First, the A section tends to be tonally closed. With regards to the harmonic structure of a ternary form, there are two important characteristics to keep in mind. Be aware, though, that since these alternative formats are less common, many texts and teachers limit their definition of ternary form to just ABA and ABA′. Alternatively, the repeat of the opening section may appear before the second section (AAB) or the second section may repeat to end the piece (ABB). A piece may, for example, proceed through three contrasting sections (ABC) or through three different versions of a single section (AA′A″). There are, however, other three-part forms. Note: ABA and ABA′ are the most common ternary forms. The following table summarizes the form of this movement: Just like the opening section, the closing section begins and ends conclusively in G major. 35–50), differing only in the final bars, where the music has been modified to provide a more conclusive ending. The piece closes with a replaying of the entire opening section (compare mm. 35, the moment stands out, not just because of the reappearance of a familiar melody, but by virtue of the dramatically different material heard in between. When the opening material returns with the pickup to m. The change of key to E minor further emphasizes this contrast. 15 seems stilted, is more forceful, and has sharper attacks. Whereas the opening theme is serene and smooth, flowing from beginning to end without a single rest, the thematic material beginning in m. 14 provides a visual cue that something is about to happen and the material that follows has a remarkably different character. In this piece, the opening section is 14 bars long and ends with a PAC in the home key of G major. If so, how would you characterize the intervening material?.Does the opening melody return later in the piece?.How would you characterize the opening melody?.37.2 Ternary formĪs you listen to the sonata movement below, keep the following questions in mind: From there we will move on to rondo forms where the opening section is repeated two or more times, each after a different contrasting passage. We will begin with ternary form, a three-part form where the opening section comes back more or less intact after a contrasting middle section. In this chapter, we will discuss several formal designs in which the return of the opening music is the foundational principle. For many listeners, this can be a particularly enjoyable event, combining the satisfaction of recognition with the excitement of re-contextualizing familiar material. In our discussion of rounded binary form ( Chapter 36) we saw how music from the beginning of a composition may come back later on in the piece with new purpose.
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