Transcript Musical Form

Musical Form
The organization of musical ideas in time
The “shape” of a piece of music
Techniques for Creating
FORM in Music
Repetition A A
2. Contrast A B
3. Variation A A’ A’’
1.

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
–556517
 Happy Birthday to you
–556521
 Happy Birthday to so-and-so
–5553176
 Happy Birthday to you
–443121

A - Happy Birthday to you
–556517
 A’ - Happy Birthday to you
–556521
 A’’ - Happy Birthday to so-andso
–5553176
 B - Happy Birthday to you
–443121
P.I. TCHAIKOVSKY Dance of the Reed Pipes
 TERNARY
–ABA
(3-part) FORM
J.S. BACH - Forlane
 BINARY
–AB
(2-part) FORM
Most Common Techniques for
creating VARIATION in music
1.
2.
3.
Melodic Variation
Textural Variation
Timbral Variation
Melodic Variation
1.
2.
3.
Embellishments/Ornamentation
Changes of Mode (Major/Minor)
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.
3.
Sections of imitative polyphony (I.e.
fugatos/fugal sections) on a melody
and/or motive
Adding or changing accompaniment to
melody
Timbral Variation
1.
2.
Changes in timbre (changes in
instrument(s) playing melody and/or
accompaniment)
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
ABACABA
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
JOSEPH HAYDN Mvt. 2 from Symphony No. 94 in G Major
A A’
aabb aabb
violin
countermelody
JOSEPH HAYDN Mvt. 2 from Symphony No. 94 in G Major
A A’
A’’
aabb aabb aab?
minor
violin
countermelody
JOSEPH HAYDN Mvt. 2 from Symphony No. 94 in G Major
A A’
A’’ A’’’
aabb aabb aab? aabb
minor
violin
countermelody
Flute &
oboe
cntrmel.
JOSEPH HAYDN Mvt. 2 from Symphony No. 94 in G Major
A A’
A’’ A’’’ A’’’’
aabb aabb aab? aabb aabb
minor
violin
countermelody
Flute &
oboe
cntrmel.
tutti
JOSEPH HAYDN Mvt. 2 from Symphony No. 94 in G Major
A A’
A’’ A’’’ A’’’’
aabb aabb aab? aabb aabb
minor
violin
countermelody
Flute &
oboe
cntrmel.
tutti
Coda
a
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
in
clarinet
AARON COPLAND Section 7 from Appalachian Spring
A A’
“simple gifts”
hymn-tune
in
oboe &
clarinet
bassoon
faster,
higher in pitch
AARON COPLAND Section 7 from Appalachian Spring
A A’ A’’
new bell-like
accompaniment
melody in
violas &
trombones;
bassoon
then IMITATION
faster,
in strings
higher in pitch
“simple gifts”
hymn-tune
in
oboe &
clarinet
AARON COPLAND Section 7 from Appalachian Spring
A A’ A’’ A’’’
new bell-like
accompaniment
melody in
violas &
trombones;
bassoon
then IMITATION
faster,
in strings
higher in pitch
“simple gifts”
hymn-tune
in
oboe &
clarinet
brass,
very fast,
staccato
AARON COPLAND Section 7 from Appalachian Spring
A A’ A’’ A’’’ A’’’’
new bell-like
accompaniment
melody in
violas &
trombones;
bassoon
then IMITATION
faster,
in strings
higher in pitch
“simple gifts”
hymn-tune
in
oboe &
clarinet
woodwinds,
slower
brass,
very fast,
staccato
AARON COPLAND Section 7 from Appalachian Spring
A A’ A’’ A’’’ A’’’’ A’’’’’
new bell-like
accompaniment
melody in
violas &
trombones;
bassoon
then IMITATION
faster,
in strings
higher in pitch
“simple gifts”
hymn-tune
in
oboe &
clarinet
woodwinds,
slower
brass,
very fast,
staccato
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
minuet
A
aabb
a = forte staccato melody
b = piano legato melody, with
Forte staccato melody fragment
returning at end of phrase
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
W.A. MOZART Mvt. 3 from Eine kleine Nachtmusik
minuet
A
aabb
trio
B
ccdd
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
W.A. MOZART Mvt. 3 from Eine kleine Nachtmusik
minuet
trio
minuet
A
B
A
aabb
ccdd
ab
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
– ABACABA

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
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
LUDWIG VAN BEETHOVEN Mvt. 4 (Allegro) from
String Quartet in C Minor
A B
aabb 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
LUDWIG VAN BEETHOVEN Mvt. 4 (Allegro) from
String Quartet in C Minor
A B A
aabb ccdd aa’bb’
slight variation in repeats with
more agitated tremolos
minor
major & minor
legato
LUDWIG VAN BEETHOVEN Mvt. 4 (Allegro) from
String Quartet in C Minor
A B A C
aabb ccdd aabb eee’e’
major, imitation
LUDWIG VAN BEETHOVEN Mvt. 4 (Allegro) from
String Quartet in C Minor
A B A C
A
transition
section
aabb ccdd aabb eee’e’ aa bb…
Big pause in music
before 2nd “b” phrase
LUDWIG VAN BEETHOVEN Mvt. 4 (Allegro) from
String Quartet in C Minor
A B A C
A B
aabb ccdd aabb eee’e’ aa bb cc f??
new material
with lots of variation
LUDWIG VAN BEETHOVEN Mvt. 4 (Allegro) from
String Quartet in C Minor
A B A C
A B A
aabb ccdd aabb eee’e’ aa bb cc f?? ab
LUDWIG VAN BEETHOVEN Mvt. 4 (Allegro) from
String Quartet in C Minor
A B
A
C
A B A CODA
aabb ccdd aabb eee’e’ aa bb cc f?? ab
Coda moves
faster and faster