Music 395—Worksheet 3              Name:

Ternary Form

Due Date: Wednesday, March 10, 2004

Readings—

• Green, Form in Tonal Music
• Chapter 9: The Ternary Forms, p. 129-152

Score Analysis 1

Haydn, Symphony No. 101 in D Major: mvmt. iii—Burkhart, pp. 146-150 (see pp. 161-165 in 5th ed.)

1. Identify the key of the piece (write it just below the timeline in m. 1).
2. Determine where each major section of the Menuetto and the Trio begins and ends—don’t look for more than three sections each in the Menuetto or the Trio! Draw arches to show these on the timeline, and give each section a letter (a, a’, b, etc.) to show how these sections relate to each other.
3. Identify the cadence at the end of each major section (key and cadence type!).

Timeline

|___|___|___|___|_5_|___|___|___|___|_10_|___|___|___|___|_15_|___|___|___|___|_20_|

Key:
 

|___|___|___|___|_25_|___|___|___:||:___|_30_|___|___|___|___|_35_|___|___|___|___|_40_|

|___|___|___|___|_45_|___|___|___|___|_50_|___|___|___|___|_55_|___|___|___|___|_60_|

|___|___|___|___|_65_|___|___|___|___|_70_|___|___|___|___|_75_|___|___|___|___|_80_:||

||:___|___|___|___|_85_|___|___|___|___|_90_|___|___|___|___|_95_|___|___|___|___|_100_|

|___|___|___|___|_105_|___|___|___|___|_110_|___|___:||:___|___|_115_|___|___|___|___|_120_|

|___|___|___|___|_125_|___|___|___|___|_130_|___|___|___|___|_135_|___|___|___|___|_140_|

|___|___|___|___|_145_|___|___|___|___|_150_|___|___|___|___|_155_|___|___|___|___|_160_:||

Now answer these questions about this ternary form work, looking only at the largest sections of this movement (Menuetto and Trio).

1. What is the structural type of the Menuetto (binary, rounded binary, etc.)? Explain.
2. What is the structural type of the Trio (binary, rounded binary, etc.)? Explain.
3. Which word best describes the relationship of the Trio to the Menuetto: development or contrast? If development, what musical elements of the Menuetto are developed in the Trio? If contrast, what musical elements of the Trio contrast with the Menuetto?
4. Is the return of the Menuetto literal or varied?
5. Is the overall form of this movement simple or composite ternary form? Explain.
6. Write a short paragraph that describes how the organization of and relationship between Menuetto and Trio demonstrate the essential features of ternary form.

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Score Analysis 2

Chopin, Mazurka 6 in A minor, Op. 7, no. 2—Burkhart, pp. 334-335 (see pp. 336-337 in 5th ed.)

1. Identify the key of the piece (write it just below the timeline in m. 1).
2. Look at the phrase relationships in this work. (No phrase shorter than 4 measures!) On the timeline, identify the cadences at the end of each phrase (key and cadence type!).
3. Now look at the phrase groupings in this work—the next level up. Draw arches on the timeline to show each phrase grouping. Provide labels for each arch that indicate whether each grouping is a period, phrase group, phrase chain, or double period. Also indicate whether the grouping is parallel or contrasting, and symmetrical or asymmetrical.

Timeline

Phrase Groupings

Phrases
 

|___|___|___|___|_5_|___|___|___|___|_10_|___|___|___|___|_15_|___:||:___|___|___|_20_|

Key:
 
 

|___|___|___|___|_25_|___|___|___|___|_30_|___|___:||___|___|_35_|___|___|___|___|_40_||

||:___|___|___|___|_45_|___|___|___|___|_50_|___|___|___|___|_55_|_56_:||

Now answer these questions about this mazurka, looking only at the largest sections.

1. At the largest level, how many large sections do you find in this work? Don't forget to take the D.C. al Fine into account—that counts as a section. Explain your thinking. Hint: Four is too many!
2. What is the structural type of the first large section (binary, rounded binary, etc.)? Explain.
3. What is the structural type of the second large section (binary, rounded binary, etc.)? Explain.
4. If there is a third large section, what is its structural type (binary, rounded binary, etc.)? How does it relate to the previous two section? Explain.
5. Which word best describes the relationship of the second large section to the first large section: development or contrast? If development, what musical elements are developed in the second section? If contrast, which musical elements of the second section create contrast?
6. Does this mazurka demonstrate any of the essential features of ternary form? Explain in a short paragraph that describes the relationships between this work’s largest sections.
7. If the overall form of this mazurka is ternary, is it simple or composite ternary form? Explain.

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Suggested Recordings—

• Worksheet 4 RESERVE CD
• If there is any problem with the CD, you can also find LP recordings of these works. Check the online catalog (and limit your search to Sound Recordings!).

Created 3/03/04 by Mark Harbold—last updated 3/03/04.