Scan 230
the american history and encyclopedia of music, 1910
4 lines. Read by computer on 10 September 2026. Printed page 196. See the scan on archive.org.
1form. The part corresponding to the first period is in the exposition known as the subject. This first subject as a rule comprises some phrase formation and often closes with a half-cadence, being very much like the antecedent phrase of a period. A second subject follows the first after a short transition which, in major keys, leads to and modulates generally into the dominant key, the usual key of the second subject, which is variable in length and has no definite form. This second theme is frequently lyrical in style and is therefore often called the song group; it comes to a close in the dominant key and is followed by a codetta varying in length according to the design of the composer. There is often a double bar with repetition marks at the end of the codetta and all of part one is again repeated. Now comes part two, the development or working-out passage. The motives of the first and second subjects are used and developed in this fugally, canonically by inversion or other devices, according to the genius and taste of the composer, and it leads up to the return of part one, which is entirely repeated; but now the second subject, instead of appearing as in part one, is given in the tonic, the entire movement closing in that key. This practically completes the sonata form, and no matter how many movements are added, how elaborate or simple the composition may be, the characteristics as here noted are always found as the basis of all sonatas.
3The sonata of three movements has been chosen for description as it is the typical and most common form, and where there are more movements added they are all subservient to this type form, and by many of the best critics the added movements are regarded as interpolations which detract from the symmetry of the composition. The forms in the sonata usually have Italian titles given them, which indicate the tempo with which they are to be played, and sometimes something of their character. In the playing of a sonata the performer usually rests a few moments between each of the movements, these interruptions having a tendency to mislead the hearer into the belief that the sonata is a
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