CHAPTER XI. ENLARGEMENT OF THE THREE-PART SONG-FORM.
REPETITION OF THE PARTS.—The enlargement of the Three-Part Song-form is effected, in the majority of cases, by simply repeating the Parts. The composer, in extending the dimensions of his original design, resorts as usual to the most legitimate and natural means at his disposal—that of repetition. By so doing, he reinforces the principle of Unity, and, instead of obscuring, places the contents of his design in a stronger and more convincing light. It is true that the act of mere repetition involves the risk of monotony; but against this the composer has an efficient safeguard,—that of variation. He may modify and elaborate the repetition in any manner and to any extent that seems desirable or necessary, the only limitations being that the identity of the original Part must be preserved beyond all danger of misapprehension, and (as a rule) that the cadences shall not be altered.
The act of repetition is applied to the First Part alone, and to the Second and Third Parts together; very rarely to the Second Part alone, or to the Third Part alone.
EXACT REPETITIONS.—When Part I,—or Parts II and III together,—are to be repeated without any changes, it is customary to employ the familiar repetition-marks (double-bar and dots); with "first and second ending," if, for any reason, some modification of the cadence-measure is required. This is illustrated in the 7th Song Without Words; Part I is repeated alone, and Parts II and III together; both repetitions are indicated by the customary signs, and each has a double ending. See also, Schumann, op. 68, No. 1; Part I is repeated exactly, with repetition-marks; Parts II and III are also repeated literally (all but the very last tone in the lower part), but written out,—apparently without necessity. Also No. 2; the literal repetition of Part I is written out; Parts II and III have the repetition-marks.
MODIFIED REPETITIONS.—The quality and extent of the changes that may be made, in order to enrich the composition without altering its structural design, depend, as has been intimated, upon the judgment and fancy of the composer. The student will find no part of his analytical efforts more profitable and instructive than the careful comparison of these modified repetitions with the original Parts; nothing can be more fascinating and inspiring to the earnest musical inquirer, than thus to trace the operation of the composer's mind and imagination; to witness his employment of the technical resources in re-stating the same idea and developing new beauties out of it,—especially when the variations are somewhat elaborate.
It must be remembered that mere repetition (even when modified,—as long as it can be proven to be nothing more than repetition) does not alter the form. A phrase, repeated, remains a phrase; nothing less than a decided alteration of the cadence itself will transform it into a double-phrase (or period). Similarly, a period, repeated, remains a period, and does not become a double-period; and a Part, repeated, remains the same Part. Therefore, the student will find it necessary to concentrate his attention upon these larger forms, and exercise both vigilance and discrimination in determining which sections of his design come under the head of "modified repetition."
For an illustration of the repeated First Part, see the 9th Song Without Words; Part I is a four-measure period (of two small phrases) closing in the seventh measure; the following four measures are its modified repetition. For an example of the repeated Second and Third Parts, see No. 48. In No. 29, both repetitions occur, with interesting changes; the repetition of Part I begins in measure 13; that of Parts II and III in measure 35; the last 10 1/2 measures are a coda.
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THE FIVE-PART FORM. The repetition of the Second and Third Parts together is sometimes subjected to changes that are almost radical in their nature, and therefore appear to modify the form itself. These important changes chiefly affect the Second Part, when it reappears as "Fourth" Part. When the alteration of the Second Part (that is, the difference between Part IV and Part II) is sufficiently radical to suggest the presence of a virtually new Part, the design is called the Five-part Song-form. The possible repetition of the First Part, it will be inferred, does not affect this distinction in the least; it hinges solely upon the treatment of the reproduction of Part Two. For illustration: