1. Introduction to Music: Musical Forms & Styles
Instructor: Anthony Johnson
Course: Music 100

2. Musical Form
Rondo Form- Rondo, and its French equivalent rondeau, is a word that has been used in music in a number of ways, most often in reference to a musical form, but also to a character-type that is distinct from the form.
Rondo form -- Rondo types are considered expanded versions of ternary form in which:
There are often more than one contrasting section (C, D, etc. in addition to B)alternating with the A section.
The contrasting sections have greater autonomy in harmony and sometimes in melody.
style usually, although NOT ALWAYS, plays a greater role; the rondo being associated with the last movement of Classical period works has a light, cheerful character – there are, too, instances of rondo types being more “profound” in character.

3. Musical Form The Basic Types of Rondo
First Rondo --- ABA (ternary form itself)
Second Rondo or Small Rondo --- A B A B A OR xA B A C A
Third Rondo or Classical Rondo --- A B A C A B A
Sonata Rondo --- same as classical rondo but with the C section being development section.

4. Musical Form Rondo Section Characteristics:
A Sections (sometimes referred to as the “Refrain”) usually are highly memorable and melodious, are in the tonic key, and are harmonically closed. Exceptions to this may involve modulatory changes towards the end of A sections other than the first one. Typically, the first A section is closed and the others are closed also but often modulate.
B, C, etc. Sections (sometimes referred to as “Couplets” or “Episodes”) may be autonomous thematically or derived from the thematic material (highly varied) from the A section, are in keys other than the tonic, and are harmonically open. They are often concluded concluded with a transition back to the tonic key, preparing the return of the following A section.
C sections are usually the largest single section of the Classical Rondo, involving more development of the original motive material, often with a change of key signature and/or tempo.

5. Musical Form The Baroque Rondeau Form
An A B A C A D A form that is often only written out as A B C D, it being understood that the A sections are to be placed between the contrasting sections. There is less continuity between sections than in the Classic period Rondo owing to more complete cadences at the end of each sections as well as (frequently) even greater autonomy of melodic  material between sections.

6. Musical Form The Rondo after Classic Period: Sonata Rondo Form
Rarer in the Romantic period, at which time the form was considered stale, it is to be found most often in the Sonata Rondo hybrid form and in the works of the “classical”
Sonata Rondo Form
Sonata-rondo is like RONDO in that it has clearly defined, dance-like sections, but it usually has transitions joining the sections. And the second theme, B, occurs twice, so it is called a second subject, instead of an episode. Sonata-rondo is A B A CAB A, whereas rondo is A B A C A.
Sonata Form-a musical structure consisting of an expanded ternary form whose three sections (exposition, development, and recapitulation), followed by a coda, are characteristic of the first movement in a sonata, symphony, string quartet, concerto, etc.
Coda-a term used in music in a number of different senses, primarily to designate a passage that brings a piece (or a movement) to an end. Technically, it is an expanded cadence. It may be as simple as a few measures, or as complex as an entire section.

7. Musical Form Further Reading
Although now called rondo form, the form started off in the Baroque period as the ritornello, from the Italian word ritornare meaning "to return" - indicating the return to the original theme or motif ("A"). The typical Baroque ritornello pattern is ABACABA. Although there are a few differences, some people use the two terms, rondo and ritornello, interchangeably. In rondo form, a principal theme (sometimes called the "refrain") alternates with one or more contrasting themes, generally called "episodes," but also occasionally referred to as "digressions" or "couplets." Possible patterns in the Classical period include: ABA, ABACA, or ABACADA. The number of themes can vary from piece to piece, and the recurring element is sometimes embellished or shortened in order to provide for variation.

8. Musical Form Further Reading Cont.
The form began to be commonly used during Classical period, though it can be found in earlier works. In the Classical and Romantic periods it was often used for the last movement of a sonata, symphony, concerto or piece of chamber music. The Baroque predecessor to the rondo was the ritornello. Ritornello form was used in the fast movements of baroque concertos. The entire orchestra (in Italian, "tutti") plays the main ritornello theme, while soloists play the intervening episodes. But ritornello does differ slightly from other rondos in that the theme is often different when it recurs but is always distinguishable as the same theme.
A common expansion of rondo form is to combine it with sonata form, to create the sonata rondo form. Here, the second theme acts in a similar way to the second theme group in sonata form by appearing first in a key other than the tonic and later being repeated in the tonic key. Unlike sonata form, thematic development does not need to occur except possibly in the coda.

9. Musical Form Further Reading Cont.
 Rondo as a character-type (as distinct from the form) refers to music that is fast and vivacious—normally allegro. Many classical rondos feature music of a popular or folk character. Music that has been designated as "rondo" normally subscribes to both the form and character. On the other hand, there are many examples of slow and reflective works that are rondo in form but not in character.

10. Questions & Disscussion
1-A common expansion of rondo form is to combine it with sonata form is called
Sonata Rondo Form
2-This form often consists of more than one contrasting section (C, D, etc. in addition to B)alternating with the A section.
Rondo
3-The section of the Rondo form that is usually the largest single section of the Classical Rondo, This section involves the development of the original motive material, often with a change of key signature and/or tempo.
C section
4-A musical structure consisting of an expanded ternary form having three sections and a coda.
Sonata Form
5-Define Rondo as a character type:
It is in the further reading section.