intermediate stages appear,
naturally; and it is sometimes difficult to determine whether the
design is Rondo or compound Song-form, simply because it is scarcely
possible to decide just when the "Trio" assumes the more intimate
relation of a Subordinate theme, or when the freedom and comparative
looseness of association (peculiar to the Song with Trio) is
transformed into the closer cohesion and greater smoothness of finish
_which fuses all the component Parts of the design into one compact
whole_,--the distinctive stamp of all so-called "higher" forms.

The thoughtful examination and comparison of the following four
examples will elucidate the matter:--

1. Beethoven, first pianoforte sonata (op. 2, No. 1), _Menuetto_ and
_Trio_. Already analyzed as a perfectly genuine Song with Trio.

2. Beethoven, pianoforte sonata, op. 28, second movement, _Andante_.
The principal Song is in the Three-Part form, with exact repetitions.
The subordinate song differs so radically in style, and each song is so
complete and distinct from the other, that the form is almost certainly
Song with Trio; but there is a strong intimation of the Rondo-form in
the elaborate variation of the _da capo_, and in the treatment of the
coda (last 17 measures), in which motives from both Songs are
associated so closely as to vindicate their kinship. In a word, this
movement possesses,--despite the apparent independence of its
Songs,--some degree of that continuity, compactness and artistic finish
which culminate in the genuine Rondo-form.

3. Mozart, pianoforte sonata, No. 10, second movement (_Rondeau en
polonaise_). The continuity and unity of this composition is so
complete that it is certainly a Rondo-form; the principal theme is a
fairly large Three-Part form; the subordinate theme (measure 47-69) is
a Two-Part form, the second part corresponding in contents to the
second Part of the principal theme; the _recurrence_ of the principal
theme is abbreviated to one of its three Parts, and is merged in the
coda (last seven measures), which assumes the nature of a mere
extension. Despite all this evidence, there still remains a certain
impression of structural independence, which, so to speak, betrays the
"seams," and militates somewhat against the spirit of the perfect
Rondo-form. See also, No. 13, Adagio.

4. Beethoven, pianoforte sonata, op. 2, No. 2, _Largo_; the unessential
details omitted in the following (in order to economize space) appe