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The Double-period
The Sonatine Form
The Necessity Of Form In Music
Lesson 4
Distinction Between Bipartite And Tripartite Forms
The Exposition
Causes
The Recapitulation
Defining The Figures
T The Second Rondo Form
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The Exposition
The Recapitulation
Causes
Time
Locating The Cadences
The Principle Of Extension
Phrase-addition
Lesson 7
The First Part
Lesson 10
Random Music Lessons
The Principal Song
Exact Repetitions
Lesson 4
Relation To The Three-part Song-form
The Period
Repetition Of The Parts
Causes
Group Of Parts
Causes
Lesson 10
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Lesson 13
Analyze the following examples. They are not classified;
the student must determine whether the form is pure First Rondo, or an
intermediate grade between Rondo and Song with Trio. One of the
examples is a genuine Song with Trio; and one is a Three-Part
Song-form; with reasonable vigilance the student will detect these
catches. To distinguish these three designs from each other,
recollect--
That the Three-Part Song-form consists of three single Parts, fairly
similar in character, fairly small in form, and severed either by a
firm cadence, or by unmistakable proof of new beginning;
That in the first Rondo-form, at least one of the themes (if not both)
contains two (or three) Parts; and,
That in the Song with Trio, the two Songs are more independent of
each other, and more decisively separated, than are the themes of the
Rondo-form.
With reference to all uncertain cases, it must be remembered that the
more doubtful a distinction is, the less important is its decision.
These designs naturally merge one in another, and at times it is folly
to impose a definite analysis upon them.
The analysis should be as minute as possible, nevertheless. The first
step is to define the extremities of the two themes. This fixes the
coda (and the introduction, if present); the re-transition (returning
passage into the Principal theme); and the transition into the
Subordinate theme--if present. The form of each theme must be defined
in detail, as in Ex. 54:--
Beethoven, pianoforte sonatas: op. 2, No. 1, Adagio.
Op. 7, Largo.
Op. 2, No. 3, Adagio.
Op. 79, Andante.
Op. 27, No. 1, Allegro molto.
Schubert, pianoforte Impromptus, op. 90, No. 2; and No. 3.
Chopin, Mazurka, No. 26.
Chopin, Nocturnes: op. 27, No. 1.
Op. 32, No. 2.
Op. 37, No. 2.
Op. 48, No. 1.
Op. 55, No. 1; and No. 2
Op. 62, No. 1.
Op. 72, No. 1 (E minor, posthumous).
Next: T The Second Rondo Form
Previous: The First Rondo-form
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