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1651B: STUDIES IN MUSIC THEORY II
TERNARY FORMS
DR. M. FITZPATRICK
Summary of Ternary Forms:
Ternary Forms
-Simple Ternary
𝄁A 𝄂B 𝄂 A′ 𝄂
Thematic Profile: Theme type Theme type (?) “A” Theme (varied?)
Fully Sectional: I V–I / V (etc): I V–I / I: I V–I
Sectional: I V–I / V (etc): I (?) I: I V–I
Continuous: I V (etc) V (etc): I (?) (/) I: I V–I
⇑ ⇑ ⇑ ⇑
Optional: Introduction Transition Re-transition Coda
-Compound Ternary
𝄁A 𝄂B 𝄂 A′ 𝄂
Thematic Profile: a-dig-a′ (etc) b-dig-b′ (?) “A” form (varied?)
Fully Sectional: I V–I / V (etc): I V–I / I: I V–I
Sectional: I V–I / V (etc): I (?) I: I V–I
⇑ ⇑ ⇑ ⇑
Optional: Introduction Transition Re-transition Coda
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Simple vs. Compound Ternary Forms:
In a simple (or small) Ternary form, each section is normally only a theme type of some kind. In
a compound (or large) Ternary form, at least the A section is a small form of some kind, most
typically a Binary form, and very often rounded Binary.
Sectional vs. Continuous Ternary Forms:
Like Binary forms, all Ternary forms are sectional if the opening A section closes with an
authentic cadence (PAC or IAC) in the home key. Likewise, they are continuous if the A section
either modulates or closes with a half cadence. Compound Ternary forms are virtually never
continuous in design; but, simple Ternary forms can be continuous.
The only addition for Ternary forms is the option of having a fully-sectional tonal design. In this
case, both the A and B sections close with authentic cadences in their own key areas. Thus, the
form is fully-sectional since each section can be played by itself as a complete composition.
Thematic Considerations:
Sometimes in sectional Ternary forms (both compound and simple), the B section is a bit odd.
Instead of closing with a cadence of some kind, sometimes the B section just seems to blend
seamlessly into re-transition material leading back to the A section that completes the form.
Analysis of these situations can only occur on a case-by-case basis.
In some Ternary forms, the A′ section is a literal, exact repetition of the A section. In others,
however, the A′ section is varied in relation to the A section and is not exactly identical to it.
Typically, what kind of A′ section we encounter (i.e., either exact or varied in relation to A)
depends upon the genre of music we are looking at.
In “Da Capo” forms (e.g., Minuet and Trio forms and Da Capo Arias), the A′ section will be a
literal repetition of the A section, and composers don’t even write out the A′ section. The
performer is simply directed to return to the beginning and play the A section again exactly as
written. These Da Capo forms are virtually always compound Ternary forms, and they are the
most common type of ternary form in Classical works.
However, sometimes the A′ section is written out again and varied somehow in relation to
figuration, thematic character, etc. This can occur in both simple and compound Ternary forms,
and we typically encounter this in the slow movements of sonatas in the later eighteenth century
(e.g., in Mozart and early Beethoven) and in short character pieces of the nineteenth century
(e.g., in Chopin, late Beethoven, Schumann, Schubert, Mendelssohn, and Brahms).
