Indepth Table of Contents

Chapter 1 - The Phrase

(a) One Chord Only, From Beginning Up To Cadence

(b) Different Chord To Each Beat (Rapid Tempo)

Examine the harmonic origin of the melodic motives in Exercise 1

Chapter 2 - The Harmonic Equipment Of The Phrase Melody

Exercise 2

Chapter 3 - The Development Or Extension OF The Phrase

1. Phrase Repetition

(a) Unessential Embellishment of The Melody

(b) Changes in the Harmony and Modulation

(c) Shifting The Phrase Melody

(d) Changes in Character and Style of Accompaniment

(e) More Complete and Radical Changes in the Course of The Phrase Melody (not, however, Affecting the Beginning, or the End, or Destroying General Resemblance)

Exercise 3

2. The Extensions at the End of a Phrase

(a) The Repetition of the Second Half of the Phrase; Possibly Exact, But Usually Modified

(b) The Repetition, or (more rarely) The Sequence, of the Last Member of the Phrase; Possibly A Single Repetition, But Usually Twice in Succession

(a) The Repetition of the Entire Cadence Group (of Chords), Usually at least Twice, and Possibly Modified

(b) The Repetition of the Two Cadence Chords (v and I); Usually at least Twice, and Either in the Same Form; or with Any Rhythmic or Melodic Change of the Form

(c) The Reiteration of the Final Tonic Chord, To an Optional Extent, and in Optional Rhythmic and Melodic From

(d) A Plagal Cadence, of More or Less Elaborate Character, During The Prolongation of the Final Tonic Note in Soprano, or in Both Outer Parts, For Illustration

Exercise 4

Exercise 5

3. Extensions at the Beginning of a Phrase

4. The Extension in the Course of a Phrase

(a) In One or More Repetitions (exacted or variated) of Any Well-defined Member of the Phrase, Forward to the Cadence Member

(b) In One or More Sequences (exact or Modified) of Any Well-defined member of the Phrase, for Example:

(c) In the Expansion of any Prominent Chord; or of any Important (prominent) Melody Tone; or Melodic Figure

(of Two or Three Tones)

(d) In the Substitution of a New Cadence Member for the Original One, or the Addition of a New Cadence Member, When Involved by Foregoing Extensions

Exercise 6

Exercise 7

Chapter 4 - The Chain Phrase, Melody Expansion, Irregular Phrase

Formation

Melody Expansion

Irregular Phrase Construction

Miscellaneous Examples of Phrase Extension

Exercise 8

Chapter 5 - The Period Form

(a) The Parallel Construction

(b) The Opposite Construction

(c) The Contrasting Construction

(d) Variety and Unity

Exercise 9

Chapter 6 - The Development or Extension of The Period Form

The Repetition of the Entire Period Form

The Repetition of the Consequent Phrase

The Repetition of the Antecedent Phrase, or of both Antecedent

and Consequent

Exercise 10

Exercise 11

The Extensions at the Beginning of Either Phrase, or of Both

Phrases

the Extensions at the End of Either Phrase, or of Both Phrases

Extensions in the Unfolding

The Codetta

Miscellaneous Examples of Period Extension

Exercise 12

Exercise 13

Chapter 7 - Group Formations

The Period with Consequent Group

The Phrase Group

The Ellision

Exercise 14

Exercise 15

Chapter 8 - The Double Period

The Extensions of the Double Period

Miscellaneous Examples of Double-Period Extensions

Exercise 16

Exercise 17

Division Two - The Song Forms* or Part Forms

The Phrase

The Part

The Song Form

Chapter 9 - The Two-Part Song Form

Two-Part Song Form, Primary Design

Exercise 18

The Diminutive Two-Part Song Form

Exercise 19

Chapter 10 - The Fully Developed Two-Part Song Form

Illustration of the fully developed Two-Part Song form

The Large Two-Part Form, as Type of the Sonatina Form

Exercise 20

Chapter 11 - The Three-Part Song Form

The Three-Part Period

Exercise 21

The Beginning Step of the Three-Part Song Form

Ruling Condition of Tri-Partite Form

Important Note

Exercise 22

Chapter 12 - The Ordinary Complete Three-Part Song Form

The First Part

The Second Part: Thematic Conditions

(a) First, almost total agreement between Parts II and I

(b) Second, Part II derived from secondary members of the First Part. Sometimes Part II begins where (so to speak) Part I leaves off

(c) Third, Part II constructed more or less in the direction opposite to that of the First Part--similar to par. 39b. especially at the start

(d) Fourth, Part II can diverge still more widely from Part I, and be not only thematically new, but even somewhat independent in character and style

Tonality of Part II

Structural Design of Part II

Sectional Form of Part II

The Cadence of the Second Part

The Re-transition

The Third Part

Exercise 23

Chapter 13 - Additional Details of the Song-forms

1. Irregular Cadences

2. Modulation

3. The Dynamic Design

4. Contrast

5. Style

On the Choice of Time

On the Choice of Tempo

On the Choice of Principal Mode

On Certain Rhythmic Quirks

Coda and Codetta

Exercise 26

Chapter 14 - The Incomplete 3-Part Song-form

Exercise 27

The Augmented Two-Part Song-Form

Exercise 28

Chapter 15 - The Fully Developed Three-part Song-form

Corroboration

Exercise 29

Exercise 30

Exercise 31

The Large Phrase-Group

Chapter 16 - The Evolution of the Five-part Song-form

1. Simple Repetition of the Parts

(a) The general rule for these repetitions is as follows

(b) The rule against the repetition of the Second Part alone

(1) For illustrations of exact rep. of Part I, see

(2) An exact repetition of Parts II and III takes place in

(3) Both Divisions are literally repeated in

(4) For examples of the repetition of Part I with unessential modifications

(5) Modified repetition of the second Division (Parts II and III) found in

(6) Finally, both Divisions are repeated with modifications in

Exercise 32

2. More Elaborate Copying of the Second Division

Treatment of Part Five

The Old-Fashioned Rondeau, and the 7-Part Form

Exercise 33

Chapter 17 - The Irregular Part-Forms

1. The Transposed Third Part

2. The Group of Parts, Beginning Stage

3. Group of Parts, Developed and Extended

Exercise 34

Division Three - The Compound Song-forms

Chapter 18 - The Song-Form With One Trio

The Principal Song

The Subordinate Song, or Trio

The Relative (major or minor) key is found in

The subdominate key appears in

The Relative of the Subdominate

Other Possibilities of key-relation between the Prin, and

Subordinate songs are shown in the following:

The Da capo

The Da capo is slightly variated in

Somewhat more elaborate variation occurs in the Da Capo of

An extension of the Da capo takes place in:

The Coda

Miscellaneous examples of the Song-form with one Trio

This is seen in

Exercise 35

Chapter 19 - Extensions of the Song with Trio

The Song-Form with Two Trios

The Group of Song-forms

Exercise 36

Division Four - Conventional Styles of Composition

Chapter 20 - The Lyric Class

1. The Song, with Words

2. The Instrumental Duo

Examples for reference*

Cello and Piano

3. The Song Without Words, etc.

Examples From Piano Literature for reference

4. The Hymn, Anthem, Glee, etc.

Chapter 21 - The Etude-Class

1. The Etude, or Study

2. The Toccata, Capriccio, Scherzo, Etc.

Toccata-type, and Prelude

Caprice, Impromptu, etc.

Scherzo

Chapter 22 - The Dance-Class

1. Old Dance-type

Allemande, Courante, Bourree, Sarabande, Passepied

Gavotte

Gigue

Minuet

1. Modern Dance-Type

3. The March

Conclusion: Criticism