The larger forms of musical composition : an exhaustive explanation of the variations, rondos, and sonata designs, for the general student of musical analysis, and for the special student of structural composition

Front matter

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Et ee ae

PER e Te i RA Ly

Table Of Contents

(The numbers in parenthesis refer to the paragraphs.)

PAGE BRLOD GUMS a sel lew dod aes ee Sse eee wie Od DIVISION ONE.

THE VARIATION-FORMS, Comparative: Table ia coin," ote ce tae gee sa hele A UE 1, Se

Introduction

1, The term “Larger Forms” refers specifically to those compositions which assume greater proportions, and therefore require greater breadth of design, and more concentration in the conception and arrangement of the structural factors. But length is not the distinctive trait; for a movement may be concise and fairly brief, and still comprise the characteristics of a Larger form.

2. The dimensions which Larger forms usually assume, and the increased necessity of sustaining interest by effective contrasts, lead naturally to the employment of all the resources of tone-combination, and, therefore, of both distinctive styles of composition — the homophonic and the polyphonic. For this reason, these Larger designs are sometimes called the “Mixed Forms.”

8. The homophonic texture is that in which one single melodic line represents the chief contents, while all that goes with it is merely harmonic accompaniment. In the polyphonic texture, two or more, or all, of the lines are of equal melodic prominence and importance. Pure homophony is seen in the 2sth (and others) of the Songs without Words of Mendelssohn ; pure polyphony in the Fugues of Bach’s well-tempered Clavichord. The numerous intermediate or mixed grades, between the two genuine styles —as in the Scherzo of Beethoven’s 3rd pfte. Sonata —are

called “polyphonic,” but not “polyphony.”

4, The larger forms may be classed in four distinctive Divisions:

I. The Variation-forms;

II. The Rondo-forms; III. The Sonata-allegro forms; and IV. Compound forms.

DIVISION I.

THE VARIATION-FORMS.

I

COMPARATIVE TABLE OF DIVISION I, ee en ee arene

Basso OSTINATO VARIATION-FORMS Ground- Ground- Passacaglia. Chaconne. {Small Large motive. bass, or Variation- Variation-

Basso osti- form. ‘form. nato proper.

THEMATIC BASIS

Motive of one| Phrase of two | Period (or repeated Phrase) |Double-period | Usually 2- or or two meas-| or four meas-| of 8 measures, of which or 2-Part 3-Part Song-

ures, chiefly | ures, chiefly the burden is Song-form, 16| form, 16 to 32

in bass. in bass. usually the | usually the measures. measures. bass-line. chords (inci- | Melody Melody dentally the (chords, or ° melody or the] bass, or forbass). mal design).

(chords, etc.)

DISTINCTIVE TRAITS

Minor Minor or mode. major mode.

Triple measure $) $).

go 6 3 Sue ye

TREATMENT

Homophonic; |Homophonic; |Preponder- | Preponderantly| Chiefly homophonic, occachanging changing antly poly-| homophonic; sionally polyphonic; the melodic, forms, phonic; varying variations completely separhythmic phrase-group | thematic patterns of | rated, asa rule.

and _ har- design. accompani-| (chiefly) Form of Form of monic forms ment of harmonic figu-| Theme re- Theme treated in upper bass-theme. | ration, with tained, with | with greater (added) approximate unessential freedom, and parts. retention of | extensions. transformed

Structure continuous, with ordinary Melody. by Insertions

(transient) cadence interruptions. Partly contin- and extensions. uous, partly Elaboration, separated, as well as variations. Variation.

eneetten

S Par. 5. THE GROUND-MOTIVE. 3

Chapter I. The Ground-motive

5, The Ground-Motive is a brief melodic figure, usually one measure in length (sometimes less or more), placed, as a rule, in the bass part, and repeated there an optional number of times. These repetitions are generally exact, but may be modified. And the motive is occasionally transferred to another part. * See Ex. 1, bass.

6. Its usual retention in one and the same part, however, distinguishes the Ground-motive from the motive of the Invention-forms, in which it is constantly zmztated in changing parts. The term Ground-motive is adopted in this book, not alone because of its location in the bass (the “ground” part), but more particularly with

~- reference to its object and character as fundamental motive, — even when placed in some upper part.

7. A sentence contrived with a Ground-motive is not a Variation-form in the recognized sense of the term; but it has a very similar technical basis, and should be regarded as an embryonic condition of the same process of thematic development which leads directly into the genuine Variation-form. It is more likely to occur during a certain section of a larger design (as in Ex. 1), than to form the basis of an entire composition (as in Ex. 6, No. 1).

8. At each repetition or recurrence of the Ground-motive the upper parts (or those others not holding the motive) are so changed as to constitute new melodic, harmonic, rhythmic, or contrapuntal associations with it. See Ex. 1, upper staff.

This indicates the relation of the Ground-motive to the Variation-form, which is defined as “a series of ingeniously modified (or variated) repetitions of an adopted ' Theme.” Here, the thematic germ is simply smaller, being only a motive or figure.

9. It is customary, and wise, not to alter the harmonization at every successive recurrence of the Ground-motive, but to use the same, or nearly the same, form for two successive announcements (see Ex. 1, measures 1-2; 3-4; Ex. 4, measures 3-5). Also, to construct related (if not strictly similar) two-measure, or four-measure groups, in order to obtain the structural effect of phrase- and period-formations (see Ex. 1, measures 1-2; 5-6; Ex. 4, measures 4-5, 8-9). Also, to revert, later on, to preceding groups, so as to confirm the latter, and to intimate still larger designs (double-period, or even Song-forms). See Ex. 1, measures 2-4, 9-11; Ex. 6, No. 2, measures 11, 12, etc., like measures 1,

2, etc. Such confirmations or duplications constitute the only legitimate means of obtaining effective and intelligible form. Compare par. 12¢, a:

10. For the sake of greater freedom and effectiveness, three licences are recognized as valid and permissible; but they are not to be applied until, in later recurrences of the motive, the necessity of avoiding monotony becomes evident: .

1. Unessential (that is, slight, unimportant) melodic or rhythmic alterations of the motive itself. These may consist in the insertion of embellishing tones (passing and neighboring notes); dots; rests; shifting the position of the motive in the measure; an occasional modification by accidentals.

2. Transferring the Ground-motive to some other part,— as a rule, not until it has appeared several times in the bass (or whatever its own part may be).

3- Substitution of sequence for repetition, whereby the motive appears upon other scale-steps, or in different keys.

These points are all illustrated in the following example, from the Finale of Brahms’ 1st Symphony:

2S SS

[Ground-motive] ——*

*r) Ground-motive of four diatonic tones; one measure in length, but beginning at the second beat. Observe that a Ground-motive may occupy any position in the measure.

*2) The melodic formation of the second measure is similar to that of the first; also meas. 4 confirms meas. 3 (as sequence); that is, the measures are “cast in pairs.”

*2) The motive, in bass, is shifted up an octave.

*4) Measures 5-6 confirm measures 1-2, like a Consequent phrase in the period-form.

*:) The bass descends to its former register. This measure and the next two agree with measures 2-4.

*6) The motive in bass is shifted up a 5th; that is, it is reproduced in sequence, instead of repetition.

*7) The melodic form is inflected by the accidental e-flat.

*8) The motive is transferred to the uppermost part, and, at the same time, it is rhythmically shifted—back one half-beat.

*9) The motive appears, in the same syncopated form, in “tenor.”

11. Upon the recurrence of this passage, later in the movement of the Symphony, it assumes the following, more vital and interesting shape:

he, \Ground-motive o ¢ 4 o fe x za a4 | a a es e+

BRAHMS,

*1) The Ground-motive appears first in the soprano, then in bass; and this regular alternation of bass with the upper part continues to the end of the:sentence.

12. a. The “variation” of the accompaniment to the successive recurrences of the adopted motive induces the composer to exercise unlimited ingenuity, and the result may be unique and effective.

6. The treatment of the added parts may be either homophonic or polyphonic, more commonly the former. But, in any case, the student must remember that no music is certain of its appeal without definite, and sustained, melodic design; and he should therefore direct his effort first to the conception of a good counter-melody.

c. It is also equally important to adopt and develop, beforehand, some perfectly definite plan for the entire sentence or composition, in order to avoid an absurd jumble of patterns, which would destroy the unity and effectiveness of the structural design as a whole. This is clearly illustrated in some of the following examples: Ex. 6, No. I, of Arensky, is a Song-form with Trio; Ex, 6, No. 2, of Brahms, is a group of phrases approximating the s-Part form (two returns to the first phrase); Ex. 7, No. 1, of Bizet, is a Song with Trio, the Ground-motive running through the Principal Song and its da capo, but abandoned during the Trio up to the retransition, where it Te-enters; Ex. 7, No. 3, of Lachner, is a regular Three-Part Song-form.

d. The device most naturally employed for this purpose is (as hinted in par. 9) that of duplication. The term « duplication” is employed here, and throughout the book, to indicate the principle of repetition, reproduction, or recurrence, in the broadest sense, and may involve almost any degree of variation that could reasonably be included in a re-statement of any member or section of the form. Duplication means, then, ‘the repetition (more or less exact, but possibly greatly modified), or the recurrence, of a measure, a phrase-member, a phrase, or an entire period.

For illustration: In Ex. 6, No. 1, measures 3-5 form an Antecedent phrase, duplicated, in the following three measures, as Consequent phrase (in contrary motion); in the same example, at note *3), there is a recurrence or duplication of this 6-measure Period; and at note *5), a return to the beginning and recurrence of the first 12 measures (in different rhythmic form). In Ex. 7, No. 1, four successive announcements of the Ground-motive become the basis of a continuous 4-measure melody, as Antecedent phrase, immediately duplicated as Consequent phrase. Somewhat similar is Ex. 7, No. 3, in which the duplication or repetition results in a 16-measure Double-period of very definite and striking melodic form (as Part I), — followed by Part II, of equally clear design, and, later, by Part III as recurrence of Part I.

Further illustrations:

oa eae ee Chg are a eet es P

*I

) *2) az ce = Sas fineeos [aan ee les) a = 7 rea ae Sees 5

‘4 e oe 8 air hae! as | € —fe— = ae “ig B s . Pe He , =|

= ee j ee Ground-motive

SSS

*r) From the Finale of Brahms’ 2nd Symphony.

*2) This Ground-motive is also one measure long, beginning at the unaccented second beat. It remains in bass throughout.

*3) Here the motive is shifted to the next higher step, and changed to the minor form.

*4) Again shifted up one step, and also expanded (by partial augmentation) to cover two measures.

*<) The sentence ends with this announcement of the first half of the motive only, in regular augmented form.

*6) The structural grouping, in sets of four similar measures, is apparent here.

Sigs os ae oe — Gye ae es o-3-|-@ weg : @ g ae Sone SS eo ta ae SaaS 5a aa STR ETS oe

: ete Ss —S- Seaeciear rire rare Sere - a @ @ in octaves

*1) From the Allegretto grazioso of Brahms’ 2nd Symphony. The’ Ground-motive may be interpreted to represent any location in the measure, but it was probably conceived as beginning with the third beat. The repetitions are not altered at all.

A somewhat similar passage occurs in the first movement of Beethoven’s 7th Symphony, measures 50 to 29 from the end. The Ground-motive, derived from the beginning of the Principal Theme, is two measures long, and appears eleven times in succession in bass, without change (Ex. 5, No. 1). And also near the end of the first movement of Beethoven’s oth Symphony (Ex. 5, No. 2):

No. 1. Sen: Ex. Se = LS | “@ = eG =z. en 11 times No. 2. ; BEETHOVEN.

) a a a LL.

SS

Sat teh eit eee aay 38 =f = ao | ss *3, etc measures a Io THE LARGER FORMS OF MUSICAL COMPOSITION. Par. 12.

Par. 12. THE GROUND-MOTIVE. II n Yy- -@. -9 oo ett ae ec ool aS Taeicec nae] Sea, ee ao os feelilt a = [4 See SA a == [ 5-meas. phrase ‘a x =a (el eee Se Kp 3 eco Sage oe eee ee a 9 orace (Oras. le as at the beginning etc. 7 meas.

cS =] ee ee

BRAHMS, op. 116-2.

i

: l motive i ~G-

No. 3. From Parsifal.

aa ) Fe ee ee eee PES ee pe aie og

= o-- at @ Gr.-motive | i: _- . ip f ear a | PAGES nyt sat oe Rye ot ae ‘E = = = o> @ -— | ae =f et J $e zt 3 Octaves ie

J ye # fe

SUG seen rota sa Sean se : —~ 2 fp trem, I a | Z gee 8 = es S eee | = eek ea Come finally : -————_, —

Bee sappy

Octaves —@& -@-

Marygrove College School of Music Par. 12. THE GROUND-MOTIVE. 13

*1) The Ground-motive includes six quarter-notes in jive-quarter measure; at each recurrence it is therefore shifted forward one beat, with unique result.

*2) The melody here is the contrary motion of that at the beginning.

*3) Here the Ground-motive regains its original location in the measure, and the preceding phrase is repeated (and extended to 10 measures), while the motive appears in broken-octave form.

*4) This passage, with transposition to the dominant key, answers, in the form, to a “Trio,” or Subordinate Song-form, with da capo 14 measures later. The Ground-motive retains its original letters, however, but the third note becomes g-sharp.

*-) The da capo, or return to the beginning, in more elaborate rhythmic form.

*6) The Ground-motive (after four measures) is shifted down a fourth.

*/) Here (again after four measures) it resumes its original location; but the recurrence of the first phrase does not appear until two measures later, — in consequence of the 5-measure phrases.

*8) Shifted upward a fourth.

*9) This measure, and the following three measures, constitute an Interlude, or sort of retransition.

*10) The Ground-motive is transferred to the inner part, and back, twice. The cadence follows. This entire extract forms the “Trio” of an Intermezzo, op. 116, No. 2.

*11) The Ground-motive here, and later, is abbreviated by omission of the final tone, or tones.

*12) Transferred, in abbreviated form, to an upper part.

Rheinberger, Organ Pieces, op. 156; No. 7, “In memoriam.” Ground-motive oe f= ————- . ° ° of two measures: (egal Reiterated in bass, exclusively, 42 times; frequently shifted to other scale-steps; no interludes; extended at the end by a brief codetta.

Rheinberger, Organ Pieces, op. 167; No. 12 (Finale); motive of one measure

[erg ——f] This is practically one tone only, as broken octave; it is fre- = se: quently shifted to other steps, and often interrupted by interludes.

Tschaikowsky, 4th Symphony, first movement, measure 134 (Ben sost. il tempo precedente); through 22 measures, taal See also, the same Symphony, “Trio” of second movement (pid mosso); motive melodically modified.

Arthur Shepherd, Pfte. Sonata, op. 4, second movement. Motive of two measures: fel Throughout the movement, but frequently 5 s coll’ 8. interrupted, and modified.

Moszkowski, “ Boabdil,’’ No. 3, (Moorish Fantasia). Motive of two measures

= — . ° ey Sees First in bass (14 presentations), then in soprano

=o im contrary motion (16 times), and again in bass; then in other, enlarged, forms, chiefly in the upper part, and finally again in bass.

Wagner, “Tristan und Isolde,” Act. I, Scene V, Da stand er herrlich, hehr und heil; 2 measures, bass, four presentations.

Ottokar Novd¢tek,“ Basso ostinato” in f-sharp minor. Motive of one measure:

aie SSS aF It runs through the entire, fairly lengthy, composition, with occasional alteration of d to d-sharp — and a few other changes; also transferred briefly to the uppermost part. An interlude is inserted, near the end.

Novadéek, “Basso ostinato” in e-minor. Motive of two measures:

eee aS =a FH] An interesting illustration of consistent formal design. ~o- <o ;

Jean Sibelius, Pastorale from ‘“Pelleas und Melisande” (op. 46, No. (ong, Mos) The

Ground-motive, of six beats: Spey is announced in bass, and remains, throughout, in the same register; but other, lower, basstones are frequently added, which give to the motive the effect of an inner part. A melodic change occurs, at the end of the motive, in three of the presentations.

13, When the motive is announced — and retained — in some upper part, it is not a Ground-motive in the stricter sense of the word; but the principle, and the treatment, are exactly the same:

No.1, “Le Carillon,”

se ois, a

No, 2.

Moderato gS tepesteeee

Motive aga rz ae ee pene eh oe samuel 22a gs a= ee Ss

‘tse Op. 39-

Erte? Po

——

Nog... cLrio;?

Part I

Oy Pe Se aati ene paree ieee # $s say so! ees ae = = {| besos meee = = | Set | | Part II FRANZ LACHNER, Op. 113. oe eRe eel eee fe] etc.

*1) From Bizet’s orchestral suite, “TArlésienne,” 4th movement. The motive, one measure long, is presented constantly in the inner part.

*2) The closing, re-transitional, measures of the ‘‘ Trio.”

*3) The motive of one measure appears as inner part, but is practically a bass, with the first tone held as organ-point. It runs through the entire composition (44 measures) without change.

*4) Similar: the motive is really in tenor, but the bass is chiefly an organ-point.

See also: Debussy, Song with pfte., “Les cloches.”” The motive of one measure

——— appears first in bass (5 presentations, and cadence); then

2 in inner parts (13 times, and cadence); then in soprano, E major (N.B.)

in the following three rhythmically modified forms, to the end:

BUG aataelele cess lors sesanc ys SCA Aneel abr! © ee] ee | ee F and final cadence. e twice twice twice

This is a very beautiful and instructive example, worthy of close study.

Bizet, Suite “TArlésienne,”’ first movement (Prelude), the passage with four- —@ + _@—-s5 flat signature. The motive, two measures long: E7¢ sented constantly in the soprano (xo times), with one chromatic change (in the 9th presentation).

Maurice Ravel, Sonatine in f-sharp minor, last movement, measures 60-94. Note. — Such examples as the following of Chopin:

Allegro. é = ===, etc. (Polonaise, 7 F Sif wr Phe as op. 53); and Bre y etc.

(Berceuse, op. 57); — and Tschaikowsky, op. 11 (Andante), — cannot be classed among the Ground-motives, because they are not the thematic source and basis of the sentence, but merely figural motives, of distinctly accompanying character, whose uniformity, though characteristic and effective, is rather accidental than intentional.

Write a number of sentences (brief, but complete), with Ground-motive. Use different kinds of measure, and various rhythmic forms, for each; also, motives of different length, and varied location in the measure, — but not beyond two measures in extent. Note, particularly, par. r2c.

Chapter II. The Ground-bass, Or Basso Ostinato, |

14, The Ground-bass, or, as it is more universally called, the basso ostinato (persistent bass), differs from the Ground-motive only in length. In some of the above examples the term “basso ostinato” might apply quite as well as Ground-motive, and is actually employed by Arensky (Ex. 6, No. 1), Novaéek, and others, for brief motives. The basso ostinato is, however, usually a complete four-measure phrase-melody, with cadence either on the tonic or the dominant. Sometimes, as stated, it is only two measures long; very rarely, a phrase of eight measures. See the Comparative Table, at the head of this Division.

15. When the basso ostinato is used as constructive basis, it leads, because of its length, to broader and more definite structural results than can be obtained with the Ground-motive. Therefore, it lends itself readily to development into a complete movement, with clearly

defined form.

16. In its treatment it corresponds, in every essential detail, to that of the Ground-motive. As the name implies, it is supposed to — appear in bass, and to be repeated there, throughout; and in older examples this is always the case. .

Par. 16. THE GROUND-BASS, OR BASSO OSTINATO. 19

3 ea ’ it af ie a f lS a finally: x |

*1) From the opera “Dido and Aeneas” of Purcell (Novello edition), No. 2. The Ground-bass is a complete four-measure phrase, with strong tonic cadence.

*2) Here, about in the middle of the “Song,” the motive is transferred to the dominant key, where it appears twice. ‘

*3) Note the effective treatment (evasion) of the cadence here, to prevent monotony; also examine the other (earlier) cadences, which are “bridged over” without rhythmic interruption.

See also, in the same work: No. 6 (eight-measure phrase), No. 12, No. 24, No. 38 (four-measure phrases).

17. The added material, in the upper part, should be devised with the utmost ingenuity, in varying forms or patterns, for each successive recurrence of the Ground-bass. It may be, and usually is, homophonic; and, as usual, the melody of the upper part claims chief attention. But it may also be more or less imitatory, or even strictly polyphonic, — ~ in which case it is likely to be assigned to the Passacaglia group, and to assume a correspondingly definite conventional character (par. 25).

18. The basic phrase may be a genuine basso ostinato, appearing only in the bass voice. But it may also be transferred, at times, to some other part; it may be shifted, as Sequence, to other scale-steps, with or without change of key; and it may be unessentially modified, melodically or rhythmically. Comp. par. ro.

19, Here, again, the style or “ pattern” of the added parts may be retained, with little change, for two (or even more) successive announce- . ments of the Ground-bass. (Comp. par. 9.)

And the design of the sentence as a whole may (and should) represent’ the purpose and effect of such complete structural formations as the Three-Part Song-form and the like. (Comp. par. rac, and par. 15.)

Or, in the absence of such definite structural traits, the whole may constitute a Group of phrases, with more or less evidence of some plan of continuous development, leading, through progressive stages of

Par. 20. THE GROUND-BASS, OR BASSO OSTINATO. ees constantly increasing melodic, harmonic and (particularly) rhythmic interest and power, to a climax at, or near, the end.

20. The most effective result is likely to be achieved by interrupting the series of thematic announcements after a time — best near the middle of the entire movement — and interposing a section in distinctly contrasting style, as Interlude or “Trio.” This should, of course, be followed by a resumption of the basso ostinato, either exactly as before, or, better, in new and more brilliant forms.

21. But, with this exception, no cessation of the repetitions of the basso is considered legitimate; and the successive variations are, naturally, not to be isolated by heavy cadence impressions, but should be as continuous as is compatible with effective structural presentation.

The monotony of the regularly recurring cadence of the bass theme may be avoided by skilful evasion of the cadence — ingenious harmonic and rhythmic treatment of the given cadence-tones. See Ex. 8, note

Further:

SSE etc. See original

Six times *3)

| SS aS eee aac ce —+ in octaves -6-

Par. 21. THE GROUND-BASS, OR BASSO OSTINATO. 23 pao ee er tert tere p ma marcato

2 ba a fe 2 5 { s is ae e Peta ie :

See original crescendo Th anal Sp ee S| = | aA. 4 nthe f

* Sa = ; ee oe a mieege ised") [2 A b—s i= E a -

BRAHMS.

eee = pepn . o—§_e ro) ace re *IO)

*1) The Finale of Brahms’ Variations, op. 56, on a Theme of Haydn. — *2) Here the Ground-bass assumes its permanent rhythmic form. It is a jive-measure phrase, and this irregularity of form proves effective in removing the monotony of the cadences, which, though not evaded, always occur a measure later than expected. —*3) During these six repetitions of the bass, the rhythm of the added upper parts undergoes changes: at first a few <-triplets appear; then steady, emphatic quarterbeats; then eighth-notes; then sixteenths in the accompanying inner parts, against syncopated half-notes above; then 16th-note triplets; and then 8th-note triplets, carried over into the version at note *4).— *4) The theme begins to rise in register; at *s) it is in the tenor; at *6) the minor mode begins to assert itself; at *7) the theme is in soprano, and fully in minor; at *8) it is still higher. Note the rhythms. *9) The thematic melody returns to the bass. *ro) Here the theme is dissolved into a coda, with bearing on the Theme of the Variations.

THE GROUND-BASS, OR BASSO OSTINATO.

Presto

| ati o—. tea f ef g : #9 E BEETHOVEN —— eae al

2H EE]

e- -@- =f eae SN % ——— eal Oe OO.

SR ee 2 es a

—ee wt Te Rca | TTR Te. qe Hy} | | ~* | He) TH eer | aE wt NLL CaN

J — Ee = Phe Hee E ee ea 4 ie.

le {I eit! | 4) “Nh yg @LL elt eile y _| | 8 ett it) ae ® +elt rh rh sje e UT L LI} 9 = alt 2

Saha SEs

= ~Je

*r) The melody of this 8-measure Period is the Theme of the composition (op. 174, No. 11). It appears first in the upper part; then in the inner (tenor), and then in the bass; and this order of alternate upper, inner and lower part, is adhered to strictly, and without modification of the thematic melody, throughout.

*2) From Beethoven’s oth Symphony, the “Trio” of the Scherzo-movement. The thematic phrase of four measures is presented first in the Soprano, as melodia ostinata. It runs through the entire “Trio,” with a few interruptions, and with no other changes than a modulation to the dominant, and systematic shifting of register.

*3) The motive is transferred to an inner part, and its contrapuntal associate appears above.

*4) Here the motive is abbreviated. See the original.

See also: Beethoven, pfte. Sonata, op. 28; “Trio” of the Scherzo. The motive is a Soprano ostinato; a four-measure phrase, whose repetitions run through the whole “Trio,” with alternate change of cadence, in 6 minor and D major.

Rheinberger, op. 167, No. 10; Soprano ostinato throughout (see Ex. 15, No. 3).

A number of examples of the basso ostinato, and melodia ostinata. Employ various types of measure, and of rhythm. Limit the theme to four ordinary measures, or two large measures. The following given basso may be used for experimentation:

Several repetitions

Chapter III. The Passacaglia

23. The Passacaglia (French Passacaille) was originally a dance (probably of Spanish origin), always in the minor mode, and always in triple measure (usually 3— more rarely 3 or 3). It was commonly eight measures in length; sometimes, as Seda with a light semicadence in the middle.

The practical availability of so brief a sentence for a complete and lengthy dance was secured by the simple device of numerous repetitions. These were at first probably nearly or quite literal; but it became the custom to modify or variate the repetitions more or less freely, though never elaborately — the “variations” consisting chiefly of simple harmonic figuration or arpeggiation (and slight melodic embellishment) of the original chords, in different rhythms. The melody, or tune proper, of the dance was treated with comparative indifference, or disregarded altogether; the basis of the sentence was its chords, and this lent paramount importance to the bass-part, which was retained almost unchanged, thus creating the impression of a basso ostinato throughout the many repetitions of the dance-sentence. See par. 25.

See Bach, Clavichord compositions (Peters Edition, No. 1959) No. 6, on page 40. The “Dance” (Passacaille) is an 8-measure Period of two parallel phrases upon the same bass. This Period is repeated 18 times with “‘variations,” chiefly of a rhythmic nature. Between Variations 6-7, 9-10, and at the end, there is a da capo, or return to the original form of the thematic Period.

Very similar is the “Passacaglio” of Frescobaldi, cited in Ex. 15 (No. 9).

24, The idealized Passacaglia, in its modern artistic form (most common in organ literature), bears only a general resemblance to the original dance, though it has retained the name. That is, it is invariably $ (or 3) measure; is in minor; and consists in a series of repetitions of the bass theme.

There is an inexplicable confusion of titles in a “ Passacaille” of Handel (Suite No. 7 for the clavichord), which is in a measure.

25. From the basso ostinato, to which class of composition it distinctly belongs, the modern Passacaglia differs only in certain characteristic traits: The bass theme is usually longer; sometimes more elaborate; the treatment is preponderantly contrapuntal; and the form as a whole may pursue a more definite design. (It will be noted that a basso ostinato may be in any species of measure, in either mode, and of any rhythmic character. The Passacaglia, on the other hand, has its fixed conditions, — par. 24.) See the Comparative Table at the head of this Division.

26. The theme, in bass, is most frequently eight measures in length; sometimes more, rarely less. It is generally of simple, almost austere melodic and rhythmic character; though occasionally more ornate and striking themes are chosen. Compare the theme of Bach, in Ex. TA; with those given in Ex. 15; and with the following of Max Reger :