Variations are a form consisting of a theme and a number of its modified repetitions.

Song and dance origins of the thematic form of variations. The expressive and semantic meaning of the theme of variations and the principle of its structure.

Variation and cyclicity are the basic principles of the structure of the form of variations.

Classification of variation forms: strict variations, free variations. Strict and free variations as historically established types of forms.

Types of strict variations: variations on basso ostinato, ornamental variations, variations on an unchanging melody (Glinka type). The nature of thematics, methods of development in each type of variation. Mode-harmonic features of variation cycles.

Free variations as a manifestation of patterns in music of the second half of the nineteenth century. Brightness, picturesqueness of thematics; the presence of contrast between variations; the use of certain genre features in each variation (in the style of a march, scherzo, aria, etc.), freedom of mode-tonal relations between variations; changing the topic structure.

Techniques for combining variation cycles: the principle of rhythmic fragmentation, modal tonal patterns; methods of theme development, genre characteristics. Formation of two partial, three partial, ronda-shaped features of forms based on combining variations into groups.

Verse-variation form. Its features and application in folk music and domestic mass song.

Characteristic variations. Their features and application.

Dispersed variation cycle – “large variation form”. A combination of variations located at a sufficient distance from each other, within a part, an opera act, or within the entire work.

Variations on two themes. The nature of both topics and the principles of their relationship. Possible arrangements of themes in variations: their alternation, grouping.

Manifestation of the ostinato principle of variations in improvisational forms of pop music.

Variation forms in the music of Russian composers.

Possible interpretations of variational forms.

Literature:

1.

2.

3.

Topic 8. Cyclic forms. Suite cycles, sonata-symphonic cycles, piano miniature cycles, vocal cycles.

Cyclic forms are multi-part works united by a common concept.

Signs of cyclic forms and general composition: dismemberment, the principle of contrast, the principle of reprisal, the creation of unity.

There are two main types of cyclic forms: suite, sonata-symphonic. Historical types of suite forms: ancient suite, classical suite, suite of the 19th – 20th centuries. Genre origins of the thematic nature of the ancient suite, principles of form-building, relationship of parts in the form. The influence of the sonata-symphonic cycle on the development of the classical suite. Suite XIX – XX centuries. – unification of diverse plays based on ballet,

opera music. The main factor in combining a cycle is programming.

Classical four-part sonata-symphonic cycle. The nature of thematic content, figurative content; function, structure, modal tonal patterns of each part.

Techniques for combining the cycle are thematic, structural, modal, tempo and timbre.

Other types of sonata-symphonic cycle: two-part, three-part, five-part, six-part, seven-part. Preservation of the characteristics of four particular cycles in multi-part works based on combining two slow or two fast parts of the cycle.

Polyphonic cycles. Principles of combining prelude and fugue.

Cycles of piano miniatures. Software elements are the most important factor in their unification.

Features of vocal cycles. Plot orientation is an additional factor for creating the unity of the cycle.

Contrast-composite forms as special types of cyclic forms; their features and application.

Cyclic forms in the music of Soviet composers. Features of the execution of cyclic forms.

Literature:

1. Bonfeld M.Sh. Analysis of musical works: structures of tonal music: Textbook. Manual: in 2 parts Part 2/M.Sh. Bonfeld - M.: Vlados, 2003.

2. Roitershtein M.I. Fundamentals of musical analysis: Textbook. for ped. universities/M.I. Roiterstein. – M.: Vlados, 2001.

3. Spogin I.V.Musical form: Textbook. total analysis course / I.V. Sposobin - M.:Music, 2002

In variations of this type, the melody is preserved, and the variation occurs due to the accompanying voices. Because of this, they belong to indirect variations.

Variations on a sustained melody are used mainly in vocal music, the invariability of the melody brings them closer to verse forms (the difference is that in these forms it is not the accompaniment of the theme that changes, but the text). Russian composers loved them - this type of variation was especially consistent with the spirit of Russian song, and accordingly was used in operas in choruses and songs folk character. In Western European music, variations on a sustained melody as an independent work are rare (Haydn. Quartet op. 76 No. 3, 2nd movement), but in figurative cycles Viennese classics can be used as initial variations.

Sometimes in the verse form, not only the text, but also the accompaniment varies (then it is called verse-variation or verse-variation). In this case, the differences from the variational form move into the quantitative category. If the changes are relatively small and do not change general character, then the form still remains verse, but with larger-scale changes it already becomes variational.

In relation to this type of variation, the concept of rigor and freedom changes somewhat. Strict variations are those where the melody remains at the original pitch ( passacaglia) The invariability of harmonization, usual for strict variations, is irrelevant here.

Subject

The theme may be original or borrowed, usually from folk music. The form of the topic is not regulated. This can be one or two phrases, a period, a large sentence, up to a simple three-part form (Grieg. “In the Cave of the Mountain King” from the music to the drama “Peer Gynt”). Original forms are possible in case folk origin themes (chorus of schismatics from Act III of “Khovanshchina” by M. Mussorgsky).

Variation

Variation can be textural, timbre, polyphonic, harmonic and genre.

Textural-timbre variation involves changing the texture, introducing a new pattern, re-orchestration, and in the choir - transferring the melody to other voices. With polyphonic variation, the composer introduces new subvoices or fairly independent melodic lines. It is possible to formulate the theme itself in a polyphonic manner in the form of a canon, etc. Harmonic variation is expressed in the reharmonization of the melody. The scale of changes can be different, up to changing the mode (Glinka. “Persian Chorus” from “Ruslan and Lyudmila”, 3rd variation): 174 or even transferring the melody to a different key (Rimsky-Korsakov. Chorus “Height” from the opera “ Sadko"). Genre variation occurs when all of the listed types of variation lead to the formation of a new genre appearance of the topic. This type of variation in variations on a sustained melody is rare.

Variations on basso ostinato

Variations on basso ostinato are a form that is based on the constant implementation of the theme in the bass and constant updating of the upper voices.

Variations on the basso ostinato (also a harmonic model, an exemplary harmonization of the ostinato bass) appeared during the era late Renaissance, mainly in Italy. Bass formulas (and their accompanying harmonic patterns) have become known under various names, including passamezzo, folia, Ruggiero, romanesca. In the 17th - early 18th centuries, this was the most common type of variation.

The two main instrumental genres of such variations in the Baroque era are passacaglia and chaconne:159.

In English baroque music this form of variation is called "ground". ground letters basis, support). In vocal music it is used in choirs (J. S. Bach. Crucifixus from the Mass in B minor) or in arias (Purcell. Dido’s Aria from the opera “Dido and Aeneas”).

In the classical era, variations on the basso ostinato disappeared, since they did not have the processuality necessary in classical aesthetics. Variations on basso ostinato occur in local areas of the form (Beethoven. Symphony No. 9, coda of the 1st movement). Some of the variations on basso ostinato are Beethoven's famous 32 variations in C minor: 160. This type is also irrelevant for the romantics; they rarely used it (Brahms. Finale of Symphony No. 4). Interest in variations on the basso ostinato arose again in the 20th century. All major composers have used them. Shostakovich has an example of such variations in the opera “Katerina Izmailova” (intermission between the 4th and 5th scenes).

Subject

The theme is a small (2-8 bars, usually 4) single-voice sequence, melodized to varying degrees. Usually her character is very generalized. Many themes represent a descending movement from the I to the V degrees, often chromatic. There are themes that are less generalized and more melodically designed (Bach. Passacaglia in C minor for organ).

Variation

In the process of variation, the theme can move into the upper voices (Bach. Passacaglia in C minor for organ), figuratively change and even transpose into another key (Buxtehude. Passacaglia in D minor for organ).

Due to the brevity of the theme, variations are often combined in pairs (based on the principle of similar texture of the upper voices). The boundaries of variations do not always clearly coincide in all voices. In Bach, several variations in one texture often form a single powerful development, their boundaries disappear. If this principle is carried out throughout the entire work, the whole can hardly be called variations, since it is impossible to recognize variations in the conduct of the bass in the lower voice without taking into account the upper ones. A kind of counterpoint of form arises.

Completion of the cycle may extend beyond variations. Thus, Bach's organ Passacaglia ends with a grand fugue.

Figural variations

In this type of variation, the predominant method of variation is harmonic or melodic figuration. Because of this, the scope of such variations is almost exclusively instrumental music. They are especially common in the music of the Viennese classics. For them it can be an independent piece (many variation cycles by Mozart, Beethoven) or part of a cycle (finale, slow movement, less often the first). In the romantic era, independent plays predominate in the form of figurative variations, and they may have a different genre name (for example, “Lullaby” by Chopin).

Subject

An important component of the theme is harmony (unlike the previous type). In the vast majority of cases, the topic is written in homophonic texture. The texture is economical, which gives freedom to further change it and accumulate movement in the texture (due to reducing durations).

Since most examples belong to composers Viennese school and their followers, in most cases the form of the theme is also classic. Most often - a simple two-part (usually reprisal), sometimes three-part, much less often - a period. In the music of Baroque composers, a theme in the form of a bar is possible.

Variation

In figurative variations, direct variation is carried out, since the theme itself is transformed.

In this case, standard figures are used - figurations. They can be arpeggiated, scale-like, etc. The reference points of the melody are preserved and filled with the featured material. Melodic figuration often results from the appearance of non-chord sounds around these anchor points. Harmonic figuration is one or another movement along the sounds of a chord (often arpeggios). In this case, the reference points of the melody become the base or top of these figurations. As a result, these reference points may shift to other beats of the measure.

Most cycles of figurative variations are strict, since updating the texture almost does not affect the harmony, never changing it radically. However, there are examples of free figurative variations (“Variations on a Theme of Corelli” by Rachmaninov).

Genre-characteristic variations

Variation cycles belong to this type, in which variations acquire new genre, or where each variation has its own individual type of expressiveness.

Like figurative variations, genre-characteristic variations are mainly used in instrumental music. They can be part of a cycle, often an independent play, including one with a different genre name (Liszt. Etude “Mazeppa”). Sometimes individual genre variations appear in variation cycles already among the Viennese classics. Cycles consisting entirely of such variations spread into the post-classical era.

Subject

The theme is in many ways similar to that of figurative variations. The difference is that the theme of genre variations can be presented less modestly than variation ones, since the variation here occurs to a lesser extent due to the enrichment of texture.

Variation

The concept of specificity presupposes an individual type of expressiveness for each variation. The concept of genre is a new genre for each variation. The most common genres are: march, scherzo, nocturne, mazurka, romance, etc. (and these genres can be expressed very generally). Sometimes a fugue appears among the variations. (Tchaikovsky. Trio “In Memory of the Great Artist”, 2nd part).

Variations on several themes

In addition to variations on one theme, there are variations on two themes (double) and three (triple). Double variations are rare: 175, triple variations are exceptional (Balakirev. Overture on the themes of three Russian songs).

The themes of double variations can be close to each other or, conversely, contrasting (“Kamarinskaya” by Glinka).

The variations can be arranged in different ways: either a regular alternation of variations on one and a second theme, or a group of variations on the first theme, then a group on the second, etc.

Double and triple variations can be of any type.

Variations with a theme at the end

The emergence of this type of variation is associated with a departure from classical thinking in the field of form, which required the exposition of the theme at the beginning and its further development. They appear in late XIX century (precedents were in the Baroque era in some variation cantatas).

Most significant works of this kind: symphonic variations of “Ishtar” by Vincent d’Indy (1896), R. Shchedrin’s Third Piano Concerto (1973), Schnittke’s piano concerto (1979).

There is no regulation of the form. In Shchedrin's concerto, the variations are combined in a very complex way, right down to their asynchronous beginning in the orchestra and in the soloist's part. Elements of the theme are scattered throughout the concerto, and it emerges entirely in the final cadenza. In Schnittke's concerto the theme is a complex, including a dodecaphonic series, triads and recitation on one sound.

Notes

Sposgin I.

1. Therefore they are often called “classical”. This term is not entirely correct, since the figurative type of variations was used both before and after the Viennese school.

Comments

In the Soviet music theory this type of variation is called “Glinka”: 171-172, since M. I. Glinka often used it in his operas. This name is not correct, because “Glinka’s” variations were used by composers of the Baroque era. Another name sometimes used is "variations on soprano ostinato". It is also not entirely correct, since the melody in the process of variation is not always carried out in the upper voice (soprano).

Literature

Kyureghyan T. Form in music of the 17th-20th centuries. M., 1998. ISBN 5-89144-068-7

• Sposgin I. Musical form. - Moscow: Music, 1984.
• Fraenov V. Musical form. Course of lectures. M., 2003. ISBN 5-89598-137-2
• Kholopova V. Forms musical works. St. Petersburg, “Lan”, 1999. ISBN 5-8114-0032-2

Musical forms
Vocal forms	Verse form Lead-chorus form
Simple forms	Period Simple two-part form Simple three-part form
Complex shapes	Compound song forms Rondo Variation form Sonata form Rondo-sonata
Cyclic forms	Suite Sonata-symphonic cycle Cantata Oratorio
Polyphonic forms	Fugue Canon
Specific forms European Middle Ages and Renaissance	Bar Virele Ballata Estampi Le Madrigal
Specific forms of the Baroque era	Simple forms of the Baroque era Ancient sonata form Compound forms of the Baroque era Ancient concert form Chorale arrangement
Specific forms of the era of romanticism	Free forms Mixed forms Single-part cyclic form
Forms musical theater	Opera Operetta Ballet
Music Music Theory

Literature

1. Protopopov Vl. Essays on the history of instrumental forms XVI - early XIX ve-ka. - M., 1979.

2. Tsukkerman V. Variational form / Analysis of musical works. - M., 1974.

3. Mazel L. The structure of musical works. - M., 1975.

4. Asafiev B. Musical form as a process. - L., 1971.

5. Alekseev A.D. History of piano art. Part 3. - M., 1982.

6. Solovtsov A. S.V. Rachmaninov. 2nd ed. - M., 1969.

7. Keldysh Yu.V. Rachmaninov and his time. - M., 1973.

8. Criticism and musicology. Sat. articles, vol. 2. - L., 1980.

9. Sokolova O.I. S.V. Rachmaninov / Russian and Soviet composers. 3rd ed. - M., 1987.

10. Mazel L. Monumental miniature. About Chopin's Twentieth Prelude / Musical Academy 1, 2000.

11. Ponizovkin Yu. Rachmaninov - pianist, interpreter of his own works. - M., 1965.

12. Zaderatsky V. Musical form. Issue 1. - M., 1995.

13. Big encyclopedic dictionary/ ed. Keldysh G.V. - M., 1998.

14. Vitol I. A.K. Lyadov. - L., 1916.

15. Medtner N.K. Memories of Rachmaninov. T.2.

16. Solovtsov A. Rachmaninov’s piano concertos. - M., 1951.

17. Tsukkerman V. Kamarinskaya Glinka and her traditions in Russian music. - M., 1957. P. 317.

From the Theory Program:

Application of the variational method in various forms. Theme with variations as an independent form. Classification of variations.

Figurative variations. Scope of application. Characteristics of the topic. Preservation of its harmonic plan, form, tonality, tempo, meter of the theme in subsequent variations. Techniques for variational changes: the appearance of the melody and the entire texture, the creation of new melodic options. Single change of fret, sometimes change of tempo and time signature.

Variations on soprano ostinato. Song verse repetition. Melodic character of the ostinato theme. The role of polyphonic, harmonic variation. Textural and timbre development (Ravel “Bolero”; Shostakovich. Symphony No. 7, part I, episode). The special role of this form in the work of Russian composers (Mussorgsky “Boris Godunov”: Varlaam’s song; “Khovanshchina”: Martha’s song; Glinka “Ruslan and Lyudmila”: “Persian Choir”).

Variations on basso ostinato. Connection with the ancients dance genres– chaconne, passacaglia; sublime, mournful character of the music. Characteristics of the theme: intonation patterns, modal basis, metrhythmic pattern. Features of the form: the organizing role of a stable bass, layering of contrapuntal voices, maintaining a constant tonality. Variations on basso ostinato in opera and oratorio genres (Purcell “Dido and Aeneas”: two arias of Dido; Bach Mass h-moII: “Crucifixus”).

Free and characteristic variations. Motivational connection of variations with the theme. Free variation, change of harmonic plan and form. Genre-characteristic variations: vivid individualization, introducing features of various genres (nocturne, lullaby, march, mazurka, waltz, etc.).

Double variations. Two principles for constructing variations: 1) alternating variations on the first and second themes (Haydn. Symphony No. 103 Es-dur, part II); 2) contrasting contrasting variation groups (Glinka “Kamarinskaya”).

Double variations in vocal music. A combination of two songs with alternating variations (Rimsky-Korsakov “The Snow Maiden”: the women’s song “Like a Peahen” and the men’s song “Like Beyond the River” from “The Wedding Rite”).

Related information.

Have you ever encountered something like this? philosophical concepts, both form and content. These words are universal enough to denote similar aspects of a wide variety of phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works.

Before naming the common forms of musical works, let’s define what is a form in music? Form is something that relates to the design of a work, to the principles of its structure, to the sequence of events in it. musical material.

Musicians understand form in two ways. On the one hand, the form is diagram arrangement of all parts of a musical composition in order. On the other hand, form is not only a diagram, but also process formation and development in the work of those expressive means by which it is created artistic image of this work. What is this means of expression? Melody, harmony, rhythm, timbre, register and so on. The substantiation of such a double understanding of the essence of musical form is the merit of the Russian scientist, academician and composer Boris Asafiev.

Forms of musical works

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

Period– this is one of the simple forms that represents a presentation of a complete musical thought. It occurs frequently in both instrumental and vocal music.

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

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

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

Verse and chorus forms - these are forms that are directly related to vocal music and their structure is often associated with the characteristics of poetic music.

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

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

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

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

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

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

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

L. van Beethoven, 32 variations in C minor

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

So, musically speaking, a rondo is made up of parts that are constantly repeated (general ones - they are called refrains) and individualized episodes that sound between refrains. For the rondo form to take place, the refrain must carry out at least three times.

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

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

The sonata form consists of three main sections:

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

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

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

The fugue is built on one theme, which is then repeated many times in an unchanged form in different voices (in different instruments). The fugue begins, as a rule, in one voice and immediately with the theme. Another voice immediately responds to this theme, and what sounds during this response from the first instrument is called counter-addition.

While the topic is circulating different voices, the expositional section of the fugue continues, but as soon as the theme has passed through each voice, development begins in which the theme may not be fully pursued, compressed and, conversely, expanded. Yes, a lot of things happen in development... At the end of the fugue, the main tonality is restored - this section is called the reprise of the fugue.

We can stop there now. We have named almost all the main forms of musical works. It should be borne in mind that more complex forms may contain several simpler ones - learn to detect them. And also often both simple and complex forms are combined into different cycles– for example, they form together suite or sonata-symphonic cycle.

Today there are many definitions of the concept of variational form. Various authors offer their own options:

A variational form, or variations, a theme with variations, a variation cycle, is a musical form consisting of a theme and its several (at least two) modified reproductions (variations). This is one of the oldest musical forms(known since the 13th century).

A variational form is a form based on modified repetitions of a theme (also two or more themes).

A variation form or variation cycle is a form consisting of an initial presentation of a theme and a number of its modified repetitions (called variations).

The variation form, in addition, is called “variations”, “variation cycle”, “theme with variations”, “aria with variations”, partita (another meaning of partita is a suite of dances), etc. The variations themselves had many historical names: Variatio, Veranderungen (“changes”), double, versus (“verse”), gloss, floretti (literally “flowers”), lesargements (“decorations”), evolutio, parte (“part”), etc. Variations were also composed greatest composers, and concert virtuoso performers, their musical content extends from unassuming variation the simplest topic(such as Beethoven's variations in D major for mandolin) to the heights of intellectual complexity in music (Arietta from Beethoven's 32nd sonata).

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

The theme of the variations can be original (written by the composer himself) or borrowed. Variations can be filled with completely different content: from very simple to deep and philosophical. In terms of genres, the themes of the variations were chorales, traditional bass passacaglia and chaconnes, sarabande, minuet, gavotte, siciliana, aria in two meanings of the word (a melodious melody, as if for wind instruments, from the French “air” _ “air”, and aria from the opera), folk songs different countries, themes for variations by other authors and many others. etc.

Variations are usually classified according to four parameters:

depending on whether the process of variation affects the theme or only the accompanying voices, they distinguish: direct variations, indirect variations;

by degree of change: strict (the variations retain the tonality, harmonic plan and form of the theme), free (a wide range of changes, including harmony, form, genre appearance, etc.; connections with the theme are sometimes conditional: each variation can achieve independence as a play with individual content);

according to which method of variation predominates: polyphonic, harmonic, textured, timbre, figurative, genre-characteristic;

by the number of themes in variations: single-theme, double (two-theme), triple (three-theme).

V.N. Kholopova in her book “Forms of Musical Works” presented the following classification option:

Variations on basso ostinato (or sustained bass, “polyphonic variations”).

Variations are figurative (ornamental, “classical”).

Variations on a sustained melody (or on soprano ostinato, the so-called “Glinka variations”).

The variations are characteristic and free.

Variant form.

In addition, double and multi-theme variations are distinguished, in which all the named types of variation are found, and variations with a theme at the end. It is not lost sight of the fact that there may be mixed types of variations.

However, in the process historical development the predominant types of variations with more or less stable combinations of the named characteristics have become established. The main types of variations have become established: variations on a sustained melody, variations on basso ostinato, figurative variations and genre-characteristic variations.

These types existed in parallel (at least since the 17th century), but in different eras some of them were more in demand. Thus, composers of the Baroque era more often turned to variations on basso ostinato, Viennese classics to figurative ones, and romantic composers to genre-characteristic ones. In the music of the 20th century, all these types are combined, new ones appear, when a separate chord, interval, or even a separate sound can act as a theme.

In addition, there are several specific types of variations that are less common: the variation cantata of the Baroque era and variations with a theme at the end (appearing at the end of the 19th century). The verse-variation and verse-variant forms have a certain relationship with the variation form. The 18th century chorale arrangement is also close to the variations.

It is important to note that many works use different types variations. For example, the initial group of variations may be variations on a sustained melody, followed by a chain of figurative variations.

Any variation cycle is an open form (that is, new variations can, in principle, be added endlessly). Therefore, the composer is faced with the task of creating a second-order form. This can be a “wave” with a build-up and climax, or any standard form: most often it is a three-part form or rondo. Tripartiteness arises as a result of the introduction of a contrasting variation (or group of variations) in the middle of the form. Ronda-like appearance occurs due to repeated return of contrast material.

Often variations are combined into groups, creating local build-ups and local culminations. This is achieved due to a single texture or due to a rhythmic increase (diminution). In order to give the form relief and to somehow break up the continuous flow of similar variations, already in the classical era, in extended cycles, one or more variations were carried out in a different mode. In the 19th century variations this phenomenon intensified. Now individual variations can be carried out in other keys (for example, “Symphonic Etudes” by R. Schumann _ with the initial cis-moll, there are variations in E-dur and gis-moll, the final variation _ Des-dur).

Various endings of the variation cycle are possible. The ending can be similar to the beginning or, conversely, as contrasting as possible. In the first case, at the end of the work, the theme is carried out in a version close to the original (for example, S. Prokofiev. Piano Concerto No. 3, 2nd movement). In the second _ the ending represents the maximum progress in in this direction(for example, the smallest in the entire duration cycle). For the sake of contrast in the final variation, the meter and genre may change (a frequent occurrence in Mozart). The greatest contrast to the homophonic theme at the end of the cycle can be a fugue (in the classical and post-classical era).

The variational method of development finds wide and highly artistic application among Russian classics and is associated with variation as one of the characteristic features Russian folk art. In the compositional structure, a theme with variations is a way of developing, enriching and ever deeper revealing the original image.

In its meaning and expressive capabilities, the form of variations is designed to show the main theme in a versatile and diverse way. This topic is usually simple and at the same time contains opportunities for enrichment and disclosure. full content. Also, the transformation of the main theme from variation to variation should follow a line of gradual increase leading to the final result.

IN XIX century along with many examples of variational form, which clearly reflect the continuity of the main methods of variation, new type of this form are the so-called free variations.

Free variations are those that deviate from the theme in terms of form (structure), usually also from tonality. The name “free” is applied mainly to variations of the 19th and then 20th centuries, when structural changes become the principle of organization of variation forms. Individual free variations are found among the Viennese classics in the series of strict variations.

Subsequently, the direction outlined in these variations received significant development. Its main features:

• 1) The theme or its elements are changed in such a way that each variation is given an individual, very independent character. This approach to the treatment of the topic can be defined as more subjective compared to the one manifested by the classics. Variations begin to be given programmatic meaning.
• 2) Thanks to the independent nature of the variations, the entire cycle turns into something similar to a suite. Sometimes connections appear between variations.
• 3) The possibility of changing tonalities within a cycle, outlined by Beethoven, turned out to be very appropriate for emphasizing the independence of variations through differences in tonal color.
• 4) Variations of the cycle, in a number of respects, are constructed quite independently of the structure of the theme:
  • a) tonal relationships change within the variation;
  • b) new harmonies are introduced, often completely changing the color of the theme;
  • c) the topic is given a different form;
  • d) the variations are so far removed from the melodic-rhythmic pattern of the theme that they represent plays only built on individual motives of the theme, developed in a completely different way.

All of the above features, of course, various works XIX-XX centuries manifest themselves to varying degrees.

Free variations are a type of variation connected by the method of variation. Such variations are characteristic of the post-classical era. The appearance of the theme was then extremely changeable, and if you look from the middle of the work to its beginning, you might not recognize the main theme. Such variations represent a whole series of variations, contrasting in genre and meaning, close to the main theme. Here the difference prevails over the similarity.

Although the variation formula remains A, Al, A2, A3, etc., the main theme no longer bears the original image. The tonality and form of the theme can vary, and can even go as far as polyphonic presentation techniques. The composer can even isolate some fragment of the theme and vary only that.

The principles of variation can be: rhythmic, harmonic, dynamic, timbre, texture, line, melodic, etc. Based on this, many variations can stand apart and resemble a suite more than variations. The number of variations in this form is not limited (as, for example, in classical variations, where 3-4 variations are like an exposition, the middle two are development, the last 3-4 are a powerful statement of the main theme, i.e. thematic framing) .

Variations of folk melodies are usually free variations. An example of free variations, some of which retain significant closeness to the theme, and some, on the contrary, move away from it, can be the work “ Prophetic dream", the treatment of which was written by Vyacheslav Anatolyevich Semenov.

Thus, the centuries-old musical practice of peoples of different nationalities served as the source of the emergence of the variation form. Here we find examples of both harmonic and polyphonic styles to list historical types variations and types of variation. The variational principle of development originates in folk musical creativity, primarily songwriting. Variational forms have received a very wide and varied application in music. They also occur as a form separate work, and as part of a cycle (suites, sonatas, symphonies), and as a form of section of any complex shape(for example, the middle part of a complex three-part form). In vocal music - as a form of songs, arias, choirs. A very common form of variation in instrumental genres- solo and orchestral (variety - orchestral variations).

Andreeva Katya

The abstract presents brief overview forms of Variations, schemes for constructing variations, types and varieties of variations, history of the emergence and development of this musical form.

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Abstract

Subject:

"Musical Form - Variations"

Completed:

student of grade 3b, school No. 57, Orenburg, Andreeva Katya

teacher-

Popova Natalia Nikolaevna

2013

Abstract plan:

1. The concept of "Variations".

2.Scheme for constructing Variations.

3. Types of Variations.

4. History of the development of the "Variations" form

1.Variations (“change”) is a musical form that consists of a theme and its modified repetitions. VARIATION FORM, variations, theme with variations, variation cycle, is a musical form consisting of a theme and its several (at least two) modified reproductions (variations). The theme can be original (composed by a given composer) or borrowed from folk music, folklore, as well as well-known popular examples of classical or modern music. The most typical qualities of a theme: song character; form - period or simple two-, less often three-part; economy of harmony and texture, which are enriched in the process of variational development. Specific qualities Variational form- thematic unity and integrity, and, at the same time, isolation of parts and relative staticity.

2. Scheme for constructing Variations No. 1

a1 a2 a3 a4......

(theme) (variations)

In music there are also variations on 2 and even 3 themes.

Variations on 2 themes are called - double

Scheme for constructing Variations No. 2:

double variations:

a a1 a2 a3 a4.... c c1 c2 c3 c4.....

(1 theme) (variations) (2 theme) (variations)

Variations on 3 themes are called triple.

3. Types of Variations

In professional music, there are several types of variation form.

Since the 16th century, the form of variations on unchanging bass (in Italian basso ostinato) or unchanging harmony. Now they are sometimes calledancient variations. These variations come from chaconnes and passacaglias - slow three-beat dances that came into fashion in Europe in the 16th century. The dances soon went out of fashion, but passacaglia and chaconne remained as the names of pieces written in the form of variations on the unchanging bass or unchanging harmony. Music of a mournful, tragic nature was often written in this form. The slow, heavy tread of the bass, constantly repeating the same thought, creates the impression of urgency and inevitability. This is an episode from J. S. Bach’s Mass in B minor, which tells about the suffering of the crucified Christ (chorus “Crucifixus”, which means “Crucified on the Cross”). This choir consists of 12 variations. The bass here is unchanged, but the harmony varies in places, sometimes suddenly “flashing out” with new, bright, expressive colors. The intertwining lines of the choral parts develop completely freely.

Main types of Variations:

Vintage or basso ostinato- based on constant repetition of the theme in the bass;

- “Glinka” or soprano ostinato- the melody is repeated the same, but the accompaniment changes;

Strict or classic- they preserve the general contours of the theme, its form and harmony. The melody, mode, tonality, texture changes;

Free or romantic- where the topic changes beyond recognition. Variations come in a variety of sizes.

There are very small miniatures written in the form of variations, and there are large concert variations, which in their length and richness of development can be compared with sonatas. Such variations refer to large form.

Types of variations (classification according to various criteria):

1. according to the degree of departure from the topic- strict (the tonality, harmonious plan and form are preserved);

2. free (a wide range of changes, including harmony, form, genre appearance, and so on; connections with the theme are sometimes conditional: each variation can achieve independence, like a play with individual content);

3. by variation methods- ornamental (or figurative), genre-characteristic, etc.

4. History of the development of Variations.

Variations appeared a long time ago in folk music. Folk musicians did not know notes, they played by ear. It was boring to play the same thing over and over again, so they added something to the familiar melodies - right there, during the performance. This type of writing “on the go” is called improvisation . While improvising, folk musicians retained the recognizable outlines of the main theme, and variations were obtained. Only they didn’t know the name of this one yet: it was invented much later by professional musicians. The variation form was born in the 16th century. Variations originated from folk music. Imagine that a folk craftsman-musician played the melody of some song on a horn, pipe or violin, and each time the motive of this song was repeated, but sounded in a new way, enriched with new echoes, intonations, the rhythm, tempo, and individual turns of the melody were modified. This is how variations on song and dance themes appeared. For example, M. Glinka wrote variations on the theme of Alyabyevsky’s “Nightingale” or on the soulful melody “Among the Flat Valley.” Variations can be imagined as a series of pictures about the history, experiences (and even adventures) of the person-image with whom the listener becomes acquainted in the topic. The difficulty in working on a variation cycle lies in the combination of individual variations into a single whole. Integrity is achieved through thematic unity. The caesuras between variations are also of great importance. Caesuras can be used to separate variations and combine them into a single whole.

The development and change of elements of the Variations form continued for many years and centuries. The variations of Bach's period and those of the 19th and 20th centuries are quite different in many respects. Composers experimented and introduced significant changes into shape.

The appearance of variations with a theme at the end indicates a departure from classical rhetorical thinking in the field of musical forms, which required establishing the theme at the beginning, with subsequent development. One of the precedents is known in Baroque music: a variation chorale cantata with a pure chorale placed as last issue. Variations with a theme at the end, having appeared at the end of the 19th century, then began to become increasingly consolidated in the 20th century, which is why in the chapter “Classical instrumental forms” they are considered only for the sake of compactness of presentation.
The most significant works in the form of variations with a theme at the end are Andy’s Symphonic Variations “Ishtar” (1896), Shchedrin’s 3 forte piano concerto with the subtitle “Variations and Theme” (1973), Piano concert Schnittke (1979), “Reflections on the chorale of J.S. Bach “And here I am before Your throne”” by Gubaidulina (1993). The Passacaglia from the 1st violin concerto by Shostakovich (1948) can be added to them - see our analysis in the section “Variations on basso ostinato”.