Percy Goetschius · section 11 of 24

Chapter IX. Free polyphonic forms. — the invention as prelude. — the fantasia, toccata, etc

Free polyphonic forms. — the invention as prelude. — the fantasia, toccata, etc

82. In a genuine Invention the principle of thematic Imitation prevails with little or no interruption; for though it represents the lower grade of polyphonic writing (par. 37), it is nevertheless Polyphony; the thematic development is of primary, the structural design of secondary, importance. In Homophony this relation of qualities is reversed, — the material subserves the Form.

But it is not always possible, or desirable, to separate these two domains of musical thought absolutely, and many intermediate varieties exist, in which a mixture (or the alternation) of the two ruling purposes is exhibited. Thus, the Invention may very gradually deteriorate from its original polyphonic rank, — as the thematic treatment becomes more and more loose and free, and the episodic passages more extended and independent, in the pursuit of some more and more marked structural purpose, — until it becomes partly (at times totally) homophonic in character and effect. And, on the other hand, a genuine homophonic form may, by the interlineation of more or less assertive and extensive imitatory passages, assume a partially (at times distinctly) polyphonic character.

Examples of such intermediate grades have been quite frequently cited in the preceding pages, and in some instances their classification among the " Inventions" has been doubtful, — in exact proportion to the increasing importance attached to all essentially structural (formal) conditions. See, especially, pars. 45, 51, 53, 72, 80b.

It appears, therefore, that this primary division of the polyphonic forms, for which the collective term "Invention" has been adopted, embraces a number of subordinate varieties, inclining more or less positively toward the homophonic domain, and distinguished by certain peculiarities of design or treatment.

The prelude

83. As its name indicates, the Prelude was not, originally, a separate and independent composition, but always an . adjunct of some legitimate form (or of a collective set of pieces), in the inferior capacity of a preliminary or introductory movement.

The inferiority of rank thus involved is exhibited in many and vari ous ways: either in looseness of form, or in freedom of technical detail, or both; in frequency, extent, and homophonic quality of episodes; in indifference to the number of parts, — the frequent employment of purely auxiliary tones or melodic fragments, and free interchange of 2, 3, 4 (or more)-part texture; or in a certain general superficiality and sketchiness of character, suggestive, in extreme cases, of a mere improvisation.

Such a form, consisting mainly in a free exposition of the principal harmonies of the key, perhaps with thematic allusions, may very appropriately precede, and prepare the hearer for, the more definite design and thoughtful contents of the principal movement to follow.

The degree of inferiority depends mainly upon the function assigned to the Prelude: and likewise, while the species of texture (homophonic or polyphonic), and the general style (lyric, dramatic, brilliant, etc.), are almost entirely optional, they may be partly definable according to the character and quality of the principal movement with which the Prelude is connected.

a. The treatment of the Prelude is, as a rule, most serious when it precedes the Fugue. In this connection it is likely to be a genuine Invention, entirely (or largely) polyphonic. Generally it bears no other relation to its Fugue than that of key;— time, tempo, Motive, and character may be independent of the latter, though occasionally the MI. of the Prelude is derived from the Subject of the Fugue.

The latter (thematic) coincidence does not appear in any of the 48 numbers of the Well-temp. Clavichord, excepting, perhaps, in Vol. I, No. 23 (B major), where a faint, probably accidental, resemblance between the first 4 notes of the Prelude and of the Fugue, may be traced. In the 6 numbers of Mendelssohn's op, 35, also, there is no thematic connection between Prelude and Fugue, save a brief coincidence in No. 4 (40). On the other hand, see Rubinstein, op. 53, where thematic connection is obvious between Prelude and Fugue in Nos. 1 and 6; and, more incidentally, in Nos.

Generally the Prelude to a Fugue ends with a complete cadence on the Tonic, becoming thus a separate piece, virtually independent of its Fugue. In rare instances, however, especially when the Prelude is brief, and of a looser, more extemporaneous character, it closes with a Dominant semi-cadence, leading, as Introduction, into the Fugue.

See Rubinstein, op. 53, Nos. 1, 2, 4, and 6, — Dominant ending. In the Well• temp. Clavichord, and in op. 35 of Mendelssohn, the Preludes are independent.

The texture is distinctly polyphonic (i.e., Invention-species) in the following Preludes of the Well-temp. Clavichord, already analyzed: Vol. I, Nos. 4, 9,12, 54,

The texture is of a less strict type, including , more episodes, or definitely homophonic passages, in Well-temp. Clavichord, Vol. I, Nos. 17, 20; Vol. II, Nos. 9,13,17,18. It is of a more general imitatory character (less definitely thematic) in Vol. I, No. 16; Vol. II, Nos. 1, 16. Prelude 11 of Vol. I is based upon Sequence rather than Imitation. For all of these the term Prelude (or Prelude-Invention) is more appropriate than "Invention " would be.

See also, Bach, Organ Comp. (Peters compl. ad.), Vol. II, Prael. I; Invention,

3- to 4-voice, indep. Pedal, sectional.

Vol. II, Prael. 5; 2-Part Song-form.

Vol. II, Prael. 7; Invention, 4-voice, 2 motives (Pedal an indep., 3rd, motive).

Vol. II, Prael. 9; many motives, definite sectional form, ample confirmation,

4-to 5-voice.

Vol. II, Prael. 1o; very similar to Prael, 9; 4-voice.

Vol. III, Prael. I; long sectional form (ten Sections), free, but including genuine polyphonic texture (Secs, 5 and 8); confirmations, and Da capo.

Vol. III, Prael. 4; 3-Part Song-form.

Vol. III, Prael. 9; three divisions: Introduction, Invention (4-voice, 2 Sections), Transition into Fugue.

Vol. IV, Prael. 2; two motives, sectional.

Vol. IV, Prael. 3; three divisions: Prelude, Thematic section, Coda.

Mendelssohn, Organ Comp., op. 37, Prael. I; Invention, elaborate thematic treatment; excellent illustration of fragmentary manipulation; 4-voice, long motive, sectional (quasi 3-Part Song-form).

Op. 37, Prael, 2; 3-Part Song-form, motive for each Part; distinctly thematic, but homophonic (lyric) in character.

Op. 37, Prael. 3; 4-voice, six Sections; a principal Theme with various countermotives, in different (accelerated) rhythms.

b. The Lyric Invention, with a long, melodious Motive (pars. 53, 72C), belongs properly to the Prelude variety; and when the lyric purpose so overshadows the polyphonic that evidences of thematic imitation are faint, and incidental in effect, it becomes ultimately a Prelude as Aria, with, at most, occasional imitatory traits in the accompanying parts.

See Bach, Well-temp. Clavichord, Vol. II, Prelude 24, 14; Vol. I, Prelude 13, 8. The extreme limit of this design is touched in the following —almost distinctly homophonic—Preludes of the Well-temp. Clavichord: Vol. II, No. 12; Vol. I, No. Io (with long Coda, as Toccata, - par. 84), No. I (simple chord-figuration); Vol. II, No. 3, first division (the same).

c. The Chorale-Prelude is an organ composition, designed to precede the congregational intonation of the opening chorale in the Lutheran and other Reformed church-services, chiefly in Germany. Hence its M. is derived recognizably from the first line of the chorale, and the treatment is usually distinctly, sometimes severely, imitatory, as in the Invention; though evidences of the freedom of design and treatment characteristic of the Prelude-species are seldom wanting, and sometimes so pronounced as to lower the Prelude to the rank of a mere Chorale- Fantasia, — especially in practical expositions, which are quite commonly actual polyphonic improvisations, i.e., made extempore.

Examples of this form will be cited in Chapter XI.

d. The Prelude as opening number of a Suite is more independent than any of the foregoing, and may be isolated, as well as any other number of the Suite. In this respect it resembles, and probably was the incentive to, the variety treated at e below.

It relates to the succeeding numbers of the Suite solely in point of key; and its texture may be selected, at option, from the whole range of Polyphony; very rarely, indeed, however, is it any more severe than the genuine Invention (Bach, English Suite No. I); most commonly it is of the looser fabric of the " Prelude "-species (as in Bach, English Suite No. VI, first 37 measures; Bach, Prelude to Suite, Peters ed. 214, pages 32, 33, — first 15 measures introductory); sometimes of a general imitatory character, without manifest thematic development (as in Händel, Suites Nos. V, VI, VIII; Bach, Sonata, Peters ed. 213, pages 4, 5 ; same volume, pages 20, 21); possibly still more nearly, or absolutely, homophonic (as in Händel, Suites Nos. I, III; Bach, Prelude to Suite, Peters

The Prelude as "Fantasia" is touched upon in par. 85.

e. The modern Prelude, as isolated piece. The propriety of the title Prelude is apparently cancelled by isolation, for its relation as "Prelude" to a subsequent movement is uncertain, if not utterly chimerical. But it is nevertheless possible to institute close analogy with the legitimate Prelude-form, by preserving such traits as distinguish the latter, or, at least, imply its origin in that early era of musical history which gave rise to the conventional Prelude. The modern isolated Prelude will therefore usually be found to exhibit some traces of this origin, in remnants of the polyphonic bearing of earlier centuries; in the presence of certain scholastic details which suggest if they do not constitute) "imitation," " contrapuntal treatment," or other distinctive traits of the traditional Prelude; particularly in the absence of that dominating romantic expression, significant of the modern conception of music. For example:

Mendelssohn, 3 Praeludien, op. 104 (No. I, thematic, contrapuntal, but free, and not imitatory; No. 2, running parts; No. 3, elaborate figuration, quasi thematic).

Rubinstein, 6 Préludes, op. 24 (No. I, elaborate running inner part; No. 2, already cited, Invention; No. 3, imitatory,— at times almost canonic; No. 4, Toccata; No. 5, elaborate figuration; No. 6, imitatory).

Beethoven, Praeludium in f minor (Peters ed. 142); thematic, quasi Invention.

Chopin, Prélude, op. 45; elaborate figuration.

Bach, Praeludium, Peters ed. 1959, page 67 (Invention).

Schumann, Praeludium, op. 99, No. I0; elaborate figuration.

Bach, Organ Compositions, Vol, VIII, No. II.

Further, the title " Preludes " has been assigned by several modern writers to a series of 24 pieces in each of the 24 major and minor keys, partly in analogy with the design of Bach's Well-temp. Clavichord; and also partly because this device supplies the pianist with a piece (presumably brief, and either extemporaneous and sketchy in character, or of the traditional "prelude" consistency) in every key, and therefore actually available, if desired, as preliminary sentence to any number upon a concert-program, — as far as the relation of key is concerned.

This is the modulatory disposition of the 24 Preludes of Chopin, op. 28, several of which exhibit, furthermore, certain scholastic traits (Nos. I, 3, 4, 5, 8, I2, 14, I5

— the persistent reiteration of a0 = 8#, - 19, 21), while others are brief or extemporaneous (Nos. 2, 6, 7, 9, 10, II, I6, 18, 20, 22, 23) ; and others, again, are lyric and definite enough in design to merit a more significant title (Nos. I3, I5, 17, 21, 24). See further:

Heller, 24 Praeludien, op. 81 (brief, rhapsodical, and extremely loose in respect of formal design, — with but few exceptions). Heller, 32 Praeludien, op. 119 (certain keys represented twice, or oftener). Hummel, 24 Préludes, op. 67 (all brief, and distinctly extemporaneous in design and effect).

Further: 2 Praeludien by Beethoven, op. 39 (Peters ed. 142); each is a modulatory study, the design being to describe the complete circuit of major keys, twice;

— both are thematic, the first one (cited above) more definitely imitatory than the second.

The toccata

84. This is one of the earliest forms of instrumental music, and derived its name from the primitive mechanical act of manipulating the keyboard (toccare, to touch). Originating thus, long before instrumental music had assumed any of its present definite structural designs, the early Toccata was a formless succession of figures and runs, some- times purely harmonic, again imitatory and contrapuntal, often incoherent and indefinable. It was the legitimate forerunner of the Fantasia, but has retained its own title to the present day, and has gradually developed into a somewhat more definite and characteristic style, the basis of which is the manipulation of a small Motive, or mere brief Figure, usually of but two or three notes, — possibly strictly polyphonic, as in the genuine Invention, — much more commonly, however, only partly polyphonic, or even purely homophonic; generally in lively, vigorous tempo.

a. The 'Toccata as single movement:

The Toccata as Invention is exemplified in Bach, Well-temp. Clavichord, Vol. I, Prelude żz (already cited); Vol. I, Prelude 15; Vol. II, Preludes 2, 6, 15, 23, and 7 (the last more graceful than the ordinary Toccata). Bach, English Suite No. III, "Prelude" (Figure of 3 tones, uppermost part; texture variable, from one to five parts; broad sectional design, — par. 68c, — with da capo).

Bach, Toccata con Fuga, Peters ed. 211, page 4, Allegro moderato.

Bach, Organ Comp. (Peters ed.), Vol. III, No. 2, "Toccata"; No. 3, "Toccata" (approaching the Prelude-species).

It assumes the looser Prelude consistency in Bach, Well-temp. Clavichord, Vol. I, Preludes 2, 5, 6, and 21; Vol. II, Prelude 3, first 24 measures. Bach, Preludio con Fuga, Peters ed. 211, pages 14-21 (two Motives, in close succession) ; same volume, pages 28-31, Allegro. Bach, Preludio con Fuga, Peters ed. 214, pages 4, 5; same volume, pages 10, 1I. Bach, Toccata, Peters ed. 215, pages 19-21. Bach, Organ Comp., Vol. II, Prael. 2 ; Prael. 3; and Prael. 8. Vol. III, Prael. 5, and Prael. 7. Vol. IV, No. 4, "Toccata" (encloses the Fugue, quasi as Prelude and Postlude).

See further, Schumann, Toccata for Pianoforte, op. 7 (largely homophonic, but with occasional Imitatory, and even distinctly thematic, passages). Of kindred texture and character is the last movement of Beethoven's Pianoforte Sonata, op. 54; and even the Finale of his Sonata, op. 26, might be called a Toccata.

It is left to the student to inspect such other examples of the Toccata, both homophonic and polyphonic, as he may find in published literature for Pianoforte or Organ.

b. The Toccata sometimes appears as collective form, of three, four, and even more distinct divisions, or movements. In this broader and more elaborate design it usually comprises as many distinctions of style as there are divisions, and is therefore a composite of Invention, Prelude, Toccata, Fantasia, — very frequently including also the higher Fugue-species, — in apparently optional succession.

See Bach, Toccata for Clavichord in e minor (Peters ed. 210, No. I), three brief, totally independent sections, the and ($, Allegro) a Double Fughetta, to be consid. ered later; a Fugue follows, to which the Toccata may be considered to be a "Prelude." Bach, Toccata in f♯ minor (Peters ed. 210, No. 2), four different, but kindred, divisions: I, an introductory "Toccata"; II, a 4-voice Invention; III, a Fugue, connected with IV, a Double Fugue, by a curious sequential Interlude of 31 measures. Bach, Toccata in c minor (Peters ed. 210, No. 3), very similar: Movement I, an introductory "Toccata"; II, a 4-voice Invention; III, & Fugue, connected by a brief Interlude with IV, a Double Fugue, followed by brief Coda. Bach, Toccata in d minor (Peters ed. 210, No. 4), three divisions: I, a brief introductory "Toccata"; II, 4-voice Invention; III, Double Fugue, followed by a Coda. Bach, Toccata con Fuga in g minor (Peters ed. 21I, No. I), four divisions: I, introductory Cadenza, three measures; II, Aria, 12 measures; III, an Invention, 2- to 4-voice; IV, a Postlude, II measures. The "Fuga" which follows is entirely independent of the Toccata, excepting in key. Bach, Toccata in G major (Peters ed. 215, No. 3), three movements: I, Toccata; II, 4-voice Invention; III, Fugue. Bach, Organ Comp., Vol. III, No. 8, "Toccata"; four divisions (31 measures introductory Cadenzas).

The fantasia

85. This is of still less definite and definable form and consistence than the Toccata, though in many respects closely connected with the latter in origin and character. It is, as its name indicates, a fanciful combination of tone-effects. Irregularity of design, freedom of melodic and rhythmic treatment, and generally incoherent character, are therefore almost essential conditions of the species; at the same time, the domination of a central tonality, occasional concurrences of style (corroboration of former sections), and the evidences of at least a broadly consistent progressive design, cannot be wholly dispensed with.

The texture of the Fantasia, as a whole, is more likely to be homophonic than polyphonic, though the latter style is frequently adopted for certain sections, — probably in unconscious imitation of the technical conditions under which, centuries ago, the Fantasia came into existence.

For illustrations see Bach, Fantasia for Clavichord in c minor (Peters ed. 212, No. I), already cited, as z-voice "Invention." Bach, Chromatic Fantasia, d minor (followed by a fugue). Bach, Fantasia in g minor (Peters ed. 215, No. 5), introductory Cadenza, 2 measures, —the rest a strictly polyphonic " Invention" in double counterpoint, to be analyzed later. Bach, Fantasia e Fuga (Peters ed. 1959, page 80, 21 measures); same volume, pages 84, 85, — quasi " Toccata." Bach, Clavichord Sonata (Peters ed. 213, No. 3), first movement; this bears no other title than the tempo-mark, Adagio, but it is a "lyric Fantasia," quasi "Aria." Händel, Clavichord

Suite No. I, "Prelude," — clearly Fantasia in consistency. Bach, Fantasia con Foga in a minor (Peters ed. 208, No. 2), already cited, as "Invention." Bach, Organ Comp., Vol. III, No. 6, "Fantasia"; 4-voice Invention, or rather, Invention-group, 2 Motives, for successive Sections; treatment serious and strict; form very definite. Vol. Ill, Prael. Io; Vol. IV, Prael. I; and Prael. 5. Vol. II, No. 4, "Fantasia'

The Fantasia as more elaborate collective form, — like the broad Toccata, — Is illustrated in the following:

Bach, Fantasia con Fuga in D (Peters ed. 211, No. 3); five movements, vize, Introduction, Toccata, Interlude (similar to Introduction), Double Invention, Post- Inde (similar to I and III), — followed by a Fugue. Bach, Fantasia in a minor (Peters ed. 215, No. I); three movements, — Toccata, Invention, Toccata (similar to I). Bach, Fantasia con Imitazione (Peters ed. 216, No. 7); two movements, - Introduction and Invention. Bach, Organ Comp., Vol. IV, No. 11; three movements (the "Grave" already cited as s-voice Invention).

General reference may also be made to the more modern, and almost wholly homo. phonic, Fantasias: Mozart, Pianoforte Fantasia (followed by a complete Sonata) in 6 minor (Cotta ed. No. 18); Mozart, Fantasia for Pianoforte in d minor (Cotta ed. No. 23); ditto in e minor (Cotta ed. No. 24); ditto in C' major (Cotta ed. No. 25), — followed by a Fugue. Mendelssohn, op. 15.

Mixed forms, of a general imitatory character

86. Finally, there is a very numerous class of. musical forms which are neither definitely homophonic nor polyphonic, but a mixture of both; partaking of the characteristics of the Invention, the Prelude, and the Fantasia, though not strictly to be classified as any of these.

Such mixed forms rest upon a homophonic basis, and therefore ex- 'hibit distinct harmonic and melodic traits, and, generally, well-defined form. The polyphonic elements are exhibited, side by side with these, and more or less sparingly, in incidental imitations, or a general imitatory bearing, quite different from that continuous thematic development of which Imitation is an essential factor, — the essential condition of the genuine Invention, as has been seen, and, in a higher degree, of the Fugue and Canon, as remains to be seen.

Many of the examples cited above, under the head of the Prelude, Toccata, or Fantasia, belong properly to this mixed class, though designated thus definitely by their authors, and, usually, approaching most nearly in general design the character of the form in question.

The most characteristic examples are to be found in some of the " Allemandes " and "Courantes " (more rarely in the " Bourrées," "Gavottes," "Minuets," and kin. dred dances) of the French and English Suites, and clavichord Partitas, of Bach. In these the " melody" is usually continuous, and sometimes as distinct as in purely homophonic writing; the harmonic successions are everywhere clearly apparent, and the design is almost always regular. But fragments of incidental imitation are

frequently introduced; or, at least, the general impression of contrapuntal texture (partial voice-independence) is sustained, — despite the entire freedom exercised with regard to the number of parts employed, and the use of auxiliary tones.

See particularly, Bach, Clavichord Partita III, "Allemande" (decidedly poly. phonic in general effect, though no evidences of systematic imitation exist); same

Partita, "Courane," "Sarabande," and "Burlesca." Bach, Partita IV, "Allemande" (quasi Aria); "Courante" (quasi Invention, —M. in contrary motion during a portion of Part II); " Aria" (general voice-independence, but little evidence of even incidental imitation, — the same is true of the following "Sarabande" and "Menuet"). Bach, Partita V, "Allemande" (quasi Invention; the M. evades strict definition, being rather of a rhythmic than melodic consistency). Bach, Partita I, "Allemande" (quasi Toccata, — occasional incidental imitations); "Courante" (quasi Invention, M. of one measure, in upper part, chiefly in sequential succession). Bach, Partita II, "Allemande," is a genuine Invention, already cited; the following "Courante" is quasi Invention, but the imitation is more incidental than essential; "Sarabande," - incidental imitations, chiefly in and Part.

Bach, English Suite No. I, "Courante I" (a few faint traces of thematic imitation, and considerable incidental imitation; the form is unusually regular and definite, the melody of measures 4 and 8 being similar, in both Parts; the voice-texture is treated with great freedom). Bach, English Suite No. III, "Courante," - excellent example of incidental imitation, and general voice-independence, without a trace of thematic development. Bach, English Suite VI, "Allemande"; and the " Double" of the " Sarabande." Bach, French Suite I, " Allemande" and "Courante"; «Sarabande" (the first 5 measures of Soprano, in Part I, become the Bass in Part II, and again Soprano, 4 measures later); " Menuet I," similar. Bach, French Suite V, "Bourrée II"; French Suite VI, " Courante."

Händel, Suite for Clavichord No. I, " Allemande" and " Courante"; the texture is quite regular (3-voice, occasionally 4), but it is only of a general imitatory character, not definitely thematic. Händel, Suite III, "Allemande" and "Courante";. Suite IV, "Allemande" and "Courante" ; Suite V, "Prelude," "Largo," and "Gigue." And so forth; the majority of Händel's clavichord pieces, excepting the Fugues, are replete with incidental imitations, but not strictly thematic.

Scarlatti (Peters ed. No. 277), Suite No. I, "Preludio," "Sarabande"; Suite II, "Courante," " Scherzo" (quasi Invention) ; Suite III, "Courante" (quasi Invention, several Motives, Large 2-Part form).

Mendelssohn, op. 7, No. I, No. 2 (Nos. 4 and 7, — see par, 87), No. 6

Mendelssohn, Var: sérieuses, op. 54, Var. 2, Var. 3, Var. 4 (quasi Invention). Also, Variations, op. 83. Var. ..

Schumann, Jugend-Album, op. 68, No. 40 (" Kleine Fuge"), first 22 measures (quasi 3-voice Invention).

D'Albert, Pianoforte Suite, op. 1, " Allemande," " Sarabande," " Courante."

Brahms, op. 76, No. 8

Arthur Foote, op. 45, No. 1, Invention; 2-voice; 3-Part form.

Homophonic forms with polyphonic episodes

87. A mixture of the polyphonic and homophonic styles, of stil another kind, is obtained by introducing brief thematic imitations, oi complete thematic sections, into a composition of distinctly homophonic character and otherwise unalloyed homophonic texture.

Such incidental polyphonic episodes may occur in the course of a homophonic design (as, for instance, during the Second Part of the Three-Part Song-form); or the form may begin, like an Invention, with genuine thematic imitations, which extend for a few measures and then gradually (or even abruptly) relax and yield to pronounced homophonic treatment; or, more rarely, the polyphonic texture may be adopted near the end, as a means of promoting interest or creating a climax, — or as basis of the Codetta. For illustration :

Beethoven, Pianoforte Sonata, op. 2, No. I, "Trio" of the Menuetto (thematic throughout, quasi Invention of the "Prelude" consistency). Sonata, op. 2, No. 2, Finale, first 16 measures (a 3-Part form, in which Part II, measures 9-12, is imita- Sonata, op. ¿, No. 3, Scherzo (thematic throughout, quasi Invention, "Prelude"-species). Sonata, op. 10, No. 2, Allegretto, measures 9-30 (Parts II and III, imitatory). Same Sonata, Finale, entire; broad 3-Part form, quasi Invention with homophonic episodes; thematic imitation almost constantly, but within the definite limits of a homophonic design. Sonata, op. 10, No. 3, Menuetto, Part II. Sonata, op. 22, Adagio, measures 34-45. Sonata, op. 27, No. 1, Finale, measures 106-I31 (thematic imitation). Sonata, op. 28, Finale, measures 29-35 ; and measures 79-101 (thematic, M. of 4 measures, upper part). Sonata, op. 54, Finale, first 28 measures. Sonata, op. 109, Finale, Variation IV and Variation V. Beethoven, Variations, op. 35, Var. V, and Part; var. V1, and rart. Variations, op. 120, Vars. IV, V, VI, IX, XI, XIV, XXX (portions of each). Variations In A (Righini-Theme), Var. VII, — 2-Part form, new Motive for Part II; Var. XXI, and Part.

Mendelssobn, op. 7, No. 4 (partlv thematic, almost throughout); op. 7, No. 7 (general imitatory character); op. 14, Principal Theme of Rondo; Prelude, op. 35, No. 3 (quasi Toccata, practically homophonic, but with numerous imitatory episodes). Organ Sonata, cp. 65, No. 5, Finale (Secs, I, III, and V are based upon a Motive of two measures; Secs. II and IV upon a new Theme, longer, and lyric, with more animated accompaniment). — See also, again, op. 37, No. 2.

Additional miscellaneous examples

Schumann, Papillons, op. 2: No. 3; No. 9, Second Part.

Schumann, Intermezzi, op. 4: No. I, measures 3-7, measures 17-24; No. 5, "Alternativo," imitatory throughout, with harmonic accompaniment (in figural form in Part III).

Schumann, Symphonic Études, op. 13: No. 1, measures 1-8; No. 8, thematic Imitation throughout (quasi 4-voice); No. 12, measure 37 ("animato") to 75, the. matic Imitation, partly 2 Motives.

Schumann, Waldscenen, op. 82, No. IV; also No. III.

Schumann, Kreisleriana, op. I5, No. 5, measures 5-14.

Scbumann, Novellette, op. 21, No. I (5-flat signature).

Schumann, Romanzen, op. 28, No. 3, measures 1-24; also " Intermezzo I," thematic Imitation throughout, quasi 4-voice.

Schumann, Gigue, op. 32, No. %, 3-voice Invention, sectional.

Chopin, Mazurka, No. 32 (op. 50, No. 3), measures 1-9, 33-41.

Chopin, Mazurka, No. 41 (op. 63, No. 3), measures 1-10 from end.

Chopin, Ballade, No. 4 (op. 52), measures 134 (cadenza) to 145.

Chopin, Scherzo, No. 3 (op. 39), measures 59-98; Motive in Bass, measures 59-66, and repeated, in octaves; Imitation in inner voice, measures 75-82, and meas-

Chopin, Etude, op. 25, No. II; the Motive (measures 1-2) pervades the entire Etude, with figural accompaniment; not strictly Invention, but thematic, and generally polyphonic.

Schubert, Pianoforte Sonata, op. 143, principal theme of the Finale.

Exercise 25

• Write two examples oi the Prelude as Inventin (minor and major, respe vely), according to the general explanation given in par. 83, and with reference al to par. 86.

B. An example of the Toccata (in one or two movements), according to par. 84.

C. An example of the Fantasia (par. 85).

D. Two or more examples of the homophonic Three-Part Song-form, with imitatory episodes as indicated in par. 87. Use a different mode, different measure, and different style (par. 72) for each.

Division three

Chorale-figuration

Introductory

88. The contrapuntal elaboration of the Chorale (the characteristic representative of German ecclesiastic song since the days of the Reformation) has always been regarded by serious German masters of the past three centuries as a most important and truly indispensable part of the academic discipline of the composer; and, while a portion of this conception may be due to religious enthusiasm, it is evertheless a just and wise pedagogic view. Ihere is, unquestionably, no field c ontrapuntal training so reliable and wholesome. so stimulating to the determine student whose aims are serious and genuine, and, best of all, so many-sided and inexhaustible, as "polyphonic Chorale-elaboration," — or "Chorale Figuration," as it is more commonly called.

For this reason, although its immediate practical utility may not be apparent as available "composition"), its very thoroush and conscientious exercise is warmly urged upon the student; particularly upon him who desires to master the Fugue and Canon, —forms which cannot (as a rule) be successfully realized with the comparatively limited contrapuntal technique that will have been acquired through the exercise of the Inventions only. Chorale-figuration affords precisely the quality and degree of supplementary technical discipline required for the proper achievement of these higher polyphonic forms.

89. Chorale-elaborations are divided, according to their magnitude, and certain distinctions of treatment, into two classes known as the Small Species and Large Species.