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’’

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 7 5 5 6 5 2 1 Happy Birthday to so-and-so 5 5 5 3 1 7 6 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 Melodic Variation Textural Variation Timbral Variation

Melodic Variation Embellishments/Ornamentation Changes of Mode (Major/Minor) Melodic Extensions/Subtractions (Fragmentation)

Textural Variation Addition of countermelodies and/or other non-imitative polyphony countermelody - melodic idea that accompanies a main theme Sections of imitative polyphony (I.e. fugatos/fugal sections) on a melody and/or motive Adding or changing accompaniment to melody

Timbral Variation Changes in timbre (changes in instrument(s) playing melody and/or accompaniment) Tutti vs. Soli

Sectionals Forms Theme and Variations Minuet and Trio Rondo 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 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 aabb aabb violin countermelody

JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major aabb aabb aab? violin countermelody minor

JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major aabb aabb aab? aabb violin countermelody minor Flute & oboe cntrmel.

JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major aabb aabb aabb aab? aabb violin countermelody minor tutti Flute & oboe cntrmel.

JOSEPH HAYDN - Mvt. 2 from Symphony No. 94 in G Major Coda aabb aabb aabb aab? aabb a violin countermelody minor tutti Flute & 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 “simple gifts” hymn-tune in clarinet

AARON COPLAND - Section 7 from Appalachian Spring “simple gifts” hymn-tune in clarinet oboe & bassoon faster, higher in pitch

AARON COPLAND - Section 7 from Appalachian Spring new bell-like accompaniment melody in violas & trombones; then IMITATION in strings “simple gifts” hymn-tune in clarinet oboe & bassoon faster, higher in pitch

AARON COPLAND - Section 7 from Appalachian Spring new bell-like accompaniment melody in violas & trombones; then IMITATION in strings “simple gifts” hymn-tune in clarinet oboe & bassoon faster, higher in pitch brass, very fast, staccato

AARON COPLAND - Section 7 from Appalachian Spring new bell-like accompaniment melody in violas & trombones; then IMITATION in strings “simple gifts” hymn-tune in clarinet woodwinds, slower oboe & bassoon faster, higher in pitch brass, very fast, staccato

AARON COPLAND - Section 7 from Appalachian Spring new bell-like accompaniment melody in violas & trombones; then IMITATION in strings “simple gifts” hymn-tune in clarinet woodwinds, slower oboe & bassoon faster, higher in pitch brass, very fast, staccato 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 minuet A a = forte staccato melody b = piano legato melody, with Forte staccato melody fragment returning at end of phrase 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

W.A. MOZART - Mvt. 3 from Eine kleine Nachtmusik 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 A B aabb ccdd 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 minuet trio minuet A B A aabb ccdd ab 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 minor, fast-sounding, some staccato aabb In each ‘b’ = unexpected held tone 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

LUDWIG VAN BEETHOVEN - Mvt. 4 (Allegro) from String Quartet in C Minor major, slower-sounding, very legato aabb ccdd 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 minor

LUDWIG VAN BEETHOVEN - Mvt. 4 (Allegro) from String Quartet in C Minor aabb ccdd aa’bb’ slight variation in repeats with more agitated tremolos minor major & legato minor

LUDWIG VAN BEETHOVEN - Mvt. 4 (Allegro) from String Quartet in C Minor aabb ccdd aabb eee’e’ major, imitation

LUDWIG VAN BEETHOVEN - Mvt. 4 (Allegro) from String Quartet in C Minor transition section aabb ccdd aabb eee’e’ aa bb… Big pause in music before 2nd “b” phrase

LUDWIG VAN BEETHOVEN - Mvt. 4 (Allegro) from String Quartet in C Minor aabb ccdd aabb eee’e’ aa bb cc f?? new material with lots of variation

LUDWIG VAN BEETHOVEN - Mvt. 4 (Allegro) from String Quartet in C Minor aabb ccdd aabb eee’e’ aa bb cc f?? ab

LUDWIG VAN BEETHOVEN - Mvt. 4 (Allegro) from String Quartet in C Minor CODA aabb ccdd aabb eee’e’ aa bb cc f?? ab Coda moves faster and faster