The Five-part Form


The repetition of the Second and Third Parts

together is sometimes subjected to changes that are almost radical in

their nature, and therefore appear to modify the form itself. These

important changes chiefly affect the Second Part, when it reappears as

Fourth Part. When the alteration of the Second Part (that is, the

difference between Part IV and Part II) is sufficiently radical to

suggest the presence of a virtual
y new Part, the design is called the

Five-part Song-form. The possible repetition of the First Part, it

will be inferred, does not affect this distinction in the least; it

hinges solely upon the treatment of the reproduction of Part Two.

For illustration:





The Five-Part form is illustrated in the 14th Song Without

Words;--(first, number the measures; observe that the two endings of

Part I are to be counted as the same measure, and not separately;

they are both measure 8):--Part I extends to the double-bar, and is

repeated literally, only excepting the rhythmic modification of the

final measure; Part II extends from measure 9 to 23; Part III, measures

24-35; Part IV, measures 36-47; Part V, measures 48-60; coda to the

end. The comparison of Part IV with Part II discloses both agreement

and diversity; they are, obviously, practically the same Part, but

differ in key, in form, and in extent. The comparison of Parts I, III,

and V reveals a similar condition, though the agreement here is much

closer, and each confirms the leading statement.



A more characteristic example will be found in the familiar F major

Nachtst?ck of Schumann, op. 23, No. 4, which see:--Part I extends

from measure 2 to 9 (after 1 1/2 measures of recitative introduction);

Part II, measures 10-13; Part III, measures 14-21; Part IV, measures

22-32; Part V, measures 33-40; codetta to end. The Fourth Part bears

very little resemblance to the Second, and assumes rather the character

of a wholly independent Part.



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