and is otherwise
different from the First Part almost throughout).

No. 13, _Adagio_, first 16 measures.

Chopin, _Mazurkas_ (Peters edition), No. 11, No. 22, No. 24, No. 40,
No. 49.

In the following examples, the student is to determine whether the form
is Two-Part or Three-Part:--

Mendelssohn, op. 72 (six pianoforte pieces), No. 1; No. 2; No. 3, No.
4, No. 6.--Etudes, op. 104, No. 1, No. 3.

A curious example may be found in Schumann, op. 68, No. 32; the form is
actually Two-Part, but with a very brief reminiscence of the beginning
(scarcely to be called a Return) in the _last two measures_,--which
are, strictly speaking, no more than a codetta. The Second Part is
repeated.

In Schumann's op. 68, Nos. 8, 9, and 11 (first 24 measures), the
_second_ Part is unusually independent in character; completely
detached from Part III, and exhibiting no symptoms of leading into the
latter, as second Parts have commonly been observed to do.

CHAPTER XI. ENLARGEMENT OF THE THREE-PART SONG-FORM.

REPETITION OF THE PARTS.--The enlargement of the Three-Part Song-form
is effected, in the majority of cases, by simply repeating the Parts.
The composer, in extending the dimensions of his original design,
resorts as usual to the most legitimate and natural means at his
disposal--that of _repetition_. By so doing, he reinforces the
principle of Unity, and, instead of obscuring, places the contents of
his design in a stronger and more convincing light. It is true that
the act of mere repetition involves the risk of monotony; but against
this the composer has an efficient safeguard,--that of _variation_. He
may modify and elaborate the repetition in any manner and to any extent
that seems desirable or necessary, the only limitations being that the
identity of the original Part must be preserved beyond all danger of
misapprehension, and (as a rule) that the cadences shall not be altered.

The act of repetition is applied to the First Part alone, and to the
_Second and Third Parts together_; very rarely to the Second Part
alone, or to the Third Part alone.

EXACT REPETITIONS.--When Part I,--or Parts II and III together,--are to
be repeated without any changes, it is customary to employ the familiar
repetition-marks (double-bar and dots); with "first and second ending,"
if, for any reason, some modification of the cadence-measure is
required. This is illustrated in the 7th Song Without Words; Part I is
repeated alon