Lessons in Music Form / A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition

by Percy Goetschius

CHAPTER XV. THE THIRD RONDO-FORM.

In this form of composition there are three digressions from the Principal theme. But, in order to avert the excess of variety, so imminent in a design of such length, the digressions are so planned that the third one corresponds to the first. That is, there are here again only two Subordinate themes (as in the Second Rondo-form), which alternate with each other, so that the succession of thematic factors is as follows: Principal Theme; 1st Subordinate Theme; Principal Theme; 2d Subordinate Theme; Principal Theme; 1st Subordinate Theme; Principal Theme; and coda.

It will be observed that this arrangement is another confirmation and embodiment of the Three-Part (tripartite) form, with its "recurrence of the first section," magnified into larger proportions than any examples thus far seen. The three portions are called, Divisions. The first is known as the Exposition, comprising the Principal Theme, First Subordinate Theme, and recurrence of the Principal Theme; the second division consists of the Second Subordinate Theme only; the Third Division is the Recapitulation of the first Division.

THE EXPOSITION.—This first Division, the "statement," compounded of two themes and a recurrence, is in itself a complete (though probably very concise) First Rondo-form; therefore, in order to confirm the intended design, at least one of its themes must contain two (or more) Parts,—otherwise it would be no more, all together, than a Three-Part Song-form, and the whole Rondo would be reduced to the design of the First Rondo-form. In a word, the Exposition must correspond concisely to the table given on page 108. The First Subordinate theme takes its usual emphatic position in a different key,—generally closely related to the key of the Principal theme.

Sometimes, but by no means regularly, the Exposition closes with a decisive perfect cadence in the original key.

The Middle Division.—As this should balance (at least approximately), the Exposition, it is likely to be a fairly broad design,—not greater, however, than a Three-Part Song-form (possibly with repetitions), and often no more than a Two-Part form. As intimated in the preceding chapter, the Second Subordinate theme is usually strongly contrasted with the other themes, in character, key, and length; but the same unity of total effect is necessary, as in the smaller Rondo-forms. The re-transition (or returning passage) is often quite lengthy and elaborate; it is seldom an independent section of the form, however, but generally developed out of the last phrase of the theme, by the process of "dissolution,"—to be explained more fully in Chapter XVII.

THE RECAPITULATION.—This corresponds, theoretically, to the da capo in the Song with Trio, or to the variated recurrence of the Principal theme in the First Rondo-form. But it is more than either of these. The term "Recapitulation" is more comprehensive than "recurrence" (in the sense in which we have thus far employed the latter word), as it always refers to the reproduction of a collection of themes, and, chiefly on this account, is subject to certain specific conditions of technical treatment.

Recapitulation, in the larger designs of composition, invariably involves transposition, or change of key,—the transposition of the First Subordinate theme, from the key chosen for its first announcement (in the Exposition) back to the principal key of the piece. This, as may be inferred, greatly affects the original transition and re-transition; and it may necessitate changes within the theme itself, in consequence of the change of register.

Further, the last recurrence of the Principal theme being no less than its fourth announcement, is rarely complete; as a rule, a brief intimation (the first motive or phrase) is deemed sufficient, and this is then dissolved into the coda; or the Principal theme, as such, is omitted, or affiliated with the coda, or one of its sections.

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For an illustration of the Third Rondo-form, the student is referred to the last movement of Beethoven's pianoforte sonata, op. 2, No. 2, the diagram of which is as follows:—

Exposition			Middle Division	Recapitulation
Pr. Th.	1st Sub. Th.	Pr. Th.	2d Sub. Th.	Pr. Th.	1st Sub. Th.	Pr. Th. and Coda
A maj.	E maj.	A maj.	A minor	A maj.	A maj.	A maj.

For its detailed analysis, number the measures as usual (there are 187, the "second ending" not being counted), and define each factor of the form by reference to the given indications,—the figures in parenthesis again denoting the measures:—

Principal Theme, Part I (1-8), period-form. Part II (9-12), phrase. Part III (13-16), phrase.

Transition, period-form (17-26), leading into the new key.

First Sub. Theme, period, Antecedent (27-32), Consequent (33-39).

Re-transition (40).

Principal Theme, as before, (41-56). This ends the EXPOSITION.

Second Sub. Theme, Part I (57-66), period, literal repetition. Part II (67-74) period-form. Part III (75-79) phrase.

Parts II and III repeated (80-92); the process of re-transition begins one measure earlier (91), and is pursued to measure 99.

The RECAPITULATION begins in the next measure with the

Principal Theme, as before, slightly modified (100-115).

Transition, as before, slightly abbreviated (116-123).

First Subordinate Theme, as before, but transposed to the principal key, A major, and somewhat modified (124-135).

Principal Theme begins in measure 135, where the preceding theme ends; consequently, there is an Elision. In measure 140 it is dissolved into the

Coda: Section 1 (to measure 148).

Section 2 (149-160).

Section 3 (161-172).

Section 4 (173-180).

Section 5 (to end).

LESSON 15.—Analyze the following examples, as usual. They represent chiefly the Third Rondo-form, but one example each of the First and Second Rondo-forms have been introduced, to stimulate the vigilance of the student. Review the directions given in Lesson 13:

Beethoven, pianoforte sonatas: op. 26, last movement, (very concise, but a perfect model of the form).

Op. 28, last movement.

Op. 7, last movement.

Op. 2, No. 3, last movement.

Op. 13, last movement.

Op. 22, last movement.

Op. 14, No. 1, last movement.

Op. 31, No. 1, Adagio.

Beethoven, Rondos for pianoforte, op. 51, No. 1; and op. 51, No. 2.

Mozart, pianoforte sonata, No. 4, last movement; No. 3, last movement.