Music 395—Worksheet 5              Name:

Rondo Form

Due Date: Monday, March 15, 2004

Readings—

• Green, Form in Tonal Music
• Chapter 9: The Rondo, pp. 153-166
• Chapter 13: The Concerto, pp. 234-240, 250-253

Score Analysis

Haydn, String Quartet in E-flat Major, Op. 33 no. 2: mvmt. iv (Norton Anthology of Western Music, Vol. 2, pp. 141-146)

1. Identify the key of the theme (write it just below the timeline in m. 1).
2. Look at the phrase relationships in this work. (Which makes more sense here, 4- or 8-measure phrases?) On the timeline, identify the cadences at the end of each phrase (key and cadence type!).
3. Now look at the phrase groupings in this work—the next level up. Draw arches on the timeline to show each phrase grouping. Provide labels for each arch that indicate whether each grouping is a period, phrase group, phrase chain, or double period. Also indicate whether the grouping is parallel or contrasting, and symmetrical or asymmetrical.

Timeline

|___|___|___|___|_5_|___|___|___:||:___|_10_|___|___|___|___|_15_|___|___|___|___|_20_|

Key:
 

|___|___|___|___|_25_|___|___|____|_30_|___|___|___|___|_35_|_36_:||
 

Now answer this question about the rondo theme for this work.

1. What is the structural type of this rondo theme (binary, rounded binary, etc.)? Explain.

Next, look at the entire movement and write in the following items on the timeline below.

1. Identify the key of the piece (write it just below the timeline in m. 1).
2. Determine where each major section of this rondo form movement begins and ends. Draw arches on the timeline to show these, and give each section a letter (A, A’, B, etc.) to show how these sections relate to each other.
3. Identify the cadence at the end of each major section (key and cadence type!).

Timeline

|___|___|___|___|_5_|___|___|___:||:___|_10_|___|___|___|___|_15_|___|___|___|___|_20_|

Key:
 

|___|___|___|___|_25_|___|___|___|___|_30_|___|___|___|___|_35_|___:||___|___|___|_40_|

|___|___|___|___|_45_|___|___|___|___|_50_|___|___|___|___|_55_|___|___|___|___|_60_|

|___|___|___|___|_65_|___|___|___|___|_70_|___|___|___|___|_75_|___|___|___|___|_80_|

|___|___|___|___|_85_|___|___|___|___|_90_|___|___|___|___|_95_|___|___|___|___|_100_|

|___|___|___|___|_105_|___|___|___|___|_110_|___|___|___|___|_115_|___|___|___|___|_120_|

|___|___|___|___|_125_|___|___|___|___|_130_|___|___|___|___|_135_|___|___|___|___|_140_|

|___|___|___|___|_145_|___|___|___|___|_150_|___|___|___|___|_155_|___|___|___|___|_160_|

|___|___|___|___|_165_|___|___|___|___|_170_|___|_172_||

Now answer these questions about this rondo form work, looking only at the largest sections of this movement. IMPORTANT NOTE to those of you using the NAWM scores: the outline on p. 147 is very useful, but it contains at least one MAJOR mistake, and there is no reason to assume you must agree with Palisca’s analysis of the ending!

1. Is the rondo theme (refrain) identical every time we hear it? How does each later statement (the ones that come somewhere after m. 36) compare with the original rondo theme statement (mm. 1-36)?
2. Answer the following questions about each episode in this work (anything that’s not A).
• Does it begin and end in the same key? How do these keys relate to the key of the refrain?
• Does it have its own theme or does it develop A material?
• How would you describe the “connection” between each episode and the refrain that precedes it? and the refrain that follows it? Why or why not?
3. Does each episode end with a half cadence to prepares for the return of the refrain (and the tonic)?
4. Are the episodes similar to each other or different? Explain.
5. Write a short paragraph that describes how the organization of and relationship between major sections demonstrate the essential features of rondo form.

Return to top

Suggested Recordings—

• MCD N882 v. 2: CD8, tracks 1-6 (on RESERVE for Music 344)

Created 3/04/04 by Mark Harbold—last updated 3/08/04.