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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 Contrast A B Variation A A’ A’’.

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Musical Form

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  1. Musical Form The organization of musical ideas in time The “shape” of a piece of music

  2. Techniques for Creating FORM in Music • Repetition A A • Contrast A B • Variation A A’ A’’

  3. 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.

  4. 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.

  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 53 1 7 6 • Happy Birthday to you • 4 4 3 1 2 1

  6. A - Happy Birthday to you • 5 5 6 51 7 • A’ - Happy Birthday to you • 5 5 6 52 1 • A’’ - Happy Birthday to so-and-so • 5 553 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 • Melodic Variation • Textural Variation • Timbral Variation

  10. Melodic Variation • Embellishments/Ornamentation • Changes of Mode (Major/Minor) • 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 • Changes in timbre (changes in instrument(s) playing melody and/or accompaniment) • 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 aab? aabb 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) fromEine 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 B A aabb ccdd ab 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 aa’bb’ 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 eee’e’ major, imitation

  38. LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor A B A C A transition section aa bb… aabb ccdd aabb eee’e’ 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 C A cc f?? aa bb aabb ccdd aabb eee’e’ new material with lots of variation

  40. LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor B A A B A C A ab aa bb cc f?? aabb ccdd aabb eee’e’

  41. LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor B A A B A C A CODA ab aa bb cc f?? aabb ccdd aabb eee’e’ Coda moves faster and faster

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