Greetings, dear readers! On our website there were already enough articles devoted to certain patterns of music construction; a lot of words were said about harmony, how chords are built, about chord inversions. However, all this knowledge should not lie as “dead weight” and should be confirmed in practice. Perhaps some of you have already tried to compose something of your own using modulations, and so on. Let's try today to see how many of the “components” we have already described in separate chapters interact together. We will do this using the example of an analysis of a polyphonic work, which can be found in the notebook of Anna Magdalena Bach (the wife of the great composer). Anna Magdalena had a good voice, but she did not know at all musical notation, so especially for her great composer I wrote something like a training material.
By the way, for those who have just started learning to play the piano, you can try playing pieces from this very notebook; they are very well suited for starting to master the skill of sight reading. So, let's start analyzing the work. In this case, by musical analysis I will mean finding chords that explain Bach’s use of certain notes in leading the melody. Of course, for a polyphonic work, chords (or harmony) are not particularly needed, since two lines develop in parallel in it, but still I was interested in understanding how the laws that we have already written about work in practice. What kind of laws are these?
1 How the functions work - tonic, subdominant, dominant (you can read about this in the article, and also about modulation there);
2 Why the chords of the dominant and subdominant functions can be taken not only from the “standard” 4th and 5th degrees of the scale, but from several (the answer to this is given in the article).
3 Application of inversions T, S, D (this is more about piano, we also have one on this topic);
4 Perform modulation to a different key.
All of the above methods for diversifying harmony are used in Bach's "Menuet BWV Ahn. 114". Let's take a look at it:
rice. 1
In the first article, we will select the chords for the first part of the work to...So, having analyzed the first measure of our work, we see that it consists of the notes G, B and D. This consonance is the G major chord (G), it is the tonic, that is, it determines the tone in which the entire piece will be. After the G chord in the same bar there is a movement to the dominant, or rather to its inversion D43, we are “told” about this by the presence of the notes A and C at the end of the 1st bar, if you complete them, you will get the consonance of A-D-D sharp or inversion of the usual dominant from the fifth degree (or D7 chord), the remaining notes are passing. In the second bar, the inversion of the first chord is suitable - T6, we made this conclusion because the bar begins with the interval B - D and then comes G, that is, the sound composition fully corresponds to this inversion. In the third bar, the first interval of C-E is the notes of a C major triad only without the G note; C major in this case plays the role of a subdominant. Then a progressive movement to reverse the tonic - T6 in the 4th bar (it is the same as the second bar). Bar 5 begins with A-Do - which is not a full A minor or subdominant chord from the second degree for the key of G.
rice. 2
As can be seen in Figure 2, the subdominant from the second degree is indicated by adding the Roman numeral 2 to the letter S.
Let's analyze the piece of music further... The 6th bar begins with the harmonic interval Sol-si, which, as you may have guessed, is part of our tonic or G chord, therefore we take it here. Then, through a gradual downward movement, we arrive at the dominant in the 7th measure, this is indicated by the presence of a D-F consonance; if it is completed, we will get a D-seven chord or a dominant from the 5th degree of the G major key. After the dominant D7 in the same measure, we again take the tonic T53 (G), since again we see harmonic G-B (harmonic, by the way, means that the notes of the interval are taken simultaneously, and not one after another). The eighth bar contains the notes D-A (B is there as a passing note), they are also sounds from the D7 chord, while the rest of its constituent notes (F-sharp, C) are simply not used here. The ninth bar is almost the same as the first, although the interval on its downbeat (B-D consonance) is an inversion of the tonic, and not the tonic itself as in the first bar, which is why we take the T6 chord, everything else is the same. The 10th measure contains G-D notes on the first beat - again an “unfinished” T53 or G chord.
rice. 3
Figure 3 shows the chords analyzed above.
Let's move on... The 11th measure begins with the notes C-E, which, as we have already said, is part of the C major chord and this means again the subdominant from the fourth degree of S53. The twelfth measure contains the sounds B-G (they are on the first beat) this is T6 or the inversion of our tonic. In the 13th measure, you need to pay attention again to the first consonance - the notes A and C - this is again an A minor chord or Subdominant from the second degree. Following this (at bar 14) is T53 or the tonic, which is determined by the notes G-B (the first two notes of the G major triad). The 15th measure implies the reversal of the subdominant from the second degree (or Am), that is, in the bass it becomes not “A” but “C”, and “A” is moved up an octave. The consonance will be called a sixth chord; in fact, we have the sounds of C-A on the first beat - that is, the extreme sounds of this inversion. Well, the 16th bar completes the first part of the work and marks its end by returning to the tonic, and the sound composition also confirms this to us (the note G).
rice. 4
This is where we will probably end with the first part of our analysis. In the pictures you see the exact designations of what is played in the minuet (T, S, D - and the numbers next to them are their inversions), and at the very top in black are the chords to which they correspond. You can try to play them on the guitar, which will be simpler - after all, there is not such a variety of appeals, but of course there are also nuances. Even in this first part, you learned how to analyze a piece of music, and if you are not into classical music, you can still use the approach that we demonstrated for analyzing any other composition, because the essence is the same.
Some questions of harmonic analysis
1. The meaning of harmonic analysis.
Harmonic analysis makes it easier to establish and maintain a direct connection with the living musical creativity; helps to realize that the techniques and norms of voice guidance recommended in harmony have not only educational and training significance, but also artistic and aesthetic significance; provides very specific and varied material for demonstrating the basic techniques of voice control and the most important laws of harmonic development; helps to learn the main features of the harmonic language and individual outstanding composers and entire schools (directions); convincingly shows the historical evolution in the methods and norms of using these chords, turns, cadences, modulations, etc.; brings you closer to navigating the stylistic norms of harmonic language; ultimately leads to an understanding of the general nature of music, brings us closer to the content (within the limits that are accessible to harmony).
2. Types of harmonic analysis.
a) the ability to correctly and accurately explain a given harmonic fact (chord, voice guidance, cadence);
b) the ability to understand and harmoniously generalize a given passage (the logic of functional movement, the relationship of cadences, the definition of mode tonality, the interdependence of melody and harmony, etc.);
c) the ability to connect all the essential features of the harmonic structure with the nature of the music, with the development of form and with the individual characteristics of the harmonic language of a given work, composer or entire movement (school).
3. Basic techniques of harmonic analysis.
1. Determination of the main tonality of a given piece of music (or its fragment); find out all the other tonalities that appear in the process of development of a given work (sometimes this task is somewhat distant).
Determining the main key is not always a fairly elementary task, as one might assume at first glance. Not all pieces of music begin with a tonic; sometimes with D, S, DD, “Neapolitan harmony”, from an organ point to D, etc., or a whole group of consonances of a non-tonic function (see R. Schumann, op.23 No. 4; Chopin, Prelude No. 2, etc. .). In more rare cases, the work even begins immediately with a deviation (L. Beethoven, “Moonlight Sonata”, part II; 1st symphony, part I; F. Chopin, Mazurka in E minor, op. 41 No. 2, etc.) d.). In some works, the tonality is shown quite complexly (L. Beethoven, Sonata in C major, op. 53, part II) or the appearance of the tonic is delayed for a very long time (F. Chopin, Prelude in A-flat major, op. 17; A. Scriabin, Prelude A minor, op. 11 and E major, op. 11; S. Taneyev, cantata “After reading the psalm” - beginning, op. 30 – introduction, etc.). In special cases, harmony is given a clear, distinct inclination towards the tonic of a given key, but essentially all functions except the tonic are shown (for example, R. Wagner, the introduction to the opera “Tristan and Isolde” and the death of Isolde; N. Rimsky-Korsakov, the beginning overture to “May Night”; P. Tchaikovsky, “I bless you, forests”, beginning; A. Lyadov “Sorrowful Song”, 3rd concert for piano, part II; romances op. 51; A. Scriabin, prelude op. 11 No. 2). Finally, in many classical arrangements of Russian songs, sometimes the key designation of tonality comes out of traditional norms and follows the specifics of the mode, why, for example, Dorian G minor can have one flat in its designation, Phrygian F-sharp minor - two sharps, Mixolydian G major is written without any signs, etc.
Note. These features of the key designation are also found in other composers who appeal to materials folk art(E. Grieg, B. Bartok, etc.).
Having identified the main tonality and then other tonalities appearing in a given work, the general tonal plan and its functional features are determined. Determining the tonal plan creates a prerequisite for understanding the logic in the sequence of tonalities, which is especially important in works of large form.
The definition of the main tonality, of course, is combined with the simultaneous characteristic of the mode, the general modal structure, since these phenomena are organically interrelated. Particular difficulties, however, arise when analyzing samples with a complex, synthetic type, modal basis (for example, R. Wagner, introduction to Act II of “Parsifal”, “Reverie”, R. Schumann, “Grillen”, N. Rimsky-Korsakov, “Sadko” , 2nd scene, excerpts from “Kashchey”; S. Prokofiev, “Sarcasms”, etc.), or when the mode or tonality changes at the end of the work (for example, M. Balakirev, “Whisper, timid breathing"; F Liszt, "Spanish Rhapsody"; F Chopin, ballad No. 2, G Wolf, "The moon rose very gloomy today"; F Chopin, mazurkas in D-flat major, B minor, op.30; And Brahms, rhapsody in E- flat major; C Taneyev, “Minuet”, etc.) Such changes in either mode or tonality must be explained as much as possible, their pattern or logic must be understood in connection with the general or development of a given work or in connection with the content of the text.
2. The next point in the analysis is cadences: the types of cadences are studied and determined, their relationship in the presentation and development of the work is established. It is most advisable to begin such a study with an initial, expositional construction (usually a period); but this should not be limited.
When the analyzed work goes beyond the period (the theme of variations, the main part of the rondo, independent two- or three-part forms, etc.), it is necessary not only to determine the cadences in the reprise structure, but also to harmoniously compare them with the expositional part. This will help to understand how cadences can generally be differentiated to emphasize stability or instability, complete or partial completeness, connection or delimitation of constructions, as well as to enrich harmony, change the character of music, etc.
If the work has a clear middle (ligament), then it is necessary to establish by what harmonic means the instability characteristic of the middle is supported (such as: emphasis on half cadences, a stop on D, an organ point on D or tonally unstable sequences, interrupted cadences, etc.). p.).
Thus, one or another independent study of cadences must necessarily be combined with a consideration of their role in harmonic development (dynamics) and formation. To draw conclusions, it is essential to pay attention to the individual harmonic features of the theme (or themes) itself and to the specifics of its mode-functional structure (for example, it is necessary to specifically take into account the features of major, minor, alternating mode, major-minor, etc.), since all these harmonic moments are closely linked and interdependent. Such linking acquires the greatest importance in the analysis of works of large form, with a contrasting relationship between its parts and themes and their harmonic presentation.
3. Then it is advisable to focus the analysis on the simplest moments of coordination (subordination) of melodic and harmonic development.
To do this, the main melody-theme (initially within the framework of the period) is analyzed structurally independently, monophonically - its character, dismemberment, completeness, functional pattern, etc. are determined. It then reveals how these structural and expressive qualities of the melody are supported by harmony. Special attention should be paid to the culmination in the development of the theme and its harmonious design. Let us recall that, for example, among Viennese classics the climax usually occurs in the second sentence of the period and is associated with the first appearance of the subdominant accord (this enhances the brightness of the climax) (see L. Beethoven, Largo appassionato from sonata op. 2 No. 2, II movement from sonata op. .22, theme of the finale of the Pathetique Sonata, op.13, etc.).
In others, more difficult cases, when the subdominant is somehow shown in the first sentence, the climax, for the sake of increasing the overall tension, is harmonized differently (for example, DD, S and DVII7 with a bright delay, Neapolitan chord, III low, etc.). Let us refer as an example to the famous Largo e mesto from Beethoven’s sonata in D major, op. 10, No. 3, in which the culmination of the theme (in the period) is given on the bright consonance of DD. Without explanation, it is clear that a similar design of the climax is preserved in works or sections of a larger form (see L. Beethoven, indicated by Largo appassionato from sonata op. 2 No. 2 - a two-part construction of the main theme, or the deepest Adagio - II movement from sonata L . Beethoven in D minor, op. 31 No. 2)
It is natural that such a bright, harmoniously convex interpretation of climaxes (both main and local) by continuity passed into the creative traditions of subsequent masters (R. Schumann, F. Chopin, P. Tchaikovsky, S. Taneyev, S. Rachmaninov) and provided many magnificent samples (see the amazing apotheosis of love at the conclusion of the 2nd scene of “Eugene Onegin” by P. Tchaikovsky, a side theme from the finale of the 6th symphony by P. Tchaikovsky, the end of the first act of “The Tsar’s Bride” by N. R i m s k o -K about rsako in and pr.).
4. With a detailed harmonic analysis of a given chord progression (at least within the framework simple period) it is necessary to fully understand what chords are given here, in what inversions, in what alternation, doubling, with what enrichment with non-chord dissonances, etc. At the same time, it is desirable to generalize how early and often the tonic is shown, how widely unstable functions are represented, with what The change of chords (functions) occurs gradually and systematically, which is emphasized in the display of various modes and keys.
Of course, here it is important to consider voice performance, that is, to check and realize the melodic meaningfulness and expressiveness in the movement of individual voices; understand, for example, the peculiarities of the arrangement and doubling of consonances (see N. Medtner’s romance, “Whisper, Timid Breathing” - the middle); explain why full, polyphonic chords suddenly give way to unison (L. Beethoven, sonata op. 26, “Funeral March”); why three-voice systematically alternates with four-voice (L. Beethoven, “Moonlight Sonata”, op. 27 No. 2, II part); what is the reason for the register transfer of the theme (L. Beethoven, sonata in F major, op. 54, part, I, etc.).
In-depth attention to voicing will help students feel and understand the beauty and naturalness of any combination of chords in the works of the classics and develop a discerning taste for voicing, because outside of voicing, music, in essence, is not created. With such attention to voicing, it is useful to follow the movement of the bass: it can move either in jumps along the main sounds of the chords (“fundamental basses”), or more smoothly, melodically, both diatonic and chromatic; the bass can also intonate turns that are more thematically significant (general, complementary and contrasting). All this is very important for harmonic presentation.
5. During harmonic analysis, register features are also noted, that is, the choice of one or another register associated with the general character of a given work. Although register is not a purely harmonic concept, register has a serious impact on general harmonic norms or presentation techniques. It is known that chords in the high and lower registers are arranged and doubled differently, that sustained sounds in the middle voices are used more limitedly than in the bass, that register “gaps” in the presentation of chords are undesirable (“ugly”) in general, that the methods for resolving dissonances are somewhat changing during register changes. It is clear that the choice and preferential use of a certain register is associated primarily with the nature of the musical work, its genre, tempo, and intended texture. Therefore, in small and moving works, such as scherzo, humoresque, fairy tale, caprice, one can see the predominance of the middle and high register and generally observe a more free and varied use of various registers, sometimes with bright transfers (see L. Beethoven, scherzo from the sonata op. 2 No. 2 - main topic). In works such as elegy, romance, song, nocturne, funeral march, serenade, etc., the register colors are usually more limited and rely more often on the middle, most melodious and expressive register (L. Beethoven, II movement of the “Pathetique Sonata”; R . Schumann, middle movement in “Intermezzo” of the piano concerto; R. Glie r, Concerto for voice and orchestra, P. Tchaikovsky, Andantecantabile.op.il).
It is obvious to everyone that it is impossible to transfer music like “The Musical Snuffbox” by A. Lyadov to the low register or, conversely, to the upper register of music like “Funeral March” by L. Beethoven from the sonata op. 26 - without sharp and absurd distortions of the images and character of the music. This position should determine the real importance and effectiveness of taking into account register features in harmonic analysis (we will name a number of useful examples - L. Beethoven, sonata “Appassionata”, part II; F. Chopin, scherzo from the sonata in B-flat minor; E. Grieg, Scherzo in E minor, op. 54; A. Borodin, “At the Monastery”; F. Liszt, “Funeral Procession”). Sometimes, to repeat a given theme or a fragment of it, bold register jumps (“transfer”) are introduced into those sections of the form where previously there was only smooth movement. Typically, such a register-varied presentation takes on the character of a joke, scherzo or fervor, which, for example, can be seen in the last five bars of the Andante from the G major sonata (No. 10) by L. Beethoven.
6. In the analysis, one cannot ignore the question of the frequency of changes in harmonies (in other words, harmonic pulsation). Harmonic pulsation largely determines the general rhythmic sequence of harmonies or the type of harmonic movement characteristic of a given work. First of all, harmonic pulsation is determined by the character, tempo and genre of the analyzed musical work.
Usually, at a slow tempo, the harmonies change on any (even the weakest) beats of the bar, are less clearly based on the meter rhythm and give more scope to the melody and cantilena. In some cases, with rare changes in harmony in pieces of the same slow movement, the melody acquires a special pattern, freedom of presentation, even recitativeness (see F. Chopin, nocturnes in B-flat minor, F-sharp major).
Fast-tempo plays usually give changes in harmonies on the strong beats of the bar, but in some examples of dance music the harmonies change only in each bar, and sometimes after two bars or more (waltzes, mazurkas). If a very fast melody is accompanied by a change of harmonies on almost every sound, then here only some harmonies acquire independent meaning, while others should be considered rather as passing or auxiliary harmonies (L. Beethoven, trio from the A major scherzo in sonata op 2 no. 2, R . Schumann, “Symphonic Etudes”, Variation-Etude No. 9).
Studying harmonic pulsation brings us closer to understanding main features emphasizing live musical speech and live performance. In addition, various changes in harmonic pulsation (its slowdown, acceleration) can easily be associated with issues of form development, harmonic variation or general dynamization of harmonic presentation.
7. The next point of analysis is non-chord sounds both in the melody and in the accompanying voices. The types of non-chord sounds, their relationships, vocal techniques, features of melodic and rhythmic contrast, dialogic (duet) forms in harmonic presentation, enrichment of harmonies, etc. are determined.
The dynamic and expressive qualities introduced by non-chord dissonances into harmonic presentation deserve special consideration.
Since the most expressive of the non-chord sounds are delays, the predominant attention is paid to them.
When analyzing diverse patterns of arrests, it is necessary to carefully determine their metrhythmic conditions, interval environment, brightness of the functional conflict, register, their location in relation to the melodic movement (climax) and expressive properties (see, for example, P. Tchaikovsky, Lensky’s arioso “How Happy” and the beginning of the second scene of the opera “Eugene Onegin”, the finale of the 6th symphony - the D major theme).
When analyzing harmonic sequences with passing and auxiliary sounds, students pay attention to their melodic role, the need to resolve the “accompanying” dissonances that arise here, the possibility of enriching the harmony with “random” (and altered) combinations on the weak beats of the bar, conflicts with delays, etc. (see . R. Wagner, introduction to “Tristan”; P. Tchaikovsky, Triquet’s verses from the opera “Eugene Onegin”; duet of Oksana and Solokha from “Cherevichs”; Queen of Spades"; S. Taneyev, Symphony in C minor, Part II).
The expressive qualities brought into harmony by non-chord sounds acquire a special naturalness and liveliness in the so-called “duet” forms of presentation. Let us refer to several samples: L. Beethoven, Largo appassionato from the sonata op. 2 No. 2, Andante from Sonata No. 10, Part II (and the second variation in it); P. Tchaikovsky, nocturne in C sharp minor (reprise); E. Grieg, “Anitra’s Dance” (reprise), etc.
When considering examples of the use of non-chord sounds of all categories in simultaneous sounding, their important role in harmonic variation, in enhancing the cantilence and expressiveness of the overall voice leading and in preserving thematic content and integrity in the line of each of the voices is emphasized (see Oksana’s aria in A minor from Act IV of the opera N. Rimsky-Korsakov “The Night Before Christmas”).
8. The question of changing tonalities (modulation) seems difficult in harmonic analysis. The logic of the general modulation process can be analyzed here, otherwise - the logic in the functional sequence of changing tonalities, and the general tonal plan, and its mode-constructive properties (remember S. I. Taneyev’s concept of the tonal basis).
In addition, it is advisable to use specific samples to understand the difference between modulation and deviation and tonal comparison (otherwise, a tonal jump). Here it is useful to understand the specifics of “comparison with the result”, using the term of B. L. Yavorsky (we will indicate examples: many connecting parts in sonata expositions of W. Mozart and early L. Beethoven; F. Chopin’s scherzo in B-flat minor, exceptionally convincing preparation of E major at the conclusion of the second scene of “The Queen of Spades” by P. Tchaikovsky).
The analysis must then truly justify the characteristic type of deviations inherent in the various sections of the musical work. The study of the modulations themselves should show the typical features of expositional constructions, the characteristic features of modulation in the middle and developments (usually the most distant and free) and in reprises (here they are sometimes distant, but within the framework of a broadly interpreted subdominant function).
It is very interesting and useful in analysis to understand the general dynamics of the modulation process when it is quite clearly outlined. Usually the entire process of modulation can be divided into two parts, different in length and tension - a departure from a given tonality and a return to it (sometimes to the main tonality of the work).
If the first half of the modulation is more extended in scale, then it is at the same time simpler in terms of harmony (see the modulation from A flat to D in the “Funeral March” from L. Beethoven’s sonata op. 26 or the modulation from A to G sharp , from L. Beethoven's scherzo in sonata op. 2 No. 2). It is natural that the second half in such cases becomes very laconic, but more complex harmonically (see further sections in the above examples - the return from D to A flat and from G sharp to A, as well as the second part of the Pathetique Sonata "L. Beethoven - transition to E and return to A-flat).
In principle, this type of modulation process - from simpler to complex, but concentrated - is the most natural and integral and interesting to perceive. However, the opposite cases are occasionally encountered - from short but complex (in the first half of the modulation) to simple but more extensive (second half). See the corresponding example - the development in L. Beethoven's sonata in D minor, op. 31 (Part I).
In this approach to modulation as a special integral process, it is important to note the place and role of enharmonic modulations: they, as a rule, appear more often in the second, effective part of the modulation process. The inherent brevity of enharmonic modulation with some harmonic complexity is especially appropriate and effective here (see the examples above).
In general, when analyzing enharmonic modulation, it is useful to understand its next role in each specific case: whether it simplifies the functional connection of distant tonalities (the norm for classics) or complicates the connection of close tonalities (F. Chopin, trio from the impromptu A-flat major; F . Liszt, “William Tell Chapel”) and a one-tone whole (see R. Schumann, “Butterflies”, op. 2 no. 1; F. Chopin, Mazurka in F minor, op. 68, etc.).
When considering modulations, it is necessary to touch upon the question of how the display of individual tonalities in a given work can harmonically differ, if they are more or less extended in time and, therefore, independent in meaning.
For the composer and the work, not only the thematic, tonal, tempo and textural contrast in adjacent structures is important, but also the individualization of harmonic means and techniques when showing one or another tonality. For example, in the first key there are chords of a tertian, soft in gravity relationship, in the second - more complex and functionally intense sequences; or in the first - a bright diatonic, in the second - a complex chromatic major-minor basis, etc. It is clear that all this enhances the contrast of images, the convexity of the sections, and the dynamism of the overall musical and harmonic development. See some samples: L. Beethoven. “Moonlight Sonata”, finale, harmonic composition of the main and secondary parts; Sonata "Aurora", op. 53, exposition of part I; F. Liszt, song “The mountains embrace everything in peace”, “E major; P. Tchaikovsky -6th symphony, finale; F. Chopin, Sonata in B-flat minor.
Cases when almost the same harmonic sequences are repeated in different tonalities are more rare and always individual (see, for example, F. Chopin’s mazurka in D major, op. 33 No. 2, in which - for the sake of preserving the living folk dance color - a display harmonies in both D major and A major are maintained in identical forms).
When analyzing samples for various cases of tonal comparison, it is advisable to emphasize two points: 1) the delimiting significance of this technique for adjacent sections of a musical work and 2) its interesting role in a kind of “acceleration” of the modulation process, and the techniques of such “acceleration” are differentiated somehow and according to signs of style and enter into the process of mode-harmonic development.
9. Features of development or dynamics in harmonic language are clearly emphasized by harmonic variation.
Harmonic variation is a very important and living technique, showing the great significance and flexibility of harmony for the development of thought, for enriching images, enlarging form, and identifying the individual qualities of a given work. In the process of analysis, it is necessary to especially note the role of mode-harmonic ingenuity in the skillful use of such variation in its formative quality.
Harmonic variation, applied in time and technically complete, can contribute to the unification of several musical structures into a larger whole (see, for example, such an interesting variation of harmonies in the ostinato two-bar in the Mazurka in B minor, Op. 30 by F. Schopen) and enrich the reprise of the work (W. Mozart, “Turkish March”; R. Schumann, “Leaf from the Album” in F sharp minor, op. 99; F. Chopin, Mazurka in C sharp minor, op. 63 No. 3 or N. Medtner, “Tale " in F minor, op. 26).
Often, with such harmonic variation, the melody changes somewhat and is repeated here, which usually contributes to a more natural and vivid appearance of “harmonic news”. You can at least point out Kupava’s aria from the opera “The Snow Maiden” by N. Rimsky-Korsakov - “Spring Time”, G sharp minor, and the amazingly witty harmonic (more precisely, enharmonic) version of the theme “Frisky Boy” in F. Liszt’s fantasy on the themes opera “The Marriage of Figaro” by W. Mozart.
10. Analysis of samples with altered chords (harmonies) of various structures and complexity can be aimed at the following goals and points:
1) it is desirable, if possible, to show students how these altered chords are emancipated from the chromatic non-chord sounds that served as their undoubted source;
2) it is useful to compile a detailed list of all altered chords of various functions (D, DD, S, secondary D) with their preparation and resolution, which are in use in the music of the 19th-20th centuries (based on specific samples);
3) consider how alterations can complicate the sound and functional nature of chords of the mode and tonality, and how they affect voicing;
4) show what new types of cadences are created by alteration (samples must be written down);
5) pay attention to the fact that complex species alterations bring new points into the understanding of the stability and instability of mode and tonality (N. Rimsky-Korsakov, “Sadko”, “Kashchei”; A. Scriabin, preludes op. 33, 45, 69; N. Myaskovsky, “Yellowed Pages”);
6) show that altered chords - with their colorfulness and colorism - do not cancel the harmonic gravity, but perhaps melodically enhance it (special resolution of altered sounds, free doublings, bold leaps into chromatic intervals when moving and resolving);
7) pay attention to the connection of alterations with major-minor modes (systems) and the role of altered chords in enharmonic modulation.
4. Generalizations of harmonic analysis data
By synthesizing and summarizing all the essential observations and, in part, conclusions obtained as a result of the analysis of individual techniques of harmonic writing, it is most advisable to then focus students’ attention again on the problem of harmonic development (dynamics), but in a more special and comprehensive understanding of it in accordance with the data from the analysis of the components of harmonic letters.
In order to understand the process of harmonic movement and development more clearly and clearly, it is necessary to weigh all the moments of harmonic presentation that can create the preconditions for movement with its rise and fall. In this aspect of consideration, everything should be taken into account: changes in chord structure, functional routine, voicing; specific cadences are taken into account in their alternation and syntactic connection; harmonic phenomena are coordinated with melody and meter rhythm as much as possible; the effects introduced into harmony by non-chord sounds in different parts of the work are noted (before the climax, at it and after it); enrichments and changes resulting from tonal changes, harmonic variation, the appearance of organ points, changes in harmonic pulsation, texture, etc. are also taken into account. Ultimately, a more or less clear and reliable picture of this development is obtained, which is achieved by means of homophonic-harmonic writing in its broader understanding and taking into account the joint action of individual elements of musical speech (and the general nature of music in general).
5. Stylistic points in the analysis
After such a more or less comprehensive harmonic analysis, it is essentially not difficult to reconcile its conclusions and generalizations with general content of this musical work, its genre features and certain harmonious and stylistic qualities (and they show a connection with a specific historical era, one or another creative direction, creative personality, etc.). It is clear that such linking is given on a limited scale and within realistic limits for harmony.
On the paths that lead students to such at least a general stylistic understanding of harmonic phenomena, special additional analytical tasks (exercises, training) are also desirable (as experience shows). Their goal is to develop harmonious attention, observation and expand the general horizons of students.
Let us give a preliminary and purely indicative list of such possible tasks in the analytical part of the harmony course:
1) Simple excursions into the history of the development or practical application of individual harmonic techniques (for example, techniques of cadence, mode-tonal presentation, modulation, alteration) are very useful.
2) It is no less useful when analyzing a specific work to require that students find and somehow decipher the most interesting and significant “news” and individual features in its harmonious presentation.
3) It is advisable to collect several bright and memorable examples of harmonic writing or to find “leithharmonies”, “leitkadanses”, etc. that are characteristic of certain composers (the material can be the works of L. Beethoven, R. Schumann, F. Chopin, R. Wagner, F. Liszt, E. Grieg, C. Debussy, P. Tchaikovsky, N. Rimsky-Korsakov, A. Scriabin, S. Prokofiev, D. Shostakovich).
4) Tasks on comparative characteristics the way of using outwardly similar techniques in the works of various composers, such as: diatonicism in L. Beethoven and the same diatonicism in P. Tchaikovsky, N. Rimsky-Krrsakbva, A. Scriabin, S. Prokofiev; sequences and their place in L. Beethoven and F. Chopin, F. Liszt, P. Tchaikovsky, N. Rimsky-Korsakov, A. Scriabin; harmonic variation in M. Glinka, N. Rimsky-Korsakov, M. Balakirev and the same in L. Beethoven, F. Chopin, F. Liszt; arrangements of Russian plangent songs by P. Tchaikovsky, N. Rimsky-Korsakov, A. Lyadov, S. Lyapunov; L. Beethoven’s romance “Over the Gravestone” and tonal plans in major thirds typical of F. Chopin and F. Liszt; Phrygian cadence in Western and Russian music, etc.
It goes without saying that successful mastery of the most important techniques, methods and techniques of harmonic analysis is possible only with great and constant help from a supervisor and systematic training in harmonic analysis in the classroom. Written analytical work, well thought out and regulated, can also be of great help.
Perhaps it would not be superfluous to recall once again that in all analytical tasks - more general and relatively in-depth - it is necessary to invariably maintain live contact with direct musical perception. To do this, the analyzed work is played more than once, but played or listened to before analysis and always after analysis - only under this condition will the analysis data acquire the necessary persuasiveness and the power of an artistic fact.
I. Dubovsky, S. Evseev, I. Sposobin, V. Sokolov. Textbook of harmony.
(methodological manual)
Nizhny Novgorod - 2012
Introduction…………………………………………………………………………………3
Metrorhythm……………………………………………………………...5
Melodics………………………………………………………………..11
Harmony……………………………………………………………...15
Warehouse and invoice………………………………………………………...17
Tempo, timbre, dynamics……………………………………………...20
Period…………………………………………………………………………………..24
Simple forms………………………………………………………...28
Complex forms………………………………………………………..33
Variations………………………………………………………..37
Rondo and rondo-shaped forms…………………………………….....43
Sonata form………………………………………………………...49
Varieties of sonata form……………………………………54
Rondo Sonata………………………………………………………...…..57
Cyclic forms…………………………………………………….59
References……………………………………………………..68
Test tasks………………………………………………………..70
Questions for tests and exams…………………………………………..73
Introduction
Perhaps only art distinguishes man from the world of living nature. Human (verbal) language differs only in its verbal form, but not in its function (means of communication, communication). In most mammals, like in humans, “language” has a sound and intonation basis.
Different senses convey different amounts of information about the world around us. There is much more visible, but the audible influence is much more active.
In physical reality, TIME and SPACE are inseparable coordinates; in art, one of these sides can often be artistically accentuated: SPATIAL in the fine arts and architecture, or TEMPORARY in verbal art and music.
TIME has opposite qualities - unity (continuity, continuity) is combined with dismemberment (discreteness). All time processes, whether in life or in art, unfold in stages, phases that have different stages of development BEGINNING. CONTINUATION. COMPLETION, as a rule, repeated several times, increasing in duration.
Music has a processual development and its stages (BEGINNING, CONTINUATION, COMPLETION) are usually denoted by the initial letters of Latin words (initio, movere, temporum) - I M T.
In all processes, their deployment is controlled by opposing forces, the relationship of which can have THREE options: EQUILIBRIUM (stable or mobile, dynamic), and two options of PREMIUMORITY of one of the forces.
The names of forces and their manifestations in various processes are not the same.
The unfolding of music is controlled by two formative forces CENTRIFUGAL (CB) and CENTRIPETAL (CS), which are in stage I in dynamic equilibrium (mobile, unstable, changeable) in stage M - activation of the CENTRIFUGAL force (CB) pushes aside the action of the CENTRIPETAL (CS), in stage T The CENTRIPUTAL force (CF) is activated, pushing aside the CENTRIFUGAL force.
CENTRIFUGAL force manifests itself in music as CHANGE, RENEWAL, continuation of movement and causes associations with INSTABILITY in in a broad sense words. CENTRIPETAL force CONSERVES, REPEATS what is said, stops movement and is associated with STABILITY in the broad sense of the word. These forces act, as a rule, in multi-layered and multi-temporal ways in all means of musical expression. The action of formative forces is especially noticeable in HARMONY, since stability and instability are manifested in it in a concentrated and varied manner.
All types of DEVELOPMENT (movement in time) are also associated with the action of formative forces. Thanks to the properties of time (unity and dismemberment), there is always a comparison of the NEXT with the PREVIOUS.
The types of development form a SPECTRAL series (without rigid boundaries between different types), the extreme points of which reveal the predominance of one of the formative forces, EXACT REPEATMENT - the action of the CENTRIPETAL force, CONTINUED DEVELOPMENT (maximum renewal, presentation of a NEW THEME) of the CENTRIFUGAL force. Between them are types of development that rely on the flexible interaction of BOTH FORCES. This development is VARIANT and VARIANT-CONTINUING.
REPEATMENT (exact) VARIANT VARIANT-CONTINUOUS.
The range of changes in variant development is very wide. Therefore, within the variant development, private varieties are formed. more specific in terms of change parameters. IN VARIATIONAL DEVELOPMENT, changes DO NOT AFFECT THE HARMONIC BASIS and EXTENSION of the altered repeat. IN DEVELOPMENT DEVELOPMENT VARIANTS sound in conditions of harmonic or tonal-harmonic INSTABILITY and, often, structural fragmentation. Only developmental development has semantic certainty, creating a feeling of growing tension and excitement.
As a rule, two LEVELS of development are distinguished: INTRA-THEMATIC - within the presentation of a polyphonic or homophonic theme (within the homophonic period), and THEMATIC (outside the presentation of the topic).
Intra-thematic development can be anything (not regulated). Few musical forms have a strong connection with one type of thematic development or another. Only the verse song relies primarily on the EXACT REPEATMENT of the verse music, and all types of variations fit within the framework of VARIANT development. The forms mentioned above are among the most ancient in origin. The remaining musical forms are varied in thematic development. One can only note a fairly stable TREND towards CONTINUING DEVELOPMENT in CYCLIC and COMPLEX FORMS - in the ratio of parts of cycles and large sections of complex forms.
METRORITHM
RHYTHM is associated with all time relationships in music: from adjacent durations to the relationship between parts of cyclic works and acts of musical and theatrical works.
METER - THE BASIS OF RHYTHM - has two sides: time-measuring (creating a feeling of pulsation, beats, uniform counting of time) and accent, uniting these beats around supporting moments, enlarging the units of the flow of musical time.
Music means expressiveness have a variety of possibilities for creating emphasis: in RHYTHM, a larger DURATION is accentuated; in MELODY, emphasis is created with the help of jumps or with any change in pitch after it remains unchanged; in HARMONY, emphasis is achieved by changing harmony, resolving dissonance and, especially, the presence of DELAY; accent properties are very diverse SPEAKERS (letter and graphic). Both TEXTURE and TIMBRE have various accentual properties, and in music with text, grammatical and semantic accents of the text are added. Thus, through the accentuated side, the metrhythm unites and permeates all means of music. Expressiveness is similar to the circulatory and nervous system of the human body.
The type of relationship between the time-measuring and accent sides gives rise to two types of metro-rhythmic organization: STRICT and FREE, which have different expressive capabilities.
The criterion for their difference is the DEGREE OF REGULARITY of time measurement and accent.
STRICT METER has multi-layered regular timing and fairly regular accents. Music in strict meter evokes associations with organized differentiated action, movement, process, dance, rhymed verse and has a positive psychophysiological effect on living organisms.
In FREE METER, time measurement is few-layered and, often, inconsistent and the emphasis is irregular, as a result of which such a meter-rhythmic organization of music evokes associations with a monologue, improvisation, free verse (unrhymed verse) or prose statement.
Despite all the differences, both metrorhythmic types are like... As a rule, they interact with each other, which gives the flow of music a living, non-mechanistic character.
Numerical relationships in meter also have different expressive preconditions: BINARY (division by 2) is characterized by clarity, simplicity and regularity. TERNARY (division by 3) – greater smoothness, wave-likeness, freedom.
In the tactometric system of music notation, SIZE IS A NUMERICAL EXPRESSION OF A METER, where the lower digit indicates the PRINCIPAL TIME UNIT, and the upper digit indicates the ACCENT SIDE.
The influence of the meter extends “DEPTH” (with pulsations of durations shorter than those indicated in the size, an INTRALOBAL METER is formed, even or odd) and “WIDE”, FORMED FROM SEVERAL WHOLE BEATS, UNITED BY A POWERFUL, COMPLEX ACCENT. This is possible thanks to the accentual capabilities of expressive means. The more expressive means involved in creating an accent, the “broader” its formative action is, the longer the musical construction it unites around itself. METER OF THE HIGHER ORDER (combining several whole bars) enlarges the flow of music and has great formative significance. Typically, higher order meter can appear and disappear quite freely, and is more typical of music associated with movement or measured lyrical music. Combining an even number of bars (2-4) occurs noticeably more often than an odd number, which occurs less frequently and more sporadically.
The arrangement of accented and non-accented moments coincides with the three main TYPES OF FOOT: CHOREIC FEET have an ACCENTENT BEGINNING, IAMBIC FEET have an ACCENTENT ENDING, and in AMPHIBRACHIC FEET there is an ACCENT IN THE MIDDLE. The expressive premises of the two types of feet are quite definite: IAMBIC feet are distinguished by measured aspiration and completeness; AMPHIBRACHIC – smooth undulation, lyricism in the broad sense of the word. HOREIC FEET are very common in music. of different nature: and in energetic, imperative topics: and. In lyrical music, associated with the intonation of a sigh, drooping, weak-willed intonations.
Due to the various accent capabilities of expressive means, in music, as a rule, a multi-layered, complexly woven network of accents of varying intensity and weight develops. The tactometric system is just a convenient system for recording music, and the bar line in it denotes the first, initial beat of the bar, the “strong” “Only specific, accentuated musical content can make it meaningful. Therefore, in music, in addition to the above-mentioned metric levels: INTRA-BEAT, BEAT and METER OF THE HIGHER ORDER, CROSS METER often appears, which does not coincide with either the BEAT or METER OF THE HIGHER ORDER. It can capture the entire musical fabric, or part of it (line, layer), giving the movement of music greater freedom and flexibility.
In music of a homophonic-harmonic nature, the tendency of the background layers of texture to regular metric timing, often multi-layered, and trochaic is often clearly manifested, while MELODY, as a rule, is distinguished by greater rhythmic variability and freedom. This is undoubtedly a manifestation of the interaction between STRICT and FREE METER.
The perception of a specific metric level, or a combination of several levels, depends on the rhythm in the strict sense of the word (certain DURATIONS) in relation to the bar line. The ratio of rhythm and meter develops into THREE OPTIONS.
NEUTRAL meter and rhythm means rhythmic uniformity (all durations are the same, there are no rhythmic accents). Accents are created by OTHER EXPRESSIVE MEANS. In this regard, manifestations of the BEAT METER, METER OF THE HIGHER ORDER or CROSS are possible (examples: Bach's small prelude in D minor, Chopin's 1st etude).
SUPPORT OF METER AND RHYTHM (a) – the first beat INCREASES, b) subsequent beats ARE DIVIDED, c) both TOGETHER) most clearly reveals the BEAT METER, and sometimes the METER OF A HIGHER ORDER, ALONG WITH THE BEAT.
THE OPPOSION OF METER AND RHYTHM (the first beat is Fragmented; the subsequent beats are ENGINEERED; BOTH TOGETHER) reveals a CROSS METER, and also, often, a METER OF A HIGHER ORDER.
Of the phenomena that complicate the temporal organization of music, the most common is POLYRHYTHM - a combination of DIFFERENT INTRALOBAL METERS
(two or more). Giving the movement of rhythmic lines detail and differentiation. Widespread in classical music, POLYRHTHMY reaches significant complexity and sophistication in the music of CHOPIN and SCRIABIN.
A more complex phenomenon is POLYMETRY - a combination of DIFFERENT METERS (sizes) in different layers of musical fabric. POLYMETRY can be DECLARED
Thus, the announced polymetry first appears in Mozart’s opera “Don Giovanni”, where in the ball scene in the score the opera orchestra and the orchestra on stage have DIFFERENT SIZES. The declared polymetry is often found in the music of twentieth-century composers, Stravinsky, Bartok, Tishchenko, for example. However, much more often, polymetry is unannounced and short-lived (the beginning of the second part of Beethoven’s 2nd sonata, the second section of “The Harvest,” fragments of “Christmas time” from Tchaikovsky’s “The Seasons,” for example).
POLYMETRY creates a feeling of significant diversity, complexity, and often tension.
The formative role of meter rhythm is not limited to meter of the highest order. Interacting with thematics, it continues in SYNTACTIC STRUCTURES (similar to poetic ones), covering SIGNIFICANT MUSICAL CONSTRUCTIONS WITH SIMPLE AND CLEAR RHYTHMIC RELATIONSHIPS.
The simplest structure is PERIODICITY, similar to rhythmic UNIFORM. The frequency can be one-time or long-term. Always creates a feeling of regularity. orderliness. consistency. Some “monotony” of long periodicity, in folk and professional music, is diversified by inventive melodic structures (periodicity with a change in one or another structure, a pair of periodicities, alternation periodicity) and variant changes that do not affect the length of the structures. Based on periodicity, other structures arise. SUMMATION (two-beat, two-beat, four-beat) creates a feeling of growth, ascent of the output. CRUSHING (two-stroke, single-stroke, single-stroke) - clarification, detailing, development. The structure of CRUSHING WITH CLOSURE (two-stroke, two-stroke, single-stroke, single-stroke, two-stroke) is distinguished by the greatest variety and completeness.
SUMMATION, FRUGGING, and CRUSHING WITH CLOSURE can be repeated (a PERIODICITY OF CRUSHING WITH CLOSURE is formed, for example), and the alternation of two structures can also be repeated (the entire first section of Tchaikovsky’s Barcarolle is united by the periodicity of alternating crushing and crushing with closure).
REPEATMENT (SIGN OF REPRISE) - a widespread phenomenon in instrumental music, starting from the Baroque era, forms the largest periodicities that order the flow of musical form by simple rhythmic relationships and organize perception.
MELODICS
MELODY is the most complex, complex, free means of musical expression, often identified with music itself. Indeed, the melody contains the essential properties of music - intonational concentration and the temporal nature of the unfolding.
Conditionally abstracting from the timbre-dynamic side and RHYTHM, which has enormous expressive and formative significance in the melody, it has two more sides of its own that have independent expressive capabilities, HAVING THEIR OWN LEGAL TENDENCIES. The FRAMED side determines its character, and the MELODIC DRAWING (“linear” side) determines the content-plastic appearance.
The formation of the modal side was a historically extended and nationally individualized process. The most widespread in European music are seven-step modes of two moods - major and minor.
The huge variety of options for combining different steps increases many times due to the processes of intratonal alteration and modulation chromatism. The pattern is as follows: THE MORE STABLE STEPS, THE MORE DIRECTLY (that is, immediately) THE UNSTABLE STEPS ARE RESOLVED IN THEM - THE CLEARER AND MORE DEFINITE THE CHARACTER OF THE MELODY, THE FEWER THE STABLE SOUNDS, THE MORE INTERMEDIATELY (not immediately) THE UNSTABLE WALK IN THEM – THE MORE DIFFICULT AND MORE INTENSIVE CHARACTER OF THE MUSIC.
The role of MELODIC DRAWING IS AS DIFFERENT AS IN THE FINE ARTS and is based on the expressive premises of two types of lines: straight and curved. Straight lines have a certainty of spatial direction, and curves have freedom and unpredictability. Of course, this is the most general division into line types.
Behind the melodic pattern there are meaningful intonation-rhythmic prototypes (prototypes): cantilena, declamation and one that can be conditionally called instrumental, which conveys all the limitless variety of movement.
Different types of melodic pattern evoke different parallels with the visual arts and differ from each other most noticeably in rhythmic terms.
Thus, cantilena melody is distinguished not only by the predominance of narrow intervals over wide ones, but also by the smoothness of rhythmic relationships, fairly long durations, and a combination of diversity and repetition of rhythmic patterns. Associations with fine art - a portrait, an image of an object or phenomenon, combining individual uniqueness with generality.
Declamatory melody, on the contrary, is distinguished by sharpness of pitch and rhythmic relationships, non-periodicity of melodic structures and rhythmic patterns, and “discontinuity” with pauses. Graphic associations – graphics, with their sharpness and sharpness of lines. Both cantilena and declamatory melody, as a rule, unfold in the natural ranges of human voices.
The instrumental melody evokes ornamental arabesque associations. It is characterized by motority or periodicity of rhythm, as well as exact or variant periodicity of melodic cells, unfolding over a wide range. Often, instrumental melody is based on chord intonations.
For a long time, different types of melody have been actively interacting with each other. Declamatory rhythmic intonations penetrate the cantilena melody. When varying the cantilena melody (in reprises of ancient arias da capo, for example), it acquired a virtuosic instrumental character. At the same time, a melody that sounds outside the actual vocal range, filled with wide intervals, but in a large, weighty rhythm (a side part from the 1st movement of the 5th symphony by Shostakovich) is perceived as a cantilena.
Often, a melody that is purely instrumental in range and rhythm rests entirely on the narrow, smooth intervals characteristic of a cantilena.
The most general property of a melodic pattern is NON-STRAIGHTNESS. “Straight lines” in the melody, as a rule, are fragments of a more complex, individualized pattern (the melody of Chopin’s etude in A flat major, the theme of enmity from Prokofiev’s ballet Romeo and Juliet, for example). Occasionally there are also very expressive straightforward themes, themes-scales (a whole-tone scale - the theme of Chernomor in Glinka’s “Ruslan and Lyudmila”, a tone-semitone scale in the volume of several octaves - the theme of the underwater kingdom in “Sadko”) In such themes, expressiveness comes to the fore , first of all, modal features, as well as RHYTHMIC, TIMBRO-REGISTER, DYNAMIC, ARTICULATIVE, etc.
Often, the melodic pattern is WAVE-SHAPED. The profile (outline) of the waves is not the same, and each has its own expressive preconditions (a wave with a longer rise and a short decline is the most stable and complete).
The regularities of the melodic pattern reveal the dependence between the height-spatial profile of the melodic and the time of development of its constructions. The more direct the melodic rises and falls are, the more laconic the phases of melodic development are (for example, in the two initial melodic phrases of Chopin’s Prelude in B Minor), the more flat and sinuous the melodic profile is, the longer the stages of melodic development are (the third phrase of Chopin’s Prelude in B Minor, melody of his own Prelude in E minor).
The climax in the melody has important formative significance. Climax is understood PROCESSALLY, AS THE MOST STRESSED MOMENT REACHED IN THE PROCESS OF DEVELOPMENT. Due to the great diversity of the nature of music, the intensity of expression in culminations varies widely and depends on a number of circumstances. The climax does not always coincide with the concept of melodic peak. The peak (the source peak is one of the oldest types of melodic intonation) can be at the beginning of the melody, but the culmination is a procedural and dramatic concept.
The degree of tension of the climax depends on the MODE VALUE of the sound, or several sounds (there are climaxes of the “point” and climaxes of the “zone.”). Climaxes on unstable sounds are characterized by a greater degree of tension. The LOCATION of the climax is also important. The climaxes on the verge of the third-fourth quarter of the temporal structure (similar to the spatial “golden section point”) have the greatest spatio-temporal balance. Climaxes at the very end have an ecstatic imbalance and are quite rare. The degree of tension also depends on the melodic method of achieving it (progressive or jumping): Climaxes taken by jumping are similar to a “bright, short-term FLASH”, ACHIEVED IN FORWARD MOVEMENT are distinguished by greater “strength” of expression. And finally, the degree of tension depends on the response (resonance) of other expressive means (harmony, texture, rhythm, dynamics). There can be several melodic climaxes, then their own line of relationships develops between them.
The relationship of a melody with other means of musical expressiveness is ambiguous and depends not only on its intonation and rhythmic side, but also on the musical STORAGE (the principle of organizing the musical fabric) and the musical image itself (more specific or multifaceted). MELODY can DOMINATE, MANAGING OTHER EXPRESSIVE MEANS, SUBJECTING THEM TO ITSELF, it can itself grow out of HARMONY - BE ITS “DIAGONAL” PROJECTION, a more independent and “autonomous” development of melody and other expressive means is possible, which, as a rule, is characteristic of complex, multifaceted images , intense (for example, a diatonic melody has a tense-chromatic harmonization, or a modally dynamic melody unfolds for a long time against the background of a harmonic ostinato).
The formative role of melody is difficult to overestimate. Intonationally the most concentrated, the melody has enormous impact. All changes occurring in the melody, or its immutability, make the flow of musical time very convex.
HARMONY
The broad meaning of this word means the deepest internal consistency and proportionality, extending from the cosmic movement of the planets to harmonious coexistence, proportionality of combination, including musical sounds in consonance.
In music, HARMONY is also considered a more specific phenomenon - the science of consonances (chords) and their relationships with each other. The formation of harmony was no less a long historical process than the formation of melodic modes; from the depths of melodic polyphony, harmony is born, which in the relationship of consonances is based on modal gravity.
There are two sides to harmony: PHONIC (STRUCTURE OF CONSONANCE AND ITS CONTEXTUAL IMPLEMENTATION) and FUNCTIONAL (relationships of consonances with each other, unfolded in time).
The PHONIC side depends not only on the STRUCTURE of the consonance, but on its register, timbre, dynamic embodiment, location, melodic position, doublings, as a result of which the expressive role of even the same consonance is infinitely varied. The more complex the consonance in terms of the number of sounds, the structure of the consonance, the MORE SIGNIFICANT IS THE ROLE OF THE FACTORS LISTED ABOVE. It is known that acute dissonance SOFTENS with register distance of dissonant sounds. A twelve-voice CLUSTER within one octave gives the impression of a united sound “SPOT”, and three seventh chords, or four triads, spaced in different registers – a feeling of POLYHARMONY.
The FUNCTIONAL side has an important FORM-GENERATING significance, creating, thanks to the gravity of consonances, a feeling of real continuity of time, and harmonic CADENCES create the deepest CAESURES, marking its dismemberment. The formative role of the functional side of harmony is not limited to harmonic turns (their length can be different), but continues in the tonal plane of the work, where the relationships of tonalities form FUNCTIONS OF A HIGHER ORDER.
The phonic and functional sides have a feedback: the complication of the phonic side weakens the CLARITY of the functional side, which to a certain extent can be compensated by other means of expressiveness (rhythmic, timbre, dynamic, articulatory) that support the SIMILARITY of functional connections or subordinate the consonance to the melodic direction of movement..
WAREHOUSE AND INVOICE
Texture - otherwise, musical fabric, can have both generalized and CONTEXTUAL meaning. Texture is closely related to musical structure and the fundamental coordination of musical means.
The earliest of the main musical structures is MONODY (one-voice), in which intonation, rhythmic, timbre and dynamic characteristics exist as an inseparable whole.
Polyphony has been formed from monody for a long time historically and in it the prerequisites are created for the emergence of different musical styles - both polyphonic and homophonic-harmonic. HETEROPHONY (subvocal warehouse) precedes POLYPHONY, and BOURDON'S TWO- AND THREE-VOICES IS A HOMOPHONIC-HARMONIC WAREHOUSE.
IN HETEROPHONY, heterophony arises EPISODICALY, FROM DIFFERENT VARIANTS OF ONE melodic voice, which is completely natural for the music of the oral tradition. Bourdon polyphony presupposes sharp differences between different layers: a long-lasting sound or consonance (instrumental, bagpipe origin), against the background of which a more mobile MELODIC VOICE unfolds.
The very principle of MULTIFUNCTIONALITY is, of course, the forerunner of the homophonic warehouse. Ribbon two-voice also foreshadows polyphony, although both voices have the same melodic meaning (ribbon two-voice is the DOUBLE of the melodic voice initially in the same interval, initially in perfect consonance, later categorically banished by the norms of later polyphony) Later, freer and more varied doublings occur ( dubbing at variable intervals), which gives the voices somewhat greater independence, although it preserves their general MELODIC nature. In folk music, much earlier than in professional music, the CANON arises, a two-voice or three-voice performance of the same melody, starting at the same time. Later, the canon (the basis of IMITATION POLYPHONY) becomes one of important factors development in professional music.
POLYPHONY – polyphony of melodically equal voices. In polyphony (another name is COUNTERPOINT in the broad sense of the word), the functions of voices at the same time are DIFFERENT. There is a function of a MAIN voice and a COUNTERPOINT, or COUNTERPOINTS (depending on the number of voices). The equality and independence of voices is ensured by the transition of these functions from voice to voice (circulation), as well as by MUTUALLY COMPLEMENTARY RHYTHMICS, INDIVIDUALIZING MOVEMENT (rhythmic inhibition in one of the voices is compensated by the rhythmic activity of the others, which on the one hand enhances the independence of each line, and on the other - enhances time-measuring regularity of the metrhythm). The polyphonic texture is distinguished by intonation unity and a special “democratic” relationship of voices (due to the looseness of functions, their constant movement from voice to voice), evokes associations with conversation, communication, discussion of a topic, free movement-walk.
In mature polyphony, the important dynamic formative role of HARMONY crystallizes, activating the development of INDEPENDENT MELODIC VOICES.
HOMOPHONIC-HARMONIC WAREHOUSE is a polyphony of MULTIFUNCTIONAL (i.e., unequal voices). THE FUNCTION OF THE MAIN VOICE - MELODY - IS CONSTANTLY (or for a long time) ASSIGNED TO ONE OF THE VOICES (most often the upper one, sometimes the lower one, less often the middle one). ACCOMPANYING VOICES ARE FUNCTIONALLY DIFFERENTIATED - this is the function of BASS, harmonic support, “foundation”, like the melody, highlighted in register and rhythm, and the function of HARMONIC FILLING, as a rule, having the most diverse rhythmic and register embodiment. The homophonic texture is somewhat similar to the coordination of a ballet stage: in the foreground there is a soloist (melody), deeper - the corps de ballet - where there is a corps de ballet soloist (bass) performing a more complex, significant part, and corps de ballet dancers (harmonic filling) - (different characters , whose costumes and roles change in different acts of the ballet). Homophonic texture is strictly coordinated and functionally differentiated, in contrast to polyphonic texture.
Both in polyphonic and homophonic texture DUPLICATIONS are often encountered (most often - doublings at one or another interval, simultaneous or sequential). In polyphonic music, duplications are more typical for organ music (mostly achieved by turning on the appropriate register); in clavier music they are more rare. In homophonic music, duplications are more widespread in relation to individual textural functions or cover all functions. This is especially typical of orchestral music, although it is widespread in piano and ensemble music as well.
The CHORD warehouse is most accurately classified as intermediate. It is similar to polyphony due to the identical nature of the voices (harmonic), and to homophonic - the function of the bass, harmonic support. But in the chord structure, all voices move in the same rhythm (isorhythmic), which, along with the register compactness of the voices, does not allow the UPPER VOICE to BECOME THE MAIN VOICE (melody). The votes are equal, but this is the equality of marching in formation. In the chord structure there are also duplications: most often, the bass, which enhances its function, or duplications of all voices. The expressiveness of such music is distinguished by great restraint, severity, and sometimes asceticism. From the chord structure there is an easy transition to the homophonic-harmonic one - a sufficiently rhythmic individualization of the UPPER VOICE (see, for example, the beginning of the slow movement from Beethoven's 4th sonata).
Musical structures very often interact with each other, both sequentially and SIMULTANEOUSLY. This is how MIXED WAREHOUSES or COMPLEX POLYVOICES are formed. This can be the interaction of homophonic-harmonic and polyphonic warehouses (enrichment of the homophonic warehouse with counterpoint functions of one kind or another, or a polyphonic form unfolding against the background of homophonic accompaniment), but also the combination of several different musical warehouses in a textural context.
The formative role of texture has significant potential for creating both cohesion, unity, and dismemberment of music. In classical and romantic music, the formative role of texture is manifested, as a rule, in close-up, to create unity and contrasts of large sections of form and parts of cycles. . The expressive meaning of changes in short constructions, widespread in classical and romantic music, have an expressive rather than a formative meaning, emphasizing the versatility of the image. Significant changes in the formative role of texture in the process of historical development, perhaps, did not occur.
TEMPO, TIMBRE, DYNAMICS.
TEMP in music has strong psychophysiological life roots, and therefore has a great direct impact. Its formative role, as a rule, is manifested in a close-up, in the relationship of parts of cyclic works, often typified and regularly organized in terms of tempo (for example, in a classical symphonic cycle, a concert for solo instruments with orchestra, a baroque orchestral concert). For the most part, fast tempos are associated with movement, action, and slow tempos are associated with meditation, reflection, and contemplation.
Most cyclic works of baroque and classical music are characterized by tempo stability within each movement. Occurring episodic tempo changes have an expressive meaning, giving lively flexibility to the flow of music.
The expressive and formative role of TIMBRE and DYNAMICS HAS BEEN HISTORICALLY VARIABLE. In these means, which also have a direct and strong impact, the inverse relationship between their expressive and formative roles is clearly manifested. THE MORE DIVERSE THE EXPRESSIVE APPLICATION IS, THE LESS SIGNIFICANT IS THEIR FORM-BUILDING ROLE.
Thus, in Baroque music, orchestral compositions are very diverse and unstable. In the development of the timbre side, essentially ONE PRINCIPLE dominates: THE COMPARISON OF THE SOUNDS OF TUTTI (the sound of the entire orchestra) and SOLO (individual or group), the shifts of which coincided with the large relief of the musical form. These changes are also associated with DYNAMIC comparisons: louder sonority in tutti, and quieter sonority in solo. We can say that all Baroque orchestral music, in terms of dynamics and sonority, repeats the timbral and dynamic capabilities of the CLAVIER, which had the ability to create only TWO TIMBRAL and DYNAMIC GRADES due to the design features of this group of keyboard instruments, although the dynamic capabilities of string and wind instruments are much more diverse. Thus, changes in timbres and dynamics are of significant importance in shaping.
In classical and romantic music, the EXPRESSIVE side of these means, of course, PREMIUMS, characterized by enormous diversity and changeability, while the FORMING side LOSES any noticeable significance. The leading formative role in the music of that time belongs to individualized thematicism and tonal-harmonic plan.
In the process of historical development, a general TENDENCY OF INDIVIDUALIZATION is manifested in almost all means of expression.
In the field of mode-melodic, it begins in the 19th century (whole tone mode, Rimsky-Korsakov mode). In the twentieth century, the trend intensifies. It can rely on various interactions of the traditional mode-tonal system (as, for example, in the music of Hindemith, Prokofiev, Shostakovich and many other composers of the twentieth century, whose music is distinguished by its unique individuality). The tendency to individualization finds its extreme expression in dodecaphonic and serial music, where modal melodic phenomena acquire a CONTEXTUAL CHARACTER, LOSSING THE UNIVERSALITY of possibilities. The metaphorical connection between LANGUAGE and MUSIC (music is a language whose words are formed in context) can be continued (in dodecaphonic and serial music, not words, but LETTERS are formed in context). Similar processes occur in harmony, where both the consonances themselves and their connections with each other have a CONTEXTUAL (single, “disposable”) meaning. The flip side of uniqueness is the loss of universality.
Significant individualization in the music of the twentieth century is also manifested in METRORITHM. The influence of non-European musical cultures and the author's ingenuity are evident here (Messiaen, Xenakis). In many works by various composers, the traditional notation of metrhythm is abandoned, and the HRONOS line is added to the score, measuring time in real physical units: seconds and minutes. The timbre and texture parameters of the music are significantly updated. The patterns and properties of time (its unity and dismemberment) remain the same. The rejection of traditional pitch and meter-rhythmic organization leads to an increase in the formative role of such means as timbre and dynamics. It was in the twentieth century that the formative role of timbre and dynamics became truly independent in some works by Lutosławski, Penderecki, Schnittke, Serocki and others. Although the formative capabilities of these means are less diverse, flexible and universal than traditional ones (in the broad sense of the word), they cope with the task of embodying the essential properties of time - its unity and discreteness.
Means of musical expression always complement each other. However, the structure of this complementarity can be different, depending on the nature of the musical image, more clear, integral, definite, or multifaceted, more complex. Given a certain nature of music, as a rule, the structure of complementarity can be conditionally called MONOLITHIC or RESONATING. When in music there is a kind of “stratification” of expressive means into several layers-plans, the structure of mutual complementarity can be called MULTIPLANE, DETAILING, DIFFERENTIATING. So, for example. In Chopin's Prelude in E minor, the repeatedly repeated melodic intonation is accompanied by a steadily pulsating, chromatically rich harmony, in which many suspensions pass from voice to voice, creating considerable tension. Often, music contains signs of several genres at the same time. So, for example, in the same Chopin the genre characteristics of the chorale are combined with the characteristics of the march and barcarolle; genre combination of march and lullaby. A chromatically rich melody can sound against the background of a harmonic ostinato, or with an invariably repeated melody, harmonic variation occurs. Detailed complementarity is found both in baroque music (most of all in ostinato variations) and in classical music, increasing quantitatively in romantic and later music. But even in the music of the twentieth century, monolithic complementarity does not disappear. It is worth recalling once again that everything depends on the degree of clarity or complex diversity of the musical image.
PERIOD
Period is one of the most flexible, universal, diverse musical forms. The word period (cycle, circle) suggests some completeness or internal unity.
This word comes to music from literature, where it means a common statement, similar to a paragraph of printed text. Literary paragraphs can be concise or detailed, consisting of one or more sentences, simple or complex, with varying degrees of completeness. We find the same diversity in music.
Due to the significant diversity in the structure of the period, it is difficult to give it anything other than a FUNCTIONAL definition in homophonic music.
THE PERIOD has developed as a TYPICAL FORM OF PRESENTATION OF A HOMOPHONE THEME, OR ITS MAIN INITIAL STAGE.
In the historical development of music, not only the intonation side and the genre origins of the musical theme changed, but, what is much more significant, the material side of the theme (its WAREHOUSE, EXTENT). In polyphonic music, the presentation of the THEME is, as a rule, ONE-VOICE and, often, LACONIC. The PERIOD OF DEVELOPMENT TYPE, widespread in Baroque music, represents a long stage of inventive variant development and varying degrees of completion of the previously outlined BRIEF POLYPHONIC THEME. Such a period often tends towards unity or disproportionate dismemberment, towards tonal-harmonic openness. Of course, in the music of Bach and Handel there are periods of another type: short, of two equal sentences, often starting the same way (in suites and partitas, for example). But there are much fewer such periods. In homophonic music, a period is a presentation of the entire theme or its main first section.
The basis of the period is the HARMONIC SIDE, from which flow the STRUCTURAL and THEMATIC SIDE. The RHYTHMIC SIDE is quite independent from the above.
From the HARMONIC SIDE, what is important is the tonal plan (the SINGLE-TONE or MODULATING period) and the degree of completeness (CLOSED - with a stable cadence, and OPEN - with an unstable, or without cadence). Large parts of a period that have a harmonic cadence are called SENTENCES, which determines the next, STRUCTURAL SIDE. If there are several sentences in a period, then the cadences in them are often different. There are many options for their relationships and degrees of difference. The same cadences are less common in musically different sentences (exact repetition of a period DOES NOT FORM). IN CLASSICAL MUSIC, BUILDINGS ARE NOT REPEATED FOR LESS THAN A PERIOD. A period often has a designated or written (usually modified) repetition. Repetition organizes the rhythmic aspect of music (periodicity) and organizes perception.
STRUCTURALLY there are periods. INDIVISIBLE INTO SENTENCES. It is quite appropriate to call them PERIOD-SENTENCE, SINCE THE HARMONIC CADENCE IS AT THE END. The name CONTINUOUS PERIOD is WORSE, since within such a period there may be clear and deep caesuras that are not supported by harmonic cadences (the main part of Haydn's E-flat major sonata, for example). Periods of TWO SENTENCES are common. They can be simple and COMPLEX. In a complex period there are two stable cadences in DIFFERENT KEYS. There are also simple periods of THREE SENTENCES. If there are several sentences, the question arises about their THEMATIC RELATIONSHIP.
IN THE THEMATICAL PLAN, PERIODS CAN BE REPEATEDLY RELATED (simple and complex periods of two sentences, periods of three sentences). In them, the sentences begin in the same way, it seems, or CONSEQUENTLY (same beginnings in DIFFERENT KEYS, sequence at a distance). The tonal relationships of two sentences are already very diverse in classical music. In further historical development they become even more diverse and complex. Simple periods of two and three sentences can be of NON-REPEATED THEMATIC RELATIONSHIP (their beginnings do not have obvious similarities, especially melodic ones). PARTIALLY REPEATED RELATIONSHIP can only be periods of THREE SENTENCES (similar beginnings in two out of three sentences - 1-2, 2-3, 1-3).
The RHYTHMIC SIDE of the period is not so directly related to the three sides discussed earlier. SQUARE (degrees of number 2 – 4, 8. 16, 32, 64 bars) creates a feeling of proportionality, balance, strict proportionality. NON-SQUARE (other extensions) – greater freedom, effectiveness. Within a period, the functional triad unfolds repeatedly and unregulatedly. The intensity of manifestation of formative forces depends, first of all, on the nature of the music.
SQUARE and NON-SQUARE are formed depending on TWO REASONS - THE NATURE OF THEMATISM (often ORGANICALLY NON-SQUARE) and THE INTENSITY OF THE DISPLAY OF FORM-BUILDING FORCES. ACTIVATION OF CENTRIFUGAL FORCE causes EXPANSION (development that occurs before a stable cadence), followed by possible activation of CENTRIPETAL FORCE, causing ADDENDUM (affirmation of achieved stability after cadence). These phenomena (addition, expansion), seemingly clearly demarcated, are often closely intertwined with each other. Thus, expansion is not always balanced by addition. Sometimes an extension occurs within an addition that has already begun (see, for example, the main part of the finale of Beethoven's "Pathetique" sonata). The addition may be interrupted before a stable ending (the end of the first section of Chopin's Nocturne in F major). This is typical both for individual means of expression and for music in general. VARIABILITY OF FUNCTIONS.
In classical instrumental music, the period does not occur as an independent form (occasionally you can find the period as the form of a small aria). In romantic and later music, the genre of instrumental and vocal MINIATURE (preludes, album leaves, various dances, etc.) is widespread. In them, the period is often used as an independent form (sometimes it is called a SINGLE-PART form). Preserving all the diversity of structural, thematic and rhythmic aspects, in tonal-harmonic terms the period becomes monotonal and complete, practically without exception (although internal tonal-harmonic development can be intense and complex - in Scriabin and Prokofiev, for example). In a period as an independent form, the length of expansions and additions can increase significantly. In additions, moments of reprisal often arise. In predominantly vocal music, instrumental introductions and postlude codas are possible.
The universal flexibility of the form of the period is confirmed by the frequent presence in it of signs of other, larger musical forms: two-part, three-part, sonata exposition, signs of rondo-likeness, sonata form without development. These signs are already found in classical music and intensify in later music (see, for example, Chopin’s Nocturne in E minor, his Prelude in B minor, Lyadov’s Prelude op. 11, Prokofiev’s Fleetness No. 1)
The diversity in the structure of the period is due to the DIFFERENT SOURCES OF ITS ORIGIN AND THEIR INTERACTION WITH EACH OTHER. It is worth recalling that one of them is the POLYPHONIC PERIOD OF THE DEPLOYMENT TYPE with its tendency towards unity or disproportionate dismemberment, tonal-harmonic openness, and the intensity of variant development. The other is the STRUCTURES OF FOLK MUSIC with their clarity and simplicity of thematic and rhythmic relationships.
SIMPLE FORMS.
This is the name of a large and diverse group of forms consisting of several parts (usually two or three). They are united by a similar function (impulse for the form as a whole) and the form of 1 part (the period of a particular structure). Next comes the stage of THEMATIC DEVELOPMENT and completion, expressed in one way or another.
In simple forms there are ALL TYPES OF DEVELOPMENT (VARIANT, VARIANT-CONTINUING, CONTINUING). Often, sections of simple forms are repeated exactly or varied. Forms with CONTINUING development should be called TWO-THEMIC.
The diversity in the structure of simple forms is due to the same reasons as the diversity of the structure of the period (different sources of origin: forms of baroque polyphony and structures of folk music).
It can be assumed that the varieties of the simple two-part form are somewhat “older” than the three-part form, so we will consider them first.
Of the three varieties of the simple two-piece form, one is closest to the ancient two-piece form. THIS IS A SIMPLE TWO-PART SINGLE TOPIC WITHOUT REPRISE FORM. In it, the first part very often happens to be a MODULATING (usually in the dominant direction) period (in this there is an undoubted similarity with the 1st part of the OLD TWO-PART form, and the 2nd part gives its variant development, ending in the MAIN TONE. As in the ancient two-part form, in the 2nd part, the DEVELOPMENT function is expressed more clearly, and, often, longer than the COMPLETION function, manifested in TONAL CLOSEDNESS. Another proposed model of a SIMPLE TWO-THEMIC NON-REPRISE FORM is a period of two sentences of non-repetitive thematic correlation, where the 2nd sentence also performs the DEVELOPMENT function in relation. to 1 (development is usually VARIANT). The ratio of the length of parts both in the ancient two-part and in the two-part single-theme homophonic two-part form can be different: there are equal proportions, but often the 2nd part is greater than 1, sometimes significantly. The functional ratio of the parts is as follows. : 1 hour –I, 2 –MT.
Two other varieties of the simple two-part form have roots in FOLK MUSIC.
SIMPLE TWO-PART TWO-THEMIC FORM is based on the principle of simple comparison, on the principle of CONTRASTING PAIRING, very typical for folk art (song - dance, solo - choral). A prototype of such a form can also serve as one of the syntactic structures - a pair of periodicities. The semantic relationship of two themes can have three options: DIFFERENT EQUAL (the main part of the 1st part of the 12th piano sonata by Mozart/K-332/; MAIN - COMPLEMENTARY (chorus - chorus) - (the theme of the finale of Beethoven's 25th sonata); OPENING - MAIN (MAIN PARTY OF THE FINAL 12 SONATAS by Mozart /K-332/). It is in this type of form that the 2nd movement is often written in the form of a period, since CONTINUING development is the EXECUTION OF A NEW THEME, and the period is the most typical form for this. Thus, the function of development and completion (mt) is veiled by the function of PRESENTING a new topic (I). The length of topics can be the same or different.
A SIMPLE TWO-PART REPRISE form is distinguished by FUNCTIONAL COMPLETENESS and DEGREEMENT, RHYTHMIC PROPORTIONALITY, which is very important in this variety. 1 part in it, as a rule, is a period of 2 sentences (often modulating, repeated or non-repeated ratio of equally extended sentences). Part 2 is divided into two sections: MIDDLE (M), equal in length to one sentence, and REPRISE (t), repeating exactly or with changes one of the sentences of part 1. IN THE MIDDLE, VARIANT or VARIANT-CONTINUING development of 1 part most often occurs, usually without a stable ending. Changes in the REPRISE can be either purely harmonic (an exact repetition is impossible, and 1 sentence is due to an unstable cadence, and 2 - due to modulation), or more significant and varied (in the 1st section of the slow movement of the 1st Beethoven sonata, for example). In REPRISE, extensions and additions are quite rare, since the balance of proportions typical of this variety is disrupted (see, for example, the slow movement of Haydn’s sonata in E flat major, Scriabin’s prelude op. 11 no. 10). Due to the short length of the MIDDLE, continued development and deep contrast in it are very rare (see, for example, 11 Prokofiev’s Fleetness).
It can be assumed that from a SIMPLE TWO-PART REPRISE FORM, A SIMPLE THREE-PART FORM “GROWS”.
IN THE SIMPLE THREE-PART FORM there are also DIFFERENT TYPES OF DEVELOPMENT. It can be SINGLE TOPIC (with variant development in part 2 - THE MIDDLE), TWO TOPIC (with continuing development), and with MIXED development (with variant-continuing, or successive continuing and variant, in one order or another.
A significant difference from the simple two-part reprise form is the LENGTH OF THE MIDDLE. It is not less than 1 movement, and sometimes more than it (see, for example, 1 section of the Scherzo from Beethoven's 2nd sonata). The middle of a simple three-part form is characterized by a significant increase in tonal-harmonic instability and openness. There are often connections that are precursors to a reprise. Even in the two-themed three-part form (with continuing development), a new theme is rarely presented in period form (see, for example, Chopin's A-flat major mazurka op. 24 no. 1). A rare exception is Chopin's Mazurka in G minor op.67 No. 2, where the 2nd movement is a theme in the form of a period. After this repeated theme there is an extended monophonic link to the reprise.
Reprises can be divided into two types: EXACT and CHANGED. The range of changes encountered is very wide. DYNAMIC (or DYNAMIZED) can only be considered those modified reprises in which the tone of expression and tension increases (see, for example, the reprise of the 1st section of the minuet from Beethoven’s 1st sonata). The tension of expression may also decrease (see, for example, the reprise of the 1st section of Allegretto from Beethoven’s 6th sonata). In the changed reprises, it is necessary to talk about the nature of the changes that have occurred, since the semantic meaning of the reprises is broad and ambiguous. In modified reprises, the centrifugal force retains and is active, therefore the completion function (T), associated with the activation of the centripetal force, continues in the SUPPLEMENT or CODE (their meaning is the same, but the code is distinguished by greater semantic significance, independence and extension).
In addition to varieties of simple two-part and three-part forms, there are forms similar to one or the other, but not coinciding with them. For them, it is advisable to use the one proposed by Yu.N. Kholopov's name: SIMPLE REPRISE FORM. In this form, the middle is equal to half of 1 part (as in SIMPLE TWO-PART REPRISE FORM), and the reprise is equal to 1 part or more. This form is often found in the music of classics and romantics (see, for example, the theme of the finale of Haydn’s sonata in D major No. 7, 1 and 2 minuets from Mozart’s sonata No. 4 /K-282/, 1 section of Chopin’s mazurka op. 6 No. 1) . There are also several other options. The middle may be more than half of the 1st movement, but less than the entire 1st movement, while the reprise contains an intense expansion - the 2nd movement of Beethoven's 4th sonata. The middle is as in two-part form, and the reprise is extended almost to the length of the 1st movement - Largo appassionato from Beethoven's 2nd sonata.
In simple forms, repetitions of parts, exact and varied, are widespread (precise are more typical for moving music, and varied for lyrical music). In two-part forms, each part can be repeated, only 1, only 2, both together. Repetitions in the three-part form indirectly confirm its origin from the reprise two-part form. The most common repetitions of parts are repeating 1 and 2-3 together, repeating only 1 part, only 2-3 together. Repeating the entire form. Repeating each part of a three-part form, only 2 parts (Mazurka in G minor by Chopin op. 67 No. 2), or only 3 parts – occurs VERY RARE.
Already in classical music, simple forms are used both as independent forms and as forms of developed presentation of themes and sections in others (in complex forms, variations, rondo, sonata form, rondo-sonata). In the historical development of music, simple forms retain both meanings, although due to the spread of the MINIATURE genre in instrumental and vocal music of the 19th–20th centuries, their independent use increases.
COMPLEX FORMS
This is the name for forms in which 1 section is written in one of the simple forms, followed by another stage of thematic development and completion, expressed in one way or another. The second part in complex forms, as a rule, sharply contrasts 1. and the thematic development in it is usually CONTINUING.
The prevalence of simple forms (two-part, three-part, simple reprise) is approximately the same, which cannot be said about complex forms. Thus, COMPLEX TWO-PART FORM is quite rare, especially in instrumental music. Examples of complex two-part forms in vocal-instrumental music are far from indisputable. In the duet of Zerlina and Don Giovanni, the first section, repeated in verses, is written in a simple reprise form, while the second section is undoubtedly an expanded coda. The function of the coda is also obvious in the second part of Don Basilio’s aria about slander from Rossini’s opera The Barber of Seville. In Ruslan’s aria from Glinka’s opera “Ruslan and Lyudmila” in the 1st part, the function of the introduction is noticeable, since the next section of the aria (Dai, Perun, damask sword) is much more complex and lengthy (a rare sonata form for vocal music without development).
A striking example of a complex two-part form in instrumental music is Chopin's Nocturne in G minor op.15 no.3. The first section is a simple two-part, one-topic, non-reprise form. Its first period is of considerable length. The character is lyrical and melancholic, the signs of the serenade genre are noticeable. In the second part, intensive tonal-harmonic development begins, lyrical excitement increases, and expressive tone increases. A brief attenuation of the dynamics leads to the repetition of one sound in the deep bass register, which serves as a transition to the SECOND PART OF A COMPLEX TWO-PART FORM. Also written in a simple two-part, one-subject, non-reprise form, it contrasts strongly with the first part. The music is closest to a chorale, but not harshly ascetic, but light, softened by a three-part meter. This two-part form is tonally independent (alternating F major - D minor), modulation to G minor occurs in the last bars of the work. The correlation of images turns out to be the same as one of the variants of the correlation of themes in a simple two-part two-theme form - DIFFERENT - EQUAL.
COMPLEX TRIPLE FORM is extremely widespread in music. Its two varieties, differing in the STRUCTURE OF THE SECOND PART, HAVE DIFFERENT GENRE ROOTS IN Baroque MUSIC.
The complex technical part form with TRIO comes from the double insert (mainly gavotte, minuet) dances of the ancient suite, where at the end of the second dance there was an instruction to repeat the first dance. In a complex three-part form, unlike a suite, the trio introduces a modal tonal contrast, often supported by timbre-register and rhythmic contrast. The most typical tonalities of the trio are the SAME AND SUBDOMINATORAL TONALS, so CHANGES OF KEY SIGNS often occur. Verbal designations (TRIO, MAGGORE, MINORE) are also common. TRIO is distinguished not only by its thematic and tonal independence, but also by its CLOSED STRUCTURE (PERIOD, OR, MORE FREQUENTLY, ONE OF THE SIMPLE FORMS, often with repetition of parts). When there is a tonal contrast in the trio, after it there may be a modulating link to the REPRISE, which is introduced more smoothly. The complex three-part form with a trio is more typical for moving music (minuets, scherzos, marches, other dances), less common in lyrical music, slow movement (see, for example, the 2nd movement of Mozart’s piano sonata in C major, K-330). “Remnants” of the Baroque can be found in some works of the classics (two minuets in Mozart’s piano sonata in E-flat major, K-282, Haydn’s sonata for violin and piano in G major No. 5).
THE COMPLEX TRIPLE FORM WITH AN EPISODE comes from the ancient Italian aria da capo, in which the second part, as a rule, was distinguished by much greater instability and changeability of moods. The reprise of such an aria was always filled with variational improvisational changes in the soloist's part.
A complex three-part form with an EPISODE, which at the beginning, as a rule, relies on independent thematic material (continuing development), in the process of its unfolding often involves the development of the thematic material of part 1 (see, for example, part 2 of Beethoven’s Fourth Piano Sonata).
The EPISODE, unlike the TRIO, is OPEN tonally, harmoniously and structurally. The episode is introduced more smoothly, being prepared by a link, or starting in a closely related key (parallel). A complete typical structure is not formed in the episode, but a modulating period may occur at the beginning of the episode). The complex three-part form with an episode is more typical of lyrical music, although in Chopin, for example, it is also found in dance genres.
REPRISES, as in simple forms, are of two types - EXACT and CHANGED. Changes can be very varied. Abbreviated reprises are very common, when one initial period is repeated from part 1, or the developing and reprise sections of a simple form. In a complex three-part form with a trio, both exact reprises and abbreviated ones are often INDICATED. Of course, in the complex three-part form with a trio there are modified reprises (variation is more common than other changes), they, i.e., modified reprises) are more common in the complex three-part form with an EPISODE. In classical music, dynamic reprises are less common in complex tripartite form than in simple tripartite form (see the previous example from Beethoven's Fourth Sonata). Dynamization can extend to the coda (see, for example, Largo from Beethoven's Second Sonata). In a complex three-part form with an episode, the codes, as a rule, are more developed, and in them there is an interaction of contrasting images, when, as in a complex three-part form with a trio, contrasting images are compared, and the codes, usually very laconic, are reminiscent of the music of the trio.
A mixture of the features of a trio and an episode is already found in the Viennese classics. Thus, in the slow movement of Haydn’s grand sonata in E-flat major, the second movement contrasts brightly, like a trio ( eponymous key, a relief textural-register contrast, a clearly outlined simple two-part reprisal form, harmoniously opened at the very end). Intonation-thematically, the theme of this section is a modal and new in texture version of the theme of the first part. It happens that when repeating parts of a standard trio form, variant changes are introduced that turn the repeated section into a bunch (see, for example, the scherzo from Beethoven’s Third Piano Sonata). In the music of the 19th and 20th centuries one can also find a complex three-part form with a trio, an episode, and a mixture of their structural features.
Strictly speaking, complex forms should be considered only those in which not only 1 part is one of the simple forms, but also 2 the second does not go beyond the scope of simple forms. Where the second section is larger and more complex, it is more appropriate to talk about a LARGE TRIPLE PART, SINCE THE FORM FORMATION IN THEM IS MORE INDIVIDUAL AND FREE (Scherzo from Beethoven's Ninth Symphony, Chopin's Scherzo, Overture to Wagner's Tannhäuser, Taneyev's Minuet).
Repetitions of parts of complex forms, similar to repetitions in simple forms, are not so common, but they can be either exact or modified (usually varied). If changes during repetition go beyond the scope of variation, affecting the tonal plane, and (or) length, DOUBLE FORMS are formed (examples of double forms can be Chopin's Nocturnes op. 27 No. 2 - a simple double three-part form with a coda, op. 37 No. 2 - complex double three-part form with episode). In double forms there are always signs of other forms.
In addition to simple and complex forms, there are also INTERMEDIATE IN DEGREE OF COMPLEXITY forms. In them, the first part is a period, as in simple forms, and the next section is written in one of the simple forms. It should be noted that the TWO-PART FORM, INTERMEDIATE between COMPLEX AND SIMPLE, is found more often than the complex two-part form (see, for example, Balakirev’s romance “Bring me in, O night, secretly,” Chopin’s Mazurka in B minor No. 19 op. 30 No. 2). The three-part form, intermediate between simple and complex, is also quite common (Musical Moment in F minor by Schubert op.94 no. 3, for example). If the middle section in it is written in a simple three-part or simple reprise form, tangible features of symmetry appear, adding special completeness and beauty (see, for example, Chopin's Mazurka in A minor No. 11 op. 17 No. 2).
VARIATIONS
Variations are one of the most ancient musical forms in origin. Different types of variations developed in the 16th century. However, the further historical development of some types of variations was uneven. Thus, in the late Baroque era there are practically no variations on soprano ostinato, and ornamental variations are quantitatively inferior to variations on basso ostinato. In classical music, ornamental variations quantitatively predominate, almost completely replacing variations on basso ostinato (certain features of variations on basso ostinato are noticeable in Beethoven’s 32 variations and his 15 variations with fugue.). Variations on soprano ostinato occupy a very modest place (the 2nd movement of the “Kaiser” of Haydn’s quartet, single variations within many ornamental cycles, a group of three variations in Beethoven’s 32 variations), or interact with other principles of formation (the 2nd movement of Beethoven’s Seventh Symphony).
In the depths of ornamental variations, the traits of the free ones, widely represented in romantic music, “ripen.” Free variations, however, do not displace other types of variations from artistic practice. In the 19th century, soprano ostinato variations experienced a real flourishing, especially in Russian operatic music. Towards the end of the 19th century, there was a revival of interest in variations on the basso ostinato, which continued into the 20th century. The genres of chaconne and passacaglia acquire an ethically deep meaning of expressing generalized grief.
The themes of the variations, according to their origin, can be divided into two groups: those of the author and those borrowed from folk or popular music (there are also auto-borrowings, as exemplified by the 15 variations with Beethoven’s fugue).
The expressiveness of variation cycles is based on the dynamics of the relationship between the UNCHANGING and the RENEWING, in connection with which the concept of INVARIANT (unchangeable in the process of variation) should be introduced. An invariant, as a rule, includes constant components that are preserved throughout all variations, and variables that are not preserved in some variations.
The “material” side of the musical theme is historically changeable. Therefore, different types of variations differ from each other in THE STRUCTURE OF THE THEME and THE COMPOSITION OF THE INVARIANT.
There is a kind of dialectical tension between the integrity of form and the cyclical features inherent in variations. Already by the 17th century, two different methods for completing variation cycles had developed. One of them is the PRINCIPLE OF CHANGE FOR THE LAST TIME, characteristic of folk art. In this case, in the last variation there is a sharp transformation of the invariant. The second one can be called “REPRISE CLOSURE”. It consists in returning the topic to its original form, or something close to it. In some variation cycles (Mozart's, for example), both methods are used at the end.
Let's start with the cycles of variations on the basso ostinato.
Often this type of variation is associated with the genres of passacaglia and chaconne - ancient dances of Spanish origin (however, in Couperin and Rameau these dances are not such variations at all, while in Handel the passacaglia from the keyboard suite in G minor is a variation of a mixed type, but it has nothing to do with this dance has due to its BILOBAL size). Variations on basso ostinato are found in vocal-instrumental and choral music without genre specifications, but in spirit and, most importantly, metrorhythmic to these genres.
The constant components of the invariant are the SOUND PITCH LINE of a short (not longer than a period, sometimes a sentence) monophonic or polyphonic theme, from which a bass line is taken as an ostinato repeat, extremely intonationally generalized, with a descending chromatic direction from degree I to V, the endings are more diverse.
THE FORM OF THE THEME is also a constant component of the invariant (until the last variation, which in organ passacaglia, for example, is often written in the form of a simple or complex fugue).
TON can be a constant component of an invariant (Bach's Chaconne from the partita for solo violin in D minor, Bach's organ passacaglia in C minor, Dido's second aria from Purcell's opera "Dido and Aeneas" and other examples), but it can also be a VARIABLE (Vitali's Chaconne, first aria Didos, organ passacaglia of Buxtehude in D minor, for example). HARMONY is a VARIABLE component, RHYTHM is also, as a rule, a variable component, although it can be constant (Dido’s first aria, for example).
The brevity of the theme and the polyphonic composition of the music contribute to the unification of variations into groups by certain intonation, texture, and rhythmic features. Contrasts form between these groups. The most striking contrast is introduced by the group of other mode variations. However, in a number of works there is no modal contrast even in large cycles (for example, in Bach’s organ passacaglia in C minor, in Dido’s first aria the contrast is tonal, but not modal).
VARIATIONS ON SOPRANO OSTINATO, as well as BASSO OSTINATO, in the CONSTANT COMPONENTS OF THE INVARIANT, have a MELODIC LINE and a FORM of the theme, which can be presented either monophonically or polyphonically. This type of variation is very strongly associated with the genre of the song, in connection with which the length and form of the theme can be very different, from very laconic to very detailed.
TONALITY can be a CONSTANT COMPONENT OF INVARIANT, but it can also be VARIABLE. HARMONY is more often a VARIABLE component.
It must be admitted that variations of this type are most common in opera music, where orchestral accompaniment has enormous potential to colorfully comment on the updated textual content of the repeated melody (Varlaam’s song from Mussorgsky’s opera Boris Godunov, Marfa’s aria from Khovanshchina, Lel’s third song from The Snow Maiden Rimsky-Korsakov, Volkhov’s lullaby from “Sadko”). Often, small cycles of such variations approach the verse-variation form (Vanya’s song “How the Mother Was Killed” from Glinka’s “Ivan Susanin”, the chorus of the boyar’s glorification from “Scene under Kromi” from “Boris Godunov”, etc.).
In instrumental music, such cycles, as a rule, include a small number of variations (Introduction to “Boris Godunov”, Intermezzo from “The Tsar’s Bride” by Rimsky Korsakov, for example). A rare exception is Ravel's "Bolero" - variations on a double ostinato: melody and rhythm.
Individual variations on soprano ostinato are often included in ornamental and free variations, as mentioned earlier, or interact with other formative principles (mentioned II movement from Beethoven's Seventh Symphony, II movement of Franck's Symphony in D minor, II movement of Rimsky's Scheherazade). Korsakov).
ORNAMENTAL VARIATIONS are based on a HOMOPHONE THEME, written, as a rule, in one of the simple forms, often with typical designated repetitions of parts. The object of variation can be the entire polyphonic whole, as well as individual aspects of the theme, harmony, for example, or melody. The melody is subject to the most varied methods of variation. We can distinguish 4 main types of melodic variation (ornamentation, chant, re-intonation and reduction), each of which can dominate throughout the whole variation or a significant part of it, and interact with each other sequentially or simultaneously.
ORNAMENTATION introduces a variety of melodic-melismatic changes, with abundant use of chromatics in whimsical rhythmic movement, making its appearance more refined and sophisticated.
CHANT “stretches” the melody into an extended smooth line in a motor or ostinato rhythmic pattern.
REINTONATION makes the most free changes in the intonation-rhythmic appearance of the melody.
REDUCTION “enlarges” and “straightens” the rhythmic intonation of the theme.
The interaction of different types of melodic variation creates endlessly varied possibilities of change.
The significantly greater length of the theme and, consequently, each variation contributes to the independence of each of them. Which does not at all exclude combining them into small (2-3 variations) groups. Noticeable genre contrasts arise in the ornamental variations. Thus, in many of Mozart’s variations there are usually arias of different types, duets, and finales. Beethoven has a more noticeable inclination towards instrumental genres (scherzo, march, minuet). Approximately in the middle of the cycle, the most striking contrast is introduced by the variation in the SAME MODE. In small cycles (4-5 variations) there may not be any modal contrast.
THE CONSTANT COMPONENTS OF INVARIANT are TONE and FORM. HARMONY, METER, TEMPO can only be constant components, but much more often they are VARIABLE components.
In some variation cycles, virtuoso-improvisational moments arise, cadences that change the length of individual variations, some become harmonically open, which, along with relief genre contrasts, comes close to free (characteristic) variations.
FREE VARIATIONS regarding themes are no different from ORNAMENTAL VARIATIONS. These are the same original or borrowed homophonic themes in one of the simpler forms. Free variations integrate the trends of ornamental variations and variations on the basso ostinato. Vivid genre contrasts and frequent names of individual variations (fugato, nocturne, romance, etc.) reinforce the tendency to transform a variation into a separate piece of cyclic form. This results in an expansion of the tonal plane and a change in form. A feature of INVARIANT IN FREE VARIATIONS is the ABSENCE OF CONSTANT COMPONENTS; all of them, including tonality and form, are variable. But there is also an opposite tendency: harmonically open variations occur, the expansion of the tonal plane leads to connections that change shape. Free variations are relatively more often “disguised” under other names: “Symphonic Etudes” by Schumann, “Ballad” by Grieg, “Rhapsody on a Theme of Paganini” by Rachmaninov. The object of variation becomes not the theme as a whole, but its individual fragments and intonations. In free variations, no new methods of melodic variation arise; an arsenal of ornamental ones is used, only in an even more inventive way.
Variations on two themes (double variations) are much less common. They are found both among ornamental and free ones. Their structure may be different. The alternate presentation of two, usually contrasting, themes continues with their alternating variations (II movement of Haydn's symphony with timpani tremolo). However, in the process of variation, the strict alternation of themes can be violated (II movement of Beethoven's Fifth Symphony). Another option is the appearance of the second theme after a number of variations on the first theme (“Kamarinskaya” by Glinka, “Symphonic Variations” by Frank, Finale of the Symphony-Concerto for Cello and Orchestra by Prokofiev, “Islamey” by Balakirev). Further development can also proceed differently. Usually, in double variations the “secondary form” (ronda-shaped, large three-part, sonata) is felt even more clearly.
Variations on three themes are rare and are necessarily combined with other principles of form-building. Balakirev’s “Overture on Three Russian Themes” is based on a sonata form with an introduction.
RONDO AND RONDO-SHAPED FORMS
RONDO (circle) in the most generalized and mediated form is the idea of cosmic rotation, which has received various embodiments in folk and professional art. These include circular dances, found among all peoples of the world, and the structure of the text of a verse song with the same text of the chorus, and the poetic form of the rondel. In music, the manifestations of rondo-formation appear, perhaps, in the most diverse manner and reveal a tendency towards historical variability. This is due to its temporary nature. The “translation” of a spatial “idea” into the temporal plane is quite specific and is most clearly manifested in the repeated return of one theme (unchanged or varied, but without a significant change in character) after music that differs from it in one degree or another of contrast.
Definitions of the RONDO form exist in two versions: generalized and more specific.
The generalized definition is a FORM IN WHICH ONE THEME IS CONDUCTED AT LEAST THREE TIMES, SEPARATED BY MUSIC DIFFERENT FROM THE REPEATED THEME, corresponds to both all historical varieties of rondo and the entire variety of rondo-like forms, including the rondo sonata.
Specific definition: A FORM IN WHICH THE SAME THEME IS CONDUCTED AT LEAST THREE TIMES, SEPARATED BY DIFFERENT MUSIC, corresponds only to a significant part of the verse rondos and classical rondos.
The repeated return of the theme creates a feeling of completeness and roundness. External signs of rondality can occur in any musical form (the sound of the opening theme in the development and coda of a sonata form, for example). However, in many cases such returns occur organically (with the traditional repetition of the middle and reprise for three-part forms, as well as in some others, which will be discussed later). Rondality, like variation, easily penetrates into a variety of principles of shape formation.
The first historical variety, “VERSE” RONDO, became widespread in the Baroque era, especially in French music. This name appears quite often in music text (verse 1, verse 2, verse 3, etc.). Most rondos begin with a REFRAIN (repeating theme), with EPISODES between its returns. Thus, the number of parts turns out to be odd, even rondos are less common.
The verse rondo is found in music of a very different nature, lyrical, dance, energetic scherzo. This variety, as a rule, does not contain relief contrasts. Episodes are usually built on a variant or variant-continuing development of the theme of the refrain. The refrain, as a rule, is short (no more than a period) and, completing the verse, sounds in the main key. The verse rondo tends to be multi-part (up to 8-9 verses), but is often limited to the 5 necessary parts. Most of all seven-part rondos. In a fairly large number of examples, there is a repetition of verses (episode and refrain) in their entirety, except for the last verse. In many verse rondos, one can note an increase in the length of the episodes (in Rameau, Couperin). The tonal plan of the episodes does not reveal any natural trends; they can begin in the main key and in other keys, be harmoniously closed or open. In dance rondos, the episodes can be melodically more independent.
In German music, the verse rondo is less common. At I.S. Bach there are few such examples. But rondality is noticeable in the old concert form, although it is subject to a different rhythm of development (in the verse rondo the episode gravitates towards the refrain, “falls” into it; in the old concert form the repeated theme has various continuations arising from it), it lacks the regularity of stable cadences and structural the clarity of the verse rondo. In contrast to the strict tonal “behavior” of the refrain in the old concert form, the theme can begin in different keys (in the first movements of Bach’s Brandenburg Concertos, for example).
A special phenomenon are the rather numerous rondos of Philipp Emmanuel Bach. They are distinguished by significant freedom and boldness of tonal plans and, in fact, anticipate some features of the free rondo. Often, the refrain becomes more developed structurally (simple forms), which brings it closer to the classical rondo, but further development moves away from classical structural patterns.
The second historical variety - CLASSICAL RONDO - reveals the influence of other homophonic forms on it (complex three-part, variation, partly sonata), and itself actively interacts with other homophonic forms (it was during this period that the rondo-sonata form took shape and actively spread).
In classical music, the word RONDO has a double meaning. This is both the name of a FORM-STRUCTURE, very clear and definite, and the name of a GENRE of music with song-dance, scherzo origins, where there are signs of ronda-likeness, sometimes only external. Written in sheet music, the word RONDO, as a rule, has a genre meaning. The structure of the classical rondo is often used in a different genre, in lyrical music, for example (Mozart’s Rondo in A minor, the second movement from Beethoven’s Pathetique Sonata, etc.).
A classical rondo is limited to a minimum number of parts: three refrains separated by two episodes; in addition, a coda is possible, sometimes quite lengthy (in some rondos by Mozart and Beethoven).
The influence of the complex three-part form is manifested primarily in the bright, relief contrast of the episodes, as well as in the “enlargement” of the parts - both the refrain and the episodes are often written in one of the simple forms. The tonal plan of the episodes is stabilized, introducing mode-tonal contrast. The most typical are the tonality of the same name and tonality of subdominant meaning (of course, there are other tonalities).
The refrain, while maintaining tonal stability as in the verse rondo, varies much more often, sometimes varying sequentially. The length of the refrain may also change, especially in the second conduction (repetitions of parts of a simple form that were in the first conduction may be removed or a reduction to one period may occur).
The influence of the sonata form is manifested in the connections in which, as a rule, development of the theme of the refrain occurs. The technical need for a connection arises after a non-tonal episode. In Haydn, the role of the ligaments is minimal; more developed ligaments are found in Mozart and, especially, in Beethoven. They appear not only after the episodes, but also precede the episodes and coda, often reaching a considerable length.
Haydn's Rondos are most similar to a complex three- to five-part form with two different trios. In Mozart and Beethoven, the first episode is usually structurally and harmonically open, and the second is more developed and structurally complete. It is worth noting that the form of the classical rondo is represented quantitatively by the Viennese classics very modestly, and even less often has the name rondo (Mozart's Rondo in A minor, for example). Under the name RONDO, which has a genre meaning, there are often other rondo-shaped forms, most often RONDO-SONATA, which is advisable to consider later.
The next historical variety, FREE RONDO, integrates the properties of verse and classical. From the classical there comes a bright contrast and development of episodes, from the verse there is a tendency towards multi-partness and the frequent brevity of the refrain. Its own features lie in the change in semantic emphasis from the immutability of the return of the refrain to the diversity and diversity of the cycle of existence. In a free rondo, the refrain gains tonal freedom, and the episodes have the opportunity to be heard repeatedly (usually not in a row). In a free rondo, the refrain can not only be carried out in an abbreviated form, but can also be omitted, as a result of which there are two episodes in a row (new and “old”). In terms of content, a free rondo is often characterized by images of a procession, a festive carnival, a mass stage, or a ball. The name rondo rarely appears. The classical rondo is more widespread in instrumental music, somewhat less often in vocal music; the free rondo quite often becomes a form of expanded opera scenes, especially in Russian music of the 19th century (in Rimsky-Korsakov, Tchaikovsky). The possibility of repeated sounding of episodes equalizes their “rights” with a refrain. The new meaningful perspective of the free rondo allows the form of the classical rondo to be preserved (the classical rondo has almost completely replaced the couplet rondo) and to exist in artistic practice.
In addition to the considered historical varieties of rondo, the main feature of rondo (at least three times the sound of one theme, shared by music that differs from it) is present in many musical forms, introducing signs of rondo-likeness less or more prominently and specifically.
There are signs of rondo-likeness in three-part forms, where the repetition of 1 part and 2-3, or the repetition of 2-3 parts (three-five-part) is very typical. Such repetitions are very typical of simple forms, but are also found in complex ones (in Haydn, for example). Signs of ronda-likeness also appear in cycles of double variations with alternate presentation and variation of themes. Such cycles usually end with the first theme or a variation on it. These signs are also present in such a complex three-part form with a reprise reduced to one period, in which the first movement was written in a simple three-part form with typical repetitions of parts (Chopin's Polonaise op. 40 No. 2, for example). The rondo-likeness is more noticeable in double three-part forms, where the middles and reprises differ in tonal plan and/or/length. Double tripartite forms can be simple (Chopin's Nocturne op. 27 no. 2) or complex (Nocturne op. 37 no. 2).
The most prominent and specific manifestation of ronda-likeness is in the THREE-PART FORM WITH REFRAIN. The refrain, usually written in the form of a period in the main key or the same name to it, sounds after each part of the three-part form, simple (Chopin's Waltz op. 64 no. 2) or complex (finale of Mozart's sonata in A major).
SONATA FORM
Among homophonic forms, the sonata is distinguished by maximum flexibility, variety and freedom (in terms of the amount of thematic material, its structural design, placement of contrasts), strong logical connection of sections, and aspirational development.
The roots of sonata form within Baroque music. In the ancient two-part form, in the fugue and the ancient sonata, the most important role was played by the activity of tonal relationships, creating the preconditions for the organic and striving development of music.
Inside the sonata exposition there is also a relationship between two tonal centers, which give names to the thematic sections - the MAIN part and the SIDE part. There are moments in the sonata exposition that are distinguished by significant versatility, flexibility, and “elasticity.” This is, first of all, a BINDING party, and often a SIDE party, the course of which can be complicated by a “fracture zone,” which contributes to even greater diversity of structure.
The MAIN part always has the property of CHARACTERISTIC, which largely determines not only the course of the sonata form, but, often, the entire cycle.
In tonal-harmonic terms, the main parts can be monotonal and modulating, closed and open, which determines the greater aspiration of the development or the greater dimensionality and structural dissection of the flow.
In terms of meaning, the main parties are HOMOGENEOUS and CONTRASTING, predetermining greater impulsiveness of development. The length of the main parts varies quite widely - from one sentence (in Beethoven's First Sonata, for example) to expanded simple forms (Mozart's Twelfth Sonata, Tchaikovsky's symphonies) and thematic complexes (Prokofiev's Eighth Sonata, Shostakovich's symphonies). However, more often than not, the main parties represent the PERIOD of a particular structure.
The main function of the LINKING PARTY - GOING BEYOND THE LIMITS OF TONAL HARMONIC STABILITY - can be carried out even in the absence of this section, shifting to the end of the modulating or open main part. But in addition to the main function, ADDITIONAL ones are also possible. This is - a) DEVELOPMENT OF THE MAIN PARTY, b) COMPLETION OF THE MAIN PARTY, c) - INTRODUCTION OF OVERHAULING CONTRAST, d) INTONATIONAL AND THEMATIC PREPARATION OF THE SIDE PARTY, which can be combined and combined with each other in different ways. The connecting party can be built on elements of the main party or independent material, both relief and background. This section can not only connect the main and secondary parts (serve as an uncensored transition between them), but also separate these thematic “territories”, or adjoin one of them. It is not always the case that the connecting part modulates into the secondary key. Usually, in the connecting part, tonal-harmonic instability increases and the presence of some completed structures is considered atypical. However, with a pronounced function of shading contrast, it is not so rare to find a modulating period in the connecting part (in the first and second parts of Beethoven’s Seventh Sonata, for example, in Mozart’s Fourteenth Sonata K-457), and the intonation-melodic relief can be brighter than in the main party. The length of connecting parts varies widely (from complete absence or very brief constructions, in Beethoven’s Fifth Symphony, Schubert’s “Unfinished” Symphony, for example), to constructions significantly exceeding the main part. In this regard, the course of the sonata exposition and its structural division become even more diverse.
The SIDE PARTY, as a rule, unfolds in the keys of the dominant value. It can be represented by a new tonal and textural version of the main part (in a single-theme sonata form) or a new theme or several themes, the relationship of which to each other can be very different. Often the flow of a secondary part is complicated by the intrusion of elements of the main or connecting parts, sharp harmonic shifts, and semantic dramatization. This reduces the stability of the side party, expands it and portends further development. Often, extensive zones of fracture appear in music that is not of a dramatic nature at all, but of a serene and cheerful nature (for example, in Haydn’s piano sonata in D major). Such a phenomenon as a fracture zone is quite common, but not at all necessary. In side parts, typical musical forms are relatively rarely developed, although they are not excluded. Thus, one can find a period form (a repeated period in the side part of the finale of Beethoven’s First Piano Sonata, in the slow movement of his Seventh Sonata), tripartite forms (in Tchaikovsky’s Fifth and Sixth Symphonies).
The FINAL PARTY, which affirms the tonality of the side part, introduces a contradiction between the final nature of the music and the tonal openness of the major section, making the further flow of the musical form logically necessary. In terms of meaning, the final batch can relate directly to a side batch, or to the entire exposition. In classical music, final parts are usually laconic. Repeated cadence is typical for them. Thematic material can be independent (relief or background) or based on elements of already discussed topics. Later, the length of the final parts sometimes increases (in some of Schubert's sonatas, for example) and becomes tonally independent.
A strong tradition in classical and later music was the repetition of sonata exposition. Therefore, in the first volte of the final game there was often a return to the main key. Of course, in classical music, repetition of exposition does not always occur (it is not, for example, in some of Beethoven's late sonatas; exposition, as a rule, is not repeated in sonata forms at a slow tempo).
DEVELOPMENT – a very free section on the use of thematic material, methods of development, tonal plan, structural division and length. The general property of the developments is STRENGTHENING TONAL HARMONIC INSTABILITY. Quite often, developments begin with the development of the “extreme” thematic and tonal points of the exposition - with the development of elements of either the main or final part in the key of the end of the exposition, the same name for it, or the same name for the main key. Along with developmental development, variant and variant-continuing are often used; new themes arise, often presented in the form of a modulating period (see the developments of the first parts of Beethoven’s Fifth and Ninth piano sonatas). The development can develop both the entire thematic material of the exposition, and, predominantly, one theme or thematic element (half of the development of Mozart’s Ninth Piano Sonata K-311 is built on the development of the last motive of the final part). Very typical is the imitative-polyphonic development of thematic elements, as well as the integration of elements of different themes into one. The tonal plans of developments are very diverse and can be systematically built (according to the tonalities of the tertian ratio, for example) or free. It is very typical to avoid the main tonality and generally neglect the modal coloring. Developments can be fused or divided into several caesurally delimited structures (usually two or three). The length of the developments varies widely, but the minimum is a third of the exposure.
Many developments end with precursors, often quite lengthy ones. Their harmonic structure is not limited to the dominant prefix, but can be much more complex, affecting a number of tonalities. A typical feature of the pre-actual section is the absence of prominent melodic elements, the “exposure” and intensification of harmonic energy, which makes one expect further musical “events”.
Due to the peculiarities of the onset of a reprise, it may be perceived with more or less naturalness or surprise
Unlike other homophonic forms, in the sonata the reprise cannot be exact. At a minimum, it contains changes to the tonal plan of the exposure. The side part, as a rule, is played in the main key, maintaining or changing the expositional mode coloring. Sometimes a side part may sound in a subdominant key. Along with tonal changes in the reprise, variant development can occur, affecting to a greater extent the main and connecting parts. In relation to the length of these sections, both their reduction and expansion can occur. Similar changes are possible in a side batch, but are less common; variant-variational changes are more typical for a side lot.
There are also specific versions of sonata reprises. This is a MIRROR reprise, in which the main and side parts change places; after the side part, which begins the reprise, the main part usually follows, after which comes the final part. The Abridged reprise is limited to the side and final parts. On the one hand, the abbreviated reprise is, as it were, a legacy of the ancient sonata form, where the actual tonal reprise coincided with the sound of the side part in the main key. However, in classical music, an abbreviated reprise is quite rare. This abbreviated reprise can be found in all Chopin's piano and sonatas for cello and piano.
In classical music, repetitions and developments with a reprise together are not uncommon. But this tradition turned out to be less durable than repetition of the exposition. The effectiveness of the sonata reprise, the change in the semantic relationship of thematic sections, and the dramatic interpretation of the sonata form deprive the repetition of development with a reprise of organic naturalness.
CODES in sonata form can be very diverse, both in terms of thematic material and in length (from several bars to detailed constructions comparable to the size of the development).
In the process of historical development of the sonata form, a tendency towards its individualization is revealed, clearly manifested since the era of romanticism (Schumann, Schubert, Chopin). Here, perhaps, two directions are emerging: “dramatic” (Schumann, Chopin, Liszt. Tchaikovsky, Mahler, Shostakovich) and “epic” (Schubert, Borodin, Hindemith, Prokofiev). In the “epic” interpretation of sonatas there is a multiplicity of thematics, leisurely development, variational methods of development
VARIETIES OF SONATA FORM
Of the three varieties (sonata form without development, sonata form with an episode instead of development, and sonata form with double exposure), the latter received historically and genre-limited use, occurring almost exclusively in the first movements of classical concerts for solo instruments and orchestra. Mendelssohn was the first to abandon the double exposure sonata form in his Violin Concerto. Since then, it has ceased to be “obligatory” in the first parts of concerts, although it is found in later music (as, for example, in Dvorak’s Cello Concerto, written in 1900).
The first, orchestral exposition is combined with the function of INTRODUCTION, which often determines the greater brevity, “conciseness” of the thematic material, and the frequent “irregularity” of the tonal plan (a side part can sound in the main key, or at least return to the main key by the time of the final part. The second exposition with the participation of the soloist is, as a rule, supplemented with new thematic material, often in all sections of the exposition, which is especially typical for Mozart’s concerts. In his concerts, the second exposition is often much more developed than in Beethoven’s concerts. The orchestral expositions are larger, but the renewal of thematic material is noticeable in them (for example, in the Second Concerto for Piano and Orchestra, the length of the orchestral exposition is 89 bars, in the second exposition - 124). reveals significant differences from the usual sonata form right up to the end of the reprise or coda, where, during the general pause of the orchestra, the soloist’s CADENCE unfolds, a virtuoso development-fantasy of the themes sounded. Before Beethoven, cadenzas were mostly not written down, but were improvised by the soloist (who was also the author of the music). The “separation” of the professions of performer and composer, which became increasingly noticeable at the beginning of the 19th century, sometimes led to complete thematic alienation of the cadenza, to a demonstration of “acrobatic” virtuosity that had little connection with the thematic theme of the concert. In all Beethoven concertos, the cadenzas are original. He also wrote cadenzas for a number of Mozart concertos. For many Mozart concertos, there are cadenzas by different authors, offered to the performer to choose from (Beethoven cadenzas, D , Albera and others).
SONATA FORM WITHOUT DEVELOPMENT is found quite often in music of a very different nature. In slow lyrical music, variational development of thematics often occurs. In the music of an active movement, elaboration “seeps” into the exposition and reprise (developed, “developmental” connecting parts, a turning point in the side part), and also shifts into the coda. Between the exposition (in classical music of fast movement it is often repeated) and the reprise there can be a developmental connection, the length of which is less than a third of the exposition. Its presence is largely due to the tonal plan (if the secondary and final parts do not sound in the key of the dominant). In some cases, the final part directly develops into the connection (as, for example, in the overtures to “The Barber of Seville” and “The Thieving Magpie” by Rossini). This version of the sonata form (without development) can be found as any part of the sonata-symphonic cycle, opera overtures and individual works. Orchestral music sometimes contains introductions (in the overture to Rossini's The Barber of Seville, for example).
SONATA FORM WITH AN EPISODE INSTEAD OF DEVELOPMENT
This version of the sonata form undoubtedly reveals the influence of the complex tripartite form, introducing a strong contrast of large sections. There is also a connection with different variants of the complex three-part form. Thus, in a sonata form with an episode, instead of developing at a fast tempo, the episode usually resembles a TRIO of a complex three-part form in its tonal independence and structural completeness (as, for example, in the finale of Beethoven’s First Piano Sonata). In slow music there is an EPISODE of a complex three-part form - tonal-harmonic and structural openness (as, for example, in the second part of Mozart's piano sonata K-310). After a structurally closed episode, there is usually a developmental connection or a small development (in the finale of Beethoven’s First Sonata, for example). In some cases, there is an episode that goes beyond simple forms (in the first movement of Shostakovich's Seventh Symphony - variations on soprano ostinato). This version of the sonata form is used similarly to others - in parts of sonata-symphonic cycles, operatic overtures and individual works.
RONDO SONATA
IN RONDO SONATA both formative principles are in a state of DYNAMIC EQUILIBRIUM, which creates a large number of options. Ronda-likeness usually influences the genre nature of thematic, song-dance, scherzo. As a result of this - structural completeness - the main parts very often represent simple forms, often with the typical repetition of parts. The dominance of rondalism can manifest itself in underdeveloped and brief side parts (as in the finale of Beethoven’s Ninth Piano Sonata, for example). After the exposition there follows an EPISODE, often structurally closed, or TWO EPISODES, separated by the main part. With a dominant sonata, as a rule, in the exposition there are expanded connecting parts, several themes of a side part, a turning point in them, after the exposition there follows DEVELOPMENT, development processes are also possible in the codes. In many cases, there is a parity between both principles, and after the exposition in the next section, the features of the development and the episode are mixed. Less common is the “SHORTENED” version of the rondo sonata, consisting of an exposition and a mirror reprise. A connection between them is possible (the finale of Mozart’s piano sonata in C minor K-457).
Let us move on to consider the exposition, which differs markedly from the sonata. In the rondo sonata, it is thematically and tonally closed, ending with the MAIN PARTY IN THE MAIN KEY (its ending can be open and serve as a flexible transition to the next section). In this regard, the function of the final game changes. Its beginning establishes the tonality of the side part, and its continuation returns it to the main key, leading to the final exposition of the main part. In Mozart's rondo sonatas, as a rule, the final parts are very developed; in Beethoven, the final parts are sometimes absent (as in the finale of the ninth sonata, for example). The exposition of a rondo sonata is NEVER REPEATED (the repetition of a sonata exposition has been preserved historically for a very long time).
In a reprise of a rondo sonata, both conductions of the main part can be preserved with a change in tonal relationships typical of a sonata reprise. However, one of the main games may be missed. If the second conduction of the main part is missed, the usual sonata reprise develops. If the first conduct of the main part is missed, a MIRROR REPRISE is formed (in the rondo sonata it occurs more often than in the sonata form). CODA is an unregulated section and can be anything.
The rondo sonata form is most often found in the finales of sonata-symphonic cycles. It is the rondo sonata that comes under the genre designation RONDO. Less common is the rondo sonata in individual works (Duc's symphonic scherzo "The Sorcerer's Apprentice", for example, or non-sonata cycles (the second movement of Myaskovsky's Songs and Rhapsody). If we arrange the variants of the rondo sonata according to the degree of prevalence, we get the following series: rondo sonata with EPISODE , rondo sonata with DEVELOPMENT, rondo sonata with MIXED FEATURES OF DEVELOPMENT AND EPISODE, rondo sonata with TWO EPISODES (or with an episode and development, in one order or another), “CURRENT” rondo sonata.
The exposition of the rondo sonata in the finale of Prokofiev's Sixth Piano Sonata is very individually constructed. Main party appears after each of the three themes of the side part, forming a free rondo (in the reprise the side parts are played in a row).
CYCLIC FORMS
Cyclic forms are those that consist of several, usually independent in thematic and formative parts, separated by unregulated pauses that interrupt the flow of musical time (double bar line with a “bold” right line). All cyclic forms embody more diverse and multifaceted content, united by an artistic concept.
Some cyclic forms in the most general form embody a worldview concept, the mass, for example, is theocentric, and later the sonata-symphonic cycle is anthropocentric.
The basic principle of the organization of cyclic forms is CONTRAST, THE EXPRESSION OF WHICH IS HISTORICALLY VARIABLE AND AFFECTS DIFFERENT MEANS OF MUSICAL EXPRESSION.
Cyclic forms became widespread in the Baroque era (late 16th - early 17th centuries). They are very diverse: two-part cycles with fugue, concerti grossi, concertos for solo instrument and orchestra, suites, partitas, solo and ensemble sonatas.
The roots of many cyclic forms lie in two types of operatic overtures of the 17th century, the so-called French (Lully) and Italian (A. Stradella, A. Scarlatti), using standardized tempo contrasts. In the French overture, the most significant was the ratio of the first slow section (of a solemn-pathetic nature) and the fast polyphonic second (usually fugue), sometimes ending with a short Adagio (sometimes based on the material of the first section). This type of tempo relationship, when repeated, becomes quite typical for ensemble sonatas and Concerti grossi, usually consisting of 4 movements. In the concerti grossi of Corelli, Vivaldi, and Handel, the function of the introduction is quite clearly expressed in the first movements. It develops not only due to the slow tempo and relatively short length, but also due to the sometimes occurring harmonic openness.
The 6 Brandenburg Concertos of J.S. stand apart. Bach (1721), in which all the first movements are not only written at a fast pace, but are the most developed, extended, determining the further development of the cycles. This function of the first parts (with differences in internal formation) anticipates the function of the 1st part in the later sonata-symphonic cycle.
The influence of this type of tempo relationships is somewhat less noticeable in the suites and partitas close to them. In the ratio of the “obligatory” dances there is a repeating and intensifying tempo-rhythmic contrast: a moderately slow two-beat allemande is replaced by a moderately fast three-beat chime, a very slow three-beat sarabande is replaced by a very fast gigue (usually in six, twelve-beat measures, combining two and three beats). These cycles, however, are quite free in the number of parts. Often there are introductory movements (prelude, prelude and fugue, fantasia, sinphony), and between the sarabande and the gigue there were so-called “insert”, more modern dances (gavotte, minuet, bure, rigaudon, lur, musette) and arias. Often there were two inserted dances (especially typical for minuets and gavottes), at the end of the second there was an instruction to repeat the first. Bach kept all the “obligatory” dances in his suites, other composers treated them more freely, including only one or two of them.
In partitas, where all the “obligatory” dances are often retained, the genre range of inserted numbers is much wider, for example, rondo, capriccio, burlesque.
In principle, in a suite (row) the dances are equal, there is no functional diversity. However, certain features are beginning to emerge. Thus, the saraband becomes the lyrical center of the suite. It is very different from the restrained, harsh, ponderous and solemn everyday prototype with its sublime tenderness, sophistication, textured grace, and sound in the mid-high register. Often, it is the sarabands that have ornamental doubles, which enhances its function as a lyrical center. In the jig (the most “common” in origin - the dance of English sailors), the fastest in tempo, thanks to its energy, mass character, and active polyphony, the function of the finale is formed.
The tempo relationships of the ITALIAN OVERTURE, which included three sections (extreme - fast, polyphonic, middle - slow, melodious), transform into three-part concerto cycles for a solo instrument (less often, for two or three soloists) with an orchestra. Despite changes in form, the three-part concert cycle remained stable in its general outline from the 17th century to the Romantic era. The active, competitive nature of the first movements is undoubtedly very close to the classical sonata allegro.
A special place is occupied by two-part cycles with fugue, where the fundamental contrast is in different types musical thinking: more free, improvisational, sometimes more homophonic in the first movements (prelude, toccata, fantasy) and more strictly logically organized in the fugues. Tempo relationships are very diverse and defy typification.
The formation of the sonata-symphonic cycle was significantly influenced by the first parts of concerts for solo instrument and orchestra (future sonata Allegri symphonies), lyrical sarabands of suites (prototypes of symphonic Andanti), active, energetic gigs (prototype of finales). To a certain extent, the symphonies also reveal the influence of the Concerti grossi with their slow initial movements. Many symphonies of the Viennese classics begin with slow introductions of varying lengths (especially Haydn). The influence of the suites is also evident in the presence of a minuet before the finale. But the substantive concept and functional definition of the parts in the sonata-symphonic cycle are different. The content of the suite, which was defined as DIVERSITY OF UNITY, in the sonata-symphonic cycle can be formulated as UNITY OF DIVERSITY. The parts of the sonata-symphonic cycle are much more rigidly functionally coordinated. The genre and semantic roles of the parts reflect the main facets of human existence: action (Homo agens), contemplation, reflection (Homo sapiens), rest, play (Homo ludens), man in society (Homo communis).
The symphonic cycle has a closed tempo profile based on the principle of JUMP WITH FILLING. The semantic opposition between the Allegri of the first movements and the Andanti is emphasized not only by the sharp tempo relationship, but also, as a rule, by the tonal contrast.
Symphonic and chamber cycles before Beethoven were markedly different from each other. Due to its performing means (orchestra), the symphony always assumed a kind of “publicity” akin to a theatrical performance. Chamber works are distinguished by greater variety and freedom, which brings them closer to narrative literary genres (conditionally, of course), to greater personal “intimacy” and lyricism. Quartets are closest to a symphony; other ensembles (trios, quintets of different compositions) are not so numerous and, often, closer to a freer suite, as well as divertissements, serenades and other genres of orchestral music.
Piano and ensemble sonatas usually have 2-3 movements. In the first movements, the sonata form is most common (always in symphonies), but other forms are also found (complex three-part, variations, rondo in Haydn and Mozart, variations in Beethoven, for example).
The main sections of the first movements of the symphonies are always in Allegro tempo. In chamber sonatas, the Allegro tempo designation is also quite common, but more leisurely tempo designations are also found. In solo and chamber sonatas, it is not uncommon to combine functional-genre roles within one movement (lyrical and dance, dance and finale, for example). In terms of content, these cycles are more diverse; they become, as it were, a “laboratory” for the further development of cycles. For example, the scherzo genre appears for the first time in Haydn’s piano sonatas. Later, the scherzo will become a full-fledged part of the sonata-symphonic cycle, almost replacing the minuet. The scherzo embodies the broader semantic element of play (from everyday playfulness to the play of cosmic forces, as in Beethoven’s Ninth Symphony, for example). If Haydn and Mozart do not have four-movement sonatas, then Beethoven’s early piano sonatas use tempo and genre relationships typical for symphonies.
In the further historical development of the sonata-symphonic cycle (starting with Beethoven), a “branching” occurs (with common “roots”) into a “traditional” branch, which updates the content from the inside and is more radical, “innovative”. In the “traditional” one, lyrical, epic images are strengthened, genre detail is often introduced (romance, waltz, elegy, etc.), but the traditional number of parts and semantic roles are preserved. Due to the new content (lyrical, epic), the first parts lose their rapid pace, maintaining the intensity of the procedural unfolding and the significance of the part that determines the entire cycle. Therefore, the scherzo becomes the second part, shifting the general contrast deeper into the cycle, between the slow part (the most personal) and the fast mass finale, which gives the development of the cycle greater aspiration (the relationship between the minuet and the finale, often also dance, is more one-dimensional, reducing the attention of the listeners).
In classical symphonies, the first movements are the most typical in terms of form (sonata and its variations; the greater variety of forms of the first movements of chamber sonatas was mentioned above). In the minuets and scherzos the complex three-part form decisively predominates (of course, not without exceptions). The slowest movements (simple and complex forms, variations, rondo, sonata in all varieties) and finales (sonata with variations, variations, rondo, rondo sonata, sometimes complex three-movement) are distinguished by the greatest variety of formation.
In French music of the 19th century, a type of three-movement symphony developed, where the second movements combine the functions of slow (outer sections) and dance-scherzo (middle). Such are the symphonies of David, Lalo, Franck, Bizet.
In the “innovative” branch (once again it is necessary to recall the commonality of the “roots”) the changes are outwardly more noticeable. They often occur under the influence of programming (Beethoven’s Sixth Symphony, “Fantastic”, “Harold in Italy”, Berlioz’s “Funeral-Triumphal” Symphony), unusual performing compositions and plans (Beethoven’s Ninth Symphony, Mahler’s Second, Third, Fourth Symphonies. They may arise “doubling” of parts, in a row or symmetrically (some Mahler symphonies, Tchaikovsky’s Third Symphony, Scriabin’s Second Symphony, some Shostakovich symphonies), synthesis of different genres (symphony-cantata, symphony-concert).
By the middle of the 19th century, the sonata-symphonic cycle acquired the significance of the most conceptual genre, causing reverence for itself, which leads to a certain quantitative decrease in sonata-symphonic cycles. But there is another reason associated with romantic aesthetics, which sought to capture the uniqueness of every moment. However, the versatility of being can only be embodied by a cyclic form. This function is successfully fulfilled by the new suite, characterized by extraordinary flexibility and freedom (but not anarchy), capturing contrasts in all the diversity of their manifestations. Quite often, suites are created based on music of other genres (for dramatic performances, opera and ballet, and later based on music for films). The new suites are varied in their performing compositions (orchestral, solo, ensemble), and can be programmatic or non-programmatic. The new suite became widespread in the music of the 19th and 20th centuries. The word “suite” may not be used in the title (“Butterflies”, “Carnival”, Kreisleriana, Fantastic Pieces, Vienna Carnival, Album for Youth and other works by Schumann, Tchaikovsky’s Seasons, Pictures from an Exhibition by Mussorgsky). Many works of miniatures (preludes, mazurkas, nocturnes, etudes) are essentially similar to the new suite.
The new suite gravitates towards two poles - a cycle of miniatures, and a symphony (both Grieg suites from the music to Ibsen's drama Peer Gynt, Scheherazade and Antar by Rimsky-Korsakov, for example).
Close in organization to it are vocal cycles, both “plot” (“The Beautiful Miller’s Wife” by Schubert, “The Love and Life of a Woman” by Schumann) and generalized ones (“Winter Reise” by Schubert, “The Love of a Poet” by Schumann), as well as choral cycles and some cantatas.
Often in baroque music, as well as in classical and later music, it is not always possible to determine the number of parts, since the attacca stage direction, which occurs quite often, does not interrupt the flow of perceptual musical time. Also, it often happens that music, independent in thematic and, to a large extent, in form, is divided by two subtle bar lines (Sinphony from Bach’s Partita in C minor, Mozart’s Sonata for violin and piano in A minor /K-402/, Fantasia in C minor /K -457/, Beethoven's Sonatas for cello and piano op. 69, op. 102 No. 1 and many other works by different authors), which leads to the formation of individual (free) forms. They can be called contrast-composite (V.V. Protopopov’s term) or continuous-cyclic.
The performance of individual parts from cyclic works is allowed, but the cycles as a whole are united by an ARTISTIC CONCEPT, THE IMPLEMENTATION OF WHICH IS CARRIED OUT BY MUSICAL MEANS.
Unity can be manifested in a general way: through tempo, figurative roll calls of parts, similar harmonic principles, tonal plan, structure, metro-rhythmic organization, intonation connections in all parts and, especially, in the extreme ones. This type of unity is COMMON MUSICAL. IT DEVELOPED IN THE CYCLIC FORMS OF BAROQUE and is a necessary condition for the artistic usefulness of cyclic forms of any era.
But the unity of the cycle can be achieved more clearly and specifically: with the help of cross-cutting musical themes, reminiscences or, much less often, harbingers. This type of unity arose in the process of development and complexity of forms of instrumental music, first appearing in Beethoven (in the Fifth, Ninth Symphonies, some sonatas and quartets). On the one hand, the THEMATIC principle of unity (discussed in detail by M.K. Mikhailov in the article “On the thematic unification of the sonata-symphonic cycle” // Questions of theory and aesthetics of music: issue 2. - M.: S.K., 1963) arises as “ condensation,” concentration of intonation connections; on the other hand, one can detect the influence of program music and, partly, the leitmotif of operatic dramaturgy.
The thematic principle of unity to some extent violates such a feature of cyclic forms as the independence of thematicity of parts, without affecting the independence of form-building (the transfer of themes, as a rule, occurs in unregulated sections of forms - in introductions and codas, mainly). In further historical development, the thematic principle of unity grew into a DEDUCTIVE one, in which the formation of individual parts more directly depends on the general figurative, content and compositional concept of the cycle. The thematic nature of the preceding parts actively influences the formation of subsequent ones, participating in their main sections (in developments, for example), or causes modulation in the form, transformation of the stereotype.
The material for this article was taken from the work of a fifth-year student at the Shakhty Music School, Alla Shishkina, and published with her permission. Not the entire work is published, but only those interesting points, which can help a novice musician or student. In this work, an analysis of a musical work is carried out using the example of the Russian folk song “The bird cherry tree is swaying outside the window” and is presented as work on a variation form in the senior classes of children's music schools in the specialty of domra, which, however, does not prevent it from being used as a sample for the analysis of any musical work.
Definition of variation form, types of variations, principle of variation.
Variation - variation (variation) - change, change, diversity; in music - the transformation or development of a musical theme (musical thought) with the help of melodic, harmonic, polyphonic, instrumental and timbral means. The variational method of development finds wide and highly artistic application among Russian classics and is associated with variation as one of the characteristic features of Russian folk art. In the compositional structure, a theme with variations is a way of developing, enriching and ever deeper revealing the original image.
In terms of its meaning and expressive capabilities, the form of variations is designed to show the main theme in a versatile and varied way. This topic is usually simple and at the same time contains opportunities for enrichment and disclosure of its full content. Also, the transformation of the main theme from variation to variation should follow a line of gradual increase leading to the final result.
The centuries-old musical practice of peoples of different nationalities served as a source the emergence of a variational form. Here we find examples of both harmonic and polyphonic styles. Their appearance is associated with the desire of musicians to improvise. Later, professional performers, for example, when repeating the melody of a sonata or concerto, had a desire to decorate it with various ornaments in order to show the virtuoso qualities of the performer.
Historically three main types of variation form: ancient (variations on basso-ostinato), classical (strict) and free. In addition to the main ones, there are also variations on two themes, the so-called double variations, soprano-astinato variations, i.e. constant upper voice, etc.
Variation of folk melodies.
Variation of folk melodies- these are usually free variations. Free variations are a type of variation connected by the method of variation. Such variations are characteristic of the post-classical era. The appearance of the theme was then extremely changeable, and if you look from the middle of the work to its beginning, you might not recognize the main theme. Such variations represent a whole series of variations, contrasting in genre and meaning, close to the main theme. Here the difference prevails over the similarity. Although the variation formula remains A, Al, A2, A3, etc., the main theme no longer bears the original image. The tonality and form of the theme can vary, and can even go as far as polyphonic presentation techniques. The composer can even isolate some fragment of the theme and vary only that.
The principles of variation can be: rhythmic, harmonic, dynamic, timbral, textured, line, melodic, etc. Based on this, many variations can stand apart and resemble more a suite than variations. The number of variations in this form is not limited (as, for example, in classical variations, where 3-4 variations are like an exposition, the middle two are development, the last 3-4 are a powerful statement of the main theme, i.e. thematic framing)
Performance analysis.
Performance analysis includes information about the composer and the specific work.
The importance of the repertoire in the process of educating a student at the Children's Music School is difficult to overestimate. A work of art is both a goal and a means of learning for the performer. Ability to disclose convincingly artistic content of a musical work— and nurturing this quality in a student is the primary task of his teacher. This process, in turn, is carried out through the systematic development of the educational repertoire.
Before a piece of music is offered to a student, the teacher must carefully analyze the methodological direction of his choice, that is perform performance analysis. As a rule, it must be artistically valuable material. The teacher determines the goals and objectives of the chosen work and the ways of its development. It is important to accurately calculate the degree of difficulty of the material and the student’s potential so as not to slow down his progressive development. Any overestimation or underestimation of the complexity of the work must be carefully justified.
At the Children's Music School, a student's first acquaintance with new musical material, as a rule, begins with its illustration. This could be an audition at a concert, a recording, or, preferably, a performance by the teacher himself. In any case, the illustration must be a reference one. To do this, the teacher must inevitably master all the professional aspects of performing the intended work, which will be facilitated by:
- information about the composer and the specific work,
- ideas about style
- artistic content (character), images, associations.
Similar performance analysis is necessary for the teacher not only to convincingly illustrate the artistic aspects of the repertoire to the student, but also for direct work on the student’s work when the need arises to explain the tasks facing him. At the same time dry analysis of the work should be presented in an accessible form, the teacher’s language should be interesting, emotional, and figurative. G. Neuhaus argued: “He who only experiences art remains forever only an amateur; whoever just thinks about it will be a musicologist researcher; the performer needs a synthesis of thesis and antithesis: the most vivid perception and consideration.” ( G. Neuhaus “On the art of piano playing” p.56)
Before starting to study the Russian folk song “The bird cherry tree is swaying outside the window,” arranged by V. Gorodovskaya, I must be sure that the child is technically and emotionally ready to perform this work.
The student must be able to: quickly change from one mood to another, hear the colors of major and minor, perform tremolo legato, master changing positions, voice high notes (i.e. playing in a high register), perform legato with a downward playing technique and alternating techniques (downward -up), arpeggiato chords, harmonics, emotionally bright, be able to perform contrasting dynamics (from ff and sharp p). If the child is ready enough, I will invite him to listen to this piece performed by high school students. The first impression is very important for a child. At this stage, he will want to play like his colleague in the class, at this moment an element of competition will appear, the desire to be better than his friend. If he hears it performed by his teacher or in a recording of famous performers, the student will have a desire to be like them and achieve the same results. The emotional perception at the first demonstration leaves a huge mark on the student’s soul. He may love this work with all his soul or not perceive it.
Therefore, the teacher must be prepared to show this work and set the child up accordingly. This will help story about variation form, in which this work is written, about the principles of variation, about the tonal plan, etc.
Some will help to understand the work information about the composer and the author of the arrangement this work. Vera Nikolaevna Gorodovskaya was born in Rostov into a family of musicians. In 1935, she entered the Yaroslavl Music School to study piano, where she first became acquainted with folk instruments while working as an accompanist at the same school. She started playing the gusli in the Yaroslavl folk orchestra. From the third year, Gorodovskaya, as a particularly gifted student, was sent to study at the Moscow State Conservatory. In 1938, Vera Gorodovskaya became an artist of the State. Russian folk orchestra of the USSR. Concert activities it began in the 40s, when N.P. Osipov became the head of the orchestra. The pianist accompanied this balalaika virtuoso in radio broadcasts and at concerts, and at the same time Gorodovskaya mastered plucked harp, which she played in the orchestra until 1981. Vera Nikolaevna's first compositional experiments date back to the 40s. She created many works for orchestra and solo instruments. For domra: Rondo and the play “Merry Domra”, “The bird cherry tree is swaying outside the window”, “Little Waltz”, “Song”, “Dark cherry shawl”, “At dawn, at dawn”, “Fantasy on two Russian themes” ", "Scherzo", "Concert Piece".
Artistic content (character), images, associations are necessarily present in the performance analysis of the work.
Then you can talk about the artistic content of the song, on the theme of which variations are written:
The bird cherry tree is swaying under the window,
Blooming its petals...
A familiar voice is heard across the river
May the nightingales sing all night long.
The girl’s heart beat joyfully...
How fresh, how nice it is in the garden!
Wait for me, my affectionate, my sweet,
I'll come at the appointed time.
Oh, why did you take out your heart?
For whom does your gaze shine now?
There is a trodden path straight to the river.
The boy is sleeping - it’s not his fault!
I won't cry or be sad
The past will not come back.
And, taking a deep breath of fresh air,
I looked back again...
I'm not sorry that you abandoned me,
It's a pity that people talk a lot.
The bird cherry tree is swaying under the window,
The wind tears the leaves of the cherry tree.
You can no longer hear voices across the river,
The nightingales no longer sing there.
The lyrics of the song immediately set up the perception of the character of the melody of the work.
The lyrical, chanting beginning of the presentation of the theme in B minor conveys the sad mood of the person on whose behalf we are listening to the story. The author of the variations follows to some extent the content of the song's lyrics. It is possible to associate the musical material of the first variation with the words of the beginning of the second verse (“How fresh, how good it is in the garden...) and imagine the dialogue between the main character and her beloved, whose relationship has not yet been overshadowed by anything. In the second variation one can still imagine the image of gentle nature, echoes of birdsong, but alarming notes begin to prevail.
After carrying out the theme in a major key, where there was hope for a successful ending, the wind of change blew in the third variation. The change of tempo, the return of the minor key, the restless alternation of sixteenth notes in the domra part lead to the culmination of the entire work in the fourth variation. In this episode you can relate the words of the song “I’m not sorry that you left me, it’s a pity that people talk a lot..”.
The last holding of the chorus after a powerful break in the musical material on “?”, which sounds as a contrast to “r”, corresponds to the words “Across the river, voices are no longer heard, nightingales no longer sing there.”
In general, this is a tragic work, so the student must already be able to perform and experience emotions of this kind.
A true musician can put a certain meaning into his performance, which attracts attention in the same way as the meaning of the words.
Analysis of the variational form, its connection with the content, the presence of culminations.
Phrasing variational form.
This treatment is written in form of free variations, which makes it possible to show the topic in a diversified and diverse way. In general, the work is a one-bar introduction, theme and 4 variations. The theme is written in the form of a period of a square structure of two sentences (starter and chorus):. The introduction (1 bar) in the piano part introduces listeners into a state of calm.
Tonic chord harmony (B minor) prepares the appearance of the theme. The lyrical appearance of the theme is in the “Moderato” tempo, performed with a legato stroke. Playing techniques use tremolo. The first sentence (chorus) consists of 2 phrases (2+2 measures) and ends with a dominant.
The climaxes of phrases occur on even-numbered measures. The theme is a verse structure, so the first sentence corresponds to the chorus, and the second sentence corresponds to the chorus. Russian folk songs tend to repeat the chorus. This song also has this repetition. The second chorus begins in two-quarter time. The compression of the meter, the dominant to G minor help to make the main culmination of the entire theme here.
In general, the entire theme consists of 12 bars (3 sentences: 4 - chorus, 4 - chorus, 4 - second chorus)
Next step: breaking the variation form into phrases.
The first variation is a repetition of the theme in the same tone and in the same character. The theme runs in the piano part, in the domra part there is an echo that continues the lyrical direction of the theme, thereby creating a dialogue between the two parts. It is very important for the student to feel and hear the combination of two voices, and the primacy of each at certain moments. This is subvocal melodic variation. The structure is the same as in the topic: three sentences, each consisting of two phrases. It ends only not in B minor, but in parallel major (D major).
The second variation sounds in D major, to consolidate this tonality, one bar is added before the appearance of the theme, and the rest of the structure of the variation preserves the structure of the theme’s exposition (three sentences - 12 bars = 4+4+4). The domra part performs an accompanying function, the main thematic material is in the piano part. This is the most optimistically colored episode, perhaps the author wanted to show that there was hope for a happy ending to the story, but already in the third sentence (in the second chorus) the minor key returns. The second chorus appears not in two-quarter time, but in four-quarter time. Timbral variation occurs here (arpeggiato and harmonics). The domra part performs an accompanying function.
Third variation: subvocal and tempo (Agitato) variation is used. The theme is in the piano part, and in the domra part the sixteenth notes sound in counterpoint, performed by playing downwards with a legato stroke. The tempo has changed (Agitato - excited). The structure of this variation is changed relative to other variations. The chorus has the same structure (4 bars - first sentence), the first chorus is extended by one bar due to the repetition of the last motive. The last repetition of the motive is even layered on top of the beginning of the fourth variation, thereby combining the third and fourth variations into a single climactic section.
Fourth variation: beginning of the theme in the piano part, in the chorus the theme is picked up by the domra part and the most striking dynamic (ff) and emotional performance occurs in the duet. On the last notes there is a break in the melodic line with a constant crescendo, which evokes associations with the fact that the main character of this work “took the breath away” and lacks more emotions. The second chorus is performed on two pianos, as an afterword, as an epilogue to the entire work, where “there is no longer the strength to defend one’s opinion,” submission to one’s fate occurs, and resignation to the circumstances in which a person finds himself occurs. Perhaps a slower tempo performance of the second chorus. The theme sounds in the domra part, and the second voice in the piano part. The structure of the second chorus was expanded to 6 bars, due to the last implementation of the motive in the piano part (addition). This episode corresponds to the words: “Across the river, voices are no longer heard, the nightingales no longer sing there.” In this variation, textural variation is used, since the theme sounds in intervals and chords with the piano, elements of subvocal variation (ascending passages continue the musical line of the piano part).
Strokes, means of articulation and playing techniques are an important component of performance analysis.
Summarizing many years of experience, Neuhaus briefly formulated the principle of working on sound: “First - artistic image"(i.e. meaning, content, expression of “what we are talking about”); second - sound in time - reification, materialization of the “image” and, finally, third - technology as a whole, as a set of means needed to solve an artistic problem, playing the piano “as such”, i.e. mastery of one’s muscular-motor system and the mechanism of the instrument” (G. Neuhaus “On the art of piano playing” p. 59). This principle should become fundamental in the work of a teacher-musician of any performing specialty.
An important place in this work is occupied working on the strokes. The entire piece is performed with a legato stroke. But legato is performed using different techniques: in the theme - tremolo, in the second variation - pizz, in the third - playing downwards. All legato techniques correspond to the development of the image of the work.
The student must master all types of legato before beginning to study the piece. The second variation contains arpeggiato and harmonic techniques. In the third variation, at the main culmination of the entire piece, in order to achieve a greater dynamic level, the student must perform the tremolo technique with the whole hand, relying on the pick (hand + forearm + shoulder). When playing repeated notes “fa-fa”, it is necessary to add a “push” movement with an active attack.
Specification of the sound target (stroke) and choosing the appropriate articulatory technique can be made only in a certain episode of the work. The more talented the musician, the deeper he delves into the content and style of the composition, the more correctly, interestingly and uniquely he will convey the author’s intention. It should be especially emphasized that the strokes should reflect the character of the music. To convey the process of development of musical thought, appropriate characteristic sound forms are needed. However, here we are faced with very limited means of existing musical notation, which has only a few graphic signs, with the help of which it is impossible to reflect the infinite variety of intonation differences and moods of music!
It is also very important to emphasize that the graphic signs themselves are symbols that cannot be identified with either sound or action. They only reflect simultaneously in the most general outline supposed character of the sound target (stroke) and articulatory technique to receive it. Therefore, the performer must take a creative approach to parsing the musical text. Despite the paucity of line symbols, we strive to reveal the content of this work. But the creative process must proceed in accordance with certain frameworks, such as the era, the time of the composer’s life, his style, etc. This will help you choose the appropriate specific sound production techniques, articulatory movements and strokes.
Methodological analysis: work on technical and artistic tasks when analyzing a musical work.
We can say that almost the entire piece is performed using the tremolo technique. When studying the tremolo, which is the main sound production technique for playing the domra, we must monitor the uniform and frequent alternation of the pick down and up. This technique is used for continuous sound. Tremolo can be rhythmic (a certain number of beats per duration) or non-rhythmic (no certain number of beats). You need to start mastering this technique individually when the student has sufficiently mastered the movement of the hand and forearm when playing with a pick down and up the string.
Decide technical task of mastering Tremolo is recommended at a slow tempo and at low sonority, then the frequency is gradually increased. There are hand tremolos and tremolos with other parts of the arm (hand + forearm, hand + forearm + shoulder). It is important to master these movements separately and only alternate after some time. Also, in the future, you can increase the dynamics of the non-tremolo, due to the deeper immersion of the pick into the string. With all these preparatory exercises, you should strictly monitor the uniform sound down and up, which is achieved by precise coordination of the movement of the forearm and hand and the support of the little finger right hand on the shell. The muscles of the right hand need to be trained for endurance, gradually increase the load, and when tired, switch to calmer movements or, in extreme cases, shake your hand and give your hand a rest.
Sometimes mastering the tremolo can be helped by working on a “short tremolo”: playing in quarters, fifths, etc. Then you can move on to playing small sections of music, melodic turns: motives, phrases and sentences, etc. In the process of working on a piece of music, the frequency of the tremolo becomes a relative concept, since the tremolo can and should change the frequency, based on the nature of the episode being performed. Inability to use the tremolo gives rise to monotony, flat, inexpressive sound. Mastering this technique requires not only solving purely technological problems, but also developing qualities associated with the development of intonation, harmonic, polyphonic, timbre hearing, the process of sound anticipation, and auditory control.
When performing an artistic task When performing the theme “The bird cherry tree is swaying outside the window” on one string, you need to monitor the connection of the notes on the fingerboard. To do this, it is necessary for the last playing finger to slide along the fingerboard until the next one, using a movement of the forearm of the right hand that leads the hand. We need to control the sound of this connection so that it is a portable connection and not an obvious gliding connection. At the initial stage of mastering such a connection, a sounding glissando can be allowed so that the student feels sliding along the string, but later the support on the string needs to be made easier. A slight glissando sound may be present, as this is typical for Russian folk songs. It is especially difficult to perform the beginning of the chorus, since the slide occurs on the weak fourth finger, so it must be positioned steadily in the shape of the letter “p”.
Analyzing a piece of music, we can first say the following: the student must intonate well and rhythmically accurately perform the first eighth note. A common mistake Students sometimes shorten the first eighth note, since the next finger reflexively tries to position itself on the string and does not allow the previous note to be heard. To achieve a melodious performance of the cantilena, it is necessary to control the singing of the first eighth notes. The next difficulty can come from playing two repeated notes. Technically, this can be performed in two ways, which the student chooses, and which corresponds to the nature of the performance of the musical material - this is: with stopping the right hand and without stopping, but with relaxation of the finger of the left hand. More often, on quiet sounds, relaxation of the finger is used, and on loud sounds, stopping the right hand.
When performing arpeggiato in the second variation, it is necessary for the student to anticipate the successive appearance of sounds with his inner ear. During performance, I felt and controlled the uniformity of sounds, and dynamically highlighted the upper sound.
When performing natural harmonics, the student must control the accuracy of hitting the 12th and 19th frets with the fingers of the left hand, coordinate the alternate sound production of the right hand and the sequential removal of the fingers of the left hand from the string. For a brighter sound of the harmonic at the 19th fret, you should move your right hand to the bridge in order to maintain the division of the string into three parts, in which the entire overtone row is sounded (if less than one third of the string is located in the hand, low overtones sound, if more, high overtones sound, and only when moving exactly to the third part, the entire overtone series sounds in balance).
One of difficulties in solving an artistic problem There may be a problem with the timbre connection of the strings in the first variation. The initial two notes sound on the second string, and the third on the first string. The second string has a more matte timbre than the first. To combine them, to make the difference in timbre less noticeable, you can use the transfer of your right hand with a pick: you need to play the first string closer to the neck, and the second closer to the stand.
You should always pay attention to intonation and sound quality. The sound must be expressive, meaningful, and correspond to a certain musical and artistic image. Knowledge of the instrument will tell you how to make it melodious and timbrally diverse. Of great importance for the education of a musician is the development of internal musical ear, the ability to hear in the imagination the character of a musical work. Performance must be under constant auditory control. Thesis: hear-play-control is the most important postulate of the artistic performing approach.
Analysis of a piece of music: conclusion.
Every child, mastering the world, initially feels like a creator. Any knowledge, any discovery for him is a discovery, the result of his own mind, his physical capabilities, his spiritual efforts. The main task of the teacher is to help to open up as much as possible and create conditions for his development.
Studying any piece of music should bring emotional and technical development to the student. And it depends on the teacher at what point this or that work should appear in the repertoire. The teacher must remember that when starting to study a work, the student must be ready to trust the teacher and understand himself. After all, to improve techniques, skills, mastery, you need to be able to analyze your feelings, record them and find a verbal explanation for them.
The role of the teacher, as a more experienced colleague, is very important here. That is why it is so important for the teacher and student analysis of a piece of music. It will help direct the child’s conscious activity towards solving and implementing the task he has set. It is important that the child learns to analyze and find multi-variant and extraordinary solutions, which is important not only in, but in life in general.
As G. Neuhaus wrote in the book “On the Art of Piano Playing” (p. 197):
“Our task is small and very big at the same time - to play our amazing, wonderful piano literature so that the listener likes it, so that it makes you love life more, feel more strongly, desire more, understand more deeply... Of course, everyone understands that pedagogy, setting such goals ceases to be pedagogy, but becomes education.”
Analysis of a work of art
1. Determine the theme and idea / main idea / of this work; the issues raised in it; the pathos with which the work is written;
2. Show the relationship between plot and composition;
3. Consider the subjective organization of the work /the artistic image of a person, techniques for creating a character, types of image-characters, a system of image-characters/;
5. Determine the features of the functioning of figurative and expressive means of language in a given work of literature;
6. Determine the features of the genre of the work and the style of the writer.
· Note: using this scheme, you can write an essay-review of a book you have read, while also presenting in your work:
1. Emotional-evaluative attitude towards what you read.
2. A detailed justification for an independent assessment of the characters of the characters in the work, their actions and experiences.
3. Detailed justification of the conclusions.
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1. Period structure: A). square - 8 bars (small), 16 bars (large); b). not square - 7t, 10, 17; V). repeated or non-re-built.
2. Structures organizing the period: A). summation, fragmentation, pair of periodicities, etc.; b). due to what the expansion of the structure occurs: due to expansion - the appearance of additional measures before the cadence; due to the addition - “extra” bars appear after the cadence.
3. The nature of the music in the proposed fragment: In creating a character, harmony, tempo, and strokes are necessarily involved - all this must be indicated.
4. Melody type:A). vocal ( cantilena - the melody of “wide breathing”, flowing without interruption by pauses; recitation -“speech melody” with many nuances: pauses, short leagues; recitative -“dry”, nondescript melody with a small sound volume, almost at the same height); b).instrumental (wide leaps, complex passages and strokes).
5. Texture (nature of interaction between melody and accompaniment): A). monodic - fundamental monophony, characteristic of Gregorian chants and Znamenny singing; b). heterophonic - multi-layered monophony (the leading melody is presented in several voices - see Mussorgsky, Borodin's romances, Rachmaninoff's piano works; V). homophonic-harmonic or homophonic - a clear division of texture into melody and accompaniment - most of the classical and romantic music of the 18th-20th centuries); G). polyphonic - the presence of several leading melodies; d). mixed - the presence in one work or its fragment of several textural principles at the same time, for example, homophonic and polyphonic - see. Chopin, Polonaise No. 1, middle section (“dialogue” of voices).
6. Type of figures in the invoice: A). chord; b). harmonic - to the sounds of harmonic revolutions; V). albertian basses- most often present in the classical music of Haydn, Mozart, Beethoven and their foreign and Russian contemporaries - this is a simplified harmonic figuration; G). melodic - the figuration in its complexity resembles the melody or even surpasses it - see Musical moment No. 4 by Rachmaninov, works by Liszt F,
7. Features of the harmonic structure of the period: A). write a diagram indicating deviations and modulations, if any; b). identify the defining feature of the harmonic structure of the period - for example, its harmonies are simple or, on the contrary, complex, authentic or plagal phrases are predominantly used.
8. Genre origins of the period: A). chorale - slow or moderate tempo of movement, strict chord texture, declamatory or cantilena melody; b). aria - cantilena melody, vocal flourishes, homophonic texture; V). vocal piece - a melody of a cantilena or declamatory nature that can be sung; G). instrumental piece- a fundamentally non-vocal melody: wide leaps, a large number of counter signs, chromaticisms and other technical difficulties. d). march - even meter, moderate or moderately fast tempo of movement, chord texture, “angular” melody based on movement according to the sounds of the main harmonic functions; e). dance - dynamic tempo, bass-two-chord texture, instrumental type of melodies.
9. Metro - rhythmic features of this fragment: characteristic rhythmic pattern ( rhythm formula): march -, polonaise -, waltz -; features of violation of regular accent (syncopation, crushing of the strong beat), variable meter or size - why was this done by the composer?
10. Style features of the composer or era: Baroque - polyphonic texture, use of rhetorical figures, features of ancient dances - allemandes, chimes, sarabands. gigues, gavotte or toccata genre; preclassicism - homophonic texture, but somewhat angular, “awkward” development techniques based on repetitions of a melodic fragment at different heights; classicism - homophonic texture, Albertian basses, clear harmonic scheme with obligatory cadences, characteristic instrumental melody, figures of game logic; romanticism - mixed type of texture, several leading melodies (most often related to each other according to the principle of dialogue), complex harmonic comparisons affecting tonalities of the 2nd and 3rd degree of relationship, detailed nuances of dynamics and strokes; XX century - usage various techniques 20th century: serial technique, alleatorics, complex melody with counter signs, texts.
Artistic result: what happened in the synthesis of all means of musical expression, what artistic design composer in this fragment of the work?
Example of analysis of the classical period:
The period proposed for analysis in structure is a small non-square period (10 clock cycles) of repeated construction with expansion in the second sentence. The first sentence is organized by the structure of a pair of periodicities; in the second sentence, an element of game repetition arises (the figure of a “stuck tone”), due to which the structure of the period expands. The melody of this musical period is of a pronounced instrumental type, as evidenced by wide leaps, virtuoso passages, and reliance on the sounds of the main triads. The “stuck tone” effect that appears in the second sentence creates a moment of dialogue, argument, which suggests that this period belongs to the era of classicism, since it was in the works of the Viennese classics and Russian composers of the 18th century that elements of instrumental theater were often used.
The belonging of a given period to the named era can also be justified by verified harmonic relationships with a clear organization of cadences, the use of a simple deviation into the tonality of the first degree of kinship, and the advantage of authentic turns. The interrupted phrase at the end of the second sentence (where the expansion of the structure occurs) is also an expected and typical element at this point in the structure of the classical period. Harmonic circuit This fragment looks like this:
The diagram clearly shows uniform harmonic pulsation(i.e., two functions per clock throughout the entire period). Appearing in the second sentence, the ascending diatonic sequence creates tonal movement and prerequisites for development. This technique is also often found in classical music.
Invoicing decision of this period maintained in homophonic-harmonic texture with a clear division of voices into leading and accompanying. The harmonic figuration is presented in the form of Albertian basses, which creates a single and integral tempo of movement.
Metro rhythmic organization period maintains a uniform harmonic pulsation (four quarters). The harmonic figuration set out in eighth notes creates a solid foundation for the moving rhythmic organization of the melody, which includes movement in sixteenth notes and syncopation. The characteristic rhythmic pattern of this period conveys liveliness and splashing energy - a short dotted line and 4 sixteenth notes.
Summarizing the observation period carried out during the analysis and taking into account the sufficient melodic simplicity and modesty in the invention of developmental techniques, we can assume that this musical fragment was borrowed from instrumental music J. Haydn, which is part of a sonata or symphony.
Such melodies are characteristic, for example, of vocal genre scenes by Dargomyzhsky and Mussorgsky, and are typical of the music of the 20th century.
According to the typology of V. Konen.