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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
The Song-form Or The Part-form
The Rondo-forms
Phrase-addition
The Sonata-allegro Form
Length Of The Regular Phrase
The Principal Song
Lesson 19


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Lesson 19
Semicadence
Lesson 17
Lesson 18
The Recapitulation
Distinction Between Bipartite And Tripartite Forms
Measures
The Third Rondo Form
Group Of Parts
Afterword



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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