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The last thing we'll cover today is
musical form.

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We've already touched upon form in fact,
by

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talking about the clear hierarchical
relationship that went from

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bars to phrases, phrases to periods, and
then

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periods into sections and on into
movements and songs.

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We can only really touch on Musical Form
here as it's

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a complex much debated area of musical
thought analysis and composition.

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But essentially, once you've built up your
phrases into sections, you

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can then start combining these sections
and their repetitions into movements.

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There are several basic ways of combining
these sections.

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The most simple of which is the Binary
Form.

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As you might imagine, this has two
sections.

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Usually referred to as A and B.

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The B section could or would actually most
likely

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be closely related in character to the A
section.

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But generally it would be in a different
key.

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Also of note in Binary Forms, is that both
section

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A and section B are quite likely to be
repeated.

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If Binary Form has sections A and B, then
Ternary

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Form is generally notated or referred to
as A B A.

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So what we have here is a return to

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our A section after changing key for the B
section.

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The return of A might be in some modified
form, in which case, we generally notate

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it as A, B, A' Prime, with the apostrophe
here, Prime, signifying a modification.

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This form is quite closely related to the
Sonata

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Form, which was common during the western
classical period.

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It's the form of most first movements of
symphonies, sonatas, concertos, etcetera.

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This has a basic A-B-A Prime

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Form of exposition, development and
recapitulation.

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You can read more about this via the
Wikipedia link on this week's webpage.

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Other common forms are the Rondo Form,
which

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has a recurring section in between
contrasting sections.

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So, A B A C A, for instance.

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And the very common repeating 12 Bar Blues
Form, which you can

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also read more about via the Wikipedia
link on this week's webpage.

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