Chapter XI: Song-Sentence, Binary and Ternary Sentences

Original: Pages 37–39 in Satterfield translation

Musical Examples:

• Example 129
• Example 130
• Example 131
• Example 132
• Example 133
• Example 134
• Example 135
• Example 136
• Example 137
• Example 138
• Example 139
• Example 140
• Example 141
• Example 142
• Example 143
• Example 144
• Example 145
• Example 146
• Example 147
• Example 148
• Example 149
• Example 150

Overview

This chapter systematizes phrase structure and small-scale formal organization, establishing how melodic periods combine into complete musical sentences. Drawing on Vincent d'Indy's Cours de composition musicale and Marcel Dupré's Traité d'improvisation, Messiaen identifies three fundamental sentence types: song-sentence (antecedent-consequent structure with middle period), binary sentence (two commentaries framing theme statements), and ternary sentence (theme-consequent-commentary-consequent-theme creating five-part arch). The chapter then provides an extensive catalog of melodic periods (Examples 138–150), demonstrating how diverse historical models—Ravel, Adam de la Halle, Mozart, Manuel de Falla, Bartók, Jolivet, Hindu music, Russian songs, Rameau—can be transformed through the "deforming prism" of Messiaen's language. This represents the application of traditional formal thinking (period structure, antecedent-consequent relationships) to melodic material derived from eclectic sources and organized within Messiaen's modal-rhythmic systems. The chapter bridges between local melodic construction (Chapters VIII–X) and large-scale forms (Chapter XII), showing how phrases organize into sentences that can then organize into complete movements or works.