nt piece of music, though its
occurrence as independent _section_ of an entire composition is by no
means rare. The nearest approach to the former dignity is the use of
the Large phrase in one instance by Beethoven, as theme for his
well-known pianoforte Variations in C minor; this theme, and
consequently each variation, is a complete and practically independent
composition. At the beginning of Beethoven's pianoforte sonata, Op.
27, No. 1, the student will find a succession of independent
four-measure phrases, each with a definite perfect cadence, and
therefore complete in itself; this chain of independent phrases is, in
fact, the structural basis of the entire first movement, interrupted
but briefly by the contrasting _Allegro_. The simple phrase may, also,
find occasional application in brief exercises for song or piano; and
we have witnessed its use as introduction, and as codetta, in many of
the larger designs.

The next larger complete form, the PERIOD, is somewhat more likely to
be chosen for an entire composition, but by no means frequently. The
early grades of technical exercises (public-school music, and similar
phases of elementary instruction) are commonly written in period-form,
and some of the smallest complete songs in literature (a few of
Schumann's, Schubert's, and others) may be defined as period-forms,
extended. The theme of the Chaconne (found in the works of Handel,
Bach, and even some modern writers) is usually a period. Of the
Preludes of Chopin for pianoforte (op. 28), at least four do not exceed
the design of the extended period. But these are, naturally,
exceptional cases; the proper function of the period-form in music is,
to represent the _Parts_, and other fairly complete and independent
thematic members of larger forms. This is very largely true of the
DOUBLE-PERIOD, also; though it is a very appropriate and common design
for the hymn-tune, and similar vocal compositions; and is somewhat more
likely to appear as complete composition (in exercises, smaller piano
pieces and songs) than is the single period. Nine of Chopin's Preludes
are double-periods.

The TWO-PART SONG-FORM, as already intimated, is not as common as might
be supposed. It is sometimes employed in smaller compositions for
piano (variation-themes and the like), or voice; and is probably the
form most frequently chosen for the hymn-tune. But its most important
place in composition is in the larger forms, as its desi