Second Rondo
Simple ABCA: Mozart Sonata in B-flat Major K. 570, III
1 – 22 A: Three-part song form
1 – 8 Part I: parallel period by identity 4+4
9 – 14 Part II: irregular phrase 2+[1+3] (extension at end)
15 – 22 Part III: = 1 – 8
23 – 42 B: Three-part song form
23 – 30 Part I: two-phrase group 4+4 to HC; possibly could be analyzed as a modulating contrasting period.
31 – 34 Part II: single phrase to HC
35 – 42 Part III: two-phrase group 4+4 to AC; recapitulates 23 – 30 but coming to full cadence in tonic. Definitely not a period, which argues against the interpretation of 23 – 30 as a period.
43 – 44 2-measure transition
45 – 56 C: Three-part song form
45 – 48 Part I: single phrase; modulates to V
49 – 52 Part II: single chain phrase 1+1+2
53 – 56 Part III: recapitulates 45 – 48 with AC in original tonic.
57 – 62 6-measure transition 2+1+3 (similar to 9 – 14)
63 – 70 A’: Part I of Three-part song form = 1 – 8
71 - 89 Coda
71 – 82 derived from Part B (23 – 30)
83 – 84 strong cadential 64, creating final cadence on downbeat of 85.
85 – 89 extended cadence on final tonic.
Standard ABACA: Haydn Sonata in D Major HXVI:19, III
1 – 16 A: Two-part song form
1 – 8 Part I: Parallel period by identity 4+4
9 – 16 Part II: Parallel period by identity 4+4
17 – 44 B: Three-part song form
17 – 23 Part I: Contrasting period 4+4
24 – 36 Part II: Two-phrase group
24 – 32 phrase with mid extension 2+[4]+2
33 – 36 modulatory phrase to HC
37 – 44 Part III: = 17 – 23 (Part I)
45 – 60 A’ = 1 – 16 but with sixteenth-note figurations
61 – 84 C: Three-part song form in A Major (key of the dominant)
61 – 67 Part I: two phrases 2+4
68 – 77 Part II: two-phrase group 4+6[2+[2]+2]; mid extension
78 – 84 Part III: = 61 – 67 (Part I verbatim)
85 – 100 A’’ = 1 – 16 but with new sixteenth-note figurations
101 – 108 A’’’ (truncated) = 1 – 8 in octaves
109 – 125 Coda
109 – 116 parallel period by identity 4+4
117 – 126 parallel period by identity 4+[4+1]; extended cadence
ABA’BA’’: Haydn Sonata in E Major HXVI:22, III
1 – 16 A: Two-part song form
1 – 8 Part I: Modulating contrasting period 4+4
9 – 16 Part II: Modulating contrasting period 4+4
17 – 24 B: E minor; contrasting period 4+4
25 – 30 transition
25 – 28 chain-phrase pseudo-sequence on V
29 – 30 extended cadence
31 – 62 A’: = 1 – 16 but with written out repeats of each Part
31 – 38 = 1 – 8 (Part I)
39 – 46 = 1 – 8 (Part I) with figurated melody
47 – 54 = 9 – 16 (Part II)
55 – 62 = 9 – 16 (Part II) with figuration melody & register shifts
63 – 70 B’ = 17 – 24 with register shift
71 – 76 transition = 25 – 30 with register shift
77 – 108 A’’ = 1 – 16 but with written out repeats of each Part
77 – 84 = 1 – 8 verbatim
85 – 92 = 1 – 8 figurated with accented passing tones, appoggiaturae, suspensions
93 – 100 = 17 – 24
101 – 108 – 17 – 24 with figurations similar to 85 – 92.
ABACA-Coda: Mozart: Serenade in B-flat K. 361, VII
1 – 16 A Parallel double period 4+4+4+4
1 – 8: contrasting period 4+4
9 – 16: contrasting period 4+4
17 – 32 B: Two-part song form
17 – 24 Part I: parallel period by identity 4+4, F Major
25 – 32 Part II: contrasting period to AC in B-flat Major
33 – 40 transition: repeated phrase 4+4, G Minor
41 – 56 A = 1 - 16
57 – 88 C Four periods (episodic)
57 – 64 Period I: parallel period by identity 4+4, E-flat Major
65 – 72 Period II: parallel period by identity 4+4, C Minor
73 – 80 Period III: parallel period by identity, G Minor
81 – 88 Period IV: parallel period by identity, D Minor (could be heard as a transition)
89 – 104 A = 1 – 16 (A)
105 – 146 Coda
105 – 108 extended cadence to deceptive cadence at 108
108 – 112 to AC at 112
113 – 116 – 105 – 108
117 – 124 repeated phrase 4+4 to AC
125 – 138 cadential to AC
139 – 146 extended cadence