within him a melodic
form. These melodies not only differ from one another by degrees of
indescribably delicate gradation, but each as it comes proves itself
adapted to the text which gave it birth. These lovely melodies,
moreover, are supported by pianoforte accompaniments which at times
rise to a co-ordinate rank with the melody itself as part of the
expression of the poem. Sometimes the so-called accompaniment is
itself almost the main thing. Such cases are found in "The Erl King,"
"To Be Sung on the Waters," and "Gretchen at the Spinning-wheel." At
other times the accompaniment is as simple as the melody, and serves no
other purpose than that of supporting the voice. A typical case of
this kind is found in "Hedge Roses," and in "Hark! Hark! the Lark."
It is another peculiarity of Schubert that, beginning with an entirely
simple melody, he sometimes digresses to a remote key, within which for
a moment he goes quite as simply, only to return again immediately to
the main key. The "Hark! Hark! the Lark" is a case of this kind.
(Note the transition to G-flat in the ninth measure.)

The universal type of Schubert's music is the melodic. This we find in
the pianoforte sonatas quite as plainly as in the songs themselves. In
the minuet and march on the present program the melodic ideas are the
main thing. Charmingly naive are the little waltzes upon the present
list. Beautifully simple, delightfully symmetrical, their simplicity
relieved by short modulations into neighboring keys, it is not possible
to find elsewhere compositions so short, so simple, and yet so
beautiful. In spite of their brevity and simplicity, the student will
find them worth knowing thoroughly. It is also an excellent exercise
for the student to learn some of these by heart and to play them in
several different keys.

As an illustration of Schubert's cleverness in treating the pianoforte,
which is already sufficiently evident in the dramatic accompaniments of
his larger songs, before mentioned, attention is called to the
Impromptu in B-flat--the air and variations known as "The Fair
Rosamunde," the title due to the appearance of this melody in his opera
of "Rosamunde." At least three of these variations display great
finesse in treating the pianoforte. The first needs to be done with
the utmost delicacy and lightness, the melody suggested rather than
brought out. The third has a new rhythm and a melodic secondary figure
in the left-