The Rondo-forms

The structural basis of the Rondo, and other larger

or (as they are sometimes called) higher forms, is the Subject or

Theme. The form and contents of this factor, the Theme, are so

variable that a precise definition can scarcely be given. It is a

musical sentence of very distinct character, as concerns its melodic,

harmonic and, particularly, its rhythmic consistency; and of sufficient

length to establish this indivi uality,--seldom, if ever, less than an

entire period or double-period; often a Two-Part, not infrequently a

complete Three-Part Song-form, though never more than the latter.



In the Rondo-forms, two or three such Themes are associated in such

alternating succession that, after each new Theme, the first or

Principal Theme recurs. The term Rondo may be referred to this

trait, the periodic return of the Principal theme, which, in thus

coming round again, after each digression into another theme, imparts

a characteristic circular movement (so to speak), to the design. In

the rondos, then, all the movements of musical development revolve

about one significant sentence or theme, the style of which therefore

determines the prevailing character of the whole composition. This,

which is naturally called the Principal theme, is placed at the

beginning of the rondo. Its end being reached, it is temporarily

abandoned for a second sentence, called the Subordinate theme, of more

or less emphatically contrasting style and of nearly or quite equal

length (generally shorter, however), and always in a different key.

After this there occurs the momentous return to the beginning,--the

most insistent and vital fundamental condition of good, clear, musical

form, of whatsoever dimension or purport,--and the Principal theme

reasserts itself, recurring with a certain degree of variation and

elaboration (occasionally abbreviation), thus vindicating its title as

Principal theme, and stamping its fellow-theme as a mere digression.

After this,--if a still broader design is desired,--another digression

may be made into a new Subordinate theme, in still another key,

followed by the persistent return to the Principal theme. And so on.

Upon the Subordinate theme, or themes, devolves the burden of variety

and contrast, while the Principal theme fulfils the requirements of

corroboration and concentration. A coda, sometimes of considerable

length, is usually added; it appears to be necessary, as a means of

supplying an instinctive demand for balance, increased interest, and

certain other scarcely definable conditions of very real importance in

satisfactory music form.



Of the Rondo-forms there are three grades, distinguished respectively

by the number of digressions from the Principal theme:--



The First Rondo-form, with one digression (or Subordinate theme), and

one return to the Principal theme;



The Second Rondo-form, with two digressions, and two returns;



The Third Rondo-form, with three digressions and three returns. The

persistent recurrence of the Principal theme, something like a refrain,

and the consequent regular alternation of the chief sentence with its

contrasting subordinate sentences, are the distinctive structural

features of the Rondo.