Structure of

GRADE 8

Dr. Declan Plummer Lesson 6:

Not all music needs to use such forms (e.g. free sectional form is widely used).

Binary Form (A-B) (A-B) • Music made up of two sections: A and B. Section A makes a musical • A and B usually share the same musical ideas. The tune which begins statement which sounds incomplete on its own. This is answered and the A section is likely to be repeated at the beginning of the B balanced by the music of section B. Both are usually repeated. section, but in a new key and perhaps altered for interest: • Usually, the music modulates towards the end of the first section to - Inversion: the tune is turned upside down - intervals originally the dominant (V), or relative major (III) if the piece began in a minor rising, now falling and vice versa key. During the B section the music will modulate back to the tonic. - The may be moved to the bass • A and B may be equal length, but B is frequently much longer because - The melody may be treated as a sequence the composer may take the music through various other keys. (the tune is immediately repeated at a slightly higher or lower pitch). [ SECTION A ][ SECTION B ] - Transposed into other keys Tonic Key Changing New Key New Key Changing Tonic Key Ex.1 ‘Bourée’ from Music for the Royal Fireworks Handel 1685-1759 (I or i) Key (V or III) (and others) Key (I or i) • Used a lot in dance music, especially the Baroque suites and in folk • As a general rule, remember that repeat signs never alter the form music, and to create smaller sections of larger forms (e.g. minuet & of a piece of music in any way. trio, form, theme and variations etc.) (A1- B - A2) Ternary Form (A1- B -A2) • Music made up of three sections: A B A, making a musical sandwich. A and B usually have very contrasting musical ideas. Section B will Sections A1 and A2 use the same music and sound complete on their • introduce a completely different tune to Section A in a related key own, ending with authentic (perfect) cadences. (often the parallel key to the tonic). Other contrasts include: If A2 is an exact repetition of A1 the composer may not trouble to • Changes of mood, speed, rhythm and metre write out the music again. B will end with Da Capo (meaning repeat - from the beginning) and the word fine (end) will be printed at the - Contrasts in dynamics, pitch, texture and timbre end of the first A section. • May begin with a short introduction, and the • B presents a contrast in some way. We call B an episode, meaning a music may be rounded off with a coda contrasting section that usually appears only once. (Italian for ‘tail’. A short passage of music SECTION A1 SECTION B SECTION A2 called a link may join sections together. STATEMENT EPISODE RESTATEMENT • Very popular for (also called Tonic Key New Related Key Tonic Key (I or i) (often parallel key) (only written if altered) form), operatic arias and most 19th-century piano music (nocturne, waltz, prelude etc). Can be an elaborated or Often Da Capo written at Chopin 1810-1849 an exact repetition the end of the section Ex.2 Prelude in D-Flat major (Op.28) ‘Raindrop’ Da Capo Aria Form

Rondo Form (A1- B - A2 - C - A3) Form (A1- B - A2 - C - A3) • In a piece of music in rondo form, the main theme (A) keeps • Notice that in writing in rondo form, the composer is using the two ‘coming round’, with contrasting sections of music called episodes basic ingredients of musical form and design: repetition and contrast. heard in between. The repetitions of the main theme bring unity to the piece, while the episodes present contrast to hold the listener’s attention. • can have many episodes and so the main theme then comes round more often. A link may join sections smoothly together and a • Main theme is usually altered in some way, otherwise there’s a risk the final appearance of the main theme may be followed by a coda. of monotony. Couperin wrote a piece where the main theme comes round 9 times. • Each time the main rondo theme returns it may be shortened or somehow varied, but it is always in the tonic key, while each of the • Earlier rondo of the 17th century had only episodes visits a related key. slight changes (relying more on changes of key) to differentiate the main theme from the episodes. SECTION A1 SECTION B SECTION A2 SECTION C SECTION A3 • Composers of the 18th century and after Rondo Theme Episode 1 Rondo Theme Episode 2 Rondo Theme were much bolder in their contrasts. Tonic Key A Contrast Tonic Key More Contrast Tonic Key (I or i) (V or III) (I or i) (Related Key) (I or i) Ex.3 No.8 (Op.13) ‘Pathétique’ 3rd mvt Beethoven 1770-1827 Canon • Also called chorus form, it applies mainly to songs in which all • A canon (from Greek meaning ‘rule’) is a contrapuntal music that verses (stanzas) of the text are sung to the same music. Very relies upon imitation. One part presents a melody, and then, shortly popular in hymns, ‘Pop’ songs and /folk songs. afterwards a second part begins the same melody, note for note. • If there is any noticeable change (for example changing the mode • The imitating part may follow at a distance of half a bar, one bar, two from major to minor) then its called modified strophic form. bars or any other distance according to the composer’s choice. Other parts may also enter, successively, with the same melody. Through-Composed

• It has different music throughout and is non- Part A B C D sectional and non-repetitive (opposite of 1 Part strophic form) based on durchkomponiert A B C 2 • Popular with German lieder because it Part allows the voice to more faithfully match the 3 A B changing moods of the poem. Also very popular in operas and musicals for the same reason. Ex.4 Erlkönig Schubert 1797-1828

• There are several varieties of canon, depending upon the method of Fugue imitation. The second part may imitate the melody • A fugue (meaning flight) is also a contrapuntal piece based on - at the same pitch: canon at the unison imitation, but the texture is woven from separate strands of melody - at an octave high or lower: canon at the octave called parts or voices (whether it’s vocal or instrumental) and are usually referred to as soprano, alto, tenor and bass. - at a fifth higher lower: canon at the fifth Subject Subject Counter- or any other interval at the composer’s choice SOPRANO Unaccompanied Free Part Free Part redundant entry - Subject (Tonic) (Tonic) • In a double canon, two are given out simultaneously by Answer two parts, and imitated by another two parts. Counter- ALTO 4th lower or Free Part Free Part 5th higher Subject • Canons can also be treated to inversion, and (Dominant) augmentation (usually doubled). Subject Counter- TENOR Free Part • Other varieties include the crab canon (Tonic) Subject (retrograde), the mirror canon, (retrograde inversion), and the infinite canon, also Answer 4th lower or Counter- BASS known as a round (such as Frère Jacques). 5th higher Subject Pachelbel 1653-1706 (Dominant) Ex.5 Canon in D for 3 violins and basso continuo • A fugue is structured in three main sections: exposition, middle section, and final section, but they are by no means as clearcut as Theme & Variations (A1- A2- A3- A4) those in musical forms such as ternary or rondo. • One of the oldest musical forms (Tudor England keyboard music). • Many musicians do not count the fugue as a form at all and instead think of it as a texture or style of composing. • The the tune called a theme is presented in a fairly straightforward way. The music is built up by repeating the theme as many times as • During the middle and/or final section the music may be made more desirable, but each time varying it, in one or more different ways. exciting by use of certain devices either singly or in combination: - Pedal note in the bass, or inverted pedal in the highest part or Theme Variation 1 Variation 2 Variation 3 and so on… an internal pedal in an inner part. In Binary or Theme is Theme is Theme is Theme is - Inversion, augmentation (usually double), diminution (usually half) Ternary Form Altered Altered Altered Altered There are countless ways in which the theme may be varied, but the Stretto an overlapping of entries of subject • - most important include: and answer. In a close stretto the overlapping occurs swiftly; in a stretto - Decorating the theme with ornaments and other elaborations maestrale (masterly stretto) all voices take - Changing the harmony, tonality, speed, rhythm or instrumentation part, each presenting subject or answer Using imitation for part or all of the theme (fugato or canon) complete and unmodified. - Ex.6 Fugue No.2 in C minor J.S. Bach 1685-1750 - Treating the theme to inversion, augmentation or diminution

The Ground Bass Ritornello Form (A1- B - A2 - C - A3) • Also sometimes called basso , meaning ‘obstinate bass’ is a • The Italian word ‘Ritronello’ means a ‘little return’. The main type of variation writing, very popular in the 1500s and 1600s. ritornello theme is introduced by the whole orchestra, the tutti (all) • A theme is repeated over and over in the bass (usually with the group, also called the ripieno (full) if more than one player per part. same note values) to become the ground, or foundation, of a • The recurring ritornello theme alternates with solo passages of composition. Above this, the composer weaves a varying texture of episodes played a smaller group of soloists (the concertino). melody and harmony. • It is very similar to Rondo Form in that the main theme may return • In some pieces, the melody-line is structured in such a way that its whole or in parts, but, unlike Rondo form, it can return in different phrases overlap the divisions of the ground bass, to create a smooth keys. Even so, the first and last occurrence of the main theme is continuous musical texture. usually the whole ritornello theme played in the tonic key. • Upper parts may gradually become more complicated, increasing tension. The theme TUTTI 1 SOLO 1 TUTTI 2 SOLO 2 TUTTI 3 may leave the bass and instead appear in an First Episode 1 Ritornello Episode 2 The Last upper part. Ritornello A Contrast Contrast & More Contrast Ritornello Tonic Key New Key Tonic Key Ex.7 ‘Dido’s Lament’ from Dido & Aeneas Purcell 1659-1695 • Also, unlike Rondo Form, the episodes are played by a soloist or 1 2 group of soloists. They may introduce new musical ideas or base Minuet & Trio Form (A - B - A ) their music on ideas taken from the Ritornello. • The minuet was a popular, graceful triple-time dance that became • Ritornello form was often used in the fast (and sometimes the slow) fashionable in Louis XIV’s court during the mid-17th century. movements of Baroque concertos - solo and concerti grossi - but it Baroque composers often composed minuets in pairs - second was also sometimes used in arias and choruses from operas, • minuet presenting some kind of contrast to the first (usually in cantatas and oratorios. opposite tonality). The two were performed in alternation:

MINUET I MINUET II MINUET I (triple time) (opposite tonality) (again without repeats) • Originally Minuet I was played by the whole orchestra and Minuet II was for three instruments only – for this reason Minuet II became known as the trio (the Italian for three). The custom was to omit any repeats when the first minuet was repeated. • Other dances, such as gavottes and bourses and sometimes pieces J.S. Bach 1685-1750 that were not dances at all, were similarly structured, which gave rise to the term ‘minuet and trio’ to describe the form. Ex.8 Brandenburg Concerto No.5 in D major 1st mvt (1721)

• The overall structure of the Minuet & Trio is ternary, but each of the main sections is a complete binary or ternary design in itself: • Baroque composers tended to write long- flowing melodies, spun out using the same repeated rhythms, ideas, instrumental A1: MINUET B: TRIO A2: MINUET (triple time, ends in tonic) (contrast and in new key) (again without repeats) colour (timbre) and tempi, thereby creating the same affection (or mood). [ A ] [ B (A) ] [ C ] [ D (C) ] | A | | B (A) | • Classical composers tended to write shorter, memorable melodies, with clear-cut contrasting rhythms, instrumental timbre and tunes • By the Classical Period the trio was no longer for three instruments that closely followed one another and constantly changed the mood. only but it still provided a contrast in orchestration (often featuring wind instrument solos) and a lighter texture. • The form was popular in symphonies (particularly the 3rd movements), string • Sonata Form became a means of building up these varying quartets, and other chamber works elements into a balanced, coherent musical design. It was used so Ex.9 Symphony No.94 in G major 3rd Mvt often in the first movements of nearly every type of instrumental music (sonatas, symphonies, concertos, , trios, quartets etc.) Haydn 1732-1809 that it’s also called first-movement form. Sonata Form Sonata Form • It has two main themes (subjects), were are presented and Development: composer ‘develops’ or explores the musical developed over three sections. Therefore, sonata form grew out of possibilities of any aspect of the ideas presented in the exposition. binary (two-part) form and ternary (three-part) form: 1. Rhythmical and tuneful fragments will be repeated, but brought Exposition: composer ‘exposes’ states his musical material in two through a variety of different keys (avoiding the home key), subjects (meaning subject for later discussion), both made up of several smaller musical ideas: 2. Fragments can be combined or set in opposition creating strong feelings of climax, tension and dramatic conflict before the:

a) The 1st Subject (group of ideas): is in the tonic ‘home key’ and Recapitulation: composer now ‘recapitulates’, or repeated in a is often vigorous, rhythmic, triadic and bold. It is followed by a slightly different form, the music of the exposition, bridge passage which modulates (changes key), leading us to: a) The 1st Subject (group of ideas): is in the tonic ‘home key’ b) The 2nd Subject (group of ideas): in a new, but related key - again. It is followed by an altered bridge without any modulation often the dominant or relative major if the tonic is minor - and is often more melodic, scalic, and lyrical. It is followed by a repetition b) The 2nd Subject (group of ideas): now also in the tonic before of the exposition so the listener can fully absorb both subjects. the composer round off the movement with a coda section.

Sonata Form Summary Abridged Sonata Form

Exposition Exposition Link Recapitulation Coda Development Recapitulation Coda (usually repeated) (usually repeated)

Many new keys, discussing, 1st Bridge 2nd Joining the 1st Bridge 2nd To 1st Bridge 2nd 1st Bridge 2nd To exposition to developing Subject (Changing Subject Subject (now Subject round Subject (Changing Subject combining, and Subject (now Subject round the (tonic) Key) (new key) (tonic) altered) (tonic) off! (tonic) Key) (new key) opposing ideas (tonic) altered) (tonic) off! recapitulation from the exposition • As the name implies, this is a shortened version of sonata form, with the development section removed. Instead a small link section Ex.10 Serenade No.13 for Strings in G major (1787) is provided to lead back to the tonic key and the recapitulation. • The link may be only a few bars or just a single chord (V7) leading A serenade or evening music (just like the straight into the recapitulation. divertimento - music to divert or entertain) was • Because of its compactness, abridged sonata form is often used for of a lighter character than a symphony and often operatic overtures and for slow movements of compositions like intended for performance in the open air sonatas, symphonies and chamber works, where full sonata form Mozart 1756-1791 would be too long due to the leisurely speed of the music. Combination of Sonata and Ritornello Form Sonata-Rondo Form (A-B-A-C-A-B-A) 1. Exposition (Orchestra) • 1st Subject strings then winds (I) • As the name suggests, it’s a combination of ingredients of sonata • Bridge (1st Ritornello) form and rondo form. • 2nd Subject strings then winds (I) • Codetta (orchestra) • Like rondo form, it depends upon a recurring main theme (A) which Exposition (soloist) appears at least three times but both this theme and the second • 1st Subject piano only (I) • Bridge (2nd Ritornello) theme (B), which occurs twice, are called subjects, since they may be • 2nd Subject piano then winds & strings (V) used for development during the central section (C). • Codetta (piano) • Bridge (3rd Ritornello) Exposition Central Section Recapitulation Coda 2. Development (soloist & orchestra) • New Material (in sonata form you A1 B A2 C A3 B A4 To expect 1st & 2nd subjects to be developed!) Ex.11 Piano Concerto No.23 in A Major Principal Second Principal Very often an Principal Second Principal round • Modulation to keys (1st mvt) by Mozart Subject Subject Subject episode (new Subject Subject Subject off! 3. Recapitulation (soloist & orchestra) (tonic) (Dominant (tonic) material) in another (tonic) (tonic) (tonic) 1st Subject winds & strings then piano (I) • Bridge (5th Ritornello) Rondo or relative Rondo key; or development Rondo Rondo • Theme major) Theme of any previous Theme Theme Bridge (4th Ritornello) New Material again (orchestra) • • material or a • 2nd Subject piano then winds & strings (I) • (soloist) combination of both • Codetta (piano) • Coda (orchestra) Bridge Bridge • New Material again (piano) (Changing Key) (now altered)

• Like sonata form, it has two subjects (second subject returning Medley Form (A-B-C-D-E…) during the recapitulation section in the tonic key), and the total structures divides into three main sections. • An indefinite sequence of self-contained sections. Good examples are overtures to operas (where all the main musical ideas of the • However the main differences are opera are presented). - the exposition and recapitulation both end with a return of the principal subject (rondo theme) or at least some reference to it. - Deck the Halls - the central section may consist of development of previous - Joy to the World material or an episode introducing new material, or both! - Hark the Herald Angels Sing • Used almost exclusively for final movements of instrumental compositions such as sonatas, symphonies, concertos and string - Twelve Days of Christmas quartets. - God Rest Ye Merry Gentlemen Ex.12 Piano Concerto No.23 in A Major (3rd mvt) - O Christmas Tree - The First Noel

Mozart 1756-1791 - Silent Night Ex.13 Christmas Rhapsody arranged by Henri Mancini