Structure in Music

1
Structure in Music

• Revise understanding of structure and form.
• Understand binary and ternary form.
• Development of ternary

2
Ternary Form

• A three-part form in an A-B-A pattern.
• This form includes repetition (as the first
  section is repeated to produce the third section)
  and contrast, as the second section is different.
• The B section forms a musical contrast with the A
  section. If the A section is major and
  high-pitched, the B section could be minor and
  lower-pitched.
• Listen to Handels Minuet for Horn.
• A Horn starts playing the A section Orchestra
  repeats.
• B Orchestra starts in a minor key using a
  quieter dynamic repeats
• Repeat of section A with horn and then orchestra
  repeat.
• Write how the sections differ in your books.

3
Ternary Form

• Listen to.
• Create a table of 3 columns and write about how
  the
• sections differ in your books.

Section A
Section B
Section A
4
The Major Key Signatures
With there dominant notes (dominant key
signature). When you have worked out your key of
your melody, find the dominant Note and this will
be the key of the B section of your Rondo. My
section A is in the key of ........... Major and
it uses all the notes from the scale of .......
Major. My B section will be in the dominant
(fifth) of the scale which is .........
5
Performance piece
6
(No Transcript)
7
Minuet and Trio

• Binary and ternary forms both developed from the
  Renaissance and Baroque traditions of paired
  dances. Two contrasting dances were paired, like
  the minuet, a stately dance, and trio, a more
  lively dance.
• Each dance is in binary form, but together they
  form a ternary form structure minuet-trio-minuet.
  
• Listen to the Minuet and trio from Mozarts
  Posthorn Serenade. The Trio begins at around
  220 and the Minuet returns at around 315.
• How does the trio contrast with the minuet?

8
Sonata Form
Section A
Section B
Section A2
9
? Step back, baby, step back

• Not last night but the night before ?
• Twenty four robbers at my door ?
• Open up the door and let them in ?
• Hit em on the head with a rolling pin ?
• I picked up my frying pan ?
• Shouldve seen the way those robbers ran ?
• Some ran East and some ran West ?
• Some flew over the cuckoos nest ?
• Melody

10
Appraising call and response form

• Why are call and response structures used most
  frequently in marching songs, shanties and older
  music?
• How can a call and response song be developed and
  refined?
• What other musical devices can we add to a basic
  call and response song?
• How can we use these devices to vary the original
  call and response song?

11
Songs

• How do we structure songs?
• Verse structure. This is called a strophic
  structure. There can also be choruses in a
  strophic song.
• Round or canon structure. This is similar to the
  strophic structure, but the verse is sung by
  separate groups of singers beginning at different
  times to create a layered texture.
• Call and response. One singer leads the song and
  the other singers (chorus) join with the
  responses. This is popular in African singing
  and in singing where there is no notated music,
  like sea shanties and marching songs, so it is
  easy to perform.