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Music Forms: Binary, Ternary, Sonata

The document discusses different musical forms such as binary, ternary, and sonata form. The binary form is divided into two sections A-B, usually repeated, with section B complementing section A. The ternary form is divided into three sections A-B-A, with section B contrasting with section A. The sonata form is commonly used in the first movement of pieces from the classical period and is structured into exposition, development, and recapitulation.

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12 views9 pages

Music Forms: Binary, Ternary, Sonata

The document discusses different musical forms such as binary, ternary, and sonata form. The binary form is divided into two sections A-B, usually repeated, with section B complementing section A. The ternary form is divided into three sections A-B-A, with section B contrasting with section A. The sonata form is commonly used in the first movement of pieces from the classical period and is structured into exposition, development, and recapitulation.

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History of Music III ______________________________________________________________ 14

II - FORMS

2.1 Binary Form

2.1.1 Wolfgang Amadeus Mozart, Minuet

Mozart's scheme for this piece is an example of binary form:


Characteristics:
It is divided into two sections A - B, usually repeated.
1. The section A part of the tonic generally modulates to the dominant (or the
relative major, in the case of a minor key.
3. Section B explores neighboring tonalities and returns to the tonic.
4. Section B balances and complements section A, starting with the same
melody, however transposed or inverted.
History of Music III 15

2.1.2 Johann Sebastian Bach, German Suite No. 5 in G Major


For clove. Notice in this piece the binary form, characteristic of dances.
in the 17th and 18th centuries.
History of Music III 16

2.2 Ternary form

2.2.1 Robert Schumann,Volksliedchen(pequena canção folclórica)

The Schumann scheme for this piece is an example of form


ternary
Characteristics:
It is divided into 3 sections, A - B - A.
2. The section The part of the tonic usually ends on the tonic, and sounds almost
like a complete piece.
3. Section B contrasts with part A and can be completely
different in terms of tone, melodic motives, tempo, dynamics,
etc.
4. Section A, when re-presented, can be exactly the same as the beginning,
or present some variation.
History of Music III 17

2.2.2 Sergei Prokofiev, Gavotte(2o. movement of the Classical Symphony)

a. In which measure does section B begin?


b. In what measure is section A reprised?
c. How does section B contrast with section A?
d. Like section A2does it contrast with section A?
History of Music III 18

2.2.3 Johann Sebastian Bach -Paixão segundo São Mateus, ária “ich will
give my heart as a gift" for 2 oboes d'amore, soprano and bass
continuous.

Text of the aria:

I want to give you my heart, I want to give you my heart,


sink into me, my salvation! come to me, my Savior!

I want to immerse myself in you, I want to delve into you,


the world is too small for you, Se o mundo é muito pequeno para ti,
You should be more to me than the world alone. for me, you are bigger than the world and
and Heaven his the sky.

a. Into how many sections is this aria structured?


b. What is the central key of the aria?
c. In what measure does section B begin?
d. In which measure is section A represented again?
How does section B contrast with section A?
f. Like section A2does it contrast with section A?
g. What are the numbers placed on the lower staff?
History of Music III ______________________________________________________________ 19
History of Music III ______________________________________________________________ 20

2.3 Binary or ternary form?

2.3.1 Franz Joseph Haydn, Minuet.

a. Is this piece an example of binary or ternary form? Why?


History of Music III ______________________________________________________________ 21

2.4 Forma-sonata

The sonata form is the structure of movements of instrumental pieces of the


classical period: sonatas, symphonies, quartets, concertos, divertimentos,
etc. It is usually used in the structuring ofomovement, but it can be
found also in other movements.
In a general scheme, the sonata form consists of exposition,
development and re-exposure. The exposure leads from the tone to the
dominant (or relative major, in the case of a minor key). The
development and the re-exposure return to the tonic.

2 themes (or groups of themes) are involved in the sonata form, one 1o
theme, more 'rhythmic' or 'masculine', and a 2otheme, “melodic” or
"feminine", both presented in the exhibition. In this section the 1othe theme is
presented in the tonic, and the 2o the
theme is usually presented in
dominant; a bridge modulates between the two themes, and a coda
close the section, which is repeated:

In development nodes, we have modulations involving material on the themes


presented earlier:
History of Music III 22

The modulations of development lead again to the tonic, and to


reexposure; here we have a repetition of the exposure, but the 2othe theme is
now presented in the tonic. Consequently, the bridge no longer has the
modulation function. A coda (coda means 'tail' in Italian),
usually an expansion of the codetta presented in the exhibition concludes the
movement.

A complete scheme of the entire sonata form:

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