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For example, in the Minuet in Haydn's String Quartet op. 76 no. 6, the Minuet is in standard binary form (section A and B) while the trio is in free form and not in two repeated sections. Haydn labeled the B section "Alternative", a label used in some Baroque pieces (though most such pieces were in proper compound ternary form). [7]
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.
Other organic ternary compounds replace oxygen with another atom to form functional groups. The multiplicity of ternary compounds based on {C, H, O} has been noted. For example, C 9 H 10 O 3 {\displaystyle {\ce {C9 H10 O3}}} corresponds to more than 60 ternary compounds.
Ternary form is a three-part musical form in which the third part repeats or at least contains the principal idea of the first part, represented as ABA. [14] There are both simple and compound ternary forms. Da capo arias are usually in simple ternary form (i.e. "from the head").
This fully-fledged movement, in compound ternary form, features, in quick succession, a number of themes heard earlier in the Sonata in a tour de force of thematic economy. [26] Page 25 of the manuscript. The large section crossed out in red contains the original loud ending.
Scherzo. A minor/major, Trio in F major; Allegro vivace In compound ternary form, the shadowy, mercurial scherzo plays off of elements of the first movement (in particular the V-I-V-I chord sequence from the second theme) and synthesizes, reinforces, and summarizes harmonic and thematic relationships from throughout the sonata, an approach Schubert used in the scherzi in his mature piano sonatas.
While adhering to the standard compound ternary design (three-part structure) of a dance movement (scherzo-trio-scherzo or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it is a complete sonata form.
It doesn’t follow traditional harmonic progressions (giving it a peculiar sound). There are no subdominant (IV) or submediant (VI) chords in the entire movement. Most of the movement is composed of dominants (and their dominants), tonics, iii or III, and vii° chords. This particular movement is in compound ternary form.