Musical form is the structure of the entire work, its structure.

There are external and internal signs of the division of muses. works, signs of form.

External - this is the genre of the work: instrumental or vocal music, miniature or large work, lyrical or dance. The genre will already determine the possible range of forms. Information about the genre in the title of the work, in nuances, tempos, meter, in music. warehouse, invoice. External signs of division are the musical text: signs of shortening of the musical writing, reprises, the appearance of a new nuance, a change in tempo or a return to the previous one - all these are signs of a new section. TO external signs This may include a change in meter, key characters, or a change in texture.

Internal signs in the musical material itself. For successful analysis of form, harmonic analysis is necessary (all forms presented below are forms of the classical homophonic-harmonic style, structures in the formation of which harmony predominates). It is necessary to pay attention to the texture, it is necessary to solfage and hear melodic lines in conjunction with harmony, to identify music functions material, types of presentation and methods of its development, repetitions of themes and thematic material, distinguish between “relief” (presentation of themes) and “background” material.

In music musical material in a work can be perceived (according to Tyulin) in three qualities, - functions of the material:

basic material preparing final

(show, exposition)

Posmodin suggested 6 functions of music material in the work, detailing the previous ones:

exposition reprise introduction middle link conclusion

topics

The individuality of the material, that is, its function, depends on the characteristics of the music. language, i.e. depending on the type of presentation(according to Sposobin). There are 5 of them:

expositional introductory, middle, connecting final

type of presentation types of presentation type of presentation

Structural design, Middle type of presentation; Multiple

isolation; harmonic and extended cadence is possible

tonal stability, luautentic cadence with nie; possible

textural unity. modulation transition; T organ

possible D organ point. point, MTS -

Perhaps 2 - 3 cycles of invoices - summation.

preparation, - Structural lack of formalization,

maybe open or open; harmonic

closed sentence - transient and tonal instability, fluidity;

cue thesis. possible D organ point.

In complex forms it is possible Variety - development(as a type of presentation).

large construction of the middle - Its features: - thematic isolation,

new type of presentation. - sequential development,

Polyphonic means.

In the process of analyzing works of complex forms, it is convenient to designate the sequence of sections on the draft with letters: in capitals (A, B, C, etc.) the main sections, in capitals - subsections. If necessary, more specifically: C - middle, R - development, SV - link, A1, A2 - varied repetition, Intro., Closing., Coda, etc. Sometimes it is necessary to additionally note in the diagram the structure of the presentation of themes, tonal plans, the number of bars, and thematic material. This helps make generalizations.

Memo for beginners.

To determine the boundary of the topic (completion of a thought), sometimes it is enough to find the final cadence: D7 - T (at a strong time, in the melodic position of the prima).

Simple SINGLE PART - this is the form of the work , which is based on one musical theme.

The most typical structure of a one-part form (musical theme) is a period of different types: extended, often with additions, complex periods, sometimes free constructions.

Works in one-part form often have introductions and conclusions, just like all other forms. In complex forms - codes.

Scope of application: instrumental and vocal-choral miniatures, preludes, songs, romances, plays of the pedagogical repertoire.

Variety – developed one-part form.

Simple TWO-PART- a form of work based on the presentation of a theme and the music’s response to it. material.

first part second part

theme response music.mat.

thesis confirmation of the thesis

According to thematic material, part II is:

Based on the material of Part I ( a - a1 ),

On updated material ( a – b),

- reputed two-part (“with inclusion”, according to Tyulin ), when in part II an unstable middle type of material (“inclusion”) is introduced, after which the second or first sentence of part I is repeated. ( reprise):

first part second part

Subject , period

a b c b

1 sentenceIIsentence undef. (or a)

mid.

material

In the two-part form, repetitions of sections written out by the composer or designated: A B are possible;

Memo. Repetitions (with a reprise sign or written out) do not change the form.

The repeated structure in Part II is not typical for a two-part form. Perhaps it is a varied stanza (vocal form) in instrumental music.

Area of ​​application: preludes, instrumental and choral miniatures, program pieces, dances, songs, romances.

Varieties of two-part:

- developed two-part;

- antique two-part;

- complex(composite) two-part, when each part is in a simple two-part or three-part form.

- double two-part (variably repeated):

: A B A1 B1 (schematically - A B)

Simple three-part- this is the form,

Part I of which is a presentation of the topic,

Part II (middle) - music. material contrasting thematically or in the type of presentation to the topic,

Part III (reprise) - repetition of the original theme:

first part middle reprise

The middle on thematic material can be

Based on the topic: A - A1 - A;

On new material: A - B - A;

Development: A - R - A;

Connection type: A - SV - A.

(Three different themes, A–B–C, do not form a three-part form. It can be a composite form, it can be a vocal varied stanza in instrumental music.)

Reprise happens exact (static; its original version Da Capo al Fine, i.e. from the beginning to the word end) and changed (dynamic), - from a few sounds to significant.

Possible repetitions written out by the composer or indicated:

A B A, etc.

Last option with written out varied repetition The II and III parts, - A - B - A1 - B1 - A2, are called three-five-part(Posobin) or double tripartite form.

A three-part form with active thematic development can be called a developed three-part form.

Area of ​​application: preludes, nocturnes, dances, marches, program pieces, choirs, songs, romances, arias.

Complex three-part– a form, each part of which is a simple two-part, three-part, etc. form.

Complex from the word addition, the sum of simple ones.

first part middle part reprise

ex. 2 parts 3 types: accurate(static),

etc. 3 hours (option – Da Capo, “from the beginning”)

3-5 hours or modified(dynamic),

etc. often abbreviated

Trio(trio) or magore, minore. Episode- late Composite Wed part, i.e.

The earliest type cf. parts. Ha-type cf. parts: with con- consisting of 2x-3x lock-

typical for the lively genre of the 18th century. Characteristic constructions (music.

howl of music. The trio is distinguished by being closed for moderate themes), not forming

the hollowness of the form (ex. 2 hours, 3 hours..) and or a slow muse-form. Characteristic for

emphasized contrast: genre, ki. Usually this is 2-3 waltzes.

modal, tonal, tempo, open construction

textured. genia, harmonically

The name "Trio" arose in the unstable, fluid.

17th century, when in orc.production. 3 hours

dance forms The middle part of the music, unlike the rest, was performed

with only three, usually woodwind instruments.

Scope of application.

The shape is closed, stable, and is used in production. a variety of genres: marches, polonaises, waltzes, nocturnes; in sonata-symphonic cycles in the middle parts: in minuets, scherzos, in slow movements.

RONDO – a form where the main theme (refrain) is performed at least 3 times, and between its presentations there is musical material of a different content (episodes).

episodes

A- B - A - C - A, etc. And the term “rondo” has 2 meanings:

1. Rondo is a genre of lively song and dance music. Fr. rondeau- circle,

Refrain round dance; refrain– chorus.

2. Rondo - form. Works in the rondo form often correspond to the rondo genre. But the rondo form is also found in slow music.

Ancient rondo (verse).

XVII – XVIII centuries .Rondo Daquin, Rameau, Couperin.

Number of parts from 5 or more.

The refrain is usually in period structure.

Single theme: A - A1 - A - A2 - A, etc. A; (episodes based on refrain material);

Two-dark: A - B - A - B1, etc. A. (episodes based on independent material).

Classic Rondo.

XVIII century. The main type is a five-part rondo. Characterized by an intensification of the contrast between refrain and episodes. The refrain is usually in either 2-part or 3-part form.

According to the thematic material and type of presentation in the episodes, there are a variety of versions of the rondo:

A B A S A - with two different episodes;

A B A B1 A - episodes on the same theme. material;

A B A R A - development in the second episode;

A A1 A B A or A B A A1 A - an episode based on refrain material.

The coda can be separate or combined with the last refrain.

RondoXIX– XXcentury. The structure becomes more complex. The refrain may vary, and the tonality of its repetitions may change. The contrast between refrain and episodes is often intensified. The latter can be separate in shape: approx. 2x, 3x..

A characteristic feature of the rondo of the 19th-20th centuries. – the use of form in inextricable connection with the program indicated by the title or implied: Introduction and Rondo Capriccioso by Saint-Saëns, Arabesques by Schumann, “Juliet the Girl” by Prokofiev, etc.

Scope of application. Rondo is widely used. as a form of dep. works (instrumental, vocal-choral), as part of a cyclic composition (sonata, symphony), as a form of an opera scene.

VARIATIONS (theme with variations) (variation form) represent a presentation of a topic and several repetitions of it in a modified form.

variation theme......

A A1 A2 A3, etc.

Variations onbassoostinato(ostinato, constant bass), XVI-XVII centuries, are variations based on the repetition of the theme in the bass. The theme can be a structure of 4–8 bars, closed (period or sentence) or open, turning into a variation with an intruding cadence. The number of variations in a cycle ranges from several to several dozen). Bach. Chaconne d- moll for solo violin; "Crucifixus" from the Mass h- moll.

Variations on basso ostinato are mostly a genre passacaglia or Chaconnes. Both – ancient, slow three-beat mournful dances - processions.

Their differences are unclear. It is believed that the passacaglia is characterized by a single-voice theme starting from the third beat of the measure, and the chaconne is characterized by a theme of a chordal-harmonic structure.

Later, variations on basso ostinato and passacaglia became synonymous - a genre of philosophical understanding of life, which explains the revival of interest in them among composers of the 20th century. Shostakovich. Symph. No. 8, part III; Concerto for violin, part III.

In cycles of variations of all types, as a rule, there is supporting form ,- more often, it is a tripartite (less often, rondo): The first variations are usually close to the theme (first section). Intensive variation in the following variations, the culminating phase, is the middle section. The last few variations usually return to the sound of the original theme (reprise).

Strict variations. They can be called classic (XIX century). Can be called textured(texture is the main method of variation). Strict variations are called ornamental: all kinds of singing, melismatic melodically and rhythmically decorate, transform the leading voice, but the theme always “shines through” and is recognizable.

The topic is usually in 2-part or 3-part form. Its structure in variations, cadences, and harmony are preserved. Mozart. Dream No. 11, part 1.

A type of strict double variations. They are based on the presentation of two themes (usually contrasting genres) followed by alternating variations of them.

Beth. Symph. No. 5, part II.

Free variations.(XIX century) They can conditionally be called genre: active variation (change in texture, tempo, tonality) often transforms each variation into a genre-specific piece, turning the variations into a suite cycle. Schumann. "Symphonic Etudes".

Variationssopranoostinato, (Glinkinskie) - on a constant theme in the soprano. The accompaniment (texture, harmony) varies. The nature of the variation is often directly dependent on the content of the poetic text. Glinka. "Persian Choir"

VOCAL forms

Forms of vocal and choral music

The specificity of vocal forms is due to the synthetic nature of the genre: the interaction of music and poetry with distinctive principles of formation.

Basic – verse shape and strophic. Their essence is in invariably repeating musical material on different words(i.e. with changing poetic text).

Verse - the form is typically song. Its main feature is the presencelead singer Andchorus.

I verse II verse

A - B A - B, etc.

Chorus– this is a musical thought, a thesis (in a poetic text its function is informative). Function chorus- confirmation of the musical and poetic idea of ​​the chorus, - summary. In choruses with unchanged text (which is most typical), its function is to affirm the general idea of ​​the work.

A couplet usually combines 1-2 stanzas of poetic text.

A stanza in poetry is several lines (verses) (2 or more), united by a system of rhymes. In a 4-line foot, for example, there may be an adjacent rhyme (paired) - aa bb, cross - ab ab, wraparound (girdled) – Abba.

The structure of the verse (the ratio of the chorus to the chorus) can be different.

The structure of the chorus can The role of the chorus in this case can be

be closed sentence. nope repetition of the last phrase, Sometimes - complete repetition of the chorus in chorus, or with

eyeliner (“Hero Chapaev walked through the Urals”).

The chorus may be in the structure chorus – repetition of the second sentence.

period, The chorus could be complement phrase like the third sentence, forming a complex period (“Why did I recognize you, my dear?”).

All verse May be in a simple two-part form, Where Ich. - chorus, IIh. – chorus, and even in a complex two-part (Dunaevsky. March of Enthusiasts.).

Finally, the lead and chorus can be on an independent music. material, i.e. two different themes that do not form a form (“Song of the Motherland” by Dunaevsky).

“Song of the Motherland” is an example of a verse with a chorus in the first place, which is no exception.

There are two choruses in a verse, or rather, a chorus to a chorus; sometimes it is used as an instrumental performance (Alyabyev. “The Nightingale”, Glinka. “Venice Night”).

Verse-variation form, - with a change (variation) of music. material in the verse (from a few sounds to significant.).

strophic form, when in repeated musical material there is no division into lead and chorus:

I stanza II stanza III stanza

A A A, etc. In a musical stanza, as in a verse, there are one, two (sometimes more) poetic stanzas. The stanza form can be one-part or two-part.

Varied stanza, - with changes in musical material in stanzas (from several sounds - A - A1 - A2, etc., to significant updates - A - B - C, etc.).

Different terminology in folklore.

Repetitive music folk song material(Anyway ) are called(as is customary with folk singers) couplet. The volume of the verse (and at the same time the structure, i.e. the form of the entire song) is determined by the poetic text. The basis of the verse may be stanza(strophic structure), maybe one poetic line(line structure). A verse may contain (be based on) even one phrase(phrase structure): Spring is red. // What did you bring us? // Mo-lo-du – shech – kam - // Po di-to – noch – ku…//. In the verse there may be chorus. The chorus is called refrain, if this is an invariably repeated lexical construction: “Oh wound on Ivan”, “Ay lyuli-lyuli”, etc. According to its location, the refrain can be terminal(at the end of the verse) initial, framing. “Folk Musical Creativity”, ed.

A.F.Kamaeva and T.Yu.Kamaeva. M., 2005. With. 29-35.

The term “line form” is also used in professional academic music (A.P. Milka. St. Petersburg). The line principle of formation distinguishes Ippolitov-Ivanov’s choral works “Peasant Feast”, “About the White Swan”. Intool. music – “A Man Plays the Harmonica” by Tchaikovsky (Children’s album.)

Through form – a form of vocal music in which the development of musical material is completely subordinated to the development of the content (plot) of a poetic work (usually compositionally complex). (Schubert. Ballad “The Forest King”)

Forms of instrumental music are also widely used in vocal and choral music.

And vice versa. Vocal forms are widely used in instrumental music, primarily in works of lyrical genres related to vocal ones. An example of this and the form with a chorus (Chopin. Waltz cis- moll; Mozart. Dream. No. 11, III part). Vocal principles of formation - stylistic feature music (instrumental, in particular) of the 19th century.

Vocal music, we repeat, is a synthetic genre, a genre of interaction between music and poetry. Due to this,

When analyzing a vocal work, it is necessary to pay attention to some distinctive features of the language of vocal-choral music

(Based on materials from the brochure by I. Lavrentieva “Vocal forms in the course of analysis of musical works.” M., 1978, p. 6-37).

I. The nature of reading a poetic text.

Music (composer) can:

- Emphasize and deepen the dominant mood of the poem.

- To sharpen the contrast, sometimes barely outlined in the text.

Dargomyzhsky. "Titular Councilor"

- Reveal emotional and psychological subtext (hidden meaning).

Tchaikovsky. “A cloud spent the night.” The emphasized contrast of Lermontov's poetic text is offset by Tchaikovsky's homogeneity of texture and even the repetition of muses. material in the first and second stanzas. As a result, the restrained sound of the choir reveals the philosophical subtext of the poem - prayerfulness.

- Introduce pictorial aspects, “complete” the content.

Glinka. "A passing song."

Rachmaninov. "Spring Waters"

- Use the technique of “generalization through genre.”

Glinka. “Venice Night.” The genre of barcarolle, designated by Pushkin in the title of the poem, received a real sound in music.

- May present inadequate. individual version of reading the text.

Cui. “Everything fell asleep.” The pessimistic ending of Rathaus's poem - “but without love nature is dead; there is no happiness in her.” (features of doom and gloom are a stylistic feature of the poet’s work) the composer “reads” in joyful, enthusiastic tones as a hymn of love.

II. T melodica type:

recitative,

recitative-declamatory type,

recitation,

declamatory-arious type or

cantilena?

This series reveals a pattern of gradual transition

from dominance of the speech principle, To intonation generalization,

from the closest expression to the dominance of purely musical

speech intonation principles of melody development,

which is also important for the performing interpretation of the work.

Construction (forms) of music

Form(lat. forma - appearance, appearance, image, appearance, beauty)

Musical form - this is a certain order of parts and sections in a musical work.

The smallest structure in musical speech is motive(from Latin - “I move”). This is the name of the most vivid, memorable melodic turn. The size of the motive can be different - from one or two sounds to a whole bar.

Larger musical structure, which includes several motives, is called - phrase(in Greek - “expression”). For a long time, the duration of a phrase was associated with breathing in vocal music. And only with the development of instrumental music did this concept become broader.

Phrases are combined into offers. Standard size sentences – 4 bars. Offers are ending cadences (from the Latin “I end”) - the final musical turn. Cadence completes a piece of music, its part or a separate structure. There are many types of cadences, differing in functional content (T, S, D, VI).

From the proposals is compiled period. A period is a complete, independent musical form. A period, as a rule, consists of 2 sentences with different cadences. There are periods of repeated and non-repeated construction, square (8 bars) and non-square (from 5 bars), small (8 t.) and large (16 t.). Sometimes a period has an additional section that sounds like a musical afterword; such a section, depending on the location of the cadence, may be called an addition or extension.

The period is one of the main forms in vocal music, organizing a verse or chorus. The simplest vocal form, in which the music remains the same but the words change, is couplet form. Its simplicity explains its widespread use. There is not a single composer who created vocal music who would not write a song in verse form (see songs and romances by Schubert, Mozart, Glinka, Tchaikovsky, Rachmaninov and other composers).

One-part form (A) is a simple musical form consisting of one period. This form is most often found in miniatures by romantic composers who sought to capture a fleeting moment ( shining example– Chopin's Preludes), or in children's music to ensure greater accessibility of performance. Shape pattern: A or A1

Two-part form (AB) is a simple musical form consisting of two periods. Quite often, the second period is built on the material of the first (i.e., repeated construction - see some of Scriabin’s Preludes), but there are works in which the periods are different (Lyubava’s Song from 2nd part. “Sadko” by Rimsky-Korsakov; Rosina’s Aria from 2nd part.” The Barber of Seville by Rossini). Form diagram: A A1 or A B.

The most important (and simplest) principle for creating a musical form is repetition. Its extraordinary popularity is due to several reasons:

repetition allows us to return the musical thought and gives us the opportunity to better listen to it, to appreciate previously unnoticed artistic details;

repetition helps to clearly divide the form into parts delimited from each other;

the repetition of musical material after presenting a new one gives the form completeness, asserting the primacy of the original image.

Thus, forms based on repetition have become extremely widespread in music in numerous variations. And the simplest of them is the tripartite form (ABA), consisting of three periods, where

A— represents a presentation of the musical theme;

B - development of a theme or new contrasting material; A - reprise, exact or modified repetition of part A.

If the reprise exactly repeats the first part, it is often not even written out with notes, but is designated: play from the beginning to the word “End” (in Italian: dacapoalFine).

The three-part form (just like all the previous ones) can be simple or complex. Unlike the simple tripartite form, in which each part is written in period form, in the complex tripartite form the parts are not a period, but a simple two-part or tripartite form. For example:

A B A

ababa

The tripartite form is one of the most popular principles of construction. piece of music.Works written in a simple three-part form can be found in the repertoire of every musician: these are plays, dances, marches, romances, works for orchestra, parts or sections of major works. Huge number examples of simple and complex 3-part forms are contained in the works of P.I. Tchaikovsky. In addition to independent instrumental pieces from “ Children's album", "The Seasons" and other works, the composer's favorite 3-part form often organizes the GP and PP in symphonies (see the 4th and 6th symphonies).

A more complex form, rooted in the folk song and dance tradition of France, is also based on the principle of repetition. We are talking about the rondo form (translated from French as “circle, round dance, circular round dance song”). In the music of round dances, a constant, unchanging chorus alternated with a changing one. chorus. From this alternation the rondo shape arose.

Like a chorus folk song, in a rondo there is a theme that is repeated - this is a refrain. The refrain (in French - “chorus”) must sound at least 3 times and can have any simple form: period, two-part or three-part.

Between repetitions of the refrain, various musical structures called episodes are heard. Thus, rondo is a form based on the alternation of refrains with episodes.

A B A S A

refrain episode refrain episode refrain

The rondo form is widely used in instrumental and vocal music: instrumental pieces (Mozart, Turkish March from the Piano Sonata in A major, No. 11, Figaro’s Aria “The Frisky Boy” from the opera “The Marriage of Figaro”; Beethoven, “Fur Elise”, “Fury” about the lost penny" and many others), romances and songs (Glinka, "A Passing Song"; Dargomyzhsky's "Old Corporal"), choirs, opera arias(Glinka, Antonida's Rondo from "Ivan Susanin", Farlaf's Rondo from "Ruslan and Lyudmila"), the last parts of large forms - sonatas and symphonies (for example, Mahler's symphonies), as well as entire opera or ballet scenes (see "The Nutcracker" Tchaikovsky, “The Love for Three Oranges” by Prokofiev) can be organized in the form of a rondo. Very often the rondo form is used in plays by French harpsichordists (Daquin, “The Cuckoo”, Rameau, Tambourine, “The Hen”, Couperin, “Little Windmills”, “Sister Monica” and many other plays).

Variations (from the Latin “change, variety”) are a musical form that consists of a theme and its modified repetitions.

A1A2A3A4...

Variations

The theme can be composed by the composer himself, borrowed from folk music or from the work of another composer.1 It is written in any simple form: in the form of a period, two-part, three-part. The theme is repeated with various changes in mode, tonality, rhythm, timbre, etc. In each variation, from one to several elements of musical speech can change (depending on the era and style of the composer).

The type of variation depends on how and how much the theme is changed. Types of variations:

1. Variations on the unchanged bass (bassoostinato) or ancient variations were known back in the 16th century in Europe. The then fashionable passacaglia and chacon dances were written in a form based on the constant repetition of the theme in the bass, with only the upper voices varying (see: G. Purcell, Dido’s lament from the opera “Dido and Aeneas”). The basso ostinato technique did not remain the property of only ancient music - in the twentieth century due to a surge of interest in ancient music this technique has found a new life. We find interesting examples of the use of basso ostinato, for example, in the work Drauhgtmans Contract by Michael Nyman (the bass theme is led by an organ against the backdrop of “fluttering” strings; at the point of the “golden ratio” a harpsichord is connected to these instruments, creating a cold, eerie sound with its metallic timbre).

2. Variations on a constant melody (sopranoostinato) are closest folk music. The melody is repeated unchanged, but the accompaniment varies. This type of variation was introduced into Russian classical music by M.I. Glinka, which is why they are sometimes called “Glinka” (see: “Ruslan and Lyudmila”: Song of Bayan, Persian Choir; Ravel, “Bolero”; Shostakovich, invasion episode from Symphony No. 7 .).

In Western European classical music of the 18th and first half of the 19th century, there were 3. strict (ornamental) 2 variations created by the Viennese classics (J. Haydn, W. Mozart, L. Beethoven).

Rules for strict variations: 1. Preservation of mode, meter, general contours of the theme and functional basis; 2. Change (ornamentation, complication) of the accompaniment; 3. One of the middle variations (usually the 3rd) is written in the same minor or major (see: Mozart, Sonata No. 11, 1 part; Beethoven, Sonata No. 2, 2 parts, Sonata No. 8, 2 parts, etc. ).

The techniques that composers used in variations are associated with the art of improvisation, popular in the 17th-18th centuries. Each virtuoso performer, performing at a concert, was obliged to fantasize on a theme proposed by the public (the melody of a popular song or an opera aria).3 Traditions of endlessly varied variations of the original theme exist to this day in jazz music.

4. Free or romantic variations appeared in the second half of the 19th century. Here, each variation is practically an independent piece and its connection with the theme was very weak. Vivid examples of such variations in a wide variety are presented in the works of R. Schumann: these are the piano cycles “Carnival”, “Butterflies”, “Symphonic Etudes” and other works. The brilliant virtuoso pianist F. Liszt left many variations on borrowed themes (transcriptions of songs by Schubert, themes by Mozart, Haydn, Beethoven, themes from Italian operas and on their own topics).

1 In the era early Renaissance(XIV-XVI centuries) borrowing someone else's theme was not considered an infringement of copyright - there were special genres that determined the degree of borrowing. A parody was an essay on someone else's topic, and a paraphrase was an essay on one's own topic. Essay on someone else's or own topic widespread in composer practice to this day and reveals the degree of skill in processing the original musical idea.

2Ornament - pattern, decoration. Ornamental variations implied complication and “decoration” of the texture.

3 Little Mozart, touring Europe with his father, surprised the audience with free improvisation on any proposed topic. In the 19th century, F. Listi N. Paganini stunned listeners with virtuoso improvisations.

composition is determined by considering its design (pattern, pattern, or structure) and development over time. The musical form (especially in ancient and religious music) is practically inseparable from the genre (sequence, madrigal, responsory, stichera, mugham, etc.). “Hip-hop, gospel, heavy metal, country and reggae are just as much ‘forms’ as minuets, fugues, sonatas and rondos.” However, the concept of genre is commonly used to describe contemporary music. Classical pieces of music are usually classified by form. The concept of musical form is inextricably linked with the embodiment of musical content - development (the integral organization of melodic motives, mode and harmony, meter, polyphonic technique, timbres and other elements of music).

Most forms of classical music emerged by the mid-19th century. New forms that emerged between the 1890s and 1950s included musique concrète and minimalism. In musicological studies of the 20th century, a number of new compositional patterns were identified, called “parametric forms”. Parametric forms are associated with the technique of constructing a composition at the level of various means (components) of the musical fabric - rhythm, dynamics, harmony, strokes, texture, etc. These forms, in the absence of a melodic-thematic factor or a significant weakening of its formative role, act on foreground modern compositional process.

“MAIN MUSICAL FORMS IN THE PROGRAM

PIANO CLASS Children's Music School and Children's Art School"

Methodical work

Piano teacher at the Yegoryevsk Children's Art School

Engalycheva Irina Alekseevna

“By concreteness of musical form we must mean the ability of music to express and activate life content merging with the image, idea and feeling"

S. Feinberg

From the first grade, the teacher requires the student to meaningfully implement the program. He accessible language explains to the child the content of the work, carefully works on technique, shades, and phrases. But he brings him to the concept of musical form later.

Very often, high school students cannot determine the boundaries of exposition, development, and reprise in the sonata they perform, and are not familiar with the principle of constructing a fugue. That is why they have breakdowns and failures at concerts, exams and tests.

One of the common mistakes is for a student to perform a side part of a sonata allegro in a reprise in the key of exposition. Or another mistake: having forgotten some place in the middle or at the end of the invention, the student begins to play the piece from the very beginning instead of going back and repeating the section of the form where it occurred. The teacher explains such mistakes as stage excitement. But in fact, one of the important reasons for the “disintegration” of form on the stage is the student’s ignorance of issues relating to the laws of the structure of a musical work.

Issues of studying musical form in senior and junior classes have their own specifics due to differences in age and level of training. Student junior classes must know such musical terms as “caesura”, “phrase”, “reprise”, “sequence”, “climax”, etc. Then, in middle and high school, knowledge is deepened and refined.

From the very beginning, the child must imagine that the primary semantic unit of music is the phrase. Explaining the structure of a specific musical phrase, the teacher involuntarily conducts an analysis: helps the student find the logical emphasis in it, traces the direction of the melodic line, and analyzes the interval composition. The brightest sound is usually the climactic one, but you can approach it in different ways. If the progression of the melody is smooth, then the crescendo will be smooth and gradual. If the climax is taken abruptly, then particularly expressive singing of this interval is required. When there are two bright points in a phrase, you need to divide it into smaller constructions and work on them. If the child does not hear this and plays monotonously, you can ask him to sing this segment, highlighting expressively significant sounds with his voice. When singing out of tune, you can help him by playing along on the instrument, or you can sing this segment along with him, indicating the culminating sounds with an upward movement of your hand.

For clarity, you need to make him draw a wavy line with a colored pencil, imitating the movement of this passage. In this case, it is more important to highlight the key points.

This must be done in order to direct the student’s auditory attention to meaningfully expressive performance. In this case, not only the auditory centers will be involved, but also the motor and visual centers.

Having achieved a relatively bright performance of one musical phrase, the teacher leads the student further. The second, third phrase, etc. are worked out in the same way. At the next stage of work, we combine several phrases into one whole structure with a single common center - the climax. For comparison, a teacher can perform a piece smoothly, safely, but boringly (without a climax), and then perform it brightly, with enthusiasm. This will plant in the student’s imagination an idea of musical image climax. For clarity, together with the student, you can depict the structure of the piece being performed with wavy lines, painting the climax points with brighter colors.

When working with students on a piece of music, you need to keep in mind that the ultimate goal of learning it is a complete and expressive performance. Therefore, in the process of work, the teacher must pay attention to the student’s understanding of the integrity and harmony of the form of the piece being performed. It is very important not to make adjustments as the piece progresses. The corrected episode violates the law of form established by the author. If the teacher is demanding in this regard from the very beginning, then the student will work to embrace the whole: first he will make fewer mistakes, and then he will achieve error-free execution.

An important factor performing process is the relationship between the part and the whole. It is necessary to teach the child to immediately “get into the character” of the piece being performed, since the first phrase determines the character and mood of the entire piece. To do this, it is useful for him to sing the first bars of the play to himself before starting the performance.

During the performance, the student must also ensure that the climax points do not “fall off”. To do this, the student must be taught to calculate the sound pattern so that a common large wave is formed, leading to the main climax. Then performed work will be holistic and logically constructed.

However, we should not forget that a blurry end of the work destroys the overall impression of the performance. The larger the form, the more difficult it is to capture it as a whole. Therefore, it is necessary to teach the student to calculate his strength in such a way that he can convey the image of the piece being performed from beginning to end. Then its execution will create a single and complete impression.

What is a musical form? “Musical form is the structure of a musical work. It is determined by the content of each specific work, is created in unity with the content and is characterized by the interaction of all specific sound elements distributed over time.”

With all the richness of forms of music, they are divided into homophonic And polyphonic. Homophonic forms are those where one voice is dominant. And polyphonic are forms in which all voices are melodically equal and independent.

The form of each work is individual and unique. However, the laws and rules for form formation have general signs in the building. Each part has its own function. There are six main functions in the form: introduction, statement of the topic/topics, connecting part, middle, reprise and conclusion.

The smallest form expressing a relatively complete thought is period.

The main large sections of the period are called proposals. Sentences of periods are divided into smaller constructions - phrases. The phrase can be distinguished by its meaning and, in addition, it is isolated rhythmically (the characteristic of a phrase is two strong beats). A phrase can be indivisible or divided into one-bar constructions - motives.

Periods.

A period that begins and ends in the same key is called monophonic. (For example, the first period of “Adagio” by D. Steibelt, the first period of “Mazurka” by A. Grechaninov).

A period that begins in one key and ends in another is called modulating. (For example, the first period of M. Glinka’s “Lark” - beginning - e-moll, end - G-dur. first period of I. Bach’s “Minuet" d-moll - beginning - d-moll, end F-dur).

There are periods square And non-square buildings. The main options for squareness are expressed in the four-bar parts: the first sentence - 4 (or 8 bars) and the second sentence - 4 (or 8 bars) (I. Bach’s “Minuet” d-minor in the 1st period, both sentences are 4 bars AND . Bach "Minuet" G-dur in the first period, each sentence is 8 bars)

There are periods of 4 bars (2+2), where each bar can be taken as two (the first period of Philip’s “Lullaby”, the first period of S. May-kapar’s “Rain”). An example of a period of non-square structure is the first periods of the plays “In the Land of Dwarfs” by Rowley (4+5) and “A Chorus” by P. Tchaikovsky (5+7).

There are periods repeated And unique buildings. Using the example of Tchaikovsky’s plays “Polka”, “ New doll“It is clear that the 2nd sentence is based on repetition of the material of the first. These two periods are re-building. And the second sentences of “Minuet” in d-moll by J. Bach and “December” by P. Tchaikovsky are built on new material. These are periods of non-repetitive construction.

Periods ending with a stable cadence are called closed(A. Maykapar “In the kindergarten”, D. Kabalevsky “Clowns”) . If at the end of the period the cadence is unstable, then such a period is called open.(B. Pechersky “Sleepy doll”).

There are extended and shortened periods. U expanded periods increased 2nd sentence first periods of P. Tchaikovsky’s plays “June” and “January”). The contraction of the second sentence is used less frequently, due to the fact that it has greater logical weight as the completion of the form.

The period can act as an independent form (F. Chopin “Prelude” A-dur”), and also be integral part musical form (see examples listed below).

Simple two-part form

A form consisting of two periods is called simple two-part. It is divided into reprise And unrepeatable. In a reprise two-part form, the second part must necessarily have a repetition of one of the sentences of the first part. (D. Steibelt “Adagio” - in the second part the second sentence of the first part is repeated). In non-reprise two-part forms there are no repetitions in the second part. (I. Bach “Little Prelude in g minor”).

Simple three-part form

A simple three-part form is a form that consists of three periods, where the first and third parts are built on the same material. The middle part may be contrasting And low-contrast. In three-part forms, the middle can contrast with the extreme parts in various respects - tonality, mode, register, timbre, texture, in addition to theme. This - non-contrast form. (P. Tchaikovsky “March wooden soldiers", R. Schumann "The Brave Rider"). IN contrasting the same shape the middle is based on new topic, which contrasts with the extreme parts (D. Shostakovich “March”.

There are also double three-part forms in which the second and third parts are repeated, and together. (E. Grieg “Dance of the Elves”, “Melody a-moll”.

Complex tripartite form

In this form, each part is simple form(two or three-part). The second part in this form is of two types:

A) trio type- for everyone expressive means(melody, harmony, modulation, texture) this part is simpler than the outer parts. (P. Tchaikovsky “Waltz” from “Children’s Album”, J. Haydn “Sonata G major” part 2).

b) type of episode- there is no clear form here. The development is more free (many modulations, sequences, unstable harmonies) (P. Tchaikovsky “May”).

Rondo

Rondo This form is called in which the same topic is taught at least three times, and between its presentations parts of different content, most often new, are placed. The recurring theme is called refrain or main party. The parts located between the main game are called episodes.

You can consider the structure of this form using the example of “Rondo” by R. Gliere. It begins with a refrain written in period form, which ends in the dominant key (8 bars). Then comes the first episode, built on the material of the main party. It is written in a different register, more intense in character and more unstable (8 bars). The episode is again followed by a refrain (8 bars), which smoothly transitions into the second episode, which is based on completely different material and is more contrasting to the first episode and the refrain. It changes rhythm, texture, tonality. “Rondo” ends with a refrain in the main key.

The rondo form refers to large-form compositions. Rondo can be either an independent work or part of a cycle.

Variations

Among the works of large form, traditional cycles occupy a prominent place. They combine elements of both large and small forms. The integrity of the variation cycle is achieved by thematic unity. Of great importance are the caesuras between individual variations, which separate them, thereby fragmenting or enlarging the form.

There are variations strict And free. Strict variations are interconnected by tonality and thematic unity. In the program music school we are faced mainly with the form of strict variations (D. Kabalevsky “Easy variations on the theme of a Slovak folk song”).

SONATA FORM

A sonata is a form based on the opposition of two themes, which at the first presentation contrast both thematically and tonally, and after development both are repeated in the main key.

Sonata form (sonata allegro) consists of three parts: exposition, development And reprises.

IN exposition two opposing themes are presented - home And side. The main part is written in the main key. Between the main and secondary topics there is a structure called binding party. This batch is based on the material of the main one and undergoes development and transformation. It plays a connecting role, since it contains modulation into the tonality of the side part. The theme of the side part clearly shows the contrast to the previous music. From the point of view of harmony, the most important thing is that the side part in the exposition takes place: in major keys - in the key of do-minant (W. Mozart “Sonata C-dur” - C-dur, pp - G-dur ), and in minor ones - in parallel major. (J. Haydn " Sonata e-moll" g.p -, e-moll p.p - G-dur).Adjacent to the side party last section exposition - final party. It serves as a complement to the secondary one and, as a rule, flows in its tonality.

Second part of the sonata allegro - development. It is characterized by brief turns of exposition themes obtained as a result of isolation, modulating sequences and elements of polyphony. From the harmonic side, general tonal instability and avoidance of the main tonality are important.

The last movement of the sonata allegro is reprise. It represents the result of development. It repeats all the exposition material in the same order, but with tonal changes. The connecting part is rearranged in such a way as to remain in the main key, and the secondary and final parts are transposed into it.

Using the example of J. Haydn’s “Sonata in D major”, let’s look at the structure of the sonata al legros. The exposition begins with a presentation of the main part in the main key. It is written in period form (8 bars). Her character is decisive and persistent. It is followed by a connecting part (8 bars), which is written in the same key and is similar in character to the main one. In its last bars, the dominant (A-dur) key appears. From the 17th bar, a side part begins, noticeably larger than the main part (18 bars) and consisting of two different themes. Its first theme is refined and elegant in nature and is performed in R. The second theme of the side part is decisive and more intense. In character, it is reminiscent of the previous material in the exposition and ends with sweeping arpeggiated chords in the dominant key. The final part (6 bars) establishes the dominant key. The development is small in scope (20 cycles). All topics of the exhibition are given here in abbreviated form. The development is reduced by superimposing some themes on others (in a polyphonic combination). Reprise begins main party, but her second proposal is increased due to the introduction of a second element of the side party into it. The connecting part, on the contrary, is shortened compared to the exposition (6 bars). It ends in a dominant key. The side part of the reprise begins very interestingly: in the upper voice the dominant key continues, and in the lower voice the main key continues. The length of the side lot is equal to the size of it on display. The sonata allegro ends with the final part in the main key.

The preparatory stage for the sonatas of J. Haydn, W. Mozart, L. Beethoven are small sonatinas, in which everything that is characteristic of the sonata form occurs in miniature.

MODIFICATION OF SONATA FORM

One of the most typical modifications of the sonata form is the lack of development (with the normal structure of the exposition and reprise). Thus, it becomes from a three-part form to two parts. But the presence in the exhibition of two different themes, in the first part occurring in different keys, and in the second part - in one, allows us to distinguish it from other forms (N. Nekrasov “Sonatina e-moll” 2nd part) .

POLYPHONY

At the core subvocal type lies in the development of the main voice. The remaining voices arise as a branch and have more or less independence. Subvocal polyphony is typical for folk, in particular Russian, songs.

Contrasting Polyphony is based on the development of independent voices. It is characterized by a variable concentration of the melodic principle in different voices, as a result of which, now one or the other voice comes to the fore (I. Bach. “Minuet in g minor”).

Imitation Polyphony is based on the sequential performance in different voices of either the same melody (canon) or a melodic passage (theme).

Canon called continuous imitation. It reproduces not only the theme, but also the counterpoint to it, then the counterpoint to this counterpoint, etc. Canons that, after several imitations, stop and move into some other movement are called final. They have the most practical application(I. Bach “Invention in F major” two-part). Endless canons are less common.

The highest form of polyphonic writing is fugue.

A fugue is a polyphonic work that begins with a gradual introduction of voices with an imitative presentation of the theme, which is then repeated in further development works. A mandatory feature of a fugue is the systematic presentation of the theme in different voices. The fugue consists of three sections - exposition, development and reprise. The boundaries of its sections are quite conventional and smoothed out.

IN exposition the theme runs through all the voices. This is the only section that has a permanent structure. The tones of the theme are tonic and dominant (alternately). In three-voice fugues - TDT, in four-voice fugues - TDTD. The answer (carrying out the theme in D) can be real (exactly transposed a fifth up) or tonal (with minor changes). (In the fugue by J. Bach from the 1st volume of the C-moll C-moll the answer is real, and in the fugue gis-moll the answer is tonal). After the exposition there is an interlude leading up to the middle section. An interlude is based on isolating material from the exposition.

The middle is built on a series of single and group implementations of the topic. The middle part is characterized by tonal instability. The most characteristic is the beginning of the middle part in a key parallel to the main, or dominant.

The final part of the fugue is based on the general principle of reprise. It begins by carrying out the theme in the main key. Sometimes there are re-prizes similar to exposition in the tonic-dominant tonal plane. But most often it is a single or group presentation of the theme in the main key.

Let's consider the form of a fugue using the example of J. Bach's three-voice fugue in C major from the Collection “Little Preludes and Fugues”. It consists of exposition, development and recapitulation. The exposition begins with the theme in the middle voice in the main key. This is then followed by a real response up a fifth in the top voice. The exposition ends with the presentation of the theme in the bass in the main key. The interlude that follows the exposition consists of a descending sequence, the link of which is taken from the first sounds of the theme. It brings us to the key of G-dur, in which the development begins. In development, the theme goes through 4 times: first in the keys of G-dur and C-dur, and then, after a small link, in the keys of a-moll and e-moll. The development is followed by a second interlude, built on new material. At the end, the fugue theme sounds in the key of the subdominant (F-dur) in the upper voice.

The reprise begins by carrying out the theme in the main key in the middle voice. Then it goes again in the bass, also in the key of C major. The fugue ends with a descending sequence built on the material of the first interlude, which establishes the main tonality.

Work on the form of a musical work should be carried out throughout the entire period of study. If in the junior grades a student learns the importance of the meaning of musical form, then in the senior grades he will perform works competently and more expressively, while revealing their artistic image more fully.

Working with young children is the most responsible and difficult, since the first teacher lays the foundation for a future attitude towards music. The famous pianist and teacher I. Hoffman said: “The beginning is a matter of such enormous importance that only the best is good here.”

The teacher introduces the structure of a musical work to students from the first grades. The work process should be gradual and take into account the characteristics childhood. You need to try not to scare off the child with boring, incomprehensible terms, not to force him to memorize theoretical material, and also not to overload his thinking with overwhelming tasks.

It is widely known that the child’s learning process is based on the use of those psychophysical characteristics that are inherent in each age category.

In my teaching activities, I use visual colorful material (in the form of multi-colored geometric shapes: triangles, squares, and circles), which helps to figuratively and interestingly present to young children the piece being performed in a diagram. Thus, the material is easier to perceive, quickly absorbed and activates their creative abilities.

If the piece being performed or part of it is written in a major key, then brighter colors of the figures are used, in a minor key the color scheme is darker.

At first, these figures play the role of sentences in a period, and the sheet of paper on which they are superimposed plays the role of a period. So if

a) the sentences are the same, then the figures are taken of the same shape and color

b) one of the sentences in the period is given with minor changes (variation, change in rhythm, with a small addition), then the same figures are taken, but one of them with dots

c) in one of the sentences the register or key changes, but the musical material is the same, then the same figures of different colors are taken

d) sentences are based on different materials, but do not contrast with each other and are written in the same key, then different figures of the same color are taken

e) sentences in the period are built on different materials and contrast with each other, then different figures of different colors are taken

There can be many options. Children choose colors, geometric figures and their relationships themselves, explaining why they chose this or that combination. (See Appendix). It sparks their imagination, increases their interest in their work, and makes them think.

Below are several diagrams of plays from the school repertoire, depicted by children in the diagram.

S. Maykapar “In the kindergarten”

D. Steibelt “Adagio”

R. Schumann “The Brave Rider”

D. Shostakovich “March”

With further complication of the form, multi-colored figures now serve as sentences, and then as larger sections of the work. This is what, for example, “Rondo” by R. Gliere looks like

And this is how children represent the form of “Sonatina in C major” by M. Clementi

Here the color of tonality in the exposition and reprise is very important: in the exposition the themes are in different keys, and in the reprise - in one. We use bright color combinations to depict instability and tension in development.

Primary school students, in addition to dividing their plays into sentences and periods, also draw phrasing, where with more saturated colors they indicate nodal points, and the most bright color(usually in red) - the culmination of the entire work.

Such visibility allows students to perform their works more meaningfully and expressively, as well as correctly calculate the sound pattern.

In order to study a certain type of musical form more deeply, I conduct group lessons with students in my class, uniting them by class. They go as follows. Having previously drawn a diagram of the form of the piece, each student in the class tells in detail its structure, explaining why he chose this particular combination of shapes and colors, and then performs this piece on the instrument. The rest listen attentively and after the performance discuss his performance. In this way, children become familiar with the varieties of the form they are studying, and not just with the form of the work they have learned.

Sometimes I combine age groups so that younger students can hear, when performed by older students, how sections of the form are expanded and enlarged under the same scheme. As a result, students with early age the skill of analyzing the form of a musical work is acquired.

List of literature used in preparation

1. Alekseev N. Methods of teaching piano, M., 1982

2. Artobolevskaya A. First meeting with music, M., Russian music publishing house, 1996

3. Kalinina N. Bach’s keyboard music in piano class, L., Muzyka, 1988

4. Kogan G. Work of a pianist, M., Music 1979

5. Neuhaus G. About art piano playing, M., 1982

6. Spogin I. Musical form, M. Muzyka 1984

7. Timakin E. Education of a pianist, M., 1989

8. Filatova L. A manual on music theory, Presto, M., 1999

9. Shatkovsky G. Development musical ear, M., Music, 1996

10. Yudovina-Galperina T. At the piano without tears, or I am a children's teacher, St. Petersburg.

Enterprise St. Petersburg Union of Artists 1996

11. Masaru Ibuka After three it’s too late, (About raising children: Translation from English) M. Knowledge 1992

APPENDIX 1

Schemes for analyzing some musical forms,

performed by students of the Yegoryevsk Children's School

PIANO CLASS, TEACHER ENGALYCHEVA I.A.

“Form” in music refers to the organization of the musical whole, ways of developing musical material, as well as the genre designations that authors give to their works. In the process of creativity, the composer inevitably comes to a certain formal structure, a kind of plan, a diagram, which serves as the basis for his manifestations. creative imagination and skill.

The concept of form in music has many meanings. Some prefer to use this term only in relation to the structure of the work. Others classify it under different genre designations, which may a) indicate the general nature of the music (for example, nocturne); b) involve a special composition technique (for example, motet or fugue); c) be based on a rhythmic model or tempo (minuet); d) include extra-musical meanings or terms (for example, symphonic poem); e) indicate the manner of performance (concert) or the number of performers (quartet); e) be associated with a specific historical era and its tastes (waltz), as well as with national flavor (polonaise). In reality, despite the abundance of such definitions, there are only a few fundamental formal structures, and if a composer settles on one or another genre designation, this does not mean that he is tied to any particular structural type.

The main compositional schemes or plans in music are based on three principles: repetition, variation and contrast, and are manifested in it through the interaction of rhythm, melody, harmony, timbre and texture.

Forms based on repetition, variation and contrast are characteristic of both vocal and instrumental genres. For vocal works often characterized by a strophic form, within which different poetic stanzas correspond to the same melody and the element of contrast is introduced only by the poetic text: this is why the strophic form in its pure form is not found in instrumental genres. Both vocal and instrumental compositions are characterized by a form with a repeating section refrain. Sometimes the strophic form is modified by the introduction of one or more contrasting stanzas, in which case it approaches the so-called. composite composition.

The main strophic structures are as follows:

Verse formAAAAA, etc.

Two-part form AB

Tripartite formABA

Form with refrain (rondo) АВАСА

Variation form АА 1 А 2 А 3 А 4 А 5, etc.

More complex shapes arise as a result of changes or expansion of basic structures (for example, rondo is often written according to the model: АВАСАВА). There are works that are based on the principle of continuous continuation: this is the “endless melody” in musical dramas Wagner here it is impossible to draw a clear boundary between sections. The German term durchkomponiert (“based on cross-cutting development”) is attached to such forms. This type of organization is typical for works related to words or focused on literary program, often on a specific literary work.

The principle of development, which originated in music much later than the principle of repetition, is especially typical for purely instrumental compositions. It differs from the strophic structures described above in that the thematic material is treated not only as a structural unit suitable for repetition and variation: it identifies elements that change and interact with each other and with other themes (sonata form demonstrates this principle especially clearly).

When combining musical fragments, each of which is written according to its own structural model, into a larger whole, the so-called. cyclic form(opera, oratorio, sonata, quartet, symphony, suite, concert, etc.). In this case, each fragment is called a “part” and has its own designation of tempo and nature of performance.

Form in music is a developing, dynamic phenomenon. In the past, new forms arose as responses to liturgical needs, or to changes in social life, or to the invention of new instruments and new ways of playing them, etc. We can safely say that new functions of music, new conditions public life, new compositional and performing techniques, new inventions (for example, electronic instruments) will lead to the emergence of new forms (in the sense of genre designations) and new methods of composition. See also OPERA; BALLAD OPERA; OPERETTA; INVENTION; FUGA; ORATORIO; CONCERT; MARCH.

Music Encyclopedia, vol. 15. M., 19731982
Kruntyaeva T., Molokova N. Dictionary of foreign musical terms. M. St. Petersburg, 1996
Buluchevsky Yu., Fomin V. Brief musical dictionary . St. Petersburg M., 1998
Brief musical dictionary-reference book . M., 1998
Musical encyclopedic dictionary . M., 1998

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