|
|
- multiple settings of text set to a singular musical strophe
|
|
|
|
- Music is modified to reflect changes in the text
|
|
|
|
- ABA with 121 text
- ABA with 123 text
|
|
|
|
|
|
|
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
verse 1 –> ch.
verse 2 –> ch.
verse 3 –> ch.
verse 4 –> ch.
*sometimes has a bridge thrown in for added contrast
|
|
|
|
|
verse 1 –> ch.
ch.
ch.
ch.
|
|
|
|
|
aaba
abac
abca
*b section is bridge
|
|
|
|
|
3 4-bar phrases
aa’b
a= I///
a’=IV/I/
b=V/I/
lots of embellishing chords
|
|
|
|
|
transition from speech to song
classic chord progression
hypermetric qualities
|
|
|
|
|
general description
harmonically focused
meter/tempo firmly set
|
|
|
|
| the formulation of larger metric units consisting of 2+ measures |
|
|
|
|
has a subject & episode
- begins with subject in tonic key
- statement of subject in another voice
- episode in lots of closely related keys
- modulates back to original key
|
|
|
|
|
theme of an invention
1-4 bars long
may appear in either voice
|
|
|
|
|
modulating passage; filler
contains snippits of the subject
altered subject via fragmentation inversion retrogradation
not necessarily between every single subject
|
|
|
|
|
exposition
episode
middle entry
episode
mid entry
episode
recapitulation
coda
|
|
|
|
|
|
|
|
motive theme of a fugue
(double fugue has 2 subjects)
|
|
|
|
|
statement of subject transposed to the dominant
occurs in the fugue’s exposition
|
|
|
|
|
initial portion of the fugue
each voice enters seperately
all voices state either subject or answer
no order
|
|
|
|
| statements of the fugue subject after exposition |
|
|
|
|
the final statement in tonic key
outer voice
|
|
|
|
| modulating passage between subjects |
|
|
|
| cadential material following final entry |
|
|
|
|
AB
;
A; may be sectional or continuous (ending on a PAC or a HC)
;
B; uses either new material or the same material as the A section
|
|
|
|
|
A B-A
;
a; same as simple binary
b; three criteria
– no thematic contrast
– harmonic instability; prolongs dominant harmony
– weak harmonic/melodic closure
2nd a; frequently abb.
|
|
|
|
|
A B A
;
a: sectional
b: strong thematic content
harmonic/ tonal stability in a contrasting key
strong closure
a: fully restated or expanded
|
|