ғᴏʀᴍs ɪɴ ᴍᴜsɪᴄ

                35 - 40

form - how music is organized in a larger time scale

how units are combined to make larger structures

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  Perceiving Musical Form

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to have a sense of shape, listener must remember what

came before

most use visual representation of music to think about form

scores (music notation) and diagrams

memory and anticipation are key components to the 

listening experience

listener who expects dissonant passage to resolve:

expectation met, thwarted, or deferred

harmonic dissonance - primary way tension is created

tension can be created in other ways: increased dynamic

level, increased tempo, increased rhythmic activity using

shorter durations

The Beatles - "A Day in the Life" - dissonance, delayed

resolution to tonic, increasing dynamics, rising line

building blocks of musical form: motives, phrases, cadences,

themes

principles of repetition, variation, development, contrast

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        Elements of Form

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motive - smallest identifiable recurring musical idea

ostinato (Italian for obstinate) - melodic or rhythmic motive

repeated many times in immediate succession

Take Five (bass and snare), Jefferson Airplane - White Rabbit

phrase - cohesive musical thought

often come in related pairs

antecedent - 1st one, ends inconclusively

consequent - 2nd one, provides perfect solution

parallel structure - begin with similar musical meterial

cadence - resting point in piece of music

half cadence - ends on dominant harmony (V)

full/authentic cadence - V-I

theme set of phrases that make complete melody

introduction - precedes first main theme of piece

ex: Aquarius, Satisfaction

coda - "tail" in Italian, outer frame for central piece

The Beatles - "When I'm 64"

common in rock and roll - final word repeated several times

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          Common Forms

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musical form - controls larger spans of time

operated by: balance, proportion, drama, climax, denouement

basic formal processes: repetition, variation, contrast

repetition - repeating of musical material

sequence - repeated on different pitch level, can be rhythmic,

melodic, harmonic, or combination

John Coltrane - A Love Supreme - sequence goes through

all 12 keys

theme and variations - start with straightforward statement of

theme, new section repeats theme with changes

A A' A'' A'''

Ulysses Kay - Fantasy Variations - saves theme for last

twelve bar blues - 12 measure chord progression

usually in moderate tempo, 4 beats to measure, in any key

C, Bb, F  most common, can be minor

improvisation - jazz, styles common before 1950

spontaneous variations of familiar melody

John Coltrane - My Favorite Things

Contrast - important characteristic of larger musical forms

ternary form - ABA

1st movement - sonata, last movement - rondo (ABACABA,

ABACA)

Frank Zappa - It Can't Happen Here

ternary and rondo, ABACBA

32 bar form - section repeats, contrast with 2nd 8 measure idea

I Got Rhythm, Somewhere Over the Rainbow

verse chorus/refrain - verses, chorus aBaB

fugue - single theme (fugue subject), develops using imititative

counterpoint (canon)

companion theme, countersubject imitation, repetition at

different pitch level (usually fourth or fifth)

Sonata - 1st movement, exposition - presents 1st idea in key,

modulate, transition, increased activity, development - unstable

and exploratory, ends in half cadence, recapitulation - idea 1 

returns, transition and idea 2 follow in same key

sonata cycle - most prevalent multimovement composition,

works from 1730-1950