EXPRESSIVE MEANS OF MUSIC
Melody
"Melody will always be the purest expression of human thought"
C. Gounod
The expressive means of music are rich and varied. If an artist in drawing and paint, a sculptor in wood or marble, and a writer and poet in words recreate pictures of the surrounding life, then composers do this with the help of musical instruments. In contrast to non-musical sounds (noise, grinding, rustling). Musical sounds have a precise height and a specific duration. In addition, they can have different colors, sound loud or quiet, and be performed quickly or slowly. Meter, rhythm, mode and harmony, register and timbre, dynamics and tempo are all expressive means of musical art.
The most important means musical expressiveness- MELODY. It is the basis of every work. P. I. Tchaikovsky, this great creator of melodies, said: “Melody is the soul of music.” For where, if not in it - sometimes bright and joyful, sometimes anxious and gloomy - do we hear human hopes, sorrows, anxieties, thoughts ... "
The word "melody" comes from two words - melos - song, and ode - singing. A melody is a monophonic musical idea expressed. In general, a melody is something that you and I can sing. Even if we don’t remember the whole thing, we hum some of its motives and phrases. After all, in musical speech, just like in verbal speech, there are sentences and phrases. Several sounds form a motive - a small particle of melody. Several motifs make up a phrase, and phrases make up sentences.
Folk musical creativity- an inexhaustible treasury of wonderful melodies. Best songs peoples of the world are distinguished by their beauty and expressiveness.
For example, Russian folk song “Oh, there’s a sticky thing in the field”. Its melody is light and graceful. Agile tempo, smooth movement, light major coloring help to express a joyful mood, a feeling of youth and happiness.
A different character of the melody in the song "Oh you, little night". The girl’s sad mood is compared here to a dark autumn night. A broad melody flows slowly in a minor scale.
"Serenade" by F. Schubert– one of the most soulful lyrical melodies created for the voice. Like any other serenade, it is sung at night in honor of the beloved...
In the melody of “Serenade” we guess all the feelings with which the lover’s heart lives at this hour of the night; and tender sadness, and longing, and hope for a quick meeting. Probably Schubert's "Serenade" - oh happy love: the day will come, the lovers will meet, and yet its melody reveals a lot to us - something that is not in words and which is very difficult to talk about. Youth, a beloved, a night song flying towards her - this is the content of the work, which lists everything except the most important thing. The main thing is contained in the melody, which tells us how much sadness there is even in the happiest love and how sad a person can be even in his joy.
There are many cheerful melodies in the world, born in moments of joy or holidays. Even among the serenades - mostly sad and thoughtful - you can find cheerful and moving melodies, full of charm and optimism. Who is not familiar with the charming and graceful “Little Night Serenade” by W. A. Mozart, whose melody is full of light and charm of a festive night!
In 18th-century Vienna, it was customary to organize small night concerts under the windows of the person you want to pay attention to. Of course, the meaning of the music performed in his honor was not at all lyrical and intimate, as in a love serenade, but rather funny and slightly mischievous. Therefore, several people took part in such a night concert - after all, joy unites people! To perform Mozart's serenade it was required string orchestra- a collection of virtuoso and expressive instruments that sang so magically in the silence of the Viennese night.
The melody of “A Little Night Serenade” captivates with its subtlety and grace; listening to it, we do not think that this is just everyday music, written to order for a night concert. On the contrary, in its sounds the image of old Vienna lives for us, an unusually musical city, where day and night one could hear wonderful singing, then playing the violin, and even the lightest music was unusually beautiful - after all, Mozart wrote it!
Fascinated by the bright Mozart melodies, the Russian singer F. Chaliapin expressed his attitude towards the great Viennese classic: “You go into a house, simple, without unnecessary decorations, cozy, large windows, a sea of light, greenery all around, everything is welcoming, and a hospitable owner greets you, makes you sit down, and you feel so good that you don’t want to leave. This is Mozart."
These sincere words reflect only one side of Mozart’s music - the one that is associated with the brightest images and moods. But, perhaps, in the entire centuries-old history of music you will not find a composer whose melodies would be only joyful and harmonious. And this is natural: after all, life is never only bright, only clear; losses and disappointments, mistakes and delusions are inevitable in it.
It is in art that the feelings and thoughts by which a person lives most clearly manifest themselves.
And therefore, one should not be surprised when the same Mozart who wrote “A Little Night Serenade” is the same Mozart whom the composer A. Rubinstein called Helios - the sun god of music, about whom he exclaimed: "Eternal sunlight in music, your name is Mozart!”- creates one of the most mournful works in all world art - his Requiem.
Dying composer recent months who dedicated his life to this work, wrote about it in one of his letters: “Before me is my funeral song. I can’t leave it unfinished.”
The Requiem was ordered from Mozart by a stranger dressed all in black, who one day knocked on the composer's house and handed over this order as an order from a very important person. Mozart set to work with enthusiasm, while his illness was already sapping his strength.
A. S. Pushkin conveyed Mozart’s state of mind during the period of the Requiem with enormous dramatic power in the small tragedy “Mozart and Salieri.”
My black man gives me no rest day and night.
He follows me everywhere like a shadow.
And now it seems to me that he is the third one sitting with us.
Mozart did not have time to complete his Requiem. After the composer's death, the unfinished sections were completed by his student F. Süssmayr, who was thoroughly initiated by Mozart into the plan of the entire work.
Mozart stopped at the beginning of “Lacrimosa”; he could no longer continue. In this part, which is part of the climax zone of the composition, after the anger, horror, and darkness of the previous parts, a state of sublime lyrical sorrow sets in. Melody "Lacrimosa" ("Tearful Day") based on the intonation of sighing and crying, at the same time demonstrating an example of deep sincerity and noble restraint of feeling.
Rozhdestvenskaya musical fairy tale Tchaikovsky is full of beautiful bright melodies: sometimes tense and dramatic, sometimes quiet and gentle, sometimes song, sometimes dance. One can even say that the music in this ballet has reached its utmost expressiveness - it tells so convincingly and authentically about the events of Hoffmann’s sublime and touching fairy tale.
Despite appealing to fairy tale plot from German literature, the music of “The Nutcracker” is deeply Russian, like Tchaikovsky’s music in general. And New Year's dances, and magical paintings winter nature - all this in the ballet is imbued with intonations that are close and understandable to every person who grew up in Russia, in the atmosphere of its culture, music and customs. It is no coincidence that P. Tchaikovsky himself admitted: “I have never met a person who is more in love with Mother Rus' than I am... I passionately love the Russian person, Russian speech, Russian mentality, Russian beauty of faces, Russian customs.”
Listening to the melody Pas de deux from the ballet “The Nutcracker”, You’re surprised how much music contains from the living expressiveness of human speech! Probably, in this property, the origin of the melody from the intonation of the human voice reveals itself again and again. The slightest shades are accessible to her - a question, an exclamation, and even an ellipsis...
Listen to the intonation development of the music of this fragment - and you will be convinced that it contains all the diversity of emotional statements. But there is also something in it that the great romantic G. Heine said: “Where the words end, the music begins.” Perhaps the correctness of these words is especially obvious if we're talking about about melody: after all, it is melody that is closest to the intonation of living speech. And yet - is it possible to convey the content of the melody in words? Remember how touching, how unusually expressive "Melody" (Eurydice's Complaint) from the opera K. Gluck "Orpheus and Eurydice" and how much she can say without resorting to words.
In this fragment, the composer turned to pure melody - and this melody itself managed to conquer the whole world!
Doesn’t it follow from what has been said that melody is a language that is close and understandable to everyone - people who lived in different times, who spoke different languages, children and adults? After all, for any person joy is expressed in the same way, and human sadness is the same everywhere, and gentle intonations can never be confused with rude and commanding ones, no matter what language they are spoken in. And if we carry images and hopes that are dear to us, then in moments when a melody that excites us sounds, they become brighter, more alive, and tangible.
Doesn't this mean that the melody guesses ourselves - our hidden feelings, our unspoken thoughts? It is no coincidence that they say “strings of the soul” when they want to designate what gives us the opportunity to perceive and love the boundless beauty of the world around us.
Let's summarize:
1. What is a melody, and what types does it come in?
2. In which musical genres is melody most often dominant?
3. Remember several melodies that would express different intonations: sad, affectionate, cheerful, etc.
4. How do you understand the words of P. Tchaikovsky: “melody is the soul of music”?
5. How does the content of music affect the character of the melody?
Presentation
Included:
1. Presentation: 17 slides, ppsx;
2. Sounds of music:
“Oh you, little night”, Russian folk song (performed by Dmitry Hvorostovsky), mp3;
“Oh, you little night”, Russian folk song (performed by the male choir of the St. Petersburg courtyard of the Optina Pustyn Monastery), mp3;
“Oh you, little night”, Russian folk song (performed by Fyodor Chaliapin), mp3;
Glitch. “Melody” from the opera “Orpheus and Eurydice”, mp3;
“Ay, there’s a liponka in the field”, Russian folk song (performed by Sergei Lemeshev), mp3;
Mozart. Little night serenade, mp3;
Mozart. Requiem “Lacrimosa” (“Tearful Day”), mp3;
Tchaikovsky. Pas de deux from the ballet “The Nutcracker”, mp3;
Schubert. Serenade, mp3;
3. Article, docx.
Music, according to the ancient Greek philosopher Plato, gives life and joy to everything that exists in the world, and is the embodiment of that beautiful and sublime that exists on earth.
Like any other art form, music has its specific features and means of expression. For example, music is not capable of depicting various phenomena, like painting, but it can very accurately and subtly convey a person’s experiences, his emotional state. Its content lies in artistic and intonation images formed in the mind of a musician, be it a composer, performer or listener.
Each type of art has a language that is unique to it. In music, such a language is the language of sounds.
So, what are the main means of musical expression that reveal the secret of how music is born?
- The basis of any piece of music, its leading principle is melody. A melody is a developed and complete musical thought, expressed monophonically. It can be very different - both smooth and jerky, calm and cheerful, etc.
- In music, melody is always inseparable from another means of expression - rhythm, without which it cannot exist. Translated from Greek, rhythm is “measurement,” that is, a uniform, coordinated alternation of short and long sounds. It is rhythm that has the ability to influence the character of music. For example, lyricism is imparted to a piece of music using a smooth rhythm, while some excitement is added to a piece of music using an intermittent rhythm.
- No less important okay as a means of expression. There are two types: major and minor. Their differences from each other are that major music evokes clear, joyful feelings in listeners, while the minor one evokes a little sad and dreamy feelings.
- Pace– expresses the speed at which a particular piece of music is performed. It can be fast (allegro), slow (adagio) or moderate (andante).
- A special means of musical expression is timbre. It represents the color of sound characteristic of any voice and instrument. It is thanks to timbre that a human or “voice” can be distinguished musical instrument.
Additional means of musical expression include invoice– a method of processing a certain material, strokes or methods of extracting sounds, dynamics- sound strength.
Thanks to the harmonious combination of all of the above expressive means or parts of them, and music appears, accompanying us in life almost everywhere.
The ideological and emotional content of a composer's musical work is conveyed through the means of musical expressiveness: melody, tempo, rhythm, harmony. The combination of all these means creates the musical images that the choreographer uses.
Main task– unity of the image of the audible and visible.
Melody(from Greek singing, melody) is a monophonic expression of musical thought, it is the basis of music and it primarily expresses the composer’s intention. It is a monophonic sequence of musical sounds that are in a certain ratio in height and have a certain tempo and rhythm.
The melody itself is independent, unlike other means of expression, and is capable of embodying certain thoughts and emotions and conveying mood. The melody always carries an artistic image. Melody has its own laws, the main one being undulation; the melodic line has bends of rise and fall. The combination of the movement of the melody up, down and in place is called a melodic pattern.
Important types of melodic pattern
1. Ascending movement in the melody, i.e. transition to higher sounds.
2. Downward movement in melody, i.e. transition to lower sounds.
3. Wave-like movement of the melody, i.e. sequence of ascending and descending transitions.
Every melody exists in time, it lasts with the temporal nature of music and is closely related to it. One of her most noticeable means of expression is TEMP.
Pace– this is the speed of music performance. The tempo is indicated at the beginning of the piece.
Basic terminology:
Adagio – slowly
Andante – moderate
Allegro - fast
For greater expressiveness of a musical work, the tempo is gradually accelerated or slowed down.
Ashelerando - acceleration
Ritardando – slowing down
Tempo largely determines the mood of the music. Slow pace expresses a state of peace, stillness, contemplation. The average tempo is quite neutral and is found in music in different moods. A fast tempo is found when conveying continuous aspiration of movements; it can express a feeling of ebullient energy, joy, light festive mood. Or it can express drama.
The speed of the music of a piece cannot be changed arbitrarily.
Where does the sense of tempo in a melody come from?
To feel the tempo, not all sounds are important, but only some, stronger and heavier ones. Usually, in a melody, accents periodically appear on individual sounds, and between them the following sounds, weaker.
The feeling of tempo depends on how much time passes between adjacent accented sounds, i.e. how long does a beat take in music? The tempo of a piece of music is measured by the number of beats per unit of time (for example, per minute). Viennese Waltz– 60 cycles per minute.
Organization in music is based on a certain alternation of accents, stressed beats, this is the meter-rhythmic organization of music (meter - measure) - this is the alternation of strong and weak beats in a bar, uniform. The digital designation of the meter is called the size and is placed at the beginning of the musical notation. The top number (or first) shows the number of beats in a measure, the bottom or second number shows the duration of the beat in a given size. The sizes are two-beat (even) alternating one beat and one unstressed; three-beat (odd) alternating one stressed beat and two unstressed beats. And also from combinations of simple sizes complex sizes are formed, for example, four-lobe (strong, weak, relatively strong and weak).
The sound that is stressed (stressed beat) together with subsequent beats, unstressed, form tact– this is the length of time from one strong beat to another. In sheet music, measures are identified from each other by vertical lines.
Rhythm- one of the main expressive means of music. This is a sequential combination of musical sounds of varying durations, i.e. ratio of long and short sounds.
There are not many 2\4 sizes relative to each other; 3\4; 4\4; 6\8.
And the ratio of musical durations is countless; sounds are written with signs (i.e., notes that have different durations in sound). To indicate the duration of sounds, sticks, stems, and tails are added to the circles.
Whole note " 1and2and3and4and»
Half " 1i2i»
Quarter " 1i»
Eighth " And»
Sixteenth on " And" - two strikes
The alternation of sounds of different durations forms a rhythmic pattern of the melody. It can already characterize some genres of music.
Dynamic shades- This is a change in sound volume during the performance of a piece of music.
Dynamic shades are very important for conveying images in music (for example, a lullaby is performed quietly, the content of such music contradicts the loud sound, and the quiet sound contradicts the festive march).
Dynamic shades are associated with a melodic pattern; accordingly, the upward movement of the melody is accompanied by an intensification of the sound, and the downward movement is accompanied by a weakening. Depending on the dynamism of the shades of the musical work, movements can be strong and energetic or soft and gentle, sharply accentuated or continuous or smooth.
Dynamic shades of music include:
1. change in sound strength
2. gradual slowing down or speeding up the pace
3. smooth or intermittent melody sound
The listed shades are designated by the Italian term:
Forte - loud
Piano - quiet
Crescendo – gain
Diminuendo – weakening
There are also such concepts: “Major” music is solemn, festive, joyful, cheerful or calm. “Minor” music is dramatic, sad.
Music and dance
1.Music has a metrical organization, this also makes it possible to organize a choreographic work into certain choreographic segments.
2.Music carries imagery that we can reveal through choreography.
3. A piece of music has its own dramaturgy. The choreography follows and is guided by the musical dramaturgy.
4.Music determines the genre of a choreographic work, its language, form.
Based on the metro-rhythmic organization of music national color(originality of something).
The tempo in a choreographic work is subject to the tempo of the music, but may not coincide. It is necessary to achieve an image of the visible and audible intention of the composer and choreographer, a combination of words and action.
The relationship between music and dance.
1.Dancing around music is when the music has its own content and the choreography has its own. Incorrect use of musical material.
2.Dance to music. The music is simple in dramaturgy, and the choreography has quality. Choreography is higher than music.
3.Dance to music. The music is meaningful, but the choreography is poor. Music is superior to choreography.
4.Dancing to music is when the content and quality of the music coincides with the content and quality of the choreography. To strive for this gently.
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Means of musical expression
Music originated in ancient times. This is evidenced by the many found objects with images of musical instruments and performers, although the musical works themselves from distant eras have not reached us.
Music has long been recognized as an important and indispensable means of shaping personal qualities man, his spiritual world. In Ancient Greece there was even a doctrine that substantiated the impact of music on human emotions. It has been proven that some melodies strengthen courage and perseverance, while others, on the contrary, pamper.
What is unique about music as an art? Let's compare it with painting, sculpture, literature.
Music cannot depict or describe life phenomena with the same degree of concreteness as these types of art (although it does have some visual capabilities).
Is it possible to convey certain content using sounds? What do we call the content of music?
Prominent psychologist B.M. Teplov wrote: “In the most direct and immediate sense, the content of music is feelings, emotions, moods.” (Psychology of musical abilities. - M.; L., 1947. - P. 7.)
The peculiarity of music is that it can convey with great immediacy and power the emotional state of a person, all the richness of feelings and shades that exist in real life.
Due to the fact that music is a temporary form of art (unlike painting and sculpture), it has the ability to convey changes in moods, experiences, and the dynamics of emotional and psychological states. Each piece of music thus has a certain “sensory program” (the term of the psychologist V.G. Razhnikov), unfolding in time.
Music can also depict any specific phenomena of reality - the sound of waves, the howling of the wind, the splashing of a stream, the singing of birds through onomatopoeia.
There is so-called program music, in which the composer either indicates the name of the work, i.e., implies the presence of some generalized program, or writes music for a specific literary text. In program music, various kinds of visual moments are more common, but it is important to note that even bright visual works always have an emotional connotation: the chirping of a bird can be friendly, cheerful, or it can be alarmed; the sound of the waves - peaceful or menacing.
Therefore, expressiveness is always inherent in music, and visualization has an auxiliary meaning. Figurativeness is not present in every work, but even vividly visual music always expresses moods, emotional and psychological states.
Music, including music not associated with words, also expresses certain thoughts and evokes generalizations. But they arise through emotional perception sounds, melodies, when the listener traces the development, the clash of characters, themes, and compares various images in parts of the work.
Another feature of music compared to painting and sculpture is the need for an intermediary to reproduce it.
A prominent musicologist and composer B.V. Asafiev noted that music exists in the trinity of processes of its creation by the composer, reproduction by the performer and perception by the listener.
The performer, being an intermediary of the composer, must revive, voice the musical work, creatively comprehend it and express those thoughts and feelings that the author sought to convey.
Generally expressive possibilities music have sufficient consistency. So, for example, mourning music is perceived by all people as mournful, and gentle music - as gentle. Listening to music is creative process, since the same product gives rise to different people various musical and extra-musical performances depending on life experience, experience of music perception.
What is the expressiveness of the language of music based on? What are the means of musical expression?
These include tempo, dynamics, register, timbre, rhythm, harmony, mode, melody, intonation, etc.
A musical image is created by a certain combination! means of musical expression. For example, a menacing character can be conveyed with fairly loud dynamics, a low register combined with a restrained tempo. Gentle character - calm tempo, soft dynamics and measured rhythm. The role of individual musical means in creating an image; may not be the same. Each musical image is dominated by certain means of expression.
The expressiveness of the language of music is in many ways similar to the expressiveness of speech. There is a hypothesis about the origin of music from speech intonations, which are always emotionally charged.
Music and speech have a lot in common. Musical sounds, like speech, are perceived by the ear. The voice conveys a person’s emotional states: laughter, crying, anxiety, joy, tenderness, etc. Intonation coloring in speech is conveyed using timbre, pitch, strength of the voice, tempo of speech, accents, pauses. Musical intonation has the same expressive capabilities.
B.V. Asafiev scientifically substantiated the view on musical art How intonation art, the specificity of which is that it embodies the emotional and semantic content of music, just as the internal state of a person is embodied in the intonations of speech. Speech intonation expresses, first of all, the feelings, moods, and thoughts of the speaker, just like musical intonation. Thus, a person’s excited speech is characterized by a fast pace, continuity or the presence of small pauses, an increase in pitch, and the presence of accents. Music that conveys confusion usually has the same characteristics. A person’s mournful speech, like mournful music (quiet, slow), is interrupted by pauses and exclamations. I
B.V. Asafiev used the term intonation in two meanings. The first is the smallest expressive-semantic particle, “grain-intonation”, “cell” of the image. For example, the intonation of two descending sounds with an emphasis on the first (interval of a small second) usually expresses pain, sigh, crying, and an upward jump in the melody of four sounds (per fourth) with an emphasis on the second sound is an active beginning.
The second meaning of the term is used in a broad sense: as intonation, equal to the length of a musical work. In this sense, music does not exist outside the process of intonation. Musical form is a process of changing intonations.
Musical form in the broadest sense is the totality of all musical means that express content. In a narrower sense - the structure of a musical work, the relationship of its individual parts and sections within the part, i.e. the structure of the work.
The temporary nature of music allows us to convey development processes and all kinds of changes. To understand the meaning of a work, to feel it, it is necessary to follow the development of musical images.
In creating a form, three principles are important: repetition, contrast, development (variation).
Repetition may vary. A musical phrase repeated twice in a row replaces a stop, this helps to listen more deeply and remember the melody. In another case, a contrasting theme is played between repetitions. The role of such repetitions is very great: they form the basis of musical dramaturgy, since they allow us to establish the primacy of the image.
If there is a contrasting episode between repeated sections, a simple three-part form is formed. It can be schematically represented as follows: ABA.
The expressive value of repeating a theme increases if it itself changes after the appearance of a new image (B). Conventionally, its “second appearance is designated as A1. In this case, the tripartite form can be represented by the ABA1 scheme.
Repetition is associated with another principle - contrast, which allows you to highlight repetition. Contrast helps to express changes in mood in music; it can sound like opposition. So, for example, if the first part was full of carefree, fun, the middle part introduces a contrasting image (anxiety, evil, etc.). In the third part, depending on whether the repetition is accurate or changed, you can follow the development of the image, the musical dramaturgy.
Contrast is associated with another principle of formation - development. If the topic itself consists of two (or more) contrasting elements or a section of the form consists of several topics, this gives rise to conflict, the possibility of their collision and development. This principle has a variety - variational development, which originates from folk improvisations.
These three principles of shaping are often found together. More complex musical forms are formed using the same principles.
Let's characterize some types of music - musical genres. music expressiveness form
Broadly speaking, music can be divided into vocal and instrumental. Vocal music is associated with the word, poetic text. Its varieties are solo, ensemble and choral music. In instrumental music, the content is expressed more generally. Its varieties include solo, ensemble and orchestral music.
But dividing music only into vocal and instrumental is very arbitrary. There is a wide variety of genres of folk and classical music.
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MEANS OF MUSICAL EXPRESSION Music is the language of sounds. Different elements musical language (height, longitude, volume, color of sounds, etc.) help composers express different moods and create different musical images. These elements of musical language are also called by means of musical expression. There are 10 of them in total:
- register 6. meter timbre 7th fret tempo 8. harmony dynamics 9. texture rhythm 10. melody
Register | Women's voices | Male voices |
| Mezzo-soprano | ||
- mUzhsky(dense, bright timbre), female(warm, transparent timbre), mixed
(full-sounding, rich, bright timbre), children's choir (light, light timbre).
| String instruments | Wooden wind instruments | Brass instruments | Percussion instruments |
| Violin | Flute | French horn | Timpani |
| Alto | Oboe | Pipe | Drum |
| Cello | Clarinet | Trombone | Xylophone |
| Double bass | Bassoon | Tuba | Bells, etc. |
| 1. | Slow pace | They express peace, restraint, reflection, pain in music. |
| 2. | MODERATE Pace | Associated with leisurely movement and moderate activity. |
| 3. | Fast pace | Represent joy, excitement, energy, playfulness, humor. |
| Slow pace | MODERATE Pace | Fast pace |
| Largo - widely | Andantino - a little faster than Andanto | Allegro - fast |
| Lento - drawlingly | Vivo - lively |
|
| Adagio - slowly | moderato - moderately | Vivace - lively |
| Grave - hard | Presto - very fast |
|
| Andante - quite slowly, calmly | Allegretto - a little slower than Allegro | Prestissimo - extremely fast |
Gradual slowdowntempo(usually at the end of the piece, a feeling of calm) | Gradual acceleration tempo (usually in the middle sections of the work, increasing excitement) |
Ritenuto - holding | Accelerando - accelerating |
| Ritardando - lagging | Animando - getting inspired |
| Allargando - expanding | Stringendo - accelerating, hurrying |
- Piu
- more meno
- less non troppo
- not too much molto assai
- very, very subito
- suddenly, unexpectedly poco
- A little poco a poco
- little by little, little by little
Basic designations dynamic shades:
Piano pianissimo | ppp | extremely quiet |
| Pianissimo | pp | very quiet |
| Piano | p | |
| Mezzo piano | mp | not very quiet |
| Mecco forte | mf | not very loud |
| Forte | f | |
| Fortissimo | ff | very loud |
| Forte fortissimo | fff | extremely loud |
- Crescendo - cresc
. - strengthening
- Sforzando - sforc., sfc., sf
.- suddenly intensifying
- Subito forte- sub.f.
- suddenly loud
- Diminuendo
- dim
. - reducing, weakening the sound
- Decrescendo -decresc
. - weakening
- Smorzando
- smorc
. - freezing
- Morendo - morendo
- freezing
| Repetition identical durations in works slow or a moderate tempo creates a calm, balanced image. In works fast tempo - etudes, toccatas, preludes- repetition identical durations (sixteenth notes are common) gives the music an energetic, active character. Rhythmic groups united by notes are more common different duration. They form a variety of rhythmic patterns. | Less often The following rhythmic figures are found: Dotted rhythm (typical for marching, dancing) - sharpens, activates movement. Syncope - moving the emphasis from a strong beat to a weak one. Syncopation creates the effect of surprise. Triplet - dividing the duration into three equal parts. Triplets give ease of movement. Ostinato – repeated repetition of one rhythmic figure. |
| Strict meter strong and weak beats alternate evenly | Free meter accents are distributed unevenly, V modern music the size may not be indicated or there may be no division into measures | |
| Bipartite meter- one strong and one weak beat ( /- ) e.g. polka or march. | Triple meter- one strong and two weak beats ( /-- ), for example, waltz. | Polymetry – a simultaneous combination of bipartite and tripartite meter. Variable meter - changes throughout the work. |
- Simple– having only one strong beat (bipartite, e.g. 2
4
or trilobed, e.g. 3
4
or 3
8
). Complex- a combination of simple identical meters (only bipartite, e.g. 4
4
= 2 4 + 2 4 or only trilobed ones, e.g. 6
8
= 3 8 + 3 8). Mixed– combination of meters miscellaneous(bilobed and trilobed) type (e.g. 5
4
= 2 4 + 3 4, or 3 4 + 2 4, or 7
4
= 2 4 + 2 4 + 3 4, etc.).
| Trochee (/-) | Iambic (-/) | Dactyl (/ - -) |
| Boo rya haze yu Not- bo blood et. | In the forest su ro- di-las e-loch- ka | Rumors I'm kidding th- Los yours ringing cue and las- which one |
- Polka
- 2 4, rhythmic groups with sixteenth notes. Waltz
- 3 4, accompaniment with emphasis on the first beat. March
- 4 4, dotted rhythm.
Iambic: Trochee: Dactyl:
2. What meter types and how special metric reception used by Latvian composer Romuald Kalsons when processing Latvian folk song "Ar meitām dancot gāju» ?..................................................................................................................................................
..................................................................................................................................................
R. Kalsons. Lat processing adv. songs “Ar meitām dancot gā ju"
3. Divide the following sheet music examples for measures of 2 4 and 3 4, then play or sing:
4. Complete the text!
Lullabies usually performed at.................................. tempo and ........... ............................ dynamics, and marches- at ........................................... pace and ............................................... dynamics. The exception is funeral marches, the tempo of which is always........................................, and dynamics -................................... .
5. What words are pronounced in Russian with these endings:
..............………….Joe, ...........................what, .......................
shendo?
- Think:
trichord- a fret consisting of three sounds.
tetrachord- a fret consisting of four sounds.
pentatonic scale- fret consisting of five sounds.
seven-speed modes (major, minor, ancient modes).
| Frets without halftones | Seven step frets | Modes with two or more semitones in a row |
| Trichord- a scale in the range of fourths, consisting of a major second and a minor third. Pentatonics- fret from five sounds arranged in major seconds and minor thirds. Another name for this mode is "Chinese scale", because it is often found in oriental music). Solid tone, or enlarged fret- lad from 6 sounds, each of which is separated from its neighbor by one (whole) tone. They do not create mutual gravity and therefore produce a strange, fantastic impression. In Russian music, M.I. was first used. Glinka at the opera "Ruslan and Lyudmila" to characterize Chernomor. Hence another name for this fret - "Gamma Chernomor" . | Major- a mode whose sustained sounds form a major triad. The fret has a light, joyful coloring. Minor- a mode whose stable sounds form a minor triad. The fret is dark, sad in color. Variable mode (a mode in which there are two stable triads): - parallel (e.g. C major – A minor) - namesake (eg G major - G minor) modes. Vintagefrets - similar to modern major or minor, but differing from them in individual steps - mixolydian,Lydian, Phrygian,Dorian) | Chromatic mode- a mode in which, along with the main steps, there are steps raised or lowered by half a tone (found in music of the 20th century). |
