Form

    Every composition has many elements to it that make it was it is.  First the composer starts with an idea that is in his or her head.  In the music world, we call these ideas Motives.  Motives can be rhythmic such as a simple pattern like one half note followed by two quarter notes.  The composer might use that rhythmic motive over and over within a piece, but change the pitches he or she uses.  Sometimes a motive might be melodic.  In this way, a composer would want certain pitches played more than others or in a certain manner.  Often times a composer will combine rhythm and melody together to make a motive that not only works well throughout the composition, but becomes catchy to the listener, as well.  Beethoven was a master at using motives in his music.  Quite possibly the most famous of his motives is from his Fifth Symphony.

    Percy Grainger was a man who was known as being eccentric, both in his personal life and in his music.  He is quoted as calling Western musical tradition, "the filthy Sonata-Symphony form", thereby proving his hatred for standard musical practices of the time.  Not until after World War Two would Grainger's idea of "beatless music" be realized.  His piece Hill song no. 1 was an attempt at popularizing this "new" style of music.

    As much as Mr. Grainger tried not to subscribe to any kind of form in his music, ultimately form can be found, and rather easily in fact!  Country Gardens follows one of the simplest musical forms known to the musical world.

The overall form of this piece looks like this:
 

    Did you hear the different motives used throughout the piece?  You should have heard how each section sounds different from each other (A versus B).  If not, we will take a minute to break each section down.

The A section sounds like this:  Click here

The A section contains a section called "little a" which is repeated three times, and a section called "little b" which is heard once.

The mini form of the A section looks like this:
 
 

(You may click on each letter to hear the section.)

The next large section in the music is known as the B section.  It is called this because it contrasts greatly from the opening A section.  It sounds like this:  click here

Did you hear the difference from the A section?  We will call the beginning of the B section "little c".  The third mini-section of B is "little b", and it ends with "little a".
 
 

Grainger repeats the large A section, followed by the B section again, and completes the piece with the A section.  The arrangement you have been listening to was done by John Phillip Sousa.  He does very well at keeping the integrity of each melody, but changes the timbre of each section by his choice of instruments.

Remember, this is only my interpretation of this piece.  Often times people disagree on what the analysis of a composition really is.  Some people approach it more complex, some do not.  I would suggest you listen to this piece of music again and analyze it yourself.  Who knows...you might learn something new!!!  Happy Analyzing!!!