Distinction Between Bipartite And Tripartite Forms
The Sonatine Form
T The Second Rondo Form
The Necessity Of Form In Music
The Melodic Figure
Repetition Of The Parts
Modification Or Disguising Of The Cadence
Random Music Lessons
3 Dislocation Of Thematic Members
Application Of The Forms
Procure the Jugend Album, op. 68, of Schumann, and mark
the phrases in Nos. 1, 2, 4, 5, 6, 7, 8, 9, 13, 18, 20, and others. In
the given numbers the phrases are all regular,--four measures in length.
Analyze in the same manner Mendelssohn's Songs Without Words, Nos. 27,
22 (first phrase, five measures), 48, 28, 35, and others; occasional
irregularities may be encountered.
Also Beethoven, pianoforte sonata; op. 14, No. 2, second movement (C
major, andante); and op. 26, first movement.
A few cautious experiments may also be made in analyzing any
composition which the student may chance to be studying, especially if
not too elaborate. The necessary safeguard consists in simply passing
over every confusing point, limiting the analysis to those phrases that
are self defining, for the present,--until greater experience and
fuller information shall have been gained.
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