The work and author is a variation on the unmodified bass. Variational form and its varieties

29.06.2019

Gabriel Garcia Marquez What language did Marquez write in?

An essay on the topic: Pechorin is a fatalist (based on the novel by M

). However, a single application of the principle of variation does not create a form on its basis. The variation form arises only with the systematic application of this principle, therefore, at least 2 variations are required to create it.

The theme of variations can be original (written by the composer himself) or borrowed.

Variations can be filled with completely different content: from very simple to deep and philosophical (Beethoven. Arietta from Sonata No. 32 for piano).

Classification

Variations are usually classified according to four parameters:

In the process of development of this form, several basic types of variations have become stronger with a relatively stable combination of these characteristics. These are: variations on a sustained melody, variations on basso ostinato: 159, figurative variations and genre-characteristic variations. These types existed in parallel (at least since the 17th century), but in different eras, some of them were more in demand. So, composers of the Baroque era more often turned to variations on basso ostinato: 159-160, Viennese classics - to figurative ones, romantic composers - to genre-characteristic ones. In the music of the 20th century, all these types are combined, new ones appear, when a separate chord, interval, and even a separate sound can act as a theme.

In addition, there are several specific types of variations that are less common: these are the variation cantata (see Cantata) of the Baroque era and variations with a theme at the end (which appeared at the end of the 19th century).

It is important to note that many works use different types of variation. For example, the initial group of variations can be variations on a sustained melody, then a chain of figurative variations.

Form organization

Any variation cycle is an open form (that is, new variations can, in principle, be added endlessly): 159. Therefore, the composer is faced with the task of creating a second-order form. It can be a “wave” with a rise and a climax, or any typical form: most often it is a three-part form or rondo. Three-partness arises as a result of the introduction of a contrasting variation (or group of variations) in the middle of the form. Roundness occurs due to the repeated return of contrast material.

Variations are often grouped together, creating local swells and local climaxes. This is achieved due to a single texture or due to rhythmic growth (diminishing). For the sake of giving the shape a relief and in order to somehow break up the continuous stream of similar variations, already in the classical era, in expanded cycles, one or several variations were carried out in a different mode. In the 19th century variations, this phenomenon intensified. Now individual variations can be performed in other keys (Schumann's “Symphonic Etudes” - with the original cis-minor, there are variations in E-major and gis-minor, the final variation - Des-major): 170-171.

Various endings of the variation cycle are possible. The end can be similar to the beginning, or, conversely, the most contrasting. In the first case, at the end of the work, the theme is performed in a close to the original version (Prokofiev. Concerto for Piano and Orchestra No. 3, 2nd movement). In the second, the ending represents the maximum progress in the given direction (for example, the smallest durations in the entire cycle). For the sake of contrast to the final variation, meter and genre can be changed (a frequent occurrence in Mozart). As the greatest contrast to the homophonic theme at the end of the cycle, a fugue can sound (in the classical and post-classical eras).

Variations on a sustained melody

In variations of this type, the melody is preserved, and the variation occurs due to the accompanying voices. Because of this, they belong to indirect variations.

Variations on a sustained melody are used mainly in vocal music, the immutability of the melody brings them closer to the verse forms (the difference is that in these forms it is not the accompaniment of the theme that changes, but the text). They were loved by Russian composers - this type of variation especially corresponded to the spirit of Russian song, and accordingly was used in operas in choirs and folk songs. In Western European music, variations on a sustained melody are rare as an independent work (Haydn. Quartet op. 76 No. 3, 2nd movement), but in the figurative cycles of Viennese classics they can be used as initial variations.

Varying

Variations can be textured, timbre, polyphonic, harmonic and genre.

The texture-timbre variation presupposes a change in texture, the introduction of a new pattern, reorchestration, in the chorus - the transfer of the melody to other voices. With polyphonic variation, the composer introduces new echoes or rather independent melodic lines. Perhaps polyphonic design of the theme itself in the form of a canon, etc. Harmonic variation is expressed in the overharmonization of the melody. The scale of changes can be different, up to a change in mode (Glinka. "Persian choir" from "Ruslan and Lyudmila", 3rd variation): 174 or even transferring the melody to another key (Rimsky-Korsakov. Choir "Height" from the opera " Sadko "). Genre variation occurs when all of the above types of variation lead to the formation of a new genre image of the theme. This type of variation in variations on a sustained melody is rare.

Variations on basso ostinato

Variations on basso ostinato is a form that is based on the constant carrying of the theme in the bass and the constant renewal of the upper voices: 160.

Topic

The theme is a small (2-8 bars, usually 4) monophonic sequence, melodious to varying degrees. Usually her character is very general. Many themes represent a downward movement from I to V steps, often chromatic. There are themes that are less generalized and more melodic (Bach. Passacaglia in C minor for organ).

Varying

In the process of varying the theme can pass into the upper voices (Bach. Passacaglia in C minor for organ), figuratively change and even transpose into another key (Buxtehude. Passacaglia in D minor for organ).

Due to the brevity of the topic, variations are often combined in pairs (according to the principle of a similar texture of the upper voices). The boundaries of variation do not always coincide clearly in all voices. In Bach, several variations in one texture often form a single powerful development, their boundaries disappear. If this principle is carried out throughout the entire work, the whole can hardly be called variations, since it cannot be recognized as variations of the bass in the lower voice without taking into account the upper ones. A kind of counterpoint to the form appears.

The end of the cycle can go beyond the variation. Thus, Bach's organ Passacaglia ends with a large fugue.

Figure variations

In this type of variation, the predominant variation method is harmonic or melodic figuration. Because of this, the area of application of such variations is almost exclusively instrumental music. Especially often found in the music of the Viennese classics. They can have an independent piece (many variation cycles of Mozart, Beethoven) or a part of a cycle (final, slow movement, less often the first). In the romantic era, independent plays in the form of figurative variations predominate, and they may have a different genre name (for example, Chopin's Lullaby).

Topic

An important component of the theme is harmony (as opposed to the previous type). In the overwhelming majority of cases, the theme is written in a homophonic texture. The texture is economical, which gives the freedom to change it further and accumulate movement in the texture (by reducing the duration).

Since most of the examples belong to the composers of the Viennese school and their followers, in most cases the form of the theme is also classic. Most often - a simple two-part (usually reprisal), sometimes three-part, much less often - a period. In the music of Baroque composers, a theme in the form of a bar is possible.

Varying

In figurative variations, direct variation is carried out, since the theme itself is transformed.

In this case, typical figures are used - figurations. They can be arpeggiated, scale-like, and so on. Melody anchor points are retained and filled with figurative material. Melodic figuration often results from the appearance of non-chord sounds around these anchor points. Harmonic figuration - this or that movement by sounds

You've probably come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of a variety of phenomena. And music is no exception. In this article, you will find an overview of the most popular forms of musical works.

Before we name the common forms of musical works, let's define what form is in music? Form is what has to do with the construction of a piece, with the principles of its structure, with the sequence of carrying out musical material in it.

Musicians understand form in two ways. On the one hand, the form is schema the arrangement of all parts of the musical composition in order. On the other hand, form is not only a diagram, but also process the formation and development in the work of those expressive means that create the artistic image of the given work. What are these expressive means? Melody, harmony, rhythm, timbre, register and so on. The substantiation of such a double understanding of the essence of the musical form is the merit of the Russian scientist, academician and composer Boris Asafiev.

Forms of Musical Works

The smallest structural units of almost any piece of music are motive, phrase and sentence... And now let's try to name the main forms of musical works and give them brief characteristics.

Period- this is one of the simple forms, which is a presentation of a complete musical idea. It is often found in both instrumental and vocal music.

The standard duration for a period is two musical sentences that occupy 8 or 16 bars (square periods), in practice there are periods both longer and shorter. The period has several varieties, among which the so-called "Deployment type period" and "difficult period".

Simple two and three-part forms - these are forms in which the first part, as a rule, is written in the form of a period, and the rest do not outgrow it (that is, for them the norm is either also a period or a sentence).

The middle (middle part) of the three-part form can be contrasting with respect to the extreme parts (showing a contrasting image is already a very serious artistic technique), or it can develop, develop what was said in the first part. In the third part of the three-part form, the repetition of the musical material of the first part is possible - this form is called reprise (a reprise is repetition).

Verse and Chorus Forms - these are forms that are directly related to vocal music and their structure is often associated with the peculiarities of poetry.

The verse form is based on the repetition of the same music (for example, a period), but each time with a new text. In the singing-chorus form, there are two elements: the first is the song (both the melody and the text can change into it), the second is the chorus (as a rule, both the melody and the text are saved in it).

Complex two-part and complex three-part forms - these are forms that are composed of two or three simple forms (for example - simple 3-part + period + simple 3-part). Complex two-part forms are more common in vocal music (for example, some opera arias are written in such forms), while complex three-part forms, on the contrary, are more characteristic of instrumental music (this is a favorite form for minuet and other dances).

A complex three-part form, like a simple one, can contain a reprise, and in the middle part - new material (most often this is what happens), and the middle part in this form is of two types: "Like a trio"(if it is any slender simple shape) or "Type of episode"(if in the middle part there are free constructions that do not obey either periodic or any of the simple forms).

Variation form - this is a form built on the repetition of the original theme with its transformation, and these repetitions must be at least two, in order for the emerging form of a musical work to be attributed to a variation form. The variation form is found in many instrumental compositions, and no less often in the compositions of contemporary authors.

The variations are different. For example, there is such a kind of variation as variations on an ostinata (that is, an unchangeable, held) theme in a melody or bass (the so-called soprano-ostinato and basso-ostinato). There are variations figurative, in which, with each new implementation, the theme is colored with various decorations and progressively crushed, showing its hidden sides.

There is one more kind of variations - characteristic variations, in which each new conduct of the topic takes place in a new genre. Sometimes these transitions to new genres greatly transform the theme - just imagine, the theme can sound in the same work as a mourning march, as a lyric nocturne, and as an enthusiastic hymn. By the way, you can read something about genres in the article.

As a musical example of variations, we invite you to get acquainted with a very famous work of the great Beethoven.

L. van Beethoven, 32 variations in c minor

Rondo Is another widespread form of musical compositions. You probably know that in translation into Russian from French the word "Rondo" means "circle"... This is no coincidence. Once given, the rondo was a group round dance, in which the general fun alternated with the dances of individual soloists - at such moments they came out in the middle of the circle and showed their skills.

So, in terms of the musical part, the rondo consists of parts that are constantly repeated (common - they are called refrains) and individualized episodes that sound between refrains. For the rondo form to take place, the refrain must be repeated at least three times.

Sonata form , so we got to you! The sonata form, or, as it is sometimes called, the form of the sonata allegro, is one of the most perfect and complex forms of musical works.

The sonata form is based on two main themes - one of them is called "Main"(the one that sounds first), the second - "Collateral"... These names mean that one of the themes takes place in the main key, and the second in a secondary one (dominant, for example, or parallel). Together, these themes go through various tests in development, and then in the reprise, they usually both sound in the same key.

The sonata form consists of three main sections:

exposition (presentation of the first, second and other topics to the public);
development (the stage at which intensive development takes place);
a reprise (here the themes presented in the exposition are repeated, and at the same time their convergence takes place).

The composers fell in love with the sonata form so much that on its basis they created a whole series of forms that differ from the main model in various parameters. For example, you can name such varieties of the sonata form as rondo sonata(mixing sonata form with rondo), sonata without development, sonata with episode instead of development(remember what we said about an episode in a three-part complex form? Here any form can become an episode - often these are variations), concert form(with double exposure - for the soloist and for the orchestra, with a virtuoso cadence of the soloist at the end of the development before the start of the reprise), sonatina(little sonata), symphonic poem(a huge canvas).

Fugue- this is a form, once the queen of all forms. At one time, fugue was considered the most perfect musical form, and until now, musicians have a special attitude to fugues.

The fugue is based on one theme, which is then repeated many times in succession unchanged in different voices (for different instruments). The fugue begins, as a rule, in one voice and immediately with the theme. Another voice immediately responds to this topic, and what sounds during this answer in the first instrument is called counter-composition.

While the topic is walking in different voices, the exposition section of the fugue continues, but as soon as the topic has passed in each voice, development begins, in which the topic may not be fully carried out, shrink and, conversely, expand. What is happening in the development ... At the end of the fugue, the main tonality is restored - this section is called a reprise of the fugue.

You can already stop at this. We have named almost all the main forms of musical works. It should be borne in mind that more complex forms can contain several simple ones - learn to detect them. And also quite often both simple and complex shapes are combined in various cycles- for example, form together suite or sonata-symphonic cycle.

The term basso ostinato means a continuous repetition of the same melodic turn, which is the theme of variation, in the lower voice. These variations grew out of the 16th century variations, flourished in the Baroque era (17th - first half of the 18th century), and were revived in the 20th century. During the Baroque era, their existence was associated with the cultivation of bass, the teaching of the general bass, as well as polyphonic thinking.

Variations on basso ostinato were associated with the passacaglia and chaconne genres - slow pieces with a four to eight bar theme. The theme of the ostinata variations is most often short, simple, first presented in one voice (in the passacaglia) or polyphonic (in the chaconne). In the 17th-18th centuries, she has a measured movement, mainly in the minor scale, the size of ¾ (in the chaconne - the accent-syncopation on the second beat), psychologically deep character.

Two types of themes can be distinguished: closed, which were predominantly more developed, and open, which were often built as a descending chromatic movement from tonic to dominant - descending, ascending, diatonic or chromatic. This intonation structure opened up wide opportunities for the composer regarding harmonic and polyphonic development. Actually, the main attention is gradually shifting to this complementary and more expressive material in the upper voices. Ostinatny same theme, repeated many times, in perception fades into the background, leaving behind a purely constructive role. One conduction of the theme in bass is not separated from the next, and the variations go one after the other without definite completion of the previous one and the beginning of the next. In some places the limit of the new variation does not coincide with the beginning of the theme in the bass. Sometimes, in the middle of the variations, the theme can be transferred to the soprano ("Passacaglia" in c-moll by JS Bach). Along with the main theme, other themes may appear during the variation (in Bach's "Chaconne" d-moll, the number of themes is at least 4). The texture of the variations is decorated with expressive musical and rhetorical figures.

The tonality and structure of the theme in the chaconne and passacaglia remain unchanged; only changing the fret to the one of the same name is allowed

With a large number of variations, it is characteristic to combine several of them into separate groups on the basis of the same type of variation - an approximately similar melodic and rhythmic pattern of polyphonic voices, registers, and the like. Variations are arranged according to the principle of complicating the texture or contrasting comparison of groups.

The distribution of “local” and general climaxes, which unite the form, is of great formative importance.

Since the basso ostinato variations are based on a constant, as if annoying, theme, they are well provided for expressing in music the moods of deep reflection, concentration on one thing, lack of freedom and immobility, which are opposed to free development in the upper voices (contrast in simultaneity).

The form of variations on the ostinata bass was based on both harmonic and polyphonic developmental principles. In the 20th century, many composers turned to variations on the ostinata bass: Reger, Taneyev, Hindemith, Shostakovich, Schnittke, while in the 19th century this happened rarely (the final of Brahms' 4th symphony).

Strict figurative (ornamental) variations

« Pieces with variations should always be based on such arietas as are known to the audience. When performing such pieces, one should not deprive the audience of the pleasure of delicately singing along with the performer ”(IP Milkhmayer, 1797).

The main difference from variations on ostinata bass is the homophonic basis of thinking.

Features:

1. The topic is written in a simple two-part, less often in a simple three-part form.

2. The main method of development is textured, consisting in ornamentation of the theme, fragmentation of durations (diminishing), the use of figurations.

3. The form of the theme is maintained in all variations with the admission of minor extensions and codes.

4. The tonality is the same, but with a typical substitution for the one of the same name in the middle of the cycle or closer to the end.

5. One change of tempo is allowed, closer to the final variation.

Varying a topic is not just about making it more complex. Along with this, for contrast, a simplification of the theme is also used - harmonic or textured, including through the reduction of voices (for example, instead of a homophonic four-part, a polyphonic two-part is introduced). In some cases, there is a change in time signature, although in general the variations of the classical era, while retaining the main features of the theme, also retain its meter and tempo.

The structure of the cycle of variations

There is a certain tendency in the arrangement of variations:

1. The classical variations, to a greater extent than the old ones, contrast in character with one another and are arranged in such a way that each subsequent one is more complex than the previous one.

2. In large variation cycles with a significant number of variations, the latter are located in groups, on the basis of the same type of variation of the theme. A group of variations placed side by side is presented in approximately the same texture, due to which the composition as a whole is perceived in larger sections.

3. Placement of climax is of great importance for combining variations.

4. In this sense, the principle of contrast also plays a significant role. This is facilitated by the use of the same key for some variations (juxtaposition of major and minor). In addition, the contrast of tempo is gradually becoming common.

5. For the general composition of the variation cycle, the structure and features of the last two variations are of great importance. The penultimate variation often returns to the initial or close presentation of the topic, sometimes written in a slower movement or pace. The last variation completes the cycle, and therefore it can use a more complex texture, change the tempo or meter, expand the structure. After it, a code can be entered.

The form of classical figurative variations has stabilized in Mozart's work: the number of variations is usually 6, maximum 12; prefinal variation in the tempo of adagio, the last - in the nature of the finale of the instrumental cycle, with a change in tempo, meter, genre. For Beethoven, the number of variations changed from 4 to 32.

Variation (variational method of development) is a modified repetition of the same musical idea. Variation form - a form consisting of a presentation of a topic and a number of its repetitions in a modified form.

It is possible to enter an introduction and codes. Number of variations: from 2-3 to several dozen (L. Beethoven. Sonata No. 23, part 2 - 4 variations, I. Brahms. Variations on a theme of Handel - 25 variations).

Subject. Sizes - from 4 bars to a simple 3-part form. It can be borrowed (from folk music, from the works of another composer), original (composed by the author himself).

Possibility of considering the variation cycle as a genre.

Application of the variation form: a separate work, a part of a cyclic work (symphony, concert, quartet, sonata, etc.), an opera number, an opera scene (E. Grieg. Ballad, R. Strauss “Don Quixote”, S. Rachmaninov. Rhapsody on a theme of Paganini, L. Beethoven. Sonata No. 10, part 2, J. Haydn. Sonata No. 12 G dur, finale, G. Purcell. Dido's aria from the opera Dido and Aeneas, A. Borodin. Villagers' choir from the opera "Prince Igor", S. Rachmaninov. Concerto for piano and orchestra No. 3, parts 2, 3).

Varieties of the variation form: old variations (basso ostinato), classical variations (strict ornamental), free variations (genre-characteristic), variations on a sustained melody, non-homogeneous variations.

12.1. Variations on sustained bass (basso ostinato).

Distribution in the XVII -XVIII centuries., XX century. (Purcell, Bach, Handel, Shostakovich, Shchedrin, Britten, Webern, Berg, Hindemith). XVII century - early XVIII century - a reflection of the essential aspects of the Baroque style - the sublimity of the content, embodied by the grandeur of the forms. Intense expression reaching the point of tragedy (JS Bach. Crucifixus from Mass h moll, G. Purcell. Dido's aria from the opera Dido and Aeneas). Application in old dance genres - chacon and passacaglia.

Topic(4-8 t.). Typical is a chromatic theme descending from I to V degrees, returning in a leap to the tonic (JS Bach Crucifixus from Mass in B minor, G. Purcell Dido's Aria from “Dido and Aeneas”, JS Bach. Passacaglia c moll for organ), minor, square, based on iambic motives (in the conditions of tripartite and syncope, symbolizing a slow, uneven step, a drooping gesture. J.S.Bach).

Varying: polyphonic, figurative-polyphonic; difficulty in harmonic variation due to unchanged bass.

A. Corelli. "Folya", Vitali. "Chaconne", I.S. Bach. Mass h moll. Choir Crucifixus, Chaconne d moll, G.F. Handel. Keyboard suite in g moll. Passacalia, D. Shostakovich. Prelude gis moll, Symphony No. 8, part 4, Shchedrin. Basso ostinato from "Polyphonic Notebook"

12.2. Classic (strict ornamental variations)

A qualitatively new stage in the development of this form (the impact of the worldview, the aesthetics of the Enlightenment, the homophonic-harmonic style that replaced polyphony). Continuity with the old variations - the immutability of the structure of the theme.

Topic: Bright enough, but excluding sharply individualized, characteristic turns. Choral and song warehouse, medium register, moderate tempo, simple texture. By structure - a simple 2-part form, period, less often a simple 3-part form.

Varying- textured and ornamental, with the preservation of the reference points of the melody. Preservation of the general fastening complex: structure, tonality (a single change of scale is possible, with a subsequent return), harmonic base, reference points of the melody. Preservation of structure is the main distinguishing feature of strict variations.

Contrast is possible in the sequence of variations:

modal: one of the variations in the eponymous major or minor (L. Beethoven. Sonata No. 12, part 1, As major - one of the variations as minor, W. Mozart. Sonata No. 11, part 1, A major - one of the variations a moll);

tempo: changing the tempo before the final variation (Adagio surrounded by fast major variations - W. Mozart. Sonata No. 11 A dur, part 1).

Ability to code with extensions and additions.

The principles of grouping variations in order to overcome the fragmentation of the form: "diminution" (accumulation of movement by the introduction of shorter durations in the subsequent variation in comparison with the previous one (L. Beethoven. Sonata No. 23, part 2), variation and variation on it (L. Beethoven. 32 variations with moll: 1-3, 7, 8, 10, 11), similarity of variations at a distance, motive, textured connections (W. Mozart. Sonata No. 11 A major, part 1), three-part association (L. Beethoven. Sonata No. 12, part 1, 32 variations in c minor), variation in the meaning of a reprise (L. Beethoven. Sonata No. 23, part 2).

Tasks for practical work

Haydn. Sonata No. 12, G dur, ch. 1.3, Mozart. Sonata No. 6 in D major, part 3.KV. 284, A dur no. 11, part 1, Beethoven. Sonata No. 12, Part 1, No. 23, Part 2, No. 30 Part 3; Collections of variations (2 volumes) - variations to choose from, Beethoven. Violin Sonatas No. 9, Part 1, No. 10, Part 4

12.3. Free (genre-characteristic) variations.

Emergence - the era of romanticism, spread - XIX - XX centuries. Free variation consists in free handling of the structure of the theme (the main distinguishing feature of free variation).

Free variation is a relatively independent piece, intonationally related to the theme, and not a modified reproduction of the theme as a whole (minimal connections with the theme; the theme is a pretext for creating varied pieces-variations (R. Schumann. "Carnival").

The main features of free (genre-characteristic) variations:

The discrepancy between the structure of the theme and the structure of variations (in some cases, variations are considered free even with a coinciding structure, provided that the principle of specificity is consistently implemented: S. Rachmaninov. "Variations on a Corelli theme", I. Brahms. "Variations on a Handel theme",

Freedom of tonal plans

The intensity of harmonic changes,

A variety of textures - S. Rachmaninov. "Rhapsody on a Theme of Paganini"

Turning to polyphonic presentation (R. Schumann. Symphonic Etudes. Etude 8 - two-part fugue form.

Typical variations - the specificity (uniqueness) of the appearance of each variation; genre variations - the manifestation of signs of different genres (nocturne, march, lullaby, chorale, etc. (F. Liszt. Mazepa, E. Grieg. Ballade, S. Rachmaninov. Rhapsody on a Theme of Paganini, Variations on the theme of Corelli "). Two romantic aspirations of the form:

Specificity, contrasting comparability can lead to suite cyclicity (suite-variation cycles by R. Schumann - "Carnival", "Butterflies", F. Liszt - "Dance of Death");

Entering the element of non-work, symphonization of form, the element of dramatic, sometimes conflicting eventfulness ("Symphonic Etudes" by R. Schumann, "Rhapsody on a Theme of Paganini" by S. Rachmaninov). Hence, three decisions of the form in the course of its development: variations - a suite, strict variations with an extraordinary increase in narrative and contrasts, actually free symphonic variations, overcoming the dimensional cyclicality and striving towards a continuous form.

12.4. Variations on a sustained melody (soprano ostinato)

They represent a varied accompaniment of an unchanging melody.

Topic- song melody.

Varying: tonal-harmonic (M. Glinka. "Ruslan and Lyudmila": Persian choir, Ballad of Finn), polyphonic (N. Rimsky-Korsakov. "Sadko": The first song of the Vedenets guest), orchestral (M. Ravel. Bolero, D. Shostakovich. 7th symphony, 1 movement, Episode of the invasion), textured with sound effects (M. Musorgsky. Varlaam's song from the opera Boris Godunov, Martha's song from the opera Khovanshchina).

12.5. Non-one-dark variations.

Double (2 themes) and triple (3 themes) variations.

Two types of double variations: with joint exposition of themes - presentation of two themes one after another, then variations on them (L. Beethoven. Symphony No. 5, part 2, J. Haydn. Symphony No. 103, part 3), with separate exposure of themes - the first theme with variations, then the second theme with variations ("Kamarinskaya" by Glinka). Triple Variations (M. Balakirev. Overture on Themes of Three Russian Songs).

Tasks for practical work

E. Grieg. Ballad, S. Rachmaninov. Variations on a Corelli Theme, L. Beethoven. Symphony No. 5, part 3, S. Prokofiev. Concert No. 3, part 3, S. Rachmaninoff. "Rhapsody on a Theme of Paganini", Concert No. 3, Part 2, R. Schumann. Symphonic Etudes.

Sonata form.

The most complex and richest in expressive capabilities:

Embodiment of the development process, a qualitative change in images;

Reflection in the features of the form of the general laws of thinking;

The width of the figurative range.

Classical examples were created by Viennese symphonists; XIX - XX centuries - the evolution of the form. Modifications in contemporary music.

The form has found universal application, mainly in instrumental music. Less commonly used in vocal solo, very rarely in ensemble and choral.

The sonata form is a form in the first (expositional) presentation based on the tonal contrast of two main themes, which, after development, is removed in the reprise due to the transfer of the second theme to the main key or its closer approximation to the main key.

Sonata - cyclical or one-part independent work.

Sonata allegro is a term mainly applied to fast the first parts and finals of the cycles.

Sonata - presence heck sonata form.

Party - main component part of the sections sonata form (for example, exposure)

The theme is the exposed individualized material, the basis of the developed image.

A batch can be based on several themes (1st and 2nd themes of a side batch).

The 3 main sections of the sonata form:

1) exposure

2) development

3) reprise

Beginning with Beethoven:

4) developed code.

13.1 Introduction

Absent in many works (Mozart's sonatas, chamber works).

Adds tempo contrast to the main part.

Intro types:

1) contrasting shading. Purpose - contrasting shading of the appearance of gl. (J. Haydn. London Symphonies),

2) preparatory - the formation of the features of the sonata allegro (thematic, the nature of the movement, sometimes tonality (P. Tchaikovsky. Symphony No. 6, 1 movement),

3) an introduction containing a leitmotif (P. Tchaikovsky. Symphony No. 4, A. Scriabin. Symphony No. 3, F. Liszt. Sonata h moll).

A combination of different types is possible (L. Beethoven. 8 sonata)

Exposition

9.1 Exposition- modulating the first section of the sonata form, containing a statement of the main parts: the main part (with an adjoining linker) and a secondary part (with an adjoining final part). In most of the sonata forms of the second half of the 18th - early 19th centuries. the exposition is repeated (with the exception of the overtures, L. Beethoven. Sonata No. 23). In later samples - the refusal to repeat the exposure in order to create continuity of development.

Main party.

The main part (one-dark) is a construction that expresses the main musical idea. The Viennese classics have a concentration of content and a concise presentation. Gives impetus to further development.

Characteristic features: effective character, instrumental motivational chasing.

Revealing the main tone ( main part does not modulate).

XIX - XX centuries. - lengthy main parts. Melodious lyrical themes are used (Schubert, Brahms, Glazunov).

Main games by theme:

a) homogeneous, developing one or several non-contrasting motives (W. Mozart. Symphony No. 40, part 1, F. Chopin. Sonata in b minor, part 1, P. Tchaikovsky. Symphony No. 4, part 1)

b) contrasting, based on two (W. Mozart. Sonata No. 14 in c minor, part 1, A. Borodin. Symphony No. 2, part 1) or three motives or motive groups (L. Beethoven. Sonatas No. 17, 23 ).

The main parties according to the degree of isolation:

a) closed with a cadence on the tonic (W. Mozart. Sonata No. 12, part 1);

b) open, ending with D (W. Mozart. Symphony No. 40, part 1, L. Beethoven. Sonata No. 18).

The main parties by structure:

a) period

b) a sentence (in cases where the connecting part begins like the second sentence - L. Beethoven. Sonata No. 1, part 1, W. Mozart. Symphony No. 40, part 1)

XIX - XX centuries. - simple forms: three-part (P. Tchaikovsky. Symphony No. 4, part 1), less often three-part (M. Glinka. Overture to the opera "Ruslan and Lyudmila").

The connecting party.

Tonal and thematic transition from the main to the side part.

Characterized by fusion, lack of periods, sentences.

Three logical stages in the development of a linking party:

1. continuation of the main game,

2.transition,

3. preparation of a side batch.

By thematic:

1.material of the main batch,

2. its processing,

3. the formation of intonations of the side part. (L. Beethoven. Sonata No. 1, part 1)

It is possible to introduce a new theme ("intermediate theme". W. Mozart. Sonata No. 14).

By tonal plan:

1. main key,

2.modulation,

3. prediction on D to the key of the side part.

The first culmination of the form. Extended connecting parts in works of a dramatic nature (P. Tchaikovsky. Symphony No. 6, part 1), small or absent at all with the intensively developing main part.

Side batch.

Contains figurative, tonal, thematic, structural contrast to the main part. A more melodious theme with less active movement.

By theme, side games:

1) present a new topic,

2) motively connected with the theme of the main part (derivative contrast: L. Beethoven. Sonatas No. 5, 23, F. Liszt. Sonata h moll).

One-Dark Sonata Cases: W. Mozart. Sonata No. 18 B dur.

3) two or three themes, as a result of the manifestation of freedom and imaginative complexity (P. Tchaikovsky. Symphony No. 4, part 2, W. Mozart. Sonata No. 12, L. Beethoven. Sonata No. 7, part 3).

By tonal plan:

1) D for major and minor pieces.

2) III for minor

3) other relationships (L. Beethoven. Sonata No. 21 C - E, F. Schubert. Symphony "Unfinished" h - G, M. Glinka. Overture to the opera "Ruslan and Lyudmila" D - F, etc.).

A gradual shaping of the key of the side part is possible.

By structure:

Freer construction than the main party. A section that allows for lyrical digressions, moments of improvisation, multiple extensions.

1) a period with expansion, postponement of the cadence.

2) XIX - XX centuries. - three-part (P. Tchaikovsky. Symphony No. 6)

two-part (S. Rachmaninoff. Concert No. 2)

theme with variations (F. Schubert. Sonata in c minor)

fugue (N. Myaskovsky. Quartet No. 13, part 1)

Shift(breakthrough) - a moment of free development inherent only in sonata. A sharp turn in the side part, the return of the intonations of the main part (L. Beethoven. Sonata No. 2, W. Mozart. Symphony No. 40), sometimes a connecting part. A moment of dramatization of the form.

The final batch.

Final section.

The final presentation, the termination of thematic development, is characteristic.

Structure:

A series of additions, no period style structures.

Thematicism:

1) synthesis of the main (motives, nature of the movement) and secondary (tonality, sometimes thematic material),

2) on the binder material

3) introduction of a new theme (J. Haydn. Symphony No. 103).

Approval of the key of the side part.

Tasks for practical work

Exposure analysis.

Mozart. Sonatas No. 8, 12, 6, Haydn. Sonatas in D major, e minor, Es major, c minor, Beethoven. Sonatas 1 - 6, 10, 23, 17, 21, Schubert. Sonatas in a minor, A major, Liszt. Sonata h moll, Shostakovich. Symphony No. 5, part 1, Tchaikovsky. Symphony No. 6, part 1, Rachmaninoff. Concert No. 2, part 1.

13.2 Development of

A section dedicated to the development of topics. This is where a figurative transformation takes place. Depending on the design:

a) deepening the contrast of those

b) semantic and motivational rapprochement.

Themes are used in a modified, dismembered form (predominantly, an active, easily segregated main party, canted side ones change less).

Thematicism:

There is no given order of topics.

Possible thematic development plans:

1) repetition of the exposition plan, "developed exposition" (L. Beethoven. Sonatas No. 14, No. 23, part 1),

2) material of the main party - first half

side part material - second half (F. Chopin. Sonata h moll)

3) only the theme of the main part (W. Mozart. Symphony No. 40, part 1)

General rule of thumb: development starts with replay beginning or end exposure (from the main part or introduction).

Development techniques:

Splitting up,

Sequencing

Polyphonic techniques: vertical and horizontal permutations, transformations of themes (decrease, increase - A. Scriabin. Symphony No. 3, part 1, main part, S. Rachmaninov. Concerto No. 2, part 1, v.9), counterpoint of themes ( F. Chopin. Sonata No. 2 b moll), canonical sequences (W. Mozart. Symphony No. 40, part 4), fugato (P. Tchaikovsky. Symphony No. 6, 1 hour, S. Taneyev. Symphony in c minor), fugue (S. Rachmaninov. Symphony No. 3, part 3).

Tonal plan:

1.the absence of the finished exposure tonalities;

2. the most intensive modulation at the beginning of development and before the reprise.

The first half of the development is modulation in the S direction.

In the second half, the dominance of D is the main key.

Modal contrast of exposure and development is possible.

Structure:

Addition of development from sections:

1.introductory

2.one or more main

3.transitional with prejudice.

Signs of a partition change:

1.changing the material processing technique

2.changing the order of alternation of keys

3. change of the thematic basis.

XIX - XX centuries. - principle "Dynamic waves"(In combination with a change of texture).

A new theme may be introduced (W. Mozart. Sonata No. 12 F major, L. Beethoven. Sonata No. 5, part 1, M. Glinka. Overture to the opera "Ruslan and Lyudmila", P. Tchaikovsky. Symphony No. 6, 1 part, A. Scriabin. Symphony No. 3, part 1).

Tasks for practical work

Analysis of developments from examples to topic 13.1

13.3 Reprise

A section that reproduces the exposition with changes aimed at achieving sustainability.

The main part in the reprise:

1) accurate (L. Beethoven. Sonata No. 14, part 3)

2) modified

a) fusion of the main part and the connecting part (W. Mozart. Sonata No. 17, L. Beethoven. Sonata No. 6, 1 hour, S. Rachmaninoff. 2 concert, 1 hour, D. Shostakovich. 7 symphony, part 1)

b) dynamization of the main part after the culmination of development (P. Tchaikovsky. Symphony No. 6, part 1)

c) reduction of the main part as the pinnacle of the last wave of development (D. Shostakovich. Symphonies No. 5, 8, part 1)

3) skipping the main party (with intensive development in development) - F. Chopin. Sonata in b moll.

The connecting part in the reprise:

1) tonal changes are needed

2) skipping the linker (L. Beethoven's "Moonlight" Sonata. Finale).

Side part in the reprise:

Lack of structural, only tonal changes (in the Viennese classics). XIX - XX centuries. - significant transformations (P. Tchaikovsky. "Romeo and Juliet", S. Rachmaninov. Concerto No. 2, D. Shostakovich. Symphony No. 7 (bassoon solo)).

1) transferring the side part to the main or the same key(if in the exposition of a minor work, the item is in major),

2) gradual "finding" the key of the side part.

3) changing the scale of the secondary part in the reprise (W. Mozart. Symphony No. 40 g - B in the exposition, g - g in the reprise).

The final game in the reprise. No significant changes.

Special types of reprise:

Subdominant reprise - the main part in a stable form is set out in the S key, modulation into the main key occurs either at its end (L. Beethoven. Sonata No. 6, part 1), or in a connecting part.

The false recapitulation is a dominant precursor to the minor key, in which some initial section of the main part is set forth, but briefly, then the full performance of the main part in the main key (Finale 17 of the Beethoven Sonata).

Mirror reprise - the order of the themes has been changed (W. Mozart. Sonata No. 9, R. Wagner. Overture to the opera Tannhäuser. Middle movement).

Reprise with omission of the main part (F. Chopin. Sonata in b moll).

Code

Summing up, approval of the main idea. With slight contrasts, the code is absent (chamber works by Mozart).

In the first parts - small codes.

In the finals - more ambitious, weighty. Striving for tonal stability, a vivid manifestation of the final presentation. Beethoven: "the code is the second development."

The structure of such a code:

1. an introductory or transitional section (not always the case),

2.central development section,

3. the final, most stable part. New material may be introduced (M. Glinka. Overture to the opera "Ruslan and Lyudmila", N. Rimsky-Korsakov. Overture to the opera "The Tsar's Bride")

Tasks for practical work

Analysis of reprises from examples to topic 13.1

Varieties of the sonata form.

Sonata form without elaboration

Character traits:

1. melodiousness of low-contrast themes (in slow parts - smoothness, softness),

2.smaller scale and uncomplicated structure of the whole,

3.no repetition of exposure,

4. varying themes in the reprise.

Application:

1.in the slow parts of sonata-symphonic cycles (W. Mozart. Sonata No. 12, part 2., L. Beethoven. Sonatas No. 5, part 2, No. 17, part 2),

2. in overtures (G. Rossini "The Barber of Seville", P. Tchaikovsky. Overture to the ballet "The Nutcracker"),

3. in the first movements of symphonic suites (P. Tchaikovsky. Serenade for string orchestra, part 1),

4.in separate works (F. Chopin. Nocturne in e moll),

5. in vocal music (A. Borodin "Prince Igor": Chorus of Polovtsian girls No. 7, with a chorus, Vladimir Cavatina).

Cases of vigorous development (P. Tchaikovsky. Symphony No. 6, part 3), dramatic content (D. Shostakovich. Symphony No. 5, part 3).

Sonata form with episode instead of development.

Additional contrast is introduced (like the contrast of a trio).

Structure: 1) simple forms (L. Beethoven. 1 sonata. Final)

2) period (F. Liszt. "The funeral procession")

3) variations (D. Shostakovich. Symphony No. 7, part 1)

Reverse move - a construction linking the episode with the reprise (L. Beethoven. Sonata No. 7, part 2). May escalate into development.

Episode location:

1) episode- return course - reprise:

2) development move - episode- background - reprise.

Application: slow parts of sonata-symphonic cycles, finals.

Classical concert form.

The genre of the concert is the embodiment of dialogue, the alternation of solo and tutti.

Features - 1) two distinct exposures

2) cadence.

The first exposition is orchestral (short). The side part ends in the main key.

The second exposition is a soloist. Normal tonal plan. Brightness, concert quality, often new bright themes.

The designs are simple. Orchestral episodes predominate.

Reprints - alterations are possible.

Cadence- a kind of virtuoso fantasy on the themes of the concert (improvised or composed).

Location - middle section codes.

Moving the cadence to another place (before the reprise) - F. Mendelssohn. Violin Concerto, A. Khachaturyan. Violin Concerto, S. Rachmaninov. Concert No. 3, 1 hour (the cadence coincides with the beginning of the recapitulation).

Tasks for practical work

W. Mozart. Sonata No. 12, part 2, L. Beethoven. Sonata No. 17, Part 2, No. 5 Part 1, D. Shostakovich. Symphony No. 7 (episode under development), F. Chopin. Nocturne No. 21, A. Borodin. Cavatina of Vladimir from the opera "Prince Igor", Chorus of Polovtsian girls "On dryness", P. Tchaikovsky. Serenade for string orchestra, part 1, W. Mozart. Concert No. 21, part 1, S. Prokofiev. Concert No. 3, part 1, S. Rachmaninoff. Concert No. 3, part 1, F. Mendelssohn. Violin Concerto, Part 1, A. Khachaturyan. Violin Concerto, Part 1

Topic 15

Rondo Sonata.

A persistently repetitive (as opposed to mixed forms) combination of rondo and sonata features.

Seven-part round-shaped form, in which the ratio of the first and third episodes is similar to the ratio of the secondary part in the exposition and the reprise of the sonata form.

Varieties:

1) with an episode (all form - to rondo),

2) with development (all form - to the sonata).

Rondo features:

1) song and dance or scary themes,

2) squareness,

3) non-conflicting themes,

4) alternation of refrain (main part) and episodes,

5) the presence of a central episode.

Sonata features:

1) the ratio of the refrain (main part) and the first episode (side part) - as in the sonata exposition. The ratio of the third refrain (main part) and the third episode (side part) is like in a sonata reprise.

2) availability of development.

Differences from the sonata: conducting the theme of the main part in the main key after the side part (before developing).

Exposition development (episode) Reprise

A B A C A B 1 A + Code

G. p. p.p. G. p. G. p. p.p. G. p.

T D T (S) T T T

Application- finals of sonata-symphonic cycles.

BUT Main party- basic tonality. It ends with a clear cadence in the main key. In form: simple 2-part (L. Beethoven. Sonatas No. 2, 4 (finale); simple 3-part (L. Beethoven. Sonata No. 27); period (brings the form of the rondo sonata closer to the sonata) (L. Beethoven. Sonatas No. 7, 8, 9, 11).

Binding Party- less developed than in sonata form, but contains the same developmental stages. A new topic is often introduced.

IN Side batch- dominant tonality. Mainly, it ends with a clear cadence in the D key. Form: simple two-part, period. Relatively short, simple, no progress.

Final batch usually replaced by a series of additions going into a bundle.

BUT The second conduction of the theme of the main p parts in the main key (often incomplete, growing into a bundle with the episode).

WITH Episode - a deeper contrast compared to previous episodes (resembles a trio or an episode in a complex 3-part form). Tonality is S-sphere. The structure is simple 2-part, 3-part, three-five private (avava), double three-part (ava 1 a 2). It can grow into a bunch to the reprise, or there is an independent dominant precursor.

R - development... W. Mozart. Sonata No. 9 (finale) - combination of episode and development

A - the third lead of the main game varies, sometimes it is skipped.

In 1 - the side part is strictly transposed without changing the thematic. Main tonality.

A - the main party - accurate; varies, becoming a bunch of code; sometimes skipped (subject to the terms of use of this material in the code).

Beginning with Beethoven it is necessary. Final character. The role of development is small. Synthesis of themes rondo - sonatas.

Tasks for practical work

W. Mozart. Sonata No. 8 (finale), L. Beethoven. Sonatas No. 2, 7 (finals), 3, 7, 9, 11, 15, 16, 4 - finals, W. Mozart. Violin Sonata No. 7, L. Beethoven. Violin Sonatas No. 5, 2 (finale)

Topic 16.

Cyclic forms.

Cyclic form - a form of several finished contrasting parts, united by the unity of the concept.

The independence of the parts allows them to be performed separately.

Difference from a collection of plays: direct and indirect connections of parts: plot, figurative, thematic, structural, genre (F. Schubert. "The Beautiful Miller Woman", M. Mussorgsky. "Songs and Dances of Death").

Sonata-symphonic cycle,

Vocal cycle,

Major vocal and symphonic cycle.

16.1Suite

1) Antique suite of the 17th century,

2) Suite of the first half of the 18th century,

3) New suite of the XIX - XX centuries

1.Antique suite

Connection with household dance music. Formation of the principle of tempo contrast in the succession of parts (fast-slow). Decoration of the type of a suite of 4 dances.

1) allemanda ("German") - a gravely serious, moderately slow, two-beat round dance-procession.

2) Couranta (from the Italian corrente - "flowing") - a more lively three-part solo dance (usually performed by two dancers).

3) Sarabande is a dance of Spanish origin, which in the 17th century became a solemn court dance in different countries of Europe. In Bach and Handel, the saraband is a slow three-beat dance. The rhythmic feature is a stop at the second beat of a measure. Significance, majesty, and often gloomy and pathetic character are characteristic.

4) Gigue is a fast dance of Irish origin. The movement is tripartite (6/8, 12/8, 12/16), fugue presentation.

"Optional" numbers: double, minuet, gavotte, burré, paspier, polonaise, aria, opening piece before the allemand (prelude, overture). It is characterized by tonal unity and increased contrasts towards the end. "Partita" is the Italian name for the suite. "Suite" - "sequence".

2. Suite of the first half of the 18th century.

Haydn, Mozart (serenades, divertissements, cassations).

Refusal from dancing in its pure form is characteristic (approximation to the sonata-symphonic cycle, the use of the sonata allegro). Absence of a given number of parts (several slow ones, alternating with minuets).

3. New suite of the 19th - 20th centuries.

Wide genre connections, the influence of programming.

Suites of miniatures (A. Borodin. "Little suite", M. Ravel. "Tomb of Couperin", "Night Gaspar").

Suites approaching the sonata-symphonic cycle (N. Rimsky-Korsakov. "Scheherazade", P. Tchaikovsky. Serenade for string orchestra).

Suites from operas, ballets, films, music for dramatic performances (P. Tchaikovsky, M. Ravel, S. Prokofiev, G. Sviridov).

Suite based on folklore material (A. Eshpai. Songs of the Meadow Mari, V. Tormis. Estonian Calendar Songs).

16.2 Sonata-symphonic cycle

1) four-movement cycle (sonata, symphony, quartet)

2) three-part cycle (sonata, concert). Combining the features of the scherzo and the finale in the finale.

Sonata allegro (basic tonality) - “acting person”;

Slow part (S sphere, tonality of the same name) - “resting person”;

Minuet (scherzo) (main key) - “playing man”;

Final (fast, genre) (main or the same-named tonality) - "person and society"

XIX - XX centuries. - strengthening of thematic and figurative links in the cycle:

Using the principle of leitmotivism (P. Tchaikovsky. Symphony No. 4, Violin Sonata No. 3, D. Shostakovich. Symphony No. 5)

Using the themes of the previous movements in the finale (A. Scriabin. Symphony No. 3, S. Prokofiev. Symphonies No. 5, 7).

In works of epic character, in juxtaposition of parts - the principle of contrast - juxtaposition.

A different number of parts in the cycle: more (L. Beethoven. Symphony No. 6, G. Berlioz. "Fantastic Symphony" (6 hours), A. Scriabin. Symphonies No. 1, 2), less (F. Schubert. Violin Sonata No. 4, "Unfinished Symphony"), one-movement sonata and symphony (F. Liszt, A. Scriabin).

16.3 Vocal-symphonic cycle

The cantata-oratorio genre includes large vocal and symphonic works intended for concert performance: oratorios, cantatas and works that were originally intended to be performed in the church: passions, masses, requiems.

Cantatas and oratorios appeared at about the same time as opera (at the turn of the 16th - 17th centuries), cult works - much earlier. Classical examples of the cantata-oratorio genre were created by G.F. Handel, who wrote 32 oratorios, and I.S. Bach, author of passions, masses, spiritual and secular cantatas.

Vocal and symphonic cycles: oratorio, cantata.

Cantata implies the leading role of a choir with instrumental accompaniment (often with soloists). Content - glorification any person, city, country, phenomenon, historical event ("Moscow" by P. Tchaikovsky, "Alexander Nevsky" by S. Prokofiev, "On the Kulikovo field" by Y. Shaporin).

Oratorio- larger sizes, the presence of a certain developing plot. Composition: choir, soloists, orchestra, reader... In form it resembles an opera (overtures, arias, duets, choruses, sometimes recitatives), but without stage action. In the XVII - XVIII centuries. - plots from the Bible ("Passion" by J.-S. Bach, "Samson" by G. Handel). Oratorio- a monumental vocal and symphonic work written on a specific plot. This, as well as the presence of orchestral numbers, arias, recitatives, ensembles, choirs, the oratorio is similar to the opera. But, unlike opera, it does not imply action on stage and special decorative design.

If in the opera the action develops directly in front of the audience - listeners, then in the oratorio it is only narrated about it. Hence the epic character of a classical oratorio. Handel has oratorios of the heroic type (the struggle of the people for their liberation, feat for the sake of saving the Motherland (Judas Maccabee, Samson), oratorios dedicated to the personal drama of the heroes (Hercules, Ievfai). His oratorios usually consist of 3 parts (acts):

1) exposition of "drama", characters,

2) clash of opposing forces,

3) denouement.

Tasks for practical work

Clavier suites (English and French J.-S. Bach), J.-S. Bach. Partita with moll (clavier).

Topic 17

In variations of this type, the melody is preserved, and the variation occurs due to the accompanying voices. Because of this, they belong to indirect variations.

Sometimes in a couplet form, not only the text varies, but also the accompaniment (then it is called couplet-variation or couplet-variant). In this case, the differences from the variation form pass into a quantitative category. If the changes are relatively small and do not change the general character, then the form still remains a couplet, but with larger-scale changes it already passes into the category of variation.

With regard to this type of variation, the concept of rigor and freedom changes somewhat. Strict are those variations where the melody remains at its original pitch ( passacaglia) The invariability of harmonization, usual for strict variations, is irrelevant here.

Topic

The theme can be original or borrowed, usually from folk music. The form of the topic is not regulated. It can be one or two phrases, a period, a large sentence, up to a simple three-part form (Grieg. "In the Cave of the Mountain King" from the music for the drama "Peer Gynt"). Original forms are possible in case of folk origin of the theme (chorus of schismatics from Act III of "Khovanshchina" by M. Musorgsky).

Varying

Variations can be textured, timbre, polyphonic, harmonic and genre.

Textured and timbre variation presupposes a change in texture, the introduction of a new pattern, reorchestration, in the chorus - the transfer of the melody to other voices. With polyphonic variation, the composer introduces new echoes or rather independent melodic lines. Perhaps polyphonic design of the theme itself in the form of a canon, etc. Harmonic variation is expressed in the overharmonization of the melody. The scale of the changes can be different, up to a change in mode (Glinka. "Persian choir" from "Ruslan and Ludmila", 3rd variation): 174 or even transferring the melody to another key (Rimsky-Korsakov. Choir "Height" from the opera " Sadko "). Genre variation occurs when all of the above types of variation lead to the formation of a new genre image of the theme. This type of variation in variations on a sustained melody is rare.

Variations on basso ostinato

Variations on basso ostinato is a form that is based on the constant carrying of the theme in the bass and the constant renewal of the upper voices.

Variations on basso ostinato (also a harmonic model, exemplary harmonization of ostinata bass) appeared in the late Renaissance, mainly in Italy. Bass formulas (and their accompanying harmonic patterns) have come to be known under various names, incl. passamezzo, folia, rugiero, romanesque. In the 17th and early 18th centuries, this is the most common type of variation.

The two main instrumental genres of such variations in the Baroque era are the passacaglia and the chaconne: 159.

In English baroque music, this form of variation is called "ground" (eng. ground letters. base, support). In vocal music it is used in choirs (J.S.Bach. Crucifixus from Mass in B minor) or in arias (Purcell. Dido's Aria from the opera Dido and Aeneas).

In the classical era, variations on basso ostinato disappeared, as they lack the processuality required in classical aesthetics. Variations on basso ostinato are found in local areas of the form (Beethoven. Symphony No. 9, code of the 1st movement). Partly variations on basso ostinato are Beethoven's famous 32 variations in C minor: 160. This type is also irrelevant for romantics, it was rarely used by them (Brahms. Final Symphony No. 4). Interest in variations on basso ostinato reappeared in the 20th century. They were used by all major composers. Shostakovich has an example of such variations in the opera "Katerina Izmailova" (intermission between scenes 4 and 5).

Topic

Varying

The end of the cycle can go beyond the variation. Thus, Bach's organ Passacaglia ends with a large fugue.

Figure variations

In this type of variation, the predominant variation method is harmonic or melodic figuration. Because of this, the area of application of such variations is almost exclusively instrumental music. Especially often found in the music of the Viennese classics. For them, it can be an independent piece (many variation cycles of Mozart, Beethoven) or a part of a cycle (finale, slow movement, less often the first). In the romantic era, independent plays in the form of figurative variations predominate, and they may have a different genre name (for example, Chopin's Lullaby).

Topic

Varying

In figurative variations, direct variation is carried out, since the theme itself is transformed.

In this case, typical figures are used - figurations. These can be arpeggiated, scaled, etc. The melody anchor points are retained and filled with figurative material. Melodic figuration often results from the appearance of non-chord sounds around these anchor points. Harmonic figuration is one or another movement along the sounds of a chord (often an arpeggio). In this case, the anchor points of the melody become the base or the top of these figurations. As a result, these anchor points may be shifted by other beats of the measure.

Most of the cycles of figurative variations are strict, since the renewal of the texture almost does not affect the harmony, never changing it drastically. However, there are examples of free figurative variations (Variations on a Corelli theme by Rachmaninoff).

Genre-characteristic variations

Variational cycles belong to this type, in which variations acquire a new genre, or where each variation has its own individual type of expressiveness.

Like figurative variations, genre-specific ones are mainly used in instrumental music. They can be part of a cycle, often an independent play, including with a different genre name (Liszt. Etude "Mazepa"). Sometimes individual genre variations appear in the variation cycles already among the Viennese classics. Cycles consisting entirely of such variations spread into the post-classical era.

Topic

The theme is in many ways similar to the theme of figurative variations. The difference is that the theme of genre variations can be presented less modestly than variation, since the variation here is to a lesser extent due to the enrichment of texture.

Varying

The concept of specificity assumes an individual type of expressiveness for each variation. The concept of genre is a new genre for each variation. The most common genres are: march, scherzo, nocturne, mazurka, romance, etc. (and these genres can be expressed in a very generalized way). Sometimes a fugue appears among the variations. (Tchaikovsky. Trio "In memory of the great artist", 2nd part).

Variations on several themes

In addition to variations on one theme, there are variations on two themes (double) and three (triple). Double variations are rare: 175, triple variations are exceptional (Balakirev. Overture on themes of three Russian songs).

The themes of the double variations can be close to each other or, conversely, contrast ("Kamarinskaya" by Glinka).

Variations can be arranged in different ways: either a regular alternation of variations on one and the second theme, or - a group of variations on the first theme, then a group on the second, etc.

Double and triple variations can be of any type.

Variations with a theme at the end

The emergence of this type of variation is associated with a departure from classical thinking in the field of form, which required the exposure of the topic at the beginning and its further development. They appear at the very end of the 19th century (there were precedents in the Baroque era in some variation cantatas).

The most significant works of this kind: symphonic variations "Ishtar" by Vincent d'Andy (1896), R. Shchedrin's Third Piano Concerto (1973), Schnittke's Piano Concerto (1979).

There is no regulation of the form. In Shchedrin's concert, variations are combined in a very difficult way, up to their asynchronous beginning in the orchestra and in the soloist's part. Elements of the theme are scattered throughout the concerto; it appears entirely in the final cadenza. In Schnittke's concert, the theme is a complex that includes a dodecaphonic series, triads and recitation on one sound.

Notes (edit)

Sposobin I.

Therefore, they are often called "classic". This term is not entirely correct, since the figurative type of variation was used both before the Viennese school and after.

Comments (1)

In Soviet musical theory, this type of variation is called "Glinka": 171-172, since MI Glinka often used it in his operas. This name is not correct, because the "Glinka" variations were used by composers of the Baroque era. Another sometimes used name is "variations on soprano ostinato". It is also not entirely correct, since the melody in the process of variation is not always carried out in the upper voice (soprano).

Literature

Kyureghian T. Form in the music of the 17th-20th centuries. M., 1998. ISBN 5-89144-068-7

Sposobin I. Musical form. - Moscow: Music, 1984.
Frayonov V. Musical form. Lecture course. M., 2003. ISBN 5-89598-137-2
Kholopova V. Forms of musical works. St. Petersburg, "Doe", 1999. ISBN 5-8114-0032-2

Musical forms
Vocal forms	Verse form Singing-chorus form
Simple shapes	Period Simple two-part form Simple three-part form
Complex shapes	Composite song forms Rondo Variation form Sonata form Rondo Sonata
Cyclic forms	Suite Sonata-symphonic cycle Cantata Oratorio
Polyphonic forms	Canon Fugue
Specific forms of the European Middle Ages and Renaissance	Bar Virele Ballata Estampi Le Madrigal
Specific forms of the Baroque era	Simple Baroque Forms Old Sonata Form Baroque Composite Forms Old Concert Form Choral Arrangement
Specific forms of the era of romanticism	Free forms Mixed forms Single-part cyclic form
Forms of musical theater	Opera Operetta Ballet
Music Music theory

Literature

1. Protopopov Vl. Essays from the history of instrumental forms of the 16th - early 19th centuries. - M., 1979.

2. Zuckerman V. Variational form / Analysis of musical works. - M., 1974.

3. Mazel L. The structure of musical works. - M., 1975.

4. Asafiev B. Musical form as a process. - L., 1971.

5. Alekseev A.D. History of Piano Art. Part 3. - M., 1982.

6. A. S. V. Solovtsov Rachmaninov. 2nd ed. - M., 1969.

7. Keldysh Yu.V. Rachmaninov and his time. - M., 1973.

8. Criticism and musicology. Sat. articles, no. 2. - L., 1980.

9. Sokolova O.I. S.V. Rachmaninov / Russian and Soviet composers. 3rd ed. - M., 1987.

10. Mazel L. Monumental miniature. About Chopin's Twentieth Prelude / Academy of Music 1, 2000.

11. Ponizovkin Y. Rachmaninov - pianist, interpreter of his own works. - M., 1965.

12. Zaderatsky V. Musical form. Issue 1. - M., 1995.

13. Big encyclopedic dictionary / ed. G.V. Keldysh - M., 1998.

14. Vitol I. A.K. Lyadov. - L., 1916.

15. Medtner N.K. Memories of Rachmaninov. T.2.

16. Solovtsov A. Rachmaninoff's Piano Concertos. - M., 1951.

17. Zukkerman V. Kamarinskaya Glinka and her traditions in Russian music. - M., 1957.S. 317.

From the Theory Program:

Application of the variational method in various forms. Theme with variations as an independent form. Classification of variations.

Figurative variations. Application area. Characteristics of the topic. Preservation of its harmonic plan, form, tonality, tempo, meter of the theme in subsequent variations. Techniques for variation changes: the figure of the melody and the entire texture, the creation of new melodic variants. Single fret change, sometimes tempo and time signature.

Variations on soprano ostinato. Song verse repetition. The melodic characteristic of the ostinata theme. The role of polyphonic, harmonic variation. Texture and timbre development (Ravel "Bolero"; Shostakovich. Symphony No. 7, part I, episode). The special role of this form in the work of Russian composers (Mussorgsky "Boris Godunov": the song of Varlaam; "Khovanshchina": the song of Martha; Glinka "Ruslan and Lyudmila": "The Persian Choir").

Variations on basso ostinato. Connection with ancient dance genres - chakona, passacaglia; the sublime, mournful nature of the music. Characteristics of the theme: intonation turns, modal basis, metro-rhythmic drawing. Features of the form: the organizing role of a stable bass, layering of contrapuntal voices, preservation of a constant tonality. Variations on basso ostinato in opera and oratorio (Purcell "Dido and Aeneas": two arias of Dido; Bach Mass h-moII: "Crucifixus").

Free and characteristic variations. Motivational connection of variations with the theme. Free variation, change of harmonic plan and form. Genre-characteristic variations: bright individualization, introduction of features of various genres (nocturne, lullaby, march, mazurka, waltz, etc.).

Double variations. Two principles of constructing variations: 1) alternation of variations on the first and second themes (Haydn. Symphony No. 103 Es-dur, movement II); 2) contrasting contrasting variation groups (Glinka "Kamarinskaya").

Double Variations in Vocal Music. A combination of two songs with alternating variations (Rimsky-Korsakov "The Snow Maiden": the female song "Like a Pava" and the male song "Like Behind the River" from the Wedding Rite).

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