Form

Of all the fundamentals of music, form is the aspect that seems to create
the most anxiety in the general music lover. Part of the problem may be
the terminology, as titles such as sonata, rondo, passacaglia, fugue and the
like, can seem daunting. However, while a basic comprehension of these
forms might enhance one's enjoyment of the music, you can thoroughly
enjoy a sonata without knowing about sonata form.

One way to approach musical form is to think of it as a way of organizing
repetition and contrast. For example, many songs are organized through
the use of refrains (called the "chorus" in popular music), where a melody
is repeated at various points during the song. This repetition gives the
music a sense of shape and structure. Much instrumental music uses
repetition in this same way and for the same purpose.

However, unless a composer wants to repeat the same music over and
over again, there needs to be some contrasting material. The use of
contrast allows the refrain (or its equivalent) to give the sense of returning
to something familiar. It is upon this simple principle that the vast majority
of classical forms is based.

One of simplest musical forms has the following three-part structure:
A-B-A. In other words, think of "A" as a section of music and "B" as
another section with a discernibly contrasting character. The form is
rounded out with a repetition of the opening section. Although this form is
quite simple, it is satisfying because it provides variety as well as a sense
of closure.

Listening for form is really just being sensitive to musical contrasts and
repetitions. Musical structures larger than song form are just more
elaborate series of contrasts and repetitions.

One of the most subtle and wonderful aspects of form is the way that
musical ideas (melodies, harmonies, rhythm, textures and colors) can be
transformed. When a composer repeats a musical idea, the repetition is
rarely going to be exact. Just as a character in a story can be transformed
by his or her experiences, a musical idea can be transformed by its
"experiences." Perceiving these transformations might involve listening to a
piece a number of times. Luckily, recordings provide us with the
opportunity for repeated, concentrated, "analytical" listening.

In Mussorgsky's "Pictures at an Exhibition" (discussed in the section on
Color), the composer musically depicted walking through an art gallery.
The work opens with a "Promenade," representing the composer entering
the gallery. As the composer moves from painting to painting, this
"Promenade" music returns. Every appearance of the "Promenade" is
different, as the composer's mood is altered by his encounters with the
artwork.

Listen to the following excerpts from "Pictures at an Exhibition," beginning
with the opening "Promenade." Then listen to the other examples and try
to characterize their differences. Note that this is Maurice Ravel's
orchestration of Mussorgsky's work (originally for piano).
 

          Mussorgsky: Pictures at an Exhibition
(arranged by M. Ravel)
(MPEG-2, Filesize: 127K)
 
 

          Mussorgsky: Pictures at an Exhibition
(arranged by M. Ravel)
(MPEG-2, Filesize: 126K)
 
 

          Mussorgsky: Pictures at an Exhibition
(arranged by M. Ravel)
(MPEG-2, Filesize: 121K)
 
 

          Mussorgsky: Pictures at an Exhibition
(arranged by M. Ravel)
(MPEG-2, Filesize: 126K)
 

If you have a recording of "Pictures," try to determine the relationship
between the promenades and the musical representations of the paintings.
How is the composer affected by each of the paintings and how is that
expressed musically?

When you listen to other works, try to identify how repetition and
contrast structures the music. If the repetitions are varied, how are they
varied? What is being contrasted? In considering these questions,
remember to consider all the other fundamental parts of music: melody,
harmony, rhythm, texture and color).