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.
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.