This is the simplest musical form of homophonic music. A period is a relatively complete musical thought, completed by a cadence in the original or another key.
Periods vary according to structure. The classical style is characterized by a normal period, in which the expositional type of presentation is clearly expressed (8-16 volumes). The main large parts of the period are sentences. Sentences usually have two phrases, which consist of motives. The first sentence is the initial sentence, the second is the response sentence. Sentences are divided and linked together by a central cadence on the Dominant. At the end there is a cadence on the Tonic. There is a consistency, a roll call of cadences - the first interrogative is answered by the second affirmative (T - D - D - T). An authentic cadence is formed, imparting mode-harmonic stability and integrity.
Example: Mozart, Sonata No. 11, part 1.
The typical structure of the period developed in the song and dance genres of homophonic music and was consolidated thanks to the clarity and memorability of musical thought.
It is typical for the period melodic-thematic unity. It is expressed in:
1. Almost complete similarity of sentences, except for their endings (in this case, the reprise sign does not form a form).
2. Partial repetition of material.
Example: Beethoven, Sonata No. 1, part 2
Beethoven, Sonata No. 7, part 2.
3. In repetition modified through ornamentation.
Beethoven, Sonata No. 15, part 1.
Plays a significant role climax location. If the second sentence repeats much of the first, they often both have the same climax. A smaller part of the first sentence is repeated more often and this contributes to the presence of a climax in the second sentence.
Schumann. "Dreams"
Medtner. Sonata-memory.
There are exceptions: the punchline at the beginning of the sentence:
Chopin. Mazurka, op. 67 No. 4.
By thematic development There are periods of repeated and non-repeated construction. Periods are also divided into square and non-square.
Non-squareness can be organic (Glinka. Waltz-Fantasy, 3+3 volumes), due to expansion and addition.
The period may be single-tone and modulating (Beethoven. Theme of Joy, part 1, 9th symphony). In a period that is generally monotonal, deviations into other keys are possible. This period is called modulation.
Beethoven. Symphony No. 5, part 2.
The modulating period ends in a new key: for a major, as a rule, in the Dominant, for a minor – in a parallel one.
Wagner. "Tannhäuser", March of the Pilgrims.
The period happens:
· Closed – ends with the Tonic of the main key;
· Open – ends on the Dominant (Beethoven, sonata No. 8, part 1, ch.t.); ends in a new key.
Sometimes there are periods of 4 sentences, usually in complex meters.
Schumann. Novelletta, op.21 no.1.
There are periods of three sentences.
Grieg. Norwegian dance.
The most common are periods with thematically similar sentences, of which the second is expanded in comparison with the first.
1. Extension - repeating any construction with an increase in its length is an internal expansion, since the construction grows, acquires greater length, but still remains one construction with one cadence. The expansion is associated with the emotional build-up of the climax.
Expansion techniques:
· Repetition of any element – simple variation, sequential, imitative (Tchaikovsky, “Barcarolle”, “January”).
· More complex development techniques with the introduction of new tonalities.
· Stretching of cadence harmonies (Lisa’s aria from “The Queen of Spades”).
Internal expansion occurs before the appearance of Tonic.
2. Addition - an additional construction leading to the same harmony on which the main cadence ended. This is a series of additional constructions that confirm the main idea. The supplement occurs after the Tonic. This is an external addition (Beethoven. Sonata No. 1, Minuet).
PERIOD ANALYSIS SCHEME:
1. Tonality.
2. period boundaries.
3. repeated or non-repeated.
4. square or non-square.
5. closed or open.
6. single-tone, modulating, modulating.
7. cadence analysis.
8. determine the climax.
9. find out the reason for the non-squareness.
10. features of style, texture.
WORKS FOR ANALYSIS OF INITIAL PERIODS:
Beethoven. Sonata No. 3, part 2, 3, 4.
Sonata No. 4, parts 2 and 3.
Sonata No. 7, part 2
Sonata No. 5, part 1.
Sonata No. 27, parts 1 and 2.
DIFFICULT PERIOD.
It consists of two melodically similar sentences with different cadences, each of which, in its internal structure, is itself a typical period.
Chaikovsky. Nocturne in C sharp minor. Here are two sentences (D - T), each as an explicit period. Four identical beginnings are a hallmark of a difficult period.
The themes of works are often presented in period form, and thus the period is included, as a separate part, in a larger whole.
There are short works that represent the period. Thus, a period can be an independent form (these are, as a rule, miniatures, preludes - small independent plays in which one mood develops).
Chopin developed this form extensively.
An independent period rarely has a clear structure. But there are exceptions: Chopin. Prelude No. 7.
Structural contrasts are more typical for such plays (the presence of an expansion in the second sentence, which creates movement and climax, emotional growth).
Chopin. Preludes in E minor, B minor.
Three sentence period: Chopin. Prelude No. 9.
Difficult period: Chopin. Prelude No. 10.
Such forms are typical for preludes by Scriabin, plays by Lyadov, romances by Rimsky - Korsakov, Rachmaninov. In vocal music, the complex period, as an independent form, is used in a song-verse structure.
WORKS FOR ANALYSIS:
Grieg. "Love you".
Borodin. "False note."
Chopin. Prelude No. 6, Waltz No. 7, r.1.
Chaikovsky. "Morning Reflection"
Period
Melodic-syntactic structures
The periodic repetition of melodic-rhythmic turnover serves as an important factor in the naturally ordered division of small constructions. In this regard, the classification of melodic-syntactic (melodic-thematic) structures is based on the ratio of motivic repetition or non-repetition (similarity or dissimilarity).
1. Periodicity - a sequence of elements of the same duration (depending on the number of measures - 4+4, 2+2+2+2, 1+1+1+1).
2. Addition (summation) - comparison of two or more constructions with the next unifying construction, which is equal to their sum (2+2+4, 4+4+8 and so on).
3. Fragmentation - comparison of a construction with shorter constructions following it, which are equal to it in total (4+2+2, 8+4+4 and so on).
4. Crushing with closure (or summation) (2+2+1+1+2, 4+4+2+2+4 and so on).
5. Double summation (1+1+2+4, 2+2+4+8).
A period is a presentation of a completed or relatively completed musical theme, completed by a cadence.
The term “period” comes from the ancient Greek metric and literally means “circular course”.
The main use of a period is as part of a larger form. The main function is exposure, the additional function is non-exposure.
The period also acts as an independent musical form, starting from the era of romanticism, where the aesthetics of the fragment appeared, which also affected the emergence of the shortest poems. In music, the tradition of the period as a form of a separate composition was laid down by Chopin in the cycle of “Preludes”.
A sign of the end of a period is a complete perfect cadence.
The classification of structural types of a period is made based on several criteria:
I. By the number of sentences or the absence of divisions into sentences:
1) a period of two or three sentences;
2) period of a single structure (merged):
A period of a single structure can have a continuous harmonic development with a single cadence at the end.
II. According to thematic similarity or dissimilarity of the beginnings of sentences:
1) re-building period(a+a).
(a+a") The stroke means insignificant textural changes: transfer to another register, ornamentation, chanting.
(a+a 1) One means significant structural or tonal-harmonic changes;
2) period of non-repetitive construction(a+b);
3) period of sequential-repeated structure(sometimes not distinguished as an independent type of period) – the second sentence repeats the first at a different height (a+a 1);
III. By metric:
1) square(number of cycles is a multiple of 4):
(a + a) or (a + b)
2) non-square.
Unsquareness can occur due to:
a) extensions ( within the period, before the cadence, due to sequence, interrupted turnover, intensive internal development):
b) compression(truncations) of the second sentence (rarely) (Mendelssohn, Song without Words No. 30);
V) overlays(coincidence of the end of the previous construction with the beginning of the next one):
| (a+ a 1) |
| 8 8; |
d) organic non-squareness (typical of Russian music, where the number of bars in sentences can be 5, 6, 7, etc.).
IV. According to tonal-harmonic characteristics:
1) monochromatic(start and end in the same key);
2) Modulating(the final cadence is in a different key than the beginning of the period);
3) with the same middle and final cadences, period of identical sentences(often used in plays for children, in music with a folk flavor);
4) completed with an unstable cadence (rare).
V. According to the degree of thematic development:
1) elementary (construction of period type);
2) developed.
In elementary periods the theme is only stated, but in developed periods it is not only stated, but also contains a motivic development, especially in the second sentence.
VI. By degree of completion:
1) closed(ends with a tonic function in the main or secondary key):
2) open(does not end with a tonic):
An open period may at the very end avoid any cadence altogether and move into the next section of the form. This is often found in middle movement themes, rondo episodes, etc. (Beethoven, sonata No. 20, minuet).
VII. By interaction with other forms, which arises when the period coincides with the work (with features of simple forms, rondo, variations, sonata form):
1) analogy with the two-part form (aaba) (Beethoven, 7th sonata, II part; Tchaikovsky, 6th symphony, I part, PP). Expanding the third sentence has the same effect:
(a+b+b 1) – Beethoven, finale of sonata 8;
2) the features of a simple three-part form are natural for a period of three sentences, where the transition from the second to the third is identical to the relationship between the middle and reprise of the three-part form:
(a+a 1 +a 2) – Chopin, Prelude No. 9; Tchaikovsky, Symphony No. 5, II movement;
3) with features of variation: Chopin, Nocturne Es-dur;
4) with sonata relationships - more often in a difficult period:
In the 19th–20th centuries:
| (a extra + a 1 extra) |
| →D D T T (Chopin, Nocturne op. 72 no. 1). |
The classic type is a period of repeated or non-repeated construction, square, with a complete perfect final cadence, carrying an expositional function.
The form of the period is largely organized by the harmonic cadences of the sentences. Proposals are the largest parts of the period. Between two cadences of a period, functional gravitation at a distance is formed.
Difficult (double) period has two structural varieties:
1) from 4 sentences, combined in pairs into 2 complex sentences with 4 cadences;
2) from 2 complex sentences, not divisible into simple ones, with two cadences. In this case, the first sentence modulates.
A complex period differs from a simple repeated (or variably repeated) in that with a simple repetition the final cadence remains the same, although there may be slight changes in texture, and in a complex period the final cadence changes.
Periods can be very large sizes. For example, in Chopin's Scherzo in B minor the period consists of two sentences of 60 bars each with different cadences.
This is a period of repeated construction (line 1), square (line 2), monotonal (last line), closed.
| (a+b) | |
| 4 6 | |
| D T | |
| E-fis |
The period of non-repetitive structure, non-square (due to expansion), modulating, closed.
In which an entire work can be written. But more often, only a section of a work is written in period form, and very often a musical form is made up of several periods, like cubes.
Do you remember what “cubes” the period itself consists of? Well of course it is motives, phrases And offers. Here they are in the first period of Tchaikovsky’s Waltz from “Children’s Album” (to make it easier to understand, I’m giving only the melody).
Pretty soon
This period has one peculiarity. It starts at E flat major, and ends in G minor. This period is called modulating. And the period without modulation is called monophonic. Let's remember that
In the Waltz, the period is divided into two sentences that begin the same way. There are a lot of such periods in musical works, and you have probably encountered them both in familiar songs and in plays that you played in your specialty. This period is called period of re-building, because the beginning of the second sentence repeats the beginning of the first.
And it happens that the second sentence repeats the first, but at different levels and even in a different key, as in this famous melody:
Example 13
V. Shainsky. SONG OF THE CROCODILE GENES
It's like a sequence. But between the links there are other phrases. This technique is called sequence at a distance and is often used in periods of re-building instead of exact repetition.
The second sentence deviates into another key (G minor), but it is not fixed, at the end the main key (D minor) returns, the modulation did not take place, so the period single tone, although with a deviation in the middle.
And it happens that the second sentence does not repeat the first at all, although it is similar to it in rhythm and phrase structure. You have already seen this in V. I. Agapkin’s march “Farewell of the Slav”.
This period is called period of non-repetitive construction.
Each sentence in the period ends cadence a special final musical turn, like a period or comma in ordinary language. With the final cadence“dot” usually ends the entire period (although not always), and half cadence“comma” often occurs at the end of the first sentence. But sometimes (as in the last example from “Farewell of the Slav”) both cadences are final. Periods of three sentences are very rare. But the period may not be divided into sentences at all, as in the Minuet from Symphony No. 40 by W. A. Mozart:
There are four phrases in this period, but only one cadence at the very end. This non-stop movement enhances the anxious, tense nature of this music.
Most periods are divided into sentences. All types of such periods are combined under the name classical period. A classical period (usually repeated construction) of two sentences of 4 or 8 bars is called square. And a period that cannot be divided into sentences is called period of a single structure.
Now that you've found out different types periods, let's define what a period is and what periods there are.
And now for the creative task.
Exercise 1
a) Complete the period of repeated construction according to the given scheme, filling in the empty bars:
;
b) Complete the period with a sequence at a distance (step quart up)
History and theory of music
MUSICAL FORMS
Period. Period types.
Period - this is the smallest musical form in which a relatively complete musical thought is presented, completed by a cadence. (There is no less period of a completed form!)
(Cadence- this is a harmonic or melodic turn of a final nature).
The typical length of a period is 8 or 16 measures. Can be 4 bars if the tempo is slow, or (rarely) 32 bars if the tempo is fast.
Application:
As part of a larger form
As a form of independent work
How to determine the boundaries of the period?
1. The ending can be judged by the sufficient expression of musical thought.
5. The end of the period is also indicated by:
Cadences,
Rhythmic stops, pauses, caesuras,
Decline of the melodic wave.
Internal structure of the period.
The period can be divided into offers.
Offer– this is the largest component of the period completed by the cadence.
Typical addition of a period of 2 sentences. The 1st sentence ends with an unstable (not on the tonic) middle cadence, it plays the role of a comma in music. The 2nd sentence ends with a stable (on the tonic) final cadence, it, accordingly, plays the role of a point.
Depending on the internal structure, there are several period types.
Period types:
1. Rebuilding period. This is a period of 2 sentences that differ only in cadence. The beginnings of the sentences are the same or very similar.
2. Period of non-repetitive construction from 2 sentences. The sentences are homogeneous, of the same type, but thematically different.
3. Period of a single structure or big offer. This period has one cadence and is not divided into sentences.
4. Period of 3 sentences. In it, different possibilities for the correlation of sentences arise (aab - the 1st and 2nd sentences are correlated by the type of repeated structure, abb - the 2nd and 3rd sentences are correlated by the type of repeated structure, abc - all sentences are different).
Offers in the period can be divided into phrases. Phrases do not end with cadences, but are separated from each other by caesuras.
Phrases consist of motives.
Motive- This smallest part a piece of music by which he can still be recognized. Typically, this is a group of sounds around one downbeat.
Concept squareness and non-squareness.
Squareness- This is a metric structure that is based on a push-pull raised to a power. A typical square period contains 8 clock cycles. It consists of two sentences of 4 bars each. Each, in turn, consists of two phrases of 2 measures.
Non-square the period is structured differently.
Unsquareness may be organic, when the period is based on a 3-beat or any other formation.
Non-squareness can be inorganic when the original squareness is disrupted by the introduction additions or extensions.
Addition– this is a post-cadence increase in the period. It represents the construction of a final character and helps to consolidate stability. Often repeats cadence. The sizes are different, there may be several additions.
Extension– this is a pre-cadence increase in the size of the period. Always associated with the presence of musical thought within a period of development. Often the expansion is the climax.
Simple forms.
Simple forms consist of periods (this can be a combination of 2 - 3 periods or a period and 1 - 2 other constructions not exceeding the period in size). The main difference from the period is the presence of development.
Simple forms are a whole group of long-existing, well-developed forms. They are also called songs, because they developed in European song and dance folklore. Simple forms have also become widespread in entertainment music, where they are actively used to this day.
Two main varieties - simple two-part shape and simple tripartite form.
Simple 2-part form.
This is a form where the 1st part is a period, the 2nd is either also a period or a closed construction no more complicated than a period.
Application:
Songs and romances
Instrumental pieces
Parts of larger forts.
The simple 2-part form is characterized by dependence on everyday genres, therefore it is characterized by clarity of structure and reliance on squareness.
There are 2 varieties : reputed and unrecognized.
First part simple two-part form - period. The simplest types of period are used: repeated structure, non-repeated structure of two sentences (others are rare).
Second part reprisal forms - consists of 2 sections, they are united, but clearly distinguishable. The first section is developmental, called “middle”. The 2nd section is the final one, it is a reprise (repetition) of one of the sentences of the initial period, usually the second.
Second part unrepeatable forms, in turn, can be contrasting And developing.
Contrasting is built on new material, this is 1 more period (chorus in the song).
Developmental, as in the reprise form, it consists of a developing and final section, but does not contain repetition (reprise).
Simple 3-part form.
This is a form where the 1st part is a period, the rest are no more complicated than the period and represent: the 2nd part is the “middle”, the construction of a developing or contrasting nature, and the 3rd part is a reprise
Scheme: aba.
Application: (extremely common)
Independent play
Opera or ballet performance
Part of a cycle
A section with a more complex shape.
The sizes vary - it could be a small piece or, for example, the finale of Tchaikovsky's 6th symphony.
There are 2 main varieties :
developing(i.e. with the middle of the developmental type)
contrasting(i.e. with a contrasting middle).
The developmental one is single-dark, and the contrasting one is two-dark. In practice, the developmental one predominates, since contrast is not very characteristic of simple forms.
First part simple tripartite form – period of any type.
Second part or mid-developmental type uses material from the initial period. The feeling of development is created by the instability of harmonies and some other techniques.
Second part or middle contrast type– usually a period with a new topic. Occurs in cases where development is not required, for example, in music of the picture, landscape type.
Reprise repeats the material of the initial period, but is rarely accurate. Changes may vary. Elements of both a developing and final nature can penetrate into a reprise. Therefore, the period type may be different.
Special types simple 3-part form:
1. With repetition of parts: a: ba:
2. Three-five-part ababa
3. Double three-part ababa
4. Unrepeated three-part abc
Complex shapes.
The basic principle of the structure of complex forms is that they are composed of simple ones (and simple ones from periods).
By their nature, complex forms cannot contain one musical image. There are two musical images in complex forms. Accordingly, the content of a work written in a complex form is revealed through the relationship of these images. Musical themes can be contrasting or similar.
Complex forms have many specific varieties :
Complex two-part
Complex three-part
Contrast-composite
Concentric, etc.
The most common is a complex three-part one.
Complex three-part form.
This is a reputed form of three parts, each of which (or at least the first) is more complex than the period.
Scheme ABA.
This form implies a contrast between A and B, but in this contrast the themes reveal dependence on each other. The 2nd topic (B) is related to the first in that it is built on something that is not in the 1st. For example, the 1st theme (A) was performed tutti (all together), because the 2nd theme needs to be contrasting, it will sound solo. (If A is white, then B is black). The predominant image, the main theme is A. Theme B is more subordinate. That the 1st topic
more vibrant, energetic, significant - the law of a complex tripartite form.
Application.
Major symphonic works
Parts of the sonata-symphonic cycle, especially the 3rd movement
symphonies - minuet or scherzo (this part of the sonata-symphonic cycle is always 3 parts)
Arias, choruses from operas
Independent plays, marches, dances.
There are two main varieties :
Complex three-part shape with a trio type middle part (B trio type)
Complex three-part form with a middle part in the episodic style (B episode type)
First part complex three-part form: more often a simple two-part or three-part form of a developmental type.
The second (or middle) part of the trio type".
The trio is distinguished by constructive clarity and definiteness of form. The form is simple two-part, simple three-part and maybe a period.
A trio is not only a certain structure, but also the character of the music. The trio's music is always lively, with a clear rhythm. (There are no slow trios).
The trio always has an individual appearance. When it starts, we hear that the tonality, texture, and instrumentation are changing.
The trio is introduced (begins) without preparation, abruptly, after a caesura. This
the type of contrast is emphasized, namely contrast-comparison.
Note: There are two types of contrast:
Contrast juxtaposition is contrast brought from outside.
Derivative contrast is the result of development, a radical update of what came before.
How correctly the trio is closed, has a clear ending, a caesura separating it from the reprise.
The second (or middle) part of the “episode” type.
An episode is an unstable construction with individual execution of the form.
As a rule, it flows smoothly from the first part and smoothly flows into the reprise. Occurs in slow music, for example, in the slow movements of a symphony. The contrast with the first movement is strong, usually the music is restless, agitated, excited.
The third part, aka reprise.
Dedicated to affirmation main topic. Repetition can be precise and
changed. As a rule, in forms with a trio the reprise is accurate. In forms with an episode, the reprise is modified.
What can change?
The reprise may be shortened. Can be rescheduled. May contain changes in instrumentation and texture. All in order to create a feeling of the outcome.
Often found in complex tripartite form code (a separate final section of the form).
(A) (B) (A) (Coda)
The coda is needed to balance the contrast. The code often combines the features of the extreme parts and the middle part.
Special types complex three-part form:
Complex three-five-part:
(A) (B) (A) (B) (A)
Complex double tripartite:
(A) (B) (A) (B1) (A)
Intermediate:
With two trios following in a row:
Complex two-part form
It is a form of two parts, each of which is more complex than the period.
Scheme (A) (B)
A contrast arises that is not removed because it is not repeated. Hence the semantic uncertainty, understatement, and structural instability.
Specific application .
In vocal music, when understatement is an important semantic component.
In programmatic instrumental works, where the literary plot serves as the unifying moment.
Concentric shape.
A mirror-symmetrical multi-part form, consisting of parts that, after the central one, return in the reverse order.
It is used in landscape music, and very often in fairy-tale-fantastic music, when describing magical transformations(roundtrip)
Rondo shape
Rondo - this is a form based on repeated (at least three times) presentation of the main theme in alternation with episodes different from each other.
The number of parts may vary; this is not determined by the rule.
The repeated part is called "refrain", the alternating parts are called "episodes".
Scheme
A B A C A - five-part form = R E1 R E2 R
A B A C A D A - seven-part form = R E1 R E2 R E3 R
Rondo is not just a structure. It is also the nature of the music associated with the origin of the form.
Rondo is one of the oldest forms, originating from folk song and dance music. The predecessor is French round dance songs (French “rondo” means “circle”). In these songs, in accordance with the dance movement in a circle, the chorus was repeated. In the Middle Ages, knightly songs were written in the form of a rondo (with a repeating chorus).
And now the rondo retains its connection with everyday song and dance genres. It always has a dance rhythm, a fast pace, a cheerful, sometimes humorous character. As a rule, rondos are written in a major key.
There are three main ones varieties :
Antique
Classic
Post-classical
Antique Rondo (17th and early 18th centuries).
This is the music of French harpsichordists and Bach.
Applied in independent plays and in parts of suites.
Made up of large number low contrast parts. There was no consistent development. (François Couperin allowed the performer to rearrange the episodes).
Refrain then it represented a period and was repeated without changes in the main key.
Episodes built on a new theme or served as a development of a refrain).
Classic Rondo (late 18th - early 19th century).
This is the rondo of the Viennese classics: Haydn, Mozart, Beethoven.
The main idea of the Viennese classics is the idea of transformation and development. It also penetrates into the rondo. The basis of the rondo form is a simple musical idea (the themes of a classical rondo are dance or song), which receives a complex development. In this development, the contrasts of the refrain with the episodes and the episodes with each other play an important role.
Structure classic rondo stable: 5 parts. AVAVA
Applicable
In finales, less often in other parts of symphonies and sonatas
Independent essays
Opera numbers
Refrain in a simple two-part form, less often in a three-part form, very rarely a period.
When repeated, the refrain may be shortened or varied.
Episodes: there are always two of them, and they have different meaning. First episode- not very independent, the contrast is not strong. The size is similar to the period.
Second episode- this is the center of the form. It contains a major contrast with the refrain. Stable form: either period or any of the simple forms.
In a classic rondo there are connections from episode to refrain (they contribute to the continuity of development) and codas (they are the result of development).
Post-classical rondo (from the beginning of the 19th century to the present day)
Unites many different works. Several trends in the development of this form can be noted.
1. Unusual application. For example, a large opera stage can be built using the rondo principle.
2. Extreme expansion of imagery. Rondos can be epic, lyrical, dramatic, fabulous...
3. Freedom and individuality in solving the form. The number of parts can be any, even even, since one of the refrains may be skipped. Rondo may end up as an episode. The refrain may not be carried out entirely.
Sometimes the main focus shifts to episodes. This is how, for example, Mussorgsky's piano cycle "Pictures at an Exhibition" was constructed. The play “Walk”, which plays the role of a link between other plays, is a refrain, and the main plays (“pictures”) are episodes.
Variation form
Variation form - this is a form consisting of a presentation of a topic and its repeated repetitions in a modified form.
There is no set number of parts, but there must be at least two variations. If the variations are an independent work, then there can be several dozen of them, if the variations are part of a larger work, there can be 2 - 4 of them.
Scheme
Application.
Independent work
Parts of the cycle, often slow
Episodes in operas
Larger Shape Section
Exists 4 types variations:
Figurational strict
Genre-characteristic free
Variations on basso ostinato
Variations on a sustained melody
Figural strict variations - also called classical or ornamental (from the word ornament).
Used in the 18th century by Viennese classicists and in the 19th century in the form of brilliant variations on themes from fashionable operas.
Subject in a simple two-part, sometimes three-part form, rarely a period.
Strict variation is a modified reproduction of the theme as a whole.
The form and harmonic plan are preserved.
The melody changes - by figurative or ornamental variation. When using this method, the reference points are preserved in the melody. They can only be shifted to other beats of the bar, transferred to another register. The distance between these points is filled with melodic figurations. These are, for example, scales, arpeggios, small decorations, and all sorts of combinations thereof.
In the accompanying voices, there is also a revival due to increased rhythmic pulsation and a change in texture. In this case, the principle of diminution is used - reducing durations. For example, the first variation is presented in quarter notes, the second – in eighth notes, the third – in sixteenth notes, etc. As a rule, one of the variations contains modal contrast, that is, if the theme and all the variations are in major, it is in minor and vice versa.
Genre-characteristic free variations .
They arise in the 19th century and develop in the 20th.
Subject- as in classical variations.
Free variation- this is a relatively independent play based on the material
The principle of the formation of a free variation: a component element is isolated from the theme, namely, a melodic turn or harmonic turn or even rhythm, and it becomes the basis of a new piece. The form of free variation can be any, it does not depend on the form of the theme.
Definition "characteristic" variation implies that the new piece has
individual character, not repeated in other variations. Genre specificity arises when a specific genre is used for individualization in a variation. For example, a march variation, a waltz variation, a nocturne variation, etc. appears.
Variations on sustained bass ( basso ostinato )
This is a form based on the repeated repetition of a theme in the bass with constant updating of the upper voices. Thus, the topic itself does not change, its surroundings change. Such variations are called indirect.
Bass variations are one of the oldest forms of professional music, originating from church genres (chorale variations). The first examples date back to the 13th century. It flourished during the era of Bach. In the 19th century it was used sporadically. The revival comes in the 20th century.
Application.
Independent plays
Parts of a larger whole
Part from the series
Single piece
At first subject The bass was simple in melody and rhythm. Then she became more
extended and complex. In Bach's era, a descending chromatic bass was often used. (In the Baroque era it was a symbol of death).
IN variations the theme does not change, sometimes it varies slightly, is transferred to a different key, or to a different voice. The most common development technique is the addition of counterpointing voices. Accordingly, the polyphonic texture is characteristic.
Variations on a consistent (unchanged) melody.
This is a form based on varying the accompaniment of a constant melody carried out in one of the upper voices.
Also an old form. Reached its peak in the 19th century. It was especially widely used by Russian composers in connection with the development of song themes (therefore it is also called “Glinka variations”). With a constant melody, variation is carried out by changing chords, texture, and orchestration.
Section 2. Simple forms
2.1. Period
period (definition)
types of periods
period as a one-part form
PERIOD is the simplest musical form that represents a relatively complete thought. It can also act as a form of independent work.
A period is a form of thematic material in homophonic-harmonic music. The very concept of a period arose back in ancient Greece, where it was used in rhetoric. Much later it was introduced into musicology. The final crystallization various types This form took place in classical music (mid-18th century).
Structural elements of a period: The largest elements of a period are the sentence (a typical period consists of two sentences). The smaller elements are phrase and motive. A motif may consist of smaller units called submotives. A phrase is a combination of several motives ending with a stop or pause or repetition. A motive is a group of sounds containing one strong beat.
Periods can be classified based on their thematic, tonal structure and internal structure.
WITH from a thematic point of view, two types of periods are distinguished: repeated
And non-repeating structure. In the first case, the period consists of two (less often three) sentences that are thematically similar. Hence the effect of repetition of the material during its deployment and the corresponding name of the whole structure. The first sentence of the period is called the initial, and the second - the next. Their similarity can generally have very wide gradations - from identity to similarity of only the beginnings themselves, and therefore circuit diagram of such a period can be expressed as follows: a+a1. In the simplest cases, the first sentence ends with a half cadence on the dominant (or a full imperfect), and the second with a full perfect cadence (in the initial or another key). Despite the simplicity of such a structure, it reveals a strong unifying effect of harmonic functions at the level of form: the dominant of the first sentence resolves (at a distance) into the tonic of the second. Both functions are well perceived by the ear - after all, they fall on important points of the structure that are identical in meaning. Specific cases of repeated construction include a construction in which the second sentence is completely identical to the first, but shifted in height (transposed). Such a period could be called transpositional.
The period of non-repetitive construction, on the contrary, as the name itself already says, avoids repetition of thematic material in the higher sense noted. There are two possible structure options here. In the first of them, the period is constructed according to type a+b, that is, from two sentences that are different from the point of view of the material. Such periods retain the same typical relationships of harmonic cadences as periods of repeated construction
structures: thanks to these cadences, division into sentences becomes possible. Moreover, between both thematically dissimilar sentences, there are various connections - rhythmic, intonation, and so on, which ensure the unity of the whole structure.
The second option for a period of non-repetitive structure is a period that is not divided into sentences, is continuous, monolithic (without a half cadence). Such a period in terms of structure (with a final cadence) becomes sentence-like (and is often defined as such), although it fulfills the typical role of the period in presenting a theme.
From the point of view of tonal structure it is important, first of all,
determination of the extreme points of the period - its beginning and end. From this point of view, it makes sense to distinguish between monotonal periods - that is, those that begin and end in the same key, and modulating periods - that is, those that end in a different key. For classical and similar styles, the most commonly used are modulations into a dominant or parallel key (with the main minor key), although other options often come across. The sound material of single-tone periods can be different: either maintained within the diatonic framework, or using chromaticism, including due to deviations (in the latter case, the period is called modulation). The period types described above have a final cadence (most often on the tonic), which closes the thematic development in them. Therefore, such periods are called closed.
The absence of a completed final cadence in the period gives reason to call it open or open(often ends with a dominant).
From the point of view of metric structure - the method of combining, grouping measures - periods are divided into square and non-square. The first of them contain 8, 16, less often a larger number that is a multiple of 4, and form two, less often four, sentences. The latter do not meet this norm and the total number of bars in the period and its sentences is not a multiple of four (9, 10, 11 bars, etc.).
To determine the squareness or non-squareness of a structure, what is important is not so much the total number of measures as their grouping; for example, an eight-bar may have a non-square grouping - 5+3. Periods that span 12 measures and consist of 3 clauses occupy an intermediate position.
The following types of non-square periods are distinguished:
period with addition; after a complete perfect cadence, one or more additional cadences are introduced;
period with expansion; the intended complete perfect cadence turns out to be imperfect or interrupted, so the "real" complete perfect cadence appears later.
In addition to standard periods (normal exposure period), there are heterogeneous deviations from the noted schemes:
complex period (with a large number of bars and extended, independent additions);
double period, which is characterized by double exposure of thematic material. It consists of two periods, and the second may differ slightly from the first
table 2
By theme | By scale | By tone |
||
re-building | square | single tone |
||
unique structure | non-square | modulating |
||
continuous construction | with addition; | modulation |
||
with extension | ||||
with addition; | ||||
with extension | ||||
Table 3 | |||||
Shape options: | |||||
Structure: | a+a1 | ||||
a+a1 +a+a2 | |||||
a+a 1+2т - with addition; | |||||
a+a 1+2t - with extension | |||||
Shape Features: | square/non-square; | ||||
repeated/non-repeated construction; | |||||
indivisible into sentences; | |||||
closed/unclosed; | |||||
repeated; repeated | |||||
single tone/modulating. | |||||
Availability of other material: | introduction; | ||||
addition/extension; | |||||
conclusion (of the code) | |||||
Since a period is a form of completed or relatively completed musical thought, it can also act as a form of an independent work (one-part form). In the classical style it occurs rather as an exception, and then mainly in compositions of instructional significance (Czerny's studies). It could be found in Bach's time (small preludes by J.S. Bach). But most of all, the one-part form manifested itself in the work of the romantics in instrumental miniature (F. Chopin, O. Scriabin). An independent composition requires that it contain
increasingly important stages are presented: exposure of the material, its definite development and completion. Therefore, extended or padded periods are typical in this case. In addition, a simple one-part form is used in the themes of ancient variations, passacaglia, chaconne, as an introduction to a major work, as a verse in vocal music, folk songs (especially dance ones).
2.2. Simple two-part form
definition; origin of the form
non-reputable pr2khch form
recognized pr2khch form
form complications
A simple two-part form consists of two parts, each of which is a simple construction, no more complex than the period (a+b).
The origin and development of the simple two-part form is associated primarily with everyday dances and song genres. This form is rooted in folk music and is closely related to the juxtaposition of two parts: the lead and the chorus. A number of dances of the 17th century (alemande, courante, minuet, gavotte) were composed in the so-called ancient two-part form of type a a1, in which the second part is twice or three times as dominant as the first. In the 18th century it was typical for landlers, and in the 19th for cyclic waltzes. Various examples of the two-part form are found in the songs and dances of Schubert, Schumann, Glinka, Dargomyzhsky, instrumental plays and romances by Tchaikovsky, themes of variations, mass songs, romances and, as a component of more complex forms, parts of sonata and rondo-sonata forms.
First part of a simple two-part form , in which the main theme song, represents a period, less commonly, a large proposal. In the second part there is a subsequent development and completion of musical thought. Each part of a two-part form can be repeated. The first period often modulates into a dominant or parallel key. The second part ends in the main key. Tonal closeness is the main sign of completeness and independence of the two-part form.
The simple two-part form comes in two variants:
An unremarkable simple two-part form - it is based on a contrasting combination of two constructions, ensuring the unity of the whole by means of tonality (a + a1 b + b1). The second part of this form is either contrasting or developing. In the first case, the thematic material is more or less independent in nature; in the second case, thematic elements from the first part are used (secondary presentation, extended development).
A reprisal simple two-part form - in the second part it combines two functions that are implemented sequentially - the functions of contrast and completion - reprise (a + a1 in + a1). The second part of this form is divided into two sections, the first provides a certain contrast, and the second repeats one of the sentences of the first part. The reprise offer may be extended.
The first part of a simple two-part form is characterized by an expositional type of presentation:
from the thematic side, it is characterized by repetition or similarity of both sentences, balance of the melodic line;
with harmonic - the period can be monotonal or modulating in the key of the dominant group or parallel major;
in size it is often a square period 4+4, 8+8.
The second part combines the features of middleness and persistence and ends in the main key. The form of the second part is usually a period or a long sentence.
Vocal works written in a simple two-part form sometimes have an introduction and a conclusion (like a coda). Generally general features A simple two-part form is a connection with everyday genres, song and dance themes, small sizes, clarity of structure, reliance on squareness.
A simple two-part form can be complicated by repetition of parts, for example:
Table 4 | ||||||
a a b b (||: a:||: b | Simple 2-part form with repeated parts | |||||
Simple 2-part form with the first one repeated | ||||||
Simple 2-part form with the second repeated | ||||||
a b a b1 | Simple double 2-part form | |||||
To analyze a work: | ||||||
Table 5 | ||||||
Simple 2-hour form | ||||||
Shape options: | ||||||
Structure: | ||||||
a+a 1b+a 1 – reputed; | ||||||
a+a 1b+b – non-recognized; | ||||||
a+a1 b | ||||||
Shape Features: | Part 1: period; | |||||
2.3. Simple three-part form
definition; scope of application of the form
features of parts
varieties of shape
A simple tripartite is a form consisting of three parts, each of which is no more complex than a period. The first part is a presentation of the theme, the second part is called the middle, and the third part is a reprise - a repetition of the first part.
A simple three-part form is used:
in independent works of various genres (preludes, etudes, nocturnes, children's plays, dances, arias, romances, etc.);
as an integral part of a larger form;
as a separate part of the cycle;
in opera and ballet numbers.
A simple three-part form is a symmetrical form, all of whose components are approximately equal from a scale point of view. Already from this point of view this form has wider, in comparison with the two-part, possibilities for introducing a more developed contrast, which, in turn, requires a complete thematic reprise corresponding to the first part of the form to balance the whole. It is for this reason that non-reprise three-part forms, in contrast to two-part forms, are a rare phenomenon in instrumental music, mainly due to the influence of song forms and genres (for example, the theme of F. Schubert’s quartet “Death and the Maiden”). However, there are variants of the form in which the proportions of the parts are not respected; often the middle exceeds the size of the first part, for example, the play “Estrella” from “Carnival” by R. Schumann: 12 + 16 + 8 bars.
The first part of a simple tripartite form is a single-tone or modulating period of two sentences, rarely double, with an extension, with an addition, a square, non-square, open period or sentence. Type of presentation - expositional.
The second part is the middle, which in one way or another is opposed to the extreme sections. The middle is characterized by a developing, unstable type of presentation; fragmentation, deviations, sequences and other development techniques are typical. In shape, the middle can represent: period; small (8t) or large offer (16t); or be a construction that is not
a period, for example, built on: alternation of move-like formations; on sequencing or fragmentation or repetition of harmonically unstable revolutions; Polyphonic development techniques are often used: canonical imitations, counterpoint, etc.
The third part, which, like the middle, does not contain more complex structures, than the period, is a reprise and repeats the musical material of the first part. General principle tripartite form in terms of thematic and tonal structure has several interpretations. The simplest examples of the simple tripartite form are the same material conducted three times: in the keys of the tonic, the dominant (or parallel major), and the tonic again. The middle in such cases is a transposition of the first part into another key and the contrast in form is provided primarily at the tonal level. In addition, rhythm, harmony, texture (a+a1+a) can vary slightly here.
More complexly organized is the form in which the middle part is constructed as a free, unstable development of the previous thematic material. The means that serve to achieve instability are the fragmentation of thematic material, sequences, deviations, the use of methods of motivic and polyphonic development, etc.; the middle in such cases can be considered as a modulating part, which contrasts with the extremes (a+R+a).
Another type of simple three-part form occurs when the middle part is filled with a new, structurally and tonally shaped theme. Hence the often used definition of such forms as two-theme, in contrast to the one-theme described above. But in a number of cases, a new topic can be introduced according to the principle of derivative contrast, that is, built from the intonations of the previous thematic material (a + b + a).
Sometimes there are seemingly mixed ways of constructing the middle part. Yes, in particular, in the scherzo from the sonata op. 2 No. 2 by L. Beethoven (up to trio) the middle part is divided into two thematically and functionally distinct sections. The first of them develops the previous material and modulates from A major to G sharp minor, which is, in this case, the goal of the previous tonal development; the second one, however, introduces new topic, which however avoids cadence completion and, modulating, returns to the main key (a+Rb+a) – intermediate form. In addition, the middle can be a transition (like a connective) without a pronounced thematic theme (a+trans.+a).
Harmonic development in the middle part can be reduced to three types:
1. a new tonality is not established, but the tonic is not used in its basic form;
2. there are deviations into related tonalities;
3. from the beginning of the middle a new key appears, but at the end of the section there is a return to the main key, often with a stop at its dominant (an organ point is possible).
Types of reprises:
variational (varied) - with textural changes;
abbreviated - not carried out in full, most often this is a sentence;
dynamic (dynamized) - a change in textural, harmonic, structural and other means that can be quite significant and significantly influence the nature of the thematic material.
A simple three-part form may have an introduction and a coda.
A simple three-part form can be complicated by repetition of parts:
Table 6 | |||||||||||||||
Simple 3-5-part form. | |||||||||||||||
Double simple tripartite; with tonal or | |||||||||||||||
other transformations of parts. | |||||||||||||||
Simple 3-part form with repeated parts | |||||||||||||||
or double. | |||||||||||||||
Simple 3-part form with the first one repeated | |||||||||||||||
a b1 | Simple 2-3 part form. | ||||||||||||||
Simple three-part unremarkable form or | |||||||||||||||
with tonal reprise. | |||||||||||||||
Intermediate form (between simple and complex | |||||||||||||||
tripartite). | |||||||||||||||
To analyze a work:
Table 7
Simple 3-hour form | ||||
a b a1 | ||||
Shape options: | ||||
||: a:||: b a:|| | ||||
Structure: | ||||
a+a1 b a+a1 | ||||
a+a1 | ||||
Shape Features: | Part 1 – period or big sentence; |
|||
Part 2 – the shape is different; | ||||
Part 3: reprise – | ||||
exact (literal); modified | ||||
(varied; abbreviated; | ||||
tonal; dynamic). | ||||
Availability of other material: | introduction | |||
ligaments; predact; | ||||
conclusion (of the code) | ||||
Forms derived from the simple two- and three-part form:
Forms that, according to external structural characteristics, belong to more complex ones, but in terms of their means of formation, meaning and content are simple song forms, are derivative. One of the most stable forms of this type is formed by superimposing a simple three-part form and a simple two-part form. Its scheme is as follows:
A reprise of such a form is at the same time an expositional part of a simple two-part form linked to it. There are four parts in this form. After the simple three-part one there is another part, which is the normative second part of a simple two-part non-reprise form. The play “The Death of Ose” from the suite “Peer Gynt” by E. Grieg has a similar structure.
Application
SAMPLE plan for analyzing a musical work (or part thereof),
written in period form
1. The analyzed musical material is a musical work or part of it.
if a part: how it ends (perfect cadence or otherwise);
if a musical work: its genre, features of the content, the need to choose a given form in connection with the content and genre.
2. The type of presentation of musical material in the period is expositional: is it so? By what criteria is this determined?
3. The formative meaning of the melody (see the direction of the melodic movement) in a given period.
4. Formative meaning of harmony (see climax, cadence of sentences).
5. Period structure: indivisible, of two or more sentences. Present a diagram of the period, indicating the sentences in lowercase letters, indicating the number of measures in each of them and other structural features.
6. If this is a long (complicated) period, what criteria are used to determine this?
7. If divided into sentences: characteristics of the cadences of each of them, the significance of the differences in cadences for formation.
8. If it is a two-sentence period:
whether it is square or not (by what criteria is this determined, what is the connection with the content, genre).
repeated or non-repeated structure (by what criteria is this determined, what is the connection with the content, genre).
9. This period is single-tone (closed) or modulating
if the period is modulating: the place of modulation, its values for a given period.
if this period is part of another form: the meaning of modulation or closure for communication with other parts of the form.
10. Is there an introduction to the period, an addition, an expansion. Their significance for shaping, the need to include these elements in connection with the content and genre.
