{"id":789,"date":"2023-05-24T16:04:24","date_gmt":"2023-05-24T16:04:24","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/binary-form\/"},"modified":"2025-08-18T22:09:08","modified_gmt":"2025-08-18T22:09:08","slug":"binary-form","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/binary-form\/","title":{"raw":"Binary form","rendered":"Binary form"},"content":{"raw":"<div class=\"binary-form\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 34<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>Terminology related to two-part forms<\/li>\r\n \t<li>How to approach analyzing pieces that have two large contrasting sections<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Binary form\"><\/a>Binary form<\/h1>\r\n<p class=\"import-Normal\">A piece is in [pb_glossary id=\"3771\"]binary form[\/pb_glossary] if it has two large sections. When creating form diagrams, we will represent large sections with uppercase letters, in contrast to [pb_glossary id=\"2286\"]phrases[\/pb_glossary], which we represent with lowercase letters. <span>Figure 34-1 represents a typical manifestation of binary form where the second large section (B) presents contrasting elements to the first large section (A). It shows a modulation to a new key and back to tonic, which often occurs in binary form but is not required.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34\u20111. Simple binary design<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70-1.png\" width=\"707\" height=\"219\" alt=\"Diagram showing &quot;new key&quot; at the end of the A section and &quot;back to tonic&quot; at the end of the B section.\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Sometimes binary form is referred to a [pb_glossary id=\"3772\"]two-reprise form[\/pb_glossary] when repeat signs demarcate each section, as shown in Figure 34\u20112. Although not always present, repeat signs and double bar lines can often be important visual cues to understanding the formal design of a piece.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34\u20112. Two-reprise form<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev.png\" alt=\"The same diagram as in Figure 34-1 (A, new key at the end; B, back to tonic at the end) but with repeat signs around the A section and around the B section.\" width=\"718\" height=\"221\" class=\"alignnone wp-image-3773 size-full\" \/><\/a><small><\/small><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Pieces in binary form can manifest in many different ways depending on their tonal content, presence of restated material, and length of sections. Special terminology, appearing in the descriptions below, helps us make sense of different manifestations of binary form.<\/span><\/p>\r\n<p class=\"import-Normal\"><strong>Tonal content.<\/strong> If the A section of a binary piece can stand on its own harmonically, then it is [pb_glossary id=\"3774\"]sectional[\/pb_glossary]. To be sectional, the A section must end with a conclusive cadence (either [pb_glossary id=\"2303\"]IAC[\/pb_glossary] or [pb_glossary id=\"2300\"]PAC[\/pb_glossary]) in the tonic key. If the A section ends with an inconclusive cadence (such as a [pb_glossary id=\"2309\"]HC[\/pb_glossary]), or if it ends in a different key (even if there is a conclusive cadence in the new key), the form is considered [pb_glossary id=\"3775\"]continuous[\/pb_glossary].<\/p>\r\n<p class=\"import-Normal\"><strong>Presence of restated material.<\/strong> If no material from the A section reappears in the B section, the form is [pb_glossary id=\"3776\"]simple binary[\/pb_glossary]. If a portion of the A section returns at the end of the B section, the form is [pb_glossary id=\"3777\"]rounded binary[\/pb_glossary]. Figure 34\u20113 shows a typical representation of rounded binary. In this design, we still perceive two large overarching contrasting sections, as demarcated by the large A and B labels, but the large B section ends with the smaller internal A''.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34\u20113. Rounded binary form design<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72-1.png\" width=\"713\" height=\"216\" alt=\"In this version of the binary form diagram, the A section contains two small bubbles labeled A and A prime; the B section contains two small bubbles labeled B and A double prime. There are double bar lines around each large section.\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">A common example of rounded binary is [pb_glossary id=\"3779\"]32-bar song form[\/pb_glossary], which can be represented as in Figure 34\u20114. In this form, the smaller internal 8-bar B section is referred to as the [pb_glossary id=\"3780\"]bridge[\/pb_glossary].<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34\u20114. 32-bar song form design<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73-1.png\" width=\"711\" height=\"212\" alt=\"The same diagram as in Figure 34-3, but with the number 8 below each of the four small bubbles.\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">[pb_glossary id=\"3781\"]Balanced binary[\/pb_glossary] forms offer another, but less common way of restating material. A technique found in some Baroque dance movements, balanced binary forms occur in continuous pieces when a brief portion of the end of the A section (usually stated in the key of the dominant) is restated at the end of the B section in the tonic key.<\/p>\r\n<p class=\"import-Normal\"><strong>Length of sections.<\/strong> Binary forms are considered [pb_glossary id=\"3782\"]symmetrical[\/pb_glossary] when both sections are the same, or nearly the same, length. When one section (usually B) is longer than the other, the form is considered [pb_glossary id=\"3783\"]asymmetrical[\/pb_glossary].<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T61 Intro to binary form (8:39)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/UV7kXovnmOw?si=Rc4MbXwT3sQoNPtD\r\n<p class=\"import-Normal\">This video introduces the concept of binary form, relates its larger structure to the concept of the smaller-level continuous period, and defines important terms related to the study of pieces in binary form, including continuous and sectional, simple and rounded, two-reprise form, and 32-bar song form.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1k5Yu2wO9U9ZloA1B_TaiyDjvLeiP4qQbEDmxZIcY9Ew\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Binary form slides<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1 class=\"import-Normal\"><a id=\"Elements of unity and contrast\"><\/a>Elements of unity and contrast<\/h1>\r\n<span>Musicologist Jan LaRue\u2019s book Guidelines for Style Analysis provides a detailed method for considering elements of unity and contrast when approaching analysis of form design.<\/span>[footnote]Jan LaRue, <em>Guidelines for Style Analysis<\/em>, 2nd ed., Detroit Monographs in Musicology\/Studies in Music, no. 12 (Warren, MI: Harmonie Park Press, 1992).[\/footnote] <span>Some of the elements listed in LaRue\u2019s categories of \u201csound,\u201d \u201charmony,\u201d \u201cmelody,\u201d and \u201crhythm,\u201d summarized in Figure 34-5, are the most relevant to our analytic approach to form.<\/span> You can use the list in Figure 34-5 as a checklist of things to consider that may contribute to the perception of unity and contrast between large sections.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34-5. Partial summary of Jan LaRue's \"Cue Sheet for Style Analysis\"<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<strong>Sound.\u00a0<\/strong>The category of sound encompasses the following:\r\n<ul>\r\n \t<li>timbre, including instrumentation<\/li>\r\n \t<li>range and tessitura<\/li>\r\n \t<li>texture<\/li>\r\n \t<li>dynamics<\/li>\r\n<\/ul>\r\n<strong>Harmony.\u00a0<\/strong>The category of harmony encompasses the following:\r\n<ul>\r\n \t<li>tonality<\/li>\r\n \t<li>key relationships<\/li>\r\n \t<li>\"chord vocabulary,\" meaning types of chords that are used\u2014[pb_glossary id=\"345\"]diatonic[\/pb_glossary], [pb_glossary id=\"346\"]chromatic[\/pb_glossary], [pb_glossary id=\"3791\"]extended tertian[\/pb_glossary], and so forth<\/li>\r\n<\/ul>\r\n<strong>Melody.\u00a0<\/strong>The category of melody encompasses the following:\r\n<ul>\r\n \t<li>range<\/li>\r\n \t<li>type of motion (stepwise, leaping, chromatic, diatonic)<\/li>\r\n \t<li>patterns<\/li>\r\n \t<li>repetition<\/li>\r\n<\/ul>\r\n<strong>Rhythm.\u00a0<\/strong>The category of rhythm encompasses the following:\r\n<ul>\r\n \t<li>\"surface rhythm, vocabulary and frequency of [pb_glossary id=\"2233\"]durations[\/pb_glossary] and patterns\"<\/li>\r\n \t<li>meter<\/li>\r\n \t<li>[pb_glossary id=\"3790\"]tempo[\/pb_glossary]<\/li>\r\n \t<li>segmentation (lengths of phrases and other smaller formal units)<\/li>\r\n \t<li>\"[pb_glossary id=\"3789\"]textural rhythm[\/pb_glossary]\u201d<\/li>\r\n \t<li>\"[pb_glossary id=\"2246\"]harmonic rhythm[\/pb_glossary]\u201d<\/li>\r\n \t<li>\"patterns of change\"<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Cues for analysis\"><\/a>Cues for analysis<\/h1>\r\n<p class=\"import-Normal\">Whenever you encounter a new piece that appears to be in two large parts, consider the questions in Figure 34\u20116, which can guide and inform your analysis.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34\u20116. Cue sheet for binary form<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">(1) Is the form of the piece [pb_glossary id=\"3775\"]continuous[\/pb_glossary] or [pb_glossary id=\"3774\"]sectional[\/pb_glossary]? If continuous, is the form [pb_glossary id=\"3781\"]balanced[\/pb_glossary]?<\/p>\r\n<p class=\"import-Normal\">(2) Is the form of the piece [pb_glossary id=\"3777\"]rounded[\/pb_glossary] or [pb_glossary id=\"3776\"]simple[\/pb_glossary]?<\/p>\r\n<p class=\"import-Normal\">(3) Is the design [pb_glossary id=\"3782\"]symmetrical[\/pb_glossary] or [pb_glossary id=\"3783\"]asymmetrical[\/pb_glossary]?<\/p>\r\n<p class=\"import-Normal\">(4) What is the basic formal diagram for this piece? Draw a diagram to show the form that includes:<\/p>\r\n\r\n<ul>\r\n \t<li class=\"import-Normal\">measure numbers<\/li>\r\n \t<li class=\"import-Normal\">key areas (account for all modulations) shown as letters (e.g., CMA or Ami) as well as in Roman numerals (e.g., I or vi)<\/li>\r\n \t<li class=\"import-Normal\">uppercase letters to designate large sections<\/li>\r\n \t<li class=\"import-Normal\">slurs or bubbles labeled with lowercase letters to designate phrases<\/li>\r\n \t<li class=\"import-Normal\">cadence labels<\/li>\r\n \t<li class=\"import-Normal\">other section labels, such as [pb_glossary id=\"4824\"]introductions[\/pb_glossary] or [pb_glossary id=\"4822\"]codas[\/pb_glossary], when used<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">(5) Examine how the primary musical elements (melody, harmony, rhythm, texture, instrumentation, dynamics, phrasing) are used for unity and contrast between the A and B sections.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Pieces for analysis\"><\/a>Pieces for analysis<\/h1>\r\n<p class=\"import-Normal\">Let\u2019s consider some of the questions in Figure 34\u20116 as they apply to the movement reproduced in Example 34\u20111. After listening to this movement, we can identify that it begins and ends in F major. It features a modulation to C major (a [pb_glossary id=\"3687\"]closely related[\/pb_glossary] key) prior to the point of bisection (m. 9), and thus the form is continuous. No material from the A section recurs within the B section, so the form is considered simple. Its form is also considered a two-reprise form, as both sections use repeat signs to help delineate the form.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 34\u20111. Sophia Dussek, op. 2, no. 1, Harp Sonata in B-flat major, mvt. 2[footnote]Example from <a href=\"https:\/\/www.expandingthemusictheorycanon.com\/binary\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/binary\/<\/a>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74-1.png\" width=\"1432\" height=\"917\" alt=\"image\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\nListen to the piece, performed by harpist Kyunghee Kim-Sutre, on <a href=\"https:\/\/open.spotify.com\/track\/0A5b3dwJ1zp7dwOmS4esCN?si=e18aafb05e8742a5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English composer <strong>Sophia <\/strong><strong>Dussek<\/strong> (1775\u20131847) by reading this <a class=\"rId142\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.60000200671\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Barbara Garvey Jackson, Howard Allen Craw, and Bonnie Shaljean.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T62 Binary form example: Analysis of Dussek, op. 2, no. 1, mvt. 2 (8:00)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/EJ6Y5QkIRpo?si=_29csxEmOGBxvDJv\r\n<p class=\"import-Normal\">This video presents an analysis of form in Sophia Dussek's op. 2, no. 1, Harp Sonata in B[latex]\\flat[\/latex] major, mvt. 2 (Example 34-1). In this video, we learn that the form design of this movement is best described as continuous, simple binary, using a two-reprise form.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<span style=\"font-size: 14pt\">In contrast, Example 34\u20112 does not modulate and is entirely diatonic in the key of C major. Because it ends with tonic harmony in the tonic key before the point of bisection (there is an implied authentic cadence in mm. 7\u20138), it is a sectional form. The opening melody is restated at the end of the B section (compare <span>the material starting at m. 1 and m. 17<\/span>), creating a rounded binary form. Like most rounded binary forms, this movement is also asymmetrical to account for the additional return of the opening material. The two-reprise structure of Example 34\u20112 allows listeners to perceive it in two distinct parts, in spite of the rounded asymmetrical design. Figure 34\u20117 provides a diagram summarizing the formal and harmonic features of this theme.<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 34\u20112. W. A. Mozart, K. 265, Variations on \u201cAh, vous, dirai-je, Maman,\u201d Theme<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75-1.png\" width=\"1431\" height=\"500\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\r\nListen to the piece, performed by Ronald Brautigam, on <a href=\"https:\/\/open.spotify.com\/track\/20rjmiddeCpLu52lwOrdd6?si=80c023a66e2c4a17\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId143\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34\u20117. Form diagram for Example 34\u20112<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76-1.png\" width=\"808\" height=\"297\" alt=\"Form diagram\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-34.7.pdf\" target=\"_blank\" rel=\"noopener\">Figure 34.7<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T63 Binary form example: Analysis of Mozart, K. 265, Theme (3:53)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/2zJJr7xieoI?si=XwLBAMeSXtJA2aYi\r\n<p class=\"import-Normal\">This video presents an analysis of the Theme from Mozart\u2019s K. 265, Variations on \u201cAh, vous dirai-je, Maman\u201d (Example 34-2). In the video, we learn that the form of this movement is best described as sectional, rounded binary, using a two-reprise form.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 34\u20113 is an example of [pb_glossary id=\"3779\"]32-bar song form[\/pb_glossary], which is both rounded (mm. 1\u20138 are restated following the bridge section) and continuous (there is an implied [pb_glossary id=\"1973\"]half cadence[\/pb_glossary] before the point of bisection). When a musician performs the repeats, we hear the form as represented in Figure 34\u20118.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 34\u20113. Valerie Capers, \u201cBillie\u2019s Song\u201d from <em>Portraits in Jazz<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p style=\"text-align: center\"><strong><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-809x1024.png\" alt=\"image of score\" width=\"809\" height=\"1024\" class=\"alignnone size-large wp-image-5864\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-775x1024.png\" alt=\"image of score\" width=\"775\" height=\"1024\" class=\"alignnone size-large wp-image-5865\" \/><\/a>'Billie's Song'<\/strong>\r\nBy Valerie Capers from 'Portraits in Jazz'\r\n\u00a9 Oxford University Press Inc 2000, assigned to Oxford University Press 2010.\r\nAll rights reserved.<\/p>\r\nListen to this piece, performed by pianist Edith Widayani, on <a href=\"https:\/\/open.spotify.com\/track\/1vaDoWZd1SwkZdpRSs88ja?si=8ca7cadeab0b4c9f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American pianist and composer <strong>Valerie Capers<\/strong> (b. 1935) by reading the <a class=\"rId144\" href=\"https:\/\/valcapmusic.wordpress.com\/bio\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on her official website.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 34\u20118. Form diagram for Example 34\u20113<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77-1.png\" width=\"804\" height=\"314\" alt=\"Form diagram\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-34.8.pdf\" target=\"_blank\" rel=\"noopener\">Figure 34.8<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T64 Binary form example: Analysis of Valerie Capers, \u201cBillie's Song\u201d (5:07)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/g5HC_-DDCto?si=1B79QHSOw4h74trp\r\n<p class=\"import-Normal\">This video presents an analysis of binary form in Valerie Capers\u2019s \u201cBillie\u2019s Song,\u201d from her 1976 collection <em>Portraits in Jazz<\/em> (Example 34-3). In the video, we identify the form as an example of 32-bar song form, which is continuous and rounded.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1k5Yu2wO9U9ZloA1B_TaiyDjvLeiP4qQbEDmxZIcY9Ew\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Binary form slides<\/a><\/div>\r\n<h1><a id=\"EXERCISE 34-1 Binary form analysis\"><\/a>EXERCISE 34-1 Binary form analysis<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 34-1 Binary form analysis<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. Study and listen to Worksheet example 34\u20111, and answer these questions regarding the example:<\/p>\r\n\r\n<ol>\r\n \t<li>What is the overall key of the piece?<\/li>\r\n \t<li>This piece modulates. To what key does it modulate?<\/li>\r\n \t<li>What is the relationship between the keys given in the answers to questions 1 and 2 above?<\/li>\r\n \t<li>Is the form of this piece continuous or sectional?<\/li>\r\n \t<li>There is a [pb_glossary id=\"2131\"]melodic sequence[\/pb_glossary] in this piece. In what measures does the [pb_glossary id=\"2132\"]model[\/pb_glossary] occur? In what measures does the first [pb_glossary id=\"2133\"]leg[\/pb_glossary] of the sequence following the model occur?<\/li>\r\n \t<li>On a separate sheet of paper, neatly draw a form diagram for this piece. Include:<\/li>\r\n<\/ol>\r\n<ul>\r\n \t<li style=\"list-style-type: none\">\r\n<ul>\r\n \t<li class=\"import-Normal\">measure numbers<\/li>\r\n \t<li class=\"import-Normal\">key areas (account for all modulations) shown as letters (e.g., CMA or Ami) as well as in Roman numerals (e.g., I or vi)<\/li>\r\n \t<li class=\"import-Normal\">uppercase letters to designate large sections<\/li>\r\n \t<li class=\"import-Normal\">slurs or bubbles labeled with lowercase letters to designate phrases<\/li>\r\n \t<li class=\"import-Normal\">cadence labels<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 34\u20111. Anon., Minuet in D minor from the <em>Anna Magdalena Bach Notebook<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-1024x525.png\" alt=\"image of score\" width=\"1024\" height=\"525\" class=\"alignnone size-large wp-image-3825\" \/><\/a><small><\/small><\/p>\r\nListen to this piece, performed by Daniel Wiesner, on <a href=\"https:\/\/open.spotify.com\/track\/4Bz4TkXLDGoLNe8nlfDBoO?si=11522827b6ec4791\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART B. Study and listen to Worksheet example 34\u20112, and answer these questions regarding the example:<\/p>\r\n\r\n<ol>\r\n \t<li>What is the overall key of the piece?<\/li>\r\n \t<li>This piece modulates and features several [pb_glossary id=\"4711\"]tonal cells[\/pb_glossary]. Complete a Roman numeral analysis beneath the staff, accounting for any modulations and [pb_glossary id=\"3447\"]tonicizations[\/pb_glossary].<\/li>\r\n \t<li>Is the form of this piece continuous or sectional?<\/li>\r\n \t<li>Is the form of this piece balanced binary? Why or why not?<\/li>\r\n \t<li>On a separate sheet of paper, neatly draw a form diagram for this piece. Include:<\/li>\r\n<\/ol>\r\n<ul>\r\n \t<li style=\"list-style-type: none\">\r\n<ul>\r\n \t<li class=\"import-Normal\">measure numbers<\/li>\r\n \t<li class=\"import-Normal\">key areas (account for all modulations) shown as letters (e.g., CMA or Ami) as well as in Roman numerals (e.g., I or vi)<\/li>\r\n \t<li class=\"import-Normal\">uppercase letters to designate large sections<\/li>\r\n \t<li class=\"import-Normal\">slurs or bubbles labeled with lowercase letters to designate phrases<\/li>\r\n \t<li class=\"import-Normal\">cadence labels<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 34\u20112. George Frideric Handel, Concerto Grosso in F major, op. 3, no. 4, mvt. 4<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-1024x324.png\" alt=\"image of score\" width=\"1024\" height=\"324\" class=\"alignnone size-large wp-image-3817\" \/><\/a><\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-1024x650.png\" alt=\"image of score\" width=\"1024\" height=\"650\" class=\"alignnone size-large wp-image-3818\" \/><\/a>\r\n\r\nListen to this piece performed by the Academy of St. Martin in the Fields, on <a href=\"https:\/\/open.spotify.com\/track\/3LtkF4vBEQJyVa8mpxGLxz?si=389c591fe7b14ecb\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English composer <strong>George Frideric Handel<\/strong> (1685\u20131759) by reading this <a class=\"rId145\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40060\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Anthony Hicks.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex34.1-Binary-form-analysis.pdf\" target=\"_blank\" rel=\"noopener\">Ex34.1 Binary form analysis<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/7EukNBLSmVP2CIzcoheBt6?si=70e6c426f6a245f6\" target=\"_blank\" rel=\"noopener\">Spotify playlist for binary form<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 34-2 Contextual listening with form\"><\/a>EXERCISE 34-2 Contextual listening with form<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 34-2 Contextual listening with form<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">This excerpt is in a [pb_glossary id=\"3772\"]two-reprise form[\/pb_glossary] (binary with repeats). After listening to the audio example below several times, answer the following questions.<\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-34.2.mp3\"][\/audio]\r\n<ol>\r\n \t<li class=\"import-Normal\">Is the piece's form continuous or sectional?<\/li>\r\n \t<li class=\"import-Normal\">Is the piece's form rounded or simple?<\/li>\r\n \t<li class=\"import-Normal\">Is the design symmetrical or asymmetrical?<\/li>\r\n \t<li class=\"import-Normal\">What elements create unity between the A and B sections?<\/li>\r\n \t<li class=\"import-Normal\">What elements create contrast between the A and B sections?<\/li>\r\n \t<li class=\"import-Normal\">Who is a likely composer of this piece?<\/li>\r\n \t<li class=\"import-Normal\">When might this piece have been written?<\/li>\r\n<\/ol>\r\n<p class=\"import-Normal\">Feeling ambitious? Transcribe the opening motive (played in the right hand) on a separate sheet of staff paper.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex34.2-Contextual-listening-with-form-1.pdf\" target=\"_blank\" rel=\"noopener\">Ex34.2 Contextual listening with form<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 34<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/binary-form\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis's chapter on binary form<\/a> (Open Music Theory)<\/p>\r\n<a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/CreatingContrast.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson's chapter on creating contrast between sections<\/a>\r\n\r\n<a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/BinaryAndTernaryForms.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson's chapter on binary and ternary forms<\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"binary-form\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 34<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Terminology related to two-part forms<\/li>\n<li>How to approach analyzing pieces that have two large contrasting sections<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Binary form<\/h1>\n<p class=\"import-Normal\">A piece is in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3771\">binary form<\/a> if it has two large sections. When creating form diagrams, we will represent large sections with uppercase letters, in contrast to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2286\">phrases<\/a>, which we represent with lowercase letters. <span>Figure 34-1 represents a typical manifestation of binary form where the second large section (B) presents contrasting elements to the first large section (A). It shows a modulation to a new key and back to tonic, which often occurs in binary form but is not required.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34\u20111. Simple binary design<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70-1.png\" width=\"707\" height=\"219\" alt=\"Diagram showing &quot;new key&quot; at the end of the A section and &quot;back to tonic&quot; at the end of the B section.\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Sometimes binary form is referred to a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3772\">two-reprise form<\/a> when repeat signs demarcate each section, as shown in Figure 34\u20112. Although not always present, repeat signs and double bar lines can often be important visual cues to understanding the formal design of a piece.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34\u20112. Two-reprise form<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev.png\" alt=\"The same diagram as in Figure 34-1 (A, new key at the end; B, back to tonic at the end) but with repeat signs around the A section and around the B section.\" width=\"718\" height=\"221\" class=\"alignnone wp-image-3773 size-full\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev.png 718w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev-300x92.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev-65x20.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev-225x69.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-32.2-two-reprise-form-rev-350x108.png 350w\" sizes=\"auto, (max-width: 718px) 100vw, 718px\" \/><\/a><small><\/small><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Pieces in binary form can manifest in many different ways depending on their tonal content, presence of restated material, and length of sections. Special terminology, appearing in the descriptions below, helps us make sense of different manifestations of binary form.<\/span><\/p>\n<p class=\"import-Normal\"><strong>Tonal content.<\/strong> If the A section of a binary piece can stand on its own harmonically, then it is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3774\">sectional<\/a>. To be sectional, the A section must end with a conclusive cadence (either <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2303\">IAC<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2300\">PAC<\/a>) in the tonic key. If the A section ends with an inconclusive cadence (such as a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2309\">HC<\/a>), or if it ends in a different key (even if there is a conclusive cadence in the new key), the form is considered <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3775\">continuous<\/a>.<\/p>\n<p class=\"import-Normal\"><strong>Presence of restated material.<\/strong> If no material from the A section reappears in the B section, the form is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3776\">simple binary<\/a>. If a portion of the A section returns at the end of the B section, the form is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3777\">rounded binary<\/a>. Figure 34\u20113 shows a typical representation of rounded binary. In this design, we still perceive two large overarching contrasting sections, as demarcated by the large A and B labels, but the large B section ends with the smaller internal A&#8221;.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34\u20113. Rounded binary form design<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72-1.png\" width=\"713\" height=\"216\" alt=\"In this version of the binary form diagram, the A section contains two small bubbles labeled A and A prime; the B section contains two small bubbles labeled B and A double prime. There are double bar lines around each large section.\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">A common example of rounded binary is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3779\">32-bar song form<\/a>, which can be represented as in Figure 34\u20114. In this form, the smaller internal 8-bar B section is referred to as the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3780\">bridge<\/a>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34\u20114. 32-bar song form design<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73-1.png\" width=\"711\" height=\"212\" alt=\"The same diagram as in Figure 34-3, but with the number 8 below each of the four small bubbles.\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3781\">Balanced binary<\/a> forms offer another, but less common way of restating material. A technique found in some Baroque dance movements, balanced binary forms occur in continuous pieces when a brief portion of the end of the A section (usually stated in the key of the dominant) is restated at the end of the B section in the tonic key.<\/p>\n<p class=\"import-Normal\"><strong>Length of sections.<\/strong> Binary forms are considered <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3782\">symmetrical<\/a> when both sections are the same, or nearly the same, length. When one section (usually B) is longer than the other, the form is considered <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3783\">asymmetrical<\/a>.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T61 Intro to binary form (8:39)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T61 Intro to Binary Form\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/UV7kXovnmOw?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the concept of binary form, relates its larger structure to the concept of the smaller-level continuous period, and defines important terms related to the study of pieces in binary form, including continuous and sectional, simple and rounded, two-reprise form, and 32-bar song form.<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1k5Yu2wO9U9ZloA1B_TaiyDjvLeiP4qQbEDmxZIcY9Ew\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Binary form slides<\/a><\/div>\n<\/div>\n<\/div>\n<h1 class=\"import-Normal\"><a><\/a>Elements of unity and contrast<\/h1>\n<p><span>Musicologist Jan LaRue\u2019s book Guidelines for Style Analysis provides a detailed method for considering elements of unity and contrast when approaching analysis of form design.<\/span><a class=\"footnote\" title=\"Jan LaRue, Guidelines for Style Analysis, 2nd ed., Detroit Monographs in Musicology\/Studies in Music, no. 12 (Warren, MI: Harmonie Park Press, 1992).\" id=\"return-footnote-789-1\" href=\"#footnote-789-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a> <span>Some of the elements listed in LaRue\u2019s categories of \u201csound,\u201d \u201charmony,\u201d \u201cmelody,\u201d and \u201crhythm,\u201d summarized in Figure 34-5, are the most relevant to our analytic approach to form.<\/span> You can use the list in Figure 34-5 as a checklist of things to consider that may contribute to the perception of unity and contrast between large sections.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34-5. Partial summary of Jan LaRue&#8217;s &#8220;Cue Sheet for Style Analysis&#8221;<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><strong>Sound.\u00a0<\/strong>The category of sound encompasses the following:<\/p>\n<ul>\n<li>timbre, including instrumentation<\/li>\n<li>range and tessitura<\/li>\n<li>texture<\/li>\n<li>dynamics<\/li>\n<\/ul>\n<p><strong>Harmony.\u00a0<\/strong>The category of harmony encompasses the following:<\/p>\n<ul>\n<li>tonality<\/li>\n<li>key relationships<\/li>\n<li>&#8220;chord vocabulary,&#8221; meaning types of chords that are used\u2014<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_345\">diatonic<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_346\">chromatic<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3791\">extended tertian<\/a>, and so forth<\/li>\n<\/ul>\n<p><strong>Melody.\u00a0<\/strong>The category of melody encompasses the following:<\/p>\n<ul>\n<li>range<\/li>\n<li>type of motion (stepwise, leaping, chromatic, diatonic)<\/li>\n<li>patterns<\/li>\n<li>repetition<\/li>\n<\/ul>\n<p><strong>Rhythm.\u00a0<\/strong>The category of rhythm encompasses the following:<\/p>\n<ul>\n<li>&#8220;surface rhythm, vocabulary and frequency of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2233\">durations<\/a> and patterns&#8221;<\/li>\n<li>meter<\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3790\">tempo<\/a><\/li>\n<li>segmentation (lengths of phrases and other smaller formal units)<\/li>\n<li>&#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3789\">textural rhythm<\/a>\u201d<\/li>\n<li>&#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2246\">harmonic rhythm<\/a>\u201d<\/li>\n<li>&#8220;patterns of change&#8221;<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Cues for analysis<\/h1>\n<p class=\"import-Normal\">Whenever you encounter a new piece that appears to be in two large parts, consider the questions in Figure 34\u20116, which can guide and inform your analysis.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34\u20116. Cue sheet for binary form<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">(1) Is the form of the piece <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3775\">continuous<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3774\">sectional<\/a>? If continuous, is the form <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3781\">balanced<\/a>?<\/p>\n<p class=\"import-Normal\">(2) Is the form of the piece <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3777\">rounded<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3776\">simple<\/a>?<\/p>\n<p class=\"import-Normal\">(3) Is the design <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3782\">symmetrical<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3783\">asymmetrical<\/a>?<\/p>\n<p class=\"import-Normal\">(4) What is the basic formal diagram for this piece? Draw a diagram to show the form that includes:<\/p>\n<ul>\n<li class=\"import-Normal\">measure numbers<\/li>\n<li class=\"import-Normal\">key areas (account for all modulations) shown as letters (e.g., CMA or Ami) as well as in Roman numerals (e.g., I or vi)<\/li>\n<li class=\"import-Normal\">uppercase letters to designate large sections<\/li>\n<li class=\"import-Normal\">slurs or bubbles labeled with lowercase letters to designate phrases<\/li>\n<li class=\"import-Normal\">cadence labels<\/li>\n<li class=\"import-Normal\">other section labels, such as <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_4824\">introductions<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_4822\">codas<\/a>, when used<\/li>\n<\/ul>\n<p class=\"import-Normal\">(5) Examine how the primary musical elements (melody, harmony, rhythm, texture, instrumentation, dynamics, phrasing) are used for unity and contrast between the A and B sections.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Pieces for analysis<\/h1>\n<p class=\"import-Normal\">Let\u2019s consider some of the questions in Figure 34\u20116 as they apply to the movement reproduced in Example 34\u20111. After listening to this movement, we can identify that it begins and ends in F major. It features a modulation to C major (a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3687\">closely related<\/a> key) prior to the point of bisection (m. 9), and thus the form is continuous. No material from the A section recurs within the B section, so the form is considered simple. Its form is also considered a two-reprise form, as both sections use repeat signs to help delineate the form.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 34\u20111. Sophia Dussek, op. 2, no. 1, Harp Sonata in B-flat major, mvt. 2<a class=\"footnote\" title=\"Example from https:\/\/www.expandingthemusictheorycanon.com\/binary\/\" id=\"return-footnote-789-2\" href=\"#footnote-789-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74-1.png\" width=\"1432\" height=\"917\" alt=\"image\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p>Listen to the piece, performed by harpist Kyunghee Kim-Sutre, on <a href=\"https:\/\/open.spotify.com\/track\/0A5b3dwJ1zp7dwOmS4esCN?si=e18aafb05e8742a5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English composer <strong>Sophia <\/strong><strong>Dussek<\/strong> (1775\u20131847) by reading this <a class=\"rId142\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.60000200671\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Barbara Garvey Jackson, Howard Allen Craw, and Bonnie Shaljean.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T62 Binary form example: Analysis of Dussek, op. 2, no. 1, mvt. 2 (8:00)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T62 Binary Form Example: Analysis of Dussek, op  2, Andante\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/EJ6Y5QkIRpo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video presents an analysis of form in Sophia Dussek&#8217;s op. 2, no. 1, Harp Sonata in B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, mvt. 2 (Example 34-1). In this video, we learn that the form design of this movement is best described as continuous, simple binary, using a two-reprise form.<\/p>\n<\/div>\n<\/div>\n<p><span style=\"font-size: 14pt\">In contrast, Example 34\u20112 does not modulate and is entirely diatonic in the key of C major. Because it ends with tonic harmony in the tonic key before the point of bisection (there is an implied authentic cadence in mm. 7\u20138), it is a sectional form. The opening melody is restated at the end of the B section (compare <span>the material starting at m. 1 and m. 17<\/span>), creating a rounded binary form. Like most rounded binary forms, this movement is also asymmetrical to account for the additional return of the opening material. The two-reprise structure of Example 34\u20112 allows listeners to perceive it in two distinct parts, in spite of the rounded asymmetrical design. Figure 34\u20117 provides a diagram summarizing the formal and harmonic features of this theme.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 34\u20112. W. A. Mozart, K. 265, Variations on \u201cAh, vous, dirai-je, Maman,\u201d Theme<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75-1.png\" width=\"1431\" height=\"500\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\n<p>Listen to the piece, performed by Ronald Brautigam, on <a href=\"https:\/\/open.spotify.com\/track\/20rjmiddeCpLu52lwOrdd6?si=80c023a66e2c4a17\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId143\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34\u20117. Form diagram for Example 34\u20112<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76-1.png\" width=\"808\" height=\"297\" alt=\"Form diagram\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-34.7.pdf\" target=\"_blank\" rel=\"noopener\">Figure 34.7<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T63 Binary form example: Analysis of Mozart, K. 265, Theme (3:53)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T63 Binary Form Example: Analysis of Mozart, K  265, Theme\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/2zJJr7xieoI?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video presents an analysis of the Theme from Mozart\u2019s K. 265, Variations on \u201cAh, vous dirai-je, Maman\u201d (Example 34-2). In the video, we learn that the form of this movement is best described as sectional, rounded binary, using a two-reprise form.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 34\u20113 is an example of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3779\">32-bar song form<\/a>, which is both rounded (mm. 1\u20138 are restated following the bridge section) and continuous (there is an implied <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_1973\">half cadence<\/a> before the point of bisection). When a musician performs the repeats, we hear the form as represented in Figure 34\u20118.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 34\u20113. Valerie Capers, \u201cBillie\u2019s Song\u201d from <em>Portraits in Jazz<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p style=\"text-align: center\"><strong><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-809x1024.png\" alt=\"image of score\" width=\"809\" height=\"1024\" class=\"alignnone size-large wp-image-5864\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-809x1024.png 809w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-237x300.png 237w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-768x973.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-1213x1536.png 1213w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-1617x2048.png 1617w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-65x82.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-225x285.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-1-rev-350x443.png 350w\" sizes=\"auto, (max-width: 809px) 100vw, 809px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-775x1024.png\" alt=\"image of score\" width=\"775\" height=\"1024\" class=\"alignnone size-large wp-image-5865\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-775x1024.png 775w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-227x300.png 227w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-768x1015.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-1162x1536.png 1162w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-1550x2048.png 1550w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-65x86.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-225x297.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-34.3-pt-2-rev-350x462.png 350w\" sizes=\"auto, (max-width: 775px) 100vw, 775px\" \/><\/a>&#8216;Billie&#8217;s Song&#8217;<\/strong><br \/>\nBy Valerie Capers from &#8216;Portraits in Jazz&#8217;<br \/>\n\u00a9 Oxford University Press Inc 2000, assigned to Oxford University Press 2010.<br \/>\nAll rights reserved.<\/p>\n<p>Listen to this piece, performed by pianist Edith Widayani, on <a href=\"https:\/\/open.spotify.com\/track\/1vaDoWZd1SwkZdpRSs88ja?si=8ca7cadeab0b4c9f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American pianist and composer <strong>Valerie Capers<\/strong> (b. 1935) by reading the <a class=\"rId144\" href=\"https:\/\/valcapmusic.wordpress.com\/bio\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on her official website.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 34\u20118. Form diagram for Example 34\u20113<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77-1.png\" width=\"804\" height=\"314\" alt=\"Form diagram\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-34.8.pdf\" target=\"_blank\" rel=\"noopener\">Figure 34.8<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T64 Binary form example: Analysis of Valerie Capers, \u201cBillie&#8217;s Song\u201d (5:07)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"T64 Binary Form Example: Analysis of Valerie Capers, &quot;Billie&#39;s Song&quot;\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/g5HC_-DDCto?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video presents an analysis of binary form in Valerie Capers\u2019s \u201cBillie\u2019s Song,\u201d from her 1976 collection <em>Portraits in Jazz<\/em> (Example 34-3). In the video, we identify the form as an example of 32-bar song form, which is continuous and rounded.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1k5Yu2wO9U9ZloA1B_TaiyDjvLeiP4qQbEDmxZIcY9Ew\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Binary form slides<\/a><\/div>\n<h1><a><\/a>EXERCISE 34-1 Binary form analysis<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 34-1 Binary form analysis<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. Study and listen to Worksheet example 34\u20111, and answer these questions regarding the example:<\/p>\n<ol>\n<li>What is the overall key of the piece?<\/li>\n<li>This piece modulates. To what key does it modulate?<\/li>\n<li>What is the relationship between the keys given in the answers to questions 1 and 2 above?<\/li>\n<li>Is the form of this piece continuous or sectional?<\/li>\n<li>There is a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2131\">melodic sequence<\/a> in this piece. In what measures does the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2132\">model<\/a> occur? In what measures does the first <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_2133\">leg<\/a> of the sequence following the model occur?<\/li>\n<li>On a separate sheet of paper, neatly draw a form diagram for this piece. Include:<\/li>\n<\/ol>\n<ul>\n<li style=\"list-style-type: none\">\n<ul>\n<li class=\"import-Normal\">measure numbers<\/li>\n<li class=\"import-Normal\">key areas (account for all modulations) shown as letters (e.g., CMA or Ami) as well as in Roman numerals (e.g., I or vi)<\/li>\n<li class=\"import-Normal\">uppercase letters to designate large sections<\/li>\n<li class=\"import-Normal\">slurs or bubbles labeled with lowercase letters to designate phrases<\/li>\n<li class=\"import-Normal\">cadence labels<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 34\u20111. Anon., Minuet in D minor from the <em>Anna Magdalena Bach Notebook<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-1024x525.png\" alt=\"image of score\" width=\"1024\" height=\"525\" class=\"alignnone size-large wp-image-3825\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-1024x525.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-300x154.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-768x393.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-1536x787.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-2048x1049.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-65x33.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-225x115.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.1-350x179.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><small><\/small><\/p>\n<p>Listen to this piece, performed by Daniel Wiesner, on <a href=\"https:\/\/open.spotify.com\/track\/4Bz4TkXLDGoLNe8nlfDBoO?si=11522827b6ec4791\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART B. Study and listen to Worksheet example 34\u20112, and answer these questions regarding the example:<\/p>\n<ol>\n<li>What is the overall key of the piece?<\/li>\n<li>This piece modulates and features several <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_4711\">tonal cells<\/a>. Complete a Roman numeral analysis beneath the staff, accounting for any modulations and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3447\">tonicizations<\/a>.<\/li>\n<li>Is the form of this piece continuous or sectional?<\/li>\n<li>Is the form of this piece balanced binary? Why or why not?<\/li>\n<li>On a separate sheet of paper, neatly draw a form diagram for this piece. Include:<\/li>\n<\/ol>\n<ul>\n<li style=\"list-style-type: none\">\n<ul>\n<li class=\"import-Normal\">measure numbers<\/li>\n<li class=\"import-Normal\">key areas (account for all modulations) shown as letters (e.g., CMA or Ami) as well as in Roman numerals (e.g., I or vi)<\/li>\n<li class=\"import-Normal\">uppercase letters to designate large sections<\/li>\n<li class=\"import-Normal\">slurs or bubbles labeled with lowercase letters to designate phrases<\/li>\n<li class=\"import-Normal\">cadence labels<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 34\u20112. George Frideric Handel, Concerto Grosso in F major, op. 3, no. 4, mvt. 4<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-1024x324.png\" alt=\"image of score\" width=\"1024\" height=\"324\" class=\"alignnone size-large wp-image-3817\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-1024x324.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-300x95.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-768x243.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-1536x486.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-2048x648.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-225x71.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-1st-system-350x111.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-1024x650.png\" alt=\"image of score\" width=\"1024\" height=\"650\" class=\"alignnone size-large wp-image-3818\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-1024x650.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-300x190.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-768x487.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-1536x975.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-2048x1300.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-65x41.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-225x143.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-34.2-Handel-2nd-and-3rd-systems-350x222.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Listen to this piece performed by the Academy of St. Martin in the Fields, on <a href=\"https:\/\/open.spotify.com\/track\/3LtkF4vBEQJyVa8mpxGLxz?si=389c591fe7b14ecb\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English composer <strong>George Frideric Handel<\/strong> (1685\u20131759) by reading this <a class=\"rId145\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40060\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Anthony Hicks.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex34.1-Binary-form-analysis.pdf\" target=\"_blank\" rel=\"noopener\">Ex34.1 Binary form analysis<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/7EukNBLSmVP2CIzcoheBt6?si=70e6c426f6a245f6\" target=\"_blank\" rel=\"noopener\">Spotify playlist for binary form<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 34-2 Contextual listening with form<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 34-2 Contextual listening with form<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">This excerpt is in a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_789_3772\">two-reprise form<\/a> (binary with repeats). After listening to the audio example below several times, answer the following questions.<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-789-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-34.2.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-34.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-34.2.mp3<\/a><\/audio><\/p>\n<ol>\n<li class=\"import-Normal\">Is the piece&#8217;s form continuous or sectional?<\/li>\n<li class=\"import-Normal\">Is the piece&#8217;s form rounded or simple?<\/li>\n<li class=\"import-Normal\">Is the design symmetrical or asymmetrical?<\/li>\n<li class=\"import-Normal\">What elements create unity between the A and B sections?<\/li>\n<li class=\"import-Normal\">What elements create contrast between the A and B sections?<\/li>\n<li class=\"import-Normal\">Who is a likely composer of this piece?<\/li>\n<li class=\"import-Normal\">When might this piece have been written?<\/li>\n<\/ol>\n<p class=\"import-Normal\">Feeling ambitious? Transcribe the opening motive (played in the right hand) on a separate sheet of staff paper.<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex34.2-Contextual-listening-with-form-1.pdf\" target=\"_blank\" rel=\"noopener\">Ex34.2 Contextual listening with form<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 34<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/binary-form\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis&#8217;s chapter on binary form<\/a> (Open Music Theory)<\/p>\n<p><a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/CreatingContrast.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson&#8217;s chapter on creating contrast between sections<\/a><\/p>\n<p><a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/BinaryAndTernaryForms.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson&#8217;s chapter on binary and ternary forms<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-789-1\">Jan LaRue, <em>Guidelines for Style Analysis<\/em>, 2nd ed., Detroit Monographs in Musicology\/Studies in Music, no. 12 (Warren, MI: Harmonie Park Press, 1992). <a href=\"#return-footnote-789-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-789-2\">Example from <a href=\"https:\/\/www.expandingthemusictheorycanon.com\/binary\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/binary\/<\/a> <a href=\"#return-footnote-789-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_789_3771\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3771\"><div tabindex=\"-1\"><p>form design consisting of two large parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2286\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2286\"><div tabindex=\"-1\"><p>musical passage that concludes with a cadence<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3772\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3772\"><div tabindex=\"-1\"><p>binary form whose large sections use repeat signs<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3774\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3774\"><div tabindex=\"-1\"><p>term describing pieces in binary form in which the A section can stand on its own harmonically, meaning that the A section ends with an authentic cadence in the tonic key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2303\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2303\"><div tabindex=\"-1\"><p>abbreviation for \"imperfect authentic cadence,\" which refers to any cadence that moves from dominant function to the tonic triad in which any of the chords is inverted or uses the leading tone chord instead of V, or in which a scale degree other than 1 (\"do\") is in the highest part or melody with the tonic chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2300\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2300\"><div tabindex=\"-1\"><p>abbreviation for \"perfect authentic cadence,\" which is the most conclusive cadence type, having both of the following features: (1) the cadence uses a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad uses scale degree 1 (\u201cdo\u201d) in the soprano melody or main melodic part<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2309\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2309\"><div tabindex=\"-1\"><p>abbreviation for \"half cadence,\" the term referring to a cadence type that ends with a dominant chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3775\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3775\"><div tabindex=\"-1\"><p>term describing pieces in binary form whose A section does not stand on its own harmonically, meaning the A section ends with either an open cadence in the tonic key, or any cadence in a key other than tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3776\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3776\"><div tabindex=\"-1\"><p>term describing pieces in binary form that do not feature material from the A section in the B section<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3777\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3777\"><div tabindex=\"-1\"><p>term describing pieces in binary form in which a portion of the A section returns at the end of the B section<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3779\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3779\"><div tabindex=\"-1\"><p>type of rounded binary form with an internal structure of 8 bars (A), 8 bars (A'), 8 bars (B, or bridge), 8 bars (A'')<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3780\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3780\"><div tabindex=\"-1\"><p>in form design, term denoting a contrasting section; used when discussing 32-bar song form and forms in popular music<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3781\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3781\"><div tabindex=\"-1\"><p>technique found in some Baroque dance movements, in which a brief portion of the end of the A section (usually stated in the key of the dominant) is restated at the end of the B section in the tonic key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3782\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3782\"><div tabindex=\"-1\"><p>term used to describe pieces in binary form in which the length of the sections is the same, or nearly the same<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3783\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3783\"><div tabindex=\"-1\"><p>term used to describe pieces in binary form whose large sections are different lengths (usually the B section will be longer than the A section)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_345\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_345\"><div tabindex=\"-1\"><p>term referring to notes within a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_346\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_346\"><div tabindex=\"-1\"><p>term referring to notes outside of a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3791\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3791\"><div tabindex=\"-1\"><p>chords that use ninths, elevenths, or thirteenths above the root<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2233\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2233\"><div tabindex=\"-1\"><p>the length of a sustained sound<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3790\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3790\"><div tabindex=\"-1\"><p>speed at which a piece of music is played; often measured in beats per minute (bpm)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3789\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3789\"><div tabindex=\"-1\"><p>rate of textural change<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2246\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2246\"><div tabindex=\"-1\"><p>the rate of chord change<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_4824\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_4824\"><div tabindex=\"-1\"><p>beginning section of a piece or movement<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_4822\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_4822\"><div tabindex=\"-1\"><p>ending section of a piece or movement<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3687\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3687\"><div tabindex=\"-1\"><p>type of key relationship in which the key signatures differ only up to one sharp or flat<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_1973\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_1973\"><div tabindex=\"-1\"><p>cadence type that ends with a dominant chord; abbreviated as \"HC\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2131\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2131\"><div tabindex=\"-1\"><p>process in which a portion of music (both intervallic and rhythmic content) is successively replicated at a different pitch level<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2132\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2132\"><div tabindex=\"-1\"><p>with regard to melodic sequence, the first iteration of sequential material<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_2133\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_2133\"><div tabindex=\"-1\"><p>with regard to melodic sequence, term referring to each subsequent iteration of sequential material, following the initial model<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_4711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_4711\"><div tabindex=\"-1\"><p>short passage of music in a new key, longer than a tonicization but not a full modulation<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_789_3447\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_789_3447\"><div tabindex=\"-1\"><p>process in which a secondary dominant appears, temporarily destabilizing the tonic key and resolving to a different, albeit momentary, new tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":34,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-789","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/789","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":70,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/789\/revisions"}],"predecessor-version":[{"id":7127,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/789\/revisions\/7127"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/789\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=789"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=789"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=789"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=789"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}