Chapter XIV: 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 Song-form.

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 the first.

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).

_Re-transition_ (43-47).

_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.

LESSON 14.--Analyze the following examples, as usual. Review the directions given in Lesson 13:--

Beethoven, pianoforte sonatas: op. 10, No. 3, last movement.

Op. 14, No. 2, last movement (called _Scherzo_).

Op. 79, last movement (very concise).

Op. 13, _Adagio_ (still more concise. Is this not a Five-Part Song-form?)

Beethoven, _Polonaise_ for the pianoforte, op. 89.

Mozart, _Rondo_ in A minor, for pianoforte.