Two-Part Song Form
I.Simple two-part song form
A.Part I
1.From phrase to double period in length
2.Cadence: AC in I, V, or related; HC
B.Part II
1.From phrase to double period in length
2.If the two parts aren’t identical in length, part II is usually the longer of the two.
C.Both parts may be repeated, in any combination
D.Folk songs and hymns are frequently in this form
E.Smaller instrumental and vocal compositions
1.Beethoven: Peasant Dance #4 (WoO 168)
a)Part I: parallel period, by identity, repeated
b)Part II: parallel period, by identity, repeated with minor modification
2.Weber: Theme, from Variations Opus 2
a)Part I: parallel period, by identity, verbatim repeat
b)Part II: two-phrase group [4+4]. Why is this not a period?
3.Schubert: Dance Op. 9 D. 365/16
a)Part I: parallel period (consequent by contour), verbatim repeat
b)Part II: two-phrase group [4+4]. Why is this not a period?
F.Themes or subdivisions of larger works
1.Beethoven: Concerto No. 1
a)Part I: parallel period (consequent by transposition)
b)Part II: parallel period (consequent by contour)
2.Haydn: Austrian Anthem
G.Musical Rhyme: the end of Part II is a repetition or transposition of the end of Part I. (This is not a rounded binary or ‘incipient three-part song form’, which repeats the beginning of Part I.)
1.Pop Goes the Weasel
2.Mozart: Symphony No. 40 in G Minor, MT of last movement
3.From Percy Goetchius The Homophonic Forms of Musical Composition
II.Expanded two-part song form
A.May include introduction, interludes, coda, etc.
B.Part I is never less than a period
C.Part II is usually longer than Part I and contains expansions
D.One or both parts may be repeated
E.Examples:
1.Haydn String Quartet Op. 33 No. 3: IV 1-22
a)Part I: two phrases [4+4], cadence on V
b)Part II: [2+2][2+2]2 4
2.Mozart: Sonata for Violin and Piano K. 303 II: Theme
a)Part I: [4+4]
b)Part II: 4 + 6[2+2+2] expansion m15-16
3.Bach: Sonata No. 2 in A minor for solo violin, third movement. (In Berry text, pg. 39)
III.Diminutive or “Incipient” two-part song form
A.Definition—not quite a period (or even a double period), but not quite a two-part song form either. The most general definition is that one or the other of the two parts consists of a single phrase.
B.Berry handles this very well and offers fine examples (pages 29 – 32)