Part I
The statement of the principal idea; the presentation of the melodic and rhythmic contents of the leading thought, out of which the whole composition is to be developed. It is generally a period-form, at least, closing with a firm perfect cadence i... Part Ii
The departure (more or less emphatic) from this leading melodic statement. It is, for a time, probably an evident continuation and development of the melodic theme embodied in the First Part; but it does not end there; it exhibits a retrospective b... Part Iii
The recurrence and corroboration of the original statement; the reproduction of Part I, and therewith the fulfilment of the important principle of return and confirmation. The reproduction is sometimes exact and complete; sometimes slight changes, ... Perfect Cadence
There is one method of checking the current of the melodic phrase with such emphasis and determination as to convey the impression of finality; either absolute finality, as we observe it at the very end of a composition, or such relative finality as... Phrase-addition
The phrase is the structural basis of all musical composition. By this is meant, not necessarily the single phrase, but the phrase in its collective sense. The phrase is, after all, only a unit; and the requirements of Variety cannot be wholly s... Preliminary Tones
It is a singularly effective and pregnant quality of the element of musical rhythm, that its operations are not bounded by the vertical bars which mark off the measures. That is to say, a rhythmic figure (and, in consequence, a melodic figure or mo... Relation To The Three-part Song-form
In a former chapter (XIII) the Three-Part form was defined as the type of perfect structural design, upon which every larger (or higher) form is based. Nowhere is the connection more striking, and the process of natural evolution out of this germ ... Repetition Of The Parts
The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimensions of his original design, resorts as usual to the most legitimate and natural means at his dis... Rhythm
This word signifies arrangement,--a principle applied, in music, to the distribution or arrangement of the tones according to their various time-values. The system of measurement (or metric system) furnishes tone material with all the details of di... Semicadence
Any deviation from the formula of the perfect cadence--either in the choice of some other than the tonic chord, or in the omission of the keynote in either (or both) of the outer parts--weakens the force of the interruption, and transforms the cade... Species Of Cadence
In text-books and musical dictionaries several varieties of the cadence are distinguished, but they are chiefly distinctions without any more than one essential point of difference, namely, difference in force or weight. It is therefore feasible to... Tempo
This refers to the degree of motion. The musical picture is not constant, but panoramic; we never hear a piece of music all at once, but as a panorama of successive sounds. Tempo refers to the rate of speed with which the scroll passes before our ... The Development Or Middle Division
The second division of the sonata-allegro form is devoted to a more or less extensive and elaborate manipulation and combination of such figures, motives, phrases or Parts of the Exposition as prove inviting and convenient for the purpose, or chall... The Double-period
A third method consists in expanding the period into a double-period (precisely as the phrase was lengthened into a double-phrase, or period), by avoiding a perfect cadence at the end of the second phrase, and adding another pair of phrases to balan... 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 (...

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