Part 2 (1/2)

[10] Finale of the A major Sonata, Op. 101.

[11] Quoted in Grove's _Dictionary_, Vol. ii. p. 501.

[12] The term sonata is here employed in the sense which it has borne since the time of Haydn. If it is widened so as to include composers of the 17th and early 18th century, we must start from two primitive types in place of one.

[13] The development may be ill.u.s.trated if we take alphabetical letters to represent the clauses. The primitive ballad form is A B A: each verse being a unit, and therefore the whole song inorganic. The primitive rondo form is A B A B A B A, etc., the whole song being a unit, and therefore slightly organised. The form of Purcell's song is A B A C A, and therefore the most highly organised of the three.

[14] The a.n.a.lysis of the Mozart Minuet may be tabulated as follows:--

FIRST PART.

SECOND PART.

THIRD PART.

(_a_) Melody in A

(_a_) New episode

(_a_) Repet.i.tion of major.

in B minor.

first melody in (_b_) Melody in E

(_b_) The same

A major.

major.

repeated in A

(_b_) Repet.i.tion of

minor.

second melody

(_c_) New cadence-

in A major.

phrase to

dominant of A.

[15] As a simple instance of the form, we may take the first movement of Beethoven's Piano Sonata in G major, Op. 14, No. 3:--

_Prologue_

_First Canto_

_Second Canto_

_Third Canto_

_Epilogue_ _or_

_or_

_or_

_or_

_or Coda._ _Intro-

_Exposition._

_Development_

_Re-_

_duction._

_Section._

_capitulation._

None

(_a_) First

(_a_) Treatment

(_a_) First

Final

Subject in

of First

Subject in G

reminiscence

G major

Subject, G

major (bars

of First

(bars 1-8).

minor to

124-131).

Subject

(_b_) Transition

B flat major

(_b_) Transition

(bars

modulating

(bars 64-73).

extended so as

187-199).

to D major

(_b_) Treatment

to lead back

(bars 9-25).

of Second