{"id":1208,"date":"2017-03-15T19:20:17","date_gmt":"2017-03-15T19:20:17","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1208"},"modified":"2020-04-11T21:51:42","modified_gmt":"2020-04-11T21:51:42","slug":"theme-and-variations-and-rhondo","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/theme-and-variations-and-rhondo\/","title":{"raw":"Forms: Theme and Variations - Rondo","rendered":"Forms: Theme and Variations – Rondo"},"content":{"raw":"https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=454&action=edit<\/span>\r\n\r\nVariation<\/b>\u00a0is the presentation of a theme (a melodic idea) followed by a series of changes on that theme. There may be changes \u00a0in harmony, mode, melody, counterpoint, rhythm, timbre, orchestration or any combination. This \u00a0structure \u00a0often used in the 2nd and final movements \u00a0of larger Classical works such as symphonies, string quartets, and sonatas.\r\n\r\nVariation Form<\/span><\/strong>\r\n\r\nVariation forms of the baroque included \u00a0ground bass, passacaglia, chaconne, and theme and variations. However, the theme and variation \u00a0forms of the classical period however are focused on the variation of the theme. \u00a0The theme is repeated with changes or it \u00a0is \u00a0accompanied in a changed manner. The following elements could change or be used in combination in \u00a0the variations: \u00a0harmony, melody, rhythm, timbre, and orchestration. Counterpoint could also be introduced. \u00a0The \u00a0\"theme\" in \u00a0Variation form \u00a0generally is\u00a0between eight and thirty-two bars in length.\u00a0 Likewise the variations, particularly in music of the eighteenth century and earlier, are the same number of measures in length \u00a0and structure as the theme.\r\n\r\nCourt Dances and Variation:<\/strong> A practice of performing \u00a0musicians could have influenced this form of variation. \u00a0\"Court dances\" \u00a0were long. However they \u00a0contained\u00a0 short 8-32 bar melodies. \u00a0These short melodies could became wearisome to \u00a0repeat. \u00a0During these repetitions \u00a0the players inevitably \u00a0would \u00a0indulge themselves in improvising the melody, leading us to variation and ornamentation.\r\n\r\nVariations \u00a0'free-standing' pieces for solo instruments or ensembles, or can constitute a movement of a larger multi movement work. Jazz music is structured on a basic pattern of theme and variations.\r\n\r\nVariations on \u00a0Mozart's , Ah! vous dirai je maman (Twinkle Twinkle, Little Star) KV 265\r\n\r\nHear this simple tuneful melody upon which Mozart has built a beautiful set of variations. The link below will allow you to follow along and read about this work. Note the character of this melody compared with those of the baroque. \u00a0It is tuneful and has very clear phrases.\r\nhttps:\/\/youtu.be\/Ezvj-De6bxY<\/a>\r\n\r\nClick on this link for more description of Variation form:\r\nhttp:\/\/www.cengage.com\/resource_uploads\/downloads\/049518974X_78467.pdf<\/a>\r\n\r\nRondo Form\r\n<\/strong>Rondo form is also not new to this period. The term dates back to the medieval fixed poetic form rondeau. Medieval chansons that used poetic rondeaux as their texts often used a musical structure that mimicked the poetic structure.<\/span>\r\n<\/strong>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=455&action=edit<\/span>\r\n\r\nThe term and formal principle may have derived from the medieval poetic form, rondeau<\/i>, which contains repetitions of a couplet separated by longer sections of poetry.\r\n\r\nIn rondo form, a principal theme (sometimes called the \"refrain\") alternates with one or more contrasting themes, Possible patterns in the Classical period include: ABA, ABACA, or ABACABA. The number of themes can vary from piece to piece, and the recurring element is sometimes embellished and\/or shortened in order to provide for variation. Note that A is the refrains or principal theme and the other letters represent \u00a0the contrasting themes\r\n\r\nA Baroque predecessor to the rondo was the ritornello. \u00a0Ritornello form was used in the fast movements of baroque concertos \u00a0(See Vivaldi's Spring in The Seasons). The entire orchestra (also called \u00a0tutti<\/i>) \u00a0plays the main ritornello theme, while soloists play the intervening episodes. \u00a0While the \u00a0Rondo is similar to ritornello form, the \u00a0ritornello brings back the subject or main theme in fragments and in different keys, where \u00a0the rondo brings back its theme complete and in the same key.\r\n\r\nW.A. Mozart - Piano Sonata No 11 in A - Major, K.331 (300i)\r\n\r\nhttps:\/\/youtu.be\/vp_h649sZ9A\r\n\r\nThis is a performance of Mozart's {Piano sonata 11.\r\nPiano recital by Olga Jegunova\r\n\r\nAndante Grazioso: \u00a0Though most sonata first movements are in sonata form, the first movement of this sonata is \u00a0a Theme and Variations. Listen to the simple tuneful melody of this first movement. Tuneful and very clear phrases (aba) \u00a0very typical of the variation style in the classical period. You can \u00a0tell this style of performance is not form the Baroque period. Try to determine ho w each movement is \"varied\" in this theme and variations.\r\nIf you click on \"Show More\" at the You tube sight you will see the following\u00a0 times which are linked\u00a0 to the individual locations.<\/em><\/strong>\r\n\r\n00:04 Theme\r\n00:51 Variation 1\r\n01:33 Variation 2\r\n02:21 Variation 3\r\n03:16 Variation 4\r\n03:59 Variation 5\r\n05:48 Variation 6\r\n\r\n6:53\u00a0<\/strong> \u00a0Minuetto:<\/strong> \u00a0 The second movement \u00a0is a minuet - less like the minuet dance but in triple meter and \u00a0with the form of the minuet.\r\n\r\n10:24\u00a0 Alla Turca - Allegretto:<\/strong> \u00a0The third movement is the famous Turkish Rondo - in the style of Turkish music. The Ottoman empire had a strong influence in Europe during these times as they dominated much or Europe during theses years.\r\n10:28 - A\r\n11:06 - B\r\n11:21 - C\r\n12:04 - B\r\n12:18 - A\r\n12:46 - B\r\n13:00 - Coda\r\n\r\n ","rendered":"

https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=454&action=edit<\/span><\/p>\n

Variation<\/b>\u00a0is the presentation of a theme (a melodic idea) followed by a series of changes on that theme. There may be changes \u00a0in harmony, mode, melody, counterpoint, rhythm, timbre, orchestration or any combination. This \u00a0structure \u00a0often used in the 2nd and final movements \u00a0of larger Classical works such as symphonies, string quartets, and sonatas.<\/p>\n

Variation Form<\/span><\/strong><\/p>\n

Variation forms of the baroque included \u00a0ground bass, passacaglia, chaconne, and theme and variations. However, the theme and variation \u00a0forms of the classical period however are focused on the variation of the theme. \u00a0The theme is repeated with changes or it \u00a0is \u00a0accompanied in a changed manner. The following elements could change or be used in combination in \u00a0the variations: \u00a0harmony, melody, rhythm, timbre, and orchestration. Counterpoint could also be introduced. \u00a0The \u00a0“theme” in \u00a0Variation form \u00a0generally is\u00a0between eight and thirty-two bars in length.\u00a0 Likewise the variations, particularly in music of the eighteenth century and earlier, are the same number of measures in length \u00a0and structure as the theme.<\/p>\n

Court Dances and Variation:<\/strong> A practice of performing \u00a0musicians could have influenced this form of variation. \u00a0“Court dances” \u00a0were long. However they \u00a0contained\u00a0 short 8-32 bar melodies. \u00a0These short melodies could became wearisome to \u00a0repeat. \u00a0During these repetitions \u00a0the players inevitably \u00a0would \u00a0indulge themselves in improvising the melody, leading us to variation and ornamentation.<\/p>\n

Variations \u00a0‘free-standing’ pieces for solo instruments or ensembles, or can constitute a movement of a larger multi movement work. Jazz music is structured on a basic pattern of theme and variations.<\/p>\n

Variations on \u00a0Mozart’s , Ah! vous dirai je maman (Twinkle Twinkle, Little Star) KV 265<\/p>\n

Hear this simple tuneful melody upon which Mozart has built a beautiful set of variations. The link below will allow you to follow along and read about this work. Note the character of this melody compared with those of the baroque. \u00a0It is tuneful and has very clear phrases.
\nhttps:\/\/youtu.be\/Ezvj-De6bxY<\/a><\/p>\n

Click on this link for more description of Variation form:
\nhttp:\/\/www.cengage.com\/resource_uploads\/downloads\/049518974X_78467.pdf<\/a><\/p>\n

Rondo Form
\n<\/strong>Rondo form is also not new to this period. The term dates back to the medieval fixed poetic form rondeau. Medieval chansons that used poetic rondeaux as their texts often used a musical structure that mimicked the poetic structure.<\/span>
\n<\/strong><\/p>\n

https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=455&action=edit<\/span><\/p>\n

The term and formal principle may have derived from the medieval poetic form, rondeau<\/i>, which contains repetitions of a couplet separated by longer sections of poetry.<\/p>\n

In rondo form, a principal theme (sometimes called the “refrain”) alternates with one or more contrasting themes, Possible patterns in the Classical period include: ABA, ABACA, or ABACABA. The number of themes can vary from piece to piece, and the recurring element is sometimes embellished and\/or shortened in order to provide for variation. Note that A is the refrains or principal theme and the other letters represent \u00a0the contrasting themes<\/p>\n

A Baroque predecessor to the rondo was the ritornello. \u00a0Ritornello form was used in the fast movements of baroque concertos \u00a0(See Vivaldi’s Spring in The Seasons). The entire orchestra (also called \u00a0tutti<\/i>) \u00a0plays the main ritornello theme, while soloists play the intervening episodes. \u00a0While the \u00a0Rondo is similar to ritornello form, the \u00a0ritornello brings back the subject or main theme in fragments and in different keys, where \u00a0the rondo brings back its theme complete and in the same key.<\/p>\n

W.A. Mozart – Piano Sonata No 11 in A – Major, K.331 (300i)<\/p>\n