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 established, it

remains to fix the beginning of Part I, by deciding whether there is an

introductory sentence or not; then the end of Part II, by deciding

whether it leads di
ectly into Part III, or comes to a conclusion

somewhat earlier, to make room for a Retransition; then the end of Part

III, by deciding whether a codetta or coda has been added. The

extremities of the three Parts being thus determined, there will be no

difficulty in defining the form of each. Very particular attention

must be devoted to the comparison of Part III with Part I, in order

to discover, and accurately define, the difference between them,--in

form, in extent, in melodic formation, or in technical treatment.



Mendelssohn, Songs Without Words: No. 22, No. 35, No. 32, No. 45, No.

42, No. 31, No. 27, No. 46, No. 25, No. 20, No. 26 (Re-transition,

middle of measure 25 to measure 29); No. 36 (beginning of Part III,

measure 60, somewhat disguised); No. 47, No. 12, No. 15, No. 3, No. 43,

No. 40, No. 37, No. 2, No. 33, No. 30, No. 1.



Schumann, op. 68; No. 3; No. 12, first 24 measures; No. 14, No. 16, No.

17, No. 21 (Part I closes with a semicadence, but made in such a manner

that it answers its purpose without the least uncertainty); No. 24, No.

25, No. 26, No. 28; No. 29, last 48 measures (including coda); No. 33

(long coda); No. 34; No. 37, first 32 measures; No. 38; No. 40, first

movement (2-4 measure); No. 41.



Beethoven, pianoforte sonatas: op. 2, No. 1, third movement,--both the

Menuetto and the Trio. Op. 2, No. 2, third movement,--both

Scherzo and Trio. Same sonata, last movement, first 16 measures

(Parts II and III consist of a single phrase each; therefore the whole

is diminutive in extent; but it is unquestionably Three-Part Song-form,

because of the completeness of Part I, and the unmistakable return to

the beginning).



Op. 7, Largo, first 24 measures. Same sonata, third movement; also

the Minore. Same sonata, last movement, first 16 measures.



Op. 10, No. 2, second movement, first 38 measures.



Op. 10, No. 3, Menuetto.



Op. 14, No. 1, third movement; also the Maggiore.



Op. 14, No. 2, second movement, first 20 measures.



Op. 22, Menuetto; also the Minore.



Op. 26, first 34 measures; same sonata. Scherzo; same sonata,

Funeral march (also the Trio; what is its form?).



Mozart, pianoforte sonatas: No. 15 (Peters Edition), Andante, first

32 measures.



No. 1, last movement, first 50 measures.



No. 12, first 18 measures. Same sonata, Trio of the second movement

(Part III returns to the beginning very briefly, and is otherwise

different from the First Part almost throughout).



No. 13, Adagio, first 16 measures.



Chopin, Mazurkas (Peters edition), No. 11, No. 22, No. 24, No. 40,

No. 49.



In the following examples, the student is to determine whether the form

is Two-Part or Three-Part:--



Mendelssohn, op. 72 (six pianoforte pieces), No. 1; No. 2; No. 3, No.

4, No. 6.--Etudes, op. 104, No. 1, No. 3.



A curious example may be found in Schumann, op. 68, No. 32; the form is

actually Two-Part, but with a very brief reminiscence of the beginning

(scarcely to be called a Return) in the last two measures,--which

are, strictly speaking, no more than a codetta. The Second Part is

repeated.



In Schumann's op. 68, Nos. 8, 9, and 11 (first 24 measures), the

second Part is unusually independent in character; completely

detached from Part III, and exhibiting no symptoms of leading into the

latter, as second Parts have commonly been observed to do.



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