Distinction Between Bipartite And Tripartite Forms
The Sonatine Form
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music
The First Rondo-form
Origin Of The Name
The Development Or Middle Division
Relation To The Three-part Song-form
1 Augmentation Of The Regular Form
2 Abbreviation Of The Regular Form
Random Music Lessons
The Principal Song
The Second Part
The Trio Or Subordinate Song
The Melodic Motive Or Phrase-member
Repetition Of The Parts
The Sonata-allegro Form
T The Second Rondo Form
As described in the preceding chapter, the Second Rondo-form contains
two digressions from the Principal theme, called respectively the first
and second Subordinate themes. It bears the same relation to the
Five-Part Song-form, that the First Rondo-form bears to the Three-Part
For the sake of effective contrast, the two Subordinate themes are
generally differentiated to a marked degree; more precisely stated,
the second Subordinate theme is likely to differ strikingly both from
the Principal theme and from the first Subordinate theme; the result is
that, as a general rule, the second digression is more emphatic than
To prevent the enlarged design from assuming too great dimensions, the
several themes are apt to be more concise than in the first Rondo-form;
the Two-Part form is therefore more common than the Three-Part; the
first Subordinate theme is generally brief, and the Principal theme
upon its recurrences, is frequently abbreviated,--especially the last
one, which often merges in the coda.
An example of the second Rondo-form (which may be sufficiently
illustrated without notes) will be found in the last movement of
Beethoven's pianoforte sonata, op. 49, No. 2 (G major). Number the one
hundred and twenty measures, and define the factors of the form with
close reference to the following indications--the figures in
parenthesis denoting the measures:
Principal theme. Part I (1-8), period-form; Part II (9-12), phrase;
Part III (13-20), period-form.
Transition, period-form (21-27), leading into the new key.
First Subordinate theme, period-form (28-36), with
Codetta, repeated (37-42).
Principal theme, as before (48-67).
Second Subordinate theme, double-period (68-83); the process of
Re-transition manifests its inception about one measure before (82),
and is carried on to measure 87.
Principal theme, as before (88-107).
Coda, period, with modified repetition of consequent phrase
(108-119),--followed by an extra perfect cadence, as extension.
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