There are several factors that can make it difficult to identify a rondo form in “real world” musical examples. First, the contrasting episodes do not always have to be the same length as the main recurring theme. They don’t even have to be the same length as each other. The “B” section (for example) could be half the length of the “C” section. In addition, the main recurring theme can sometimes be embellished or shortened when it is restated.
The key to identifying the sections of a rondo form is in first identifying each area where the recurring theme is stated. Since this sections repeats throughout the form, it is the easiest to recognize. Once each statement of the main theme is located the boundaries of the form can be established. The material between each statement of the recurring theme is obviously the contrasting episodes.
We will be studying Mozart’s piano sonata No. 3 (K 545 3rd movement) as our musical example of a rondo form.
This Learning Music With Ray video discusses rondo form. In it, I discuss the meaning and aspects of rondo form as they relate to musical form. I then analyze a piece of music that is written in form. In this stage of the lesson I review the components of this type of form, and the ways to identify them in the musical example.