In the same way, in August, 1890, a lady in a Boston hotel in the dusk rang for the lift, walked along the corridor and looked out of a window, started to run to the door of the lift, saw a man in front of it, stopped, and when the lighted lift... Read more of The Man At The Lift at Scary Stories.caInformational Site Network Informational
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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
Classification Of The Larger Forms
Enlargement By Repetition
Modified Repetitions
The Principal Song
Lesson 14
Lesson 19
Cadences In General


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The Sonatine Form
The Rondo-forms
The Necessity Of Form In Music
Semicadence
4 Mixture Of Characteristic Traits
Phrase-addition
The Double-period
Origin Of The Name
The Sonata-allegro Form
Measures



The Sonata-allegro Form





As distinguished from the sonatine-form, with
its two Divisions, this larger species, based upon precisely the same
structural idea, has three Divisions,--the Exposition, a middle
Division called the Development (growing out of the brief interlude of
the sonatine-form), and the Recapitulation. The diagram (the keys of
which correspond to the plan of Beethoven, op. 14, No. 2, first
movement) is as follows:

Exposition. Middle Div. Recapitulation.
---------------------- ------------- -------------------------
Pr. Sub. Codetta. Development, Phr. Sub. Codetta
Th. Th. various keys, Th. Th. and Coda.
---------------------- ending with -------------------------
G maj. D maj. D maj. Retransition. G maj. G maj. G maj.


Compare this diagram, also, with that of the Third Rondo-form, and
note, accurately, the points of resemblance and contrast.

Compare it, further, with the diagram of the sonatine-form, on page
122. It will be observed that here the Recapitulation does not follow
the Exposition at once, as there, but that a complete middle division
intervenes, instead of the brief interlude or re-transition; from which
the student may conclude that the sonatine-form gradually grows into
the sonata-allegro form, as this interlude becomes longer, more
elaborate, and more like an independent division of the design. Or
inversely, and perhaps more correctly, the sonata-allegro becomes a
sonatine-design by the omission (or contraction) of the middle
Division.





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Previous: Origin Of The Name



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