Lesson video

Hello everybody.

And welcome to the last of our music structure lessons.

It's been an incredible journey, full of music and obstacles.

But you've done an amazing job reaching this last stage.

Where we are going to take a look to everything we have learned so far.

But for now let's take a look at what we're going to need for today's lesson.

Can you guess? Yes your right.

Exercise book or paper and pencil.

So, let's start and see what have we learned along our journey? So far we have learned four different musical forms. The first and the most basic of all was the Binary form.

The most common and famous form of composing music in the Baroque period.

It had two sections, A and B.

That's why it's called Binary form.

because it has only two.

Binary form came into two different forms, simple and rounded.

Simple was A-B and rounded was A-B-A.

But the A was part of the Binary.

So it's not the Ternary, which is the next one that we learned.

Ternary form equally famous as the Binary form.

But do you remember how many sections did it have? Your correct, it had three sections.

That's why it's called Ternary, Ternary for three.

So it's A-B-A.

In Ternary form, A had a special name.

It could also be called Minuet.

The B could also be called Trio.

And then it had an A.

Which played, which repeated the same musical names of the first section A.

Now let's remember that A always means the first musical year.

The first music subject, music phrase because after that when it develops and we go to B then B is the contrasting section of A.

Something different that makes you think, "Oh! now we're really in B." Ternary form also came in two different forms. Do you remember what were they? They were simple, but this time were not rounded.

A was called compound.

After Ternary form, we'll learned about the word Sonata.

Do you remember what Sonata stands for? It's for the Italian and Latin of Sonare, which means literally to sound.

Its opposite was the Cantata which meant for Cantare to sing.

So Sonata was strictly to be played with instrument and Cantata was strictly meant to be sang.

Sonata was the most famous form of the Classicism which was the musical period that came after the Baroque.

Sonata had the Sonata form, which also had three sections.

But the sections were so big with so many ideas that they were not called A-B-A again or anymore.

They were called exposition, development and recapitulation or re-exposition, which it serves where big, A big B and a big A again.

But their names were shifted to for exposition development and recapitulation.

And the last form, what's called the Rondo form.

The sections of the Rondo form were many.

It was not only restricted to A-B-A.

It developed to many more letters like A-B-A-C-A, the most common, or sometimes A-B-A-C-A-D-A.

It's like, fantastic, because you have so many ways of composing a Rondo.

But the Rondo was also meant to be played, not sang.

It's brother or sister that was meant to be sang, came from front.

And it had the same name, but spelled different.

Rondo.

So let's keep going and let's see what are we going to take a look today.

So we're going to talk a little bit more about the forms that we have learned and that we have just spoken about.

We will listen to them.

We will analyse them together to see if we still remember how they work.

And I will give you some examples so you can listen at home and you can try and analyse by yourself using all the knowledge and wisdom that you have acquired through these six lessons.

So let's take a look at the most basic of them all.

The simple Binary form by the hand of anonymous.

First idea, we call it A.

We have another A, but this is a little bit developed.

Contrasting section.

Because not only he changes the notes, that changes rhythm.

Repeats the B.

Now, when this person, David Hernandez Romero, repeats A and repeats B, he adds extra ornaments.

Because in the Baroque or in this case, the Renaissance, it was considered for a very good performer to be able to improvise insight within the given melody.

So the better you improvised the main melody, the better performer you were considered in the Renaissance and the Baroque.

Next, we find one of my favourite pieces which is the Polonaises Op.

40 from Chopin.

Which is a compound Trinity form.

Let's have a listen.

First material, it's A.

Within A we will have three sections.

Here it's A.

We have a small B here which is a bridge that connects to back to A.

Listen.

Complete change of rhythm and notes.

We enter B, the Trio and our new letter which is C.

In this case, the C it's repeated for almost four times.

So it's not C-C as we have in C-C, the C.

Big change of character.

It's D.

Back to the beautiful and playful C.

Again to repeat C one last time.

Back home, we're in A again.

But this time doesn't repeat them like the first time.

Back home for the last time.

So as we can see, the Compound Ternary form is very complex and it has many letters.

But we know that A we'll always be A-B-A, which is also the Minuet.

And the trio B can be either C-D-C or C-C-D-C or C-C-D-D-C-C.

Depending on the piece or the choice of the performer.

Let's move on now to the Sonata form.

This time we're going to be listening again to a very known piece.

Let me see if you can guess which performer is it? Was it Mozart or was it Beethoven? You're right.

It's Mozart and his Sonata, Op.

16.

The exposition has a and b.

Back to the small A from exposition.

It's like the same material, but this time went in development.

When using the ideas of the exposition, he explores all the capacities.

Back to A.

Same melody, different notes.

We enter b' small.

Sonata form is one of my favourites.

Because it has bigger ideas than Binary form and it's longer.

And it also, remember a very important characteristic.

Binary form was meant only for one movement.

But Sonata form came with three movements.

The first movement called Allegro could be very fast.

Second movement, slightly slower, either Adagio, Andante or Largo.

And the third movement could be a Vivace, very fast.

And it could also be in Rondo form, which is the case of Mozart's, Alla turca, third movement.

New material, B.

Now we enter the real B.

But we've seen the A, there's only the small A and small B.

Even newer material, C.

Back to B.

What do you think is going to be the next letter? Back to A, for the last time.

I almost get him right again.

B' small with double and faster notes.

And to end it, we'll have the Coda.

It's truly one of the most beautiful Rondos ever compost.

Now, boys and girls, if you want to step the challenge even more within A and B in every Binary form, in every Ternary form, in any Sonata, in any Rondo it can be even divided in more subsections.

We have A here, but within that A, there is A-B as well.

Do you think you can find them at home? So we have reached the end of our journey.

But I'm going to give you a couple of songs that you can listen at home.

For a Binary form at home, I would likely to listen to the Cello Suite from Johann Sebastian Bach, number one to the following movements, Courante, Allemande and Saraband.

They're both, the three of them A-B.

Do you think you can spot the different sections? I would like for you to go back to the beautiful Album for the Young, that we listened from Robert Schumann because it has many songs.

And most of them are Binary form.

Do you think you can spot which ones are Binary? And for the last one, another Mozart's piano Sonata, in the major, but it's the third movement, the K284.

In terms of Ternary form, it gets a little more tricky.

Because this one it's a full symphony for full orchestra.

It's called Haydn's Surprise Symphony.

So why don't you go and find the Minuet and trio and spot the different A-B-A sections.

I would also like for you, go to Johann Sebasian Bach again.

Polonaise and double Polonaise from his second orchestral suite.

And also his bouree and double from his second English suite for harpsichord.

Harpsichord is the ancestor of the piano.

And for the last one, the most tricky of them all, the scherzo and trio, which is the second movement from Beethoven Symphony number nine.

And if you have time, the scherzo trio in Schubert's String Quintet.

In terms of Sonata, please go and listen to my favourite one, because I'm a cellist.

And I love the Sonata for Piano and Cello, number one, by Ludwig Van Beethoven, in the first movement.

From Beethoven as well, take a listen, have a listen to his first piano Sonata.

And from Haydn, which was the teacher of Beethoven, the first movement of his symphony 104.

And lastly, for Rondo, here it gets very tricky.

But it's also for Cello.

Go and listen to Anthony Dvorak, Cello Concerto in B minor, the third movement.

It's very fast.

It's very fiery.

And I think that you will love it.

From Dvorak as well, on the symphony number six, have a listen to the second movement.

And lastly, from our friend Chopin, take a listen to the third movement of his Piano Concerto, number one.

So I hope you enjoyed it.

You had an amazing time.

And I hope that you learned how to spot the different sections from different pieces of music.

So I will look forward to hear from you and to see all the work you've done.

Have a lovely day.

Bye bye.