What musical works are written in couplet form. Methodological guide "musical forms and genres"

Topic: What is a musical form

A musical work, like a work of any other art, is a unity of content and form.

Form - (lat. forma - appearance, outline)

a system of musical means used to embody the content of a work

structure, scheme of a musical work

Content plays the leading role in the unity of content and form. When the content of works of art changes, then the musical means, which serve to embody the content, that is, the change in musical form usually lags behind the change in content. The new content initially uses, as far as possible, the old means, the old form, adapting them to its needs, its tasks, and then changes and transforms the means, the form.

The composer in the process of creativity inevitably comes to a certain formal structure, plan, scheme, which serves as the basis for his manifestations. creative imagination and skill.

Almost every music we have heard has a form.

4 main principles of musical form:

repetition

variation

contrast

development

Main musical forms and their schemes :

period - usually consists of 2 sentences

2-part form A-B

3-part form A-B-A

couplet form A-A-A-A-A, etc.

rondo A-B-A-C-A

variations A–A1–A2–A3–A4–A5, etc.

Period - this is the most simple form which came from dance music, reflects the physiological characteristics of human perception.
The 2nd sentence is the answer to the first, unfinished musical structure.

More complex shapes arise as a result of a change or expansion of basic structures.

Schemes using letters (A, B, C) are strophic forms, where each letter is a stanza.

The principle of development, which appeared in music later than the 3 first principles, differs from the strophic structures described above in that the thematic material is treated not only as a structural unit suitable for repetition and variation: elements that change and interact with each other and with other themes (the sonata form and the fugue form demonstrate this principle especially clearly).

In these forms it is no longer possible to confine oneself to just letters, their schemes are much more complicated. They already border on mathematical formulas.

In general, music is close to mathematics, it is not only an art, but also exact science, quite abstract, like mathematics.

The first music theorists were also eminent mathematicians, such as Pythagoras.

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

In the history of music, there have been many curiosities regarding form.

At first they composed music only talented people, it was their vocation, often their life. And in the XVII - XVIII centuries each person "from society" had to be able to compose a piece of music, poetry, write down a musical couplet dedicated to her in the album of the owner of the salon. Ways have emerged that allow anyone to compose music.

One of them is the method proposed in 1751 by the Englishman W. Hayes. The method is described in the treatise "The Art of Composing Music by an Exclusively New Method Suitable for the Most Wretched Talents". It consists in the fact that you need to take a brush (you can use a toothbrush), dip it in an inkwell and, running your finger over the bristles, spray ink on the sheet. music paper. The resulting blots should indicate the position of the notes on the musical ruler. The duration of the note was determined by the size of the blot. It remains to add barlines, calms, etc. Their location was determined, for example, by cards randomly drawn from the deck.

This method, like many similar ones, failed - it is too primitive.

Other methods have also emerged. For example, in the 18th century, widespread musical game with dice. It was used not only by amateurs, but also by such serious musicians, like F.E. Bach, I. Haydn, F. Handel and others. In 1793, Mozart's "Guide how to use two dice compose waltzes in any quantity, without having the slightest idea of ​​​​music and composition.

But in fact, all these experiments with form only proved the fact that in music form without content is dead. The greatness and beauty of music lies in the relationship between its content and form.

The most prominent Soviet musical scientist B. V. Asafiev wrote the book “Musical Form as a Process”. He described 2 sides of the form: procedural and crystalline.

Often the musical form also has a specific purpose.

For example, etude - piece of music, designed to improve the skill of the performer, often to use a certain technical technique of the game. F. Chopin "invented" a new etude - a work that has a certain artistic value. Then came the studies of Schumann, Liszt, Rachmaninov, Scriabin.

Prelude - has long been an introductory piece to a piece of music. For the first time, preludes gained independence in the works of J.S. Bach and Chopin.

Especially fully canonized sonata form developed by the middle of the 17th century. In sonata form, they can be written as independent works- proper sonatas, symphonies, quartets, concertos, oratorios, etc., as well as separate parts of works. Typical for classical sonata is a three-part cycle with a slow middle and fast extreme parts. Leading place in the cycle it occupies the first part, written almost always in sonata form. The second part contrasts with the first due to the slow pace, lyrical, contemplative character. It also commonly uses complex three-part or sonata form. The fast finale is very close to the first movement, the most typical form for the finale being sonatas or rondo sonatas.

The rules for constructing works have become even more stringent. sonata form by L. Beethoven. Beethoven's sonatas are usually four-movement, the sequence of movements in them: sonata Allegro, slow lyrical movement, minuet or scherzo, and, finally, the finale.

, melodic formulas, etc.), harmony, meter and rhythm, structure and texture, verbal text (poetic, prayerful, prose), timbres and clusters, etc .; 3) musical-theoretical academic discipline and the branch of musicology concerned with the study of form.

Encyclopedic YouTube

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Musical form on the example of pieces from " children's album" P. Tchaikovsky

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

Motive. Phrase. Offer.

Musical Form: Variations

Fragment of a music lesson. The game "Catch the question" when repeating the theme "Musical form"

Subtitles

Form and content

When considering the form in its most generalized sense (the second meaning of the term according to MES), the musical form from specifically musical content impossible to distinguish. When the object of consideration (formal construction) “blurs” in this way, then the analysis of the form essentially turns into “ holistic analysis" Total. Yu.N. Kholopov, in Germany - the author of a popular textbook on form Clemens Kühn: “When the “doctrine of forms” is rebaptized into an “analysis of composition”, then, although historically and lexically the features of a given individual composition are fully rewarded, the doctrine of forms as a discipline is largely is abolished."

The opposition of form and content is an obligatory aspect of musicology in Russia Soviet period. The so-called "Marxist theory of art", which postulated the primacy of content over form, served as the methodological basis for considering this opposition in the USSR. In the vulgar sociological interpretation of this postulate, form as such could not be the subject of science and 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 - a debatable topic scientific research. Teachings about musical form in Russia, in Germany, in the USA, in France and other regions of the world differ greatly from each other both in methodology and in specific terminology. Relative agreement among scientists different schools belonging to European tradition(including Russian), is noted only in analyzes of the music of the classical-romantic era (XVIII - XIX centuries), partly also in relation to baroque music. More a 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, responsories, 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", before sayings in popular books on music "for dummies": "Hip-hop, gospel, heavy metal, country and reggae are the same" forms "as are minuets, fugues, sonatas and rondos".

The structure of the work

The work consists of individual musical phrases- small integral musical fragments. Musical phrases are combined into periods. Periods that sound similar are combined into parts. Fragments (phrases, periods, parts) of a musical work are indicated with Latin letters: A, B, C, etc. Different combinations of fragments form different musical forms. Thus, the common form in classical music- ABA (song form), means that the original part A disappears when it is replaced by part B, and repeats at the end of the piece.

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

different ways development and comparison of the elements of the melody led to the formation of various types musical forms:

One piece form (A)

She is also called ballad form or airom [ ] . Most primitive form. The melody can be repeated minor changes(Form AA 1 A 2 …). Examples: ditties.

Two-part form (AB)

It consists of two contrasting fragments - an argument and a counterargument (for example, the play "The Organ Grinder Sings" from P. I. Tchaikovsky's "Children's Album"). However, if the fragments are not contrasting, that is, the second fragment is built on the material of the first, then the two-part form turns into a variation of the one-part form. However, such works (for example, the play "Remembrance" from R. Schumann's "Album for Youth") are sometimes referred to as two-part.

Three-part form (ABA)

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 be a short transition; in complex - each section is, as a rule, a two-part or simple three-part form.

concentric shape

The concentric shape consists of three or more parts, repeating after the central one in reverse order, for example: A B C B A

Classic forms

Sonata

Sonata form is a form in which the exposition (1 movement) contains two contrasting themes in different keys ( main party and side), which are repeated in the reprise (part 3) in a different tonal ratio - tonally approaching (most often, both in the key main theme). The middle section (part 2) is in typical case"Development", that is, a tonally unstable part, where the development of previous intonations takes place. Sonata form stands out from all other forms: the only form that has not been developed in dance and vocal genres.

Rondo

The freedom inherent in sonata form expands in the rondo. Its shape is an ABACADAEAF construction... That is, completely different fragments, tonalities and sizes are connected starting 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 extreme 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 reproductions. 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. Cit. by: Form // Harvard Dictionary of Music. 4th ed. Cambridge, Mass., 2003, p.329.
3. See, for example, his articles “Theoretical Musicology as a Humanitarian Science. Problem analysis music” and “What to do with musical forms Tchaikovsky?” .
4. Kuhn C. Formenlehre der Musik. Kassel, 1987; 10th edition ibid. 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. Cit. By:

2. Development and form

In some topics, we found signs of development. But the real great development begins after the presentation of the topic. In development, a theme or its individual fragments may be repeated, but always with changes. Sometimes these changes are so significant that they give rise to a completely different musical image, but you can also recognize the intonation of the theme in it. You just got acquainted with the gentle, melodious and very light theme of Tchaikovsky. And then, in the middle of this part of the Sixth Symphony, a tragedy unfolds, and here is one of the climaxes of this tragedy. Trumpets play the main melody at the limit of their volume:

Allegro vivo = 144

But listen to the melody: this is a development of the sequence from the second half of the theme.

As you probably already understood, for development there are special tricks. They can also be called methods or methods. Basic tricks variational development And sequence.

You already know the sequence. You can also add that there are sequences accurate And imprecise, and ascending And descending. And each carrying out of a repeating motif is called sequence link. And the sequence has step.

In the first sentence of Polka from Tchaikovsky's "Children's Album" there are two sequences at once. In the first of them, the second link is a second higher than the first, which means that it is ascending, with a second step. And all the intervals of the first link are exactly transposed in the second one a tone higher, which means that it is accurate. In the next sequence, the second link is lower it is descending. And the jump by a minor sixth in the first link turned into a jump by a perfect fifth in the second, and the sequence turned out to be inaccurate.

Moderate (polka tempo)

Sometimes in imprecise sequences, like here, you can't define a step. Look: the first sound is shifted by a minor third, and the rest by a major second. Music is not just about math and often throws things out.

Now let's train ourselves. These are blanks for homework. Copy them into your music books, and fill in the empty bars with sequences own composition. The direction is indicated. In the first example, rhythm is suggested (empty stems without heads). Invent accuracy-inaccuracy and step as you like, but then determine what you got.

Examples 9a, b

Rising sequence (D major)

Descending sequence (D minor)

The changes in the second phrase of the theme of Tchaikovsky's Sixth Symphony can be called variational. But, I repeat, development within the theme itself is still “fake” development. And what appeared in the middle of the part is already a real variational development. Form variations is entirely based on variational development. But not every variational development variations. We'll talk about this in more detail a little later.

There are other ways to develop. In the third grade, we talked about the polyphonic warehouse and tried to sing with the canon "There was a birch in the field." The canon uses a technique called imitation.

IN polyphonic music imitation is one of the main methods of development.

In the middle polyphonic works sequences are often imitated. Such an approach is called canonical sequence.

How long can a topic be developed? If a composer has enough imagination, he can develop it endlessly. But no one can listen to this kind of music, and no one wants to. To make music easy and interesting to listen to, it needs a form.

When you were sorting out your program by specialty, you might have noticed that most plays consist of a few relatively complete pieces. Such pieces are called sections, which make up musical form.

The form is formed as a result development of musical material. You have learned what development is and how it happens. Now it remains to find out how musical forms are arranged, and try to compose small musical examples these forms.

The smallest musical form already familiar to you period. You can find many miniatures that are written in the form of a period. But more often the form of a musical work consists of several periods. Simple two-part of two, and simple three-part out of three. There are also complex forms, each section of which consists of several periods.

All these forms both simple and complex are used in miniatures. And in major works different forms are used. variations, rondo, sonata And rondo-sonata forms. You will also get to know the variations and rondo very soon. And with the sonata form and its variety rondo sonata you will meet in a year, getting acquainted with the sonatas and symphonies of J. Haydn.

In order not to get confused, study the following plate. It contains all the forms you need to know about.

In our traditional questionnaire, you will see a new icon. All creative writing assignments will now be marked with this icon.

PERIOD - a musical form that expresses a complete musical thought and usually consists of two sentences of 4-8 bars in each sentence. Translated from Greek - a certain, vicious circle of time. Some of Chopin's preludes have the form of a period.

DOUBLE SIMPLE FORM is a form consisting of 2 periods (parts). If the parts are similar musical material, then the shape is designated AA1, and if the parts are contrasting, then AB.

THREE-PARTS SIMPLE FORM - consists of 3 parts (each of which is a period) and its third part usually repeats the first. Therefore, this form is also called reprise. The letter designation of this form is ABA. Sometimes the reprise is changed, then the form is designated ABA1. For example, March wooden soldiers from Tchaikovsky's Children's Album.

COMPLEX THREE-PART FORM - consists of 3 parts, each section is a 2-part or simple 3-part form. Letter designation ABCAB. For example, "Waltz" from Tchaikovsky's "Children's Album".

RONDO is music. a form in which the main theme - REFRAIN - is repeated at least 3 times, alternating with various other topics - EPISODES. Translated from French "rondo" - round dance, walking in a circle. Rondo begins and ends with a refrain, forming a vicious circle Letter designation ABACADA.

VARIATIONS - a musical form in which the main theme is repeated in a modified form several times, i.e. varies. Rhythm, timbre, harmony can change. AA1A2A3 ... - the classics have 6 variations. There are variations on two themes - double variations. Letter designation ABA1B1A2B2A3B3A4B4…-. For example, Glinka's symphonic fantasy Kamarinskaya.
Variations originated in folk art. IN professional music appeared in the 15th century. They occur in the form individual works and as part sonata cycles, suite.

SONATA FORM or SONATA ALLEGRO FORM (sonata allegro) - music. a form based on the development of two main themes - the main and secondary, as well as the connecting and final parties. Sonata form has 3 sections:
1) EXPOSITION - translated as "show" - the topics are presented in different keys;
2) DEVELOPMENT - the dramatic center, the culmination of the work. The themes of GP and PP are compared, they collide. Perhaps the development of not all topics. This section is characterized by modulations, deviations into distant keys.
3) REPRISE - a section in which the themes of the exposition are repeated - all in the main key or in the same name.
In sonata form, there can be an INTRODUCTION and CODE - the final section, the result of the entire sonata form (translated from it. - tail).
The sonata allegro form was formed in the work of " Viennese classics". Usually, the first parts of sonatas, symphonies, and concertos are written in this form.

Categories:

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

Couplet form Common form vocal works, in which the same melody is repeated invariably (or changes only slightly), but with each repetition in a verse new text. Most are couplet folk songs. "Venetian Night" by M. I. Glinka "Toreador couplets" by J. Bizet

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

Rondo Rondo (from French rondo - round dance, walking in a circle) is a musical form consisting of 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. Farlaf's Rondo by M. I. Glinka

Suite Suite (fr. Suite - series, sequence). Consists of several independent parts- dances, usually contrasting with each other and united by a common artistic intent. « Suite in vintage style» A. Schnittke "Pictures at an Exhibition" M. Mussorgsky "Scheherazade" N. Rimsky-Korsakov