Enlargement By Repetition
The first and simplest method is to increase the length of the period-form by the process of repetition; repetition of the entire sentence, or of any one--or several--of its component members, in a manner very similar to that already seen in connec... Evolution
It cannot have escaped the observant student of the foregoing pages, that the successive enlargement of the structural designs of musical composition is achieved by a process of natural growth and progressive evolution. No single form intrudes itse... Exact Repetitions
When Part I,--or Parts II and III together,--are to be repeated without any changes, it is customary to employ the familiar repetition-marks (double-bar and dots); with first and second ending, if, for any reason, some modification of the cadence-me... Exceptions
In its ordinary, normal condition the phrase is a musical sentence four measures in length. But this rule has its necessary exceptions; necessary because, as we have learned, the principle of Variety is quite as vital as that of Unity or symmetry. ... Group Of Parts
In some, comparatively rare, instances, the arrangement of perfect cadences is such that,--coupled with independence of melodic formation and character,--the composition seems to separate into four or more individual sections or Parts, with or with... Inherent Irregularity
Finally,--there exists another, third, condition, besides those mentioned at the head of this chapter, whereby a phrase may assume an irregular dimension; not by doubling or dividing its length (as in the large and small phrases) nor by the processe... Length Of The Regular Phrase
Fortunately for the work of analysis, there are certain established landmarks of forms, so conscientiously observed, and so firmly grounded in the practices of classic writing (because the necessary consequences of natural law), that it is generall... Lesson 1
The student is to study this chapter thoroughly, and write answers to the following questions; if possible, without reference to the text:-- 1. What does Form in music mean? 2. Define the conditions which constitute good form. 3. When is a c... Lesson 10
Analyze the following examples of the Three-Part Song-form. The first step, here again, is to fix the end of the First Part; the next, to mark the beginning of the Third Part, by determining where the return to the beginning is made. These points e... Lesson 11
Analyze the following examples of the enlarged Three-Part Song-form. As before, the form of each Part should be defined, and introductions and codas (if present) properly marked. All of the given examples belong to this chapter, but are not classi... Lesson 12
The following examples all belong to the Song with Trio. They should be analyzed as usual, each Song separately, defining the Parts, their form, and other details, as minutely as possible. Careful analysis is the first condition of intelligent inte... Lesson 13
Analyze the following examples. They are not classified; the student must determine whether the form is pure First Rondo, or an intermediate grade between Rondo and Song with Trio. One of the examples is a genuine Song with Trio; and one is a Thre... Lesson 14
Analyze the following examples, as usual. Review the directions given in Lesson 13:-- Beethoven, pianoforte sonatas: op. 10, No. 3, last movement. Op. 14, No. 2, last movement (called Scherzo). Op. 79, last movement (very concise). Op. 13... Lesson 15
Analyze the following examples, as usual. They represent chiefly the Third Rondo-form, but one example each of the First and Second Rondo-forms have been introduced, to stimulate the vigilance of the student. Review the directions given in Lesson ... Lesson 16
Analyze the following examples of the sonatine-form, in the usual exhaustive manner:-- Beethoven, pianoforte sonatas; op. 10, No. 1, Adagio. Op. 31, No. 2, Adagio. Mendelssohn, Andante cantabile in B-flat major (pianoforte). Mozart, pianof...

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 Exposition The Recapitulation Causes The First Part Lesson 8 Relation To The Three-part Song-form Length Of The Regular Phrase Repetition Of The Parts