rm.

[Footnote 66: As an illustration of this tendency see the Scherzo of
Beethoven's Second Sonata, the second part of which has a new theme of
its own, although the movement as a whole is clearly in Two-part
form.]

[Footnote 67: See _The Sonata Form_ by W.H. Hadow, Chapter III.]

The essentials of this structure, so frequent in all pianoforte
literature, are the existence of _three_ distinct _parts_--hence the
name: a clause of assertion in the home-key; a second clause,
affording a genuine _contrast_ to the first part in regard to key,
melodic outline and general treatment, and a third clause of
reassertion, which shall repeat--either literally or in varied
form--the material of part one.[68] In the Three-part form, as
employed in the classic Minuet and Scherzo, each of the three parts
_taken by itself_ is in complete Two-part form; and as the third part
was generally a literal repetition of part one, it was not written
out, but at the end of the middle part (called the Trio, because it
was originally written in three-voiced harmony) we find the direction
"Minuet or Scherzo da capo," meaning a return to the first part. A
coda or tail-piece is often added to round out the form. As the
student will become thoroughly familiar with the Three-part form, in
connection with the classic Symphonies soon to be studied (each
Minuet, Scherzo or Trio being an example), our illustrations show the
use of this form in independent pieces and are chiefly taken from
modern literature; the object being so to interest the student in the
beauty of these compositions as to convince him that in all good music
content and design go hand is hand. For examples[69] see Supplement
Nos. 25, 26, 27.

[Footnote 68: The three-part form is derived partly from the Italian
"da Capo Aria" and partly from the fundamental instinct for
restatement which we have seen in the Folk-song.]

[Footnote 69: Additional illustrations, which will repay study are the
following: the Allegretto of Beethoven's Sixth Sonata; the Schubert
Impromptu, op. 90, No. 4; Brahms's Intermezzo, op. 117, No. 1 and the
Ballade in G minor, op. 118, No. 3, and for orchestra--in extended
treatment--Debussy's _Prelude a l'apres-midi d'un Faune_.]

CHAPTER VI

THE CLASSICAL AND THE MODERN SUITE

No sooner had the Two-and Three-part forms become accepted as definite
means of instrumental expression, than composers were eager to try
their skill in combining dance-movement