rict l9e ( dem>cation :]e "o k9d ( music /opp$ & ano!r began4 ,organic developm5t nev] progresses 9 t way2 ea* phase ( x beg9s sl[ly1 becomes ev5tually op]ative1 & dies z sl[ly z x began4 ,& !re 7 o!r compos]s work+ at t "t on ! same problems2 compos]s :o 7 ( consid]able importance !n1 b ^: names are n[ =gott54 ,,example ,,= ,,analysis1 ,no4 #ab4 ,philip ,emanuel ,ba*3 ,piano ,sonata#bc 9 ,f-,m9or1 ,fir/ ,movem5t4 ,?is ,sonata has ?ree movem5ts3 #a4 ,fa/ 7,allegro assai72 #b4 ,sl[ 7,&ante cantabile72 #c4 ,sl[ 7,&ant9o grazioso74 ,! ?ird ( ^! is m>k$ attacca to indicate t ! usual pause betwe5 ! movem5ts is to be omitt$4 ,9 ! second & ?ird movem5ts ! !mes !mselves & _! treatm5t reveal ! t5tative nature ( ,ba*'s ef=ts4 ,ea* ( ^! !mes is ov]-embelli%$2 ea* has some?+ ( ! vagu5ess usual 9 piano music ( 8 "t1 & yet !re is a di/9ct t5d5cy t[>ds def9ite1 /rophic melody su* z is common 9 ! sonatas ( ,haydn & ,moz>t4 ,b ! fir/ movem5t ( ?is sonata ( ,philip ,emanuel ,ba*'s is q rem>kable4 ,its !me is def9ite1 its phraseology cle> & concise1 & its =m well r\nd$4 ,9 fact a comp>ison ( ! op5+ measures ) ^? ( ! !me f ,bee?ov5's fir/ sonata w reveal a decid$ simil>ity4 ,bee?ov5's !me is con/ruct$ f a figure or phrase1 asc5d+ l an arpeggio high] & high]1 until a climax is rea*$1 aft] :i* ! melody dies d[n to a pause or half cad5ce on ! dom9ant *ord4 ,?is is precisely :at happ5s ) ! !me ( ,philip ,emanuel ,ba*1 al?\gh ! second half ( ! !me is m regul> ?an ,bee?ov5's1 ! complete melody be+ 9 :at might be call$ v]se =m1 ea* two-measure phrase correspond+ to a l9e ( v]se4 ,m important /ill1 h[ev]1 is ! quality ( ! melody itself4 ,x is di/9ctly 9 ! /yle suitable = ! piano2 !re is no evid5ce ( ! old song melody1 nor ( polyphonic phraseology1 nor ( dance tunes4 ,?is is1 9 %ort1 "o ( ! e>lie/ examples ( pure pian(orte music1 us+ ! t]m 9 a mod]n s5se4 ,ano!r int]e/+ po9t 9 ?is movem5t is ! pres5ce ( two contra/+ !mes 9 ! ,exposition4 ,! pr9ciple ( alt]nately /at+ two contra/+ !mes1 :i* f\nd its ultimate expression 9 ! successive pres5tation ( fir/ & second subjects1 _h be5 famili> to ! musical _w z long z m9uets & trios1 gavottes1 musettes1 & ! l1 _h be5 9 vogue1 b ! process by :i* ! two subjects are all[$ to be int]wov5 ) ea* o!r1 or to g5]ate1 z x 71 new mat]ial hav+ its orig9 9 some?+ t has gone be=e1 op5$ out a _w ( fre% possibilities to ! compos]s ( ! lat] times1 & gave !m opportunities :i* _h be5 altoge!r )held f ,ba* & 8 contempor>ies4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,,iv1 p4 #ada4 ,! two !mes con/itute ! mat]ial out ( :i* ! :ole movem5t gr[s or g]m9ates1 s t !y some:at resemble *>act]s 9 a /ory1 & ?is analogy is fur!r c>ri$ out 9 ! quality ( ! !mes !mselves1 ! fir/ be+ usually vigor\s & to a c]ta9 degree non-lyric1 :ile ! second is lyric & m s5tim5tal2 z if "o 7 mascul9e & ! o!r fem99e4 ,b 9 ?is movem5t ( ,philip ,emanuel ,ba*'s ,sonata ! second !me is h>dly m ?an an embryo4 ,x beg9s at measure #af1 & occupies only t5 measures1 ! la/ five ( :i* are some:at vague & rhapsodical4 ,?us its entire effect is some:at indef9ite1 & if we comp>e x ) ! second !me ( any mod]n sonata we %all realize t x is v imp]fectly individualiz$4 ,! second !me did n become an ess5tial & di/9ct elem5t ( sonata-=m until some:at lat]2 9 ,philip ,emanuel ,ba*1 & ev5 9 _m movem5ts ( ,haydn1 x rema9s completely subord9ate to its m important companion1 ! fir/ !me4 ,foll[+ ! second !me--at measure #bf--;a coda ensues4 ,?is important factor 9 musical =m has be5 already ref]r$ to 9 our *apt]s on ,! ,rondo & ,! ,v>iation4 ,its (fice "h is ! same z 9 =m] examples1 namely1 to r\nd out ?is "p ( ! movem5t prop]ly & to emphasize ! close ( ! fir/ section4 ,! exposition 7,a7 ext5ds ?r\gh measure #cd & is conclud$ ) a d\ble-b>4 ,dur+ ! p]iod f ,philip ,emanuel ,ba* to ,moz>t ?is portion ( ! movem5t 0 always repeat$ 9 ord] to make x p]fectly famili> to ! li/5]4 ,! developm5t section beg9s imm$iately aft] ! d\ble-b> & ext5ds to ! po9t :]e ! fir/ !me returns 9 its orig9al =m2 9 ?is movem5t t po9t is rea*$ at measure #ff4 ,we h already po9t$ out c]ta9 simple me?ods ( g5]ation 9 music1 z 9 ! ,ba* ,gavotte discuss$ 9 ,*apt] ,,iv1 b we n[ h to consid] ! gr[? ( a long section ( a composition f c]ta9 g]ms conta9$ 9 ! orig9al !me4 ,& ?is br+s up an important "q3 ,h[ d musical !mes g5]ate8 ,9 ! ,ba* ,gavotte a brief phrase ( "o measure duration blossoms out into a passage six measures long4 ,?is may be obs]v$ by ref]5ce to ,figure ,,xxxiv1 9 :i* 7a7 repres5ts ! orig9al phrase & 7b7 ! expansion ( x4 ,music3 score 7a47 ,music3 score 7b47 ,,figure ,,xxxiv4 ,?is developm5t1 h[ev]1 is h>dly m ?an an ext5sion ( ! orig9al phrase4 ,= ! purposes ( sonata-=m some?+ m radical & f> rea*+1 some?+ m l new creation is necess>y4 ,)\t go+ into detail#bd we may be cont5t ) po9t+ out ! ess5tial pr9ciple ( ?is m radical developm5t4 ,analysis %[s t x always dep5ds on ! selection ( c]ta9 sali5t *>act]i/ics ( ! orig9al !mes & repres5tation ( !m "u new guises1 or "u new conditions4 ,j z a noveli/ develops 8 *>act]s by lett+ _! fundam5tal peculi>ities manife/ !mselves 9 all sorts ( ways & among all k9ds ( circum/ances1 mean:ile pay+ b scant att5tion to _! m accid5tal or sup]ficial traits1 s ! compos] ( a sonata seizes ^u :atev] is individual 9 8 !mes--a /rong rhy?m1 a peculi> turn ( phrase1 a /rik+ bit ( h>mony--& repeats & insi/s ^u x tirelessly1 ) :atev] v>iation ( m9or details 8 +5uity may sugge/4 ,an exam9ation ( ?is process ( g5]ation 9 ! works ( ,haydn & ,moz>t w make ^! important po9ts cle>4 ,9 ,figure ,,xxxv 7a71 is %[n a brief quotation f ! beg9n+ ( ! fir/ movem5t ( ,haydn's ,symphony 9 ,d-major4 ,al?\gh ?is !me has no pron\nc$ rhy?mic figures ! f\r repeat$ notes 9 measure #c are unusual 9 a simple melody ( ?is type1 & ,haydn *ooses !m 7) ! fir/ two notes 9 ! next measure7 z ! fir/ subject ( 8 developm5t section4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,xxxv4 ,at b 9 ! above quotation w be f\nd a %ort passage f ! beg9n+ ( ! developm5t section ( ! same movem5t4 ,?is passage illu/rates ! deta*m5t ( a *>act]i/ic motive 9 a melody1 & "h ! use ( x 9 v>i\s keys z a means ( sett+ =?1 z x 71 its lat5t possibilities4 ,"h a c]ta9 elem5t 9 ! !me is fre$ & takes on an exi/5ce ( its own1 & until ! v end ( ! section we he> x ov] & ov] aga9 9 diff]5t p>ts ( ! or*e/ra4 ,music3 score 7a7 ,music3 score 7b7 ,music3 score 7c7 ,,figure ,,xxxvi4 ,! me?ods ( g]m9ation employ$ by ,haydn 9 ! =ego+ illu/ration 7 typical ( 8 "t4 ,moz>t commonly relies1 9 8 developm5t sections1 on ! int]e/ provid$ by pres5t+ "s sali5t motive 9 a v>iety ( keys & ) polyphonic treatm5t4 ,examples ( ?is are to be f\nd 9 ,figure ,,xxxvi1 conta9+ 7a7 ! orig9al motive f ! fir/ movem5t ( 8 /r+ qu>tet 9 ,c-major1 d$icat$ to ,haydn1 & 7b71 7c71 %ort exc]pts f ! developm5t section ( ! same movem5t4 ,x w be obs]v$ t 9 7b71 ! viola imitates ! fir/ viol9 :ile ! second viol9 & 'cello reit]ate ! f\r eigh?-notes ( ! orig9al motive1 & t1 9 7c71 ! 'cello takes ! motive1 :ile ea* ( ! ?ree upp] p>ts s\nds ! eigh?-notes1 /accato2 ! contra/s ( key %\ld also be obs]v$4 ,?is is a v concise & logical example ( ! me?ods ( g5]ation employ$ by ,haydn & ,moz>t4 ,! fir/ !me ( ! movem5t by ,philip ,emanuel ,ba* has two sali5t qualities3 x progresses by leaps upw>d1 & x has a peculi>ly noticeable rhy?m4 ,^! two prop]ties are br\ght into play almo/ imm$iately4 ,aft] a brief /atem5t ( ! op5+ phrase ( ! !me 7#cf-ci7 9 ! relative major key--z if to tell u :at is to be ! subject ( ?is "p ( ! movem5t--! compos] proce$s to evolve a passage 7#dj-dd7 ) *ords 79 ! "r h&7 9 ! rhy?m ( ! !me1 & aga9/ !m 79 ! left h&7 a passage conta9+ ! leaps upw>d4 ,?is is fur!r v>i$ by free *anges 9 h>mony4 ,! initial phrase ( ! fir/ !me & a brief quotation f ?is passage 9 ! developm5t section are %[n 9 ,figure ,,xxxvii4 ,?is developm5t is1 h[ev]1 all too %ort4 ,aft] measure #dd ! music becomes discursive1 %[+ no long] any def9ite be>+ on ! orig9al subject matt]4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,xxxvii ,?is discursiv5ess is a natural *>act]i/ic ( ! =mative p]iod 9 ! evolution ( sonata-=m1 be=e compos]s _h le>n$ ! necessity ( a close logical developm5t ?r\gh\t4 ,! re/atem5t aft] contra/ 9 sonata-=m is commonly kn[n z ! recapitulation4 ,9 ! e>ly specim5s ( ! =m ! recapitulation 01 except 9 its h>monies1 almo/ id5tical ) ! exposition4 ,"h ! fir/ !me is r$uc$ to "o half its orig9al l5g?1 :i* is r an unusual abbreviation4 ,mr4 ,had[1 9 8 ,sonata ,=m1 lays d[n ! foll[+ rule = ?is portion ( ! movem5t3 ,! recapitulation %\ld n conta9 any noticeably fre% mat]ial2 x %\ld foll[ ! ma9 ?\ght ( ! exposition ) no important p>5!ses or div]g5ces1 &1 :5 x v>ies1 %\ld d s 9 a mann] :i* does n obscure ! subjects1 b only sets !m 9 a new light4 ,9 ,figure ,,xxxviii is %[n ! =ego+ plan 9 ! =m ( a diagram4 ,?is %\ld be comp>$ ) ! simil> diagrams 9 ,*apt] ,,ix4 ,,figure ,,xxxviii4 ,,tabul> ,,view ,,( ,,sonata-,,=m1 ,,or ,,fir/-,,movem5t ,,=m4 ---------------------------------------- --------------------------------- ,a ,b ,a ,exposition ,developm5t ,recapitulation ---------------------------------------- --------------------------------- ,introduction 7optional7 ,?is section is bas$ on,!me ,i4 ,!me ,i1 usually foll[$ by !mes already pres5t$,transition 787 a %ort transition1 or l9k9 ! ,exposition ,!me ,,ii 9 tonic or ,!me ,,ii 9 contra/+ key home key ,coda ,coda 7,duality ( h>mony7 7,plurality ( ,h>mony7 7,unity ( ,h>mony7 ---------------------------------------- --------------------------------- ,,iv4 ,,h>mony ,,z ,a ,,"p ,,( ,,design4 ,!re rema9s to be consid]$ ! important factor ( h>mony1 or arrangem5t ( keys4 ,?is arrangem5t is %[n 9 ! diagram1 ,figure ,,xxxviii2 b ! pr9ciple involv$ is an important "o1 & ! m]e /atem5t ( ,duality1 ,plurality & ,unity h>dly suffices to expla9 x4 ,!re seems to be no d\bt t ! subtle uses compos]s make ( h>mony are less intelligible to ! av]age li/5] ?an are ! uses ( !mes4 ,a !me repres5ts1 z x 71 a l9e1 & s9ce x is ! tune t1 = mo/ li/5]s1 con/itutes ! music ! att5tion ( ! li/5]s is readily drawn to *anges :i* mat]ially affect x4 ,h>monic design1 on ! o!r h&--! sett+ ( "o key or s]ies ( keys aga9/ ano!r--is (t5 only dimly recogniz$1 if at all1 al?\gh x is ( ! greate/ importance 9 all mod]n music4 ,9 sonata-=m ! h>monic plan 7describ$ above by ! t]ms ,duality1 ,plurality & ,unity7 adds an important elem5t s9ce x unifies ! la/ section by /at+ bo? fir/ & second !me 9 ! same key4 ,& 9 ! middle1 or developm5t section1 ! fre$om ( h>monic progression--! multitude ( keys--gives great v>iety & enables ! compos] freely to indulge 8 fancy4 ,9 ! pres5t movem5t ,ba* *ooses at times c]ta9 remote keys t imp>t to ?is section ( ! piece a *>m ( _! own4 ,! passage beg9n+ on ! second beat ( measure #ed illu/rates ?is3 ! f\r measures t foll[ are all 9 ! remote key ( ,f-flat major4 7,! read] %\ld exam9e ea* ( ! modulations t occurs 9 ! developm5t section47 ,h[ev] unconsci\s ( ! *>m ( h>monic v>iety ! av]age li/5] may be1 he w\ld surely be consci\s ( monotony 7 ! piece all 9 "o or ev5 two keys4 ,& s9ce ! t5d5cy ( ! music ( to-day is to exalt h>mony at ! exp5se ( melody1 x is desirable t ! /ud5t %\ld pay p>ticul> att5tion to ^! e>ly phases ( h>monic /ructure1 s z to be able to appreciate ?is important elem5t 9 mod]n music4 ,9 fact ! :ole progress ( music s9ce ,haydn has be5 /eadily onw>d t[>ds a free use ( ! diff]5t keys1 & z our e>s h become accu/om$ to new comb9ations ( *ords1 we h gradually come to feel ! beauty t lies 9 gl[+ musical colors1 & to accept !m z a legitimate means ( expression4 ,9 our *apt]s on ,bee?ov5 ?is phase ( musical developm5t w receive full] att5tion4 ,v4 ,,summ>y4 ,9 ?is movem5t ( ,c4 ,p4 ,e4 ,ba*1 despite its _m crudities1 !re is tak5 a long /ep t[>d ! e/abli%m5t ( mod]n sonata-=m4 ,! ma9 divisions ( ! =m1 exposition1 developm5t1 & recapitulation1 appe> cle>ly2 solid h>monic /ructure is atta9$ by ! sequ5ce ( duality1 plurality1 & unity2 !re are two contra/+ !mes1 ?\gh ! second is rudim5t>y2 ! g5]al pr9ciple ( developm5t ( !mes ?r\gh insi/5ce on sali5t features is illu/rat$2 & ! :ole movem5t is writt5 9 a /yle well suit$ to ! piano1 & emancipat$ f ! influ5ce ( polyphony & ( ! %ort dance & song =ms4 ,9 ! next *apt] we %all see h[ ,haydn & ,moz>t proce$$ to build m elaborate /ructures on ! f\ndation ?us laid by ,c4 ,p4 ,e4 ,ba*4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,dick9son3 ,! ,/udy ( ! ,hi/ory ( ,music1 ,*apt] ,,xiv4 ,grove3 ,diction>y ( ,music1 articles on ,ba*1 ,philip ,emanuel1 ,sonata1 ,=m4 ,c4 ,h4 ,h4 ,p>ry3 ,evolution ( ! ,art ( ,music1 ,*apt]s ,,vii & ,,ix 7,appleton74 ,ox=d ,hi/ory ( ,music1 ,volume ,,iv4 ,,footnotes3 #bb ,x w be not$ t !re are ?ree names = ?is "o type ( /ructure3 ,sonata-=m1 ,fir/-movem5t =m1 & ,develop$ t]n>y =m4 #bc ,no4 #a 9 ! edition by ,pet]s1 ,leipzig4 #bd ,see ,had['s ,sonata-,=m 7,novello7 ,*apt] ,,vii1 = a discussion ( ! v>i\s me?ods ( !me-developm5t4 ,,*apt] ,,ix4 ,,sonata-,,=m ,,ii4 ,i4 ,,haydn ,,& ,,! ,,sonata-,,=m4 ,! type ( musical /ructure :i* fir/ took on def9ite %ape 9 ! "w ( ,philip ,emanuel ,ba*1 ! type :i* may be def9$ z consi/+ ess5tially ( ! exposition1 developm5t1 & re/atem5t ( two contra/$ !mes1 & to :i* ! "n ( sonata-=m is giv51 0 n r$uc$ to p]fect cle>ness until ! "t ( ,haydn 7#agcb-ahji71 :o because ( 8 labors 9 ?is field is (t5 call$ ,! fa!r ( ! symphony4#be ,hav+ ! ine/imable advantage ( be+ conc]t-ma/]1 = a p]iod ( ?irty ye>s 7#agfa-agia71 to ! pr9cely h\se ( ! ,e/]hazys1 :]e he _h a small b good or*e/ra "u 8 direction1 & 0 expect$ con/antly to produce new pieces = x to play1 he 0 practically =c$ to write an a/oni%+ am\nt ( music1 9 all ( :i* ?is =m figur$ prom95tly4 ,h>dly "o ( 8 hundr$ & tw5ty-five symphonies1 & 8 sev5ty-sev5 /r+ qu>tets1 etc41 is )\t "o or m examples ( sonata-=m4 ,su* con/ant practice enabl$ him to c>ry x f> beyond ! r indet]m9ate /ate 9 :i* ,philip ,emanuel ,ba* left x1 & to cry/allize x z a /ructural type = all "t4 ,among ! mo/ important advances made by ,haydn ov] ! practice ( 8 pr$ecessor1 z we saw x illu/rat$ 9 ! la/ *apt]1 7 7#a7 ! great] importance & individuality giv5 to ! second !me#bf2 7#b7 ! aboli%m5t ( m]ely rhapsodical passages1 & ! sub/itution ( successions ( *ords m>k+ (f unmi/akably ! v>i\s sections ( ! movem5t2 7#c7 increas$ def9ition at ! end ( ! exposition section1 9 ! codetta1 :i*1 9 "s in/ances1 ev5 has a def9ite !me or !mes ( its own1 call$ conclusion-!mes2 7#d7 great] cle>ness 9 ! key-sy/em ( ! :ole movem5t1 accord+ to ! pr9ciple ( ,duality-,plurality-,unity already discuss$2 7#e7 increas$ importance & ext5t ( ! coda1 :i* sometimes gr[s to ! proportions ( a f\r? section to ! movem5t2 7#f7 use ( an introduction1 g5]ally 9 sl[ "t & ( a /ately "*1 prep>+ ! m9d = s]i\s att5tion4 ,x w be not$ t all ^! advances are 9 ! direction ( mak+ ! =m m def9ite1 cle>-cut1 & readily intelligible1 z x 0 mo/ important t x %\ld be made 9 its e>ly exi/5ce until x 0 p]fectly famili> to ! audi5ce4 ,increas$ v>iety came lat]1 9 ! "w ( ,moz>t & ,bee?ov51 & c\ld come only aft] ! typical /ructure 0 ?or\ghly und]/ood by ! public4 ,?us ,haydn's function 0 t ( a sy/ematiz]1 an e/abli%] ( sure f\ndations on :i* m elaborate & free sup]/ructures may lat] be built2 & = ?is "w 8 cle>1 simple1 well-discipl9$ m9d & 8 ?or\gh r ?an brilliant arti/ic te*nique admirably fitt$ him4 ,^! po9ts w be made cle> by an analysis ( an example ( sonata-=m1 tak5 f ! ,surprise ,symphony :i* he wrote = ,london audi5ces 9 #agia1 t[>d ! close ( 8 c>e]4 ,! g5]al /ructure1 z reg>ds bo? !mes & l>g] sections1 may be conv5i5tly %[n 9 tabul> =m1 ?us3-- ,,tabul> ,,view ,,( ,,/ructure ,,( ,,! ,,fir/ ,,movem5t ,,( ,,haydn',s ,,surprise ,,symphony4 ---------------------------------------- ------------------------------ ,ma9 ,divisions4 ,!mes4 ,measures4 ---------------------------------------- ------------------------------ ,sl[ ,introduction #a-ag ,exposition 7,a7 ,fir/ !me1 ,g-major #ah-bb ,passage "w #bb-ci ,fir/ !me1 repeat$ #dj-dd ,duality ( ,h>mony ,transition to key ( ,d-major 7,dom9ant7 #dd-fg ,second !me1 ,d-major #fg-hj ,?ird1 or ,conclusion !me1 ,d-major #ha-ic ,cad5ces1 emphasiz+ close 9 ?is key #ic-ajh ---------------------------------------- ------------------------------ ,developm5t 7,b7 ,plurality ( ,h>mony #aji-aef ---------------------------------------- ------------------------------ ,recapitulation 7,a7 ,fir/ !me1 ,g-major #aef-afj ,passage "w #afj-ahe ,second !me1 n[ 9 ,g-major #ahe-aif ,unity ( ,h>mony ,fur!r work+ ( ,fir/ !me #aif-bca ,conclusion !me1 n[ 9 ,g-major #bca-bdd ,cad5ces1 emphasiz+ ! home key ( ,g-major #bdd-bei ---------------------------------------- ------------------------------ ,,example ,,= ,,analysis1 ,no4 #ac4 ,haydn3#bg ,surprise ,symphony ! fir/ movem5t4 ,two-h& piano arrangem5t ( twelve ,symphonies ( ,haydn4 ,! fir/ ?+ t /rikes u ab\t ! g5]al "* ( ?is movem5t is its admirable cle>ness1 9 :i* x is repres5tative ( all ,haydn's "w4 ,9 spite ( its be+ s mu* l>g] & m complex ?an ! sonata ( ,philip ,emanuel ,ba*1 its /ructure is s obvi\s t a *ild c\ld h>dly g a/ray 9 foll[+ x4 ,?is is 9 l>ge measure due to ! pa9s ! compos] takes to emphasize ea* key & ea* *ange ( key by means ( scale-passages & *ords4 7,see1 = example1 measures #ei-fg1 emphasiz+ ! key ( ,d-major1 & ! entire conclusion-portions ( bo? ! exposition & ! recapitulation 7#fg-ajh7 & 7#ahe-bei71 "o insi/+ on ,d-major1 ! o!r on ,g-major47 ,su* passages z ^! h be5 mu* criticis$ = _! conv5tionality & lack ( melodic int]e/1 b :5 we realize h[ !y punctuate ! movem5t1 s to speak1 & :at a p]fect cle>ness !y give x1 we realize h[ important !y 7 to ! e>ly /age ( developm5t ( ! sonata-=m1 :5 its pr9ciples _h n become z univ]sally famili> z !y are n[4 ,!y are an imm5se advance ov] ! vague rhapsodiz+s ( ,philip ,emanuel ,ba* 9 p>allel places4 ,! key-relation%ips ( ! movem5t foll[ ! usual practice4 ,9 ! exposition we f9d duality ( key3 ,g-major & ,d-major4 ,9 ! developm5t !re is ample plurality4 ,9 ! recapitulation ! home key1 ,g-major1 dom9ates ?r\gh\t4 ,haydn's second !me1 ?\gh m def9ite ?an ,philip ,emanuel ,ba*'s1 is /ill some:at lack+ 9 individuality4 ,x is h>dly m ?an a /r+ ( *ords & scales hav+ m tonal int]e/ ?an melodic life4 ,x is c]ta9ly f> f be+ a lyrical melody /rik+ly contra/$ ) ! m en]getic fir/ !me4 ,! conclusion !me1 full ( ,haydni% amiability1 grace1 & good *e]1 is mu* m def9itely melodi\s4 ,ano!r symptom ( ! crudity insep>able f e>ly /ages ( arti/ic evolution is ! %ortness & r m$iocre int]e/ ( ! developm5t section4 ,! fir/ !me is briefly b monoton\sly treat$ 9 measures #aji-abf4 ,!n comes 7#abg-acb7 a little play+1 9 ! bass1 ) ! small figure :i* fir/ appe>$ 9 7#dd-de73 ,music3 score ,g]m 7measures #dd-de47 ,music3 score ,developm5t 7#abg seq47 ,,figure ,x,x,x,v,i,i,ia4 & lat] 7#acc-ace71 an inv]sion ( ?is3 ,music3 score ,inv]sion 7#acc seq47 ,music3 score ,lat] 7#acf seq47 ,,figure ,,xxxix4 ,! rhy?mic figure ?us e/abli%$ is made to d duty 9 ! ext5d$ modulation t imm$iately foll[s 7#acf-adc71 aft] :i* comes 7#add-aee7 a rem9isc5ce ( ! passage fir/ us$ j be=e ! second !me2 & ) ?is ,haydn returns to 8 fir/ !me & ent]s on ! recapitulation4 ,x is ?us almo/ z if1 aft] /at+ 8 !mes1 he 0 at a loss :at to d ) !m1 & aft] a brief dalliance1 f :i* little novelty results1 hurri$ on to ! re/atem5t1 mu* z an unimag9ative prea*] tries to make up by ! vehem5ce ) :i* he reass]ts 8 text = 8 failure to give x vivid illu/ration & sugge/ive elucidation4 ,9 ,bee?ov5's symphonies ! developm5t is usually ! po9t ( greate/ int]e/4 ,b x is ( c\rse n fair to expect ( a pione] ! la/ fruits ( culture4 ,haydn lays d[n 9 su* movem5ts z ! pres5t "o ! ess5tial pr9ciples ( =m 9 in/rum5tal music2 to h done t1 ) :atev] m9or %ortcom+s1 is a suffici5t claim ^u our admiration & gratitude4 ,! %ortcom+s ( ,haydn's "w are ^? natural to 8 circum/ances z a pione] & to c]ta9 emotional limitations ( 8 temp]am5t4 ,comp>$ ) ,bee?ov5 he is lack+ bo? 9 pr(undity ( feel+ & 9 v>iety ( /yle2 he is less brilliant & less poli%$ ?an ,moz>t4 ,b on ! o!r h&1 ,haydn has a homely simplicity1 a sort ( *ildlike *>m1 all 8 own2 he lives 9 a _w ( arti/ic tru? unta9t$ by sophi/ry1 uncomplicat$ by ov]subtlety2 he is always cle>1 s9c]e1 /raight=w>d1 & he (t5 rises to nobility & true dignity4 ,above all1 he has ! peculi> m]it ( hav+ tak5 up a sort ( music :i* 0 fragm5t>y & immature1 & ( hav+ elevat$ x into a new1 an ess5tially mod]n1 & an inf9itely promis+ type ( art4 ,su* a fundam5tal "w c nev] be discr$it$ by ! m brilliant exploits ( lat] work]s :o h ! indisp5sable advantage ( build+ ^u x4 ,,ii4 ,,moz>t ,,& ,,! ,,sonata-,,=m4 ,?\gh ,haydn 7#agcb-ahji7 0 n only by _m ye>s ! s5ior ( ,moz>t 7#agef-agia71 b also outliv$ him1 ! relations betwe5 ! two 7 mo/ cordial & close4 ,haydn _h done mu* ( 8 be/ "w be=e #aghh1 :5 ,moz>t wrote 8 ?ree greate/ symphonies1 & s may be said to h s]v$ z ,moz>t's model4 ,yet he 9 turn le>n$ mu* f 8 y\ng] b m brilliant fri5d1 & did n write 8 own greate/ symphonies 7! twelve s-call$ ,salomon symphonies1 :i* 7 writt5 = ,salomon1 a ,london or*e/ral conductor1 9 #agia & #agid1 & ( :i* ! ,surprise is "o7 until aft] ,moz>t's untimely dea?4 ,h[ ?or\ghly ea* man respect$ ! o!r1 we "k f _! own words4 ,moz>t 9 d$icat+ 8 six f9e/ /r+ qu>tets to ,haydn1 said3 ,x 0 due f me1 = x 0 f him t ,i le>n$ h[ qu>tets %\ld be writt54 ,z = ,haydn1 he once put an end to an argum5t on ! m]its & defects ( ,don ,giovanni by rem>k+3 ,i _c decide ! que/ions 9 dispute1 b ?is ,i "k1 t ,moz>t is ! greate/ compos] 9 ! _w4 ,moz>t n only _h ! great advantage ( build+ on ,haydn's secure f\ndations1 b he br\ght to ! task a g5ius mu* m supreme ?an 8 pr$ecessor's4 ,f 8 e>lie/ composition1 a m9uet writt5 :5 he 0 only five ye>s old1#bh to ! ?ree great symphonies 9 ,g-m9or1 ,e-flat major1 & ,c-major 7,jupit]7 produc$ at ! end ( 8 c>e]1 a movem5t f ! fir/ ( :i* we %all pres5tly /udy1 all 8 "w %[s a spontaneity ( inspiration1 a graci\sness ( melody1 a /\tness & symmetry ( musical con/ruction1 a f9i% ( /yle1 a dep? ( emotional expression1 & a classical lucidity & purity1 p]haps n to be f\nd all toge!r 9 ! "w ( any o!r musician4 ,especially does he excel ,haydn 9 pr(undity ( feel+1 v]satility ( res\rce1 & a c]ta9 ari/ocratic di/9ction4 ,all ^! qualities are %[n 9 8 great ,g-m9or ,symphony1 "o ( 8 supreme ma/]pieces4 ,,example ,,= ,,analysis1 ,no4 #ad4 ,moz>t3 ,symphony 9 ,g-m9or1 ! fir/ movem5t4#bi ,,tabul> ,,view ,,( ,,! ,,/ructure ,,( ,,! ,,fir/ ,,movem5t ,,( ,,moz>t',s ,g-,,m9or ,,symphony4 ---------------------------------------- ------------------------------- ,ma9 ,divisions4 ,!mes4 ,measures4 ---------------------------------------- ------------------------------- ,exposition 7,a7 #a-ajj compris+ ,fir/ !me #a-bg ,transition1 on a subsidi>y !me #bh-db ,second !me1 9 relative major key #dd-gb ,duality ( ,h>mony ,conclusion !me1 built on fir/ !me #gb-hh ,cad5ce =mulas emphasiz+ ! key ( ,b-flat #hh-ii ,modulation #ajj4 ---------------------------------------- ------------------------------- ,developm5t ,section1 or ,free ,fantasia 7,b7 #aja-afe ,modulation cont9u$ #aja-ajc ,fir/ !me 9 v>i\s keys #ajd-aae ,plurality ( ,h>mony,fir/ !me1 alt]nat+ betwe5 bass & treble1 ) contrapuntal treatm5t ( ! transition !me 9 dim9ution4 #aae-acd ,cad5ce 9 dom9ant ( orig9al key emphasiz$ #ace-ach ,rhy?m ( ,fir/ !me v>i\sly us$ #aci-afe ---------------------------------------- ------------------------------- ,recapitulation 7,a7 #afe-bic ,fir/ !me #afe-aia ,unity ( ,h>mony ,transition1 on subsidi>y !me #aia-bbe ,second !me1 9 ,g-m9or 7tonic7 #bbg-bfj ,conclusion !me1 ,fir/ !me #bfj-bge ,cad5ces-=mulas1 emphasiz+ ,g-m9or #bge-bhe ---------------------------------------- ------------------------------- ,coda ,on ,fir/ !me #bhf-bii ---------------------------------------- ------------------------------- ,!re is no sl[ introduction1 z 9 ,haydn's ,surprise ,symphony1 b !re is a %ort coda4 ,a little detail$ comp>ison ) ! ,haydn movem5t w prove int]e/+4 ,!re is none ( ! r mean+less passage "w :i* ,haydn uses 9 8 transition f ! fir/ to ! second !me2 in/ead !re is a subsidi>y !me 7measures #bh-db7 :i* 9 spite ( its second>y =mal importance is vigor\s1 /rongly *>act]iz$ music4 ,in/ead ( an entirely new !me = conclusion 7,haydn1 #ha-ic7 we f9d an adaptation ( ! *>act]i/ic rhy?m ( ! fir/ !me 7#gb-hh7 fulfill+ ! function ( conclusion !me--to emphasize ! close ( ! fir/ section ( ! movem5t--by h>p+ con/antly on ! tonic & dom9ant *ords4 ,?is adaptation ( famili> matt] to a new purpose is +5i\s4 ,! return to ! fir/ !me1 aft] ! developm5t section1 is beautifully manag$4 ,ov] a held ,d 9 ! bass1 beg9n+ at measure #afj1 ! upp] voices weave a gradually desc5d+ passage out ( ! motive ( ! fir/ !me 7?ree notes only74 ,!re is a slight ret>d+1 a s5se ( decreas+ mom5tum1 until1 ) ! unobtrusive entrance ( ! !me 9 measure #afe1 a new />t is tak51 & ! recapitulation goes m]rily onw>d4 ,! app>5tly unprem$itat$ nature ( ?is entrance 7?\gh ( c\rse x 0 c>efully plann$7 is *>m+4 ,9 ! recapitulation1 ! subsidi>y !me :i* fir/ appe>$ at #bh-db1 ent]s at #aia1 & is made ! subject ( a consid]able episode4 ,x appe>s 9 ! bass at #aih4 ,note ! sequ5ce at #bjb-bjc1 & #bjd-bje4 ,! second !me1 on its second appe>ance 7#bbg71 is n only put 9 ! tonic key ( ,g1 b is *ang$ f major to m9or4 ,?is gives rise to an int]e/+ *ange 9 its expression4 ,in/ead ( be+ m]ely t5d] & +5u\s1 z its fir/ & major =m 01 x takes on n[ a c]ta9 air ( my/]y & ( resignation or controll$ pa?os4 ,! conclusion !me 7#bfj7 is also n[ put into ! m9or mode4 ,! coda is %ort1 & conta9s fir/ a f9al sugge/ion ( ! ma9 subject ( ! movem5t1 & ! necess>y cad5ces = clos+ x firmly 9 ! home key4 ,,iii4 ,,moz>t',s ,,arti/ic ,,skill4 ,?is movem5t af=ds a rem>kable example ( ,moz>t's p[] to infuse endless v>iety into ! details ( 8 "w1 )\t ev] impair+ its coh]5ce & fundam5tal unity4 ,he %[s "h1 9 %ort1 t rem>kable fecundity ( imag9ation1 con/antly subord9at$ to ! dem&s ( cle>ness & musical logic1 :i* gives all 8 music a fasc9at+ v>iety t nev] deg5]ates into miscellane\sness4 ,= conv5i5ce 9 analysis1 we may briefly exam9e fir/ ! elem5ts ( v>iety & lat] ! und]ly+ unity 7?\gh x %\ld be rememb]$ ?r\gh\t t 9 ! "w itself ! two qualities are int]tw9$1 s to speak1 & affect u co-op]atively74 ,?us 9 ! capital matt] ( rhy?m1 = example1 ! real ma/] ( con/ruction always takes c>e to ma9ta9 ! unity ( ! fundam5tal met] ) :i* he />ts out1 & builds up a v>iety ( rhy?ms on ?is uni=m basis by mak+ diff]5t !mes gr\p ! elem5t>y beats 9 diff]5t ways3 z ,moz>t1 9 ?is movem5t1 keeps 8 measure ( f\r qu>t]-notes ?r\gh\t1 b makes ! rhy?m ( 8 fir/ !me out ( qu>t]s & eigh?s1 & t ( 8 second !me l>gely out ( dott$ halves & qu>t]s4 ,an actual *ange ( measure 9 a new !me1 su* z we f9d 9 _m mod]n compos]s1 is (t5 a sign ( defici5t m5tal conc5tration1 a k9d ( incoh]5ce 9 :i* v>iety is secur$ at ! exp5se ( unity4 ,! true ma/]s drive _! unity & _! v>iety1 s to speak1 abrea/4 ,note !n 9 ! fir/ place1 ! contra/s betwe5 ! ?ree *ief !mes ( ! movem5t1 viz43 ! fir/ !me1 ! subsidi>y !me t does duty 9 ! transition 7#bh-db71 & ! second !me4 ,_! rhy?mic div]sity may be not$ at a glance 9 ! foll[+ comp>ative table1 9 :i* ! rhy?m only ( f\r measures ( ea* !me is set d[n4 ,music3 score ,fir/4 ,music3 score ,subsidi>y4 ,music3 score ,second4 ,,figure ,,xl4 ,a ref]5ce back to ! fir/ movem5t ( ! ,haydn ,surprise ,symphony w %[ ,moz>t's advance 9 respect ( rhy?mical div]sity4 ,a p>allel advance 9 div]sity ( /yle is notewor?y4 ,haydn's movem5t is /eadily homophonic 9 /yle1 & gr[s some:at monoton\s = t reason4 ,moz>t sets (f aga9/ 8 homophonic exposition section a delightfully clean-cut & vigor\s polyphonic passage f\nd$ on ! fir/ !me 9 ! developm5t section ( ! movem5t 7#aae-acd71 & ano!r simil> passage 9 ! recapitulation 7! new treatm5t ( ! subsidi>y1 #aia-bag474 ,aga91 ,moz>t uses skillfully ! possibilities = v>iety op5$ up to ! compos] by modulation & sett+ (f aga9/ "o ano!r ( diff]5t keys4 ,a radical & fasc9at+ *ange ( color+ is also obta9$ by transpos+ ! second & conclusion !mes1 on _! f9al appe>ance 7#bbg & #bfj71 f major to m9or4 ,!y are ?us exhibit$1 z x 71 9 a new light1 :ile reta9+ _! ess5tial "* suffici5tly to be p]fectly recognizable4 ,und]nea? all ?is *>m+ play ( fancy1 ! fundam5tal plan ( ! movem5t is z cle> z ! outl9e ( a m\nta9 range "u all ! luxuriant foliage t clo!s its slopes4 ,?is cle>ness ( =m is due *iefly to two causes1 a f9e logic 9 ! use ( !mes1 & a c>eful adju/m5t ( keys4 ,! clos5ess ) :i* ,moz>t /icks to 8 !matic texts may 9 "s cases at fir/ sight escape u1 b :5 we come to realize x ?r\gh c>eful dissection1 we _c b be pr(\ndly impress$ by ! intellectual grasp x indicates4 ,?us1 ! passage at measures #ff-fg is n new1 b is made f t ( #dh-di inv]t$4 ,! conclusion !me 7#gb-hh7 is n made f new matt]1 z is usual ) ,haydn1 b is d]iv$ f ! little ?ree-note motive ( ! fir/ !me4 ,! entire developm5t is wr\ght out ( new manipulations ( ! same !me1 z is also ! coda4 ,! long transition 9 ! recapitulation 7#aia-bbe7 is made entirely f ! subsidi>y4 ,!re is "h1 9 a ^w1 none ( t clatt]+ ( ! di%es betwe5 ! c\rses4 ,! economy ( ! ma/] is ev]y:]e obs]vable2 irrelevancies are exclud$2 !re is no sup]fluity1 no surplusage1 no prolixity & word9ess4 ,e measure fulfils its purpose 9 ! simple/ & mo/ direct way1 & ju/ifies its pres5ce by its ref]5ce to ! ess5tial !matic ideas ( ! "w4 ,unity ( key is secur$ by a c>eful obs]vation ( ! ma9 traditions ( ! sonata-=m 9 ! matt] ( ! di/ribution ( tonalities4 ,! exposition %[s ! cu/om>y quality ( key1 tonic 7,g-m9or7 be+ contra/$ ) relative major 7,b-flat major74#cj ,! developm5t1 z we h already se51 exemplifies plurality ( key4 ,! recapitulation emphasizes ?r\gh\t ! home key ( ,g-m9or1 ?us end+ ! movem5t ) ! fitt+ impression ( tonal unity4 ,a glance at measures #ch-db1 #gb-ii1 #acd-ach1 #adf-afe1 #bba-bbe1 & #bfj-cjg w %[ h[ mu* pa9s ,moz>t has tak5 to emphasize 8 keys at all important po9ts 9 ! design4 ,! emphasis1 z 9 ! case ( ,haydn1 is sup]flu\s = mod]n e>s1 b 0 v necess>y = ! audi5ces address$ by ! e>ly advocates ( s complex a s*eme ( musical design4 ,altoge!r !n1 we see 9 su* a movem5t z ! pres5t1 ,moz>t tak+ ! sonata-=m a /ep 9 advance ( :]e ,haydn _h left x1 & :ile pres]v+ its ess5tial outl9e1 fill+ x ) ! weal? ( detail :i* 8 luxuriant fancy sugge/$4 ,lat] x w become cle> t he 0 ?us prep>+ x = ! /ill fur!r elaboration ( an ev5 great] ma/] ( con/ruction--,bee?ov54 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,d4 ,g4 ,mason3 ,bee?ov5 & ,8 ,=]unn]s1 ,*apt]s ,v & ,,vi4 ,c4 ,h4 ,h4 ,p>ry3 ,! ,evolution ( ! ,art ( ,music1 ,*apt] ,,xi4 ,e4 ,dick9son3 ,! ,/udy ( ! ,hi/ory ( ,music1 ,*apt]s ,,xxiv & ,,xxv4 ,w4 ,h4 ,had[3 ,sonata ,=m4 ,,footnotes3 #be ,a symphony1 z we h se51 is only a sonata1 on a l>ge scale1 = or*e/ra4 #bf ,ev5 9 ,haydn1 h[ev]1 ! second !mes rema9 g5]ally r rudim5t>y 7see ! analysis ( 8 ,surprise ,symphony1 lat] 9 ?is *apt]74 ,9 _m cases 8 second !me is h>dly m ?an a v>iant ( ! fir/2 z = example 9 ! two pian(orte sonatas 9 ,e-flat major4 ,9 ! fir/ movem5t ( 8 ,pauk5wirbel ,symphony1 h[ev]1 !re is a v di/9ct second !me1 & 9 _m o!r movem5ts ! /ud5t w note a m>k$ t5d5cy t[>d def9ition4 #bg ,publi%$ = piano1 two or f\r h&s1 by ,pet]s1 ,leipzig4 ,= conv5i5ce ( ref]5ce numb] all measures1 & p>ts ( measures1 consecutively4 ,! numb]s w run to #beh4 #bh ,see ,mason's ,bee?ov5 & ,8 ,=]unn]s1 page #bah4 #bi ,arrangem5t = piano1 two h&s1 9 ! ,pet]s edition4 ,numb] ! measures ?r\gh\t4 ,!re are ?ree hundr$ & sev54 ,! g5]al /ructure w be se5 at a glance 9 ! app5d$ tabul> view4 #cj ,?is is accord+ to cu/om 9 movem5ts writt5 9 m9or keys4 ,! second !me is 9 su* cases usually put 9 ! relative major in/ead ( 9 ! dom9ant4 7,see ! *apt] on ,folk-,song47 ,,*apt] ,x4 ,,! ,,sl[ ,,movem5t4 ,i4 ,,v>ieties ,,( ,,=m4 ,9 ! classical sonata ! usual arrangem5t ( movem5ts 0 z foll[s3 7#a7 ,allegro 79 ,sonata-=m73 7#b7 ,adagio or ,m9uet3 7#c7 ,f9ale 7usually a rondo74 ,occasionally--z 9 ,moz>t's ,piano ,sonata 9 ,a-major--! sl[ movem5t1 9 ! =m ( a !me & v>iations1 0 plac$ at ! beg9n+1 & 9 t case ! ord] w\ld be 7#a7 ,!me & ,v>iations1 7#b7 ,m9uet 7#c7 ,f9ale4 ,! symphony1 :i*1 x mu/ be rememb]$1 0 a sonata on a l>ge scale--always began ) a movem5t 9 sonata-=m1 & _h f\r movem5ts4 ,al?\gh ! sonata 0 subject to _m outside influ5ces--mo/ important ( :i* 7 polyphony & ! old ov]ture & o!r op]atic =ms--its two ma9 s\rces 7 dance tunes & folk-songs4 ,! evolution ( ! dance tune ?r\gh ,ba*'s polyphonic gavottes1 s>ab&es1 etc41 has already be5 trac$ 9 ,*apt]s ,,iv1 ,v1 & ,,vi1 & ! influ5ce ( ! dance on ! fir/ movem5t 9 ,*apt]s ,,viii & ,,ix4 ,! sl[ movem5t is ultimately d]iv$ f ! folk-song1 &1 :ile m subject to op]atic influ5ce ?an 7 ! o!r movem5ts1 x /ill reta9s some?+ ( t simple lyric quality t di/+ui%$ x 9 its primitive =m4 ,unlike ! o!r movem5ts ( ! sonata & symphony1 h[ev]1 ! sl[ movem5t has no settl$ =m3 i4 e41 :ile we speak ( fir/-movem5t1 or sonata-=m1 ( ! rondo =m1 & ( ! m9uet =m1 we d n speak ?us ( sl[ movem5t =m4 ,= 9 ! sl[ movem5t /yle r ?an =m is ( greate/ importance4 ,on acc\nt ( its sl[ tempo x is %ort] ?an ! fir/ movem5t1 & consequ5tly n s dep5d5t = intelligibility on =mal /ructure4 ,its !mes1 also1 are song-l 9 "*1 & song !mes1 be+ 9 !mselves complete1 d n l5d !mselves readily to developm5t--d n g5]ate new mat]ial--z has already be5 po9t$ out4 ,z a consequ5ce ! sl[ movem5t is usually writt5 9 :at we call a sectional =m3 i4 e41 a s]ies ( sections foll[+ "o ano!r accord+ to :atev] ord] or sy/em ! compos] may *oose4 ,! mo/ common use is1 h[ev]1 ! =m employ$ 9 ! m9uet4 ,b 9 sl[ movem5ts ! long song !mes1 some:at elegiac 9 /yle & full ( s5tim5t1 make ! mood ( ea* section ( supreme importance1 & ?r[ ! =mal elem5t into ! backgr\nd4 ,s t1 :ile ! sl[ movem5t usually falls "u "s "o ( ! common =ms already discuss$1 x (t5 modifies !m 9 "o way or ano!r4 ,!re are r>e in/ances ( develop$ t]n>y =m 9 ! sl[ movem5ts ( ,moz>t's pian(orte sonatas4 ,! ,&ante ( ! ,sonata 9 ,b-flat 7no4 #aj 9 ,s*irm]'s edition71 has a developm5t section4 ,x comprises only n9ete5 measures1 h[ev]1 & its effect z a section g]m9at+ f ! exposition is some:at less5$ by ! s*eme ( repeats1 :i* is z foll[s3 ,a 33 ,b4 ,a4 34 ,! use ( rondo =m 9 ! sl[ movem5t w be discuss$ 9 a lat] *apt]4 ,,ii4 ,,sl[ ,,movem5ts ,,( ,,pian(orte ,,sonatas4 ,ref]5ce has already be5 made 9 ,*apt]s ,,vi & ,,vii to ! lack ( su/a9+ p[] 9 ! tone ( ! pian(orte ( ,haydn & ,moz>t's day1 & ! consequ5t use ( ornam5t 9 _! pian(orte music4 ,9 ,figure ,,xli 7a7 is %[n ! beg9n+ ( ! &ante ( ,moz>t's sonata ref]r$ to above1 & at 7b7 w be f\nd ! correspond+ portion ( ! re/atem5t 9 ! same movem5t4 ,^! two quotations %\ld be comp>$ ) ! correspond+ portions ( ! two pieces t s]ve z examples = analysis ) ?is *apt]4 ,?is comp>ison w reveal h[ mu* m highly ornam5t$ 0 ! music writt5 = ! piano ?an t = in/rum5ts ) su/a9$ tone4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,xli4 ,x w be obs]v$ t ?is quotation f ,moz>t is 9 /rophic =m2 ea* phrase ( two measures con/itutes1 z x 71 a poetic l9e1 ! second ( :i* closes ) a half cad5ce1 & ! la/ ) a full cad5ce or p]iod4 ,9 ?is respect x foll[s ! old folk-song type1 &1 inde$1 t model s]ves = ! great majority ( lyric !mes 9 sonatas & symphonies4 ,b 9 its initial qualities ?is melody %[s a great advance ov] tunes l ,b>b>a ,ali5 & ,polly ,oliv]1 an advance due to ! flexibility to :i* bo? melody & h>mony _h atta9$ 9 ,moz>t's "t1 & to t fre$om ( te*nique provid$ by ! piano z comp>$ ) ! voice4 ,^! quotations f ,moz>t are f a sonata movem5t :i* is1 on ! :ole1 above ! =mal av]age ( ! pian(orte pieces ( t p]iod4 ,_m ( !m 7 excessively ornam5t$4 ,9 ,figure ,,xlii are %[n two quotations f a sonata ( ,haydn1 9 ! latt] ( :i* ! ornam5ts are pr(use4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,xlii4 ,9 spite ( ! some:at artificial atmosph]e t surr\nds mu* ( ! pian(orte music ( ?is p]iod !re is1 9 ! be/ specim5s ( x1 a *>m+ =mal beauty4 ,x is )9 its own sph]e g5u9e & true to life4 ,"o has to consid] ! k9d ( society t x repres5ts1 z well z ! /atus ( music 9 t society4 ,! art 0 n1 at t "t1 free en\gh1 nor practical en\gh1 to deal ) deep emotions2 p look$ on x z a ref9$ sort ( amusem5t4 ,n until ,bee?ov5 _h writt5 8 music did its possibilities z a vehicle = deep human feel+ & exp]i5ce become evid5t4 ,,iii4 ,,! ,,/r+ ,,qu>tet4 ,x 0 n until ! "t ( ,haydn t ! /r+ qu>tet#ca came into be+2 a fact = :i* we may easily acc\nt by exam9+ ! in/rum5tal p>ts ( or*e/ral compositions be=e ,haydn's "t4 ,we %all f9d ! 'cello1 = example1 play+ = ! mo/ "p m]ely ! bass notes t support ! sup]/ructure ( ! or*e/ra1 & consequ5tly entirely unaccu/om$ to individual p>ts ( any difficulty4 ,ano!r ob/acle 9 ! pa? ( ! /r+ qu>tet 0 ! sl[ developm5t ( ! viola1 :i* only gradually em]g$ f ! old] & m cumb]some types1 su* z ! viola d'am\r & viola da braccio4 ,haydn began by writ+ little qu>tets ( ! simple/ possible k9d--! fir/ movem5t ( ! fir/ qu>tet conta9s only tw5ty-f\r measures--b by con/ant practice ?r\gh\t 8 long life he atta9$ a complete ma/]y ( ! =m4 ,9 8 e>ly qu>tets he usually wrote five movem5ts1 two ( !m m9uets1 b he soon settl$ on ! regul> f\r movem5t =m :i* has rema9$ ev] s9ce z ! usually accept$ model4 ,,example ,,= ,,analysis1 ,no4 #ae4 ,haydn3 ,adagio 9 ,e-flat major f ! ,/r+ ,qu>tet#cb 9 ,g-major1 op4 #gg1 ,no4 #a4 ,?is ,adagio is ?or\ghly *>act]i/ic ( ,haydn's be/ /yle ( writ+4 ,x is )\t ! elaborate & some:at diffuse treatm5t we obs]v$ 9 ! trio ( 8 ,&ante ) ,v>iations 7,see ,*apt] ,,vii71 nor does x dep5d = its effect on ! mu* m arti/ic use ( ornam5t employ$ by ,moz>t 9 ! ,&ante quot$ 9 ,figure ,,xli4 ,almo/ ev]y?+ 9 ?is composition g]m9ates f ! two motives giv5 out 9 measures #a-b & #c-d1 & x %\ld be not$ t ea* ( ^! motives is suffici5tly pron\nc$ 9 "* to s]ve ! purposes ( g5]ation1 & t ! !me1 z a :ole1 is n by any means a p]fect lyric melody su* z w be f\nd 9 our second example = analysis4 ,music3 score ,,figure ,,xliii4 ,! fir/ ( ^! motives 7see ,figure ,,xliii1 measures #a-b7 is easily trac$ ?r\gh\t ! :ole composition1 s9ce ! *anges t are made 9 x are l>gely *anges 9 key1 b ! second motive 7measures #c-d7 almo/ imm$iately evolves into some?+ new4 ,?is may be obs]v$ 9 measure #aa1 :]e ! rhy?m ( ! passage at measure #c is *ang$1 ! melody be+ giv5 to ! left h&4 ,! second "p 7or /anza7 ( ! melody1 beg9n+ at measure #ac1 uses *iefly ! phrase f measure #b1 :i* w be f\nd aga9 9 ! dom9ant--to :i* key ?is section t5ds--at measures #ba-bb4 ,ev5 ! passage at #bc is an elaboration ( t at #aa1 & ?is same orig9al motive is l5g!n$ into a delightful bit ( by-play at measures #ce-cg4 ,! close 9 ,c-major at #db1 ) its acc5ts transf]r$ to ! f\r? beat ( ! measure1 %\ld be not$1 :ile ! sudd5 *ange ( key aft] ! pause 01 at t "t1 almo/ a revolution>y modulation1 & s\nds m l ,bee?ov5 ?an ,haydn 7see1 = example1 ! sudd5 & complete *ange ( key 9 ! coda ( ! fir/ movem5t ( ! ,eroica ,symphony74 ,! use ( ! motive f measure #b at #de-ed & ! gradual elim9ation ( its melodic quality until only its rhy?m rema9s 7#ec-ed7 is an int]e/+ example ( a famili> process 9 music 7see ,*apt] ,,viii74 ,?is gradual dy+ away & ceas+ ( motion is also a famili> process at ?is po9t 9 a movem5t1 provid+ z x does a s5se ( expectancy & prep>ation = ! re-entrance ( ! ma9 !me4 ,! re/atem5t beg9s at measure #ee & z is cu/om>y reta9s ! orig9al key in/ead ( modulat+ to ! dom9ant z did ! fir/ section4 ,! coda beg9s at #hb &1 accord+ to ,haydn's usual plan1 pres5ts a k9d ( rem9isc5ce ( ! ma9 subject1 z if 9 t5d] f>ewell4 ,,iv4 ,,g5]al ,,*>act]i/ics4 ,:ile ?is movem5t does n rea* ! heights ( lyric beauty atta9$ by ,moz>t 9 ! ,&ante :i* we %all analyze 9 a mom5t1 x is1 nev]!less1 a ?or\ghly int]e/+ & really beautiful piece ( music4 ,our att5tion is con/antly enli/$ by fre% glimpses ( ! !me1 or by new h>monies2 ! ornam5tation all gr[s naturally out ( ! /ructure & is n laid on = its own sake1 & ! melody itself is expressive & t5d]4 ,fur!rmore1 ! !mes & _! treatm5t are *>act]iz$ by a p]fect adaptability to ! /r+ qu>tet1 = ev5 9 ! pian(orte v]sion1 we c obs]ve h[ int]e/+ is ! "p giv5 to ea* in/rum5t4 ,"h1 j z 9 a p]fect /ory or a p]fect poem1 !re is no?+ r$undant1 no?+ t has n "s "p 9 ! ma9 purpose ( ! "w4 ,& ?is comb9ation ( placid beauty ) p]fection ( =m makes :at is call$ ! ,classic 9 music4 ,especially d we f9d "h an entire abs5ce ( ^? p]functory passages t occur 9 ! movem5t ( ! ,surprise ,symphony discuss$ 9 ! la/ *apt]4 ,tak5 z a :ole1 ?is piece is immeasurably f9] ?an any movem5t ( its k9d produc$ up to t "t1 save alone ^? ( ,moz>t2 & ! advance is n only 9 me?od b 9 ! ess5ce ( ! idea itself4 ,!re is a g5iality & w>m? ab\t ?is music t m>ks a new era4 ,ba* 0 m pr(\nd1 b m isolat$2 "h we h simple human s5tim5t & a k9d ( nave *>m t di/+ui%$ ,haydn's music f t ( all o!r compos]s4 ,v4 ,,=m ,,( ,,haydn',s ,,adagio4 ,?is ,adagio ( ,haydn is a good illu/ration ( :at we h call$ sectional =m4 ,x may be tabulat$ z foll[s3 ,,tabul> ,,view ,,( ,,sections ,,9 ,,haydn',s ,,adagio4 ---------------------------------------- ----------------------------------- #a #b #c #d ---------------------------------------- ----------------------------------- ,section 9 ,e-flat ,section 9 ! ,section ( free ,d\ble ,section measures #a-af dom9ant 7,b-flat7 modulation #cj-ed 9 ,e-flat #ee-hb #af-cj ,coda #hc-ia ,duality ,plurality ,unity ---------------------------------------- ------------------------------------ ,section f\r conta9s practically ! same mat]ial z ,sections #a & #b1 ) its la/ half 9 ! tonic in/ead ( ! dom9ant4 ,x w be obs]v$ t ! h>monic plan ( ! movem5t is t ( sonata-=m1 b t ! fir/ two sections 7:i* w\ld con/itute ! exposition7 are n repeat$1 z 0 ! inv>iable cu/om 9 ,haydn's fir/ movem5ts4 ,yet ! resemblance is q close1 = ! ?ird "p is l a developm5t section & ! f\r? l a re/atem5t4 ,/ill !re is n "h t decid$ diff]5ce betwe5 ! ?ree sections ( exposition1 developm5t1 & recapitulation t is ess5tial to sonata-=m4 ,,vi4 ,,moz>t ,,& ,,! ,,classic ,,/yle4 ,! sl[ movem5ts ( ! symphonies & /r+ qu>tets ( ,moz>t1 :o repres5ts ! culm9ation ( ! classic type 9 music1 are ?or\ghly *>act]i/ic ( ! ideals ( ! classical p]iod4 ,unlike ! ru/ic ,haydn1 ,moz>t 0 accu/om$ f 8 *ildhood to ! atmosph]e ( c\rts & liv$ 9 ! favor ( pr9ces4 ,8 music is nev] brusque1 nor does x h ! homely wit & s5tim5t ( ,haydn--x does n smack ( ! soil--b x possesses a c]ta9 ideal beauty & elegance1 a c]ta9 f9esse & f9ely po9t$ wit t 7 beyond ,haydn's p[]s4 ,yet ^! ideally beautiful compositions ( ,moz>t are absolutely spontane\s4 ,we are nev] admitt$ into 8 "w-%op2 we nev] trace a sign ( 8 labor2 8 music seems to h sprung full born f 8 bra94 ,he is ! type ( ! consummate arti/ :o deals ) ! language ( music z easily z an ord9>y mortal deals ) 8 native tongue4 ,he 0 n a philosoph] l ,ba*1 nor a great man l ,bee?ov54 ,we f9d no evid5ces ( 8 hav+ be51 outside 8 music1 p>ticul>ly di/+ui%$ f 8 fell[s1 = 8 improvid5ce & fondness = amusem5t are matt]s ( record4 ,:5 we ?9k ( ,bee?ov5's music we ?9k ( ,bee?ov52 ,moz>t & 8 art are di/9ct & sep>ate4#cc ,at ?is po9t ! "q naturally arises3 ,j :at d we mean by classic beauty8 ,9 a g5]al way a book1 a picture or a piece ( music becomes a classic :5 x is univ]sally accept$ z a model ( its k9d4 ,9 ?is s5se ,grey's ,elegy 9 a ,c\ntry ,*ur*y>d is a classic2 s are ,l9coln's ,gettysburg ,address1 ! ,si/9e ,madonna1 & ! ,apollo ,belv$]e4 ,! same t]m is appli$ to ,bee?ov5's ,fif? ,symphony1 & to ,s*umann's ,trum]ei4 ,^! works ( art repres5t _m v>ieties ( mood1 ( /yle1 & ( /ructure1 & ! application to !m all ( ! t]m classic is a v broad usage4 ,classic1 z oppos$ to ,romantic1 9 music1 means some?+ q diff]5t & mu* m def9ite4 ,x ref]s to purity ( outl9e & simplicity ( h>mony2 to pure beauty ( s\nd z oppos$ to luxuriance or ! poignancy produc$ by dissonances2 to cle> & transluc5t colors & def9ite l9es curv$ 9 beauty1 r ?an to picturesqu5ess4 ,classical music tells its /ory cle>ly & def9itely & does n dep5d on sugge/ion1 z does1 = example1 ! romantic music ( ,s*umann4 ,our illu/rations f ,haydn h reveal$ h[ ?is classic _s gradually approa*$ its culm9ation4 ,9 8 ,&ante ) ,v>iations !re is some?+ ( ! classic _s1 ?\gh ! occasional diffuse ornam5tation ( ! trio !me m>s ! purity ( ! composition4 ,9 ! movem5t f ! ,surprise ,symphony !re is too mu* t is ru/ic to admit ( its be+ consid]$ altoge!r classic4 ,b a f9e example ( ! classic type is af=d$ by ! fir/ movem5t ( ,moz>t's ,g-m9or ,symphony1 discuss$ 9 ,*apt] ,,ix4 ,! di/9ction may be made /ill m cle> by ref]5ce to ,figure ,,xliv1 conta9+ 7a7 ! op5+ phrases ( ! ,f9ale ( ,ts*aik[sky's ,pa?tique ,symphony1 & 7b7 a %ort quotation f ,s*umann's ,novelette1 op4 #ba1 ,no4 #a4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,xliv4 ,! poignancy ( ! passage f ,ts*aik[sky is rem>kable1 & ! op5+ *ord1 modulat+ at once to ano!r key ?an ! tonic1 produces a feel+ ( unre/ :i* is fur!r int5sifi$1 z ! piece proce$s1 by h>% dissonances4 ,! quotation f ,s*umann's ,novelette is notable = its brusqu5ess1 & = ! r\ghness ( its dissonances4 ,effects l ^! w\ld n h be5 tol]at$ 9 ,moz>t's "t1 & illu/rate ! t5d5cy ( music to become m p]sonal & to seek to express a wid] range ( human feel+4 ,a comp>ison ( ^! two quotations ) ! op5+ ( ! &ante by ,moz>t w reveal h[ f> ap>t are ! ideals ( classic & romantic music4 ,,example ,,= ,,analysis1 ,no4 #af4 ,moz>t3 ,&ante f ,/r+ ,qu>tet#cd 9 ,c-major1 d$icat$ to ,haydn4 ,9 ,*apt] ,,ix ref]5ce has be5 made to ! influ5ce ( ,haydn & ,moz>t on ea* o!r4 ,moz>t und\bt$ly pr(it$ by ,haydn's labors 9 ! qu>tet =m1 & ,haydn1 9 turn1 %[s 9 8 late/ qu>tets t he _h le>n$ some?+ f 8 y\ng] contempor>y4 ,ev] s9ce ?is =m came into be+ x has be5 a favorite "o ) compos]s1 = 9 x !y are able to express musical ideas 9 all _! purity & dive/$ ( extrane\s influ5ces4 ,= ?is reason ! qu>tet became ! m$ium = _! mo/ advanc$ ideas4 ,bo? ,moz>t & ,bee?ov5 wrote qu>tets t 7 f> 9 advance ( _! "t1 & t 7 subject$ to h>% criticism by _! contempor>ies4 ,! introduction to ! qu>tet f :i* ?is &ante is tak5 is a case 9 po9t4 ,! h>monies1 )9 ! space ( a few measures1 w&] f> f ! home key1 & commit :at 7 !n unp>donable s9s ( cacophony4 ,a brief quotation f ! beg9n+ ( ?is introduction is %[n 9 ,figure ,,xlv4 ,! h>% dissonances betwe5 ! ,a-flat 9 ! fir/ measure ( ! viola "p & ! succe$+ ,a-natural 9 ! fir/ viol9 "p %\ld be not$4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,xlv4 ,! vague h>monies ( ?is introduction s]ve z an admirable foil to ! bright op5+ ( ! fir/ movem5t4 ,! /hetic purpose !y s]ve is "o ( :i* ,bee?ov5 also made con/ant use :5 he desir$ to enhance ! *>m ( a passage by vivid contra/ ( color4 ,! op5+ !me ( ! movem5t 7%[n at 7b7 9 ,figure ,,xlv7 w be se5 to be =e%ad[$ 9 ! introduction 7,figure ,,xlv 7a72 viola "p1 measure #c1 fir/ viol9 "p1 measures #d-e74 ,f ! po9t ( view ( bo? h>mony & !matic developm5t ?is introduction is !re=e extremely mod]n4 ,music3 score ,,figure ,,xlvi4 ,( ?is &ante by ,moz>t we c say unres]v$ly t x is a p]fect specim5 ( pure classic beauty4 ,its transluc5t h>monies1 its exquisite curve ( melody1 its cle> outl9es1 all make x a model ( its k9d4 ,! *ief !me1 ext5d+ to measure #ab 7see ,figure ,,xlvi71 %\ld be comp>$ ) ^? ( ,h&el1 ,haydn & ,moz>t %[n 9 previ\s *apt]s4 ,?is comp>ison w reveal an important elem5t 9 ! pres5t !me1 namely1 ! elem5t ( organization4 ,9 our e>lie/ musical examples quot$ 9 ! fir/ two *apt]s !re 0 a conspicu\s lack ( v>iety4 ,?ree ,bl9d ,mice cont5t$ itself ) two motives1 :i* 7 repeat$ ov] & ov] aga94 ,b>b>a ,all5 0 made up ( "o rhy?mic figure1 con/antly reit]at$1 & ev5 9 ! !mes ( ,philip ,emanuel ,ba* & ,haydn !re 7 _m rhy?mic repetitions4 ,9 ! ,haydn qu>tet movem5t !re 7 b two motives1 & :ile !y 7 us$ ) ! greate/ skill1 ! !me itself 0 entirely con/ruct$ f !m4 ,9 ,moz>t's !me1 on ! contr>y1 !re is h>dly a s+le repetition ( rhy?m4 ,an exam9ation ( ! melody w reveal h[ great a v>iety is imp>t$ to x by ! _m diff]5t rhy?mic figures4 ,yet !re is no s5se ( vagu5ess ab\t x2 x holds toge!r firmly4 ,?is quality di/+ui%es all highly organiz$ melodies1 & is nev] f\nd 9 folk-music4 ,! same elem5t may be obs]v$ 9 a develop$ language 9 :i* words h come to be flexible 9 _! mean+1 & m or less complicat$ s5t5ces are possible4 ,9 ?is !me "o does n get ! s5se ( :at ! compos] is try+ to say until ! melody ends2 9 simple !mes1 made up by repeat+ ! same motive1 "o c =esee ! end long be=e x is rea*$4 ,!mes l ?is beautiful "o ( ,moz>t are possible only aft] art has become well develop$1 & aft] p 9 g5]al h become suffici5tly famili> ) ! phraseology ( music to be able to foll[ complicat$ musical s5t5ces4 ,a fur!r *>m is add$ to ?is movem5t by ! free & fl[+ c\nt]po9t ( ! sev]al p>ts4 ,?is is an ess5tial elem5t 9 ! /r+ qu>tet1 s9ce )\t x1 !re be+ little v>iety 9 ! tone ( ! f\r in/rum5ts1 monotony w\ld result4 ,,vii4 ,,=m ,,( ,,moz>t',s ,,&ante4 ,"h1 z 9 ! ,haydn sl[ movem5t1 we f9d ano!r example ( sectional =m4 ,x may be tabulat$ z foll[s3 ,,tabul> ,,view ,,( ,,sections ,,9 ,,moz>t',s ,,&ante4 ---------------------------------------- ---------------------------------- ,i4 ,,ii4 ---------------------------------------- --------------------------------- ,modulat+ f tonic to dom9ant ,modulat+ f dom9ant back to & conta9+ !me ,i1 episode !me tonic ) ! same succession ( 7#ac7 & !me ,,ii 7#bf71 #a-dd4 !mes4 ,coda 7#ajb71 #ed-aad4 ---------------------------------------- --------------------------------- ,! sub-divisions ( ! above %\ld be c>efully not$ 7z indicat$ by ! entrance ( ! diff]5t !mes74 ,^! sub-divisions break ! piece up into small] sections1 ea* di/9ct f ! o!rs4 ,a p>ticul>ly int]e/+ & beautiful effect is produc$ 9 ! coda 7measures #ajc-e7 by ! augm5tation ( ! phrase f measures #a-b1 :i* is reproduc$ 9 long] notes aga9/ a famili> c\nt]po9t4#ce ,,sugge/ions ,,= ,,collat]al ,,read+4 ,c4 ,h4 ,h4 ,p>ry3 ,! ,evolution ( ! ,art ( ,music1 ,*apt]s ,,xi & ,,xii4 ,w4 ,h4 ,had[3 ,sonata ,=m1 ,*apt] ,x4 ,d4 ,g4 ,mason3 ,bee?ov5 & ,8 ,=]unn]s1 ,*apt]s ,v & ,,vi4 ,,footnotes3 #ca ,! in/rum5ts employ$ 9 ! /r+ qu>tet are two viol9s 7fir/ & second7 viola1 & violoncello4 #cb ,publi%$ 9 m9iature score1 ,payne edition1 price #bj c5ts4 ,?is qu>tet also appe>s among ,haydn's works 9 ! =m ( a sonata = viol9 & piano4 #cc ,see ,mason's ,bee?ov5 & 8 ,=]unn]s1 pages #bcb-bdj4 #cd ,publi%$ 9 m9iature score1 ,payne edition1 price #bj c5ts4 #ce ,a ref]5ce to ! full score ( ?is movem5t w reveal c]ta9 cross+s ( ! l[] in/rum5ts ov] ! upp] by :i* int]e/+ effects ( tone color are produc$4 ,,*apt] ,,xi4 ,,bee?ov5--,i4 ,i4 ,,g5]al ,,"* ,,( ,,bee?ov5',s ,,"w4 ,! read] :o has att5tively foll[$ ! /ory ( ! long & gradual developm5t ( music f ! folk-song & peasant dance up to ! po9t we h n[ rea*$1 _c b h be5 impress$ by ! "* ( prep>ation = "s supreme a*ievem5t ( :i* ?is developm5t seems to p>take ?r\gh\t4 ,all ! labori\s /eps lead on t[>d a goal :i* ev5 9 ! spl5did "w ( ,haydn & ,moz>t is n q rea*$4 ,haydn cry/allizes ! =m & /yle ( in/rum5tal music2 ,moz>t adds 8 peculi> ari/ocratic grace ( mann] & classical beauty ( sub/ance1 yet ev5 9 8 "w !re rema9s a c]ta9 coldness & conv5tionality--! body ( ! art is p]fect1 b ! spiritual passion ( mod]n music z we "k x is /ill lack+4 ,ev5 dur+ ! life-times ( ^! great musicians1 h[ev]1 ! supreme g5ius :o 0 to br+ to its p]fect fl[]+ ! plant !y _h s c>efully t5d$ 0 prep>+ = 8 "w4 ,9 #agia1 :5 ,moz>t di$1 & :5 ,haydn made 8 fir/ j\rney to ,london to produce 8 ,salomon symphonies1 ,ludwig van ,bee?ov51 born 9 #aggj1 0 j ent]+ on 8 "y manhood4 ,9 ord] to und]/& ! "* & "w ( ,bee?ov51 x is necess>y con/antly to be> 9 m9d ! two-sid$ tru? t ! greate/ m5 are ^? :o comb9e ! utmo/ receptivity & tea*abl5ess ) a p]fect self-dep5d5ce & fe>less initiative4 ,bee?ov51 :o is equally rem>kable = bo?1 c\ld nev] h done :at he did _h he lack$ ei!r4 ,_h he be5 m]ely orig9al he c\ld n h securely f\nd$ himself on ! "w ( 8 pr$ecessors1 &1 !re=e1 w\ld probably n h surpass$ !m4 ,_h he be5 cont5t always to imitate1 _h he nev] v5tur$ beyond :at 0 sanction$ by tradition1 he w\ld nev] h inaugurat$ a new epo* 9 music4 ,x becomes1 !re=e1 a matt] ( great int]e/ to trace ^! oppos$ b complem5t>y traits ( docility & unconv5tionality1 fir/ 9 8 "*1 & secondly 9 8 music4 ,9 :at has be5 writt5 ( ,bee?ov51 8 ecc5tricities h be5 s dwelt ^u t 8 capacity = labori\s /udy has h>dly be5 appreciat$4 ,x is true t he 0 a re/ive pupil4 ,he 0 taught = a :ile by ,haydn1 b soon qu>rel$ ) him4 ,8 tea*] 9 c\nt]po9t1 ! le>n$ p$agogue ,albre*tsb]g]1 said ( him3 ,he w nev] d any?+ accord+ to rule2 he has le>nt no?+4 ,b ,bee?ov5 0 ess5tially self-taught2 & 9 8 ef=ts1 "u 8 own guidance1 to ma/] all ! te*nical difficulties ( 8 art1 he %[$ ! mo/ inexhau/ible pati5ce & subject$ himself to ! mo/ tireless labor4 ,nev] did ! v]ie/ dolt drudge m fai?fully at ! ,a1 ,b1 ,c ( 8 art ?an ! div9e ,bee?ov54 ,we h pro( ( ?is 9 8 sket*-books1 _m ( :i* h be5 edit$ & pr9t$ by ,nottebohm4 ,9 !m we see him jott+ d[n 8 ideas1 (t5 surpris+ly trite 9 ! fir/ in/ance1 & !n return+1 day aft] day1 to ! task ( develop+ !m into ! p]fect !mes ( 8 f9i%$ compositions4 ,no?+ c\ld be m salut>y to ^? :o fancy t musical creation is entirely a matt] ( inspiration ?an a p]usal ( ^! endless pages 9 :i* ,bee?ov5 sl[ly & pa9fully sep>ates ! pure metal f ! ore ( 8 ?\ght & ref9es x to complete purity4#cf ,bee?ov5's wond]ful c]ta9ty ( t\*1 economy ( mat]ial1 & logical coh]5ce ( ideas 7 d\btless atta9able only by ?is labori\s me?od ( work+4 ,he le>n$1 by c>eful imitation1 all t ! models left by 8 pr$ecessors c\ld tea* him be=e he v5tur$ to pu% beyond !m4 ,yet ev5 9 8 e>ly 'pr5tice "w1 l ! fir/ two symphonies & ! e>li] piano sonatas1 9 :i* ! influ5ce ( ,haydn & ,moz>t are con/antly evid5t1 !re is a vigor ( execution1 a rugg$ness ( /yle1 & a dep? ( feel+1 t are all 8 own4 ,9 o!r words1 8 /rong orig9ality 0 already color+ all t he did2 ev5 :5 he imitat$1 x 0 ) a subtle diff]5ce4 ,lat]1 z 8 p[]s develop$ & self-confid5ce grew1 he became m & m indiff]5t to tradition1 m & m s+ly b5t on foll[+ 8 own g5ius :]ev] x might lead him4 ,a /rong dramatic in/9ct began to possess him1 %[+ itself 9 a love = sudd5 *anges ( h>mony & rhy?m1 = unexpect$ transitions f l\d to s(t or f s(t to l\d1 & 9 o!r su* ecc5tricities4 ,8 rhy?ms became m /rik+1 8 melodies broad] & m v>i\s1 8 h>monies & modulations s d>+ & unprec$5t$ t ! cons]vatives ( ! day held up _! h&s 9 horror4 ,8 s5se ( musical /ructure1 ( t comb9+ ( !mes 9 long movem5ts :i* is ak9 to ! ar*itect's comb9ation ( pill>s1 ar*es1 w9d[s1 buttresses & colonnades 9 great build+s1 became s p[]ful & un]r+ t he creat$ works ( va/] proportions & m subtle symmetry ?an _h ev] be5 dream$ ( be=e--s great & complex t !y c\ld be foll[$ only by ! highly tra9$ e> & m9d4 ,su* 7 ! works ( 8 maturity4 ,lat] /ill1 z he became m & m ?r[n 9 ^u himself by pov]ty1 pride1 ! t]rible affliction ( deafness1 & ! failure ( 8 contempor>ies to und]/& him1 he came to live entirely 9 8 own ideal _w1 & 8 music became m & m m>k$ly individual1 & 9 "s cases almo/ p]v]sely s4 ,8 late/ works are n ?or\ghly und]/ood1 ev5 to-day1 except aft] ! mo/ pati5t1 exhau/ive /udy4 ,! cu/om>y division ( ,bee?ov5's arti/ic life into ?ree p]iods#cg is bas$ on ^! int]nal diff]5ces obs]vable 9 8 works4 ,^? ( ! fir/ p]iod1 ext5d+ to ab\t #ahjc1 ( :i* ! mo/ important are ! piano sonatas up to opus #ec1 ! fir/ ?ree piano conc]tos1 ! /r+ qu>tets1 opus #ah1 & ! fir/ & second symphonies1 %[ him "u ! influ5ce ( ,haydn & ,moz>t1 ?\gh already m poignant1 impassion$1 & =cible ?an 8 models4 ,9 ! second p]iod1 ! p]iod ( full & vigor\s maturity1 ext5d+ f #ahjc to #ahac1 he ?r[s (f all re/rict+ traditions1 & /&s =? a h]oic figure1 ! l ( :i* music _h nev] se51 & may nev] see aga94 ,! compositions ( ?is decade1 among :i* may be specially m5tion$ ! piano sonatas f ! ,wald/e9 to opus #ij1 ! f\r? & fif? piano conc]tos1 ! unique conc]to = viol91 ! /r+ qu>tets1 opus #ei & opus #gd1 ! ov]tures ,coriolanus & ,egmont1 ! op]a ,fidelio1 ! great ,mass 9 ,c1 & above all ! six magnific5t symphonies f ! ,eroica to ! eigh?1 are among ! supreme a*ievem5ts ( human art4 ,!y comb9e ! utmo/ v>iety ( =m & /yle ) a p]fect unity2 !y are models ( /ructure = all "t2 & z to expression1 "o kn[s n :at to m>vel at mo/1 _! rugg$ virility & int5sity ( passion1 _! deep pa?os & t5d] s5tim5t1 _! moods ( eff]vesc5t m]rim5t1 humor1 & :imsical p]v]sity1 or _! almo/ sup]human mom5ts ( my/ical elevation4 ,! ?ird p]iod1 ext5d+ f #ahac to ,bee?ov5's dea? 9 #ahbg1 is z we h said *>act]iz$ by an almo/ excessive individuality1 & is difficult to relate to ! normal progress ( musical art4 ,nev]!less x conta9s "s ( 8 greate/ works--notably ! ,n9? ,symphony1 ! ,mass 9 ,d1 & ! f9al sonatas & qu>tets4 ,! detail$ /udy ( x falls outside ! prov9ce ( ?is book4 ,) ?is brief & necess>ily cursory survey ( ,bee?ov5's a*ievem5t 9 its entirety1 we may pass on to ! exam9ation ( a s+le typical "w1 hop+ 9 ! c\rse ( x to make cle>] to ! /ud5t ! two ma9 facts ab\t ,bee?ov5 on :i* we h be5 try+ to insi/3 8 indebt$ness to 8 pr$ecessors 9 ! matt]s ( g5]al /ructure & /yle1 & ! indomitable orig9ality by virtue ( :i* all t he does is infus$ ) a novel beauty & an unp>allel$ pr(undity ( feel+4 ,we %all *oose = our fir/ example "o ( ! f9e/ compositions ( 8 fir/ p]iod--! ,pa?tique ,sonata1 = piano1 opus #ac1 tak+ up 9 lat] *apt]s "s typical examples ( 8 m advanc$ /yle4 ,,ii4 ,,analysis ,,( ,a ,,bee?ov5 ,,sonata4 ,,example ,,= ,,analysis1 ,no4 #ag4 ,bee?ov53 ,piano ,sonata1 ,opus #ac4 ,fir/ movem5t4 ,x w be not$ t ,bee?ov5 adds to ! ?ree traditional sections ( ! sonata-=m an introduction 9 sl[ tempo 7( :i* we saw an e>li] example 9 ,haydn's ,surprise ,symphony7 & a brief coda1 bas$ on ! ma9 mat]ial ( ! movem5t1 to r\nd out ! complete movem5t satisfactorily4 ,9 8 lat] "w bo? ( ^! additional sections came (t5 to figure v prom95tly1 ! increas$ developm5t he gave to !m be+ inde$ "o ( 8 mo/ important contributions to sonata-=m4 ,we %all see 9 8 ,fif? ,symphony a f9e example ( 8 treatm5t ( ! coda1 :i* raises x to a dignity equal to t ( ! o!r organic sections4 ,! introduction ( ! ,f\r? ,symphony ext5ds to ?irty-eight measures ( sl[ tempo1 t ( ! ,sev5? ,symphony to sixty-two measures1 ) great v>iety ( treatm5t4 ,! g5]al /ructure ( ?is movem5t1 :i* is 9 ext5d$ sonata-=m1 is %[n 9 ! foll[+ tabul> view3 ,,tabul> ,,view ,,( ,,/ructure ,,( ,,fir/ ,,movem5t ,,( ,,! ,,pa?,,tique ,,sonata4 ---------------------------------------- ---------------------------------- ,sections4 ,!mes4 ,measures4 ---------------------------------------- ---------------------------------- ,sl[ ,introduction #a-aj ---------------------------------------- ---------------------------------- ,exposition 7,a7 ,fir/ !me1 ,c m9or #aa-bg ,transition1 bas$ on fir/ !me #bg-ej ,duality ( ,second !me1 ,e-flat m9or #ea-hh ,h>mony ,codetta or ,conclusion section1 ,e-flat major #hi-acd ,consi/+ ( ,conclusion-!me ,i #hi-aab ,conclusion-!me ,,ii #aac-abj ,rem9isc5ce ( !me ,i #aba-acd ---------------------------------------- ---------------------------------- ,developm5t 7,b7 ,introduction-motive #ace-ach ,plurality ( ,!me ,i & ,introduction-motive treat$ #aci-aif ,h>mony ---------------------------------------- ---------------------------------- ,recapitulation 7,a7 ,fir/ !me1 ,c m9or #aig-bji ,new transition #bji-bbb ,unity ( ,second !me1 ,f m9or #bbc-bed ,h>mony ,codetta1 ,c m9or #bee-bif ---------------------------------------- ---------------------------------- ,coda #big-cab ,consi/+ ( ,introduction motive #big-cjj ,fir/ !me1 rem9isc5ce #cja-caa ---------------------------------------- ---------------------------------- ,! motive ( ! introduction1 %[n 9 ,figure ,,xlvii1 is a deeply expressive bit ( melody :i* at once e/abli%es ! mood to :i* ! sonata owes its "n ( ,pa!tic4 ,h[ incisive & seiz+ is ?is v fir/ measure6 ,:at a diff]5t _w x takes u into--a romantic _w ( p]sonal feel+--f ! classic realms ( ,haydn & ,moz>t6 ,! emotion ?us sugge/$ at ! outset becomes deep]1 too1 z we proce$1 fir/ ) ! high] utt]ance ( ! same motive 9 ! second measure1 & !n ) ! fragm5ts ( x 9 ! ?ird & f\r?1 urg+ u on to a climax on ! high ,a-flat4 ,f9ally1 9 ! fif? & succe$+ measures1 ! pulsat+ rhy?m ( ! accompanim5t adds a /ill great] agitation1 :ile ! melody climbs ev] high] & high] until x rea*es ! ,f ( measure #i1 aft] :i* x dies away 9 prep>ation = ! ma9 !me4 ,! int5sity ( ,bee?ov5's expression1 by :i* 8 claim to ! title ( romantic is mo/ surely indicat$1 c\ld h>dly be bett] %[n ?an by ?is brief introduction ( t5 measures4 ,music3 score 7a7 ,motive ( ! ,introduction1 ,pa?tique ,sonata4 ,music3 score 7b7 ,treatm5t ( ?is motive 9 ! ,developm5t4 ,,figure ,,xlvii4 ,! body ( ! movem5t beg9s en]getically1 yet sombrely1 ) ! fir/ !me1 9 m9or key & /rongly pron\nc$ rhy?m4 ,?is m]ges quickly 9 ! transition 7#bg-ej71 :i* is nei!r a bit ( empty passage-"w z (t5 ) ,haydn1 nor a new melody z ) ,moz>t1 b conta9s con/ant ref]5ces to ! ma9 !me 7#ce-cg1 #ci-da1 #dc-de74 ,! second !me is bo? m lyrical 9 "* & m ext5d$ ?an ! fir/4 ,x is n 9 ! traditional key ( ! relative major 7see ,*apt]s ,,ii & ,,iii71 b oscillates betwe5 ,e-flat m9or & ,d-flat1 com+ into ,e-flat major 7! relative ( ,c-m9or7 only z x closes & deb\*es into ! fir/ conclusion !me 7#hi-aab74 ,! clos+ section or codetta is1 h[ev]1 almo/ entirely 9 ,e-flat1 & is moreov] fairly long & important4 ,x consi/s ( two indep5d5t !mes & ( a rem9isc5ce ( ! fir/ !me at measures #aba-ace4 ,a f9e in/ance ( melodic g]m9ation is f\nd 9 ! fir/ conclusion !me1 :]e ! gradually ris+ melody twice builds itself up into a long phrase ( eight measures 7#ic-ajj1 & #aje-aab7 ) spl5didly su/a9$ effect4 ,! great v>iety ( rhy?m embodi$ 9 ! codetta %\ld be especially notic$4 ,! developm5t beg9s ) a re/atem5t ( ! poignant introduction-motive1 s manag$ t x leads into ! remote key ( ,e-m9or4 ,n[ beg9s1 ) ! resumption ( ! allegro tempo1 a r %ort b mo/ int]e/+ treatm5t ( ! fir/ !me1 cont9u$ ) an +5i\s v>iant ( ! introduction-motive 7measures #adb-adc1 #adh-adi3 see ,figure ,,xlvii 7b771 foll[$ by ! transf]5ce ( ! fragm5t ( ! fir/ !me to ! bass1 :]e x is ?rice repeat$1 amid con/ant modulation4 ,!n1 9 ! measure foll[+ #afi1 comes "o ( ^? inimitably hu%$1 my/]i\s passages s peculi> to ,bee?ov51 ?r\gh :i*1 l f\nta9s f a sombre pool1 rise fragm5ts ( ! fir/ !me4 ,!n1 ) a rapidly desc5d+ passage1 ! movem5t plunges into its recapitulation4 ,?is section ! read] w h no difficulty 9 analyz+ = himself1 n fail+ to note ! felicity ) :i* a new transition1 f fir/ to second !mes 7#bji-bbb71 is made to g]m9ate f ! la/ two measures ( ! ma9 !me4 ,! coda1 v brief1 conta9s no?+ b a f9al ann\ncem5t ( fragm5ts ( ! introduction-motive & a s+le s5t5ce ( ! fir/ !me4 ,,example ,,= ,,analysis1 ,no4 #ah4 ,bee?ov53 ,piano ,sonata1 opus #ac4 ,second movem5t4 ,?is sl[ movem5t1 a beautiful adagio cantabile 9 ,bee?ov5's tranquilly s]i\s mood1 takes on ! sectional =m ( ! rondo1 consi/+ ( a !me 7,a71 an episode 7,b71 recurr5ce ( ! !me 7,a71 a second episode 7,c71 second recurr5ce ( ! !me 7,a71 & brief codetta4 ,music3 score ,,figure ,,xlviii4 ,! !me itself1 fill+ only eight measures1 b repeat$ at a high] pit* 9 ! second eight measures1 is a f9e example ( ! v>iety 9 unity ( ,bee?ov5's melodies1 secur$ only aft] mu* labori\s sket*+4 ,x is %[n 9 ,figure ,,xlviii1 & %\ld be exam9$ c>efully4 ,almo/ e measure ( x pres5ts a new rhy?m1 s t !re is none ( ! monotony ( ^? !mes :i* endlessly repeat a s+le rhy?mic figure4 7,comp>e ! tunes ( primitive savages %[n 9 ,*apt] ,i47 ,yet ! :ole melody is s deftly compos$ t its f9al impression ( unity is p]fect4 ,! sequ5ce =m :i* ! h>monies ( ! la/ f\r measures take contributes 9 no small degree to ?is impression ( unity4 ,! !me be+ 9 ! key ( ,a-flat1 bo? episodes are plann$ to give v>iety ( key1 ! fir/ 7,b--measures #ag-bh7 be+ 9 ! relative m9or1 ,f-m9or1 & ! second 7,c--measures #cg-ej71 beg9n+ 9 ,a-flat m9or & modulat+1 ?r\gh ,e-major1 back to ! home-key4 ,) ! ?ird entrance ( ! ma9 !me1 ! accompanim5t takes ! m animat$ rhy?m ( triplets2 & ^! cont9ue ?r\gh ! brief b delightful codetta 7#ff-gc74 ,,example ,,= ,,analysis1 ,no4 #ai4 ,bee?ov53 ,piano ,sonata1 opus #ac4 ,?ird movem5t4#ch ,?is movem5t is an example ( rondo =m1 be+1 l ! ,moz>t rondo we h already /udi$1 bas$ on ! alt]nation ( a *ief !me1 ) sections conta9+ o!r mat]ial4 ,! tabul> view on ! next page exhibits ! complete /ructure4 ,! fir/ !me1 sprightly & en]getic1 & recall+ 9 its melodic curve ! second !me ( ! fir/ movem5t1 is 9 /rophic =m1 ) its la/ half repeat$1 & ! cad5ce ext5d$ = great] emphasis4 ,! sequ5ces 9 measures #f-g & #aj-aa %\ld be not$4 ,! transition also />ts (f ) a sequ5ce1 measures #bc-bf1 correspond+ to #ai-bb4 ,our old famili>1 ! device ( imitation1 also figures 9 measures #ch & #ci4 ,x is int]e/+ to see ,bee?ov5 us+ ^! tools ( ! polyphonic /yle 7see ,*apt]s ,i & ,,iii7 9 a "w s f> remov$ f x1 & ) su* +ratiat+ fre%ness4 ,,tabul> ,,view ,,( ,,! ,,/ructure ,,( ,,! ,,f9ale ,,( ,,! ,,pa?,,tique ,,sonata4 ---------------------------------------- ---------------------------- ,sections4 ,!mes4 ,measures4 ---------------------------------------- ---------------------------- ,a4 ,fir/ !me1 ,c-m9or #a-ah ,transition #ai-bf ---------------------------------------- ---------------------------- ,b4 ,second !me1 ,e-flat major #bf-dd ,clos+ !me 7,codetta7 #dd-eb ,transition 7on motive f close ( second !me7 #eb-fb ---------------------------------------- ---------------------------- ,a4 ,fir/ !me1 ,c-m9or #fb-gi ---------------------------------------- ---------------------------- ,c4 ,?ird !me1 ,a-flat #hj-ajh ,florid passage "w #ajh-aba ---------------------------------------- ---------------------------- ,a4 ,fir/ !me1 ,c-major #aba-ace ---------------------------------------- ---------------------------- ,b4 ,second !me1 ,c-m9or #ace-aed ,clos+ !me 7codetta7 #aee-aga ---------------------------------------- ---------------------------- ,a4 ,fir/ !me1 ,c-m9or #agb-ahc ,codetta1 ext5d$ #ahc-bjc ,f9al sugge/ions ( fir/ !me #bjc-baa ---------------------------------------- ---------------------------- ,! second !me ent]s = only eight measures1 aft] :i* ! gay little imitations are aga9 resort$ to1 & c>ry u to ! re-entrance ( ! ma9 !me4 ,! episode 7,c71 bas$ on a new !me 9 ! key ( ,a-flat major1 = ! sake ( ! h>monic v>iety s ess5tial to ! middle "p ( a movem5t1 is aga9 9 sequ5ce =m1 & 9 /rict polyphonic /yle1 fir/ ) two voices & lat] ) ?ree4 ,9 measures #ajj-ajc we h ! !me 9 ! "r h&1 & set aga9/ x 9 ! left a /accato c\nt]po9t 9 eigh?-notes2 9 ! next f\r measures ?is s*eme is j rev]s$4 ,a r florid passage1 :i* may be comp>$ to ! cad5za 9 ! rondo f ,moz>t analyz$ 9 ,*apt] ,,vi1 leads ov] to ! return ( ! fir/ !me4 ,music3 score ,,figure ,,xlix4 ,! appe>ance ( ! second !me1 on its return1 9 ! key ( ,c-major in/ead ( ,e-flat major1 imp>ts organic solidity to ! movem5t by its insi/5ce on ! tonic key1 z 9 simil> cases 9 ! sonata-=m 7comp>e aga9 ,*apt] ,,vi74 ,x is also ?is "t made to g]m9ate into eight additional measures 7see ,figure ,,xlix74 ,9 ! f9al section ,a 7#agb-;end7 ! little motive ( ! transitions does fur!r duty1 & a new figure is introduc$ 9 measure #aid4 ,aft] ! pause ( measures #bjb-bjc1 we h brief h9ts1 piano1 ( ! ma9 !me1 & !n ) "o ( ! sudd5 =tissimos ,bee?ov5 loves s well1 a precipit\s d[nw>d scale ends ! movem5t ) vigor4 ,,iii4 ,,summ>y4 ,! ,pa?tique ,sonata illu/rates mo/ vividly ! g5]al tru?s ab\t its compos]'s fir/ p]iod :i* we h tri$ to br+ out above4 ,! simil>ity to ! /yle ( ,haydn & ,moz>t is mo/ /rik+4 ,n only d we f9d ! g5]al types ( /ructure develop$ by !m appli$ ) great fidelity1 b !re are _m details ( /yle1 su* z ! accompanim5t figures & ! ornam5tation1 :i* recall !m4 ,yet ! /r+s1 s to speak1 are all tight5$1 !re is n a trace ( flabb9ess or diffus5ess1 ev]y?+ irrelevant is omitt$1 & ! /yle is at once m v>i$ & m unifi$ ?an !irs4 ,! vigor & individuality ( all ! !mes is consummate2 ! organic beauty ( su* !mes z t ( ! ,adagio is supreme4 ,! transitions are notable = _! p]t95cy & d]ivation f ! !matic mat]ials ( ! movem5t--!re are no empty scales & arpeggios4 ,! developm5ts give ! impression ( inevitability1 ( gr[+ f ! prim>y motives z naturally z plants gr[ f _! se$s4 ,contra/ 9 rhy?m1 9 melody1 9 h>mony1 & 9 /yle 7z exemplifi$ 9 ! use ( polyphonic /yle 9 ! f9ale7 ab\nds4 ,!re is nev] a dull mom5t1 yet int]e/ is nev] secur$ at ! exp5se ( unity4 ,above all1 ! virility1 pr(undity1 & e>ne/ness ( ! expression1 surprise u2 !re is "h none ( ! deta*m5t1 ! cool remot5ess1 ( classic art2 e note ?robs ) p]sonal feel+--music has left ! innoc5ce & transp>5t gaiety ( *ildhood beh9d x1 & begun to speak ) ! deep] & m mov+1 if less s]5e1 acc5ts ( maturity4 ,9 ! next *apt]s we %all trace ?is progress fur!r4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,e4 ,dick9son3 ,! ,/udy ( ! ,hi/ory ( ,music1 ,*apt] ,,xxvi4 ,c4 ,h4 ,h4 ,p>ry3 ,! ,evolution ( ! ,art ( ,music1 ,*apt] ,,xii4 ,d4 ,g4 ,mason3 ,bee?ov5 & ,8 ,=]unn]s1 ,*apt]s ,,vii1 ,,viii1 & ,,ix4 ,,footnotes3 #cf ,see = quotations f ! sket*-books1 ,mason's ,bee?ov5 & ,8 ,=]unn]s1 pp4 #cjd-cad4 ,sev]al ( ! complete sket*-books1 edit$ by ,nottebohm1 are publi%$ by ,breitkopf & ,hrtel4 #cg ,see ,von ,l5z's ,bee?ov5 et ses trois /yles4 #ch ,9 numb]+ ! measures1 beg9 ) ! fir/ 7p>tial7 measure1 ev5 ?\gh x is incomplete4 ,,*apt] ,,xii4 ,,bee?ov5--,,ii4 ,i4 ,,=m ,,& ,,cont5t4 ,our /udy ( ! ,pa?tique ,sonata has %[n h[ closely ,bee?ov5 foll[$ ! models ( ,haydn & ,moz>t1 at ! same "t infus+ into !m a new _s4 ,! fir/ movem5t ( t sonata does n diff] mat]ially 9 =m f ! fir/ movem5t ( ,moz>t's ,g-m9or ,symphony1 discuss$ 9 ,*apt] ,,ix1 yet ,bee?ov5 takes u into a new _w1 f> remov$ f t _w ( pure imp]sonal beauty 9 :i* ,moz>t dwelt4 ,bee?ov5 is ! man /ruggl+1 fight+1 work+ out 8 own individuality1 le>n+ ?r\gh bitt] exp]i5ce2 ,moz>t is ! arti/ n s mu* turn+ 8 own exp]i5ce into music1 z creat+ outside himself imp]i%able works ( an almo/ sup]human beauty4 ,9 _m ( ,bee?ov5's works !re is ?is same regul>ity ( =m c\pl$ ) fre$om ( expression4 ,! brusqu5ess ( 8 /yle l$ 8 contempor>ies to ?9k him an iconocla/2 & x 0 n till _m ye>s aft] works l ! ,fif? ,symphony 7 produc$ t ! public began to und]/& h[ or?odox !y are4 ,?is free individual expression1 n[ a *>act]i/ic ( art g5]ally & evid5t en\gh 9 all phases ( human life--?is ass]tion ( ! p]sonal po9t ( view--began ) ,bee?ov5 & has be5 increas+ ev] s9ce 8 day1 until we n[ h music 9 :i* c]ta9 phrases or !mes no long] please u z beautiful s\nds1 b exi/ = "s ult]ior & individual purpose4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,l4 ,?is *ange 0 p]haps only a "p ( t m g5]al trans=mation ( society by :i* ! compos]1 :o _h previ\sly be5 subject to ! favor ( pr9cely patrons1 became an indep5d5t individual1 liv+ 9 direct contact ) ! public at l>ge4 ,music1 ?us fre$ & giv5 an indep5d5t exi/5ce1 became an expressive art & took deep] root 9 human exp]i5ce4 ,x lo/1 9 ?is process1 some?+ ( t calm1 e!real beauty x _h possess$1 b x ga9$ greatly 9 expressiv5ess4 ,9 ,bee?ov5's h&s x became pla/ic2 he enl>g$ ! range ( h>monic comb9ations f> beyond t ( ,moz>t1 & creat$ !mes t 7 ( wid] application to human feel+4 ,9 illu/ration ( ?is !re w be f\nd 9 ,figure ,l1 7a7 a quotation f ! sl[ movem5t ( ,bee?ov5's piano sonata1 op4 #b1 no4 #b1 & 9 7b7 a quotation f ! sl[ movem5t ( 8 sonata1 op4 #aj1 no4 #c4 ,^! %\ld be comp>$ ) ! !me f ,moz>t's piano sonata 9 ,figure ,,xli4 ,! diff]5ce betwe5 ! !mes ( ,bee?ov5 & t ( ,moz>t is 9 _! cont5t r ?an 9 _! =m4 ,! purpose ( ,moz>t's !me is beauty2 ! purpose ( ,bee?ov5's !mes is expressiv5ess1 ! conveyance ( deep emotion4 ,!y are lack+ 9 "o ess5tial quality ( melodic beauty1 namely1 outl9e1 or curve4#ci ,^! two quotations are n repres5tative ( ,bee?ov5's lyric g5ius1 = he has left u _m f9e melodies1 b !y reveal a g5]al t5d5cy ( 8 to seek 9 music an outlet = 8 deepe/ ?\ghts & feel+s1 & to sacrifice1 if necess>y1 t beauty ( outl9e t *>act]izes ,moz>t's f9e/ tunes4 ,,ii4 ,,bee?ov5',s ,,/yle4 ,"o peculi>ity ( ,bee?ov5's music1 due to 8 con/ant se>* aft] expressiv5ess r ?an m]e =mal symmetry1 is a unity & concis5ess ( /yle notably sup]ior to t ( ,moz>t4 ,_m ( 8 !mes lack ! p]fect balance ( phrases1 9 exact !sis & anti!sis1 f\nd 9 ,moz>t's1 _! /ructure result+ r f a logical developm5t ( ! lead+ motive1 :i*1 by a favorite device ( 81 presses on1 9 con/ant repetition & ) increas+ vigor1 to an emotional climax4 ,! contra/ betwe5 ?is me?od ( treat+ a !me & ! me?od ( ,moz>t may be se5 9 ,figure ,,li4 ,music3 score 7a7 ,f ,moz>t's ,g-m9or ,symphony4 ,music3 score 7b7 ,f ,bee?ov5's fir/ piano ,sonata4 ,music3 score 7c7 ,f ,bee?ov5's ,/r+ ,qu>tet1 op4 #ei1 ,no4 #a4 ,,figure ,,li4 ,9 ! quotation f ,moz>t's symphony x w be obs]v$ t ! two-measure phrases exactly balance ea* o!r1 b t ! second phrase is melodically unrelat$ to ! fir/1 & is1 fur!rmore1 a some:at trivial figure4 ,"o feels 9 li/5+ to ! :ole !me t ! real significance ( x lies 9 ! op5+ phrase1 & ?is conclusion is ju/ifi$ by ref]5ce to ! developm5t section ( ! movem5t1 :]e ! compos] altoge!r disc>ds ! second phrase4 ,! /yle ( ?is !me is1 !re=e1 l>gely dictat$ by ! conv5tion ( p]fect phrase balance4 ,! /yle ( ! two ,bee?ov5 !mes1 on ! contr>y1 is vigor\s & t]se4 ,! outw>d symmetry is dictat$ by ! inn] s5se4 ,9 ! sonata !me ,bee?ov5 presses home 8 idea ) great] & great] int5sity until ! climax is rea*$1 aft] :i* ! t5sion is gradually abat$2 9 ! !me f ! /r+ qu>tet an almo/ id5tical me?od is pursu$4 ,= a fur!r illu/ration ( ! t]s5ess ( ,bee?ov5's /yle ref]5ce may be made to ! developm5t sections ( ?is sonata & /r+ qu>tet1 :]e mo/ int]e/+ use is made ( ! %ort motives f :i* ^! !mes are d]iv$4 ,^! me?ods ( writ+ give evid5ce ( ! f9e economy ,bee?ov5 cont9ually displays4 ,!re is1 9 8 music1 no?+ r$undant--no unnecess>y ^w--& x is ?is quality ( /yle t produces su* an effect ( life & vigor4 ,bee?ov5 c>ries out ^! me?ods 9 :ole movem5ts1 & ev5 9 complete symphonies4 ,we h already se5 h[1 9 ! ,pa?tique ,sonata1 a !me 9 ! f9ale is d]iv$ f "o 9 ! fir/ movem5t1 b a mu* m int]e/+ example ( ! process#dj may be f\nd 9 ! ,fif? ,symphony4 ,,example ,,= ,,analysis1 ,no4 #bj4 ,bee?ov53 ,! ,fif? ,symphony4#da ,fir/ movem5t4 ,music3 score 7a7 ,music3 score 7b7 ,music3 score 7c7 ,music3 score 7d7 ,f ! ,s*]zo4 ,,figure ,,lii4 ,9 ,figure ,,lii w be f\nd quotations f ! ?ree !mes ( ! fir/ movem5t ( ! ,fif? ,symphony1 & f ! second>y !me ( ! s*]zo4 ,x w be obs]v$ t ! fir/ motive 9 !me ,i--consi/+ ( ?ree %ort notes foll[$ by a long "o--is ! g]m f :i* bo? ! conclusion !me & s*]zo !me spr+1 & t ! same motive s]ves z ! bass to ! second !me4 ,?is motive1 9 fact1 dom9ates ! entire fir/ movem5t1 ! extraord9>y vitality ( :i* is l>gely due to ! incisive quality ( ! motive itself & to ! occasional ?und]\s proclamations ( x by ! entire or*e/ra4 ,"h we h ! virility ( ,bee?ov5's /yle admirably illu/rat$2 no "t is giv5 to platitudes1 no s+le measure w&]s away f ! *ief issues4 ,at times ?is fir/ motive is ext5d$ into a succession ( l\d *ords f ! full or*e/ra2 aga9 ! prevail+ two-measure rhy?m is int]rupt$ by a measure ( sil5ce t %ifts ! acc5ts dramatically f "o place to ano!r1 dislocat+ ! :ole passage4#db ,?is int5sity ( utt]ance--ea* phrase hamm]$ home--gives to ! :ole "w a q unique place among symphonies4 ,! complete movem5t may be tabulat$ z foll[s3 ,,tabul> ,,view ,,( ,,/ructure ,,( ,,fir/ ,,movem5t ,,( ,,bee?ov5',s ,,fif? ,,symphony4 ---------------------------------------- ------------------------------------ ,sections4 ,!mes4 ,measures4 ---------------------------------------- ------------------------------------ ,introduction4 ,on motive f !me ,i #a-e ---------------------------------------- ------------------------------------ ,exposition 7,a7 ,fir/ !me1 ,c-m9or #f-ef ,transition consi/+ ( a *ord ( modulation #eh ,duality ( ,introduction to !me ,,ii bas$ on orig9al motive #ei-fb ,h>mony ,second !me 9 ,e-flat major #fc-ie ,codetta or ,conclusion-section consi/+ ( ,conclusion-!me #ie-aai ,rem9isc5ce ( !me ,i #aaj-abd ---------------------------------------- ------------------------------------ ,developm5t 7,b7 ,motive f !me ,i treat$ #abe-agi ,introduction to !me ,,ii l5g!n$ & treat$ 9 sequ5ce 7,g-m9or & ,c-m9or7 #agi-aie ,plurality ( ,half note phrase pass ! same ext5d$ into ,h>mony long passage f9ally los+ its cont\r & reta9+ only its rhy?m #aie-bdj ---------------------------------------- ------------------------------------ ,recapitulation ,fur!r treatm5t ( !me ,i #bdj-beb 7,a7 ,fir/ !me1 ,c-m9or #bec-cjj ,transition lead+ to ,c-major #cjb ,unity ( ,introduction to !me ,,ii #cjc-cjf ,h>mony ,second !me 9 ,c-major #cjg-cdf ,conclusion-!me ,c-major #cdf-cgd ---------------------------------------- ------------------------------------ ,coda ,!me ,i treat$ #cgd-cig ,introduction to !me ,,ii ) new c\nt]po9t #cih-djf ,motive f ! same 9 dim9ution 7basses7 #djf-dae ,motive f !me ,,ii treat$ #daf-dfi ,motive f !me ,i treat$ #dfi-ejb ---------------------------------------- ------------------------------------ ,! =ego+ table %\ld be comp>$ ) ^? 9 ,*apt]s ,,viii & ,,ix 9 ord] to get a compreh5sive view ( ! gradual developm5t ( sonata-=m4 ,x w be se5 t ,bee?ov5 de/roys no?+1 b t ! *anges he makes 9 ! old] models are *anges su* z ! nature ( 8 !mes & ! l5g? ( ! movem5t dem&4 ,! *ief diff]5ce 9 !mes is t ! fir/ !me is less lyric ?an ^? ( ,moz>t1 & m suit$ to developm5t2 a bett] contra/ betwe5 !mes ,i & ,,ii is !reby provid$4 ,! coda is ext5d$ f> beyond t ( ! old model1 & becomes an important "p ( ! /ructure--important1 because at ?is /age ( ! developm5t ( sonata =m 7audi5ces hav+ become accu/om$ to li/5+ to long pieces ( pure music7 ! repetition ( ! :ole fir/ section 7,a7 is a little too obvi\s1 & ! introduction ( a dramatic coda aft] ! recapitulation section provides fre% int]e/ at ! po9t :]e x is mo/ ne$$4 ,sir ,hub]t ,p>ry#dc writes ( ,bee?ov5's innovations 9 ?is phase ( musical developm5t z foll[s3 ,x 0 8 good =tune t ! sonata-=m _h be5 s p]fectly organiz$ & t ! musical public _h be5 made s p]fectly famili> ) x1 t !y 7 ready to foll[ e sugge/ion & indication ( ! pr9ciple ( =m2 & ev5 to grasp :at he aim$ at :5 he purposely presum$ on _! famili>ity ) x to build fre% subtleties & new devices ^u ! well kn[n l9es2 & ev5 to emphasize ! po9ts by mak+ progressions 9 directions :i* seem$ to ignore !m4 ,b mo/ important ( all is ! close reason+ 7if we may use ! t]m7 display$ ?r\gh\t ?is movem5t4 ,!re is h>dly a s+le note 9 x t has n "s direct be>+ on ! subject matt]1 ! two *ords 9 ! transitions be+ ! only portions n d]iv$ f ! !mes prop]4 ,) all ^! elem5ts ( /r5g?1 & ! add$ cohesion result+ f ! simil>ity ( !mes1 ?is movem5t /&s z a model ( :at a symphonic fir/ movem5t %\ld be4 ,,iii4 ,,! ,,dramatic ,,elem5t ,,9 ,,bee?ov5',s ,,music4 ,music3 score 7a7 ,music3 score 7b7 ,music3 score 7c7 ,,figure ,,liii4 ,we h ref]r$ 9 ,*apt] ,,viii to t process ( developm5t :]eby a !me becomes gradually *ang$1 los+ its physiognomy little by little until x is only a %ad[ ( its =m] self4 ,9 ! quotation 9 ,figure ,,liii ?is process might almo/ be said to be ! opposite ( developm5t1 s9ce ! !me is gradually d5ud$ ( its melodic curve1 until no?+ b its rhy?m rema9s2 b ! effect1 at lea/1 is to produce some?+ q new out ( a g]m9al motive1 & to relieve1 = a mom5t1 t insi/5ce on melody t *>act]izes ! fir/ section4 ,! device is a favorite "o ) ,bee?ov51 & 9 ?is movem5t he makes int]e/+ use ( x4 ,! passage beg9s at measure #aie 77a7 9 ! figure7 ) ! phrase us$ to introduce ! second !me1 z if x int5d$ go+ on ) ! !me z be=e1 b in/ead !re ent]s a long passage ( half-notes1 7b71 9 :i* ! outl9e ( ! half-note phrase is pres]v$ = a :ile1 aft] :i* ! rhy?m only is reta9$1 & ! passage becomes a s]ies ( *ords float+ my/]i\sly1 & dimly outl9$ z 9 a cl\d 77c7 9 ! figure74 ,! orig9al motive cra%es ?r\gh 7measure #bbh7 = a mom5t1 ! s(t *ords s\nd aga91 & !n ! :ole or*e/ra ru%es rapidly to ! end ( ! section4 ,! effect ( ?is cessation ( ! rapid movem5t t has ?us f> animat$ ! music is v dramatic1 & ! />tl+ int]ruption ( its peaceful fl[ by ! l\d *ords at measures #bbh-bca--;z if !y 7 impati5t to beg9 ! turmoil aga9--gives ! :ole passage a peculi>ly vivid effect4 ,?is device is analog\s to t employ$ 9 ! novel :5 ! au?or prep>es 8 read]s1 by a page or two ( peaceful n>rative1 = 8 mo/ dramatic episode4 ,! significance ( ?is passage is1 ( c\rse1 due to its connection ) ! introductory phrase f :i* x sprang1 b x %\ld be not$ t ! :ole passage is a re-creation f ! orig9al motive & n a re/atem5t ( x 9 ano!r key4 ,& its position 9 ! movem5t is exactly at ! po9t :]e "s relief is ne$$ f :at might o!rwise be a too great insi/5ce on ! fir/ !me1 & j be=e ! beg9n+ ( ! recapitulation1 :]e ! fir/ !me is to appe> 9 its orig9al =m4 ,x w be f\nd t su* passages are usually plac$ 9 ?is position4 ,! !mes 9 ,bee?ov5's f9e/ works are n only hamm]$ out1 z x 71 f ! r\gh metal1 b we may say ( !m--z we _c say ( ^? ( ,haydn's & ,moz>t's--t !y are pregnant ) possibilities :i* are n fully realiz$ until ! composition is f9i%$4 ,) ,haydn & ,moz>t ! developm5t section is usually a /r+ ( diff]5t v]sions ( ! orig9al !me--z is ! latt]'s ,g-m9or symphony1 fir/ & la/ movem5ts4 ,) ,bee?ov5 ! developm5t section reveals :at 0 lat5t 9 ! orig9al !me1 b :at _h n be5 be=e realiz$4 ,9 ! developm5t section ( ! ,fif? ,symphony he n only conv9ces u by 8 logic1 b ov]p[]s u by ! sweep ( 8 eloqu5ce4 ,,iv4 ,,! ,,significance ,,( ,,! ,,fir/ ,,movem5t ,,( ,,! ,,fif? ,,symphony4 ,x is impossible to express 9 words ! significance ( ?is music1 b x runs almo/ ! complete gamut ( human feel+4 ,! op5+ !me is s incisive & has su* a trem5d\s en]gy t x takes u into a new _w4 ,if we comp>e x ) ,moz>t's fir/ movem5t !mes we realize at once t x deals ) ?+s t music _h nev] attempt$ to express be=e4 ,! second !me is n by any means a f9e melody1 be+ made up ( a con/antly reit]at$ phrase1 b x has an appeal+ beauty ( its own t we w\ld n ex*ange = p]fection4 ,occasionally ! t]rible ass]ts itself1 z 9 ^? om9\s *ords ) empty fif?s 9 ! coda 7measures #dha-dhb71 :ile ! :ole movem5t seems to h be5 /ruck (f at :ite heat4 ,t ?is 0 n ! case1 h[ev]1 b t on ! contr>y ev5 ! fir/ !me itself took its pres5t %ape only aft] a labori\s ef=t ( ! compos]'s m9d1 we "k f ! evid5ce ( 8 sket*-book4 ,! !me fir/ appe>s !re 9 ! foll[+ =m4 ,music3 score ,,figure ,,liv4 ,?is commonplace !me evid5tly lay g5]at+ 9 ,bee?ov5's m9d = a long p]iod4 ,v>i\s sket*es on x appe> f "t to "t1 & x 0 only aft] mu* ?\ght t x f9ally em]g$ 9 its p]man5t =m4 ,?is 0 always 8 me?od ( composition4 ,unlike ,moz>t1 :o wrote music ) ! utmo/ flu5cy & rapidity1 ,bee?ov5 rewrote 8 !mes _m times be=e !y satisfi$ him1 & ! process caus$ him actual m5tal agony4 ,) him compos+ 0 a /ruggle1 a fight2 he /amp$1 & sang1 & %\t$ ov] ! composition ( "s ( 8 l>g] works1 & f9ally em]g$ f 8 solitude exhau/$4 ,!re is no d\bt b t ,bee?ov5 0 affect$ by ! prevail+ social unre/ ( 8 "t--by ! revolution>y ideas t 7 !n /irr+4 ,al?\gh we _c attempt to translate into words ! significance ( ! fif? symphony1 !re is no mi/ak+ its language z t ( indep5d5ce & fre$om f conv5tional %ackles4 ,writ+ 9 a p]iod ( revolution1 says ,mr4 ,had[1#dd himself an ard5t revolution>y1 he broke 9 ^u ! polit5ess ( ! ,au/rian c\rt ) an eloqu5ce z tempe/u\s z t ( ,mirabeau or ,danton4 ,s t1 look+ at 8 music z a :ole1 we are n only /ruck by its significance1 b by ! close relation 9 :i* x /&s to ! life ( ,bee?ov5's p]iod4 ,nev] be=e _h music be5 s untrammel$1 s free4 ,! m$ium itself--h>mony1 melody1 rhy?m--_h become m pla/ic1 & ! old incubus ( tradition _h be5 ?r[n (f4 ,n only t1 b ! v>i\s elem5ts 9 composition 7 fus$ = ! fir/ "t 9 ,bee?ov5's music4 ,polyphony takes its place z a means & n an end2 pure melody--ev5 folk-melody--becomes a "p ( ! l>g] s*eme 9 :i* its beauty is set (f aga9/ contra/+ elem5ts--& is !reby enhanc$2 rhy?m becomes a means ( expression 9 itself1 & n m]ely a vehicle2 h>mony is made an important "p ( ! g5]al design1 & its lat5t possibilities z a means ( expression are realiz$4 ,all ^! ?reads 7 ga!r$ toge!r by ,bee?ov51 & wov5 into ! complex fabric ( 8 music4 ,great m5 are usually born at j ! "r mom5t1 & ,bee?ov5 0 no exception to ! rule2 = he f\nd ! art at j ! po9t :]e a ma/] _s 0 ne$$ to take its v>i\s elem5ts & fuse !m4 ,"u 8 h&s all ! iness5tial p>ts dropp$ away1 & ! ess5tials 7 plac$ 9 su* relation to ea* o!r t a completely organic "w ( art result$4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,ox=d ,hi/ory ,vol4 ,,iii3 ,*apt]s ,x & ,,xi4 ,grove's ,bee?ov5 & ,8 ,n9e ,symphonies4 ,grove's ,diction>y ( ,music & ,musicians3 articles ,bee?ov51 ,symphony1 & ,=m4 ,mason's ,bee?ov5 & ,8 ,=]unn]s1 ,*apt]s ,,vii1 ,,viii1 & ,,ix4 ,,footnotes3 #ci ,an exam9ation ( any "o ( ! be/ folk-songs quot$ 9 ,*apt] ,,ii1 or ! melodies ( ,ba*1 ,h&el1 ,haydn or ,moz>t quot$ 9 succe$+ *apt]s1 w %[ h[ important an elem5t ( melody is ?is curve or outl9e4 #dj ,! !mes 9 ! m9uet & f9ale ( ,haydn's ,emp]or qu>tet h a slight simil>ity ( cont\r4 #da ,publi%$ = piano1 two or f\r h&s1 by ,pet]s1 ,leipzig4 ,= conv5i5ce ( ref]5ce1 numb] all measures & p>ts ( measures consecutively4 #db ,! pres5ce ( measure #chi--:i* is sil5t--has be5 a subject ( discussion among musicians3 x is sometimes omitt$ 9 p]=mance4 #dc ,evolution ( ! ,art ( ,music1 ,*apt] ,,xii4 #dd ,ox=d ,hi/ory ( ,music4 ,,*apt] ,,xiii4 ,,bee?ov5--,,iii4 ,i4 ,,! ,,sl[ ,,movem5t ,,be=e ,,bee?ov54 ,! sl[ movem5ts ( ! sonatas & symphonies ( ,haydn & ,moz>t 7 ess5tially lyric pieces 9 :i* ! compos] reli$ = 8 effect on ! beauty ( 8 melodies4 ,^! melodies1 usually two 9 numb]1 7 v>i$ by be+ pres5t$ 9 diff]5t keys & by be+ ornam5t$ ) pass+-notes1 scale passages1 trills1 etc4 ,ea* section 0 cle>ly sep>at$ f ! o!rs by cad5ce *ords1 s t ! total effect 0 ( a s]ies ( sep>ate divisions1 ea*1 z x 71 indep5d5t & complete 9 itself4 ,!re are1 ( c\rse1 exceptions to ?is me?od ( proc$ure1 p>ticul>ly 9 ! /r+ qu>tets ( ,haydn & ,moz>t1 :i* are m highly develop$ ?an is usual 9 _! piano sonatas1 b z a g5]al rule ?is 0 _! way ( treat+ sl[ movem5ts4 ,?is lyric1 sectional =m ( sl[ movem5t s]v$ z a foil to ! m involv$ fir/ movem5t4 ,! lovely1 s]5e melodies 7 n di/urb$ by passion1 nor sacrific$ = picturesque effect ( any k9d4 ,9 ! /r+ qu>tets & symphonies !y 7 enliv5$ by a c]ta9 am\nt ( polyphony 7see ,*apt] ,x71 & 9 ! piano sonatas !y occasionally dep>t$ f ! simple regul> =m1 b !y seldom dealt ) trag$y & seldom pres5t$ any evid5ce ( t idiosyncrasy & int5se individuality t m>ks ! sl[ movem5t ( lat] times4 ,,ii4 ,,! ,,sl[ ,,movem5ts ,,( ,,bee?ov5',s ,,e>ly ,,symphonies4 ,! e>ly sonatas & symphonies ( ,bee?ov5 are l>gely con/ruct$ on ! old model4 ,! fir/ piano sonata1 ref]r$ to 9 ,*apt] ,,xii1 has a sectional sl[ movem5t t might almo/ h be5 writt5 by ,moz>t4 ,! sl[ movem5t ( ! fir/ symphony is simplicity itself1 bo? 9 =m & cont5t2 & ev5 ! adagio ( ! ,pa?tique ,sonata 7see ,*apt] ,,xi7 is a /raight=w>d sectional piece ) a lyric melody pres5t$ sev]al times1 ) v>y+ accompanim5t1 & ) ! usual contra/+ middle section4 ,music3 score 7a7 ,music3 score 7b7 ,music3 score 7c7 ,music3 score 7d7 ,music3 score 7e7 ,music3 score 7f7 ,music3 score 7g7 ,,figure ,,lv4 ,9 ,figure ,,lv is %[n ! fir/ !me ( ! &ante ( ! fir/ symphony1 7a7 !mes f ! l>ghetto ( ! second symphony1 7b7 & 7e7 & portions ( ! middle section ( ! same 7c71 7d71 7f71 & 7g74 ,ea* ( ^! !mes is di/9ctly /rophic2 ea* has p]fect phrase balance1 *>m ( cont\r or outl9e1 & simplicity ( h>monization4 ,n s highly organiz$ z ! !me f ! ,pa?tique ,sonata 7see ,*apt] ,,xi1 ,figure ,,xlvii7 !y resemble ! !mes ( ! old] ma/]s1 b be>1 nev]!less1 "s evid5ce ( ! individuality t s fully *>act]izes ,bee?ov5's lat] music4 ,b 9 ! treatm5t ( ! !me f ! second symphony t individuality is cle>ly manife/$4 ,in/ead ( a m]e re/atem5t v>i$ by new h>monization or by elaboration ( ! !me itself1 !re is a free play ( fancy1 "o or two %ort motives f ! fir/ !me be+ toss$ ab\t 9 ! or*e/ra f "o in/rum5t to ano!r 9 delightful by-play4 ,all sorts ( devices are resort$ to to keep ! int]e/ ( ! li/5] at its height4 ,! *ief motive 7,figure ,,lv1 7b77 passes f calm s]5ity to playfulness1 & aga9 to spl5did sonor\s gr&eur2 a phrase f ?is same motive becomes ! subject ( an almo/ crabb$ discussion 7,figure ,,lv1 7d771 :ile ! *>m+ second>y !me 7,figure ,,lv1 7e771 ^: :imsical gayety animates ! e>ly "p ( ! movem5t1 is giv5 a pla9tive quality by a *ange to m9or 7,figure ,,lv1 7f77 & ! t\*+ contrapuntal phrases t are set aga9/ x4 ,a little lat] a s+le phrase f ! same !me becomes ! subject ( a bit ( vigor\s by-play betwe5 ! diff]5t in/rum5ts 7,figure ,,lv1 7g774 ,?us ! sl[ movem5t1 ev5 9 ,bee?ov5's e>ly works1 becomes vivifi$ by 8 int5se individuality4 ,9 8 m mature compositions 9 ?is =m ! :ole body ( ! music pulsates ) life--no s+le "p /agnates4 ,,example ,,= ,,analysis1 ,no4 #ba4 ,bee?ov53 ,! ,fif? ,symphony1 ,sl[ movem5t4 ,we h already po9t$ out 9 ,*apt] ,x t ! sl[ movem5t is usually writt5 9 "s sectional =m4 ,bee?ov5 foll[$ ! old models 9 ?is respect 9 ! majority ( 8 sl[ movem5ts1 b 8 enri*m5t ( ! cont5t ( ! music & 8 skill 9 avoid+ conv5tional end+s & o!r platitudes makes 8 pieces less rigid 9 effect ?an ^? ( ,haydn & ,moz>t4 ,he 0 p>ticul>ly fond ( leav+ 8 li/5]s until ! la/ mom5t 9 d\bt ( ! ultimate conclusion ( a passage1 lead+ !m away f 8 po9t & com+ back to x by an unexpect$ modulation or turn ( phrase2 he frequ5tly ends ! section ( a movem5t ) "o or two brusque *ords sudd5ly ins]t$ aft] a passage full ( s5tim5t4 ,9 %ort1 8 sectional movem5ts are less obvi\s 9 design1 & m fl[+ & cont9u\s1 ?an 0 ! cu/om be=e 8 day4 ,! &ante ( ! ,fif? ,symphony is 9 free v>iation =m1 ! divisions--unlike ^? 9 ! v>iations ref]r$ to 9 ,*apt] ,,vii--n be+ cle>ly m>k$ nor regul> 9 =m4 ,! !me has two p>ts1 b ,bee?ov5 skillfully avoids t prolixity sometimes evid5t 9 ,haydn's ,&ante ) ,v>iations2 nor does he l5g!n 8 two !mes to su* an ext5t z to make !m a little d\btful z prop] subjects = v>iation treatm5t1 z did ,haydn4 ,fur!rmore1 al?\gh ! second "p ( ,bee?ov5's !me is a bett] subject ?an ,haydn's ,trio !me1 be+ m t]se & m *>act]i/ic1 ,bee?ov5 pres5ts x 9 ne>ly its orig9al =m ea* "t x appe>s1 mak+ ! fir/ & m important subject s]ve z ! basis ( 8 v>iations4 ,su* *anges z d occur 9 ! second !me w be not$ lat]4 ,! complete movem5t may be tabulat$ z foll[s3 ,,tabul> ,,view ,,( ,,/ructure ,,( ,,! ,,&ante ,,( ,,! ,,fif? ,,symphony4#de ---------------------------------------- ------------------------------ ,sections4 ,!mes4 ,measures4 ---------------------------------------- ------------------------------ #a4 ,!me ,i 9 ,a-flat major #a-bc ,!me ,,ii 9 ,a-flat & ,c-major #bc-ej ---------------------------------------- ------------------------------ #b4 ,fir/ v>iation ( !me ,i1 ,a-flat major #ej-gb ,second "p ( !me ,i z be=e b ) m elaborate accompanim5t #gb-ii ---------------------------------------- ------------------------------ #c4 ,second v>iation ( !me ,i1 ,a-flat major 7!me giv5 out ?ree times3 cellos1 #ii-abd viol9s & basses7 ,episode1 f\nd$ on initial motive f !me ,i #abd-adh ,!me ,,ii 9 ,c-major 7fir/ two phrases l5g!n$7 #adh-aeh ,episode1 f\nd$ on motive f !me ,i #aeh-afg ,!me ,i 9 ,a-flat m9or #afg-agg ,transition passage lead+ to return ( !me ,i #agg-ahf ---------------------------------------- ------------------------------ #d4 ,!me ,i1 ,a-flat major #ahf-bjf ---------------------------------------- ------------------------------ #e4 ,coda #bjf-bdh ---------------------------------------- ------------------------------ ,! =ego+ table may be comp>$ ) t ( ! ,haydn v>iations 9 ,*apt] ,,vii4 ,:ile ! g5]al s*eme is ! same--= ! two !mes are 9 ea* case pres5t$ sev]al times--! ,bee?ov5 v>iations are mu* m concise1 & at ! same "t mu* m fully expressive & illu/rative ( ! orig9al !me4 ,haydn's v>iations are nave2 ,bee?ov5's are consci\s4 ,bee?ov5 pres5ts 8 !mes f widely diff]5t po9ts ( view2 ,haydn pres5ts *>m+ly elaborate v]sions ( ! same melodies4 ,compos]s did n = a long :ile1 says ,p>ry1#df f9d out ! device ( mak+ ! same tune or '!me' appe> 9 diff]5t lights1 s z to make /udies ( diff]5t aspects ( ! same /ory "u *ang+ conditions1 z 9 ,rob]t ,br[n+'s ,r+ & ! ,book4 ,^! entirely di/9ct pres5tations ( ! orig9al idea give to ?is movem5t an especial *>m1 plac+ x f> above any ( ,haydn's or ,moz>t's v>iations4 ,,iii4 ,,individuality ,,( ,,! ,,&ante ,,( ,,! ,,fif? ,,symphony4 ,! peculi> *>m ( ?is &ante lies n s mu* 9 its melodies1 beautiful z !y are1 z 9 ! individuality ( _! treatm5t4 ,! fir/ v]sion ( ! !me z x appe>s 9 ,bee?ov5's sket*-book is %[n 9 ,figure ,,lvi 7a71 & at 7b7 is giv5 ! fir/ "p ( ! complet$ !me4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,lvi4 ,x w be obs]v$ t ! orig9al idea 0 some:at me*anical 9 its rhy?m1 & lack$ t v>iety imp>t$ to ! complet$ !me by ! ti$ note at ! beg9n+ ( measure #c & at ! middle ( measure #e4 ,bee?ov5's orig9al int5tion mu/ h be5 q at v>iance 9 o!r ways ) :at he f9ally evolv$1 = he m>ks 8 fir/ sket*1 ,&ante quasi ,m9uetto1 i4 e4 9 ! /yle ( ! m9uet1 & ( ?is !re is left no evid5ce :atev]4 ,ea* v>iation ( ?is !me is q di/9ct f ! orig9al1 p>ticul>ly 9 its mood4 ,:ile ! orig9al !me has a calm & ev5 p5sive beauty1 full ( s5tim5t1 ! two v>iations ( x are less s]i\s &1 at times1 v]ge on ! humor\s & playful 7z at measure #ajh71 or on ! grotesque 7z at measure #aae74 ,b 9 ! episodes t occur betwe5 ! v>iations--9 ! transitions or l9ks betwe5 ! diff]5t p>ts--,bee?ov5's fancy has fulle/ play4 ,he ranges all ! way f com$y to trag$y1 f delicate gaiety to lumb]+1 ,brobd+nagian heav9ess4 ,simple raill]y seizes him :51 at measure #afj1 he all[s ! viol9 to take up ! famili> motive & toss x to ! basses & take x back aga91 or :5 he amuses himself ) weav+ ?irds up & d[n 7#acd71 cross+ & recross+1 sp9n+ out ! little ?ree-note motive into a f9e web1 :i* is f9ally torn ap>t z ! :ole or*e/ra ?und]s out ! second>y !me 7#adh74 ,^! two passages 7portions ( :i* are %[n 9 ,figure ,,lvii7 9 _! fre$om f re/ra9t & _! expression ( ! compos]'s idiosyncrasies1 are q beyond :at _h ev] be5 attempt$ be=e4 ,we see work+ "h a m9d full ( res\rce & capable ( s\nd+ ! greate/ dep?s ( ! subject4 ,music3 score ,music3 score ,,figure ,,lvii4 ,& ?is highly imag9ative me?od ( treat+ ! transitions or connect+ passages is "o ( ! fundam5tal diff]5ces betwe5 ! v>iations ( ,haydn & ,moz>t & ^? ( ,bee?ov5 ,a priori1#dg says ,mr4 ,had[1 x w\ld be easy to conjecture t ! v>iation =m is unsatisfactory4 ,x af=ds little scope = /ructural organization1 little = episode or adv5ture1 x seems to h no high] aim ?an t ( tell+ ! same /ory 9 ! l>ge/ possible numb] ( diff]5t words4 ,inde$1 compos]s be=e ,bee?ov5 are (t5 9 evid5t /raits to ma9ta9 its int]e/4 ,an exam9ation ( any set ( v>iations by an inf]ior compos] w reveal j ! defects ,mr4 ,had[ ref]s to4 ,b ,bee?ov5 n only tells ! /ory 9 q diff]5t words1 b f9ds opportunity = all sorts ( int]e/+ episodes & adv5tures1 s t ! /ructural weakness ( ! =m is q lo/ sight (4 ,) him ! connect+ passages skillfully avoid too great /ress on pure melody--) :i* ! li/5]s w\ld o!rwise be surfeit$--&1 at ! same "t1 !y nev] deg5]ate into unmean+ passages ( empty *ords & scales su* z (t5 occurr$ 9 ! music ( ,haydn & ,moz>t4 ,,iv4 ,,! ,,h>monic ,,plan4 ,! recurr5ce 9 ! same key ( ! !me 9 ! v>iation =m gives to x a c]ta9 monotony ( h>monization unless ! episodes are treat$ ) great h>monic fre$om4 ,z 0 po9t$ out 9 ,*apt] ,,ii1 h>mony sometimes becomes an important elem5t ( /ructure1 p>ticul>ly 9 ! rondo & v>iation =ms1 & 9 ,haydn's & ,moz>t's v>iations ! h>monic plan is n suffici5tly v>i$ to provide ?is mu* ne$$ contra/4 ,bee?ov51 h[ev]1 always mu* m free 9 ! use ( modulation ?an 8 pr$ecessors1 imp>ts to ^! v>iations almo/ at ! outset great v>iety ( key1 & 9 all 8 episodes ranges freely ab\t1 unhamp]$ by limitations4 ,9 measure #bh1 = example1 he sudd5ly />ts t[>ds ! key ( ,b-flat m9or1 only to em]ge a mom5t lat] 9 ,c-major4 ,! passage1 beg9n+ at measure #ci1 n only provides t relief f too great insi/5ce on melody :i* we h already ref]r$ to z *>act]i/ic ( 8 episodes1 b its h>monies are purposely vague1 leav+ u 9 d\bt until ! la/ mom5t z to _! ultimate conclusion4 ,an int]e/+ & beautiful effect is aga9 produc$1 at measures #afg-agg1 by ! *anges ( key1 :ile ! scale passages t foll[ introduce fur!r h>monic v>iety4 ,at measure #bjf beg9s a passage t seems to int5d ! key ( ,d-flat1 b aga9 our expectations are n realiz$4 ,s t ! total impression we receive f ! h>mony ( ?is movem5t is ( a m complete unity & v>iety ?an is produc$ by ! !mes !mselves4 ,x mu/ also be not$ 9 g5]al t ?is fre$om ( h>mony is "o ( ! signs ( advancem5t 9 ! art ( music1 & t at ! pres5t "t ! comb9ation ( *ords is mu* less re/rict$ ?an 0 ! case 9 ,bee?ov5's day4 ,& ?is /eady advance has be5 z /eadily oppos$ by !ori/s4 ,:5 we rememb] t ,montev]de 7#aefg-afdc7 0 bitt]ly criticis$ = introduc+ 9 a *ord ! unprep>$ dom9ant sev5?1 mak+ !reby a dissonance almo/ z famili> to mod]n e>s z is ! simple major triad--we c easily realize h[ difficult x 0 = p 9 ,bee?ov5's "t to und]/& 8 f>-rea*+ modulations4 ,! /eady progress is fur!r illu/rat$ by ,wagn]'s music-dramas1 :i* 7 consid]$ :5 !y fir/ appe>$ z almo/ cacophon\s 9 _! h>monization1 b :i* n[ seem p]fectly simple & normal4 ,v4 ,,! ,,univ]sality ,,( ,,bee?ov5',s ,,g5ius4 ,a piece ( music l ?is is a human docum5t4 ,x embraces s _m phases ( human feel+1 & x places !m all1 z x 71 9 su* prop] focus t we feel 9 li/5+ to x z ?\gh we _h come 9 contact ) elem5tal human exp]i5ce4 ,?is music is n unapproa*ably gr&2 we he> 9 x e*oes ( our own /riv+s1 hopes1 & despairs4 ,& x is ?is s5se ( proportion1 ?is wid5ess ( vision1 t makes ,bee?ov5's music s univ]sal4 ,= 9 ! la/ analysis ! effect ( any "w ( art dep5ds on ! arti/'s s5se ( values2 a f9e situation 9 a novel is all ! f9] = be+ set aga9/ a prop] backgr\nd2 a trag$y mu/ h mom5ts ( relief2 beauty alone1 :e!r 9 a pa9t+ or a piece ( music1 soon palls ^u u2 9 ! greate/ works ( art ?is s5se ( values--?is feel+ = proportion--is always pres5t to save ! situation 7:atev] x may be7 f ! deadly s9 ( be+ un9t]e/+4 ,bee?ov5 cont9ually gives evid5ce ( 8 ma/]y ov] ?is important elem5t 9 composition4 ,! beauty ( 8 melodies nev] palls4 ,be=e t po9t is rea*$ !re is "s sudd5 *ange ( feel+1 "s unexpect$ turn ( melody or modulation1 "s brusque expression t %ocks u out ( our dream4 ,he is p>ticul>ly fond ( ! latt] device1 & frequ5tly lulls u into a fanci$ quiet only to awak5 u abruptly :5 we lea/ expect x4 ,) him ev]y?+ has its proportionate value1 s t we get a cle>ly def9$ impression ( ! :ole "w1 j z 9 a f9e novel ! values are s c>efully pres]v$ t we feel ! locality ( e incid5t1 & come to "k ! *>act]s z we "k our own fri5ds4 ,"o :o is ?or\ghly famili> ) ! &ante ( ! ,fif? ,symphony feels ?is quality z pr$om9ant4 ,we are n enraptur$ by ! !me itself1 z we are by t ( ,moz>t's &ante f ! /r+ qu>tet 7ref]r$ to 9 ,*apt] ,x71 b we feel ! *>m ( incid5t & by-play1 we are j z mu* int]e/$ 9 ! connect+ passages z we are 9 any o!r "p ( ! piece2 & we ?9k ( x all z we d ( a f9ely writt5 play1 :]e "o incid5t hangs on ano!r1 & no?+ happ5s t does n be> on ! plot4 ,?us1 judg+ music f ! /&po9t ( univ]sal human feel+1 ,bee?ov5 rea*es ! highe/ po9t 9 its developm5t4 ,no o!r compos]1 be=e or s9ce1 has equall$ him 9 ?is p>ticul>1 & ! m we /udy him ! m we f9d 9 him4 ,repeat$ he>+s d n dim ! lu/] ( 8 g5ius1 nor h ! great compos]s :o h foll[$ him _h z broad a survey ( human life z he possess$4 ,,sugge/ions ,,= ,,collat]al ,,read+4 ,had[3 ,ox=d ,hi/ory1 ,vol4 ,v4 ,p>ry3 ,/udies ( ,great ,compos]s4 ,mason3 ,bee?ov5 & ,8 ,=]unn]s1 ,*apt]s ,,vii1 ,,viii1 & ,,ix4 ,,footnotes3 #de ,numb] ! measures & p>ts ( measures consecutively f beg9n+ to end--mak+ #bdh measures 9 all4 #df ,ox=d ,hi/ory1 ,vol4 ,,iii1 p4 #he4 #dg ,ox=d ,hi/ory ( ,music1 ,vol4 ,v1 p4 #bgb4 ,,*apt] ,,xiv4 ,,bee?ov5--,,iv4 ,i4 ,,bee?ov5',s ,,humor4 ,"o ( ,bee?ov5's mo/ prom95t *>act]i/ics1 )\t a special consid]ation ( :i* no acc\nt ( him w\ld be at all complete1 0 8 humor4 ,9 ! ?ree =ego+ *apt]s we h _h pass+ glimpses ( x3 we h not$ 8 di/a/e = ! obvi\s1 ! trite1 ! conv5tional1 & 8 fondness = break+ 9 on ! tranquillity ( 8 audi5ce1 sometimes 9 dang] ( laps+ into inatt5tive dullness1 ) all mann] ( %ocks & surprises--cla%+ *ords 9 ! mid/ ( s(t passages1 unexpect$ modulations to di/ant keys1 piquant int]ruptions ( rhy?m1 long holds1 sudd5 spasms ( wild spe$4 ,all su* tricks 7 de> to him z means ( avoid+ ! monotony :i* is ! "o unp>donable s9 ( an arti/1 & ( atta9+ con/ant novelty & a kaleidoscopic div]sity ( effect4 ,none ( 8 pr$ecessors1 & p]haps none ( 8 successors1 c>ri$ to su* l5g?s z he did ?is peculi> k9d ( musical humor4 ,x is "o ( ! mo/ ess5tially ,bee?ov5i% ( all 8 qualities4 ,! p>ticul> =m ( movem5t 9 :i* 8 humor atta9$ its free/ scope 7?\gh x is h>dly ev] entirely abs5t 9 any?+ t he wrote7 0 ! m9uet ( 8 e>li]1 & ! s*]zo ( 8 lat] sonatas & symphonies4 ,! m9uet ( ,haydn & ,moz>t1 :i* we h discuss$ 9 ,*apt] ,,vii1 ?\gh n entirely lack+ 9 ! elem5t ( :im & p]v]sity :i* gives rise to humor1 0 prim>ily /ately1 =mal1 & suave4 ,:5 we li/5 to a m9uet ( ?is old s*ool1 our m9d's eye conjures up ! picture ( a gr\p ( eighte5? c5tury dames & cavali]s1 hoop-skirt$ & bewigg$1 gravely go+ ?r\gh ! set evolutions ( _! dance ) unfail+ dignity & c\rtly grace4 ,f su* a sc5e a ,bee?ov5 s*]zo :isks u 9 a mom5t to "s m]ry ga!r+ ( peasants1 :]e all is wild conviviality1 boi/]\s rejoic+1 & unre/ra9$ high spirits4 ,d\btless ?is contra/ 0 9 "s measure due1 z ,sir ,george ,grove po9ts out 9 an int]e/+ passage1 to ! diff]5ces ( ! social conditions "u :i* ! compos]s liv$4 ,! musicians ( ! eighte5? c5tury1 he says1 7 too commonly ! dome/ic s]vants ( ar*bi%ops & pr9ces1 wore p[d] & pigtails1 & swords1 & c\rt dresses1 & gold lace1 d9$ at ! s]vants' table1 & c\ld be dis*>g$ at a mom5t's notice l ord9>y lackeys4 ,be+ ?us =c$ to regulate _! conduct by etiquette1 !y c\ld n sudd5ly *ange all _! habits :5 !y came to make _! music1 or give _! ?\ghts & feel+s ! free & natural v5t :i* !y w\ld h _h1 b = ! habits eng5d]$ by ! p]petual curb & re/ra9t ( _! social position4 ,b ,bee?ov5 _h set su* social rules & re/rictions at naught4 ,x 0 8 nature1 "o ( ! mo/ *>act]i/ic ?+s 9 him1 to be free & unre/ra9$4 ,almo/ ) 8 fir/ appe>ance 9 ,vi5na he behav$ z ! equal ( ev]yone he met1 & aft] he _h begun to feel 8 own way 8 music is con/antly %[+ ! indep5d5ce ( 8 m9d4#dh ,:atev] ! causes ( ?is m5tal indep5d5ce ( ,bee?ov51 :atev] "p ( x 0 due to *ang$ social conditions1 & :at to 8 purely p]sonal "*1 !re is ample te/imony to its exi/5ce 9 8 biography4 ,! man :o c\ld ?r[ a badly cook$ /ew at ! head ( ! wait]1 :o c\ld 9 a fit ( temp] publicly %ake 8 fi/ "u ! w9d[ ( "o ( 8 be/ fri5ds & patrons1 :o c\ld haughtily refuse to make ! ord9>y salutations to 8 emp]or & empress on a *ance meet+1 le/ he appe> s]vile1 & :o :5 he 0 ask$ :e!r he 7 ( noble blood answ]$ pr\dly t 8 nobility lay 9 8 head & 9 8 he>t1 0 n likely to pay exagg]at$ respect to traditions1 :e!r 9 life or 9 art4 ,inde$1 p]haps ! deepe/ secret ( 8 greatness 0 t :ile1 z 8 sket*-books signally prove1 he sp>$ no pa9s or labor to con=m 8 "w to ^? great natural laws :i* are above all individual wills1 he paid n ! slighte/ respect to m]e rules & conv5tions1 & held especially 9 contempt ! arbitr>y codes ( p$ants & p$agogues4 ,x is n all[$8 he inquir$ quizzically1 :5 "s su* dogmati/ object$ to a passage he _h writt53 ,v well1 !n1 ,i all[ x4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,lviii4 ,little wond] is x1 !n1 t su* a d>+ _s1 su* a hat] ( ! timid & ! dron+1 su* a passionate lov] ( ! individual1 ! /rik+1 ! biz>re1 & ev5 ! grotesque1 f\nd a cong5ial task 9 infus+ humor & irresponsibility into ! classic m9uet4 ,?is =m1 already ! lighte/ "p ( ! sonata & symphony1 already consecrat$ to ! expression ( ! compos]'s gaye/ & mo/ graceful ?\ghts1 ne$$ only to be made pla/ic en\gh to include fantasy & bant] 9 ord] to give free scope to ,bee?ov5's mo/ frolicsome moods4 ,to ! task ( ?us a]at+ ! symphonic m9uet he appli$ himself v e>ly4 ,take1 z an in/ance1 ! m9uet ( ! v fir/ piano sonata1 opus #b1 numb] #a4 ,z a :ole x brea!s ! polite graci\sness ( ,moz>t4 ,! fir/ cad5ce1 especially1 recalls ! sweetly =mal mann] ( ! old s*ool4 7,see ,figure ,,lviii 7a747 ,yet a mom5t lat] ,bee?ov5 beg9s to play ) ?is v cad5ce 9 true s*]zo fa%ion1 l a cat ) a m\se1 twice paw+ x g5tly1 s to speak1 & !n p\nc+ on x ) fury3 77b7 9 ! same figure47 ,9 ! o!r two sonatas be>+ ! same opus numb] he adopts ! "n s*]zo--:i* is an ,italian ^w mean+ joke or je/--& ) x introduces /ill m ( ! playful _s2 & z ! sonatas progress we f9d ?is t5d5cy gr[+1 until 9 opus #bf & opus #bh we h full-fl$g$1 ?\gh r brief1 examples ( ! real ,bee?ov5 s*]zo4 ,let u look at ^! m c>efully4 ,,ii4 ,,s*]zos ,,f ,,bee?ov5',s ,,sonatas4 ,,example ,,= ,,analysis1 ,no4 #bb4a ,bee?ov53 ,s*]zo#di f ! ,twelf? ,sonata1 opus #bf4 ,we note fir/ ( all t ?\gh ! "t-signature is ?ree-f\r1 z 9 ! old m9uet1 ! pace is mu* m rapid--allegro molto--s t a s5se ( bu/le & re/less activity is sub/itut$ = ! well-br$ delib]at5ess ( ! m9uet4 ,?is accel]ation ( "t is obs]vable 9 mo/ ( ! s*]zos4 ,aga91 ! !me 7measures #a-ag7 is ( mo/ en]getic "*1 :i* is ev5 fur!r int5sifi$1 on its re-entrance 9 ! bass at measure #df1 by a ru%+ accompanim5t 9 eigh?-notes4 ,a *>act]i/ic passage prec$es ?is return ( ! !me4 ,to make ! excitem5t m welcome :5 x comes ,bee?ov5 has "o ( 8 lulls = sixte5 measures 7#ca-df71 dur+ :i* ! motion dies out & all seems to /agnate = a mom5t4 ,?is sort ( quiesc5ce1 9 :i* "o takes brea? = a new access ( en]gy1 is always consummately manag$ by ,bee?ov51 :o has made ! lull a fam\s device4 ,! trio calls = no p>ticul> comm5t4 ,x is 9 b9>y =m1 :ile ! s*]zo itself is t]n>y4 ,,example ,,= ,,analysis1 ,no4 #bc4 ,bee?ov53 ,s*]zo f ! ,fifte5? ,sonata1 opus #bh4 ,! tempo is aga9 brisk--allegro vivace4 ,! !me is exce$+ly :imsical3 long notes jump+ d[n ?r\gh f\r octaves--fir/ s+le notes1 !n ?irds1 !n six?s--foll[$ ea* "t by a qua9t little cad5ce 9 :i* ! /accato t\* is prom95t4 ,! section ( contra/ aft] ! d\ble-b> 7measures #cc-dh7 takes ! =m ( a sequ5ce1 9 :i* ! left h& "p c>ries ! orig9al !me4 ,9 ! return ( ! !me we f9d "o ( ^? viol5t dynamic contra/s s belov$ by ,bee?ov51 ! !me 9 measures #di-ec be+ s\nd$ 9 a mild piano & !n1 )\t w>n+1 9 measures #eh-fa1 peal$ =? =tissimo 9 l>ge *ords4 ,! trio is aga9 inconspicu\s1 save = its *>m+ h>monization4 ,^! two s*]zos give a good idea ( h[ ,bee?ov5 gives play to 8 :imsicality 9 8 piano sonatas1#ej b to get ! ,bee?ov5 s*]zo at its highe/ p[] we mu/ g to ! symphonies4 ,!re he has all ! wondr\s pot5tialities ( in/rum5tal color+ to fire 8 imag9ation1 & a canvas broad en\gh to af=d scope = endless +5uity4 ,x is a fasc9at+ /udy to trace out h[ he gradually advanc$ 9 ! p[] to utilize all ^! possibilities4 ,,iii4 ,,! ,,s*]zos ,,( ,,bee?ov5',s ,,symphonies4 ,! ?ird movem5t ( ! fir/ symphony1 ?\gh call$ ,m9uetto1 is m>k$ allegro molto e vivace1 & ) its spirit$ !me1 fasc9at+ h>monies1 & /rik+ rhy?ms1 is ess5tially a s*]zo4 ,p]haps ! mo/ int]e/+ s+le feature ( x is ! completely ,bee?ov5i% means adopt$ = gett+ back to ! !me & ! home key ( ,c-major aft] ! section ( contra/4 ,music3 score ,,figure ,,lix4 ,! passage is %[n 9 ,figure ,,lix1 & m]its c>eful /udy4 ,f ,d-flat major1 a key f> di/ant f ,c1 return is made by imp]ceptible degrees4 ,at ! same "t !re is a cresc5do ( p[]1 until f9ally ! !me breaks out vigor\sly 9 ! home-key4 ,x w be not$ t ! brief phrases play$ by ! left h& 9 ?is passage are made f ! fir/ two notes ( ! !me itself4 ,?us closely does ,bee?ov5 /ick to 8 text4 ,! =cible syncopat$ rhy?ms & dissonant h>monies ne> ! end ( ?is movem5t also des]ve notice4 ,!y give x a rugg$ "* /rangely at v>iance ) its title ( m9uet4 ,9 ! second symphony ! "n s*]zo is adopt$1 & ! phials ( mir? are freely op5$4 ,sudd5 alt]nations ( l\d & s(t are especially conspicu\s1 z w be se5 by ref]r+ to ! !me1 quot$ 9 7a7 9 ,figure ,,lx4 ,ea* new measure1 "h1 br+s some?+ unexpect$ & delici\sly piquant4 ,viol5t %ifts ( acc5t on to ord9>ily unimportant p>ts ( ! measure w be notic$ 9 ! tw5ty-fir/ & tw5ty-fif? measures1 af=d+ relief f :at might )\t !m become monoton\s4 ,a little lat]1 aft] ! reappe>ance ( ! !me1 ,bee?ov5 indulges 9 "o ( ^? passages :i* puzzle u & pique our curiosity 7,figure ,,lx 7b747 ,:]e is he go+8 we ask ourselves1 :at w he d next8 ,b aft] a few mom5ts' susp5se1 9 :i* ! music seems to be sp9n+ ab\t 9 an eddy1 s to speak1 x falls into ! curr5t aga91 & all goes *e]fully to ! end4 ,music3 score 7a7 ,music3 score 7b7 ,,figure ,,lx4 ,9 ! trio1 ! /ud5t %\ld note ! :imsicality ( ! long hold on an ,f-%>p ?r\gh six entire measures1 pianissimo1 foll[$ by a sudd5 l\d *ord on ,a4 ,inde$1 ! pranki%ness ( ! entire movem5t is inexhau/ible4 ,we d n rea* ! full /ature ( ! ,bee?ov5 s*]zo1 h[ev]1 until we get to t ( ! ?ird or ,eroica symphony4 ,9 ?is wond]ful movem5t we h a p]fect ma/]piece ( irresi/ible1 tireless1 kaleidoscopic humor1 a great epic ( irresponsibility :i* mu/ be rank$ ) su* unique expressions ( ! humor\s _s 9 lit]ature z ,%akespe>e's ,fal/aff plays1 ,/]ne's ,s5tim5tal ,j\rney1 or ,/ev5son's ,new ,arabian ,nights4 ,well may ,sir ,george ,grove say ( x1 t x is p]haps ! mo/ ,bee?ov5i% ( all 8 compositions1 & t 9 x ! trag$y & com$y ( life are />tl+ly comb9$4 ,x beg9s ) a /eal?y1 s(t succession ( /accato *ords 9 ! /r+s1 uni=mly pianissimo & yet mo/ insi/5t 9 rhy?m4 ,aga9/ ?is is pres5tly outl9$ ! mo/ piquant little !me by ! oboe 77a7 9 ,figure ,,lxi72 ! *ords g on aga91 & !n s\nds above !m once m ?is incisive little !me4 ,9 ! contra/ section aft] ! d\ble-b> comes fir/ m play+ ) ! rapid s(t *ords1 & !n a *>m+ bit ( imitation ( ! !me f "o voice to ano!r 77b7 9 ,figure ,,lxi74 ,! note ,d is f9ally rea*$ 9 ?is way1 & !n ,bee?ov51 in/ead ( mak+ "s trite & un9t]e/+ modulation back to ,e-flat1 :i!r he wi%es to g 9 ord] to beg9 8 re/atem5t1 simply goes on s\nd+ ,d = t5 measures1 piano1 & !n )\t w>n+ drops d[n to ,b-flat1 pianissimo1 = f\r measures1 & !re) proce$s ) 8 !me aga94 ,! my/]y & *>m ( ?is return to key are indescribable2 ! p]si/5t pianissimo adds mu* to its extraord9>y effectiv5ess4 ,music3 score 7a7 ,music3 score 7b7 ,music3 score 7c7 ,music3 score 7d7 ,,figure ,,lxi4 ,n[1 h[ev]1 ) ! return ( ! !me1 we at la/ get a good e>-fill+ =tissimo1 ! :ole or*e/ra tak+ "p 9 a vigor\s game ( musical tag 7! !me made into a canon--7c7 9 ,figure ,,lxi74 ,a f9e climax is rea*$ 9 a passage ( bold leap+ melody 9 ! /r+s1 9 :i* ! acc5ts are dramatically plac$ on ! second in/ead ( ! fir/ beats ( ! measures1 foll[$ & complet$ by /accato *ords on ! wood-w9d in/rum5ts 77d7 9 ,figure ,,lxi74 ,?is is enorm\sly vigor\s1 & makes a fitt+ culm9ation = ?is fir/ "p ( ! movem5t1 besides giv+ an opportunity = /ill great] effect lat]1 z we %all see 9 a mom5t4 ,aft] x1 a cad5ce is soon rea*$1 ?\gh n be=e ! /r+s & wood-w9d in/rum5ts h _h a brief :imsical dialogue on ! subject ( ! /accato *ords4 ,s f> all is bant]+ m]rim5t1 iridesc5t color1 & en]getic high spirits4 ,b 9 ! trio1 "o ( ! mo/ wond]ful ( all ,bee?ov5's /rokes ( g5ius1 ! mood *anges1 & :ile ! quick ?ree-f\r measure is /ill felt und]nea?1 ! long notes1 & ! deep mell[ tones ( ! horns1 give an almo/ tragic quality to ! music4 ,! !me1 giv5 out by ?ree horns alone1 ) a brief cad5ce by ! /r+s1 does n rea* its full /ature until its recurr5ce ne> ! end ( ! trio4 ,9 its second phrase ! l[e/ horn rea*es1 & holds = two measures1 a ,d-flat :i* is ( almo/ une>?ly solemnity ( effect4 ,?is passage repays c>eful /udy1 s wond]fully does x use ! simple/ means to ga9 ! highe/ beauty4 ,sir ,george ,grove well says ( x3 ,if ev] horns talk$ l fle% & blood1 !y d x "h4 ,! s*]zo1 on its return1 goes on mu* z at fir/4 ,yet ,bee?ov5 /ill has "o la/ %ot 9 res]ve1 z we sugge/$ a mom5t back4 ,:5 he comes to t spl5didly pr\d passage ( desc5d+ leaps 9 ! /r+s 7,figure ,,lxi1 d471 in/ead ( repeat+ x1 z he did at fir/1 9 ! same rhy?m1 he sudd5ly trans=ms x into ev5 half notes1 :i* cra% d[nw>ds l an avalan*e1 q irresi/ible4 7,see ,figure ,,lxii47 ,! effect is aga9 indescribable 9 words2 its gigantesque vigor is ( a k9d to be f\nd n[h]e b 9 ,bee?ov51 & 9 him only 9 8 inspir$ mom5ts4 ,music3 score ,,figure ,,lxii4 ,9 ?is wond]ful movem5t ! ,bee?ov5 s*]zo fir/ rea*es its full /ature4 ,x may be que/ion$ :e!r he ev] a*iev$ any?+ f9]4 ,yet 9 its own way ! s*]zo ( ! ,fif? ,symphony#ea is equally orig9al & *>act]i/ic1 & z we h already analyz$ two movem5ts ( t symphony we w n[ make a detail$ analysis ( ?is movem5t too4 ,,example ,,= ,,analysis1 ,no4 #bd4 ,bee?ov53 ,s*]zo f ! ,fif? ,symphony4 ,?is s*]zo is int]l9k$ ) ! f9ale1 into :i* x is m]g$ by a fam\s passage d]iv$ f ! s*]zo itself1 & lead+ up f ! s(te/ pianissimo to a gr& outbur/ ( ! full or*e/ra4 ,we %all1 h[ev]1 end our analysis :]e ?is passage beg9s4 ,! complete s*]zo1 !re=e1 omitt+ ?is l9k-passage1 w h ?ree hundr$ & ?irty measures1 :i* %\ld be numb]$ cont9u\sly = easy ref]5ce 7c\nt+ ! fir/ p>tial measure z "o1 z well z ! incomplete measures at ! beg9n+ ( ! trio74 ,! !me is ( a v curi\s "*1 c]ta9ly no?+ l ! usual bu/l+ s*]zo !me1 b on ! contr>y my/]i\s1 vague1 grop+4 ,b]lioz says ( x3 ,x is z fasc9at+ z ! gaze ( a mesm]iz]4 ,aft] sev5te5 measures ( ?is1 a m en]getic1 rhy?mic !me succe$s 7#bj-de7 giv5 out by ! horns1 =tissimo1 ) rugg$ *ords 9 accompanim5t1 9 :i* we recognize a new v>iant ( t motive ( ?ree %ort notes & a long1 :i* 0 s prom95t 9 ! fir/ movem5t 7see ,*apt] ,,xii74 ,! rema9d] ( ! s*]zo prop] is work$ up out ( ^! two contra/+ /ra9s1 ?us3 #df-ga1 f ! fir/1 my/]i\s "o2 #gb-ig1 f ! second1 en]getic "o2 #ih-acc1 beg9n+ s(tly 9 my/]y ) ! fir/1 & lat] 7#aaf7 cont9u+ ) x a new1 m lively melody 7note h[ ! phrase ( measures #c & #d p]si/s 9 ! bass all ?r\gh ?is "p72 #acd-ada1 conclud+ cad5ce1 on ! second /ra94 ,! trio1 measures #adb to #bch1 is irresi/ibly ludicr\s 9 ! elephant9e antics ?r\gh :i* ! unwieldy d\ble-basses are put4 ,!y ann\nce 7#adb-adh7 a scrambl+ fugue !me1 :i* is answ]$--9 imitation--sev]al times at high] pit*es 7measures #adh1 #aed1 #aef7 by ! o!r & m agile /r+$ in/rum5ts4 ,a sonor\s close is rea*$ at ! d\ble b>4 ,!n comes a mo/ grotesque & amus+ passage1 9 :i*1 ?ree sev]al times1 ^! poor lumb]+ d\ble basses hurl !mselves ^u ! !me1 twice only to give up 9 despair aft] ! fir/ measure & pause z if = brea?4 ,! effect ( ?is brave attack & utt] failure to keep up ! pace is irresi/ibly comic4 ,b ! ?ird "t prov]bially nev] fails1 & 9 ! measures foll[+ #afh !y hold to _! ef=t ) bull-dog t5acity1 & succe$ 9 rea*+ a safe hav5 9 ! ,g ( measure #agc4 ,!reupon ! !me ent]s once m above !m1 & is once m c>ri$ ?r\gh an excit+ fugal *ase1 ! entrances1 :i* ! /ud5t %\ld trace out c>efully1 occurr+ 9 measures #agf1 #ahj1 #ahb1 & #ahd1 ea* "t a little high] up4 ,! cad5ce is rea*$ 9 #bjj1 & ! entire passage f ! inept onslaughts ( ! basses is almo/ lit]ally repeat$ 7#bjj-bbg71 except t n[ x becomes quiet] & quiet]1 & f9ally leads back to ! my/]i\s s*]zo !me 7#bci-beg74 ,?is "t ! rugg$ness ( ! second /ra9 ( ! s*]zo has all disappe>$1 & x rema9s delicate1 almo/ e!real1 ?r\gh measures #beh to #ccj1 ) :i* ! s*]zo prop] ends4 ,z has be5 /at$1 no complete pause is rea*$ be=e ! f9ale1 b in/ead ( ! cad5ce we h plac$ at ! end1 !re is a long passage lead+ ov] into ! spl5did m>*-l !me ( ! la/ movem5t4 ,h[ ?is passage is made out ( ! !mes ( ! s*]zo itself w be se5 by ref]r+ to ,figure ,,lxiii4 ,music3 score ,,figure ,,lxiii4 ,) ?is s*]zo f ! ,fif? ,symphony we may take our f>ewell ( ,bee?ov5 = ! pres5t1 & also ( ! art 9 :i* he repres5ts "o ( ! great culm9at+ po9ts4 ,aft] him x seem$ to musicians = a :ile z if ! triumphs ( organic musical /ructure c\ld no fur!r g1 & !y turn$ _! att5tion 9 o!r directions1 & s\ght = o!r k9ds ( int]e/4 ,b to foll[ !m on ^! new pa?s is n a "p ( our pres5t und]tak+4 ,,iv4 ,,g5]al ,,summ>y4 ,we h n[ foll[$ ! cont9u\s & unbrok5 c\rse ( ! developm5t ( music f ! mo/ primitive s\nds gr\p$ toge!r 9 rude patt]ns by savages1 up to ! symphonies ( ,bee?ov51 :i* mu/ always rema9 among its mo/ wond]ful & p]fect monum5ts4 ,we h se5 h[ all music1 :i* has any beauty or int]e/1 is bas$ on c]ta9 %ort *>act]i/ic gr\ps ( tones call$ motives1 & h[ ^! are made to take on v>iety1 )\t los+ unity1 by be+ imitat$1 transpos$1 re/at$ aft] contra/1 inv]t$1 augm5t$ or dim9i%$1 %ift$ 9 rhy?m1 & o!rwise manipulat$4 ,we h exam9$ simple cases ( ?is treatm5t ( musical ideas 9 repres5tative folk-songs4 ,we h se5 h[ ! polyphonic /yle ( ,ba*1 9 :i* ^! bits ( melody occur ev]y:]e ?r\gh\t ! tissue ( ! music1 arose & rea*$ its p]fection4 ,we h /udi$ ! simple dances :i*1 adopt$ by ! musicians ( ! sev5te5? & eighte5? c5turies1 7 develop$ by !m & comb9$ 9 suites4 ,!n1 proce$+ to a high] /age ( arti/ic evolution1 we h exam9$ ! v>i\s plans :i* compos]s devis$ = mak+ long] pieces 9 :i* v>iety & unity 7 /ill able to coexi/--su* =ms z ! m9uet1 ! !me & v>iations1 ! rondo1 & ! sonata-=m4 ,9 conclusion1 we h analyz$ repres5tative examples ( music compos$ 9 ^! typical =ms dur+ ! great classical p]iod ( ,haydn1 ,moz>t1 & ,bee?ov54 ,yet all ?is /udy & analysis1 :i* may (t5 h seem$ to ! read] uselessly detail$ & dully sci5tific1 has be5 made ) an ult]ior aim 9 view1 & unless t aim has be5 9 "s degree atta9$1 our "w has be5 futile inde$4 ,! great object ( musical analysis mu/ always be to conc5trate ! att5tion ( ! music-lov]1 to focus 8 m9d z well z 8 e>s on ! melodies1 & _! developm5ts1 :i* he he>s1 & s ev5tually to increase 8 pleasure 9 music1 & to help him to sub/itute = t dr[sy rev]ie1 reliev$ by n]v\s ?rills1 an active1 joyful1 vigor\s co-op]ation ) compos]s1 ?r\gh :i* alone he c truly appreciate _! art4 ,t1 & t alone1 is ! object ( ! analytic /udy ( music4 ,= :at %all x pr(it a man if he c tell a second !me f a transition-passage1 or a m9uet f a set ( v>iations1 if he has n mean:ile1 ?r\gh ?is ex]cise1 got into vital contact ) ! music itself8 ,b t he c d1 no matt] h[ great 8 natural s5sibility to s\nd1 only by le>n+ h[ to li/54 ,,footnotes3 #dh ,grove's ,bee?ov5 & ,8 ,n9e ,symphonies1 page #ce4 #di ,= conv5i5ce ( ref]5ce numb] ! measures & p>tial measures consecutively4 ,!re w be #fi 9 ! s*]zo prop]1 & #ca 9 ! trio4 #ej ,! /ud5t %\ld also /udy ! int]e/+ s*]zo ( ! ,eighte5? ,sonata1 :i* is n 9 m9uet =m b 9 regul> sonata-=m4 ,x is c>ri$ out ) imm5se _s4 #ea ,! ,f\r? ,symphony has aga91 l ! ,fir/1 a m9uet1 ?\gh a mo/ active "o4 ,,novello ,,co4',s ,music ,prim]s & ,educational ,s]ies ,,edit$ ,,by ,,john ,,/a9] & ,c4 ,,hub]t ,h4 ,,p>ry ,a ,complete ,libr>y 9 ,itself #a4 ,! ,pian(orte ,e4 ,pau] #a4jj #b4 ,! ,rudim5ts ( ,music ,w4 ,h4 ,cumm+s 4#ej #c4 ,! ,organ ,j4 ,/a9] #a4jj #d4 ,! ,h>monium ,k+ ,hall #a4jj #e4 ,s++ 7,pap] bo>ds1 #b4ej7 ,a4 ,r&egg] #b4jj #f4 ,spee* 9 ,song 7,s+]'s ,pron\nc+ ,prim]7 ,a4 ,j4 ,ellis1 ,f4 ,r4 ,s4 #a4jj #g4 ,musical ,=ms ,e4 ,pau] 4#ge #h4 ,h>mony ,j4 ,/a9] 4#ge #i4 ,c\nt]po9t ,j4 ,f4 ,bridge 4#ge #aj4 ,fugue ,james ,higgs #a4jj #aa4 ,sci5tific ,basis ( ,music ,w4 ,h4 ,/one 4#ej #ab4 ,d\ble ,c\nt]po9t ,j4 ,f4 ,bridge #a4jj #ac4 ,*ur* ,*oir ,tra9+ ,rev4 ,j4 ,tr\tbeck 4#ej #ad4 ,pla9 ,song ,rev4 ,t4 ,helmore #a4jj #ae4 ,in/rum5tation ,e4 ,pr\t 4#ge #af4 ,! ,elem5ts ( ! ,beautiful 9 ,music ,e4 ,pau] 4#ej #ag4 ,! ,viol9 ,b]?old ,t\rs 4#ge #ah4 ,tonic ,sol-fa ,j4 ,curw5 4#ej #ai4 ,lanca%ire ,sol-fa ,james ,gre5wood 4#ej #bj4 ,composition ,j4 ,/a9] #a4jj #ba4 ,musical ,t]ms ,/a9] & ,b>rett 4#ej #bb4 ,! ,violoncello ,jules de ,sw]t #a4jj #bc4 ,two-"p ,ex]cise 7#cif7 ,james ,gre5wood 4#ej #bd4 ,d\ble ,scales ,frankl9 ,taylor 4#ej #be4 ,musical ,expression ,ma?ias ,lussy #a4ej #bf4 ,solfeggi 7,pap] bo>ds1 #b4ej7 ,flor5ce ,m>%all #b4jj #bg4 ,organ ,accompanim5t ,j4 ,f4 ,bridge #a4jj #bh4 ,! ,cornet ,h4 ,brett #a4jj #bi4 ,musical ,dictation4 ,"p ,i4 ,dr4 ,ritt] 4#ej #cj4 ,musical ,dictation4 ,"p ,,ii4 ,dr4 ,ritt] #a4jj #ca4 ,modulation ,james ,higgs #a4jj #cb4 ,d\ble ,bass ,a4 ,c4 ,:ite #a4ej #cb;,a4 ,app5dix to ,d\ble ,bass ,a4 ,c4 ,:ite #a4ej #cc4 ,extemporization ,f4 ,j4 ,sawy] #a4jj #cd4 ,analysis ( ,=m ,h4 ,a4 ,h>d+ #a4jj #ce4 #ejj ,fugue ,subjects & ,answ]s ,a4 ,w4 ,m>*ant #a4ej 7,pap] bo>ds1 #c4jj7 #cf4 ,h& ,gymna/ics ,t4 ,ridley ,pr5tice 4#ge #cg4 ,musical ,ornam5tation4 ,"p ,i4 ,e4 ,dannreu!r #b4ej #cg;,a4 ,musical ,ornam5tation4 ,"p ,,ii4 7,pap] bo>ds1 #c4jj7 ,e4 ,dannreu!r #b4ej #ch4 ,transposition ,j4 ,w>r9] #a4jj #ci4 ,! ,art ( ,tra9+ ,*oir ,boys ,g4 ,c4 ,m>t9 #a4ej #ci;,a4 ,d\ble4 7,ex]cises only7 ,g4 ,c4 ,m>t9 4#ej #dj4 ,biographical ,diction>y ( ,musicians ,w4 ,h4 ,cumm+s #a4jj #da4 ,examples 9 ,/rict ,c\nt]po9t4 ,"p ,i4 ,gordon ,saund]s #a4ej #da;,a4 ,examples 9 ,/rict ,c\nt]po9t4 ,"p ,,ii4 ,gordon ,saund]s #a4ej #db4 ,summ>y ( ,musical ,hi/ory ,c4 ,h4 ,h4 ,p>ry #a4jj #dc4 ,musical ,ge/ures ,j4 ,f4 ,bridge #a4jj #dc;,a4 ,rudim5ts 9 ,rhyme ,j4 ,f4 ,bridge 4#ce #dd4 ,basses & ,melodies ,ralph ,dun/an #a4be #de4 ,fir/ ,/eps at ! ,pian(orte4 ,francesco ,b]g] #a4be #df4 ,a ,diction>y ( ,piani/s & ,compos]s = ! ,pian(orte ,e4 ,pau] #a4jj #dg4 ,organ ,p$al ,te*nique4 ,"p ,i4 ,b4 ,w4 ,horn] #a4jj #dg;,a4 ,organ ,p$al ,te*nique4 ,"p ,,ii4 ,b4 ,w4 ,horn] #a4jj #dh4 ,twelve ,trios by ,albre*tsb]g] ,a4 ,w4 ,m>*ant 4#ge #di4 ,fifty ,?ree-"p ,/udies ,j4 ,e4 ,v]nham 4#ge #ej4 ,*oral ,society ,vocalisation ,j4 ,/a9] #a4jj #ej;,a4 ,*oral ,society1 ! ,ex]cises arrang$ & adapt$ = ,female ,voices ,a4 ,w4 ,m>*ant 4#ge #ea4 ,two-"p ,solfeggi ,james ,higgs 4#ej #eb4 ,%ort ,hi/ory ( ! ,pian(orte ,a4 ,j4 ,hipk9s #a4be #ec4 ,scales & ,arpeggios ,frankl9 ,taylor #a4jj #ed4 ,sonata-,=m ,w4 ,h4 ,had[ #a4be #ee4 ,a ,diction>y ( ,viol9 ,mak]s ,c4 ,/a9] #a4be #ef4 ,! ,=ty-eight ,preludes & ,fugues ( ,j4 ,s4 ,ba* 7or 9 #d p>ts1 #ej c5ts ea*7 ,f4 ,iliffe #a4ej #eg4 ,app5dix to ,analysis ( ,=m ,h4 ,a4 ,h>d+ 4#be #eh4 ,h>monization ( ,melodies ,j4 ,e4 ,v]nham 4#ej #ei4 ,braille ,music ,notation 7,bo>ds7 ,e4 ,watson #c4ge #fj4 ,five-"p ,h>mony ,f4 ,e4 ,glad/one #a4jj #fa4 ,! ,viola ,b]?old ,t\rs #a4jj #fb4 ,h>monics & ,resultants ,c4 ,e4 ,l[e 4#ej #fc4 ,brea?+ = ,voice ,production 7,clo?7 ,h4 ,h4 ,hulb]t #a4jj #fd4 ,! ,*oir-boy's ,elem5ts ( ,music ,g4 ,j4 ,b5nett 4#ej #fe4 ,fir/ ,/eps = ! ,viol9 ,e4 ,kreuz 4#ge #fe;,a4 ,fir/ ,/eps = ! ,viol91 ,"p ,,ii4 ,! pieces = ,viol91 ) ,pian(orte accompanim5t ,e4 ,kreuz #a4be #ff4 ,score-,read+ ,ex]cises ,emily ,r4 ,daymond 4#ge #ff;,a4 ,ditto4 ,book ,,ii ,emily ,r4 ,daymond 4#ge #fg4 ,a ,me?od ( ,s++ ,j4 ,/ockhaus5 #b4jj #fh4 ,a ,treatise on ,/rict ,c\nt]po9t4 ,"p ,i 4#ge ,f4 ,e4 ,glad/one #fi4 ,a ,treatise on ,/rict ,c\nt]po9t4 ,"p ,,ii ,f4 ,e4 ,glad/one 4#ge #gj4 ,exam9ation ,que/ions & ,h[ to ,"w ,!m ,cu?b]t ,h>ris #a4jj #ga4 ,voice ,culture = ,*ildr54 ,"p ,i4 ,in/ructions ,james ,bates 4#ge #gb4 ,voice ,culture = ,*ildr54 ,"p #aa4 ,ex]cises ,james ,bates 4#ge #gc4 ,voice ,culture = ,*ildr54 ,"p ,,iii4 ,app5dix ,james ,bates 4#cj 7,! #c ,p>ts complete7 #a4ge 7,pap] ,bo>ds1 #b4be7 #gc;,a4 ,voice ,culture = ,*ildr5 9 ,tonic ,sol-fa ,notation ,james ,bates 4#ae #gd4 ,! ,*oir-boy's ,guide to ! ,ca!dral ,psalt] ,erne/ ,newton 4#ce #ge4 ,twelve ,elem5t>y ,duets = ,pian(orte ,emma ,mundella 4#ej #gf4 ,h>mony = ,s*ools ,f4 ,e4 ,glad/one #a4be #gg4 ,key to ditto 4#ge #gh4 ,elem5t>y ,score ,read+ ,a4 ,h4 ,pepp9 4#ge #gi4 ,figur$-,bass ,play+ ,j4 ,r4 ,tob9 4#ge #hj4 ,t5or ,voice ,ex]cises ,e4 ,d4 ,palm] 4#ej #ha4 ,?ree-"p ,/udies ,hugh ,blair 4#ce #hb4 ,music 9 its ,relation to ! ,intellect & ! ,emotions ,john ,/a9] 4#ej #hc4 ,a ,milit>y ,b& ,prim] ,george ,mill] #a4jj #hd4 ,equal ,temp]am5t ,h4 ,spa9 4#ej #he4 ,guide to ,solo ,s++ ,g4 ,g>cia #a4jj #hf4 ,!ory ( ,music ,j4 ,a4 ,o',neill 4#ej #hg4 ,self-help = ,s+]s ,d4 ,c4 ,taylor #a4jj ,any ( ! above may be _h /rongly b\nd 9 bo>ds1 price #be c5ts ea* extra1 ) ! exception ( ,nos4 #e1 #bf1 #cg1 #cg;a & #ef1 :i* are #ej c5ts ea* extra1 & ,nos4 #dc;a1 #dg;a1 #ea1 #eg1 #fe1 #fe;a1 #ff1 #ff;a1 #gc1 #gg1 #gi1 #hj1 #ha1 #hd & #hf1 :i* are only publi%$ 9 pap] cov]s4 ,s*ool ,libr>ies & ,cons]vatories suppli$ at a special price4 ,h4 ,w4 ,,gray ,,co41 #b ,we/ #de? ,/reet1 ,new ,york ,,sole ,,ag5ts ,,= ,,novello ,,co41 ,,limit$ 99 99 99 99 99 ,,transcrib]',s ,,notes3 ,italic text is d5ot$ by und]scores4 ,a numb] ( words 9 ?is book h bo? hyph5at$ & non-hyph5at$ v>iants4 ,x 0 also detect$ t "s words h two diff]5t spell+s1 bo? ( :i* are correct4 ,= ! words ) bo? v>iants pres5t ! "o us$ m times has be5 kept4 ,obvi\s punctuation & o!r pr9t+ errors h be5 correct$4 ,x 0 not$ t ! label ,,figure ,,xxxviii 0 us$ 9 two diff]5t places 9 ! orig9al book4 ,! label 0 us$ 9 page #abd & 9 page #acb ( ! orig9al4 ,9 ?is transcription ! latt] 0 *ang$ to ,,figure ,x,x,x,v,i,i,ia4 ,! ref]5ce made 9 ! text to ! latt] figure 0 consi/5tly *ang$ to take into acc\nt ! modification made4 ,dur+ ! =matt+ process "s ( ! tables h be5 transpos$ f _! orig9al lay-out due to _! wid?4 ,?is 0 done to avoid excessively long l9es or unsupport$ display4