Chart II
Rondos and Their Conventional Form:
Motive Development and the Musical Narrative


by Nadine Burke

 

A textual description of a typical rondo is given in Chart I - "Rondos I, III and V", Opus 3 by Jane Savage: Similarities and Differences and in William Renwick's Appendix: Rondo and Ritornello Forms in Tonal Music. Using these outlines, I created a pictorial chart that depicts these characteristics. In the Rondo Theme (A), I chose darker shades of yellow to indicate the cadential regions, and repeated the lighter shades to show the antecedent and consequent phrases. I used different colours to show how the episodes and the coda are supposed to be different from the rondo theme. As well, the second episode (C) is longer because of its developmental characteristics. Resources do not reveal the usual length: I chose sixteen measures since that appeared to be the longest length in Jane Savage's rondos (i.e. "Rondo I" and "III"). I am not sure what the typical length is for the coda; I chose eight measures to use as an example.

 

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A - melody

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A - harmony

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

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B - melody

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

B - harmony

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

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C - Melody

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

C - Harmony

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

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D - melody

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

D - harmony

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Coda - melody

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Coda - harmony

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Copyright 2001 by Nadine J-M. Burke