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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
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Modified Repetitions
2 Abbreviation Of The Regular Form
Lesson 3
Inherent Irregularity
The Second Part
Lesson 11


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1 Augmentation Of The Regular Form
The Exposition
Semicadence
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The Third Rondo Form



Evolution





It cannot have escaped the observant student of the
foregoing pages, that the successive enlargement of the structural
designs of musical composition is achieved by a process of natural
growth and progressive evolution. No single form intrudes itself in an
arbitrary or haphazard manner; each design emerges naturally and
inevitably out of the preceding, in response to the necessity of
expansion, and conformably with the same constant laws of unity and
variety,--the active agents, along the entire unbroken line of
continuous evolution, being reproduction (Unity) and legitimate
modification (Variety); or, in other words, modified repetition.
It is upon the indisputable evidence of such normal evolution in the
system of musical structure, that our conviction of the legitimacy and
permanence of this system rests.

The diagrams which appear on pages 78 and 98 partly illustrate the line
of evolution, which, in its fullest significance, may be traced as
follows: the tone, by the simplest process of reproduction, became a
figure; the figure, by multiplication or repetition, gave rise to the
motive; the latter, in the same manner, to the phrase. The
repetition of the phrase, upon the infusion of a certain quality and
degree of modification (chiefly affecting the cadences) became the
period; the latter, by the same process, became the double-period.
The limit of coherent phrase-succession (without a determined
interruption) being therewith reached, the larger Part-forms became
necessary. The Two-Part form emerged out of the double-period, the
two connected periods of which separated into two independent
Parts, by the determined interruption in the center. And, be it well
understood, each new design having once been thus established, its
enlargement within its own peculiar boundaries followed as a matter of
course; I mean, simply, that the two Parts did not need to remain the
periods that were their original type; the process of growth cannot
be stopped. The Three-Part form resulted from adding to the Two-Part
the perfecting reversion to the starting-point, and confirmation of the
principal statement. The Five-part form, and the Song with Trio
are enlargements of the Three-Part forms by repetition or
multiplication; and with the latter the limit of this particular
process appears to be achieved. Any further growth must take place
from within, rather than by addition from without.

But the process of evolution continues steadily, as the student will
witness. To one vital fact his attention is here called,--a fact which
he is enjoined to hold in readiness for constant application,--namely,
that perfection of structural design is attained in the Three-Part
form, and that every larger (or higher) form will have its type in this
design, and its basis upon it. The coming designs will prove to be
expansions of the Three-Part form.





Next: The Rondo-forms

Previous: Lesson 12



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