Thread by @AntonPrince7

𝐎𝐧 𝐦𝐮𝐬𝐢𝐜𝐚𝐥 𝐬𝐭𝐫𝐮𝐜𝐭𝐮𝐫𝐞; 𝐭𝐡𝐢𝐫𝐝 𝐢𝐧𝐬𝐭𝐚𝐥𝐦𝐞𝐧𝐭: 𝐭𝐞𝐫𝐧𝐚𝐫𝐲 𝐚𝐧𝐝 𝐛𝐢𝐧𝐚𝐫𝐲 𝐟𝐨𝐫𝐦

Last week I wrote about phrase structure in musical form; today we reach that stage where we can actually say we have a full-fledged piece.

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In simply combining the phrase structures we already have—like the period—with a contrasting phrase, we can create a simple little piece.

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In the TERNARY or form, the first part is repeated after the contrasting middle section is stated.
In the BINARY form, the initial phrase is succeeded by a contrasting phrase which also ends the piece.

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One might think that the binary form is the most common of these forms because it is simpler but in practice, the ternary form seems the most natural—the majority of musical structures are, in one way or another, three-part, rather than two-part.

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Repetition of the phrase period or sentence can extend such a piece and small two- or three-part formations (with or without repetitions) frequently appear as parts of a larger structure.

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In effect, Sonata form is an elaborate ternary form, with a first part traditionally consisting of two subjects—which is repeated, (the exposition) a middle part which functions as a contrasting section (development) and repetition of the first part (the recapitulation).

6/27

Let us glance at a few simple examples, first of the binary form.

This is the minuet in G by Christian Petzold, previously attributed to Johann Sebastian Bach:

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The minuet consists of a sentence-like phrase, which is repeated (note also that I marked both halves of the sentence), after which follows a second, contrasting part leaning strongly towards the dominant key region but ending in the tonic G. Both sections are repeated.

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I am quite sure it merits little explanation, but in a binary form as in the above example, the opening material of the first part is NOT repeated. This has been called “simple binary form”.

9/27

A second variant of this form exists, in which the material from the first section returns to close the second section, though often only half of the original section is repeated. This is the “rounded binary form”.

10/27

This example from Mozart (0:00-1:00) clearly shows a repetition of the first part in the second section—which combines bars 1 and 2 with bars 7 and 8.

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Another notable feature is that the first half of this second section is simply juxtaposed with the material from the first part and not in any way melodically connected.

12/27

Schumann‘s “Soldatenmarsch”, which I used last week to clarify the concept of the period phrase structure is also in rounded binary form; the material taken from the first section is followed, however, by four measures recalling the main material from the second section.

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All identical material is marked in the same colour; and thus it becomes clear that the first part of the period is repeated three times, and that in the repetition of this material which closes the second section, the complementary second half is substituted...

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...for a variation of the contrasting material (in red).

15/27

Recording:

Though I stated above that the ternary form is more common, the prevalence of the binary form must not be downplayed; the famous theme of the Diabelli variations is in rounded binary form.

16/27

This theme is different from a “standard” rounded binary form because the second half of the first section is repeated (in a varied form), rather than the first.

Now, to the ternary form.

17/27

This little piece was penned also by Anton Diabelli and features three distinct parts, thus it is in ternary form. The first part consists of an 8-bar period, the first half (blue) ending on the dominant harmony, the second on the tonic (lilac).

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The contrasting middle section (red) is a four-bar phrase and its varied repetition which connects fluently with the repetition of the first section—the first half of which is exactly repeated and the second half slightly varied for a stronger sense of closure (purple).

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A similar structure can be seen in Schumann‘s “Wilder Reiter”; a period (blue and pink), a contrasting section (red), and a repeat (blue and pink). Note that the repeat of the first section is exact here; unlike in the Diabelli piece.

20/27

Recording:

In larger structures, we find both binary and ternary forms as smaller units.
In Beethoven‘s Opus 2/1, in the adagio movement, we find the folllowing small ternary form, which opens the movement (0:00-1:32):

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It consists of an 8-bar period, followed by a four-bar contrasting section and closes with a strongly varied repetition of the first section.

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It may be noted that the proportions of this ternary form differ strongly from the previous examples. Such differently balanced forms will often appear as part of a larger work. An independent piece will often feature more equal parts—but, of course, this is not a rule.

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Another notable example is this one from Haydn (0:00-0:51) where the contrasting section of the ternary form stretches to nine bars.
The cause of this asymmetrical phrase is a chain-like extension of the dotted rhythmic motif.

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Here, the repetition of the first section is, as in Schumann‘s “Wilder Reiter”, exact rather than varied and, apart from the unusual middle section, it deviates in nothing from the basic model.

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Again, my little thread hardly grazes the surface of the other purposes for which these little forms can be employed; classical minuets often consist of two parts in binary form, of which the first is repeated; making the whole a ternary form.

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So I take leave of you today with the Andante of Schubert's “Rosamunde” string quartet, which opens with a small ternary form proportioned like the example of Beethoven’s Opus 2/1, and ask to observe how natural and fluid “form” can be:

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