Form and Analysis

Summer 2011
May 9, 2011 How is music different from sound? o Music has a formal structure Form: the study of structure o Music exists aurally and visually o Has 2 purposes Provides structure for the brain Evokes emotional response through tension and relaxation o Difference between genre and form Genre: general category Form: structure, how ideas are presented and connected Formal Design o Sections and their relationships?? o Large letters mark the big sections o Small letters mark the small sections Things to analyze o Design: how things are put together o Tonal Structure Cadences o Authentic (AC) V-I Perfect (PAC) Last line has I in the highest/lowest note V has the fifth note of the scale in the bass Imperfect (IAC) One chord is an inversion o Half (HC) (I-V or ii-V) Deceptive (V-vi) Appears to go to the authentic but doesnt Plagal (IV-I) Single Harmonic Movement o I-__-I-I o Blank must be anything but I Phrase o Basic unit of music o Segment that moves toward a goal or sense of repose o Qualifications Must go somewhere Comes to a relative repose Repose: rhythmic interruption Repose: lack of movement harmonically Sense of completeness

Qualities that identify a phrase o Cadence o # of measures: 4,2,8 o Fermatas, etc o Rhythm o Repetition of previous material o Change in key, mode, timbre, accompaniment, etc o Vocal= sentence, text o Consonance after dissonance o Slowing of harmonic rhythm Tips o Repetition of any sort does not change the analysis o Elision: New phrase that begins on the same note that an old phrase ends o Link: pick up notes before the start of a phrase o Extension (Cadential elaboration): extension of the cadence

May 11, 2011 Motivic development and Thematic Transformation Relative cadence strength o Conclusive: ends in I PAC on I (1st strongest) IAC on I (2nd strongest) PlagalC on I (3rd strongest) o Inconclusive PAC on V or other (1st strongest) HC (2nd strongest) Anything else/deceptive (3rd Strongest) Harmonic movement o Complete HM Starts on tonic Moves away Comes back to tonic o Progressive HM Starts on I and moves away and doesnt come back for a while. Or may end in another key o Interrupted HM I and then to V and then a strong PAC on V I---V|I---VI (keys) phrase| phrase Phrase Groupings o Phrases are usually grouped into segments o 3 types of phrase groupings (must have 2+ phrases) Phrase chain 2+ phrases that are not similar

At the end, its an inconclusiveHM: not complete (V chord ending) goes to something else Phrase group Have multiple phrases similar in nature and inconclusive Period Conclusive, similar or dissimilar but usually similar 2 types of periods o Contrasting (phrase dissimilar) o Parallel (similar) First phrase is antecedent and ends on HC, or PAC on V Second phrase is consequent ends on I Double period- two antecedents and consequents restatement reappearnce after ontrast o a, b, a o a, b, a repitition immediate restatment (exact) varied repetition reapperarnce with little no changes, altered harmony, melody moved octaves ok contrast- some important structural change overall form

o binary 4 types

Terms I Authentic Cadence Imperfect Authentic Cadence Perfect Authentic Cadence Full Cadence Deceptive Cadence Half Cadence Plagal Cadence Phrase Antecedent Consequent Period Parallel Period Contrasting Period Double Period Phrase Group

Phrase Chain Harmonic Movement o Complete o Interrupted o Progressive Introduction Elision Cadential Elaboration Link Extension Imitation Ornamentation Repitition Restatement Sequence Fragmentation Diminution Augmentation Binary Rounded Binary Balanced Binary Barform Ternary Continuous Sectional Full Sectional Formal Designs o AA or AB or ||: A :||: B :|| o AA or AB or ||: A :||: B :|| o AAB o ABA or ||: A :||: BA :|| o ABA or ||: A :||: BA :|| o ABA

Ternary from 3 parts song form but ternary is the name Rounded binary has 3-part Diff- b section is more substantial and thematicall or harmonically independents Continuous ternary

Ecitonal ternary is the same as continuous except the a section Full Ecitonal ternary All three are harmonically complete A 1-1 B 1-1 C 1-1 ABA Usually no repeats B will stand on its own 32 Bar song form A section another A section almost always written out then a contrast B section AABA B is inconclusicive almost always

June 1, 2011 Few one part forms: chopin pieces maybe Almost no four part forms Five part forms o Most common is an extension of the ternary Compound ternary o ABA but each section has its own little form (binary or ternary) o Common: da capo dance movements: minuet and trio A (rounded continuous usually) B (rounded continuous usually) A (ABA) o 2nd most common scherzo and trio o 3rd most common da capo aria (example from 89) A (AB) simple continuous B (A) A (AB) simple continuous Ex Beethoven piano sonata 15 scherzo pg261 Rondo o StatementDigressionRegression o ABACA, ABACADA or ABACABA

Can have more sections The A section keeps coming back in the same key Variation; ABACDA Have to have at least 3 As Separated by some other material 17th-18th early century France Coperante. o Rondo: German spelling o Rondeaux: Baroque A is called refrain, others are called couplets Sometimes its only written out once Start with A and end with A A is harmonically complete Ex: 61 o Rondo: Classical Usually movement from a larger work Often the last movement Difference between class and bar: more emphasis on tonal relationships Usually the first episode in closely related key and has some contrast with the refrain but some same elements Second is further away in key or tempo Final refrain may work into a coda at the end Pg 140 haydn sonata and pg 332 Chopin mazurka o o o o o

June 6, 2011 Sonata Form o Italian for to be sounded (played) rather thatn sung o Any instruemtneal rather than vocal early on o Two styles Sonata da camera (Chamber sonata) Suite on instrumental dances 3-6 movements in a particular order o Sometimes Prelude o Allemande o Courante o Sarabande o Sometimes a Minuet or Gavotte or Bourree o Gigue o Sometimes composers would leave one of the main ones out Sonata di chiessa (church sonata) More somber 4 movemets with no names

 slow fast slow fast mostly for organ o In Classic perios Multimovetne work for instrumentalists Trio for three players instead of called Symphony developed out of sonata 3 main movements Fast Slow Sometimes one added here (minuet or scherzo, dancelike) Fast Sonata allegro form Usually the first movemnt of Developed out of the ternary form All of the ideas are presented in the A section B becomes a developmental section of the previous ideas A is the restatment Exposition Development Recapitulation Key relaitonships are vital Terms Dissulusion: a theme gradually changes into a transition and its very hard to distinguish where the theme stops and the transition begins Deceptive modulation: where the transition goes into one key or a half cadence in a key but the thing immediately after it is in a different key (V7/V but the next is in the key of IV instead of V) deceptive in Haydn False Return: where it appears that the first theme has come back but it hasnt cause its in the wrong key. Will come back later. Appears shortly before the real return Cyclic: themes appear in different movements, reusing a theme in different movement. Berlioz Sonatina: shorter lighter easier sonata Concerto: special sonata o Developed out of antiphony o Contrast between 2 groups of player o Large and small alternating o Romantic: soloist and orchestra o Baroque: group (Concerto grosso) Concertino small group Ripieno: large group (tutti) Large and small were equal in importance Large, small, large

Two types Variations o Sectional (Theme and Variations Longer idea that is the basis, reappears at points throughout the work Contrasts is achieved by changing something in each variation Rhythmic or melodic Whole period or two. (longer than continuous) Cadence or a pause at the end of every variation Themes are borrowed from another composer Each variation will retain some element of the original Pg 76 Names Ornamental Variation: basic melody but add notes Simplifying Variation: melody is simplified with longer note values Figural Variation: rhythmic figure that is repeated over and over Melodic Variation: keep the bass and the harmonic shceme but add a new melody Motivic Variation: frequent repetition of a sequence of motive Contrapuntal Variation: melody comes in contrapuntally (canon or fugue-like) Characteristic Variation: takes on the character of a well known special type of music (March, Minuet) Additive Variation: add things on top Free Variation Mode Change Variation: changes to major or minor Metric Variation: change in the meter o Achieve unity through the shaping and ordering of the variations. Might be grouped as a rhythmic crescendos or diminuendo. o Grouping: 1-2-3 could be grouped together as melodic variation 4-5-6 could be rhythmic variations. Systematic plan o Usually the ending is the most complex variation. Usually a repetition of the theme or a coda at the end. o Continuous Short theme Usually one phrase that repeats itself over and over with little perceptible break Types o Ground base Bass line that keeps repeating over and over 4-8 measures can be ornamental voices about can be changing other voices can cadence at different place than the bass

 pacabels cannon pg 122 many in Baroque o Ostinato Pg 418 Two Types Bass Harmonies o Same as bass but the harmonies are repeating o Pg 95 o Pg 294

Pg 165 Theme: Complete Analysis Number 1-12 1. Describe Whats different 2. Is there a name for each one? description Antiphonal variation 3. group them together and why? Pg 56 Phrase analysis of just melody (not cadence) Compare to accompaniment

June 13, 2011 Contrapuntal o Canons Comes from Greek rule Usually has rules Type of imitating counterpoint where there is a leading voice. that voice is strictly imitated (rhythm/melody) throughout the piece by one or more following voice that enter at a set period of time after the first voice

Double canon 2 different melodies happening. Has to have at least 4 voices. Pg 20, pg 360 Crab Canons: played forward and backward pg 120 #1 Riddle Canon: read the page upside down and right sight up. Have to figure out when the 2 voice comes in. Some aspect that is unclear: usually when the voice comes in. or when to stop pg 121 #3 o Fugues Canons developed into fugues Precise order of imitation Common in baroque Counter: always appears against the subject or answer Episode: extra measure between the 2nd and 3rd entry (used to get back to the tonic) Real Answer vs Tonal Answer RA: exactly like a canon TA: have a few notes changed to avoid a modulation After all voices have presented the theme, go to development section. Sequences are extremely common, imitation, augmentation, diminution, nothing new Stretto: subject usually finishes before it shows up again2nd voice comes in with the subject before the 1st verse is finished. All voices usually do this when that happens. Double fugue: 2 subjects 2 answers 2 counter sugbjects Rare triple fugues Pg 106 Pg 117 answer is augmented and inverted Pg 452 Bartok fugue Double Fugue 9:00 final 3 pieces of music (more standard forms) no fugues or 20th century Binary/Ternary/Rondo/sonata/compound ternary (overall plus segments) minuet and trio/da capo aria

20th century o Reaction to romanticism o Some things from romantic period find their way into 20th century, some didnt o Things that stuck ABA form o New Things Isms much is categorized by style

impressionism blurred tonalotiy, phrase, rhythm, meter, primitivism emphasis on rhythm at the expense of melody neoclassicism much more formalilty Expressionism Very little form Highly dissonant Not very structured Lack of structure Serialism Very structured by sclae not by form Texturalism Texture over melody and harmony Minimalism Limited harmonic and melodic material o Broadened definition of phrase In common practice, determined mostly by melody and cadence 20th more by rhythm texture and harmony Some composers avoided phrases all together Cells (feel complete and are short), sound events (sounds that occur together) analyze textured music by when things changed Some traditional forms are kept But a lot of music isnt kept Started using devices rather than form Nontraditional scales (whole tone scale) Non tertian chords o Chords stacked in 4ths and 5ths o Open chords o Parallelism o Polychords: two chords on top of one another pg 514 o Polytonality: two keys going on at the same time o Lots of ostinato o Polyrhythm: o Polymeter: two meters at the same time o Serialism Analyzing o Different ways to analyze Harmonies Devices Cells Textures Sound events