Hybrids & Compounds
This compound form – exemplified in Samuel Coleridge-Taylor’s “When I am Dead” – consists of an antecedent and consequent that are both sentences.
Sentential period
This type of binary form has a strong cadence and ends on the tonic.
Sectional binary
This structure remains consistent throughout rondos and is interspersed with “episodes.”
Refrain
Featuring a dramatic and constant ground bass, Purcell’s “Ah! Belinda” from Dido & Aeneas is an example of this kind of variation form.
Continuous variation
TR can end with modulation leading to closing cadential confirmation, occurring when this device is absent.
Medial caesura
This form – heard in Schubert’s Piano Sonata in A major (D. 664) – consists of an exposition, a contrasting middle, and a recapitulation.
Small ternary
In this type of binary form, a reprise of the A section occurs in the B section.
Rounded binary
This rondo form has episodes that resemble expositions, developments, and recapitulations.
Sonata rondo
Mozart’s Variations on a Minuet by Duport (K. 573) features variations of this kind – clearly articulated from each other by strong cadences and/or changes in timbre.
Sectional variation
One way that P can move to TR is with harmonic elision, utilizing this kind of chordal function.
Half cadence
Charles Ignatius Sancho’s 11th Minuet in G minor combines two periods to create this type of structure.
Compound period
The sarabande from G.F. Handel’s Keyboard Suite in G minor (HWV 432) modulates to a non-tonic key by the end of its A section, making it this kind of binary form.
Continuous binary
This type of rondo form treats both refrains and episodes as discrete formal units.
Sectional rondo
Arcangelo Corelli’s Violin Sonata in D minor, op. 12 features variations of this kind, marked by embellishments of thematic material.
Figural variation
This kind of structure is characterized by Julian Horton as being “self-contained formal-functional units” and are tonally stable.
Tight-knit structure
Compound forms are said to be formal functions ___________ within each other, such as in the rondo of Mozart’s Piano Sonata No. 7 in C major
Nested
The second menuet from J.S. Bach’s Partita in Bb (BWV 825) features no reprise of its opening material, making it this kind of binary form.
Simple binary
Refrains and episodes are linked together with extended transitions in this type of rondo form.
Continuous rondo
The sixth and eighth variations of Mozart’s Duport Variations (K. 573) are this kind of variation, in which changes in tonality, tempo, etc. create a dramatic change in mood.
Character variation
Structures of this kind are characterized by William Caplin as having harmonic-tonal instability, omissions of cadences, and are less self-contained.
Loose-knit structure