MILTON MILTONOTES OTES An open-eared open-eared exploration of composition in theory & practice.
Structure Structure
© Milton Mermikides
[email protected]
Listening list: This episode http://open.spotify.com/user/milto http://open.spotify.com/user/miltonline/playlist/7EsGc nline/playlist/7EsGc9soCKgCZJqCcdk1GX 9soCKgCZJqCcdk1GX
Entire series http://open.spotify.com/user/miltonl http://open.spotify.com/user/miltonline/playlist/7El79d9Sdf ine/playlist/7El79d9SdfBxnSwNruyAeD BxnSwNruyAeD
or subscribe to miltonline on spotify follow me on twitter @miltonline for music and more
This episode looks at concepts of structure (and form) in composition. By looking at examples of folk and popular songs, jazz charts, classical forms, electronic pieces and indeterminate and process works, we’ll build a catalogue of structures and structural concepts for analysis and compositional compositional application.
Structure Levels Firstly we need to address what factors contribute to our perception of structure. In fact as we saw in Pulse and Meter Met er,, Melodic Structures Structures and Phrase, Contour and Melodic forms there are several levels on which structure is based. On the following simple example you can see the different levels of motif/phrase/section/piece
Structure Levels
Structure is achieved by the repetition of similar events, as well as the disruption of repeated events.
Structure Levels
Structure Meter Level
Structure Motif Level
Structure Phrase Level
Structure Passage (Higher Phrase) Level
Structure Section Level
Structure Levels
In this episode we will look at the ‘higher level’ structure of sections, but we should always be aware that structure is achieved by the repetition of similar events, as well as the disruption of repeated events.
Melodic Analysis Gnossienne I - P1 A
2 scales, 3 chords, 1 piece
Melodic Analysis Gnossienne I - P2 B
C
B
Melodic Analysis Gnossienne I - P3 A
B
B’
C
Melodic Analysis Gnossienne I - P4 B
B’’ B’’
Structure Form
Three sections, the most famous A only occuring at two points. The ending is given an effective poignancy by omitting the last bar. B has three versions (B’ is quieter, and B’’ is quieter and shortened).
A
A
8x2
B
B
4x2
C
C
6x2
B
B
4x2
A
A
8x2
B
B’
4x2
C
C
6x2
Structure Levels of Organisation Organisation
Pulse Accented Beats Meter Motif/Figure Phrase Passage Section Piece Cycle/Album/Set/ Symphony
Structure Forms
Charles Keil divides all musical forms into 3 types Sectional Developmental Variational
Structure Form
We’ll look at some specific forms but will open up the idea that sections can be created not just by traditional melodic structures but by timbre, texture and feel
Structure
Sectional Clear cut sectional units (A, B, C, Verse, Middle 8, coda etc.)
Structure Sectional Strophic Form
Unrelieved repetition, chain, medley. AAAAAAAA Unrelieved repetition
ABCDEFG(A) Unrelieved variation Medley e.g. Blue Danube - Strauss
AABBCCDDEE Unrelieved variation with repeats
Structure Sectional Binary Form A piece made up 2 sections A & B complementary and of roughly similar lengths. Traditionally major binary forms have A in the tonic key B in dominant key, ending in tonic Traditionally minor binary forms have A in the tonic key B in relative major key, ending in tonic
AB or AABB
Structure Sectional Ternary erna ry Form
ABA De Capo operatic aria form
or AABA e.g. 32-bar form with middle eight
Structure Sectional Rondo form A recurring theme with contrasting episodes
ABACABAC ‘Symettrical’
ABACADAE Asymettrical’ ‘Asymettrical’
ABCBA Arch form
Special case of symettrical rondo without intermediate themes See Mozart examples
Structure Sectional Palindromic Rondo forms can be palindromic on a sectional level
ABACABA But palindromes needn’t be rondo forms
ABCADEDACBA Palindromes can even exist on the note level...
Structure Sectional Palindromic
Haydn Symphony No. 47
Structure Sectional Palindromic rhythms
The Afro-Cuban Afro-Cuban rhythm Cáscara x0xx 0x0x x0x0 xx0x 2-3 Cuban Son
Structure Sectional Crab/Table Crab/Table Canon
Structure “Dammit I’m mad. Evil is a deed as I live. God, am I reviled? I rise, my bed on a sun, I melt. To be not one man emanating is sad. I piss. Alas, it is so late. Who stops to help? Man, it is hot. I’m in it. I tell. I am not a devil. I level “Mad Dog”. Ah, say burning is, as a deified gulp, In my halo of a mired rum tin. I erase many men. Oh, to be man, a sin. Is evil in a clam? In a trap? No. It is open. On it I was stuck. Rats peed on hope. Elsewhere dips a web. Be still if I fill its ebb. Ew, a spider… eh? We sleep. Oh no! Deep, stark cuts saw it in one position. Part animal, can I live? Sin is a name. Both, one… my names are in it. Murder? I’m a fool. A hymn I plug, deified as a sign in ruby ash. A Goddam level I lived at. On mail let it in. I’m it. Oh, sit in ample hot spots. Oh wet! A loss it is alas (sip). I’d assign it a name.N ame not one bottle minus an ode by me: “Sir, I deliver. I’m a dog” Evil is a deed as I live. Dammit I’m mad.
Structure Variational Theme and Variations A theme with related variations traditionally based on the harmonic progression and motivic material
A A1 A2 A3 A4 A5 A6 e.g. Theme and Variations on a Theme by Mozart Mozart - Sor Note that each section may itself have an internal inter nal structure (AABB) and the whole form may have an intro/outro and/or elaborated outro/coda. See also Paganini - Caprice 24 and many others. The Rondo may also include intermediate variations:
A B A1 C A2 D A3
Structure Variational Theme and Variations further ideas Britten’s Young Person’s Guide to the Orchestra has each variation showcasing a different section of the orchestra, and his Nocturnal for Nocturnal for Solo Guitar, starts with the variations, only revealing the Dowland’s underlying theme in the last section. Elgar’s Enigma Variations is a set of 14 variations on an original theme - each a musical portrait, capturing the personality of his close circle of friends. Variations include rhythmic, harmonic & melodic references and even a Dorabella’s stutter, W.N.’s laugh and particular experiences they shared. Elgar claimed all a based on a hidden theme that is
Structure
Variational
The Enigma theme - note the motivic variants. Pi?
Structure Stylistic Variational The common Blues and Jazz forms involving improvisation may be considered a special type of theme and variation. Typically a melody is played over a specific harmonic structure (A, AB, ABAC, AABA’ AABA’ etc.) and then that harmonic form (and perhaps some motivic and rhythmic material from the melody are used for improvised solos, and another realisation of the melody is used to end the piece. The whole form may be topped and tailed by an intro, outro or intermediate sections (see All (see All Blues ). The stylistic forms you need to know are a 12-bar blues (sometimes interpreted as a 24-bar blues), an 8, 16-bar blues ( Need Need Your Love So Bad) or other ( Come Come On Pt. 1), 1), and a rhythm changes (many examples)
Structure 12-Bar Blues (major)
I7
IV7
I7
I7
IV7
IV7
I7
I7
V7
IV7
I7
V7
Note this form wasn’t decided a priori it evolved, and still many structures have an indefinite length on the I chord, moving to the IV on cue
Structure 12-Bar Blues (minor)
i7 i7
iv7(IV7) bVImaj7
V7
i7
V7
Structure 8-Bar Blues (major)
I
I7
I V7/II ii7
IV7 V7
I7
#IVº7 IV7
I7
V7
Rhythm Changes
Structure
A
I V7/II ii7
V7
iii V7/II ii7
V7
I
iv
iii V7/II ii7
V7
I V7/II ii7
V7
iii V7/II ii7
V7
I
iv
iii V7/II ii7 ii7V7 V7 I
I7
IV
A’ A’
B
I7
IV
V7/VI
V7/II
V7/V
V7
I V7/II ii7
V7
iii V7/II ii7
V7
I
iv
iii V7/II ii7 ii7V7 V7 I
A’ A’ I7
IV
Structure Developmental
Built directly from smaller units - the most established in Western Art music being the Sonata form. This is beyond the scope of this episode. However the idea of a structure that is ‘through-composed’ an unfurling stream of consciousness with no clear sectional delineations is well established in ambient electronic music
Structure Structural Components Here are some of the devices that through repetition and variation starting with the most common Melody Lyrics Key Harmony Orchestration/Instrumentation Meter Rhythmic Subdivision/Groove/Feel Dynamics Timbre/Texture
Structure Popular Song Form - Building Blocks Intro Verse Prechorus Chorus Bridge Collision Solo Interlude Vamp
Note that features may be shared - an intro can use the chorus’s chords for example
Structure Wind Cries Mary Hendrix Intro
Solo
Verse
Verse
Verse
Verse
Prechorus
Prechorus
Prechorus
Prechorus
Chorus
Chorus
Chorus
Chorus
Whispers
Cries
Screams
Cries
ends with material and similar to
Outro based on intro
Structure Better Be Home Soon Crowded House
Verse
Verse
Verse
Prechorus
Prechorus
Prechorus
Chorus
Chorus
Chorus’
Bridge
Chorus’’
(short)
Solo Interlude
Structure Grow Your Own Intro
Verse
Bridge
Chorus Prechorus
Vamp Interlude
Collision Solo Outro
Structure Electronic Structural Components In the absence of traditional key areas, melodic and harmonic expectations, lyrics and forms, electronic dance music and IDM has developed structural components and forms based more directly on instrumentation, rhythmic components and feel, dynamic changes and timbre
Intro Hook Break
Mid-8 Key Sample Build
Solo Drop
Arhythmic
Outro
Structure Introductions Sectional A unique section that only appears once such as the original jazz form arrangements. Starting directly on a section that features throughout the track. Or an adapted (usually thinned and/or shortened) variation of a later important section or components
Fade Duration, curve
or...
Structure Endings Sectional (New) A modified section breaking expectation, new material or a logical conclusion e.g. Syrinx ends Syrinx ends with the other whole tone scale
Sectional (Recap) A repeat of an earlier section with minimal alteration
Fade Duration, curve
or...
Exercise 1 Take an existing piece/section of yours (or write a new one) and rewrite in 7 different different structures (including at least one from each of the 3 categories of sectional, variational and developmental).
