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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 Phrase
The Principle Of Extension
Enlargement By Repetition
Origin Of The Name
4 Mixture Of Characteristic Traits
Lesson 11
Lesson 1


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Lesson 13
Causes
Lesson 1
The Principal Song
Lesson 14
The Melodic Figure
Lesson 2
Lesson 9
The Principle Of Extension
Lesson 3



Part Ii





The departure (more or less emphatic) from this leading
melodic statement. It is, for a time, probably an evident continuation
and development of the melodic theme embodied in the First Part; but it
does not end there; it exhibits a retrospective bent, and--when
thoroughly legitimate--its last few measures prepare for, and lead
into, the melodic member with which the piece began. Its form is
optional; but, as a rule, decisive cadence-impressions are avoided,
unless it be the composer's intention to close it with a perfect
cadence (upon any other than the principal tonic), and accomplish the
return to the beginning by means of a separate returning passage,
called the Re-transition.





Next: Part Iii

Previous: Part I



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