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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]
This movement, written in unusual sonata form [4] combined with ternary form, [6] begins with a large introduction, which d'Indy [15] calls the Lied (song) and also L'idée mère (fundamental or generative idea). The first violin plays the main theme of the introduction over the harmonic accompaniment of strings (Excerpt 1).
Like the second movement, the third movement is in ternary form. It is composed of the 2 4 Allegretto and contrasting 6 8 trio section, followed by a reprise of the Allegretto material and coda. A notable aspect of this movement is Brahms's careful attention to symmetry. The form could be described as: A B A 1 B 1 C D C 1 D 1 A 2 – trio – A ...
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.
The Prelude's taut structure is in ternary form, consisting of an opening "A" section with punctuated sixteenth-note chords (marked: Alla marcia, march), a more lyrical and melancholy "B" section with sweeping arpeggios in the left hand (marked: Poco meno mosso), a transition into the original tempo, and a recapitulation of the initial march.
Thus there have been interminable arguments as to whether it should be seen as a kind of sonata form (with the "Turkish" music of bar 331, which is in B ♭ major, functioning as a kind of second group), or a kind of concerto form (with bars 1–207 and 208–330 together making up a double exposition), or even a conflation of four symphonic ...
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 ...
Presto is in ternary form with a coda. The piece begins with a fortissimo introduction with a thick texture in the left hand consisting of chromatic sextuplets. The melody is a "rising quasi-military" idea, interspersed between replications of the left hand figure, [ 7 ] the mostly two-note melody being a strong unifying element. [ 1 ]