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codetta
‖ codetta Mus. (koˈdɛtta) [Ital., dim. of coda.] A short coda; see also quot. 1869.1869 Ouseley Counterp. xx. 164 Sometimes a few notes are subjoined to the subject, though they do not really form an essential part of it, in order to lead melodiously into the countersubject. Such an interposed passa...
Oxford English Dictionary
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Coda (music)
Codetta
Codetta (Italian for "little tail", the diminutive form) has a similar purpose to the coda, but on a smaller scale, concluding a section of a work If the exposition is repeated, the codetta is likewise repeated.
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copula
copula (ˈkɒpjuːlə) [a. L. cōpula, f. co(m)- together ap-ĕre to fasten, fit, with dim. suffix.] 1. Logic and Gram. That part of a proposition which connects the subject and predicate; the present tense of the verb to be (with or without a negative) employed as a mere sign of predication.1650 Vind. Ha...
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Flute Concertino (Chaminade)
Although some suggest it is in rondo form, it is more likely in the form ABCA, with a codetta separating sections B and C, and a coda following the final
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Piano Sonata No. 3 (Scriabin)
Starting at measure 43, the second theme leads to the placid codetta, also in A major, which is based on the initial theme. The second part is an exact transposition of the codetta of the exposition (which also features the same thematic superposition), which leads the whole
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Piano Sonata No. 16 (Mozart)
A codetta follows to conclude the exposition, then the exposition is repeated. The development starts in G minor and modulates through several keys.
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Piano Sonata No. 25 (Beethoven)
The second theme group in D major is based on fast scale and arpeggio passages and leads very swiftly into the forceful codetta.
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Symphony No. 95 (Haydn)
The exposition concludes with a strong codetta. The development is primarily built around the head of the main theme, which is thoroughly developed.
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Symphony No. 100 (Haydn)
A tutti codetta brings the first movement exposition to a close.
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加吉奥洛河
A "a Anza" ed nei dialetti locali "Cuveta o Cueta" ovvero codina/codetta
Copia archiviata (PDF), su provincia.va.it.
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Sevillana (Elgar)
Excerpt 1
Codetta dominated by dotted rhythm is followed by refined melody in G major (Excerpt 2).
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Symphony No. 2 (Beethoven)
The B theme begins in A major at 73, moving to A minor again at 113 with a codetta from measure 117–136 (moving to D major in measure 120).
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Symphony No. 101 (Haydn)
A triumphant codetta concludes the exposition.
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Prelude and Fugue in F minor, BWV 881
The prelude ends with a two-measure codetta, which consists of a perfect cadence in the home key. After the final repetition of the subject in the tonic key, the descending fifths episode is repeated as a codetta with a Picardy third, which concludes
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Bagatelles, Op. 119 (Beethoven)
Andante, ma non troppo: The final piece in the set is in Binary form with a codetta. The first 4 bars repeat once.
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