20):-- [Illustration: Example 53.

Fragment of Schumann.] [Illustration: Example 53 continued.] This version is as complete as it can conveniently be made upon one single staff (chosen in order to economize space); but the student will find the formal design somewhat more plastically defined in the original, complete form, and he is therefore expected to refer to the latter.

Part I is an unusually regular double-period, with three semicadences and a strong perfect cadence, on the original tonic, to mark its conclusion; the double-bar is an additional confirmation of the end of the Part.

The second Part runs in the key of E major (the dominant of the original key) throughout; its form is only a phrase, but repeated,--as is proven by the almost literal agreement of the second phrase with the preceding one, _cadence and all_.

Part III agrees literally with Part I in its melodic formation, but differs a little in the treatment of the lower (accompanying) voices.
In the theme of Mendelssohn's pianoforte Variations in E-flat major (op.