Harvard band forming music notes on field, Harvard vs. Brown, 1949
Form Is the Basic Structure
Every piece of music has an overall plan or structure, the “big picture,” so to speak. This is called the form of the music.
Musical forms can be simple or complex. Most listeners can grasp the form of a short and simple piece, or of one built from many short repetitions. For example one can distinguish easily between the verses and refrain of any pop song or church hymns. We will discuss these in terms of their form.
This slideshow introduces some of the basic concepts involved in musical structure or form. This slideshow goes jto the simpler forms. Large scale forms, such as sonata allegro or theme and variations, are discussed in study of the the Classical era.
Fir the slide show below just consider the form slide show.top viewing when it is over.
http://www.slideshare.net/CandelaContent/form-49128943
LICENSES AND ATTRIBUTIONS
CC LICENSED CONTENT, ORIGINALAuthored by: Elliott Jones. Provided by: Santa Ana College. Located at: http://www.sac.edu. License: CC BY: Attribution
Letters of the alphabet are normally used to describe the form of any piece of music, from the simplest to the most complex. Each major section of the music is labeled with a letter. For example, the first section of a work could be labeled as A.If the second section (or third or fourth) is exactly the same as the first, it would also labeled A. If a section of the piece is different from A we call it B, and other sections that are like it can be labeled B and so on. Sections that are not like A or B are labeled C, and so on.
If a section is very much like the previous section with minor differences it may be labeled A’ (pronounced “A prime”).
Distinguishing beginnings and ends of sections
How do you recognize the beginnings and endings sections? This is not difficult. To begin – first listen for cadences beginnings and endings of phrases. The harmony can often give a clue to these as the succession of chords will have natural ending points or pauses. In addition, listen for changes in melody and also rhythm, harmony, texture, and timbre. If two selections are not the same (AA) there will be noticeable differences in more than one of these areas. This would help to determine if you are hearing AA or AB for your first two sections of parts.
Possible examples
Below are some typical songs the form of which one may be familiar:l.
Example 1: Typical Children’s Nursery Rhyme (A)
One short section with no major changes in A
Example 2: Typical Hymn (A A’ A”)
First Verse– Everyone sings the melody A
Second Verse– Choir adds harmonies A’
Third Verse– Organ adds more complex accompaniment A”
Example 3: Typical Pop Song (A B A’ B A”)
First Verse-Solo singer with quiet instrumental backup A
Refrain-Different melody, different chord progression.
Often a bigger more complex texture than the verse B
Second Verse – Different words but the music is very
similar to the first verse (usually with small differences). A’
Refrain– Same as first refrain (no noticeable differences) B
Third Verse– Same comments as second verse. A’
Example 4: (ABA’CB)
First Verse -Solo singer with quiet instrumental backup A
Refrain-Different melody, different chord progression.
Often a bigger more complex texture than the verse B
Second Verse – Different words but the music is very
similar to the first verse (usually with small differences). A’
Bridge– New melody with new chord progression C
Final Refrain– May add more vocal or instruments B’
part for the most complex texture yet.
You might practice identifying some easy musical forms by selecting some favorite songs which you know well and listen to each a number of times until you are confident you have identified its form using letters and primes above. The basic objective in determining form is recognize similarities and differences. Keeping this in mind listen for:
- Verses which have the same melody A but different words.
- Refrains which have the same melody (but different from verses above B and the same words.
- Bridge Sections are new material that appears late in the song, usually appearing only once or twice, often in place of a verse and usually leading into the refrain. C
Instrumental works are another category you will encounter often. They will no verses or words. Listen for sections that repeat (A) , sections that are different (B) Are they similar or different from each other?
As you becomes more experienced in hearing a piece of music in detail, you may use letters to label smaller parts of the piece within larger sections, even down to labeling individual phrases. For example, the song “The Girl I Left Behind” has many verses with no refrain, making it an A A’ A” type form. However, a look at the tune of one verse shows that the form is an A A’ B A” phrase structure. Examine the music below You need not be able to read the music but look at the letters denoting the sections and you will see that the contour of the melody is the same in all the A sections and different in the B section
Now listen to the selection below
Now listen to the selection below It will follow the AABA format throughout. You will hear this format not only once but for a number of times. You should be able to recognize the A section as it repeats quite frequently and also the B section when it is played – almost a welcome change.
Listen: “The Girl I Left Behind”
Ternary form (ABA) is a symmetrical structure in music most often represented by the letters ABA. The A represents a musical idea or ideas, the B represents new, contrasting material, and the final A represents a return to the familiar music heard in the opening of the piece. This structure is important for us to review for two reasons. First, it provides the foundation of the more elaborate sonata-allegro form that develops in the Classical period. Second, in many larger works that feature four movements, such as symphonies and string quartets, the third movement most often a minuet is in three part form sometimes called minuet-trio-minuet instead of ABA.
Listen for the sections in the Brahms Lullaby. The work is repeated twice.
Form is abb abb abb
0’0″ – a 0’38” – a 1’13” – a
0’19” – b 0’55” – b 1’32” – b
0’28” – b 1’05” – b 1′ 42″ – b
.Binary form (AB) is a simple two part form The A represents a musical idea or ideas, the B represents new contrasting material. This is a common form for dances of the renaissance and baroque periods The A section will move away from the tonic, with a strong cadence in another key, and the B section will move back and end strongly in the tonic.
Listening Activity
Listen to the Nutcracker: “Trepak” . There are two parts. One is the A which is repeated a few times. The repetitions might be called A’ A” etc. You hear this A section so many times you will be ready for the B section when it arrives. Once you recognize the B sections listen for the return of the A section. ?
Listen to “Minuet in D”. This piece demonstrates binary (two part) form.
Check the time line and see if you can hear the sections: abab — a 0’04” a’ (softer) 0’23” b 0’42” b 1’04”
Dance forms – Dance forms usually consist of repeated sections (so there is plenty of music to dance to), with each section containing a set number of measures (often four, eight, sixteen, or thirty-two) that fits the dance steps. Some very structured dance forms (Minuet, for example) are associated even with particular phrase structures and harmonic progressions within each section. In these forms one might have a overall form of ABA yet within the A could be contrasting ab melodies. It could look like this A(aba) B(cdc) A(aba) This the form is still a basic ABA but with three part forms within each part.
Other Musical forms: Standard musical forms are given names. For example, a “theme and variations” follows an A A’ A” A”’… structure, with each section being a new variation on the same theme presented at the beginning of the work. Most commonly, the melody remains recognizable in each section, and the underlying harmonic structure remains basically the same, but changes in rhythm, tempo, texture, or timbre keep each section sounding fresh and interesting. A rondo would follow an A B A C A … structure. The familiar section (A) returns between sections (B,C,…etc) which are of new music. Sonata form – also called sonata-allegro form is in general a large ABA form Repetition and development of melodic themes within a framework of key changes allow the composer to create a highly developed long movement.
Vocal Forms
- Through-composed – A vocal which has different music for each verse and is not based on repeated sections or verses.
- Strophic – Composed of verses. The music (melodies) are repeated in each verse with fairly small changes. May or may not include a refrain.
Strophic Form, described under the section, Structure and Design in Music Note: Strophic and through composed are vocal forms. Do not associate these forms with instrumental music. Through composed and strophic relate to the structure of the poetry in a song. In addition also form will not always be easy to hear, especially in live concerts. since any reports are based on what you hear you will not be in a position to use this element. You may see a discussion in programs notes where the form is indicated but you should never included information you read about a work – only discuss what you hear. Summary: Do not include comments on form (or any element for that matter) in written assignments, unless you hear it. Certainly you should read program notes but do not include such information in your report. - Jazz standard song form Jazz utilizes many different forms, but one very common form is closely related to the strophic and variation forms. A chord progression in A A B A form (with the B section called the bridge) is repeated many times. On the first and last repetition, the melody is played or sung, and soloists improvise during the other repetitions. The overall form of verse-like repetition, with the melody played only the first and final times, and improvisations on the other repetitions, is very common in jazz even when the A A B A song form is not being used.
Form will not always be easy to hear, especially in live concerts. Remember this when filling out your concert notes. Never include a comment on form (or any element) in written assignments, unless you hear it yourself.You may read about many more complex forms too difficult to hear though reading in program notes etc. Do not include information from program notes.in any written assignments.
MOVEMENTS
Movements – What are They? Movements are an important component in the structure of large scales works. They are considered individual parts of a larger scale work. They might be comp[ared to “chapters” of a book. Each movement can have a different tempo (faster or slower), different melodies, different dynamics, different textures, modes, and meters etc. from other movements in a work Typically a symphony will have four movements and a concerto or sonata will have three movements. Often some works on a concert program will be one part and not contain separate movements. It could be considered a one movement work. Overtures are in this category. Thus a typical classical concert will invariably contain some compositions with movements, or work without movements. If a multi movement work is being discussed, one would always discuss the movements individually on separate notetaking forms clarifying the individual elements and characteristics of each movement. One would never discuss all the movements collectively.
Naming movement or sections in a work. Some art forms have contrasting sections but they are not called movements as is the case with Symphonies and Concertos, sonatas discussed above. Such genres include Operas and Ballets ( acts, scenes, arias in operas), overture – Oratorios and Masse, cantatas – parts and sections Songs in a song cycle are not considered movements. They are simply songs movements.
Always discuss movements scenes or sections of a work separately in your CA report. You can name the movement or section you are describing by title (tempo marking) or by number (first, second, third etc.).
Common mistakes concerning the understanding of movements include:
(1) Referring to individual selections as movements when they are actually simply separate works.
(2) not listing separate movements in the program (required at the beginning of your report)(3) not discussing the each movement of a work separately on a separate note taking form
You may discuss any combination movements or sections, sc enes etc of separate works . If the program consists of a number of separate works (without movements) then discuss and compare separate works. This might occur in the case of a vocal recital, or a chamber music program with shorter works. It is often the case with band concerts.
Itunes – “Songs” Note: contrary to I-tunes labeling we do not refer to any work on a concert as a “song” unless it is sung. An instrumental work is named a composition, piece, work etc. Do not be mislead by this error in labeling in this course in written assignments.
An example of how movements are displayed in a program is shown in Mozart’s work from the image below. Note that two works are shown. One has four movements the other has three.
Sample Symp;hjony Program:Here is an example of a Sample Symphony program Look for the Sample Symphony program mid way down the page at this location. It is called The Sample Symphony Orchestra: http://www.naxos.com/education/enjoy2_readprogram.asp\
A program of a chamber ensemble or saolo recital could have the same related format (works comprised of movements as well. A n Opera or ballet program would mlist the “acts and scenes in place of titles of works and movements.
An example of how movements are displayed in a program is shown in Mozart’s work from the image below. Note that two works are shown. One has four movements the other has three.
Here is an example of a Sample Symphony program Look for the Sample Symphony program mid way down the page at this location. http://www.naxos.com/education/enjoy2_readprogram.asp
Review and summary: A “Classical” symphony, or concerto has three or four main parts called movements. A moment of silence traditionally separates the movements. The movements sound very different from each other. The first movement is usually a fast tempo, the second movement would be slower. In a symphony the third movement would often be in triple meter and be in a dance form with the fourth movement a faster movement. Movements must be discussed separately for a concert attendance assignment. You need not discuss every movement but you must always identify which movement you are describing. Please understand that the word Classical (see above) can refer to generally classical music or specifically the Classical period (Module 7). The sequence of movements described above was established largely during the Classical musical period.