CHAPTER 8

HWM 2
LARGE HOMOPHONIC
FORMS

LARGE HOMOPHONIC FORMS

A Greater number of parts and a

higher degree of organization

distinguish the large forms from the
small forms
Rondo and Sonata form are the large

homophonic forms

The Rondo Principle

Rondo is the general designation for

musical forms in which the theme

stated at the beginning returns after
each departure.
Uses fixed element that alternates with
variable elements
Similar design to the poetic form of
songs that have a refrain or chorus and
multiple verses, particularly when the
refrain precedes the first verse.

NOBODY KNOWS THE TROUBLE IVE

SEEN (SPIRITUAL)
A Nobody knows the trouble Ive seen, nobody knows

but Jesus
B Sometimes Im up, sometimes Im down, oh yes Lord
A Nobody knows the trouble Ive seen, nobody knows
but Jesus
C Although you see me going along slow, oh yes Lord
A Nobody knows the trouble Ive seen, nobody knows
but Jesus
D One day when I was walking along, oh yes, Lord
A Nobody knows the trouble Ive seen, nobody knows
but Jesus

Note: because all the verses are set to the same melody, the musical
form is not a rondo but a two-part form

OLD RONDO FORM

Each part is a single sentence with a

complete cadence, after which the

next part follows immediately
As in old rondos, the rondo theme is
heard first after each designation
(after each change or subject,
melody)
The number of digressions or
contrasting themes are not fixed.

PARTITA NO. 3 IN E FOR VIOLIN

(1722)
3. Gavotte en rondeau
Johann Sebastian Bach (1685-1750)

Old Rondo form in 9 parts: AA BA CA D A

EA
A Rondo theme, tonic key, major
A Repeated
B Contrasting sentence in relative minor key
A As before
C Contrasting sentence in supertonic key
A As before
E Contrasting sentence in mediant key
A As before

PARTITA NO. 3 IN E FOR VIOLIN

(1722)
3. Gavotte en rondeau
Johann Sebastian Bach (1685-1750)

 PARTITA Is a group of movements

with dance characteristics

GAVOTTE A dance in duple meter
with a moderate tempo, first became
popular in France during the 17th
century
The archaic rondo form was
superceded by the classic rondo
forms
The parts in classic rondos tend to be
fewer in number and larger in size as
compared with old rondos

 Classic rondos have five or seven

parts, and the individual parts

frequently have a binary or a ternary
design, sometimes with repeats.
Transitions between parts are
common, and they may be extensive
Classic rondos customarily end with
a coda.

FIVE PART RONDO FORM

Also called a simple rondo
Has a basic A B A C A design
Similar to five-part form, but rondo

usually consist of 2 or more

sentences
Parts or themes in a rondo are
generally larger than a single
sentence represented in diagrams by
roman numerals.

Simple Rondo Diagram:

A
B
A
C
A

Theme
Theme
Theme
Theme
Theme

IRondo theme
II Subordinate theme I
IRondo theme
III Subordinate theme III
IRondo theme

Letters represents sentences and parts with

SENTENCE function
All statements of the rondo theme traditionally
are in the tonic key
Themes II and III in different related keys

SYMPHONY NO. 2 IN D (1877)

3. Allegretto Grazioso
Johannes Brahms
(1833-1897)

Five-part rondo form

Theme I (rondo theme), ternary,
moderate
A Melody in oboe begins with motive
B Motive inverted, rhythmically, altered,
and leap filled in
A Return altered and abbreviated

SYMPHONY NO. 2 IN D (1877)

3. Allegretto Grazioso
Johannes Brahms
(1833-1897)
Theme II, ternary, fast 2/4
A Motive in violins, soft and staccato
B Motive inverted, new rhythm, loud and vigorous
A Motive, first in strings and then in woodwinds, serves as return of A
Transition with strings and woodwinds sounding antiphonally
Theme I (rondo theme) one part, moderate
AReduced to two similar phrases
Transition based on new form of motive leads to faster tempo
Theme III, 3 parts, structure closely parallel of theme II, fast 3/8
A Motive in woodwinds, soft and staccato
B Like II-B, except for 3/8 meter. Loud and vigorous
C Like II-A (not III-A) except for 3/8 meter
Transition similar to that following theme II
Theme I (rondo theme) Ternary, moderato
A Melody in violins
B Essentially as before except for scoring
A As before
Coda with one final reference to the motive

SEVEN-PART RONDO FORM

Is also known as rondo-sonata form and

sonata-rondo form because it has features in

common with sonata form
Compositions and movements that are labelled rondo

by the composer usually have seven parts

Theoretically have two more parts than 5-part rondos

but have the same number of themes

The two additional parts come from a return of theme II

(subordinate theme I) transposed to the key of the

rondo theme, and an extra statement of the rondo
theme
Final statement of the rondo theme is usually merged

with the coda.

Basic plan of seven-part rondo

form:
A Theme I (rondo theme), tonic key
B Theme II (subordinate theme I) related key
A Theme I (rondo theme), tonic key
C Theme III (subordinate theme II), new key or

keys, sometimes replaced by a development

section
A Theme I (rondo theme), tonic key
BTheme II (subordinate theme I), transposed
to the key of theme I, tonic
A Theme I (rondo theme) this return usually
incorporated in coda, tonic key

 Seven-part rondos is frequently used

for final movements of sonatas and

concertos, less frequently for the
final movements of symphonies and
chamber works such as string
quartets.

PIANO SONATA NO. 2 IN A (1795)

4. Rondo: Grazioso
Ludwig van Beethoven

Seven-part rondo form

Theme I (rondo theme), ternary
A Soaring figure begins both phrases of this sentence
B Contrasting phrase
A Reduces to a phrase
Transition, running figures modulate to dominant key

Theme II, one-part

A extended sentence in the dominant key
Transition, undulating figure in low register

Theme I (rondo theme), ternary

A slightly embellished
B as before
A as before

PIANO SONATA NO. 2 IN A (1795)

4. Rondo: Grazioso
Ludwig van Beethoven
Theme III , ternary

A loud and vigorous, starts in parallel minor key and modulates to its

relative major
A repeated
B continues style of preceding sentence
A modified and shortened version of A
B same mat. As before, but now the style is soft and smooth
A partial return which dissolves into..
Transition, single descending line leads to return of..

Theme I, (rondo theme) ternary

A w/ additional embellishment
B embellished
A soaring figure filled in but otherwise as before
Transition, same material as first statement of rondo theme but did not

modulate

Theme II, one-part

A

transposed to the tonic key but otherwise essentially as before

Theme I, (rondo theme) and coda merged

PIANO SONATA NO. 2 IN A (1795)

4. Rondo: Grazioso
Ludwig van Beethoven

SONATA FORM
Sonata simply means a sound

piece which was played, as opposed

to a cantata which was sung
Sonata used to designate:
(a) a multimovement work for one or two

instruments
(b) a specific plan of musical
organization within one continuous unit

 Sonata form a specific plan of

musical organization with one

continuous unit
Sonata form, just like most musical

forms, evolved over an extended

period, borrowing elements from
existing forms, modifying, and
adding to them
Emerged as a distinct form around
the middle of 18th century
General use by 1780

 Sonata form is ideally suited to the

requirements of the classic era and

readily adaptable to the changing
styles of subsequent periods
Sonata form seem to have evolved
from binary form, but its broad
outline is essentially ternary.

Three Sections of Sonata Form

1.Exposition the

presentation
2.Development the
working out
3.Recapitulation the
return (or summary of the
theme)

Exposition
At least two and generally three thematic ideas

are stated
First theme - the principal theme
: commonly but not invariably dramatic and masculine in
nature

Second theme - the subordinate theme

Lyric and feminine

Closing theme a little more than a series of

cadential formulas bringing the exposition to a close

or,
Maybe a group of thematic ideas equal in scope and
importance to the first two themes
When the closing theme has distinct parts, it may be
called a closing group

Development section
Concerned with combining the

themes, placing them in new keys

and settings, manipulating them, and
working them up to a climax.

Recapitulation
Readily recognizable versions of the three

themes return in their original order

The significant difference between the
recapitulation and exposition is in the keys
of the second and third themes
A transition following the first theme in
the exposition modulates to the new key
of the second theme, and or that point on
the tonic key is avoided until the
recapitulation

Recapitulation
The beginning of the recapitulation is

signalled by the obvious return of the

first theme in the tonic key
The tonality is essentially tonic
throughout the recapitulation with
the 2nd and 3rd themes transposed
and transitions adjusted as
necessary

 A coda which may amount to a

second development section

customarily follows the recapitulation
First movements in sonata form
frequently have an introduction

PIANO SONATA NO. 8 (1799)

1. Grave Allegro di molto e con brio
Ludwig van Beethoven (17701827)

Sonata Form
Introduction

Slow tempo, somber mood

Exposition
Principal theme (I)
Transition
Subordinate Theme (II)
Closing theme (III)
ABC

PIANO SONATA NO. 8 (1799)

1. Grave Allegro di molto e con brio
Ludwig van Beethoven (17701827)

Development
Section 1

Brief return to tempo and Material of intro.

Section 2
Fast tempo, principal theme developed to a
climax

Transition
Rapid single line

PIANO SONATA NO. 8 (1799)

1. Grave Allegro di molto e con brio
Ludwig van Beethoven (17701827)

Recapitulation
Principal theme (I)
Transition
Subordinate theme (II)
Closing theme (III)

Coda
Section 1
Section 2

PIANO SONATA NO. 8 (1799)

1. Grave Allegro di molto e con brio
Ludwig van Beethoven (17701827)

The design of Sonata Form

Many details can be varied without destroying the identity

or the logic of the plan

A theme may consist of a single idea, a group of related
ideas, or small form
Transitions may be as attractive and imaginative as the
themes
Repeat signs are no longer written at the end of expositions
older works are not always observed in modern
performances
New material may be introduced in the development
section, or the development section can be omitted
The form is abridged and the exposition is followed
immediately by the recapitulation
In recapitulation, order and tonality of the themes may be
changed.

PIANO CONCERTO NO. 27 (1791)

1. Allegro
Wolfgang Amadeus Mozart (1756-1791)

Standardized modification of sonata

form
It has a DOUBLE EXPOSITION
Cadenza an improvisatory passage
typically found in concertos
- Passage for solo instrument
unaccompanied
No coda; movement usually ends
summarily after the cadenza

PIANO CONCERTO NO. 27 (1791)

1. Allegro
Wolfgang Amadeus Mozart (1756-1791)

Sonata form, Double Exposition

Exposition I
Orchestra, tonic key

Exposition II
Piano and orchestra, usual sonata form key relationships

Development
Piano and orchestra, typical developmental procedures

Recapitulation
Piano and orchestra, tonic key as usual in the form

Cadenza
Piano, brilliant passage work using thematic elements

Coda
Orchestra

PIANO CONCERTO NO. 27 (1791)

1. Allegro
Wolfgang Amadeus Mozart (1756-1791)

 In 20th century examples of Sonata

form, the order of the themes in the

recapitulation sometimes differs from
that of the exposition; order of
themes may be reversed, producing
an A-B-C-development-C-B-A design
This form is regarded as a
modification of sonata form, or arch
form or bow form
Arch forms also exist with middle
theme in place of the development
section with just five parts, A-B-C-B-A

LARGE HOMOPHONIC FORMS

Rondo forms
Old Rondo form
Five-part rondo form
Seven-part rondo form

Sonata form
Exposition, Development, Recapitulation
Intro., Development, Recap., Coda
Exposition, Development, Recap.,
Cadenza, Coda

Suggested Additional
Examples
Old Rondo Form
F. Couperin: Pieces de Clavecin, Fifth Ordre
La Bandoline (AA BA CA BA)

Five part rondo form

Beethoven: Bagatelle in A minor, Fur Elise

Seven part rondo form

Beethoven: Violin Concerto in D, op 61

Sonata form
Mozart: Le Nozze di Figaro (The marriage of
Figaro) K. 492
Overture (without development)