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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 Third Rondo Form
The Necessity Of Form In Music


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The Exposition
The Recapitulation
Causes
Part Iii
The Trio Or Subordinate Song
Origin Of The Name
Inherent Irregularity
4 Mixture Of Characteristic Traits
Application Of The Forms
Afterword


Random Music Lessons

Lesson 2
The First Part
Evolution
Measures
Lesson 4
The Rondo-forms
Part I
Cadences In General
Locating The Cadences
The Recapitulation



Enlargement By Repetition





The first and simplest method is to
increase the length of the period-form by the process of repetition;
repetition of the entire sentence, or of any one--or several--of its
component members, in a manner very similar to that already seen in
connection with the single phrase (Chap. VI, Ex. 39, etc.), and under
the same conditions of Unity and Variety; that is, the repetitions may
be nearly or quite literal, or they may have been subjected to such
alterations and variations as the skill and fancy of the composer
suggested.

An example of complete repetition (that is, the repetition of the
entire period), with simple but effective changes, may be found in
Beethoven, pianoforte sonata, op. 13, Adagio, measures 1 to 16.
Examine it carefully, and observe, among other details, the treatment
of the perfect cadence (in the 8th measure). See also, Song Without
Words, No. 27, measures 5 to 20.

The repetition of one of the two phrases is exhibited in the following
(Mozart, sonata No. 14):--


The Antecedent is a regular four-measure phrase, with semicadence (made
on the tonic chord, but with 3d as uppermost tone); the Consequent is
a six-measure phrase, with perfect cadence, and is repeated, with
partial change of register. The whole is a period with repeated
Consequent.

A somewhat elaborate example of extension by detail-repetition is seen
in the following (Chopin, Mazurka No. 20, op. 30, No. 3--see the
original):


These sixteen measures are the product out of eight measures, by
extension; that is, they are reducible to a simple period-form (as may
be verified by omitting the passages indicated under dotted lines), and
they represent in reality nothing more than its manipulation and
development. The original 8-measure period makes a complete musical
sentence, and was so devised in the mind of the composer, without the
extensions. The method of manipulation is ingenious; observe the
variety obtained by the striking dynamic changes from ff to pp;
and, hand in hand with these, the changes from major to minor, and back
(as shown by the inflection of b-flat to b-double-flat). These are
first applied to members only, of the Antecedent, as indicated by the
brackets a and b, and then to the entire Consequent phrase.
Observe, also, that in the repeated form of the latter, the rhythm is
modified to a smoother form, during two measures. The result here
achieved is constant Unity and constant Variety from almost every point
of view, admirably counterbalanced.





Next: The Phrase-group

Previous: Lesson 7



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