[BLANK_AUDIO] The last thing we'll cover today is musical form. We've already touched upon form in fact, by talking about the clear hierarchical relationship that went from bars to phrases, phrases to periods, and then periods into sections and on into movements and songs. We can only really touch on Musical Form here as it's a complex much debated area of musical thought analysis and composition. But essentially, once you've built up your phrases into sections, you can then start combining these sections and their repetitions into movements. There are several basic ways of combining these sections. The most simple of which is the Binary Form. As you might imagine, this has two sections. Usually referred to as A and B. The B section could or would actually most likely be closely related in character to the A section. But generally it would be in a different key. Also of note in Binary Forms, is that both section A and section B are quite likely to be repeated. If Binary Form has sections A and B, then Ternary Form is generally notated or referred to as A B A. So what we have here is a return to our A section after changing key for the B section. The return of A might be in some modified form, in which case, we generally notate it as A, B, A' Prime, with the apostrophe here, Prime, signifying a modification. This form is quite closely related to the Sonata Form, which was common during the western classical period. It's the form of most first movements of symphonies, sonatas, concertos, etcetera. This has a basic A-B-A Prime Form of exposition, development and recapitulation. You can read more about this via the Wikipedia link on this week's webpage. [BLANK_AUDIO] Other common forms are the Rondo Form, which has a recurring section in between contrasting sections. So, A B A C A, for instance. And the very common repeating 12 Bar Blues Form, which you can also read more about via the Wikipedia link on this week's webpage. [BLANK_AUDIO]