Song Forms in General and Auxiliary Members

Song forms are derived from the structures found in folk songs and hymns and can b be tracked through current song forms in popular mediums.  The main divisions of these structures are called "parts" and contain the following types.

1. One-part
2. Simple two-part
3. expanded two-part
4. incipient three part
5. three-part
6. enlarged three-part
7. five part
8. free or group form (any form that does not conform to a pre-established pattern)

We have seen that Motives, Semiphrases, and Phrases can be combined to make periods and double periods. To be sure these elements create the foundation of the framework of the composition and are the essential buidling blocks of the compositions form. There are, however other elements called "Auxiliary Members" that act as the appendages to the framework of the composition and, in most cases, form the majority of the overall content of a composition of significance.

Before we define the auxiliary members of a composition, it is important to have two general definitions:

1. Homophony: Pertains to music where all notes in each part move together in a common rhythm. Many church hymns and sacred music are in homophonic form. We refer to Melodic Homophony as music with a general melody and accompaniment figuaration

2. Polyphony: Literally means "music of many voices" and applies to music where each voice moves independently of one another. We have come to know this as counterpoint.

Auxiliary Members

1. Simple Introduction

Usually consists of the establishment of an accompaniment pattern or one or more preliminary chords.

Analysis: Sibelius Symphony 4: 2nd Movement
Simple Introduction bars 1-2 Viola with extended first phrase as prolongation of first note

Movement begins at 0:00. Simple Introduction stated at 0:00

Sibelius Symphony 4: 2nd Movement
Form: Simple Introduction bars 1-2 Viola with extended first phrase as prolongation of first note

2. Independent Introduction

a. Length: Relatively longer than that of the simple introduction
b. Character: Will contain its own melodic, harmonic and rhythmic character and may contrast that of the body of the composition
c. Cadence: Usually termainated by a final cadence.

Analysis: Mendelssohn Songs without words Op.67 no.5 book no. 35
Independent Introduction

Song begins at 1:57. Independent Introduction stated at 1:57

Mendelssohn Songs without words Op.67 no.5 book no. 35
Form: Independent Introduction bars 1-4

3. Transition

a. A connecting passage leading from one part or theme to another (See Pathetique)
b. Used as a means of modulating from one key area to another
c. Serves as a connection between two parts or themes

d. "Anticipatory Transition" = A transition that anticipates motives or figures of the succeeding part or theme.
e. "Transitional Episode" = A transition of considerable length, with material that is independent and of importance.
f. "Bridge" = a brief transition from one to three measures. 
g.  Popular "Bridge" = a larger section of music that is comprised of material that is independent and acts as an intermediary between Verses and Choruses.  It is akin to the "transitional episode" in e above. 

4. Retransition

a. A type of transition  that leads to the return of a previously heard part or theme.
b. "Anticipatory Retransition" = a Retransition that uses figures or motives from the part to which it is returning. (See Pathetique)

5. Codetta "Little Coda"

a. Follows a part, theme or section and acts as a brief conclusion to the section beyond the final cadence of that section
b. Reaffirms the cadence
c. "Harmonic Codetta" = Short. It employs the harmonies used at the end of the phrase which it follows.
d. "Melodic Codetta" = 4 or more measures in length. It utilizes figures or motives from the immediately preceding phrase or it may employ entirely new material. (See Pathetique)

5. Interlude

a. A passage of some independence appearing between a theme and its repetition or between two parts. It may be of any length as long as it maintains its independence. (See Pathetique) 
b.  It may, and often is followed by a transition or retransition to the next part. 

6. Dissolution

(See Pathetique)
a. A specific type of extension to a phrase or period  or larger structural unit
b. One or more figures or motives from the immediately preceding thematic material are treated by repetition sequence and modulation.
c. It may, and often is, followed by a transition or retransition to the next part. 

7. Subject

a. Most commonly synonymous to a "theme" it is an important thematic element that will often be repeated, modified or developed. 

8. Section

a. A Portion of a composition which is characterized by the use of a certain melody or by a particular kind of treatment. b.  It is a complete, but not independent musical idea, t
c.  The term is usually applied to elements of form no smaller than a period.

9. Episode

a. Homophonic Forms: A passage of significant length derived from previously thematic material

b. A subsiduary or subordinate part of a work, a digression. It may include transitions, retransitions, and interludes and stands clearly apart from the main part or subject of the work.

10. Coda

a. A Coda (Italian for "Tail") is a section at the very end of a composition or movement which immediately follows the last theme or part.
b. May consist of one or more sections and may contain previous or new material.

11. Postlude

a. A section of some independence at the very end of the work.

Analysis: Beethoven: Sonata Op 13 "Pathetique"
Figures, Motive, Phrases, Periods & Auxiliary Members

Movement begins at 0:00.

 

 

 

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