B. Composition | 513
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A. QUESTIONS FOR REVIEW
1. Using letters, show the thematic scheme of ternary form.
2. Why is A B C form not an example of ternary form?
3. How does ternary form differ from rounded binary form?
B. COMPOSITION
1. Realize these Roman numerals in keyboard style.
chapter
38 Ternary and Rondo Forms
514 | CHAPTER 38 | Ternary and Rondo Forms
2. Compose a piece in compound ternary form for either keyboard or keyboard and
another instrument based on these harmonies.
B. Composition | 515
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516 | CHAPTER 38 | Ternary and Rondo Forms
C. ANALYSIS
1. Muzio Clementi, Piano Sonatina in G, Op. 36, No. 2, ii
This piece is in ternary form, with a short bridge leading between two of the
sections.
• Label the large sections with letters (A or B), and label the cadences with keys
and types.
A
B
PAC in C
PAC in C
How does the B section compare to the A sections? Is what ways is it similar,
and in what ways does it differ? What features create the sense that the B section
represents a departure or digression?
NAME:
2. Robert Schumann, “Wichtige Begebenheit” (“An Important Event”)
• Label the large sections of this ternary form piece with letters (A or B), and
label the cadences with keys and types.
518 | CHAPTER 38 | Ternary and Rondo Forms
3. Joseph Haydn, Symphony No. 65, iii
This movement is in compound ternary form. On the score, label the cadences with
keys and types.
Menuett
• What is the key of the Minuet? A major To what key is there a mod-
Trio
• What is the key of the Trio? A minor To what key is there a modu-
lation at the end of the Trio’s first half ? C major
Describe some striking rhythm features found in this movement. Where do they
occur within the form?
PAC in A
C. Analysis | 519
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PAC in E (V)
520 | CHAPTER 38 | Ternary and Rondo Forms
HC in A
C. Analysis | 521
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PAC in A
PAC in C (III)
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PAC in A min (i)
4. Ludwig van Beethoven, Piano Sonata, Op. 13 (“Pathétique”), ii
• Provide the keys and the beginning measure numbers of the sections.
A section: key of A maj. ; begins in measure 1
´´
• On the score itself, label the cadences with keys and types. Note that following
the final cadence toward the end of both B and C there is a bridge lasting for a
few measures that leads back to A
´
and A
´´
, respectively.
(HC in A )
A
C. Analysis | 523
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PAC in A
B
(HC in A )
PAC in A
PAC in E
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A
´
(HC in A )
C
PAC in E (= VI)
NAME:
(HC in A )
PAC in A
PAC in A
5. Describe how the A, A
´
, and A
´´
sections differ from one another in this move-
ment. What features create a sense of departure and instability within the B and