key.
An additional coda is, as usual, likely to appear at the end.
This diagram should be very carefully compared with that of the Third Rondo-form on page 119, and the points both of agreement and dissimilarity noted.

More minute details of the Sonatine form will be given in the next chapter, in connection with the larger and more fully developed Sonata-allegro form.
An illustration of the Sonatine-form will be found in Mozart, 6th pianoforte sonata, _adagio_.

Number the measures, as usual, and analyze with reference to the indications given; the figures in parenthesis again denote the measures.
_Principal Theme_, B-flat major, period-form,--possibly double-period, because of the slow tempo and large measures (1-8).

There is no Transition.
_Subordinate Theme_, F major, period-form, extended.

Antecedent (9-12); consequent, very similar (13-16); extension by addition of new phrase, as in the group-form (16 1/2-19).
_Codetta_, also in F major, very brief, only one-half measure, and repeated as usual (19 1/2-20).