Song Form Part 1

Total Page:16

File Type:pdf, Size:1020Kb

Song Form Part 1 SONG FORM PART 1 VERSES AND CHORUSES Today, we’re going to discuss song form. What do I mean by that? I mean the different sections that make up a song, and the way they fit together. By the end of this lesson, we’ll understand the purposes of the different sections of a song, and know how to map out a song to understand its structure. THINGS YOU’LL NEED • A computer or device to watch videos. CHORUS What is a chorus? I’m sure you hear this term all the time. But have you ever taken the time to figure out what it really means? Take a second right now and write down what you think a “chorus” is in a song. The dictionary has two definitions for what a chorus is in a song: 1. a piece of music for singing in unison. 2. a part of a song that recurs at intervals, usually following each verse; refrain That makes sense right? A “chorus” is also a group of people singing together, so a song section that is called a “chorus” would also involve everyone singing together. The other important part of a chorus is that it repeats over the course of a song – usually at least three times. One more thing about the chorus – it’s usually the “thesis” statement of the song or the main point. That’s another reason why it’s repeated so often: so that you can remember what the song is about. This is where the “what” and the “why” of the song are usually found. Here’s an example of a simple, classic song with a chorus that repeats 3 times. Look at the lyrics, and see if you can figure out what part of the song is the chorus: “My Girl,” The Temptations https://www.youtube.com/watch?v=bZh7nRw6gl8 That’s right! The chorus lyrics are as follows: “I guess you say What can make me feel this way My girl Talkin’ ‘bout my girl” Pretty simple right? The Temptations keep the lyrics simple and straightforward and repeat them three times. Everyone immediately knows what the song is about, and it’s easy to sing along to.That’s one of the reasons why this song is such a classic. It’s got a great chorus! So then, what is a verse? VERSE A verse is a section of a song that usually comes before the chorus. There’s usually two of them, and musically, they’re almost identical. But the artist usually changes the lyrics of the verse, and sometimes they will change the melody too. Because the lyrics change, verses are often where the details of the song are included – the “who,” “where,” “when,” and “how.” Listen to this song and see if you can identify where the verses are: “Just The Way You Are,” Bruno Mars https://www.youtube.com/watch?v= GAd4ItXHBVE Here’s the first verse: “Oh, her eyes, her eyes make the stars look like they're not shinin' Her hair, her hair falls perfectly without her trying She's so beautiful and I tell her everyday Yeah, I know, I know when I compliment her she won't believe me And it's so, it's so sad to think that she don't see what I see But every time she asks me "Do I look okay?" I say” And the second verse: “Her lips, her lips, I could kiss them all day if she'd let me Her laugh, her laugh she hates but I think it's so sexy She's so beautiful, and I tell her everyday Oh you know, you know, you know I'd never ask you to change If perfect's what you're searching for then just stay the same So don't even bother asking if you look okay, you know I'll say” Notice how most of the lyrics change between the verses. Also, Bruno Mars sings a different melody on “Oh you know, you know, you know I'd never ask you to change/If perfect's what you're searching for then just stay the same” Then he does on “Yeah, I know, I know when I compliment her she won't believe me/And it's so, it's so sad to think that she don't see what I see” This is a good example of two verses that are mostly the same, but slight changes in lyrics and melody. BRIDGE The other term you hear a lot in songs is the “bridge.” This section is called a bridge because it connects two familiar parts of a song, usually two choruses. But the bridge is different – it’s used to create some contrast be- tween the verses and choruses, so its usually totally different from those two sections. Most often the music is totally different. (This is often where you’ll find a guitar solo). See if you can find where bridge begins in this song: “I Kissed a Girl” by Katy Perry https://www.youtube.com/watch?v=X024NEsDyC8 The bridge starts right after the second chorus. The whole sound of the song changes and she sings: “Us girls we are so magical Soft skin, red lips, so kissable Hard to resist so touchable Too good to deny it Ain't no big deal, it's innocent” That leads into the song returning to the chorus again! VERSE CHORUS AND BRIDGE So now we know the three most common sections of a song: the verse, the chorus and the bridge. Most often, you’ll find a song fits some variation of this song form: Verse/Chorus/Verse/Chorus/Bridge/Chorus Now that we know this, we can try to “map” a song’s form. The way that we do this is by using different letters to represent the different song sections, based on the first time you hear them. The first section you hear would be called “A,” the second section “B,” etc. Each time these sections repeat, they are represented with the same letter. For instance, Verse/Chorus/Verse/Chorus/Bridge/Chorus is often represented as A/B/A/B/C/B Let’s try to “map” a song using this letter technique. Try and write down the letters of each song section as you hear them on a sheet of paper. You ready? “When I Come Around,” Green Day https://www.youtube.com/watch?v=6A0FkxTotmk At its most simple, this song fits into the A/B/A/B/C/B form. “B” is the chorus (“No time search the world around/’Cuz you know where I’ll be found/When I come around”)”; “C” is the guitar solo; and the rest of the song are the “A” sections. But if you want you can break this song down even further. Notice how the verses are made up of two parts, each 4 lines, with the same repeating melody? Look at the first verse: I heard you crying loud, all the way across town Cause you been searching for that someone And it's me out on the prowl As you sit around feeling sorry for yourself Well, don't get lonely now, and dry your whining eyes I'm just roaming for the moment Sleazin' my back yard so don't get So uptight you been thinking about ditching me If you wanted to, you map the song out like this: A/A/B/A/A/B/C/B. The point is: there’s a lot of different ways to map a song, and not just one right way. But song mapping can help give you a picture of how the song fits together, now matter how you interpret it. Let’s try to map another song: “Buddy Holly,” Weezer https://www.youtube.com/watch?v=8bDqzRT_rko I wrote the song form like this: A/B/C/A/B/C/D/C Don’t worry, I tried to trick you with this one – Weezer uses a song section we haven’t even discussed yet! One more song! Let’s try to map this one: “Bury a Friend,” Billie Eilish: https://www.youtube.com/watch?v=DJqWZ3Zy5CU This song is pretty tricky, right? it actually starts with a chorus (“What do you want from me? Why don’t you run from me?”), and it has TWO different pre-choruses (“Step on the glass, staple your tongue…” and “I wanna end me…”) The second verse is really tricky too. There’s the part that sounds like the first verse (“Keep you in the dark, what had you expected?”); then there’s a part that sounds different (“Your talk'll be somethin' that shouldn't be said out loud), and yet ANOTHER part that sounds REALLY different (“For the debt I owe, gotta sell my soul”) Here’s what I wrote: A/B/C/D/A/B/E/F/C/D/A. The point is that there’s no one way to map a song, just like there’s no one way to write a song. But trying to map out these songs allow you to see how they’re put together, and will make it easier to communicate to your bandmates what part of the song you’re talking about..
Recommended publications
  • Summach, the Structure, Function, and Genesis of the Prechorus
    Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory The Structure, Function, and Genesis of the Prechorus (1) Jay Summach NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.summach.php KEYWORDS: popular music, rock music, form, prechorus, sentence, srdc ABSTRACT: Prechoruses emerged in the mid-1960s as verse-chorus and strophic forms converged upon a four-part formal disposition that Everett (1999) calls “statement, restatement, departure, and conclusion,” or srdc. This study traces the expansion of the srdc scheme from its compact deployment in strophes to expanded iterations that approximate verse- chorus form. Received February 2011 [1] This article examines an episode in the evolution of verse-chorus form in pop/rock music. Until the mid-1960s, most verse-chorus songs alternated between the two formal sections from which verse-chorus form takes its name: verses and choruses. Example 1, Mark Dinning’s “Teen Angel,” illustrates the form.(2) As is typical for verse-chorus songs, the focal point of “Teen Angel” is the chorus: it contains the most engaging musical material; its unchanging lyric makes it easy to remember; and it is marked for special attention by additional vocal and instrumental parts. The verses, on the other hand, provide context: each verse advances the song narrative by presenting fresh lyrics; and the music is more modest in instrumentation and intensity so as not to steal attention from the chorus. In “Teen Angel,” the tempo is treated flexibly during the verses, which further distinguishes them from the choruses.
    [Show full text]
  • My Song Analysis: I Want to Hold Your Hand
    My Song Analysis: I Want to Hold Your Hand Artist: By: M. Mejia Music Appreciation Tempo of the Song • The TEMPO is FAST In music Fast tempo is called ALLEGRO Meter of the Song • The METER is 4 beats In music, a 4-beat pattern means that the song has a 4/4 time signature MOOD of the Song The MOOD of this song is rather HAPPY. The artist is communicating this by choosing a bright melody and fast tempo. The lyrics also support this feeling. • A happy mood usually means that the song is in a MAJOR KEY or scale (in fact the song is written in E major) Instrumentation of the Song and Texture • The instrumentation I heard is: 2 guitars, 1 drumset (percussion), 1 bass line, and the voices. The song also had clapping. • The texture is HOMOPHONIC because there is only one main melody or tune that is being accompanied by all other instruments and voices. The FORM of the song • The parts I discovered were: Introduction, A-B-A’-B-C-A’’-B- A’’ ending where: A is the main verse (A’= vs2, A’’ = vs3) B is the Refrain or chorus C is the bridge Form analysis I WANT TO HOLD YOUR HAND - Verse 3 = Part A’’ The BEATLES Yeah you, got that something I think you'll understand Verse 1 = Part A When I say that something Oh yeah, I'll tell you something I wanna hold your hand I think you'll understand When I say that something Refrain= Part B I wanna hold your hand I wanna hold your hand I wanna hold your hand Refrain = Part B I wanna hold your hand (2x) Bridge = Part C And when I touch you I feel happy, inside Verse 2 = Part A’ It's such a feeling Oh, please, say
    [Show full text]
  • Changes in Songs from the OCP Hymnal Programs to Conform to the August 8Th 2008 Directive from the US Bishops Committee on Divine Worship Regarding the Names of God
    Changes in songs from the OCP Hymnal Programs to conform to the August 8th 2008 Directive from the US Bishops Committee on Divine Worship regarding the Names of God Note: In many of the songs, only a simple substitution of text was required. For those songs in which rhythmic or notational changes are necessary, this guide will provide easy solutions for accompaniment. And the Father Will Dance (Carey Landry) Text changes: Verse 1: Substitute “for Yahweh” with “for the Lord” in measures 9 and 10 Verse 2: Substitute “for Yahweh” with “for the Lord” in measures 7 and 8 Melody changes: Verse 1: Remove the slur from C to D on beats 3 and 4 of measure 9 Verse 2: Remove the slur from C to D on beats 3 and 4 of measure 7 Como Busca la Cierva (Xavier Gonzales Tescuano) Text changes: Verse 4: Substitute “Confía en Yavé” with “Confía en el Señor” in measures 1 and 2. Note that there is now an elision between “-a en” on the eighth note A in measure 1. Melody or accompaniment changes: None Como por las Fuentes de Agua (Perla Moré) Text changes: Verse 4: Substitute “Yahvé” with “Señor” in the first measure Melody or accompaniment changes: None El Rey de la Gloria (Aldo Blanco Dávalos) Text changes: Substitute “gloria? Es Yahvé” with “gloria? Es el Señor” in measures 12 and 13 Substitute “Yahvé” with “El Señor” in measures 16 and 17 Substitute “gloria. Yahvé” with “gloria. El Señor” in measures 20 and 21 Substitute “Yahvé” with “El Señor” in measures 26 and 27, & again in measures 30 and 31 Melody or accompaniment changes: There are only changes in measure 12.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • THE UNITY of the SONG of SONGS by ROLAND E. MURPHY Durham, North Carolina Scholars Seem to Be in Agreement That the Song of Song
    THE UNITY OF THE SONG OF SONGS by ROLAND E. MURPHY Durham, North Carolina Scholars seem to be in agreement that the Song of Songs deals with love. Beyond that, there is little consensus. Human love (the moderns), or divine love (the ancients, both of synagogue and church), or both? A collection of several disparate poems, or a few? Poems set within a marriage celebration or without? Poems of the Solomonic period or of various times and places ? The questions can be multiplied, but this article will concentrate on one issue: the unity of the work, as evidenced by the many repetitions within it. The large number of repetitions within eight chapters makes the Song unique within the Hebrew Bible, with the exception of Qohelet. There are several hapax legomena; yet many ordinary words are repeated over and over. Hence the question arises: are the repetitions significant enough to warrant the claim that the Song is, by and large, a unity, and not simply a loose collection or anthology of disparate poems? In other words, one would not expect to find this inner thread of unity (significant repetitions) in poems that are widely presumed to have been written over many years by different hands. What if one should urge that the unity was achieved by an editor who locked together several poems by means of these repe- titions ? Perhaps an adequate reply is that the original poet would have been as expert at this kind of thing as the (later) editor would have been. The repetitions can be treated under the headings of "refrains", themes, and simple repetitions of words and phrases.
    [Show full text]
  • 2Music of the Middle Ages
    M usic of the Middle Ages 2Elizabeth Kramer 2.1 OBJECTIVES 1. Demonstrate knowledge of historical and cultural contexts of the Middle Ages 2. Recognize musical styles of the Middle Ages 3. Identify important genres and uses of music of the Middle Ages 4. Identify aurally, selected compositions of the Middle Ages and critically evaluate its style 5. Compare and contrast music of the Middle Ages with today’s contemporary music 2.2 KEY TERMS AND INDIVIDUALS • a cappella • drone • Alfonso the Wise • gothic • bubonic plague • Guillaume de Machaut • cadence • Hildegard of Bingen • cathedrals • hymn • Catholic Church • mass • chant • melisma • classical Greece and Rome • Middle Ages (450-1400 CE) • clergy • nobility • commoners • Perotin • courtly love • polyphony • courts • Pope • Crusades • Pythagoras Page | 34 UNDERSTANDING MUSIC MUSIC OF THE MIDDLE AGES • refrain • syllabic • rhythm according to the text • university • Roman Empire (27 BCE – 476 CE) • vernacular literatures • song • verse • strophes • Virgin Mary 2.3 INTRODUCTION AND HISTORICAL CONTEXT 2.3.1 Musical Timeline Events in History Events in Music 2nd millennia BCE: First Hebrew Psalms are written 7th Century BCE: Ancient Greeks and Romans use music for entertainment and religious rites 6th Century BCE: Pythagoras and his experi- ments with acoustics From the 1st Century CE: Spread of Christianity through the Roman Empire 4th Century BCE: Plato and Aristotle write 4th Century CE: Founding of the monastic about music movement in Christianity c. 400 CE: St Augustine writes about church c. 450 CE: Fall of Rome music 4th – 9th Century CE: Development/Codification of Christian Chant c. 800 CE: First experiments in Western Music 11th Century CE: Rise of Feudalism & the Three Estates 11th Century CE: Guido of Arezzo refines of mu- 11th Century: Growth of Marian Culture sic notation and development of solfège 1088 CE: Founding of the University of Bolo- gna 12th Century CE: Hildegard of Bingen writes c.
    [Show full text]
  • Vocal Music 5 Grade
    Vocal Music 5th Grade Christy Garner, Barrington Elementary School Angela Haberstroh, Townsend Elementary School Rachel Johnson, McNair Elementary School Alisha Williams, Brown Elementary School Heather Wombacher, Jamestown Elementary School Matt McClellan – Special Areas Curriculum Coordinator Reviewed by Curriculum Advisory Committee on November 13, 2014 Presented to the Board of Education on January 13, 2015 COURSE TITLE: Elementary Vocal /General Music GRADE LEVEL: Fifth Grade CONTENT AREA: Music Course Description: In Fifth grade music, students explore the basic elements of music through singing, moving, listening, and playing classroom instruments. Students will have a solid understanding of many musical concepts and will be moving toward mastery in many general music skill sets. Course Rationale: Music is universal. In all societies, people sing, dance, and play instruments. All forms of music expression are keys to cultural heritage. People use music as a means of expressing their emotions. Music enhances the quality of life. Music education contributes to the emotional, intellectual, aesthetic, and physical development of the child. Every child should have the opportunity to explore music, to develop a knowledge of musical concepts, to participate in musical performance, and to develop innate musical talents. Music, by its very nature, encompasses all other core and non‐core content areas. The cross‐ curricular connections are organic and authentic; they are inherently embedded in all music strands and activities. A complete program of music education, while instilling an appreciation for all types of music, ensures that students have the knowledge necessary to make informed, intelligent decisions about the music they choose to have in their lives.
    [Show full text]
  • Refrain, Again: the Return of the Villanelle
    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
    [Show full text]
  • PRAYER of PEACE ORACIÓN DE PAZ in the Spirit of Taizé En El Espíritu De Taizé
    RAYER OF EACE RACIÓN DE AZ P P O P in the Spirit of Taizé en el Espíritu de Taizé 7:00 PM MONDAY APRIL 10, 2017 AT ST. MARY CHURCH Gathering Songs De Noche Iremos (By Night, We Hasten) [Taizé] {SP-5/SPT-46/BS-42/GIA} parts on-hand for: SATB ostinato refrain; verses; keyboard; guitar/bass; C-Bb-F treble instruments; bassoon; cello; brass Stay With Me (Velaré Contigo, Señor) [Berthier, Taizé] {MT2-67/HPR-110/OC-423/W4-484/BS-24/GIA} parts on-hand for: SATB; ostinato refrain; verses; keyboard; guitar/bass; C- Bb-F-Eb treble instruments; bassoon; trombone; cello En Nuestra Oscuridad (Within Our Darkest Night) [Taizé] {SPT-37/OC-598/BS-40/GIA} parts on-hand for: SATB ostinato refrain; verses; keyboard; guitar/bass; C treble instruments, cello Psalm Psalm 27: The Lord is My Light/El Señor es Mi Luz [Krisman, Guimont] {OC-LP/GIA} parts on-hand for: keyboard; guitar/bass Reading Ephesians 5:8-11, 13-14 (live as children of light…) (vivan como hijos de la luz…) Song of Light Jesus Christ, Yesterday, Today and for Ever (Jesucristo Ayer…) [Toolan] {GC2-730/OC-674/W4-843/G3-847/HPR-50/GIA} parts on-hand for: SATB ostinato; verses; keyboard; guitar/bass; C-Bb treble instruments; brass quartet; bassoon Silent Prayer Reprise Jesucristo Ayer (Jesus Christ, Yesterday, Today and for Ever…) Intercessions Oración de Los Fieles /Bilingual Intercessions [Kolar] {octavo/G3-353/VAO-397/WLP} parts on-hand for: SATB refrain; descant; cantor intercessions; keyboard; guitar/bass; C treble instrument The Lord’s Prayer Concluding Prayer Our Darkness (La Tiniebla/La
    [Show full text]
  • The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin
    Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin David Carson Berry Irving Berlin (1888-1989) played a leading role in the development of popular song in the U.S., and enjoyed a recognition and success that was perhaps unparalleled. He made his songwriting debut (as a lyricist) in 1907 and actively composed for at least six decades thereafter, contributing to the world approximately 900 copyrighted songs1 and becoming one of the few artists of his time to write both melody and lyric.2 Despite his influence and talents, however, his music has seldom been treated to analytic or theoretic attention; Charles Hamm has engaged in extensive historiographic work on Berlin and his oeuvre,3 but Allen Forte is one of the few who has analyzed the songs in explicitly musical terms.4 The dearth of analysis is !A song listing is provided in Steven Suskin, Berlin, Kern, Rogers, Hart, and Hammerstein: A Complete Song Catalogue (Jefferson, NC: McFarland & Co., 1990). Although some (especially early) songs may have been lost, the actual number of Berlin's copyrighted songs - which surely includes most of what he ever wrote, even birthday songs for his grandchildren - contradicts frequently encountered exaggerations which place his output as high as 2000-3000 songs. Such elevated numbers may be partly attributable to the show-business boasts of Berlin himself, who once claimed to have composed as many as five songs a day (see Laurence Bergreen, As Thousands Cheer: The Life of Irving Berlin [New York: Penguin Books, 1990], 58).
    [Show full text]
  • Wait for the Lord December 5, Songs and Prayers from the Community of Taizé 2013
    Community Worship Thursday, Wait for the Lord December 5, Songs and Prayers from the Community of Taizé 2013 Jesus our joy, the simple desire of your presence is already the beginning of faith. And in our life, the hidden event of longing causes wellsprings to gush forth: kindness, generosity, and also that inner harmony which comes from the Holy Spirit in us. Prayer by Brother Roger of Taizé ² Song: “Wait for the Lord” [refrain - verse - refrain] Ken Pettigrew (MDiv ‘16), cantor Wait for the Lord Wait for the Lord, whose day is near. Wait for the Lord: be strong, take heart! Text: Isaiah 40, Philippians 4, Matthew 6-7; Taizé Community, 1984 Tune: Jacques Berthier, 1923-1994 ² Lighting of the Advent© 1984, Les Wreath Presses de Taizé, GIA Publications, Inc., agent This is the candle of Hope. May the light of Hope be with you always. And also with you. This is the candle of Peace. May the light of Peace be with you always. And also with you. ² Song of Light: “The Lord is My Light” T[canonhe Lord- round] Is My Light Theme I 1. 2. , b 4 œ ‰ œ & 4 j œ œ œ œ j œ œ œ j œ œ j œ The Lord is my light, my light andLastsal time- va-tion: in U b œ ‰ œj œ ‰ . & Godœ . œj I trust, inj œ Godœ . I trust. Theme II 1. 2. , b 4 œ ‰ j œ œ j œ & Thej œ Lordœ isœ myœ light, myj œ lightœ andœ salœ - va-tion: in Last time œJ U b œ .
    [Show full text]
  • Other Forms That Composers Employed on a Regular Basis
    Other Musical Forms While the sonata form is considered one of the most complex and widely used forms of common practice music, there are other forms that composers employed on a regular basis. While not as complex as the sonata form, these other forms might have been used in multi-movement pieces to provide variety from one movement to the next. Rondo Form Derived from an old French dance format, the rondo form uses a regularly recurring section (the refrain) interspersed with different, varying material (episodes). The refrain would use the same, or nearly the same material each occurrence, while the episodes could use different material each time. In terms of labeling, the refrain is identified as the A section and the various episodes are labeled B, C, D and so on. The formal layout of a rondo could follow a symmetrical design like this: |-----A-----|-----B-----|-----A-----|-----C-----|-----A-----|-----B-----|-----A-----|| refrain 1st episode refrain 2nd episode refrain 1st episode refrain (again) Or the layout could be linear: |-----A-----|-----B-----|-----A-----|-----C-----|-----A-----|-----D-----|-----A-----|| Whatever the arrangement of interspersed episodes is, the rondo form will begin and end with the refrain. The unifying idea behind the rondo form is to hear the familiar A-section material (the refrain) return every so often. Refrains in the middle part of the rondo could be varied, such as being in a different key, or featuring other rhythms, but the theme would still be clearly recognizable. Many symphonies and piano sonatas use the rondo form in their final movements. The tempo can be fast or slow, although it is usually fast if in the final movement.
    [Show full text]