Part III is 14 measures long, containing therefore six more measures than the First Part; its first phrase is almost exactly like the first phrase of Part I; its second phrase (measures 25-28) differs from any portion of Part I, but closely resembles the melodic formation of Part II; its third phrase is based upon the preceding one (_not_ as repetition, however), and is expanded to the 34th measure.

The form of Part III is phrase-group.

The last four measures are codetta, or postlude, and corroborate the prelude.
For exhaustive technical details of the Three-Part Song-form, see the HOMOPHOBIC FORMS, Chapters 11, 12, 13, 14 and 15.
LESSON 10 .-- Analyze the following examples of the Three-Part Song-form.
The first step, here again, is to fix _the end of the First Part_; the next, to mark the beginning of the Third Part, by determining where the _return to the beginning_ is made.

These points established, it remains to fix the beginning of Part I, by deciding whether there is an introductory sentence or not; then the end of Part II, by deciding whether it leads directly into Part III, or comes to a conclusion somewhat earlier, to make room for a Retransition; then the end of Part III, by deciding whether a codetta or coda has been added.

The extremities of the three Parts being thus determined, there will be no difficulty in defining the _form_ of each.