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rmine and justify the structural plan and arrangement. But the aims of the composer outnumber the regular forms, and therefore modifications are unavoidable, in order to preserve the latitude which perfect freedom of expression demands. The student may rest assured of the existence of many irregular species of these fundamental forms (as exceptions to the rule) and must expect to encounter no little difficulty and uncertainty in defining the class to which his example belongs,--until wider experience shall have made him expert. All such irregular (or, in a sense, intermediate) varieties of form must necessarily either admit of demonstration as modification of the regular designs; or they will evade demonstration altogether, as lacking those elements of logical coherence which constitute the vital and only condition of "form and order" in musical composition. To these latter comparatively "_formless_" designs belong:--all the group-forms; the majority of fantasias, the potpourri, and, as a rule, all so-called tone-poems, and descriptive (program) music generally. On the other hand, those irregular designs which nevertheless admit of analysis according to the fundamental principles of structural logic, and are therefore directly referable to one or another of the regular forms, may be classified in the following four-fold manner--as Augmentation, Abbreviation, Dislocation, or Mixture, of the proximate fundamental design. 1. AUGMENTATION OF THE REGULAR FORM.--To this species belong those forms (small and large) which are provided with a separate Introduction, or Interludes, or an _independent_ Coda (in addition to, or instead of, the usual consistent coda). For example, Beethoven, pianoforte sonata, op. 13, first movement; the first ten measures (_Grave_) are a wholly independent Introduction, in phrase-group form, with no other relation to the following than that of key, and no connection with the fundamental design excepting that of an extra, superfluous, member. The principal theme of the movement (which is a sonata-allegro) begins with the _Allegro di molto_, in the 11th measure. Similar superfluous sections, derived from this Introduction, reappear as Interlude between the Reposition and Development, and near the end, as independent sections of the coda. In a manner closely analogous to that just seen, the fundamental design of any movement in a _concerto_ is usually expanded by the addition of pe
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