Codetta

A concluding section (called codetta if small, coda if more elaborate) often follows, after a decided perfect cadence in the original key has definitely concluded the Part. ❋ Percy Goetschius (1898)

This design is very broad; each factor is expanded to its fullest legitimate extent, especially the "codetta" section. ❋ Percy Goetschius (1898)

-- The presentation of the thematic factors, the statement or Exposition of the two themes and codetta, is made exactly as in the sonatine-form, though probably upon a broader scale. ❋ Percy Goetschius (1898)

Further, when the design is one of unusual breadth, as in some symphonic movements, or in elaborate chamber music, the number of fundamental thematic members may be so multiplied that it is necessary to assume the presence of _two successive Subordinate themes_, of equal independent significance, -- such significance that neither of them could be confounded with a mere codetta, or any other inferior thematic member. ❋ Percy Goetschius (1898)

The simple phrase may, also, find occasional application in brief exercises for song or piano; and we have witnessed its use as introduction, and as codetta, in many of the larger designs. ❋ Percy Goetschius (1898)

Possibly a few Possibly a brief abbreviated. beats or measures codetta; and of transitional usually a few material, leading measures of into next theme. ❋ Percy Goetschius (1898)

The last four measures are codetta, or postlude, and corroborate the prélude. ❋ Percy Goetschius (1898)

It might, it is true, be called the second Part of the Subordinate theme (the latter being no more than a repeated period); or it might be regarded as the first codetta; its thematic independence seems, however, to stamp it Second Subordinate theme. ❋ Percy Goetschius (1898)

III, by deciding whether a codetta or coda has been added. ❋ Percy Goetschius (1898)

The addition of a codetta is almost indispensable, and frequently two or more appear, growing successively shorter, and generally repeated. ❋ Percy Goetschius (1898)

Part, _so expanded as to comprise the two themes and codetta_, fused into one larger division; the "statement" of a more comprehensive thematic group than the ordinary Part contains, but no more, for all that, than the usual initial "statement." ❋ Percy Goetschius (1898)

And a codetta or coda is sometimes added to the whole. ❋ Percy Goetschius (1898)

_Principal Theme, Codetta I, Subordinate Theme, Codetta II_; that is, the first codetta appears before, instead of after, the Subordinate theme. ❋ Percy Goetschius (1898)

Ildebrando Pizzetti, and throughout this piece Castelnuovo-Tedesco quotes little snippets of Pizzetti's music that are increasingly sad and solemn, but at the end he writes a very fond little codetta that sort of pokes fun at Pizzetti. ❋ Unknown (2009)

(scarcely to be called a Return) in the _last two measures_, -- which are, strictly speaking, no more than a codetta. ❋ Percy Goetschius (1898)

_excepting the necessary change of key in the Subordinate theme and codetta_, and such modification of the transitional section as may be thereby involved. ❋ Percy Goetschius (1898)