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principles concatenation division digression return parallelism hybridization

categories continuous binary ternary binary-ternary hybrids poetic

prose species unied binary rounded binary sonata-allegro interrupted binary amplied binary amplied binaryternary hybrids rondo

poetic species period double period quatrain song form

units part theme group coda

amplied form A form in which most or all of the parts are complex sentences of several clauses each. For example, compound ternary form and sonata-allegro form. amplied interrupted binary form A binary form in which the rst part modulates and concludes with a full cadence and the two tonal areas in the rst part are each dened by one or more monotonal clauses. The second part begins in the original tonality and reprises the material of the rst part in the original tonality. Also called sonata form without development. binary form A composition divided into two parts, each marked by a strong cadence. binary-ternary hybrid form These are binary forms in which part two begins with a digression and ends with a reprise of the material of part one. See rounded binary, sonata-allegro form. coda A section appended to the end of a large-scale form, often beginning with the thematic unit that initiated the rst part and composed of a sequence of thematic units that loosely parallel the sequence of thematic units in the exposition or recapitulation. The coda often follows an interruption or subordination of the cadence in part two that parallels the nal cadence of part one. compound ternary form A ternary form in which each part is a binary or rounded binary form.

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concatenated binary form A piece in binary form in which the two parts are each marked by a strong full cadence in the main tonality. concatenated form A composition that is a series of self-contained units, each marked by a strong tonic cadence. For example: theme and variations. continuous form A composition that has but one strong cadence. Also called through-composed. cyclic form A form in which a sequence of thematic units forms the basis for more than one part. Amplied binary and binary-ternary hybrids are often cyclic. The sequences of thematic units are sometimes called rotations. digression A contrasting section or part. division (formal) Division of a composition into parts by strong cadences. double period Pairs of couplets that are parallel in construction (a1 b1 a2 b2 . The cadence of the second pair is a full cadence that has greater nality than the cadences of the other clauses. interrupted binary form A binary form in which the rst part modulates, but the second part begins again in the original tonality and reprises the material of the rst part without modulating. parallelism A term describing the relation of units that have similar thematic content and occupy similar formal positions. part The largest formal unit, marked by a strong cadence. period A pair of clauses that are of the same length, usually four or eight bars, and have similar thematic material (a1 a2 ). The cadence of the consequent clause is stronger than or as strong as the cadence of the antecedent clause. poetic forms Various forms composed of clauses of equal length, usually four or eight bars: period, double period, quatrain. prose forms Uh, forms that arent poetic? quatrain A series of four clauses of equal length. The rst two form a period, possibly modulating; the third is contrasting, and the fourth repeats the second clause or synthesizes aspects of the rst and second clauses: a1 a2 b a3 . Also called song form. double quatrain A series of four periods of equal length. The rst two form a double period, possibly modulating; the third is contrasting and is sometimes a single long clause rather than a period, and the fourth repeats the second period or synthesizes aspects of the rst and second periods.

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reprise The repetition of a formal unit, usually indicated by repeat signs. Despite the meaning of the word, the term is sometimes used to refer to the section itself rather than the repetition. double reprise A binary form in which both parts are marked by repeat signs. Variation of the reprise is at the discretion of the performer, as is whether to take the reprise in the rst place. return Recurrence of a section or part following a digression. rondo A form in ve or seven parts in which a self-contained binary form (often poetic) alternates with digressions. rounded binary form A small-scale binary-ternary hybrid form in which the second part begins with a digression and concludes with a re-initiation in the main key and a return of material from part one. sonata-allegro form An amplied binary-ternary hybrid form in which the rst part modulates and concludes with a full cadence. The two tonal areas in the rst part are each dened by one or more monotonal clauses. The reprise in part two transposes the non-tonic material of part one, usually into the tonic. Part one is called the exposition and consists of a rst theme group and a second theme group. A modulating passage can be part of the rst theme group (e.g., a modulating consequent) or may be a separate clause or sentence, in which case it is called a transition section. The digression in the second part is the development section and the reprise is called the recapitulation. The development often begins with the thematic unit that initiated the rst part (usually transposed) and may be composed of a cycle of thematic units that loosely parallels the sequence of thematic units in the exposition. The development typically ends with a half cadence or an arrival on a dominant, usually the dominant of VI or I. A conjunction may link the development to the beginning of the recapitulation. The recapitulation may present the thematic material of the exposition in a different order. song form See quatrain. ternary form A composition divided into three parts, each marked by a strong cadence. Normally the rst and third parts are parallel and the second contrasting. The second part may be in a different tonality than the framing parts. unied binary form A piece in binary form in which the rst cadence is not a full cadence in the main tonality and the second part does not begin with a stable tonic in the original tonality.