66 Simple Ternary design involves at leat three statements (two restatements) of the principal theme or group, the simplest rondo form (ABABA or ABACA) is clearly conceivable $ an extension of the ternary principle of return after digression. Or, put another way. the rondo idea is implicit in the ternary. Moreover, when a small three-part form is practiced with the most usual pattern of repeats (AABABA) its effect comes close indeed to embodying the rondo principle. EXERCISES 1. Try to think of as many ways as possible in which the restatement of material can be varied, without conlusing its original identity. How is this problem Significant in ternary form? 2. White a paragraph explaining the significance of the ternary principle. 3, Find an example among the string quartets of Mozart ilustrating simple ternary form. Analyze it thoroughly according to the procedures developed in this chapter. 4. Find an example of small temary form in which Part Illi not a strict duplicate of Part | Compare the two sections minutely, and discuss the relationships ang dilferences between them. ‘5. Compose at least the melody line and skelched harmonic basis of @ smal ter- nary according to the following plan. Part |: A period of irregular length in the key of D. Par Il: A passage employing a motive derived trom Part | which is treated ‘sequentially, folowed by a single phrase with a cadence on the domi- rant of D. Begin this section in B minor and arrange i o lead back 10 D. Parti: An abbreviated version of Part Be sure tha itis adequate to balance the form. Follow it with a short codetta, possibly modeled atte ample you have studied. 6 Study some of the musical examples in Chapter 3. Consider precisely what teach of them is intended to ilustrate. “Try to find actdtional examples in the music of the eighteenth, nineteenth, and twentieth centuries to illustrate some of the same leatures. Do this with as many of the examples as possible. 7. Examine the simple temary form of Schubert's song “Schalers klagelied." Why might this be described as a musical arch form? 8. Study the methods by which simple ternary form is linked to the subsequent ‘section of the tonal form in some of the slow movements of sonatas of C. P. E. Bach. An example is the second movement of his Wurttemberg Sonata No. 6. ‘9. Atew supplementary references fo simple ternary form wil point the way to fur- ther study. In adalion to the folowing, the examples cited in this chapler can form the basis for independent analysis. A vast source can be found in the movernents with tos (scherz0s, minuets) of symphonies, sonatas, and cham- ber works of the eighteenth and nineteenth centuries; individual sections of ‘such movements are very ollen in simple ternary form. Alter observing the ‘ullins of the total form, examine the means by which the composer unifies its parts, introduces contrast, maintains interest and vitally, joins sections, and 1 t ‘ H | { i o ‘Simple Ternary prepares tonal and other changes. List ingividual, striking fone or two specimens. vast Bach, English Suite No. 6 in O minor, both gavottes Beethoven, Bagatelles Variations in F, Op. 34, theme Brahms, Symohony No. 2 in D, Op. 73, this movement, mm. 1-32 Waltz ir E, Op. 39, No. 2 Waltz in € minor, Op. 39, No. 4 . Couperin, Les Baccanales for harpsichord, No. 1, “Enjouements Beicnuyin Zoltan Kodaly (18821967), Piano Pleces, Op. 3. Nos. 2, 4, and Ernst Kfenek (b. 1900), Plano Pieces, Op. 83 (Which are ternary ‘Mozan, Twelve Variations on a Minuet by Fischer, K. 179, theme ‘Schubert, "Am Strom” (song) "sonata in E-liat, Op. 122, second movernent, mm. 1-20 ‘Schumann, Abum for the Young, Op. 68 (Which are ternary in tous) gor Stravinsty (1882-1971), Concerto for violin and orchestra, an ‘and third movernents Peter lvich Tchaikovsky (1840-92), Symphony No, Sin E minor intronic ty first movement, mm. 1-37