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60 Simple Ternary £43.19. Debussy, Suite Bergamasgut for piano, Menuet. Pesmision for reprint granted by Editions Jean Jot ‘owners, and Elkan Vogal Co, In, Philadelphia, Andantino = = | S = q KS yO ee EY) cama Say Ere = i Lepsn o x, 3.20 Monat, Sting Quartet in B 1K. 458, second movement. Moderato j ———<— oS 61 Slomple Ternary ‘ted: the § measures of dominant harmony, finally yielding to the tonic B-flat. rep- fesent the harmonic preparation. Of course. it should not be assumed that all three factors are present in all cases. 'A notable example of harmonic preparation of unusual intensity and effect occurs in the scherzo of Beethoven's Sonata in A-flat. Op. 26. The preparation of the return in Part Ill of this simple temary comprises no fewer than 20 measures of dominant harmony (mm. 25-35). ‘THE THIRD PART In the restatement in Part II, the almost invariable rule isthe return ofthe tonic key. usually before the beginning of this section. Example 3.21, from Brahms’s String Sextet. Op. 18. is highly exceptional in this respect. Only important points are shown here. Part | is 10 measores long and Part Il consists of a mere 4 measures, ‘Measure 15 begins a restatement which is at the same time elaborately developmen- tal, This section is 26 measures long. returning to the key of F only 3 measures before the end of the trio (at m. 38). 'All possibilities relevant tothe form of Part apply to Part Ill. The retum may be a literal da capo, as in the Beethoven Bagatelle. Op. 119, No. 3. However, now ‘and thea (more often in larger temary forms) the material ofthe fist partis varied in 4.3.21. Brahms, String Sextet in Bla, Op. 18, third movement (tio) Poa 1s Animate F gL tort mts (55) ‘ad gL CReststement in Db Le estatement in BF = SS