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.
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THE FIRST RONDO-FORM.—This consists, then, of a Principal theme (generally Two-Part or Three-Part Song-form); a Subordinate theme in a different key (probably a smaller form); a recurrence of the Principal theme (usually more or less modified or elaborated); and a coda. Thus:—
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Principal Theme. 2- or 3-Part song-form. Probably a perfect cadence. Possibly a few beats or measures of transitional material, leading into next theme. |
Subordinate Theme. Period, Double-period, 2- or 3-Part form. Different style and key. Possibly a brief codetta; and usually a few measures of Re-transition. |
Prin. Theme. As before, usually variated. Sometimes abbreviated. |
Coda. Optional |
The design is that of the tripartite forms. But it is not to be confounded with the Three-Part Song-form, because at least one of its Themes, and probably both, will be a Part-form by itself. It is an association of Song-forms, and therefore corresponds in design to the Song with Trio. The first Rondo differs from the latter, however, in being more compact, more coherent and continuous, and more highly developed. This manifests itself in the relation of the Themes to each other, which, despite external contrast, is more intimate than that between the Principal and Subordinate Song (or Trio); further, in the transitional passages from one Theme into the other (especially the Re-transition, or "returning passage"); in the customary elaboration of the recurring Principal Theme; and in the almost indispensable coda, which often assumes considerable importance, and an elaborate form and character.
The evolution of the First Rondo-form of the Song with Trio may be clearly traced in classic literature. Many intermediate stages appear, naturally; and it is sometimes difficult to determine whether the design is Rondo or compound Song-form, simply because it is scarcely possible to decide just when the "Trio" assumes the more intimate relation of a Subordinate theme, or when the freedom and comparative looseness of association (peculiar to the Song with Trio) is transformed into the closer cohesion and greater smoothness of finish which fuses all the component Parts of the design into one compact whole,—the distinctive stamp of all so-called "higher" forms.
The thoughtful examination and comparison of the following four examples will elucidate the matter:—
1. Beethoven, first pianoforte sonata (op. 2, No. 1), Menuetto and Trio. Already analyzed as a perfectly genuine Song with Trio.