Binary Form

Basic Concepts

1. Binary form consists of two parts, usually designated A and B, although

sometimes itis characterized A and A' (read A prime).
2. Binary form is harmonically open, meaning that the A section proceeds
away fromtonic and requires the B section to close the harmony back to
tonic. In major, the firstsection usually proceeds to the dominant; in
minor, it usually proceeds to the relativemajor.
3. The most basic construction using binary form is the melodic period, an
antecedentphrase leading away from tonic followed by a consequent
phrase leading back to tonic.Whole movements or compositions may be
composed in binary form as well.
4. Often, binary form will be incorporated into a part of a movement. For
example, in atheme and variations movement, the "theme" may be in
binary form. See Mozart Sonata in D major, K. 284, movement 3 for an
example of this.
5. One must be flexible with definitions of form since the various forms
come in manypermutations. Therefore, allow the music to tell you its
form; do not impose a specificform on the music. It is best, when unsure
of the exact form, to choose the form thatmost closely describes the
actual music, then write about what makes it like that form,and how it
differs.
Rounded Binary form
Basic Concepts

1. Rounded Binary form is simply binary form with a restatement of the A

section.
2. This means that it is harmonically open, the A section ending on
harmony other thantonic and requiring a B section to close the harmony
back to tonic.
3. The primary difference between rounded binary form (ABA) and ternary
form (alsoABA), is the treatment of the harmony. The A section in ternary
form is harmonicallyclosed, so it can end the composition without
alteration, since it ends with tonic. The Asection of binary and rounded
binary leads away from tonic and requires the B section tobring back the
tonic. In rounded binary, since it ends with a restatement of A, the
secondA section is altered so it ends with tonic. Therefore, if it is marked
with da capo, it willrequire a second ending device.
4. Another usual difference (and there are exceptions) between rounded
binary andternary are the characteristics of the A and B sections. The B

section of the binary formsis often related in character to the A section.

Sometimes it will develop a theme, forexample. The B section of a
ternary form is usually contrasting in character. Often thissection will be
in another mode or key.

Ternary form
Basic Concepts

1.
Ternary form is usually thought of as three-part form. This is not
exactly accurate, butyou need to be aware of this consideration. It is usually
characterized as ABA. Noticethat, 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 ownharmonically, ending on the tonic, not requiring another
section to bring the harmony to aclose. Sometimes, however, the B section
is not closed in itself, but leads back to the Asection. This works, in part,
because we have already heard the A section, so we candistinguish 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 bein 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 ofthe piece. Think about this for a
minute. If there is a conclusion halfway through thepiece, the resolution of
tonic has been achieved. Anything that happens after that may
beconsidered a new section.
6.
Compound ternary form may be thought of as form within a form or a
nesting offorms. For example, the Scherzo of Brahms' Piano Sonata in F
minor, Op. 5 has a macroternary form, A-B-D.S. al Fine (The segno appears
in measure 2). The A section mayalso be considered ternary form within
itself, while the B section is binary form.
Rondo Form
Basic Concepts

1.

Rondo form usually follows a general plan that may be characterized by

A-B-A-C-A.

2.

The A section is often termed "refrain" or "rondo". It most often recurs in

the tonic key. This is a fundamental difference between rondo form and
ritornello form.

3.The A section often will be in binary form and will sometimes be altered
in itsrestatements. Therefore, you might have an entire binary form
refrain at the opening ofthe movement, and later you may only hear the
A section of the refrain.

1.

The sections that alternate with the A section are often termed

"episodes" or"couplets". These will usually explore key areas other than
the A section.

2.

Be prepared to see different variations on the A-B-A-C-A plan.

Sometimes it willappear A-B-A-CB-A or in another sequence. Sometimes
it will be extended to three ormore episodes. One must always allow the
music to lead the analysis. Do not stamp"rondo" onto a movement and
force it to fit.

Theme and Variations

Basic Concepts

1.

Theme and variations form is one of the simpler forms. Movements in

this form oftensport "Theme" at the head of the A section and "Var. #"
over each succeeding section.

2.

The theme is usually a self-contained section that ends with a double

bar line. Often,the theme is in binary form.

3.

Most often, the movement states the theme, then each succeeding
variation restates thetheme in a new light. Usually, if the theme is in
major, there will be a variation in a minorkey. Also, the there will be a
metrical variation.
Sonata form

Basic Concepts:

1. One good way to understand sonata form is to use the framework of

rounded binaryform and add the necessary components. Be careful
though, sonata form expands roundedbinary form; rounded binary is not
sonata form.
2. Therefore, sonata form consists of an A section with open harmony that
needs a Bsection to bring back the tonic. After the B section, elements of
the original A sectionreturn to close the overall ABA form. In these
aspects, it is the same as rounded binaryform. The similarity ends here.
3. The A section in sonata form most often (but not always) consists of two
themes,generally following a tonic-dominant (in minor, a tonic-relative
major) harmonicscheme. Often the themes are better considered theme
groups, since the actual thememay only be a few measures long, while
the section relating to that theme may be quitelong.
4. Because of the harmonic nature of the two theme groups in the A
section, it isharmonically open. The first theme (group) is usually in tonic
while the second theme(group) is in the dominant key or key area (or
relative major if the first theme is inminor). This A section is usually
referred to as the "Exposition."
5. The B section, then, has the job of bringing the harmony around to the
tonic again.Usually it will do this by visiting other key areas or actually
modulating. The B sectionusually treats one or both of the themes from
the A section and is related in generalcharacter. The B section is usually
referred to as the "Development" (since it develops thethemes).
6. Finally, and quite importantly from the standpoint of defining sonata
form, the returnof the A section presents the two themes again, this
time, both in tonic (usually). Thethemes in tonic close the harmony of

the original A section. This returning A section isusually referred to as the

"Recapitulation."

7. Do not confuse sonata form with the title of many compositions

"Sonata." Whilemany piano and violin sonatas have a first movement in
sonata form, not all of them do.