variation form. Variations on sustained bass

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

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

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

Forms of musical works

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

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

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

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

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

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

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

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

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

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

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

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

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

L. van Beethoven, 32 variations in C minor

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

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

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

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

Sonata form has three main sections:

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

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

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

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

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

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

Period Complications

Russian folk song

Simple two-part form

three-part form

Complicated three-part shape

Theme with variations

Rondo

sonata form

Rondo Sonata

Cyclic forms

mixed forms

Vocal forms

A theme with variations is a form consisting of the original presentation of the theme and several repetitions of it in a modified form, called variations. Since the number of variations is not limited, the scheme of this form can only have a very general form:

A + A 1 + A 2 + A 3 …..

The method of varied repetition has already been encountered in relation to the period, as well as to two- and three-part forms. But, manifesting itself there in the repetition of some part or in the methods of thematic work, it carries, in a certain sense, an auxiliary, service role, even with the dynamization that it introduces. In the variational form, the variation method1 plays the role of the basis of shaping, since without it a simple repetition of the theme in a row would result, which is not perceived as a development, especially in instrumental music.
In view of the fact that the oldest examples of variations are directly related to dance music, it can be assumed that it was it that served as the direct source and reason for the emergence of the variation form. In this regard, its origin, although perhaps not direct, from folk music is quite likely.

Variations on basso ostinato

In the 17th century, variations appeared, built on the continuous repetition of the same melodic turn in the bass. Such a bass, consisting of multiple repetitions of one melodic figure, is called basso ostinato (stubborn bass). The initial connection of this technique with the dance is shown in the titles of the pieces constructed in this way - the passacaglia and the chaconne. Both - slow dancing in tripartite size. It is difficult to establish a musical distinction between these dances. At a later time, the connection with the original three-part meter is sometimes even lost (see Handel, Passacaglia in g-moll for the clavier), and the old names of the dances designate only the genus of the variational form. Dance origin the passacaglia and chaconne are reflected in the structure of the theme, which is a sentence or a period of 4 or 8 bars. In some cases, variations of the described species do not have a name indicating their structure.
As already mentioned, the ostinato melody, as a rule, is repeated in the bass; but sometimes it is temporarily transferred, for a change, to the upper or middle voice, and also subjected to some ornamentation (see Bach Passacaglia in c-moll for organ)
If the ostinato bass remains unchanged, the variational development falls on the pre / but upper voices Firstly, in different variations, a different number of them is possible, giving one or another degree of concentration of harmonies, which can be adjusted in order to increase interest Secondly, with an unchanged bass, melody at least one upper voice must change in order to overcome monotony. Consequently, the ratio of some extreme voices is already to some extent polyphonic. Other voices also often develop, polyphonizing the entire musical fabric. Diversity can be created and varying degrees and the type of general movement. This is directly related to the distribution of movements over larger or smaller durations. In general, a gradual increase in the saturation of music with various kinds of movement, melodic-polyphonic and rhythmic, is typical. In large cycles of variations on the basso ostinato, a temporary rarefaction of the texture is also introduced, as if for a new run.
The harmonic structure of variations on the basso ostinato in each cycle is more or less homogeneous, since the unchanging foundation of harmony - the bass - allows a limited number of variations in harmony. Cadenzas are found predominantly in full at the end of repeated figures; sometimes the dominant of the last measure of a figure forms, together with the initial tonic of the next similar figure, an invading cadenza. This technique, of course, creates greater fusion and coherence, contributing to the integrity of the entire form. On the verge of two variations, interrupted cadenzas are also possible (see “Crucifixus” from Bach’s Mass in h-moll ).
The structure of the variations, due to the repetition of the ostinato four- or eight-measure bar, is generally uniform, and a certain masking of the periodicity is possible only on the basis of the invading cadences mentioned above, as well as with the help of polyphonic superpositions of ends and beginnings. The latter is relatively rare. In addition, the brevity of the parts of the form itself serves driving force, they are so small that they cannot be considered independent.
Variations on the basso ostinato, which arose around the beginning of the 17th century, became widespread towards its end and in the first half of the 18th century. After that, they give way to freer forms of variation and are quite rare. Late samples: to a certain extent - Beethoven. 32 variations; Brahms Fourth Symphony, finale; Shostakovich Eighth Symphony, part IV. Limited use occurs from time to time, for example, in the coda of the first movement of Beethoven's ninth symphony, in the coda of the first movement of Tchaikovsky's sixth symphony. In both these works, ostinato does not have an independent meaning, and its use in conclusions resembles a tonic organ point. Nevertheless, one can occasionally come across independent pieces based on ostinato. Examples: Arensky. Basso ostinato, Taneyev Largo from piano quintet, op. thirty.

Strict variations. Their theme

In the 18th century, partly in parallel with the existence of basso ostinato, but especially towards the end of the century, a new type variational form - strict (classical) variations, sometimes called ornamental. Their prototype can be seen in following one of the dances of an old suite of variations on it, provided with numerous small decorations, without any significant changes in all the basic elements (the so-called Doubles). The techniques developed in ostinato variations also left their mark on the formation of a new type of variational form. Separate features of continuity will be shown below.
First of all, both continuity and new features are already evident in the theme itself.
On the melodic side, the theme is simple, easily recognizable, and contains typical phrases. At the same time, there are no too individualized turns, since they are more difficult to vary, and their repetition would be annoying. The contrasts are slight, but there are elements that can be developed on their own. The pace of the theme is moderate, which, on the one hand, favors its memorization, on the other hand, it makes it possible to speed up or slow down in variations.
On the harmonic side, the theme is tonally closed, internal structure its typical and simple, as well as the melody. The texture also does not contain any complex figurative harmonic or melodic patterns.
In the structure of the topic, its length is primarily important. Already in Bach's time, there are themes in a simple two-part form, along with short themes. For the theme of classical variations, the two-part form with a reprise is most characteristic; less common tripartite.
The latter, apparently, is less favorable for the variational form, since on the verge of each two variations, in this case, there are parts of the same length, with a similar content:

Especially rare is a theme consisting of one period. Such an example is the theme of Beethoven's 32 variations, which, however, resemble the old variations on ostinato, in particular, in the structure of the theme. In the structure of two-part themes, small deviations from squareness are not uncommon.

Examples: Mozart. Variations from the piano sonatas A-dur (extension of period II); Beethoven. Sonata, op. 26, part I (expansion of the middle).

Variation Methods

Orn "a mental variation as a whole gives a more or less constant proximity to the topic. It, as it were, reveals different sides of the topic, without significantly changing its individuality. Such an approach, as if from the outside, can be characterized as objective.
Specifically, the main modes of variation are as follows:
1) Melody (sometimes bass) is subjected to figurative processing. Of great importance is the melodic figuration - processing by auxiliary, passing and detentions. The reference sounds of the melody remain in their places or are pushed to another nearby beat of the measure, sometimes they are transferred to another octave or another voice. Harmonic figuration in melody processing
is of somewhat lesser importance. The melody, in original or modified form, can be placed in another voice.
Rhythmic changes, mainly acceleration of movement, are directly connected with the figuration of the melody. Sometimes the meter also changes. Most of these techniques can be found already in the music of the first half XVIII century(see Bach's Goldberg Variations). The tradition of polyphonization of at least some parts in the variational cycles of that time was also reflected in the ornamental variations of the classics. Some variations in their cycles are entirely or partially built canonically (see Beethoven, 33 Variations). There are whole fugues (see Beethoven, Variations, op. 35) and fughettas.
2) Harmony, in general, changes little and is often the most recognizable element, especially with wide figurations in a melody.
The general plan, as a rule, is unchanged. In the details one can find new harmonies formed from figurative changes in voices, sometimes new deviations, an increase in chromaticity.
Variation in harmonic figuration accompaniment is very common.
The tonality throughout the entire cycle of variations remains the same. But, partly at the beginning of the 18th century, and in the variations of the classics very often, a modal contrast is introduced. In small cycles, one, and sometimes in large ones, several variations are composed in a key of the same name to the main one (minor in major cycles, maggiore in minor ones). In these variations, changes in the chord are relatively common.
3) The form of the theme before the classics and with them, as a rule, does not change at all or almost, which, in turn, contributes to its recognition. Deviations from the form of the theme are most common for those variations in which the main role is played by polyphonic elements. Fugues or fughettas that occur as variations, based on the motives of a theme, are built according to their own rules and laws, regardless of its form (see Beethoven. Variations, op. 35 and op. 120).
So, many methods of variation invented in pre-classical art were accepted by the classics, and, moreover, significantly developed by them. But they also introduced new techniques that improved the variational form:
1) Some contrast is introduced within individual variations.
2) Variations, to a greater extent than before, contrast in character with each other.
3) The contrast of tempos becomes common (in particular, Mozart introduced a slow penultimate variation into the cycles).
4) The last (final) variation is somewhat reminiscent in character of the final parts of other cycles (with its new tempo, meter, etc.).
5) Codes are introduced, the extent of which partly depends on the total length of the cycle. In codas there are additional variations (without No.), sometimes developmental moments, but, in particular, techniques common to the final presentation (additional cadenzas). The generalizing meaning of the coda often manifests itself in the appearance of turns close to the theme (see Beethoven. Sonata, op. 26, part I), individual variations (see Beethoven. 6 variations in G-dur); sometimes, instead of a coda, the theme is carried out in full (see Beethoven. Sonata, op. 109, part III). In preclassic times, there was a repetition of the Da Capo theme in the passacaglia.

Order of Variations

Separation and isolation of the parts of the variational cycle gives rise to the danger of fragmentation of the form into isolated units. Already in the early samples of variations, there is a desire to overcome such a danger by combining variations into groups according to some sign. The longer the whole cycle, the more necessary the enlargement general contours forms, by grouping variations. In general, in each variation, any one method of variation dominates, without completely excluding the use of others.

Often a number of neighboring variations, differing in details, have a similar character. Especially common is the accumulation of movement through the introduction of smaller durations. But the larger the whole form, the less the possibility of a single continuous line of ascent to the maximum of movement. First, an obstacle to this is the limited possibilities of motor activity; secondly, the final monotony that would inevitably result from this. A design that gives rise, alternating with recessions, is more expedient. After a recession, a new upsurge can give more high point than the previous one (see Beethoven. Variations in G-dur on an original theme).

An example of strict (ornamental) variations

An example of ornamental variations, with very high artistic merit, is the first movement of the piano sonata, op. 26, by Beethoven. (To save space, nz theme and all variations, except for the fifth, one first sentence is given.) The theme, built in the usual two-part form with a reprise, has a calm, balanced character with some contrast, in the form of delays sf on a number of melodic peaks. The presentation is full-sounding in most of the topic. Register favoring cantilena:

In the first variation, the harmonic basis of the theme is completely preserved, but the low register gives a thick sound and a “gloomy” character to the beginnings of sentences I and II, the end of sentence I, and the beginning of the reprise. The melody in these mouth sentences is in a low register, but then moves out of it into a lighter area. The sounds of the theme melody are partly shifted to other beats, partly transferred to other octaves and even to a different voice. In the processing of melody takes great participation harmonic figuration, with which the new placement of the sounds of the melody is connected. The rhythm predominates, as if running

hit an obstacle. In the first sentence of the second period, the rhythms are more even, smoother, after which the main rhythmic figure returns in the reprise:

In the second variation, also while maintaining the harmony of the theme, the changes in texture are very distinct. The melody is placed partly in the bass (in the first two measures and in the reprise), but already from the third measure in the broken intervals of the bass, a second, lying above it, middle voice is outlined, into which the theme passes. From the fifth measure, the wide jumps in the left hand quite distinctly stratify vote. The melody of the theme is changed here very little, much less than in the first variation. But, in contrast to the theme, the new texture gives the second variation the character of excitement. The movement in the part of the left hand is almost entirely sixteenth, in general, with accompaniment voices of the right hand, thirty-second. If the latter in the first variation seemed to “run into an obstacle”, then here they flow in a stream, interrupted only with the end of the first period:

The third variation is minore, with a characteristic modal contrast. This variation contains the greatest changes. The melody, previously undulating, is now dominated by an upward movement in seconds, again with overcoming obstacles, this time in the form of syncopation, especially at the moments of detention. At the beginning of the middle, there is a more even and calm movement, while its end is rhythmically close to the upcoming reprise, which is completely similar to the second sentence of the first period. The harmonic plan is significantly changed, except for the four main cadences. Changes in the chord are partly due to the requirements of the ascending line, as if pushed by the bass, which comes in the same direction (the basis of harmony here is parallel sixth chords, sometimes somewhat complicated). The register is low and medium, mainly with low basses. In general, the color of gloom and depression prevails:

In the fourth variation, the main major key returns. The contrast of the mode is also enhanced by the enlightenment of the register (mainly the middle and upper ones). The melody jumps continuously from one octave to another, followed by a Staccato accompaniment, combined with melody jumps and syncopations, gives the variation a scherzando character. The appearance of sixteenths in the second sentences of both periods makes this character somewhat sharper. The harmony is partly simplified, probably for the sake of the main rhythmic figure, but partly more chromatic, which, with the elements described above, contributes to the effect of some whimsicality. A few revolutions are given in a low register, as a reminiscence from the previous variations:

The fifth variation, after the scherzo fourth, gives the second wave of the movement's growth. Already her first sentence begins in triplet sixteenths; from the second sentence to its end, the movement is thirty-second. At the same time, in general, despite the denser movement, it is the lightest in color, since the low register is used in it to a limited extent. The fifth variation is no less close to the theme than the second one, because the harmonic plan of the theme is completely returned in it. Here, in the second sentences of both periods, the melody of the theme is reproduced almost literally in the middle voice (right hand), in 6 measures of the middle - in the upper voice. In the very first sentences, it is slightly disguised: in tt. 1-8 in the upper voice, her sounds are drawn to the end of each triplet; in bars 17-20, the two upper voices of the theme are made lower, and the bass of this place of the theme is located above them and figures:

Techniques of end-to-end development in variational form

The general trend of mature classicism towards a wide through development of form has already been repeatedly mentioned. This trend, which led to the improvement and expansion of many forms, was also reflected in the variational form. The importance of the grouping of variations for enlarging the contours of the form, despite its natural dissection, has also been noted above. But, thanks to the isolation of each individual variation, the general predominance of the main key, the form as a whole is somewhat static. Beethoven for the first time in a very large variational form, in addition to the previously known means of constructing such a form, introduces significant segments of an unstable developmental order, connecting parts, uses the openness of individual variations and the implementation of a number of variations in subordinate keys. It was thanks to the new techniques for the variation cycle that it became possible to construct such a large form of this kind as the finale of Beethoven's third symphony, the plan of which is given (the numbers indicate the number of measures).
1-11 - Brilliant swift introduction (introduction).
12— 43— Theme A in two-part form, set out in a very primitive way (actually, only the contours of the bass); Es-dur.
44-59-I variation; theme A in middle voice, counterpoint in eighths; Es-dur.
60-76-II variation, theme A in the upper voice, counterpoint in triplets; Es major
76-107-111 variation; theme A in bass, above it melody B, counterpoint in sixteenths; Es-dur.
107—116—Linking part with modulation; Es-dur - c-moll.
117-174-IV variation; free, like fugato; c-moll - As-dur, transition to h-moll
175-210 - V variation; theme B in upper voice, part with fast counterpoint in sixteenths, later in triplets; h-moll, D-dur, g-moll.
211-255 - VI variation; theme A in the bass, above it a completely new counter-theme (dotted rhythm); g-moll.
256-348 - VII variation; as if development, themes A and B, part 3 of the appeal, contrapuntal texture, main climax, C-dur, c-moll, Es-dur.
349-380 - VIII variation; theme B is carried extensively in Andante; Es-dur.
381-403-IX variation; continuation and development of the previous variation; theme B in bass, counterpoint in sixteenths Transition to As-dur.
404-419 - X variation; theme B in the upper voice, with a free continuation; As-dur transition to g-moll.
420-430-XI variation; theme B in the upper voices; g-moll.
429-471 - A coda introduced by an introduction similar to that which was at the very beginning.

Free variations

In the 19th century, along with many examples of the variational form, which clearly reflect the continuity of the main methods of variation, a new type of this form appears. Already in Beethoven's variations, op. 34, there are a number of innovations. Only the theme and the last variation are in the main key; the rest are all in subordinate keys arranged in descending thirds. Further, although the harmonic contours and the main melodic pattern in them are still little changed, the rhythm, meter and tempo are changing, and moreover, in such a way that each variation is given an independent character.

In the future, the direction outlined in these variations received significant development. Its main features:
1) The theme or its elements are changed in such a way that each variation is given an individual, very independent character. This approach to the treatment of the theme can be defined as more subjective than that which was manifested by the classics. Programmatic meaning begins to be given to variations.
2) Due to the independence of the nature of the variations, the whole cycle turns into something similar to a suite (see § 144). Sometimes there are links between variations.
3) The possibility of changing keys within a cycle, outlined by Beethoven, turned out to be very appropriate for emphasizing the independence of variations through a difference in tonal color.
4) Variations of the cycle, in a number of respects, are built quite independently of the structure of the theme:
a) tonal relationships within the variation change;
b) new harmonies are introduced, often completely changing the color of the theme;
c) the theme is given a different form;
d) variations are so far removed from the melodic-rhythmic pattern of the theme that they are pieces that are only built on its individual motifs, developed in a completely different way.
All of the above features are, of course, various works XIX-XX centuries are manifested in different ways.
An example of free variations, of which some retain a significant proximity to the theme, and some, on the contrary, move away from it, can serve as Schumann's Symphonic Etudes, op. 13, written in variational form.

"Symphonic Etudes" by Schumann

Their general structure is as follows:
The theme of the funeral character of cis-moll is in the usual simple two-part form with a reprise and with a somewhat contrasting smoother middle. The final cadenza, quite “ready” for completion, however, turns towards the dominant, which is why the theme remains open and ends as if interrogatively.
I variation (I etude) has a march-like, but more lively character, becoming smoother towards the end of the middle. New motive, conducted at first imitatively, is “embedded” in the first sentence in the harmonic plan of the theme. In the second sentence, he counterpoints the theme held in the upper voice. The first period, which ended in the theme with modulation into parallel major, does not modulate here; but in the middle of the form there is a new, very fresh deviation in G-dur. In the reprise, the connection with the theme is again clear.
II variation (II study) is built differently. The theme in the first sentence is carried out in bass, the upper voice is entrusted with a new counterpoint, which remains alone in the second sentence, replacing the theme and obeying, basically, its harmonic plan (the same modulation in E-dur).
In the middle, the melody of the theme is often carried out in the middle voice, but in the reprise, a slightly modified counterpoint from the first period remains, while maintaining the harmonic plan of the theme, in its main features.
III etude, not called a variation, has a distant theme with the theme.
connection. The tonality of E-dur, which was previously subordinate, predominates. In the second measure of the melody of the middle voice, there is an intonation corresponding to the same intonation of the theme in the same measure (VI-V). Further, the direction of the melody only approximately resembles the figure TT. 3-4 topics (in the topic fis-gis-e-fis in the etude e-) is-efts-K). The middle of the form approximately corresponds to the middle of the theme in the harmonic plan. The form became three-part with a small middle.
III variation (IV etude) is a canon, which is built on the melodic pattern of the theme, somewhat modified, probably for the sake of imitation. The harmonic plan is somewhat changed, but its general outlines, like the form, remain close to the theme. Rhythm and tempo give this variation a decisive character.
Variation IV (V etude) is a very lively Scherzino, proceeding mainly in light sounds with a new rhythmic figure. Elements of the theme are visible in the melodic contours, but the harmonic plan is much less changed, only both periods end in E-dur. The form is two-part.
V variation (VI etude) is both melodically and harmonically very close to the theme. The character of excitement is given not only by the general movement of thirty-seconds, but also by syncopated accents in the part of the left hand, despite the even movement of the upper voice by eighths. The form of the theme is again not changed.
Variation VI (Study VII) gives a great distance from the theme. Its main key is once again E-dur. In the first two measures in the upper voice there are topical sounds, as at the beginning of the theme. In tt. 13-14, 16-17 the first figure of the theme is held in quarters. This, in fact, limits the connection with the original source. The form is tripartite.
Variation VII (Etude VIII) is an approximation to the theme in the harmony of the first period and a number of new deviations in the second. The extreme points of both periods coincide with the same places of the theme. The form is still two-part, but the periods have become nine-bar. Thanks to the dotted rhythm, the graceful sixty-fourths in imitations and the incessant accentuation, the character of decisiveness is re-created. The jumps add an element of capriccioso.
Etude IX, not called a variation, is a kind of fantastic scherzo. Its connection with the theme is small (see notes 1, 4, 6 and 8 in the opening melody). The general is in the tonal plan (I period cis - E, middle cis - E, reprise E - cis). The form is a simple three-part with a very large coda of 39 bars.
VIII variation (X etude) is much closer to the theme. Not only the main features of its harmonic plan have been preserved, but also many sounds of the melody on strong and relatively strong beats have remained untouched. Auxiliaries in the upper voice, which appear in the melody, are accompanied by auxiliary chords on the fourth sixteenth of almost every beat. The rhythm resulting from this, combined with the uninterrupted common sixteenth notes, determines the energetic character of the variation. The theme has been saved.
IX variation is written in a key that was not touched before (gis-moll). This is a duet, mostly of an imitation warehouse, with accompaniment. In terms of rhythm and melodic outlines, it is the softest (almost plaintive) of all. Many features of the melody and harmony of the theme are preserved. Little changed by extensions and the form of the theme. For the first time, an introductory subcycle was introduced. General character and final
morendo contrast sharply with the upcoming finale.
Progress from the funeral theme through various variations, sometimes close to the theme, sometimes moving away from it, but mainly mobile, decisive and not repeating the main mood of the theme, lead to a light, brilliant rondofial.
The ending is only vaguely reminiscent of the theme. The chordal warehouse of the melody in the first motive of its main theme, the two-part form of this theme, the introduction in the episodes between its appearances of the first melodic figure, which opens the "Symphonic etudes" - this, in fact, is what the finale is connected with the theme on which the whole work is based. .

A new type of variation introduced by M. Glinka

The couplet structure of the Russian folk song served as the primary source of a new type of variational form, which was introduced by M. I. Glinka, and became widely used in Russian literature, mainly in opera songs of a song nature.
Just as the main melody of a song is repeated in each verse at all or almost unchanged, in this kind of variation the melody of the theme also does not change at all or almost. This technique is often called soprano ostinato, since there really is something in common between it and the old "stubborn" bass.
At the same time, the variation of undertones in folk music, being somewhat related to the ornamentation of classical variations, gives impetus to the addition of contrapuntal voices to the ostinato melody.
Finally, the achievements of the Romantic era in the field of harmonic variation, in turn, were inevitably reflected in a new type of variation, being especially appropriate in a variation form with an unchanged melody.
Thus, in the new variety of variational form created by Glinka, a number of features are combined that are characteristic of both Russian folk art and common European compositional technology. The combination of these elements turned out to be extremely organic, which is explained not only by the talent of Glinka and his followers, but also, probably, by the commonality of some methods of presentation (in particular, variation) among many peoples of Europe.

"Persian choir" Glinka

An example of Glinka's type of variation is the "Persian Choir" from the opera "Ruslan and Lyudmila", associated with images of the fabulous East (in examples 129-134, only the first sentence of the period is written out).
The theme of variations, which is given a two-part form with a repetition of the middle and a reprise, is stated extremely simply, with inactive harmony, part (in the first conducting of the middle) - without chords at all Deliberate monotony, with a tonal contrast E—Cis—E—and slight dynamization, by means of underlining vertices h in the reprise:

The first variation was given a more transparent character. Low basses are absent, an accompaniment pattern that is in the middle and high registers wooden tools, very light. The harmonies change more frequently than in the theme, but are diatonic to almost the same degree. More colorful harmonies appear, mostly of a subdominant function. There is a tonic organ point (Fag.):

In the second variation, against the background of an approximately equally transparent harmonic accompaniment (there are relatively low basses, but also chords above them - pizzicato), a chromatic flute ornament appears, mainly in a high register. This pattern has an oriental character. In addition to flute counterpoint, cellos are introduced with a simple melody moving more slowly (the role of the cello voice is partly orchestral pedalization):

The third variation contains significant changes in harmony and texture. The E-dur parts of the theme are harmonized in cis-tnoll. In turn, the cis-moll "mu part of the theme, to some extent, is given the harmony of E-dur (the first two of the parallel sixth chords of this part). The melody of the choir is doubled by the clarinet, which has not yet performed with a leading voice. Quite low basses with a triplet figuration, mainly with auxiliary sounds in the eastern genus, are set out for the most part on the organ point, the Harmony is slightly colored in the extreme parts by the major subdominant:

The fourth variation, which goes directly into the coda, approaches the theme in texture, which is very reminiscent of the general traditions of the form. In particular, low basses are again introduced, the sonority of the strings prevails. The difference from the theme is some imitation and chromatization of the harmony of the extreme parts of the theme, greater than in previous variations:

The harmonies are not polyphonic, the plagal cadences are somewhat chromatized, as it was in the third variation. All extreme parts of the theme and variations ended in the tonic. This property of the reprise itself easily gives a final character, emphasized by the repetition of its last two-bar, as an addition. This is followed by another plagal cadenza pianissimo.
On the whole, the Persian Choir, which opens the third act of the opera (taking place in the magical castle of Naina), gives the impression of luxury and immobility of the fabulous East, fascination and is very important on the stage from the side of the color it creates.
A more complex example of variations, generally close to this type, is Finn's Ballad from the opera Ruslan and Lyudmila. Its difference is a deviation from ostinato in some variations and the introduction of a developmental element into two of them.

The introduction of episodes in subordinate keys with a departure from ostinato, to some extent, makes this form related to the rondo (see Chapter VII), however, with a significant predominance of the variational beginning. This type of variation, due to its somewhat greater dynamism, proved to be historically stable (Rimsky-Korsakov's operas).

Double variations

Occasionally there are variations on two themes, called the double. They first set out both themes, then follow in turn variations on the first of them, then on the second. However, the arrangement of the material could be freer, as exemplified by the Andante from Beethoven's Fifth Symphony: vols. 1-22 A Subject
tt. 23-49 B Theme (together with development and return to A)
50-71 A I variation
72—98 V I variation
98-123 A II variation 124-147 Thematic interlude 148-166 B II variation 167-184 A III variation (and transition) 185-205 A IV variation 206-247 Koda.

Scope of variational forms

The variational form is very often used for independent works. The most common names are: “Theme with Variations”, “Variations on a Theme ...”, “Passacaglia”, “Chaconne”; less common is "Partita" (this term usually means something else, see ch. XI) or some individual title, like "Symphonic etudes". Sometimes the name does not say anything about the variation structure or is completely absent and the variations are not even numbered (see the second parts of Beethoven's sonatas, op. 10 No. 2 and op. 57).
Variations have an independent separate structure, as part of a larger work, for example, choirs or songs in operas. Especially typical is the construction in a variational form of completely isolated parts in large cyclic, that is, many-part forms.

The inclusion of variations in a large form, as a non-independent part, is rare. An example is the Allegretto of Beethoven's seventh symphony, the plan of which is very peculiar in placing the trio among the variations, due to which, as a whole, a complex three-movement form is obtained.

Even more exceptional is the introduction of a theme with variations (in the truest sense of the term) as an episode in the middle movement of sonata form in Shostakovich's seventh symphony. A similar technique is observed in Medtner's first piano concerto.

Methodological development on the topic:

« Artistic and educational value of variational music-making in the process of formation of the variational form».

Introduction

Throughout the entire period of study at the Children's School of Art, students are accompanied by variational music playing (starting from the first grade, when they play “Shadow-Shadow” or “Oh, the hoop burst” and ending with complex works by classics or modern composers). But, without mastering the laws of the variational form, it is impossible to competently perform a work, using those stylistic devices and features of piano writing that would correspond to a certain type of variation. Therefore, this topic, I think, is relevant.

A variation form, or variations, a theme with variations, a variation cycle, is a musical form consisting of a theme and its several (at least two) modified reproductions (variations). Changes can occur in texture, mode, tonality, harmony, the ratio of contrapuntal voices, timbre, etc. In each variation, not only one component can change, but also a number of components in the aggregate. The unity of the variational cycle is determined by the commonality of thematism arising from a single artistic intent, and an integral line of musical development, dictating the use of various methods of variation in each variation and ensuring the logical coherence of the whole.

It is necessary to distinguish between variational form and variation as a principle. The latter has an unlimited range of applications (a motive, a phrase, a sentence in a period, etc., can vary, up to the variation of a reprise in sonata form). However, a single application of the principle of variation does not create a form on its basis. A variational form arises only through the systematic application of this principle, so at least two variations are necessary to create it.

Classification Options

Variations are usually classified according to four parameters:

1. Does the process of variation affect the theme or only the accompanying voices highlight:

a) direct variations (the theme varies);

b) indirect variations (accompanying voices vary).

2. According to the degree of change:

a) strict (the tonality, harmonic plan and

topic form);

b) free (a wide range of changes, including harmony,

form, genre appearance, etc.; connections with the topic are sometimes conditional;

each variation can reach independence as a piece with

individual content).

3. Which method of variation prevails:

a) polyphonic;

b) harmonic;

c) textured;

d) timbre;

e) figurative;

e) genre-specific.

4. By the number of themes in variations:

a) monochromatic;

b) double (two-dark);

c) triple (three-dark).

In the process of development of this form, several main types of variations with a relatively stable combination of these features have become stronger: variations on a seasoned (ostinato) bass (basso ostinato); variations on a sustained melody (soprano ostinato); strict variations (figurative, or ornamental), free variations (genre-specific). These types have existed in parallel since the 17th century, but in different eras some of them were more in demand.

Folk origins of the variational form

Variations are one of the oldest musical forms known since the 13th century. The variational principle of development originates in folk musical creativity. In folk (in particular, in Russian) music, the melody of any song was subjected to variational development directly in the very process of performance. The most inventive folk singers varied the melody of the repetitive verses of the song in every way, enriching it with various intricate undertones. If singing was accompanied by playing an instrument, then changes often occurred precisely in accompaniment.

In professional music Western Europe variations were associated with the development of instrumental genres. Even in the XIV-XV centuries. many outstanding masters of playing the lute, clavier, organ could improvise for hours on some popular theme, finding all the new shades and colors of its sound. This is how the form of variations was born.

AT 16th century secular instrumental art due to favorable social conditions, it was intensively developed in France and England. In clavier music, mainly forms of works associated with everyday music, with the traditions of lute art were used: in France it was a dance suite, in England - variations.

In 1611, in England, the first collection of harpsichord pieces by virginalist composers was compiled - William Byrd, John Bull, Orland Gibbons .

It is characteristic that these composers often took themes for their variations from folk music. One of Byrd's well-known works was variations on the popular song "Cabman's whistle". Anton Rubinstein performed this piece at Historical Concerts as a typical example of Old English virginal art. These variations have little contrast (monotonous). Their texture is chordal, somewhat heavy (see example No. 1).

Grounds, or variations on sustained bass

English virginism reached its highest point in the second half of the 17th century in the work of Henry Purcell (1659-1695). A peculiar type of variation in English music of that time was the so-called grounds. As in the chaconnes and passacaglia, in the grounds, one unchanging figure was repeated throughout the play. It was an ostinato bass - hence the name "ground" (which in English means theme, foundation, soil), and in another way, variations on basso ostinato, that is, sustained bass.

Purcell's New Ground is an excellent example of his style. Here we can talk about artistic image works. This is a lyrical play - no longer an everyday dance, but a poetic picture of the mood (see example No. 2). For the artistic and educational development of students, Purcell's miniatures (in particular, pieces of variation form) should be used more widely as a concert and pedagogical repertoire. When working on them, as well as on the works of other virginalists, collections edited by N.I. Golubovskaya:

"G. Purcell "Selected Clavier Works" and "Selected Clavier Pieces by Old English Composers".

As mentioned above, variations on the ostinato bass were closely associated with the dance genres of that time - the chaconne and the passacaglia. Subsequently, they lose their obligatory belonging to the dance and designate this particular form of variation.

The theme of ostinato variations is usually short and simple. In more developed forms - with the outline of the main functions in the cadence or with a descending chromatic movement - a favorite technique for the structure of the ostinato theme (J.S. Bach "Mass in E Minor" - example No. 3). But a harmonic warehouse is also possible, in which the theme serves as a bass voice (J.S. Bach "Chaconne" in D minor, see example No. 4). This form is under development. The ostinato melody, as a rule, is repeated in the bass, but sometimes it is temporarily transferred, for a change, to the upper or middle voice, and is also subjected to some ornamentation. For example, "Passacaglia in G minor" for clavier by G.F. Handel, which is in the collection we use

T.I. Smirnova "Allegro"; Intensive course; notebook №5 Ed. TsSDK, M., 1993 (see example No. 5).

Also in the collection "Kalinka" (compiled by A.A. Bakulov and K.S. Sorokin. Vses. Ed. " Soviet composer”, M., 1987) is “Chaconne” (on p. 133) G.F. Handel, which is played by our elementary school students. It combines the features of danceability and variations on basso ostinato (see example No. 6).

Due to the brevity of the theme, there is often a combination of variations in pairs (according to the principle of a similar texture of the upper voices) - in G. Handel's Passacaglia in G minor. The boundaries of variation do not always coincide clearly in all voices (as, for example, in Purcell's New Ground). In Bach, several variations in one texture often form a single powerful development, their boundaries disappear. Cycle completion can go beyond variation. Thus, the organ Passacaglia in C minor by J.S. Bach ends with a large fugue, and the Passacaglia cited above by G.F. Handel from Sat. T.I. Smirnova ends with a small coda.

AT XVII - early XVIII century is the most common type of variation.

In the classical era, it disappears, sometimes found in local areas of the form. Partly variations on the basso ostinato are the famous "32 variations in C minor" by L. Beethoven. This type is also irrelevant for romantics. It was rarely used by them (Brahms, “The Finale of Symphony No. 4”).

Interest in these variations re-emerges in the 20th century. R. Shchedrin has a work that is called Basso ostinato, and

D. Shostakovich, an example of such variations is found in the opera Katerina Izmailova (intermission between the 4th and 5th scenes of the opera).

Variations on sustained melody

There are also variations in which the melody of the upper voice is invariably repeated, called soprano ostinato (soprano ostinato). They are most characteristic of vocal music, the origins of which go back to folk song samples, where the main melody remained unchanged during couplet repetition, and changes occurred in accompaniment. In choral singing, with the identity or similarity of the main tune, changes occurred in other voices of the choral texture. These variations are widely used in opera, in particular Russian vocal creativity XIX century. For example "Persian choir"

M. Glinka from his opera "Ruslan and Lyudmila" or Martha's song "The Baby Came Out" from M. Mussorgsky's opera "Khovanshchina".

The theme may be original or borrowed, usually from folk music. The form of the topic is regulated. It can be one or two phrases, a period, a long sentence, up to a simple tripartite form. According to the variation method, variations on a sustained melody belong to indirect variations, because variation occurs due to accompanying voices. Since the theme is unchanged, variation can be textural, timbre, polyphonic, harmonic and genre. Texture-timbre variation involves a change in texture, the introduction of a new pattern, re-orchestration, in the choir - transferring the melody to other voices.

With polyphonic variation, the composer introduces new echoes or fairly independent melodic lines. Perhaps polyphonic design of the theme itself in the form of a canon, etc.

Harmonic variation is expressed in the reharmonization of the melody. The scale of changes can be different, up to changing the mode (M. Glinka's "Persian Chorus" from the opera "Ruslan and Lyudmila") or even transferring the melody itself to a different key (Rimsky-Korsakov - the chorus "Vysota" from the opera "Sadko").

Genre variation occurs when the listed types of variation lead to the formation of a new genre appearance of the theme, which is rare in variations on a sustained melody.

This type of variation was introduced and distributed in Russian musical literature M.I. Glinka. In addition to the unchanging melody, he also introduces harmonic variation, which is typical of the romantic era. Thus, in the new variety of variational form created by Glinka, a number of features are combined that are characteristic of both Russian folk art and common European compositional technology.

In instrumental music, an example of such variations is the work of E. Grieg “In the Cave mountain king from the music for the drama Peer Gynt. It is believed that ostinato variations marked the beginning of the polyphonic type of variation and were formed in the professional music of Western Europe from the 16th to the 18th centuries.

Strict variations

AT In the 18th century, with the development of the homophonic style, along with polyphonic ostinato variations, variations with the predominant value of the textural transformation of the theme, the so-called strict (classical) ones, were more and more widespread, sometimes called ornamental or figurative variations.

Their prototype can be seen in following one of the dances of an old suite of variations on it, provided with numerous small decorations, without any significant changes in all the basic elements, the so-calledDoubles(Doubles), also found in musical literature for music schools. The techniques developed in ostinato variations also left their mark on the formation of a new type of variational form. First of all, both continuity and new features are already evident in the theme itself. On the melodic side, the theme is simple, easily recognizable, and contains typical phrases. The contrasts are slight, but there are elements that can be developed on their own. The pace is moderate. On the harmonic side, the theme is tonally closed, its internal structure is typical and simple. The texture does not contain complex figurative patterns. The form of the theme is usually a simple two-part, sometimes three-part, much less often a period. In strict variations, direct variation is carried out, since the theme itself is transformed. But in general, ornamental variation gives a constant affinity to the theme. The melody (sometimes bass) is subjected to figurative processing. Of great importance is the enrichment of the melody with non-chord sounds (passing, auxiliary, delays). Harmony changes little and is a recognizable element. Variation of accompaniment by harmonic figuration common. The key throughout the cycle is one, although in variations Viennese classics modal contrast is introduced (tonality of the same name is used). The form of the theme is up to the classics and does not change at all or almost at all (but there are exceptions, which we will see below in our example).

The scope of such variations is almost exclusively instrumental music. They are especially common in the music of the Viennese classics. They can have an independent piece (many variation cycles of Haydn, Mozart, Beethoven) or part of a cycle (final, slow part, less often - the first part).

The innovation of the Viennese classics is their introduction of contrast within individual variations; contrast between variations; contrast of paces; the last variation is often reminiscent of the final parts of other cycles; sometimes a code is entered.

All in all, classic variations are determined by the unity of figurative content, and variations help to reveal the artistic possibilities of the theme and its expressive elements. As a result, a versatile, but unified musical image is formed.

For example, consider the “Song with Variations” (la Roxelana) by J. Haydn (see example No. 7). In history and literature, Roxelana is mentioned - the wife of the Ottoman Sultan Suleiman the Magnificent. Haydn even has a Symphony No. 63 in C major "Roxelana". It can be assumed that the composer dedicated these variations to a certain Rokselana, creating in music a multifaceted image of a girl or woman with a changeable character. We can imagine her sad and cheerful, intelligent and deep nature, and sometimes flirtatious and frivolous, which can be seen in different variations. A theme is a song (or in other publications called “Aria with Variations”) written as if for female voice(in the upper case) and is a simple two-part form with a contrasting small middle and a dynamized reprise, which indicates the depth of feelings and character of the image. The theme is calm, somewhat tense in the middle and reprise due to the deviation into the key of the minor dominant - G minor (and the main key is C minor) and the introduction of a double dominant. Short leagues on the 1st beat of the measure and staccato throughout the theme give the music an elegant character.

Next, we observe the contrast between the variations due to the introduction of the major of the same name (C major) and the deviation from the form of the theme. The form of the first variation is already a period, and not two-part. The major mode creates an upbeat mood, and the introduction of a sixth, third and dotted rhythm into the melody gives the music a festive solemnity (as in Polonaise).

The second variation is the same in form as the theme and key again in C minor. The character is sad. The variation of the melody is ornamental due to the enrichment of the theme with non-chord sounds (grace notes, auxiliary, passing, delays), and the music acquires an elegant, flirtatious character. The reprise introduces a polyphonic element of variation, which creates even greater expressiveness compared to the theme.

The third variation is again in C major. The form, as in the first variation, is a period. Texture variation. 16ths are introduced into the left hand part; chords, octaves into a melody. The dynamics are brighter than in the first variation, the mood is more upbeat. There is a technical, dynamic, emotional development of music, which brings the listener to the climax.

Separation and isolation of the parts of the variational cycle gives rise to the danger of fragmentation of the form. Already in the early samples of variations, there is a desire to overcome this danger by combining variations into groups according to some sign. Sometimes the classics mentally reduce the form to three-part, like the form of a sonata allegro.

The fourth variation plays the role of development and climax. It is developed in form. This is already a three-part form (8 + 10 + 8 volumes). The middle is extended to 10 measures. The part of the left hand is complicated due to the figurations of the 16ths according to the sounds of triads (variation by harmonic figuration) and the introduction of thirds. Complicated harmony: the main key of the fourth variation is in C minor, and the middle in E flat major is parallel major. But both harmony and melody remain recognizable. In the third part of this variation, the melody is moved to the lower register. The dynamics are more diverse (from "p" to "f" and "sf"). All this creates an excited, tense character of the music and the image as a whole.

All contradictions are resolved in the fifth variation, which plays the role of the final part of the cycle (final) - joyful, cheerful, impetuous. The key is again in C major. The tempo remains the same, but due to the figurative variation of the melody in this case (rather than harmony) and the introduction of 16ths in terms of triad sounds and scale passages, the variation "flies" rapidly and is technically the most difficult to perform. The harmony, as before, is simple - the alternation of tonic and dominant, as in other major variations (first and third). The form here is free with couplet features (singal and chorus), which is typical of vocal music and corresponds to the name of this work - “Song with Variations”.

The thematic material in the works of the Viennese classics is distinguished by its brightness, the relief of images, it always bears the stamp of the originality and unique individuality of the composer, as we have seen from the example of these variations by J. Haydn. Therefore, for the artistic and educational development of students, it is very important to familiarize them with the work of the Viennese classics and the style of their piano writing.

Free variations

AT XIX century, starting from its second third, a new type of variational form appears - free variations. Their emergence is closely connected with the romantic direction in music.

The theme in free variations undergoes a much greater transformation than in strict ones. It is possible to change the structure (form), harmony, tonality, theme in them. Often, some variations use the theme not entirely, but only certain elements of it, small, sometimes at first glance secondary turns. (“Variations on a Belarusian song” by N. Rakov for students of the Children's School of Art, grade 6). Therefore, in many free variations, the connection with the theme is no longer expressed as directly as it was in strict ones, the forms of its manifestation become more diverse. The theme can serve not only as the basis for variational development, as in strict variations, but also as a reason for creating a chain of diverse miniatures, many of which are very remotely related to it (R. Schumann "Children's Scenes"). A number of variations acquire such individual features that it becomes possible to write them in various genres, for example, variations in the genre of waltz, mazurka, march.

Consider "Variations on a Theme of Ukrainian Folk Song"

E. Andreeva for high school students of the Children's School of Art (see example No. 8). The theme differs little in character from the theme of strict variations. It should be noted only the complexity of its musical language, which can be explained by the variety of methods used for further variation, which in strict variations reduced mainly to the complication of texture. Key in G minor, size, form - period (6 + 6 bars).

The first variation is called "Song". Tonality and form, as in the theme. Only the lower voice in the part of the left hand varies: it turns from a polyphonic two-voice presentation in the theme into a monophonic one. Grace notes appear, the durations decrease from quarter notes to eighth notes due to the introduction of passing sounds (like strict variations, but only the accompaniment does not vary the melody in an ornamental way). In fact, the theme and the first variation are one and the same Ukrainian song.

The second variation is already called "Polyphonic Piece". The theme is transferred to the left-hand part and is presented in enlarged durations - quarters and halfs, in contrast to the theme, where eighths and quarters. Rhythmically, the echoes in the right-hand part have undergone a complete change - triplets and sixteenths are introduced. Due to the enlargement of the lengths of the theme, the form of this variation is also enlarged - this is a period of two sentences of ten measures plus one measure of the conclusion.

The third variation is called "Etude". The texture is completely changed, the technique of hidden polyphony is introduced. The theme with some melodic change is heard in the upper voice. The period is extended to 24 cycles.

The fourth variation is the play "Top". The key is the same, but the size and tempo of Vivace changes, which corresponds to the new character and image. The theme, albeit weakly, is heard. The form is the same (24 bars).

The fifth variation is "Mazurka". Size as it should be in Mazurka –. The melody is based on the sounds of the theme. A dotted rhythm is introduced (the rhythmic pattern has been completely changed). Written in a new form - three-part with a contrasting middle in a distant key - E flat major.

The sixth variation is “Musical Toy”. Here there is a polyphonic variation with the transfer of a strongly modified melody to different registers and parts of the hands. The tempo slows down - Andante cantabile - the slowest tempo of all miniature variations. The tonality changes to the major of the same name - G major. The form is three-part, but consists of only 16 bars.

The seventh variation "March" - energetic, mobile, is the final one in this cycle. The time signature changes to , the key is G major. The theme is almost unrecognizable rhythmically and intonationally. The form is three-part, but greatly enlarged in terms of the number of measures (57 measures - 16 + 25 + 16). In the middle movement, the original theme appears, but in the key of E major, then in A minor. Again, a polyphonic element is introduced, as in the theme. All this reminds us that the title of this piece is “Variations on a Theme of a Ukrainian Folk Song”. This is an example of genre variations written in our time. AT artistically is of great importance for the development of figurative thinking and the emotional sphere of the performer.

If we turn to another example of free variations, namely R. Schumann's "Children's Scenes", we will see that the cycle consists of miniatures of different character, form, tonal plan, united only by a common idea. They reveal the world of children's fun, joys and sorrows, draw pictures of the surrounding life. The plays are called like this: “About foreign lands and people”, “A strange story”, “A game of blind man's buff”, “A child's request”, “Happy contentment”, “ Significant event”, “Dreams”, “By the fireplace”, “Riding on a stick”, “Isn't it too serious?”, “Scare”, “Sleeping child”, “Words of a poet”. This is a more complex variational cycle, which belongs to the repertoire of music colleges, and not to the DShI. Nevertheless, one play of this cycle is found in collections of works for students of the 6th grade of art schools - the play "Dreams".

The greatest conquests of romantic music are associated with the name of R. Schumann: the ability to penetrate deep and subtle into the life of the human heart, the desire to see in life the wonderful and extraordinary, hidden from indifferent inhabitants. Therefore, acquaintance with the music of Schumann and other romantic composers always brings an invaluable contribution to the formation of a certain piano style and artistic taste of students.

Let's consider another example of free variations of the 20th century - this is "Variations on a Belarusian Song" by N. Rakov (see example No. 9). The theme consists of separate short motifs, which is typical for folk genre crying (wailing). Key in A minor. It should be noted the "vocal" instrumental theme. Its presentation is two-voice (sixths), movement along the descending third (III-I step, V-III step). Priority of melodicism: harmony is given late. Harmonies are juicy, colorful. The means of a parallel major-minor are used (for example, the D-flat triad

major in A minor is nothing more than a triad of the second reduced step from C major - bar 7), DD43 in C major - bar 12. The form of the theme is a sentence of two phrases (8 + 8 m).

Further, the theme varies, acquiring a different character: sometimes waltz-like, sometimes lyrical, sometimes disturbing. In the code, the theme sounds monumental and insistent (compared to the beginning) due to the powerful texture, bright dynamics (ff). The tonal plan is very diverse (the dynamics is replaced by chromaticity). Variations in this cycle are not separated from each other and their boundaries are not precisely defined. There are connections between variations, and, as was mentioned earlier, in free variations individual elements of the theme can vary, here one can even distinguish a variation of passages (bars 119-154). The theme is included in the variations three times, so we can say that the form of the work is mixed - variations + rondo! Harmonic means are due to a complex modal system. Only the rhythmic undergoes little transformation.

We see the avoidance of strict forms in variations, improvisation, gravitation towards the vocal strophic form, which follows, as it were, from the text of the song. All these are the colors of the 20th century. These variations with their improvisation develop creative thinking, student's individuality, technique and freedom of performance.

In the twentieth century, the range of possibilities of the variational form is gradually expanding. An example of an original interpretation of it can be "Variations and Fugue on a Theme of Purcell" by B. Briten, which has the subtitle: "A Guide to the Orchestra for Youth". The theme here travels from one instrument to another, introducing the listener to their timbres and expressive means.

Variations on several themes

In addition to variations on one theme, there are variations on two themes (double) and three (triple). Double variations are rare, triple ones are exceptional (M. Balakirev "Overture" on the themes of three Russian songs).

In double variations, both themes are first presented, then variations on the first of them, then on the second, follow in turn. However, the arrangement of the material may be freer. Topics can be close to each other in nature or, conversely, contrasting. An example of such variations is “Kamarinskaya” by M. Glinka, where two themes were subjected to variation processing: the wedding song “Because of the mountains, high mountains” and the perky dance “Kamarinskaya”.

Variations with a theme at the end

And finally, there are variations with a theme at the end. The emergence of this type of variation is associated with a departure from classical thinking in the field of form, which required a theme at the beginning and its further development. They appear at the very end of the 19th century (there were precedents in the Baroque era in some variational compositions). The most significant works of this kind are the symphonic variations of "Ishtar" by Vincent d'Andy (1896), "Third piano concert R. Shchedrin” (1973), “Piano Concerto by A. Schnittke” (1979). There is no form regulation. In Shchedrin's concerto, the variations are combined very intricately, up to the asynchronous beginning in the orchestra and in the part of the soloist. Elements of the theme are scattered throughout the concerto, it appears in its entirety in the final cadenza. In Schnittke's concerto, the theme is a complex, including a dodecaphonic series, triads and recitation on one sound.

Conclusion

So we see that as we develop musical art musical forms also change. They serve new ideological and artistic tasks and therefore new methods of presentation and development appear in them, and the overall composition of the musical material also changes.

Variation cycles occupy a prominent place in the pedagogical repertoire among large-scale works. Acquaintance with them is of great artistic and educational importance for the musical and technical development of students. The peculiarity of variational cycles is that they combine elements of both large and small forms. Therefore, the student, working on them, acquires a particularly diverse executive skills. Like a miniature, each individual variation requires laconism of expression, the ability to say a lot in a little. At the same time, when combining individual variations into a single whole, a student needs a large amount of memory and attention, the ability to switch from one artistic task to another.

The student must know what type of variation and variation his work belongs to, be able to find the theme and its elements, delve into the features of the modal and harmonic structure, form, texture and other means of expression. This will help to consciously treat the analysis of the text and penetrate deeper into the content of the music being performed.

Learning variations related to different historical eras, we introduce students to various stylistic features of piano writing, consider different solutions to artistic problems by composers. Performing variations on the themes of different peoples (Russian, Belarusian, Ukrainian, Moldavian, Slovak, etc.) we get acquainted with the folklore of these peoples.

I want to say from practice that working on a variational form is very interesting. In each variation, it is necessary to convey a certain character and mood, using various techniques of performance.

All the acquired knowledge in the process of working on the variation cycle helps to accomplish the most important task - the education of a versatile musician - a performer with creative thinking, a sense of style and a rich emotional palette.

Bibliography

Alekseev A., "History of piano art", part I, M., 1962.

Alekseev A., "Methods of teaching to play the piano", ed. 3rd, M., "Music", 1978.

Kyuregyan T., "Form in the music of the XVII-XX centuries", M., 1998.

"Musical Form", ed. Yu.N. Tyulina, ed. "Music", M., 1965.

Sposobin I. V., "Musical Form", 6th ed., M., "Music", 1980.

"Problems musical science”, a collection of articles, compiled by V.I. Zak, E.I. Chigareva, no. 6, M., “Sov. composer", 1985.

Fraenov V., “Musical form. Course of lectures”, M., 2003.

Kholopova V., "The form of musical works", St. Petersburg, "Lan", 1999.

Shatskaya V.N., "Musical and aesthetic education of children and youth", M., "Pedagogy", 1975.

Encyclopedic Dictionary of a Young Musician, comp. Medushevsky V.V., Ochakovskaya O.O., M., Pedagogy, 1985.

Virginal is a musical instrument, a kind of small harpsichord in England, hence the name of the performers on it - virginalists.

Technological map of the lesson

Subject

Music

Class

3v class

Lesson type

Assimilation of new knowledge

Lesson construction technology

Study and primary consolidation of new material

Topic

"Variations"

Target

To form an idea of ​​variation as a musical form, to be able to distinguish by ear the features of the construction of variations

Basic terms and concepts

Musical form, variations, simple variations, free variations

Planned (expected) result

Know the meaning of the concept of variation, simple and free variations, be able to determine the variation form in musical works, distinguish between simple and free variations by ear, create a variation model

Item Skills

Personal UUD: to develop musical and aesthetic taste, ear for music, the ability to realize one's creative potential in the process of individual and collective action, to form the ability to distinguish the form of variations by ear, to interact with peers in solving creative problems

Regulatory UUD:to form the ability to control and correct their own learning activities, to understand successes and failures in vocal and choral activities, creative tasks aurally

Cognitive UUD:to be able to recognize the types of variations, based on the means of musical expression, to know the musical areas of application of the variational form

Organization of space

Tool, computer, projector, screen, lesson presentation

Forms of work

Resources

Frontal

group

Work in pairs

Individual

Perception and analysis of a musical work

Vocal and choral work

Creating a Free Variation Model

Recording definitions in workbooks

Didactic tasks of the lesson stages

Lesson stages

Didactic tasks

Organizational

(stage of motivation)

Development of goodwill and emotional and moral responsiveness

Updating of basic knowledge and skills

Stimulation of the cognitive activity of students by demonstrating the presentation, familiarity with the terms musical form, variations

Statement of the educational problem

Nomination of a problem-search task, organization of solutions with the help of leading questions

Problem formulation, activity planning

Theoretical differentiation of types of variations, disclosure of their features

Discovery of new knowledge

Discovery of new knowledge through theory

Initial check of understanding

Creation problem situation through listening, organizing solutions

Application of new knowledge

Organization of collective performance activities, its connection with the problem of the lesson, the logical construction of the dramaturgy of the lesson, the fulfillment of a creative task

Checking the emotional, activity sphere, the level of mastery of educational material

Study Technology

Lesson stages

Formed Skills

Teacher activity

Student activities

Organizational

Meta-subject (UUD): cognitive activity of students

Regulatory: adjust your own performance

Communicative: emotionally - figurative mood

Musical greeting: - Hello guys!

Look into each other's eyes, smile, conveying a piece of good mood.

What song was playing when you entered the classroom? This song did not sound by chance, today, relying on it, we will talk about the musical form of the variation. (1 slide)

Students to the music of R.N.P. “There was a birch in the field ...” enter the class, greeting: - Hello, teacher!

Knowledge update

Subject: acquaintance with a new musical form

Meta-subject (UUD): highlighting the main goal of the lesson

Cognitive: selection of criteria for comparison

Communicative: cooperation with the teacher

Let's sing the song. (2 slide)

Variations are the oldest musical form, originating in folk art. Folk performers usually repeated their tunes several times, while each new performance sounded in a modified version. In modern art, variations are widely used by composers in popular music, since it mainly consists of songs where verses are repeated.

What do the terms mean - musical form and variations? (3 slide)

Students take part in collective singing, perceive the teacher's story

Working with presentation

write the terms in a notebook

Statement of the educational problem

Subject: identify by ear the distinctive features of the variational form

Meta-subject (UUD): readiness for logical actions

Cognitive: mental division of the work into parts

Regulatory: the ability to act according to a plan

Communicative: the ability to participate in joint activities

Listen to the song that was played at the beginning of the lesson, watch the video clip. (4 slide)

Give answers to questions.

(5 slide)

Students listen, analyze, answer questions.

Formulating the planning problem

Personal: listen, find the right information in the presentation

Metapredetnye (UUD): separation of general and particular concepts

Regulatory: evaluation of one's own inferences

The variation theme can be original (written by the composer himself) or borrowed. Variations can be filled with completely different content: from very simple to deep and philosophical meaning.

Such variations are divided into simple and free.

Listen, note the difference in the types of variations

Discovery of new knowledge

Subject: a more complete acquaintance with the means of musical expression

Metasubjective (MDD): introduce the terms "free and simple" using the example of variations

Cognitive: look for solutions in response to the question about the complexity of variations

Regulatory: form leading and problematic questions

Communicative: participation in joint activities, search for compromises

Creating variations, composers use the means of musical expression. Let's repeat some of them.

(6 slide)

Now we will once again hear the song “There was a birch in the field” in a new performance. P. I. Tchaikovsky included it in the finale of the Symphony No. 4. In this work, a Russian song paints a picture of festive folk fun. As soon as you hear the sound of a familiar theme, raise your hand and determine whether it is a variation: simple or free.

(7 slide)

They work with the presentation, read out the terms, give a description.

Actively listen to music, draw conclusions.

Physical education minute

Compliance with health-saving technologies

Physical education "Christmas tree" (8 slide)

Get up and exercise

Application of new knowledge

Subject: applying the acquired knowledge in creating a model of variations

Metasubject (UUD): the ability to analyze the problems of war and peace

Cognitive: the formation of motivation for the culture of another country

Regulatory: control your emotions

Communicative: participation in vocal and choral work perceive the world around

And now you will get acquainted with the Japanese folk song "Sakura". (9 slide)

What is sakura?

Japan is a country of farmers. Therefore, the Japanese pay a lot of attention to plants, and the glorified plants often have no practical significance. Sakura is an inedible variety of cherry, nevertheless, alleys of sakura trees are planted in front of the temples, all the media follow its flowering in late March - early April, worship is religious and aesthetic in nature (enjoy beauty).

Let's perform this song in Russian and Japanese. (10, 11 slides)

Which language is more harmonious with the gentle nature of the song?

Do you feel like you want to continue this song?

Incompletion is a feature of Japanese music.

Variations on the theme "Sakura" will now sound, but first listen to terrible tragedy that took place in Japan in 1945.

On August 6, 1945, at 8 o'clock in the morning, when the Japanese were in a hurry to work, three aircraft appeared over the city of Hiroshima. The hatches of the lead aircraft opened, and a bomb separated from it and began to fall. When it exploded, it turned into a giant fireball that absorbed the entire city, and then rose above it in an unprecedented mushroom cloud. The innocent inhabitants of Hiroshima ended up in hell. And on August 9, the same fate befell another Japanese city - Nagasaki. Hundreds and hundreds of thousands of people died, and those who survived were doomed. As you understand, the consequences of the explosions shocked and horrified everyone, including Russian composer Dmitry Borisovich Kabalevsky. All his experiences, sympathy for the Japanese people, the composer expressed in variations on the theme of the Japanese folk song "Cherry". A little later, a book was published in Japan called "The Sadako Girl Wants to Live." The girl's family fell into this tragedy. The girl fell ill with an incurable disease. Sadako really wanted to get better and one day, she asked the doctor: "Will I live?". The doctor replied, "Yes. You'll get better when you've made a thousand paper cranes." The girl so loved life, those who were next to her, but despite this, Sadako did not have time to make a thousand cranes. In memory of her, the children of Japan made a thousand cranes and launched them into the sky.

Listening to music.

(12-32 slides)

Which philosophical meaning included in the work?

People should remember the terrible lessons of history. And the music will warn them against irreversible actions.

On the desks in front of you is the "Model of Variations by D. B. Kabalevsky." (Ex. 1)

Consult with each other and decide what means of musical expression the composer used.

Make a conclusion - are these variations simple or free? Why?

After this task is checked on the screen.

(33 slide)

remember, answer

Participate in vocal and choral work.

Argument answer

Justify your answer

The students are listening

Participate in a story about a historical event, emotionally empathize

Listening with presentation

Give

reasoned answer

Working in pairs with the "Model of Variations"

Free, because almost all means of musical expression are used, the original theme is hardly recognizable.

Reflection of educational activity

Personal: awareness of the development of musical and aesthetic sense

Meta-subject (UUD): the ability to self-determine in the evaluation of learned content, providing a personal moral choice

Regulatory: Understanding Success and Reasons for Failure

Communicative: the ability to participate in joint activities

At the end of the lesson, I want to know how you evaluate your activities in the lesson. I will ask questions, and you, if you agree, clap your hands once, if not, tap your foot once.

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

Constant update

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

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

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

A bit of history: the origins of the form

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

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

New Variation Options

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

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

Types and varieties

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

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

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

Figurative potential and nuances of meaning

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

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

Modern innovations

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