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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’’. - PowerPoint PPT Presentation
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Musical Form
The organization of musical ideas in time
The “shape” of a piece of music
Techniques for Creating FORM in Music
1. Repetition A A
2. Contrast A B
3. Variation A A’ A’’
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.
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.
Happy Birthday to you
– 5 5 6 5 1 7Happy Birthday to you
– 5 5 6 5 2 1Happy Birthday to so-and-so
– 5 5 5 3 1 7 6Happy Birthday to you
– 4 4 3 1 2 1
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
P.I. TCHAIKOVSKY - Dance of the Reed Pipes
TERNARY (3-part) FORM
– A B A
J.S. BACH - Forlane
BINARY (2-part) FORM
– A B
Most Common Techniques for creating VARIATION in music
1. Melodic Variation
2. Textural Variation
3. Timbral Variation
Melodic Variation
1. Embellishments/Ornamentation
2. Changes of Mode (Major/Minor)
3. Melodic Extensions/Subtractions (Fragmentation)
Textural Variation
1. Addition of countermelodies and/or other non-imitative polyphony
countermelody - melodic idea that accompanies a main theme
2. Sections of imitative polyphony (I.e. fugatos/fugal sections) on a melody and/or motive
3. Adding or changing accompaniment to melody
Timbral Variation
1. Changes in timbre (changes in instrument(s) playing melody and/or accompaniment)
2. Tutti vs. Soli
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
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
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
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major
A A’
aabb aabb
violincountermelody
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major
A A’ A’’
aabb aabb aab?
violincountermelody
minor
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major
A A’ A’’ A’’’
aabb aabb aab? aabb
violincountermelody
minorFlute & oboe cntrmel.
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major
A A’ A’’ A’’’
aabb
A’’’’
aabb aab? aabb aabb
violincountermelody
minor tuttiFlute & oboe cntrmel.
JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major
A A’ A’’ A’’’
aabb
A’’’’
aabb aab? aabb aabb
Coda
a
violincountermelody
minor tuttiFlute & oboe cntrmel.
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
AARON COPLAND - Section 7 from Appalachian Spring
A
“simple gifts” hymn-tune
inclarinet
AARON COPLAND - Section 7 from Appalachian Spring
A A’
“simple gifts” hymn-tune
inclarinet oboe &
bassoonfaster,
higher in pitch
AARON COPLAND - Section 7 from Appalachian Spring
A A’ A’’
“simple gifts” hymn-tune
inclarinet oboe &
bassoonfaster,
higher in pitch
new bell-likeaccompaniment
melody in violas &
trombones;then IMITATION
in strings
AARON COPLAND - Section 7 from Appalachian Spring
A A’ A’’ A’’’
“simple gifts” hymn-tune
inclarinet oboe &
bassoonfaster,
higher in pitch
new bell-likeaccompaniment
melody in violas &
trombones;then IMITATION
in strings
brass,very fast,staccato
AARON COPLAND - Section 7 from Appalachian Spring
A A’ A’’ A’’’
“simple gifts” hymn-tune
inclarinet
A’’’’
oboe &bassoonfaster,
higher in pitch
new bell-likeaccompaniment
melody in violas &
trombones;then IMITATION
in strings
brass,very fast,staccato
woodwinds, slower
AARON COPLAND - Section 7 from Appalachian Spring
A A’ A’’ A’’’
“simple gifts” hymn-tune
inclarinet
A’’’’
oboe &bassoonfaster,
higher in pitch
new bell-likeaccompaniment
melody in violas &
trombones;then IMITATION
in strings
brass,very fast,staccato
woodwinds, slower
A’’’’’
tutti,loud,slow,
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
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
W.A. MOZART -Mvt. 3 from Eine kleine Nachtmusik
A
aabb
minuet
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
a = forte staccato melodyb = piano legato melody, with Forte staccato melody fragmentreturning at end of phrase
W.A. MOZART -Mvt. 3 from Eine kleine Nachtmusik
A
aabb
B
ccdd
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
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
W.A. MOZART -Mvt. 3 from Eine kleine Nachtmusik
A
aabb
A
ab
B
ccdd
minuet trio minuet
NO repeats !!!
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
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
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
minor, fast-sounding, some staccato
In each ‘b’ = unexpected held tone
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
A
aabb
B
ccdd
minor
major, slower-sounding, very legato
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
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
A
aabb
B
ccdd
A
aa’bb’
minor major & legato
minor
slight variation in repeats withmore agitated tremolos
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
A
aabb
B
ccdd
A
aabb
C
eee’e’
major, imitation
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
A
aabb
B
ccdd
A
aabb
A
aa bb…
C
eee’e’
Big pause in music before 2nd “b” phrase
transitionsection
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
A
aabb
B
ccdd
A
aabb
A
aa bb
C
eee’e’
B
cc f??
new material with lots of variation
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
A
aabb
B
ccdd
A
aabb
A
aa bb
C
eee’e’
B
cc f??
A
ab
LUDWIG VAN BEETHOVEN -Mvt. 4 (Allegro) from String Quartet in C Minor
A
aabb
B
ccdd
A
aabb
A
aa bb
C
eee’e’
B
cc f??
A
ab
CODA
Coda movesfaster and faster