Sinopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ...with three themes. CHAPTER XXVII. RONDO OF THE FIRST FORM. 169. In the Rondo of the First Form there is but one independent theme. Between this and its repetitions there is no construction of any complete form, such as the primary form, the period, and the large independent phrase (see Chapter VII.). Other forms of the phrase are not regarded as sufficiently complete to constitute a theme, over against the chief theme. The theme has always a clearly defined form, mostly primary, or that of a large period, seldom that of a large, extended phrase. The episodes of this form are either thematic, i. e., working up some thought of the chief wtheme, or, of a character entirely their own, i. e., introducing new motives, but not working them up into any complete form. The repetitions of the theme are as a rule varied. This is the case particularly in slow tempo, which is specially peculiar to this form. The close is often enriched by a Coda (mostly thematic). 170. An example of such a Rondo is afforded by the Largo appassionato of Beethoven's 4-major Sonata, Op. 2, whose theme has extended two-part primary form (see Pigs. 68, 69). After the close of the theme the following phrase begins in S-minor, A writer in Grove's "Dictionary of Music and Musicians" says, speaking of the gradual development of those tjree forms: "The Rondo-form was the earliest and most frequent definite mould for musical construction. Starting with a principal subject of definite form and length, the first idea naturally was to preserve this unchanged in key or form throughout the piece. Hence a decided molody of eight or sixteen bars (measures) was chosen, ending with a full close in the Tonic. Aftpr a rambling excursion through several keys, and with no...
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Reseña del editor
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ...with three themes. CHAPTER XXVII. RONDO OF THE FIRST FORM. 169. In the Rondo of the First Form there is but one independent theme. Between this and its repetitions there is no construction of any complete form, such as the primary form, the period, and the large independent phrase (see Chapter VII.). Other forms of the phrase are not regarded as sufficiently complete to constitute a theme, over against the chief theme. The theme has always a clearly defined form, mostly primary, or that of a large period, seldom that of a large, extended phrase. The episodes of this form are either thematic, i. e., working up some thought of the chief wtheme, or, of a character entirely their own, i. e., introducing new motives, but not working them up into any complete form. The repetitions of the theme are as a rule varied. This is the case particularly in slow tempo, which is specially peculiar to this form. The close is often enriched by a Coda (mostly thematic). 170. An example of such a Rondo is afforded by the Largo appassionato of Beethoven's 4-major Sonata, Op. 2, whose theme has extended two-part primary form (see Pigs. 68, 69). After the close of the theme the following phrase begins in S-minor, A writer in Grove's "Dictionary of Music and Musicians" says, speaking of the gradual development of those tjree forms: "The Rondo-form was the earliest and most frequent definite mould for musical construction. Starting with a principal subject of definite form and length, the first idea naturally was to preserve this unchanged in key or form throughout the piece. Hence a decided molody of eight or sixteen bars (measures) was chosen, ending with a full close in the Tonic. Aftpr a rambling excursion through several keys, and with no...
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