Complete musical analysis; a system designed to cultivate the art of analyzing and criticising and to assist in the performance and understanding of the works of the great composers of the different epochs

Front matter

Brigham Young University

LOTTA VAN BUREN COLLECTION

of

Preface

A MONG the vast army of music students busily engaged in '**• acquiring technical skill in manipulating instruments and voices, there are comparatively few who cultivate the critical faculties in listening properly to music, or have sufficient analytical knowledge to enable them to name and classify a composition after a single hearing. Some interesting books have been written in which certain music is recommended to be performed for pupils; but listening to music is an art, and can be acquired only through a systematic series of exercises and instructions, unless one is content to wait for the gradual absorption of this information through a professional career of many years.

Acknowledgment is also made of the fact that even in small cities one may have the privilege of listening to the greatest artists, including such birds of passage as von Biilow, Rubinstein, d' Albert, Klindworth, Rosenthal, Kssipoff and Aus der Ohe.

But, in truth, considerable of this heavy cannonading is (so to say) fired over the heads of the average student. Every embryo pianist is improved by hearing a recital by any of these artists ; but in the majority of cases they should descend somewhat from their lofty pedestal to the common earth upon which the student stands, if others than advanced students are to be hit by their artistic missiles. But it is often impossible for thCvSe distinguished virtuosi (who, in addition to their inherent gifts, have enjoyed every possible advantage) to comprehend the chaotic state of musical culture outside the radius of our large cities.

The text-books, the laws of the country which permit the titles of" Professor" and " Doctor" to be bestowed upon persons who are ignorant of the very nomenclature of music, and that spirit of American impatience which seeks to acquire everything by a patent process, these are responsible for the present uncultivated state of musical taste.

4 PREFACE.

Aside from the preliminary exercises in listening to and naming different tones and rhythms, it is highly important that the student shall be able to say, after hearing a certain opus, that it was a Sarabande, Loure, Musette, Tambourin, Saltarello, Barcarolle, Spinningsong, Fantasie, or Sonata. A skilled listener should, moreover, name the epoch to which the composition belongs, and specify whether it be Italian, French, German, Hungarian, Norwegian, Spanish, Scotch, Chinese or Persian. And it is of equal importance to the proper interpretation of music that these and very many other peculiarities should be understood analytically. For instance, sequence, echo, repetition, and canonic imitation, all have a certain resemblance on the printed page, yet each one is to be played in a different manner, and these distinctions can be ascertained only by analysis. Indeed, the analyzation of the hundred or more details and devices of high-class music is more than important — it is absolutely essential.

The author makes no apology for introducing a considerable number of new terms to designate either newly discovered or neglected details of composition, nor for rejecting certain accepted analytical names and conclusions. He would merely call attention to the fact that "semitone" is the accepted definition of a minor second or chromatic interval; that "bar" is the word used to denote a certain measure; and that "time'' is applied not alone to metre and movement, but to rhythm. Yet these and many other terms and deductions of common acceptance have, if analyzed, no relevant significance whatever. As to the very homely elementary chapters of this book, the writer's experience has led him to presuppose on the part of the average student little more than native good sense and a disposition to learn. The sole object has been to explain and set forth the various topics as plainly as possible — a task far more diflScult than the analysis of a symphony.

The descriptions of various styles, devices, forms, etc., in this book may be found at variance with what is understood of those topics ; but these explanations are derived from the works of the great tone poets, and not copied from musical dictionaries and text-books.

TO THE TEACHER,

ATTENTION is first called to the two-fold character of this book. - The auricular exercises go hand in hand with the numerous bits and scraps of information which are necessary to the proper enjoyment or performance of music, and to the analysis of compositions away from the instrument. The mere act of hearing music will not cultivate the art of listening. Even pupils who are technically well advanced will, as a rule, require systematic practice in listening to single tones (first diatonic, then chromatic), different kinds of rhythm, chord combinations, etc. When a preliminary exercise is played, the class must know whether they are to apprehend the distance of the intervals, or the value of the notes. Otherwise the ear receives but little benefit, because the mind does not co-operate. The lessons must penetrate beyond the auricle, and to the vestibule.

Another requisite to intelligent listening is that the hearer shall not see the actual performance. This is why the blind have such acute auditory nerves ; they perform but the single act of listening, whereas we attempt the double task of seeing and hearing at the same time. The matter of w^atching a performance of music is merely the result of morbid curiosity, for certainly the music is invisible, and those who see the most hear the least of a musical performance. Therefore the class is always to be so situated that they cannot see the key-board, and if the performer can also be hidden from view it will be still better. At a regular recital we admit the propriety of an occasional visual observation in order to discover the position of the performer's hands in producing certain effects. But this does not invalidate the rule that music is to be heard, not seen.

The first lessons, which are necessarily dr^^ and uninviting, should be made as pleasant as possible, for whatever one learns drudgingly is poorly learned. Therefore, as soon as the mechanical exercises in melody and rhythm are comprehended they should be

6 TO THE TEACHER.

superseded by or interspersed with short, simple pieces. The auricular exercises are to be continued throughout the bo(*k by devoting a few moments of each lesson to some example in tones and rhythm.

Whenever a certain style or form is described the desci iption should be followed by a performance of that particular type, in order to stamp the unsealed impression of the worded explanation upon the mind. In these cases the questions are to be omitted until the chapter has been concluded.

Notwithstanding every member of the class will require a copy of the work, the author recommends the use of a common notebook in order to make a condensed statement or epitome of certain prominent features. Thus, the Sarabande may be described in the note-books (from your dictation) as briefly as this : metre, \ ; mode, generally mirior, accent on seco7id beat ; movement, slow. These are the main features ; and where so many styles are described this much is sufficient, for the Sarabande can be easily recognized from this description. Afterwards, as a review of the lesson, the class would be more interested in knowing some historical or esthetic details. Aside from these advantages, the art of writing such synopsis serves to reinforce the memory and produce an impression, where the mere reading might leave no impress. The metre, mode, rhythm, movement, etc., are to be ascertained by the class after hearing a section or period of any style or form under consideration.

In such chapters as XV, XXVII, XXXV, and all of Parts X and XI, the substance of the text should at first be extracted by reading certain paragraphs and questioning the class as to the meaning or application. As soon as a conclusion is reached it should be written, briefly as possible, in the note-books. Some of the chapters may require practical examples at certain points not indicated in the text. In a chapter like XXVII almost every sentence should be analyzed. x\fter an opus has been played and analyzed auricularly, the students are to be allowed to see the printed copy.

Some persons have a gift of recognizing at once the absolute pitch of any tone. If your class contains such an exception, give them questions like rhythm, periods, form, etc., not alone for the benefit of that particular person, but to prevent any embarrassment to those not possessing this gift. If, on the other hand, you discover a backward or obtuse member of the class, be patient and

TO THE TKACHKR. 7

assist them; not by answering their questions, but by giving the question in such manner that they will be induced to instigate comparisons, and thus acquire that all-important possession — the ability to think. Do this as the clever lawyer questions the witness from whom he desires favorable testimony. This is the art of classteaching. And the fact should be constantly remembered that many cases of apparent stupidity are the result of our false system of education, rather than inherent obtuseness.

Attention is now called to what the author considers the most important part of this system : that is, the analyzation (according to the analytical key) of every possible point of distinction and constituent element which influences the performance, the construction, or the effect. This is to be done principally away from the instrument, and at first by the class collectively. If, in analyzing a certain opus, a sequence, transition, or counter-subject is overlooked, call attention to the oversight and have the neglected detail pointed out before proceeding. When the symbols and the details to which they refer are understood, each student should be required to analyze, by means of the symbols, a few Sonatinas from Reinecke and lyoschhorn, followed by one or more Sonatas by Em. Bach, Haydn, Mozart, Dussek, and Steibelt. Some of the single forms are also to be marked according to the analytical key. (The application of the symbols may be gathered from the analysis of the Clementi Sonata, Chapters XXXVII and XXXVIII.) Insist upon the indication of every constituent element and peculiarity that is observable. A bell motive, a hunting-horn signal, or an anticipation may be detected and marked, away from the piano, but the esthetic or suggestive nature of a certain opus will frequently require an actual performance to determine. Hence, these latter peculiarities are not mentioned in the key.

The author's experience in using this system during the past eleven years has demonstrated to his own mind that many important features of classical music are observable in this mode of analysis which would not be detected by merely reading the music at sight as in actual performance. Music has become too complex and many-sided to be comprehended in this prima vista manner. Indeed, those who never study a work away from their instrument know but little of what the music contains.

With regard to reading from the book, that is left entirely to the judgment of the instructor. In nearly all cases the information

S TO THE TKACHER.

for the class is easily distinguished from the mere modus operandi laid down for the guidance of the teacher. The language is not sufficiently poetic to justify one in always adopting it, especially as certain topics may in certain cases require a different mode of treatment from that of the te^ct.

The compositions mentioned as illustrations at the end of each chapter were, in most cases, indicated at the time of writing and necessarily selected from the author's library. But frequently some other piece of similar style would answer the same purpose. For instance, io Chapter XVII, a Bourree by Couperin, Rameau, Scarlatti, Nardini., Matthison, or Benda, would serve as good a purpose as the one recommended. But in reference to the Bolero and Saltarello care must be taken to select examples containing the disproportionate rhythmv at least until the class has heard several standard examples.

A few words of caution are also here included in reference to the roccoco pieces which have recently found such favor with composers and listeners. A great many enterprising scribblers have assumed the names of old dances for their inane effusions, hoping that what would not pass cuirent as a Main Street March or a Sawdust Waltz might find favor in the guise of a Gavotte or Minuet. Beware of these counterfeits, for should the class form opinions of roccoco music from such precedents they would some time be obliged to erase those impressions. So it will be better to select illustrations from the master-worVs quoted, and thus build upon solid foundations.

When the various styles are well understood it would be well to play a few roccoco suites, such as those mentioned in the Compendium. Where a certain opus is specially analyzed it will, of course, be necessary to procure a copy of fhat particular composition. In other cases selections may be made from the Compendium, which will be found complete so far as th\«^ system is concerned. The teacher's own collection of music may also be utilized.

In view of the fact that many successful teachers are not skillful executants, care has been taken to include in the Compendium, as well as throughout the book, selections of medium difficulty, which may be used as illustrations of the various chapters.

THE AUTHOR.

March 4, i;

CONTENTS,

Prepack

To THK Teacher

PAGE 3

Chapter ii. Chapter 12

Chapter 13.

Chapter 14.

Chapter 15.

Chapter 16.

Chapter 17.

Chapter 18.

Phrase, Semi-phrase, Motive. Melodic and

Rhythmic Construction 46

Phrases beginning upon fractional parts

of a measure 53

Section. Dififerent Kinds 56

Periodic Construction. Type 59

Ballad Model. (Two Periods) I 67

PART IV. Primary Forms. (Three Periods) 72

The Dance Form. Common Species 80

" " " Roccoco Species 85

" " " Modern Classical Species . . 90 lO CONTENTS.

, PART V.

PAGE

Chapter 19. Prelude, Introduction, Intermezzo 98

Chapter 20. Uneven Phrases and Sections. United

Periods loi

Chapter 21. Coda (Postlude). Curtailed Period, Extended Period 105

Chapter 22. Dispersed Harmonies. Abrupt Transitions m

PART VI. Chapter Chapter

Chapter Chapter

Chapter 27.

Characteristic Styles: Ivyric, Thematic, Harmonic, Antiphonal, Canonic, Fugal and Bravura . . 114

Intermediate Details: Eingang, Second Theme, Episode, Termination, Recollection, Stretto, Sequence, Passage and Cadenza 122

Intermediate Details— continued : Echo, Repetition, Anticipation, Parenthesis, Pedal-Note .... 129 Miscellaneous Single Forms: Spinning Song,

Hunting Song, Boat Song, Cradle Song, Bell Piece (Carillon), Night-Song, Serenade, Romance, Bagatelle, Invention, Toccata, Etude, Song Without Words, Pifferari. Scherzo, Humoresque, Idyl 133

Romantic Single Forms: Feu Follet, Will-o'-the-

Wisp, Fairy Revel 140

Part VII

Chapter 28. Canonic Imitations: Free, Strict, Contrary, and

Partial 144

Chapter 29. Old Cyclical Forms: Suite, Old Sonata, Partita . 148 Chapter 30. Mixed Forms: Potpourri, Medley, Common Overture, Theme and Variations. Imperfect Forms . . . 150

Chapter 31. The Rondo Form

Part VIII

Chapter 32. Auricular Exercises: Pitch, Force, and Quality of

Tone ; Number of Voice-Parts, Location of Principal Theme, Style of Performance, Phrasing. Analysis of Toccata by Paradisi 160

Chapter 33. The Small Sonata Form, In major 169

Chapter 34. " " " " In minor 178

Chapter 35. Analysis of Thematic and Irregular Periodic Construction. Thesis continued. Liszt's "Waldesrauschen." Apotheosis 182

CONTENTS. II

Part IX. Paoe

Chapter 36. Abbreviated Symbols, and Key to this Analysis. Explanation of the same . 188

Chapter 37. Analyzation of the Sonata Movement. Application of the Key . . . 197

Chapter 38. Analyzation of Entire Sonata. Further application of the Key 204

Part X

Chapter 39. Origin and Development of the Sonata

Form 212

Chapter 40. Development of the Sonata continued . . 223

Chapter 41- Enlargement and Perfection of the Sonata

concluded 232

Chapter 42. Symphonic Form. Overture, Concerto,

String Quartette 238

Part XI

Chapter 43. Program Music: Dramatic, Characteristic, Descriptive and Realistic . . 248

Chapter 44- The Anti-Classical Epoch. Modern Romantic, Rcmantic-Classical and Realistic Styles 255

Chapter 45. American Orchestral and Choral Works • 285

COMPENDIUM.

COMPLETE MUSICAL ANALYSIS.

PART I Chapter I

AURICULAR EXERCISES.

NATURAL INTERVALS.

WE will presuppose a class of from six to twelve pupils, all of whom have some practical knowledge of music. The class should be so arranged that they cannot observe the key-board of the instrument. The teacher at the piano sounds the different intervals of the major scale of C, from i to 8 ; explaining that i is the tonic, or key-tone; that the scale is based upon this fundamental tone, and that the other intervals naturally revolve around and end upon this tone- To make this plain to all, play the scale ascending and descending, stopping upon different tones, as the seventh, sixth, fifth, or second ; then ask if the effect is complete and final. Then play 3, 2, I, asking the same question. After this, sound 5, 6, 7, 8, and demonstrate that the scale naturally ends upon the key-tone, either ascending or descending. When this is comprehended, begin upon the key-tone, i, sound the next degree of the scale and ask what was played last. If answered incorrectly, repeat the question until some one answers 2. Then sound e, /, g, a, b, and c, and require the number of each interval to be named after it is sotuided. Repeat the lower c frequently, in order that the class may

Ex. I.

COMPI.BTE MUSICAL ANALYSIS.

judge of the distance of each tone from the tonic, may then be sounded as written :

These intervals i

22:

3:

zz:

r

Pause after sounding each tone until the correct answer is given. When this has been well practiced, select such intervals as these :

After naming the number of each tone as above, the class may call it by intervals, thus : r to/, a fourth; /down to d, a third ; ^ to ^, a fourth, etc. The exercise consists of a sequence of fourths, and is easily recognized after the first two measures. If the class fail to name a certain interval, they may be allowed to sing the intermediate tones, thus : If they fail to recognize g as the fifth, sound the key-note and require the class to sing the scale diatonically until they come to the tone in question, as here :

-^} ^ a 3 4 fi I ^ being i, g would be the fifth tone if -fi) jj J ,^=1 they sang correctly. The syllables, do,

"^ ' re, mi, fa, etc., may be used in such

cases. The author has often found this of benefit to certain pupils. Other arrangements of the natural intervals will suggest themselves to the teacher ; and when the class is backward in naming the tones in these exercises it would be well to play in succession several thirds, as c, e ; d, f; e, g ; etc., not simultaneously but alternately. Then give examples in fourths, fifths, sixths, sevenths, and octaves, s , ■ ■^;-pi— I The tonality of c should be kept =Z_| ^ I in mind first, and the answers given as indicated in the book.

Afterwards the numerical intervals may be called for as thus in the last example: seventh {c to F), sixth {b to d), seventh (d to c), etc. American students, especially those who have heard but little good music, require much practice upon these auricular exercises, until they can name an interval as soon as it is heard.

Ex

• 5-

COMPIvI^TK MUSICAI, ANAI^YSIS.

'5

THE MINOR SCALES.

The teacher should play each form of the minor scale, ascending and descending, until any of the forms can be recognized from hearing. Here are the scales in regular order :

THK OLD MINOR SCAI,K.

is:

This is the minor scale of Palestrina, known as the Eolian mode.* Before the chromatic scale was introduced, the above was much used, being the nearest approach to our modern minor scale ; in fact, the descending form of the melodic minor scale is identical with this. It would be well to have the class name the whole and half-steps in the above scale. The half-steps or minor seconds are indicated by slurs.

THE MBI.ODIC MINOR.

I

Modern tonality requires that the seventh of every key shall be a minor second below the tonic, in order to be a leading tone to the tonic. This necessitates sharpening the seventh, which is also the major third of the dominant chord, e, ^-sharp, b. But inasmuch as the augmented second (/to ^-sharp) is not a melodic sound, composers have, for melodic purposes, sharpened the sixth as well as the seventh, making the last half of the scale like that of A major. The result may be seen in the last exercise. Let the class become familiar with this form, ascending and descending ; also have them analyze the scale auricularly, by calling the whole and half-steps, and the order in which they come. The last and most important form of minor scale is this:

I sz:

THE HARMONIC MINOR.

^=£1

12 3 4 5

* See Ecclesiastical Modes in the Histories of Naumann, Grove, or L,anghans.

l6

COMPI.ETE MUSICAL ANALYSIS.

This is the most characteristic, and is called harmonic because every

tone occurs in the harjnonies of the tonic, sub dominant, and dominant

which are employed in a perfect cadence :

^ (The class should discover in these

chords every tone in the harmonic scale.) It is also remarkable that the

Ex. 9. { principal diminished seventh chord,

with its natural tonic resolution, will likewise include every tone of the harmonic scale:

The first chord includes the second, fourth, sixth and seventh of the scale, while the concord includes i, 3, 5; these together making the entire harmonic minor scale.

Another advantage of this form of scale is that it contains one more minor second (half-step) than any other scale, and this fact has not escaped the attention of the great modern composers.

After playing the scale up and down, let the class discover the three half-steps. Then repeat the three forms (Ex. 6, 7, and 8) in different order until the class are able to name each one as soon as it is sounded.

At this point the class should be made to understand the difference between " key " and " mode." Key refers merely to the foundation of any recognized series of diatonic tones ; as when \ , say that a piece beginning and ending upon A is in the key of A, or that there are twelve major keys and twelve minor keys. Key is the index to the scale. Mode refers to a characteristic series of sounds* the fundamental of which is the key-tone. Our normal major scale constitutes the major mode; and when this is transposed above or below we say the key has changed, but the mode remains the same.

Before the time of Monteverde there were seven modes, each one being characteristic. These still exist, though not now recognized as tonal scales. At present we have but two modes — major and minor.

Intervals somewhat similar to those in Ex. 2, 3, and 5 may now be played in minor. As soon as the class becomes more proficient, the intervals may be played less slowly.

ILLUSTRATIONS.

1. Sarabande in D minor, from Bach's First French Suite. (Mostly harmonic form.)

2. Gipsy Rondo in G, Haydn. (Both strains in G minor contain examples of the harmonic and melodic minor scales.)

3. Kuhlau, Op. 55, No. i. (The Allegro contains scales in major and melodic minor.)

4. Second I^ieder ohne Worte, Mendelssohn (A minor). (The harmonic minor scale descending appears in melody, measures 5 and 6.)

Play these pieces (or parts specified) until the class can recognize the different scales, especially the major, harmonic and melodic minor, and chromatic.

Chapter II.

CHROMATIC INTERVALS.

HAVING had considerable practice in naming the natural, unaltered intervals we may now introduce chromatic or altered intervals. Explain to the class that you propose to sound some of the chromatic tones, not contained in the diatonic scale. Play the chromatic scales slowly, ascending and descending. Sound c, then <?-flat, and call for name of last note. If answered ^-sharp it is correct, for ^-sharp is the enharmonic equivalent of ^-flat, being the same upon the key-board.

Then sound /-sharp and require the note which represents that sound to be named rather than the theoretical designation, for theorists are not agreed as to whether this is an imperfect fifth, a minor fifth, or a diminished fifth. (The author in his Harmony Treatise calls it by the first name.)

£x. II.

l8

COMPLKTK MUSICAI, ANAI.YSIS.

The following intervals may now be sounded, and in each case the answer is to be accepted if either of the enharmonic equivalent* is mentioned, as these exercises are practical, not theoretical :

i is:

^(5^

ISL

Zzz:

i

The first tone only is to be named to the class ; after which they must judge the distance from the key-tone to each succeeding sound ; though in the sixth measure it is easier to recognize a from its being a half-step below the <^-flat, and so in the eighth measure, if one member of the class names the /-sharp correctly, it will be easy enough for the next member to recognize the g, because it is a minor second above. In case of failure to name certain tones, th? teacher may play the chromatic scale from c up to the tone in question, and the class may ascertain the correct answer in this way.

Note. — The practice of other intervals is left to the discretion of thf; teacher. Some classes require much -oractice in naming tones; others are more proficient and need but few lessons in these preliminary matters If the class is not proficient it will be well to intersperse short melodic exercises with the following lessons in metre and rhythm. This, however, should not be done before the second or third lesson in metre.

The teacher may now perform certain short pieces and ask the class to tell the mode, major or minor.

ILLUSTRATIONS.

1. Kuhlau, Op. 55, No. i. (The Vivace contains chromatic •cales ascending. These occur in the second period and again just before the coda. Play the entire movement.)

2. Rubinstein, Op. 3, No. i. (La Melodia in F.) The first intermezzo consists of a chromatic melody in the bass descending from c to c. The second intermezzo contains the same design reversed, ascending in the bass one octave. Play entire piece and ask the class to tell where the chromatics take place, and in which voice-part.

Also third period of the Heller Tarantella, Op. 85, No. 2.

The teacher should bear in mind that the object is not merely to cultivate in the pupil the sense of hearing as applied to tones and rhythms, but also a taste for music that has meaning as well as charm, a soul as well as a body.

COMPI^KTK MUSICAI, ANAI.YSIS.

i9

Chapter III. METRE

FROM one bar to another comprises a Measure, and the peculiarity of the measure as indicated by the metrical signature (numerator and denominator) constitutes the Metre. If the metrical signature is I the piece is in three-quarter metre, because three quarters, or the value thereof, fill a measure. The metre is always indicated by the numerator and denominator.* Here are examples of duple, triple, and quadruple metre, with the proper accents for each :

Jill

This mark of accentuation A is the most forcible ; this > is not so strong, and this - is very slight. The first of every measure in all kinds of metre receives the strongest accent. Each succeeding note which corresponds to the denominator also receives an accent. In common metre the third quarter note falls upon an equal division of the measure and receives an accent somewhat more pronounced than the second and fourth quarters.

Therefore, as the first quarter is accented the loudest, it becomes necessary to use two other degrees of accent — making in all three. These have been recommended by Von Biilow and should be more gpenerally used and understood. (See Ex. 13, c, second measure.)

No note of less value than a quarter in these examples is to be accented, except it fall upon one of the accented parts, or metrical divisions of a measure.

Thus, we might recognize the difi*erence between four eighths in I metre and four quarters in I metre, both being performed at the same rate of speed. The former would have but two accents, while the latter would have four:

I i I I 4 4 4 4

*The word metre is usually applied to what is here called rhythm.

COMPLETER MUSICAL ANALYSIS.

In order to make this perceptible to the class the teacher might play the two examples like this:

J J J J

f mp mf mp

The quarters are to be played as fast as the eighths. Reverse the examples and repeat them until the class can recognize the difference between f and I metre.

The class should also make copies of the printed examples, showing the manner of accenting the various kinds of metre. A few short pieces should now be performed for the class to hear. Choose for the present only f , I, and I metre and allow the question, metre, to be a general one. The class may also endeavor to beat with the notes indicated by the metrical signature. In this case their beats must correspond to the accented parts of the measure.

The first pieces should be simple, followed by more difl&cvilt selections. The waltzes and marches of Schubert are good for tlj is purpose. One or two periods will generally sufiice. Selections from the works of Loschhorn, Tours, Lrow, Kirchner, or Heller will proue interesting and instructive.

Chapter IV. RHYTHM

RHYTHM signifies symmetry, proportion, and division. The latter definition is more applicable to our first lessons in rhythm, as "sye wish to indicate by that word the peculiar division or arrangement of the notes in a measure in comparison to the metrical division. For instance, a March is in f metre, with this peculiarity of the rhythm :