eme and
codetta_, and such modification of the transitional section as may be
thereby involved. Sometimes, however, considerable alteration is made,
at times so elaborate (especially in broader examples) that, though
preserving easy recognizability, the Recapitulation assumes the
appearance of a new version of the Exposition, and becomes a more
independent part of the design.

A _coda_ is almost always added; sometimes brief, but occasionally so
elaborate and extensive as to merit the appellation "second
Development."

DISSOLUTION.--When any section of a higher form starts out with a
perfectly definite structural intention, pursues this intention for a
time (sufficient to establish it), but then insensibly diverges and
gradually adopts a new modulatory direction,--as transition into the
following section,--the form is said to be dissolved. Such dissolution
takes place, naturally, within the _later_ section of the theme, or
Part, or whatever it may be, whose actual, definite ending in the
expected key is thus frustrated. For instance, the second (or third)
Part of a theme may be dissolved; or the last phrase of a period or
double-period; or the repetition of a phrase. And the dissolution is
invariably applied before a transition or re-transition, as a means of
interlocking the factors of the form more closely and coherently.
Therefore it is a process peculiarly adapted to the higher designs of
composition, and is seldom omitted in the sonata-allegro form. For an
illustration, see Beethoven's sonata, op. 14, No. 2, first movement:
The Principal theme is a Two-Part Song-form; Part I, a period, from
measures 1 to 8; Part II begins in measure 9, and has every appearance
of becoming also a period; its Antecedent phrase closes in measure 12,
its Consequent begins in measure 13--but its end, _as Second Part_, in
the usual definite manner, cannot be indicated; the key is quietly
changed from G to D, and then to A, in obedience to the call of the
Subordinate theme (beginning in measure 26), into which these last 10
or 12 measures have evidently been a Transition. The Second Part of
the Principal theme therefore includes the transition; but where the
Second Part (as such) ends, and the transition (as such) begins, it is
impossible to point out accurately. The definition of this Principal
theme is, "Two-Part form with dissolved Second Part," or, still better,
"_with transitional Second Part_."

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