Some months ago, during a conversation on Musical Form, the remark was made to me that the Rondo had been rather scantily treated in theoretical works; and that the portion of that great book on musical composition by Marx, which deals with this form, had never been translated into English. My friend went on to say, “Why should you not write a paper on the Rondo (taking Marx as your basis), and offer it to the Musical Association?” Acting on this suggestion I proceeded to write the paper, which with much diffidence I now offer you; and if it should give rise to a discussion in which further light may be thrown on the subject, I shall feel that it has not been written in vain.