* * *

In our illustration of the sonata-allegro form it is necessary, on
account of limited space, to select a very concise example, of unusual
brevity,--Beethoven, sonata, op. 49, No. 1, first movement; the
original may be referred to, for the omitted details:--

[Illustration: Example 55. Fragment of Beethoven.]

[Illustration: Example 55 continued.]

[Illustration: Example 55 continued.]

[Illustration: Example 55 continued.]

The thematic factors are small, but none is omitted; every essential
component is represented.

For a more extended and fully developed example of the sonata-allegro
form, see Beethoven, pianoforte sonata, op. 14, No. 2, first movement;
number the 200 measures, and verify all the details according to the
following analysis (figures in parenthesis refer as usual to the
measures):--

_Principal Theme_, Part I, period-form (1-8). Part II (9- ), dissolved
(about 14) into _Transition_ ( -25).

_Subordinate Theme_, Part I, period, extended (26-36). Part II,
period, probably (37-41-47).

_Codetta I_, period, extended (48-58).

_Codetta II_, Small phrase, extended (59-63). Here the Exposition
closes, with the customary double-bar and repetition marks.

_Development_, Section I (64-73), from Principal theme. Section 2
(74-80), from Subordinate theme. Section 3 (81-98), from Principal
theme. Section 4 (99-107), closely resembling the Principal theme, but
in a remote key. This section practically ends the Development,
inasmuch as it culminates upon the _dominant of the original key_.
Section 5 (107-115), establishment of the dominant. Section 6
(115-124), the _Re-transition_. The _Recapitulation_ begins with the

_Principal Theme_, Part I, period (125-132). Part II, group of
phrases, longer than before (133-152).

_Subordinate Theme_, as before, but in the principal key (153-174).

_Codetta (I)_, as before, but slightly extended (175-187). The second
codetta is omitted.

_Coda_, phrase, repeated and extended (188-200).

RELATION TO THE THREE-PART SONG-FORM.--In a former chapter (XIII) the
Three-Part form was defined as the type of perfect structural design,
upon which every larger (or higher) form is based. Nowhere is the
connection more striking, and the process of natural evolution out of
this germ more directly apparent, than in the sonata-allegro design.
See the diagram on page 124. The Exposition corresponds to the First
Part, _so expanded as to c