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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
Cadences In General
Lesson 9
Exact Repetitions
Lesson 15
Origin Of The Name
Modification Or Disguising Of The Cadence
Inherent Irregularity


Random Music Lessons

The Song-form Or The Part-form
The Trio Or Subordinate Song
The Necessity Of Form In Music
Enlargement By Repetition
The Melodic Motive Or Phrase-member
Part Ii
The Development Or Middle Division
3 Dislocation Of Thematic Members
The Double-period
Evolution



Group Of Parts





In some, comparatively rare, instances, the
arrangement of perfect cadences is such that,--coupled with
independence of melodic formation and character,--the composition seems
to separate into four or more individual sections or Parts, with or
without a recurrence of the First one; or into three different Parts,
lacking the evidence of the return to the beginning. When such
irregularities are encountered, or when any conditions appear which
elude or baffle natural classification among the Three-Part Song-forms
(simple or enlarged), the piece may be called a group of Parts. The
use of this term is entirely legitimate, and is commended to the
student on account of its convenience, for all examples of the
Song-form which, upon thoroughly conscientious analysis, present
confusing features, at variance with our adopted classification. Of
one thing only he must assure himself,--that the design is a
Song-form (i.e. an association of Parts), and not one of the
larger forms to be explained in later chapters. The definition is
given in Chapter IX (on page 84).

A fair illustration of the utility of the term Group of Parts is seen
in Schumann, op. 68, No. 18. Others will be cited in the following
Lesson.





Next: Lesson 11

Previous: The Five-part Form



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