Musical forms. musical form, construction of a musical work, the relationship of its parts

Forms of musical works

From the smallest components of a form to complex forms.

The entire world we see has clear boundaries and shapes. Even what we disparagingly call the word “amorphous” also has certain spatial coordinates. It is almost impossible to imagine something truly completely formless.In music, as in speeches(and in any another form of art) the form is simply necessary forclear expression of certain thoughts and moods.Very often people are of the erroneous opinion that composers create only on a whim, by inspiration, “in free flight", without focusing on any framework or rules. This is absolutely not true.Tchaikovsky said: “Inspiration is a guest who does not like to visit the lazy.” And Pyotr Ilyich himself was an exemplary example of following this rule: every day the composer persistently composed, sometimes “squeezing” music out of himself, because he was afraid of forgetting how to write. This fact seems incredible, given the number of works that Tchaikovsky created. And it’s really hard to believe in any effort when listening to the famous “Seasons,” written by the composer without much desire, at the request of a periodical publication of a magazine.

Another example of the subordination of beautiful music to strict rules of form is polyphonic worksJ.S.Bach (“The Well-Tempered Clavier”, “Musical Offering”, “The Art of Fugue” and many others) in which the boundaries of musical thoughts were calculated with mathematical precision.Mozart , who created a huge number of works with virtually no drafts, relied on established classical laws of harmony and form. Examples, therefore, can be continued, but the point is not in quantity. These examples helped us make sure thatany piece of music requires certain laws of form.

Established in tradition, clear form, goodperceived onhearing, making understanding of the work more accessible. On the contrary, when a work has a very unusual form, itmakes it difficult to perceiveworks to the point of complete rejection and non-acceptance(e.g. songs and vocal cyclesMussorgsky , symphonies Mahler, collages D. Cage , some works modern authors). However, over time, these forms also find their explanation and become more understandable. Human auditory baggage XXIcentury is not comparable with the perception of people XIX century and more ancient times. Therefore, for a modern person, Mussorgsky’s music, which at one time seemed “terrible” and “barbaric,” does not seem so.

Summarizing the above arguments, let's summarize. So,

musical forms needed for:

creating clear boundaries for musical thoughts and moods;

facilitating the perception of the work;

organization of large constructions (suite, sonata, opera, ballet).

Let us now turn to the conceptmusical form and its components components.

Musical form - this is a certain order of parts and sections in a musical work.

The smallest building in musical speech – motive (from Latin - “I move”). This is the name of the most vivid, memorable melodic turn. The size of the motive can be different - from one or two sounds to a whole bar (see:Schubert , “The Beautiful Miller's Wife”, No. 7. “Impatience” – left hand part; No. 3. "Stop!" - size of the initial motif;Bach, "H.T.K.", 1st volume. Fugue in C minor).

Larger musical structure, which includes several motives, is called -phrase (in Greek - “expression”). For a long time phrase duration has been linked to breathing in vocal music. And only with the development of instrumental music did this concept become broader (Schubert, "The Beautiful Miller's Wife", No. 1. "Let's go!"; No. 12. “Pause” - motives are combined into a phrase).

Phrases are combined intooffers . Standard offer size –4 bars. Offers are endingcadences (from the Latin “I end”) - the final musical turn. Cadence completes a piece of music, its part or a separate structure. There are many varieties of cadences, differing infunctional content (T, S, D, VI).

From the proposals is compiledperiod . Period is the smallest, complete, independent musical form. A period, as a rule, consists of 2 sentences with different cadences. Distinguish between periodsrepeated And not repeated buildings, square (8 bars) And non-square (from 5 bars), small (8 t.) And large (16 tons). Sometimes a period has an additional section that sounds like a musical afterword; such a section, depending on the location of the cadence, may be calledaddition or expansion .

Period is one of the main forms invocal music, organizing a verse or chorus. The simplestvocal form, in which the music remains the same but the words change iscouplet form. Its simplicity explains its widespread use. There is not a single composer who created vocal music who would not write a song in verse form (see songs and romancesSchubert, Mozart, Glinka, Tchaikovsky, Rachmaninov and other composers).

One-part form (A) is a simple musical form consisting of one period. This form is most often found in miniatures by romantic composers who sought to capture a fleeting moment (a striking example is PreludesChopin ), or in children's music to make performance more accessible.Form diagram: A or A

a a 1 a b

Two-part form ( AB ) - a simple musical form consisting of two periods. Quite often the second period is built on the material of the first (i.e., repeated construction - see some PreludesScriabin ), but there are works in which the periods are different (Lyubava’s Song from 2nd episode “Sadko”Rimsky-Korsakov ; Rosina's aria from 2d. "The Barber of Seville"Rossini ). Form diagram: A A1 or A V.

The most important (and simplest) principle for creating musical form is repetition. Its extraordinary popularity is due to several reasons:

repetition allows us to return the musical thought and gives us the opportunity to better listen to it, to appreciate previously unnoticed artistic details;

repetition helps to clearly divide the form into parts delimited from each other;

repetition musical material after presenting the new, it gives completeness to the form, asserting the primacy of the original image.

Thus, forms based on repetition have become extremely widespread in music in numerous variations. And the simplest of them istripartite form ( ABA ) , consisting of three periods, where

A - represents a presentation theme song;

IN - theme developmentA or new contrasting material;A - reprise, exact or modified repetition of a partA .

If a reprise exactly repeats the first part, it is often not even written out with notes, but is designated: play from the beginning to the word “End”(in Italian: dacapoalFine).

The three-part form (just like all the previous ones) happenssimple Andcomplex . Unlike the simple tripartite form, in which each part is written in period form, in the complex tripartite form the parts are not a period, but a simple two-part or tripartite form. For example:

A B A

a b a b a

The tripartite form isone of the most popular principles construction piece of music. Works written in a simple three-part form can be found in the repertoire of every musician: these are plays, dances, marches, romances, works for orchestra, movements orand sections of major essays. Huge number examples of simple and complex 3-part forms are contained in the worksP.I. Tchaikovsky. In addition to independent instrumental pieces from"Children's Album", "Seasons" and other works, the composer’s favorite 3-part form often organizes GP and PP in symphonies (see.4th And 6th symphony ).

On principle repetition also based on a more complex form, rooted infolk song and dance tradition of France. It's about formrondo ( translated from French means “circle, round dance, circular round dance song”). The music of the round dances alternated between a constant, unchanging chorus and a changing chorus. From this alternation the rondo shape arose.

Like the chorus of a folk song, the rondo has a theme that repeats - thisrefrain. The refrain (in French - “chorus”) shouldsound at least 3 times and can have any simple form: period, two-part or three-part.

Between repetitions of the refrain, various musical structures are heard, which are calledepisodes . Thus,rondo is a form based on the alternation of refrains with episodes .

A B A S A

refrain episode refrain episode refrain

The rondo form is widely used in instrumental and vocal music:instrumental pieces( Mozart, Turkish march from the Piano Sonata in A major, No. 11, Figaro’s Aria “The Frisky Boy” from the opera “The Marriage of Figaro”;Beethoven, “Für Eliza”, “Rage over a Lost Penny” and many others),romances and songs( Glinka, “A passing song”;Dargomyzhsky "The Old Corporal"), choirs, opera arias (Glinka, Rondo Antonida from “Ivan Susanin”, Rondo Farlaf from “Ruslan and Lyudmila”),last parts large forms– sonatas and symphonies(for example, symphoniesMahler ), as well as wholeopera or ballet scenes(see "The Nutcracker"Tchaikovsky, "The Love of Three Oranges" Prokofiev ) can be organized in a rondo form. Very often the rondo form is used in playsFrench harpsichordists ( Daken, "Cuckoo", Ramo, Tambourine, "Chicken" Couperin, "Little windmills", "Sister Monica" and many other plays).

Variations (from Latin “change, variety”) is a musical form that consists of a theme and its modified repetitions.

A A 1 A 2 A 3 A 4 …

Variations

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

The type of variation depends onin what way Andhow much The topic changes.Types of variations:

1.Variations on constant bass ( basso ostinato ) orancient variations were known back inXVIcentury in Europe. Fashionable dances back thenpassacaglia Andchaconne were written in a form based on the constant repetition of a theme in the bass, with only the upper voices varying (cm: G.Purcell , Dido's cry from the opera "Dido and Aeneas"). The basso ostinato technique did not remain the property of only ancient music - in the twentieth century due to a surge of interest in ancient music this technique has gained new life. We find interesting examples of the use of basso ostinato, for example, in the work Drauhgtmans ContractMichael Nyman (the bass theme is played by the organ against the backdrop of the “quivering” of the strings; at the point of the “golden section” the harpsichord is connected to these instruments, creating a cold, eerie sound with its metallic timbre).

2.Variations on unchanging melody ( soprano ostinato ) closest folk music. The melody is repeated unchanged, but the accompaniment varies. This type of variation was introduced into Russian classical musicM.I.Glinka , that's why they are sometimes called"Glinka" (see: “Ruslan and Lyudmila”: Bayan’s Song, Persian Choir;Ravel, "Bolero";Shostakovich, invasion episode from Symphony No. 7.).

In Western European classical music XVIIIand first halfXIXformed 3.strict (ornamental) variations , created by Viennese classics (J. Haydn, W. Mozart, L. Beethoven).

Strict rules variations: 1. Preservation of fret, meter, general outlines themes and functional basis;2. Change (ornamentation, complication) of accompaniment;3. One of the middle variations (usually the 3rd) is written in the minor or major of the same name (see:Mozart, Sonata No. 11, 1 hour;Beethoven, Sonata No. 2, 2 hours, Sonata No. 8, 2 hours. etc.).

The techniques that composers used in variations are associated with the popularXVII- XVIIIcenturiesthe art of improvisation. Each virtuoso performer, performing at a concert, was obliged to fantasize on a theme proposed by the public (the melody of a popular song or an opera aria). Traditions of endlessly varied variations of the original theme exist to this day injazz music.

4.Free orromantic variations appeared in the second halfXIXcentury. Here, each variation is practically an independent piece and its connection with the theme was very weak. Vivid examples such variations in great variety represented in creativityR. Schumann : This piano cycles“Carnival”, “Butterflies”, “Symphonic Etudes” and other works. The brilliant virtuoso pianist left many variations on borrowed themes.F.List (transcriptions of songs by Schubert, themes by Mozart, Haydn, Beethoven, themes from Italian operas and on their own topics).

Found in musicvariations for two , and sometimeson three topics , which vary alternately. Variations on two themes are calleddouble:

A B A 1 IN 1 A 2 IN 2 A 3 IN 3 … orA A 1 A 2 A 3 ...B B 1 IN 2 IN 3 …

1st 2nd Variations 1st Variations 2nd Variations

theme theme theme theme

Examples of double variations:Glinka, "Kamarinskaya";Beethoven, Symphony No. 5, 2 hours, Sonata No. 8, “Pathetique”, 2 parts, Symphony No. 9, 4 hours.

Variations on three themes are calledtriple .

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

In the era early Renaissance (XIV - XVI centuries) Borrowing someone else's theme was not considered an infringement of copyright - there were special genres that determined the degree of borrowing. Parody was called an essay on someone else's topic, and paraphrase- essay on own topic. Composing on someone else's or one's own theme is common in composer practice to this day and reveals the degree of skill in processing the original musical idea.
Ornament - pattern, decoration. Ornamental variations implied complication and “decoration” of the texture.
Small Mozart , touring Europe with his father, he surprised the audience with free improvisation on any proposed topic. In the 19th century, listeners were stunned by virtuoso improvisations F.List And N. Paganini .

, melodic formulas, etc.), harmony, meter and rhythm, composition and texture, verbal text (poetry, prayer, prose), timbres and clusters, etc.; 3) musical theoretical academic discipline and branch of musicology dealing with the study of form.

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Musical form using the example of pieces from P. Tchaikovsky's "Children's Album"

Series of meetings "Be in the music!" - Musical forms

Motive. Phrase. Offer.

Musical form: variations

Fragment of a music lesson. Game "Catch the Question" while repeating the theme "Musical Form"

Subtitles

Form and content

When considering form in its most general understanding (the second meaning of the term according to MES), it is impossible to distinguish musical form from specifically musical content. When the object of consideration (formal construction) “blurs” in this way, then the analysis of form essentially turns into “ holistic analysis» everything. Yu.N. wrote about this in Russia several times.  Kholopov, in Germany - author of a popular textbook on form Clemens Kühn: “When the “teaching of forms” is rebaptized into “analysis of composition”, then, although historically and lexically the features of a given individual composition are given full credit, the teaching of forms as a discipline is largely is abolished."

The opposition of form and content is a mandatory aspect of musicology in Russia during the Soviet period. The methodological basis for considering this opposition in the USSR was the so-called “Marxist theory of art,” which postulated the primacy of content over form. In the vulgar sociological interpretation of this postulate, form as such could not be the subject of science and science itself. musical composition. Composers and music theorists who showed “excessive” attention to form in their work were declared “formalists” by the ideologists of the Marxist theory of art (with inevitable socio-political consequences).

Form and genre, form and style

Musical form is a controversial topic scientific research. Teachings about musical form in Russia, Germany, the USA, France and other regions of the world differ greatly from each other both in methodology and specific terminology. Relative agreement among scientists different schools belonging to European tradition(including Russian ones), is noted only in analyzes of the music of the classical-romantic era (XVIII - XIX centuries), partly also in relation to Baroque music. More difficult situation with forms of ancient and traditional (cult and secular, Western and Eastern traditions) music, where the musical form is practically inseparable from the genre (sequence, madrigal, motet, responsory, stichera, mugham, etc.).

Musical form is also considered in connection with the concept musical style, ranging from scientific research, as in L. Stein’s book “Structure and Style. Research and analysis of musical forms”, to statements in popular books about music “for dummies”: “Hip-hop, gospel, heavy metal, country and reggae are the same “forms” as minuets, fugues, sonatas and rondos” .

Structure of the work

The work consists of separate musical phrases- small whole ones 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 designated by Latin letters: A, B, C, etc. Different combinations of fragments form different musical forms. Thus, a common form in classical music is ABA (song form), meaning that the original A part disappears when it is replaced by a B part, and is repeated at the end of the piece.

There is also a more complex structuring: motive (smallest element musical form; one accent 1-2 measures), phrase(usually has 2 accents; 2-4 measures), offer(the smallest part of the melody completed by some cadence; 4-8 bars), period(complete musical thought; 8-16 bars; 2 sentences).

Different ways of developing and comparing melody elements led to the formation of different types musical forms:

One-piece form (A)

She is also called ballad shape or iron [ ] . The most primitive form. The melody can be repeated with minor changes (form AA 1 A 2 ...). Examples: ditties.

Two-part form (AB)

It consists of two contrasting fragments - an argument and a counter-argument (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 one. Nevertheless, similar works(for example, the play “Remembrance” from R. Schumann’s Album for Youth) is sometimes classified as two-part.

Three-part form (ABA)

She 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 also 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, repeated after the central one in the reverse order, for example: A B C B A

Classic shapes

Sonata

Sonata form is a form in which the exposition (1st movement) contains two contrasting themes in different keys(main part and side), which are repeated in the reprise (3rd part) in a different tonal relationship - tonally approaching (most often, both in key main topic). The middle section (part 2) typically represents “Development,” that is, a tonally unstable part where the development of previous intonations occurs. The sonata form stands out among all other forms: the only form that has not been developed in dance and vocal genres.

Rondo

Freedom inherent sonata form, expands into a rondo. Its form is a construction ABACADAEAF... That is, completely different fragments, keys and meters are connected by the initial theme A.

Rondo Sonata

A mixed form that has features of rondo and sonata form. The form consists of three main sections, in which the outer sections (both or one of them) are built according to the rondo principle, and the middle one is a development borrowed from the sonata form.

Variations

One of the oldest musical forms (known since the 13th century). Consists of a theme and at least two modified plays. A single variation of a theme, for example, a varied reprise in sonata form, does not allow it to be classified as a variation form.

Fugue

Notes

1. Kholopov Yu.N. Musical form // Musical encyclopedic dictionary. M., 1990, p.581.
2. In this sense, there can be no distinction between musical form and specifically musical content. Quote from: Form // Harvard Dictionary of Music. 4th ed. Cambridge, Mass., 2003, p.329.
3. See, for example, his articles “Theoretical musicology as a humanitarian science.  The problem of music analysis” and “What to do with Tchaikovsky’s musical forms?” .
4. Kuhn C. Formenlehre der Musik. Kassel, 1987; 10th edition there in 2015
5. Und wenn "Formenlehre" verschiedentlich zu "Werkanalyse" umgetauft wurde, kann zwar dem sprachlich und historisch Besonderen des Einzelwerkes Genüge getan werden, aber Formen-"Lehre" als Disziplin hebt sich weitestgehend auf. Quote By:

“Form” in music refers to the organization of the musical whole, ways of developing musical material, as well as the genre designations that authors give to their works. In the process of creativity, the composer inevitably comes to a certain formal structure, a kind of plan, a scheme, which serves as the basis for the manifestations of creative imagination and skill.

The concept of form in music has many meanings. Some prefer to use this term only in relation to the structure of the work. Others classify it under different genre designations, which may a) indicate general character music (for example, nocturne); b) involve a special composition technique (for example, motet or fugue); c) be based on a rhythmic model or tempo (minuet); d) include extra-musical meanings or terms (for example, symphonic poem); e) indicate the manner of performance (concert) or the number of performers (quartet); e) be associated with a specific historical era and its tastes (waltz), as well as with national flavor (polonaise). In reality, despite the abundance of such definitions, there are only a few fundamental formal structures, and if a composer settles on one or another genre designation, this does not mean that he is tied to any particular structural type.

The main compositional schemes or plans in music are based on three principles: repetition, variation and contrast, and are manifested in it through the interaction of rhythm, melody, harmony, timbre and texture.

Forms based on repetition, variation and contrast are characteristic of both vocal and instrumental genres. Vocal works are often characterized by a strophic form, within which different poetic stanzas correspond to the same melody and the element of contrast is introduced only poetic text: This is why the strophic form in its pure form is not found in instrumental genres. Both vocal and instrumental compositions are characterized by a form with a repeating section refrain. Sometimes the strophic form is modified by the introduction of one or more contrasting stanzas, in which case it approaches the so-called. composite composition.

The main strophic structures are as follows:

Verse formAAAAA, etc.

Two-part form AB

Tripartite formABA

Form with refrain (rondo) АВАСА

Variation formАА 1 А 2 А 3 А 4 А 5 etc.

More complex shapes arise as a result of changes or expansion of basic structures (for example, rondo is often written according to the model: АВАСАВА). There are works that are based on the principle of continuous continuation: this is the “endless melody” in musical dramas Wagner here it is impossible to draw a clear boundary between sections. The German term durchkomponiert (“based on cross-cutting development”) is attached to such forms. This type of organization is typical for works related to words or focused on literary program, often on a specific literary work.

The principle of development, which originated in music much later than the principle of repetition, is especially typical for purely instrumental compositions. It differs from the strophic structures described above in that thematic material is interpreted not only as a structural unit suitable for repetition and variation: it identifies elements that change and interact with each other and with other themes (the sonata form demonstrates this principle especially clearly).

When combining musical fragments, each of which is written according to its own structural model, into a larger whole, the so-called. cyclic form(opera, oratorio, sonata, quartet, symphony, suite, concert, etc.). In this case, each fragment is called a “part” and has its own designation of tempo and nature of performance.

Form in music developing, dynamic phenomenon. In the past, new forms arose as responses to liturgical needs, or to changes in social life, or to the invention of new instruments and new ways of playing them, etc. We can safely say that new functions of music, new conditions public life, new compositional and performing techniques, new inventions (for example, electronic instruments) will lead to the emergence of new forms (in the sense of genre designations) and new methods of composition. See also OPERA; BALLAD OPERA; OPERETTA; INVENTION; FUGA; ORATORIO; CONCERT; MARCH.

Music Encyclopedia, vol. 15. M., 19731982
Kruntyaeva T., Molokova N. Dictionary of foreign musical terms . M. St. Petersburg, 1996
Buluchevsky Yu., Fomin V. Concise Music Dictionary. St. Petersburg M., 1998
Brief musical dictionary-reference book. M., 1998
Musical encyclopedic dictionary. M., 1998

Find " MUSICAL FORM"on

MUSICAL FORMS

None of the musical works 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:

The 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 called a relatively closed construction consisting of two or more motives.

The unity of a phrase is determined by:

The commonality of melodic movement and the overall climax

Mode-harmonic connections

Rhythmic-syntactic structure of the phrase: a/ periodicity “ The Volga River flows» b/ association « Solar circle" c/ crushing "Captain Grand's Song"» g/crushing with combining "Buchenwald Alarm"

Musical theme – an initial statement of the main, essential features artistic image in music. The main features of an artistic image are usually given at the beginning of the work, but a fully artistic image is embodied in the process of developing the content. The end of a topic can be judged by the following signs:

PERIOD

(from Greek -circulation, a period of time covering a completed process)

Period is a complete one-part form of presentation of a homophonic theme. The period is divided into two, rarely three offers. 1st sentence ( A) – intonation unstable, 2nd sentence (A or V) - stable, thanks to which they are connected into one whole for the listener ( A). Period types:

Repeated (square) - a period of two sentences, thematically similar, but differing in cadence.

Unified structure - the process of intonation development takes place within the framework of a single rhythmic-syntactic structure.

Modulating- ends in a different key and the need for further development arises.

Difficult - repeated period, each sentence of which is divided into two constructions ( Tchaikovsky. “Nocturne in C sharp minor)

Addition and expansion - called construction that goes beyond the period. Often the addition is a repetition of the last construction of the period.

FUNCTIONS OF PARTS:

Introduction and conclusion: introduction and conclusion are closely related to vocal genres: song, romance, aria, etc. assume two parts: the accompanying part, which belongs to the introduction and conclusion, and the voice part, which enters later and ends earlier. From the area of ​​vocal genres, the introduction and conclusion moved to instrumental music. There are various types introductions:

The intro can consist of just a few chords or a single chord. Often in such an introduction the tonality, tempo, metro rhythm and texture of the work are established.

The introduction outlines bright theme. Sometimes she's independent (“Is it day reigns" by Tchaikovsky), sometimes this is a theme that will be further expounded in a voice or instrument part (“ I opened the window" Tchaikovsky, "Symphony No. 6") Tchaikovsky - the theme of the introduction is further heard in main party, Beethoven “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 Day Reign” by Tchaikovsky)

Exposition(Latin - presentation, explanation, display) : - called the initial presentation of one or more themes of the work. It usually begins in the main key, but can end in one of the secondary keys. The exhibition can be repeated (sonatas and symphonies by Haydn, Mozart, Beethoven).

Reprise: repetition of the theme or themes of the exposition. Replicability has 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 a reprise, they are perceived somewhat differently. Reprises may be changed:

The theme given in the exhibition can become brighter and more dynamic in a reprise. This reprise is called dynamic.(Chopin. “Nocturne” No. 13, C minor)

There may be a reprise abbreviated(“Prelude” in D-flat major by Chopin) or expanded(“Melody for violin and piano”, Op. 42, No. 3 by Tchaikovsky)

- mirror is called a reprise in which the themes of the exposition are presented in such a way that the second theme comes first, then the first (Schubert “Shelter”). A reprise of one theme written in period form can also be a mirror image. Then in the reprise, first the second, then the first sentence appears (Schumann “A Leaf from an Album” from the cycle “Motley Leaves”, op. 99).

Development: the process of intonation 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 thematic development, we must establish: 1/ what themes are developing, 2/ what is the tonal plan of development, 3/ what is the change in the theme - what new ones does it acquire.

Episode: is a new topic that arises in the process of end-to-end development

Code: is 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 “Sonata” op. 2, No. 3, C major, part 2). The code has 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 a major key and in a very emphasized march form).

Intermediate and connecting structures: There are constructions whose role in the development process is less significant, but such constructions have great formative significance, and often a great figurative and semantic function:

Interlude (lat. inter - between)- introduction 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 accompanying part (“Reconciliation” by Tchaikovsky). Connecting constructions prepare the appearance of a reprise or new topic. These are the connecting parts in sonata form.

SIMPLE FORM

The form is called simple , when each part of the work is period. A simple form could be one-part, two-part, three-part.

One-part called simple form, containing a statement within the period. Very typical for Russians folk songs(couplet form –1) a + a1 + a 2+ a3 ;

2) a + a1 + b + b1; a + a1 ; 3) unified structure). The one-part form acquired great importance in small instrumental pieces(thumbnails) in musical literature 19th-20th centuries. Many preludes by Chopin, Scriabin, Lyadov, Shostakovich, Kabalevsky are presented in period form. Among them, a repeated period of square structure is extremely rare (Chopin’s “Prelude” in A major). Usually the second sentence is extended, contains an intense build-up, 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 form. The first part of which represents the theme of the work, presented in the form period , and the second part contains either a new topic or a development of the theme of the first part: A + A or A + B. Exists two-part recognizing form: A + B + A, where 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 structure. 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 plays ( some Schubert Ländlers), and as a form of part of a larger composition, especially in the themes of the variation cycle ( theme of the 1st movement of Mozart's A major sonata) or in romances ( “Young Man and Maiden” by Dargomyzhsky, “Why is the Heart So Disturbed” by Khrennikov).

In simple two-part form the middle may not be written in the form of a period, but be developmental ( Schubert "Ländler" in B major). An example would be Tchaikovsky’s “Organ Grinder” from “Children’s Album.” The two-part form is often found in songs in which the chorus and chorus are separate parts. In a verse-chorus song, the chorus 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” by Glinka, “The Groundhog” by Beethoven).

Two-part structure is typical for small dance pieces ( some waltzes by Schubert, “Ukrainian Cossack” by Dargomyzhsky - like a song with a chorus and chorus), and also not of a dance type - "Prelude" op. 57, No. 1 Lyadova. Each part can be repeated: A B. A simple two-part form can be used as a part form of a larger composition.

SIMPLE THREE-PART SHAPE

Simple three-part form - called a form, 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 the 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 scale of the middle part can be very different: a/ the middle part is equal to the outer parts (8+ 8+ 8), b/ the middle part is shorter than the outer parts (8+ 6+ 8), c/ the middle part is longer (8+ 10+ 8). The third part - reprise - maybe literal repetition first part. But the repetition is also not exact: the topic is changed (varied), expanded. Special mention should be made dynamic reprise- presentation of the original theme at a higher dynamic level, in a more complex texture or in a more harmonious lighting. Often this achieves the most significant climax of the entire work (“Does Day Reign” by Tchaikovsky).

The independence of the first part and the connection 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 B A. Following the reprise, a coda may appear. May have an introduction and conclusion. In vocal music, this form is used in romances, arias, where the middle part is developing (“For the shores of the distant fatherland” by Borodin), less common with contrasting part (“The Snow Maiden’s Aria” 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, “Reverie” by Schumann, etudes by Chopin, Scriabin).

The simple three-part form is used as a form for a larger composition.

Complex three-part form

Complex three-part shape called a three-part form, the first part of which is written in a simple two-part or tripartite form, the second part either has the same structure or a series of open structures, and the third part is a reprise. Thematically, the first and second parts are usually sharply contrast to each other.

First part written in main key. Second part mostly written in eponymous or subdominant tonality.(Sometimes it runs in the main key " Scherzo" of Beethoven's Third Symphony).

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 a reprise is often associated with a complication of texture (variation- Sonata No. 4, Part 2 by Beethoven). Sometimes they 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 occurs code. This form is widespread in instrumental music dance genre(a comparison of two dances, where the second part is called - trio, because performed by three instruments), march (marching, solemn, mourning). Works of a non-dance genre, mainly based on the contrasting comparison of two images. They often have a program name: P. Tchaikovsky “Seasons”: “On the troika”, “At fireplace" or genre designation - nocturne, barcarolle. This form is found in the slow movements of the sonata cycle.

In vocal works, the complex three-part form is found much less frequently than in instrumental works ( M. Glinka “I remember a wonderful moment”).

Complex two-part form

Complex two-part form is a form in which both parts or one of the two are presented in a simple two-part or three-part form.

Distinguishes this form from the complex tripartite 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 comparison of two themes and reprise is not required or even unacceptable. Romances, for example, have this form. “How long have you bloomed luxuriously like a rose” by M. Glinka, “On the fields yellow" by P. Tchaikovsky. The complex two-part form is sometimes found in songs Soviet composers- “Hymn of Democratic Youth” by A. Novikov(the first part is B-flat minor - one-part; the second part is B-flat major: a simple three-part form).

Rondo

Rondo is called a multi-part form, based on carrying out one topic at least 3 times and comparing it with various episodes:

A B A S 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 became widespread in the works of French harpsichordist composers

Fr. Couperena, J. Rameau, Daquin. The main features of this form:

1). Unlimited episodes

2). The contrast between theme and episodes is slight

3). The theme is written in period form, episodes are not more complex period

4). Characterized by closed parts

5). The theme is always carried out in the main key, the episodes are diatonic. Kinships

French harpsichordists' Rondo is usually called verse rondo. Its theme is called refrain and the episodes are couplets. Many program plays and portrait sketches were written in this form (“The Reapers”, “Sister Monique” by Couperin, “The Hen” by Rameau, “The Cuckoo” by Daquin).

In creativity Viennese classics– Haydn, Mozart, Beethoven – the form of the so-called “classical rondo” has become widely developed. Its characteristic features: 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 topic is written in a simple 2-part or 3-part form; typical variation of the theme during its secondary appearances; 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 the intonations of the contrasting episode; 6) tonal plan of the shape of the rosary: topic- in the main key, 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). Some endings are written in rondo form sonata cycles, individual pieces, often called rondos. Sometimes this form can be found in an opera aria ( "Figaro's Aria" from the opera "The Marriage of Figaro" by Mozart.

In the works of composers of the 19th century (in particular, Schumann), the rondo form acquires new features:

1). The number of episodes increases;

2). The degree of contrast between the theme and the various episodes increases;

3). The closeness of the contrasting parts creates a large multi-part form

(1 part of Schumann's "Vienna Carnival")

4). The tonal plane becomes more complex, tones of more distant ones appear

kinship; There are themes that end in modulation. Carrying out

the same episode in different keys (“Novelletta”,

op. 21, No. 1, Schumann)

In the works of Russian classics and Soviet composers there are very diverse types of rondo. First of all, we should highlight striking 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 Zephyr”, “Song of the Fish”, “Weddings”; Borodin "The Sleeping Princess". In Glinka, some opera arias have the form of a rondo - Antonida's rondo from the opera "Ivan Susanin", Farlaf's rondo from the opera "Ruslan and Lyudmila", the romances "Night Zephyr", "Doubt" (no change 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 Fire"».

Variations

Variations is called a form containing a presentation of the topic and a number of its modified repetitions.

Variations on basso ostinato

This is called a variational form, the invariable basis of which is a phrase repeated many times in the lower voice. And the upper voices develop melodically and rhythmically freely. (Chaconnes, passacaglia in the works of J. S. Bach, G. Handel).

Variations on so prano ostinato

This is called a variation form. The constant basis of which is a phrase repeated many times in the upper voice. And the lower voices develop melodically and rhythmically freely.

This type of variation was used by Russian composers in vocal works on folk theme, which remained unchanged.

Classic variations

The basis of the classical variations is topic, presented more often in a 2-part reprise form, and a number of variations. The theme in the 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 key. In the middle a variation or group of variations arises - in of the same name tonality. This is a means of creating contrast in the development of one musical theme. This form became widespread in the works of Haydn, Mozart, and Beethoven. Sometimes there are large, significant works - Beethoven's 32 Variations.

Double Variations

Double variations are variations on two topics. These themes are presented at the beginning of the work, contrasting 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 significant place in Russian music. In Russian folk songs, variation form arises as a result of modified repetition of the melody in subsequent verses.

Musical form The structure of a musical work, the relationship of its parts. simplest compound element music is called a motive, 2-3 motives form a more complete musical structure - a phrase. Several phrases are combined into a sentence, and sentences are combined into a period.

Verse form A common form of vocal compositions in which the same melody is repeated unchanged (or changed only slightly), but with each repetition in the verse new text. Most folk songs have verses. “Venice Night” by M. I. Glinka “Couplets of a Toreador” by J. Bizet STRUCTURE Introduction - verse (chorus, chorus) - bridge - verse (chorus, chorus) - conclusion

Variation form Variations (from the Latin variation - change): 1. repeated repetition of the main melody with some of its changes. Moreover, the original theme is always enriched, embellished, and becomes more and more interesting, without losing its recognizability. "Polyushko - field" by L. K. Knipper

Rondo Rondo (from the French rondo - round dance, walking in a circle) is a musical form consisting of the repeated construction of the main section - a refrain, with which other episodes alternate. Rondo begins and ends with a refrain, as if forming a vicious circle. "Rondo Farlafa" by M. I. Glinka

Suite Suite (French Suite - row, sequence). Consists of several independent parts - dances, usually contrasting with each other and united by a common artistic design. “Suite in the Old Style” by A. Schnittke “Pictures at an Exhibition” by M. Mussorgsky “Scheherazade” by N. Rimsky-Korsakov