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
1
2
Small binary and ternary forms (or: small binaries / small ternaries) are very common
as a theme, 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 piece
1
. Sometimes we find a small binary or ternary form as the theme of
a 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,
2
or
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 consist
of a period.
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 period
Often both periods are repeated in this situation. The consequent of the second period is mostly a
quote of the consequent of the first period
4
; the antecedents differ.
It might be confusing at first sight that the above can be the schedule of a small binary, but also of a
small 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 the
form 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 point
on 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. Then
the basis schedule is for instance:
( 4 + 4 ) + 4 (or 8 ) + ( 4 + 4 )
antecedent consequent antecedent consequent
first period middle section repeat of first period
or:
( 4 + 4 ) + 4 (or 8 ) + 4
antecedent 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 are
repeated together.
1 For example in Schumann 's Album fr die Jugend or Kinderszenen. (One of these pieces is given as example in
Michiel Schuijer's reader, Class 9.
2 period: see the text: An example of Sonata-Rondo: Beethoven: Sonata in C minor Op. 13 ..., page 9/10
3 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 varied repeat though.
3
4
5
The example on the previous pages, the main theme of the last movement of Mozart's Symfony
Nr. 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 and
25-32.
I perceive this theme as ternary: the B-section is contrasting with the surrounding A-sections. The
whole 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 major
5
can be called binary (though
it 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 extended
6
by two bars at the end;
this extension is associated with the imperfect authentic cadence in bar 16.
7
I believe that decisions
about binary or ternary in situations like in this example mostly are rather subjective. One could
argue that bars 9-13 and bars 1-4 are very similar, thus making an interpretation as binary quite
logical. One could likewise argue that bars 9-13 clearly are aiming at the dominant (see for
example 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.
6
Sometimes first and second period are similar to an extent that speaking of a (sixteen-bar) binary or
ternary does not make any sense. We then better note that a period of eight bars is repeated (maybe
in the form of a varied repeat). See the example below, the theme of the Minuet from Mozart's
Violin 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 melodic
differences, but above all because they contain a sequence. Therefore bars 9-16 slightly resemble a
Sentence
8
, 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 perfect
authentic cadence in the dominant key, D major). In bar 9 we are modulating back to G major (see
C in the piano section):
8 Satz: see the text: An example of Sonata-Rondo: Beethoven: Sonata in C minor Op. 13 ... , page 11.
7
in G: I V6 VI III6 II6 (V6/5) V V6/5 I V6 VI
in D: IV I6 II VII7 I II6 I6/4 V I
semicadence full cadence
period: ( 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 the number of bars: when dealing with a group of 20 or 24 bars it is
logical 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 on
the dominant, or is aiming at V with some emphasis, or because it is modulating. Or because of the
use of contrasting melodies or motifs.
The next example, the Minuet (with Trio) from Mozart 's String Quartet in A major, K 169, is such a
ternary form. The Minuet comprises three bargroups of 16, 8 and 12 respectively. I think bars 17-24
clearly form a B-section, alone because of V being present nearly constantly. It might be less clear
how 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 two
eight-bar groups. We might discuss 'binary or ternary' again (I choose ternary...):
8
The first sixteen bars, the A-
section, form a modulating
period (modulation from the
home key, A major, to the
dominant key, E major). In
bar 8 we see a semicadence
(still in A major), in bar 16 a
full cadence (in E major).
Bars 1-8 can be called a 'small
sentence' ( 2 +2 ) +4 ,
mainly because of the
sequence in bars 3 and 4; and
we find motivic development
in bars 5-8. Bars
9-16 might likewise be called
a 'small sentence' (because of
the sequence); the ending in
bar 16 is a full cadence
though.
Bars 17-24 (the B-section)
clearly form a Sentence. In
bar 17 we are immediately
modulating back to A major.
In the harmony hardly
anything is happening: the
dominant pedal point is
interrupted only once (in bar
22).
In the last group of twelve
bars (A'-section) a group of
four bars is omitted: bars 25-
28 quote bars 1-4, but bars
5-8 do not return. Bars 29-36
and 9-16 are identical. Bars
25-32 thus form a partly new
antecedent; bars 33-36
function as (short)
consequent.
9
in E: (A#=leading tone to V) V6/5 I
in B: (A#=leading tone to I) I6/4 V I
The key of the Trio is the
dominant key, E major. The
key is not immediately clear
though (see A#at the
beginning!)
The first bars form a
modulating period (in bar 8
we are in B major, the
dominant key of E major).
in E: (A#=leading tone to V) V6/5 I
in B: I ------------------------------------------- (A#=leading tone to I)
In the second section (from
bar 9) we stay quite long in B
major (6 bars), untill the A in
bar 15 causes a return to E
major (and E major becomes
V in A major as soon as the
Da Capo of the Minuet starts).
Notable is that bars 13-16 do
not refer back to 5-8, but to
the first four bars. So the
grouping of the motifs in this
Trio 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 - Minuet Da Capo
A B A
Of course, when the da capo of the Minuet is varied it must be notated (and then the indication da
capo 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.
9
This 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
. The
second 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) of
this Minuet consists of eight
bars, the bar grouping is far
from being clear: a semicadence
is already reached in bar 3. From
bar 4 we see sequences; the last
of these is changed, so that a full
cadence is reached in bars 7/8 .
I think it is a still a period, but
with 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.
10
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 to
modulate to G minor; but after
two bars a sequence in F major
is starting, making clear F major
will in fact become the
temporary 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' the
F-chord (sounding as V7 in Bb
major after the -re-appearance of
Eb in bar 16)
Bars 21-28: literal repeat of the
first 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 large
binaries and large ternaries.
Large ternaries mostly consist of:
an A-section
a contrasting B-section as 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 vagually
resemble sonata forms
12
(if we take the first A as exposition, B as development, and the second A as
recapitulation). Most large ternaries differ a lot also from sonata forms though:
in most pieces the A-sections contain only one theme, and only one key
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 rather
contrasting 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: small
binaries 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..
11
Sometimes a large binary is extended to a kind of Rondo, as a new contrasting middle section is
following 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 keys
14
; a transition between 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 without
development.
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 by
Mozart.
16

First an outline of the form of the slow movement (Larghetto) from the Clarinet Quintet (in A
major, 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-bar
consequent, forming a period. Irregular structures like in this period often arise
from addition or omission.
17
In 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 an
added bar - added maybe because of the line in the clarinet part. In the
harmony nothing is happening that could'nt be left out..
- in the consequent we find extension: a final tonic could have been in place on
the first beat of bar 17 (both melody and harmony are aiming at a perfect
authentic candence in D major). But we get to a deceptive cadence
18
instead,
as V in bar 16 is not followed by I , but by a secondary dominant to V . After
this '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 perceive
an 'extra' bar, or an omitted bar. Apparently the eight-bar standard stays present on the back ground; an irregular
structure 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.
12
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 I
double-counted bar 20). I find these bars are quite ambivalent. On the one hand
they form a kind of extension of the main theme, mainly because of the clear
cadences from bar 24. On the other hand they are melodically clearly distinct
from the main theme, and because of their less 'fixed' structure.
The bar grouping is 4 + ( 4 + 4 ) , where the last four-bar group form a
varied 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, its
structure is quite capricious. The first four bars are quite straight-forward
(except that it takes some time before we actually hear the A-major key). Thes
four 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 be
placed between (as internal extension?); bars 38-41 then form the actual
consequent. 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 we
encounter a closing hemiola
19
(in bars 43 and 44).
transition (or: 're-transition')
Again an overlap. The material of this transition is derived from the preceding
bars; in bar 46 we are modulating back to the home key D major, and finally V7
in 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,common
since the Baroque, in which in the two bars before the last bar
the metrical accents are relegated, so that (for instance) two
3/4-bars form a large 3/2-bar, leading to an extremely strong
ending:
13
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 String Quartet 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-bar
antecedent, ending with semicadence, are preceding a four-bar consequent,
ending with full cadence. The motovic analogy between antecedent and
consequent is very clear: a - b // a' - b' .
As bars 9-18 are an almost literal repeat of bars 1-8 (with changes in the
instrumentation 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 the
first violin is jumping up from D to Bb, and as the harmony is going from I6/4
through 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 following
three bars (21-23) modulate. Because of the related material (see the scale-like
passages) I choose to consider these five bars as belonging together, and
subdivide them 2 +3 .
The remaining barsof the transition serve to affirm the dominant of the new
key te bevestigen (by a pedal point).
second theme (secondary theme)
The second theme likewise is a clear period, though the last bar of the
antecedent shows an imperfect full cadence, instead of a semicadence (the first
violin 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 forms this is very exceptional. Mostly the second group is longer then the first group.
14
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' of
the second theme. In the third bar we are modulating (bar 38: here A natural is
changed back into Ab; the Bb chord changes from tonic in Bb major to V7 in
Eb major).
A' - SECTION (or: RECAPITULATION?)
first theme (main theme)
Literal repeat of the main theme in bars 1-18 (including the extension in the
repeat)
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 second
theme 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, of
course..)
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 a final
cadence (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 same
happens 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 form
of 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 place
of 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.
15