Form and Architecture
The shape of the whole piece.
Binary Form
- The idea
- Binary form has two sections, A and B, each usually repeated.
- Try this
- Write an eight-bar A section and a contrasting eight-bar B section.
- Example
- A moves from C to G; B returns from G to C.
- Listen for it
- Petzold, Minuet in G major (BWV Anh. 114)
Ternary Form
- The idea
- Ternary form is A–B–A: a statement, a contrast and a return.
- Try this
- Write A–B–A and change the register of the returning A.
- Example
- A in C major, B in A minor, A again an octave higher.
- Listen for it
- Chopin, Prelude in D♭ major, Op. 28 No. 15
Rondo
- The idea
- A rondo alternates a recurring refrain with contrasting episodes.
- Try this
- Return to the same four-bar refrain between contrasting episodes.
- Example
- A–B–A–C–A.
- Listen for it
- Beethoven, Für Elise
Theme and Variations
- The idea
- Theme and variations states a tune and then repeats it in altered forms.
- Try this
- Keep an eight-bar tune recognizable while changing its rhythm and accompaniment.
- Example
- Variation 1 in running eighths, variation 2 in minor, variation 3 as a waltz.
- Listen for it
- Mozart, Twelve Variations on “Ah vous dirai-je, Maman,” K. 265
Through-Composition
- The idea
- A through-composed song sets each stanza to new music.
- Try this
- Set a short text with new music for each stanza.
- Example
- Stanza 1 calm in major, stanza 2 restless in minor, stanza 3 with a new melody.
- Listen for it
- Schubert, Erlkönig
Arch Form
- The idea
- Arch form arranges sections symmetrically around a center.
- Try this
- Organize five sections as A–B–C–B′–A′.
- Example
- Fast–slow–scherzo–slow–fast, with the outer sections sharing themes.
Development
- The idea
- Development works out a theme by fragmenting, sequencing and moving it through keys.
- Try this
- Take a two-note motive through three keys without stating the full theme.
- Example
- Motive E–C heard in C major and then A minor and then F major.
- Listen for it
- Beethoven, Symphony No. 5, first movement (development)
Refrain Transformation
- The idea
- A refrain transformation brings a chorus back in a new guise.
- Try this
- Bring a chorus back softer and with different instruments.
- Example
- The final chorus returns piano, with solo voice and strings instead of the full band.
Phrase Elision
- The idea
- An elision makes the last bar of one phrase also the first bar of the next.
- Try this
- Let one phrase's cadence bar also begin the next phrase.
- Example
- Bar 8 resolves to C and is also bar 1 of the next phrase.
Proportional Design
- The idea
- Proportional design plans section lengths to shape the whole.
- Try this
- Give successive sections 4, 8 and 12 bars to create expansion.
- Example
- Introduction 4 bars, theme 8 bars, climax 12 bars.
Other chapters: Motif and Melody · Rhythm and Meter · Harmony and Tonal Motion · Counterpoint and Voice Leading · Texture and Instrumentation · Expression and Narrative · Jazz and Contemporary · Electronic and Acoustic Design · Revision and Craft
Not every technique suits every style. Adapt it to your instrument and your music.
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