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according to the general plan adopted in our text:-- Beethoven, pianoforte sonatas; op. 2, No. 1, first movement (diminutive, but very complete and perfect). Op. 2, No. 2, first movement. Op. 10, No. 3, _Largo_. Op. 22, first movement (four or five codettas). Op. 14, No. 1, first movement. Op. 22. _Adagio_. Op. 27, No. 2, last movement. Op. 28, first movement. Op. 31, No. 1, first movement. Op. 31, No. 3, first movement (the last 2 1/2 measures of the Exposition are a transitional Interlude, which leads back into the repetition, and on into the Development). Same sonata, _Scherzo_. Op. 31, No. 2, last movement (coda contains the entire principal theme). Op. 78, first movement (diminutive). Op. 79, first movement. Op. 90, first movement, (no "double-bar"). Op. 57, first movement. Same sonata, last movement. Mozart, sonatas: No. 7, first movement. No. 3, first movement. No. 4, first movement; also _Andante_. No. 8, first movement. No. 5, first movement. No. 10, first movement. No. 6, first movement. No. 1, _Andante_. No. 6, last movement. Mendelssohn, pianoforte _Caprice_, op. 33, No. 2 (brief introduction). Sonata, op. 6, first movement. Op. 7, No. 7. _Fantasia_, op. 28, last movement. Schubert, pianoforte sonatas: op. 143, first movement. Op. 42, first movement. Op. 120, first movement. Op. 147, first movement (in the Recapitulation, the principal theme is transposed). Op. 164, first movement (the same). Beethoven, symphony, No. 5, first movement. Symphony, No. 1, first _Allegro_; also the second movement; and the _Finale_. CHAPTER XVIII. IRREGULAR FORMS. CAUSES.--Despite the many points of resemblance between the various forms to which our successive chapters have been devoted,--the natural consequence of a continuous line of structural evolution to which each plan owes its origin,--they are separate and independent designs, with individual character and purpose; so much so, that the composer may, and usually does, select and apply his form according to the purpose which he has in view. But the form is made for the music, not the music for the form; no serious composer writes music for the sake of the form, but chooses the form merely as a means to an end. The highest ideal of structural dignity and fitness is, to work from the thematic germ _outward_, and to let the development of this germ, _the musical contents_, dete
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