HOSTS- Jeremy Burns, Matthew Scott Phillips
TYPE- Theory
DURATION- 80:26
BUMPER MUSIC- "String Quartet No. 4, Movement
II" (Matthew Scott Phillips)
ANNOUNCER- Mike Cunliffe
In part one of our "Form and Analysis" series, we familiarized ourselves with the building blocks of a form, such as motives, phrases and periods.
Now, we will begin our official discussion on small forms. We will cover rounded, simple, sectional and continuous binary forms. Then we will move into ternary and compound ternary forms.
Finally, we will close it out with a brief discussion on
theme and variations.
MOTIVE- The smallest possible musical idea. A recurring combination of notes and rhythms that are recognizable, in some shape or form, throughout the piece. Motives can be grouped together as sub phrases, which can grouped together as PHRASES.
PHRASE- The smallest possible musical statement that stands on it's own as a complete thought. These can vary in length and typically end in a state of either full or partial repose. This state of repose is also known as a CADENCE. PHRASES are often grouped together to form PERIODS.
PERIOD- When two PHRASES are played back to back and the 2nd of the two has a stronger CADENCE than the prior. This has a question/answer feel to it also known as the ANTECEDENT/CONSEQUENT.
ANTECEDENT- In a PERIOD, this is the first of the two phrases. It conveys a sense of questioning.
CONSEQUENT- In a PERIOD, this is the second of the two phrases. It conveys a sense of answering or response.
CADENCE- The harmonic goal, or resting point, of a chord progression or musical passage.
AUTHENTIC CADENCE- Considered the strongest of all cadences, this is typically a DOMINANT (V) chord resolving to the TONIC (I) chord.
HALF CADENCE- Considered the weakest, this cadence often leaves one desiring a greater resolution and a "cliff hanging" effect of suspense. The HALF CADENCE typically resolves to a DOMINANT (V) chord.
DECEPTIVE CADENCE- This usually occurs when a chord progression ends on a VI chord (or any chord that includes scale degree 1) when you would expect to hear the TONIC (I) chord.
THE PREVIOUS TERMS WERE DISCUSSED,
IN DETAIL, IN
EPISODE 20-FORM AND ANALYSIS PT.1
BINARY- This form consists of two sections, an A and a B section. The sections may be OPEN or CLOSED.
TERNARY- This form consists of 3 sections, often an A and a B section, with a return of the A acting as the 3rd section. Also, there may be a C section. The sections may be OPEN or CLOSED.
CLOSED- A closed section will end with a complete harmonic resolution, such as an AUTHENTIC CADENCE.
OPEN- An opened section will end with an incomplete harmony, such as a HALF CADENCE, that will want to move into the next section.
-BINARY FORMS first came about, and were most
prominent, in the CLASSICAL and the BAROQUE
periods.
-Divided into two SECTIONS (A and B), they may
be opened or closed.
-A section is CLOSED, or harmonically resolved, if
it ends on the tonic.
-A section is OPEN, or harmonically unresolved, if it
ends on another chord.
-The A section begins with TONIC and can end
OPEN or CLOSED.
-The B section often (though not always) begins
with a key other than the TONIC.
- A BINARY form can be either SECTIONAL,
CONTINUOUS, SIMPLE, BALANCED OR
ROUNDED. It could also be a combination of
some of these.
Most BINARY FORMS have the following things
in common:
1. The B section is often longer than the A section.
2. The A section normally consists of 2 phrases
(a period). The B normally consists of two
phrases, which could contain several phrases,
within.
3. The first phrase of B is usually the least stable.
4. MAJOR keys usually modulate to V in the B
section (in Classical music).
5. MINOR keys usually modulate to III, sometimes
V in the B section (in Classical music)
ROUNDED BINARY
THE A SECTION
-The A section can be OPEN or CLOSED.
It closes with an AUTHENTIC CADENCE (V-I)
in the original key or remains open with a HALF
CADENCE, or some chord other than the tonic.
-Below you will see an A section. This PERIOD
consists of two PHRASES. The 1st PHRASE ends
on a HALF CADENCE. It lands on the V chord and
is unresolved. The 2nd PHRASE ends in an
AUTHENTIC CADENCE. This PERIOD repeats
(see the dotted double lines on the end of the
section) to make the A section.
THE B SECTION
-The B section is CLOSED. It often goes to V and
closes on an AUTHENTIC CADENCE that
repeats a part of the A section. This rounds it out,
so to speak.
-Below, we see a B section. There are two
PERIODS, each consisting of two PHRASES.
The 1st PERIOD contains the newly introduced
"B material". It hangs around on the V chord and
ends on a HALF CADENCE. The 2nd PERIOD is a
the same PERIOD from the A section, above. It
ends on an AUTHENTIC CADENCE and is,
therefore closed.
-In MINOR KEYS, the B section will often modulate
to the RELATIVE MAJOR (III) chord.
SIMPLE BINARY
-The A section is CLOSED. It closes with an
AUTHENTIC CADENCE (V-I) in the original key.
-The B section is CLOSED. It often goes to V and
closes on an AUTHENTIC CADENCE, with no
repeats from the A section.
SECTIONAL BINARY
-The A section can be OPEN or CLOSED. It closes with an AUTHENTIC CADENCE (V-I) in the original key or remains open with a HALF CADENCE.
-The B section is OPEN. It often goes to V and
remains unresolved.
CONTINUOUS BINARY
-The A section is OPEN. It ends with a HALF
CADENCE, in the original key, or an AUTHENTIC
CADENCE (V-I) in a different key.
-The B section is a continuation of the unresolved A
section. It often begins on V and closes on an
AUTHENTIC CADENCE, in V.
BALANCED BINARY
-The A section is OPEN. It closes with a HALF
CADENCE or an AUTHENTIC CADENCE (V-I) in
a different key.
-The B section is CLOSED. It contains it's own
material for half of the section and reprises the
latter part of the A section to close it out.
TERNARY
-The A section is CLOSED. It closes with an
AUTHENTIC CADENCE (V-I) in the original key.
-The B section is CLOSED. It often goes to V and
closes on an AUTHENTIC CADENCE, typically in
the V (or which ever key it is now in).
-The A section returns, in it's original manifestation,
though there may be a few small changes
(embellishments, tempo, etc.). Unlike the original
A section. This one typically doesn't repeat.
-Sometimes a C section will be introduced instead
of the returning A section.
COMPOUND TERNARY
-The COMPOUND TERNARY form is the same as
TERNARY. However, there are smaller forms
occurring within each section of the form.
For a good example of COMPOUND TERNARY, check out Shubert's
Moments Musicaux, No.1 in C major, D780
-If a composer repeats a theme or phrase note for
note it is considered a “LITERAL COUNTER
STATEMENT”.
-In THEME AND VARIATIONS, an original section
will return with some alterations, such as the
following:
-Ornamental
-Simplifying
-Figured bass changes
-Counterpuntal
-Characteristic
-Doubling, in octaves or unison
-Tempo
-Key change to minor.
-Try actively listening for forms. This begins with being able to identify when a cadence happens.
-When listening for phases and cadences start off simple. Maybe listen to Bach, Mozart or some earlier composers before tackling Mahler, Berlioz or some of the later era classical composers.
-Music from the Baroque and Classical eras can be a bit less challenging to analyze, compared to later eras. So when listening for examples of smaller forms, look into these genres as a good study.
-Obviously, don't limit yourself to classical music. Listen for these elements in jazz, blues, bluegrass or whatever your favorite genre may be. These elements are universal to all music.
-Start thinking about labeling phrases and periods with lowercase letters (ex. aba') When we get into identifying forms this will be the language we speak.
"String Quartet No. 4, Movement II"
(Matthew Scott Phillips)
THE AMERNET STRING QUARTET
Misha Vitenson, violin
Franz Felkl, violin
Michael Klotz, viola
Jason Calloway, cello
