33, measure 12.

The reverse--a strong cadence and but little melodic change,--in No.

13, measure 20.
THE FIRST PART .-- Part One may be designed as period, double-period, or phrase-group; sometimes, though very rarely, as single phrase, repeated.

It ends, usually, with a strong perfect cadence on the tonic chord of the original key, or of some related key (that is, one whose _signature_ closely resembles that of the original key).

An introductory phrase, or independent prelude, may precede it.
THE SECOND PART .-- Part Two, as intimated, is likely to begin with a more or less palpable change of melodic character,--by no means is this always the case.