Means of expression in music (melody, mode, rhythm, tempo, dynamics, timbre, etc.). The importance of musical expressive means in creating a musical image. Musical means of expression in music What are means of musical expression

18.06.2019

According to historians, something similar to music appeared more than 50,000 years ago. It was only oral and primitive. The very first people used very simple means musical expressiveness. Songs written in cuneiform characters were discovered by archaeologists excavating Nippur in Iraq. The estimated age of one of the very first melodies is about 4,000 years.

What is more important - sound or silence?

Music (from the ancient Greek “art of the muses”) is a rhythmic sequence of short or prolonged sounds and pauses, organized into a single system. The simultaneous production of several sounds is called a chord or consonance. Harmony studies the means of musical expression, the laws of constructing melodies and sequences.

IN oral speech words are made up of sounds, sentences are made up of words, phrases are made up of sentences. A melody (voice reproduction of a song) is a complete musical thought consisting of harmonies, chords, and motives.

A pause is a short-term silence in the general rhythm of the main tune, emphasizing the character of the entire song or orchestral work. We can say that without silence there is no melody.

How are sounds, health and mood connected?

When a person listens to a beautiful song, he does not think about what means of musical expression the composer used. Melodies affect everyone individually. Every culture, every generation has its own style:

folk or classic;
rap or folk;
jazz or pop;
rock or spiritual chants.

Harmonious sounds affect not only feelings and emotions, but also the human body and psyche. They affect the abilities of contemplation and intuition, imagination, and play. Japanese scientists have proven that listening to classical music significantly increases the amount of breast milk in nursing mothers, while rock and pop reduce this figure. And Mozart's music can have a positive effect on the intellect. Even chickens become happier and lay more eggs when soothing melodies are played.

Lad in rhythmic tempo and speed

Means of musical expressiveness in music enhance the emotionality and richness of the sound of a melody. Rhythm organizes sounds according to time. Without its rhythmic constant formula there can be no waltz, no march, no dance. Complex African and some Asian melodies can only be played on percussion instruments.

Tempo in music is the rate at which a song or orchestral piece develops in a minute or second of time. In the musical texts you can read Italian words: allegro, presto, dolce and others. These are the means of musical expressiveness for understanding the composer’s intention, which set the pace for both the entire work and its individual parts. Let's list some of them:

slowly - largo;
decisively - resolutely;
passionately - expressively;
solemnly - maestoso;
and other generally accepted designations.

The musical mode not only unites various sounds around the main thing - the tonic. Melodic coherence and coherence, attraction to each other, and harmony of the work emerge. The rules for the formation of major and minor modes make music emotional:

major - these are cheerful, bright, joyful and fun-sounding melodies;
minor is sadness, lyricism and sadness.

The character and emotional component of the entire work depend precisely on the mode.

Nuances and intonation as a means of musical expression

The table of sensual shades, despite its vastness, cannot convey the full variety of possibilities of the human voice and musical instruments. People have overheard the strength or volume of sound, the rise or fall of a melody, the gentle splash of water and deafening thunder from nature. In musical notation, all these nuances are indicated in the Latin font, corresponding to the initial letters of the word - symbol. For example:

with a sharp accent - sf (sforzando);
very quiet - pp (pianissimo);
loud - f (forte);
and other designations.

Registers and articulation

Musical time signature (meter) is the order in which strong beats are replaced by weak beats and vice versa. You can distinguish simple, complex and mixed metric sizes. A similar concept exists in poetry: iambic, anapest, dactyl, amphibrachium, trochaic and hexameter. The most famous meters in music include 3/4 in waltzes, 2/4 in military marches.

The register of a voice and any instrument is its range or sound production capabilities. The distance between the lowest and highest sounds is divided into lower, upper and middle registers. Works performed exclusively in the low range have a gloomy coloring; the high register is ringing, clear and transparent melodies. Interestingly, while listening to music, human vocal cords randomly but silently repeat the melody.

Means of musical expression involve different methods of sound production, breathing and different manners of performing melodies. Among them are strokes (methods of extraction) and articulation (clear pronunciation):

abruptly (staccato) and coherently (legato);
highlighting (marcato) and pizzicato (pulling the strings with a finger);
glissando - to slide along keys, strings or notes.

Each musical instrument and human voice has its own sound palette, timbre, range and a certain combination of strokes.

Quite recently, we talked about what music is, about the main task of this type of art, and as a result, a logical continuation of the recent conversation begs the following question: since a piece of music should reveal the artistic intention of the author, how does this happen. From the very beginning of learning music, listening and playing it, we are faced with various expressive means of this type of art, which help the author to reveal the idea of his work. And today I would like to look at what to think about these most expressive means in general, and to dwell on some in particular.

Here brief overview basic musical means of expression

1.Melody

The melody is the soul of the composition, it allows you to understand the mood of the work and convey feelings of sadness or joy; the melody can be jumpy, smooth or abrupt. Everything depends on how the author sees it.

2.Temp

Tempo determines the speed of execution, which is expressed in three speeds: slow, fast and moderate. To designate them, terms are used that came to us from the Italian language. So, for slow - adagio, for fast - presto and allegro, and for moderate - andante. In addition, the pace can be brisk, calm, etc.

3.Rhythm and Meter

Rhythm and meter, as means of musical expression, determine the mood and movement of music. The rhythm can be different, calm, uniform, abrupt, syncopated, clear, etc. Just like the rhythms that surround us in life. Meter is needed for musicians who determine how to play music. They are written as fractions in the form of quarters.

4. Lad

The mode in music determines its direction. If it is a minor key, then it is sad, sad or thoughtful and dreamy, maybe nostalgic. Major corresponds to cheerful, joyful, clear music. The mode can also be variable, when minor is replaced by major and vice versa.

5.Tone

Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, as well as the voice of a particular person.

6.Register

The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to the experts who analyze the work.

7.Dynamics.

And it’s the dynamics that I would like to focus on today. This, in my opinion, is one of the simplest (theoretically) types of expressive means, but despite this, its role cannot be underestimated, since it is very important. And sometimes it is very difficult for a performer to play everything dynamically accurately and correctly, and this requires special attention in the process of studying and working on a piece. What is it? Musical dynamics?

To put it simply, Dynamics - sound power, and dynamic shades (nuances) - shades of sound strength. Often, when opening a musical text, a musician pays attention specifically to the notes (signs), while the remaining nuances of the musical text remain unnoticed. And it is the dynamics that remain forgotten most often. We all know that not only in music, but also in life, sound can be quiet and loud. When, in the process of communicating with a person, we are not happy with something, or are annoyed, we can raise our voice (increase the volume level), thereby showing tension and inner restlessness When we are tired and have almost no strength, the voice may become quieter, thereby indicating that strength is running out. What's a musician to do? If the author has conceived a children's lullaby, but nothing is indicated in the musical text other than the notes, will the musician take the instrument and make the sound, will he increase the tempo of the work? Obviously, the author's intention for the lullaby will be misinterpreted. To prevent this from happening, there are a number of designations in music: signs and symbols that specifically indicate to the musician exactly how to play a given piece.

Dynamic shades:

pp - pianissimo - extremely quiet performance.

r - piano - quiet.

mp - mezzo piano - moderately quiet.

mf - mezzo forte - moderately loud.

f - forte - loud.

ff - fortissimo - extremely loud.

No piece of music can be played at the same volume level, so the full spectrum can be seen in one piece. dynamic shades, for example, the introduction is played pianissimo to warm up the listener, but towards the end, at the climax, the piece is performed fortissimo, extremely loudly in order to fully convey the intensity and emotional message.

Dynamics has always been an ally of musical programming. After all, turning to a specific program concept, the composer took on a special responsibility: to express in sounds the content that is hidden behind the title of the work. That is why in program music the artistic role of all its aspects is so high - rhythm, harmony, texture and, of course, dynamics.

Every art has its own special language, their means of expression. In painting it is drawing and paints. Using them skillfully, the artist creates a picture. A poet, writing poetry, speaks to us in the language of words; he uses poetic speech and rhymes. Poetic word is an expressive means of the art of poetry. basis dance art is dance, dramatic is acting.

Music has its own special language - the language of sounds. And it also has its own expressive means: register, melody, rhythm, size, tempo, mode, dynamics, timbre, texture and meter.

Different elements of musical language (height, longitude, volume, color of sounds, etc.) help composers express different moods and create different musical images. These elements of musical language are also called means of musical expression. Let's take a closer look at them.

Melody

This is the basis of any musical work, its thought, its soul. Without melody, music is unthinkable. The melody can be different - smooth and abrupt, cheerful and sad.

Register

A register is part of a range, certain height the sound of a voice or musical instrument.

There are:

- high register (light, airy, transparent sound),
- middle register (associations with the human voice),
- low register (serious, gloomy or humorous sound).

Rhythm

In any music, in any song, in addition to the melody, rhythm is very important. Everything in the world has a rhythm. Our heart is our heart rate; There are brain rhythms, there is a circadian rhythm - morning, afternoon, evening and night. The change of seasons is the rhythm of the planet.

Rhythm, translated from Greek, means “measurement” - this is a uniform alternation, repetition of short and long sounds. The rhythm in different dances is well understood. Everyone understands what the rhythm is about we're talking about when they say: in the rhythm of a waltz, march, tango.

Music without rhythm is perceived as a collection of sounds rather than a melody. It influences one or another character of the music. Smooth rhythm gives a piece of music lyricism. The intermittent rhythm creates a feeling of anxiety and agitation.

Thus, rhythm is a sequence of sounds of the same or different durations.

Sounds of different durations are combined into rhythm groups, which make up the rhythmic pattern of the work.

Types of rhythmic patterns

The repetition of identical durations in works of slow or moderate tempo creates a calm, balanced image.

In works of fast tempo - etudes, toccatas, preludes - the repetition of identical durations (sixteenths of duration are often found) gives the music an energetic, active character.

More often there are rhythmic groups united by notes of different durations. They form a variety of rhythmic patterns.

The following rhythmic figures are less common:

Dotted rhythm (characteristic of marching, dancing) - sharpens and activates movement.
Syncopation is the movement of emphasis from a strong beat to a weak beat. Syncopation creates the effect of surprise.
Triplet - division of duration into three equal parts. Triplets give ease of movement.
Ostinato is the repeated repetition of one rhythmic figure.

Size

To write the rhythm on paper, use the so-called musical time signature. With its help, musicians understand the rhythm and tempo at which music should be played. Musical meters come in different sizes and are written in fractions: two quarters, three quarters, etc. In order to accurately follow the rhythm, when learning a new melody, a musician must count: one and, two and.... And so on, depending on the size.

Pace

This is the speed at which a piece of music is performed. The pace can be fast, slow and moderate. Italian words are used to indicate tempo, which are understood by all musicians in the world. For example, fast tempo - allegro, presto; moderate tempo - andante; slow - adagio.

Some musical genres have their own constant, definite meters, and therefore they are easily recognizable by ear: a waltz has three quarters, a fast march has two quarters.

Lad

There are two contrasting modes in music - major and minor. Major music is perceived by listeners as light, clear, joyful, and minor - as sad and dreamy.

Timbre

High - soprano, tenor.
Middle - mezzo-soprano, baritone.
Low - alto, bass.

A choir is a large group of singers (at least 12 people), similar to an orchestra in instrumental music.

Choir types:

masculine (dense, bright timbre),
female (warm, transparent timbre),
mixed (full-sounding, rich, bright timbre),
children's choir (light, light timbre).

Symphony orchestra instrument groups

The instruments in the orchestra are distributed among their families - the musicians call them orchestral groups. There are four of them in the orchestra:
— String instruments
— Wooden wind instruments
— Brass instruments
— Percussion instruments

Dynamics

Dynamics is the degree of loudness of a piece of music.

Muted dynamics are associated with calm, bright, or aching sad moods. Strong dynamics express energetic, active or intense images.

Basic designations of dynamic shades:

Piano pianissimo - ppp - extremely quiet
Pianissimo - pp - very quiet
Piano - p - quiet
Mezzo piano - mp - not very quiet
Mecco forte - mf - not very loud
Forte - f - loud
Fortissimo - ff - very loud
Forte fortissimo - fff - extremely loud

Designations for changing sound intensity:

Crescendo - cresc. - strengthening
Sforzando - sforc., sfc., sf. - suddenly intensifying
Subito forte - sub.f. - suddenly loud
Diminuendo - dim. - reducing, weakening the sound
Decrescendo -decresc. - weakening
Smorzando - smorc. - freezing
Morendo - morendo - freezing

The increase in dynamics is associated with increased tension and preparation for the climax. Dynamic climax is the peak of increasing dynamics, the highest point of tension in the work. The weakening of the dynamics gives rise to a feeling of relaxation and calm.

Meter

Meter is a uniform alternation of strong and weak beats of a beat (pulsation).

IN musical notation The meter is expressed in size (the upper number of the size indicates how many beats are in a measure, and the lower number indicates how long the fraction of a meter in a given measure is expressed), and measures (so t is the length of time from one strong beat to the next beat of equal strength), separated from each other clock lines.

Basic types of meter

Strict meter - strong and weak beats alternate evenly
Free meter - accents are distributed unevenly, in modern music The time signature may not be indicated or there may be no division into measures.
Double meter - one strong and one weak beat (/-) e.g. polka or march.
Triple meter - one strong and two weak beats (/—), for example, waltz.
Polymetry is a simultaneous combination of bipartite and tripartite meter.
Variable meter - changes throughout the work.

Depending on the number of strong fractions, meters are:

Simple - having only one strong beat (bipartite, for example 24 or tripartite, for example 34 or 38).
Complex - a combination of simple identical meters (only two-part, for example 44 = 24 + 24 or only three-part, for example 68 = 38 + 38).
Mixed - a combination of meters of different types (bipartite and tripartite) (for example, 54 = 24 + 34, or 34 + 24, or 74 = 24 + 24 +34, etc.).

Characteristic metrorhythmic features of some dances:

Polka - 24, rhythmic groups with sixteenth notes.
Waltz - 34, accompaniment with an emphasis on the first beat.
March - 44, dotted rhythm.

Harmony

Translated from Greek, harmonia means consonance.

Harmony- this is the combination of sounds into various consonances (chords) and their sequences.

The main element of harmony is a chord - a simultaneous combination of three or more sounds of different pitches.

Types of chords:

By number of sounds:
— Triads are chords of three sounds. Types of triads: major, minor, diminished, augmented.
— Seventh chords – chords of four sounds, etc.

According to the interval structure:
— chords of second structure (clusters)
- tertian chords (triad, seventh chord)
- chords of fourth structure (quart chords)
— chords of fifth structure (quint chords).

In classical music, harmony is euphonious (based on consonances); chords of the tertian structure are mainly used.

In modern music, harmony can sound sharp (such sharp consonances are called dissonances), it can be very complex, unusual consonances are widely used - the simultaneous combination of seconds, fourths, fifths and other intervals.

Texture

Texture is a warehouse, a type of presentation of a musical work (lat. fakturo - processing).
The main elements of texture: melody, accompaniment (accompaniment), bass (lower voice), middle voices.
The texture can be transparent (two- or three-voice), causing a feeling of lightness and transparency. The dense (polyphonic, chordal) texture creates the impression of strength and power.

A polyphonic type of music, in which one voice is the main one (melody), and the rest (accompaniment) accompany it. Variety homophonic texture is a chord structure of music in which the melody is rhythmically combined with accompaniment.
Polyphony (Greek poly-many, phone-sound) is a simultaneous combination of several independent voices (melodies).

Main types of polyphony

Imitation item - (Latin Imitatio - imitation) repetition in another voice or with another instrument of the melody (theme) that has just been heard. E.g. canon, fugue or invention
Contrast p. - simultaneous sound different types melodies. For example, in the Middle Ages they combined three different melodies with different texts. Main types of invoice:
Forms of imitative polyphony:
Canon is a musical form in which all voices perform the same melody, entering alternately.
Invention is a small two- or three-voice instrumental work written in an imitation technique.
A fugue is a polyphonic work of many voices, which is based on the imitative repetition of a theme in all voices. The highest, most complex form of imitative polyphony. The greatest master fugue was J.S.Bach.
Fugetta (Italian fughetta - small fugue) is a simple, smaller fugue for organ or piano.

Strokes

Very important tool musical expressiveness - touches. They indicate the style of sound engineering and depend on the nature of the work.

Legato - (legato) involves coherent, smooth sound production.
Staccato - (staccato) - abrupt production of sounds. Staccato is indicated by a dot above or below the notes. The sounds when played staccato are short, with small jolts, light accents and caesuras between sounds.
Non legato – (non legato) – incoherent, unsmooth performance. Sound engineering with slight emphasis on each sound of the melody. In this case, the sounds should be full, as when performed legato, and the caesuras between sounds should be shortened. Sounds are emphasized, but not as sharply as in staccato. Every sound sounds distinct.

Musical means of expression in music

Faktura (from Latin “processing”)

Melody

Tempo (from Lat., It. “time”)

Meter

Rhythm

Musical size

Lad a system of pitch relationships united by tonic. The most common modes are major and minor .

Harmony

Stroke (from German “line”, “line”) legato, non legato, staccato, spiccato, detache, marcato).

Musical form

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Elements of musical form. Period

Construction

Signs of division of musical form into constructions:

Pause, stop on a relatively long sound, repetition of a melodic-rhythmic figure, often with bars of the same length, change of registers, shades (accompanied by caesuras).

Constructions in musical form: motive and submotive, phrase, sentence. Period.

Caesura

Motive -

Phrase -

Cadence -

Period (from Greek "bypass", "circulation") the smallest homophonic form expressing a relatively complete musical thought. Consists of sentences. (It can be simple, complex and of a special structure).

Construction diagrams:

Of two sentences: ab or aa 1 ;

from three sentences:

a - a 1 - a 2

a b c

a b - b 1

a b a (a b a 1 )

Period:

Chopin F. Prelude for piano op. 28: No. 4, 6, 7, 20

Tchaikovsky P. “Sleeping Beauty” Blue Bird Variation

Tchaikovsky P. “Sleeping Beauty” Variation of the Silver Fairy

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Music and dance genres. Musical styles and directions

Concepts of style and genre.
The main historical musical styles and movements, their representatives.
Types of dances (folk, ballroom, classical, modern), their main forms.
Program music.

Genre (from French “genus”, “type”) a multi-valued concept that characterizes the types and types of musical creativity in connection with their origin, conditions of performance and perception. Genres are divided into primary and other (secondary - original works not intended directly for dancing) (see - Bonfeld M. Introduction to musicology, p. 164)

Classification of genres according to living conditions:

folk music of oral tradition (song and instrumental);
light everyday and pop-entertainment music - solo, ensemble, vocal, instrumental, jazz, music for brass bands;
chamber music for small halls, for soloists and small ensembles;
symphonic music performed by large orchestras in concert halls;
choral music;
musical theatrical and dramatic works intended for performance on stage.

Genres can also be divided into vocal and instrumental.

Types of dances (folk, ballroom, classical, modern), their main forms:

Folk - dance (single, pair, group, mass), cross-dance (group, mass), quadrille, lancier, round dance (ornamental, game, dance, women's, mixed), pair-mass dances, suite, picture, ballet (one-act)

Classic - variation, monologue, solo, pas de deux, duet, pas de trios, trio, pas de catre , small ensemble (4-8 people), pas d` action , suite, symphonic picture, choreographic miniature, ballet.

Specialization in ballroom dance:
a) historical and everyday dances of the 15th-19th centuries:

Salon - Courante, minuet, bourre, rigaudon, volta, saltarella, gavotte, French quadrille, etc.

Ballroom - waltz, polonaise, polka, tango, foxtrot, etc., solos, duets, trios, pair-mass forms, suite, tableau, ballet (for example, based on the vocabulary of dances of the 18th century);
b) everyday dances of the 20th century:solo, duet, trio, pair-mass, mass, suite (for example, dances of the 50s),
painting, ballet (for example, "New York Export, Opus Jazz"
J. Robbins and others).

c) sports ballroom dancing of the XX-XXI centuries:
sports compositions 10 each famous dances for pairs of different classes, show numbers, sequay form, formation (for 8 pairs, European and Latin American options).
d) specialization in variety dance: solo dances, duets, trios, small ensembles (4-8 people), mass compositions, suite, picture, ballet (show program).

Brief description of the dance:

(Waltz, Polka, Mazurka, Gallop, Tarantella, Czardas)

name (origin), national roots, character;
history of the origin of the genre, predecessors;
type of dance depending on the number of performers;
features of expressive means (form, tempo, rhythmic figures);
performance features (costumes, instruments, location);
musical examples.

Program music. Examples.

The term “program music” was introduced by F. Liszt for works that are based on literary or narrative ideas, plots, or in which an image, mood, or genre is indicated by means of a title. The program title helps to reveal what cannot be expressed in music. Examples include:

"Night on Bald Mountain" ( Symphonic picture) M. Mussorgsky, Overture-fantasy “Romeo and Juliet” by P. Tchaikovsky, Rimsky-Korsakov N. “Scheherazade”,

“The Seasons” by A. Vivaldi and others.

Simple music and dance forms

Simple musical forms: period, simple one-part, simple two-part, simple three-part.

Musical form- is the embodiment of a certain ideological and emotional figurative content expressive means of musical language (typical for a particular national culture in a certain historical era), performed live.

Classification musical forms in historical perspective, from the Middle Ages to the twentieth century:

text-musical (musical-text, lowercase) forms of the Middle Ages, Renaissance;
vocal forms of the 19th - 20th centuries;
instrumental and vocal forms of Baroque;
Baroque instrumental forms;
classical instrumental forms;
opera forms;
musical and choreographic forms of ballet;
musical forms XX century

Dance art uses both applied dance music and works not intended for dance.

Parts of musical form and their functions, types of presentation musical material.

Functions of parts:

introductory
exhibition
binder
middle
recognizing
final

Of these, independent types of presentation have functions: expositional, middle and final. These functions can appear in a work as general (at a large-scale level) and local (at a small-scale level). The combination of multi-level functions leads to the multifunctionality of sections of musical forms.

R. Zakharov, V. Panferov and other choreographers highlightparts dance composition(usually there are from 3 to 5):

exposition
plot
action development
climax
completion, denouement

The unity of music and dance is manifested in the emotional and figurative unity of content, the correspondence of tempo and rhythm. Movements, poses, dance groups, dance patterns must correspond musical features musical work.

Musical theme - a musical thought complete in meaning, expressive and embossed, capable of development by means of musical language, of all kinds of modifications, variations, transformations, figurative reincarnations.

Principles of repetition, variation and contrast in dance forms.

The development of musical material can be carried out on the basis of:

principle of repetition (identity),that is, an exact repetition of the musical structure in an unaltered form;
modified principlerepeat (varied, variant repeat or sequence). In the first case, the repetition contains minor changes in the material, in the second - more significant, qualitative changes, but leaving the material recognizable. The sequence involves repeating the material at a different pitch while maintaining the melodic-rhythmic structure;
principle of contrast -combinations of different musical material, comparison (complementary, shading or conflicting)

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Simple two-part form

Simple two-part form -a form consisting of 2 periods with the obligatory contrasting beginning of the second. This contrast can be of two types:

juxtaposition (new intonation material) - ch.n. polka “Dance”;
development on the active transformation of material from the 1st period - Dance of the Princess (Rimsky-Korsakov “Scheherazade”).

If the 2nd sentence of the 2nd period has a repetition of material from the 1st period, then the form as a whole- reputed , and if there is no repetition - irrevocable.

A simple two-part form may have an introduction and a coda.

Simple two-part form:

Ravel M. “Bolero” - Theme

Fibich Z. Poem

Schubert F. Ecosaise op.18

Chopin F. Prelude op. 28: No. 13, 21

Bach I.S. Minuets G-dur, d-moll

Beethoven L. Ecosez G-dur

Simple three-part form

Simple three-part form -a form consisting of 3 parts, where the extreme ones are in the form of a full period, and the middle one is a period or construction of a through character.

Middle m.b. 4 types:

transition (based on the dominant tone, represents an expanded link between sections 1 and 3).
varied, or option 1 part;
development-development;
on a new topic.

The tonality is typical for the middle D groups. It often ends with a dominant prefix. If the T ends, then a connective is introduced between the middle and the reprise.

Reprise m.b. precise or varied, dynamic (with active transformation of the theme, with changes in scale, harmony, shape).

Less common is the simple 3-part non-reprise (ABC) form, where the lack of reprise is compensated by the weak contrast of the parts, the unity of texture and rhythm.

A simple three-part form can have a fairly developed introduction and coda.

Construction diagrams:

a - a 1 - a 2

a b c

a b - b 1

a b a (a b a 1 )

Simple three-part form:

Weber K. Waltz from the opera "The Magic Shooter"

Grieg E. "Peer Gynt" Dance of Anitra

Chopin F. Mazurkas: op. 24, No. 5; op. 30, no. 1, no. 3; op. 55, No. 2, op. 67, no. 2; op. 68, no. 4

Chopin F. Preludes No. 12, 1

Grieg E. Nocturne in C major

Tchaikovsky P. “Sleeping Beauty”: Fairy Chirping Canary, Variation of the Fairy of Silver

Complex music and dance forms

Complex two-part form

Complex two-part form - a form consisting of two sharply contrasting sections, each of which (or one of two) is set out in a form more complex than the period.

Sections are of the same name, less often parallel keys:

1 section - in at a slow pace,

Section 2 - at a fast pace.

Occurs complex two-part form in character dances and vocal works with irreversible plot development.

Double two-part form - a two-part form sounding 2 times with any changes:

AB - A 1 B 1, or AB - A B 1.

Complex two-part form:

Minkus L. “La Bayadère” Dance with the Snake, Act 3

Tchaikovsky P. “Sleeping Beauty”, Pas de Quatre, Act 3, Variation of the Fairy of Gold

Tchaikovsky P. « Swan Lake", Act 3, Hungarian dance, Russian dance, Neapolitan dance- notes

Chopin F. Nocturnes: Op. 15, no. 3; op. 72

2-part: K. Khachaturian Variation of Countess Vishen (“Cipollino”);

Complex three-part form

Complex tripartite form - a form consisting of three sections, where each, or at least one of the three, is presented in a form more complex than the period: in a simple 2-part or

3-movement, in the form of rondo or variations, sonata, etc.

Another characteristic feature This form is a sharp figurative and thematic contrast of the middle section.

The tonality of the middle section is subdominant or eponymous, less often - distant.

Types of mids:

Trio (clear, distinct form)
Episode (does not have a clear, clear form, is based on cross-cutting development, may have internal cadences)
Contrasting-composite (several themes, 2 or more, loosely related to each other, having a sort of suite sequence).

The middle can be completed with a cadence, but more often with a dominant precursor to a reprise.

Sometimes between the middle and the reprise a false reprise appears that is not in the main key. It is quickly interrupted, a modulating transition to the main key is introduced, and the true reprise begins.

A reprise can be:

exact (identical) - not written out in notes (put a sign Da capo al fine)
c painted (not less than period)
varied.

A three-part complex form may have a developed introduction and coda.

Most marches, waltzes, scherzos, minuets, and other genres are written in it, especially dance music, as well as choirs and opera arias.

Triple three-part form - a 3-part form with a double repetition of the middle and reprise, each time with new changes: ABA-B 1 A 1 -B 2 A 2.

An intermediate 2-three-part form is a form in which the 2nd reprise sentence of the 2nd part, internally expanding, approaches the 1st part in scale, balances it, and by ear the form can be perceived rather as a three-part one.

A B sequence

| ____ | | ____ | | _-_-_ | | ____ _| _____ |

A to C (A)

Three-part, intermediate between simple and complex:

A-ESV-A

The outer parts are in the form of a period, as in a simple 3-part form, and the middle - according to the principle of a trio - in a simple 2-part or 3-part form (as in a complex one).

Complex three-part form:

Glinka M. Waltz and Polonaise from the opera “Ivan Susanin”

Ravel M. Forlana, Rigaudon, Minuet from the piano suite “Tomb of Couperin”

Tchaikovsky P. “The Seasons”: Barcarolle, At the Fireplace

Chopin F. Nocturnes: Op. 2, no. 1; op. 15, No. 2; op. 32, no. 2

Mozart V. Symphony in C major (“Jupiter”), Minuet; Symphony in G minor, Minuet.

Shostakovich D. Fantastic dances

Tchaikovsky P. “Swan Lake”, 1 act, Pa-d` axion.

Tchaikovsky P. “The Nutcracker”, Trepak

Minkus L. “La Bayadère” (Pas de Quatre, Act 3) Tempo di valse brillante

Cherepnin N. The Great Waltz from the ballet “Pavilion of Armida”

Rondo

Rondo - (from the French “circle”) a form based on no less than three repetitions of the main theme-refrain, alternating with new constructions, or episodes. The origin of the rondo is from song-dances performed in a circle.

Varieties of rondo - classic, ancient and romantic rondo.

Antique Rondo was common in the music of 18th century harpsichordist composers. The refrain here is always in period form. Doesn't change when repeated. The episodes are developing, based on refrain material. For example: A - A 1 - A - A 2 - A - etc., where A is a refrain (chorus, repeating part). The tonality of the episodes is no further than the 1st degree of relationship (differ by 1 character).

Classic Rondo finally took shape at the end of the 18th century Viennese classics.

Traditional scheme: AWASA. Refrain - not only m.b. period, but also in a 2-3-part form, which may vary when repeated. The last conduct may have a code function. The episodes are always contrasting, based on new thematic material. Their form can also be more complex than the period, and the tonality can be up to the 3rd degree of relationship:

A-B- A 1- C- A 2 (with modified refrain).

Rondo of the Romantics -

the semantic center moves from the refrain to the episodes. They surpass the refrain in significance, scale, independence, they can be presented in any key, the contrast can reach the genre. The refrain here plays a background connecting role.

Rondo can be combined with other forms - with three-part (simple or complex):

A-B-C-B-A-B;

with variations:

A- A 1- A- A 2 - A- A 3, etc.

with sonata form

Rondo:

Beethoven L. “Fur Elise” sheet music
Bach I.S. Gavotte from Partita No. 3 for solo violin
Prokofiev S. “Romeo and Juliet”, Juliet the girl,Montagues and Capulets
Tchaikovsky P. “Swan Lake” Waltz of the Brides, Act 3
Matos Rodriguez Tango "Cumparsita"
Chopin Waltz No. 7 cis-moll

Glinka M. Waltz-fantasy

Cha-cha-cha

Saint-Saëns K. “Rondo Capriccioso” for violin and orchestra

Schumann R. Viennese Carnival, op. 26, 1 hour

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Variations

Basso ostinato, double.

Variation form appeared in X VI century. There are two varieties variation forms:

variations of strict type, in which the form, scale, and basis of the harmonic plan of the theme remain unchanged, but the texture, rhythm, and registers can change.

There are variations on the unchanging melody (ornamental, “Glinkinsky”) and on the unchanging bass, on basso ostinato (can be of melodic or harmonic type, used in the ancient dances of passacaglia and chaconne). Variations are built according to the principle “from simple to complex” (with a small number). Large quantity variations are divided into groups, the ratio of which gives the form of the background (rondo, sonata, cyclic, etc.)

free type variations, most often instrumental, in which scale, structure, harmony, and often tonality and genre (genre variations) can change. The commonality of the intonation structure is preserved, the variations are increased in scale, the contrast between them increases, and they resemble a suite.

In free variations it is possible to use polyphonic, developmental development.

Free variations are found in vocal music. Usually there are several couplets that differ in scale, internal structure, and harmonic plan. The peculiarity is the actual similarity of the verses, due to which the image does not change, and each verse is a variant.

Double Variationsvariations for two different topics. In the process of development, they influence each other, become enriched, and usually come closer (acquiring the features of symphony and sonata). There are three types:

with alternate variations:

A B A 1 B 1 A 2 B 2 A 3 B 3 etc.

2. with group variation:

A A 1 A 2 A 3 A 4 A 5 B B 1 B 2 B 3 B 4 B 5 B 6 A 6 A 7 A 8 A 9 A 10 B 7 B 8 B 9 B 10

3. with a mixed structure (alternate and group);

Variations:

Handel G. Passacaglia from Suite in G minor for clavier

Glinka M. “Kamarinskaya”

Glier R. “Red Poppy”, Dance of Russian sailors “Apple”, 1 act

Mendelssohn F. March from A Midsummer Night's Dream Overture

Ravel M. Bolero

Sirtaki

Stefaniv R. Moldavian choir

Barabushki

Cap

Sonata form

Sonata form may have a developed introduction and coda.

On display two themes (main and secondary) are contrasted, their tonal

spheres. Each batch can consist of 1 or several topics that are not combined into 2-3-part forms (with rare exceptions), but are called serial numbers.

The connecting part provides tonal preparation of the PP. Sometimes there is a contrast not only between the main and secondary topics, but also other themes of the exhibition, and there may also be a conflict between sections of the form.

The final part is always in the key of PP, is a chain of cadences or an independent theme (several themes).

The tone of the PP is that of the Viennese classics - D , and if the GP is in minor, then parallel; among romantics and Russian composers there may be a third and second ratio. In the twentieth century, maybe and more distant, sharp tonal relationships.

In development there is an active tonal-harmonic development of themes (or themes).

Its structure may be homogeneous (single end-to-end development), or divided into phases and stages.

All themes or one may be developed; sometimes a new episodic theme is introduced. Here the main key is avoided, the key often prevails S , development is often completed D a precursor to the reprise. A false reprise may occur.

In reprise the contrast of themes and tonal spheres is weakened, and the main tonality of the work is established. Topics may change qualitatively: expand in scale, shrink, not all topics may be present due to tonal similarity, the sequence of topics may change (“mirror reprise” - where the PP is carried out first, and then the GP). The combination of PP and GP in simultaneous sound is called “contrapuntal reprise”.

Special types of sonata forms:

Sonata form without development
Sonata form with episode instead of development
Sonatina (simplified sonata form)
Old sonata form
Sonata form in the instrumental concert genre
Rondo Sonata

Examples:

Mozart W. Symphony No. 40 1 hour..mp3

Beethoven L. Moonlight Sonata.mp3 - without development, with an episode.

Tchaikovsky P. Nutcracker Overture. 01 Track 1.mp3 - without development.

Sonata form:

Mozart V. First movements of sonatas for piano; Overtures to the operas “The Marriage of Figaro” and “Don Giovanni”; finals of sonatas Nos. 3, 4, 17, Symphony No. 40, 1 part.

Rimsky-Korsakov N. “Scheherazade”, 1 part.

Beethoven L. First parts of symphonies No. 1, 3, 4, 8

Shostakovich D. First movements of symphonies No. 5 and 7

Tchaikovsky P. “The Nutcracker”, Overture

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Cyclic shapes with a small number of parts.

Cycle (from Greek “circle”)

In cycles with a small number of partsgenres are implemented in a generalized way, contrasts are deepened to the point of conflicts, there are established forms of parts, a tonal plan. There may be “end-to-end” dramaturgy, the merging of a cycle into a one-part form. In such cyclic form sonatas, symphonies, concerts are written.

Sonata-symphonic cycle.

The form of the symphony developed gradually; its predecessors were opera overtures and concert suites. From the suite the symphony adopted the multi-part and contrasting parts, from the overture the principle of construction of the 1st movement. The number of parts varied (2-5 parts or more). The four-part cycle became established in the works of the Viennese classics J. Haydn and W. Mozart in the 2nd half of the 18th century.

Part 1 was usually written in sonata form Allegro.

Part 2 is usually slow, there is no contrast, no conflict of images, this is rest, reflection, contemplation (lyrical part, Adagio).

Part 3 Scherzo, playful, danceable, lively (3-part form).

Part 4 Finale mobile, based on folk dance melodies, in the form of a rondo, rondo sonata, using polyphonic development techniques. Contains general code.

A symphony can reflect all the diversity of life, its seething movement, struggle and, at the same time, the deep connection of various phenomena of life.

In the symphonies of composers of the 19th and 20th centuries, the order and character of the movements do not always correspond to the classical ones: the scherzo may be the 2nd movement, and the slow movement the 3rd.

L. Beethoven laid down the tradition of bringing the symphony genre closer to the cantata and oratorio. (For example, 9th symphony).

Merging a cycle into a single part.

From the middle of the 19th century century, in the genres of symphonic poem and instrumental concert, a fusion of the cycle into a one-part form is observed. The work is performed without interruption; its fragments or sections cannot be performed separately. A three-part structure is often used, where the 1st section is similar to the 1st movement of a sonata or concerto, the middle section is similar to the 2nd movement (slow tempo), the final section has the genre characteristics of a finale.

There is also a 4-part structure, where 1 part = 1 part of a dramatic symphony, 2nd section = Adagio (Andante) ), 3rd = scherzo (sometimes parts 2 and 3 are swapped), 4th section = finale of the symphonic cycle.

Examples:

Mozart W. Symphony No. 40.

Beethoven L. Piano Sonata No. 14, Symphony No. 5.

Beethoven Symphony No. 5

Vivaldi A. “The Seasons”

Gershwin D. “Rhapsody in Blue”

Suite (from French " row", "sequence")

Ancient Suite known since the 15th century as an instrumental work (for lute or clavier) and dance (the so-called “French suite” of the 15th-17th centuries began with a slow part, and the “Italian” with a fast one). It is built on the principle of contrasting tempos: allemande - chime sarabande gigue.

Since the 18th century, the number of parts in the suite has increased, the content has been updated, and new dances have been included. Music is losing its applied character. In the 19th century, program suites and music for performances, opera and ballet, were created, and in the 20th century, for films.

In cycles with a large number of partsThey use the principle of contrasting comparison of parts, connection with dance, song, and programming.

Each cycle is a single artistic organism, which is based on a general artistic concept, a leading idea, and sometimes a plot.

Parts of the cycle represent separate stages in the formation of the idea of developing a plan and plot. Therefore, the full artistic content of each part can only be understood in the context of the whole. The unity of the cycle is also ensured by compositional technical means:

thematic connections carrying out certain topics in different parts of the cycle;
intonation similarity (in different parts);
tonal connections (unity of tonalities, symmetry and functional subordination of the main tonic parts);
tempo connections tempo symmetry, gradual acceleration or deceleration of tempo, or polarization, aggravation of tempo relationships;
structural connection (unity of structure, symmetry of parts, generalizing properties of the final (similar to the 3-part form)).

Loops with many parts:

Tchaikovsky P. “Seasons”

Schumann R. “Carnival”

Bach I.S. English and French suites

Bizet J. - Shchedrin R. “Carmen Suite”

____________________________________________________________________________

Free forms

Free forms originated in the ancient organ music and reached

perfection in the work of J. S. Bach (primarily in the genre of fantasy).

These forms reached their greatest flourishing and distribution in the works of composers of the second half of the 19th century, especially F. Chopin, F. Liszt, P. I. Tchaikovsky.

Symphonic poems, one-parts are written in free forms

sonatas, concertos, overtures, fantasies, rhapsodies, ballads and other plays, sometimes individual parts of cyclic works (especially in the works of composers of the 19th and 20th centuries).

In general, in musical literature there are a lot of different mixed

forms, often called free. Each individual form must be considered

correct if it satisfies approximately the following conditions: 1). number of topics

limited, and they are repeated in whole or in part in one order or another; 2). available

the main tonality, sufficiently expressed in the conclusion and 3). it is obvious

proportionality of parts.

It is necessary to distinguish between two main types of free forms - systemic and non-systemic.

Systemic free forms are those forms that are characterized by

a certain order in the arrangement of parts, but different from others.

Fantasy - and instrumental composition of very free construction; V 16th century the fantasia was composed, as a rule, for lute, clavier or instrumental ensemble in a polyphonic style reminiscent of the ricercar or canzona style. In the 17th-18th centuries. the genre is increasingly enriched with elements of an improvisational nature. In the 19th century the name "fantasy" refers to instrumental, mainly piano, pieces, somewhat free from established forms(for example, Sonata quasi una fantasia Moonlight Sonata Beethoven). Fantasy could also be called improvisation on a chosen theme.

Rhapsody (Greek rhapsodia; from rhaptein, “to stitch,” “to compose,” “to compose,” and ode, “song”). A rhapsody can be called an instrumental (occasionally vocal for example, in Brahms) composition written in a free, improvisational, epic style, sometimes including genuine folk motifs (Hungarian Rhapsodies Liszt, Rhapsody in Blues Gershwin).

Symphonic poem -program orchestral composition a genre that became widespread in the era of romanticism and includes features program symphony and concert overture (R. Strauss, Liszt, Smetana, Rimsky-Korsakov, etc.).

Medley (from French - “mixed dish”) XIX century.

Free forms:

Tchaikovsky P. “Romeo and Juliet” (symphonic overture)

Lyadov A. “Kikimora”, “Magic Lake”, “Baba Yaga”

Stravinsky I. “Petrushka”

Chopin F. Ballade No. 1

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Polyphonic forms

Polyphony a special type of polyphony based on the melodic independence of all component voices. The most common forms are canon, fugue, and complex fugue.

Canon (from Greek

Invention

Fugue (from Latin, Italian Fugues can be composed for any number of voices (starting from two).

The fugue opens with the presentation of a theme in one voice, then the other voices introduce the same theme in succession. The second presentation of the topic, often with a variation of it, is called a response; While the answer sounds, the first voice continues to develop its melodic line (counterposition, that is, a melodically independent construction that is inferior to the theme in brightness and originality).

The introductions of all voices form the exposition of the fugue. The exposition can be followed either by a counter-exposition (second exposition) or by a polyphonic development of the entire theme or its elements (episodes). In complex fugues, a variety of polyphonic techniques are used: increase (increasing the rhythmic value of all sounds of the theme), decrease, inversion (reversal: the intervals of the theme are taken in the opposite direction for example, instead of a fourth up, a fourth down), stretta (accelerated entry of voices that “climb” each other). on a friend), and sometimes a combination of similar techniques. In the middle part of the fugue there may be connecting constructions of an improvisational nature, called interludes . A fugue can end with a coda. The fugue genre is of great importance in both instrumental and vocal forms. Fugues can be independent pieces, combined with a prelude, toccata, etc., and finally, be part of a large work or cycle. Techniques characteristic of fugue are often used in developing sections of sonata form.

Double fugue, as already mentioned, is based on two themes, which can enter and develop together or separately, but in the final section they are necessarily united in counterpoint.

Complex fugue It can be double, triple, quadruple (on 4 topics). The exhibition usually shows all themes that are contrasting in their means of expression. There is usually no developmental section; the last exposition of the topic is followed by a combined reprise. Exhibitions can be joint or separate. The number of themes is not limited in simple and complex fugue.

Polyphonic forms:

Bakh I.S. Well-tempered clavier, inventions

Tchaikovsky P. Symphony No. 6, 1 part (development)

Prokofiev S. Montagues and Capulets

Musical forms in ballet

The musical form and the choreographic form in ballet are not identical.

Introduction to the ballet (Introduction) usually contains themes (leit themes) related to the content of the plot and the characteristics of the main characters. The form can be varied (two-part, three-part, sonata)

Classical and characteristic suites.Types of suite depending on quantitative composition participants: pas de deux, pas de trois, pas de quatre, pas de cinq, pas de sis, grand pas.

Structure of a classical suite:

entry (entree)

adagio

variations

Code

The classical suite stops the development of the plot.

Pas a "action (pa daksion “effective dance”) ambiguity of the term: a type of classical suite (a number suite accompanied by mimic action on stage), a separate number with an active development of events.

Pas de deux - a type of choreographic duet, a classic love dance, the “lyrical center” of a scene or act.

Entre (output) may be a small, unstable entry or none at all.

Adagio duet dance, usually at a slow tempo. The character is cantilena, the musical form is usually 3-part with a dynamic reprise. There is no tripartite structure in the choreography.

Variation solo performance each of the dancers in the form of a short virtuoso dance on small technically complex movements or large jumps. In character, tempo, and means of expression, the male and female variations are contrasting. The musical form is usually a simple three-part one (reprise is not observed in the choreographic form). The tempo of the music ranges from calm and moving to very fast.

Code an independent dance and an independent musical form, a fast, most often virtuosic final number of a classical suite. Musical forms of the coda: three-part, double three-part complex three-part, double three-part. Dance numbers may end with a traditional coda (the final part of the form)

Grand Pas (Big Dance)a classical suite, structured like a classical suite, but intended for the participation of the main characters, soloists, and sometimes the corps de ballet.

The peculiarity of multi-movement classical suites is the contrast of tempos and meters, the lack of tonal unity.

Characteristic Suitea suite of characteristic dances, that is, endowed with genre-everyday, folk, national traits, elements of imitation of different characters. Usually it is of a divertissement (entertainment) nature and does not develop the plot.

Symphonic picturea performance that complements the performance with some kind of figurative, effective principle, or characterizing the location of the action, the time of events, national origins, etc. It can have a three-part or more complex form.

Intermission (French entracte, from entre, “between” and acte, “action”), instrumental music heard between acts of a dramatic play, opera, ballet, etc.

Ballet forms

Delibes L. “Coppelia”, Mazurka, Czardas, Waltz

Tchaikovsky P. “Sleeping Beauty” Prologue. Pas de sis. Pas de Trois, Act 3.

Tchaikovsky “Swan Lake” “The Tempest” (Act 4)

Adan A. “Giselle”, Introduction, Pas de deux (acts 1, 2), Giselle Variation (acts 1, 2)

Prokofiev S. “Romeo and Juliet”: Juliet the girl, Father Lorenzo, Mercutio, Montagues and Capulets.

Mussorgsky M. “Night on Bald Mountain”

Glazunov A. “Raymonda”, 1 act, 3 scene (Grand pas)

Videos:

Borodin A. “Prince Igor” Polovtsian dances, act 2

Tchaikovsky P. “Swan Lake”, act 2

Glazunov A. “Raymonda”, finale of act 2 (scene 4), pas d` action

Oldenburgsky P. “La Bayadère” Pas de sklyav

Aubert J. Grand pas

Glossary

Variations (from Latin “change”) a musical form based on the exposition of a theme and its repetition many times with new changes each time. Variations can be strict and free, ornamental, basso ostinato, double.

Introduction - a section that precedes the main part of a musical work, establishing tonality, tempo, metro-rhythm, texture. May consist of one or more measures, or even one chord, sometimes using the musical theme of the main part.

Harmony combining sounds into consonances, a sequence of consonances.

Dynamics (from Greek “strength”) sound intensity, volume. Different volume options are called nuances, dynamic shades.

Zatakt one or more sounds that begin a phrase on a weak beat and run towards the heavy beat of the beat.

Invention (from Latin “invention”, “invention”) a small polyphonic play. Such pieces are usually based on an imitative technique, although they often contain more complex techniques characteristic of a fugue. In the repertoire of music school students, 2- and 3-voice inventions by J. S. Bach are common (3-voice inventions in the original were called “sinphonies”). According to the composer, these pieces can be considered not only as a means to achieve a melodious manner of playing, but also as a kind of exercise for developing the polyphonic ingenuity of a musician.

Canon (from Greek “norm”, “rule”) a polyphonic form based on the imitation of a theme by all voices, and the entry of voices occurs before the end of the presentation of the theme, that is, the theme is superimposed on itself by its various sections. (The time interval for the entry of the second voice is calculated in the number of measures or beats). The canon ends with a general cadence or a gradual “turning off” of voices.

Cadence - (from Italian - “falling”, “ending”) - the end of a musical structure, the final harmonic or melodic turn. Cadenzas are complete, perfect and imperfect, plagal and authentic, half and interrupted, middle, final and additional.

Another meaning of this term is a virtuoso solo part of a vocal or instrumental piece improvisational style (often written down by the author in notes).

Code (from Latin "tail", "train") the final construction of a musical work or part of a cycle, following the main final section. The code usually states the main tonality of the work and contains elements of its main themes.

Lad a system of pitch relationships united by tonic. The most common modes are major and minor.

Leitmotif (from German - “leading motive”) - relatively short musical structure, repeated repeatedly throughout the work; serves as a designation and characteristic of a certain character, image, emotion, etc. Often used in stage music, symphonic works romantic direction.

Melody (from the Greek “chant”, “singing”) - a monophonic sequence of sounds of the same or different heights, organized with the help of modal gravity.

Meter alternation of light and heavy beats in music (“pulse” of music).

Motive - the smallest indivisible intonation-semantic cell of a musical form, consisting of one or more sounds and containing one metric accent. A motif may contain one or more submotives.

Music theme -part of a musical work, characterized by structural completeness and the greatest brightness of the musical thought contained in it. The theme has an emotional structure, genre characteristics, national style features. It can change, develop, transform.

Musical form structure of a musical work. It is determined by the content of each separate work, is created in unity with the content, characterized by the interaction of all expressive means.

Period (from Greek "bypass", "circulation") the smallest homophonic form expressing a relatively complete musical thought. Consists of sentences. (It can be simple, complex and special structure)

Medley (from French - “mixed dish”) an instrumental piece consisting of popular fragments, motives of other works, mosaically replacing each other. The form is used with XIX century.

Construction a term denoting any of the divisions of a musical form.

Offer is a large part of the period, ending with a cadence, consisting of one or several phrases.

Predikt (predikt)(from Latin ictus - “blow”) - a section of musical form based on an unstable, often dominant function (dominant organ point) and requiring resolution in a stable part of the form. It is used in middle parts, developments, ligaments and other connecting structures.

Program music -works based ona literary or narrative idea, plot, or in which an image, genre, or mood is indicated by means of a title.

Musical sizea fraction, where the numerator is the number of beats in a measure, and the denominator is the counting unit, its duration.

Rhapsody (from Greek - “to stitch”, “to compose”, “to compose” and ode - “song”). A rhapsody can be called an instrumental, sometimes vocal, composition written in a free, improvisational, epic style, sometimes including genuine folk motifs.

Register (from Latin "list", "list") part of the range of an instrument or singing voice characterized by a single timbre.

Rhythm (from Greek “harmoniousness”, “proportionality”) a sequence of sounds of the same or different durations, organized using a meter.

Rondo (from French “circle”) a form based on no less than three repetitions of the theme-refrain, alternating with new constructions, or episodes. (There are classic, ancient and romantic rondos).

Symphonic poem.Program orchestral composition is a genre that became widespread in the era of romanticism and includes features of a program symphony and concert overture

Sonata forma complex, dialectical in content, universal in expressive capabilities, musical form, consisting of three sections (exposition, development and reprise), set out in accordance with a special tonal plan.

Style (from Latin " writing stick") a concept of aesthetics and art history that captures the systematicity of expressive means characteristic of an era, movement, nationality or composer.

Suite (from French. « row", "sequence") a cyclic form consisting of several thematically different, independent parts that either have a common genre (dance suite) or are subordinated to a programmatic concept.

Measurethe period of time in music between two equivalent metrical accents is separated when written by a bar line.

Music themea part of a work characterized by structural completeness and the greatest brightness of the musical thought contained in it. The theme has an emotional structure, genre characteristics, national and stylistic features. The topic is not only presented, but also changes and develops.

Tempo(from Lat., Italic. "time") the speed of movement in music, determined by the number of metric beats per unit of time.

Keyfret height position.

Trio -(from Italian “three”) - part (section) of a musical form instrumental piece- dance, march, scherzo, etc., contrasting with the more mobile extreme parts of the work, was usually performed by three instruments (for example, in a concert, symphony). A trio can be an independent work.

Invoice(from lat. "processing") method of presentation (warehouse) of a musical work (can be monophonic, polyphonic, homophonic, mixed)

Fantasy- instrumental composition of a very free construction; in the 16th century the fantasia was composed, as a rule, for lute, clavier or instrumental ensemble in a polyphonic style reminiscent of the ricercar or canzona style. In the 17th-18th centuries. the genre is increasingly enriched with elements of an improvisational nature. In the 19th century the name “fantasy” refers to instrumental, mainly piano, pieces, to a certain extent free from established forms (for example, Sonata quasi una fantasiaMoonlight SonataBeethoven). Fantasy could also be called improvisation on a chosen topic.

Phrase -an incomplete, dependent, relatively closed part of a musical form, consisting of one or several motives.

Fugue(from lat., ital. "running", "escape", "fast current") a form of polyphonic work based on repeated imitation of a theme in different voices.

Caesura(in Latin - “dissection”) - the moment of dividing a musical form into constructions.

Cycle(from Greek "circle") a musical form consisting of several parts connected by a unity of concept, independent in structure. There are cycles with a small number of parts (sonata-symphonic cycle, concerto, cycles of preludes and fugues, ancient suite) and a large number of parts (a cycle of instrumental or vocal miniatures, often of a programmatic nature). The principles of combining parts are a contrasting comparison or interaction of parts of the cycle in relation to figurative-thematic, genre, intonation-thematic content, and tonal plan.

Hatch (from German. « line", "dash") a method of producing sound on a musical instrument that has an expressive meaning (legato, nonlegato, staccato, spiccato, detache, marcato).

Literature

Mandatory:

1. Bonfeld M. Analysis of musical works. Structures of tonal music. Part 1,2.

M.: Vlados, 2003.

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Additional:

1. Ballroom dancing. ¶M., Soviet Russia, 1984

2. Great Russian Encyclopedia, 30 volumes. M., Great Russian Encyclopedia,

2004.

3. Boffi G. Great encyclopedia of music: trans. from Italian M.: AST: Astrel, Vladimir:

VKT, 2010.

4. Vasilyeva-3. Rozhdestvenskaya, M. Historical and everyday dance. ¶M.: Art, 1987.

5. Voronina I. Historical and everyday dance. Educational methodological manual. M.: 2004.

6. Zakharov R. Composition of dance. Pages of teaching experience. M.: Art, 1989.

7. Mazel L. The structure of musical works. M.: Music, 1986.

8. Mazel L., Tsukkerman V. Analysis of musical works. Elements of music and

technique for analyzing small forms. M.: Music, 1967.

9. Maxine A. Study ballroom dancing: methodological manual. St. Petersburg: Lan: Planet

music, 2009.

10. Musical encyclopedic dictionary/ ed. G. Keldysh. M.: Sovetskaya

encyclopedia, 1990.

11. Pankevich G. Sounding images (about musical expressiveness). M.: Knowledge, 1977.

12. Popova T. Musical genres and forms. M.: State. music publishing house, 1954.

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Each art has its own techniques and mechanisms for conveying emotions, and music has its own language. The means of musical expression are represented by timbre, tempo, mode, rhythm, size, register, dynamics and melody. In addition, when analyzing a piece of music, emphasis and pause, intonation or harmony are taken into account.

Melody

Pace

Rhythm and meter

Lad

Timbre

Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, as well as the voice of a particular person.

Register

The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to the experts who analyze the work.

Means such as intonation, emphasis and pause allow you to clearly understand what the composer wants to say.