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), 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. Mendelssohn, op. 72, No. 5. Chopin, _Prelude_, op. 28, No. 17. Mozart, pianoforte sonata No. 8, _Andante_ (entire). Mozart, No. 18, _Andantino_ (of the "Fantasia"). Chopin, _Mazurkas_, No. 1, No. 2, No. 4, No. 5, No. 8, No. 15, No. 16, No. 18, No. 37, No. 44, No. 48. GROUPS OF PARTS: Chopin, _Mazurkas_, No. 3 (apparently five Parts, not counting repetitions; Part V corroborates Part I, but the intervening sections are too independent to be regarded as one long Second Part,--as would be the case if this corroboration were Part III). Also No. 7 (same design); No. 14 (four Parts, the last like the first); No. 19 (four Parts, the fourth like the second); No. 20: No. 21; No. 27 (Part V like I, Part IV like II); No. 34; No. 39; No. 41. Schubert, _Momens musicals_, op. 94, No. 3. CHAPTER XII. THE SONG-FORM WITH TRIO. Another method of enlargement consists in associating two different--though somewhat related--Song-Forms. The practice was so common in certain of the older dances,
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