Musical genres. Variations. Variation form. Variations on sustained bass. Strict ornamental variations. Free variations. Variations on a sustained melody. Variations with different themes Classical variations definition

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Shape Features

Variations, or more precisely, a theme with variations, is a musical form that is formed as a result of the use of variation technique. Such a work consists of a theme and several repetitions of it, in each of which the theme appears in a modified form. Changes may concern different aspects music - harmony, melody, voice guidance (polyphony), rhythm, timbre and orchestration (if we are talking about variations for orchestra).

A characteristic feature of the variation form is a certain static nature (especially in comparison with the sonata form Allegro, which we examined in one of the previous essays and which, on the contrary, is characterized by extraordinary dynamism). Staticity is by no means a disadvantage of this form, namely characteristic feature. And in the most significant examples of variation cycles, staticity was what the composer wanted and achieved. It followed from the very fact of repeated repetition of the same formal structure (theme).

The melody in its recognizable moments, the bass line, which is the basis of the harmonic sequence, the tonality common to all variations (in classical variations the mode may change - in a major cycle there will be a minor variation and vice versa, but the tonic always remains the same) - all this creates feeling of static.

The form of variations and this musical genre itself are very popular among composers. As for listeners, wittily composed variations usually arouse keen interest, since they very clearly demonstrate the skill and inventiveness of the composer. This clarity is ensured by the fact that in variations, as a rule, the structure of the theme and its form are preserved, while the instrumental texture is subject to variation.

Characterizing variations and the technique of variation itself in this way, we mean, at least at the beginning of our story about this musical form, the classical type of variations that developed in the work of primarily baroque composers, then among the so-called Viennese classics (Haydn, Mozart , Beethoven and their circle) and, finally, among the romantics - R. Schumann, F. Liszt. Generally speaking, there is hardly a composer who does not have in his creative baggage works written in the form of variations.

Improvisation by Jean Guillou

Variations created spontaneously right at a concert by a virtuoso performer, if he has the gift of an improviser, have a special effect and impact on listeners. And in our time such musicians are known, mainly among organists, who dare to undertake such artistic experiments.

The author of these lines witnessed such improvisations performed by the outstanding modern French organist Jean Guillou. They made such a strong impression that they encourage us to talk about them in more detail. Let us first note that any improvisation on a given theme contains elements of variation, but in this case these were not just elements of such a technique, but the entire improvisation was structured as variations.

This happened on the stage of one of the best concert halls Europe - Tonhalle in Zurich. Here, for almost forty years, J. Guillou held a summer master class for young organists from different countries. At the end of one of the classes, the young organists who participated in it decided to make a gift to the maestro. The gift was an elegantly wrapped and tied box. The maestro was pleasantly surprised, unwrapped the gift and discovered... a musical snuff box. You had to press a button, and characteristic mechanical music began to sound from the opened snuffbox. Guillou had never heard the melody of the gifted snuffbox.

But then there was a surprise for everyone present. The maestro sat down at the organ, turned on the quietest register on the upper keyboard of the instrument and absolutely accurately repeated the piece from the snuff box, reproducing both the melody and harmony. Then, immediately after this, he began to improvise in the form of variations, that is, while maintaining the structure of this piece each time, he began to carry out the theme over and over again, changing the texture, gradually including more and more new registers, moving from manual to manual.

The piece “grew” before the eyes of the listeners, the passages intertwining the constant harmonic backbone of the theme became more and more virtuosic, and now the organ is already sounding in all its power, all registers are already involved, and depending on the nature of certain combinations of registers, the nature of the variations also changes . Finally the theme sounds powerfully solo on the pedal keyboard (in the feet) - the climax has been reached!

Now everything smoothly winds down: without interrupting the variation, the maestro gradually comes to the original sound - the theme, as if saying goodbye, again sounds in its original form on the upper manual of the organ at its quietest register (as in a snuffbox).

Everyone - and among the listeners there were very talented and technically equipped organists - was shocked by the skill of J. Guillou. It was an unusually bright way to show off your musical fantasy and demonstrate the enormous capabilities of a magnificent instrument.

Subject

This story allowed us, although very briefly, to outline the artistic goals that every composer pursues when undertaking the creation of a cycle of variations. And, apparently, the first goal is to demonstrate the possibilities hidden in the theme for the development of the images contained in it. Therefore, first of all, it is worth taking a close look at the musical material that composers choose as the theme for future variations.

Usually the theme is a fairly simple melody (for example, in the finale of the fourth piano trio Op. 11 in B-flat major by Beethoven, the theme of the variations is, according to the composer’s explanation, a “street song”). Getting to know famous topics taken as the basis for the variations, convinces us that they are usually no less than eight and no more than thirty-two bars (this is due to the song structure of most themes, and the song structure is characterized by the squareness of musical periods, for example, a period of two sentences, each of which is eight bars).

As a small musical form, a theme is a complete musical structure - a small independent piece. As a rule, for a theme, variations are chosen from those already known or a melody is composed that contains typical features, at least for a given era. Too characteristic or overly individualized melodic turns are avoided, since they are more difficult to vary.

There are usually no sharp contrasts in the theme: identifying and sharpening possible contrasts is reserved for the variations themselves. As a rule, the theme sounds at a moderate tempo - this allows, during the variations, to interpret it as more lively, and, conversely, as calmer. From a harmonic point of view, the theme sounds simple and natural, if not deliberately ordinary; again, all harmonic aggravations and “piquantities” are reserved for variations. As for the form of the topic, it is usually two-part. It can be represented as a - b.

Variation techniques

The earliest type of variations are variations on a certain move in the bass, the sounds of which form the foundation of the harmonic structure of the variation cycle. In variations of this kind, both this move itself and the harmonies that are formed remain unchanged throughout the entire cycle. This is usually a sequence of four or eight bars.

Often the rhythmic structure of such a theme, and therefore the entire variation cycle, uses the rhythm of some solemn ancient dance - chaconne, passacaglia, folia. Brilliant examples of this kind of variation were given by I.S. Bach. This is the organ Passacaglia in C minor and the violin Chaconne from the second Partita in D minor. These works are so exciting that various performers and even large orchestras have strived to have them in their repertoire.

The Chaconne, in addition to being one of the key works of every concert violinist, entered the repertoire of pianists in the transcription of the outstanding Italian pianist and composer Ferruccio Busoni (this kind of transcription in concert practice is called by the double name of the authors: “Bach-Busoni. Chaconne”). As for the Passacaglia, orchestras perform its transcription made by the American conductor Leopold Stokowski.

F. Busoni

Variations written on the model of passacaglia or chaconne (let us add here the English form of such variations, known as ground), give a clear idea of ​​the so-called variations on basso ostinato (italian. - sustained, that is, constantly repeated bass). “How unusually she responded to the insistent bass motif repeated ad infinitum (lat. - endlessly), the fantasy of great musicians, - exclaims the famous harpsichordist Wanda Landowska. - With all their passion they devoted themselves to the invention of thousands of melodies - each with its own twists, enlivened by bold harmonies and complicated by the finest counterpoint. But that's not all. W. Bird, C. Monteverdi, D’Anglebert, D. Buxtehude, A. Corelli and F. Couperin - each not only a musician, but also a poet - realized the hidden power of expressiveness in the deceptively insignificant bass.”

J. Haydn continued to use the type of variations on the bass voice, but by the mid-70s of the 18th century, the type of so-called melodic variations, that is, variations on a melody placed in the theme in the upper voice, began to dominate. Haydn has few separate variation cycles, but variations as parts of his larger works - sonatas, symphonies - are found in him very often.

Mozart made extensive use of variations to demonstrate his musical inventiveness. It is noteworthy that, although he used the form of variations in his sonatas, divertissements and concertos, he, unlike Haydn, never used it in his symphonies.

Beethoven, in contrast to Mozart, willingly resorted to the form of variations in his major works, namely in symphonies (III, V, VII, IX symphonies).

Romantic composers (Mendelssohn, Schubert, Schumann) created a type of so-called characteristic variations, which clearly reflected the new figurative structure of romanticism. Paganini, Chopin and Liszt brought the highest instrumental virtuosity to the characteristic variations.

Famous themes and variation cycles

I.S. Bach. Goldberg Variations

Bach has few works that have the word “variations” in the title or are built on the principle of a theme with variations. In addition to those already mentioned above, one can recall “Aria, Varied in the Italian Style”, organ partitas. However, the very method of varying a given theme was not only familiar to Bach, but is the cornerstone of his compositional technique. His last great creation, “The Art of Fugue,” is essentially a cycle of variations in the form of fugues on the same theme (which itself is subject to variation). All Bach's chorale preludes for organ are also variations on famous church hymns. Bach's suites, composed of dances, upon deeper analysis reveal within each cycle a certain melodic and harmonic grain, varying from dance to dance. It is this feature of the composer's technique that gives each cycle amazing integrity and completeness.

I.S. Bach. Aria with variations (Goldberg Variations). Subject

In all this enormous heritage, the pinnacle achievement of Bach’s genius is the “Goldberg Variations”. A master so skillful in embodying a wide variety of constructive ideas, Bach in this cycle implemented a completely original artistic plan. Bach made the theme an aria, which is sarabande in form. Its melody is so richly ornamented that it gives reason to consider the aria itself as a kind of variant of the intended simpler theme. And if so, then the actual theme is not the melody of the aria, but its lower voice.

This statement is supported by a relatively recent discovery - fourteen previously unknown Bach canons on eight notes. bass voice this aria. In other words, Bach interprets the bass as an independent musical theme. But the most striking thing is that exactly these notes, and precisely in the lower voice, were already the basis of a variation cycle... by the English composer Henry Purcell (1659–1695), Bach’s senior contemporary; he wrote “Ground” with variations on this theme. However, there is no evidence that Bach knew Purcell's play. What is this - a coincidence? Or did this theme exist as a kind of common “musical property” like hymns or Gregorian chants?

The aria in the cycle sounds twice - at the beginning and at the end of the work (J. Guillou built his improvised variations on this principle). Inside this frame there are 30 variations - 10 groups of 3 variations, each third representing a so-called canon (a musical form in which one voice exactly repeats the other with a shift in the time of entry). And in each subsequent canon, the interval of entry of the voice conducting the canon increases by a step: the canon in unison, then in a second, then in a third, etc. - to canon to nonu.

Instead of a canon in decima (such a canon would be a repetition of a canon in thirds), Bach writes the so-called quodlibet (lat. - who knows what) - a play that combines two seemingly incompatible themes. At the same time, the bass line of the theme remains.

I. Forkel, the first biographer of Bach, exclaimed: “ Quodlibet… this alone could make the author’s name immortal, although here he does not play a primary role.”

So new topics for this quodlibet - two German folk songs:

I haven't been with you for so long
Come closer, closer, closer.

Cabbage and beets have gotten me this far.
If only my mother would cook some meat,
I would have stayed longer.

So Bach, with his unique talent, skill and humor, combines “high” and “low”, inspiration and the greatest skill in this brilliant cycle.

Beethoven. Variations on a Theme of Diabelli's Waltz. op. 120

Beethoven composed 33 variations on a waltz theme by Anton Diabelli (known as the Diabelli Variations) between 1817 and 1827. This is one of the masterpieces of piano literature; it shares the glory of the greatest variation cycle with Bach's Goldberg Variations.

L. van Beethoven. 33 variations on a waltz theme by Anton Diabelli
(Diabelli variations). Subject

The history of the creation of this work is as follows: in 1819, Anton Diabelli, a talented composer and successful music publisher, sent his waltz to all the then famous Austrian (or living in Austria) composers and asked everyone to write one variation on its theme. Among the composers were F. Schubert, Carl Czerny, Archduke Rudolf (Beethoven's patron, who took piano lessons from him), Mozart's son and even the eight-year-old child prodigy Franz Liszt. In total there were fifty composers who sent one variation each. Beethoven, naturally, was also invited to participate in this project.

A. Diabelli

Diabelli's plan was to publish all these variations as one overall work and use the proceeds to help widows and orphans who had lost their breadwinners in the Napoleonic wars. This is how an extensive work was compiled. However, the publication of this collective creation did not arouse much interest.

Beethoven's Variations are a different matter. His cycle of variations on this theme received worldwide recognition and gave rise to a number of outstanding interpretations. Beethoven, long before this proposal, was already associated with Diabelli, who published his works. At first, Beethoven refused to take part in the creation of a collective work. Subsequently, he was captivated by the idea of ​​writing a large variation cycle on this theme himself.

It is quite remarkable that Beethoven called his cycle not variations, but the German word Veranderungen, which translates as “change”, “changes”, but essentially means transformation and can even be understood as “rethinking”.

Paganini. Caprice No. 24 (theme and variations) for violin

The history of music knows several melodies that have proven extremely popular as themes, on which many composers have created many variations. These topics themselves are worthy of careful consideration as such a source. One of these melodies is the theme of Caprice No. 24 for Paganini violin.

N. Paganini. Caprice No. 24 (Theme and Variations) for violin. Subject

This Caprice is considered one of the most technically complex works, written for solo violin (that is, without accompaniment). It requires the violinist to master all performing means, such as playing in octaves, incredible fluency in playing scales (including minor ones, with double notes in thirds and decimals and arpeggios), jumps at all kinds of intervals, virtuoso playing in high positions, and so on. Not every concert violinist will dare to take this Caprice to public performance.

Paganini wrote his cycle of 24 caprices under the impression of the art of the Italian violinist and composer Antonio Locatelli (1695–1764), who in 1733 published the collection “The Art of New Modulation (Mysterious Caprices).” There were 24 of these caprices! Paganini composed his caprices in 1801–1807, and published them in Milan in 1818. As a sign of respect for his great predecessor, Paganini quotes one of Locatelli’s caprices in his first caprice. Caprices were the only work of Paganini published during his lifetime. He refused to publish other works, wanting to keep his method of work secret.

The theme of caprice No. 24 attracted the attention of many composers with its bright character, strong-willed impulse, nobility of spirit, clarity and indestructible logic of its harmony. It has only twelve bars, and its two-part structure already contains an element of variation: the second half is a variant of a motif already present in the first part. In general, it is an ideal model for constructing variation cycles. And the entire caprice is a theme with eleven variations and a coda, replacing the twelfth variation traditional for such a cycle.

Paganini's contemporaries considered these caprices impossible to perform until they heard them performed by him. Even then, romantic composers - R. Schumann, F. Liszt, and later J. Brahms - tried to use the technical techniques invented by Paganini in their piano works. It turned out that the best and most impressive way to do this was to do as Paganini himself did, that is, write the variations in such a way that each of the variations demonstrated a particular technique.

There are at least two dozen variation cycles on this theme. Among their authors, in addition to those already mentioned, are S. Rachmaninov, F. Busoni, I. Friedman, K. Szymanowski, A. Casella, V. Lutoslavsky... There is a name that at first glance seems unexpected in this series - Andrew Lloyd Weber, author the famous rock opera “Jesus Christ Superstar”. On the theme of Caprice No. 24, he wrote 23 variations for cello and rock ensemble.

Andreeva Katya

The abstract presents brief overview forms of Variations, schemes for constructing variations, types and varieties of variations, history of the emergence and development of this musical form.

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Abstract

Subject:

"Musical Form - Variations"

Completed:

student of grade 3b, school No. 57, Orenburg, Andreeva Katya

teacher-

Popova Natalia Nikolaevna

2013

Abstract plan:

1. The concept of "Variations".

2.Scheme for constructing Variations.

3. Types of Variations.

4. History of the development of the "Variations" form

1.Variations (“change”) is a musical form that consists of a theme and its modified repetitions. VARIATION FORM, variations, theme with variations, variation cycle, is a musical form consisting of a theme and its several (at least two) modified reproductions (variations). The theme can be original (composed by the composer) or borrowed from folk music, folklore, or well-known popular examples of classical or modern music. The most typical qualities of a theme: song character; form - period or simple two-, less often three-part; economy of harmony and texture, which are enriched in the process of variational development. The specific qualities of the Variation form are thematic unity and integrity, and, at the same time, the closedness of the parts and relative staticity.

2. Scheme for constructing Variations No. 1

a1 a2 a3 a4......

(theme) (variations)

In music there are also variations on 2 and even 3 themes.

Variations on 2 themes are called - double

Scheme for constructing Variations No. 2:

double variations:

a a1 a2 a3 a4.... c c1 c2 c3 c4.....

(1 theme) (variations) (2 theme) (variations)

Variations on 3 themes are called triple.

3. Types of Variations

In professional music, there are several varieties of variation form.

Since the 16th century, the form of variations on unchanging bass (in Italian basso ostinato) or unchanging harmony. Now they are sometimes calledancient variations. These variations come from chaconnes and passacaglias - slow three-beat dances that came into fashion in Europe XVI century. The dances soon went out of fashion, but passacaglia and chaconne remained as the names of pieces written in the form of variations on the unchanging bass or unchanging harmony. Music of a mournful, tragic nature was often written in this form. The slow, heavy tread of the bass, constantly repeating the same thought, creates the impression of urgency and inevitability. This is an episode from J. S. Bach’s Mass in B minor, which tells about the suffering of the crucified Christ (chorus “Crucifixus”, which means “Crucified on the Cross”). This choir consists of 12 variations. The bass here is unchanged, but the harmony varies in places, sometimes suddenly “flashing out” with new, bright, expressive colors. The intertwining lines of the choral parts develop completely freely.

Main types of Variations:

Vintage or basso ostinato- based on constant repetition of the theme in the bass;

- “Glinka” or soprano ostinato- the melody is repeated the same, but the accompaniment changes;

Strict or classic- they are stored in general outlines themes, its form and harmony. The melody, mode, tonality, texture changes;

Free or romantic- where the topic changes beyond recognition. Variations come in a variety of sizes.

There are very small miniatures written in the form of variations, and there are large concert variations, which in their length and richness of development can be compared with sonatas. Such variations refer to large form.

Types of variations (classification according to various criteria):

1. according to the degree of departure from the topic- strict (the tonality, harmonious plan and form are preserved);

2. free (a wide range of changes, including harmony, form, genre appearance, and so on; connections with the theme are sometimes conditional: each variation can achieve independence, like a play with individual content);

3. by variation methods- ornamental (or figurative), genre-characteristic, etc.

4. History of the development of Variations.

Variations appeared a long time ago in folk music. Folk musicians did not know notes, they played by ear. It was boring to play the same thing, so they added something to the familiar melodies - right there, during the performance. This type of writing “on the go” is called improvisation . While improvising, folk musicians retained the recognizable outlines of the main theme, and variations were obtained. Only they didn’t know the name of this one yet: it was invented much later professional musicians. The variation form was born in the 16th century. Variations originated from folk music. Imagine that a folk craftsman-musician played the melody of some song on a horn, pipe or violin, and each time the motive of this song was repeated, but sounded in a new way, enriched with new echoes, intonations, the rhythm, tempo, and individual turns of the melody were modified. This is how variations on song and dance themes appeared. For example, M. Glinka wrote variations on the theme of Alyabyevsky’s “Nightingale” or on the soulful melody “Among the Flat Valley.” Variations can be imagined as a series of pictures about the history, experiences (and even adventures) of the person-image with whom the listener becomes acquainted in the topic. The difficulty in working on a variation cycle lies in the combination of individual variations into a single whole. Integrity is achieved through thematic unity. Also great value have caesuras between variations. Caesuras can be used to separate variations and combine them into a single whole.

The development and change of the elements of the Variation form continued for many years and centuries. The variations of Bach's period and those of the 19th and 20th centuries are quite different in many respects. Composers experimented and made significant changes to the form.

The appearance of variations with a theme at the end indicates a departure from classical rhetorical thinking in the field of musical forms, which required establishing the theme at the beginning, with subsequent development. One of the precedents is known in Baroque music: a variation chorale cantata with the placement of a pure chorale as last issue. Variations with a theme at the end, having appeared at the end of the 19th century, then began to become more and more established in the 20th century, which is why in the chapter “Classical instrumental forms” they are considered only for the sake of compactness of presentation.
The most significant works in the form of variations with a theme at the end are Andy’s Symphonic Variations “Ishtar” (1896), Shchedrin’s 3 forte piano concerto with the subtitle “Variations and Theme” (1973), Schnittke’s Piano Concerto (1979), “Reflections on the Chorale of I. WITH. Bach “And here I am before Your throne”” by Gubaidulina (1993). The Passacaglia from the 1st violin concerto by Shostakovich (1948) can be added to them - see our analysis in the section “Variations on basso ostinato”.

You've probably ever come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of a wide 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 naming the common forms of musical works, let’s define what is a form in music? Form is something that relates to the design of a work, to the principles of its structure, to the sequence of musical material in it.

Musicians understand form in two ways. On the one hand, the form is diagram location of all parts musical composition in order. On the other hand, form is not only a diagram, but also process formation and development in the work of those expressive means by which it is created artistic image of this work. What is this means of expression? Melody, harmony, rhythm, timbre, register and so on. The substantiation of such a double understanding of the essence of 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 musical work are motive, phrase and sentence. 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 that represents a presentation of a complete musical thought. It occurs frequently 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 a three-part form can be contrasting in relation to the extreme parts (showing a contrasting image is already a very serious artistic device), or maybe develop, develop what was said in the first part. In the third part of a three-part form, it is possible to repeat the musical material of the first part - this form is called reprise (recapitulation is repetition).

Verse and chorus forms - these are forms that are directly related to vocal music and their structure is often associated with the characteristics of poetic music.

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

Complex two-part and complex three-part forms – these are forms that are composed of two or three simple forms (for example, a simple 3-part + period + a 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 typical for instrumental music (this is a favorite form for the 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 some kind of slender simple shape) or "type of episode"(if in the middle part there are free constructions that do not obey either the 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 there must be at least two of these repetitions in order for the resulting form of a musical work to be classified as variational. The variation form is found in many instrumental works, and no less often in the compositions of modern authors.

There are different variations. For example, there is such a type of variation as variations on an ostinato (that is, unchangeable, held) theme in 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 fragmented, showing its hidden sides.

There is another type of variation - characteristic variations, in which each new theme 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 funeral march, a lyrical nocturne, and an enthusiastic hymn. By the way, you can read something about genres in the article.

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

L. van Beethoven, 32 variations in C minor

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

So, musically speaking, a rondo is made up of parts that are constantly repeated (general ones - they are called refrains) and individualized episodes that sound between refrains. For the rondo form to take place, the refrain must carry out at least three times.

Sonata form , so we got to you! The sonata form, or, as it is sometimes called, the sonata allegro form, 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 - "side". These names mean that one of the themes is in the main key, and the second in a secondary key (dominant, for example, or parallel). Together, these themes go through various tests in development, and then in the reprise, usually both are sounded 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 occurs);
• reprise (here the themes presented in the exhibition are repeated, and at the same time their convergence occurs).

Composers loved the sonata form so much that on its basis they created a whole series of forms that differed from the main model in various parameters. For example, we can name such varieties of sonata form as rondo sonata(mixing sonata form with rondo), sonata without development, sonata with an episode instead of development(remember what they 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 cadenza of the soloist at the end of the development before the start of the reprise), sonatina(little sonata), symphonic poem (huge canvas).

Fugue- this is the form that was once the queen of all forms. At one time, fugu was considered the most perfect musical form, and musicians still have a special attitude towards fugues.

The fugue is built on one theme, which is then repeated many times in an unchanged form in different voices (in different instruments). The fugue begins, as a rule, in one voice and immediately with the theme. Another voice immediately responds to this theme, and what sounds during this response from the first instrument is called counter-addition.

While the theme circulates through different voices, the expositional section of the fugue continues, but as soon as the theme has passed through each voice, development begins in which the theme may not be fully pursued, compressed, or, conversely, expanded. Yes, a lot of things happen in development... At the end of the fugue, the main tonality is restored - this section is called the reprise of the fugue.

We can stop there now. We have named almost all the main forms of musical works. It should be borne in mind that more complex forms may contain several simpler ones - learn to detect them. And also often both simple and complex forms are combined into different cycles– for example, they form together suite or sonata-symphonic cycle.

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

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

Subject. Sizes - from 4 measures 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).

The possibility of considering the variation cycle as a genre.

Application of variation form: a separate work, 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 by Paganini, L. Beethoven. Sonata No. 10, part 2, J. Haydn. Sonata No. 12 in G major, finale, G. Purcell. Dido’s Aria from the opera “Dido and Aeneas”, A. Borodin. “Prince Igor”, S. Rachmaninov. Concerto for piano and orchestra No. 3, part 2, 3).

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

12.1. Variations on sustained bass (basso ostinato).

Distribution in the XVII-XVIII centuries, XX centuries. (Purcell, Bach, Handel, Shostakovich, Shchedrin, Britten, Webern, Berg, Hindemith). XVII century - beginning of the XVIII century. - a reflection of the most essential aspects of the Baroque style - the sublimity of content, embodied by the grandeur of forms. Intense expression, reaching the point of tragedy (J.S. Bach. Crucifixus from the Mass in h minor, G. Purcell. Dido’s Aria from the opera “Dido and Aeneas”). Application in antique dance genres- chaconne and passacaglia.

Subject(4-8 t.). A typical chromatic theme descends from the I to V degrees, returning abruptly to the tonic (J. S. Bach Crucifixus from the Mass in B minor, G. Purcell Dido’s Aria from the op. “Dido and Aeneas”, J. S. Bach. Passacaglia c moll for organ), minor, square, based on iambic motifs (in conditions of tripartite and syncopation, symbolizing a slow, uneven step, a drooping gesture. Two options for presenting the theme: monophonic (J. S. Bach. Passacaglia in moll), with harmonization (Crucifixus J. S. Bach).

Variation: polyphonic, figurative-polyphonic; difficulty in harmonic variation due to the invariability of the bass.

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

12.2. Classic (strict ornamental variations)

Qualitatively new stage in the development of this form (the influence of the worldview, the aesthetics of the Enlightenment, the homophonic-harmonic style that replaced polyphony). Continuity with ancient variations - the unchanged structure of the theme.

Subject: Quite bright, but excluding sharply individualized, characteristic turns. Choral song style, medium register, moderate tempo, simple texture. In structure - a simple 2-part form, a period, less often a simple 3-part form.

Variation- textured and ornamental, preserving the reference points of the melody. Preservation of the general binding complex: structure, tonality (a single change of mode is possible, with subsequent return), harmonic basis, 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 same 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: change of tempo before the final variation (Adagio surrounded by fast major variations - W. Mozart. Sonata No. 11 A major, part 1).

Possibility of code with extensions and additions.

The principles of grouping variations in order to overcome the fragmentation of form: “diminution” (accumulation of movement by introducing smaller durations in the subsequent variation compared to 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, motivic, textural connections (W. Mozart. Sonata No. 11 A major, part 1), three-part combination (L. Beethoven. Sonata No. 12, part 1, 32 variations in minor), variation in the meaning of reprise (L. Beethoven. Sonata No. 23, part 2).

Assignments for practical work

Haydn. Sonata No. 12, G major, parts 1,3, Mozart. Sonata No. 6 D major part 3.KV. 284, A major 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.

Origin - 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 variations).

A free variation is a relatively independent piece, intonationally connected with the theme, and not a modified reproduction of the theme as a whole (minimal connections with the theme; the theme is the reason for creating diverse variation plays (R. Schumann. “Carnival”).

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

Discrepancy between the structure of the theme and the structure of the variations (in some cases, variations even with the same structure are considered free, provided that the principle of specificity is consistently implemented: S. Rachmaninov. “Variations on a Theme of Corelli”, I. Brahms. “Variations on a Theme of Handel”,

Freedom of tonal plans,

Intensity of harmonic changes,

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

An appeal to polyphonic presentation (R. Schumann. Symphonic Etudes. Etude 8 - two-voice fugue form.

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

Characteristics and contrasting comparability can lead to suite cyclicity (suite-variation cycles by R. Schumann - “Carnival”, “Butterflies”, F. Liszt - “Dances of Death”);

Entering the element of elaborateness, symphonization of form, the element of dramatic, sometimes conflicting events (“Symphonic Etudes” by R. Schumann, “Rhapsody on a Theme of Paganini” by S. Rachmaninov). Hence, there are three solutions to the form in the course of its development: variations - a suite, strict variations with an extreme increase in narrative and contrasts, actually free symphonized variations, overcoming measured cyclicity and striving for a unified form.

12.4. Variations on a sustained melody (soprano ostinato)

They represent a varied accompaniment to a constant melody.

Subject- song melody.

Variation: tonal-harmonic (M. Glinka. “Ruslan and Lyudmila”: Persian Choir, Ballad of Finn), polyphonic (N. Rimsky-Korsakov. “Sadko”: The first song of the Vedenetsky guest), orchestral (M. Ravel. Bolero, D. Shostakovich. 7th symphony, 1st movement, Invasion Episode), textured with sound effects (M. Mussorgsky. Song of Varlaam from the opera “Boris Godunov”, song of Marfa from the opera “Khovanshchina”).

12.5. Variations of different themes.

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

Two types of double variations: with joint exposure 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).

Assignments for practical work

E. Grieg. Ballad, S. Rachmaninov. “Variations on a Theme of Corelli”, L. Beethoven. Symphony No. 5 part 3, S. Prokofiev. Concert No. 3 part 3, S. Rachmaninov. “Rhapsody on a Theme of Paganini”, Concerto No. 3, part 2, R. Schumann. Symphonic etudes.

Sonata form.

The most complex and rich in expressive capabilities:

The embodiment of the development process, a qualitative change in images;

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

Width of figurative range.

Classic designs created by Viennese symphonists; XIX - XX centuries - evolution of form. Modifications in modern music.

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

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 - cyclic or one-movement independent work.

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

Sonata - presence crap sonata form.

The party is the main component part of the sections sonata form (e.g. exposition)

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

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

3 main sections of sonata form:

1) exposure

2) development

3) reprise

Starting with Beethoven:

4) developed code.

13.1 Introduction

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

Adds tempo contrast to the main part.

Types of introductions:

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

2) preparatory - the formation of the features of a sonata allegro (thematism, character of movement, sometimes tonality (P. Tchaikovsky. Symphony No. 6, 1st movement),

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

Combination possible different types(L. Beethoven. 8th sonata)

Exposition

9.1 Exposition- the modulating first section of the sonata form, containing a presentation of the main parts: the main one (with the connecting link adjacent to it) and the secondary one (with the final one adjacent to it). In most sonata forms the second half of the XVIII - early XIX V. the exposition is repeated (with the exception of the overtures, L. Beethoven. Sonata No. 23). In later samples, there is a refusal to repeat exposure in order to create continuity of development.

Main party.

The main part (one theme) is a structure that expresses the main musical idea. The Viennese classics have concentrated content and concise presentation. Gives impetus to further development.

Characteristics: effective character, instrumental motivic precision.

Identification of the main tonality ( main party 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 minor, part 1, A. Borodin. Symphony No. 2, part 1) or three motives or motivic groups (L. Beethoven. Sonatas No. 17, 23 ).

Main parties by 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).

Main parties by structure:

a) period

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

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

Linking party.

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

Characterized by unity, absence of periods, sentences.

Three logical stages in the development of a connecting party:

1. continuation of the main game,

2. transition,

3. preparation of a side batch.

By theme:

1. main batch material,

2. its processing,

3. 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).

According to the tonal plan:

1. main key,

2. modulation,

3. prefix 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 completely absent with an intensively developing main part.

Side party.

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

Thematically, side games:

1) present a new topic,

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

Cases of a one-topic sonata: W. Mozart. Sonata No. 18 B major.

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

According to the tonal plan:

1) D for major and minor works.

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.).

It is possible to gradually develop the tonality of a side part.

By structure:

A freer formation than the main party. Section allowing lyrical digressions, moments of improvisation, multiple expansions.

1) a period with expansion, moving away the cadence.

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

two-movement (S. Rachmaninov. Concerto No. 2)

theme and 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 the 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 the connecting part. The moment of dramatization of form.

Final game.

Final section.

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

Structure:

A series of additions, lack of period type structures.

Thematic:

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

2) on a binder material

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

Approval of the tonality of the side part.

Assignments for practical work

Exposure analysis.

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

13.2 Development

Section dedicated to the development of themes. A figurative transformation takes place here. Depending on the plan:

a) deepening the contrast between topics

b) semantic and motive convergence.

Themes are used in a modified, dismembered form (mainly the active, easily divided main part, the side cantilens change less).

Thematic:

There is no set order for topics.

Possible following thematic plans developments:

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

2) main batch material - first half

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

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

General rule: development begins with reproduction start or end exposition (from the main part or introduction).

Development techniques:

Crushing,

Sequencing

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

Tonal plan:

1. lack of finished tonalities of exposition;

2. the most intense 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, D is the main key.

A modal contrast of exposition and development is possible.

Structure:

Addition of development from sections:

1. introductory

2. one or more main

3. transitional with precursor.

Signs of a partition change:

1. change in material processing technology

2. changing the order of alternating keys

3. change of thematic basis.

XIX - XX centuries - principle "dynamic waves"(in combination with a change in texture).

Can be entered new topic(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).

Assignments for practical work

Analysis of developments from examples for topic 13.1

13.3 Reprise

A section reproducing the exhibition with changes aimed at achieving sustainability.

Main part in the reprise:

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

2) changed

a) fusion of the main part and the connecting part (W. Mozart. Sonata No. 17, L. Beethoven. Sonata No. 6, 1 part, S. Rachmaninov. 2 concert, 1 part, D. Shostakovich. 7th 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 peak of the last wave of development (D. Shostakovich. Symphonies No. 5, 8, part 1)

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

Connecting part in reprise:

1) tonal changes required

2) skipping a connecting link (L. Beethoven “Moonlight” Sonata. Finale).

Side part in reprise:

There are no structural changes, only tonal changes (among 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 a side part to the main or key of the same name(if the exposition of a minor work has a major item),

2) gradual “finding” the tonality of the side part.

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

The final part in the reprise. No significant changes.

Special types of reprises:

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

A false reprise is a dominant precursor to a non-main key, in which some initial section of the main part is presented, but briefly, then the complete conduct 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 part).

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

Code

Summing up, stating the main idea. For mild contrasts there is no code ( chamber works Mozart).

The first parts contain small codes.

In the finals - larger, more significant ones. The desire for tonal stability, a clear manifestation of the final presentation. Beethoven: "coda - second development."

The structure of the code is:

1. introductory or transitional section (does not always happen),

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”)

Assignments for practical work

Analysis of reprises from examples for topic 13.1

Varieties of sonata form.

Sonata form without development

Characteristics:

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

2. smaller scale and simple structure of the whole,

3. no repetition of exposure,

4. variation of 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 individual works (F. Chopin. Nocturne e moll),

5. in vocal music (A. Borodin “Prince Igor”: Choir of Polovtsian girls No. 7, with chorus, Vladimir’s Cavatina).

Cases of energetic 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 a trio contrast).

Structure: 1) simple forms (L. Beethoven. 1st sonata. Finale)

2) period (F. Liszt. “Funeral Procession”)

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

A return move is a construction that connects an episode with a reprise (L. Beethoven. Sonata No. 7, part 2). May develop into development.

Episode location:

1) episode- return move - reprise:

2) development progress - episode- preface - reprise.

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

Classical concert form.

The concert genre is the embodiment of dialogism, alternating solo and tutti.

Characteristics - 1) two different exposures

2) cadence.

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

The second exposition is of the soloist. Regular tonal plan. Brightness, concert performance, often new bright themes.

The developments are simple. Orchestral episodes predominate.

Reprises - redevelopments are possible.

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

Location - middle section of the code.

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

Assignments 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 in development), F. Chopin. Nocturne No. 21, A. Borodin. Vladimir’s Cavatina from the opera “Prince Igor”, Choir of Polovtsian girls “On the Waterless”, P. Tchaikovsky. Serenade for string orchestra part 1, W. Mozart. Concert No. 21, part 1, S. Prokofiev. Concert No. 3, part 1, S. Rachmaninov. Concert No. 3, part 1, F. Mendelssohn. Violin concerto, part 1, A. Khachaturian. Violin Concerto, Part 1

Topic 15

Rondo Sonata.

A consistently repeating (as opposed to mixed forms) combination of features of a rondo and a sonata.

A seven-part ronda-shaped form in which the ratio of the first and third episodes is similar to the ratio of the side part in the exposition and reprise of the sonata form.

Varieties:

1) with an episode (the whole form is for a rondo),

2) with development (the whole form is for a sonata).

Features of a Rondo:

1) song-dance or scherzo theme,

2) squareness,

3) non-conflict thematic,

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 a sonata exposition. The relationship between the third refrain (main part) and the third episode (side part) is like in a sonata reprise.

2) availability of development.

Differences from sonata: carrying out 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- finales of sonata-symphonic cycles.

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

Linking party- less developed than in sonata form, but contains the same stages of development. Often a new topic is introduced.

IN Side Batch- dominant tonality. Mostly ends with a clear cadence in the key of D. Form: simple two-part, period. Relatively short, simple, no shifts.

Final game usually replaced by a number of additions that go into the bunch.

A Second implementation of the main topic arties in the main key (often incomplete, developing into a connection with the episode).

WITH Episode - a deeper contrast compared to previous episodes (reminiscent of a trio or an episode in a complex 3-part form). Tonality - S-sphere. Structure - simple 2-part, 3-part, three-five-part (avava), double tripartite (ava 1 and 2). It can develop into a link to a reprise or there is an independent dominant precursor.

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

A - the third holding of the main game varies, sometimes skipped.

In 1 - the side part is strictly transposed without changes in thematic theme. Main key.

A - main batch - accurate; varies, turning into a link to the code; sometimes skipped (under the conditions for using this material in the code).

Starting with Beethoven, it is necessary. Final character. The role of development is small. Synthesis of rondo - sonata themes.

Assignments for practical work

W. Mozart. Sonata No. 8 (final), 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 (final)

Topic 16.

Cyclic forms.

A cyclic form is a form made up of several completed contrasting parts, united by a unity of design.

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

Difference from a collection of plays: direct and indirect connections between parts: plot, imagery, thematic, structural, genre (F. Schubert. “The Beautiful Miller's Wife”, M. Mussorgsky. “Songs and Dances of Death”).

Sonata-symphonic cycle,

Vocal cycle,

Large vocal-symphonic cycle.

16.1Suite

1) Ancient suite 17th century,

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

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

1.Ancient Suite

Communication with household dance music. Formulation of the principle of tempo contrast in the sequence of parts (fast-slow). The design is like a suite of 4 dances.

1) allemande (“German”) - a sedate-serious, moderately slow, two-part round dance-procession.

2) Courante (from the Italian corrente - “fluid”) - a livelier three-beat solo dance (usually performed by two dancers).

3) Sarabande - a dance of Spanish origin, which became a solemn court dance in the 17th century different countries Europe. Bach and Handel's saraband is a slow three-beat dance. The rhythmic feature is a stop on the second beat of the measure. Characterized by significance, majesty, and often a darkly pathetic character.

4) Gigue - a fast dance of Irish origin. Characterized by three-part movement (6/8, 12/8, 12/16), fugue presentation.

“Optional” numbers: double, minuet, gavotte, bourre, paspier, polonaise, aria, introductory piece before the allemande (prelude, overture). Characteristic is tonal unity and increased contrasts towards the end. "Partita" - Italian name suites. "Suite" - "sequence".

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

Haydn, Mozart (serenades, divertissements, cassations).

Characteristic is the rejection of danceability in its pure form (approaching the sonata-symphonic cycle, using sonata allegro). Lack of a given number of parts (several slow ones, alternating with minuets).

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

Wide genre connections, influence of programming.

Suites of miniatures (A. Borodin. “Little Suite”, M. Ravel. “Tomb of Couperin”, “Gaspard at Night”).

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-part cycle (sonata, symphony, quartet)

2) three-part cycle (sonata, concerto). The finale combines features of the scherzo and the finale.

Sonata allegro (main key) - “acting man”;

The slow part (S sphere, key of the same name) is “a man at rest”;

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

Finale (fast, genre) (main or eponymous key) - “man and society”

XIX - XX centuries - strengthening thematic and figurative connections in the cycle:

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

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

In works of an epic nature, in the comparison of parts there is a principle of contrast - juxtaposition.

A different number of parts in the cycle: more (L. Beethoven. Symphony No. 6, G. Berlioz. “Fantastastic 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 for performance in church: passions, masses, requiems.

Cantatas and oratorios arose approximately at the same time as opera (at the turn of the 16th - 17th centuries), religious works - much earlier. Classic examples of the cantata-oratorio genre were created by G.F. Handel, who wrote 32 oratorios, and J.S. Bach, author of passions, masses, sacred and secular cantatas.

Vocal-symphonic cycles: oratorio, cantata.

Cantata involves 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 Yu. Shaporin).

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

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

1) exposition of “drama”, characters,

2) clash of opposing forces,

3) denouement.

Assignments for practical work

Keyboard suites (English and French by J.-S. Bach), J.-S. Bach. Partita with moll (keyboard).

A A1 A2 A3 A4 ...

Variations

The theme may be composed by the composer himself, borrowed from folk music, or from the work of another composer. It is written in any simple form: in the form of a period, two-part, three-part. The theme is repeated with various changes in mode, tonality, rhythm, timbre, etc. In each variation, from one to several elements of musical speech can change.

IN different eras there were their own varieties of variational forms.

Still in the vintage folk songs the main melody changed (varied) when repeated with in different words. The instrumental tunes also varied.

The type of variation depends on how and how much the theme is changed.

Variations on the Unchangeable Bass (basso ostinato) or ancient variations were known back in the 16th century in Europe. The then fashionable dances of the passacaglia and chaconne were written in a form based on the constant repetition of the theme in the bass, with only the upper voices varying.

Variations on an unchanging melody (soprano ostinato) closest to folk music. They are structured like this: the melody (folk or composed by a composer in the form of a song or dance) is repeated without changes, and the accompaniment varies. This type of variation was introduced into Russian classical music by M. I. Glinka, which is why they are sometimes called "Glinka".

In Western European classical music XVIII and first half of the 19th century have developed strict (ornamental) variations. Remarkable artistic examples of the use of this form can be found in the works of J. Haydn, W. A. ​​Mozart and L. Van Beethoven - “Viennese classics” (their main works were created in Vienna).

In strict variations, both the melody and the accompaniment change. But the general contours of the theme, its form and harmony are strictly preserved. Each subsequent variation, while maintaining the basis of the theme, seems to put it in a different shell, coloring it with a new ornament, which is why strict variations are also called ornamental. The first variations are more similar to the theme, the subsequent ones are more distant from it and differ more from each other. Approximately in the center of the work there is one or more variations, written in a mode opposite to the main one.

The techniques that composers used in variations are associated with the art of improvisation, popular in the 17th and 18th centuries. Each virtuoso performer, performing at a concert, was obliged to fantasize on a theme proposed by the public (the melody of a popular song or an opera aria). The tradition of endlessly varied variations of the original theme still exists in jazz music.

Available or romantic variations appeared in the second half of the 19th century. Here, each variation is practically an independent piece and its connection with the theme is very weak.

In music there are variations on two and sometimes three themes, which vary alternately. Variations on two themes are called double:

A B A1 B1 A2 B2 A3 B3 ... or A A1 A2 A3 ... B B1 B2 B3 ...

I 2nd Variation 1st Variation 2nd Variation

Theme theme theme theme

Variations on three themes are called triple.

Variations may be an independent work(theme with variations) or part of any other large form.

Quests:

1. Come up with figurative comparisons with variation form.

For example:

Actor in various roles, using makeup, costumes,

reincarnating,

every time he appears before the audience as a different person;

The landscape outside the window changes with the changing seasons;

Home albums contain photographs in which the same

a person is filmed throughout his life from infancy to old age,

Sometimes it’s hard to even recognize him in photographs, etc.

Draw what you come up with.

2. Find in your repertoire a piece written in

variation form. Determine the type of variation.

3. Using the diagram, find the dates of life and death of W. A. ​​Mozart.

Kuranta– French dance (translated from French means “flowing”, “running”). The dance tempo is moderate-fast in three-beat meter.

Sarabande- An ancient Spanish dance. The music of the saraband has a harsh, gloomy character, performed at a slow tempo, in three-beat meter.

Zhiga- An old Irish dance. The music is characterized by a fast tempo and triplet movement in meters. 6 , 12 . The dance was performed to

accompaniment of an ancient violin, which, due to its unusually convex shape, was nicknamed “giga”, which means “ham”. This word became the name of the dance.

By the beginning of the 18th century, when the great German composers J. S. Bach and G. F. Handel wrote music, these dances were already outdated; they were not danced, but only listened to. As a rule, between the sarabande and the gigue, additional dances that actually existed at that time were inserted: minuet, gavotte, bourrée, polonaise, paspier, rigaudon and others. Over time, non-dance parts are also included in the suite: overtures, preludes, toccatas, fantasies, arias and even pieces with proper names(for example, “Rural Rondo”).

Throughout the 18th century, the classical dance suite had a leading role among major instrumental works. Suite cycles were written for the harpsichord, instrumental ensemble or small orchestra. Towards the end of the 18th century, the classical dance suite gave way to the sonata and symphony, but was revived again in the 19th century.

This is a different cycle. The suite combines diverse plays of any content, genres and forms. Often a suite is programmatic: composers give the title to the entire suite or its individual parts. The old suite retains the principle of contrasting alternation of parts, but they are no longer written in the same key.

In the second half of the 19th century, a special type of suite arose from the music of opera, ballet or music for plays, and in the 20th century - from music for films.

Quests:

1. Find in your notebook by musical literature suites that you

listened in class. Write down their names and authors.

3. Remember how the character of successive

parts, their tempo, harmony?

4. Using the diagram, find the dates of the life of J. S. Bach.