The rondo is the oldest of the larger monophonic forms and has been used in many different ways, but perhaps its most characteristic construction is as follows: (1) Principal subject; (2) second subject in dominant key; (3) principal subject; (4) third subject; (5) first subject again; (6) second subject, in tonic key; (7) coda (or ending).
The student should note particularly the problem of repetition and contrast (mentioned in [Sec. 134]) as here worked out, as the rondo was the first monophonic form in which this matter was at all satisfactorily solved, and its construction is especially interesting because it is readily seen to be one of the direct predecessors of the highest form of all—the sonata. Examples of rondos may be found in any volume of sonatas or sonatinas.
150. A suite is a set of instrumental dances all in the same or in nearly related keys. The first dance is usually preceded by an introduction or prelude, and the various dances are so grouped as to secure contrast of movement—a quick dance being usually followed by a slower one.
The suite is interesting to students of the development of music as being the first form in several movements to be generally adopted by composers. It retained its popularity from the beginning of the seventeenth to the end of the eighteenth centuries, being finally displaced by the sonata, whose immediate predecessor it is thus seen to be.
The suite was formerly written for solo instrument only (harpsichord, clavichord, piano) but modern composers like Dvořák, Lachner, Moszkowski, and others have written suites for full orchestra also.
[151.] Among the dances commonly found in suites are the following:
Allemande—duple or quadruple measure.
Bolero—triple measure.
Bourée—duple or quadruple measure.
Chaconne—triple measure.