theory for musicians and normal people by toby w. rush

I’ll tell you what’s Motivic Development going on: I’m grumpy! I bet archduke rudolph we’re going to take a little break 20 gulden that I from the usual stuff and... hey, could write it’s ludwig van beethoven! 500 measures of music this week and so far I’ve only what’s going , maestro? on come up with

bee four stinkin’ notes! thoven

hey, it’s cool, mr. b... original motive we can use these notes ‰ as a motive, and create & œ œ œ b˙ a ton more music based on them. watch!

the simplest form of motivic development: repeating a phrase repetition immediately gives you twice as b œ œ œ ˙ œ œ œ œ ˙ œ much music! & b b ‰ motive J repetition J

repeating a motive at a higher or lower level pitch. as with œ œ œ sequence œ all of these, the intervals b nœ œ œ #œ œ œ œ don’t have to match exactly. b ‰ J œ & b motive sequenceJ sequenceJ flipping the motive upside-down: inversion if the original motive leaps b œ œ downward, an inversion will & b b Œ‰œ œ œ Œ leap upward. inversion of original motive

interval contraction making the intervals within the motive smaller (contraction) or œ œ interval expansion b œœœ œ ˙ larger (expansion). b ‰ ˙œ & b motive int. expansion

diminution changing the speed of the motive augmentation so it is played faster (diminution) b œ œ œ or slower (augmentation). b b Œ ˙. &augmentation of original motive

rhythmic any change of the motive’s rhythm . . . (other than just changing the . œ. œ . œ œœœ. œ œ œœ metamorphosis tempo, as described above) b œ œ nœ œ & b metamorphosisb ‰ of original motive‰

an “echo” effect between different voices b j œ œ œ & b b Ó ‰ œ œ œ œ œ Œ imitation (between instruments in an ensemble, for imitation example, or between registers on the piano) bbb ‰ Œ & motiveœ œ œ ˙ ˙.

so, heh heh.... aw, dang! let’s go that gets us to 253 measures... double or nothing! you sly fox... wait... we are in 506 measures! 4/4 time, right? woooot! uh, yeah... read it and weep, rudy! so let’s use 2/4 time instead! bee thoven

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