Upload
others
View
2
Download
0
Embed Size (px)
Citation preview
CastleRushenHighSchool
Music Department
IGCSE Music 2O16-2018
Musicianship through
composition Name:
Contents1. BeatandRhythm–SimpleTime2. MelodicNotation(Trebleandbassclef)3. ChordsandHarmony4. Makingchordsmoreinteresting–Inversions5. Intervals6. BeatandRhythm-CompoundTime7. PhrasesandCadences8. Writingamelody9. Morechordsandcadences10. Musicaltexture11. WorkinginaMinorKey12. ModulationExplained13. ModulationinPractice14. DevelopmentofMusicalMaterial15. Expression16. MusicalForms
1. Beatandrhythm–Simpletime• Allmusichasabeat,andweworkoutrhythmsinrelationtothisbeat.• Insimpletimethisbeatisacrotchet(tea).• Weknowapieceofmusicisinsimpletimeasitusesa4asthelowernumberinits
timesignature.Themostcommononesareshownbelow.
Timesignature Beatsinbar
2beats
3beats
4beats
• Youhaveworkedwithrhythmsusingwordstorepresentthem.Onthenextpageyouwillfindthoserhythmsandothers.
• Therestsymbolwhichwouldrepresentthesamelengthhasalsobeenincluded.
Rhythmicsymbol
Symbolofrest
Wordweuse Numberofbeatsitfitsinto
UKname
Tea 1 Crotchet
Cream 2 Minim
Milk 3 Dottedminim
Cheese 4 Semibreve
Coffee 1 2quavers
Cappuccino 1 4semiquavers
Pineapple 1 Quaverand2semiquavers
Weetabix 1 2semiquaversand1quaver
I------love 2 Dottedcrotchetandaquaver
fee ½beat Quaver
Ginger 1 Dottedquaverandsemiquaver
2.Melodicnotation:trebleandbassclef,keysandscales• Mostwesternmusicusesmelodicnotationbasedaroundnotesofthescale.The
onlyexceptionisguitaranddrums,whichusedifferentformsofnotation.• Thetrebleandbassclefarethetwomostimportantclefs,whichallmusiciansuseto
readmusic.Theylooklikethis;
• Boththetrebleandbassclefshavefivelinesandfourspaces,whichrepresentdifferentnotes.Thisiscalledastave.However,thenotesdon’tjuststopatthebottomandtopofthestave.
• Differentinstrumentsusedifferentclefsdependingonthepitchoftheinstrument.Forexample,theFluteusesthetrebleclefbecauseitisahigh-pitchedinstrument,whilethecellousesthebassclefbecauseitisalow-pitchedinstrument.
• Asastartingpointitisgoodtoknowwhere‘MiddleC’appearsonboththetrebleandbassclefs.Theyareboththesamenote.
• Belowarethelinesandspacesofthetrebleandbassclefs.Thesepatternswillhelp
youtobeabletoreadmelodicnotationinbothclefs.
Trebleclef(Linesandspaces)
Bassclef(LinesandSpaces)
Trebleclef
Bassclef
Majorkeysandscales
Thereare12differentmajorKeysandscales,whichareusedtoformthebasisofmuchofthemusicwelistento.Thesescalesaremadeupofmusicalintervals,whichformapatternof7notesbasedaroundaparticularkeysignature.Keysignaturesareacrucialcomponentwhenwritingapieceofmusicanditisimportanttorecognisewhattheylooklikeandhowtheywork.Thecommonfeatureofmostkeysisthattheycontainsharpsandflats,theseareknownasaccidentalsandarewhatmakekeysignaturesunique.Theyusethefollowingsigns
FLAT
(Flattensthenote)
Thissignbeforethenotemeansthatthenoteis
flattened
SHARP
(Raisesthenote)
Thissignbeforethenotemeansthatthenoteissharpened.
Somemajorscalesaremorecommonlyusedthanothers.Thisisbecausetheyhaveasimplerkeysignaturetocomposein,andhavelessaccidentals.ThemostcommonmajorkeyandscaleisCmajor,whichhasnoaccidentalsinitskeysignature.
Cmajor:Whenworkingwithinanykeysignatureitisimportanttoknowthatsomenotesofthescalehavemoresignificancethanothers.Thetwomostimportantnotesofanyscalearenotes1and5.ThesearecommonlyreferredtoastheTonicandDominantnotes,orIandV.Cmajor:
Belowisatablewithfourmajorkeysthatusesharps,andfourmajorkeysthatuseflats.Noticehoweachkeysignatureaddsanewsharporflateachtime.Thesearejustsomeof
Thetonicanddominantnotesarethestrongestpointsofthescale.InCmajortheCisthetonicnoteandthedominantnoteisG.Thisprincipleappliestoallkeys.Inchapter3youwillseehowthisprincipleworkswhenusingchordsandharmony
themajorkeysyoucouldusetohelpyoucreateideasforyourcompositions.Seeifyoucanworkoutthetonicanddominantnotesofeachofthesemajorkeys.
Key KeySignature
Scale Sharps/flats
Gmajor
1-F#
Dmajor
2-F#,C#
Amajor
3-F#,C#,
G#Emajor
4-F#,C#,G#,D#
Fmajor
1-Bb
Bbmajor
2-Bb,Eb
Ebmajor
3-Bb,Eb,
AbAbmajor
4-Bb,Eb,Ab,Db
3.ChordsandharmonyYouhavealreadylearnedaboutkeysandscaleswhichcanbeusedtowriteamelody.Youarenowgoingtolearnhowcomposerssuccessfullycombinenotestocreateharmonythroughtheuseofchords.Thesechordshelpthelistenertounderstandthetonalcentreorkeyofthemusicandphrasing.
• Achordiscreatedwhenmorethanonenoteisplayedatthesametime.• Weusuallycreateorchooseournotesfromachordbycreatingtriads.• Thesetriadsarebuiltfromthenotesathirdapart.• Thesearelabelledusingromannumerals.• Achordmaybecalledbyitsromannumeralorthenoteitisbuilton.(ChordIinC
majorcanalsobecalledtheCchord.)
TriadsinthekeyofCmajor
• Eachnoteofthescalehasanumber.Thatnumberalsotellsyouaboutthetriad
whichisbuiltaboveit.• Thereforechordone(I)inCmajorisbuiltabovenoteoneofthescalewhichisC.
ChordoneinCmajoristhereforemadeupofthenotesCEG.• Althoughtriadscanbecreatedaboveanynotesthemostcommonlyusedchordsare
thoseabovenotesone,fourandfive.• Thesearecalledtheprimarytriads.ChordsI,IVandV• Asthenotesoftheseprimarytriadsincludeeverynoteinthatscaleanymelodyin
thatkeycouldbeharmonisedjustbyusingthesechords.
4.Makingchordsmoreinteresting–Inversions• Youalreadyunderstandthattriadsarecreatedbybuildingchordsonnotesofthe
scale.• Sofarthelowestnoteofthechordaswehavewrittenandplayedithasalways
beenthechordnotewehavebuiltthetriadon.Thisiscalledtheroot.• Chordsdonotalwayshavetousetherootasthelowestnoteofthechord.We
createchordinversionswhenwedonotusetherootasthelowestnote.• Youcanthereforecreate/writeanychordinrootposition(a),firstinversion(b)and
secondinversion(c).• Wedonotusuallybotherlabelrootpositionasa.Wejustwritetheromannumeral.
PrimarychordsandtheirinversionsinCmajor
• Chordsplayedinaninversionsoundlessstrongthaninrootposition.• Wethereforeoftenuserootpositionchordsinimportantplacesinapiece,suchas
thebeginningsandendsofphrases.• Secondinversion(c)isonlyoccasionallyused.
Chordinversionsgivethemusicmorevariety.Comparetheharmonisationofthissimpletunefromthepreviouspage.
5.Intervals• Inmusic,anintervalisthedifferenceinpitchbetweentwonotes.• Intervalsareanimportantmusicalaspectwhencomposingbecausetheyareableto
shapemelodies,andparticularintervalsareimportantwhenmodulatingtonewkeys,whichwewilllookatinmoredetailinlaterchapters.
• Themosttypicalmusicalintervalsare2nds,3rds,4ths,5ths,6thsandoctaves.Theseareshowninthetablebelow.AnyintervalthatstretchesoveranoctaveisknownasaCompoundinterval.
Symbol Notes Name/Interval
C-D
2nd(Major)
C-E
3rd
(Major)
C-F
4th
(Perfect)
C-G
5th
(Perfect)
C-A
6th
(Major)
C-B
7th
(Major)
C-C
Octave
• ThistableshowshowintervalsareformedbetweennotesstartingonC.TheCatthebottomcouldbereplacedbyanynoteofthescaleandreproducedinexactlythesameway.
• Nowwehavelookedathowtoworkoutasimpleinterval,wenowneedtolookatthedifferenttypesofintervalswecanget,dependingonthekeyweareworkingin.
• Thefourmaintypesofintervalyouneedtoknowarecalled
Major Minor Perfect Diminished LetstakethekeyofCmajor:
• HereistheCmajorscale.Cmajorhas
nosharpsofflatsinitskeysignatureandsoitmakesiteasiertoworkouttheintervalsbetweennoteswithinthiskey.Belowaresomeexamplesofdifferentintervalsinthisparticularkey.
Majorinterval Interval Minorinterval Interval
Major3rd(C-E)
Minor3rd(C-
Eb)
Major6th(C-A)
Minor6th(C-
Ab)
Intervalsof4th’sand5th’sareknownasPERFECTintervalsasshownbelow-Theseareintervalswhichpredominantlyapproachcadences.Perfectintervals Interval Perfectintervals Interval
Perfect4th(C-F)
Perfect5th(C-G)
AdiminishedintervaloccurswhenaPerfectintervalhasaflattened5thDiminishedinterval
Interval Reason
Diminished5th
TheGhasbecomeaGb,whichthereforemakesthisintervaldiminished.Lookatthecomparisonwiththeintervalabovetoseewhy.
6.Beatandrhythm–Compoundtime
• Bynowyouwillunderstandthedifferenceinsoundbetweensimpleandcompoundtime.Thesepagesaimtohelpyouunderstandthetheoryaswell.
• The8asthelowernumberinthekeysignaturetellsusthatthebeatiscountedinquavers.Therefore6/8timehas6quaversineverybar.
• Butasyouwillalreadyknow,mostofthetimeweactuallyfeelthisrhythmas2inabar,2dottedcrotchets.
• Therhythmsyoucanusein6/8areincludedinthepieceofmusicbelow.Thedottedcrotchetbeatisshownabove.
• Youmayfindthesewordsbelowhelpfulwhenusingcompoundtime.Youcouldtrytomakeupyourownfortheonesnotincludedhere.
• Alloftheserhythmsfitintoonedottedcrotchet/areworth3quavers.
Rhythm Wordweuse
Home
Gallop
Hoppity
Runaway
• Musiccanalsobewrittenin9/8and12/8,butthisisnotascommon.
7.Phrasesandcadences• Allmusicismadeupofphraseswhicharelikemusicalsentences.• Theseareimportantinallowingmusictomakesensetothelistener.• Themovementfromthesecondlasttothelastchordinaphraseisknownasa
cadence.• Thetwochordswhicharechosentomakeupthiscadenceareveryimportantas
theyworkjustlikepunctuationwouldinapieceofwriting.• Acadencecaneithersoundfinished(likeafullstop),orunfinished(likeacomma).• Theyaresoimportanttomusicthattheyallhavenameswhichyouneedtoknow.
Withtheprimarychords(I,IVandV)thatyouhaveusedsofaryoucancreatethefollowingcadences:Cadencenames Finished/unfinished Secondlast
chordLastchord
Perfectcadence Finished V IPlagalcadence Finished IV IImperfectcadence
Unfinished ChordsIorIV V
Thesecadencesareusedinthefollowingpieceofmusic.
• Apieceofmusicwillalmostalwaysendwithafinishedcadence,butasyoucansee,
thesecanalsooccurinthemiddleofthemusic.• Thechordswhichmakeupacadencemayoccurinthemiddleofaphrase,butonly
createacadenceattheendofaphrase.
8.Writingamelody• Usingthechaptersonmelodicnotation,chordsandharmony,andintervals,weare
goingtoexplorethekeycomponents,whichyouneedtouseinordertowriteasuccessfulmelody.
• Agoodmelodyissomethingthatismemorableandhasalyricalquality.• Writingagoodmelodyisoneofthemostdifficultchallengesasamusician.Itis
importantthatanymelodyiswellstructuredandthatithasasenseofdirection,butmostcruciallythatitfitswellwithothermusicallines.
• Letshavealookatsomeofthestepstowritingagoodmelody.
Firstly-Thechordstructure
1)Letsstartwiththefirst4bars
• Thesechordsdeterminetheharmonyofthepieceofmusicwearegoingtowrite,
butalsocruciallyimportanttheygiveusabasisforwhichtostartandconstructourmelody.
• Itisalwaysimportanttothinkthatyourchordsareyourfoundationforyourmelody!
2)Thenextstepistostarttoconstructasimplelinetogetherthatusesprimarynotesofthechords:
• • AsafirststepIhavedecidedtojustusethenotesofthechordsinthebass.Mynext
stepwouldbetoelaborateonthesenotesandstarttoaddinmorenotevaluesandintervalstomakethemelodymoreinteresting.Theseareknownasnonchordnotes
Usingnon-chordnotesAswebegintodevelopamelodywestarttoaddinsomeofwhatwecallnon-chordnotes.Thesenotesarecallednon-chordnotesbecausetheydon’tappearwithin the chord in the bass. Take the notes below in the first bar. The firstchord,chordIisC,E,G.Ifyoulookatthenotesinthetrebleclefyouwillfindthattheonlynon-chordnotehighlightedistheB,thisisbecausetheBisnotpartoftheCmajorchordinthebass;thereforeitisanon-chordnote.Thesameruleappliestotherestofthebars.
Withinthesefirst4bars:
• Morerhythmicvalueshavebeenaddedtomakethemelodiclinemoreinteresting.• Alsoyoushouldbeabletonoticethattheintervalsbetweennotesarenotverybig,
whichmakesiteasiertosing/perform.• Themelodyhasagoodamountofstepsandleapswithintheintervalsthisisall
downtotheuseofmelodicdecoration.
ThetwotypesofmelodicdecorationthatyouneedtobeawareofareAuxiliarynotesandpassingnotes.Belowareexamplesofbothoftheseandhowtheyareused
Auxiliarynotes
Anauxiliarynoteiseitherasemitoneortoneaboveorbelowthenoteseitherside.Thetwonoteseithersideoftheauxiliaryarethesamepitch.ForexamplethisauxiliarymovefromCtoBthenbacktoC.
Passingnotes
Apassingnotelinksthenotesbeforeandafter.InthisexamplefromabovetheAandCarepassingnotesastheylinktheGandBwhicharepartofthechord.Passingnotesusuallyfallontheweakbeatsofthebar.
4)Afterexperimentingwithideasandcontinuingtodevelopnewones,Icompletedmyideasforthesecond4barsandmadethepieceintoan8barstructure.Seeifyoucanhighlightallthenon-chordnoteswithinthelastfourbars,andanyauxiliaryorpassingnotes.
Importantthingstoremember:
• Alwayslistentowhatyouarewriting(Ithelpstodevelopyourideas)• Useyourchordstructuretohelpyouinitially,andthenletthemelodiclinelead.• Giveyourmelodyasenseofdirection.
9.Morechordsandcadences
• Sofaryouhaveonlyusedtheprimarychords.• Inamajorkeytheseareallmajorchords.Theyareusedmostoftentokeepthe
majorcharacterofthemusic.• Formorevarietyyoucanalsousetheotherchords.Theseaddinterestastheyare
minoranddiminishedchords.
Moreoncadences
• Byusingotherchordsthereisanothercadenceyoucanuse.• Belowisthecompletelistofcadencesandchords.
HereisTwinkle,TwinkleLittleStarusingdifferentchordsandcadences.
Cadencenames Finished/unfinished Secondlastchord
Lastchord
Perfectcadence Finished V I
Plagalcadence Finished IV I
Imperfectcadence
Unfinished ChordsI,IIorIV
V
Interruptedcadence
Unfinished V VI
10.Musicaltextures• Inmusic,textureisthewaythemelodic,rhythmicandharmonicmaterialsare
combinedinacomposition,andthisdeterminestheoverallqualityofsoundofapiece.
• Apiece’stexturemaybeaffectedbythenumberofpartsplayingatonce,thetimbreoftheinstrumentsorvoicesplayingthesepartsandtheharmony,tempo,andrhythmsused.
• Textureisoftendescribedinregardstoitsthicknessandrangebetweenthelowestandhighestnotes.Wealsodistinguishthetextureofapieceaccordingtotherelationshipbetweenthemusicalvoices.
• Belowarethethreemainmusicaltexturesthatyouneedtobeawareofwhencomposingdifferentstylesofmusic.Monophonic
“PopgoestheWeasel”melody(Kliewer 1975, p.270-301).
Amonophonictextureisasinglemelodiclinewithnoaccompaniment.
• Manysolosectionswithinpiecescanbedescribedasmonophonicastheyaremainlyunaccompanied.Thispieceabove‘popgoestheweasel’hasjustonemelodicline,thereforethetextureismonophonic.
• AnothermusicaltexturecalledBiphonicissimilartoamonophonictexture.Theonlydifferenceisthatabiphonictexturehastwodistinctlines,withthelowerlineactingasadronewhiletheupperlinehasmoreofamelodyHomophonic
Homophony in Tallis' "If ye love me," composed in 1549
AHomophonictextureisMelodyandaccompaniment.Multiplevoicesofwhichone,themelody,standsoutprominentlywhiletheothersforma
backgroundofharmonicaccompaniment.
• Manypiecesofwesternmusiccomposedduringtheclassicalandromanticperiodandintothe20thcenturycanbedescribedasHomophonic.
• Theextractaboveisanexampleofgoodhomophonicwriting,wherebytherearemultiplevoicesofwhichone,thesopranomelody,standsoutprominently.
• Thisextractcouldalsobeclassedashomorhythmicbecauseallofthepartshavethesamerhythm.
• OtherexamplesofgoodhomophonicwritingcanbefoundinmanypianoworksbyBeethoven,andlotsof20thcenturyjazzwriting.
• Mosthomophonicmusicisreadvertically,simplybecauseitisusuallyverychordalbasedmusic.Polyphonic
J.S. Bach's "Fugue No.17 in A flat", BWV 862, from Das Wohltemperirte ClavierApolyphonictextureismultiplemelodicvoices/lines,whichareeither
independentofeachotherorimitateeachother.
• PolyphonicmusicisaverycharacteristictextureoftheRenaissanceperiodandparticularlytheBaroqueperiod.J.S.Bachwrotemanychoralesandfugues,whichthisextractistakenfrom,whichdemonstratehowseveraldifferentmusicallinescreatealineartexture.
• Mostpolyphonicmusicisreadhorizontally,simplybecausethemusicallinesmovefreelyandindependentlyamongsteachother,ratherthaninblocksorclustersofnotes.
11.Workinginaminorkey• Composinginaminorkeyposesitsmusicalchallengestoanycomposer.• Minorkeysaretypicallyusedbycomposerstoprovidemusicalcontrastwithina
pieceofmusic.Inpiecesthathaveaternaryform(ABA)ofbinarystructure(AB),themiddlesection(B)isusuallyintherelativeminorkeyofthetonicmajor.
• Whenworkinginaminorkeyitisfirstimportanttounderstandthattherearetwotypesofminorscale;MelodicminorandHarmonicminor.Thesedifferentminorscalesareshownbelowandexplained
aminor(Harmonic)
• Theharmonicminoristhemostcommonlyusedminorscaleandthenotesofthis
scalewouldbeusedwhenworkingwithinthekeyofaminor.
aminor(Melodic)
• Youwillnoticethatoneofthefeaturesofthemelodicminorscaleisthatitis
differentwhenascendinganddescending.ThedescendingnotesofthescalearemorelinkedwiththerelativemajorkeyofCmajor.Themelodicscalenotonlyraisesthe7thnoteofthescalebutalsoraisesthe6th,hencetheFbecomesanF#.Thesethenbecomenaturalonthedescendingpartofthescale.
• Itisalwaysimportanttorecognisethatoneofthekeymainfeaturesofbeinginaminorkeyisthatthe7thnoteofthescaleisalwayssharpened.
Key Keysignature Raised7th Key Keysignature
Raised7th
dminor
Csharp
gminor
Fsharp
TONICKEY RELATIVEMAJORaminor
Cmajor
dminor
Fmajor
eminor
Gmajor
12.ModulationExplainedWhatismodulation?
• Asyoualreadyknowmusiciswritteninakey• Thekeyapieceofmusicbeginsinisknownasthetonickey• Musicmodulateswhenitmovesfromthetonickeyintoadifferentone• Themostcommonkeysmusicmodulatestoarethedominant,sub-dominantand
relativeminor.
Sub-dominant(4th)
TONICKEY Relativeminor Dominant(5th)
Fmajor
Cmajor
aminor
Gmajor
Bbflatmajor
Fmajor
dminor
Cmajor
Cmajor
Gmajor
eminor
Dmajor
Workingoutthecloselyrelatedkeys
• Toworkoutthedominantkeycountthetonicnoteas1thenthe5thnotewillbethedominant.(C=1,D=2,E=3,F=4,G=5)ThereforethedominantofCmajorisGmajor.
• Toworkoutthesub-dominantcountthetonicnoteas1andthe4thnotewillbethesub-dominant.(C=1,D=2,E=3,F=4)Thereforethesub-dominantofCmajorisFmajor.
• Toworkouttherelativeminorcountdown3semi-tones.(CtoB,BtoBbandBbtoA)ThereforetherelativeminorofCmajorisaminor.
Youmayfindthecircleoffifthsbelowusefulforworkingoutkeys
• Whenmusicmodulatestoanewkeyyouthennamethechordsinthisnewkey• Modulationaddsinterestandvarietytothemusic.• Apieceofmusicmaymodulatemanytimes• Youshouldalwaysreturntothetonickeyfortheendofyourpiece
13.ModulationinpracticeNowyouunderstandwhatmodulationis,youneedtoknowhowyoucanachievethisinyourownmusic.Thereisashortpieceofmusicbelowtohelpyouunderstandthis.
• ThepieceiswritteninthekeyofGmajorandstartsonchordoneofGmajor.Thefirsteightbarsareinthiskeyandfinishonaperfectcadence(V-I)inthiskey.
• Inthenexteightbarsyouwillseethemusicmodulatestwicebeforeendingonaperfectcadenceinthetonickey.
• Inbothcasesthisisdonebyusingwhatiscalledapivotchord.Thisisachordwhichappearsinbothkeys.Youwillalwaysbeabletofindchordswhicharethesameinrelatedkeysandusetheseaspivotchords.
Gmajor EminorChord I ii IV V vi i ii iv V VINotes D
BG
ECA
GEC
DF#A
BGE
BGE
CAF#
ECA
F#D#B
GEC
Pivotchords
Eminoriv
EminorVI
Gmajorii
GmajorIV
• Achangeofkeyshouldalwaysbeconfirmedbyaperfectcadenceinthenewkey
soonafterthemodulation.• Afterthepivotchordthemusicisbeingwritteninthenewkey,sothechord
symbolsrepresentthenewkey.• Accidentalsneedtobeusedtoshowthenoteswhicharenotthesameineachkey.
Ifyouaremodulatingforalongtimeinyourmusicyoumaywishtoaddinyourkeychange.
14.Expressionmarkings• Expressionisoneofthemostimportantmusicalfeatures.Itallowscomposersand
performerstoshapetheirpieceofmusicandmakeitmorestylistictoperform.• Thefourmainareasofmusicalexpressionyouneedtobeawareofaredynamics,
tempo,articulationandornamentation.• Itisimportanttomaketheseexpressiveelementsclearwithinyourcompositionsin
ordertogiveyourmusicindividualcharacter.Belowareatableofexpressivemarkings,whichyouneedtoknow;theirmeanings;andtheirItalianterms,whicharecommoninallmusic.
DynamicsSymbol Italianterm Meaning
Pianissimo
Verysoft
Piano Soft
Mezzo-piano Moderatelysoft
Mezzo-forte Moderatelyloud
Forte Loud
Fortissimo Veryloud
Sforzando Suddenlyloud
Crescendo Graduallygettinglouder
Diminuendo Graduallygettingsofter
Tempo
Italianterm Meaning
Lento SlowlyAndante AtawalkingpaceAllegretto ModeratelyfastAllegro FastVivace Veryfast(Briskly)Conmoto WithmovementRallentando GraduallygettingslowerAccelerando Graduallygettingfaster
ArticulationSymbol Musicalterm Meaning
Staccato
Detached
Legato
Smoothly
Accent
Accentthatparticularnote
Tenuto
Stressthenote
Ornamentation
Symbol Musicalterm Meaning
Trill
Amusicalornamentwhich
fluttersbetweentwoadjacentnotes
Pedal
Soundissustainedduringthewholephrase.
Glissando
Slidingfromonenotetothe
next.
Fermata
Pauseonthenote
15.MusicalFormsAllmusiciscomposedusingastructureorform.Usingtheseinyourowncompositionswillhelpyoutoachieveasatisfyingpieceofmusicandallowyoutomakethemostofyourmusicalideas.FormsinsongwritingWhendiscussingsongstructurewethinkofthestructurepresentedbythelyrics.Thesewillbeorganisedintoversesandpossiblyachorus.Strophic
• Mostofthesongsyouwillbefamiliarwithwillbewritteninstrophicformwhichconsistsofversesandchorusesorjustverses.
• Thelyricsoftheversewillchangeeachtimebutthemelodywillremainthesame,althoughtheremayneedtobeslightrhythmicchangestofitinthedifferentwords.
• Thelyricsandmelodyofachoruswillremainthesameeachtimeitisperformed.• Othersectionssuchasabridgeormiddle8maybeaddedtothisverse-chorus
structureforinterestandvariety.• Althoughthemelodyremainsthesamethroughoutyoucanstilldevelopyour
musicalmaterialbyvaryingtheaccompanimentandchangingkey.
Through-composed• Thisistheoppositeofstrophicformasthemusicisnotrepeated,itchanges
throughout.• Thelyricsofeachversehavenewmusic.Thismaybeanewmelody,chords,or
both.• Thisformisusefulfortellingastoryasitallowsthemusictobevariedasthestory
moveson,suchasinanoperaormusical.
Ternaryform/Dacapo• ABA• ContrastingAandBsectionsareperformed.Thesingerthencompletelyrepeatsthe
Asectionagain.
MusicalFormsContinuedFormsininstrumentalwritingAswithternaryform(above)weoftenlabelpartsofthemusicalstructurebyusingletternames.BinaryForm
• AB• AcontrastingAandBsectionarecomposed.• Theyareoftenbothplayedtwice,markedusingrepeatsigns.
TernaryForm• ABA.• Thisisalsousedininstrumentalwriting.• TheBsectionshouldcontrastwiththeAsection.• TherepeatoftheAsectionmaybethesameorwithslightchangesand
developments.ThiswouldmakeitA1–B–A2.
RondoForm• ABACADAetc.• Inrondoformthemainthemekeepsbeingrepeatedwithothercontrastingsections
calledepisodesinbetween.• AsinternaryformtherepeatsoftheAsectionmaybeslightlydifferentand
sometimesshortened.• Smallpassagesmaybeusedtolinkthesectionssmoothly.
ThemeandVariation• Athemeisstatedfirst.Thisisusuallyshortandmemorable.• Thisthemeisthenrepeatedseveraltimesbutischangedbyusingdifferent
techniquestodevelopit.• Examplesofvariationmaybeplayingitinadifferentkey,changingthetextureof
theaccompanimentorusingornamentation.
GroundBass
• Thisusessimilartechniquestothemeandvariation,butitisthesamebasslinewhichisbeingusedthroughout.
• Changescanthereforebemadetothemelody,rhythm,tempoetc.
SonataForm• Sonataforistheformofonemovement,ratherthanawholesonata.• Liketernaryformitissplitintothreemainsectionsbuthasmorestructuretothe
wayitiswritten.
Exposition
(Statingthemusicalmaterial)
Development
(Developingthemusicalmaterial)
Recapitulation
(Restatementoftheoriginalmaterial.)
Coda
Firstsubject(Intonickey)
Bridge
(Usedtomodulatetothenewkey.)
Secondsubject
(Newkey)
Thiswilldeveloptheideasusedintheexpositionandmovethroughmanykeys.
Firstsubject
(Intonickey)
Bridge
(Differentasitisnotbeingusedtochangekey.)
Secondsubject
(Intonickey.)
Usedtofinishoffthemovement