What's the song structure for a nocturne?!


Question: What's the song structure for a nocturne!?
I have a theme and one variation, what else is needed for a proper structure!?Www@Enter-QA@Com


Answers:
Here are the Chopin nocturnes which I have figured out:

bb minor, op!. 9 no!. 1 is in the ternary form, with the sections starting at ms!. 1, 19, and 70!.

F major, op!. 15 no!. 1 is in the ternary form, with the sections starting at the beginning, the tempo change, and Tempo Primo!.!.

F# major, op!. 15 no!. 2 is in the ternary form, with the sections starting at the begining, Doppio Movimento, and Tempo Primo!.

g minor, op!. 15 no!. 3 is in the AB, or binary form, with the second section marked "religioso!." Usually each section is repeated in the binary form, but Chopin must have decided to be a little different!.

c# minor, op!. 27 no!. 1 is in the ternary form, again with a tempo change for each section!. I could be wrong, but I decided not to mark a new section for the key change 20 measures after Piu Mosso, since the basic rhythm is still the same!.

B major, op!. 32 no!. 1 starts out like your composition, with a variation beginning on ms!. 13!. The B theme starts on ms!. 20, with a variation beginning on ms!. 41!. So Chopin decided to go baroque, with the AABB form!

Ab major, op!. 32 no!. 2 is in the ternary form, with the sections marked with the key changes!.

g minor, op!. 37 no!. 1 is in the ternary form, with the B theme beginning with the key change and the "religioso" marking and the A theme beginning with the returning key change!.

G major, op!. 37 no!. 2 is in the ABABA form, which doesn't have a name!. The sections begin on ms!. 1, 28, 69, 84, and 124!.

c minor, op!. 48 no!. 1 is in the ternary form, with the B theme starting at Poco piu lento and the A theme returning at Doppio Movimento!.

Same way with f# minor, op!. 48 no!. 2: just look for the tempo changes!.

f minor, op!. 55 no!. 1 is in the ternary form, but I'd like to give this one a litle bit more nitty-gritty analysis!.

Like your composition, this composition starts out with a variation!. First, let's look at the theme, ms!. 1-24!. Measures 9-16 is a slight variation of ms!. 1-8!. Measures 17-24 is a "digression," meaning that it is somewhat different, but still part of the same melody!. So the announcement of the theme is in the form aab!. (We use lower-case letters because we are subdividing one of the main sections!.

On measure 25 begins a variation of the first 24 measures!. Chopin is afraid of boring us with too many repetitions of the first 8 measures, so he goes directly from the first 8 measures to the digression!. You might wish to call ms!. 41-48 part of the variation and say that the variation is in the aba form!.

The B section starts at "piu mosso," or ms!. 48!. A far-fetched variation of the A theme starts at "a tempo," or ms!. 73!. I mark the coda at ms!. 85, because that is where we come to a cadence!.

So it looks like most of Chopin's nocturnes are in the ternary form!. But that doesn't mean your nocturne has to be in the ternary form!. The only requirement for a nocturne is that it is in a nocturnal mood!. Www@Enter-QA@Com



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