Ternary forms

Ternary forms

Part I - Simple Ternary Forms
Ternary forms contain two themes A and B and generally follow this outline:

Section:

A-------------------------------------B------------------------------------------A------------------------------Coda

 Key Area:

I--------------------------------------V------------------------------------------I----------------------------------I

Simple ternary forms are usually found in songs and in sections of larger forms.  Quite often a change in mode marks the beginning of the middle section

 

In this example, the two sections are very clearly heard.  Do note that between the B and second A, there is a transition of 8 bars to modulate back to G minor.

Part II - 32-bar Song form

The three-part division of the form is based on the grouping of the first phrase (A) and its repetition as one section.  This is often referred to as the "head."  The contrasting B section is known as the bridge.  The single eight measure restatement of A without repeat completes the four symmetrical phrases known as a quatrain.

NOTE:

Quatrain - a sixteen measure form of four-measure phrases.

In the tonic key, there will often be a sequential modulating figure that signifies the start of the B section.  

 

This is an example of 32-bar song form.  The antecedent and consequent are very clear and easy to hear.

Part III - Compound Ternary forms

These forms occur in two main styles:  Da cappo form, and large ternary form.

NOTE:

Da Cappo - Literally translates to "to head"  Means to return to the beginning of the piece and end where the sign tells you 

  

In Da cappo form, after the B section is played, the A section is often the only section to be repeated.  

This is an example of Compound ternary.  

Part IV - Large Ternary Form

Found mostly in slow movements of late eighteenth and early nineteenth century works, Large ternary is similar to the compound ternary and the minuet and trio.  In that the first section is a self-contained form ending with a Perfect authentic cadence in the tonic.  Large ternary differs from compound ternary in the following ways:

1. The first section of a slow movement is not always rounded binary with repeats
2. The middle section may be a simple binary or ternary form.  But may not be modulatory.
3. The middle section will often shift modes.
4. The large work will often have links or transitions between movements.
5. The restatement of the A section, unlike the Da capo, is written out and usually  embellished or expanded.

This is the second movement of Haydn's symphony #104