Music Theory - Binary and Ternary Forms Exam

4/4 or Cut Time

Allemande

One or three short notes

Allemande

Moderato, Allegretto, Allegro Moderato

Allemande

Continuous flow of running notes, imitative openings

Allemande

3/2 or 6/4 Time

French Courante

3\4 or 3/8 Time

Italian Courante

1 or 3 short notes

Courante

Allegro

French Courante

Allegro Vivace, Vivace

Italian Courante

3/2 or 3\4 Time

Sarabande

No upbeat

Sarabande

Adagio or Lento

Sarabande

More chordal than contrapuntal

Sarabande

Triplet or Compound Time (Often 6/8)

Gigue

1 short note or no upbeat

Gigue

Allegro vivace

French Gigue

Presto

Italian Gigue

Dotted rhythms, wide interval jumps and fugal writing

French Gigue

Quick, not Fugal, running passages

Italian Gigue

Quick triple times, continuous running figures, melody-accompaniment texture

Italian Courante

Refined, changing meters, frequent imitations

French Courante

A-A’, both sections containing same-ish material

Simple Binary Parallel

A-B, when the response melody is different than the statement melody

Simple Binary Contrasting

A-B, both sections containing similar cadential endings

Balanced Binary

A-BA, Binary Modulation (Modulates in A, Returns to Tonic in B), restatement can be full or partial

Rounded Binary

A-B-A, no modulation at the end of the A section,

Ternary Form

Unaccented, approached by step and left by leap

Escape Tone

Unaccented, approached by leap and left by step

Cambiata

Arrives before the chord before chord arrives

Anticipation

Accented, approached by leap and left by step (opposite direction of leap)

Appoggiatura

Held on from the previous harmony, and resolved by step to the next chord tone

Suspension