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. 29, No. 39 (here the _da capo_ is considerably changed). In No. 37 the "subordinate song" is represented by no more than a brief Interlude (measures 33-40) between the principal song and its recurrence,--just sufficient to provide an occasion for the latter (which, by the way, is also abbreviated). Mozart, pianoforte sonatas: No. 2, _Andante cantabile_; each song-form has two Parts; the subordinate song changes into the minor. No. 9, second movement, _Menuettos_; the subordinate song is marked "Menuetto II," a custom probably antedating the use of the word "Trio" (see Bach, 2d English Suite, _Bourree_ I and II). No. 12, _Menuetto_. Schubert, _Momens musicals_, op. 94, Nos. 1, 4, and 6. Schumann, op. 82 (_Waldscenen_), Nos. 7 and 8. Chopin, _Mazurkas_, Nos. 6, 12, 23, 47, 50. In Nos. 10, 45, 46 and 51, the subordinate song consists of one Part only, but is sufficiently distinct, complete, and separate to leave no doubt of the form. Also Chopin, _Nocturne_ No. 13 (op. 48, No. 1). Examples of this compound Song-form will also be found, almost without exception, in Marches, Polonaises, and similar Dance-forms; and in many pianoforte compositions of corresponding broader dimensions, which, _if extended beyond the very common limits of the Three-Part form_, will probably prove to be Song with Trio. This the student may verify by independent analysis of pianoforte literature,--never forgetting that uncertain examples may need (if small) to be classed among the group-forms, or (if large) may be suspected of belonging to the higher forms, not yet explained, and are therefore to be set aside for future analysis. Mention must be made of the fact that in some rare cases--as in Mendelssohn's well-known "Wedding March"--_two Trios_, and consequently two _da capos_, will be found. CHAPTER XIII. THE FIRST RONDO-FORM. EVOLUTION.--It cannot have escaped the observant student of the foregoing pages, that the successive enlargement of the structural designs of musical composition is achieved by a process of natural growth and progressive evolution. No single form intrudes itself in an arbitrary or haphazard manner; each design emerges naturally and inevitably out of the preceding, in response to the necessity of expansion, and conformably with the same constant laws of unity and variety,--the active agents, along the entire unbroken line of continuous evolution, being _reproduction_ (Unity) and legitimat
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