In this example, the condition of Variety predominates decidedly. The Consequent melody differs totally from the Antecedent, even in rhythm, and the necessary portion of Unity is exhibited only in equality of length, uniformity of accompaniment, and similarity of character (tonality, and general harmonic and rhythmic effect). Observe the diversity of melodic extent, in the two phrases, in consequence of the preliminary tone borrowed from the semicadence for the Consequent phrase. Greater variety than here will rarely be found between two successive phrases that are intended to form the halves of one coherent period.
For more minute technical details see the HOMOPHONIC FORMS, Chapter V.
LESSON 7. Analyze the following examples. Locate the cadences; compare the phrases and define the degrees of Unity and of Variety exhibited in the melody, or elsewhere; and mark such irregularities of forms (or extensions) as may be found:—
Mendelssohn, Songs Without Words, No. 35, measures 5 1/2-13. (By 5 1/2 is meant the middle of the fifth measure, instead of its beginning.)
No. 45, first 8 measures.
No. 29, measures 4 1/2-12.
No. 14, " 1-8.
No. 34, " 1-10.
No. 18, " 1-9; 10-17.
No. 9, " 3 1/2-7.