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Can you provide some examples of music with a free form structure?

Last Updated: 17.06.2025 02:23

Can you provide some examples of music with a free form structure?

Likewise, Russian composer Nikolai Rimsky-Korsakov's composition “Sheherezade” contains a sequence of musical passages with skeletal framework provided, allowing free-form to both soloist and strings in pizzacato. Rimsky-Korsakov's notation is most fascinating to see..and hear. The passages of which I write take place in Mvt. 2 of this astonishing work.

“The Lark Ascending”: (the indication “Sur la touche” advises the Violinist to play on the finger board of the instrument).

“Sheherezade”:

I’m wondering about attachment and transference with the therapist and the idea of escape and fantasy? How much do you think your strong feelings, constant thoughts, desires to be with your therapist are a way to escape from your present life? I wonder if the transference serves another purpose than to show us our wounds and/or past experiences, but is a present coping strategy for managing what we don’t want to face (even if unconsciously) in the present—-current relationships, life circumstances, etc. Can anyone relate to this concept of escape in relation to their therapy relationship? How does this play out for you?

Typically, within a symphonic score, free-form structure is instructed via a Composer's indication of “Cadenza”. In musical terms, a cadenza is an improvised, ornamental passage performed in a “free” rythmic style, typically by a solo performer. To some extent, the musical indication of “a piacere”, (at your pleasure), also allows a performer to abide by the tempo, rhythm and dynamic level of their decision.

Ralph Vaughn-Williams’ timeless, ethereal “The Lark Ascending” begins with a cadenza for solo Violin with quite the duration of free-form allowed by the Composer. Vaughn-Williams' notation is quite interesting to view. Violinist Hilary Hahn best infuses this cadenza with the most favorable tone and technique.

Below are images of the respective passages of which I speak.

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