by Beethoven that it was the real glory of the whole movement.
In fact so many eloquent treatments of the main material were
reserved for the Coda that it often became aseconddevelop-
ment; and such was its scope that the form may be considered
to havefourparts instead of three,i.e., 1, Exposition, 2, De-
velopment, 3, Recapitulation, 4, Coda; parts 4 and 2 balancing
each other in the same way as 3 and 1. For two of the most
famous examples in all Beethoven literature see the Codas to
the First movement of theThird Symphony and to the Finale
of theEighth.
We now present a tabular view of the Sonata-Form summing up
the features just commented upon.