e, 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