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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
The Small And Large Phrases
Part I
The First Rondo-form
Origin Of The Name
The Development Or Middle Division
Relation To The Three-part Song-form
1 Augmentation Of The Regular Form


Random Music Lessons

Time
The Period
Classification Of The Larger Forms
Afterword
Rhythm
The Phrase
Semicadence
Application Of The Forms
The Trio Or Subordinate Song
Lesson 14



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.





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Previous: The Double-period



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