MODIFIED REPETITIONS
THE FIVE-PART FORM
GROUP OF PARTS

CHAPTER XII.--THE SONG-FORM WITH TRIO.

THE PRINCIPAL SONG
THE TRIO, OR SUBORDINATE SONG
THE "DA CAPO"

CHAPTER XIII.--THE FIRST RONDO-FORM.

EVOLUTION
THE RONDO-FORMS
THE FIRST RONDO-FORM

CHAPTER XIV.--THE SECOND RONDO-FORM.

DETAILS

CHAPTER XV.--THE THIRD RONDO-FORM.

THE EXPOSITION
THE MIDDLE DIVISION
THE RECAPITULATION

CHAPTER XVI.--THE SONATINE-FORM.

CLASSIFICATION OF THE LARGER FORMS
THE SONATINE-FORM

CHAPTER XVII.--THE SONATA-ALLEGRO FORM.

ORIGIN OF THE NAME
THE SONATA-ALLEGRO FORM
THE EXPOSITION
THE DEVELOPMENT, OR MIDDLE DIVISION
THE RECAPITULATION
DISSOLUTION
RELATION TO THE THREE-PART SONG-FORM

CHAPTER XVIII.--IRREGULAR FORMS.

CAUSES
AUGMENTATION OF THE REGULAR FORM
ABBREVIATION OF THE REGULAR FORM
DISLOCATION OF THEMATIC MEMBERS
MIXTURE OF CHARACTERISTIC TRAITS

CHAPTER XIX.--APPLICATION OF THE FORMS.

APPLICATION OF THE SEVERAL DESIGNS IN PRACTICAL COMPOSITION
AFTERWORD

LESSONS IN MUSIC FORM.

CHAPTER I. INTRODUCTION.

THE NECESSITY OF FORM IN MUSIC.--So much uncertainty and diversity of
opinion exists among music lovers of every grade concerning the
presence of Form in musical composition, and the necessity of its
presence there, that a few general principles are submitted at the
outset of our studies, as a guide to individual reflection and judgment
on the subject.

Certain apparently defensible prejudices that prevail in the minds of
even advanced musical critics against the idea of Form in music,
originate in a very manifest mistake on the part of the "formalists"
themselves, who (I refer to unimpassioned theorists and advocates of
rigid old scholastic rules) place too narrow a construction upon Form,
and define it with such rigor as to leave no margin whatever for the
exercise of free fancy and emotional sway. Both the dreamer, with his
indifference to (or downright scorn of) Form; and the pedant, with his
narrow conception of it; as well as the ordinary music lover, with his
endeavor to discover some less debatable view to adopt for his own
everyday use,--need to be reminded _that Form in music means simply
Order in music_.

Thus interpreted, the necessity of form, that is, Order, in the
execution of a musical design appears as obvious as are the laws of
architecture to the builder, or the laws of creation to the a