Gary Allan - Puttin Memories Away

OFFER - the largest part of the period ending with a cadence. Usually P. exists only as part of the whole. In a number of cases, it is still able to isolate itself and become independent. value. This primarily refers to the open main sonata form. It is often stated in the form of an initial P. period, the second P. of which develops into a connecting party and leads to a side party. As a result, only the first P. of the period is framed as a thematically and structurally integral structure, it is the form of the main party (L. Beethoven, 1st sonata for piano, part 1). In a simple three-part form, I. can fulfill the function of a period as the form of its parts. In these cases, in the structure a1 b a2, section a is not a period, as usual, but P. (A.N. Scriabin, Prelude Op. 7 No. 1 for one left hand). The difference between P. and the continuous period is connected by hl. arr. with type will conclude. cadences - in the period it is full, in P. - half. The role and degree of development thematic. material, completeness of its presentation; completeness, at least relative, presupposes a period, and explicit incompleteness - P. There is a different point of view emanating from the classical. him. music-theoretical schools (X. Riemann). According to this concept, any one-part construction without a cadence inside it, regardless of the type of cadence completing it, is P. (Satz); the period not divisible by P., in this case is interpreted as P. Lit. see the Period article. V.P. Bobrovsky.