STRUCTURE

OVERALL STRUCTURE:
The Sectional Forms
y y y y y Binary Form: Two distinct sections differing from each other (A, B). Ternary Form: Three distinct sections with the third a repetition of the first (A, B, A). Rondo Form: Many distinct sections alternating with a return to the first (A, B, A, C, A). Theme and Variations: Many distinct sections which are varied repetitions of the initial musical idea (A, A1, A2, A3, A4). Additive Form: Many different accumulating sections (A, B, C, D, E).

Continuous Structure
Continuous structure is often found in polyphonic music, where two or more melodies are vying for the listeners attention. Essentially, it is when it is too difficult to distinguish when sections end and the music seems to advance. An example of this is a canon, where a melody is begun at different times so that they overlap each other and so there is a no sense of a section ending.

Song Structures
y y y y Strophic Form: The music remains the same for each lyrical verse. Modified Strophic Form: The music is changed in the occasional stanza. Through Composed: The music varies in character to reflect the changing feelings of the lyrics. Verse-Chorus Form: Typical of pop songs where verses and choruses alternate (choruses are generally played the same every time, whilst the lyrics change in the verses).

SECTIONS:
Types of Sections:
y y y y y Introduction: Establishes various significant aspects of the concepts: metre, tempo, style, tonality and instrumentation. The A section: Presents the statement (first complete musical idea). The B section: The first substantial digression (although relevant to A, presents a new musical idea). The C section: A different digression (generally after a return to A). Verse: A melody, accompaniment and words (lyrics). Verses provide: o Unity as they have the same music each time, and o Contrast since each additional verse presents fresh lyrics. Pre-Chorus: The section which leads directly into the chorus. It is characterised by an increase in tension which can be created by:  swelling volumes  ascending melodies  a faster harmonic rhythm  additional instrumentation, or  thickening textural density. Chorus: The section of the song in which everybody joins in. The chorus is the most memorable section and contributes to: o Unity as it keeps returning after each new verse, usually with the same lyrics, and o Contrast since it is often uplifting and louder than other sections of the song. Bridge: The section added to lift the piece to new heights and prevent alternating verses and choruses from becoming overly predictable. It is a new contrasting section adding to structural variety. Solo/Instrumental: Gives the vocalist a rest. Here, an instrument takes the feature role and the listener is treated to melodic and timbral variety. If the melody is improvised, only one instrument usually features and this section is called a solo. It is referred to as an instrumental, however, if the melody is pre-composed in which case there may be more than one instrument playing. Coda: The very last section of a piece of music; bringing the piece of music to a close.

SUB-SECTIONS:
Sections are generally divided into sub-sections by structural devices. Devices which form patterns produce the most noticeable sub-sections because they create regular divisions. Structural devices include: call and response, imitation, fills, staggered entry, stabs, rhythmic ostinati, augmentation and diminution (lengthening/shortening rhythms), regular phrase lengths, melodic ostinati, riffs, sequences, motifs, and harmonic rhythms and patterns.

~EXAMPLE: STRUCTURAL RESPONSE:

The excerpt opens with the drums supplying a 1-bar rhythmic ostinato. Next, the bass and guitar enter supplying a 2-bar riff played in unison octaves. The ostinati contribute to structural unity. As the ostinati continue, a synth pad enters supplying a 4-bar chord progression. Although contrastingly larger than the previous ostinati, its repetition creates even more structural unity. The staggered entry of the layers occurs at regular 4-bar intervals and also contributes to the regular structure of this excerpt.