ular

_Recapitulation_. Two wholly independent coda-sections are added, an
_Adagio_ (derived from the third movement of the sonata) and a
_Presto_, based upon the Principal theme.

The sonata-allegro with new Middle theme is illustrated in Beethoven,
pianoforte sonata, op. 14, No. 1, first movement; the middle Division
contains a preliminary allusion to the Principal theme, but is
otherwise an entirely new thematic member, very suggestive of the
"Second Subordinate theme" of the Rondos (17-measures long,--up to the
Re-transition, in which, again, the Principal theme is utilized).

LESSON 18.--Analyze the following examples of Irregular form. They are
classified, as in the text:--

1. Beethoven, sonata, op. 81, first movement.

Beethoven, sonata, op. 49, No. 2, first movement.

Beethoven, sonata, op. 2, No. 3, first movement.

Beethoven, sonata, op. 49, No. 1, last movement (_not_ "Rondo," as
marked, but sonatine-form, augmented).

Mozart, sonata No. 1, first movement.

Mozart, sonata No. 17, last movement (Rondo, with three Subordinate
themes).

Mendelssohn, _Capriccio brillant_, in B minor. Schubert, pianoforte
sonata No. 8 (Peters ed.). _Adagio_.

2. Mendelssohn, _Praeludium_, op. 35, No. 3.

Mozart, sonata No. 8, last movement.

Schubert, sonata No. 8, last movement.

Brahms, pianoforte _Capriccio_, op. 116, No. 1.

Chopin, pianoforte sonata, op. 35, first movement.

3. Mozart, sonata No. 3, first movement.

Mozart, sonata No. 13, last movement (the Development occurs _after_
instead of before the Principal theme,--in the Recapitulation).

4. Beethoven, pianoforte sonata, op. 31, No. 1, last movement.

Beethoven, pianoforte sonata, op. 90, last movement.

Mendelssohn, pianoforte etude, op. 104, No. 2.

Beethoven, pianoforte sonata, op. 10, No. 1, first movement.

Beethoven, pianoforte sonata, op. 2, No. 1, last movement.

Mozart, sonata No. 7, _Andante_.

Mozart, sonata No. 14, last movement.

CHAPTER XIX. APPLICATION OF THE FORMS.

The use of the various forms of composition, that is, their selection
with a view to general fitness for the composer's object, is,
primarily, simply a question of length. The higher aesthetic law of
adjusting the design to the contents, of which we spoke in the
preceding chapter, comes into action after the main choice has been
determined.

The smallest complete form, that of the PHRASE, can scarcely be
expected to suffice for an independe