_Development_ (measures 34-58). _Retransition_ (59-62).

_Principal Theme_--omitted.

_Subordinate Theme_, as before (63-76). _Codetta_.

3. DISLOCATION OF THEMATIC MEMBERS.--By this is meant, any exchange or
alteration of the regular and expected arrangement of members. This
can refer, naturally, only to what occurs _after the Exposition_,--that
is, during the Recapitulation; for it is the Exposition which
determines the plan, and regular order, of the thematic members. For
example, Mozart, pianoforte sonata. No. 13, first movement:--

_Principal Theme_, with _Transition_ (measures 1-27).

_Subordinate Theme_ (28-41).

_Codetta I_ (42-53).

_Codetta II_ (54-58). In the Recapitulation, the arrangement is thus:--

_Principal Theme, Codetta I, Subordinate Theme, Codetta II_; that is,
the first codetta appears before, instead of after, the Subordinate
theme.

4. MIXTURE OF CHARACTERISTIC TRAITS.--This process tends to affiliate
the two distinct classes of larger or higher forms, whose respective
characteristics were explained and compared at the beginning of Chapter
XVI. Upon very careful revision of this explanation, and reference to
the given diagrams, the student will perceive that the distinctive
trait of the sonata-allegro form is the section of Development which it
contains; and that of the three Rondo-forms is the absence of such a
Development. Of the mixed forms under consideration there are two: one
in which a section of _Development_ is introduced into the Rondo (as
substitute for one of its Subordinate themes); and the other a
sonata-allegro, in which the Development is omitted, and a new theme (a
sort of additional Subordinate theme) inserted in its place. In other
words, a Rondo (second or third form--probably _not_ the first
rondo-form) with a Development; and a sonata-allegro with a new Middle
theme, or Episode (as we have already called it).

The Rondo with Development is illustrated in Beethoven, pianoforte
sonata, op. 27, No. 1, last movement; it is the third rondo-form,
designed as follows:--

_Principal Theme_, Two-Part form (measures 1-24).

_Transition_ (25-35).

_First Subordinate Theme_, period, extended,--or phrase-group (36-56).
_Codetta_ (57-72).

_Re-transition_ (73-81).

_Principal Theme_ (82-97).

_Transition_ (98-106). Then, instead of the Second Subordinate theme, a

_Development_ (106-138); followed by an elaborate

_Re-transition_ (139-166), and a reg