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 bent, and--when thoroughly legitimate--its last few measures prepare for, and lead into, the melodic member with which the piece began. Its form is optional; but, as a rule, decisive cadence-impressions are avoided, unless it be the composer's intention to _close_ it with a perfect cadence (upon any _other_ than the principal tonic), and accomplish the "return to the beginning" by means of a separate returning passage, called the Re-transition.