The Second Part

Part Two, as intimated, is likely to begin with a

more or less palpable change of melodic character,--by no means is this

always the case. It may be designed, also, as period, double-period,

or phrase-group, and is somewhat likely to be a little longer (more

extended) than Part One. A concluding section (called codetta if

small, coda if more elaborate) often follows, after a decided perfect

cadence in the original ke has definitely concluded the Part.



The following is one of the simplest examples of the Two-Part Song-form

(a German lied by Silcher):--





The whole embraces four phrases, and might, for that reason, be

mistaken for a double-period. But the strong perfect cadence at the

end of the first period (reinforced by the repetition), and the

contrasting melodic formation of the second period, so separate and

distinguish the two periods as to make them independent Parts of the

whole. It is not one double-period, but two fairly distinct

periods. The first cadence (in measure 4) has again, strictly

speaking, the elements of a perfect cadence, but, like others we have

seen (Exs. 50, 51), too near the beginning to possess any plausible

concluding power.



A somewhat similar specimen may be found in the theme of Mendelssohn's

Variations in D minor, op. 54, which see. Each Part is a regular

period-form, with correct semicadence and perfect cadence. The problem

of agreement and independence in the relation of Part II to Part I is

admirably solved; it is a masterly model of well-matched Unity and

Variety, throughout.



For a longer and more elaborate example, see No. 6 of the Songs Without

Words, in which, by the way, the principle of enlargement by the

addition of an independent prefix (introduction) and affix (coda) is

also illustrated:--



First number the forty-six measures with pencil.



The first cadence occurs in measure 7, and marks the end of the

pr?lude. Part I begins in measure 8. In measure 11 there is a

semicadence, at end of Antecedent phrase; in measure 17, a strong

perfect cadence, which, in connection with the subsequent change of

melodic form, distinctly defines the end of Part I (period-form,

extended). Part II therefore begins in measure 18. In measures 21,

25, 29, cadences occur, but none conclusive enough to close the Part.

This conclusion takes place, however, in measure 34. Part II proves to

be a double-period. A coda begins in measure 35; its first members

resemble the first phrase of Part I. In measure 40 another section of

the coda begins, borrowed from the pr?lude. For exhaustive technical

details of the Two-Part Song-form, see the HOMOPHONIC FORMS, Chapters 9

and 10.