Distinction Between Bipartite And Tripartite Forms
The Sonatine Form
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music
Cadences In General
Modification Or Disguising Of The Cadence
The Principal Song
Random Music Lessons
T The Second Rondo Form
The First Part
The Melodic Figure
Repetition Of The Parts
Analyze the following examples of the Three-Part Song-form.
The first step, here again, is to fix the end of the First Part; the
next, to mark the beginning of the Third Part, by determining where the
return to the beginning is made. These points established, it
remains to fix the beginning of Part I, by deciding whether there is an
introductory sentence or not; then the end of Part II, by deciding
whether it leads directly into Part III, or comes to a conclusion
somewhat earlier, to make room for a Retransition; then the end of Part
III, by deciding whether a codetta or coda has been added. The
extremities of the three Parts being thus determined, there will be no
difficulty in defining the form of each. Very particular attention
must be devoted to the comparison of Part III with Part I, in order
to discover, and accurately define, the difference between them,--in
form, in extent, in melodic formation, or in technical treatment.
Mendelssohn, Songs Without Words: No. 22, No. 35, No. 32, No. 45, No.
42, No. 31, No. 27, No. 46, No. 25, No. 20, No. 26 (Re-transition,
middle of measure 25 to measure 29); No. 36 (beginning of Part III,
measure 60, somewhat disguised); No. 47, No. 12, No. 15, No. 3, No. 43,
No. 40, No. 37, No. 2, No. 33, No. 30, No. 1.
Schumann, op. 68; No. 3; No. 12, first 24 measures; No. 14, No. 16, No.
17, No. 21 (Part I closes with a semicadence, but made in such a manner
that it answers its purpose without the least uncertainty); No. 24, No.
25, No. 26, No. 28; No. 29, last 48 measures (including coda); No. 33
(long coda); No. 34; No. 37, first 32 measures; No. 38; No. 40, first
movement (2-4 measure); No. 41.
Beethoven, pianoforte sonatas: op. 2, No. 1, third movement,--both the
Menuetto and the Trio. Op. 2, No. 2, third movement,--both
Scherzo and Trio. Same sonata, last movement, first 16 measures
(Parts II and III consist of a single phrase each; therefore the whole
is diminutive in extent; but it is unquestionably Three-Part Song-form,
because of the completeness of Part I, and the unmistakable return to
Op. 7, Largo, first 24 measures. Same sonata, third movement; also
the Minore. Same sonata, last movement, first 16 measures.
Op. 10, No. 2, second movement, first 38 measures.
Op. 10, No. 3, Menuetto.
Op. 14, No. 1, third movement; also the Maggiore.
Op. 14, No. 2, second movement, first 20 measures.
Op. 22, Menuetto; also the Minore.
Op. 26, first 34 measures; same sonata. Scherzo; same sonata,
Funeral march (also the Trio; what is its form?).
Mozart, pianoforte sonatas: No. 15 (Peters Edition), Andante, first
No. 1, last movement, first 50 measures.
No. 12, first 18 measures. Same sonata, Trio of the second movement
(Part III returns to the beginning very briefly, and is otherwise
different from the First Part almost throughout).
No. 13, Adagio, first 16 measures.
Chopin, Mazurkas (Peters edition), No. 11, No. 22, No. 24, No. 40,
In the following examples, the student is to determine whether the form
is Two-Part or Three-Part:--
Mendelssohn, op. 72 (six pianoforte pieces), No. 1; No. 2; No. 3, No.
4, No. 6.--Etudes, op. 104, No. 1, No. 3.
A curious example may be found in Schumann, op. 68, No. 32; the form is
actually Two-Part, but with a very brief reminiscence of the beginning
(scarcely to be called a Return) in the last two measures,--which
are, strictly speaking, no more than a codetta. The Second Part is
In Schumann's op. 68, Nos. 8, 9, and 11 (first 24 measures), the
second Part is unusually independent in character; completely
detached from Part III, and exhibiting no symptoms of leading into the
latter, as second Parts have commonly been observed to do.
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