4. MUSICAL STRUCTURES

The musical structure of a song is both:

• it's 'exterior' aspect, which is close to an idea of 'style' (M. Mila);
• formal codified scheme within which limits the song is built, that is the structure or the genre.

Regarding folk songs it is preferable to take into consideration the first of the two, which allows us to classify better Sardinian songs in it's different compositions and styles, which are:

• monody melodies, Nenia;
• accompanied melodies (Canto a tenore, Ballu a cantigu);
• Falsobordone (Ordinarium Missae, Antifonae, Te Deum).

a. Monody melodies

The word 'melody' does not need to be explained, as it is known as indicator of the sonorous curve originated by a musical piece, made up of recordings, semi phrases, and phrases, the whole of which determines the extension, gamma and climate of the song. In songs, recordings, semi phrases and musical phrases coincide with the words or should at least follow a certain musical logic. These minor parts of the song go along together as if in a dialogue: questions that obtain answers both positive or negative. This melody is identified in nenia, lullabies, recitatives.

b. Accompanied melody

This second form of music is accompanied melody, that is a distinct melody different in it's rhythm than the other three parts that harmonically sustain the melodic arch.

The most evident examples in this genre of music are su tenore and su ballu a cantigu. The three accompanying parts represent a harmonic support, while sa 'oghe, clearly separated, follows it's own rhythmical design. Here is Su cantigu e tronadas of Mores (Fig. 16).

Fig. 16 Cantigu a tronadas from Mores (performed by: SU CORO 'E CHEREMULE)


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c. Falsobordone

Falsobordone, which was much used in the liturgical hymns of the XVI century mainly in occasion of the vespers, indicates a choir song supported by steady chords which proceed in a parallel manner. This sometimes happens in the Sardinian folk songs repertory. Only in this case the singing 'a cuncordu' mode, is almost the same as Falsobordone. I give as example below Miserere of Pozzomaggiore (Fig. 17), in which the tone of the melody of the first verse follows the Falsobordone of the other verses.

Fig. 17 - Example of Falsobordone in Miserere Pozzomaggiore (Performed by: SU CORO 'E CHEREMULE)


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