musical form

Musical Form

The organization of musical ideas in time

The “shape” of a piece of music

Techniques for Creating FORM in Music

1. Repetition A A

2. Contrast A B

3. Variation A A’ A’’

Oh, say can you see by the dawn’s early light what so proudly we hailed as the twilight’s last gleaming.

Whose broad stripes and bright stars through the perilous fight o’er the ramparts we watched were so gallantly streaming.

And the rockets red glare, the bombs bursting in air, gave proof through the night that our flag was still there.

Oh say does that star-spangled banner yet wave, o’er the land of the free and the home of the brave.

A - Oh, say can you see by the dawn’s early light what so proudly we hailed as the twilight’s last gleaming.

A - Whose broad stripes and bright stars through the perilous fight o’er the ramparts we watched were so gallantly streaming.

B - And the rockets red glare, the bombs bursting in air, gave proof through the night that our flag was still there.

C -Oh say does that star-spangled banner yet wave, o’er the land of the free and the home of the brave.

Happy Birthday to you

– 5 5 6 5 1 7Happy Birthday to you

– 5 5 6 5 2 1Happy Birthday to so-and-so

– 5 5 5 3 1 7 6Happy Birthday to you

– 4 4 3 1 2 1

A - Happy Birthday to you– 5 5 6 5 1 7

A’ - Happy Birthday to you– 5 5 6 5 2 1

A’’ - Happy Birthday to so-and-so– 5 5 5 3 1 7 6

B - Happy Birthday to you– 4 4 3 1 2 1

P.I. TCHAIKOVSKY - Dance of the Reed Pipes

TERNARY (3-part) FORM

– A B A

J.S. BACH - Forlane

BINARY (2-part) FORM

– A B

Most Common Techniques for creating VARIATION in music

1. Melodic Variation

2. Textural Variation

3. Timbral Variation

Melodic Variation

1. Embellishments/Ornamentation

2. Changes of Mode (Major/Minor)

3. Melodic Extensions/Subtractions (Fragmentation)

Textural Variation

1. Addition of countermelodies and/or other non-imitative polyphony

countermelody - melodic idea that accompanies a main theme

2. Sections of imitative polyphony (I.e. fugatos/fugal sections) on a melody and/or motive

3. Adding or changing accompaniment to melody

Timbral Variation

1. Changes in timbre (changes in instrument(s) playing melody and/or accompaniment)

2. Tutti vs. Soli

Sectionals Forms

• Theme and Variations A A’ A’’ A’’’ etc.

• Minuet and Trio A B A

• Rondo A B A C A or A B A C A B

A

Theme and Variation Form

Form in which a basic musical idea (the theme) is repeated over and over and is changed each time in melody, rhythm, harmony, dynamics, or tone color.

Used either as an independent piece or a s on movement of a larger work

• (very often the form of the 2nd mvt. of a 4-mvt. symphony)

Examples:– JOSEPH HAYDN - Movement 2, Symphony No.

94 in G Major (The “Surprise”)– AARON COPLAND - Section 7 from Appalachian

Spring

JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major

A

aabb

Each “b” section has a tiny bit of the “a’ music near the end:technically, you could diagram this ||: a :||: b a’ :|| .

This is called a “rounded” binary form


A A’

aabb aabb

violincountermelody


A A’ A’’

aabb aabb aab?

violincountermelody

minor


A A’ A’’ A’’’

aabb aabb aab? aabb

violincountermelody

minorFlute & oboe cntrmel.


A A’ A’’ A’’’

aabb

A’’’’

aabb aab? aabb aabb

violincountermelody

minor tuttiFlute & oboe cntrmel.


A A’ A’’ A’’’

aabb

A’’’’

aabb aab? aabb aabb

Coda

a

violincountermelody

minor tuttiFlute & oboe cntrmel.

Coda

(from Latin “cauda” meaning ‘tail’) A concluding section immediately

following the formal close of a sectional form that closes a movement or piece by repeating themes or developing them further

AARON COPLAND - Section 7 from Appalachian Spring

A

“simple gifts” hymn-tune

inclarinet


A A’


inclarinet oboe &

bassoonfaster,

higher in pitch


A A’ A’’


inclarinet oboe &

bassoonfaster,

higher in pitch

new bell-likeaccompaniment

melody in violas &

trombones;then IMITATION

in strings


A A’ A’’ A’’’


inclarinet oboe &

bassoonfaster,

higher in pitch


melody in violas &


in strings

brass,very fast,staccato


A A’ A’’ A’’’


inclarinet

A’’’’

oboe &bassoonfaster,

higher in pitch


melody in violas &


in strings


woodwinds, slower


A A’ A’’ A’’’


inclarinet

A’’’’

oboe &bassoonfaster,

higher in pitch


melody in violas &


in strings


woodwinds, slower

A’’’’’

tutti,loud,slow,

Minuet & Trio Form Also called “minuet” form A compostional form - derived from a dance -

in three parts:– Minuet (A) - Trio (B) - Minuet (A)

Often used as the 3rd movement of classical symphonies, string quartets, and other works

It is in triple meter and usually in a moderate tempo (because the dance was an elegant, stately courtly dance)

Beethoven sped the “minuet” up very fast and turned it into a “joke” movement called a SCHERZO

Example– W. A. MOZART - Mvt. 3 from Eine kleine nachtmusik

W.A. MOZART - Movement 3 (Allegretto) from Eine kleine Nachtmusik (A Little Night Music)

This piece is a SERENADE– An instrumental composition, light in mood,

usually meant for evening entertainment

W.A. MOZART -Mvt. 3 from Eine kleine Nachtmusik

A

aabb

minuet



a = forte staccato melodyb = piano legato melody, with Forte staccato melody fragmentreturning at end of phrase


A

aabb

B

ccdd

minuet trio c = gracious piano legato melody with murmuring accompaniment

d = climbing forte legato phrase with bit of piano gracious melody at the end of phrase

Each “d” section has a tiny bit of the “c” music near the end: technically, you could diagram this ||: a :||: b a’ :|| . This is called a “rounded” binary form


A

aabb

A

ab

B

ccdd

minuet trio minuet

NO repeats !!!

Rondo Form

A compostional form featuring a main theme (A) which returns several times in alternation with other themes, such as– A B A C A or– A B A C A B A

Often used as the form of the last movement of classical symphonies, string quartets, and sonatas

Also often used at the 3rd and final movement form in a Classical concerto

Example:– LUDWIG VAN BEETHOVEN - Movement 4 from

String Quartet in C Minor

LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor

A

aabb



minor, fast-sounding, some staccato

In each ‘b’ = unexpected held tone


A

aabb

B

ccdd

minor

major, slower-sounding, very legato

Each “d” section has a tiny bit of the “c” music near the end: technically, you could diagram this ||: a :||: b a’ :|| . This is called a “rounded” binary form


A

aabb

B

ccdd

A

aa’bb’

minor major & legato

minor

slight variation in repeats withmore agitated tremolos


A

aabb

B

ccdd

A

aabb

C

eee’e’

major, imitation


A

aabb

B

ccdd

A

aabb

A

aa bb…

C

eee’e’

Big pause in music before 2nd “b” phrase

transitionsection


A

aabb

B

ccdd

A

aabb

A

aa bb

C

eee’e’

B

cc f??

new material with lots of variation


A

aabb

B

ccdd

A

aabb

A

aa bb

C

eee’e’

B

cc f??

A

ab


A

aabb

B

ccdd

A

aabb

A

aa bb

C

eee’e’

B

cc f??

A

ab

CODA

Coda movesfaster and faster

musical form

Documents

b happy birthday

b arondo

b atheme

g majoraaabbeach b section

joseph haydn movement

g majoraaaaaabbaaabbaab

g majoraaaaaabbaabbaab

g majoraaaaabbaabbaab