K.
Christian McGuire for Mus 109-S
A Chart of Typical Rounded Binary Forms
From the Baroque and Classical Eras
Basic Form A B A’ Notes
Da Capo Aria A B A’ (da capo) Innovation of Italian opera in the Middle
Example: J.S. Bach’s [a a] [b] [a] Baroque
“Nun Komm der vocal line is often contrasting key to accompany Texture can be homophonic, or in the case
Heiden Heiland”, BWV sandwiched between contrasting mood of text of Bach, a combination of both homophony
61, instrumental ritornelli and polyphony.
Tenor Solo and using the same music
Soprano Solo
French Overture A B A’ Middle Baroque - Initially for the French
Example: J.S. Bach’s - Slow and Stately Fast and Fugal ballet.
“Nun Komm der - duple meter triple meter Developed by Jean-Baptiste Lully for the
Heiden Heiland”, BWV - double dotted rhythms Polyphonic French Opera. The overture marked the
61, - Homophonic entrance of King Louis XIV
1st chorus
Fugue (Bach-style Exposition (A) Development (B) Recapitulation The first entrance of the Subject ALWAYS
in 4 voices) 1. Subject (I) Borrowed from Ritornello Form of (A’) enters alone. When the subject enters on
2. Answer (V) the Baroque Concerto Subject (I) the Tonic (I) it is called a subject; when it
*Polyphonic (but enters on the dominant (V) it is called an
*bridge material episodes of ‘free’ polyphonic
structured with hidden (optional) answer.
functional harmony) material alternate with entrances of
3. Subject (I) subject in different keys (typically Late Baroque – Notice that the
4. Answer (V) any key except I or V) development section displays the influence
[E1-S1-E2-S2-E3-S3…En-Sn] of Vivaldi’s concerti upon Bach.
K. Christian McGuire for Mus 109-S
Basic Form A B A’ Notes
Sonata Form Exposition (A) - Development (B) Recapitulation Classical Era - Sometimes called Sonata-
Homophonic repeated Themes are broken down (A’) allegro form or 1st movement form. It is often
1. Thematic Group 1 (I) – fragmented and recombined 1. Thematic Group preceeded by a slow introduction and ends
2. bridge to dominant - Cycles through different keys 1 (I) with a coda after the recapitulation.
3. Thematic Group 2 - ends with retransition to 2. bridge In contrast to Haydn, Mozart loves to
(V) recapitulation *3. Thematic introduce new themes
4. Closing Themes Group 2 (I)
(transition to 4. Closing
development) Themes
Mono-thematic Exposition (A) - Development (B) Recapitulation Typical of Haydn - Pretty much exactly the
Sonata Form repeated Themes are broken down (A’) same as the Sonata Form. EXCEPT It uses the
Haydn’s, “Symphony 1. Thematic Group 1 (I) – fragmented and recombined 1. Thematic Group SAME theme for Theme 1 and Theme 2.
No. 104”, 1st 2. bridge to dominant - Cycles through different keys 1 (I) Notice however that in the Exposition, the so-
movement *3. Thematic Group 1 - ends with retransition to 2. bridge called Theme 2 still appears in the dominant.
(V) recapitulation *3. Thematic Haydn – One theme often folk-based.
4. Closing Themes Group 2 (I) His development secitons, however, are daring
(transition to 4. Closing as he explores remote keys.
development) Themes
Classical Orchestral Solo Development (B) Recap Coda Sometimes called Double Exposition form.
Concerto Form Expo (A) Expo Themes are broken down (A’) - Instead of repeating the Exposition, The
1. T1 (I) – fragmented and recombined 1. T1 Cadenza orchestra plays once alone, then the soloist
(Mozart-style) (A) joins where a repeat would have occurred.
2. bridge 1. T1 (I) - Cycles through different keys (I) Closing
*3. T2 (I) * Sometimes re-introduces a 2. Themes As in the Baroque concerto, the soloist is in
2. bridge dialog with the orchestra sometimes playing
4. CT *3. T2 complete statement of one of the bridge
Exposition themes and then *3. T2 with and sometimes against each other.
(V) The cadenza is a section for the soloist to
4. CT returns to more development. (I)
- ends with retransition to 4. CT improvise on themes which may not have been
recapitulation developed. When the soloist is done, they
usually play a trill to signal the orchestra to
come back in with the closing theme.
K. Christian McGuire for Mus 109-S
Basic Form A B A’ Notes
Baroque Dances A B Baroque Stylized Dances tend to be binary
Binary form [a a] [b b] form [a b] only. These forms are often
each section is There are many many grouped together into suites, partitas, and
repeated. Examples are types of dances each with ordres. These multi-movement works can
Sarabande [3/4 meter, slow contain any number of stylized dances, but
works by Couperin, de distinct styles: tempo; oftentimes an accent on
la Guerre, and Bach’s Allemande [4/4 meter, most typically, as in the case of a sonata da
the 2nd beat] camera include the Allemande, Courante,
partitas moderate tempo; upbeat Gigue [6/8 meter; fast; short
1/16th note] Sarabande, and Gigue.
upbeat, uneven rhythms, lively
Courante [3/2 meter, movement]
moderate tempo]
Baroque Trio A B A’ Basically two binary form dances played
Form [a a b b] [c c d d] [a b] together: Dance 1 is the A section, Dance 2 is
the B section, Dance 1 returns without repeats
for A’
Classical Minuet (A) Trio (B) Minuet (A’) The Classical Minuet and Trio is comprised
Minuet and Trio [a a] [b a’] [b a’] [c c] [d c’] [d c’] [a b a’[ of two rounded binary form minuets. Much
Always Triple meter more elaborate than the Baroque trio both in
length and melodies, often with transitions and
‘celebrated cadences’
20th Century Jazz The Head (A) Solos (B) Return (A’)
Standards aka Exposition aka Development aka
[a a] [b a’] soloists develop the themes Recapitulation
through improvisation of the
theme and/or fragments of it.
Often times the supporting
rhythm section develops the
harmony with alternate voicings.
Binary [A B] and Rounded Binary [A B A’] are two of the most basic structures in Western Art Music. You will notice that the majority of the forms listed
above fall under the category of Rounded Binary. The idea is that after the first idea (A) is played (or exposed), a new idea is introduced (B). That is binary
form. To make it ‘rounded’, the form must return to the head’ (A’) of the music. The Latin word for head it caput from which we get the word cap (as in
someone’s hat). It is then easy to see that a “da capo aria” means a return to the head, as does the word Re-capit-ulation. Jazzers simply use the English
equivalent, as in “Play the head for All the Things You Are.”