The most common forms of musical compositions. Types of variations Message on the topic of variational forms

Type	Characteristic
1. Strict variations	Variations on a theme invariably repeated in the bass voice. Development in them takes place in constantly updated upper voices. The number of variations is from 5–6 to 10 or more. In the first half of the XVIII century. this form was used in the genres of passacaglia, chaconne (J.-S. Bach, G. F. Handel), among the Viennese classics (second half of the 18th century) and romantics (19th century) was rarely used. In the music of the twentieth century. received a new development (D. Shostakovich, P. Hindemith, I. Stravinsky)
1.1. Variations on basso ostinato, or old (instrumental)
1.2. Viennese classical variations, ornamental and figurative (instrumental)	The theme is presented independently, and then variations are written on it. In each variation, the following characteristics of the theme are preserved: the main, supporting sounds of the melodic pattern, tonal-harmonic plan, form (simple two- or three-part), scales, meter, tempo. In this regard, the theme, figuratively speaking, is the “dictator” of the musical form, which ensures its unity and integrity. Development in them occurs due to melodic-rhythmic variation (ornamentality), register-timbre and texture (figuration) transformation. Number of variations from 5–6 to 10 or more (L. Beethoven - 32 variations in C minor for piano)
1.3. Variations on soprano ostinato, the so-called Glinka (vocal and choral)	Variations on a theme invariably repeated in the upper voice (soprano). Development in them takes place in constantly updated lower voices (M.I. Glinka "Glory" from the opera "Ivan Susanin", "Persian Choir" from the opera "Ruslan and Lyudmila")
2. Free, genre-specific (instrumental) variations	The theme is presented independently, and then variations are written. In this type, the theme may not be the main one for the subsequent variational development, i.e. variations, as it were, are free from its figurative-thematic character and appearance. The contrast between the theme and variations determines the essence and name of the form (R. Schumann "Symphonic Etudes" for piano). In this regard, the problem of the unity of form appears, which is solved with the help of the second plan (S.Rakhmaninov "Rhapsody on a Theme of Paganini" for piano and orchestra)

The main difference between strict and free variations lies in the dominance of the theme and its main expressive qualities in each variation of the strict type. The recognizability of the melodic image of the theme, the invariance of its form, scale, tonal-harmonic plan, meter, tempo create the invariance of the internal figurative-genre essence with a rather significant external renewal in each variation. In free variations, the dominance of the theme loses its power, the connection of the variation with it is sometimes conditional and manifests itself only in the initial and last sections of the form. The theme in free variations is just an impetus for the composer's creative imagination. Departure from it in intonational, texture-timbre, tempo, genre aspects contributes to the internal dynamics of the form, its unpredictability and improvisation. In this regard, the problem of the unity of the variational cycle, which is solved with the help of a secondary form, becomes very important for free variations. Most often, a three-part structure becomes the second plan form, that is, all variations are grouped into three sections: in the first and last sections, performing the function of the first part and reprise, variations are combined that are closest to the intonational-rhythmic, genre and tonal appearance of the theme, on average - the most distant, contrasting, creating new musical images.

The scope of variational forms is as follows: in instrumental music are concert pieces from the Baroque era to the present day. In the music of I. Bach, G. Handel, A. Vivaldi basso ostinato variations are used in the genres of passacaglia and chaconne. In the work of J. Haydn, W. Mozart, L. Beethoven, F. Schubert - Viennese classical variations. Free variations - in the works of romantic composers and Russian classics. For example, R. Schumann - "Symphonic Etudes for Piano", P. Tchaikovsky - Variations for Cello and Orchestra on a Rococo Theme, S. Rachmaninov - Rhapsody on a Theme of Paganini. In the vocal and choral genres, Glinka's soprano type of ostinato variations acquired a melodious vocal melos and means of development characteristic of instrumental genres. These are the “Persian Choir” from the opera “Ruslan and Lyudmila”, the finale from the opera “Ivan Susanin” - “Glory”, Varlaam’s song from the opera “Boris Godunov” by M. Mussorgsky, as well as the introduction and song of Marfa from the opera “Khovanshchina”. Variations - a favorite form used in the middle parts of the sonata-symphony cycle, especially in concertos; in rare cases, in the first movement (L. Beethoven - Piano Sonata in A flat major No. 12) or in the finale (J. Brahms - Fourth Symphony).

Variation Shape Analysis Method:

1) a brief description of figurative content of the theme and variations;

2) determination of the type of variations and structural analysis according to the model of the form-scheme;

3) detailed analysis themes of variations according to the method of period analysis and simple form;

4) a detailed analysis of the melodic pattern, metro-rhythmic and modal features, the type of texture and the functions of its voices;

5) characteristics of the entire variation cycle:

- the number of variations, scale-structural, tonal, melodic, metro-rhythmic, textural and tempo changes in each variation compared to the theme;

– determination of the internal grouping of variations according to some features: melodic, rhythmic, tonal, tempo, the presence of a secondary form;

– identification of features of free and strict variations;

6) conclusions: typical features of strict and free variations and their individual implementation in this work.

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

Constant update

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

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

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

A bit of history: the origins of the form

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

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

New Variation Options

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

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

Types and varieties

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

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

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

Figurative potential and nuances of meaning

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

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

Modern innovations

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

Andreeva Katya

The abstract presents short review Variation forms, variation construction schemes, types and varieties of variations, the history of the emergence and development of a given musical form.

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Essay

Subject:

"musical form- Variations"

Performed:

student of grade 3b, school number 57 in Orenburg, Andreeva Katya

teacher-

Popova Natalia Nikolaevna

year 2013

Abstract plan:

1. The concept of "Variations".

2. Scheme for constructing Variations.

3. Variety of Variations.

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

1. Variations ("change") is a musical form that consists of a theme and its altered repetitions. VARIATION FORM, variations, theme with variations, variation cycle - a musical form consisting of a theme and its several (at least two) modified reproductions (variations). The theme can be original (composed by the given composer) or borrowed from folk music, folklore, as well as famous popular examples of classical or contemporary music. The most typical qualities of the theme are: 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. The specific qualities of the Variation form are thematic unity and integrity, and, at the same time, the isolation of parts and relative staticness.

2. Scheme for building 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 building Variations No. 2:

double variations:

a1 a2 a3 a4.... in b1 b2 b3 b4.....

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

Variations on 3 themes are called triple.

3. Varieties of variations

In professional music, there are several varieties of variational form.

Since the 16th century, the form of variations on unchanging bass (in Italian basso ostinato) or unchanging harmony. Now they are sometimes calledold variations. These variations come from chaconnes and passacaglia - slow three-beat dances that came into fashion in Europe XVI century. The dances soon fell out of fashion, but the passacaglia and chaconne remained as the titles of pieces written in the form of variations on the unchanging bass or unchanging harmony. Often in this form they wrote music of a mournful, tragic nature. The slow, heavy tread of the bass, repeating the same thought all the time, creates the impression of persistence, inevitability. Such is the episode from the Mass in B minor by J.S. Bach, which tells about the sufferings of the crucified Christ (Crucifixus chorus, which means “Crucified on the Cross”). This choir consists of 12 variations. The bass here is unchanged, and the harmony varies in places, sometimes it suddenly “flares up” with new, bright, expressive colors. Intertwining lines of choral parts develop completely freely.

The main types of Variations:

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

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

Strict or classic- they are stored general contours themes, its form and harmony. The melody, mode, tonality, texture are changing;

free or romantic- where the theme 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 are large form.

Types of variations (classification according to various criteria):

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

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

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

4. History of the development of Variations.

Variations appeared a very long time ago in folk music. Folk musicians did not know the notes, they played by ear. It was boring to play the same thing, so they added something to the familiar melodies - right there, during the performance. Such an essay "on the go" is called improvisation . While improvising, folk musicians retained the recognizable outlines of the main theme, and variations were obtained. Only they did not yet know such a name: professional musicians came up with it much later. 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 changed. So there were variations on song, dance themes. For example, M. Glinka wrote variations on the theme of Alyabyev's "Nightingale" or on the soulful tune "Among the Flat Valley." Variations can be imagined as a series of pictures about the history, experiences (and even adventures) of the face-image, which the listener gets acquainted with in the topic. The difficulty in working on a variational cycle lies in the combination of individual variations into a single whole. Wholeness is achieved by thematic unity. Also of great importance are the caesuras between variations. Caesuras can separate the variations and combine them into a single whole.

The development and change of the elements of the Variation form continued long years and centuries. The variations of the Bach period and the period of the 19th-20th century are completely different in many respects. Composers experimented and made significant changes to the form.

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 the establishment of a theme at the beginning, with subsequent development. One of the precedents is known in baroque music: the variation chorale cantata with the placement of a pure chorale as the last number. Variations with a theme at the end, having appeared at the end of the 19th century, then became more and more fixed in the 20th century, because of which they are considered in the chapter "Classical Instrumental Forms" 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 Ishtar Symphonic Variations (1896), Shchedrin's 3rd Piano Concerto with the subtitle "Variations and Theme" (1973), Schnittke's Piano Concerto (1979), "Meditation on I. WITH. Bach "And here I am before your throne" "Gubaidulina (1993). Passacaglia from Shostakovich's Violin Concerto No. 1 (1948) can be added to them - see our analysis in the section "Variations on basso ostinato".

It was customary to write cycles of figurative variations on some borrowed melody, easily recognizable by listeners and constantly sounding to them through variation colorings. “Pieces with variations should always be based on such ariettas that are known to the listeners. When performing such pieces, one should not deprive the audience of the pleasure of delicately singing along with the performer ”(I.P. Milkhmayer, 1797). But in sonatas and symphonies, composers used their own themes for variations.

Distinctive features of this form: the theme - in a simple two-part, less often simple three-part form; the main method of development is textural, consisting in ornamenting (coloring) the theme, diminution (crushing durations), using various figurations; the form of the theme is maintained in all variations, with the admission of episodic extensions and codes; the tonality is the same, but with a typical replacement for the one of the same name in the middle variations. Due to maintaining the form of the theme in further variations, this variety of variational form is one of the strict variations. In the composition of variations, subthemes are used (in Beethoven's "32 Variations" in c-moll - a variant of the theme in C-dur with subsequent variations), subvariations (variations per variation), along with diminution - also reduction (enlargement of durations after their splitting).

The form of classical figurative variations has stabilized in Mozart's work: the number of variations is more often 6, and the maximum is 12, the pre-final variation is in the Adagio tempo, the last variation is in the nature of the final instrumental cycle, with a change in tempo, meter, genre. With Beethoven, the number of variations has changed in both directions - and reduced to 4 (second movements 1, 9 violin sonatas, 23 piano sonatas), and increased to 32 (32 variations with moll for pianoforte)

An example of the form of figurative variations by Mozart is the 2nd movement in d-moll from the 9th Violin Sonata F-dur K.377. The theme is written in a simple two-part form, the number of variations is 6: 1-4th and 6th var. in d-moll, 5th in D-dur. The texture-rhythmic logic of the form is as follows: from the theme to the 4th var. there is a sequential diminution (durations of eighths, sixteenths, triplets of sixteenths, thirty-seconds). Examples: melody initial period themes (a), figuration of the 1st variation in sixteenths (b), figuration of the 2nd variation in triplets of sixteenths (c), figuration of the 3rd variation in thirty-seconds (d), tyrates in the 4th variation (e):

Then comes the contrast in the form of a major variation, followed by the final Siciliana (essentially a characteristic variation), with a change in tempo, meter, genre; the melodious major variation (dolce) retrospectively takes the place of the pre-final Adagio. Examples: melody of the major 5th variation (a), melody of Siciliana (b):

An example of a Mozart theme with 12 variations - in the finale there are 6 sonatas for pianoforte. D-dur (K.284).

Examples of themes from Mozart in a simple 3-part form - in 10 variations on the theme "Our simpleton", in 8 variations on the song "A woman is a wonderful creature."

As a rule, themes for classical variations have a square structure, reinforced by the literal repetition of parts. The most original example of non-squareness is the theme of Beethoven's "12 variations on a Russian dance from the ballet "Forest Girl" according to Vranitsky" (Russian dance - "Kamarinskaya"). The structure of its two-part reprise form is 5 + 5 ||: 4 + 5:|| (see Example 39).

The conclusions of figurative variations, in addition to the final "change in last time” (as in the above example from Mozart’s Violin Sonata, K.377), can be made in the form of the most virtuoso variation (N part of Beethoven’s “Kreutzer Sonata” for violin), or as a reprise return to the theme (II part “Appassionata ”), or by returning to the melody of the theme against the background of the most intense diminution (Arietta from Beethoven's Sonata 32).

Among Beethoven's variations, Arietta in C-dur, Part II of the 32 Sonatas for pianoforte, is distinguished by the unique preservation of the entire external form ornamental variations and complete internal transformation of its semantics. Typical external features - a theme in a simple two-part form, square in structure (8 + 8), with repetition of parts, variations - strict with a sequence of divisions from eighths to sixteenths, thirty-seconds, trills; the last, 5th variant, surrounded by development and coda, contains a reprise return of the theme, in variations - a single key C-dur, with the exception of modulations in development. The rethinking of the variations begins with the theme - Adagio molto semplice e cantabile: instead of the "familiar arietta" - a theme on a choral basis, with a free register space between the deep "lows" of the bass and the melody singing in the height, at the end being filled with full-sounding hymn chords. Diminutia, quickly capturing unusually small and ever-decreasing durations, unfolds the rhythmic of variations beyond the limits of the human-earthly, pulsed sense of time and comes to the threshold of perception of durations and rhythm - the tremulous beat of a trill in development and code. The acoustic break of the registers, set by the very first chord, comparable to the acoustics of the mountains, in the course of variations expands with steadily diverging "rays" - to the contrast of "stars" and "precipits": the antithesis of a chromatically reharmonized "chorale" in booming basses and in sonorous "tops" in 4 var., "inhuman", in 5 1/2 octaves, melody and bass break in development (Es-dur), imitation roll-call of "underground" and "transcendental" in the code. Superhuman Semantics of Variations from Beethoven's Last Sonata for piano. the philosopher P. Florensky evoked the image of the meeting of the Father and the Son: "O My Son, I have been waiting for You for 300 years ...".

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

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

With regard to this type of variation, the concept of rigor and freedom somewhat changes. Strict are those variations where the melody remains at the original pitch ( passacaglia) The invariance of harmonization, which is 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. It can be one or two phrases, a period, a long sentence, up to a simple tripartite form (Grig. “In the cave mountain king from the music for the drama Peer Gynt). Original shapes possible folk origin themes (chorus of schismatics from III actions"Khovanshchina" by M. Mussorgsky).

variation

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

Texture-timbre variation involves a change in texture, the introduction of a new pattern, re-orchestration, in the choir - transferring the melody to other voices. With polyphonic variation, the composer introduces new echoes or rather independent melodic lines. Perhaps the polyphonic design of the theme itself in the form of a canon, etc. Harmonic variation is expressed in the reharmonization of the melody. The scale of changes can be different, up to changing the mode (Glinka. "Persian Choir" from "Ruslan and Lyudmila", 3rd variation): 174 or even transferring the melody to another 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 aspect of the theme. This type of variation in sustained melody variations is rare.

Variations on basso ostinato

Variations on the basso ostinato is such a form, which is based on the constant carrying out of the theme in the bass and the constant renewal of the upper voices.

Variations on basso ostinato (also a harmonic model, an exemplary harmonization of the ostinato bass) appeared in the late Renaissance, mainly in Italy. Bass formulas (and their accompanying harmonic patterns) are known as various titles, incl. passamezzo, folia, Ruggiero, Romanesque. In the XVII - early XVIII centuries, this is the most common type of variation.

Two main instrumental genre such variations in the Baroque era - passacaglia and chaconne: 159.

In English baroque music this form of variation is called ground. ground letters. base, base). 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").

During the classical era, variations on the basso ostinato disappeared because they did not have the processionality required in classical aesthetics. Variations on basso ostinato are found in local areas of the form (Beethoven. Symphony No. 9, coda of the 1st movement). Some of the variations on the basso ostinato are Beethoven's famous 32 variations in C minor:160. This type is also irrelevant for romantics, it was rarely used by them (Brahms. Final Symphony No. 4). Interest in basso ostinato variations resurfaced 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 measures, usually 4) monophonic sequence melodic to varying degrees. Usually her character is very generalized. Many themes represent a downward movement from degree I to degree V, 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 a different key (Buxtehude. Passacaglia in D minor for organ).

Due to the brevity of the theme, there is often a combination of variations in pairs (according to the principle of a similar texture of the upper voices). 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 whole work, the whole can hardly be called variations, since it is impossible to recognize as variations in the conduct of the bass in the lower voice without taking into account the upper ones. There is a kind of counterpoint form.

Cycle completion can go beyond variation. Thus, Bach's organ Passacaglia ends with a great fugue.

Figurative 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 of Mozart, Beethoven) or part of a cycle (final, slow part, less often - the first). In the Romantic era, independent plays in the form of figurative variations predominate, and they may have a different genre name (for example, Chopin's Lullaby).

Subject

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

Since most of the examples belong to the composers Viennese school and their followers, in most cases the form of the theme is also classical. Most often - a simple two-part (usually reprise), sometimes a 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, typical figures are used - figurations. They can be arpeggiated, scaled, etc. Saved anchor points melodies that are filled with figured material. Melodic figuration often results from the appearance of non-chord sounds around these anchor points. Harmonic figuration - this or that movement along the sounds of a chord (often an arpeggio). In this case, the reference points of the melody become the base or top of these figurations. As a result, these anchor points can be shifted to other beats of the measure.

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

Genre-specific 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-specific ones are mainly used in instrumental music. They can be part of a cycle, often an independent play, including one with a different genre name (List. Etude "Mazeppa"). Sometimes separate genre variations appear in variational cycles already among the Viennese classics. Cycles consisting entirely of such variations spread into the postclassic era.

Subject

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

variation

The concept of specificity implies 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. (moreover, these genres can be expressed very generally). Sometimes a fugue occurs among the variations. (Tchaikovsky. Trio "In memory of a 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 ones are exceptional (Balakirev. Overture on the themes of three Russian songs).

The themes of double variations can be close to each other or, conversely, contrast (Glinka's Kamarinskaya).

Variations can be arranged in different ways: either a regular alternation of variations on one and the 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 (there were precedents in the Baroque era in some variational cantatas).

The most significant works of this kind are Vincent d'Andy's Ishtar Symphonic Variations (1896), R. Shchedrin's Third Piano Concerto (1973), and Schnittke's Piano Concerto (1979).

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

Notes

Sposobin I.

1. Therefore, they are often called "classic". This term is not entirely correct, since the figurative type of variation was used both before the Viennese school and after.

Comments

In the Soviet musical 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 the "Glinka" variations were used by composers of the Baroque era. Another name sometimes encountered 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

Kyuregyan T. Form in the Music of the 17th-20th Centuries. M., 1998. ISBN 5-89144-068-7

• Sposobin I. musical form. - Moscow: Music, 1984.
• Frayonov V. Musical form. Lecture course. 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	Couplet form Chorus-chorus form
simple shapes	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	Canon Fugue
Specific forms European Middle Ages and Renaissance	Bar Virele Ballata Estampie La Madrigal
Specific forms of the Baroque era	Simple forms of the Baroque period Ancient sonata form Composite forms of the Baroque period Ancient concert form Choral 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 from the history of instrumental forms XVI - early XIX ve-ka. - M., 1979.

2. Zuckerman V. Variation 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. Rakhmaninov. 2nd ed. - M., 1969.

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

8. Criticism and musicology. Sat. articles, no. 2. - L., 1980.

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

10. Mazel L. Monumental miniature. On Chopin's 20th Prelude / Academy of Music 1, 2000.

11. Ponizovkin Yu. Rakhmaninov - 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 Rachmaninoff. T.2.

16. Solovtsov A. Rachmaninoff Piano Concertos. - M., 1951.

17. Zukkerman V. Kamarinskaya Glinka and its traditions in Russian music. - M., 1957. S. 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. Application area. Theme characteristics. Preservation of its harmonic plan, form, tonality, tempo, meter of the theme in subsequent variations. Techniques of variational changes: the appearance of the melody and the whole texture, the creation of new melodic variants. A single change of mode, sometimes a change in tempo and size.

Variations on soprano ostinato. Song couplet repetition. Melodic characteristic of the ostinato theme. The role of polyphonic, harmonic variation. Texture-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": Marfa's song; Glinka "Ruslan and Lyudmila": "Persian Chorus").

Variations on basso ostinato. Connection with ancient dance genres - chaconne, passacaglia; sublime, mournful character of music. Characteristics of the theme: intonational turns, modal basis, metro-rhythmic pattern. Features of the form: the organizing role of a stable bass, the layering of contrapuntal voices, maintaining an unchanged 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-specific variations: bright individualization, introduction of 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) opposition of contrasting variational groups (Glinka "Kamarinskaya").

Double variations in vocal music. Combination of two songs with alternating variation (Rimsky-Korsakov "The Snow Maiden": the women's song "How not the peahen" and the men's song "Like beyond the river" from "The Wedding Rite").

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