Form in Tonal Music¶
Green, D. M. (1979). Form in Tonal Music: An Introduction to Analysis.
Cited by¶
3 citations across 3 artifacts.
Each citation links to the sentence it supports in the citing article.
Domain-specific¶
- Musical Form
- … form-types — that constitute the inherited repertoire of structural choices available to a composer: binary form (two contrasting sections, AB or AABB), ternary form (a section, contrasting section, return of the first, ABA), rondo (a recurring refrain alternating with contrasting episodes, ABACA or ABACABA
This sourceThe text checked of Green supports the ternary (ABA) and rondo (refrain alternating with episodes, ABACA) descriptions; it names binary forms but does not give the AB/AABB scheme or ABACABA.
Supported in partVerified against the work's full text
“of a refrain which contrasts with interspersed [episodes]”
- … form-types — that constitute the inherited repertoire of structural choices available to a composer: binary form (two contrasting sections, AB or AABB), ternary form (a section, contrasting section, return of the first, ABA), rondo (a recurring refrain alternating with contrasting episodes, ABACA or ABACABA
- Ternary Form
- The canonical instances are the minuet and trio movement of the Classical symphony and string quartet (a Minuet in the home key, a contrasting Trio often in a related key and different texture, then da capo return of the Minuet), the Baroque da capo aria (A–B–A with the returning A conventionally ornamented by the singer), and the slow movement of many Classical sonatas and symphonies
This sourceForm textbook classing the minuet and trio and the Baroque da capo aria as composite ternary forms and noting Classical composers' preference for ternary slow movements.
Supported in partVerified against the source
- The canonical instances are the minuet and trio movement of the Classical symphony and string quartet (a Minuet in the home key, a contrasting Trio often in a related key and different texture, then da capo return of the Minuet), the Baroque da capo aria (A–B–A with the returning A conventionally ornamented by the singer), and the slow movement of many Classical sonatas and symphonies
- Through-Composed Form
- Where strophic form binds successive verses to the same music, ternary form returns to an opening section (A–B–A), and rondo interleaves returns of a refrain (A–B–A–C–A)
This sourceGreen's Form in Tonal Music, which gives the sectional ternary as the design A-B-A and lists the A-B-A-C-A refrain scheme among the section-relation forms. Green's Form in Tonal Music, which treats the ternary as a standard three-part design and treats the rondo as a standing section-relation form.
Supported in partVerified against the work's full text
“the design indicated by the letters A-BA. The”
- Where strophic form binds successive verses to the same music, ternary form returns to an opening section (A–B–A), and rondo interleaves returns of a refrain (A–B–A–C–A)
Verification¶
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