Distinction Between Bipartite And Tripartite Forms
The Sonatine Form
T The Second Rondo Form
The Necessity Of Form In Music
The Melodic Figure
Modification Or Disguising Of The Cadence
Repetition Of The Parts
The Sonata-allegro Form
Random Music Lessons
The Third Rondo Form
Length Of The Regular Phrase
The Sonatine Form
In the Sonatine-form, or the smaller variety of the
sonata-allegro designs, this Exposition (or first Division) is followed
at once,--or after a few measures of interlude, or re-transitional
material,--by a Recapitulation of the Division, as was seen in the
Third Rondo-form, and under the same conditions of transposition as
there. The diagram of the form is therefore as follows:--
PR. TH. SUB. TH. CODETTA. Very PR. TH. SUB. TH. CODETTA.
----------------------------- brief ------------------------------
As usual. In some Optional. Inter- As In the Also in
related lude before. principal principal
key. key. key.
An additional coda is, as usual, likely to appear at the end.
This diagram should be very carefully compared with that of the Third
Rondo-form on page 119, and the points both of agreement and
dissimilarity noted. More minute details of the Sonatine form will be
given in the next chapter, in connection with the larger and more fully
developed Sonata-allegro form.
An illustration of the Sonatine-form will be found in Mozart, 6th
pianoforte sonata, adagio. Number the measures, as usual, and
analyze with reference to the indications given; the figures in
parenthesis again denote the measures.
Principal Theme, B-flat major, period-form,--possibly double-period,
because of the slow tempo and large measures (1-8). There is no
Subordinate Theme, F major, period-form, extended. Antecedent
(9-12); consequent, very similar (13-16); extension by addition of new
phrase, as in the group-form (16 1/2-19).
Codetta, also in F major, very brief, only one-half measure, and
repeated as usual (19 1/2-20). This ends the Exposition.
Interlude, the remaining beats of measure 20; it is, of course, a
brief re-transition, and is therefore strongly suggestive of the First
Rondo-form, the details of which exactly coincide, thus far, with the
above factors of the sonatine-form. Such coincidences merely confirm
the unbroken line of evolution, and are to be expected in the system of
legitimate, rational music designs. The RECAPITULATION (the original
da capo) follows, beginning with the
Principal Theme, B-flat major, as before (21-28) but somewhat
embellished. Again, there is no Transition. (Here the similarity to
the First Rondo ends.)
Subordinate Theme, corresponds very closely to the former version,
but transposed to B-flat major, the principal key, and variated (29-39).
Codetta, also in B-flat major (39 1/2-40), slightly extended. There
is no coda.
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