Chapter 25

postlude, and corroborate the prélude.

For exhaustive technical details of the Three-Part Song-form, see the HOMOPHOBIC FORMS, Chapters 11, 12, 13, 14 and 15.

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 directly 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.