Unit 2-2: Ternary Form

Objectives

By the end of this lesson, students will be able to:

Describe the key characteristics and structure of ternary form.
Explain the differences between ternary form and rounded binary form, particularly in terms of thematic and harmonic structure.
Identify examples of ternary form in repertoire, distinguishing them from binary forms and explaining the reasoning.
Analyze pieces from the repertoire, classifying the form as binary or ternary, justifying the classification based on structural elements.
Diagram pieces from the repertoire that use 2- and 3-part forms using uppercase letters (e.g. A, A', B) for sections and lowercase letters for phrase structure (e.g. a, a', b).

Preparation for Class

Read:

Ternary Form - Read the section "Simple Ternary Form" (Multimodal Musicianship)
Distinguishing between Rounded Binary and Ternary (Music Theory for the 21st Century Musician)

Watch

Ternary Form
(Barbara Murphy, 6 mins)

The video includes an online quiz you can use to practice your understanding.

References

Ternary Form Diagram
Image Credit: Brian Jarvis, "Ternary Form"

Common Key Areas for Ternary Form Middle Section
Image Credit: Andre Mount, Fundamentals, Function, and Form, from the chapter "Ternary and Rondo Forms"

Diagramming Form with Cookies
Binary, Ternary, Sonata, Variation, and Rondo form represented in cookie form. See the handout here.

Ternary Form Summary Handout
(Source: Toby Rush)

In-Class Activities

Discussion

Historical Context: How did the use of ternary form evolve from the Baroque period to the Classical period? What were the primary factors that influenced this evolution?
Comparative Analysis: Compare binary form to ternary form. What are the key differences in structure and thematic treatment between these two forms? How might these differences affect a composer's approach to writing in each form?
Rounded Binary vs. Ternary: What are the key distinguishing features between rounded binary and ternary form? How can you identify each in a musical score?
Reprise and Contrast: In what ways does the B section in ternary form create contrast with the A section? How do composers achieve this contrast through harmony, melody, rhythm, or texture?

Activities

Worksheets for Practice: The following worksheet provided additional practice with ID, analysis, and diagramming form.
- - ID & Diagram the Form: Practice Examples (with solutions), Worksheet 1, Worksheet 2, Worksheet 3 (Music Theory for the 21st Century Classroom)
  - Ternary Form Analysis: Review the "Cues for Analysis" (Figure 35-7) from the reading, then try the following:
    - - Open Music Theory (2 worksheets):
        Bernard Crusell, Clarinet Quartet, Op. 7, III, Menuett (PDF | docx | Score PDF | Audio)
        Josephine Lang, Traumbild, Op. 28, no. 1 (Worksheet: PDF | docx, Score: PDF | MuseScore | Audio)
      - Multimodal Musicianship: Haydn, Keyboard Sonata in C major, Hob. XVI: 3, mvt. 3 (PDF | Spotify Audio)
  - Mixed Binary & Ternary: 12 examples for analysis and form ID: PDF (from A Survey of Music Theory for the College Classroom)

Repertoire for Practice

Ternary Form: Includes examples of binary and ternary forms for analysis. See the sections “Ternary Form” and “Mixed Binary and Ternary” for practice with ID. The instructor anthology includes solutions.
- - Analyze the excerpts, identifying keys, Roman numerals, cadences, and phrases as specified by your instructor.
  - ID and diagram the form. Be prepared to specify which musical elements led to your form classification.

Go to Anthology

NEXT STEP

Next Lesson: Compound Ternary

Practice

Musition: [levels]
Auralia: [levels]

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