[Illustration: Example 47 continued.]
In this example, the condition of Variety predominates decidedly. 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.
For more minute technical details see the HOMOPHONIC FORMS, Chapter V.
LESSON 7. Analyze the following examples. Locate the cadences; compare the phrases and define the degrees of Unity and of Variety exhibited in the melody, or elsewhere; and mark such irregularities of forms (or extensions) as may be found:—
Mendelssohn, Songs Without Words, No. 35, measures 5 1/2-13. (By 5 1/2 is meant the middle of the fifth measure, instead of its beginning.)
No. 45, first 8 measures.
No. 29, measures 4 1/2-12.
No. 14, " 1-8.
No. 34, " 1-10.
No. 18, " 1-9; 10-17.
No. 9, " 3 1/2-7.
No. 27, " 5-12.
Schumann, op. 68, No. 3, measures 1-8; 9-16.
No. 5, measures 1-8; 9-16. (Do not overlook the preliminary tones which precede the first measure.)
The first eight measures of Nos. 6, 7, 8, 9, 11, 12, 15, 22, 23, 24, 26, 30, 32, 39. Also Nos. 13 and 28, first ten measures.
Beethoven, pianoforte sonatas: op. 2, No. 1, Adagio, measures 1-8. Same sonata, third movement, "Trio," measures 1-10.
Op. 2, No. 2, Largo, measures 1-8; also Scherzo, measures 1-8; also Rondo, measures 1-8.
Op. 2, No. 3, measures 1-13; also Scherzo, measures 1-16; also last movement, measures 1-8.
Op. 10, No. 1, Finale, measures 1-8; and measures 16 1/2-28.
Op. 10, No. 3, measures 1-10; also Largo, measures 1-9; 9 1/2-17; also Menuetto, measures 1-16; also Rondo, measures 1-9.
Op. 14, No. 2, measures 1-8; also Andante, measures 1-8; also Scherzo, measures 1-8.
After analyzing these examples, the student may venture to define the periods in other compositions, classic or popular, especially such as he may chance to be learning.