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in satisfactory music form. Of the Rondo-forms there are three grades, distinguished respectively _by the number of digressions_ from the Principal theme:-- The First Rondo-form, with one digression (or Subordinate theme), and one return to the Principal theme; The Second Rondo-form, with two digressions, and two returns; The Third Rondo-form, with three digressions and three returns. The persistent recurrence of the Principal theme, something like a refrain, and the consequent regular alternation of the chief sentence with its contrasting subordinate sentences, are the distinctive structural features of the Rondo. {108} THE FIRST RONDO-FORM.--This consists, then, of a Principal theme (generally Two-Part or Three-Part Song-form); a Subordinate theme in a different key (probably a smaller form); a recurrence of the Principal theme (usually more or less modified or elaborated); and a coda. Thus:-- _Principal Theme. Subordinate Theme. Prin. Theme. Coda._ 2- or 3-Part Period, Double-period, As before, Optional Song-form. 2- or 3-Part usually Probably a form. Different variated. perfect cadence. style and key. Sometimes Possibly a few Possibly a brief abbreviated. beats or measures codetta; and of transitional usually a few material, leading measures of into next theme. Re-transition. The design is that of the tripartite forms. But it is not to be confounded with the Three-Part _Song-form_, because at least one of its Themes, and probably both, will be a Part-form by itself. It is an association of Song-forms, and therefore corresponds in design to the _Song with Trio_. The first Rondo differs from the latter, however, in being more compact, more coherent and continuous, and more highly developed. This manifests itself in the relation of the Themes to each other, which, despite external contrast, is more intimate than that between the Principal and Subordinate Song (or Trio); further, in the transitional passages from one Theme into the other (especially the Re-transition, or "returning passage"); in the customary elaboration of the recurring Principal Theme; and in the almost indispensable coda, which often assumes considerable importance, and an elaborate form and character. The evolution of the First Rondo-form of the Song with Trio may be clearly traced in classic literature. Many
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