When Queen Ulrica was dead, her corpse was placed in the usual way in an open coffin, in a room hung with black and lighted with numerous wax candles; a company of the king's guards did duty in the ante-room. One afternoon, the carriage of... Read more of Queen Ulrica And The Countess Steenbock at Scary Stories.caInformational Site Network Informational
Privacy
  Home - Music Terms - Music Lessons - How to Sing - Music History - Singing Choirs - Children Songs - The Voice - Advice for Singers
   Lyrics: by Arist - (HED) P.E. to BREAKING POINT - BRIAN MCFADDEN to FINGERTIGHT - FIONA APPLE to JUSTIN GUARINI - JUSTIN TIMBERLAKE to MURPHY LEE - MUSE to SARINA PARIS - SASH to THREE 6 MAFIA - THREE DAYS GRACE to ZWAN

Most Viewed

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


Least Viewed

The Exposition
The Recapitulation
Causes
The Principle Of Extension
The Principal Song
Classification Of The Larger Forms
Origin Of The Name
The Development Or Middle Division
1 Augmentation Of The Regular Form
3 Dislocation Of Thematic Members


Random Music Lessons

The Parts
Classification Of The Larger Forms
Unity And Variety
Evolution
The Trio Or Subordinate Song
Relation To The Three-part Song-form
The Five-part Form
The Sonatine Form
Exceptions
Origin Of The Name



The Exposition





This first Division, the statement, compounded of
two themes and a recurrence, is in itself a complete (though probably
very concise) First Rondo-form; therefore, in order to confirm the
intended design, at least one of its themes must contain two (or more)
Parts,--otherwise it would be no more, all together, than a Three-Part
Song-form, and the whole Rondo would be reduced to the design of the
First Rondo-form. In a word, the Exposition must correspond concisely
to the table given on page 108. The First Subordinate theme takes its
usual emphatic position in a different key,--generally closely related
to the key of the Principal theme.

Sometimes, but by no means regularly, the Exposition closes with a
decisive perfect cadence in the original key.

The Middle Division.--As this should balance (at least approximately),
the Exposition, it is likely to be a fairly broad design,--not greater,
however, than a Three-Part Song-form (possibly with repetitions), and
often no more than a Two-Part form. As intimated in the preceding
chapter, the Second Subordinate theme is usually strongly contrasted
with the other themes, in character, key, and length; but the same
unity of total effect is necessary, as in the smaller Rondo-forms. The
re-transition (or returning passage) is often quite lengthy and
elaborate; it is seldom an independent section of the form, however,
but generally developed out of the last phrase of the theme, by the
process of dissolution,--to be explained more fully in Chapter XVII.





Next: The Recapitulation

Previous: The Third Rondo Form



Add to del.icio.us Add to Reddit Add to Digg Add to Del.icio.us Add to Google Add to Twitter Add to Stumble Upon
Add to Informational Site Network
Report
Privacy
SHAREADD TO EBOOK


Viewed 3663