A period is a construction that expresses a relatively complete thought.
The first sentence of a two-sentence period usually ends with a half or full imperfect cadence, expressing the incompleteness of the thought. The second sentence usually ends with a full perfect cadence, expressing the completeness of the thought. But the period can also be open, i.e. not end with even half a cadence. Developing as an ordinary period, it can at the very end avoid the cadence and move into the next section of the form (especially often in the themes of the middle movements, rondo episodes, etc.).
A period is called monotonal if it ends in the same key in which it began (not counting deviations within it) and modulating if in a different one.
The period of repeated construction is a period divided into two sentences with similar beginnings. A period that is not divided into sentences or divided into sentences that are dissimilar at the beginning is called a period of non-repetitive structure. The period indivisible into sentences is the period of a single structure.
A period consisting of two melodic structures with different cadences, each of which has its own internal structure itself is a typical period, called a complex period.
Types of period: from 2 sentences, from 3 sentences, from 4 sentences (complex period), single structure, special period of the deployment type (in the old two-part form).
Periods of 2 and 4 sentences can be square (the number of measures is equal to the power of 2 - 4+4, 8+8) and non-square (5+5, 4+6, etc.). Violations of non-squareness are common: expansion (pushing back the cadence by sequences, interrupted revolutions, etc.), compression (“early” cadence), truncation (sudden termination), addition (post-cadence fixing construction), introductory construction. The period may be complicated by the features of other forms, including 3-part (the 1st and 3rd sentences are normative, the second is of the middle type).
In song and dance music, periods are found as early as the 15th and 16th centuries. With the establishment of homophony (XVII-XVIII centuries), the period serves as the basis for milestones of larger forms; Starting from the era of romanticism, the period can also be a form of independent work.
Period(from the Greek periodos - detour, rotation, a certain circle of time) - the simplest compositional form, part of larger forms or having an independent form. meaning. Basic P.'s function is presentation of a relatively completed music. thoughts (themes) in production. homophonic warehouse. There are P. diff. structures. One of them can be defined as the main, normative one. This is P., in which the symmetry of its two constituent sentences arises. They start the same (or similar), but end differently. cadences, less complete in the first and more complete in the second sentence. The most common cadence ratio is half and full. The ending on the dominant harmony at the end of the first sentence is answered by the ending on the tonic at the end of the second (and the period as a whole). A harmonic relationship arises in the simplest authentic language. sequence, which contributes to the structural integrity of the P. Other cadence ratios are possible: complete imperfect - complete perfect, etc. As an exception, the ratio of cadences can be the opposite (for example, perfect - imperfect or complete - incomplete). There are also P. with the same cadences. One of the most common harmonious options. P.'s structure is modulation in the second sentence, most often in the dominant direction. This dynamizes the P. form; modulating P. is used exclusively as an element of larger forms.
Metric also plays an important role. the basis of P. Typical for many (but not all) styles and genres of European music is squareness, in which the number of measures in P. and in each sentence is equal to the power of 2 (4, 8, 16, 32). Squareness occurs due to the constant change of light and heavy measures (or, conversely, heavy and light). Two-beats are grouped two by two into four-beats, four-beats into eight-beats, etc.
Other structures are used on equal terms with the one described. They form P. if they perform the same function as the main one. type, and the differences in structure do not go beyond a certain measure depending on the genre and style of music. The defining features of these options are the type of use of muses. material, as well as metric. and harmonious structure. For example, the second sentence may not repeat the first, but continue it, that is, be new according to music. material. This P. is called. P. of non-repeated or uniform structure. Two heterogeneous sentences are also united in it by conjugating cadences. However, a sentence of a single structure may not be divided into sentences, that is, it may be fused. In this case, the most important structural principle of P. is violated. And yet the construction remains P. if it sets out the definition. thematic material and occupies the same place in the form of the whole as the normative P. Finally, there are P., consisting of three sentences with the most varied. thematic ratio material (a1 a2 a3; ab1b2; abc, etc.).
Deviations from the basic type P. can also concern metric. buildings. The symmetry of two square sentences can be broken by expanding the second one. This is how the very common extended P. arises (4 + 5; 4 + 6; 4 + 7, etc.). Less common is the abbreviation of the second sentence. There are also P., in which non-squareness does not arise as a result of overcoming the original squareness, but in itself, as a property organically inherent in a given music. Such non-square P. are typical, in particular, for Russians. music. The ratio of the number of clock cycles can be different (5 + 5; 5 + 7; 7 + 9, etc.). Upon completion of P., he will conclude. cadence, an addition may arise - a construction or a series of constructions, according to its own music. meaning adjacent to P., but not independent. meaning.
P. is often repeated, sometimes with a number of textural changes. If changes during repetition introduce something significant into the harmonic plan of the song, as a result of which it ends with a different cadence or in a different key, then it is not the song and its variant repetition that arises, but a single structure of the complex song. Two complex sentences complex P. are two former simple P.
P. originated in Europe. prof. music in the era of the emergence of the homophonic system, which replaced the polyphonic one (16-17 centuries). People played a major role in its formation. and everyday dances. and song and dance. genres. Hence the tendency towards squareness, which forms the basis of the dance. music. This also affected the national specificity of music Western-European claims countries - German, Austrian, Italian, French adv. The song is also dominated by squareness. For Russian squareness is uncharacteristic of a drawn-out song. Therefore organic. non-squareness is widespread in Russian. music (M. P. Mussorgsky, S. V. Rachmaninov).
P. in prof. instr. In most cases, music represents the initial part of a larger form - a simple two- or three-part one. Only starting with F. Chopin (Prelude, op. 25) does it become an independent form of production. Into the wok. music P. has gained a strong place as a form of verse in a song. There are also non-verse songs and romances written in the form of P. (the romance by S. V. Rachmaninov “It’s good here”).
Literature: Catuar G., Musical form, part 1, M., 1934, o. 68; Spogin I., Musical form, M.-L., 1947; M., 1972, p. 56-94; Skrebkov S., Analysis of musical works, M., 1958, p. 49; Mazel L., The structure of musical works, M., 1960, p. 115; Roiterstein M., Musical forms. One-part, two-part and three-part private form, M., 1961; Musical form, ed. Yu. Tyulina, M., 1965 p. 52, 110; Mazel L., Tsukkerman V., Analysis of musical works, M., 1967, p. 493; Bobrovsky V., On the variability of functions of musical form, M., 1970, p. 81; Prout E., Musical form, L., 1893 (Russian translation - Prout E., Musical form, M., 1900, pp. 17-31, 32-42, 75-94, 1917); Ratner L. G. Einghteenth century theories of musical period structure, "MQ", 1956, v. 42, No. 4.
V. P. Bobrovsky
History and theory of music
MUSICAL FORMS
Period. Period types.
Period - this is the smallest musical form in which a relatively complete musical thought is presented, completed by a cadence. (There is no less period of a completed form!)
(Cadence- this is a harmonic or melodic turn of a final nature).
The typical length of a period is 8 or 16 measures. Can be 4 bars if the tempo is slow, or (rarely) 32 bars if the tempo is fast.
Application:
As part of a larger form
As a form of independent work
How to determine the boundaries of the period?
1. The ending can be judged by the sufficient expression of musical thought.
5. The end of the period is also indicated by:
Cadences,
Rhythmic stops, pauses, caesuras,
Decline of the melodic wave.
Internal structure of the period.
The period can be divided into offers.
Offer- this is the greatest component period, completed by a cadence.
Typical addition of a period of 2 sentences. The 1st sentence ends with an unstable (not on the tonic) middle cadence, it plays the role of a comma in music. The 2nd sentence ends with a stable (on the tonic) final cadence, it, accordingly, plays the role of a point.
Depending on the internal device, there are several period types.
Period types:
1. Rebuilding period. This is a period of 2 sentences that differ only in cadence. The beginnings of the sentences are the same or very similar.
2. Period of non-repetitive construction from 2 sentences. The sentences are homogeneous, of the same type, but thematically different.
3. Period of a single structure or big offer. This period has one cadence and is not divided into sentences.
4. Period of 3 sentences. In it, different possibilities for the correlation of sentences arise (aab - the 1st and 2nd sentences are correlated by the type of repeated structure, abb - the 2nd and 3rd sentences are correlated by the type of repeated structure, abc - all sentences are different).
Offers in the period can be divided into phrases. Phrases do not end with cadences, but are separated from each other by caesuras.
Phrases consist of motives.
Motive- this is the smallest part of a piece of music by which it can still be recognized. Typically, this is a group of sounds around one downbeat.
Concept squareness and non-squareness.
Squareness- This is a metric structure that is based on a push-pull raised to a power. A typical square period contains 8 clock cycles. It consists of two sentences of 4 bars each. Each, in turn, consists of two phrases of 2 measures.
Non-square the period is structured differently.
Unsquareness may be organic, when the period is based on a 3-beat or any other formation.
Non-squareness can be inorganic when the original squareness is disrupted by the introduction additions or extensions.
Addition– this is a post-cadence increase in the period. It represents the construction of a final character and helps to consolidate stability. Often repeats cadence. The sizes are different, there may be several additions.
Extension– this is a pre-cadence increase in the size of the period. Always associated with the presence of musical thought within a period of development. Often the expansion is the climax.
Simple forms.
Simple forms consist of periods (this can be a combination of 2 - 3 periods or a period and 1 - 2 other constructions not exceeding the period in size). The main difference from the period is the presence of development.
Simple forms are a whole group of long-existing, well-developed forms. They are also called songs, because they developed in European song and dance folklore. Simple forms have also become widespread in entertainment music, where they are actively used to this day.
Two main varieties - simple two-part shape and simple tripartite form.
Simple 2-part form.
This is a form where the 1st part is a period, the 2nd is either also a period or a closed construction no more complicated than a period.
Application:
Songs and romances
Instrumental pieces
Parts of larger forts.
The simple 2-part form is characterized by dependence on everyday genres, therefore it is characterized by clarity of structure and reliance on squareness.
There are 2 varieties : reputed and unrecognized.
First part simple two-part form - period. The simplest types of period are used: repeated structure, non-repeated structure of two sentences (others are rare).
Second part reprisal forms - consists of 2 sections, they are united, but clearly distinguishable. The first section is developmental, called “middle”. The 2nd section is the final one, it is a reprise (repetition) of one of the sentences of the initial period, usually the second.
Second part unrepeatable forms, in turn, can be contrasting And developing.
Contrasting is built on new material, this is 1 more period (chorus in the song).
Developmental, as in the reprise form, it consists of a developing and final section, but does not contain repetition (reprise).
Simple 3-part form.
This is a form where the 1st part is a period, the rest are no more complicated than the period and represent: the 2nd part is the “middle”, the construction of a developing or contrasting nature, and the 3rd part is a reprise
Scheme: aba.
Application: (extremely common)
Independent play
Opera or ballet performance
Part of a cycle
A section with a more complex shape.
The sizes vary - it could be a small piece or, for example, the finale of Tchaikovsky's 6th symphony.
There are 2 main varieties :
developing(i.e. with the middle of the developmental type)
contrasting(i.e. with a contrasting middle).
The developmental one is single-dark, and the contrasting one is two-dark. In practice, the developmental one predominates, since contrast is not very characteristic of simple forms.
First part simple tripartite form – period of any type.
Second part or mid-developmental type uses material from the initial period. The feeling of development is created by the instability of harmonies and some other techniques.
Second part or middle contrast type– usually a period with a new topic. Occurs in cases where development is not required, for example, in music of the picture, landscape type.
Reprise repeats the material of the initial period, but is rarely accurate. Changes may vary. Elements of both a developing and final nature can penetrate into a reprise. Therefore, the period type may be different.
Special types simple 3-part form:
1. With repetition of parts: a: ba:
2. Three-five-part ababa
3. Double three-part ababa
4. Unrepeated three-part abc
Complex shapes.
The basic principle of the structure of complex forms is that they are composed of simple ones (and simple ones from periods).
By their nature, complex forms cannot contain one musical image. There are two musical images in complex forms. Accordingly, the content of a work written in a complex form is revealed through the relationship of these images. Musical themes can be contrasting or similar.
Complex forms have many specific varieties :
Complex two-part
Complex three-part
Contrast-composite
Concentric, etc.
The most common is a complex three-part one.
Complex three-part form.
This is a reputed form of three parts, each of which (or at least the first) is more complex than the period.
Scheme ABA.
This form implies a contrast between A and B, but in this contrast the themes reveal dependence on each other. The 2nd topic (B) is related to the first in that it is built on something that is not in the 1st. For example, the 1st theme (A) was performed tutti (all together), because the 2nd theme needs to be contrasting, it will sound solo. (If A is white, then B is black). The predominant image, the main theme is A. Theme B is more subordinate. That the 1st topic
more vibrant, energetic, significant - the law of a complex tripartite form.
Application.
Major symphonic works
Parts of the sonata-symphonic cycle, especially the 3rd movement
symphonies - minuet or scherzo (this part of the sonata-symphonic cycle is always 3 parts)
Arias, choruses from operas
Independent plays, marches, dances.
There are two main varieties :
Complex three-part shape with a trio type middle part (B trio type)
Complex three-part form with a middle part in the episodic style (B episode type)
First part complex three-part form: more often a simple two-part or three-part form of a developmental type.
The second (or middle) part of the trio type".
The trio is distinguished by constructive clarity and definiteness of form. The form is simple two-part, simple three-part and maybe a period.
A trio is not only a certain structure, but also the character of the music. The trio's music is always lively, with a clear rhythm. (There are no slow trios).
The trio always has an individual appearance. When it starts, we hear that the tonality, texture, and instrumentation are changing.
The trio is introduced (begins) without preparation, abruptly, after a caesura. This
the type of contrast is emphasized, namely contrast-comparison.
Note: There are two types of contrast:
Contrast juxtaposition is contrast brought from outside.
Derivative contrast is the result of development, a radical update of what came before.
How correctly the trio is closed, has a clear ending, a caesura that separates it from the reprise.
The second (or middle) part of the “episode” type.
An episode is an unstable construction with individual execution of the form.
As a rule, it flows smoothly from the first part and smoothly flows into the reprise. Occurs in slow music, for example, in the slow movements of a symphony. The contrast with the first movement is strong, usually the music is restless, agitated, excited.
The third part, aka reprise.
Dedicated to establishing the main theme. Repetition can be precise and
changed. As a rule, in forms with a trio the reprise is accurate. In forms with an episode, the reprise is modified.
What can change?
The reprise may be shortened. Can be rescheduled. May contain changes in instrumentation and texture. All in order to create a feeling of the outcome.
Often found in complex tripartite form code (a separate final section of the form).
(A) (B) (A) (Coda)
The coda is needed to balance the contrast. The code often combines the features of the extreme parts and the middle part.
Special types complex three-part form:
Complex three-five-part:
(A) (B) (A) (B) (A)
Complex double tripartite:
(A) (B) (A) (B1) (A)
Intermediate:
With two trios following in a row:
Complex two-part form
It is a form of two parts, each of which is more complex than the period.
Scheme (A) (B)
A contrast arises that is not removed because it is not repeated. Hence the semantic uncertainty, understatement, and structural instability.
Specific application .
In vocal music, when understatement is an important semantic component.
In programmatic instrumental works, where the literary plot serves as the unifying moment.
Concentric shape.
A mirror-symmetrical multi-part form, consisting of parts that, after the central one, return in the reverse order.
It is used in landscape music, and very often in fairy-tale-fantastic music, when describing magical transformations(roundtrip)
Rondo shape
Rondo - this is a form based on repeated (at least three times) presentation of the main theme in alternation with episodes different from each other.
The number of parts may vary; this is not determined by the rule.
The repeated part is called "refrain", the alternating parts are called "episodes".
Scheme
A B A C A - five-part form = R E1 R E2 R
A B A C A D A - seven-part form = R E1 R E2 R E3 R
Rondo is not just a structure. It is also the nature of the music associated with the origin of the form.
Rondo is one of the oldest forms, originating from folk song and dance music. The predecessor is French round dance songs (French “rondo” means “circle”). In these songs, in accordance with the dance movement in a circle, the chorus was repeated. In the Middle Ages, knightly songs were written in the form of a rondo (with a repeating chorus).
And now the rondo retains its connection with everyday song and dance genres. It always has a dance rhythm, a fast pace, a cheerful, sometimes humorous character. As a rule, rondos are written in a major key.
There are three main ones varieties :
Antique
Classic
Post-classical
Antique Rondo (17th and early 18th centuries).
This is the music of French harpsichordists and Bach.
Applied in independent plays and in parts of suites.
It consisted of a large number of low-contrast parts. There was no consistent development. (François Couperin allowed the performer to rearrange the episodes).
Refrain then it represented a period and was repeated without changes in the main key.
Episodes were built on new topic or served as a development of the refrain).
Classic Rondo (late 18th - early 19th century).
This is the rondo of the Viennese classics: Haydn, Mozart, Beethoven.
The main idea of the Viennese classics is the idea of transformation and development. It also penetrates into the rondo. The basis of the rondo form is a simple musical idea (the themes of a classical rondo are dance or song), which receives a complex development. In this development, the contrasts of the refrain with the episodes and the episodes with each other play an important role.
Structure classic rondo stable: 5 parts. AVAVA
Applicable
In finales, less often in other parts of symphonies and sonatas
Independent essays
Opera numbers
Refrain in a simple two-part form, less often in a three-part form, very rarely a period.
When repeated, the refrain may be shortened or varied.
Episodes: there are always two of them, and they have different meaning. First episode- not very independent, the contrast is not strong. The size is similar to the period.
Second episode- this is the center of the form. It contains a major contrast with the refrain. Stable form: either period or any of the simple forms.
In a classic rondo there are connections from episode to refrain (they contribute to the continuity of development) and codas (they are the result of development).
Post-classical rondo (from the beginning of the 19th century to the present day)
Unites many different works. Several trends in the development of this form can be noted.
1. Unusual application. For example, a large opera stage can be built using the rondo principle.
2. Extreme expansion of imagery. Rondos can be epic, lyrical, dramatic, fabulous...
3. Freedom and individuality in solving the form. The number of parts can be any, even even, since one of the refrains may be skipped. Rondo may end up as an episode. The refrain may not be carried out entirely.
Sometimes the main focus shifts to episodes. This is how, for example, Mussorgsky's piano cycle "Pictures at an Exhibition" was constructed. The play “Walk”, which plays the role of a link between other plays, is a refrain, and the main plays (“pictures”) are episodes.
Variation form
Variation form - this is a form consisting of a presentation of a topic and its repeated repetitions in a modified form.
There is no set number of parts, but there must be at least two variations. If the variations are an independent work, then there can be several dozen of them, if the variations are part of a larger work, there can be 2 - 4 of them.
Scheme
Application.
Independent work
Parts of the cycle, often slow
Episodes in operas
Larger Shape Section
Exists 4 types variations:
Figurational strict
Genre-characteristic free
Variations on basso ostinato
Variations on a sustained melody
Figural strict variations - also called classical or ornamental (from the word ornament).
Used in the 18th century by Viennese classicists and in the 19th century in the form of brilliant variations on themes from fashionable operas.
Subject in a simple two-part, sometimes three-part form, rarely a period.
Strict variation is a modified reproduction of the theme as a whole.
The form and harmonic plan are preserved.
The melody changes - by figurative or ornamental variation. When using this method, the reference points are preserved in the melody. They can only be shifted to other beats of the bar, transferred to another register. The distance between these points is filled with melodic figurations. These are, for example, scales, arpeggios, small decorations, and all sorts of combinations thereof.
In the accompanying voices, there is also a revival due to increased rhythmic pulsation and a change in texture. In this case, the principle of diminution is used - reducing durations. For example, the first variation is presented in quarter notes, the second – in eighth notes, the third – in sixteenth notes, etc. As a rule, one of the variations contains modal contrast, that is, if the theme and all the variations are in major, it is in minor and vice versa.
Genre-characteristic free variations .
They arise in the 19th century and develop in the 20th.
Subject- as in classical variations.
Free variation- this is a relatively independent play based on the material
The principle of forming a free variation: it is isolated from the theme compound element, namely, a melodic turn or a harmonic turn or even a rhythm, and it will become the basis of a new piece. The form of free variation can be any, it does not depend on the form of the theme.
Definition "characteristic" variation implies that new play has
individual character, not repeated in other variations. Genre specificity arises when a specific genre is used for individualization in a variation. For example, a march variation, a waltz variation, a nocturne variation, etc. appears.
Variations on sustained bass ( basso ostinato )
This is a form based on repeated many times themes in the bass with constant updating of the upper voices. Thus, the topic itself does not change, its surroundings change. Such variations are called indirect.
Bass variations are one of the oldest forms of professional music, originating from church genres (chorale variations). The first examples date back to the 13th century. It flourished during the era of Bach. In the 19th century it was used sporadically. The revival comes in the 20th century.
Application.
Independent plays
Parts of a larger whole
Part from the series
Single piece
At first subject The bass was simple in melody and rhythm. Then she became more
extended and complex. In Bach's era, a descending chromatic bass was often used. (In the Baroque era it was a symbol of death).
IN variations the theme does not change, sometimes it varies slightly, is transferred to a different key, or to a different voice. The most common development technique is the addition of counterpointing voices. Accordingly, the polyphonic texture is characteristic.
Variations on a consistent (unchanged) melody.
This is a form based on varying the accompaniment of a constant melody carried out in one of the upper voices.
Also an old form. Reached its peak in the 19th century. It was especially widely used by Russian composers in connection with the development of song themes (therefore it is also called “Glinka variations”). With a constant melody, variation is carried out by changing chords, texture, and orchestration.
Period (from the Greek - detour, rotation, a certain circle of time) - the smallest complete form of presentation of a musical thought (theme), which is part of larger forms or has independent meaning. In most cases, the period represents the initial section of a larger form - a simple two- or three-part one. Only starting with the work of F. Chopin (Preludes op. 25) does the period become the form of an independent one-movement work. Signs of the period boundary are: a change in the type of presentation, thematic theme, and texture.
The classical period consists of 2 sentences. Offer - this is the largest part of the period completed cadence. Cadence (or cadence) is a melodic-harmonic turn that completes a sentence and a period. By position in the form cadences are divided into middle(sentence ending) final(ending the period) and additional. By chord composition differentiate authentic(T-D or D-T), plagal(T-S or S-T) and full(S-D-T) cadences representing a complete functional turn. By degree of completion differentiate half(not on tonic) full(on tonic) and interrupted(D-VI) cadences. There are complete cadences perfect And imperfect. If in full cadence tonic presented: 1) triad 2)on the downbeat 3)in melodic prima position, then the cadence is considered complete perfect.
Main types of periods
The most common type of the classical period is square period repeated structure consisting of two similar in origin proposals. Squareness in music - the number of measures, equal to the degree numbers two (2, 4, 8, 16, 32, 64).
If the second sentence of the period begins in the same way as the first, but at a different height, then the structure of the period is defined as sequential-repetitive (L. Beethoven. Sonata No. 3 for piano, part II; Sonata No. 15 for piano, part II).
If the second sentence does not repeat the first, but continues it, then the period is called period unique structure.
If a period is not divided into sentences, then it is called period of a single structure or big offer.(L. Beethoven, 32 variations for piano, theme; Sonata for piano No. 6, part II). Here we can talk about dynamic exposition associated with the corresponding nature of thematicity.
The period may be non-square. Usually its structure is 4t. + 6t. In musicology this is associated with overcoming squareness and call extended period (L. Beethoven. Sonata No. 3 for piano, part II).
A period can also consist of 3 sentences (F. Chopin. Prelude op. 25 No. 9).
The mode-harmonic features of the period also reflect its dynamics. Modulating period used exclusively as an element of larger forms (L. Beethoven. Sonata No. 15 for piano, part II; Sonata No. 10 for piano, part II).
WITH false period consists of two simple sentence periods with complete final cadences in different keys. The first sentence period usually ends with cadence modulation into the dominant key.
After the final cadence, there may be an addition in the period that has no independent meaning. Most often it is a plagal turnover (S T).
Exercise: Find in the works of your repertoire initial periods, cadences in them, analyze their harmony.
Literature
Abyzova E. Harmony. – M., 2008
Mazel L. The structure of musical works. – M., 1979
Myasoedov A. Textbook of harmony. – M., 1980
Sposobin I. Musical form. – M., 1986
26 Dec 2016In many forms of art there is a concept of “form”. In music, as a temporary form of art, musical form works plays an important role.
Form is a kind of construction of a musical work, the pattern of parts following one another, the nature of the relationship between them.
Musical works vary greatly in scale. There are pieces that last only a few seconds, and there are pieces that last more than an hour. In this regard, musical forms can be simple or complex. In order to define and understand musical forms, one must learn to define the boundaries of the smallest musical thought.
The smallest complete musical thought in the music of the last three centuries is period. If we draw a parallel with literature, then the analogous smallest complete thought in literature is a sentence, and in music it is period.
Very often the classical period consists of two parts, which are called proposals. Please note that a sentence in music is not a complete thought. If the second sentence begins the same way as the first, then such a period is called period of re-building.
And if the second sentence begins differently from the first, then such a period is called a period of non-repetitive construction. If musical composition consists of only one period, then this form is called one-part.
Very often the one-part form is found in songs.
Songs are often written in verse form, a feature of which is that the same melody is repeated several times with different words.
And this melody is often a period.
Most listeners find it difficult to remember music at once, so works written in one-part form, i.e. having only one theme, set out in period form, are often written in re-construction period form. The internal repetition of this period (repetition in the second sentence) allows you to better remember the topic.
When a topic does not contain internal repetitions, that is, it is written in the form of a period of non-repetitive structure, then it can be repeated immediately after the first implementation, and the repetition can be either exact or with minor changes. As an example we can recall initial topic"Rondo in the Turkish Style" by Mozart, where the theme is repeated without change.
But in the 2nd movement of Beethoven's 8th sonata, the theme is repeated with minor changes (the melody sounds more high register, the accompaniment also changes a little).
The repetition of the theme is not always complete; sometimes, most often in songs, only the second sentence of the period is repeated. Often this repetition has a higher climax. As an example, we can recall the verse of the folk song “Thin Rowan,” written in the form of a period in which the 2nd sentence is repeated twice.
If the work is written in one-part form, that is, it consists only of a period, there may be a conclusion after it. This can be heard in P.I. Tchaikovsky’s “Morning Prayer” from the Children’s Album, written in period form with a conclusion.
The introduction to the period is rare. If there is one, then most often it is an accompaniment to a theme that has not yet begun. In “The Neapolitan Song” by P.I. Tchaikovsky from the Children's Album, the beginning of the theme is preceded by a very short introduction.
The next form that we will introduce you to will be simple two-part form, which can be either a form of an independent work or part of a more complex form. The first part in this form is the period. The second part is completely independent, but no more complicated than the period. IN simple forms There is no great contrast between the parts; on the contrary, there is often a clearly audible connection between the parts, which manifests itself in the general harmony, tonality, and texture.
Often at the end of the second part of a simple two-part form, one of the sentences of the 1st part (usually the second) is repeated, i.e. the second part consists of two sentences, the second of which repeats one of the sentences of the first part. This form is called simple two-part reprise form .
But this doesn't always happen. Sometimes the second part is built on new thematic material. This form is called a simple two-part form without reprise. As an example, we can recall the play by P.I. Tchaikovsky "The Organ Grinder Sings" from the Children's Album.
The simple two-part form can be either a stand-alone essay form or part of a larger form. Very often, a simple two-part form is found in songs, the verse of which can be written either in a simple two-part reprise form, or in a simple two-part form without a reprise.
If, instead of repeating one sentence, repeat the first period entirely, you will get a different form - simple three-part reprise, in this form, the first and third parts are the same in size, this is its main difference from the simple two-part reprise form. The three-part form is more balanced, more proportional than the two-part form.
Due to this, individual essays or independent parts of multi-part essays are much more often written in this form. If the two-part form is more common in vocal music, then the three-part form is predominantly characteristic of instrumental music.
The second part in simple tripartite form is called middle , and it is not always equal in size to the first. For example, in Beethoven's 20th sonata, the 1st movement consists of 8 bars, and the second - only 4 bars.
We got acquainted with three musical forms: one-part, in which the theme is presented in the form of a period; simple two-part and simple three-part. Check how you have mastered this material by answering the test questions in the video lesson.
