MINUET PROPER (Small Ternary)

Exposition (A)
Con.
Ant.

Basic idea Contrasting idea B.I.

Main theme

Early
authentic
cadence

g: i

B.I.

Transition/subordinate theme fusion

Pivot chord

VI
Bb: IV Sequence
 Contrasting Middle (B)

Cadential phrase

B. I.
PAC

Exploration of different tonal regions

Repetition of B.I.

Bb: I

Direct modulation

Transposition of B.I.

Repetition

G: g:
 Recapitulation (A’)
standing on the dominant
HC

connecting phrase

B.I. C.I.

Return of main theme

 PAC

C.I.

Return of material from B Repetition

PAC

Cadential phrase

Repetition

Sequence
 TRIO
Rounded Binary
tight-knit structure

A
PARALLEL PERIOD

main theme

Ant.
B.I. C.I.

G:

subordinate theme

Con.
B.I. (repetition) C.I.

B.I.
PAC

d:
 B.I. (transposed)

C: G:

A’

B.I. C.I. PAC

HC
 One Note Samba

Antonio Carlos Jobim / Newton Mendonca

Samba
#4 B‹7 B¨7 A‹7 A¨7(b 5)
& 4 œ œj œ œ œ œj œ œj œ™ œj ‰ œ œj œ œ œ œj œ œj ˙ ‰ œ œj

#
6
‰ œ œj
B‹7 B¨7 A‹7 A¨7(b 5)
& œ œ œ œj œ œj œ™ œj ‰ œ œj œ œ œ œj œ œj ˙

#
10
j j j j j j
D‹7 D¨7 CŒ„Š7 F7
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ j
œ œ

#
14
j
B‹7 B¨7 A‹7 A¨7(b 5) G6
& œ œ œ œj œ œj œj œ œj œ œ œ j
œ œ œ œ œ œ ∑

#
18 C‹7 F7 B¨Œ„Š7
& œ œ bœ œ œ œ œ nœ bœ œ œ ‰ j Ó
œ™ œ œ bœ œ™ œ
œ j œ j
bœ œ œ œ
#
22

™
B¨‹7 E¨7 A¨Œ„Š7 A‹7(b 5) A¨7(b 5)
& nœ œ bœ bœ œ œ œ bœ bœ œ j ‰ j
b œ œ
j‰
œ œ
j
b œ b œ œ œ œ œ œ™ n œ œ b œ œ
# B‹7
26 B¨7 A‹7 A¨7(b 5)
& œ œ œ œj œ œj œ™ œj ‰ œ œj œ œ œ œj œ œj ˙ ‰
œ œ
j

#
30
‰ œ œj
B‹7 B¨7 A‹7 A¨7(b 5)
& œ œ œ œj œ œj œ™ œj ‰ œ œj œ œ œ œj œ œj ˙

& œ œ œ œ œ œ œ™ œ ‰ œ œ œ œ œ œ œ œ ˙
#
34
j j j j j j ‰ œ œj
D‹7 D¨7 CŒ„Š7 F7

#
38
j j j j j j
B¨6 A7 A¨Œ„Š7 G6
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑
Dominic Vance
Tonal Practice 2
November 29, 2020
Project #3 Questions
1) The first part of the Schubert excerpt seems to clearly follow the format of a minuet

proper. This specific minuet proper is essentially small ternary, but rather than having A’

be a single consequent phrase, this section is elongated by means of reintroducing the

subordinate theme from the B section. Meanwhile, the trio features the defining

characteristics of rounded binary: a repeated A section, followed by a repeated pairing of

B and A’.

2) Despite the obvious stylistic differences, One Note Samba bears striking resemblance to

small ternary form (more so than to rounded binary). Both of these forms possess A-B-A’

structures. The A sections end with a PAC in the home key, as does small ternary.

Additionally, the B section in each ends with a half cadence in the home key (or its rough

equivalent for jazz).

However, the final A section differs a bit from small ternary in that the melody is not

compressed; it is instead mostly a direct repetition of the material from the first A.

Additionally, even though the A sections are in the key of G, it would be a stretch to say

that the tonic harmony is “emphasized”; a G chord doesn’t appear until the end of each of

the A sections.