Members Page Journal Index First Aid Instructional Papers Forum

Table of Contents

Rhythm
Intervals
Key and Scale
Triads and key
Seventh Chords
Non-harm. tones
Roman num/
fig bass 1
Dom-tonic function
Secondary dom
Modulation
Aug 6th Chords
Neap 6th Chords

Section 2:

Borrowed chords
Mediants
Special uses of dim 7
Chromatic non-H tones
Roman num/
figured bass 2

Section 3:

Set theory
Rhythm/ form
12- tone
Polyrhythm
Metric modulation
Meter

Section 4:

Basic Assumptions
Motive, Phrase and Period
Cadence
Binary form
Ternary form
Rounded binary form
Sonata form
Rondo form
Theme and variation
Dance forms

Section 5:

Basic assumptions
and procedures
Harmony
Form and rhythm
Melody
Timbre

Section 6: Bibliography

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Contents Journal Index First Aid Instructional Papers Forum

ternary form

Basic Concepts

1. Ternary form is usually thought of as three-part form. This is not exactly accurate, but you need to be aware of this consideration. It is usually characterized as ABA. Notice that, while there are three components in ABA form, two of the components are the same (A and A).

2. Ternary form is harmonically closed, meaning that each section stands on its own harmonically, ending on the tonic, not requiring another section to bring the harmony to a close. Sometimes, however, the B section is not closed in itself, but leads back to the A section. This works, in part, because we have already heard the A section, so we can distinguish it from the B section without the added assistance of a final cadence.

3. The two sections, A and B, usually are different one from the other. Often, B will be in a different key.

4. The two A sections are usually exactly or nearly the same.

5. Many compositions in ternary form feature the D.C. al Fine mechanism. These are easily identified since the Fine will usually accompany a double barline in the middle of the piece. Think about this for a minute. If there is a conclusion halfway through the piece, the resolution of tonic has been achieved. Anything that happens after that may be considered a new section.

6. Compound ternary form may be thought of as form within a form or a nesting of forms. For example, the Scherzo of Brahms' Piano Sonata in F minor, Op. 5 has a macro ternary form, A-B-D.S. al Fine (The segno appears in measure 2). The A section may also be considered ternary form within itself, while the B section is binary form.