Division of Music | Dr. Patrick Houlihan | email:.houlihanp@alpha.obu.edu

Theory 4 Home Page 

Class Notes
 

January 17

Syllabus

Variations

In typical use, "variation" is synonymous with "modification" and "development" of thematic material. Almost all music will include some variation of the ideas.

In work that is titled "Variations," or a work that is in "variation form," the statement of a theme and its variations become the organizing principle. 

• Composer states the theme.
• ...then again, and again, and several more times, each time changing some aspect(s). The harmony, rhythm, melody, meter, key, mode, or anything else might undergo change.

The first statement is called the theme. The others are the variations.

Assignment

Burkhart: bottom of p177-p187

• recording on reserve in the music library
• listen carefully with your score; a quiz is possible

January 22

Sectional Variations

Handout

Theme:

• Most common form: rounded binary.
• Reaches a definite conclusion before the first variation.
• By "theme," we mean the entire section (ending just before the first variation) and all the parts (melody, accompaniment, etc.).

Variations:

• Each is (at least in the classical period) usually the same length, form, and key of the theme. (The mode, however, may be different.)

Mozart Example, K. 284, 3rd movement (Burkhart: bottom of p177-p187)

Form of the theme: rounded binary.

Notice the rhythmic crescendo from the theme through the first three variations: 8th notes, followed by triplets, then 16ths and triplets, and then 16ths.

You can find the most important notes of  the theme in each of the first three variations.

Variation 7: minor mode

Variation 11: repeats written out

Variation 12: 

• repeats written out
• different meter
• slightly longer than the other variations to bring the movement to a conclusion.

Assignment

Burkhart pp129-132: label the theme and each variation.

January 24

Continuous Variations

Characteristics:

• Theme: 4-8mm melody or harmonic progression.
• Variations: same length as the theme, which recurs in each variation.
• Repetitions of  the theme may be exact or may be altered. Melodic themes are often ornamented. Harmonic themes will often have a few changes in harmony.
• A recurring melodic theme usually appears in the bass.
• A melodic theme is often referred to as a "ground" or "ground bass."(Some composers also used the term "ground" in their titles.)
• Chaconne and Passacaglia: Two other terms often used in titles. These were usually:
  • slow
  • in triple meter
  • in minor
  • also, they usually have themes that are 8-measures long, although our example on p129 is a chaconne with a 4-measure theme.

Bach: Chaconne, Burkhart p99

Theme: Four-measure harmonic progression. The progression changes in some of the variations.

On page 100, 11 variations follow the theme; each is 4-measures long.

Bach: Crucifixus from Mass in B Minor, Burkhart p129

For class discussion:

• How long is the theme?
• How many variations does the Crucifixus have?
• Does the theme undergo any modifications?
• What is surprising about the end?

Assignment:

Compose a short example of continuous variations. Write a 4-measure melodic theme and three variations, playable on keyboard.