Part III (13-16), phrase.

_Transition_, period-form (17-26), leading into the new key.

_First Sub. Theme_, period, Antecedent (27-32), Consequent (33-39).

_Re-transition_ (40).

_Principal Theme_, as before, (41-56). This ends the EXPOSITION.

_Second Sub. Theme_, Part I (57-66), period, literal repetition. Part II (67-74) period-form. Part III (75-79) phrase.

Parts II and III repeated (80-92); the process of _re-transition_ begins one measure earlier (91), and is pursued to measure 99.

The RECAPITULATION begins in the next measure with the

_Principal Theme_, as before, slightly modified (100-115).

_Transition_, as before, slightly abbreviated (116-123).

_First Subordinate Theme_, as before, but transposed to the principal key, A major, and somewhat modified (124-135).

_Principal Theme_ begins in measure 135, where the preceding theme ends; consequently, there is an Elision. In measure 140 it is dissolved into the

_Coda_: Section 1 (to measure 148).

Section 2 (149-160).

Section 3 (161-172).

Section 4 (173-180).

Section 5 (to end).

LESSON 15.--Analyze the following examples, as usual. They represent chiefly the Third Rondo-form, but _one example each_ of the First and Second Rondo-forms have been introduced, to stimulate the vigilance of the student. Review the directions given in Lesson 13:

Beethoven, pianoforte sonatas: op. 26, last movement, (very concise, but a perfect model of the form).

Op. 28, last movement.

Op. 7, last movement.

Op. 2, No. 3, last movement.

Op. 13, last movement.

Op. 22, last movement.

Op. 14, No. 1, last movement.

Op. 31, No. 1, _Adagio_.

Beethoven, _Rondos_ for pianoforte, op. 51, No. 1; and op. 51, No. 2.

Mozart, pianoforte sonata, No. 4, last movement; No. 3, last movement.