they did not think much of it!
[Footnote 17: For a simple, charming example of persistent use
of a motive see Schumann’s pianoforte pieceKind im Einschlum-
mern, No. 12 of theKinderscenen.]
We must now speak of the two other manifestations of the prin-
ciple ofrepetition. Fundamentally, to be sure, they are not
connected with polyphonic music; the third type, in fact,—
restatement after contrast—being instinctively worked out in
the Folk-Song (as will be made plain later) and definitely rat-
ified as a structural principle by the Italian opera composer
Alessandro Scarlatti in the well-known Aria da capo. These
further applications of the principle of imitation areTranspo-
sition,i.e., the repetition of the melodic outline, and often of
the whole harmonic fabric, by shifting it up or down the scale;
and theRestatementof the original melody after an interven-
ing part in contrast, thus making a piece of music, the formula
for which may be indicated by A, B, Á. Anyone at all familiar
with musical literature must have observed both of these devices
for securing coherence and organic unity; in fact, the principle
of restatement after contrast is at the foundation of any large
work, and supplies the connecting link between the structure of
the Folk-Song and that of the most elaborate modern music. A
convincing illustration of the use of Transposition may be found
in Schumann’sArabesque,
[Music]
and in the opening theme of Beethoven’sWaldstein Sonata, op.
53.
[Music]
It was a favorite device of Beethoven to impress the main theme
upon the hearer by definite repetitions on various degrees of the
scale.[18] For an elaborate example of Transposition nothing
can surpass the opening movement of César Franck’sD Minor
Symphony, the entire first part of which consists of a literal
repetition in F minor of what has been previously announced in
D minor.
[Footnote 18: Another well-known example is the first theme
of the first movement of theSonata in F minor(Appassionata)
op. 57. This the student can look up for himself.]