Index of Musical Forms
This page is a small compilation of music forms which are presently used in music composition. For ease, I have devided it into three sections: The first is song forms and other small forms, The second is larger single-movement forms, and the third is forms and considerations in form for large scale multi-movement works as well as other general information regarding form.
TWO PART SONG FORMS:
The Simple two part song form:
SECTIONS: A, B
DESCRIPTION: The simple two part song form is usually made up of two phrases, but each part can also consist of up to a double-period in length. The phrases can either be parallel or contrasting. The cadence at the end of part one is usually authentic in the tonic, authentic in the tonic of the doninant, authentic in the tonic of a related key, or a half cadence on the dominant. The cadence at part II is usually authentic in the tonic of the original key. Repetitions can be of the form.
I. [A][:B:] II. [:A:][:B:] III. [:A B:] (Note: sometimes the repetition pattern at III. suggusts a larger ternary form, this is a caution for using that particular repetition.)
The Expanded two part song form:
DESCRIPTION: the expanded two part song form is identical to the two part song form exepting these factors: -often incudes auxilery members of the phrases (i.e introduction, codetta, coda, postlude). -parts are never less than a period in length. part II is usually longer than I and employs extentions of various types.
The two part song form is the best example of a binary form, but it should be noted that it is not the only binary form.
Example of Two Part Song Form:
Trad: Red River Valley
THREE PART SONG FORMS:
Incipient:
SECTIONS: A, B
DESCRIPTION: Part I consists of a period in length, with either a parallel or contrasting consequent phrase. Part II is only a sinlge four measure phrase, and part III consists of one of the phrases from part I. If part I is a parallel period, than you may use any one of its phrases, but if part I is a contrasting period, than you should use the antecedent phrase. The cadence is usually authentic in parts I and III, and is either authentic, or a half cadence. Repetitions are of the form:
I. [A][:B A:] II. [:A:][:B A:]
Regular:
SECTIONS: A, B, A' DESCRIPTION: An introduction is optional, being either simple or indipendent in nature. Part I is from a period to a double-period in length. A codetta, interlude, or transition can occur between patrs I and II. Part II is from a phrase to a double-period in length, its melody being a transposition, derivation or independent of part I. In the interim between parts II and III there is a much greater likelyhood of the occurence of auxilery members such as a codetta, interlude, dissolution, or retransition. Part III is the return of part I. It can return in any of the following ways:
Exact, or slightly modified but still very close to the orginal melody.
Longer by the use of extentions within the phrase or the addition of other new material.
Shorter by abriviation, often to a single phrase.
A transposed, either exactly or inexactly, version of part I.
An extremely modified, yet still reconizable relation to part I.
The composition may end with either a codetta, coda or postlude. The cadences are usually authentic (in tonal music) in parts I and III, yet there are instaces where part III ends in a non-tonic key. Part II may in many cases begin in another key than part I, but it is also acceptable to put is in the same key as part I. The cadence in part II is usually a half cadence. The repetition is identitcal to the Inciepient form
The regular three part song form is the most often used ternary form, and due to its characteristics we find it the most used form for any type of Europian dance music.
Example of Three Part Incipient form:
Beethoven: Minuet in G
EXPANSIONS ON THE THREE-PART SONG FORM (FOUR AND FIVE-PART FORMS BY REPETITION)
A three-part form can be enlarged by repetitions in its sections just as two-part form can. This produces a type of five-part form, but is seperated in analysis from the five part form because it is merely extended by repitition . Usually the repetitions are in one of the following orders:
I. [:A:][B A]
II. [A][:B A:]
III. [:A:][:B A:]
One thing must be kept in mind when seeking expansion through repetition. This is that one must realize wheather the repetition will detract from the piece overall. It has been my experiance that listeners will not favor a piece that seems to "repetitive", the solution is to realize that expansion through repetition is not used merely to extend a piece (or to "milk it" so to speak). you must think not of length, but also of how it will affect the piece overall.
Five-Part Song Forms:
In sum there are three true five-part forms in which inexact or altered repitition is used.
First Type:
SECTIONS: A, B, B',
DESCRIPTION: In general these types of five-part forms are outgrowths of a three-part form, and are all related in the types of alteration which is constituted by the repetition. In the first type only two main sections are used, with an alteration by transposition on the repitition of the "B" section. As for the order of the sections they are as follows: A B A B' A, which is similar to an extended rondo form but not nearly as varied in the subsequent repititions of the themes (as one would expect the "A" section to become more varied in a rondo form, but in the song form stays consistent and unvaried).
Second Type:
SECTIONS: A, B, B',
DESCRIPTION: