Minds On
Today’s vocabulary
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Two teachers discussing. The first teacher shares: ‘Hey Teacher B, did you know that music can be organized in many ways?’ The second teacher responds: ‘Really? How can music be organized?’ The first teacher answers: ‘The way music is organized and structured is called musical form. You may remember call and response, simple verse and chorus, binary form (AB), ternary form (ABA), simple repeats and a piece with an introduction and/or a coda…’ The second teacher responds again: ‘So many different types of forms!’. The first teacher answers: ‘Yes, but let’s focus on a 4-part form today.’ The second teacher responds: ‘Wow, a composer really has lots to do when creating a 4-part form.’
The musical form of a composition shares important information about that piece. Form is one of the first things a composer considers when creating new music. As we begin to explore this concept, review the following questions about form and record your thoughts using a method of your choice:
- What kind of information does musical form (such as ABA) provide about a piece of music?
- What features might a composer consider when deciding on the type of form for their composition?
Action
Get ready, get set…
Types of forms
When composers create music, they may choose to create a section that repeats, or multiple sections that are organized in different patterns. Let’s explore some of the common forms that music sections are organized into.
Please note that while composers create multiple bars of music for each section, we will explore the idea of form using single bars of music.
AB form or 2-part form
In AB form or 2-part form, also known as binary form, the ‘A’ section and the ‘B’ section are contrasting.
AB form
There are two sections of music labelled A and B. In the A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the B section, there is a quarter rest on the first beat, a quarter note (ta) on the second beat, two eighth notes (ti-ti) on the third beat, and a quarter note (ta) on the fourth beat.
Access the following audio clip entitled “AB Form as Notes” to learn more about the two-part form as notes.
AB Form as Notes
Now check out the following audio recording entitled “AB Form as Words” to learn more about the two-part form as words.
AB Form as Words
ABA or three-part form
In ABA or three-part form, also known as ternary form, the A section and B section are contrasting. The A section repeats again after the B section.
ABA form
There are three sections of music labelled A, B and A. In the A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the B section, there is a quarter rest on the first beat, a quarter note (ta) on the second beat, two eighth notes (ti-ti) on the third beat, and a quarter note (ta) on the fourth beat. In the second A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar.
Access the following audio recording entitled “ABA Form as Notes” to learn more about the three-part form as notes.
ABA Form as Notes
Now check out the following audio clip entitled “ABA Form as Words” to learn more about the three-part form as words.
ABA Form as Words
AABA or four-part form
In four-part forms, there are four sections. There are 4-part forms organized in AABA where the A section repeats twice, followed by a contrasting B section and then the final repeat of the A section.
AABA form
There are four sections of music labelled A, A, B and A. In the first A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the second repeating A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the B section, there is a quarter rest on the first beat, a quarter note (ta) on the second beat, two eighth notes (ti-ti) on the third beat, and a quarter note (ta) on the fourth beat. In the third and final repeating A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar.
Access the following audio recording entitled “AABA Form as Notes” to learn more about the four-part form as notes.
AABA Form as Notes
Now check out the following audio clip entitled “AABA Form as Words” to learn more about the four-part form as words.
AABA Form as Words
ABAC, another four-part form
There are also 4-part forms organized as ABAC, where the A section repeats after each contrasting section. The B section and C section are different.
ABAC form
There are four sections of music labelled A, B, A and C. In the first A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the B section, there is a quarter rest on the first beat, a quarter note (ta) on the second beat, two eighth notes (ti-ti) on the third beat, and a quarter note (ta) on the fourth beat. In the second repeated A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the C section, there is an eighth note and two sixteenth notes (ti-tika) for each beat in the bar. There are four beats in the bar.
Access the following audio recording entitled “ABAC Form as Notes” to learn more about the four-part form as notes.
ABAC Form as Notes
Now check out the following audio clip/recording entitled “ABAC Form as Words” to learn more about the four-part form as words.
ABAC Form as Words
All of the notes used in the examples above equal one beat in 4/4 time.
Press ‘4/4 Time’ to access the definition of a 4/4 time signature.
A time signature of 4/4 means that all of the notes in each bar of music must add up to 4 quarter notes. The pulse or beat is counted as 1, 2, 3, 4.
Explore the notes in the following Music Notes chart. Each note equals one quarter note. Please note that rests or pauses can be a part of a music phrase. You may practice reading or playing the notes aloud using the words that use the same rhythm.
| Note | Oral Prompt | Words That Share the Same Rhythm |
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Eighth notes |
Ti-Ti (1 +) |
Don-key |
Sixteenth notes |
Tika-TIka (1 e + a) |
Cat-er-pil-lar |
Dotted eight and sixteenth notes |
Tim-ka (1_ _ a) |
Rob-in |
Eighth-sixteenth notes |
Ti-Tika (1_+ a) |
Grasshopper |
Sixteenth-eighth notes |
Tika-ti (1 e + _) |
El-e-phant |
Press the ‘Activity’ button to access Music Notes.
Access the following two audio recordings entitled “Music Notes” and “Music Notes with Words” to learn more about the music notes and the accompanying words explored in the Music Notes chart.
Music Notes
Two teachers discussing. The first teacher shares: ‘Did you know there is another form called rondo form?’ The second teacher responds: ‘Really? What kind of pattern does rondo form use?’ The first teacher answers: ‘Rondo form is a form which has a main section “A”. The A section repeats and is contrasted with other sections “B” and “C” to create a 5-part form. It is organized as ABACA. Rondos can vary in length. For example, a rondo might include a “D” section and become ABACADA.’ The second teacher responds: ‘Interesting, so a rondo form also includes a repeating musical idea and then contrasting ideas?’ The first teacher answers: ‘Exactly!’
Fanga Alafia
In the song “Fanga Alafia” there is a repeating melodic line. This is the part that the dancer sings. While the lyrics change, the pitch of the notes that the singer performs are repeated.
We are going to focus on the rhythmic accompaniment. How are the djembe performers playing the rhythm?
Press ‘Djembe’ to learn more about the djembe drum.
The djembe is a West African drum. It is traditionally carved from a single piece of hardwood and topped with an animal skin as a drumhead.
Check out the following video entitled “Fanga Alafia” to consider the rhythmic accompaniment.
Press ‘Djembe Players’ to access a possible answer.
While the djembe players support the melody, the rhythmic phrases are complex and contain diverse note values.
We are going to create a 4-part rhythmic accompaniment to Fanga Alafia. Since Fanga Alafia is played in 4/4 time, we will use a combination of notes that equal to 4 quarter notes per bar. Let’s explore the form ABAC for our 4-part rhythmic accompaniment.
Explore the following image of the ‘A’ section and the ‘B’ section that begin the ABAC form.
A section and B section
There are two sections of music labelled A and B. In the A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the B section, there is a quarter rest on the first beat, a quarter note (ta) on the second beat, two eighth notes (ti-ti) on the third beat, and a quarter note (ta) on the fourth beat.
Access the following audio recording entitled “A Section” to explore the first rhythmic accompaniment.
A Section
Now check out the following audio clip entitled “B Section” to access the second rhythmic accompaniment.
B Section
What is the next step to completing the form ABAC?
Press ‘Hint’ to access a guiding idea.
The A section repeats, and then the C section is added. The C section contrasts to both the A section and the B section.
Complete the ABAC Next Section chart in your notebook or using the following fillable and printable document. If you would like, you can use speech-to-text or audio recording tools to record your thoughts.
| Complete the ABA form. Consider the following diverse notes and complete the second ‘A’ section with the correct notes. | ||
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Press the ‘Activity’ button to access ABAC Next Section.
Go!
Creating 4-part form
The next step in creating ABAC form would be to create a contrasting C section. You may use the following organizer to create your C section.
Make sure that it is different from both the A and B sections.
Press ‘A Section and B Section’ to remind yourself of the starting sections of the ABAC form.
Explore the following image of the ‘A’ section and the ‘B’ section that begin the ABAC form.
A section and B section
There are two sections of music labelled A and B. In the A section, there are two eighth notes (ti-ti) for each beat. There are four beats in the bar. In the B section, there is a quarter rest on the first beat, a quarter note (ta) on the second beat, two eighth notes (ti-ti) on the third beat, and a quarter note (ta) on the fourth beat.
Access the following audio clip/recording entitled “A Section” to explore the first rhythmic accompaniment.
A Section
Now check out the following audio clip/recording entitled “B Section” to access the second rhythmic accompaniment.
B Section
You might use different notes to complete your phrase or choose to repeat specific notes within your phrase. Remember that the frame is a bar in 4/4 time which means that all of the notes in each bar of music must add up to 4 quarter notes. The pulse or beat is counted as 1, 2, 3, 4.
Complete the ABAC Form in your notebook or using the following fillable and printable document. If you would like, you can use speech-to-text or audio recording tools to create your rhythmic phrase.
| Complete the ABAC form. Consider the following diverse notes and complete the ‘C’ bar with the correct notes. | ||
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Press the ‘Activity’ button to access ABAC Form.
Dynamics
How might dynamics be used to emphasize the differences between parts A, B and C?
Next, consider how you might use dynamics in your piece.
Dynamics
The level of softness or loudness, or intensity. Some fundamental concepts related to this element are: crescendo, decrescendo, forte (f – loud), fortissimo (ff – very loud), mezzo forte (mf – moderately loud), piano (p – soft), pianissimo (pp – very soft), mezzo piano (mp – moderately soft).
For example, section A might be forte throughout.
Section B might decrescendo from beginning to end of the bar.
Section C might change from forte to piano.
| crescendo | become increasingly louder |
| decrescendo | become increasingly softer |
| fortissimo (ff) | very loud |
| forte (f) | loud |
| mezzo forte (mf) | moderately loud |
| piano (p) | soft |
| mezzo piano (mp) | moderately soft |
| pianissimo (pp) | very soft |
For example, a section can be labelled with a dynamic cue.
A dynamic cue for music in piano
Complete the ABAC Dynamic Cues in your notebook or using the following fillable and printable document. If you would like, you can use speech-to-text or audio recording tools to record your thoughts. Remember to complete the ‘C’ frame with your previous musical phrase!
Complete the ABAC form by adding dynamic cues to each section. Remember to complete the ‘C’ bar with your chosen musical notes.
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Press the ‘Activity’ button to access ABAC Dynamic Cues.
Consolidation
Putting it all together
Go through your finished piece and try performing each section of your 4-part form, if possible. You may also create a detailed description explaining how you would play each section.
You may perform using one of the following ways or another method of your choice:
- body percussion with stomps, claps and snaps
- using a tabletop as a drum
- perform the rhythms using an instrument of your choice
To help keep a rhythm, try out these hints:
- clap, pat or tap the rhythm phrase
- try a slow pulse to practice at first
- as you become more confident try to play the rhythm at a faster tempo
If possible, share the performance with someone else to explore and learn!
Review your learning
Use the following questions to reflect on your learning.
- Why is form important in the composition of a musical piece? Why might a composer choose to repeat a theme again and again?
- What can the idea of ‘form’ tell a musician about a song, even before they attempt to play it?
- How might a musician use the idea of form to improve how they play a piece of music?
Record your responses using a method of your choice.
Reflection
As you read through these descriptions, which sentence best describes how you are feeling about your understanding of this learning activity? Press the button that is beside this sentence.
I feel…
Now, record your ideas using a voice recorder, speech-to-text, or writing tool.