ternary form

The pieces has a total of 74 measures and is in ternary form.

Each movement is in ternary form, having a contrasting middle section.

The resulting structure of the piece is generally in ternary form.

The repetition of any section results in expanded ternary form.

The movement of ternary form ends by melting into dream.

The theme itself is fairly extended and in ternary form.

The movement is presented in ternary form, another neoclassical influence.

The first movement is in ternary form with introduction.

The first three movements are each in a ternary form - a notable look back towards traditional forms.

The second movement is in ternary form with a slow and song-like melody.

Often, Chopin wrote his preludes in a simple ternary form.

They are all in ternary form, with a central trio leading to a reprise of the main march.

This movement is in a ternary form, with the theme being introduced by bassoon.

The third movement is a scherzo and trio in compound ternary form.

Another name for the latter is "composite ternary form".

Like most of Chopin's polonaises, they are in ternary form.

In this movement, both the first and second themes are presented in ternary form.

The second part is a prayer, in E-flat major in simple ternary form.

The trio is in D major, ternary form.

In this usage, only the fractional part of the number is written in ternary form.

A delightful Allegretto in ternary form follows, full of grace and humor.

It is written in conventional ternary form.

The piece departs from the ternary form usual in a Chopin nocturne.

It is in ternary form and functions like a scherzo, the more traditional second or third movement of a piano quartet.

The second movement is also in ternary form form, and in the dominant key of D major.