Compound Song Form

I.        Enlarged Three-Part Form

A.     Mendelssohn Song Without Words #23   A  >B  A  B  A

1.      1 - 6   Introduction

2.      7 – 15   A  (Parallel period)

3.      16 – 19  Interlude

4.      20 – 27 B; ends on VII

5.      28 – 31  Transitional to i

6.      32 – 42  A (extension from 37 – 41)

7.      43 – 46  Interlude

8.      47 – 54  B; ends on VII

9.      55 – 58 Transitional to i

10.      59 – 74 A (extension from 64 – 73)

11.      75 – 83 Postlude

B.      Mendelssohn Song Without Words #45

1.      1 – 8 A (Parallel period)

2.      9 – 31 B (Double period with extension at end)

3.      32 – 41 A (two measure extension on continuation)

4.      42 – 65 Expanded coda

II.      Song Form with Trio (aka Minuet and Trio)

A.      Mozart: Minuet from Divertimento in Bb K. 186: Minuet ternary; trio rounded binary

1.      1 – 8  A (two phrases)

2.      9 – 16 B (V pedal; sequential)

3.      17 – 24 A’ (Phrase 1 = A1; Phrase 2 = transposed A2)

4.      Trio in V (Rounded binary)

a)      25 – 32 C (Parallel period)

b)      33 – 36 D

c)      37 – 40 C’ (consequent of C)

B.      Mozart: Minuet from Divertimento in D K. 205: both parts ternary

1.      1 – 8 A (two phrases; Phrase 2 is a modified repeat of Phrase 1; ends I

2.      9 – 16 B (two phrases; Phrase 2 is modified repeat of Phrase 1

3.      17 – 24 A (verbatim repeat)

4.      Trio in IV (ternary)

a)      25 – 32 C (two phrases; Phrase 2 is modified repeat of Phrase 1; ends I

b)      33 – 40 D (two phrases; Phrase 2 is modified repeat of Phrase 1)

c)      41 – 48 C (almost verbatim; hocked-like in violin and viola)

C.      Mozart: Minuet II from Divertimento in D, K. 205: both parts ternary

1.      1 – 8 A (two contrasting phrases; ends on V)

2.      9 – 16 B (two contrasting phrases; Phrase 1 on V pedal; Phrase 2 back to tonic)

3.      17 – 26 A’ Phrase 1 = A1; Phrase 2 stays in I, 2 measures extension 24-25

4.      Trio in I

a)      27 – 34 C (two similar phrases; Phrase 2 pickes up the ending figure from phrase 1 and moves to HC.)

b)      35 – 42 D (introduction of triplet rhythm. Extended cadential 64, using parallel minor, leading to augmented 6th chord at 41. Parallel period.)

c)      43 – 50 C’ (Phrase 1 = C1; Phrase 2 = modified C2 (stays on tonic). Thus the relationship between C and C’ is parallel.

5.      NOTE: the structure of this minuet hints very strongly at sonata-allegro form in the motion into V and then repetition of material in I.

D.      Mozart: Minuet from Divertimento in F, K. 213: both parts ternary

1.      1 – 8 A (two contrasting phrases; ends on V)

2.      9 – 16 B (two contrasting phrases. Phrase 1 is similar to A1; Phrase 2 picks up the cadential rhythm from A2.)

3.      17 – 24 A’ (two contrasting phrases. Phrase 1 really is a continuation of V, although it’s at the spot where a return is expected. Phrase 2 has similarities to A2, using the cadential rhythm.)

4.      Trio in IV

a)      25 – 36 C (two contrasting phrases. Phrase 2 is extended, beginning with an unexpected modal mixture at 29 then moving on to horns over a V pedal, ending on HC. The extension is at beginning: 29-32.

b)      37 – 40 D (short gloss on V)

c)      41 – 48 C’ (transposition of the extended C2, with melodic line given to the oboes. Due to the transposition, 41 does not = 29 in the sense of the modal mixture.)

5.      NOTE: this Minuet represents a much more adventuresome approach than do the previous examples.

E.      Mozart: Minuet from Divertimento in Bb K. 240: Minuet ternary; trio rounded binary.

1.      1 – 8 A (Parallel period; modulates to V.)

2.      9 – 16 B (two contrasting phrases; chromatic motion making use of vii7, to HC.)

3.      17 – 24 A’ (Phrase 1 = A1 but with considerable instrumental embellishment. Phrase 2 ~ A2 but stays in I.)

4.      Trio in vi (relative minor)

a)      25 – 32 C (contrasting period)

b)      33 – 36 D (similar to C1, on V pedal)

c)      37 – 40 C’ (C2 almost verbatim but Oboe II is re-composed.)