Scheme of the variation form. Lesson "musical form of variation"

You have probably ever come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of a variety of phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works.

Before naming the common forms of musical works, let's define what is a form in music? Form is something that has to do with the construction of a work, the principles of its structure, the sequence of musical material in it.

Form is understood by musicians in two ways. On the one hand, the form is scheme arrangement of all parts of a musical composition in order. On the other hand, the form is not only a scheme, but also process formation and development in the work of those expressive means by which the artistic image of this work is created. What are these expressive means? Melody, harmony, rhythm, timbre, register and so on. The justification for such a dual understanding of the essence of the musical form is the merit of the Russian scientist, academician and composer Boris Asafiev.

Forms of musical works

The smallest structural units of almost any piece of music are motive, phrase and sentence. And now let's try to name the main forms of musical works and give them brief characteristics.

Period- this is one of the simplest forms, which is a presentation of a complete musical thought. It is common in both instrumental and vocal music.

The norm of duration for a period is two musical sentences that take 8 or 16 measures (square periods), in practice there are periods, both longer and shorter. The period has several varieties, among which a special place is occupied by the so-called "deployment type period" and "difficult period".

Simple two and three part forms - these are forms in which the first part, as a rule, is written in the form of a period, and the rest do not outgrow it (that is, for them the norm is either a period or a sentence).

The middle (middle part) of a three-part form can be contrasting with the extreme parts (showing a contrasting image is already a very serious artistic technique), or it can develop, develop what was said in the first part. In the third part of the three-part form, it is possible to repeat the musical material of the first part - this form is called a recapitulation (a reprise is a repetition).

Couplet and refrain-chorus forms - these are forms that are directly related to vocal music and their structure is often associated with the features of poetry.

The couplet form is based on the repetition of the same music (for example, a period), but each time with a new text. There are two elements in the chorus-chorus form: the first is the chorus (both the melody and the text can change into it), the second is the chorus (as a rule, both the melody and the text are preserved in it).

Complex two-part and complex three-part forms - these are forms that are composed of two or three simple forms (for example - simple 3-part + period + simple 3-part). Complex two-part forms are more common in vocal music (for example, some opera arias are written in such forms), while complex three-part forms, on the contrary, are more characteristic of instrumental music (this is a favorite form for the minuet and other dances).

A complex three-part form, like a simple one, can contain a reprise, and in the middle part - new material (most often this happens), and the middle part in this form is of two types: "kind of trio"(if it is some slender simple form) or "episode type"(if in the middle part there are free constructions that are not subject to either periodic or any of the simple forms).

Variation form - this is a form built on the repetition of the original theme with its transformation, and these repetitions must be at least two in order for the resulting form of a musical work to be attributed to variation. The variational form is found in many instrumental compositions, and no less often in the compositions of modern authors.

Variations are different. For example, there is such a type of variation as variations on an ostinato (that is, unchanging, held) theme in a melody or bass (the so-called soprano-ostinato and basso-ostinato). There are variations figurative, in which, with each new performance, the theme is colored with various decorations and progressively fragmented, showing its hidden sides.

There is another type of variation - characteristic variations in which each new theme takes place in a new genre. Sometimes these transitions to new genres greatly transform the theme - just imagine, the theme can sound in the same work as a funeral march, and as a lyrical nocturne, and as an enthusiastic anthem. By the way, you can read something about genres in the article.

As a musical example of variations, we invite you to get acquainted with a very famous work of the great Beethoven.

L. van Beethoven, 32 variations in C minor

Rondo- Another widespread form of musical compositions. You probably know that translated into Russian from French, the word "rondo" means "circle". This is no coincidence. Once given a rondo was a group round dance, in which the general fun alternated with the dances of individual soloists - at such moments they went out into the middle of the circle and showed their skills.

So, according to the musical part, the rondo is made up of parts that are constantly repeated (general - they are called refrains) and individualized episodes that sound between refrains. In order for the rondo form to take place, the refrain must be held at least three times.

sonata form Well, we got to you! The sonata form or, as it is sometimes called, the sonata allegro form is one of the most perfect and complex forms of musical compositions.

The sonata form is based on two main themes - one of them is called "main"(the one that sounds first), the second - "side". These names mean that one of the themes takes place in the main key, and the second - in a secondary one (dominant, for example, or parallel). Together, these themes go through various tests in development, and then in the reprise, usually both of them sound in the same key.

Sonata form has three main sections:

• exposition (presentation of the first, second and other topics to the public);
• development (the stage at which intensive development takes place);
• reprise (here the themes carried out in the exposition are repeated, and at the same time their convergence occurs).

The composers liked the sonata form so much that on its basis they created a number of other forms that differ from the main model in various parameters. For example, one can name such varieties of sonata form as rondo sonata(mixing sonata form with rondo), sonata without development, sonata with episode instead of development(remember what they said about an episode in a three-part complex form? Here, any form can become an episode - often these are variations), concert form(with double exposure - for the soloist and for the orchestra, with the soloist's virtuoso cadenza at the end of the development before the start of the reprise), sonatina(little sonata) symphonic poem(huge canvas).

Fugue is a form, once the queen of all forms. At one time, the fugue was considered the most perfect musical form, and until now, musicians have a special attitude towards fugues.

The fugue is built on one theme, which is then repeated many times in turn in an unchanged form in different voices (for different instruments). The fugue begins, as a rule, in one voice and immediately with the introduction of the theme. Immediately this topic is answered by another voice, and what sounds during this answer at the first instrument is called the counterposition.

While the theme is walking through different voices, the expositional section of the fugue continues, but as soon as the theme has passed in each voice, development begins, in which the theme may not be fully carried out, compressed and, conversely, expanded. Yes, what only happens in the development ... At the end of the fugue, the main key is restored - this section is called the fugue reprise.

You can already stop at this. Almost all the main forms of musical works have been named by us. It should be borne in mind that more complex forms may contain several simple ones - learn to detect them. And also often both simple and complex forms are combined into various cycles- for example, they form together suite or sonata-symphonic cycle.

VARIATIONS(lat. variatio, “change”) , one of the methods of composing technique, as well as a genre of instrumental music.

Variation is one of the fundamental principles of musical composition. In variations, the main musical idea undergoes development and changes: it is re-stated with changes in texture, mode, tonality, harmony, the ratio of contrapuntal voices, timbre (instrumentation), etc.

In each variation, not only one component can change (for example, texture, harmony, etc.), but also a number of components in the aggregate. Following one after another, the variations form a variational cycle, but in a broader form they can be interspersed with some other thematic material, then the so-called. dispersed variational cycle. Variations can also be an independent instrumental form, which can be easily represented in the form of the following scheme: A (theme) - A1 - A2 - A3 - A4 - A5, etc. For example, independent piano variations on Diabelli's waltz, op. 120 by Beethoven, and as part of a larger form or cycle - for example, the slow movement from the quartet, op. 76, No. 3 by J. Haydn.

Works of this genre are often called "theme with variations" or "variations on a theme". The theme can be original, author's (for example, symphonic variations Enigma Elgar) or borrowed (for example, I. Brahms' piano variations on a theme by Haydn).

The means of varying the theme are diverse, among them are melodic variation, harmonic variation, rhythmic variation, tempo changes, changes in tonality or modal mood, texture variation (polyphony, homophony).

The variation form is of folk origin. Its origins go back to those samples of folk song and instrumental music, where the main melody was modified during couplet repetitions. Especially favorable for the formation of variations is the choral song, in which, despite the similarity of the main tune, there are constant changes in other voices of the choral texture. Such forms of variation are characteristic of polyphonic cultures.

In Western European music, the variation technique began to take shape among composers who wrote in a strict contrapuntal style (cantus firmus). The theme with variations in the modern sense of this form arose around the 16th century, when passacaglia and chaconnes appeared. J. Frescobaldi, G. Purcell, A. Vivaldi, J. S. Bach, G. F. Handel, F. Couperin widely used this form.

The main milestones in the history of variations are variations on a given melodic line, the so-called. cantus firmus in the vocal sacred music of the Middle Ages and the Renaissance; variations for lute and keyboard instruments in Spanish and English music of the late Renaissance; clavier works by the Italian composer J. Frescobaldi and the Dutchman J. Sweelinck in the late 16th and early 17th centuries; the suite of variations is one of the early forms of the dance suite; English ground form - variations on a short melody repeated in the bass voice; the chaconne and passacaglia are forms similar to the ground, with the difference that the repetitive voice in them is not necessarily bass (the chaconne and passacaglia are widely represented in the works of Bach and Handel). Among the most famous variation cycles of the early 18th century. – Variations by A. Corelli on the theme of La Folia and Goldberg variations J.S. Bach. Probably the most brilliant period in the history of variations is the era of mature classics, i.e. late 18th century (works by Haydn, Mozart and Beethoven); as a method of variation today remains an important component of instrumental music.

Rondo

Rondo -(from fr.
Hosted on ref.rf
ʼʼcircleʼʼ) a form based on at least three times the main theme-refrain, alternating with new constructions, or episodes. The origin of the rondo is from songs-dances performed in a circle.

Varieties of rondo - classical, ancient and rondo of romantics.

ancient the rondo was common in the music of 18th-century harpsichord composers. The refrain here is always in the form of a period. It does not change when repeated. Episodes - developing, on the material of the refrain. For example: A - A1 - A - A2 - A - etc., where A is a refrain (chorus, repeating part). The tonality of the episodes is not further than the 1st degree of kinship (they differ by 1 sign).

classic rondo finally took shape at the end of the 18th century among the Viennese classics.

Traditional scheme: ABASA. Refrain - not only m. b. period, but also a 2-3-part form, may vary when repeated. The last hold may have a code function. Episodes are always contrasting, based on new thematic material. Their form should also be more complicated than the period, and the tonality should be up to the 3rd degree of kinship:

A-B-A1-C-A2 (with a modified refrain).

Rondo of Romantics -

the semantic center moves from the refrain to the episodes. Οʜᴎ surpass the refrain in significance, scale, independence, they can be presented in any key, the contrast can reach the genre. The refrain plays a background-connecting role here.

Rondo can be combined with other forms - with a three-part (simple or complex):

A-B-C-B-A-B;

with variations:

A- A1-A- A2-A- A3 etc.

with sonata form

Rondo:

• Beethoven L. ʼʼ To Eliseʼʼ notes
• Bach I.S. Gavotte from Partita No. 3 for violin solo
• Prokofiev S. ʼʼRomeo and Julietʼʼ, Juliet-Girl, Montagues and Capulets

• Tchaikovsky P. ʼʼSwan Lakeʼʼ Brides Waltz, act 3
• Matos Rodriguez Tango ʼʼKumparsitaʼʼ
• Chopin Waltz №7 cis-moll

Glinka M. Waltz fantasy

Saint-Saens C. ʼʼRondo-capricciosoʼʼ for violin and orchestra

Schumann R. Vienna Carnival, Op. 26, 1 hour

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Variations(from lat. – change) – a musical form based on exposition of a theme and repeating it many times with new changes each time. Variations are strict and free, ornamental, basso ostinato, double.

The variation form appeared in the 16th century. There are two types of variational forms:

1. strict type variations in which the form, scale, the basis of the harmonic plan of the theme remain unchanged, but the texture, rhythm, registers can change.

There are variations on an unchanging melody (ornamental, ʼʼGlinkaʼʼ') and on an unchanging bass, on basso ostinato (there are melodic or harmonic types, they were used in the old dances of the passacaglia and chaconne). Variations are built on the principle of ʼʼfrom simple to complexʼʼ (with a small amount). A large number of variations are divided into groups, the ratio of which gives the form of the second plan (rondo, sonata, cyclic, etc.)

1. free type variations, most often - instrumental, in which the scale, structure, harmony, often tonality and genre (genre variations) can change. The commonality of the intonational structure is preserved, the variations are increased in scale, the contrast between them is enhanced, and they resemble a suite.

In free variations, it is possible to use polyphonic, developmental development.

Free variations are found in vocal music. Usually there are several verses that differ in scale, internal structure, harmonic plan. A feature is the actual similarity of couplets, so that the image does not change, and each couplet is a variant.

Double variations variations on two different themes. In the process of development, they influence each other, enrich, usually converge (acquiring the features of symphony and sonata). There are three types:

1. with alternate variation:

A B A1 B1 A2 B2 A3 B3 etc.

2. with group variation:

A A1 A2 A3 A4 A5 B B1 B2 B3 B4 B5 B6 A6 A7 A8 A9 A10 B7 B8 B9 B10

3. with a mixed structure (alternate and group);

Variations:

Handel G. Passacaglia from Suite in G minor for clavier

Glinka M. ʼʼKamarinskayaʼʼ

Glière R. ʼʼRed Poppyʼʼ, Dance of Russian Sailors ʼʼYablochkoʼʼ, 1 act

Mendelssohn F. Marsh from the Overture ʼʼA Midsummer Night's Dreamʼʼ

Ravel M. Bolero

Stefaniv R. Moldavian choir

Barabushki

Kryzhachok

Variations - concept and types. Classification and features of the category "Variations" 2017, 2018.

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The term basso ostinato means the continuous repetition of the same melodic turn, which is the theme of the variations, in the lower voice. These variations grew out of variations of the 16th century, reached their peak in the Baroque era (XVII - the first half of the 18th century) and were revived in the 20th century. In the Baroque era, their existence was associated with the cultivation of the bass, the doctrine of the general bass, as well as polyphonic thinking.

Variations on basso ostinato were associated with the genres of passacaglia and chaconne - slow pieces with a four-eight bar theme. The theme of ostinato variations is most often short, simple, and is first presented in one voice (in the passacaglia) or in many voices (in the chaconne). In the 17th-18th centuries, it has a measured movement, mostly in a minor mode, in size ¾ (in the chaconne there is an accent-syncope on the second beat), and a psychologically deep character.

Two types of themes can be distinguished: closed, which were predominantly more developed, and open, which were often built as a descending chromatic movement from the tonic to the dominant - descending, ascending, diatonic or chromatic. This intonation structure opened wide opportunities for the composer regarding harmonic and polyphonic development. Actually, the main attention is gradually shifting to this additionally composed and more expressive material in the upper voices. The ostinato theme, being repeated many times, fades into the background in perception, leaving behind a purely constructive role. One implementation of the theme in the bass is not separated from the next, and the variations go one after another without a definite end to the previous one and the beginning of the next one. In some places the limit of the new variation does not coincide with the beginning of the theme in the bass. Sometimes, in the middle of the variations, the theme can be transferred to the soprano (Passacaglia in c-moll by J.S. Bach). Along with the main theme, other themes may appear during variation (in Bach's Chaconne in d-moll, the number of themes is at least 4). The texture of the variations is adorned with expressive musical and rhetorical figures.

The tonality and structure of the theme in the chaconne and passacaglia remain unchanged; it is only allowed to change the mode to the one of the same name.

With a larger number of variations, it is characteristic to combine several of them into separate groups on the basis of the same type of variation - an approximately similar melodic and rhythmic pattern of polyphonic voices, registers, and the like. Variations are located according to the principle of complication of texture or contrasting comparison of groups.

Of great formative importance is the distribution of "local" and general culminations, which unite the form.

Since the basso ostinato variations are based on a constant, as if importunate theme, they are well suited for expressing in music moods of deep reflection, focus on one thing, lack of freedom and inactivity, which are opposed by free development in the upper voices (contrast in simultaneity).

The form of variations on the ostinato bass was based on both harmonic and polyphonic principles of development. In the 20th century, many composers turned to variations on the ostinato bass: Reger, Taneyev, Hindemith, Shostakovich, Schnittke, while in the 19th century this rarely happened (the finale of the 4th symphony of Brahms).

Strict figurative (ornamental) variations

« Pieces with variations should always be based on ariettas known to the listeners. When performing such pieces, one should not deprive the audience of the pleasure of delicately singing along with the performer ”(I.P. Milkhmayer, 1797).

The main difference from variations on the ostinato bass is the homophonic basis of thinking.

Features:

1. The theme is written in a simple two-part, less often in a simple three-part form.

2. The main method of development is textured, consisting in ornamenting the theme, splitting durations (diminution), and using figurations.

3. The form of the theme is maintained in all variations with the assumption of a slight expansion and codes.

4. The tonality is the same, but with a typical replacement for the one of the same name in the middle of the cycle or towards the end.

5. One change of tempo is allowed, closer to the final variation.

Variation of the theme is not limited to its complication. Along with this, for contrast, the simplification of the theme is also used - harmonic or textural, including through the reduction of voices (for example, instead of homophonic four-parts, polyphonic two-parts are introduced). In some cases, there is a change in time signature, although in general, variations of the classical era, while retaining the main features of the theme, also retain its meter and tempo.

The structure of the cycle of variations

There is a certain trend in the arrangement of variations:

1. Classical variations, to a greater extent than old ones, contrast in character with each other and are arranged in such a way that each subsequent one is more complex than the previous one.

2. In large variational cycles with a significant number of variations, the arrangement of the latter in groups is characteristic, on the basis of the same type of variation in the theme. The group of variations placed side by side is presented in approximately the same texture, due to which the composition as a whole is perceived by larger sections.

3. The placement of punchlines is of great importance for combining variations.

4. In this sense, the principle of contrast also plays a significant role. This is facilitated by the use of the tonality of the same name for some variations (comparison of major and minor). In addition, the contrast of tempos is gradually becoming normal.

5. For the overall composition of the variational cycle, the structure and features of the last two variations are of great importance. The penultimate variation often returns to the initial or close to it presentation of the topic, sometimes written in a slower movement or tempo. The last variation completes the cycle, and therefore it can use a more complex texture, change the tempo or meter, expand the structure. After it, a code can be entered.

The form of classical figurative variations has stabilized in the works of Mozart: the number of variations is more often 6, maximum 12; pre-final variation in adagio tempo, the last one - in the nature of the finale of the instrumental cycle, with a change in tempo, meter, genre. Beethoven's number of variations changed from 4 to 32.

The term "variations" in music denotes such changes in the melody in the process of unfolding the composition, in which its recognizability is preserved. The one-root word is "option". That is something similar, but still a little different. So it is in music.

Constant update

A variation of the melody can be compared to We easily recognize our friends and relatives, no matter what emotional experiences they may experience. Their faces change, expressing anger, joy or resentment. But individual traits are preserved.

What are variations? In music, this term is understood as a specific form of a work. The play begins with the sound of a melody. As a rule, it is simple and easy to remember. Such a melody is called a variation theme. She is very bright, beautiful and expressive. Often the theme is a popular folk song.

Variations in music reveal the skill of the composer. A simple and popular theme is followed by a chain of changes to it. They usually retain the tonality and harmony of the main melody. They are called variations. The task of the composer is to decorate and diversify the theme with the help of a number of special methods, sometimes quite sophisticated. A piece consisting of a simple melody and its changes following one after another is called variations. How did this structure come about?

A bit of history: the origins of the form

Often musicians and art lovers wonder what variations are. The origins of this form lie in ancient dances. Citizens and peasants, nobles and kings - everyone loved to move in sync with the sound of musical instruments. Dancing, they performed the same actions to a constantly repeating chant. However, a simple and unpretentious song, sounding without the slightest change, quickly got bored. Therefore, the musicians began to introduce various colors and shades into the melody.

Let's find out what variations are. To do this, turn to the history of art. Variations first made their way into professional music in the 18th century. Composers began to write plays in this form, not to accompany dances, but to listen. Variations were part of sonatas or symphonies. In the 18th century, this structure of a piece of music was very popular. Variations of this period are quite simple. The rhythm of the theme and its texture changed (for example, new echoes were added). Most often, variations sounded in major. But there was definitely one minor. The gentle and sad character made it the most striking fragment of the cycle.

New Variation Options

People, worldviews, eras have changed. The turbulent 19th century came - the time of revolutions and romantic heroes. The variations in music also turned out to be different. The theme and its changes became strikingly different. Composers achieved this through so-called genre modifications. For example, in the first variation, the theme sounded like a cheerful polka, and in the second it sounded like a solemn march. The composer could give the melody the features of a bravura waltz or a swift tarantella. In the 19th century, variations on two themes appear. First, one melody sounds with a chain of changes. Then it is replaced by a new theme and variants. So composers brought original features to this ancient structure.

Musicians of the 20th century offered their answer to the question of what variations are. They used this form to show complex tragic situations. For example, in Dmitri Shostakovich's Eighth Symphony, variations serve to reveal the image of universal evil. The composer changes the initial theme in such a way that it turns into a seething, unbridled element. This process is connected with filigree work on modification of all musical parameters.

Types and varieties

Composers often write variations on a theme that belongs to another author. This happens quite often. An example is Sergei Rachmaninov's Rhapsody on a Theme of Paganini. This piece is written in variational form. The theme here is the melody of Paganini's famous violin caprice.

A special variation of this popular musical form is the so-called basso ostinato variations. In this case, the theme sounds in a lower voice. A constantly repeated melody in the bass is hard to remember. Often the listener does not isolate it from the general flow at all. Therefore, such a theme at the beginning of a composition usually sounds monophonic or is duplicated in an octave.

Variations on sustained bass are often found in Johann Sebastian Bach's organ works. The monophonic theme is played on the foot keyboard. Over time, variations on the basso ostinato became a symbol of the sublime art of the Baroque. It is with this semantic context that the use of this form in the music of subsequent eras is associated. The finale of the fourth symphony by Johannes Brahms is solved in the form of variations on a sustained bass. This work is a masterpiece of world culture.

Figurative potential and nuances of meaning

Examples of variation can also be found in Russian music. One of the most famous examples of this form is the chorus of Persian girls from Mikhail Glinka's opera Ruslan and Lyudmila. These are variations on the same melody. The theme is an authentic oriental folk song. The composer personally recorded it with notes, listening to the singing of the bearer of the folklore tradition. In each new variation, Glinka uses an increasingly varied texture, which colors the unchanging melody with new colors. The nature of the music is gentle and languid.

Variations were created for each musical instrument. The piano is one of the composer's main assistants. The famous classic Beethoven especially loved this instrument. He often wrote variations on simple and even banal themes by unknown authors. This made it possible for the genius to show all his skills. Beethoven transformed primitive melodies into musical masterpieces. His first composition in this form was nine variations on Dressler's march. After that, the composer wrote a lot of piano works, including sonatas and concertos. One of the last works of the master is thirty-three variations on the theme of Diabelli's waltz.

Modern innovations

The music of the 20th century shows a new type of this popular form. The works created in accordance with it are called variations with a theme. In such pieces, the main melody sounds not at the beginning, but at the end. The theme seems to be assembled from distant echoes, fragments and fragments scattered throughout the musical fabric. The artistic meaning of such a structure can be the search for eternal values ​​among the surrounding bustle. Finding a lofty goal is symbolized by the theme that sounds at the end. An example is the third piano concerto. The 20th century knows many cult works written in variational form. One of them is "Bolero" by Maurice Ravel. These are variations on the same melody. With each repetition, it is performed by a new musical instrument.