Variation form

Variations are usually classified according to four parameters:

1. According to whether the process of variation affects the topic or only accompanying voices highlight:
   1. Direct variations
   2. Indirect variations
2. According to the degree of change:
   1. Strict (in variations the tonality, harmonic plan and form of the theme are preserved) ^[1]
   2. Free (a wide range of changes, including harmony, form, genre appearance, etc.; the connections with the theme are sometimes conditional: each variation can achieve independence as a play with individual content) ^[1]
3. According to which method of variation prevails:
   1. Polyphonic
   2. Harmonious
   3. Textured
   4. Timbre
   5. Figurative
   6. Genre-specific
4. By the number of themes in variations:
   1. One-dark
   2. Double (two-dark)
   3. Triple (three-dark)

In the process of developing this form, several basic types of variations with a relatively stable combination of these characteristics have become stronger. These are: variations on the seasoned melody, variations on the basso ostinato ^[1] , figurative variations and genre-specific variations. These types existed in parallel (at least from the 17th century ), but at different times some of them were more in demand. So, baroque composers often turned to variations on basso ostinato ^[1] , Viennese classics - to figurative, romantic composers - to genre-specific. In music of the XX century, all these types are combined, new ones appear when a separate chord, interval and even a separate sound can act as a theme.

In addition, there are several specific types of variations that are less common: these are the variation cantata (see Cantata ) of the Baroque era and variations with a theme at the end (which appeared at the end of the 19th century ).

The couplet-variation and couplet-variant forms have a certain affinity with the variational form (see couplet forms ). Close to the variations is also the choral treatment of the 18th century .

It is important to note that many works use different types of variation. For example, the initial group of variations can be variations on a sustained melody, then a chain of figurative variations.

Any variation cycle is an open form (that is, new variations can, in principle, be added endlessly) ^[1] . Therefore, the composer is faced with the task of creating a second-order form. It can be a “wave” with growth and culmination, or any typical form: most often it is a three-part form or rondo . Three-partness arises as a result of the introduction of a contrast variation (or group of variations) in the middle of the form. Rondoobraznost occurs due to the repeated return of contrast material.

Variations are often combined into groups, creating local growths and local climaxes. This is achieved due to a single texture or due to the rhythmic increase ( diminution ). For the sake of giving shape to the relief and somehow breaking the continuous stream of similar variations, already in the classical era, in unfolded cycles, one or more variations were carried out in another fret . In the variations of the XIX century, this phenomenon intensified. Now, individual variations can already be performed in other keys ( Schumann's “Symphonic Etudes” - with the initial cis-moll , there are variations in E-dur and gis-moll , the final variation is Des-dur ) ^[1] .

Various endings of the variation cycle are possible. The completion may be similar to the beginning or, conversely, as contrasting as possible. In the first case, at the end of the work, the theme is carried out in close to the original version ( Prokofiev . Concert for piano and orchestra No. 3 , 2nd part). In the second, the ending represents the maximum progress in this direction (for example, the smallest in the entire duration cycle). For the sake of contrast, the final variation can change the meter and genre (a frequent occurrence in Mozart ). As the greatest contrast to the homophonic theme at the end of the cycle, the fugue (in the classical and post-classical era) may sound.

In variations of this type, the melody is preserved, and the variation is due to the accompanying voices ^{[K 1]} . Because of this, they belong to indirect variations.

Variations on a sustained melody are mainly used in vocal music, the immutability of the melody brings them closer to couplet forms (the difference is that not the theme accompaniment, but the text changes in these forms). They were loved by Russian composers - this type of variation was particularly consistent with the spirit of the Russian song , respectively, and was used in operas in choirs and folk songs. In Western European music, as an independent work of variation on a seasoned melody, it is rare ( Haydn . Quartet op. 76 No. 3, 2nd part), but in the figurative cycles of Viennese classics can be used as initial variations.

Sometimes in the couplet form not only the text but also the accompaniment varies (then it is called the couplet-variation or couplet-variant). In this case, differences from the variational form go into the quantitative category. If the changes are relatively small and do not change the general character, then the form still remains couplet, but with larger-scale changes, it already passes into the category of variational ones.

With regard to this type of variation, the concept of rigor and freedom changes somewhat. Strict are those variations where the melody remains at its original height. The invariance of harmonization, usual for strict variations, is irrelevant here.

Theme

The theme can be original or borrowed, usually from folk music. The theme form is not regulated. It can be one or two phrases , a period , a big sentence , up to a simple three-part form ( Grig . “In the cave of the mountain king” from the music for the drama “Peer Gynt”). Original forms are possible in case of a folk origin of the theme (choir of schismatics from the III act of Khovanshchina by M. Musorgsky ).

Variation

Variations can be textured, timbre, polyphonic, harmonic and genre.

Textural-timbre variation involves changing the texture , introducing a new pattern, re-arranging , in the choir - transmitting the melody to other voices. With polyphonic variation, the composer introduces new echoes or rather independent melodic lines. Perhaps the polyphonic design of the theme itself in the form of a canon , etc. Harmonic variation is expressed in the re-harmonization of the melody. The scale of the changes can be different, up to the change in the mode ( Glinka . “Persian Choir” from “Ruslan and Lyudmila” , 3rd variation) ^[1] or even transferring the melody to another key ( Rimsky-Korsakov . Choir “Height” from the opera Sadko ). Genre variation occurs when all these types of variation lead to the formation of a new genre appearance of the theme. This type of variation in variations on a seasoned tune is rare.

Variations on basso ostinato are called such a form, which is based on the constant conduct of the theme in the bass and the constant updating of the upper voices ^[1] .

Variations on basso ostinato (also a harmonic model, exemplary harmonization of ostinate bass) appeared in the late Renaissance, mainly in Italy. Bass formulas (and the accompanying harmonic patterns) have gained fame under various names, including Passamezzo , Folia , Ruggiero , Romanesque . In the XVII - early XVIII centuries, this is the most common type of variation.

The two main instrumental genres of such variations in the Baroque era are the passacalia and the chacon ^[1] . In English baroque music, this form of variation is called " ground " ( English ground letters. Base, support). In vocal music it is used in choirs ( JS Bach . Crucifixus from Mass in B minor ) or in arias ( Purcell . Dido’s aria from the opera Dido and Aeneas ).

In the classical era, the variations on basso ostinato disappeared, since they did not have the processionality necessary in classical aesthetics. Variations on basso ostinato are found in local parts of the form ( Beethoven . Symphony No. 9 , part 1 code). Part of the variations on basso ostinato are the famous 32 variations in C minor Beethoven ^[1] . This type is also irrelevant for romantics; it was rarely used by them ( Brahms . Symphony Finale No. 4 ). Interest in variations on basso ostinato reappeared in the 20th century . They were used by all major composers. Shostakovich has an example of such variations in the opera Katerina Izmailova (intermission between the 4th and 5th scenes).

Theme

The theme is a small (2–8 measures, usually 4) one-voice sequence to a varying degree melodic. Usually her character is very generalized. Many topics are a downward movement from I to V steps, often chromatic. There are less generalized and more melodic themes ( Bach . Passacalia in C Minor for Organ).

Variation

In the process of varying the theme can go into the upper voices ( Bach . Passacaglia in C minor for organ), figured change and even transpose to another key ( Buxtehude . Passacalia in D minor for organ).

Due to the brevity of the theme, there is often a combination of variations in pairs (by the principle of a similar texture of the upper voices). The boundaries of the variations do not always coincide clearly in all voices. In Bach, often several variations in the same texture form a single powerful development, their boundaries disappear. If this principle is carried out throughout the work, the whole can hardly be called variations, since it is impossible to recognize variations in the bass in the lower voice without taking into account the upper ones. A peculiar counterpoint of form arises.

Ending a cycle may go beyond variation. So, Bach's Passacalia organ ends in a big fugue .

In this type of variation, the prevailing variation method is harmonic or melodic configuration. Because of this, the scope of such variations is almost exclusively instrumental music. Especially common in the music of Viennese classics ^[2] . For them it can be an independent play (many variation cycles of Mozart , Beethoven ) or part of the cycle (final, slow part, less often - the first). In the romantic era, independent plays dominated in the form of figurative variations, and they may have a different genre name (for example, Chopin's “Lullaby” ).

Theme

An important component of the topic is harmony (in contrast to the previous type). In the vast majority of cases, the topic is written in a homophonic texture . The texture is economical, which gives freedom to further change it and the accumulation of movement in the texture (by reducing the duration).

Since most of the examples belong to the composers of the Vienna school and their followers, in most cases the form of the theme is also classic. Most often - a simple two-part (usually reprise), sometimes three-part, much less often - period . In the music of Baroque composers , a theme in the form of a bar is possible.

Variation

In figurative variations, direct variation is carried out, since the theme itself is transformed.

In this case, typical figures are used - figurations. They can be arpeggiated , gamma-shaped , etc. The reference points of the melody are saved, which are filled with the figured material. Melodic figuration often results from the appearance of non-chord sounds around these reference points. Harmonic figuration - this or that movement through the sounds of a chord (often - arpeggio ). In this case, the reference points of the melody become the basis or peak of these figures. As a result, these reference points can be shifted to other beat parts.

Most cycles of figurative variations are strict, since updating the texture almost does not affect harmony, never changing it radically. However, there are examples of free figurative variations ( Variations on the Theme of Corelli by Rachmaninov ).

To this type belong variational cycles in which variations acquire a new genre, or where each variation has its own individual type of expressiveness.

Like figurative variations, genre-specific ones are mainly used in instrumental music. They can be part of a cycle , often an independent play, including with a different genre name ( Liszt . Etude “Mazepa” ). Sometimes separate genre variations appear in variation cycles already among Viennese classics . Cycles consisting entirely of such variations are distributed in the post-classical era.

Theme

The theme is largely similar to the theme of figurative variations. The difference is that the theme of genre variations can be stated less modestly than figurative ones, since the variation here is at least due to the enrichment of the texture .

Variation

The concept of specificity implies an individual type of expressiveness for each variation. The concept of genre is a new genre for every variation. The most common genres: march , scherzo , nocturne , mazurka , romance , etc. (moreover, these genres can be expressed very generally). Sometimes among the variations there is a fugue . ( Tchaikovsky . Trio "In memory of the great artist" , 2nd part).

In addition to variations on one theme, there are variations on two themes (double) and three (triple). Double variations are rare ^[1] , triple variations are exceptional ( Balakirev . Overture on three Russian songs).

Themes of double variations can be close to each other or, on the contrary, contrasted ( “Kamarinskaya” Glinka ).

The variations can be located in different ways: either the regular alternation of variations on one and the second theme, or a group of variations on the first theme, then the group on the second, etc.

Double and triple variations can be of any type.

Возникновение этого типа вариаций связано с отходом от классического мышления в области формы, которое требовало экспозиции темы в начале и её дальнейшего развития. Появляются они в самом конце XIX века (прецеденты были в эпоху барокко в некоторых вариационных кантатах ).

Наиболее значительные сочинения такого рода: симфонические вариации «Иштар» Венсана д'Энди ( 1896 ), Третий фортепианный концерт Р. Щедрина ( 1973 ), фортепианный концерт Шнитке ( 1979 ).

Какая-либо регламентация формы отсутствует. В концерте Щедрина вариации соединяются очень сложно, вплоть до их асинхронного начала в оркестре и в партии солиста. Элементы темы разбросаны по всему концерту, целиком она возникает в заключительной каденции. В концерте Шнитке тема — комплекс, включающий додекафонную серию, трезвучия и речитацию на одном звуке.