(1) Rondo III is an interesting work in which Savage unexpectantly varies and weaves
musical ideas and motifs. The rondo form is standard with an eight measure
rondo theme in C major alternating with the usual "B," "C" and "D" sections.
When she returns to the rondo theme, she varies it by changing the range and
articulation. For instance, the range of "A1" in is the opposite to the
original rondo theme. "A2" is almost the same as "A," with the exception of
minor articulation changes and a chord position in measure 36. The final
statement of the rondo theme concludes with a half cadence (V-vi) which leads
to the coda. The coda is just an extension based on a perfect authentic
cadence in C major
(2) Each section that alternates with the rondo theme gets increasingly complex.
Although the "B" section (mm. 9 to 16) remains in C major, there is a hint of D
minor in measure 11 to 12. She repeats the same motif in the home key and
concludes the section with a German 6 half cadence. Savage changes key in the
"C" section to C minor notated with a key signature (mm. 25 to 32). This
section concludes with a perfect authentic cadence.
(3) The "D" section acts like a development section in various ways (mm. 41-56).
For instance, after returning to the original key in the rondo theme, Savage
subtly changes key using secondary dominants of IV and V in measures 41 to 44.
Then she creates tension by suspending a G# over a F chord. She varies a
musical idea in a imitative sequential manner that enables her to move from
G minor to F minor. A cadenza built on G7 reinforces the return to the home
key of C major.