Alan Berklin A Practical Gu

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is mainly suited to smaller movements of light character, such the dance movements in classical
symphonies. (More dramatic ideas require more elaborate forms to create more architectural
suspense.)
In a simple ternary form, the main and middle sections are constructed as closed forms: each has
a completely conclusive cadence, and can even be played alone. The middle section has its own
motive and, if the harmony is tonal, is cast in a related key. However the contrast between
sections should not be extreme; otherwise, the already sectional nature of the form risks creating
the impression of two completely separate pieces.
More complex ternary forms mitigate the squareness of the basic mold by using transitional
sections, and sometimes ornamentation in the reprise.
Simple Rondo
The basic rondo form simply extends the principles seen in ternary form (statement, contrast,
reprise): there are several contrasting episodes and the starting material returns after each one.
This form is fairly naive, but it can be refined by:
" varying the reprises (including abbreviation)
" varying the transitions into and out of the main theme
" varying the proportions of the sections
" adding a coda to create a stronger ending
Binary
Binary forms come in many varieties: the two parts may be symmetrical or not; the first part may
have a conclusive cadence ("sectional binary") or an open cadence ("continuous binary"); the
second part may or may not bring back elements from the first section to round off the form. It is
typical of the form that both sections develop the same material. Also, frequently each section is
repeated with a double bar.
The first part is normally a closed design, such as a period or a double period.
In the simpler types (symmetrical, sectional), the main type of contrast in the second part is in
harmonic detail.
In more sophisticated designs, the beginning of the second section acts like a miniature
development. Its structure is less stable and predictable. Frequently sequence is used. (1)
Rounding off the form, by bringing back material from the first part, is then used to re-establish
stability and to provide for strong conclusion.
Complex Ternary
Complex ternary explicitly introduces the aspect of hierarchy: each section in the overall ternary
form is in itself a binary (usually continuous, often rounded). This has the effect of expanding
and enriching the overall form.
Complex ternary may be further refined by:
" adding links between some or all of the main sections
" mitigating the finality of the end of the middle section so as to create a transition back to
the reprise
" varying the reprise
Beethoven Scherzo
The Beethoven scherzo extends the complex ternary out to include a reprise of the middle
section, and a final reprise of the main theme.
The "going in circles" feeling is exploited by adding some surprise new turn or abbreviation the
last time around, often in the last reprise of the main theme (e.g. there may be a hint of a third
return of the middle theme, only to be cut short).
The essence of this design lies in its sophisticated playing with listeners' expectations; transitions
may also become more elaborate.
Sonata
Sonata form is an outgrowth of the rounded binary form (and not ternary form, with its self-
contained sections):
The drama and richness typical of the form result from:
" breadth: substantial duration, and the integration of strongly contrasting material
" stable initial presentations of the material, linked by a transitional section
" long term suspense engendered by a major open punctuation at the end of the the second
theme
" avoidance of the tonic at the start of the development, creating the effect of a formal
interruption, which maintains suspense at the highest level
" contrast of structure in the development section: increased instability, use of surprise
" buildup of expectation to prepare the return to the tonic
" substantial recapitulation to round off the form, with the second group restated in the
tonic area, to heighten stability.
Sonata form is thus an elaborate, suspenseful narrative structure, with rich potential for
digressions, elaborations, and complex balances. It also provides the opportunity to explore
material in different formal contexts.
It is very useful for long pieces because of its inherent suspense. It is also adaptable to many
harmonic styles, since the basic principles -balance through varied reprise; contrast and suspense
due to material and construction; intensive development of material, showing it many different
formal contexts; connecting contrasting characters through elaborate and varied transitions -
answer the psychological requirements for maintaining interest and intensity over an extended
time period.
A sonata form, conventionally divided into exposition, development, and recapitulation, may
also include an introduction and/or a coda.
Sonata Rondo
The sonata rondo functions similarly to a sonata, except that the development is preceded by a
rondo-like reprise of the main theme; the development itself acts like the second episode in a
normal rondo.
The reprise of the main theme following the contrasting material lowers the tension considerably,
and makes this form suitable for less intense drama.
Notes
1. Note that sequence uses the principle of progression, and to that extent is a predictable device.
However, unlike, say, a period, the listener can not foresee when the repetitions will end.
Conclusion
In this book we have attempted to survey some of the basic principles governing musical form.
Our approach has been largely psychological: we have tried to understand formal processes in
terms of how they are designed to affect the listener's experience.
Following a narrative model, we have characterized the musical experience at each stage of the
listener s progress through a work: beginning, development/elaboration, and ending. Our
discussion has leaned heavily on simple psychological principles that allow the composer to
attract attention, to intensify and amplify the listener s experience, and to create closure.
The advantages of approaching musical form in this way are several. First, relating the processes
of musical form to basic psychology helps the composer organize his music in ways that are
clearly comprehensible. Also, the student focusses on clear links between his musical decisions [ Pobierz całość w formacie PDF ]

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