The question of how to 结构 材料 can be difficult We will examine a 数 of 可能 策略 and encourage you to develop your own


No Limits

Because 作曲 with 声 frees you from the limits of 传统 樂/乐 and allows you to 作品 in whatever way suits you best it can often be a challenge to 作品 out how or when to start building 声 together

It is sometime difficult to 区分 between individual gestures that happen on a smaller scale and larger 结构 which happen on a larger scale This is because both of them are 种类 of 结构 Gestures are made from 声波 events while 结构 are made from collections of gestures

In fact the 形状 of small gestures can often inspire larger 结构 决定 while large scale 结构 决定 can influence the 种类 of smaller gestures that a 作曲家 decides to 用


Finding a Structure

Sometimes composers start out with a clear idea of where they want their 作品 to begin and where they want it to end up

While other times the 结构 will emerge as they gradually develop their 作品

Almost all 作品 end up having a certain 整体 方向 they have a 结构 which takes the 听众 from X to Y And these 整体 结构 / directions are often fairly simple


Fact
作曲家 Trevor Wishart argues that as you move to larger scales then the complexity of 结构 减

What does this mean?

The 结构 which take place across whole 作品 are often far simpler than the 结构 or make up of any smaller scale 姿态 or individual 声波 事件 within a 作品

Why?

This is because audiences are likely to get lost and confused within 复杂 结构 at a larger scale


传统 樂/乐 Structures

Even though 制作 樂/乐 with 声 is different from 制作 樂/乐 with 音符 the common 结构 used in 传统 樂/乐 can be highly useful in helping us to plan and focus our 作曲 made with 声

传统 樂/乐 is often divided into simple chunks 描述 by letters for 例如

This is 尤其 the 案例 with 流行 樂/乐 where there are 清楚 定义 verse / chorus 结构 within songs

Dividing 樂/乐 up in this way allows us to easily talk about the 结构 of the 作品 BUT in 现实 it might 不 be so easy to say where A ends and B begins


Common 结构 in 传统 Music

Below are some examples of common 结构 观念 which you might 用 to inform the 结构 of your whole 作品

Call and Response

This is a conversational approach and a common feature of improvised 樂/乐 and where there is a 对话 between 声 or 表演者 An 起始 樂/乐 statement 声 and a second 樂/乐 statement responds This 过程 will then continue

想像 how a conversation or an argument in 樂/乐 would 声波

Ternary

Three 清楚 定义 片段 A B A But the 终 section is the same as the first This gives a 清楚 定义 beginning and end and provides the 听众 with a 感觉 of returning to where they began

Rondo

A 清楚 定义 主要 theme A which recurs between new 'episode' 片段 For 例如 A B A C A D A E… etc

Continuous Variation

The 发展 steadily continues and the 作品 gradually evolves and progresses A B C D E F… etc

Variation and Development

类似 to the Rondo but the 主要 theme is 发展 and evolves so that there is a 感觉 of continuing 发展 A1 B A2 C A3 D A4 E A5… etc


可视化 Form

Sometimes it can be useful to think 视觉 about 形（曲）式 and larger 结构

In these graphs the vertical 轴 shows how far the 原始/原创 idea has been 发展 in the 作品 while the 水平 轴 shows the progression of 时间

Think about how you'd like your own 作品 to develop and 也许 draw out your very own plan using a 类似 graph


作曲 Tip
We can take 观念 from individual 声 to inform larger 结构 within a 作品 And we can then expand these 观念 even further to inform the 结构 and 发展 throughout a whole 作品


Activity
Choose a 作品 from the 聆 间 and try to 作品 out its 结构

You may need to 听 to the 作品 a few times

Compare your 解释 of the chosen 作品 结构 with 解释 that other 人 have made