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.)