A new young blonde bride calls her mother in tears. She sobs, "Robert doesn't appreciate what I do for him." "Now, now," her mother comforted, "I am sure it was all just a misunderstanding." "No, mother," you don't understand. "I bough... Read more of Turkey roll at Free Jokes.caInformational Site Network Informational
Privacy
  Home - Music Terms - Music Lessons - How to Sing - Music History - Singing Choirs - Children Songs - The Voice - Advice for Singers
   Lyrics: by Arist - (HED) P.E. to BREAKING POINT - BRIAN MCFADDEN to FINGERTIGHT - FIONA APPLE to JUSTIN GUARINI - JUSTIN TIMBERLAKE to MURPHY LEE - MUSE to SARINA PARIS - SASH to THREE 6 MAFIA - THREE DAYS GRACE to ZWAN

Most Viewed

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


Least Viewed

The Exposition
The Recapitulation
Causes
Relation To The Three-part Song-form
2 Abbreviation Of The Regular Form
4 Mixture Of Characteristic Traits
Lesson 13
Classification Of The Larger Forms
The Development Or Middle Division
1 Augmentation Of The Regular Form


Random Music Lessons

Contents Of The Phrase
Part I
Phrase-addition
Melody
1 Augmentation Of The Regular Form
The First Part
Distinction Between Bipartite And Tripartite Forms
Modification Or Disguising Of The Cadence
Lesson 9
Causes



Lesson 8





Analyze the following examples. They are not classified;
therefore the student must himself determine to which of the above
three species of enlargement each belongs:

Mendelssohn, Songs Without Words, No. 29, measures 1-21, (first 4
measures an introductory phrase).

No. 37, first 17 measures.

No. 30, first 15 measures (last phrase irregular).

No. 16, measures 4-9 (small phrases).

No. 33, first 12 measures.

No. 27, first 20 measures (introductory phrase).

No. 3, first 29 measures, to double-bar (introductory phrase).

No. 36, first 27 measures (the similarity between phrase one and phrase
three proves the double-period form; the extra phrases are extension by
addition, as in the group form).

No. 6, measures 8-17.

Mozart, pianoforte sonata. No. 13 (Peters edition), first 16 measures.

Sonata No. 2, first 16 measures (last four measures are extension).

Sonata No. 3, last movement, first 16 measures.

Sonata No. 10, second movement, first 16 measures.

Beethoven, pianoforte sonatas; op. 49, No. 2, first 12 measures.

Op. 10, No. 3, first 16 measures.

Op. 10, No. 2, first 12 measures.

Op. 26, first 16 measures.

Op. 31, No. 2, last movement, first 31 measures (extension by
repetition).

Schumann, op. 68, Nos. 16, 20, 33, first 16 measures of each; No. 13,
first 10 measures; No. 15, first 16 measures.





Next: The Song-form Or The Part-form

Previous: The Double-period



Add to del.icio.us Add to Reddit Add to Digg Add to Del.icio.us Add to Google Add to Twitter Add to Stumble Upon
Add to Informational Site Network
Report
Privacy
SHAREADD TO EBOOK


Viewed 1320