Learning Objectives

• Explain form as a musical concept.
• Identify visually and aurally forms that are based on the principle of repetition.
• Identify visually and aurally forms that are based on the principle of contrast.
• Identify visually and aurally forms that are based on both repetition and contrast.
• Examine how the performer acts as a bridge between the composer and the listener.
• Recognize how the performer conveys the composer's intent by using their own individual style and emotional approach to the printed score.
• Examine the role of the performer by listening to and interpreting the spiritual.
• Define the following musical terms: composer, notation, performer, score, spiritual, technique.

Form

Rondo Form

Rondo form is another musical pattern based on the principle of repetition. In a rondo, the main theme reappears at least three times, often more. The theme and its repetitions are clearly separated by contrasting episodes.

The third and final movement of Beethoven's Pathétique Sonata in C minor, Op. 13 illustrates the outline of the rondo form. The form of this movement may be represented by the pattern A-B-A-C-A-D-A-E, where A is the theme and the letters in between represent the contrasting episodes.

Binary Form

Binary form is the simplest form composers use. Based on the principle of contrast, it consists of two sections, represented by the pattern A-B.

The two sections of a piece in binary form are clearly related, but they may differ in any one aspect or a combination of aspects—such as key, mood, texture, tempo, theme, or dynamic level. In the following example, the composer uses the same theme in both sections but introduces contrast by using different keys.

Listen to the Sarabande  from the Cello Suite No. 5 in C Minor by Johann Sebastian Bach (1685–1750). This is a two-part piece; note carefully the two sections:

Ternary form is based on a combination of the principles of repetition and contrast. If binary form is represented by the pattern A-B, then ternary form follows an A-B-A pattern.

While A represents one section and B represents a contrasting section, the recurrence of A may be varied or an exact repetition of the original section. It will be readily apparent to the listener that section B is in complete contrast to both A sections. Ternary form may be considered a “musical sandwich” consisting of an initial section, a second section that contrasts against both the first and the third sections, and a third section that is either the exact or a slightly varied repetition of the first. In ternary form, each section may contain subsections and various repetition schemes.

The Mazurka No. 24 in C major, Op. 33, No. 3 by Frédéric Chopin is a perfect example of ternary form: