ternary form


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Related to ternary form: Binary form, Rondo form

ternary form

n
(Music, other) a musical structure consisting of two contrasting sections followed by a repetition of the first; the form aba. Also called: song form
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The 2nd movement is a scherzo (Presto in a 2/4 metre) in a clearly articulated ternary form.
Despite the complex harmonic aesthetic, it's a strongly classical quartet, cast basically in a ternary form and including several recapitulations of melodic and motivic material.
Kowal's Adagio is a lovely lyrical piece with some ornamental flourishes in the middle section of a ternary form.
The third song, which mourns one who died young, is ternary with an extension at the end, and the fourth song, again in ternary form, laments the loss of love.
Songs in a ternary form may impede such a theatrical development, although they are more easily detached from their context and adapted for other purposes, such as singing in clubs.
In the presence of chrome, molybdenum or vanadium, phosphide eutectic may occur in ternary form as a eutectic of ferrite, iron carbide or iron phosphide, but the presence of the free carbide makes this form of iron much harder, causing markedly increased tool wear in machining operations.
Meier also explains that the third movement features eight motifs in five variations, and that the ternary form of the second movement, "Intermezzo," is a wordplay on the title: "Cor(da)no-CordaCor(da)no (horn as solo-strings-horn again dominant).
For example, one might structure a lesson according to ternary form, involving a main idea or exercise (A), a contrasting or oppositional idea or exercise (B) and, finally, a synthesis of the two (A') in which A is reconsidered in light of B.
Caplin's treatment of ternary form is a good example of his concern for formal function.
Frank uses a modified ternary form with the opening melody repeated verbatim in the third section.
A few of the almost exclusively ternary form compositions have written-out A-section returns, but a great many include a D.
As with several other compositions in this collection, Skalkottas's use of a ternary form is so altered in presentation that it virtually defies recognition.