MUSIC THEORY FUNDAMENTALS - Chapter 9, Exercise 2 Solution
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Distinguishing Rounded Binary from True Ternary Form

PROBLEM
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Explain, using this chapter's own real distinction, why a piece with
sections A-B-A might actually be "rounded binary" rather than true
ternary form - what specific real difference would you need to check
for?

SOLUTION
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This chapter established two specific real checks that separate true
ternary form from a superficially similar A-B-A shape called "rounded
binary":

1. HOW MUCH THE B SECTION CONTRASTS: in true ternary form, the B section
   contrasts COMPLETELY with the A material - a genuinely new, self-
   contained idea. In rounded binary, B is more of a harmonic departure
   built from related material, not a fully independent contrasting
   section.

2. HOW MUCH OF A RETURNS: in true ternary form, the closing section is
   the FULL A section restated. In rounded binary, only a PORTION of the
   original A material returns, not the whole thing.

ANSWER: To tell true ternary form from rounded binary, you would need to
check (1) whether the B section is a genuinely independent, fully
contrasting idea rather than just a harmonic digression built from
related material, and (2) whether the piece closes with the complete
original A section restated, rather than only a fragment of it. If
either check fails - if B is closely related to A, or the ending only
partially restates A - the piece is more accurately rounded binary, not
true ternary form.

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WHY THIS WORKS AS AN ANSWER

This directly restates the chapter's own real distinguishing criteria,
which exist precisely because "A-B-A" alone is not a specific enough
label - both true ternary form and rounded binary can be described that
way at a glance, but they represent genuinely different real
compositional intentions once you look at the actual degree of contrast
and the completeness of the final return.