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.