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By Alan Belkin

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A few more trills descend into the main body of the variation. Repeat with a new turn: this offshoot of period structure (question/answer) consists of a repeated phrase, which however goes off in a new direction at its second presentation. The repetition starting the new phrase supplies unity. This technique is very 36common in classical sonata movements, especially when leaving the first theme. Sonata for Cello and Piano: The phrase in m. 111 starts like the previous phrase (m. 109), but then goes off in a new direction, leading to a much longer phrase.

Then, a sudden, loud final chord ends the symphony with a surprise. This kind of ending (inspired by end of the second act of Wagner's Meistersinger) can only work when there has been a loud passage shortly before. (repertoire example) Mahler 6th symphony, 4th movement: The listener first gets has impression that the ending will be a loud climax. Then, a gradually diminishing passage follows, seeming to reach almost complete immobility. Finally, there is a brief explosion, which quickly dies down again.

79) is also the first note of the following new idea. The accompaniment signals the new section. (repertoire example) Berg Lulu-Suite, m. 244: The last note of the cadence, the G at the end of the descent in cello, harp and piano, is picked up by the basses, acting as the first (bass) note of the new phrase. Overlap: overlap differs from elision in that it uses counterpoint. Whereas elision depends on a link of a common note or two within the same line, overlap uses counterpoint to introduce a new idea while the old is being completed.

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