Variation form. Variation form
| Parameter name | Meaning |
| Article topic: | Variations |
| Rubric (thematic category) | Music |
Rondo
Rondo -(from fr.
Posted on ref.rf
“circle”) a form based on at least three repetitions of the main theme-refrain, alternating with new constructions, or episodes. The origin of the rondo is from song-dances performed in a circle.
Varieties of rondo - classic, ancient and romantic rondo.
Antique Rondo was common in the music of 18th century harpsichordist composers. The refrain here is always in period form. Doesn't change when repeated. The episodes are developing, based on refrain material. For example: A - A1 - A - A2 - A - etc., where A is a refrain (chorus, repeating part). The tonality of the episodes is no further than the 1st degree of relationship (differ by 1 character).
Classic The rondo finally took shape at the end of the 18th century among the Viennese classics.
Traditional scheme: AWASA. Refrain - not only m.b. period, but also in a 2-3-part form, which may vary when repeated. The last conduct may have a code function. The episodes are always contrasting, based on new thematic material. Their form should also be more complex than the period, and the tonality should be up to the 3rd degree of relationship:
A-B- A1-C- A2 (with modified refrain).
Rondo of the Romantics -
the semantic center moves from the refrain to the episodes. Οʜᴎ surpass the refrain in significance, scale, independence, they can be presented in any key, the contrast can reach the genre. The refrain here plays a background connecting role.
Rondo can be combined with other forms - with three-part (simple or complex):
A-B-C-B-A-B;
with variations:
A- A1-A- A2-A- A3, etc.
with sonata form
Rondo:
- Beethoven L. ʼʼFür Eliseʼʼ sheet music
- Bach I.S. Gavotte from Partita No. 3 for solo violin
- Prokofiev S. ʼʼRomeo and Julietʼʼ, Juliet the girl, Montagues and Capulets
- Tchaikovsky P. ʼʼSwan LakeʼʼWaltz of the Brides, Act 3
- Matos Rodriguez Tango ʼʼCumparsitaʼʼ
- Chopin Waltz No. 7 cis-moll
Glinka M. Waltz-fantasy
Saint-Saëns K. ʼʼRondo Capricciosoʼʼ for violin and orchestra
Schumann R. Viennese Carnival, op. 26, 1 hour
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Variations(from lat. – change) – a musical form based on the exposition of a theme and its repetition many times with new changes each time. Variations are strict and free, ornamental, on basso ostinato, double.
The form of variations appeared in the 16th century. There are two types of variation forms:
- variations of strict type, in which the form, scale, and basis of the harmonic plan of the theme remain unchanged, but the texture, rhythm, and registers can change.
There are variations on an unchanging melody (ornamental, “Glinkinsky”) and on an unchanging bass, on basso ostinato (they are of melodic or harmonic type, they were used in the ancient dances of passacaglia and chaconne). Variations are built according to the principle “from simple to complex” (with a small number). A large number of variations are divided into groups, the ratio of which gives the form of the supporting plan (rondo, sonata cyclic, etc.)
- free type variations, most often instrumental, in which scale, structure, harmony, and often tonality and genre (genre variations) can change. The commonality of the intonation structure is preserved, the variations are increased in scale, the contrast between them increases, and they resemble a suite.
In free variations it is possible to use polyphonic, developmental development.
Free variations are found in vocal music. Usually there are several couplets that differ in scale, internal structure, and harmonic plan. The peculiarity is the actual similarity of the verses, due to which the image does not change, and each verse is a variant.
Double Variations variations on two different themes. In the process of development, they influence each other, become enriched, and usually come closer (acquiring the features of symphony and sonata). There are three types:
- with alternate variations:
A B A1 B1 A2 B2 A3 B3, etc.
2. with group variation:
A A1 A2 A3 A4 A5 B B1 B2 B3 B4 B5 B6 A6 A7 A8 A9 A10 B7 B8 B9 B10
3. with a mixed structure (alternate and group);
Variations:
Handel G. Passacaglia from Suite in G minor for clavier
Glinka M. ʼʼKamarinskayaʼʼ
Glier R. ʼʼRed Poppyʼ, Dance of Russian sailors ʼʼAppleʼʼ, 1 act
Mendelssohn F. March from the overture "A Midsummer Night's Dream"
Ravel M. Bolero
Stefaniv R. Moldavian choir
Barabushki
Cap
Variations - concept and types. Classification and features of the category "Variations" 2017, 2018.
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Methodological development on the topic:
« The artistic and educational significance of variation music-making in the process of developing a variation form».
Introduction
Throughout the entire period of study at the Children's Art School, students are accompanied by variation music playing (starting from the first grade, when they play “Shadow-Shadow” or “Oh, the hoop broke” and ending with complex works of classics or modern composers). But, without mastering the laws of the variation form, it is impossible to competently perform a piece using those stylistic techniques and features of piano writing that would correspond to a certain type of variation. Therefore, I think this topic is relevant.
A variation form, or variations, a theme with variations, a variation cycle, is a musical form consisting of a theme and its several (at least two) modified reproductions (variations). Changes can occur in texture, mode, tonality, harmony, the ratio of counterpointing voices, timbre, etc. In each variation, not only one component, but also a number of components together can undergo a change. The unity of the variation cycle is determined by the commonality of thematicism arising from a single artistic concept, and by an integral line of musical development, dictating the use of certain variation techniques in each variation and ensuring the logical coherence of the whole.
It is necessary to distinguish between variational form and variation as a principle. The latter has an unlimited range of applications (a motive, a phrase, a sentence in a period, etc., can vary, up to varying a reprise in sonata form). However, a single application of the principle of variation does not create a form based on it. A variational form arises only with the systematic application of this principle, therefore at least two variations are necessary to create it.
Classification options
Variations are usually classified according to four parameters:
1. Does the process of variation affect the theme or only the accompanying voices highlight:
a) direct variations (the theme varies);
b) indirect variations (the accompanying voices vary).
2. By degree of change:
a) strict (the variations preserve the tonality, harmonic plan and
topic form);
b) free (wide range of changes, including harmony,
form, genre appearance, etc.; connections with the topic are sometimes conditional;
each variation can achieve independence as a piece with
individual content).
3. Which method of variation predominates:
a) polyphonic;
b) harmonic;
c) textured;
d) timbre;
e) figurative;
e) genre-characteristic.
4. By the number of themes in variations:
a) monochrome;
b) double (double);
c) triple (three-theme).
In the process of development of this form, several main types of variations with a relatively stable combination of these characteristics became stronger: variations on a sustained (ostinato) bass (basso ostinato); variations on a sustained melody (soprano ostinato); strict variations (figurative or ornamental), free variations (genre-characteristic). These types have existed in parallel since the 17th century, but in different eras some of them were more in demand.
Folk origins of variation form
Variations are one of the oldest musical forms, known since the 13th century. The variational principle of development originates in folk music. In folk (in particular, in Russian) music, the melody of any song was subject to variation development directly in the very process of performance. The most inventive folk singers varied the melody of the repeated verses of the song in every possible way, enriching it with a variety of intricate echoes. If singing was accompanied by playing an instrument, then changes often occurred precisely with the accompaniment.
In professional music of Western Europe, variations were associated with the development of instrumental genres. Back in the XIV-XV centuries. many outstanding masters of playing the lute, clavier, and organ could improvise for hours on some popular theme, finding new shades and colors of its sound. This is how the form of variations was born.
IN In the 16th century, secular instrumental art, due to favorable social conditions, received intensive development in France and England. In clavier music, predominantly forms of works associated with everyday music and the traditions of lute art were used: in France it was a dance suite, in England it was variations.
In 1611, the first collection of harpsichord pieces by virginalist composers - William Bird, John Bull, Orland Gibbons - was compiled in England. .
It is characteristic that these composers often took themes for their variations from folk music. One of Bird's famous works was variations on the popular song "The Cabby's Whistling." Anton Rubinstein performed this piece in Historical Concerts as a typical example of Old English virgin art. These variations are of little contrast (monotonous). Their texture is chordal, somewhat heavy (see example No. 1).
Grounds, or variations on sustained bass
English virginalism reached its highest point in the second half of the 17th century in the work of Henry Purcell (1659-1695). A peculiar type of variation in English music of that time was the so-called ground. As in chaconnes and passacaglia, in the grounds one constant figure was repeated throughout the entire piece. It was an ostinato bass - hence the name “ground” (which in English means theme, basis, soil), and in other words, variations on basso ostinato, that is, a sustained bass.
Purcell's New Ground is an excellent example of his style. Here we can talk about the artistic image of the work. This is a lyrical play - no longer an everyday dance, but a poetic picture of a mood (see example No. 2). For the artistic and educational development of students, Purcell's miniatures (in particular plays of variation form) should be used more widely as a concert and pedagogical repertoire. When working on them, as well as on the works of other virginalists, collections edited by N.I. can be useful. Golubovskaya:
"G. Purcell, Selected Keyboard Works and Selected Keyboard Pieces of Ancient English Composers.
As mentioned above, variations on the ostinato bass were closely related to the dance genres of that time - chaconne and passacaglia. Subsequently, they lose their mandatory affiliation with the dance and designate precisely this form of variation.
The theme of ostinato variations is usually short and simple. In more developed forms - with the outline of the main functions in cadence or with descending chromatic movement - a favorite technique for constructing an ostinato theme (J.S. Bach “Mass in E Minor” - example No. 3). But a harmonic structure is also possible, in which the theme serves as a bass voice (J.S. Bach “Chaconne” in D minor, see example No. 4). This form is undergoing development. The ostinato melody is usually repeated in the bass, but sometimes it is temporarily transferred, for variety, to the upper or middle voice, and is also subjected to some ornamentation. For example, “Passacaglia in G minor” for clavier G.F. Handel, which is in the collection we use
T.I. Smirnova “Allegro”; Intensive course; notebook No. 5 Ed. TsSDK, M., 1993 (see example No. 5).
Also in the collection “Kalinka” (compiled by A.A. Bakulov and K.S. Sorokin. All. Publishing House “Soviet Composer”, M., 1987) there is “Chaconne” (on p. 133) by G.F. Handel, played by our elementary school students. It combines the features of danceability and variations on the basso ostinato (see example No. 6).
Due to the brevity of the theme, variations are often combined in pairs (based on the principle of similar texture of the upper voices) - in G. Handel’s “Passacaglia” in G minor. The boundaries of variation do not always coincide clearly in all voices (as in Purcell's New Ground, for example). In Bach, several variations in one texture often form a single powerful development, their boundaries disappear. Completion of the cycle may extend beyond variations. Thus, the organ “Passacaglia” in C minor by I.S. Bach ends with a grand fugue, and the above “Passacaglia” by G.F. Handel from Sat. T.I. Smirnova ends with a short coda.
IN XVII - early XVIII centuries this is the most common type of variation.
In the classical era it disappears, sometimes found in local areas of the form. Some of the variations on basso ostinato are the famous “32 variations in C minor” by L. Beethoven. This type is also irrelevant for romantics. It was rarely used by them (Brahms, “Finale of Symphony No. 4”).
Interest in these variations re-emerged in the 20th century. R. Shchedrin has a work called “Basso ostinato”, and
D. Shostakovich, an example of such variations is found in the opera “Katerina Izmailova” (intermission between the 4th and 5th scenes of the opera).
Variations on a sustained melody
There are also variations in which the melody of the upper voice is invariably repeated, called soprano ostinato. They are most characteristic of vocal music, the origins of which go back to folk song patterns, where the main melody remained unchanged during verse repetition, and changes occurred with accompaniment. In choral singing, when the main melody was identical or similar, changes occurred in other voices of the choral texture. These variations became widespread in opera, in particular Russian vocal music of the 19th century. For example, "Persian Choir"
M. Glinka from his opera “Ruslan and Lyudmila” or Marfa’s song “The Baby Was Coming” from M. Mussorsky’s opera “Khovanshchina”.
The theme may be original or borrowed, usually from folk music. The form of the topic is regulated. This can be one or two phrases, a period, a large sentence, up to a simple three-part form. According to the method of variation, variations on a sustained melody belong to indirect variations, because variation occurs due to accompanying voices. Since the theme is unchanged, variation can be textural, timbre, polyphonic, harmonic and genre. Textural-timbre variation involves changing the texture, introducing a new pattern, re-orchestration, and in the choir - transferring the melody to other voices.
With polyphonic variation, the composer introduces new subvoices or fairly independent melodic lines. It is possible to have a polyphonic design of the theme itself in the form of a canon, etc.
Harmonic variation is expressed in the reharmonization of the melody. The scale of changes can be different, up to changing the mode (M. Glinka “Persian Choir” from the opera “Ruslan and Lyudmila”) or even transferring the melody itself to a different key (Rimsky-Korsakov – chorus “Height” from the opera “Sadko”).
Genre variation occurs when the listed types of variation lead to the formation of a new genre appearance of the theme, which is rare in variations on a consistent melody.
This type of variation was introduced and widespread in Russian musical literature by M.I. Glinka. In addition to the constant melody, he also introduces harmonic variation, which is characteristic of the romantic era. Thus, the new variety of variational form created by Glinka combines a number of features characteristic of both Russian folk art and pan-European compositional technique.
In instrumental music, an example of such variations is the work of E. Grieg “In the Cave of the Mountain King” from the music to the drama “Peer Gynt”. It is believed that ostinato variations laid the foundation for the polyphonic type of variation and were formed in professional music of Western Europe from the 16th to the 18th centuries.
Strict Variations
IN In the 18th century, with the development of the homophonic style, along with polyphonic ostinato variations, variations with a predominant importance of textural transformation of the theme - the so-called strict (classical), sometimes called ornamental or figurative variations - became increasingly widespread.
Their prototype can be seen in following one of the dances of the ancient suite of variations on it, equipped with numerous small decorations, without any significant changes in all the basic elements, the so-calledDoubles(Dubs), also found in sheet music literature for music schools. The techniques developed in ostinato variations also left their mark on the formation of a new type of variation form. First of all, both continuity and new features are already evident in the theme itself. From the melodic side, the theme is simple, easily recognizable, and contains typical turns. The contrasts are slight, but there are elements that can be developed independently. The pace of the topic is moderate. From the harmonic side, the theme is tonally closed, its internal structure is typical and simple. The texture does not contain complex figurative patterns. The form of the theme is usually a simple two-part, sometimes three-part, and much less often a period. In strict variations, direct variation is carried out, since the theme itself is transformed. But in general, ornamental variation gives constant closeness to the theme. The melody (sometimes bass) is subjected to figurative processing. Of great importance is the enrichment of the melody with non-chord sounds (passing, auxiliary, delays). Harmony changes little and is a recognizable element. Varying accompaniment with harmonic figuration common. The key throughout the cycle is the same, although in the variations of the Viennese classics a modal contrast is introduced (the keys of the same name are used). The form of the theme before the classics and among them does not change at all or almost (but there are exceptions, as we will see below in our example).
The scope of application of such variations is almost exclusively instrumental music. They are especially common in the music of Viennese classics. They may have an independent piece (many variation cycles by Haydn, Mozart, Beethoven) or part of a cycle (finale, slow movement, less often the first movement).
The innovation of the Viennese classics is their introduction of contrast within individual variations; contrast between variations; contrast of tempos; the last variation often resembles the final parts of other cycles; sometimes a code is entered.
In general, classical variations are determined by the unity of figurative content, and variations help to reveal the artistic possibilities of the theme and its expressive elements. As a result, a versatile but united musical image emerges.
For example, consider “Song with Variations” (la Roxelana) by J. Haydn (see example No. 7). History and literature mention Roxelana, the wife of the Ottoman Sultan Suleiman the Magnificent. Haydn even has Symphony No. 63 in C major “Roxelana”. It can be assumed that the composer dedicated these variations to a certain Roxelana, creating in music a multifaceted image of a girl or woman with a changeable character. We can imagine her as sad and cheerful, intelligent and deep in nature, and sometimes flirtatious and frivolous, which can be seen in different variations. The theme is a song (or in other publications it is called “Aria with Variations”) written as if for a female voice (in the upper register) and is a simple two-part form with a contrasting small middle and a dynamic reprise, which speaks of the depth of feelings and character of the image. The theme is calm, somewhat tense in the middle and reprise due to the deviation into the key of the minor dominant - G minor (and the main key is C minor) and the introduction of a double dominant. Short leagues on the 1st beat of a measure and staccato throughout the theme give the music an elegant character.
Next we observe the contrast between the variations due to the introduction of the eponymous major (C major) and the deviation from the form of the theme. The form of the first variation is already a period, and not two-part. The major mode creates an uplifting mood, and the introduction of sixths, thirds and dotted rhythms into the melody gives the music a festive solemnity (as in Polonaise).
The second variation is the same in form, theme and key again in C minor. The character is sad. The variation of the melody is ornamental due to the enrichment of the theme with non-chord sounds (foreshlags, auxiliaries, passing, delays), and the music acquires an elegant, flirtatious character. In the reprise, a polyphonic element of variation is introduced, which creates even greater expressiveness compared to the theme.
The third variation is again in C major. The form, as in the first variation, is period. The variation is textured. 16th notes are introduced into the left hand part; chords, octaves to melody. The dynamics are brighter than in the first variation, the mood is more upbeat. There is a technical, dynamic, emotional development of the music, which brings the listener to the climax.
The separateness and closedness of the parts of the variation cycle creates the danger of fragmentation of the form. Already in the early examples of variations, there is a desire to overcome this danger by combining variations into groups according to some characteristic. Sometimes the classics mentally reduce the form to tripartite, like the form of a sonata allegro.
The fourth variation plays the role of development and culmination. It is developed in form. This is already a three-part form (8+10+8t.). The middle is extended to 10 bars. The part of the left hand is complicated due to the figuration of 16th triads according to the sounds (variation by harmonic figuration) and the introduction of thirds. The harmony is complicated: the main tonality of the fourth variation is C minor, and the middle in E flat major is parallel major. But both the harmony and the melody remain recognizable. In Part III of this variation, the melody is moved to the lower register. The dynamics are more varied (from “p” to “f” and “sf”). All this creates an excited, intense character of the music and the image as a whole.
All contradictions are resolved in the fifth variation, which plays the role of the final part of the cycle (finale) - joyful, cheerful, impetuous. The key is C major again. The tempo remains the same, but due to the figurative variation of the melody in this case (and not the harmony) and the introduction of 16th triads and scale passages, the variation “sweeps by” rapidly and is technically the most difficult to perform. The harmony, as before, is simple - alternating tonic and dominant, as in other major variations (first and third). The form here is free with the features of a verse (chorus and chorus), which is characteristic of vocal music and corresponds to the name of this work - “Song with Variations”.
The thematic material in the works of the Viennese classics is distinguished by brightness, relief of images, and always bears the stamp of originality and unique individuality of the composer, as we have seen in the example of these variations by J. Haydn. Therefore, for the artistic and educational development of students, it is very important for them to familiarize themselves with the work of the Viennese classics and the style of their piano writing.
Free variations
IN In the 19th century, starting from its second third, a new type of variation form appeared - free variations. Their emergence is closely related to the romantic trend in music.
The theme in free variations undergoes much more transformation than in strict ones. In them, it is possible to change the structure (form), harmony, tonality, theme. Often, some variations do not use the entire theme, but only certain of its elements, small, sometimes seemingly minor turns. (“Variations on a Belarusian song” by N. Rakov for children’s art school students, 6th grade). Therefore, in many free variations the connection with the theme is no longer expressed as directly as it was in strict ones; the forms of its manifestation become more diverse. A theme can serve not only as the basis for variational development, as in strict variations, but also as a reason for creating a chain of different miniatures, many of which are very distantly related to it (R. Schumann “Children’s Scenes”). A number of variations acquire such individual features that it becomes possible to write them in various genres, for example, variations in the genre of waltz, mazurka, march.
Consider “Variations on a Theme of Ukrainian Folk Song”
E. Andreeva for high school students of the Children's Art School (see example No. 8). The theme differs little in character from the theme of strict variations. It is only worth noting the complexity of its musical language, which can be explained by the variety of techniques used for further variation, which in strict variations were reduced mainly to the complication of texture. Key G minor, size, form – period (6+6 bars).
The first variation is called "Song". Tonality and form, as in the theme. Only the lower voice in the left hand part varies: from a polyphonic two-voice presentation in the theme it turns into a one-voice one. Grace notes appear, durations are reduced from quarter notes to eighth notes due to the introduction of passing sounds (like strict variations, but it is not the melody that varies in an ornamental way, but the accompaniment). In fact, the theme and the first variation are the same Ukrainian song.
The second variation is called “Polyphonic Piece”. The theme is transferred to the left hand part and is presented in enlarged durations - quarter notes and half notes, in contrast to the theme, where eighth notes and quarter notes are used. The echoes in the right hand part have undergone a complete rhythmic change - triplets and sixteenth notes are introduced. Due to the enlargement of the duration of the theme, the form of this variation is also enlarged - this is a period of two sentences of ten bars plus one bar of the conclusion.
The third variation is called “Etude”. The texture is completely changed, the technique of hidden polyphony is introduced. The theme with some melodic changes is heard in the upper voice. The period is extended to 24 cycles.
The fourth variation is the play “The Top”. The tonality is the same, but the meter and tempo of Vivace changes, which corresponds to the new character and image. The theme, although weak, is heard. The form is the same (24 bars).
Fifth variation – “Mazurka”. The size is as it should be in Mazurka -. The melody is based on the sounds of the theme. A dotted rhythm is introduced (the rhythmic pattern is completely changed). Written in a new form - three-part with a contrasting middle in a distant key - E flat major.
The sixth variation is “Musical toy”. There is polyphonic variation here with the transfer of a highly modified melody to different registers and hand parts. The tempo slows down - Andante cantabile is the slowest tempo of all the miniature variations. The key changes to the major of the same name - G major. The form is three-part, but consists of only 16 bars.
The seventh variation “March” is energetic, agile, and is the final one in this cycle. The time signature changes to , the key of G major. The theme is almost unrecognizable rhythmically and intonationally. The form is three-part, but greatly enlarged in the number of bars (57 bars – 16 + 25 + 16). In the middle movement the original theme appears, but in the key of E major, then in A minor. Again, a polyphonic element is introduced, as in the theme. All this reminds us that the title of this work is “Variations on a Theme of a Ukrainian Folk Song.” This is an example of genre variations written in modern times. Artistically, it is of great importance for the development of imaginative thinking and the emotional sphere of the performer.
If we turn to another example of free variations, namely R. Schumann’s “Children’s Scenes,” we will see that the cycle consists of miniatures of different character, form, and tonal plan, united only by a common design. They reveal the world of children's fun, joys and sorrows, and draw pictures of the life around them. The plays are called: “About Foreign Lands and People”, “A Strange Story”, “A Game of Blind Man’s Buff”, “A Child’s Request”, “Happy Contentment”, “An Important Event”, “Dreams”, “By the Fireplace”, “Riding on stick”, “Isn’t it too serious?”, “Frightening”, “A falling asleep child”, “Words of a poet”. This is a more complex variation cycle, which belongs to the repertoire of music colleges, and not the Children's Art School. However, one play from this cycle is found in collections of works for students in the 6th grade of art schools - the play “Dreams”.
The greatest achievements of romantic music are associated with the name of R. Schumann: the ability to deeply and subtly penetrate into the life of the human heart, the desire to see the wonderful and extraordinary in life, hidden from indifferent ordinary people. Therefore, acquaintance with the music of Schumann and other romantic composers always brings an invaluable contribution to the formation of a certain piano style and artistic taste of students.
Let's consider another example of free variations of the twentieth century - this is “Variations on a Belarusian Song” by N. Rakov (see example No. 9). The theme consists of separate short motives, which is typical for the folklore genre of crying (lamentation). The key is A minor. It should be noted that the instrumental theme is “vocal”. Its presentation is two-voice (sexts), movement in a descending third (III-I degree, V-III degree). Priority of melody: harmony is given late. The harmonies are lush and colorful. Parallel major-minor means are used (for example, the D flat triad
major in A minor is nothing more than the triad of the second lowered degree from C major - measure 7), DD43 in C major - measure 12. The form of the theme is a sentence of two phrases (8 + 8 t).
Further, the theme varies, acquiring a different character: sometimes waltz-like, sometimes lyrical, sometimes alarming. In the coda, the theme sounds monumental and persistent (compared to the beginning) due to the powerful texture and bright dynamics (ff). The tonal plan is very diverse (dynamics are replaced by chromaticity). The variations in this cycle are not separated from each other and their boundaries are not precisely defined. Between the variations there are connections, and, as previously mentioned, in free variations individual elements of the theme can vary, here we can even highlight a variation of passages (bars 119-154). The theme is included three times in the variations, so we can say that the form of the work is mixed - variations + rondo! Harmonic means are determined by a complex modal system. Only the rhythm undergoes little transformation.
We see an avoidance of strict forms in the variations, improvisation, and a tendency towards vocal strophic form, which seems to follow from the lyrics of the song. All these are the colors of the twentieth century. These variations, with their improvisational nature, develop the student's creative thinking, individuality, technique and freedom of performance.
In the twentieth century, the range of possibilities of the variational form gradually expanded. An example of an original interpretation of it can be “Variations and Fugue on a Theme of Purcell” by B. Briten, which has the subtitle: “A Guide to the Orchestra for Young People.” The theme here travels from one instrument to another, introducing the listener to their timbres and means of expression.
Variations on several themes
In addition to variations on one theme, there are variations on two themes (double) and three (triple). Double variations are rare, triple variations are exceptional (M. Balakirev “Overture” on the themes of three Russian songs).
In double variations, both themes are first presented, then variations on the first of them, then on the second, follow in turn. However, the arrangement of the material can be more free. Topics may be close to each other in nature or, conversely, contrasting. An example of such variations is “Kamarinskaya” by M. Glinka, where two themes were subject to variation treatment: the wedding song “Because of the Mountains, High Mountains” and the playful dance song “Kamarinskaya”.
Variations with a theme at the end
Finally, there are variations with a theme at the end. The emergence of this type of variation is associated with a departure from classical thinking in the field of form, which required a theme at the beginning and its further development. They appear at the very end of the 19th century (there were precedents in the Baroque era in some variation compositions). The most significant works of this kind: symphonic variations of “Ishtar” by Vincent d’Indy (1896), “Third Piano Concerto by R. Shchedrin” (1973), “Piano Concerto by A. Schnittke” (1979). There is no regulation of the form. In Shchedrin's concerto, the variations are combined in a very complex way, up to an asynchronous beginning in the orchestra and in the soloist's part. Elements of the theme are scattered throughout the concerto, and it emerges entirely in the final cadenza. In Schnittke's concerto the theme is a complex, including a dodecaphonic series, triads and recitation on one sound.
Conclusion
So, we see that as the art of music develops, musical forms also change. They serve new ideological and artistic tasks and therefore new methods of presentation and development appear in them, and the general composition of the musical material also changes.
In the pedagogical repertoire, variation cycles occupy a prominent place among works of large form. Getting to know them is of great artistic and educational importance for the musical and technical development of students. The uniqueness of variation cycles is that they combine elements of both large and small forms. Therefore, the student, working on them, acquires especially diverse executive skills. Like a miniature, each individual variation requires laconism of expression, the ability to say a lot in a little. At the same time, when combining individual variations into a single whole, the student is required to have a large amount of memory and attention, and the ability to switch from one artistic task to another.
The student must know what type of variations and variations his work belongs to, be able to find a theme and its elements, delve into the features of modal and harmonic structure, form, texture and other means of expression. This will help you consciously analyze the text and penetrate deeper into the content of the music being performed.
By learning variations relating to different historical eras, we introduce students to various stylistic features of piano writing, and consider different solutions to artistic problems by composers. By performing variations on themes of different peoples (Russian, Belarusian, Ukrainian, Moldavian, Slovak, etc.) we introduce the folklore of these peoples.
I would like to say from practice that working on variational form is very interesting. In each variation it is necessary to convey a certain character and mood, using various technical techniques of performance.
All the knowledge acquired in the process of working on the variation cycle helps to achieve the most important task - the education of a versatile musician - a performer with creative thinking, a sense of style and a rich emotional palette.
Bibliography
Alekseev A., “History of piano art”, part I, M., 1962.
Alekseev A., “Methods of teaching piano,” ed. 3rd, M., “Music”, 1978.
Kyuregyan T., “Form in music of the 17th - 20th centuries”, M., 1998.
"Musical Form", ed. Yu.N. Tyulina, ed. "Music", M., 1965.
Spogin I.V., “Musical Form”, 6th ed., M., “Music”, 1980.
“Problems of Musical Science”, collection of articles, compiled by V.I. Zak, E.I. Chigareva, vol. 6, M., “Sov. composer", 1985.
Fraenov V., “Musical form. Course of lectures", M., 2003.
Kholopova V., “Form of musical works”, St. Petersburg, “Lan”, 1999.
Shatskaya V.N., “Musical and aesthetic education of children and youth”, M., “Pedagogy”, 1975.
"Encyclopedic Dictionary of a Young Musician", comp. Medushevsky V.V., Ochakovskaya O.O., M., “Pedagogy”, 1985.
A virginel is a musical instrument, a type of small harpsichord in England, hence the name of the performers on it - virginalists.
Variation- a pervasive phenomenon. It is classified as a principle of artistic thinking. Variation can manifest itself in a variety of forms, even songs.
Variation form– a phenomenon narrower than variation, it is a certain type of embodiment of variation and at the same time its highest type, since variation is expressed consistently, on the basis of established compositional systems.
Variation forms have the following varieties:
1. Forms with tenore ostinato based on the technique with cantus firmus.
2. Forms with basso ostinato.
3. Forms with soprano ostinato.
4. Polyostinate forms.
5. Theme with variations (classic type)
6. Theme with variations (romantic, characteristic type).
7. Symphonic variations on a classical basis.
8. Fusion-variation forms based on themes in the music of the twentieth century.
9. Variation forms based on serial technology.
10. Variations of the twentieth century with a new interpretation of the theme factor.
The origin of the variation form goes back to time immemorial, as it is associated with folklore origins. In particular, song (verse) variation has ancient roots. Changing words in verses is already a variation. The improvisational nature of folk music determines the lack of consistency in the implementation of the variation principle.
The first variation forms of professional music are associated with reliance on the cantus firmus. Such variational forms appeared in the masses and motets of the 15th century. In the 17th century, variations appeared based on the continuous repetition of the same melodic turn in the bass. Such a bass, consisting of multiple repetitions of one melodic figure, is called basso ostinato (persistent bass). Passacaglias and chaconnes were created in variational forms with basso ostinato. The historical development of forms with basso continuo was interrupted in the 18th-19th centuries. For about a century and a half, composers did not turn to this type of form. In the twentieth century, there was a return to the idea of the ancient variation form, but the renewal of the musical language entailed the symphonization of variation forms with basso continuo and an increase in expression.
Variations on a sustained melody, which gravitates towards a song form and is repeated ostinato in any layer of texture, excluding the bass itself, are usually called variations with a soprano ostinato. The historical roots of this form go back to ancient times, but its composer’s interpretation occurred already in the “golden age” of harmony, and variations on a sustained melody appeared in the first half of the 19th century. This type of variation is found in Schubert's Trout Quintet and Schumann's Sonata for Youth Op 118 No. 1. However, the true founder of the form is M. Glinka, with whom the stabilization of the form and its prominent role in Russian music are associated; it is no coincidence that such variations are called “Glinkinsky.” The formation of this type of variation is associated with the history of Russian opera. Glinka's operas gave impetus to the development of the verse-variation form with soprano ostinato not only in opera, but also in chamber vocal music, and later in symphonic music.
Classical variations are a theme with variations. A theme with variations is a form consisting of an initial presentation of a theme and several repetitions in a modified form, called variations. A diagram of this form can be represented as
A + A¹ + A² + A³ ...
Classic variations are called strict or ornamental. Their prototypes are dances with doubles.
The theme can be original or borrowed. If variations were included in a sonata-symphonic cycle, then the themes were created by the author. The theme was homophonic, it was embodied in period form, a simple two-part or simple three-part form. The tempo is usually average, so that acceleration can be increased by increasing rhythmic density or introducing contrasting inclusion into the form of a slow variation. The tone is usually maintained from beginning to end. If a fret is changed, then a return is required. The melody and harmony remain recognizable. The ornamental-figurative technique is used, since the variations are textured. As a sample, we can consider the variations (first movement) from Beethoven's sonata op. 26.
Double variations are variations on two themes. A diagram of this form can be designed as follows:
AB + A¹ B¹ + A²B² …
As an example, consider Haydn’s variations “La Roxelane”.
If the themes are contrasting, then the variations are concentrated following their themes, forming thematic groups:
AA¹A²A³….. BB¹B²B…
Thus, in “Kamarinskaya” by M. Glinka, first there is a wedding tune and three variations on it, then a dance song and 13 variations, of which the first 6 have the same melody, then strict variations follow and again groups of variations on the first and second themes.
Variations from the Romantic era were called free, or characteristic. Free variation means a violation of the thematic structure and active contrast between two varieties:
1) with predominant retention of the form of the theme - as an example, “Symphonic Etudes” by R. Schumann can be considered;
2) with constant violation of the form of the theme, often with the introduction of fugues, etc. As an example, Beethoven's late cycles and many of Brahms' variation cycles can be considered.
As examples of symphonized variations, we can consider “Symphonic Variations” by C. Frank, “Rhapsody on a Theme of Paganini” by S. Rachmaninov.
In the twentieth century, new varieties of variation cycles emerged. Among them are polyostinate forms, variation forms based on serial technology, etc. Polyostinate variations tend toward unity and in most cases achieve its absolute expression. R. Shchedrin's third concerto was written in an unusual form, in which the theme appears as the result of variation development.
By the end of the twentieth century, the traditional “theme with variations” was losing relevance. Serial variation (synthesis of free seriality and sonorics) was developed. The theme is replaced by the concept of “central element” with a constructive-leading function. Following A. Berg and E. Denisov, many composers began to develop this new principle of variation development.
Quests:
1. Analyze the following works: J. Haydn. Variations “La Roxelane”; L. Beethoven. Six easy variations on a Swiss theme; W. Mozart. Variations on the theme “Ah! Vous dirai-je, Maman”; D. Kabalevsky. Variations in D minor; R. Schumann. Symphonic etudes.
2. Determine the type of variations, the means of variation used in “Capriccio on Russian Themes” by M. Glinka.
RONDO
Rondo is a form in which the same topic is taught at least three times, and between its presentations parts of different content and, most often, new ones are placed each time. The structure can be represented as follows:
A + B + A + C + A + …
The basic principles are reproducibility and contrastive comparison. The rondo form comes from a round dance song with a chorus. The term "rondo" means "circle", "round dance".
The repeated theme is called the main part (according to the old terminology, rondeau or refrain, that is, chorus). Designations used: 1st holding of the main game, 2nd holding of the main game, etc. The parts located between the main game are called episodes. The rondo refrain acts as an initio in relation to the episode following it and as a terminus (reprise) in relation to the previous one, and the episodes perform the function of motus.
The verse rondo arose in homophonic music; this form is characteristic of French composers of the 17th - first half of the 18th centuries. The main features of music are the absence of long-term end-to-end development, the relative isolation of the parts of the form with their brevity, the mechanical nature of the coupling of the parts of the form. The parts are usually short, but there are many of them, so the shapes are large. Works written in the form of a verse rondo often had a programmatic content. Such forms are characteristic of the work of F. Couperin. The main game, written in period form, could be slightly varied in subsequent runs.
Episodes in early classical Rondos provide a slight thematic contrast and may include elements of the main part. The order of keys can be arbitrary, although the restriction to keys of the first degree of relationship applies. The general tonal plan approaches the usual formula T D S T. The connecting parts of the verse rondo, as a rule, are not typical, there is no coda. Old French rondos (vintage, harpsichord) usually had programmatic and pictorial names - “Cuckoo” and “Chicken”, “Little Windmills” and “Reapers”, “The Only One” and “Beloved”. The general character of the music remained quite homogeneous and, even with rather dramatic names, pleasant and affectionate.
Rococo was replaced by sentimentalism (mid-18th century), and contrasts, developmental constructions, and active tonal development, which could also involve a refrain, invaded the rondo. For such a rondo as can be seen in K.F.E. Bach, liberation from the norms of the previous style is more characteristic than the assertion of any of his own.
Historically, the next variety was Rondo of mature classicism - classical, or simple rondo. A simple rondo is characterized by a desire for end-to-end development and overcoming the disunity of parts of the form. Links appear, code. Variation is introduced and the scheme becomes more complicated.
In a classic rondo, the main part is closed. It is most often built according to a simple two- or three-part form. The episodes in this variety are proportionally wider and more varied in form. The episodes are written in a simple two- or three-part form, sometimes in period form. The first episode may be an unstable construction of the middle character. The second episode approaches the role of the trio in a complex three-part form with an incomplete reprise. The following scheme appears:
like one part of a trio reprise
Differences between the two forms:
1) the main part of a rondo is usually two- or three-part, and not a period, as in a simple three-part (as a section of a complex three-part);
2) the first part of the complex three-part form is monotonous, and in the rondo the first episode introduces a thematic contrast;
3) the weight of a trio in three-part form is greater than that of an episode in a rondo.
Such a rondo includes links and connecting parts of a developmental nature based on the material of the theme, the introduction of which is thus prepared. The code is based on material from past topics. Developmental development as a whole is not characteristic of this form. The finales of W. Mozart's sonatas are particularly complex, as they can include two episodes in a row. Rondos from the 19th century become freer. The middle parts of the main part can be in a subordinate key for the sake of coloristic diversity and overcoming the static form. Connecting parts of a development nature reduce the degree of isolation of the parts. The material for the episodes is interpreted freely.
Rondo is often an independent work, often programmatic (L. Beethoven’s piano rondo “Anger at a Lost Penny”). Rondo can be part of a cyclic work; it is most often used in the finales, sometimes appearing in the middle movements. Rondo is used in opera music to the extent of giving a ronda-like structure to an entire act or scene. As an example, we can consider the finale of the 1st act of the opera “The Snow Maiden” by N. Rimsky-Korsakov. In Russian music, rondo is often used in vocal music due to the structure of the text.
Quests:
1. Analyze the following works: F. Couperin. "Flying Ribbons", "Reapers"; OK. Daken. "Cuckoo"; W. Mozart. Sonata K. 570, finale; V.A. Mozart. Piano trio C major, finale; L. Beethoven. Sonata No. 1, finale; D. Kabalevsky. Sonatina in C major, finale.
2. Compare the structure of M. Glinka’s romances “Night Zephyr” and A. Dargomyzhsky’s “Night Zephyr Streams the Ether...”.
3. Draw up a diagram of the structure of the finale of piano sonata No. 11 by V.A. Mozart.
Technological lesson map
Item
Music
Class
3rd grade
Lesson type
Mastering new knowledge
Lesson construction technology
Study and initial consolidation of new material
Subject
"Variations"
Target
To form an idea of variation as a musical form, to be able to distinguish by ear the features of the construction of variations
Basic terms and concepts
Musical form, variations, simple variations, free variations
Planned (expected) result
Know the meaning of the concept of variation, simple and free variations, be able to identify variation form in musical works, distinguish simple and free variations by ear, create a model of variations
Subject Skills
Personal UUD: develop musical and aesthetic taste, ear for music, the ability to realize one’s creative potential in the process of individual and collective action, develop the ability to distinguish the form of variations by ear, interact with peers when solving creative problems
Regulatory UUD:to develop the ability to control and correct one’s own educational actions, to understand successes and failures in vocal and choral activities, creative listening tasks
Cognitive UUD:be able to recognize the types of variations, relying on the means of musical expressiveness, know the musical areas of application of the variation form
Organization of space
Instrument, computer, projector, screen, presentation for lesson
Forms of work
Resources
Frontal
Group
Work in pairs
Individual
Perception and analysis of a musical work
Vocal and choral work
Creating a Free Variation Model
Writing definitions in workbooks
Didactic objectives of the lesson stages
Lesson steps
Didactic tasks
Organizational
(motivation stage)
Development of goodwill and emotional and moral responsiveness
Updating basic knowledge and skills
Stimulating students' cognitive activity through presentation demonstrations, familiarization with the terms musical form, variations
Statement of educational problem
Proposing a problem-search task, organizing solutions using leading questions
Formulating the problem, planning activities
Theoretical differentiation of types of variations, disclosure of their features
Discovery of new knowledge
Discovery of new knowledge through theory
Initial check of understanding
Creating a problem situation through listening, organizing solutions
Application of new knowledge
Organization of collective performing activities, its connection with the problem of the lesson, logical construction of lesson dramaturgy, fulfillment of a creative task
Checking the emotional, activity sphere, level of mastery of educational material
Technology study
Lesson steps
Developed skills
Teacher activities
Student activities
Organizational
Metasubject (MS): cognitive activity of students
Regulatory: adjust your own performance
Communicative: emotional - figurative mood
Musical greeting: - Hello, guys!
Look into each other's eyes, smile, conveying a piece of good mood.
What song was playing when you entered the classroom? This song did not sound by chance; today, based on it, we will talk about the musical form of variation. (1 slide)
Students to the music of r.n.p. “There was a birch tree in the field...” enter the classroom, greeting: - Hello, teacher!
Updating knowledge
Subject: introduction to a new musical form
Meta-subject (UD): highlighting the main goal of the lesson
Cognitive: choosing criteria for comparison
Communicative: collaboration with the teacher
Let's perform the song we heard. (2 slide)
Variations are the oldest musical form and originated in folk art. Folk performers usually repeated their tunes several times, with each new performance sounding in a modified version. In modern art, variations are widely used by composers in popular music, since it mainly consists of songs where the verses are repeated.
What do the terms musical form and variations mean? (3 slide)
Students take part in collective singing, perceive the teacher’s story
Working with a presentation
write down terms in a notebook
Statement of educational problem
Subject: determine by ear the distinctive features of a variational form
Metasubject (UD): readiness for logical actions
Cognitive: mental division of a work into parts
Regulatory: the ability to act according to plan
Communicative: the ability to participate in joint activities
Listen to the song that was played at the beginning of the lesson, watch the video clip. (4 slide)
Give answers to the questions.
(5 slide)
Students listen, analyze, answer questions.
Problem formulation planning
Personal: listen, find the necessary information in the presentation
Meta-objective (UDD): separation of general and particular concepts
Regulatory: assessing your own conclusions
The theme of the variations can be original (written by the composer himself) or borrowed. Variations can be filled with completely different content: from very simple to deep and philosophical meaning.
Such variations are divided into simple and free.
Listen, note the difference in types of variations
Discovery of new knowledge
Subject: a more complete acquaintance with the means of musical expression
Metasubject (MSD): introduce the terms “free and simple” using the example of variations
Cognitive: look for solutions to answer the question about the complexity of variations
Regulatory: formulate leading and problematic questions
Communicative: participation in joint activities, search for compromises
When creating variations, composers use means of musical expression. Let's repeat some of them.
(6 slide)
Now we will once again hear the song “A Birch Tree Stood in the Field” in a new version. P.I. Tchaikovsky included it in the finale of Symphony No. 4. In this work, the Russian song paints a picture of festive folk fun. As soon as you hear the sound of a familiar theme, raise your hand and determine what variations they are: simple or free.
(7 slide)
They work with the presentation, read out the terms, give a description.
They actively listen to music and draw conclusions.
Physical education minute
Compliance with health-saving technologies
Physical education lesson “Herringbone” (8 slide)
Get up and do exercises
Application of new knowledge
Subject: application of acquired knowledge in creating a variation model
Metasubject (MS): ability to analyze problems of war and peace
Cognitive: developing motivation for the culture of another country
Regulatory: control your emotions
Communicative: participation in vocal and choral work, perceive the world around
And now you will get acquainted with the Japanese folk song “Sakura”. (9 slide)
What is sakura?
Japan is a country of farmers. Therefore, the Japanese pay a lot of attention to plants, and the praised plants often have no practical significance. Sakura is an inedible variety of cherry, however, alleys of sakura trees are planted in front of temples, its flowering in late March - early April is followed by all the media, worship is of a religious and aesthetic nature (enjoying the beauty).
We will perform this song in Russian and Japanese. (10, 11 slides)
Which language is more harmonious with the gentle nature of the song?
Do you have the feeling that you want to continue this song?
Incompleteness is a feature of Japanese music.
Now we will hear variations on the theme “Sakura”, but first listen to the terrible tragedy that occurred in Japan in 1945.
On August 6, 1945, at 8 a.m., as the Japanese were rushing to work, three planes appeared over the city of Hiroshima. The hatches of the leading plane opened, and a bomb separated from it and began to fall. When it exploded, it turned into a giant fireball that absorbed the entire city, and then rose above it in an unprecedented mushroom cloud. The innocent people of Hiroshima found themselves in hell. And on August 9, the same fate befell another Japanese city - Nagasaki. Hundreds and hundreds of thousands of people died, and those who survived were doomed. As you understand, the consequences of the explosions shocked and horrified everyone, including the Russian composer Dmitry Borisovich Kabalevsky. The composer expressed all his experiences and sympathy for the Japanese people in variations on the theme of the Japanese folk song “Cherry”. A little later, a book was published in Japan called “The Girl Sadako Wants to Live.” The girl's family was caught in this tragedy. The girl fell ill with an incurable disease. Sadako really wanted to get better and one day she asked the doctor: “Will I live?” The doctor replied: “Yes. You will get better when you make a thousand paper cranes.” The girl loved life and those who were next to her so much, but despite this, Sadako did not have time to make a thousand cranes. In memory of her, the children of Japan made a thousand cranes and launched them into the sky.
Listening to music.
(12-32 slides)
What is the philosophical meaning of the work?
People must remember the terrible lessons of history. And the music will warn them against irreversible actions.
On the desks in front of you is “Model of Variations by D. B. Kabalevsky.” (Project 1)
Consult with each other and decide what means of musical expression the composer used.
Make a conclusion - are these variations simple or free? Why?
Afterwards this task is checked on the screen.
(33 slide)
They remember, they answer
Participate in vocal and choral work.
Give reasons for the answer
Give reasons for your answer
Students listen
Participate in the story of a historical event, empathize emotionally
Listening and watching a presentation
They give
reasoned answer
Work in pairs with the “Variation Model”
Free, because almost all means of musical expression are used, the original theme is difficult to recognize.
Reflection on learning activities
Personal: awareness of the development of musical and aesthetic feelings
Meta-subject (MS): the ability to self-determinate in assessing the content being learned, ensuring personal moral choice
Regulatory: understanding success and reasons for failure
Communicative: the ability to participate in joint activities
At the end of the lesson, I would like to know how you evaluate your activities in the lesson. I will ask questions, and if you agree, clap your hands once, if not, tap your foot once.
Andreeva Katya
The abstract provides a brief overview of the form of Variations, schemes for constructing variations, types and varieties of variations, the history of the emergence and development of this musical form.
Download:
Preview:
Abstract
Subject:
"Musical Form - Variations"
Completed:
student of grade 3b, school No. 57, Orenburg, Andreeva Katya
teacher-
Popova Natalia Nikolaevna
2013
Abstract plan:
1. The concept of "Variations".
2.Scheme for constructing Variations.
3. Types of Variations.
4. History of the development of the "Variations" form
1.Variations (“change”) is a musical form that consists of a theme and its modified repetitions. VARIATION FORM, variations, theme with variations, variation cycle, is a musical form consisting of a theme and its several (at least two) modified reproductions (variations). The theme can be original (composed by a given composer) or borrowed from folk music, folklore, or well-known popular examples of classical or modern music. The most typical qualities of a theme: song character; form - period or simple two-, less often three-part; economy of harmony and texture, which are enriched in the process of variational development. The specific qualities of the Variation form are thematic unity and integrity, and, at the same time, the closedness of the parts and relative staticity.
2. Scheme for constructing Variations No. 1
a1 a2 a3 a4......
(theme) (variations)
In music there are also variations on 2 and even 3 themes.
Variations on 2 themes are called - double
Scheme for constructing Variations No. 2:
double variations:
a a1 a2 a3 a4.... c c1 c2 c3 c4.....
(1 theme) (variations) (2 theme) (variations)
Variations on 3 themes are called triple.
3. Types of Variations
In professional music, there are several types of variation form.
Since the 16th century, the form of variations on unchanging bass (in Italian basso ostinato) or unchanging harmony. Now they are sometimes calledancient variations. These variations come from chaconnes and passacaglias - slow three-beat dances that came into fashion in Europe in the 16th century. The dances soon went out of fashion, but passacaglia and chaconne remained as the names of pieces written in the form of variations on the unchanging bass or unchanging harmony. Music of a mournful, tragic nature was often written in this form. The slow, heavy tread of the bass, constantly repeating the same thought, creates the impression of urgency and inevitability. This is an episode from J. S. Bach’s Mass in B minor, which tells about the suffering of the crucified Christ (chorus “Crucifixus”, which means “Crucified on the Cross”). This choir consists of 12 variations. The bass here is unchanged, but the harmony varies in places, sometimes suddenly “flashing out” with new, bright, expressive colors. The intertwining lines of the choral parts develop completely freely.
Main types of Variations:
Vintage or basso ostinato- based on constant repetition of the theme in the bass;
- “Glinka” or soprano ostinato- the melody is repeated the same, but the accompaniment changes;
Strict or classic- they preserve the general contours of the theme, its form and harmony. The melody, mode, tonality, texture changes;
Free or romantic- where the topic changes beyond recognition. Variations come in a variety of sizes.
There are very small miniatures written in the form of variations, and there are large concert variations, which in their length and richness of development can be compared with sonatas. Such variations refer to large form.
Types of variations (classification according to various criteria):
1. according to the degree of departure from the topic- strict (the tonality, harmonious plan and form are preserved);
2. free (a wide range of changes, including harmony, form, genre appearance, and so on; connections with the theme are sometimes conditional: each variation can achieve independence, like a play with individual content);
3. by variation methods- ornamental (or figurative), genre-characteristic, etc.
4. History of the development of Variations.
Variations appeared a long time ago in folk music. Folk musicians did not know notes, they played by ear. It was boring to play the same thing, so they added something to the familiar melodies - right there, during the performance. This type of writing “on the go” is called improvisation . While improvising, folk musicians retained the recognizable outlines of the main theme, and variations were obtained. Only they didn’t know the name of this one yet: it was invented much later by professional musicians. The variation form was born in the 16th century. Variations originated from folk music. Imagine that a skilled folk musician played the melody of some song on a horn, pipe or violin, and each time the motive of this song was repeated, but sounded in a new way, enriched with new echoes, intonations, the rhythm, tempo, and individual turns of the melody were modified. This is how variations on song and dance themes appeared. For example, M. Glinka wrote variations on the theme of Alyabyevsky’s “Nightingale” or on the soulful melody “Among the Flat Valley.” Variations can be imagined as a series of pictures about the history, experiences (and even adventures) of the person-image with whom the listener becomes acquainted in the topic. The difficulty in working on a variation cycle lies in the combination of individual variations into a single whole. Integrity is achieved through thematic unity. The caesuras between variations are also of great importance. Caesuras can separate variations and combine them into a single whole.
The development and change of the elements of the Variation form continued for many years and centuries. The variations of Bach's period and those of the 19th and 20th centuries are quite different in many respects. Composers experimented and made significant changes to the form.
The appearance of variations with a theme at the end indicates a departure from classical rhetorical thinking in the field of musical forms, which required establishing the theme at the beginning, with subsequent development. One of the precedents is known in Baroque music: a variation chorale cantata with a pure chorale placed as the last number. Variations with a theme at the end, having appeared at the end of the 19th century, then began to become more and more established in the 20th century, which is why in the chapter “Classical instrumental forms” they are considered only for the sake of compactness of presentation.
The most significant works in the form of variations with a theme at the end are Andy’s Symphonic Variations “Ishtar” (1896), Shchedrin’s 3 forte piano concerto with the subtitle “Variations and Theme” (1973), Schnittke’s Piano Concerto (1979), “Reflections on the Chorale of I. WITH. Bach “And here I am before Your throne”” by Gubaidulina (1993). The Passacaglia from the 1st violin concerto by Shostakovich (1948) can be added to them - see our analysis in the section “Variations on basso ostinato”.
