Structure
From the syllabus:
Structure refers to the idea of design or form in music. In organising sound the concepts of duration, dynamics, pitch and tone colour are combined in some way for a particular purpose. Structure relates to the ways in which music sounds the same (or similar) and/or different.
Students should be able to discuss the following aspects of structure as relevant to the music studied:
• phrases
• motifs
• riffs/repetitive patterns
• techniques of call and response/question and answer
• traditional and non-traditional patterns of musical structure
• structures used in world music
• structures used in single pieces of music
• multi-movement structures (eg symphony)
Structure refers to the idea of design or form in music. In organising sound the concepts of duration, dynamics, pitch and tone colour are combined in some way for a particular purpose. Structure relates to the ways in which music sounds the same (or similar) and/or different.
Students should be able to discuss the following aspects of structure as relevant to the music studied:
• phrases
• motifs
• riffs/repetitive patterns
• techniques of call and response/question and answer
• traditional and non-traditional patterns of musical structure
• structures used in world music
• structures used in single pieces of music
• multi-movement structures (eg symphony)
12 Bar Blues
Binary
Coda
Fugue
Popular Song Structure
- Introduction
- Verse
- Chorus
- Pre Chorus
- Bridge
- Instrumental
- Outro
Riff
Ritornello
Rondo
Sections
Sonata Form
Ternary
Theme and Variations
Through Composed
Structure at a Glance
Binary
Coda
Fugue
Popular Song Structure
- Introduction
- Verse
- Chorus
- Pre Chorus
- Bridge
- Instrumental
- Outro
Riff
Ritornello
Rondo
Sections
Sonata Form
Ternary
Theme and Variations
Through Composed
Structure at a Glance
12 Bar Blues
A repeating 12 bar chord pattern. See ’12 Bar Blues’ in PITCH
A repeating 12 bar chord pattern. See ’12 Bar Blues’ in PITCH
Binary (Form)
Binary form is a piece with two main sections. Section A à Section B. The sections are significantly different from each other. At times ‘repeated binary’ is used ABAB.
Or AABB (both sections repeated) is another acceptable binary form.
Here is a Binary Piece called ‘Rigadon’ by Purcell. In this piece each section is repeated AABB.
Try to count the number of bars that the A and B section lasts.
Binary form is a piece with two main sections. Section A à Section B. The sections are significantly different from each other. At times ‘repeated binary’ is used ABAB.
Or AABB (both sections repeated) is another acceptable binary form.
Here is a Binary Piece called ‘Rigadon’ by Purcell. In this piece each section is repeated AABB.
Try to count the number of bars that the A and B section lasts.
Coda
Coda is the Italian word meaning ‘tail’. The coda is the ending of the piece. If the piece is orchestral/’Classical’ don’t call it an Outro! Here is the ‘Murder She Wrote’ Theme. It has a nice little coda.
Coda is the Italian word meaning ‘tail’. The coda is the ending of the piece. If the piece is orchestral/’Classical’ don’t call it an Outro! Here is the ‘Murder She Wrote’ Theme. It has a nice little coda.
Fugue
A fugue is a very Baroque device but it does pop up in the following 300 years. It has a similar feature to the canon in that the same melodic line is overlapped. Here is how it works… I won’t go in to too much detail.
Fugues were written in the Baroque period (and continued on but not as much) for harpsichord/organ and instrumental combinations (string quartets etc.). Some composers wrote vocal fugues. The fugue is a very polyphonic construction. For our fugue we will say that there is a soprano, alto and bass line. (Some fugues have 2 or 4 voices/lines)
Each fugue has a subject/theme. The theme is introduced in one voice and once the theme finishes it continues with new melodic material. As the theme is finishing in one part it starts again in another part (usually in a different key)
Entries of different parts/layers (one-at-a-time) is known as a ‘Staggered Entry)
A fugue is a very Baroque device but it does pop up in the following 300 years. It has a similar feature to the canon in that the same melodic line is overlapped. Here is how it works… I won’t go in to too much detail.
Fugues were written in the Baroque period (and continued on but not as much) for harpsichord/organ and instrumental combinations (string quartets etc.). Some composers wrote vocal fugues. The fugue is a very polyphonic construction. For our fugue we will say that there is a soprano, alto and bass line. (Some fugues have 2 or 4 voices/lines)
Each fugue has a subject/theme. The theme is introduced in one voice and once the theme finishes it continues with new melodic material. As the theme is finishing in one part it starts again in another part (usually in a different key)
Entries of different parts/layers (one-at-a-time) is known as a ‘Staggered Entry)
Once the subject has been stated in all voices the fugue continues and develops by using and working on fragments of the subject. This differs to a canon as once the theme is introduced the parts continue with new material. A canon is one continuous melody that is exactly repeated in all parts.
In this example you will hear the altos enter with the subject. The sopranos will then enter with the subject in a higher register. Soon after this the basses will enter with the theme. Throughout the rest of the fugue you will here fragments of the subject. There will be lots of sequences and imitation.
Fugue II from Bach’s Well Tempered Clavier.
In this example you will hear the altos enter with the subject. The sopranos will then enter with the subject in a higher register. Soon after this the basses will enter with the theme. Throughout the rest of the fugue you will here fragments of the subject. There will be lots of sequences and imitation.
Fugue II from Bach’s Well Tempered Clavier.
If a Fugue is played on the piano the different voices are played using different registers of the piano. Here is an example. Listen for the subject entering in different registers.
Some people argue that the fugue is not a structure more of a textural device. If you hear fugal style music you can call it a fugue and describe its texture.
Some people argue that the fugue is not a structure more of a textural device. If you hear fugal style music you can call it a fugue and describe its texture.
Popular Song Structure
A type of structure that combines the following elements:
Intro Verse Pre Chorus Chorus Instrumental Bridge Outro
This structure is associated with ‘Popular music’
Introduction/Intro
The beginning part of a piece before the ‘main musical events’ are introduced. If you can try to count how many bars the intro lasts
A type of structure that combines the following elements:
Intro Verse Pre Chorus Chorus Instrumental Bridge Outro
This structure is associated with ‘Popular music’
Introduction/Intro
The beginning part of a piece before the ‘main musical events’ are introduced. If you can try to count how many bars the intro lasts
An intro from a Popular piece (9 bar intro)
An intro from a Romantic vocal piece (4 bars)
An intro from a Romantic vocal piece (4 bars)
Verse
The part of a popular song structured’ piece that has the same melody but different words each time. Verses can have slight variation between accompaniment and melody each time.
The part of a popular song structured’ piece that has the same melody but different words each time. Verses can have slight variation between accompaniment and melody each time.
Pre Chorus
A section of a ‘popular song structured’ piece that is between the verse and the chorus. It’s not really the verse and it’s not the chorus yet. There is an example from John Farnham’s ‘You’re the voice’. The pre chorus starts with the words ‘Were all someone’s daughter’ (You just cant have enough of this song!! J) A pre chorus must different from the verse (listen for new melodic material or textural change). It is always good if you can identify the number of bars.
A section of a ‘popular song structured’ piece that is between the verse and the chorus. It’s not really the verse and it’s not the chorus yet. There is an example from John Farnham’s ‘You’re the voice’. The pre chorus starts with the words ‘Were all someone’s daughter’ (You just cant have enough of this song!! J) A pre chorus must different from the verse (listen for new melodic material or textural change). It is always good if you can identify the number of bars.
Chorus
The part of a ‘popular song structured’ that has the same melody and words each time you hear it. You don’t need an example of a chorus!! J Remember that countermelodies and all sorts of variation are often introduced throughout the course of a song. Some pieces may have a chorus 1 and a chorus 2 (two slightly different choruses that are interchanged).
The part of a ‘popular song structured’ that has the same melody and words each time you hear it. You don’t need an example of a chorus!! J Remember that countermelodies and all sorts of variation are often introduced throughout the course of a song. Some pieces may have a chorus 1 and a chorus 2 (two slightly different choruses that are interchanged).
Bridge
A new section of a ‘popular song structured’ piece that is different to all previous sections, It must have vocals otherwise it is an instrumental. No example needed here!
A new section of a ‘popular song structured’ piece that is different to all previous sections, It must have vocals otherwise it is an instrumental. No example needed here!
Instrumental (Solo)
A section of a ‘popular song structured’ piece that solely instrumental (not the intro – it may have backing vocal ‘Oohs’). Any verse or chorus can be turned into an instrumental if an instrument takes over the melody. Instrumentals can also contain new melodic and thematic material.
Outro
The final section of a ‘popular song structured’ piece. It can be a short repetition of previous heard material, a repeat and fade, a spoken phrase, an instrumental phrase etc…
The final section of a ‘popular song structured’ piece. It can be a short repetition of previous heard material, a repeat and fade, a spoken phrase, an instrumental phrase etc…
Riff
Riffs can be structural elements i.e. used in specific sections of a piece. See ‘Riff’ in PITCH.
Riffs can be structural elements i.e. used in specific sections of a piece. See ‘Riff’ in PITCH.
Ritornello
In Baroque music, Ritornello was the word for a recurring passage for orchestra in the first or final movement of a solo concerto. In ritornello form, the tutti (tutti means all) opens with a theme called the ritornello. This theme, always played by the tutti (whole orchestra), returns in different keys throughout the movement. However, it usually returns in incomplete fragments. Between the statements of the Ritornello are solos where the solo instrument(s) take on an important melodic role.
Bach Brandenburg Concerto no 5. This is a concerto for solo flute and violin.
This is a particularly BAROQUE structure/form!
In Baroque music, Ritornello was the word for a recurring passage for orchestra in the first or final movement of a solo concerto. In ritornello form, the tutti (tutti means all) opens with a theme called the ritornello. This theme, always played by the tutti (whole orchestra), returns in different keys throughout the movement. However, it usually returns in incomplete fragments. Between the statements of the Ritornello are solos where the solo instrument(s) take on an important melodic role.
Bach Brandenburg Concerto no 5. This is a concerto for solo flute and violin.
This is a particularly BAROQUE structure/form!
This differs to a rondo as the whole theme is not stated. The ritornello is used in different keys also. In a rondo the A theme is fully stated (exactly the same) every time.
Here is another piece that uses Ritornello form. It contrasts a string orchestra with a solo string quartet. The first solo is full of trills. The first solo starts when there is a textural drop and the string quart continue to play. You should hear the ritornello (tutti) 3 times.
Rondo
A Rondo starts with a main theme (A section). This section is followed by a different section (B section). The A section then returns followed by yet another different section (C section).
A B A C A D
Here is a Rondo for Clarinet by Stamitz.
A Rondo starts with a main theme (A section). This section is followed by a different section (B section). The A section then returns followed by yet another different section (C section).
A B A C A D
Here is a Rondo for Clarinet by Stamitz.
With one more section A at the end. All the above Section A(s) are the same.
Note that the Section A melody is heard once by the solo clarinet then again in the strings.
Note that the Section A melody is heard once by the solo clarinet then again in the strings.
Sections
Not every piece will fit neatly into a clear structural form. The best way to title the sections you are hearing is by using A B C D A1 etc… Section A is the first section you hear. If you ever hear section A exactly the same it is still a ‘plain’ A. If you hear section A but it has slight variations or new material introduced but it is clear that this is still section A, it is now called A1. If you hear section A with further development it would be A2. Every time you hear a new section (new chords, new melodic material, textural change, new instrumentation, changing roles of instruments etc…) give it the next available letter in the alphabet e.g. A A1 B. Once you have the ‘letters’ sorted out you must describe the musical features (particularly similarities and differences) of each section. Here is a short piece that I have used the letters to indicate the sections.
Not every piece will fit neatly into a clear structural form. The best way to title the sections you are hearing is by using A B C D A1 etc… Section A is the first section you hear. If you ever hear section A exactly the same it is still a ‘plain’ A. If you hear section A but it has slight variations or new material introduced but it is clear that this is still section A, it is now called A1. If you hear section A with further development it would be A2. Every time you hear a new section (new chords, new melodic material, textural change, new instrumentation, changing roles of instruments etc…) give it the next available letter in the alphabet e.g. A A1 B. Once you have the ‘letters’ sorted out you must describe the musical features (particularly similarities and differences) of each section. Here is a short piece that I have used the letters to indicate the sections.
Section A (intro)
Bright allegro tempo. Oboe and strings double the melody. Stepwise pitch movement.
Section B
Voices singing in parallel harmony. Homophonic texture. Major tonality.
Section C
Minor tonality. Voices become more independent. There is a rit at the end of this section
Section B1
Return to major tonality. Soprano sings a counter melody in the high register. Triplets are introduced in the counter melody. The chorus is singing the same melody as the first section B. The texture is now polyphonic because of the counter melody. You could ad a section D (coda) at the end.\
Bright allegro tempo. Oboe and strings double the melody. Stepwise pitch movement.
Section B
Voices singing in parallel harmony. Homophonic texture. Major tonality.
Section C
Minor tonality. Voices become more independent. There is a rit at the end of this section
Section B1
Return to major tonality. Soprano sings a counter melody in the high register. Triplets are introduced in the counter melody. The chorus is singing the same melody as the first section B. The texture is now polyphonic because of the counter melody. You could ad a section D (coda) at the end.\
Sonata Form
It is unlikely that you would have to discuss Sonata form in your exam as the pieces you hear in the exam can’t be long enough for a Sonata form example, but, here it is anyway!
Here is Mr Andrews’ Sonata from outline for dummies…. Just imagine you are talking to a friend on the phone… one of those friends that likes to talk and talk and talk.
It is unlikely that you would have to discuss Sonata form in your exam as the pieces you hear in the exam can’t be long enough for a Sonata form example, but, here it is anyway!
Here is Mr Andrews’ Sonata from outline for dummies…. Just imagine you are talking to a friend on the phone… one of those friends that likes to talk and talk and talk.
‘Eine Kleine Nachtmusik’
Notice that each section has a clear ending. The subjects have strong cadences at the end.
Notice that each section has a clear ending. The subjects have strong cadences at the end.
Ternary (Form)
A piece that has 3 sections. Section A à Section B à Section A. The may be slight variations/differences between the two A sections. A - B - A1 is still a perfectly acceptable Ternary structure.
An Orchestral example. Schubert’s ‘Marche Militaire’ (Military March). This piece is in Ternary form. It is about 4 minutes. Section A finishes with a strong cadence from the orchestra. Section B follows (starts 1:23).
A piece that has 3 sections. Section A à Section B à Section A. The may be slight variations/differences between the two A sections. A - B - A1 is still a perfectly acceptable Ternary structure.
An Orchestral example. Schubert’s ‘Marche Militaire’ (Military March). This piece is in Ternary form. It is about 4 minutes. Section A finishes with a strong cadence from the orchestra. Section B follows (starts 1:23).
Here is the section A theme
Here is the seciton B theme
Here is the whole piece
In the Baroque period it was common that Arias (Piece for solo voice) were Ternary. The composer wrote an A and B section and then the A section was repeated. In the 2nd A section the singer was expected to improvise/embellish the melody. This is known as a DA CAPO aria. Da Capo in Italian means from the beginning.
A ‘Da Capo’ Aria. You should listen a few times so that you lean the A section well, then you can better hear the embellishments and improvisations in the A1 section at the end.
‘After the darkness’ from the Opera ‘Rodelinda’ by Handel. The B section starts where the tonality modulates to minor. In the repeat of the A section (returns to major tonality) the soprano starts singing a counter melody in the high register using triplets. This is still the A section is has just been embellished. A B A1
A ‘Da Capo’ Aria. You should listen a few times so that you lean the A section well, then you can better hear the embellishments and improvisations in the A1 section at the end.
‘After the darkness’ from the Opera ‘Rodelinda’ by Handel. The B section starts where the tonality modulates to minor. In the repeat of the A section (returns to major tonality) the soprano starts singing a counter melody in the high register using triplets. This is still the A section is has just been embellished. A B A1
Theme and Variations
Do not confuse this structure with a Rondo. The theme is a distinctive melody which makes up the A section. The theme is then varied/developed in subsequent sections. You can still tell that it is the same theme but it may be melodically ornamented, durationally and texturally developed.
Here are Mozart’s 12 variations on ‘Twinkle Twinkle’.
You will hear the main theme and each variation is different but you can still tell that it is the same theme. A theme and variations develops the one theme.
Here are some simple observations on each variation.
Do not confuse this structure with a Rondo. The theme is a distinctive melody which makes up the A section. The theme is then varied/developed in subsequent sections. You can still tell that it is the same theme but it may be melodically ornamented, durationally and texturally developed.
Here are Mozart’s 12 variations on ‘Twinkle Twinkle’.
You will hear the main theme and each variation is different but you can still tell that it is the same theme. A theme and variations develops the one theme.
Here are some simple observations on each variation.
When you answer a theme and variations question you must state that it is ‘theme and variations’ and then describe the use of the concepts in the theme and how this is changed in the variations
Through Composed
A piece that does not repeat any previously heard material or major sections.
A piece that does not repeat any previously heard material or major sections.
Structure at a glance
Proudly powered by Weebly