Distinction Between Bipartite And Tripartite Forms
The Sonatine Form
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music
1 Augmentation Of The Regular Form
The Small And Large Phrases
Origin Of The Name
Relation To The Three-part Song-form
4 Mixture Of Characteristic Traits
Random Music Lessons
Length Of The Regular Phrase
3 Dislocation Of Thematic Members
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,
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
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).
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