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The Double-period
Distinction Between Bipartite And Tripartite Forms
Lesson 4
Causes
The Sonatine Form
The Exposition
The Recapitulation
T The Second Rondo Form
The Necessity Of Form In Music
The Melodic Figure


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The Exposition
The Recapitulation
Causes
2 Abbreviation Of The Regular Form
The Sonata-allegro Form
Modification Or Disguising Of The Cadence
Repetition Of The Parts
Lesson 12
Perfect Cadence
Modified Repetitions


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The Phrase-group
The Double-period
The Small And Large Phrases
Origin Of The Name
Dissolution
Group Of Parts
Length Of The Regular Phrase
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Lesson 8



Afterword





The expression Musical Forms is often used, somewhat carelessly and
erroneously, with reference to Styles or Species of composition,
instead of to the structural design upon which the music is based. The
Barcarolle, Mazurka, ?tude, Anthem, and so forth, are styles
of composition, and not necessarily identified with any of the
structural designs we have been examining. Read, again, our
FOREWORD. The general conditions which enter into the distinctions of
style are enumerated in my Homophonic Forms, paragraph 97, which
the student is earnestly advised to read. As to the manifold styles
themselves, with which the present book is not directly concerned, the
student is referred to Ernst Pauer's Musical Forms, and to the music
dictionaries of Grove, Baker, Riemann, and other standard writers,
where a description of each style or species of composition may be
found.






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