ABSTRACT
This chapter picks up where we left off at the end of Chapter 5, which is an introduction to ternary (rounded binary) form. You should review the opening paragraphs of that chapter, which explain the difference between what in this text we are calling ternary (rounded binary) and (extended) ternary form (A B A′). The introductory section of that chapter outlines the distinction between the formal design and underlying voice-leading structure of rounded binary or sonata form. This is an important distinction to keep in mind as we proceed with this and the following two chapters. In this chapter, we will first examine two examples of ternary (rounded binary) form that are longer and more complex than those examined in Chapter 5: the second movement of Mozart’s Piano Sonata in F, K. 280; and the Menuetto movement from Schubert’s Quartet in A Minor, D. 804. We will then examine two works in extended ternary form: the second movement of Beethoven’s Piano Sonata Op. 7; and Schubert’s Impromptu, Op. 90, No. 3.
