Form and Analysis (V2 S6) Flashcards
Period
Two phrases in succession, must have antecedent/consequent relationship. Repeated phrase does not make a period.
Phrase
Independent musical idea concluded with a cadence. Regular phrases are 4 measures in length, irregular are 2-8. When analyzing phrases, use lowercase letters.
Sub-phrase
A melodic event that does not conclude with a cadence (“Mary had a little lamb” is a sub-phrase, the end of the phrase comes after “little lamb, little lamb”
Antecedent phrase and consequent phrase
Two phrases that call and respond, consequent will have a stronger sounding cadence than the antecedent.
Repeated Phrase
two identical phrases performed back to back. Does not produce a period.
Parallel Period
Both phrases begin with similar or identical material
Contrasting Period
Occurs when phrase beginnings are different
Parallel Double Periods
a a’ a a’’
a a’ a b
a b a b’
a b a c
Contrasting Double Periods
a a’ b b’
a a’ b c
a b c c’
a b c d
March meters
2/4, 6/8, and cut time are most common. 4/4 is acceptable but less common. Meter is generally a duple. The exception is a circus march
March key signatures
Most common are F, Bb, Eb, and Ab. Many American marches have a key change, usually in the trio.
Traditional American March form
I - AA - BB - C(C) - Br - C (Grandioso)
(Trio can repeat before breakup strain)
Regimental March
I - AA - BB - CC - DD (semper fidelis)
Circus March (Screamer)
Used by circus bands to add excitement while acts are performed. Same format as American marches. Usually 140-220 BPM. Fast scale runs, intricate rhythms, double tongued fanfares, and obbligato parts. Henry Fillmore “Circus Bee” is an example.
European Marches
Same form as American. Differences lie in performance practices and cultural differences.
British March
Stately feel, 88-112 BPM. Includes dynamic changes and counter melodies on repeated strains. Last strain is usually broad and majestic. Stingers are at full value if it contains one. Kenneth J. Alford is a notable composer.
German March
110 BPM. Oom-pah style. Bass drum and low brass perform on downbeats and upper voices on the off beat. Sometimes have a grand low brass feature. Final strain may use a lyrical melody and conclude with full orchestration and pompous feel. Josef Wagner “Under the Double Eagle” is an example.
French March
Written in common time (4/4). And place emphasis on the first beat of each measure. 116-132 BPM. Emphasis on percussion and brass. Bugle calls used as interludes between strains. Robert Plaquette and Paul Cezano “Le Regiment de Sambres eat Meuse”
Italian March
Light and proud feel. 96-128 BPM. Fanfares in brass and obbligatos in the woodwinds area common. Lyrical melodies. Influenced by operatic aria. Final strain may feature this in an upper voice. Boccalari’s “The Italian Rifleman.”
