Editing Ternary form (section)

==Simple ternary form==
In ternary form each section is self-contained both [[theme (music)|thematically]] as well as [[tonality|tonally]] (that is, each section contains distinct and complete themes), and ends with an [[cadence (music)#Authentic cadence|authentic cadence]].<ref name="HD2nd binary and ternary" /> The B section is generally in a contrasting but [[closely related key]], usually a [[perfect fifth]] above or the [[Parallel key|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.<ref>{{cite web |url=http://mailer.fsu.edu/~nrogers/Handouts/Binary_Ternary_Form_Handout.pdf |title=Archived copy |access-date=2014-03-06 |url-status=dead |archive-url=https://web.archive.org/web/20121202132659/http://mailer.fsu.edu/~nrogers/Handouts/Binary_Ternary_Form_Handout.pdf |archive-date=2012-12-02 }}</ref> 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.

===Da capo aria===

Baroque opera arias and a considerable number of baroque sacred music arias was dominated by the [[Da capo aria|''Da capo'' aria]] which were in the ABA form. A frequent model of the form began with a long A section in a major key, a short B section in a relative minor key mildly developing the thematic material of the A section and then a repetition of the A section.<ref>{{Cite book|title=The new Grove dictionary of music and musicians. "Ternary form".|date=2001|publisher=Grove|others=Sadie, Stanley., Tyrrell, John, 1942-|isbn=1561592390|edition=2nd |location=New York|oclc=44391762}}</ref> By convention in the third section (the repeat of section A after section B) soloists may add some ornamentation or short improvised variations. In later classical music such changes may have been written into the score. In these cases the last section is sometimes labeled A’ or A1 to indicate that it is slightly different from the first A section.<ref>Bartlette, Christopher, and Steven G. Laitz (2010).  Graduate Review of Tonal Theory.  New York: Oxford University Press, pp. 197–206.  {{ISBN|978-0-19-537698-2}}</ref>