1. Musical Form The organization of musical ideas in time
The “shape” of a piece of music

2. Techniques for Creating FORM in Music
Repetition A A
Contrast A B
Variation A A’ A’’

3. 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.

4. 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.

5. Happy Birthday to you
Happy Birthday to so-and-so

6. A - Happy Birthday to you
A’ - Happy Birthday to you
A’’ - Happy Birthday to so-and-so
B - Happy Birthday to you

7. P.I. TCHAIKOVSKY - Dance of the Reed Pipes
TERNARY (3-part) FORM
A B A

8. J.S. BACH - Forlane
BINARY (2-part) FORM
A B

9. Most Common Techniques for creating VARIATION in music
Melodic Variation
Textural Variation
Timbral Variation

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

11. 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

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

13. 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

14. 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

15. 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

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

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

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

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

20. 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.

21. 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

22. AARON COPLAND - Section 7 from Appalachian Spring
“simple gifts”
hymn-tune in
clarinet

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

24. 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

25. 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

26. 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

27. 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,

28. 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

29. 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

30. 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

31. 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

32. W.A. MOZART - Mvt. 3 from Eine kleine Nachtmusik
minuet
trio
minuet A B A
aabb
ccdd ab
NO repeats !!!

33. 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

34. 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

35. 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

36. 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

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

38. 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

39. 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

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

41. 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