[Illustration: Example 54 continued.]
This is a genuine First Rondo-form. All the factors of which it is composed, Phrases, Parts and Themes, are so closely interlinked that the continuity, cohesion and unity of the whole is complete. The variety of contents which these factors exhibit (greatest, naturally, between the two themes), does not disturb the impression that the whole movement is a unit. This is due, at least partly, to the manner in which the perfect cadences are disguised; each one is passed over with the least possible check of rhythmic movement (measures 8, 19, etc.), thus snugly dove-tailing the structural factors. The coda is elaborate and unusually long; it consists of several "sections," as follows (see the original): from measure 1 (the last measure in Ex. 54) to measure 4, a phrase, derived from the second Part of the Principal theme; measures 5-7, an abbreviated repetition; measures 8-14, a phrase, derived from the Principal theme; measures 15-17, a transitional passage; measures 18-25, a period, closely resembling Part I of the Principal theme; measures 26-30, final phrase.
LESSON 13.—Analyze the following examples. They are not classified; the student must determine whether the form is pure First Rondo, or an intermediate grade between Rondo and "Song with Trio." One of the examples is a genuine Song with Trio; and one is a Three-Part Song-form; with reasonable vigilance the student will detect these "catches." To distinguish these three designs from each other, recollect—
That the Three-Part Song-form consists of three single Parts, fairly similar in character, fairly small in form, and severed either by a firm cadence, or by unmistakable proof of new "beginning;"
That in the first Rondo-form, at least one of the themes (if not both) contains two (or three) Parts; and,
That in the Song with Trio, the two "Songs" are more independent of each other, and more decisively separated, than are the "themes" of the Rondo-form.
With reference to all uncertain cases, it must be remembered that the more doubtful a distinction is, the less important is its decision. These designs naturally merge one in another, and at times it is folly to impose a definite analysis upon them.
The analysis should be as minute as possible, nevertheless. The first step is to define the extremities of the two themes. This fixes the coda (and the introduction, if present); the re-transition (returning passage into the Principal theme); and the transition into the Subordinate theme—if present. The form of each theme must be defined in detail, as in Ex. 54:—
Beethoven, pianoforte sonatas: op. 2, No. 1, Adagio.