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The Double-period
Distinction Between Bipartite And Tripartite Forms
Lesson 4
Causes
The Sonatine Form
The Exposition
The Recapitulation
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music


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The Exposition
The Recapitulation
Causes
Relation To The Three-part Song-form
4 Mixture Of Characteristic Traits
Length Of The Regular Phrase
Species Of Cadence
The Small And Large Phrases
The Principle Of Extension
The Second Part


Random Music Lessons

Enlargement By Repetition
Lesson 4
Species Of Cadence
The Parts
The Principle Of Extension
Relation To The Three-part Song-form
The Song-form Or The Part-form
The Period
Part Ii
Application Of The Forms



Lesson 7





Analyze the following examples. Locate the cadences;
compare the phrases and define the degrees of Unity and of Variety
exhibited in the melody, or elsewhere; and mark such irregularities of
forms (or extensions) as may be found:--

Mendelssohn, Songs Without Words, No. 35, measures 5 1/2-13. (By 5 1/2
is meant the middle of the fifth measure, instead of its beginning.)

No. 45, first 8 measures.

No. 29, measures 4 1/2-12.

No. 14, 1-8.

No. 34, 1-10.

No. 18, 1-9; 10-17.

No. 9, 3 1/2-7.

No. 27, 5-12.

Schumann, op. 68, No. 3, measures 1-8; 9-16.

No. 5, measures 1-8; 9-16. (Do not overlook the preliminary tones
which precede the first measure.)

The first eight measures of Nos. 6, 7, 8, 9, 11, 12, 15, 22, 23, 24,
26, 30, 32, 39. Also Nos. 13 and 28, first ten measures.

Beethoven, pianoforte sonatas: op. 2, No. 1, Adagio, measures 1-8.
Same sonata, third movement, Trio, measures 1-10.

Op. 2, No. 2, Largo, measures 1-8; also Scherzo, measures 1-8; also
Rondo, measures 1-8.

Op. 2, No. 3, measures 1-13; also Scherzo, measures 1-16; also last
movement, measures 1-8.

Op. 10, No. 1, Finale, measures 1-8; and measures 16 1/2-28.

Op. 10, No. 3, measures 1-10; also Largo, measures 1-9; 9 1/2-17;
also Menuetto, measures 1-16; also Rondo, measures 1-9.

Op. 14, No. 2, measures 1-8; also Andante, measures 1-8; also
Scherzo, measures 1-8.

After analyzing these examples, the student may venture to define the
periods in other compositions, classic or popular, especially such as
he may chance to be learning.






The processes of extension and development are applied to the period in
the same general manner as to the phrase. The results, however, are
broader; partly because every operation is performed on a
correspondingly larger scale, and partly because the resources of
technical manipulation increase, naturally, with the growth of the
thematic material.

Among the various methods adopted, there are three, each significant in
its own peculiar way, that provide sufficiently exhaustive directions
for the student of structural analysis.





Next: Enlargement By Repetition

Previous: The Period



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