After analyzing these examples, the student may venture to define the periods in other compositions, classic or popular, especially such as he may chance to be learning.
CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM.
The processes of extension and development are applied to the period in the same general manner as to the phrase. The results, however, are broader; partly because every operation is performed on a correspondingly larger scale, and partly because the resources of technical manipulation increase, naturally, with the growth of the thematic material.
Among the various methods adopted, there are three, each significant in its own peculiar way, that provide sufficiently exhaustive directions for the student of structural analysis.
ENLARGEMENT BY REPETITION.—The first and simplest method is to increase the length of the period-form by the process of repetition; repetition of the entire sentence, or of any one—or several—of its component members, in a manner very similar to that already seen in connection with the single phrase (Chap. VI, Ex. 39, etc.), and under the same conditions of Unity and Variety; that is, the repetitions may be nearly or quite literal, or they may have been subjected to such alterations and variations as the skill and fancy of the composer suggested.
An example of complete repetition (that is, the repetition of the entire period), with simple but effective changes, may be found in Beethoven, pianoforte sonata, op. 13, Adagio, measures 1 to 16. Examine it carefully, and observe, among other details, the treatment of the perfect cadence (in the 8th measure). See also, Song Without Words, No. 27, measures 5 to 20.
The repetition of one of the two phrases is exhibited in the following (Mozart, sonata No. 14):—
