ANALYZING CLASSICAL FORM

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The second couplet is usually an interior theme differing from the earlier couplet
in its melodic-motivic material, tonal region, and formal plan.
The two returns of the refrain, which are always set in the home key, usually
bring back the main themes complete structure, sometimes with ornamental
changes (such as melodic embellishment and textural enrichment). On occasion, an abridged refrain brings back just the A (or A) section of an original
ternary, or an incomplete refrain may lack a closing PAC in the home key.
Following the final refrain, the movement may end with a coda, a section
that is optional to the five-part rondo.

Sonata-rondo
The majority of rondos in the classical style are written in sonata-rondo form
(ABACABA). Most of these are by Mozart and Beethoven, with only a small
number by Haydn. Sonata-rondos are used almost exclusively for fast finale
movements, rarely for slow movements (and never as an opening movement).
As its label suggests, the sonata-rondo combines features of the five-part
rondo (with its regular alternation of refrains and couplets) and the sonata (with
its tripartite organization of exposition, development, and recapitulation). The
resulting structure, summarized in Figure 19.2, is perhaps the most complex of
the classical forms.
Rondo Term

Formal Function

Tonal Region

refrain 1 (A)

exposition of main theme

couplet 1 (B)

exposition of subordinate theme complex

refrain 2 (A)

first return of main theme

couplet 2 (C)

development or
interior theme

refrain 3 (A)

recapitulation of main theme

couplet 3 (B)

recapitulation of subordinate theme complex

refrain 4 (A)

coda (including final return of main theme)

FIGURE 19.2

Sonata-rondo form

various or
IV, VI, minore

The rondo aspects of the form are fairly obvious: four statements of the
refrain alternate with three couplets, the first and third of which are related by
similar melodic-motivic material.
The sonata aspects of the form, however, are more complex:
The initial refrain and couplet constitute a complete sonata exposition, except that, unlike genuine sonata form, this exposition is never