4 Mixture Of Characteristic Traits

This process tends to affiliate

the two distinct classes of larger or higher forms, whose respective

characteristics were explained and compared at the beginning of Chapter

XVI. Upon very careful revision of this explanation, and reference to

the given diagrams, the student will perceive that the distinctive

trait of the sonata-allegro form is the section of Development which it

contains; and that of the three Rondo-f
rms is the absence of such a

Development. Of the mixed forms under consideration there are two: one

in which a section of Development is introduced into the Rondo (as

substitute for one of its Subordinate themes); and the other a

sonata-allegro, in which the Development is omitted, and a new theme (a

sort of additional Subordinate theme) inserted in its place. In other

words, a Rondo (second or third form--probably not the first

rondo-form) with a Development; and a sonata-allegro with a new Middle

theme, or Episode (as we have already called it).

The Rondo with Development is illustrated in Beethoven, pianoforte

sonata, op. 27, No. 1, last movement; it is the third rondo-form,

designed as follows:--

Principal Theme, Two-Part form (measures 1-24).

Transition (25-35).

First Subordinate Theme, period, extended,--or phrase-group (36-56).

Codetta (57-72).

Re-transition (73-81).

Principal Theme (82-97).

Transition (98-106). Then, instead of the Second Subordinate theme, a

Development (106-138); followed by an elaborate

Re-transition (139-166), and a regular

Recapitulation. Two wholly independent coda-sections are added, an

Adagio (derived from the third movement of the sonata) and a

Presto, based upon the Principal theme.

The sonata-allegro with new Middle theme is illustrated in Beethoven,

pianoforte sonata, op. 14, No. 1, first movement; the middle Division

contains a preliminary allusion to the Principal theme, but is

otherwise an entirely new thematic member, very suggestive of the

Second Subordinate theme of the Rondos (17-measures long,--up to the

Re-transition, in which, again, the Principal theme is utilized).