曲式分析 form and analysis. 主題與變奏 sectional variations; continuous variations a...

曲式分析

Form and Analysis

主題與變奏 Sectional variations; Continuous variations A theme: elements (fixed and variable)

Handel suite No. 51. Key: E2. Mode: major3. Form: simple continuous binary4. Length5. Basic tonal structure & Precise harmonic sequence∥: I V-I/ of V : : ∥ I V-I :∥

6. Tempo7. Melody8. Bass9. Texture: homophonic, mostly four-part chordal style

主題與變奏 Sectional variation A theme: elements

Handel suite No. 5 Ornamental, Double 1 eighth to sixteenth Simplifying, Double 2 Figural, Double 3, 4

主題與變奏 Sectional variations

Bach: Goldberg Variations, Aria Contrapuntal

Imitative Canonic Fugal Additive

Characteristic Vari. 7, a gigue Vari. 19, minuet Vari. 16, French overture

主題與變奏 Form in Sectional variations

Form of the theme Two-reprise form

Form of each variation Form remain unchanged After 19th century, an independent development on s

ome motive or other distinct feature of the theme Development of a theme

Finale: most brilliant; da capo; fugue; coda; developmental coda

Benjamin Britten

Young People’s Guide to Orchestra (Variation and Fugue

on a theme by Henry Purcell

主題與變奏 Shape in Sectional variations

Rhythmic crescendo: note in smaller and smaller value

Grouping: 1, 2:sixteenth; 3, 4: triplet; 5, balancing the theme

Schematic order: Goldberg variation Every third variation is a canon, 10 groups A characteristic vari. on one keyboard Brilliant variation written in manner of an etude, or t

echnical study, for two keyboards A canon

Harpsichord

主題與變奏 Shape in Sectional variations

Other Schematic orders: Haydn, Britten, Beethoven

Schematic order aided by Increasing complexity: Haydn: Quartet, op. 76, no. 3

主題與變奏 Modification of Sectional variations

On two theme Rondo A B A’ C A” Isolated modification

Beethoven: Eroica Uses both strict and free variations Theme preceded by an intro. Melody is not introduced until third vari. Gradual in

crease complexity; rhythmic crescendo;

主題與變奏 Summary

“Sectional” the theme and each variation is a complete little piece in itself. Usually there will a distinct stop between variation

“strict” variations keep the form of the theme and, normally, the key and length as fixed elements.

No variation is necessary limited to only one category.

連續型變奏 Continuous variation Historical note: from 17th c.

Ground bass: ostinato bass; ostinato harmonies

Chaconne; passacaglia Bach's Violin Chaconne in d YouTube - Heifet

z Bach Chaconne Purcell: Dido’s lament 1, 2, 3, 4 Romanesca:

Ground-Bass Characteristics1. Melody normally in the lowest voice, is repeated

2. Ornamentation of the bass melody may or may not be introduced

3. Short, a single phrase, no more than 8 bars

4. Not transposed to different pitch

5. Support other voices: a changing fabric above

6. The supporting voices often change cadence at a different point from the bass

連續型變奏 Handel:

Suite nr 7: Passacaille Listen

1. A theme, a single phrase,

2. Distinct melody and bass line, not necessary fixed elemnets of the successive variations. Rather, the precise harmonic sequence constitutes the fixed element. Slight changes occur.

3. Follow each other without a perceptive break, insuring a continuous flow

4. Any of the types of sectional variations are likely to occur, but emphasis is on those homophonic texture

連續型變奏 Shape in continuous variations

Short with many variations. Extremely important

Shape: give a unifying impression to the movement as a whole. More coherent than in sectional form.

J. S. Bach Passacaglia in C-Minor: Analysis p. 88

連續型變奏 J. S. Bach Passacaglia in C-Minor: Analysi

s p. 88

Twenty variations Three parts

1. Part one (1-12): gradual increasing intensity and excitement. Rhythmic crescendo toward vari. 6, vari. 9 introduces a new and vigorous motive which leads to brilliant run in vari. 10.

2. Part two (13-15): decrease in volume, less and less complex

3. Part three (16-20): return of the ground bass, finale a double fugue

Ground-Bass Special applications

Ostinato figure Free ground bass Soprano ostinato

連續型變奏 Summary

1. Variations on a ground bass

2. Variations on ostinato harmonies

Different Application of Ground Bass

1. Ostinato figure

2. Free ground bass

3. Soprano ostinato