{"id":801,"date":"2023-05-24T16:04:38","date_gmt":"2023-05-24T16:04:38","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/ternary-form\/"},"modified":"2025-08-18T22:10:09","modified_gmt":"2025-08-18T22:10:09","slug":"ternary-form","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/ternary-form\/","title":{"raw":"Ternary form","rendered":"Ternary form"},"content":{"raw":"<div class=\"ternary-form\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 35<\/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 three-part forms<\/li>\r\n \t<li>How to approach analyzing pieces that are in three large contrasting sections<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Simple ternary form\"><\/a>Simple ternary form<\/h1>\r\n<p class=\"import-Normal\">A piece is in [pb_glossary id=\"4009\"]ternary form[\/pb_glossary] if it is in three large sections, where the outer sections are roughly equivalent in proportion. The prototypical ternary design is A B A'. The primary difference between [pb_glossary id=\"3777\"]rounded binary[\/pb_glossary] and ternary form is proportion. In rounded binary, we perceive two distinct sections, and the return of A is shorter than the initial statement, most often because of repetition of the first section. In ternary, we perceive three distinct sections, and the return of A is the same length as the initial statement of A. In this case, the restatement of A is subsumed as part of the larger B (second) section. Figure 35\u20111 illustrates these differences.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 35\u20111. Rounded binary and ternary form designs<\/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\/image82-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image82-1.png\" width=\"1299\" height=\"222\" alt=\"left image reads &quot;rounded binary,&quot; above capital letters A [space] B, which are above smaller capital letters A A B A'. Right image reads &quot;ternary&quot; above capital letters A [space] B [space] A-prime \" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">There also tends to be more contrast in the B section of ternary forms than in binary forms. If there is insufficient contrast between sections or some other aspect of ternary form is not present, the piece is considered [pb_glossary id=\"4011\"]incipient ternary[\/pb_glossary].<\/p>\r\n<p class=\"import-Normal\">The piece appearing in Example 35\u20111 is organized in three parts, exemplifying simple ternary form. Its form diagram, which appears in Figure 35\u20112, shows the primary means of contrast in this piece\u2014the B section is in the key of the dominant (G major), creating harmonic contrast with the outer A sections, which are in the tonic key of C major.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 35\u20111. Robert Schumann, op. 68, no. 3, \u201cTr\u00e4llerliedchen\u201d from <em>Album for the Young<\/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\/image84-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image84-1.png\" width=\"1428\" height=\"1210\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\nListen to the piece, performed by Vladimir Feltsman, on <a href=\"https:\/\/open.spotify.com\/track\/2C4EAFj3gdcck3lDAsMoV0?si=2b868ea814fd484f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId158\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.\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 35\u20112. Form diagram of Example 35\u20111<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-1024x410.png\" alt=\"Form diagram\" width=\"1024\" height=\"410\" class=\"alignnone wp-image-4014 size-large\" \/><\/a>\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-35.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 35.2<\/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: T65 Simple ternary form (7:50)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/youtu.be\/KH7TV4NQ5H4<\/p>\r\n<p class=\"import-Normal\">This video walks you through an analysis of simple ternary form in Robert Schumann\u2019s op. 68, no. 3, \u201cTr\u00e4llerliedchen\u201d from his <em>Album for the Young<\/em> (Example 35\u20111).\u00a0We identify the three large sections and their corresponding key areas, as well as phrase structure and cadences.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Compound ternary form\"><\/a>Compound ternary form<\/h1>\r\n<p class=\"import-Normal\">Ternary forms have the potential to be [pb_glossary id=\"4044\"]compound[\/pb_glossary], which means that the internal sections also have their own formal designs (such as binary or ternary). Some texts refer to these as composite ternary forms. If such internal forms are not present, the form is considered [pb_glossary id=\"4056\"]simple[\/pb_glossary], as demonstrated in Example 35\u20111.<\/p>\r\n<p class=\"import-Normal\">The most common example of a compound ternary form can be found in almost any Minuet and Trio movement. Typically, the structure involves statement of the minuet, followed by the trio, and restatement of the minuet\u2014rendering an overarching A B A structure. The internal design of both the minuet and the trio is most often binary. The generic overall design of such a structure is given in Figure 35\u20113. The term \u201cda capo\u201d signals the restatement of the minuet.<\/p>\r\n\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 35\u20113. Minuet and trio compound ternary form design<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<small><\/small><small><small> <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image85-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image85-1.png\" width=\"1363\" height=\"125\" alt=\"image of form diagram \" class=\"alignnone\" \/><\/a><\/small><\/small>\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-35.3.pdf\" target=\"_blank\" rel=\"noopener\">Figure 35.3<\/a><span style=\"font-size: 1rem\"><\/span><\/div>\r\n<\/div>\r\n<\/div>\r\n<span>Example 35-2 shows another piece by Robert Schumann. This one is longer and has a more complex form, in that each of the three large sections has its own internal organization, making it an example of compound ternary form.<\/span> For example, the A sections, which comprise mm. 1\u201314 and mm. 35\u201351, each have their own internal ternary structure, as shown in the form diagram for this piece in Figure 35\u20114.\r\n<div class=\"ternary-form\">\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 35\u20112. Robert Schumann, op. 118a, Kinder Sonate no. 1 from <em>Three Piano Sonatas for the Young<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-1005x1024.png\" alt=\"image of score\" width=\"1005\" height=\"1024\" class=\"alignnone wp-image-5840 size-large\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-748x1024.png\" alt=\"image of score\" width=\"748\" height=\"1024\" class=\"alignnone wp-image-5841 size-large\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-741x1024.png\" alt=\"image of score\" width=\"741\" height=\"1024\" class=\"alignnone wp-image-5842 size-large\" \/><\/a><small><\/small>\r\n\r\nListen to this piece, performed by Peter Frankl, on <a href=\"https:\/\/open.spotify.com\/track\/5XLzY2oTkTu1A9fytwA53g?si=68996a64fd2e467c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId158\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.\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 35\u20114. Form diagram for Example 35\u20112<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-1024x235.png\" alt=\"Image of form diagram\" width=\"1024\" height=\"235\" class=\"alignnone wp-image-4046 size-large\" \/><\/a>\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-35.4.pdf\" target=\"_blank\" rel=\"noopener\">Figure 35.4<\/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: T66 Compound ternary form (11:16)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/youtu.be\/vQWheoBBtXw<\/p>\r\n<p class=\"import-Normal\">This video introduces the concept of compound ternary form through an analysis of Robert Schumann\u2019s op. 118a, Kinder Sonate no. 1 from <em>Three Piano Sonatas for the Young<\/em> (Example 35-2).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Other variants\"><\/a>Other variants<\/h1>\r\n<p class=\"import-Normal\"><span>There are also variant types of ternary form that don\u2019t use an A B A\u2019 structure<\/span>, such as [pb_glossary id=\"4051\"]strophic[\/pb_glossary] (a common variant, which we will study in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/strophic-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 36<\/a>) and [pb_glossary id=\"4052\"]additive[\/pb_glossary] (which is rare). Form designs for each of these are shown in Figure 35\u20115 and Figure 35\u20116 respectively.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 35\u20115. Three-part strophic form<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image89-1.png\" width=\"223\" height=\"97\" alt=\"image that shows two large vertical lines, capital A, capital A-prime, capital A-double-prime, two large vertical lines\" class=\"aligncenter\" \/><\/p>\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 35\u20116. Three-part additive 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\/image90-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image90-1.png\" width=\"144\" height=\"46\" alt=\"image that shows two large vertical lines, capital A, capital B, capital C, two large vertical lines\" class=\"aligncenter\" \/><\/a><\/p>\r\n\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 three large parts, consider the questions in Figure 35\u20117, 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 35\u20117. Cue sheet for ternary form<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">(1) Is this piece a true ternary or some type of variant ([pb_glossary id=\"4011\"]incipient[\/pb_glossary], [pb_glossary id=\"4051\"]strophic[\/pb_glossary], or [pb_glossary id=\"4052\"]additive[\/pb_glossary])? If incipient, specify what conditions are lacking.<\/p>\r\n<p class=\"import-Normal\">(2) What is the basic formal diagram for this piece? Include:<\/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 sections, such as [pb_glossary id=\"4824\"]introductions[\/pb_glossary], transitions, or [pb_glossary id=\"4822\"]codas[\/pb_glossary], when used<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">(3) Do any sections have an internal formal design, thus creating a [pb_glossary id=\"4044\"]compound[\/pb_glossary] form? If so, how are the internal sections organized?<\/p>\r\n<p class=\"import-Normal\">(4) Examine how the primary musical elements (sound, melody, harmony, rhythm) are used for unity and contrast between the A and B sections.<\/p>\r\n<p class=\"import-Normal\">(5) Compare the outer sections. How similar are they? What differences occur?<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 35-1 Form analysis: Haydn Minuet and Trio\"><\/a>EXERCISE 35-1 Form analysis: Haydn Minuet and Trio<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 35-1 Form analysis: Haydn Minuet and Trio<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Listen to and study the following movement from an early piano sonata by Franz Joseph Haydn, Worksheet example 35\u20111. This movement uses a compound ternary form, following the Minuet and Trio model, using a \u201cda capo\u201d indication at the end of the Trio, which means you go back to the beginning and play the Minuet again. Each of the individual big sections, i.e., the \u201cMenuet\u201d and the \u201cTrio,\u201d have their own internal form designs, and this makes the overall form compound.<\/p>\r\n<p class=\"import-Normal\">With this in mind, answer the following questions:<\/p>\r\n\r\n<ol>\r\n \t<li>Consider just the \u201cMenuet\u201d (mm. 1\u201324). What term(s) best describe(s) the form of this section?<\/li>\r\n \t<li>Consider just the \u201cMenuet\u201d (mm. 1\u201324). What is the overall key of this section?<\/li>\r\n \t<li>The first cadence occurs in mm. 7\u20138. What type of cadence is this and in what key?<\/li>\r\n \t<li>The second cadence cadence in m. 16. What type of cadence is this and in what key?<\/li>\r\n \t<li>In m. 9, there is a chromatic chord. Thinking in the key of C major, what is the best label for this chord? Does it resolve in the way you might expect it to?<\/li>\r\n \t<li>The third cadence occurs in mm. 23\u201324. What type of cadence is this and in what key?<\/li>\r\n \t<li>Consider just the \u201cTrio\u201d (mm. 25\u201350). What term(s) best describe(s) the form of this section?<\/li>\r\n \t<li>Consider just the \u201cTrio\u201d (mm. 25\u201350). What is the overall key of this section? What is the relationship between the overall key of the trio and the overall key of the minuet?<\/li>\r\n \t<li>A cadence occurs at mm. 33\u201334. What type of cadence is this and in what key?<\/li>\r\n \t<li>Another cadence occurs at m. 38 and another at m. 42. What type of cadence are these and in what key?<\/li>\r\n \t<li>The final cadence occurs in mm. 49\u201350. What type of cadence is this and in what key?<\/li>\r\n<\/ol>\r\n<p class=\"import-Normal\">Create a form diagram for this movement. Be sure to include:<\/p>\r\n\r\n<ul>\r\n \t<li>big sections labeled with capital letters<\/li>\r\n \t<li>repeat signs<\/li>\r\n \t<li>measure numbers where phrases and sections begin and end<\/li>\r\n \t<li>bubbles or slurs representing the phrases<\/li>\r\n \t<li>phrases labeled with lowercase letters<\/li>\r\n \t<li>key areas shown beneath the diagram, in both Roman numerals (showing the relationship of keys) and letter names<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 35\u20111. Franz Joseph Haydn, Keyboard Sonata in C major, Hob. XVI: 3, mvt. 3<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-868x1024.png\" alt=\"image of musical score\" width=\"868\" height=\"1024\" class=\"alignnone size-large wp-image-6809\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-852x1024.png\" alt=\"image of score\" width=\"852\" height=\"1024\" class=\"alignnone wp-image-5826 size-large\" \/><\/a>\r\n\r\nListen to this piece, performed by Rudolf Buchbinder, on <a href=\"https:\/\/open.spotify.com\/track\/0rwaZ1ltF3873YrkRubsS6?si=a6432cba7d9c4c73\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Franz Joseph <\/strong><strong>Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId159\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.\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\/05\/Ex35.1-Form-analysis-Haydn-Minuet-and-Trio.pdf\" target=\"_blank\" rel=\"noopener\">Ex35.1 Form analysis Haydn Minuet and Trio<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n<p class=\"p1\">Listen to the audio examples featured in this chapter here: <a class=\"rId160\" href=\"https:\/\/open.spotify.com\/playlist\/0Bigd9638u4Su3lNK2M1mY?si=c74aed8e89d9464d\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for ternary form<\/span><\/a><\/p>\r\n\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 35<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\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<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/ternary-form\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis's chapter on ternary form<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"ternary-form\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 35<\/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 three-part forms<\/li>\n<li>How to approach analyzing pieces that are in three large contrasting sections<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Simple ternary form<\/h1>\n<p class=\"import-Normal\">A piece is in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4009\">ternary form<\/a> if it is in three large sections, where the outer sections are roughly equivalent in proportion. The prototypical ternary design is A B A&#8217;. The primary difference between <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_3777\">rounded binary<\/a> and ternary form is proportion. In rounded binary, we perceive two distinct sections, and the return of A is shorter than the initial statement, most often because of repetition of the first section. In ternary, we perceive three distinct sections, and the return of A is the same length as the initial statement of A. In this case, the restatement of A is subsumed as part of the larger B (second) section. Figure 35\u20111 illustrates these differences.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 35\u20111. Rounded binary and ternary form designs<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image82-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image82-1.png\" width=\"1299\" height=\"222\" alt=\"left image reads &quot;rounded binary,&quot; above capital letters A [space] B, which are above smaller capital letters A A B A'. Right image reads &quot;ternary&quot; above capital letters A [space] B [space] A-prime\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">There also tends to be more contrast in the B section of ternary forms than in binary forms. If there is insufficient contrast between sections or some other aspect of ternary form is not present, the piece is considered <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4011\">incipient ternary<\/a>.<\/p>\n<p class=\"import-Normal\">The piece appearing in Example 35\u20111 is organized in three parts, exemplifying simple ternary form. Its form diagram, which appears in Figure 35\u20112, shows the primary means of contrast in this piece\u2014the B section is in the key of the dominant (G major), creating harmonic contrast with the outer A sections, which are in the tonic key of C major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 35\u20111. Robert Schumann, op. 68, no. 3, \u201cTr\u00e4llerliedchen\u201d from <em>Album for the Young<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image84-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image84-1.png\" width=\"1428\" height=\"1210\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p>Listen to the piece, performed by Vladimir Feltsman, on <a href=\"https:\/\/open.spotify.com\/track\/2C4EAFj3gdcck3lDAsMoV0?si=2b868ea814fd484f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId158\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 35\u20112. Form diagram of Example 35\u20111<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-1024x410.png\" alt=\"Form diagram\" width=\"1024\" height=\"410\" class=\"alignnone wp-image-4014 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-1024x410.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-300x120.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-768x307.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-1536x615.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-65x26.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-225x90.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann-350x140.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/fig-35.2-form-diagram-of-schumann.png 1912w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/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-35.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 35.2<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T65 Simple ternary form (7:50)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T65 Simple Ternary Form\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/KH7TV4NQ5H4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video walks you through an analysis of simple ternary form in Robert Schumann\u2019s op. 68, no. 3, \u201cTr\u00e4llerliedchen\u201d from his <em>Album for the Young<\/em> (Example 35\u20111).\u00a0We identify the three large sections and their corresponding key areas, as well as phrase structure and cadences.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Compound ternary form<\/h1>\n<p class=\"import-Normal\">Ternary forms have the potential to be <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4044\">compound<\/a>, which means that the internal sections also have their own formal designs (such as binary or ternary). Some texts refer to these as composite ternary forms. If such internal forms are not present, the form is considered <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4056\">simple<\/a>, as demonstrated in Example 35\u20111.<\/p>\n<p class=\"import-Normal\">The most common example of a compound ternary form can be found in almost any Minuet and Trio movement. Typically, the structure involves statement of the minuet, followed by the trio, and restatement of the minuet\u2014rendering an overarching A B A structure. The internal design of both the minuet and the trio is most often binary. The generic overall design of such a structure is given in Figure 35\u20113. The term \u201cda capo\u201d signals the restatement of the minuet.<\/p>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 35\u20113. Minuet and trio compound ternary form design<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><small><\/small><small><small> <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image85-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image85-1.png\" width=\"1363\" height=\"125\" alt=\"image of form diagram\" class=\"alignnone\" \/><\/a><\/small><\/small><\/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-35.3.pdf\" target=\"_blank\" rel=\"noopener\">Figure 35.3<\/a><span style=\"font-size: 1rem\"><\/span><\/div>\n<\/div>\n<\/div>\n<p><span>Example 35-2 shows another piece by Robert Schumann. This one is longer and has a more complex form, in that each of the three large sections has its own internal organization, making it an example of compound ternary form.<\/span> For example, the A sections, which comprise mm. 1\u201314 and mm. 35\u201351, each have their own internal ternary structure, as shown in the form diagram for this piece in Figure 35\u20114.<\/p>\n<div class=\"ternary-form\">\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 35\u20112. Robert Schumann, op. 118a, Kinder Sonate no. 1 from <em>Three Piano Sonatas for the Young<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-1005x1024.png\" alt=\"image of score\" width=\"1005\" height=\"1024\" class=\"alignnone wp-image-5840 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-1005x1024.png 1005w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-294x300.png 294w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-768x783.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-1507x1536.png 1507w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-2009x2048.png 2009w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-65x66.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-225x229.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt1-350x357.png 350w\" sizes=\"auto, (max-width: 1005px) 100vw, 1005px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-748x1024.png\" alt=\"image of score\" width=\"748\" height=\"1024\" class=\"alignnone wp-image-5841 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-748x1024.png 748w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-219x300.png 219w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-768x1051.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-1123x1536.png 1123w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-1497x2048.png 1497w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-65x89.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-225x308.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt2-350x479.png 350w\" sizes=\"auto, (max-width: 748px) 100vw, 748px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-741x1024.png\" alt=\"image of score\" width=\"741\" height=\"1024\" class=\"alignnone wp-image-5842 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-741x1024.png 741w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-217x300.png 217w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-768x1061.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-1111x1536.png 1111w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-1482x2048.png 1482w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-65x90.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-225x311.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-35.2-pt3-350x484.png 350w\" sizes=\"auto, (max-width: 741px) 100vw, 741px\" \/><\/a><small><\/small><\/p>\n<p>Listen to this piece, performed by Peter Frankl, on <a href=\"https:\/\/open.spotify.com\/track\/5XLzY2oTkTu1A9fytwA53g?si=68996a64fd2e467c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId158\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 35\u20114. Form diagram for Example 35\u20112<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-1024x235.png\" alt=\"Image of form diagram\" width=\"1024\" height=\"235\" class=\"alignnone wp-image-4046 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-1024x235.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-300x69.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-768x176.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-1536x352.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-65x15.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-225x52.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev-350x80.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-35.4-rev.png 2019w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/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-35.4.pdf\" target=\"_blank\" rel=\"noopener\">Figure 35.4<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T66 Compound ternary form (11:16)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T66 Compound Ternary Form\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/vQWheoBBtXw?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the concept of compound ternary form through an analysis of Robert Schumann\u2019s op. 118a, Kinder Sonate no. 1 from <em>Three Piano Sonatas for the Young<\/em> (Example 35-2).<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Other variants<\/h1>\n<p class=\"import-Normal\"><span>There are also variant types of ternary form that don\u2019t use an A B A\u2019 structure<\/span>, such as <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4051\">strophic<\/a> (a common variant, which we will study in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/strophic-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 36<\/a>) and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4052\">additive<\/a> (which is rare). Form designs for each of these are shown in Figure 35\u20115 and Figure 35\u20116 respectively.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 35\u20115. Three-part strophic form<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image89-1.png\" width=\"223\" height=\"97\" alt=\"image that shows two large vertical lines, capital A, capital A-prime, capital A-double-prime, two large vertical lines\" class=\"aligncenter\" \/><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 35\u20116. Three-part additive form<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image90-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image90-1.png\" width=\"144\" height=\"46\" alt=\"image that shows two large vertical lines, capital A, capital B, capital C, two large vertical lines\" class=\"aligncenter\" \/><\/a><\/p>\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 three large parts, consider the questions in Figure 35\u20117, 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 35\u20117. Cue sheet for ternary form<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">(1) Is this piece a true ternary or some type of variant (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4011\">incipient<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4051\">strophic<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4052\">additive<\/a>)? If incipient, specify what conditions are lacking.<\/p>\n<p class=\"import-Normal\">(2) What is the basic formal diagram for this piece? Include:<\/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 sections, such as <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4824\">introductions<\/a>, transitions, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4822\">codas<\/a>, when used<\/li>\n<\/ul>\n<p class=\"import-Normal\">(3) Do any sections have an internal formal design, thus creating a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_801_4044\">compound<\/a> form? If so, how are the internal sections organized?<\/p>\n<p class=\"import-Normal\">(4) Examine how the primary musical elements (sound, melody, harmony, rhythm) are used for unity and contrast between the A and B sections.<\/p>\n<p class=\"import-Normal\">(5) Compare the outer sections. How similar are they? What differences occur?<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 35-1 Form analysis: Haydn Minuet and Trio<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 35-1 Form analysis: Haydn Minuet and Trio<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Listen to and study the following movement from an early piano sonata by Franz Joseph Haydn, Worksheet example 35\u20111. This movement uses a compound ternary form, following the Minuet and Trio model, using a \u201cda capo\u201d indication at the end of the Trio, which means you go back to the beginning and play the Minuet again. Each of the individual big sections, i.e., the \u201cMenuet\u201d and the \u201cTrio,\u201d have their own internal form designs, and this makes the overall form compound.<\/p>\n<p class=\"import-Normal\">With this in mind, answer the following questions:<\/p>\n<ol>\n<li>Consider just the \u201cMenuet\u201d (mm. 1\u201324). What term(s) best describe(s) the form of this section?<\/li>\n<li>Consider just the \u201cMenuet\u201d (mm. 1\u201324). What is the overall key of this section?<\/li>\n<li>The first cadence occurs in mm. 7\u20138. What type of cadence is this and in what key?<\/li>\n<li>The second cadence cadence in m. 16. What type of cadence is this and in what key?<\/li>\n<li>In m. 9, there is a chromatic chord. Thinking in the key of C major, what is the best label for this chord? Does it resolve in the way you might expect it to?<\/li>\n<li>The third cadence occurs in mm. 23\u201324. What type of cadence is this and in what key?<\/li>\n<li>Consider just the \u201cTrio\u201d (mm. 25\u201350). What term(s) best describe(s) the form of this section?<\/li>\n<li>Consider just the \u201cTrio\u201d (mm. 25\u201350). What is the overall key of this section? What is the relationship between the overall key of the trio and the overall key of the minuet?<\/li>\n<li>A cadence occurs at mm. 33\u201334. What type of cadence is this and in what key?<\/li>\n<li>Another cadence occurs at m. 38 and another at m. 42. What type of cadence are these and in what key?<\/li>\n<li>The final cadence occurs in mm. 49\u201350. What type of cadence is this and in what key?<\/li>\n<\/ol>\n<p class=\"import-Normal\">Create a form diagram for this movement. Be sure to include:<\/p>\n<ul>\n<li>big sections labeled with capital letters<\/li>\n<li>repeat signs<\/li>\n<li>measure numbers where phrases and sections begin and end<\/li>\n<li>bubbles or slurs representing the phrases<\/li>\n<li>phrases labeled with lowercase letters<\/li>\n<li>key areas shown beneath the diagram, in both Roman numerals (showing the relationship of keys) and letter names<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 35\u20111. Franz Joseph Haydn, Keyboard Sonata in C major, Hob. XVI: 3, mvt. 3<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-868x1024.png\" alt=\"image of musical score\" width=\"868\" height=\"1024\" class=\"alignnone size-large wp-image-6809\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-868x1024.png 868w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-254x300.png 254w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-768x906.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-1303x1536.png 1303w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-1737x2048.png 1737w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-65x77.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-225x265.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Minuet-rev-350x413.png 350w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-852x1024.png\" alt=\"image of score\" width=\"852\" height=\"1024\" class=\"alignnone wp-image-5826 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-852x1024.png 852w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-250x300.png 250w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-768x923.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-1279x1536.png 1279w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-1705x2048.png 1705w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-65x78.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-225x270.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-35.1-Trio-e1707406287641-350x420.png 350w\" sizes=\"auto, (max-width: 852px) 100vw, 852px\" \/><\/a><\/p>\n<p>Listen to this piece, performed by Rudolf Buchbinder, on <a href=\"https:\/\/open.spotify.com\/track\/0rwaZ1ltF3873YrkRubsS6?si=a6432cba7d9c4c73\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Franz Joseph <\/strong><strong>Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId159\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.<\/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\/05\/Ex35.1-Form-analysis-Haydn-Minuet-and-Trio.pdf\" target=\"_blank\" rel=\"noopener\">Ex35.1 Form analysis Haydn Minuet and Trio<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p class=\"p1\">Listen to the audio examples featured in this chapter here: <a class=\"rId160\" href=\"https:\/\/open.spotify.com\/playlist\/0Bigd9638u4Su3lNK2M1mY?si=c74aed8e89d9464d\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for ternary form<\/span><\/a><\/p>\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 35<\/p>\n<\/header>\n<div class=\"textbox__content\">\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<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/ternary-form\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis&#8217;s chapter on ternary form<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_801_4009\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_4009\"><div tabindex=\"-1\"><p>formal design in which the piece comprises three large sections, where the outer sections are roughly equivalent in proportion<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_801_3777\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_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_801_4011\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_4011\"><div tabindex=\"-1\"><p>ternary form in which there is insufficient contrast between sections or some other aspect of ternary form is not present<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_801_4044\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_4044\"><div tabindex=\"-1\"><p>form of pieces in three large sections, each of which has its own internal organization (usually a binary or ternary form)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_801_4056\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_4056\"><div tabindex=\"-1\"><p>designation for three-part (ABA) forms whose sections do not have internal forms<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_801_4051\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_4051\"><div tabindex=\"-1\"><p>form consisting of repeating sections (called strophes, verses, or stanzas), each with different lyrics set to the same melody and harmonic content<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_801_4052\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_4052\"><div tabindex=\"-1\"><p>ternary forms that have successive contrasting sections, A B C<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_801_4824\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_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_801_4822\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_801_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><\/div>","protected":false},"author":3,"menu_order":35,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-801","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/801","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":51,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/801\/revisions"}],"predecessor-version":[{"id":7128,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/801\/revisions\/7128"}],"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\/801\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=801"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=801"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=801"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=801"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}