Scheme of the musical form of variation. Artistic and educational value of variational music-making in the process of formation of the variational form”
Methodical development on the topic of:
« Artistic and educational value of variational music making in the process of formation variational form ».
Introduction
Throughout the entire period of study at the Children's School of Art, students are accompanied by variational music making (starting from the first grade, when they play "Shadow-Shadow" or "Oh, the hoop burst" and ending complex works classics or contemporary composers). But, without mastering the laws of the variational form, it is impossible to competently perform a work, using those stylistic devices and features of piano writing that would correspond to a certain type of variation. Therefore, this topic, I think, is relevant.
A variation form, or variations, a theme with variations, a variation cycle, is a musical form consisting of a theme and its several (at least two) modified reproductions (variations). Changes can occur in texture, mode, tonality, harmony, the ratio of contrapuntal voices, timbre, etc. In each variation, not only one component can change, but also a number of components in the aggregate. The unity of the variational cycle is determined by the commonality of thematics arising from a single artistic conception, and an integral line musical development, which dictates the use of certain methods of variation in each variation and ensures the logical coherence of the whole.
It is necessary to distinguish between variational form and variation as a principle. The latter has an unlimited range of applications (a motive, a phrase, a sentence in a period, etc., can vary, up to the variation of a reprise in sonata form). However, a single application of the principle of variation does not create a form on its basis. A variational form arises only through the systematic application of this principle, so at least two variations are necessary to create it.
Classification Options
Variations are usually classified according to four parameters:
1. Does the process of variation affect the theme or only the accompanying voices highlight:
a) direct variations (the theme varies);
b) indirect variations (accompanying voices vary).
2. According to the degree of change:
a) strict (the tonality, harmonic plan and
topic form);
b) free (a wide range of changes, including harmony,
form, genre appearance, etc.; connections with the topic are sometimes conditional;
each variation can reach independence as a piece with
individual content).
3. Which method of variation prevails:
a) polyphonic;
b) harmonic;
c) textured;
d) timbre;
e) figurative;
e) genre-specific.
4. By the number of themes in variations:
a) monochromatic;
b) double (two-dark);
c) triple (three-dark).
In the process of development of this form, several main types of variations with a relatively stable combination of these features have become stronger: variations on a seasoned (ostinato) bass (basso ostinato); variations on a sustained melody (soprano ostinato); strict variations (figurative, or ornamental), free variations (genre-specific). These types have existed in parallel since the 17th century, but in different eras some of them were more in demand.
Folk origins variational form
Variations are one of the oldest musical forms known since the 13th century. The variational principle of development originates in folk musical creativity. In folk (in particular, in Russian) music, the melody of any song was subjected to variational development directly in the very process of performance. Most Inventive folk singers the melody of the repetitive verses of the song was varied in every way, enriching it with a variety of intricate undertones. If singing was accompanied by playing an instrument, then changes often occurred precisely in accompaniment.
In the professional music of Western Europe, variations were associated with the development of instrumental genres. Even in the XIV-XV centuries. many outstanding masters of playing the lute, clavier, organ could improvise for hours on some popular theme, finding all the new shades and colors of its sound. This is how the form of variations was born.
IN In the 16th century, secular instrumental art, due to favorable social conditions, was intensively developed in France and England. IN clavier music predominantly used forms of works associated with everyday music, with the traditions of the lute art: in France this is a dance suite, in England - variations.
In 1611, in England, the first collection of harpsichord pieces by virginalist composers was compiled - William Byrd, John Bull, Orland Gibbons .
It is characteristic that these composers often took themes for their variations from folk music. One of Byrd's well-known works was variations on the popular song "Cabman's whistle". Anton Rubinstein performed this piece at Historical Concerts as a typical example of Old English virginal art. These variations have little contrast (monotonous). Their texture is chordal, somewhat heavy (see example No. 1).
Grounds, or variations on sustained bass
English virginism reached its highest point in the second half of the 17th century in the work of Henry Purcell (1659-1695). A peculiar type of variation in English music of that time - the so-called grounds. As in the chaconnes and passacaglia, in the grounds, one unchanging figure was repeated throughout the play. It was an ostinato bass - hence the name "ground" (which in English means theme, foundation, soil), and in another way, variations on basso ostinato, that is, sustained bass.
Purcell's New Ground is an excellent example of his style. Here we can talk about the artistic image of the work. This is a lyrical play - no longer an everyday dance, but a poetic picture of the mood (see example No. 2). For the artistic and educational development of students, Purcell's miniatures (in particular, pieces of variation form) should be used more widely as a concert and pedagogical repertoire. When working on them, as well as on the works of other virginalists, collections edited by N.I. Golubovskaya:
"G. Purcell "Selected Clavier Works" and "Selected Clavier Pieces by Old English Composers".
As mentioned above, variations on the ostinato bass were closely associated with the dance genres of that time - the chaconne and the passacaglia. Subsequently, they lose their obligatory belonging to the dance and designate this particular form of variation.
The theme of ostinato variations is usually short and simple. In more developed forms - with the outline of the main functions in the cadence or with a descending chromatic movement - a favorite technique for the structure of the ostinato theme (J.S. Bach "Mass in E Minor" - example No. 3). But a harmonic warehouse is also possible, in which the theme serves as a bass voice (J.S. Bach "Chaconne" in D minor, see example No. 4). This form is under development. The ostinato melody, as a rule, is repeated in the bass, but sometimes it is temporarily transferred, for a change, to the upper or middle voice, and also subjected to some ornamentation. For example, "Passacaglia in G minor" for clavier by G.F. Handel, which is in the collection we use
T.I. Smirnova "Allegro"; Intensive course; notebook №5 Ed. TsSDK, M., 1993 (see example No. 5).
Also in the collection "Kalinka" (compiled by A.A. Bakulov and K.S. Sorokin. Vses. Publishing house "Soviet composer", M., 1987) there is "Chaconne" (on p. 133) G.F. Handel played by our students lower grades. It combines the features of danceability and variations on basso ostinato (see example No. 6).
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) - in G. Handel's Passacaglia in G minor. The boundaries of variation do not always coincide clearly in all voices (as, for example, in Purcell's New Ground). In Bach, several variations in one texture often form a single powerful development, their boundaries disappear. Cycle completion can go beyond variation. Thus, the organ Passacaglia in C minor by J.S. Bach ends with a large fugue, and the Passacaglia cited above by G.F. Handel from Sat. T.I. Smirnova ends with a small coda.
IN XVII - early XVIII century is the most common type of variation.
In the classical era, it disappears, sometimes found in local areas of the form. Partly variations on the basso ostinato are the famous "32 variations in C minor" by L. Beethoven. This type is also irrelevant for romantics. It was rarely used by them (Brahms, “The Finale of Symphony No. 4”).
Interest in these variations re-emerges in the 20th century. R. Shchedrin has a work that is called Basso ostinato, and
D. Shostakovich, an example of such variations is found in the opera Katerina Izmailova (intermission between the 4th and 5th scenes of the opera).
Variations on sustained melody
There are also variations in which the melody of the upper voice is invariably repeated, called soprano ostinato (soprano ostinato). They are most characteristic of vocal music, the origins of which go back to folk song samples, where the main melody remained unchanged during couplet repetition, and changes occurred in accompaniment. In choral singing, with the identity or similarity of the main tune, changes occurred in other voices of the choral texture. These variations are widely used in opera, in particular Russian vocal creativity XIX century. For example "Persian choir"
M. Glinka from his opera "Ruslan and Lyudmila" or Martha's song "The Baby Came Out" from M. Mussorgsky's opera "Khovanshchina".
The theme may be original or borrowed, usually from folk music. The form of the topic is regulated. It can be one or two phrases, a period, a long sentence, up to a simple tripartite form. According to the variation method, variations on a sustained melody belong to indirect variations, because variation occurs due to accompanying voices. Since the theme is unchanged, 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 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 (M. Glinka's "Persian Chorus" from the opera "Ruslan and Lyudmila") or even transferring the melody itself to a different key (Rimsky-Korsakov - the chorus "Vysota" from the opera "Sadko").
Genre variation occurs when the listed types of variation lead to the formation of a new genre appearance of the theme, which is rare in variations on a sustained melody.
This type of variation was introduced and distributed in Russian musical literature M.I. Glinka. In addition to the unchanging melody, he also introduces harmonic variation, which is typical of the romantic era. Thus, in the new variety of variational form created by Glinka, a number of features are combined that are characteristic of both Russian folk art, and pan-European compositional technique.
In instrumental music, an example of such variations is the work of E. Grieg "In the cave of the mountain king" from the music for the drama "Peer Gynt". It is believed that ostinato variations marked the beginning of the polyphonic type of variation and were formed in the professional music of Western Europe from the 16th to the 18th centuries.
Strict variations
IN In the 18th century, with the development of the homophonic style, along with polyphonic ostinato variations, variations with the prevailing value of the textural transformation of the theme, the so-called strict (classical), sometimes called ornamental or figurative variations, became more and more widespread.
Their prototype can be seen in following one of the dances of an old suite of variations on it, provided with numerous small decorations, without any significant changes in all the basic elements, the so-calledDoubles(Doubles), also found in musical literature for music schools. The techniques developed in ostinato variations also left their mark on the formation of a new type of variational form. First of all, both continuity and new features are already evident in the theme itself. On the melodic side, the theme is simple, easily recognizable, and contains typical phrases. The contrasts are slight, but there are elements that can be developed on their own. The pace is moderate. On the harmonic side, the theme is tonally closed, internal structure its typical and simple. The texture does not contain complex figurative patterns. The form of the theme is usually a simple two-part, sometimes three-part, much less often a period. In strict variations, direct variation is carried out, since the theme itself is transformed. But in general, ornamental variation gives a constant affinity to the theme. The melody (sometimes bass) is subjected to figurative processing. Of great importance is the enrichment of the melody with non-chord sounds (passing, auxiliary, delays). Harmony changes little and is a recognizable element. Variation of accompaniment by harmonic figuration common. The tonality throughout the cycle is the same, although modal contrast is introduced in the variations of the Viennese classics (they use eponymous keys). The form of the theme is up to the classics and does not change at all or almost at all (but there are exceptions, which we will see below in our example).
The scope of such variations is almost exclusively instrumental music. They are especially common in the music of the Viennese classics. They can have an independent piece (many variation cycles of Haydn, Mozart, Beethoven) or part of a cycle (final, slow part, less often - the first part).
The innovation of the Viennese classics is their introduction of contrast within individual variations; contrast between variations; contrast of paces; the last variation is often reminiscent of the final parts of other cycles; sometimes a code is entered.
In general, classical variations are determined by the unity of figurative content, and variations help to reveal the artistic possibilities of the theme and its expressive elements. As a result, a versatile, but unified musical image is formed.
For example, consider the “Song with Variations” (la Roxelana) by J. Haydn (see example No. 7). In history and literature, Roxelana is mentioned - the wife of the Ottoman Sultan Suleiman the Magnificent. Haydn even has a Symphony No. 63 in C major "Roxelana". It can be assumed that the composer dedicated these variations to a certain Rokselana, creating in music a multifaceted image of a girl or woman with a changeable character. We can imagine her sad and cheerful, intelligent and deep nature, and sometimes flirtatious and frivolous, which can be seen in different variations. The theme is a song (or in other publications called “Aria with Variations”) written as if for a female voice (in the upper register) and is a simple two-part form with a contrasting small middle and a dynamized reprise, which indicates the depth of feelings and character of the image. The theme is calm, somewhat tense in the middle and reprise due to the deviation into the key of the minor dominant - G minor (and the main key is C minor) and the introduction of a double dominant. Short leagues on the 1st beat of the measure and staccato throughout the theme give the music an elegant character.
Next, we observe the contrast between the variations due to the introduction of the major of the same name (C major) and the deviation from the form of the theme. The form of the first variation is already a period, and not two-part. The major mode creates an upbeat mood, and the introduction of a sixth, third and dotted rhythm into the melody gives the music a festive solemnity (as in Polonaise).
The second variation is the same in form as the theme and key again in C minor. The character is sad. The variation of the melody is ornamental due to the enrichment of the theme with non-chord sounds (flavor marks, auxiliary, passing, delays), and the music acquires an elegant, flirtatious character. The reprise introduces a polyphonic element of variation, which creates even greater expressiveness compared to the theme.
The third variation is again in C major. The form, as in the first variation, is a period. Texture variation. 16ths are introduced into the left hand part; chords, octaves into a melody. The dynamics are brighter than in the first variation, the mood is more upbeat. There is a technical, dynamic, emotional development of music, which brings the listener to the climax.
Separation and isolation of the parts of the variational cycle gives rise to the danger of fragmentation of the form. Already in the early samples of variations, there is a desire to overcome this danger by combining variations into groups according to some sign. Sometimes the classics mentally reduce the form to three-part, like the form of a sonata allegro.
The fourth variation plays the role of development and climax. It is developed in form. This is already a three-part form (8 + 10 + 8 volumes). The middle is extended to 10 measures. The part of the left hand is complicated due to the figurations of the 16ths according to the sounds of triads (variation by harmonic figuration) and the introduction of thirds. Complicated harmony: the main key of the fourth variation is in C minor, and the middle in E flat major is parallel major. But both harmony and melody remain recognizable. In the third part of this variation, the melody is moved to the lower register. The dynamics are more diverse (from "p" to "f" and "sf"). All this creates an excited, tense character of the music and the image as a whole.
All contradictions are resolved in the fifth variation, which plays the role of the final part of the cycle (final) - joyful, cheerful, impetuous. The key is again in C major. The tempo remains the same, but due to the figurative variation of the melody in this case(rather than harmony) and the introduction of 16th sounds of triads and scale passages, the variation "sweeps" rapidly and is technically the most difficult to perform. The harmony, as before, is simple - the alternation of tonic and dominant, as in other major variations (first and third). The form here is free with the features of a couplet (singal and chorus), which is typical vocal music and corresponds to the name of this work - "Song with Variations".
The thematic material in the works of the Viennese classics is distinguished by its brightness, the relief of images, it always bears the stamp of the originality and unique individuality of the composer, as we have seen on the example of these variations by J. Haydn. Therefore, for the artistic and educational development of students, it is very important to familiarize them with the work of the Viennese classics and the style of their piano writing.
Free variations
IN XIX century, starting from its second third, a new type of variational form appears - free variations. Their occurrence is closely related to romantic direction in music.
The theme in free variations undergoes a much greater transformation than in strict ones. It is possible to change the structure (form), harmony, tonality, theme in them. Often, some variations use the theme not entirely, but only certain elements of it, small, sometimes at first glance secondary turns. (“Variations on a Belarusian song” by N. Rakov for students of the Children's School of Art, grade 6). Therefore, in many free variations, the connection with the theme is no longer expressed as directly as it was in strict ones, the forms of its manifestation become more diverse. The theme can serve not only as the basis for variational development, as in strict variations, but also as a reason for creating a chain of diverse miniatures, many of which are very remotely related to it (R. Schumann "Children's Scenes"). A number of variations acquire such individual features that it becomes possible to write them in various genres, for example, variations in the genre of waltz, mazurka, march.
Consider "Variations on the theme of Ukrainian folk song»
E. Andreeva for high school students of the Children's School of Art (see example No. 8). The theme differs little in character from the theme of strict variations. It should be noted only the complexity of its musical language, which can be explained by the variety of methods used for further variation, which in strict variations reduced mainly to the complication of texture. Key in G minor, size, form - period (6 + 6 bars).
The first variation is called "Song". Tonality and form, as in the theme. Only the lower voice in the part of the left hand varies: it turns from a polyphonic two-voice presentation in the theme into a monophonic one. Grace notes appear, the durations decrease from quarters to eighths due to the introduction of passing sounds (like strict variations, but only the accompaniment does not vary the melody in an ornamental way). In fact, the theme and the first variation are one and the same Ukrainian song.
The second variation is already called "Polyphonic Piece". The theme is transferred to the left-hand part and is presented in enlarged durations - quarters and halfs, in contrast to the theme, where eighths and quarters. Rhythmically, the echoes in the right-hand part have undergone a complete change - triplets and sixteenths are introduced. Due to the enlargement of the lengths of the theme, the form of this variation is also enlarged - this is a period of two sentences of ten measures plus one measure of the conclusion.
The third variation is called "Etude". The texture is completely changed, the technique of hidden polyphony is introduced. The theme with some melodic change is heard in the upper voice. The period is extended to 24 cycles.
The fourth variation is the play "Top". The key is the same, but the size and tempo of Vivace changes, which corresponds to the new character and image. The theme, albeit weakly, is heard. The form is the same (24 bars).
The fifth variation is "Mazurka". Size as it should be in Mazurka –. The melody is based on the sounds of the theme. A dotted rhythm is introduced (the rhythmic pattern has been completely changed). Written in new form- three-part with a contrasting middle in the distant key - E flat major.
The sixth variation is “Musical Toy”. Here there is a polyphonic variation with the transfer of a strongly modified melody to different registers and parts of the hands. The pace slows down - Andante cantabile - the most slow pace of all miniature variations. The tonality changes to the major of the same name - G major. The form is three-part, but consists of only 16 bars.
The seventh variation "March" - energetic, mobile, is the final one in this cycle. The time signature changes to , the key is G major. The theme is almost unrecognizable rhythmically and intonationally. The form is three-part, but greatly enlarged in terms of the number of measures (57 measures - 16 + 25 + 16). In the middle movement, the original theme appears, but in the key of E major, then in A minor. Again, a polyphonic element is introduced, as in the theme. All this reminds us that the title of this piece is “Variations on a Theme of a Ukrainian Folk Song”. This is an example of genre variations written in our time. IN artistically It has great importance for development figurative thinking and emotional sphere of the performer.
If we turn to another example of free variations, namely R. Schumann's "Children's Scenes", we will see that the cycle consists of miniatures of different character, form, tonal plan, united only by a common idea. They reveal the world of children's fun, joys and sorrows, draw pictures surrounding life. The plays are called: “About foreign lands and people”, “A strange story”, “A game of blind man's buff”, “A child's request”, “Happy contentment”, “Important event”, “Dreams”, “By the fireplace”, “Riding on wand”, “Isn't it too serious?”, “Scare”, “Sleeping child”, “Words of a poet”. This is a more complex variational cycle, which belongs to the repertoire of music colleges, and not to the DShI. Nevertheless, one play of this cycle is found in collections of works for students of the 6th grade of art schools - the play "Dreams".
The name of R. Schumann is associated with the greatest achievements of romantic music: the ability to penetrate deep and subtle into the life of the human heart, the desire to see in life the wonderful and extraordinary, hidden from indifferent inhabitants. Therefore, acquaintance with the music of Schumann and other romantic composers always brings an invaluable contribution to the formation of a certain piano style and artistic taste of students.
Let's consider another example of free variations of the 20th century - this is "Variations on a Belarusian Song" by N. Rakov (see example No. 9). The theme consists of separate short motifs, which is typical for folk genre crying (wailing). Key in A minor. It should be noted the "vocal" instrumental theme. Its presentation is two-voice (sixths), movement along the descending third (III-I step, V-III step). Priority of melodicism: harmony is given late. Harmonies are juicy, colorful. The means of a parallel major-minor are used (for example, the D-flat triad
major in A minor is nothing more than a triad of the second reduced step from C major - bar 7), DD43 in C major - bar 12. The form of the theme is a sentence of two phrases (8 + 8 m).
Further, the topic varies, acquiring different character: sometimes waltz-like, sometimes lyrical, sometimes disturbing. In the code, the theme sounds monumental and persistent (compared to the beginning) due to the powerful texture, bright dynamics (ff). The tonal plan is very diverse (the dynamics is replaced by chromaticity). Variations in this cycle are not separated from each other and their boundaries are not precisely defined. There are links between variations, and, as was mentioned earlier, in free variations individual elements of the theme can vary, here one can even distinguish a variation of passages (bars 119-154). The theme is included in the variations three times, so we can say that the form of the work is mixed - variations + rondo! Harmonic means are due to a complex modal system. Only the rhythmic undergoes little transformation.
We see the avoidance of strict forms in variations, improvisation, gravitation towards the vocal strophic form, which follows, as it were, from the text of the song. All these are the colors of the 20th century. These variations with their improvisation develop creative thinking, student's individuality, technique and freedom of performance.
In the twentieth century, the range of possibilities of the variational form is gradually expanding. An example of an original interpretation of it can be "Variations and Fugue on a Theme of Purcell" by B. Briten, which has the subtitle: "A Guide to the Orchestra for Youth". The theme here travels from one instrument to another, introducing the listener to their timbres and expressive means.
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, triple ones are exceptional (M. Balakirev "Overture" on the themes of three Russian songs).
In double variations, both themes are first presented, then variations on the first of them, then on the second, follow in turn. However, the arrangement of the material may be freer. Topics can be close to each other in nature or, conversely, contrasting. An example of such variations is “Kamarinskaya” by M. Glinka, where two themes were subjected to variation processing: the wedding song “Because of the mountains, high mountains” and the perky dance “Kamarinskaya”.
Variations with a theme at the end
And finally, there are 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 a theme at the beginning and its further development. They appear at the very end of the 19th century (there were precedents in the Baroque era in some variational compositions). The most significant works of this kind are Vincent d'Andy's Ishtar Symphonic Variations (1896), R. Shchedrin's Third Piano Concerto (1973), A. Schnittke's Piano Concerto (1979). There is no form regulation. In Shchedrin's concerto, the variations are combined very intricately, up to the asynchronous beginning in the orchestra and in the part of the soloist. 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.
Conclusion
So we see that as we develop musical art musical forms also change. They serve new ideological and artistic tasks and therefore new methods of presentation and development appear in them, and the overall composition of the musical material also changes.
In the pedagogical repertoire among the works large form a prominent place is occupied by variational cycles. Acquaintance with them is of great artistic and educational importance for the musical and technical development of students. The peculiarity of variational cycles is that they combine elements of both large and small form. Therefore, the student, working on them, acquires a particularly diverse executive skills. Like a miniature, each individual variation requires laconism of expression, the ability to say a lot in a little. At the same time, when combining individual variations into a single whole, a student needs a large amount of memory and attention, the ability to switch from one artistic task to another.
The student must know what type of variation and variation his work belongs to, be able to find the theme and its elements, delve into the features of the modal and harmonic structure, form, texture and other means of expression. This will help to consciously treat the analysis of the text and penetrate deeper into the content of the music being performed.
Learning variations related to different historical eras, we introduce students to various stylistic features of piano writing, we consider different solutions to artistic problems by composers. Performing variations on themes different peoples(into Russian, Belarusian, Ukrainian, Moldavian, Slovak, etc.) - we introduce the folklore of these peoples.
I want to say from practice that working on a variational form is very interesting. In each variation, it is necessary to convey a certain character and mood, using various techniques of performance.
All the knowledge acquired in the process of working on the variation cycle helps to accomplish the most important task - the education of a versatile musician - a performer with creative thinking, a sense of style and a rich emotional palette.
Bibliography
Alekseev A., "History of piano art", part I, M., 1962.
Alekseev A., "Methods of teaching to play the piano", ed. 3rd, M., "Music", 1978.
Kyuregyan T., "Form in the music of the XVII-XX centuries", M., 1998.
"Musical Form", ed. Yu.N. Tyulina, ed. "Music", M., 1965.
Sposobin I. V., "Musical Form", 6th ed., M., "Music", 1980.
"Problems musical science”, a collection of articles, compiled by V.I. Zak, E.I. Chigareva, no. 6, M., “Sov. composer", 1985.
Fraenov V., “Musical form. Course of lectures”, M., 2003.
Kholopova V., "The form of musical works", St. Petersburg, "Lan", 1999.
Shatskaya V.N., "Musical and aesthetic education of children and youth", M., "Pedagogy", 1975.
"Encyclopedic Dictionary young musician", comp. Medushevsky V.V., Ochakovskaya O.O., M., Pedagogy, 1985.
Virginal is a musical instrument, a kind of small harpsichord in England, hence the name of the performers on it - virginalists.
Technological map of the lesson
Item
Music
Class
3v class
Lesson type
Assimilation of new knowledge
Lesson construction technology
Study and primary fixation new material
Subject
"Variations"
Target
To form an idea of variation as a musical form, to be able to distinguish by ear the features of the construction of variations
Basic terms and concepts
Musical form, variations, simple variations, free variations
Planned (expected) result
Know the meaning of the concept of variation, simple and free variations, be able to determine the variation form in musical works, distinguish between simple and free variations by ear, create a model of variations
Item Skills
Personal UUD: develop musical and aesthetic taste, ear for music, the ability to implement creative potential in the process of individual and collective action, to form the ability to distinguish the form of variations by ear, to interact with peers in solving creative problems
Regulatory UUD:develop the ability to control and correct their own learning activities understand successes and failures in vocal and choral activities, creative tasks by ear
Cognitive UUD:be able to recognize the types of variations based on the means musical expressiveness, know the musical applications of the variational form
Space organization
Tool, computer, projector, screen, lesson presentation
Forms of work
Resources
Frontal
group
Work in pairs
Individual
Perception and analysis of a musical work
Vocal and choral work
Creating a Free Variation Model
Recording definitions in workbooks
Didactic tasks of the lesson stages
Lesson stages
Didactic tasks
Organizational
(stage of motivation)
Development of goodwill and emotional and moral responsiveness
Updating of basic knowledge and skills
Stimulation of the cognitive activity of students by demonstrating a presentation, familiarity with the terms musical form, variations
Statement of the educational problem
Nomination of a problem-search task, organization of solutions with the help of leading questions
Problem formulation, activity planning
Theoretical differentiation of types of variations, disclosure of their features
Discovery of new knowledge
Discovery of new knowledge through theory
Initial check of understanding
Creating a problem situation through listening, organizing solutions
Application of new knowledge
Organization of collective performance activities, its connection with the problem of the lesson, the logical construction of the dramaturgy of the lesson, the fulfillment of a creative task
Checking the emotional, activity sphere, the level of mastery of educational material
Study Technology
Lesson stages
Formed Skills
Teacher activity
Student activities
Organizational
Meta-subject (UUD): cognitive activity of students
Regulatory: adjust your own performance
Communicative: emotionally - figurative mood
Musical greeting: - Hello guys!
Look into each other's eyes, smile, conveying a piece of good mood.
What song was playing when you entered the classroom? This song did not sound by chance, today, relying on it, we will talk about the musical form of the variation. (1 slide)
Students to the music of R.N.P. “There was a birch in the field ...” enter the class, greeting: - Hello, teacher!
Knowledge update
Subject: acquaintance with a new musical form
Meta-subject (UUD): highlighting the main goal of the lesson
Cognitive: selection of criteria for comparison
Communicative: cooperation with the teacher
Let's sing the song. (2 slide)
Variations are the oldest musical form, originating in folk art. Folk performers they usually repeated their tunes several times, while each new performance sounded in a modified version. In modern art, variations are widely used by composers in popular music, since it mainly consists of songs where verses are repeated.
What do the terms mean - musical form and variations? (3 slide)
Students take part in collective singing, perceive the teacher's story
Working with presentation
write the terms in a notebook
Statement of the educational problem
Subject: determine by ear distinctive features variational form
Meta-subject (UUD): readiness for logical actions
Cognitive: mental division of the work into parts
Regulatory: the ability to act according to a plan
Communicative: the ability to participate in joint activities
Listen to the song that was played at the beginning of the lesson, watch the video clip. (4 slide)
Give answers to questions.
(5 slide)
Students listen, analyze, answer questions.
Formulating the planning problem
Personal: listen, find necessary information in the presentation
Metapredetnye (UUD): separation of general and particular concepts
Regulatory: evaluation of one's own inferences
The variation theme can be original (written by the composer himself) or borrowed. Variations can be filled with completely different content: from very simple to deep and philosophical meaning.
Such variations are divided into simple and free.
Listen, note the difference in the types of variations
Discovery of new knowledge
Subject: a more complete acquaintance with the means of musical expression
Metasubjective (MDD): introduce the terms "free and simple" using the example of variations
Cognitive: look for solutions in response to the question about the complexity of variations
Regulatory: form leading and problematic questions
Communicative: participation in joint activities, search for compromises
Creating variations, composers use the means of musical expression. Let's repeat some of them.
(6 slide)
Now we will once again hear the song “There was a birch in the field” in a new performance. P. I. Tchaikovsky included it in the finale of the Symphony No. 4. In this work, a Russian song paints a picture of festive folk fun. As soon as you hear the sound of a familiar theme, raise your hand and determine whether it is a variation: simple or free.
(7 slide)
They work with the presentation, read out the terms, give a description.
Actively listen to music, draw conclusions.
Physical education minute
Compliance with health-saving technologies
Physical education "Christmas tree" (8 slide)
Get up and exercise
Application of new knowledge
Subject: applying the acquired knowledge in creating a model of variations
Metasubject (UUD): the ability to analyze the problems of war and peace
Cognitive: the formation of motivation for the culture of another country
Regulatory: control your emotions
Communicative: participation in vocal and choral work perceive the world around
And now you will get acquainted with the Japanese folk song "Sakura". (9 slide)
What is sakura?
Japan is a country of farmers. Therefore, the Japanese pay a lot of attention to plants, and the sung plants often have no practical significance. Sakura is an inedible variety of cherry, however, alleys of sakura trees are planted in front of the temples, all the media follow its flowering in late March - early April, worship is religious and aesthetic in nature (enjoy beauty).
Let's sing this song in Russian and Japanese. (10, 11 slides)
Which language is more harmonious with the gentle nature of the song?
Do you feel like you want to continue this song?
Incompletion is a feature of Japanese music.
Now there will be variations on the theme "Sakura", but first listen to the terrible tragedy that occurred in Japan in 1945.
On August 6, 1945, at 8 o'clock in the morning, when the Japanese were in a hurry to work, three aircraft appeared over the city of Hiroshima. The hatches of the lead aircraft opened, and a bomb separated from it and began to fall. When it exploded, it turned into a giant fireball that absorbed the entire city, and then rose above it in an unprecedented mushroom cloud. The innocent inhabitants of Hiroshima ended up in hell. And on August 9, the same fate befell another Japanese city - Nagasaki. Hundreds and hundreds of thousands of people died, and those who survived were doomed. As you understand, the consequences of the explosions shocked and horrified everyone, including the Russian composer Dmitry Borisovich Kabalevsky. All his experiences, sympathy for the Japanese people, the composer expressed in variations on the theme of the Japanese folk song "Cherry". A little later, a book was published in Japan called "The Sadako Girl Wants to Live." The girl's family fell into this tragedy. The girl got sick incurable disease. Sadako really wanted to get better and one day, she asked the doctor: "Will I live?". The doctor replied, "Yes. You'll get better when you've made a thousand paper cranes." The girl so loved life, those who were next to her, but despite this, Sadako did not have time to make a thousand cranes. In memory of her, the children of Japan made a thousand cranes and launched them into the sky.
Listening to music.
(12-32 slides)
What is the philosophical meaning of the work?
People should remember scary lessons stories. And the music will warn them against irreversible actions.
On the desks in front of you is the "Model of Variations by D. B. Kabalevsky." (Ex. 1)
Consult with each other and decide what means of musical expression the composer used.
Make a conclusion - are these variations simple or free? Why?
After this task is checked on the screen.
(33 slide)
remember, answer
Participate in vocal and choral work.
Argument answer
Justify your answer
The students are listening
Participate in a story about a historical event, emotionally empathize
Listening with presentation
Give
reasoned answer
Working in pairs with the "Model of Variations"
Free, because almost all means of musical expression are used, the original theme is hardly recognizable.
Reflection of educational activity
Personal: awareness of the development of musical and aesthetic sense
Meta-subject (UUD): the ability to self-determine in the evaluation of learned content, providing a personal moral choice
Regulatory: Understanding Success and Reasons for Failure
Communicative: the ability to participate in joint activities
At the end of the lesson, I want to know how you evaluate your activities in the lesson. I will ask questions, and you, if you agree, clap your hands once, if not, tap your foot once.
VARIATIONS(lat. variatio, “change”) , one of the methods of composing technique, as well as a genre of instrumental music.
Variation is one of the fundamental principles of musical composition. In variations, the main musical idea undergoes development and changes: it is re-stated with changes in texture, mode, tonality, harmony, the ratio of contrapuntal voices, timbre (instrumentation), etc.
In each variation, not only one component can change (for example, texture, harmony, etc.), but also a number of components in the aggregate. Following one after another, variations form a variational cycle, but in a broader form they can be interspersed with some other thematic material, then the so-called dispersed variational cycle. Variations can also be an independent instrumental form, which can be easily represented in the form of the following scheme: A (theme) - A1 - A2 - A3 - A4 - A5, etc. For example, independent piano variations on Diabelli's waltz, op. 120 by Beethoven, and as part of a larger form or cycle - for example, the slow movement from the quartet, op. 76, No. 3 by J. Haydn.
Artworks this genre often referred to as "theme and variations" or "variations on a theme". The theme can be original, author's (for example, symphonic variations Enigma Elgar) or borrowed (for example, I. Brahms' piano variations on a theme by Haydn).
The means of varying the theme are diverse, among them are melodic variation, harmonic variation, rhythmic variation, tempo changes, changes in tonality or modal mood, texture variation (polyphony, homophony).
The variation form is of folk origin. Its origins go back to those samples of folk song and instrumental music, where the main melody was modified during couplet repetitions. Especially favorable for the formation of variations is the choral song, in which, despite the similarity of the main tune, there are constant changes in other voices of the choral texture. Such forms of variation are characteristic of polyphonic cultures.
In Western European music, the variation technique began to take shape among composers who wrote in a strict contrapuntal style (cantus firmus). Theme with Variations in modern understanding This form arose around the 16th century, when passacaglia and chaconnes appeared. J. Frescobaldi, G. Purcell, A. Vivaldi, J. S. Bach, G. F. Handel, F. Couperin widely used this form.
The main milestones in the history of variations are variations on a given melodic line, the so-called. cantus firmus in the vocal sacred music of the Middle Ages and the Renaissance; variations for lute and keyboard instruments in Spanish and English music late Renaissance; clavier compositions Italian composer J. Frescobaldi and the Dutchman J. Sweelinck in the late 16th - early 17th centuries; the suite of variations is one of early forms dance suite; English ground form - variations on the repeated in bass voice short melody; the chaconne and passacaglia are forms similar to the ground, with the difference that the repetitive voice in them is not necessarily bass (the chaconne and passacaglia are widely represented in the works of Bach and Handel). Among the most famous variation cycles of the early 18th century. – Variations by A. Corelli on the theme of La Folia and Goldberg variations J.S. Bach. Probably the most brilliant period in the history of variations is the era of mature classics, i.e. late 18th century (works by Haydn, Mozart and Beethoven); as a method of variation today remains an important component of instrumental music.
You have probably ever come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of a variety of phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works.
Before naming the common forms of musical works, let's define what is a form in music? Form is something that has to do with the construction of a work, the principles of its structure, the sequence of musical material in it.
Form is understood by musicians in two ways. On the one hand, the form is scheme arrangement of all parts of a musical composition in order. On the other hand, the form is not only a scheme, but also process formation and development in the work of those expressive means by which the artistic image of this work is created. What is this means of expression? Melody, harmony, rhythm, timbre, register and so on. The justification for such a dual understanding of the essence of the musical form is the merit of the Russian scientist, academician and composer Boris Asafiev.
Forms of musical works
The smallest structural units of almost any piece of music are motive, phrase and sentence. And now let's try to name the main forms of musical works and give them brief characteristics.
Period- this is one of the simplest forms, which is a presentation of a complete musical thought. It is common in both instrumental and vocal music.
The norm of duration for a period is two musical sentences that take 8 or 16 bars (square periods), in practice there are periods, both longer and shorter. The period has several varieties, among which a special place is occupied by the so-called "deployment type period" and "difficult period".
Simple two and three part forms - these are forms in which the first part, as a rule, is written in the form of a period, and the rest do not outgrow it (that is, for them the norm is either a period or a sentence).
The middle (middle part) of the three-part form can be contrasting with the extreme parts (showing a contrasting image is already a very serious artistic technique), and maybe develop, develop what was said in the first part. In the third part of the three-part form, it is possible to repeat the musical material of the first part - this form is called a recapitulation (a reprise is a repetition).
Couplet and refrain-chorus forms - these are forms that are directly related to vocal music and their structure is often associated with the features of poetry.
The couplet form is based on the repetition of the same music (for example, a period), but each time with a new text. There are two elements in the chorus-chorus form: the first is the chorus (both the melody and the text can change into it), the second is the chorus (as a rule, both the melody and the text are preserved in it).
Complex two-part and complex three-part forms - these are forms that are composed of two or three simple forms (for example - simple 3-part + period + simple 3-part). Complex two-part forms are more common in vocal music (for example, some opera arias are written in such forms), while complex three-part forms, on the contrary, are more characteristic of instrumental music (this is a favorite form for the minuet and other dances).
A complex three-part form, like a simple one, can contain a reprise, and in the middle part - new material (most often this happens), and the middle part in this form is of two types: "kind of trio"(if it is some slender simple form) or "episode type"(if in the middle part there are free constructions that are not subject to either periodic or any of the simple forms).
Variation form - this is a form built on the repetition of the original theme with its transformation, and these repetitions must be at least two in order for the resulting form of a musical work to be attributed to variation. The variational form is found in many instrumental compositions, and no less often in the compositions of modern authors.
Variations are different. For example, there is such a type of variation as variations on an ostinato (that is, unchanging, held) theme in a melody or bass (the so-called soprano-ostinato and basso-ostinato). There are variations figurative, in which, with each new performance, the theme is colored with various decorations and progressively fragmented, showing its hidden sides.
There is another type of variation - characteristic variations in which each new theme takes place in a new genre. Sometimes these transitions to new genres greatly transform the theme - just imagine, the theme can sound in the same work as a funeral march, and as a lyrical nocturne, and as an enthusiastic anthem. By the way, you can read something about genres in the article.
As a musical example of variations, we invite you to get acquainted with a very famous work great Beethoven.
L. van Beethoven, 32 variations in C minor
Rondo- Another widespread form of musical compositions. You probably know that translated into Russian from French, the word "rondo" means "circle". This is no coincidence. Once given a rondo was a group round dance, in which the general fun alternated with the dances of individual soloists - at such moments they went out into the middle of the circle and showed their skills.
So, according to the musical part, the rondo is made up of parts that are constantly repeated (general - they are called refrains) and individualized episodes that sound between refrains. In order for the rondo form to take place, the refrain must be held at least three times.
sonata form Well, we got to you! The sonata form or, as it is sometimes called, the sonata allegro form is one of the most perfect and complex forms of musical compositions.
The sonata form is based on two main themes - one of them is called "main"(the one that sounds first), the second - "side". These names mean that one of the themes takes place in the main key, and the second - in a secondary one (dominant, for example, or parallel). Together, these themes go through various tests in development, and then in the reprise, usually both of them sound in the same key.
Sonata form has three main sections:
- exposition (presentation of the first, second and other topics to the public);
- development (the stage at which intensive development takes place);
- reprise (here the themes carried out in the exposition are repeated, and at the same time their convergence occurs).
Sonata form was so fond of composers that on its basis they created another whole line forms that differ from the main model in various parameters. For example, one can name such varieties of sonata form as rondo sonata(mixing sonata form with rondo), sonata without development, sonata with episode instead of development(remember what they said about an episode in a three-part complex form? Here, any form can become an episode - often these are variations), concert form(with double exposure - for the soloist and for the orchestra, with the soloist's virtuoso cadenza at the end of the development before the start of the reprise), sonatina(little sonata) symphonic poem (huge canvas).
Fugue is a form, once the queen of all forms. At one time, the fugue was considered the most perfect musical form, and until now, musicians have a special attitude towards fugues.
The fugue is built on one theme, which is then repeated many times in turn in an unchanged form in different voices (for different instruments). The fugue begins, as a rule, in one voice and immediately with the introduction of the theme. Immediately this topic is answered by another voice, and what sounds during this answer at the first instrument is called the counterposition.
While the topic is walking around different voices, the expositional section of the fugue continues, but as soon as the theme has passed in each voice, development begins, in which the theme may not be carried out completely, compressed and, conversely, expanded. Yes, what only happens in the development ... At the end of the fugue, the main key is restored - this section is called the fugue reprise.
You can already stop at this. Almost all the main forms of musical works have been named by us. It should be borne in mind that more complex shapes may contain several simple ones - learn to detect them. And also often both simple and complex forms are combined into various cycles- for example, they form together suite or sonata-symphonic cycle.
Figurative variations are the most common type of variation in instrumental music of the Classico-Romantic period. In general, this is an established cycle of strict variations with the predominant method of variation in the form of harmonic or melodic figuration. Figurative variations purely technically can be free, but it is strict figurative variations that are more logical and expedient.
Subject
The theme can be either original (author's) or borrowed. In any case, the theme becomes a polyphonic whole (and not just a melody); in most cases, the topic is deliberately stated simply to leave room for change. Most often, the theme is written in a simple two-part form.
figurative variation method
The theme varies as follows: from the melody, the main anchor points(they can shift a little without disturbing the harmonic plan, and also change the octave), and they are connected by a new harmonic (arpeggiation) and melodic (non-chord sounds) figuration. Simple textural changes are also possible (for example, Albertian basses instead of dry chords in accompaniment). As a rule, during one variation, one technique is maintained.
Cycle features
In classical variations, one or two more free or genre-specific variations are often found as a shading means to a mass of strict figurative variations. The fact is that the figurative method of variation is essentially monotonous and almost does not affect the artistic figurativeness of the theme. In particular, a slow variation shortly before the end, a variation in the major or minor of the same name, and an enlarged final variation are common. In general, the last variation can be very peculiar, even a fugue.
