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The founding level of musical form can be divided into two parts: The arrangement of the pulse into unaccented and accented beats, the cells of a measure that, when harmonized, may give rise to a motif or figure.
Two-part (A-B) form is based on statement and departure. Also two-part form. In this quick dance, the first idea is stated twice, followed by a contrasting idea, which is also repeated; the binary form here is outlined A-A-B-B. Example: Corelli, Suite for Strings, "Badinerie".
We would consider two scales to be "near" each other, if they bear many similarities; sharing many of the same notes, such that it would take few mutations to turn one into the other. This distance measured by mutation is almost the same thing as a "Levenshtein Distance".
It’s important to understand how musical form works because it’s the basic structure of an entire work. In this article, we’ll analyze each form, give a clear definition, look at a few specific examples, and also the purpose of each musical form. Let’s start off with strophic form. What Is Strophic Form
The first and easiest form structure we study is called BINARY and means exactly what the word implies, something in two parts. When we have a BINARY structure in music we refer to the first part as “A” and the second as “B”.
Every piece of music has an overall plan or structure, the “big picture,” so to speak. This is called the form of the music. Musical forms can be simple or complex. Most listeners can grasp the form of a short and simple piece, or of one built from many short repetitions.
Scales. Most believe the melody to be the most important part of a composition. They argue it is the thing people walk away remembering or a song’s main identifying hallmark. Though this is true, it would not be so without the application of harmony and rhythm.
