ANALYZING CLASSICAL FORM
666
2. Which of these are typical characteristics of a couplet that
is built as an interior theme?
a. Resides in the minore of the home key b. Is structured as a
small ternary c. Brings a PAC in the subordinate key d. Contains an
abridged version of the refrain
3. Which is a sonata aspect of the sonata-rondo form? a.
Repetition of the exposition b. Presence of pre-core/core technique
c. Recapitulation of the subordinate-theme complex d. Use of an
interior theme
Examples for Analysis Space limitations do not permit including
entire movements for analysis. Th e following pieces are especially
recommended to illustrate the formal types pre-sented in this
chapter.
Five-part rondo: Mozart, Piano Sonata in B-fl at, K. 570, ii (R
= N; couplet 1 is analyzed in Ex. 7.9); Beethoven, Piano Sonata in
G, Op. 49, No. 2, ii; Haydn, Piano Sonata in A-fl at, H. 43, iii
(seven-part)
Sonata-rondo: Mozart, Violin Sonata in B-fl at, K. 454, iii;
Beethoven, Piano Sonata in G, Op. 31, No. 1, iv; Mozart, Rondo in
F, K. 494 (nine-part; the main theme is analyzed in Ex. 5.10)
Th e following excerpts highlight specifi c formal techniques
discussed in the chapter.
EXAMPLE 19.12 Mozart, Violin Sonata in E-fl at, K. 481, ii,
1536. Th e excerpt, which contains the whole of couplet 2, begins
with the fi nal cadence of refrain 1; refrain 2 begins at m. 35
(continued)
Five-part Rondo
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