2009 01 Kleine 2 3 Vorm en Grote En

8/11/2019 2009 01 Kleine 2 3 Vorm en Grote En

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Martijn Hooning

- ABOUT: SMALL BINARY AND TERNARY FORMS

- ABOUT: LARGE BINARY AND TERNARY ( A B A - ) FORMS

on the basis of some examples of pieces by Mozart

2009, January

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Small binary andternary forms (or: small binaries / small ternaries)are very common as atheme, for example in a Rondo form, or as the theme in a Theme and Variations in relative small Classical or Romantic forms; a complete piece might consist of only one

small binary or ternary - for example a Minuet or Scherzo in a Sonata or Symphony, or a(very) short piano piece1. Sometimes we find a small binary or ternary form as the theme ofa slow movement of a Sonata, a chamber music piece, or a Symphony.

A structure is called a small binary or ternary when a theme, or a (very) short piece contains two phrases, both built as a period,2or when a theme, or a (very) short piece contains three sections, with the middle section

contrasting with both the first and last phrase; the first and the last section then both consistof aperiod.

Below are some 'basic schedules', followed by a few examples, all from pieces by Mozart.3.

A very common division is:

( 4 + 4 ) + ( 4 + 4 )antecedent consequent antecedent consequent

first period second periodOften both periods are repeated in this situation. The consequent of the second period is mostly aquote of the consequent of the first period4; the antecedentsdiffer.

It might be confusing at first sight that the above can be the schedule of a small binary, but also of asmall ternary - as the bar grouping is suggesting a binary division (two groups of eight bars each).But: the first four bars of the second period (bars 9-12) often articulate a contrast with the preceding

bars 1-8, and with bars 13-16 as well; we then perceive bars 9-12 as a middle section, and hear theform in spite of the bar grouping as ternary.Lots of doubtful cases exist; often a decision on binary or ternary is quite subjective.

In bars 9-12 the harmony often is circling around V, or is aiming at V. Or they contain a pedal pointon V. In a ternary the consequent in bars 13-16 is not exclusively sounding as a 'response to bars 9-12, but at the same time as a (shortened)'recapitulation'.

Another common possibility: the bar grouping makes the middle section more independent. Thenthe basis schedule is for instance:

( 4 + 4 ) + 4 (or 8 ) + ( 4 + 4 )antecedent consequent antecedent consequent

first period middle section repeat of first periodor:

( 4 + 4 ) + 4 (or 8 ) + 4antecedent consequent consequent

first period middle section repeat of consequent of first period

In both cases the first period often is repeated; and the middle section and second period arerepeated together.

1 For example in Schumann 'sAlbum fr die Jugend or Kinderszenen. (One of these pieces is given as example inMichiel Schuijer's reader, Class 9.

2 period: see the text: An example of Sonata-Rondo: Beethoven: Sonata in C minor Op. 13 ..., page 9/103 In lots of compositions these principles are used in a less 'rigid' way of course; on the other hand: schedules like

these are a good starting point.4 This might be a variedrepeat though.

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The example on the previous pages, the main theme of the last movement of Mozart's SymfonyNr. 40 in G minor has the following structure:

( 8 + 8 )( 4 + 4 ) ( 4 + 4 )A-section-------------------------------------------- B-section----------------- A-section (shortened,

only the consequent)Both eight-bar groups are repeated, bars 1-8 and and 9-16 are identical, as are bars 17-24 and25-32.

I perceive this theme as ternary: the B-section is contrasting with the surrounding A-sections. Thewhole B-section stands on V (see the pedal point from bar 17), thus forming a 'large semicadence',or a 'large colon' before the return of the (consequent of the) A-section (bars 21-24).

The theme of the first movement of Mozart's piano sonata in A major5can be called binary (thoughit is also possible to hear it as ternary...):

bar: 1 5 9 12 17

( 4 + 4 ) + ( 4 + ( 4 + 2 ) )antecedent consequent antecedent consequent first period second period

A ---------------------------- - A' ----------------------------------

Both halfs of this theme contain a period. The second period is extended6by two bars at the end;this extension is associated with the imperfect authentic cadence in bar 16.7I believe that decisionsabout binary or ternary in situations like in this example mostly are rather subjective. One couldargue that bars 9-13 and bars 1-4 are very similar, thus making an interpretation as binary quitelogical. One could likewise argue that bars 9-13 clearly are aiming at the dominant (see forexample D# in bar 16), thus making an interpretation as ternary quite logical.

5 See also the text: An example of Sonata-Rondo: Beethoven: Sonata in C minor Op. 13 ..., page 10.6 Extension: see the text: An example of Sonata-Rondo: Beethoven: Sonata in C minor Op. 13 ... , footnote 20.7 Imperfect authentic cadence: see the text: An example of Sonata-Rondo: Beethoven: Sonata in C minor Op. 13 ... ,

footnote 15.

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Sometimes first and second period are similar to an extent that speaking of a (sixteen-bar) binary orternary does not make any sense. We then better note that a period of eight bars is repeated (maybein the form of a varied repeat). See the example below, the theme of the Minuet from Mozart'sViolin Sonata in F major, K 377: the changes from bar 9 mainly concern the instrumentation,

because of the entrance of the violin (and: the melody of the them is one octave higher now):

I V7 VI II6/5 V V6/5 I II6 I6/4 V7 I semicadence full cadence

period: ( 2 + 2 ) ( 2 + 2 ) motif a motif b motif a' motif b

The next example is the beginning of the second movement of Mozart's Violin Sonata in G major,K 379. This movement is a Theme and Variations; the example below shows the theme. I think this

theme is ternary: bars 9-12 are clearly contrasting, not only because of harmonic and melodicdifferences, but above all because they contain a sequence. Therefore bars 9-16 slightly resemble aSentence8, even though the ending in bar 16 is a full cadence.

The first eight bars of this theme are a modulating period(in bars 7 and 8 we see a perfectauthentic cadence in the dominant key, D major). In bar 9 we are modulating back to G major (seeC in the piano section):

8 Satz: see the text: An example of Sonata-Rondo: Beethoven: Sonata in C minor Op. 13 ... , page 11.

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in G: I V6 VI III6 II6 (V6/5) V V6/5 I V6 VIin D: IV I6 II VII7 I II6 I6/4 V I

semicadence full cadenceperiod: ( 2 + 2 ) ( 2 + 2 )

motif a motif b motif a' motif b' A-section--------------------------------------------------------------------------------------------------|

------- model--------- ------- sequens--------- in G: V (V7) II IV V I IV I6 II6 I6/4 V7 I

full cadence

Sentence?: ( 2 + 2 ) + 4 B-section ----------------------------------------------| A'-section-------------------------------------------|

Pieces or themes similar to the second or third schedule on page 3 above always are ternary,because of the bar grouping and thenumber of bars: when dealing with a group of 20 or 24 bars it islogical to assume that

the beginning is a group of eight bars (A-section, period) the middle is a group of four or eight bars (B-section)

the last section is a group of eight bars, referring back to the first bargroup (A'-section)

In such situations the middle section in fact always is contrasting. Maybe because it is standing onthe dominant, or is aiming at V with some emphasis, or because it is modulating. Or because of theuse of contrasting melodies or motifs.

The next example, the Minuet (with Trio) from Mozart 's String Quartet in A major, K 169, is such aternary form. The Minuet comprises three bargroups of 16, 8 and 12 respectively. I think bars 17-24clearly form a B-section, alone because of V being present nearly constantly. It might be less clearhow it comes to a twelve-bar group at the end (bars 25-36), instead of a group of sixteen, or eight

bars.

The structure of the Trio is more straight-forward then the structure of the Minuet: it contains twoeight-bar groups. We might discuss 'binary or ternary' again (I choose ternary...):

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The first sixteen bars, the A-section, form a modulatingperiod (modulation from thehome key, A major, to thedominant key, E major). Inbar 8 we see a semicadence(still in A major), in bar 16 afull cadence (in E major).Bars 1-8 can be called a 'smallsentence' ( 2 + 2 ) + 4 ,mainly because of thesequence in bars 3 and 4; andwe find motivic developmentin bars 5-8. Bars9-16 might likewise be calleda 'small sentence' (because ofthe sequence); the ending inbar 16 is a full cadencethough.

Bars 17-24 (the B-section)clearly form a Sentence. Inbar 17 we are immediatelymodulating back to A major.In the harmony hardlyanything is happening: thedominant pedal point isinterrupted only once (in bar22).

In the last group of twelvebars (A'-section)a group offour bars is omitted:bars 25-28 quote bars 1-4, but bars5-8 do not return. Bars 29-36and 9-16 are identical. Bars25-32 thus form a partly newantecedent; bars 33-36function as (short)consequent.

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in E: (A#=leading tone to V) V6/5 Iin B: (A#=leading tone to I) I6/4 V I

The key of the Trio is thedominant key, E major. Thekey is not immediately clearthough (see A# at thebeginning!)The first bars form amodulating period(in bar 8we are in B major, thedominant key of E major).

in E: (A#=leading tone to V) V6/5 Iin B: I ------------------------------------------- (A#=leading tone to I)

In the second section (frombar 9) we stay quite long in Bmajor (6 bars), untill the A inbar 15 causes a return to Emajor (and E major becomesV in A major as soon as theDa Capo of the Minuet starts).Notable is that bars 13-16 donotrefer back to 5-8, but tothefirst four bars. So thegrouping of the motifs in thisTrio is: a - a' // a'' - a

From the repitition of a Minuet after the Trio belonging to it (Da Capo) arises a - relatively simple -large three-section form:Minuet - Trio - MinuetDa Capo A B AOf course, when the da capoof the Minuet is varied it must be notated (and then the indication dacapo is not written in the score).

The next example is another Mozart Minuet, from a later String Quartet, the so-called Hunt-Quartet in Bb major, K 458.9This piece is a ternary, like the above Minuet from the Quartet K169.But here the second A-section is 'complete': bars 21-28 quote bars1-8 literally. The middle section(bars 9-20) contains 12 instead of 8 bars, caused by an extension at the end: as the F-chord,dominant of Bb major, is reached already in bar 16, the repeat of the A-section could have started in

bar17. Instead, bars 17-20 are encircling V (thus almost forming a dominant pedal point)10. Thesecond A-section is beginning not earlier then bar 21:

|____________________| |_______| |_______||_______.......... I V4/3 I6 VII6 I V6 V VII7 I (VII7) VI (VII7) VI II7 V

Though the first section (A)ofthis Minuet consists of eightbars, the bar grouping is farfrom being clear: a semicadence

is already reached in bar 3. Frombar 4 we see sequences; the lastof these is changed, so that a fullcadence is reached in bars 7/8 .I think it is a still a period, butwith irregular bar grouping:3 + 5 .

9 The Trio is not reproduced in the example.10 Compare the final stage of a development section in sonata forms. See my text: Where is the beginning of the

second theme? Or: what about the sonata form.. , page 5.

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I6 I6/4 V7 I VI [in g: I V4/3 I6 VII6 I ]

in F: II V6/5 V2 I6 V6/4 I II II2md

The middle section (B)seems tomodulate to G minor; but aftertwo bars a sequence in F majoris starting, making clear F majorwill in fact become thetemporary key (thus 'degrading'g minor to II in F).

in Bes: V V7 V6/5 I V (idem) -------------- V 8 ----- 7

in F: V6/5 I II6 I6/4 V7 I

At the end of the middle section:a four-bar extension 'around' theF-chord (sounding as V7 in Bbmajor after the -re-appearance ofEb in bar 16)

Bars 21-28: literal repeat of thefirst section (A).

Slow movements of sonatas, chamber music works, symphonies often are binary or ternary forms,or forms that seem to be derived from one of those. Those forms sometimes are called 'song form'.11

To clarify the difference with small binaries and ternaries these large-scale forms are called largebinaries and large ternaries.

Large ternaries mostly consist of: an A-section a contrasting B-sectionas middle, mostly in a related key (for instance in the relative major

key in a piece written in a minor key, or in the dominant key in a piece written in major;sometimes the parallel major or minor key is used)

a recapitulation of the A-section, sometimes varied (in such cases one could call it the

A'-section ) (often) a concluding coda.

Often the A- and B-sections are connected through transitions.Instead of calling this form 'large ternary', one could call it an A B A -form. Such forms vaguallyresemble sonata forms12(if we take the first A as exposition, B as development, and the second A asrecapitulation). Most large ternaries differ a lot also from sonata forms though:

in most pieces the A-sections contain only one theme, and only onekey in most pieces the B-section does not really resemble a development section: no material of

the A-section is developed, no modulation is taking place (or: hardly any), and it is rathercontrasting with, then development of the first A-section.

11 German:Liedform; Dutch: liedvorm. I don't think this a stsndard English term though. For your information: smallbinaries and ternaries are called in German and Dutch '(small) song forms' as well.

12 Compare with the text Where is the beginning of the second theme? Or: what about the sonata form..

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Sometimes a large binary is extended to a kind of Rondo, as a new contrasting middle section isfollowing the second A-section, and after the new middle section a last A-section: A B A C A(mostly with a coda at the end).13

Large binaries tend to sonata forms even more: in de first half of the piece often two themes are used (at least: two phrases with some

themetic scope), in different keys14; a transitionbetween the themes is common procedure in the second half of the piece both themes then are written in the home key; at the

beginning of the second half a 'development-like' transition might stand sometimes both halfs are repeated (often) a coda is concluding the piece

When ressembling sonata forms this strongly, a large binary form is called a sonata form withoutdevelopment.15

Sometimes it is hard to decide wether a binary or a ternary form is underlying a piece: when the re-transition to the recapitulation is very long or complex, the form might rather be ternary, or a 'real'sonata form (meaning: with development section).

Below you will find global analyses (in fact: outlines of the forms) of two slow movements, both byMozart.16First an outline of the form of the slow movement (Larghetto)from the Clarinet Quintet (in Amajor, K 581):

bar section key

1-30

1-20

1 - 9 10 - 20

A-section

main theme

This rather long theme consists of a nine-bar antecedent, and a eleven-barconsequent, forming a period. Irregular structures like in this period often arisefrom addition or omission.17In this case two times bars are added:- the first bargroup (1-9) can be subdivided as 4+5; it is clear that bar 7 is anadded bar - added maybe because of the line in the clarinet part. In theharmony nothing is happening that could'nt be left out..- in the consequent we find extension: a final tonic could have been in place onthe first beat of bar 17 (both melody and harmony are aiming at a perfectauthentic candence in D major). But we get to a deceptive cadence18instead,as V in bar 16 is not followed by I , but by a secondary dominant to V . Afterthis 'disaster' (see above all the clarinet part!) the next three bars 're-do' the

cadence. So the bar grouping is: ( 4 + 4 ) + 3

D

13 A fine example is the slow movement (Adagio Cantabile) of Beethoven's piano sonata in C minor Op.13(Pathtique).

14 In Classical pieces: in major keys: the dominat key; in minor keys: the relative major key.15 Sonata forms without development often underlie Opera Overtures.16 Look at the end of this text for the scores of the pieces.17 Maybe it sounds a little peculiar to state things in this way: we can hardly imagine Mozart thinking well..let's throw

something out here, or let's do some extra bars here... On the other hand: often we indeed for example perceivean 'extra' bar, or an omitted bar. Apparently the eight-bar standard stays present on the back ground; an irregularstructure often can be perceived as a game with this standard.

18 Deceptive cadence: Where is the beginning of the second theme? Or: what about the sonata form.. , footnote 13.

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20-30

20-23 24-30

closing group of the A-section (or: transition to the B-section?)

This section and the end of the of the main theme overlap (and that is why Idouble-counted bar 20). I find these bars are quite ambivalent. On the one handthey form a kind of extension of the main theme, mainly because of the clearcadences from bar 24. On the other hand they are melodically clearly distinctfrom the main theme, and because of their less 'fixed' structure.

The bar grouping is 4 + ( 4 + 4 ) , where the last four-bar group form avaried repeat of the preceding bars.

D

30-50

30-45

45-50

B- section

'secondary theme'

This theme and the preceding section again overlap. Like the main theme, itsstructure is quite capricious. The first four bars are quite straight-forward(except that it takes some time before we actuallyhear the A-major key). Thesfour bars are perceptible as antecedent. The consequent from bar 34 is much

longer then the antecedent: the long falling motion in bars 34-37 seems to beplaced between(as internal extension?); bars 38-41 then form the actualconsequent. Ending in bar 41 fails: here again we see a deceptive cadence,causing from this bar a new ending (in bars 42-45). In this final bar group weencounter a closing hemiola19(in bars 43 and 44).

transition (or: 're-transition')

Again an overlap. The material of this transition is derived from the precedingbars; in bar 46 we are modulating back to the home key D major, and finally V7in this key is reached.

(b) A

A - D

51-85

51-70

51-59 60-70

70-80

A'- section

main theme

Literal repeat of bars 1-20.

closing group of the A'-section (or: transition to the codetta?)

Varied repeat of bars 21-30.

D

D

19 Closing hemiola: closing figure in ternary metre,commonsince the Baroque, in which in the two bars before the last barthe metrical accents are relegated, so that (for instance) two3/4-bars form a large 3/2-bar, leading to an extremely strongending:

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80-85 codetta

One could argue this piece has something like a coda: when it is true that bars

20-30 sound conclusive, bars 71-85 are even more conclusive, especially

because of the four added bars at the end. We might then merge bars 71-80 and

80-85, and for instance speak of an extended closing group.

D

And an outline of the form of the second movement (Larghetto) of StringQuartet in Bb, K 589:

1 - 39

1 - 18

1 - 8

9 - 18

19 - 27

19 - 23

24 - 27

28 - 35

A - section (or: EXPOSITION? )

first theme (main theme)

The first eight bars of this movement are a 'perfect' period: a four-barantecedent, ending with semicadence, are preceding a four-bar consequent,ending with full cadence. The motovic analogy between antecedent andconsequent is very clear: a - b // a' - b' .

As bars 9-18 are an almost literal repeat of bars 1-8 (with changes in theinstrumentation though), it does not make sense to call the first theme a small

binary or ternary. In the repeat a full cadence is avoided (in bar 15/16), as thefirst violin is jumping up from D to Bb, and as the harmony is going from I6/4through V2 to I6 , instead of, in bars 7/8: I6/4 - V - I ) .Bars17 and 18 therefore are extension: the concluding cadence must be 're-done' see the harmony in bars 16-18:

I6 V4/3 I II6 I6/4 V7 I|__________________| |______| |____________| |_____| 'tonic bar' subdom. dominant tonic

transition

This section is much more 'loosely fixed' then the first theme. The first two bars(19 and 20) could be heard as a 'little tail' of the first theme, but the followingthree bars (21-23) modulate. Because of the related material (see the scale-like

passages) I choose to consider these five bars as belonging together, andsubdivide them 2 + 3 .The remaining barsof the transition serve to affirm the dominant of the newkey te bevestigen (by a pedal point).

second theme (secondary theme)

The second theme likewise is a clear period, though the last bar of theantecedent shows an imperfect full cadence, instead of a semicadence (the firstviolin is ending on the third, D). The motivic structure clearly is:a - b // a - b' .The second theme is not repeated, thus making it quite short in duration,compared to the first theme.20

Eb

Eb -->

(c) --->

Bb

Bb

20 In sonata formsthis is very exceptional. Mostly the second group islongerthen the first group.

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36 - 39

40 - 89

40 - 57

40 - 47 48 - 57

58 - 70

58 - 63

64 - 70

70 - 79

80 - 89

transition (o: 're-transition')

The material of this - very short - transition is derived from the first transition.Like in the first transition, the first two bars could be heard as 'added ending' ofthe second theme. In the third bar we are modulating (bar 38: here A natural ischanged back into Ab; the Bb chord changes from tonic in Bb major to V7 inEb major).

A' - SECTION (or: RECAPITULATION?)

first theme (main theme)

Literal repeat of the main theme in bars 1-18 (including the extension in therepeat)21.

transition

This transition differs from, and is longer then, the transition from bar 19. In

itself that is logical, as the modulation must be different this time (the secondtheme from bar 70 is in Eb major now, instead of the previous Bb major key).I choose to subdivide like this:( 2 + 4 ) + ( 4 + 3 )

same as bar changed: modulation dominant

19/20 modulation to Eb major: pedal point

to F minor F minor turns

out to be II in

Eb major

second theme (secondary theme)

Unchanged recapitulation of the second theme (this time in Eb though, ofcourse..)

closing group (or: codetta)

Bars 80-82 are a transposed quote of bars 36/37, so they might be heard as'little tail' of the second theme. No modulation thereafter this time, but afinalcadence(bars 82/83: I II6 I6/4 V7 I ) .This cadence is repeated in 84/85, though this time the final tonic is avoided(on the first beat of bar 85 stands a secondary dominant to IV). The samehappens in bar 87, after which bars 87/88 form a repeat of 85/86. The last bar(89) is additional.

Bb --->

Eb

Eb

Eb --->

(f) --->

Eb

Eb

Eb

It is not a bad idea at all to use the terms exposition and recapitulation when describing the formof this Larghetto, like in sonata form. We can call the piece a sonata form without development(when the piece would have been a 'real' sonata form, a development section would take the placeof the short transition in bars 36-39).

21 Shortening a recapitulation is quite common procedure in forms like this, for instance by skipping a repeat.

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