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The Double-period
The Sonatine Form
The Necessity Of Form In Music
Lesson 4
Distinction Between Bipartite And Tripartite Forms
The Exposition
Causes
The Recapitulation
Defining The Figures
T The Second Rondo Form
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The Exposition
The Recapitulation
Causes
Time
Locating The Cadences
The Principle Of Extension
Phrase-addition
Lesson 7
The First Part
Lesson 10
Random Music Lessons
The Small And Large Phrases
Lesson 12
The Recapitulation
Species Of Cadence
The Five-part Form
The Parts
Lesson 8
Afterword
Lesson 16
The Trio Or Subordinate Song
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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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