This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1895 Excerpt: ...there is far greater variety. So much is this the case with the development, that it is absolutely impossible to give any rules as to what the composer should do, though, as we shall see presently, several general principles may be laid down to guide him as to what he should not do. 276. It is no-doubt because of the ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1895 Excerpt: ...there is far greater variety. So much is this the case with the development, that it is absolutely impossible to give any rules as to what the composer should do, though, as we shall see presently, several general principles may be laid down to guide him as to what he should not do. 276. It is no-doubt because of the impossibility of formulating any regular rules for the construction of this part of the movement that it is frequently described in English text-books as the "Free Fantasia,"--that is, the portion of the movement in which the composer is left free to follow his own fancy. In Germany it is termed 'Durchfiihrung, ' i.e. 'development'; and we shall use both names indifferently; "development" is the more strictly accurate, but "free fantasia" is frequently more convenient. 277. When speaking in the last chapter ( 224, ) of the sonata form as a modification of the ternary, we said that the developments of which we have now to speak took the place occupied in the regular ternary form by the episode. Students will be aware that the object of episode is to furnish relief and contrast to the principal subjects. In the same way, the developments which precede the repetition of the principal subjects in the recapitulation have to furnish relief and (to a certain extent) contrast; but there is an important difference between the two forms. In the ternary form, as also in the Rondo form described in Chapter VI. of this volume, the contrast is secured by the introduction of entirely new material; here, on the other hand, while (as will be seen later) episodical matter is not wholly excluded, we obtain the contrast chiefly by the presentation of the material of the exposition under new aspects. This is because the essen...
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