Sonatina in F Major, second movement by Beethoven is in five-part rondo form, meaning the parts would be labeled as ABACA.Just by glancing at it, the score has five distinct sections that are, excluding the first A section, all repeated.
Reading further into it though, I started to second guess myself. Because what seemed to be the C section wasn’t followed by another repetition of A, I began to realize that this piece displays features of both five part and seven part rondo form. It also could be argued that it is part composite ternary as well!
The seven-part rondo happens around mm.49-66 where there is new material that could be labeled D. This would mean that the form would be ABACADA but it turns out there is no repetition of A, just as with section C. Because A is nowhere to be found in these two sections, we turn to the idea of composite ternary form, with mm.1-36 being section A, mm.37-66 being section B and 67 to the end as a sort of A’. Before learning about rondo form that is certainly what I would have labeled this piece.
After considering all of these different form options (and referring back to the workbook) I have decided that this is indeed what you may call a hybrid of all three forms.