gn adapts it
peculiarly to the purposes of the themes, both principal and
subordinate.

The THREE-PART SONG-FORM, on the contrary, is unquestionably the most
common of all the music designs. Probably three-fourths of all our
literature are written in this form, with or without the repetitions,
or in the related Five-Part form. It is therefore difficult to
enumerate the styles of composition to which this admirable design is
well adapted, and for which it is employed.

The GROUP-FORMS will be found in many songs, etudes, anthems, and
compositions of a fantastic, capricious, rather untrammeled character,
in which freedom of expression overrules the consideration of clear,
definite form. It is the design perhaps most commonly selected for the
Invention, Fugue, and--particularly--the various species of Prelude;
though these styles, and others of decidedly fanciful purpose, are not
unlikely to manifest approximate, if not direct, correspondence to the
Three-Part Song-form. The modern Waltz is usually a group of
Song-forms.

The SONG-FORM WITH TRIO is encountered in older dances, especially the
Menuetto, Passapied, Bourree, and Gavotte (though even these are often
simple Three-Part form, without Trio); and in many modern
ones,--excepting the Waltz. It is characteristic of the March,
Polonaise, modern Minuet, Gavotte and other dances, and of the
Minuet--or Scherzo-movement, in sonatas and symphonies.

The FIRST RONDO-FORM is sometimes substituted for the Song with Trio
(to which it exactly corresponds in fundamental design, as we have
learned) in compositions whose purpose carries them beyond the limits
of the Three- or Five-Part forms, and in which greater unity, fluency
and cohesion are required than can be obtained in the song with trio;
for instance, in larger Nocturnes, Romanzas, Ballades, Etudes, and so
forth. The peculiar place for the First Rondo-form in literature,
however, is in the "slow movement" (_adagio, andante, largo_) of the
sonata, symphony and concerto, for which it is very commonly chosen.
It may also be encountered in the _small_ Rondos of a somewhat early
date; and is of course possible in broader vocal compositions (large
opera, arias, anthems, etc.).

From what has just been said, the student will infer that the
rondo-form is not employed exclusively in pieces that are called
"Rondo." In the sense in which we have adopted the term, it applies to
a _design_, and not to a style, of compositi