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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 Third Rondo Form


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The Exposition
The Recapitulation
Causes
The Principal Song
Lesson 16
Phrase-addition
Enlargement By Repetition
The Song-form Or The Part-form
Part Ii
The Rondo-forms


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The Principle Of Extension
Modified Repetitions
Lesson 12
2 Abbreviation Of The Regular Form
Application Of The Forms
Lesson 14
3 Dislocation Of Thematic Members
The Development Or Middle Division
Rhythm
Distinction Between Bipartite And Tripartite Forms



Exact Repetitions





When Part I,--or Parts II and III together,--are to
be repeated without any changes, it is customary to employ the familiar
repetition-marks (double-bar and dots); with first and second ending,
if, for any reason, some modification of the cadence-measure is
required. This is illustrated in the 7th Song Without Words; Part I is
repeated alone, and Parts II and III together; both repetitions are
indicated by the customary signs, and each has a double ending. See
also, Schumann, op. 68, No. 1; Part I is repeated exactly, with
repetition-marks; Parts II and III are also repeated literally (all but
the very last tone in the lower part), but written out,--apparently
without necessity. Also No. 2; the literal repetition of Part I is
written out; Parts II and III have the repetition-marks.





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