Minuet or other dance-based rounded binary form
Theme and Variations form - Melodic - Ground Bass
32-Bar Song form
Rondo form
• Choose a home key, and a related away key.
• Design a 2-8 measure theme (melody and accompaniment; all proportions below are approximate).
• Your opening phrase should be ca. twice as long as your theme, and end in a cadence (HC, IAC, PAC).
• Use your second phrase to tonicize the second key, using V/new key.
• End part A with a cadence in the new key (HC, IAC or PAC).
• Begin the B section with some kind of transitional material., This could be a short sequence or dominant prolongation (through repetition, etc.) that has something to do with the theme (perhaps a motive fragmented). This could be anywhere from 2-16 mm., but should end in the V of the home key, like a retransition.
• Repeat the first phrase, or part of it (codettas optional), ending with a PAC in I.
Optional: use cadential extensions, repeat your theme, add a coda or introduction.
Hand in a draft of your A section with the following:
• The first theme.
• A tonal plan with approximate measure nos. (e.g., mm. 1-16 A section in G major, B section: mm. 17-20 sequence to V/V, mm. 21-35 ornamented version of A theme).
Theme and Variations
There are two types of Theme and Variations: Melodic and Ground Bass.
Choose a home key, and design an 8-16 measure theme that is fairly simple, and tonally stable, ending in some form of closed (authentic) cadence.
Possible variations include but aren't limited to:
• melodic embellishment
• altered/interpolated harmonies (such as secondary dominants or other chromatic chords)
• change of style/texture (contrapuntal, chorale-like, arpeggiated, etc.)
• modulation to another key (note- modulation is NOT necessary in a Theme and Variations form; you can stay in the tonic throughout).
• End with a PAC in I.
• Choose a home key, and design an 8-16 bassline/harmonic progression that ends in a HC.
• Melodic: Repeat your theme at least twice (preferably at least 3x), with variation.
• Repeat your theme at least twice (preferably at least 3x), with variation.
Possible variations include but aren't limited to:
• a new melody for each bass cycle
• altered/interpolated harmonies (this is rare in GB variations, as is modulation)
• change of style/texture (contrapuntal, chorale-like, arpeggiated, etc.)
• a slightly-altered bassline.
• End with a PAC in I; this may be your only true PAC!.
Optional: add a coda or introduction, extend the final variation.
Hand in a draft of your with a full arrangement of your theme, and a plan that indicates the number and type of variations.
Although I've labeled this 32-bar song form, any AABA form with approximately equal sections will be considered here.
• Design an 8 measure theme (melody and accompaniment; all proportions below are approximate) that ends in a cadence (HC,DC, IAC, or PAC).
• Repeat your theme, exactly or with slight melodic or harmonic variation.
• Compose an ca. 8 m. bridge. This will be either a sequential progression, the theme or a related theme in a new key, or some kind of dominant prolongation. Whatever you choose will end on V in the tonic key.
• Repeat the first theme and end with a PAC in I.
Optional: use cadential extensions, modulate in the bridge, add a coda or introduction.
Hand in a draft of your A theme with a tonal plan and approximate measure nos. (e.g., mm. 1-16 A section in G major, bridge: mm. 17-20 sequence to V/V, mm. 21-29 ornamented version of A, 2 m. coda).
5-part Rondo form is standard, and includes the following:
• One A theme in the form of a sentence or period in the tonic key (this may be closed - ending on an AC, or open, ending on a HC).
• One B theme in a related key, approximately the same length.
• A bridge (C) section which may be shorter or longer than A or B, and which can take several forms: a new theme in one of the keys already presented, a new theme in a new key, a sequence, a dominant prolongation, similar ideas as in A and B but a new texture.
• Repeat the sections A-B-A-C-A and close with a PAC or codettas in the tonic.
This is all that is required, but you have a lot of options in Rondo form:
• Write a brief transition between A and B and/or A and C, and a retransition when returning to A
• Repeat the B twice, as in A-B-A-C-B-A or A-B-A-C-A-B-A
• Include a fourth section (A-B-A-C-A-D-A).
• Bring back B in the tonic, like Sonata form
• Vary any of your repeats
• Add a closing section
Hand in a draft of your A theme with a tonal plan and approximate measure nos. (e.g., mm. 1-8 A section in G major, B: mm. 9-16, C new theme in, mm.17-23, return of A, 2 m. coda).
Don't hesitate to show me or any of the TAs your work at any point during this process!