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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
Exceptions
Repetition Of The Parts
Modified Repetitions
Time
Preliminary Tones
Lesson 8
The Principal Song


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The Melodic Figure
The Phrase-group
The Necessity Of Form In Music
The Trio Or Subordinate Song
The Sonatine Form
Preliminary Tones
T The Second Rondo Form
Lesson 15
Lesson 13
Enlargement By Repetition



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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