), the piece may be called a group of Parts. The
use of this term is entirely legitimate, and is commended to the
student on account of its convenience, for all examples of the
Song-form which, _upon thoroughly conscientious analysis_, present
confusing features, at variance with our adopted classification. Of
one thing only he must assure himself,--that the design is a
_Song-form_ (_i.e._ an association of _Parts_), and not one of the
larger forms to be explained in later chapters. The definition is
given in Chapter IX (on page 84).

A fair illustration of the utility of the term "Group of Parts" is seen
in Schumann, op. 68, No. 18. Others will be cited in the following
Lesson.

LESSON 11.--Analyze the following examples of the enlarged Three-Part
Song-form. As before, the form of each Part should be defined, and
introductions and codas (if present) properly marked. All of the given
examples belong to this chapter, but are not classified; it is
purposely left to the student to determine where repetitions occur, and
whether they are exact, or variated,--in a word, to decide which of the
above diagrams the composition represents.

Mendelssohn, Songs Without Words, No. 3, No. 4, No. 8, No. 10, No. 11,
No. 12, No. 16, No. 17, No. 19, No. 21, No. 23, No. 24, No. 27, No. 31,
No. 34, No. 39, No. 43, No. 44, No. 46.

Schumann, op. 68, No. 5; No. 6; No. 10; No. 13; No. 15; No. 19; No. 22;
No. 30; No. 36; No. 43.

Mendelssohn, op. 72, No. 5.

Chopin, _Prelude_, op. 28, No. 17.

Mozart, pianoforte sonata No. 8, _Andante_ (entire).

Mozart, No. 18, _Andantino_ (of the "Fantasia").

Chopin, _Mazurkas_, No. 1, No. 2, No. 4, No. 5, No. 8, No. 15, No. 16,
No. 18, No. 37, No. 44, No. 48.

GROUPS OF PARTS:

Chopin, _Mazurkas_, No. 3 (apparently five Parts, not counting
repetitions; Part V corroborates Part I, but the intervening sections
are too independent to be regarded as one long Second Part,--as would
be the case if this corroboration were Part III). Also No. 7 (same
design); No. 14 (four Parts, the last like the first); No. 19 (four
Parts, the fourth like the second); No. 20: No. 21; No. 27 (Part V like
I, Part IV like II); No. 34; No. 39; No. 41.

Schubert, _Momens musicals_, op. 94, No. 3.

CHAPTER XII. THE SONG-FORM WITH TRIO.

Another method of enlargement consists in associating two
different--though somewhat related--Song-Forms. The practice was so
common in certain of the older dances,