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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 Phrase
4 Mixture Of Characteristic Traits
The Principle Of Extension
Enlargement By Repetition
Origin Of The Name
Inherent Irregularity
Lesson 11


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The First Rondo-form
Lesson 7
Lesson 15
Rhythm
The Recapitulation
The Period
Exact Repetitions
The Exposition
Classification Of The Larger Forms
Part Iii



The Recapitulation





This corresponds, theoretically, to the da capo
in the Song with Trio, or to the variated recurrence of the Principal
theme in the First Rondo-form. But it is more than either of these.
The term Recapitulation is more comprehensive than recurrence (in
the sense in which we have thus far employed the latter word), as it
always refers to the reproduction of a collection of themes, and,
chiefly on this account, is subject to certain specific conditions of
technical treatment.

Recapitulation, in the larger designs of composition, invariably
involves transposition, or change of key,--the transposition of the
First Subordinate theme, from the key chosen for its first announcement
(in the Exposition) back to the principal key of the piece. This,
as may be inferred, greatly affects the original transition and
re-transition; and it may necessitate changes within the theme itself,
in consequence of the change of register.

Further, the last recurrence of the Principal theme being no less than
its fourth announcement, is rarely complete; as a rule, a brief
intimation (the first motive or phrase) is deemed sufficient, and this
is then dissolved into the coda; or the Principal theme, as such, is
omitted, or affiliated with the coda, or one of its sections.

For an illustration of the Third Rondo-form, the student is referred to
the last movement of Beethoven's pianoforte sonata, op. 2, No. 2, the
diagram of which is as follows:--

Middle
Exposition. Division Recapitulation.
------------------------ ---------- ----------------------------------
Pr.Th. 1stSub.Th. Pr.Th. 2d Sub.Th. Pr.Th. 1st Sub.Th. Pr.Th. and Coda
------------------------ ---------- ----------------------------------
A maj. E maj. A maj. A minor A maj. A maj. A maj.


For its detailed analysis, number the measures as usual (there are 187,
the second ending not being counted), and define each factor of the
form by reference to the given indications,--the figures in parenthesis
again denoting the measures:--

Principal Theme, Part I (1-8), period-form. Part II (9-12), phrase.
Part III (13-16), phrase.

Transition, period-form (17-26), leading into the new key.

First Sub. Theme, period, Antecedent (27-32), Consequent (33-39).

Re-transition (40).

Principal Theme, as before, (41-56). This ends the EXPOSITION.

Second Sub. Theme, Part I (57-66), period, literal repetition. Part
II (67-74) period-form. Part III (75-79) phrase.

Parts II and III repeated (80-92); the process of re-transition
begins one measure earlier (91), and is pursued to measure 99.

The RECAPITULATION begins in the next measure with the

Principal Theme, as before, slightly modified (100-115).

Transition, as before, slightly abbreviated (116-123).

First Subordinate Theme, as before, but transposed to the principal
key, A major, and somewhat modified (124-135).

Principal Theme begins in measure 135, where the preceding theme
ends; consequently, there is an Elision. In measure 140 it is
dissolved into the

Coda: Section 1 (to measure 148).

Section 2 (149-160).

Section 3 (161-172).

Section 4 (173-180).

Section 5 (to end).





Next: Lesson 15

Previous: The Exposition



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