on; precisely as the
sonata-allegro form may appear in a composition that is not a sonata.
This must not be overlooked. Furthermore, there are a few cases in
literature in which a movement marked "Rondo" is not written according
to the rondo-form.

The Second and Third Rondo-forms are so similar in purpose and
character that they are generally applied in the same manner, with no
other distinction than that of length. Besides occasional occurrence
as independent compositions (for instance, the two Rondos of Beethoven,
op. 51, the A minor Rondo of Mozart, the Rondos of Field, Dussek,
Hummel, Czerny, etc.), these designs are most commonly utilized for the
_Finale_ (last movement) of the complete sonata, concerto,
string-quartet, trio, and other chamber-music styles; more rarely for
the finale of the symphony.

The SONATINE and SONATA-ALLEGRO FORMS, likewise, serve corresponding
purposes, and are chosen according to the length or breadth of design
desired. The sonatine-form may therefore be expected in the first
movement of smaller sonatas, or sonatinas (as they are often called),
but it is not infrequently employed in the "slow movement" of larger
sonatas or symphonies.

The most distinguished of all music-designs, the sonata-allegro form,
is almost invariably chosen for the opening movement of sonatas,
symphonies, concertos, trios, string-quartets and similar compositions,
sometimes in greatly augmented dimensions. It is also not unlikely to
appear in the slow movement, and _finale_, of the symphony.

LESSON 19.--The student may now indulge in independent research, in the
careful analysis of the following works:

The pianoforte sonatas of Haydn (every movement of each). The sonatas
for pianoforte and violin of Mozart, Beethoven, Brahms, Rubinstein,
Grieg, and others.

The Trios of Beethoven, Mendelssohn, Schubert.

The String-quartets (in pianoforte arrangement) of Haydn, Mozart,
Beethoven, Mendelssohn, Brahms, Schubert.

The Overtures (in pianoforte arrangement) of Mozart, Beethoven, Weber,
Cherubim.

The Concertos (pianoforte or violin) of Mozart, Beethoven, Mendelssohn,
Rubinstein, Saint-Saens, Schumann, Grieg, Chopin. Also a number of
smaller (single) pianoforte compositions:--the etudes of Chopin; a few
etudes of Czerny, Cramer, Clementi, Heller; the mazurkas, nocturnes,
and preludes of Chopin; and miscellaneous pieces by modern
writers,--Grieg, Rubinstein, Tschaikowsky (and other Russians),
Sgam