(Ternary Form) Music Theory and Practice (Benward)

353

C H A P T E R 17

Three-Part (Ternary) Form

Three-Part FormTernary FormRepetitionsExpanded Ternary Form

Auxilliary MembersRounded Binary FormIncipient Three-Part FormRefrain

BridgeReleaseQuaternary Form

This chapter presents one of the most prevalent small homophonic forms in music. Al-

though the two-part examples presented in Chapter 16 were based on similar materials

that united the two sections (a characteristic that typi es the form), you will notice that the

works in this chapter contain sections with differing, and often contrasting, elements.

Three-part form, also called ternary form, is a sectional form consisting of three principal

parts (A B A) in which each section is a complete musical statement.

Part I Part II Part III

A B A

Statement Contrast Restatement

The A sections of three-part forms are typically closed in formal design (they cadence

on the tonic). Three-part forms are found in a wide variety of sizes, from as short as three

phrases to movements lasting many minutes. In this chapter, we will concentrate on the

smaller examples of this form, but in volume 2, you will discover several larger versions of

the ternary design.

An independent, or complete, three-part form at the very lowest level (three-phrase) is

somewhat rare. Figure 17.1 is an example of this construction.

TOPICSTOPICS

IMPORTANT CONCEPTSIMPORTANT CONCEPTS

Three-Part FormThree-Part Form

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Helen Music Theory and Practice (Benward).pdf

354 PART B The Structural Elements of Music

Figure 17.1

Schumann: Kinder-Sonate no. 1, op. 118, mm. 114.

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A section in three-part form.

The three-part form is one of the most prevalent small homophonic forms in the nine-

teenth century. In the usual pattern, both A sections are at least a period in length. The

B as well is usually at least a period in length, although it may sometimes be only a single

phrase. Figure 17.2 is a typical example.

ben01877_ch17.indd 354 2/16/09 10:57:07 AM

355CHAPTER 17 Three-Part (Ternary) Form

Figure 17.2

Chopin: Mazurka in C Major, op. 33, no. 3.

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3711_ben01877_Ch17pp353-372.indd355 355 4/10/08 4:15:02 PM

356 PART B The Structural Elements of Music

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3711_ben01877_Ch17pp353-372.indd356 356 4/10/08 4:15:04 PM

357CHAPTER 17 Three-Part (Ternary) Form

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3711_ben01877_Ch17pp353-372.indd357 357 4/10/08 4:15:05 PM

358 PART B The Structural Elements of Music

..Formaldivision:

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A

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Analysis of Mazurka in C Major, op. 33, no. 3 by Chopin

Formaldivision:

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Figure 17.2 clearly illustrates the function of the B part in this form: to provide contrast

with the A part and to create a need to return to the A part to complete the pattern. The

degree of contrast between the A and B parts varies considerably from composition to

composition. In some examples, the thematic material of B may be derived from that of

A, resulting in a slight degree of contrast. In other examples, such as the Chopin Mazurka

quoted previously, the B may provide a sharp contrast with A.

The ternary form may be expanded by the use of repetitions of any section. The repeats

may be made with double bars and repeat signs, or they may be written out if the composer

wants to provide a different setting of the music when repeated. Such compositions are

said to be in expanded ternary form.

The three-part form may be expanded by the use of auxiliary members, such as an intro-

duction to precede the rst A, a transition between the sections, or a coda after the nal

A part that serves to bring the composition to a close.

The following is a list of suggested examples of the expanded three-part form:

Chopin: Mazurka in A Minor, op. 17, no. 4.

Chopin: Waltz in D- at Major, op. 64, no. 1.

Proko ev: Classical Symphony in D Major, op. 25, III: Gavotte.

Mendelssohn: Songs Without Words, op. 19, no. 3; op. 30, no. 2; op. 30, no. 4; op. 38,

no. 4; op. 53, no. 1; op. 53, no. 3; op. 53, no. 5.

Many short compositions exhibit characteristics of both binary and ternary forms. These

works are said to be in rounded binary or incipient three-part form.

Expanded Ternary Form

Repetition

Expanded Ternary Form

Repetition

Auxiliary MembersAuxiliary Members

Rounded Binary FormRounded Binary Form

3711_ben01877_Ch17pp353-372.indd358 358 4/10/08 4:15:07 PM

359CHAPTER 17 Three-Part (Ternary) Form

The rounded binary form differs from true binary form in that the rst section (A) is

repeated (sometimes in part) at the end of the second section, as you can see in Fig-

ure 17.3. The rounded binary form differs from true ternary form in that the B section is

not a complete section in itself, but is connected with the returning A material.

The rounded binary form was an important precursor of sonata form that prevailed dur-

ing the classical and romantic periods. Sonata form will be discussed in the second volume

of this text.

Figure 17.3

Mozart: Sonata in D Major, K. 284, III: Theme, mm. 117.

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3711_ben01877_Ch17pp353-372.indd359 359 4/10/08 4:15:08 PM

360 PART B The Structural Elements of Music

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to A: D:

The history of ternary design in Western music can be traced back to the liturgical chants

of the early Christian church of the medieval period. The principle is present in chant set-

tings of the Kyrie eleison (Lord Have Mercy) and the Agnus Dei (Lamb of God). It also

appears in the structure of medieval secular song.

Figure 17.4

Kyrie eleison (in modern notation).

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Josquin des Prez (1440?1521), in Faulte dargent (Lack of Money), observes the

principle of ternary design, as do many composers of the sixteenth-century chansons

HistoryHistory

3711_ben01877_Ch17pp353-372.indd360 360 4/10/08 4:15:10 PM

361CHAPTER 17 Three-Part (Ternary) Form

(songs). The arias found in seventeenth-century and early eighteenth-century operas, ora-

torios, and chamber cantatas utilize the principle in the form of the da capo (A B A) aria.

In the baroque suite, the ternary design is achieved by alternating two dances, repeating

the rst after the secondfor example, bourre I, II, I, or minuet I, II, I, resulting in an

A B A sequence.

The minuet and trio in the symphonies and chamber music of the classical period are

an outgrowth of the baroque dance suite. The minuet and trio, and sonata forms (to be

described in volume 2), are the most important examples of ternary design in instrumental

music of the classical period. The da capo aria, which was established in the baroque period,

continued as the best representative of ternary design in vocal music in the classical period.

The basic ternary design persisted through the nineteenth century in the character pieces

of Schubert, Schumann, Mendelssohn, Chopin, Brahms, and other composers. It made its

way into the twentieth century, notably in the shorter works of Debussy and Bartk.

Many popular songs, particularly from early in the twentieth century, are in a verse and

a chorus (refrain) form. Most popular songs from the mid-twentieth century consist only

of a chorus. The chorus was generally in ternary form with repeated rst phrase (a a b a).

Typically, it was 32 measures long, divided into four 8-measure phrases. In the following

illustrations, each letter indicates an 8-measure phrase.

Common Popular Chorus Forms

a a b a a a b a a a b a a a b a

The b section of the popular song chorus is often called the bridge or release. The

popular chorus form is often referred to as a quaternary form, because it usually consists

of four phrases.

The 32-bar chorus in ternary design was more prevalent in the popular music of the rst

half of the twentieth century, and contemporary examples that follow the form in every

detail are relatively rare. Many contemporary songs, however, show some similarity to the

form. Figure 17.5 is a good example of a contemporary song that is an expanded 32-bar

design with the B and A sections repeated in new keys.

Figure 17.5

Webber and Nunn: Memory from Cats.

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3711_ben01877_Ch17pp353-372.indd361 361 4/10/08 4:15:11 PM

362 PART B The Structural Elements of Music

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3711_ben01877_Ch17pp353-372.indd362 362 4/10/08 4:15:12 PM

363CHAPTER 17 Three-Part (Ternary) Form

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3711_ben01877_Ch17pp353-372.indd363 363 4/10/08 4:15:14 PM

3711_ben01877_Ch17pp353-372.indd364 364 4/10/08 4:15:14 PM

365CHAPTER 17 Three-Part (Ternary) Form

The following compositions are to be analyzed:

1. Become familiar with the work by listening to a recording or playing it on the piano.

2. Make a complete harmonic analysis.

3. On a separate sheet, address the following:

a. Phrase relationships.

b. Formal outline.

c. Key schemes.

d. Compositional devices such as imitation, sequence, phrase extension, and so on.

e. Harmonic vocabulary.

f. Cadence types.

1. Schumann: Trllerliedchen (Humming Song) from Album for the Young, op. 68, no. 3. CD Track 96

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Assignment 17.1Assignment 17.1

3711_ben01877_Ch17pp353-372.indd365 365 4/10/08 4:15:14 PM

366 PART B The Structural Elements of Music

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3711_ben01877_Ch17pp353-372.indd366 366 4/10/08 4:15:15 PM

367CHAPTER 17 Three-Part (Ternary) Form

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3711_ben01877_Ch17pp353-372.indd367 367 4/10/08 4:15:16 PM

368 PART B The Structural Elements of Music

3. Haydn: Sonata in A Major, Hob. XVI:12, II: Menuet. CD Track 98

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3711_ben01877_Ch17pp353-372.indd368 368 4/10/08 4:15:16 PM

369CHAPTER 17 Three-Part (Ternary) Form

Analyze the menuetto and trio from Mozarts Eine Kleine Nachtmusik. The menuetto is a

good example of a rounded binary form with partial restatement of the A section. The trio

is an example of the complete restatement of the A section within the B section.

1. Become familiar with the work by listening to a recording or playing it on the piano.

2. Make a complete harmonic analysis.

3. On a separate sheet, address the following:

a. Phrase relationships.

b. Formal outline.

c. Key schemes.

d. Compositional devices such as imitation, sequence, phrase extension, and so on.

e. Harmonic vocabulary.

f. Cadence types.

4. Now consider the form of the complete movement (including the Menuetto da capo

indicated at the end of the trio). What form do you see in the complete movement?

Mozart: Eine kleine Nachtmusik, K. 525, III: Menuetto and Trio (modi ed). CD Track 99

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Assignment 17.2Assignment 17.2

3711_ben01877_Ch17pp353-372.indd369 369 4/10/08 4:15:17 PM

370 PART B The Structural Elements of Music

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ben01877_ch17.indd 370 2/16/09 10:57:08 AM

371CHAPTER 17 Three-Part (Ternary) Form

Choose one or more of the following compositions for analysis, as you did with the com-

positions in assignment 17.1. These compositions are also excellent for aural analysis.

Brahms: Four Piano Pieces, op. 119, nos. 1, 2, 3.

Chopin: Prelude in F-sharp Major, op. 28, no. 13.

Chopin: Mazurka no. 16 in A- at Major, op. 24, no. 3.

Chopin: Etude in C Minor (Revolutionary), op. 10, no. 12.

Schumann: An Important Event from Scenes from Childhood, op. 15, no. 6.

Schumann: Papillons, op. 2, nos. 4 and 5.

Write a composition using the following guidelines:

1. Key of A major

2. 68 meter

3. Form: three-part according to the following outline:

Measures Key Cadence Overall Form

l4 A major Half A

58 A major Authentic

912 E major Half B

1316 E major Authentic

1720 A major Half A

2124 A major Authentic

4. Incorporate at least two secondary dominants in the composition.

5. Write for whatever instrument or instruments you want.

6. Write in a homophonic style (single melody with accompaniment).

Assignment 17.3Assignment 17.3

Assignment 17.4Assignment 17.4

3711_ben01877_Ch17pp353-372.indd371 371 4/10/08 4:15:18 PM