FORM
095
FORM
In this most tenderly beautiful choral we have the first simple melodic unity. Two melodic ideas, a, 6, called phrases, are made clearly apparent through harmonic and melodic progression. The first cadence at * involves the definite conception not only of progression but of necessity for a succeeding phrase, expressing a definite relation — in this case, a sense of antithesis. The two phrases stand, therefore, in the relation of thesis and antithesis, and the unital idea may be called a strain. Strain, therefore is a primary form — a norm, used in the structural development of music; just as the unity of subject and predicate, called a sentence, whether represented by single words or phrases, is a structural element of poetry; and the arch, a structural element of architecture. In the following old French song, Gabrielle Charmante, the phrases c
~r-* r r—' 1«—41
E£^^^—n i :J
and d constitute a strain of a somewhat different character from the strains a and b. The second phrase (d}, because of cadential treatment, expresses this idea of a complementary rather than an antithetical phrase to c. Phrases c and e are decidedly thetical and antithetical, as also phrases a and b. The strain, therefore, may be in two forms, according to whether the two terms (phrases) are relatively thesis and antithesis or thesis and complement.
Each of these terms, thesis or antithesis, may be strengthened by some form of reiteration, one illustration of which is found in the first strain of My Country, 'tis of Thee.
EXAMPLE 3
Va
The thetical feeling of phrase a is strengthened by phrase Vo" not so much by the likeness in melodic design as by the rhythmic and especially by the cadential reiteration. This strengthening of the thetical element of the strain is quite common. The reiteration of the antithesis also occurs, but more rarely.
A very different form of two-phrase structure is illustrated in the following old folksong:
EXAMPLE 4
i
\/a
I
5?
Phrase \/a is clearly a modified form of a, and closes with a like cadence. The two phrases, however, constitute a distinct unity, the second phrase not being a mere repetition. Such a two-phrase structure may be termed a couplet. A couplet involves a thesis and some modified form or intensive reiteration of the thesis, with definite cadential relations. Like the strain, the couplet is an elementary unit of thought — a norm. Unlike the strain, the couplet always is a dependent idea, while the strain may be dependent or constitute a completely independent melodic idea as in Example i.
Another unit of thought — a norm — is illustrated in the following old German choral:
EXAMPLE 5
