Binary and Rounded Binary Form

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Theory Dr. Crist Binary and Rounded Binary Form A B xxx closing xxx closing Key: I (i) Æ V (III) ---------- V (III) Æ I (i) -------- xxx = motive arrows indicate modulation Binary form consists of two parts (A and B) which are each usually repeated. As the diagram above illustrates, the A section will normally modulate from I – V (i – III in minor). However, in short binary forms there may not be a modulation at all. The A section may merely end with a half cadence and the B section will redirect the harmony back to the tonic. Typically, the two sections will parallel one another in terms of their beginning idea (the motive marked xxx above) and their closing material. Identical closing material is referred to as cadential “rime.” If the original motivic material or theme of the A section returns in the tonic key before the close of the B section, the form is said to be rounded binary. The following diagram illustrates rounded binary form. A B A1 xxx closing xxx xxx closing Key: I (i) Æ V (III) --------- V (III) Æ I (i) -------------- Checklist on Binary Forms Binary Form may be… (1) symmetrical (both sections are of equal length) or asymmetrical (the sections are of different lengths). (2) open (if the A section cadences in a key other than the tonic or ends with a half cadence) or closed (if the A section cadences in the tonic). (3) in possession of cadence rime (either at the original pitch level or transposed). (4) with or without repeats. Occasionally, binary form is concealed by the absence of repeat signs. (5) Simple - closed and symmetrical. Unrounded - closed or open; symmetrical or unsymmetrical; opening melodic material of the A section does not return at the end of the B section. Rounded - closed or open; symmetrical or unsymmetrical; opening melodic material of the A section returns at the end of the B section..

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Emergent Formal Functions in Schubert's Piano Sonatas
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School June 2020 Emergent Formal Functions in Schubert's Piano Sonatas Yiqing Ma Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Ma, Yiqing, "Emergent Formal Functions in Schubert's Piano Sonatas" (2020). LSU Master's Theses. 5156. https://digitalcommons.lsu.edu/gradschool_theses/5156 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EMEGERT FOMAL FUNCTIONS IN SCHUBERT’S PIANO SONATAS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Master of Music in School of Music by Yiqing Ma B.A., University of Minnesota, 2017 August 2020 ã Copyright by Yiqing Ma, 2020. All rights reserved. ii ACKNOWLEDGMENT I first encountered Franz Schubert’s A minor piano sonata in my sophomore year by Dr. Rie Tanaka—a piece that I also performed in my first piano recital. As a psychology major at the time, I never would have thought I will pursue graduate studies in Music Theory, a discipline that my parents still do not understand what it is all about. Now, I am lucky enough to dedicate a master’s thesis on my favorite piano repertoire.
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