Expressive means of music: Melody. Outline of a lesson in music on the topic: Means of musical expression Musical expressive means
MEANS OF MUSICAL EXPRESSION Music is the language of sounds. Various elements of musical language(pitch, longitude, loudness, coloring of sounds, etc.) help composers express different moods, create different musical images. These elements of musical language are also called means of musical expression. There are 10 in total:
- register 6. meter timbre 7. fret pace 8. harmony dynamics 9. invoice rhythm 10. melody
Register | Women's voices | Male voices |
| mezzo-soprano | ||
- mmale(dense, bright tone) female(warm, transparent tone) mixed
(full, rich, bright tone) children's choir (light, light timbre).
| Stun instruments | woodwind instruments | Brass instruments | Percussion instruments |
| Violin | Flute | French horn | timpani |
| Alto | Oboe | Trumpet | Drum |
| Cello | clarinet | Trombone | xylophone |
| double bass | Bassoon | Tuba | Bells, etc. |
| 1. | Slow pace | They express peace, restraint, meditation, pain in music. |
| 2. | Moderate pace | Associated with leisurely movement, moderate activity. |
| 3. | Fast pace | They represent joy, excitement, energy, playfulness, humor. |
| Slow pace | Moderate pace | Fast pace |
| Largo - widely | Andantino - a little faster than Andanto | Allegro - fast |
| Lento - drawn out | Vivo - lively |
|
| Adagio - slowly | Moderato - moderately | Vivace - lively |
| Grave - hard | Presto - very fast |
|
| Andante - rather slowly | allegretto - slightly slower than Allegro | Prestissimo - extremely fast |
Gradual decelerationpace(usually at the end of the work, a feeling of calm) | gradual ACCELERATION pace (usually in the middle sections of the work, an increase in excitement) |
Ritenuto - holding | Accelerando - accelerating |
| Ritardando - late | Animando - inspiring |
| Allargando - expanding | stringendo - accelerating, hastening |
- Piu
- more meno
- less non troppo
- not too much molto assai
- very, very subito
- suddenly, unexpectedly poco
- a little poco a poco
- little by little, little by little
Basic designations dynamic shades:
Piano pianissimo | ppp | extremely quiet |
| Pianissimo | pp | very quiet |
| Piano | p | |
| mezzo piano | mp | not very quiet |
| mecco forte | mf | not very loud |
| Forte | f | |
| Fortissimo | ff | very loud |
| Forte fortissimo | fff | extremely loud |
- Crescendo - cresc
. - reinforcing
- Sforzando - sforc., sfc., sf
.- suddenly strengthening
- Subito forte- sub.f.
- suddenly loud
- Diminuendo
- dim
. - reducing, weakening the sound
- Decrescendo -decresc
. - weakening
- Smorzando
- smorc
. - freezing
- Morendo - morendo
- freezing
| Repetition identical durations in works slow or moderate pace creates a calm, balanced image. In works fast pace - etudes, toccatas, preludes- repetition identical durations (often there are sixteenth durations) gives the music an energetic, active character. More common rhythm groups, united by notes different duration. They form a variety of rhythmic patterns. | less often the following rhythmic figures are found: dotted rhythm (characteristic for march, dance) - exacerbates, activates movement. Syncope - moving the accent from a strong beat to a weak one. Syncopation creates an effect of surprise. Triol - dividing the duration into three equal parts. Triplets give ease of movement. Ostinato - repeated repetition of one rhythmic figure. |
| Strict meter strong and weak beats alternate evenly | free meter accents are distributed uneven, in modern music there may be no time signature or no division into measures | |
| Double meter- one strong and one weak beat ( /- ) e.g. polka or march. | Tripartite meter- one strong and two weak beats ( /-- ), for example, waltz. | Polymetry - simultaneous combination of two-part and three-part meter. Variable meter - changes throughout the work. |
- Simple- having only one strong beat (bipartite, eg. 2
4
or tripartite, for example. 3
4
or 3
8
). Complex- combination of simple identical meters (only two-part, for example. 4
4
\u003d 2 4 + 2 4 or only triplets, for example. 6
8
= 3 8 + 3 8). mixed- combination of meters miscellaneous(two-part and three-part) type (e.g., 5
4
= 2 4 + 3 4 , or 3 4 + 2 4 , or 7
4
= 2 4 + 2 4 + 3 4 etc.).
| Chorey (/-) | Yamb (-/) | Dactyl (/ - -) |
| Boo- rya mist- Yu not- bo cro- etc. | In le- su ro- di-las e-loch- ka | Sly- shu whether go- los yours ringing- cue and lac- which |
- Polka
- 2 4 , rhythmic groups with sixteenth notes. Waltz
- 3 4 , accompaniment with an emphasis on the first beat. March
- 4 4 , dotted rhythm.
Yamb: Chorey: Dactyl:
2. What meter types and what special metric reception used by Latvian composer Romuald Kalsons when processing Latvian folk song "BUTr meitām dancot gāju» ?..................................................................................................................................................
..................................................................................................................................................
R. Kalsons. Latin processing. nar. songs “Armeitam dancot gā ju”
3. Divide the following musical examples into measures in 24 and 34, then play or sing:
4. Complete the text!
Lullabies usually performed in ......................... tempo and ........... ............................... dynamics, and marches- at ....................................... pace and ............................................... dynamics. The exception is funeral marches, whose tempo is always ............................................, and dynamics -............... .
5. What words in Russian are pronounced with these endings:
..............………….joe, .......................Che, .......................
shendo?
- Think:
trichord- a mode consisting of three sounds.
tetrachord- a mode consisting of four sounds.
pentatonic scale- mode, consisting of five sounds.
seven-speed frets (major, minor, old frets).
| Frets without semitones | Seven-step frets | Frets with two or more semitones in a row |
| Trichord– fret in the fourth range, consists of big second and a small third. Pentatonic- fret from five sounds arranged in major seconds and minor thirds. Another name for this mode is "Chinese gamma", because it is often found in oriental music). whole tone, or increased fret- fret from 6 sounds, each of which is separated from the neighboring by one (whole) tone. They do not create mutual gravity and therefore produce a strange, fantastic impression. In Russian music, M.I. Glinka at the opera "Ruslan and Ludmila" to characterize Chernomor. Hence the other name for this mode - "Gamma Chernomor" . | Major- a mode, stable sounds of which form a major triad. Fret of light, joyful coloring. Minor- a mode, stable sounds of which form a minor triad. Fret dark, sad coloring. Variable fret (mode in which there are two stable triads): - parallel (e.g. C major - A minor) - namesake (eg G major - G minor) frets. Vintagefrets - similar to modern major or minor, but differing from them in separate steps - mixolidis,Lydian, Phrygian,Dorian) | Chromatic mode- a mode in which, along with the main steps, there are steps raised or lowered by half a tone (found in music of the 20th century). |
Musical expressive means in music
Invoice (from Latin "processing")
Melody
Register (from Latin "list", "list")
Tempo (from Lat., It. "time")
Meter
Rhythm
Time signature
Fret a system of pitch ratios united by the tonic. The most common modes major and minor .
Harmony
Stroke (from German “line”, “line”) legato, non legato, staccato, spiccato, detache, marcato).
musical form
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Elements of musical form. Period
Construction
Signs of the division of the musical form into builds:
Pause, stop at a relatively long sound, repetition of a melodic-rhythmic figure, often with upbeats of the same length, change of registers, shades (accompanied by may not be caesuras).
Constructions in musical form: motive and submotive, phrase, sentence. Period.
Caesura
Motive -
Phrase -
Cadence -
Period (from Greek "bypass", "circle") the smallest homophonic form that expresses a relatively complete musical idea. Consists of proposals. (It happens simple, complex and special structure).
Building schemes:
Of the two sentences: ab or aa 1 ;
from three sentences:
a - a 1 - a 2
a b c
a b - b 1
a b a (a b a 1 )
Period :
Chopin F. Prelude for Piano Op. 28: Nos. 4, 6, 7, 20
Tchaikovsky P. "Sleeping Beauty" Blue Bird Variation
Tchaikovsky P. "Sleeping Beauty" Silver Fairy Variation
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Music and dance genres. Musical styles and trends
- Concepts of style and genre.
- The main historical musical styles and trends, their representatives.
- Types of dances (folk, ballroom, classical, modern), their main forms.
- Program music.
Genre (from French "genus", "kind") a multi-valued concept that characterizes the types and types of musical creativity in connection with their origin, conditions of performance and perception. Genres are divided into primary and others (secondary - author's works not intended directly for dancing) (see - Bonfeld M. Introduction to Musicology, p.164)
Classification of genres according to the conditions of existence:
- folk music of the oral tradition (song and instrumental);
- light household and pop-entertainment music - solo, ensemble, vocal, instrumental, jazz, music for brass bands;
- chamber music for small halls, for soloists and small ensembles;
- symphonic music, performed by large orchestras in concert halls;
- choral music;
- musical theatrical and dramatic works intended for performance on the stage.
Genres can also be divided into vocal and instrumental.
Types of dances (folk, ballroom, classical, modern), their main forms:
Folk - dance (single, pair, group, mass) dance (group, mass), square dance, lancier, round dance (ornamental, game, dance, female, mixed), pair-mass dances, suite, picture, ballet (one-act)
Classic - variation, monologue, solo, pas de deux, duet, pas de trios, trio, pas de catre , small ensemble (4-8 people), pas d'action , suite, symphonic picture, choreographic miniature, ballet.
Ballroom dance specialization:
a) historical and everyday dances of the XV-XIX centuries:
salon - courant, minuet, burre, rigaudon, volta, saltarella, gavotte, French quadrille, etc.
Ballroom - waltz, polonaise, polka, tango, foxtrot, etc., solo, duets, trios, pair-mass forms, suite, painting, ballet (for example, on the vocabulary of dances of the 18th century);
b) everyday dances of the 20th century:solo, duet, trio, pair-mass, mass, suite (for example, dances of the 50s),
painting, ballet (e.g. "New York Export Opus Jazz"
J. Robbins and others).
c) sports ballroom dancing of the XX-XXI centuries:
sports compositions 10 each famous dances for pairs of different classes, show numbers, sekway form, formation (for 8 pairs, European and Latin American versions).
d) specialization in pop dance: solo dances, duets, trios, small ensembles (4-8 people), mass compositions, suite, painting, ballet (show program).
a brief description of dance:
(Waltz, Polka, Mazurka, Gallop, Tarantella, Czardas)
- name (origin), national roots, character;
- history of the origin of the genre, predecessors;
- type of dance depending on the number of performers;
- features of expressive means (form, tempo, rhythmic figures);
- performance features (costumes, instruments, location);
- musical examples.
Program music. Examples.
The term "program music" was introduced by F. Liszt for works based on literary or narrative ideas, plots, or in which some image, mood, genre is indicated with the help of a title. The program title helps to reveal what is not possible to express with music. Examples are:
"Night on Bald Mountain" (Symphonic picture) by M. Mussorgsky, Overture-Fantasy "Romeo and Juliet" by P. Tchaikovsky, Rimsky-Korsakov N. "Scheherazade",
"The Seasons" by A. Vivaldi and others.
Simple music and dance forms
Simple musical forms: period, simple one-part, simple two-part, simple three-part.
musical form- this is the embodiment of a certain ideological and emotional figurative content by expressive means of the musical language (typical for a particular folk-national culture in a certain historical era), carried out in live sound.
Classification musical forms in the historical aspect, from the Middle Ages to the twentieth century:
- textual-musical (musical-textual, lowercase) forms of the Middle Ages, Renaissance;
- vocal forms of the 19th - 20th centuries;
- instrumental and vocal forms of baroque;
- instrumental forms of the baroque;
- classical instrumental forms;
- opera forms;
- musical and choreographic forms of ballet;
- musical forms 20th century
Dance art uses both applied dance music and works not intended for dance.
Parts of the musical form and their functions, types of presentation of musical material.
Parts Functions:
- introductory
- exposition
- binder
- middle
- reprise
- final
Of these, independent types of presentation have functions: exposition, middle and final. These functions can appear in the work as general (on a large scale level) and local (on a small scale). The combination of multi-level functions leads to the multifunctionality of sections of musical forms.
R. Zakharov, V. Panferov and other choreographers highlightparts dance composition(usually there are from 3 to 5):
- exposition
- plot
- action development
- climax
- end, denouement
The unity of music and dance is manifested in the emotional-figurative unity of content, the correspondence of tempo and rhythm. movements, postures, dance groups, dance patterns must match musical features musical work.
Music theme - a musical thought complete in meaning, expressive and embossed, capable of developing by means of the musical language, of all kinds of modifications, variation, transformations, figurative transformations.
Principles of repetition, variation and contrast in dance forms.
The development of musical material can be carried out on the basis of:
- the principle of repetition (identity),that is, the exact repetition of the musical construction in an unchanged form;
- modifiedrepetition (varied, variant repetition or sequence). In the first case, the repetition contains minor changes in the material, in the second - more significant, qualitative changes, but leaving the material recognizable. The sequence assumes the repetition of the material at a different height while maintaining the melodic-rhythmic structure;
- principle of contrastcombinations of different musical material, juxtaposition (complementary, shading or conflicting)
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Simple two-part form
Simple two-part form -a form consisting of 2 periods with an obligatory contrasting beginning of the second. This contrast can be of two types:
- juxtaposition (new intonational material) - black polka "Dance";
- development on the active transformation of the material of the 1st period - Dance of the Princess (Rimsky-Korsakov "Scheherazade").
If the 2nd sentence of the 2nd period has a repetition of the material of the 1st period, then the form as a whole- reprise , and if there is no repetition - non-reprisal.
A simple two-part form may have an introduction and a coda.
A simple two-part form:
Ravel M. "Bolero" - Theme
Fibich Z. Poem
Schubert F. Ecossaises Op.18
Chopin F. Prelude Op. 28: #13, 21
Bach I.S. Minuets G-dur, d-moll
Beethoven L. Ecossaise G-dur
Simple three-part form
A simple three-part form -a form consisting of 3 parts, where the extreme ones are in the form of a full period, and the middle one is a period or building a through character.
Middle m.b. 4 types:
- transition (based on the dominant tone-tee, is an extended link between sections 1 and 3).
- varied, or option 1 part;
- developing-development;
- on a new topic.
For the middle, the tonality is typical D groups. It often ends with a dominant predicate. If T ends, then a link is introduced between the middle and the reprise.
Reprise m.b. exact or varied, dynamized (with an active transformation of the theme, with a change in scale, harmony, form).
Less common is a simple 3-part non-reprise (ABC) form, where the lack of a reprise is compensated by a weak contrast of parts, unity of texture, rhythm.
A simple three-part form may have a fairly developed introduction and coda.
Building schemes:
a - a 1 - a 2
a b c
a b - b 1
a b a (a b a 1 )
A simple three-part form:
Weber K. Waltz from the opera "Magic Shooter"
Grieg E. "Peer Gynt" Anitra's Dance
Chopin F. Mazurkas: Op. 24, #5; op. 30, No. 1, No. 3; op. 55, No. 2, Op. 67, no. 2; op. 68, no. 4
Chopin F. Preludes No. 12, 1
Grieg E. Nocturne in C major
Tchaikovsky P. Sleeping Beauty: Chirping Canary Fairy, Silver Fairy Variation
Complex musical and dance forms
Complex two-part form
Complex two-part form - a form consisting of two sharply contrasting sections, each of which (or one of the two) is presented in a form more complicated than a period.
Sections go in the same name, less often parallel keys:
1 section - at a slow pace,
Section 2 - at a fast pace.
Meets complex two-part form in characteristic dances and vocal works with irreversible plot development.
Double two-part form - a two-part form that sounds 2 times with any changes:
AB - A 1 B 1, or AB - A B 1.
Complex two-part form:
Minkus L. "La Bayadère" Dance with a snake, act 3
Tchaikovsky P. "Sleeping Beauty", Pas de Quatre, Act 3, Gold Fairy Variation
Tchaikovsky P. "Swan Lake", act 3, Hungarian dance, Russian dance, Neapolitan dance- notes
Chopin F. Nocturnes: op. 15, no. 3; op. 72
2-part: K. Khachaturian Variation of Countess Cherries ("Cipollino");
Complex three-part form
A complex three-part form is a form consisting of three sections, where each, or at least one of the three, is presented in a form more complex than a period: in a simple 2-part or
3-part, in the form of rondo or variations, sonata, etc.
Another feature this form is a sharp figurative-thematic contrast of the middle section.
The tonality of the middle section is subdominant or of the same name, less often it is distant.
Middle types:
- Trio (clear, distinct form)
- Episode (does not have a clear, clear form, is based on a through development, may have internal cadences)
- Contrasting-composite (several themes, 2 or more, weakly bound friend with a friend who has, as it were, a suite sequence).
The middle can be completed with a cadence, but more often with a dominant predicate to a recapitulation.
Sometimes between the middle and the reprise there is a false reprise not in the main key. It is quickly interrupted, a modulating transition is introduced into the main key, and a true reprise begins.
Reprise can be:
- exact (identical) - not written out in notes (put a sign Da capo al fine)
- c shortened (not less than the period)
- varied.
A three-part complex form may have a developed introduction and coda.
Most of the marches, waltzes, scherzos, minuets, and other genres, primarily dance music, as well as choirs and opera arias are written in it.
Triple three-part form - 3-part form with a double repetition of the middle and reprise, each time with new changes: ABA-B 1 A 1 -B 2 A 2.
An intermediate 2-three-part is a form in which the 2nd reprise sentence of the 2nd part, internally expanding, approaches the 1st part in scale, balances it, and by ear the form can be perceived rather as a three-part.
A B sequence
| ____ | | ____ | | _-_-_ | | ____ _| _____ |
A to C (A)
Three-part, intermediate between simple and complex:
A-VSV-A
The extreme parts are in the form of a period, as in a simple 3-part, and the middle - according to the trio principle - in a simple 2-part or 3-part form (as in a complex one).
Complex three-part form:
Glinka M. Waltz and Polonaise from the opera "Ivan Susanin"
Ravel M. Forlana, Rigaudon, Minuet from the suite for piano "The Tomb of Couperin"
Tchaikovsky P. "The Seasons": Barcarolle, By the Fireside
Chopin F. Nocturnes: op. 2, no. 1; op. 15, #2; op. 32, no. 2
Mozart W. Symphony in C major ("Jupiter"), Minuet; Symphony in G minor, Minuet.
Shostakovich D. Fantastic dances
Tchaikovsky P. "Swan Lake", 1st act, Pa-d` axion.
Tchaikovsky P. "The Nutcracker", Trepak
Minkus L. "La Bayadère" (Pas de Quatre, act 3) Tempo di valse brillante
Tcherepnin N. Grand Waltz from the ballet "Pavilion of Armida"
Rondo
Rondo - (from the French "circle") a form based on at least three repetitions of the main theme-refrain, alternating with new constructions, or episodes. The origin of the rondo is from songs-dances performed in a circle.
Varieties of rondo - classical, ancient and rondo of romantics.
ancient the rondo was common in the music of 18th-century harpsichord composers. The refrain here is always in the form of a period. It does not change when repeated. Episodes - developing, on the material of the refrain. For example: A - A 1 - A - A 2 - A - etc., where A is a refrain (chorus, repeating part). The tonality of the episodes is not further than the 1st degree of kinship (they differ by 1 sign).
classic rondo finally took shape at the end of the 18th century Viennese classics.
Traditional scheme: ABASA. Refrain - not only m. b. period, but also a 2-3-part form, may vary when repeated. The last hold may have a code function. Episodes are always contrasting, based on new thematic material. Their form can also be more complicated than the period, and the tonality can be up to the 3rd degree of kinship:
A-B-A 1-C-A 2 (with modified refrain).
Rondo of Romantics -
the semantic center moves from the refrain to the episodes. They surpass the refrain in significance, scale, independence, they can be presented in any key, the contrast can reach the genre. The refrain plays a background-connecting role here.
Rondo can be combined with other forms - with a three-part (simple or complex):
A-B-C-B-A-B;
with variations:
A- A 1- A- A 2 - A- A 3, etc.
with sonata form
Rondo:
- Beethoven L. "To Elise" notes
- Bach I.S. Gavotte from Partita No. 3 for violin solo
- Prokofiev S. "Romeo and Juliet", Juliet-Girl,Montagues and Capulets
- Tchaikovsky P. "Swan Lake" Bride Waltz, act 3
- Matos Rodriguez Tango "Kumparsita"
- Chopin Waltz №7 cis-moll
Glinka M. Waltz fantasy
Cha-cha-cha
Saint-Saens C. "Rondo-capriccioso" for violin and orchestra
Schumann R. Vienna Carnival, Op. 26, 1 hour
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Variations
Basso ostinato, double.
Variation form appeared in X VI century. There are two types of variational forms:
- strict type variationsin which the form, scale, the basis of the harmonic plan of the theme remain unchanged, but the texture, rhythm, registers can change.
There are variations on the same melody (ornamental, "Glinka") and on the same bass, on basso ostinato (can be melodic or harmonic type, used in old dances of passacaglia and chaconne). Variations are built on the principle "from simple to complex" (with a small amount). A large number of variations are divided into groups, the ratio of which gives the form of the second plan (rondo, sonata, cyclic, etc.)
- free type variations, most often - instrumental, in which the scale, structure, harmony, often tonality and genre (genre variations) can change. The commonality of the intonational structure is preserved, the variations are increased in scale, the contrast between them is enhanced, and they resemble a suite.
In free variations, it is possible to use polyphonic, developmental development.
Free variations are found in vocal music. Usually there are several verses that differ in scale, internal structure, harmonic plan. A feature is the actual similarity of couplets, so that the image does not change, and each couplet is a variant.
Double variationsvariations for two different topics. In the process of development, they influence each other, enrich, usually converge (acquiring the features of symphony and sonata). There are three types:
- with alternate variation:
A B A 1 B 1 A 2 B 2 A 3 B 3 etc.
2. with group variation:
A A 1 A 2 A 3 A 4 A 5 B B 1 B 2 B 3 B 4 B 5 B 6 A 6 A 7 A 8 A 9 A 10 B 7 B 8 B 9 B 10
3. with a mixed structure (alternate and group);
Variations:
Handel G. Passacaglia from Suite in G minor for clavier
Glinka M. "Kamarinskaya"
Glier R. "Red Poppy", Dance of Russian sailors "Yablochko", 1 act
Mendelssohn F. Marsh from the Overture "Dream in midsummer night»
Ravel M. Bolero
Sirtaki
Stefaniv R. Moldavian choir
Barabushki
Kryzhachok
sonata form
Sonata form
Sonata form can have a developed introduction and coda.
On display two themes (main and secondary) are contrasted, their tonal
spheres. Each party may consist of 1 or several themes, which are not combined into 2-3-part forms (with rare exceptions), but are called serial numbers.
The connecting part provides tonal preparation of the software. Sometimes the contrast is found not only between the main and secondary, but also other themes of the exposition, and there may also be a conflict between sections of the form.
The final part is always in the tonality of the PP, is a chain of cadence turns or an independent theme (several themes).
The tone of the PP - among the Viennese classics - D , and if the GP is in a minor, then it is parallel; for romantics and Russian composers - there may be a third and second ratio. In the twentieth century, m. b. and more distant, sharp pitch ratios.
In developing there is an active tonal-harmonic development of themes (or themes).
Its structure can be. homogeneous (single end-to-end development), or divided into phases, stages.
All themes or one can be developed, sometimes there is the introduction of a new episodic theme. Here the main tonality is avoided, the tonality often prevails S , often development ends D a prelude to a reprise. There may be a false reprise.
In reprise the contrast of themes and tonal spheres is weakened, the main tonality of the work is affirmed. Topics can qualitatively change: expand in scale, shrink, there may not be all the topics due to tonal proximity, the sequence of topics may change (“mirror reprise” - where first the PP is held, and then the GP). The combination of PP and GP in simultaneous sounding is called "counterpuntal reprise".
Special types of sonata forms:
- Sonata form without development
- Sonata form with episode instead of development
- Sonatina (simplified sonata form)
- Old sonata form
- Sonata form in the genre of instrumental concerto
- Rondo sonata
Examples:
Mozart W. Symphony №40 1h.mp3
Beethoven L. Moonlight Sonata.mp3 - without development, with an episode.
Tchaikovsky P. The Nutcracker Overture. 01 Track 1.mp3 - no development.
Sonata form:
Mozart W. The first parts of sonatas for piano; Overtures to the operas "The Marriage of Figaro" and "Don Giovanni"; finals of sonatas Nos. 3, 4, 17, Symphony No. 40, 1 ch.
Rimsky-Korsakov N. "Scheherazade", 1 hour
Beethoven L. First movements of symphonies Nos. 1, 3, 4, 8
Shostakovich D. First movements of symphonies Nos. 5 and 7
Tchaikovsky P. "The Nutcracker", Overture
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Cyclic shapes with few parts.
Cycle (from Greek "circle")
In cycles with a small number of partsgenres are implemented in a generalized way, contrasts are deepened to conflicts, there are well-established forms of parts, a tonal plan. There may be a "cross-cutting" dramaturgy, the merging of the cycle into a one-part form. Sonatas, symphonies, concertos are written in such a cyclic form.
Sonata-symphonic cycle.
The form of the symphony developed gradually, the predecessors were opera overtures, concert suites. From the suite, the symphony took on the many-part and contrast of parts, from the overture the principle of construction of the 1st part. The number of parts was different (2-5 parts or more). The four-part cycle was established in the works of the Viennese classics J. Haydn, W. Mozart in the 2nd half of the 18th century.
Part 1 was usually written in sonata form. Allegro.
Part 2 is usually slow, there is no contrast, conflict of images, this is relaxation, meditation, contemplation (lyrical part, Adagio).
Part 3 Scherzo, playful, dancing, lively (3-part form).
Part 4 Finale mobile, based on folk dance melodies, in the form of rondo, rondo sonata, using polyphonic development techniques. Contains common code.
A symphony can reflect all the diversity of life, its ebullient movement, struggle and, at the same time, a deep connection between various phenomena of life.
In the symphonies of composers of the 19th and 20th centuries, the order and nature of the parts do not always correspond to the classical ones: the scherzo can be the 2nd part, and the slow part is the 3rd.
L. Beethoven laid the tradition of bringing the symphony genre closer to the cantata and oratorio. (For example, the 9th symphony).
Merging the cycle into a single part.
From the middle of the XIX century in the genres of symphonic poem and instrumental concerto, there is a merging of the cycle into a one-part form. The work is performed without interruption, its fragments or sections cannot be performed separately. A three-part structure is often used, where the 1st section is similar to the 1st part of a sonata or concerto, the middle of the 2nd part (slow tempo), and the final one has genre features of the finale.
There is also a 4-part structure, where 1 part = 1 part of a dramatic symphony, 2nd section = Adagio (Andante) ), 3rd = scherzo (sometimes parts 2 and 3 are interchanged), 4th section = finale of the symphonic cycle.
Examples:
Mozart W. Symphony No. 40.
Beethoven L. Piano Sonata No. 14, Symphony No. 5.
Beethoven Symphony No. 5
Vivaldi A. "Seasons"
Gershwin D. Blues Rhapsody
Suite (from French " series, sequence)
Ancient Suite known since the 15th century as instrumental work(for lute or clavier) and dance (the so-called "French suite" of the 15-17th centuries began with a slow part, and the "Italian" with a fast one). It is built according to the principle of contrast of tempos: allemande - courant saraband gig.
Since the 18th century, the number of parts in the suite has increased, the content has been updated, and new dances have been included. Music loses its applied character. In the 19th century, program suites, music for performances, operas and ballets, and in the 20th century for films were created.
In cycles with many partsuse the principle of contrasting comparison of parts, connection with dance, song, programming.
Each cycle is a single artistic organism, which is based on a common artistic intent, leading idea, and sometimes any plot.
Parts of the cycle represent separate stages in the formation of the idea of the development of the idea, the plot. Therefore, the fully artistic content of each part can only be understood in the context of the whole. The unity of the cycle is also ensured by compositional technical means:
- thematic links various parts a cycle of any topics;
- intonation similarity (in different parts);
- tonal connections (unity of keys, symmetry and functional subordination of the main tonic parts);
- tempo connections tempo symmetry, gradual acceleration or deceleration of the tempo, or polarization, aggravation of tempo ratios;
- structural connection (unity of structure, symmetry of parts, generalizing properties of the final (similar to a 3-part form)).
Cycles with many parts:
Tchaikovsky P. "Seasons"
Schumann R. "Carnival"
Bach I.S. English and French suites
Bizet J. - Shchedrin R. "Carmen Suite"
____________________________________________________________________________
free forms
Free forms originated in the ancient organ music and reached
perfection in the work of J.S. Bach (primarily in the genre of fantasy).
These forms reached their greatest flourishing and distribution in the works of composers of the second half of the 19th century, especially among F. Chopin, F. Liszt, P. I. Tchaikovsky.
Symphonic poems are written in free forms, one-movement
sonatas, concertos, overtures, fantasies, rhapsodies, ballads and other pieces, sometimes separate parts of cyclic works (especially in the work of composers of the 19th-20th century).
Generally in musical literature there are a lot of different mixed
forms, often called free. Each individual form must be considered
correct if it satisfies approximately the following conditions: 1). number of topics
limited, and they are repeated all or partly in one order or another; 2). available
the main tone, sufficiently expressed in the conclusion, and 3). on the face
proportionality of the parts.
It is necessary to distinguish between two main types of free forms - systemic and non-systemic.
Systemic free forms are those forms that characterize
a certain order in the arrangement of parts, but different from others.
Fantasy - and instrumental composition of a very free construction; in 16th century fantasy was composed, as a rule, for the lute, clavier or instrumental ensemble in polyphonic style, reminiscent of the ricercar or canzona style. In the 1718 centuries. the genre is increasingly enriched with elements of an improvisational nature. In the 19th century the name "fantasy" refers to instrumental, mainly piano pieces, to a certain extent free from established forms (for example, Sonata quasi una fantasia Moonlight Sonata Beethoven). Fantasy could also be called improvisation on a chosen theme..
Rhapsody (Greek rhapsodia; from rhaptein, "to stitch", "compose", "compose" and ode, "song"). A rhapsody can be called an instrumental (occasionally vocal , for example, by Brahms) composition written in a free, improvisational, epic style, sometimes including genuine folk motifs (Hungarian Rhapsodies Liszt, Blues Rhapsody Gershwin).
Symphonic poem -program orchestral composition a genre that became widespread in the era of romanticism and includes features program symphony and concert overture (R. Strauss, Liszt, Smetana, Rimsky-Korsakov, etc.).
potpourri (from French - “mixed dish”) XIX century.
Free Forms:
Tchaikovsky P. "Romeo and Juliet" (symphonic overture)
Lyadov A. "Kikimora", "Magic Lake", "Baba Yaga"
Stravinsky I. "Petrushka"
Chopin F. Ballade No. 1
___________________________________________________________________________
Polyphonic forms
Polyphony a special warehouse of polyphony, based on the melodic independence of all constituent voices. The most commonly used forms are canon, fugue, complex fugue.
Canon (from Greek
Invention
Fugue (from Latin, Italian Fugues are composed for any number of voices (starting with two).
The fugue opens with a presentation of the theme in one voice, then other voices enter in succession with the same theme. The second carrying out of the theme, often with a variation of it, is called the answer; while the answer sounds, the first voice continues the development of its melodic line (counterposition, that is, a melodically independent construction, inferior to the theme in brightness, originality).
The introductions of all the voices form the exposition of the fugue. Exposure can be followed by either a counter-exposure (second exposure) or polyphonic development the whole topic or its elements (episodes). In complex fugues, a variety of polyphonic techniques are used: increase (increase in the rhythmic value of all the sounds of the theme), decrease, inversion (reversal: the intervals of the theme are taken in the opposite direction for example, instead of a quart up a quart down), stretta (accelerated entry of voices that "crawl" each on another), and sometimes a combination of similar techniques. In the middle part of the fugue, there may be connecting constructions of an improvisational nature, called interludes . A fugue may end with a coda. The fugue genre is of great importance in both instrumental and vocal forms. Fugues can be independent pieces, combined with a prelude, toccata, etc., and finally, they can be part of a large work or cycle. The techniques characteristic of the fugue are often used in the developing sections of the sonata form.
double fugue, as already mentioned, it is based on two themes that can enter and develop together or separately, but in the final section they are necessarily combined in counterpoint.
complex fugue it can be double, triple, quadruple (on 4 topics). The exposition usually shows all the topics that are contrasting in terms of expressiveness. There is usually no developing section; the last exposition of the theme is followed by a combined recapitulation. Expositions can be joint and separate. The number of themes is not limited in simple and complex fugue.
Polyphonic forms:
Bach I.S. Well-Tempered Clavier, Inventions
Tchaikovsky P. Symphony No. 6, 1 hr. (elaboration)
Prokofiev S. Montagues and Capulets
Musical forms in ballet
Musical form and choreographic form in ballet are not identical.
Introduction to the ballet (Introduction) usually contains topics (late topics) related to the content of the plot, the characteristics of the main characters. The form can be varied (two-part, three-part, sonata)
Classical and characteristic suites.Varieties of the suite, depending on the number of participants: pas de deux, pas de trois, pas de quatre, pas de sench, pas de sis, grand pas.
The structure of the classical suite:
entry (entree)
adagio
variations
coda
The classical suite stops the development of the plot.
Pas a "action (pa dacson “effective dance”) ambiguity of the term: type of classical suite (numbered suite accompanied by mimic action on the stage), a separate number with an active development of events.
pas de deux - a kind of choreographic duet, a classic love dance, the "lyrical center" of a scene or act.
Antre (exit) may be a small unstable entry, or absent altogether.
Adagio duet dance, usually at a slow pace. character cantilena, musical form usually 3-part with dynamized reprise. There is no three-part choreography.
Variation solo performance of each of the dancers in the form of a short virtuoso dance on small technically complex movements or large jumps. In character, tempo, expressive means, male and female variations are contrasting. The musical form is usually simple three-part (reprise is not observed in the choreographic form). The pace of music - from calm and moving to very fast.
coda self dance and an independent musical form, a fast, most often virtuoso final number of a classical suite. Musical forms of the coda: three-part, double three-part complex three-part, double three-part. Dance numbers may end with a traditional coda (final part of the form)
grand pas (Big dance)a classical suite built like a classical suite, but intended for the participation of the main characters, soloists, sometimes the corps de ballet.
A feature of many-part classical suites is the contrast of tempos and meters, the lack of tonal unity.
Character Suitea suite of characteristic dances, that is, endowed with genre-everyday, folk, national features, elements of imitation of different characters. Usually it has the character of divertissement (entertainment), does not develop the plot.
Symphonic picturea number that complements the performance with some kind of pictorial, effective beginning, or characterizing the scene, the time of events, national origins, etc. It can have a tripartite or more complex form.
Intermission (French entracte, from entre, “between” and acte, “action”), instrumental music that sounds between acts of a dramatic play, opera, ballet, etc.
ballet forms
Delib L. "Coppelia", Mazurka, Czardas, Waltz
Tchaikovsky P. "Sleeping Beauty" Prologue. Pas de sis. Pas de trois, 3 act.
Tchaikovsky "Swan Lake" "The Tempest" (Act 4)
Adan A. "Giselle", Introduction, Pas de deux (acts 1, 2), Giselle Variation (acts 1, 2)
Prokofiev S. "Romeo and Juliet": Juliet the Girl, Father Lorenzo, Mercutio, Montecchi and Capulet.
Mussorgsky M. "Night on Bald Mountain"
Glazunov A. "Raymonda", act 1, picture 3 (Grand pas)
Video recordings:
Borodin A. "Prince Igor" Polovtsian dances, act 2
Tchaikovsky P. "Swan Lake", 2nd act
Glazunov A. "Raymonda", final act 2 (picture 4), pas d'action
Oldenburgsky P. "La Bayadère" Pas de squel
Aubert J. Grand pas
Glossary
Variations (from Latin "change") a musical form based on the exposition of a theme and repeating it many times with new changes each time. Variations are strict and free, ornamental, on basso ostinato, double.
Introduction - a section that precedes the main part of a piece of music, establishing the key, tempo, metro-rhythm, texture. May consist of one or more measures, or even one chord, sometimes using the theme song of the main section.
Harmony combining sounds into consonances, a sequence of consonances.
Dynamics (from Greek "strength") sound intensity, loudness. Various volume options are called nuances, dynamic shades.
Genre (from French "genus", "kind") a multi-valued concept that characterizes the types and types of musical creativity in connection with their origin, conditions of performance and perception. Genres are divided into primary, applied, and the rest (secondary).
Zatakt one or more sounds that begin the phrase with a weak time of the bar, and aspire to a heavy beat of the bar.
Invention (from Latin "invention", "fiction") a small piece of polyphonic warehouse. Such plays are usually based on imitative techniques, although they often contain more complex fugue techniques. In the students' repertoire music schools 2- and 3-voice inventions by J.S. Bach are widespread (3-voice ones were originally called “synphonies”). According to the composer, these pieces can be regarded not only as a means to achieve a melodious manner of playing, but also as a kind of exercise for the development of the musician's polyphonic ingenuity.
Canon (from Greek "norm", "rule") a polyphonic form based on the imitation of a theme by all voices, and the entry of voices occurs before the end of the presentation of the theme, that is, the theme is superimposed on itself by its various sections. (The interval for the entry of the second voice in time is calculated in the number of bars or beats). The canon ends with a general cadence turnover or a gradual “turning off” of voices.
Cadence - (from Italian - “falling”, “ending”) - the end of the musical structure, the final harmonic or melodic turn. Cadenzas are complete, perfect and imperfect, plagal and authentic, half and interrupted, middle, final and additional.
Another meaning of this term is a virtuoso solo part of a vocal or instrumental work of an improvisational type (often recorded by the author in notes).
Koda (from lat. "tail", "tail") the final construction of a piece of music or part of a cycle following the main final section. The main tonality of the work is usually affirmed in the coda, elements of its main themes sound.
Fret a system of pitch ratios united by the tonic. The most common modes are major and minor.
keynote (from German - “leading motive”) - relatively short musical construction, repeatedly repeated throughout the work; serves as a designation and characteristic of a certain character, image, emotion, etc. Often used in stage music, symphonic works of the romantic direction.
Melody (from the Greek. “singing”, “singing”) - a monophonic succession of sounds of the same or different heights, organized with the help of modal gravity.
Meter alternation of light and heavy beats in music ("pulse" of music).
Motive - the smallest indivisible intonation-semantic cell of a musical form, consisting of one or more sounds and containing one metrical accent. A motive may contain one or more sub-motives.
Music theme -a part of a musical work that is distinguished by its structural completeness and the greatest brightness of the musical idea embedded in it. The theme has an emotional structure, genre features, national style features. It can change, develop, transform.
musical form structure of a piece of music. It is determined by the content of each individual work, created in unity with the content, characterized by the interaction of all expressive means.
Period (from Greek "bypass", "circle") the smallest homophonic form that expresses a relatively complete musical idea. Consists of proposals. (It happens simple, complex and special structure)
potpourri (from French - “mixed dish”) an instrumental piece consisting of popular fragments, motifs from other works, replacing each other in a mosaic pattern. The form is applied from XIX century.
Construction a term denoting any of the sections of a musical form.
The offer is a large part of the period, ending with a cadence turnover, consisting of one or several phrases.
Predicate (predicate)(from lat. ictus - "blow") - a section of musical form based on an unstable, often dominant function (dominant organ point) and requiring resolution in the stable part of the form. It is used in the middle parts, developments, ligaments and other connecting structures.
Program music -works based ona literary or narrative idea, plot, or in which an image, genre or mood is indicated with the help of a title.
Time signaturea fraction, where the numerator is the number of beats in a measure, and the denominator is a counting unit, its duration.
Rhapsody (from Greek - “to stitch”, “to compose”, “to compose” and ode - “song”). Rhapsody can be called an instrumental, occasionally vocal, composition written in a free, improvisational, epic style, sometimes including genuine folk motifs.
Register (from Latin "list", "list") part of the range of an instrument or singing voice, characterized by a single timbre.
Rhythm (from the Greek. “harmony”, “proportionality”) the succession of sounds of the same or different duration, organized with the help of a meter.
Rondo (from French "circle") a form based on at least three repetitions of the theme-refrain, alternating with new constructions, or episodes. (There are classical, ancient and romantic rondos).
symphonic poem.Program orchestral composition a genre that became widespread in the era of romanticism and includes features of a program symphony and a concert overture
Sonata forma complex, dialectical in content, universal in terms of expressive possibilities musical form, consisting of three sections (exposition, development and reprise), set out in accordance with a special tonal plan.
Style (from Latin " stick for writing) the concept of aesthetics and art history, fixing the systemic nature of expressive means characteristic of an era, direction, nationality or composer.
Suite (from fr. « series, sequence) a cyclic form, consisting of several thematically different, independent parts that have either a common genre (dance suite) or are subordinate to the program design.
Tactthe interval of time in music between two equivalent metrical accents is separated by a bar line when writing.
Musical themea part of a work that is distinguished by structural completeness and the greatest brightness of the musical idea embedded in it. The theme has an emotional structure, genre features, national, stylistic features. The topic is not only presented, but also changed and developed.
Tempo(from lat., it. "time") the speed of movement in music, determined by the number of metric beats per unit of time.
Keyaltitude position fret.
Trio -(from Italian "three") - part (section) of the musical form of an instrumental piece - dance, march, scherzo, etc., contrasting with the more mobile extreme parts of the work, was usually performed by three instruments (for example, in a concerto, symphony). The trio can be an independent work.
Invoice(from lat. "treatment") method of presentation (warehouse) of a musical work (can be monophonic, polyphonic, homophonic, mixed)
Fantasy- an instrumental composition of a very free construction; in the 16th century fantasy was composed, as a rule, for the lute, clavier or instrumental ensemble in a polyphonic style, reminiscent of the ricercar or canzona style. In the 1718 centuries. the genre is increasingly enriched with elements of an improvisational nature. In the 19th century the name "fantasy" refers to instrumental, mainly piano pieces, to a certain extent free from established forms (for example, Sonata quasi una fantasiaMoonlight SonataBeethoven). Fantasy could also be called improvisation on a chosen theme.
Phrase -an incomplete, dependent, relatively closed part of a musical form, consisting of one or several motives.
Fugue(from lat., ital. "running", "flight", "fast current") a form of polyphonic work based on repeated imitation of a theme in different voices.
Caesura(from Lat. - "dissection") - the moment of division of the musical form into constructions.
Loop(from Greek. "a circle") a musical form consisting of several parts connected by a unity of design, independent in structure. There are cycles with a small number of parts (a sonata-symphony cycle, a concerto, cycles of preludes and fugues, an old suite) and a large number of parts (a cycle of instrumental or vocal miniatures, often of a program nature). The principles of combining parts are the contrasting comparison or interaction of the parts of the cycle in relation to figurative-thematic, genre, intonational-thematic content, tonal plan.
Hatch (from him. « line, dash) reception of sound extraction on a musical instrument, which has an expressive meaning (legato, nonlegato, staccato, spicato, detache, marcato).
Literature
Mandatory:
1. Bonfeld M. . Analysis of musical works. Structures of tonal music. Ch.1,2.
M.: Vlados, 2003.
2. Kozlov P., Stepanov A. Analysis of musical works. M.: Education, 1968.
3. Panferov V. Fundamentals of dance composition. Chelyabinsk, 2001.
4. Sposobin I. Musical form. M., 1962.
5. Kholopova, V.N. Forms of musical works. ¶St. Petersburg, Lan, 2001.
Additional:
1. Ballroom dancing. ¶M., Soviet Russia, 1984
2. Great Russian Encyclopedia, in 30 volumes. M., Great Russian Encyclopedia,
2004.
3. Boffy G. Big Encyclopedia music: per. from Italian. M.: AST: Astrel, Vladimir:
VKT, 2010.
4. Vasilyeva-3. Rozhdestvenskaya, M. Historical and household dance. ¶M.: Art, 1987.
5. Voronina I. Historical and household dance. Teaching aid. M.: 2004.
6. Zakharov R. The composition of the dance. Pages of pedagogical experience. M.: Art, 1989.
7. Mazel L. The structure of musical works. M.: Muzyka, 1986.
8. Mazel L., Zukkerman V. Analysis of musical works. Elements of music and
small form analysis technique. M.: Muzyka, 1967.
9. Maxine A. Study ballroom dancing: Toolkit. SPb.: Lan: Planet
music, 2009.
10. Musical encyclopedic Dictionary/ ed. G. Keldysh. M.: Soviet
encyclopedia, 1990.
11. Pankevich G. Sounding images (about musical expressiveness). Moscow: Knowledge, 1977.
12. Popova T. Musical genres and forms. M.: State. music publishing house, 1954.
13. Skrebkov S. Textbook of polyphony. M.: Muzyka, 1965.
14. Smirnov I. Art of the choreographer. M.: Education, 1986.
15. Tyulin V. The structure of musical speech. L.: Mrs. music publishing house, 1962.
16. Uralskaya V. Nature of dance. (Library "To help the artistic
amateur performances", No. 17). M.: Soviet Russia, 1981.
17. Ustinova T. Selected Russians folk dances. M.: Art, 1996.
18. Khudekov S. Illustrated history of dances. M.: Eksmo, 2009.
19. Zuckerman V. Analysis of musical works. General principles of development and
shaping in music. Simple forms. M.: Muzyka, 1980.
20. Zuckerman V. Analysis of musical works. complex forms. M.: Music,
1983.
21. Tchaikovsky P. Swan Lake (clavier). M.: Muzyka, 1985.
22. Chernov, A.A. How to listen to music. M.-L.: Music, 1964.
23. Yarmolovich, L. Elements of classical dance and their connection with music. L., 1952.
Korkodinova Daria Alexandrovna
Job title: teacher of musical and theoretical disciplines
Educational institution: MAUDO "Children's Art School No. 3"
Locality: Khanty-Mansi Autonomous Okrug - Yugra, Nizhnevartovsk
Material name: Lesson summary
Topic:"Means of musical expression"
Publication date: 05.10.2018
Chapter: additional education
Municipal autonomous institution of additional education
Children's Art School No. 3 in Nizhnevartovsk
Summary of the lesson on "Listening to music" Grade 1.
Topic: Means of musical expression.
Completed: teacher of musical and theoretical disciplines
Korkodinova Daria Alexandrovna
Nizhnevartovsk 2018
The purpose of the lesson: Formation and assimilation of new knowledge.
Lesson objectives:
Educational: 1. Familiarization of children with various means of musical
expressiveness
2. The ability to distinguish the means of musical expression
3. Apply the acquired knowledge in other classes (choir,
solfeggio, special tool)
Educational: 1. Formation of skills of listening to music
2. Formation of skills in the analysis of musical works (in
according to age)
3. Education of aesthetic and emotional feelings.
Developing: 1. Development of emotional perception.
2. Development of imagination, memory, thinking.
3. Development of auditory attention and musical memory.
Lesson plan.
Organizing time
Explanation of new material
Homework
During the classes
Organizing time.
Hello guys, today we will get acquainted with music by
more. Do you know what makes music so beautiful and
different? Do you know what the means of musical expression are?
Let's find out!
Explanation of new material.
Music, according to the ancient Greek philosopher Plato, gives life and
fun to everything that exists in the world, is the embodiment of that
beautiful and sublime that is on earth.
When we listen to music, we first of all feel its general
character or mood. But how is it conveyed? (answers
With the help of musical expressions. These are small
assistants to music, there are many of them, and they are different. Let's go with them
let's get acquainted.
Melody is something without which music cannot exist. This is the main
thought, grain of music. The melody is different: if we can sing it,
she is vocal. Let's try to sing the song "Two Merry Geese".
Happened? (Yes). So the melody in this song is vocal, let's
Another kind of melody is the complete opposite of the vocal one. If a
the melody is difficult or impossible to sing, then such a melody is called
instrumental. Let's listen to the music now
works called "Baba Yaga" by the composer Lyadov and
Let's try to sing a tune. Well, how? Happened? (No) So it's a melody
Instrumental. (write down)
There is another kind of melody called cantilena. It's very lengthy
free and beautiful melody. A striking example such melodies are
Russian folk long songs. (Listen to r.n.p. “At dawn, dawn”)
And the last kind of melody is very unusual. It's called recitative. it
singing, which is close to colloquial speech. (Listen to Rimsky -
Korsakovo "Martha's Recitative") (recording)
The melody is always associated with another means of expression, without
which it cannot exist is RHYTHM. Rhythm is alternation
different durations (I show with claps). It is he who possesses
the ability to influence the character of music. For example, if the music
lyrical and melodious, then the rhythm is even, calm, and if excited, then
the rhythm is intermittent, and sometimes spasmodic. (write down)
LAD is also important in music - this is what betrays the mood (cheerful or
sad). The fret is major and minor. (pointing to
instrument). Let's write it down and draw a little. minor scale
we will draw as a cloud, and major as a bright sun.
Equally important is TEMP in music. Tempo is the speed of the musical
works. It is fast (allegro), moderate (andante) and
slow (adagio). (write down)
Another means of musical expression is timbre. Timbre is
sound coloration. It is because of the timbre that we can distinguish the voice of mother, from
will say the word "music" and we will listen if our voice timbre is different
or not. (talking) Is it different? (children's answers) Of course, yes, because
Register - pitch. The register is high, medium and low.
(pointing to the piano). For example, if I want to draw a mouse
on the piano, in what register should I do it? (in high).
That's right, what if I want to show a big bear? (in low).
Absolutely, right. What register does a cat meow in? (average).
Let's play? I will play melodies in different registers, and you will
guess what animal is talking now. (play and then record
registers)
These are the main means of expression, but there are also additional ones,
which make the music more expressive and charming. This invoice is
the structure of the sound "fabric". For example, if a piece of music
consists of only one melody, then this texture is called
homophonic, and if there are several such melodies, and they are equal to each other,
then such a texture is called polyphonic. These are not the only types
textures, there are many more, but I will tell you about them in the following
There are more touches - a way to extract sound and dynamics - power
sound. Do you know where the name of our instrument came from?
"piano"? It consists of two words "forte" - loud and "piano" - quiet.
Well guys, tell me how the piano is translated? (Loud quiet).
This is how the name of our favorite instrument is translated.
Outcome
Thanks to the combination of all the above means of musical
expressiveness and beautiful music appears.
Let's try now with you to hear all these means in
Tchaikovsky's The New Doll.
Write in your notebook all the means of musical expression in
column, listen to the work and choose the correct option for
each of the funds. (listen and analyze)
And now let's sum up and solve the musical crossword puzzle!
Homework
Listen to your work in the specialty and try
analyze it yourself. And this brings our lesson to
the end, all the best, goodbye!
MEANS OF MUSICAL EXPRESSION
Music is the language of sounds. Different elements of the musical language (pitch, longitude, loudness, coloring of sounds, etc.) help composers express different moods and create different musical images. These elements of the musical language are also called means of musical expression. There are 10 in total:
register 6. meter
timbre 7. fret
pace 8. harmony
dynamics 9. invoice
rhythm 10. melody
1. REGISTER
A register is a part of a range, a certain pitch of a voice or a musical instrument.
Distinguish - high register (light, airy, transparent sound),
Low register (serious, dark or humorous sound).
2. timbre
Timbre - a special coloring of sounds, the nature of the sound of different voices or musical instruments. Voices of people, musical instruments have different colors
Sounds. One instrument's timbre is transparent, another's is warm and soft, and the third's is bright and piercing.
mezzo-soprano
^ A choir is a large group of singers (at least 12 people), similar to an orchestra in instrumental music.
Chorus types:
male (dense, bright timbre),
female (warm, transparent timbre),
mixed (full-sounding, rich, bright timbre),
children's choir (light, light timbre).
Symphony Orchestra Instruments.
Instruments in an orchestra are distributed among their families - the musicians call them orchestral groups. There are four of them in the orchestra:
Stun instruments
woodwind instruments
Brass instruments
^ Percussion instruments
Violin
French horn
Cello
double bass
Bells, etc.
Tempo is the speed at which the music moves during the performance of the piece.
Metronome - a device for counting durations at the desired speed (for example, 108 quarter notes per minute). Indicates to the performers the exact tempo of the piece. Invented by the Austrian mechanic Melzel.
Main tempo groups:
Slow pace
They express peace, restraint, meditation, pain in music.
Moderate pace
Associated with leisurely movement, moderate activity.
3.
^ Fast pace
They represent joy, excitement, energy, playfulness, humor.
Main types of paces:
Slow pace
Moderate pace
^ Fast pace
Largo - wide
Andantino - slightly faster than Andanto
allegro - fast
Lento - drawn out
Adagio - slowly
Moderato - moderately
Vivace - lively
Grave - hard
Presto - very fast
Andante - rather slowly, calmly
Allegretto - Slightly slower than Allegro
Prestissimo - extremely fast
Tempo changes in the piece:
^ Gradual slowdown in tempo (usually at the end of a piece, a feeling of calm)
Gradual acceleration of the tempo (usually in the middle sections of the work, an increase in excitement)
^ Ritenuto - holding Accelerando - accelerating
Ritardando - being late
Animando - getting inspired
Allargando - expanding
Stringendo - speeding up, hurrying up
Return to the original tempo - a tempo, Tempo primo
Clarifying concepts:
Piu - more
meno - less
non troppo - not too much
molto assai - very, very
subito - suddenly, unexpectedly
poco - a little
poco a poco - little by little, little by little
4. DYNAMICS
Dynamics is the degree of loudness of the performance of a piece of music.
Muted dynamics are associated with calm, light or poignantly sad moods.
Strong dynamics expresses energetic, active or intense images.
Basic designations of dynamic shades:
Piano pianissimo
extremely quiet
very quiet
not very quiet
not very loud
loudly
very loud
Forte fortissimo
extremely loud
Designations for changing the strength of the sound:
Crescendo - cresc. - reinforcing
Sforzando - sforc., sfc., sf. - suddenly intensifying
Subito forte - sub.f. - suddenly loud
Diminuendo - dim. - reducing, weakening the sound
Decrescendo -decresc. - weakening
Smorzando - smorc. - freezing
Morendo - morendo - freezing
The increase in dynamics is associated with increased tension, preparation
K u l m and n a c and i. Dynamic culmination is the peak of the growth of dynamics, the highest point of tension in the work.
The weakening of the dynamics gives rise to a feeling of relaxation, calm.
Rhythm is a sequence of sounds of the same or different duration.
Sounds of different duration are combined into rhythmic groups, which form the rhythmic pattern of the piece.
^ Types of rhythmic patterns:
The repetition of the same durations in works of slow or moderate tempo creates a calm, balanced image.
In fast-tempo works - etudes, toccatas, preludes - the repetition of identical durations (sixteenth durations are often found) gives the music an energetic, active character.
More often there are rhythmic groups united by notes of different duration. They form a variety of rhythmic patterns.
The following rhythmic figures are less common:
Dotted rhythm (characteristic of a march, dance) - sharpens, activates the movement.
Syncopation - shifting the accent from a strong beat to a weak one. Syncopation creates an effect of surprise.
Triol - dividing the duration into three equal parts. Triplets give ease of movement.
Ostinato is the repeated repetition of one rhythmic figure.
Meter is a uniform alternation of strong and weak beats of a measure (pulsation).
In musical notation, the meter is expressed in size (the upper figure of the time signature indicates how many beats are in a measure, and the bottom number indicates how long the fraction of a meter is expressed in a given measure), and measures (so t is the length of time from one strong beat to the next beat of equal strength ) separated by bar lines.
^ Main types of meter:
Strict meter
strong and weak beats alternate
evenly
free meter
accents are distributed unevenly, in modern music there may be no time signature or no division into measures
^ Two beat meter - one strong and one weak beat (/-) eg polka or march.
Triple meter - one strong and two weak beats (/--), for example, waltz.
Polymetry is a simultaneous combination of two-part and three-part meter.
Variable meter - changes throughout the work.
Depending on the number of strong parts, meters are:
Simple - having only one strong beat (two-part, for example 24 or three-part, for example 34 or 38).
Complex - a combination of simple identical meters (only two-part, for example 44 \u003d 24 + 24 or only three-part, for example 68 \u003d 38 + 38).
Mixed - a combination of meters of different (two-part and three-part) types (for example, 54 = 24 + 34, or 34 + 24, or 74 = 24 + 24 +34, etc.).
The language of poetry is also metrically organized. The combination of strong and weak syllables in poetic meter is called stop and go.
Poetic feet:
^ D in u x lobed feet
Trilobal foot
Chorey (/-)
Yamb (-/)
Dactyl (/ - -)
^ Storm haze
no-bo cro-et.
The Forest Raised a Christmas Tree
Do I hear your voice
ringing and lac-to-vy
Characteristic metrorhythmic features of some dances:
Polka - 24, rhythmic groups with sixteenth notes.
Waltz - 34, accompaniment with an emphasis on the first beat.
March - 44, dotted rhythm.
Tasks and questions:
1. Find and write out examples of poetic feet from poems!
Iambic: Trochee: Dactyl:
2. What types of meter and what special metric technique did the Latvian composer Romualds Kalsons use when arranging the Latvian folk song “Ar meitām dancot gāju”?
..................................................................................................................................................
^ R. Kalsons. Latin processing. nar. songs “Ar meitam dancot gāju”
3. Divide the following musical examples into bars in time signature 24 and 34, then play or sing:
4. Complete the text!
Lullabies are usually sung in ................................. tempo and ......... ............................... dynamics, and marches - in .............. ................................. tempo and .............. ............................... dynamics. The exception is funeral marches, the pace of which is always .......................................................... .., and the dynamics - ............................... .
5. What words in Russian are pronounced with these endings:
..............………….jo, ...................... che, ....................... shendo?
Think:
if non troppo = not too much, then Allegro non troppo = ....................... .........................
if marcia (read: marcha) = march, then Marciale = ..................................... .........................
if assai, = very, then Lento assai =........................................ ................................................. ....
7. Anti-anxiety drugs are called tranquilizers, what could Tranquillo mean? ................................................. .....
8. Brio is the name of a cleaning product, what can Con brio mean? ................................................. .........
9. What can mean Tempo di marcia, Tempo di valse, Tempa di polca?
.................................................................................................................................................................
10. What can mean Brillante, Grazioso, Energico? .................
....................................................................................................................................................................
11. Using a dictionary of musical terms, translate from Italian the words in this short story!
The pause before the Mathmatics lesson will soon end. The molto agitato class. At the beginning
piano, then poco a poco crescendo the voices of the students sound. New maestro of mathematics
energico e risoluto told one of our classmates that we were now expecting
piccolo test. So subito!
"I didn't even open my libretto yesterday," drawled our A student doloroso e lacrimoso.
"Well, the assignments will be non troppo pesante," her classmate soothes.
"Nonsense," grazioso e scherzoso chirped the prima donna of our class. "I will smile at him so dolce e amoroso that he will even forget about the test!"
"Well, bravo!" furioso e feroce is minted by the head of the class. "Teachers have no right to such
subito checklists! Let's run away! Prima volta, - it will cost! Well - Vivo, Presto, accelerando..."
Ah, too late! Fermata! Already alla marcia step festivo enters our
Maestro. "Please tutti in your seats," deciso e marcato sounds his voice. And a lesson
begins... Oh, mamma mia, with a test...
Lad is a system of sounds, different in height and gravitating towards each other.
Tonic is the main stable sound of the mode, to which all the others gravitate. The stable sounds of the mode form a tonic triad - the main stable chord of the mode.
^ Gamma are the sounds of the mode, arranged in stepwise - ascending or descending - order from the tonic within an octave.
Tonality is a mode with a specific tonic.
Frets can consist of a different number of sounds:
trichord - a mode consisting of three sounds.
tetrachord - a mode consisting of four sounds.
pentatonic scale - a mode consisting of five sounds.
seven-step frets (major, minor, old frets).
Main frets:
^ Frets without semitones
Seven-step frets
Frets with two or more semitones in a row
A trichord is a scale in the fourth range, consisting of a major second and a minor third.
The pentatonic scale is a scale of five sounds arranged in major seconds and minor thirds. Another name for this mode is “Chinese scale”, because. it is often found in oriental music).
Whole-tone, or increased mode - a mode of 6 sounds, each of which is one (whole) tone apart from the next one. They do not create mutual gravity and therefore produce a strange, fantastic impression. In Russian music, M.I. Glinka in the opera "Ruslan and Lyudmila" to characterize Chernomor. Hence the other name of this mode is “Chernomor scale”.
Major is a mode, stable sounds of which form a major triad. Fret of light, joyful coloring.
^ Minor - a mode, stable sounds of which form a minor triad. Fret dark, sad coloring.
Variable mode (mode in which there are two stable triads):
parallel (ex.
C major - A minor)
Same name (ex.
G major - G minor) frets.
Ancient frets - similar to modern major or minor, but differing from them in separate steps -
Mixolydian, Lydian, Phrygian, Dorian)
Chromatic mode - a mode in which, along with the main steps, there are steps raised or lowered by half a tone (found in music of the 20th century).
8. HARMONY
Translated from the Greek harmonia means consonance.
^ Harmony is the combination of sounds into various consonances (chords) and their sequences.
The main element of harmony is a chord - a simultaneous combination of three or more sounds of different pitch.
Types of chords:
^ By number of sounds:
According to the interval structure:
Triads are chords made up of three sounds. Types of triads: major, minor, diminished, increased.
Seventh chords - chords from
four sounds, etc.
Secondary chords (clusters)
Tertsy chords (triad, seventh chord)
Quarter Chords (Quarter Chords)
Fifth structure chords (quint chords).
AT classical music harmony is euphonious (based on consonances), chords of tertian structure are mainly used.
In modern music, harmony can sound sharp (such sharp consonances are called dissonances), it can be very complex, unusual consonances are widely used - a simultaneous combination of seconds, quarts, fifths and other intervals.
Tasks!
Sign these chords!
2. Based on the key signs, determine the possible keys and, using the pattern of the first measure, write both triads (major and parallel minor)!
3. Find in the notes (for example, in a solfeggio textbook) and write out musical examples in various modes:
In major scale:
In minor scale:
4. Determine the tonality and type of fret!
5. Determine the tonality of these melodies (write in the box), write stable sounds in brackets, note where there is a) gradual movement along sounds, b) movement along stable sounds, c) singing stable steps!
6. Play and sing an old Latvian folk song and write the name of its mode!
7. Write out the scale of this melody! Mark the step that distinguishes this mode
(Mixolydian) from natural G major!
9. INVOICE
Faktura is a warehouse, a type of presentation of a musical work (Latin fakturo - processing).
The main elements of texture: melody, accompaniment (accompaniment), bass (lower voice), middle voices.
Any monophonic melody (solo or unison), e.g. a folk song.
Homophony Polyphony
A polyphonic warehouse of music in which one voice is the main one (melody), and the rest (accompaniment) accompany it. A kind of homophonic texture is the chordal warehouse of music, in which the melody is rhythmically combined with the accompaniment.
Polyphony (Greek poly-many, phone-sound) is a simultaneous combination of several independent voices (melodies).
^ Main types of polyphony
Imitation p. - (lat. Imitatio - imitation) repetition in another voice or another instrument of a melody (theme) that has just sounded.
e.g. canon, fugue or invention
Contrast p. - simultaneous sounding of different types of melodies. For example, in the Middle Ages, three different melodies with different texts were combined.
^ Main types of texture:
Forms of imitation polyphony:
Kanon is a musical form in which all voices perform the same melody, entering in turn.
Fughetta (it. fughetta - small fugue) - a simple, smaller fugue for organ or piano
^ Questions and tasks!
1. Study these musical examples and determine the type of texture - write in the boxes the letters of the correct answers: A - melody with accompaniment, B - polyphonic texture or C - chord texture!
A) Play this famous song with accompaniment, listening carefully to the harmony, and then find and correct the wrong harmony!
........ ......... ............. .... ........ ............. ..... .... .......
b) Determine the functions of the chords in the accompaniment (T, S or D), sign them and learn the melody with accompaniment in four different types of texture!
Robert Schumann
Piano cycle "Album for Youth"
^ FIRST LOSS
1. a) Listen carefully to the piece and describe the nature of the music! .................................
................................................................................................................................................
b) Describe the various elements of the musical language:
Lad - ................................................ ................................................. .......................
Temp - ................................................ ................................................. ......................
Dynamics - ................................................ ................................................. ............
Harmonies (consonances or dissonances) - .................................................. ................
Invoice - .................................................. ................................................. .............
^ BOLD RIDER
Listen to the play and describe the nature of the music! ................................................. ...........
.............................................................................................................................................................
The play has three sections (A B A). Listen and decide which way
a) at the beginning of the piece (in the first section A) – ........................................... .................................
B) in the middle of the piece (C) .......................................... .........................
B) in the final section (A) .......................................... .........................
What else has changed in the middle section of the play? ................................................. .........
Choose and circle the correct answer to the question "What texture was used by the composer in this work?"
A) polyphonic texture,
B) chord texture,
C) melody with accompaniment.
Listen to music and dream! Describe your dream!
............................................................................................................................................................................................................................................................................................................................................................................................................
Learn the theme of the play by heart!
10. MELODY
Melody is a musical idea expressed in one voice. Translated from Greek means "singing, song."
Melody is the basis of music, the “soul of music”, the most important means of musical expression.
Melody elements:
Melodic line (or drawing of a melody). This is the main component of the melody. The repetition of one sound cannot be considered a melody, it is formed from sounds of different pitches.
Range (melody volume)
Intonation (special sequences of sounds)
Other features of the melody are independent elements of the musical language: rhythm, meter, mode, harmony, dynamics, etc.
Types of melodic line:
Rising melodic line
It creates the impression of a rise, an increase in tension.
descending melodic line
It creates the impression of a recession, stress relief - discharge.
Wavy melodic line
Movement in one direction does not happen for a long time. Usually there is a change in direction of movement. A wave-like pattern of the melody is formed.
Smooth (sedentary) melodic line
characteristic of vocal music. It is based on second intonations. At a fast pace, it creates the impression of fluidity, an increase in energy; in the slow - a feeling of stiffness, sorrow.
Jumpy melodic line
characteristic of instrumental music. Leap - the movement of the melody over a wide interval. Ascending leaps give the melody a restless character. Further smooth movement, filling the jump, creates the impression of calm.
These main types of melodic line usually replace each other, forming a variety of melodies.
D i a p a z o n, i.e. The volume of the melody is also of great importance for the expressiveness of the melody:
Melodies of a narrow range (do not exceed a fourth) - balanced, restrained.
Melodies of a wide range - emotional, intense.
The melodic peak is the highest sound of a melody. There are three types:
Top - climax
point, moment highest voltage in the development of the melody. The climax is usually followed by a weakening of tension, a recession, which is expressed in the downward direction of the melody.
The top is the source
The melody starts with the highest sound. The tense melody gradually becomes calmer.
summit - horizon
The melody ends with the highest sustained sound. Such melodies seem to melt, dissolve in the air.
Intonation in melody.
The intonation in the breath (the interval of the descending second) gives the melody a sad, plaintive character.
Question intonation (upward leap).
An exclamatory fanfare intonation (a steady fourth or the movement of a melody along the sounds of a triad) gives the melody energy, activity, vivacity.
The intonation of the lyrical sixth (usually it is a jump from the V to the III step) gives the melody breadth, melodious sound (big sixth in major) or a mournful, aching character (small sixth in minor) .
The expressiveness of the melody is largely associated with harmony and harmony.
Fret basis of the melody:
The melody in major sounds light.
The melody in m and n o r e sounds sad.
The melody in the old and new way sounds unusual - archaic.
The melody in pentatonics sounds calm, often associated with images of nature.
Frets with an increased second give the melody an oriental flavor.
The harmonic basis of the melody:
Repeating a tune with new harmonies can change its mood.
The reliance on the sounds of the tonic triad emphasizes the stability and stability of the melody.
The use of dissonant intervals adds tension to the melody.
The melody formed from chord sounds has a restrained, balanced character.
Melody formed from non-chord sounds- sounds that are not part of the chord. These sounds form a scale-like, gradual movement, give the melody a vocal character, melodiousness.
The main methods of sound extraction of a melody are sh tr and x and:
Legato (connectedly) makes the melody melodious, expressive, smooth.
2. Non legato (not connected) makes the melody calm, restrained.
^ 3. Staccato (staccato) makes the melody mischievous, funny.
Determine the type of melodic line in these melodies!
Find, emphasize the characteristic intonations in these melodies and sign their names!
BUT) ................................................ .........................
Allegretto L. van Beethoven. 6 symphony. Theme 5 parts
b) ................................................ ......... ^ F.Chopin. Nocturne
in) ................................................ ......... W.A. Mozart. Requiem. Lacrimosa
P.I. Tchaikovsky (1840-1893)
Piano cycle "Seasons"
June (Barcarolle)
Barcarolle (from the Italian word barca - boat) is a boatman's song.
Find and identify by musical example
Tempo designation - ............................................... .....
The size -................................................ ...
Tonality - ...............................................
Dynamic Shades - ..................................................
Listen to the play and answer the questions!
A) only at the top
B) in the upper and middle
.........................................................................................................................................................
Emphasize the three elements of the musical language that, in your opinion, help create the mood of music best of all: time signature, mode, register, timbre, tempo, dynamics, texture!
Describe the selected items! ................................................. ......................
...........................................................................................................................................................
Learn the opening melody of the piece! Complete the tasks!
The range of this melody is from sound............ to sound.................
In the melodic line of this melody (choose the correct answer!)
A) only progressive movement in one direction
B) a lot of jumps
B) undulating movement
October (Autumn Song)
Describe the general mood of the music! ................................................. ....................
..........................................................................................................................................................
Note the most characteristic intonation in the melody!
A) fanfare intonation
B) sigh intonation
B) no characteristic intonations
What elements of the musical language do you think contribute the most to creating mood in music? Describe them! ................................................. ...
......................................................................................................................................................................................................................................................................................................................
Learn start topic plays!
Define the range of this melody! ................................................. .................................
The melodic line of this melody (tick the correct answer!)
A) inactive, even, there are no wide jumps in it,
B) stepwise downward movement prevails, which alternates with jumps,
C) unbalanced, broken.
Draw a drawing of the melody with a line and mark the climax with some bright color!
Sign the names of the instruments in Russian!
Groups of musical instruments
string group -
The foundation of a symphony orchestra is made up of four bowed instrument different size, but of a similar design. Each of them has four strings.
The violin is the highest and most virtuoso instrument in its group. Appeared in Italy in the 16th century, replacing the viola. Famous families of Italian violin makers from the city of Cremona - Stradivari, Amati and Guarneri.
Alto is a little more than a violin, has a less bright timbre and sounds a little lower. Only since the 19th century has it been used as a solo instrument.
The cello is a large instrument that is played while sitting, holding it between the knees, while it rests on a special metal capstan. The sound of the cello is thick, melodious. Reminds me of a human voice. Therefore, cellos are often entrusted with the performance of wide melodic melodies, although they can sound virtuoso as well.
Double bass - the most low tool, sounds muffled an octave below the cellos and twice their size. The double bass is played either standing or sitting on a special high stool.
The woodwind group includes:
The flute is the tallest and most agile of these instruments. She can climb into the highest, "bird" register. Sometimes composers depict birdsong with a flute. The piccolo flute is a high type of flute]
The oboe is also a high instrument of a peculiar "nasal" timbre. Slow, melodious melodies sound very beautiful on it, but in fast passages it will not keep up with the flute. The timbre of the oboe is a bit similar to the timbre of the zurna, an oriental wind instrument. Sometimes composers use the oboe to imitate oriental music.
^ Cor anglais - low, alto oboe
The clarinet is an instrument of the alto register. He is “with character”: he can be soft and “velvet”, and sometimes he suddenly breaks into a sharp cry. He also knows how to play fast passages, they “murmur” with him. This "murmur" is often used in "sea" and "river" musical "pictures".
There is also a piccolo clarinet - a high variety of clarinet and
bass clarinet - a low variety of the clarinet
The bassoon is the lowest and "sluggish" instrument in this family. Like the oboe, he is good at singing beautiful melodies, but only in a "male" voice and only in the middle of his range. The higher he climbs, the more hoarse and "ripped" his voice becomes. And in deep basses, it gains power, but loses beauty and sounds comical. The bassoon is used both in sad slow music and in funny musical jokes.
The contrabassoon is the lowest instrument of this group.
The saxophone is similar in design to the clarinet, but is made of metal. Designed in the 19th century by the French master Sax. It comes in various sizes from high soprano to low bass. It has a specific timbre - melodious, full. Mainly used in jazz music.
Brass group:
French horn - derived from a hunting horn. For a louder sound, they began to lengthen it, and for convenience when playing, they twisted it. Gradually, the number of turns grew - this is how the horn appeared. A very important instrument in an orchestra. The soft, noble sound of the French horn can convey various moods. The French horn is often assigned solo episodes.
The trumpet is the highest instrument in its group. It has a bright, sonorous, brilliant timbre. Often solo. The trumpet entered the symphony orchestra in the 18th century.
Trombone - known since the 16th century, but entered the orchestra only in the 18th century. It has a retractable thin curved tube - the wings - with the help of which the pitch changes. The timbre is bright - bright and masculine in the high register, and gloomy, even ominous in the low notes. A technically very agile instrument, its special glissando (gliding) effect - unperceivable on any other wind instrument - is achieved by the smooth movement of the wings.
The tuba is the largest and lowest instrument of the copper group. Plays the role of bass - the basis of the entire sound of the orchestra. The timbre is massive, harsh. The sonority can be very strong and menacing.
Percussion group:
No defined pitch:
With a specific pitch:
big drum
snare drum
bells
xylophone
triangle
vibraphone
castanets
tom-tom, etc.
bells, etc.
Among the percussion instruments, the timpani dominate. Like horns in the brass family, timpani are the oldest in the percussion family. Unlike drums, cymbals, they have a certain pitch. The skin stretched over the cauldron is tuned to a specific note. The orchestra uses several timpani, tuned differently. Most often three. Timpani are used only occasionally, in special places - very loud or especially colorful. And in the pauses, the timpani player can slowly rearrange his instruments.
Most classical symphonies timpani and is limited to the percussion family. Other drums were sometimes introduced for special purposes. For example, in Haydn's Military Symphony, the drums and cymbals imitate a military band. But already in the 19th century, military orchestra percussion - big and snare drums, cymbals, tambourine (tambourine), triangle - became permanent members of the symphony orchestra. They are also joined by a huge tom-tom - a huge bronze disc, which is suspended from the frame, and is struck with a beater covered with felt. These are all instruments without a specific pitch.
Numerous percussion instruments long known in folk music different countries and continents, became part of the symphony orchestra of the XX century. These are Spanish castanets, Latin American maracas, African tom-toms and many others. In some modern symphonic scores, the percussion group is almost the most numerous.
In addition to the timpani, sometimes other percussion instruments with a certain pitch are included in the orchestra. For example, orchestral bells, which look like a children's metallophone. Only the bells play all the sounds of the chromatic scale, and the records on them are arranged in two rows - like white and black piano keys. And there are also large tubular bells. The same metal tubes of different lengths are suspended on a metal frame. If you hit such a tube with a hammer, you will hear a thick ringing, very similar to a bell. Each pipe has its own height, so you can play a melody on such bells. The gong, unlike the tam-tam, also makes a sound of a certain pitch. In the 20th century, these tools were added:
Xylophone - consists of wooden blocks of different sizes, which make up a scale of several octaves. It is played with two small mallets. Its timbre is piercing - dry and clicking.
Vibraphone - made like a xylophone, but not with wooden, but with metal plates and has resonator tubes suspended downwards. The vibrating (oscillating) nature of its sound is achieved by an electric motor. Invented in the 20th century in America.
The marimba is a lower range xylophone variation. The marimba is native to Africa. Only there it has no metallic
Each art has its own special language, its own means of expression. In painting, it is drawing and paint. Skillfully using them, the artist creates a picture. The poet, writing poetry, speaks to us in the language of words, he uses poetic speech, rhymes. poetic word is the means of expression for the art of poetry. The basis of dance art is dance, dramatic art is the play of actors.
Music has its own special language - the language of sounds. And she also has her own expressive means: register, melody, rhythm, size, tempo, mode, dynamics, timbre, texture and meter.
Different elements of the musical language (pitch, longitude, loudness, coloring of sounds, etc.) help composers express different moods and create different musical images. These elements of the musical language are also called means of musical expression. Let's consider them in more detail.
Melody
This is the basis of any piece of music, its thought, its soul. Without melody, music is unthinkable. The melody can be different - smooth and abrupt, cheerful and sad.
Register
A register is a part of a range, a certain pitch of a voice or a musical instrument.
Distinguish:
- high register (light, airy, transparent sound),
- middle register (associations with a person's voice),
- low register (serious, gloomy or humorous sound).
Rhythm
In any music, in any song, apart from the melody, rhythm is very important. Everything in the world has a rhythm. Our heart is a heart rate; there are brain rhythms, there is a daily rhythm - morning, afternoon, evening and night. The change of seasons is the rhythm of the planet.
Rhythm in Greek means "measurement" - this is a uniform alternation, repetition of short and long sounds. Well understood rhythm different dances. Everyone understands what kind of rhythm they are talking about when they say: in the rhythm of a waltz, march, tango.
Music without rhythm is perceived as a set of sounds, not a melody. It influences this or that character of music. Smooth rhythm gives the piece of music lyricism. The intermittent rhythm creates a feeling of anxiety, excitement.
Thus, rhythm is a sequence of sounds of the same or different duration.
Sounds of different duration are combined into rhythmic groups, which form the rhythmic pattern of the piece.
Types of rhythmic patterns
The repetition of the same durations in works of slow or moderate tempo creates a calm, balanced image.
In fast-tempo works - etudes, toccatas, preludes - the repetition of the same lengths (sixteenth lengths are often found) gives the music an energetic, active character.
More often there are rhythmic groups united by notes of different duration. They form a variety of rhythmic patterns.
The following rhythmic figures are less common:
- Dotted rhythm (characteristic of a march, dance) - exacerbates, activates the movement.
- Syncopation is the shift of emphasis from a strong beat to a weak beat. Syncopation creates an effect of surprise.
- Triplet - dividing the duration into three equal parts. Triplets give ease of movement.
- Ostinato is the repeated repetition of one rhythmic figure.
The size
To record the rhythm on paper, the so-called time signature is used. With its help, musicians understand with what rhythm and tempo it is necessary to play music. Musical sizes are different and are written in fractions: two quarters, three quarters, etc. In order to accurately observe the rhythm, the musician, when learning a new melody, must count: one and, two and .... And so on, depending on the size.
Pace
This is the speed at which a piece of music is played. The pace is fast, slow and moderate. To indicate the tempo, Italian words are used that are understood by all musicians in the world. For example, fast pace - allegro, presto; moderate pace - andante; slow - adagio.
Some musical genres have their own constant, definite sizes, and therefore they are easily recognizable by ear: a waltz has three quarters, a fast march has two quarters.
Lad
In music, there are two contrasting modes - major and minor. Major music is perceived by listeners as light, clear, joyful, and minor music as sad and dreamy.
Timbre
- High - soprano, tenor.
- Middle - mezzo-soprano, baritone.
- Low - alto, bass.
A choir is a large group of singers (at least 12 people), similar to an orchestra in instrumental music.
Chorus types:
- male (dense, bright timbre),
- female (warm, transparent timbre),
- mixed (full-sounding, rich, bright timbre),
- children's choir (light, light timbre).
Symphony Orchestra Instrument Groups
Instruments in the orchestra are distributed by their families - the musicians call them orchestral groups. There are four of them in the orchestra:
— Stringed instruments
— Woodwinds
— Brass instruments
- Percussion instruments
Dynamics
Dynamics is the degree of loudness of the performance of a piece of music.
Muted dynamics are associated with calm, light, or aching sad moods. Strong dynamics expresses energetic, active or intense images.
Basic designations of dynamic shades:
- Piano pianissimo - ppp - extremely quiet
- Pianissimo - pp - very quiet
- Piano - p - quiet
- Mezzo piano - mp - not very quiet
- Mecco forte - mf - not very loud
- Forte - f - loud
- Fortissimo - ff - very loud
- Forte fortissimo - fff - extremely loud
Designations for changing the strength of the sound:
Crescendo - cresc. - reinforcing
Sforzando - sforc., sfc., sf. - suddenly strengthening
Subito forte - sub.f. - suddenly loud
Diminuendo - dim. - reducing, weakening the sound
Decrescendo -decresc. - weakening
Smorzando - smorc. - freezing
Morendo - morendo - freezing
The increase in dynamics is associated with an increase in tension, the preparation of a climax. The dynamic culmination is the pinnacle of the growth of dynamics, the highest point of tension in the work. The weakening of the dynamics gives rise to a feeling of relaxation, calm.
Meter
A meter is a uniform alternation of strong and weak beats of a measure (pulsation).
In musical notation, the meter is expressed in size (the upper number of the time signature indicates how many beats are in a measure, and the bottom number indicates how long the fraction of a meter is expressed in a given measure), and measures (so t is the length of time from one strong beat to the next beat of equal strength), separated from each other by bar lines.
Main types of meter
- Strict meter - strong and weak beats alternate evenly
- Free meter - accents are distributed unevenly; in modern music, the time signature may not be indicated or there may be no division into measures.
- Two beat meter - one strong and one weak beat (/-) eg polka or march.
- Triple meter - one strong and two weak clock beats (/-), for example, waltz.
- Polymetry is a simultaneous combination of two-part and three-part meter.
- Variable meter - changes throughout the work.
Depending on the number of strong parts, meters are:
- Simple - having only one strong beat (two-part, for example 24 or three-part, for example 34 or 38).
- Complex - a combination of simple identical meters (only two-part, for example 44 \u003d 24 + 24 or only three-part, for example 68 \u003d 38 + 38).
- Mixed - a combination of meters of different (two-part and three-part) types (for example, 54 = 24 + 34, or 34 + 24, or 74 = 24 + 24 +34, etc.).
Characteristic metrorhythmic features of some dances:
- Polka - 24, rhythmic groups with sixteenth notes.
- Waltz - 34, accompaniment with an emphasis on the first beat.
- March - 44, dotted rhythm.
Harmony
Translated from the Greek harmonia means consonance.
Harmony- this is the combination of sounds into various consonances (chords) and their sequences.
The main element of harmony is a chord - a simultaneous combination of three or more sounds of different pitch.
Types of chords:
Number of sounds:
- Triads - chords of three sounds. Types of triads: major, minor, diminished, increased.
- Seventh chords - chords of four sounds, etc.
According to the interval structure:
- second chords (clusters)
- tertian chords (triad, seventh chord)
- chords of a quart structure (quarter chords)
- chords of a fifth structure (quint chords).
In classical music, harmony is euphonious (based on consonances), chords of the tertian structure are mainly used.
In modern music, harmony can sound sharp (such sharp consonances are called dissonances), it can be very complex, unusual consonances are widely used - a simultaneous combination of seconds, quarts, fifths and other intervals.
Texture
Faktura is a warehouse, a type of presentation of a musical work (Latin fakturo - processing).
The main elements of texture: melody, accompaniment (accompaniment), bass (lower voice), middle voices.
The texture is transparent (two-, three-part), causing a feeling of lightness, transparency. Dense (polyphonic, chordal) texture creates the impression of strength and power.
A polyphonic warehouse of music in which one voice is the main one (melody), and the rest (accompaniment) accompany it. A kind of homophonic texture is the chordal warehouse of music, in which the melody is rhythmically combined with the accompaniment.
Polyphony (Greek poly-many, phone-sound) is a simultaneous combination of several independent voices (melodies).
The main types of polyphony
- Imitation p. - (lat. Imitatio - imitation) repetition in another voice or another instrument of a melody (theme) that has just sounded. e.g. canon, fugue or invention
- Contrast p. - simultaneous sounding of different types of melodies. For example, in the Middle Ages, three different melodies with different texts were combined. Main types of invoice:
Forms of imitation polyphony: - Kanon is a musical form in which all voices perform the same melody, entering in turn.
- Invention is a two- or three-voice instrumental work of small volume, written in imitation technique.
- A fugue is a polyphonic polyphonic work based on the imitative repetition of a theme in all voices. The highest, most complex form of imitation polyphony. the greatest master fugue was J.S. Bach.
- Fughetta (it. fughetta - small fugue) is a simple, smaller fugue for organ or piano.
strokes
Strokes are a very important means of musical expression. They indicate the manner of sound science and depend on the nature of the work.
- Legato - (legato) suggests a coherent, smooth sound production.
- Staccato - (staccato) - jerky extraction of sounds. Staccato is indicated by a dot above or below the notes. Staccato sounds are short, with small jerks, light accents and caesuras between sounds.
- Non legato - (non legato) - incoherent, unsmooth performance. Sound science with a slight emphasis on each sound of the melody. At the same time, the sounds should be filled as in the performance of legato, the caesuras between the sounds are reduced. Sounds are emphasized, but not as sharp as on staccato. Every sound is distinct.
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