Analysis of the muses of the work is an example. A holistic analysis of a piece of music on the example of Rondo from Sonata h - moll by F.E.Bach. Generalizations of Harmonic Analysis Data

The word "analysis" in translation from Greek means "decomposition", "dismemberment". Musical - theoretical analysis of a piece is a scientific study of music, which includes:

1. Study of style and form.
2. Definition of the 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 piece of music is a method based on dividing a whole into small parts. In contrast to analysis, there is a synthesis - a technique that involves the combination of 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 piece of music, which should ultimately lead to generalization and a clearer understanding of the object.

The meaning of the term

There is a wide and narrow use of this term.

1. Analytical study of any musical phenomenon, patterns:

• structure of major or minor;
• the principle of the harmonic function;
• norms of the metro-rhythmic basis for a particular style;
• the laws of composition of a piece of music 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 have provoked the active development of the analysis of musical works:

1. AB Marks “Ludwig Beethoven. Life and art". This creation, 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 the 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 the progress in this musical direction.

3. The work of G. Kretschmar "Guide to concerts" helped to 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 his the three-volume monograph "Beethoven" by P. Becker analyzes the sonatas and symphonies of the greatest composer using their poetic ideas.

6. H. Leuchtentritt, "The Study of Musical Form", "Analysis of Chopin's Piano Works". In the writings of the authors, he conducts a competent combination of a high scientific and theoretical level of analysis and figurative characteristics with aesthetic assessments.

7. A. Lorenz "The 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 the 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 piece of music are the works of the French musicologist and public figure R. Rolland. These include work “Beethoven. Great creative epochs ”. Rolland analyzes the music of various genres in the composer's work: symphonies, sonatas and operas. Creates his own unique analytical method, which is based on poetic, literary metaphors and associations. This method goes beyond the strict boundaries of musical 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 in the West.

Russian musicology

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

Russian musicologists and critics have directed their efforts to confirm the thesis: in each piece of music a certain idea is expressed, some thoughts and feelings are conveyed. For this, all works of art are created.

A. D. Ulybyshev

One of the first to prove himself was the first Russian music writer and activist A.D. Ulybyshev. Thanks to his works "Beethoven, His Critics and Interpreters", "New Biography of Mozart," he left a noticeable mark in 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 theoretician, the Russian writer turned to Russian musical art. His critical and journalistic works are filled with an 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 Whole 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, its theme. Its formation, in the author's opinion, is based on 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.

Analysis types

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 the events that occur in the course of its development.

Types of analysis of a piece of music:

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, study of topics and all thematic development.

In addition, it helps to determine the genre origins of each theme, since each separate genre presupposes an individual range of expressive means. Having determined which genre is the basis, you can more accurately understand the semantic content of the work.

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

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

3. Harmonic analysis of a piece of music(examples and a more detailed description will be given below).

4. Polyphonic.

This type implies:

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

5. Performing.

6. Analysis of the compositional form. Concludes in the search for type and form, as well as in the study of juxtapositions of themes and development.

7. Integrated. Also, this example of the analysis of a piece of music is called holistic. It is made on the basis of analysis of the form of the composition, while combined with the analysis of all components, their interaction and development as a whole. The highest goal of this type of analysis is the study of the work as a social and ideological phenomenon, together with all historical ties. He is on the verge of theory and history of musicology.

Regardless of what kind 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 particular element from others. This must be done in order to conduct an objective research.

Why do you need musical analysis?

It can serve a variety of purposes. For instance:

1. The study of individual elements of the work, the musical language is used in textbooks and theoretical works. In scientific research, such components of music and patterns of compositional form are subjected to comprehensive analysis.
2. Excerpts from examples of the analysis of musical works can serve as proof of something when presenting general theoretical problems (deductive method) or leading viewers to general conclusions (inductive method).
3. As part of a monographic study dedicated to a specific composer. This concerns a concise form of a holistic analysis of a piece of music 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 scheme 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 piece of music according to plan with examples of all the main parts;

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

e) the study of the development of which elements special attention has been paid, in what way they develop (they are repeated, compared, varied, etc.);

f) search for answers to the questions, where is the culmination (if any), in what ways it is achieved;

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

h) study of the tonal structure and cadences with their correlation, isolation or openness;

i) determination of the type of presentation;

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

2. Comparison of the main parts specifically in:

• tempo uniformity or contrast;
• the high-rise profile in general terms, the relationship of climaxes with the dynamic scheme;
• characteristics of general proportions;
• thematic subordination, homogeneity and contrast;
• tonal subordination;
• the characteristics of the whole, the degree of typicality of the form, in the foundations 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 (by example), you need to have certain skills and abilities. Namely:

• understanding and ability to harmoniously generalize a specific passage according to the logic of functional movement and tonality;
• the ability to relate the properties of a harmonic warehouse with the nature of the music and the individual characteristics of a given work or composer;
• correct explanation of all harmonic facts: chord, cadence, voice leading.

Executive analysis

This type of analysis includes:

1. Search for information about the author and the piece of music itself.
2. Style representations.
3. Definition of artistic content and character, images and associations.

Strokes, playing techniques, and means of articulation are also an important part of this example of a performing analysis of a piece of music.

Vocal music

Musical works in the vocal genre require a special method of analysis that differs from instrumental forms. What is the difference between the musical-theoretical analysis of a choral work? 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 pictorial details of the choir part and the instrumental accompaniment and literary text.
3. Study the differences between original words in stanzas and restructured lines in music.
4. Determine the musical meter and rhythm, observing the rules of alternance (alternation of rhymes) and squareness (non-squareness).
5. Draw conclusions.

Music schools are examples of perfect parsing.

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

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 center of the analysis of a piece of music can be:

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

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

A little about professional analysis

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

There is a discipline called “Analysis of musical works”.

Music students study the analysis of musical works as a separate discipline

Mandatory components for this type of analysis:

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

Professional Analysis Example - https://drive.google.com/file/d/0BxbM7O7fIyPceHpIZ0VBS093NHM/view?usp=sharing

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

When analyzing, 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 elementary knowledge of music, its history and modern trends.

It is very important to have an unbiased approach to the analysis of the work.

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

• genre and style (we paint this element only if we are well versed in theory or after reading special literature);
• a little about the performer;
• objective with other compositions;
• the content of the composition, features of its transmission;
• means of expressiveness used by a composer or singer (this can be a game with texture, melody, genres, combination of 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 ones.

It is very important to approach the analysis with an open mind, with a fair assessment of the pros and cons.

Do not forget that what seems like an advantage to you may seem like a terrible disadvantage to another.

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

Examples of typical mistakes of amateurs

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

When you write a nonfiction review of a piece of music, show your point of view, but don't hang it around others, just pique their interest.

Let them listen and appreciate it.

An example of a typical mistake # 2 is comparing an album (song) of a particular artist with his previous creations.

The task of the review is to interest the reader in this work

The grief 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 draw, but it has no value.

It is better to write about the music (mood, what instruments are involved, style, etc.), the text, how they fit together.

The third place is occupied by another popular mistake - the overflow of 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 the place, you must agree, if someone needs a biography, they will look for it in other sources, the review is not intended for this at all.

Do not make such mistakes in your analysis, otherwise you will discourage the desire to read it.

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

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

Do not try to make a comparative analysis if you are not guided by the trends and characteristics of the music of a certain period, otherwise you run the risk of shining with ridiculous mistakes.

It is quite difficult for first-year students of music educational institutions to write a complete analysis; it is desirable to pay more attention to the easier components of the analysis.

What is more complicated is described with 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 you are an amateur: "Why is it worth listening to the composition?"

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

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

Moderato. Tempo di Valse

Before playing 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 distinguished by dance, light romantic flavor, which is due to the genre of the musical fragment, the roundness of four-bar phrases, the smoothness of the melody rising with graceful leaps and undulating movement, which is carried out mainly by even quarter and half durations.

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

On the whole, the analyzed fragment is a period consisting of 20 measures and extended in the second sentence (8 + 8 + 4 = 20). The homophonic-harmonic texture was chosen by the composer in full accordance with the already indicated genre, therefore 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 complete structure is largely determined by its tonal plan.

First sentence tonal stable ( G-dur), 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-dur.

The second sentence (bars 8–20) is a single, indivisible, continuous phrase of 8 bars, to which a four-bar addition is added, which arises as a result of an internal saturated tonal movement. In the second half of the second sentence, there is a deviation in the tonality of the dominant (measures 12-15):

7 8 9 10 11 (D-dur) 12

D D 7 D 9 D T T 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-dur) S - - K 4 6 - - D 7 - - T - - T

Harmonious development scheme of 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-dur| K 6 4 - - | D 2 to D-dur| T 6 ( D-dur) | S - - | K 4 6 - - | D 7 - - | T - - | T ||

Deviation (12-15 measures) is carried out by introducing a cadence, which is preceded by a common chord (T = S) and a double dominant in the form of # 1 D 7 к A-dur, but it is not resolved, but goes into a cadence quartext chord, D 2 with a resolution in T 6 of a new key ( D-dur).

The modulation, prepared by the deviation, repeats the cadence revolution that was already used in the deviation, but the construction ends in a different way - the 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 the development of the musical image. It is no coincidence that the culmination of the whole theme falls on the most intense moment (measure 19). In the melody, it is emphasized by an ascending leap to the seventh, in harmony - by the dominant seventh chord, followed by its resolution into the tonic as the completion of the musical thought.

Holistic analysis of a piece of music

on the example of Rondo from Sonata h - moll by F.E.Bach

Plan for analyzing the form of a piece of music

A. General preliminary overview

1) Type of form (simple three-part, sonata, etc.)

2) Digital scheme of the form in large outlines, with letter designations of topics (parts) and their names (I period, development, etc.)

B. Analysis of each of the main parts

1) The function of each part in the form (I period, middle, etc.)

2) Type of presentation (exposure, median, etc.)

3) Thematic composition, its uniformity or contrast; his character and means of achieving this character

4) What elements are being developed; ways of development (repetition, variation, juxtaposition, etc.); thematic transformations

5) Place of climax, if any; the ways in which it is achieved and abandoned.

6) Tonal structure, cadences, their correlation, isolation or openness.

7) Detailed digital circuit; characteristic of the structure, the most important points of summation and fragmentation; "breath" is short or wide; characteristic of proportions.

The structure of this rondo is as follows:

R EP1 EP2 R EP3 R R EP4 R EP5 R EP1

4t. + 4t. 8t. 4t. 4t. 4t. 4t. 4t. 4t. 4t. 8t. 4t. + 4t. 8t.

period period period period period period period period

With extension

Exposition Development Reprise

Where P is a refrain, EP is an episode, numbers indicate the number of measures of each section. The composer is quite free to handle the form. The refrain is actively developing, transposed into different keys with multiple repetitions. There are variable changes in the refrain, a variety of its cadences.

The melody of the refrain and episodes is uniform, not contrasting. It is distinguished by flexibility, whimsical rhythmic and intonation, which is achieved with the help of leveled notes, syncopation, short durations, mordents and other melismas, the beginning of phrases from the off-beat, with a weak beat after the sixteenth pause. The melodic drawing combines the transient movement, jumps at various intervals, semitone gravitations.

The bass line does not carry a melodic and semantic load, but is, in the main, a descending progressive movement in quarter durations. Its role (bass) is the harmonic support of the melody.

In general, the structure of the rondo in B minor can be compared with the sections of the sonata form: exposition (measures 1 - 16), development (measures 17 - 52) and reprise (measures 53 - 67). Moreover, the musical material of the reprise completely and without changes repeats the material of the exposition.

"Exposition" is a kind of two-part form, where 1 part (refrain) is the period of the square structure. The first sentence ends with a half cadence on the dominant, the second with a full cadence. The second part of the two-part form (episode 1) is also a period of two sentences, which end with half and full cadences, respectively.

In the second section of the rondo, the so-called "development", the refrain sounds in the following keys: D - major (21 - 24 measures), h - minor (29 - 32 measures), G - major (33 - 36 measures), e moll ( 41 - 44 measures). A major refrain (33 - 36 bars) culminates in the dynamics of the forte. Then comes the exit from the climax in 37-40 bars. Here the composer used the technique of sequential development - a descending sequence of three links. By the way, at the climax, the usually gradual movement of the bass changes to an abrupt, quarter-fifth. The line of the lower voice here harmoniously supports the sequential development of the melody.

In connection with the peculiarities of the structure of the form, I would also like to note EP5 (the fifth episode), where the expansion of the sentence in 47 - 52 measures occurs due to the improvisational development of the melody on the sustained "organ" bass at the VII stage of the main key. This technique smoothly leads to the expected outcome - the so-called "reprise". Musical material 53 - 68 measures completely repeat the sound of the first refrain and the first episode. Such a return of the theme, as it were, frames the musical form of the given work as a whole, leads to its logical conclusion, drawing a semantic and intonational arc between the beginning and the end.

In general, the rondo from the sonata in B minor is a classic implementation of the rondo form in the work of C.F.E. Bach.

Musical-theoretical analysis involves the coverage of a wide range of issues related to the definition of the form of a work, its relationship with the form of the text, the genre basis, the tone-tone plan, the peculiarities of the harmonic language, melodic, phrasing, tempo-rhythmic features, texture, dynamics, correlation of the choral score with accompaniment and connection of music with poetic text.

Carrying out a musical theoretical analysis, it is more expedient to go from the general to the particular. Deciphering all the designations and instructions of the composer, understanding them and understanding the means of their expression is of great importance. It must also be remembered that the structure of a choral work is largely determined by the peculiarities of the construction of the verse, it organically combines music and words. Therefore, it is advisable to first pay attention to the construction of a literary text, find a semantic culmination, compare works for the same text written by different composers.

The analysis of the means of musical expression should be especially thorough and detailed in terms of harmonic analysis. The solution of a number of issues of subordination of parts of the whole, the determination of partial and general culminations largely depends on the correct assessments of the data of harmonic analysis: the increase and decrease of tension, modulations and deviations, diatonic and altered dissonance, the role of non-chord sounds.

Musical-theoretical analysis should help to identify the main and secondary in the musical material, it is logical, taking into account everything, to build the drama of the work. The emerging idea of ​​a work as a complete artistic integrity already at this stage of study will bring you very close to comprehending the author's intention.

1. The form of the work and its structural features

As a rule, musical theoretical analysis begins with defining the form of a piece. At the same time, it is important to find out all the structural components of the form, starting with intonations, motives, phrases and ending with sentences, periods and parts. The characteristic of the relationship between the parts includes the comparison of their musical-thematic material and the determination of the depth of contrast or, conversely, the thematic unity inherent between them.

In choral music, various musical forms are used: period, simple and complex two- and three-part, couplet, stanza, sonata and many others. Small choirs, choral miniatures are usually written in simple forms. But along with them there are so-called "symphonic" choirs, where the usual is the sonata, stanza or rondo form.

The process of shaping in a choral work is influenced not only by the laws of musical development, but also by the laws of versification. The literary and musical basis of choral music manifests itself in the variety of forms of the period, in couplet-variation form and, finally, in the free interpenetration of forms, in the appearance of a stanza form that is not found in instrumental music.

Sometimes the artistic intent allows the composer to preserve the structure of the text, in which case the form of the piece of music will follow the verse. But very often a poetic source undergoes significant revision, some words and phrases are repeated, some lines of text are released altogether. In this case, the text is completely subordinate to the logic of musical development.

Along with the usual forms in choral music, polyphonic ones are also used - fugues, motets, etc. The fugue of all polyphonic forms is the most complex. According to the number of topics, it can be simple, double or triple.

2. Genre basis

The key to understanding a work is to correctly identify its genre origins. As a rule, a whole complex of expressive means is associated with a certain genre: the nature of the melody, the presentation, the metro-rhythm, etc. Some choirs are entirely within the same genre. If a composer wants to emphasize or shade different sides of one image, he can use a combination of several genres. Signs of a new genre can be found not only at the junctions of major parts and episodes, as is often the case, but also in the simultaneous presentation of musical material.

Musical genres can be folk and professional, instrumental, chamber, symphonic, etc., but we are primarily interested in folk song and dance origins that underlie choral scores. As a rule, these are vocal genres: song, romance, ballad, drinking, serenade, barcarole, pastoral, march song. The dance genre basis can be represented by waltz, polonaise or other classical dance. In the choral works of modern composers, there is often a reliance on newer dance rhythms - foxtrot, tango, rock and roll and others.

Example 1. Yu. Falik. "Stranger"

In addition to the dance and song basis, the genre is also determined, associated with the peculiarities of the performance of the work. It can be a choral miniature a cappella, a choir with accompaniment or a vocal ensemble.

The types and kinds of musical works that have historically developed in connection with various types of content, in connection with certain of its life purposes, are also divided into genres: opera, cantata-oratorio, mass, requiem, liturgy, all-night vigil, requiem, etc. Very often genres of this kind are mixed and form hybrids such as opera-ballet or symphony-requiem.

3. Fret and tonal base

The choice of mode and key is due to a certain mood, character and image that the composer intended to embody. Therefore, when determining the main tonality of a work, it is necessary to analyze in detail the entire tonal plan of the work and the tonality of its individual parts, to determine the sequence of keys, methods of modulation and deviations.

The fret is a very important means of expression. The coloring of the major scale is used in music that expresses fun, cheerfulness. At the same time, by means of the harmonic major, the work is given shades of grief, increased emotional tension. The minor scale is usually used in dramatic music.

For different tonalities, as well as for the frets, certain color associations have been fixed, which play an important role in choosing the tonality of a work. For example, composers widely use the light color of C major for enlightened, "sunny" fragments of choral works.

Example 2. S. Taneyev. "Sunrise"

The keys of E flat minor and B flat minor are firmly associated with gloomy, tragic images.

Example 3. S. Rachmaninoff. "Now let go."

In modern scores, composers very often do not exhibit key signs. This is primarily due to the very intense modulation or functional indefiniteness of the harmonic language. In both cases, it is important to define tonal stable fragments and, starting from them, draw up a tonal plan. However, it should be remembered that not every modern work is written in a tonal system. Composers often use atonal ways of organizing material, their modal basis requires a different kind of analysis than the traditional one. For example, the composers of the so-called Novovensky school, Schoenberg, Webern and Berg, instead of mode and tonality, used a twelve-tone series in their compositions [The twelve-tone series is a series of 12 sounds of different heights, none of which can be repeated before the rest of the series sounds. For more details see the book: Kogoutek Ts. Compositional Technique in 20th Century Music. M., 1976.], which is the source material for both the harmonic vertical and the melodic lines.

Example 4. A. Webern. "Cantata No. 1"

4. Features of the harmonic language

The method of harmonic analysis of a choral score is presented to us in the following sequence.

The theoretical study of the work should begin only after it has been worked out in the historical and aesthetic terms. Consequently, the score sits, as they say, in the ears and heart, and this is the most reliable way to protect oneself from the danger of breaking away from the content in the process of harmonic analysis. It is advisable to review and listen to chord after chord of the entire composition. It is impossible to guarantee in each individual case interesting results of the analysis of harmony - not every work is sufficiently original in regard to the harmonic language, but "grains" will certainly be found. Sometimes it is some kind of complex harmonic turnover or modulation. Inaccurately recorded by ear, upon closer examination, they can turn out to be very important elements of the form, and, therefore, clarify the artistic content of the work. Sometimes it is a particularly expressive, form-building cadence, harmonic accent or polyfunctional consonance.

Such a targeted analysis will help to find the most "harmonic" episodes of the score, where the first word belongs to harmony and, conversely, the more harmonically neutral sections, where it only accompanies the melody or supports contrapuntal development.

As already mentioned, the importance of harmony in shaping is of great importance, therefore the structural analysis of the work is always closely linked with the study of the harmonic plan. Harmony analysis helps to identify the functional significance of certain of its elements. For example, a long-term injection of dominant harmony very dynamizes the presentation, increases the intensity of development in the final sections, and the tonic organ point, on the contrary, gives a feeling of calmness and stability.

It is also necessary to pay attention to the coloristic possibilities of harmony. This is especially true of the harmony in the choral works of contemporary composers. In many cases, the methods of analysis that are applicable to the writings of earlier eras are not suitable here. In modern harmony, a great role is played by the consonances of the nontherz structure, bifunctional and polyfunctional chords, clusters [Cluster - consonance formed by the concatenation of several large and small seconds]... Very often the harmonic vertical in such works arises as a result of the combination of several independent melodic lines. Such, or as it is also called, linear, harmony is characteristic of the scores of Paul Hindemith, Igor Stravinsky, composers of the already mentioned Novovensky school.

Example 5. P. Hindemith. "Swan"

In all the above cases, it is important to find out the features of the composer's creative method in order to find the correct method for analyzing the harmonic language of the work.

5. Melodic and intonation basis

When analyzing a melody, not only external signs are taken into account - the ratio of jumps and smooth movement, forward movement and a long stay at the same height, chanting or discontinuity of the melodic line, but also internal signs of the expression of a musical image. The main thing is the awareness of its figurative and emotional meaning, taking into account the abundance of arrests, the presence of half-tone intonations, increased or decreased intervals, the humming of sounds and the rhythmic design of the melody.

Very often, only the upper voice of a choral score is mistakenly understood as a melody. This is not always true, since the leadership is not fixed once and for all for any voice, it can be transferred from one to another. If the work is written in a polyphonic style, then the concept of the melodiously main voice becomes superfluous.

Melody is inextricably linked with intonation. Musical intonation is understood as small particles of melody, melodic turns that have a certain expressiveness. As a rule, one can speak about a particular character of intonation only in certain contexts: tempo, metro-rhythmic, dynamic, etc. For example, speaking about the active character of the fourth intonation, as a rule, they mean that the interval of the ascending fourth is clearly distinguished, directed from the dominant to the tonic and from the off-beat to the strong beat.

Like a single intonation, a melody is a unity of different sides. Depending on their combination, we can talk about lyrical, dramatic, courageous, elegiac and other types of melody.

When analyzing a melody, consideration of its modal side is essential in many respects. Traits of the national originality of the melody are very often associated with the modal side. No less important is the analysis of the modal side of the melody to clarify the direct expressive nature of the melody, its emotional structure.

In addition to the modal basis of the melody, it is necessary to analyze the melodic line or melodic pattern, that is, the set of movements of the melody up, down, at the same height. The most important types of melodic pattern are as follows: repetition of sound, humming of sound, upward or downward movement, forward or leapfrogging movement, wide or narrow range, varied repetition of a segment of melody.

6. Metrhythmic features

The importance of the metro rhythm as an expressive musical means is extremely great. The temporal properties of music are manifested in it.

Just as the musical-height ratios have a modal basis, the musical-rhythmic ratios develop on the basis of the meter. Meter is a sequential alternation of strong and weak beats in rhythmic movement. The strong beat forms a metric accent, with the help of which the piece of music is divided into measures. Meters are simple; two- and three-beat, with one strong beat per measure, and complex, consisting of several heterogeneous simple ones.

The meter should not be confused with the meter, since the meter is the expression of the meter by the number of specific rhythmic units - the countable fractions. Very often a situation arises when, for example, a two-beat meter is expressed in the size of 5/8, 6/8 at a moderate pace or 5/4, 6/4 at a fast pace. Similarly, a three-beat meter can appear in sizes 7/8, 8/8, 9/8, etc.

Example 6. I. Stravinsky. "Our Father"

In order to determine which meter is in a given work, and, therefore, to correctly choose the appropriate conductor's scheme, it is necessary to determine the presence of strong and weak beats in the measure by means of a metric analysis of the poetic text and the rhythmic organization of the work. If, however, there are no divisions into bars in the score, as, for example, in everyday chants of the Orthodox Church, it is necessary to independently determine their metric structure based on the textual organization of the musical material.

Rhythm, as an expressive means associated with the metric organization of music, is the organization of sounds according to their duration. The simplest and most common pattern of the combined action of meter and rhythm lies in their parallelism. This means that percussive sounds are predominantly long, and non-percussive sounds are short.

7. Pace and agogic deviations

The expressive properties of the metro rhythm are closely related to the tempo. The value of the tempo is very high, since a more or less definite speed of movement corresponds to the character of each musical image. Very often, to determine the tempo of a work, the composer sets the designation of the metronome, for example: 1/8 = 120. As a rule, the countable fraction indicated by the author corresponds to the metric one and helps to correctly find the conductor's scheme necessary in this work.

But what to do when instead of a metronome, only the character of the tempo is indicated: Allegro, Adagio, etc.?

First, the tempo directions need to be translated. Secondly, remember that in every musical era, the sense of tempo was different. Third: there are certain traditions of performance of this or that piece, they also relate to its tempo. Therefore, when starting to learn the score, the conductor (and in our case, the student) must carefully research all possible sources of the necessary information.

In addition to the main tempo and its changes, there are so-called agogic tempo changes in each piece. These are short-lived, usually in the scale of a bar or phrase, speeding up or slowing down within the main tempo.

Example 7. G. Sviridov. "Night Clouds".

Sometimes agogic tempo changes are regulated by special instructions: a piacere - free, stretto - squeezing, ritenuto - slowing down, etc. Fermata is also of great importance for expressive performance. In most cases, the fermata is at the end of a piece or completes a part of it, but its use is also possible in the middle of a piece of music, thereby emphasizing the special significance of these places.

The existing opinion that fermata doubles the duration of a note or pause is true only in relation to pre-classical music. In later works, the fermata is a sign of the prolongation of the sound or a pause for an indefinite time, prompted by the musical instinct of the performer.

8. Dynamic shades

Dynamic shades - a concept related to the strength of the sound. The designations of dynamic shades given by the author in the score are the main material on the basis of which it is necessary to analyze the dynamic structure of the work.

Dynamic designations are based on two main terms-concepts: piano and forte. On the basis of these two concepts, varieties arise that denote one or another sound power, for example, pianissimo. In achieving the quietest and, conversely, the loudest sound, designations are often put down with three, four or even more letters.

There are two basic terms for gradually increasing or decreasing the strength of the sound: crescendo and diminuendo. On shorter pieces of music, individual phrases or measures, graphic symbols for amplification or reduction of sonority are usually used - expanding and contracting "forks". Such designations show not only the nature of the change in dynamics, but also its boundaries.

In addition to the indicated types of dynamic shades, spreading over a more or less lengthy segment of music, other scores are used in choral scores, the action of which relates only to the note above which they are put. These are various kinds of accents and designations for a sudden change in the strength of the sound, for example, sf, fp.

Usually the composer only indicates a general nuance. Clarification of everything that is written "between the lines", the development of a dynamic line in all its details - all this is the material for the conductor's creativity. Based on a thoughtful analysis of the choral score, taking into account the stylistic features of the piece, he must find the correct nuance arising from the content of the music. A detailed discussion of this is in the section "Performance Analysis".

9. Textured features of the work and its musical warehouse

The analysis of the musical and theoretical features of the choral score includes the analysis of the texture of the piece. Like rhythm, texture often carries the hallmarks of a genre in music. And this largely contributes to the figurative understanding of the work.

The concepts of texture and musical make-up should not be confused. The texture is the vertical organization of the piece and includes both harmony and polyphony, viewed from the side of the really sounding layers of the musical fabric. The characteristics of the texture can be given in a variety of ways: they speak of a complex and simple texture, dense, thick, transparent, etc. There is a texture typical of a particular genre: waltz, choral, marching. These are, for example, the forms of accompaniment in some dances or vocal genres.

Example 8. G. Sviridov. "Old Dance".

The change in texture in musical works, including choral ones, occurs, as a rule, at the boundaries of the parts, which largely determines the formative value of the texture.

Musical warehouse is, in turn, one of the components of the concept of texture. The musical warehouse determines the specifics of the deployment of voices in the horizontal and vertical organization of the piece. Here are some of the types of musical makeup.

Monophony is characterized by a monodic warehouse. It is characterized by a unison or octave presentation of musical material. The presentation of the same melody in all parts leads to a certain textured unidirectionality, therefore such a warehouse is used mainly occasionally. The exception is archaic Gregorian chant melodies or the performance of Znamenny Orthodox chants, where this type of presentation is the leading one.

Example 9. M. Musorgsky. "The angel cries out"

The polyphonic texture is polyphonic and homophonic-harmonic. The polyphonic warehouse is formed when two or more melodic lines sound simultaneously. There are three types of polyphonic tone - imitation polyphony, contrast and sub-voice.

The sub-voice structure is a type of polyphony in which the main melody is accompanied by additional voices - sub-voices, which often seem to vary the main voice. Typical examples of such a warehouse are the processing of Russian lyric songs.

Example 10. R.n.p. in arr. A. Lyadova "The field is clean"

Contrast polyphony is formed when various melodies are played simultaneously. The genre of the motet can serve as an example of such a warehouse.

Example 11. J.S.Bach. "Jesu, meine Freude"

The principle of imitation polyphony consists in the non-simultaneous, sequential introduction of voices conducting the same melody or its close variants. These are canons, fugues, fugato.

Example 12. M. Berezovsky. "Do not reject me in my old age"

In the homophonic-harmonic warehouse, the movement of the voices is subordinated to the change of harmony and the melodic lines of each choral part are interconnected by the logic of functional relations. If in a polyphonic warehouse all voices are in principle equal, then in a homophonic-harmonic one they differ in their meaning. This is how the main (or melodic) voice is contrasted with the bass and harmonic voices. In this case, the main voice can be any of the four choral voices. In the same way, the accompanying functions can be performed by any connections of the remaining parts.

Example 13. S. Rachmaninoff. "Quiet Light"

In the 20th century, new varieties of musical storehouses emerged. Sonor [Sonoristics is one of the methods of composition in the music of the XX century, based on the operation of timbre-colorful sonorities. In it, the general impression of sound paint is of leading importance, and not of individual tones and intervals as in tonal music] - formally polyphonic, but, in fact, consisting of a single line of indivisible sonorities that have only a colorful timbre meaning. In pointillism [Pointillism (from the French point - point) - a method of modern composition. The musical fabric in it is not created by combining melodic lines or chords, but from sounds separated by pauses or leaps]. Separate sounds or motifs located in different registers and voices form a melody transmitted from one voice to another.

In practice, different types of musical storehouses tend to mix. The qualities of the polyphonic and homophonic-harmonic warehouse can exist in sequence and simultaneously. Revealing these qualities is necessary for a conductor to understand the logic of the development of musical material.

10. Correlation between choral score and accompaniment

There are two types of choral performance - unaccompanied singing and accompanied singing. The accompaniment greatly facilitates the intonation of the choir, maintains the correct tempo and rhythm. But this is not the main purpose of the escort. The instrumental part in a work is one of the most important means of musical expression. The combination of choral writing techniques with the use of instrumental timbre colors significantly expands the composer's sound palette.

The ratio of chorus and accompaniment may vary. Very often, the chorus part, note for note, is duplicated by an instrumental part, or the accompaniment is the simplest accompaniment, as in most popular songs.

Example 14. I. Dunaevsky. "My Moscow"

In some cases, the chorus and accompaniment are equal, their textured and melodic solution does not allow one to distinguish one at the expense of the other. An example of this kind of choral music can be found in cantata-oratorio works.

Example 15 R. Shchedrin. "Little cantata" from op. "Not only love"

Sometimes the instrumental accompaniment performs the main function, and the choir fades into the background. Very often this situation arises in the code sections of works, when the choral part stops on a long-sounding note, and in the instrumental part, at the same time, there is a rapid movement towards the final chord.

Example 16. S. Rachmaninoff. "Pine"

Depending on the situation chosen by the composer, the ratio of sonority of both performing groups should also be envisaged. It is also worth paying attention to the distribution of the thematic material between the choir and the accompaniment. It is not uncommon, especially in fugate music, that the main thematic material can be performed alternately in the choir and in the orchestra. The relief of its presentation by the conductor largely depends on the correct distribution of attention during the performance between the main and secondary fragments of the score.

11. The connection between music and poetic text

Literary speech combines individual words into larger units into sentences, within which divisions into smaller components are possible, with an independent speech design. By analogy with this, there are similar structural divisions in music.

Literary and musical structures interact in different ways in choral and vocal works. Interaction can be complete or incomplete. In the first case, the poetic and musical phrases completely coincide, and in the second, various structural discrepancies are possible.

Let's consider both options. It is known that one syllable of a text can have a different number of melody sounds. The simplest ratio is when there is one sound for each syllable. This ratio is used in various cases. First of all, it is closest to ordinary speech and therefore finds a place for itself in choral recitatives, in mass songs and, in general, choirs with a pronounced motor and dance element.

Example 17. Czech n.p. in arr. J. Malat. "Anechka the miller"

On the contrary, in melodies of a lyrical nature, in works with a slow, gradual opening of the text and the development of action, syllables are often found, which have several sounds. This is especially true for choral arrangements of Russian lingering or lyrical songs. On the other hand, in the works of the cult nature of Western European composers, there are also very often whole fragments and even parts where one word or phrase is used as the text: Amen, Alleluia, Curie eleison, etc.

Example 18. G.F. Handel. "Messiah"

Like musical ones, there are pauses in poetic structures. If the purely musical division of the melody coincides with its verbal division (which is typical, in particular, for folk songs), a distinct causality is created. But very often these two types of dismemberment do not coincide. Moreover, the musical may not coincide with either the verbal or metric division of the text. As a rule, such mismatches increase the melody fusion, since both of the above types of division become somewhat conditional due to their contradictions.

It must be remembered that in most cases the discrepancy between the various aspects of the musical and poetic syntax is due to the author's desire to express this or that artistic image as fully as possible. At the same time, it is possible, for example, the discrepancy between the percussive and unstressed beats in works on folklore texts, or their complete absence in works in some languages, for example, in Japanese. Finding out the stylistic features of such works and avoiding attempts to "improve" the author's text - this is the task that every conductor-choirmaster should set himself.