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the _Exposition_, or first Division, of the Sonata-allegro forms. It indicates a point of contact between the latter and the rondo,--in the _Third_ form of which we also find an Exposition. Careful comparison of the two types of exposition reveals the significant difference between the two classes, however; in the Third Rondo, the exposition was an _alternation_ of themes, with decided preference for the principal one; in the Sonata-allegro it is a _union_ of themes, without preference, resulting in a broader thematic basis. THE SONATINE FORM.--In the Sonatine-form, or the smaller variety of the sonata-allegro designs, this Exposition (or first Division) is followed _at once_,--or after a few measures of interlude, or re-transitional material,--by a Recapitulation of the Division, as was seen in the Third Rondo-form, and under the same conditions of transposition as there. The diagram of the form is therefore as follows:-- Exposition. Recapitulation. ----------------------------- ------------------------------ PR. TH. SUB. TH. CODETTA. Very PR. TH. SUB. TH. CODETTA. ----------------------------- brief ------------------------------ As usual. In some Optional. Inter- As In the Also in related lude before. principal principal key. key. key. An additional coda is, as usual, likely to appear at the end. This diagram should be very carefully compared with that of the Third Rondo-form on page 119, and the points both of agreement and dissimilarity noted. More minute details of the Sonatine form will be given in the next chapter, in connection with the larger and more fully developed Sonata-allegro form. An illustration of the Sonatine-form will be found in Mozart, 6th pianoforte sonata, _adagio_. Number the measures, as usual, and analyze with reference to the indications given; the figures in parenthesis again denote the measures. _Principal Theme_, B-flat major, period-form,--possibly double-period, because of the slow tempo and large measures (1-8). There is no Transition. _Subordinate Theme_, F major, period-form, extended. Antecedent (9-12); consequent, very similar (13-16); extension by addition of new phrase, as in the group-form (16 1/2-19). _Codetta_, also in F major, very brief, only one-half measure, and repeated as usual (19 1
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