That the Three-Part Song-form consists of three single Parts, fairly

similar in character, fairly small in form, and severed either by a

firm cadence, or by unmistakable proof of new beginning;



That in the first Rondo-form, at least one of the themes (if not both)

contains two (or three) Parts; and,



That in the Song with Trio, the two Songs are more independent of

each other, and more decisively separated, than are the themes of the

Rondo-form.



With reference to all uncertain cases, it must be remembered that the

more doubtful a distinction is, the less important is its decision.

These designs naturally merge one in another, and at times it is folly

to impose a definite analysis upon them.



The analysis should be as minute as possible, nevertheless. The first

step is to define the extremities of the two themes. This fixes the

coda (and the introduction, if present); the re-transition (returning

passage into the Principal theme); and the transition into the

Subordinate theme--if present. The form of each theme must be defined

in detail, as in Ex. 54:--



Beethoven, pianoforte sonatas: op. 2, No. 1, Adagio.



Op. 7, Largo.



Op. 2, No. 3, Adagio.



Op. 79, Andante.



Op. 27, No. 1, Allegro molto.



Schubert, pianoforte Impromptus, op. 90, No. 2; and No. 3.



Chopin, Mazurka, No. 26.



Chopin, Nocturnes: op. 27, No. 1.



Op. 32, No. 2.



Op. 37, No. 2.



Op. 48, No. 1.



Op. 55, No. 1; and No. 2



Op. 62, No. 1.



Op. 72, No. 1 (E minor, posthumous).