With the third entrance of the main theme, the accompaniment takes the more animated rhythm of triplets; and these continue through the brief but delightful codetta (66-73).
EXAMPLE FOR ANALYSIS, No. 19.
Beethoven: Piano Sonata, opus 13. Third movement.[38]
This movement is an example of rondo form, being, like the Mozart rondo we have already studied, based on the alternation of a chief theme, with sections containing other material. The tabular view on the next page exhibits the complete structure.
The first theme, sprightly and energetic, and recalling in its melodic curve the second theme of the first movement, is in strophic form, with its last half repeated, and the cadence extended for greater emphasis. The sequences in measures 6-7 and 10-11 should be noted. The transition also starts off with a sequence, measures 23-26, corresponding to 19-22. Our old familiar, the device of imitation, also figures in measures 38 and 39. It is interesting to see Beethoven using these tools of the polyphonic style (see Chapters I and III) in a work so far removed from it, and with such ingratiating freshness.
TABULAR VIEW OF THE STRUCTURE OF THE FINALE
OF THE PATH?IQUE SONATA.
| Sections. | Themes. | Measures. |
| A. | First theme, C-minor | 1-18 |
| Transition | 19-26 | |
| B. | Second theme, E-flat major | 26-44 |
| 44-52 | ||
| Transition (on motive from close of second theme) | 52-62 | |
| A. | First theme, C-minor | 62-79 |
| C. | Third theme, A-flat | 80-108 |
| Florid passage work | 108-121 | |
| A. | First theme, C-major | 121-135 |
| B. | Second theme, C-minor | 135-154 |
| Closing theme (codetta) | 155-171 | |
| A. | First theme, C-minor | 172-183 |
| Codetta, extended | 183-203 | |
| Final suggestions of first theme | 203-211 |
The second theme enters for only eight measures, after which the gay little imitations are again resorted to, and carry us to the re-entrance of the main theme.
The episode (C), based on a new theme in the key of A-flat major, for the sake of the harmonic variety so essential to the middle part of a movement, is again in sequence form, and in strict polyphonic style, first with two voices and later with three. In measures 100-103 we have the theme in the right hand, and set against it in the left a staccato counterpoint in eighth-notes; in the next four measures this scheme is just reversed. A rather florid passage, which may be compared to the cadenza in the rondo from Mozart analyzed in Chapter VI, leads over to the return of the first theme.
