List of classical music genres - Wikipedia
Classical and Romantic · Arabesque – Composition with a flowing and ornate style, inspired by Arabic architecture. · Art song – Musical setting of a poem or text ...
binary
Some forms and compositional techniques occasionally also give name to the compositions based on them, such as rondo or canon. This does not occur in other cases such as strophic, <anchor>binary</anchor>, ternary or arch forms. A notable source of confusion is the term 'sonata': as a genre, it denotes a multi-movement composition for one or more solo instruments, while in structural terms, 'sonata form' refers to a specific three-part structure (exposition, development, recapitulation) frequently used within individual movements of larger works.
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## Contents

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- [1Structure](#Structure)
- [2Further distinctions](#Further_distinctions)Toggle Further distinctions subsection  - [2.1Simple vs. rounded](#Simple_vs._rounded)
  - [2.2Sectional vs. continuous](#Sectional_vs._continuous)
  - [2.3Symmetrical vs. asymmetrical](#Symmetrical_vs._asymmetrical)
  - [2.4Balanced binary](#Balanced_binary)
  - [2.5Rounded vs. incipient or small ternary](#Rounded_vs._incipient_or_small_ternary)
- [3Sources](#Sources)

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# Binary form

16 languages

- [Català](https://ca.wikipedia.org/wiki/Forma_bin%C3%A0ria "Forma binària – Catalan")
- [Dansk](https://da.wikipedia.org/wiki/Bin%C3%A6r_form "Binær form – Danish")
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- [日本語](https://ja.wikipedia.org/wiki/%E4%BA%8C%E9%83%A8%E5%BD%A2%E5%BC%8F "二部形式 – Japanese")
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From Wikipedia, the free encyclopedia

Musical structure with two contrasting sections

This article is about the musical form. For other uses, see [Binary form (disambiguation)](/wiki/Binary_form_(disambiguation) "Binary form (disambiguation)").

[![](//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Binary_form.png/400px-Binary_form.png)](/wiki/File:Binary_form.png) Binary form in major and minor keys. Each section must be at least two phrases long.[\[1\]](#cite_note-1)

**Binary form** is a [musical form](/wiki/Musical_form "Musical form") in 2 related sections, both of which are usually repeated. Binary is also a structure used to choreograph [dance](/wiki/Dance "Dance"). In music this is usually performed as A-A-B-B.

Binary form was popular during the [Baroque period](/wiki/Baroque_music "Baroque music"), often used to structure movements of [keyboard](/wiki/Keyboard_instrument "Keyboard instrument") [sonatas](/wiki/Sonata_(music) "Sonata (music)"). It was also used for short, one-movement works. Around the middle of the 18th century, the form largely fell from use as the principal design of entire movements as [sonata form](/wiki/Sonata_form "Sonata form") and organic [development](/wiki/Musical_development "Musical development") gained prominence. When it is found in later works, it usually takes the form of the theme in a set of [variations](/wiki/Variation_form "Variation form"), or the [Minuet](/wiki/Minuet "Minuet"), [Scherzo](/wiki/Scherzo "Scherzo"), or Trio sections of a "minuet and trio" or "scherzo and trio" movement in a [sonata](/wiki/Sonata "Sonata"), [symphony](/wiki/Symphony "Symphony"), etc. Many larger forms incorporate binary structures, and many more complicated forms (such as the 18th-century [sonata form](/wiki/Sonata_form "Sonata form")) share certain characteristics with binary form.

## Structure

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=1 "Edit section: Structure")\]

A typical example of a piece in binary form has two large sections of roughly equal duration. The first will begin in a certain [key](/wiki/Key_(music) "Key (music)"), which will often, (but not always), [modulate](/wiki/Modulation_(music) "Modulation (music)") to a [closely related key](/wiki/Closely_related_key "Closely related key"). Pieces in a major key will usually modulate to the [dominant](/wiki/Dominant_(music) "Dominant (music)"), (the fifth scale degree above the [tonic](/wiki/Tonic_(music) "Tonic (music)")). Pieces in a minor key will generally modulate to the [relative major key](/wiki/Relative_key "Relative key"), (the key of the third scale degree above the minor tonic), or to the dominant minor. A piece in minor may also stay in the original key at the end of the first section, closing with an imperfect [cadence](/wiki/Cadence "Cadence").

The second section of the piece begins in the newly established key, where it remains for an indefinite period of time. After some harmonic activity, the piece will eventually modulate back to its original key before ending.

More often than not, especially in 18th-century compositions, the A and B sections are separated by [double bars](/wiki/Bar_(music) "Bar (music)") with repeat signs, meaning both sections were to be repeated.[\[2\]](#cite_note-2)

Binary form is usually characterized as having the form _AB_, though since both sections repeat, a more accurate description would be _AABB_. Others, however, prefer to use the label _AA′_. This second designation points to the fact that there is no great change in character between the two sections. The [rhythms](/wiki/Rhythm "Rhythm") and [melodic](/wiki/Melody "Melody") material used will generally be closely related in each section, and if the piece is written for a [musical ensemble](/wiki/Musical_ensemble "Musical ensemble"), the [instrumentation](/wiki/Instrumentation_(music) "Instrumentation (music)") will generally be the same. This is in contrast to the use of [verse-chorus form](/wiki/Verse-chorus_form "Verse-chorus form") in [popular music](/wiki/Popular_music "Popular music")—the contrast between the two sections is primarily one of the keys used.

## Further distinctions

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=2 "Edit section: Further distinctions")\]

A piece in binary form can be further classified according to a number of characteristics:

### Simple vs. rounded

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=3 "Edit section: Simple vs. rounded")\]

[![](//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Oh%2C_Susannah_rounded_binary_form.png/400px-Oh%2C_Susannah_rounded_binary_form.png)](/wiki/File:Oh,_Susannah_rounded_binary_form.png)" [Oh, Susannah](/wiki/Oh!_Susanna "Oh! Susanna")": rounded binary form.[\[3\]](#cite_note-3)

Occasionally, the _B_ section will end with a "return" of the opening material from the _A_ section. This is referred to as **rounded binary**, and is labeled as _ABA_′. In rounded binary, the beginning of the _B_ section is sometimes referred to as the "bridge", and will usually conclude with a [half cadence](/wiki/Half_cadence "Half cadence") in the original key. Rounded binary is not to be confused with [ternary form](/wiki/Ternary_form "Ternary form"), also labeled _ABA_—the difference being that, in ternary form, the _B_ section contrasts completely with the _A_ material as in, for example, a [minuet and trio](/wiki/Minuet#Minuet_and_trio "Minuet"). Another important difference between the rounded and ternary form is that in rounded binary, when the "A" section returns, it will typically contain only half of the full "A" section, whereas ternary form will end with the full "A" section.

Sometimes, as in the keyboard sonatas of [Domenico Scarlatti](/wiki/Domenico_Scarlatti "Domenico Scarlatti"), the return of the _A_ theme may include much of the original _A_ section in the tonic key, so much so that some of his sonatas can be regarded as precursors of sonata form.

Rounded binary form is sometimes referred to as small ternary form.[\[4\]](#cite_note-Schoenberg-4)

Rounded binary or **minuet form**:[\[5\]](#cite_note-Rosen-5)

```
A      :||: B                           A or A'
I(->V) :||: V(or other closely related) I

```

If the _B_ section lacks such a return of the opening _A_ material, the piece is said to be in **simple binary**.

Simple:[\[5\]](#cite_note-Rosen-5)

```
A->B :||: A->B
I->V :||: V->I

```

Slow-movement form:[\[5\]](#cite_note-Rosen-5)

```
A'        A"
I->V      I->I

```

Many examples of rounded binary are found among the church sonatas of Vivaldi including his Sonata No. 1 for Cello and Continuo, First Movement, while certain Baroque composers such as Bach and Handel used the form rarely.[\[6\]](#cite_note-6)

### Sectional vs. continuous

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=4 "Edit section: Sectional vs. continuous")\]

[![](//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Greensleeves_sectional_binary_form.png/400px-Greensleeves_sectional_binary_form.png)](/wiki/File:Greensleeves_sectional_binary_form.png)"Greensleeves": sectional binary form (first phrase ends with the tonic).[\[7\]](#cite_note-7)Note: the example here is in minor mode rather than the more historically accurate Dorian mode.

If the _A_ section ends with an authentic (or perfect) [cadence](/wiki/Cadence "Cadence") in the original [tonic](/wiki/Tonic_(music) "Tonic (music)") key of the piece, the design is referred to as a **sectional binary**. This refers to the fact that the piece is in different tonal sections, each beginning in their own respective keys.

If the _A_ section ends with any other kind of cadence, the design is referred to as a **continuous binary**. This refers to the fact that the _B_ section will "continue on" with the new key established by the cadence at the end of _A_.

### Symmetrical vs. asymmetrical

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=5 "Edit section: Symmetrical vs. asymmetrical")\]

If the _A_ and _B_ sections are roughly equal in length, the design is referred to as **symmetrical**.

If the _A_ and _B_ sections are of unequal length, the design is referred to as **asymmetrical**. In such cases, the _B_ section is usually substantially longer than the _A_ section.

The asymmetrical binary form becomes more common than the symmetrical type from about the time of Beethoven, and is almost routine in the main sections of Minuet and Trio or Scherzo and Trio movements in works from this period. In such cases, occasionally only the first section of the binary structure is marked to be repeated.

Although most of [Chopin's nocturnes](/wiki/Chopin_nocturnes "Chopin nocturnes") are in an overall [ternary form](/wiki/Ternary_form "Ternary form"), quite often the individual sections (either the A, the B, or both) are in binary form, most often of the asymmetrical variety. If a section of this binary structure is repeated, in this case it is written out again in full, usually considerably varied, rather than enclosed between repeat signs.

### Balanced binary

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=6 "Edit section: Balanced binary")\]

Balanced binary is when the end of the first section and the end of the second section have analogous cadential material (and arguably pre-cadential material). The usual pattern for balanced binary is to arise in a continuous binary form ( _i.e.,_ one in which the first section ends off tonic), where the two sections end with "rhyming cadences", in which the same cadential material occurs in both sections, appropriately transposed for their keys.
This differs from Rounded Binary, since in a Rounded Binary form, thematic material from the A section must return at the end of the B section (which usually occurs at the beginnings of phrases), whereas in a balanced binary, it is sufficient for a meaningful portion of the end of the final phrase to return.

For example, if the A section is a _period_ (using Caplin's naming conventions; elsewhere called a _parallel period_), the first ("antecedent") phrase of the A section will begin with a _basic idea_ (generally for one half of the phrase) and end with a relatively weak cadence, and the second ("consequent") phrase will begin with the same _basic idea_ and end with a stronger cadence; alternatively, if the A section is a _sentence_, the first half of the section will consist of two repetitions of the _basic idea_ (with the second possibly transposed or slightly altered), and the rest of the phrase will drive towards a cadence. In a rounded binary form, at the end of the B section, if the A section was a _sentence_, typically the beginning of the sentence returns, potentially abridged, followed by the cadence; if a _period_, the same is true, but since the antecedent and the consequent of a period both begin the same way, it is generally simpler to say that the entire consequent phrase returns. However, in either case, it is the _basic idea_ that returns, followed by the cadence.
In a balanced binary, the _basic idea_ need not return. There is some room for debate concerning how much material must return preceding the cadence; it is a subjective decision upon which theorists may differ. Thus, it is not always clear how the concept of balanced binary should apply if the A section is a _period_. However, if the A section is a _sentence_, the balanced binary may bring back the entire second half of the A section (transposed if appropriate) without ever bringing back the _basic idea_.

There is also some room for debate concerning how the concept of balanced binary should relate to sectional binary forms. In principle, there is no intrinsic reason why a sectional binary form in which the second half of the A section (whether _sentence_ or _period_) returns at the end of the B section should not be considered balanced since they end with the same cadences. From this point of view, many rounded binary forms are also balanced (especially those in which the A section is a _period_), but the fact that they would be balanced would be effectively uninteresting because the fact that they are rounded supersedes this characteristic. However, if one considers rhyming cadences in different keys to be a defining characteristic of balanced binary, then balanced and rounded binaries are mutually exclusive but analogous structures belonging, respectively, to continuous and sectional forms.

### Rounded vs. incipient or small ternary

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=7 "Edit section: Rounded vs. incipient or small ternary")\]

As noted above, there is some disagreement about the use of the term _rounded binary_. The disagreements concern two issues: whether the names _rounded binary_, _incipient ternary_, or _small ternary_ is more appropriate to describe the form; and how much of the A section must return at the end of the B section to be considered rounded.

The principal difference between _rounded binary_ and _small ternary_ forms is the nature of the material between the A section and the return of the thematic material from the A section at the end of the form. In _rounded binary_, this additional material is called a _digression_, and does not stand alone as a satisfying musical section, whereas in ternary, this material constitutes a complete musical section unto itself (albeit potentially ending off tonic if part of a continuous form).

The issue concerning how much of the A section must return to be considered _rounded binary_ is subjective. Either the entire A section must return or only the thematic material of the A section (specifically, the _basic idea_) and the cadence.

Putting these ideas together, if the material between the A section and the return of the thematic material does not stand alone (a digression) and only a part of the A section returns, we do not have a ternary form, and may have a _rounded binary_, though not all theorist would accept this terminology (and there is some overlap here with the notion of _balanced binary_ \-\- see above). If we have a digression, but also have the entire A section returning, then it might be called either _rounded binary_ or _incipient ternary_ (meaning, "approaching ternary"), depending on the theorist. If the intermediate material stands on its own as a self-sufficient section, then we have _small ternary_ (in such cases, the entire A section usually returns).

## Sources

\[ [edit](/w/index.php?title=Binary_form&action=edit&section=8 "Edit section: Sources")\]

1. **[^](#cite_ref-1)**White, John D. (1976). _The Analysis of Music_, p. 50.  [ISBN](/wiki/ISBN_(identifier) "ISBN (identifier)") [0-13-033233-X](/wiki/Special:BookSources/0-13-033233-X "Special:BookSources/0-13-033233-X").
2. **[^](#cite_ref-2)**Bartlette, Christopher, and Steven G. Laitz (2010). _Graduate Review of Tonal Theory_. New York: Oxford University Press, p. 156. [ISBN](/wiki/ISBN_(identifier) "ISBN (identifier)") [978-0-19-537698-2](/wiki/Special:BookSources/978-0-19-537698-2 "Special:BookSources/978-0-19-537698-2")
3. **[^](#cite_ref-3)**[Kostka, Stefan](/wiki/Stefan_Kostka "Stefan Kostka") and Payne, Dorothy (1995). _Tonal Harmony_, p. 343. 3rd edition, McGraw-Hill. [ISBN](/wiki/ISBN_(identifier) "ISBN (identifier)") [0-07-035874-5](/wiki/Special:BookSources/0-07-035874-5 "Special:BookSources/0-07-035874-5").
4. **[^](#cite_ref-Schoenberg_4-0)**[Schoenberg, Arnold](/wiki/Arnold_Schoenberg "Arnold Schoenberg") (1967). _Fundamentals of Musical Composition_, p. 119. [ISBN](/wiki/ISBN_(identifier) "ISBN (identifier)") [0-571-09276-4](/wiki/Special:BookSources/0-571-09276-4 "Special:BookSources/0-571-09276-4").
5. ^ [_**a**_](#cite_ref-Rosen_5-0) [_**b**_](#cite_ref-Rosen_5-1) [_**c**_](#cite_ref-Rosen_5-2)[Rosen, Charles](/wiki/Charles_Rosen "Charles Rosen") (1988). _Sonata Forms_, p. 29. [ISBN](/wiki/ISBN_(identifier) "ISBN (identifier)") [0-393-30219-9](/wiki/Special:BookSources/0-393-30219-9 "Special:BookSources/0-393-30219-9").
6. **[^](#cite_ref-6)**White (1976) pp. 51–52
7. **[^](#cite_ref-7)**Kostka and Payne (1995) p. 336.

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[Musical form](/wiki/Musical_form "Musical form") and [development](/wiki/Development_(music) "Development (music)")

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- [Rondò](/wiki/Rond%C3%B2 "Rondò")
- [Section](/wiki/Section_(music) "Section (music)")
- [Sonata form](/wiki/Sonata_form "Sonata form")
- [Sonata rondo form](/wiki/Sonata_rondo_form "Sonata rondo form")
- [Song structure](/wiki/Song_structure "Song structure")
- [Strophic form](/wiki/Strophic_form "Strophic form")
- [Ternary form](/wiki/Ternary_form "Ternary form")
- [Theme](/wiki/Subject_(music) "Subject (music)")
- [Thirty-two-bar form](/wiki/Thirty-two-bar_form "Thirty-two-bar form")
- [Through-composed](/wiki/Through-composed_music "Through-composed music")
- [Transition](/wiki/Transition_(music) "Transition (music)")
- [Variation](/wiki/Variation_(music) "Variation (music)")
- [Verse–chorus form](/wiki/Verse%E2%80%93chorus_form "Verse–chorus form")

[![F (bass) clef symbol](//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/40px-FClef.svg.png)](/wiki/File:FClef.svg "F (bass) clef symbol")

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[Categories](/wiki/Help:Category "Help:Category"):

- [Musical form](/wiki/Category:Musical_form "Category:Musical form")
- [2 (number)](/wiki/Category:2_(number) "Category:2 (number)")

Hidden categories:

- [Articles with short description](/wiki/Category:Articles_with_short_description "Category:Articles with short description")
- [Short description is different from Wikidata](/wiki/Category:Short_description_is_different_from_Wikidata "Category:Short description is different from Wikidata")

- This page was last edited on 3 February 2024, at 02:54 (UTC).
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