Larger Forms Goetschius_0

THE

UNIVERSITY

OF

CALIFORNIA

LOS

ANGELES

MUSIC

LIBRARY

GIFT

OF

GERALD

SCORDAN

I

1

2-

-2

3

5

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

AUTHOR

OF

Exercises inMelody-Writing; The TheoryandPractice of Tone-Kelations; The Material usedinMusicalComposition; The

HomophonicFormsofMusicalComposition;

Elemen-tary Counterpoint;AppliedCounterpoint;

Lessons inMusic

Form

;etc.

THIRD EDITION

NEW

YORK

G.

_SCHIRMER,

INC.

G.

_SCHIRMER,

INC.

25992

Music_Libracf

f\T

5?

TO

MY

DEAR

FRIEND

AND

FELLO

W-STUDENT

PREFACE.

"

_And

_theearth

_was

_without

form

and

void;

and

darkness

was

_upon

theface of the deep."

Genesis, I, 2.

"

_Order

isheaven's_firstlaw."

ALEXANDER

POPE.

"

Passion,

whether

great or not,

must

never be expressed in

an

ex-aggerated

manner; and

music evenin the most ardent

moment

ought neverto_{offend the}ear, butshould

always remain

music,

whose

objectit is to_give

_pleasure"

MOZART.

"

Inspiration withoutmethods

and

means

at its _{disposal will} no

more

enable

a

man

to write

_{a symphony}

than tobuild

a

_shipor

a

cathedral."

C.

HUBERT

H.

PARRY.

"Evolutionof the

artof music." "

_I

_have

_{neverbelieved}

it_possiblethat

_any

natural or

improved

ability

can claim

_immunity

_from

the _{companionship of} the steady,plain,

hard-working

qualities,

and

hopeto_gainits

end"

DICKENS.

"

David

Copperfield."

The

present

volume

is a sequel to the

_Homophonic

Forms

_and

Ap-plied Counterpoint,

and

is _similarly

_designed

for the use

both

of the

student_{of analysis,}

and

thestudent _{of practicalcomposition.}

Itclaims to

be no

more

than _{a guide} for the student

_through

the successive stages in the evolution of the _larger

and

_largest

forms

of

and

illustrated, not only

because

that

would

_appear

to _{provide the}

most

reliablebasis of technical habit, but also

because

the

_thorough

knowledge

of these older

forms

_{must precede}

the inevitable

and

desir-able

advance

into the

modern

ones.

Without

_attempting

_any

directdefence of conservatism, the author

earnestlyadvises the

young

composer

tomaster these classic

_{forms by}

conscientioussolution of

each

_{successive task given} in thebook.

This

will furnish

him

with abasis,

both

technical

and

_conceptive,

_upon

which

he can most

safely

and most

fullyrealize his personal artistic

impres-sions

and

convictions.

The

classic _{designs are notlightly}to

be

over-thrown, for _{they are the} cumulative

_product

of a _gradually

_dawning

recognition of nature's musical laws, steadily progressing

and

crystaliz-ing

through

the gathering

and

eliminating experiences of

master-minds

during

many

pastcenturies. It

seems

reasonable, therefore, to

assume

that true structuralprogress

cannot

be

achieved

by abandoning

these,

but rather

_by

building

upon

them.

The

student

who

desires toobtain a_general

view

of this structural

territory,orto

proceed

more

quickly,

may

limithimselftothe

_paragraphs

in _larger type,

which

are continuous

and

complete.

The

additional

elucidationsin smaller_type,

and

the references, are co

_ample

that _they,

also,

may

be

partlyomitted

by

those

who

prefer a shorter,

though

some-what

_superficial,course.

The

_analyticstudentwill

omit

_{the given}

Ex-ercises.

The

_practicalstudent

must

make

faithful use ofthem.

Itis

narrow-minded

to

assume

thattheseexercises,

and

the

persist-ent _application of "rules," will

_hamper

_genius.

_They

need

not

be

executed _coldly

and

_{mechanically.} Subjective, personal,

enthusiasm

may

coursejust ashotly here as inthepursuit of

any

other occupation;

and

the studentis

nowhere

invited to

check

this

enthusiasm

_{only to}

control

and

_guideit. _{Properly applied}

_by

the _student, these exercises

can thus only increase the

power

of his genius.

PERCY

GOETSCHIUS.

TABLE

OF

CONTENTS.

(The numbersin_parenthesisrefer tothe paragraphs.)

PACK

Introduction I

DIVISION ONE.

THE

VARIATION-FORMS.

Comparative Table 2

Chapter I.

THE

GROUND-MOTIVE

₃

Definition (5). Upper parts (8). Design (9). Licences (10). Methods of

variation _(12). Ground-motiveininner or_{upperpart (13).}

Exercise i 18

Chapter II.

THE

GROUND-BASS, OR

BASSO OSTINATO. . . . 18

Definition_(14). Treatment _(15-21). Ininneror_{upperpart (22).}

Exercise 2 28

Chapter III.

THE

PASSACAGLIA 29

Original Dance (23). Idealized form (24). Treatment (25-28). Thematic

motive _(29). Interludes (30). Codettaor

Coda

(31).

Exercise 3 . . ₃₉

Chapter IV.

THE

CHACONNE

40

Original Dance (32). Idealized form (33). Distinctive traits (34). Patterns (35). Variations interrupted(36). Treatment of Tonality (37). Codetta or

Coda

(38).

The

Chaconne

Theme

(39).

Exercise 4 58

Chapter V.

THE

SMALL

_(OR SIMPLE)

VARIATION-FORM.

...

58

Distinction _(40-41).

Theme

(42). Treatment (43-44). Points of contact

between

Theme

and Variations _(45). Patterns _(46).

The

Melody as guide (47).

Its treatment _(48).

The

Chords as _{guide (49).}

The

Bass as _{guide (50).}

The

Structural design asguide (52). Unessential extensions (53). Alterations of a

gen-eralcharacter:

Mode

₍₅₄₀₎;

Key

(54/5); Meter(54^); Style (54^);

Rhythm

Double-variation (54/). Interlude _(54^). Codettaor

Coda

(s$a, V). Finale

Exercise5 81

ChapterVI.

THE

LARGE

_(OR

_{HIGHER) VARIATION-FORM.}

. . 82

Distinction (56-60). Modifications of the form _(61-62). Insertions: Codettas

(630); Duplications (63^); Entire_Part (63*:). Extraneous additions (65).

Varia-tions asawhole(66).

Exercise 6 ₉₂

DIVISION

TWO.

THE

RONDO-FORMS.

PAGE

Introduction: Constructive Basis

(67). Definition of

Theme

(68). Structural

principle ofall

Rondo

_{designs (70).}

Chapter VII.

THE

FIRST

RONDO FORM

94

Diagram (71). Principal

Theme

(72-73). Transition (74).

The

process of Transition: First and Second "Acts" _{(75). Exceptional objective points (76).} Transition-phrase(77). Dissolution oftheform(78-79). Subordinate

Theme

(81).

Beginninginsame_key(82). Differentiation(83). DerivationfromPrincipal

Theme

(84).

Form

oftheSubord.

Theme

(85).

The

Re-transition(86). Treatment (87).

Codetta (88). Dissolution (89). "Second

Act"

(90). Recurrence of the Prin.

Theme

_(91-92).

The Coda

(93); brief(94). Relation of theFirst

Rondo

form to

the_{Song-form with Trio}

(95). Progressive intermediate stages(96).

Exercise₇ . - ₁₂₇

ChapterVIII.

THE

SECOND

RONDO

FORM

128 Diagram (97). Principal

Theme

(98). First Transition (99). First

Subordi-nate

Theme

_(100). FirstRetransition_(101). FirstRecurrence_{of Principal}

Theme

"da capo" (102). Second Transition.(103). Second Subordinate

Theme

(104). SecondRetransition(105). Second

"da

capo" (106).

Coda

(107). Rela-tionofSecond

Rondo

form to Song-form with two Trios _(108). Concise

Themes

(109).

Exercise8 136

Chapter IX.

THE

THIRD

RONDO FORM

₁₃₇

Diagram(no). Progressivedimensionof Tripartiteforms(i11). Recapitulation

(112). Transposition of First Subord.

Theme

(113).

The

First Division (115).

The

MiddleDivision(117).

The

Recapitulation (119-120). Transition

modifica-tion (121). Direction of Transposition(122). Misleading transpositions (123-124).

Misleading thematic coincidences (125). Retransition modification (126). Final

u_da

capo"(127).

Coda

(128). Limitsof the

Rondo

form(129).

Exerciseg 150

DIVISION

THREE.

THE

SONATA-ALLEGRO

FORMS

₁₅₀

Introduction: Constructive Basis_{(130). Exposition(131).} SmallerandLarger

species(132). .

ChapterX.

THE

SONATINA-FORM

₁₅₁

Definition,and Diagram (133).

The

Exposition (135-138).

The

Retransition

(139).

The

Recapitulation,and

Coda

(140). Intermediate grades(141).

CONTENTS.

ix

PACK

Chapter XI.

THE

SONATA-ALLEGRO

FORM

164

Definition, and Diagram(142).

The

Double-bar(144).

The

Exposition: Prin.

Theme

_(145); Transition (146); Subordinate

Theme

_(147); Codetta₍₁₄₈₎;

Double-bar repetitionand double ending(149).

The

Development(150). Structure and

contents of the Development(151). Retransition (152).

The

Recapitulation(154).

The Coda

(155).

Coda

asSecond Development(156).

Exercise

n

181

Chapter XII.

MINIATURE SONATA-ALLEGRO,

AS

EXPANDED

THREE-PART

SONG-FORM

182

Definition(157). Diagram(158). Courseof evolution(159).

NOTEWORTHY

VARIETIES OF

THE SONATA-ALLEGRO FORM.

. . 186

Beginning of the Development coincident with that of the Exposition (162).

Enlarged Sonatina-form(164).

The

BasicMotive(165). Transposed

Themes

(167).

Polyphony,inthe_{Larger forms(i68a). MelodyExpansion}(i683).

Exercise 12 201

Chapter XIII.

IRREGULAR

FORMS

201

Introduction _{(169-171). Exchanges,} or Mixtures:

The Rondo

_with

Develop-ment_(172-174); Misleading resemblance (175);

The

Sonata-allegro with a Middle

Theme,or

new

thematic Episode(176). Augmentations of theform: _Independent

Introduction, or

Coda

(178); Double Subordinate

Theme

(179);

The

Concerto-allegro (180); Sonatina-form with final

"

dacapo"(181); Larger forms with"Trio"

(183). Abbreviations, orOmissions(184).

"

Dislocations"_{of the design (185).}

Exercise 13 215

Chapter XIV. ISOLATED

UNIQUE

DESIGNS 216 Chapter

XV.

THE

OVERTURE

220 Definition(188).

The

Oratorio-Overture(190).

The

Dramaticor Classic

Over-ture

(191). Potpourri-Overture (192). Concert-Overture (193). Tone-poem(194).

The

purposeofMusic(195). Generalprinciples(197).

Exercise 14. 225

DIVISION

FOUR.

Chapter XVI.

COMPOUND

FORMS

226

The

Suite(198).

The

CompleteSonata(199). InsertionofaMinuetorScherzo (200). Conventional arrangementof Movements(201). Keysof Movements(202).

Thematicinter-relationofMovements(203). Duo,Trio,etc. (204). Concerto (205).

THE

LARGER

FORMS

OF

MUSICAL

COMPOSITION

INTRODUCTION.

1.

The

term "Larger

Forms"

refers specifically to those

composi-tions

which

assume

greater proportions,

and

therefore require greater

breadth

_{of design,}

and

more

concentration in the

_conception

and

ar-rangement

of the structural factors.

But

lengthis

not

the distinctive

trait; fora

movement

may

be

concise

and

fairlybrief,

and

still

_comprise

thecharacteristics 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

_J;he

homo-phonic

and

the polyphonic.

For

this _{reason, these}

_Larger

_{designs are}

sometimes

calledthe

"Mixed

Forms."

3-

The

_homophonic texture isthat in which one single melodic line _represents

the chief _{contents, while}all that goes withit is_merelyharmonic accompaniment.

In the polyphonictexture,twoormore,orall,ofthelinesare ofequal melodic

prom-inence and importance. Pure

homophony

isseen in the 2Sth (and others) of the

Songs without

Words

of Mendelssohn; pure polyphonyin the Fuguesof Bach's

well-tempered Clavichord.

The

numerous intermediateormixed grades, between

the two genuine styles as in the Scherzo of Beethoven's 3rdpfte.Sonata are

called_{"polyphonic," but not"polyphony."}

4.

The

larger

forms

may

be

classedinfourdistinctiveDivisions:

I.

The

_{Variation-forms;} II.

The

Rondo-forms;

III.

The

_{Sonata-allegro forms;}

and

IV.

_Compound

forms.

DIVISION

I.

COMPARATIVE

TABLE

OF

DIVISION

I.

Par.5.

THE

GROUND-MOTIVE.

3

CHAPTER

I.

v

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

f

in

_{the basTpart,}

and

repeated there

an

optional

number

of times.

These

repetifions

are generally exact,

but

may

be

modified.

And

the

motive

is

occasion-ally transferred to

another

part.

^See

Ex. i, bass.

6. Its usual retention in one and the same part, however, distinguishes the Ground-motivefromthemotiveoftheInvention-forms,inwhichit is_constantly

imi-tatedin_{changingparts.}

The

termGround-motiveis_adoptedin this_{book, not}alone

because of itslocationin the bass (the "ground" part),butmoreparticularlywith

referencetoits_objectandcharacter asfundamental motive, even

when

placedin

some_upperpart.

7.

A

sentence contrived with aGround-motive isnot a Variation-forminthe recognized sense of theterm; butit_{has a very}similar technicalbasis,andshould 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

duringa certain section ofa_largerdesign (as in Ex. i),thantoformthe basisof an

entirecomposition (as

m

Ex.6,No. i).

8.

At

each

_repetition orrecurrence ofthe

Ground-motive

the

_upper

parts(orthose others not holding the

motive)

areso

_changed

as to

con-stitute

new

melodic,

harmonic, rhythmic,

or

_contrapuntal

associations

!

See Ex.

i,

upper

staff.

Thisindicates the relation of theGround-motivetothe Variation-form,whichis

defined as "aseriesof ingeniously modified (or variated) repetitions ofan adopted

Theme." Here, thethematic_germis_simplysmaller, beingonly a motiveorfigure. 9. It is

_customary,

and

_wise,

not

to alter the

harmonization

at

every successive recurrenceofthe

Ground-motive, but

to use the

_same,

or nearly the

same,

form

for

two

successive

announcements

(see

Ex.

i,

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. i,

measures

1-2; 5-6;

Ex.

4,

measures

4-5,8-9). Also, to revert,

later on,to preceding groups, so astoconfirm thelatter,

and

tointimate

still _larger designs (double-period, or

even

Song-forms).

See

Ex. i,

2, etc.

Such

confirmations or duplications constitute the only

legiti-mate means

of obtaining effective

and

intelligible form.

Compare

par. i2c, d.

10.

For

the

sake

of_greater

freedom

and

effectiveness,threelicences

are recognizedas valid

and

permissible;

but they

are

not

to

be

applied until,in laterrecurrences ofthe motive, the necessityofavoiding

monot-ony becomes

evident:

1. Unessential _(that is, slight,

unimportant) melodic

or

rhyth-mic

alterations of the

motive

itself.

These

_may

con-sist in"fEe"insertion oi _{embellishing tones (passing}

and

neighboring notes); dots; rests; shifting the position of the

motive

in the

_{measure; an}

occasional

modifica-tion

_by

accidentals.

2. _Transferring the

Ground-motive

to

some

other part.

as

a

rule,

not

until it

has appeared

several tunes in

the bass _(or

whatever

its

own

_part

_may

_be).

3. Substitutionof

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 Finaleof

Brahms'

ist

_Symphony:

Par. ii.

THE

GROUND-MOTIVE.

*i) Ground-motiveof_{four diatonic tones;} onemeasurein_{length,but beginning}

at the second beat. Observe thataGround-motive

_may

occupyanypositioninthe

measure.

*z)

The

melodic formationofthesecondmeasureissimilar to that of the first;

alsomeas. 4 confirms meas.3(assequence); thatis,themeasuresare"castinpairs."

*3)

The

motive,inbass,isshifted_up anoctave.

*4) Measures$-6 confirm measures1-2,likea_{Consequentphrase}hi_the

period-form.

*5) Thebassdescendsto its former _register. This measureand thenext two

agreewith measures 2-4.

*6)

The

motiveinbassisshiftedupasth; thatis,it isreproduced in_sequence,

instead ofrepetition.

*7)

The

melodic formisinflected_bythe accidentale-flat.

*8)

The

motiveistransferred tothe_uppermostpart,and, at the same time, it

isrhythmicallyshifted back onehalf-beat.

*9)

The

motiveappears,in thesame _syncopatedform,in "tenor."

11.

_Upon

the recurrenceof this_passage, later inthe

movement

ofthe

BRAHMS.

Par. 12.

THE

GROUND-MOTIVE.

Forillustration: In Ex.6,No. i,measures 3-5 formanAntecedent phrase, dupli-cated,in the following threemeasures, as Consequent phrase(in contrary motion);

inthesameexample,atnote*3),thereisarecurrence or duplication ofthis6-measure

Period; andat note _*s), a return to the beginning andrecurrence of the first 12

measures(in different rhythmic form). In Ex. 7,No. i, four successive

announce-mentsoftheGround-motive becomethe basis of_{a continuous 4-measure melody,}as

Antecedentphrase,immediatelyduplicated asConsequentphrase.

Somewhat

similar

isEx.7,No.3,inwhichthe duplication or repetitionresults ina i6-measure

Double-period of verydefiniteandstrikingmelodicform(asPartI), followedbyPartII,

of equallyclear_design,and,later,byPartIII as recurrence ofPartI.

Further

illustrations:

*-t

u ^ .^

^.

1 fr=- u tt ii

^

-<s

'-i

r^^f

*

\A

VM

-* i u I

-a-3

*i)

From

theFinale ofBrahms'2nd_Symphony.

*2) This Ground-motiveis also one measurelong,beginningat theunaccented

secondbeat. Itremainsinbassthroughout.

*3) Herethemotiveisshifted to thenexthigherstep,andchangedtotheminor

form.

*4) Again shiftedup onestep, and also_{expanded (by} partialaugmentation)to

covertwomeasures.

*S)

The

sentenceends with this announcement of the first half of themotive

only,in _{regularaugmented}form.

*6)

The

structural grouping,in setsoffour similarmeasures,is_apparenthere.

*i)

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 withthe third beat.

The

repetitions are not

al-teredatall.

A

somewhatsimilar passage occursin the first

movement

of Beethoven's yth Symphony,measures 50to 29fromthe end. TheGround-motive,derivedfrom the

beginningof _{the Principal Theme,} istwo measureslong, andappears eleven times

insuccessionin bass,without change (Ex. 5,No. i).

And

alsoneartheendofthe

Par. za.

THE

GROUND-MOTIVE.

No.i. BEETHOVEN. -a--5

i

J ii times No. BEETHOVEN. I I i

3

p

fi

,H

F

times

See

further: No.i

--*-Ex. 6. Inoctaves

^^U^^J

Ground-Motive

i

.

a

.

^ij"']

i j

lj|ij=^jiH-i

:

'J-v'3ji'"J

'C

i

O^F^-^F^

8

^

1

Aj

J

J

^J

rrrrg

^=^^^

etc. 9 measures

*-

^X

_Ji

'-^a

-p-*- zH-*-1 etc.4 meas. etc. 8 meas.

1

etc. 16meas. Cadence A.ABENSKY,op.5. No.2.

o

nil*

i

5-measure phrase C1+&-JJL v I [ IX 1 I N 1 J

N

I ~T

--

,

-t

>^^~^~

Gr.-mot.

Par. 12.

THE

GROUND-MOTIVE.

II

*fcN=P

5-meas.phrase

^

f

asatthe_beginning etc. 7meas.

^

_*

_^

_i

8)' fl

No. _3. FromParsifal. Gr,motive

*

f

I

f

4f

*

J.3J

J

Octaves

Par.i2.

THE

GROUND-MOTIVE.

13

*i)

The

Ground-motive includes six _{quarter-notes} in_{Jfoe-quarter measure;} at

eachrecurrenceit istherefore shiftedforwardonebeat,with uniqueresult.

*2)

The

melodyhereisthecontrary motionof_{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

appearsinbroken-octaveform.

*4) Thispassage,with transposition to thedominantkey,answers, intheform,

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.

*5)

The

da capo, or return to the beginning, in more elaborate _rhythmic form.

*6)

The

Ground-motive (afterfourmeasures) isshifted

down

afourth.

*7) Here (again after four measures) it resumes its original location; but the recurrence of thefirst _{phrase does not appear} until two measureslater, in

con-sequenceofthe5-measurephrases.

*8) Shiftedupwardafourth.

*9) This measure,andthe following threemeasures,constitutean Interlude, or

sort of retransition.

*io)

The

Ground-motiveistransferred tothe inner part,andback, twice.

The

cadencefollows. Thisentireextract forms the "Trio" of an Intermezzo, op. 116,

No.2.

*n) The

Ground-motivehere,andlater,isabbreviated byomissionof thefinal

tone, or tones.

*i2) Transferred,Laabbreviatedform, toanupperpart.

See

further:

Rheinberger,OrganPieces, op. 156; No. 7. "In memoriam." Ground-motive

oftwomeasures:

pj!i|| i J

I-j

*

f P \<=> F*-^) Reiteratedinbass, exclusively,42

times; frequently shifted to other scale-steps; no interludes; extended at the end byabrief codetta.

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

^^^E^

f-ifl This is practically one tone only, as broken octave;

it is

fre-

-&-quentlyshifted to othersteps,andoften interrupted

by

interludes.

Tschaikowsky,4th Symphony,first_{movement,measure 134 (Ben}sost. il_tempo

precedente); through 22 measures,

jT^

_^

1 1 - 1T Seealso,the

same Symphony, "Trio" of second

movement

(piti mosso); motive melodically modified.

ArthurShepherd, Pfte.Sonata,op.4,secondmovement. Motiveoftwo

meas-ures:

_[^Ij^

_{J~ J}

J'ffiih 3

J

^B Throughout the movement, but frequently

coiFsT^*

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

Firstin bass (14 presentations),then in _soprano

in contrarymotion _{(16 times),}andagain in _bass; then in other, enlarged, forms,

chieflyin the_upperpart,andfinally againin bass.

Wagner, "Tristan und_{Isolde," Act.} I, Scene V,

Da

stand er herrlich,hehr und

heil; 2measures,bass, four presentations.

Ottokar Novadek," Basso ostinato"in_{/-sharp minor.} Motiveofone measure:

Itruns through the entire, fairly lengthy,

compo-sition,withoccasional alteration ofd to d-sharp and a few other changes; also transferredbriefly tothe _uppermostpart.

An

interludeisinserted, neartheend.

Novacek, "Bassoostinato"ine-minor. Motiveof twomeasures:

An

interestingillustrationof consistentformal_design. JeanSibelius, Pastorale from "Pelleas und Melisande" (op. 46,No.5).

The

[

*

j*

T

j*

(

J~f

|*

Ground-motive, of six beats: f

is announced in bass, and remains, throughout, in the same register; but other, lower, basstones arefrequentlyadded, whichgive to themotivetheeffectof aninner part.

A

melodic changeoccurs, at theendof themotive,inthree of the presentations. 13.

When

the

motive

is

announced

and

retained in

some

_upper

part,it is

not

a Ground-motive

inthestricter senseof the

word; but

the

principle,

and

the treatment, are exactly the

same:

No. i.

"

Par. 13.

THE

GROUND-MOTIVE.

JL

_J

i ,. later:

~

r

^

I

r^

L

U-.

^^

= = later: -0- *-> -5--E- u i

p~n

u i twice

L-

IE

GEORGES BIZET.

^L

A.

etc.

wm

i

1

-f

No. 2.

Moderate

No.3. " Trio" PartI

3^

*=I^F

*4> Gr.-Mot. 1

T

'

r

r

Maurice Ravel, Sonatinein_{/-sharp minor,}last_{movement,measures.}

NOTE. Such _examples as the followingot

_uhopm:

etc. _(Polonaise,

op. 53); and

=EL^

-

^

~ _etc

-(Berceuse, op. 57); and Tschaikowsky,op.

n

(Andante), cannot be classed

among

the Ground-motives, because they are not the thematic sourceand basis of the sentence, but merely figural motives, of distinctly accompanying character, whose uniformity, though characteristic and effective, is rather accidental than

intentional. _{/}. f) it}

rf\ ft . ;

A.G-_

I

EXERCISE

I.

Write a number of sentences (brief, butcomplete), with Ground-motive. Use

differentkindsof _measure, andvarious rhythmic forms, foreach; also, motivesof different length,andvaried locationinthemeasure, but notbeyondtwomeasures

inextent. Note,particularly,par. i2C.

CHAPTER

II.

THE

GROUND-BASS,

OR

BASSO

OSTINATO.

14.

The

.Ground-bass, or, as it is

more

_{universallycalled,} the basso

ostinato _(persistent bass), differs

from

the

Ground-motive

_only in

length.

In

some

of the

above

examples

the

term

"basso

osiinatcT*"

might apply

quite as wellas

Ground-motive,

and

is _actually

_employed

by

Arensky

(Ex. 6,

No.

i), Novacek,

and

others, for brief motives.

The

basso ostinatois,

however,

usually

a complete four-measure

phrase-melody, with cadence

either

on

thetonicorthe

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

b^

repeafav]

thppy

thrmightut)

ami

in older

Par. 16.

THE

_{GROUND-BASS, OR BASSO}

_OSTINATO.

Voice

^

^

^

I -t-*-

d

/7 m Ex. 8.

fr^TTi

^

Bassoostinato

igj^fggrg

rr-r

rfpirr

j

|J

9te=

^2fc

^

EE

L^TTLLZj

-ii i

etc. See_original

-9-r p- k-^- -g- | .

9Vl

F

=^m

^times'then:

ffi

I*

H

j

i^^

17 17 I ' _T~l I '" I I .

f-^^-

M-

JuJ

J^

r^

L

_T>^

3 measures

,1

<^ I " * later: _ I

i^grr^lfn

_Pb

_j.

finally: k | , PURCELL.

etc.6_times;

H^-TJ

rail.

*i)

From

the opera"Dido and Aeneas" of Purcell (Novello edition), No. 2.

The

Ground-bassis_{a complete four-measurephrase,}with _{strong tonic cadence.}

*2) Here, aboutin the middleofthe _"Song," themotive is transferred to the

dominant_key,whereitappearstwice.

*3) Notetheeffectivetreatment(evasion) of thecadencehere, to prevent

mo-notony; alsoexaminetheother(earlier)cadences, whichare_{"bridged over}"without

rhythmicinterruption.

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

No.38 (four-measurephrases).

17.

the

utmost

inppmiifvf

in

in

*frfltipperpftrt.

should

be

devised jyith

forma

or patterns^for

each

successive

recurrenceoithe

Ground-bass.

It

_may

_be,

and

usuallyis,

homopnonTc;

and; as usual,tjae

_melody

otthe

_upper

_.par

nt.rd$lUlkUlllBf,ALlmliuii.

But

it

_may

also

be

more

or less hnitatory. or

even,

strictly

_polyphomcT^

in

whirh

ra.s^||ii&Jikfibz-tQ-bfi.assigned to t^g^^Passacaglia group,

and

to

assume

a

_{correspondingly} definite conventional character _(par.

₂₅₎₇

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

_niay

be

_{unessentially modified,}

melodically or rhythmically.

Comp.

par. 10.

19. _{Here, again, thestyle}or

_"pattern"

ofthe

added

_parts

_may

be

retained,

with

little_change,for

two

(or

even more)

successive

announce-ments

ofthe

Ground-bass.

_(Comp.

_par.9.)

And

_{the design}ofthe sentence as

a

whole

_may

_(and

_{should) represent}

the

_purpose

and

effect of

_{such complete}

structural formations as the

Three-Part Song-form

and

thelike.

_(Comp.

_{par. I2C,}

and

_{par. 15.)} Or, inthe

absence

of

such

definite structuraltraits, the

whole

may

constitute

a

_Group

of_phrases,

with

more

or less evidenceof

some

_plan

of

continuous

_development,

_leading,

_through

_{progressive stages} of

Par.20.

THE

_{GROUND-BASS, OR BASSO}

OSTINATO.

21

constantly increasing melodic,

harmonic

and

(particularly)

rhythmic

interest

and

_power,

to

a climax

at,or near, the end.

20.

The

most

effective resultis_{likely to}

be achieved

_by

_interrupting

the series of

thematic

announcements

after

a

time

best near the

middle

oftheentire

movement

and

_interposing

a

sectionin_distinctly contrasting style,

as

Interlude or

"Trio."

This

should, of course,

be

followed

_by

_{a resumption}

ofthe basso _{ostinato, either exactly asbefore,}

or, better, in

new

and

more

brilliantforms.

21.

_{But, with}

this _exception,

no

cessation of _{the repetitions} of the bassoisconsidered_legitimate;

and

the successive variations are,

natu-rally,

not

to

be

isolated

by heavy

cadence

impressions,

but should be

as continuous asis

_{compatible with}

effective_{structural presentation.}

The

monotony

of_{the regularly recurring}

cadence

ofthe bass

theme

may

be avoided

_by

skilfulevasionofthe

cadence

_ingenious

harmonic

and

_{rhythmic treatment}

of _{the given cadence-tones.}

See

Ex.

_8, note *3). Further:

J.M-W

s

-X-rJb-

^

1

J-*et

ff

^=r^;

I

r

=

_t.

,1st

r

.)

dt^ift

I . _^^ 1 ~~ ~^ r I 1 J "^ . ^L J

3

~ < _j

^

^=

fci=*=s

a a

4

4

4

^

'

r

> p l J ^

_/-y

1 -* i

etc. Seeoriginal

Par.21.

THE

_{GROUND-BASS, OR BASSO}

_OSTINATO.

\ * S

^J-J

MJ-J-

etc. semplice etc.

j

A

J

^J

^

*f-q-*

X- -=*-*

ri

x

f

1

X

i

X

etc.

=M

*7)

*

₆₃

^^

marcato

i

_^={1

₃

S

Jg

g-H

/Lb

J

a=s

_MM

fT

J=*

P

EU

* 9) BRAHMS. L/-.17 , j j

Par.21.

THE

_{GROUND-BASS, OR BASSO}

OSTINATO.

No. i.

U

^

Par. 22.

THE

GROUND-BASS, OR BASSO

OSTINATO.

No.2. Presto I

J.

>?

i^3Eg^3El

4 times

*&*-

-*-

-I

etc.

%r

later: later:

^

_p"

-*-..

H

i i i i

J--

_ _i

v

_j.

_j

4) |x

J

g*

^

v

^.*.

rir etc. BEETHOVEN. later: 1

*i)

The

melody ofthis8-measure Periodisthe

Theme

ofthe_composition (op.

174,No. n). Itappearsfirstinthe_upperpart; thenintheinner (tenor),andthen

in the bass; andthisorderof alternate upper, innerandlowerpart, isadheredto

strictly,andwithoutmodificationofthethematic melody, throughout.

*2)

From

Beethoven's gth Symphony, the "Trio" of the Scherzo-movement.

The

thematic phrase offour measures is_presentedfirst in the Soprano, as meloata

ostinata. Itruns throughthe entire "Trio," with a fewinterruptions, and withno otherchanges thanamodulationtothe_dominant,andsystematicshiftingof register.

*3)

The

motive istransferred to an inner part, and its _contrapuntal associate

appears above.

*4) Herethemotiveisabbreviated. Seetheoriginal.

Seealso: _Beethoven, pfte. Sonata, op. 28; "Trio"ofthe Scherzo.

The

motive

is _{a Soprano} ostinato; a four-measure phrase, whose repetitions run through the

whole "Trio," withalternate_changeof cadence, in bminor and

D

major.

Rheinberger,op. 167,No. 10; Sopranoostin to_{throughout (see}Ex. 15, No. 3).

U.ui ."+

EXERCISE

2.

A

number of _examples of the basso ostinato, and melodia ostinata.

_Employ

varioustypesofmeasure,andof_rhythm. Limitthe themetofourordinary

meas-ures, ortwolargemeasures.

The

followinggivenbasso

may

be usedfor

experimen-tation:

Several_repetitions then:

Ex

12

and: GOETSCHJUS. fminor cminor

Par.23.

THE

PASSACAGLIA.

₂₉

CHAPTER

III.

THE

PASSACAGLIA.

23.

_{ThePassacaglia}

(PVpnrh

_{Pnsstff^ille)}

was

originally

a dance

fprnhahly rf

Spanish

nriflin);

"V"yr

;"

tlhf

mj

n "r T

TI^

P-

an

4

alwd-VS in

fnple

measure

(usually

_|

more

rarely

_g

or 3~). it

wa

s

commonly

"ichtmrmnroJnlrnctni

r - '; | ' 1 f , : *h i lirhl

_1.

Cadence

inthe

_middle^

The

practical availability of so brief

a

sentencefor

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 variatethe _repetitions

more

or less _freely,

_though

never

_elaborately the

"variations"

_consisting chiefly of simple

har-monic

_{figurationor 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; thebasis ofthe,gp.nt.enre

was

itsrriQrds.

and

thi^ lent

para-mount

impnrfflnrp tn tV>P

hn^.pnrt

whiVh

was. retajn.^ fllmnst

UD-changecL thus

creating the impression of

a

basso ostinato

throughout

the

_mflpy

_.rpppiirirmanf

fr fjflnee-sentence.

See _Bach, Clavichord compositions (PetersEdition, No. 1959) No. 6, onpage

40.

The

"Dance"

(Passacaille) is an 8-measure Period of two parallel phrases

uponthesamebass. This Periodis_repeated 18timeswith"variations," chiefly of

a rhythmicnature. Between Variations 6-7, 9-10, and at the end, there is a da

capo, or return to the originalformofthethematicPeriod.

Verysimilaristhe"Passacaglio"of_Frescobaldi, cited inEx. _{15 (No.9).}

24.

The

idealized

PassacagUa.Jn

its

modern

artistic

^

form

(most

common

in

_organ

literature), bears

only a

general

resemblance

to the

originaldance,

though

it

has

retainedthe

name.

_JThat

_{is, it isinvariably}

|

(or _|)

measure;

is in

_minor;

and

consists in

a

seriesof repetitions of

thebass

theme.

Thereisan_{inexplicable confusion of} titlesina "Passacaille"of Handel _(Suite

No.7 forthe clavichord),whichisin

_\

measure.

25.

From

the _{basso ostinato,} to

which

class of

_composition

it

dis-tinctly belongs, the

modern

Passacaglia differs

_only

in certain

charac-teristic traits:

The

bass

theme

is usually longer;

sometimes

more

elaborate; the

treatment

is_{preponderantly contrapuntal;}

and

the

form

C

_.}

O

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

_themet

in bass,is

most

frequently eight

measures

in -length;

sometimes more,

* rarely less.

IL

jsgeneraHy

" of _simple,-- r _

almost

___ austere --melodic

_{and rhythmic}

character;

though

occasionally

more

ornate

and

striking theme"s"afe"cKosen.

Compare

the

theme

of _Bach, in Ex. 14,

with

those givenin Ex. _15;

and

with

the following of

Max

Reger

:

Ex.

13.

MAX

REGER,op. 96.

27.

The

theme

is visiiflillya^

nn ounc^d

rst-/i/fl?^;,(fll in th

f>fLUiucl^-i^

the_{'basSj^yrhere} it best manifests its _significance as actual

thematic

basis, as principal tone-Hue, to

which

others are to

be

added

_by

the

polyphonic

process. It is

then

_repeated, in that _voice,

under

the

same

general conditions as those

which

govern

the

Ground-motive

and

Ground-bass; namely:

a) It

may

be

rhythmically modified; see

Ex.

14, notes*6)

and *n).

b) It

may

be

unessentially embellished,

with

neighboring notes or passing notes, especially

when

these are

introduced

in

conformity with

the imitatory

"motive"

adopted

inthe

added

(upper) parts; seeEx. 14,

notes_*6)

and

*i4).

c) It

may

be

transferredtoanother, higher, part; seeEx. 14, note

*i2).

Much

more

rarely, it

_may

_appear

as _sequence,

on

other

steps, or in

another key;

see Ex. 15,

note

*2).

The

simple

change

of

mode

is

_always

_permissible;

_compare

Ex.

9, notes*6)

and

*;).

28.

The

treatment

of the

_{accompaniment}

in the

_upper

(added) parts is

_{preponderantly}

_{polyphonic, that} is. contr

Wfflny"so, aspurely

harmonic

patterns

may^bccur

from time

to time. It _is,

_however,

_{the polyphonic character} of the Passacaglia that distinguishes it

from

the

_Chaconne,

and

Par.29.

THE

PASSACAGLIA.

29. _Therefore,

a

"Motive"

is

chosen

for

each

successive

manipu-lation of_{the bass-theme,}

and

isimitated

and

_developed

asinthe

Inven-tion,or chorale-figuration. Here, again, the

same

(or

a

similar)

motive

may

be used

for

two

successive variations.

_Comp.

_par. 9;

and

see

Ex.

14, notes *8), *Q)

and

*i9).

And,

as

shown

in the

_{Ground-motive,}

and

in the _{basso ostinato,}

a

_{systematic increase} in

_{rhythmic animation}

is _{likely to occur;}

and

other devices of_progressive

_development

_may

be

so applied as to achieve

an

effective _{structural design} in the entire

series,

with

a

view

to providing the necessary contrasts

and

climaxes. SO.^jnterludes

may

appear, at

proper

intervals,

between

the

varia-tions; especially

when

caused

_by

a

t

natural

expalMmi

Uf'llii tmlcnce-chord. Itis_{especially effective}

and

_appropriate to inserta

_modulating

"*

Interlude*

_{perhaps extended}

_by

a

dominant

_organ-point

immedi-ately before thefinal

announcement

ofthe bass-theme, or at

some

other

invitingpoint near the end.

31.,

An

extension at the end, in

the

nature

ofa

Codetta

or

Coda,

is

possible

and

desirable.

The

following

organ

Passacaglia of Bach,

one

of the

most

_masterly

models

of thisform, illustratesthe

more

_important

ofthe

above

details:

Theme

fe^anj^

*^r

m

m

^~: ^~, tl

^*

Var. II.

-&J

jyJ^j

_^jkjCS-j-^

j

jtf3_

T

f

^1^=4^^^-:

-1

^

i;.

I

;

^.i.ri^p

1

'

l^^f-

_u-u

i

E"C/r~Fr

=52

-=H^

^^ ^

Var. III. ^ Motive etc. See _4> the original !

-T

I

-,-fT

-*-Mr,tive "1 _{f r}1

^

etc. M. M.

M.

cad.

Par.si.

THE PASSACAGUA.

M.

33

V.

*;

-f-it

M. ouL : see original6 M. VI. VII. VIII. etc. 9)

IX.

^-^

X. XII. etc. _{*i 3}) XIII. M.

s

*i4)Theme

SD^^tefliM^.

XIV. XV. -etc. *i₅)

Par. 31.

PASSACAGL/A.

xvi.

=

H>

=*-35

XVII. XVIII.

as

XIX.

TM.

etc.

lEEEil

3t

1

r

t-. M._ *i8) 1 M. etc. XX. -fr

J

^

--

-^E

E^E^

*=^

~

'S

BACH.

P

II

etc.See original fl

*i) Notethe melodicstructure of theTheme; the relation of the half-notes, at

thebeginningof_{each measure,} toeach otherand tothekey (thedominantnote g

withitslowerand_{upper neighbors during}thefirst_phrase,andthenthe intervals of

the tonic chord,in _{descending succession);} andthe mannerin _{which nearly every}

oneoftheseaccentedhalf-notesis_preceded

_by

itslowerdiatonic neighbor.

*a)

The

term "Var." isused herefor _convenience; it _{does not appear} in the

original. Var. I is _homophonic, the motive in _{soprano being melodic only,} not

imitatory.

*3) Var. IIisaduplication of Var. I,with

new

phrase-melody, built _upon the

samemotive.

*4) Var.Illis_{polyphonic, basedupon} the imitations of the_{adopted motive} (in

8th-notes, asmarked). It willbenoticedthat themotive,in thisandall_succeeding

variations, beginsduringthecadence beforethe

Theme

sets in, inbass. *$)

The

rhythmisaccelerated to8thsandi6ths.

*6) Motive of ₃ tones, harmonic form.

The

Theme,in bass, is _modified both melodicallyandrhythmically,in order to participate in the imitation of the motive. Comparenote*i4).

*7)

The

rhythmagainaccelerated, torunningi6ths.

*8) Var. VII is, in a sense, aduplication of VI, employing the same diatonic

motive, butincontrary motion,andextendedtotwobeats.

*g) Var. VIII is another _{duplication of}

VI

(or VII), with the same diatonic

motive extended to three,andmore,beats.

*io) Similar tonote*6), whichsee.

*n)

A

flowingmotive of 3 beats,not _{imitated in alternate parts,}butretained

throughout in _soprano.

The

rhythm of the

Theme

in bass is _{again rhythmically}

modifiedbyshorteningeachhalf-note toa_quarter.

*i2)

The

Theme

istransferred tothe soprano. ThisVar.isa_{duplication ofX,}

inasmuch as the line of i6th-notes is reproduced literally, in a lower part.

The

pedal-bassisdiscontinued, toemphasizetheshiftingoftheTheme.

*i3)

The

Theme

is _again in _soprano, in Var.XII,accompaniedpolyphonically

Par.31.

THE PASSACAGUA.

37

*i4)

The

Theme

isin the alto, and modified _melodically and _{rhythmically, as}

inVariations

V

andIX,inconformity with the_{adopted motive.}

*i5) Variations

XIV

and

XV

are both pure harmonic figuration; the presen-tation oftheTheme,inthe tenor (thepedalissilent),is_unique: Seetheoriginal.

*i6)

The

"jagged" motive, in _i6th-notes, isa direct allusion to the last five

measures of the bass Theme, of which it is _practically a diminution.

The

treat-mentisharmonic, themeasuresare duplicates,without "imitation."

*i7) Var.

XVII

accelerates therhythmto i6th-triplets. Var.

XVIII

returns to therhythmofVar. IV; the

Theme

inbassismodified_{byreducing each quarter-note}

toan8th,with preceding8th-rest.

*i8) Note the singular "boring" effect of the motive ( two beats in length, suggesting

_^

measure).

*IQ) Var.

XX

is_applicationof

XIX,

withthemotive doubledin 3rds. *2o) This variation concludes _{the Passacaglia proper.}

As

Finale,a_triple-fugue

isadded.

See, further, the following:

No. i. RHEINBERGER. Ex. 15.

yj'ii'njMji

No.2.

-Ctf&

-i

No. 6. D.G. MASON.

*6)

No. 7. ELIAS BLUM.

*7\

I

No.8. GOETSCHIUS. No.9. (Passacaglio) H?n .

_tf^T

:*=

fc

Man. Fed. G. FRESCOBALDI (1583-1644).

Par. 31.

THE

PASSACAGLIA.

₃₉

*2) Passacaglia,op. 156,No.

n.

Theme, an8-measure Period withdominant cadence. It isstated in bass,but immediately accompanied.

The

Theme

_appears

constantly in bass, and is transferredat each presentation to other steps, chiefly in

ascending sequences in _{the 3rd.}

The

treatment is _{preponderantly harmonic, but}

occasional imitationsandcontrapuntal passagesoccur.

*3) Passacaglia, op. 167,No. 10.

The

Theme, an8-measure Period with domi-nantcadence,isstatedfirstin_sopranoalone,andisthenretainedin_soprano

through-out, as melodiaostinata.

The

treatmentis_polyphonic.

*4) Op.85,No. 2.

The

Theme,4 (large)measures withdominant cadence, ap-pearsfirstinbass alone; it ispresentedthreetimesinc_{minor, thentwice in g}minor (with modified cadenceat _{each change of key);} then once in _soprano in c _minor,

onceinbassin

_/

minor; then in cminor,insoprano, bass, soprano, tenor,andbass;

againinsoprano (gminor), bass(cminor, gminor,andc minor). Thisisfollowed

byaP'ugue, as Finale, whoseSubject counterpoints the bassoostinato, whichfinally joinsit,in the coda.

*5) Passacagliaupon the

name B-A-C-H,

op. 39.

The

Theme

appears chiefly inbass. Itoccursafew timesin5-flat_major; is_{considerablymodified,}both

melodi-callyand rhythmically principally the latter.

The

treatment isalmost _entirely

homophonic, preponderantlychromatic,andextremelybrilliant.

*6) Passacagliaand Fugue,op. 10.

An

_{introduction,} basedupon the

Theme

in

expandedform, leads into the Passacaglia.

The

Fugue ("Double")servesas Finale.

A

veryeffectiveandbeautifulexample,worthyof_{careful scrutiny.}

*7)

The

Theme, an 8-measurephrase, modulates early into the dominant key (/-sharp minor) and cadences there.

The

treatment is _largely polyphonicand

in-volves

_many

skilfulmelodicand_rhythmicmodifications oftheTheme.

*8)

A

bassoostinato, but not "Passacaglia"of theconventional _type, inasmuch as the

Theme

isin_{major (comp.par. 24;} and_par. 14).

*g) Frescobaldi calls it a"_Passacaglio." This, though thoroughly scholastic

andartistic intechnicaltreatment,belongsmoreproperlytothe traditionaltypeof the Passacaglia asDance, similar to theexampleof _Bach, citedin_par. 23.

The

Theme

is an 8-measurePeriod,or, more properly, a repeated 4-measure Phrase; it

isinmajor; the four-measuresectionis_{repeated45 times(Nos. 14 to32}in_g-minor)

in variated forms, with constant and direct reference to the harmonic basis and to the_melody. In thisrespectitbears closer relation to the Chaconne-forms(par. 34), especially as itisin _major, and exhibitsno basso ostinato. In

_many

outward

traitsit isstrikingly similar to theChaconneof

Bach

forSoloViolin,citedinEx._19.

EXERCISE

3.

A

numberof_examplesof_{the Passacaglia,}chiefly forthe organ,butalsofor the pianoforte, oranyensembleofinstruments withwhich thestudentisfamiliar.

The

themescited in Ex. _{15 (especially} Nos. i,4, or8)

may

be utilized; or better

CHAPTER

IV.

THE

CHACONNE.

32.

The

r&flf-flfl?** (Ttnlian

finn

mi) m.r, nl'iif HI_jointly n

_pnfmlar

daacfiiitis

_very

similar tothe Passacaglia,

and

isoften

confounded with

the latter. It

was

_always

in

|

(that is, triple)

measure,

usually eight

measures

in _length;

was

eitEer

simple

rhythmic

and

melodic

modifica-tionsas

1

those

_employed

Iu the

leueUUyilgOfllie

1

ra'ssacagiia.

^

le artistic or idealized

Chaconne,

likewise, often closely

re-sembles the

modern

_Passacaglia,

and

has

not

_escaped

_being

confounded

with,or

even regarded

asidentical

and

interchangeable with, thelatter.

But

it

_appears

_{possible to define (or,} at least, to establish for the student's convenience) the characteristic traits of the

_Chaconne,

as recognized

and

adopted

in the

_majority

of _{existing examples.}

See

the

_Comparative

Table

at the

head

of this Division.

34.

These

distinctive traitsare asfollows:

a.

The

"

theme"

of the

Chaconne

is

not

a

basso_ostinato,

but

consists

primarily

fn

the chord- successions

upon

which

the

thematic

sentence

(usually eight measures, rarely only four) is.erected.

Out

of these

chords

emerges

a

_Melody,

the air or

tune

of the dance, in the

upper-most

_part,

which

in

_many

casesissodefinite

and

lyricas to

appear

to

be

thereal

thematic

thread.

And

this

_may,

to

some

_extent,

be

the_case, the chords

then

representing the natural

harmonization

ofthat

_melody.

This viewisborne outinthetitletosomeofHandel's "Lessonsfor_the

harpsi-chord,"namely: "Chaconne,with Variations" (Ex. 16). In these,the"Air"seems

tobe_{the principal}thematicthread,althoughit is_{the chords alone, ultimately,}which

control the conduct of the variations. Further, in thus shifting the melody into greaterprominence,theChaconneapproachesthenatureoftheconventional

"Varia-tion-forms,"andis,indeed, tobe regardedas thefirstor incipientgradeofthis class

of compositions. So,for_example,thec-minor"Variations"ofBeethoven(Ex.18)are

notcalled_{by him "Chaconne"}atall,although theyare_{a genuine type}of thatclass.

It is,

however,

positively distinctive of the

Chaconne

that the

chord-succession is retained as basis,

with

a few

natural or _interesting

modifications

and

_modulations,

even

when

the _original

_melody

disap-pears, or

assumes

quite

a

different form.

Precisely as

shown

in par. 23,this retentionof the chords leads as a

bass-Par._35.

THE

CHACONNE.

part, thus lending

support

to the impression of

a

basso ostinato.

But

the difference in _{the operation} of this idea,

and

the actual distinction

between a

"retained

bass"

and

a

_genuine

"Ground-bass"

(as

thematic

fundament),

is _{quite as} essential as it is obvious:

In

_{the Passacaglia}

the bassoostinatoisthesource

and

basis ofthe

whole

_structure;

whereas

IBthe

LhaCOnne

tfy

rprnrnng

haggis

m^riilyu/mmmijiiijiiiu^

Hy

jjj"Iffii"**

limited, of the retained chord-successions

out

of

which

the structureis

reallyevolved.

Comp.

par. 25.

0. 'i!iie

treatment

of the

Chaconne

is

not

_{polyphonic, as} is that of

the _Passacaglia,

but

_{preponderantly}

homophonic,

or harmonic.

_JThe

successive modified _{repetitions (or}variations) are

but

little

more

than

figurations of the chords, iningenious

forms

of

broken

and

embellished

harmony.

Compare

par. 28.

This distinction in themethodsoftreatment isthe natural_consequence ofthe location of thechiefthematicthread: Inthe Passacagliaitisinthe bass, as single tone-line,towhichotherlinesareadded,in_contrapuntaltexture: Inthe Chaconne

it isin the soprano, aslyricproductofthe chords, which induce_harmonic

manipu-lation.

The

Passacaglia is built chiefly from the bottom upward; the Chaconne, fromthe_{melody downward.}

c.

The

_Passacagliais

not

classed

_among

the conventional variation-as the first or lowest

grade

of _{the Variation-form,}

inasmuch

as it

pre-cpntc gPi/Pral fPa

faflg^(ghjafcJTI t*"

Pa

scareglia).

tW

are pgnTlTSr tr>

this class of composition.

35.

The

manner

in

which

the

chords

of the

theme

_{are broken,} or,

figurated, constitutes

what

might be

called the

"pattern"

of the

varia-tion, carriedalong in consistent recurrence

_through

the entire series of

chords,

with

sufficient _{modification, here}

and

there, to

avoid

monotony.

Here,again, the

same

pattern,

with change

of register,is _frequently

used

for _{two, or}

even

three, successive variations; thus exemplifying

the_{principle of duplication,}

denned

in par. 120 as

a

vital

element

inthe

creation,

and

distinct _{presentation,} of

a

structural _design.

_Comp.

pars. 9, 19.

Chaconne *i)

A"g

*

*

_*

J

Var. i.

^^

P

:

%>

ofi

fl

THE

CHACONNE.

₄₃

Var. _31. etc. I: Var. 36.

I

m

x

x

etc. etc. Var. _43. HANDEL.

r*fi

etc. *6) etc.

n

=

*i)

From

Handel's "Lessons" for the Clavichord (or Harpsichord).

The

Theme

(the Chaconne proper) isan 8-measurePeriod, with perfect cadence.

The

soprano-melodyisthechief element; and, withits chord_{accompaniment,} istraced

moreorlessaccuratelythrough eachvariation. Inthe original version there are62

variations.

*2)

The

bass correspondsexactly to that of the Theme, but simply because

the chord-successions are thesame.

*3)

The

cadence-measureissobridged overas toconnect the variationswithout

interruption (seepar. 36).

*4) Var. Illisa_{duplication of}Var.II; thatis,verynearly thesamepatternis usedforeach.

The

sameistrue ofVariations 9and 10, and

many

otherpairs.

*s) Thisvariation,like almostallwhich follow, consists clearlyin nothingmore

than afiguration of thechordsoftheTheme.

The

patternisdennedsimplybythe

mannerinwhichthefirstchordisbroken,melodicallyandrhythmically.

*6)

A

Canonin_{the octave, after}onebeat; Seetheoriginal. Seealsotheother

Chaconne in _{Handel's "Lessons,"} also in

G

_major, and apparently a modified

versionoftheaboveTheme,

Chaconne, No.i. _JOH.

BERNHARD BACH

(1676-1749).

Ex.

17.

r

m

Chaconne, No.2. J. B. BACH.

>r"r

J J I