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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 Necessity Of Form In Music
The Third Rondo Form


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The Exposition
The Recapitulation
Causes
Locating The Cadences
Exact Repetitions
Lesson 13
Repetition Of The Parts
Classification Of The Larger Forms
Afterword
Lesson 3


Random Music Lessons

Perfect Cadence
Lesson 7
Measures
The Development Or Middle Division
Exceptions
Melody
Relation To The Three-part Song-form
Part Ii
The Small And Large Phrases
Semicadence



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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