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melodic statement. It is, for a time, probably an evident continuation and development of the melodic theme embodied in the First Part; but it does not end there; it exhibits a retrospective bent, and--when thoroughly legitimate--its last few measures prepare for, and lead into, the melodic member with which the piece began. Its form is optional; but, as a rule, decisive cadence-impressions are avoided, unless it be the composer's intention to _close_ it with a perfect cadence (upon any _other_ than the principal tonic), and accomplish the "return to the beginning" by means of a separate returning passage, called the Re-transition. PART III.--The recurrence and corroboration of the original statement; _the reproduction of Part I_, and therewith the fulfilment of the important principle of return and confirmation. The reproduction is sometimes exact and complete; sometimes slight changes, or even striking variations, possibly certain radical alterations, occur; sometimes it is only a partial recurrence, the first few measures being sufficient to prove the "Return"; sometimes, on the other hand, considerable material (more or less related) is added, so that Part III is longer than the First Part. From this it appears that much latitude is given to the composer, in his formulation of the Third Part. All that the Part has to prove, is its identity as confirmation of the leading motive, and this it may do in many ways, and with great freedom of detail, without obscuring the main purpose. It is precisely this richness of opportunity, this freedom of detail, which enhances the beauty and value of the tripartite forms. The following is a very regular example of the Three-Part Song-form (Schumann, op. 68, No. 20):-- [Illustration: Example 53. Fragment of Schumann.] [Illustration: Example 53 continued.] This version is as complete as it can conveniently be made upon one single staff (chosen in order to economize space); but the student will find the formal design somewhat more plastically defined in the original, complete form, and he is therefore expected to refer to the latter. Part I is an unusually regular double-period, with three semicadences and a strong perfect cadence, on the original tonic, to mark its conclusion; the double-bar is an additional confirmation of the end of the Part. The second Part runs in the key of E major (the dominant of the original key) throughout; its form is only a phras
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