MILTONOTES

An open-eared exploration of composition in theory & practice.

Structure

Milton Mermikides m.mermikides@surrey.ac.uk

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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, well build a catalogue of structures and structural concepts for analysis and 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, Melodic 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

Melodic Analysis
Gnossienne I - P3
A

Melodic Analysis
Gnossienne I - P4
B

Structure
Form
A B 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). C B A B C B A B C B A B C B 8x2 4x2 6x2 4x2 8x2 4x2 6x2 4+3

Structure
Levels of 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

Well look at some specic 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

Unrelieved variation with repeats

AABBCCDDEE

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 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

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 neednt 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 rhythm Cscara x0xx 0x0x x0x0 xx0x

2-3 Cuban Son

Structure
Sectional Crab/Table Canon

Structure
Dammit Im 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. Im in it. I tell. I am not a devil. I level Mad Dog. Ah, say burning is, as a deied 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 ll 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? Im a fool. A hymn I plug, deied as a sign in ruby ash. A Goddam level I lived at. On mail let it in. Im it. Oh, sit in ample hot spots. Oh wet! A loss it is alas (sip). Id assign it a name.N ame not one bottle minus an ode by me: Sir, I deliver. Im a dog Evil is a deed as I live. Dammit Im 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 - Sor Note that each section may itself have an internal 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
Brittens Young Persons Guide to the Orchestra has each variation showcasing a different section of the orchestra, and his Nocturnal for Solo Guitar, starts with the variations, only revealing the Dowlands underlying theme in the last section. Elgars 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 Dorabellas stutter, W.N.s laugh and particular experiences they shared. Elgar claimed all a based on a hidden theme that is not played and took the secret to the grave.

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 specic harmonic structure (A, AB, ABAC, 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 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 Your Love So Bad) or other (Come On Pt. 1), and a rhythm changes (many examples)

Structure
12-Bar Blues (major)

I7 IV7 V7

IV7 IV7 IV7

I7 I7 I7

I7 I7 V7

Note this form wasnt decided a priori it evolved, and still many structures have an indenite length on the I chord, moving to the IV on cue

Structure
12-Bar Blues (minor)

i7 iv7(IV7) bVImaj7 V7 i7 i7 V7

Structure
8-Bar Blues (major)

I7 V7

IV7 I7 IV7

#IV7 I7 V7

I V7/II ii7

Rhythm Changes

Structure I V7/II ii7 A A B A I I7 IV V7 iv V7 iv iii V7/II ii7 iii V7/II ii7 iii V7/II ii7 V7 V7 V7

I V7/II ii7 I I7 IV

iii V7/II ii7V7 I V7/II V7

V7/VI V7/V I V7/II ii7 I I7 IV V7 iv

iii V7/II ii7

V7

iii V7/II ii7V7 I

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 Outro
Note that features may be shared - an intro can use the choruss chords for example

Structure
Wind Cries Mary Hendrix Intro Verse Prechorus
ends with material and similar to

Solo Verse Prechorus Chorus

Cries

Verse Prechorus Chorus

Screams

Verse Prechorus Chorus

Cries

Chorus
Whispers

Outro
based on intro

Structure
Better Be Home Soon Crowded House

Verse Prechorus Chorus

(short)

Verse Prechorus Chorus Bridge Solo Interlude

Verse Prechorus Chorus Chorus

Structure
Grow Your Own Intro Bridge Vamp Interlude Collision Solo Outro Chorus Prechorus

Verse

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 Arhythmic Outro Drop Solo

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 modied section breaking expectation, new material or a logical conclusion
e.g. 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 structures (including at least one from each of the 3 categories of sectional, variational and developmental).