Period sentence phrase motive. Basic elements of musical language. Simple three-part form

musical syntax. Period types. music theory

Musical syntax studies the structure of musical speech. The piece of music is divided into parts, called constructions. The boundary between structures is caesura. Signs of caesura are 1) pause, 2) rhythmic stop(long duration), 3) repeat, 4) contrast.

Musical construction containing complete musical idea, is called period. The completeness of musical thought is determined by the modal and metro-rhythmic features. The largest parts for which divisible period, are called proposals. Offers are divided into phrases, phrases - on motives. motive is the smallest semantic structural unit.

Combinations of phrases in a period form scale-thematic structures

1. Periodicity- is formed by combining phrases of the same size (2t + 2t + 2t + 2t). Chopin Waltz No. 9 (A Flat Major)

2. Summation- is formed from a combination of 2 or more short phrases and one long one. Grieg "Death to Oze" from the suite Peer Gynt (1+1+2)

3. Splitting up- is formed from a combination of a longer phrase and 2 or more short ones. Chaikovsky. Waltz from the Children's Album. (4+2+2).

4. Crushing with closure. Grieg. Poetic picture number 1. A combination of a long phrase, several short ones and again a long one. (4+1+1+2).

Period types. All the variety of periods can be divided according to the following features:

I. Structure. According to the structure, there are periods

1. Square- a) the total number of cycles - 8,16,32, etc. b) the period is divided into 2 sentences of the same size. Beethoven Sonata No. 8, II movement.

2. non-square

extended(2nd sentence is longer than the first) Beethoven Sonata No. 3, II movement (4+6)
abbreviated(2nd sentence less than the first) Beethoven Sonata No. 7 (5+4)

symmetrical(they are divided into 2 identical sentences, but the number of measures does not correspond to the square norm (6 + 6, 7 + 7, etc.) Tchaikovsky Russian song from the Children's Album. (6 + 6)

3. Periods of 3 offers. Chopin Prelude No. 9, E major. (4+4+4)

II. Thematism.

1. Repeat period. The repetition is accurate (Schumann the Bold Rider) and modified.

Modified repetition is varied and sequential.

With varying repetition, individual elements of the theme change: rhythm, mode, texture of presentation, melody (intonation side), but the theme as a whole is recognizable. Haydn. Sonata in D major, I movement, HP, Mozart Sonata No. 12 in F major, II movement.

The period is considered repeated even if the 2nd sentence reproduces only the initial intonation of the 1st.

With sequential repetition, the theme is carried out at a different height without any special changes. Grieg Concerto in A minor, II movement.

2. non-repeat period- sentences contain different thematic material, most often the 2nd sentence continues the theme of the 1st. Beethoven "Pathétique Sonata", II movement.

The entire period as a whole can be repeated without changes (recorded with a reprise sign) or with some textural changes. Such a period is called a repeat period.

III. Tonal design.

1. Modulating period- ends in a different key compared to the beginning. (Tchaikovsky Waltz from the Children's Album)

2. non-modulating(single-tone) period - ends in the initial key.

The period may have an introduction or addition(after final permission) that do not affect its structure.

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Theme 6

Music theme. Motive, phrase. Scale-thematic (syntactic) structures. Migrating intonation formulas.

Subject- musical thought, characterized by sufficient formalization, sufficient concentration, characteristic and individualized musical expressiveness and usually underlying development (Mazel).

Theme is a concept, first of all, a functional one. It is one of the possible forms of embodiment of the essential side of the musical image.

The topic can be any element of the text structure that represents (represents) the given work and is the object of development, underlying the process of shaping (Ruchevskaya).

General forms of sound(OFZ) - a phenomenon opposite to the topic, "netema". Therefore, OFZ refers to any inert movement that, out of context, does not carry information about this work and represents system and style, But not a literary text.

Methods of theme development - developmental, variational, polyphonic.

motive- the smallest thematic (semantic) unit, usually numbering one strong beat (“Chiarina” from “Carnival” by R. Schumann, one-beat motive: L. Beethoven Sonata No. 3, part II, two-bar motive: P. Tchaikovsky, Symphony No. 6 , part II). It is possible to divide the motive into submotives(L. Beethoven, Sonata No. 17, part I, main part).

Phrase- the union of several motifs, dissected by pauses, caesuras or undivided, fused (P. Tchaikovsky, "Barcarole").

According to the motive composition, the topic can be single-motive or multi-motive. One-motif - "Kiarina" by R. Schumann, multi-motif - D. Shostakovich. Symphony No. 5, part I, main part, L. Beethoven, Appassionata, part I, main part.

Scale-thematic (syntactic) structures- the most common, typical forms of organizing motives and phrases into a theme, as well as into simple homophonic forms - a period, simple two- and three-part forms.

Periodicity- exact or modified repetition, which leads to dismemberment, fragmentation of constructions (Russian folk song “There is a horned goat”, M. Glinka. Romance of Antonida). Often associated with sections based on sequencing. paraperiodicity- periodicity of type aavb. It is typical for fast folk songs - round dance, dancing: “There was a birch in the field”, “I will sow a swan on the shore”, “Ay, there is a linden in the field”, etc. Groupperiodicity- like aavvss ... (special case - change for the fourth time aaav).

Summation- after two similar motifs, there is a construction that is distinguished by fusion and approximately equal in length to the sum of the two previous motifs, phrases; 2 + 2 + 4 (L. Beethoven Sonata No. 20, Finale, a + a + aa; M. Glinka, "Waltz - Fantasy", first theme).

Splitting up- dismemberment of the continuous construction into shorter motives (P. Tchaikovsky "Snowdrop", Waltz from the "Children's Album", I. Dunaevsky "Merry Wind", Novikov "Hymn of the Democratic Youth of the World", J. Bizet Chorus from the Toreador's Couplets). progressive crushing: 4+2+1+1.

Crushing with closure- the most common structure (L. Beethoven. Sonata No. 4, part II, Sonata No. 1, part 1, main part, Symphony No. 5, part II, theme As dur, Introduction to the "Pathetic" sonata, P. Tchaikovsky. Symphony No. 6, part I, main part, A. Scriabin, Prelude a moll op. 11 No. 2).

Progressive crushing with closure(C. Saint-Saens. Aria of Delilah from the opera "Samson and Delilah").

A great difficulty in analyzing music is the disclosure of its content. One way to solve the problem is to analyze taking into account migrating intonation formulas(term by M. Aranovsky) - stable stereotypical intonations with a fixed meaning, formed in the everyday environment. Their recognition, understandability and accessibility at the time of perception of music causes in the mind of the listener the ideas and experiences associated with them. There are associations with everyday culture and professional composer texts (Dies irae as a medieval melody and as a symbol of death in the works of Liszt, Saint-Saens, Tchaikovsky, Rachmaninoff, Berlioz, the “golden stroke of the horns” as a hunting signal and as a symbol of unity “man - nature” , its idyllic feeling and understanding, the rhythm formulas of classical cadences - curtsies, etc.). This is how one of the mechanisms of perception of the figurative world of music operates, not through expression, emotion, state, experience, and through image, a specific subject-associative series.

Migrating intonations are resilient, they pass from text to text, even from one era to another. They can be divided into 6 groups: 1) sound signals; 2) speech; 3) plasticity in the elements of musical speech; 4) musical instruments; 5) household music; 6) musical and rhetorical figures.

Sound signals: "horn signals" (associated with hunting) and "fanfare" ( hostilities, solemn processions, festivities, hunting tournaments, knightly competitions - the military-heroic sphere), intonation formulas of bell ringing in Russian music (holiday chime, alarm, everyday ringing).

Speech: intonations-exclamations, intonations of supplication, requests, complaints, crying, imitation of a whisper, laughter, cry, tongue twister, statement, question, exclamation.

3. Plasticity (“etiquette formulas” 1 of the 17th - 18th centuries). Figurative ideas about the gallant (manner of behavior, type of feeling) through curtsy(female curtsy, salute and bow of the gentleman, expressed in the intonation of detention (female) and the cadence formula of the bass (male)). Often in cadenzas their paired dialogue. intonation stereotype- the effect of a solemn, majestic sound (cadenzas of everyday dances, mostly slow ones - minuets, gavottes, bourre, sicilian, sarabande, chimes). Groupetto figure- expression of sensuality, imitation of a bow gesture, trill- (soft bow) - in minuets and Sicilians, which form the basis of parts of the sonata cycle and slow parts of Haydn's sonatas and symphonies, Mozart's sonatas and symphonies, slow parts of Schubert's sonata cycles, pastoral songs.

4. Musical instruments: flute(images of a shepherd's idyll and pastoral), bourdon(images of bagpipes and hurdy-gurdy), tunes-imitations of folk instruments(images of a fair, a booth and a carnival element), string picking(element of romance, serenade).

5. Everyday music (dance genres and songwriting). Rhythm formulas of dancesXVI - XVIIIcc: minuet, gavotte, pavane, burre, chaconne, sarabande, siciliana (court), musette, branle, tambourine, landler, ecossaise, country dance (democratic rural and burgher environment). The first expressed the ideal, sublime, aesthetically elegant, the second - the real, earthly, rudely simple-hearted. Romantic waltz formula(lyrical expression). Everyday vocal lyrics (sexist, intonation of the lyrical third, "intonation of a melodious beginning").

6. Musical and rhetorical figures: the embodiment of images of the objective world (mainly images of movement and space), the embodiment of a person’s emotional states (the affect of grief, “intonation of aspiration” (impulse, takeoff, flight) and “waiting motive”).

Determine the type of migrating intonational formulas:

W. Mozart. Sonata No. 12 F major, main part, No. 17 D major, main part; L. Beethoven. Sonata No. 4, part I, main part, No. 15, Scherzo, Symphony No. 3, part I, main part, Symphony No. 5, part I, side part; D. Scarlatti. Sonata No. 24; F. Schubert Sonatas No. 3,7. Scherzo; F. Mendelssohn. Song without words A dur; S. Rachmaninov. Prelude cis moll op 3, Etude-picture Es dur op 33, Piano Concerto No. 2 part I, Introduction, Prelude h moll op 32; M. Mussorgsky. Raek, Opera Boris Godunov, Prologue; A. Dargomyzhsky. "Titular Advisor";

W. Mozart. minuets; L. Beethoven. Sonata No. 7 Part III, J. Bach. minuets; I. Haydn. Sonata No. 20 with moll, Finale; W. Mozart. Sonata No. 8 a moll, Development, No. 17 D major part III K 576, Fantasia c moll; F. Chopin. Mazurkas op. 24 No. 2, op. 30 No. 2, 3, No. 56; E. Grieg. "In the Norwegian spirit"; P. Tchaikovsky. "Children's Album". "The Organ Grinder Sings", "The Seasons". "November", Symphony No. 1 "Winter Dreams" part I.

Tasks for practical work

Identify motifs, phrases, scale-thematic structures in the following works:

F. Chopin. Waltz cis moll No. 7, Sonata b moll, main part; L. Beethoven. Sonata No. 2, part II, 32 variations, Theme; D. Shostakovich. Prelude cis moll, W. Mozart. Sonata No. 11, Part I, Theme of Variations; A. Scriabin. Preludes cis moll op.11 no.10, and moll op.11 no.2.

Theme 7

Period. Varieties of the simple period. Difficult period.

non-square periods.

A period is the smallest possible homophonic form of presentation of an expanded and at the same time complete musical thought. It usually consists of 2 sentences, possibly three sentences (aav, avv, aa1a2). Signs of period boundaries:

1. Full perfect cadence

2. Change of texture

3. The emergence of a new topic

4 Changing the type of presentation

Types of a simple period: a period of repeated (variant-repeated, sequential-repeated) structure, a period of non-repeated structure.

Rebuilding period- a period in which the beginnings of sentences are similar.

Period optional-rebuilding- the period in which the beginning of the second sentence repeats the beginning of the first, but with variational changes.

Sequential repetition period buildings - a period in which the second sentence repeats the first, but at a different height.

The period of non-repeating structure- the period in which the second sentence is built on new material.

Repeat period- a period twice repeated in its entirety.

Unified building period- a period that is not divided into sentences.

Single-tone and modulating period:

Period single tone A period that begins and ends in the same key.

Period modulating A period that begins in one key and ends in another. Dominant direction of modulations (in the key of III, V, less often VII steps). Harmonic relations; relationships between cadences: in single-tone periods: D-T, much less often S-T, T-T; in modulating periods: T-D.

Square and non-square periods, organic and inorganic non-squareness.

Square Period- a period, the number of measures in the sentences of which and in the period as a whole is a multiple of 4 (for example: 4 + 4, 8 + 8, 16 + 16, etc.).

Non-square period- a period in which this quality is absent.

Organic non-square - non-square, in which case there is an odd number of bars in sentences (for example: 5 + 5, 3 + 3). D. Shostakovich. Theme "Goy you, our king - father" from Symphony No. 11, part II (6 + 6), M. Glinka. Vanya's song from the opera "Ivan Susanin" (7+7).

Inorganic non-square - periods with expansion and addition.

period with extension- the period in which the expansion of the second sentence occurs to a full perfect cadence (through repetition of motives and phrases, sequencing, harmonic means (deviations, modulations, interrupted or imperfect cadence).

period with addition- the period in which the expansion of the second sentence occurs after a full perfect cadenza (through an additional cadence, sustained or repeated tonic).

A combination of an extension and an add-on is possible.

Difficult (double) period- a period in which each of two melodically similar sentences (with different cadences) could perform the function of a simple period. At the end of the first compound sentence there should be a modulation in D.

Period length:

Typical time signatures are 8 - 16 bars. Four-bar periods in music with a large time signature and frequent change of harmony (J. Haydn. Symphony No. 103 Es dur, part I, F. Chopin. Nocturne Es dur, Prelude c moll). Periods with a large number of bars (A. Scriabin. Prelude a moll op 11 No. 2, F. Chopin. Scherzo h moll), use in waltz music (F. Chopin. Waltz No. 7 cis moll, P. Tchaikovsky. Waltz from the ballet " Sleeping Beauty").

Period application:

Part of a larger form.

independent form of the work.

Tasks for practical work

Chopin. Preludes 1-4, 6, 7, 9, 14, 16, Scriabin. Preludes op 11 Nos. 2, 4, 5, 8, 9, 11, 13. 14, Tchaikovsky. "The Seasons" No. 1, 2, 3, 4, 8, 9, 12, 11, Beethoven. Sonata No. 5 hours 1, 2, No. 7 hours 2, 3, No. 1 hours 3, 4, Mozart. "Turkish Rondo", Rachmaninoff. Preludes op. 3 cis minor, op. 23 g moll, D major, d moll, op 32 h moll, Schumann. "Kiarina".

Theme 8

Simple forms. A simple two-part form.

A simple three-part form.

Forms of two and three parts, where the first is stated in the form of a period, and the subsequent ones in forms that are not more complicated than a period. The difference from the period is the presence of a developing part. The rarity of the introduction of contrast material. Wide possibilities of simple forms, their perfection, conciseness and development.

8.1. A simple two-part form.

A form in which the first part is a period, the second is no more complicated than a period. Application: songs, dances, vocal and instrumental works, parts of larger forms. Dependence on everyday genres: small size, clarity, squareness

Reprise and non-reprise varieties.

Relative simplicity of the initial period.

Two-part reprise form, the structure of the second part: the development of the theme of the first part (developing middle) or the introduction of new motives (contrasting middle) and the repetition of one of the sentences of the first part (often the second). Activity at the golden section point (middle). Means of the middle type of presentation: tonal-harmonic instability, crushing, sequencing. General scheme of the form: aa 1 I va 2 I

Two-part non-reprise form. Contrasting (with the second part based on new material - more often in vocal genres) and developing (with the second part developing the material of the first).

Repetition of parts of a simple two-part form, introduction and conclusion in plays written in a simple two-part form.

Tasks for practical work

Mozart. Symphony No. 40. Finale. G.p., Sonata No. 6 (p. 3-theme of variations), No. 10 (p. 3), Beethoven. Sonata No. 2 (p. 2, 4), No. 10 (p. 2), No. 23 (p. 2), No. 15 (p. 3. Trio), No. 25 (Final. Refrain), Mendelssohn. Song without words No. 12, Tchaikovsky. “May”, “Was I not a grass in the field”, Arensky. "Forget-Me-Not", Rachmaninoff. Nocturnor. 10, Musical Moment Des major, Prelude in D major op. 23, Dargomyzhsky. "Titular Counselor", "Youth and Maiden", Debussy. "Girl with Flaxen Hair", Schumann. "Album for Youth", No. 17, Beethoven. Variations on a Theme by Dressler's March.

8.2. A simple three-part form.

A reprise form of three parts (ava), where the first part is a period, and the other two are no more complicated than a period. Wide use. Application: independent plays, numbers in operas and ballets, part of a cycle, sections of more complex shape. Various lengths - from a miniature to a symphonic work or part of a cycle. Varieties: developing (single-dark, with the middle of the developing type) and contrasting (two-dark, with the middle on the new material). The predominance of the first type.

Part 1 - presentation of the topic. Any kind of period.

Developing second part. Using the material of the main theme. Middle exposition: harmonic instability; modulation, avoidance of the main key and tonic, reliance on unstable functions,

great importance of sequence, lack of stable structures, fragmentation, elements of polyphonic development.

Contrasting second part. Steady start, unstable ending. Partial or significant exposure or middle type of presentation, due to tonal-harmonic instability. Lack of a specific type of structure; cases are possible: a form approaching a period, a sentence with development and a predicate.

The end of the middles of both types: on D of the main key, on T of the secondary key. The presence of D-predicates before the reprise, links to the reprise.

The third part is a reprise. The result of development, the complete implementation of the period of the first part, the resolution of the instability of the middle, the assertion of the main key. Types of reprises: precise, texture-varied, dynamized, synthetic.

Extensions and additions, the use of S-keys. A simple three-part form with a tonal rather than thematic reprise (avs - thematism, ava - tonality). Introduction and conclusion, their small size. In cases of significant development - code. Repetitions of the parts Avav (aIvaI) are possible - a three-five-part form and Ava 1 in 1 and 2 - a double three-part form.

Tasks for practical work

Beethoven. Sonatas No. 2 (p. 3), No. 6 (p. 2), No. 7 (p. 3), No. 1 (p. 3), No. 3 (Scherzo), No. 10 (p. 2), No. 12 ( part 1), Mozart. Sonata No. 5 (Minuet), Mendelssohn. "Songs without Words" No. 1, No. 10, No. 21, No. 27, No. 30, Chopin. Prelude Des-dur, Nocturne Es-dur, Mazurka op. 67 No. 2, op. 33 No. 3, op. 33 No. 2, Schubert. Musical Moment cis moll op 94 no 4. 1 hour, Scriabin. Prelude op 13 No 1, Eshpay. Sonatina d moll 2 hours (“Large Form Works for Piano Grade 7. Issue 1, 1991), Glinka. "Night Zephyr", Rachmaninov. "Musical Moment" h moll, Schumann. "Album for Youth" No. 6, 15, Chopin. Nocturne Es major, Mozart. Sonata No. 15 (2 hours), Mendelssohn. "Songs without words" No. 14, Liszt. "Dreams of Love"

Topic 9.

complex forms.

Complex three-part form. Complex two-part form.

9.1. Complex three-part form.

A form in which the first part is a simple 2 or 3 partial form, and the rest do not have more complex structures. Thematic contrast is the most important feature of the form. The use of a complex 3-part form: slow and fast middle parts of sonatas and symphonies, dances, marches, individual pieces, opera numbers. The history of the emergence of the form: a three-part sequence of dances in an old suite, aria da capo. 1 part of a complex three-part form - a simple 2- or 3-part form, more often one-dark, non-modulating, with a full perfect cadence.

Part 2 - two types: trio or episode. Scope of the trio: fast middle parts of sonatas and symphonies, marches, waltzes, mazurkas, scherzos. Scope of the episode: slow middle parts of sonatas and symphonies, individual pieces. Gradual blurring of the lines between trio and episode in Chopin's mazurkas, Tchaikovsky's symphonies, Prokofiev's sonatas. Signs of a trio: definiteness of structure (simple 2nd and 3rd partial form, less often a period), thematic contrast to the first part (among the romantics it is dramatic), the tonality is main, of the same name, VI and VI low steps, IV steps, harmonic isolation, a modulating link to the reprise is possible.

Signs of an episode: a new topic, a middle type of presentation, free in structure (lack of a specific structure, free construction).

Part 3 - reprise. Statement of the main idea. Types of reprises: da capo (in classical minuets, scherzo), texture-varied, shortened, dynamized.

Code. A common absence in classical minuets and scherzos. More typical of slow movements or individual pieces. Thematism: on the material 2 parts or synthetic.

Tasks for practical work

Beethoven. Sonata No. 7, part 3, No. 4, part 2, No. 16, part 2, Violin Sonata No. 5, 10 (scherzo), No. 2, part 2, No. 10, part 2 (for 0501.02), Schubert. Allegretto (A Reader for Piano. Grade 5. Issue 2), Musical Moments in C major, cis moll, Impromptu As major op. 142 No. 2 Es dur, Mendelssohn. Violin Concerto Part 2 (for 0501.02), Chopin. Impromptu No. 11 As dur, Mazurkas op. 6 No. 1, op. 17. No. 1, Waltz op. 69. No. 1, Nocturnes f moll, b moll, c moll, cis moll, Tchaikovsky. "February", "June", "December", Rachmaninov. Prelude in d minor op. 23, Elegy op. 3, Romance op. 10, Tchaikovsky. Nocturne op. 19 No. 4, Schubert. Musical Moment Op. 94 No. 3 (f moll), Impromptu Ges dur op 90, Chopin. Mazurka op. 27, op. 41, Prelude Des dur.

9.2. Complex two-part form.

A non-reprise form, one of the parts of which is a simple 2 or 3 partial form, and the other does not have more complex structures. Significantly lower prevalence compared to the complex 3-part form. Application - mainly music with text (opera numbers, romances), in instrumental music (fantasies). Connection with continuity of action in opera and through development in romances. Two variants of the form: part 1 is an independent form, part 2 is free and vice versa (Lisa's Arioso from the opera The Queen of Spades by P. Tchaikovsky, W. Mozart. Fantasy d moll).

Topic 10.

intermediate forms. concentric shape.

10.1. intermediate forms.

The concept of intermediate forms as one of the methods for the theoretical determination of individual or comparatively individual forms. Intermediate forms - forms that reveal the features of any two forms, but are not fully represented. One of the most characteristic forms is intermediate between a simple and a complex three-part one: the extreme parts are a period (as in a simple form, the middle one is a two or three-part form (as in a complex one). Examples: F. Schubert. Musical moment f moll, M. Mussorgsky. "Pictures at an Exhibition", "Ballet of Unhatched Chicks", F. Chopin, Nocturne b moll No. 1.

10.2. concentric shape.

ABABA or ABCDBA form. Distinctive features: multi-darkness, however - structural clarity. Differences in the concepts of concentricity as a principle (A / BCB / A - intermediate between simple and complex 3-part: g.p., p.p., development, p.p., g.p. - sonata form with a mirror reprise) and the actual concentric form with the relative equivalence of all its sections (ABCBA - F. Schubert "Shelter"). Connection with the effect of approach-removal (N. Rimsky-Korsakov. Aria of the Swan-Bird from the opera "The Tale of Tsar Saltan" ABCD-CBA).

The principle of concentricity: R. Wagner. Overture to the opera "Tannhäuser", introduction to the opera "Lohengrin", C. Debussy. Prelude "Sunken Cathedral".

Tasks for practical work

M. Mussorgsky. Pictures from the exhibition. "Ballet of unhatched chicks", F. Chopin. Nocturne b moll No. 1, C. Debussy. "Sunken Cathedral"

Educational program

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2. What melodies are made of

Probably, each of you had to disassemble a toy or some little thing, look inside and see how it works. The same can be done with the melody.

One may ask: why? You can enjoy a good melody anyway, why else climb somewhere inside. And especially sensitive ones may even be outraged by such digging. Someone who, but they know that music is a mystery. So why destroy this mystery?

All this is true, but let's not forget that we are musicians. Or at least we try to be. In order to play even the easiest piece beautifully and intelligently (let's not forget that music also has thoughts), you need to hear how it works. Of course, a teacher in your specialty will explain everything to you and show you. But it's not interesting just to press the buttons at the behest of the teacher, like a clockwork doll.

How do you write solfeggio dictations? Note by note? Not good. In fact, the dictation is a fairly simple thing, it is very easy to remember if you immediately hear how it works.

Noticed? I didn't use the word "know" anywhere, but I wrote "hear" twice. Music is indeed a mystery, and you cannot take it with bare knowledge. Illiterate ears can do a little more, but also very little. Therefore, it makes sense to continue studying the musical language.

Here is the melody of "Aria", which was written by a wonderful old English composer Henry Purcell :

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Now the sound examples will contain not only the written line, but also all the other layers of the musical work.

In addition, fragments will sound on the instruments for which they were written.

Play and listen to this tune. You can immediately hear, and even see with your eyes, that it is divided into two almost identical halves. They differ slightly only in the endings cadences. And combined together, they constitute a musical thought melody. This form of melody of two halves is called in music period. And the halves are offers: first and second. Please note: in ordinary language, the thought expressed up to the point would be called a sentence. And here the sentences are called halves. And all together period. Listen to how harmoniously the melody sounds, thanks to such a simple and clear structure. Therefore, it is very easy to remember.

Now let's take a magnifying glass and look at the first sentence. See? It all consists of movements and variations of one piece of music:

This is the smallest piece by which you can recognize this music. If you try to break it up as well, you will get separate intonations in which the “face” of this music will be lost. We can say that this piece the smallest expressive particle of a melody. It also has a special name motive. Sometimes they say: “Here, this motive has become attached to me!”. Indeed, usually some small piece of music is "attached". But when they say: “this is sung to the motive of such and such a song,” meaning the whole song, then this is wrong. How will be correct? Well, of course, "to the melody of the song."

In every motive, as in a word, there is always an accent accent. Just like the accents different words(for example, “máma”, “kartuna”, “good”), accents can be at the beginning, middle or end of the motive.

In example 10, the accent is on the first sound. And our motive consists of three intonations. And there are motives from one intonation. Like u Johannes Brahms in the Fourth Symphony:

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And then I could not resist and gave a sound example more authentic. It's a pity to end such beautiful music.

Let's go back to Purcell's Aria. At that distant time, when he lived, it was not customary to put leagues in notes. What you see in the example is supplied by the editor. But why did the editor put just such leagues two small ones, and then a large one, for two measures? Because he knows that the sentence is divided into phrases. And not only knows, but also hears that the first two phrases coincide with motives, and the third includes two different motives:

Purcell's third sentence was twice the size of the previous two. It collects musical thought, does not allow it to spread, to loosen up. After all, the initial motive can be moved as much as you like, to infinity. It is possible, but not necessary.

In the second sentence, the phrases behave in exactly the same way. Compare the last sentences of both sentences:

The first sentence ends unstable, at the fifth step. This is not a "point" yet, but rather a "comma" or a question. The second sentence confidently comes to the tonic. "Dot". Answer. Such a roll call of two sentences can be compared to a rhyme in a poem.

We tried to hear and understand how a motive is born from intonations, and a melody is woven from motives. You can try to weave another melody from Purcell's motives:

You see, I did not "round off" the first sentence and "accelerated". And in order not to “hit myself”, I had to change the direction of the phrases in the second sentence, and at the very end “slow down” with a completely new two-bar. But I did this whole experiment for one single purpose: to invite you to a creative competition. Because you will understand best when you do it yourself.

Musical syntax defines the rules for dividing music into various units that have musical meaning.

The motive in the system of musical syntax is the smallest unit, the division of which is impossible further without losing the musical meaning. In the metrical theory of Riemann (the theorist who proposed the conservative theory of the metrical division of music), the motif is usually equal to one measure and, by definition, must contain one strong beat.

However, the motive is associated not only with the meter, but also with other elements of the musical language, without which it cannot exist.

But let's start from the beginning.

The theory of motive is not yet even 200 years old, which is a rather short period for the theory of music. For the first time, the definition of motive was introduced by A. B. Marx in 1839, as a term denoting the smallest structural unit.

Since then, a variety of schools and views began to appear regarding musical syntax.

Undoubtedly, the metric theory is very illustrative in terms of teaching, improvisation, performance, etc.

(Let me remind you that this theory is based on the fact that all music consists of constituent elements ordered by the metric grid of a given work. For example, a motive is 1 bar, a phrase is 1 + 1 two bars, sentence 4). However, from the point of view of musical expressiveness, such a system does not give anything, since there is a substitution of concepts in it. although it is the basis of any melody, it cannot replace it.

Therefore, for a more musical understanding of the syntax (which is actually necessary for every musician), it is necessary to introduce the concept of .

The theory of intonation appeared much later than the theory of motive and for a very long time was perceived as its opposite. The reason for this is that the purpose of these two theories were initially different, but they considered in principle the same thing, namely the smallest musical unit.

However, over time, these concepts began to be used in the same context up to using them as synonyms.

Let's take a look at the differences and similarities between these theories.

Intonation is the pitch organization of musical sounds in their sequence, i.e. the sound of each tone of the scale in terms of pitch, loudness and timbre.

Intonation is that part of music that is present everywhere, but is difficult to study and classify.

However, there are fundamental concepts that every musician needs to know.

Musical Intonation this is the grain of musical thought and very often the intonation is most fully expressed in the motive. Thus, we can see the connection between motive and intonation. For example, in the Satin Doll theme, intonation and motive are almost inseparable:

See how the whole theme grows out of one motive and this intonation. (The main motif is indicated by the letter A, wherever it occurs and its variation B is the same motif only in an incomplete increase)

As you can see, even in this topic, the motive is equal to the tact, yet the organization itself is based not on the meter, but on the intonation. Note that theme A is 7 bars long (8 bars are added only for convenience, only because it is customary and, in fact, has no musical meaning). And in part B, the phrase is 3 measures. Therefore, it is not advisable to measure such syntactic structures with the help of a meter.

2. Any musical structure has three phases - this is the famous Asafiev triad i-m- which stands for impulse - movement - completion.

These three phases are realized at all levels of a musical work - from the motive to the whole form.

Each of these three phases forms a contrast to the next or previous one.

For example, the first measure in Satin Doll, the first intonation of two notes, gives an impulse that develops into movement, which manifests itself in repetition, and then in an increase in rhythm and ending on a long note.

Proceeding from this, it is necessary to distinguish the musical construction by intonation. This approach allows you to more accurately determine the boundaries of motives and phrases. At the same time, the theory of the meter does not always allow one to distinguish small constructions, since their deployment may (and most often) not be based on a metric grid.

One of the important elements that determine the individuality of the motive and intonation is the reference sound.

In fact, the reference sound is the seed from which the motive grows. For the most part, any piece of music can be reduced to a simple level of melodic contrast, namely reference tone - non-reference tone.

There is no third.

Let's highlight the main ways to highlight the reference tone:

Rhythmically: Emphasizing a sound with a larger duration. The simplest and most likely the oldest way to highlight the reference tone.

Tessiturno: the highest or lowest sound in the melodic line is always fixed by ear as a reference.

Linear-melodic methods of sound centering: this includes

a) chanting

b) movement towards and away from the reference sound

c) melismatics and ornamentation (typical for monodic cultures and ethnic improvisation)

4. Cadancing a set of techniques to highlight the sound as the final

5. Metric regularity of accents

6. Change of harmonic functions

7. Dynamic tricks

8. Articulation aids

Techniques 5 through 8 are tonal music. The first four ways are widely used in modal.
Implementation of the principle of reference sounds in the intro to the song I will always with you:

For example, in some jazz styles, only chromatic steps will be non-chord tones (the number of which can be completely different for different ones). And in rock music, 7, 9 and the like steps will be considered non-chord.

Those. the levels of melodic chromatization in these styles will be different.

The same goes for intervals. The smoothness and melodiousness of the melody (and hence the motive) is determined by its closeness to vocal music. Usage a large number seconds and thirds, the absence of jumps create a certain sound, within which any wide interval will be perceived as a bright color spot in a black and white palette. Many pop hits rely on second movement:

No Tears Left To Cry Ariana Grande

Using wide intervals (from fifths and more) allows you to create more individualized, but angular melodies. In the flow of such intervals, seconds will be perceived not as an unexpected element, but as a connecting intonation. This technique was often used by Wayne Shorter:

As you can see, even at the level of such a small construction as a motive, there is a large field for activity.