minute as possible, nevertheless. The first
step is to define the extremities of the two themes. This fixes the
coda (and the introduction, if present); the re-transition (returning
passage into the Principal theme); and the transition into the
Subordinate theme--if present. The form of each theme must be defined
in detail, as in Ex. 54:--

Beethoven, pianoforte sonatas: op. 2, No. 1, _Adagio_.

Op. 7, _Largo_.

Op. 2, No. 3, _Adagio_.

Op. 79, _Andante_.

Op. 27, No. 1, _Allegro molto_.

Schubert, pianoforte _Impromptus_, op. 90, No. 2; and No. 3.

Chopin, _Mazurka_, No. 26.

Chopin, _Nocturnes_: op. 27, No. 1.

Op. 32, No. 2.

Op. 37, No. 2.

Op. 48, No. 1.

Op. 55, No. 1; and No. 2

Op. 62, No. 1.

Op. 72, No. 1 (E minor, posthumous).

CHAPTER XIV. THE SECOND RONDO-FORM.

As described in the preceding chapter, the Second Rondo-form contains
two digressions from the Principal theme, called respectively the first
and second Subordinate themes. It bears the same relation to the
Five-Part Song-form, that the First Rondo-form bears to the Three-Part
Song-form.

For the sake of effective contrast, _the two Subordinate themes are
generally differentiated_ to a marked degree; more precisely stated,
the _second_ Subordinate theme is likely to differ strikingly both from
the Principal theme and from the first Subordinate theme; the result is
that, as a general rule, the second digression is more emphatic than
the first.

To prevent the enlarged design from assuming too great dimensions, the
several themes are apt to be more concise than in the first Rondo-form;
the Two-Part form is therefore more common than the Three-Part; the
first Subordinate theme is generally brief, and the Principal theme
upon its recurrences, is frequently abbreviated,--especially the last
one, which often merges in the coda.

An example of the second Rondo-form (which may be sufficiently
illustrated without notes) will be found in the last movement of
Beethoven's pianoforte sonata, op. 49, No. 2 (G major). Number the one
hundred and twenty measures, and define the factors of the form with
close reference to the following indications--the figures in
parenthesis denoting the measures:

_Principal theme_. Part I (1-8), period-form; Part II (9-12), phrase;
Part III (13-20), period-form.

_Transition_, period-form (21-27), leading into the new key.

_First Subordinate theme_, period-form (28-36), with

_Codett