Lesson 11


Analyze the following examples of the enlarged Three-Part

Song-form. As before, the form of each Part should be defined, and

introductions and codas (if present) properly marked. All of the given

examples belong to this chapter, but are not classified; it is

purposely left to the student to determine where repetitions occur, and

whether they are exact, or variated,--in a word, to decide which of the

above diagrams th
composition represents.



Mendelssohn, Songs Without Words, No. 3, No. 4, No. 8, No. 10, No. 11,

No. 12, No. 16, No. 17, No. 19, No. 21, No. 23, No. 24, No. 27, No. 31,

No. 34, No. 39, No. 43, No. 44, No. 46.



Schumann, op. 68, No. 5; No. 6; No. 10; No. 13; No. 15; No. 19; No. 22;

No. 30; No. 36; No. 43.



Mendelssohn, op. 72, No. 5.



Chopin, Pr?lude, op. 28, No. 17.



Mozart, pianoforte sonata No. 8, Andante (entire).



Mozart, No. 18, Andantino (of the Fantasia).



Chopin, Mazurkas, No. 1, No. 2, No. 4, No. 5, No. 8, No. 15, No. 16,

No. 18, No. 37, No. 44, No. 48.





GROUPS OF PARTS:



Chopin, Mazurkas, No. 3 (apparently five Parts, not counting

repetitions; Part V corroborates Part I, but the intervening sections

are too independent to be regarded as one long Second Part,--as would

be the case if this corroboration were Part III). Also No. 7 (same

design); No. 14 (four Parts, the last like the first); No. 19 (four

Parts, the fourth like the second); No. 20: No. 21; No. 27 (Part V like

I, Part IV like II); No. 34; No. 39; No. 41.



Schubert, Momens musicals, op. 94, No. 3.



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