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In classical music there are, as the analytical programs tell us, first subjects and second subjects, free fantasias, recapitulations, and codas; there are fugues, with counter-subjects, strettos, and pedal points; there are passacaglias on ground basses, canons ad hypodiapente, and other ingenuities, which have, after all, stood or fallen by their prettiness as much as the simplest folk-tune.
One can see what Purcell had gained by his study of Italian part-writing for strings, but he could not help penning picturesque phrases. The dances are, of course, simple in structure. When they are in the form of passacaglias they may be huge in design and effect. The grandest pieces are the overtures and choruses.
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