Almost all music in our culture has structure. Structure is a a part of the various genre's. Learning to play notes clearly is the first step in playing a Native American style flute. As soon as possible you should be thinking about structure other than going up and down the scale of the flute with all notes having the same duration.
 
All of us have sung songs. In our group we have been playing some very simple songs. Look for the structure. Many have a melody and then a chorus and then it goes back to the melody for another verse.
 
A-B-A Structure Watch Clint Goss Video
The A-B-A song structure, also known as ternary form, is a foundational compositional format in music that consists of three main sections: A, B, and a return to A. This structure is widely used because of its symmetry, balance, and emotional resonance, offering a satisfying mix of familiarity and contrast. In the A section, a primary theme or melody is introduced, often establishing the key and mood of the piece. This section sets the stage, drawing the listener in with a sense of stability and coherence.
The B section, also called the contrasting section, shifts gears by introducing a new melody, key, or texture. This change creates a departure from the initial theme, offering variety and often evoking different emotions or tonalities. This contrast is key to keeping the listener engaged and adding depth to the musical narrative.
Finally, the return to the A section reinstates the original theme, providing a sense of resolution and closure. Often, the repeated A section is slightly modified, adding subtle variations or embellishments to maintain interest while reinforcing the core musical idea. This return creates a cyclical feel that makes the structure timeless and effective. The A-B-A form is found in countless musical genres, from classical compositions to modern pop songs, because of its ability to balance innovation with a comforting sense of familiarity.
 
A-A-B-A Structure Watch Clint Goss Video
The A-A-B-A song structure is one of the most enduring and widely used forms in popular music, jazz standards, and Broadway tunes. This structure consists of four sections, with the first two (A-A) presenting the main theme or melody, followed by a contrasting bridge (B), and concluding with a return to the original theme (A). This format is prized for its simplicity, elegance, and ability to tell a story or develop a musical idea in a concise and impactful way.
The A sections typically establish the song's primary melody and lyrical theme, creating a sense of familiarity and repetition that anchors the listener. These sections are often identical or nearly so, reinforcing the song's central idea. The B section, or "bridge," provides a striking contrast by introducing a new melody, key, or lyrical perspective. This contrast refreshes the listener's attention and adds emotional depth, often taking the song in a different direction before returning to the familiar A section.
By revisiting the A section after the bridge, the song achieves a satisfying resolution, tying the musical journey together and reinforcing the central theme. The A-A-B-A form's compact nature and symmetry make it ideal for songs with strong melodic hooks and concise storytelling. Iconic examples include George Gershwin's "I Got Rhythm" and The Beatles' "Yesterday," illustrating how this structure has transcended genres and eras, remaining a cornerstone of effective songwriting.
 
Add Space Watch the Clint Goss Video Playing in the Spaces
Adding space or silence between musical phrases is a powerful compositional and performance technique that enhances the emotional impact and clarity of a piece. Silence, often referred to as a "rest" in musical terms, creates a natural pause that allows listeners to process what they’ve just heard and anticipate what’s coming next. This deliberate use of space can heighten dramatic tension, emphasize a particular melody or idea, and provide a sense of balance in the music.
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Strategic silences can also evoke a feeling of intimacy or introspection, as the absence of sound can be as meaningful as the notes themselves. In jazz or improvisational settings, spacing between phrases creates a conversational quality, giving room for other instruments or performers to respond. In lyrical or vocal music, pauses can add weight to the lyrics, drawing attention to key words or emotions.
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From a practical perspective, adding silence also helps prevent overcrowding, ensuring that individual phrases stand out rather than blending together in a cluttered way. It’s a reminder that music isn’t just about what’s played, but also what’s left unplayed. As Miles Davis famously said, “It’s not the notes you play, it’s the notes you don’t play.” Thoughtful use of silence can transform a piece from merely pleasant to profoundly moving, creating a rhythm that speaks not only to the ears but also to the soul.

Note and Piece Endings Watch the Clint Goss Video
This is somewhat like placing a period at the end of a sentence. Clint introduces two forms of ending the playing of a piece.My favorite is towards end a song to add the breath of the word WHAT as I raise my finger. The other form is a relaxing of the breath at the end until the edge tone is heard.