2 10. 1. Binary 9) What are some of the techniques for joining individual units within each part—for keeping up a constancy of motion and obscuring "seams"? hy Is the form symmetrical? 1) Locate the modulation in which the basic key is reatfimmed in the second part j) Are there other tonal references than those involving the principal keys? K). What deeper lines of melodic and harmonic continuity do you observe? What opportunities for variety are implicit in binary form? ‘Look for exampies of binary form in one or more of the folowing sources: 4) suites and partitas of Bach ) suites of George Frideric Handel (1685-1759)" ©) eightoenth-century sonata and concerto movements ©) keyboard pieces of Henry Purcell (1659-95) and his English ‘contemporaries ‘what unusual element of asymmetry is often found in binary sonatas of Domenico Scarlatti (1685-1757)? Examine the slow movement of tne Piano Sonata in D (Hob. XVI:37) of Franz ‘Joseph Haydn (1732-1809). Why does it end on the dominant ofthe tonic key? Ineach of the examples of Béla Bartbk (1881~1945) cited below, carefully com- pare details of harmonic, motivic, and other elements of content in Parts | and I ‘The text of Chapter 2 relers for ilustration to many examples of binary fozm— ‘examples that may De used for further analysis. Additional works are listed be- low, and the reader is urged to study binary form in a number of them, Bach, Prelude No. 22 in Beflat minor from the Well-Tempered Clavier, Book | ‘Sinfonia (Three-Voice Invention) No. 6 in E Bartok, Mikrokosmos, Book I, Nos. 42 and 51; Book Il, No. 69 Ludwig van Beethoven (1770-1827), String Quartet in C minor, Op. 18, No. 4, ‘tio of third movernent Variations on a Theme of Diabell, Op. 120, them String Quarta in G, Op. 18. No. 2, second movement, mm. 29-52 Sonata in D, Op. 28, to of third movement Sonata in G, Op. 79, last movement, mm. 1-16 Johannes Brahms (1833-97), Waltz in G-sharp minar, Op. 39, No. 3 Frango's Couperin (1668-1733), harpsichord pieces L’Aimable Thérése, CAnguile (an incipient binary), and Les Tricoteuse § Haydn, Sonata in E-llat (Hob. XVI: 28), tio of second movement and theme of last movement ‘Symphony No. 73 in O (La Chasse), trio of third movernent Paul Hindemith (1895-1264), Ludus Tonalis,Interiudes preceding Fugues 3, 6, ‘and 12 Woltgang Amadeus Mozart (1756-91). Variations on @ Theme of Salieri. K. 180, theme ight Variations on a March rom Mariages Samnites by Grétty, K. 382, theme String Quartet in E-lat, K, 428, trio of third movement (unusual tonal plan) “Acomponrcittom i vem wih ol name sm Sate ns the it tng in ft enenc. Binary Jean-Philippe Rameau (1689-1764), harpsichord piece L’Entretien des Muses D. Scariati, Sonata in E minor, K. 263 (Longo 321) ‘Sonata in E, K. 46 (Longo 25) Franz Schubert (1787-1828), Sonata in A minor, Op. 42, second movement, mm. 1-32