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