Form

Form in music is that element, or combination of elements, which, by securing a proper balance between contrasting parts, produces finish of effect, or Unity. What are called the musical forms depend, in varying degree, for their distinctive features, (1) on rhythmical and metrical grouping; (2) on thematic construction;/ (3) on melodic and harmonic opntrast;7(4) on contrasting tempi; ants) on contrasting moods. Points and 2 cover the ground of (I) mechanical symmetry; the contrasts of melody, darmony tempo, and mood posnate a more highly developed sense for (II) esthetic symmetry. (2.) A theme or melody simply repeated, (formula A+ A, or: A:)), presents no distinctive departure from the simplest form; repeated in alternation with another: A+ Bz it ex. Cee OE find Epeotes “4 IIL, Second Bevelopment: oo ‘Stretto: Theme brought out on the Coda, IL. (1.) The element of harmonic con. trast is derived in part from contrasting themes, in part from the deliberate choice of keys directly or remotely related to that of the leading theme; in part, also, from the harmonies accom paying or varying the theme or themes, pendence on the harmonic variation of repetitions of a single theme, together with the light and shade of varying tempi, is an important principle of the Theme with Variations, II, (2.) In cyclic compositions (the Cyclical Forms), contrasting tempi (S slow, F fast) in the succe ive movements are a prominent feature. The old Suite originally had the formula (S+ F+S+F); later a fifth movement, either slow or fast, was inserted after (seldom before) the 2nd slow one. The Sonata and Symphony are e entially alike in plan; either (F + S +F), or more commonly (F + S + F +F), or (S+F+S+F) or (F+F RM. hibits the peculiar feature of the song with refrain; once repeated, after any digre ion (interlude, or second theme), it produces the so-called Song-form (Lied form, A+B-+A), or that of the Minuet with Alternativo, With distinct themes alternating as follows: (:; A+ B: + B[A] +A+B fin the original key of AJ), it has the Sonata-form, or First-movement Form; while the Rondo-form has the follow in; alternations: (A+ B+ B [A] +A+ 5 [B2 in same key as A; vient section in the middle]); or: (A + B+ A [in same key as B] +B [same key as A]+ A). It must be added, however, that the Song-form, Sonata-form, and Rondo-form, as carried out in Practice, Present frequent deviations irom the above formulas.—A theme repeated or imitated while still progre ing, ere the form of the Canon, Catch, or Round; one or more themes repeated in conjunction or alternation with an accompanying or contrasting counterpoint, according to a more or le regular formula, the Fugue, The following is a fairly exhaustive formula for the construction of a simple 2 part fugue: ust deg. (tonic) Angwer on sth (dominant) Gib FP Gin augment) Nf, 34 cn diminut. 3d Gnverted) “Sth Gaverted) it os oth ich “(with modulation to the subdominant) +S + F); or, ing movements, (F +S +F+4+S4F); etc; a slow closing movement rarely occuts. IL. (3,) The foregoing formal schemes are a product of the slow evolution of centuries, First, the primitive dance song develops into lyric and epic song— love-ditties, ballads,—and into instrumental dance-tunes differently named according to their character or origin; while a parallel progre is seen in the rise of church-music from the severe Greg or i an Chant to the stupendous contrapuntal works of the late middle ages and the chaste style of Pal estrin a. Instrumental art-music now borrows and develops its forms from the vocal style uy the toras of ienitatiye music (canon and fugue) gradually near perfection, finally attained by J. ¢ Back: through the adoption by artists of the rhythmic melody and monodic style of the hitherto despised natural music (folk-music), and the recognition of its harmonic FORM ARE IL TUC basis, the two currents of art-music and folk-music are slowly merged in one broad stream; the popular dance-tunes are transformed into art-forms, and combined in the Suite; the rondo form and the first-movement (sonata. form are evolved step by step, and the it combination produces the Sonata and Symphony; which latter, discarding the scheme of 4 formal movements, and aspiring to the uninterrupted flow and sweep of an epico-lyrical drama without words, becomes the Symphonic Poem [Compare also Pa ion, Oratorio, Op. era, boreal Forma’re il tuono. See Me a di voce.