Analysis 1 Martijn Hooning October 15, 2013

9b. Musical forms; small-scale binaries and ternaries (continued)

The example below, the main theme of the last movement of Mozart's Symfony No. 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-measure groups are repeated: measures 1 – 8 are identical to 9 – 16, 17 – 24 are identical to25 – 32.

I think this theme as ternary: the B-section is contrasting with the surrounding A-sections. In the B-section we observe, apart from the somewhat contrasting motivic content, what could be called a 'lock' on the dominant1 : the harmony is not moving at all, in contrast wih the surrounding A- and A'-sections. In such cases the B-section forms a 'large colon' as an announcement of the return of the (consequent of the) A-section (here in measures 21 – 24).:

1 This term is used by James Hepokoski and Warren Darcy in their book: Elements of Sonata Theory : Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, Oxford University Press, 2006 . The situation in the second movement of Beethoven's First Piano Concerto is very similar: a 'lock' on V as well (even though the dominant is for a short moment 'interrupted' by other harmonies in measure 11 – see page 10 of the handout of October 2, 2013 ).

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Like I said before2: when themes or pieces consist of for example 8 + 8 + 8 or 8 +4 + 8 measures, then the question about binary or ternary does not emerge: these structures always are ternaries. Likewise, when a piece contains three separated (larger) sections, the form is always (large-scale) ternary. This is clearly the case when there is some form of da capo, like in the classical Minuet – Trio – Minuet da capo -situation. Often, both the Minuet and the Trio form ternaries in itself, and they are of course at the same time forming the sections of a more large-scale ternary form. We could say that in such cases we find ternary form on two levels at the same time.

The example below, the Minuet (with Trio) from Mozart 's String Quartet in A major, K 169, is such a 'two-level' ternary. The Minuet comprises three groups of 16, 8 and 12 measures respectively. In my opinion, measures 17 – 24 clearly form a B-section: we observe a 'lock on the dominant', like in the above example from Mozart's Symphony in G minor, alone because of V being present nearly constantly. What might be less clear a first sight, is how the group of 12 measures at the end (25 – 36) comes into existence.

The structure of the Trio is more straight-forward: it contains two eight-measure groups. We might discuss 'binary or ternary' again (I think it is ternary...).. Anyway, we can put the overall form of this Minuet – Trio – Minuet in a scheme like this:

A B A A – B – A A – B – A A – B – A

2 See handout of October 2, pages 8 – 9.

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The first sixteen measures, the A-section, form a modulating period (modulation from the home key, A major, to the dominant key, E major).

In measure 8 we see a half cadence (still in A major), in measure 16 a PAC (in E major).

Measures 1-8 are a 'small sentence' ( 2 + 2 ) + 4 , because of the sequence in measures 3 and 4, and because of the motivic development in measures 5-8. Measures 9 – 16 might likewise be called a 'small sentence' (because of the sequence), even thugh the ending in 16 is a PAC.

Measures 17 – 24 (the B-section) clearly form a sentence. In measure 17 we immediately modulate back to A major. In the harmony hardly anything is happening: the 'lock on V' is just once interrupted (in measure 22).

We can say that in the last group of twelve measures (the A'-section) a group of four measures is omitted: 25 – 28 quote 1-4, but thereafter 5 – 8 do not return.

On the other hand: measures 29 – 36 and 9 – 16 are identical.

Measures 25 – 32 thus form a partly new antecedent; 33 – 36 function as (short) consequent.

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

The Trio is in the dominant key, E major. It is not immediately clear that we are in this key though (see A# at the beginning!)

The first eight measures of the Trio form a modulating period (in 8 we clearly close 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 part (from measure 9) we stay pretty long in B major at first (6 measures), until the return to E major is initiated by the A natural in measure 15.(and then, E major is also V in A major, which we realize as soon as the Da Capo of the Minuet starts).

Notable is that measures 13 – 16 do not refer back to 5 – 8, but to the first four measures of the Trio. Therfore we can label the motivic content of the complete Trio as: a - a' // a'' - a

Logically, in cases in which the repeat of the Minuet is varied, the entire Minuet must be notated again after the Trio (and then we will not see the words Da Capo at the end of the Trio).

The next example is another Mozart Minuet, from a later String Quartet, the so-called “Hunt”- quartet in Bb major, K 458.3 I leave the Trio out here: the example below just shows the Minuet. Which is a clear ternary, like the Minuet from the Quartet K 169. Here though, the second A-section is 'complete': measures 21 – 28 form a literal quote of 1 – 8.

The middle section (9 – 20) contains 12 instead of 8 measures, caused by an extension: We reach the F-chord, the V of Bb major in measure 16, so that the repeat of the A-section could have started in 17 already. Instead, 17-20 are 'circling around' V ('lock on V' again...)4. The second A-section therefore only starts in measure 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 measures, the grouping is far from clear: already in measure 3 we reach a half cadence – one measure 'too early'!

From 4 we see sequences; the last sequence is changed, so that we reach a PAC in 8 .

I think this is a period after all, even though the grouping is irregular: 3 + 5 .

3 The Trio is not reproduced in the example.4 You can compare these 'lock on V' with what is often happening at the end of developmet sections in sonata forms.

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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 to modulate to G minor; but after two measures we hear a sequence in F major, thus making clear that we will temporarly stay in F major (thus 'degrading' g minor to II in F).

in Bb: V V7 V6/5 I V (same) ---------------- V 8 ----- 7

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

At the end of the middle section we find a four-measure extension 'around the F-chord' (sounding as V7 in Bb major after the re-appearance of the tone Eb in measure 16)

21 – 28: literal repeat of the first section (A).

10. Large-scale ternaries and binaries

Slow movements of sonatas, chamber music works, symphonies often are binaries or ternaries, or forms that seem to be derived from one of those. Such binaries and ternaries sometimes are referred to as 'song forms'.5 To clarify the differences between such large-scale forms and small-scale binaries and ternaries we can call these large-scale forms large-scale binaries and large-scale ternaries.

Large-scale ternaries mostly consist of: ● an A-section● a contrasting B-section as middle, mostly in a related key (in the Classical period normally in the

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

● a recapitulation of the A-section, sometimes varied (in such cases we better label it as A'-section )● (often) a concluding coda.

Normally the A- and B-sections are connected through a transition (between A and B) and a retransition (between B and A' ).

So, the basic scheme of a large-scale ternary may look like this: A – transition – B – retransition – A' – coda5 German: Liedform; Dutch: liedvorm. I don't think this a 'stsndard' English term any longer (though it is sometimes used”:

song form). For your information: small-scale binaries and ternaries are called in German and Dutch '(small) song forms' as well.

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Instead of using the term 'large ternary' we also may simply speak of an A B A -form. Such ternaries vagually resemble sonata forms (if we take the first A as exposition, B as development, and the second A as recapitulation). Most large-scale ternaries actually differ quite a bit from sonata forms though:

● in most pieces the A-sections contain only one theme, and only one key, whereas expositions of sonata forms normally contain two themes (or groups of themes), and at least two keys.

● in most pieces the B-section does not really resemble a development section: the materials of the A-section are not returning, let alone be developed, we find no, or hardly any modulations; therefore the B-section is rather a contrasting, more than a developing section.

Sometimes large-scale ternaries are extended to a kind of Rondo, as a new contrasting middle section is added after the second A-section, and after this new middle section a last A-section is added: A B A C A (mostly with a coda at the end).6

Large-scale binaries resemble sonata forms much more:● in the first half of the piece often two themes are used (at least: two phrases with some themetic

scope), in different keys7; a transition between the themes is common procedure: A – transition – B

● in the second half of the piece both themes return, and they both are in the home key; the retransition between the B-section of the first half and the return of the A-section may have some traits of a development section.

● sometimes both halfs are repeated● (often) a coda is concluding the piece

So, the basic scheme of a large-scale binary may look like this: A – transition – B – retransition – A' – transition – B' – codaPretty often the second transition is 'missing'.

Sometimes it is hard to decide whether a piece is a large-scale binary or a sonata form: when the re-transition to the second A-section is long or complex, the form might be considered as a slow-movement sonata form.

When a large-scale binary strongly resembles a sonata form, even though it does not contain a retransition (or hardly any), we can speak of (slow-movement) sonata form without development.8

Below you will find global analyses (in fact: outlines of the forms) of two slow movements, both by Mozart.

First an outline of the form of the slow movement (Larghetto) from the Clarinet Quintet (in A major, K 581):

measure section key1-30

1-20

1 - 9 10 - 20

A-section

main theme

This rather long theme consists of a nine-measure antecedent, and a eleven-measure consequent, forming a period. Somewhat irregular structures like in this period often arise from additions or omissions.9 In this case two times measures are added:

D

6 A fine example is the slow movement (Adagio Cantabile) of Beethoven's piano sonata in C minor Op.13 (“Pathétique”). 7 In Classical pieces: in major keys: the dominant key; in minor keys: the relative major key. 8 Sonata forms without development often underlie Opera Overtures.9 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 measures here”... On the other hand: often we for example indeed perceive an 'extra' measure, or an omitted measure. Apparently the eight-measure standard is present on the background; irregular

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- the first phrase (1-9) can be divided as 4+5; and it is clear that measure 7 is an added measure - added maybe because of the line in the clarinet part. In the harmony in measure 7 nothing is happening that could not be left out..- in the consequent we see an extension: the final tonic could have been in place on the first beat of measure 17 (both melody and harmony are aiming at a PAC in D major). But we get to a (pretty peculiar) deceptive cadence instead, as V in measure 16 is not followed by I , but by a secondary dominant to V . After this 'disaster' (see above all: the huge and dramatic leap in the clarinet part!) the following three measures 're-do' the cadence. So the grouping is: ( 4 + 4 ) + 3

20-30

20-23 24-30

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

The beginning in measure 20 overlaps with the end of the of the main theme (and that is why I mention measure 20 twice). I think that these measures are quite ambivalent. On the one hand they form some sort of extension of the main theme, mainly because of the clear cadences from measure 24. On the other hand they are clearly distinct from the main theme, because of their melodic content, and because of their less 'fixed' structure. The grouping is 4 + ( 4 + 4 ) ; the last four-measure group forms a varied repeat of the preceding 4 measures.

D

30-50

30-45

45-50

B- section

'secondary theme'

The beginning of this theme and the preceding phrase again overlap. Like the main theme, the structure of the B-theme is quite capricious. The first four measures are pretty straight-forward (except that it takes some time before we actually hear the key A-major). These four measures are perceptible as antecedent. The consequent from measure 34 is much longer than the antecedent: the long falling motion in measures 34-37 seems to be placed in-between (as internal extension?); measures 38-41 then form the actual consequent. The close in measure 41 'fails': here we hear a deceptive cadence again, thus making a new ending necessary (in measures 42-45). In this final group we encounter a closing hemiola10 (in measures 43 and 44).

retransition

Again an overlap. The material of this retransition is derived from the preceding measures; in measure 46 we are modulating back to the home key D major, and finally V7 in this key is reached.

(b) – A

A - D

structures often can be perceived as 'playing games' with this standard. 10 Closing hemiola: closing figure in ternary metre, common since the Baroque, in which in the two measures before the last measure the metrical accents are relegated, so that (for instance) two 3/4-measures form a large 3/2-measure, leading to a very strong ending:

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51-85

51-70 51-59 60-70

70-80

A'- section

main theme

Literal repeat of measures 1-20.

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

Varied repeat of measures 21-30.

D

D

80-85 codetta

One could argue that this piece contains some kind of coda: when it is true that measures 20-30 sound conclusive, measures 71-85 are even more conclusive, mainly because of the four added measures at the end. We may also merge measures 71-80 and 80-85, and for instance speak of an extended closing group.

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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

A - section (or: EXPOSITION? )

first theme (main theme)

The first eight measures of this movement are a 'perfect' period11: a four-measure antecedent, ending with half cadence, is preceding a four-measure consequent, ending with PAC. As measures 9-18 are an almost literal repeat of measures 1-8 (with changes in the instrumentation though), it does not make sense to describe this first theme as a small-scale binary or ternary. In the repeat a PAC is avoided at first (in measure 15/16), because the first violin is leaping up from D to Bb, and because simultanuously the harmony is moving from I6/4 through V2 to I6 , instead of, in measures 7/8 directly from I6/4 to V and then to I .Measures 17 and 18 therefore form an extension: the concluding cadence must be 're-done' – see the harmony in measures 16-18:

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

transition

This section is much more 'loosely fixed' than the first theme. The first two measures (19 and 20) could be heard as a 'little tail' of the first theme, but in the following three measures (21-23) we clearly modulate. Because of the related material (see the scale-like passages) I choose to consider these five measures as belonging together, and subdivide them 2 + 3 .

Eb

Eb -->

(c) --->

Bb

11 Though of course rather not a parallel period, but a contrasting period. But in measure 4 we can hear an interruption on the HC.

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24 - 27

28 - 35

The remaining measures of the transition serve to affirm the dominant of the new key (by means of a dominant pedal point).

second theme (secondary theme)

The second theme likewise is a clear period, though the last measure of the antecedent shows an IAC, instead of a HC (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.12

Eb

36 - 39

40 - 89

40 - 57

40 - 47 48 - 57

58 - 70

58 - 63

64 - 70

70 - 79

80 - 89

retransition

The material of this - very short - retransition is derived from the transition. Like in the transition, the first two measures could be heard as an 'added ending' of the second theme. In the third measure we modulate: in measure 38 the A natural is changed back to Ab; therefore the harmonic function of the Bb chord changes from tonic in Bb major to dominant – V7 – in Eb major.

A' - SECTION (or: RECAPITULATION?)

first theme (main theme)

Literal repeat of the main theme in measures 1-18 (including the extension in the repeat)13.

transition

This transition differs from, and is longer than, the transition from measure 19. In itself that is logical, as the modulation must be different this time (the second theme from measure 70 is in Eb major now, instead of previously in Bb major). I choose to subdivide like this: ( 2 + 4 ) + ( 4 + 3 ) same as changed: modulation dominant measures modulation to Eb major: pedal point 19/20 to F minor F minor turns out to be II in Eb major

second theme (secondary theme)

Unchanged recapitulation of the second theme (in Eb of course).

closing group (or: codetta)

Measures 80-82 are a transposed quote of measures 36/37, so they might be heard as 'little tail' of the second theme. No modulation thereafter this time, but a final cadence (measures 82/83: I II6 I6/4 V7 I ) .

Bb --->

Eb

Eb

Eb --->

(f) --->

Eb

Eb

Eb

12 In sonata forms this is very exceptional. Mostly the second group is longer then the first group. 13 Shortening a recapitulation is quite common procedure in forms like this, for instance by skipping a repeat.

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This cadence is repeated in 84/85, though this time the final tonic is avoided (on the first beat of measure 85 stands a secondary dominant to IV). The same happens in measure 87, after which measures 87/88 form a repeat of 85/86. The last measure (89) is additional.

It is not a bad idea at all to use the terms exposition and recapitulation when describing the form of this Larghetto, like we would do in sonata forms. We could eventually label the piece also as 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 retransition in measures 36-39).

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