The three-part song form

The three part song form is an A B A form in which each letter refers to one of the distinctive parts. We use the terms "Part 1,2, & 3" to describe the form but we note that the third part is an exact or modified restatement of Part 1. Forms that are characterized by a statement, departure and restatement are called "Ternary" The ternary form's element of restatement or return is the key factor that differentiates it from any other literary form. Ternary forms are among the most common forms in music since 1700 when key centers and tonality became a defining factor in form. Thus in addition to returning to a theme or melody the Ternary forms in tonal music had the profound effect of returning to the central key area. Conversely, a change of the tonal center that includes a theme that reappears in the new key can be viewed as a development (B) - 2nd part of a Ternary form.

In order of size the principal ternary patterns include:

1. three-part period
2. incipient three-part song form
3. three-part song form
4. enlarged three-part song form
5. five-part song form
6. song form with trio
7. first rondo form
8. second rondo form
9. third rondo form
10. sonatine (with development)
11. sonata-allegro form

The incipient three-part song form
The term "incipient" implies that this song form often forms the beginning of a larger form or structure.

1. Part I

a. Single Period (Contrasting, Parallel or Modified)
b. Cadence at the end of Part 1 is usually Full Authentic

2. Part II

a. Single 4 measure phrase
b. Contains new, different or significantly modified motivic material
c. may contain phrasing, dynamics, texture and color that contrasts part 1
d. Cadence at the end of Part II may be full-authentic or half

2. Part III

a. A return, either exact or modified, of a phrase from Part I
b. If Part 1 is a Contrasting period, its likely the return will be to the antecedent.
c. Cadence at the end of Part III is usually Full Authentic

Parts may repeat as follows:

Repeat Structure of incipient Three Part Song || A ||: B A :|| ||: A :||: B A :||

 

Analysis: Beethoven Piano Sonata Op.14 No.2 - II Andante

Movement begins at 7:08

Beethoven Piano Sonata Op.14 No.2 - II Andante
Form: Incipient three-part Song (1st 16 measures only)

 

The regular three-part song form
This song form forms a more common basis for a stand-along composition and is most often found in smaller instrumental works and solo vocal compositions. It can also be used as a section within a larger work.

1. Introduction

a. Optional
b. Simple or Independent

1. Part I

a. Single-Double Period (Contrasting, Parallel or Modified)
b. Cadence at the end of Part 1 is usually Full Authentic in original or closely related key

c. Auxiliary members between Part I and II are less common but do occur

1. Codetta: Melodic or Harmonic
2. Interlude
3. Transition (uncommon so early in the form)

2. Part II

a. Single 4 measure phrase - Double Period. Usually as long or longer than Part I
b. May begin in a different key area.
c. Motivic functions: May contain new, different or significantly modified motivic material or

1. Transposition of Melody in Part 1
2. Derived from figure or Motive of Part I

d. Auxiliary members and phrase extensions are much more common in Part II

1. Codetta: Melodic or Harmonic
2. Interlude
3. Dissolution
4. Retransition

e. may contain phrasing, dynamics, texture and color that contrasts part 1
f. Cadence at the end of Part II frequently is a half cadence giving it a sense of urgency to a retransitional feel

2. Part III

a. A return, either exact or modified, of between a single phrase to all of Part I
b. May be longer than Part I with the addition of new material as Auxiliary members
c. May be different but still recognizably derived from Part 1
c. Cadence at the end of Part III is usually Full Authentic

In a short composition, the end of Part III may signify the end of the composition. In a larger work, the end of part III may be followed by the following auxiliary members: Codetta, coda or Postlude.

Ternary Form and  Popular Music

The classic American song form is the 32-measure AABA. It begins with a traditional 4 bar antecedent/4 bar consequent pair that comprises a single period as its Part I (A) Often Part I (A) is then repeated.  When the repeat contains a variation we may consider Part I (A) a double period.  A second single period forms Part II (B).  In popular music this Bsection became the origins of the “bridge”   Like its classical counterpart, Part II (B)  often provides contrast, and may move to a different key. Part I (A)   then returns to finish the song. This form had become quite common by the 1930s.

Analysis:The Eagles: Hotel California
Regular three part song form followed by Extensive Guitar Solo

Hotel California

Analysis: Mendelssohn Songs without words Op.67 no.5 book no. 35 pg 82
Regular three part song form

Song begins at 0.00
Form: Regular Three Part Song

 

 

 

Homework: Assignment 1: Due in one week. Write a regular three part song with no less than 32 measures. Include at least 2 auxiliary members in your composition. You must write out the complete accompaniment and indicate your cadences . Render your composition to an mp3 and submit both the PDF of the finale file and the mp3.to hmu310@gmail.com Be prepared to present your composition using the analytical tools we have discussed.

Expansions of the three-part song form and irregular part or group formations

The three part song form may be enlarged by repetition of one or more parts as follows:

Repeat Structure of Three Part Song || A ||: B A :|| ||: A :||: B A :|| ||: A :|| B A ||

 

 

1. The Pattern ||:A:||:B A:|| is found in each of the two song forms in the minuet or scherzo of the classical sonata.
2. The repetition of the 2nd part by itself is relatively scarce ||A||:B:||A||
3. Similarly rare is ||A B||:A:||
4. Stein notes that the repetition pattern A B A B A is always grouped ||A||:B A: || and never ||:A B:|| A ||

Analysis Brahms Waltz, Op39 No15

 

 

 

The Five Part Song Form

The five part song form is an expansion of the enlarged three part song form and exists primarily in three categories

1. Part IV (B') As a transposition (partial or entire) of Part II (B) into a different key

a. Sometimes the transposition of Part II is not consistent throughout Part IV

PART I	PART II	PART III	PART IV	PART V
A	B	A	B' (transposition)	A
Key 1	Key 2	Key 1	Key 3	Key 1

 

2. Part IV contains a marked modification of PART II

 

a. Relationship between Part IV and Part II is less obvious.

PART I	PART II	PART III	PART IV	PART V
A	B	A	B' (modification)	A
Key 1	Key 2	Key 1	Key 3	Key 1

 

3. Part IV is a distinct member

 

a. PART IV is not derived from PART II and is independent
b. Its key area is generally different from both PART I and II

PART I	PART II	PART III	PART IV	PART V
A	B	A	C (independent)	A
Key 1	Key 2	Key 1	Key 3	Key 1

 

 

Analysis Mendelssohn Song Without Words Op 67 no 4

 

Irregular part or group forms

Most shorter compositions conform to the song form patters we have seen. There are plenty of examples however of forms that contain 4 and 6 parts. These are considered Free or Open Forms and are seen as

1. One of the parts is repeated in a transposed form
2. Three parts are found. Each part is independent.
3. Four or more parts are found. The last part may be a restatement of the first

 

Homework: Assignment 2  Pick one of these two: Due next class Analyze Chopin Prelude Op 28 No 17 OR.... Analyze a piece of music of your choice.  You must be able to rationally conclude that it is a 5  part song.  This may mean that you have to look at a few pieces beofre you find a real 5 part part song.