LESSON 1 BINARY & TERNARY FORM Ø There are three types of binary forms, rounded binary, balanced binary, and simple binary. They all consist of two parts, with both parts normally repeated and ending with a cadence. This image is an example of a melody written in binary form It begins in A minor in the A section., and modulates in the B section to C major, the related major key. https://phamoxmusic.com/wp-content/uploads/2021/01/Binary-Form-Bourre-by-bach.jpg Ø The rounded binary form begins with a repeated A section, followed by a contrasting B section, which comes before the reinstated section A that is sometimes varied. The beginning of section A normally starts on the tonic and ends in the tonic Key that could be a half cadence. The B section can begin in a key other than the tonic or employ other techniques to emphasize the contrast. The return of section A takes place in the tonic key and ends with a cadence in the home key. In this image of the bin...
LESSON 3 VARIATION FORM Ø Variation form is a musical idea repeated throughout the melody in different ways. Some of the ways that create a variation to the musical idea are its rhythmic pattern, ornamentation, and mode change. There are two primary types of various forms: continuous and sectional variations. This image of the Theme and Variation shows the theme below. Above are the variation, and the notes highlighted in red are the corresponding notes from the theme. http://www.raymelograne.com/uploads/5/8/3/0/5830182/4943018_orig.jpg Ø Continuous variation is a style developed throughout the Baroque period under two forms, the ground bass, also called passacaglia and chaconne. Ø Ground bass or passacaglia features a repetition in the bass line with its variation in the upper voice. At times, the upper voice takes on a portion of the bass line repetition that can be as long as a phrase and sometimes overlaps. In this image of Passacaglia, a...
LESSON 5 NEAPOLITAN SIXTH Ø The Neapolitan 6 th chord is a chromatic, flattened supertonic chord , written in its 1st inversion and distinct in its sound. The image on the left displays the second scale degree chord as it appears in a minor scale, a diminished chord, and on the right, the same chord but as a lower second scale degree in 1 st inversion. https://viva.pressbooks.pub/openmusictheory/chapter/bii6/#:~:text=The%20Neapolitan%20sixth%20%28%E2%99%ADII6%29%20%28%E2%99%AD%20I%20I%206%29,of%20a%20iio6%20i%20i%20o%206%20chord . Ø The Neapolitan 6 th chord mainly comes from the second scale degree of the minor scale as a diminished chord. Having the 2 nd degree lower by a semitone, it transforms into a major chord. This image displays the function of the chords as it appears just before a fully diminished 7th chord which is before the dominant. https://viva.pressbooks.pub/openmusictheory/chapter/bii6/#:~:text=The%20Neapo...
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