Showing posts with label Motifs. Show all posts
Showing posts with label Motifs. Show all posts

The Components of Music: Part Three

The Structure of Music: LadyDpiano


The Structure of Music

The structure of an object is its organization or the way in which it is put together. Every object has an outer shape or form. Every object also has inner parts which give that object its unique character.

Music also has an outer shape or plan. Each piece of music has many inner parts too, which fit together to create the whole composition. Music has both outer and inner structure or form.

Introduction To "Motif"

A motif is a short musical figure that recurs throughout a composition. It is used to unify the piece. A motif is usually the seed of the main theme of a composition. AS few as two notes can make up a motif if they are melodically or rhythmically characteristic of the theme. The motif can be found in music as simple as a folk song or as complex as a symphony. Beethoven developed a highly skilled use of the motif in many of his later symphonies.

Creating Melodic Variation

Augmentation - Doubling the duration of notes in a melody
Altered Tones - Changing some of the pitches of a melody
Extension - Adding notes to make a melody longer
Ornamentation - Adding new tones within a melody

Music Background

A phrase in music is comparable to a sentence in a speech. It is a natural division of the melodic line. A phrase usually includes 2, 4, or 8 measures. A phrase mark (or curved line) should not be confused with a tie or a slur mark. A tie only connects two notes of the same pitch. A slur mark is used when two notes are sung on one syllable.

The Forms of Music

All music has an outer shape or form. There are very short forms of music, such as a three-part (A B A) song or instrumental piece, or a simple round. There are also longer forms of music.

Instrumental Forms


  • Theme and variations
  • Rondo
  • Suite
  • Symphony
  • Concerto
Vocal Forms

  • Opera
  • Oratorio
Music is often built by putting phrases together in very regular ways. For example, many folk songs have an even number of phrases, with an equal number of measures in each. One or two phrases may be repeated, resulting in phrase forms such as these.

A B A B    A A B A    A B A C

Theme and variation is a musical form that uses a musical idea (theme) and a number of modifications of the theme (variations). The theme is usually a simple tune, frequently a familiar melody. If the original melody is preserved in all the variations, they are called melodic variations. If only the original harmonic structure is kept, they are called harmonic variation.

Poetry, as well as music, may be written in either regular or irregular phrase form.

So, reinforce understanding of phrases through compositional strategy. Experiment with various ways to develop the two phrases into a melody. Write words to fit one or more melodies. The melodies created should show understanding of phrase form, cadence, and musical balance.

Does your song have a regular or irregular form?
Does your song seem balanced?
Does your song end with a full cadence?

Okay. Perhaps you have missed some earlier posts on Components of Music. You can catch up here, Part Two and Part One.

You may be interested in MACMILLAN MUSIC. It's a great resource for teachers.


Wishing you all the best!


-- LadyD
 "The beautiful thing about learning is that no one can take it away from you." B.B.King

Creating An Intro by Champ Champagne

Jazz Lead Sheets by Champ Champagne


I was looking through one of my Jazz magazines and came across an interesting article on introductions by Champ Champagne.

I have written earlier posts on the subject and you can find them here:

Part One Intros with Dominant Chords
Part Two Intros with Arpeggios
Part Three Last Phrase as Intros
Part Four Chord Progression Intros

The Introduction


"A preliminary part of the proceedings, containing explanatory or other useful matter bearing on the subject. In popular music, the subject can be the rhythm, the melody, or the harmony.

For now, let's proclaim the melody. This is best done by using a small fragment of a tune. We could call our quote from the Beginning, the Middle Part (Bridge or Release) or the Closing Section of the melody. Here comes the opening statement of A Weary Traveller.

D, Eb, G, F

BbAD/F, Bb, C, Eb (Bb maj7)

Eb/D, G... GCF/A, C (Eb 6/9)

Ab9, G7+, Gb 13, F7, F7+(b9),  F 9/6

The smallest recognizable musical unit is called a Motif. A fun way to preface the song is via a capsule comment. Listen to what happens to this quaint quote:

"Quivering Quavers, Batman. He repeated the same note pattern!!!" Yes, Robin. He formed a melodic imitation within the major scale of Bb (more properly) called a Diatonic sequence). He also ended the intro with the Dominant 7th chord. This will lead him easily into the right tonality of the expected melody. The Dominant 7th chord is a fourth below the Key (or the Tonal Center), and acts as a musical steering wheel."

We can do the same thing in Waltz-Time:

D, E, G, F#

Gmaj7, C9, Eb 6/9, D7alt

You can do it! Practice simple Diatonic Sequences. The best way to introduce your mind to this form of Motivic Development is to stick with simple Chord Progressions. Take this Circular Progression in C.

Cmaj7, Am7, Dm7, G7

Here's a rather lengthy Motif:

G, A, B, C, B, C, E, F, E, D

There's More to this than meets the ear! This Motif can be segmented.

Fragment #1: G, A, B

Fragment #2: C, B, C, E

Fragment #3: F, E, D

Why should anyone do such a thing? What can be done with a three-note tune?

C, Am7
Bb9sus (Ab, C, Eb, F)
Bb7 (Ab, D, G, Ab)
A13 (C#, F#, Bb)
Ab13 (C, F, C, D)
G9sus, G13

That was fun! Want more? Just follow the bouncing notes?

C, Am7, F, Em7, Dm7, Db9, Dm7, G7

C, Bm7b5, E7, Am7, D7, G9sus, G7b9

wasn't that a super Intro? I have More for you!

C, Bm7, E7, Am7, D7, G9sus, G7 (b9)

What more can I say?" -- Champ Champagne

Champ Champagne has a book you can purchase through Amazon. (Fake Book). This book adds interest and excitement to Christmas classics through the use of chord substitutions, printed in red above the original chords. Playing tips, introductions, and endings are included for many of the songs. 


  The Real Chord Changes and Substitutions - Christmas Favorites (Fake Book)

Another resource:  More than 125 must-know jazz classics as arranged by Champ Champagne. Each tune is presented in melody line/lyrics/chord format, along with chord substitution above the original chord changes, plus intros and endings - making for a great way to explore these classic songs and all their possibilities!  http://www.jwpepper.com/Jazz-Lead-Sheets

In addition to these songbooks, Hear and Play offers Jazz Intensive Training CenterJazz101 and Jazz201.

Enjoy creating an intro!

All the best,


"The beautiful thing about learning is that no one can take it away from you." B.B.King
Related Posts Plugin for WordPress, Blogger...

© copyright 2008-2020 – All rights reserved

LadyD Piano
Related Posts with Thumbnails