Talk:Ternary form
Latest comment: 12 years ago by Mahlerlover1 in topic Additional citations
 | This article is rated Start-class on Wikipedia's content assessment scale. It is of interest to the following WikiProjects: | ||||||||||
| |||||||||||
 | It is requested that an image or photograph be included in this article to improve its quality. Please replace this template with a more specific media request template where possible.
The Free Image Search Tool or Openverse Creative Commons Search may be able to locate suitable images on Flickr and other web sites. |
examples of composers using ternary form a lot! edit
this would probably be very useful!!
thinking ternary
- purcell (dido and aeneas particulalrly!)
- handel
- strauss!!
thanks, ksood 19:55, 17 December 2006 (UTC)
Brahms? edit
Don't we mean Mozart!? I believe Brahms only wrote two piano concertos and his works don't have K numbers.
Wandering piranga (talk) 20:31, 5 October 2008 (UTC)
Defining ternary form edit
Why is ternary always A-B-A and never A-B-C (3 distinct sections; all clearly different)?? Georgia guy (talk) 15:25, 27 April 2011 (UTC)
- I think the term is used only for A–B–A; I would describe A–B–C as a piece in three movements. Are you thinking of particular examples? -- Michael Bednarek (talk) 02:12, 28 April 2011 (UTC)
- What kind of form is that?? Georgia guy (talk) 14:52, 28 April 2011 (UTC)
- (Corrected my spelling mistake: "thre" to "three".) I don't understand the question; there are thousands of works in three movements and there is no prescribed form for them. -- Michael Bednarek (talk) 03:34, 29 April 2011 (UTC)
- What kind of form is that?? Georgia guy (talk) 14:52, 28 April 2011 (UTC)
- I think "Georgia guy" was asking, not about pieces with three movements, but about A-B-C structure (three distinct sections) within a movement. The answer is simple. With no repetition, there is no structure; movements may be divided into "sections" by double-bar lines on the page, but you do not hear them. A-B-C would not, structurally, be any different from A, a single long section with no repetition. (Similarly, binary form is not A-B but A-A-B-B; again, the repetition is what allows us to talk about "A" and "B" as distinct sections.) 2.25.131.30 (talk) 16:24, 15 August 2011 (UTC)
Additional citations edit
Why, what, where, and how does this article need additional citations for verification? Hyacinth (talk) 02:27, 5 May 2011 (UTC)
- Tag replaced. Sorry, Hyacinth. For "why?": It's been a while since I've read the Benward & Saker book, but I'm almost certain that a lot of what's in this article is not in there. Plus, there are some statements here that are highly unlikely, if not outright untruthful, like "The first section of a piece in ternary form does not usually change key", and "The middle section will generally be in a different key, often the subdominant of the first section". Almost every Minuet or Scherzo movement contains a modulatory contrast within the A section, and the B section is usually in the dominant, not subdominant. For "where?", I have tagged specific places where I thought a citation was needed. Just trying to point out where and how I think the article can be improved. I'll work on it later myself; see if I can find some additional sources. —Mahlerlover1 (converse) 00:52, 16 August 2011 (UTC)