form and analysis

form and analysis

1. theme and variations (sectional variations)

2. rondo

   • alternating refrain and digressions B- often in V, v or III C- less consistent key common for each section to be its own binary form 
   • 5 part rondo ABACA
   • 7 part rondo ABACA(B or D)A

3. ternary form (ABA or ABA')

   • - may include transitions or retransitions (may be difficult to distinguish between continuous or sectional w/ transitions) - B sections more distinct than in rounded binary  - often printed with D.C. al fine - compound ternary form 
   • sectional ternary
     • AB | A - A section moves away from its own tonic, while B section ends in its tonic A | BA - A section ends in its own tonic, B section moves more continuously to A's reprise
   • full sectional ternary
     • each of the three sections ends on the tonic of the key it began in 
   • continuous ternary
     • each of the three sections ends on a different key than the theme's tonic

4. sonata

   • exposition
     • P theme (I or i)
       • often presentational, strong
     • transition
       • energized surface texture, "breaking out"
       • independent
         • a new theme
       • dependent
         • uses previous theme, ie; dissolving restatement
     • MC
       • strong HC in the new key 
     • S theme (V, v, III)
       • tends to be more gentle, piano, lyrical
     • EEC
       • first satisfactory PAC in new key
     • K theme
       • confirmation, lots of V I motion
   • development
   • recapitulation
     • generally gets "off track" somewhere in transition- the point at which it gets back on track is called the crux
     • ESC
     • S theme in I

5. fugue

   • an imitative counterpoint for a fixed number of voices that are based upon a short theme  first, subject is stated in each of the lines, then brought back in a variety of waysthe fugue is a procedure, NOT a form, so fugues may exhibit a variety of forms
   • subject
     • the short theme on which the contrapuntal lines are based
   • answer
     • a statement of the subject in the dominant at the first exposition 
     • real
       • an exact transposition
     • tonal
       • not an exact transposition
   • exposition
     • each voice in turn states the theme (either a subject or an answer)
   • link
     • short passages used to connect subjects and answers
   • episodes
     • a portion of a fugue in which the subject is not stated- often develops motives from the subject or countersubject
   • middle entries
     • may be varied rhythmically or intervallicly (inversion, retrograde, augmentation, diminution, other changes)
   • stretto
     • when statements of the subject overlap may use the whole subject or the first part of the subject
   • invertible counterpoint
     • when 2 or more melodic lines exchange places
   • final entry
     • the last time the subject enters- not necessarily the end of the fugue

6. binary form

   • A and B often repeat B material is often a  monte (mountain- ascending sequence),  ponte (bridge) or  fonte (foundtain- descending sequence)
   • melodic
     • simple
       • none of the A section returns at the end of the B section
     • rounded
       • part of the A section comes back at the end of the B section
     • balanced
       • part of A section comes back at the end of the B section, transposed (typically from V to I)
   • harmonic
     • continuous
       • A sec
     • sectional
       • A section is harmonically closed: ends on a PAC in I

7. continuous variations

   • no formal break between theme and its variations these three terms were more distinct in 17th century, began being used interchangably in 18th century 
   • ground bass
     • bassline stays constant
   • chaconne
     • harmonic pattern stays (does NOT have to be the exact same chords)
   • passacaglia
     • repeated melody (usually begins in bass and moves up through voices)

8. sonata rondo

   • has some elements of both 

9. invention

   • bach's inventions... "shows methods of arriving at good musical ideas and of developing them satisfactorily" not all use imitation 

10. concerto (1st mvt) form

    • sonata form with some differences
    • double exposition
      • the orchestra has an exposition, then the soloist does  creates a conflict for composers, as there can only be 1 recap
    • ritornello
      • at the end of the exposition, orch returns- has to at least dip into the new key a little
    • cadenza
      • somewhere towards the end of the recap- 

11. phrase form

    • also: compound period, nested sentence phrase overlap
    • period
      • **no formal breaks between a theme and its variations
      • harmonic
        • interrupted
          • a section ends with a HC, next section re-begins on I
        • sectional
          • a section harmonically closed: ends with an IAC in I
        • progressive
          • ends with a PAC in a different key
        • continuous
          • a ends with a HC, next section does NOT begin on I
      • melodic
        • parallel (a a')
        • contrasting (a b)
    • sentence
      • short idea, repetition of short idea, extension of short idea ending with a cadence  often 1:1:2 proportions
      • "one more time" technique

12. textures

    • polyphonic
      • multiple voices of equal importance
      • imitative
        • 2 or more independent voices which converse with statements of an identical or very similar idea 
      • non imitative
    • monophonic
      • only 1 voice
    • homophonic
      • multiple voices of differing levels of importance
      • melody + accomp
        • accomp is often:  chordal: block chords, rhythmic punctuation, broken chords:  arpeggiated, alberti bass (1535), can have ornamental tones, waltz 
      • chorle
    • heterophonic
      • important voice doubled in multiple instruments (less common in western music)