miltonnotes-structure

MILTONOTES

Structure

© Milton [email protected]

An open-eared exploration of composition in theory & practice.

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This episode looks at concepts of structure (and form) in composition.

By looking at examples of folk and popular songs, jazz charts, classical forms, electronic pieces and

indeterminate and process works, we’ll build a catalogue of structures and structural concepts for

analysis and compositional application.

StructureLevels

Firstly we need to address what factors contribute to our perception of structure.

In fact as we saw in Pulse and Meter, Melodic Structures and Phrase, Contour

and Melodic formsthere are several levels on which

structure is based. On the following simple example

you can seethe different levels of

motif/phrase/section/piece

StructureLevels

Structure is achieved by the repetition of similar events, as well as the disruption of repeated events.

StructureLevels

StructureMeter Level

StructureMotif Level

StructurePhrase Level

StructurePassage (Higher Phrase) Level

StructureSection Level

StructureLevels

In this episode we will look at the ‘higher level’ structure of sections, but we should

always be aware that structure is achieved by the repetition of similar events, as well as the disruption of

repeated events.

Melodic AnalysisGnossienne I - P1

2 scales, 3 chords, 1 piece

A


B

B

C


A

B

B’ C


B

B’’

StructureForm

A A

B B

C C

B B

A A

B B’

C C

B B’’

Three sections,the most famous A only occuring at two points.

The ending is given an effective poignancy by omitting the last bar. B has three versions (B’ is quieter, and B’’ is quieter and

shortened).

8 x 2

4 x 2

6 x 2

4 x 2

6 x 2

4 x 2

8 x 2

4 + 3

StructureLevels of Organisation

Pulse

Accented Beats

Meter

Motif/Figure

Phrase

Passage

Section

Piece

Cycle/Album/Set/Symphony

StructureForms

Charles Keil divides all musical forms into 3 types

Sectional

Developmental

Variational

StructureForm

We’ll look at some specific forms but will open up the idea that

sections can be created not just by traditional

melodic structures but by timbre, texture and

feel

Structure

Clear cut sectional units (A, B, C, Verse, Middle 8,

coda etc.)

Sectional

Structure

Strophic Form

Sectional

Unrelieved repetition, chain, medley.

AAAAAAAA

ABCDEFG(A)

AABBCCDDEE

e.g. Blue Danube - Strauss

Medley

Unrelieved repetition

Unrelieved variation

Unrelieved variation with repeats

Structure

Binary Form

Sectional

A piece made up 2 sections A & B complementary and of roughly similar lengths.

Traditionally major binary forms have A in the tonic key

B in dominant key, ending in tonic

Traditionally minor binary forms have A in the tonic key

B in relative major key, ending in tonic

AB or AABB

Structure

Ternary Form

Sectional

ABA De Capo operatic aria form

or AABAe.g. 32-bar form with middle eight

Structure

Rondo form

Sectional

A recurring theme with contrasting episodes

ABACABAC ‘Symettrical’

ABACADAE‘Asymettrical’

ABCBAArch form Special case of symettrical rondo without

intermediate themes

See Mozart examples

Structure

Palindromic

Sectional

Rondo forms can be palindromic on a sectional level

ABACABA

But palindromes needn’t be rondo forms

ABCADEDACBA

Palindromes can even exist on the note level...

Structure

Palindromic

Sectional

Haydn Symphony No. 47

Structure

Palindromic rhythms

Sectional

The Afro-Cuban rhythm Cáscara

x0xx 0x0x x0x0 xx0x

2-3 Cuban Son

Structure

Crab/Table Canon

Sectional

Structure

“Dammit I’m mad.Evil is a deed as I live.

God, am I reviled? I rise, my bed on a sun, I melt.To be not one man emanating is sad. I piss.

Alas, it is so late. Who stops to help?Man, it is hot. I’m in it. I tell.

I am not a devil. I level “Mad Dog”.Ah, say burning is, as a deified gulp,

In my halo of a mired rum tin.I erase many men. Oh, to be man, a sin.

Is evil in a clam? In a trap?No. It is open. On it I was stuck.

Rats peed on hope. Elsewhere dips a web.Be still if I fill its ebb.Ew, a spider… eh?We sleep. Oh no!

Deep, stark cuts saw it in one position.Part animal, can I live? Sin is a name.

Both, one… my names are in it.Murder? I’m a fool.

A hymn I plug, deified as a sign in ruby ash.A Goddam level I lived at.

On mail let it in. I’m it.Oh, sit in ample hot spots. Oh wet!

A loss it is alas (sip). I’d assign it a name.Name not one bottle minus an ode by me:

“Sir, I deliver. I’m a dog”Evil is a deed as I live.

Dammit I’m mad.

Structure

Theme and Variations

Variational

A theme with related variations traditionally based on the harmonic progression and motivic material

A A1 A2 A3 A4 A5 A6 e.g. Theme and Variations on a Theme by Mozart - Sor

Note that each section may itself have an internal structure (AABB) and the whole form may have an

intro/outro and/or elaborated outro/coda.See also Paganini - Caprice 24 and many others.

The Rondo may also include intermediate variations:

A B A1 C A2 D A3

Structure

Theme and Variations further ideas

Variational

Britten’s Young Person’s Guide to the Orchestrahas each variation showcasing a different section of

the orchestra, and his Nocturnal for Solo Guitar, starts with the variations, only revealing the Dowland’s

underlying theme in the last section.

Elgar’s Enigma Variations is a set of 14 variations on an original theme - each a musical portrait, capturing

the personality of his close circle of friends.Variations include rhythmic, harmonic & melodic

references and even a Dorabella’s stutter, W.N.’s laugh and particular experiences they shared.

Elgar claimed all a based on a hidden theme that is “not played” and took the secret to the grave.

Structure

Variational

The Enigma theme - note the motivic variants. Pi?

Structure

Stylistic Variational

The common Blues and Jazz forms involving improvisation may be considered a special type of

theme and variation.

Typically a melody is played over a specific harmonic structure (A, AB, ABAC, AABA’ etc.) and then that

harmonic form (and perhaps some motivic and rhythmic material from the melody are used for improvised solos, and another realisation of the

melody is used to end the piece. The whole form may be topped and tailed by an intro, outro or intermediate

sections (see All Blues).

The stylistic forms you need to know are a 12-bar blues (sometimes interpreted as a 24-bar blues), an 8, 16-bar blues (Need Your Love So Bad) or other (Come

On Pt. 1), and a rhythm changes (many examples)

Structure

12-Bar Blues (major)

I7 IV7 I7 I7

IV7 I7 I7IV7

V7 IV7 I7 V7

Note this form wasn’t decided a priori it evolved, and still many structures have an indefinite length on the I chord,

moving to the IV on cue

Structure

12-Bar Blues (minor)

i7

iv7(IV7)

bVImaj7 V7

i7

V7 i7

Structure

8-Bar Blues (major)

I IV7I7

V7/II ii7 V7

#IVº7

I I7 IV7 I7 V7

StructureRhythm Changes

I

IVI7

V7/II ii7 V7

I

iii V7/II ii7 V7

iv V7/II ii7 V7iii

V7/VI

V7/V V7

I

IVI7

V7/II ii7 V7

I

iii V7/II ii7 V7

iv V7/II ii7V7iii I

V7/II

I

IVI7

V7/II ii7 V7

I

iii V7/II ii7 V7

iv V7/II ii7V7iii I

A

A’

B

A’

Structure

Developmental

Built directly from smaller units - the most established in Western Art music being the Sonata form. This is

beyond the scope of this episode.

However the idea of a structure that is ‘through-composed’ an unfurling stream of

consciousness with no clear sectional delineations is well established in ambient electronic music

Structure

Structural Components

Here are some of the devices that through repetition and variation starting with the most common

Melody

Lyrics

Key

Harmony

Orchestration/Instrumentation

Meter

Rhythmic Subdivision/Groove/Feel

Dynamics

Timbre/Texture

Structure

Popular Song Form - Building Blocks

Intro

Verse

Prechorus

Chorus

Bridge

Collision

Solo

Vamp

Outro

Note that features may be shared - an intro can use the chorus’s chords for example

Interlude

Structure

Wind Cries Mary - Hendrix

Intro

Verse

Prechorus

Chorus

Solo

Verse

Prechorus

Chorus

Verse

Prechorus

Chorus

Verse

Prechorus

Chorus

based on intro

ends with material and similar to

CriesWhispers Screams Cries

Outro

Structure

Better Be Home Soon - Crowded House

Verse

Prechorus

Chorus

SoloInterlude

Verse

Prechorus

Chorus

Verse

Prechorus

Chorus’

Chorus’’(short)

Bridge

Structure

Grow Your Own

Intro

VersePrechorus

ChorusBridge

Collision

Solo

Vamp

Outro

Interlude

Structure

Intro

Break

DropBuild

Mid-8

Outro

Electronic Structural ComponentsIn the absence of traditional key areas, melodic and harmonic expectations, lyrics and forms,

electronic dance music and IDM has developed structural components and forms based more directly on instrumentation,rhythmic components and feel, dynamic changes and timbre

SoloKey Sample

Hook

Arhythmic

Structure

Introductions

SectionalA unique section that only appears once such as the

original jazz form arrangements.Starting directly on a section that features throughout the

track.Or an adapted (usually thinned and/or shortened) variation of a

later important section or components

FadeDuration, curve

or...

Structure

Endings

Sectional (New)A modified section breaking expectation, new material or

a logical conclusione.g. Syrinx ends with the other whole

tone scale

Sectional (Recap)A repeat of an earlier section

with minimal alteration

FadeDuration, curve

or...

Exercise 1 Take an existing piece/section of yours (or write a new one) and rewrite in 7 different structures (including at least one from each of the 3 categories of sectional, variational and developmental).

miltonnotes-structure

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