MUSICAL COMPOSITION

88 MUSICAL COMPOSITIONBars.213-219. = 82-88. As on the first occasion the dominant let!back to the tonic, here the tonic leads on to thesubdominant (A flat), in which key the coda properbegins.220-225. The first subject, A and B only, with chromatic modu-225-229. lations. The last two chords only of B, treated inribattuta, and continuing the chromatic modulation.230-233. B twice repeated and completing the modulationback to E flat.234-236. C and the connecting scale of bars 8 and 9, butchromatic throughout, and written in more rapid notes.237-241. A and B as at the beginning.242, 243. The last two chords of B repeated twice.244, 245. A brilliant passage, preserving the chromatic characterof the coda, and finally clamping the modulationand fixing its finish in the tonic.246-253. The final passage; bars 246-249 are founded onbars 25-28 of the first episode, but treated in imitation,and varied as well, the closing passage being thebroken arpeggio from the same source and relatedin shape to that at bars 72-75.If this analysis is carefully followed, it will beespecially noticeable that there is not one single barof "padding." All the figures and passages have alogical origin in some detail of the themes. When thestudent writes a movement upon this or any othermodel, he had better work in another key, and inanother tempo, t instead of t, or ! instead of t; andif he adopts a minor mode for the copy of a modelin the major mode, he will, of course, vary his contrastedkeys accordingly. His rough rules in choosingthis particular sonata (which he can afterwards modifyto suit to any other model which he takes) are: