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In ternary form each section is self-contained both thematically as well as tonally (that is, each section contains distinct and complete themes), and ends with an authentic cadence.[1] The B section is generally in a contrasting but closely related key, usually a perfect fifth above or the parallel minor of the home key of the A section (V or i); however, in many works of the Classical period, the B section stays in tonic but has contrasting thematic material.[3] It usually also has a contrasting character; for example section A might be stiff and formal while the contrasting B section would be melodious and flowing.
Ternary form, sometimes called song form, 1] is a three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A). It is usually schematized as A–B–A. Examples include the da capo aria "The trumpet shall sound" from Handel's Messiah, Chopin's Prelude in D-Flat Major (Op. 28) 2] and the opening chorus of Bach's St John Passion.
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Ternary form, sometimes called song form,
1] is a three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A). It is usually schematized as A–B–A. Examples include the da capo aria "The trumpet shall sound" from Handel's Messiah, Chopin's Prelude in D-Flat Major (Op. 28)
2] and the opening chorus of Bach's St John Passion.