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.