Simple form of rondo. Rondo in music. Rondo in the works of C. F. E. Bach

ital. rondo, French rondeau, from rond - circle

One of the most widespread musical forms that has passed a long way of historical development. It is based on the principle of alternating the main, unchanging theme - the refrain and constantly updated episodes. The term "refrain" is equivalent to the term chorus. A song of the chorus-chorus type, in the text of which a constantly updated chorus is compared with a stable chorus, is one of the sources of the R form. This general scheme is implemented differently in each era.

In the old, belonging to the preclassic. In the era of R. samples, episodes, as a rule, did not represent new topics, but were based on music. refrain material. Therefore, R. was then one-dark. In decomp. styles and national cultures had their own norms of comparison and interconnection otd. parts R.

Franz. harpsichordists (F. Couperin, J. F. Rameau, and others) wrote small pieces in the form of R. with program headings (Cuckoo by Daquin, Reapers by Couperin). The theme of the refrain, stated at the beginning, was reproduced in them further in the same key and without any changes. The episodes that sounded between its performances were called "verses". Their number was very different - from two ("Grape Pickers" Couperin) to nine ("Passacaglia" by the same author). In form, the refrain was a square period of repeated structure (sometimes repeated in its entirety after the first performance). The couplets were stated in the keys of the first degree of kinship (the latter sometimes in the main key) and had a middle developmental character. Sometimes they also included refrain themes in a non-main key ("Cuckoo" by Daken). In some cases, new motifs arose in couplets, which, however, did not form independent ones. those ("Beloved" Couperin). The size of couplets could be unstable. In many cases, it gradually increased, which was combined with the development of one of the expressions. means, most often rhythm. Thus, the inviolability, stability, stability of the music presented in the refrain was set off by the mobility, instability of couplets.

Close to this interpretation of the form are a few. rondo J.S. Bach (for example, in the 2nd suite for orchestra).

In some samples R. ital. composers, for example. G. Sammartini, the refrain was performed in different keys. The rondos of F. E. Bach adjoined the same type. The appearance of distant tonalities, and sometimes even new themes, was sometimes combined in them with the appearance of a figurative contrast even during the development of the main. Topics; thanks to this, R. went beyond the ancient standard norms of this form.

In the works of the Viennese classics (J. Haydn, W. A. Mozart, L. Beethoven), R., like other forms based on homophonic harmonic. music thinking, acquires the most clear, strictly ordered character. R. they have a typical form of the finale of the sonata-symphony. cycle and outside of it as independent. the piece is much rarer (W. A. Mozart, Rondo a-moll for piano, K.-V. 511). The general character of R.'s music was determined by the laws of the cycle, the finale of which was written at a lively pace in that era and was associated with the music of the Nar. song and dance character. This affects the thematic R. Viennese classics and at the same time. defines significant compositional innovation - thematic. the contrast between the refrain and episodes, the number of which becomes minimal (two, rarely three). The decrease in the number of parts of the river is compensated by an increase in their length and greater internal space. development. For the refrain, a simple 2- or 3-part form becomes typical. When repeated, the refrain is carried out in the same key, but is often subject to variation; at the same time, its form can also be reduced to a period.

New patterns are also established in the construction and placement of episodes. The degree of contrasting episodes to the refrain increases. The first episode, gravitating towards the dominant tonality, is close to the middle of the simple form in terms of the degree of contrast, although in many cases it is written in a clear form - period, simple 2- or 3-part. The second episode, gravitating towards the eponymous or subdominant tonality, is close in contrast to a trio of a complex 3-part form with its clear compositional structure. Between the refrain and episodes, as a rule, there are connecting constructions, the purpose of which is to ensure the continuity of the muses. development. Only in some transitional moments, ligaments may be absent - most often before the second episode. This emphasizes the strength of the resulting contrast and is in line with the compositional trend, according to which a new contrast material is introduced directly. comparisons, and the return to the initial material is carried out in the process of a smooth transition. Therefore, links between the episode and the refrain are almost obligatory.

In connecting constructions, as a rule, thematic is used. refrain or episode material. In many cases, especially before the return of the refrain, the link ends with a dominant predicate, creating a feeling of intense expectation. Due to this, the appearance of a refrain is perceived as a necessity, which contributes to the plasticity and organicity of the form as a whole, its circular movement. The r. is usually crowned with an extended coda. Its importance is due to two reasons. The first is related to internal the development of R. himself - two contrasting comparisons require generalization. Therefore, in the final section, it is possible, as it were, to move by inertia, which boils down to the alternation of a code refrain and a code episode. One of the signs of the code is in R. - the so-called. "farewell roll calls" - intonation dialogues of two extreme registers. The second reason is that R. is the final of the cycle, and R.'s code completes the development of the entire cycle.

R. of the post-Beethoven period is characterized by new features. Still used as a form of the finale of the sonata cycle, R. is more often used as an independent form. plays. In the work of R. Schumann, a special version of the multi-dark R. appears ("kaleidoscopic R." - according to G. L. Catuar), in which the role of ligaments is significantly reduced - they may be absent altogether. In this case (for example, in the 1st part of the Vienna Carnival), the form of the play approaches the suite of miniatures beloved by Schumann, sealed by the performance of the first of them. Schumann and other masters of the 19th century. R.'s compositional and tonal plans become freer. The refrain can also be performed not in the main key; one of his performances happens to be released, in which case the two episodes immediately follow each other; the number of episodes is not limited; there can be a lot of them.

R.'s form also penetrates the wok. genres - opera aria (Farlaf's rondo from the opera "Ruslan and Lyudmila"), romance ("The Sleeping Princess" by Borodin). Quite often entire operatic scenes also represent a rondo-shaped composition (the beginning of the 4th scene of the opera "Sadko" by Rimsky-Korsakov). In the 20th century a rondo-shaped structure is also found in otd. episodes of ballet music (for example, in the 4th scene of Stravinsky's Petrushka).

The principle underlying R. can receive a freer and more flexible refraction in many ways. rondo-shaped. Among them is a double 3-part form. It is a development in breadth of a simple 3-part form with a developing or thematically contrasting middle. Its essence lies in the fact that after the completion of the reprise, there is another - the second - the middle and then the second reprise. The material of the second middle is one or another variant of the first, which is either performed in a different key, or with some other creature. change. In the developing middle, in its second implementation, new motive-thematic approaches may also arise. education. When contrasting - creatures are possible. thematic transformation (F. Chopin, Nocturne Des-dur, op. 27 No 2). The form as a whole can be subject to a single end-to-end variational-dynamizing principle of development, due to which both reprises of the main. themes are also subject to significant changes. A similar introduction of the third middle and the third reprise creates a triple 3-part form. These rondo-shaped forms were widely used by F. Liszt in his fi. plays (an example of a double 3-part - Petrarch's Sonnet No. 123, a triple - "Campanella"). The forms with a refrain also belong to the rondo-shaped forms. Unlike the normative r., the refrain and its repetitions make up even sections in them, in connection with which they are called "even rondos". Their scheme is a b with b a b, where b is a refrain. This is how a simple 3-part form with a chorus is built (F. Chopin, Seventh Waltz), a complex 3-part form with a chorus (W. A. Mozart, Rondo alla turca from sonata for piano A-dur, K.-V. 331) . This kind of chorus can occur in any other form.

V. P. Bobrovsky

A small rondo is a rondo with one or two themes and moves between them. Conventionally, a one-dark small rondo is called the first form of rondo (in everyday life the “first rondo”), and a two-dark one is called the second (in everyday life the “second rondo”).

First rondo form

A one-dark rondo consists of a theme, a move, and a repetition of a theme. Both times the theme sounds in the main key. The theme is usually written in a simple two-part or simple three-part form. A move in a small rondo is an unstable construction, first leading away from the main key, and then returning to it.

Second rondo form

A two-dark rondo consists of a main theme (in the main key), a secondary theme (in a secondary key) and a repetition of the main theme in the main key. Between the topics - moves. The move from the main to the side is called the leading one (as a rule, it is small, sometimes it may be completely absent), from the side to the repetition of the main one - the return one (it is usually longer than the leading one).

Distinctive features of the themes and moves of the small rondo

Schematically, the shape of the small rondo resembles a three-part composite form that is simpler in structure. But these are fundamentally different forms:

A compound (complex) three-part form is just a set of two equivalent simple forms that can exist independently: for example, in the traditional version of a complex three-part form of two minuets, each can be performed separately. In the small rondo, there is a hierarchy of themes (the main theme is a secondary one), which is reflected both in the key (the secondary theme is always in the secondary, i.e., not in the main key), and in the structure of the themes (the secondary theme is more loose and blurry, while the main one has more clear construction), and in thematic connections. If, apart from the composite three-part form, it is not possible to distinguish which of the minuets is the first and which is the second, even after special training, then the main and secondary themes of the small rondo differ even outside the actual rondo form.
The form of the small rondo has traditionally been the form of the slow movement (hence the second name of both forms of the small rondo together is the form of Adagio, it is also the form of Andante), while the complex three-part form is the form of the minuet and scherzo. The slow tempo leads to a more complex and thoughtful form, while the scherzo tempo leads to a simpler construction.
The small rondo is a form of a higher class than the composite ones. It assumes, in addition to the presence of modulations (which are absent in compound forms) and the opposition of the main and secondary themes, also a high level of thematic work and, in general, composer work in general.

These differences are reflected in the terminology (instead of "the first part, the second part (trio)", etc. - the main theme, side theme, move) and in signs (instead of the letter designations A B A, indicating the equivalence of sections - separate designations of the topics and moves T → T, indicating the functional difference between the sections).

Differences between the first and second rondo

In real music, the line between the first and second rondos is blurred. A side theme in the second rondo can be so loose that only a four-bar sentence with a half cadence is perceived as a theme, after which the move begins on its own material. At the same time, the move in the first rondo may well strive for some goal in the form of a tonality (like a leading away move), from which it then returns back (like a return move). It turns out that if the move lingers at this point for several cycles, then the form will turn into the second, if it does not linger, it will remain the first.

There are three periods of development of Rondo:

Ш Antique (couplet) rondo;

Sh Rondo of the classical era:

1) Small rondo (one-dark and two-dark).

2) Grand Rondo (regular rondo with repetition of side themes, irregular rondo, sonata form with an episode instead of development.

Ш Postclassical rondo.

Historically, all types of rondo followed each other, making changes in two directions:

1. Figurative-thematic correlation of refrain and episodes;

2. Structural and quantitative.

Therefore, it is more logical (having outlined the historical framework of each of the 3 types of rondo) to give a comparative description, based on the above directions. So the “quality” level of rondo is determined:

· Thematic similarity or contrast of refrain and episodes. Musical thinking evolved from the mono-darkness and imaginative homogeneity of the material in the couplet rondo through the contrasting and shading and complementary relationships of the sections in the classical rondo, and the autonomy and even eclipsing refrain contrast of the episodes in the post-classical rondo. As it turned out, the authority of the refrain of the French and German clavescinists was based on a simple periodical unchanging repetition. The Viennese classics strengthened the meaning of the refrain by contrasting its relationship with various episodes. And the romantics and subsequent composers treated the refrain as a source of a gallery of images and a connecting component of the entire composition, so they allowed a change in the refrain.

· Tonal plan and "junctions" of the episode with the refrain. At the same time, it was the classics who managed to introduce internal movement and a dynamic process (sometimes modest, but in Beethoven it is very embossed). Romantics and other composers of the 19th-20th centuries also used this in their compositions and went further in some ways. As a result, a code was needed.

What is meant by "quantitative" level is:

1. Number of parts;

2. The structure of the refrain and episodes.

Ancient (couplet) rondo

The name comes from the French word Couplet, which was used by composers of the 18th century to mark sections, which we call episodes. The refrain was called "rond" (fr. rondeau; sometimes the form of the couplet rondo, according to the French tradition, is also called "rond", with the accent on the last syllable).

The couplet rondo was one of the favorite forms of French harpsichordists - Chambonière, F. Couperin, Rameau and others. For the most part, these are program pieces, usually miniatures, of a very different nature. These composers also wrote dances in this form. In German Baroque, the rondo is rare. Sometimes it is used in the finals of concerts (J.S. Bach. Violin Concerto E-dur, 3rd movement). In suites, this is often an imitation of the French style (in one way or another) or dances of French origin (J.S. Bach. Passpier from the English Suite e-moll).

The duration of the form is different. The norm is 5 or 7 parts. Minimum - 3 parts (F. Couperin. "Le Dodo, ou L "Amour au berceau"). The maximum known number of parts (in principle for a rondo) is 17 (F. Couperin's Passacaglia).

The refrain sets out the leading (almost always the only one in the whole work) theme, its dominant role is strongly expressed. It is usually written compactly, in a homophonic texture and has a songlike character. In most cases, it is square (including J.S. Bach) and has the shape of a period.

Subsequent refrains are always in the main key. It almost does not change, the only normative change is the refusal to repeat (if it was in the first refrain). Refrain variation is extremely rare.

The verses almost never have new material, they develop the theme of the refrain, emphasizing its stability. In most cases, one of two tendencies takes place: small differences between couplets from each other or purposeful development of couplets, accumulation of movement in the texture.

Classic era rondo

Rondo occupies a large place in the music of the Viennese classics. After F.I. Bach, this form regained balance and harmony. Parts of the classical rondo are strictly regulated, freedom is minimal. Such an understanding of form corresponds to the concept of a harmonious and rationally arranged world common to the classics.

The scope of the rondo during this period is the finals or slow parts of the cycles (that is, parts where stability, completeness is important and there is no conflict). Less common are individual pieces in the form of a rondo (Beethoven. Rondo "Rage over the lost penny").

By the number of topics, a small rondo (1 or 2 topics) and a large rondo (3 topics or more) are distinguished. These types will be listed below. It should be noted that in the European theory of the 19th - early 20th centuries (A.B. Marx and his followers, including Russians), 5 forms of rondo were distinguished. Further, it will be indicated to which form of rondo according to Marx each type corresponds.

Small one-dark rondo

The structure of this type of form has a presentation of a theme and its repetition, connected by a modulating move).

The main quality of this form, which allows it to be classified as a rondo form, is the presence of a move. This form in its pure form is rare, often there is the emergence of new thematic material (and imagery) within the movement, which brings the whole closer to a two-dark rondo.

The theme is usually in a simple two-part form, which determines the independent meaning of the move (and not its middle role), less often a simple three-part or period (in this case, the move has dimensions that are much larger than the theme).

Independent plays in this form are rare.

· L. van Beethoven. Bagatelle, op. 119 (the theme is a simple two-part non-reprise form).

· R. Schumann. Novelette No. 2 in D-dur (the theme is a period, the move takes 74 bars).

Small two-dark rondo

Also called "Adagio form" or "Andante form" - since most of the slow parts of the sonata-symphony cycles of classical composers (traditionally Andante or Adagio) are written in this form.

The two-dark rondo is mainly used in slow lyrical music (slow parts of cycles, nocturnes, romances, etc.) and in lively motor, often genre-dance music (finals of cycles, etudes, individual pieces, etc.).

The main (first) theme is usually written in a simple form, most often in a simple two-part. It is steadily stated in the main key and has a clear cadence.

The second theme in one way or another contrasts with the first and has an independent meaning. According to the theme, it can be a derivative of the main one. In most cases, it is stable, but it can also be unstable. Often the second theme is written in a simple two-part, less often in the form of a period.

Sometimes one of the moves can be skipped (more often - leading away). Moves can have their own thematic material or develop the material of the topic.

· L. van Beethoven. Concerto No. 1 for piano and orchestra, II movement.

· L. van Beethoven. Piano Sonata No. 3 in C major, op. 3, II part.

· W. Mozart. Piano Concerto A-dur (KV 488), II movement.

Grand rondo

Large rondos include forms with three or more themes.

It is customary to divide a large rondo: by the number of topics - into three-dark, four-dark, etc.; according to the correctness of the return of the refrain - to regular and irregular; according to the repeated section - forms are possible where, in addition to the refrain, one of the episodes returns.

A large rondo consists of the same parts as a small rondo - from themes and moves. The characteristics of these sections are the same - the themes are more stable, the moves are less.

An introduction to a large rondo, when it is part of a cycle, is rare, if it exists, then it is small and not independent. On the contrary, in some works, the introduction can grow to a large introduction (Saint-Saens. Introduction and rondo-capriccioso).

The coda is almost always present in the grand rondo. Often it includes the last holding of the main theme.

Grand regular rondo with recurrence of side themes

In this type of rondo, one or more secondary themes (episodes) are repeated - usually transposed, very rarely in the same key. It is used almost exclusively in the finals of sonata-symphony cycles.

Sometimes one of the refrain may be skipped when repeating (Haydn. Symphony No. 101 in D-dur, 4th movement).

The structure of this type of rondo has different, larger proportions. The initial section of the form (ABA) is perceived differently - now it is already a whole expositional section. In most cases, there is no move before the central episode (C) in order to more clearly separate it from the exposition and reprise sections. The contrast between the refrain and the central episode is greater than between the refrain and the first episode - the character often changes (for example, from a moving dance to a singsong and lyrical).

Great irregular rondo

In this type of rondo, the alternation of parts is free, there may be two or more episodes side by side. This form does not have a typical layout. Example: Schubert. Rondo for piano 4 hands e-moll, op. 84 #2.

Sonata form with episode instead of development

This type of form can be interpreted in two ways - both as a kind of rondo and as a mixed form.

It differs from the rondo sonata in the absence of development and in that the main key does not return at the end of the exposition (in the rondo sonata, the second performance of the main part sounds in the main key)

This form has some features of sonata form - a typical sonata exposition and recapitulation. However, it lacks the main section for the sonata form - development, which is replaced by an episode with new thematic material. Therefore, in principle, this form is closer to rondo.

The main scope of this form is the finale of sonata-symphony cycles (for example, the finale of Beethoven's Piano Sonata No. 1).

Postclassical rondo

Rondo in the new conditions has a very diverse application. It can be used more traditionally (the finale of the cycle), or more freely - for example, an independent miniature (some of Chopin's nocturnes - as turning the slow part of the cycle into an independent piece), an independent vocal piece (Borodin. "The Sea"), according to the principle of rondo can be built very large constructions (Introduction from Glinka's "Ruslan and Lyudmila").

The figurative content of the rondo is also changing. Now it can be ecstatic music (The Filthy Dance of Kashcheev's Kingdom from The Firebird, the finale of Stravinsky's The Rite of Spring), dramatic and tragic music (Taneyev, Romance Minuet). Although the traditional lyrical sphere is also preserved (Ravel. "Pavane").

The classical unification of the form disappears, its individualization greatly increases. Two identical designs are rare. Rondo can have any number of parts, not less than five. The refrain can be performed in different keys (which was sometimes already found among the Viennese classics), often there is a violation of the regularity of the parts (2 episodes in a row).

This type of rondo merges with other forms, in particular, with contrast-composite (this is expressed in increased contrast between sections) or suite (formally Mussorgsky's "Pictures at an Exhibition" suite - rondo).

Introduction

1) Purpose of the study- determination of the form of the III part of the sonata A-DurВ.А. Mozart.

A task– Logically analyze the work, study and determine the form of the work.

Research method - work with musical text, study of theoretical scientific literature.

Definition and characterization of form

The basic principle of the rondo. The name "rondo" (circle) is given to the forms where repeated performances of the main theme alternate with episodes. Unlike the two-part, three-part, three-five-part forms, for the rondo the defining feature is neither the total number of parts, nor their internal structure. This sign lies in the arrangement of parts, their specific order. The principle of rondo can be most briefly characterized as follows: the alternation of the different with the unchanging. From this it follows that the parts lying between the passages of the theme must be different every time. It also follows from this that the rondo in its normative form contains a double contrast:

theme and episode

episodes to each other.

The concepts of different and unchanging should be interpreted flexibly, depending on the general nature of the works, on the features of style. What in some cases should be regarded as "different", in other cases functions as essentially unchanged, but subjected to more or less modification.

Like other reprise forms, the rondo is created by the interaction of two principles of shaping - repetition and contrast. But, unlike these forms, both principles operate here repeatedly. Therefore, from the point of view of general principles, rondo should be defined as a series of contrasts, each time closed by repetition, or, conversely, as a repeated restoration of a disturbed balance. It is from here that the opportunity arises to define the rondo as a form where the main theme passes at least three times.

The meaning of the form, embedded in its basic principle, is twofold. It consists, on the one hand, in the insistent affirmation of the main idea - "refrain", and on the other hand, in the consistent introduction of diversity. The variability of the secondary parts sets off the persistence of the main theme; at the same time, the succession of episodes makes a particularly favorable impression against the background of repetitions of the same theme. The form, therefore, is artistically two-faced, and its special aesthetic value lies in the fusion of opposite, but complementary qualities.

The duality of the rondo form can also be described from a procedural point of view: two forces act in the rondo, one of which seeks to move us away from the center in any, non-coinciding directions; another force seeks to bring us back to the unchanging center. Thus, there is a struggle between centrifugal tendencies and centripetal ones, with the successive triumph of one or the other.

Refrain rondo. The refrain deserves special attention. Bringing unity into the form, the refrain, according to Asafiev, is a “mnemonic milestone”, orienting the listener among the diversity. This definition emphasizes not only the constructive, but also the communicative role of the refrain. In the same place, the author points to the opposite functions contained in the refrain - the principle of identity plays not only a unifying, but also a guiding role. "He is both a stimulus and a brake, and a starting point, and a goal of movement." The above formulation is one of the clear manifestations of the dialectical regularity established by Asafiev - the mutual transformations of the initial impulse and closure. Developing this idea, one should note the unique polyfunctionalism inherent in the main theme of the rondo: the refrain is an exceptional case where the musical thought is alternately endowed with initial, intermediate, and final functions. Such a plurality of positions and roles should be reflected in the composition of the refrain. So, it should have the features of "initiativity" (definiteness of the introduction, clearly defined intonations ) and at the same time - completeness (good cadence ending, general predominance of stability, metrical completeness). However, neither should be overemphasized. Otherwise, the refrain will be “one-sided”, which will make it difficult either for the episode to appear or for subsequent introductions of refrains. Polyfunctionalism can be taken into account by the composer either to a lesser or greater extent.

The evolution of the Rondo shape

There are three periods of development of Rondo:

Antique (couplet) rondo;

Classic era rondo:

1) Small rondo (one-dark and two-dark).

2) Grand Rondo (regular rondo with repetition of side themes, irregular rondo, sonata form with an episode instead of development.

Postclassical rondo.

Historically, all types of rondo followed each other, making changes in two directions:

1. Figurative-thematic correlation of refrain and episodes;

2. Structural and quantitative.

What is meant by "quantitative" level is:

1. Number of parts;

2. The structure of the refrain and episodes.

Ancient (couplet) rondo

The couplet rondo was one of the favorite forms of French harpsichordists - Chambonière, F. Couperin, Rameau and others. For the most part, these are program plays, usually miniatures, of a very different nature. These composers also wrote dances in this form. In German Baroque, the rondo is rare. Sometimes it is used in the finals of concerts (J.S. Bach. Violin Concerto E-dur, 3rd movement). In suites, this is often an imitation of the French style (in one way or another) or dances of French origin (J.S. Bach. Passpier from the English Suite e-moll).

The duration of the form is different. The norm is 5 or 7 parts. Minimum - 3 parts (F. Couperin. "Le Dodo, ou L'Amour au berceau"). The maximum known number of parts (in principle, for a rondo) is 17 (F. Couperin's Passacaglia).

Subsequent refrains are always in the main key. It almost does not change, the only normative change is the refusal to repeat (if it was in the first refrain). Refrain variation is extremely rare.

Classic era rondo

Small one-dark rondo

The structure of this type of form has a presentation of a theme and its repetition, connected by a modulating move).

Independent plays in this form are rare.

· L. van Beethoven. Bagatelle, op. 119 (the theme is a simple two-part non-reprise form).

· R. Schumann. Novelette No. 2 in D-dur (the theme is a period, the course takes 74 bars).

rondeau; sometimes the form of the couplet rondo, according to the French tradition, is also called “rondo”, with the accent on the last syllable).

The couplet rondo was one of the favorite forms of French harpsichordists - J. Chambonnière, F. Couperin, J-F. Ramo and others. For the most part, these are program pieces, usually miniatures, of a very different nature. These composers also wrote dances in this form. In German Baroque, the rondo is rare. Sometimes it is used in the finals of concerts (J. S. Bach. Violin Concerto E-dur, 3rd part). In suites, this is often an imitation of the French style (in one way or another) or dances of French origin (J.S. Bach. Paspier from the English Suite e-moll).

The duration of the form is different. The norm is 5 or 7 parts. Minimum - 3 parts (F. Couperin. "Le Dodo, ou L'Amour au berceau" and "Les Barricades Mystérieuses"). The maximum known number of movements (in principle, for a rondo) is 17 (F. Couperin's Passacaglia).

Subsequent refrains are always in the main key. It almost does not change, the only normative change is the refusal to repeat (if it was in the first refrain). Refrain variation is extremely rare.

Old concert form

This form is not one of the rondo forms, although it is based on the same principle. It fundamentally differs from the rondo by very large-scale changes in the first theme (here, the ritornello) during its repeated returns: all of them (except the final one) are transposed, often performed in an abbreviated form. At the same time, the dynamics of development, which is not typical for the rondo, is achieved, sometimes even surpassing the dynamics of the sonata form among the classics.

Rondo in the works of C. F. E. Bach

As an illustration of what has been said, one can cite the scheme of C. F. E. Bach's Rondo in B-dur for clavier. The first line - the type of section (R - refrain, EP - episode), the second - the number of measures, the third - the local form of the section, the fourth - the key of the section, the fifth - the analogy of the sections of the work with the sections of the sonata form (GP - main part, PP - side part ):

EP 1

EP²

EP³

EP 4

EP 5
(EP²)

EP 6

R 1

EP 7
(EP 3, 4)

8+4+8

8+8

4+8

4+4

8+25

8+16+14+19

3 hr.

period

c-B

B-Es

c-e

d-B

(GP)

(PP)

(PP²)

(GP)

(PP²)

Classic era rondo

The layout of this form is as follows:

BUT	-	move	-	B	-	move	-	A
T		→		No		→		T

Such a structure is called odd rondo(according to the number of themes, not counting the moves). Sometimes a work may end with a second theme (B), such a structure is called even rondo:

BUT

move

→

The form can be continued and ended with the main theme:

BUT

move

→

The main (first) theme is usually written in a simple form, most often in a simple two-part. It is sustained in the main key and has a clear cadence.

Sometimes one of the moves can be skipped (more often - leading away). Moves can have their own thematic material or develop the material of the topic.

The scheme of the most common variety is as follows:

BUT

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Key designations are arbitrary (for episodes), although the tonal plan shown in the diagram is more common.

Sometimes one of the repetitions of the refrain may be missed (Haydn. Symphony No. 101 in D-dur, 4th movement).

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