Do not be afraid
of it! This theme cannot be skipped; it isn’t much, and it isn’t hard!
Studies of form
In the world of fine arts the
relationship between form and content is often debated. I will begin with the
following words. In classical music it is exceptionally important which
artistic trend, form and content, perfect unity of part and whole does the
music itself endeavors. The relation of part and whole is discussed on the
“Workshop secrets” page.
What
is “form”? Latin word, meaning:
shape, figure.
In a general and
formal sense: A philosophical notion meaning the relation between the constituents of
a phenomenon; its counterpart category is content.
“Content” in a general sense
is
the internal, essential part of a phenomenon, which also determines the form of
said phenomenon, and creates a dialectic unity with it.
The definitions are from a
Lexicon of Aesthetics; I promise to be simpler from here on, but I have to add
that we cannot talk about art without aesthetic knowledge, or the aesthetic language.
We often have to look up different things.
Before we analyze each
symphony, I will write about a few basic notions, and the study of from.
The question occurs::What is symphony?
The word is of Greek origin, symphonia
= agreement or concord of sound.
From the XIV. – XV. century
the word symphonia (German word) is used to mark polyphonic instrumental
musical pieces.
Around the year 1750 the form
of the symphony changes, reaching its four-movement form through Haydn’s work, while
ascending to its climax in Beethoven’s art.
The symphony is an
orchestral piece. It consists of four large sections, these are movements.
Movements are marked with
Roman numbers.
Each movement has a different
form, tempo, and character:
form tempo character
I. movement sonata form fast dramatic
II. movement songform slow lyrical
III. movement minuet/scherzo fast dance/joy/humor
IV. movement rhondo from faster carefree happiness
Next I will write about the
form of each movement in detail. I will describe each musical form based on
different symphony movements, and after the explanations musical examples will
follow.
The “I. movement.” Sonata form.
This is the most important
movement of the symphony! The structure and form is precisely defined by the rules
of the sonata form. Often there is a
slow introductory section before the movement and the first theme, this is the introduktio.
Word definition: the word sonata, meaning musical piece performed on an instrument, is different from sonata form, which is a musical from.
The sonata form is the “obligatory” form of the first movement of a symphony, a sonata /as well as the overture,
the string quartet and the concerto/. Its content is the 1/ introduction of
musical themes, 2/ elaboration, 3/ repetition, then the movement’s closing
theme, the coda.
So
the sonata from is divided into three parts: exposition, elaboration,
reexposition, which is the return /repetition/ of the exposition, which is
closed by the coda.
Exposition – This is the part where the musical themes are
introduced: firth theme, second theme, third or closing theme. /exposition/
o first theme: a melody usually in major tone,
with an indefinite melody line and rhythm
o second theme: it has a softer tone; it can be similar to or different
from the characteristics of the first theme
o third or closing theme: as
a third theme it closes the
introduction of the
themes.
It is a rule, that after the
introduction of the themes (this is the
exposition’s introductory line) they have to be repeated once unaltered. Of
course there is an exception. The composer doesn’t always include the
repetition of the introductory line.
Chosen example: I. symphony II. movement, which
is exceptionally in sonata form. We are listening to its themes!
First_theme 1 01_first_theme
Second_theme 2 02_second_theme
Closing_theme
Z 03_closing_theme
Legend of used symbols:
1 – first theme
fugato
– the musical theme is in fugato development (think of the canon!)
2 – second theme
2v –
second theme’s variation development
2cp2
– second theme’s consequent part; it is repeated (This is what the
upper case number indicates: 2 )
Cl – closing
theme
l/4
– this is the so called quartet-motif, consisting of two notes; the first
theme’s first two notes
We are listening
to the exposition!
As we can see, the
exposition’s introductory line is repeated.
exposition 04_exposition
1 fugato 2 2v 2cp2 Cl 1-4 -51
1.07 -22 -44 -59
1 fugato 2 2v 2cp2 Cl 1-4
2.04
Elaboration – In this section
a selected motif from the first theme – introduced in the exposition – is
developed. How is the elaboration done? With the performance of a musical theme
in a different tone, in variation form, in fugue development, or by the motivic
alteration of a motif or a selected section of the theme, or the development or
weaving of a motif; and in many other ways.
Here it is done by
repetitions, with a beating accompaniment.
elaboration 05_Elaboration
1-4 1-4
1-4 1-4 1-4
1-4 1-4 1-4
1-4 <csp >
- - - - - - - - - kd-kd-kd-kd
-32
Reexposition – In this section the introduced musical themes in
the exposition are repeated, to which the closing theme, the coda joins. /coda/
reexposition 06_Reexposition
1 -ep 2 2v 2cp Cl 1-4
-48 1.04
-26
-41 -55
Coda: 1 1m –Cl-m
1-4 1-4 ho 4 –Cl-m
-17 -38 -54
For over 200
years, musicologists claim that the »sonata form« is the best way
to express ideals and emotions in music!
I present you the rough build
and structure of the sonata form:
Exposition: 1 2 3 - the
exposition’s introductory line
1 2 3 - the
repetition of the introductory line (it is sometimes omitted!)
Elaboration: 1 2, m - very often the motif/s/ are being developed
Reexposition: 1 2 3 - the repetition of the exposition
+ coda - summarizes the musical material and closes the movement
We are listening
to the whole movement!
The purpose is to notice the
themes and observe the elaboration!
II_MOVEMENT 07_II_movement
Exposition: 1 fugato 2 2v 2cp Z 1-4
1 fugato 2 2v 2cp Z 1-4
Elaboration: 1-4 1-4
1-4 1-4 1-4
1-4 1-4 1-4
<cli >
- - - - - - - kd-kd-kd-kd
Reexposition: 1 -ep 2 2v 2cp Cl 1-4
Coda: 1 1m –Cl-m
1-4 1-4 ho 4 –Cl-m
This structure is ancient as
well as modern. First the Greek used it in rhetoric, where the structure of the
speech was divided into an Introductory part, a Main part, and a Concluding
part. We use it even today. /rhetoric/
The role of the
coda, following the reexposition, becomes extremely important with Beethoven!
Even so, it became invaluable as in it, Beethoven concludes and emphasizes, or
sometimes trumpets abroad the essence of the music’s message.
Why are there three themes /melodies/
in the movement?
In a Hungarian elementary
school essay, where there are 6 introductory sentences, 25 main sentences and 5
concluding sentences, the total number of sentences is
Think about it: if a movement’s
music consisted of 36 melodies /or only of 10 melodies/ would we be able to
memorize them all? It would be impossible. Musical language does not permit it.
This is why there are only two-three melodies, musical thoughts express the
message and content the music carries.. The closing theme does not carry any
message! Its role is solely to conclude.
We have arrived to the word
content. Form is the counterpart of content, as a philosophical notion. As I
have written before, form and content does not exist without each other. The
connection between them is so strong as two constituents within an alloy,
inseparable. This applies to music as well.
Describing with a comparison: A farmer plows the
field. This is a declarative sentence, more precisely a divided, whole, simple,
complemented sentence, as it has a subject, a predicate, and an object. The
structure of the sentence can be marked as follows: S P O.
Many similar sentences can be
formed or said.
The sentence’s structure /structure/ is defined /S P O/,
but its content is different; there can be billions of different contents.
Thus when I say or write down
a declarative sentence, I give the form content. They can only exist together,
assuming each other, this is why I used the word alloy to describe their
relationship. Neither is more important than the other, neither is primary. The
unity of form and content is inseparable.
I wrote about this because
among the aesthetics, the question and relation of form and content is always
debated. The theory is far-reaching and unconcluded. It is no surprise that Croce
Benedetto /1866 – 1952/ Italian aesthete wrote the following sentence: “Content
and form is the most famous passive of aesthetic richness.”
I will shed light on the
relation of form and content with another example. Think about the human
skeleton, and the body that builds upon it. The skeleton, the structure is
always the same / this is form/, but the body connected to it /this is content/
is always different, and we call it human. Every human being is unique.
Philosophically, we could say that the skeleton is the “general”, while the
human is the “unique”.
My aim with this short
analysis was to divert attention to the theory and study of artistic questions,
and I recommend to read and immerse in the questions of aesthetics.
In conclusion
The sonata form as
a musical structure is what provides a composer with the ability to fill it
with content. The content and its quality solely depends on the composer. We
can say that each sonata, each symphony movement is unique; there are no two
outcomes that would be the same.
The “II. movement.”
This is the slow movement in
which the lyrical aspect comes into the limelight. It is characterized by
emotionally rich melodies. The form is less defined and it can vary:
a/ simple three-part form: structure scheme:
A– B–A
b/ Romance form: a developed
version of the previous form, its scheme is also A–B–A, where the main melody
surrounds a melody with the opposite mood.
c/ Rhondo form: letter scheme: A–B–A–C–A–D,
where the main melody (A) is repeated, between the repetitions there are so
called episodes (BCD). Read more at the IV. movement!
d/ Variation form – It is ruled by a
single theme, a single melody, which appears again and again in variation
developments. (Listen to the II. movement of Haydn’s Kettledrum symphony at the
variation headword!)
Beethoven did not compose the
II. movements in his symphonies according to the rules of form, he tends to the
sonata from in most cases. For him the rules of form are governed by musical
themes and motifs. The II. movement of his III. EROICA symphony is a really
free sonata form; in fact, it is a musical masterpiece, however masterpiece of
grief and pain.
I have chosen the II. movement of the V. symphony, which is a so
called “free variation” movement. as an example. The movement can be divided
into four large blocks, marked by the letters A, B, C and D, each consisting of
two themes. We are listening to the themes!
First theme 1 08_fate_first_th
Second theme 2 09_fate_second_th
Legend of used symbols:
1cp – first theme’s
consequent part
Tr – musical transition
1v – first theme’s
variation
fe = fermata – hold at one
note
il – interlude
ch-fi – chord figurations, here
they serve as transition
1 minor – first
theme in minor tone
Cl – Closure
1m – first theme’s motif
A_block 10_A_block
1 1cp 2 < 2 tr >
-35 -52
112 -28
B_block 11_B_block
1v 1cp 2 <
2 tr >
-32 -50 110 -26
C_block 12_C_block
1v 1v 1v -fe- - il - < 2 > ch-fi
-19 -37
54 - 105 106-53 -54 217
D_block 13_D_block
1-minor tr Cl:1m 1cp
-20
-36 109
We are listening to the movement in whole!
V_symphony_II_movement 14_II_movement
A block 1 1cp 2 < 2 tr >
B block 1v 1cp 2 <
2 tr >
C block 1v 1v 1v -fe-
- il - < 2 > ch-fi
D block 1-minor tr Cl:1m 1cp
Example
for the songform:
Beethoven:
Opus 13. „pathetique” piano sonata II. movement, which
is in songform, with two sequences in the middle.
songform 15_songform
A B
A C A Coda
105 202 235 330
433
The “III. movement.” Minuet/scherzo. /scherzo/
It is a moderately fast paced,
but often slow movement. This movement of a traditional symphony was called
minuet, but later changed to scherzo, but the three-part form remained: A-B-A.
The minuet, as we know, was a
common dance. Beethoven left out the minuet signal, and often the scherzo as
well, and only wrote tempo designation e.g. Allegro, Presto.
The meaning of the word scherzo: fun. To it dancelike character comes high
spirits, humor and serenity. since the age of romance it also appears as a
standalone character piece.
Chosen example: I. Symphony
III. movement. – Menuetto. Allegro molto e vivace, ¾
The menuetto’ theme:
menuetto (main melody) 16_minuet_theme
The Trio’s theme: 17_trio_melody
Pay attention! The
track starts in forte volume, which sounds at the end of the scherzo, and after
it begins the trio’s melody. Based on what you have read about so far, observe
the motivic play and repetitions that follow the performed theme, which all
make up the chief characteristic and style of classical music. Furthermore,
notice the rhythmic play and diversity.
In this symphony
it is only the III. movement that forecasts the later unique language of
Beethoven’s compositions. They were extremely daring and modern in the days
they were composed.
We are listening
to the movement’s “A” section, the menuetto.
menuetto 18_minuet_A
We are listening
to the movement’s “B” section, the trio.
trio 19_trio Watch
out! It starts loudly!
We are listening
to the movement’s “A” section, the repetition of the menuetto.
menuetto 20_minuet_A
The
scherzo of scherzos is the II. movement of the VIII. symphony, however its from
is a sonata form without elaboration; we will see it there!
The ”IV. movement.” The rhondo.
The rhondo was originally a
French round dance. (XII. century)
Rhondo with musical instruments
was developed in the XVII. century.
Its essence is a main theme’s
alternation with different episodes /couplet/.
Its first great master was Couperin,
Francois /1668-1733/.
During the development of the
form, the classical one-themed rhondo, the small rhondo is created. In this only the rhondo theme can reprise.
Its structure is: A–B–A–C–A.
“A” section = rhondo-theme;
its melody and repetition is easy
to recognize even when in variation form; While the “B”
and “C” sections are episode-themes;
their melody alters.
The rhondo’s most evolved form
is the classical two-themed rhondo, called big rhondo or sonata rhondo. In it one of the episode themes also
has a reprise, thus becoming the second theme. Its structure is: A–B5–A–C–A–B–A,
where B, represents the second theme; The movement can be (also) closed with a
coda.
In it merge the principle of
the sonata form and the rhondo.
In classical music this form
becomes steady in the last movement of sonatas, symphonies, chamber pieces and
concertos.
at the beginning of opera
performances the Italian audience expected the opera not to end dramatically,
but instead have a lieto fine = a happy ending. the same thing happened during
the evolution of instrumental music. The audience does not want a dramatic
ending, rather a pleasant one.
The rhondo is usually fast
paced with lively rhythm; in terms of content weightless: a simple,
“problem-free” music compared to the I. movement. Its musical themes have less
emphasis, they are rather light, sometimes more playful.
We will listen to a few
examples.
1/ II.
symphony IV. movement - exposition, resembling
the fast and fluent tempo characteristic of the IV. movement, the music
with a lighter tone, one that a music lover listens to with pleasure.
Movement form: a mixture of rhondo and sonata form.
See in more detail during the
analysis of the symphony!
II_4_movement_exp 21_four_mov_exp
2/ C-major,
„WALDSTEIN” sonata Op. 53. III. movement, here I created a flow chart
with time staples.
Movement form: rhondo, without
sonata principle.
Symbols:
A – rhondo-theme
B, C – episode-themes
ly_M – lyrical middle section
Bv – B variation of
the episode theme
coda – closing
section
A B A C ly_M A Bv coda
123 234 354 456
711
750 915
Waldstein 22_Waldstein
3/ Eine
kleine Nachtmusik (Serenade No. 13 for strings in G major),
IV. movement –, which
is one of Mozart’s most popular masterpieces; it is characterized by folk tone,
perfect formal ratio, and clear melody.
It is an everlasting piece, one of the most brilliant diamonds of classical
music. You’re most probably familiar with it as well. Flow chart is not necessary
here.
Nachtmusik_04 23_Mozart
4/ We are listening to the rhondo of a piano
sonata, Beethoven: Opus 2. No2 - IV. movement: Rondo.
Grazioso.
A B A C A D A E Coda
047 113 144 320 405 425 456 538
grazioso 24_opus2_No2
Content and form
We
are listening to one final musical illustration to understand the relation of
content and form. The content here has a real message: the victory of justice.
Here is a short excerpt from the III. Leonora overture.
The musical section’s (only
one and a half minutes) content can be expressed with words (with my words and
thoughts).
The innocent state
captive languishes in prison, when at last the moment of his freedom comes:
Ø at first we hear a soft music with
uncertain rhythm, interrupted by periods of silence, which resembles the
prison's dark, stifled atmosphere and hopeless mood,
Ø after a short time, racing passages of
string instruments (violins, second-violins, cellos and double basses)
represent how the rays of sun and the sunlight enter through the opening prison
door,
Ø which is then followed by the unbridled,
ecstatic moments of release, the rejoice in happiness, the soul's boundlessly
flowing emotions, of course in the language of music.
01_Leonora 25_III_Leonora3
Here the content
and form is connected to each other like two different metals within an
alloy, inseparable.
We feel this
connection stronger if we are familiar with Beethoven's opera titled Fidelio,
and the plot of the opera itself, as the overture was composed based on a
literary work.
This short excerpt
can also be used to determine what defines classical music; using only four
words.
Fearful vigour /élan
terrible/, triumphal success /éclat triomphal/.
These four words
were first used by a French composer, Gossec, F. J. (1769-1868) – for
the music of the French Revolution. Listening to Beethoven symphonies may
convince the dear audience of how these four words are the most appropriate to
describe classical music as well.
IN CONCLUSION
The characteristics of each movement in the symphony
movement form tempo character
I. sonata form fast dramatic
-Exposition
-Elaboration
-Reexposition
-Coda
II. simple three-part form slow lyrical
A BA
/It can also be romanceform,
rhondo form, variation form)
III. scherzo fast serene
merry
A B A
IV. rhondo even faster weightless, carefree
A B A C A D (lieto fine)
(It can also be
sonata form, variation form)
The tempo designations
In music the tempo of each movement is defined with the use of Italian words.
These describe how fast or slow the movements have to be performed.
Meaning of the word tempo: time. In music it
means the absolute specification of the notes' duration. In
The most common words for tempo:
Adagio – slow and stately
(literally, "at ease")
Adagio molto – really slowly
Andante – at a walking
pace
Andantinó – slightly
faster/slower than Andante
Larghetto – rather broadly (slower
than Andantino)
Allegro – fast, quickly,
and bright (literally)
Allegro ma non
troppo
– fast, but not too much
Allegro vivace – very fast and
lively
Allegro con fuoco – fast, quickly,
with fire
Presto – extremely fast
Presto possibile – as fast as
possible
Recommended books:
o General History of
Music is important
o Musical Lexicon is
vital
o Lexicon of
Aesthetics (Do not be afraid of it! If we read into it once or twice, we will
grow to like it, whether we want to or not.)
o a concerto guide
o and of course a
book containing the biographies of favoured composers
couplet fr couplé – a snappish cabaret song with chorus structure, often
including timely, veiled references < back
exposition, lat – from the word exhibit,
exhibition; the beginning of the musical form, in which the composer introduces
the musical themes < back
coda, it – supplement, closing section < back
rhetorics, gr-lat – the study of oration, the theory of speech;
its original meaning: the practical science of oration <back
scherzo, it – the designation for fun, fast, easily flowing instrumental
movements with lively rhythm; during its evolution it replaces the minuet, and
achieves its universal character in Beethoven’s symphonic art; it has a light,
dance-like character; it is defined by merry mood, joy, musical humour; < back
structure, a basic notion of modern sciences, philosophy
and artistic theory; it derives from the latin word struere (to build). The
meaning of the word has widened during the centuries. Anatomy: the position of
organs. Linguistics: the position of words in speech. During its development
they used the expression structure first for the whole, then for the parts of
the whole, and finally for the relation between the parts.
Music: Beethoven’s symphonies, and the structure of the symphonies’ movements
not only can be followed and interpreted through hearing, but it can also be
written down with the use of symbols. This is what I call a flow chart. See in more
detail during the analysis of each symphony, as wel as in the “Semiotics” section under Selections! < back
trio, it – originally a
piece composed for three instruments; in the 17. century in European chamber
music the trio-sonata is a representative genre; at around 1750-1760 Mannheim
and Vienna musicians apply the minuet into symphonies, the middle section of
which is the trio < back