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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 Sonata-allegro Form
1 Augmentation Of The Regular Form
4 Mixture Of Characteristic Traits
Cadences In General
Lesson 12
2 Abbreviation Of The Regular Form
3 Dislocation Of Thematic Members


Random Music Lessons

Modified Repetitions
Lesson 1
The First Rondo-form
Afterword
Measures
Defining The Figures
Lesson 4
Causes
Exact Repetitions
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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