Types and meaning: means of expressiveness and development, sometimes also of shaping.
So, the first topics of the “Analysis of Musical Works” course were devoted to the essence of music and art, the classification of its types, and the system of musical expressive means. “What is music after all this? It seems that it is not art, or, in any case, something more than art...”, said B. Asafiev (“The Value of Music”) in his younger years, but after serious reflection on the essence of music.
Topic 3. Style and genre in music.
Style.
V. Medushevsky introduced the concept adequate perception of music, This “ideal, standard of perfect perception of this work, based on the experience of the entire artistic culture.”
A sense of style is the most important component of professional hearing, performing and composing music. How does it manifest itself? What do they mean when they talk about style?
A few quotes about the composer's work:
“Chopin can no longer write anything without us exclaiming at bars 7-8: “This belongs to him” (Schumann).
“My Motherland has left its mark on my character and my views. My music is the fruit of my character, and therefore it is Russian music” (S. Rachmaninov).
Now about the performance:
“The girl played Mozart and thought she was playing Mozart. But she played herself” (Debussy).
"I!!! I’m playing Chopin – I’m playing Chopin!!!” (G. Neuhaus).
“Style is a property (character) or main features by which one can distinguish the works of one composer from another or the works of one historical period(sequences of time) from another” (B. Asafiev).
“Style is man” (Buffon).
“Personality, manifested in musical sounds, that is what style in music is” (E. Nazaikinsky).
“Style is an image of time and an image of space, which is based on cultural-psychological, formal-aesthetic and spiritual-mental factors” (W. Weisbach).
Style is an intoned worldview, attitude. This is the spiritual height and beauty of originality (V. Medushevsky).
And from the field of literature: “The style of every writer is so closely connected with the content of his soul that an experienced eye can see the soul by the style...” (A. Blok).
As can be seen from these examples, the definitions of style in music and art are very diverse. You can agree with them or not, admit that this is a person in general, and an author, and something that is difficult to define in words, but obviously, style is a multifaceted and multi-level phenomenon.
Style in music.
Can be understood in a broader or narrower sense. In broad terms, this is a historically established art system. In a narrow sense - the style of a work or field of creativity, genre or musical expression (harmonic, polyphonic, orchestral, choral writing style, etc.).
Main feature style in his integrity. What is commonly called style features does not form a sum of features, but a unity, as in intonation. “The highest kind of artistic unity” (S. Skrebkov).
So, does style actually exist in music, as a genre or a form? Do I perceive him as he is? The author of these interesting questions V. Kholopova notes that the style “is perceived intonation-auditory, audible, but not provable, this is a problem for the analyst.” Indeed, how can one explain that music sounds similar to Tchaikovsky or Mozart?
IN style structure highlights: center or core - bright elements, individual revolutions, and periphery - neutral or background means of the era, colored by the center, subordinate to it. The formation of a composer’s personality and the acquisition of his own style do not occur immediately. It is important to determine style meta theme or stylistic intonation (V. Kholopova, E. Nazaikinsky).
There is a widespread belief that the significance author's style in music is higher than in other arts, and when listening to music, a person, as a rule, strives to find out the name of the composer. Although, this apparently depends on the genre and listening tradition, for example: the authors of many pop songs or film music in our country remain little-known.
Style belongs to universal categories, so aesthetics also deals with it. As an example of a general aesthetic interpretation of the concept "style" You can refer to the reasoning of Yu. Borev (textbook “Aesthetics”, 2002). The significance of this phenomenon comes down to four factors. Style is:
1. Factor creative process - dictates to the artist selectivity in relation to life material, to artistic tradition, to the social purposes of art.
2. Product factor-determines the existence of the work as a complete artistic whole. Subordinating every detail to the general constructive plan, he determines the structure of the work and its belonging to a certain type of culture.
3. The factor of the artistic process, its core- guides the artist in relation to the process of development of art, ensures the development of tradition on a new basis, promotes the interaction of art from different eras.
4. Factor of artistic communication- determines the nature of the aesthetic impact of the work on the audience, orienting the artist towards a certain type, and the latter towards a certain type of artistic values.
1. Deep, “generative”- thematic and intonation community of culture. At the “generative” level of the text are theme and intonation, and at the generated level are meaning and value.
2. National stylistic community.
3.National stage style(at a certain stage of historical and cultural development).
4. Art direction style.
5. Individual style of the artist.
6. Style of the creative period.
7. Style of the work.
8. Artwork element style, suggesting "gluing" stylistically dissimilar elements. (We are talking about polystylistics, which arose in late XIX- early 20th century Such a work retains its integrity due to its commonality at other stylistic levels).
9. Style of the era. (Some researchers deny the presence of contemporary art style of the era. However, even in our time, with all the complexity of the artistic process, with all the increase in stylistic diversity and increase in stylistic layers, the epochal typological community of art is not lost. The pattern of the artistic process: complication of the structure of the work and the growth of stylistic layers in it, an increase in both differences and commonalities with other cultural phenomena).
Style is the “genetic” (generative) program of a work. Style in art is not form, not content, not even their unity in a work. Style is a set of “genes” of culture (spiritual principles of constructing a work, selection and pairing of linguistic units) that determines the type of cultural integrity. Style is an imperative order of the whole, commanding every element of the work. The analysis reveals the principle of style generation, which determines the structure and meaning of each phrase, frame, scene, stanza and line.
Genre
About the term. Word ancient origin: Greek genos, lat. genus From fr. genre lane like a family In Russian, the genre is close to: wife (giving birth), woman, genetics, genealogy, generator, general, genius, etc. The word genus is the root of the words: nature, homeland, people.
The names of musical genres are well known to everyone. To give the very definition of the genre, it is important to first try to understand what meaning is contained in these words: dance, prelude, sonata, romance, etude, etc.? Is it reflected in the statements below?
Definition of genre.“Genres are historically established relatively stable types, classes, genera and types of musical works, delimited by a number of criteria, the main of which are: a) specific life purpose (social, everyday, artistic function), b) conditions and means of execution, c) the nature of the content and form of its implementation.”
“A genre is a multi-component, cumulative genetic (one might even say genetic) structure, a kind of matrix according to which this or that artistic whole is created... Indeed, for a composer, a genre is a kind of standard project, in which different aspects of the structure are provided for and even flexible , but still certain norms” (E. Nazaikinsky).
About classification. If you try to systematize famous genres, then it’s worth thinking: what criteria should be used? And also clarify: about the classification of what we're talking about, because “in musical practice, a genre is called both a genus, a variety, and a group of different genres, and groups of groups. Opera and its constituent aria, arioso, and cavatina are called genres. The suite, which is considered both a cyclic form and a genre, itself includes pieces various genres- for example, minuet, sarabande, gavotte, gigue, allemande and many others. The situation here is approximately the same as in the case of style. This polysemy, by the way, is reflected in many definitions that interpret genres as types, classes, genera, types and subtypes of musical works” (E. Nazaikinsky).
Nevertheless, we use the term genre; moreover, unlike other types of art, it plays a particularly important role in music. It “embodies typified content” (V. Tsukkerman), its presence gives a certain specificity to the work, saturates it with meaning, associativity, and contributes to the creation of a musical image.
To understand the specifics of a genre in music, it is good to use Andreev’s method and compare, for example, names from different types arts: Symphony No. 3 or Sonata No. 12 and Roman No. 3 or Tale No. 12. Obviously, in literature we are talking about form, and in music about content and form.
So, the lack of a generally accepted classification of genres in music is due to the impossibility of finding a single fundamental criterion. The world of genres appears to be a complex hierarchical formation with at different levels and sublevels. The question is the relationship between different criteria for consideration and the possibility of building it all up.
Basic elements musical language
“Don’t be afraid of the words theory, harmony, polyphony, etc. Be friendly to them and they will smile at you.”
(R. Schumann)
Rich and varied means of expression music. 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 musical instruments. In contrast to non-musical sounds (noise, grinding, rustling). Musical sounds have a precise pitch and a specific duration. In addition, they can have different colors, sound loud or quiet, and be performed quickly or slowly. Melody, rhythm, mode and harmony, register and timbre, dynamics and tempo - these are all expressive means of musical art.
Melody
The world of music is filled with beautiful melodies of Bach, Mozart, Grieg, Chopin, Tchaikovsky...
You already know a lot of music. They remain in your memory. If you try to remember them, you will probably hum the melody. A. S. Pushkin remarkably followed the work of musical memory in the “little tragedy” “Mozart and Salieri”. Mozart exclaims, addressing Salieri:
Yes! Beaumarchais was your friend;
You composed Tarara for him,
A glorious thing. There is one motive...
I keep repeating it when I'm happy...
La-la-la-la...
"Tarar" - opera Italian composer Antonio Salieri to a libretto by Pierre Beaumarchais.
First of all, Mozart remembers the motive - an expressive particle of melody. A motive can evoke an idea of the entire melody and its character. What is a melody? Melody- a developed and complete musical thought, expressed monophonically.
The word "melody" comes from two words - melos - song, and ode - singing. 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, as in verbal speech, there are both sentences and phrases.
Several sounds form a motive - a small particle of melody. Several motifs make up a phrase, and phrases make up sentences. Melody is the most important means musical expressiveness. It is the basis of every work, it is the soul piece of music.
The life of a melody is like the life of a flower. A flower is born from a bud, blooms and finally fades. The life of a flower is short, but the life of a melody is even shorter. For short time it manages to emerge from the motive, “bloom” and end. Every melody has a "blooming point" highest point its development, the highest intensity of feelings. It's called the climax. The melody ends with a cadence - a steady turn.
If we continue the comparison with a flower, we should remember that flowers bloom in different times days. Some open their cups to meet the first rays of the sun, others “wake up” on a hot afternoon, and others wait until dusk to give their fragrance to the coolness of the night.
Melodies also “bloom” at different times. Some start right away from the top - the climax. In others, the climax is in the middle of the melody or towards the end. A striking example of this is the song by E. Krylatov “Winged Swings” (lyrics by Yu. Entin) from the film “The Adventures of Electronics”. Its melody, gradually developing, reaches a climax, emphasized by ringing repetitions of the highest note.
It is easy to see that the structure of melody is similar to the structure of speech. Just as phrases are formed from words, and sentences are formed from phrases, so in melody, small expressive particles - motives - are combined into phrases. A musical phrase, as a rule, is formed from two or three motives. Its duration is determined by the duration of the breath of the performer singing or playing the instrument. wind instrument. (Performing bowed music, keyboards the influence of breathing on the length of the phrase is not noticeable, but is also taken into account.)
Usually one phrase is performed in one breath (exhalation). Several phrases connected by a common line of development form sentences, and sentences form a complete melody.
The climax (from the Latin culminis - top) is usually located in bars 5-6 of an 8-bar period or in bars 12-13 of a 16-bar period (that is, in the third quarter of the period) and in these cases falls on the so-called “golden section” point. . The meaning of the “Golden Section” is the beauty of strict proportions, proportionality and harmonious balance of parts and the whole. The “golden proportion” is found in the structure of the human body, in architecture, and in painting. The principle of the “golden section” was used by the great Italian scientist and artist of the 15th - early 16th centuries, Leonardo da Vinci, although the doctrine of proportions was successfully developed and put into practice back in Ancient Greece.
Folk musical creativity- an inexhaustible treasury of wonderful melodies. Best songs peoples of the world are distinguished by their beauty and expressiveness. They are different. Sometimes there seems to be no end to the chant. One sound turns into another, the song flows in a continuous stream. They say about such a melody: “the melody of a big breath.” It is also called cantilena. Composers P. Tchaikovsky, S. Rachmaninov and others were distinguished by their ability to create such melodies.
Listen to Russian folk song"The Nightingale" performed by the Bolshoi children's choir. A broad melody flows slowly and melodiously.
But it happens the other way around. There are no long drawn out sounds in the melody, it is closer to a simple conversation, you can feel the turns of human speech in it. We can find similar melodies in epics. It is not for nothing that people say that epics are told, and the performers of epics are called storytellers. Such melodies are called recitative.
The word “recitative” comes from the Latin recitare, which means reading aloud, recitation. Recitative - half singing, half speaking.
Composers especially often turn to recitative in opera, where it serves as one of the means of musical characterization of the characters. For example, in the leisurely and majestic melody of Susanin’s recitative, the courageous image of the hero of M. Glinka’s opera appears.
In instrumental works, the melodies are sometimes significantly different from vocal ones, that is, intended for singing. For musical instruments, you can create melodies with a very wide range and large jumps. Wonderful images of instrumental melodies can be found in piano works the great Polish composer F. Chopin. In his Nocturne in E-flat major, broad melodiousness is combined with the complexity of the melodic pattern.
Inexhaustible melodic richness classical music. Songs by F. Schubert and romances by S. Rachmaninov, piano pieces by F. Chopin and operas by G. Verdi, works by W. Mozart, M. Glinka and P. Tchaikovsky and many other composers became popular with listeners thanks to their bright, expressive melodies.
Harmony
This is one of the main means of expression. It adds color to the music, and sometimes carries most of the semantic and emotional load. Euphonious chords create harmony, leaving the impression of harmony, beauty, and fullness. And sometimes it plays an even bigger role than the melody. Listen to the famous Prelude No. 20 by F. Chopin. There is practically no developed melody in it. It is harmony that creates the overall mood.
The chord progression along with the melody is called harmony.
Thanks to harmony, the expressiveness of the melody is enhanced, it becomes brighter and richer in sound. Chords, consonances and their sequence constitute harmony, closely interacting with the melody.
In Chopin's Polonaise in A major, the powerful “orchestral” sound of the piano is achieved thanks to polyphonic chords accompanying the melody of a solemn heroic character.
There are many pieces in music that sound light and graceful. For example, dancing. Chords played simultaneously here would feel too heavy and clumsy. Therefore, in the accompaniment of dances, on the downbeat of the bars, the lower sound of the chord (bass) is heard separately, and then its other sounds are sounded simultaneously. This type of presentation of harmony is used in the Waltz in A flat major by F. Schubert, which gives the music lightness and grace of sound.
In works of a melodious lyrical nature, to achieve a soft, “stringed” sound of harmony, chords arranged according to sounds are often used. In L. Beethoven's "Moonlight" Sonata, this sound of the accompaniment, combined with the leisurely movement of the sad melody, gives the music smoothness and creates a sublimely noble mood.
The possibilities for combining chords and harmonies are endlessly varied. Their unexpected and abrupt changes create the impression of something unusual and mysterious. Therefore, when composers write fairy tale music, harmony becomes one of the most important elements of the musical language. For example, a miracle magical transformation The transformation of swans into red maidens in N. Rimsky-Korsakov’s opera “Sadko” occurs through a colorful change of “magic” chords.
There are musical works in which harmony dominates and determines the character and mood of the piece. Listen to the Prelude in C major from the first volume of The Well-Tempered Clavier by J. Bach.
In the unhurried and smooth change of chords, in the alternation of tensions and slumps, in the steady movement towards a solemn climax and in the subsequent completion, a complete and harmonious work is formed. It is imbued with a mood of sublime peace. Enchanted magical game harmonic colors, we do not notice that there is no melody in this prelude. Harmony fully expresses the mood of the piece.
Rhythm
Rhythm - organizer musical sounds in time. Rhythm means the ratio of the durations of sounds to each other. Without rhythm, a piece of music cannot exist, just as a person cannot live without the work of the heart. In marches, dances, and fast plays, rhythm organizes and orders the movement, and the character of the work depends on it.
Can a piece of music be expressive without melody and harmony? The answer is given to us by the original play “Panic” by S. Prokofiev from the music for the play “Egyptian Nights”. The action takes place in the palace of the legendary Egyptian queen Cleopatra.
...Night. The palace is surrounded by enemies - Roman troops. The inhabitants of the palace face captivity or death. Maddened with fear, people run out of the remote chambers of the palace. They rush to the exit in a crowd. And now the last steps freeze...
Illustrating this episode, the composer uses the enormous power of expressiveness of rhythm. The uniqueness of the music lies in the fact that it is performed only by percussion instruments: small and large drums, timpani, tom-tom. The part of each instrument has its own rhythmic pattern. At the climax a clot of rhythmic energy is formed enormous power and tension.
Gradually, the tension dissipates: the tom-tom falls silent, then the timpani, the snare drum, and the bass drum also falls silent... Thus, using meager musical means, Prokofiev created a bright piece in which rhythm plays the main role.
The expressive role of rhythm manifests itself especially clearly in the famous orchestral piece French composer M. Ravel "Bolero". Unchanging rhythmic formula spanish dance is maintained here throughout the entire work (it is written in the form of 12 variations). “Iron Rhythm” seems to hold the melodious melody in a vice and gradually increases the tremendous tension in the development of the restrained and passionate Spanish dance. The rhythmic “formula” of the bolero is performed by the drummer solo.
Let us remember that in music okay means the consistency of sounds of different pitches. These sounds unite around the main sound - tonics. IN European music the most common modes are major And minor. Most The works that you play and which are discussed in our book are also written in these two modes. Is the character of music strongly dependent on the mode? Let's listen to G. Sviridov's play “Spring and Autumn”.
The composer used sounds to paint the same landscape at different times of the year. In the first part, light transparent chords and a fragile melodic line recreate the spring landscape. Listening to music, we imagine the delicate colors of greenery covering the trees, the light aromas of blossoming gardens, and the sonorous voices of birds. The piece sounds in a major scale, upbeat, light.
But the mood changed, the pace slowed down. The colors of the familiar landscape have faded. It’s as if you see the black silhouettes of naked trees through the gray net of rain. It's like he disappeared from music sunlight. The spring colors of the major mode faded and were replaced by the minor mode. In the melody, the intonations of dissonances and tritones became sharply visible. The slow tempo enhanced the expressiveness of the sad minor chords.
Listening to the second part of the play, we can easily notice that it is just a variant of the first. But changing the fret creates the impression that it sounds new play, opposite in character and mood to the first.
Pace
Of course, you know very well that this word means speed of movement. True, this term comes not from the word speed, but from the word time (Latin tempus). Both the character and mood of the play depend on the tempo. A lullaby cannot be performed at a fast tempo, and a gallop cannot be performed at a slow tempo.
Let's remember the main musical tempos. They are usually designated in Italian.
Largo (largo) - very slow and wide.
Adagio (adagio) - slowly, calmly.
Andante(andante) - at the tempo of a calm step.
Allegro (allegro) - quickly.
Presto (presto) - very fast.
Varieties of these tempos are often found:
Moderato (moderate) - moderate, restrained.
Allegretto (allegretto) - quite lively.
Vivace (vivache) - lively.
Listen to a fragment of the main theme of the famous Fantasia in D minor by the great W. Mozart. Listen to how well the soft pulsating texture of the accompaniment is chosen for this delicate, fragile melody.
And the next example is also from the music of W. Mozart - the most popular finale of his piano sonata, also known as the Turkish March or the Turkish Rondo. Incendiary music, completely different. Here W. Mozart is not sad, does not dream, but is infectiously cheerful.
Previously, tempos in music were determined approximately by mood. But sometimes composers wanted to indicate the tempo very precisely. IN early XIX century, the German mechanic I. Mölzel invented a metronome specifically for this purpose. The desired speed can be easily found using the metronome.
Dynamics
Equally important is the dynamics of the performance, that is, the strength of the sound. Surely you have noticed that during the performance the musicians play either loudly or quietly. This does not happen because the musician wants it that way. This is what the composer intended and indicated with the help of which dynamic shades his idea could be revealed.
There are two main dynamic shades, and you know them very well: forte - loud and piano - quiet. In sheet music they are written in Italian letters: F and P.
Sometimes these shades are intensified. For example, very loud - FF (fortissimo) or very quiet - PP (pianissimo). Often during the course of a piece the strength of the sound changes more than once. Let's remember P. Tchaikovsky's play "Baba Yaga". The music begins barely audible, then its sonority increases, reaching very loud, and gradually fades away again. It was as if the stupa with Baba Yaga appeared from afar, rushed past us and disappeared into the distance.
Here's how dynamic shades can help the composer create a vivid musical image.
Timbre
The same melody can be played on the piano, violin, flute, and guitar. Or you can sing. And even if you play it on all these instruments in the same key, at the same tempo, with the same nuances and strokes, the sound will still be different. What? The very color of the sound, its timbre. This word comes from the French timbre, which means bell, and also a mark, that is, a distinctive sign.
Timbre- a special coloring of sound characteristic of each voice and instrument. By this coloring we distinguish different voices and instruments from each other.
Listen to a Russian folk song performed by the choir Im. Pyatnitsky “I walk with a loach.”
The variety of singing voices is especially noticeable in opera, where for each character the composer selects the voice timbre that best suits his character. In N. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan,” the role of Princess Swan was written for soprano, and the role of Babarikha, the matchmaker, for mezzo-soprano. The performer of the role of Tsarevich Guidon is a tenor, and Tsar Saltan is a bass.
Register
Wander all over the piano keyboard. Listen to how the lowest sounds differ from the highest.
When you just started getting acquainted with the instrument, you were probably told that below “a bear lies in a den”, and above “birds are singing”. But the most melodic sounds are those keys that are in the middle. They are most often used in music. And not because they are more convenient to reach, but because they are richer than others in terms of musical expressiveness. But if we need, for example, to depict a thunderstorm, then how can we do without thunder in the bass and sparkling zigzags of lightning in the “bird” register?
What does a row of piano keys represent? A series of sounds. And in short - scale. This means that the register is part of the scale. This is correct, but it does not tell us anything about the registers themselves - about their character, features.
Here, for example, is the middle register. The one in which we sing and talk. Our ear is best tuned to the “conversational” wave. And besides, whether you know it or not, we listen to music not only with our ears, but also with our vocal cords. When we listen to a melody, our cords silently sing it, whether we want it or not. Therefore, when a singer’s ligaments get sick, he is not only not allowed to sing himself, but also to listen to other singers.
This suggests a conclusion: those who sing better and more clearly hear the music better and get more pleasure from it. It is no coincidence that R. Schumann, already known to you, wrote in his “Rules for Young Musicians”: “Sing diligently in the choir.”
The middle register is the most familiar to us. And when we listen to music written in this register, we pay attention not to the register itself, but to other details: melody, harmony and other expressive details.
And the lower and upper registers stand out sharply with their special register expressiveness. The lower case resembles a “magnifying glass”. He does musical images larger, more important, more significant. He can be scary. And say: “Shh, it’s a secret.”
E. Grieg’s play “In the Cave of the Mountain King” begins mysteriously and unusually. And here is the frightening theme of the formidable king Shahriar from N. Rimsky-Korsakov’s symphonic suite “Scheherazade”.
The upper register, on the contrary, seems to “reduce” what is heard in it. In the “Children's Album” by P. Tchaikovsky there is “March of the Wooden Soldiers”. Everything about it is like a real military march, but small, “toy-like.”
Now we can say that register- this is a part of a scale that has a certain sound color. There are three registers: upper, middle and lower.
We listened to examples written in the same register. But there is little such music. Often composers use all registers at once. Like, for example, E. Grieg in piano piece Nocturne. "Nocturne" means "night". In Norway, the homeland of E. Grieg, in the summer the nights are the same as in St. Petersburg. The music of E. Grieg's Nocturne is colorful and picturesque. Register paints play an important role in this sound painting.
Presentation
Included:
1. Presentation - 30 slides, ppsx;
2. Sounds of music:
Bach. Prelude in C minor (in Spanish harpsichord) Beethoven. Sonata “Moonlight”, part I - Adagio sostenuto (fragment), mp3;
Glinka. Recitative by Susanin “They Smell the Truth” from the opera “Life for the Tsar”, mp3;
Grieg. “In the Cave of the Mountain King” from the suite “Peer Gynt” (fragment), mp3;
Grieg. Nocturne from “Lyric Suite” (fragment), mp3;
Mozart. Rondo in Turkish style (fragment), mp3;
Mozart. Fantasia in D minor (fragment), mp3;
Prokofiev. “Panic”, from the music for the play “Egyptian Nights”, mp3;
Ravel. “Bolero” (fragment), mp3;
Rimsky-Korsakov. “The miracle of turning swans into red maidens” from the opera “Sadko”, mp3;
Rimsky-Korsakov. Shahriar's theme from the symphonic suite "Scheherazade", mp3;
Sviridov. "Spring and Autumn", mp3;
Tchaikovsky. “Baba Yaga” from “Children’s Album”, mp3;
Tchaikovsky. “March of the Wooden Soldiers” from “Children’s Album”, mp3;
Chopin. Nocturne in E flat major, Op. 9 No. 2 (fragment), mp3;
Chopin. Polonaise in A major, op. 40 No. 1 (fragment), mp3;
Chopin. Prelude in C minor, op. 28 No. 20, mp3;
Schubert. Waltz in A-flat major, mp3;
“I Walk With Loaches”, mp3;
“The Nightingale” (in Spanish BDH), mp3;
3. Accompanying article - lesson notes, docx.
What is rhythm in music? We study and master rhythm.
Rhythm is a fundamental element in the performance of a piece of music. In this case, we can talk about the independence of rhythm from melody. Thus, each person could observe around him thousands of examples of separate existence, from the beating of the heart to percussion instruments, which do not have a pitch component. There can practically be no melody without rhythm.
Regardless of the degree of professionalism, every musician must take into account the basics of rhythm, know specific terminology, and also be able to reproduce a piece or musical fragment at the suggested rhythm. This page explains the basic concepts and terminology necessary for practice.
Rhythm, duration and pauses
Let's look at what it is rhythm. Musical term represents a clear organization of music in temporal space. A structure is formed from a sequence of durations and pauses. The table shows the durations, as well as their designation.
|
Duration name |
Notation when recording |
Number of accountsfor one duration |
|
| On the staff |
Outside the staff |
||
|
Whole |
|
|
1 and 2 and 3 and 4 and |
|
Half |
|
|
1 and 2 and |
|
Quarter |
|
|
1 and |
|
Eighth |
|
or |
|
|
Sixteenth |
|
or |
Half an eighth |
There is a special table showing the relationship between the durations.
It is worth understanding such a concept as pause V musical rhythm. A pause is a period of time in music that is filled with silence. There are the following pause sizes:
- A whole pause. The duration is equal to a whole note. Indicated by a black, filled rectangle above the third line of the staff.
- Half pause. Equal to a half note. It is indicated by a black rectangle located on the third line of the staff.
- A quarter rest is equivalent to a quarter. It is indicated figuratively on almost the entire staff.
- The eighth pause is similar in duration to the eighth. The designation resembles the capital letter “h”.
- The sixteenth pause is equal to the corresponding note. The length in the letter is similar to the previous one, the difference is that the tail is doubled.
It should be noted that some musicians perceive pauses as stops, as a result of which they stray from the general rhythmic outline. A pause is a sign of silence that plays a big role in the work. It is strongly recommended not to eat up pauses at the expense of another preceding note, lengthening its duration. Otherwise, the musical idea is lost. It is especially important to take this principle into account when playing in an orchestra, ensemble or group. After all, if pauses are not taken into account, then the sounds will overlap each other, creating a cacophony.
Basic terminology
Rhythm in professional music cannot do without such concepts as beat, meter, tempo and size.
- Meter represents a uniform alternation of accents in a piece of music.
- Tact is a unit of measurement of the meter, which is counted in notes or rests. In four-quarter time, the first note in a bar is a strong beat, the second is a weak beat, the third is relatively strong, and the fourth is weak. The measures are separated by a line. The work closes with a double bar.
- Size- two numbers, located one above the other, standing at the beginning of the staff. The top number shows the number of durations in a bar, and the bottom number shows which duration predominates. The designation is located after the key and key characters. It is noteworthy that the indicator is duplicated only once at the beginning of the work; on the following lines there is no need to indicate the size again. The exception is changing to a new one.
The picture shows the size 4/4 (four quarters)
Specifying quarter notes does not mean that only duration data will be used in the measure. Durations of different sizes can be used, but their sum should not exceed the size. Let's look at correct and incorrect examples.
It is worth considering that sizes can be simple, complex, mixed and variable.
The first simple group includes mainly two or three-beat sizes, in which there is only one emphasis on the strong beat. The most common sizes are two quarters, two half, two eighths, three quarters, three eighths and three half.
Complex meters appear when two simple ones merge; usually they have, in addition to the main emphasis on the strong beat, an additional relative one. IN this group includes: four quarters, six eighths, twelve eighths, six quarters, etc.
Mixed people constitute a special category. They are formed from the connection of several simple unequal sizes with each other. The group includes units such as five quarters, five eighths, as well as seven quarters and seven eighths.
Variable time signatures are typical primarily for folklore music, especially Russian folk song. A striking example is the song “Vanya was sitting.”
The popular four-quarter size is depicted as a capital letter C, so do not be intimidated by this designation.
- Pace- This musical characteristic, which determines the speed of performance of a musical instrument. Usually the tempo is placed at the beginning of the piece above stave, and written in Italian. There are three groups of slow, moderate and fast tempo designations. Depending on the value set, the piece may sound different. Usually the tempo is set on a special device called a metronome. The higher the value, the faster the tempo will be.
Additional signs
There are some notation signs that actively participate in the formation of rhythm. If two notes located at the same pitch level are linked, this means that the first sound must be maintained for the total amount of time. This is usually required to maintain grouping in complex sizes.
For example, let's take the size four quarters. It is complex and has one strong accent on the first beat, and one relatively strong one on the third beat. Thus, there should be notes on the first and third beats of the bar. To record the quarter, half and quarter rhythm, you must follow the basic grouping rules.
So if there is a dot after a note, then this increases its sound by exactly half. For example, a quarter note with a dot is equal in sound to a quarter note with an eighth note.
Often duration with a dot goes along with such a concept as dotted rhythm. The term denotes a rhythmic figure consisting of a duration with a dot and its logical conclusion. So the most common variations are dotted quarter and eighth, dotted eighth and sixteenth. Let's look at a musical example.
As you can see from the image, the dotted rhythm is used mainly on strong or relatively strong beats of the bar.
Another additional sign can be called fermata.
This musical sign indicates that the performer can sustain the note marked fermata for an unlimited amount of time.
1. Features a dotted rhythm 2. The melody is drawn-out, melodious, gentle 3. Written for a high female voice 4. Performed at a fast tempo 5. Accompanied chamber orchestra 6. Written in a minor key, with a touch of sadness 7. In the form of a verse-chorus 8. The dynamics are varied, from p to mf 9. The instrumental accompaniment is richly developed, its role in creating the image of the Lark is very important 10. Conveys solemnity and grandeur 11. Refers to genre of choral music Select from the list characteristic features romance “Lark”, if you are right, the answer will be transferred to the right side of the table with a mouse click.
M. Glinka “Lark”. Poems by N. Kukolnik. 1. Between heaven and earth the Song is heard, flowing louder, louder in an endless stream. The singer of the fields is not to be seen, Where the ringing lark sings so loudly Above his girlfriend. 2. The wind carries a song, And who doesn’t know... The one to whom, she will understand, From whom she will learn! Leisya, my song, Song of sweet hope, Someone will remember me And sigh furtively.
Soprano bass contralto tenor baritone Mezzo-soprano A bird sang to us early in a thin voice... A woman sings lower than the soprano... It sounds low, we understand, female voice... The bear growled, which means it’s a voice... It sounds higher than the bass, a man’s voice... It sounds high, probably not a bass, not a baritone, but...
Register in music is, first of all, a series of sounds singing voice. It can also be a part of the range of some musical instruments. This short definition register in music. What is the meaning of this word? And how to explain the topic “Registers in Music” in a solfeggio lesson?
Meaning of the word
The word "register" translated from Late Latin (registrum) means "list, list". From Latin (regestum) - “inscribed, introduced.”
A register in music is a segment of the range of an instrument or singing voice. It is characterized by one timbre.
Register. Definition in music
Used in different senses. Firstly, this is a series of sounds of the singing voice. Secondly, these are segments of the range of any musical instruments. And thirdly, these are the devices used on some instruments.
Each one should be discussed in more detail.
- Considering the register as a sequence of sounds of the human (singing) voice, one must take into account that they are sung in the same way. It follows from this that they have the same timbre. For each person, the proportion of participation of the head and chest cavities may be different, therefore there are head, chest and mixed registers. Some voices can produce sounds in the so-called falsetto register. This is often possible male voices, especially tenors. Singers may experience certain difficulties with sound production when moving from one register to another. This mainly happens to those whose voices are weak or do not have sufficient sound power. To achieve a high-quality result and seamlessly move from one register to another, you need to try to keep the voice sounding as smooth as possible throughout the entire range.
- As for the second meaning, the register in music is the same segments of the range of various musical instruments that coincide in timbre. But if you perform a melody on the same instrument in different registers, the timbre of the sound will differ significantly.
- To change the timbre and strength of sound, special devices and devices are used. So, for example, to change the sound on a harpsichord, a string is plucked closer to the peg or a set of strings is replaced.
How to explain the topic “Registers in Music” in a solfeggio lesson?
In order for the topic “Registers in Music” to be understandable for children, the teacher needs to think through it in advance and carefully prepare for it. First of all, you need to prepare visual aids and these could be cards with a bear and a bird. You need to make as many of them as there are children in the class.
You can start the lesson by checking homework. Then sing chants and exercises with the guys. After this you can begin to present new topic. Distribute pre-prepared cards. Play the plays "Sparrow" by Rubbach and "Bear" by Rebikov and ask to raise cards with the character depicted by the music. After this, it must be said that the play "Bear" is written in lower case, and "Sparrow" - in high case. There is also a middle one. We sing our songs in this register. Then the teacher gives the children red and blue pencils, cards with a bear and a bird drawn on them, and says that he will play sounds on the piano, and the students must determine which register it is. When will they sound high sounds, then children draw a blue circle in the basket for the birds; if they are low, then in the basket for the bear - a red one. You can play about 5-7 sounds. At the end of the lesson, you need to ask questions for reinforcement, assign grades for the lesson and assign homework.
Conclusion
So, a register in music is a series of sounds of a singing voice, a section of the range of some musical instruments, and also these are devices used on some instruments.
