Means of expression in music (melody, mode, rhythm, tempo, dynamics, timbre, etc.). The importance of musical expressive means in creating a musical image

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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 a person’s personal qualities and his spiritual world. In Ancient Greece there was even a doctrine that substantiated the effect 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 pictorial moments are more common, but it is important to note that even brightly pictorial works always have an emotional overtones: 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 the emotional perception of sounds and 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.

In general, the expressive possibilities of music have sufficient consistency. So, for example, mourning music is perceived by all people as mourning, and gentle music - as gentle. Listening to music is a creative process, since the same work gives rise to different musical and extra-musical ideas in different people, depending on life experience and the experience of perceiving music.

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 of musical art as an art of intonation, 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 these same principles.

Let us 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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On the topic: methodological developments, presentations and notes

Topic: “The nature of music and means of musical expression” Objectives: To strengthen students’ ability to distinguish between auditory-visual and auditory music of various types, to determine the available means of music...

presentation "Means of musical expression"

Music makes you think, helps you relax, teaches you... Can we talk about it in more detail? Let's try....

Quite recently, we talked about what music is, about the main task of this type of art, and as a result, a logical continuation of the recent conversation begs the following question: since a piece of music should reveal the artistic intention of the author, then how does this happen. From the very beginning of learning music, listening and playing it, we are faced with various expressive means of this type of art, which help the author to reveal the idea of his work. And today I would like to look at what to think about these most expressive means in general, and to dwell on some in particular.

Here is a brief overview of the main musical means of expression

1.Melody

2.Temp

3.Rhythm and Meter

4. Lad

5.Tone

Timbre colors music, so music can be characterized as ringing, dark, light, etc. Each musical instrument has its own timbre, as well as the voice of a particular person.

6.Register

The register of music is divided into low, medium and high, but this is important directly to the musicians who perform the melody, or to the experts who analyze the work.

7.Dynamics.

And it’s the dynamics that I would like to focus on today. This, in my opinion, is one of the simplest (theoretically) types of expressive means, but despite this, its role cannot be underestimated, since it is very important. And sometimes it is very difficult for a performer to play everything dynamically accurately and correctly, and this requires special attention in the process of studying and working on a piece. What it is? Musical dynamics?

To put it simply, Dynamics is the strength of sound, and dynamic shades (nuances) are shades of sound strength. Often, when opening a musical text, a musician pays attention specifically to the notes (signs), while other nuances of the musical text remain unnoticed. And it is the dynamics that remain forgotten most often. We all know that not only in music, but also in life, sound can be quiet and loud. When, in the process of communicating with a person, we are not happy with something, or are irritated, then we can raise our voice (increase the volume level), thereby showing tension and internal anxiety; when we are tired and have almost no strength, then the voice can become quieter, thereby indicating that strength is running out. What's a musician to do? If the author has conceived a children's lullaby, but nothing is indicated in the musical text other than the notes, will the musician take the instrument and make the sound, will he increase the tempo of the work? Obviously, the author's intention for the lullaby will be misinterpreted. To prevent this from happening, there are a number of designations in music: signs and symbols that specifically indicate to the musician exactly how to play a given piece.

Dynamic shades:

pp - pianissimo - extremely quiet performance.

r - piano - quiet.

mp - mezzo piano - moderately quiet.

mf - mezzo forte - moderately loud.

f - forte - loud.

ff - fortissimo - extremely loud.

No piece of music can be performed at the same volume level, so in one piece you can see a full range of dynamic shades, for example, the introduction is played pianissimo to warm up the listener, but towards the end, at the climax, the piece is played at fortissimo, extremely loud to fully convey the intensity , and an emotional message.

Dynamics has always been an ally of musical programming. After all, turning to a specific program concept, the composer took on a special responsibility: to express in sounds the content that is hidden behind the title of the work. That is why in program music the artistic role of all its aspects is so high - rhythm, harmony, texture and, of course, dynamics.

“Means of musical expression as a reflection of the character of a musical work”

Purpose of the lesson - development of an active, conscious perception of music based on identifying musical images in it, determining their nature, content and construction, broadcasting through performance.

Lesson objectives:

To consolidate the concepts of expressive means and their influence on the emotional and figurative tone of the work;

To form stable listening attention and mental concentration as the origins of the development of artistic taste;

Develop the ability to analyze the content and means of expressiveness of a musical work.

Formation of universal educational actions:

1. Personal UUD

Formation: motivation for learning and cognition; adequate self-esteem; willingness to openly express one’s position in the classroom, an adequate understanding of the reasons for success (failure) in the educational process.

2. Regulatory UUD

Formation of: the ability to maintain the goal of an activity until its result is obtained; ability to see mistakes; the ability to evaluate the results of one’s activities, argue one’s opinion and position, self-control of the process and results of activities.

3. Cognitive UUD

Formation:ability to perform musical works emotionally,speak out about music;

Perceive a piece of music by ear.

4. Communicative UUD

Formation: the ability to listen and hear the teacher, ensemble members; ability to collaborate in a group when solving educational problems.

Equipment:

Puzzles, stave, prepared notes;

Laptop;

Markers;

Musical recordings of works: E. Grieg “In the Cave of the Mountain King” from the suite “Peer Gynt”, Y. Giraud “Under the Sky of Paris”, M. P. Mussorgsky “Hopak” from the opera “Sorochinskaya Fair”, N. Rimsky-Korsakov “ Flight of the Bumblebee"

Progress of the lesson

Organizational moment (setting up tools, greeting, communicating the topic of the lesson)

Conversation about the expressive means of music:

- listening to musical examples;

- analysis of the work of K. Gardel “ Por una caveza »

Test performance of K. Gardel's work "Porunacaveza»

Reflection “Means of musical expression”

Teacher: Hello guys. The topic of the lesson is “Means of musical expression as a reflection of the nature of a musical work.” Each art has its own special language, its own means of expression. In painting, for example, such means are drawing and paint. Using them skillfully, the artist creates a picture. A poet, writing poetry, speaks to us in the language of words; he uses poetic speech and rhymes. The basis of dance art is movement, dramatic art is acting. Music has its own special language, the language of sounds. And she also has her own means of expression.

Before we start talking about the means of musical expression, let us remember the background information with which we always begin studying a new piece of music. This will help us in analyzing musical material in order to reveal its artistic and figurative content and character.

Message "K. Jeer. Tango"

Teacher: So, what expressive means of music do you know?

Answer: Tempo, melody, dynamics, strokes, playing techniques, rhythm, etc.

Teacher: What is the main element of musical speech? Give the definition.

Answer: Melody (from Greek - “chant”, “singing”) is a developed and complete musical thought, expressed monophonically. It is the basis of any musical work.

Teacher: Let's determine which instrument or instruments leads the melody to 2nd number?

( play up to 2 numbers)

Answer: Accordions, metallophone, domras

Teacher: Can we say that the melody in the performed passage was unchanged? Is the theme of accordions different from the theme of domra? What changed?

Answer: Changedokay , so the melodies differ: the first is quite joyful, enthusiastic, inspired; the second is tense, a little melancholic. The first sounds major, the second - minor.

Teacher: If you pay attention, the entire text of the work is presented by alternating two main melodic lines (beginning, 2nd number - 1,3,4 numbers). This deviation is calledmodulation - transition from one key to another. This is the peculiarity of the work, its character. After all, tango is an emotional dance, a contrasting change from smooth, calm movements to impetuous, clear, sensual movements. Tell me, guys, what means of musical expression is celebrated when it comes to dance music? Define it.

Answer: Thisrhythm . Translated from Greek, it means “measurement” - this is a uniform alternation, repetition of short and long sounds.

Teacher: Everyone understands what rhythm we are talking about when they say: the rhythm of a waltz, march, tango. Listen to musical excerpts, name the dance and piece of music.

Listen to music excerpts:

Waltz - Y. Giraud “Under the sky of Paris”

UNT hopak - M. Mussorgsky “Hopak” from the opera “Sorochinskaya Fair”

Tango - E. Petersburgsky “Burnt Sun”

Teacher: Music without rhythm is perceived as a collection of sounds rather than a melody. It influences the character of the music. But not only music has rhythm. Our heart has a rhythm - a heart rate; There are brain rhythms, there is a circadian rhythm - morning, afternoon, evening and night. The change of seasons is the rhythm of the planet. In ensemble performance, the accompaniment plays a very important role, setting the rhythm of the dance. For example, the balalaika part is represented by the variety of rhythmic patterns of each part. I ask you to perform the 2nd number on the beat.

( play 2nd number )

Teacher: What is the difficulty of the rhythmic pattern of the balalaika part?

Answer: Short durations.

Teacher: Now, listen to the example and answer what means of musical expression creates the character of the music.

An excerpt sounds: N. Rimsky - Korsakov “Flight of the Bumblebee”

Answer: In this piece of music, fast tempo plays an important role (allegro or presto ).

Teacher: What do you call tempo?

Answer: Pace - This is the speed of performance of a piece of music. The pace can be fast, slow and moderate. Italian words are used to indicate tempo, which are understood by all musicians in the world. For example, fast tempo - allegro, presto; moderate tempo - andante; slow - adagio.
Teacher: We are always guided by the composer's instructions about the meaning of tempo, in particular tango is performed at a moderate, restrained Moderato tempo.

Teacher: Timbre and register(puzzles)

Timbre is the color of sound. Each human voice has its own color, its own timbre; Every musical instrument has its own timbre. Our instrumental ensemble is a multi-colored palette of all kinds of timbres (soft). Various timbre changes in the tango melody are similar to the emotional collisions of dance. We play number 3.

(play 3rd number)

Teacher: What does the alternation of instrument timbres resemble?

Answer: The alternation of domra and accordion timbres is presented in the form of a dialogue.

Teacher: Please note that the theme of the first domra in the second sentence has 3 digits and sounds in an octave. What's changing? What do you know about this means of expression?(rebus register)

Answer: Register is the location of sounds. The register can be low, medium, high.

Teacher: Listen to a musical example where the register is the most important element in creating the artistic and emotional image of the work. Describe your impressions and ideas about what you heard. Name a piece of music.

An excerpt from E. Grieg’s suite “Peer Gynt” “In the Cave of the Mountain King” is played.

Teacher: Another expressive means is strokes. What do you know about them? What touches are used to reflect the character of "Tango"? What can they be compared to in dance?

Answer: Stroke - (from German line, dash) the quality of sound production on a musical instrument, which has an expressive meaning (legato, staccato, detail, marcato). K. Gardel's work "Tango" uses legato, marcato, and detail strokes.The variety of strokes and playing techniques is comparable to the change of dance movements - sometimes soft, smooth, sometimes unexpectedly sharp, short.

Teacher: Guys, let’s digress for a minute and imagine that we are in the forest. How far we have come! Looks like you're lost? What do we do?

Answer: Scream, call for help. Screaming "AU"

Teacher: And the “echo” will talk to you, because there is no one around. Let's play.

Game "Echo"

I read a poem, and you listen carefully to the last words of each line and answer for the “echo”.

I screamed loudly in the forest.

The booming echo answered.

“Will it be cold soon?”

The echo answered: “Yes, yes, yes, yes!”

“How many Christmas trees, look!”

The echo answered... Three-three-three-three!

“The old oak tree has completely dried up!”

The echo answered... Oh-oh-oh-oh!

“Well, goodbye, I’m going home!”

The echo was upset... Oh-oh-oh-oh!

What means of musical expression are we talking about? Give a definition.

Answer: Dynamics - the strength of sound. There are two main dynamic shades: forte, which means loud, and piano, which means quiet. Sometimes these shades are intensified. For example, very loud (fortissimo) or very quiet (pianissimo). The dynamics of tango are distinguished by contrast: a calm theme sounds mezzo forte; the theme of unrest is forte.

Teacher: What is called a climax? Determine the climax of the piece being performed.

Answer: Climax - the highest point of emotional, semantic tension, as a rule, is designated dynamically as the loudest place in the work. Climax - 3rd figure.

Play 3rd number

Teacher: Today we remembered what means of musical expression are, named the main ones, and used musical examples to find out their significance in creating the image of a musical work. And what is it all for? All in order to learn to understand and create a picture, an image of a musical work from these integral musical elements and embody this in your performance clearly, accurately, evoking sincere emotions in listeners.K. Gardel "Tango" played in full

And now I propose once again to remember the means of musical expression, write one at a time on notes and fill out the staff.

Teacher : This concludes the lesson. I am very glad for your active participation. Well done! Thanks to all!

MEANS OF MUSICAL EXPRESSION

Music is the language of sounds. Different elements of 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 means of musical expression. There are 10 of them in total:

timbre 7th fret

tempo 8. harmony

dynamics 9. texture

rhythm 10. melody

1. REGISTER

A register is a part of the range, a certain pitch of a voice or a musical instrument.

They distinguish between high register (light, airy, transparent sound),

Low register (serious, dark or humorous sound).

2. TONE

Timbre is a special coloring of sounds, the nature of the sound of different voices or musical instruments. People's voices and musical instruments have different colors

Sounds. One instrument's timbre is transparent, another's is warm and soft, and the third's is bright and piercing.

Mezzo-soprano

^ A choir is a large group of singers (at least 12 people), similar to an orchestra in instrumental music.

Choir types:

masculine (dense, bright timbre),

female (warm, transparent timbre),

mixed (full-sounding, rich, bright timbre),

children's choir (light, light timbre).

Groups of instruments of a symphony orchestra.

The instruments in the orchestra are distributed among their families - the musicians call them orchestral groups. There are four of them in the orchestra:

String instruments

Woodwind instruments

Brass instruments
^ Percussion instruments
Violin

French horn

Cello

Double bass

Bells, etc.

Tempo is the speed at which the music moves during the performance of the piece.

A metronome is a device for counting durations at the desired speed (for example, 108 quarter notes per minute). Indicates to performers the exact tempo of the piece. Invented by the Austrian mechanic Maelzel.

Main tempo groups:

Slow pace

They express peace, restraint, reflection, pain in music.

MODERATE Pace

Associated with leisurely movement and moderate activity.

3.
^Fast pace
Represent joy, excitement, energy, playfulness, humor.

Basic types of tempos:

Slow pace

MODERATE Pace
^Fast pace
Largo - widely

Andantino - slightly faster than Andanto

Allegro - fast

Lento - drawn out

Adagio - slowly

Moderato - moderate

Vivace - lively

Grave - hard

Presto - very fast

Andante - rather slow, calm

Allegretto - slightly slower than Allegro

Prestissimo - extremely fast

Tempo changes in the piece:

^ Gradual slowing down of the tempo (usually at the end of the piece, a feeling of calm)
Gradual acceleration of the tempo (usually in the middle sections of the work, increasing excitement)

^ Ritenuto - holding Accelerando - accelerating
Ritardando - lagging behind

Animando - getting inspired

Allargando - expanding

Stringendo - accelerating, hurrying

Return to the original tempo - a tempo, Tempo primo

Clarifying concepts:

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

4. DYNAMICS

Dynamics is the degree of loudness of a musical piece of music.

Muted dynamics are associated with calm, bright or painfully sad moods.

Strong dynamics express energetic, active or intense images.

Basic designations of dynamic shades:

Piano pianissimo

extremely quiet

very quiet

not very quiet

not very loud

loud

very loud

Forte fortissimo

extremely loud

Symbols for changing sound intensity:

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

The increase in dynamics is associated with increased tension, preparation

K u l m i n a t s i. Dynamic climax is the peak of increasing dynamics, the highest point of tension in the work.

The weakening of the dynamics gives rise to a feeling of relaxation and calm.

Rhythm is a sequence of sounds of the same or different durations.

Sounds of different durations are combined into rhythmic groups, which make up the rhythmic pattern of the work.

^ Types of rhythmic patterns:

The repetition of identical durations in works of slow or moderate tempo creates a calm, balanced image.

In works of fast tempo - etudes, toccatas, preludes - the repetition of identical durations (sixteenths of duration are often found) gives the music an energetic, active character.

More often there are rhythmic groups united by notes of different durations. They form a variety of rhythmic patterns.

The following rhythmic figures are less common:

Dotted rhythm (characteristic of marching, dancing) - sharpens and activates movement.

Syncopation is the movement of emphasis from a strong beat to a weak beat. Syncopation creates the effect of surprise.

Triplet - division of duration into three equal parts. Triplets give ease of movement.

Ostinato is the repeated repetition of one rhythmic figure.

Meter is a uniform alternation of strong and weak beats of a beat (pulsation).

In musical notation, the meter is expressed in size (the upper number of the size indicates how many beats are in a bar, and the bottom - how long the fraction of a meter in a given size is expressed), and bars (so t is the length of time from one strong beat to the next beat of equal strength ), separated from each other by bar lines.

^ Basic types of meter:

Strict meter

strong and weak beats alternate

evenly

Free meter

accents are distributed unevenly; in modern music, time signatures may not be indicated or there may be no division into measures

^ Double meter - one strong and one weak beat (/-) e.g. polka or march.

Triple meter - one strong and two weak beats (/--), e.g. waltz.

Polymetry is a simultaneous combination of bipartite and tripartite meter.

Variable meter - changes throughout the work.

Depending on the number of strong fractions, meters are:

Simple - having only one strong beat (bipartite, for example 24 or tripartite, for example 34 or 38).

Complex - a combination of simple identical meters (only two-part, for example 44 = 24 + 24 or only three-part, for example 68 = 38 + 38).

Mixed - a combination of meters of different types (bipartite and tripartite) (for example, 54 = 24 + 34, or 34 + 24, or 74 = 24 + 24 +34, etc.).

The language of poetry is also metrically organized. The combination of strong and weak syllables in poetic meter is called st opa.

Poetic feet:

^ D in y x lobar feet

Three-lobed foot

Trochee (/-)
Iambic (- /)
Dactyl (/ - -)

^ Storm haze

nope it's creeping.

The Forest Raised a Christmas Tree

Can I hear your voice?

ringing and lascivious

Characteristic metrorhythmic features of some dances:

Polka - 24, rhythmic groups with sixteenth notes.

Waltz - 34, accompaniment with an emphasis on the first beat.

March - 44, dotted rhythm.

Tasks and questions:

1. Find and write out examples of poetic feet from poems!

Iambic: Trochee: Dactyl:

2. What types of meter and what special metrical technique did the Latvian composer Romuald Kalsons use when processing the Latvian folk song “Ar meitām dancot gāju”?

..................................................................................................................................................

^ R. Kalsons. Lat processing adv. songs “Ar meitām dancot gāju”

3. Divide the following sample sheet music into measures 24 and 34, then play or sing:

4. Complete the text!

Lullabies are usually sung at .................................... tempo and ......... ........................... dynamics, and marches - in............. ......................... pace and............... ........................... dynamics. The exception is funeral marches, the tempo of which is always .................................................. .., and the dynamics -....................................

5. What words are pronounced in Russian with these endings:

.............………….jo, ........................... che, ....................... shendo?

Think:

if non troppo = not too much, then Allegro non troppo = ...................................... ........................

if marcia (read: march) = march, then Marciale = .................................... ...........................

if assai = very, then Lento assai =............................................ ........................................................ ....

7. Sedatives are called tranquilizers, what does Tranquillo mean? ........................................................ .....

8. Brio is the name of a cleaning product, what could Con brio mean? ........................................................ .........

9. What can Tempo di marcia, Tempo di valse, Tempa di polca mean?

.................................................................................................................................................................

10. What can Brillante, Grazioso, Energico mean?.................................................... ...............

....................................................................................................................................................................

11. Using a dictionary of musical terms, translate the words in this little story from Italian!

The pause before the math lesson will end soon. Class molto agitato. At first

piano, then poco a poco crescendo the voices of the students sound. New maestro of mathematics

energico e risoluto told one of our classmates what awaits us now

piccolo test. So subito!

“I didn’t even open my libretto yesterday,” drawled our excellent student.

“Well, the assignments will be non troppo pesante,” her classmate reassures her.

“Nonsense,” grazioso e scherzoso chirped the prima donna of our class. “I’ll smile at him so dolce e amoroso that he’ll even forget about the test!”

"Well bravo!" furioso e feroce minted by the class leader. "Teachers have no right to such

subito control! Let's get away! Prima volta, - it will cost! Well - Vivo, Presto, accelerando..."

Ah, it's too late! Fermata! Already alla marcia steps festivo ours enters

Maestro. “Please, tutti in places,” his voice sounds deciso e marcato. And a lesson

begins... Oh, mamma mia, with a test...

Lad is a system of sounds, different in height and gravitating towards each other.

The tonic is the main stable sound of the scale, to which all the others gravitate. The stable sounds of the mode form the tonic triad - the main stable chord of the mode.

^ Gamma is the sounds of a scale arranged in progressive - ascending or descending - order from the tonic within an octave.

A key is a mode with a specific tonic.

Frets can consist of a different number of sounds:

trichord - a mode consisting of three sounds.

tetrachord - a mode consisting of four sounds.

pentatonic scale - a scale consisting of five sounds.

seven-step modes (major, minor, ancient modes).

Main modes:

^ Modes without semitones

Seven step frets

Modes with two or more semitones in a row

Trichord is a scale in the fourth range, consisting of a major second and a minor third.

Pentatonic scale is a scale of five sounds arranged in major seconds and minor thirds. Another name for this scale is “Chinese scale”, because it is often found in oriental music).

Whole tone, or augmented fret, is a fret of 6 sounds, each of which is one (whole) tone away from its neighbor. They do not create mutual gravity and therefore produce a strange, fantastic impression. In Russian music, M.I. was first used. Glinka in the opera “Ruslan and Lyudmila” to characterize Chernomor. Hence another name for this mode – “Chernomor scale”.

Major is a mode whose sustained sounds form a major triad. The fret has a light, joyful coloring.

^ Minor is 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 (eg.

C major – A minor)

Same name (eg.

G major - G minor) modes.

Ancient modes - similar to modern major or minor, but differing from them in individual steps -

Mixolydian, Lydian, Phrygian, Dorian)

Chromatic mode is 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).

8. HARMONY

Translated from Greek, harmonia means consonance.

^ Harmony is the combination of sounds into various consonances (chords) and their sequences.

The main element of harmony is a chord - a simultaneous combination of three or more sounds of different pitches.

Types of chords:

^ By number of sounds:

According to the interval structure:

Triads are chords of three sounds. Types of triads: major, minor, diminished, augmented.

Seventh chords – chords from

four sounds, etc.

Chords of second structure (clusters)

Chords of tertian structure (triad, seventh chord)

Fourth chords (quart chords)

Chords of fifth structure (quint chords).

In classical music, harmony is euphonious (based on consonances); chords of the tertian structure are mainly used.

In modern music, harmony can sound sharp (such sharp consonances are called dissonances), and can be very complex; unusual consonances are widely used - the simultaneous combination of seconds, fourths, fifths and other intervals.

Tasks!

Sign these chords!

2. Using the key signs, determine the possible keys and, using the example of the first bar, write both triads (major and parallel minor)!

3. Find in the sheet music (for example, in a solfeggio textbook) and write down examples of sheet music in different modes:

In a major mode:

In minor mode:

4. Determine the tonality and type of mode!

5. Determine the tonality of these melodies (write in the frame), write stable sounds in brackets, mark where there is a) progressive movement along the sounds, b) movement along stable sounds, c) singing of stable steps!

6. Play and sing an old Latvian folk song and write what its mode is called!

7. Write out the scale of this melody! Mark the degree that distinguishes this mode

(Mixolydian) from natural G major!

9. FACTURE

Texture is a warehouse, a type of presentation of a musical work (Latin fakturo - processing).

The main elements of texture: melody, accompaniment (accompaniment), bass (lower voice), middle voices.

Any single-voice melody (solo or unison), for example, a folk song.
Homophony Polyphony
A polyphonic type of music, in which one voice is the main one (melody), and the rest (accompaniment) accompany it. A type of homophonic texture is the chord structure of music, in which the melody is rhythmically combined with accompaniment.

Polyphony (Greek poly-many, phone-sound) is a simultaneous combination of several independent voices (melodies).
^ Main types of polyphony
Imitation item - (Latin Imitatio - imitation) repetition in another voice or with another instrument of the melody (theme) that has just been heard.

E.g. canon, fugue or invention

Contrasting item - simultaneous sounding of different types of melodies. For example, in the Middle Ages they combined three different melodies with different texts.
^ Main types of texture:

Forms of imitative polyphony:

Canon is a musical form in which all voices perform the same melody, entering alternately.

Fughetta (Italian fughetta - small fugue) - a simple, smaller fugue for organ or piano

^ Questions and assignments!

1. Study these musical examples and determine the type of texture - write the letters of the correct answers in the boxes: A - melody with accompaniment, B - polyphonic texture or C - chord texture!

A) Play this famous song with accompaniment, listening carefully to the harmony, and then find and correct the wrong harmony!

........ ......... ............. .... ........ ............. ..... .... .......

b) Determine the functions of the chords in the accompaniment (T, S or D), sign them and learn the melody with accompaniment in four different types of texture!

Robert Schumann

Piano cycle “Album for Youth”

^ FIRST LOSS

1. a) Listen carefully to the piece and describe the nature of the music! ...................................

................................................................................................................................................

b) Describe the various elements of musical language:

Lad - ..................................................... ........................................................ .......................

Tempo - ..................................... ........................................................ ......................

Dynamics - .................................................... ........................................................ ............

Harmonies (consonances or dissonances) - ............................................... ................

Invoice - ..................................................... ........................................................ .............

^ BOLD Rider

Listen to the piece and describe the character of the music! ........................................................ ..........

.............................................................................................................................................................

The play has three sections (A B A). Listen and determine what mode

a) at the beginning of the play (in the first section A) – ...................................... ...................................

B) in the middle of the play (C) ............................................... ...........................

B) in the final section (A) .................................................... ...........................

What else changed in the middle section of the play? ........................................................ .........

Choose and circle the correct answer to the question “What texture was used by the composer in this work?”

A) polyphonic texture,

B) chord texture,

B) melody with accompaniment.

Listen to music and dream! Describe your dream!

............................................................................................................................................................................................................................................................................................................................................................................................................

Learn the theme of the play by heart!

10. MELODY

A melody is a musical thought expressed in one voice. Translated from Greek it means “singing, song.”

Melody is the basis of music, the “soul of music,” the most important means of musical expression.

Melody elements:

Melodic line (or melody pattern). This is the main component of the melody. The repetition of one sound cannot be considered a melody; it is formed from sounds of different pitches.

Range (melody volume)

Intonations (special sequences of sounds)

Other features of melody are independent elements of musical language: rhythm, meter, mode, harmony, dynamics, etc.

Types of melodic line:

Rising melodic line

Creates the impression of rising, increasing tension.

Descending melodic line

Creates the impression of a decline, a release of tension - a release.

Wave-like melodic line

Movement in one direction does not last long. Usually there is a change in direction of movement. A wave-like pattern of melody is formed.

Smooth (low-moving) melodic line

Typical for vocal music. It is based on second intonations. At a fast pace it creates the impression of fluidity and increasing energy; in slow - a feeling of constraint, sorrow.

Jumping melodic line

Typical for instrumental music. A jump is a progression of a melody over a wide interval. Ascending leaps give the melody a restless character. Further smooth movement filling the jump creates the impression of calm.

These main types of melodic line usually succeed each other, forming a variety of melodies.

D i a z o n, i.e. the volume of the melody is also of great importance for the expressiveness of the melody:

Melodies of a narrow range (not exceeding a fourth) are balanced and restrained.

Melodies of a wide range - emotional, intense.

Melodic peak is the highest sound of a melody. There are three types:

The pinnacle is the climax

The point, the moment of highest tension in the development of the melody. The climax is usually followed by a weakening of tension, a decline, which is expressed in a downward direction of movement of the melody.

The top is the source

The melody begins with the highest sound. The intense melody gradually becomes calmer.

Top - horizon

The melody ends with the highest sustained sound. Such melodies seem to melt, dissolve in the air.

Intonation in the melody.

The intonation of the breath (the interval of the descending second) gives the melody a sad, plaintive character.

Intonation of the question (rising leap).

Exclamatory fanfare intonation (sustained fourth or movement of the melody along the sounds of the triad) gives the melody energy, activity, and vivacity.

The intonation of the lyrical sexta (usually a jump from V to III degree) gives the melody breadth, melodious sound (major sixth in major) or a mournful, poignant character (small sixth in minor) .

The expressiveness of a melody has a lot to do with mode and harmony.

Modal basis of the melody:

The melody in major D sounds light.

The melody in Minor sounds sad.

The melody in the old mode sounds unusual - archaic.

The pentatonic melody sounds calm and is often associated with images of nature.

Frets with increased seconds give the melody an oriental flavor.

Harmonic basis of the melody:

Repeating a melody with new harmonies can change its mood.

Reliance on the sounds of the tonic triad emphasizes the stability and stability of the melody.

The use of dissonant intervals adds tension to the melody.

The melody formed from chord sounds has a restrained, balanced character.

A melody formed from non-chord sounds - sounds that are not part of the chord. These sounds form a scale-like, progressive movement, giving the melody a vocal character and melodiousness.

The main ways to produce a melody sound are strokes:

Legato (connected) makes the melody melodious, expressive, and smooth.

2. Non legato (not coherent) makes the melody calm and restrained.
^ 3. Staccato (shortly) makes the melody mischievous and funny.

Determine the type of melodic line in these melodies!

Find, emphasize the characteristic intonations in these melodies and sign their names!

A) ................................................ ...........................

Allegretto L. van Beethoven. 6th symphony. Part 5 topic

b) ..................................... ......... ^ F. Chopin. Nocturne

V) ................................................ ......... W.A. Mozart. Requiem. Lacrimosa

P.I.Tchaikovsky (1840-1893)

Piano cycle “Seasons”

June (Barcarolle)

Barcarolle (from the Italian word barca - boat) is a boatman's song.

Find and identify from the musical example

Tempo designation - ................................................... .....

Size -................................................ ...

Tonality - ........................................................

Dynamic shades - ....................................................

Listen to the play and answer the questions!

A) only in the upper

B) in the upper and middle

.........................................................................................................................................................

Emphasize the three elements of musical language that, in your opinion, best help create the mood of music: size, mode, register, timbre, tempo, dynamics, texture!

Describe the selected elements! ........................................................ ...........................

...........................................................................................................................................................

Learn the opening melody of the play! Complete the tasks!

The range of this melody is from sound............ to sound.................

In the melodic line of this melody (choose the correct answer!)

A) only progressive movement in one direction

B) a lot of jumps

B) wave-like movement

October (Autumn Song)

Describe the general mood of the music! ........................................................ ....................

..........................................................................................................................................................

Mark the most characteristic intonation in the melody!

A) fanfare intonation

B) sigh intonation

C) no characteristic intonations

What elements of musical language do you think most help create mood in music? Describe them! ........................................................ ...

Learn the opening theme of the play!

Determine the range of this melody! ........................................................ ........................................

The melodic line of this melody (check the correct answer!)

A) sedentary, smooth, there are no wide jumps in it,

B) a progressive downward movement prevails, which alternates with jumps,

B) unbalanced, broken.

Draw a line drawing of the melody and mark the climax with some bright color!

Sign the names of the instruments in Russian!

Groups of musical instruments

String group -

The basis of the symphony orchestra is made up of four bowed instruments of different sizes, but of similar design. Each of them has four strings.

The violin is the highest and most virtuoso instrument in its group. Appeared in Italy in the 16th century, replacing the viola. Famous families of Italian violin makers from the city of Cremona are Stradivarius, Amati and Guarneri.

The viola is a little larger than a violin, has a less bright timbre and sounds a little lower. Only in the 19th century did it begin to be used as a solo instrument.

The cello is a large instrument that is played while sitting, held between the knees, and resting on a special metal pin. The sound of the cello is thick and melodious. Reminds me of a human voice in timbre. Therefore, cellos are often entrusted with the performance of wide melodious melodies, although they can sound virtuoso.

The double bass is the lowest instrument; it sounds dull, an octave lower than cellos and twice their size. The double bass is played either standing or sitting on a special high stool.

The woodwind group includes:

The flute is the tallest and most agile of these instruments. She can climb into the highest, “bird” register. Sometimes composers depict the singing of birds with a flute. Piccolo flute - a high type of flute]

The oboe is also a high instrument with a unique “nasal” timbre. Slow, melodious melodies sound very beautiful on it, but in fast passages it cannot keep up with the flute. The timbre of the oboe is somewhat similar to the timbre of the zurna, an oriental wind instrument. Sometimes composers use the oboe to imitate oriental music.

^ Cor anglais - low, alto oboe

The clarinet is an instrument of the alto register. He has a “character”: he can be soft and “velvety”, and sometimes he suddenly breaks into a sharp cry. He can also play fast passages; they “murmur” with him. This “murmur” is often used in “sea” and “river” musical “pictures”.

There are also piccolo clarinet - a high type of clarinet and

bass clarinet - a low type of clarinet

The bassoon is the lowest and most “clumsy” instrument in this family. Like the oboe, he is good at singing beautiful melodies, but only with a “male” voice and only in the middle of his range. The higher he climbs, the more hoarse and “ruffled” his voice becomes. And in deep bass it gains power, but loses beauty and sounds comical. The bassoon is used both in sad slow music and in funny musical jokes.

The contrabassoon is the lowest instrument of this group.

Saxophone - similar in design to a clarinet, but made of metal. Designed in the 19th century by the French master Sax. Comes in a variety of sizes from high soprano to low bass. It is distinguished by a specific timbre - melodious, full. Mainly used in jazz music.

Brass group:

French horn - derived from a hunting horn. For a louder sound, they began to lengthen it, and for convenience when playing, they began to twist it. Gradually, the number of turns increased - this is how the horn appeared. A very important instrument in the orchestra. The soft, noble sound of the horn can convey different moods. The horn is often assigned solo episodes.

The trumpet is the tallest instrument in its group. It has a bright, ringing, brilliant timbre. Often solos. The trumpet entered the symphony orchestra in the 18th century.

Trombone has been known since the 16th century, but entered the orchestra only in the 18th century. It has a retractable thin curved tube - a slide - with the help of which the pitch of the sound changes. The timbre is bright - light and masculine in the high register, and dark, even ominous in low notes. Technically, it is a very mobile instrument, its special glissando (sliding) effect - impossible to perform on any other wind instrument - is achieved by smooth movement of the wings.

The tuba is the largest and lowest instrument in the brass group. Plays the role of the bass - the basis of the entire sound of the orchestra. The timbre is massive, harsh. The sonority can be very strong and menacing.

Percussion group:

Without a specific pitch:

With a certain pitch:

big drum

snare drum

bells

xylophone

triangle

vibraphone

castanets

tom-tom, etc.

bells, etc.

Among the percussion instruments, timpani dominate. Like the horns in the brass family, timpani are the oldest in the percussion family. Unlike drums and cymbals, they have a certain pitch. The skin stretched over the cauldron is tuned to a specific note. The orchestra uses several timpani, tuned in different ways. Most often three. Timpani are used only occasionally, in special places - very loud or particularly colorful. And during pauses, the timpanist can slowly rearrange his instruments.

In most classical symphonies, the percussion family is limited to timpani. Other drums were sometimes introduced for special purposes. For example, in Haydn's Military Symphony, the drums and cymbals imitate a military band. But already in the 19th century, the drums of a military orchestra - large and small drums, cymbals, tambourine (tambourine), triangle - became permanent members of the symphony orchestra. They are also joined by a huge tom-tom - a huge bronze disk that is suspended from a frame and struck with a felt-covered mallet. These are all instruments without a specific pitch.

Numerous percussion instruments, long known in folk music of different countries and continents, became part of the symphony orchestra of the 20th century. These include Spanish castanets, Latin American maracas, African tom-toms and many others. In some modern symphonic scores, the percussion group is almost the most numerous.

In addition to timpani, the orchestra sometimes includes other percussion instruments with a certain pitch. For example, orchestral bells, which look like a children's metallophone. Only the bells play all the sounds of the chromatic scale, and the records on them are arranged in two rows - like white and black piano keys. And there are also large tubular bells. The same metal tubes of different lengths are suspended on a metal frame. If you hit such a tube with a hammer, a thick ringing will be heard, very similar to a bell. Each tube has its own height, so you can tap out a melody on such bells. The gong, unlike the tam-tam, also produces a sound of a certain pitch. In the 20th century these instruments were added:

Xylophone - consists of wooden blocks of different sizes, which make up a scale of several octaves. It is played with two small mallets. Its timbre is piercing – dry and clicking.

Vibraphone - made like a xylophone, but with metal plates rather than wood and has resonator tubes suspended from the bottom. The vibrating (oscillating) nature of its sound is achieved by an electric motor. Invented in the 20th century in America.

Marimba is a lower range type of xylophone. Marimba comes from Africa. Only there it has no metal

Means of expression in music (melody, mode, rhythm, tempo, dynamics, timbre, etc.). The importance of musical expressive means in creating a musical image

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