In Form and Analysis, we learn about the structural elements of music and how those contribute to a larger musical effect. In other words, it’s studying the craft of the composer. We start small-scale, by examining things like the changes in dynamics and tempo– usually things that are quite visible and apparent. At this point, it’s important to complete a harmonic analysis using a system of Roman Numerals to track the harmonic patterns we see. Then we can look at individual phrasing (musical sentences) and groupings of those phrases. For the “larger scale” we look at the overall form of the piece and where it can be divided into sections, and sections of sections. This is just a quick look at how to study form & analysis, but it is indeed a crucial part of good musicianship. Being able to understand the technical aspects of a composition is critical in giving a purposeful and expressive performance.

For my enhancement, I did a deep-dive into one of Telemann’s Fantasies for solo flute. My first step was to do a little research into the music of Telemann and this piece. After this, I looked at the music and identified the harmonies and each cadence (end of a phrase). Then I was able to mark each phrase and label their overall function. I also pointed out any other patterns I was seeing and how new parts might relate to old parts. By examining all of these elements, I was able to identify the overall forms I was seeing using the terminology we studied in class. Analyzing this significant piece in the flute repertoire was very interesting and made my own performance of it more worthwhile.