Lesson with Afrodit_xy (General Composition)

You sent me some of your work already, so, do you want to work on anything specific? We can also talk over what you sent me, it's up to you.

If you have questions or want to do something else, post it here.

.... Helloooo?

i'm very sorry to disapear . i was in a trip and unfortunately i couldn't use the internet. i have a big problem in writing and it's the "Form" of the peace which i write. i don't know anything about it and till now i did what i wanted to do but it seems that it's not right. if it's possible i wanted to learn to analyse the Form of a peace to be able to use it in my work and do some exercises about that.

thanks

Then form it is!

We should first probably look at the basic forms such as 3 part song form, simple rondos, etc. A really good example of this type of short form is found in Schumann's Kinderszenen or such other short pieces.

Before we move to actual examples, I'll break this simple form up so you know what to expect when we see it in action.

A 3 part song form is based basically on part A, B, and a repetition. Therefore, 3 sections (also known as ABA form.) The A part serves as the introduction and theme, the B as a contrast (usually in a different key, if in major it can be in the relative minor, if in minor it can be in the relative major or in the dominant, for example.) Then, comes a reprise where A and B are presented again.

So the form is, usually, A:B -> A(:B). The reprise CAN also contain a reprise of B, but sometimes that's left out (Schumann does this often.)

I'll post the scores and walk you through how that looks like in practice soon. In the mean time, I already did a little analysis of one of his pieces in

http://www.youngcomposers.com/forum/lesson-jordan-general-theory-harmony-composition-14891-2.html

Ignore the harmonic analysis if it's too complicated, what you should look at is the form of the piece. I explain a little about it there too. I'm probably going to pick easier examples than this one, though. :>

For our first example, let's look at the "Poor Orphan" (I think it's the 6th) piece from Schumann's "Album f

yes. i got it. i have 2 question. i don't know if it's true or not but i think every piece can has it's own form. and if it's like that how can i know that what i write has a form or not because in my ear it sounds good and maybe it has a right begining and ending and some contrastes and it has a shape already but i didn't mean to put it in a specific form.

that's my first question. and the second one : what is the relation(not harmonic) between part A and B in a A-B-A form. is B part a "Variation" of A part that has to recall it or it can be quiet different ?

thanks.

yes. i got it. i have 2 question. i don't know if it's true or not but i think every piece can has it's own form. and if it's like that how can i know that what i write has a form or not because in my ear it sounds good and maybe it has a right begining and ending and some contrastes and it has a shape already but i didn't mean to put it in a specific form.

that's my first question. and the second one : what is the relation(not harmonic) between part A and B in a A-B-A form. is B part a "Variation" of A part that has to recall it or it can be quiet different ?

thanks.

As for the first question:

Indeed. As far as composition goes, all pieces have a structure. However, "structure" in this case does not mean a particular traditional structure or any of that, but that all pieces have a structure (all music has structure) as structure is simply the way a series of sounds is organized across a particular duration of time.

What is important, then, is to recognize if the structure is based on a particular model, or maybe "by ear" or intuitive, or any other number of things. Like you said, you can have a form but not really intend it to be anything specific; it can be more intuitive and what sounded best to you. That's entirely OK, it's a personal choice of the composer. It is, however, important that you understand why you chose to do what you chose to do.

As for the second question:

It's very flexible. B can be very different in terms of motives/rhythms than A, or it can be a slight variation (in a different key.) There's no set rules or formulas for this and it varies from piece to piece.

I hope that answered them, if you have more questions or need any clarifications, I'm all ears. :>

So, any news on this? Remember that if you have any questions, etc etc, please do say so. I'm here to help, after all.