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ree Divisions_,--the Exposition, a middle Division called the Development (growing out of the brief interlude of the sonatine-form), and the Recapitulation. The diagram (the keys of which correspond to the plan of Beethoven, op. 14, No. 2, first movement) is as follows: Exposition. Middle Div. Recapitulation. ---------------------- ------------- ------------------------- Pr. Sub. Codetta. Development, Phr. Sub. Codetta Th. Th. various keys, Th. Th. and Coda. ---------------------- ending with ------------------------- G maj. D maj. D maj. Retransition. G maj. G maj. G maj. Compare this diagram, also, with that of the Third Rondo-form, and note, accurately, the points of resemblance and contrast. Compare it, further, with the diagram of the sonatine-form, on page 122. It will be observed that here the Recapitulation does not follow the Exposition at once, as there, but that a complete middle division intervenes, instead of the brief interlude or re-transition; from which the student may conclude that the sonatine-form gradually grows into the sonata-allegro form, as this interlude becomes longer, more elaborate, and more like an independent division of the design. Or inversely, and perhaps more correctly, the sonata-allegro becomes a sonatine-design _by the omission (or contraction) of the middle Division_. THE EXPOSITION.--The presentation of the thematic factors, the statement or Exposition of the two themes and codetta, is made exactly as in the sonatine-form, though probably upon a broader scale. The Principal theme is usually a Two-Part Song-form, at least; often Three-Part. In broader designs, a separate transitional passage appears; in more concise designs, the transition is developed out of the last Part of the Principal theme by the process of dissolution--as will be seen. The object of the transition is, as usual, _to lead into the new key_ (of the Subordinate theme). It is sometimes, though very rarely, omitted. The Subordinate theme contrasts notably with its fellow, but asserts equal importance, as a rule, and may be of equal, or nearly equal, length. The addition of a codetta is almost indispensable, and frequently two or more appear, growing successively shorter, and generally repeated. In the sonata-allegro _the Exposition closes, as a rule, with a very decisive perfect cadence_, followed by a double-bar,
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