Title and authors of works for symphony orchestra. About the symphony orchestra. Complex three-part form

The word "orchestra" is now familiar to every schoolchild. This is the name of a large group of musicians who jointly perform a piece of music. Meanwhile, in ancient Greece, the term "orchestra" (from which the modern word "orchestra" was later formed) meant the area in front of the stage where the choir was - an indispensable participant in the ancient Greek tragedy. Later, a group of musicians began to settle on the same site, and it was called an "orchestra".

Centuries have passed. And now the word "orchestra" itself has no definite meaning. Nowadays there are different orchestras: brass, folk, accordion orchestras, chamber orchestras, pop-jazz, etc. But none of them can withstand the competition with the "sound miracle"; so often and, of course, quite rightly called a symphony orchestra.

The possibilities of a symphony orchestra are truly endless. At his disposal - all shades of sonority from barely audible vibrations and rustles to powerful thunderous rumblings. And the point is not even in the very breadth of dynamic shades (they are available to any orchestra in general), but in that conquering expressiveness that always accompanies the sound of genuine symphonic masterpieces. Here come to the rescue and timbre combinations, and powerful wave-like rises and falls, and expressive solo replicas, and solid "organ" layers of sounds.

Hear some samples of symphonic music. Remember the fairy-tale picture of the famous Russian composer A. Lyadov "Magic Lake", amazing in its soulful silence. The subject of the image here is nature in its pristine, static state. This is also emphasized by the composer in his statement about the “Magic Lake”: “How picturesque it is, pure, with stars and mystery in its depth! And most importantly - without people, without their requests and complaints - one dead nature - cold, evil, but fantastic, like in a fairy tale. " However, Lyadov's score cannot be called dead or cold. On the contrary, she is warmed by a warm lyrical feeling - quivering, but restrained.

The well-known Soviet musicologist B. Asafiev wrote that in this "poetic contemplative musical picture ... Lyadov's work takes possession of the sphere of the lyrical symphonic landscape." The colorful palette of "Magic Lake" consists of veiled, muffled sounds, rustling, rustling, barely noticeable bursts and vibrations. Subtle openwork strokes prevail here. Dynamic build-up is minimized. All orchestral voices carry an independent visual load. There is no melodic development in the true sense of the word; individual short phrases-motifs shine like shimmering glare ... Lyadov, who was able to “hear silence” sensitively, paints with amazing skill a picture of an enchanted lake - a smoky but inspirational picture, full of a fabulous aroma and pure, chaste beauty. Such a landscape could be “painted” only with the help of a symphony orchestra, because no instrument and no other “orchestral organism” is able to depict such a vivid picture and find such subtle timbre colors and shades for it.

And here is an example of the opposite type - the finale of the famous "Poem of Ecstasy" by A. Scriabin. The composer shows in this work the diversity of human states and actions in a steady and logically thought-out development; music consistently conveys inertia, awakening of will, collision with threatening forces, struggle with them. Climax follows climax. Towards the end of the poem, the tension grows, preparing a new, even more grandiose upsurge. The epilogue of The Poem of Ecstasy turns into a dazzling picture of colossal scope. Against a sparkling background, shimmering with all colors (an organ is also connected to the huge orchestra), eight horns and a trumpet joyfully proclaim the main musical theme, the sonority of which at the end reaches inhuman strength. No other ensemble can achieve such power and majesty of sound. Only a symphony orchestra is capable of so richly and at the same time colorfully expressing delight, ecstasy, and a frantic uplift of feelings.

Lyadov's Magic Lake and the epilogue of The Poem of Ecstasy are, so to speak, extreme sound and dynamic poles in the rich sound palette of a symphony orchestra.

Let us now turn to an example of a different kind. The second movement of D. Shostakovich's Eleventh Symphony has a subtitle - “January 9th”. In it, the composer tells about the terrible events of “Bloody Sunday”. And at that moment, when the screams and groans of the crowd, rifle volleys, the iron rhythm of a soldier's step merge into a sound pattern of striking strength and power, a deafening squall suddenly breaks off ... And in the ensuing silence, in the "whistling" whisper of stringed instruments the quiet and mournful singing of the choir is clearly heard. According to the apt definition of the musicologist G. Orlov, one gets the impression “as if the air of the Palace Square groaned with grief at the sight of the atrocity that had been accomplished”. Possessing an exceptional timbre instinct and brilliant mastery of instrumental writing, D. Shostakovich managed to create the illusion of a choral sound using purely orchestral means. There were even cases when at the first performances of the Eleventh Symphony, the listeners kept getting up from their seats, thinking that there was a choir on the stage behind the orchestra ...

A symphony orchestra is capable of transmitting a wide variety of naturalistic effects. Thus, the outstanding German composer Richard Strauss in his symphonic poem Don Quixote, illustrating a famous episode from Cervantes' novel, surprisingly "clearly" depicted the bleating of a herd of rams in the orchestra. In the suite of the French composer C. Saint-Saens "Carnival of Animals", the cries of donkeys, the clumsy gait of an elephant, and the restless roll of hens and roosters are wittily conveyed. In the symphonic scherzo "The Sorcerer's Apprentice" (based on the ballad of the same name by W. Goethe), the Frenchman Paul Ducas brilliantly painted a picture of the unfolding water element (in the absence of the old wizard, the student decides to turn the pomelo into a servant: he makes him carry water, which gradually floods the whole house ). Needless to say, how many onomatopoeic effects are scattered in opera and ballet music; here they are also conveyed by the means of a symphony orchestra, but they are prompted by a direct stage situation, and not by a literary program, as in symphonic compositions. Suffice it to recall such operas as "The Tale of Tsar Saltan" and "The Snow Maiden" by N. Rimsky-Korsakov, I. Stravinsky's ballet "Petrushka" and others. Excerpts or suites from these works are often performed in symphonic concerts.

And how many magnificent, almost visual pictures of the sea element can be found in symphonic music! Suite by N. Rimsky-Korsakov "Scheherazade", "Sea" by K. Debussy, overture "Peace of the Sea and Happy Sailing" by F. Mendelssohn, symphonic fantasies "The Tempest" by P. Tchaikovsky and "Sea" by A. Glazunov - the list of such works is very long ... Many works have been written for the symphony orchestra, depicting pictures of nature or containing apt landscape sketches. Let us name at least the Sixth ("Pastoral") symphony by L. Beethoven with an amazingly powerful picture of a sudden thunderstorm, A. Borodin's symphonic painting "In Central Asia", A. Glazunov's symphonic fantasy "Forest", "a scene in the fields" from the Fantastic symphonies by G. Berlioz. However, in all these works, the depiction of nature is always associated with the emotional world of the composer himself, as well as the concept that determines the nature of the work as a whole. In general, descriptive, naturalistic, onomatopoeic moments occupy a very small share in symphonic canvases. Moreover, the program music itself, that is, music that consistently conveys any literary plot, also does not occupy a leading place among symphonic genres. The main thing that a symphony orchestra can be proud of is a rich palette of the most diverse means of expression, these are colossal, still not exhausted possibilities of various combinations and combinations of instruments, these are the richest timbre resources of all groups that make up the orchestra.

A symphony orchestra sharply differs from other instrumental groups also in that its composition is always strictly defined. Take, for example, the numerous pop and jazz ensembles that now exist in abundance in almost all corners of the globe. They are not at all similar to one another: the number of instruments (from 3-4 to two dozen or more) and the number of participants are different. But the most important thing is that these orchestras are not similar in their sound. Some are dominated by strings, others by saxophones and brass instruments; in some ensembles, the leading role is played by the piano (supported by drums and double bass); the pop orchestras of different countries include national instruments, etc. Thus, in almost every pop orchestra or jazz they do not adhere to a strictly defined instrumental composition, but freely use combinations of various instruments. Therefore, the same work sounds differently for different pop-jazz groups: each of them offers its own specific treatment. And this is understandable: after all, jazz is an art, basically improvisational.

Brass bands are also different. Some consist exclusively of brass instruments (with the obligatory inclusion of drums). And most of them are not complete without woodwind - flutes, oboes, clarinets, bassoons. Orchestras of folk instruments also differ: the Russian folk orchestra is not like the Kyrgyz, and the Italian one is not like the folk orchestras of the Scandinavian countries. And only a symphony orchestra - the largest musical organism - has a long-established, strictly defined composition. Therefore, a symphonic work written in one country can be performed by any symphony orchestra of another country. Therefore, the language of symphonic music is truly an international language. It has been in use for over two centuries. And he doesn't age. Moreover, nowhere are there so many interesting "internal" changes as there are in a modern symphony orchestra. On the one hand, often replenishing with new timbre colors, the orchestra becomes richer every year, on the other, its main frame, which was formed in the 18th century, is more and more clearly visible. And sometimes composers of our time, referring to such an "old-fashioned" composition, once again prove how great still its expressive possibilities ...

Perhaps, so much wonderful music has not been created for any of the musical groups! The names of Haydn and Mozart, Beethoven and Schubert, Mendelssohn and Schumann, Berlioz and Brahms, Liszt and Wagner, Grieg and Dvorak, Glinka and Borodin, Rimsky-Korsakov and Tchaikovsky, Rachmaninov and Scriabinov and Ivanov, Georgyev Mahler and Bruckner, Debussy and Ravel, Sibelius and R. Strauss, Stravinsky and Bartok, Prokofiev and Shostakovich. In addition, the symphony orchestra is known to be an indispensable participant in opera and ballet performances. And therefore, to hundreds of symphonic works, one should add those fragments from operas and ballets in which it is the orchestra (and not the soloists, chorus, or simply stage performance) that plays a primary role. But that's not all. We watch hundreds of movies and most of them are "dubbed" by a symphony orchestra.

Radio, television, CDs, and through them - and symphonic music have firmly entered our life. In many cinemas, small symphony orchestras are played before screenings. Such orchestras are also being created in amateur performances. In other words, of the vast, almost immense ocean of music that surrounds us, a good half is somehow connected with symphonic sound. Symphonies and oratorios, operas and ballets, instrumental concerts and suites, music for theater and cinema - all these (and many others) genres simply cannot do without a symphony orchestra.

However, it would be wrong to think that any piece of music can be performed in an orchestra. After all, it would seem, knowing the principles and laws of instrumentation, every competent musician can orchestrate a piano or some other piece, that is, dress it in a bright symphonic outfit. In practice, however, this happens relatively rarely. It is no accident that N. Rimsky-Korsakov said that instrumentation is "one of the sides of the soul of the composition itself." Therefore, already thinking over the idea, the composer is counting on a certain instrumental composition. Therefore, light, unassuming pieces and grandiose, large-scale canvases can be written for a symphony orchestra.

There are, however, cases when a work gets a second life in a new, symphonic version. This happened with M. Mussorgsky's brilliant piano cycle Pictures at an Exhibition: it was masterfully orchestrated by M. Ravel. (There were other, less successful attempts to orchestrate Pictures at an Exhibition.) The scores of M. Mussorgsky's operas Boris Godunov and Khovanshchina revived under the hand of D. Shostakovich, who carried out their new orchestral edition. Sometimes in the composer's creative heritage two versions of the same work coexist peacefully - solo-instrumental and symphonic. There are few such examples, but they are quite curious. Ravel's “Pavane” exists in both the piano and orchestral versions, both of which live an equal concert life. Prokofiev orchestrated the slow movement of his Fourth Piano Sonata, making it an independent, purely symphonic piece. The Leningrad composer S. Slonimsky wrote the vocal cycle "Songs of a Freeman" to folk texts; this work also has two variants of equal artistic significance: one is accompanied by a piano, the other is accompanied by an orchestral accompaniment. However, most often the composer, getting down to work, has a good idea of ​​not only the idea of ​​the composition, but also its timbre embodiment. And such genres as symphony, instrumental concert, symphonic poem, suite, rhapsody, etc., are always closely connected with the sound of a symphony orchestra, one might even say, are inseparable from it.

Means of Musical Expression

Musical genres:

genre(in the lane from French - genus, type, manner) - an art form with certain, historically

established features.

1. vocal-choral genre- it includes works created for performance

cantata, oratorio, mass, etc.

1. instrumental genre- it includes works created for performance on various musical instruments: a piece, an instrumental cycle - a suite, a sonata, a concert, an instrumental ensemble (trio, quartet, quintet), etc.
2. musical and theatrical genre- it includes works created for performance in the theater: opera, operetta, ballet, music for dramatic performances.
3. symphonic genre- it includes works written for a symphony orchestra: a symphonic piece, suite, overture, symphony, etc.

Elements of musical speech:

1. Melody(in the lane from Greek - song) - a musical thought expressed in a monophonic voice.

Ringtone types:

Cantilena (chanting singing) - a leisurely melodic melody

A vocal melody is a melody created to be performed by a voice.

An instrumental melody is a melody created to be played on a musical instrument.

2. Lad(in the lane from Slavic - harmony, harmony, order, peace) - interconnection

musical sounds, their coherence and consistency. Of the many frets

the most widespread were the major and minor.

1. Harmony(in the lane from Greek - proportionality, connection) - the combination of sounds in consonance and their

interconnection. (Another meaning of the word harmony is the science of chords.)

1. Meter(in the lane from Greek - measure) - continuous and uniform alternation of strong and weak beats. The size - digital designation of the meter.

Main meters: two-part (polka, gallop, ecossaise),

three-part (polonaise, minuet, mazurka, waltz), four-part (march, gavotte).

1. Rhythm(in the lane from Greek - proportionality) - the alternation of durations, sounds and pauses.

Types of rhythm:

Smooth - infrequent change of durations with a predominance of the same.

Dotted (in Latin - dot) - a group of two sounds, one of which is three times shorter than the other (eighth with a dot and sixteenth).

Syncopa (in the lane from Greek - skipping, abbreviation) - mismatch of rhythmic and dynamic accents with metric. (shifting a strong beat to a weak one).

Ostinato (in the lane from Italian - stubborn, stubborn) - repetitive

rhythmic or melodic turnover.

6. Range(in the lane from Greek - through everything) - the distance from the lowest to the highest

the sound that an instrument or voice can make.

1. Register- part of the sound range of a musical instrument or voice containing

sounds similar in color (distinguish between upper, middle and lower registers).

1. Dynamics- the strength of the sound, its volume. Dynamic shades - special terms,

determining the degree of loudness of a piece of music.

1. Pace(in the lane. from Lat. - time) - the speed of movement of music. In musical works

tempo is denoted with special terms.

1. Hatch(in the lane from Italian - direction, line) - a way of extracting sound when singing, playing musical instruments.

Basic touches:

Legato - connected, smoothly

Staccato - abrupt, sharp

Non legato - separating every sound

1. Texture(in the lane from Lat. - processing, device) - the musical fabric of the work,

way of presenting music. Texture elements: melody, chords, bass, middle voices,

The main types of texture:

Monody (in the lane from Greek - a song of one singer) - monophonic or one melodic

Polyphonic texture (in the lane from Greek - many sounds) - it has musical fabric

consists of a combination of several melodic voices. Every voice -

independent melody.

Homophonic-harmonic texture or homophony (translated from Greek - the main presenter

sound) - the leading voice is clearly distinguished in it - the melody, and the rest of the voices to her

accompany.

accompaniment types:

chord, bass - chord, harmonic figurations.

A chord texture is a chord progression in which the upper voice

is a melody.

1. Timbre(in the lane from French - mark, distinctive sign) - a special coloring of the sound of a musical

octaves. Performers: Tamara Milashkina, Galina Vishnevskaya, Montserrat Caballe, etc.

A kind of soprano - Coloratura soprano.

Coloratura(in the lane from Italian - decoration) - fast virtuoso passages and melismas,

serving to decorate a solo vocal part.

Mezzo-soprano - middle female singing voice with a small octave "la" range - "la"

("B flat") of the second octave. Performers: Nadezhda Obukhova, Irina Arkhipova,

Elena Obraztsova and others.

Contralto - the lowest female singing voice with a small octave "fa" range - "fa"

second octave. Performers: Tamara Sinyavskaya and others.

Performers: Leonid Sobinov, Sergey Lemeshev, Ivan Kozlovsky, Vadim Kozin, Enrico

Caruso, Placido Domingo, Luciano Pavarotti, Jose Careras and others.

octaves. Performers: Yuri Gulyaev, Dmitry Hvorostovsky, Tita Ruffo and others.

Performers: Fedor Chaliapin, Boris Shtokolov, Evgeny Nesterenko and others.

Vocal music

Vocal works can be performed with accompaniment on musical instruments and without accompaniment - a, cappella.

Vocal music can be performed:

Solo - by one singer

Vocal ensemble - duet (2), trio (3), quartet (4), etc.

In chorus - a large cast of performers from 15 people or more.

Choirs

choirs can be different in composition of performers:

Mens

Womens

Baby

Mixed

choirs can be different in the manner of performance:

Academic - performing classical music and contemporary works, singing

"Covered" "rounded" sound.

Folk - singing in a special manner with an "open" sound.

Vocal music genres

Song Is the most widespread genre of vocal music.

Folk songs were born and lived among the people. Not written down by anyone orally passed down from generation to generation. The performer was at the same time a creator: in each song he brought something of his own, new. The most famous types of folk song art are lullabies, children's play songs, jokes, dance, comic, round dance, play, labor, ritual, historical, epics, lyric songs.

Mass song as a genre began to develop in the 1920s. Mass songs are close to folk songs because they are loved and known by everyone, they are often sung in their own way, slightly changing the melody and not knowing the name of the poet and composer. Stages of development of a mass song: songs of the Civil War, songs of the 30s, songs of the Second World War, etc.

Pop songs became widespread in the second half of the 20th century. They are performed with

variety performers are professionals.

Author's (bardic) songs were most popular in the 60s of the 20th century. In the author's song, the poet, composer and performer are represented in one person. Its most prominent representatives are Vladimir Vysotsky, Bulat Okudzhava, Alexander Rosembaum, Segey Nikitin and others.

Romance - vocal piece for voice with accompaniment.

Romances appeared in Spain, from where they spread throughout Europe. They came to Russia in the 19th century from France and at first were performed only in French. Vocal works to Russian text were called "Russian songs".

Over time, the meaning of the word "romance" has expanded. Romance began to be called a work for voice with accompaniment, written in a more complex form than a song. In songs, the melodies of the verse and chorus are repeated, reflecting the overall content of the lyrics. In a romance, the melody, changing, flexibly follows the word. A huge role is given to the accompaniment (most often - the piano part)

Cantata and Oratorio.

The oratorio genre originated in the church. In Rome, at the end of the 16th century, when Catholic believers began to gather in special rooms at the church - oratorios - to read and interpret the Bible. Their sermons were accompanied by music. This is how special works on biblical subjects for soloists, choir and instrumental ensemble - oratorio - appeared. In the 18th century, secular oratorios appeared, i.e. intended for concert performance. Their first creator was G.F. Handel. It is important to remember that, unlike opera, there is no theatrical action in an oratorio.

In the 17th century, a genre close to the oratorio appeared - cantata - a concert-vocal piece of a lyrical, congratulatory or welcoming nature, consisting of arias and recitatives. Performed by soloists or choir accompanied by an orchestra. (unlike an oratorio - no plot)

JS Bach wrote many wonderful cantatas.

Currently, the lines of distinction between oratorio and cantata are being blurred:

Now these are large multi-part vocal and symphonic works, the main themes of which are: glorification of the Motherland, images of heroes, the heroic past of the people, the struggle for peace, etc.

Aria - the brightest solo performance in the opera.

This is a vocal monologue in which the hero is most fully and versatilely characterized and his musical portrait is drawn. In classical opera, an aria is more complex in form than a song.

The varieties of aria include: arioso, arietta, cavatina.

Arias in opera are usually preceded by a recitative.

Recitative - a kind of vocal music based on speech intonations.

It is built freely, approaching speech.

Mass - a multi-part work of church music for choir, soloists with instrumental

escort

Mass is a remembrance of suffering, death on the cross and the resurrection of Christ. A Christian sacrament takes place - thanksgiving, and bread and wine are transformed into the body and blood of Christ.

The Mass consists of the obligatory chants:

Kirie eleison - Lord, have mercy

Gloria - glory to God in the highest

Credo - I believe

Sanctus - holy

Benedictus - blessed

Agnus Dei - Lamb of God (a reminder of the tradition of slaughtering a lamb as a sacrifice, because Christ also sacrificed himself)

Combined together, these chants simultaneously show the image of God and talk about the feelings that a person experiences before God.

Instrumental music

Ensemble instrumental

(Ensemble - jointly, according to)

Fork - an instrument in the form of a two-pronged fork, making one sound "la".

Invented in 1711 by John Shore.

With the help of a tuning fork, all musicians tune their instruments for playing together.

Chamber ensembles (from the Latin word camera - that is, room) - small stable types of ensembles, where the instruments balance each other well in sonority.

The most common chamber ensembles are:

String Quartet - it consists of 2 violins, viola and cello

String Trio - composed of violin, viola and cello

Piano Trio - composed of violin, cello and piano

There are ensembles consisting only of violinists or only of harps, etc.

Types of orchestras

Orchestra - a group of musicians performing instrumental music together.

Conductor - the leader of the orchestra.

The methods of conducting have changed many times over the years:

the conductors were behind the stage, in front of the orchestra, behind the orchestra, in the middle of the orchestra. During the game, they sat and walked. They conducted in silence, sang, shouted at the top of their voice, played one of the instruments.

Conducted with a huge rod; a roll of paper rolled into a tube; blows of a foot shod in sandals, the soles of which were lined with iron; bow; conductor's baton - trampoline.

Previously, conductors stood with their backs to the orchestra. German composer Richard Wagner in the 19th century. broke this tradition and turned to face the orchestra.

Score - musical notation of a polyphonic piece of music, in which the parts of individual instruments are combined

Symphony Orchestra:

The birth of the first orchestras is associated with the appearance of opera in the 16th and 17th centuries. A group of musicians was placed separately on a special small area in front of the stage, which was called "orchestra". The set of instruments in the first orchestras was inconsistent: violas (predecessors of the violin and cello), 2-3 violins, several lutes, trumpets, flutes, harpsichord. At the same time, all these instruments sounded only in the introductory piece, which at that time was called "symphony". Until the 18th century, composers were looking for the best combination of instruments in an orchestra.

The Viennese classics - J. Haydn and W.A. Mozart - determined the composition of the classical symphony orchestra.

The modern symphony orchestra has up to 100 musicians

Four main groups of a symphony orchestra

Sometimes the orchestra includes: harp, organ, grand piano, celesta (in the translation from Italian heavenly - percussion keyboard instrument, reminiscent of a small piano. Timbre - delicate crystal)

Brass band

It mainly sounds on stage, located in the open air, accompanies processions, marches. Its sonority is especially powerful and bright. The main instruments of the brass band are brass: clarinets, trumpets, French horns. There are also woodwinds: flutes, clarinets, and in large orchestras there are also oboes and bassoons, as well as drums - drums, timpani, cymbals. There are pieces written specifically for a brass band, but symphonic pieces orchestrated for a brass band are often performed.

Variety orchestra

The most diverse in composition of instruments and sizes - from large, similar to a symphonic, to very small, more like an ensemble. In pop orchestras, ukuleles, saxophones, and many percussion instruments are often introduced. The pop orchestra performs: dance music, various types of songs, musical compositions of an entertaining nature, popular classical works of simple content.

Famous pop orchestras under the direction of O. Lundstrem, P. Moriah, B. Goodman, and others.

Orchestra of folk instruments

Their compositions are different, because every nation has its own national instruments. In Russia, the folk instrument orchestra includes

Stringed plucked instruments: domras, balalaikas, gusli,

Winds - flutes, zhaleiki, horns, snuffs, flutes

Bayans, harmonics

Large group of percussion instruments

The first professional orchestra of folk instruments was created in 1888 under the direction of the famous musician V.V. Andreev.

Jazz orchestras

Unlike a symphony orchestra, in a jazz orchestra there is no constant composition of instruments. Jazz is always an ensemble of soloists. In jazz orchestras there are pianos, saxophones, banjo, guitars. Strings - bowed, trombones, trumpets and clarinets can be included. The group of percussion instruments is very large and varied.

The main features of jazz are improvisation (the ability of soloists to compose music while performing); rhythmic freedom.

The first jazz orchestras appeared in America - the most famous jazz master: Louis Armstrong.

In Russia, the first jazz orchestra was created by Leonid Utyosov.

The structure of musical works. Musical form. Musical theme.

Theme (in the lane from Greek - what is the basis) - the main musical idea of ​​the work. One work can contain one or several (usually contrasting) themes.

Leitmotif (in translation from German - a guiding motive) - a phrase or a whole topic, repeatedly

repeated in the work.

Repetition - such a conduct of the topic, in which it is repeated several times without changes or with minor changes.

Sequencing - multiple repetition of the theme without changes at different heights.

Variation - multiple repetition of the topic with significant changes.

Motivational development (development) - isolation from the theme of bright elements (motives) and their

sequential, register, timbre, tonal development.

Musical form

The form (in the lane. from Latin. - image, outline) - the construction of a piece of music, the ratio of its parts.

Elements of musical form: motive, phrase, sentence.

Motive (in the lane from Italian - base) is the smallest element of a musical form. As a rule, the motive contains one accent and is equal to one measure.

Phrase (translated from Greek - expression) is an element of a musical form that contains two or

several motives. The volume of the phrase is from two to four measures. Sometimes phrases are not divided into motives.

A sentence is a relatively complete element of a musical form, consisting of several phrases. The volume of the sentence is from four to eight measures. There are sentences that are not divisible into phrases.

Period- the simplest musical form that contains a complete or relatively

complete thought. The period consists of two (less often three) sentences. Period volume

from eight to sixteen measures. Periods are:

Repeated structure (when the second sentence repeats the first one literally or with

small changes. Scheme: a + a or a + a 1)

Non-repeatable structure (when the second sentence does not repeat the first. Scheme: a + b)

Distinguish between simple and complex forms:

Simple - is called a form in which each part is not more than a period.

Challenging - is called a form in which at least one part is greater than the period.

An introduction and conclusion (code) can be given to any of the forms.

Simple two-part form

Musical form, consisting of two parts, each of which is not more than a period

Varieties:

Reprisal - where the second sentence of the second part repeats one of the sentences of the first part

for example:

Tchaikovsky "An Old French Song". Scheme: A B

a + a 1 b + a 2

Reprisal-free - consisting of two different periods. For example:

Tchaikovsky "The organ-grinder sings." Scheme: A B

a + b c + c 1

Simple three-part form

Musical form, consisting of three parts, each of which is no more than a period.

Varieties:

Reprisal - where the third part is a repetition of the first part, literally or with small

changes. For example:

Tchaikovsky "March of Wooden Soldiers" Scheme: A B A

a + a 1 b + b 1 a 2 + a 3

Reprisal-free - in which the third part is not a reprise of the first part. For example:

Tchaikovsky "The Neapolitan Song". Scheme: A B S

a + a 1 b + b c + c 1

Complex three-part form

A three-part reprisal form, in which the outer parts are a simple two-part or three-part form, and the middle part is contrasted with the outer ones and represents any simple form.

For example: Tchaikovsky "Waltz". Scheme:

a + a 1 b + b 1 c + c 1 a + a 1 b + b 1

(simple two-part) (period) (simple two-part)

Rondo shape

Rondo (translated from French - circle, round dance) - musical form in which the main theme is repeated

at least three times, alternating with other themes - episodes.

The main theme is called refrain (in the lane from French - chorus).

The refrain and episodes can be presented in any simple way.

Scheme: A B A C A

Variations form

Variations form - a musical form in which the theme is presented again with changes.

A modified repetition of a theme is called variation (in translation from Latin - change,

diversity).

In variations, any elements of musical speech can change.

The number of variations is from two to several dozen.

The topic can be written in any simple form. But most often - in a simple two-part.

Scheme: А А 1 А 2 А 3 А 4, etc.

Topic 1 var. 2 var. 3 var. 4 var.

Sonata form

Sonata form - a musical form based on juxtaposing the development of two themes, usually

contrasting.

The sonata form consists of three sections.

Section 1 - exposition (in the lane. from Latin. - show) - the outset of the action.

The exposition sets out two main themes - home and Side .

home the theme sounds in the main, main key of the work, and Side the theme is in a different key.

home and Side threads connect Binder theme.

Completes the exposition The final theme.

Section 2 - development - the dramatic center of the sonata form;

comparison, collision and development of the themes presented in the exposition. The development is characterized by frequent key changes. The main technique for developing themes is motivational development.

Section 3 - reprise - the denouement of the action.

Carrying out the exposition material in the main key.

Exposition Development Reprise

Chief t. Communication t. Sat. Zakl.t. Chief t. Communication t. Sat. Zakl.t.

T ------------- D, VI, III T T

Cyclic forms

Cycle - in the lane. from Greek - circle.

Cyclic forms - musical forms, consisting of several independent

contrasting parts, united by one idea.

The most important cyclical forms are the suite, the sonata cycle.

Suite.

Antique suite (16th - 18th centuries) - a cycle of old dances of various characters, written in one

tonality.

The main dances of the old suite:

Moderate Alemanda (German four-beat)

Lively chime (French triple)

Slow Sarabande (Spanish triple)

Fast gigue (English three-part)

sometimes the minuet, gavotte, bure and other dances were included in the old suite, as well as non-dance pieces - prelude, fugue, aria, rondo.

Examples of old suites in the works of G. Handel, J. S. Bach, F. Couperin, J. Lully, J. Ramot.

New suite (19th - 20th centuries) - a cycle of brightly contrasting pieces written in different keys.

The new suite is dominated by non-dance pieces.

Examples of the New Suite:

PI Tchaikovsky "The Seasons";

MP Mussorgsky "Pictures at an Exhibition";

E. Grieg "Peer Gynt";

N.A. Rimsky - Korsakov "Scheherazade";

C. Sen - Sans "Carnival of Animals".

Sonata cycle- a musical form in which at least one part is written in sonata form.

The sonata cycle for one or two solo performers is called - sonata;

for three performers - trio;

for four performers - quartet;

for five performers - quintet.

The sonata cycle written for a symphony orchestra is called - symphony;

for solo instrument and orchestra - concert.

Three-part cycles - sonata, concert.

Four-part cycles - symphony, quartet, quintet.

Polyphonic forms

Polyphony(Greek poly - many, phone - voice, sound) is a type of polyphony that appeared much earlier than homophony and became widespread in the 16th and 17th centuries. Here all voices lead their own independent and equally important, equally expressive melodies.
In polyphonic art, its own special genres have emerged: these are Passacaglia, Chaconne, Invention and Canon ... All of these pieces use the technique of imitation.

Imitation means "imitation", that is, the repetition of a melody in another voice.

For example, Canon is based on a strict, continuous imitation of the same melody in all voices. The voices repeat the melody of the lead voice, entering before this melody ends in the previous one.
The pinnacle of polyphonic art is the fugue . This form of polyphony reached its highest peak in the work of Johann Sebastian Bach.
Word "Fugue" comes from the Latin "running". The fugue is composed according to special, very strict laws. The fugue is usually based on one musical theme - bright, well-remembered. This theme sounds consistently in different voices. Depending on the number of voices, a fugue can be two-part, three-part, four-part, etc.
By structure, the fugue is divided into three parts:

The first is the exposition, where the theme is carried out across all voices. Each time the theme is performed, it is accompanied by a melody in a different voice, called counterbalance ... There are sections in the fugue where the theme is absent, this is - sideshows, they are located between holding the topic.
The second part of the fugue is called development, the theme is developed there, passing alternately in different voices.
The third section is a reprise, here the themes are in the main key. In a reprise, to accelerate musical development, the technique is often used Stretta. This is such an imitation, where each subsequent conduct of the topic begins earlier than it ends in another voice.
Adjacent to the reprise is a coda that summarizes the development of the fugue.
There are fugues in musical literature, written not on one, but on two or even three themes. Then they are called, respectively, double and triple. Very often the fugue is preceded by a small piece - fantasy, variation or chorale. But the cycles "prelude and fugue" were especially popular. I.S. Bach wrote 48 preludes and fugues and combined them into two volumes under the title The Well-Tempered Clavier.

Inventions

The word invention translated from Latin means “invention”. Actually fiction is the theme of the invention - a short expressive melody. Further, the structure of the invention hardly differs from the structure of the fugue, only everything is much simpler and more accessible for the performance of novice musicians.

Theme - a short expressive musical phrase, passing in turn in all voices.

Opposition - a melody in a different voice accompanying the theme.

Sideshow - are located between the runs of the topic.

Download:

Preview:

https://accounts.google.com

Slide captions:

Game "Guess the Musical Instrument" Task: Name the instruments that perform the themes of the heroes of S. Prokofiev's fairy tale "Petya and the Wolf".

Oboe What instrument performs the theme of the Bird? The flute

What instrument performs the Grandfather theme? Bassoon Oboe

Flute Which instrument plays the Cat theme? Clarinet

Flute Which instrument plays the Duck theme? Oboe

Bowed strings What instruments perform the Petya theme? Woodwind

I invite you to the fairy tale "Peter and the Wolf"

Preview:

To use the preview of presentations, create yourself a Google account (account) and log into it: https://accounts.google.com

Slide captions:

"The Tale Walks Through the Woods" Muses. V. Pshenichnikova

A fairy tale walks through the forest, Leads a fairy tale by the hand, A fairy tale comes out of the river, From the tram, from the gate.

What is this round dance? This is a round dance of fairy tales! Fairy tale - clever and lovely, Lives side by side with us.

So that, so that again Good Malice won. To, Good, to Become good, to Become good convinced.

And after me and after you Fairy tales run in a crowd. Adored fairy tales Sweeter than any berry.

In a fairy tale, the sun burns, Justice reigns in it. The tale is clever and lovely, The path is open to her everywhere!

So that, so that again Good Malice won. To, Good, to Become good, to Become good convinced.

So that, so that again Good Malice won. To, Good, to Become good, to Become good convinced.

So that, so that again Good Malice won. To, Good, to Become good, to Become good convinced.

So that, so that again Good Malice won. To, Good, to Become good, to Become good convinced.

Preview:

To use the preview of presentations, create yourself a Google account (account) and log into it: https://accounts.google.com

Slide captions:

"Instruments of a symphony orchestra in S. Prokofiev's fairy tale" Peter and the Wolf "Answers to tests:

Bowed Strings Woodwind Percussion # 1: What Instruments Play Petit's Theme? Task number 2:

Think again! Think again!

Right! Stringed bows

Task # 3: Flute Oboe Clarinet Which instrument plays the Cat theme? No. 2:

Do not hurry!

Right! CLARINET

Task # 4: Flute Clarinet Oboe Which instrument plays the theme of the bird? No. 3:

Think again!

FLUTE Right!

Exercise # 5: Clarinet Bassoon What instrument plays the Grandfather's theme? No. 4: Flute

Think again!

Right! BASSOON

What instrument performs the Duck theme? Clarinet Oboe No. 5: Flute

Oh no no no! Do not hurry!

LOVE Right!

Preview:

Technological map of the lesson model according to the program"Art. Music "(T. I. Naumenko, V. V. Aleev)

Music teacher MBU "Gymnasium No. 39" Malova Daria Anatolyevna

Theme: "The Image of the Great Patriotic War in the Seventh Symphony of D. Shostakovich."

Lesson type: a lesson in the discovery of new knowledge

Class 7

The purpose of the lesson: The upbringing of a part of the general spiritual culture of students through the art of music, as well as the development of patriotism in the minds of schoolchildren

Lesson Objectives:

1) Educational: to form the concept of Shostakovich's music as music corresponding to the spirit of the times;to give an idea of ​​the genre of the symphony on the example of the 7th symphony by D. Shostakovich

2) Developing: develop the skills of emotionally conscious perception of symphonic music, the ability to analyze a piece of music, to understand the inextricable connection between composing activities and historical events,control your learning activities.

3) Educational: foster respect, pride and a sense of gratitude towards the Russian people, especially towards the generation that survived the Leningrad blockade.

Basic concepts:symphony, climax, means of expression (dynamic shades, tempo, instruments, timbre ...)

Forms of organizing cognitive activity:frontal, steam room, independent

Equipment: Methodological manual, historical references, excerpts from the biography of D. Shostakovich, compiled by the teacher, cards with assignments in groups. screen, projector, video fragments from the life of besieged Leningrad, music center, recordings of fragments of the 7th symphony of D. Shostakovich, audio-cutting of songs of the war years, photograph of the monument "Broken ring" (A3), presentation, laurel leaves for a wreath.

During the classes:

What are the names of the musical instruments shown below?

What instruments are soloed in these pieces of music?

1. K. Saint-Saens. "Swan" from the suite "Carnival of Animals"

2. I. Bach. "Joke" from the orchestral suite in B minor

3. N. Rimsky-Korsakov. "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan"

4. A. Lyadov. "Comic" from "Eight Russian Songs for Orchestra"

5.P. Tchaikovsky. "Waltz of the Flowers" (main theme) from the ballet "The Nutcracker"

6. N. Rimsky-Korsakov. Scheherazade theme from the "Scheherazade" symphonic suite

7. K. Saint-Saens. "Elephant" from the suite "Carnival of Animals"

8.P. Tchaikovsky. "Dance of the Sugar Plum Fairy" from the ballet "Nutcracker"

9. S. Prokofiev. Grandfather's theme from the symphonic tale "Peter and the Wolf"

Instruments: French horns, cello, clarinet, double bass, violin, bassoon, flute, piccolo flute, celesta.

Horizontally... 3. The speed of performance of a piece of music. 4.Copper wind instrument with a retractable tube-arm. 5. Low male voice. 6. The ratio of sounds in length, alternation of durations. 8. Coloring of the sound inherent in a voice or instrument. 10. Copper wind instrument, the name of which is translated as "forest horn". 12. High male voice.

Vertically... 1. The sequence of chords, their combination with each other.

2. High stringed bowed instrument. 5. Average male voice. 7. The lowest of the group of stringed instruments. 9. Noise percussion instrument. 11. Woodwind instrument.

Diagnostic work on music for 6 grades

Instructions for students.

The period of the diagnostic work is 1 lesson.

The work consists of 3 parts, including 14 tasks.

Part 1

Quests 1-10

Each task has three possible answers, of which only one is correct. Enter the correct letter in the answer form in accordance with the number of the task.

Part 2

Quests 11-12

Choosing the correct answer for the correspondence of the term and its definition, the author of the music and his work.

Write the correct letter in the answer form in accordance with the number of the task.

Part 3

Quests 13-14

13. At the end of the assignment there are words that need to be inserted into the text by meaning. Write these words in the answer sheet.

14. Provide a detailed explanation in the answer sheet.

When completing tasks, you can use the draft. Please note that the entries in the draft will not be taken into account when evaluating the work.

The points you received for all completed tasks are summed up. Try to complete as many tasks as possible and score the most points.

We wish you success!

PartI

1. Literary works, which in ancient times it was customary not to tell, but to sing:

a) riddles;

b) fairy tales;

c) epics.

2. A piece of music intended to be sung without words:

a) vocalization;

c) romance.

3. Solemn State Song:

c) cantata.

4.Production for symphony orchestra and solo instrument:

a) concert;

c) symphony.

5. Find the right definition for the word polyphony:

a) translated from Greek, this word means polyphonic - a type of polyphony, which is based on the simultaneous combination of two or more independent melodies.

b) a musical form, consisting of multiple repetitions of the main section - a refrain, with which episodes alternate.

c) a musical form, consisting of a theme and its modified repetitions.

a) composer M.I. Glinka and poet V. Goethe

b) composer M.I. Glinka and poet A.S. Pushkin;

c) composer P.I. Tchaikovsky and poet A.S. Pushkin.

7.N.A.Rimsky-Korsakov wrote an opera for the 100th anniversary of A.S. Pushkin:

a) "Sadko";

b) "Snow Maiden";

c) "The Tale of Tsar Saltan".

8. The St. Petersburg Conservatory is named after:

a) M.I. Glinka;

b) N. A. Rimsky-Korsakov;

c) P.I.Tchaikovsky.

9. The State Academic Capella of St. Petersburg bears the name:

a) M.I. Glinka;

b) N. A. Rimsky-Korsakov;

c) P.I.Tchaikovsky.

10. From the listed names, select only the names of Russian composers known to you:

a) K.I. Chukovsky, A.S. Pushkin, N.V. Nekrasov;

b) F. Schubert, E. Grieg, L. Beethoven;

c) V. Kikta, V. Gavrilin, S. Rachmaninov.

PartII

11. Establish a correspondence between the names of means of expression with their definitions:

12. Compare the titles of works and composers:

PartIII

Insert missing words by meaning:

In his diary, artist V. Boris-Musatov writes about the interpenetration of music and painting:

“I sit at home and ask ____________________ for myself alone.

Instead of ______________, they have all the colors. I AM _______________________________.

My dreams are always ahead. They create for me whole _________________________.

My thoughts are colors, my colors are __________________ ".

The words: improvisation, tunes, sounds, concerts, symphonies.

Justify the choice of word terms.

genre(fr. genre) is a general concept that surrounds the most essential properties and connections of the phenomena of the art world, a set of formal and substantial features of the work. All existing works reflect certain conditions, while participating in the creation of a definition of the concept of a genre.

Arioso- a small aria with melodies of a melodic-declamatory or song character.

Aria- a completed episode in an opera, operetta, oratorio or cantata, performed by a solo singer accompanied by an orchestra.

Ballad- solo vocal compositions using the texts of poetic works and preserving their main features; instrumental compositions.

Ballet- a kind of performing arts, the content of which is revealed in dance and musical images.

Blues- a jazz song of sad, lyrical content.

Epic- Russian folk epic song-legend.

Vaudeville- a funny theatrical piece with musical numbers. 1) a kind of sitcom with verses, romances, dances; 2) the final couplet song in the vaudeville play.

Hymn- a solemn song.

Jazz- a kind of improvisational, dance music.

Disco- musical style with simplified melody and hard rhythm.

Invention- a small piece of music, in which some original find in the field of melodic development and shaping is essential.

Interlude- a short piece of music performed between parts of a piece.

Intermezzo- a small free-form play, as well as an independent episode in an opera or other piece of music.

Cantata- a major vocal and instrumental work of a solemn character, usually for soloists, chorus and orchestra.

Cantilena- a melodic, flowing melody.

chamber music - (literally "room"). chamber works are either pieces for solo instruments: songs without words, variations, sonatas, suites, preludes, impromptu performances, musical moments, nocturnes, or various instrumental ensembles: trio, quartet, quintet, etc., where three, four, respectively, participate, five instruments and all parts are equally important, require careful finishing from the performers and the composer.

Capriccio- a virtuoso instrumental piece of an improvisational warehouse with an unexpected change of images and moods.

Concert- a work for one or (less often) several solo instruments and an orchestra, as well as a public performance of musical works.

Madrigal- a small musical and poetic work of love and lyric content in the 14th-16th centuries.

March- a piece of music with a measured tempo, clear rhythm, usually accompanying a collective procession.

Musical- a piece of music that combines elements of opera, operetta; ballet, pop music.

Nocturne- in the xviii - early xix century. a multi-part instrumental work, mostly for wind instruments, usually performed outdoors in the evening or at night, from the 19th century. a small lyrical instrumental piece.

Oh yeah- a solemn piece of music dedicated to any significant event or person.

Opera- a musical and dramatic work based on the synthesis of words, stage action and music.

Operetta- a musical and stage comedy work, including vocal and dance scenes, orchestral accompaniment and conversational episodes.

Oratorio- a piece for soloists, chorus and orchestra intended for concert performance.

House Is a style and movement in electronic music. house is a descendant of dance styles of the early post-disco era (electro, high energy, soul, funk, etc.), the main difference of house music is the repeatable rhythm beat, usually in 4/4 time, and sampling is work with sound inserts, which are repeated from time to time in music, partially coinciding with its rhythm. one of the most important contemporary sub-styles of house is progressive house.

Chorus - a piece for a large singing group. choral works are divided into two large groups - with or without instrumental (or orchestral) accompaniment (a cappella).

Song- a poem intended for singing. its musical form is usually couplet or stanza.

Potpourri- a piece composed of excerpts from several popular melodies.

Play- a completed piece of music in a small size.

Rhapsody- a musical (instrumental) work on the themes of folk songs and epic legends, as if reproducing the performance of a rhapsode.

Requiem- funeral choral work (funeral mass).

Romance- lyrical work for voice with musical accompaniment.

R&B (Rhythm-N-Blues, English Rhythm & Blues) is a musical style of a song and dance genre. originally, a generalized name for mass music based on blues and jazz trends of the 1930s-1940s. nowadays the abbreviated abbreviation for R&B is used to refer to modern rhythm and blues.

Rondo- a piece of music in which the main part is repeated several times.

Serenade- a lyric song to the accompaniment of a lute, mandolin or guitar, performed in honor of the beloved.

Symphony- a piece of music for orchestra, written in a sonata cyclical form, the highest form of instrumental music.

Symphonic Music- unlike the chamber, it is performed in large rooms and is intended for a symphony orchestra. symphonic works are characterized by the depth and versatility of the content, often the grandeur of the scale and at the same time the accessibility of the musical language.

Consonance- a combination in the simultaneous sounding of several sounds of different heights.

Sonata- a piece of music from three or four parts of different tempo and character.

Sonatina- a little sonata.

Suite- a piece for one or two instruments from several dissimilar pieces connected by a common concept.

Symphonic Poem- a genre of symphonic music, expressing the romantic idea of ​​the synthesis of arts. a symphonic poem is a one-part orchestral work that allows for various sources of the program (literature and painting, less often philosophy or history; pictures of nature).

Toccata- a virtuoso piece of music for a keyboard instrument in fast movement and clear tempo.

Tone- the sound of a certain pitch.

Carcass- a short musical greeting.

Overture Is an orchestral piece designed to serve as an introduction to opera, ballet, drama. in their imagery and form, many classical overtures are close to the first movements of symphonies.

Fantasy- free-form piece of music.

Elegy- a piece of music of a sad nature.

Etude- a piece of music based on virtuoso passages.