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Ternary Form
Ternary form sometimes called song form is a symmetrical structure in music most often represented by the letters  A–B–A. The A represents a musical idea or ideas, the B represents new, contrasting material, and the final A represents a return to the familiar music heard in the opening of the piece. This structure is important for us to review for two reasons. First, it provides the foundation of the more elaborate sonata-allegro form that develops in the Classical period. Second, in many larger works that feature four movements, such as symphonies and string quartets, the third movement is often a minuet consisting of a ternary form (minuet-trio-minuet).

Simple Ternary Form
In ternary form each section  contains distinct and complete themes, and ends with an authentic cadence. The B section is generally in a contrasting  key or it could stay in the  tonic but  definitely has contrasting thematic material.

Compound Ternary or Trio Form – The Minuet
In a trio form (ABA)  each section is a dance movement in binary form  This  configuration  A(ab) B(bc) A(ab).demonstrates two sub-sections –  each repeated  with a contrasting trio movement also in binary form with repeats. An example is the Minuet and Trio from the Haydn’s Surprise Symphony.

Listen to the selection for the  sections. You should be able to perceive the ABA form. also note other traits of the minuet, triple meter and the dance  like style. See diagram below the image:

Figure 1. Diagram of a minuet and trio

Sonata Allegro Form

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Definition

Sonata-allegro form is one of the most significant forms of the Classical era. Because of its importance we’ll have multiple reading items on the topic. This first link will take you to a very brief definition of the form. There are melodic and harmonic elements to sonata-allegro form, but the most important thing for us to understand for the purposes of this class is its structure.

Explanation

Let’s flesh out the definition you’ve just read. There are common melodic and harmonic practices within this form, the explanation of which requires a deeper understanding of music theory than is required for this class. This brief introduction will suffice for our purposes.

Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period).

While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, sonata form consists of three main sections: an exposition, a development, and a recapitulation; however, aside from this, sonata form is difficult to pin down in a single model.

The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in are the recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.

Since its establishment, the sonata form became the most common form in the first movement of works entitled “sonata,” as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.

Presentation

Here’s one more look at sonata form: a video by Dr Craig Wright at Yale University. . In his presentation, he relates sonata form to some of the musical structures you may have come across in popular music. He also begins to explain some of the most common melodic and harmonic practices associated with sonata form. This lecture is also available directly through YouTube, but the Yale page we’ve linked to makes it provides a transcript of the lecture and the ability to download the entire presentation if you’d like

Click on link:  https://youtu.be/oD60TqEZSZE

Take notes on this presentation
Normally links are not common in this course  (other than You Tube).  However this link (above)  has a lot of excellent content .  You can listen to this in sections at different times – time line listed below –  and listen only to the first 36 minutes. A time line is provided  below so you can do this easily and also follow the topics discussed.

Beginning: Discusses ternary form often shown as a-b-a.  Aslo defined as:  Statement-Diversion-return to statement.
12:23 –  Discusses ternary form (Please excuse the cell phone interruption and digression)
13:50 –  Demonstrates ternary form  performing a  work by Beethoven.
15:33 –  Digression here with a discussion of Major and minor which are integral to form. The instructor also illustrates the relationships of relative minor and major scales. This is a wonderful presentation of these elements.
18:00 – Discusses Sonata Allegro Form- Exposition Development and Recapitulation. Try to understand the broad general outline of this form. It ias complex. This lecturer discusses it  very well!
26:50 List as the speaker  narrates sonata allegro form in  Mozart’S Eine Kleine Nacht Musik. Try to hear what is happening. Note how the development section appears and how Mozart  treats it.  Continue taking notes. You may stop at 36:20.

36:00 (not required) The last work on the lecture at 36:00  is the first movement of Beethoven’s 5th symphony (also in Sonata Allegro form) but  we will refer back to this  later in this  module.  You need not listen to it now