Musical Form

1
Musical Form

• The organization of musical ideas in time
• The shape of a piece of music

2
Techniques for Creating FORM in Music

1. Repetition A A
2. Contrast A B
3. Variation A A A

3

• Oh, say can you see by the dawns early light
  what so proudly we hailed as the twilights last
  gleaming.
• Whose broad stripes and bright stars through the
  perilous fight oer 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,
  oer the land of the free and the home of the
  brave.

4

• A - Oh, say can you see by the dawns early
  light what so proudly we hailed as the twilights
  last gleaming.
• A - Whose broad stripes and bright stars through
  the perilous fight oer 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, oer the land of the free and the home of
  the brave.

5

• Happy Birthday to you
• 5 5 6 5 1 7
• Happy Birthday to you
• 5 5 6 5 2 1
• Happy Birthday to so-and-so
• 5 5 5 3 1 7 6
• Happy Birthday to you
• 4 4 3 1 2 1

6

• 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

7
P.I. TCHAIKOVSKY - Dance of the Reed Pipes

• TERNARY (3-part) FORM
• A B A

8
J.S. BACH - Forlane

• BINARY (2-part) FORM
• A B

9
Most Common Techniques for creating VARIATION in
music

1. Melodic Variation
2. Textural Variation
3. Timbral Variation

10
Melodic Variation

1. Embellishments/Ornamentation
2. Changes of Mode (Major/Minor)
3. Melodic Extensions/Subtractions (Fragmentation)

11
Textural Variation

• Addition of countermelodies and/or other
  non-imitative polyphony
• countermelody - melodic idea that accompanies a
  main theme
• Sections of imitative polyphony (I.e.
  fugatos/fugal sections) on a melody and/or motive
• Adding or changing accompaniment to melody

12
Timbral Variation

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

13
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

14
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

15
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
16
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G
Major
A
A
aabb
aabb
violin countermelody
17
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G
Major
A
A
A
aabb
aabb
aab?
minor
violin countermelody
18
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.
19
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G
Major
A
A
A
A
A
aabb
aabb
aabb
aab?
aabb
minor
tutti
violin countermelody
Flute oboe cntrmel.
20
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G
Major
A
A
A
A
A
Coda
aabb
aabb
aabb
aab?
aabb
a
minor
tutti
violin countermelody
Flute oboe cntrmel.
21
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

22
AARON COPLAND - Section 7 from Appalachian Spring
A
simple gifts hymn-tune in clarinet
23
AARON COPLAND - Section 7 from Appalachian Spring
A
A
simple gifts hymn-tune in clarinet
oboe bassoon faster, higher in pitch
24
AARON COPLAND - Section 7 from Appalachian Spring
A
A
A
new bell-like accompaniment melody in violas
trombones then IMITATION in strings
simple gifts hymn-tune in clarinet
oboe bassoon faster, higher in pitch
25
AARON COPLAND - Section 7 from Appalachian Spring
A
A
A
A
new bell-like accompaniment melody in violas
trombones then IMITATION in strings
simple gifts hymn-tune in clarinet
oboe bassoon faster, higher in pitch
brass, very fast, staccato
26
AARON COPLAND - Section 7 from Appalachian Spring
A
A
A
A
A
new bell-like accompaniment melody in violas
trombones then IMITATION in strings
simple gifts hymn-tune in clarinet
woodwinds, slower
oboe bassoon faster, higher in pitch
brass, very fast, staccato
27
AARON COPLAND - Section 7 from Appalachian Spring
A
A
A
A
A
A
new bell-like accompaniment melody in violas
trombones then IMITATION in strings
simple gifts hymn-tune in clarinet
woodwinds, slower
oboe bassoon faster, higher in pitch
brass, very fast, staccato
tutti, loud, slow,
28
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

29
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

30
W.A. MOZART -Mvt. 3 from Eine kleine Nachtmusik
minuet
A
a forte staccato melody b piano legato
melody, with Forte staccato melody
fragment returning at end of phrase
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
31
W.A. MOZART -Mvt. 3 from Eine kleine Nachtmusik
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
A
B
aabb
ccdd
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
32
W.A. MOZART -Mvt. 3 from Eine kleine Nachtmusik
minuet
minuet
trio
A
A
B
aabb
ab
ccdd
NO repeats !!!
33
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

34
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
A
minor, fast-sounding, some staccato
aabb
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
35
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
A
B
major, slower-sounding, very legato
aabb
ccdd
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
minor
36
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
A
B
A
aabb
ccdd
aabb
slight variation in repeats with more agitated
tremolos
minor
major legato
minor
37
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
A
B
A
C
aabb
ccdd
aabb
eeee
major, imitation
38
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
A
B
A
A
C
transition section
aa bb
aabb
ccdd
aabb
eeee
Big pause in music before 2nd b phrase
39
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
B
A
B
A
A
C
cc f??
aa bb
aabb
ccdd
aabb
eeee
new material with lots of variation
40
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
B
A
A
B
A
A
C
ab
aa bb
cc f??
aabb
ccdd
aabb
eeee
41
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from
String Quartet in C Minor
B
A
A
B
A
A
C
CODA
ab
aa bb
cc f??
aabb
ccdd
aabb
eeee
Coda moves faster and faster