Music Theory: Binary & Ternary Forms
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- čas přidán 9. 04. 2016
- The very basics of binary and ternary form, with some examples.
0:20 Form
1:53 Binary Forms
3:50 Binary Example Analysis
8:08 Rounded Binary
9:44 Rounded Binary Example Analysis
14:06 Ternary Forms
16:25 Ternary Example Analysis - Hudba
Your videos on Binary and Ternary and Sonata and Rondo have helped me SO MUCH. I am in music theory as an undergrad getting my music education degree and this is the hardest class I have ever taken. I have trouble understanding the textbook and your videos have broken it down so well for me that I finally get it! Thank you so much!
In the same boat here which is why I ended up in this channel. Hope you did you well and passed it :)
A year after college I am starting to forget about these music theory knowledge. This video really helps me and give me more confidence facing pieces and preparing for grad schools. Thank you!
I’m studying for my Masters Theory entrance exam and you’re a lifesaver!!
This was a helpful refresher. Thank you.
🎵👍🏼♥️
I took a year off and will be starting my masters soon This was a great review, thank you!
lmao I feel you. I figured youtube would be the most fun way to study for entrance exams
Decided to open up my theory book again and this subject came up, thank you for this very informative and well explained video!
Thanks a lot, very clear and useful 🙌🏻
Excellent explanation. Thank you so much.
dia was what i wanted thanks
Thank you kindly🤍
Thanks!
what a great video and i really want the book though what it its title?
hi, may I ask if what is the form of Mo Li Hua? thank you
Finals tomorrow, thanks lmao
I think the end of the A section prepares us to a short modulation to E major going into the B section, only to modulate back into D major in the last 4 measures before repeating.
I'm pointing this out only because I'm studying cadences right now, and this is important because all I'm seeing are half cadences up until the last 4 bars.
Hello! I assume you are referring to Mozart with this comment? Hard for me to see a modulation to E in that work - there is only one momentary D-sharp that tonicizes that key, and we immediately shift away back to DM.
Analyzing the end of the A section as a half cadence - and thus remaining in DM rather than changing key - is not a crazy thing to think. The work *is* in D, and so any expansive listening will hear this as a half cadence in the large-scale sense. But a more detail-oriented listen makes me want to analyze a brief modulation here - there is just too much AM-centric harmony in the last three measures of the A section.
One question, if I can ask. When I look at beautiful Schumann's Northern song (Op. 68, No. 41), I think this is the rounded binary form. Yet, at the end of it, the whole A section is repeated (little varied but the melody is exactly the same) so it might be the ternary form? But in that case, the B section is probably too short and I'm not sure can the ternary form be repeated like A ||: B A :II
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Great thinking. A lot of music doesn't fit common formal templates exactly. I would not call this a ternary form - the B section is so short, and it uses the same motive as A, and thus doesn't really "stand by itself." It acts more as a brief digression, which is more common in rounded binary forms - even if the proportions are a little unusual. Thanks for sharing this lovely music!
what exactly is a section in the first place
Thanks a lot for your video!! It helps me a lot with my coming interview. I got a question though, Is there a kind of Ternary with a developmental third part? if yes, does it have a proper name? I would be appreciate if you can answer my question. :)
Hi! I don't think I have a clean name for the form you describe. Formal templates often can have a lot of variance - blending of different sections or functions, for example. When I think development, I often think of sonata-related forms; maybe something connects there...
Best of luck!
@@DavidEFarrell Thank you!
thanks a lot! very good clear explanation. i have a question though, in all of the examples, the B section always started on a different KEY than the A section. is that always required in the B section to be able to create a contrast? or can the B section also start on the same key?
Hello! That is a great question.
"Always required" is pretty tough to say about most things in music. The B section in a binary form typically shows a digression from the initial key area. A lot of times this is a modulation, but in shorter/simpler binary forms, it might just be a shift to some different chords that are still in the original key - perhaps emphasizing vi or something like that. Sometimes this is enough to sound like we have moved to a new musical place.
Hope this helps!
B sections can begin on the original tonic. In fact the Bach Minuet example in the video begins its B section with a G major chord. At the instant it is heard it is still the tonic--the modulation happens during the course of the phrase.
Hello, ¡where do you get this method of analysis from? ¿any bibliography ?
Hi! Here are some good resources from which I draw: Caplin, Analyzing Classical Form; Laitz, The Complete Musician; Kostka & Payne, Tonal Harmony.
Excellent explaination sir!
thanks
can a work still be a binary form if each phrase ends one a authentic cadence.... super confused lol
Yes!
@@DavidEFarrell Thank you!
I don't understand ternary form
I'm so lost at form, my pieces sounds like a mess.
Same here
I've never felt so related to a youtube comment before. I can't get it right :(
I don't know what's happening
@@memyselfandi1839 what you mean? Like what's happening in the video?
@@SadisticKillerXx yep
Liker 900!
Mozart,form Piano sonata no.6 in D,K.284,mov2
Huh