Repetition

As the name suggests, this is where musical material (e.g. idea, phrase, section etc.) occurs more than once, or is repeated.

Identified by the Victorian Curriculum & Assessment Authority (VCAA) as a compositional device, repetition is “a musical pattern or idea is established and used again”.

It is worth noting that it differs from another compositional device— variation—defined by VCAA as “changes/modifications to established musical ideas and patterns, while retaining significant recognisable features”.

Access the full list of techniques and processes that could be used to explore repetition from VCAA on page 16 of the VCE Music Study Design 2023-2027.

• a series of repeated patterns feature in the harmonic accompaniment of this excerpt – the first pattern is established on strings and repeats, with syncopated stabs on woodwind as another repeated motif enters, retaining the same crisp articulation to create a sense of excitement and energy
• the second repeated accompaniment pattern introduced later in the excerpt (at 1’41”) brings a plucked guitar to the foreground of the texture, building momentum
• the first main melodic idea, a sustained and noble series of chords, is presented in upper brass and is a repeating melody that is heard soaring above the texture, before returning in repeated form with gradually increasing dynamics and density of texture

Transition

VCAA identifies transition as ‘the shift from one musical idea or section to another.’

Taking VCAA’s definition, we then have to identify and explore transition as a passage that links one section of music to the next, sometimes introducing new musical material.

However, transition also occurs through changing key, modulation or using effects such as snare drum rolls, vocal riser transitions or more.

Access the full list of techniques and processes that could be used to explore transition from VCAA on page 16 of the VCE Music Study Design 2023-2027.

• the main theme is first established in this excerpt on flute and is then presented by the full orchestra in brass and strings, before entering a transitory passage with dramatic changes in phrasing from 2’18”, with a sudden shift in texture, instrumentation and dynamics
• during the transition passage, at 2’43”, a repeated pattern from upper strings establishes the tempo of the new section, adding a suspenseful and exciting character as a new melodic idea is introduced at 2’48”, building to the end of the excerpt