en times, and fragments are used over
and over again.

In immediate contrast with this work is placed the
so-called "Moonlight Sonata"--the title affixed not by
Beethoven but by some fanciful writer. The first
movement of this is quite as much a monody as anything of
Bach's, but with a difference. Little is attempted in the
way of modifying the harmony of the theme except to
carry it through several different keys, nor is there much
accessory matter employed as filling. It is practically a
song,--an ode if you like,--of a melancholy, grieving
character. Its structure will be understood by aid of the
following analysis: It begins with a prelude of four
measures, after which the leading idea enters in the key
of C-sharp minor, closing in E-major, four measures.
After a measure of accompaniment the subject resumes
in C major, proceeding immediately to B minor, after a
cadence in which an accessory melodic bit is introduced,
having the character of suspending the action, eight
measures, ending in F-sharp minor. The leading idea
now enters in F-sharp, five measures, and three little
melodic bits followed by eleven measures of arpeggio
matter hold back the action for the return of the theme
in measure 42 (first accent in 43). Everything in this
movement grows out of the leading melody, and the
movement has no skeleton or orderly arrangement of
parts except in a very general manner.

The allegretto which follows is practically a sort of
scherzo, in song-form with trio. Then comes the very
dramatic finale, consisting of three main elements handled
in the style of a sonata-piece. The Principal extends to
the first beat of the twentieth measure. On the second
beat of this the Second enters and runs twenty-three
measures. With the second eighth note of this measure
a movement of eighth notes in chords enters, which
forms the concluding piece. This carries us to the
double bar, after which a free fantasia follows upon the
same material. The free fantasia extends to two
measures of whole notes, thirty-six measures in all, where
the original theme returns and the first part is recalled
in different keys. At the end there is an added coda of
thirty-four measures counting from the end of the piece.

The Prelude in G major of Bach is another pleasing
illustration of his manner. It is very simple in
construction and needs only to have the first two measures and a
half played in advance for defining the subject, a