"MAIN MUSICAL FORMS IN THE PROGRAM
PIANO CLASS DMSh and DSHI "
Methodical work
Piano teacher at Yegorievsk Children's Art School
Engalycheva Irina Alekseevna
“By the concreteness of the musical form one must understand the ability of music to express and activate vital content merging with the image, idea and feeling"
S. Feinberg
From the first grade, the teacher requires the student to meaningfully fulfill the program. He explains the content of the work to the child in an accessible language, carefully works on technique, shades, phrases. But he brings him to the concept of musical form later.
Very often, high school students cannot determine the boundaries of exposition, development, reprise in the sonata they perform, they are not familiar with the principle of constructing a fugue. That is why they have breakdowns and failures at concerts, exams and tests.
One of the common mistakes is the performance by the student of the side part of the sonata allegro in the reprise in the key of the exposition. Or another mistake: forgetting some place in the middle or at the end of the invention, the student starts playing the piece from the very beginning instead of returning and repeating the section of the form where it happened. The teacher explains such mistakes by stage excitement. But in fact, one of the important reasons for the "disintegration" of the form on the stage is the student's ignorance of issues related to the regularities of the structure of a musical work.
Issues of studying musical form in senior and lower grades have their own specifics, due to the difference in age and level of training. Student lower grades should know these musical terms as "caesura", "phrase", "reprise", "sequence", "climax", etc. Then, in the middle and upper grades, knowledge is deepened and refined.
From the very beginning, the child must imagine that the primary semantic cell of music is a phrase. Explaining the structure of a particular musical phrase, the teacher involuntarily conducts an analysis: he helps the student to find a logical accent in it, traces the direction of the melodic line, analyzes the interval composition. The brightest sound is usually the climactic sound, but you can approach it in different ways. If the course of the melody is smooth, then the crescendo will be smooth, gradual. If the climax is taken abruptly, then a particularly expressive singing of this interval is required. When there are two bright points in a phrase, then you need to divide it into smaller constructions and work them out. If the child does not hear this and plays monotonously, you can ask him to sing this segment, emphasizing expressively meaningful sounds. With false singing, you can help him by playing along on the instrument, or you can sing this segment with him, showing the culminating sounds with the movement of your hand up.
For clarity, you need to make him draw a wavy line with a colored pencil that imitates the movement of this passage. In this case, it is more bold to highlight the key points.
This must be done in order to direct the student's auditory attention to meaningfully expressive performance. In this case, not only the auditory centers will be involved, but also the motor and visual centers.
Having achieved relatively bright performance one musical phrase, the teacher leads the student further. The second, third phrase, etc. are worked out in the same way. At the next stage of work, we combine several phrases into one whole construction with a single common center - the climax. For comparison, a teacher can perform a piece smoothly, safely, but boringly (without a climax), and then perform it brightly, with enthusiasm. This will lay in the imagination of the student an idea of the musical image of the culmination. For clarity, together with the student, you can depict the structure of the piece being performed with wavy lines, painting the climax points with brighter colors.
When working with students on a piece of music, you need to keep in mind that the ultimate goal of learning it is a complete and expressive performance. Therefore, in the process of work, the teacher should pay attention to the students' understanding of the integrity, harmony of the form of the work being performed. It is very important not to make corrections as the piece is being played. The corrected episode violates the law of form established by the author. If the teacher is demanding from the very beginning in this regard, then the student will also work on embracing the whole: at first he will make fewer mistakes, and then he will achieve error-free execution.
An important factor in the performance process is the relationship of the part and the whole. It is necessary to teach the child to immediately “enter the image” of the work being performed, since the first phrase determines the character and mood of the entire work. To do this, it is useful for him to sing the first bars of the piece to himself before the start of the performance.
In the process of performance, the student must also ensure that the climax points do not “fall off”. To do this, it is necessary to teach the student to calculate the sound pattern so that a common large wave is formed, leading to the main climax. Then executable work will be holistic and logically built.
However, one should not forget that the blurred end of the work destroys the overall impression of the performance. The larger the form, the more difficult it is to cover it as a whole. Therefore, it is necessary to teach the student to calculate his strength in such a way that he can convey the image of the performed work from beginning to end. Then his performance will create a single and complete impression.
What is a musical form? “Musical form is the structure of a musical work. It is determined by the content of each specific work, is created in unity with the content and is characterized by the interaction of all specific sound elements distributed in time.
With all the richness of the forms of music, they are divided into homophonic And in lyphonic. Homophonic forms are those where one voice is dominant. And polyphonic are forms in which all voices are melodically equal and independent.
The form of each work is individual and unique. However, the laws and rules for the formation of form have common features in the structure. Each part has its own function. There are six main functions in the form: introduction, presentation of the topic / topics, connecting part, middle, reprise and conclusion.
The smallest form expressing a relatively complete thought is period.
The main major sections of the period are called proposals. The sentences of the periods are divided into smaller constructions - phrases. A phrase can be distinguished by meaning and, in addition, it is rhythmically isolated (a sign of a phrase is two strong beats). The phrase can be indivisible or subdivided into one-bar constructions - motives.
Periods.
A period that begins and ends in the same key is called monophonic. (For example, the first period of "Adagio" by D. Steibelt, the first period of "Mazurka" by A. Grechaninov).
A period that begins in one key and ends in another is called modulating. (For example, the first period of "The Lark" by M. Glinka - the beginning - e-moll, the end - G-dur. the first period of I. Bach " Minuet" d-moll - the beginning - d-moll, the end F-dur).
There are periods square And non-square buildings. The main variants of squareness are expressed in the four-bar parts: the first sentence is 4 (or 8 bars) and the second sentence is 4 (or 8 bars) (I. Bach "Minuet" d-moll in the 1st period, both sentences are 4 bars each AND . Bach "Minuet" G-dur in the first period, each sentence of 8 measures)
There are periods of 4 measures (2 + 2), where each measure can be taken as two (the first period of Philip's "Lullaby", the first period of "Rain" by S. Maykapar). An example of a period of non-square structure is the first periods of the plays "In the Land of the Dwarfs" by Rowley (4 + 5) and "Chorus" by P. Tchaikovsky (5 + 7).
There are periods repeated And non-repeated buildings. On the example of Tchaikovsky's plays "Polka", "New Doll" it can be seen that the second sentence is built on the repetition of the material of the first. These two periods of rebuilding. And the second sentences of "Minuet" in d-moll by I. Bach and "December" by P. Tchaikovsky are built on new material. These are periods of non-repetition.
Periods ending in a sustained cadence are called closed(A. Maykapar "In the kindergarten", D. Kabalevsky "Clowns") . If at the end of the period the cadence is unstable, then such a period is called open.(B. Pechersky "Sleepy doll").
There are extended and shortened periods. At extended periods, the 2nd sentence is increased - the first periods of P. Tchaikovsky's plays "June" and "January". The abbreviation of the second sentence is used less frequently, due to the fact that it has more logical weight as a completion of the form.
A period can act as an independent form (F. Chopin "Prelude" A-dur"), and also be an integral part of a musical form (see the examples listed below).
Simple two-part form
A form consisting of two periods is called simple two-part. It is subdivided into reprise And non-reprisal. In the reprise two-part form, the second part must necessarily have a repetition of one of the sentences of the first part. (D. Shteibelt "Adagio" - the second sentence of the first part is repeated in the second part). In non-reprise two-part forms, there are no repetitions in the second part. (I. Bach "Little Prelude in g-moll").
Simple three-part form
A simple three-part form is a form that consists of three periods, where the first and third parts are built on the same material. The middle part can be contrast And non-contrasting. In three-part forms, the middle can contrast with the extreme parts in various respects - tonality, mode, register, timbre, texture, except for the theme. This - non-contrast form. (P. Tchaikovsky "March wooden soldiers”, R. Schumann “The Bold Rider”). IN contrast In the same form, the middle is based on a new theme that contrasts with the extreme parts (D. Shostakovich “March”.
There are also double three-part forms in which the second and third parts are repeated, and together. (E. Grieg "Dance of the Elves", "Melody a-moll".
Complex three-part form
In this form, each part is a simple form (two or three-part). The second part in this form is of two types:
A) trio type- for all expressive means (melody, harmony, modulations, textures), this part is simpler than the extreme parts. (P. Tchaikovsky "Waltz" from " children's album", J. Haydn "Sonata G-dur" part 2).
b) episode type- there is no clear form. Freer development (many modulations, sequences, unstable harmonies) (P. Tchaikovsky "May").
Rondo
Rondo called such a form in which the same topic is held at least three times, and between its holdings are placed parts of a different content, most often - new. The recurring theme is called refrain or main party. The parts located between the main parties are called episodes.
You can consider the structure of this form on the example of "Rondo" by R. Gliere. It begins with a refrain written in the form of a period, which ends in a dominant key (8 measures). Then the first episode takes place, built on the material of the main party. It is written in a different register, more tense in character and more unstable (8 bars). The episode is again followed by a refrain (8 measures), which smoothly passes into the second episode, which is built on completely different material and is more contrasting with the first episode and the refrain. It changes rhythm, texture, tonality. The Rondo ends with a refrain in the main key.
The rondo form refers to compositions of large form. Rondo can be both an independent work and part of a cycle.
Variations
Traditional cycles occupy a prominent place among large-scale works. They combine elements of both large and small forms. The purpose of the variational cycle is achieved by thematic unity. Of great importance are the caesuras between individual variations, which separate them, thereby crushing or enlarging the form.
There are variations strict And free. Strict variations are interconnected by tonality and thematic unity. In the program music school we are faced mainly with the form of strict variations (D. Kabalevsky "Light Variations on the Theme of the Slovak Folk Song").
SONATA FORM
A sonata is a form based on the opposition of two themes, which, when first presented, contrast both thematically and tonally, and after development, both are repeated in the main key.
Sonata form (sonata allegro) consists of three parts: exposure, development And reprises.
IN exposure two opposing themes are presented - home And side. The main part is written in the main key. Between the main and secondary theme there is a construction called binding party. This party is based on the main material and is subject to development and transformation. It performs a connecting role, since it contains modulation into the key of a side part. In the theme of the side part, the lines of contrast to the previous music are clearly expressed. From the side of harmony, the most important thing is that a side part in the exposition takes place: in major keys- in the key of the dominant (W. Mozart "Sonata C-dur" gp - C-dur, p.p - G-dur), and in minor keys - in parallel major. (J. Haydn "Sonata e-moll » g.p. -, e-moll p.p. - G-dur). last section exposure - final the consignment. It serves as a complement to the side one and, as a rule, proceeds in its key.
The second part of the sonata allegro - development. It is characterized by holding short turns of exposition themes obtained as a result of isolation, modulating sequences and elements of polyphony. From the harmonic side, the general tonal instability and avoidance of the main tonality are important.
The last part of the sonata allegro - reprise. It is the result of development. It repeats all the exposition material in the same order, but with tonal changes. The connecting part is rearranged in such a way as to remain in the main key, and the side and final parts are transposed into it.
Using the example of J. Haydn's Sonata D-dur, let's consider the structure of a sonata allegro. The exposition begins with a presentation of the main part in the main key. It is written in the form of a period (8 bars). Her character is determined and persistent. It is followed by a connecting part (8 measures), which is written in the same key and is similar in character to the main one. In its last measures, a dominant (A-dur) tonality appears. From the 17th measure, a side part begins, which noticeably exceeds the size of the main part (18 measures) and consists of two different themes. Its first theme, refined and elegant in character, is performed on R. The second theme of the side part is decisive and more intense. In character, it resembles the previous exposition material and ends with sweeping arpeggiated chords in the key of the dominant. The final part (6 measures) establishes the dominant key. The development is small in scope (20 cycles). All the topics of the exposition are given here in abbreviated form. The reduction of development is due to the imposition of some topics on others (in a polyphonic combination). The reprise begins with the main part, but its second sentence is increased by introducing the second element of the side part into it. The connecting part, on the contrary, is reduced in comparison with the exposition (6 measures). It ends in a dominant key. The side part of the reprise begins very interestingly: the key of the dominant continues in the upper voice, and the main key continues in the lower voice. The length of the secondary party is equal to its size in the exposition. The sonata allegro ends with the final part in the main key.
The preparatory stage for the sonatas of J. Haydn, W. Mozart, L. Beethoven is small sonatas, in which everything that is typical for sonata form.
MODIFICATION OF SONATA FORM
One of the most typical modifications of the sonata form is the absence of development (with the normal structure of exposition and reprise). Thus it becomes from a tripartite form of two private. But the presence in the exposition of two diverse themes, in the first part proceeding in different keys, and in the second part - in one, allows us to distinguish it from other forms (N. Nekrasov ". Sonatina e-moll" 2nd part) .
POLYPHONY
At the core subvocal species lies the development of the main voice. The remaining voices arise as a branch, have more or less independence. The subvocal polyphony is typical for folk, in particular Russian, songs.
Contrasting polyphony is based on the development of independent voices. It is characterized by a variable concentration of the melodic beginning in different voices, as a result of which, then one, then another voice comes to the fore (I. Bach. “G-moll Minuet”).
Imitation polyphony is based on the successive performance in different voices of either the same melody (canon) or a melodic passage (theme).
Canon is called continuous imitation. It reproduces not only the theme, but also the counterpoint to it, then the counterpoint to this counterpoint, and so on. Canons, which, after several imitations, stop and pass into some other movement, are called final. They have the most practical use(I. Bach "Invention F-dur" two-part). Infinite canons are less common.
The highest form of polyphonic writing is fugue.
A fugue is a polyphonic work that begins with a gradual introduction of voices with an imitation presentation of a theme, which is then repeated in further development works. A mandatory feature of a fugue is the systematic holding of a theme in different voices. The fugue consists of three sections - exposition, development and recapitulation. The boundaries of its sections are rather conditional and smoothed.
IN exposure the theme is passed in all voices. This is the only section that has a permanent structure. Tonality of the theme - tonic and dominant (alternately). In three-part fugues - TDT, in four-part fugues - TDTD. The answer (carrying out the theme on D) can be real (exactly transposed a fifth up) or tonal (with minor changes). (In the fugue by I. Bach from the 1st volume of the CTC c-moll, the answer is real, and in the fugue in gis-moll, the answer is tonal). The exposition is followed by an interlude leading to the middle section. The interlude is based on isolating the material from the exposition.
The middle is built on a series of single and group presentations of the theme. The manifestation of tonal instability is typical for the middle part. The most characteristic is the beginning of the middle part in a key parallel to the main, or dominant.
The final part of the fugue is based on general principle reprisals. It begins with the theme in the main key. Sometimes there are re-prizes that look like an exposition in the tonic-dominant tonal plan. But most often it is a single or group presentation of the theme in the main key.
Consider the form of the fugue on the example of J. Bach's three-voice fugue C-dur from the Collection "Little Preludes and Fugues". It consists of exposition, development and reprise. The exposition begins by holding the theme in the middle voice in the main key. Then comes the real answer to the fifth up in the top voice. The exposition ends with the theme in the bass in the main key. The intermedia following the exposition consists of a descending sequence, the link of which is taken from the first sounds of the theme. It brings us into the key of G major, in which development begins. In development, the theme goes through 4 times: first in the keys of G-dur and C-dur, and then, after a small connection, in the keys of a-moll and e-moll. The development is followed by the second interlude, built on a new material. At the end of it, the theme of the fugue sounds in the key of the subdominant (F-dur) in the upper voice.
The reprise begins with the introduction of the theme in the main key in the middle voice. Then it goes again in the bass, also in the key of C-dur. The fugue ends with a descending sequence built on the material of the first interlude, which establishes the main tonality.
Work on the form of a musical work should be carried out during the entire period of study. If in the lower grades the student learns the importance of the importance of the musical form, then in the upper grades he will competently and more expressively perform works, while revealing their artistic image more fully.
Working with young children is the most responsible and difficult, since the first teacher lays the foundation for the future attitude to music. The famous pianist and teacher I. Hoffman said: “The beginning, a matter of such great importance, that only the best is good here.”
The teacher introduces students to the structure of a musical work from the first grades of education. The process of work should be gradual and take place taking into account the characteristics of childhood. It is necessary to try not to scare the child away with boring incomprehensible terms, not to force him to memorize theoretical material, and also not to overload his thinking with overwhelming tasks.
It is widely known that the process of teaching a child is based on the use of those psychophysical characteristics that are inherent in each age category.
In his pedagogical activity I use visual colorful material (in the form of multi-colored geometric shapes: triangles, squares, and circles), which helps to figuratively and interestingly present to young children the work performed in the scheme. Thus, the material is easier to perceive, absorbed faster and activates their creative abilities.
If the piece being performed or part of it is written in a major key, then the brighter colors of the figures are used, in the minor key the colors are darker.
First, these figures play the role of sentences in the period, and the sheet of paper on which they are superimposed plays the role of the period. So if
a) the sentences are the same, then the figures are taken in the same shape and the same color
b) one of the sentences in the period is given with slight changes (variation, change in rhythm, with a slight addition), then the same figures are taken, but one of them with dots
c) in one of the sentences, the register or key changes, and the musical material is the same, then the same figures of different colors are taken
d) proposals are built on different material, but do not contrast with each other and are written in the same key, then different figures of the same color are taken
e) the sentences in the period are built on different material and contrast with each other, then different figures of different colors are taken
There may be many options. Children choose colors, geometric shapes and their correlations themselves, explaining why they chose this or that combination. (See Attachment). It awakens their imagination, increases interest in work and makes them think.
Below are a few diagrams of school repertoire pieces that are depicted by children in the diagram.
S. Maykapar "In the garden"
D. Steibelt "Adagio"
R. Schumann "The Bold Rider"
D. Shostakovich "March"
With further complication of the form, multi-colored figures play the role of sentences, and then larger sections of the work. This is how, for example, “Rondo” by R. Gliere looks like
And this is how the children present the form of “Sonatina C-dur” by M. Clementi
The color of the tonality in the exposition and reprise is very important here: in the exposition, the themes are held in different keys, and in the reprise - in one. To depict instability and tension in development, we use bright color combinations.
Primary school students, in addition to dividing their plays into sentences and periods, also draw phrasing, where they designate key points with more saturated colors, and most bright color(usually red) - the climax of the whole work.
Such visibility allows students to perform their works more meaningfully and expressively, as well as correctly calculate the sound pattern.
In order to study a certain type of musical form in more depth, I conduct group classes with students in my class, uniting them by class. They go as follows. Having previously drawn a diagram of the form of the work, each student in the class tells in detail its structure, while explaining why he chose this particular combination of shapes and colors, and then performs this work on the instrument. The rest listen attentively and after the performance discuss his performance. Thus, children get acquainted with the varieties of the studied form, and not only with the form of the work they have learned.
Sometimes I combine age groups so that the younger students hear in the performance of the older ones how, with the same scheme, the sections of the form are expanded and enlarged. As a result, students with early age the skill of analyzing the form of a musical work is acquired.
List of literature used in the preparation
1. Alekseev N. Methods of teaching to play the piano, M., 1982
2. Artobolevskaya A. The first meeting with music, M., Russian Musical Publishing House, 1996
3. Kalinina N. clavier music Bach in the piano class, L., Muzyka, 1988
4. Kogan G. The work of a pianist, M., Music 1979
5. Neuhaus G. On the art of piano playing, M., 1982
6. Sposobin I. Musical form, M. Music 1984
7. Timakin E. Education of a pianist, M., 1989
8. Filatova L. A guide to music theory, Presto, M., 1999
9. Shatkovsky G. Development musical ear, M., Music, 1996
10. Yudovina-Galperina T. At the piano without tears, or I am a children's teacher, St. Petersburg.
Enterprise St. Petersburg. Union of Artists 1996
11. Masaru Ibuka It's too late after three (On the upbringing of children: Translated from English) M. Knowledge 1992
ANNEX 1
Schemes for the analysis of some musical forms,
performed by students of the Egorievsk Children's Art School
PIANO CLASS, TEACHER ENGALYCHEVA I.A.
"Musical Forms and Genres"
This manual is used by me as additional material while studying the subject musical literature» in a children's art school. It is difficult for children to memorize musical forms, understand genres, so it became necessary to collect the most common forms and genres of works in a separate textbook. Students use this manual throughout the entire period of study of the subject "musical literature".
musical form
musical form is the arrangement of parts and sections in a piece of music.
Musical constructions - fragments of various sizes, which have a different degree of completeness.
Caesura - this is the boundary between musical constructions. It can be expressedpause, long note, accent, repetition of a melody or rhythm . In musical notation, the caesura is indicated by a “tick” Y
motive - the union of several unstressed sounds around one percussive - accent, this is the smallest musical construction.
Phrase - this is an unfinished construction, consisting of 2 or more motifs
Offer - a relatively complete musical construction, consisting of 2 or more phrases. Offer endscadence.
cadence - This is the final musical turn.
One-part musical form .
Period - Combining several sentences into one complete construction.
It is the smallest one-part musical form.
The structure of the period: (scheme No. 1)
Period
1st offer
2nd offer
phrase
phrase
phrase
phrase
motive
motive
motive
motive
motive
motive
motive
motive
A period that begins and ends in the same key is calledmonophonic.
A period that begins in one key and ends in another is calledmodulating .
There are 3 types of periods :
rebuilding period - consists of 2 sentences that begin the same way and end differently. (a+a1)
rebuilding period - consists of 2 different offers. (a+b)
period of unified development - it cannot be divided into sentences, it is a continuously flowing thought. (A)
The cadence of the 1st sentence sounds unstable, incomplete, interrogative. The cadence of the 2nd sentence sounds stable, complete, affirmative.
Due to different cadences, the 1st and 2nd sentences in the period are perceived as a question and an answer.
Sometimes there is an additional section in the period - addition.
Other, larger forms are built from periods.
Double form.
A form that consists of 2 periods is calledsimple two-part .
It comes in 2 types:with and without reprise.
reprise - this is the repetition of the initial theme or part of it at the end of the work.
Two-part reprise form - when one sentence from the first period is repeated in the second period (this is a reprise)
Scheme No. 2:
(4 t) 1 (4 t) (4 t) 2 (4 t)
a1 to a1
(reprise)
Two-part non-reprise form - consists of 2 different periods.
Scheme No. 3:
(4 t) 1 (4 t) (4 t) 2 (4 t)
and in
Tripartite form.
A form that consists of 3 periods is calledsimple tripartite .
She comes withreprise and without reprise .
Three-part form without reprise consists of 3 different periods.
Scheme No. 4
1 2 3
a c
Three-part form with reprise - this is the form in which the 3rd section repeats the 1st. The second section is calledmiddle.
reprise may be exact, modified or abbreviated.
Scheme No. 5
1 2 3
a to a
(middle) (reprise)
By nature, the middle happenssimilar with extreme sectionsor contrast.
The tripartite form issimple and complex . In a complex tripartite formthe marginal sections are larger than the period.
Scheme No. 6
1 2 3
___________________________ ___________ ___________________________
A B A
(middle) (reprise)
Variations.
Variations ("change") is a musical form that consists of a theme and its altered repetitions.
Scheme No. 7
a1 a2 a3 a4.......
(theme) (variations)
Variety of variations:
vintage or basso ostinato - are based on the constant repetition of the theme in the bass.
"Glinka" or soprano ostinato - the melody is repeated the same, and the accompaniment changes.
strict or classic - they are stored general contours themes, its form and harmony. The melody, mode, tonality, texture are changing.
free or romantic - where the theme changes beyond recognition.
In music, there are also variations on 2 and even 3 themes.
Variations on 2 themes are called -double .
Scheme No. 8 double variations :
a1 a2 a3 a4....... in b1 b2 b3 b4.....
(1 theme) (variations) (2 theme) (variations) Variations on 3 themes are calledtriple.
Rondo ( from French "circle").
The form of "rondo" originated from ancient folk songs-round dances, the music of which was built on the alternation of a constant unchanging refrain and a changing refrain.
There is a theme in the rondo that repeats itself from time to time: it is calledrefrain.
The refrain must sound at least 3 times and can be built in any simple form - period, 2-part, 3-part. Between repetitions of the refrain, various musical constructions, which are calledepisodes . Episodes can be contrasting or similar to a refrain. Thus:
rondo is a musical form based on the alternation of refrain with episodes.
Scheme No. 9
A B A S A R A
Refrain episode Refrain episode Refrain episode Refrain
The refrain is denoted by the letterR:
R + A + R + B + R + C + R
Cyclic forms.
Music cycle is a large multi-part work, consisting of several independent parts. The number of parts in the cycle is not limited - from 2 or more. Parts can be performed separately, but they are connected by a common idea and form a single whole.
Cycles are vocal and instrumental .
Vocal cycles consist of songs and romances. They are united by the plot, mood or poems of one author.
Tool cycles consist of various pieces arranged according to the principle of contrast.
Tool cycles are of 2 types:suite and sonata-symphony .
SUITE . (from French - “sequence, series”)
The suite cycle originated as a dance cycle. It is based on the contrasting alternation of different dances.
The classical dance suite consists of 4 compulsory dances:
allemande - a calm old German dance, the time signature is even (2/4 or ¾), a smooth melody in the upper voice.
chimes - a fast French or Italian dance, the size is 3 beats (3/4, 3/8, 6/4 or 3/2), the voices seem to answer each other.
sarabande - an old Spanish funeral procession dance, very slow, 3-length (3/2, 3/4) size.
jig - English or Irish dance, fast tempo, triplet movement, sharp rhythm, small size (3/8, 6/8, 9/8, 12/8).
SONATA-SYMPHONY CYCLE.
Sonata-symphony cycle is a very complex multi-part form. Each part is assigned a certain character, tempo and tonality.
SONATA. CONCERT.
Classical sonata is a piece for one or two instruments.
Concert is a piece written for a solo instrument with an orchestra.
Both the sonata and the concerto are written in the formsonata-symphonic cycle . The parts of the cycle are contrasting in character, pace, size, but are connected by a common idea and form a single whole. Most sonatas and concertos are in 3 parts.
symphony.
Symphony - this piece is for symphony orchestra written in the formsonata-symphonic cycle . A symphony usually consists of 4 parts.
Scheme No. 10
Symphony
1 hour 2h. 3h. 4h.
sonata form
Shape may vary
Usually 3-part form
Rondo or
rondo sonata
Character - active, energetic. Contains contrasting themes-images.
Slow, lyrical, contemplative
lively,
with dance features.
Fast, fast ending.
Summary of the entire symphony.
Can be slow or dance
1 hour 2h. 3h.
Sonata or Concerto
sonata form.
sonata form consists of 3 major sections:
exposition
development
reprise
Sometimes there is an introduction and a coda.
Scheme No. 11
introduction
Exposure -
development
reprise
coda
It doesn't always happen. Images and character - different
2 themes are opposed:
main party - in the main key, active, energetic, resolute.
side party - in the key of the dominant or in parallel. It is softer, more melodious, more graceful.
The themes of the exposition are developing. Keys, mode, registers, texture change. It may not develop the whole theme, but its most expressive motive. This is the most intense section of sonata form. Usually located hereclimax.
The themes of the exposition are repeated in the same order, but in the same main key.
It doesn't always happen.
This additional opinion, which usually fixes the main key.
As a rule, the 1st and last parts of a sonata-symphony cycle are written in the same key.
The diagrams shown represent the most general structure sonata-symphony cycle. There are many deviations from generally accepted patterns, especially in the work of modern composers.
musical genres.
A musical genre is a kind musical works that have common features .
Genres are:
vocal
instrumental
vocal-instrumental
musical and theatrical
Musical and theatrical genres.
Opera - This is a musical performance, where the main means of expression is singing.
Ballet - This is a musical performance, where the main means of expression is choreography.
Varieties musical performances: operetta, vaudeville, musical.
vocal genres.
They combine music and words.
Song - oldest and simplest vocal genre. Melody and lyrics are usually easy to remember. The repetitive part of a song is called the chorus.
Romance - a lyrical song that reveals images of nature and love. The accompaniment "proves" what the text did not have time to reveal.
Aria, arietta, arioso, cantilena - varieties of vocal numbers in the opera. They may sound separate.
instrumental genres.
We are already familiar with the most difficult ones. This:symphony, concerto and sonata .
March - accompanies and organizes mass processions. Characteristic: a clear, often dotted rhythm; even size; moderate pace; in the melody intonation signals; the form is usually 3-part reprise.
Dance - this is the art of expressive movements at a certain pace to the music.
Dances are different. The most common are waltz, mazurka, krakowiak, etc.
Other instrumental genres are varieties of musical pieces.these are preludes, transiences, fantasies, suites, rhapsodies, miniatures and etc.
Vocal-instrumental genres
Music and singing play equal roles in them. These include -cantata, oratorio, mass, requiem. Performed by: choir. soloists, orchestra. They have many parts.
, 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 the "Children's Album" by 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 the MES), the musical form cannot be distinguished from the specifically musical content. 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 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 the musical composition itself. 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. A more complex situation is with the 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.).
The musical form is also considered in connection with the concept of musical style, in the range of 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 by Latin letters: A, B, C, etc. Different combinations of fragments form different musical forms. So, a common form in classical music - ABA (song form), means that the original part A disappears when it is replaced by part B, and is repeated at the end of the piece.
There is also more complex structuring: motive(the smallest element of musical form; one accent 1-2 measures), 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 [ ] . The 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 (1st part) contains two contrasting themes in different keys (the main part and a side part), which are repeated in the reprise (3rd part) in a different tonal ratio - tonally approaching (most often, both in the key main topic). 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
| Fugue pattern. | |
| Johann Sebastian Bach - The Well-Tempered Clavier - Book 1 - Fugue No. 2 in C minor (BWV 847). | |
| Help for playback | |
Notes
- Kholopov Yu.N. Musical Form // Musical encyclopedic Dictionary. M., 1990, p.581.
- 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.
- See, for example, his articles “Theoretical Musicology as a Humanitarian Science. Problem analysis music” and “What to do with musical forms Tchaikovsky?” .
- Kuhn C. Formenlehre der Musik. Kassel, 1987; 10th edition ibid. in 2015.
- 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 even in it you can recognize the intonations of the theme. You just got acquainted with the gentle, melodious and very light theme of Tchaikovsky. And then, in the middle of this part of the Sixth Symphony, a tragedy unfolds, and here is one of the climaxes of this tragedy. Trumpets play the main melody at the limit of their volume:
Allegro vivo = 144
But listen to the melody: this is a development of the sequence from the second half of the theme.
As you probably already understood, 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 homework assignments. Copy them into your music books, and fill in the empty bars with sequences of your own composition. The direction is indicated. In the first example, rhythm is suggested (empty stems without heads). Invent accuracy-inaccuracy and step as you like, but then determine what you got.
Examples 9a, b
Rising sequence (D major)
Descending sequence (D minor)
The changes in the second phrase of the theme of Tchaikovsky's Sixth Symphony can be called variational. But, I repeat, development within the theme itself is still “fake” development. And what appeared in the middle of the part is already a real variational development. Form variations is entirely based on variational development. But not every variational development variations. We'll talk about this in more detail a little later.
There are other ways to develop. In the third grade, we talked about the polyphonic warehouse and tried to sing with the canon "There was a birch in the field." The canon uses a technique called imitation.
IN polyphonic music imitation is one of the main methods of development.
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 musical material . What is development and how it happens, you have learned. Now it remains to find out how musical forms are arranged, and try to compose small musical examples of these forms ourselves.
The smallest musical form already familiar to you period. You can find many miniatures that are written in the form of a period. But more often the form of a musical work consists of several periods. Simple two-part of two, and simple three-part out of three. There are also complex shapes, each section of which consists of several periods.
All these forms both simple and complex are used in miniatures. And in large works, completely different forms are used: variations, rondo, sonata And rondo-sonata forms. You will also get to know the variations and rondo very soon. And with the sonata form and its variety rondo sonata you will meet in a year, getting acquainted with the sonatas and symphonies of J. Haydn.
In order not to get confused, study the following plate. It contains all the forms you need to know about.
In our traditional questionnaire, you will see a new icon. All creative writing assignments will now be marked with this icon.
You have probably ever come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of the most different phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works.
Before naming the common forms of musical works, let's define what is a form in music? Form is something that has to do with the construction of a work, the principles of its structure, the sequence of musical material in it.
Form is understood by musicians in two ways. On the one hand, the form is scheme arrangement of all parts of a musical composition in order. On the other hand, the form is not only a scheme, but also process formation and development in the work of those expressive means by which artistic image this work. What are these expressive means? Melody, harmony, rhythm, timbre, register and so on. The justification for such a dual understanding of the essence of the musical form is the merit of the Russian scientist, academician and composer Boris Asafiev.
Forms of musical works
The smallest structural units of almost any piece of music are motive, phrase and sentence. And now let's try to name the main forms of musical works and give them brief characteristics.
Period is one of simple forms, which is a presentation of a complete musical thought. Occurs often, both in instrumental and vocal music.
The norm of duration for a period is two musical sentences that take 8 or 16 measures (square periods), in practice there are periods, both longer and shorter. The period has several varieties, among which a special place is occupied by the so-called "deployment type period" and " difficult period» .
Simple two and three part forms - these are forms in which the first part, as a rule, is written in the form of a period, and the rest do not outgrow it (that is, for them the norm is either a period or a sentence).
middle ( middle part) of a three-part form can be contrasted with respect to the extreme parts (showing a contrasting image is already a very serious artistic technique), and maybe develop, develop what was said in the first part. In the third part of the three-part form, it is possible to repeat the musical material of the first part - this form is called a recapitulation (a reprise is a repetition).
Couplet and refrain-chorus forms - these are forms that are directly related to vocal music and their structure is often associated with the features of poetry.
couplet form is based on the repetition of the same music (for example, a period), but each time with a new text. There are two elements in the chorus-chorus form: the first is the chorus (both the melody and the text can change into it), the second is the chorus (as a rule, both the melody and the text are preserved in it).
Complex two-part and complex three-part forms - these are forms that are composed of two or three simple forms (for example - simple 3-part + period + simple 3-part). Complex two-part forms are more common in vocal music (for example, some opera arias), while complex three-part ones, on the contrary, are more characteristic of instrumental music (this is a favorite form for the minuet and other dances).
A complex three-part form, like a simple one, can contain a reprise, and in the middle part - new material(most often this is exactly what happens), and the middle part in this form is of two types: "kind of trio"(if it is some slender simple form) or "episode type"(if in the middle part there are free constructions that are not subject to either periodic or any of the simple forms).
Variation form - this is a form built on the repetition of the original theme with its transformation, and these repetitions must be at least two in order for the resulting form of a musical work to be attributed to variation. The variation form is found in many instrumental compositions, and no less often in compositions. contemporary authors.
Variations are different. For example, there is such a type of variation as variations on an ostinato (that is, unchanging, held) theme in a melody or bass (the so-called soprano-ostinato and basso-ostinato). There are variations figurative, in which the topic is colored with each new swipe various decorations and progressively fragments, showing its hidden sides.
There is another type of variation - characteristic variations in which each new theme takes place in a new genre. Sometimes these transitions to new genres greatly transform the theme - just imagine, the theme can sound in the same work as a funeral march, and as a lyrical nocturne, and as an enthusiastic anthem. By the way, you can read something about genres in the article.
As a musical example of variations, we invite you to get acquainted with a very famous work of the great Beethoven.
L. van Beethoven, 32 variations in C minor
Rondo- Another widespread form of musical compositions. You probably know that translated into Russian from French, the word "rondo" means "circle". This is no coincidence. Once given a rondo was a group round dance, in which the general fun alternated with the dances of individual soloists - at such moments they went out into the middle of the circle and showed their skills.
So, according to the musical part, the rondo is made up of parts that are constantly repeated (general - they are called refrains) and individualized episodes that sound between refrains. In order for the rondo form to take place, the refrain must hold at least three times.
sonata form Well, we got to you! The sonata form or, as it is sometimes called, the sonata allegro form is one of the most perfect and complex forms of musical compositions.
The sonata form is based on two main themes - one of them is called "main"(the one that sounds first), the second - "side". These names mean that one of the themes takes place in the main key, and the second - in a secondary one (dominant, for example, or parallel). Together, these themes go through various tests in development, and then in the reprise, usually both of them sound in the same key.
Sonata form has three main sections:
- exposition (presentation of the first, second and other topics to the public);
- development (the stage at which intensive development takes place);
- reprise (here the themes carried out in the exposition are repeated, and at the same time their convergence occurs).
The composers liked the sonata form so much that on its basis they created a number of other forms that differ from the main model in various parameters. For example, one can name such varieties of sonata form as rondo sonata(mixing sonata form with rondo), sonata without development, sonata with episode instead of development(remember what they said about an episode in a three-part complex form? Here, any form can become an episode - often these are variations), concert form(with double exposure - for the soloist and for the orchestra, with the soloist's virtuoso cadenza at the end of the development before the start of the reprise), sonatina(little sonata) symphonic poem (huge canvas).
Fugue is a form, once the queen of all forms. At one time, the fugue was considered the most perfect musical form, and until now, musicians have a special attitude towards fugues.
The fugue is built on one theme, which is then repeated many times in turn in an unchanged form in different voices (in different instruments). The fugue begins, as a rule, in one voice and immediately with the introduction of the theme. Immediately this topic is answered by another voice, and what sounds during this answer at the first instrument is called the counterposition.
While the topic is walking around different voices, the expositional section of the fugue continues, but as soon as the theme has passed in each voice, development begins, in which the theme may not be carried out completely, compressed and, conversely, expanded. Yes, what only happens in the development ... At the end of the fugue, the main key is restored - this section is called the fugue reprise.
You can already stop at this. Almost all the main forms of musical works have been named by us. It should be borne in mind that more complex forms may contain several simple ones - learn to detect them. And also often both simple and complex forms are combined into various cycles- for example, they form together suite or sonata-symphonic cycle.
