Percy Goetschius

“ As well might the carpenter or architect venture to dispense with scale, compass and square in their constructive labors, as that the composer should neglect beat, measure and rhythm, in his effort to realize a well-developed and intelligible design in the whole, or any part, of his composition. The beats and measures and phrases are the barley-corn, inch and ell of the musical draughtsman, and without these units of measurement and proportion, neither the vital condition of Symmetry nor the equally important condition of well-regulated Contrast could be clearly established. ”

“ No single form intrudes itself in an arbitrary or haphazard manner; each design emerges naturally and inevitably out of the preceding, in response to the necessity of expansion, and conformably with the same constant laws of unity and variety,—the active agents, along the entire unbroken line of continuous evolution, being reproduction (Unity) and legitimate modification (Variety) ; or, in other words, modified repetition. It is upon the indisputable evidence of such normal evolution in the system of musical structure, that our conviction of the legitimacy and permanence of this system rests. ”

“ In a classic page of music we perceive that each successive unit grows, more or less directly, out of those which go before; not so directly, or with such narrow insistence as to produce the impression of sameness and monotony, but with such consistency of design as to impart a unified physiognomy to the whole. Hence, it will often be found that every melodic figure, during a certain section (if not the whole) of a composition, may be traced to one or another of the figures which characterized the first phrase, or the first two or three phrases, of the piece. ”

“ The importance of a tone-line depends solely upon its conspicuousness. The principal melody—the Melody—is the one which is most salient, which most attracts the hearer's attention. For this reason the composer is induced to place his chief melody above the rest of the tone-lines, because the uppermost tone strikes the ear more acutely than the lower ones, and therefore the succession of highest tones constitutes a conspicuous line that attracts and impresses the sense most keenly. ”

“ THE PARTS.—If we inquire into the means employed, in the larger Part-forms, to effect the division of the whole into its broader Parts, we find that the prime factors, here again, are Cadence and Melody. The strongest sign of the consummation of a Part is a decisive perfect cadence, resting, as usual, upon the tonic harmony of the chosen key; a cadence sufficiently emphatic to interrupt the closer cohesion of the phrases which, precede, and bring them, as completed Part, to a conclusion. ”

“ But the form is made for the music, not the music for the form; no serious composer writes music for the sake of the form, but chooses the form merely as a means to an end. The highest ideal of structural dignity and fitness is, to work from the thematic germ outward, and to let the development of this germ, the musical contents, determine and justify the structural plan and arrangement. ”

“ It is always wholly optional with the composer to begin his figure or motive at whatever part of the measure he may elect; at the accent or not; with or without preliminary tones; to borrow beats from the preceding ending or not, as his judgment or taste, or possibly some indirect requirement, may decide. So valid is this license, that it is by no means unusual to find consecutive members of the same phrase beginning at different points in the measure. ”

“ In the Sonata-allegro forms, on the other hand, the leading purpose is to unite two co-ordinate themes upon an equal footing; one is to appear as often as the other; and the two themes together constitute the thematic basis of the design. These are, as in the rondos, a Principal theme (called principal because it appears first, and thus becomes in a sense the index of the whole movement) , and a Subordinate theme (so called in contradistinction to the other) ,—contrasting in character, as usual, but actually of equal importance, and of nearly or quite equal length. ”

“ From this the student is not to conclude that every long tone marks a cadence. The rhythmic design of a melody is obtained by a constant interchange of long and short tones, without direct reference to the cadence alone; and numerous examples will be found in which tones of equal, or even greater, length than the cadence-tone occur in the course of the phrase. We have already seen that the end of a motive, or even of a figure, may be marked by a longer tone, or its equivalent in rests; and have been taught to expect a cadence in the fourth measure only, as a rule. ”

“ REPETITION OF THE PARTS.—The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimensions of his original design, resorts as usual to the most legitimate and natural means at his disposal—that of repetition. By so doing, he reinforces the principle of Unity, and, instead of obscuring, places the contents of his design in a stronger and more convincing light. It is true that the act of mere repetition involves the risk of monotony ”

“ But the direct evidence of a cadence afforded by a longer tone is considered not only unnecessary, but in many cases distinctly undesirable. While cadences are indispensable, in music of clearly recognizable form, it is equally true that they must not be so emphatic as to check the current of melody and harmony too frequently or completely, or destroy the continuity and coherence of the members. ”

“ These irregular forms of rhythm are called syncopation. See also Ex. 6, second Phrase.
MELODY.—Any succession of single tones is a melody. If we strike the keys of the piano with two or more fingers of each hand simultaneously, we produce a body of tones, which—if they are so chosen that they blend harmoniously—is called a Chord; and a series of such chords is an illustration of what is known as Harmony. If, however, we play with one finger only, we produce a melody. The human voice, the flute, horn,—all instruments capable of emitting but one tone at a time,—produce melody. ”

“ It is necessary to remember, always, the rule that governs the actual body of the phrase, and its possible preliminary tones; namely, that the vital, essential starting-point of a phrase (and other factors of musical form) is the first primary accent, the first beat of the first full measure. The length of the phrase is reckoned from this point, and consequently, the cadence-chord is entitled to all the beats that remain, from its accent to the very end of the final measure. ”

“ UNITY AND VARIETY.—As much as opinions and beliefs may differ, among music critics, as to the necessity of Form in music, and the conditions of its existence, no reasonable objection can be taken to the hypothesis that Clearness and Attractiveness are the two vital requisites upon which the enjoyment of any art depends. ”

“ THE NECESSITY OF FORM IN MUSIC.—So much uncertainty and diversity of opinion exists among music lovers of every grade concerning the presence of Form in musical composition, and the necessity of its presence there, that a few general principles are submitted at the outset of our studies, as a guide to individual reflection and judgment on the subject. ”

“ A phrase, repeated, remains a phrase; nothing less than a decided alteration of the cadence itself will transform it into a double-phrase (or period) . Similarly, a period, repeated, remains a period, and does not become a double-period; and a Part, repeated, remains the same Part. Therefore, the student will find it necessary to concentrate his attention upon these larger forms, and exercise both vigilance and discrimination in determining which sections of his design come under the head of "modified repetition." ”

“ There is not the slightest evidence of repose or interruption in the fourth measure, nor of a new beginning in the fifth, wherefore the cadence is not expected until four more measures have passed by. The inferior points of repose in the upper parts, at the beginning of the 5th, 6th and 7th measures, serve only to establish melodic, or rather rhythmic, variety, and have no cadential force whatever. See Mendelssohn, Song No. 8; the first cadence appears to stand in the eighth measure; the tempo is rapid and the measures are small; it is obviously a large phrase. ”

“ Many intermediate stages appear, naturally; and it is sometimes difficult to determine whether the design is Rondo or compound Song-form, simply because it is scarcely possible to decide just when the "Trio" assumes the more intimate relation of a Subordinate theme, or when the freedom and comparative looseness of association (peculiar to the Song with Trio) is transformed into the closer cohesion and greater smoothness of finish which fuses all the component Parts of the design into one compact whole,—the distinctive stamp of all so-called "higher" forms. ”

“ The beat is the unit of measurement in music. The measure is a group of beats,—two, three, four, or more, at the option of the composer. The bounds of the measures are visibly represented (on the written or printed page) by vertical lines, called bars; and are rendered orally recognizable (to the hearer who does not see the page) by a more or less delicate emphasis, imparted—by some means or other—to the first pulse or beat of each measure, as accent, simply to mark where each new group begins. ”

“ The rhythmic disposition of the tones is to a certain extent optional with the composer, but by no means wholly so; the rules of rhythm are probably the most definite and obvious of all the rules of music writing. They do not concern the analytical student intimately, but at least the general distinction between regular and irregular rhythm should be understood:—We have seen that the natural accent (the "heavy" pulse) is invariably represented by the first beat of a rhythmic group; and that one or two lighter pulses intervene before the next accent appears. ”

“ The superiority of the sonata-allegro form over all other musical designs, is amply vindicated by the breadth of its thematic basis, the straightforwardness and continuity of its structural purpose, the perfection of its thematic arrangement, and the unexcelled provision which it affords for unity, contrast, corroboration, balance, and whatever else a thoroughly satisfactory structural design seems to demand. ”

“ When a figure or motive starts at the accented beat, it begins, so to speak, in the right place; any tone or tones which precede the accent are merely preliminary or introductory tones. While they are very desirable and necessary, in the fulfilment of certain purposes, they are not an essential part of the motive ”

“ THE RECAPITULATION.—This corresponds, theoretically, to the da capo in the Song with Trio, or to the variated recurrence of the Principal theme in the First Rondo-form. But it is more than either of these. The term "Recapitulation" is more comprehensive than "recurrence" (in the sense in which we have thus far employed the latter word) , as it always refers to the reproduction of a collection of themes, and, chiefly on this account, is subject to certain specific conditions of technical treatment. ”

“ The six beats to which it is entitled are all occupied by the simple reiteration of the final melody tone, while the sense of "interruption" is imparted by the long rest in the lower parts.
It is by thus sustaining the rhythmic pulse, during the measure allotted to the cadence-chord, that the desired dual impression,—that of cadential interruption without actual cessation,—is secured. It is like rounding off a corner that might otherwise be too angular or abrupt. ”

“ The Consequent melody differs totally from the Antecedent, even in rhythm, and the necessary portion of Unity is exhibited only in equality of length, uniformity of accompaniment, and similarity of character (tonality, and general harmonic and rhythmic effect) . Observe the diversity of melodic extent, in the two phrases, in consequence of the preliminary tone borrowed from the semicadence for the Consequent phrase. Greater variety than here will rarely be found between two successive phrases that are intended to form the halves of one coherent period. ”

“ A good melody, that is, a melody that appeals to the intelligent music lover as tuneful, pleasing, and intelligible, is one in which, first of all, each successive tone and each successive group of tones stands in a rational harmonic relation to the one before it, and even, usually, to several preceding tones or groups. ”

“ TEMPO.—This refers to the degree of motion. The musical picture is not constant, but panoramic; we never hear a piece of music all at once, but as a panorama of successive sounds. Tempo refers to the rate of speed with which the scroll passes before our minds. Thus we speak of rapid tempo (allegro, and the like) , or slow tempo (adagio) , and so forth.
BEATS.—The beats are the units in our System of Measurement,—as it were, the inches upon our yardstick of time; they are the particles of time that we mark when we "count," or that the conductor marks with the "beats" of his baton. ”

“ The first pulse in each measure (or metric group of any size) is heavier, stronger, than the following. It—the first—is the "impulse," and is what is called the accent. This dynamic distinction it is that gives rise to the two fundamental classes of rhythm, the duple and triple. In duple rhythm the accent is followed by one unaccented or lighter beat, so that regular alternation of heavy and light pulses prevails incessantly. In triple rhythm the accent is followed by two lighter beats, creating similarly constant, but irregular alternation of heavy and light pulses. ”