An analysis of a classical piece of music is an example. Musical-theoretical analysis

As an example for harmonic analysis, we propose to consider a fragment of Waltz P.I. Tchaikovsky from Serenade for string orchestra:

Moderato. Tempo di Valse

Before performing a fragment on a musical instrument, you should pay attention to the tempo indications, and then play this fragment at a moderate waltz tempo.

It should be pointed out that the nature of the music is distinguished by danceability, light romantic coloring, which is due to the genre of the musical fragment, the roundness of four-bar phrases, the smoothness of the ascending with graceful jumps and the wave-like movement of the melody, which is carried out mainly by even quarter and half durations.

It should be noted that all this is quite consistent with the romantic style of music of the second half of the 19th century, when P.I. Tchaikovsky (1840 - 1893). It was this era that brought great popularity to the waltz genre, which at that time penetrates even into such large works as symphonies. In this case, this genre is presented in a concerto for string orchestra.

In general, the analyzed fragment is a period consisting of 20 measures and extended in the second sentence (8+8+4=20). The homophonic-harmonic texture was chosen by the composer in full accordance with the already designated genre, so the expressive meaning of the melody comes to the fore. However, harmony not only performs functional support, but is also a means of shaping and development. The general direction of development in this completed construction is largely determined by its tonal plan.

First offer tonally stable ( G-dur), consists of two square four-bar phrases and ends on the dominant of the main key:

T - - T DD 2 T - - T - - T D T 4 6 T 6 - -

D D 7 - D9

In harmony, only authentic tonic-dominant turns are used, affirming the main tonality. G-dur.

The second sentence (bars 8–20) is a single indivisible long phrase of 8 bars, to which a four-bar addition is added, which arises as a result of an internal saturated tonal movement. In the second half of the second sentence, there is a deviation into the key of the dominant (bars 12–15):

7 8 9 10 11 (D major) 12

D D 7 D 9 D T T 2 S 6 S 5 6 S 6 D 5 6 - - T=S - - #1 DD 5 6

13 14 15 16 17 18 19 20

K 4 6 - - D 2 T 6 ( D major) S - - K 4 6 - - D7 - - T - - T

Scheme of harmonic development the analyzed musical fragment will look like this:

1 2 3 V 4 5 6 7 V 8 910

3/4 T T - | DD 2 - - | T T - | T - - | T D T | T 6 - - | D D 7 - | D 9 D T 6 | S 6 VI S 6 | D 6 5 - -|

11 12 13 14 15 V 16 17 18 19 20

| T - - | #1 D 6 5 k A major| K 6 4 - - | D 2 to D major| T 6 ( D major) | S - - | K 4 6 - -| D 7 - - | T - - | T ||

Deviation (bars 12–15) is done by introducing a cadence preceded by a common chord (T=S) and a double dominant in the form #1 D 7 k A major, but it is not resolved, but goes into a cadence quarter-sext chord, D 2 with resolution in T 6 of the new key ( D major).

The modulation prepared by the digression repeats the cadence turnover that was already used in the digression, but the construction ends differently - with the final full authentic perfect cadence, in contrast to the authentic imperfect cadence in the digression and the half authentic imperfect cadence at the end of the first sentence.

Thus, it should be noted that the entire development of the harmonic vertical in this fragment plays a formative role and corresponds to the general direction of the development of the musical image. It is no coincidence that the culmination of the whole theme falls on the most tense moment (bar 19). In melody, it is emphasized by an upward jump to the seventh, in harmony - by the dominant seventh chord, followed by its resolution to the tonic as the completion of the musical thought.

Ermakova Vera Nikolaevna
teacher of musical and theoretical disciplines
highest qualification category
State budgetary professional educational
institutions of the Voronezh region "Voronezh Music and Pedagogical College"
Voronezh, Voronezh region

An example example of how to perform harmonic analysis
choral miniature by A. Grechaninov "In the fiery glow"

The choral miniature "In the Fiery Glow" by A. Grechaninov to the verses by I. Surikov can be attributed to the genre of landscape lyrics. The miniature is written in a simple three-part non-reprise form, consisting of three parts-stanzas. Harmony is an important shaping tool in the choir.

The first part is a non-square period of repeated structure and consists of two absolutely identical sentences (5 bars each). The harmonic plan of the period is extremely simple: it is dominated by half authentic revolutions, adorned with a melodically developed bass line and a tonic pedal in the upper voices. The means of complicating and at the same time “decorating” harmony and the musical fabric as a whole are non-chord sounds - auxiliary (as a rule, abandoned, not returning to their chord ones) and passing sounds, prepared delays (bars 4, 9).
Both sentences of the first period end with an unstable half-authentic cadence. Such an unstable end of a period is quite characteristic of vocal-choral music.

The second part (second stanza) of the choral miniature as a whole has the following tonal plan: Es-dur - c-moll - G-dur. D9 Es-dur, which begins the second part, sounds very colorful and unexpected. With the apparent absence of any functional connection between the parts, it can be detected on the basis of the coincidence of the sound composition of D7 G-dur and DVII7 with increased terts and fifths tones Es-dur.

The harmonic development in the first sentence of the second part is carried out against the background of the dominant organ point in the bass, on which authentic and interrupted turns are superimposed. The interrupted turnover (p. 13) anticipates the deviation into the key of c-moll (p. 15). With the closest relationship of parallel Es-dur and c-moll, the transition itself is carried out using the Uv35 anharmonicity (VI6 harmonic Es = III35 harmonic c).

In tt. 15-16 there is an intensive tonal-harmonic development associated with the approach and culmination. The c-moll tonality turns out to be intermediate between Es-dur and G-dur. The climax (p. 16) is marked by the use of the only altered chord in the entire choir - DDVII6 with a reduced third, passing into D7 of the original G-dur (p. 17), from which the dominant predicate is turned on. At the moment of culmination, harmony acts in parallel with other means of expressiveness - dynamics (amplification from mf to f), melody (jump to a high sound), rhythm (rhythmic stop on a high sound).

The predicate construction (bars 18-22), in addition to preparing the main key, also performs a figurative and expressive function, anticipating the image of the flute, which will be discussed in the third part (stanza) of the choir. The sound representation of this construction is rather associated with melody, rhythm and texture (imitations), which, as it were, convey the “trembling” of the sound of the flute; the frozen dominant harmony rather reproduces not the sound of the flute, but the “harmony” of this sound.
The clear dissection of the form of the choral miniature is achieved by textural and tonal-harmonic means. The third part of the choir begins with D7 C-dur, which corresponds to the last chord of the second part as DD7 with D7. As in the beginning of the two previous parts, the beginning of the third part is dominated by authentic phrases. Tonal plan of the third movement: C-dur - a-moll - G-dur. The deviation to the intermediate key a-moll occurs extremely simply - through D35, which is perceived in relation to the previous tonic C-dur as a major triad of the third degree. The transition from a-moll to the main key G-dur is carried out through D6. The imperfect cadence in bar 29 necessitated an addition (bars 30-32) represented by a full harmonic revolution (SII7 D6 D7 T35).

The harmonic language of the choir “In the fiery glow” by A. Grechaninov is distinguished at the same time by simplicity, economy of the means used (authentic revolutions) and at the same time by the colorfulness of the sound created by the use of modulation through Uv35 anharmonicity, elliptical revolutions on the edges of the form, pedal and organ point. The main triads (T, D) prevail in the chord, from the number of side triads VI, III, SII are represented. The main seventh chords are presented mainly by D7 and only once - in addition - SII7 is used. The dominant function is expressed by D35, D7, D6, D9.
The tonal plan of the choir as a whole can be depicted schematically:

In the tonal plan of the choral miniature, almost all the keys of the subdominant group are represented: the key of the VI low step is Es-dur (a manifestation of the major-minor of the same name at the level of the tonal plan), the fourth step is c-moll, C-dur and the second step is a-moll. The return to the main key allows us to talk about the rondo-likeness of the tonal plan, in which the main key G-dur functions as a refrain, and the steel keys play the role of episodes, where parallel keys of the subdominant direction are presented. The tertian correlation of keys in the second and third parts of the choir evoke associations with the characteristic features of the tonal plans of romantic composers.
New keys at the beginning of the second and third parts are introduced, at first glance, elliptical, but can always be explained in terms of functional connections. The deviation from Es-dur to c-moll (part II) was made through the Uv35 anharmonicity, from C-dur to a-moll - on the basis of the functional equality T35 C-dur III35 of natural a-moll, and the transition from a-moll to the original G -dur (bars 27-28) - as a gradual modulation. At the same time, a-moll acts as an intermediate key between G-dur and G-dur. Of the altered chords in the choir, only a three-sound l-double dominant (m. 16 - ДДVII65b3) is presented, sounding at the moment of culmination.

Holistic analysis of a musical work

on the example of Rondo from Sonata h – moll by F.E. Bach

Plan for analyzing the form of a musical work

A. General preview

1) Type of form (simple three-part, sonata, etc.)

2) Digital scheme of the form in large outline, with letter designations of topics (parts) and their names (I period, development, etc.)

B. Analysis of each of the main parts

1) The function of each part in the form (I period, middle, etc.)

2) Type of presentation (exposition, middle, etc.)

3) Thematic composition, its uniformity or contrast; its character and the means of achieving that character

4) What elements are being developed; ways of development (repetition, variation, comparison, etc.); thematic transformations

5) Place of culmination, if any; the ways in which it is attained and abandoned.

6) Tonal structure, cadences, their correlation, closedness or openness.

7) Detailed digital diagram; characteristics of the structure, the most important points of summation and crushing; "breath" short or wide; aspect ratio.

The structure of this rondo is as follows:

R EP1 EP2 R EP3 R R EP4 R EP5 R EP1

4t.+ 4t. 8t. 4t. 4t. 4t. 4t. 4t. 4t. 4t. 8t. 4t.+4t. 8t.

period period period period period period period period

With extension

Exposition Development Reprise

Where R is a refrain, EP is an episode, the numbers indicate the number of measures of each section. The composer is rather free with the form. The refrain is actively developing, transposing into various keys with multiple repetitions. There are variable changes in the refrain, a variety of its cadences.

The melody of the refrain and episodes is homogeneous, not contrasting. It is distinguished by flexibility, whimsical rhythm and intonation, which is achieved with the help of tied notes, syncopations, small durations, mordents and other melismas, the beginning of phrases from the beat, from a weak beat after the sixteenth pause. The melodic pattern combines progressive movement, jumps at various intervals, semitone gravitation.

The bass line does not carry a melodic and semantic load, but is mainly a downward progressive movement in quarter durations. His role (bass) is the harmonic support of the melody.

In general, the structure of the rondo in B minor can be compared with sections of the sonata form: exposition (bars 1 - 16), development (bars 17 - 52) and reprise (bars 53 - 67). Moreover, the musical material of the reprise completely and without changes repeats the material of the exposition.

"Exposition" is a kind of two-part form, where part 1 (refrain) is the period of a square structure. The first sentence ends with a half cadence on the dominant, the second with a full cadence. The second part of the two-part form (episode 1) is also a period of two sentences that end with half and full cadences, respectively.

In the second section of the rondo, the so-called "development", the refrain sounds in the following keys: D - dur (21 - 24 measures), h - moll (29 - 32 measures), G - dur (33 - 36 measures), e moll ( 41 - 44 bars). The major holding of the refrain (bars 33-36) leads to a climax on the forte dynamics. This is followed by an exit from the climax at bars 37–40. Here the composer used the technique of sequential development - a descending sequence of three links. By the way, in the climax, the usually stepwise movement of the bass changes to a spasmodic, quarto-fifth. The line of the lower voice here harmoniously supports the sequential development of the melody.

In connection with the peculiarities of the structure of the form, I would also like to note EP5 (fifth episode), where the expansion of the sentence in 47 - 52 measures occurs due to the improvisational development of the melody on the sustained "organ" bass at the seventh degree of the main key. This technique smoothly leads to the expected denouement - the so-called "reprise". Musical material 53 - 68 bars completely repeat the sound of the first refrain and the first episode. Such a return of the theme, as it were, frames the musical form of this work as a whole, leads to its logical conclusion, drawing a semantic and intonational arch between the beginning and the end.

In general, the rondo from the sonata in B minor is a classic implementation of the rondo form in the work of C.F.E. Bach.

Municipal Autonomous Institution of Additional Education in the Field of Culture of the Beloyarsky District "Children's School of Arts in Beloyarsky", class of the village of Sorum

General Course Teaching Program

"Analysis of musical works"

Theoretical foundations and technology of analysis

musical works.

Performed:

teacher Butorina N.A.

Explanatory note.

The program is designed to teach the general course "Analysis of Musical Works", which summarizes the knowledge gained by students in the lessons of the specialty and theoretical disciplines.

The purpose of the course is to develop an understanding of the logic of musical form, the interdependence of form and content, the perception of form as an expressive musical means.

The program involves the passage of course topics with varying degrees of detail. The theoretical foundations and technology of analyzing musical works, the topics "Period", "Simple and Complex Forms", variational and rondo form are studied in the most detail.

The lesson consists of an explanation by the teacher of theoretical material, which is revealed in the process of practical work.

The study of each topic ends with a survey (in oral form) and the performance of work on the analysis of the musical form of a particular work (in writing).

Graduates of children's music school and children's art school pass the test on the material covered in writing. The assessment for the test takes into account the results of tests performed by students in the learning process.

In the educational process, the proposed material is used: "Tutorial on the analysis of musical works in the senior classes of children's music schools and children's art schools", an approximate analysis of musical works from "Children's Album" by P.I. Tchaikovsky, "Album for Youth" by R. Schumann, as well as selective works : S. Rachmaninov, F. Mendelssohn, F. Chopin, E. Grieg, V. Kalinnikov and other authors.

Requirements for minimum content by discipline

(basic didactic units).

- means of musical expression, their formative possibilities;

Functions of the parts of the musical form;

Period, simple and complex forms, variational and sonata form, rondo;

The specificity of shaping in instrumental works of classical genres, in vocal works.

sonata form;

polyphonic forms.

Thematic plan of the discipline.

Theoretical basis and technology of analysis of musical compositions.

I. Melody.

Melody plays a decisive role in a piece of music.

The melody itself, unlike other expressive means, is able to embody certain thoughts and emotions, convey mood.

The notion of melody is always associated with us with singing, and this is not accidental. Changes in pitch: smooth and sharp rises and falls are associated primarily with the intonations of the human voice: speech and vocal.

The intonational nature of the melody gives the key to solving the question of the origin of music: few people doubt that it originates from singing.

The bases that determine the sides of the melody: pitch and temporal (rhythmic).

1.melodic line.

Every song has ups and downs. Changes in pitch and form a kind of sound line. Here are the most common melodic lines:

BUT) wavy the melodic line evenly alternates ups and downs, which brings a sense of completeness and symmetry, gives the sound smoothness and softness, and sometimes is associated with a balanced emotional state.

1. P.I. Tchaikovsky "Sweet dream"

2.E. Grieg "Waltz"

B) The melody persistently rushes up , with each "step" conquering new and new heights. If the upward movement prevails over a long period of time, there is a feeling of increasing tension, excitement. Such a melodic line is distinguished by strong-willed purposefulness and activity.

1. R. Schumann "e Frost"

2. R. Schumann "Hunting Song".

C) The melodic line flows calmly, slowly descending. descending movement can make a melody softer, more passive, feminine, and sometimes limp and lethargic.

1. R. Schumann "The First Loss"

2.P. Tchaikovsky "Disease of the Doll".

D) The melodic line stands still, repeating the sound of this height. The expressive effect of this kind of melodic movement often depends on the tempo. At a slow pace, it brings a feeling of a monotonous, dull mood:

1. P. Tchaikovsky "The funeral of a doll."

At a fast pace (rehearsals on this sound) - overflowing energy, perseverance, assertiveness:

1. P. Tchaikovsky "Neapolitan song" (II part).

Frequent repetitions of sounds of the same pitch are characteristic of melodies of a certain type - recitative.

Almost all melodies contain smooth, progressive movement and jumps. Only occasionally there are absolutely smooth melodies without jumps. Smooth is the main type of melodic movement, and the jump is a special, uncommon phenomenon, a kind of “event” during the melody. A melody cannot consist of only "events"!

The ratio of step and step motion, the preponderance in one direction or another can significantly affect the nature of the music.

A) The predominance of progressive movement in the melody gives the sound a soft, calm character, creates a feeling of smooth, continuous movement.

1.P. Tchaikovsky "The Organ Grinder Sings".

2. P. Tchaikovsky "An old French song."

B) The predominance of spasmodic movement in the melody is often associated with a certain expressive meaning, which the composer often tells us the title of the work:

1. R. Schumann "Brave rider" (horse running).

2. P. Tchaikovsky "Baba Yaga" (angular, "unkempt" appearance of Baba Yaga).

Separate jumps are also very important for the melody - they enhance its expressiveness and relief, for example, "Neapolitan song" - a jump to the sixth.

In order to learn a more “subtle” perception of the emotional palette of a piece of music, you also need to know that many intervals are endowed with certain expressive possibilities:

Third - sounds balanced and calm (P. Tchaikovsky "Mother"). Rising quart - purposefully, militantly and invitingly (R. Schumann "The Hunting Song"). Octave the jump gives the melody a tangible breadth and scope (F. Mendelssohn "Song without words" op. 30 No. 9, 3rd phrase of the 1st period). The jump often emphasizes the most important moment in the development of a melody, its highest point - climax (P. Tchaikovsky "An old French song", vols. 20-21).

Along with the melodic line, the main properties of the melody also include its metrorhythmic side.

Meter, rhythm and tempo.

Every melody exists in time, it lasts. FROM temporal The nature of music is meter, rhythm and tempo.

Pace - one of the most notable means of expression. True, the tempo cannot be attributed to the number of means, characteristic, individual, therefore, sometimes works of different nature sound at the same tempo. But the tempo, together with other aspects of music, largely determines its appearance, its mood, and thus contributes to the transfer of those feelings and thoughts that are embedded in the work.

AT slow tempo, music is written, expressing a state of complete rest, immobility (S. Rachmaninoff "Island"). Strict, lofty emotions (P. Tchaikovsky "Morning Prayer"), or, finally, sad, mournful (P. Tchaikovsky "Funeral of a Doll").

more mobile, average pace quite neutral and found in music of different moods (R. Schumann "The First Loss", P. Tchaikovsky "German Song").

Quick tempo occurs primarily in the transmission of continuous, striving movement (R. Schumann "The Bold Rider", P. Tchaikovsky "Baba Yaga"). Fast music can be an expression of cheerful feelings, seething energy, bright, festive mood (P. Tchaikovsky "Kamarinskaya"). But it can also express confusion, excitement, drama (R. Schumann "Santa Claus").

Meter as well as tempo is related to the temporal nature of music. Usually in a melody, accents periodically appear on individual sounds, and weaker sounds follow between them - just as stressed syllables alternate with unstressed ones in human speech. True, the degree of opposition of strong and weak sounds in different cases is not the same. In the genres of motor, mobile music (dances, marches, scherzos), it is the largest. In the music of a lingering song warehouse, the difference between accented and unaccented sounds is not so noticeable.

organization music is based on a certain alternation of accented sounds (strong beats) and not accented (weak beats) on a certain pulsation of the melody and all other elements associated with it. A strong beat together with subsequent weak beats forms tact. If strong beats appear at regular intervals (all measures are the same in size), then such a meter is called strict. If the cycles are different in size, which is very rare, then we are talking about free meter.

Various expressive possibilities bipartite and quadruple meters on one side and tripartite with another. If the former at a fast pace are associated with the polka, gallop (P. Tchaikovsky "Polka"), and at a more moderate pace - with the march (R. Schumann "Soldier's March"), then the latter are primarily characteristic of the waltz (E. Grieg "Waltz" , P. Tchaikovsky "Waltz").

The beginning of a motive (a motive is a small, but relatively independent particle of a melody, in which around one strong several weaker sounds are grouped) does not always coincide with the beginning of the measure. A strong sound of a motive can be at the beginning, in the middle, and at the end (like an accent in a poetic foot). On this basis, motives are distinguished:

a) Choreic - accent at the beginning. The underlined beginning and soft ending contribute to the unification, continuity of the flow of the melody (R. Schumann "Father Frost").

b) iambic – start on the weak beat. Active, thanks to off-beat acceleration to a strong beat and clearly completed by an accented sound, which noticeably dismembers the melody and gives it greater clarity (P. Tchaikovsky "Baba Yaga").

AT) Amphibrachic motive (a strong sound is surrounded by weak ones) - combines an active iambic upbeat and a soft ending of a chorea (P. Tchaikovsky "German Song").

For musical expressiveness, it is very important not only the ratio of strong and weak sounds (meter), but also the ratio of long and short sounds - musical rhythm. There are not so many different sizes from each other, and therefore, very different works can be written in the same size. But the ratios of musical durations are countless, and in combination with meter and tempo they form one of the most important features of the individuality of a melody.

Not all rhythmic patterns have a bright characteristic. So the simplest uniform rhythm (the movement of a melody in even durations) easily “adapts” and becomes dependent on other expressive means, and most of all, on tempo! At a slow pace, such a rhythmic pattern gives the music balance, regularity, calmness (P. Tchaikovsky "Mother"), or detachment, emotional coldness and rigor ("Chorus" P. Tchaikovsky). And at a fast pace, such a rhythm often conveys continuous movement, non-stop flight (R. Schumann "The Brave Rider", P. Tchaikovsky "The Game of Horses").

Has a pronounced characteristic dotted rhythm .

He usually brings clarity, springiness and sharpness to the music. It is often used in energetic and effective music, in marching compositions (P. Tchaikovsky "March of Wooden Soldiers", "Mazurka", F. Chopin "Mazurka", R. Schumann "Soldier's March"). At the heart of the dotted rhythm - iambic : , which is why it sounds energetic and active. But sometimes it can help to soften, for example, a wide jump (P. Tchaikovsky "Sweet Dream" vols. 2 and 4).

Bright rhythmic patterns also include syncope . The expressive effect of syncopation is associated with the contradiction between rhythm and meter: a weak sound is longer than the sound on the previous strong beat. A new, not provided by the meter and therefore somewhat unexpected accent usually carries in itself elasticity, springy energy. These properties of syncopation led to their widespread use in dance music (P. Tchaikovsky "Waltz": 3/4, "Mazurka": 3/4). Syncopations are often found not only in the melody, but also in the accompaniment.

Sometimes syncopations follow one after another, in a chain, either creating the effect of a soft flight movement (M. Glinka “I remember a wonderful moment”, v. 9, Krakovyak from the opera “Ivan Susanin” - the beginning), then causing the idea of ​​a slow, as if difficult, statement , about the restrained expression of a feeling or thought (P. Tchaikovsky "Autumn Song" from "The Seasons"). The melody, as it were, bypasses strong beats and acquires a free-floating character or smoothes the boundaries between parts of the musical whole.

Rhythmic pattern is able to bring into music not only sharpness, clarity, like a dotted rhythm and springiness, like syncopation. There are many rhythms that are directly opposite in their expressive effect. Often these rhythmic patterns are associated with triplets (which themselves are already perceived as smoother than 2x and 4x beats). So one of the most common rhythmic patterns in 3/8, 6/8 time signatures at a slow tempo expresses a state of calm, serenity, even restrained narrative. The repetition of this rhythm over a long period of time creates the effect of swinging, swaying. That is why this rhythmic pattern is used in the genres of barcarolle, lullaby and siciliana. The triplet movement in eighths at a slow tempo has the same effect (M. Glinka "Venice Night", R Schumann "Sicilian Dance"). At a fast pace, a rhythmic pattern

It is a kind of dotted line and therefore acquires a completely different expressive meaning - it brings a sense of clarity and chase. Often found in dance genres - lezginka, tarantella(P. Tchaikovsky "New Doll", S. Prokofiev "Tarantella" from "Children's Music").

All this allows us to conclude that certain musical genres are associated with certain metro-rhythmic expressive means. And when we feel the connection of music with the genre of a march or a waltz, a lullaby or a barcarolle, then a certain combination of meter and rhythmic pattern is “guilty” in this first of all.

To determine the expressive nature of the melody, its emotional structure, it is also important to analyze its modal sides.

Lad, tonality.

Any melody consists of sounds of various heights. The melody moves up and down, while the movement occurs along the sounds of by no means any pitch, but only along relatively few, “chosen” sounds, and each melody has some “own” series of sounds. Moreover, this usually small series is not just a set, but a certain system, which is called fret . In such a system, some sounds are perceived as unstable, requiring further movement, while others are perceived as more stable, capable of creating a feeling of complete or at least partial completeness. The interconnection of the sounds of such a system is manifested in the fact that unstable sounds tend to turn into stable ones. The expressiveness of a melody very significantly depends on what steps of the mode it is built on - stable or unstable, diatonic or chromatic. So in P. Tchaikovsky's play "Mother" the feeling of calmness, tranquility, purity is largely due to the peculiarities of the structure of the melody: so in bars 1-8 the melody constantly returns to stable steps, which are emphasized by the arrangement on strong beats and repeated repetition (first steps V , then I and III ). Capturing the nearby unstable steps - VI, IV and II (the most unstable, sharply gravitating - the introductory tone of the VII step is missing). Everything together adds up to a clear and "pure" diatonic "picture".

And vice versa, a feeling of excitement and anxiety is introduced by the appearance of chromatic sounds after pure diatonicism in the romance “Islet” by S. Rachmaninov (see notes 13-15), drawing our attention to the change of image (mention in the text about the breeze and thunderstorm).

Let us now define the concept of mode more clearly. As follows from the previous fret- this is a certain system of sounds that are interconnected, in subordination with each other.

Of the many modes in professional music, the most common are major and minor. Their expressive possibilities are widely known. Major music is more often solemn and festive (F. Chopin Mazurka F-Dur), or cheerful and joyful (P. Tchaikovsky "March of the Wooden Soldiers", "Kamarinskaya"), or calm (P. Tchaikovsky "Morning Prayer"). In the minor key, for the most part, music sounds thoughtful and sad (P. Tchaikovsky "Old French Song"), sorrowful (P. Tchaikovsky "The Funeral of a Doll"), elegiac (R. Schumann "The First Loss") or dramatic (R. Schumann "Grandfather Frost”, P. Tchaikovsky “Baba Yaga”). Of course, the distinction drawn here is conditional and relative. So in P. Tchaikovsky's "March of the Wooden Soldiers" the major melody of the middle part sounds disturbing and gloomy. The major color is darkened by the reduced II step A-Dur (B flat) and the minor (harmonic) S in the accompaniment (the opposite effect in E. Grieg's "Waltz").

The properties of modes are more pronounced when they are compared side by side, when there is a modal contrast. So the harsh, "blizzard" minor extreme parts of "Santa Claus" by R. Schumann are contrasted with the enlightened "sunny" major middle. Bright modal contrast can also be heard in P. Tchaikovsky's Waltz (Es-Dur –c-moll – Es-Dur). In addition to major and minor, folk music modes are also used in professional music. Some of them have specific expressive possibilities. So Lydian the mode of the major mood with the #IV step (M. Mussorgsky "The Tuileries Garden") sounds even lighter than the major. BUT Phrygian mode of minor mood with ьII art. (M.Mussorgsky Varlaam's Song from the opera "Boris Godunov") gives the music an even more gloomy flavor than natural minor. Other modes were invented by composers to embody some small images. For example, six-step whole tone M. Glinka used the mode to characterize Chernomor in the opera Ruslan and Lyudmila. P. Tchaikovsky - in the musical incarnation of the ghost of the countess in the opera "The Queen of Spades". A.P. Borodin - to characterize the evil spirits (goblin and witches) in the fairy forest (romance "The Sleeping Princess").

The modal side of the melody is often associated with the specific national coloring of the music. Thus, the use of five-step frets is connected with the images of China, Japan - pentatonic. For eastern peoples, Hungarian music, frets with increased seconds are characteristic - Jewish harmony (M. Mussorgsky "Two Jews"). And for Russian folk music is characteristic modal variability.

The same fret can be placed at different heights. This height is determined by the main stable sound of the mode - tonic. The altitude position of the fret is called tonality. The tonality may not be as obvious as the mode, but it also has expressive properties. So, for example, many composers wrote music of a mournful, pathetic nature in c-moll (Beethoven's "Pathetic" sonata, Tchaikovsky's "The Funeral of a Doll"). But a lyrical, poetic theme with a touch of melancholy and sadness will sound good in h-moll (F. Schubert Waltz h-moll). D-Dur is perceived as brighter, more festive, sparkling and brilliant compared to the more calm, soft "matte" F-Dur (try to transfer P. Tchaikovsky's "Kamarinskaya" from D-Dur to F-Dur). The fact that each key has its own “color” is also proved by the fact that some musicians had “color” hearing and heard each key in a certain color. For example, Rimsky-Korsakov's C-Dur was white, while Scriabin's was red. But both perceived E-Dur in the same way - in blue.

The sequence of keys, the tonal plan of the composition is also a special expressive means, but it is more appropriate to talk about it later, when we talk about harmony. For the expressiveness of the melody, for expressing its character, meaning, other, albeit not so important, aspects are of no small importance.

Dynamics, register, strokes, timbre.

One of the properties of musical sound, and therefore of music in general, is volume level. Loud and quiet sonorities, their juxtapositions and gradual transitions make up dynamics musical work.

To express sadness, sadness, complaints, quiet sonority is more natural (P. Tchaikovsky "The Doll's Disease", R. Schumann "The First Loss"). Piano it is also able to express bright joy and peace (P. Tchaikovsky "Morning Reflection", "Mother"). Forte but it carries delight and jubilation (R. Schumann "Hunting Song", F. Chopin "Mazurka" op. 68 No. 3) or anger, despair, drama (R. Schumann "Santa Claus" Part I, climax in "The First Loss" by R. Schumann).

The increase or decrease in the sound is associated with an increase, an increase in the transmitted feeling (P. Tchaikovsky "The Doll's Disease": sadness turns into despair) or, on the contrary, with its attenuation, extinction. This is the expressive nature of dynamics. But it also has an "external" pictorial meaning: strengthening or weakening of sonority can be associated with approach or removal (P. Tchaikovsky "Baba Yaga", "The Organ Grinder Sings", M. Mussorgsky "Cattle").

The dynamic side of music is closely related to the other side - colorful, associated with a variety of timbres of different instruments. But since this course of analysis is related to piano music, we will not dwell on the expressive possibilities timbre.

To create a certain mood, the nature of a musical work, it is important and register in which the melody is played. Low sounds are heavier and heavier (the heavy tread of Santa Claus in the play of the same name by R. Schumann), upper- lighter, lighter, louder (P. Tchaikovsky "Song of the Lark"). Sometimes the composer deliberately limits himself to the framework of a single register to create a specific effect. Thus, in P. Tchaikovsky's "March of the Wooden Soldiers" the feeling of a toy is largely due to the use of only high and medium registers.

In the same way, the character of the melody depends to a large extent on whether it is performed coherently and melodiously or dryly and abruptly.

strokes give melodies special shades of expressiveness. Sometimes strokes are one of the genre features of a piece of music. So Legato characteristic of works of a song nature (P. Tchaikovsky "An old French song"). Staccato more commonly used in dance genres, in genres scherzo, toccata(P. Tchaikovsky "Kamarinskaya", "Baba Yaga" - scherzo, "Game of horses" - scherzo + toccata). Performing touches cannot, of course, be considered an independent expressive means, but they enrich, enhance and deepen the character of the musical image.

Organization of musical speech.

In order to learn to understand the content of a musical work, it is necessary to understand the meaning of those “words” and “sentences” that make up musical speech. A necessary condition for comprehending this meaning is the ability to clearly distinguish between parts and particles of the musical whole.

The factors of dismemberment into parts in music are very diverse. It could be:

Pause or rhythmic stop on a long note (or both)

P. Tchaikovsky: "An old French song",

"Italian Song"

"Nanny's Tale"

2. Repetition of the construction just described (repetition can be exact, varied or sequential)

P. Tchaikovsky: “March of Wooden Soldiers” (see the first two 2-bar phrases), “Sweet Dream” (the first two 2-bar phrases are a sequence, the same - the 3rd and 4th phrases).

3. Contrast also has dismembering capabilities.

F. Mendelssohn "Song without words", op.30 No. 9. The first and second phrases are contrasting (see vols. 3-7).

The degree of contrast between two complex musical constructions determines whether they merge into one whole or split into two independent ones.

Despite the fact that only instrumental works are analyzed in this course, it is necessary to draw students' attention to the fact that many instrumental melodies songs by it's nature. As a rule, these melodies are enclosed in a small range, they have a lot of smooth, progressive movement, the phrases are distinguished by song breadth. Similar song type of melody cantilena inherent in many pieces from the "Children's Album" by P. Tchaikovsky ("Old French Song", "Sweet Dream", "The Organ Grinder Sings"). But the melody of the vocal warehouse is not always cantilena. Sometimes it resembles in its structure recitative and then there are many repetitions on the same sound in the melody, the melodic line consists of short phrases separated from each other by pauses. Melody chanting and declamatory warehouse combines the features of cantilena and recitative (P. Tchaikovsky "Funeral of a Doll", S. Rachmaninoff "Island").

In the process of introducing students to different sides of the melody, it is important to convey to them the idea that they affect the listener in a complex way, in interaction with each other. But it is quite clear that not only different facets of the melody interact in music, but also many important aspects of the musical fabric that lie beyond its boundaries. One of the main aspects of the musical language, along with the melody, is harmony.

Harmony.

Harmony is a complex area of ​​musical expression, it combines many elements of musical speech - melody, rhythm, governs the laws of development of the work. Harmony is a certain system of vertical combinations of sounds into consonances and a system of connection of these consonances with each other. It is advisable to consider first the properties of individual consonances, and then the logic of their combinations.

All used harmonic consonances in music differ:

A) according to the principles of construction: chords of tertian structure and non-tertian consonances;

B) by the number of sounds included in them: triads, seventh chords, non-chords;

C) according to the degree of consistency of the sounds included in their composition: consonances and dissonances.

Consistency, harmony and fullness of sound distinguish major and minor triads. They are the most universal among all chords, the range of their application is unusually wide, the expressive possibilities are multifaceted.

More specific expressive possibilities have an increased triad. With its help, the composer can create the impression of fantastic fabulousness, unreality of what is happening, mysterious enchantment. Of the seventh chords, mind VII7 has the most definite expressive effect. It is used to express moments of confusion, emotional tension, fear in music (R. Schumann "Santa Claus" - 2nd period, "First loss", see the end).

The expressiveness of a particular chord depends on the entire musical context: melody, register, tempo, volume, timbre. In a specific composition, a composer can enhance the original, “natural” properties of a chord by a number of techniques or, on the contrary, muffle them. That is why the major triad in one work can sound solemn, jubilant, and in another transparent, unsteady, airy. The soft and shaded minor triad also gives a wide emotional range of sound - from calm lyricism to deep mourning of a funeral procession.

The expressive effect of chords also depends on the arrangement of sounds in registers. Chords whose tones are taken compactly, concentrated in a small volume, give the effect of a denser sound (this arrangement is called close). And vice versa, a decomposed, with a large space between the voices, the chord sounds voluminous, booming (wide arrangement).

When analyzing the harmony of a musical work, it is necessary to pay attention to the ratio of consonances and dissonances. So, the soft, calm character in the first part of the play “Mother” by P. Tchaikovsky is largely due to the predominance of consonant chords (triads and their inversions) in harmony. Of course, harmony has never been reduced to the succession of consonances alone - this would deprive the music of aspiration, gravitation, would slow down the course of musical thought. Dissonance is the most important stimulus in music.

Various dissonances: um5/3, uv5/3, seventh and non-chords, non-terzian consonances, despite their "natural" rigidity, are used in a fairly wide expressive range. By means of dissonant harmony, not only the effects of tension, sharpness of sound are achieved, but you can also get a soft, shaded color with its help (A. Borodin “The Sleeping Princess” - second harmonies in the accompaniment).

It should also be taken into account that the perception of dissonances changed over time - their dissonance gradually softened. So over time, the dissonance of D7 became little noticeable, lost the sharpness that it had at the time of the appearance of this chord in music (C. Debussy “Doll Cake Walk”).

It is quite obvious that in any piece of music individual chords and consonances follow each other, forming a coherent chain. Knowledge of the laws of these connections, the concept of fret functions chord chart helps you navigate the complex and diverse chord structure of a piece. T5/3, as a center that attracts all movement to itself, has the function of stability. All other consonances are unstable and are divided into 2 large groups: dominant(D,III ,VII ) and subdominant(S, II, VI). These two functions in harmony are in many respects opposite in their meaning. The functional sequence D-T (authentic revolutions) is associated in music with an active, strong-willed character. Harmonic constructions involving S (plagal phrases) sound softer. Such revolutions with a subdominant were widely used in Russian classical music. The chords of other degrees, in particular III and VI, bring additional, sometimes very subtle expressive nuances into the music. The consonance of these steps was especially used in the music of the Romantic era, when composers were looking for new, fresh harmonic colors (F. Chopin "Mazurka" op. 68, No. 3 - see vols. 3-4 and 11-12: VI 5/3- III 5/3).

Harmonic techniques are one of the most important means of developing a musical image. One of these approaches is harmonic variation when the same melody is harmonized with new chords. The familiar musical image, as it were, turns to us with its new faces (E. Grieg "Song of Solveig" - the first two 4-bar phrases, F. Chopin "Nocturne" c-moll vols. 1-2).

Another means of harmonious development is modulation. Virtually no piece of music can do without modulation. The number of new keys, their relationship with the main key, the complexity of tonal transitions - all this is determined by the size of the work, its figurative and emotional content and, finally, the composer's style.

It is necessary that students learn to navigate in related keys (I degree), where modulations are most often performed. Distinguish between modulations and deviations (short modulations not fixed by cadence revolutions) and comparisons (transition to another key on the verge of musical constructions).

Harmony is closely related to the structure of a piece of music. Thus, the initial exposition of musical thought always bears a comparatively stable character. Harmony emphasizes tonal stability and functional clarity. The development of the theme involves the complication of harmony, the introduction of new keys, that is, in a broad sense - instability, example: R. Schumann "Santa Claus": compare the 1st and 2nd periods in the I part of a simple 3-part form. In the 1st period - reliance on t5 / 3 a-moll, D5 / 3 appears in cadences, in the 2nd period - deviation in d-moll; e-moll without final t through mindVII7.

For the expressiveness and brilliance of harmony, not only the choice of certain chords and the relationships that arise between them is important, but also the way the musical material is presented or texture.

Texture.

The various types of texture encountered in music can be divided, of course, very conditionally, into several large groups.

The invoice of the first type is called polyphony . In it, the musical fabric is made up of a combination of several rather independent melodic voices. Students should learn to distinguish between polyphony imitation, contrast and subvocal. This analysis course is not focused on polyphonic compositions. But even in works with a different type of texture, polyphonic development techniques are often used (R. Schumann "The First Loss": see the 2nd sentence of the 2nd period - imitation is used at the moment of culmination, introducing a feeling of special tension; P. Tchaikovsky "Kamarinskaya" : the theme uses sub-voice polyphony, typical of Russian folk music).

The texture of the second type is chord warehouse in which all voices are delivered in the same rhythm. Differs in special compactness, full sonority, solemnity. This type of texture is typical for the genre of march (R. Schumann "Soldier's March", P. Tchaikovsky "March of Wooden Soldiers") and chorale (P. Tchaikovsky "Morning Prayer", "In the Church").

Finally, the texture of the third type - homophonic , in the musical fabric of which one main voice (melody) stands out, and the rest of the voices accompany it (accompaniment). It is necessary to introduce students to various types of accompaniment in a homophonic warehouse:

A) Harmonic figuration - the sounds of chords are taken alternately (P. Tchaikovsky "Mother" - the presentation of the accompaniment in the form of a harmonic figuration enhances the feeling of softness, smoothness).

B) Rhythmic figuration - the repetition of chord sounds in any rhythm: P. Tchaikovsky "Neapolitan song" - the repetition of chords in the ostinato rhythm gives the music clarity, sharpness (staccato), is perceived as a sound imaging device - imitation of percussion instruments.

A homophonic warehouse with various types of figuration in the accompaniment is also characteristic of many musical genres. So for the nocturne, for example, an accompaniment in the form of a harmonic figuration in a wide arrangement of chords in a broken form is typical. Such a trembling, hesitant accompaniment is inextricably linked with the specific "night" coloring of the nocturne.

Texture is one of the most important means of developing a musical image, and its change is often caused by a change in the figurative-emotional structure of a work. Example: P. Tchaikovsky "Kamarinskaya" - change in 2 variations of the warehouse from homophonic to chordal. Associated with the change of a light graceful dance to a powerful general dance.

The form.

Each piece of music, large or small, “flows” in time, represents a certain process. It is not chaotic, it is subject to known patterns (the principle of repetition and contrast). The composer chooses the form, the compositional plan of the composition based on the idea and the specific content of this composition. The task of the form, its “duty” in a work is to “link”, coordinate all expressive means, streamline the musical material, organize it. The form of the work should serve as a solid basis for a holistic artistic idea of ​​it.

Let us dwell in more detail on those forms that are most often used in piano miniatures, in the pieces "Children's Album" by P. Tchaikovsky and "Album for Youth" by R. Schumann.

1.One-part form.Period.

The smallest form of a complete presentation of a musical theme in homophonic-harmonic music is called a period. The feeling of completeness is caused by the melody coming to a stable sound at the end of the period (in most cases) and the final cadence (harmonic revolution leading to T5 / 3). Completeness allows using the period as a form of independent work - vocal or instrumental miniature. Such a work is limited to a mere presentation of the topic. As a rule, these are periods of re-building (the 2nd sentence repeats the 1st sentence almost exactly or with a change). The period of such a structure helps to better remember the main musical idea, and without this it is impossible to remember a piece of music, to understand its content (F. Chopin “Prelude” A-Dur- A + A1.

If the period is part of a more developed form, then it may not be a repeated structure (repetition will not be inside the topic, but outside it). Example: L. Beethoven "Pathetic" sonata, II part theme A+B.

Sometimes, when the period is actually over, another addition to the period sounds. It can repeat any part of the period or can be based on relatively new music (P. Tchaikovsky "Morning Prayer", "Doll's Illness" - both pieces in the form of a period with an addition.

Simple forms:

A) A simple 2-part form.

The possibility of development within the period is very limited. To give any significant development of the theme, it is necessary to go beyond the one-part form, it is necessary to build a composition from a large number of parts. So there are simple forms - two and three-part.

A simple 2-part form grew out of the principle of juxtaposing contrasting parts in folk music (a verse with a chorus, songs with instrumental acting out). Part I presents the theme in the form of a period. It can be monophonic or modulating. Part II is not more complicated than the period, but still a completely independent part, and not just an addition to period 1. The second part never repeats the first, it is different. And at the same time, there must be a connection between them. The affinity of the parts can manifest itself in their common mode, tonality, size, in their identical size, and often in melodic similarity, in common intonations. If familiar elements prevail, then the 2nd part is perceived as an updated repetition, development initial topic. R. Schumann's "First Loss" can serve as an example of such a form.

If the elements of the new prevail in the second part, then it is perceived as contrast , matching. Example: P. Tchaikovsky "The organ grinder sings" - a comparison of the organ grinder's song in the 1st period and the instrumental playing of the barrel organ in the 2nd, both periods are square 16-bar repetitive structure.

Sometimes at the end of the 2-part form, the strongest means of musical completion is used - the principle reprise. The return of the main theme (or part of it) plays an important role in terms of meaning, enhancing the significance of the theme. On the other hand, reprise is also very important for the form - it gives it a deeper completeness than harmonic or melodic stability alone can provide. This is why in most samples of the 2-partial form the second part combines return care. How does this happen? The second part of the form is clearly divided into 2 constructions. The first, which occupies a middle position in the form (“third quarter”), is devoted to the development of the theme set forth in the 1st period. It is dominated by either transformation or matching. And in the second final construction, one of the sentences of the first theme is returned, i.e. an abbreviated reprise is given (P. Tchaikovsky "An old French song").

B) A simple 3-part form.

In the reprise 2-part form, only half of the 2nd part falls to the share of the reprise. If the reprise completely repeats the entire 1st period, then a simple 3-part form is obtained.

The first part does not differ from the 1st part in two private forms. The second is entirely devoted to the development of the first theme. Example: R. Schumann "The Brave Rider", or a presentation of a new topic. Now she can get a detailed presentation in the form of a period (P. Tchaikovsky "Sweet Dream", R. Schumann "Folk Song").

The third part is a reprise, full period and this is the most important difference between the three-part form and the two-part form, which ends with a recapitulation sentence. The three-part form is more proportional, more balanced than the two-part form. The first and third parts are similar not only in their content, but also in size. The dimensions of the second part in the tripartite form may differ significantly from the first in size: it may noticeably exceed the length of the first period. An example is P. Tchaikovsky's “Winter Morning”: Part I is a 16-bar square period of repeated structure, Part II is a non-square 24-bar period, consisting of 3 sentences, but it can be much shorter than it (L. Beethoven Minuet from Sonata No. 20, where parts I and III are 8 cycles of square periods, II part is 4 cycles, one sentence).

The reprise can be a literal repetition of the first part (P. Tchaikovsky "Funeral of a Doll", "German Song", "Sweet Dream").

The reprise may differ from the I part, sometimes in details (P. Tchaikovsky “March of the Wooden Soldiers” - different final cadenzas: in the I part, the modulation from D-Dur to A-Dur, in III - the main D-Dur is approved; R. Schumann " Folk song "- changes in the reprise significantly modified the texture). In such reprises, a return is given with a different expressiveness, based not on simple repetition, but on development.

Sometimes there are simple three-part forms with an introduction and conclusion (F. Mendelssohn "Song without Words" op. 30 No. 9). The introduction introduces the listener into the emotional world of the work, prepares him for something basic. The conclusion completes, sums up the development of the whole essay. Conclusions that use the musical material of the middle part are very common (E. Grieg "Waltz" a -moll). However, the conclusion can also be built on the material of the main topic in order to affirm its leading role. There are also conclusions in which elements of the extreme and middle parts are combined.

complex forms.

They are formed by simple forms, approximately in the same way as the simple forms themselves are formed from periods and equivalent parts. This is how complex two-part and three-part forms are obtained.

The presence of contrasting, brightly contrasted images is most characteristic of a complex form. By virtue of their independence, each of them requires extensive development, does not fit into the framework of the period and forms a simple 2- and 3-part form. This mainly applies to Part I. The middle (in 3-part form) or part II (in 2-part form) can be not only a simple form, but also a period (P. Tchaikovsky's "Waltz" from the "Children's Album" is a complex three-part form with a period in the middle, " Neapolitan song "- a complex two-part, II part of the period).

Sometimes the middle in a complex three-part form is a free form, consisting of a number of constructions. The middle in period form or in simple form is called trio , and if it is in free form, then episode. Three-part forms with a trio are typical for dances, marches, scherzos; and with an episode - for slow plays of a lyrical nature.

A reprise in a complex three-part form can be accurate - da capo al fine, (R. Schumann "Santa Claus", but can be significantly modified. Changes can relate to its scale and it can be significantly expanded and reduced (F. Chopin "Mazurka" op.68 No. 3 - in the reprise, instead of two periods, only one remained. A complex two-part form is much less common than a three-part one. Most often in vocal music (arias, songs, duets).

Variations.

As well as the simple two-part form variational the form originates from folk music. Often in folk songs, couplets were repeated with changes - this is how the couplet-variation form developed. Among the existing types of variations, variations on an unchanging melody (soprano ostinato) are closest to folk art. Especially often such variations are found among Russian composers (M. Mussorgsky, Varlaam's song "As it was in the city in Kazan" from the opera "Boris Godunov"). Along with variations of soprano ostinato, there are other types of variational form, for example strict , or ornamental variations, which became widespread in Western European music of the 18th-19th centuries. Strict variations, in contrast to soprano ostinato variations, require mandatory changes in melody; the accompaniment also varies. Why are they called strict? It's all about the extent to which the melody changes, how far the variations deviate from the original theme. The first variations are more similar to the theme, the subsequent ones are more distant from it and differ more from each other. Each subsequent variation, preserving the basis of the theme, as if wraps it in a different shell, colors it with a new ornament. The tonality, harmonic sequence, form, tempo and meter remain unchanged - these are unifying, cementing means. That is why strict variations are also called ornamental. Thus, variations reveal different aspects of the theme, complement the main musical idea stated at the beginning of the work.

The variational form serves as the embodiment of one musical image, shown with exhaustive completeness (P. Tchaikovsky "Kamarinskaya").

Rondo.

Let us now get acquainted with the musical form, in the construction of which two principles participate on an equal footing: contrast and repetition. The rondo form originated, like variations, from folk music (a choral song with a chorus).

The most important part of the form is the refrain. It is repeated several times (at least 3), alternating with other themes - episodes that may resemble the sound of a refrain, or may initially differ from it.

The number of parts in a rondo is not an external sign, it reflects the very essence of the form, as it is associated with a contrasting comparison of one image with several. Viennese classics most often use the rondo form in the finals of sonatas and symphonies (J. Haydn, sonatas in D-dur and e-moll; L. Beethoven, sonatas in g-moll No. 19 and G-Dur No. 20). In the 19th century, the scope of this form expanded significantly. And if the Viennese classics were dominated by the song and dance rondo, then the Western European romantics and Russian composers found the rondo lyrical and narrative, fabulous and pictorial (A. Borodin, romance "The Sleeping Princess").

Conclusions:

None of the musical-expressive means appears in its pure form. In any work, meter and rhythm are closely intertwined at a certain tempo, the melodic line is given in a certain harmony and timbre. All aspects of the musical "fabric" affect our hearing simultaneously, the general character of the musical image arises from the interaction of all means.

Sometimes different expressive means are aimed at creating the same character. In this case, all expressive means are, as it were, parallel to each other, co-directed.

Another type of interaction of musical expressive means is a mutual complement. For example, the features of the melodic line can speak of its song character, and the four-beat meter and clear rhythm give the music a marching quality. In this case, chanting and marching successfully complement each other.

Finally, a contradictory correlation of different expressive means is also possible, when melody and harmony, rhythm and meter can come into conflict.

So, acting in parallel, mutually complementing or conflicting with each other, all means of musical expression work together and create a certain character of the musical image.

Robert Schumann

"Hunting song" .

I. Character, image, mood.

The bright music of this play helps us visualize the scene of an old hunt. The solemn signal of the trumpet heralds the beginning of the hunting ritual. And now riders with guns are rushing through the forest, dogs are rushing forward with a frantic bark. Everyone is in joyful excitement, in anticipation of victory over a wild beast.

II. The form: simple tripartite.

1 part - square eight cycle period,

2 part - square eight cycle period,

3rd part - non-square twelve cycle period (4+4+4t.).

III. Means of musical expression.

Villa – Lobos

"Let Mom rock."

I Character, image, mood.

An unforgettable picture from a distant childhood: a mother's head bent over a falling asleep child. Quietly and affectionately, the mother sings a lullaby to the baby, tenderness and care can be heard in her voice. The cradle swings slowly and it seems that the baby is about to fall asleep. But the prankster cannot sleep, he still wants to frolic, run, ride a horse (or maybe the child is already sleeping and dreaming?). And again gentle, thoughtful "words" of the lullaby are heard.

II The form: simple tripartite.

Parts I and III are non-square periods of 12 bars (4 + 4 + 4 + 2 bars addition in the reprise).

Part II - a square period of 16 cycles.

III Means of musical expression:

1.Genre basis- Lullaby. It starts with a 2-bar intro - accompaniment without a melody, like in a song.

Genre features:

2. Singing melody - cantilena. A smooth progressive movement with soft moves per third prevails.

3. Rhythm: calm movement at a slow pace, with stops at the end of phrases.

Edvard Grieg

"Waltz".

I .Character, image, mood.

The mood of this dance is very changeable. At first we hear elegant and graceful music, slightly whimsical and light. As if butterflies flutter in the air of the dancer, barely touching the toes of the parquet shoes. But the trumpets in the orchestra sounded brightly and solemnly, and many couples spun in a waltz whirlwind. And again a new image: someone's beautiful voice sounds gentle and affectionate. Maybe one of the guests sings a simple and uncomplicated song to the accompaniment of a waltz? And again familiar images flicker: lovely little dancers, the sounds of an orchestra and a thoughtful song with notes of sadness.

II .The form: simple three-part with coda.

Part I - square period - 16 measures, repeated twice + 2 measures of introduction.

Part II - a square period of 16 cycles.

Part III - exact reprise (the period is given without repetition). Coda - 9 cycles.

III .Means of musical expression.

1. Means of genre expressiveness:

A) tripartite size (3/4),

B) homophonic - harmonic warehouse, accompaniment in the form of: bass + 2 chords.

2. The melody in the first sentence has a wave-like structure (soft rounded phrases). A smooth, stepwise movement prevails, the impression of a whirling movement.

3. Stroke - staccato.

4. Grace with syncopation at the end of phrases 1 and 2. The impression of lightness, airiness, a slight jump at the end.

5. Tonic organ point in the bass - a feeling of whirling in one place.

6. In the second sentence, a change in texture: chordal warehouse. Active sound of trolls on a strong beat. The sound is bright, magnificent solemn.

7. Sequence with a favorite for romantics tertsovy step: C-Dur, a-moll.

8. Features of the minor mode (a-moll): due to the melodic appearance, the minor sounds major! The melody moves along the sounds of the upper tetrachord in phrases 1 and 2.

Middle part:(A - Dur ).

9. Change of texture. The melody and accompaniment are reversed. There is no bass for a strong beat - a feeling of weightlessness, lightness.

10. Lack of low case.

11. The melody has become more melodious (legato replaces staccato). A song was added to the dance. Or maybe this is an expression of a soft, feminine captivating image - someone's face that stands out in a crowd of dancing couples.

Reprise - accurate, but not repeatable.

Code- motive of a song from the middle part against the background of a stretching tonic fifth.

Fryderyk Chopin

Mazurka op.68 No. 3.

I .Character, image, mood.

Brilliant ballroom dance. Music sounds solemn and proud. The piano is like a powerful orchestra. But now, as if from somewhere far away, a folk tune is heard. It sounds loud and cheerful, but barely perceptible. Maybe this is a memory of a village dance? And then the bravura ballroom mazurka sounds again.

II The form: simple tripartite.

I part - a simple two-part of 2 square 16-cycle periods;

Part II is a square eight-bar period with a 4-bar intro.

III part - abbreviated reprise, 1 square 16-bar period.

III Means of musical expression:

1. Triple size (3/4).

2. Rhythmic pattern with a dotted line on the strong beat gives sharpness and clarity to the sound. These are genre features of the mazurka.

3. Chord warehouse, dynamics f andff - solemnity and brightness.

4. The intonational "grain" of the upper melodic voice - a jump to ch4 with subsequent filling) - an invocative, victorious, jubilant character.

5. Major mode F-Dur. At the end of sentence 1, modulation in C-Dur, in 2 return to F-Dur).

6. The melodic development is based on sequences (terts step, typical for romantics).

In the 2nd period, the sound is even brighter, but the character also becomes more severe, warlike.

1.Dynamics ff .

3. A new motive, but with a familiar rhythm: or. Rhythmic ostinato throughout the first movement.

A new intonation in the melody - terts moves, alternating with stepwise movement. Melodic phrases do not retain waveform. Downward movement prevails.

4. The key is A-Dur, but with a minor shade, since S 5/3 is given in a harmonic form (tt.17, 19, 21, 23)) - a severe shade.

The second sentence is a reprise (it repeats exactly the 2nd sentence of the first period).

Middle part - light, light, soft, gentle and cheerful.

1. Ostinatnaya tonic fifth in the bass - an imitation of folk instruments (bagpipes and double bass).

2. The dotted rhythm has disappeared, the smooth movement of the eighth notes at a fast pace prevails.

3. In the melody - soft terts moves up and down. Sensation of fast swirling movement, softness, smoothness.

5. A special way characteristic of Polish folk music - Lydian(mi bekar with the tonic B flat) - the folk origins of this topic.

6.Dynamics R, a barely perceptible sound, the music seems to come from somewhere far away, or hardly breaks through the haze of memories.

Reprise: shortened compared to Part I. There is only the first period, which is repeated. The brilliant ballroom mazurka sounds again.

(Toolkit)

Nizhny Novgorod - 2012

Introduction …………………………………………………………………3

Metrorhythm ……………………………………………………………....5

Melodika ………………………………………………………………..11

Harmony………………………………………………………………...15

Warehouse and invoice………………………………………………………....17

Tempo, timbre, dynamics ………………………………………………...20

Period …………………………………………………………………..24

Simple forms ………………………………………………………...28

Complex forms ………………………………………………………..33

Variations ………………………………………………………………..37

Rondo and rondo-shaped forms…………………………………….....43

Sonata form ………………………………………………………...49

Varieties of sonata form …………………………………………54

Rondo Sonata ………………………………………………………...……..57

Cyclic forms …………………………………………………….59

References ………………………………………………………..68

Test tasks………………………………………………………..70

Questions for the test and exam…………………………………………..73

Introduction

Perhaps only art distinguishes a person from the world of wildlife. Human (verbal) language differs only in its verbal form, but not in its function (means of communication, communication). In most mammals, as in humans, "language" has a sound and intonation basis.

Different sense organs transmit different amounts of information about the world around us. The visible is much more, but the audible affects much more actively.

In physical reality, TIME and SPACE are inseparable coordinates, while in art, one of these sides can often be artistically accentuated: SPATIAL in fine arts and architecture or TIME in verbal art and music.

TIME has opposite qualities - fusion (continuity, continuity) is combined with dismemberment (discreteness). All temporal processes, whether in life or in art, unfold in stages, phases that have different stages of unfolding THE BEGINNING. CONTINUATION. END, as a rule, repeatedly repeated, increasing in duration.

Music has a procedural deployment and its stages (BEGINNING, CONTINUED, END) are usually denoted by the initial letters of Latin words (initio, movere, temporum) - I M T.

In all processes, their deployment is controlled by opposite forces, the ratio of which can have THREE options: EQUILIBRIUM (stable or mobile, dynamic), and two options for PREDOMINATION of one of the forces.

The names of the forces and their manifestations in different processes are not the same.

Deployment of music is controlled by two formative forces CENTRIFUGAL (CB) and CENTRIPEAL (CS), which are in stage I in dynamic balance (mobile, unstable, changeable) in stage M - activation of CENTRIFUGAL force (CB) pushes back the action of CENTRIFUGAL (CS), in stage T the CENTRIPETAL force (CF) is activated, pushing the CENTRIFUGAL force aside.

CENTRIFUGAL force manifests itself in music as CHANGE, RENEWAL, continuation of movement and evokes associations with INSTABILITY in the broad sense of the word. CENTRIPEAL FORCE SAVE, REPEATES what has been said, stops movement and is associated with STABILITY in the broadest sense of the word. These forces act, as a rule, in many layers and at different times in all means of musical expression. The action of form-building forces is most clearly felt in HARMONY, since stability and instability are manifested in it in a concentrated and diverse way.

All types of DEVELOPMENT (movement in time) are connected with the action of form-building forces. Due to the properties of time (fusion and dismemberment), there is always a comparison of the SUBSEQUENT with the PREVIOUS.

Types of development form a SPECTRAL series (without rigid boundaries between different types), the extreme points of which reveal the predominance of one of the formative forces, EXACT REPETITION - the action of the CENTRIPEAL force, CONTINUED DEVELOPMENT (maximum update, presentation of the NEW TOPIC) of the CENTRIFUGAL force. Between them are types of development based on the flexible interaction of BOTH FORCES. This development is OPTIONAL and OPTIONAL-CONTINUING.

REPETITION (exact) VARIANT VARIANT-CONTINUED CONTINUED.

The range of changes in variant development is very wide. Therefore, private varieties are formed within the variant development. more specific in terms of change parameters. IN VARIATIONAL DEVELOPMENT, changes DO NOT AFFECT THE HARMONIC BASIS and EXTENSION of the alteredly repeated. IN DEVELOPMENT DEVELOPMENT, VARIANTS sound in conditions of harmonic or tonal-harmonic INSTABILITY and, often, structural fragmentation. Only developmental development has semantic certainty, creating a feeling of growing tension and excitement.

As a rule, two LEVELS of development are distinguished: INTERNATIONAL - within the presentation of a polyphonic theme or homophonic (within the homophonic period), and THEMATIC (outside the presentation of the theme).

Intra-thematic development can be any (not regulated). Few musical forms have a strong connection with one kind of thematic development or another. Only the verse song relies mainly on the EXACT REPETITION of the verse music, and all types of variations fit into the framework of VARIANT development. The forms mentioned above are among the most ancient in origin. Other musical forms are varied in thematic development. One can only note a rather stable TREND towards CONTINUED DEVELOPMENT in CYCLIC and COMPLEX FORMS - in the ratio of parts of cycles and large sections of complex forms.

METRORYTHM

Rhythm is associated with all time relationships in music: from adjacent durations to the ratio of parts of cyclic works and acts of musical and theatrical works.

METER - THE BASIS OF RHYTHM - has two sides: time-measuring (creating a feeling of pulsation, beats, even counting of time) and accent, uniting these beats around pivot points, enlarging the units of musical time flow.

Music means. expressiveness have a variety of possibilities for creating accentuation: in RHYTHM, a larger DURATION emphasizes, in MELODY accentuation is created with the help of jumps or with any change in pitch after it has remained unchanged, in HARMONY, accentuation is achieved by changing harmony, resolving dissonance and, especially, the presence of DELAY, accent properties are very diverse DYNAMICS (letter and graphic). Both TEXTURE and timbre have various accent properties, and in music with text, grammatical and semantic accents of the text are added. Thus, through the accent side, the metrorhythm unites and permeates all the means of muses. Expressiveness is like the circulatory and nervous system of the human body.

The type of correlation between the time-measuring and accent sides gives rise to two types of metro-rhythmic organization: STRICT and FREE, which have different expressive possibilities.

The criterion for their difference is the DEGREE OF REGULARITY of time-measuring and accent.

A STRICT METER has a multi-layered regular time measurement and a fairly regular accent. Music in strict meter evokes associations with organized differentiated action, movement, process, dance, rhymed verse and has a positive psycho-physiological effect on living organisms.

In the FREE METER, the time measurement is not layered and often unstable and the accent is irregular, as a result of which such a metro-rhythmic organization of music evokes associations with a monologue, improvisation, free verse (non-rhyming verse) or a prose statement.

Despite all the differences, both metrorhythmic types are like. As a rule, they interact with each other, which gives the flow of music a lively, non-mechanistic character.

Numerical ratios in meter also have different expressive prerequisites: BINARY (divided by 2) is characterized by clarity, simplicity and regularity. TERNARITY (divided by 3) - greater smoothness, undulation, freedom.

In the tactometric system of music recording, SIZE is a NUMERICAL EXPRESSION OF METER, where the lower number indicates the BASIC TIME-MEASURING UNIT, and the upper one indicates the ACCENT SIDE.

The influence of the meter extends "DEEP" (when pulsing with durations smaller than indicated in the size, an INTERLOBAL METER, even or odd, is formed) and "BROAD", FORMED FROM SEVERAL WHOLE BEAMS UNITED BY A POWERFUL, COMPLEX ACCENT. This is possible due to the accent possibilities of expressive means. The more expressive means involved in creating an accent, the “wider” its formative action, the more prolonged the musical construction it unites around itself. A METER OF THE HIGHER ORDER (combining several whole measures) enlarges the flow of music, has great formative significance. Usually, higher order meter can come and go quite freely, and is more typical of movement music or measured lyrical music. Combining an even number of measures (2-4) occurs noticeably more often than an odd number, which is less common, more episodic.

The arrangement of accented and non-accented moments coincides with the three main TYPES OF STOPS: CHOREIC FEET have ACCENT BEGINNING, IAMBIC FEET have ACCENT END, in AMPHIBRACHIC FEET ACCENT IN THE MIDDLE. The expressive premises of the two types of feet are quite definite: IAMBIC are distinguished by measured striving, completeness; AMPHIBRACHIC - smooth undulation, lyricism in the broadest sense of the word. CHOREIC FEET are found in music of a very different nature: and in energetic, imperative themes: and. In lyrical music, associated with the intonation of a sigh, drooping, weak-willed intonations.

In connection with the various accent possibilities of expressive means, in music, as a rule, a multi-layered intricately woven network of accentuation of different intensity, weight, develops. Only a specific, accent musical content can make its share. Therefore, in music, in addition to the above-mentioned metric levels: INTRA-LEVEL, BLOCK, and METER OF THE HIGHER ORDER, CROSS METER is often manifested, which does not coincide with either BLOCK or METER OF THE HIGHER ORDER. It can capture the entire musical fabric, or part of it (line, layer), giving the movement of music greater freedom and flexibility.

In music of a homophonic-harmonic warehouse, the tendency of the background layers of texture to regular metric time measurement, often multi-layered, choreic, is often clearly manifested, while as a MELODY, as a rule, it is distinguished by greater rhythmic variability and freedom. This is undoubtedly a manifestation of the interaction between STRICT and FREE METER.

The perception of a specific metric level, or a combination of several levels, depends on the rhythm in the narrow sense of the word (certain DURATIONS) in relation to the bar line. The ratio of rhythm and meter is formed in THREE VARIANTS.

NEUTRALITY of meter and rhythm means rhythmic uniformity (all durations are the same, rhythmic accents are absent). Accents are created by OTHER EXPRESSIVE MEANS. In this regard, manifestations of a BLOCK METER, a HIGHEST ORDER METER or CROSS METER are possible (examples: Bach's little prelude in D minor, Chopin's 1 etude).

THE ASSISTANCE OF METER AND RHYTHM (a) - the first beat IS ENHANCED, b) the subsequent beats are SHREDDED, c) both TOGETHER) most clearly reveals the BLOCK METER, and sometimes the METER OF THE HIGHER ORDER, ALONG WITH THE BLOCK.

THE OPPOSITION OF METER AND RHYTHM (the first beat is DIVIDED; the subsequent beats are GROWLED; THAT AND THE OTHER TOGETHER) reveals CROSS METER, and also, often, METER OF THE HIGHER ORDER.

Of the phenomena that complicate the temporal organization of music, the most common is POLYRHYTHMY - a combination of DIFFERENT INTERLOBAL METERS

(two or more). Giving the movement of rhythmic lines detail, differentiation. Widespread in classical music, POLYRHYTHMY reaches considerable complexity and sophistication in the music of CHOPIN and SCRIABIN.

A more complex phenomenon is POLYMETRY - a combination of DIFFERENT METERS (sizes) in different layers of the musical fabric. POLYMETRY can be DECLARED

Thus, the declared polymetry first appears in Mozart's opera Don Giovanni, where in the ball scene in the score of the opera orchestra and the orchestra on the stage, DIFFERENT SIZES are displayed. Declared polymetry is often found in the music of composers of the twentieth century, Stravinsky, Bartok, Tishchenko, for example. However, much more often, polymetry is unannounced, short-lived (the beginning of the second part of Beethoven's 2nd sonata, the second section of The Harvest, fragments of Christmas time from Tchaikovsky's The Seasons, for example).

POLYMETRY creates a feeling of considerable versatility, complexity, often tension.

The formative role of the metrorhythm is not limited to the higher order meter. Interacting with thematism, it continues in SYNTAX STRUCTURES (similar to poetic ones), covering SIGNIFICANT MUSICAL CONSTRUCTIONS WITH SIMPLE AND CLEAR RHYTHMIC RELATIONS.

The simplest structure is PERIODICITY, similar to rhythmic EQUALITY. Periodicity can be single and long-term. Always creates a sense of calmness. orderliness. consistency. Some “monotonicity” of long periodicity, in folk and professional music, is diversified by inventive melodic structures (periodicity with a change in one or another construction, a couple of periodicities, alternating periodicity) and variant changes that do not affect the length of the constructions. On the basis of periodicity, other structures also arise. SUMMATION (double-tact, two-tact, four-tact) creates a feeling of growth, ascent of the output. CRUSHING (two-cycle, one-cycle, one-cycle) - clarifications, detailing, development. The structure of CRUSHING WITH CLOSURE (two-cycle, two-cycle, one-cycle, one-cycle, two-cycle) is distinguished by the greatest variety and completeness.

Both SUMMATION, and CRUSHING, and CRUSHING WITH CLOSING can be repeated (the PERIODICITY of CRUSHING WITH CLOSURE is formed, for example), the alternation of two structures can also be repeated (the entire first section of Tchaikovsky's Barcarolle is united by the periodicity of alternating crushing and crushing with a closure).

REPEATING (BY THE SIGN OF REPRIZE) is a widespread phenomenon in instrumental music, starting from the Baroque era, which forms the largest periodicities that streamline the flow of the musical form with simple rhythmic relationships and organize perception.

MELODIC

MELODY is the most complex, complex, free means of musical expression, often identified with music proper. Indeed, the essential properties of music are present in the melody - intonational concentration and the temporal nature of deployment.

Conditionally digressing from the timbre-dynamic side and RHYTHM, which has a huge and expressive and formative significance in the melody, it has two more sides of its own, possessing independent expressive possibilities, HAVING THEIR OWN NATURAL TRENDS. The MODAL side determines its character, and the MELODIC DRAWING (“linear” side) determines its content-plastic appearance.

The formation of the fret side was a historically extended and nationally individualized process. The most widely used in European music are the seven-step frets of two moods - major and minor.

A huge number of options for combining different steps increases many times due to the processes of intratonal alteration and modulation chromatism. The regularity is the following: THE MORE STABLE STAGES, THE MORE DIRECTLY (that is, immediately) THE UNSTABLE ARE ALLOWED IN THEM - THE MORE CLEAR AND DETERMINATE THE CHARACTER OF THE MELODY, THE LESS STABLE SOUNDS, THAN MEDIATELY AND NEEDED TO BE ALLOWED HARDER CHARACTER OF THE MUSIC.

The role of the MELODIC DRAWING IS AS VARIOUS AS IT IS IN THE FINE ARTS and is based on the expressive premises of two types of lines: straight lines and curved ones. Straight lines have a definite spatial direction, while curves have freedom and unpredictability. Of course, this is the most general division into line types.

Behind the melodic pattern are meaningful intonation-rhythmic prototypes (prototypes): cantilena, declamation and one that can be conditionally called instrumental, which conveys all the unlimited variety of movement.

Different types of melodic pattern evoke different parallels with the visual arts and differ most markedly from each other in rhythmic terms.

Thus, the cantilena melody is distinguished not only by the predominance of narrow-volume intervals over wide ones, but also by the smoothness of rhythmic relationships, rather large durations, and a combination of diversity and repetition of rhythmic patterns. Associations with fine arts - a portrait, an image of an object or phenomenon, combining individual originality with generalization.

Declamatory melody, on the contrary, is distinguished by the sharpness of pitch and rhythmic relationships, the non-periodicity of melodic constructions and rhythmic patterns, and the “discontinuity” of pauses. Pictorial associations - graphics, with its sharpness, sharpness of lines. Both cantilena and declamatory melody, as a rule, unfold in the natural ranges of human voices.

The instrumental melody evokes ornamental and arabesque associations. It is characterized by motority or periodicity of rhythm, as well as exact or variant periodicity of melodic cells that develop over a wide range. Quite often, instrumental melody relies on chord intonations.

For a long time, different types of melody actively interact with each other. Declamatory rhythm intonations penetrate into the cantilena melody. When varying cantilena melody (in reprises of old da capo arias, for example), it acquired a virtuoso instrumental character. At the same time, a melody that sounds beyond the limits of the real voice range, filled with wide intervals, but in a large, weighty rhythm (side part from part 1 of Shostakovich's 5th symphony) is perceived as cantilena.

Often, a purely instrumental melody in terms of range and rhythm is entirely based on the narrow-volume, smooth intervals characteristic of the cantilena.

The most common property of a melodic pattern is INDIVIDUALITY. The "straight lines" in the melody, as a rule, are fragments of a more complex, individualized pattern (the melody of Chopin's etude in A-flat major, the theme of enmity from Prokofiev's ballet "Romeo and Juliet", for example). Occasionally there are also very expressive straightforward themes, scale themes (a whole-tone scale - the theme of Chernomor in Glinka's Ruslan and Lyudmila, a tone-semitone scale in the volume of several octaves - the theme of the underwater kingdom in Sadko) In such themes, expressiveness comes to the fore , first of all, the features are MODAL, as well as RHYTHMIC, TEMBRO-REGISTER, DYNAMIC, ARTICULATION, etc.

Often, the melodic pattern is WAVE-SHAPED. The profile (outline) of the waves is not the same, and each has its own expressive prerequisites (a wave with a longer rise and a short decline is the most stable and complete).

In the regularities of the melodic pattern, the relationship between the height-spatial profile of the melody and the time of deployment of its constructions is manifested. The more direct the melodic rises and falls are, the more concise the phases of melodic deployment are (for example, in the two initial melodic phrases of the B minor prelude by Chopin), the more flattened and sinuous the melodic profile is, the longer the stages of melodic deployment are (the third phrase of the prelude in B minor by Chopin, melody of his own prelude in E minor).

The climax in the melody has an important formative meaning. The culmination is understood PROCESSUALLY, AS THE MOST INTENSE MOMENT ACHIEVED IN THE PROCESS OF DEVELOPMENT. Due to the great diversity of the nature of music, the intensity of expression in climaxes varies widely and depends on a number of circumstances. The climax does not always coincide with the concept of a melodic peak. The vertex (vertex-source - one of the oldest types of melodic intonation) can also be at the beginning of a melody, while the climax is a procedural-dramatic concept.

The degree of intensity of the climax depends on the MODAL SIGNIFICANCE of the sound, or several sounds (there are culminations of a “point” and culminations of a “zone”.). Climaxes on unstable sounds are distinguished by a greater degree of tension. The LOCATION of the climax is also not indifferent. The culminations on the verge of the third-fourth quarter of the temporal construction (similar to the spatial “golden section point”) have the greatest spatio-temporal balance. Climaxes at the very end have an ecstatic imbalance and are quite rare. The degree of tension also depends on the melodic way of achieving it (PROGRESSIONAL or jump): CULMINATIONS, taken in a JUMP, are like a “bright, short-term FLASH”, ACHIEVED IN A PROGRESSIVE MOVEMENT, they are distinguished by a greater “strength” of expression. And, finally, the degree of tension depends on the response (resonance) of other expressive means (harmony, texture, rhythm, dynamics). There can be several melodic climaxes, then their own line of relationships develops between them.

The relationship of a melody with other means of musical expressiveness is ambiguous and depends not only on its intonational-rhythmic side, but also on the musical WAREHOUSE (the principle of organizing musical fabric) and the musical image itself (more specific or multifaceted). MELODY can DOMINATE, MANAGING OTHER EXPRESSIVE MEANS, SUBJECTING THEM TO ITSELF, it can itself grow out of HARMONY - BE ITS “DIAGONAL” PROJECTION, more independent and “autonomous” development of melody and other expressive means is possible, which, as a rule, is characteristic of complex, multifaceted images , tense (for example, a diatonic melody has a tense-chromatic harmonization, or a modally dynamic melody unfolds for a long time against the background of a harmonic ostinato).

The formative role of melody can hardly be overestimated. Intonationally the most concentrated, the melody has a tremendous impact. All the changes that occur in the melody, or its invariance, make the relief of the flow of musical time very convex.

HARMONY

The broad meaning of this word means the deepest internal coherence and proportion, stretching from the cosmic movement of the planets, to harmonious coexistence, the proportionality of the combination, including musical sounds in harmony.

In music, HARMONY is also considered a more specific phenomenon - the science of consonances (chords) and their relationships with each other. The formation of harmony was no less a long historical process than the formation of melodic modes; from the depths of melodic polyphony, harmony is also born, in the ratio of consonances based on modal gravity.

There are two sides in harmony: PHONIC (THE STRUCTURE OF CONSONANCE AND ITS CONTEXT IMPLEMENTATION) and FUNCTIONAL (relationships of consonances with each other, deployed in time).

The PHONIC side depends not only on the STRUCTURE of consonance, but on its register, timbre, dynamic embodiment, location, melodic position, doubling, as a result of which the expressive role of even the same consonance is infinitely diverse. The more complex the consonance in terms of the number of sounds, the structure of the consonance, the MORE SIGNIFICANT THE ROLE OF THE FACTORS LISTED ABOVE. It is known that acute dissonance is SMOOTHED with the register distance of dissonant sounds. A twelve-sound CLUSTER within one octave gives the impression of a fused sound “SPOT”, and three seventh chords, or four triads spaced into different registers, give the impression of POLYHARMONY.

The FUNCTIONAL side has an important SHAPING significance, creating, thanks to the gravitation of consonances, a feeling of real continuity of time, and harmonic CADENCES create the deepest CAESURAS, marking its dissection. The shaping role of the functional side of harmony is not limited to harmonic turns (their length can be different), but continues in the tonal plan of the work, where the ratios of keys form FUNCTIONS OF THE HIGHER ORDER.

The phonic and functional sides have a feedback: the complication of the phonic side weakens the CLARITY of the functional side, which to a certain extent can be compensated for by other means of expression (rhythmic, timbre, dynamic, articulatory) supporting the SIMILARITY of functional connections or subordinating consonance to the melodic direction of movement.

WAREHOUSE AND INVOICE

Texture - in other words, musical fabric, can have both a generalized and a CONTEXT meaning. The texture is closely connected with the musical warehouse, the fundamental coordination of musical means.

The earliest of the main musical warehouses is MONODY, (monophony), in which intonational, rhythmic, timbre and dynamic characteristics exist as an inseparable whole.

Polyphony is formed from monody for a historically long time and the prerequisites for the emergence of various musical warehouses are created in it - both polyphonic and homophonic-harmonic. HETEROPHONY (sub-voice warehouse) precedes POLYPHONY, and BOURDON TWO- AND THREE-VOICE - HOMOPHONE-HARMONIC WAREHOUSE.

IN HETEROPHONY, non-monophony arises EPISODICALLY, FROM DIFFERENT VARIANTS OF ONE melodic voice, which is quite natural for the music of the oral tradition. Bourdon polyphony presupposes sharp differences in different layers: a long-lasting sound or consonance (of instrumental, bagpipe origin), against which a more mobile MELODIC VOICE unfolds.

The very principle of DIFFERENT FUNCTIONALITY is, of course, the forerunner of the homophonic warehouse. Tape two-voice also heralds polyphony, although both voices have the same melodic meaning (tape two-voice is the DOUBLING of a melodic voice initially at the same interval, initially into perfect consonance, later categorically expelled by the norms of later polyphony) Later, doublings are more free and varied ( dubbing at variable intervals), which gives the voices a little more independence, although it retains their general MELODIC nature. In folk music, much earlier than in professional music, the CANON appears - a two- or three-voice performance of the same melody, which starts AT THE TIME. Later, the canon (the basis of IMITATION POLYPHONY) becomes one of the important development factors in professional music.

POLYPHONY - polyphony of melodically equal voices. In polyphony (another name is COUNTERPOINT in the broad sense of the word), the functions of the voices in simultaneity are DIFFERENT. There is a function of MAIN voice and COUNTERPOINT, or COUNTERPOINTS (depending on the number of votes). The equality and independence of voices are ensured by the transition of these functions from voice to voice (circulation), as well as by COMPLEMENTARY RHYTHM, INDIVIDUALIZING MOVEMENT (rhythmic inhibition in one of the voices is compensated by the rhythmic activity of others, which, on the one hand, enhances the independence of each line, and on the other hand, strengthens time-measuring regularity of the metrorhythm). The polyphonic texture is distinguished by intonational unity and a special “democratic” correlation of voices (due to the looseness of functions, their constant movement from voice to voice), evokes associations with conversation, communication, discussion of a topic, free movement-walk.

Mature polyphony crystallizes the important dynamic formative role of HARMONY, which activates the development of INDEPENDENT MELODIC VOICES.

HOMOPHONE-HARMONIC WAREHOUSE is a polyphony of DIFFERENT FUNCTIONAL (i.e., unequal voices). THE FUNCTION OF THE MAIN VOICE - MELODIES - IS PERMANENTLY (or for a long time) ASSIGNED TO ONE OF THE VOICES (most often, the upper one, sometimes the lower one, less often the middle one). ACCOMPANYING VOICES ARE FUNCTIONALLY DIFFERENTIATED - this is the function of BASS, the harmonic support, the “foundation”, like the melody, highlighted register and rhythmically, and the function of HARMONIC FILLING, as a rule, having the most diverse rhythmic and register embodiment. The homophonic texture is somewhat similar to the coordination of a ballet scene: in the foreground there is a soloist (melody), deeper - a corps de ballet - where there is a corps de ballet soloist (bass), performing a more complex, significant part, and corps de ballet dancers (harmonic filling) - (different characters , whose costumes and roles change in different acts of the ballet). The homophonic texture is rigidly coordinated and functionally differentiated, in contrast to the polyphonic one.

Both in polyphonic and homophonic textures, DUPLICATIONS are often found (most often - doublings in one interval or another, simultaneous or sequential). In polyphonic music, duplications are more typical of organ music (mostly achieved by including the appropriate register), in clavier music they are more rare. In homophonic music, duplications are more widespread in relation to individual textural functions or capture all functions. This is especially typical of orchestral music, although it is also common in piano and ensemble music.

The CHORD warehouse is most likely to be attributed to the intermediate ones. With polyphony, it is brought together by the same nature of voices (harmonic), and with homophonic - by the function of bass, harmonic support. But in the chordal warehouse, all voices move in the same rhythm (isorhythmic), which, along with the register compactness of the voices, does not allow the UPPER VOICE TO BECOME THE MAIN VOICE (melody). The votes are equal, but this is the equality of walking in formation. Doublings are also found in the chord warehouse: most often, the bass, which enhances its function, or duplications of all voices. The expressiveness of such music is distinguished by great restraint, rigor, and sometimes asceticism. There is an easy transition from the chordal warehouse to the homophonic-harmonic one - a rather rhythmic individualization of the UPPER VOICE (see, for example, the beginning of the slow movement from Beethoven's 4th sonata).

Music warehouses very often interact with each other, both sequentially and SIMULTANEOUSLY. This is how MIXED WAREHOUSES or COMPLEX POLYPHONY are formed. This can be the interaction of homophonic-harmonic and polyphonic warehouses (enriching the homophonic warehouse with the functions of counterpoints of one kind or another, or a polyphonic form unfolding against the background of homophonic accompaniment), but also the combination of several different musical warehouses in a textural context.

The shaping role of texture has significant possibilities for creating both unity, unity, and dismemberment of music. In classical and romantic music, the formative role of texture is manifested, as a rule, in a close-up, to create unity and contrasts between large sections of the form and parts of cycles. . The expressive meaning of changes in short constructions, which are widespread in classical and romantic music, is rather expressive than formative, emphasizing the versatility of the image. Significant changes in the formative role of texture in the process of historical development, perhaps, did not occur.

TEMP, timbre, dynamics.

TEMP in music has strong psycho-physiological vital roots, and therefore has a great immediacy of influence. Its shaping role, as a rule, manifests itself in a close-up, in the ratio of parts of cyclic works, often typified and regularly organized in terms of tempo (for example, in a classical symphonic cycle, a concerto for solo instruments with an orchestra, a baroque orchestral concerto). For the most part, fast tempos are associated with movement, action, and slow tempos are associated with meditation, reflection, contemplation.

Most cyclic works of baroque and classical music are characterized by tempo stability within each movement. The episodic tempo changes that occur have an expressive meaning, giving a lively flexibility to the flow of the music.

The expressive and formative role of TEMBRA and DYNAMICS turned out to be HISTORICALLY VARIABLE. In these means, which also directly and strongly influence, the inverse relationship between their expressive and formative role is clearly manifested. THE MORE VARIOUS EXPRESSIVE APPLICATION, THE LESS SIGNIFICANT THEIR SHAPING ROLE.

So, in Baroque music, orchestral compositions are very diverse and unstable. The deployment of the timbre side is dominated, in essence, by ONE PRINCIPLE: COMPARISON OF THE SONARITY OF TUTTI (the sound of the whole orchestra) and SOLO (individual or group), the changes of which coincided with the large relief of the musical form. These shifts are also associated with DYNAMIC comparisons: louder sonority in tutti, and quieter - in solo. It can be said that all orchestral music of the Baroque, in terms of dynamics and sonority, repeats the timbre and dynamic capabilities of the CLAVIER, which had the ability to create only TWO TIMBER and DYNAMIC GRADES due to the design features of this group of keyboard instruments, although the dynamic capabilities of string and wind instruments are much more diverse. Thus, changes in timbres and dynamics are of significant importance in shaping.

In classical and romantic music, the EXPRESSIVE side of these means, of course, PREDOMINATES, being distinguished by a huge variety and changeability, while the SHAPING side LOSES any noticeable significance. The leading formative role in the music of that time belongs to the individualized thematic and tonal-harmonic plan.

In the process of historical development, in almost all means of expression, a general TREND OF INDIVIDUALIZATION appears.

In the field of modal-melodic, it begins as early as the 19th century (whole-tone mode, Rimsky-Korsakov mode.). In the 20th century, the trend intensifies. It can be based on various interactions of the traditional tonal system (as, for example, in the music of Hindemith, Prokofiev, Shostakovich and many other composers of the 20th century, whose music is distinguished by its unique individuality). The tendency of individualization finds its extreme expression in dodecaphonic and serial music, where the scale-melodic phenomena acquire a CONTEXT CHARACTER, LOSSING THE UNIVERSALITY of possibilities. The metaphorical connection between LANGUAGE and MUSIC (music is a language whose words are formed in context) can be continued (in dodecaphone and serial music, not words, but LETTERS are formed in context). Similar processes take place in harmony, where both the consonances themselves and their connections with each other have a CONTEXT (single, “one-time”) meaning. The reverse side of originality is the loss of universality.

Significant individualization in the music of the twentieth century is also manifested in the METRORHYTHM. Here the influence of non-European musical cultures, and the author's ingenuity (Messian, Xenakis) are felt. In many works by different composers, the traditional notation of the metrorhythm is abandoned, and the string HRONOS is introduced into the score, which measures time in real physical units: seconds and minutes. The timbre and textural parameters of the music are significantly updated. The regularities and properties of time (its fusion and dissection) remain the same. The rejection of the traditional pitch and metro-rhythmic organization leads to an increase in the formative role of such means as timbre and dynamics. It was in the 20th century that the shaping role of timbre and dynamics becomes truly independent in some works by Lutoslawski, Penderecki, Schnittke, Serocki and others. cope with the task of embodying the essential properties of time - its fusion and discreteness.

Means of musical expression always complement each other. However, the structure of this complementarity can be different, depending on the nature of the musical image, clearer, more integral, specific, or multifaceted, more complex. With a certain nature of music, as a rule, the structure of complementarity can be conditionally called MONOLITHIC or RESONING. When in music there is a kind of “stratification” of expressive means into several layers-planes, the structure of complementarity can be called MULTIPLE, DETAILED, DIFFERENTIATED. For example. In Chopin's prelude in E minor, the repeatedly repeated melodic intonation is accompanied by an evenly pulsing chromatically rich harmony, in which many delays pass from voice to voice, creating considerable tension. Quite often, in music there are signs of several genres at the same time. So, for example, in the same Chopin, the genre features of the chorale are combined with the features of the march, barcarolle; genre combination of march and lullaby. A chromatically rich melody can sound against the background of a harmonic ostinato, or harmonic variation occurs with an invariably repeated melody. Detailed complementarity is found both in baroque music (most of all in ostinato variations) and in classical music, increasing quantitatively in romantic and later music. But even in the music of the 20th century, monolithic complementarity does not disappear. It is worth recalling once again that everything depends on the degree of clarity or the complex diversity of the musical image.

PERIOD

The period is one of the most flexible, versatile, diverse musical forms. The word period (cycle, circle) implies some completeness or inner unity.

In music, this word comes from literature, where it means a common statement, similar to a paragraph of printed text. Literary paragraphs are concise and detailed, consisting of one or more sentences, simple or complex, with varying degrees of completeness. We find the same diversity in music.

Due to the significant diversity of the structure of the period, it is difficult to give it a definition other than a FUNCTIONAL definition in homophonic music.

THE PERIOD developed as a TYPICAL FORM OF EXPOSURE OF THE HOMOPHONE THEME, OR ITS MAIN INITIAL STAGE.

In the historical development of music, not only the intonational side, the genre origins of the musical theme changed, but, much more significantly, the material side of the theme (its WAREHOUSE, EXTENSION). In polyphonic music, the presentation of the THEME is, as a rule, ONE VOICE and, often, laconic. THE PERIOD OF THE TYPE OF DEPLOYMENT, widespread in Baroque music, is a long stage of inventive variant development and a varying degree of completion of the BRIEF POLYPHONIC THEME outlined earlier. Such a period often gravitates towards fusion or disproportionate dissection, to tonal-harmonic openness. Of course, in the music of Bach and Handel there are also periods of another type: short, consisting of two equal, often similarly beginning sentences (in suites and partitas, for example). But such periods are much less. In homophonic music - a period - a presentation of the entire theme or its main first section.

At the heart of the period is the HARMONIC SIDE, from which the STRUCTURAL and THEMATIC SIDE follow. The RHYTHMIC SIDE is fairly independent of the above.

From the HARMONIC SIDE, the tonal plan (SINGLE-TONE or MODULATORY period) and the degree of completion (CLOSED - with a stable cadence, and OPEN - with an unstable or no cadence) are essential. Large parts of the period that have a harmonic cadence are called SENTENCES, which determines the next, STRUCTURAL SIDE. If there are several sentences in a period, then the cadences in them are more often different. There are many variants of their ratios and degree of difference. Less common are the same cadences in sentences that are different in music (the exact repetition of the period DOES NOT FORM). IN CLASSICAL MUSIC CONSTRUCTIONS LESS THAN A PERIOD ARE NOT REPEATED. The period often has a marked or written (as a rule, modified) repetition. Repetition streamlines the rhythmic side of music (periodicity) and organizes perception.

In the STRUCTURAL plan, there are periods. INDIVISIBLE INTO OFFERS. It is quite appropriate to call them PERIOD-SUPPLY, BECAUSE THE HARMONIC CADENCE IS AT THE END. The name CONTINUOUS PERIOD IS WORSE, since within such a period there can be clear and deep caesuras not supported by harmonic cadences (the main part of Haydn's sonata in E-flat major, for example). Often there are periods of TWO SENTENCES. They can be simple or COMPLEX. In a difficult period, two steady cadences in DIFFERENT KEYS. There are also simple periods of THREE SENTENCES. If there are several proposals, the question arises about their THEMATIC RELATIONSHIP.

IN THE THEMATIC PLAN, PERIODS CAN BE REPEATED RATIO (simple and complex periods of two sentences, periods of three sentences). In them, sentences begin the same way, similarly, or CONSEQUENTLY (same beginnings in DIFFERENT KEYS, sequence at a distance). The tonal ratios of the two sentences are already very diverse in classical music. In further historical development, they become even more diverse and complex. Simple periods of two and three sentences can be NON-REPEATED THEMATIC RELATION (their beginnings do not have an obvious similarity, primarily melodic). PARTIALLY REPEATED RELATIONSHIP can only be periods of THREE SENTENCES (similar beginnings - in two sentences out of three - 1-2, 2-3, 1-3).

The rhythmic side of the period is not so directly related to the three sides discussed earlier. SQUARE (powers of the number 2 - 4, 8. 16, 32, 64 bars) creates a feeling of proportionality, balance, strict proportion. NON-SQUARE (other extensions) - greater freedom, efficiency. Within the period, the functional triad unfolds repeatedly and unregulated. The intensity of the manifestation of form-building forces depends, first of all, on the nature of the music.

SQUARE and NON-SQUARE are formed depending on TWO REASONS - ON THE NATURE OF THEMATISM (often, ORGANICALLY NON-SQUARE) and INTENSITY OF MANIFESTATION OF SHAPE-SHAPING FORCES. ACTIVATION OF THE CENTRIFUGAL FORCE causes EXPANSION (development that occurs before a stable cadence), followed by activation of the CENTRIFUGAL FORCE, causing ADDITION (assertion of the achieved stability after a cadence). These phenomena (addition, expansion), seemingly clearly delimited, are often closely intertwined. So, the expansion is not always balanced by the addition. Sometimes an extension occurs within an addition that has already begun (see, for example, the main part of the finale of Beethoven's Pathetique Sonata), the addition can be interrupted before a stable ending (the end of the first section of Chopin's Nocturne in F major). This is typical both for individual means of expression and for music as a whole. VARIABILITY OF FUNCTIONS.

In classical instrumental music, the period does not occur as an independent form (occasionally one can meet the period as a form of a small aria). In romantic and later music, the genre of instrumental and vocal MINIATURE (preludes, album leaves, various dances, etc.) is widely used. In them, the period is often used as an independent form (sometimes it is called a SINGLE-PART form). Preserving all the variety of structural, thematic and rhythmic aspects, in terms of tonal-harmonic terms, the period becomes monophonic and complete, practically without exception (although the internal tonal-harmonic development can be intense and complex - in Scriabin and Prokofiev, for example). In the period as an independent form, the length of extensions and additions can significantly increase. In additions, there are often moments of reprise. In predominantly vocal music, instrumental introductions and postlude codas are possible.

The universal flexibility of the form of the period is confirmed by the frequent presence in it of signs of other, larger musical forms: two-part, three-part, sonata exposition, signs of rondo-likeness, sonata form without development. These signs are found already in classical music and are amplified in later music (see, for example, Chopin's Nocturne in E minor, his Prelude in B minor, Lyadov's Prelude op. 11, Prokofiev's Evanescence No. 1)

The diversity in the structure of the period is due to DIFFERENT SOURCES OF ITS ORIGIN AND THEIR INTERACTION WITH EACH OTHER. It is worth recalling that one of them is the POLYPHONIC PERIOD OF THE TYPE OF DEPLOYMENT with its inclination towards fusion or disproportionate dissection, tonal-harmonic openness, intensity of variant development. The other is the STRUCTURES of FOLK MUSIC with their clarity and simplicity of thematic and rhythmic relationships.

SIMPLE FORMS.

This is the name of a large and varied group of forms of several parts (usually two or three). They are united by a similar function (an impulse for the form as a whole) and the form of 1 part (the period of a particular structure). This is followed by the stage of THEMATIC DEVELOPMENT and completion, expressed in one way or another.

In simple forms, there are ALL TYPES OF DEVELOPMENT (VARIANT, VARIANT-CONTINUING, CONTINUED). Not infrequently, sections of simple forms are repeated exactly or in variations. Forms with CONTINUED development should be called TWO-DIM.

The diversity in the structure of simple forms is due to the same reasons as the diversity of the structure of the period (different origins: the forms of baroque polyphony and the structure of folk music).

It can be assumed that varieties of a simple two-part form are somewhat “older” than a three-part one, so we will consider them first.

Of the three varieties of the simple two-part form, one is closest to the old two-part form. This is a SIMPLE TWO-PIECE SINGLE-DOM SILENT FORM. In it, the first part is very often a MODULATING (usually in a dominant direction) period (in this there is an undoubted similarity with part 1 of the OLD TWO-PART form, and part 2 gives its variant development, ending in the MAIN KEY. As in the old two-part, in 2 part, the function of DEVELOPMENT is expressed more prominently, and, often, more continuously than the function of COMPLETION, which manifests itself in TONAL CLOSEDNESS.Another proposed model of a SIMPLE TWO-PART SINGLE-Dark WITHOUT REPRESENTATION FORM is a period of two sentences of a non-repeated thematic correlation, where the 2nd sentence also performs the function of DEVELOPMENT in relation to to 1 (the development is usually VARIANT).The ratio of the length of the parts both in the old two-part and in the two-part one-dark homophonic two-part form is different: there are equal length ratios, but, often, the 2nd part is greater than 1, sometimes significantly.The functional ratio of the parts is as follows : 1 h -I, 2 -MT.

The other two varieties of the simple two-part form have their roots in FOLK MUSIC.

A SIMPLE TWO-PART TWO-DIMENSIONAL FORM is based on the principle of simple juxtaposition, on the principle of CONTRAST PAIRING, which is very typical for folk art (song - dance, solo - choral). One of the syntactic structures, a pair of periodicities, can also serve as a prototype of this form. The semantic relationship of the two themes can have three options: DIFFERENT EQUAL (the main part of the 1st part of the 12th piano sonata by Mozart / K-332 /; MAIN - ADDITIONAL (solo - chorus) - (the theme of the finale of Beethoven's sonata 25); INTRODUCTORY - MAIN (MAIN PART OF THE FINAL 12 SONATAS by Mozart /K-332/).It is in this variety of form that part 2 is often written in the form of a period, since CONTINUED DEVELOPMENT IS A STATEMENT OF A NEW THEME, and the period is the most typical form for this.Thus, the function of development and completion (mt) is veiled by the STATEMENT of the new topic function (I). The length of the topics can be the same or different.

A SIMPLE TWO-PART REPRISE form is distinguished by FUNCTIONAL COMPLETENESS and DIFFERENCE, RHYTHMIC PROPORTIONALITY, which is very important in this variety. 1 part in it, as a rule, a period of 2 sentences (often, modulating, repeated or non-repeated ratio of equally long sentences). Part 2 is divided into two sections: MIDDLE (M), equal in length to one sentence, and REPRISE (t), repeating exactly or with changes one of the sentences of part 1. IN THE MIDDLE, most often there is a VARIANT or VARIANT-CONTINUED development of part 1, as a rule, without a stable ending. Changes in the REPRISE can be either purely harmonic (exact repetition is impossible, and 1 sentence is due to an unstable cadence, and 2 due to modulation), or more significant and varied (in section 1 of the slow movement 1 of Beethoven's sonata, for example). In the REPRIZE, extensions and additions are rather rare, since the balance of proportions typical of this variety is violated (see, for example, the slow movement of Haydn's sonata in E-flat major, Scriabin's prelude op. 11 No. 10). Due to the short length of the MIDDLE, continued development in it and a deep contrast is a great rarity (see, for example, 11 Prokofiev's fleetingness).

It can be assumed that a SIMPLE THREE-PART FORM “GROWS” from a SIMPLE TWO-PART REPRISE FORM.

DIFFERENT KINDS OF DEVELOPMENT also occur in the SIMPLE THREE-PART FORM. It can be SINGLE (with variant development in 2 parts - MIDDLE), TWO-DIM (with continuing development), and with MIXED development (with variant-continuing, or continuing and variant replacing each other, in one sequence or another.

A significant difference from a simple two-part reprise form is the EXTENSION OF THE MIDDLE. It is not less than 1 part, and sometimes more than it (see, for example, 1 section of the Scherzo from Beethoven's 2 sonatas). The middle of a simple three-part form is characterized by a significant increase in tonal-harmonic instability, openness. Often there are ligaments, predicates to a reprise. Even in the two-dark, three-movement form (with continuing development), a new theme is rarely presented in the form of a period (see, for example, Chopin's mazurka in A-flat major, op. 24 No. 1). A rare exception is the Mazurka in G minor by Chopin op.67 No. 2, where the 2nd movement is a theme in the form of a period. After this repeated theme, there is an extended monophonic link to the reprise.

Reprises can be divided into two types: EXACT and MODIFIED. The range of changes encountered is very wide. DYNAMIC (or DYNAMIC) can be considered only such altered reprises in which the tone of expression and tension is enhanced (see, for example, the reprise of section 1 of the minuet from Beethoven's sonata 1). Expression tension may also decrease (see, for example, the reprise of section 1 of Allegretto from Beethoven's sonata 6). In the modified reprises, it is necessary to talk about the nature of the changes that have occurred, since the semantic meaning of the reprises is wide and ambiguous. In the altered reprises, the centrifugal force retains and shows activity, therefore, the completion function (T), associated with the activation of the centripetal force, continues in ADDITION or CODE (their meaning is the same, but the code is more semantic, independent and extended).

In addition to varieties of simple two-part and three-part forms, there are forms similar to one or the other, but not coinciding with them. For them, it is advisable to use the proposed by Yu.N. Kholopov's name SIMPLE REPRISE FORM. In this form, the middle is equal to half of 1 part (as in the SIMPLE TWO-PART REPRISE FORM), and the repetition is equal to 1 part or more of it. This form is often found in the music of the classics and romantics (see, for example, the theme of the finale of Haydn's sonata in D major No. 7, minuets 1 and 2 from Mozart's sonata No. 4 /K-282 /, section 1 of Chopin's Mazurka op. 6 No. 1) . There are also several other options. The middle can be more than half of the 1st movement, but less than the entire 1st movement, while the reprise contains an intensive extension - the 2nd movement of the 4th Beethoven sonata. The middle is as in two-part form, and the reprise is extended almost to the length of 1 part - Largo appassionato from Beethoven's 2 sonata.

In simple forms, repetitions of parts, exact and varied, are widespread (exact ones are more typical for mobile music, and varied ones are more typical for lyrical). In two-part forms, each part can be repeated, only 1, only 2, both together. Repetitions in the three-part form indirectly confirm its origin from the reprise two-part form. The most common repetitions of parts are repetition 1 and 2-3 together, repetition of only 1 part, only 2-3 together. Repetition of the entire form. The repetition of each part of the three-part form, only 2 parts (Mazurka in G minor by Chopin op. 67 No. 2), or only 3 parts - are VERY RARE.

Already in classical music, simple forms are used both as independent ones and as forms of a developed presentation of topics and sections in others (in complex forms, variations, rondo, sonata form, rondo-sonata). In the historical development of music, simple forms retain both meanings, although due to the spread of the MINIATURE genre in instrumental and vocal music of the 19th and 20th centuries, their independent use is increasing.

COMPLEX FORMS

This is the name of the forms in which 1 section is written in one of the simple forms, followed by another stage of thematic development and completion, expressed in one way or another. The second part in complex forms, as a rule, contrasts in relief 1. and the thematic development in it is usually CONTINUING.

The prevalence of simple forms (two-part, three-part, simple reprise) is approximately the same, which cannot be said about complex forms. So, the COMPLEX TWO-PART FORM is quite rare, especially in instrumental music. Examples of a complex two-part form in vocal-instrumental music are far from indisputable. In the duet of Zerlina and Don Giovanni, the first section, repeated in couplets, is written in a simple recapitulation form, while the second section is undoubtedly an extended coda. The function of the coda is also obvious in the second part of Don Basilio's aria about slander from Rossini's opera The Barber of Seville. In the aria of Ruslan from Glinka's opera "Ruslan and Lyudmila" in part 1, the function of the introduction is tangible, since the next section of the aria (Give, Perun, damask sword) is much more complex and lengthy (a sonata form without development is rare for vocal music).

A striking example of a complex two-part form in instrumental music is Chopin's Nocturne in G minor, op.15 No.3. The first section is a simple two-part single-dark non-reprise form. The first period is very long. The character is lyric-melancholic, signs of the serenade genre are tangible. In the second part, intensive tonal-harmonic development begins, lyrical excitement grows, and expressive tone rises. A short decay of dynamics leads to the repetition of one sound in a deep bass register, which serves as a transition to the SECOND PART OF A COMPLEX TWO-PART FORM. Also written in a simple two-part single-dark non-reprise form, it contrasts strongly with the first movement. The music is closest to a chorale, but not sternly ascetic, but light, softened by a triple meter. This two-part form is tonally independent (variable F major - D minor), modulation into G minor occurs in the last bars of the piece. The ratio of images turns out to be the same as one of the variants of the ratio of themes in a simple two-part two-dark form - DIFFERENT - EQUAL.

A COMPLEX THREE-PART FORM is extremely widespread in music. Its two varieties, differing in the STRUCTURE of the SECOND PART, HAVE DIFFERENT GENRE ROOTS IN Baroque MUSIC.

A complex technical form with a TRIO comes from the double inserted (mainly gavotte, minuet) dances of the old suite, where at the end of the second dance there was an instruction to repeat the first dance. In a complex three-part form, unlike the suite, the trio introduces a tonal contrast, often reinforced by timbre-register and rhythmic contrast. The most typical keys of the trio are SAME-SAME AND SUB-DOMINANT KEYS, so there is often a CHANGE OF KEY SIGNS. Verbal designations are also frequent (TRIO, MAGGORE, MINORE). The TRIO is distinguished not only by its thematic and tonal independence, but also by its CLOSED STRUCTURE (PERIOD, OR, more often, ONE OF THE SIMPLE FORMS, often with repetition of parts). With tonal contrasting of the trio, after it there may be a modulating link to the REPRISE, which is introduced more smoothly. A complex three-part form with a trio is more typical of mobile music (minuets, scherzos, marches, other dances), less common in lyrical, slow-moving music (see, for example, Mozart's Piano Sonata in C major, K-330, part 2). "Remnants" of the Baroque can be found in some works of the classics (two minuets in Mozart's piano sonata in E-flat major, K-282, Haydn's sonata for violin and piano in G major No. 5).

A COMPLEX THREE-PART FORM WITH AN EPISODE comes from the old Italian aria da capo, in which the second part, as a rule, was much more unstable, changeable moods. The reprise of such an aria was always filled with variational improvisational changes in the part of the soloist.

A complex three-movement form with an EPISODE, which at the beginning, as a rule, relies on independent thematic material (continuing development), in the process of its deployment often involves the development of the thematic material of the 1st movement (see, for example, 2nd movement of Beethoven's Fourth Piano Sonata).

EPISODE, unlike TRIO, is OPEN tonally-harmonically and structurally. The episode is introduced more smoothly, preparing for a bunch, or starting in a closely related key (parallel). A completed typical structure is not formed in an episode, but a modulating period may occur at the beginning of an episode). A complex three-part form with an episode is more typical of lyrical music, although in Chopin, for example, it is also found in dance genres.

REPRIZES, as in simple forms, are of two types - EXACT and MODIFIED. The changes can be very varied. Abbreviated reprises are very common, when one initial period is repeated from 1 part, or developing and reprise sections of a simple form. In a complex three-part form with a trio, both exact reprises and abbreviated ones are often indicated. Of course, in a complex three-part form with a trio there are altered reprises (variation is more common than other changes), they, i.e., modified reprises) are more common in a complex three-part form with an EPISODE. In classical music in complex three-part form, dynamic reprises are less common than in simple three-part form (see the previous example from Beethoven's Fourth Sonata). Dynamization can extend to the coda (see, for example, Largo from Beethoven's Second Sonata). In a complex three-part form with an episode, the codes are, as a rule, more developed, and contrasting images interact in them, when, as in a complex three-part form with a trio, contrasting images are compared, and the codes, usually very laconic, are reminiscent of the music of the trio.

A mixture of features of the trio and the episode is already found in the Viennese classics. Thus, in the slow movement of Haydn's Grand Sonata in E-flat major, the second movement contrasts brightly, like a trio (the tonality of the same name, relief texture-register contrast, a clearly outlined simple two-part reprise form, harmonically open at the very end). In terms of intonation and thematic, the theme of this section is a modal and new in texture version of the theme of the first part. It happens that when parts of the standard form of the trio are repeated, variant changes are made there, turning the repeated section into a bundle (see, for example, the scherzo from Beethoven's Third Piano Sonata). In the music of the 19th and 20th centuries, one can also find a complex three-part form with a trio, with an episode, and with a mixture of their structural features.

Strictly speaking, complex forms should be considered only those in which not only part 1 is one of the simple forms, but the second part does not go beyond simple forms. Where the second section is larger and more complex, it is more appropriate to speak of LARGE THREE-PARTS, BECAUSE THE FORM FORMATION IN THEM IS MORE INDIVIDUAL AND FREE (scherzo from Beethoven's Ninth Symphony, Chopin's Scherzo, Wagner's Tannhäuser Overture, Taneyev's Minuet).

Repetitions of parts of complex forms, similar to repetitions in simple forms, are not so common, but they can be either exact or modified (usually varied). If the changes during repetition go beyond variation, affect the tonal plan, and (or) length, DOUBLE FORMS are formed (examples of double forms are Chopin's Nocturnes op. 27 No. 2 - a simple double three-part form with a coda, op. 37 No. 2 - a complex double three-part form with an episode). In dual forms, there are always signs of other forms.

In addition to simple and complex forms, there are also INTERMEDIATE IN DEGREE OF COMPLEXITY. In them, the first part is a period, as in simple forms, and the next section is written in one of the simple forms. It should be noted that the TWO-PART FORM, INTERMEDIATE between COMPLEX AND SIMPLE, is more common than the complex two-part form (see, for example, Balakirev's romance “Bring me in, oh night, secretly”, Chopin's mazurka in B minor No. 19 op. 30 No. 2). The three-part form, intermediate between simple and complex, is also quite common (Musical Moment in F minor by Schubert, op. 94 No. 3, for example). If the middle section in it is written in a simple three-part or simple reprise form, tangible features of symmetry appear, introducing a special completeness and beauty (see, for example, Chopin's mazurka in A minor No. 11op. 17 No. 2).

VARIATIONS

Variations are one of the most ancient musical forms. Different types of variations developed in the 16th century. However, the further historical development of some types of variations was uneven. So, in the late Baroque era, there are practically no variations on soprano ostinato, and ornamental variations are quantitatively inferior to variations on basso ostinato. Ornamental variations quantitatively predominate in classical music, almost completely replacing variations on basso ostinato (certain features of variations on basso ostinato are noticeable in Beethoven's 32 variations and his 15 variations with fugue.). Variations on the soprano ostinato occupy a very modest place (movement 2 of the "Kaiser" of the Haydn quartet, single variations within many ornamental cycles, a group of three variations in Beethoven's 32 variations), or interact with other principles of shaping (movement 2 of Beethoven's Seventh Symphony).

In the bowels of the ornamental variations, the features of the free, widely represented in romantic music, "ripen". Free variations, however, do not crowd out other types of variation from artistic practice. In the 19th century, variations on the soprano ostinato experienced a true heyday, especially in Russian opera music. Towards the end of the 19th century, interest in variations on the basso ostinato revived, continuing into the 20th century. The genres of chaconne and passacaglia acquire an ethically deep meaning of expressing generalized grief.

Variation themes can be divided into two groups according to their origin: authorial and borrowed from folk or popular music (there are also auto-borrowings, an example of which is Beethoven's 15 variations with a fugue).

The expressiveness of variational cycles is based on the dynamics of the ratio of UNCHANGING and UPDATED, in connection with which the concept of INVARIANT (unchanged in the process of variation) should be introduced. The invariant, as a rule, includes constant components, which are preserved throughout all variations, and variables, which are not preserved in terms of variations.

The "material" side of the musical theme is historically changeable. Therefore, different types of variations differ from each other in the STRUCTURE OF THE THEME and COMPOSITION OF THE INVARIANT.

There is a kind of dialectical tension between the integrity of the form and the cyclic features inherent in variations. Already by the 17th century, two different methods for completing variational cycles had developed. One of them is the PRINCIPLE OF CHANGE FOR THE LAST TIME, inherent in folk art. In this case, a sharp transformation of the invariant occurs in the last variation. The second one can be called "REPRISE CLOSURE". It consists in returning the theme in its original form, or close to it. In some variational cycles (by Mozart, for example), both methods are used at the end.

Let's start with the cycles of variations on the basso ostinato.

Often this type of variation is associated with the genres of passacaglia and chaconne - old dances of Spanish origin (however, for Couperin and Rameau, these dances are not such variations at all, for Handel, the passacaglia from the clavier suite in G minor is a variation of a mixed type, but this dance is not related has because of the DOUBLE size). Variations on basso ostinato are also found in vocal-instrumental and choral music without genre refinements, but in spirit and, most importantly, meter-rhythmic to these genres.

The constant components of the invariant are the PITTING LINE of a short (not longer than a period, sometimes a sentence) monophonic or polyphonic theme, from which the bass line is taken as an ostinato repeated, extremely intonationally generalized, descending chromatic orientation from degree I to V, endings are more diverse.

THE FORM OF THE THEME is also a constant component of the invariant (up to the last variation, which in organ passesacaglia, for example, is often written in the form of a simple or complex fugue).

TONALITY can be a constant component of an invariant (Bach's Chaconne from the solo violin partita in D minor, Bach's organ passacaglia in C minor, Dido's second aria from Purcell's Dido and Aeneas, and other examples), but it can also be VARIABLE (Vitali's Chaconne, first aria Dido, Buxtehude organ passacaglia in D minor, for example). HARMONY IS A VARIABLE component, RHYTHM, as a rule, is also a variable component, although it can be constant (Dido's first aria, for example).

The brevity of the theme and the polyphonic warehouse of music contribute to the combination of variations into groups by one or another intonation, textural, rhythmic features. Contrasts are formed between these groups. The most striking contrast is made by the group of in-mode variations. However, in a number of works, modal contrast is absent even in large cycles (for example, in the organ passacaglia in C minor by Bach, in the first aria of Dido, the contrast is tonal, but not modal).

VARIATIONS ON SOPRANO OSTINATO, as well as BASSO OSTINATO, in the PERMANENT COMPONENTS of the INVARIANT have a MELODIC LINE and FORM of the theme, which can be stated both in one voice and in many voices. This type of variation is very strongly associated with the genre of the song, and therefore, the length and form of the theme can be very different, from very concise to very detailed.

TONALITY can also be a CONSTANT COMPONENT of an INVARIANT, but it can also be a VARIABLE. HARMONY is more often a VARIABLE component.

Admittedly, variations of this type are the most common in opera music, where orchestral accompaniment has great potential to colorfully comment on the renewing textual content of the repeated melody (Varlaam's song from Mussorgsky's Boris Godunov, Marfa's aria from Khovanshchina, Lel's third song from Snegurochka) Rimsky-Korsakov, Volkhova's lullaby from "Sadko"). Often, small cycles of such variations approach the couplet-variation form (Vanya's song "How Mother Was Killed" from Glinka's "Ivan Susanin", the boyar's glorifying chorus from "Scenes under Kromy" from "Boris Godunov", etc.).

In instrumental music, such cycles usually include a small number of variations (Introduction to "Boris Godunov", Intermezzo from "The Tsar's Bride" by Rimsky Korsakov, for example). A rare exception is Ravel's "Bolero" - variations on a double ostinato: melody and rhythm.

Separate variations on the soprano ostinato are often included in the ornamental and free variations, as mentioned earlier, or interact with other form-building principles (mentioned II movement from Beethoven's Seventh Symphony, II movement of Franck's Symphony in D minor, II movement of Scheherazade by Rimsky- Korsakov).

The ORNAMENTAL VARIATIONS are based on the HOMOPHONE THEME, written, as a rule, in one of the simple forms, often with typical marked repetitions of parts. The object of variation can be both the entire polyphonic whole, and individual aspects of the theme, harmony, for example, or melody. The melody is subjected to the most diverse ways of variation. There are 4 main types of melodic variation (ornamentation, chant, re-intonation and reduction), each of which can dominate over the entire variation or a significant part of it, and interact with each other sequentially or simultaneously.

ORNAMENTATION introduces a variety of melodic-melismatic changes, with abundant use of chromaticity in whimsical rhythmic movement, making its appearance more refined and refined.

CHANT "stretches" the melody into an extended smooth line in a motor or ostinato rhythmic pattern.

RE-INTONING introduces the freest changes into the intonational-rhythmic shape of the melody.

REDUCTION "enlarges", "straightens" the rhythm intonations of the theme.

The interplay of different types of melodic variation creates endless possibilities for change.

The significantly greater length of the theme and, consequently, of each variation contributes to the independence of each of them. That does not at all exclude their association in small (2-3 variations) groups. Noticeable genre contrasts arise in ornamental variations. So, in many variations of Mozart, there are usually arias of various types, duets, finals. Beethoven's gravitation towards instrumental genres (scherzo, march, minuet) is more noticeable. Approximately in the middle of the cycle, the most striking contrast is introduced by a variation in the SAME MODE. In small cycles (4-5 variations) there may be no modal contrast.

THE PERMANENT COMPONENTS OF THE INVARIANT are KEY and FORM. HARMONY, METER, TEMP can only be fixed components, but are much more often VARIABLE components.

In some variational cycles, virtuoso improvisational moments arise, cadences that change the length of individual variations, some become harmonically open, which, along with relief genre contrasts, comes close to free (characteristic) variations.

FREE VARIATIONS with respect to themes are no different from ORNAMENTAL. These are the same author's or borrowed homophonic themes in one of the simplest forms. Free variations integrate the tendencies of ornamental variations and basso ostinato variations. Bright genre contrasts, frequent names of individual variations (fugato, nocturne, romance, etc.) reinforce the tendency for the variation to turn into a separate piece of cyclic form. This results in an expansion of the tonal plan and a change in form. A feature of the INVARIANT IN FREE VARIATIONS is the ABSENCE OF PERMANENT COMPONENTS, all of them, including tonality and form, are variables. But there is also an opposite trend: there are harmonically open variations, the expansion of the tonal plan leads to ligaments that change shape. Free variations are comparatively more often "disguised" under other names: Schumann's "Symphonic Etudes", Grieg's "Ballad", Rachmaninoff's "Rhapsody on a Theme of Paganini". The object of variation is not the theme as a whole, but its individual fragments, intonations. In free variations, no new methods of melodic variation arise, an arsenal of ornamental ones is used, only even more inventively.

Variations on two themes (double variations) are noticeably less common. They are found both among the ornamental and among the free ones. Their structure may be different. The sequential presentation of two, as a rule, contrasting themes, continues with their alternate variation (part II of Haydn's symphony with timpani tremolo). However, in the process of variation, the strict alternation of themes can be violated (Part II of Beethoven's Fifth Symphony). Another option is the appearance of a second theme after a series of variations on the first theme (Glinka's Kamarinskaya, Frank's Symphonic Variations, Prokofiev's Finale of the Symphony-Concerto for Cello and Orchestra, Balakirev's Islamey). Further development can also proceed differently. Usually, in double variations, the “form of the second plan” (rondo-shaped, large three-part, sonata) is felt even more clearly.

Variations on three themes are rare and necessarily combined with other principles of shaping. Balakirev's "Overture on Three Russian Themes" is based on sonata form with an introduction.

RONDO AND RONDO-SHAPED FORMS

RONDO (circle) in its most generalized and indirect form, the idea of ​​cosmic circulation, which has received a variety of embodiments in folk and professional art. These are circular dances that are found among all the peoples of the world, and the structure of the text of a couplet song with the same text of the chorus, and the poetic form of the rondel. In music, manifestations of rondo-likeness are perhaps most diverse and show a tendency towards historical variability. This is due to its temporary nature. The “translation” of the spatial “idea” into the temporal plane is quite specific and most clearly manifested in the repeated return of one theme (unchanged or varied, but without a significant change in character) after music that differs from it in one degree or another of contrast.

Definitions of the RONDO form exist in two versions: generalized and more specific.

The generalized definition is a FORM IN WHICH ONE THEME IS CARRIED OUT AT LEAST THREE TIMES, SEPARATED BY MUSIC DIFFERENT FROM THE REPEATED THEME, corresponds both to all historical varieties of rondo, and to the whole set of rondo-shaped forms, including rondo-sonata.

Specific definition: A FORM IN WHICH ONE THEME IS CARRIED OUT AT LEAST THREE TIMES, SEPARATED BY DIFFERENT MUSIC, corresponds only to a significant part of couplet rondos and classical rondos.

Repeated return of the theme creates a feeling of completeness, roundness. External signs of rondality can be found in any musical form (the sound of the introduction theme in the development and code of the sonata form, for example). However, in many cases such returns occur organically (with the repetition of the middle and reprise traditional for three-part forms, as well as in some others that will be discussed later). Rondality, like variation, easily penetrates into a variety of principles of shaping.

The first historical variety, the "COUPLET" RONDO, became widespread in the Baroque era, especially in French music. This name is quite often found in musical text (verse 1, verse 2, verse 3, etc.). Most rondos begin with a REFRAIN (a recurring theme), with EPISODES between its returns. Thus, the number of parts turns out to be odd, even rondos are less common.

The couplet rondo is found in music of the most diverse nature, lyrical, dance, energetic-scherzo. This variety, as a rule, does not contain relief contrasts. Episodes are usually built on a variant or variant-continuing development of the refrain theme. REFRAIN, as a rule, is short (no more than a period) and, completing the verse, sounds in the main key. The couplet rondo tends to be multipart (up to 8-9 couplets), but is often limited to 5 necessary parts. Most of all seven-part rondos. In a fairly large number of examples, there is a repetition of couplets (episode and refrain) in their entirety, except for the last couplet. In many couplet rondos, an increase in the length of episodes can be noted (for Rameau, Couperin). The tonal plan of episodes does not show regular trends, they can begin in the main key and in other keys, be harmonically closed or open. In dance rondos, episodes can be melodically more independent.

In German music, the couplet rondo is less common. I.S. Bach has few such examples. But rondality is palpable in the Old Concerto form, although it obeys a different rhythm of deployment (in the couplet rondo, the episode gravitates towards the refrain, "flows" into it, in the Old Concerto form the repeated theme has different continuations arising from it), it lacks the regularity of stable cadences and structural the clarity of the couplet rondo. In contrast to the strict tonal "behavior" of the refrain in the old concerto form, the theme can begin in different keys (in the first movements of Bach's Brandenburg Concertos, for example).

Philipp Emmanuel Bach's rather numerous rondos are a special phenomenon. They are distinguished by considerable freedom and boldness of tonal plans and, in practice, anticipate some features of the free rondo. Often, the refrain becomes more structurally developed (simple forms), which brings it closer to the classical rondo, but further development moves away from classical structural patterns.

The second historical variety - CLASSICAL RONDO - reveals the impact on it of other homophonic forms (complex tripartite, variational, partly sonata), and itself actively interacts with other homophonic forms (it was during this period that the rondo-sonata form was formed and actively spread).

In classical music, the word RONDO has a double meaning. This is both the name of a FORM-STRUCTURE, very clear and definite, and the name of a GENRE of music with song and dance, scherzo origins, where there are signs of rondo-likeness, sometimes only external ones. Written in notes, the word RONDO, as a rule, has a genre meaning. The structure of the classical rondo is often used in a different genre plane, in lyrical music, for example (Mozart's Rondo in A minor, the second movement from Beethoven's Pathétique Sonata, etc.).

The classical rondo is limited to a minimum number of parts: three passages of the refrain, separated by two episodes, in addition, a coda is possible, sometimes very long (in some rondos of Mozart and Beethoven).

The influence of a complex three-part form is manifested primarily in the bright, relief contrasting of the episodes, as well as in the "enlargement" of the parts - both the refrain and the episodes are often written in one of the simple forms. The tonal plan of episodes that introduce a modal-tonal contrast is stabilized. The most typical are the tonality of the same name and the tonality of a subdominant meaning (of course, there are other tonality).

The refrain, retaining tonal stability like the couplet rondo, varies much more often, sometimes varies sequentially. The length of the refrain may also change, especially in the second conduct (repetitions of parts of a simple form that were in the first conduct may be removed or a reduction to one period may occur).

The influence of the sonata form is manifested in the ligaments in which the developmental, as a rule, development of the theme of the refrain takes place. The technical need for the connection arises after the tonal episode. In Haydn, the role of ligaments is minimal, more developed ligaments are found in Mozart and, especially, in Beethoven. They appear not only after episodes, but also precede episodes and coda, often reaching considerable length.

Haydn's Rondo is most similar to a complex three- to five-part form with two different trios. In Mozart and Beethoven, the first episode is usually structurally and harmonically open, while the second is more detailed and structurally complete. It is worth noting that the form of the classical rondo is presented quantitatively very modestly among the Viennese classics, and even less often has the name rondo (Mozart's Rondo in A minor, for example). Under the name RONDO, which has a genre significance, there are often other rondo-shaped forms, more often than others, RONDO-SONATA, which will be considered later.

The next historical variety, FREE RONDO, integrates the properties of couplet and classical. From the classical comes a bright contrast and development of episodes, from the couplet - a tendency to multipart and the frequent brevity of the refrain. Own features - in changing the semantic emphasis from the immutability of the return of the refrain to the diversity and variegation of the cycle of being. In the free rondo, the refrain acquires tonal freedom, and the episodes - the ability to sound repeatedly (as a rule, not in a row). In the free rondo, the refrain can not only be abbreviated, but also omitted, as a result of which there are two episodes in a row (new and “old”). In terms of content, a free rondo is often characterized by images of a procession, a festive carnival, a mass scene, a ball. The name of the rondo rarely appears. Classical rondo is more widespread in instrumental music, somewhat less often in vocal music, free rondo quite often becomes a form of extended opera scenes, especially in Russian music of the 19th century (by Rimsky-Korsakov, Tchaikovsky). The possibility of repeated sounding of episodes equates them in their "rights" with a refrain. The new meaningful perspective of the free rondo allows the form of the classical rondo to be preserved (the classical rondo has almost completely supplanted the couplet rondo) and to exist in artistic practice.

In addition to the considered historical varieties of rondo, the main feature of rondo (no less than three times the sound of one theme, shared by music that differs from it) is present in many musical forms, introducing signs of rondo-likeness less or more prominently and specifically.

There are signs of rondo-shape in three-part forms, where the repetition of 1 part and 2-3, or the repetition of 2-3 parts (three-five-part) is quite typical. Such repetitions are very typical for simple forms, but they also occur in complex ones (in Haydn, for example). There are signs of rondo-likeness in the cycles of double variations with alternate presentation and variation of themes. Such cycles usually end with the first theme or variation on it. These signs are also present in such a complex three-part form with a reprise reduced to one period, in which the first part was written in a simple three-part form with typical repetitions of parts (Chopin's Polonaise op. 40 No. 2, for example). The rondo-likeness is felt more clearly in double three-part forms, where the middles and reprises differ in tonal plan and / or / length. Double three-part forms can be simple (Chopin Nocturne op. 27 No. 2) and complex (Nocturne op. 37 No. 2).

The most prominent and specific manifestation of the rondo-shape in the THREE-PART FORM WITH REFRAIN. The refrain, usually written in the form of a period in the main key or of the same name, sounds after each part of the three-part form, simple (Chopin's Waltz op. 64 No. 2) or complex (the finale of Mozart's sonata in A major).

SONATA FORM

Among the homophonic forms, the sonata is distinguished by maximum flexibility, diversity and freedom (in terms of the amount of thematic material, its structural design, placement of contrasts), a strong logical connection between sections, and a tendency to unfold.

The roots of sonata form within baroque music. In the old two-part form, in the fugue and in the old sonata, the activity of tonal correlations played the most important role, creating the prerequisites for an organic and striving unfolding of music.

Within the sonata exposition there is also the ratio of two tonal centers that give names to the thematic sections - the MAIN part and the SIDE part. There are moments in the sonata exposition that are distinguished by significant multifunctionality, flexibility, and “elasticity”. This is, first of all, a LINKING party, and often a SIDE one, the course of which can be complicated by a “crisis zone”, which contributes to an even greater variety of structure.

The MAIN part always has the property of CHARACTERISTIC, which largely determines not only the course of the sonata form, but, often, the entire cycle.

In tonal-harmonic terms, the main parties can be monotonous and modulating, closed and open, which determines the greater aspiration of deployment or the greater regularity and structural dissection of the flow.

In semantic terms, the main parties are HOMOGENEOUS and CONTRAST, predetermining a greater impulsiveness of deployment. The length of the main parts varies quite widely - from one sentence (in Beethoven's First Sonata, for example) to expanded simple forms (Mozart's Twelfth Sonata, Tchaikovsky's symphonies) and thematic complexes (Prokofiev's Eighth Sonata, Shostakovich's symphonies). However, most often, the main parties represent a PERIOD of one structure or another.

The main function of the LINKING PART - GOING BEYOND THE LIMITS OF TONE-HARMONIC STABILITY - can also be carried out in the absence of this section, shifting to the end of the modulating or open main part. But besides the main function, ADDITIONAL ones are also possible. These are a) DEVELOPMENT OF THE MAIN PARTY, b) COMPLETION OF THE MAIN PARTY, c) INTRODUCTION OF SHADING CONTRAST, d) INTONATION AND THEMATIC PREPARATION OF THE SIDE PARTY, which can be combined and combined with each other in different ways. The connecting part can be built on the elements of the main part or independent material, both relief and background. This section can not only link the main and side parts (serve as a seamless transition between them), but also separate these thematic "territories", or adjoin one of them. Not always in the connecting part there is a modulation into the key of the side part. Usually, the tonal-harmonic instability increases in the connecting part, and the presence of some complete structures is considered atypical. However, with a pronounced function of shading contrast, it is not so rare to find a modulating period in the connecting part (in the first and second parts of the Seventh Sonata of Beethoven, for example, in the Fourteenth Sonata of Mozart K-457), and the intonation-melodic relief can be brighter than in the main party. The length of the connecting parties varies widely (from the complete absence or very brief constructions, in Beethoven's Fifth Symphony, Schubert's "Unfinished" symphony, for example), to constructions that are significantly longer than the main party. In this regard, the course of the sonata exposition, its structural articulation becomes even more diverse.

A SIDE PARTY, as a rule, unfolds in the keys of a dominant value. It can be represented by a new tonal and textural version of the main part (in one-dark sonata form) or a new theme or several themes, the ratio of which to each other can be very different. Often the course of a side part is complicated by the intrusion of elements of the main or connecting parts, sharp harmonic shifts, and semantic dramatization. This reduces the stability of the side party, expands it and portends further development. Often, extensive fracture zones appear in music that is not at all dramatic in nature, but serenely cheerful (for example, in Haydn's piano sonata in D major). Such a phenomenon as a fracture zone is quite frequent, but not at all necessary. In side parts, typical musical forms are relatively rarely formed, although they are not excluded. So, you can find the period form (repeated period in the side part of the finale of Beethoven's First Piano Sonata, in the slow part of his Seventh Sonata), three-movement forms (in Tchaikovsky's Fifth and Sixth Symphonies).

The FINAL PARTY, which affirms the tonality of the secondary part, introduces a contradiction between the final character of the music and the tonal openness of the major section, making the further flow of the musical form logically necessary. In terms of meaning, the final game can refer directly to a side game, or to the entire exposition. In classical music, the final parts are usually laconic. For them, repeated cadence is typical. Thematic material can be independent (embossed or background) or be based on elements of topics that have already been heard. Later, the length of the final parties sometimes increases (in some of Schubert's sonatas, for example) and becomes tonally independent.

A strong tradition in classical and later music has been the repetition of the sonata exposition. Therefore, in the first volta of the final part, there was often a return to the main key. Of course, exposition is not always repeated in classical music either (it is not, for example, in some of Beethoven's late sonatas; exposition, as a rule, is not repeated in sonata forms at a slow tempo).

DEVELOPMENT - a very free section on the use of thematic material, methods of development, tonal plan, structural dissection and length. A common feature of the developments is AMPLIFICATION OF THE TONAL-HARMONIC INSTABILITY. Quite often, developments begin with the development of the "extreme" thematic and tonal points of the exposition - with the development of elements of either the main or the final part in the key of the end of the exposition, the same name to it, or the same name to the main key. Along with developmental development, variant and variant-continuing developments are often used, as if new themes appear, set forth, often in the form of a modulating period (see the developments of the first parts of the Fifth and Ninth Piano Sonatas by Beethoven). The development can develop both the entire thematic material of the exposition, and, mainly, one theme or thematic element (half of the development of Mozart's Ninth Piano Sonata K-311 is based on the development of the last motif of the final part). Quite typical is the imitative-polyphonic development of thematic elements, as well as the integration of elements of different themes into one. The development tonal plans are very diverse and can be systemically built (according to the keys of a tertiary ratio, for example) or free. Quite typical is the avoidance of the main key and the general omission of the modal color. Developments can be merged or divided into several caesuraly demarcated constructions (usually two or three). The length of development varies widely, but the minimum is one third of the exposure.

Many developments end with predicates, often very lengthy ones. Their harmonic structure is not limited to the dominant predicate, but can be much more complex, affecting a number of keys. A typical feature of the pre-verse section is the absence of relief melodic elements, the “exposing” and forcing harmonic energy, which makes one expect further musical “events”.

Due to the peculiarities of the onset of a reprise, it can be perceived with more or less naturalness or surprise.

Unlike other homophonic forms, sonata recapitulation cannot be exact. At a minimum, it contains changes to the tonal plan of the exposure. The side part, as a rule, is performed in the main key, preserving or changing the expositional modal coloring. Sometimes a side part can sound in a subdominant key. Along with tonal changes in the reprise, variant development may occur, affecting to a greater extent the main and connecting parties. With regard to the length of these sections, both their reduction and expansion can occur. Similar changes are possible in the side batch, but they are less common; for the side batch, variant-variational changes are more typical.

There are also specific variants of sonata reprises. This is a MIRROR reprise in which the main and side parts are reversed, after the side part that starts the reprise, the main part usually follows, after which the final part follows. The abbreviated reprise is limited to the side and final parts. On the one hand, the abbreviated reprise is, as it were, a legacy of the old sonata form, where the actual tonal reprise coincided with the sound of the side part in the main key. However, in classical music, the abbreviated reprise is quite rare. Such an abridged reprise can be found in all of Chopin's piano and sonatas for cello and piano.

In classical music, it is not uncommon to repeat and develop with a reprise together. But this tradition turned out to be less durable than the repetition of the exposition. The effectiveness of the sonata reprise, the change in the semantic correlation of thematic sections, the dramatic interpretation of the sonata form deprive the repetition of the development with the reprise of organic naturalness.

CODES in sonata form can be very diverse, both in terms of thematic material and in length (from a few bars to extended constructions comparable to the size of the development).

In the process of the historical development of the sonata form, a tendency of its individualization is revealed, which has been clearly manifested since the era of romanticism (Schumann, Schubert, Chopin). Here, perhaps, there are two directions: "dramatic" (Schumann, Chopin, Liszt. Tchaikovsky, Mahler, Shostakovich) and "epic" (Schubert, Borodin, Hindemith, Prokofiev). In the "epic" interpretation of sonata - the plurality of thematics, the slowness of deployment, variant-variational methods of development

VARIETY OF SONATA FORM

Of the three varieties (sonata form without elaboration, sonata form with an episode instead of elaboration, and sonata form with double exposition), the latter has received historically and genre limited use, occurring almost exclusively in the first parts of classical concertos for solo instruments and orchestra. Mendelssohn is the first to abandon double exposition sonata form in his Violin Concerto. Since then, it has ceased to be "obligatory" in the first parts of the concertos, although it is found in later music (as, for example, in Dvořák's Cello Concerto written in 1900).

The first, orchestral exposition is combined with the INTRODUCTION function, which often determines the great brevity, “conciseness” of the thematic material, the frequent “irregularity” of the tonal plan (the side part can sound in the main key, or at least return to the main key by the time of the final part. The second exposition with the participation of the soloist, as a rule, is supplemented by new thematic material, often in all sections of the exposition, which is especially typical for Mozart's concertos. In his concertos, the second exposition is often much more detailed than the first. In Beethoven's concertos orchestral expositions are larger, but the renewal of thematic material is also noticeable in them (for example, in the Second Concerto for Piano and Orchestra, the duration of the orchestral exposition is 89 measures, the second exposition - 124).In this variety of sonata form, a smoother transition to development. finds significant differences from the usual sonata form up to the end of the reprise or coda, where during the general pause of the orchestra, the soloist's CADENCE unfolds, a virtuoso development-fantasy of the themes sounded. Before Beethoven, cadenzas were mostly not written down, but improvised by the soloist (who was also the composer of the music). The "separation" of the professions of performer and composer, which became more and more noticeable at the beginning of the 19th century, sometimes led to a complete thematic alienation of the cadenza, to a demonstration of "acrobatic" virtuosity that had little to do with the thematic nature of the concerto. In all Beethoven's concertos, the cadenzas are author's. He also wrote cadenzas for a number of Mozart's concertos. For many Mozart concertos, there are cadenzas by different authors, offered by the choice of performer (Beethoven cadenzas, D , Albert and others).

SONATA FORM WITHOUT DEVELOPMENT is found quite often in music of the most diverse nature. In slow lyrical music, variational development of thematics often occurs. In the music of the active movement, the elaboration "seeps" into the exposition and reprise (developed, "developmental" connecting parts, the fracture zone in the side part), and also shifts into the coda. Between the exposition (it is often repeated in classical music of fast movement) and the reprise, there may be a developmental link, less than a third of the exposition in length. Its presence is largely due to the tonal plan (if the side and final parts do not sound in the key of the dominant). In some cases, the final part directly develops into a bundle (as, for example, in the overtures to The Barber of Seville and Rossini's The Thieving Magpie). This version of the sonata form (without development) can be found as any part of the sonata-symphony cycle, opera overtures and individual works. In orchestral music, there are sometimes introductions (in the overture to Rossini's The Barber of Seville, for example).

SONATA FORM WITH EPISODE INSTEAD OF DEVELOPMENT

In this variant of the sonata form, undoubtedly, the influence of a complex three-part form, the introduction of a bright contrast of large sections, is revealed. There is also a connection with different variants of a complex three-part form. Thus, in sonata form with an episode, instead of developing at a fast pace, the episode usually resembles a TRIO of a complex three-movement form with tonal independence and structural completeness (as, for example, in the finale of Beethoven's First Piano Sonata). In slow music - an EPISODE of a complex three-part form - tonal-harmonic and structural openness (as, for example, in the second part of Mozart's piano sonata K-310). A structurally closed episode is usually followed by a developmental connection or a small development (in the finale of Beethoven's First Sonata, for example). In some cases, there is an episode that goes beyond simple forms (in the first part of Shostakovich's Seventh Symphony - variations on soprano ostinato). This version of the sonata form is used similarly to others - in parts of sonata-symphony cycles, opera overtures and individual works.

RONDO SONATA

In the RONDO-SONATA both formative principles are in a state of DYNAMIC BALANCE, which creates a large number of variations. The rondo-like nature usually influences the genre nature of the thematic, song-dance, scherzo. As a result of this - structural completeness - the main parts are quite often simple forms, often with their typical repetition of parts. The dominance of rondality can manifest itself in underdeveloped and brief side parts (as in the finale of Beethoven's Ninth Piano Sonata, for example). The exposition is followed by an EPISODE, often structurally closed, or TWO EPISODES, separated by the performance of the main part. With dominant sonata, as a rule, the exposition contains extended connecting parts, several themes of a side part, a fracture zone in them, after the exposition, DEVELOPMENT follows, development processes are also possible in codes. In many cases, a parity ratio of both principles occurs, and after the exposure in the next section, the features of the development and the episode are mixed. Less common is the “REDUCED” version of the rondo sonata, consisting of an exposition and a mirror reprise. A link between them is possible (the finale of Mozart's piano sonata in C minor K-457).

Let's move on to the consideration of the exposition, which differs markedly from the sonata. In the rondo sonata, it is thematically and tonally closed, ending with the MAIN PART IN THE MAIN KEY (its ending can be open and serve as a flexible transition to the next section). In this regard, the function of the final game is changed. Its beginning establishes the key of the side part, and the continuation returns to the main key, leading to the final exposition of the main part. In Mozart's rondo sonatas, as a rule, the final parties are very developed; in Beethoven, the final parties are sometimes absent (as in the finale of the ninth sonata, for example). The exposition of the rondo-sonata NEVER IS REPEATED (the repetition of the sonata exposition is historically preserved for a very long time).

In the reprise of the rondo sonata, both performances of the main part can be preserved with a change in the tonal ratios typical of the sonata reprise. However, one of the leading parties may be skipped. If the second performance of the main part is omitted, the usual sonata reprise is formed. If the first performance of the main part is omitted, a MIRROR REPRISE is formed (in the rondo sonata it occurs more often than in the sonata form). KODA is an unregulated section and can be any.

The rondo-sonata form is most often found in the finals of sonata-symphony cycles. It is the rondo sonata that happens under the genre designation RONDO. The rondo sonata is less common in individual works (Duc's symphonic scherzo "The Sorcerer's Apprentice", for example, or non-sonata cycles (the second part of the Song and Myaskovsky's rhapsodies). If we arrange the variants of the rondo sonata according to the degree of prevalence, we get the following row: rondo sonata with an EPISODE , rondo sonata with DEVELOPMENT, rondo sonata with MIXED FEATURES OF DEVELOPMENT AND EPISODE, rondo sonata with TWO EPISODES (or with an episode and development, in one sequence or another), an "abbreviated" rondo sonata.

The exposition of the rondo sonata in the finale of Prokofiev's Sixth Piano Sonata is very individually constructed. The main part appears after each of the three themes of the side part, forming a free rondo (in the reprise, the side parts sound in a row).

CYCLIC FORMS

Cyclic forms are called forms that consist of several, as a rule, independent in terms of thematic and shaping parts, separated by unregulated pauses that interrupt the flow of musical time (double bar line with a “thick” right line). All cyclic forms embody a more diverse and multifaceted content, united by an artistic concept.

Some cyclical forms in the most generalized form embody the worldview concept, the mass, for example, is theocentric, later the sonata-symphony cycle is anthropocentric.

The basic principle of the organization of cyclic forms is CONTRAST, THE EXPRESSION OF WHICH IS HISTORICALLY VARIABLE AND AFFECTS DIFFERENT MEANS OF MUSICAL EXPRESSION.

Cyclic forms became widespread in the Baroque era (late 16th - early 17th centuries). They are very diverse: two-movement cycles with fugue, concerti grossi, concertos for a solo instrument with an orchestra, suites, partitas, solo and ensemble sonatas.

The roots of many cyclical forms lie in two types of 17th-century opera overtures, the so-called French (Lulli) and Italian (A. Stradella, A. Scarlatti), using typified tempo contrasts. In the French overture, the most significant was the ratio of the first slow section (of a solemn pathetic character) and the fast polyphonic second (usually fugue), sometimes ending with a short Adagio (sometimes based on the material of the first section). This type of tempo relationship, when repeated, becomes quite typical of ensemble sonatas and concerti grossi, usually consisting of 4 movements. In the concerti grossi of Corelli, Vivaldi, Handel, the function of the introduction is quite clearly expressed in the first movements. It develops not only due to the slow pace, relatively small length, but also due to the harmonic openness that sometimes occurs.

6 Brandenburg concertos by J.S. stand apart. Bach (1721), in which all the first parts are not only written at a fast pace, but are the most developed, extended, determining the further deployment of cycles. Such a function of the first parts (with a difference in internal form formation) anticipates the function of the 1st part in the later sonata-symphony cycle.

The influence of this type of tempo ratios is somewhat less noticeable in suites and partitas close to them. In the ratio of “mandatory” dances, there is a repetitive and intensifying tempo-rhythmic contrast: a moderately slow two-part allemande is replaced by a moderately fast three-part chimes, a very slow three-part sarabande is replaced by a very fast gigue (usually in six, twelve-part sizes, combining two and three-part). These cycles, however, are quite free in terms of the number of parts. Often there are introductory parts (prelude, prelude and fugue, fantasy, sinfonia), and between the sarabande and gigue were placed the so-called "inserted", more modern dances (gavotte, minuet, bure, rigaudon, lur, musette) and arias. Often there were two insert dances (especially typical for minuets and gavottes), at the end of the second there was an indication that the first was to be repeated. Bach retained all the "obligatory" dances in his suites, other composers treated them more freely, including only one or two of them.

In partitas, where all the "mandatory" dances are often preserved, the genre range of inserted numbers is much wider, for example, rondo, capriccio, burlesque.

In principle, in a suite (row) dances are equal, there is no functional diversity. However, certain features are starting to take shape. Thus, the sarabande becomes the lyrical center of the suite. It is very different from the restrained-severe, heavy-solemn everyday prototype in its sublime tenderness, sophistication, textured grace, and sound in the medium-high register. Often, it is the sarabandes that have ornamental doubles, which enhances its function as a lyrical center. In the gigue (the most "common" in origin - the dance of English sailors), the fastest in tempo, thanks to energy, mass character, active polyphony, the final function is formed.

The tempo ratios of the ITALIAN OVERTURE, which included three sections (extreme - fast, polyphonic, middle - slow, melodious), turn into three-part cycles of concerts for a solo instrument (less often, for two, three soloists) with an orchestra. Despite the changes in form, the three-movement concert cycle remained stable in general outline from the 17th century until the Romantic era. The active, competitive character of the first movements is undoubtedly very close to the classical sonata allegro.

A special place is occupied by two-part cycles with a fugue, where the fundamental contrast is in different types of musical thinking: more free, improvisational, sometimes more homophonic in the first parts (prelude, toccata, fantasy) and more strictly logically organized in fugues. Tempo ratios are very diverse and cannot be typified.

The formation of the sonata-symphonic cycle was significantly influenced by the first parts of the concertos for a solo instrument and orchestra (future sonata Allegri symphonies), lyrical sarabandes of suites (prototypes of symphonic Andanti), active, energetic giggles (prototype of finales). To a certain extent, the symphonies also show the influence of the Concerti grossi with their slow opening movements. Many symphonies of the Viennese classics begin with slow introductions of various lengths (especially in Haydn). The influence of the suites is also evident in the presence of a minuet before the finale. But the substantive concept and functional definiteness of the parts in the sonata-symphonic cycle is different. The content of the suite, which was defined as the VARIETY OF UNITY, in the sonata-symphonic cycle can be formulated as the UNITY OF VARIETY. Parts of the sonata-symphony cycle are much more rigidly functionally coordinated. The genre and semantic roles of the parts reflect the main facets of human existence: action (Homo agens), contemplation, reflection (Homo sapiens), rest, play (Homo ludens), a person in society (Homo communis).

The symphonic cycle has a closed tempo profile based on the LEAP WITH FILLING principle. The semantic opposition between the Allegri of the first movements and Andanti is emphasized not only by a sharp tempo ratio, but also, as a rule, by a tonal contrast.

Symphonic and chamber cycles before Beethoven differed markedly from each other. By virtue of performing means (orchestra), the symphony has always assumed a kind of "publicity", akin to a theatrical performance. Chamber works are distinguished by great diversity and freedom, which brings them closer to narrative literary genres (conditionally, of course), to greater personal "intimacy", lyricism. Quartets are closest to the symphony, other ensembles (trios, quintets of different compositions) are not so numerous and, often, closer to a freer suite, as well as divertissements, serenades and other genres of orchestral music.

In piano and ensemble sonatas, as a rule, there are 2-3 parts. In the first parts, the sonata form is most common (always in symphonies), but other forms are also found (complex three-part, variations, Haydn and Mozart's rondo, Beethoven's variations, for example).

The main sections of the first movements of the symphonies are always in Allegro tempo. In chamber sonatas, the Allegro tempo designation is also very frequent, but there are also more leisurely tempo designations. In solo and chamber sonatas, it is not uncommon to combine functional genre roles within one movement (lyrical and dance, dance and finale, for example). In terms of content, these cycles are more diverse, they become, as it were, a "laboratory" for the further development of cycles. For example, the scherzo genre appears for the first time in Haydn's piano sonatas. Later, scherzo will become a full-fledged part of the sonata-symphony cycle, almost replacing the minuet. Scherzo embodies the wider semantic element of the game (from everyday playfulness to the play of cosmic forces, as in Beethoven's Ninth Symphony, for example). If Haydn and Mozart do not have four-movement sonatas, then Beethoven's early piano sonatas already use the tempo and genre relationships typical of symphonies.

In the further historical development of the sonata-symphony cycle (beginning with Beethoven), there is a “branching” (with common “roots”) into a “traditional” branch, which renews the content from the inside and is more radical, “innovative”. In the "traditional" there is an increase in lyrical, epic images, genre detailing is often introduced (romance, waltz, elegy, etc.), but the traditional number of parts and semantic roles are preserved. In connection with the new content (lyrical, epic), the first parts lose their rapidity of pace, retaining the intensity of the procedural deployment and the significance of the part that determines the entire cycle. Therefore, the scherzo becomes the second part, shifting the general contrast deep into the cycle, between the slow part (the most personal) and the fast mass finale, which gives the cycle unfolding a greater aspiration (the ratio of the minuet and the finale, often also dance-like, is more one-dimensional, reducing the attention of listeners).

In classical symphonies, the first parts are most typified in terms of form (the sonata and its varieties, the greater variety of forms of the first parts of chamber sonatas was mentioned above). In the minuets and scherzos, the complex three-part form decisively predominates (of course, not without exceptions). The slow movements (simple and complex forms, variations, rondo, sonata in all varieties) and finals (sonata with varieties, variations, rondo, rondo-sonata, sometimes complex three-part) are distinguished by the greatest variety of shaping.

In French music of the 19th century, a type of three-part symphony developed, where the functions of slow (extreme sections) and dance-scherzo (middle) are combined in the second parts. Such are the symphonies of David, Lalo, Franck, Bizet.

In the "innovative" branch (once again it is necessary to recall the commonality of the "roots"), the changes are outwardly more noticeable. Often they occur under the influence of programming (Beethoven's Sixth Symphony, "Fantastic", "Harold in Italy", Berlioz's "Funeral-Triumphal" Symphony), unusual performing compositions and ideas (Beethoven's Ninth Symphony, Mahler's Second, Third, Fourth Symphonies. May arise "doubling" parts, in a row or symmetrically (some of Mahler's symphonies, Tchaikovsky's Third Symphony, Scriabin's Second Symphony, some of Shostakovich's symphonies), synthesis of different genres (symphony-cantata, symphony-concert).

By the middle of the 19th century, the sonata-symphony cycle acquires the significance of the most conceptual genre, causing a reverent attitude towards itself, which leads to a certain quantitative decrease in sonata-symphony cycles. But there is another reason associated with romantic aesthetics, which sought to capture the uniqueness of every moment. Nevertheless, the versatility of being can be realized only by a cyclic form. This function is successfully performed by the new suite, which is distinguished by extraordinary flexibility and freedom (but not anarchy), capturing contrasts in all their diversity of manifestations. Quite often, suites are created on the basis of music of other genres (for dramatic performances, opera and ballet, and later on the basis of music for films). New suites are diverse in terms of performing compositions (orchestral, solo, ensemble), can be program and non-program. The new suite is widely used in the music of the 19th and 20th centuries. The word "suite" may not be used in the title ("Butterflies", "Carnival", Kreisleriana, Fantastic Pieces, Vienna Carnival, Album for Youth and other works by Schumann, Tchaikovsky's Seasons, Pictures from Mussorgsky's exhibition). Many opuses of miniatures (preludes, mazurkas, nocturnes, etudes) are essentially similar to the new suite.

The new suite gravitates towards two poles - a cycle of miniatures, and a symphony (both Grieg's suites from the music for Ibsen's drama "Peer Gynt", "Scheherazade" and "Antar" by Rimsky-Korsakov, for example).

The vocal cycles are close in organization to it, both “plotted” (“The Beautiful Miller’s Woman” by Schubert, “The Love and Life of a Woman” by Schumann), and generalized (“The Winter Journey” by Schubert, “The Love of the Poet” by Schumann), as well as choral cycles and some cantatas.

Often in baroque music, as well as in classical and later music, it is not always possible to determine the number of parts, since the note attacca, which occurs quite often, does not interrupt the flow of perceptual musical time. Also, it often happens that music that is independent in terms of thematics and, to a large extent, in terms of shaping, is divided by two thin bar lines (Sinphonia from Bach's Partita in C minor, Mozart's Sonata for violin and piano in A minor /K-402/, Fantasia in C minor /K -457/, Beethoven's Sonatas for Cello and Piano op.69, op.102 No.1 and many other works by different authors), which leads to the formation of individual (free) forms. They can be called contrast-composite (V.V. Protopopov's term) or fused-cyclic.

The performance of individual parts from cyclic works is allowed, but the cycles as a whole are united by an ARTISTIC DESIGN, THE IMPLEMENTATION OF WHICH IS CARRIED OUT BY MUSICAL MEANS.

Unity can manifest itself in a generalized way: through tempo, figurative echoes of parts, similar harmonic principles, tonal plan, structure, meter-rhythmic organization, intonational connections in all parts and, especially, in the extreme ones. This type of unity is GENERAL MUSICAL. IT DEVELOPED IN THE CYCLIC FORMS OF THE BAROQUE and is a necessary condition for the artistic usefulness of the cyclic forms of any era.

But the unity of the cycle can be carried out more clearly and concretely: with the help of cross-cutting musical themes, reminiscences, or, much less often, precursors. This type of unity developed in the process of development and complication of the forms of instrumental music, first appearing in Beethoven (in the Fifth, Ninth symphonies, some sonatas and quartets). On the one hand, the THEMATIC principle of unity (described in detail by M.K. Mikhailov in the article “On the thematic unification of the sonata-symphony cycle” // Questions of the theory and aesthetics of music: issue 2. - M .: S.K., 1963) arises as “ condensation”, concentration of intonational connections, on the other hand, one can detect the influence of program music and, in part, leitmotif operatic dramaturgy.

The thematic principle of unity to some extent violates such a feature of cyclic forms as the independence of the thematic parts, without affecting the independence of form formation (the transfer of topics, as a rule, occurs in unregulated sections of forms - in introductions and codes, mainly). In further historical development, the thematic principle of unity grew into a deductive one, in which the shaping of individual parts more directly depends on the overall figurative-content and compositional design of the cycle. The thematism of the previous parts actively influences the shaping of the subsequent ones, participating in their main sections (in developments, for example), or causes modulation in the form, transformation of the stereotype.