Synopsis "musical forms". musical forms
The work consists of separate musical phrases - small integral musical fragments. Musical phrases are combined into periods. Periods that sound similar are combined into parts. Fragments (phrases, periods, parts) of a musical work are indicated by Latin letters: A, B, C, etc. Various combinations of fragments form various musical forms. So, a common form in classical music - ABA (song form), means that the original part A disappears when it is replaced by part B, and is repeated at the end of the work.
There is also a more complex structuring: motive (the smallest element of a musical form; 1-2 bars), phrase (a complete musical thought; 2-4 bars), sentence (the smallest part of a melody completed by some kind of cadence; 4-8 bars), period (element of musical form; 8-16 bars; 2 sentences).
Different ways of developing and comparing the elements of a melody led to the formation of various types of musical forms:
- One-part form (A) - also called ballad form or air. The most primitive form. The melody can be repeated with minor changes (form AA 1 A 2 ...). Example: ditties.
- Two-part form (AB) - consists of two contrasting fragments - an argument and a counterargument (for example, the play "The Organ Grinder Sings" from P.I. Tchaikovsky's "Children's Album"). However, if the fragments are not contrasting, that is, the second fragment is built on the material of the first, then the two-part form turns into a variation of the one-part form. Nevertheless, such works (for example, the play "Remembrance" from R. Schumann's "Album for Youth") are sometimes referred to as two-part.
- Three-part form (ABA) - it is also called song or ternary. There are 2 types of three-part form - simple and complex; in simple, each section is a period, the middle one can be a short transition; in complex - each section is, as a rule, a two-part or simple three-part form.
- Concentric shape - a concentric shape consists of three or more parts, repeating after the central one in reverse order, for example: A B C B A
Classic forms
Sonata
Sonata form is a form in which the exposition (part 1) contains two contrasting themes in different keys (the main part and a side part), which are repeated in the reprise (part 3) in a different tonal ratio - tonally approaching (most often, both in the key of the main Topics). The middle section (part 2) is typically "Development", ie. a tonally unstable part, where the development of previous intonations takes place. Sonata form stands out from all other forms: the only form that has not been developed in dance and vocal genres.
Rondo
The freedom inherent in sonata form expands in the rondo. Its form is an ABACADAEAF construction... That is, completely different fragments, keys and sizes are connected by the initial theme A.
Fugue
A form of polyphonic music in the 17th and 18th centuries.
Symphony
A work that combines several different musical forms, usually performed by an orchestra. As a rule, it consists of four parts (but not necessarily, the main idea of the symphony is a combination of different musical forms):
*Sonata Allegro (fast sonata).
*Slow part.
* Minuet (short majestic dance piece in 3/4 time).
*Combination of sonata and rondo, which is a thematic repetition of the first movement.
Cyclic forms
Large works, consisting of separate parts, united by a common idea, belong to cyclic forms. Parts of cyclic works are constructed in any of the above forms.
Melodika
Melody is the construction and composition of notes in height and duration. Melodika is a flight of the composer's imagination, expressed in the musical game and in shifts. Melody is the compilation of melodies of a person’s conversation with something, with the soul of nature, or with another person, etc. Melody is euphoria at the moment when the musician has no idea what is happening around, he plays, and it doesn’t matter what he plays . Melodics are obtained by building the mood of playing an instrument or by experiment. Basically, the melody appears in the ratio of the mood of the soul of the musician. One of the great musicians - Edvard Grieg - was one of the best melodic musicians.
MUSICAL FORMS
No piece of music can exist without form. Therefore, knowledge of musical forms will give a clearer idea of the works.
Motive - intonation-semantic indivisible structure of musical speech.
The unity of the sounds of the motive is determined by:
General line of melodic movement
The desire of the sound of the motive to the supporting, most significant sound
One harmony or coherent harmonic sequence
musical phrase is called a relatively closed construction, consisting of two or more motifs.
The unity of a phrase is determined by:
Commonality of melodic movement and common climax
Lado-harmonic connections
The rhythmic-syntactic structure of the phrase: a / periodicity " Volga river flows»b/ association« Solar Circle" c/ crushing "Captain Grand's Song"» g/crushing with unification "Buchenwald alarm"
Music theme - the initial presentation of the main, essential features of the artistic image in music. The main features of the artistic image are usually given at the beginning of the work, but the fully artistic image is embodied in the process of developing the content. The end of the topic can be judged by the following signs:
PERIOD
(from Greek -circulation, a period of time covering a completed process)
Period is called a complete one-part form of presentation of the theme of a homophonic warehouse. The period is divided into two, rarely three offers. 1st offer ( A) – intonationally unstable, 2nd sentence (A or V) - stable, thanks to which they are connected for the listener into one whole ( A). Period types:
Repeated (square) - a period of two sentences that are thematically similar but differ in cadences.
single structure- the process of intonational development takes place within the framework of a single rhythmic-syntactic structure.
Modulating- ends in a different key and there is a need for further development.
Difficult - repeated period, each sentence of which is divided into two constructions ( Chaikovsky. "Nocturne in C sharp minor)
Addition and extension- is called a construction that goes beyond the period. Often the addition is a repetition of the last construction of the period.
PARTS FUNCTIONS:
Introduction and conclusion: the introduction and conclusion are closely related to vocal genres: song, romance, aria, because assume two parts: the accompaniment part, which belongs to the introduction with the conclusion, and the voice part, which enters later and ends earlier. From the field of vocal genres, the introduction and conclusion passed into instrumental music. There are various types intros:
The intro may consist of just a few chords or one chord. Often in such an introduction, the tonality, tempo, metro-rhythm and texture of the piece are set.
The introduction introduces a powerful theme. Sometimes she's on her own ("Is it a day reigns" Tchaikovsky), sometimes it is a theme that will be further outlined in a part of a voice or instrument (“ I opened the window" Tchaikovsky, "Symphony No. 6") Tchaikovsky - the theme of the introduction sounds further in the main part, Beethoven's "Symphony No. 5" - as an epigraph).
The conclusion most often repeats the introduction and “frames” the work with it. Sometimes it contrasts with the introduction (“Does the Day Reign” by Tchaikovsky)
exposition(lat. - presentation, explanation, display) : - called the initial presentation of one or more themes of the work. It usually begins in the main key, but may end in one of the secondary keys. The exposition can be repeated (sonatas and symphonies by Haydn, Mozart, Beethoven).
Reprise: repetition of the theme or themes of the exposition. Reprisal is of great importance in music, because in an exact reprise, the main features of the artistic image are affirmed. However, when the theme or themes of the exposition are repeated in the recapitulation, they are perceived somewhat differently. Reprises can be changed:
The theme given in the exposition can become brighter and more dynamic in the reprise. Such a repetition is called dynamic.(Chopin. "Nocturne" No. 13, C minor)
The reprise may be abbreviated("Prelude" in D-flat major by Chopin) or extended(“Melody for Violin and Piano”, Op. 42, No. 3 by Tchaikovsky)
- mirror a reprise is called, in which the themes of the exposition are presented in such a way that the second theme comes first, then the first (Schubert's "Shelter"). A reprise of one theme, written in the form of a period, can also be mirrored. Then the second sentence appears in the reprise, then the first sentence (Schumann's Album Leaf from the Motley Leaves cycle, Op. 99).
Development: the process of intonational development permeates all works from the first to the last note, constructions in which changes in the themes of the exposition occur are called thematic development. Analyzing the thematic development, we must establish: 1/ what themes are developing, 2/ what is the tonal development plan, 3/ what is the change in the theme - what new ones does it acquire.
Episode: called a new theme that arises in the process of cross-cutting development
Code: called the final stage of the end-to-end development of the work. The coda appears if the development has not been exhausted in the previous parts of the musical form:
The coda can be of a developmental type: the theme in it can be produced partially or even completely in different keys, where the main key is strengthened by multiple cadences (Beethoven Sonata, Op. 27, No. 2, C-sharp minor, finale)
At the end, the theme of the episode can be used (Beethoven's "Sonata" op. 2, no. 3, C major, part 2). The code has a great figurative and semantic meaning. (Tchaikovsky's "Symphony" No. 5, finale, in which the themes of the introduction and the main part of the first movement appear in major and in a very emphasized march appearance).
Intermediate and connecting constructions: there are constructions, the role of which in the process of development is less significant, but such constructions have a great formative value, and often a great figurative and semantic function:
Interlude (lat. inter - between)- entry and postlude (lat.post -after)- conclusion. Their role is very important, for example, when it contains, as it were, a statement “from the author”, complementing the part of the solo voice or instrument in the accompaniment (“Reconciliation” by Tchaikovsky). Connecting constructions prepare the appearance of a reprise or a new theme. These are the connecting parts in sonata form.
SIMPLE FORM
The shape is called simple when each part of the work is period. A simple form might be one-part, two-part, three-part.
One-part is called a simple form containing a presentation within a period. Very typical for Russian folk songs (couplet form -1) a + a1 + a 2+ a3;
2) a + a1 + b + b1; a + a1; 3) a single structure). The one-part form acquired great importance in small instrumental pieces (miniatures) in the musical literature of the 19th and 20th centuries. Many preludes by Chopin, Scriabin, Lyadov, Shostakovich, Kabalevsky are presented in the form of a period. Among them, the repeated period of the square structure is extremely rare (Chopin's "Prelude" in A major). Usually the second sentence is extended, contains an intense increase, a climax. An example of an extension is Tchaikovsky's "Morning Prayer" from "Children's Album"
SIMPLE TWO-HOUR FORM
Simple two-part form called a form. The first part of which represents the theme of the work, set out in the form period , and the second part contains either a new theme or a development of the theme of the first part: A + A or A + B. Exists two-part reprise form: A + B + A, where the last period must be less than the initial period (8 + 8 + 4), a reprise in this form is not an independent part of the whole construction. The simple two-part reprise form became widespread in classical music of the 18th and 19th centuries, especially in the instrumental genre. This form can also be found in small pieces ( some Schubert landlers), and as a form of part of a larger work, especially in the themes of the variation cycle ( theme of the 1st movement of the sonata in A major by Mozart) or in romances ( "The Youth and the Maiden" by Dargomyzhsky, "That the Heart is so Disturbed" by Khrennikov).
In idle two-part form the middle can be written not in the form of a period, but be developing ( Schubert "Lendler" B Major). An example would be Tchaikovsky's Organ Grinder from the Children's Album. The two-part form is often found in songs in which the verse and chorus are independent parts. In a verse song with a chorus, the verse and chorus usually contain different, but not contrasting, themes. In romances, the two-part form usually has a developing second part; in this genre it is not a chorus (“ Do not tempt" Glinka, "Marmot" by Beethoven).
Two-part is typical for small dance pieces ( some waltzes by Schubert, "Ukrainian Cossack" by Dargomyzhsky - like a song with a chorus and a chorus), as well as a non-dance warehouse- "Prelude" op. 57, No. 1 Lyadova. Each part can be repeated: A B. A simple two-part form can be like the form of a part of a larger composition.
SIMPLE THREE-PART FORM
A simple three-part form a form is called, the first part of which contains a statement of the theme of the work; the second part is a construction that develops this topic, or a presentation of a new topic; the third part is a reprise: A + B + A, where the middle part is developing and is not a period. The scales of the middle part can be quite different: a/ the middle part is equal to the extreme parts (8+ 8+ 8), b/ the middle part is shorter than the extreme parts (8+ 6+ 8), c/ the middle part is longer (8+ 10+ 8). The third part - a reprise - maybe literal repetition the first part. But the repetition is sometimes not exact: the theme is changed (varied), expanded. Of particular note dynamic reprise- presentation of the original theme at a higher dynamic level, in a more complex texture or in a more harmonic lighting. Often this achieves the most significant climax of the entire work (“Does the Day Reign” by Tchaikovsky).
The independence of the first part and the connectedness of the developing middle part with the reprise is emphasized by the fact that the first part is repeated separately, and the second and third together:
A In A. following the reprise, a coda may occur. May have an introduction and a conclusion. In vocal music, this form is used in romances, arias, where the middle part is developing (“For the shores of the distant homeland” Borodin), are less common with a contrasting part (Aria of the Snow Maiden by Rimsky-Korsakov)).
The introduction and conclusion, set out in the accompaniment part, usually frame the main sections. In instrumental music, a simple three-part form is found in dance and song genres, etudes (“Waltzes” by Schubert, some Mazurkas by Chopin, “Song of the Lark” by Tchaikovsky, “Dreams” by Schumann, etudes by Chopin, Scriabin).
A simple three-part form is used as a form of a larger composition.
Complex three-part form
Complex three-part form a three-part form is called, the first part of which is written in a simple two-part or three-part form, the second part either has the same structure or a number of open constructions, and the third part is a reprise. Thematically, the first and second parts are usually sharply contrast each other.
First part spelled in main key. Second part mostly written in of the same name or subdominant tone.(Sometimes it takes place in the main key " Scherzo" of Beethoven's Third Symphony).
The third part - reprise - a literal or modified repetition of the first part. The literal reprise is often not written out in the notes, but is indicated D, C., i.e.Da capo . Modification in recapitulation is often associated with the complication of texture (variation- Sonata No. 4, Part 2 by Beethoven). Sometimes meet abbreviated reprises ( Prelude No. 15; Mazurkas No. 1, 2 Chopin), which contain only one period of the first part of the play. At the conclusion of the form sometimes takes place code. This form is widespread in the instrumental music of the dance genre (comparison of two dances, where the second part is called - trio, because performed with three instruments), march (marching, solemn, mourning). Works of a non-dance genre, which are mainly based on a contrasting comparison of two images. Often they have a program name: P. Tchaikovsky "The Seasons": "On the troika", "U stove" or genre designation - nocturne, barcarolle. This form is found in the slow parts of the sonata cycle.
In vocal works, a complex three-part form is much less common than in instrumental ones ( M. Glinka "I remember a wonderful moment").
Complex two-part form
Complex two-part form such a form is called in which both parts or one of the two are stated in a simple two-part or three-part form.
Distinguishes this form from the complex three-part lack of reprise.
In instrumental music, this form is extremely rare ( F.Chopin. "Nocturne", op. 15, G minor). In vocal music, this form is found in those works where the development of content is based on a contrasting juxtaposition of two themes and a reprise is not required or even unacceptable. Romances have this form, for example. “How long have you bloomed luxuriously with a rose” M. Glinka, “On the fields yellow” by P. Tchaikovsky. A complex two-part form is sometimes found in the songs of Soviet composers - "Hymn of Democratic Youth" by A. Novikov(the first movement is in B-flat minor - one-part; the second movement is in B-flat major: a simple three-part form).
Rondo
Rondo called a multi-part form based on holding one topic at least 3 times and comparing it with different episodes:
A B A C A
Word "rondo" means circle, round dance.
At the end of the 17th and beginning of the 18th century, one of the earliest types of the rondo form developed. It was widely used in the work of French harpsichord composers.
Fr. Couperin, J. Rameau, Daken. The main features of this form:
1). Unlimited Episodes
2). The contrast of the theme and episodes is negligible
3). The topic is written in the form of a period, episodes are no more complicated than a period
4). Characterized by closed parts
5). The theme is always held in the main key, the episodes are diatonic. kinship
The rondo of French harpsichordists is commonly referred to as couplet rondo. Its theme is refrain and the episodes couplets. In this form, many program plays, portrait sketches ("The Reapers", "Sister Monica" by Couperin, "The Hen" by Rameau, "The Cuckoo" by Daken).
In the works of the Viennese classics - Haydn, Mozart, Beethoven - the form of the so-called "classical rondo" was widely developed. Its characteristic features are: 1) the number of episodes is limited to two (rarely three); 2) one of the episodes (most often the second) contrasts with the theme; 3) the theme is written in a simple 2-part or 3-part form; the variation of the theme during its secondary appearances is typical; 4) episodes are also sometimes written in 2-part or 3-part form ( finale of Sonata No. 7, D major, Haydn); 5) there is often a coda built on the intonations of the theme and on the intonations of the contrasting episode; 6) the tonal plan of the shape of the rosary: subject- in the main tone, contrast episode- in the same name or subdominant, low-contrast episode- in the dominant key, sometimes - in the key of the VI degree (with the main major key). In the form of a rondo, some finals of sonata cycles, individual pieces, often called rondos, are written. Sometimes this form can be found in an opera aria ( "Figaro's Aria" from the opera "The Marriage of Figaro" by Mozart).
In the work of composers of the 19th century (in particular, Schumann), the rondo form acquires new features:
1). The number of episodes is increasing;
2). The degree of contrast between the theme and various episodes increases;
3). The closeness of the contrasting parts creates a large multi-part shape
(1 part of Schumann's Vienna Carnival)
4). The tonal plan becomes more complicated, the tonalities of a more distant
kinship; there are themes ending in modulation. Holding
of the same episode in different keys ("Novelette",
op. 21, No. 1, Schumann)
In the work of Russian classics and Soviet composers, there are very diverse types of rondo. First of all, it is necessary to highlight the bright examples of this form in vocal music- in works based on contrasting comparisons of several themes with the dominance of one - the main one. Among them are Dargomyzhsky's famous romances "Night Marshmallow", "Song of the Fish", "Weddings"; Borodin "Sleeping Princess". Glinka has some opera arias in the form of rondos - Antonida's rondo from the opera "Ivan Susanin", Farlaf's rondo from the opera "Ruslan and Lyudmila", the romances "Night Zephyr", "Doubt" (there is no change in the musical text, only the verbal text changes).
Symphonic and chamber works: " Waltz Fantasy" by Glinka, finale of Tchaikovsky's Symphony No. 4, scherzo from Shostakovich's Symphony No. 7, finale of the cello sonata, waltz from Prokofiev's Pioneer Suite "Winter Campfire"».
Variations
Variations called a form containing a presentation of the topic and a number of its modified repetitions.
Variations on basso ostinato
A variational form is called, the invariable basis of which is a phrase repeated many times in the lower voice. And the upper voices melodically and rhythmically develop freely. (Chacons, passacaglia in the work of J.S. Bach, G. Handel).
Variations on so prano ostinato
They call it a variational form. The invariable basis of which is a phrase repeated many times in the upper voice. And the lower voices melodically and rhythmically develop freely.
This type of variation was used by Russian composers in vocal works on a folk theme, which remained unchanged.
Classic Variations
The basis of the classic variations is subject, stated more often in a 2-part reprise form, and a number of variations. The theme in variations is developed with the help of melodic figuration. The rhythmic pattern changes, sometimes the meter and tempo change. Harmony and form of the theme remains unchanged. All variations are presented in one - main tone. In the middle, a variation or group of variations arises - in of the same name tonality. It is a means of creating contrast in the development of one musical theme. This form is widely used in the works of Haydn, Mozart, Beethoven. Sometimes there are large, significant works - "32 Variations" by Beethoven.
Double variations
Double variations are called variations on two themes. These themes are presented at the beginning of the work, opposing each other. Then they also vary sequentially. (Symphony No. 5, part 2 by Beethoven; Symphony No. 103 "With tremolo timpani", part 2 by Haydn; "Kamarinskaya" by Glinka).
The variational form and variational method of development occupies a significant place in Russian music. In a Russian folk song, the variational form arises as a result of a modified repetition of a melody in subsequent verses.
2. Development and form
In some topics, we found signs of development. But the real, great development begins after the presentation of the topic. In development, a theme or its individual fragments may be repeated, but always with changes. Sometimes these changes are so significant that they give rise to a completely different musical image, but even in it you can recognize the intonations of the theme. You just got acquainted with the gentle, melodious and very light theme of Tchaikovsky. And then, in the middle of this part of the Sixth Symphony, a tragedy unfolds, and here is one of the climaxes of this tragedy. Trumpets play the main melody at the limit of their volume:
Allegro vivo = 144
But listen to the melody: this is a development of the sequence from the second half of the theme.
As you probably already understood, there are special techniques for development. They can also be called methods or methods. Basic tricks variational development And sequence.
You already know the sequence. You can also add that there are sequences accurate And imprecise, and ascending And descending. And each carrying out of a repeating motif is called sequence link. And the sequence has step.
In the first sentence of Polka from Tchaikovsky's "Children's Album" there are two sequences at once. In the first of them, the second link is a second higher than the first, which means that it is ascending, with a second step. And all the intervals of the first link are exactly transposed in the second one a tone higher, which means that it is accurate. In the next sequence, the second link is lower it is descending. And the jump by a minor sixth in the first link turned into a jump by a perfect fifth in the second, and the sequence turned out to be inaccurate.
Moderate (polka tempo)
Sometimes in imprecise sequences, like here, you can't define a step. Look: the first sound is shifted by a minor third, and the rest by a major second. Music is not just about math and often throws things out.
Now let's train ourselves. These are homework assignments. Copy them into your music books, and fill in the empty bars with sequences of your own composition. The direction is indicated. In the first example, rhythm is suggested (empty stems without heads). Invent accuracy-inaccuracy and step as you like, but then determine what you got.
Examples 9a, b
Rising sequence (D major)
Descending sequence (D minor)
The changes in the second phrase of the theme of Tchaikovsky's Sixth Symphony can be called variational. But, I repeat, development within the theme itself is still “fake” development. And what appeared in the middle of the part is already a real variational development. Form variations is entirely based on variational development. But not every variational development variations. We'll talk about this in more detail a little later.
There are other ways to develop. In the third grade, we talked about the polyphonic warehouse and tried to sing with the canon "There was a birch in the field." The canon uses a technique called imitation.
In polyphonic music, imitation is one of the main methods of development.
Sequences are often imitated in the middle of polyphonic works. Such an approach is called canonical sequence.
How long can a topic be developed? If a composer has enough imagination, he can develop it endlessly. But no one can listen to this kind of music, and no one wants to. To make music easy and interesting to listen to, it needs a form.
When you were sorting out your program by specialty, you might have noticed that most plays consist of a few relatively complete pieces. Such pieces are called sections, which make up musical form.
The form is formed as a result development of musical material. What is development and how it happens, you have learned. Now it remains to find out how musical forms are arranged, and try to compose small musical examples of these forms ourselves.
The smallest musical form already familiar to you period. You can find many miniatures that are written in the form of a period. But more often the form of a musical work consists of several periods. Simple two-part of two, and simple three-part out of three. There are also complex forms, each section of which consists of several periods.
All these forms both simple and complex are used in miniatures. And in large works, completely different forms are used: variations, rondo, sonata And rondo-sonata forms. You will also get to know the variations and rondo very soon. And with the sonata form and its variety rondo sonata you will meet in a year, getting acquainted with the sonatas and symphonies of J. Haydn.
In order not to get confused, study the following plate. It contains all the forms you need to know about.
In our traditional questionnaire, you will see a new icon. All creative writing assignments will now be marked with this icon.
You have probably ever come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of a variety of phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works.
Before naming the common forms of musical works, let's define what is a form in music? Form is something that has to do with the construction of a work, the principles of its structure, the sequence of musical material in it.
Form is understood by musicians in two ways. On the one hand, the form is scheme arrangement of all parts of a musical composition in order. On the other hand, the form is not only a scheme, but also process formation and development in the work of those expressive means by which the artistic image of this work is created. What are these expressive means? Melody, harmony, rhythm, timbre, register and so on. The justification for such a dual understanding of the essence of the musical form is the merit of the Russian scientist, academician and composer Boris Asafiev.
Forms of musical works
The smallest structural units of almost any piece of music are motive, phrase and sentence. And now let's try to name the main forms of musical works and give them brief characteristics.
Period- this is one of the simplest forms, which is a presentation of a complete musical thought. It is common in both instrumental and vocal music.
The norm of duration for a period is two musical sentences that take 8 or 16 measures (square periods), in practice there are periods, both longer and shorter. The period has several varieties, among which a special place is occupied by the so-called "deployment type period" and "difficult period".
Simple two and three part forms - these are forms in which the first part, as a rule, is written in the form of a period, and the rest do not outgrow it (that is, for them the norm is either a period or a sentence).
The middle (middle part) of a three-part form can be contrasting with the extreme parts (showing a contrasting image is already a very serious artistic technique), or it can develop, develop what was said in the first part. In the third part of the three-part form, it is possible to repeat the musical material of the first part - this form is called a recapitulation (a reprise is a repetition).
Couplet and refrain-chorus forms - these are forms that are directly related to vocal music and their structure is often associated with the features of poetry.
The couplet form is based on the repetition of the same music (for example, a period), but each time with a new text. There are two elements in the chorus-chorus form: the first is the chorus (both the melody and the text can change into it), the second is the chorus (as a rule, both the melody and the text are preserved in it).
Complex two-part and complex three-part forms - these are forms that are composed of two or three simple forms (for example - simple 3-part + period + simple 3-part). Complex two-part forms are more common in vocal music (for example, some opera arias are written in such forms), while complex three-part forms, on the contrary, are more characteristic of instrumental music (this is a favorite form for the minuet and other dances).
A complex three-part form, like a simple one, can contain a reprise, and in the middle part - new material (most often this happens), and the middle part in this form is of two types: "kind of trio"(if it is some slender simple form) or "episode type"(if in the middle part there are free constructions that are not subject to either periodic or any of the simple forms).
Variation form - this is a form built on the repetition of the original theme with its transformation, and these repetitions must be at least two in order for the resulting form of a musical work to be attributed to variation. The variational form is found in many instrumental compositions, and no less often in the compositions of modern authors.
Variations are different. For example, there is such a type of variation as variations on an ostinato (that is, unchanging, held) theme in a melody or bass (the so-called soprano-ostinato and basso-ostinato). There are variations figurative, in which, with each new performance, the theme is colored with various decorations and progressively fragmented, showing its hidden sides.
There is another type of variation - characteristic variations in which each new theme takes place in a new genre. Sometimes these transitions to new genres greatly transform the theme - just imagine, the theme can sound in the same work as a funeral march, and as a lyrical nocturne, and as an enthusiastic anthem. By the way, you can read something about genres in the article.
As a musical example of variations, we invite you to get acquainted with a very famous work of the great Beethoven.
L. van Beethoven, 32 variations in C minor
Rondo- Another widespread form of musical compositions. You probably know that translated into Russian from French, the word "rondo" means "circle". This is no coincidence. Once given a rondo was a group round dance, in which the general fun alternated with the dances of individual soloists - at such moments they went out into the middle of the circle and showed their skills.
So, according to the musical part, the rondo is made up of parts that are constantly repeated (general - they are called refrains) and individualized episodes that sound between refrains. In order for the rondo form to take place, the refrain must be held at least three times.
sonata form Well, we got to you! The sonata form or, as it is sometimes called, the sonata allegro form is one of the most perfect and complex forms of musical compositions.
The sonata form is based on two main themes - one of them is called "main"(the one that sounds first), the second - "side". These names mean that one of the themes takes place in the main key, and the second - in a secondary one (dominant, for example, or parallel). Together, these themes go through various tests in development, and then in the reprise, usually both of them sound in the same key.
Sonata form has three main sections:
- exposition (presentation of the first, second and other topics to the public);
- development (the stage at which intensive development takes place);
- reprise (here the themes carried out in the exposition are repeated, and at the same time their convergence occurs).
The composers liked the sonata form so much that on its basis they created a number of other forms that differ from the main model in various parameters. For example, one can name such varieties of sonata form as rondo sonata(mixing sonata form with rondo), sonata without development, sonata with episode instead of development(remember what they said about an episode in a three-part complex form? Here, any form can become an episode - often these are variations), concert form(with double exposure - for the soloist and for the orchestra, with the soloist's virtuoso cadenza at the end of the development before the start of the reprise), sonatina(little sonata) symphonic poem(huge canvas).
Fugue is a form, once the queen of all forms. At one time, the fugue was considered the most perfect musical form, and until now, musicians have a special attitude towards fugues.
The fugue is built on one theme, which is then repeated many times in turn in an unchanged form in different voices (for different instruments). The fugue begins, as a rule, in one voice and immediately with the introduction of the theme. Immediately this topic is answered by another voice, and what sounds during this answer at the first instrument is called the counterposition.
While the theme is walking through different voices, the expositional section of the fugue continues, but as soon as the theme has passed in each voice, development begins, in which the theme may not be fully carried out, compressed and, conversely, expanded. Yes, what only happens in the development ... At the end of the fugue, the main key is restored - this section is called the fugue reprise.
You can already stop at this. Almost all the main forms of musical works have been named by us. It should be borne in mind that more complex forms may contain several simple ones - learn to detect them. And also often both simple and complex forms are combined into various cycles- for example, they form together suite or sonata-symphonic cycle.
The musical form is the structure of the whole work, its structure.
There are external and internal signs of division of the muses. works, signs of form.
External - this is the genre of the work: instrumental music or vocal, miniature or large work, lyrical or dance. The genre will already determine the possible range of forms. Information about the genre in the title of the work, in nuances, tempos, meter, in music. warehouse, invoice. The external signs of division are musical text: signs of reduction in musical writing, reprises, the appearance of a new nuance, a change in tempo or a return to the previous one - all these are signs of a new section. External signs include a change in meter, key signs, a change in texture.
Internal signs in the musical material itself. For a successful analysis of the form, a harmonic analysis is necessary (all the forms presented below are forms of the classical homophonic-harmonic style, structures in the formation of which harmony dominates). It is necessary to pay attention to the texture, it is necessary to solfegge and hear melodic lines together with harmony, to identify music functions. material, presentation types and methods of its development, repetitions of topics and thematic material, to distinguish between "relief" (exposition of topics) and "background" material.
In the music musical material can be perceived (according to Tyulin) in three qualities, - material functions:
basic material preparatory final
(show, exposition)
Sposobin offered 6 functions of musical material in a work detailing the previous ones:
summary reprise introduction middle link conclusion
Topics
The individuality of the material, that is, its function, depends on the characteristics of the muses. language, i.e. on the type of presentation(according to Method). There are 5 of them:
expositional introductory, middle, connecting final
type of presentation types of presentation type of presentation
Structural design, Middle type of presentation; Multiple
isolation; harmonic and extended cadence is possible
tonal stability, semi-authentic cadence; available
texture unity. modulation transition; T organ
possible D organ point. item, MTS -
Perhaps 2 - 3 cycles of invoices - summation.
noah training, - Structural informality,
maybe open or open; harmonic
a closed sentence, multiple and tonal instability, fluidity;
cue thesis. possible D organ point.
In complex forms, it is possible development(as a type of presentation).
large construction of the middle - Its features: - thematic isolation,
different type of presentation. - sequential development,
polyphonic means.
In the process of analyzing works of complex forms, it is convenient to designate the sequence of sections on the draft with letters: capital letters (A, B, C, etc.) are the main sections, capital letters are subsections. If necessary, more specifically: C - middle, R - development, CB - link, A1, A2 - varied repetition, Intro., Conclusion, Coda, etc. Sometimes it is necessary to additionally mark the structure of the presentation of topics, tonal plans, the number of measures, thematic material in the scheme. It helps to make generalizations.
Reminder for beginners.
To determine the boundary of the theme (completion of the thought), sometimes it is enough to find the final cadence: D7 - T (on a strong time, in the melodic position of the prima).
Simple SINGLE-PART - this is a work form , which is based on one musical theme.
The most typical structure of a one-part form (musical themes) is a period of different types: extended, often with additions, complex periods, sometimes free constructions.
Works in the one-movement form often have introductions and conclusions, as in all other forms. In complex forms - codes.
Scope: instrumental and vocal-choral miniatures, preludes, songs, romances, plays of the pedagogical repertoire.
Variety - developed one-part form.
SIMPLE TWO-PIECE- the form of the work, based on the presentation of the theme and the response to it by the muses. material.
first part second part
theme reciprocal music.mat.
thesis confirmation of the thesis
According to the thematic material, the second part happens:
Based on the material of Part I ( a - a1 ),
On the updated material ( a - b),
- reprise two-part ("with inclusion", according to Tyulin ), when in the second part an unstable middle type of material (“inclusion”) is introduced, after which the second or first sentence of the first part is repeated. ( reprise):
first part second part
Subject , period
a b c b
1 sentenceIIsuggestion unst. (or a)
middle
material
In the two-part form, repetitions of sections are possible, written out by the composer or indicated: A B;
Memo. Repetitions (with a reprise sign or written out) do not change the form.
The repeated structure in the second part is not typical for the two-part form. Perhaps this is a varied stanza (vocal form) in instrumental music.
Scope: preludes, instrumental and choral miniatures, program pieces, dances, songs, romances.
Varieties of two-part:
- developed two-part;
- old two-part;
- complex(compound) two-part, when each part is in simple two-part or three-part form.
- double two-part (variably repeated):
: A B A1 B1 (schematically - A B)
Simple THREE-PART is the form
Part I of which is a presentation of the topic,
Part II (middle) - music. material contrasting thematically or according to the type of presentation to the topic,
Part III (reprise) - repetition of the original theme:
first part middle reprise
The average for thematic material can be
On the material of the topic: A - A1 - A;
On new material: A - B - A;
Development: A - R - A;
Bundle type: A - SV - A.
(Three different themes, -А–В–С, do not form a tripartite form. It may be a compound form, it may be a vocal varied stanza in instrumental music.)
Reprise happens accurate (static; its original version is Da Capo al Fine, i.e. from beginning to end) and modified (dynamic), - from a few sounds to a significant one.
Possible repetitions written out by the composer or indicated:
A B A etc.
The last option with written out by a varied repeat Parts II and III, - A - B - A1 - B1 - A2, - called three-five-part(Way) or double tripartite form.
A three-part form with active thematic development can be called a developed three-part form.
Scope: preludes, nocturnes, dances, marches, program pieces, choirs, songs, romances, arias.
Complex THREE-PART- a form, each part of which is a simple two-part, three-part, etc. form.
Complex from the word addition, the sum of simple ones.
first part middle part reprise
etc. 2h. 3 types: accurate(static),
etc. 3 hours (option - Da Capo, "from the beginning")
3-5 hours or modified(dynamic),
etc. often abbreviated
Trio(trio) or magore, minore. Episode- late Composite cf. part, i.e.
The earliest type cf. parts. Ha-type cf. parts: with con- consisting of 2x-3x lock-
Characteristic for the lively genre painter of the 18th century. Characteristic constructions (music.
howl of music. The trio is distinguished by a closed term for moderate themes) that do not form
the shape of the form (ex. 2 hours, 3 hours) and or slow music - form. Characteristic for
emphasized contrast: genre, ki. Usually it is 2-3 waltzes.
modal, tonal, tempo, open-loop constructions
textured. eniya, harmonically
The name "Trio" originated in unstable, fluid.
17th century, when in orchestral production. 3 hours
dance forms. music, the middle part, unlike the rest, was performed
only three, usually woodwinds.
Application area.
The form is closed, stable, and is used in production. various genres: marches, polonaises, waltzes, nocturnes; in sonata-symphonic cycles in the middle movements: in minuets, scherzos, in slow movements.
RONDO - a form where the main theme (refrain) is performed at least 3 times, and between its performances, musical material of a different content (episodes).
episodes
A - B - A - C - A, etc. A The term "rondo" has 2 meanings:
1. Rondo is a genre of lively song and dance music. Fr. rondeau- circle,
Refrain round dance; refrain- refrain.
2. Rondo - form. Works in the form of a rondo more often correspond to the rondo genre. But the rondo form is also found in slow music.
Ancient rondo (couplet).
17th - 18th centuries .Rondo Daken, Rameau, Couperin.
The number of parts from 5 or more.
The refrain is usually in a period structure.
Single dark: A - A1 - A - A2 - A, etc. A; (episodes based on the material of the refrain);
Dual Dark: A - B - A - B1, etc. A. (episodes based on independent material).
Classic rondo.
XVIII century. The main type is a five-part rondo. Characterized by an exacerbation of the contrast between refrain and episodes. The refrain is usually in pr. 2h or pr.3h form.
According to the thematic material and the type of presentation in the episodes, there are a variety of variants of the rondo:
A B A C A - with two different episodes;
A B A B1 A - episodes on one thematic. material;
A B A R A - development in the second episode;
A A1 A B A or A B A A1 A - an episode based on the material of the refrain.
The code may be separate, may be combined with the last refrain.
RondoXIX– XXcentury. Structural complexity is typical. The refrain may vary, the keys may change in its repetitions. The contrast between the refrain and the episodes is often sharpened. The latter can be isolated in form: pr.2x, 3h..
A characteristic feature of the rondo of the XIX-XX centuries. - the use of the form in close connection with the program indicated by the title or implied: Introduction and rondo-capriccioso of Saint-Saens, Schumann's Arabesque, Prokofiev's "Juliet the Girl" and others.
Application area. Rondo is widely used. as a form of works (instrumental, vocal-choral), as part of a cyclic composition (sonatas, symphonies), as a form of the opera stage.
VARIATIONS (theme with variations) (variation form) are presentations of the theme and several repetitions of it in a modified form.
Variation theme...
A A1 A2 A3 etc.
Variations onbassoostinato(ostinato, unchanged bass), XVI-XVII centuries, are variations built on the repetition of the theme in the bass. The theme can be a construction of 4 - 8 measures, closed (period or sentence) or open, invading cadence turning into a variation. The number of variations in the cycle is from several to several dozen). Bach. Chaconne d- mall for violin solo; "Crucifixus" from the Mass h- mall.
Variations on basso ostinato are mostly a genre passacaglia or chaconnes. Both – ancient, slow triple mournful dances - processions.
Their differences are indefinite. It is believed that the passacaglia is characterized by a monophonic theme starting from the third beat of the measure, and for the chaconne - the theme of chord-harmonic warehouse.
Later, variations on basso ostinato and passacaglia became synonymous, a genre of philosophical reflection on life, which explains the revival of interest in them among composers of the 20th century. Shostakovich. Symp. No. 8, part III; Violin Concerto, part III.
In cycles of variations of all types, as a rule, there is second form ,- more often, it is tripartite (less often, rondo): The first variations are usually close to the theme (first section). Intense variation in the following variations, the culminating phase is the middle section. The last few variations usually return to the sound of the original theme (reprise).
Strict variations. They can be called classical (XIX century). Can be called textured(texture is the main method of variation). Strict variations are called ornamental: all kinds of singing, melismatics melodically and rhythmically decorate, transform the leading voice, but the theme always “shines through”, is recognized.
The topic is usually in eg 2h or 3h form. Its structure in variations, cadences, harmony are preserved. Mozart. Dream. No. 11, part 1.
A kind of strict double variations. They are based on the presentation of two topics (usually contrasting genres) with their subsequent alternate variation.
Beth. Symph. No. 5, part II.
Free variations.(XIX century) They can be conditionally called genre: active variation (change in texture, tempo, tonality) often transforms each variation into a genre-individual play, turning variations into a suite cycle. Schumann. "Symphonic Etudes".
Variationssopranoostinato, (Glinka), - on a constant theme in soprano. The accompaniment varies (texture, harmony). The nature of the variation is often directly dependent on the content of the poetic text. Glinka. "Persian Choir"
VOCAL forms
Forms of vocal and choral music
The specificity of vocal forms is due to the synthetic nature of the genre: the interaction of music and poetry with distinctive principles of shaping.
Main - couplet form and strophic. Their essence is invariably repeating musical material in different words (ie with a changing poetic text).
Couplet - the form is typically song. Its main feature is the presencesingsong Andchorus.
Verse I Verse II
A - B A - B, etc.
Chorus- this is a musical thought, thesis (in a poetic text, its function is informative). Function chorus- confirmation of the musical and poetic thought of the sing-along, - summary. In choruses with unchanged text (which is most typical), its function is to affirm the general idea of the piece.
A couplet usually combines 1-2 stanzas of a poetic text.
A stanza in poetry is several lines (verses) (from 2 or more), united by a system of rhymes. In a 4-line foot, for example, there may be an adjacent rhyme (pair) - aa bb, cross - ab ab, encompassing (belted) - abba.
According to the structure of the verse (the ratio of the verse and the chorus) can be different.
The structure of the chorus can be The role of the chorus in this case can be
be closed sentence. take repeating the last phrase, Sometimes - complete repetition of the chant in chorus, or
eyeliner ("Chapaev-hero walked in the Urals").
The chant may be in structure chorus - repetition of the second sentence.
period, the chorus can be complement phrase as if the third sentence, forming a complex period (“Why did I recognize you, my dear”).
Whole couplet May be in simple two-part form, Where Ih. - sing-along, IIh. - chorus, and even in a complex two-part (Dunaevsky. March of Enthusiasts.).
Finally, the verse and chorus can be on independent music. material, i.e. two different themes that do not form a form (“Song of the Motherland” by Dunaevsky).
"Song of the Motherland" is an example of a verse with a chorus in first place, which is no exception.
There are two refrains in a verse, more precisely, a refrain to a refrain; sometimes it is used as an instrumental act out (Alyabyev. "Nightingale", Glinka. "Venetian Night").
Couplet-variation form, - with a change (variation) of music. material in a verse (from several sounds to significant.).
strophic form, when there is no division into a chorus and a chorus in a repeating musical material:
I stanza II stanza III stanza
A A A etc. In a musical stanza, as in a verse, there are one, two (sometimes more) poetic stanzas. The form of the stanza can be one-part, two-part.
Varied stanza, - with changes in the musical material in the stanzas (from several sounds - A - A1 - A2, etc., to a significant update - A - B - C, etc.).
Other terminology in folklore.
Repetitive music. material in folk song(Anyway ) are called(as is customary among folk singers) couplet. The volume of the verse (and with it the structure, i.e. the form of the entire song) is determined by the poetic text. The couplet can be based on stanza(strophic structure), there may be one poetic line(line structure). A couplet may contain (be based on) even one phrase(phrase structure): Spring is red.// What did you bring us? // Mo-lo-du - shech - kam - // By di-cho - noch - ku…//. The couplet may have chorus. The chorus is called refrain, if it is an invariably repeating lexical construction: “Oh wound on Yvan”, “Ay lyuli-lyuli”, etc. According to its location, the refrain can be terminal(at the end of the verse) initial, framing. "Folk Musical Creativity" ed.
A.F. Kamaeva and T.Yu. Kamaeva. M., 2005. With. 29-35.
The term “linear form” is also used in professional academic music (A.P. Milka. St. Petersburg). The line principle of shaping distinguishes the choral works of Ippolitov-Ivanov “Peasant Feast”, “About the White Swan”. In the tool music - “A man plays the harmonica” by Tchaikovsky (Children's album.)
through form - a form of vocal music, the deployment of musical material in which is completely subordinated to the development of the content (plot) of a poetic work (usually complex compositionally). (Schubert. Ballad "Forest King")
In vocal-choral music, forms of instrumental music are also widely used.
And vice versa. Vocal forms are widely used in instrumental music, primarily in works of lyrical genres related to vocal ones. An example of this and a form with a chorus (Chopin. Waltz cis- mall; Mozart. Dream. No. 11, III part). Vocal principles of shaping are a stylistic feature of music (instrumental, in particular) of the 19th century.
Vocal music, we repeat, is a synthetic genre, a genre of interaction between music and poetry. Due to this,
when analyzing a vocal work, it is necessary to pay attention to some distinctive features of the language of vocal and choral music
(Based on the materials of the brochure by I. Lavrentyeva “Vocal forms in the course of the analysis of musical works.” M., 1978, pp. 6-37).
I. The nature of reading a poetic text.
Music (composer) can:
- Emphasize and deepen the dominant mood of the poem.
- To sharpen the contrast, sometimes barely outlined in the text.
Dargomyzhsky. "Titular Advisor".
- Reveal emotional and psychological overtones (hidden meaning).
Chaikovsky. "The cloud slept." The emphasized contrast of Lermontov's poetic text is leveled out by Tchaikovsky by the homogeneity of texture and even the repetition of muses. material in the 1st and 2nd stanzas. As a result, the restrained sound of the choir reveals the philosophical subtext of the poem - prayerfulness.
- Introduce picturesque and pictorial moments, “finish” the content.
Glinka. "Party song".
Rakhmaninov. "Spring Waters"
- Use the technique of "generalization through the genre."
Glinka. "Venetian Night". The genre of barcarolle, designated by Pushkin in the title of the poem, received a real sound in music.
- May be inadequate. individual reading of the text.
Cui. "Everything fell asleep." The pessimistic ending of Ratgauz's poem - “but without love, nature is dead; there is no happiness in it.” (features of doom, gloom - a stylistic feature of the poet's work) the composer "reads" in joyful, enthusiastic tones as a hymn of love.
II. T melody type:
recitative,
recitative-declamatory type,
recitation,
declamatory-ariose type or
cantilena?
This series reveals a pattern of gradual transition
from dominance of speech To intonation generalization,
from the closest expression to the dominance of purely musical
intonation of speech principles of development of melody,
which is also important for the performance interpretation of the work.
