EXTEMPORE PLAYING - online tutorial

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	86 Extempore Playing

	Here it will be seen that the first period is of the parallel variety. The second part, of eight measures, is rather of the nature of a single prolonged phrase, dividing into four subsections. The third part is a return to the first, reproduced literally with only some minor variations. It would be instructive for the student to refer to the original, and there see in what a remarkable way Mozart brings out these points in the series of variations which follow. These two examples will serve as models for imitation. Within the limits of two- and three-part form many modifications are to be found. In the latter, the middle part is often reduced in size, sometimes also the third part is shortened to only four measures. The first part is frequently closed with a double-bar and repeat sign, as in the foregoing example, in which case the second and third parts together are similarly treated.
	It is time now to give attention to such matters as character and style, pace, intensity and expression. The effect of music often depends almost as much on the way it is rendered as upon the composer's written notes. This statement can be tested at any moment by taking a well-known slow tune and playing it quickly, and vice versa. The result of such treatment will be felt to amount in some cases to an outrage. The extempore player