Adelita and Lagrima by Francisco Tarrega are excellent examples of short ternary form. Music in ternary form has a beginning section (A), followed by a contrasting section (B), and ends with a repeat of the beginning section (A). Ternary form can be summarized as ABA.
In my previous blog post, I wrote about the opening sections of both Adelita and Lagrima, which are the A sections. In this blog post, I will focus on the B sections. At the bottom of this blog post, you can download my edition of Adelita and Lagrima for free.
The purpose of a B section in to provide contrast to the A section, and B sections are often less stable and predictable than A sections. A composer can create contrast between A and B sections by writing B sections in a different key than the A section (most often a closely related key); quickening the harmonic rhythm; increasing the melodic range; widening the dynamic range; increasing the rhythmic activity; and by using shorter, longer, or more irregular phrase lengths. Here are some of the ways Tarrega provides contrast in the B sections of Adelita and Lagrima.
Key: The B sections of both compositions are in the parallel major or minor key: the B section of Adelita is in E major, and the B section of Lagrima is in E minor.
Harmonic rhythm: The A section of Adelita has one chord per measure while the B section usually has two. The A section of Lagrima has one chord per measure (except for measure 7), while the B section has three measures with two chords (measures 9, 11, and 15).
Dynamic range: In Adelita the A section is marked piano (p) and the B section is marked forte (f).
Rhythmic features: The rhythm quickens in the B section of Adelita to include a dotted quarter and eighth note figure as well as more eighth notes in general. The melody in the B section of Lagrima has heightened rhythmic activity that includes an increase of eight notes, and one syncopated measure (measure 11).
Phrase structure and phrase lengths: The B section of Adelita begins with a one-measure figure that is repeated, which is more immediate repetition than the repeated four-measure phrase of the A section. This is followed by a two-measure figure that ascends and descends more dramatically than any of the figures in the A section. In the final four measure of the B section the opening figure is repeated an octave lower. The repetition is varied to create more intense expression by leaping up to a G# in measure 14 (instead of up to a E as in measure 11), and by pausing on a fermata over an Augmented sixth chord. The B section ends with a clear and conclusive cadence in E major.
The B section of Lagrima begins with a two-measure figure that is followed by a contrasting two measure figure, unlike the A section which begins with a two-measure figure that is repeated. The final four measure of the B section begin with the opening figure from the A section, played in E minor instead of E major. In the second measure of this figure, the melody ascends to a high D instead of leaping down to an F#, creating more contrast and activity. The B section ends with a clear and conclusive cadence in E minor.
Ternary form is examined in detail on the web site Open Music Theory https://viva.pressbooks.pub/openmusictheory/chapter/ternary-form/, and in chapter 8 of Musical Composition: Craft and Art by Alan Belkin.
Click the button below to download my free edition of Adelita and Lagrima.