Compound Song Form
I.
Enlarged Three-Part Form
A.
Mendelssohn Song Without Words #23 A B A B A
1.
1 - 6 Introduction
2.
7 – 15 A (Parallel period)
3.
16 – 19 Interlude
4.
20 – 27 B; ends on VII
5.
28 – 31 Transitional to i
6.
32 – 42 A
(extension from 37 – 41)
7.
43 – 46 Interlude
8.
47 – 54 B;
ends on VII
9.
55 – 58 Transitional to i
10.
59 – 74 A (extension from 64 – 73)
11.
75 – 83 Postlude
B.
Mendelssohn Song Without Words #45
1.
1 – 8 A (Parallel period)
2.
9 – 31 B (Double period with extension at end)
3.
32 – 41 A (two measure extension on continuation)
4.
42 – 65 Expanded coda
II.
Song
Form with Trio (aka Minuet and Trio)
A.
Mozart: Minuet from Divertimento in Bb K. 186: Minuet ternary;
trio rounded binary
1.
1 – 8 A
(two phrases)
2.
9 – 16 B (V pedal; sequential)
3.
17 – 24 A’ (Phrase 1 = A1; Phrase 2 = transposed A2)
4.
Trio in V (Rounded binary)
a)
25 – 32 C (Parallel period)
b)
33 – 36 D
c)
37 – 40 C’ (consequent of C)
B.
Mozart: Minuet from Divertimento in D K. 205: both parts
ternary
1.
1 – 8 A (two phrases; Phrase 2 is a modified repeat of
Phrase 1; ends I
2.
9 – 16 B (two phrases; Phrase 2 is modified repeat of
Phrase 1
3.
17 – 24 A (verbatim repeat)
4.
Trio in IV (ternary)
a)
25 – 32 C (two phrases; Phrase 2 is modified repeat of
Phrase 1; ends I
b)
33 – 40 D (two phrases; Phrase 2 is modified repeat of
Phrase 1)
c)
41 – 48 C (almost verbatim; hocked-like in violin and
viola)
C.
Mozart: Minuet II from Divertimento in D, K. 205: both parts
ternary
1.
1 – 8 A (two contrasting phrases; ends on V)
2.
9 – 16 B (two contrasting phrases; Phrase 1 on V pedal;
Phrase 2 back to tonic)
3.
17 – 26 A’ Phrase 1 = A1; Phrase 2 stays in I, 2
measures extension 24-25
4.
Trio in I
a)
27 – 34 C (two similar phrases; Phrase 2 pickes up the
ending figure from phrase 1 and moves to HC.)
b)
35 – 42 D (introduction of triplet rhythm. Extended
cadential 64, using parallel minor, leading to augmented 6th chord
at 41. Parallel period.)
c)
43 – 50 C’ (Phrase 1 = C1; Phrase 2 = modified C2 (stays
on tonic). Thus the relationship between C and C’ is parallel.
5.
NOTE: the structure of this minuet hints very strongly at
sonata-allegro form in the motion into V and then repetition of material in I.
D.
Mozart: Minuet from Divertimento in F, K. 213: both parts
ternary
1.
1 – 8 A (two contrasting phrases; ends on V)
2.
9 – 16 B (two contrasting phrases. Phrase 1 is similar
to A1; Phrase 2 picks up the cadential rhythm from A2.)
3.
17 – 24 A’ (two contrasting phrases. Phrase 1 really is
a continuation of V, although it’s at the spot where a return is expected.
Phrase 2 has similarities to A2, using the cadential rhythm.)
4.
Trio in IV
a)
25 – 36 C (two contrasting phrases. Phrase 2 is extended,
beginning with an unexpected modal mixture at 29 then moving on to horns over a
V pedal, ending on HC. The extension is at beginning: 29-32.
b)
37 – 40 D (short gloss on V)
c)
41 – 48 C’ (transposition of the extended C2, with
melodic line given to the oboes. Due to the transposition, 41 does not = 29 in
the sense of the modal mixture.)
5.
NOTE: this Minuet represents a much more adventuresome
approach than do the previous examples.
E.
Mozart: Minuet from Divertimento in Bb K. 240: Minuet ternary;
trio rounded binary.
1.
1 – 8 A (Parallel period; modulates to V.)
2.
9 – 16 B (two contrasting phrases; chromatic motion
making use of vii7, to HC.)
3.
17 – 24 A’ (Phrase 1 = A1 but with considerable
instrumental embellishment. Phrase 2 ~ A2 but stays in I.)
4.
Trio in vi (relative minor)
a)
25 – 32 C (contrasting period)
b)
33 – 36 D (similar to C1, on V pedal)
c)
37 – 40 C’ (C2 almost verbatim but Oboe II is
re-composed.)
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