Analysis of the melody of the musical work example. Holistic analysis of the musical work in the lesson of music at school

As an example, for harmonic analysis, we propose to consider the Fragment of the Waltz P.I. Tchaikovsky from serenade for string orchestra:

Moderato. TEMPO DI VALSE.

Before performing a fragment on a musical instrument, you should pay attention to the tempo instructions, after which it is in moderate pace of the Waltz to lose this fragment.

It should be indicated that the nature of the music is distinguished by dance, a light romantic flavor, which is due to the genre supplies of the musical fragment, the roundabout of four-point phrases, smoothly ascending with graceful jumps and the wave-like motion of the melody, which is carried out predominantly smooth fourth and half durations.

It should be noted that all this fully corresponds to the romantic style of the music of the second half of the XIX century, when he lived and worked P.I. Tchaikovsky (1840 - 1893). It was this era that brought a huge popularity of the Waltz genre, which penetrates while even such large works as symphonies. In this case, this genre is presented in a concert work for a string orchestra.

In general, the analyzed fragment is a period consisting of 20 clocks and advanced in the second sentence (8 + 8 + 4 \u003d 20). The homophone-harmonic texture is chosen by the composer in full accordance with the already designated genre, therefore the expressive meaning of the melody acts on the fore. However, harmony not only performs functional support, but also is a means of forming and development. The general focus of development in this completed construction is largely determined by its talla.

First sentence tonally stable ( G-dur) consists of two square four-stroke phrases and ends at the dominant of the main tonality:

T. - - T DD 2 T - - T. - - T D T 4 6 T 6 - -

D d 7. - D 9.

In harmony, only authentic tonic dominant turns, approving the main tonality, are used. G-dur.

The second sentence (8-20 tacts) is a single indivisible long-term phrase from 8 cycles, to which a four-stroke supplement that occurs as a consequence of an internal saturated tone movement. In the second half of the second supply, a deviation is devotioned in the degree of dominant (12-15 tacts):

7 8 9 10 11 (D-DUR) 12

D d 7 d 9 d t t 2 s 6 s 5 6 s 6 d 5 6 - - T \u003d S. - - # 1 DD 5 6

13 14 15 16 17 18 19 20

K 4 6. - - D 2 T 6 ( D-DUR) S. - - K 4 6. - - D 7. - - T. - - T.

Scheme of harmonic development An analyzed musical fragment will look like this:

1 2 3 V 4 5 6 7 V 8 910

3/4 T T - | DD 2 - - | T T - | T - - | T D T | T 6 - - | D d 7 - | D 9 D T 6 | S 6 VI S 6 | D 6 5 - - |

11 12 13 14 15 V 16 17 18 19 20

| T - - | # 1 d 6 5 to A-DUR.| To 6 4 - - | D 2 K. D-DUR | T 6 ( D-DUR) | S - - | To 4 6 - - | D 7 - - | T - - | T ||

Deviation (12-15 clocks) is carried out by introducing a cadence, which is preceded by a total chord (T \u003d S) and a double dominant in the form of # 1 D 7 A-DUR.but it is not permitted, and goes into the kandasovy quarterbackcord, D 2 with the resolution of T 6 of the new tonality ( D-DUR).

The modulation prepared by the deviation repeats the kandex turnover, which has already been used in the deviation, but the construction of otherwise concluding complete authentic perfect cadence is completed, in contrast to the authentic imperfect cadence in the deviation and half authentic imperfect cadence at the end of the first sentence.

Thus, it should be noted that all the development of the harmonic vertical in this fragment performs a form-forming role and corresponds to the general orientation of the development of the musical image. It is not by chance that the climax of the whole topic falls on the most busy moment (19 tact). In the melody, it is emphasized by the ascending jump in septim, in harmony - the dominant sepkord, followed by the resolution of it in tonic as the completion of musical thought.

1. Structure of the period: but). square - 8 clocks (small), 16 tons. (big); b). not square - 7T, 10, 17; in). repeated or not re-structure.

2. Structures that organize the period: but). summation, crushing, pair of periodicities, etc.; b). Due to the expansion of the structure: due to the expansion - the emergence of additional clocks before the cadans; Due to the addition - "extra" clocks appear after the Kadan.

3. Music nature in the proposed fragment: in the creation of a character, you must participate in the way, pace, strokes - all this must be specified.

4. Type of melody:but). vocal ( cantilene -melody "wide breathing", pouring, without interrupting pauses; declamation -"Speech melody" with a multitude of nuances: Pause, short leagues; recitaliv -"Dry", an unbroken melody with a small sound volume, almost at one height); b).instrumental (wide jumps, complex passages and strokes).

5. The texture (nature of the interaction of melody and maintenance): but). the monodium is a fundamental monogator characteristic of the Grigorian chorals and bannyal singing; b). the heteropower is a multi-layer single-chamber (the leading melody is set forth by several votes - see Mussorgsky, Borodin's romances, piano works of Rachmaninov; in). homophone-harmonicor homophone - a clear division of texture on a melody and accompaniment - most of the classical and romantic music of 18-20 centuries); d). polyphonic - the presence of several leading melodies; e). mixed - presence in one product or its fragment at the same time several textured principles, for example, homophone and polyphonic - see Chopin, Polonaise No. 1, Middle section ("Dialogue" of Votes).

6. Type of figures in the invoice:but). chord; b). harmonic - harmonic revolutions; in). albertiev Basy. - most often being present in the classical music of Gaidna, Mozart, Beethoven and their foreign and Russian contemporaries - this is a simplified harmonic figuration; d). melodic - the figuration for its complexity resembles a melody or even surpasses it - see Music Moment No. 4 Rachmaninova, works of Lisa F,

7. Features of the harmonic structure of the period: but). write a scheme with an indication of deviations and modulations, if any; b). to identify the defining feature of the harmonic structure of the period - for example, its harmony is simple or, on the contrary, authentic or plagial turns are mainly used.

8. Genre origins of the period: but). choral - a slow or moderate pace of movement, strict chordistic, melody of a declamation or cantilene character; b). aria - Cantalen Melody, Vocal Fioritis, Homofan Forms; in). vocal work - a melody of a cantile or declamation nature, which can be escaping; d). instrumental work - It is not fundamentally vocal melody: wide jumps, a large number of countermark signs, chromatisms and other technical difficulties. e). marsh meter, moderate or moderately fast pace of movement, chordistic texture, "angular" melody based on movement on the sounds of basic harmonic functions; e). dance - mobile pace, texture bass-two chord, instrumental type of melodies.

9. Metro - Rhythmic features of this fragment: characteristic drawing ( rhythmophormula):march -, polonais -, waltz -; Features of a regular accent (syncopes, crushing of a strong share), variable meter or size - what is this made by a composer?

10. Style features of the composer or era: Baroque -polyphonic texture, use of rhetorical figures, traits of vintage dance - allemanda, chimes, Sarabands. Zhigi, Gavota or Tokcaty genre; preclossicism -homophone texture, but somewhat angular, "awkward" techniques of development based on repeats of a melodic fragment at different heights; classicism -homophone texture, Albertiyev Basin, a clear harmonic scheme with mandatory kadansami, a characteristic instrumental melody, shapes of gaming logic; romanticism -mixed type of invoice, several leading melodies (most often related to each other on the principle of dialogue), complex harmonic comparisons affecting the tonality of the 2nd and 3rd degree of kinship, a detailed nuunt of dynamics and strokes; XX century -the use of various techniques of the 20th century: serial equipment, alletoological, complex melody with counter signs, texts.

Artistic result: what happened in the synthesis of all the funds of Muz. Expectancy, what is the artistic design of the composer in this fragment of the work?

An example of the analysis of the classic period:

The period proposed as an analysis is a small non-square period (10 cycles) of the re-structure with an extension in the second sentence. The first sentence organizes a pair of periodicity, in the second sentence an element of the game repeat arises (the figure of "stuck tone") due to which the structure of the period occurs. The melody of this musical period is a pronounced instrumental type, which is indicated by broad jumps, virtuoso passengers, support on the sounds of the main sober. The effect of the "stuck tone" creates the moment of dialogue, the dispute, which suggests the personality of this period to the era of classicism, since it is in the work of the Viennese Classics and Russian composers of the 18th century that elements of the instrumental theater are often used.

Belonging to this period named era can justify the same verified harmonic relations With a clear organization of kazdasov, the use of a simple deviation in the tonality of the first degree of kinship, the advantage of authentic revolutions. Interrupted turnover at the end of the second sentence (where the expansion of the structure arises) is also an expected and typical element in this place the structure of the classic work period. Harmonic scheme This fragment is as follows:

The scheme shows clearly uniform harmonic pulsation (i.e., two functions in a tact throughout the period). Appearing in the second sentence ascending diatonic sequencecreates a tonal movement and background for development. This technique is also often found in classical music.

Textual solution This period is kept in homophone-harmonicinvoice with a clear separation of votes to the leading and accompanying. The harmonic figuration is set forth in the form of alberty bass, which creates a single and one-piece pace of movement.

Metro Rhythmic organization The period supports uniform harmonic pulsation (four quarters). The above-mentioned harmonic figuration creates a solid foundation for the mobile rhythmic organization of the melody, which includes the movement of sixteenth, syncopes. A characteristic rhythmic drawing of this period transmits the liveliness and spray energy - a short dotted line and 4 of the sixteenth.

Summarizing the observation period carried out during the analysis and taking into account sufficient melodic simplicity and modesty in the invention of developing techniques, it can be assumed that this musical fragment is borrowed from the tool music y. Hydna, which is part of Sonata or Symphony.

Such melodies are characteristic, for example, for vocal genre scenes of Dargomyzhsky and Mussorgsky, typical of the music of the twentieth century.

According to typology V. Konen.

Municipal autonomous establishment of additional education in the field of culture of the Beloyarsky District "Children's School of Art BELOOYARSKIY" class P.Sorum

General course teaching program

"Analysis of musical works"

Theoretical Basics and Technology Analysis

musical works.

Performed:

lecturer Butorina N.A.

Explanatory note.

The program is designed to teach the general course "Analysis of Music Works", which summarizes knowledge gained knowledge in the lessons of the specialty and theoretical disciplines.

The goal of the course is to educate the understanding of the logic of the musical form, the interdependence of the form and content, the perception of the form as an expressive musical agent.

The program involves going through the course with varying degrees of detail. The theoretical foundations and technology of analysis of musical works, theme "period", "simple and complex forms", variational and form of Rondo are studied in the most detailed.

The lesson consists of an explanation by the teacher of the theoretical material, which is disclosed in the process of practical work.

The study of each topic ends with a survey (orally) and performing work on the analysis of the musical form of a particular product (in writing).

Graduates of DMSH and DSHS take off the test on the material passed in writing. An assessment assessment takes into account the results of the test work performed by students in the learning process.

In the educational process, the proposed material is used: "Tutorial on the analysis of musical works in high-class DMSH and DSHI", an approximate analysis of the musical works from the "Children's album" P.I. Tchaikovsky, "Album for youth" R. Shuman, as well as selective works : S. Rashmaninova, F. Madelson, F.Shopen, E.Griega, V.Kalinnikov and other authors.

Requirements to minimum detention on discipline

(main didactic units).

- fundamental Equality, their forming capabilities;

Functions of parts of the musical form;

Period, simple and complex forms, variational and sofate form, Rondo;

The specificity of the formation in the instrumental works of classical genres, in vocal works.

Sonataya shape;

Polyphonic forms.

Thematic plan of academic discipline.

Names of sections and those	numberaudit hours
Total hours
SectionI. 1.1V. 1.2 General principles of the structure of the musical form. 1.3Musical and expressive means and their forming actions. 1.4Types of the presentation of musical material due to the functions of constructions in the musical form. 1.5 Period. 1.6Regencies of the period.

Section II.
2.1Onachable form. 2.2Thissed two-chart. 2.3 Surrounded three-part (single). 2.4 Surrounded three-part (two-year). 2.5Varilation form. 2.6 Principles of the variation form, methods of variational development.

Theoretical basis and technology analysis of musical works.

I. Melody.

Melody plays a decisive role in the musical work.

The melody itself, in contrast to other expressive means, is able to embody certain thoughts and emotions, transfer the mood.

The melody's prescription is always associated with our singing and it is not by chance. Sound highness change: smooth and sharp rise and decals are associated primarily with the intonations of a human voice: speech and vocal.

The intonational nature of the melody gives the key to solving the issue of the origin of music: few people doubt that it will be the beginning of singing.

Basics defining the parties of the melody: sound and temporary (rhythmic).

1.Melodic line.

In any melody there are lifts and decals. Height changes and form a kind of sound line. Here are the most common melodic lines:

BUT) Wave-shaped the melodic line evenly alternates the rise and decline, which makes a feeling of completeness and symmetry, gives the sound smoothness and softness, and sometimes associated with the equilibiousness of the emotional state.

1.P.I. Tchaikovsky "Sweet Gree"

2.E.Grieg "Waltz"

B) melody persistently rushing up , with each "step" conquering everything new and new height. If the ascending movement prevails on a long period of time, a sense of voltage increases, excitement. Such a melody line is characterized by volitional purposefulness and activity.

1.r.shuman "E Frost"

2.r.shuman "Hunting Song."

C) the melodic line calmly pours, slowly dropping. Descending movement can make a melody with a softer, passive, feminine, and sometimes-suarless and sluggish.

1.r.shuman "First Loss"

2.P. Tchaikovsky "Doll disease".

D) The melodic line stands on the spot, repeating the sound of the height. The expressive effect of this type of melodic movement often depends on the pace. In slow pace makes a feeling of monotonous, sad mood:

1.P. Tchaikovsky "Funeral dolls".

In the rapid pace (rehearsals on the sound) - energies, perseverance, assertiveness:

1.P. Tchaikovsky "Neapolitan Song" (II Part).

Frequent repeat sounds of the same height are characteristic of the melodies of a certain type - rechitative.

Almost all melodies contain smooth, entered movement and jumps. Only occasionally there are absolutely smooth melodies without jumps. Smooth is the main type of melodic movement, and the jump is a special, outstanding phenomenon, a kind of "event" during the melody. Can not the melody consist of only "events"!

The ratio of entered and jump-shaking movement, the advantage in one direction or another can significantly affect the nature of the music.

A) the predominance in the melody of the entered movement gives the sound soft, calm character, creates a feeling of a smooth, continuous movement.

1.P. Tchaikovsky "Sharmanwger sings."

2.P. Tchaikovsky "Ancient French Song."

B) The prevalence of the jump-shaking movement in the melody is often associated with a certain expressive meaning, which the composer often suggests us with the name of the work:

1.r.Shuman "Brave Rider" (Run Horse).

2.P. Tchaikovsky "Baba - Yaga" (angular, "uncongenic" appearance of Baba Yagi).

Separate jumps are also very important for the melody - they strengthen its expressiveness and relief, for example, "Neapolitan Song" - a jump on the sequence.

In order to learn more "thin" perception of the emotional palette of a musical work, it is also necessary to know that many intervals are endowed with certain expressive capabilities:

Third - Sounds balanced and calmly (P. Tchaikovsky "Mom"). Ascending quart - purposefully, militant and prisoner (R. Shuman "Hunting Song"). Octave The jump gives the melody tangible latitude and scope (F. Madelson "Song without words" or.30 №9, 3 phrase of the 1st period). The jump often emphasizes the most important moment in the development of the melody, its highest point - culmination (P. Tchaikovsky "Ancient French Song", TT.20-21).

Along with the melodic line to the main properties of the melody also applies to her metrohymmic side.

Meter, rhythm and pace.

Every melody exists in time she lasts. FROM temporal Music nature is connected by meter, rhythm and pace.

Pace - One of the most noticeable expressive means. True, the tempo cannot be attributed to the number of funds characteristic, individual, so sometimes different works on the nature of the work in one pace. But the pace, together with other parties, Music largely determines its appearance, its mood and thereby contributes to the transfer of those feelings and thoughts that are laid in the work.

IN Slow The pace is written music expressing the condition of full rest, immobility (s.rahmaninov "island"). Strict, sublime emotions (P. Tchaikovsky "Morning Prayer"), or, finally, sorrowful, sorrowful (P. Tchaikovsky "Funeral Dolls").

More movable middle Temp It is quite neutral and found in the music of different sentiment (R. Shuman "First Loss", P. Tchaikovsky "German Song").

Fast The pace is observed primarily when transferring a continuous, directed movement (R. Shuman "Brave Rider", P. Tchaikovsky "Baba-Yaga"). Fast music can be an expression of cheerful feelings, a boiler energy, a light, festive mood (P. Tchaikovsky "Camarinskaya"). But it can express both confusion, emotion, drama (R. Shuman "Santa Claus").

Meter As well as the tempo is associated with the time nature of music. Usually in the melody periodically on individual sounds there are accents, and between them there are sounds weaker - just as in human speech, the shock syllables alternate with unknown. True, the degree of opposition to strong and weak sounds in different cases is unequal. In the genres of motor, mobile music (dancing, marches, scherzo) it is the greatest. In the music of a long song warehouse, the difference between accented and not accented sounds is not as noticeable.

Organizations Music is based on a certain alternation of accented sounds (strong shares) and not accented (weak fractions) on a certain ripple of the melody and all other elements associated with it. Strong share with the subsequent weakness forms tact. If strong shares appear at equal intervals (all the tacts are the same in size), then such a meter is called strict. If the closures are different, which is very rare, then we are talking about free meter.

Various expressive opportunities have two-dollar and four-dollar meters on one side and Three-dollar with another. If the first in the fast pace is associated with polka, gallop (P.Tchaikovsky "Polka"), and at a more moderate pace - with a march (R. Shuman "Soldier Marsh"), then the second characteristic of Walsa (E. Grig "Waltz" , P. Tchaikovsky "Waltz").

The beginning of the motive (motive is small, but relatively independent particle of the melody in which around one strong Sound is grouped somewhat weaker) does not always coincide with the beginning of the clock. The strong sound of the motive can be in the beginning, and in the middle, and at the end (as an emphasis in the poetic foot). This feature distinguishes motifs:

but) Khheological - Emphasis at the beginning. The underlined start and soft end contribute to the association, continuity of the melody flow (R. Shuman "Santa Claus").

b) Jambic - Beginning on a weak share. Active, thanks to accelerated acceleration to a strong share and clearly completed with accented sound, which is noticeably dismembered by the melody and informs it greater clarity (P. Tchaikovsky "Baba - Yaga").

IN) Amphibrachical Motive (strong sound is surrounded by weak) - combines the active yamba stake and the soft end of the Korea (P. Tchaikovsky "German Song").

For musical expressiveness, not only the ratio of strong and weak sounds (meter), but also the ratio of long and short sounds is a musical rhythm. Different sizes are not different from each other and therefore, the works are very different can be written in the same size. But the ratios of musical durations are countless and in combination with the meter and pace, they form one of the most important features of the ringtone.

Not all rhythmic drawings have a vivid characteristic. So the simplest uniform rhythm (the movement of the melody of smooth durations) is easily "adapting" and enters into dependence on other expressive means and most of all - from the pace! At a slow pace, such a rhythmic drawing gives music a balance, dimension, calm (P. Tchaikovsky "Mom"), or extension, emotional coldness and severity ("P. Tchaikovsky" choir "). And in a rapid pace, such a rhythm often transmits a continuous movement, a launched flight (R. Shuman "Brave Rider", P. Tchaikovsky "Game in Horses").

Pronounced characterity possesses dotted rhythm .

It usually contributes to music clarity, springness and sharpness. It is often used in the music of energetic and effective, in the works of the Martha warehouse (P. Tchaikovsky "March of Wooden Soldiers", "Mazurka", F.Shopen "Mazurka", R. Shuman "Soldatar Marsh"). At the heart of dotted rhythm - jamb :, That is why it sounds vigorously and actively. But sometimes it can contribute to mitigations, such as a wide jump (P. Tt. TT. 2 and 4).

The bright rhythmic drawings also refers syncope . The expressive effect of the syncopes is associated with a contradiction between the rhythm and the meter: a weak sound is longer than the sound on the previous strong proportion. The new, not stipulated by the meter and therefore several unexpected emphasis carries usually elasticity, spring energy. These properties of the syncop caused their widespread use in dance music (P. Tchaikovsky "Waltz": 3/4, "Mazurka": 3/4). Syncopes are often found not only in the melody, but also in the accompaniment.

Sometimes the syncopes follow one after another, the chain, then creating the effect of a soft flight movement (M. Glinka "I remember the wonderful moment" T. 9, Krakowak from the Opera "Ivan Susanin" - the beginning), then causing an idea of \u200b\u200ba slowdown, as if difficult , about the resulting expression of feeling or thought (P. Tchaikovsky "Autumn Song" from the "Seasons"). Melody, as it were, strengths of strong lobes and acquires freely soaring character or smoothes the boundaries between the parts of the musical whole.

The rhythmic pattern is able to make music not only sharpness, clarity, like dotted rhythm and springness, like syncop. There are many rhythms that are directly opposite to their expressive effect. Often, these rhythmic drawings are associated with three-dollar dimensions (which themselves are already perceived as smoother than 2x and 4x - dollane). So one of the most common rhythmic patterns in sizes 3/8, 6/8 at a slow pace expresses the state of rest, serenity, even restrained narration. The repetition of this rhythm on a long time segment creates a swing effect, a drying. That is why this rhythmic drawing is used in the genres of bicarol, lullaby and sicilyan. The same effect has a triol movement of the eighties in a slow pace (M. Glinka "Venital night", R Sicilian dance). In the rapid pace, the rhythmic pattern

It is a type of dotted line and therefore acquires a completely different expressive meaning - makes a feeling of clarity and chasingness. Often occurs in dance genres - lezginka, Tarantelle(P. Tchaikovsky "New Doll", S.Prokofiev "Tarantella" from "Children's Music").

All this makes it possible to conclude that certain musical genres are associated with certain metricultural expressive means. And when we feel the connection of music with the genre of a march or waltz, a lullaby or a balkarol, then this is "obey" first of all a certain combination of meter and a rhythmic pattern.

To determine the expressive nature of the melody, its emotional system is also important analysis ladovaparties.

Road, tonality.

Any melody consists of sounds of different heights. The melody moves up, then down, while the movement occurs in the sounds not any height, but only on a relatively few, "chosen" sounds and every melody - some kind of "its" series of sounds. And this usually small row is not just a set, but a certain system called lada . In such a system, some sounds are perceived as unstable, requiring further movement, while others - as more stable, capable of creating a feeling of complete or at least partial completion. The relationship of the sounds of such a system is manifested in the fact that the sounds of unstable tend to go to stable. The expressiveness of the melody very significantly depends on which levels of Lada it is built - stable or unstable, diatonic or chromatic. So in the play of P. Tchaikovsky "Mom", the feeling of calm, peacekeeping, cleanliness is largely due to the characteristics of the melody structure: so in TT.1-8 the melody is constantly returning to stable steps, which are underlined by the location on strong shares and multiple repetition (first V stage , then I and III). Capturing the nearby unstable steps - vi, IV and II (absent is the most unstable, sharply - introductory tone VII step). It all folds into a clear and "clean" diatonic "picture."

Conversely, the feeling of excitement and anxiety makes the appearance of chromatic sounds after clean diatonies in the romance of the "Islet" S. Rashmaninov (see. 13-15), attracting our attention to the change of the image (mention in the text about the breeze and thunderstorm).

Now we define the concept of Lada more clearly. How follows from the previous one lAD- This is a certain system of sounds that are in relationships, in coencing with each other.

From numerous frets in professional music got the greatest distribution major and Minor. Their expressive opportunities are widely known. Major music is often solemnly festive (F.Sopen Mazurka F-DUR), or cheerful and glad (P. Tchaikovsky "March of Wooden Soldiers", "Kamarinskaya"), or calm (P. Tchaikovsky "Morning Prayer"). In Minor, the music is mostly thoughtful and sad (P. Tchaikovsky "Ancient French Song"), Saint (P. Tchaikovsky "Funeral Dolls"), Elegic (R. Shuman "First Loss") or Dramatic (R. Shuman "Grandfather Frost, P. Tchaikovsky "Baba Yaga"). Of course, the distinction and relatively conducted here. So in the "march of wooden soldiers" P. Tchaikovsky major melody of the middle part sounds anxious and dusk. "Darken" a major flavor of the reduced II step A-DUR (SI BIMOL) and minor (harmonic) S in the accompaniment (the opposite effect in the "Waltse" E. Griga).

The properties of the beings are more manifested when they are mapped next to when the swarm contrast occurs. So harsh, "deep" minor extreme parts of "Santa Claus" R. Shuman is opposed to the enlightened "solar" major middle. Bright way contrast can also be heard in the "Waltse" P. Tchaikovsky (ES-DUR -C-Moll - ES -DUR). In addition to the Major and Minor in professional music, both Lada of folk music are also used. Some of them have specific expressive opportunities. So lidian Floas a major ignition with #iv Step (M.Morusorian "Tuilder Garden") sounds even more light than major. BUT phrygian Floor of minor inclination with Lii Art. (M. M.Morusor's song Varlaam from the Opera "Boris Godunov") gives music even more gloomy flavor than natural minor. Other freedoms were invented by composers to implement some small images. For example, six-track nobility Lad M. Glinka used for the characteristics of the Black Sea in Opera Ruslan and Lyudmila. P. Tchaikovsky - in the musical embodiment of the ghost of the Countess in the opera "Peak Lady". A.P. Borodin - for the characteristics of the angry uncleani (lash and witches) in the fabulous forest (the romance "Sleeping Princess").

The soft side of the melody is often associated with specific national color music. So with the images of China, Japan is associated with the use of five-stage lads - pentatonic. For the eastern peoples, Hungarian music is characterized by freaks with increased seconds - jewish LAD (M. M.Morusorgsky "Two Jews"). And for Russian folk music is characteristic floating variability.

The same way can be located at different heights. This height determines the main steady sound of Lada - tonic. The height position of Lada is called tonality. The tonality may not be so clearly as a way, but also has expressive properties. So, for example, the music of a mournful, pathetic nature, many composers wrote in C -moll (Beethoven "Panthetic" Sonata, Tchaikovsky "Funeral Dolls"). But the lyrical, poetic theme with a launch of melancholy and sadness will sound well in H-Moll (F. Shubert Waltz H-Moll). D -Dur is perceived as a brighter, festive, sparkling and brilliant compared to a calmer, soft "matte" F -DUR (try "Camarinskaya" P. Tchaikovsky to transfer from D-DUR to F-DUR). The fact that each tonality has its own "color" proves the fact that some musicians have "color" hearing and each tonality heard in a certain color. For example, Rimsky-Korsakov C -DUR was white, and at Scriabin-Ass. But E-DUR both perceived the same - in blue color.

The sequence of tonalities, the composition tonal plan is also a special expressive agent, but it is more appropriate to speak later when it comes to harmony. For the expressiveness of the melody, for the expression of its character, the others have a lot of meaning, even if not so important parties.

Dynamics, register, touches, timbre.

One of the properties of musical sound, and therefore music in general is the degree of volume. Loud and quiet sonicity, their comparisons and gradual transitions make up dynamics Musical work.

For the expression of sadness, sadness, complaints more naturally silent soundness (P. Tchaikovsky "Doll disease", R. Shuman "First Loss"). Piano. It is also able to express light joy and peace (P. Tchaikovsky "Morning Reflection", "Mom"). Forte The same enthusiastically be delighted (R. Shuman "Hunting Song", F.Shopen "Mazurka" А.68 №3) or applies anger, despair, drama (R. Shuman "Santa Claus" I part, culmination In the "first loss" R. Shuman).

The rise or recession of sound is associated with the amplification, the growth of the transmitted feeling (P. Tchaikovsky "Doll disease": sadness goes into despair) or, opposite with its attenuation, extinction. This was concluded the expressive nature of the dynamics. But it also has "external" Fine meaning: Strengthening or weakening of the tempering can be associated with an approach or removal (P. Tchaikovsky "Baba Yaga", "Sharmanwger sings", M.Morusorgsky "cattle").

With the dynamic side of the music closely connected and the other - colorful, associated with a variety of timbres of different tools. But since this analysis rate is associated with music for piano, we will not dwell on expressive opportunities. tombs.

To create a certain mood, the nature of the musical work is important and register in which the melody sounds. Low Sounds weighing and harder (the hard foss of Santa Claus in the Plays of R. Shuman), top - Lighter, lighter, call (P. Tchaikovsky "Lark song"). Sometimes the composer specifically limits himself by the framework of a single register for creating a specific effect. So, in the "march of wooden soldiers" P. Tchaikovsky, the feeling of toyness is due to the use of only high and medium-sized registers.

Similarly, the nature of the melody depends a considerable extent on whether it is fulfilled by a connected and singement or dry and cut off.

Strichi Report melodies Special shades of expressiveness. Sometimes strokes are one of the genre signs of a musical work. So Legato. It is typical of the works of a song character (P. Tchaikovsky "Ancient French Song"). Staccato. more often used in dance genres, in genres scherzo, Toccata (P. Tchaikovsky "Kamarinskaya", "Baba Yaga" - Scherzo, "Gowns in the horses" -Certo + Toccata). Executive strokes can not, of course, consider an independent expressive agent, but they enriched, reinforce and deepen the nature of the musical image.

Organization of musical speech.

In order to learn to understand the content of the musical work, it is necessary to understand in the sense of those "words" and "proposals" that make up a musical speech. The necessary condition for comprehending this sense is to clearly distinguish parts and particles of musical integer.

Factors of dismemberment in parts in music are very diverse. It can be:

Pause or rhythmic stop on a long sound (or even together)

P. Tchaikovsky: "Ancient French Song",

"Italian Song",

Niannina Tale.

2. Receiving just set down construction (repeat can be accurate, varied or sequenced)

P. Tchaikovsky: "The March of Wooden Soldiers" (see the first two 2-clock phrases), "Sweet Guest" (the first two 2-clock phrases - sequence, the same -3-me and 4th phrases).

3. The engineer also has dismembering capabilities.

F. Madelson "Song without words", OP.30 №9. The first and second phrase - contrast (see. T.3-7).

On the degree of contrast of two complex musical constructions, whether they are solved into one holistic or divided into two independent.

Despite the fact that in this course only instrumental works are analyzed, it is necessary to draw the attention of students to the fact that many instrumental melodies song. by it's nature. As a rule, these melodies are enclosed in a small range, there are a lot of smooth, entered movement, phrases differ in a song latitude. Similar song melody type cantilena Inherent in many plays from the "Children's album" P. Tchaikovsky ("Ancient French Song", "Sweet Guest", "Sharmanwger sings"). But not always the melody of the vocal warehouse is cantilena. Sometimes she reminds of her structure recitative And then in the melody a lot of repeats on one sound, the melodic line consists of short phrases separated from each other with pauses. Melody floor-declamation warehouse Combines signs of Cantilene and Rechitativa (P. Tchaikovsky "Funeral Dolls", S. Rashmaninov "Islet").

In the process of dating pupils with different sides of the melody, it is important to convey the idea that they affect the listener comprehensively, in cooperation with each other. But it is quite clear that not only different verge of melody interact in music, but also underlying many and important sides of the musical tissue. One of the main parties to the musical language, along with the melody, is harmony.

Harmony.

Harmony is a complex area of \u200b\u200bmusical expressiveness, it combines many elements of musical speech - melody, rhythm, leads the laws of development of the work. Harmony is a certain system of combinations of sounds vertically in the consonance and communication system of these consonances. It is advisable to consider first the properties of individual consonants, and then the logic of their combinations.

All used harmonic consonances in music differ:

A) according to the principles of construction: chords of the terrification and intimate concells;

B) by the number of sounds of the sounds: a sober, sepkora, nonakcord;

C) according to the degree of consistency of the sounds of the sounds: Connce and dissonances.

Consistency, slimness and fullness of sound are distinguished by major and minor sober. They are the most versatile among all chords, their range of application is extremely wide, expressive possibilities of multifaceted.

More specific expressive opportunities have increased sober. With its help, the composer can create the impression of fantastic fabulousness, the unreality of what is happening, the mysterious conceived. From septakkordov, the most definite expressive effect has the mind VII7. It is used to express in the music of the moments of confusion, emotional stress, fear (R. Shuman "Santa Claus" - 2nd period, "First Loss" see the end).

The expressiveness of this or that chord depends on the entire musical context: melodies, register, tempo, volume, timbre. In a specific essay, a number of techniques, the composer can increase the initial, "natural" properties of the chord or, on the contrary, muffle them. That is why, a major sober in one work can sound solemnly, fondly, and in another transparent, Zybko, air. Soft and shaded minor sober also gives a wide emotional sound range - from calm lyrism to deep mourning sorrow.

The expressive effect of chords depends on the location of sounds by registers. Chords whose tones are compact, focused in a small amount, gives the effect of a more dense sound (such an arrangement is called tesne). Conversely, unfolded, with a large space between the voices, the chord sounds volume, Gulco (widespread location).

Analyzing the harmony of the musical work, it is necessary to pay attention to the ratio of condesons and dissonances. So, a soft, calm character in the I part of the play "Mom" P. Tchaikovsky largely owes a predominance in the harmony of the conconating chords (sober and their appeals). Of course, harmony never boiled down to the consecision of some of the consonances - it would deprive the music of aspiration, he would slow down the course of musical thought. The dissonance is the most important incentive in music.

Various dissonances: Um5/3, Uv5/3, sepkord and nonakcordes, intimately consonants, despite their "natural" rigidity, are used in a fairly wide expressive range. Withdrawals of dissonant harmony, not only the effects of tension, acuteness of sound, can be obtained from its help and soft, shaded flavor (A. Corodin "Sleeping Princess" -sukund consonance in the accompaniment).

It should also be considered that the perception of dissonances changed over time - their discominations gradually softened. So over time, the disconant D7 became little noticeable, lost that sharpness, which I had at the request of the appearance of this chord (K. Herbissi "Puppet Kek-Uok").

It is quite obvious that in any musical thorough-leveling, individual chords and consonances follow each other, forming a connected chain. Knowledge of the laws of these connections, the concept of lady functions Chords helps to navigate in the complex and diverse chord structure of the work. T5 / 3, as a center attracting all the movement, has a sustainability function. All the rest of the consonance are unstable and divided into 2 large groups: Dominantovaya (D, III, VII) and subdominant (S, II, VI). These two functions in Lada are largely opposite in their meaning. The functional sequence of D-T (authentic turns) is associated in music with an active, volitional character. Harmonic constructions with the participation of S (plagial turns) sound more gently. Such revisions with the subdominant were widely used in Russian classical music. Chords of other steps, in particular III and VI, make additional, sometimes very subtle expressive nuances. The special use of the consonance of these steps was found in the music of the era of romanticism, when the composers were looking for new, fresh harmonic paints (F.Shopen "Mazurka" OP.68, №3 - see TT. 3-4 and 11-12: VI 5 / 3- III 5/3).

Harmonic techniques are one of the most important means of developing a musical image. One of these techniques is Harmonic variation When the same melody is harmonized by new chords. A familiar musical image seems to turn to us with its new faces (E. Grig "Solveig's song" - a first two 4-tact phrases, F.Shopen "Nocturne" C-Moll TT.1-2).

To another means of harmonic development belongs modulation. Virtually no modulation does not cost any musical work. The number of new tonsities, their ratio with the main tonality, the complexity of the tonal transitions - all this is determined by the product, its shaped-emotional content and, finally, the composer style.

It is necessary that students learned to navigate in related tonalities (I degree) where modulations are most often performed. To distinguish modulation and deviations (short, uninstalled modulation circuits) and comparison (transition to another tonality on the verge of musical constructions).

Harmony is closely related to the structure of the musical work. So the initial statement of musical thought is always relatively sustained. Harmony emphasizes tonal stability and functional clarity. The development of the topic involves the complication of harmony, the introduction of new tonalities, that is, in a broad plan - instability, example: R. Shuman "Santa Claus": Compare the 1st and 2nd period in the I parts of the simple 3-private form. In the 1st period - the support on T5 / 3 A-MOLL, D5 / 3 appears in cadents, in the 2nd period - deviation to D-Moll; E-Moll without final t via umlvii7.

For the expressiveness and color of harmony, not only the choice of certain chords and the ratios that arise between them are important - the method of presenting a musical material or texture.

Texture.

A variety of textural types that occur in music can be divided, of course, it is very conditionally, into several large groups.

The texture of the first type is called polyphony . In it, the musical fabric folds from a combination of several, sufficiently independent melodic voices. Students must learn to distinguish between polyphony simulation, contrast and grain. This analysis rate is not focused on the works of a polyphonic warehouse. But in works with another type of texture, polyphonic development techniques are often used (R. Shuman "First Loss": SM.2-UE Proposal 2nd period - imitation was used at the time of climax, making a sense of special tension; P. Tchaikovsky "Kamarinskaya" : The subject uses the Polyphony, typical of Russian folk music).

The texture of the second type is accord warehouse in which all voices are set out in a single rhythm. It is distinguished by special compactness, solven life, solemnity. This type of invoice is characteristic of the genre of Marsha (R. Shuman "Soldier Marsh", P. Tchaikovsky "March of Wooden Soldiers") and Choral (P. Tchaikovsky "Morning Prayer", "in the Church").

Finally, the texture of the third type - homophone , in which one main voice stands out in the music fabric (melody), and the remaining voices are accompanied by (accompaniment). It is necessary to introduce students with various types of accompaniment in the homophone stock:

A) Harmonic figuration - the sounds of chords are taken alternately (P. Tchaikovsky "Mom" - the presentation of the accompaniment in the form of a harmonic figuration enhances the feeling of softness, smoothness).

B) the rhythmic figuration - the repetition of the sounds of the chord in any rhythm: P. Tchaikovsky "Neapolitan Song" - the repetition of chords in an oaktnaya rhythm gives music clarity, sharpness (Staccato), is perceived as a sound moderate admission to impact tools.

A homophone warehouse with various types of figures in the accompaniment is also characteristic of many musical genres. So for nocturne, for example, a typical accompaniment in the form of a harmonic figure in a wide arrangement of chords in broken form. Such a trembling, the oscillating accompaniment is inextricably linked with a specific "night" flavor of the car.

The texture is one of the most important means of developing a musical image and its shift is often caused by a change in the figurative-emotional strict work. Example: P. Tchaikovsky "Camarinskaya" - change in 2 variations of a warehouse with homophone on chord. Associate with the change of light graceful dance to a powerful common dance.

The form.

Each musical work is a large or small- "flowing" in time, represents a kind of process. It is not chaotic, it is subordinated to famous laws (the principle of repetition and contrast). The composer chooses the form, composition composite plan based on the idea and the specific content of this essay. The task of the form, its "duty" in the work is to "link", coordinate all the expressive means, streamline the musical material, organize it. The form of the work should serve a strong foundation for a holistic artistic view of it.

Let us dwell in more detail on those forms that are most often used in piano miniatures, in the play of the "Children's Album" P. Tchaikovsky and Album for Youth. R. Shuman.

1.One-piece form. Period.

The smallest form of completed presentation of the musical theme in the music of a homophone-harmonic warehouse is called a period. The feeling of completeness causes the arrival of the melody to sustained sound at the end of the period (in most cases) and final cadence (harmonic turnover, leading to T5 / 3). Finished allows to use a period as a form of an independent work - vocal or instrumental miniatures. Such a work is limited to one of the topics. As a rule, these are periods of re-structure (2nd proposal almost exactly or change the 1st sentence). A period of such a building helps to better remember the main musical thought, and without it it is impossible to remember the musical work, understand its content (F.Sopen "Prelude" A-DUR- A + A1.

If the period is part of a more developed form, then it may not be a re-structure (the repeat will not be inside the topic, but beyond it). Example: L.Betshen "Panthetic" Sonata, II Part Theme a + c.

Sometimes, when the period is almost completed, another addition to the period. It can repeat any part of the period or may be based on a relatively new music (P. Tchaikovsky "Morning Prayer", "Doll disease" - both plays in the form of a period with a supplement.

Simple forms:

A) Simple 2-rust form.

The possibility of development within the period is very limited. To give any significant development of the topic, it is necessary to go beyond the scope of one-piece form, it is necessary to build a composition of a large number of parts. So simple forms arise - two and three-part.

A simple 2-piece form has grown out of the principle of comparing contrasting parts in folk music (a verses with chorus, songs with instrumental wage). In the I portions outlines the theme in the form of the period. It can be one-photon or modulating. The second part is not more difficult than the period, but still quite an independent part, and not just an addition to the 1st period. The second part never repeats the first one is different. And at the same time, the connection must be heard between them. The kinship of parts can manifest itself in their common frets, a tonality, the amount, in their equal value, and often in melodic similarity, in general intonations. If familiar elements prevail, then the 2nd part is perceived as an updated repetition, development Initial theme. An example of such a form can serve as the "first loss" R. Shuman.

If the elements of the new dominate in the 2nd part, it is perceived as contrast , comparison. Example: P. Tchaikovsky "Sharmanwger sings" - comparison of the Song of the Sharganger in the 1st period and the instrumental player of the scarmer in 2nd, both squares are square 16-clock repeated buildings.

Sometimes, in the end of 2 private form, the strongest means of musical completion is used - the principle reprincies. The return of the main topic (or part of it) plays an important role in the meaning, strengthening the significance of the topic. On the other hand, the side of the reprise is very important for form - it gives it a deeper deeper, which can provide one harmonic or melodic stability. That is why in most 2-piece samples the second part combines care with refund. How does this happen? The second part of the form is clearly divided into 2 constructions. The first part of the middle position ("Third quarter") is devoted to the development of the topic set out in the 1st period. It prevails either conversion or mapping. And in the second final construction, one of the proposals of the first topic is returned, that is, the abbreviated reprise is given (P. Tchaikovsky "Ancient French Song").

B) Easy 3-private form.

In the repristed 2-private form, the reprises accounts for only half the 2nd part. If the reprise repeats completely the entire 1st period, it turns out the simple 3-part form.

The first part does not differ from the 1st part in two private form. The second is devoted to the development of the first topic. Example: R. Shuman "Brave Rider", or a presentation of a new topic. Now she can get a detailed presentation in the form of a period (P. Tchaikovsky "Sweet Gres", R. Shuman "People's Song").

The third part is reproduced full period And this is the most important difference between a three-part form from two private, which is completed by a reprisal proposal. The three-part form is more proportional, more balanced than two private. The first and third parts are similar not only in their own content, but also in magnitude. The size of the second part in a three-part form may differ significantly from the first largest: it may noticeably exceed the length of the first period. Example - P. Tchaikovsky "Winter Morning": I Part- where I and III part of the square square periods, II part of the 4th, one sentence).

Reprise can be a literal repetition of the I part (P. Tchaikovsky "Funeral Dolls", "German Song", "Sweet Guest").

Reprise may differ from the first part, sometimes in detail (P. Tchaikovsky "March of Wooden Soldiers" - different final cadentsy: In accordance with I, modulation from D-DUR in A-DUR, in III- is approved by the main D-DUR; R. Shuman " People's song "- Changes in reprise significantly modified the invoice). In such reprises, a refund with a different expressiveness is given, based on a simple repetition, but in development.

Sometimes simple three-part forms with entry and conclusion (F. Madelson "Song without Words" А.30 №9). The entry introduces a listener into the emotional world of the work, prepares it to him for something basic. The conclusion completes, summarizes the development of the whole essay. The conclusions are very common in which the musical material of the middle part is used (E. Grig "Waltz" a -moll). However, the conclusion can also be built on the material of the main topic in order to approve its leading role. There are also conclusions in which elements of the extreme and mid-parties are combined.

Complex forms.

They form simple forms, approximately how simple forms are formed from periods and equivalent parts. So the complex two private and three-part form are obtained.

The most characteristic of the complex form is the presence of contrasting, bright opposing images. By virtue of its independence, each of them requires widespread development, does not fit into the framework of the period and forms a simple 2 and 3-storage form. This is mainly concerning the I part. The middle (in 3-rigid form) or the second part (in a 2-rigid) may not only be a simple form, but also a period (P. Tchaikovsky "Waltz" from the "Children's album" - a complex three-part form with a period in the middle, " Neapolitan song "-Contential two private, II part of the period).

Sometimes the middle in a sophisticated three-part form is a free form consisting of a number of buildings. Middle in the form of a period or in a simple form called trio , and if it is in free form, then episode. Three-part forms with a trio are characteristic of dancing, marches, scherzo; And with the episode - for slow lurriches.

Reprise in a complex three-part form can be accurate - Da Capo Al Fine, (R. Shuman "Santa Claus", but can be significantly modified. Changes may concern and its scale it can be significantly expanded and reduced (F. Chopin "Mazurka" OP.68 №3- In reprise, instead of two periods, only one remained). The complicated two private form meets much less often than the three-part. Most often in vocal music (arias, songs, duets).

Variations.

As well as a simple two private form variational The form of its origin leads from folk music. Often in folk songs the plots were repeated with changes - it was so bought - a variation form. Among the existing types of variations are closest to folk creativity variations on a constant melody (Soprano Ostinato). Especially often such variations are found among Russian composers (M. M.Morusorgsky, Varlaam's song "As in the city was in Kazan" from the Opera "Boris Godunov"). Along with the variations of Soprano Ostinato there are also other types of variation form, for example Strict , or ornamental variations that have become widespread in Western European music XVIII -XIX century. Strict variations in contrast to the variations of Soprano Ostinato involve mandatory changes in the melody; Accompaniment varies in them. Why are they called strict? The whole thing is to what degree changes the melody, how far variations are departed from the initial topic. The first variations are more similar to the theme, subsequent - more removed from it and are more different from each other. Each subsequent variation, preserving the basis of the topic, as if shelling it into a different shell, coloring a new ornament. The constant, harmonic sequence, form, pace and meter remain unchanged - these are unifying, cementing agents. That is why strict variations are also called ornamental. Thus, the variations reveal different sides of the topic, complement the main musical thought presented at the beginning of the work.

The variation form serves as an embodiment of a single musical image showing with an exhaustive fullness (P. Tchaikovsky "Kamarinskaya").

Rondo.

Now let's get acquainted with the musical form, in the construction of which two principles are involved on equal bases: contrast and repetition. The form of Rondo occurred, like variations, from folk music (choral song with chorus).

The most important part of the form is refrain. It is repeated several times (at least 3), alternating with other topics - episodes that can remind the sound of refrain, and may differ originally from it.

The number of parts in the Rondo is not an external sign, it reflects the very essence of the form, as it is associated with the contrasting comparison of one image with several. Viennese classics most often use the form of the Rondo in the Sonat and Symphony Finals (J. Hydn, Sonata D-DUR and E-Moll; L. Betchen, Sonata G-Moll No. 19 and G-DUR No. 20). In the XIX century, the scope of application of this form is significantly expanding. And if Rondo song-dance prevailed in Viennese classics, then the West-European romantics and Russian composers meet Rondo lyric and narrative, fabulous and artistic (A. Corodin, the romance "Sleeping Princess").

Conclusions:

None of the musical and expressive drugs protrudes in its pure form. In any product, the meter and rhythm at a certain pace are closely intertwined, the melodic line is given in a certain Lada and Tembre. All sides of the musical "fabric" affect our hearing at the same time, the overall nature of the musical image arises from the interaction of all means.

Sometimes various expressive funds are aimed at creating the same character. In this case, all expressive means are parallel to each other, are coated.

Another type of interaction of musical and expressive means is a mutual addition. For example, the features of the melodic line can talk about her song character, and a four-tetral meter and a clear rhythm give music the traits of marching. In this case, the mission and marchingness successfully complement each other.

Finally, the contradictory ratio of various expressive means, when melody and harmony, rhythm and meter can be conflicted.

So, acting in parallel, mutually complementing or conflict with each other, all means of musical expressiveness together and create a certain nature of the musical image.

Robert Schuman

"Hunting Song" .

I. Character, image, mood.

Bright music of this play helps us view the scene of an old hunt. The solemn signal of the pipe announces the beginning of the hunting ritual. And now the riders with guns are racing in the forest, with mad leaves, the dogs are rushing. All in joyful excitement, in anticipation of victory over the wild beast.

II. The form: Simple triple.

1 part - square eight clock period,

2 part - fordant eight clock period,

3 Part - non-commercial twelve clock period (4 + 4 + 4t.).

III. Means of musical expressiveness.

1. Magnora F -Dur. 2. Perfect tempo. Eighty __________ prevails. 4.Melody: rapidly "take off" up in a wide range of jumps on the sounds of T. 5.Hatch: Stakkato. 6. Color motif at the beginning of the first and second sentence is a calling signal of hunting horn. 7. Tonal plan of the first part: F -DUR, C- DUR.	A sense of joyful revival, rapid movement, a solemn atmosphere of hunting is created. Horse jump, knocking hoofs.
The second part develops the topic I of part: both motive - the pipe signal and running horses are given in the variant form. 8. Signal pipe: B5 replaces C4. In the motive of riders, the pattern of melodies is changing and harmonic sounds are added, but remains unchanged rhythm Total 1 sentences of the first period. 9. Dynamics: sharp contrasts ff -p. 10. Middle Tone: F-DUR, D-Moll (Sequence).	This is the effect of rolling hunters on distant distance.

Reprise: 11. Signal pipes and the motive of riders sound at the same time! For the first time, a homophone-harmonic warehouse in full-fledged form sounds. 12.Culmination 2 and 3 sentences - the pipe signal for the timely dan is not one-way with an octave doubling, as in the I and II parts, and in accord warehouse (Tourish eye chords are closely located. 13.Electrication. 14.Year dynamics.

The effect of approximation of hunters to each other is created, the beast is driven from different sides. Solemn finale hunting. The beast is caught, all the hunters gathered together. Universal education!

Villa - Lobos

"Let mom baubets".

I. Character, image, mood.

Unforgettable painting from distant childhood: Mother's head, pronounced above the falling child. Quietly and affectionately mom sings the baby lullaby, tenderness and care is heard in her voice. Slowly swing the cradle and it seems that the baby is about to sleep. But the pursuit will not sleep, he still wants to cut down, run, jump on the horse (and maybe a child is already sleeping and sees a dream?). And again heard the tender, thoughtful "words" of the lullaby song.

II. The form: Simple triple.

I and III Parts of the School-wide periods of 12 clocks (4 + 4 + 4 + 2 Supplement in reprise).

II Part 2 - Queen period of 16 clocks.

III Means of musical expressiveness:

1.Genre base - Lullaby. It begins with a 2-clock accession, accompaniment without a melody, as in the song.

Genre signs:

2. Singing melody - Cantilene. The smooth adulted movement with soft moves to the policy prevails.

3.Rech: Calm traffic at a slow pace, with stops at at the end of phrases.

Edward Grig

"Waltz".

I. .Character, image, mood.

The mood of this dance is very changeable. First we hear elegant and graceful music, slightly capricious and light. As if the butterflies flute in the air of the dancer, barely touching socks of the parquet shoes. But brightly and solemnly sprouted the pipes in the orchestra and many pairs merged in the whirlwind of the Waltz. And again a new image: Someone's beautiful voice sounds gently and affectionately. Maybe someone from the guests sings a simple and uncomplicated song for the accompaniment of Waltz? And again familiar images: the adorable little dancers, the sounds of the orchestra and pensive with notes of sadness sadness.

II. .The form: Simple three-part with code.

I Part - Square period - 16 clocks, repeated twice + 2 tact entry.

Part II is a square period of 16 clocks.

III Part - accurate reprise (Dan without repeat). Code - 9 clocks.

III . Musical expressiveness.

1. The use of genre expressiveness:

A) threedole size (3/4),

B) homophone - harmonic warehouse, accompaniment in the form: bass + 2 chord.

2. The settlement in the first sentence has a wave-like structure (soft rounded phrases). The smooth, adulted movement, the impression of a spinning movement prevails.

3. Shuttry - Stakkato.

4. Forschlag with a syncope at the end of 1 and 2 phrases. The impression of lightness, airiness, a slight tuning at the end.

5. The tonic organ point in the bass is a feeling of circle in one place.

6. In the second sentence of a shift of the invoice: the chord warehouse. Active sound of trolls on a strong share. Intimate bright, lush solemn.

7. Security with favorite for romantics tersy step:C -dur, a -moll.

8. Features of the Minor Lada (A-Moll): Thanks to the melodic form, Minor sounds a major! The melody moves along the sounds of the top tetrachorrad in 1 and 2 phrases.

Middle part:(A. - Dur ).

9. The invoice. Melody and accompaniment changed places. There is no bass on a strong share - the feeling of weightlessness, ease.

10. Low register duplicate.

11. Melodia has become more singers (Legato replaces Staccato). A song was added to the dance. And maybe this is an expression of a soft, femininal capture image - whose face allocated in the crowd of dancing couples.

Reprise - Accurate, but without repeat.

Coda Motive songs from the middle part against the background of a pulling tonic quint.

Frederic Chopin.

Mazurka OP.68 №3.

I. . Character, image, mood.

Brilliant ballroom dance. Music sounds solemn and proudly. Piano like a powerful orchestra. But, as if folk naigersh comes from home. He sounds a ringing and fun, but barely catchy. Maybe this is a memoir about a rustic dance? And then brixure can be heard again.

II. The form: simple triple.

I part is a simple two-part of 2 square 16 clock periods;

II part of the square eight-stamped period with the entry of 4 tact.

III Part - abbreviated reprise, 1 square 16-stroke period.

II certificate of musical expressiveness:

1.Trechdolized size (3/4).

2.Remical pattern with a dotted line for a strong share is given the sharpness and clarity of the sound. These are genre signs of Mazurki.

3.Akkord warehouse, speaker f. andfF. - solemnity and brightness.

4.intonation "grain" of the upper melodic voice is a jump on the C4 followed by filling) - a suspicious, victorious, joining character.

5. Maddle Foot F -DUR. At the end of 1 sentences modulation in C -DUR, 2 return to F -DUR).

6. Melodic development is built on sequences (terr step typical for romantics).

In the 2nd period, even brighter sound, but also character becomes more severe, militant.

1. Dynamics fF. .

3.New motive, but with a familiar rhythm: or. Holy octato in the entire first part.

New intonation in melodies - terr moves alternating with the entered movement. Melodic phrases do not retain wave-imagination. The downward movement prevails.

4.Tonality A-DUR, but with a minor tint, since S. 5/3 is given in harmonic form (TT.17, 19, 21, 23)) - severe shade.

The second offer is reprise (repeats exactly 2 sentences of the first period).

Middle part -easy, bright, soft, tender and cheerful.

1. Duty Tonic Quinta in the bass - imitation of folk instruments (violence and double bass).

2. The dotted rhythm, the equal movement of the eighties in the rapid pace prevails.

3. In the melody - soft terrest strokes are up, then down. The feeling of fast spinning movement, softness, smoothness.

5. Silent way, characteristic of Polish folk music - lidian (Mi Becar in Tonic Si Bemole) - People's origins of this topic.

6. Dynamics r, I barely catchy sound, music seems to be coming from anywhere to from afar, or hardly breaks through the smoke of memories.

Reprise: Reduced, compared to I part. It remained only the first period, which is repeated. The brilliant ball's mazurka sounds again.

Holistic analysis of the musical work

on the example of Rondo from Sonata H - Moll F.E. Bach

Music Work Analysis Plan

A. Total preview

1) Type of form (simple three-part, sofate, etc.)

2) Digital shape diagram in large features, with letterpress designations (parts) and their names (I period, development, etc.)

B. Analysis of each of the main parts

1) the function of each part in the form (I period, mid, etc.)

2) type of presentation (exposure, median, etc.)

3) thematic composition, its homogeneity or contrast; His character and means of achieving this nature

4) which elements are subject to development; development methods (repetition, variation, comparison, etc.); Thematic transformations

5) the place of climax if it is; Methods that it is achieved and leaves.

6) Tonal structure, cadence, their ratio, closure or openness.

7) Detailed digital circuit; Characteristics of the structure, the most important points of summation and crushing; "Breath" short or widespread; Characteristics of proportions.

The structure of this Rondo is:

P EP1 EP2 R EP3 P R EP4 R EP5 R EP1

4T. + 4t. 8t. 4t. 4t. 4t. 4t. 4t. 4t. 4t. 8t. 4T. + 4t. 8t.

period Period Period Period Period Period Period

With extension

Exposition Reprise Development

Where p is a refrain, EP - episode, figures marked the number of clocks of each section. The composer is free to handle the shape. Refrain is actively developing, transposed into different tones in repeated repetitions. There are variety of changes in refrain, a variety of its cadentsies.

Refrenal melody and episodes are homogeneous, not contrasting. It is distinguished by flexibility, pleasure rhythmic and intonation, which is achieved with the help of fictional notes, syncop, small durations, mordents and other mulishes, the beginning of phrases from acacts, with a weak stake after the sixteenth pause. In the melodic figure combines adulted motion, jumps at different intervals, halftone gravity.

The bass line does not carry a melodic and semantic load, and represents, mainly downward arrivals of the fourth durations. His role (bass) - harmonic support of the melody.

In general, the structure of Rondo SI-MINOR can be compared with sections of a sonata form: exposure (1 - 16 clocks), development (17 - 52 clocks) and reprise (53 - 67 cycles). Moreover, the musical material reprises is completely and unchanged the exposure material.

The "exposition" is a peculiar two-part form, where 1 part (refrain) is a period of square structure. The first sentence ends with half cadence on the dominant, the second - complete cadence. The second part of the two-party shape (episode 1) is also a period of two proposals that end themselves according to half and complete cadents.

In the second section of Rondo, the so-called "development", refrain sounds in the following tonsalities: D - DUR (21 - 24 tales), H - Moll (29 - 32 tales), G - DUR (33 - 36 tags), E Moll ( 41 - 44 clocks). A major refregnal (33 - 36 clocks) leads to climax on the dynamics of Forte. Then the exit from the climax in 37 - 40 clocks. Here, the composer used the selection of sequential development - a downward sequence of three links. By the way, in the climax, the usually entered bass movement on the hopping, quarto-quinto. Line of the lower voice here harmonically supports the sequential development of the melody.

Due to the features of the form structure, EP5 (fifth episode), where the expansion of the offer in 47-52 cycles occurs due to the improvisational development of the melody on a registered "organ" bass on the VII stage of the main tonality. This technique smoothly leads to the expected junction - the so-called "reprise". Music material 53 - 68 clocks completely repeat the sound of the first refreven and the first episode. Such a return of the topic seems to frapets the musical form of this work as a whole, leads to its logical conclusion, conducting a semantic and intonational arch between the beginning and the end.

In general, Rondo from Sonata SI-MINOR is a classic replacement of the form of the Rondo in the works of K.F.E. Baha.

The word "analysis" in the translation from Greek means "decomposition", "dismemberment". Music - theoretical analysis of the work is a scientific study of music that includes:

1. Style study and shapes.
2. Defining a musical language.
3. Studying how important these elements are important to express the semantic content of the work and their interaction with each other.

An example of the analysis of the musical work is the method that is based on the dismemberment of the whole integer into small parts. In the contrast with the analysis there is a synthesis - a reception that implies the connection of individual elements in general. Two these concepts are closely connected with each other, since only their combination leads to a deep understanding of any phenomenon.

It also applies to the analysis of a musical work, which ultimately should lead to a generalization and a clearer understanding of the object.

The value of the term

There is a wide and narrow use of this term.

1. Analytical study of any musical phenomenon, patterns:

• the structure of the major or minor;
• principle of operation of the harmonic function;
• norms of the metrohymic basis for a particular style;
• laws of the composition of the musical work as a whole.

In such a value, the musical analysis is connected to the concept of "theoretical musicism".

2. Studying any musical unit within one particular work. This is a narrow, but more common definition.

Theoretical basis

In the XIX century, there was an active formation of this music section. Many musicians in their literary works provoked the active development of musical analysis:

1. A. B. Marx "Ludwig Beethoven. Life and art". This creation, written in the first half of the 19th century, became one of the first samples of the monograph, which included an analysis of musical works.

2. H. Roman "The leadership of the composition of Fugue", "Bethoven Bethoven quartets". This German musicologist created the doctrine of harmony, form and meter. Based on it, deepened theoretical methods for analyzing musical works. His analytical works were of great importance for progress in this musical direction.

3. Work of the city of Krechmar "Concert Guide" He helped develop theoretical and aesthetic methods of analysis in Western European music.

4. A. Schweitzer in his literary creation "I. S. Bach " Considered the musical works of composers in three uniform aspects of the analysis:

• theoretical;
• performer;
• aesthetic.

5. In Ov three-volume monograph "Beethoven" P. Becker Using sonates and symphones of the greatest composer with their poetic idea.

6. H. Leichtentritt, "The Doctrine of Musical form", "Analysis of the piano works of Chopin". In the writings, the authors conduct a competent combination of a high scientific and theoretical level of analysis and figurative characteristics with aesthetic estimates.

7. A. Lorenz "Secrets of Forms from Wagner." In this literary work, the writer conducts a study on the basis of a detailed analysis of the operas of the German composer R. Wagner. Sets new types and sections of analyzing the forms of the musical work: synthesizing stage and musical patterns.

8. The most important example of the development of analysis in the musical work is the works of the French musicologist and a public figure R. Rollan. These include work "Beethoven. Great creative epochs. " Rollan conducts an analysis of the music of various genres in the creativity of the composer: Symphony, Sonatas and Opera. Creates its own unique analytical method, which is based on poetic, literary metaphors and associations. This method goes beyond the strict boundaries of the musical theory in favor of a free understanding of the semantic content of the object of art.

This technique will subsequently affect the development of the analysis of musical works in the USSR and in the West.

Russian musicology

In the XIX century, along with the advanced tendencies of public thought, there was an intensive development in general in the field of music studies and in musical analysis in particular.

Russian musicologists and critics sent their efforts to approve thesis: in each musical work a certain idea is expressed, some thoughts and feelings are transmitted. For this, all works of art are created.

A. D. Smilebyshev

One of the first to show itself the first Russian musical writer and a figure of A. D. Smilenzhev. Thanks to its works, "Beethoven, his critics and interpreters", "New Biography of Mozart", he left a noticeable mark in the history of critical thought.

Both of these literary creations include an analysis with critical and aesthetic estimates of many musical works.

V. F. Odoyevsky

Not being theoretical, the Russian writer appealed to domestic musical art. Its critical-journalistic work is filled with aesthetic analysis of many works - mostly operas written by M. I. Glinka.

A. N. Serov

The composer and critic launched the method of thematic analysis in Russian music theory. His essay "The role of one motive in the whole opera" Life for the King "" contains examples of a new text, with the help of which A. N. Serov studied the formation of the final choir, his topic. The basis of its formation, according to the author, is the ripening of the main patriotic idea of \u200b\u200bthe opera.

The Article "Leonor's" Thectiem "contains a study of the relationship of the subject of overtures and opera L. Beethoven.

Other Russian progressive musicologists and critics are also known. For example, B. L. Yavorsky, who created the theory of a lade rhythm and made many new ideas into a comprehensive analysis.

Types of analysis

The most important thing in the analysis is to establish the patterns of development of the work. After all, music is a temporary phenomenon that reflects the events that occur during its development.

Types of musical analysis:

1. Thematic.

The musical theme is one of the main forms of the embodiment of an artistic image. This type of analysis is a comparison, the study of topics and all thematic development.

In addition, it helps to determine the genre origins of each topic, since each individual genre involves an individual circle of expressive means. Identify which genre underlies, it is possible to more accurately understand the semantic content of the work.

2. Analysis of individual elements that are used in this work:

• meter;
• rhythm;
• timbre;
• dynamics;

3. Harmonic analysis of the musical work (Examples and more detailed description will be shown below).

4. Polyphonic.

This species implies:

• consideration of the musical texture as a certain method of presentation;
• analysis of the melody is the most simple single category, which contains the first unity of artistic means of expressiveness.

5. Performing.

6. Analysis of the composition form. Concludes In search of type and forms, as well as in the study of comparisons of topics and development.

7. Complex. Also, this example of the analysis of the musical work is called holistic. It is based on the analysis of the form of the composition, while combined with the analysis of all components, their interaction and development as a whole. The highest purpose of this type of analysis is the study of the work as a socio-ideological phenomenon, together with all historical connections. It is on the verge of the theory and history of musicology.

Regardless of what kind of type of analysis is made, it is necessary to find out historical and stylistic and genre backgrounds.

All types of analysis include temporary, artificial abstraction, separation of a particular element from others. It must be done to conduct an objective study.

Why do you need a musical analysis?

It can serve various purposes. For example:

1. Studying individual elements of the work, music language is used in teaching aids and theoretical work. In scientific research, such components of music and the patterns of composite form are comprehensively analyzed.
2. Excerpts from examples of analysis of musical works can serve as evidence of something in the presentation of general theoretical problems (deductive method) or summing up viewers to generalizing conclusions (inductive method).
3. As part of a monographic study, which is devoted to a specific composer. This applies to a compressed form of a holistic analysis of the musical work according to plan with examples, which is an integral part of historical and stylistic studies.

Plan

1. Preliminary overall inspection. It includes:

a) observation of the type of form (three-part, sofate, etc.);

b) drawing up a digital form scheme in general terms, without details, but with the title of main thther or parts and their location;

c) Analysis of the musical work according to plan with examples of all major parts;

d) determination of the functions of each part in the form (middle, period, etc.);

e) studying that the development of which elements is paid to the attention of which they develop (repeated, compared, vary, etc.);

(e) Search for answers to questions where climax is located (if it is), in which it is achieved;

g) definition of thematic composition, its homogeneity or contrast; What is his character, what means it is achieved;

h) the study of the tonal structure and cadencing with their ratio, closure or openness;

and) determining the type of presentation;

k) drafting a detailed digital circuit with a structure characteristic, most important points of summation and crushing, breathing length (long or short), properties of proportions.

2. Comparison of the main parts specifically in:

• tempo homogeneity or contrast;
• a high-altitude profile in general terms, the ratio of climats with a dynamic scheme;
• characteristic of general proportions;
• thematic coented, homogeneity and contrast;
• tonal coenses;
• characteristic of the whole, degree of typical of the form, in the basics of its structure.

Harmonic analysis of the musical work

As mentioned above, this type of analysis is one of the most important.

To understand how to make an analysis of the musical work (on the example), you must have certain skills and skills. Namely:

• understanding and ability to harmonically summarize a specific excerpt based on the logic of functional movement and laptotonality;
• the ability to associate the properties of a harmonic warehouse with the nature of music and the individual characteristics of this work or composer;
• proper explanation of all harmonic facts: chord, cadentsy, vote.

Executive analysis

This type of analysis belongs:

1. Search for information about the author and the most musical work.
2. Style representations.
3. Determination of artistic content and character, images and associations.

Strokes, game techniques and articulation tools are also an important component of the example of a performers of a musical product.

Vocal music

Musical works in the vocal genre need a special method of analysis, which differs from instrumental forms. What is the difference between a musical and theoretical analysis of the choral work? An example of a plan is shown below. Vocal musical forms require their own analysis method other than the approach to the tool forms.

Need:

1. Determine the genre of the literary source and the most musical work.
2. Explore expressive and visual details of the partition of the choir and instrumental accompaniment and literary text.
3. Examine the differences in the original words in stanzas and lines with a modified structure in music.
4. Determine the musical meter and rhythm, compliance with the rules of Alternance (alternation of rhymes) and quadacity (noquaticity).
5. Draw conclusions.