(part 16 of 20)
Other Forms
Rondos, short ‘theme and variations,’ and preludes short all be written eventually. Try composing a sonatina, and finally, a basic sonata.
Rondos consist of a main repeated section (A) with different “episodes” (B, C, etc.) layered between. Rondo form can range from fairly short to very long: ABACA, or ABACADACABA. They can be symmetrical (ABACABA) or asymmetrical (ABACADAEA or ABACDA). Composing short rondos is a good next step after more simple AB compositions. Handling a ‘C’ section can be tricky (no, not that kind of C-section), particularly incorporating it in a meaningful way while preventing repeated sections from becoming dull. Rondos serve as an easier way to get a feel for incorporating ‘C’ sections.
Theme and variations are often just an ‘A’ section followed by a series of variations on the ‘A’ theme. Composing variations is excellent practice for manipulating melody, harmony, rhythm, texture, etc.–giving a fresh perspective while ensuring cohesiveness. If done creatively and ordered thoughtfully, it’s an excellent way to hold the listener’s attention. Variations can occur in any musical form (not just theme and variations) and can be labeled A1, A2, etc.
Preludes come in many flavors, but they are frequently built with nothing more than a little idea or pattern which is repeated/sequenced through all sorts of different harmonies, often modulating heavily. Bach’s C major prelude from the first book of The Well-Tempered Clavier is a famous example. The repeated pattern he uses is only a half measure long.
Compose a prelude by finding a simple pattern, then repeat it over and over while shifting through a harmonic progression. Think of it as going on a journey, perhaps eventually returning to where it began. Try to avoid returning to the tonal center too often, otherwise harmonic momentum can be lost. And a warning: preludes are far more difficult to write effectively than they might seem. The beginning often comes quickly and easily, but each measure after that can be more and more difficult (if focus is on good aesthetics, which it should be!). Keep it relatively short and stick with it. As with theme and variations, improvising complete preludes is also excellent practice.
Sonata form can be quite complex, and generally quite lengthy, so it is not recommended until a large number of smaller pieces have been completed. In its most basic form a sonata is made up of an ‘exposition’ (AB, often repeated, and ‘B’ often in a different key); followed by the ‘development’ (taking elements of A, B, or both, and playing around with them, often in the key of the B section); followed by the ‘recapitulation’ (return to AB, often B now in A’s key). The combined development and recapitulation are sometimes repeated as well. Often a coda (separate ending) is included, frequently as a return to A. So Sonata form in a nutshell is: ABAB-development-AB-development-AB-coda. But sonatas come in all shapes and sizes, so these are all very much generalizations. Rules are made to be broken!
It’s important to mention that most sonatas and sonatinas contain more than one movement. Often only the first movement of a sonata uses sonata form. The first movement of sonatinas are usually much shorter and simpler in form, without much or any development.
Many musical forms also incorporate transitional material. A transition basically connects two sections. Rather than just ending A and diving directly into B, a transition may gently guide the listener to a new section, or abruptly signal that change is coming. Transitions can be quite brief, or fairly lengthy. They can be totally unrelated to anything, or they can directly pull from something in the piece. They can compliment the surrounding sections, or contrast them. Like variations, introductions, and codas–transitions can be used in pretty much any composition.
Don’t stop here. Invent new forms. Even after composing longer, more complex works–return often to simple form pieces. Longer forms won’t be mastered without first mastering the shortest.
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Index
- Introduction
- Why Piano?
- Improvisation:
- Notation:
- Related Skills/Knowledge:
- Composition: