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Simple Forms
Simple Forms
Simple Forms
Song Forms
One part Simple two-part Expanded two-part Incipient three-part Three-part Enlarged three-part Five-part Free or group forms
The Period The Period or Sentence fo rm consists of two phrases, the fist which is called the antecedent; the second, the consequent. The ante cedent ph rase is interrogative in character and is generally terminated by non-final cadence; in tonal music, this is usually a half-cadence. The consequent phrase is responsive in character and, with few exceptions, is terminated by a cadence more conclusive than that at the end of th e antecedent: Periods are either parallel or contrasting, depending primarily on the melodic relationships of th e antecedent and consequent phrases. A parallel period is one in which the melodic line in the second phrase is simil ar to the melodic line in th e first. The simil arity is usually in the beginning of the respective phrases, unlike rhymes in poetry, which occur at th e end of s uccessive or alternate lines.
Two-part song forms (or smallest binary forms) Two balancing divisions are analogous, structurally, to the units which are combine to form larger patterns:
figure + figure = motive motive + motive = semi-phrase semi-phrase + semi-phrase = phrase phrase + phrase = period period+ period = double period
The simple two-part song form: Part I may be from a phrase to a double period in length. The cadence at the end of Part I may be:
1. 2. 3. 4.
Authentic, in the tonic of the dominant Authentic, in the tonic of the related key Half cadence on the dominant Authentic in the original tonic
Phrase Groups/Periods
Periods are either parallel or contrasting. In designating phrases the letters A, B, C, etc. are used. Four contrasting phrases would be A B C D. Two identical phrases following one another would be A A B B C C, etc. Four similar, but not identical, phrases would be A A A A Common types of parallel double periods are:
A A A A A A A B A B A B ABAC
Part I and Part II or Part A and B combine to form a two-part binary form
Part I may be from a phrase to a double period in length. Part II may also be from a phrase to a double period in length. Part II may be in the same key as Part I or in a related key. Final cadence is authentic in the original tonic.
Often Parts I and II are identical in length; if not, Part II is generally longer.
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Ternary Structures
The most frequently used musical structure 1700-1900?
Three-part period Incipient three-part song form Three-part song form Enlarged three-part song form Five-part song form Song form with trio Minuet and trio (song form with trio) First rondo form Second rondo form Third rondo form Sonatine Sonata-allegro
Rondo Forms
Three principal varieties most often used
The principal theme (A) may be from a period to a song form in length.
A transition or an episode may occur between the principal them (A) and the subordinate theme (B). The subordinate theme (B) is, with few exceptions, in a related key or mode. The subdominant however is the least favored.
B
Key 2
A
Key 1
C
Key 3
A
Key 1