This is peak academic pedantry that prioritizes rigid nomenclature over the fluid reality of creative expression. Such dogmatic rules turn the art of composition into a tedious exercise in filing paperwork.
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Most people labeling song sections get it wrong on the first pass.追加:
Let's look at the A B C C. And we're going to start to see a pattern here.
All right, so in the A B C C, I'm going to play the A for you, then I'll play the B for you, and then we'll talk through.
That's our A. Here's our B.
All right, cool. So we can see in the B that there was this motive A, a motive B, the motive B reused, which would be that silent quarter note silent eighth eighth. Here's the thing though. The first two measures, I'm going to play the first two measures of the A.
Here's the first two measures of the B.
>> [music] >> These are identical. Because these are identical, I would actually call this an A to an A prime, to a B, and then to a B.
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