Structural Forms

Simplified explanations of the various musical forms

Song Forms
One part Simple two-part Expanded two-part Incipient three-part Three-part Enlarged three-part Five-part Free or group forms

The Period The Period or Sentence fo rm consists of two phrases, the fist which is called the antecedent; the second, the consequent. The ante cedent ph rase is interrogative in character and is generally terminated by non-final cadence; in tonal music, this is usually a half-cadence. The consequent phrase is responsive in character and, with few exceptions, is terminated by a cadence more conclusive than that at the end of th e antecedent: Periods are either parallel or contrasting, depending primarily on the melodic relationships of th e antecedent and consequent phrases. A parallel period is one in which the melodic line in the second phrase is simil ar to the melodic line in th e first. The simil arity is usually in the beginning of the respective phrases, unlike rhymes in poetry, which occur at th e end of s uccessive or alternate lines.

Two-part song forms (or smallest binary forms) Two balancing divisions are analogous, structurally, to the units which are combine to form larger patterns:
figure + figure = motive motive + motive = semi-phrase semi-phrase + semi-phrase = phrase phrase + phrase = period period+ period = double period

The simple two-part song form: Part I may be from a phrase to a double period in length. The cadence at the end of Part I may be:

1. 2. 3. 4.

Authentic, in the tonic of the dominant Authentic, in the tonic of the related key Half cadence on the dominant Authentic in the original tonic

Phrase Groups/Periods
Periods are either parallel or contrasting. In designating phrases the letters A, B, C, etc. are used. Four contrasting phrases would be A B C D. Two identical phrases following one another would be A A B B C C, etc. Four similar, but not identical, phrases would be A A A A Common types of parallel double periods are:
A A A A A A A B A B A B ABAC

Part I and Part II or Part A and B combine to form a two-part binary form

Part I may be from a phrase to a double period in length. Part II may also be from a phrase to a double period in length. Part II may be in the same key as Part I or in a related key. Final cadence is authentic in the original tonic.

Often Parts I and II are identical in length; if not, Part II is generally longer.

Binary Form (repeat possibilities)

/ /

Part I Part I Part I Part I

Part II Part II Part II Part I

Binary Types Simple vs. Rounded

Occasionally the B section will end with a return of the opening material from the A section. This is referred to as rounded binary, and is labeled as A B A In rounded binary, the beginning of the B section is sometimes referred to as the bridge. Rounded binary contrasts with ternary form (ABA), the difference is that the B section in ternary form contrasts with the A material, i.e. minuet and trio If B section lacks a return of the A material, it is conisidered simple binary.

Binary Types Sectional vs. Continuous

If the A section ends with an Authentic (Perfect or Imperfect) cadence in the tonic key, it is referred to as a sectional binary.
If the A section ends with any other kind of cadence, it is referred to as a continuous binary. (The B section continues the new established by the cadence at the end of the A section.

Binary Types Symmetrical vs. Asymmetrical

If the A and B sections are roughly equal in length, it is referred to as symmetrical
If the A and B sections are of unequal length, the design is referred to as asymmetrical.

Understanding three part forms

When speaking of three-part forms, we often use terms such As the three-part song form or ternary form. We represent these forms in a simplified manner, where A B A refers to one of the distinctive parts of the piece or movement. While we speak of a three-part structure, and use the terms, Part I, Part II, and Part III, the third part is not actually a different part but is a restatement, exact or somewhat modified, of Part I.

Ternary Structures
The most frequently used musical structure 1700-1900?
Three-part period Incipient three-part song form Three-part song form Enlarged three-part song form Five-part song form Song form with trio Minuet and trio (song form with trio) First rondo form Second rondo form Third rondo form Sonatine Sonata-allegro

General three-part simple form Simple Ternary

A B A [thematic return (A) after a digression (B)] ||A1 = Statement || B = digression || A2 = return (or reprise) || Three Part Patterns (but not Ternary) A A A (series of strophes) A B C additive A A B A B B

Linear Graphs for Ternary forms

Rondo Forms
Three principal varieties most often used

First Rondo Form: A B A

Second Rondo Form: A B A C A Third Rondo Form: A B A C A B A

The First Rondo Form

The principal theme (A) may be from a period to a song form in length.
A transition or an episode may occur between the principal them (A) and the subordinate theme (B). The subordinate theme (B) is, with few exceptions, in a related key or mode. The subdominant however is the least favored.

The Second Rondo Form

In tonal music, the key relationship of the parts is:

A
Key 1

B
Key 2

A
Key 1

C
Key 3

A
Key 1