a_, repeated (37-42).

_Re-transition_ (43-47).

_Principal theme_, as before (48-67).

_Second Subordinate theme_, double-period (68-83); the process of
_Re-transition_ manifests its inception about one measure before (82),
and is carried on to measure 87.

_Principal theme_, as before (88-107).

_Coda_, period, with modified repetition of consequent phrase
(108-119),--followed by an extra perfect cadence, as extension.

LESSON 14.--Analyze the following examples, as usual. Review the
directions given in Lesson 13:--

Beethoven, pianoforte sonatas: op. 10, No. 3, last movement.

Op. 14, No. 2, last movement (called _Scherzo_).

Op. 79, last movement (very concise).

Op. 13, _Adagio_ (still more concise. Is this not a Five-Part
Song-form?)

Beethoven, _Polonaise_ for the pianoforte, op. 89.

Mozart, _Rondo_ in A minor, for pianoforte.

CHAPTER XV. THE THIRD RONDO-FORM.

In this form of composition there are three digressions from the
Principal theme. But, in order to avert the excess of variety, so
imminent in a design of such length, the digressions are so planned
that _the third one corresponds to the first_. That is, there are here
again only two Subordinate themes (as in the Second Rondo-form), which
alternate with each other, so that the succession of thematic factors
is as follows: Principal Theme; 1st Subordinate Theme; Principal Theme;
2d Subordinate Theme; Principal Theme; 1st Subordinate Theme; Principal
Theme; and coda.

It will be observed that this arrangement is another confirmation and
embodiment of the Three-Part (tripartite) form, with its "recurrence of
the first section," magnified into larger proportions than any examples
thus far seen. The three portions are called, _Divisions_. The first
is known as the _Exposition_, comprising the Principal Theme, First
Subordinate Theme, and recurrence of the Principal Theme; the second
division consists of the Second Subordinate Theme only; the Third
Division is the _Recapitulation_ of the first Division.

THE EXPOSITION.--This first Division, the "statement," compounded of
two themes and a recurrence, is in itself a complete (though probably
very concise) First Rondo-form; therefore, in order to confirm the
intended design, at least one of its themes must contain two (or more)
Parts,--otherwise it would be no more, all together, than a Three-Part
Song-form, and the _whole_ Rondo would be reduced to the design of the
First R