[Illustration: Example 53 continued.]
This version is as complete as it can conveniently be made upon one single staff (chosen in order to economize space); but the student will find the formal design somewhat more plastically defined in the original, complete form, and he is therefore expected to refer to the latter. Part I is an unusually regular double-period, with three semicadences and a strong perfect cadence, on the original tonic, to mark its conclusion; the double-bar is an additional confirmation of the end of the Part. The second Part runs in the key of E major (the dominant of the original key) throughout; its form is only a phrase, but repeated,—as is proven by the almost literal agreement of the second phrase with the preceding one, cadence and all. Part III agrees literally with Part I in its melodic formation, but differs a little in the treatment of the lower (accompanying) voices.
In the theme of Mendelssohn's pianoforte Variations in E-flat major (op. 82), which see, the design is as follows:—Part I is a period of eight measures. Part II is also an 8-measure period, ending upon the tonic chord of B-flat major (the dominant key), as first eighth-note of the 16th measure; the following eighth-note, b-natural, represents what we have called the Retransition (in its smallest conceivable form), as it fulfils no other purpose than that of leading back into the first tone of the First Part. Part III is only a phrase, and therefore shorter than Part I; but it corroborates the beginning, and, in fact, the entire contents of the First Part.
The plan of Mendelssohn's 28th Song Without Words is as follows:—First number the 38 measures, carefully. The first four measures are an introductory phrase, or prélude; Part I begins in the second half of measure 4 (after the double-bar) and extends, as regular 8-measure period, to measure 12. Part II follows, during the same measure; its form is a period, extending to measure 20, and closing with a very distinctly marked semicadence on the dominant chord (chord of D). Part III is 14 measures long, containing therefore six more measures than the First Part; its first phrase is almost exactly like the first phrase of Part I; its second phrase (measures 25-28) differs from any portion of Part I, but closely resembles the melodic formation of Part II; its third phrase is based upon the preceding one (not as repetition, however), and is expanded to the 34th measure. The form of Part III is phrase-group. The last four measures are codetta, or 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.