ondo-form. In a word, the Exposition must correspond concisely
to the table given on page 108. The First Subordinate theme takes its
usual emphatic position in a different key,--generally closely related
to the key of the Principal theme.

Sometimes, but by no means regularly, the Exposition closes with a
decisive perfect cadence in the original key.

The Middle Division.--As this should balance (at least approximately),
the Exposition, it is likely to be a fairly broad design,--not greater,
however, than a Three-Part Song-form (possibly with repetitions), and
often no more than a Two-Part form. As intimated in the preceding
chapter, the Second Subordinate theme is usually strongly contrasted
with the other themes, in character, key, and length; but the same
unity of total effect is necessary, as in the smaller Rondo-forms. The
re-transition (or returning passage) is often quite lengthy and
elaborate; it is seldom an independent section of the form, however,
but generally developed out of the last phrase of the theme, by the
process of "dissolution,"--to be explained more fully in Chapter XVII.

THE RECAPITULATION.--This corresponds, theoretically, to the _da capo_
in the Song with Trio, or to the variated recurrence of the Principal
theme in the First Rondo-form. But it is more than either of these.
The term "Recapitulation" is more comprehensive than "recurrence" (in
the sense in which we have thus far employed the latter word), as it
always refers to the reproduction of a _collection_ of themes, and,
chiefly on this account, is subject to certain specific conditions of
technical treatment.

Recapitulation, in the larger designs of composition, _invariably
involves transposition_, or change of key,--the transposition of the
First Subordinate theme, from the key chosen for its first announcement
(in the Exposition) back _to the principal key_ of the piece. This,
as may be inferred, greatly affects the original transition and
re-transition; and it may necessitate changes within the theme itself,
in consequence of the change of register.

Further, the last recurrence of the Principal theme being no less than
its fourth announcement, is rarely complete; as a rule, a brief
intimation (the first motive or phrase) is deemed sufficient, and this
is then dissolved into the coda; or the Principal theme, as such, is
omitted, or affiliated with the coda, or one of its sections.

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For an illustration of the