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Baroque opera arias and a considerable number of baroque sacred music arias was dominated by the Da capo aria which were in the ABA form. A frequent model of the form began with a long A section in a major key, a short B section in a relative minor key mildly developing the thematic material of the A section and then a repetition of the A section. [4]
Within classical European music, the Song and Trio form is often referred as Compound Ternary form. This is where one of the Ternary form sections can be subdivided into two subsections such as: I-II-I or A-B1-B2-A.
These are some common forms. Binary form – musical form in two related sections, both of which are usually repeated (AA′BB′) Ternary form – three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A), usually schematized as A–B–A.
C minor, sonata form. Ends in C major. Ends in C major. Howard calls this movement "rhythmically intense," [ 8 ] and Keller writes, "By now we will understand that this piano trio is to a large extent “about” rhythmic variety, and the finale carries that idea through to the end through an abundance of hemiolas (i.e. brief passages of duple ...
In summary, genre is a broader term and often refers to the overall style, structure, cultural context, or purpose of the music. For example, a rondo is based on alternation between familiar and novel sections (e.g. ABACA structure); a mazurka is defined by its distinctive meter and rhythm ; a nocturne is based on the mood it creates, required ...
The third movement is a minuet and trio, in ternary form in the tonic key . The tempo, allegro molto (very quickly), is of note since it marks the historical shift away from the old minuet (which was played at a slower, danceable, tempo) toward the scherzo; by his last quartets Haydn had started marking his minuets presto.
The rondo returns to the A-flat major of the first two movements, and like them is full of innovative rhythms. This brief rondo has three short episodes, the second in C minor, and in a usual move, the third episode reprises the first: whereas the first episode was in the dominant (E-flat), the third presents the same material in the tonic. [6]
Nocturne in E-flat major, Op. 55, No. 2. The second nocturne in E ♭ major features a 12 8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggios from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody.