1.7: Listening Gallery- Musical Form
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)For each exercise, click when you hear a change of section. Then, use the pull-down menus to label each section. An A-form requires no input. After you have listened to the example, "click for solution" to check your analysis.
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This is an A-B-A form. The A-section is in the minor mode. It opens with a brief introduction, establishing the piano accompaniment's undulating rhythm; the voice then enters. The A-section concludes with a long stopping point--the first interruption of the steady rhythm.
The B-section is in the contrasting Major mode. It introduces a new melody and accompanying rhythm. Just as the A-section, the B-section ends with a long stopping point.
The A-section then returns, beginning immediately at the entrance of the voice. The original vocal line is reprised with minor changes.
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This is an A-form: The rhythm and texture remain constant throughout the composition.
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This is an A-form: As in the Chopin Prelude, the rhythm and texture remain constant throughout the composition. (In this case, the texture is the oscillation between two timpani notes.) The dynamic (loud/soft) is varied, but these fluctuations are too brief to create a strong contrast.
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There are two plausible ways of reading the form of this jazz composition. The first is an A-B-A: The A-section is the song's main material, presented by all three instruments as an ensemble. The B-section consists of improvisatory solos. Then the A-section returns in its entirety.
A-B-C-D-A is another possible reading of the form. This reading takes into account that there are three improvisations: first, the piano solo; second, the trumpet solo, accompanied by the piano; third, the drum solo, periodically punctuated by the other two instruments.
Throughout the solos, the rhythmic drive is steady. The link between solos are carefully blurred: The piano keeps playing when the trumpet enters; both trumpet and piano play repeatedly during the drum solo. As a result, a large A-B-A, in which the B-section is divided into three sub-sections, would be my preferred reading.
- Answer
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The sections in this movement are strongly contrasting and well-differentiated from each other. The A-section is energetic and bold, with repeated upward scalar figures traded among the instruments. The B-section is lyrical and softer. The C-section is aggressive and turbulent, ratcheting up the tension to its highest peak.
The A-section is played three times. The final time, it is extended to create a closing section or coda.