See the first piano-forte concerto of Beethoven, first movement.
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.

See Beethoven, pianoforte sonata, op.

7, first movement; the Subordinate theme runs from measure 41 to 59; it is followed by another thematic section (60-93) which is so independent, important and lengthy, that it evidently ranks coordinate with the former, as _second Subordinate theme_.

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.
Further, it is not uncommon to extend the sonatine-form by adding, at the end, a more or less complete recurrence of the Principal theme,--instead of, or dissolved into, the customary coda.

This may be seen in Mozart, pianoforte sonata, No.