Studies in Phrasing and Form PDF

STUDIES IN PHRASING AND FORM
STEWART MACPHERSON
RICKS COLLEGE LRC t/
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DATE DUE
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To his Friend
Arthur W. Dace (Edinburgh).

;
THE JOSEPH WILLIAMS SERIES OF HANDBOOKS ON MUSIC

UNDER THE EDITORSHIP OF STEWART MACPHERSON.
STUDIES IN
PHKASING AND EOKM.
BY
STEWART MACPHERSON
(Professor and Lecturer in Die Royal Academy of Music
Author of "Practical Harmony," "Form in Music," etc.)
PUICE TWO SHILLINGS AND SIXPENCE.
LONDON: JOSEPH WILLIAMS, LIMITED,

32, Great Portland Street, W.
Agents for America:
The Boston Music Company (G. ScmitMEit, Inc.), Boston, Mass., U.S.A.
Coj)yri(jht MCMXL, by Joseph Williams, Limited.

PRINTED BV GEO. BARBER
FURNIVAL PRESS X CURSITOR STREET, CHANCERY LANE, E.C.
Tel. No. 1077 Holborn.
TABLE OF CONTENTS.
PAGE
Introductory Remarks — On the Value of Intelligent Analysis 1
Part I.
THE "PHRASING" OF MUSIC.

Chap. I. —
Meaningless Phrasing-Marks The Correct Uses of
—
NOTATIONAL SlGNS THE SLUR 4
Chap. II. The Slur (continued) — Indications of Staccato and

of Special Accent 19
Examples to be Phrased 33
Part II.
QUESTIONS AND EXERCISES IN MUSICAL FORM.

First Group. —Accent, Time and Rhythm ... 76
Second Group. — Phrases and Sentences — Rhythmic Extension

and Contraction ... ... 87
Third Group. — The Simple Binary and Ternary Forms 102
Fourth Group. — The Minuet and Trio (or Episodical) Form —

The Older Rondo 104
Fifth Group. — Sonata-Form 106
Sixth Group. —Departures from the Normal Type of Sonata-

Form — Variations — The Sonata as a Whole 109
Seventh Group. — Fugue and Canon Ill
Eighth Group. — The Symphony — The Overture — The Concerto

— Concerted Chamber-Music 120
Ninth Group.— Dance-Forms : The Suite, Partita, etc. —

Indefinite Forms ... 121
Tenth Group.— Historical Development of Sonata-Form —

Modern Tendencies... ... _ 124
APPENDIX.— Detailed Analysis of a Fugue of Bach and of a

Sonata of Beethoven _ 125
\* The thanks of the Author are due to the following firms for permission to use
extracts from their copyright works :
Messrs. Alfred L-enKniek & Co., for Messrs. Peters (Leipzig), for Grieg's—
Brahms' " Intermezzo " in C. Op. 118. " Pianoforte Stticke."
Op. 1. No. 2.
,, "Intermezzo" in E 9 minor. " Pianoforte Concerto." Op.
1(5.
Op. 118. " Ballade." Op. 24.
"Ballade." Op. 118. " Lyrische Stiicke." Op. .07. No. SI.
Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University-Idaho
http://archive.org/details/studiesinphrasinOOmacp
STUDIES IN PHRASING AND FORM.
INTRODUCTORY REMARKS.
ON THE VALUE OF INTELLIGENT ANALYSIS.
In undertaking the analysis of a work of musical art, it is
possible to approach the task in one of two ways, (i) in the
spirit of one who merely seeks to measure the superficial area
of that work —
so to speak —
and to "label" its various sections
according to a prescribed method or (ii) in the spirit of one
;
who, realizing the value to the student (or even the mere
listener) of an appreciation of shape, yet desires to penetrate
more deeply into the mind of the composer, and to follow his
thoughts and intentions to the full. Unfortunately, the number
of even professed music-students who are content with belonging
to the first of these classes is lamentably
Unmusical large, and it is owing to the unmusical and
inartistic attitude of such that the idea of
Musical Analysis stands in the minds of many gâsi-artistic
people as the equivalent of a pedantic dissection of the music,
by which all its aroma, all its vital essence, is in danger of
being lost. The position of these high-souled persons is
represented by the following remarks, culled from a review
upon a comparatively recent work on Musical Form: "From
the point of view of the student, and in the light of modern
development, it is questionable if the critical examination
of the anatomy a classical work is of any value what-
of
ever individual who achieves enjoyment
The
by listening to a fine fugue, for example, finding his melody
in a subject that must necessarily be artificial, all the harmony
he wants in the mechanical passage of the various parts, and
his structure so determined that he need not give the question
a moment's thought, cannot be expected to realize the ideals
of that other individual, who looks for a more natural expression
in the art that gives him pleasure, who derives his satisfaction
from the sensuous charms of rich, full harmonies, and the melody
that arises out of them; ivith the structure on no preconceived
Copyright, 1911, in U.S.A., by Joskph Wilijams, Tjimttf.p.1 J.W., r
l. ), 238.
2 STUDIES IN PHRASING AND FORM.
plan, but evolved from a poetic basis, and subject to all manne
of surprising and delightful changes."
And, if the attempt to get beneath the surface of th
music we come into contact with, which we call Musics
Analysis, were really and of necessity to imply that our fine
musical feelings would by its means become so atrophie
that we should inevitably end by " finding all our melod
in that which must be artificial, and our harmony in th
mechanical passage of the various parts," then, surety, sue
analysis would indeed be, not only useless, but pernicious
But when we begin to realize that, undertaken in the rigb
spirit, it merely indicates that we bring on
T ru ® an(* intelligence to bear upon the study of on
analysis
music, and seek to follow out in a reasonabl
way the development and interplay of th
composer's thoughts, such shallow and meaningless statement
as those quoted above carry with them their own condemnatior
For we may be sure that the " sensuous charms of ricr
full harmonies " which the writer of the passage seems t
regard as the summum bonum of all musical experiences, wi'
not be appreciated less fully by him who brings the hearin,
ear and the understanding mind to bear upon those feature
of the music which —
simply because they require the aler
—
use of our faculties so often are passed over by the averag
listener unrecognized and even unheard.
But, important as a critical knowledge of his music i
to the listener, to the executant it becomes vital. Half th
unmeaning performances we hear in drawing
Unmeaning' rooms and in concert-rooms result from th
performances. ...
^ non-appreciation otf iôrm or QU
-r? •
bnape in +tn
i
music. Such matters as the proper balancing and blending c

rhythmical figures into sections, phrases and sentences eac! —
—
with its point of climax or of culmination and the wide
conception of the contrast of Subjects o
Perception of other larger " Paragraphs " of the compo
° ^ *
sition, are too often matters concerninj
which the player " trusts to luck," with the result that, evei
if saved from utter failure by some degree of natural musica
feeling, his performance falls hopelessly short of what it shoulc

be, simply from lack of an intelligent grasp of the Form of his music
Recoguizing how grossly the idea of Form in music is miscon
ceived and misrepresented even by those musicians who realh
should know better, the author of the presen
Misconception of volume ventures to put forward a definitioi
y
of the expression which he trusts is wid<

enough in its application to justify what has been said above
A true definition. and to prove he importance.
*;
of ite study fa
f
him ,
who wishes really to know the musi<
with which ho is brought into touch.
STUDIES IN PHBASING AND FOBM. 3
Form signifies the presentation oe musical ideas in

such a way that, when they are placed in connexion
with, or relation to, one another, they may produce an
intelligible and consistent result.
Viewed in this light, the matter should surely he compre-
hensive enough — and important enough — for the student to
regard an intelligent and sympathetic analysis as an absolutely
essential part of his study, and, moreover, for such intelligent
"
analysis to be spared the cheap gibe of " pedantic dissection
— —
from those who when all is said and done really know very
little about the question.
b2
—
STUDIES IN PHRASING AND FOBM.
Part I.
THE " PHRASING" OF MUSIC.
CHAPTER I.
MEANINGLESS PHRASING MARKS— THE CORRECT

USES OF NOTATIONAL SIGNS— THE SLUR.
The indication of the intentions of the composer as to the

manner in which his music is to be performed is a matter
which is only at the present time beginning to emerge from
a state of chaotic uncertainty, and to assume any kind of
definiteness, or indeed of method.
—
Too often and here the classical masters were great
—
offenders the various slurs, etc., which one finds scattered
over the printed page, serve the one and
Unmeaning* only purpose of decoration so far as
;
and carelessly supplying directions to the player is con-

Phrasing* marks. cerne d, they are not only useless, but if —
taken au pied de la lettre and acted upon in
—
good faith are usually productive of a totally erroneous, and
frequently ludicrous, effect.
An example or two will make this clear if we take the
;
following extracts from Beethoven's Sonata in E minor (Op. 2,

No. 1), as printed in the original edition of Breitkopf and
Haertel and reproduced with an almost touching fidelity by
more recent editors, we shall see at once the vague, and even
contradictory significance of the slur, as there used. To be of
any service as a "phrasing" mark, or even as a mere indication
of a "legato" rendering, such slur must end somewhere, and
clearly this point should be the actual rhythmic termination of
the passage, be it long or short, a tiny figure such as :
^5FE=EgEE _L.
——
STUDIES IN PHRASING AND FOBM.

or one much more extended, such as :
jFgJJSifteiS
*»5S3
PIPW II
But it is just in this matter of the ending of the slur, or

phrasing-mark, that so much uncertainty
f th i
1111
°n
an ^ confusion exists. In the same sonata
Beethoven has written the following bars,
with the phrasing as here shewn :
s£ <j
Z2.
=t ^ -*=&
I
3.
i
mW ^ £:
t|p-
4^
£=£
:£ :& H
q
^R=M =t
3
r^ ii
-t T"
§fci* £=£ fc£>
6&
p ZX -U*- !!
If the student will try to play the above extract on the

pianoforte, with a faithful adherence to the slurs as they stand,
he will find that the result will be a travesty of the meaning of
the passage. It will not need more than a moment's thought
for the obvious inconsistency of the phrasing to be seen ;
in the first whole bar the r.h. figure is indicated as if it

terminated at the A flat on the last crotchet of that bar, while
in the l.h. the accompanying harmony is, on the contrary,
carried on to the first beat of the next bar. A similar condition
of things obtains in bar 3, while in bar 5 the L.H. part which —
is identical with that in bar 3, only an octave lower is for —
no apparent reason phrased as if it ended on the chord with
the I) natural bass, instead of being carried on into the following
— b —

bar, and so concluding on the E fiat. Clearly, the only correct
view of the phrasing of the extract is as follows :
>
t ">
s — o :p=£
— eL
c?
ar 1 -*-
t
J
4.
-p- ijp-
£ S # fl&
5EBE
:
^-b
J
±£
!?F
^Tt~^
3"^-w-^t^ -&-
&c.
JklitJ
tt
-
r^-f m v^
rQ-
\&-
In the slow-movement of the same sonata, many instances

of meaningless phrasing are to he found, of which the following
is a specimen :
Adagio.
ftJ£
BE££££££ i—
5.
^#
PtP^ 2Z "pP~
r
ikzzb-FFFPr-R^hznziz » # _L„i_i =ZLl_U U=J
3 Ê
:^;q*^t7^»3e rl«-r-r^^-v
j
—
J lore, again, any attempt to regard tho slurs as a guide to

the proper performance of the passage would at once bo
doomed to failure. On any consistent basis,
Strict observance it is difficult to see why Beethoven grouped
impossible ^ 1C demisemiquavers the first bar into
of
two groups of eight, while in bar 2 the whole
twenty-four are connected together, to be succeeded in bar 3 by
sixteen corresponding to the first two beats of the bar We !
have here a striking illustration of the entire absence of

method which has been such a remarkable feature of musical
notation in the past, and still is in too many cases even at the
present day.
Let the student compare the above example with the
following, which shews forth the true musical shape of the
passage, remembering in so doing that it is necessary to adhere
strictly in both cases to the printed indications :
,
P3
133 r*""W |
I J J J I m-0-0
important to hear in mind that, rhythmically, a phrase

It is
or figuro is rarely co-terminous with tho bar, but that in
the majority of cases such phrase or figure;
The culmination finds its point of culmination on an accented
raSe ° r
a fiffure
'pulse. As a consequence
of this, the
" phrasing-marks," to be representative of
the actual manner of performance, should in such instances
— !

be so indicated as to lead up to and include that accented
pulse, thus:
The accented
m&=£ -&-
Z2I
-1
—S i-
pulse. '•
-p-
m
ftp-
Here, clearly, any attempt to make the rhythmic-di vision

correspond to the ^me-division (as indicated by the bar-line)
would be to court disaster * and yet it is ;
Time-divisions that seeming reluctance to "phrase across

^ ne bar-line," evinced by many composers and
divisions
editors, which has caused so much confusion,
"
and has rendered so large a proportion of so-called " phrasing
utterly valueless, save for the purpose of clothing an otherwise
naked page with examples of freehand drawing
It is clear that, as was pointed out in our Introductory
Remarks, the proper realization of the shape and character of
even the smallest rhythmical figures, and of
Realization of ^he means by which they may be built up
intelligibly in performance into complete
figures.
phrases and sentences, is of vital importance
to the executant who wishes to be convincing in his rendering of
any composition with which he may be dealing. It must be
confessed, though, that such matters are too frequently left to
— —
be considered if they are considered at all in " the light of
nature," with the result that much of the phrasing one hears
from players of even brilliant powers of execution falls very far
short of representing the true meaning of the music.
Surely if, in the less subtle region of speech, details of
punctuation, inflection, stress or emphasis, and rhythmical
clearness are needful points to be observed
Close study of and studied by him who would recite or read
Phrasing aloud intelligently, how much more necessary
absolutely
is it that such matters should receive close
essential.
attention when transferred to the less
articulate, but more intimate sphere of music, where the definite
meaning attached to the words of a language finds no place as
a means of imparting a certain degree of intelligibility.
Lest it should be thought, from the foregoing remarks,
that the present writer is guilty of implying that successful
phrasing in performance is purely a question of a mathe-
See Beethoven's slurs on page 5.

:
STUDIES IN PUBASlNG AND FOBM.

matical subdivision of the music into its component parts, let
. it be said here and now that, in the first
ail<^ f° remos k place, such phrasing must be

tieêntion and
feeling". ^ ne result of musical perception, a recognition
by the ear and musical sense that the music

has not only varying degrees of stress and intensity, but also
definite " breathing-places "—some large, some infinitesimally
—
small which must be realized and made clear, except at the
risk of a total perversion of the composer's intentions."*
Music may be said to consist of three chief ingredients, viz
Melody, Harmony, and Rhythm. I It is the last of these with
which we are now more especially concerned;
Melody, k u ^ as we sna u_ see presently, melodic out-
^ mG anc^ h armornc character are important
Rhvthm
interdependent, factors in the determining of rhythmic
periods, and a close observation of these
features of the music is absolutely necessary to him who would
phrase his music successfully, and so convey its correct
meaning to the listener.
The author of the article " Phrasing," in Grove's "Dictionary
of Music and Musicians," says that " musical phrasing depends
on the relative strength of the sounds, and
"^Phrasinp- " 9 upon their connexion with or separation from
each other." While in the main this state-
ment may be regarded as true, it is necessary that it should be
qualified by the further statement that phrasing depends also
on contrasts and differences in the tone-quality of the sounds,
such as are produced, for example, by the many varieties of
Touch now possible in pianoforte-playing. Moreover, good
phrasing must include those delicate and impalpable variations
from the metronomic " tempo "which, too subtle to be expressed
in notation, yet by their presence differentiate the playing of
the artist from that of the machine. Amongst these may be
included, not only what is usually known as "Tempo rubato,"
where often some considerable departure from
" Tempo rubato." strictness of time is permitted and even
demanded, but such minuticB as the slight
dwelling upon and lingering over sonic special note, or
group of notes, for the sake of emphasizing its expressive
* A somewhat considerable experience in the efforts of students and

examinees to "phrase" musical passages which had been previously
stripped of their phrasing-marks, has convinced the author, beyond a
shadow of a doubt, that in countless instances the notes on tho printed
—
page convoy little or no meaning to their ear otherwise the quite appalling
Blurrings and groupings could not have been put forward in cold blood!
If for nothing else, do we not see in such occurrences a reason for more
systematic Ear-training in childhood -that Bubject which both students
and teachers have often so grievously and habitually neglect) ?
'I
t Sec the Author's "Form in Music," page o.

— ——
io STUDIES IN PHRASING AND FORM.

character, or of making prominent the beauty of the harmony
underlying and supporting it.
In the phrasing of a musical work the
Signs or principal signs necessary for an adequate
*'
indication of those details which can be
indicated on paper are as follows :
(a) The "Slur" (implying that the notes within it

should be thought of as belonging to the same
rhythmical group, and often marked in performance
by a slight curtailment of the last note, especially
in small groups).
(b) The " Staccato
"
—
of two kinds, represented (i) by
a dash implying that the notes affected by it
»
are to be as short as possible, e.g. —

Written.
^
*F
s
W
*-i 3==F
Sounding approximately
~^=*En=tz ^-^-p^-^-r^^ -g-

I
and (ii) by a dot indicating a somewhat less

detached and crisp manner of performance, thus
Written.
10.
I
wis 1
Sounding approximately.
~
11.
i ^=X "1
i
"1 "1 i
"1
1
(c) The " Mezzo-Staccato" (or so-called "Portamento")
— represented by either or T t Here the
-f .
~^ .-
notes are held for almost their full value, but at the
same time slightly detached from one another. A
certain degree of weight is usually associated with
the performance of " mezzo-staccato " passages
Written.
12.
;£EE I
—
— —
STUDIES IN P11BASING AND FORM. 11
Sounding approximately.
(d) The " Accent "

(or mark of emphasis), variously
expressed by the following signs :
<:, /\, 5/, sfz, fz, rf, and intended to refer to the
emphasizing of a single note or chord.
(e) The " Weight-mark," indicated by the following
sign : —
over or under a note.*
,
THE SLUE.
This is in some senses the most important of all the signs
used by composers as directions as to the manner in which
their works should be performed, and yet, as
USG we nave already pointed out, no other sign
of llur^
has ever been used in such a haphazard or
unsystematic way as has the familiar curved line known as the
slur. For its proper use as an indication of the rhythmic
grouping of the notes, the first essential is that he who would
so use it must clearly realize the form or shape of the complete
sentence or "paragraph" which is to be "phrased." For no
so-called " phrasing " can be tolerated which contravenes or
ignores the rhythmical division of the music
Phrasing must
not contravene
into its proper periods! —
those periods which
are determined by the occurrence of cadences.
rhythmical
periods. These periods must be found first, and care-
fully borne in mind, otherwise a travesty like
the following may quite conceivably be the result :
Moderate.
Haydn. — G minor Sonata.
^r
S3 «^pH«- xi i
~£
f |
*
{-ê-
l?l P
T L-
14.
r:
* Whenplaced over or under several notes in succession, the effect of

this sign is frequently analogous to that of the "Mezzo-Staccato"
described above.
\ Seo the Author's " Form in Music," Chanter III, onwards.
— '
12 STUDIES IN PH1US1NG AND FOBM.
i^fÊE 55:
m ^^*fZ++*h+-
-t*
:
3
t
1 * =t
' ^=^
r
1
H -i^ :*«
w £:
-P!
^
Here the non-appreciation of the particular harmonic pro-
gression involved in the construction of tiie cadences is
responsible for the meaningless phrasings represented by the
slurs. The example moreover shews that it is impossible to
ignore the mutual dependence of rhythm and harmony to
which we referred on page 9. Therefore the question of the
determining of the larger rhythmical periods is intimately
bound up with the question of harmony, which thus often
forms an important guide in the matter of
Harmony must phrasing. If, for instance, the student
be a guide to who was responsible for the above piece of
rhythmical " phrasing " had mentally realized the sound
division.
of the familiar
| |
implied in bar 2 at f, such
a solecism as that committed in the severing the first of these
chords from the second, and joining the latter on to the next
part of the phrase, would have been impossible. Similarly, in
bar 1, Dominant 7th
at X, the separation of the discord of the
from resolution would hardly have found a place in this
its
particular student's scheme of slurs It will readily bo seen !
that, when the passage is played, it must be phrased in some

such way as shewn below :
-? — —H — tÊSS—
^F
'
— -I
15.
^F
^ —
STUDIES IN PHRASING AND FORM. 13
:Ctr*:
?p!=Ê3E^^S3EE6
£
^
'^ b«-
^ ^=2
I
* ^*3=a gî=ir
tf- 'I
p-
fe
In connexion with the bearing of harmony upon the
rhythmical divisions of a passage, itwill be of service to
remember that discords, especially when
Accented occurring on accented or other important
discords.
parts of the bar, should mostly be grouped
along with their resolution, e.g. :
Bketiioyen. — Sonata, Op. 2, No. 2.
16.
mm *M i i i
J_ i I
j J I
~^-$-± o '
where the suspension of the Dominant chord over the Tonic

bass is slurred to the resolution upon the Tonic chord; or as in
the following ox ample :
—
Mozart. Sonata in A. —
9-1$
m=^=i ^to
•
17.
jfe
4
!!
_i=-
£ '
!fe=8r:+— II
— —
Li STUDIES IN PHRASING AND FORM.

where the | chord on the E bass is grouped along with
the 3 chord to which it proceeds or, again, as in this extract
;
from Beethoven :
Beethoven.— Sonata
-
in B^, Op. 22.
pT ~ X~1
^&
&^d£
Adagio.
->=+-
r&V* II
18.
^^=
^zfcft:
M^feg^=M=M
where the accented passing-note (or appoggiatura), A natural,
slurred " on to the harmony-note, B flat, which follows it.
is "
The next matter to which attention must be directed in

order to arrive at any intelligent basis for our phrasing is
the fact that everything in music must be
Leading-up to considered in the light of progression, or
accented note or 6
movement A . ,
t
Dai, towards some more or iless clearly-
i
defined destination. This is true whether we

have in our thoughts the gradual but inevitable working-up of
some extended passage towards a strong emotional climax, or
of the no less essential " trend " of some figure of a few notes
towards the point where it finds its own completion.
In a musical period, such as is understood
by a phrase or a sentence, the rhythmic
of the eadence-
bar.
climax" is to be found at the cadence which
marks its termination, and all that precedes
that cadence must be thought of as leading up to it :
19.
Allegretto.
Beethoven. — Sonata, Op. 2, No. 2.
iii
////s
Moreover, in the great majority of cases, it is easily and
readily felt that successive bars are of varying iceiglit, and
that it is impossible to accent any two
Varying' weight adjacent bars equally strongly. This is, of
course, most clearly observable in passages
of rapid, or moderately rapid, tempo, where the bars follow one
another closely. If the above extract from Beethoven's
* Not necessarily, be it noted,, the most " intense " point of its melody.
— * :
Op. 2, be played with an accent of equal strength upon

No. 2,
the first pulse of every bar, a condition of utter impossibility
will be set up, and the effect of the music ruined. If, however,
the passage be thought of, and rendered, with somewhat of the
following idea of accentuation, the intentions of the composer
will be brought out in the correct manner : —
:il ii
±=t
3 3
u
LlU _ -*--* u
II
w\\\
////• >
This particular example shews still further the way in which,
as was stated above, small groups of notes lead up to some
Figure ending"
—
point usually an accented pulse in which —
^ ney g ncj their completion. Here, in every
J
with accented / ,,
• *-
instance, the group ol four semiquavers occur-
n0 £ e
ring on the 3rd beat of the bar so leads up
to the crotchet on the strong beat of the following bar. The
figure therefore includes that accented note, and is consequently
to be " phrased " along with it :
The realization of this by the player in actual performance

is of the highest consequence in the direction of a rhythmic
rendering of the music.
As an additional instance of the importance of this matter,
it will be well to quote here the opening of the "Adagio" of
Beethoven's first Pianoforte Sonata. The larger arrow-heads

indicate the chief points of culmination, viz the cadences, to :
which the various phrases or sections tend the smaller arrow- ;
heads mark-off the completion of subsidiary " figures " or

other groups of notes which, to be conceived and executed
aright, must clearly be thought of as leading somewhere —
>
22. k
* The stronger bars are marked — and (for the rhythmic climax of the
phrase), = ; the weaker bars u.
— p

^ > 5
C3 CS !-;
O
E ^g^^^gg|ggglj^^ggi
^=* -^—^ ±&1
In connexion with our remark (on page 14) as to

passages in rapid " tempo," extremely important to bear
it is
in mind that the indication ? at the corn-
Wrong" time-
signatures, mencement
, -
ot most -i valses, andi many
scherzos (particularly those of Beethoven
and Chopin), entirely misleading, the effect being in realit}r
is
not that of Simple Triple Time, but that of Compound Duple
—
Time two bars of the music, as written, together making one
bar as it is intended to sound, e.g. :
As written. Beethoven. — Sonata, Op. 10, No. 2.
Allegretto, -f""
-o- -^
CJ ~& \
23.
-
ta £=&
<s>- 1
r ^ 3dtzcfc-zzbzi
-P— f^
3- -&-
l
&c.
; s -
p— -
g -
II
— 5
STUDIES IN PHBASING AND FORM. 17
Actual effect in performance.
-Oh ^=± :£
rj- -c*
24.
ZSV-U 71
1
!
! 1 , „ ^—-j
/
=fc£
SS$E3 ^ r r -
ill
-G>-
&C.
wm
H=£=z£
:^=z^:
x£ £=£ II
In the following extract from Chopin, the true rhythmic

accentuation would seem to ho arrived at better by regarding
four bars, as actually written, as together forming one bar as
the passage should be played :
As written. Chopin. — Scherzo in C$ minor, Op. 39.

Presto con fuoco. ~J*~ -&. .0.
feFJE idrr -i — i-
PVF
mmmm
P
1 J
£=;
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r^--î?frt=i=t=Er-fc=r
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Actual ( Sect in performance. ^~-

Allegro moderato. 'Jt\M
26. A J r ^'-0-
JJ^M ,X>ffiffi£g
SBgjfPS^^
/ 7'
f>--
—b — *

Another notable instance of four quick bars in reality
sounding in correct performance like one long bar is to be
found in the succeeding example :
As written.
Jlolto vivace.
Schumann —Novellette No. 8.
*#
:
4=—s>: (S>-
ICfc
27.
==t
Sg=CT7-ZTO^ ^p
tr- ir
ieeSfc
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—
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— £*—£3
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it
rz\
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*0& 58=
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Actual effect in performance.

Moderate
'A I 3
:cr
28.
-H--<
- :i
4 ^ SÊ
— — —
s
-<SI
i
zt zt / q: it /
*
<TN
St
II
•
(#
m- -^StH-# —*-r — i
——
I
-K Rih-
I
On the other hand, it sometimes happens that the true

rhythmical sense of a composition will be found by dividing
long bars into others of shorter duration (see especially
Mozart's Fantasia in minor, dedicated to his wife also ;
Chopin's Nocturne in B flat (Op. 9) referred to on pages 39-40

of the author's " Form in Music ").
CH'AlTEli II
THE SLUR (continued)— INDICATIONS OF STACCATO

AND OF SPECIAL ACCENT.
From a perusal of the foregoing pages it will have been gathered
that, in the performance of a musical passage,
Points to be an(j m ê indication of its phrasing, regard
Phrasing".
must be paid to the following points :
(i) The Cadence-bar of a phrase is its

—
rhythmic not necessarily its emotional — climax or
consummation,
(ii) Certain bars in the course of a phrase are felt to be
more strongly accented than others, especially in
quick " tempo" the notes, therefore, of less accented
;
bars should be so grouped as to lead ttp to those of

the more accented bars.
(iii) Unaccented groups of notes usually belong rhythm-
ically to the following accented beat, and should be
" phrased" so as to indicate this.
— — — —
20 STUDIES IN PUB A SING AND FOIiM.

The following examples shew both the observance and
Correct and a ^ so ^ ne disregard of the principles we have
incorrect been enunciating :
indications of Correct Phrasing. — (The grouping of

Phrasing. weaker sets of notes together with the
following accented pulse)
Mozart. — Sonata in C, No. 2.
29.
3 6t
\ § ~* . . .
JEW* tr
t=-
?ERL^zJzj:ezl -^ I
&c.
--N-
&i: =3- Szz__zizp:
Incorrect Phrasing (as not infrequently found, even in

editions of repute)
Allegro moderate.
? r Trr' 1
IhTH^' a R=r^' iHM
-
30.
^Tqp=fb-ff=j z=pzjz^^ I
—^/
— — 1 — —
STUDIES IN PHEAS1NG AND FOtiM. 21
^ r f f r r --j
-
f—f- «~f - -
E= £ *?=*=*
dfc — — — F—
I i I
F t^= — — 5^=^—R-
i — ——-
i
^ n
&c.
iÊ3z=E= @3 i
h-
a
Correct Phrasing. —
(The grouping of less accented bars, in
quick tempo, together with the following accented bars)
Haydn. — Sonata in Ej?, No. 1.
»m^ Presto.
kr$r^t^=Ft=*
^=L=Bz -V-
111
31.
> — =p=J53 nri
M
1 -
^g«^
-i^_
1
(Weak.) (Strong.) (Weak.) (Strong.)
Incorrect Phrasing (as often found)
3FFF
Presto.
3E?
A^£^ I f i P
b
r r_fjiig
32. J
§1 a
(Weak.) (Strong.) (Weak.) (Strong.)
It will be seen that, in Examples 30 and 32, the faulty slurring

is apparently due to the reluctance — already spoken of— evinced
by composers or editors to "phrase across the
h iC bar - Hne -" As a matter of fact, the rhythmic
^rou in s r< rel
correspond with 8rouP s comparatively rarely correspond with
time-groupings. f' ^twe-groups as represented by the bars,
1(>
and is is a point which the student would

1,1 1
do well to bear firmly in mind in his own attempts at phrasing.

— S —
22 STUDIES IN PBBASING AND FOBM.

In addition to the important directions already given, the
following hints will be of service :
Further hints. (i) Any similarity of pattern (either

melodic or rhythmic) should generally
be taken as a guide for a certain uniformity in
phrasing, e.g. :
Bach.— Fugue in Ej?, Book I, No. 7 of " 48."
\-m — i
: m
m- -m — \-*5-m —* m
Beetho ven .
— onata Op. 31, No.
, 1.
Allegretto.
EEE^
nfeS£ *c
t=tz
35.
1^^™"1
g^zj
gj
-T3-
"+-*-
if- %*- *^
JPZL
&c.
m^ *
3
— i-
m
h
STUDIES IN PBHAS1NG AND FOBM. 23
Prestissimo. Schumann. — Sonata in G minor, Op. 22.
36.
fczrsS^q
F--#-i- -w-~m- -+- -F--#-+-
&c.
i> rm rm. n-w—frn
Later in same movement.
f- frfr/f- ^-
:£:
37.
1P#
2=fc ==ttj «fc
:feSS:
Ac t=q
3
i^
-y*-
&i
— -i
-febzfcsf
"^js^
t
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W—V ,.
1
W-
t=
5rf=?c
&c.
—
* *
6..
-h
=** 4-
m t»1 w
=P4=
mm 8 -PL
# The above examples from Schumann are highly instructive as

shewing the importance of a clear conception of the harmony of a pal
as a guide to its proper phrasing.
In Example 3G it will be observed that tbo harmony changes once in
two bars, and that the slur begins at tbe first note which indicates that
change; but that in Example 87 the harmonies follow one another more
closely, first at the distance of a bar (as far as bar t), and then at the
distance of a, beat (bars 4 to 8), the commencement of tbe slur in every
instance corresponding with the change of chord.
—] —
24 STUDIES IN PIIBASING AND FOBM.

(ii) Marked contrasts of idea in melody, or harmony, in
quality or quantity of tone, or in pitch, should
usually he taken as indications of some hreak or
division in the rhythmic-groups, e.g. :
Melodic contrast, and. contrast of tone-quality and quantity.

Andante.
*
w=%m
-4=
*-*-+ H #=ffl
sll
38. -^
V . <tc.
-i
Contrasts of pitch and harmonic density.

Allegretto vivace. Beethoven. — Sonata, Op. 31, No. 3.
I=^m
^±=^^t=.
p
t=^
si
—i
— i-
——
=*
=Eg3E -i \-m— I
I
m :
-&- m-
rasee
^
-0- -£
0L^~~- -*-"-*'
=-W . ^ to.
Contrasts of pitch and quantity of tone.

Allegro con brio.
Beethoven.— Sonata, Op. 53.
¥
b&.W&L
5=1
-ff
40.
I
iz
-p—
I!
&c.
*«IJ1 1
:£ II
Contrasts between harmonized and unharmonized passages, and between

staccato and fepafo.
CnopiN.-Balladc in F minor.
41. Andante con moto.
asi
sf &c.
* —

(i ii) G roups of quick notes frequently find their termination
in longer one (either accented or not), and
a
should therefore he phrased so as to include that
note :
—
—
Haydn. Souata in C minor, No. 22.
Allegro.
42.
Allegro vivace Chopin. — Rondo in E?, Op. 16.
43.
j
i ^1r4-^=g=g£
(iv) The repetition of a note generally indicates a point
heyond which the slur cannot he carried without
a temporary hreak (which, however, may denote
little more than the slight separation caused hy
the raising of the hand from the keys) :
Adagio. Beethoven. — Sonata, Op. 22
*?p~
%j
** m e
P
44.
-t -i
mE*$^
m _4 wirp-W
r
cv.c.
H^
@Br:i2
sf
-
M
See also example 40 above, from Beethoven's Sonata, Op. 53.
—
Allegretto. Beethovkn. — Sonata, Op. 54.

45. Z'-f-' 4*-bm- ^\ * /I b#- '£', -*- "^
m
& m
THE INTERLINKING OE SLURS.
In cases where there is an "overlapping" of rhythmical
such as very often takes place in passages of accom-
figures,
paniment founded on arpeggios or broken
Overlapping of chords, the "interlinked slur" is a very
rhythmical
figures.
valuable means
directing the player's
of
thoughts to the real rhythmic
forward
destination of a " figure" at which point, however, no break is
;
possible, or desirable, since it forms also the beginning of a new

" figure," e.g. :
Andante grazioso.
Mendelssohn. — " Liodcr ohne Worte,"
•> No. XI.
A:
&S& =5 =
gigp
Tins form of slurring often very useful, too, as a help to
is
the correct appreciation, on the part of the player, of the shape
of an extended melody, e.g. '.
—
28 STUDIES IN PHBASING AND FOBM.
*
Adagio.
47.
to TO to _roi rw r^
111! i ^r
i
SEE
33U33
^F 1
Here the interlinked slurs at * shew at one and the same

tune (i) that the melody of the first bar leads up to the C at the
beginning of bar 2, finding a species of (temporary) expressive
climax at that point (ii) that, on the other hand, there is to
;
be no break in the flow or continuity of that melody, which

proceeds onwards for some considerable time in the same
manner before reaching a point of rest.
INDICATIONS OF STACCATO AND OF SPECIAL

ACCENT.
The employment of marks of staccato and of special emphasis
isusually a matter concerning the personal taste of the composer,
and few rules can be laid down as to their indication.
It may be said, however, that special
Special accent-
marks. marks of accent are often desirable under
the following conditions.-
(i) In the case of strongly-marked syncopation, e.g. —
AO <77
48. Allegro.
—
Schumann. Fantasia in 0, Op.
^—>
17.
Up
—
STUDIES IN PHRASING AND FOBM. 29
Presto agitato.
Brahms. — Sonata in C, Op. 1.
w* sf s/ J J *«
49.
^ggnfflgg^j^ **
gll
(ii) Where a figure is insisted upon by means of repetition

(sequential or otherwise) —
particularly as a means
of marking the commencement of each repetition,
e.g.—
Presto con fuoco. Chopin. — Scherzo in B minor, Op. 20.

50.
3idi
fES i£F <i* —r^r i
gEBB ll
.y ores.
I ^*a=i q=^={=?=3 ta
£ Hi
*» ii
i
Grieg. — P.F. Concerto.
Allegro marcato.
v JL JL
IeS^^^^SS Sffi
L
51. /* /*
^ I. '
r
S*
^
*
Ê&^-JglPffi I
»3 5
Ac.
— — —

(iii) On occasions of interruption or surprise (e.g. , at some
unexpected harmony)
Grieg. — P.F. Concerto.

Allegro molto moderato.
q 4 1 rr* "*
g —g— g
^ ± t +
52.
8m
|fe[|
fe
^JS J^ffiggggggg^fe
— g ig
The above example shews the anticipated course of the music abruptly
—
checked by the final chord of the extract a point at which an ordinary
—
perfect cadence in A major would normally be due and a special degree of
force and vividness required at this interruption, to which the player's
is
attention is called by the " accent " and "/s."
Sometimes, however, the effect of surprise is carried out by gentler
means, and a chord may be intended to impress itself upon the hearer's
attention bv a piano or pianissimo, instead of by a
eigm " forte or fortissimo. In such a case, the "weight-
\r *»
mark " ( —
or -v) is often more appropriate than the
"accent" (r> or sf or fz), which usually implies a certain degree of
explosive energy which would be clearly out of place :
Beethoven. — Sonata, Op. 7.
53.
'-#=£: tr.
*
(iv) In the case of passing-notes occurring upon the

accented parts of the bar —
Allegro. Haydn. — Sonata in E j?, No. 3.
(v) In the case of strongly-marked suspensions, such as

the following- BEETHOVEN.-Sonata, Op. 13.
Grave.
55.
rfarf:
ijpijili
V */ il'C.
d:
Ejrf:
;
-m
-j-
—m -la-
i
-m- -m-
SI
-m-
Many other instances of the employment of marks of special

accent or weight might be quoted, but the student will find
that, in most cases, personal taste must be the guide in such
matters. If he bears in mind the hints given above, he should
—
experience little difficulty provided, of course, that he has that
power of mentally conceiving the music
Aural perception, aright which is the result of a musically
trained ear. Otherwise, we fear that further
directions will be of little use to him.
The Staccato mark has been occasionally
Staccato-marks used by composers in order to indicate
L
indicating" ,i u i . . , . -,
* n0 bringing into special prominence

melody.
certain notes in a passage which possess
a melodic value, e.g. :-
BEBTHOVEN.-Sonata, Op. 13.
56.
0* ): i
? (\
h
-* — *- ~#=W-
1t II
* It should bo borne in mind that the "appoggiatura," whether written

as a small note (as in old music), or incorporated into the time of the bar
as a note of full size, always takes the accent.
—
32 STUDIES IN PHBASING AND FORM.

Schumann. — Sonata in G minor, Op. 22.
Mf
"•mpl
This particular notational method has little to recommend it,

and is liable to cause confusion in the player's mind; a far
better means of arriving at the same desired end is for the
special melodic notes to be given a double stem, thus :
58
t=pt *& &c.
&F i
££T
I
I!
The following collection of examples from various Pianoforte

works of different periods is intended to provide material for
practice in " phrasing." The student should first carefully note
the points at which the music " splits up " into its more
important periods ; and, after doing this, supply the necessary
slurs and indications of " staccato," special emphasis, gradation
of tone, etc.
EXAMPLES TO BE PHRASED.
Zifoli (1685- ?). — Sarabando in G minor.
Largo.
3
r-T-f- ' rfffTT , m .
'!
^^S^m^B
f^^-
tr -<s>-
Tt
*<=*-
fcs 0-P-0*
zpz=z^zztL fc
—l 1
mm
i \
I—
f^^^^f
d J J •*•-
sse te
dc
ji
iâ
F=J
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tS>-
II
Zipoli. — Gigue in G minor.

Allegro.
i- j. q.
se BEM *
^
i£^£
*S r * • i~r • if
T
r
•
^^
c
t
M STUDIES IN PHRASING AND FORM.
B*j=Ud— \
*"-
I
J.. J.. J-- 4; #: J..

# -^_K
E^ -
: = i
SSEfegEfes :*=*: 1
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I*=L
?=i ^^r=t f T=* "r
J. S. Bach (1685-1750).— Gavotte from

Allegro giocoso. French Suite, No. 5.
i
3.
w=& 7~F
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Tl I— J"
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r^rt-f r |f=» hS>-

g=t- 8
—
A llcgro J. S. Bach. —Anglaise from French Suite, No. 3.
^-¥- # ^ #
rk£f?E£ t -*-^ ac3=*
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8
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J. S. Bach. — Bourree from English Suite, No. 2
s^
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£**4 -H
5.
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trr r r
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G>- ZOI i
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tr
fc=fc^:
1^ S :c
r^ r -1
p ^
m^k
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-%
c 2
m-rj 4
3E±
t-p: II
• —
36 STUDIES IN PHRASING AND FOBM,

Handel (1685-1759).— Fantasia in C.
Allegro con spirito.
^r^ — S3 ^ — I
\-0>
6.
\
@5 3: £3
j* # * # # ML
*- #-
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2 fe£
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Handel. — Allemande from Suite No. 16.

Allegro. tr
SEE £ ^Fh*
7.
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STUDIES IN PBBASING AND FOftM. 37
Tempo di Gavotta. Martini (1706-1784).— Gavotte in F.
8.
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1=£
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Allegro. GALurn (1706-1785).— Allegro.
9.
UL.J j j n^ g 5*E -=5
ifsg^tspf 3
^^=gg^ggg £
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G. P. Emanuel Bach (1724-1788).— Rondo in Ep.

Andantino. _-«»_
sn. 30 -«q-
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.,, Haydn (1732-1809).— Sonata in E[>, No. 3

N
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11.
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§
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Haydn. — Sonata in B[7, No. 18.

Moderato.
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^££*h ~N fe
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STUDIES IN PHRASING AND FORM.
*- -*-
*—*-
¥ r-
¥
(9-^ r-*
M NgF^ s:
H--H1
p- — 3 i O- 2-
5 f-f
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Mozart (1756-1791).— Sonata in BJ7, No. 4.
Andante cantabile.
13.
=t
#fel{=|!^
*/
=^ =.-,
ê^^
nd?
$.%=i=£m
m -& — 3 —-y -i
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W. (J.)
Ita
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=t=
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—H
Mozart -Sonata D^No.

__ in 10.
gâ^gg^^^
Andante.
J « * ,-» —I— " i r—1 f—

i
jfgfEE *=
irrni
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m e=t
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feî^t&fî iSB
^Pi**
^5^ ^: -*r £E£
t=fc.
Mozart. — Sonata in D, No. 13.

Allegro
15.
j
« W? 3a=* ^ -*
:êe
^~ 5C 4f
1 msg pfe§F^ ^TFfrf^f
Sf >#
%fe2==EE^
fa*
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UB — ££
Ji*Zj&=i
t-t-t-t-:
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*a -^ — p- ^--^^
1L -#--r- -•-
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Beethoven (1770-1827).— Sonata in E, Op. 14, No. 1.
-0i*
Allcqro.
u
k*~,_
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STUDIES IN PHRASING AND F01UL 43
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76 STUDIES IN 1'llliAslNO AND FORM.
Part II.
QUESTIONS AND EXERCISES IN

MUSICAL FORM.
(INTENDED AS A COMPANION TO THE AUTHOR'S "FORM IN MUSIC")
FIRST GROUP.
ACCENT, TIME AND EHYTHM.
1. Name some of the evidences of Form in music, and
describe them in detail.
2. Distinguish between the terms Melody and Harmony,
and shew by an example (or examples) how a melody may, by
its own outline, strongly suggest its connexion with a clearly-
defined harmony.
3. State in what important way Khythmic shape is connected
with and influenced by Harmony.
4. Name a few types of musical composition whose titles
readily afford some clue to their character.
5. What is meant by Accent ? In what way does Accent lie
at the root of all idea of musical shape ?
6. What is Time ? Shew various kinds of Time by musical
examples.
7. Shew, by examples, two easily-recognizable ways in which
the universal instinct of Duple and Triple accentuation, or
grouping, is illustrated in music.
8. Are all the bars, or measures, of the following passages
equally accented ? If not, mark those that are rhythmically
stronger with >.
Presto alia tedesca. Beethoven.
(a)
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Allegro vivace. Beethoven.
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— Comment on any peculiarity in
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the grouping of the bars in this

extract.
Beethoven.
Presto.
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Vivace Lisz:
The asterisks in this example indicate the rhythmic periods of the music,
i.e., its grouping into phrases.
9. What do you mean by Rhythm ? Distinguish between it
and Accentuation, (b) Time.
(a)
10. Describe the term Cadence, and give examples (from some
standard work) of the more familiar types of Cadence.
11. (a) What part do Cadences play in determining the
Bhythm of a passage ? (b) Describe approximately the mental
effect of each kind of Cadence, comparing each with the idea
of punctuation in speech or writing.
12. Name the two most important rhythmical periods.
13. (a) What is a Phrase? (b) What is the length of the
most usual type of Phrase ?
14. Give several examples, from standard works, of such
" normal" Phrases.
15. Of what length are the Phrases in the following
examples? Indicate the conclusion of each Phrase by an
asterisk.
A11 Mozart.
Allegro.
—
Molto allegro.
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Poco allegro, con affetto. Liszt.
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1G. Does a phrase invariably begin rhythmicallyat the same

moment that begins melodically ? If not, state under what
it
conditions it would not do so, and give some examples from
some standard work or works.
17. State, in each of the following extracts, whether the
notes included within the j~~ are to be regarded (i) with
j
reference to the phrase which they follow, or (ii) with reference

to that which they precede, or (iii) as a link between the two
phrases :
Allegretto. MOZART.
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(Cadence.)
84 STUDIES IN PUBASING AND FORM.
tr.
J w* mi &c.
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Piaiw agitato. Mendelssohn.
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STUDIES IN PI1BAS1NG AND FOBM. 85
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Allegretto. :— ^ _ . Beethoven.
J3Ei:TH0VJiiJS.
18. Upon what part of tho final bar of a Phrase does the
" Cadence-chord "* usually fall ? (live some examples.
* For the explanation of this term, see the Author's " Form in Music,"
pages 1G and 17 (footnote).
19. Name three cases in which an exception to this general
rule is frequently to be found.
20. Does the barring of the following passages convey the
correct idea of the accentuation of the music ? If not, alter the
barring so as to produce the effect actually intended by
the composer :
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SECOND GEOUP.
PHRASES AND SENTENCES— EHYTHMIC EXTENSION
AND CONTRACTION.
1.Define a musical Sentence.
2.Of how many phrases does a Sentence usually consist ?
Give some examples of the most common type of Sentence.
3. Give an example of a three-bar Sentence.
4. Of how many phrases does the first Sentence of Schumann's
11
Arabeske " (Op. 18) consist?
5. Enumerate some of the means by which a composer is
enabled to make the phrases of a musical Sentence respond
satisfactorily one to the other. Give musical illustrations to
shew what you mean.
6. What is faulty in the construction of the following
Sentence ?
Moderate).
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7. What do you mean by the rhythmic period entitled a
11
Section " ? Of how many bars does it usually consist ?
8. Give two illustrations of each of the following (from
different authors, if possible) :
(a) A Sentence of two phrases, in which each phrase is

divisible into sections.
(b) A
Sentence of two phrases, in which only the first
phrase is thus divisible.
9. Comment on the division of the first Sentence in the
" Finale" of Beethoven's Sonata in E (Op. 14, No. 1).
10. Does the | barring of most modern Scherzos (from
Beethoven onwards) accurately represent the musical effect ?
If not, give the reason for your statement, and also any reason
that seems at all probable for the retaining of such | barring
by the composer.
11. Comment upon the barring of the passages enumerated
on pages 42-43 of "Form in Music." Wherever you deem
that the barring does not accurately represent the actual
musical effect, indicate what you think would be the correct
version of the passage.
12. What is a "Figure"? Give some examples of such
musical Figures.
13. In the following passage, which way of regarding the
Figures would you consider productive of the truer musical
effect —
as shewn at (a), or as at (b) ?
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14. What do you mean by Rhythmic Extension and Contrac-

tion ? What is the object of this ?
15. Name the chief ways in which Rhythmic Extension is
carried out, giving an example of each from some standard
work, or works.
16. Explain the way in which Beethoven has exemplified the
idea of Rhythmic Extension in each of the following passages :
Sonata in A, Op. 2, No. 2.

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02 STUDIES IN PHRASING AND FOBM.
Ibid.
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17. Explain the rhythmical construction of the following

passages by marking the termination of each phrase with an
and commenting upon any irregularities, such as
asterisk,
Rhythmic Extensions, Contractions, etc. :
Presto.
Haydn. — Sonata in G, No. 10.
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rhythmical and other differences :
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Haydn. — Sonata in C, No. 5.
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Mozart. — Sonata in D, No. 10.
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Beethoven. — Sonata in G. Op. 14, No. 2.
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Allegro.
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5 -5
THIRD GROUP.
THE SIMPLE BINAEY AND TERNARY FORMS.
1. Describe very simply and concisely what is meant by the
terms Binary and Ternary in speaking of the form of a piece
of music.
—
Give an example of each of these forms from any collection

2.
ofNational Tunes, Folk-songs, or Hymn Tunes.
3. Describe how the form of the " Menuetto " of Beethoven's
"
Sonata in E flat (Op. 31, No. 3) differs from that of the " Trio
that follows it.
—
N.B. Regard each of these as separate movements, and confine your
remarks to the music as far as the end of the Trio (at this
point)
—
4. Furnish examples of the simple Binary Form from

standard instrumental works.
N.B. —These may well be selected from the shorter movements of the
Suites of Bachor Handel, certain of the themes for variations by
Haydn, Mozart, Beethoven, etc. Some of the examples chosen
should illustrate the conclusion of Part I in a key other than that
of the Tonic.
5. Analyse the form of the following pieces, marking the
termination of each phrase with an asterisk, and commenting
upon anything interesting in the shape of imitations, sequences,
inversion of parts, etc., etc., naming also the keys through
which the music passes :
(i) Nos. 1, 2, 5, 7, and 15 of "First Lessons in Bach,"
Book I (edited by W. Carroll).

(ii) Nos. 5 and 7 of " First Lessons in Bach," Book II.
(hi) " Un poco adagio," from Sonatina in C
(No. 3 in Peters' edition)... Clementi
(iv) Gavotte from " Suite Francaise " in E, Bach
(v) Minuet in F (No. 6 of " Sept pieces") Handel
(vi) Courante from Suite 5 ... Handel
(vii) Allemande from Suite 11 Handel
(viii) Theme ("Andante, molto cantabile ed
espressivo ") from Sonata in E (Op. 109) Beethoven
(ix) Theme of " Tema con variazioni " from
Pianoforte Sonata in A major (No. 30
in Peters' edition) Haydn
(x) "Tempo di Menuetto" (first 16 bars)
from Pianoforte Sonata in E major
(No. 34 in Peters' edition) Haydn
—
N.B. Mark the two divisions of the Binary Form by the letters A
and B respectively.
6. Name some of the principal essentials of satisfactory form
or design in an instrumental composition [not a canon or a fugue).
7. During what historic period, roughly speaking, did the
Binary Form give way before the Ternary in the construction
of complete instrumental movements ?
8. Describe, as far you can, the kind of mental impression
usually conveyed by each of the three parts or divisions of a
movement in simple Ternary (or Three-part) Form in other ;
words, what is the effect of each part in relation to the whole?

9. Analyse the form of the pieces named on page 86 of
"Form in Music," marking the termination of each phrase with
an asterisk, and commenting upon anything interesting or
noteworthy in the course of the music {e.g., imitations, sequences,
inversion of parts, special modulations, etc.).
—
N.B. Mark the three divisions of the Ternary Form by the letters
A B, and A 2 respectively.
10. Quote instances (of various sizes and different styles) of
the simple Ternary Form from the works of standard writers.
11. Describe the way in which the parts of a simple Ternary
Form (as exemplified in the classical Minuets, for instance) are
usually marked to be repeated.
12. Describe the terms Link and Coda, giving several
examples of each from standard works.
13. Which of the great composers may be said to have
systematically developed the Coda into an important and
integral part of the plan of a movement ?
14. Describe what is meant by (i) an Introduction,
: (ii) an
Interlude, in the course of a composition. Quote examples

of each.
15. How would you classify the following pieces as regards
their form ?
(i) Theme of Variations in G ... ... Beethoven
(ii) Theme Variations from Pianoforte
of
Sonata in A, No. 12 . . . ... Mozart
.
(iii) Theme of Variations from Sonata in

E flat, No. 7, for Pianoforte and Violin Mozart
(iv) Bagatelles, Op. 33, No. 3 (first 16 bars)
and Op. 119, No. 1 (16 bars in E flat) Beethoven
16. Analyse the " Tempo di Menuetto " and the succeeding
" Minore" (treating each as a separate movement) in Haydn's
Pianoforte Sonata in F (No. 13).
FOUETH GEOUP.
THE MINUET AND TEIO (OE EPISODICAL) FORM--
THE OLDER RONDO.
1. Shew clearly how the Minuet and Trio of the classical
masters carries out the Ternary principle of Form in musical
composition.
—
2. What is meant by the term Trio, in the Minuet and Trio

Form ? What function does it fulfil, and what is the origin of
the term ?
3. Shew, by means of a diagram, the structural plan of most
of the Minuets and Trios of the classical masters.
4. Analyse the Scherzo and Trio of Beethoven's Sonata in
A flat (Op. 26), commenting fully upon all points of interest in
the course of the piece.
5. What do you mean by the term Episode ?
6. Analyse fully .as many as possible of the following
movements :
(i) " Presto " of Sonata in G (No. 10) ... Haydn

(ii) "Andante cantabile " of Sonata in C
(No. 2) Mozart
(iii) Allegro in E flat with Trio in E flat minor
from Sonata (Op. 7) ... Beethoven
(iv) Funeral March from Sonata in A flat
(Op. 26) Beethoven
(v) " Andante " of Sonata in D
(Op. 28) ... Beethoven
(vi) Impromptu in A flat(Op. 142, No. 2)... Schubert
(vii) "Andante" from Violin Concerto Mendelssohn
(viii) Novelletten (Nos. 2, 4, and 7) Schumann
(ix) Polonaise in A (Op. 40)... Chopin
(x) Impromptus in A flat, G flat, and C sharp
minor (Op. 29, 51 and 66) ... ... Chopin
(xi) Nocturnes in G minor (Op. 37), C minor
(Op. 48), and F sharp minor (Op. 48) Chopin
Albumblatter (Op. 28, No. 3)
(xii) Grieg
(xiii) Klavierstiicke (Op. 118, Nos. 2, 3 and 5) Brahms
(xiv) "Arabesque" in E major (No. 1 of
" Deux Arabesques")... ... ... Debussy
7. What is meant by a Eondo? Give the derivation of
the word.
8. What are the explanations given of the origin of the
Rondo-form ?
9. Name some early composers of Eondos, and (if possible)
quote an example or two from their works.
10. In whose hands did the Older (or Simple) Eondo reach
its mature stage, and in what respects did it then shew an
advance on the earlier examples of the Form ?
11. Analyse fully as many as possible of the following
movements :
(i) No. 14 of " First Lessons in Bach," Book I (edited by

W. Carroll),
(ii) Second movement of Sonatina in F ... Beethoven
(iii) " Presto ma non troppo," of Sonata in
D (No. 7) Haydn
(iv) " Adagio," of Sonata in C minor (No. 18) Mozart
(v) Eondo in A minor ... ... ... Mozart
(vi) " Andante " in F Beethoven
(vii) Eondo inC (Op. 51, No. 1) ... ... Beethoven
(viii) " La Consolation " ... ... ... Dussek
(ix) " Moto continuo " from Sonata in C
(Op. 24) Weber
(x) " Arabesque " (Op. 18) ... ... ... Schumann
"
Nachtstiicke" (Nos. 1, 2, and 3)
(xi) ... Schumann
" Finale"
(xii) of Sonata in C (Op. 53) ... Beethoven
12. Compare the form of the Older Eondo with that of a

Minuet with two Trios, shewing what advantages the former
has over the latter as an art-form.
FIFTH GROUP.
SONATA-FOEM.
1. What is Describe its main features.
a Sonata?
2. What does (i) a String-Quartet, (ii) a
relationship
Symphony, (hi) a Concerto, usually bear to a Sonata ?
3. Trace the connexion between the simple Ternary form of
most of the classical Minuets and that of the first movement
of most Sonatas.
4. What are the names usually given to the three main
divisions of a movement in Sonata-form (or First-movement-
form) ?
5. What is meant by the expression "Exposition" in
connexion with Sonata-form ? In other words, what is its
purpose ?
6. Describe the usual details of the Exposition of a movement
in Sonata-form.
7. Name any characteristics desirable in a good First Subject.
Quote some examples which appear to you to carry out these
requirements.
8. In what respects should the Second Subject of a Sonata-
movement be in contrast to the First Subject ? Shew these
points by quotations from standard works.
9. What is meant by the Transition (or Bridge-passage) in
Sonata-form ?
10. Name the more usual methods adopted in the construction
of such a Transition. Give an example of each.
11.In what respect did Beethoven improve upon the work
of his predecessors in this particular direction ?
12. Give any sort by which it may often be
of general rule
possible (particularly the writings of the great classical
in
masters) to determine the conclusion of the First Subject, and
the beginning of the Transition.
13. Give any reason which may possibly account for the
Second Subject of a Sonata-movement usually occupying a
larger part of the Exposition than the First Subject.
14. The Second Subject usually consists of two or more
distinct musical ideas illustrate this from a Sonata of
;
Beethoven.
15. What used to be (and often still is) the key generally
adopted for the Second Subject ?
16. Name some exceptions to this general rule.
17. What peculiarity do you notice as to the commencement
of theSecond Subject in the first movement of Beethoven's
"Sonata Pathetique " ?
18. What is there noteworthy the key of the
as to
Second Subject in the first movement Beethoven's Sonata
of
in G (Op. 31, No. 1), both as regards its beginning and its
close ?
19. What part of the Exposition of a movement in Sonata-
form is represented by the somewhat frequently used term
" Codetta " ? What is its purpose ? Give some examples.
20. Quote a few instances in which Beethoven has " linked-
up " the conclusion of his Exposition with the " repeat " of
this portion of the movement, thus avoiding a definite stop at
the conclusion of the Second Subject.
21. Analyse fully the Exposition of as many as possible of
the following " First-movements." The works referred to are
in all cases Sonatas for the Pianoforte :—
(i) Sonata in B flat (No. 4)... Mozart
(ii) „ F(No. 6) ... Mozart
(hi) ,, A minor (No. 7) Mozart
(iv) „ D(No. 13) ... • . . Mozart
(v) „ C minor (No. 18) . . . Mozart
(vi) „ E (No.
flat 1)... Haydn
(vii) „ E flat (No. 3)... Haydn
(viii) „ Aflat (No. 8)... . . . Haydn
(ix) „ F(No. 20) ... . . . Haydn
(x) „ C minor (No. 22) Haydn
(xi) „ F minor (Op. 2, No. 1) . . . Beethoven
(xii) „ C (Op. 2, No. 3) Beethoven
(xiii) „ E flat (Op. 7)... • • • Beethoven
(xiv) „ D (Op. 10, No. 3) . . . Beethoven
(xv) „ D(Op. 28) ... . . • Beethoven
(xyi) „ C(Op. 53) ... . . • Beethoven
(xvii) ,, F minor (Op. 57) ... Beethoven
(xviii) ,, D minor (Op. 49) . . . Weber
(xix) ,, B flat minor (Op. 35)) Chopin
(xx) „ G minor (Op. 22) Schumann.
22. Name some of the chief resources open to a composer in
the working-out of his ideas in the Development Section of a
Sonata-movement. Give an example of each.
23. How would you describe —with reference to the plan of
the whole movement —the passage commencing thus: —
£
sfp &c.
in the last movement (Allegro ma non troppo) of Beethoven's

Sonata in F
minor (Op. 57), which is written in Sonata-form ?
24. Comment fully upon the Development Section of as
many as possible of the following movements from Pianoforte
Sonatas, pointing out all points of interest, and shewing
clearly which ideas first heard in the Exposition are used
therein, and how they are developed. Name the keys through
which the music passes :
(i) Sonata in E flat* (No. 1) Haydn

(ii) „ E flat (No. 3) Haydn
(iii) „ F(No. 13) Haydn
(iv) „ F(No. 1) Mozart
(v) „ D (No. 13) Mozart
(vi) „ C minor (No. 18) Mozart
(vii) „ A (Op. 2, No. 2) Beethoven
(viii) „ G (Op. 14, No. 2) Beethoven
(ix) „ B flat (Op. 22) Beethoven
(x) „ D (Op. 28) Beethoven
(xi) „ C (Op. 53) Beethoven
(xii) ,, E minor (Op. 90) ... ... Beethoven
(xiii) „ A flat (Op. 39) Weber
(xiv) „ D minor (Op. 49) Weber
(xv) ,, B flat minor (Op. 35) ... Chopin
(xvi) ,, G minor (Op. 22) ... ... Schumann
(xvii) ,, C major (Op. 1) ... ... Brahms
(xviii) ,, E minor (last movement) ... Grieg
25. Quote, from standard works, as many examples as you
can of a specially interesting return to the First Subject at the
beginning of the Recapitulation Section of a Sonata-inovernenfc.
—
N.B. Features of interest might take the form of
(i) New harmonization of the opening of the First Subject,
(ii) The avoidance of the usual approach to the Tonic key through
the Dominant 7th chord,
(iii) The re-introduction of the First Subject upon a Pedal Bass,
etc., etc.
what is meant by the Recapitulation Section of

26. Describe
a Sonata-movement, and state what purpose it serves in the
composer's plan.
* The first movement of each Sonata is referred to iu all cases, unless
otherwise specified.
27. Point out any particulars in which the Eecapitulation

usually differs from the Exposition.
28. In some cases a considerable compression of the original
subject-matter takes place in the Eecapitulation Section give ;
your reasons for or against such a procedure.

29. What irregularity do you observe in the Eecapitulation of
dementi's Sonatina in B flat (Op. 38, No. 2), First Movement?
30. Describe the purpose and object of the Coda to a Sonata-
movement.
31. How may the commencement of the Coda be located ?
32. Is there always a Coda to a movement in Sonata-form ?
Illustrate your answer by examples from standard works.
33. Comment fully (from commencement of Eecapitulation
to end of movement) upon the movements named in Question 24.
34. What is the object of an Introduction such as sometimes
precedes a movement in Sonata-form ?
35. Shew how the Introduction of the First Movement of
Beethoven's Sonata in C Minor (Op. 13), and of the same
writer's Sonata in E flat (Op. 81a), is connected in idea with
the movement it precedes.
36. Analyse and comment fully upon as many as possible of
the following complete movements : —
(i) " Andante " of Sonata in F major (No. 1) Mozart
(ii) " Finale " of Sonata in F major (No. 6) Mozart
(iii) " Finale" of Sonata in C minor (Op. 10,
No. 1) ... ... ... ... ... Beethoven

(iv) " Adagio con niolto espressione " of
Sonata in B flat (Op. 22) ... ... Beethoven
(v) " Presto agitato " of Sonata in C sharp
minor (Op. 27, No. 2)... ... ... Beethoven
(vi) " Scherzo" of Sonata in E flat (Op. 31,
No. 3) ... ... ... ... ... Beethoven
(vii) " Finale " of same ... ... ... Beethoven
(viii) " Finale" of Sonata in F minor (Op. 57) Beethoven
(ix) " Finale" of Sonata in E flat (Op. 81a) Beethoven
(x) " Finale" of Sonata in E minor ... Grieg
SIXTH GROUP.
DEPAETUEES FEOM THE NOEMAL TYPE OF
SONATA-FOEM— VARIATIONS— THE SONATA AS
A WHOLE.
1. Describe what is meant by "Modified" (or Abridged)

Sonata-form, and give some examples of this Form.
2. Describe the Modern (or Sonata-) Rondo Form, shewing
how it differs from (i) The Older Rondo Form, (ii) First-
Movement Form,
3. Analyse fully as many as possible of the following
movements :
(i) " Adagio " of Sonata in F (No. 6) ... Mozart

(ii) " Allegretto grazioso " of Sonata in B flat
(No. 4) Mozart
"Allegretto" of Sonata in F (No. 1) ... Mozart
(iii)
(iv) " Molto Adagio " of Sonata in C minor,

Op. 10, No. 1 Beethoven
(v) Eondo in G (Op. 51, No. 2) Beethoven
(vi) "Finale" of Sonata in C minor (Op. 13) Beethoven
(vii) " Finale " of Sonata in B flat (Op. 22) Beethoven
4. Name the most important of the resources open to a

composer in writing Variations upon a given theme. Quote an
example of the employment of each.
5. What is the object of a Coda to a set of Variations ?
G. What is meant by the following terms :
(i) Ground-Bass, (ii) Passacaglia, (iii) Chaconne, and

(iv) Double ?
7. Comment fully upon the treatment of the theme in as

many as possible of the following sets of Variations :
(i) " Passacaglia " from " Suite de pieces "

(No. 7) Handel
(ii) " Courante avec deux doubles" from
" Suite Anglaise " in A Bach
(iii) Variations in F minor ... ... ... Haydn
(iv) " Andante " of Sonata in D (No. 10) ... Mozart
(v) " Andante grazioso " of Sonata in A
(No. 12) Mozart
(vi) " Andante con variazioni " of Sonata in
A (Op. 26)
flat Beethoven
(vii) Six variations (Op. 34) ... ... ... Beethoven
(viii) Thirty-two Variations in C minor . . . Beethoven
(ix) " Variations Serieuses "... ... ... Mendelssohn
(x) " Etudes Symphoniques " ... ... Schumann
(xi) Variations in B (Op. 12)
flat ... ... Chopin
(xii) Variations and Fugue on a Theme by
Handel... ... ... ... ... Brahms
8. Name some of the various forms used by Beethoven in his
slow-movements, referring in all cases to specific examples of
such forms.
9. Name (in order) the usual movements of a Sonata or
Symphony.
10. Give a short account of the origin of the Scherzo, as it
appears in the works of Beethoven.
11. Give any particulars as to the character of the Scherzos
of Mendelssohn and Chopin.
12. Name the usual forms employed for the Finale of a
Sonata or Symphony. Quote an example of each.
— i :
STUDIES IN PHBASING AND FOBM. Ill
SEVENTH GROUP.
FUGUE AND CANON.
1. Distinguish briefly between the terms Contrapuntal (or
Polyphonic) and Harmonic (or Homophonic), as representing
definite periods or schools of thought in the history of musical
composition. Quote an example of each style of writing.
2. Name the principal contrapuntal Forms.
3. Describe what is meant by a Fugue.
4. Give (very briefly and without going into detail) an
outline of the plan of most Fugues.
5. Describe the following terms in Fugal construction
(i) Subject, (ii) Answer, (iii) Eeal Answer, (iv) Tonal Answer.
6. In what key (usually) does the Answer to a Fugue subject

occur on its first appearance ?
7. Name the several conditions under which a Tonal Answer
is generally desirable, and even necessary. Give an example
of each.
8. Correct the following faulty Answers, stating what is
wrong in each case :
Subject. Answer.
H=gl =^F k -&-

:&:
Subject. Answer.
(ii)
~nr
T±
=P^
^
Answer.
^
m fegraz^ 2
Subject.
&-
-&>-
i I
Z2I
o:
^
-o- -Q.
Subject. -G>- tr-
(iv) W%~T
^3 7
~ ::22i
II
Answer. tr.
-rdr -<&
—
w Subject.
II
-&-
(v)
&:.'2 ?2= I -*— m-
I
Answer. /r.
W-
<o»
-<s>
t -*=> m
Subject.
* # * fr>rf
<*>igii —
-J
M
Answer.
m -<s>- ~=tr
m w%
Subject. Answer.
<™j fe r
wYl r ' -f f £- n
0=^ z± #-*-
ik -o-
II
Subject.
*
<viii)
ir*l ^rB=g p =t
Answer.
--**
J L_ J_^_
it i
-I- —=§£ 5S
F=i>
"I ; I
Subject.
(«) &-Igipgggrq^g
Answer.
1 * I I i b
£
(*)
SH-Jba
Subject.
m #*
ii
Answer.
i
f ft
m
Answer.
Subject.
(xi)
5 :£:
q=p%^ rj^-fr
—p i r !
j^l ^ fl
Answer.
Subject.
(xii) s
i J 'IN ' -3-
9. Give the two applications of the term Counter-Subject

which is the more general use of the term ?
—
Give some examples (from Bach's " Wohltemperirtes

10.
Klavier") of Counter-Subjects (using the term in its more usual
application) which are in Double Counterpoint with the Subject
and Answer of the Fugue. Shew the inversion of Subject and
Counter-Subject in each case.
11. What is a Codetta? Distinguish between the use of
this term in Fugal writing and its employment in other kinds
of composition.
12. Give some examples of Fugal Codettas from standard
works.
Analyse fully the Exposition* of each of the following
13.
Fugues in Bach's " Wohltemperirtes Klavier " :
Book I. Nos. 16, 11, 3, 7, 17, 21 and 22;

Book II. Nos. 5, 6, 7, 8, 9, 11, 16, and 17.
14. Describe what is meant by the Middle (or Modulatory)
Section of a Fugue.
15. Name the principal devices employed in order to main-
tain the interest of the Middle Section.
16. (a) What is meant by a fugal Episode ? (b) Name the
chief uses of Episodes in a Fugue.
17. Comment upon the Episodes in the Fugue in E flat
major of Bach (No. 7 of Book I of "Das wohltemperirte
Klavier "), pointing out the various points of interest in their
construction.
18. What special feature marks the beginning of that part of
a Fugue often called its Final Section, or Climax ?
19. What is a Stretto ? Give examples of both Partial and
Complete Stretti from Bach's " Wohltemperirtes Klavier."
20. Where does the Coda take place in Fugues 3, 5, 7, 11,
15, 21 and 22 in Book I, and Fugues 7, 9, 10, 12 and 23
in Book II ? State the principle guiding your answer in
each case.
21. (a) What is meant by a Eedundant Entry ? (b) State
which Fugues in Bach's " Wohltemperirtes Klavier" have such
Redundant Entries, giving the number of the bar in which each
begins.
22. Describe that part of Fugue 11 in Book I extending
from bar 17 (third beat) to bar 31 (first beat), stating the main
features in the construction of the passage.
23. Comment upon bars 24 to 31 inclusive in Fugue 15 of
Book I.
24. Comment upon the bass-part of bars 62-67 inclusive in
Fugue 8 of Book I.
25. (a) What part of the Fugue is represented by bars 9 to 12
inclusive in Fugue 9 of Book II? (/>) What is particularly
noteworthy about this passage ?
* As far as the point at which c;h)i voice has completed it 9 first entry
26. Comment upon the passage extending from bar 26 (fourth
beat) to bar 29 (third beat) in the same Fugue.
27. Comment upon the passage extending from bar 35
(second beat) to bar 39 beat) in the same Fugue.
(first
28. Give any sort of general rule by which you can tell
whether the entry of the Subject (or Answer) next succeeding
the ordinary (or normal) Exposition is either (i) a Eedundant
Entry, or the first entry of a Counter-Exposition or (ii) the ;
beginning of the Middle Section of the Fugue.

29. Note any peculiarities in the following Fugal Exposi-
tions :
Bach. — " Kunst der Fuse."
-4-
A
1 nl^^^rEE
(«)
m^k
£±±
-&>-
322:
Subject.
3J&> tr
m
Z^î^
rr^
tar fr- ^'H f—a
m
ai_g_
-
Zt 1
?r- Id-Li
m
FrH
*±*L
^ CJ.
J=5
m J» rz
±*~r.
J_d
-d±M * a
r-r-r*
^2:
i
JTlJ
Rfe-
g
:fct
-&-
I
^ Ibid.
yrf-y-^d
t
(b) Subject.
!
OE
4^
:
f*
:
-J-- J ^ baL
=P-=-
±
#*=Pi
i
S$ —
jl
^L E •
gpg tTî » gjj
*?
ga-j
&&=**gp J
?
: .y^P^ 1
g Bjrr ^B TT
& a
=~
LJ*# 1
S*fc
*
j<S>- 2J3 P=
:
. q
J -
J S
V-.
3. '
1 I
I, I I
ii
30. What kind of a Fugue is represented by the following
Exposition? Quote other instances of a similar kind:
tr
Handel.
&
i
fcfc3=3 *^
?=E
*?
I
"
'
u
r-n r~ri i
I m^tztk
r -&-rn *-F-l—
itiiyg
^^F a^P= i ~ <S>-
£-g r
C^ g '
<TL& ;
rgQ -s>- # g <r ? »
^
fr.
ie^S
tdi
*£ *'
1VVV-".
SB
U^g^^g Eft
<tc.
* -^ 0-
W=f 3* s
J= I
-(• FP iq:
gffiSEE
31. Comment upon the following fugal extracts :
Handel.
(«)
fe^^l^Hî
«#
^#H: ikUp§p I
-I
"Q^7Pi
? m^r *
etc.
J-
!
^ CJfcjjcJ g —ff* I
^-^-
!-
ii
—
(Exposition of Fugue.)
Handel.
3^^ lor
(*)
! % -&- _C2I
-&-
22l ^hd$=i
s ^ 5
p -
S Z2
a r~rr
-4-
o-
J &c.
.oL JZt-
@ j.
-&-
-<s>-
Z2I
m
32. Describe the terms (i) Fughetta, (ii) Fugato.
33. What is a Canon ? Quote an instance of Canonic
writing.
34. Describe the special characteristic of each of the following
examples of Canon :
Brahms.
^W
(«) JL +
Sfe=^ -LA I
&c.
#-# sa
** 1
tef
±Ê
Bach.
(6)
«
s*
ro
r> o:
£=t=}l*=S=
r==n p
i — —h-
£
-\
— ——
1
1 1 1 1
9 -w-M*-
—I I
•r -\
&- -&- -&-
w=?^ ?2I
5
£» *-
fe
^=^
ta =^ I'Kmv ^0
:
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STUDIES IN PBHASING AND FOBM. 119
u .. +r*r fftffft*
Mozart.
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ii
35. What is a Round ? Wheroin does it differ from the

majority of pieces in Canonic style? Give an example of a
Round.
30. What is a Catch ?
120 STUDIES IN PHRASING AND F01UI.
EIGHTH GROUP.
THE SYMPHONY— THE OVERTURE—
THE CONCERTO— CONCERTED CHAMBER-MUSIC.
1. Distinguish between the terms Symphony, Overture and
Concerto, as these are used at the present day.
2. In what important respect did the old (so-called) "Italian
Overture" differ from the "French Overture" which was its
historical contemporary ?
3. Which of these forms was destined
to play the more
important part as the foundation of the plan of the modern
Symphony, and for what reason ?
I. In what respects did Haydn and Mozart advance the art
of symphony- writing ?
5.What would you consider to be the most noteworthy
features in Beethoven's development of the symphonic art ?
6. Comment on
the Symphonies of Spohr, Mendelssohn, and
Schumann, pointing out some of their features of strength and
of weakness.
7. Name the most distinguished writer of Symphonies since
Schumann.
8. Describe the two main kinds of modern Overture, and
(a)
give any information that you can as to their usual form.
(b) Name some examples of each type.
9. Distinguish between Chamber-music and Orchestral
music.
10. When mayconcerted Chamber-music be said to have
had its Trace briefly its rise and development.
origin ?
II. (a) Distinguish between the older and the more modern
use of the term Concerto, (b) From whose time does the latter
approximately date ?
12. Give, in the form of a diagram, the outline-plan of the
first movement in a Concerto of the period of Mozart and
Beethoven.
13. Analyse fully the first movement of Beethoven's Piano-
forte Concerto in G major (Op. 58).
14. What is the " Cadenza " in a Concerto ?
15. In what directions has the form of the Concerto been
frequently modified by modern composers ?
16. Of how many movements does a Concerto usually
consist ?
17. What is meant by the term " Concertstuck " ? Name
two examples of this class of composition by well-known
writers.
Enumerate the most celebrated Concertos
18. (since the
time of Mozart) for (i) Pianoforte and Orchestra, (ii) Violin
and Orchestra.
— —
NINTH GROUP.
DANCE FORMS: THE SUITE, PARTITA, ETC. -
INDEFINITE FORMS.
1. Trace briefly the origin of the Suite.
2. Name the principal dances to be found in most of the
Suites of Bach and Handel.
3. Give any other titles which are practically synonymous
with that of " Suite."
4. What
is the Form of most of the movements in the Suites
of thecomposers of the 17th and 18th centuries?
5. Analyse fully each number in the following Suites, pointing
out any features of special interest in their course :
(a) Suites Francaises, Nos. 1, 4, 5, and 6 ... Bach

(h) Harpsichord Suites, Nos. 7, 8, 10, 11
and 16 ...
. . . ... ... ... Handel
6. Describe the main characteristics of the style of each of
the following dances Allemande, Courante, Sarabande, Gigue.
:
7. In what notable respect does a Bourree differ from a

Gavotte ?
8. What is meant by the following terms Musette,:
Anglaise, Burlesca, Loure, Passepied ?

9. The following are the opening bars of well-known classical
dance-measures give the name of each species of dance
;
:
Allegro molto.
i « d ' «
(i)
Sf tw
Efct
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&c.
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Andante sostcnute
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—
Allegro moderate). r -N
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i_U
(vi)
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10. State
^
S
what kind
of the following extracts
(S>
of
:
^
modern dance
I
is represented by each
Andante moderate.
«5BE
/
m go. rrf>-g
3? a
(i)
Modern to
i £
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8
ij
ty _j— ^—^ -
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Allegro moderato.
(ui)
^ rfrrf &a
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&c.
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TO?# B £=SsEE E IH
r
124: STUDIES IN PHRASING AND FORM.
Allegro vivace.
(iv)
mm
3t
£tj
,Q .
iy îiJ_
«9-
^ S.
A ^
^
v^.
tfe ? i P
P -h=r
^.^ 1
&c.
11. Describe, as fully as possible, the form of most modern

dances.
Describe the following
12. —
Bagatelle, Capriccio, Fantasia,
:
Nocturne, Polka, Intermezzo, Ehapsody, Toccata, Invention,

Etude. Give an example of each from the works of standard
writers.
Quote four Preludes of Bach (from " Das wohltemperirte
13.
Klavier") which will exemplify four different types of move-
ment, i.e., as regards character and treatment.
TENTH GROUP.
I. HISTOEIOAL DEVELOPMENT OF SONATA-FOEM.
II. MODEEN TENDENCIES.
1. Trace the historical development of Sonata-form, shewing

clearly how it has gradually passed from a Binary shape to a
Ternary.
2. What was the origin of the Second Subject in Sonata-
form ?
3. When, roughly
speaking, did Sonata-Form reach the
shape which it now usually presents ?
4. What is meant by the " Eomantic " element in musical
composition ?
5. great composers were the first to be in any way
Which
with the Eomantic movement in musical art ?
identified
6. What is meant by " Programme-music " ?
7. Give some account of the Symphonic Poem, naming the
composers to whom its development has been chiefly due.
8. Describe what is meant by the terms " L'idee fixe,"
Eepresentative theme," " Leit-motif."
11
9. Compare the main features of the work of Eichard Strauss

and Claude Debussy.
STUDIES IN PBBASING AND FORM. 125
APPENDIX.
In this Appendix will be found a detailed analysis of a

Fugue of Bach and a Sonata of Beethoven, which may serve as
a guide to the student in his own efforts in this direction.
Again we would insist that no analysis of a work of art is of
the least value unless it is carried out with the desire that it
shall bring us into closer and more intimate contact with the
music itself, and give us a clearer insight into, and apprecia-
tion of, its composer's idea and intention. This, obviously, can be
gained in the deepest and truest sense only by realizing beauties
of detail as well as general outlines, and cannot be achieved
save by that sympathetic penetration " beneath the surface of
things," which is the aim and object of all real analysis.
ANALYSIS OF FUGUE IN F MAJOE.

(No. 11 of Book I of Bach's " Wohltemperirtes Klavier.")
The following abbreviations are used :-
S. = Subject. A. = Answer. C.S.= Counter-subject.
%* For the sake of clearness, the Fugue has been written on three staves,
one for each of the voices for which it is composed.
— —
Outline Scheme of Fugue : Exposition as far as bar 13 Counter- ;
—
Exposition bars 17-31 Middle (or Modulatory) Section bars 31-64
; —
—
;
Climax of Fugue bar 64 to end.
Exposition.
^m
9 S. (Tonic key).
i&jrX-V
ô-ft
3 §
>!!
126 STUDIES IN PIIBASING AND FORM.
Tonal A. (Dominant key).
b -1 "i
-*— *-y
F l*r*
tr.
^~^~w
-*-* ?-*+ rfv^nTfT
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c.s.
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c.s.
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| | |
|
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(Codetta.
>?*--
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10
m 113P=H^?
S. (Tonic key).
33=*
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5 1
Episode 1 (founded in Bass upon C.S.)
-^=^1
F^
:? *=1
15
3t±±ZM + * & m Y* * * P^
ir«
#-# P P
S.
^
COUNTEK-EXPOSITION.
(Tonic key),
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SB
j
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C.S. (part of).

S
l
a —— i -
^TTJ
a^ m
tr.
=
t aB=
Continuation
- ^
c.s.
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0-m-0
i ^t3E
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A. (Dominant key). 5
20 J»
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of C.S. S -^:
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25 a.
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S. (Tonic key).
Middle (or
?^?
w
^ 1 1
M
Modulatory) Section.
#
Episode 2 (founded
* Lf I
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^ upon 3rd bar of S. in
Stretto with Bass). 30
£ m : :
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s
(The Bass during
this Episode is
I
— -I* * — i
1
free imitation
between Treble and Alto).
>•
a 35
s E te=£=fe
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reminiscent of the 1st bar of S. both in
an ascending and descending form).
D minor).
—
S. (in
rtj fc.
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S. (in Stretto with Treble).

is:
^ _ J j ! 1
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—— —— —
I I I I —
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(Cadence
lt=a: at=t±zM _3:
1*^ 40
S. (in Stretto with Alto).
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S. (in
tot
G minor
I
S. (in Stretto with

I I ^H Alto).
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—
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5 —
4
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3E —
3 *1 -q -* g g
1 i I
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+-
(Episode 3, formed largely upon the descending figure of semiquavers

firstheard in Bars 3 and 4 of the S., treated in imitation between the
Treble and Alto, and then transferred to the Bass, and back again to
the Alto and Treble).
IX XI IX
*^^hîî-.
I
S. in Tonic key (varied)
* M P-m-
iSS I
i
i i i
S. (varied and incomplete).

65
^2 1. S=
AV
S7\
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(Coda, to end of Fugue.) i i I
.
\L/
ANALYSIS OF BEETHOVEN'S SONATA IN C MINOR

(Op. 13).*
INTRODUCTION.— Grave.— C minor.
This Introduction is largely founded upon the idea found

in bar 1
pa m
an idea which recurs in the course of the succeeding "Allegro
di molto " on several occasions. The Introduction leads
directly into the
Allegro di molto e con brio. C minor. — —

(First-movement form.)
Exposition —
I. Principal Subject in Tonic key (bar 1 to bar 25)
i
sf
Eyi 3 ffl W 1G &c.
-G>-
ftj--r-»|-fl
Transition toSecond Subject (bar 25 to bar 41),

founded upon the idea of the Principal Subject,
commencing thus
JU — p t ft
m w
t <$— i
''
1
1
&c.
* This Analysis is reproduced from the Author's "Analytical Edition"

of Beethoven's Sonatas (Joseph Williams, Limited), to which the
numbering of the bars corresponds.
— — — —
STUDIES IN PHRASING AND FOEM. 131
II. Second Subject (Section I) in minor mode of the (usual)

— —
Eelative major key E flat minor (bar 41 to bar 78)
^m& fc
** * &c.
Second Subject (Section II) in Eelative major —E flat
—
major (bar 79 to bar 103) —
Closing Section of Exposition, or Codetta, (bar 103 to

bar 111)— ~
/ "N
H &o.
Link, or Transition back to First Subject for the

repeat of the Exposition, or forward to the
Development Section (bar 111 to bar 122)
f T±-
* &c.
t*-^ r
This Link, or Transition, is founded upon the Principal Theme of the
movement. Bars 121a-122a lead back to the opening of the Allegro,
whereas bars 121b-122b lead forward to the Development Section.
Development —
This portion of the movement begins (bar 123) with a
reference, in G minor, to the Introduction. This passes,
by means of an extraordinarily beautiful enharmonic
modulation (bar 125), into the key of E minor, after
which the " Allegro di molto e con brio " is resumed. The
remainder of the Development Section is founded upon
the Principal Subject, chiefly in the form it first assumed
during the Transition but in bars 130-133, and
;
136-139, the chief figure of the Introduction is again

alluded to
Compare 3, ft P TT L [Ujr^ with

Blpf^
A Dominant Pedal lasting for 21 bars, succeeded by an
extended Link formed by a quaver figure in the r.h.
part
ig:; Ff f-rf g f .
pfe &c.
loads without break into th(

f2
Recapitulation —
I. Principal Subject in Tonic key (bar 185)
2qr
3 S &c.
I FEl EEE p?=« =3=tp ;
merging into
Transition to Second Subject (bars 197-211), founded

upon a sequential treatment of part of the Principal
Subject, and passing through the keys of D flat
major, E flat minor, and F minor.
II. Second Subject (Section I), commencing in Sub-dominant

— —
key F minor (bar 211)
-M-
m&
w£ I E &c.
and reaching the Tonic key —C minor— bar 223. at
Second Subject (Section II) —in Tonic — (bar 243 to

bar 267)—
m qzizt ZZ2I
fr
Z£ &c.
i r T t i -r i
Closing Section of Kecapitulation, or Codetta (bar 267

to bar 275)—
HE
m tif-r jtur:
i i
i i r i—— i
t—
^c
$ t£] *
Link, or Transition to Coda founded as in Exposition

r
upon the Principal Subject (bar 275 to bar 284)

-4
^
fc=h
&c.
This leads directly into the
Coda, which begins at the " Grave " (bar 285), with an
allusion to the chief idea of the Introduction, afterwards
referring to the Principal Subject, on the resumption
1
of the " Allegro di molto e con brio.'

—— — — —
Adagio Cantabile. —A flat Major. —Episodical Form.
A. Principal Subject in Tonic key

to bar 36)
— (A flat major) — (bar 1
&c
t
—
N.B. It will be observed that this Principal Subject in itself
constitutes a small piece in simple Ternary Form, Part I extending
from bar 1 to bar 16 (the second 8 bars being merely a varied form of
the first 8 bars), Part II beginning in bars 16-17 and overlapping
(in bar 29) the commencement of Part III, which is the re-statement
of Part I.
B. Episode, or Theme of contrast, in Tonic minor key

A flat minor — (commencing thus in bar 36)
rrrrrrrrrrrr
Z^ ESES «!Z ^SBS
This leads without break into
Aa . Principal Subject in Tonic key (bar 51 to bar 66)
S^ &c.
M
BS :*
This is much shortened, only the first sentence

(repeated) being brought back. This is immediately
succeeded by the Coda (bar 66 to end), commencing
thus
=*=*" Ac.
Alternative Analysis of " Adagio Cantabile."
By some this movement is classified as a Simple (or Older)
Eondo, as follows —
A. Principal Subject, in Tonic key (bar 1 to bar 16).
B. First Episode, beginning in F minor and passing through the keys
of E flat, C minor, E flat, back to A flat (bar 16 to bar 29).
A2 . Return of Principal Subject in Tonic key (bar 29 to bar 36).
C. Second Episode, in Tonic minor key (bar 36 to bar 51).
A3 . Return of Principal Subject in Tonic key (bar 51 to bar 66).
Coda (bar 66 to end).
It will be seen that these two separate classifications into

(1) Episodical Form, and (2) Simple Eondo Form, hinge
entirely upon the degree of contrast felt to be presented by the
13 bars beginning thus (bar 16)
:
&c.
If these are regarded as carrying on the same thought and

feeling as the opening 16 bars of the piece, they cannot rightly
constitute an Episode, which in its very nature offers a distinct
contrast to that which precedes and follows it.* The movement
would then divide itself into three main divisions, according to
the first Analysis given above. If, however, it is felt that the
passage from bar 16 to bar 29 is sufficiently different in
character from the opening melody of the piece, it is then
possible to regard it as the first Episode of a Eondo-form, the
theme in A flat minor beginning at bar 36 thus forming the
second Episode.
It is impossible to dogmatize in the matter either method ;
of analysis has reason on its side, and may be accepted as a

sufficiently correct description of the form of the movement.
Eondo : Allegro. — C minor. —Modern (or Sonata-)

Eondo form.
A. Principal Subject in Tonic key (from commencement of
movement to bar 17)
Transition to
T~W
commencing thus
T±-
Second Subject (bar 18 to bar

m &c.
25),
m
W^ fe- m
E33
&c.
* See the Author's " Form in Music," page 100.

——— —— — :
B. Second Subject in Eelative major key (bar 25 to bar 61)

This consists of two separate sections
'Section I, commencing thus in bar 25
Section II, commencing thus in bar 43
ibV^fj j j j il l
Prominent use is also made of a figure of triplets,
V~ =K
i BE Sî Z£
*1 TT rT"
treated imitationally between the two hands.

The Second Subject leads without break back into the
Tonic key, and after a pause upon the chord of
the Dominant 7th (bars 60-61), is followed by
A2 , Eeturn of Principal Subject in Tonic key (bar 61 to

bar 78)—
4-
fe
*
^ &c.
C. Episode in A flat major (bar 78 to bar 107)-
This comes to a conclusion upon the Dominant chord

of C minor, and is succeeded by a Link upon a
Dominant pedal, extending from bar 107 to bar 120.
Eeturn of Principal Subject in Tonic key (bar 120)
ê^fp
££*
£^ -<=>-
teEE £ij&c.
This does not close finally in the Tonic key, but
merges into a Transition, passing through F minor,
and ultimately reaching an Imperfect Cadence in
C major (bar 134), being immediately followed by
B2 . Return of Second Subject in Tonic major key (bar 134
to bar 171). This, as before, consists of two separate
sections
'Section I, commencing thus in bar 134=
m £r &C.
Section II, commencing thus in bar 153
s£ gj
feg — — — pqEsE
j j 4 , gj-g
&c.
i i i I
i
the triplet figure before alluded to being again much
employed, e.g. —
z2
jji*#p -*-*-
^"^Tfrrfe
As before, the Second Subject leads back to the Tonic

minor key, this time after some beautiful sequential
treatment of its Second Section (bar 157 onwards).
Return of Principal Subject (shortened and slightly

varied)— (bar 171 to bar 182)—
pa pr-r; ?£ &c.
Coda, based first upon the triplet figure in the Second

Subject, and afterwards upon the Principal Theme
(bar 182 to end).
—
Educational Works
bv Stewart Macpherson
(Professor of Harmony and Composition at the Royal Academy of Music, ana
the Royal Normal College for the Blind).
PRACTICAL HARMONY. New and Revised Edition.

(Twenty-eighth Thousand.) A Concise Treatise, including
the Harmonization of Melodies.
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Revised Edition. (Seventh Thousand.) A Collection of
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LIST 141.
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THE ANALYTICAL EDITION OF

Beethoven's Sonatas.
Edited, phrased and fingered by
Stewart Macpherson
This Edition is unique in the fact that each Sonata is preceded by a complete
analysis of its several movements, based upon the principles set forth in the
Editor's " Form in Music." It is, therefore, of special educational value

to the student.
The phrasing throughout this edition has been carried out in accordance
with modern ideas on this important subject, and it is believed that, where
such phrasing has been added by the Editor, it will be found to be thoroughly
in accordance with the meaning and spirit of the music.
Numbers already published :
Op. 2, No. i. 6. Allegro. Op. 10, No. 2.
1.
i. sxuegro.
Allegro. . -m. m -\ 4-
1 ~t net 1/-
S—g:
P
Allegro vivace 8. Grave (Pathetique). Op. 13.
2.
-JL. net 1/-
3- net 1/-
Op. 14, No. 1.
9. Allegro
net 1/6 ££ 3=3
|S***Ei^fEEfE itil 1*
~=H net 1,'
P P I
4. Allegro molto e con brio. Op. 7. 12. Andante con variazioni. _Op. 26.
-v—tt
±t
£ -w-
'/'
m ^3== net 1/6 -^ — net 1/6
5 . A Ileg ro molto Op. 10, No. 1. Moonlight Sonata. Op. 27, No. 2.
e con brio. 14. A dagio sostenulo.

net 1/-
net 1/-
^ 10.
13.
P"V.
Allegro.
Andante
**=
In course of publication (ready shortly)
j J i
Op.
~jm |«J
14, No.
J-
2.
net */-
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:
Op. 28.
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NEW YORK: EDWARD SCHUBERTH & CO., 11, East 22nd Street.
Joseph Williams, Limited, beg to announce the forthcoming issue of an important
SERIES of PRACTICAL HANDBOOKS on MUSICAL SUBJECTS,

under the responsible Editorship of Mr. Stewart Macpherson.
N . If _The Organ Accompaniment of the Church Services. H. W. Richards,

jVIus.D. (Professor of the Royal Academy of Music, and Organist and
Organ at the
Choirmaster of Christ Church, Lancaster Gate) Stiff Boards, net 3/-
Tbis book is intended as a practical guide to the Organist or Organ-Student in his very essential work
of accompaniment.
It contains chapters on: —
Matters incidental to the Art of Accompaniment Accompaniment of
— — —
Hymns Psalms and Canticles Variety in Accompanying Hymns and Psalms Responses and Monotone
— — —
Anthems and Settings of the Canticles Choral Communion Service Preludes to Anthems and
— —
Extempore Voluntaries Oratorios, Sacred Songs and Recitatives Organ and Orchestra Plainsong. —
The various points in the Church Services are dealt with in a clear and concise manner, with
numerous illustrations from Church Music of all periods.
An Appei dix is added consisting of a short sketch of every Psalm in the Psalter, considered from the
point of view of the Accompanist.
It is hoped that this book may bring home to the Organist the necessity of thought and study, and
help him towards an artistic conception of this important branch of his art.
Nozu ready.
Pianoforte Playing, on its technical and aesthetic sides.
C. F. REDDiE...net 3/-
Studies in Phrasing and Form Stewart Macpherson. ..net 2/6

/// course of preparation.
Sight=singing and Ear=training F. C. Field Hyde
The Violin Hans Wessei.y
(To be continued.)
MUSIC AND ITS APPRECIATION ; or, The Foundations of True

Music•"
'*'
Listening. By Stewart Macpherson. Author of Form in
" Practical Harmotiy" etc., etc.
largely intended as a help to the musical amateur, who may wish for some
This book is
little guidance It deals in an easy, untechnical way with such

in his listening to music.
matters as: The requisites for true listening —
The simpler aspects of musical construction
— The material and form of instrumental composition The various periods of musical —
composition from the time of Bach onwards, and their special characteristics The story of —
the symphony —
The instruments of the orchestra, etc. It also contains a list of books of
reference, a chronological table of the most famous composers, a glossary of terms in
common use, etc.
In addition to its value to the non-professional music lover, it will, it is hoped, be
of considerable use to teachers who may be dealing with the appreciative stud)- of music
amongst their pupils, as affording a basis of work for Musical Appreciation classes, as well
as providing material for individual study Price 3/- net.
Pamphlet of Press Criticisms on application.
THE TECHNIQUE OF THE MODERN ORCHESTRA, a Manual of

Practical Instrumentation byCh. M.Widor. Translated by Edward Suddard.
PREFACE.
Within the last fifty years the mechanism of most instruments has been materially
improved, and, concurrently, the orchestral palette has been enriched with a variety of
lone-color formerly unknown. Hence the necessity for a new manual setting fotth the
present state of orchestral instruments: their compass and capabilities.
Characteristic features of the present book are the Complete Lists of Shakes and
Tremolos for the Woodwind, and of Double, Triple, and Quadruple Stops
for the Strings. It has always seemed to us that these matters are dealt with in
somewhat too summary a manner in most works on Instrumentation. We venture to think
the lists contained in this manual will fully meet the requirements of the student, and may
even occasionally be of service to the accomplished composer.
To the Organ a special section has been devoted, in which, not to mention a few hints
that may prove useful to organ-builders, we have endeavoured to give such information as
will be of assistance to musicians wishing to write for the Organ and Orchestra combined.
Price 10/- net. Cn. M. WIDOR.

LONDON : JOSEPH WILLIAMS, LIMITED, 32, GREAT PORTLAND STREET, W.

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STUDIES IN PHRASING AND FORM

3 1404 00 086 428 7

Arthur W. Dace (Edinburgh).

THE JOSEPH WILLIAMS SERIES OF HANDBOOKS ON MUSIC

PUICE TWO SHILLINGS AND SIXPENCE.

LONDON: JOSEPH WILLIAMS, LIMITED,

Coj)yri(jht MCMXL, by Joseph Williams, Limited.

THE "PHRASING" OF MUSIC.

Chap. II. The Slur (continued) — Indications of Staccato and

QUESTIONS AND EXERCISES IN MUSICAL FORM.

Second Group. — Phrases and Sentences — Rhythmic Extension

Third Group. — The Simple Binary and Ternary Forms 102

Fourth Group. — The Minuet and Trio (or Episodical) Form —

Fifth Group. — Sonata-Form 106

Sixth Group. —Departures from the Normal Type of Sonata-

Seventh Group. — Fugue and Canon Ill

Eighth Group. — The Symphony — The Overture — The Concerto

Ninth Group.— Dance-Forms : The Suite, Partita, etc. —

Tenth Group.— Historical Development of Sonata-Form —

APPENDIX.— Detailed Analysis of a Fugue of Bach and of a

music. Such matters as the proper balancing and blending c

feeling, his performance falls hopelessly short of what it shoulc

of the expression which he trusts is wid<

Form signifies the presentation oe musical ideas in

STUDIES IN PHRASING AND FOBM.

THE " PHRASING" OF MUSIC.

MEANINGLESS PHRASING MARKS— THE CORRECT

The indication of the intentions of the composer as to the

and carelessly supplying directions to the player is con-

following extracts from Beethoven's Sonata in E minor (Op. 2,

STUDIES IN PHRASING AND FOBM.

But it is just in this matter of the ending of the slur, or

If the student will try to play the above extract on the

in the first whole bar the r.h. figure is indicated as if it

6 STUDIES IN PHRASING AND FORM.

In the slow-movement of the same sonata, many instances

STUDIES IN PHBASING AND FOBM. 7

J lore, again, any attempt to regard tho slurs as a guide to

have here a striking illustration of the entire absence of

important to hear in mind that, rhythmically, a phrase

8 STUDIES IN PHRASING AND FORM.

Here, clearly, any attempt to make the rhythmic-di vision

Time-divisions that seeming reluctance to "phrase across

See Beethoven's slurs on page 5.

STUDIES IN PUBASlNG AND FOBM.

ail<^ f° remos k place, such phrasing must be

by the ear and musical sense that the music

* A somewhat considerable experience in the efforts of students and

t Sec the Author's "Form in Music," page o.

io STUDIES IN PHRASING AND FORM.

(a) The "Slur" (implying that the notes within it

are to be as short as possible, e.g. —

~^=*En=tz ^-^-p^-^-r^^ -g-

and (ii) by a dot indicating a somewhat less

STUDIES IN P11BASING AND FORM. 11

(d) The " Accent "

* Whenplaced over or under several notes in succession, the effect of

12 STUDIES IN PH1US1NG AND FOBM.

that, when the passage is played, it must be phrased in some

STUDIES IN PHRASING AND FORM. 13

Bketiioyen. — Sonata, Op. 2, No. 2.

where the suspension of the Dominant chord over the Tonic

Li STUDIES IN PHRASING AND FORM.