Codetta, also in F major, very brief, only one-half measure, and repeated as usual (19 1/2-20). This ends the Exposition.
Interlude, the remaining beats of measure 20; it is, of course, a brief re-transition, and is therefore strongly suggestive of the First Rondo-form, the details of which exactly coincide, thus far, with the above factors of the sonatine-form. Such coincidences merely confirm the unbroken line of evolution, and are to be expected in the system of legitimate, rational music designs. The RECAPITULATION (the original da capo) follows, beginning with the
Principal Theme, B-flat major, as before (21-28) but somewhat embellished. Again, there is no Transition. (Here the similarity to the First Rondo ends.)
Subordinate Theme, corresponds very closely to the former version, but transposed to B-flat major, the principal key, and variated (29-39).
Codetta, also in B-flat major (39 1/2-40), slightly extended. There is no coda.
LESSON 16.—Analyze the following examples of the sonatine-form, in the usual exhaustive manner:—
Beethoven, pianoforte sonatas; op. 10, No. 1, Adagio.
Op. 31, No. 2, Adagio.
Mendelssohn, Andante cantabile in B-flat major (pianoforte).
Mozart, pianoforte sonata. No. 17, Andante amoroso (somewhat longer interlude).