Music Composition


Class Notes 10


Song Form with Trio

 

A composition which is but one basic pattern is called a simple form. A composition which contains several basic patterns as part of a single unit is called a compound form. Thus, the various Song Without Words we have seen in previous Class Notes are Simple Forms while a sonata movement, containing several song forms, (like the pathetique) is a compound form. The Five Part Song form is the largest of the Simple Forms

The Song Form with Trio
The Song Form with Trio combines two basic song patterns and is thus a compound form. The first song form is called the "Principal Song Form" and the second song form is called the "Subordinate Song Form" This compound form was common in the Minuet and Scherzo movements of the classical and early Romantic Sonatas and Symphonies. The term "Minuet and Trio" was originally a designation that the second song form of the movement was to be played by three instruments. Although the practice of using just 3 instruments is no longer regarded, the term "Trio" is still used to designate the subordinate song form in the Minuet and Scherzo.

Both the minuet and scherzo are in triple meter but the minuet tends to be more moderate in tempo (three beats to the measure) while the scherzo is rapid (one beat to the measure)

Song Form I
Song Form II (Trio)
Song Form I
||: A :||: B A :||
||: C :||: D C :||
|| A || B A ||
Three Part Song
B begins as transposition of A
No transition to Trio
Three Part Song
D begins as transposition of C
Contrasting in character (Usually quieter, subdued)
Related Key or Mode (early examples in same key)
Full or semi cadence may contain a retransition

Three Part Song
Original Key
B begins as transposition of A
May return unaltered without repeats or it may return altered.
Coda is optional
Principal
Subordinate
Principal
Triple Meter
Triple Meter
Triple Meter

 

Expansion of the Song Form with Trio

1. In fast scherzos, we may find additional repetitions of the Trio and the return of Song Form I
2. Song Form with two completely independent trios.

 

 

Homework: Assignment 1: Due next class
Analyze Beethoven. Symphony No.5 / 3rd movement




Rondo Forms
The Rondo Form (from the French rondeau) is a form in which a theme recurs after various digressions. While this form may be at any tempo, The characterization of an enitre movement as a "Rondo" is usually vivacious.


Characteristics of the Theme

1. Length = Single Period to Three Part Song
2. Each theme establishes its own individuality
3. Each theme is a clue to the character of the entire movement or composition constructed on the basis of its potentiality for further devleopment.

Often, a theme is an obvious or first presentation of an antecedent - consequent pairing

 

First Rondo Form (A-B-A)


When we proceed towards the larger homophonic forms and away from the song forms, we no longer refer to the principal divisions as Part I, II etc. We now reserve "Part" for the delineation of Song form.   The larger compound forms will likely contain these "parts" as incipient forms within the larger compound structure.  In these larger compound structures,   We delineate the form as principal, subordinate, and second subordinate themes.    Sometimes these themes will carry letter designations.  However, in order to avoid confusion with the small letter designations assigned to phrase and period structures and the capital letter designations assigned to song parts, I try to always include a  reference to the delineation of compound form as principal, subordinate and second subordinate themes. 
 
A
B
A
Length = Period - Song Form

(at least one theme- principal or subordinate - should be a 2part or incipient 3 part  song form)
Length = Phrase - Song Form
Length = Period - Song Form
Key I
Key II
Key I
1. Transisition or Episode may occur between A and B or
2. A Cadence terminates the principal theme


2. Obvious differences in melody, rhythm and acommpaniment
3. Auxiliary members often appear. (codetta, retransition, dissolution)



2. May be exact return to Principal Theme
3. May be embellished in either the melody and/or accompaniment
3. Auxiliary members often appear. (coda, postlude, interlude)

Principal
Subordinate
Return of Principal

The First Rondo is distinguished from the Three Part Song

First Rondo
Three Part Song
Length contains a song form (usually in Principal Theme )

Length usually not longer than a double period and often appears in PART II

Relatively greater difference in melodic, rhythmic accompaniment and textural Content of Principal and Subordinate Theme

Differences may occur between PART I and PART II but tend to be relatively less than the First Rondo. PART II may be derived from motivic elements of PART I

   

 

The First Rondo is distinguished from the Three Part Song With Trio

Since the length of the Subordinate Theme in the First Rondo can be up to a song form, the two forms often are quite similar. The key is to determine if the middle section is a Subordinate Theme or a Trio Song form. Sometimes, the derivation of the melodic content of PART II of the Trio as a transposition of the or obvious derivation of PART I of the Trio is a clue.

 

Homework: Assignment 1 (choose this OR #2 below): Due next class
Analyze Ravel Sonatine for Piano 2nd Mvt.

Ravel Titled the Movement Menuette. Stein Classifies the movement as a First Rondo. What is your conclusion?



 


Second Rondo Form (A-B-A'-C-A'')

 
A
B
A'
C
A''
Length ≥ Period
(at least one theme- principal or subordinate - should be a 2part or incipient 3 part  song form)
Length ≥ Period

Length ≤ A

Length ≥ B

Length ≥ Period
Key 1
Key II
Key I
Key III
Key I

1. Transisition or Episode may occur between A and B or
2. A Cadence terminates the principal theme
3. Auxiliary members may include an introduction. dissolution and/or transition

1. In a related Key or mode.
2. Obvious differences in melody, rhythm and acommpaniment
3. Auxiliary members often appear. (retransition, dissolution)


1. The shorter length of A' makes auxiliary members less frequent although..
2. Transisition or Episode may occur between A' and C 		1. Further removed from key of A than was B
2. Even greater differences in melody, rhythm and acommpaniment between C and A than between B and A
3. Auxiliary members often appear including a retransition and/or dissolution

1. Returns to original key
2. May be exact return to Principal Theme
3. May be embellished in either the melody and/or accompaniment
4. Auxiliary members often appear including a coda,

Principal
First Subordinate
Principal
Second Subordinate
Return of Principal
Important considerations about Thematic Length

 Its important to keep in mind that form balance is essential in effective composition.  Just as understated themes, will fail to capture your audience, multiple overstated subjects  (themes) may alienate your audience. 

The above prescription for thematic length (principal, first subordinate, return to principal, second subordinate, and final return to principal themes) must be considered in relationship to one another.  If a song form appears in the original Principal theme, you are well advised to avoid a song form in the first subordinate theme.  Similarly, it would be wise to have a concise Principal Theme if your First Subordinate theme contains a song form. 

In the above table it is suggested  that the first return of the principal theme be shorter than the original statement of that theme in order to balance the emphasis of the Principal  theme with its incipient song against the shorter subordinate theme.  That is, the Principal theme is relatively long compared to the First Subordinate so we will keep the return to the Principal theme relatively short in order to keep the first subordinate theme relevant to the listener.

 If however, the principal there were relatively short and the song form were to appear in the First Subordinate we would expect the return to the Principal Theme (A') to be longer (≥) than the original statement of the Principal theme.  Since the song form appears in the first subordinate theme, the return to the principal theme will likely contain significant auxilliary members to elongate the return to the Principal theme in a manner that better balances it against the song form of the first subordinate theme. 

In the table above, the length of the second subordinate is longer than the first subordinate. This is often true when the incipient song form appears in the principal theme.  The overall attention to the principal theme in both the  first appearance with the song form and the first return to the principal theme needs to balanced with additional attention to something else... in this case the Second Subordinate theme. 

If the incipient song appears in the First Subordinate the emphasis of the Principal theme is reduced and the necessesity to balance that emphasis with a Second subordinate that is longer than the First Subordinate is minimal. 

However,  This is very subject to personal preference.  In my practice I have noticed that the more second subordinate diverges in its musical context from the Principal and First subordinate theme, the shorter it can be.  The greater divergence will capture the ear quickly.  This is not to say that it should be short, but merely that it may be short or shorter than the first subordinate. 

Homework: Assignment 2 (choose this OR #1 above) Due next class
Analyze wienawski_polonaisebrillante.pdf

 

 

Third Rondo Form (A-B-A • C • A-B'-A)
(AKA Sonata Rondo Form)

A
B
A'
Length ≥ Period
(at least one theme should be a song form)
Length ≥ Period

Length ≤ A

Key 1
Key II
Key I

1. Transisition or Episode may occur between A and B or
2. A Cadence terminates the principal theme
3. Auxiliary members may include an introduction. dissolution and/or transition

1. In a related Key or mode.
2. Obvious differences in melody, rhythm and acommpaniment
3. Auxiliary members often appear. (retransition, dissolution)


1. The shorter length of A' makes auxiliary members less frequent although..
2. Transisition or Episode may occur between A' and C
Principal
First Subordinate
Principal
C

Length ≥ B and A
often a Two or Three Part Song
Key III
1. Further removed from key of A than was B
2. Even greater differences in melody, rhythm and acommpaniment between C and A than between B and A
3. Auxiliary members often appear including a retransition and/or dissolution
Second Subordinate
A
B'
A'

Return of A-B-A = "Recapitulation"
(Sonata Rondo)

Length ≥ Period
(at least one theme should be a song form)
Length ≥ Period

Length ≤ or ≥ A

The length of the Recapitulation tends to emphasise and extension and development the original A-B-A grouping via auxiliary members
Key 1
Key I
Transposed
Key I


1. A Cadence terminates the principal theme
2. Auxiliary members may include an introduction. dissolution and/or re transition

1. In same Key or mode.
2. Obvious differences in melody, rhythm and acommpaniment
3. Auxiliary members often appear. (retransition, dissolution).


1. May be stated as the first section of the coda. In such cases this section may be omitted.
2. May be nearly identical to the first statement of A prior to C
3. May be more elaborate than the first announcement of A prior to C
Principal
First Subordinate
Principal
 
 

Homework: Assignment 3 : Due next class
Analyze beethoven_symphony_6_mvt5.pdf

Movement Starts at 00:00




Variation Form
The variation is one of the oldest and most basic devices found in muisc. As we have seen in our discussion of form, repetition is a critical element that forms a glue that binds form into a coherent unit. However, one runs the risk of too many exact repetitions becoming stale and boring. As a result, using variation as a means of altering a repetitive occurance within the form can act as a means of keeping the music interesting to the ear while still mainting the critical structure of the form.

1. Variation can be as simple as an altered note or two in a motif that would otherwise be repetitive or mundane

___

Or

2. Much more intricate deviation from the original statement that acts as a reminder to the ear of some previous theme.

 

beethoven_symphony_6_mvt5.pdf


Principal Theme Stated at 00:00 (pg 1 pdf)
Variation on Principal Theme Stated at 3:27 (pg 19 pdf)






Source of Thematic Material
Whereas modern society is plagued by litigious claims of copyright infringement, the use and variation of a theme by another composer has historically been considered an homage to that composer and, like variations based on an original theme or that of a piece of folk music, perfectly acceptable. To be sure, sometimes the variation of another composers theme can eclipse the original. Some of the greatest variations from the classical era are the Diabelli Variations by Beethoven and the Variations on themes by Handel and Paganini by Brahms.

Structure and Nature of Thematic Material
The theme is usually from 16-32 measures in length and is generally a very concise two or three part song form. In order to prepare the ear for later iterations of the theme, it is often presented in its most simple form first. Similarly, in order to return the listener to a familiar home at the end of his musical journey, the Variation Form may conclude with a restatement of the theme in its most simple form.

Variation Procedures
Below is a list of various types of variation techniques. Each one is a combination of some features derived from the theme and some new treatment and combinations of these techniques often exist. The below list incorporates all of the Stein techniques as well as a few of my own. To be sure the types of variations possible are limited only by your imagination and you should vigorously explore your own concepts of variation.

 

The development of the variation form saw its emergence during the Baroque period. The main types of variation forms that emerged were:

1. Strophic Variation: A returning melody was varied by the use of vocal ornamentation often improvised on its reappearance.
2. Varied Couple dances: A duple (2) meter and a triple (3) meter would be performed in succession with variations on the melody to account for the rhythmic differences.

3. Ground Bass: (discussed in Chapter 18 Stein): A recurrent motive or theme which is repeated usually in the same voice throughout the composition or section
4. Paraphrase (Melodic embellishment): Each recurrent motive or phrase becomes increasingly more complex. (presumes a fairly simple original statement)

As the variation form developed beyond the Baroque era, so too did the techniques that comprised the form


5. Melodic Variation: A harmonic accompaniment is restated verbatim but with a different motive, phrase or theme.
6. Harmonic variation: A motive, phrase or theme is restated verbatim but with a different harmonic accompaniment. *
6b. Rhythmic Variation:  A motive, phrase or theme is restated verbatim but with a different rhythmic figuration.
7. Rhythmic Figuration: A distinctive rhythm is restated verbatim but with a different or varied motive, phrase or theme.
8. Change of Mode (ie Major to minor, Phrygian to Lydian)
9. Change of Key
10. Change of Meter: (See similar Couple Dances above)
11. Exploitation of Dynamics or Dynamic contrast: A motive, phrase or theme is restated at a different or contrasting dynamic level.
12. Exploitation of texture: A motive, phrase or theme is restated with a variation in orchestration, arrangment or voicing
13. Registral Variation: A motive, phrase or theme is restated with the employment of a different or contrasting register
14. Imitation: A motive, phrase or theme is restated with an imitiation of the same motive, phrase or theme in a different voice ("row row row your boat")
(these can include the Cannon, variation in contrary motion, Double Counterpoint and other contrapuntal forms we will discuss)
15. Structural Variation: Each variation conforms to the same or predesignated pattern of form.
16. Extension via Auxiliary Members
17. Entropic Paraphrase: Each recurrent motive, phrase or theme becomes increasing simple. (Presumes a fairly complex original statement)*
18. Rhythmic Entropy: Each recurrent motive, phrase or theme is a rhytmic diminution of prior statements (ie all or many note durations are exactly 1/2 or 1/3 their original length) *
19. Rhythmic Expansion: Each recurrent motive, phrase or theme is a rhytmic elongation of prior statements (ie all or many note durations are exactly 2 or 3 times their original length) *
20. Functional Thematic Variation: A motive, phrase or theme is restated as the accompaniment
21. Functional Rhythmic Variation: An accompaniment figuration is restated as a motive, phrase or theme


 

Homework Assignment: Analyze
Elgar "Enigma" Variations.pdf

In this assignment you are given piano reduction (similar in form to what many of you did in Orchestration II with the Scheherezade by Rimsky Korsakov) and a recording of the orchestrated rendition of that piano reduction. Next to each variation 1-7,  on the score, write the name(s) of the Variation Technique(s) (as described in 1-21 above) that you feel best characterizes the variation in that movement from the original "Enigma"



Original Theme 00.00
1st Var. 01.23
2nd Var. 03.15
3rd. Var.  04.06
4th Var. 05.26
5th Var. 05.55
6th Var.  08.00
7th Var.  09.16