[Illustration: Diagram of Parts.]
The Five-Part form is illustrated in the 14th Song Without Words;—(first, number the measures; observe that the two endings of Part I are to be counted as the same measure, and not separately; they are both measure 8):—Part I extends to the double-bar, and is repeated literally, only excepting the rhythmic modification of the final measure; Part II extends from measure 9 to 23; Part III, measures 24-35; Part IV, measures 36-47; Part V, measures 48-60; coda to the end. The comparison of Part IV with Part II discloses both agreement and diversity; they are, obviously, practically the same Part, but differ in key, in form, and in extent. The comparison of Parts I, III, and V reveals a similar condition, though the agreement here is much closer, and each confirms the leading statement.
A more characteristic example will be found in the familiar F major Nachtstück of Schumann, op. 23, No. 4, which see:—Part I extends from measure 2 to 9 (after 1 1/2 measures of recitative introduction); Part II, measures 10-13; Part III, measures 14-21; Part IV, measures 22-32; Part V, measures 33-40; codetta to end. The Fourth Part bears very little resemblance to the Second, and assumes rather the character of a wholly independent Part.
GROUP OF PARTS.—In some, comparatively rare, instances, the arrangement of perfect cadences is such that,—coupled with independence of melodic formation and character,—the composition seems to separate into four or more individual sections or Parts, with or without a recurrence of the First one; or into three different Parts, lacking the evidence of the return to the beginning. When such irregularities are encountered, or when any conditions appear which elude or baffle natural classification among the Three-Part Song-forms (simple or enlarged), the piece may be called a group of Parts. The use of this term is entirely legitimate, and is commended to the student on account of its convenience, for all examples of the Song-form which, upon thoroughly conscientious analysis, present confusing features, at variance with our adopted classification. Of one thing only he must assure himself,—that the design is a Song-form (i.e. an association of Parts), and not one of the larger forms to be explained in later chapters. The definition is given in Chapter IX (on page 84).
A fair illustration of the utility of the term "Group of Parts" is seen in Schumann, op. 68, No. 18. Others will be cited in the following Lesson.
LESSON 11.—Analyze the following examples of the enlarged Three-Part Song-form. As before, the form of each Part should be defined, and introductions and codas (if present) properly marked. All of the given examples belong to this chapter, but are not classified; it is purposely left to the student to determine where repetitions occur, and whether they are exact, or variated,—in a word, to decide which of the above diagrams the composition represents.
Mendelssohn, Songs Without Words, No. 3, No. 4, No. 8, No. 10, No. 11, No. 12, No. 16, No. 17, No. 19, No. 21, No. 23, No. 24, No. 27, No. 31, No. 34, No. 39, No. 43, No. 44, No. 46.
Schumann, op. 68, No. 5; No. 6; No. 10; No. 13; No. 15; No. 19; No. 22; No. 30; No. 36; No. 43.