The Sonatine Form

In the Sonatine-form, or the smaller variety of the

sonata-allegro designs, this Exposition (or first Division) is followed

at once,--or after a few measures of interlude, or re-transitional

material,--by a Recapitulation of the Division, as was seen in the

Third Rondo-form, and under the same conditions of transposition as

there. The diagram of the form is therefore as follows:--


----------------------------- ------------------------------


----------------------------- brief ------------------------------

As usual. In some Optional. Inter- As In the Also in

related lude before. principal principal

key. key. key.

An additional coda is, as usual, likely to appear at the end.

This diagram should be very carefully compared with that of the Third

Rondo-form on page 119, and the points both of agreement and

dissimilarity noted. More minute details of the Sonatine form will be

given in the next chapter, in connection with the larger and more fully

developed Sonata-allegro form.

An illustration of the Sonatine-form will be found in Mozart, 6th

pianoforte sonata, adagio. Number the measures, as usual, and

analyze with reference to the indications given; the figures in

parenthesis again denote the measures.

Principal Theme, B-flat major, period-form,--possibly double-period,

because of the slow tempo and large measures (1-8). There is no


Subordinate Theme, F major, period-form, extended. Antecedent

(9-12); consequent, very similar (13-16); extension by addition of new

phrase, as in the group-form (16 1/2-19).

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.