Greetings dear readers! There were already enough articles on our site devoted to certain patterns of music construction, a lot of words were said about harmony, how chords are built, about chord inversions. However, all this knowledge should not be "dead weight" and should be confirmed in practice. Perhaps some of you have already tried to compose something of your own using modulations, and so on. Today let's try to see how many of the "components" we have already described in separate chapters interact all together. We will do this using the example of the analysis of a polyphonic work, which can be found in the music notebook of Anna Magdalena Bach (the wife of the great composer). Anna Magdalena had a good voice, but did not know musical notation at all, so the great composer wrote something like training material especially for her.
By the way, for those who have just started learning to play the piano, you can try to play the pieces from this very notebook, they are very well suited to start mastering the skill of sight reading. So, let's start analyzing the work. In this case, by musical analysis, I will mean finding chords that explain Bach's use of certain notes in the conduct of a melody. Of course, for a polyphonic work, chords (or harmony) are not particularly needed, since two lines develop in parallel in it, but still I was interested in understanding how the laws that we have already written about in practice work. What are these laws?
1 How the functions work - tonic, subdominant, dominant (you can read about this in the article, and also about modulation there);
2 Why chords of dominant and subdominant functions can be taken not only from the "standard" 4th and 5th steps of the scale, but from several (the answer to this is given in the article).
3 Application of invocations T, S, D (this is more about the piano, we also have on this topic);
4 Making modulation to another key.
All of the above ways to diversify harmony are used in Bach's "Menuet BWV Ahn. 114". Let's take a look at it:
rice. one
In the first article, we will select the chords for the first part of the work before ... So, after analyzing the first measure of our work, we see that it consists of the notes G, B and D. This consonance is the G major chord (G), it is the tonic, that is, it determines the tone in which the whole work will be. After the G chord in the same measure, there is a movement into the dominant, or rather into its circulation D43, we are "telled" about this by the presence of notes A and C at the end of the 1st measure, if they are completed, then we get the consonance A-do-d-fa sharp or reversal of the usual dominant from the fifth degree (or D7 chord), the rest of the notes are passing. In the second measure, the inversion of the first chord - T6, is suitable, we made such a conclusion because the measure begins with the interval si - re and then there is a salt, that is, the sound composition is fully consistent with this appeal. In the third bar, the first do-mi interval is the notes to the major triad, only without the note G, in this case, C major plays the role of a subdominant. Then a stepwise movement to reverse the tonic - T6 in the 4th measure (it is the same as the second measure). The 5th bar starts with A-C - which is not a full A-minor or subdominant chord from the second degree for the key of G.
rice. 2
As you can see in Figure 2, the subdominant from the second step is indicated by adding the Roman numeral 2 to the letter S.
We analyze the piece of music further... the 6-bar begins with the harmonic interval Sol-si, which, as you may have guessed, is part of our tonic or G chord, therefore we take it here. Then, through a progressive downward movement, we come to the dominant in the 7th measure, this is evidenced by the presence of the D-fa consonance, if completed, we get a D-seven chord or a dominant from the 5th degree of the G-major key. After the D7 dominant in the same measure, we again take the tonic T53 (G), since again we see a harmonic sol-si (harmonic, by the way, means that the notes of the interval are taken simultaneously, and not one after another). The eighth bar contains notes of D (si there as passing), they are also sounds from the D7 chord, while the rest of the notes that make it up (F sharp, C) are simply not used here. The ninth measure is almost the same as the first, although the interval on its strong beat (si-re consonance) is the inversion of the tonic, and not the tonic proper as in the first measure, so we take the T6 chord, everything else is the same. The 10th measure contains on the first beat the note G-D - again the "unfinished" chord T53 or G.
rice. 3
Figure 3 shows the chords analyzed above.
Moving on... Bar 11 starts with C, which, as we said, is part of a C major chord, and that means again a subdominant from the fourth step of S53. The twelfth measure contains the sounds of B-sol (they are on the first beat) this is T6 or the inversion of our tonic. In the 13th bar, you need to pay attention again to the first consonance - the notes A and C - this is again an A-minor or Subdominant chord from the second step. It is followed (in measure 14) by the T53 or tonic, as determined by the G-C notes (the first two notes of the G major triad). The 15th measure implies the reversal of the subdominant from the second step (or Am), that is, in the bass it becomes not "la" but "do", and "la" is transferred up an octave. The consonance will be called a sixth chord, in fact we have sounds do-la on the first beat - that is, the extreme sounds of this appeal. Well, the 16th bar completes the first part of the work and marks its end with a return to the tonic, and the sound composition also confirms this (gl note).
rice. 4
This concludes the first part of our analysis. In the pictures you see the exact designations of what is played in the minuet (T, S, D - and the numbers next to them - their inversions), and at the very top in black - the chords to which they correspond. You can try to play them on the guitar, which will be easier - because there is not such a variety of invocations, but of course there are also some nuances. Even in this first part, you learned how to analyze a piece of music, and if you are not fond of classical music, you can still use the approach that we have demonstrated for the analysis of any other composition, because the essence is the same.
The material for this article was taken from the work of Alla Shishkina, a fifth-year student of the Shakhty Musical College, and published with her permission. Not the entire work is published, but only those interesting points that can help a novice musician, a student at. This paper analyzes a piece of music on the example of the Russian folk song “A bird cherry sways outside the window” and is presented as work on a variational form in the senior classes of the music school, specializing in domra, which, however, does not prevent using it as a model for analyzing any piece of music.
Definition of variational form, types of variations, principle of variation.
Variation - variation (variation) - change, change, variety; in music, the transformation or development of a musical theme (musical thought) with the help of melodic, harmonic, polyphonic, instrumental-timbre means. The variational method of development finds wide and highly artistic application among Russian classics and is associated with variation, as one of the characteristic features of Russian folk art. In the compositional structure, a theme with variations is a way of developing, enriching and revealing the original image ever deeper.
In its meaning and expressive possibilities, the form of variations is designed to show the main theme in a versatile and diverse way. This topic is usually simple and at the same time contains opportunities for enrichment and disclosure of its full content. Also, the transformation of the main theme from variation to variation should go along the line of gradual growth, leading to the final result.
The centuries-old musical practice of peoples of different nationalities served as a source occurrence of a variational form. Here we find examples of both harmonic and polyphonic styles. Their appearance is associated with the desire of musicians to improvise. Later, professional performers, for example, when repeating the melody of a sonata or a concerto, had a desire to decorate it with various ornaments in order to show the virtuoso qualities of the performer.
Historically three main types of variational form: old (basso-ostinato variations), classical (strict) and free. In addition to the main ones, there are also variations on two themes, the so-called double variations, soprano-astinato variations, i.e. unchanging upper voice, etc.
Variation of folk melodies.
Variation of folk melodies These are usually free variations. Free variation is a type of variation that is bound by the method of variation. Such variations are characteristic of the postclassical era. The appearance of the theme then was extremely changeable, and if you look from the middle of the work to its beginning, you might not recognize the main theme. Such variations represent a whole series of contrasting in genre and meaning variations close to the main theme. Here the difference prevails over the similarity. Although the variation formula remains A, Al, A2, A3, etc., the main theme no longer bears the original image. The tonality and form of the theme can vary, it can reach the methods of polyphonic presentation. The composer can even isolate some fragment of the theme and vary only it.
The principles of variation can be: rhythmic, harmonic, dynamic, timbre, textural, dashed, melodic, etc. Based on this, many variations can stand apart and resemble more a suite than variations. The number of variations in this form is not limited (as, for example, in classical variations, where 3-4 variations are like an exposition, two middle ones are a development, the last 3-4 are a powerful statement of the main theme, i.e. a thematic frame)
Performance analysis.
Performing analysis includes information about the composer and a particular work.
It is difficult to overestimate the importance of the repertoire in the process of educating a student of the Children's Music School. A work of art is both a goal and a means of learning for the performer. Ability to persuasively reveal artistic content of a musical work- and the upbringing of this quality in a student is the most important task of his teacher. This process, in turn, is carried out through the systematic development of the educational repertoire.
Before a piece of music is offered to a student, the teacher must carefully analyze the methodological orientation of his choice, that is, perform performance analysis. As a rule, it should be artistically valuable material. The teacher determines the goals and objectives of the chosen work and the ways of its development. It is important to accurately calculate the degree of complexity of the material and the potential of the student, so as not to slow down his progressive development. Any overestimation or underestimation of the complexity of the work must be carefully justified.
In the Children's Music School, the first acquaintance of a student with new musical material, as a rule, begins with its illustration. This can be an audition at a concert, on a recording, or, preferably, a performance by the teacher himself. In any case, the illustration should be a reference. To do this, the teacher must inevitably master all the professional aspects of the performance of the proposed work, which will be facilitated by:
- information about the composer and specific work,
- ideas about style
- artistic content (character), images, associations.
Similar performance analysis is necessary for the teacher not only to convincingly illustrate to the student the artistic sides of the repertoire, but also for direct work on the student's work, when there is a need to explain the tasks facing him. Wherein dry analysis of the work should be clothed in an accessible form, the language of the teacher should be interesting, emotional, figurative. G. Neuhaus argued: “He who only experiences art remains forever only an amateur; who only thinks about it will be a researcher-musicologist; the performer needs a synthesis of the thesis and antithesis: the most lively perception and consideration. ( G. Neuhaus "On the art of piano playing" p.56)
Before proceeding to the study of the Russian folk song "Outside the window, the bird cherry sways" in the processing of V. Gorodovskaya, I must be sure that the child is technically and emotionally ready to perform this work.
The student should be able to: quickly change from one mood to another, hear the colors of major and minor, perform legato tremolo, change positions, sound high notes (i.e., playing in a high register), perform legato by playing down and alternating techniques (down -up), arpeggio chords, harmonics, emotionally bright, be able to perform contrasting dynamics (from ff and sharply p). If the child is ready enough, I will offer him to listen to this work performed by high school students. The first impression for a child is very important. At this stage, he will want to play like his classmate, at this moment there will be an element of competition, a desire to be better than his comrade. If he hears in the performance of his teacher or in the recording of famous performers, the student will have a desire to be like them and achieve the same results. Emotional perception at the first show leaves a huge imprint in the soul of the student. He may love this work with all his heart or not accept it.
Therefore, the teacher must be prepared to show this work and adjust the child accordingly. This will help story about variation, in which this work is written, about the principles of variation, about the tonal plan, etc.
Will help to understand the work and some information about the composer and the author of the processing this work. Vera Nikolaevna Gorodovskaya was born in Rostov in a family of musicians. In 1935 she entered the Yaroslavl Musical College in the piano class, where she first became acquainted with folk instruments while working as an accompanist at the same school. She began to play the harp in the orchestra of folk instruments in Yaroslavl. From the third year, Gorodovskaya, as especially gifted, was sent to study at the Moscow State Conservatory. In 1938, Vera Gorodovskaya became an artist of the State. Russian folk orchestra of the USSR. Her concert activity began in the 40s, when N.P. Osipov became the head of the orchestra. The pianist accompanied this balalaika virtuoso in radio broadcasts, at concerts, at the same time Gorodovskaya mastered the plucked harp, which she played in the orchestra until 1981. Vera Nikolaevna's first composing experiments date back to the 1940s. She created many works for orchestra and solo instruments. For domra: Rondo and the play “Merry Domra”, “Bird Cherry Waves Outside the Window”, “Little Waltz”, “Song”, “Dark Cherry Shawl”, “At the Dawn, at the Little Dawn”, “Fantasy on Two Russian Themes ”, “Scherzo”, “Concert Piece”.
Artistic content (character) images, associations are necessarily present in the performance analysis of the work.
Then you can talk about the artistic content of the song, on the theme of which variations are written:
Under the window, the bird cherry sways,
Spreading its petals...
A familiar voice is heard across the river
Let the nightingales sing all night.
The girl's heart beat with joy ...
How fresh, how good it is in the garden!
Wait for me, my affectionate, my sweet,
I will come at the promised time.
Oh, why did you take out your heart?
For whom now your eyes shine?
The path is trodden directly to the river.
The boy is sleeping - it's not his fault!
I won't cry and mourn
The past will not return.
And taking a deep breath of fresh air,
Looked back again...
I'm not sorry that you left me
It's a shame people talk a lot.
Under the window, the bird cherry sways,
The wind tears the bird cherry leaves.
Beyond the river no voice is heard,
The nightingales no longer sing there.
The text of the song immediately tunes in to the perception of the nature of the melody of the work.
The lyrical chanting beginning of the presentation of the theme in h-moll conveys the sad mood of the person on whose behalf we are listening to the story. The author of the variations, to some extent, follows the content of the lyrics of the song. The musical material of the first variation can be associated with the words of the beginning of the second verse ("How fresh, how good it is in the garden ...") and present a dialogue between the main character and her beloved, whose relationship has not yet been overshadowed by anything. In the second variation, one can still imagine the image of gentle nature, the call to birdsong, but disturbing notes begin to prevail.
After holding the theme in a major, where there was hope for a happy ending, the wind of change blew in the third variation. The change of tempo, the return of the minor key, the restless alternation of sixteenths in the domra part lead to the culmination of the whole work in the fourth variation. In this episode, you can correlate the words of the song "I'm not sorry that I left you, it's a pity that people talk a lot ..".
The last passage of the chorus after a powerful break in the musical material on “?”, which sounds like a contrast to “r”, corresponds to the words “Across the river, the voice is no longer heard, the nightingales do not sing there anymore.”
In general, this is a work of a tragic plan, so the student should already be able to perform and experience such emotions.
A true musician can put a certain meaning into his performance, which attracts attention in the same way as the meaning of words.
Analysis of the variational form, its connection with the content, the presence of climaxes.
Phrasing variational form.
This edit is written in form of free variations, which makes it possible to show the topic in a versatile and varied way. In general, the work is a one-bar introduction, a theme and 4 variations. The theme is written in the form of a period of a square structure of two sentences (singal and chorus): The introduction (1 measure) in the piano part introduces listeners into a state of rest.
Tonic chordal harmony (B minor) prepares the appearance of the theme. The lyrical appearance of the theme in the "Moderato" tempo, is performed with a legato touch. Playing techniques are used tremolo. The first sentence (solo) consists of 2 phrases (2 + 2 measures), ends with a dominant.
Phrase climaxes occur on even measures. The theme is a verse structure, so the first sentence corresponds to the verse, and the second sentence to the refrain. Russian folk songs tend to repeat the chorus. This song also has this repetition. The second chorus begins in a two-quarter measure. The contraction of the meter, the dominant to G minor helps to make the main climax of the whole theme right here.
In general, the whole theme consists of 12 bars (3 sentences: 4 - verse, 4 - chorus, 4 - second chorus)
Next stage: break the variational form into phrases.
The first variation is a repetition of the theme in the same tone and in the same character. The theme takes place in the piano part, in the domra part there is an overtone that continues the lyrical direction of the theme, thus forming a dialogue between the two parts. It is very important for a student to feel, to hear the combination of two voices, and the primacy of each at certain moments. This is a subvocal melodic variation. The structure is the same as in the presentation of the topic: three sentences, each consisting of two phrases. It ends only not in B minor, but in parallel major (D major).
The second variation sounds in D major, to consolidate this tonality, one measure is added before the appearance of the theme, and the rest of the structure of the variation retains the structure of the exposition of the theme (three sentences - 12 measures = 4 + 4 + 4). The domra part performs an accompanying function, the main thematic material takes place in the piano part. This is the most optimistically colored episode, perhaps the author wanted to show that there was hope for a happy ending to the story, but already in the third sentence (in the second chorus) the minor key returns. The second chorus appears not in a two-quarter measure, but in a four-quarter measure. This is where timbre variation occurs (arpeggios and harmonics). The domra part performs an accompanying function.
Third variation: subvoice and tempo (Agitato) variation is used. The theme is in the piano part, and in the domra part, sixteenth notes sound like counterpoint, performed by playing down with a legato stroke. The tempo has changed (Agitato - excitedly). The structure of this variation is changed, relative to other variations. The chorus has the same structure (4 measures - the first sentence), the first chorus is extended by one measure due to the repetition of the last motive. The last repetition of the motive is even superimposed on the beginning of the fourth variation, thereby combining the third and fourth variations into a single climactic section.
Fourth variation: the beginning of the theme in the piano part, in the chorus, the domra part picks up the theme and in the duet the brightest dynamic (ff) and emotional performance takes place. On the last notes, the melodic line breaks off with a constant crescendo, which evokes associations that the main character of this work “takes her breath away” and lacks more emotions. The second refrain is performed on two pianos, as an afterword, as an epilogue of the whole work, where “there is no more strength to defend one’s opinion”, submission to one’s fate takes place, humility comes with the circumstances in which a person finds himself. Perhaps a slower tempo performance of the second chorus. The theme sounds in the domra part, and the second voice in the piano part. The structure of the second refrain was supplemented to 6 measures, due to the last passage of the motive in the piano part (addition). This episode corresponds to the words: “Across the river, voices are no longer heard, the nightingales no longer sing there.” In this variation, textural variation is used, since the theme sounds in interval and chords from the piano, elements of sub-vocal variation (ascending passages continue the musical line of the piano part).
Strokes, means of articulation and playing techniques are an important component of performing analysis.
Summarizing many years of experience, Neuhaus so briefly formulated the principle of working on sound: “The first is the artistic image” (i.e., the meaning, content, expression of “what it is about”); the second - sound in time - reification, the materialization of the "image" and, finally, the third - technology as a whole, as a set of means necessary to solve an artistic problem, playing the piano "as such", i.e. possession of one’s musculoskeletal system and the mechanism of the instrument” (G. Neuhaus “On the Art of Piano Playing”, p. 59). This principle should become fundamental in the work of a teacher-musician of any performing specialty.
An important place in this work is work on strokes. The entire work is performed with a legato stroke. But legato is performed in various ways: in the theme - tremolo, in the second variation - pizz, in the third - by playing down. All legato techniques correspond to the development of the image of the work.
The student must master all types of legato before proceeding with the study of the piece. In the second variation, there are techniques for performing arpeggios and harmonics. In the third variation, in the main culmination of the whole piece, in order to achieve a higher dynamic level, the student must necessarily perform the tremolo technique with the whole hand, relying on the mediator (hand + forearm + shoulder). When performing repeated notes “fa-fa”, it is necessary to add a “push” movement with an active attack.
Concretization of the sound goal (stroke) and selection of the appropriate articulation technique can be made only in a certain episode of the work. The more talented the musician, the deeper he delves into the content and style of the composition, the more correct, interesting and original he will convey the author's intention. It should be emphasized especially that the strokes should reflect the nature of the music. To convey the process of development of musical thought, appropriate characteristic sound forms are needed. However, here we are faced with very limited means of the existing musical notation, which has only a few graphic signs, with the help of which it is impossible to reflect the entire infinite variety of intonational differences and moods of music!
It is also very important to emphasize that the graphic signs themselves are symbols that cannot be identified with either sound or action. They only reflect at the same time in the most general terms the alleged the nature of the sound target (stroke) and articulation technique to receive it. Therefore, the performer must be creative in the analysis of musical text. Despite the scarcity of line designations, strive to reveal the content of this work. But the creative process must proceed according to certain limits, such as the era, the lifetime of the composer, his style, etc. This will help to choose the appropriate specific methods of sound extraction, articulatory movements and strokes.
Methodical analysis: work on technical and artistic tasks during the analysis of a musical work.
We can say that almost the entire work is performed using tremolo. When studying tremolo, which is the main technique for playing domra, we must follow the uniform and frequent alternation of the pick up and down. This technique is used for continuous length of sound. Tremolo is rhythmic (a certain number of beats for one duration) and non-rhythmic (the absence of a certain number of beats). It is necessary to start mastering this technique individually, when the student has sufficiently freely mastered the movement of the hand and forearm when playing with a mediator down and up the string.
Decide technical task of development tremolo is recommended at a slow pace and at a low sonority, then the frequency is gradually increased. There are wrist tremolo and tremolo with other parts of the hand (hand + forearm, hand + forearm + shoulder). It is important to master these movements separately and only after some time to alternate. Also, in the future, you can increase the dynamics of non-tremolo, due to a deeper immersion of the pick into the string. With all these preparatory exercises, one should strictly follow the uniform sounding up and down, which is achieved by precise coordination of the movement of the forearm and hand and the support of the little finger of the right hand on the shell. The muscles of the right hand must be trained for endurance, gradually increase the load, and when tired, switch to calmer movements or, in extreme cases, shake your hand and let your hand rest.
Sometimes mastering tremolo can be helped by working on a “short tremolo”: playing quartols, quintuplets, etc. Then you can move on to playing small pieces of music, melodic turns: motives, phrases and sentences, etc. In the process of working on a piece of music, the tremolo frequency becomes a relative concept, since the tremolo can and should change the frequency, based on the nature of the episode being performed. The inability to use tremolo gives rise to monotony, a flat, inexpressive sound. Mastering this technique requires not only the solution of purely technological problems, but also the development of qualities associated with the education of intonational, harmonic, polyphonic, timbre hearing, the process of sound anticipation, and auditory control.
When performing an artistic task when performing the theme “Bird cherry sways outside the window” on one string, you need to follow the connection of notes on the fretboard. To do this, it is necessary that the last playing finger slide along the neck to the next one with the help of the forearm of the right hand advancing the brush. It is necessary to control the sound of this connection, so that it is a portable connection, and not an obvious gliding connection. At the initial stage of mastering such a connection, a sounding glissando can be allowed so that the student feels sliding along the string, but in the future, support on the string should be made easier. A slight sound of glissando may be present, as this is typical for Russian folk songs. It is especially difficult to perform the beginning of the chorus, since the slip occurs on a weak fourth finger, so it must be positioned steadily in the shape of the letter "p".
Analyzing a piece of music, you can first say the following: the student must pronounce well, rhythmically accurately perform the first eighth note. A common mistake of students is to shorten the first eighth note, as the next finger reflexively tends to stand on the string and does not allow the previous note to be heard. To achieve a melodious performance of the cantilena, it is necessary to control the singing of the first eighth notes. The next difficulty can be caused by the performance of two repeated notes. Technically, this can be performed in two ways, which the student chooses, and which corresponds to the nature of the performance of the musical material - this is: with a stop of the right hand and without stopping, but with the relaxation of the finger of the left hand. More often, on a quiet sound, they use finger relaxation, and on a loud sound, stop the right hand.
When performing arpegjato in the second variation, it is necessary for the student to anticipate the successive appearance of sounds with his inner ear. When performing, he felt and controlled the uniformity of the appearance of sounds, and dynamically distinguished the upper sound.
When performing natural harmonics, the student must control the accuracy of hitting the 12th and 19th frets of the fingers of the left hand, coordinate the successive sound production of the right hand and the successive removal of the fingers of the left hand from the string. For a brighter sound of the harmonic at the 19th fret, you should move your right hand to the stand in order to observe the division of the string into three parts, in which the entire overtone series is sounded (if the hand is located less than one third of the string, low overtones sound, if more, high overtones sound, and only when moving exactly to the third part, the entire overtone series sounds in balance).
One of difficulties in solving an artistic problem there may be a problem of timbre connection of strings in the first variation. The initial two notes are played on the second string, and the third on the first. The second string has a more matte tone than the first. To combine them, to make the difference in timbre less noticeable, you can use the transfer of the right hand with a plectrum: on the first string you need to play closer to the fretboard, and on the second - closer to the stand.
Attention should always be paid to intonation and sound quality. The sound should be expressive, meaningful, correspond to a certain musical and artistic image. Knowledge of the instrument will tell you how to make it melodious and timbre diverse. Of great importance for the upbringing of a musician is the development of an inner ear for music, the ability to hear in the imagination the nature of a piece of music. The performance must be under constant auditory control. Thesis: I hear, I play, I control is the most important postulate of the artistic performing approach.
Analysis of a musical work: conclusion.
Every child, mastering the world, initially feels like a creator. Any knowledge, any discovery for him is a discovery, the result of his own mind, his physical abilities, his mental efforts. The main task of the teacher is to help to open up as much as possible and create conditions for its development.
The study of any piece of music should bring emotional and technical development to the student. And it depends on the teacher at what point this or that work should appear in the repertoire. The teacher must remember that, starting to study the work, the student must be ready to trust the teacher and understand himself. Indeed, in order to improve techniques, skills, mastery, you need to be able to analyze your feelings, fix them and find a verbal explanation for them.
The role of the teacher, as a more experienced colleague, is very important here. That is why it is so important for the teacher and the student analysis of a piece of music. It will help to direct the conscious activity of the child to the solution and implementation of the task set by him. It is important that the child learns to analyze and find multi-variant and extraordinary solutions, which is important not only in, but in general in life.
As G. Neuhaus wrote in the book “On the Art of Piano Playing” (p. 197):
“Our business is small and very large at the same time - to play our amazing, wonderful piano literature in such a way that the listener likes it, that it makes you love life more, feel more, desire more, understand more deeply ... Of course, everyone understands that pedagogy, setting such goals, ceases to be pedagogy, but becomes education.
Analysis of a work of art
1. Determine the theme and idea / main idea / of this work; the issues raised in it; the pathos with which the work is written;
2. Show the relationship between plot and composition;
3. Consider the subjective organization of the work /artistic image of a person, methods of creating a character, types of images-characters, a system of images-characters/;
5. Determine the features of the functioning of the visual and expressive means of the language in this work of literature;
6. Determine the features of the genre of the work and the style of the writer.
Note: according to this scheme, you can write an essay-review about the book you read, while also submitting in your work:
1. Emotional and evaluative attitude to what is read.
2. A detailed justification for an independent assessment of the characters of the heroes of the work, their actions and experiences.
3. Detailed substantiation of the conclusions.
________________________________________
Some questions of harmonic analysis
1. Significance of harmonic analysis.
Harmonic analysis makes it easier to establish and maintain a direct connection with live musical creativity; helps to realize that the techniques and norms of voice leading recommended in harmony are not only educational and training, but also artistic and aesthetic; provides quite specific and varied material for demonstrating the basic methods of voice leading and the most important laws of harmonic development; helps to learn the main features of the harmonic language and individual outstanding composers and entire schools (directions); convincingly shows the historical evolution in the methods and norms of using these chords, revolutions, cadences, modulations, etc.; brings you closer to being guided in the style norms of the harmonic language; leads, ultimately, to an understanding of the general nature of music, brings it closer to the content (within the limits that are available to harmony).
2. Types of harmonic analysis.
a) the ability to correctly and accurately explain a given harmonic fact (chord, voicing, cadence);
b) the ability to understand and harmonically generalize this passage (the logic of functional movement, the relationship of cadences, the definition of tonality, the interdependence of melody and harmony, etc.);
c) the ability to connect all the essential features of the harmonic warehouse with the nature of the music, with the development of the form and with the individual characteristics of the harmonic language of a given work, composer or a whole trend (school).
3. Basic methods of harmonic analysis.
1. Determining the main key of a given piece of music (or its passage); to find out all other keys that appear in the process of development of this work (sometimes this task is somewhat removed).
Determining the main key is not always a fairly elementary task, as one might assume at first glance. Not all pieces of music begin with the tonic; sometimes with D, S, DD, "Neapolitan harmony", from an organ point to D, etc., or a whole group of harmonies of a non-tonic function (see R. Schumann, op. 23 No. 4; Chopin, Prelude No. 2, etc. .). In more rare cases, the work even begins immediately with a deviation (L. Beethoven, "Moonlight Sonata", part II; 1st symphony, part I; F. Chopin, Mazurka in E minor, op. 41 No. 2, etc.). d.). In some works, the tonality is shown quite difficult (L. Beethoven, sonata in C major, op. 53, part II) or the appearance of the tonic is delayed for a very long time (F. Chopin, prelude in A-flat major, op. 17; A. Scriabin, prelude in A minor, op. 11 and E major, op. 11; S. Taneyev, cantata "After reading the psalm" - beginning; piano quartet, op. 30 - introduction, etc.). In special cases, in harmony, a clear, distinct attraction to the tonic of a given key is given, but in essence all functions are shown, except for the tonic (for example, R. Wagner, the introduction to the opera "Tristan and Isolde" and the death of Isolde; N. Rimsky-Korsakov, the beginning overture to "May Night"; P. Tchaikovsky, "I bless you, forests", beginning; A. Lyadov "Sorrowful Song"; S. Rachmaninov, 3rd concerto for piano, part II; S. Lyapunov, romances op. 51; A. Scriabin, prelude op. 11 No. 2). Finally, in many classical arrangements of Russian songs, sometimes the key designation of tonality goes beyond traditional norms and follows the specifics of the mode, why, for example, Dorian G minor can have one flat in the designation, Phrygian F-sharp minor - two sharps, Mixolydian G major is written without any signs, etc.
Note. These features of the key designation are also found in other composers who appeal to the materials of folk art (E. Grieg, B. Bartok, etc.).
Having found out the main key and then other keys that appear in this work, they determine the general tonal plan and its functional features. The definition of the tonal plan creates a prerequisite for understanding the logic in the sequence of keys, which is especially important in large-scale works.
The definition of the main key, of course, is combined with the simultaneous characterization of the mode, the general modal structure, since these phenomena are organically interconnected. Particular difficulties, however, arise when analyzing samples with a complex, synthetic type, modal basis (for example, R Wagner, introduction to Act II of "Parsifal", "Dreams", R Schumann, "Grillen", N Rimsky-Korsakov, "Sadko" , 2nd scene, excerpts from "Kashchei"; S Prokofiev, "Sarcasms", etc.), or when changing the mode or key at the end of the work (for example, M Balakirev, "Whisper, timid breathing"; F Liszt, "Spanish Rhapsody "; F Chopin, ballad No. 2, G Wolf, "The moon rose very gloomy today"; F Chopin, mazurkas D-flat major, B minor, op.30; And Brahms, Rhapsody E-flat major; S Taneyev, "Minuet "etc.) Such changes in either mode or tonality must be explained as far as possible, their regularity or logic must be understood in connection with the general or development of a given work, or in connection with the content of the text.
2. The next point in the analysis is cadences: the types of cadences are studied and determined, their relationship is established in the presentation and development of the work. It is most expedient to begin such a study with an initial, expositional construction (usually a period); but this should not be limited.
When the analyzed work goes beyond the period (the theme of variations, the main part of the rondo, independent two- or three-part forms, etc.), it is necessary not only to determine the cadenzas in the reprise construction, but also to compare them harmoniously with the expositional part. This will help to understand how cadences can generally be differentiated to emphasize stability or instability, complete or partial completeness, connection or delimitation of constructions, as well as to enrich harmony, change the nature of music, etc.
If a work has a clear middle (connection), then it is obligatory established by what harmonic means the instability characteristic of the middles is supported (such as: emphasis on half cadences, stop on D, organ point on D or tonal unstable sequences, interrupted cadences, etc.). P.).
Thus, this or that independent study of cadences must necessarily be combined with consideration of their role in harmonious development (dynamics) and form formation. For conclusions, it is essential to pay attention both to the individual harmonic features of the theme (or themes) itself and to the specifics of its modal-functional structure (for example, it is necessary to specifically take into account the features of major, minor, variable mode, major-minor, etc.), since all these harmonic moments are closely linked and interdependent. Such linkage is of the greatest importance in the analysis of works of large form, with a contrasting ratio of its parts and themes and their harmonic presentation.
3. Then it is desirable to focus attention in the analysis on the simplest moments of coordination (subordination) of melodic and harmonic development.
To do this, the main melody-theme (initially within the framework of the period) is analyzed structurally independently, unanimously - its character, dissection, completeness, functional pattern, etc. are determined. Then it is revealed how these structural and expressive qualities of the melody are reinforced by harmony. Particular attention should be paid to the climax in the development of the theme and its harmonic design. Recall that, for example, in the Viennese classics, the climax usually falls on the second sentence of the period and is associated with the first appearance of the subdominant chord (this enhances the brightness of the climax) (see L Beethoven, Largo appassionato from sonata op. 2 No. 2, II part from sonata op .22, theme of the finale of the Pathetique Sonata, op.13, etc.).
In other, more complex cases, when the subdominant is somehow shown even in the first sentence, the climax, in order to increase the overall tension, is harmonized differently (for example, DD, S and DVII7 with a bright delay, Neapolitan chord, III low, etc.). For example, let us refer to the famous Largo e mesto from Beethoven's sonata in D major, op. 10, No. 3, in which the climax of the theme (in the period) is given on a bright consonance DD. Without explanation, it is clear that such a design of the climax is also preserved in works or sections of a larger form (see L. Beethoven, indicated by Largo appassionato from sonata op. 2 No. 2 - a two-part construction of the main theme, or the deepest Adagio - II part from sonata L Beethoven in D minor, op.31 No. 2)
It is natural that such a bright, harmoniously convex interpretation of climaxes (both main and local) by continuity passed into the creative traditions of subsequent masters (R. Schumann, F. Chopin, P. Tchaikovsky, S. Taneyev, S. Rachmaninov) and provided many magnificent samples (see the amazing apotheosis of love in the conclusion of the 2nd picture of "Eugene Onegin" by P. Tchaikovsky, a side theme from the finale of the 6th symphony of P. Tchaikovsky, the end of the first act of "The Tsar's Bride" by N. R and m with whom -K o r s a ko in a Ypres.).
4. In a detailed harmonic analysis of a given chord sequence (at least within a simple period), it is necessary to fully understand what chords are given here, in what inversions, in what alternation, doubling, at what enrichment with non-chord dissonances, etc. At the same time, it is desirable to generalize how early and often the tonic is shown, how widely unstable functions are presented, with what gradualness and regularity the change of chords (functions) takes place, which is accentuated in the display of various modes and keys.
Of course, here it is also important to consider voice leading, that is, to check and realize the melodic meaningfulness and expressiveness in the movement of individual voices; understand - for example - the features of the location and doubling of consonances (see the romance of N. Medtner, "Whisper, timid breathing" - the middle); explain why full, polyphonic chords are suddenly replaced by unison (L. Beethoven, sonata op. 26, “Funeral March”); why the three-voice systematically alternates with the four-voice (L. Beethoven, Moonlight Sonata, op. 27 No. 2, part II); what is the reason for the register transfer of the theme (L. Beethoven, sonata in F major, op. 54, h, I, etc.).
In-depth attention to voice leading will help students to feel and understand the beauty and naturalness of any combination of chords in the works of the classics and develop a demanding taste for voice leading, because outside of voice leading, music - in essence - is not created. With such attention to voicing, it is useful to follow the movement of the bass: it can either move in jumps along the main sounds of chords (“fundamental basses”), or more smoothly, melodicly, both diatonically and chromatically; the bass can also intotone more thematically significant turns (general, complementary and contrasting). All this is very important for harmonic presentation.
5. In harmonic analysis, register features are also noted, that is, the choice of one register or another, associated with the general nature of this work. Although the register is not a purely harmonic concept, the register has a serious impact on the general harmonic norms or methods of presentation. It is known that chords in high and low registers are arranged and doubled differently, that sustained sounds in middle voices are used more limitedly than in bass, that register “breaks” in the presentation of chords are undesirable (“ugly”) in general, that methods for resolving dissonances change somewhat during register changes. It is clear that the choice and preferential use of a certain register is connected primarily with the nature of a musical work, its genre, tempo, and intended texture. Therefore, in small and mobile works, such as the scherzo, humoresque, fairy tale, caprice, one can see the predominance of the middle and high registers and, in general, one can observe a freer and more varied use of different registers, sometimes with bright shifts (see L. Beethoven, scherzo from the sonata op. 2 No. 2 - the main theme). In works such as elegy, romance, song, nocturne, funeral march, serenade, etc., register colors are usually more limited and rely more often on the middle, most melodious and expressive register (L. Beethoven, II part of the Pathetique Sonata; R Schumann, middle part in "Intermezzo" of the piano concerto; R. Gliere, Concerto for voice and orchestra, part I; P. Tchaikovsky, Andantecantabile.op.il).
For everyone, it is obvious that it is impossible to transfer music like A. Lyadov’s “Musical Snuffbox” into the low register or, conversely, into the upper register of music like L. Beethoven’s “Funeral March” from the sonata op. 26 - without sharp and absurd distortions of the images and character of the music. This provision should determine the real importance and effectiveness of taking into account register features in harmonic analysis (let's name a number of useful examples - L. Beethoven, sonata "Appassionata", part II; F. Chopin, scherzo from the sonata in B-flat minor; E. Grieg, scherzo in E minor, op.54, A. Borodin, “At the monastery”, F. Liszt, “Funeral procession”). Sometimes, in order to repeat a given theme or passage of it, bold register jumps (“flipping”) are introduced into those sections of the form where previously there was only smooth movement. Typically, such a register-varied presentation takes on the character of a joke, scherzo or provocativeness, which, for example, can be seen in the last five bars of Andante from the Sonata in G Major (No. 10) by L. Beethoven.
6. In analysis, one cannot ignore the question of the frequency of changes of harmonies (in other words, of harmonic pulsation). Harmonic pulsation largely determines the general rhythmic sequence of harmonies or the type of harmonic movement characteristic of a given work. First of all, the harmonic pulsation is determined by the nature, tempo and genre of the analyzed musical work.
Usually, at a slow tempo, the harmonies change on any (even the weakest) beats of the measure, rely less clearly on the metro rhythm and give more scope to the melody, cantilena. In some cases, with rare changes in harmony in pieces of the same slow movement, the melody acquires a special pattern, freedom of presentation, even recitativity (see F. Chopin, nocturnes in B-flat minor, F-sharp major).
Fast-tempo pieces usually give a change of harmonies on strong beats of a measure, while in some examples of dance music, the harmonies change only in each measure, and sometimes even after two measures or more (waltzes, mazurkas). If a very fast melody is accompanied by a change of harmonies on almost every sound, then here only some harmonies acquire an independent meaning, while others should be considered rather as passing or auxiliary harmonies (L. Beethoven, trio from the scherzo in A major in the sonata op 2 No. 2, P Schumann, "Symphonic etudes", variation-etude No. 9).
The study of harmonic pulsation brings us closer to understanding the main features of accentuation of live musical speech and live performance. In addition, various changes in harmonic pulsation (its slowdown, acceleration) can be easily associated with issues of form development, harmonic variation or general dynamization of harmonic presentation.
7. The next moment of analysis is non-chord sounds both in the melody and in the accompanying voices. The types of non-chord sounds, their interrelation, methods of voice leading, features of melodic and rhythmic contrast, dialogic (duet) forms in harmonic presentation, enrichment of harmonies, etc. are determined.
Special consideration deserves the dynamic and expressive qualities that non-chord dissonances bring to harmonic presentation.
Since the most expressive of the non-chord sounds are the delays, so much attention is paid to them.
When analyzing diverse patterns of retentions, it is necessary to carefully determine their metrorhythmic conditions, interval environment, brightness of functional conflict, register, their location in relation to melodic movement (climax) and expressive properties (see, for example, P. Tchaikovsky, Lensky’s arioso “How happy” and the beginning of the second scene of the opera "Eugene Onegin", the finale of the 6th symphony - in D major).
When analyzing harmonic sequences with passing and auxiliary sounds, students pay attention to their melodic role, the need to resolve the “accompanying” dissonances that form here, the possibility of enriching harmony with “random” (and altered) combinations on weak beats of the measure, conflicts with delays, etc. (see R. Wagner, introduction to "Tristan"; P. Tchaikovsky, Triquet's couplets from the opera "Eugene Onegin"; duet of Oksana and Solokha from "Cherevichki"; theme of love from "The Queen of Spades"; S. Taneyev, symphony in C minor, II part).
The expressive qualities brought into harmony by non-chord sounds acquire a special naturalness and liveliness in the so-called "duet" forms of presentation. Let us refer to several samples: L. Beethoven, Largo appassionato from the sonata op. 2 No. 2, Andante from Sonata No. 10, 2nd movement (and in it the second variation); P. Tchaikovsky, nocturne in C-sharp minor (reprise); E. Grieg, "Anitra's Dance" (reprise), etc.
When considering examples of the use of non-chord sounds of all categories in simultaneous sounding, their important role is emphasized in harmonic variation, in enhancing the cantileverness and expressiveness of the general voice leading and in maintaining thematic richness and integrity in the line of each of the voices (see Oksana's aria in A minor from the fourth act of the opera N. Rimsky-Korsakov "The Night Before Christmas").
8. Difficult in harmonic analysis is the question of changing keys (modulation). The logic of the general process of modulation can also be analyzed here, otherwise - the logic in the functional sequence of changing keys, and the general tonal plan, and its modal-constructive properties (recall the concept of S.I. Taneev about the tonal basis).
In addition, it is desirable to understand on specific samples the difference between modulation from deviation and from matching tonalities (in other words, a tonal jump). Here it is also useful to clarify the specifics of “comparison with the result”, using the term of B. L. Yavorsky (we will indicate examples: many connecting parts in the sonata expositions of W. Mozart and early L. Beethoven; F. Chopin’s scherzo in B flat minor, exceptionally convincing preparation of E major at the conclusion of the second scene of The Queen of Spades by P. Tchaikovsky).
The analysis must then truly substantiate the characteristic type of deviation inherent in the various sections of the musical work. The study of modulations itself should show the typical features of exposition constructions, the characteristic features of modulation in the middles and developments (usually the most distant and free) and in reprises (here they are sometimes distant, but within the framework of a broadly interpreted subdominant function).
It is very interesting and useful in the analysis to understand the general dynamics of the modulation process, when it is rather convexly outlined. Usually the whole process of modulation can be divided into two parts, different in length and tension - leaving a given key and returning to it (sometimes also to the main key of the work).
If the first half of the modulation is longer in scale, then it is also simpler in terms of harmony (see the modulation from A-flat to D in the "Funeral March" from the sonata op. 26 by L. Beethoven or the modulation from A to G-sharp , from L. Beethoven's scherzo in sonata op. 2 No. 2). It is natural that the second half in such cases is made very concise, but more complex in harmonic terms (see further sections in the above examples - the return from D to A-flat and from G-sharp to A, as well as the second part of the Pathetique Sonata » L. Beethoven - transition to Mi and return to A-flat).
In principle, this type of modulation process - from simpler to complex, but concentrated - is the most natural and integral and interesting for perception. However, occasionally there are also opposite cases - from short, but complex (in the first half of the modulation) to simple, but more detailed (second half). See the corresponding sample - development in L. Beethoven's sonata in D minor, op. 31 (I part).
In this approach to modulation as a special integral process, it is essential to note the place and role of enharmonic modulations: they, as a rule, appear more often precisely in the second, effective part of the modulation process. The brevity inherent in enharmonic modulation with some harmonic complexity is especially appropriate and effective here (see the above samples).
In general, when analyzing enharmonic modulation, it is useful to clarify its following role in each specific case: whether it simplifies the functional connection of distant keys (the norm for the classics) or complicates the connection of close keys (F. Chopin, Trio from Impromptu in A flat major; F Liszt, "William Tell Chapel") and a single-tone whole (see R. Schumann, "Butterflies", op. 2 No. 1; F. Chopin, mazurka in F minor, op. 68, etc.).
When considering modulations, it is necessary to touch upon the question of how the display of individual keys in a given work can harmonically differ if they are more or less extended in time and, therefore, independent in meaning.
For the composer and the work, not only the thematic, tonal, tempo and textural contrast in adjacent constructions is important, but also the individualization of harmonic means and techniques when showing one or another key. For example, in the first key, chords of a tertian, soft in gravity ratio are given, in the second - more complex and functionally intense sequences; or in the first - a bright diatonic, in the second - a complex chromatic major-minor basis, etc. It is clear that all this enhances the contrast of the images, the bulge of the sections, and the dynamism of the overall musical and harmonic development. See some samples: L. Beethoven. "Moonlight Sonata", finale, harmonic warehouse of the main and side part; sonata "Aurora", op. 53, exposition of part I; F. Liszt, the song “Mountains all encompasses peace”, “E major; P. Tchaikovsky -6th symphony, finale; F. Chopin, sonata in B-flat minor.
The cases when almost the same harmonic sequences are repeated in different keys are rarer and always individual (see, for example, F. Chopin's mazurka in D major, op. harmonies in both D major and A major are sustained in identical forms).
When analyzing samples for various cases of comparing keys, it is advisable to emphasize two points: 1) the delimiting significance of this technique for adjacent sections of a musical work and 2) its interesting role in a kind of "acceleration" of the modulation process, and the methods of such "acceleration" are differentiated somehow and according to signs of style and are included in the process of harmonic development.
9. Features of development or dynamics in the harmonic language are prominently emphasized by harmonic variation.
Harmonic variation is a very important and lively technique, showing the great importance and flexibility of harmony for the development of thought, for enriching images, enlarging the form, and revealing the individual qualities of a given work. In the process of analysis, it is necessary to especially note the role of harmonic ingenuity in the skillful application of such variation in its formative quality.
Harmonic variation, applied on time and technically complete, can contribute to the unification of several musical constructions into a larger whole (see, for example, a similar interesting variation of harmonies in the ostinato two-bar in the mazurka in B minor, op. 30 by F. Chopin) and enrich the reprise of the work (W. Mozart, "Turkish March"; R. Schumann, "Album Leaf" in F sharp minor, op. 99; F. Chopin, Mazurka in C sharp minor, op. 63 No. 3 or N. Medtner, "The Tale in F minor, op. 26).
Often, with such harmonic variation, the melody changes somewhat and repeats here, which usually contributes to a more natural and vivid appearance of “harmonic news”. One can point to at least Kupava's aria from the opera "The Snow Maiden" by N. Rimsky-Korsakov - "Spring Time", in G-sharp minor, and the harmonic (more precisely, enharmonic) version of the theme "The frisky boy" in F. Liszt's fantasy on themes opera "The Marriage of Figaro" by W. Mozart.
10. Analysis of samples with altered chords (consonances) of various structure and complexity can be directed to the following goals and points:
1) it is desirable, if possible, to show students how these altered chords are emancipated from the chromatic non-chord sounds that served as their undoubted source;
2) it is useful to compile a detailed list of all altered chords of various functions (D, DD, S, secondary D) with their preparation and resolution, which are in circulation in the music of the 19th-20th centuries (based on specific samples);
3) consider how alterations can complicate the sound and functional nature of chords of mode and tonality, how they affect voice leading;
4) show what new varieties of cadences the alteration creates (the samples must be written out);
5) pay attention to the fact that complex types of alteration introduce new moments into the understanding of the stability and instability of the mode, tonality (N. Rimsky-Korsakov, "Sadko", "Kashchei"; A. Skryabin, preludes op. 33, 45, 69; N. Myaskovsky, “Yellowed Pages”);
6) to show that altered chords - with their brilliance and coloring - do not annul harmonic gravitation, but perhaps amplify it melodically (special resolution of altered sounds, free doublings, bold jumps to chromatic intervals when moving and resolving);
7) pay attention to the connection of alterations with major-minor modes (systems) and the role of altered chords in enharmonic modulation.
4. Generalizations of data from harmonic analysis
Synthesizing and summarizing all the essential observations and, in part, the conclusions obtained as a result of the analysis of individual methods of harmonic writing, it is most expedient to then focus the attention of students again on the problem of harmonic development (dynamics), but in a more special and comprehensive understanding of it in accordance with the data of the analysis of the components of harmonic letters.
In order to understand the process of harmonic movement and development more clearly and visually, it is necessary to weigh all the moments of harmonic presentation that can create the prerequisites for movement with its ups and downs. In this aspect of consideration, everything should be taken into account: changes in the chord structure, functional routine, voice leading; specific cadence turns are taken into account in their alternation and syntactic connection; harmonic phenomena are coordinated to the best of their ability with melody and metrorhythm; the effects introduced into the harmony by non-chord sounds in different parts of the work (before the climax, on it and after it) are noted; enrichments and changes resulting from tonal changes, harmonic variation, the appearance of organ points, changes in harmonic pulsation, texture, etc. are also taken into account. In the end, a more or less clear and reliable picture of this development is obtained, which is achieved by means of homophonic-harmonic writing in its broader sense and taking into account the joint action of individual elements of musical speech (and the general character of music as a whole).
5. Stylistic moments in analysis
After such a more or less comprehensive harmonic analysis, it is essentially not difficult to link its conclusions and generalizations with the general content of a given musical work, its genre features and certain harmonic-stylistic qualities (and they show a connection with a specific historical era, one or another creative direction , creative person, etc.). It is clear that such linking is given on a limited scale and within the limits real for harmony.
On the paths that lead students to such at least a general stylistic understanding of harmonic phenomena, it is desirable (as experience shows) to have special additional analytical tasks (exercises, training). Their goal is to develop harmonious attention, observation and broaden the general outlook of students.
We will give a preliminary and purely indicative list of such possible tasks in the analytical part of the harmony course:
1) Very useful are simple excursions into the history of the development or practical application of individual harmonic techniques (for example, techniques of cadence, tonal presentation, modulation, alteration).
2) It is no less useful when analyzing a particular work to require students to find and somehow decipher the most interesting and significant "news" and individual features in its harmonic presentation.
3) It is advisable to collect several vivid and memorable examples of harmonic writing or to find “leitharmonies”, “leitkadanses”, etc., characteristic of certain composers (the works of L. Beethoven, R. Schumann, F. Chopin, R. Wagner, F. Liszt, E. Grieg, K. Debussy, P. Tchaikovsky, N. Rimsky-Korsakov, A. Scriabin, S. Prokofiev, D. Shostakovich).
4) Also instructive are the tasks for a comparative description of the method of applying outwardly similar techniques in the works of various composers, such as: diatonicity in L. Beethoven and the same diatonicity in P. Tchaikovsky, N. Rimsky-Krrsakbva, A. Scriabin, S. Prokofiev; sequences and their place in L. Beethoven and F. Chopin, F. Liszt, P. Tchaikovsky, N. Rimsky-Korsakov, A. Scriabin; harmonic variation in M. Glinka, N. Rimsky-Korsakov, M. Balakirev and the same in L. Beethoven, F. Chopin, F. Liszt; arrangements of Russian lingering songs by P. Tchaikovsky, N. Rimsky-Korsakov, A. Lyadov, "S. Lyapunov; L. Beethoven's romance "Over the Gravestone" and tonal plans typical of F. Chopin and F. Liszt in major thirds; Phrygian cadence in Western and Russian music, etc.
It goes without saying that successful mastery of the most important techniques, methods and techniques of harmonic analysis is possible only with the great and constant help of the leader and systematic training in harmonic analysis in the classroom. Written analytical work, well thought out and regulated, can also be of great help.
Perhaps it will not be superfluous to remind once again that with any analytical tasks - more general and relatively in-depth - it is necessary to maintain a lively contact with direct musical perception. To do this, the analyzed work is played more than once, but is played or listened to both before analysis and necessarily after analysis - only under this condition will the analysis data acquire the necessary credibility and force of an artistic fact.
I. Dubovsky, S. Evseev, I. Sposobin, V. Sokolov. Harmony textbook.
1. Period structure: a). square - 8 cycles (small), 16 tons (large); b). not square - 7t, 10, 17; in). re- or non-re-building.
2. Structures organizing the period: a). summation, splitting, a pair of periodicities, etc.; b). due to which the expansion of the structure occurs: due to the expansion - the emergence of additional measures before the cadence; due to the addition - "extra" bars appear after the cadence.
3. The nature of the music in the proposed fragment: harmony, tempo, strokes necessarily participate in the creation of character - all this must be indicated.
4. Melody type:a). vocal ( cantilena - the melody of "wide breathing", flowing without interruption by pauses; recitation -"speech melody" with many nuances: pauses, short leagues; recitative -"dry", nondescript melody with a small sound volume, almost at the same height); b).instrumental (wide leaps, complex passages and strokes).
5. Texture (the nature of the interaction of the melody and accompaniment): a). monodic - fundamental monophony, characteristic of Gregorian chant and znamenny chant; b). heterophonic - multi-layered monophony (the leading melody is set out in several voices - see Mussorgsky, Borodin's romances, Rachmaninov's piano works; in). homophonic-harmonic or homophonic - a clear division of texture into melody and accompaniment - most of the classical and romantic music of the 18th-20th centuries); G). polyphonic - the presence of several leading melodies; e). mixed - the presence in one work or its fragment of several textural principles at the same time, for example, homophonic and polyphonic - see. Chopin, Polonaise No. 1, middle section (“dialogue” of voices).
6. Type of figures in the invoice: a). chordal; b). harmonic - to the sounds of harmonic revolutions; in). Albertian basses- most often present in the classical music of Haydn, Mozart, Beethoven and their foreign and Russian contemporaries - this is a simplified harmonic figuration; G). melodic - figuration in its complexity resembles a melody or even surpasses it - see Rachmaninov's musical moment No. 4, works by Liszt F,
7. Features of the harmonic structure of the period: a). write a diagram indicating deviations and modulations, if any; b). to identify the defining feature of the harmonic structure of the period - for example, its harmonies are simple or, on the contrary, complex, authentic or plagal phrases are mainly used.
8. Genre origins of the period: a). chorale - a slow or moderate pace of movement, a strict chord texture, a declamatory or cantilena melody; b). aria - cantilena melody, vocal graces, homophonic texture; in). vocal piece - a cantilena or declamatory melody that can be sung; G). instrumental work- fundamentally not a vocal melody: wide jumps, a large number of oncoming signs, chromatisms and other technical difficulties. e). march - even meter, moderate or moderately fast pace of movement, chordal texture, "angular" melody based on movement along the sounds of the main harmonic functions; e). dance - mobile tempo, texture of bass-two chords, instrumental type of melodies.
9. Metro - rhythmic features of this fragment: characteristic rhythmic pattern ( rhythmic formula): march -, polonaise -, waltz -; features of violation of regular accent (syncopes, crushing of a strong beat), variable meter or size - why was this done by the composer?
10. Style features of the composer or era: baroque - polyphonic texture, the use of rhetorical figures, features of ancient dances - allemands, chimes, sarabandes. gigi, gavotte or toccata genre; preclassicism - homophonic texture, but somewhat angular, "awkward" development techniques based on repetitions of a melodic fragment at different heights; classicism - homophonic texture, Albertian basses, a clear harmonic scheme with obligatory cadences, a characteristic instrumental melody, figures of game logic; romanticism - mixed type of texture, several leading melodies (most often related to each other by the principle of dialogue), complex harmonic comparisons affecting tonalities of the 2nd and 3rd degree of kinship, detailed nuances of dynamics and strokes; XX century - the use of various techniques of the 20th century: serial technique, alleatorics, complex melody with counter signs, texts.
Artistic result: what happened in the synthesis of all means of musical expression, what is the composer's artistic intention in this fragment of the work?
An example of classical period analysis:
The structure period proposed as an analysis is a small non-square period (10 cycles) of repeated structure with an extension in the second sentence. The first sentence organizes the structure of a pair of periodicities, in the second sentence an element of game repetition appears (the “stuck tone” figure), due to which the period structure expands. The melody of this musical period is of a pronounced instrumental type, as indicated by wide leaps, virtuoso passages, reliance on the sounds of the main triads. The effect of a “stuck tone” that occurs in the second sentence creates a moment of dialogue, a dispute, which suggests that this period belongs to the era of classicism, since it is in the work of the Viennese classics and Russian composers of the 18th century that elements of instrumental theater are often used.
The belonging of this period to the named epoch can also be substantiated by verified harmonic relations with a clear organization of cadences, the use of a simple deviation in the key of the first degree of kinship, the advantage of authentic phrases. The interrupted phrase at the end of the second sentence (where the expansion of the structure occurs) is also an expected and typical element at this point in the structure of the classical period. Harmonic circuit this snippet looks like this:
The diagram clearly shows uniform harmonic pulsation(i.e., two functions per measure throughout the entire period). Appearing in the second sentence, the ascending diatonic sequence creates tonal movement and prerequisites for development. This technique is also often found in classical music.
Invoice decision this period is sustained in homophonic-harmonic texture with a clear division of voices into the leader and accompanying. The harmonic figuration is presented in the form of Albertian basses, which creates a single and integral tempo of movement.
Metro Rhythm Organization period maintains a uniform harmonic ripple (four quarters). The harmonic figuration set out in eighth notes creates a solid foundation for the mobile rhythmic organization of the melody, which includes movement in sixteenth notes and syncopations. The characteristic rhythmic pattern of this period conveys liveliness and splashing energy - a short dotted line and 4 sixteenths.
Summarizing the observations made during the analysis and taking into account the sufficient melodic simplicity and modesty in the invention of developing techniques, we can assume that this musical fragment is borrowed from the instrumental music of J. Haydn, which is part of a sonata or symphony.
Such melodies are typical, for example, for the vocal genre scenes of Dargomyzhsky and Mussorgsky, and are typical of the music of the 20th century.
According to the typology of V.Konen.
Holistic analysis of a musical work
on the example of Rondo from Sonata h – moll by F.E. Bach
Plan for analyzing the form of a musical work
A. General preview
1) Type of form (simple three-part, sonata, etc.)
2) Digital scheme of the form in large outline, 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 (exposition, middle, etc.)
3) Thematic composition, its uniformity or contrast; its character and the means of achieving that character
4) What elements are being developed; ways of development (repetition, variation, comparison, etc.); thematic transformations
5) Place of culmination, if any; the ways in which it is attained and abandoned.
6) Tonal structure, cadences, their correlation, closedness or openness.
7) Detailed digital diagram; characteristics of the structure, the most important points of summation and crushing; "breath" short or wide; aspect ratio.
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 R is a refrain, EP is an episode, the numbers indicate the number of measures of each section. The composer is rather free with the form. The refrain is actively developing, transposing into various keys with multiple repetitions. There are variable changes in the refrain, a variety of its cadences.
The melody of the refrain and episodes is homogeneous, not contrasting. It is distinguished by flexibility, whimsical rhythmic and intonation, which is achieved with the help of tied notes, syncopations, small durations, mordents and other melismas, the beginning of phrases from the beat, from a weak beat after the sixteenth pause. The melodic pattern combines progressive movement, jumps at various intervals, semitone gravitation.
The bass line does not carry a melodic and semantic load, but is basically a descending progressive movement in quarter durations. His role (bass) is the harmonic support of the melody.
In general, the structure of the rondo in B minor can be compared with sections of the sonata form: exposition (bars 1 - 16), development (bars 17 - 52) and reprise (bars 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 part 1 (refrain) is the period of a 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 that 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 - dur (21 - 24 bars), h - moll (29 - 32 bars), G - dur (33 - 36 bars), e moll ( 41 - 44 bars). The major holding of the refrain (bars 33-36) leads to a climax on the forte dynamics. This is followed by an exit from the climax at bars 37–40. Here the composer used the technique of sequential development - a descending sequence of three links. By the way, in the climax, the usually stepwise movement of the bass changes to a spasmodic, quarto-fifth. The line of the lower voice here harmoniously supports the sequential development of the melody.
In connection with the structural features of the form, I would also like to note EP5 (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 seventh degree of the main key. This technique smoothly leads to the expected denouement - the so-called "reprise". Musical material 53 - 68 bars 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 this work as a whole, leads to its logical conclusion, drawing a semantic and intonational arch 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.
