Form in Music: With Special Reference to the Bach Fugue and the Beethoven Sonata (Classic Reprint)

PREFACE. The special purpose of this little work is to place before the student of music the subject of Rhythm, and its evolution into Form in Composition, in as practical, and, at the same time, in as concise a manner as possible. With this object in view I have at the conclusion of each chapter set a number of graduated exercises, and have confined my remarks almost entirely to the Forty-eight Preludes and Fugues of Bach, and to the Pianoforte Sonatas of Beethoven. In a primer of this character it is not possible to enter over minutely into details ; nor have I attempted to do so, but I have devoted at least a chapter to each of the arbitrary forms, including the musical sentence, which has been treated at some length, and including also the fugue and fugal analysis, for a detailed account ot which the hapless student is only too often referred to "another work by the same author." I have also added a chapter on ancient forms, more or less obsolete, and another upon form in voca

Table of Contents

CONTENTS; Chapter Page-; Prrfack ••- »»• $; I Introduction 7; II The Musical Sentence 12; III ,, continued 19; IV Modulation and Key Relationship 34; V The Simple Binary and Simple Ternary; Forms 37; VI The Ternary Proper Form 43; VII The Rondo Element in Form 47; VIII The Sonata Form 51; IX The Modifications of Sonata Form 59; X The Fantasia and the Air with Variations 63; XI The Fugue 66; XII Fugal Analysis 73; XIII The Cyclic Forms 79; XIV Ancient Forms more or less Obsolete 83 XV Form in Vocal Music 88; APPENDIX; A Beethoven's Sonatas-Table giving the Form; employed for each Movement 93; B Bach's Fugues-Table showing the Order of; Leads in each Exposition 101; C General Definitions 103; D Chants, Hymn-Tunes and Ballads 112; E Examination Questions 122

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