Holistic analysis of a piece of music in a music lesson at school. Analysis of a musical work: example, theoretical foundations, analysis technique Complete analysis of musical form using an example

Music educational institutions are examples of ideal analysis.

But the analysis can also be done by a non-professional, in which case the subjective impressions of the reviewer will prevail.

Let us consider the content of both professional and amateur analysis of musical works, including examples.

The object of analysis can be a piece of music of absolutely any genre.

The focus of the analysis of a musical work may be:

• separate melody;
• part of a musical work;
• song (it doesn’t matter whether it’s a hit or a new hit);
• concert of music, such as piano, violin and others;
• solo or choral musical composition;
• music created using traditional instruments or completely new devices.

In general, you can analyze everything that sounds, but it is important to remember that the object greatly influences the content.

A little about professional analysis

It is very difficult to analyze a work professionally, because such an analysis requires not only a solid theoretical basis, but also the presence of an ear for music, the ability to feel all the shades of music.

There is a discipline called “Analysis of Musical Works”.

Students of music schools study the analysis of musical works as a separate discipline

Required components for this type of analysis:

• musical genre;
• type of genre (if any);
• style;
• musical and system of means of expression (motifs, metric structure, mode, tonality, texture, timbres, are there repetitions of individual parts, why are they needed, etc.);
• musical thematics;
• characteristics of the created musical image;
• functions of the components of a musical composition;
• determination of the unity of content and form of presentation of the musical structure.

An example of professional analysis - https://drive.google.com/file/d/0BxbM7O7fIyPceHpIZ0VBS093NHM/view?usp=sharing

It will not be possible to characterize the named components without knowledge and understanding of the typical patterns of musical works and structures.

During the analysis, it is important to pay attention to the pros and cons from a theoretical perspective.

An amateur review is a hundred times easier than a professional one, but such an analysis also requires the author to have at least basic knowledge of music, its history and modern trends.

It is very important to have an unbiased approach when analyzing a work.

Let's name the elements that can be used to write an analysis:

• genre and style (we describe this element only if we are well versed in theory or after reading specialized literature);
• a little about the performer;
• objective with other compositions;
• content of the composition, features of its transmission;
• means of expression used by the composer or singer (this can be playing with texture, melody, genres, combining contrasts, etc.);
• what impression, mood, emotions the work evokes.

In the last paragraph we can talk about impressions from the first listening and from repeated listening.

It is very important to approach the analysis with an unbiased mind, fairly assessing the pros and cons.

Don’t forget that what seems like an advantage to you may seem like a terrible disadvantage to someone else.

An example of amateur analysis: https://drive.google.com/file/d/0BxbM7O7fIyPcczdSSXdWaTVycE0/view?usp=sharing

Examples of typical mistakes of amateurs

If a professional sees everything through the “glasses” of theory, a solid knowledge of music, and the peculiarities of styles, then amateurs try to impose their point of view, and this is the first blunder.

When you write a journalistic review of a piece of music, show your point of view, but do not “hang it around the neck” of others, just arouse their interest.

Let them listen and evaluate for themselves.

An example of a typical mistake No. 2 is comparing an album (song) of a particular artist with his previous creations.

The purpose of a review is to interest the reader in this work.

The unfortunate reviewer writes that the composition is worse than masterpieces from collections released earlier, or a copy of works from them.

This conclusion is very easy to make, but it has no value.

It’s better to write about the music (mood, what instruments are involved, style, etc.), the lyrics, and how they fit together.

Third place is occupied by another popular mistake - overfilling the analysis with biographical information about the performer (composer) or style features (no, not the composition, but in general, for example, a whole theoretical block about classicism).

This is just filling space, you must admit that if someone needs a biography, they will look for it in other sources, a review is not intended for this at all.

Do not make such mistakes in your analysis, otherwise you will discourage reading it.

First you need to listen carefully to the composition, completely immersing yourself in it.

It is important to compose an analysis, indicating in it the necessary concepts and aspects for an objective description (this applies to both amateurs and students, from whom professional analysis is required).

Do not try to make a comparative analysis if you are not familiar with the trends and features of music of a certain period, otherwise you risk making ridiculous mistakes.

It is quite difficult for students of music educational institutions in their first years to write a complete analysis; it is advisable to pay more attention to the easier components of the analysis.

Anything more complicated is described in a textbook.

And instead of the final phrase, we will give universal advice.

If you are applying for a professional analysis, try to give a complete answer to the question: “How is this done?”, and if an amateur: “Why is it worth listening to the composition?”

In this video you will see an example of analyzing a piece of music:

The word “analysis” translated from Greek means “decomposition”, “dismemberment”. Musically - theoretical analysis of a work is a scientific study of music, which includes:

1. A study of style and form.
2. Definition of musical language.
3. The study of how important these elements are for expressing the semantic content of the work and their interaction with each other.

An example of analyzing a musical work is a method that is based on dividing a single whole into small parts. In contrast to analysis, there is synthesis - a technique that involves combining individual elements into a common one. These two concepts are closely related to each other, since only their combination leads to a deep understanding of any phenomenon.

This also applies to the analysis of a musical work, which should ultimately lead to a generalization and a clearer understanding of the object.

Meaning of the term

There are broad and narrow uses of this term.

1. Analytical study of any musical phenomenon, pattern:

• major or minor structure;
• principle of operation of the harmonic function;
• norms of the metro-rhythmic basis for a specific style;
• laws of composition of a musical work as a whole.

In this sense, musical analysis is combined with the concept of “theoretical musicology”.

2. Study of any musical unit within the framework of one specific work. This is a narrow but more common definition.

Theoretical basis

In the 19th century, this musical section was actively developing. Many musicologists with their literary works provoked the active development of the analysis of musical works:

1. A. B. Marx “Ludwig Beethoven. Life and art". This work, written in the first half of the 19th century, became one of the first examples of a monograph that included an analysis of musical works.

2. H. Riemann “Guide to the Composition of a Fugue,” “Beethoven’s Bow Quartets.” This German musicologist created the doctrine of harmony, form and meter. Based on it, he deepened the theoretical methods of analyzing musical works. His analytical works were of great importance for progress in this musical direction.

3. Work by G. Kretschmar “Guide to Concerts” helped develop theoretical and aesthetic methods of analysis in Western European musicology.

4. A. Schweitzer in his literary creation “I. S. Bach" considered the musical works of composers in three unified aspects of analysis:

• theoretical;
• performing;
• aesthetic.

5. In your three-volume monograph “Beethoven” by P. Becker deconstructs the greatest composer's sonatas and symphonies through their poetic ideas.

6. H. Leichtentritt, “The Doctrine of Musical Form,” “Analysis of Chopin’s Piano Works.” In the works, the authors carry out a competent combination of a high scientific and theoretical level of analysis and figurative characteristics with aesthetic assessments.

7. A. Lorenz “Secrets of Form in Wagner.” In this literary work, the writer conducts research based on a detailed analysis of the operas of the German composer R. Wagner. Establishes new types and sections of analysis of the forms of a musical work: synthesizing stage and musical patterns.

8. The most important example of the development of analysis in a musical work is the works of the French musicologist and public figure R. Rolland. These include work “Beethoven. Great creative eras." Rolland analyzes music of various genres in the composer's work: symphonies, sonatas and opera. Creates his own unique analytical method, which is based on poetic, literary metaphors and associations. This method goes beyond the strict boundaries of music theory in favor of a free understanding of the semantic content of the object of art.

This technique would subsequently have a great influence on the development of the analysis of musical works in the USSR and the West.

Russian musicology

In the 19th century, along with advanced trends in social thought, there was an intensive development in the field of musicology in general and in musical analysis in particular.

Russian musicologists and critics focused their efforts on establishing the thesis: every piece of music expresses a certain idea, conveys some thoughts and feelings. This is why all works of art are created.

A. D. Ulybyshev

One of the first to prove himself was the first Russian musical writer and activist A.D. Ulybyshev. Thanks to his works “Beethoven, his critics and interpreters”, “New Biography of Mozart”, he left a noticeable mark on the history of critical thought.

Both of these literary creations include analysis with critical and aesthetic evaluations of a variety of musical works.

V. F. Odoevsky

Not being a theorist, the Russian writer turned to Russian musical art. His critical and journalistic works are filled with aesthetic analysis of many works - mainly operas written by M. I. Glinka.

A. N. Serov

The composer and critic gave rise to the method of thematic analysis in Russian music theory. His essay “The role of one motive in the entire opera “A Life for the Tsar”” contains examples of musical text with the help of which A. N. Serov studied the formation of the final chorus and its themes. The basis of its formation, according to the author, is the maturation of the main patriotic idea of ​​the opera.

The article “Thematicism of the Leonora Overture” contains a study of the connection between the themes of the overture and L. Beethoven’s opera.

Other Russian progressive musicologists and critics are also known. For example, B. L. Yavorsky, who created the theory of modal rhythm and introduced many new ideas into complex analysis.

Types of analysis

The most important thing in analysis is to establish the patterns of development of the work. After all, music is a temporary phenomenon that reflects events that occur during its development.

Types of analysis of a musical work:

1. Thematic.

A musical theme is one of the most important forms of embodiment of an artistic image. This type of analysis is a comparison, the study of themes and all thematic development.

In addition, it helps to determine the genre origins of each topic, since each individual genre involves an individual range of expressive means. By determining which genre is the basis, you can more accurately understand the semantic content of the work.

2. Analysis of individual elements that are used in this work:

• meter;
• rhythm;
• timbre;
• dynamics;

3. Harmonic analysis of a musical work(examples and more detailed descriptions will be given below).

4. Polyphonic.

This type implies:

• consideration of musical texture as a certain way of presentation;
• analysis of melody - the simplest single category, which contains the primary unity of artistic means of expression.

5. Performing.

6. Analysis of compositional form. Is concluded in the search for type and form, and in the study of comparisons of themes and development.

7. Comprehensive. This example of analysis of a musical work is also called holistic. It is carried out on the basis of analysis of the form of the composition, and is combined with an analysis of all components, their interaction and development as a whole. The highest goal of this type of analysis is the study of a work as a socio-ideological phenomenon, coupled with all historical connections. He is on the verge of theory and history of musicology.

Regardless of what type of analysis is performed, it is necessary to clarify the historical, stylistic and genre prerequisites.

All types of analysis include temporary, artificial abstraction, the separation of a specific element from others. This must be done in order to conduct an objective study.

Why is music analysis needed?

It can serve different purposes. For example:

1. The study of individual elements of a work, musical language is used in textbooks and theoretical works. In scientific research, such components of music and patterns of compositional form are subject to comprehensive analysis.
2. Excerpts from examples of analysis of musical works can serve as evidence of something when presenting general theoretical problems (deductive method) or leading viewers to general conclusions (inductive method).
3. As part of a monographic study that is dedicated to a specific composer. This concerns a condensed form of a holistic analysis of a musical work according to a plan with examples, which is an integral part of historical and stylistic research.

Plan

1. Preliminary general inspection. It includes:

a) observation of the type of form (three-part, sonata, etc.);

b) drawing up a digital diagram of the form in general terms, without details, but with the name of the main topics or parts and their location;

c) analysis of a musical work according to plan with examples of all main parts;

d) determination of the functions of each part in the form (middle, period, etc.);

e) studying the development of which elements are given special attention, how they develop (repeated, compared, varied, etc.);

f) searching for answers to questions about where the climax is (if there is one), in what ways it is achieved;

g) determination of the thematic composition, its homogeneity or contrast; what is its nature, by what means is it achieved;

h) study of the tonal structure and cadences with their relationship, closedness or openness;

i) determination of the type of presentation;

j) drawing up a detailed digital diagram with characteristics of the structure, the most important points of summation and fragmentation, length of breathing (long or short), properties of proportions.

2. Comparison of the main parts specifically in:

• tempo uniformity or contrast;
• altitude profile in general terms, the relationship between climaxes and dynamic scheme;
• characterization of general proportions;
• thematic subordination, homogeneity and contrast;
• tonal subordination;
• characteristics of the whole, the degree of typicality of the form, in the fundamentals of its structure.

Harmonic analysis of a piece of music

As mentioned above, this type of analysis is one of the most important.

To understand how to analyze a piece of music (using an example), you must have certain skills and abilities. Namely:

• understanding and ability to harmoniously summarize a specific passage according to the logic of functional movement and tonality;
• the ability to connect the properties of the harmonic structure with the nature of the music and the individual characteristics of a given work or composer;
• correct explanation of all harmonic facts: chords, cadences, voice leading.

Executive Analysis

This type of analysis includes:

1. Search for information about the author and the musical work itself.
2. Style representations.
3. Determination of artistic content and character, images and associations.

Strokes, playing techniques and means of articulation are also an important part of the given example of performance analysis of a musical work.

Vocal music

Musical works in the vocal genre require a special method of analysis, which differs from instrumental forms. How is musical theoretical analysis of a choral work different? An example plan is shown below. Vocal musical forms require their own method of analysis, different from the approach to instrumental forms.

Necessary:

1. Determine the genre of the literary source and the musical work itself.
2. Explore the expressive and figurative details of the choir part and instrumental accompaniment and literary text.
3. Study the differences between original words in stanzas and lines with a modified structure in music.
4. Determine musical meter and rhythm, observing the rules of alternation (alternating rhymes) and squareness (non-squareness).
5. Draw conclusions.

As an example for harmonic analysis, we suggest considering a fragment of Waltz by P.I. Tchaikovsky from Serenade for string orchestra:

moderato. Tempo di Valse

Before performing a fragment on a musical instrument, you should pay attention to the tempo instructions, and then play this fragment at a moderate waltz tempo.

It should be noted that the nature of the music is characterized by danceability, a light romantic coloring, which is due to the genre of the musical fragment, the roundness of four-bar phrases, the smoothness of the ascending with graceful leaps and the wave-like movement of the melody, which is carried out mainly by even quarter and half durations.

It should be noted that all this is fully consistent with the romantic style of music of the second half of the 19th century, when P.I. lived and worked. Tchaikovsky (1840 – 1893). It was this era that brought enormous popularity to the waltz genre, which at that time penetrated even such large works as symphonies. In this case, this genre is presented in a concert piece for string orchestra.

In general, the analyzed fragment represents a period consisting of 20 measures and expanded in the second sentence (8+8+4=20). The homophonic-harmonic texture was chosen by the composer in full accordance with the already designated genre, so the expressive meaning of the melody comes to the fore. However, harmony not only provides functional support, but is also a means of shaping and development. The general direction of development in this completed construction is largely determined by its tonal plan.

First sentence tonally stable ( G major), consists of two square four-bar phrases and ends on the dominant of the main key:

T - - T DD 2 T - - T - - T D T 4 6 T 6 - -

D D 7 - D 9

In harmony, only authentic tonic-dominant turns are used, affirming the main tonality G major.

The second sentence (bars 8–20) is a single indivisible continuous phrase of 8 bars, to which is added a four-bar complement that arises as a consequence of the internal rich tonal movement. In the second half of the second sentence there is a deviation into the dominant key (bars 12–15):

7 8 9 10 11 (D major) 12

D D 7 D 9 D T Т 2 S 6 S 5 6 S 6 D 5 6 - - T=S - - #1 DD 5 6

13 14 15 16 17 18 19 20

K 4 6 - - D 2 T 6 ( D major)S - - K 4 6 - - D 7 - - T - - T

Scheme of harmonic development the analyzed musical fragment will look like this:

1 2 3 V 4 5 6 7 V 8 910

3/4 T T - | DD 2 - - | T T - | T - - | T D T | T 6 - - | D D 7 - | D 9 D T 6 | S 6 VI S 6 | D 6 5 - -|

11 12 13 14 15 V 16 17 18 19 20

| T - - | #1 D 6 5 k A major| K 6 4 - - | D 2 k D major| T 6 ( D major) | S - - | K 4 6 - -| D 7 - - | T - - | T ||

The deviation (bars 12–15) is carried out by introducing a cadence, preceded by a common chord (T=S) and a double dominant in the form of #1 D 7 k A major, but it is not resolved, but goes into a cadence quartet-sex chord, D 2 with resolution in T 6 of a new key ( D major).

The modulation prepared by the deviation repeats the cadence turn that was already used in the deviation, but the construction ends differently - with a final full authentic perfect cadence, in contrast to the authentic imperfect cadence in the deviation and the half authentic imperfect cadence at the end of the first sentence.

Thus, it should be noted that the entire development of the harmonic vertical in this fragment plays a formative role and corresponds to the general direction of development of the musical image. It is no coincidence that the culmination of the entire theme occurs at the most intense moment (bar 19). In the melody it is emphasized by an ascending leap to the seventh, in harmony - by a dominant seventh chord, followed by its resolution into the tonic as the completion of the musical idea.

1. Period structure: A). square - 8 bars (small), 16 bars (large); b). not square - 7t, 10, 17; V). repeated or non-re-built.

2. Structures organizing the period: A). summation, fragmentation, pair of periodicities, etc.; b). due to what the expansion of the structure occurs: due to expansion - the appearance of additional measures before the cadence; due to the addition - “extra” bars appear after the cadence.

3. The nature of the music in the proposed fragment: In creating a character, harmony, tempo, and strokes are necessarily involved - all this must be indicated.

4. Melody type:A). vocal ( cantilena - the melody of “wide breathing”, flowing without interruption by pauses; recitation -“speech melody” with many nuances: pauses, short leagues; recitative -“dry”, nondescript melody with a small sound volume, almost at the same height); b).instrumental (wide leaps, complex passages and strokes).

5. Texture (nature of interaction between melody and accompaniment): A). monodic - fundamental monophony, characteristic of Gregorian chants and Znamenny singing; b). heterophonic - multi-layered monophony (the leading melody is presented in several voices - see Mussorgsky, Borodin's romances, Rachmaninov's piano works; V). homophonic-harmonic or homophonic - a clear division of texture into melody and accompaniment - most of the classical and romantic music of the 18th-20th centuries); G). polyphonic - the presence of several leading melodies; d). mixed - the presence in one work or its fragment of several textural principles at the same time, for example, homophonic and polyphonic - see. Chopin, Polonaise No. 1, middle section (“dialogue” of voices).

6. Type of figures in the invoice: A). chord; b). harmonic - to the sounds of harmonic revolutions; V). albertian basses- most often present in the classical music of Haydn, Mozart, Beethoven and their foreign and Russian contemporaries - this is a simplified harmonic figuration; G). melodic - the figuration in its complexity resembles the melody or even surpasses it - see Musical moment No. 4 by Rachmaninov, works by Liszt F,

7. Features of the harmonic structure of the period: A). write a diagram indicating deviations and modulations, if any; b). identify the defining feature of the harmonic structure of the period - for example, its harmonies are simple or, on the contrary, complex, authentic or plagal phrases are predominantly used.

8. Genre origins of the period: A). chorale - slow or moderate tempo of movement, strict chord texture, declamatory or cantilena melody; b). aria - cantilena melody, vocal flourishes, homophonic texture; V). vocal piece - a melody of a cantilena or declamatory nature that can be sung; G). instrumental piece- a fundamentally non-vocal melody: wide leaps, a large number of counter signs, chromaticisms and other technical difficulties. d). march - even meter, moderate or moderately fast tempo of movement, chord texture, “angular” melody based on movement according to the sounds of the main harmonic functions; e). dance - dynamic tempo, bass-two-chord texture, instrumental type of melodies.

9. Metro - rhythmic features of this fragment: characteristic rhythmic pattern ( rhythm formula): march -, polonaise -, waltz -; features of violation of regular accent (syncopation, crushing of the strong beat), variable meter or size - why was this done by the composer?

10. Style features of the composer or era: Baroque - polyphonic texture, use of rhetorical figures, features of ancient dances - allemandes, chimes, sarabands. gigues, gavotte or toccata genre; preclassicism - homophonic texture, but somewhat angular, “awkward” development techniques based on repetitions of a melodic fragment at different heights; classicism - homophonic texture, Albertian basses, clear harmonic scheme with obligatory cadences, characteristic instrumental melody, figures of game logic; romanticism - mixed type of texture, several leading melodies (most often correlated with each other according to the principle of dialogue), complex harmonic comparisons affecting tonalities of the 2nd and 3rd degree of relationship, detailed nuances of dynamics and strokes; XX century - the use of various techniques of the 20th century: serial technique, alleatorics, complex melody with counter signs, texts.

Artistic result: what happened in the synthesis of all means of musical expression, what is the artistic intention of the composer in this fragment of the work?

Example of analysis of the classical period:

The period proposed for analysis in structure is a small non-square period (10 clock cycles) of repeated construction with expansion in the second sentence. The first sentence is organized by the structure of a pair of periodicities; in the second sentence, an element of game repetition arises (the figure of a “stuck tone”), due to which the structure of the period expands. The melody of this musical period is of a pronounced instrumental type, as evidenced by wide leaps, virtuoso passages, and reliance on the sounds of the main triads. The “stuck tone” effect that appears in the second sentence creates a moment of dialogue, argument, which suggests that this period belongs to the era of classicism, since it was in the works of the Viennese classics and Russian composers of the 18th century that elements of instrumental theater were often used.

The belonging of a given period to the named era can also be justified by verified harmonic relationships with a clear organization of cadences, the use of a simple deviation into the tonality of the first degree of kinship, and the advantage of authentic turns. The interrupted phrase at the end of the second sentence (where the expansion of the structure occurs) is also an expected and typical element at this point in the structure of the classical period. Harmonic circuit This fragment looks like this:

The diagram clearly shows uniform harmonic pulsation(i.e., two functions per clock throughout the entire period). Appearing in the second sentence, the ascending diatonic sequence creates tonal movement and prerequisites for development. This technique is also often found in classical music.

Invoicing decision of this period maintained in homophonic-harmonic texture with a clear division of voices into leading and accompanying. The harmonic figuration is presented in the form of Albertian basses, which creates a single and integral tempo of movement.

Metro rhythmic organization period maintains a uniform harmonic pulsation (four quarters). The harmonic figuration set out in eighth notes creates a solid foundation for the moving rhythmic organization of the melody, which includes movement in sixteenth notes and syncopation. The characteristic rhythmic pattern of this period conveys liveliness and splashing energy - a short dotted line and 4 sixteenth notes.

Summarizing the observation period carried out during the analysis and taking into account the sufficient melodic simplicity and modesty in the invention of developmental techniques, we can assume that this musical fragment is borrowed from the instrumental music of J. Haydn, which is part of a sonata or symphony.

Such melodies are characteristic, for example, of vocal genre scenes by Dargomyzhsky and Mussorgsky, and are typical of the music of the twentieth century.

According to the typology of V. Konen.

Municipal autonomous institution of additional education in the field of culture of the Beloyarsk district "Children's art school of Beloyarsky" class in the village of Sorum

General course teaching program

"Analysis of musical works"

Theoretical foundations and technology of analysis

musical works.

Performed:

teacher Butorina N.A.

Explanatory note.

The program is intended for teaching the general course “Analysis of Musical Works,” which summarizes the knowledge acquired by students in specialty lessons and theoretical disciplines.

The goal of the course is to develop an understanding of the logic of musical form, the interdependence of form and content, and the perception of form as an expressive musical means.

The program involves completing course topics with varying degrees of detail. The theoretical foundations and technology of analysis of musical works, the topics “Period”, “Simple and Complex Forms”, variation and rondo form are studied in most detail.

The lesson consists of the teacher explaining theoretical material, which is revealed in the process of practical work.

The study of each topic ends with a survey (orally) and work to analyze the musical form of a particular work (in writing).

Graduates of children's music schools and children's art schools take a test on the material covered in writing. The grade for the test takes into account the results of tests completed by students during the learning process.

The proposed material is used in the educational process: “Tutorial for the analysis of musical works in senior classes of children's music schools and children's art schools”, an approximate analysis of musical works from the “Children's Album” by P.I. Tchaikovsky, “Album for Youth” by R. Schumann, as well as selected works : S. Rachmaninov, F. Mendelssohn, F. Chopin, E. Grieg, V. Kalinnikov and other authors.

Minimum content requirements for the discipline

(basic didactic units).

- means of musical expression, their formative capabilities;

Functions of parts of musical form;

Period, simple and complex forms, variation and sonata form, rondo;

The specificity of formation in instrumental works of classical genres, in vocal works.

Sonata form;

Polyphonic forms.

Thematic plan of the academic discipline.

Theoretical basis and technology for analyzing musical works.

I. Melody.

Melody plays a decisive role in a piece of music.

The melody itself, unlike other means of expression, is capable of embodying certain thoughts and emotions and conveying mood.

We always associate the idea of ​​melody with singing, and this is no accident. Changes in the pitch of sound: smooth and sharp rises and falls are associated primarily with the intonations of the human voice: speech and vocal.

The intonational nature of the melody provides the key to resolving the question of the origin of music: few doubt that it originates from singing.

The fundamentals that determine the aspects of a melody: pitch and time (rhythmic).

1.Melodic line.

Every melody has ups and downs. Changes in pitch form a kind of sound line. Here are the most common melodic lines:

A) wavy the melodic line evenly alternates rises and falls, which brings a sense of completeness and symmetry, gives the sound smoothness and softness, and is sometimes associated with a balanced emotional state.

1.P.I.Tchaikovsky “Sweet Dream”

2.E.Grieg “Waltz”

B) The melody insistently rushes up , with each “step” conquering new and new heights. If the upward movement prevails over a long period of time, a feeling of increasing tension and excitement appears. This melodic line is characterized by strong-willed purposefulness and activity.

1. R. Schumann “e Frost”

2. R. Schumann “Hunting Song”.

C) The melodic line flows calmly, slowly descending. Descending movement can make the melody softer, passive, feminine, and sometimes weak-willed and lethargic.

1. R. Schumann “The First Loss”

2. P. Tchaikovsky “The Doll’s Disease.”

D) The melodic line stands still, repeating the sound of that pitch. The expressive effect of this type of melodic movement often depends on the tempo. At a slow pace it introduces a feeling of monotonous, dull mood:

1. P. Tchaikovsky “Funeral of a doll.”

At a fast pace (rehearsals on this sound) - overflowing energy, perseverance, assertiveness:

1. P. Tchaikovsky “Neapolitan Song” (II part).

Frequent repetitions of sounds of the same pitch are characteristic of melodies of a certain type - recitative.

Almost all melodies contain smooth, progressive movement and jumps. Only occasionally there are absolutely smooth melodies without jumps. Smooth is the main type of melodic movement, and a jump is a special, extraordinary phenomenon, a kind of “event” during the melody. A melody cannot consist of only “events”!

The ratio of progressive and spasmodic movement, an advantage in one direction or another can significantly affect the character of the music.

A) The predominance of progressive movement in the melody gives the sound a soft, calm character, creating a feeling of smooth, continuous movement.

1. P. Tchaikovsky “The Organ Grinder Sings.”

2. P. Tchaikovsky “Old French Song”.

B) The predominance of spasmodic movement in the melody is often associated with a certain expressive meaning, which the composer often suggests to us by the title of the work:

1. R. Schumann “The Brave Rider” (horse running).

2. P. Tchaikovsky “Baba Yaga” (angular, “unkempt” appearance of Baba Yaga).

Individual leaps are also very important for the melody - they enhance its expressiveness and relief, for example, “Neapolitan Song” - a leap to the sixth.

In order to learn a more “subtle” perception of the emotional palette of a musical work, you also need to know that many intervals are endowed with certain expressive capabilities:

Third - sounds balanced and calm (P. Tchaikovsky “Mama”). Rising quart – purposefully, militantly and invitingly (R. Schumann “Hunting Song”). Octave the leap gives the melody noticeable breadth and scope (F. Mendelssohn “Song without Words” op. 30 No. 9, 3rd phrase of the 1st period). The leap often emphasizes the most important moment in the development of the melody, its highest point - climax (P. Tchaikovsky “Old French Song”, vols. 20-21).

Along with the melodic line, the main properties of the melody also include its metrorhythmic side.

Meter, rhythm and tempo.

Every melody exists in time, it lasts. WITH temporal The nature of music is related to meter, rhythm and tempo.

Pace – one of the most noticeable means of expression. True, tempo cannot be classified as a characteristic, individual means, so sometimes works of different nature sound at the same tempo. But tempo, together with other aspects of music, largely determines its appearance, its mood and thereby contributes to the transmission of those feelings and thoughts that are embedded in the work.

IN slow music is written at a pace that expresses a state of complete peace and immobility (S. Rachmaninov’s “Island”). Strict, sublime emotions (P. Tchaikovsky “Morning Prayer”), or, finally, sorrowful, mournful (P. Tchaikovsky “Funeral of a Doll”).

More mobile average tempo is quite neutral and is found in music of different moods (R. Schumann “The First Loss”, P. Tchaikovsky “German Song”).

Fast tempo occurs primarily when conveying continuous, directed movement (R. Schumann “The Brave Rider”, P. Tchaikovsky “Baba Yaga”). Fast music can be an expression of cheerful feelings, ebullient energy, a bright, festive mood (P. Tchaikovsky “Kamarinskaya”). But it can also express confusion, excitement, drama (R. Schumann “Father Frost”).

Meter just as tempo is related to the temporal nature of music. Usually, in a melody, accents periodically appear on individual sounds, and weaker sounds follow between them - just as in human speech stressed syllables alternate with unstressed ones. True, the degree of opposition between strong and weak sounds varies in different cases. In the genres of motor, active music (dances, marches, scherzos) it is greatest. In the music of a drawn-out song style, the difference between accented and unaccented sounds is not so noticeable.

Organization music is based on a certain alternation of accented sounds (strong beats) and unaccented sounds (weak beats) on a certain pulsation of the melody and all other elements associated with it. A strong beat together with subsequent weak ones forms tact. If strong beats appear at equal intervals of time (all beats are the same in size), then such a meter is called strict. If the cycles are different in size, which is very rare, then we are talking about free meter.

Various expressive possibilities have bilobed and quadripartite meters on one side and trilobed with another. If the former at a fast tempo are associated with a polka, gallop (P. Tchaikovsky “Polka”), and at a more moderate tempo – with a march (R. Schumann “Soldier’s March”), then the latter are primarily characteristic of the waltz (E. Grieg “Waltz” , P. Tchaikovsky “Waltz”).

The beginning of a motive (a motive is a small but relatively independent particle of melody, in which around one strong sound is grouped into several weaker ones) does not always coincide with the beginning of the measure. The strong sound of the motive can be at the beginning, in the middle, and at the end (like an accent in a poetic foot). On this basis, motives are distinguished:

A) Choreic - emphasis at the beginning. An emphasized beginning and a soft ending contribute to unification and continuity of the flow of the melody (R. Schumann “Father Frost”).

b) Iambic – starts on a weak beat. Active, thanks to the off-beat acceleration to the downbeat and clearly completed with an accented sound, which noticeably dismembers the melody and gives it greater clarity (P. Tchaikovsky “Baba Yaga”).

IN) Amphibrachic motive (a strong sound is surrounded by weak ones) - combines the active iambic beat and the soft ending of a trochee (P. Tchaikovsky “German Song”).

For musical expressiveness, it is very important not only the ratio of strong and weak sounds (meter), but also the ratio of long and short sounds - musical rhythm. There are not so many different sizes from each other, and therefore very different works can be written in the same size. But the ratios of musical durations are countless and, in combination with meter and tempo, they form one of the most important features of the individuality of a melody.

Not all rhythmic patterns have a strong characteristic. Thus, the simplest uniform rhythm (the movement of a melody in even durations) easily “adapts” and becomes dependent on other means of expression and, most of all, on tempo! At a slow tempo, such a rhythmic pattern gives the music balance, measuredness, calmness (P. Tchaikovsky “Mama”), or detachment, emotional coldness and severity (“P. Tchaikovsky “Chorus”). And at a fast pace, such a rhythm often conveys continuous movement, non-stop flight (R. Schumann “The Brave Rider”, P. Tchaikovsky “The Game of Horses”).

Has a pronounced characteristic dotted rhythm .

It usually brings clarity, springiness and edge to the music. It is often used in energetic and effective music, in marching works (P. Tchaikovsky “March of the Wooden Soldiers”, “Mazurka”, F. Chopin “Mazurka”, R. Schumann “Soldier’s March”). At the heart of the dotted rhythm - iambic : That's why he sounds energetic and active. But sometimes it can help soften, for example, a wide jump (P. Tchaikovsky “Sweet Dream” vols. 2 and 4).

Bright rhythmic patterns also include syncope . The expressive effect of syncopation is associated with the contradiction between rhythm and meter: the weak sound is longer than the sound on the preceding strong beat. A new accent, not provided for by the meter and therefore somewhat unexpected, usually carries elasticity, springy energy. These properties of syncopation have led to their widespread use in dance music (P. Tchaikovsky “Waltz”: 3/4, “Mazurka”: 3/4). Syncopation often occurs not only in the melody, but also in the accompaniment.

Sometimes syncopations follow one after another, in a chain, either creating the effect of a soft flight movement (M. Glinka “I Remember a Wonderful Moment” vol. 9, Krakowiak from the opera “Ivan Susanin” - beginning), or causing the idea of ​​a slow, seemingly difficult utterance , about the restrained expression of a feeling or thought (P. Tchaikovsky “Autumn Song” from “The Seasons”). The melody seems to bypass the strong beats and acquires a free-floating character or smoothes out the boundaries between parts of the musical whole.

A rhythmic pattern can bring to music not only sharpness, clarity, like a dotted rhythm, and springiness, like syncopation. There are many rhythms that are directly opposite in their expressive effect. Often these rhythmic patterns are associated with three-beat sizes (which in themselves are already perceived as smoother than 2- and 4-beat measures). Thus, one of the most common rhythmic patterns in sizes 3/8, 6/8 at a slow tempo expresses a state of peace, serenity, and even, restrained narrative. Repeating this rhythm over a long period of time creates a swinging, swaying effect. That is why this rhythmic pattern is used in the genres of barcarolle, lullaby and siciliana. The triplet movement in eighth notes at a slow tempo has the same effect (M. Glinka “Venice Night”, R. Schumann “Sicilian Dance”). At a fast pace rhythmic pattern

It is a type of dotted line and therefore takes on a completely different expressive meaning - it brings a feeling of clarity and precision. Often found in dance genres - lezginka, tarantella(P. Tchaikovsky “New Doll”, S. Prokofiev “Tarantella” from “Children’s Music”).

All this allows us to conclude that certain musical genres are associated with certain metrorhythmic means of expression. And when we feel the connection of music with the genre of march or waltz, lullaby or barcarolle, then this is primarily due to a certain combination of meter and rhythmic pattern.

To determine the expressive nature of a melody and its emotional structure, it is also important to analyze it. fretted sides.

Mode, tonality.

Any melody consists of sounds of different pitches. The melody moves up and down, and the movement does not occur according to sounds of any height, but only according to relatively few, “selected” sounds, and each melody has its own “own” series of sounds. Moreover, this usually small series is not just a set, but a specific system called all right . In such a system, some sounds are perceived as unstable, requiring further movement, while others are perceived as more stable, capable of creating a feeling of complete or at least partial completion. The interconnection of the sounds of such a system is manifested in the fact that unstable sounds tend to become stable. The expressiveness of a melody very significantly depends on what scale steps it is built on - stable or unstable, diatonic or chromatic. Thus, in P. Tchaikovsky’s play “Mama,” the feeling of calm, tranquility, and purity is largely due to the structural features of the melody: thus, in bars 1-8, the melody constantly returns to stable steps, which are emphasized by the location on the strong beats and repeated repetition (first the V steps , then I and III). Capturing nearby unstable steps – VI, IV and II (the most unstable, acutely gravitating – introductory tone VII step is missing). Everything together adds up to a clear and “pure” diatonic “picture”.

And vice versa, the appearance of chromatic sounds after pure diatonic in the romance “Island” by S. Rachmaninov (see volumes 13-15) introduces a feeling of excitement and anxiety, drawing our attention to the change in image (mention in the text about the breeze and thunderstorm).

Now let's define the concept of mode more clearly. As follows from the previous one, okay- this is a certain system of sounds that are interconnected and subordinate to each other.

Of the numerous modes in professional music, the most widely used are major and minor. Their expressive capabilities are widely known. Major music is often solemn and festive (F. Chopin Mazurka F-Dur), or cheerful and joyful (P. Tchaikovsky “March of the Wooden Soldiers”, “Kamarinskaya”), or calm (P. Tchaikovsky “Morning Prayer”). In the minor key, the music that sounds for the most part is thoughtful and sad (P. Tchaikovsky “Old French Song”), sorrowful (P. Tchaikovsky “Funeral of a Doll”), elegiac (R. Schumann “The First Loss”) or dramatic (R. Schumann “Grandfather Frost”, P. Tchaikovsky “Baba Yaga”). Of course, the distinction made here is conditional and relative. Thus, in “March of the Wooden Soldiers” by P. Tchaikovsky, the major melody of the middle part sounds alarming and gloomy. The major coloring is “overshadowed” by the lowered II degree A-Dur (B flat) and minor (harmonic) S in the accompaniment (the opposite effect in E. Grieg’s “Waltz”).

The properties of modes are more pronounced when they are compared side by side, when a mode contrast arises. Thus, the harsh, “blizzard” minor extreme parts of R. Schumann’s “Father Frost” are contrasted with the enlightened “sunny” major middle. A bright modal contrast can also be heard in P. Tchaikovsky’s “Waltz” (Es-Dur –c-moll – Es-Dur). In addition to major and minor, folk music modes are also used in professional music. Some of them have specific expressive capabilities. So Lydian The major mode with the #IV degree (M. Mussorgsky's "Tuileries Garden") sounds even lighter than the major. A Phrygian mode of minor mood with bII art. (M. Mussorgsky's Song of Varlaam from the opera "Boris Godunov") gives the music an even more gloomy flavor than the natural minor. Other modes were invented by composers to embody some small images. For example, six-speed whole tone M. Glinka used the mode to characterize Chernomor in the opera “Ruslan and Lyudmila”. P. Tchaikovsky - in the musical embodiment of the ghost of the Countess in the opera “The Queen of Spades”. A.P. Borodin - to characterize the evil spirits (goblin and witches) in a fairy-tale forest (the romance “The Sleeping Princess”).

The modal side of the melody is often associated with the specific national coloring of the music. Thus, the use of five-step frets is associated with the images of China and Japan - pentatonic scales. Eastern peoples and Hungarian music are characterized by scales with extended seconds - Jewish Lad (M. Mussorgsky “Two Jews”). And for Russian folk music it is characteristic modal variability.

The same fret can be located at different heights. This height is determined by the main stable sound of the mode - the tonic. The height of the fret is called tonality. Tonality may not be as obvious as mode, but it also has expressive properties. So, for example, many composers wrote music of a mournful, pathetic nature in C minor (Beethoven’s “Pathétique” Sonata, Tchaikovsky’s “Funeral of a Doll”). But a lyrical, poetic theme with a touch of melancholy and sadness will sound well in B-moll (F. Schubert Waltz in B-moll). D-Dur is perceived as brighter, more festive, sparkling and shiny compared to the calmer, softer “matte” F-Dur (try transferring P. Tchaikovsky’s “Kamarinskaya” from D-Dur to F-Dur). The fact that each key has its own “color” is also proven by the fact that some musicians had “colored” hearing and heard each key in a certain color. For example, Rimsky-Korsakov’s C-Dur was white, while Scriabin’s was red. But both perceived E-Dur in the same way - in blue.

The sequence of tonalities, the tonal plan of a composition is also a special means of expression, but it is more appropriate to talk about it later, when we talk about harmony. For the expressiveness of a melody, for expressing its character and meaning, other, albeit not so important, aspects are also of considerable importance.

Dynamics, register, strokes, timbre.

One of the properties of musical sound, and therefore music in general, is volume level. Loud and quiet sonority, their comparisons and gradual transitions make up dynamics musical work.

To express sadness, sorrow, and complaint, quiet sonority is more natural (P. Tchaikovsky “The Doll’s Illness”, R. Schumann “The First Loss”). Piano is also capable of expressing bright joy and peace (P. Tchaikovsky “Morning Reflection”, “Mother”). Forte it contains delight and jubilation (R. Schumann “Hunting Song”, F. Chopin “Mazurka” op. 68 No. 3) or it refers to anger, despair, drama (R. Schumann “Father Frost” I part, climax in “The First Loss” by R. Schumann).

The rise or fall of the sound is associated with the intensification, growth of the conveyed feeling (P. Tchaikovsky “The Doll’s Disease”: sadness turns into despair) or, on the contrary, with its attenuation, extinction. This is the expressive nature of the dynamics. But she also has an “external” figurative meaning: strengthening or weakening of sonority can be associated with approaching or moving away (P. Tchaikovsky “Baba Yaga”, “The Organ Grinder Sings”, M. Mussorgsky “Cattle”).

Closely related to the dynamic side of music is the colorful side, associated with the variety of timbres of different instruments. But since this course of analysis is related to piano music, we will not dwell in detail on the expressive possibilities timbre

To create a certain mood, the character of a musical work, it is also important register , in which the melody sounds. Low the sounds are weightier and heavier (the heavy tread of Father Frost in the play of the same name by R. Schumann), upper– lighter, lighter, more sonorous (P. Tchaikovsky “Song of the Lark”). Sometimes a composer specifically limits himself to a particular register to create a specific effect. Thus, in “March of the Wooden Soldiers” by P. Tchaikovsky, the feeling of toy-likeness is largely due to the use of only the high and middle register.

In the same way, the character of the melody depends to a large extent on whether it is performed coherently and melodiously or dryly and abruptly.

Strokes impart special shades of expressiveness to the melody. Sometimes strokes are one of the genre characteristics of a musical work. So Legato characteristic of works of a song nature (P. Tchaikovsky “Ancient French Song”). Staccato more often used in dance genres, in genres scherzo, toccatas(P. Tchaikovsky “Kamarinskaya”, “Baba Yaga” - scherzo, “Game of Horses” - scherzo + toccata). Performing touches cannot, of course, be considered an independent means of expression, but they enrich, enhance and deepen the character of the musical image.

Organization of musical speech.

In order to learn to understand the content of a musical work, it is necessary to understand the meaning of those “words” and “sentences” that make up musical speech. A necessary condition for comprehending this meaning is the ability to clearly distinguish between parts and particles of a musical whole.

The factors of dismemberment into parts in music are very diverse. It could be:

Pause or rhythmic stop on a long sound (or both)

P. Tchaikovsky: “Old French Song”,

"Italian song"

"Nanny's Tale"

2. Repetition of the structure just stated (repetition can be exact, varied or sequential)

P. Tchaikovsky: “March of the Wooden Soldiers” (see the first two 2-bar phrases), “Sweet Dream” (the first two 2-bar phrases are a sequence, the same is the 3rd and 4th phrases).

3. Contrast also has dismembering capabilities.

F. Mendelssohn “Song without Words”, op.30 No. 9. The first and second phrases are contrasting (see volumes 3-7).

The degree of contrast between two complex musical structures determines whether they will merge into one whole or separate into two independent ones.

Despite the fact that only instrumental works are analyzed in this course, it is necessary to draw students' attention to the fact that many instrumental melodies songlike by it's nature. As a rule, these melodies are contained in a small range, they have a lot of smooth, progressive movement, and the phrases are distinguished by their songlike breadth. Similar song type melody cantilena is inherent in many plays from P. Tchaikovsky’s “Children’s Album” (“Ancient French Song”, “Sweet Dream”, “The Organ Grinder Sings”). But the vocal melody is not always cantilena. Sometimes its structure resembles recitative and then the melody has many repetitions on one sound, the melodic line consists of short phrases separated from each other by pauses. Melody melodic-declamatory warehouse combines the characteristics of cantilena and recitative (P. Tchaikovsky “Funeral of a Doll”, S. Rachmaninov “Island”).

In the process of introducing students to different sides of a melody, it is important to convey to them the idea that they affect the listener in a complex manner, in interaction with each other. But it is absolutely clear that not only different facets of melody interact in music, but also many and important aspects of the musical fabric that lie beyond its boundaries. One of the main aspects of the musical language, along with melody, is harmony.

Harmony.

Harmony is a complex area of ​​musical expressiveness; it combines many elements of musical speech - melody, rhythm, and guides the laws of development of the work. Harmony is a certain system of combinations of sounds vertically into harmonies and a system of connecting these harmonies with each other. It is advisable to first consider the properties of individual consonances, and then the logic of their combinations.

All harmonic consonances used in music are different:

A) according to the principles of construction: chords of tertian structure and non-tertian consonances;

B) by the number of sounds included in them: triads, seventh chords, non-chords;

C) according to the degree of consistency of the sounds included in their composition: consonances and dissonances.

Consistency, harmony and fullness of sound distinguish major and minor triads. They are the most universal of all chords, their range of application is unusually wide, and their expressive possibilities are multifaceted.

The enlarged triad has more specific expressive capabilities. With its help, the composer can create the impression of fantastic fabulousness, unreality of what is happening, mysterious enchantment. Of the seventh chords, mind VII7 has the most definite expressive effect. It is used to express moments of confusion, emotional tension, fear in music (R. Schumann “Father Frost” - 2nd period, “First loss”, see ending).

The expressiveness of a particular chord depends on the entire musical context: melody, register, tempo, volume, timbre. In a specific composition, using a number of techniques, the composer can enhance the original, “natural” properties of the chord or, on the contrary, dampen them. That is why a major triad in one piece can sound solemn and jubilant, while in another it can sound transparent, unsteady, and airy. The soft and shaded minor triad also gives a wide emotional range of sound - from calm lyricism to the deep sorrow of a funeral procession.

The expressive effect of chords also depends on the arrangement of sounds in registers. Chords whose tones are taken compactly are concentrated in a small volume, giving the effect of a denser sound (this arrangement is called cramped). And vice versa, a chord spread out, with a large space between the voices, sounds three-dimensional, booming (wide arrangement).

When analyzing the harmony of a musical work, it is necessary to pay attention to the ratio of consonances and dissonances. Thus, the soft, calm character in the first part of the play “Mother” by P. Tchaikovsky is largely due to the predominance of consonant chords (triads and their inversions) in the harmony. Of course, harmony has never been reduced to the succession of consonances alone - this would have deprived the music of aspiration, gravity, and would have slowed down the progress of musical thought. Dissonance is the most important stimulus in music.

Various dissonances: um5/3, uv5/3, seventh and non-chords, non-tertian consonances, despite their “natural” rigidity, are used in a fairly wide expressive range. By means of dissonant harmony, not only the effects of tension and sharpness of sound are achieved, but with its help you can also obtain a soft, shaded color (A. Borodin “The Sleeping Princess” - second harmonies in the accompaniment).

It should also be taken into account that the perception of dissonance changed over time - their dissonance gradually softened. So, over time, the dissonance of D7 became less noticeable and lost the sharpness that it had at the time this chord appeared in music (C. Debussy “The Puppet Cake-Walk”).

It is quite obvious that in any piece of music, individual chords and harmonies follow each other, forming a coherent chain. Knowledge of the laws of these connections, the concept of modal functions chords helps to navigate the complex and varied chord structure of the work. T5/3, as a center that attracts all movement to itself, has a stability function. All other consonances are unstable and are divided into 2 large groups: dominant(D,III,VII) and subdominant(S, II, VI). These two functions in harmony are largely opposite in meaning. The functional sequence D-T (authentic turns) is associated in music with an active, strong-willed character. Harmonic constructions with the participation of S (plagal turns) sound softer. Such revolutions with a subdominant were widely used in Russian classical music. Chords of other degrees, in particular III and VI, introduce additional, sometimes very subtle expressive nuances into the music. The consonance of these steps was especially used in the music of the Romantic era, when composers were looking for new, fresh harmonic colors (F. Chopin “Mazurka” op. 68, No. 3 - see volumes 3-4 and 11-12: VI 5/3- III 5/3).

Harmonic techniques are one of the most important means of developing a musical image. One such technique is harmonic variation when the same melody is harmonized with new chords. A familiar musical image seems to turn to us with its new facets (E. Grieg “Solveig’s Song” - the first two 4-bar phrases, F. Chopin “Nocturne” in c-moll volumes 1-2).

Another means of harmonious development includes modulation. Almost no piece of music is complete without modulation. The number of new keys, their relationship with the main key, the complexity of tonal transitions - all this is determined by the size of the work, its figurative and emotional content and, finally, the style of the composer.

It is necessary that students learn to navigate related tonalities (I degree), where modulations most often occur. Distinguish between modulations and deviations (short modulations not fixed by cadences) and comparisons (transition to another key on the verge of musical constructions).

Harmony is closely related to the structure of a musical work. Thus, the initial presentation of musical thought is always relatively stable in nature. Harmony emphasizes tonal stability and functional clarity. The development of the theme involves the complication of harmony, the introduction of new tonalities, that is, in a broad sense - instability, example: R. Schumann “Father Frost”: compare the 1st and 2nd periods in the first part of a simple 3-part form. In the 1st period - reliance on t5/3 ​​a-moll, D5/3 appears in cadences, in the 2nd period - deviation in d-moll; e-moll without final t through mindVII7.

For the expressiveness and beauty of harmony, not only the choice of certain chords and the relationships that arise between them is important, but also the way of presenting the musical material or texture.

Texture.

The various types of texture found in music can be divided, of course very conditionally, into several large groups.

The first type of texture is called polyphony . In it, the musical fabric consists of a combination of several, fairly independent melodic voices. Students must learn to distinguish between polyphony imitation, contrast and subvocal. This course of analysis is not focused on works of a polyphonic nature. But in works with a different type of texture, polyphonic development techniques are often used (R. Schumann “The First Loss”: see the 2nd sentence of the 2nd period - imitation is used at the moment of climax, introducing a feeling of special tension; P. Tchaikovsky “Kamarinskaya” : the theme uses subvocal polyphony, typical of Russian folk music).

The second type of texture is chord warehouse , in which all voices are presented in the same rhythm. It is distinguished by its special compactness, full sonority, and solemnity. This type of texture is characteristic of the march genre (R. Schumann “Soldier’s March”, P. Tchaikovsky “March of the Wooden Soldiers”) and chorale (P. Tchaikovsky “Morning Prayer”, “In the Church”).

Finally, the texture of the third type - homophonic , in the musical fabric of which one main voice stands out (melody), and the remaining voices accompany it (accompaniment). It is necessary to introduce students to various types of accompaniment in a homophonic warehouse:

A) Harmonic figuration - the sounds of the chords are taken one by one (P. Tchaikovsky “Mama” - the presentation of the accompaniment in the form of harmonic figuration enhances the feeling of softness and smoothness).

B) Rhythmic figuration - repetition of chord sounds in any rhythm: P. Tchaikovsky “Neapolitan Song” - repetition of chords in an ostinato rhythm gives the music clarity, sharpness (staccato), is perceived as a sound-representational device - imitation of percussion instruments.

Homophonic structure with different types of figuration in the accompaniment is also characteristic of many musical genres. So for a nocturne, for example, accompaniment in the form of harmonic figuration in a wide arrangement of chords in a broken form is typical. Such a trembling, oscillating accompaniment is inextricably linked with the specific “night” flavor of the nocturne.

Texture is one of the most important means of developing a musical image, and its change is often caused by a change in the figurative and emotional structure of the work. Example: P. Tchaikovsky “Kamarinskaya” - change in the 2nd variation of the warehouse from homophonic to chordal. Associated with the change from a light, graceful dance to a powerful general dance.

Form.

Every piece of music, large or small, “flows” in time and represents a certain process. It is not chaotic, it is subject to known patterns (the principle of repetition and contrast). The composer chooses the form and compositional plan of the composition based on the idea and specific content of this composition. The task of the form, its “duty” in a work is to “link”, coordinate all expressive means, arrange the musical material, organize it. The form of the work should serve as a strong basis for a holistic artistic idea of ​​it.

Let us dwell in more detail on those forms that are most often used in piano miniatures, in the pieces of the “Children's Album” by P. Tchaikovsky and “Album for Youth” by R. Schumann.

1.One-part form. Period.

The smallest form of a complete presentation of a musical theme in homophonic-harmonic music is called a period. The feeling of completion is caused by the arrival of the melody to a sustained sound at the end of the period (in most cases) and the final cadence (the harmonic revolution leading to T5/3). Completeness allows the period to be used as a form of independent work - a vocal or instrumental miniature. Such a work is limited to just one presentation of the topic. As a rule, these are periods of repeated construction (the 2nd sentence repeats the 1st sentence almost exactly or with a change). The period of such a structure helps to better remember the main musical idea, and without this it is impossible to remember a piece of music or understand its content (F. Chopin “Prelude” A-Dur- A+A1.

If the period is part of a more developed form, then it may not be of repeated structure (the repetition will not be within the topic, but outside it). Example: L. Beethoven “Pathetique” sonata, II movement theme A+B.

Sometimes, when the period is actually over, another addition to the period sounds. It may repeat any part of the period or may be based on relatively new music (P. Tchaikovsky's "Morning Prayer", "The Doll's Sickness" - both pieces are in period form with an addition.

Simple forms:

A) Simple 2-part form.

The possibility of development within the period is very limited. To give any significant development to the theme, it is necessary to go beyond the one-part form; it is necessary to build a composition from a large number of parts. This is how simple forms arise - two and three-part.

The simple 2-part form grew out of the principle of comparing contrasting parts in folk music (verse with chorus, songs with instrumental performance). Part I presents the topic in period form. It can be single-tone or modulating. Part II is no more complicated than the period, but still a completely independent part, and not just an addition to period 1. The second part never repeats the first, it is different. And at the same time, there must be an audible connection between them. The kinship of parts can manifest itself in their common mode, tonality, size, in their identical size, and often in melodic similarity, in general intonation. If familiar elements predominate, then the 2nd part is perceived as an updated repetition, development initial topic. An example of this form is “The First Loss” by R. Schumann.

If the 2nd part is dominated by elements of the new, then it is perceived as contrast ,matching. Example: P. Tchaikovsky “The organ grinder sings” - a comparison of the organ grinder’s song in the 1st period and the instrumental performance of the organ grinder in the 2nd, both periods are square 16-bar repeated construction.

Sometimes, at the end of a 2-part form, the strongest means of musical completion is used - the principle reprisal. The return of the main theme (or part of it) plays an important role in semantic terms, enhancing the significance of the topic. On the other hand, reprise is very important for the form - it gives it a deeper completeness than harmonic or melodic stability alone can provide. This is why in most examples of the 2-part form the second part combines care with return. How does this happen? The second part of the form is clearly divided into 2 constructions. The first, occupying the middle position in the form (“third quarter”) is devoted to the development of the theme presented in the 1st period. It is dominated by either transformation or comparison. And in the second final construction, one of the sentences of the first theme is returned, that is, an abbreviated reprise is given (P. Tchaikovsky “An Old French Song”).

B) Simple 3-part form.

In the reprise 2-part form, the reprise accounts for only half of the 2nd part. If the reprise completely repeats the entire 1st period, then a simple 3-part form is obtained.

The first part does not differ from the 1st part in two particular forms. The second is entirely devoted to the development of the first topic. Example: R. Schumann “The Brave Rider”, or presentation of a new topic. Now it can receive a detailed presentation in the form of a period (P. Tchaikovsky “Sweet Dream”, R. Schumann “Folk Song”).

The third part is a reprise, full period and this is the most important difference between the three-part form and the two part form, which ends with a reprise sentence. The three-part form is more proportional, more balanced than the two-part form. The first and third parts are similar not only in their content, but also in size. The dimensions of the second part in a three-part form may differ significantly from the first in size: it may noticeably exceed the length of the first period. Example - P. Tchaikovsky “Winter Morning”: Part I is a 16-beat square period of repeated construction, Part II is a non-square 24-beat period consisting of 3 sentences, but it can be much shorter than it (L. Beethoven Minuet from Sonata No. 20, where Parts I and III are 8-beat square periods, Part II is 4-beat, one sentence).

A reprise can be a literal repetition of part I (P. Tchaikovsky “Funeral of a Doll”, “German Song”, “Sweet Dream”).

The reprise may differ from Part I, sometimes in details (P. Tchaikovsky “March of the Wooden Soldiers” - different final cadences: in Part I there is modulation from D-Dur to A-Dur, in Part III the main D-Dur is established; R. Schumann “ Folk song" - changes in the reprise significantly modified the texture). In such reprises a return is given with a different expressiveness, based not on simple repetition, but on development.

Sometimes there are simple three-part forms with an introduction and conclusion (F. Mendelssohn “Song without Words” op. 30 No. 9). The introduction introduces the listener into the emotional world of the work, preparing him for something basic. The conclusion concludes and summarizes the development of the entire essay. Conclusions that use musical material from the middle part are very common (E. Grieg “Waltz” a -moll). However, the conclusion can also be built on the material of the main topic in order to confirm its leading role. There are also conclusions that combine elements of the extreme and middle parts.

Complex shapes.

They are formed by simple forms, approximately in the same way that simple forms themselves are formed from periods and parts equivalent to them. This is how complex two-part and three-part forms are obtained.

What is most characteristic of a complex form is the presence of contrasting, brightly opposed images. Due to their independence, each of them requires extensive development, does not fit into the framework of the period and forms a simple 2- and 3-part form. This mainly concerns part I. The middle (in a 3-part form) or the second part (in a 2-part form) can be not only a simple form, but also a period (P. Tchaikovsky’s “Waltz” from “Children’s Album” is a complex three-part form with a period in the middle, “ Neapolitan song" - complex two-part, part II period).

Sometimes the middle in a complex three-part form is a free form consisting of a number of constructions. The middle in period form or in simple form is called trio , and if it is in free form, then episode. Three-part forms with a trio are typical for dances, marches, and scherzos; and with an episode - for slow plays of a lyrical nature.

A reprise in a complex three-part form can be accurate - da capo al fine, (R. Schumann “Father Frost”, but can also be significantly modified. Changes can also concern its scope; it can be significantly expanded and shortened (F. Chopin “Mazurka” op.68 No. 3 - in the reprise, instead of two periods, there is only one left.) The complex two-part form is much less common than the three-part form, most often in vocal music (arias, songs, duets).

Variations.

Same as the simple two-part form variational The form originates from folk music. Often in folk songs, verses were repeated with changes - this is how the verse-variation form developed. Among the existing types of variations, the ones closest to folk art are variations on an unchanging melody (soprano ostinato). Such variations are especially common among Russian composers (M. Mussorgsky, Varlaam’s song “As it was in the city in Kazan” from the opera “Boris Godunov”). Along with variations of soprano ostinato, there are other types of variational form, for example strict , or ornamental variations, which became widespread in Western European music of the 18th -19th centuries. Strict variations, unlike soprano ostinato variations, require obligatory changes in the melody; The accompaniment also varies in them. Why are they called strict? It's all about the extent to which the melody changes, how far the variations move away from the original theme. The first variations are more similar to the theme, the subsequent ones are more distant from it and differ more from each other. Each subsequent variation, while maintaining the basis of the theme, seems to put it in a different shell and colors it with a new ornament. The tonality, harmonic sequence, form, tempo and meter remain unchanged - these are unifying, cementing means. That is why strict variations are also called ornamental. Thus, the variations reveal different aspects of the theme and complement the main musical idea stated at the beginning of the work.

The variation form serves to embody one musical image, shown with exhaustive completeness (P. Tchaikovsky “Kamarinskaya”).

Rondo.

Let us now get acquainted with the musical form, in the construction of which two principles participate equally: contrast and repetition. The rondo form originated, like the variations, from folk music (choral song with chorus).

The most important part of the form is the refrain. It is repeated several times (at least 3), alternating with other themes - episodes that may resemble the refrain in sound, or may initially differ from it.

The number of parts in a rondo is not an external sign; it reflects the very essence of the form, as it is associated with a contrasting comparison of one image with several. Viennese classics most often use the rondo form in the finales of sonatas and symphonies (J. Haydn, sonatas D-Dur and E-moll; L. Beethoven, sonatas G-moll No. 19 and G-Dur No. 20). In the 19th century, the scope of application of this form expanded significantly. And if among the Viennese classics the song and dance rondo predominated, then among Western European romantics and Russian composers there were lyrical and narrative rondos, fairy-tale and pictorial rondos (A. Borodin, romance “The Sleeping Princess”).

Conclusions:

None of the musical expressive means appears in its pure form. In any work, meter and rhythm are closely intertwined at a certain tempo, the melodic line is given in a certain mode and timbre. All aspects of the musical “fabric” affect our hearing simultaneously; the general character of the musical image arises from the interaction of all means.

Sometimes different means of expression are aimed at creating the same character. In this case, all expressive means are, as it were, parallel to each other, co-directed.

Another type of interaction between musical and expressive means is mutual complementation. For example, the features of a melodic line can indicate its song character, and a four-beat meter and a clear rhythm give the music a marching quality. In this case, singing and marching successfully complement each other.

Finally, it is possible that there may be a contradictory relationship between different means of expression, when melody and harmony, rhythm and meter may come into conflict.

Thus, acting in parallel, mutually complementing or conflicting with each other, all means of musical expression together create a certain character of the musical image.

Robert Schumann

"Hunting Song" .

I. Character, image, mood.

The bright music of this play helps us visualize the scene of an ancient hunt. The ceremonial sound of the trumpet heralds the beginning of the hunting ritual. And now horsemen with guns are rushing rapidly through the forest, dogs are rushing forward with furious barking. Everyone is in joyful excitement, in anticipation of victory over a wild beast.

II. Form: simple three-part.

Part 1 – square eight-cycle period,

Part 2 – square eight-cycle period,

Part 3 – non-square twelve clock period (4+4+4t.).

III. Means of musical expression.

Villa – Lobos

“Let mom cradle her.”

I Character, image, mood.

An unforgettable picture from distant childhood: a mother’s head bowed over a falling asleep child. Quietly and affectionately, the mother sings a lullaby to the baby, tenderness and care can be heard in her voice. The cradle slowly rocks and it seems that the baby is about to fall asleep. But the prankster can’t sleep, he still wants to frolic, run, ride a horse (or maybe the child is already sleeping and dreaming?). And again the gentle, thoughtful “words” of the lullaby are heard.

II Form: simple three-part.

Parts I and III are non-square periods of 12 bars (4+4+4+2 bars addition in the reprise).

Part II is a square period of 16 cycles.

III Means of musical expression:

1.Genre basis- Lullaby. It starts with a 2-bar introduction - an accompaniment without a melody, like a song.

Genre characteristics:

2. A melodious melody – cantilena. A smooth step-by-step movement with soft moves on the third predominates.

3. Rhythm: calm movement at a slow pace, with stops at the end of phrases.

Edvard Grieg

"Waltz".

I .Character, image, mood.

The mood of this dance is very changeable. At first we hear elegant and graceful music, slightly capricious and light. The dancers flutter in the air like butterflies, their toes barely touching the parquet floor. But the trumpets in the orchestra sounded brightly and solemnly and many couples began to spin in a whirlwind of a waltz. And again a new image: someone’s beautiful voice sounds tenderly and affectionately. Maybe one of the guests sings a simple and uncomplicated song to the accompaniment of a waltz? And again familiar images flash by: lovely little dancers, the sounds of an orchestra and a pensive song with notes of sadness.

II .Form: simple three-part with coda.

Part I - square period - 16 bars, repeated twice + 2 bars introduction.

Part II – square period of 16 measures.

Part III is an exact reprise (the period is given without repetition). Coda – 9 bars.

III .Means of musical expression.

1.Means of genre expression:

A) trilobed size (3/4),

B) homophonic - harmonic structure, accompaniment in the form: bass + 2 chords.

2. The melody in the first sentence has a wave-like structure (soft rounded phrases). A smooth, progressive movement predominates, the impression of a whirling movement.

3.Stroke – staccato.

4.Forshlag with syncopation at the end of phrases 1 and 2. The impression of lightness, airiness, a slight bounce at the end.

5. Tonic organ point in the bass – a feeling of spinning in one place.

6. In the second sentence there is a change in texture: chord structure. Active sound of trolls on the downbeat. The sound is bright, lush and solemn.

7. Sequence with a favorite for romantics third step: C-Dur, a-moll.

8. Features of the minor scale (a-moll): thanks to its melodic appearance, the minor scale sounds like a major scale! The melody moves along the sounds of the upper tetrachord in phrases 1 and 2.

Middle part:(A - Dur ).

9.Change of texture. The melody and accompaniment swapped places. There is no bass on the downbeat - a feeling of weightlessness, lightness.

10.Lack of low register.

11. The melody has become more melodious (legato replaces staccato). A song was added to the dance. Or maybe this is the expression of a soft, feminine, captivating image - someone’s face that stands out in a crowd of dancing couples.

Reprise – accurate, but without repetition.

Code- the motive of the song from the middle part against the backdrop of a trailing tonic fifth.

Fryderyk Chopin

Mazurka op.68 No.3.

I .Character, image, mood.

Brilliant ballroom dance. The music sounds solemn and proud. The piano is like a powerful orchestra. But now, as if from somewhere far away, a folk tune is heard. It sounds loud and cheerful, but barely perceptible. Maybe this is a memory of a village dance? And then the bravura ballroom mazurka sounds again.

II Form: simple three-part.

Part I is a simple two-part consisting of 2 square 16-bar periods;

Part II is a square eight-bar period with an introduction of 4 bars.

Part III – shortened reprise, 1 square 16-bar period.

IIIMeans of musical expression:

1.Tripartite size (3/4).

2.Rhythmic pattern with a dotted line on the downbeat gives sharpness and clarity to the sound. These are the genre characteristics of the mazurka.

3.Chord warehouse, dynamics f Andff - solemnity and brightness.

4. The intonation “grain” of the upper melodic voice - a jump at ch4 followed by filling) - inviting, victorious, jubilant in nature.

5.Major mode F-Dur. At the end of the 1st sentence the modulation is in C-Dur, in the 2nd it is a return to F-Dur).

6.Melodic development is based on sequences (third step, typical for romantics).

In the 2nd period the sound is even brighter, but the character also becomes more severe and militant.

1.Dynamics ff .

3. A new motive, but with a familiar rhythm: or. Rhythmic ostinato throughout the first movement.

The new intonation in the melody is third moves alternating with progressive movement. Melodic phrases do not retain their undulation. Downward movement predominates.

4.The key is A-Dur, but with a minor tint, since S 5/3 is given in harmonic form (vol. 17, 19, 21, 23)) - a harsh shade.

The second sentence is a reprise (repeats exactly the 2nd sentence of the first period).

Middle part - light, bright, soft, tender and cheerful.

1. Ostinate tonic fifth in the bass - imitation of folk instruments (bagpipes and double bass).

2. The dotted rhythm has disappeared, and smooth movement in eighth notes at a fast tempo predominates.

3. In the melody there are soft third moves up and down. Feeling of rapid whirling movement, softness, smoothness.

5. A special mode characteristic of Polish folk music - Lydian(E bekar with tonic B flat) are the folk origins of this theme.

6.Dynamics R, barely perceptible sound, music as if coming from somewhere far away, or with difficulty breaking through the haze of memories.

Reprise: shortened compared to Part I. There is only the first period left, which is repeated. The brilliant ballroom mazurka sounds again.