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For each exercise, click when you hear a change of section. Then, use the pull-down menus to label each section. An A-formrequires no input. After you have listened to the example, "click for solution" to check your analysis.
This is an A-B-A form. The A-section is in the minor mode. It opens with a brief introduction, establishing thepiano accompaniment's undulating rhythm; the voice then enters. The A-section concludes with a long stoppingpoint--the first interruption of the steady rhythm.
The B-section is in the contrasting Major mode. It introduces a new melody and accompanying rhythm. Just asthe A-section, the B-section ends with a long stopping point.
The A-section then returns, beginning immediately at the entrance of the voice. The original vocal line is reprisedwith minor changes.
This is an A-form: The rhythm and texture remain constant throughout the composition.
This is an A-form: As in the Chopin Prelude, the rhythm and texture remain constant throughout the composition. (Inthis case, the texture is the oscillation between two timpani notes.) The dynamic (loud/soft) is varied, butthese fluctuations are too brief to create a strong contrast.
There are two plausible ways of reading the form of this jazz composition. The first is an A-B-A: The A-section isthe song's main material, presented by all three instruments as an ensemble. The B-section consists ofimprovisatory solos. Then the A-section returns in its entirety.
A-B-C-D-A is another possible reading of the form. This reading takes into account that there are threeimprovisations: first, the piano solo; second, the trumpet solo, accompanied by the piano; third, the drum solo,periodically punctuated by the other two instruments.
Throughout the solos, the rhythmic drive is steady. The link between solos are carefully blurred: The piano keepsplaying when the trumpet enters; both trumpet and piano play repeatedly during the drum solo. As a result, a largeA-B-A, in which the B-section is divided into three sub-sections, would be my preferred reading.
The sections in this movement are strongly contrasting and well-differentiated from each other. The A-section isenergetic and bold, with repeated upward scalar figures traded among the instruments. The B-section is lyrical andsofter. The C-section is aggressive and turbulent, ratcheting up the tension to its highest peak.
The A-section is played three times. The final time, it isextended to create a closing section or coda.
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