is sometimes added to the
whole.

The Song with Trio is thus seen to correspond to the Three-Part
Song-form, upon a larger scale. The several _Parts_ of the latter
become complete _Song-forms_. An important distinction, to which
especial attention must be directed, is the _completeness_ of the
contents of each song-form, and their fairly distinct _separation_ from
each other, in the Song with Trio. The significance of these traits
will become apparent to the analytic student, as he progresses along
the line of form-evolution into the still larger designs.

LESSON 12.--The following examples all belong to the Song with Trio.
They should be analyzed as usual, each Song separately, defining the
Parts, their form, and other details, as minutely as possible. Careful
analysis is the first condition of intelligent interpretation; and the
more complete the analysis, the fuller and more authoritative the
interpretation:--

Beethoven, pianoforte sonatas: op. 2, No. 1, third movement; the
divisions are called _Menuetto_ and _Trio_, therefore this is an
authentic type of the present design; each is a complete Three-Part
Song-form; the key is the same, though a change from minor into major
takes place; after the _Trio_, the _Menuetto_ does not re-appear (on
the printed page), but its reproduction is demanded by the words
_Menuetto da capo_, at the end of the Trio.

Op. 2, No. 2, _Scherzo_ and _Trio_.

Op. 2, No. 3, _Scherzo_ and _Trio_.

Op. 7, third movement, _Allegro_ and _Minore_.

Op. 10, No. 2, second movement, _Allegretto_ (the subordinate song is
not marked, but is easily distinguished; there are no _da capo_
directions, because the principal song is re-written, with alterations).

Op. 10, No. 3, _Menuetto_ and _Trio_.

Op. 14, No. 1, second movement. _Allegretto_ and _Maggiore_; a coda is
added.

Op. 22, _Menuetto_ and _Minore_.

Op. 26, _Scherzo_ and _Trio_.

Op. 27, No. 1, second movement, _Allegro molto_; the Trio is not
marked; the "_da capo_" is variated, and a coda follows.

Op. 27, No. 2, _Allegretto_ and _Trio_.

Op. 28, _Scherzo_ and _Trio_.

Op. 31, No. 3, _Menuetto_ and _Trio_.

Schumann, op. 68, No. 11; here there are no outward indications of the
Song with Trio, but that is the design employed; for the subordinate
song the measure is changed from 6-8 to 2-4, but the key remains the
same; the reproduction of the principal song is indicated in German,
instead of Italian.

No. 12, No