1 Augmentation Of The Regular Form

To this species belong those

forms (small and large) which are provided with a separate

Introduction, or Interludes, or an independent Coda (in addition to,

or instead of, the usual consistent coda).

For example, Beethoven, pianoforte sonata, op. 13, first movement; the

first ten measures (Grave) are a wholly independent Introduction, in

phrase-group form, with no other relation to the following than that

key, and no connection with the fundamental design excepting that of an

extra, superfluous, member. The principal theme of the movement (which

is a sonata-allegro) begins with the Allegro di molto, in the 11th

measure. Similar superfluous sections, derived from this Introduction,

reappear as Interlude between the Reposition and Development, and near

the end, as independent sections of the coda.

In a manner closely analogous to that just seen, the fundamental design

of any movement in a concerto is usually expanded by the addition of

periodically recurring sections, called the tutti-passages, and by

a cadenza, occurring generally within the regular coda. In some

concerto-allegros (for instance, in the classic forms of Mozart,

Beethoven and others), the first orchestral tutti is a complete

introductory Exposition, in concise form, of the thematic material

used in the body of the movement. See the first piano-forte concerto

of Beethoven, first movement.

Further, when the design is one of unusual breadth, as in some

symphonic movements, or in elaborate chamber music, the number of

fundamental thematic members may be so multiplied that it is necessary

to assume the presence of two successive Subordinate themes, of equal

independent significance,--such significance that neither of them could

be confounded with a mere codetta, or any other inferior thematic

member. See Beethoven, pianoforte sonata, op. 7, first movement; the

Subordinate theme runs from measure 41 to 59; it is followed by another

thematic section (60-93) which is so independent, important and

lengthy, that it evidently ranks coordinate with the former, as second

Subordinate theme. It might, it is true, be called the second Part of

the Subordinate theme (the latter being no more than a repeated

period); or it might be regarded as the first codetta; its thematic

independence seems, however, to stamp it Second Subordinate theme.

Further, it is not uncommon to extend the sonatine-form by adding, at

the end, a more or less complete recurrence of the Principal

theme,--instead of, or dissolved into, the customary coda. This may be

seen in Mozart, pianoforte sonata, No. 3, Andantino; the superfluous

recurrence of the Principal theme begins in measure 19 from the end,

after the regular sonatine-design has been achieved, fully, though